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Episode 102 · 1 month ago

THE HATEFUL EIGHT (2015) with Associate Editor Andrew S. Eisen Part Two

ABOUT THIS EPISODE

Parth and Trent continue discussing The Hateful Eight with its associate editor, Andrew S. Eisen. They also talk about what's to come.

We are tonight's entertainment. You can't handle the true the fire risals pizza time. You're a wizard, Harry, so you know, you think that's where you're breathing. Groovy. I don't have friends. Cora services, so Jordan's. What have you been eating? It's actually funny that you asked this because before we were recording I was like, I'm gonna lie and say that I ate something different more recently so that I wouldn't say the same thing as Trent. But I will say my boss, colleen, her and her boyfriend made strawberry cheesecake and she brought it into work and she gave me a slice and it was so good. Homemade. But but where? That's a lot. But that's a lie because but it's a prefaced it with that. Was any part of that true? But it just wasn't recently, or like the whole thing was. But if you're willing to lie about that, what else you open to lying about? Yeah, that's that's the real question. My Age. Oh No, Trent, this is going nowhere. Good, now we're fast. No part. What have you been eating? I had after dinner was failing a little pickish, and so I had a Granola Bar flavorful forred. It was these Kirkland from Costco, Um granola bars with like chocolate chips and coconut and it's actually quite good. Wasn't one of the ones where I was like dipped in chocolate. No, it just has chocolate chips in it. Why have you had? Yeah, you know, like the quaker granola bars, and they like Oh, yeah, yeah, it is like submerge. Yeah, I like that. Well, yeah, Oh, so, I mean like that's delicious and I understand, but that's just a candy bar. Wait, so what was the real thing ahead? Um, I worked on set today and there's always a lot of like food to be had at the end of the day and especially when you're the one doing like the crafty shopping, you can sort of like pick what you want and then, because you know there's gonna be some leftover, and you can basically just like do a little bit of grocery shopping for yourself. Um, and so, I mean that has nothing to do with anything, but there was leftovers from set and it was well, actually it was. It was so much. Yeah, it was several bags, but what we put in our bodies, Um, it was several trays of chips and Sausa and Guacamole, and I said that I was either gonna, I mean, I don't know if this is vulgar, but my intention was, oh, I'm going to take this and give it to a homeless person, because I also had my own burrito leftovers and I thought I really don't need this. And then I got to Jordan's house and then, friend of the show, everything everywhere all at once. Episode guests, Brandon Petty, was like, you shouldn't give that to a homeless person, you should give it to me and then I should take it and mean my friends should eat it in seaside heights, which is also the where they filmed Jersey shore, at least where it's based. And so, uh, thence once the the damn was broken, we all just started to eat the leftovers and it was so good. But if any, if any homeless people are listening, we're sorry. Yeah, no, I'm sure that makes up for it, Um, but when was the last time you gave to a homeless person? Yeah, welcome back to craft services, where we talk about how part hasn't given anything to homeless people and was trying to make Trent feel bad about it, but we were recently enough for you to remember when he was homeless person like two days ago. I once opened my wallet to give a single to a almost person and there was only a twenty in there when I give it to him. Wow, good for you. Um. But here at craft services we talked about the movies. Each week we talk about a film and hopefully have a remember of that film to talk with us about their experience working on the picture. This week we're continuing our interview with Andrew S Eisen, assistant or sorry, associate editor of the hateful eight, and he's worked on a few other things. Oh, the other things,...

...such as Django and chain gardens, the galaxy volume too, and the Mandalorian, which is a television show. We'll forgive us. Yeah, and he actually edited, not just associate edited. Did Jordan. How is the interview? The interview is really good. Um, I don't really listen to craft services, but I listened to the entirety of this episode. What was some of your favorite? Well, that doesn't seem true, given that I'm the only one that has the files. But, and it's also interesting that you always mentioned how you don't listen to the episode. That does a lot for Trenton Eyes Um self esteem. But I'm glad somehow you managed to listen to the whole episode. My favorite question was did you ever interact with Tarantino himself? Um, because I don't know. I like once upon Tom in Hollywood. I'm a big fan of the guy, even though a lot of people have something bad to say about him. But I just want to and I and imagine why. If you guys can hear any extraneous noises, you should know that right now, uh, friends, friends and of the show, Jackson Clark and Sarah Brockman are playing fortnite quite loudly at Trent's and I told Trent and Jordan that they needed to tell Sarah and Jackson that they had to be quiet. But if you can hear them, I'm sorry about that. Sarah and Jackson weren't playing fortnite at like comically loud volumes while we were interviewing andress sizing Um and I feel like we should just play that interview. Didn't know what just what do you think the transition is going to be? Is it going to be our standard or is it gonna be last last week I played some hatefully. Have you listened to the episode yet, Trent? I? Oh, I did, just for the transition part. You know I'm a sucker for a segue. I know you are. Did you like it? It seems like. Yeah, sure, I liked it. Can you cross contaminate and play sound of a loving man Um from one spot time in Hollywood? MM HMM, transition. Is He taking requests? I guess we'll just have to find out because some people will be compete. Yeah. Well, right now I feel like I can hear for the edit in the future and I can hear music playing, but I can't really decipher what it is. So future part and future Jordan's MM HMM, I don't know if that's what I'm hearing. I don't know if that's what part's hearing. Remember parts editing this episode. Party will cut you out anytime you wants. Um Son, UM, son, son, I'm a son, son, I'm a son, I'm a song. Alright, cute, cute. The interview. So you mentioned that you actually like edited several scenes in this movie and that kind of ties into a few questions we want to ask. Um. So, as far as you can remember, this movie came out at this point six years ago. Um that. Oh, actually, it'll this December. Will be seven years ago, I'm pretty sure. Um. But so from memory, is there a scene or sequence that was particularly difficult to edit or that you're very that you're most proud of? I mean, they could be the same, they could be different, but just yeah, anything difficult that you're proud of, particularly that you got to work on. So the scene scene that comes to mind the most would be, um, the very long scene in the stage coach that takes place from after Um when Walt Goggins shows up. You know, he the sheriff, the supposed sheriff, shows up and H he gets he eventually they agree to let him come inside the coach and they get to me these haberdashery. It's probably like, I don't know, the twenty minutes scene there or something where they're just sitting and having this whole conversation about, you know, the civil war and all this stuff that was going on and and you know it's just four people in a stage coach and uh, you basically, you know, there was Um, a two shot on one side of the stage coach of John Ruth and j Jason, these character daisy and then there was due and then there was wall Goggins and Sam Jackson on the other side, so that you had to you had a two shot with two shot and then you had singles on every on each of them, and and then there was also and then there was a side angle four shot where you kind of looked at them from the side where you could see all four of them. That was all the coverage there was for the scene. But it was a very long scene and to keep it interesting and to keep it engaging, it's it's it's believe it or not, it's hard when you have hours, I'm talking hours of footage Um, and multiple...

...know performances and ways you can put that together. It's it's it's a long it takes a long, long time, which is one of the reasons why I think Fred handed to me he realized it was just gonna take them so long to get through it all, even though it's basically a simple dialogue scene. You know, I work on, you know, action stuff too. I work, you know, on the star wars stuff and the marble stuff, and you have these big action set pieces. Sometimes those are easier to do than a than a simple dialogue scene, Um, where you really are trying to get into people's Um psychees and their heads and trying to convey a certain thing. Like there, you know, we keep cutting to daisy dahmergo memory serves. Every time we cut to her and she's got like a little smirk on her face or she's chewing on her Um, her beef Turkey or whatever that was that she was eating, and it's all it's all kind of done in a way to sort of let us know that she's working with us a little bit or she's sucking with them. and Um and just every every cut, every every line, everything is intentional and it did and it and it comes comes together through a lot of trial and error and experimentation and trying it multiple different ways until it just starts to feel right. You know, there's another and and of course, along the way I would show it to Fred, I would show it to Quentin, get feedback and then go and gone and hone it some more, which is basically the same process you know most editors go through with their you know what the directors or or supervising editor and you know friends it was in that case. Um, so it was. It took a long time. It was challenging, but it was you know, it was fun and eventually done and once it was committed to film, that was pretty much it. We UH. The good thing about Quentin is he doesn't really change his mind a lot. He uh, he kind of knows what he wants and he um, once he once he's happy with the scene, he kind of commits to it. There's not a lot. Sometimes a lot of filmmakers, you know, we'll just keep going around and around and around, maybe sit and guessing themselves or just just unsure and trying different things. Maybe not just because they weren't not because they're on shirts, because there are so many different options. You know, when when we used to add it more on film exclusively, there was less of that just because, you know, you got to the cut. It wasn't like you could just hit undue fifty times and uh, you know, you once you made the splice on on film. That was kind of it. And that in case of you know, the hate fil eight and Django and it's upon the time in Hollywood, which I didn't work on, but I did get the shirt Um Nice. Yeah, that's Quentin. By the way. I was looking at it before and I was like who's who's that, trying to figure out who it was, and then I got saw past the bowl cut. And that's for the listeners. Our guest is wearing a shirt with Quentin Tarantina space on as a child, a child. That's the age it was in nineteen sixty nine, when the movie takes place. Very cool, you implied earlier. And like every editor we've talked to like talks about like how insane the hours are, and I was wondering, uh, is it more? Is it like worse or more during dailies or after the rap or like after filming is wrapped? And Uh, we talked to someone who was like editing two projects at the same time with George Miller and George Lucas, and they said that they were getting like two hours of sleep at night for like months, and I was wondering, like what, like how insane the editing lifestyle really is? Okay, that is not inaccurate, but whoever that person is, I don't know if you can share who it is, but I uh, storyboard artist. Yeah, storyboard artists. Okay, sorry, but yeah, that makes more sense that they were able to do two jobs at the same time, because editing two movies at the same time, two projects of that caliber, would be impossible even the storyboard artists. Because I will, I will sort of, you know, go on on the side. You know when on the on the Lucasfilm stuff, on the mandalorian stuff, we do um and and all the other off sheets that are all, you know, sort of happening now. Can beat the Vanity Fair article that just came out this week that talks about some of those, Um, different projects that are happening. And but they all start out the same way. They all start out the story of script, obviously, and then we do we edit the full episode in a storyboards and then after that we edit the whole episode. We move over to previous and do the whole episode in previous top to bottom, and not just action scenes, the entire episode because working in this Luke I'm I'm switching here with mark and hatefully, to a whole different thing. But Um, you work. You know. They have to do it so that uh, to prepare the volume, which is that virtual set.

UH, they need to know where all the cameras are to be and all what the set's gonna look like. So that's why they have to do an entire episode that way. So when we're editing, basically what ends up happening is in those situations where editing a storyboard pass, then a previous passed before she even begins, and then the actual episode, and then sometimes the previous even finished, we're still editing previous while they're shooting. So we're kind of doing three versions of the same episode. Um, it's a lot of work. It's a lot more work than Um. You know, you might have it. You know they call this TV it's. It's anything but TV. Um It's. It's it's not unheard of to be two, two at times, especially with deadlines looming, to only get a couple of hours to sleep at night. It is absolutely not unheard of and I'm accused, especially by some of my colleagues, and doing it too much. I as I told you, guys, I I'm very passionate about the work. I get lost in the time. I don't even realize how much time I'm putting in Um, but I you know, I want to. I want to really um sell my cut and in order to sell my cut, it's it's a lot of fine detail goes in. It's not just slapping it together. It's it's really doing all the sound, sometimes even doing visual effects even within storyboards to make to animate a storyboard. So it's just more dynamic and um those kind of things can you can spend hours and hours and hours. And yet so the hours are crazy and you ask whether it's crazier during dailies or after. I think definitely during dailies. You're just trying to keep up. Every single day you wanted as much as you can keep up with camera, because the second you fall behind, you really fall behind, and then you're always up. You just trying to chase, you know, um the film and it gets more and more daunting. If you don't get through your two, three or four hours a day of dailies in one day and then the next day a whole another batch of the same amount comes in, you're like your head can explode. So you have to really learn how to Um work at a certain pace and in order to get through it all. And in the case of these television shows Um, where sometimes you're editing three episodes and they're shooting all three at the same time, like most you know the Mandalorian, it's not like, Oh, they shoot an episode, then they shoot an episode that they shoot an episode, they're basically shooting the entire thing like a movie, out of order, depending on whatever makes most most sense for the a D s and the sets and its and that. So you might get, you know, dailies from episode one, three and eight all in the same day and you have to can't just focus on one. You have to, you know, work on all of them. But yeah, it can be really crazy. And then then when daily's finally stopped and that's that's a huge relief. You still the next few weeks you're still trying to catch up and getting you know, getting that all sort of getting a first cut finished and out the door. Once that's done, it's still a lot of work doing in you know, revisions and getting ready for screenings and things like that. But I find it getting through the dailies is the longest, hardest process generally. There's two other versions of this movie that came out. There's the road show, like three hour version that was shown, and then there's also like the four part Netflix version, and I was wondering if you had anything, if you were a part of that, or if that or if that was in conversation like during the original edit. So the road show version and the and the we called the cinema, I think we called it the cineplex version and the road show version. Those were those were gone concurrently. Those were done during that was for the actual release of the movie, because the road show version was the one where it was actually screening in select theaters on seventy millimeter on film, and for that we um just because of the limited, the actual Um uh limitations of film. You can't just have a three hour movie, especially on seventy millimeter, which is bigger than thirty five. I don't know if you guys have ever been upstairs inside a theater, like a cineplex theater, and you see all the giant platters that run back when they were still film. We both used to work. We both used to be a film theater, but in the digital age. So okay, so back just even while there were still digital, even when digital was just coming up, they were still doing film Um screenings. And if you go to you know Quentin's office or whatever you you know, or theater, you go upstairs and you see that everything is like on these big giant platters or just single projectors, that there's a projections to just you know, as one wheel finishes, he turns one off and starts now that the other one's there's a real part to that too. But basically there were the limitations of being able to show three hours at one time. You couldn't do so. That's why they add the roadshow version had an intermission in it and that was that. Trying to remember. I think we had in the roadshow version like maybe a couple of extra scenes that weren't in the cineplex versions. It was a slightly longer version in addition to the intermission, and in the cineplex version was meant for...

...the digital release and it was just a little bit shorter and we we put we put extra stuff that into the roadshow version just as a bonus, I think, just to make, you know, people feel like, oh, they're getting a different experience besides the in commission and seventy, but also feel like they probably it probably cost more to see that too. So you know, kind of like we're gonna give you a little bit more content here. Um. And then when, a couple of years later, as we were Fred and I were working on guardings the galaxy, to Um Quentin said Hey, we want to do a or or Netflix wants a they hate fulate and they want they want us to do it like as a four part series. So we're gonna take this show, we're gonna take the movie, we're gonna WE'RE gonna break it up, we're gonna take some some of the stuff that never made it into the movie, put it back in and, you know, do a little bit of restructuring and and basically kind of make it, you know, kind of kind of like a mini series in a way, or just sort of more for for more, you know, bite sized chunks that are easier to watch than a whole three hours. So that was the idea behind that. Um and I'm sure you know, I don't know that that was necessarily an idea of Quentin's per se or or you know, it's just another way of packaging a movie and selling more subscriptions by having a different version of it. That I kinditely speak to for sure. But but we spent so in two summer of two thousand eighteen. We spent the summer basically getting all the bail, you know, bringing back all the old drives everything, Um, getting the negative out, pulled from the lab and Um, restarting the whole process. In this case it was just me, Fredd and Quentin. We didn't have our whole crew in us. Um, we just we just did it, you know, using all the avid media. We didn't. We didn't, you know, we're trying to conform the film. That was the lab did that on negative. Um. But yeah, it was fun. It was we just sort of spent the summer doing that and and we we did another thing as well on the side with Quentin at the time. That, Um, I don't think it's public knowledge. So it's basically, you know, I can really speak about right now. But but there's other you know, there's other little side projects we've done with them as well. Are Are the chapter titles? Like? Is that all taken out? They're not called chapters. I think that we changed the word chapter episode and I think, if I recall, we changed were not even changed what the names of the chapters were. And so at the beginning of every episode, now just this episode one, Um, the phantom menace, but I can't remember. I can't remember them what they were. It was like last stop of Red Rock was in the movie when I watched this right so I chapter one on the on the at the beginning. You know that the movie starts out the same way. So I think it was the same opening title, the same Chapter Card, only we changed chapter episode and then episode two was like daisies, stacy, domadue secret or something like that. And then, yeah, but yeah, it was it was fun to sort of re you know, three years later, after doing a few movies in between, to revisit it again and uh, you know, I just serve. Oh Yeah, Oh yeah, there was that stuff after we forgot all about that scene. That never made it into the movie. I would imagine, besides, like when working on Nolan, stuff, for Tarantino, stuff, like you're editing like on digital, and as those invent as you obviously worked like before and now and so like, as those inventions were like coming of age, where you like, this is gonna make our life easier, or you like funk this news ship. You know, I was. I was fully on board with it. I Um, having worked on film is very physically taxing and I and and that's what I grew up on and that's what I fell in love with. But the idea that you could all of a sudden, you know, just like you know, use a joystick or a mouse and be able to get through all this footage and back and yeah, exactly, like lift, cut, drag all this other stuff and and I'm Doo an edit and then have it all back again. Or do put a title on something even like that was one of the first big selling points of the atoms, for the title on a shot over a shot like film, not like you know, you can just put a title on a shot. You you would, Um, you would send the if you needed a title over something, you do it. Would never do it as a tempt thing, like it's just as a description. temporarily. You couldn't do that at all. But if you wanted an actual title, like a Chapter Card, for instance, you have to, you know, rote it up, you hired a designer who was gonna, you know, you made like you know, did the artwork and then you sent the film off to the lab with timings,...

...you know, marked with the police pencil on the film where you wanted to coming in out, and a week later you get it back and get to see it. So we realized they made a mistake. That, you know, the thing is our center. You have to send it back again, wait another week. Um, you know now, you know, all of a sudden you could just do titles, you could do color coffection, you could do you get all these tracks. I think we had eight avid first starting they had eight audio tracks. That was a big deal. You know, we on film. We were you know, we basically had three MAG tracks. One was dialogue generale, one was effects and one of was music. Now sometimes you could carry more, but it got more, more complicated and harder to Um, to run on a camp or a steam back. So Um, yeah, I know, the digital world was made. It made life a lot easier, or so we all thought, until we realized that now there were millions of ways to cut a scene. There always were, but you never there. You basically committed back, you know, in the two days you made a commitment and that was and maybe you know, you undid and you made changes, but not to the extent that we do now and so and and not just that. that. Editors now were for everything. I mean, I'm doing I'm animating, I'm doing visual effects, I'm doing music, sound and and basically I'm looking at a timeline right now. I'm working on it. Um, it's insane. You know, it's twenty four video tracks and uh, yeah, it's yeah, it's NU yeah, it's it's a double edged sword in a way. It's like people ask me. I've done a few of these other podcasts, or not podcasts necessarily, but spoken to students at the universities and they often asked like, what's it like working at home versus working at an office? And you know, what do you prefer? I love working from home because I have a flexibility to work the hours I wanted and I don't have to drive. In the case of Um, the Mandalorian, the studio is very far away from more outther so it's a in Los Angeles, even a five mile drive can take you, you know, half an hour, so this is significantly further. And so a lot of time, a lot of my day, was spent in ore. You're exhausted and you want it. You want to keep working to the camp and you gotta home. Got To sleep. Now. I'm just home now, you know. Now I'm you know, I can work any hour I want. I need to go to the dentist, you know, on you know, in the morning and go to the dentists come back. You know, worked in midnight, work too, in the morning. I can work for two in the morning ten, like you know, unless I have meetings and reviews, the time is much more flexible. So I enjoy it and I enjoy and I'm still communicating with my directors just like this. It's you face to face. You probably look at each other more in the eye this way than we do getting in a room together. But at the same time you do lose that that Camaraderie of an office and being able to walk into your colleagues rooms or having your assistant come into the room and talk to you. When you talk to your assistant, Um, it's uh, there's definitely something you know, the human factors definitely lost now. So so, just like digital and analog, it's the same thing. It's a double edged sword. It has its positives and its its brocs. So you've mentioned a few times now that you've worked on the MANDALORIAN and on those projects, Trent and I like Star Wars. That's pretty cool. Just like wondering how you got involved with that and, Um, what that's been like. Um, it's been amazing. Um, as you might expect, you know the filmmakers involved, John Faber, Dave Feloni, m Robert Reguez, Tycho and t tea, Bryce, Dallas Howard Rick from U. Um, there's so many amazing filmmakers that are involved with this project. It's like it's like speed dating with, like, you know, the best of the best, and you know it's really cool filmmakers for one. Two, it's Star Wars Um, so you know. And three, the icing on the cake is that the MANDALORIAN turned out to be a huge hit, which nobody at the time really knew. I. So I got always just finishing a movie called great burn time. I don't know. Uh Oh, yeah, yeah, kind of like I was produced by James Gunn, written by brothers, right correct, brother and cousin. Oh Yeah, Um, and uh so that was and directed by a great guy in David are Bestie and released by other producing Simon Hatt. Are All great guys. Um. And Anyway, as that was coming to an end, uh, just you know, I'm just thinking, okay, what's what's around the corner? Um, I get a phone call from my agent and she says, Hey, I just got this phone call from Lucas Film and there they asked about you and to do this. Um, keep in mind I I have almost exclusively worked in features...

...my entire career. And and now she, you know, I'm getting his phone call. It's for this. It's for a streaming series for Star Wars. And, you know, was that what I'd be interested it's you know, it's it's a show called the Mandaloian. That nothing to me, Um and Um, but it's it's John favric, Dave Filonia, I didn't really was not familiar with at that in that particular phone call. You know, I learned who he was subsequently, but Um, so I was like, Oh boy, you know it's like fabric. Yeah, for sure, you know. Um, but it's streaming, it's television. Is that something? Is that's an area I want to go into? Is that a good move for me? You know, all these things. And she said, well, look, just go meet with them because they really want to meet and just, Um, you know, see how it goes. So I go and I'm I'm kind of somewhat up front that I'm not a star wars nerve. I have seen all the star wars movies, but I you know, I'm not certainly not an expert. I didn't really know who Boba Fett was or what you know, or the allure of Boba Fette, for in. You know, yes, he was a side character, Brownie Hunter, who basically barely appears in the movies, yet he's got such a following. That was not me, you know at all, Um that they didn't seem to mind that at all. They were very interested in my, you know, the feature experience that I had. They were they they wanted to shoot it like a feature. They wanted people with feature experience. This was not gonna be like TV, and the fact that I had worked on some Western has really excited them as well, as this was going to be like a space western and Um uh, you know, and I just think in general my resume and you know that the people I had worked with was, I'm sure, attracted to them as well as much as I was attracted to them. So I I I instantly got excited about it and and you know, within a few days I got a phone call saying yes, job and and I haven't looked back since. That was a fall of Um, we spent a year making the show. I came on just as shooting was beginning. So there was already another editor named Jeff Sebennett, had already been on in the months prior to doing all the you know, the previous versions of the of the show, and he was all by himself and then I came on because it was just there was no way one editor was going to do this entire series by himself. And then eventually we've hired a third editor because it was even too much for just two editors. As we as shooting, continue to realize it was just gonna be too much for all of us. So Um, but it was. It was amazing and we did it. You know, it was we all felt it was really special. We obviously, you know, knew about baby Yoda, but no one else in the world knew about baby Yoda and only a few Disney exacts ever got to see we never, you know, normally on a movie we're so used to testing our movies with an audience, super an audience and you get feedback. None of that happened on this. Uh, I think I saw maybe three Disney executives come to the editing room, Kathleen Kennedy and some other you know, Um, some other people who you know who got to see the episodes as they were progressing. But you know, it was hard to tell in the especially in the early days before a lot of the visual effects were coming together. It's like, is this thing gonna work? Like we you know, we you you can second guess yourself because you just don't know. I've worked on projects and I thought we're gonna be giant, you know, summer tent pole movies that fizzled and died, you know, and and then other movies like, for instance, like the invitation game, small movie, small indie movie that turned into quite a popular movie and go for a lot rewards and just got noticed for whatever reason. It's hard to really know what the Zeitgeist is gonna bea at any given moments. and Um and so I even remember the day of the Premiere, before it actually you know, it went on air and we were the first show that actually started. Disney plus Disney mandalorian literally started the the platform favro saying God, I wonder, I wonder how people are gonna, you know, I wonder what the reaction is gonna be the baby Yoda, like you know, we're rather they're either gonna love them or they're gonna already have ding hard for it, you know. You know, like you know, it could have been a charge jar binks type of thing. I could have been star wars fans or nothing. Yeah, they're volatile. So I think you know, partly the cuteness of him and all that. You know, Obviously Star Wars fans glomed on and I think you know you watched the end of the first episode and you see them a little, you know, the finger come up in the face and it's like people like is that isn't you know, it's like, I don't know what you guys,...

...what your feelings were first, if you even't see the show, I don't know. But Um, you know, even non fans just found this thing to be so cute that I think people just started to watch because I read something that said that baby Yoda's face was like the perfect geometry with what the human brain associates as like cute and like that's like why there's such like a visceral response to baby Yoda. It's like the the ratios are perfect. You know, I stopped myself from watching the show solely because I was like I don't give a baby Yoda what that dude right then. But then I watched the show and my biological instincts got the better of me, you know. Right. Well, there's there's there's more of it. There's more of it coming. So I mean I only watched season one and obviously there was season two. I mean, and this kind of leads into our next question, um of like what are you working on now, but also like is there I don't keep that up today. Is there going to be a season three? And like, I know, book, book, of both. That's the whole separate incident, right, book, a book. You know, uh, people, we we all sort of considered it season three at first, you know, we all felt and then and then it started be gave them up. You know, it became like, oh, it's season two point five. But yeah, season season three. has definitely been announcements. It's public knowledge that there is a season three happening. And Will you be involved? I am, I am, Um, I am very much involved in, Um, you know, Lucasfilm family. And Yeah, so continuing, continuing story. Now you're being very specific. Is there any other feature or you're at liberty to say that you're working on currently or anything? You know, I'm no, I'm I'm with project. But Um, uh, you know, like, as I just said, there was for you guys, are for even for your audience. There's a vanity fair article that just came out this week that basically, Um, you know, uh, it's a you know, it's a sanctioned article. Really great photos with any Leeberitz and everything and uh, but basically they you know, Kathy Kennedy explains a lot about what's going on right now and the Star Wars Universe, including what's in the future. So that's, you know, that's a good resource to go to. Um, I'm as you said, Disney and Lucasfilm are very, very particular about what we talk about what we say, and so I don't want to in any way betray or. You know, we have n Das that are quite powerful. YEA, we wouldn't want to ruin your career. I have to stay vague in terms of anything that is not yet UMNUN store. Well part of would you say it's time for the BIG CAHUNA final question? I think it is. I think it's time we break it out. So try not to be too scared. But the big Huna final question is just what's the last great movie you watched? Yeah, that's the one everyone um hates to hear because forces them to remember and because nearly it's well, because well, great here's a really honest answer. I don't watch anything anymore. I have very little time to watch anything and I and my colleagues we have a we have a chain at work. I will get to your answer, but we we, we have a chain. I'll watch and watching with everybody from all the various, you know, Lucasfilm projects. We all are all sort of on it and we all, you know, every morning it's like, Oh, I watched you know this last night. I watched this last night, I watched, let's watch the new chip in and Daniel Movie, or I watched you know, I don't know better, call saw wherever it is, and everyone's talking about all the stuff they're watching and I'm sitting everyone, which people have the time when I'm sleeping for two hours a night, every night. I don't know how that but somehow, you know, people do. So, funny enough, last night, Um my both my kids were out. My wife and I sat down and we turned on Netflix and and there was top gun. I was like, I said, so I'm gonna let's let's just watch top gun. So it's it's it's a really it's a fun movie. It's it's not. Um, I don't think it's a great movie. I mean the obviously the action sequences are amazing and the you know, it's great tension and all that. There's a lot of muscle stuff, somewhat dated, but I but it was still it was very it was a very fun watch. It's a very entertaining movie that I really enjoyed. Um just keeps, you know, it's a it's very well put...

...together. Um. And then my wife's like, I'm going to bed and I had to stay up and I had to go pick up my kids later on that, you know, teenage girls who, you know, don't drive yet. So, you know, one in the morning after get them from their friend's houses. So I still had a time and I watched I started clipping through Netflix some more. I'm like, Dirby Harry. I have not I don't think I've even seen all the dirty Harry. So I sat and watched dirty Harry and that was actually that I really enjoyed. Um. It's, you know, from one and it just brought back that feeling for me the movies I saw as a kid. It it Um. It definitely was not made in the digital era. You know, you have all the imperfections of film that had all the classic lines that had, you know, it had the uh, you know, just you know, Clint Eastwood Doing, you know, all this classic stuff, really cool action sequences that he has a forty for Magna, blow your head, clean up right, flow you had clean off. So, Um, I wouldn't necessarily go and say that those were this is that's I also also a great movie. Well, let me just say I'm a huge I'm a huge Tom Cruise Fan. I'm very excited for the second one. So I will in like two days. I'm excited to and it may not be the most popular thing well to say, but I also I am a very big Tom Cruise Fan. I think he's I think he's great in everything he's in. Um, it's very validating to me. I mean he's just, he's he's intense, he um, he he's committed and he sells it to me. I don't care, you know, what his personal life is or what people think of him or jumping on open's couch or any of those things that you know, uh, you know made him, you know whatever, but just in his movies he's just always good. Like I there's certain movies I kind of don't that I didn't particularly like. But I mean I'm thinking all the way back to the outsiders, like I think the first I was him and that was a book I read as a kid and thought this guy's, you know, going somewhere then and risky business. He was just I just I just showed my girlfriend risky business and by the end of that movie we're like, Wow, Tom Cruise is a movie star. By the movie insane, yea and and all you know, every every single one of the mission possile movies. You know, the movies are as intense as he is and they all work um and they're exciting. I really enjoy watching him. I'll go see anytime. So there you go. That's validating and that, you know, makes you dave. Then every every guest we have on a lot of time they'll like they'll have somehow been on the set of mission impossible too, and parts like so, have you met Tom Cruise? Like I understand if you haven't. And then they're like, believe it or not, I had a very intense experience. Like tounger shook my hand on the first day and then something wacky happened with him five days later. But so, like everyone who works with them like has anecdotes to share? That's very funny. Well, it's I don't have any anecdotes to share other than Um, he's uh, he's he's vertically challenged, most of us. Yeah, and he um. So I had just been reading. I guess one of the reasons I gravitated toward washing talked about last night when when I saw it, was because I just finished reading an article about him and Kelly mcgillis and the past and how she you know, the executives, you know, she had come off witness and she was very popular and all that, but Um, you know, she just looked like she was way too old for him to be his love interests, and so they wrote into the script that she was older and they sort of changed it a little bit, but she was also she's like five eleven and he's like five seven or something, a big height difference, and so he um. They talked about how they had him on platform worms, on apple boxes, platform shoes and how she would also, in almost every scene, slouch or sit down or lean in, anything to make their height difference. And it's it's really interesting to see that. After wow, I can't say how happy I am that the conversation went down this avenue, but I think that's a good it's a good way to close out the show. Trent, your thoughts? Tom Cruise pro this interview great. Let's let's wrap it up. Thank thank you so much to our guest, Andrew Eisen. He's worked on so many cool movies like Django and chain, guardians of Galaxy volume two, the Mandalorian and our film for today, the hateful eight. Thank you so much for coming on. Absolute pleasures do again. Welcome back. This has been an...

...interview with Andrew Eisen, who worked on projects such as Django, unchained and our interview for this week, the hatefully Jordan. It's amazing how you had that information all on hand. Um, just off the top of your brain? Yeah, probably. I just think that you're extremely sensible and organized. Wow, she's really trying to butter me up. Interesting at a permanent spot on the show, since I think it's my spot is a revolving door. I know after a hundred episodes you wouldn't hesitate to kick me off. It's crazy how much hostility you guys edited out of the show. Who Wait? When? When has it ever been edited out? It's generally I would say like our most hostile moments have been on on on air. I think that's like the point. What else are we doing this for? We've seen a record for when one of US kills the other one, and then we can know and then there can be a lot of proof. There's an equal likelihood of both, I think parts. Why do you think that? Let's just hold on. Yeah, she's trying to think of a reason and there isn't a good one. Sorry, is the alternative? No, you should be, but thank you. I'm sorry. Probably how would you want this to work out? I feel like I'm more likely to kill someone, but you're more likely to kill me than I am to kill you. But like why you're not giving me reasons? Because you get frustrated with me and I feel like at a certain point you're gonna you're gonna break and you're gonna snap and you're gonna all it takes. How do you think we'll do it? All it takes is one bad day. Joker, joker, joker. I know at the end of the episode, can you do some poker? M Hum, we'll give me something to say. I can't. I don't want to just do like how about a chop you up to your poaches. You're a freak. Freak. How about I chop you up in Feach to your pooches, Huh? And then we'll see how loyal hungry dog really is. It's not about the Yarnie, it's about the message. Everything Burns. Do you have any requests? You can do Spiderman too. Also, you can. I can do like lines from Spiderman too. If you have any like? Nothing. WHOA come on. Like likening of the beginning of the movie or or favorite line works too. I just want the voice. I mean pizza time. Pizza time is pretty you're late. I'm not paying for those. You like that? Um? Can you do the one where he like he loses? No, no, no, he doesn't lose, but like he doesn't, he gets a meager amount of money after winning the tournament. I think this is the first one, though. Oh Yeah, she's saying after he what's? What's? I got you for three minutes, three minutes of bones is ready, bones, saw, he's ready. Part. Did you notice that in my opening there's bone saw is ready. Yes, no, come on, I'm not a monster. Okay, Nice. I want to add more. There's also the regular show. Yeah, yeah, but like I want to make it even more chaotic than it currently is. Yeah, I'm you know. Oh, well, I wanted to bring up after our discussion next week. We're fully into jaws mode, aren't we? After our discussion next week, we're fully into jaws summer, even though Shark Week, yeah, Short week, approaching a Shark Shark Week. Isn't it like a month now? Shark Week is a month now. No, no, it's a month. It's no longer. They should call it shark month. Well, I mean it's always been shark week. Um, but like it's hot and there are like locusts flying everywhere we sho. Wow, that's a big that's big Jurassic World Dominion. But what I was gonna say is, for a jaw's mini series, should I like concoct a little like music thing featuring like lines from the movie. WHOA like a new intro for jaw summer, since we have just for jaw summer, just for the mini series, like it wouldn't overtake everything. I think that you should do the jaws intro and the Dun Dun, Dun, Dun, and then like all the build up and then it's you two talking, a part part par and then it's well,...

...that's just mission impossible. And Guys, we've got insane. Is Anyone? Is Anyone listening anymore? Do you think a podcast? No, if anyone's listening to this, let us know some way, contact us somehow and say that you listen to the very end of this episode. The entire thing would just be edited out. Do you think this is going to be edited out? Jordan's of all the things, this is being kept in. Okay, what's the code word? The Code Word is purple. And say that we'll give them. Okay, but if you okay, you can comment on our instagram or D M U S or twitter. Um, but we're post on your instagram story and you'll get maybe you'll get fifty cents, a few post on your story. Yeah, and if you're in a reasonable roling, we'll give you like I'll give you a dvd or something more exciting, because you deserve a reward for listening to the end of the episode. Code Word Purple, I can it can be purple nerple. Wait, wait, Code Word Parts Purple Norple. And if you code word Parts Purple Nerple, we will give you a bit. Getting cut out. Um, code word, Jordan's purple, nerple. No, like you can say that Jordan's. If people want to find us on social media, is that a thing we have? And if people want to listen to us, like, where are we even? Because I have no clue. So this is an interesting question, so I'm going to give you a good answer. So you can find craft services on Instagram or twitter at craft services and well, that's incorrect. Okay, Um, craft craft services. Now Roll on by. Where can you? Where can you find us to listen to? Um, apple PODCASTS and spotify? Is that it? No really, wherever you get your podcasts or wherever you get your podcasts, if you listen on Amazon music or Stitcher, well, it's just craft services. You just search up the name services. Look it up, but there's no APPS in podcasts. So give us five stars on whatever you want to do and give us a good review on apple podcasts or wherever they allow you to do a podcasts. Yeah, yeah, Um, all right, I think we've taken enough time from the people. Code Word Parts, purple, nerple. Oh.

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