Today on the show, we have producer Bradley Gallo. His production company, Amasia Entertainment, is behind the upcoming Wild Mountain Thyme, starring Emily Blunt, Christopher Walken, Jon Hamm, and Jamie Dornan.
His 2019’s Official Sundance Selection Them That Follow, starring Olivia Coleman, Jim Gaffigan, Walton Goggins, Kaitlyn Dever, Lewis Pullman, Alice Englert, and Thomas Mann, is now on Showtime.
Amasia has also recently acquired the rights to the Green Hornet franchise. Bradley’s other credits include Mr. Rightwith Anna Kendrick and Sam Rockwell (available on Netflix), The Call with Halle Berry, and Careful What You Wish For with Nick Jonas and Dermot Mulroney.
Bradley and I discuss the ever-changing film marketplace, how he is positioning his new project to adapt to the new rules of the game, and much more.
Enjoy my conversation with Bradley Gallo.
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Alex Ferrari 0:02
I like to welcome the show Bradley Gallo, man, how you doing Bradley?
Bradley Gallo 3:24
I'm doing great.
Alex Ferrari 3:24
Thanks for being on the show my friend. How are you holding up in this weird and wacky world that we live in today?
Bradley Gallo 3:30
You know, I'm too busy thinking about all the development projects we have that I actually just sort of block it out. But I'm I'm sure that everybody is suffering in their own right. And, and I totally understand, you know, it's tough.
Alex Ferrari 3:45
It's it is it is tough. Like I was saying earlier the struggle is real. Without question. And you know, I you're either gonna use either Chicken Little or an ostrich. I think those are the two you either just like I don't see anything. I'm just moving forward or Oh my god, the world's coming to an end. I tend to be more the world's coming to the guy but I know people who are very ostrich like You know what, I can't deal with that right now. I just got to focus on what I can control, which is a lot healthier, sir, than where I live.
Bradley Gallo 4:14
I'm trying to be positive. I have a similar mindset. Sometimes.
Alex Ferrari 4:20
I always say prepare for the worst and hope for the best. And that's and that's all you can do. Now, how did you get into the business?
Bradley Gallo 4:27
Oh, wow, I got into the business a long time. But first of all, if you look at my fifth grade yearbook, I wrote, I want to be a movie star. And I think a lot of people who are in this industry always wanted to start out by being an actor. I like that was kind of the thing you're in plays and all that stuff. It didn't come around to bite me as a bug until later around. 1718. When I was trying to be a veterinarian, I thought I was going to go to college to be a veterinarian. I was at all the different vet like tech, you know I worked at every single Veterinary Hospital in Long Island, New York and picking up poo most of them time. But you know, I had an issue with putting animals to sleep that was my big like I couldn't do it. But I was in love with these these veterinarian books that were written by James Herriot called all great and small. And it was just like it was stories. It was storytelling through animals. And for me, I realized at one point that it wasn't about the vet thing that I like, it was the stories that I liked, and it came right back around to I need to be in film and TV and I have to figure that out. And that became a very long journey. Starting in graduating college with a totally different degree, and then becoming a production assistant on sets in New York keeping the faith with I don't know if you remember that Edward Norton Ben Stiller movie, yeah, an autumn in New York, which was a Richard Gere movie. Yes. Back with the back one on a writer. Yeah, with one. Yeah,
those were the production assistant jobs that I had when I first started. So that's kind of the entry. And then I realized it was a 30 year old, I was 21. At the time, there was a 30 year old production assistant on that set. And I said, there is no way that was what went into my mind. Oh, no, during the time of, you know, when, you know, Edward burns would make his movies and go Sundance and there was you can make movies for like, 30 grand, but you were like, thinking it was so weird time it was very Sundance related in the 90s. So I said, Well, okay, like everybody else, I'm gonna go right and direct and produce them Sure. And raise the money. And, of course, that's a lot harder than you think. So I had a lot of energy then a lot less now. And then I I sort of accomplished that I raised money from doctors and lawyers and family and all the stuff that you do then. And I wrote a screenplay and I started the movie, and I put it together. And I actually shot it in a summer camp because I knew at that time, summer camps were the thing like you made horror films at summer camps, right? So I knew you can make them for real. So I had a connection because I've gone to a summer camp. I rented out the camp after the summer was over $10,000 to feed the crew, how's the crew and use all the locations sold? Oh, so I wrote a screenplay around it. And and and that's literally how the first movie came to be. And of course, that went to festivals. There's no easy way of how you get there.
Alex Ferrari 7:13
It was also different. It was also a different time you're talking about you were still in the 90s. Right?
Bradley Gallo 7:17
Yeah. 90s. Right. Yeah. Early cost there. Yeah, that's it. That was a whole other world. Totally, no, but you're asking how I started. China then and then. And then when September 11 hit, it was impossible to raise money for movies, like 2008. Like now that this stuff always comes around. And so I pivoted to television at that time. In reality TV was blowing up and I needed to pay rent, I had come out of my family home at that point. And, and so I worked in reality TV, I ended up on a reality TV show, called America's next producer.
Alex Ferrari 7:51
Really, I never heard of this. I never
Bradley Gallo 7:53
heard of this source. Because it lasted one season, it was on the TV Guide network. So like, was there a TV Guide network? Remember, they had the stream across the bottom? Yes, they actually made programming above the top. So I was in one on that show. That's amazing, the top 10. And, you know, I then had my breakdown, because you know, they don't, they don't feed you. They don't you don't get to just sleep. It's purposely set up for you to get into fights and all that stuff. So I did all that. And then and coming out of there, I kind of was sort of fed up with my dreams of like, I wanted to be in film. And then there was reality TV. And I just said I want to do something a little bit better for the greater good. And I went back to school when I got my masters at Columbia, in journalism, which I did really well in the school and came out with a CNN fellowship and started working for CNN was eventually rotated through the shows ended up on anderson cooper show for a bit. And then journalism got to the way it is today, which is what massively by, you know, polar. Where we're on one side argument, the other side of the argument. And I would just I it wasn't it wasn't speaking to me in the way I wanted it to speak to me. It's nothing wrong with journalism. It's just, it's changed. And it wasn't. It was again, back to the stories it was, it was less about the stories and more about the headlines. And I wanted to get deeper into stories. So I I moved, I made a couple of phone calls. I had some connections in LA and I took totally moved way late into my 30s to LA to start my career all over again from the bottom with somewhat of a background in media. And then I was sort of a creative development Exactly. And in a company called Troika and then headed their production and development and started producing the films and sort of built my career there. We had a hit early the call with Halle Berry. Yeah, it was a very a hit movie very early. And then of course, I made subsequent movies at some work, some didn't. And, you know, the rest of the career is where we are right now, which we can talk about.
Alex Ferrari 9:56
Now. Which which I always find it fascinating because I've had so many Many people on the show and I've talked to so many filmmakers, successful people in the industry that they go, yeah, I went to college and I got a degree in ballet, like something so
Bradley Gallo 10:11
Alex Ferrari 10:12
Yeah, exactly that like, but I, but I, what I really want to do is direct, you know, it's always, it's always fascinating because I see people like like that all the time. Like I went to film school, like I always knew I never wanted to be an actor, actor, thank God, I always knew I wanted to be a director and a filmmaker. So I went to film school. So when I hear people, like, I went to a four year school and got a degree in something else, but then I'm like, Yeah, but I really want to be a director. So I be I piayed. And I've seen those 30 year old PS, I saw a 40 year old PA, okay, and it is terrifying. I got when I, when I started playing when I was I was playing in college. And then once I got out of college, and got my first jobs, I started playing on the side. And I just said, this sucks, I'm going to go into post because at least there's an air conditioned room. Sure, and I learned posts. And that's how I kind of went down
Bradley Gallo 11:03
a lot of post production. In fact, that's even better. I've learned a long time ago that I wasn't going to be the director. And I'll tell you why. I mean, I can direct a film, if you hire me to director film, I know exactly what you have to do to do. Sure. But can I be good to the level of getting above the noise? Do I have the talent that's so creative, that it's so like universal is going to be calling an enforcement, like that kind of talent, there are so many more talented people that may that that's not where I lie, I lie in the journeyman version, I can make you the movie with that script. But in terms of the angles and the thinking and the way to be even more beyond, I didn't have that that level of talent, in my opinion. And so from a producing, sampling, what I liked the most about it, and why I got so into it was that I get to be a part of every single part of the process, and have a little bit of an effect. And then think of it from a big picture perspective. So I'm involved from the idea to the script, to the prep, to the production to the post, to the distribution to the collection, to the accounting to the end, you know what I mean? And nobody is able to do that everybody comes in and out. Yes. Um, and, and, and, and that is a good thing for me, because I'm very good at sort of managing people to do their best, as opposed to being my best isn't going to be as creative, if that makes sense. So know that that's kind of what I came to this
Alex Ferrari 12:27
That takes a tremendous amount of self awareness, to be able to, to be able to say, you know what, I can do this and I, it's kind of like me like I can I let my first feature. But I was like, Can I light up? Can I be a cinematographer for a feature? Yes. Am I going to do it like Deakins? No, I will never even get to the remote close. I wouldn't even be in his shadow anytime. So can I make something look decent on screen?
Unknown Speaker 12:53
Alex Ferrari 12:54
I'm like, No, I'd rather hire somebody.
Bradley Gallo 12:57
Yeah, and that's what, that's how I ended up trying to, because a lot of people always asked me like, how do you figure out which one you want to do. And it's like, a lot of the directing thing is ego, either you have it, and you want it and you need it. And it's everything you've ever been, or you are just ego. And those guys that doesn't pose that doesn't bode well for an actual collaborative process. So, so frustratingly, you know, I've run into that.
Alex Ferrari 13:23
So let me ask you something. Because I've made my last feature I did was called on the corner of ego and desire, which is about filmmakers, and their ridiculous egos and how we are delusional and all that kind of stuff. So I what do you do as a producer, when, because the ego doesn't show up in the interview process. A lot of times the
Bradley Gallo 13:44
ego shows up I it's absolutely shows up for me only because I'm so in tune, typically and open to it now. Okay, good. But saying there are people who can be a certain way to get the job and then it starts to get really intense. I always look at the person in the interview, and I go, what where's the level in the interview? And then I'm going to times that by five or six, and then I can I work with that? Sure if the level of interview is at the 10 Oh, you know, you're done. You're not know
Alex Ferrari 14:14
if he does. So how do you do? How do you as a producer, how do you deal with ego centric directors, actors, co producers, collaborators, like how because your your your papa bear, you kind of like you're overlooking the whole thing. So everyone it comes to you, when something goes wrong, the producers like the most abused.
Bradley Gallo 14:36
So the first thing you do is you set the tone early and you have to have the relationship with the director. If you don't feel like you're having that relationship from the interview to the prep, then you got to get out. It's just you got to find a new director because it's a three year process, you know, in making a movie and and in the director, it's at least a year of that. So you are like 24 seven with that person you have first of all you have to enjoy That time if you want to be with that person making that vision, and if you're not feeling that early on, even in even in like early prep, it's over, you got to move on if you can't sustain that, but let's say you get past that, and then the ego is still gonna be there, you need a healthy amount of ego because they have to drive decision making, they can't be like, I don't know what decision to make, what do you think, what do you think they have to have a vision, and a decision has to be made. But they have to have somebody in their ear, sort of swaying in a direction that works for everybody. So sometimes I call myself the bridge between art and commerce. But you can't make a film without understanding that. So there are times when you have to, you have to say to the director, look, you don't need this big concoction with a drone in the thing, and then we can shoot it like this, save a bunch of money, and then you get the scenes you want it over here, right? So there's a lot of that in indie filmmaking, and that's about the comp, but then there's the other side, you know, we're gonna need some extra money talking to the investor, this idea that just came out of this is amazing, and it's going to change the way the film is gonna look. And so we need this extra money, and here's why. So I'm bridging that back and forth. But when the ego is flying in the middle of that, that's when you have to check the director. Why do you need this? What is your reasoning for acting this way? Tell me I want to understand artistically, how important that is, or isn't for this vision. And when I get that, I'm either able to, I feel a very strong internal talent to say, you know what, you're right. Or you know what, you're wrong. And, and I have the answer for why they're wrong. And then they have to sit with that. And, and they start to respect you early, you have to set this tone early. And when they start to respect you, either by your body of work, or by what you're saying, because you really understand your shit, then they're going to go in a way that starts to work for you that the ego starts to work for you. If they don't respect you, and or they are so stubborn in their ego, you're likely in trouble. And in that scenario, it's not gonna work. And it's just, it's just not gonna work. And I just sort of set the tone early that, yes, I'm the boss, but you are the boss of the vision. And I want to support that the whole way. But I will have to sway you, depending on how far off you're going from the original vision that you pitched us speaking in the beginning, from the original vision of the script, and what the finance ears and or studios are expecting. And that's my job, protect your art, but at but keep you in the line. And, and that's that's kind of how I feel.
Alex Ferrari 17:39
I always I've been saying for a while now that you could do exactly what you said the current commerce, there's the word show in the word business. And the word business has twice as many letters as the word show. And there's a reason and there's and there's a reason for that. I always say like, you got to look at the ROI of a specific thing you want on set. So do you need the techno crane that day? Can you know, what's the ROI? If you spend 4000 bucks to get the techno crane in for that one shot? Is it going to put in 4000 extra bucks in return? Is it like what is what? Like, do you need to go shoot off this giant thing with 1000 extras? Or can you do it another way that's going to be more cost effective and still tell the story appropriately? So we can make some money with this? Because it is and I have to? I have to believe that if you think this is true. It's tough to make money with
Bradley Gallo 18:28
movies nowadays. Very tough, much tougher than it's ever been. In fact, I got to my peak in career, let's say at the moment that I would consider that would have been around 2013 or 14 that there was shockingly like why can I actually not make a living at it? Can I make a living at this? Like you actually Wow. Yeah, about that. Which is not something that you think about in 20 years ago, when they were making hand over fist but it was very insular. There's only five people and the DVD business all that stuff. Now it's in the indie side, it's a struggle, you can make a lot of money and the big side if you had you know you're fast and furious, right? That's a whole nother story. And even when you go to the streamers, they're they're setting it up in a way where they're getting, they're giving you a little bit of vague above what the budget is that you can make some money on. But you better do 10 or 15 of those to have a real specific amount of income that then funds your company and then also has to fund your staff and and your lifestyle whatever that is. So you're actually looking at this as a regular job now not as the way people used to think where if you make it, you now are good zillionaire driving the Bentley's not true we have we have definitely changed that in this business.
Alex Ferrari 19:44
So I mean, so you did you did the call with Halle Berry who obviously she was just one of the biggest movie stars in the world very well known Oscar nominated an Oscar winner, all that stuff.
Bradley Gallo 19:53
Oh, fantastic person.
Alex Ferrari 19:55
Yeah. And from what I hear a fantastic I fear she's here. She's a wonderful person to work with. Film like that. When did that come out? Again, that came out a few years ago. 2013 2013. Alright, so 2013 is a very different time than 20. Let's say 20 1920 2020 is a whole other conversation fine.
Bradley Gallo 20:12
But think about that. That's seven years years.
Alex Ferrari 20:15
Yes. Yeah, six years, right. So six years, the industry changed dramatically. If you had the call today. Again, let's not let's take COVID out of the picture, let's say 2019. And you had the you had the call today, do you think you would have made the same kind of revenue? With the call today that you did back in 2013?
Bradley Gallo 20:35
I don't think it would have been in the theaters. And that movie was a wide release in the theaters. Yeah, that's how far they've come. But I'm saying that was a wide release in the theaters, it made a lot of money. So the question to you is, I don't think it ends up in the theaters. So that's a whole nother ballgame. Now, I'd say that movie gets made, it ends up on a streamer, and we make a lot less money. Unless we made it independently for less than money budget, they bought it for a huge bidding war moment. And even then, it wouldn't have made as much money as it made as a successful theatrical film. So no, it's a double whammy, it's no wouldn't have made as much money. And it wouldn't have been on the theatres. And so now I think that that that business has gone so dramatically, you know, theatrical has to be something massively IP, or massively when I say IP, now I think of I think of producers and directors as IP two. If it's Neil Moritz, that's an IP. If it's Steven Spielberg, that's an IP, right? that everybody's talking IP all the time, but not thinking about brand IP, too. So if it's not them, or content that warrants that, like our film, The Green Hornet, which has a massive property, wide release, big time, budget, those types of things, then why are they going to put, especially not, they're not gonna roll out the red carpet for sort of a smaller film on a wide release? They're not going to do it.
Alex Ferrari 21:57
But isn't it funny that all the IPS, you just talked about these IPS were developed in the 70s 80s 90s? And very 1000s? These are not IPS. So like, to have an IP? There's just no, yeah, it's a harvesting old IPS that are harvesting. greenheart It's from the 60s. You know, you know, so it goes
Bradley Gallo 22:17
back further than that. Right. Exactly. Radio Show in the in the 40s.
Alex Ferrari 22:21
Yeah, like the shadow like the shadow was, um, so it's, it's fascinating that, you know, a lot of people like, oh, there's very few directors in today's world that have the IP of a Spielberg, the Nolan's The finches, but those even those guys came up in the 90s in the early 2000s. You know, there it's you know, Rodriguez Tarantino, you know, these guys that have marquee names, they still all came up, then like, I'm curious, like, what's happening like, Ryan coogler? Did Black Panther. But Ryan coogler is not a brand, like people aren't gonna go see Ryan coogler films. I mean, unless they tell him Oh, this guy who did Black Panther, it's gonna take,
Bradley Gallo 23:00
yeah, he's getting there. It's gonna take time, you know, he's gonna take time, but he couldn't get there. And he probably will. But but it's rare. Like you said it so far. and few between that get to that level. So if you have a handful, let's say there's, you know, 20 names, you matter, right? And you have maybe 100,000 actors per state 100,000 directors per state. But I mean, I'm just saying like, it's, it's very hard, it's very hard, right? There is a tremendous amount of content that can be made and sold, but just not at a level that you think you're going to be sustaining some rich and famous lifestyle. So I always used to say, when I was younger, of course, inflation needs to adjust for what I said. But if I'm making $50,000 a year, and I'm making movies, that makes me a happy person. Now, it's like, you probably say, a different number, you probably say 150, or 200,000, right? It's like, what is the number, but it's not going to be the way it used to be. So you have to think about that, too. If you're if your egos in this, and it's all about rich and famous and all that. It's just, that's just not a goal. You have to love film forth and or television, and or storytelling, for as much of that as you love it to do it on a regular salary. Because you'll have a couple of moments. Maybe you have a year that you had, you did, you made $300,000 a year, and one year you made 25,000 if you're not planning for that, and averaging it over, and then you have kids and you're married and whatever that means your life is leaving. It's really hard. So keep keep that in mind. Now when you're going through the future of of content, which eventually is going to be AI, which is a whole nother thing.
Alex Ferrari 24:40
Yeah. I mean, that's the thing is I think Hollywood has been selling that story. I mean, for years. I mean, I talked to filmmakers all the time to think that they're going to make an independent film and send it to Sundance, and I'm telling them dude, even if you get into sun if you're the 100 if you're one of the 118 or 19 films that they accept, it doesn't mean what it used to. Don't get me wrong. If you get into Sundance, it's fantastic. It's great, but it's not a golden ticket like it was in the 90s.
Bradley Gallo 25:05
Now, it's give you a perfect example. I made a movie, it's called then that follow it went to 2009 teen or 2018 or 2019. So a very recent Sundance Film Festival. It has, you know, all really great actors, Olivia Coleman and Walton Goggins and you name it, there's Katelyn Deaver. I mean, there's a lot of a lot when a bunch of but this this film was made for, you know, under $2 million dollars, and independent and, and really well written and directed by to first time filmmakers. So exactly what your audience is dreaming about your gets in, does not have a bidding war. One company buys it for not too far off from what we spent, right, and then releases it. And then it didn't, it didn't have like a huge release, it had a very limited theatrical release, followed by the typical streamers and everything else. So it was playing on Showtime and so forth. good movie. Really good movie. I'm very excited about that film, actually. And it's launching a bit of careers around it some of the talent, but financially, we did our we did, okay, everybody made a little bit of money, a little bit of money, that but I have to go right into the next one to make some more because we're kind of like, you gotta hustle. I was even saying that on purpose. You gotta hustle more now than ever, to make the money that you need to sustain a lifestyle. And that's what and that's
Alex Ferrari 26:46
the message I've been trying to preach from the top of the mountains. I'm so glad you you know, someone like yourself is on the show telling people this because it's one thing hearing from me again and again and again. But I always love hearing it from people who are actively working and doing that's a perfect example. Like, oh, yeah, we just had a film. Exactly. Yeah. Just had a film in Sundance, it was a two mil undertone with first time directors, first time filmmakers. And this is a reality of what happened. Did we make some money? Yes. If that's all we did that year, would it have been good? Probably not. I would have probably had to do something else. Like we have to keep the ball going.
Bradley Gallo 27:19
We have to. Yeah,
Alex Ferrari 27:20
yeah. It's a you know, it's not like, again, we'll
Bradley Gallo 27:24
go back to the 90s, where this myth began, where you go to Sundance, you get a buyout of a million or $2 million, the movie cost $50,000 to make and you're good. And you're good. Well, I'll tell you where the misconception is. Right? That and it's dangerous, because it's the streamers early on. And yes, the recent times of streamers, even in my year, the NFL there, which was I've been to Sundance a million times. But that's the first time I had a film in Sundance. So here's a guy who's been in the film business for a while, and it took me forever to get to Senator. So I finally get there. And it's like, you know, great. It's a wonderful experience. I'm so happy to have the film here. But I wasn't the film in the same year, late night came and sold for like, $20 million. Right? You know, another couple of films like Britain, all these movies, they they sold for a lot of money. But the misconception there is, who funded it? Where did that money go? And how much was the budget of that film? Right. So so there's a bit of that, that people don't think about, Oh, my God, they made an independent film for $20 million. The movie cost 15. And then there's 12 other people who are taking part of that five, right? So it's like, you don't really think you don't know you don't know the formulas of those movies. It's amazing that it got bought for that much that it went to Amazon, that it was a great movie, which it was. So something it's always as well with that they have, every movie is really actually very good for it's for whatever the genre is, or the person that's making it. They're good at finding talent, and it's wonderful experience. I can can't take them. But I want people's misconceptions to come down. The streamers are going to slow down on that. They're not going to
Alex Ferrari 29:03
well, they really have to do they already have they already have I mean, I
Bradley Gallo 29:06
don't go I mean, what hope owl but
Alex Ferrari 29:08
but I mean, look when I was I was in Sundance in 20. I don't know 2016 I think 2017 and at that year, Amazon said, If you got into Sundance, you have an open, we have an open bid, we'll buy your film for $150,000 if as long as you got accepted, and that was the thing that they were doing. Like if you don't get anybody else will buy $450,000 and then Netflix was buying a budget with like Netflix bought a ton of stuff. They don't do that anymore. Like you'll get the one or two three outliers
Bradley Gallo 29:32
to actually definitely Yeah, Netflix definitely does not they were not buying that year at all. But Amazon was going to the commies they bought like four comedies. You know if there's something they need, and it's really cool, and it has a lot of stars, they'll go and they'll pay big for it when they're ready.
Alex Ferrari 29:48
But that's the thing with some stars. He stars
Bradley Gallo 29:50
Yeah, yeah, no big stars, big stars, for sure. So yeah, it's it's a different beast. But yeah, it really comes down to it.
Alex Ferrari 29:58
Really you're saying late night me In a trip to late night, late night was with Emma Thompson and Mindy forgot her last name. And she that's over $20 million in a comedy. But that's, but that's not an indie.
Bradley Gallo 30:11
Look, it is not an indie. But it is it is. But it isn't. That's fair. There are big companies behind it. The agencies and the and the financial companies that Yeah, big. And then and then of course, it's really a good romantic comedy, which usually doesn't go to Sundance. Right. You know, there's that. And and then there's also the concept of, you know, what was the budget? I really don't even know what the budget was. But if the budget was 15, again, is 20 a huge deal? You know, you don't know who's taking that five.
Alex Ferrari 30:47
Yeah, I mean, we're exactly what kind of back end percentages that we got. And it's at the end of the day, it would just be like, yeah, we all pulled in 100 150,000 200,000 each, which sounds great. But, you know, if you live in LA, that's, you know, that's a month's pay. No, I'm joking.
Bradley Gallo 31:07
No, it's expensive to live here.
Alex Ferrari 31:08
Oh, it's, it's really it's ridiculous, sir, to live here. Now, let me ask you, what do you think the biggest mistake you see with first time filmmakers, you know, in either the pitching process, or working with them? Or, you know, just like pitfalls that you see, they should try to avoid. We'll be right back after a word from our sponsor. And now back to the show.
Bradley Gallo 31:35
I mean, a lot of time, it's ego. That is usually the biggest one inability to compromise inability to, you know, adjust or see their, the script that they have, or that they wrote in another way, or make revisions or, you know, they get caught in that hole. Like, I don't want to be noted. Listen to too many podcasts about being No,
Alex Ferrari 31:57
no, no, I am not my podcaster I tell them, Look, I've had whole episodes dedicated to how to deal with notes. And you you're going to have to deal with notes like nice and but sometimes highly good. Really. Like they're not idiot executives. Like they everyone thinks like all this executive doesn't know storytelling,
Bradley Gallo 32:16
you know, they don't get to those jobs for being idiots. It's just, you know, there are times where there are executives who might have a note that doesn't totally make sense. I get that but then you explain it and and that executive understands the explanation. You know, and and I just think that's a mistake because you're getting somebody from an outside perspective, coming in and telling you from their experience, having know what gets green lights, what makes things work, right? or What even is right for story structure and character. Come on. So notes is an issue. The the attitude of uni me more than I need you. My genius,
Alex Ferrari 32:55
my genius, Sir, my shoes do not do not understand the presence, you're in my urine. My genius, I need three hours to tell the story. I need three hours to tell this story.
Bradley Gallo 33:06
And I just don't think anybody out there realizes at that earliest stage, that it's a collaborative process. Your movie at the end of the day is not necessarily because of you solely. It's because of your script supervisor, me pointing something out on the set your editor coming up with an ingenious way to fix a problem that you messed up in your shoot. Okay, you have to that's why I always think the film by Okay, I'll film by, no, it's not. It's everybody who was on that list at the end, that put that film together a film by the whole whole crew, you know what I mean? Sure, like, not a film by one person. So that that's where the ego starts. And you got to think about that. So more collaborative you can be the more taking on the best people the Best Cinematography the best for your budget that you can get, and then listening to them because you hired them because you think they're great. Yes, I am putting that together and then letting the producer sort of set the stage in the tone of the schedule, and the timing and the and the money and how that works. And then you just focus on your vision and getting everybody to just sort of to that. That's how you do it. That's the mistake of first time filmmakers
Alex Ferrari 34:20
if you can, I'll give you a little window into where my mindset was, when I first started my first production company when I was 22 was called a tour pictures. So that alone
Bradley Gallo 34:34
by the way, I am here because I had that energy and that ego at 21 to say, Well, I'm not going to be productive. So I get the aggressive I but there's a I did that in a collaborative way and anybody who worked on a film, that first film on the way I handled the process, and He always talks about it to this day. It's just it's a way of understanding and being appreciative of everybody else coming to the table to make That just happen. Not because you are the guy next Scorsese, you know or female.
Alex Ferrari 35:05
Yeah, so everyone's the next Scorsese Sofia Coppola or, or David Fincher, Chris Nolan. It's It's his Yeah.
Bradley Gallo 35:13
We can talk about people who are going to get there there are. But they come, they come once every five to 10 years. It's not necessarily you. And by the way, it's better to be you if somebody else is telling you that it is, rather than you telling us that it is.
Alex Ferrari 35:33
If you're telling yourself, you're telling everybody, you're great, as opposed to somebody other people telling you that you're great. There's a difference in that situation.
Bradley Gallo 35:40
You're the next AC, they will let you know.
Alex Ferrari 35:43
You don't have to tell anybody. Marty didn't go around saying hey, do you know who I am? I'm Martin Scorsese. And do you know what I'm doing? No, everyone else said it in the future. And then let's just hold on for that thought for a second everyone listening. Every great director that you know of Spielberg, Scorsese, Noland Fincher Kubrick, none of them went around with a billboard saying, Hey, I'm amazing. That generally is not what greatness does. greatness just works on the work and lets everybody else tell them how great they are.
Bradley Gallo 36:17
Yeah, and look, there's a huge push, which is long overdue in the industry, to get diversity and female directors going. And 50 to 60% of my films have been directed by females, not by just trying to be diverse, but by they sent a great script, or they pitched a great project, or I just thought this was a great movie to make or whatever it is. And so as long as you keep that in mind, yes, there is a significant way to go. I think it's like 4% of projects are directed by females, of course, that's in the film world of television was getting is much more progressive in that which is great. But you know, a great idea can come from anyone, any size, any color, any everything. And I think that's another mistake that I would say, first time producers make and just sort of how they were raised and how they were thought things were and because because, you know, when we mentioned greatness, we go see this building a little model. And we say essentially, we say, but it's hard to say, you know, you know, Catherine Hardwicke, or you know, Kathryn Bigelow, Kathryn Bigelow, or Catherine's, the Katherine's know, just anybody, like, it's hard to go and give you like a 10 person list. It's very done. That's, that's ridiculous. It is. So we have to get past that. And, and I'm hopeful that first time producers will will will, will be a part of that.
Alex Ferrari 37:48
Absolutely. Absolutely. Now, how can you in today's world mitigate risk when making a film? Like what what is there things that you can do to your project, in your opinion, that can help you if there is no guarantees anymore, but at least mitigate that risk a little bit, because making a feature film is probably one of the riskiest financial investments you can make. Unless you're unless you know, how to package how to do things. You have those output deals, you have those relationships, all that stuff, what can you do as an independent filmmaker to mitigate that risk?
Bradley Gallo 38:24
Well, if you don't have those relationships,
Alex Ferrari 38:27
just don't do it. Just run away
Bradley Gallo 38:29
your risk by keeping your budget as low as possible in that scenario. And to do that, you have to start with something very contained. You know, whenever you whenever you see the movies that are made by first time filmmakers, and they're just like in a room, or they're just in one location,
Alex Ferrari 38:45
or summer camp, or summer
Bradley Gallo 38:46
camp, exactly. You need to think contained to keep that budget down. If you have zero relationships. And then you relate you're, you're literally going to cold send to streamers, or festivals or producers to say look at my film, can you help me sell this? You know, that's one way. Another way is you make a short of that film, which that's been going on for since two decades. And I do have to say, it does work for me as a producer. I don't know about the streamers. But like if I get a short and then the script, and I love the short and I love the script, it certainly gives me the opportunity to say okay, you're a first time director, but I feel strongly about taking a chance on you. So just a heads up on that. And then the other thing is, you can actually it's not that hard to find out where who are and where are the the foreign sales companies. And what they do is they mitigate risk by selling pre selling your film. overseas. I did that on my first film, where they pre sell all the different territories ahead of time to get you contracts that you can then bank for your making of your movie. So if you made a $250,000 budget, but you got 100,000 by selling the world early You then have another 150,000 that you need to, to get for the US or for other remaining territories. That's another mitigation risk thing
Alex Ferrari 40:10
is there, it's pretty simple. It's pre sale still, as much as me I know before it was a lot bigger than it is now.
Bradley Gallo 40:16
No, it's it's definitely changed. And I know that everybody always talks about how that markets dead that markets dead. It's not
Alex Ferrari 40:21
dead, it's just it's on life support, it's on life support.
Bradley Gallo 40:26
It may be dead for the mid range films, right 12 to $15 million films or even the $5 million films. But when you're talking about $100,000, and you're going to, you know, making that $200,000 film, and you can sell $5,000 to each territory, it adds up very quickly. I'm just saying in terms of getting a movie made not about upside, you're losing the upside by giving that away, right, but you make your money, but you're making it right there, there's, that's another one. And then the last one is to is to actually, you know, have a script. And, and literally go into the streamers or go into the companies and get somebody to say we're gonna make this movie with you, which, you know, there are places like, you know, certain festivals enter a contest and or platforms that will do these types of things. And I've seen that, and I don't, I'm blanking on the names of them right now. But there are ways to do it that way. And you'd be surprised how many young people are in these streamers, they have so many employees. And you know, they're gonna hate me for this, but I'm just giving it away. Like I you could find them on LinkedIn. And so you see this, like, lower end, you know, just at a college executive that's, you know, in Netflix, and you can connect to them, or you know, them or you ask 25,000 people, you know, in your orbits and say, Does anyone know anyone who knows anyone who works in Netflix, or you have these Facebook's are like, connected to this guy who's who's at Facebook, it's like, there's a wait to get to these companies, through the youth, who now have to make a name for themselves in the company, who then found and discovered you with your great script that's going to be made for $20,000. And then they say, you know what, we'll give you a million dollars, go make this film, will you need it for our thriller silo? You know, yada, yada, yada, yada, or those young executives start moving up within Netflix, or Hulu or Amazon or whatever. And as they move up, they become more important and have more green lighting and set and you've been friends with them for 10 years. And now you have a new film or a new project or a new person to bring to the table. And I'm just saying or IP. I was a big time there was something called the Hollywood creative directory. Yeah, in the day, yeah. thick book, oh, yeah, to 300 names. And I called every one of them for any project, before I would fly out to LA and then meet with the five that actually answered me. Do you know what I mean? Like, it's people used to write letters in the old days, or before email. So you still have to do that just on whatever the new version of that is. You have to and the new version of that is LinkedIn, Facebook, you know, you know, whatever connection, I mean, look, I've,
Alex Ferrari 43:09
I've tweeted people and they've got I've connected with people, because I tweeted them, it's I'm a grown man saying the word tweet, it's just it, but it works.
Bradley Gallo 43:19
I mean, even on Bumble these days, you can probably see what they're doing and, and figure it out. But anyway, the point being, that you have to be aggressive, you have to care about this. And you can't think that it's about rich and famous. And if you can get that out of your system. You'll get there if you're really if you're really persistent, and generally competent, and somewhat
Alex Ferrari 43:39
count. And Nice. Nice, just nice. Nice, huge.
Bradley Gallo 43:44
It's huge. attitude. humbleness. Yes. Oh, that is so huge. Let everybody else, you know, help you along the way, because you're just a good person who's talented. But that's the way to go.
Alex Ferrari 43:56
Now, how is How is COVID affecting you right now? How do you think it's affecting the business currently? Where do you see the business? Because I know no one has a crystal ball. But I'd love to hear your thoughts on in the next six months, in the next year. What's gonna happen? Yeah, no, it's
Bradley Gallo 44:15
a good point. It's actually already affecting the industry already changing the industry in dramatic ways. We see the studios are making different types of deals of when theatrical starts and when, you know, universal afterwards that universal do that though, AMC and all that it's all ever changing. And the reason why we don't have a crystal is because we don't know how many people are going to go back to the theaters when it's all over, which by the way, is probably after November 3. But once all November 3 comes and they announced this miraculous vaccine and the miraculous treatments. You know, people go back and will they go back to the level they were before and does something like attendant does something like a Milan or whatever the new thing That comes out, you know, quiet place to do something, make everybody go out, get comfortable and feel good. And then that's about the capacity, they're only opening 30% capacity. Will they open 100% capacity? And we're losing streams wired on. All that. Yeah, screens. All that. So my answer about COVID is we in the beginning, the first three months of code, we're just like, Alright, we'll just focus on development, right development, development and get the PPP load, hold ourselves over. We're not in production, that's okay. We had a movie in post called wild mountain time, which is, you know, hopefully, eventually coming in. And then we were focused on Green Hornet development, we're focused on movies that we were going to shoot in the next couple of, you know, months, but now we'll just push. So everything just pushed a bit. And we were able to hold and sustain. Now, if after November 3, this still sticks around in a long term kind of way that isn't solved visa v these these options. I think a lot of companies are going to go down a lot. And, and that's going to be a whole new world. And even as small as our company is, and as low as our overhead is, we will we will struggle if it continues, or we can't go actually into production. And the reason why indie film is affected the most. And I love how everybody was like, well, indie films are going to go first because they'll be able to valve less crew, and they'll be no, that's not how it works. What works is the big boys go first, because they can insure themselves, they can pay for that extra PP, they have, you know, huge amounts of money that they can they can set up their franchises and shooting weird locations and, and make it all work locked down a studio that they own. Right, all that stuff is going to happen before indie, indie has to like, can't take a risk that one person gets COVID or one person gets something. It shuts us down for a week and we lose half of our budget where we're at a risk for that. So I think we're we're slowly trying to figure out how we can get into production, as Indies. But most of its focused on development, just to see what the crystal ball brings. I really don't have any answers. Other than I know that the streamers are getting more powerful. And the big studios are going to have to either buy or merge or create their own streaming systems to keep those eyeballs.
Alex Ferrari 47:18
Yeah, I mean, that's what I mean Disney, what did they have 60 70 million now subscribers, they did that less than a year, it took Netflix forever to get that I mean,
Bradley Gallo 47:26
HBO still Disney has a built in though. Brent biji has a built in like guarantee that they were going to be able to be successful. And I never doubted that. Walmart is interesting if they come into this space, because they have a huge following that they can really work. And of course, Amazon. Netflix actually although huge and not going anywhere. They're not tied to other things yet. And it'll be interesting to see if they like Amazon's tied to groceries or, or tied to books or identity or just selling they're
Alex Ferrari 47:59
not diversified. They're not diversified at all.
Bradley Gallo 48:01
That'll be interesting. Do they get acquired? Do they acquire? Do they start to diversify in some way half. That'll be very, very interesting to see what happens there. And then the middle, the little ones like the peacocks and the when they're starting to build the HPA axis as they're starting to build. You know, it seems like as you can see with HBO Max, which is very interesting. It was really I knew it right away as soon as they named it HBO Max, I was like, You know what, HBO is going to get folded into a climax, of course, HBO max thing, and he was gonna fold it. And and it's already happening. So. So peacocks might have to do something similar to what I mean, how are they gonna, you know, fold in an
Alex Ferrari 48:40
apple and there's, I just literally no, I'm behind the times. I just got Hulu, like, a month or two ago, like for the first time ever? And I'm like at Disney though. No, no, I just got the Disney. I just got Disney. I got Disney A while ago. I got it. But before I was I have kids.
Bradley Gallo 48:56
So get a package for all three. Yeah,
Alex Ferrari 48:58
but I don't watch ESPN. So it's like it's a little bit cheaper. I don't know if it's cheaper. I don't know how it is I have to actually look that might be Who knows?
Bradley Gallo 49:06
It might be free.
Alex Ferrari 49:07
It might be free, right? But I just got Hulu and I was like, oh my god. There's so much content, so much TV and movies. And I was blown away at HBO because it Hulu has the best of everybody. It's got a little bit of this, a little bit of that. A little bit of this network, a little bit of that network. It is massive. So the whole streaming, the whole streaming wars as they say, I still feel there's three big players who are sitting on the sidelines with a lot of cash, who's going to come in and gobble up some people Apple, Facebook and Google and they all have the money and they all want to get into this space because they do have diversified product lines and having a Netflix like if Apple which they've already been talking to Netflix, if Apple bought Netflix.
Bradley Gallo 49:52
I mean no i mean it's it's such a juggernaut. Anybody who buys Netflix is gonna be a juggernaut.
Alex Ferrari 49:57
Right exactly, but Apple specifically Because of their infrastructure and because of what they do, I mean, imagine you buy an iPhone and you get Netflix for free like it just because it's like Amazon.
Bradley Gallo 50:09
But to get back to the COVID of it all, do you think that everybody's gonna want to stay home and just watch content all day? Like, I feel like there has to be a backlash that when this is over, or we're past or people just say whatever, like, we're good. People want experiences, they go, they love to travel, if you've been told they can't, right? They love to go out to the movies on dates and do things and like they love their cars, or I'm just how I just don't know if the Add home experience will last like that, if it will be the the opposite black backlash scenario? I don't know.
Alex Ferrari 50:45
I personally think that I can, from what I'm seeing, I think that it will won't ever get back to where it was, in my opinion, I
Bradley Gallo 50:54
don't know expecting. Yeah, I
Alex Ferrari 50:56
don't think you'll ever get back to January 2020. I those numbers I don't think will happen again. Because we're losing theaters, we're losing screens in that capacity within those theaters, once we open up, so it's gonna take time to get them the trend was going down. The only thing holding the cards, that house of cards up was Marvel, like, if you imagine taking Marvel out of the box office for the last 10 years. What do we have like Marvel is basically Disney has been holding up the theatrical experience between all their brands, really. And then you have some universe with Fast and Furious, maybe a James Bond here and there. But all these tentpoles is the majority of them has been Disney, Warner Brothers and universal. Those are the three big boys that basically held it all up. I don't know, if I think people will go back to theaters. I want to go back. I was attending an IMAX. I absolutely want to see that. But I'm not probably doing that this year for sure. And might be till next summer till I feel real comfortable. And I think people are I think a lot of people will rush out to go back to the theaters. But I think a lot of them are going to stay home because now they're used to it. And there's and let's not say anything. The contents pretty amazing.
Bradley Gallo 52:07
The TV shows our conference. Amazing.
Alex Ferrari 52:10
It's the stuff that we have it accessible to us at any moment. I mean, we've got
Bradley Gallo 52:16
a one thing that doesn't work is I am not gonna be able to assist nobody in the middle of this country or even in the middle class of this country. I was gonna be able to sustain on having Hulu, Showtime, Amazon.
Alex Ferrari 52:29
Oh, no, you got to pick and choose. You got to pick and choose.
Bradley Gallo 52:32
Yeah, but that sucks. Because I want let's say somebody says like, I want to know what's the best content, right? So if somebody says to me, okay, Hulu has got the best show on TV, but I don't know, I'm now going to become a member just to see the show and then take it. Like that doesn't work. There has to be a scenario where, okay, tonight. I just want to buy that show on Hulu. I'm not gonna be a member of you. Because I'm already doing this. But I'll give you $15 to have the show. We're because nowadays you just bought the DVDs of the set. Yeah, but the show didn't matter what.
Alex Ferrari 53:01
Yeah, I feel you. I don't think that'll happen. I feel you though. I wish Yeah, cuz I like I wanted to see Handmaid's Tale for a while. And now I've watched it. I'm watching it now. But before I was like, I didn't have Hulu. So I did watch it. And I you know, like I'm
Bradley Gallo 53:15
weird, though, that there's a demand for your show. And you can't find another pricing structure that allows me to, to see that show. It's like this way you should say about the theaters needs to be variable pricing, I would hope that that comes through, where if you go to see a demo that follow, it's only $6. But if you go to see a Marvel movie, it's $25 I'm totally up for that. You know what I mean? Like that. That is another way to drive people back into the theaters is variable pricing. So it should be the same thing. If I want to watch a show on Hulu, but I don't want to be a member of Hulu cuz I can't afford as a middle class person. I have to have Disney and I have to have whatever and it's like boom I can't have a $300 a month of all this.
Alex Ferrari 53:54
I mean but you're talking crazy talk sir. You're talking crazy talking. You mean you you want the entire industry to to come together and create a pay structure with multiple different companies multiple different business models. It's
Bradley Gallo 54:09
I thought we were in a dream man.
Alex Ferrari 54:12
No circus. I don't know about you. We're in a nightmare in 2020 I have no idea it's definitely the worst year
Bradley Gallo 54:17
ever. I often go through my own personal life will tell you how bad this year was was the worst year ever.
Alex Ferrari 54:22
I mean it's it's horrible. It's a horrible horribly and people like I can't wait for 2021 I'm like don't you don't know. You don't know 2021 can make 2020 look like 2019
Bradley Gallo 54:33
Do you remember when the year 2000 y2k pours the world was gonna blow up 20 years later.
Alex Ferrari 54:41
I mean, that is seriously That's exactly right. You're absolutely right. Because in I remember y2k was ridiculous. I actually watched that that made for TV movie The y2k movie. Oh, it was great playing for fall in flames were falling down. The visual effects were horrible. Oh is great, then agewell doesn't age. Well. That movie. But, but that was the people were losing their minds back then. And now 20 years later, this is exactly what's, what's going on. And I wanted to ask you, do you have any advice for attaching bankable talent, to our project base, having an amazing script, and a lot of money in the bank, besides those two things,
Bradley Gallo 55:23
partner up with the managers, the managers or producers. So if there's a manager of that bankable star, he or she would love to produce the film. So if you, if you if you, I find it interesting for somebody who doesn't have any connection doors to try to figure out how to get stars attached, you know, you have to do a couple of things. One, you have to, you know, start to network and a level that you say, Okay, this measure reps like 10 really well known actors, if I manage if I can get them a couple of good scripts, and they like them for even if it's one of their stars, that sort of like, you know, down right now that comes back, you know, there's tons of those and when john travolta went and came back, and when Michael Keaton went and came back, like they, you know, find the Michael Keaton and the john travolta is before you know, Pulp Fiction and whatever. And, and, and put them in your movies, but the manager is trying to get them work and needs to find something really great. And, and let that manager produce with you so that they feel comfortable handling the star. And, and at the same time, you get to have a movie with a banker. So I think that's another option to think about. Besides that, you know, your stunts. You know, people do stunts all the time you, you and then all of a sudden, the star finds you because they want to work with you, because you did some crazy stunt that involved the viral video that shows a good heart that this person was trying to do something like I've seen that, you know, somebody that you've never even heard of.
Alex Ferrari 56:52
We like the Fresh Prince, The Fresh Prince, the video that the serious, Fresh Prince trailer, and then Will Smith like, and by the way, that does actually look quite incredible.
Bradley Gallo 57:04
No, no, I know. But it's constantly, it's weird, little like things like that happen, they get viral, and they get called, and they get brought in and all of a sudden, they're there said like, Look, I'll do I'll do, I'll be in your short to make sure to this. And I'll be in your short, and that'll help you and lift you up in so many ways. And, you know, I think there's a bit of that going on. And then it's again, there's always the go find out what restaurant they're at, and, you know, pop the script into the back of the car. And I've heard all those stories, too. No, I think it's hard. There's no real, real answer. There's two others working for companies that do it and, you know, be you know, be in the mailroom as a young person in one of the big management companies, and you'll interact with stars, and you'll learn what people want. And you'll become friends with those managers and those agents. That's the barrier. That's the first barrier. There's no miracle beyond that, you know, right
Alex Ferrari 57:55
place, right time, right project.
Bradley Gallo 57:57
Yeah, or really good script gets around town, if it's really good.
Alex Ferrari 58:01
And since you're producing you do see the entire process from development all the way to final output and distribution. Is there a part of the distribution process you wish could change?
Bradley Gallo 58:16
A part of the distribution process? Sure. I mean, absolutely, the answer would be all those fees that they put
Unknown Speaker 58:26
that they take off, the top of the tickets
Bradley Gallo 58:28
are down here. And that by the time as they spend on PNA, right, your number gets pushed down. And but the movies doing better, but they have to get their pa and their percentages, and you just keep going further down. I would I would change the structure of where, where the producers can, you know, get some money out of the distribution agreements have gotten to a level that even I think the distributors are tired of. It could be 80 to 150 pages, just the distribution agreements. So you know, that process of precedent I, we can only do what we've done before, is archaic at times. And I do believe that even the distributor, probably frustrated by it, but it's sort of it needs to needs to change a bit. So that would be the part of the process. The other part would be a lot of times, the distributors have have to they're spending a lot of money. So they have to blanket sort of everything. They have to get billboards, and they have to get ads on TVs and they have to, instead of trying to, I guess revolutionize a system that goes directly to the consumer. It's it seems to be better for them to blanket the world, in essence, or the United States on all types of advertising platforms, including digital to get the attention for their trailers, their movies, their posters, and And it would be nice for somebody to come up with a system that sort of gives data to it. That isn't streaming. I mean, obviously, Netflix has figured out a streaming way to do it. But a data system that helps them use the money in a more specific way. So they instead of paying $30 million to or $100 million to release a movie, you can spend less and get to more people. And that's going to come through technological advancements in programs and software's.
Alex Ferrari 1:00:26
And I think after COVID COVID is going to I think I've been saying for a while I feel that Rome is burning in the distribution side of the world and in the space because the system is I think you're saying archaic, I agree with you. A lot of these companies are going to go down and
Bradley Gallo 1:00:41
that they know that they know it's that way. And and the question is, are they which ones are being inventive enough to to survive the change that's happening so fast every month? It's a new change.
Alex Ferrari 1:00:53
Yeah, exactly. And I think after the after the out of the rubble, something new has to come. Something new hasn't come yet, because I've been I've been at these film markets. And I mean, from three years ago to 2019 film, like I went to AFM I was like, This is fairly different than it was AFM is extremely different. Do you go to like those film markets,
Bradley Gallo 1:01:18
I'm actually on their panels, I actually enjoy doing the panels for them. But you know, it's a different type, what in the old days, it would be much more like very industry focused. Now, I think it's a very much independent filmmaker. I guess the word would be like fans, or educational, we're trying to break in educational, it's going more in that direction. As opposed to the industry saying I need to be at de FM specifically to do the buying and selling. I mean, they do it. There's tons of it, all the booths are there. It's wonderful. But again, even the foreign sales market, so if it wouldn't change, I'm sure AFM and all these foreign sales markets are doing a lot more virtual stuff now have to and that saves a lot of companies money because they would have to fly out get the suites spend a ton of money to be a part of that process that they have in their budget every year. And now they can't spend that as much anymore. So instead of spending like literally like 50 to 100 or even three $400,000 per company to come out here to go to Cannes right to do that. You're telling me I saved a couple 100 grand and I'm virtual and I made the same sales like there's going to be a bit of that they'll send maybe one representative instead of the whole company now is what I'm betting but don't worry
Alex Ferrari 1:02:33
but they'll but they'll still charge the filmmaker full full monty don't worry about that that's on the on the expense sheets are still going to be that three or $400,000 in expenses even though they went virtual but that's another conversation for another day.
Bradley Gallo 1:02:48
Now what now what not the world itself set it up where that they needed to be. It's just I don't know how to change the model. They have to change the model. Okay.
Alex Ferrari 1:02:58
Now what what projects do you have coming up?
Bradley Gallo 1:03:01
So I have a movie that's in post. We're in the music elements right now called wild mountain time. It starts Emily Blunt, Jon Hamm, Jamie Dornan and Christopher Walken.
Alex Ferrari 1:03:12
So you guys you guys ever heard of fantastic.
Bradley Gallo 1:03:15
It's awesome. It's really well done. It's written and directed by john Patrick Shanley, who is a famous playwright also wrote and directed doubt which won an Oscar for Viola Davison and Moonstruck, Moonstruck which won the Oscar for him for writing. And, and he's, he's, he's an amazing romantic fairy tale, comedy that is pushing all of these actors to different, you know, muscles of their own acting. And, and it's sweet. And it's family oriented. There's not one curse in the movie. And, and it's lovely, and in a time that we're dealing with sort of nothing but morose news coming at us. And so I think it's gonna play extremely well and sort of break out. And hopefully even for award season, because I think some of these actors have done an incredible job awards wise, if possible. You never know what that again, that's about timing.
Alex Ferrari 1:04:13
And when is this going to get released this year?
Bradley Gallo 1:04:16
So we're, we're, we're debating it, it's already got its distributor, which was meant to be theatrical, which is Bleecker Street. And the goal was to, you know, do this in in the fall, but now we're talking about possibly, maybe the first of the next year because they've extended the award season to like February. So like, you can qualify if you put out a movie January in February. So there's talk of that sort of feel out what's going to happen and can we release and are they 100% capacity, because a movie like this one, we make independent films, and they go out and sort of a build the old Fox Searchlight method, you build like 300 screens and then you go to 500 screens and you go to 1000 you build if it's working. Well, you don't want to do that with 30% Pass it, you want to do that with 100%? passing? Because you'll never know if it's really building. But so we have to make a decision, you know, and how we're going to do it. And, you know, there's obviously talk of things that are like that are other avenues besides theatrical? So we'll see. I don't know.
Alex Ferrari 1:05:17
Yes, it's a weird and wacky world. So
Bradley Gallo 1:05:20
that's, that's me. And then we're working on green on it all the time. You know, we're in talks with a fantastic a list writer, who will impress when, when whenever announced, and and we're going to try to, you know, go from the writer to attaching a director and then get some cast and build that the goal for that would be shooting somewhere in 2021. And maybe at the end to release in 2022. But you know, all that stuff could get pushed, we don't know. But it's a big property. We're going to reinvent. Yeah, it's not going to be in this Seth Rogen bench. It's not gonna be as dark is a dark night, but it's going to be what is right to that brand. And you know, thinking more like bondish tones.
Alex Ferrari 1:06:04
Yeah, because that that film is, you know, for better or worse, it was introduced to the world in the 60s with that, that can't be show with Bruce Lee, which was the highlight of the show was Bruce Lee. button. And then Seth was just super campy as well was kind of like a fun, funny film. But I would be interesting to see how that could be turned into a more serious James Bond esque,
Bradley Gallo 1:06:29
Alex Ferrari 1:06:30
style gold style thing. And
Bradley Gallo 1:06:33
yes, it's when we pick the right writer for that. But But no, we're going to do it as a two hander so it's going to be not the driver. Kato No, has to be the B it's actually called the Green Hornet and Kato. And so we are going to have it as a two hander, we're gonna have an interesting new sort of storyline. And we will build it for generations so that it can be, you know, multiple sequels.
Alex Ferrari 1:06:59
Absolutely. And it's, as they always say, sequels baby sequels, lots and lots as far
Bradley Gallo 1:07:04
as it's coming back to Universal universal had at one point. And so universal has been super supportive and extremely rolling out like every red carpet, you know, going after the best of the best for this movie. It's a top priority for them. And, and we're, we're so happy to have our team there.
Alex Ferrari 1:07:21
Yeah, I'm sure they want another IP that they can be you can make 1212 movies from
Bradley Gallo 1:07:27
Well, you think about it, they don't they're not like Disney is connected to marvel and Warner Brothers connected to TC and so they have the monsters universe. But in terms of the superhero stuff, and what we like about Green Hornet that's so great, is it's not a superpower type of figure, this is more of a real man superhero than it is of the spectacular, you know, big time powerful, effective, more
Alex Ferrari 1:07:49
james bond is more James.
Bradley Gallo 1:07:51
I think that's what I'm excited about. Yeah,
Alex Ferrari 1:07:53
very cool. Now, I'm gonna ask you a couple questions asked all my guests. What advice would you give a filmmaker trying to break into the business today?
Bradley Gallo 1:08:01
I think I gave a lot of advice in this whole thing. So far. They're asking for a new piece of advice, or
Alex Ferrari 1:08:07
just a specific.
Bradley Gallo 1:08:09
If you're trying to be a filmmaker, you need to understand every single part of the process. If I were you, I would be an actor, I would be a writer, I'd be a director, I'd be a producer, I would go and put the lights up, I would learn how to move to be the grip. Like those things that they do in the film schools are for a reason. And well, you're the grip on somebody else's film. And then you're the so like, do that if you can't afford film school, and you can't afford to make a movie, try to like take little jobs and be in the construction side of the production design, like learn what everything's going on. Because no matter whether you're the producer, the director, the writer, the actor, you will now have an appreciation for the whole process, and how much hard work goes into it so that when you're talking to them, they're not low level on the totem pole. They are a job you've done that you understand. And I think that's the best way to start.
Alex Ferrari 1:08:55
What is the lesson that took you the longest to learn whether in the film business or in life,
Bradley Gallo 1:09:00
or in life? Man, the lesson that took the longest to learn in the film business was that nothing is instant and that it takes for ever I projects on my development projects that have been there for 1012 years. No, still, we're still at and so I mean, that when you're young, yeah, we just go make a film and I went and made it and it happens. And as you progress in your career, that that doesn't happen and and to stay humble about that is really hard. And a lesson in life. That what was it? What was the first part
Alex Ferrari 1:09:40
it was the longest? The lesson that took you the longest to learn whether in the film business or in life?
Bradley Gallo 1:09:45
Well in life, every time I say I'm not going to do something, so I'm not going to move to the valley. I'm not gonna I'm not gonna go into TV. I'm not gonna whenever I say I'm not going to ends up not only happening ends up being The thing that I should have been doing a long time ago, yeah, never gonna move to LA, whatever you're fighting internally in your life that you're like, I'm never gonna do that. But you really, probably should, or really want to. I say do that as soon as you possibly can, as opposed to nice. So it's inside your body, you feel this, like internal struggle, you're stopping some flow to actually open up your life. And I can't tell you how often I have handcuffed myself still to this day, on stuff like that. I'll give you a perfect example. I've always wanted to do a podcast. I feel like I'd be pretty good at it. But you're fantastic, sir. You're fantastic. But I have this internal struggle and never actually do it. Because I'm like, just can't seem to get over that hump. And of course, there's time management issues for me. But the truth is, whatever that is, that is, is internally like, I'm not going to do this, but I really want to just open up and do it and stop being afraid. Kill fear, go for it, and do it as fast as you can. Because the older you get, the harder that is to do. The harder to take those risks. Remove those barriers. And and I can't employ that enough. That's life and film.
Alex Ferrari 1:11:18
Ops eight preach, sir, preach. That is that is some of the best advice. And after doing over 400 episodes of this show, probably one of the best answers to that question I've had and is on the show, because it is so so true. It took me forever to go out to LA from Florida. I was in Florida, and it took forever. And I might look to my girlfriend, who's not my wife, I go look, we have no kids. We do it now. Or the SEC if we if we it's gonna be harder every year we wait is going to be a bit harder to do it. And absolutely great answer. Great answer. And the toughest question of all sir, three of your favorite films of all time. Ah, I
Unknown Speaker 1:11:59
Bradley Gallo 1:12:03
But I'm gonna name a film that nobody talks about it from. Guys don't say this is their favorite film. But it's in my top five. I have a top five and I'm sure this is in my top five. Titanic. I'd love to tell you why. Love, don't talk about it as a producer, at that time, making that movie for $200 million, making it feel and historical with a love story and action and special effects. All it was it was incredible. And it deserved to be at that time the greatest, you know selling film of all time. Titanic baffles me. I see the only movie I've ever seen in the theater. With the ticket for the movie theater five times. I mean, go back to see our movie five times. I was that was a big one. Goodfellas is a huge one. I can't stop watching Goodfellas. I'm Italian. But I'm also a Scorsese fan. You know that that's a near perfect movie. I wrote a dissertation on it. Like I'm that's a big movie. For me. goodwill hunting was a huge movie for me because at the time that those guys were 25 I think I was similar to their age. And they had written a movie won an Oscar. It had all the elements. I want Robin Williams doing a non comedy. You know the struggle of a real life person in that world. I just love that movie. It reminds me of the Dead Poets Society and the standby movies and this kind of genre that I love so good wanting was up there. Cinema paradisio one job fair. A fantastic film. Anyone who's a film lover loves that movie. Again, Italian but just just just sweet with it with a mentoree grandfather he rolls and the kid in the love of film. I mean, I even if you're not a film person cinema paradisio is just like, bam, but of course, there's incredible movies. Sure, sure, sure. Better than these three that I probably mentioned, but I just you know, I can't you know,
Alex Ferrari 1:14:00
those are the ones I hate. It's it's that comes to mind what
Bradley Gallo 1:14:03
affected me. It's what affected me during that. That's,
Alex Ferrari 1:14:06
that's the question I've had. I've had, I've had
Bradley Gallo 1:14:09
big time to make that that question is to say, what three films are the ones that affected you the most, as opposed to say the greatest to you of all time? Just an idea just
Alex Ferrari 1:14:18
I you know, I mean, after after 400 episodes, I might have to switch you right? You might have a bit but I've actually had people come on. I've actually had people that are big time filmmakers and they'll say the weirdest movies I'm like, really like like, I would think you would say Goodfellas or you know Seven Samurai or Citizen Kane or what have you. And they'll say like you know them Yeah, but like I had one guy said into the dragon and I'm like really into the dragon like I love into dragon Enter the Dragon. And I was like, I'd be I love to dragon but on the scope of like the greatest films of all time. It's It's wonderful, but it's from this from this person. I was like, Wow, he says, I saw when I was a kid and in fact To me,
Bradley Gallo 1:15:01
it affected me exactly. That way. I'll tell you a movie that affected me. But I don't consider the greatest film of all time, but I can't stop referring to endorse talking about a movie that nobody's seen. I'd be shocked if you saw it. It's called stir of echoes.
Alex Ferrari 1:15:16
Yes. The one with Kevin Bacon.
Yeah. And it was directed and it was written and directed by David Co Op.
Bradley Gallo 1:15:24
Yeah. David cap, right. Yeah, yeah.It's did no business so nobody knew about it. But like, I had that DVD I had this special edition. Just the end Get Shorty. Another one that I could not get off of get you a just a comedy side of like, you know, the john travolta being like, sort of that mafia type. It was just weird. I just had I just had Barry on I had Barry sonnenfeld on the show the other day.
Alex Ferrari 1:15:51
Yeah. And and we talked about it. Sure. I mean, that's one of my favorite interviews of all time.So he's so good. It was like, first 10 minutes, just the first 10 minutes alone is how he started off as an adult film. cinematographer. And that's the first 10 minutes and the most
Bradley Gallo 1:16:09
graphics. Well, that's everybody knows that about him. The great
Alex Ferrari 1:16:12
most graphic conversation about a porn set I've ever heard in my entire life. Within the first 10 within the first day, he goes, how hard you want to be Go Go bury. You can go as hard as you like, sir. Okay. And he lays in within the first 10 minutes. I'm like, this is gonna be an amazing conversation. And we did to our conversation. such an amazing guy. I just love talking.
Bradley Gallo 1:16:36
Listen to that one. That's awesome. That honor that fun. Yeah,
Alex Ferrari 1:16:40
Yeah, it's available. I'll send you a link. I'll send you a link. But listen, we can keep talking for at least another two hours. Bradley but I appreciate you coming on the show. I appreciate your your time and and you dropping amazing knowledge bombs on the tribe today. Thank you so much for doing what you do. And I look forward to seeing all your projects.
Bradley Gallo 1:16:57
All right. Thank you so much. I appreciate it be well.
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