BPS 194: Inside Making One of the Most Insane Indie Films Ever! with The Daniels

Daniel Kwan and Daniel Scheinert, collectively known as DANIELS, have been writing and directing together for over a decade, initially with a slew of viral music videos, commercials, and short films, then with feature films and TV directing.

They’ve developed a reputation for combining absurdity with heartfelt personal stories. Oftentimes they incorporate a unique brand of visual effects, and visceral practical effects into their genre blending projects.

They have directed music videos for Manchester Orchestra, Foster the People, and won a VMA for their video for “Turn Down For What,” which Scheinert bullied Kwan into being the lead actor in. Kwan is a really good dancer.

They wrote and directed the feature film Swiss Army Man starring Paul Dano and Daniel Radcliffe, which went on to win the Directing Award at the Sundance Film Festival, received multiple nominations, and gained a large cult following.

While they were writing & developing their Oscar® Winning film Everything Everywhere All At Once, a kung fu sci-fi dramedy starring Michelle Yeoh, Scheinert went and directed a small redneck dramedy called The Death of Dick Long, also released by A24.

When an interdimensional rupture threatens to unravel reality, the fate of the world is suddenly in the hands of a most unlikely hero: Evelyn (Michelle Yeoh), an overwhelmed immigrant mother. As bizarre and bewildering dangers emerge from the many possible universes, she must learn to channel her newfound powers and fight to save her home, her family, and herself, in this big-hearted and hilarious adventure through the multiverse.

They both live in Los Angeles. One of them has a son. The other has a goofy dog. But to be honest Daniel does most of the work.

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Alex Ferrari 0:44
I like to welcome to the show The Daniel's. Daniel Kwan and Daniel Scheinert how you doing guys?

Daniel Kwan 3:45
Good. Thank you for having us.

Daniel Scheinert 3:47
Pretty good. Hello!

Alex Ferrari 3:48
Good, guys, thank you so much for coming on the show I am. I am a fan of what you guys do you guys are insane. And I love about you. It's, it's, it's such a wonderful thing to see the work that you guys have been doing over the years. That's the only word I can use is insane. But in the most wonderful way humanly possible. So when you guys got into the future game, I was so excited to see like Swiss Army Man, Miranda Bailey was just on the show a few weeks ago. And she was like telling me the whole story about Swiss Army Man. I'm like, how the hell what the how is that? How did that get financed? What happened? It's just like, it's her fault. Exactly. She told me, she told me the whole story and is it was fascinating. But before we go down that road, how did you and why did you guys want to get into this insanity? That is the film industry?

Daniel Scheinert 5:50
I just did whatever my brother did as a kid. So like, he did like math team. So I did math team. And then like, he and his friends started making movies. And so I started making movies, with with my friends in high school, but but there's that's a very different thing than the industry, you know. And it's interesting, like, I did a lot of theater as a kid. And then the older I got more, I was like, Oh, I don't actually want to be an actor that industry seems not for me, you know, and, and the film industry is, you know, there's, there's a lot of warts, there's a lot of problems and things but like, you get to like, especially as a writer and director on your own terms, collaborate with friends and tell stories, you know, like it was the funnest thing I'd ever done. I was I just got hooked and and we're so lucky that our careers we still get to do it in a way that's pretty similar, you know, to like the the high school college version of making movies.

Alex Ferrari 5:50
No, no question.

Daniel Kwan 6:56
For me, I I'm like the, in the heroes during the talk about the refusal to the call, you know, you run away from the thing, and I feel like I've been running away from your bio pics can be more interesting than mine. I guess, though. Yeah, cuz because I get yeah, as you refuse the call. Exactly. The setup is so much better. But I, I grew up really disempowered for some reason. And I don't know where it comes from, like, I did not believe in myself, I didn't believe that I had worked and, and yet people would tell me like, Oh, you're pretty good at this, or you're pretty good at that. And I wouldn't believe it. And I just kind of run away from all of it. Especially coming from my mother, you know, my mother would be like, you're a good storyteller. Why don't you write some more? And I was like, No, Mom, you know, that's like, that's stupid. That's a waste of time, that's not going to help me get into college, I was a very nervous person had a lot of anxiety. And so everything was about what was the most practical route forward. And I was miserable because of it. Because I wasn't how I my brain, you know, wasn't built for practical, it was built for, you know, wild, insane storytelling. And apparently, my mom, when I was younger, met a Christian like a fundamentalist Christian fortune teller, for lack of a better word. And she saw me apparently this this, this soothsayer, and the great bio, exactly. So wild is fast, and it's fast. No. But she she said to my mom, your son, I was in like, third grade, just like your son is going to be a great storyteller one day, maybe even a filmmaker. And he's going to spread the word of God. And my mom never told me this story until much later until, like, as an adult, she's told me now, but now I understand why she was pushing me to go to film school, which is so funny. Anyone who is a Asian American kid who is the kid of like, the son or daughter of immigrants will understand how profoundly strange that is. To have a Yeah, to have a Chinese mother, say, Son, don't go to business school, like go to films go to film school. And so I did what, you know, all children do. And I ignored my mom and I went to business school. So again, I was like, fuck that. I don't want to do that. Sorry. I don't know if we're allowed to swear on this. Fine, it's fine. Art that for that. I don't want to go. I don't want to risk my life. I don't want to be a miserable starving artists. I'm gonna go to business school. And I was miserable. I was I was I hated every minute of that experience. And that was like, well, maybe I should go to maybe I should try this out. And so it's even when I went to film school, I didn't want to be a director because I looked around. I was like, I'm not a director. I don't know how to talk to people. I don't know how to command 100 people in a crew. And so I was like, I'm gonna become an animator. I'm gonna learn how to animate and just make things on my computer by myself. And that's where I met this guy. And and this experience of meeting, Daniel shiner has been one in which every single time I feel like I don't belong in this industry, kind of like going back to your question of like, how do we get into this crazy industry? Anytime either of us felt like we didn't belong or the way that we worked and processed, our arts felt incongruous with, with how the industry worked. shiner being such a contrarian, we'd be like, so what, let's do it anyways, and I think was one of the biggest, most satisfying lessons I've learned over and over again, with every project is like, Oh, the way things are, aren't, aren't exactly how they have to be. And in fact, we can find better ways to suit ourselves. And I think if more film students learned that like that they can build a film process suited to their specific style. Just like every painter has a different process. Every poll has a different process. Like growing up, you learned about all the tours in film school, and I didn't see myself in any of their work, you know. And so I'm sorry, yeah, we have a it's all good. It's all good. If a dog in the background, it happens. It's all good. And so anyways, yeah, it was it was a series of accidents. And we have slowly built a career around this project of trying to figure out how can we be ambitious filmmakers who make great work that we're proud of, while still staying grounded and human and not not be assholes? I think that's one of the things that for some reason our industry has really built up is this idea that like, in order to make great stuff, you have to be a really mean person.

Daniel Scheinert 11:33
But in order to have a good biopic, I think we might have to turn me into the villain for the second half. I'll be like the manager of Brian Wilson. Yeah. Mercy. Oh, me, Paul Giamatti. Like taking advantage of you. Like you should take more drugs more ADHD

Alex Ferrari 11:53
That helps with your creative process. Absolutely. It would be the equivalent of my Cuban parents going go be a filmmaker. Yeah, go ahead. Because when I told when I when I told my parents I wanted to be a filmmaker my mom's like okay, let's do it on my desk like what what do you what? Yeah, what is that? What is that I'm like I can be a PA I can make $100 a day. That was that was my pitch to him to be

Daniel Kwan 12:14
It's so practical. You know how to appeal to an immigrant father I can 100 bucks a day dad come on

Alex Ferrari 12:20
$100 Cash a day. That was as far as my vision of my career had gone now you guys you guys obviously got a get started with shorts and and and then made made your bones and music videos. By the way, some of the music videos, some of the most interesting music videos of the last decade have been directed by you guys. And I'm not just smoking smoking

Daniel Scheinert 12:44
Smoking our butt

Alex Ferrari 12:46
Smoking your butt blowing smoke up your butts. I came. I came up in the 90s with Fincher and rubberneck and all these amazing films, I love music videos, especially in the 90s, late 80s, early 90s is when the form really took took you know, they took it to other places. So when I saw what you like, you know turned down but what I was just like, What is this? This is I mean just the clocking of the gun cocking as she sits on his face is a level of brilliance I have not seen very often in music video so thank you sirs.

Daniel Scheinert 13:23
Creative peak.

Daniel Kwan 13:25
That sound effects was

Daniel Scheinert 13:28
On your face

Alex Ferrari 13:29
It was just such a beautiful thing. It's such a small thing and only I like everybody else might have seen other things but when I saw that, I'm like they're filmmakers.

Daniel Kwan 13:40
That is to our audience. That's where the metaphor or the the term smoking your ass came from.

Alex Ferrari 13:51
So you guys did some amazing work in music videos. What lessons did you bring from your music videos experiences into the feature world which are obviously two different though I could argue to say that Swiss Army Man and and your current film both are just really long music videos, in the sense of the visuals are just insane.

Daniel Scheinert 14:09
Like the fact that like there's music nonstop. Like,

Daniel Kwan 14:13
We rely on music a lot.

Daniel Scheinert 14:15
Yeah. Yeah. So yeah, I mean, we learned a ton. Obviously, like some, some incredible music video directors do kind of like non narrative aesthetic tone poems. And we always did like short films, we always like tricked a band into paying for our short films, you know, like, they were very narratively driven. So we, we kind of were honing our voice as writers while doing music videos. And that made the transition a little, like, more organic, I guess, you know, because we were like, Oh, we're, um, you know, a lot of videos have like a beginning, middle and end turned out for what doesn't have much character development. But you know, there's a little bit of a linear story, you know,

Alex Ferrari 14:59
I'd argue to Say there's a lot of character development. We'll be right back after a word from our sponsor. And now back to the show.

Daniel Kwan 15:14
Notes you see the world right bends around the protagonist over time. This is the constant in the world is when you don't turn down in sales turns up exactly. But to piggyback on what he's saying, like, we didn't think of ourselves as writers like I again, I don't even think of myself as a director at the time we first got hired for the for a dancer or a dancer. Yeah, there's so many things that I we did not

Daniel Scheinert 15:36
He's the star have turned down for what that's him.

Daniel Kwan 15:38
Yes. Yeah. In case you didn't know.

Alex Ferrari 15:39
It's fantastic.

Daniel Kwan 15:42
Thank you. But so we treated every project as, as Film School in some ways to be like, Hey, we've never worked with a DP before. What's that? Like? Let's let's bring a DP on for this one. More? Oh, well, you know, what is what is the production design team supposed to be? In? What's that? What's that relationship supposed to be like? Let's let's bring on a production designer. And every project, we just built our family out and started adding more and more people and learning new skills. You know, we like I've always wanted to play with motion control camera rigs. And so we did that for a battle's music video. We've always wanted to do

Daniel Scheinert 16:18
We started out doing a lot more like visual effects. Yeah. And we slowly learned more and more practical effects. gags Yeah. Yeah. Oh, that's so much more fun when you can actually like, blow up in the air mortar have a breakaway prop,

Daniel Kwan 16:30
Right. And then like, we wanted to play more with stunts, and just see what that was like. So we did a foster people video about car chase. And we learned that we hate shooting car chases, you know, so every every project was was like a selfish way for us to learn something new. And then by the time we were ready to do features, like we had accrued a team with a very specific skill sets that, you know, really supported our process. And we felt like we were ready. The only thing that was really hard, I'd say the hardest part of the transition was the timeframes of, of music videos versus features, you know, music videos, you prep, pitch, write, shoot, edit, and release within a month. With features, you know, it takes you a year just to write like the first draft sometimes. And that was a that was a real struggle to like, slow down, and step back and say no to everything and basically turn off the faucet that we had of work coming in. Because we were at the peak of our of our music, VO careers. And we had to step away from that and say, You know what, I've always we've always wanted it to be filmmakers, who did features and narrative. And that was probably the hardest part. And I see a lot of contemporaries, who are in the music industry, who never did that. Never had the I don't wanna say discipline or self control. It's more just we had each other to keep each other accountable. So we, we were the ones who were able to say, Hey, should we pull back and we had someone who, who basically was there to keep us accountable and not get tempted to get pulled back into the whirlwind that is music video,

Daniel Scheinert 18:09
And we got lucky. You know, we know friends that do turn off the faucet and write a screenplay and can't get it made.

Daniel Kwan 18:15
Yes. It's hard out there.

Daniel Scheinert 18:18
But yeah, yeah, we learned a lot. We still use all the same tricks and work with all the same crew.

Alex Ferrari 18:24
Yeah, that's the thing is once you once you find people that you can work with you hold on to them for dear life, because it's, you know, there's a comfort level there. You could you could just look at them and they know exactly what you want. Or they're, they know what you want before you know what you want. So once you walk into like, perfect, exactly the aesthetic I want. Famous.

Daniel Scheinert 18:43
Now we're going to like, quit working with them, although,

Alex Ferrari 18:46
Obviously, obviously, obviously, that's what you do. You let you leave them alone. And you go get high Oscar winners. Just Hi, Oscar winners.

Daniel Kwan 18:53
All of this. This is the this is the industry way.

Alex Ferrari 18:55
Yeah, exactly. Now I so you guys have done some insane projects. What is your writing process? Like? Were you two working together? Because I write but I write by alone. I've never written with somebody else. So how do you guys go back and forth with the writing process?

Daniel Kwan 19:10
Yeah, it was a real that was a real learning. Like that was that was a lot of growing pains in that like leak from music videos to screenwriting, because neither of us thought of ourselves as writers. But when you're a musical director, you're constantly having to write new ideas. And so our process for music videos was actually pretty organically formed from the fact that we just had to be constantly pitching. Like we put out two or three pitches a week to different songs, and we get rejected 90% of the time, but that really like the exercise a part of our collective muscles where we were basically throwing ideas back and forth, back and forth, back and forth, until someone laughed or someone gasp or someone emoted and then we're like, okay, what is that? Why, what like, let's let's latch on to that. And then we would start to throw ideas back and forth until they became these snowballs that kind of kept attaching more and more or conceptual ideas, narrative ideas, visual ideas and like we would start putting on different visual references that we'd pull up from YouTube or Vimeo. And we would never write anything down, it would all just be in our heads and just be ping pong back and forth for a couple of weeks, you know, without writing anything down, just seeing what stuck. And then finally, when it came time to pitch, we just write it all down and send it out. Which is great for music videos, because you have to have that speed. Once we transition to features that became really hard to do to ping pong the feature back and forth without writing down without you know. So what is our process? Now I feel like he changed.

Daniel Scheinert 20:36
I feel like it changes on every project. And that might be the lesson you know, is that like, we're cons. It's almost like a weird therapy exercise. And if you do the exact same thing, each time, you're not going to like make discoveries, you're just going to like, kind of create, figure out a pattern of how to make a similar, but not as good thing because it's not as like authentic and heartfelt and, but we still bounce ideas off each other a lot. We spent a lot of time apart. And we're each other's biggest fan. And also like biggest like, critic, because we built kind of a common vocabulary and trust of each other's thoughts. So it's a lot of like, time apart and coming back and being like, I have this thought it really resonates with me. I do I write very poorly by myself. And so like, sometimes I'm hungry to be like Dan, hang out with me. I want to throw ideas out.

Daniel Kwan 21:33
Sometimes Daniel Daniel Scheinert comes from like, an improv background. So everything about that world is about like reactions and

Daniel Scheinert 21:39
Collaborative and a sort of an extrovert who's feeds off other people's energy. And then Kwan is like, introvert extrovert. And so like, every once in awhile, he just disappears. It's like, nope, leave me alone. I'm writing, you know, and he'll come back with, like, really great stuff. But sometimes, you know, the great stuff is five times longer than we agreed it was gonna be back to the drawing board of like, how do we do we keep it all which parts do we keep? You know, it's an editing process. And just a lot of trial and error.

Daniel Kwan 22:09
Yeah. So with our first draft for everything everywhere, we spent a long time outline together, throwing things back and forth the ways that we have been talking about and then shot it went off to do his other movie Death a dick along with not a porn. Yeah, not respectable.

Daniel Scheinert 22:29
Exactly. It's misleading, I understand.

Daniel Kwan 22:32
But I wrote the first draft while he was gone shooting that movie, and it came back and it was like 240 pages, you know. So it's, I'm definitely I have ADHD, I realized, while writing this movie, and I think because of that I'm different, very generative. I'm just constantly writing constantly, I have notebooks that are always open, I have like five different. I write stuff on my phone, on my notebook on my laptop on my, you know, I just need to be writing constantly on things. Otherwise, my brain will explode. I just need like, let them out. And so I handle a lot of that over to shiner. And then China just like points out things that are working and points and like, tries to help form it into something that like makes both of us excited. So it's so far it's been more like scares the producers less. Right. Exactly. That's, like I'm, I'm very ambitious. And China is very practical minded. And so I think the combination of our brains has been very, very good.

Alex Ferrari 23:33
You know, it's funny when I had Miranda on the show, everyone listen, you gotta listen to Miranda, the producer of Swiss Iron Man. The stories that about how that movie got me because I was fascinated and like, how in God's green earth did anybody put money up for this film? Like, In what world is this movie exist? Apparently this this and this universe? It exists and others it might not, but in this universe exists? And she said that she said, like she talked to I think somebody intercompany and they like she'd read they're like, we're not gonna make this right. We're not gonna make the movie about the farting with a dick. And that, really? She's like, No, we're, we're really gonna make you gotta you guys got to listen to that interview. It's so fantastic. That pitch Yeah, no, yeah, there was like, how did you? How did you come up with the idea? It's such an insane idea. How did you come up with it? And how in God's green earth do you pitch that in a room?

Daniel Scheinert 24:24
Which ones was Army man? It was Army man. Yeah. The idea started work were the same way. Like all our music videos started it was kind of like an an image or a gag or a little scene that like, made us laugh. And it was just the opening scene of a guy. Initially the idea was like, feeding a corpse beans. Like it's fuel, and then writing it's far it's off a deserted island to freedom,

Daniel Kwan 24:53
But it was like very beautiful and like it was very

Daniel Scheinert 24:57
And then we were like, that would be a funny like the

Daniel Kwan 25:00
The music that shows, right. Yeah, the music I was listening to was Ben Zeitlin, you know who did be some Southern Wild, his short film that he did before that was called glory at sea. I don't know if you guys have seen it, but it's fantastic. They have best ambitious indie film, made on with no money. And like it was such an aspirational thing for us to watch in college. But the score is incredible. And Ben, you know, worked on the score, but I was listening to that score while we're on an airplane. And just imagining the beauty and the catharsis of a man riding off on a farting course was like making me laugh. But I will say that, like, a lot of our stuff, as wild as it is, comes from a very practical place. Because, you know, you mentioned in the 90s, the great music players like Fincher and Romanek and Spike Jones and Michel Gondry know, they had big budgets, you know, $5 million stars, stars who, you know, millions, when we were when we, by the time we got into the music industry, you know, Napster and streaming had decimated the industry, so that, you know, we were working with $10,000, you know, most of that 10 20,000, or whatever. So, we got to, we got stuck in this really interesting mode of, of filmmaking, which was very practical and based off of problem solving. So like, we happen to be flying to Alabama to visit his family, and do sort of a mini writer's retreat for another movie we thought we were going to write, and we were asking ourselves, what resources do we have there? Because we should shoot something while we're there. That'd be fun.

Daniel Scheinert 26:33
And they live on a lake in Alabama, their neighbors had a boat. And so we were like, maybe we could do a weird gag with a boat.

Daniel Kwan 26:40
And I was like, Okay, there's two of us. Okay. It's a short little thing with two people on the water. What could that be? And that's where this idea came from. And I think like, a lot of our work is kind of coming from very practical, like, problem solving. And so yeah, so that's where it came from. I pitched it to him. And shine, it was like, that's amazing. We have to make it and I immediately regretted pitching it to him, because I was like, I don't want to make that though. You know, like, I don't want to show that to my exactly the person, the person that Miranda's company who said, we're not really going to make that as like, oh, yeah, that's that was what I was saying to it's not Yeah, they weren't. They weren't crazy for thinking that. And then it just, it just kept grew. It really was like a cancer in my brain, and are both our collective brains. It doesn't have growing and more ideas kept latching on to it.

Daniel Scheinert 27:28
And then it became a long short film about like, the amnesia, the like, the amnesia corpse, trying to figure out what happened to it and learn about life. And then that short film got bigger and bigger. And we were like, maybe it's a feature that would be hilarious. Like an almost as like a joke. We started fleshing out the feature, and then

Daniel Kwan 27:47
You know, as a joke, we pitched it to a in a general meeting, we were actually speaking of industry. So we're getting we're getting passed around Hollywood, doing general meetings, and we kept pitching our joke ideas, because we didn't have any ideas that we thought would appeal to most studio heads or to any producers. And one day, we decided to pitch this movie to a producer almost as a joke. And he leaves

Daniel Scheinert 28:09
Like, do you really want to make that? Yeah. And we're like, yeah, he's like, why haven't you written it? And he's, and we're like, oh, because we don't think it would get made. And he's like you. If you believe in it, you should make that no one else. No one else is ever going to make that movie. Like, mysteries are true. And it was like, it was a good kick in the ass.

Daniel Kwan 28:26
Yeah. So yeah, that was Lauren. singly, one of the producers on our on that film was the one who kind of liked Miranda. Yeah, he kind of like pressed the button to turn, turn that part of our brain on and say, Don't do it. Why not?

Alex Ferrari 28:41
Yeah, but I have, but I have to ask, like, you guys did some pitches. Right. So did you What were some reactions from the pitches? Like I gotta believe that somebody's like, I could just see the pale white skin of a of somebody, like just all the all the blood flow coming out of their bodies, like, you guys. You're not serious. Sorry. Yeah,

Daniel Scheinert 29:01
Were pretty good at pitching our ideas because we're also like, self deprecating, and, like, totally ready for the, the criticism, you know, I agree and like, and sort of have the attitude of like, you know, if you don't get it, it's not for you. Don't please don't, please don't give us money. Like, I don't want you in a great you know, regretting this or, you know, just every draft and every screening. Like not getting it but but it was hard. Yeah. And it took like someone with a weird sense of humor like Miranda like to say yes, that got the ball rolling. And then I will say something we discovered later that really helped was we we got the band Manchester orchestra. Robert and Andy to start making some songs for us when we were developing it. Before it was Even though officially greenlit, And then we started pitching it with music. And we were able to pitch the opening scene and press play, and just start describing it as you heard this, like, oh, gorgeous music. And it was such a different feeling in the room where like, people were suddenly like, what the hell's going on? This music is making me emotional, and it's so beautiful. And what you're describing is profane and stupid and should not I should not give you money. But I think it helped, that really helped crack the pitch in that case, just to be able to, like, you know, play music, which is something we still do sometimes.

Daniel Kwan 30:49
Yeah. The other two things that really helped us was the fact that two things happened. While we're in the middle of trying to get funding and trying to get actors. The first thing that happened was we somehow got into the Sundance Institute, like the Sundance screenwriters lab for the screenplay, and we were like, what? Like, who at the sun, like, you know, right? Think about Sundance, you think about so many other movies, and not so sorry, man. That's not what you think about when you think about Sundance. But you know, to their credit, they saw something really earnest in our work, and they saw our past work and saw that we were trying new things, and you know, what is Sundance if not a place to foster new voices. And so they brought us in, and it was, incredibly, creatively, just exactly what we needed at that point in our careers, regardless of whether or not the movie was gonna get made. It was so healing. And it also showed us that there was a place for us in this industry in the way that we were talking about at the beginning, where we were talking about, maybe we don't belong here, it's like, oh, the Sundance Institute was one of the first places that we went to were like, Oh, this beautiful, creative environment can exist. And it does exist. And we should be chasing after this. And so that was really great. But we got the stamp of approval from Sundance, which made suddenly our foreign corpse movie people had to like, really lean forward and and process and then maybe have

Daniel Scheinert 32:13
Robert Redford so this. So this is a good move.

Daniel Kwan 32:15
Exactly. Yeah. Robert Redford, his stamp of approval. And then, oddly enough, while we were at the Sundance Labs, we were so fed up with how intellectual we had become, we had been talking way too much about themes and characters and, and all this stuff that is really important. But after a while, as filmmakers who want to be on set who want to be making things and really expressing things that you can't even put into words, it was very frustrating. And we happen to get a song in from Columbia Records from one of our Commissioner buddies, Brian Downes, who, who works at Columbia, he sent it over, and it was turned down for what and he was like, What do you guys want to do with the song it's kind of a wild song. And so we were like, this is perfect. Let's turn off our brains. And let's do the opposite of what we'll be doing no theme, no character, no, just like pure ID, let's create something so wild and so frenetic and beautiful and strange. And then basically, will basically will hold nothing back. And will will will say to the, the label, like I dare you to let us make this. If they actually let us make it and we'll have to go make it. And so we did that. We put that online, instantly a viral hit. And so we got the viral hit, we got the Sundance stamp of approval, and suddenly making the foreign incoax movie made a lot of sense to you know, certain investors obviously, we still scared away a lot of people but yeah, we're really lucky.

Alex Ferrari 33:41
No, it's it's it was the right place. Right time. Right product. And also, the thing is, a lot of people might not see this in your films, but there's so much emotion in the characters. There's like, you know, everything everywhere. You're you know, you're tearing up like it's yeah, they're hot dog fingers. But there's so much emotion behind what's going on. Same thing with Swiss Army Man, like you tear up watching that film. So it's not just insanity for insanity or gag for Gag sake. You know, there's, there's heart behind it. And that's what stick makes you because, you know, I can't say anybody can come up with a 40 corpse idea. But in the wrong hands. It's a movie about a 14 corpse total but yeah, and what you guys did you elevated it and that's because what Sundance saw in your work, you're like, Oh, there's more here than just the gag. The gag is just super It's interesting. It's no one's ever seen this before. And that's what's really beautiful about what you guys are doing. Now. Now you guys, you know we all as directors, we're all on the onset. And there's always that one day on set if not every day, but always that one day specifically the the entire world is coming crashing down around you. The world is coming to an end. You're not going to make your day you're going to lose the actor. The sun has gone the camera fell in the lake What was that day for you on Swiss Army Man? And how did you overcome it?

Daniel Kwan 35:06
We probably have different answers for this. But yeah, go first. Yeah,

Daniel Scheinert 35:10
We shot sorry man in like five weeks and a bunch of we had a bunch of travel days in there too. So it wasn't even like five days of shooting per week. And week four, we did four night shoots in a row. And it was like all the bear stuff and like, and we just burned the candle at both ends and started going insane. And

Daniel Kwan 35:34
I thought I was gonna want everyone's getting sick.

Daniel Scheinert 35:36
Yeah, I thought I was at rock bottom at that point. And then I got sick after that, as we traveled up to Eureka, with a small crew to get all the beautiful redwoods stuff. So like on day one or two of wandering around the redwoods that morning, Quan like wanting to rewrite the scene, again, we were constantly rewriting while shooting on that one was not a good idea. And so like, and he was like, we don't have time to rewrite it. Oh, well, but it's a bad scene. Let's go shoot it. And I was sick and sad and demoralized. And that was how we started our day. And then we went out into the woods. And while shooting it, I just started feeling like I was gonna pass out like just, and like hopeless. And we were just kind of a boring scene where the camera we're just doing normal coverage. But I was like, the movies going to be a disaster. It's not going to work. That's not going to work. Dan hates it. I don't even know how to give notes on this scene. I like walked away and walked up to my producer Jonathan Wong. And I was like, I don't think I don't know if I'm I don't know if I'm gonna make it. And he's like, what's up? Apparently, I said something. Like I said something where he he interpreted as like Daniel thinks he's gonna die. But I thought what I was saying was that I couldn't finish the movie, but I'm not sure what if I was speaking English. I was like, I was like, You were gone. I was like, close to a mental breakdown. And that seemed turned out great. It's great. The writing was fine. Like in the edit. We like our met him edited it together. And we watched him. We're like, What the fuck is good. That day was so sad. I guess I don't have to direct I guess the key to directing is to walk away is to walk away and get sad. And it'll turn out good. But uh, but yeah, we did. We learned a lot of lessons on that movie about how to manage morale, you know, and, and that that's a huge deal on a feature that like, it's not just about do you have a good idea and a good plan? It's about like, are you taking care of yourself?

Daniel Kwan 37:35
Are you take care of your crew?

Daniel Scheinert 37:37
Are you taking care of your crew and, and we and we left that one being like, whew, a lot of room for improvement. You know, like it got too hard.

Daniel Kwan 37:46
My quick stories last day, or sorry, the last scene of the movie is everyone on the beach. I'm sorry, spoilers for anyone who hasn't seen it. There's a beach. There's A beach. Everyone's on the beach.

Alex Ferrari 37:57
There's some there's some beans.

Daniel Kwan 37:58
Yeah, exactly. And then we, you know, a small budget, no lighting equipment. Nothing. We literally we had to wait for, you know, the 1520 minutes of magic hour to shoot that entire scene. And it was Radcliffe's birthday. I remember. And Radcliffe really wanted to lie down in the water, even though it's freezing cold. Like we're like Daniel we have, we have a dummy. And he's like, no, no, no, I want to be here. I want to like I think it's important for Paul to see me here to be part of this and like, okay, great. And so we neurotically blocked it all out and tried to like come up with a plan to shoot that whole scene, which is like, you know, 1213 It feels like 12 setups, right? It's like everyone has their own Spielberg pushing on like in the medium shot plus three or four wise plus a couple of very specific shots between Radcliffe and Paul. Anyways, it was a lot of set shots. And we had to do it in 15 minutes. And so we literally we just our anyway, I think we on our No, I feel like we once by the time we started shooting, it was like half an hour and we basically just didn't cut we went we basically we made the plan and Larkin was operating for the whole movie or DP. And so he knew exactly like when, where to move from each setup. And so we'd be like, Okay, we got it. Next up. Okay, we got it next. Okay, we got it. Next up, okay. Now, everyone, all the actors get ready, you're gonna shoot your one shot and we're just gonna do a couple takes back and forth and we move on to the next person. And like I said, I don't know how many times we cut but we really like there was no time to sleep. You know, we just went like, Okay, now you're close up. Okay, now you're close up. No, you're close up. And then we missed the last final interaction between Paul and and Daniel. As the sun was setting, we cranked the our ISO was cranked wide like like as high as possible.

Daniel Scheinert 39:50
Real bad. And Larkin was just muttering we have to stop.

Daniel Kwan 39:53
Yeah, it was it was so grainy and like, and we're like shit I think we might have last week. I don't know. I don't know if we got our funds. Only and it was just like a really just scary feeling to have to like, we didn't nail the ending. And, you know, we like like Shannon was saying we were kind of already, like, burnt out from the process of making this film. So that was definitely like, that was week two. Yeah, that was.

Daniel Scheinert 40:19
Yeah, that's the end of week two. Yeah.

Daniel Kwan 40:22
So that was really scary. And you know, we ultimately finagle some some

Daniel Scheinert 40:26
Was it week one because maybe on Friday, I sort of remember the schedule in my head, but it was fast. I remember as being like, Oh, my God, we just started and now we're shooting the ending.

Daniel Kwan 40:35
Yeah. And we're exhausted. And we're exhausted. And like, yeah, I guess it's a short film. We're Yeah. So we just learned a lot of the limits of of our, you know, of our budget versus our ambition.

Daniel Scheinert 40:46
But we've been, I will say, like, you know, I hear stories of films that's gone wrong. And I've and makes me feel so lucky. That like, like, it's, it's been hard and things have gone wrong, but just because it's just because it was ambitious, not because of like, we've been so lucky that, you know, we haven't worked with assholes. And that, like, we've had good producers and that we've headed off a lot of the really disastrous types of things that can go wrong before. You know, we got to set so we're Yeah, we're such lucky filmmakers that you know,

Daniel Kwan 41:22
These are our horses.

Daniel Scheinert 41:23
These are ours. Like I was tired, and it was hard.

Alex Ferrari 41:26
Yeah, it's not like Coppola on apocalypse. Now. You're not in the jungle for three years with a gun to your head. So it's not putting things into perspective.

Daniel Kwan 41:34
Yes, exactly.

Alex Ferrari 41:36
That's No, those are no, I feel but I feel both of those. I love the Best Directing tip just walk away depressed, and it'll come out fine.

Daniel Scheinert 41:46
Weird. I mean, we did kind of thing this was starting man, there was a part of a masochistic part of us that we're like, it's about a guy kind of losing his mind in the woods. I think that might happen to us while we do this, but maybe that'll make it an interesting movie. This will be our Apocalypse Now.

Alex Ferrari 42:05
I was about to say this is very Apocalypse Now a very method directing. It's very,

Daniel Scheinert 42:11
I don't aspire to do for that. Yeah. Now, I like having fun.

Alex Ferrari 42:17
So speaking of fun, I just was I had the pleasure of watching everything everywhere, all at once. A couple of weeks ago. I think at this point, we can we can half ago, I saw it. And as I'm sitting there watching it in theater. I'm just looking at it and going. I'm so glad this is in existence. I'm so glad somebody put this out into our art mold over our universe. And then hotdog fingers show up. And I'm like, oh my god, I love this film. There's Hochberg fingers. I have to ask, how and it's such a beautiful and I joke, but it's such a beautifully done movie. And, and I'm not smoking about again. But that's it. I promise you there'll be some YouTube comments saying no. Smoking uh, but no. But honestly, though, I'm watching it. And it's, you know, Michelle Yeoh is a is a goddess. Data from the Goonies oh my god, what a powerhouse actor. I was not. When I saw him. I was like, Oh, look, it's data from Goonies Oh, he got work. Fantastic. You know, that's why that's the first thought. And then I'm like, holy crap. He's really good.

Daniel Kwan 43:26
Yeah. And then underestimate data.

Alex Ferrari 43:30
I heard his voice when I heard his voice. For the first time I have this data. He's like, I just because I've seen the Guney 1000 times. Of course, yeah. Jamie Lee Curtis, and then just the whole cast that you put together. It is such a beautiful ballet of insanity. And emotion. It's remarkable how. And I have to ask you the same question again. How on God's green earth? Did you guys come up with this idea?

Daniel Scheinert 43:54
Yeah, I mean, I feel like we could do a whole podcast one day about where ideas come from and how it's a mystery and what isn't the human brain? And how does neuroscience work? And this is of the neurons firing that make us giggle? And then at what point does do we then test that against the culture to see if it's something worth putting out there as opposed to just an inside joke? And much of that is, like, with intent, and how much of that is pure luck or just like subconscious, you know? This thing's like

Daniel Kwan 44:26
Like, we're, we're all discovering that genius doesn't come from individual ideas don't really come from individuals. We're all just conduits for this like bigger, mimetic battle that's happening all around us.

Daniel Scheinert 44:37
We're gonna get philosophical with your very simple

Alex Ferrari 44:40
ExI love it. I love it. So you're channeling, channeling

Daniel Kwan 44:43

Alex Ferrari 44:43
From the ether from the ether from

Daniel Kwan 44:45
It's all from the ether. And I think the only thing that makes us different and I think the thing that is our superpower is we say, Yes,

Daniel Scheinert 44:51
We say yes to the idea that we haven't seen that sound unproduced. Yeah,

Daniel Kwan 44:56
We say yes to the to the bad ideas, we say yes to the things that should not be A mostly because the moment we tell ourselves, oh, this shouldn't be made. We we question the angles, like why not? Hold on, but it didn't resonate with me. This is interesting. Yeah. Oh,

Daniel Scheinert 45:20
If it sounds on producible, that means no one else is going to beat us to it.

Daniel Kwan 45:24
There's also that

Alex Ferrari 45:24
There's no competition. There's no competition.

Daniel Scheinert 45:27
There is like, I was just talking about the philosophy of ideas. And there's, there's this book impro by Keith Johnstone. It's like an improv book that I read in an acting school. And he has a chapter about creativity and about how, you know, effortless it is for the human mind. But it's hard for a lot of people because it's trained out of us, like our school system, and our culture teaches us how to curate and focus and ignore, you know, playful ideas. But that like, it's, it's like, if you don't do that, like if you talk to like hunter gatherer cultures and stuff, like it's creativity is like, effortless and it's everywhere, and that there was an he loves. There's some anecdote about some like, that's like an Inuit tribe or something that like, one of those tribes that has, you know, 20 words for snow. And they think that there is a sculpture inside of every rock. That is that is that has to be discovered. Not that there's a sculptor who's really good at it's like, and they're like, so instead of being like, Dan Quan is a really good sculptor. The way that the tribe talks about it, apparently, is there like there's a lot of weird rocks around lately, like what's with all the, all the rocks have some really interesting animals inside lately, and I just thought it's such a beautiful counterpoint to how we normally talk about, you know, creativity,

Alex Ferrari 46:52
And not to spoil anything, but you know, there might be a rock or two.

Daniel Kwan 46:55
Yeah, they're pretty weird rock. Yeah. Weird. But yeah, I feel like to sum it up, I feel like every idea we had in this movie, a 10 year old could have come up with, you know, like, it's all it's no hotdog hands and cocking rocks. It's like, there's nothing special about any of this stuff. It's just the fact that we, we chased it, you know, and I think I think we're like there's a sort of naivety there where we like, foolishly chase after these things.

Daniel Scheinert 47:24
Ourreal skill isn't coming up with weird ideas. It's convincing people to invest millions of dollars and to risk their entire artistic reputation out those good ideas.

Alex Ferrari 47:36
You guys should do a masterclass on how to convince people to give you money to do ideas, because you guys are the masters at this because not once but twice with to like, again, the pitch How is that? How do you pitch this? They could such a visual thing? And and how do you attract the cast that you do? Like, it's, that's the other thing is that like, you guys are going off and doing it with some unknown actors. You're bringing in some of the top actors around to do the show yo, was Michelle Yoda how she has not been a lead in a movie outside of Hong Kong is beyond me. Like I could I heard that I was like,

Daniel Kwan 48:12
I know, we felt the same way. We were like, what?

Daniel Scheinert 48:15
We did not know that. And so let's tour

Alex Ferrari 48:18
What she's she's so she says she's a goddess. She's amazing what she does, and how she how she played this part was so beautifully. I mean, it's so beautifully directed. And everything is just, it's, it's just going better. As I'm talking to you. The images are flying back into my head. Hotdog fingers. I still have nightmares, by the way, about duck fingers. When I first saw the motions. I was just like, why has no one ever done this before? And I go, I know why. It's disturbing. It's a wonderful, beautiful way. It's like, Oh, my

Daniel Kwan 49:00
But to our earlier point, like you say, why? How come no one has done this before? Ever since our movie has come out? It's only been about a month now. But yeah, people have been sharing past work that feel like somehow we ripped it off or whatever that we've never seen before. So like there's been two or three different instances where people have sent us hot dog finger scenes from other movies that we've never seen. Or, like, you know, there was a children's book, my friend sent me a children's book, where they're just to talking rocks on a hill. And I was like, This is amazing. You know, like it's all there. It's on the ether. It's just it's how you cook it you know, it's how you it's how you make the stew that's that's

Alex Ferrari 49:36
No pun intended. No pun intended with no look. I mean, it's not that it's not that we haven't seen that before. I can't remember seeing it but like you see like a movie like I forgot one of the Spy Kids had guys made of thumbs, you know and like giant Yeah, you know, like it's not that but the way you guys that fingers in the way the movement and stuff was just so and I don't want to make this a podcast about the hotdog fingers but it's just such Have a just an amazing visual. How did you guys do the quality of visual effects on such a low budget? Because this is, this is not $100 million Avengers $100 million as a catering budget for Avengers. But how did you guys use it to make because the visual effects are remarkable. They really are.

Daniel Scheinert 50:18
Wow, thank you. Yeah, I mean, we, you know, coming up in music videos, we did a lot of our own effects at first. And then like I said, we

Daniel Kwan 50:26
But that was kind of our calling card, like, labels would reach out to us be like, Hey, do you have any cool visual effect ideas that are cheap? Oh, yeah,

Daniel Scheinert 50:34
Those guys who can do like, yeah, like tons of effects for no money, because you just do them yourself. And that was our, our thing. And then we learned a lot about practical effects, mostly by working with Jason because of our day, our production designer. And, and kind of brought all those tricks to this movie. And so a lot of it's like, not that fancy, you know, and, and while writing, we would write gags that we knew could play to our strengths. So we were very rarely writing things that were going to require, like a huge VFX team to strategize and bring on 3d generalists to design myths to figure that out, you know, and instead we're like, oh, no, it's, it's all going to be practical. And when it's not, we know which tricks we're going to use. And they're not too hard to pull off.

Daniel Kwan 51:27
Yeah, we're using a lot of the same techniques that, you know, filmmakers in the 80s were made, we're using, it's the only difference is in the 80s, or the 20s. Or even like wondering, oh, yeah, yeah, a trip to the moon, a trip to the moon, like, just like the match cuts with the with the poof of smoke, like, we're just using those same exact techniques. Except the difference now is, we don't have to do 20 takes to get the practical effect, right, we can do one and a half good takes, okay takes and then we fix it in post with with with our very, you know, rudimentary skills as after effects artists. And so we're kind of cheating every way we can to make the illusion of, of these effects work for as little effort and as little money as possible, which is why I think people say, like, the one talking about the fact that we had about like five to 600 visual effects shots. And it was done with a team of like five to seven people, we say seven, because we're also including ourselves in that number.

Daniel Scheinert 52:26
And there were a couple of people who came on for a few weeks, but the like, core team was pretty small, like really small, the coaching was like our friends were people. And we all just like had synced hard drives. And we would just like, we did it on After Effects. And I think some of it's very impressive what the guys pulled off, you know, and somewhat was very ambitious, like the kind of bagels, bagels. But the other kind of secret weapon is that Kwan has great aesthetic taste. And with a small team, and it all being an After Effects, it was possible for like, Dan to push certain shots over the finish line. And instead of giving like 20 emails to try to refine it, he could just be like, great, give me the project file, open it up, I'm going to spend an hour or two, that's exactly how I want to feel we're done. But like, we didn't have to do all the effects that we also got to put our fingerprints on it.

Daniel Kwan 53:21
Yeah, efficiency there. Because I think one of the reasons why so many visual effects in movies look the same is because they, they there's so many layers of communication between the director and the visual effects artists now that you kind of as a director, you go into these post houses, and you're not really allowed to play that much you're not allowed to explore. And that's really frustrating as directors who love visual effects. And so this was a way for us to be able to have our cake and eat it, we can, we can do it for less money. And we get to have our fingerprints all over and really play with the style of how it's going to feel.

Daniel Scheinert 53:59
But people who are great at visual effects. would listen to your comment about our effects looking incredible. And they'll be like, no, they don't. Because a lot of it's like real, real janky little janky. But there's like a charm to it. And it's about energy not about like, pause the pause the frame. That's a perfect shot, you know, kind of

Alex Ferrari 54:20
I've been I've been a VFX producer, a VFX supervisor, a lot of indie projects. So I mean, I understand you're janky but it's perfect for what you're trying to do. It's not it doesn't have to be Thanos throwing a moon at somebody. But that's not what that's about. And that's why I'm like even at that budget level, it still looks phenomenal. And you're so caught up with the kinetic energy of the scenes. I mean, the bagel stuff and all me you just get caught up with it you just like you're in it because if I'm looking at all that law, that comp was just a picture sort of blurred that a little bit more if they could have just comp that a little bit better or thrown. No, I wasn't there. I was in the story. So with that, I'm sure if I go back and analyze it, I'm sure I'm sure you guys go back and analyze it like, I did I do that 100 $200 million movies. I'm like, how did that get through? Like, obviously see, that's a really, when my wife is looking at a movie and going, that's a bad green screen. And it's like a $200 million movie. I'm like, oh, figured it out. Have a few more at last couple questions asked all my guests. What advice would you give a filmmaker trying to break into the business today?

Daniel Scheinert 55:31
Adjust your goals, bro. breaking in. Breaking in shouldn't be your goal, because a lot of people break in and then they're sad. And they make the world a worse place. And they make like upsetting weird content. And they talking about us talking about us.

Alex Ferrari 55:48
Look what happens when you follow your dreams, everybody.

Daniel Scheinert 55:51
Turns out, I'm cynical, this was all a front. All these nice jokes for you kids. As you know, I like to say that, like, if you love making movies, chase that feeling find people that you love making movies with. And, and maybe you'll end up getting paid to do it and and find a niche, and then that'll be great. Or maybe not, and you'll still be happy and, and having the therapeutic beautiful experience of making and sharing artwork, you know. And that breaking in can sometimes be the worst thing for you, you know, if you don't get to make what you love, or with people that you love doing it with. And so, it'll happen. If you just make stuff you love. You know, you'll find your niche in the world, you know, and that niche might mean your local film festival. And that's dope. Awesome, you know, or it might be a 24. And that's cool, too.

Alex Ferrari 56:57
And that and that's fine, too. And let's just give a shout out to a 24 Thank you for allowing and helping movies like this to put on to the world because there's just really isn't your only isn't that there? Isn't that another a 24?

Daniel Scheinert 57:10
Their fighting the good fight getting tricking people into watching provocative challenging things.

Alex Ferrari 57:16
Right! It's fantastic. Now what is the lesson that took you guys the longest to learn whether in the film industry or in lif?

Daniel Kwan 57:24
Longest to learn. I'm trying to think of lessons I'm still learning right now, maybe something I'm trying to figure out is this balance of, of, it's more than work life. Because I think work life is like, that's, that's a given. Everyone has to tackle that. But it's like, it's from a leadership position. Because, you know, again, I never wanted to be a filmmaker, I never wanted to be a director, I never wanted to be a leader. And so a lot of this feels like it's been put upon me in a way that like, makes me very uncomfortable and unsure of but the balance of, of being a a leader, who is also who's just as concerned with the final product, as the process is something I think I'll always be learning and always reflecting on, I think with this movie, we got really close to a perfect process, in that and the fact that like, it's the most ambitious thing we've ever done, it was is like foolishly, foolishly ambitious for how much money and time we got for to make it. And yet, it was the most fun, the most loving the most just gracious environment. And I like I really, I really think it was like, it was so much easier than so sorry, man, even though you know, technically it like it's like, exponentially harder in every way. As far as production goes. But because we went in with the the goal of creating a, an environment that was just really fulfilling, and, you know, all push towards this idea of letting everyone who walked on tourist sets, be able to show off their best version of themselves. You know, that was like one of our goals was to empower people to just, you know, become the best version of themselves on our set. And it was so fulfilling and so fun. And I have so many great memories of the shoot in a way that I can't say the same for our previous work. And I think this is something I think we'll always be chasing after because if we can have it all if we can be ambitious and you know, creative directors who also just build in beautiful environments for peace. able to exist in into Korean like that that is going to be such a beautiful, beautiful thing to prove to our industry, you know. to myself into our crew, but also to the rest the industry.

Alex Ferrari 1:00:22
That's a beautiful answer. By the way. That's a beautiful answer. That was a really wonderful answer. And last question, three of your favorite films of all time.

Daniel Scheinert 1:00:32
Ah, this is always hard. I like giving different answers, you know,

Daniel Kwan 1:00:37
You go first.

Daniel Scheinert 1:00:42
I love I love a crazy documentary. Love American movie, the movie, boys trying to make their movie not available for rent digitally anywhere. For some reason. You got to figure this out. But

Daniel Kwan 1:00:56
The first thing that my brain went to was Magnolia, probably. That's why I just keep returning back to because it's a movie that does everything wrong. And it feels so right. And it doesn't matter. You know, like, and I'm like, I wanted to be chasing that as a filmmaker for a long time. Just that feeling that I got when I watched Magnolia for the first time

Daniel Scheinert 1:01:23
My brain just went to like, Moonlight is insane. It's just like the hype, it pays off is great. So beautiful. And like it was like at the right place at the right time where like our culture was trying to like quit being so homophobic. And like, it was like, here's how like, here's, like, empathize with this person, like 100% successful and it was like, just like this, like, epically important thing for our culture. And for me, you know, to just like to fall in love with this love story. And for a beautiful heart. Yeah, to thing and for it to win Best Picture. Yeah. And then for it to go. And he feels alive. Yeah.

Daniel Kwan 1:02:04
I'll go back to one of my childhood favorites, which was it's probably the movie I've seen more times than any other movie. It's Groundhog's Day.

Alex Ferrari 1:02:11
It's a masterpiece.

Daniel Kwan 1:02:14
Yeah, it's a masterpiece. And it became like a spiritual guide for this movie, because it was a film about, about nihilism about the treasury of existence, but wrapped up in a really fun comedy. And they and then he pulls off both those things wonderfully. And I was like, I want to do that with our movie, The whatever we do with this film, it has to pull off both of those things. It has to be so much fun. And so philosophical and insincere. And so the long answer is only

Daniel Scheinert 1:02:47
Princess Mononoke gay. Oh, yeah, just blew my mind when I was a kid. And then I've been I've been thinking about it lately. And just how like, brilliant. Like the the ambiguity of good and evil is in that and how important it was for me as a kid to like to chew on that, you know, when like, we're usually fed these kind of like violence is the answer beat the bad guy stories, like just go blow up their building was like, is the moral of, you know, a lot of, you know, action adventure movies. And it's like, no, this one's confusing, and it's about people with different interests. And also, you're gonna fall in love with a little wolf girl. It's very confusing and exciting for me as a kid.

Daniel Kwan 1:03:35
For my last answer, I don't want to say this because it's so obvious, but I have to say it just because I need to pay tribute to how much it the movie means to me. Eternal Sunshine of the Spotless Mind. Never heard of it.

Alex Ferrari 1:03:50
Never heard of it. Who's in it? No. No, that's me. boundary is a master. I wish he would be making more movies. Now. I want somebody please listen to give him a budget. Let him do whatever he wants

Daniel Scheinert 1:04:03
Back up with Charlie. He spirals a little like, I think I would if I didn't have Dan.

Daniel Kwan 1:04:10
Yeah. And you got to have a balance is just, yeah, it's the movie that like that. Really. I feel like it changed me as a person and made me understand. Yeah, my world, my the, my place in the world in a completely different way. It was, I think it was the first time I experienced meta modernism in the wild. This this idea of trying to get beyond postmodern, like post post modernism. And it was so cathartic and healing for me to see that play out in a story for the first time. So that yeah, it's incredible. And also, it's just so much fun, like the filmmaking of it. It's just so fun. And obviously we stole so much from boundary when we started making these videos and even in our features, you can see his fingerprints in it as well. It's all there.

Alex Ferrari 1:04:55
Yeah, guys, it has been an absolute pleasure and honor talking to you guys so much. On a continued success, I tell everybody to please go watch everything everywhere all at once. It is. It is a brilliant piece of cinema and I'm so glad it exists in the world. Thank you guys for doing you. Thank you for being a conduit for the insane. And to bring it into our universe, my friends. Thank you so much.

Daniel Kwan 1:05:17
Thank you for having us. This was fun.

Daniel Scheinert 1:05:17

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