This week, the boys review Bottoms, A Haunting in Venice, Volcanic UFO Mysteries, the Telemarketers miniseries, Justice League Warworld, and get distracted with Taylor Swift all while Jacob recovers from surgery!
After all that, the boys welcome That's a Wrap cinematographer Marcus Friedlander to discuss the new film's meta nature, its slasher and Giallo influences, and the balancing act of filming a movie that takes place on a film set. We then go into Marcus's vast experience of working on Asylum Films and what it takes to shoot a film in 6 days. It's all new on EYE ON HORROR!
https://linktr.ee/EyeOnHorror
Follow us on the socials: @EyeOnHorror or check out https://linktr.ee/EyeOnHorror
Get more horror movie news at: https://ihorror.com
This week, the boys review Bottoms, A Haunting in Venice, Volcanic UFO Mysteries, the Telemarketers miniseries, Justice League Warworld, and get distracted with Taylor Swift all while Jacob recovers from surgery!
After all that, the boys welcome That's a Wrap cinematographer Marcus Friedlander to discuss the new film's meta nature, its slasher and Giallo influences, and the balancing act of filming a movie that takes place on a film set. We then go into Marcus's vast experience of working on Asylum Films and what it takes to shoot a film in 6 days. It's all new on EYE ON HORROR!
https://linktr.ee/EyeOnHorror
Follow us on the socials: @EyeOnHorror or check out https://linktr.ee/EyeOnHorror
Get more horror movie news at: https://ihorror.com
Welcome to Eye On Horror the official podcast of iHorror.com. This is episode 113, Otherwise known as season six episode 14. I'm your host James Jay Edwards and with me as always, is your other host Jacob Davison How you doing Jacob?
Jacob Davidson:Could be better just had some oral surgery yesterday so feeling a little sore.
James Jay Edwards:Are you on painkillers?
Jacob Davidson:Yes.
James Jay Edwards:Ah right we got drugged up Jacob today this is gonna be fun.
Jacob Davidson:Well, I mean it's not even like the ad like actual drug drugs. It's just like high dose ibuprofen
James Jay Edwards:Oh, that's not fun. All right, well, we'll let we'll we'll pick up the talking where you can't also with us as always is your other other host Jon Correia, How you doing Correia?
Jonathan Correia:They didn't even give you the strong stuff? That happened to me when I when I had my wisdom teeth taken out they gave me the really strong ibuprofen and I was so disappointed. I was like, oh man went home and like just you know, what's like the operation drugs wore off. I was just like, Oh man, I guess I'll just sit here and watch Drugs Inc all day.
James Jay Edwards:Didn't even give you a Tylenol with Codeine No What's been going on? What do you guys been see anything good lately?
Jonathan Correia:I saw one of my favorite movies of the years of the year in theaters.
James Jay Edwards:Let's hear it.
Jonathan Correia:Did you guys see Bottoms yet?
Jacob Davidson:Yeah. I love Bottoms.
Jonathan Correia:Oh man Bottoms is fucking fantastic. It's a it's the same team who did Shiva Baby and, which is also brilliant. If you haven't watched that. First of all, I think it's on Max or Hulu but definitely get the blu ray because the blu ray disc is just is a bagel with schmear. It's one of my favorite artworks, but Bottoms, was directed by Emma Seligman. And it's got Rachel I'm butchering names this morning. Rachel Sennott, who is also in Shiva Baby. And they wrote it as well. But Bottoms, is I, just when you think that the teenage sex comedy is dead, Bottoms comes out and goes no, it's not dead. It just needs to not be boring white guys trying to lose their virginity. Instead we get like angry lesbian incels who who try to get laid by starting a fight club in their school.
Jacob Davidson:Yeah, I love that they're constantly referred to as the ugly untalented gays.
Jonathan Correia:Like, no gays are accepted just not the untalented or ugly ones. Like the whole movie. And they're just so angry. It's great.
Jacob Davidson:And also it's just got the right amount of like absurdity to it it's almost like a cartoon. And there there is a lot of violence and just kind of like Yeah, it's like the Heather's type thing where it's like the school hierarchy stuff is serious business.
Jonathan Correia:Oh yeah. There's so many great moments in it and it's but it's also like wears it's heart on its sleeves you know like the like the comedies there but it's all around really good and I think I'll watch pretty much anything with Rachel Sennott at this point because between Bottoms, Shiva Baby, and Bodies Bodies Bodies, she's she's killing it.
James Jay Edwards:Let's move on to something that's remotely horror.
Jonathan Correia:That's remotely horror they beat the shit out of each other.
James Jay Edwards:I saw A Haunting in Venice. Oh shit. It's not a Haunting in Connecticut three goes to Georgia to a haunting events. It is it's an Agatha Christie adaptation that you know Kenneth Branagh has been doing those last few years he had a Murder on the Orient Express and then Death in the Nile. And now he's doing a haunting in Venice. It's it's after the Agatha Christie book Halloween Party. And it actually is, I mean, it's it's a murder mystery at its core, but it's also kind of a supernatural ghost story, because what it is, is they go to this house that well, the whole thing is Tina Fey plays an author, I guess kind of like Agatha Christie. And she, Hercule Perot is kind of in isolation, you know, kind of retired, semi retired, and she's an old friend is so she brings him out of retirement. She says, look, there's this medium doing this seance on Halloween. And it's this close to having me as a believer, I need you to come with me and disprove this. So he goes there to disprove the seance and of course, at the seance people die. So it is like a spooky ghost story because they're kind of in this haunted place when it happens. But you know, and Hercule Perot is Kenneth Branagh with one of the most amazing mustaches you're ever going to see on a movie character. And he, you know, he does his stuff. In fact, at one point when the bodies start not piling up, but you know, after the first body because there's more than one murder. When the the first body goes, there's a storm and it's in Venice, so they can't get the police can't get to them on the canals. And this is a big moment where he's coming out of retirement. He goes, call the police tell them Perot is on the case. It's real dramatic, but it's it's fun. It's it's a it's another one of those movies, that I'm not sure why they didn't wait another month and do it for Halloween. You know, it's because it is real spooky. And it actually takes place on Halloween. It's just I don't know, but anyway, it's, it's a lot of fun.
Jonathan Correia:Is everyone scared to compete with Saw X? Is that? Is that what's happening? Well, I know. I know. People are scared to compete with you know, the Eras Tour movie because they bumped up Exorcist Believer for that. But like, yeah, it seems like even before that everyone's like, no, no, don't touch October. Jigsaw is back. Like, yeah, we're not touching that.
James Jay Edwards:I'm not gonna lie. I am kind of excited for that Eras Tour movie, because going to the eras tour doesn't excite me just because I think the live music experience unless it's in, you know, a club that holds like, 80 people, I'm kind of over plus the expense. I mean, I couldn't even afford to park at one of those shows. But I kind of do want to see the show. So all my friends who have been to one of her concerts were like, it's fucking insane. And like the videos I've seen, I'm like, Yeah, if that's shot Well, like that. That would be insane. Even if you're just kind of into. Did you guys what we're going off like lots of non horror tangents today. Did you guys see Miss Americana, the Netflix documentary about Taylor Swift. It it's weird because I mean, I could take or leave her music. But as a person I really like her. She's, she's got her head on straight. She doesn't take any crap. You know? And it's it's just, she's just really likable and seems like a really genuine person. If Miss Americana is the documentary and it basically it's kind of hangs out with her while she basically came out against Trump, you know, and and stuff. So that was like a big, you know, she's at one point, she's sitting with her publicist, and it might even be her mom. And she's about to tweet out, you know, her thoughts about you know, politics, and she's, Oh, do we do this? I'm scared. I'm scared and her publicist is like, I'm scared for you. This could really you know, cuz she's from what? Tennessee, Kentucky you know, she's from the, you know, the area that you know, she's not supposed to think that way. But she's very progressive. But yeah, I'm, I'm low key excited for that Eras Tour. Honestly,
Jonathan Correia:but anyways, back to A Haunting in Venice, because I'm very interested because I liked the Hercule movies And I was very, a they didn't shoot it in secret, but it felt like it because it was like, during COVID. And like, you know, Death at the Nile was like, got super fucked both and just like timing with COVID. And then the fact that like, you know, the two of the leads came out, it's like, what one extremely problematic, but one kind of, and then it was just like, and then and then all sudden, they're like, yeah No, he shot a third one. And it was like, what? Yeah, one? When did he have the time?
James Jay Edwards:it doesn't quite well, it doesn't have quite the size of cast as the other two, which is might be a symptom of, you know, COVID and it also doesn't have as many big names Michelle Yeoh is in it. And she she plays the medium. And she's a lot of fun. And like Jamie Dornan is in it and a Oh love him the woman from Stillwater with Matt Damon, um what's your name? Camille Cotton, isn't it? So it doesn't have huge names. Tina Fey aside from Kenneth Branagh, Tina Fey might be the biggest name in it, but it you know, so it's not quite I mean, he's the other ones were just star studded ensembles. And this one's a little more low key it's a lot of I know that face you know, I know that face. Cool. And it does have that spooky suit. There's places in it where you're like, Wait, was that character real? You know, he like what was that a ghost? You know, you're it's it you know, it's more than just a murder mystery. It's kind of like a haunted house movie too now I
Jonathan Correia:know. We got the origin of his moustache and Death on the Nile. But do we get any more origins of other eccentric attributes to Hercule?
James Jay Edwards:I don't think so. I know it's because it starts off where he's like basically in seclusion, and there are people lined up at his door saying, Hey, can you help me solve this mystery, you know, and he is like nah. It's funny because it shows him with like a magnifying glass and like a fingerprint brush, but he's tending his garden with it.
Jacob Davidson:So this is basically the Commando of the Agatha Christie movies.
James Jay Edwards:It kind of is. He gets pulled out of retirement by like an old friend. You know, Tina Fey and Tina Fey, I guess her her writer made him famous because she based a book on him.
Jacob Davidson:Okay, so it's kind of meta with her being like the Agatha Christie type.
James Jay Edwards:Yeah, you can totally tell that Tina Fey's character is based on your Agatha Christie base that on her Agatha Christie has a remarkable writer because what is she right, like 90 books, and most of them are good. They don't really lean on. I mean, they lean on a murder mystery formula, but there are surprises in all of them. So yeah, that's like Who else has that kind of output? That's consistently good.
Jonathan Correia:And this was the first time this book was that adapted. Right? I think that was like one of his things.
James Jay Edwards:I'm not sure I'm not aware of any other adaptations of it. But I can't say for absolutely sure this is the first but yeah, Kenneth Branagh has got a long list of stuff to adapt if he wants to keep doing these.
Jonathan Correia:As long as someone is still paying for them. I'm sure he'll keep wanting to do them.
Jacob Davidson:you know. So I got my I got my Severin Films order in from the halfway to Black Friday sale. And I got the new stuff. The 4k of Fulci's The Psychic and The Last Horror Film. Nice. Yeah, Jon, did you get yours?
Jonathan Correia:I got mine. But I did. Well, I did the Last Picture Show. Because it had it was
Jacob Davidson:Last Horror Film
Jonathan Correia:or last horror film. Yeah. Because that's the only time they were selling it. I don't know if they're ever. I know. They're definitely not going to do it with the Maniac 2 slip cover. But oh, yeah, I think they said they're not able to do it again, actually, like the
Jacob Davidson:Just a one off.
Jonathan Correia:So I had to hop on that. But I got Nightmares instead of The Psychic. But I did get the music box for the psychic. And so I've been playing with my music box.
Jacob Davidson:I got that too. It's very, very cute.
Jonathan Correia:It's so cute. And it makes me regret not getting The Psychic as well. So I might have to get that soon. But it I mean, wallet was tight, so I was like I can only get two out of the three.
Jacob Davidson:Yeah, same here though. Those are some heavy duty 4k releases.
Jonathan Correia:But they're gorgeous. I haven't been able to go through the discs yet. But Nightmares and The Last Horror Film are both just like the packaging is, ugh, Severin killed it again
Jacob Davidson:Yeah. And I watched The Last Horror Film and it it is surprisingly clever and fun because it's basically Joe Spinell as another obsessive guy, you know, kind of like Maniac but not exactly and also in the ad like it's this film angle because like he's a taxi driver obsessed with this actress and making a horror movie and he goes to the Cannes Film Festival 1981 where they actually shot guerilla style. You know, like a lot of footage with him like weaving through the festival and like there's these murders happening, but like the question is, is he the killer or is something else happening? And it's really cool because like Joe Spinell is is the lead in this and it makes me wish that there were more movies where Joe Spinell was lead. Did either of you get the Joe Spinell plush? Guys? I did not. Dracula's Joe Spinell. I have too many plushies right now like I made the joke one time I was like, Oh, I lucked out not gonna throw pillow partner you know partners into throw pillows. And Lindsey went Yeah, cuz you're the throw pillow partner. I was. Oh, no, I am aren't I? I mean, you just got this Ghostface plush.
Jonathan Correia:Yeah, I just got Ghostface
James Jay Edwards:did you get I sent you that link to the cryptid to the cuddly. cryptids you haven't gotten moth man yet?
Jonathan Correia:No, no, we're like I said we're trying to we're trying to be we're trying to be good boys. Now I got my ultramans I got you know Ghostface
James Jay Edwards:those cuddly cryptids they're they're they're a little pricey though. They're like 30 bucks each but the The Jersey Devil it is totally cute. It almost looks like a My Little Pony version of a Jersey Devil. He's but that's what they are cuddly. cryptids
Jonathan Correia:it's cute, but I just got one of Gus from Saga, the comic books and he's so adorable. He's got his little boots on and his little brain overalls. Like I can't talk the cuteness of Gus snare. If only he came with an axe.
James Jay Edwards:I saw another cool documentary where you could tell there weren't a lot of horror releases because we're kind of going all over the place. This documentary that it was one of those ones that was for two bucks, something Do so I rolled the dice it's called volcanic UFO mysteries, have either you guys heard of this?
Jonathan Correia:with a title like that I think you underspent bud!
James Jay Edwards:what's it about? It's it's kind of I mean, it's pretty short too it's like an hour long but it basically the thesis of this is that volcanoes provide the energy to UFOs and it shows a lot of like pictures or even video of like volcanoes about to erupt and then a UFO will kind of fly into it and then the volcano will settle down you know, it's it's it basically explores the, explores the ties between volcanoes and UFO activity is what it does. But I love those kinds of documentary like the In Search of, you know, type things. I mean,
Jonathan Correia:yeah, that just reminds me were super early pre concept on a Sasquatch picture, and just doing some of the research into some of the common threads with Sasquatch is and Bigfoots. And like, getting more into like, the conspiracy theory side of Sasquatchs about how they're creatures or beings that have access to interdimensional portals and stuff. And that's why never, you only catch glimpses and stuff and like,
James Jay Edwards:that's actually true. Oh, yeah. I don't know if it's so much interdimensional portals, but what it is, is and I've said this before Sasquatch, there are a lot of Native American tribes that believe Sasquatch is can exist on multiple levels. And that's why, yeah, that's why when you go on a Bigfoot hunt, you never find him because he Well, I say he but there are female Sasquatches. But Sasquatch is they'll they only reveal themselves to people they want to reveal themselves to so if you're looking for them, you're not going to find them. But if you're just wandering through the forest with your dog, and then all sudden, hey, I'm a Sasquatch.
Jonathan Correia:It's like the end to Harry and the Hendersons. You know, I will say this though, I do have a buddy who is working on a doc of, a Bigfoot doc. And they do have this weird phenomenon on some some of these woods where it's like high activity. And he's a he's a skeptic, but he's doing the camera with it. But there's stuff that he can't deny, like, in these areas, there's weird phenomenon of like, like, your phone will die like the battery's dead. And it's like, it's like a sudden drain like your phone. And it's not just like cell phones. It's also like camera batteries, all these other stuff. But then once you leave the area, it turns back on. And like the power level is where it was before. That's a weird thing that you can't quite explain like you can explain like, oh, I can't access stuff or Oh, my battery died maybe. But like it coming back. That's a weird angle. But he Yeah, he developed a way to like save to like keep the camera battery. He's he's an engineering genius. It's annoying, how quick he is to figure out stuff but he figured out a way to like keep the batteries going. So I wouldn't be surprised if his doc like blows up because it's like the stuff that he's figured out how to do to actually be able to record in those areas is insane.
James Jay Edwards:All you have to do is spin the crank on the side
Jonathan Correia:we're talking digital here, not analog. Kind of slightly off topic. I mean, we cover comic books. I did finally watch the new Justice league Warworld which is one of the new animated films that's a part of the Tomorrowverse era because the era that Jay is going through right now that's the previous like new 52 DC animated universe and then afterwards with starting with Superman: Man of Tomorrow, they they kicked off a new one and Warworld is the new one and it's all right. It's it's basically like it's you follow Batman, Wonder Woman and Superman in like different worlds because like it opens up with Wonder Woman in the world of Jonah Hex if you remember he's the face scarred Western character from DC so it's Wonder Woman in the Old West. And it's it's like a story there and then like, it suddenly ends and then next thing you know you're in a prehistoric world. And then it becomes Batman is like a in a heavy metal type prehistoric supernatural mythos world where there's the character Warlord, who was a DC characters and like that sci fi like John Carter type thing, and they fight dinosaurs and stuff and then Wonder Woman shows up at the end and Then the next story is like Superman and like a 50s alien, paranormal, paranormal, or alien invasion, like communist black and white picture. And like with each story like towards the end, like one of the other characters ends up so then you end up with all three in that one and you're just like What the hell's going on it turns out they're all on Warworld which is Mogles thing and like it's like a whole convoluted thing where they're being forced to imagine being in the scenario so that like they can fuel the giant battle station Warworld off their fear so you can tell it's very convoluted but it's it's fun. I mean, there's there you know, the animations fun like I said, the different styles where it's like the prehistoric planet is like done in like a very like, Heavy Metal type style and the wet Westerns Western and then like, the alien one is like 50s paranoid communist paranoia. voice cast is all right, they got Jensen Ackles, as you know, from Supernatural as Batman, and it's okay. It's it's, it's also like one of DCs animated films, like few R rated ones. So it gets a little bloody, but it just kind of ends. And I'm like, what was the point of all this? You know,
James Jay Edwards:How long is it? Is it those movies are usually like an hour 20 Is this one?
Jonathan Correia:It's an hour and 30 Okay, so it's not it's not too too bad. It was just I don't know. I think it was a little too hyped for it because I was like, yeah, it's gonna be R Rated, it's gonna be bloody and they got Jonah hacks in it and like these deep cuts like war lord and stuff like it's gonna be dope. And then like, they get to the Warworld. You have like because like the whole time you watch it, you're like, this is leading to something this is leading something and then it gets there and then it just kind of ends and it's like, kind of felt like like, it felt ambitious but like, didn't lead up to ending the I don't know if there's like gonna be another sequel or something. Because the Tomorrow verse movies are very, like, kind of connected, but not super. It's like that Justice Society and a few others, but yeah, that's fine.
James Jay Edwards:That's how I was gonna ask Is there another movie because that's the way I felt in Spider Man: Across the Spider-verse. I was like, I was like, this is leading up to something and then when I'm like, There's no way they can wrap this up in you know, whatever they have left and then they didn't there's gonna be another part.
Jonathan Correia:Well, what that would there was very clearly like, stay tuned for part two. Yes, one it just, it's like it. They don't do that. And I'm like, Oh, ok
James Jay Edwards:Across The Spider-verse ends on a huge cliffhanger. It's like, you know, there's like a big cliffhanger and then they say stay tuned for Beyond the spider or whatever it's going to be
Jonathan Correia:whenever that comes out.
James Jay Edwards:Yeah, well, yeah. Wherever anything comes out, and these days, we never know.
Jonathan Correia:I got one more slightly kind of adjacent movie where this is the adjacent episode. We're talking about horror adjacent stuff. Telemarketers on HBO or, not HBO max, on max. And
James Jay Edwards:will always be HBO Max. Yeah.
Jonathan Correia:Anyways, anyways, Telemarketers is a three part Docu-, crime Docu series. That's how that's how we keep this related. But it's produced by the Safdie Brothers and Danny McBride with his Rough House production, so like a Jonah Hill, Jody Hill, and then are also producing on it. But it's this. It's about these two guys who worked at a telemarketing call center, and they would call for like police union FOPs, eventually cancer associations and all these, and they started filming, like filming in 2003. But the thing is, is like one of them's a heroin addict, and the other one is just like a juvenile delinquent at that point, you know, this is back in 2003. And they're just shooting a bunch of footage in the office of like, all the shenanigans that go on and it gets the company ends up getting shut down by the government because what they started doing was saying that they were the police calling to raise money and it like kicks off like a 20 year journey. Through these three episodes. You follow them like fall out of contact with each other and like get more into this conspiracy sides of it, but it's so good. I wouldn't my first job in LA was working at a call center. It wasn't quite as Dungy is this one because that the one in the movies it's in Newark, New Jersey, so of course there's that but they get really into like, how these call centers they call for the FOP, which is the police union, which is essentially like they're saying like, donate money for fallen police officers or injured police officers and their families. when really you're raising money for their Hangout bar. They're their little clubhouse their, because it's the fraternity of police and,
Jacob Davidson:and it's like a frat house.
Jonathan Correia:Yeah, and police unions are corrupt as fuck. It's one of the most corrupt things out there. So like I'm a I'm a huge, strong union strong union supporter, except for the police union.
James Jay Edwards:police union is too powerful. It's like yeah, you can literally kill someone and not lose your job.
Jonathan Correia:But that's and that's the thing with this too, is that every time these like telemarketing companies get shut down and stuff, it's the police unions are never touched, even though there's like all these documentations showing that they're working together and they're coming up with these things. But it's it's a brilliant documentary. Partly because the two main guys who shot and produced it had no business especially in the beginning on making a fucking documentary at all. They're really bad at it. Like the early like, you can tell somebody came in like late during the like, the last leg of it and and like helped like, you know, piece it all together and like make it more professional. But boy, are they endearing, They're just adorable. But yeah, dude like the conspiracies the nonconspiracies like the actual like stuff that they reveal. It's like so messed up and so fucked and it but it's so good. I can't recommend it enough. Telemarketers. It's three episodes. So it's like a three hour watch, baby. But like, if you're going to watch, if your clock, if you're going on to max fuck The Flash, go watch Telemarketers.
James Jay Edwards:And now let's move on to our guest today. Today, we've got the cinematographer for the new movie. That's a Wrap Marcus Friedlander. How're you doing Marcus?
Marcus Friedlander:I'm fantastic. Thank you very much for having me.
James Jay Edwards:Cool. Thanks for being here on this early morning. The question I always like to start with people is how did you get started in your career as a cinematographer?
Marcus Friedlander:Good question. Yeah. For me, it's I grew up in LA, I kind of just always knew I wanted to work in film, in the film industry in some way. And specifically production. The first time I ever walked onto a set when I was in film school, or just I just knew, you know, he felt the energy, I felt the chaos. And I was like, Yep, this is where I was meant to be. And didn't know exactly exactly where I was going to land. I knew something I wanted to do knew I wanted to work in storytelling, I knew I wanted to work specifically in visual storytelling. It was kind of a balance between directing, DPing, and writing for a good amount of the early part of my career. When I was in high school, I directed a bunch of shorts, and I shot and edited and wrote and, you know, put myself through the ringer and learned a ton of painful lessons that you learn when you first start making movies about all these ideas that are my head didn't just appear on screen for some reason. And that was a very good learning experience, and then went to film school with the assumption I was going to be a cinematographer. So I went for production as a cinematography major, Cal State Northridge. And then my first semester, I was lucky enough to start working on sets, friend of mine got me a PA job, which, you know, as these things go, they just kind of bounce, bounce bounce. And by my sophomore year, I was taking my first real production class after having been worked as a first AC for like six months at that point. And one of the questions on my final was, what's the C stand? And I was like, this is this is a waste of time. Why am I doing this?
James Jay Edwards:Way beyond that.
Marcus Friedlander:Exactly. So I switched to screenwriting. And it turned out to be the single best decision I've ever made my entire life, recommended to every single person I've ever talked to. Production is great, you learn a lot, you know, that you may not have access to you want to three point lighting, those types of things. But in a world where no film school exists in a world where the internet exists, it seems like such a waste of time to spend that much money that much time and that much focus academically on things that you can learn with five minutes of your own research. So instead, I learned storytelling, I learned more importantly, how humans work. I learned how to communicate ideas. I learned psychology and sociology and history and sight, you know, all the things that you really get out of a liberal arts degree. And every one of those things made me an infinitely better filmmaker than learning what a C stand is letting the three point lighting is in a classroom, you know. And that from that I was lucky enough to kind of do a balance of theoretical in class learning about how the world works and practical onset still working as a first AC, still making my way up through the ranks. And then by the roughly my senior year of college, I was like, I'm ready to do it, started a production company with a friend that wanted to shoot features knew nobody was gonna hire a 20 year old to shoot features and never done it before. So we started producing stuff ourselves, I was able to hire myself as a DP and the ball was kind of rolling from there. The first one we did was was October 2015. And that was my first feature. And the one I'm about to start tomorrow is my 39th feature. And what is it? 7,7-8 years? Something like that,
James Jay Edwards:yeah, we we do want to talk about your resume as we go up. But, um, but how was the film program up there at CSUN? I mean, because like, we Jon and I both been to film school. I was at San Diego State and I loved the program there. But like you said it. It's kind of what you get out of it. I mean, like there are people, everybody kind of finds their niche and I Um, and I think you're right. I think everybody who wants to go to film school should focus on screenwriting. You know, even if they have no interest in it, you know, even if you want to be a sound guy, take some screenwriting, you know, even if you want to be, you know, a set director or a set designer, take some screenwriting. How's the program up there? Is it? Is it a good program?
Marcus Friedlander:So I liked, I liked a lot of things about the production program. The first class that I was talking about that had that final to me, also was able to direct it was really kind of the last thing that I direct before I really fully went into duping was a short film called Hell Bent Hotdogs that about a competitive hot dog eater who takes stomach steroids to win a hot dog eating contest, but the stomach steroids make them massively hallucinate. It's a ton of fun to shoot, it's still something I'm very happy with. But I show it to people when they ask, you know, what have I done a lot, a lot of fun. So like things like that I absolutely loved and I met a couple of filmmakers in that group that I still work with, but and tons of people, you know, especially at the start of our careers, we're all throwing jobs to each other, hey, I got a DP job, you want to come AC for me, you know, those types of things. All that was incredibly invaluable. But as you get deeper into the program, in my opinion, it was just getting less and less desirable, when you get to the senior thesis program. And this all could have changed. This was almost 10 years ago, now maybe longer at CSUN. But when you have to the senior thesis program, you had to pay $10,000 to continue working. And that wasn't necessarily to direct your movie that was just you could maybe you produce maybe first ADed, maybe you ended, you know, you could have gotten the short end of the stick and still had to pay 10 grand. That was one of the onuses of me starting a production company and said was I raised this money, why would I give it to you when I could give it to myself and see when my opinion greater returns from it. That being said, a lot of my friends stayed in the production program and have done very well for themselves and definitely don't want to disparage it completely. It just wasn't right for me. Yeah, that's uh, that sounds kind of shady that you have to put up that kind of I mean, we always the I think the important thing about film school is you have access to equipment, and you have access to people. And like you said, when whenever we would do projects, we would split it however many people were in the group, and we never had to just put in 10 grand each to make anything. That's that. That sounds kind of Yeah, it didn't seem like the best use of time, the best use of money. But for a lot of people, it was a lot of people it was their first chance to make something and then they just kind of said, Hey, this is what I can do for the rest of their early career. And yes, I don't want to disparage you completely. I want to tell people don't go to film school because in my opinion, it's a very, I'm a big fan of the term microcosm of life. Film School think was very much a microcosm of life. Where microcosm of the film industry where the people who wanted to make films, met people, connected, work their way to make films, and the people who are expected to just get hired did nothing. That's kind of the way the film industry works. You know, there are some people who will just get a phone call. Like, I'm very lucky to be at a point in my career where my phone rings, and I don't really have to reach out to things which I'm very, very blessed to say. But it took 10 years to get there type of thing. And if I hadn't been you know, that kind of hustle idea of I want to meet everyone I can I want to connect everyone. Let's go get a beer. Let's go get coffee, let's talk What do you want to do with your life? You're not in that kind of headspace. When you're in film school, you're gonna have a lot of trouble outside of film school, too. And I'd like to term to use you only get what you put in. It's just as true for everything in life as it is for film school as well.
Jonathan Correia:Yeah, definitely the biggest lesson, or the most lessons you can get from film is being on set. I know that sounds a little cliche, but like when you're in the thick of it. Yeah. Like you'll, you'll learn what a C stand is real fucking quick.
Marcus Friedlander:Exactly. I knew I wanted to do this. But it wasn't until the first time I was on set and felt that energy. I'm a big energy guy, but really just kind of felt and was in that world. Like, yeah, this is 100% the right chaos to me.
James Jay Edwards:Yeah, you can squeak through film school without really doing much, but you're cheating yourself. Because, you know, you have to help out with everyone's projects, because then you get a feel for for everything. You know, if you the more you can do on set, the more valuable you are so
Marcus Friedlander:100% 100% Now, your latest film, That's A Wrap that recently just came out in the last few weeks on VOD and all that. Tell tell us a bit about this project because with that it's a very meta kind of fun slasher but with like giallo influences all over I mean, even even when it's meta the characters point out so much of it like there's one point where they're like, it's a Giallo film, You know, red JellO, like in the hospital? No Giallo , you know? Exactly. I love that whole beat it Sarah and better, just absolutely fantastic. And that whole sequence and I'm very excited for people to see the start of that scene and then the very end of that scene, as well as they're very happy with the way that that climax.
Jonathan Correia:Yeah, the end was was real good. But I mean, it's definitely a film that wore its influences on its sleeves, but well. So with the camerawork and whatnot like how much of the influence of like previous slashers and Giallo films were present,
Marcus Friedlander:Yeah definitely so references were a big part of this was my first movie with Marcel and I always start with references, you know, what are we? What are we doing here? What are we referencing? What are we homaging? What do we metaing, you know, and Scream is his favorite movie of all time. So you can see the very obvious screaming references as well. And then Suspiria, of course, massive reference in many different films that I've done over my career. And it's so fun to can you, continue coming back to the same, the same thing and kind of find a new version of it. I did a an art horror film in like 2018, that was a Suspiria reference. That was not Giallo as a whole, it was just about these ideas of the strong color cast type of thing. So then getting into this movie going very true to the Giallo aspect. Was was lovely, because the color aspect of it is great, but it's really more about the impact of it, the genre esque aspect of it. And so Marcel said, Look at Scream, look at Suspiria and then specifically look at American Horror Story Hotel, which is kind of been a running joke for us every movie we do. It's look at this pilot of this season of American Horror Story. And that's what kind of we're focusing on. So Garden of Eden, it was American Horror Story New York. And then this one, there actually isn't quite so much but a little bit of totally blanking on the name of the one that takes baleen one that takes place out of the desert, except that with some black and white. So references were big, the way we move the cameras all related to Suspiria. And to kind of Giallo and at the end of the day, my goal is to communicate the ideas that the director wants and director wanted to Scream with as much Giallo influence as possible. And yeah, that's what I think we ended up delivering. What was the shoot schedule, like on this one was it was it a quick shoot, or very much so I think was eight shooting days for the whole movie. But it was all took place in the same studio and the parking lot outside the studio. And the way it was written was to specifically take advantage of that. So we spent I think was like two days in the main party room. And then every day the shoot was alright, we're in this room shooting every scene that's in this room or in this room shooting every scene in this room and the way the story is written it's mostly right today, it's about this character story. And then tomorrow, it's about that character story. The only day that was very tough was the last day of the shoot where we shot the whole opening in the movie we bounced around the entire studio inside outside rain gags kills, you know, it was definitely a tough day. Yeah, there
Jonathan Correia:was definitely a lot going. Opening with the because just the whole, like you were saying the whole film takes place in a studio. And when it's, it's because I never want to sound dismissive with this, but it's all takes place in the studio was shot in a studio. Did you have that problem? Any problems of going? Alright, I need to say wait, no, that's a set piece. That's not my actual equipment or anything like that. Because some people would be like, Oh, that's smart, because you save money because you don't have to hide the cables or something. But that's not true at all, because you still gotta move
Marcus Friedlander:on. So I made, I made a very specific rule for us that we did kind of break at times, but wasn't super happy with in the Edit whatever. Yeah, but we've made a very specific rule of time that we were going to make a separation between active production and passive production. So if a C stand cart is in the background of the shot, that's fine. But the stand that a light is on it's lighting, an actor's face can't be in the shot. And as long as we kind of maintain that balance, we can have as much film gear as we want. And never really feel like we're making a movie so to speak and ruining the the gag. There was only a couple times where like, I think in the opening that rain gag thing that happens you catch a little bit of the C stand that's holding the rain gag. And I was like, I don't feel like that needed to be in the movie. But Marcel I talked about, he's like, No, I do want to kind of lampshade the rain gag aspect of it is like okay, yeah, I'll back off on that one. But for the most part, no cables that we see are actually plugged in no stands that we see are actually holding lights, and it's more. It's all just set deck. Yeah, cuz
Jonathan Correia:I was looking for that because especially when you have the high contrast with with the color palette that you're working with, and the harsh lights and everything. I'm like, where is it? I know it's coming from up there. Let's see if it gets a shot because you can get away with it technically, but I like that, that you went out of your way of this is passive This is active. So keep the active out
Marcus Friedlander:of it. I didn't want it to feel like a music video because that's a big part of the music video look is this very strong color contrast stuff where lights in frame and you have the actor or the talent crossing, you do these big flares, I was like, that didn't really feel like the the Giallo version of this story. So like for instance, in the party room, we got a big backdrop like a it was like about 20 or so feet, fake night sky type of thing. That's a backside backdrop for one of the scenes that was hiding all my stamps, basically we were using that to light you know and hiding stands behind everything. You know, everything that was actually being lit was being hid cleverly the same way I would do if I was doing you know, any other movie, you know, but this one when we pan across, there's all the gears in the background and
Jonathan Correia:great. Did you guys reuse the premiere for it because the movie inside the movie that they're wrapping party for is called That's a Wrap. Did you guys reuse the premiere backdrop for the premiere
Marcus Friedlander:for the step and repeat for the actual career? Of course, of course, of course. That just adds them to the meta aspect of the film. You know, it wouldn't be we wouldn't be completing the story if we bought totally new gear for the premiere.
Jonathan Correia:Well, and that's one of the things I really enjoyed about it. It's just those little, like nods and stuff, where it's like, oh, they definitely use that banner for the premiere later. That's more. That's, that's great accounting right there.
Marcus Friedlander:It's actually really funny that we're talking about the movie within a movie because that was one of the key aspects for me for, I had worked with Sara before I did a movie with her. The August I think it was before we had shot this one was just last summer. And I hadn't met Marcel hadn't met Joe but did kind of know of them. And I was a bit worried because I don't come from the horror world. I come more from like the indie art world and found horror kind of later in my life. And there's like a little bit of I don't want to say negative association, but a little bit of genre obsession with a lot of horror filmmakers or filmmakers for the loss of the film itself. And that's something that I get kind of worried about when I get into meta thing. People are so obsessed in the meta that they forget to tell the story. So something that was kind of weary about when I was interviewing with them. And then the first first interview they showed me the movie within a movie stuff the trailer that they were going to be showing you in the thing, and I was like, this is exactly how I would have lit and shot this like what like this is fantastic. That's amazing. I clearly you guys know what you're doing. I don't need to be worried about anything.
James Jay Edwards:You mentioned your catalogue of work 39 movies in seven years I think were the numbers
Marcus Friedlander:Something like that yeah,
James Jay Edwards:Scrolling through and this is going to sound like I'm making fun of you but I absolutely I absolutely am not eat our collective favorite movie here at Eye On Horror is Rampage so you know we love movies like this, but let's let's go over some of these titles. 20.0 Megaquake, Super Volcano,
Marcus Friedlander:Yep
James Jay Edwards:Bullet Train Down,
Marcus Friedlander:Yep
James Jay Edwards:What was there was one what is it? Eight there it is Ape Vs. Monster
Marcus Friedlander:Ape Vs. Monster, that I think is the worst reviewed movie I've ever shot.
James Jay Edwards:Alien Conquest, Triassic Hunt. Okay. Are these Asylum movies
Marcus Friedlander:Very much so. Yeah.
James Jay Edwards:Okay. Because, and you have to admire what Asylum does I mean, I think that they
Marcus Friedlander:I have a lot of love for them. A lot of love and respect for them.
James Jay Edwards:I think Asylum had Atlantic Rim out before Pacific Rim was out
Marcus Friedlander:Antlantic Rim shot by Jared Cohen or direct directed by Jared Cohen, who is a good friend of mine. We've done like a dozen movies together since, I was actually that was supposed to be the first one I did with him and ended up scheduling didn't work out.
James Jay Edwards:I mean, you you've got to love Asylum. So now what what is it like working on these movies? Because I mean, especially as a DP, is this all green screen stuff? I mean, what's it like working on an asylum set?
Jonathan Correia:Yeah, the turnaround must be insane,
James Jay Edwards:well, you do do like seven movies a year. So of course,
Marcus Friedlander:As we all joke about, we all did terrible things to survive during the pandemic. What I did was make a bunch of 6 day Asylum movies, we did like tenish a year for a couple of years. They are quite hectic, usually five to six days of principle and then one to three days of pickups once they kind of move together and figure out what's actually going on. And it's usually mostly entirely practical. There's just about 75 or so VFX shots budgeted per movie, balloons a little bit and of those 75 Good 20 30-40 are in the script, just big wide shots. You know, here's the planet exploding, here's a missile cut, you know, those types of shots. And I enjoy making these movies because I'm not directing them and I'm just DPing them and it's my job you know, whatever crazy nonsense you had me fine, it's my job to light it and shoot it make it look as good as possible. And I'm very happy to do that. And it was an incredible training course for me, you know, graduate school type of thing because before I started working on Asylum stuff, I knew how to light a face I knew how to shoot a scene, but what I didn't know was how to light a stage and that's really how you shoot these movies as quickly as we shoot them is, we'll light you know they'll give me an hour and a light instead of lighting just a close up I'll light the entire stage every single spot everyone stands will have a backlight and the key and then we'll just shoot for two days straight without really relighting anything. Its like the one I just did one for first island called Arctic Armageddon I think it was and we ended up shooting I think it was 52 pages in two days.
Jonathan Correia:Jesus seat
Marcus Friedlander:because it was just it was the B movie aspect of it. It was everyone standing on the bridge of the Star Trek ship was a submarine but it's benched essentially Star Trek and two cameras on the front you know back and forth and all the masters and then we moved in on the second day and did all the turnarounds and cleaned up all the close ups
Jonathan Correia:See this is why I will never crap on I don't like a even reviewing yield. If you ever listened to the show or anything I don't I'm not harsh because I know like it's gnarly the it I'm addicted to it as he does you know to be on set but like it's always gnarly and so hearing Like, yeah six days shoots you know, and 52 pages in two days like, whoa man that's stressing me out i Sounds like it can get addicting very quickly.
Marcus Friedlander:It there is a certain engaging to it I come from I used to play sports growing up, especially, you know, team sports was always my thing and filmmaking for me as the team sport that I can do as an adult. And Asylum movies. And I say this all the time, a lot more athletics and there's artistry, it's really just about working hard enough to capture as many scenes as you need to capture in a day. And then if you can make it look good and great, that's a bonus in their mind that they don't really care about because the movie is sold and you know, they'll make their money no matter what. But I pride myself on if you look at the reviews on you know like IMDB, like which i Whenever I feel too good about myself. That's what I do. I'll read those reviews just kind of knock me down a peg type of thing. Most reviews are like, this is the worst movie of all time, but it looks kind of good. It's like great. I'm so happy with that.
Jonathan Correia:I got a shout out. Yes,
Marcus Friedlander:yeah, exactly. And we've done some really crazy stuff like the six day one has become kind of a standard. So when I first started doing it was like eight to 10 days, and it was like seven, eight days, and then five to six. You know, they keep kind of just walking in there by the sound and seeing what they can get away with. You know, they're running a business, you know, it's their, their world, they can do whatever they want with.
Jonathan Correia:I've worked on a bunch of Discovery reality shows. It's not exactly it's not dissimilar at all. Exactly.
Marcus Friedlander:But the craziest one we did you kind of mentioned it was 20.0, it was Super Volcano, 20.0 Megaquake, and I think it ended up calling Ice Storm was a trilogy, we shot a block shot altogether. So we did. Basically their plan was you can do one six day movie. What if you do three at the same time? Like that sounds like a terrible idea. In the six days? no in one after another, so
Jonathan Correia:Oh Okay.
Marcus Friedlander:Originally, it was a different director and this line producer ended up doing it who hired. That director ended up dropping out of the project. So Jared Cohen and I got brought in to do that one. And we looked at the scripts, we looked at the scripts weren't even written yet. We looked at the treatments. And we said, this looks like about a 25 day project. And they said, Great, we gave the last team 18 days, but we think it's going to be actually 15 days. Can you do a 15? I said, Absolutely not. This is a 25 Day project, they said great, we'll compromise and call it 18 days, and then we ended up shooting for 22 days. I was like yeah, I mean, yeah. But it was about 16 and a half pages a day for a month for 22 days shooting. And that's three movies. That was a trilogy? Yeah, it was it was either going to be three movies or a TV show. They hadn't kind of really decided and it was like, we'll see what the project looks ends up looking like and that one had, they didn't have the script. And when we started and we just kept shooting really without fully finished scripts. And it plays better as movie that a TV show. Yeah, three movies than a TV show.
James Jay Edwards:Now with the Asylum. Is there a time crunch? Because they they seem to like to rip things off before the thing they're ripping off is even a thing. So yeah, you know, like, like, we're talking about Atlantic Rim. And it was out before Pacific Rim. I feel like as soon as it was announced, is there a writer in there? You know?
Marcus Friedlander:Oh, yeah, they they definitely will see a trailer, they'll see something at Comic Con. Yeah, whenever the first time something pops up, and these movies are not, they're usually not too complicated. So you can probably, you know, you can figure out what the movies actually gonna end up being and find your own version of it pretty quickly. Like the first one I ever did for Asylum was Nazi Overlord, which was the JJ Abrams Overlord movie. And they had no idea what the second half of the movie was. So ours was basically just like Saving Private Ryan, they went to go rescue somebody. And then turns out that person's like a Nazi scientist was zombies attack, you know, they kind of worked in zombies somehow. And that was that was enough. But they they presell all these movies, they usually have a slight like 20, 30, 40 in a year that they know that they're gonna go through. And by the time we start pre production, there's a delivery date. So maybe we can push production a day or two type of thing, if we're, you know, behind, but not much more than that, like, from inception of the idea to delivery of the film is usually about four months or so. Yeah,
Jonathan Correia:they really are like, the modern day, you know, like Canon was doing pre selling the thing ahead of time to certain the market so that you can get funding and then like, yeah, that Corman by the idea of like, how fast and cheap can we make this you know,
Marcus Friedlander:and I have a lot of love for film factories as a concept. You know, the, the pure capitalism aspect of it just always has fascinated me and in a world that there is no guarantee where your next job is going to come from. In the film world. It's very comforting to have something like the Aslyum, you know if the whole world shuts down because of a pandemic. I know, I can continue working. Very, very nice to have and I got a lot of respect for them. For me, they just hit their 25th anniversary, I think it was last year. That's an unbelievable accomplishment in the film industry, no matter what you're doing,
James Jay Edwards:and that's why I say, you know, it's gonna sound like we're making fun of you, but I mean, you respect the Asylum. I mean, they get they get shit done. They and they have no they have no qualms about you know, I mean, they know they're ripping off whatever the newest trend is, and that's kind of become their identity.
Marcus Friedlander:Exactly like and the pre sell images that some some of the pre sell images are a bit absurd, but we have to build the whole movie around them. So I did the Moonfall, they call it Mockbusters by the way, I did the Moonfall Mockbuster, just called Meteor Moon. And they pre sold that movie on the image of a convertible Mustang flying through space with a top down and two astronauts in it going to fix something. So basically, the whole movie is about getting to that shot and we get to it and it's just, it's glorious, and it's cheesy and it's it's as Asylum as Asylum gets. I had a lot of fun crafting a shot like that and putting a sequence like that together.
James Jay Edwards:Correia is a big fan of Moonfall. Great. Yeah, I know. He's not he's not
Jonathan Correia:just you promised me the moon falling, which had was like a decent thing. But like, getting there. I mean, your sequence sounds way cooler. Yeah. To be honest, like,
James Jay Edwards:Meteor Moon did a better job of getting there,
Marcus Friedlander:it's just one of those that like, you think about it for one second, and they're in space. They turn on an internal combustion engine, they put a car in gear, they create friction. I mean, just so many things, but whatever. Nobody cared, that was the space. It's like, it's like the opening that Heavy Metal with like, just to get rid of we'll go. That's awesome. See, that sounds like a dream project. To me. It's like yeah, oh, we have an opportunity to live action heavy metal Fuck yeah, let's do this. That was a six day movie that definitely could have this is this is another part of the Asylum world that's always so difficult is because these things are so regimented, so quick. Usually, casting happens very, very late. Because the scripts are being reworked. They don't necessarily know if they need the role or not. And because actors are cast like a day, or two or three before, they're usually not done with fittings and costumes, by the time we're ready to roll cameras. So on most Asylum movies that I've worked on, the first day of shooting, we don't roll a camera for on a six day movie, we don't really camera for several hours, while we're waiting for some sort of custom approval. This was another case of we were duped ready to do that sequence. And they hadn't approved the space, you know, whatever their space outfits are yet. And so I'm sitting there with the camera looking at my watch, like, we really got to shoot guys. And like, yeah, we're on the phone with people and producers are arguing back and forth. And it's like, this is the time where I wish we had a little bit more pre production. Yeah, because you really, I mean, you can't make Citizen Kane, obviously. But you can make something fun and watchable in six days if everyone's firing and all cylinders, but it really does require and especially the actors, because the dialogue is very technical. It's all sci fi mumbo jumbo type of thing. And I've worked with some actors you hand on the script to go Alright, cool, let's do it. We'll do a five page monologue and then give them to some actors and you can't take the script away from them. They have to read it to get through the scene. You know, it's but if everyone's firing on all cylinders, you really can make something a lot of fun.
Jonathan Correia:That's crazy. Yeah,
James Jay Edwards:sounds like you guys do it on the reg.
Marcus Friedlander:I mean, it really was like once one a month for most of the pandemic and now I'm doing doing a lot of stuff with Tubi but the strike is going on so nothing really happened Tubi and I'm doing a lot of stuff with lifetime again and you know a lot of indie stuff as well but it's nice to know that if the whole world collapses I can continue making Asylum Yeah, Asylum is still gonna as long as there's a movie to mock you know, Asylum will have work for you.
James Jay Edwards:So what is what's on the horizon for you? What's what's next.
Marcus Friedlander:So about to start shooting a film called brutes for neon noir, another Marcel film starting starting tomorrow for the next two weeks and then sometime in October finishing off the rest of hopefully in October and then if the strike finishes I'm going to be back to back films and Mississippi and then Mississippi/Dominican Republic I'm really excited for them to get first time shooting outside the country doing Tubi back to back Tubi action films for like the 2.5 range which much nicer than you know the the Asylum range that I've been working with a lot recently. So if the strike ends I'll be doing that and if the strike doesn't then I'm going back to Kentucky to do back to back Lifetime films there and said so I'm lucky to say I got work either way, but I would definitely like for the strike to be over and I think it would be elsewhere as well.
James Jay Edwards:So how is Lifetime still working through the strike?
Marcus Friedlander:This is all non union stuff. But yeah, so it's a company that I do a lot of Lifetime stuff with normally for like about one and a half times the budget or so the last one we just did. So we did a smaller version of it in Kentucky instead of in LA and they got tax credits and you know, all that good stuff. And it was it was fun movie. David Bonilla was the directors. Great director love working with him was our second movie together. And just be would it be nice if the actors were SAG and everyones getting paid a little bit more? Yeah, that's what it is.
Jonathan Correia:non union world. That's that's where I live Reality TV. So.
James Jay Edwards:All right, cool. Well, thanks for spending this morning with us. Everyone. See That's A Wrap. I believe it's available now. Right it's out Yeah,
Marcus Friedlander:yeah. It's uh, it's on rent rentable and, you know, kind of anywhere you can rent a movie and then I think in the next two weeks or so, it'll be on a avon, you know, the Tubis and those types of worlds. Oh,
James Jay Edwards:great. Cool. All right. So That's A Wrap is the name of the movie. And pretty much any Asylum movie you look at look at look for the cinematographer. And it's probably Marcus.
Marcus Friedlander:Hopefully not for the rest of my life. But
James Jay Edwards:hey, it's a badge of honor. We like I say you it sounds like we're making fun of you. But there's respect there because we love those movies. Yeah,
Marcus Friedlander:well, that's the other thing is I made a bunch of smaller films at the start of my career that nobody ever saw that most of them didn't even get released. And people were like, you say, no, what do you have sensing? You do stuff? Can I see it? No, no, really, because it's not really out anywhere. And then I started doing Asylum stuff. And I'll travel to you know, a shooting kind of a lot of different states now. And like I did a movie in New Mexico and I met the stunt team there and they're all huge Asylum fans, they had my DVDs or something movies, I shot and asked me to sign and I was like, this is a very weird kind of response. But it's nice to we're working in the entertainment business. It's nice to make something that people enjoy watching and for two hours makes their life a little bit better.
James Jay Edwards:Everybody's seen Ape Vs Monster.
Marcus Friedlander:Too many people have seen Ape Vs Monster.
Jonathan Correia:It's always interesting. Like I've worked with like, you know, big show runners or something on like something, you know, primetime show and they'll see my Monster Squad Show and be like, Oh, Monster Squad. Like just like chatting about Monster Squad. It's like, you work on like, much bigger things. What are you you should be stoked on Monster Squad. So like, everyone's a fan of everything, man. Yeah, that's it's only the people that like, want to have an ego about stuff or go. You work on. So it's something you know, and it's not one thing. It's another so like me. Exactly.
Marcus Friedlander:And at the end of the day, we all got bills to pay. This is you know, we'd all just be artists making just exactly the movies we want. But yeah, it's expensive.
Jonathan Correia:Yay. So long as rents getting paid and people are treated well like
Marcus Friedlander:and and no overtime. Oh, that's the other thing I just want to mention real quick. One of the other things I love about Asylum, there's super anti overtime, like even 15 minutes of overtime is too much for them. We shoot 12 hours as soon as we're done, line producer turns the generator off, get off set Everybody go home type of thing. And if they were the type of people who said we're doing movies in six days, but you have to work 18 hours they would not have made you know
Jonathan Correia:that's that's even more impressive. Yeah, six day shoots and you and your no OT? that's yeah, that's that's respectful.
James Jay Edwards:It's a factory that's great. The factory where can where can people find you on the socials to keep up with what you got coming up.
Marcus Friedlander:So my DP Instagram page is@Marcus_Friedlander_DOP. It's a visual resume for me. So I actually don't post a lot of pictures. Just kind of project by project by project. Problem is it takes like, two weeks to a month to do each one of these takes so so long so when I'm not shooting, that's what I'm working on. But I need to like not work for several months kind of catch up with where I'm at, which I guess champagne problem to have. But it posts lots of stories and stuff. Lots of things when I'm on set, you know, definitely feel free to follow me there and my website as well. MarcusFriedlanderdop.com For my real resume and all that good stuff.
James Jay Edwards:All right, cool. Yeah. Well, thank you for joining us and everybody see That's a Wrap. For us. Our theme song is by Restless Spirits. So go give them a listen. And our artwork is by Chris Fisher. So go give him a like and you can find us on any of the socials under @EyeOnHorror or at ihorror.com which is the website we call home. Thanks Marcus Friedlander for spending the morning with us and talking about Thats a Wrap and everybody see That's a Wrap. And we will see you in a couple of weeks. So for me James Jay Edwards.
Jacob Davidson:I'm Jacob Davison.
Jonathan Correia:I'm Jonathan Correia
Marcus Friedlander:and I'm Marcus Freeman,
Jonathan Correia:Keep your Eye On Horror.