Macleod Andrews is back and be brought his friend Adam Stovall to talk about their new movie “A Ghost Awaits”
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A Ghost Awaits with Adam Stovall and Macleod Andrews
[00:00:00] Kenric: I’ve been addicted to Stelter water lately.
Macleod Andrews: Let me too, I’ve got
Kenric: a lemon seltzer. I got the I have beer.
Adam: I have the
Kenric: cherry nice beers. Always good though. It’s seven
Adam: o’clock here. I’m drinking. Nice.
Kenric: When it comes to beer, I can’t do a. I used to, I used to brew my own, so I love IPA’s and we try to have, and we do all these, me and my brother would do all these different.
We even did a Duvall knockoff, and I can’t do them anymore though. Man, the beer just gives me indigestion. I get really full. So now I got to stick with lagers and pilsners. If I am going to have a beer. Yeah.
Macleod Andrews: I mean, I enjoy a good
Kenric: Posner. Yeah. Yeah. That’s the thing. You can get really good ones, but so I’m in Seattle and there’s tons of microbreweries.
I mean, you can, you can throw a rock in a neighborhood and you’re hitting the microbrewery, but they all do. IPA’s that’s, you know, Yeah,
Adam: someone else is like, I’m like,
Macleod Andrews: I go to the,
Adam: like the [00:01:00] microbrewery
Macleod Andrews: corner or whatever grocery store. And it’s just like hundreds of IPA’s and I’m like, guys,
Adam: there are other beers.
I was just saying, there’s a new brewery that opened up in my neighborhood. And I was just saying like, God, I can’t wait till we can travel. And McLeod can go back to New York because they have a really good Pilsner. Oh, nice.
Kenric: Oh, yeah. I kind of feel like I go to a whole foods or whole paycheck, depending on how you want to call it.
And I looked in their beer aisle and it’s just IPA after IPA IPA. And it’s like, you guys should be categorizing these things. So it’s easy to find the Pilsner in the logger, you know? Cause they’re there, you just have to look really, really. Really well, you know, you know,
Adam: what’s a really great beer Braxton who sponsored our film and did the beer that Jack drinks and the first t-shirt that Jack wears and hosted our rep party.
We’re going to put this in the episode and make sure
Kenric: everybody goes out there. You don’t have Braxton
[00:02:00] Adam: beer. Sally is only available in like Kentucky, Ohio, I think Indiana and maybe Tennessee now. So it’s a very regional thing cause it started in Covington, Kentucky, but if you’re able to get a Braxton beer, they are fantastic.
Macleod Andrews: I never thought about this. I should put them in touch with my brother. Oh yeah. He’s all about taking local companies and helping them
Kenric: like big. Yeah. Can you help us grow our podcasts a little bit bigger?
Adam: I don’t
Macleod Andrews: know if he’s really familiar with the entertainment sphere. Unfortunately, I got, I got that one.
Kenric: So everybody that just joined us. Well actually didn’t just join as you heard this whole lead up here.
Adam: Usually we have
Kenric: a whole thing. I cut it loose, but I want to leave the whole Braxton thing in, cause I loved it. Adam Stoval, the cloud Andrews you guys just made an incredible movie. People will know. McLeod has caught on come on, spore [00:03:00] the country before he is the narrator, I guess voiceover narrator.
But we decided narrator, I think we did decide narrate
Macleod Andrews: a whole discussion about it. Yeah. Typically voiceover refers to commercials, animation, a voice replacement, but that’s right. That’s
Kenric: right. That’s right. Of one of my favorite books series of all time, which is the same man slim series by Richard cadre.
If you haven’t read it, don’t read it. Just download the audio books. You can hear McCloud because he’s read along, actually get the book and read along with them. Yeah, a lot of fun guys. Welcome to the show. Thank you so
Adam: much for coming on. Thanks for having us, man. Thanks for having
Kenric: us off the bat. So people are aware.
We’re talking about a ghost weights and it’s an awesome film. I love indie stuff and you guys did a great job. If people are interested in watching this, you can go to arrow-player.com. Sign up seven 99 a month. You get that [00:04:00] first month free. And then you can sit there and watch McCloud.
Adam: It’s actually four 99 a month or 49 99 a year.
And then if you use the code air, all caps, Aero, UK launch, you get half off your first three months.
Kenric: I couldn’t say it any better. So
Adam: this is my job. This is what I do now.
I say to my sleep at this point, actually the ghost
Kenric: weights it’s been out for about a month. How’s it. How’s it doing?
Adam: How excited number one film on arrow. What’s that? It’s the number one film on arrow. That’s awesome. And they have more than one film. So yeah, it’s, it’s kind of incredible and they also have good films.
Kenric: they have a good, they have a good library, especially if you’re a horror fan,
Adam: they have a great library. Yeah, it’s
Macleod Andrews: really cool. I mean, I haven’t seen a streaming service quite like it because [00:05:00] it’s, it’s curated. It’s like heavily, like somebody’s, there’s a team putting a lot of thought into the films they want to put forward and how they want to present them and developing extra features.
And so it’s, it’s not kind of a mindless shovel full of content that you have to pick your way through. There’s a little bit more of a guided journey, which is pretty cool. I’ve I’ve not seen that.
Kenric: So tell us. Where did it go to weights? Where does idea form when did it start and who came up with the idea first?
Adam: Well, it’s based on a true story now. I so McCloud and I had spent a year trying to make another movie and we got pretty close. Like we were doing location Scouts, so, and had like a really good table read and and it just, we just couldn’t raise the money and I took it kinda hard. And went back to Northern Kentucky, which is where I’m from.
And while I was back there, kind of trying to figure out what I was going to do next, my friends, sorry, back to the roots. My friends, Brian and Jen price invited me over. I’m [00:06:00] not a big video game person, but they had this game. They really wanted me to play called PT. Which is a haunted house, first person puzzle game.
And I played that and I had them cracking up laughing because it was me reacting to a haunted house. So like creepy lighting and a baby cries from an empty sink. And I was just like, Nope, don’t I don’t need to check any of that out. I’m fine. Where I am. Yeah. This is the most boring game watching I’ve ever seen on Twitch.
I have recently learned the term walking simulator and I was like, honestly, that might be what I need to play is just like stuff where I can explore a world, but no, there’s nothing demanded of me. So, but yeah, I had them like cracking up laughing and at some time I was like, you know, I’ve never seen a haunted house movie with a character like me at the core of it.
That’s just like, no, I reject your entire premise. And then, so I was thinking with that. And then around the same time I saw this web comic called Saturday morning breakfast cereal. Guy asked this girl what [00:07:00] she thinks is the most American movie. And he says, or she says Ghostbusters, because here’s a movie here, you have demonstrable proof of an afterlife.
And the whole thing is about growing a small business and navigating government bureaucracy. And I thought that’s hilarious, but also like, Oh my God, you’re right. If there’s a ghost, that means there’s an afterlife. I would have so many questions. And that kind of formed the spine. That’s I, I sent him, I, I sent McLeod a message, just like, I think I have an idea for a movie and.
He also has heard
Macleod Andrews: about Adam is I feel like I get that
Adam and Macleod COMBINED: message
Adam: quite often.
Kenric: My co-host Jonny gets that way for me, with me all the time. I have, I want to write this book. I have this total idea.
Adam: It’s I, somebody once said that, like my brain must be a graveyard of ideas. Cause it’s always like, Oh yeah, I have this thing for it. And then like a month later, what happened with that? I’m like, Oh, I don’t know enough. I forgot about it. But yeah, like. Had that McCloud thought it was thought it was also interesting. Yeah. And [00:08:00] then one of the people that we’d met, one of the investors that we had met, tried to put together that movie was really excited to make something. And he was talking to our mutual friend, Nick third cuddle, and said, Hey, whatever happened with Adam?
And he’s like, Oh, you know, couldn’t raise the money. But like, he just had this weird haunted house idea and we got on the phone and like, I walked him through it. What I saw, I didn’t have a script at the time, but when I saw of the story and he was just like, that sounds good. I’ll put in this amount of money.
And my mom had said that, you know, if you ever get to a point where, you know, you have a number, let us know if we can help. And so I called her and said, this, I can get this, or I have this, can you match it? Yeah, because if you can match it, I think I can make a movie. And they went and talked to their money guy.
He came back and said, yeah, we can match it. And I just started crying and then the cloud and I got to work and I had to write the script.
Kenric: What was the w when you sat down to write that script, did it just flow pretty easy or did you outline it out? And then it really, it just kind of took some time to really, because I always get to a point and it’s either I give up [00:09:00] or it goes off in a right turn and I don’t know what the hell I’m doing.
Adam: It’s weird. Like, I don’t think I’ve ever written. To the same way. Like sometimes I outline and sometimes I just sit down and then sometimes I’m writing like scene by scene and sending McCloud, like a ton of like, here’s a scene. Tell me if it works. But with this one, because we had to move so fast.
Yeah. I was just like, I mean, I was riding by the seat of my pants. I was, you know, I, I, there was a little neighborhood bar about a half mile from my dad’s apartment where I was staying. And like, I would walk down there and just write or I’d sit and, you know, in my bedroom and like, and it was, I, you know, because I had the, the structure of a haunted house movie and wanting to explore the idea of an afterlife It, it came pretty easily.
It’s also why we had to do extensive reshoots is because the first act was a mess. Like, I’ll be completely honest. I tend to overwrite. And so, but no, it, it, [00:10:00] it, see, I don’t, I still don’t really understand how this worked. I mean, it’s a miracle. This thing works and happened. Yeah.
Kenric: Y Y black and white, you don’t see it very often.
I thought I just love pandas, man. On the black and white nothing’s washed out. What was that? I’m sorry. I
Adam: said, I just love pandas, man.
Actually one of my favorite day, David Mamet quotes or David Mamet lions. Nothing’s black and white. Nothing’s black and white. Nothing’s black and white. What about a fucking Panda? So true. I love the black and white aesthetic. And so early on, I’d been like, Oh, I think I want to make this in black and white.
And I our UPM, Jenny Chen, we run a location scout. And I told her that, and she was like, no, absolutely not. For good reason, like we got so many nos from festivals and distributors because of the black and white. But so we shot it in color. We had planned to release it in color. But. Mike Potter shot principal photography, and he used his camera, which is a 4k, but black magic, Ursa mini and mine, which is a digital [00:11:00] 16 black magic pocket cinema.
I want to also, he had like a minimal lighting rig. And then when we had to go back and do pickups and there was juxta McLeod in me and I was shooting, I just had my camera and no lights. It was all natural lighting, except for so like one scene that we couldn’t use any natural lighting and And so then like cutting that together and trying to color, correct.
It never, there wasn’t like a visual cohesion, like I wanted there to be. Yeah. And then one day McLeod was just like, Hey, you thought would make it in black and white. And I was like, you beautiful bastard.
So I, we dropped a black and white, a lot on it, which is a color correction algorithm. And the moment it was black and white, what’s really cool about filmmaking, especially at this level. Is that like. Technical decisions and creative decisions often sync up. And so like, while there’s all these technical reasons to do this, the moment we saw it in black and white, especially the moment we saw Miriam and black and white, it was like, Oh, this is the movie.
[00:12:00] Like, yeah, this, this feels right.
Kenric: Yeah. Speaking of miracle, how did you score Natalie Walker? Cause she’s awesome.
Adam: She’s amazing. So Mirial was originally written for a friend of ours who got cast on a TV show and wasn’t available. So, I had got, I’d been following Natalie on Twitter for a long time.
She’s hilarious and brilliant. And and I had that moment of like, Oh, she’s also an actor. Like not just a writer. I should see like, If she has any clips. And so I went to her website and she didn’t have any clips or anything, but her email was on our website. So I emailed her just like, Hey you know, I’m making a movie in Cincinnati.
I don’t know if you care about this at all. But like, I think you might be right for you know, the lead, the female lead. You know, if you’re interested, I can send you the script and she got back and said, yes, please send her the script. She dug it. She did a self-tape and like the second it starts, it was like, Oh, that’s Miriam.
Like, she just, she just was her. And it’s crazy, but like McCloud and Natalie met [00:13:00] onset, like they met shooting, he was shooting a dream sequence and she was like 20 feet away in my dad’s kitchen doing a makeup test. Like, cause everybody thinks like, Oh, they must’ve known each other. Like the chemistry is so great.
And it’s like, no, no, they just met. That’s awesome. The first thing Natalie shot was the scene where she sings at the end. Oh, that’s hilarious. That’s
Kenric: awesome. McLeod. I didn’t know you played guitar, dude. I didn’t either for that, who wrote that song? Because that song was actually pretty fun. It’s good. I like it.
I was like, Oh, that’s a cool song. And I was like, I was wondering if you had to buy the rights for it, but then when you started singing it, I was like, somebody must have wrote it. Somebody must have wrote it for the movie itself.
Macleod Andrews: Not for the movie. It’s actually a band called WiSci. And if you, if you listen to the lyrics, what I play is actually a slowed down version of the song that Jack is listening to when he goes around the house, fixing things.
Yeah. [00:14:00] And no, it was one, it was a band that Adam grew up listening to and was friends with the, the, the musicians. And so,
Kenric: no, it was great. It was a great pick. It fits the scene really, really well.
Adam: Thanks. Thanks. Yeah. Yeah, McLeod’s just like, Ridiculously talented
Kenric: dude. He’s like a man of a thousand voices.
Have you heard of that?
Adam: It’s ridiculous. What’s funny is like originally, so originally he didn’t sing, he didn’t sing like that in the movie originally, he was like making up little songs as he worked around the house and yeah. That never like registered with audiences, like that’s what he was doing. So that was part of the pickups.
And so there was originally a different song that was going to play under him working in the house, but I could never get the musician to like officially give me the rights. Right. It never, they would just not answer emails. And so finally when, like, and that’s not, that’s not a pressing issue. It’s kind of like, you know, plug and play and, you [00:15:00] know, Yeah.
Like if he was going to sing the song, I was like, we got to get this thing cleared. So yeah, because I know what’s, he I’ve known them since, before they were a band. I just messaged Mark Messerly. Like, Hey, can we have yellow cotton dress? And like 20 minutes later we had it. Oh, that’s awesome. And then we went and bought in Ricardo guitar at a pawn shop and he spent a couple of days learning the song.
Kenric: Did you know the court, did you know how to play any chords or anything when you started.
Macleod Andrews: play, I grew up playing bass and I played guitar in bands and stuff, but like about a year, maybe two years before we shot, it goes to weights. My now wife, then girlfriend got me a like, You know, bottom of the line, fender, acoustic guitar and I, myself, that, so I could like strum out some, some sad, slow songs, Bruce Springsteen’s
Adam: can you play I’m on fire for us right now?
[00:16:00] I cannot taking requests.
Kenric: I never got a chance to say congratulations on the birth of your. Of your your baby on, she was about ready to give out was that she was about ready to pop when she, when you were on your way. Yeah, I guess so. You’re like, you literally told us, Hey, there may or may not have to go.
You never know. Cause we’re getting to the zero
Macleod Andrews: Yeah. Yeah. Thank you. Yeah, she’s turns this, this Saturday. She turns one year
Adam: old. That’s crazy. Yeah. And she’s she’s awesome.
Kenric: Change everything. Yeah. You look at everything. How you act about everything. They just change everything.
Adam: I mean,
Macleod Andrews: like to, to, to Adam’s point about his brain being an idea, graveyard.
I feel like that’s, that’s, that’s a lot of what’s happened to me because it was just like, you’re you you’re just, most of your time is just spent with the kid and taking care [00:17:00] of them. And so, you know, all, while you’re sitting there teaching them,
Kenric: read. Blue orange,
Macleod Andrews: green, every other idea that flies through your head of like, Oh, you know, it’d be really fun to do.
Oh, you know, it’d be really fun to
Adam: do. I can touch with like,
Macleod Andrews: just, you just, you just ball it up and you say, cool Buddhism, throw it away.
Adam: Is this your
Kenric: first movie that you produced?
Macleod Andrews: No, I also produced they look like people and the siren.
Kenric: I want them, they look like people and it freaked me out, dude. Oh yeah. Yeah. Because I was like, I was watching it and it’s really very much a one man show for you, you know? And when you go through it and you’re just like, And you guys never really answered the question.
Is it just him or is it, is there something else there? And it’s just like, and I’m like the exact opposite of that. I’m like, I need to know what happened. [00:18:00] So I’m like watching you and I’m just like, damn
Kenric: Yeah, it was good. I liked it. Leave you hanging. Well, you know what? Watching you got to turn this ringer off.
Adam: more, get your shit together though. You were a professional,
Kenric: right? I’m pretty good about that. But apparently I just
Adam: got a brand new phone, so I haven’t, yeah,
Kenric: that’s my excuse. I’m sticking to it.
Adam: That’s brand new phone. It’s a rotary. It’s
Kenric: a rotary zeros. No, but After talking to you and the fact that you’ve been making these smaller films and putting them out there, I had to go and I watched, they look like human.
Is it, they look like humans, people, people, they look at people. Sorry. And I. I was like, Oh, this is really cool. I, it opened up a whole different [00:19:00] world than just the major blockbusters. You know what I mean? Like there’s a group of people that are putting their heart and soul beyond. Like, I always love movies.
I love movies, period. You know, and I love B movies and see movies. And I always tell people when they make fun of movies that they see like late night on Spotify that are not Saifai funded, you know? And it’s just like, you got to understand that person that directed it probably wrote it, directed it, produced it, and probably max out all of their credit cards to get this on screen and they love it.
And yeah. And so I always
Adam: had that long and I
Macleod Andrews: introduced you to.
Kenric: And then, so after talking to you, there was like this whole other level of movies that I didn’t really realize was happening like this. You didn’t realize how small I could go. Yeah, it was cool, man. And then it’s like sitting down and then when, when you reached out to us about, Hey, we’re putting this out, you know, I was like, Oh my God, we’ve got to have you on because I want to watch this.
And then it wasn’t available anywhere until I saw arrow [00:20:00] had just. Said, Hey, we just released it. And I was like, Oh, people are watching. And it was, it was awesome. I just, it was, you guys did a fantastic, fantastic job. And I don’t know. Did you said, Adam, you said you used it to the algorithm for the black and whites, but I’ve seen black and white films where the whites are super washed out, you know, and whatever you did.
It looks fantastic. Cause black and white always has all that detail and it’s all there,
Adam: man. It looks great. Really lucky. A buddy of mine also made a little, no budget, black and white horror relationship movie and his, his friend had colored corrected it. And so he just was like, Hey, you should talk to Ari.
And I. Talk to Ari and like sending the movie and he dug it. And and then I looked at his IMDV page. It was like, there’s nowhere we can afford this guy. Like he did bone Tomahawk. There’s no way he’s a real and he is a real guy. I liked the movie. Like, I’ll give you a weekend for, you know, a very low rate.
And [00:21:00] so I just went over for two days to his apartment in Brooklyn and watched him. Color correct. The entire movie. And it was like watching a magician work. So yeah, it’s, it looks really good. And that is, that is largely because Ari Roth child is very good at
Kenric: his job.
Macleod Andrews: That was just sort of to see if it would work if the choice would work and then RA came in and
Kenric: made it pretty, yeah.
McCloud. How do you balance. Shooting a movie, producing a movie and doing all your narrow narration work. Because if people don’t know McCloud is on every book ever pushed out
Adam: every book, every
Kenric: single one,
Adam: I need
Macleod Andrews: to read it. I have many student names. We are Legion,
Kenric: but seriously, man, you are a busy man, dude.
How do you manage that time? And with the a one year old coming on the, on the horizon? I mean, yeah. Yeah.
[00:22:00] Macleod Andrews: Well, thanks. Thanks. I guess to start at the end and go backwards, the great thing about audio books is Once you get one on your schedule, you’re pretty much locked in and it’s a very big time commitment.
But if you have enough advanced notice of your, of your schedule and things you need to do, you can have a lot of flexibility and block time out. So. So whenever I knew, you know, we’d be shooting or even if I just knew, if I knew we would have a big crunch week to, to work on the edit or to get it out to festivals, or just when I knew ahead of time that there was a lot of work to be done, or if I needed to do work on the sound design, which was many, many, many, many hours of work, I can block out that time in advance and not record a book then So that’s, that’s, that’s sort of how I’d take care of that regardless to producing and performing.
I actually find, I find the [00:23:00] producing kind of frees me up a little bit. It, it It gives me a really innate sense of purpose of why I’m there. That’s beyond just the performance. And that kind of allows me not to fixate. I can be pretty detail oriented and it, it keeps me out of my head a little bit, and sometimes it helps me relax into the role and, and just focus on.
What’s necessary for the scene and also to think of, to approach every scene, you know, as an actor with a kind of holistic view of a producer of like, okay, how does this help the movie, like, forget about me and you know what I do or don’t want to do as an actor? What do I got to do? What do I have to accomplish as an actor to tell this story?
And so that, you know, allows you to do simple plant-based scenes with more natural ease because, you know, you’re not always trying to chew the scenery and yeah, and, but sometimes the best [00:24:00] thing to do is to just step back, Adam made me do this for one of the big scenes and it ghost weights and, and be like, this scene is, you know, it was a moment where like, this scene is too important.
I need you to not get the crew coffee for a day. I need you to you know, I need to, to not be hold lights and to help us move location, you know, I need you to just do whatever you have to do to focus and prepare. So yeah, sometimes you just have to take the producer hat off and, and pay attention to the acting.
But yeah, I, I actually like it and now, you know, when I. When I act in something where I’m not also producing, I have, I still have that greater awareness of all the moving pieces that go into making a film and on set. So that also helps me relax into a set where I’m like, ah, yeah, I know why we’re waiting.
I know what the delay is. I know what that guy over there is doing. I know why this person keeps waving a thing in my face and I’m cool. We’re
Kenric: just gonna help you interact with the grips and everybody around you [00:25:00] much easier.
Adam: Keeps me
Macleod Andrews: from having a Christian bale moment.
Kenric: Yeah, that was that was unfortunate.
So what’s next for you guys? I feel like we have a little bit of a dynamic duo on our hands. It’s going to be another thing or Adam, do you have anything? I know you got slumping going around in that brain cause you know,
Adam: You know, we don’t know. There’s a few things that are kind of like potentially happening, but like nothing’s officially happening yet.
And I have learned to not to wait until something is real sock there’s cause there’s so many like false starts and close calls. Like I’ve already, I think like the QA after our world premier, I was like, and then this thing, that’s going to be our next thing. And it is. It was not so I’m, I’m learning not to talk out of school.
But yeah, we’re, we’re working on, there’s one thing. That’s like [00:26:00] a time-travel road movie with a little bit of a disaster movies sprinkled in there’s a, there’s a crime is a, is a thing that’s like based on a true crime that happened in my hometown. There’s a, yeah, there’s like a bunch of stuff.
And. I’m right now, I’m writing the stifle thing mostly. We’ve we’ve got a draft and it turns out I forgot to put a second act in it. So I’m working on that which has been like a lot of fun. I, I don’t remember if I actually messaged McLeod last night or I just. Thought I did, but I drove myself crazy writing a Sikh and yeah.
And like, Got done. And thankfully the NBA season is going so I can just turn that on and unwind and fall asleep by halftime anymore. I feel like I’m getting old. But yeah, we have, like, I don’t know, we haven’t done like a Google doc of like all the stuff, but I feel like we have a bunch of [00:27:00] things that we kind of want to do.
But right now, yeah, like the response to this one has been so. Great that we’re trying to kind of see is whatever momentum we can. Yeah.
Kenric: Yeah, definitely. Definitely. What happened on this, in this movie that might’ve been a surprise to you, to both of you, everything. I know that sometimes you’ll shoot scenes and you’ll be like, Oh, that was crap.
And I just don’t have time to go back and then you go back through it. And you’re in the, in the editing process and you’re like, wow, that worked really, really well. And, and totally didn’t see it until I’m sitting down here. Do you have that moment or did, was it all maybe
Macleod Andrews: I
Adam: feel like
Macleod Andrews: it’s been such a long process.
I mean, there are scenes, like there are scenes that, you know, Adam had written in the first draft that.
Macleod Andrews: didn’t really didn’t really work in the cut, but then we realized that the, [00:28:00] the role they played in talent and storytelling was structurally necessary. So we sort of re-injured reintroduced it, but like in a fractured way.
Adam: Yeah, I feel like when I started like cutting it together the assembly cut was bad. It was an hour and 50 minutes, which now the movie is 79 minutes.
Kenric: What’s the assembly cut. What
Adam: is that? So the assembly cut is the very first thing, the very first cut where you put all of it together for the first time, just, and all it is is just like scene, scene, scene, scene.
You’re not really fine tuning
Kenric: it and everything out of order, the assembly cut as you putting everything into order of what you got it.
Adam: Yeah. And you know, we had shot this in, we shot it over 12 days. Principle photography was 12 days in August, 2016. Yeah. We shot during a heat wave at a house with no air conditioning.
It was less than ideal. And then we wrapped McCloud, went home to LA. I slept for a week. And then two weeks [00:29:00] after we wrapped, I went out with my girlfriend for our first like date night and she broke up with me and, and then I was just like out of commission for like a month. And just, there was like a month of feeling nothing.
And then a month of feeling sad and angry constantly. And then you, and I remember like talking to him, McLeod and Evan, Evan do Michelle. Who’s also, they look like people and Evan being like. You might want to hire an editor cause like you need to do this. I get these to be edited. Right. And I was like, I will get to it, Evan.
I am going through something. And so once I finally did like sit down and start editing it together, you know, Steven Spielberg tells the story of like showing the assembly cut of close encounters. And by the time it’s done, he’s like on the floor hiding and George Lucas just comes over and puts his hand on his back.
He was like, buddy, if you make a good assembly, cut, you’ve made a bad movie. Which doesn’t make sense, but it was a very nice thing for a friend to say. Right. And so we, you know, it was [00:30:00] bad except that the ending always worked once that song kicks in years ago by, by the bank sins. It like everyone who watched it was like, Oh, okay.
That’s something. And so then became like, okay, let’s tighten it up. Let us, let’s get to the ending faster. Right. And, you know, I spent a few months doing that. And then eventually it got to the point from like, where like from minute 34 on, we were solid, but the first 33 didn’t quite get us there. And that was when we started doing the pickups and like re-imagining the first act and everything.
So, and that, I want to say it was the first set of pickups which led to probably the most surprising moment for me. Toilet scene is. That was in the script, except that it was just the phone conversation with a bunch of lead-up. That was really shitty exposition dire, really shitty dialogue. And I had cut it because I was like, there’s no way I’m going to let the people know that I’m not bad a writer and.
McLeod comes back like, you know, buddy, I think we actually need [00:31:00] that. Like it, we need it. We need the information that it gives us. And I was like, well, then we’re gonna have to reshoot it because I am not letting people know I’m that bad a writer. And all it really was, was like, Lopping off the first half.
Yeah. And you know, now it comes in with like that works. Thanks. There was a whole conversation before that, and that was stupid. So, you know, and then we were, we were doing that scene a few times and finally, like McLeod was just like, I have an idea and he started making the toilet talk and I ruined the take laughing.
And like, I think I even did it again. At some point I had to just walk away. I was like, you got this, I’m going to go because I can’t not laugh at this. It’s amazing. At least you’re not
Kenric: having to shoot onto film. You know what I’m saying? Right, right, right.
Adam: Yeah. Oh God, that would be irresponsible. But yeah, like, and then.
So it’s w it’s something that was surprising, but like, you know, the, the, the ending sequence with the song and then the scene before it, where Jack tells me real that [00:32:00] he has feelings and they have their kind of emotional catharsis conversation. Like that was my favorite scene to write. And. Once I like fined tuned.
It, like, that was kind of the first one that I was like, this is my baby. I’m gonna, you know, that way I can like show people a scene. That’s awesome. Yeah. And like, when that clicked the place, I was just like, okay, I’m doing it. I got some, we got something going here. Like I might not suck at this. That’s nice to know.
Kenric: don’t suck at it, man. You, you guys did a wonderful job. You really did. I’m not just telling you that you re you guys really did a wonderful job. I can’t wait to make people watch it. No, no, no. You have to watch this
Adam: when it’s going to be like a saw movie. It’s like the saddest saw movies. It’s like, you have to watch it ghost weights or record with your life in order to get out of it.
Kenric: What you haven’t seen a supernatural drama day before, want to play a game?
[00:33:00] How did you guys find each other?
Adam: Of these friendship, buddy Craigslist, misconnections.
Kenric: I saw you in a crowded restaurant.
Adam: Oh no. We
Macleod Andrews: had we both worked on this film next to
Adam: me. It’s a podcast cloud. You have to say what it was. That’s what I thought last time we did press and then I, and then all of a
Macleod Andrews: sudden everybody’s
Adam: releasing videos and I’m like, Oh, I didn’t realize I had to look okay.
Kenric: We do both, man. We’ll do the audio. We’ll
Adam: do it just for you. I’ll just put a picture. So,
Yeah, we, we met on a movie called split. It’s a bowling, romantic comedy that was shot in Louisville, Kentucky McCloud acted in it. And I was the second 80 and we did in fact, see each other from across a crowded karaoke bar. I was like, Hey, Hey,
Kenric: what’d you get instantly like, Hey, let’s, we’re working together.
We get along and you’re like, Hey McLeod, I got all these [00:34:00] ideas I want to run by you. Is it
Adam: it’s scary. Accurate? Yeah, pretty much like, Hey,
Macleod Andrews: like while we’re I have a weekend off or something from the film shoot, like I want to I want to do a script reading of a script that I wrote and he asked me to be part of that.
And did you do all the voices? I did every single one. I did. You not know I’m everyone.
Kenric: I love
Adam: it. You are me. You’re just every everyone,
Kenric: but I could see you writing, reading a script and doing a couple of voices. Just for the two of you, you know what I’m saying?
Adam: It was actually funny. It’s the first time I think it’s the only time this has ever happened so far. Like I, I was like, Oh, that guy is really interesting and really good. Like I asked him like, Hey, would you [00:35:00] mind if I sent you a script to read? And he had some days off while we were shooting. So he had gone to Michigan to record a book and he had downtime and he was sitting in his hotel room.
So I sent him the script and then two hours later, I get a response from him that he was like, this is great. And I was like, How have you already, like, are you okay?
So Michigan man is the best thing happening
Kenric: the first table read, go. How does that work does like, like I’m not messing around. Like does, do you guys each do different characters or did you have a bunch of people in the room
Adam: to read the different parts? So. McCloud is conflating a couple of things and I, since you want to get into it a little bit I had sent him a script that I’d written called dumpster baby.
And and we’ve actually never done a script read of that. Yeah. We’ve never done a script of dumpster, baby. We did a script for you. If there’s [00:36:00] nothing outside. W, well, I know that one, we did two of them because we did the first one at January weather ups apartment. And that was the one that like Becca Pruitt and Sarah in Kentucky at the, like at the split house?
No. Oh, that was an actual split script read. Cause that wasn’t, that like that front, that living room that Josh took over as a bedroom, nowhere I’ve been dies. You know,
Macleod Andrews: it’s all the same
Adam: to your, like, to, to answer your question, like. So we did two script reads of this movie have a notion of, because there’s nothing outside.
Yeah. The first one my, my buddy, Nick and I had had this, like, we call it living room, master thespians. It was a group that would get together to descript reads. And and we did, we did that. And then that kind of showed us what didn’t work in the script and McLeod. And I stayed up until like one 30 in the morning fixing [00:37:00] the ending.
And then I spent like 10 months. Casting another table read. And that was the one that like we did in the conference room of this production company in sun Valley. I know it went really well. And that was the one that like Lucy was part of and like Christina Kleeb, all these people really wonderful.
And so like, If you want to know, like how you put together one, like you can either do it very informally where it’s just to kind of hear the script on his legs and get a sense of what works and what does it. And I’ve done that a few times with, with different things. But then the second one was a much more like, no, this is the crew that we could roll with and like make the movie right now.
Cool. Sadly, that didn’t happen, but like, that’s where I learned a lot of like how to cast because it’s like, I have a lot of actor, friends, and all of them will tell you about the special hell that is auditioning. Yeah. So. And what I started noticing was like, all you really, like, all they really want is for you to respect their time.
Yeah. You know, it’s like [00:38:00] with auditions, you go in and you’re in a room with a bunch of people who look vaguely like you and your car is sitting outside and you either gotta run out and re refill the meter or you get a ticket, like, because you never know when you’re going to get called in. And it was just like, Oh, the bar is so low for like getting people to feel good about a project.
So what I would do is I would send people the script and say like, just tell me what you think. Just tell me, like, I’m not even going to tell you what character to focus on. Just like, let me know if one jumps out to you and that What I kind of learned by doing that is that the thing with casting is that you’re looking for a hundred percent, right.
And 99% writes really good and really close and discipline can get there can get you there and craft can get you there, but a hundred percent right. Is instinct. Right. And the way to find that I have found is just talk to them about the story and see kind of where they gravitate towards. You know, and [00:39:00] even you can kind of carry it further when you’re actually making something like the cool thing with McLeod, where like, with working with like my best friend is we’re very reactive.
You know, if, if one of us kind of sparks to something, even if it’s not what the other one had in mind, it’s like, okay, well, let’s, let’s explore. Let’s find out what this is. Yeah. You know, we’re never, we’re not afraid. I’m not precious about the script and he’s not precious about performance or ideas.
Kenric: It’s so rare to man. It’s hard to get that. And when you find that with somebody who will, that’s awesome.
Adam: Oh yeah. I never want to make a movie without him.
Kenric: That’s awesome. That’s awesome. Well, guys, I so much appreciate you coming on. This was amazing. I can’t, I have to,
Adam: we’re not going to do a two hour episode this time. I want to do a two hour episode. I mean, I thought we were going to get into comics at some point. Are you in, are you a big comic fan? I told McLeod.
I was like, Oh man, we’re going to talk about sex criminals. It’s going to be amazing. Yeah. [00:40:00] Matt fraction and, um,
Kenric: ships at our ski. Yep. We had chips at our