The DMF With Justin Younts

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to film composers: Michelle Birsky and Kevin Henthorn. They just scored the new Netflix series' Terminator: Zero. I ask questions this episode. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. Welcome to the DMF. I'm Justin Younts. In this episode, we dive deep into the world of music composition, specifically focusing on our favorite scores and the creative processes behind them. One of my personal highlights was the song 'It'll Never Be the Same,' which felt incredibly special to us as we created it in a void, making it uniquely ours. I also share my excitement about the first cue in episode three, 'Emergence,' where I explored the character of the Terminator as a serial killer. This was a thrilling experience that allowed me to stretch my creativity and dive into the moodiness of the score. As we discuss our favorite scores, I mention how Mizaki's theme stood out for its dynamic range and the joy of recording it with a choir, reminiscent of my acapella days in college. We also touch on the potential for future seasons and how we can evolve our character themes, tailoring them to fit the scenes more effectively. Throughout our conversation, we reflect on the works of renowned composers like Trent Reznor, Atticus Ross, and Johan Johansson, sharing our admiration for their unique styles. I express my desire to explore more indie projects, moving away from the sci-fi genre that often dominates our work. We also discuss the importance of having a routine, both in the morning and at night, to foster creativity and maintain balance in our lives. As we wrap up, I encourage viewers to check out our scores on Spotify, including 'Terminator Zero' and 'Mother Android.' This episode is a celebration of music, creativity, and the joy of collaboration. Thank you for joining us, and don't forget to like, share, and subscribe for more insights into the world of music composition. 00:00:00 - Introduction 00:00:04 - Favorite Songs and Cues 00:01:46 - Future Plans for Another Season 00:02:42 - Favorite Scores 00:05:18 - Daily Routines and Meditation 00:07:23 - Current Reading and Listening 00:09:33 - Current Watching 00:12:31 - Contact Information

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to film composers: Michelle Birsky and Kevin Henthorn. They just scored the new Netflix series' Terminator: Zero. We talk spoilers and specific themes. Spoilers are talked about in this episode. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. Welcome to the DMF. I'm Justin Younts. In this video, I talk about Riker's Choice and how it has evolved over time. Initially, I approached it with a focus on the character of Riker, who is a deep and beautiful character despite her youth and the grief she carries. Throughout the season, Riker undergoes a significant transformation, and I wanted to capture that journey musically. The vocal melody remains consistent, but the emotional weight shifts from longing and grief to determination and survival. I loved the idea of starting her theme acapella, which allowed for a powerful introduction to her character. As we progressed, we incorporated various elements, including a unique synth that adds an Eastern sound, enhancing the emotional depth of her arc. Riker's theme is intricately tied to her relationship with her mother, which adds layers to her character. The music reflects her struggles and growth, especially in moments where she confronts her past. I remember listening to the music and feeling overwhelmed with emotion, particularly during scenes that evoke memories of her mother. The creative process involved collaboration and exploration, where we drew inspiration from various films and themes to shape the sound of the series. One of the most challenging aspects was crafting the score for pivotal scenes, such as the police station moment, where we aimed to create a heartbeat-like rhythm that matched the intensity of the action. This project allowed us to take our time, explore different ideas, and ultimately create a score that resonates with the audience. The support from the team, especially from Mattson, was invaluable, as it encouraged us to be bold and innovative in our approach. I believe that the time and effort invested in this project will ensure that it stands the test of time, as it captures the heart and soul of the story. Thank you for joining me on this journey, and please like, share, and subscribe for more insights into the music behind the series. 00:00:00 - Introduction 00:00:04 - Riker's Choice Theme 00:01:24 - Synth and Riker's Character 00:02:48 - Mother Theme 00:02:48 - Misaki's Theme 00:03:55 - Influence from Films 00:08:36 - Police Station Theme 00:10:57 - Reusing Themes 00:12:39 - Working with Animatics 00:14:22 - Conclusion

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to film composers: Michelle Birsky and Kevin Henthorn. They just scored the new Netflix series' Terminator: Zero. We talk spoilers and creating themes for characters. Spoilers are talked about in this episode. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. Welcome to the DMF. I'm Justin Younts. This is part two. Now you guys did the scoring process in Air Studios, right? Just for the choir. Just for the choir. Yeah, so we flew out to London to record there. That was maybe one of the best experiences I think we've had recording. It was very, very special and cool. But yeah, it was just a small choir. And so everything had already been written. So it's just about going in there, getting rid of our MIDI choir, any of our temp choir, making it sound more human. Other than that, everything was done here. How did you guys go about choosing the themes for the characters? How did that process go? And was that something that you could really only... Before you got hired, were you... Because you did the first episode and that was kind of like your test. And I was like, yeah, you guys are hired. But were you privy at that point of kind of where the story was going so that you could know? Madsen gave us... We had access to everything. We were very close with Madsen, so we were able to get in from that side. So when we started doing character work early on, pretty much around when we were scoring the first episode, we knew where all the characters were going. So we had a very clear picture of their arc, which helped a lot. OK. All right. So I think now we're going to get into spoilers here. So this is going to be hard to talk about the music without talking about spoilers. So let's let's do it. Doing spoilers now. Click off if you don't want to hear any more. I love the idea in this story, you know, that we find out at the end that Aiko is really Malcolm Lee's mother and that the Oracle sends back his mother to save him. I just thought that was such a great twist. It didn't come out of nowhere. You can tell they protected the twist, you know, when they're on the bridge, you know, never sees her. Was that something that you got when you guys... Did that influence you guys when you knew that was kind of where it was going or is that something you guys found later? I think it influenced us a little bit. We the two themes for, I guess, like Malcolm's theme and Aiko's theme do have some similarities. And I think that was intentional. We never wanted it to be blatant, but I think having just like a it's a little bit similar. Like you hear his stuff and then you hear hers, but hers is in the future and dressed completely differently. But, yeah, there was some similarities between the two. And I think we used we knew it was going to happen. So it was we started thinking about that in the beginning. And then there was a really small, like vocal line, a female vocal line over. I forget which episode it is. I think it's episode it's when Malcolm's talking about his origins, his origin story. And, you know, during the birth moment, we have this vocal sample come in. Then again, we have it come in when he's talking to Aiko in episode eight as all this action is coming around. And then we have it again. Can I do big spoilers? Yeah, yeah. We have this vocal line that's kind of threaded through and it's subtle, but it's like we were very aware of when to thread it in. Was that something when you guys were looking at the script? We're like, oh, wow, this is really interesting where they're where they're going with this. Yeah. I mean, it was pretty fun. And there were other characters, too, that like really. But like those are spoils for other seasons. So I can't really. A lot of the kids, they have they're just starting their arc, you know. But it was really helpful knowing the clear picture of everything so that we could really create themes that would last. The theme that I feel like kind of defines the show is it will never be the same. That's kind of like we keep hearing that kind of this is that you guys talked about how you wanted to play it. If you can play it simply. I'm paraphrasing exactly what you guys said in the interview. But you said play it simply or sing it simply like just so that's something you just came up with on the on the on the piano or something. And then just for like, we'll just build on that. Yeah, well, it took time to figure out how I mean, so that was an early demo. So that was like, it'll never be the same was was from the demos way back when. So that was probably the biggest one that stuck and now and run. Yeah, the opening sequence of episode one. But Madsen kept being like, if I had it my way, it'll never be the same would be the theme of the show. And we were just like, it's not like, it's not it's really sad. It's like all everything about it feels like you're just kind of like, falling back. And we were struggling to find a way to create a theme for that ending of episode one. We had like, so many different ideas, it was a week was horrible. And then we were toward the end of it. And again, having that just ring in our head that Madsen was like, if this could just be it. We took it'll never be the same, put the chords on guitar. And I feel like it's a good songwriting trick. Anytime I get stuck with songs, or you get too caught up with production, it's like, can you play it on guitar and sing it? And does it hold up? And if it doesn't, then maybe you got too many tricks going. And you know, you're relying on production too much, like, is it solid or not? So instead of, you know, playing it on piano, I just started palm muting the chords. And then we just started singing. And naturally, we sang it in a different way. It's like it's it's very similar melody lines, but it's swung in a more anthemic driving way. It's less sad. And then that just like opened it up. They're like, Oh, right, you can just play it'll never be the same like this. And then it feels like it has more agency and it feels like a theme. It kind of comes back in the end of the world. And underground. Those are the two times where I like really noticed that being replayed. And it's laced throughout as well. But like, those are the most distinctive moments specifically into the world. That's like when we were like, okay, now let's play it as sad as possible. That's an example of just like, it was completely low hanging fruit for so long, but it took us a while to see it. And then see it that just everything unlocks. Because with Run, which is, I believe that's the first song we hear that, you know, when she's, you know, trying to get away from the, you know, the Terminator, and it's kind of, you know, gets us all going. Like right into it, you got that little distorted voice that that comes in. Was that the voice you guys are talking about with the... It almost signifies that, you know, the Terminator is coming. Is that kind of what you guys were doing with that theme? Yeah. And specifically with the beginning of Run, we wanted to take acoustic instruments and distort them to hell. So I think a big one of that was violin samples and make them sound robotic. And we kind of like made them into like a scary melody line. And it wasn't... I think the piece of Run that we wrote to the demo, like was the demo, was once things pick up. Once you get the four on the floor action part, we had written that as a demo. So it was about like, we had that piece, but then we had to kind of build it a bit because it was like... And the scene was super long. Five or six minutes. So it was a lot more to do. Yeah, because you talked in previous interviews that you didn't want the Terminator to have like its own theme. You just kind of wanted like a sound cue for when he's coming. And I think for that, it was like this like two note bass line, like duh, duh, was one of the... There's a few different signifiers for like he's coming. And then there are the metal hits that we use whenever he's sort of like attacking. And then there's like a three note horn line that we use a few times when he's like really in action. But we wanted to keep it because he is not human. And the other characters, for the most part, are at least have human tendencies. Like he didn't... He didn't... He didn't deserve a human theme because he said he needed a, you know, a more robotic. Very atonal. Atonal. Yeah. But I like that, that you guys came in for that. Because the audience might not know that, you know, but subconsciously, they'll pick up on the fact that, you know, that that's happening there. One of the themes I really like that I don't think it's talked enough about is the traveling in time theme, where you've just got like this, it almost sounds like a bell or taking like a fork and you're just hearing this. Oh, there it is. Is this what it is? That's what it is. Top of a candle holder. I thought something like that. Yeah, it's like, and the other also have this bell that we use. These are just like tongue bells. Wow. So a lot of that. Yeah. A lot of sampling those running them through like a crystallizer. Yeah, found twice crystallizer, which made it much more swirly and washed out. Yeah, a great reference that Madsen brought up was the score to brick. I don't know if you remember that. Yeah, yeah, I know. Love that. And it has a ton of melodic bells. And that was a big inspiration. It does. And it was like, this felt like a moment where we could really do something different. Because a lot of the score, it can be really moody. It can feel like it's everything's really weighing on you. And this just kind of lifts us up. And it, it became a really good sonic palette for any time they're talking about time travel. There are ot

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to film composers: Michelle Birsky and Kevin Henthorn. They just scored the new Netflix series' Terminator: Zero. We talk about how they got started and beginning to score this daunting challenge of a legacy series. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. Welcome to DMF. I'm Justin Younts. Today, I have the pleasure of speaking with duo composers Kevin Henthorne and Michelle Bursky, who recently scored the highly anticipated Terminator Zero soundtrack. Their journey into film scoring is fascinating, as both have unique backgrounds in music and film. Kevin grew up in Connecticut and has been obsessed with film for most of his life, while Michelle hails from Freeport, Maine, and initially pursued songwriting before diving into scoring indie films. Together, they have crafted a sound that is both innovative and deeply rooted in their experiences. In our conversation, we explore their creative process, particularly how they approached the score for Terminator Zero. They share insights into their scrappy recording methods during the pandemic, where they utilized everyday objects to create unique sounds. This resourcefulness not only shaped the score but also instilled a newfound confidence in their abilities as composers. The duo discusses their inspirations, including the works of Johan Johansson and the emotional depth they aimed to achieve in their music. As we delve deeper, Kevin and Michelle reveal how they drew from the iconic scores of the original Terminator films while also striving to create something fresh and modern. They emphasize the importance of mood and atmosphere in their compositions, aiming to evoke feelings of isolation and foreboding. Their dedication to crafting a unique sound for Terminator Zero is evident, and they express excitement about the creative freedom they experienced during the project. Join us as we uncover the magic behind the music of Terminator Zero and learn how Kevin and Michelle's passion for film and music has led them to this remarkable opportunity. Whether you're a fan of the franchise or simply curious about the art of film scoring, this conversation is sure to inspire and captivate. Don't forget to like, share, and subscribe for more insights into the world of film and music! 00:00:00 - Introduction 00:00:05 - Guest Introduction 00:00:28 - Guests' Background 00:00:49 - Guests' Interest in Film Scoring 00:02:01 - Guests' Musical Beginnings 00:03:52 - Discussion on Mother Android Score 00:07:54 - Discussion on Terminator Zero Score 00:13:19 - Influences and Inspiration 00:16:34 - Discussion on Terminator Two Score 00:17:03 - Incorporation of Real Instruments 00:17:35 - Approach to Writing the Score 00:17:53 - Reinvention of the Terminator Theme 00:18:14 - Creation of New Themes 00:18:34 - Conclusion On a side note, I apologize for the squeaky chair. Follow Michelle on Instagram: https://www.instagram.com/michellebirsky/ Follow Kevin on Instagram: https://www.instagram.com/kevinolkenhenthorn/ Follow Michelle on X: https://x.com/michellebirsky Follow Kevin on X: https://x.com/kevin_henthorn

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to Paul Todisco. He is a director and we talk about his directing and everything in between. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. I discovered my passion for filmmaking with Paul Tudisco, a talented writer, director, and producer. In our conversation, Paul shares his journey from growing up in the small suburb of North Syracuse, New York, to becoming a filmmaker with a unique voice. He reflects on the isolation he felt growing up in the 80s, a time before the internet, and how that experience shaped his storytelling. Paul reveals how his love for storytelling began at a young age, inspired by authors like Stephen King and filmmakers like Steven Spielberg. He discusses the importance of supportive parents and how they nurtured his artistic inclinations. Paul also dives into his creative process, emphasizing the significance of rehearsal and collaboration with actors to achieve authentic performances. He shares insights into his films, including 'Freak Talks About Sex' and 'One Day Like Rain,' highlighting the themes of connection, isolation, and the human experience. Throughout our conversation, Paul emphasizes the importance of staying true to one's artistic vision and the challenges of navigating the film industry. His passion for storytelling and dedication to his craft shine through, making this discussion a must-listen for aspiring filmmakers and anyone interested in the art of cinema. 00:00:00 - Introduction and Guest Introduction 00:00:18 - Paul's Background and Upbringing 00:01:32 - Paul's Early Interest in Filmmaking 00:02:32 - Family Support and Early Arts Exposure 00:03:28 - Paul's Musical Journey 00:04:29 - Influence of Stephen King and Horror Genre 00:06:12 - Paul's Supernatural Experience 00:08:27 - Inspirational Films and Artists 00:11:42 - Unexpected Interruption 00:12:19 - Influence of Art on Filmmaking 00:14:02 - Moving to California and University Experience 00:15:25 - Influence of David Lynch and His Films 00:17:13 - Discussion on One Day Like Rainbows 00:20:21 - Experience at University of Southern California 00:23:16 - Reflections on Television and Its Evolution 00:27:10 - Making of Freak Talks About Sex 00:30:44 - Discussion on Dialogue and Authenticity 00:31:45 - Shooting in the Mall and Personal Experiences 00:32:54 - Character Development and Symbolism 00:35:25 - Challenges and Compromises in Film Making 00:42:06 - Discussion on Film Titles and Distribution 00:44:54 - Introduction to One Day Like Rain 00:46:50 - Shooting Locations and Independent Financing 00:48:12 - Transition to Digital Filming 00:50:08 - Discussion on One Day Like Rain's Impact and Interpretation 00:50:40 - Reflection on Character Development 00:53:20 - Filmmaking Philosophy and Independent Cinema 00:55:47 - Discussion on Realistic Dialogue 00:58:41 - One Day Like Rain's Reception 00:59:47 - Directing Style and Emphasis on Visuals 01:02:08 - Discussion on Audience Influence and Authenticity 01:04:27 - Reflection on Star Wars Series 01:07:46 - Critique on Rise of Skywalker 01:10:06 - Discussion on Film Marketing and Audience Expectations 01:12:06 - Directing Non-actors in One Day Like Rain 01:13:39 - Importance of Rehearsal and Detailed Planning 01:15:00 - Writing Process and Dialogue Creation 01:17:58 - Writing Process and Drafts 01:18:29 - Influence of Personal Research and USC on Writing Style 01:18:39 - Role of Reading and Literature in Writing 01:20:56 - Experience with Film Editing 01:23:33 - New Film Project and Its Differences 01:25:58 - Discussion on A Clockwork Orange 01:26:08 - Theatre Experience and Audience Behavior 01:29:31 - Importance of Patience and Immersion in Film Watching 01:33:36 - Discussion on Film Appreciation and Analysis 01:34:58 - Concerns About New Filmmakers and Authenticity 01:35:54 - Reflection on Devil's Whisper 01:37:19 - Discussion on Film Cuts and Authentic Versions 01:39:46 - Appreciation of Sergio Leone's Work 01:42:24 - Discussion on A Clockwork Orange 01:44:09 - Discussion on Empathy for Antagonistic Characters 01:44:36 - Debate on Perception and Meaning 01:46:37 - Discussion on Conspiracy Theories 01:48:46 - Discussion on Fear and Manipulation 01:49:30 - The Importance of Learning and Listening 01:50:28 - Discussion on Meditation and Its Benefits 01:51:22 - Critical Thinking and Education 01:57:55 - Exploring Personal Meditation Practice 02:00:19 - Discussion on Reading and Its Influence 02:04:17 - Discussion on Personal Music Preferences 02:05:35 - Discussion on Film Scores 02:06:23 - Discussion on Current and Classic Films 02:12:50 - Reflection on Ingmar Bergman's Work 02:16:25 - Conclusion and Contact Information

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to Paul Todisco. He is a director and we are finishing my Inside The Actor's Studio questions. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. What are you listening to right now? This question opens the door to a world of musical exploration and personal connection. In this video, I, Justin Yontz, share my deep love for music, highlighting some of my all-time favorite composers and pieces that have profoundly impacted my life. From the ethereal sounds of Kate Bush to the haunting beauty of Wagner's 'Tristan and Isolde,' I delve into the emotional landscapes these works create. Music is not just a backdrop; it’s a transformative experience that can evoke tears and joy alike. I also reflect on my passion for film scores, reminiscing about the days when John Williams and Jerry Goldsmith were the soundtrack to my youth. Their compositions shaped my understanding of storytelling through music. As I discuss my cinematic tastes, I reveal my admiration for classic films and directors like Robert Altman, Ingmar Bergman, and the raw charm of 70s grindhouse cinema. Each film and score I mention holds a special place in my heart, representing a unique blend of artistry and emotion. I invite you to join me on this journey of discovery, where we explore the music and films that resonate with our souls. Whether you’re a seasoned aficionado or just beginning to explore, there’s something here for everyone. Let’s celebrate the power of music and film together, and perhaps you’ll find your next favorite piece or film in the process. 00:00:00 - Introduction 00:00:04 - Music Preferences 00:01:06 - Film Scores 00:01:52 - Current Watchlist 00:03:08 - Appreciation for Low Budget Films 00:05:58 - Discussion on Artistic Struggle 00:07:00 - More on Current Watchlist 00:08:20 - Discussion on Ingmar Bergman's Films 00:09:30 - Discussion on Paul's Films 00:11:53 - Contact Information

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to Paul Todisco. He is a director and we are talking meditation and Inside The Actor's Studio questions. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. I discovered the secret to my morning routine that has transformed my life. Every day, I start with a little cleaning and my morning ablutions, but the real game-changer is my meditation practice. Just 15 minutes of meditation can change the course of my day for the better. It’s not just a routine; it’s a vital tool that has helped me complete my latest script. I believe that meditation is essential for anyone, especially writers and students, as it fosters creativity and helps manage stress. In a world where external distractions are rampant, we often seek happiness in temporary fixes—food, music, shopping—but true happiness lies within. I encourage everyone to explore their inner selves and find that source of joy. It’s about aligning with your true self and understanding your mission in life. When you’re in tune with yourself, life becomes magical. I also believe that meditation can trigger critical thinking. When you go inward, revelations about reality become clear, and you start to question the status quo. It’s not about blindly following teachings; it’s about finding what resonates with you. Everyone has the answers inside them, and it’s crucial to tap into that wisdom. As for my nighttime routine, it varies depending on my life phase. Sometimes I’m deep into writing, while other times I’m just enjoying films or reading. I’ve found that reading great literature can also enhance critical thinking and self-awareness. I encourage everyone to read profound works that inspire thought and reflection. Ultimately, I advocate for shutting off external media and distractions to focus on what truly matters. Retreating into nature or practicing silence can help you reconnect with yourself. It’s a lifelong journey of self-discovery, and I believe everyone can benefit from it. So, take the time to explore your inner universe and unlock your true potential. 00:00:04 - Introduction 00:00:12 - Morning Routine and Meditation 00:00:50 - The Power of Meditation and Self-Discovery 00:03:39 - Nighttime Routine 00:04:41 - Meditation Practice 00:07:04 - Reading Habits 00:09:59 - Importance of Solitude and Disconnecting

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to Paul Todisco. He is a director and we are talking how to view films and unique antagonists." As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. Welcome to DMF. I'm Justin Younts. This is part 8. Brilliance of like the Sopranos. This person is like probably one of the worst people ever. But we empathize with him because we've seen his story. Yes. His mother. Everything. Yes. Yes. You know, this is somebody who wouldn't think twice killing somebody if it means it saves his hide. But you would probably still have a conversation, you know, you'd be able to have a conversation. I feel like, though, our society can't see past the pleasantries of somebody and they just go, oh, well, he seems like a they seem like a nice person. They must be here. Take my money here. I'll vote for you. I feel like I feel like the dumbing down of society in some ways. And I tell you, this is the destruction of meaning. And if you destroy meaning what anything means, if this doesn't mean any more than this, then everybody's at this this level and you can just say whatever you want. This who cares? It doesn't matter. Meaning more than like it. Give me an example like an example of, you know. I mean, just look at our political system today. Sure. That's that's what I was thinking. Like, yes, we are. We are. Everybody just thinks, well, so and so said this. They can't tell the difference between one thing that that weighs more and one thing that doesn't weigh. Right. Some things are far more significant and has to be treated with greater weight than something else, a minor thing. And not only that, I think our people's perceptions have been more and more closed off. Well, they're not reading. They're not. They can't read. They're not seeing films and they can't read people as well because they can't read into things. And we have the capability of we have perceptions that none of us even tap into. I mean, it goes and it's infinite. I think it's absolutely infinite, but it's sad. Yes. And that's dangerous because you can be manipulated unless very easily, unless you can sense that, oh, there's something inauthentic here. There's something agenda driven here. There's something going to let your subtle senses out there. And and then when you talk to people, you kind of feel like a minority. They don't understand. They don't see it. They don't see what you see. Yeah, they're completely closed off or even they're not even capable of seeing the possibility of it. Right. It's it's my it's my biggest fear with, you know, I talk to conspiracy theorists. They're like, everything's a conspiracy, this and that. But it's like it's all very circumstantial. And in some ways they want it to be true. You know, otherwise, why are you spending time with the desire for that? The desire for it to be true is overtaking their better perceptive judgment. And I think that's a dangerous place to be in because now we're going on. Well, this is how I feel. Well, you know, there are people that feel the earth is flat. But, you know, and if you give them science and you tell them, well, this is why this is that. Well, how do you know the science isn't corrupted? Right. Yeah. Like, what do you do? How do you engage? There is like conspiracies don't really work like. Like 95 percent of every single person in this in the on earth, whatever is in on it. That's not how they work. It's just that's just not true. It's always everything's a small minority. A real conspiracy is usually it's going to be a small minority of some people that are really trying to do something bad. But if it's like it's like every single scientist on earth is in on it. It's like they just don't work that way. It's just not true. There's not that many dishonest, evil, corrupted, horrific people. Most people are just trying to do their jobs, do them well. And if they say something, it's based on real data. You know, if it's if it's an overwhelming percentage of people that are saying this is this is like, you know, the people that want kind of want, you know, a civil war in some ways. And it's just like they're they're seeing they want this. Yeah, they want this bloodshed, you know, complete, you know, rebirth moment. And they don't care how it comes as long as it comes in their lifetime. And they're just right. They're not looking at facts. They're not looking at they're just looking at how they feel based off of something. And I feel there's a danger because I think the media is more in tune to how to manipulate with that. Oh, yeah. How to get those people and manipulate them because they have their attuned to danger. And maybe they're afraid. There's a lot of fear here. This fear comes from fear, fear of change, fear of something different, fear of something that's dangerous.Yeah, the media can definitely manipulate those people pretty easily. And like you said, there's also a desire for something big to happen so that life isn't so monotonous. Kind of like when I was a little boy in Syracuse, I'm like, where's the alien that's going to come down? Or where's the ghost going to appear? But that desire in an adult, in a rational adult, can be so strong that they are clouded to the truth. That's right. I think since they're not reading, since they're not learning, is it now stunted growth in the mind? Where like, because now they're consumed with this? I think it's a combination. I think you need the background of learning, for sure. The more you read and expose yourself to things, it's not negative, the better off you're going to be. But you have to support that with listening from the heart. From the subtle senses. You have to understand that feelings and mixed with knowledge is the key to enlightenment, right? I mean, it's not just one, it's not just the other. You have to both have to be in concert. Mind and spirit, right? Yeah. Yeah. I don't know. That's the thing that kind of worries me about kind of where we're going. It's just like, I don't know. The only thing I see is meditation can maybe mitigate some of these results. I agree. That's the thing that really, really works. But unfortunately, I think it's for a lot of people, depending on whatever their brain chemistry is, too, which they may have been born with. It's so challenging that they may never, ever get all the benefits from it. You know, they give up too early or it's going to take them a little longer. I don't know. I think we're in too desperate a situation as a world at this point. Everyone should meditate, for sure. But to expect that that's going to be the only thing that will save us because I don't think it's, I think we're too late in the game. We can't just hope that a lot of people are just never going to do it. Also, most people. Well, that's the question I would raise is, can you teach someone to critically think? Or is that something that is innate in you? Yeah, it can be taught. It can be. If you open the right space for them at a young enough age, starting like at five, you know, five, six, seven, eight, that education is the kind of education that also leaves them open to be themselves, express themselves, find their own. And the question, you know, in simple ways, you can encourage a five-year-old to question. In more complex ways, you can encourage a 13-year-old to question. So I think the old modes of the educational system were, which was all just the way I went through, which was all just discipline. It's just like, get in your seat, be quiet, go through, you know, you got to hit, don't be on time, and then leave. And it's not, it's not about critical thinking. But I think there's a lot of interesting schools now that yeah, this started. Do you think you can teach an adult to critically think if they have never critically think? I'm sure it's a case by case basis, right? It depends on the person, they have to be open and receptive. I think it comes around to everyone at some point in their lives where they're hit with a little bit more of like, wow, maybe things are not in all the way I thought they were in my limited way. But you can choose to ignore that if it's too frightening some people, and just let it slip by. But I think, I think it's there for everyone. People choose not to be, you know, we were talking about that raw experience in a movie theater. And people don't want that because it's a little too scary. Yes, yes. It's too uncomfortable. It's not a space that they're, it's not their comfort zone. I love that. Oh my God, take me out of my comfort zone, please. That's what I want a movie to do. Give me give me give me some. Yeah. Please like, share and subscribe. Thank you for watching. 00:00:00 - Introduction 00:00:06 - Society's Perception and Empathy 00:00:51 - Destruction of Meaning 00:01:14 - Political System and Perception 00:02:27 - Media Manipulation and Fear 00:02:33 - Conspiracy Theories and Perception 00:05:26 - Learning, Enlightenment, and Meditation 00:07:19 - Critical Thinking and Education 00:09:14 - Conclusion

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to Paul Todisco. He is a director and we are talking appreciation of film." As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. You won't believe how movies are disrespected today. In this video, I, Justin Younts, delve into the frustrating experience of watching films in theaters where audiences seem to lack the respect and attention that cinema deserves. I share my thoughts on how the modern movie-going experience has deteriorated, with distractions like talking, phone usage, and constant noise taking away from the immersive experience that films should provide. For me, the theater is akin to a church, a sacred space where one should be able to fully engage with the art on screen. I reminisce about the days when patience and attention were valued, and how that has changed with the rise of quick entertainment and shorter attention spans. I express my desire for a return to a time when films were appreciated for their depth and artistry, rather than being seen as mere mindless entertainment. I also discuss the importance of having conversations about films, dissecting them, and exploring the emotions they evoke. It's not just about whether a movie is 'good' or 'bad'; it's about understanding the nuances and the feelings that arise from each scene. I fear that many new filmmakers are losing sight of this, often replicating styles of past masters without finding their own unique voice. The richness of cinema is being overlooked, and I hope to inspire a deeper appreciation for the art form. Join me as I explore these themes and share my passion for film in a world that desperately needs to reconnect with the magic of the movies. 00:00:00 - Introduction 00:00:15 - Experience of Watching Movies 00:01:00 - Disrespect in Theaters 00:02:31 - Distractions in Theaters 00:03:04 - Lack of Engagement in Movies 00:03:13 - Importance of Patience 00:04:09 - Experience of Watching a Masterpiece 00:04:27 - Lack of Detailed Conversation about Movies 00:05:51 - Finding Authenticity in Filmmaking 00:09:34 - Possibility of Releasing Director's Cut 00:11:22 - Respect for Proven Filmmakers 00:11:49 - Inspiration from Past Filmmakers 00:12:43 - Access to Old Films and Art 00:13:16 - Discussion on 'I Was Cured All Right' 00:15:02 - Conclusion

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to Paul Todisco. He is a director and we are talking his writing, editing, and "A Clockwork Orange." As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. Welcome to the DMF. I'm Justin Younts. This is part six. So let's talk a little bit about your writing process. In this video, I dive deep into my unique writing process, particularly how I approach character dialogue and storytelling. With my film 'One Day Like Rain,' I embraced a free-flowing style, allowing my thoughts and ideas to pour onto the page without the constraints of conventional dialogue. This method contrasts sharply with my work on horror films for Indonesia, where strict storytelling structures are essential. I discuss how the naturalism in dialogue often comes from unexpected comments, making the characters feel more real and relatable. I also share my preference for a quiet, distraction-free writing environment, emphasizing the importance of silence in capturing the rhythm and flow of dialogue. Each project I undertake has its own unique demands, and I recount experiences where I've gone through numerous drafts versus those where the script came together with minimal revisions. Editing is another crucial aspect of filmmaking that I love, and I highlight the collaborative process with my editor, Steven Sprung, who has worked on notable projects like 'Arrested Development' and 'Star Trek 3.' His insights and suggestions have significantly shaped my films, proving that being open to collaboration can lead to remarkable results. As I discuss my upcoming film, I reveal how it builds on the themes of 'One Day Like Rain' while incorporating more dialogue and clear explanations of complex concepts. The film explores the evolution of humanity and consciousness, presenting an apocalyptic yet positive vision for the future. I invite you to join me on this journey of creativity and discovery, as we explore the art of storytelling together. 00:00:00 - Introduction 00:00:07 - Writing Process 00:02:46 - Writing Environment 00:03:35 - Writing Style and Drafting 00:04:27 - Influence on Writing Style 00:05:59 - Editing Process 00:08:37 - New Film 00:11:12 - Discussion on 'A Clockwork Orange' 00:14:17 - Conclusion

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to Paul Todisco. He is a director and we are talking his visual style, Star Wars, and directing actors. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. I wanted to create a visually poetic film that tells a story through imagery. In my latest project, I emphasized the importance of visuals in filmmaking, drawing inspiration from great directors like Antonioni. I believe that imagery can convey deeper meanings and emotions, often more effectively than dialogue. This approach allows the audience to connect with the film on a more profound level, evoking archetypes and feelings that resonate with their own experiences. However, I also recognize the challenges that come with this method. Many filmmakers make the mistake of trying to appeal to everyone, which can dilute the authenticity of the film. It's crucial to stay true to your vision and not compromise for the sake of a broader audience. This is a lesson I learned through my experiences in the industry, especially when observing films that feel forced or inauthentic. The recent trend of focus-grouping films can lead to a loss of artistic integrity, resulting in movies that lack depth and originality. I strive to avoid this pitfall by ensuring that every element of my film serves a purpose and contributes to the overall narrative. My process involves extensive planning and rehearsal, allowing me to work closely with both trained actors and non-actors to achieve honest performances. By dedicating time to rehearsals, we can explore the characters and their arcs, ensuring that the final product is both engaging and meaningful. I believe that the essence of filmmaking lies in the ability to create a genuine connection with the audience, and that starts with a strong vision and commitment to the craft. Join me as I share my insights and experiences in the world of filmmaking, and learn how you too can create stunning visuals that resonate with viewers. 00:00:00 - Introduction 00:00:06 - Discussion on Directing and Visual Storytelling 00:01:57 - The Importance of Authenticity in Filmmaking 00:04:24 - Critique of 'Rise of Skywalker' 00:10:27 - Discussion on Audience Expectations and Filmmaking 00:12:26 - Directing Non-Actors in 'One Day Like Rain' 00:13:59 - The Importance of Planning and Rehearsal in Filmmaking

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to Paul Todisco. He is a director and we are talking his film: One Day Like Rain which has a young Jesse Eisenberg. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. Welcome to the DMF. I'm Justin Younts. In this video, I delve into the concept of 'One Day Like Rain' and how my fascination with mysticism shaped its creation. Ever since my mid-20s, I have been drawn to the mystical aspects of life, exploring various religious texts and mystical literature. This journey led me to read works by renowned authors like Sri Aurobindo, Ken Wilber, and William Irwin Thompson, who beautifully intertwine history, science, and spirituality. My obsession with these themes naturally flowed into my creative process, culminating in the film 'One Day Like Rain.' The film was shot in Southern California, with key scenes filmed in Fillmore and downtown LA. I financed the project independently, with the support of friends, and managed to create a compelling narrative on a budget significantly lower than my previous film, 'Freak Talks About Sex.' The experience of shooting on film, particularly Super 16, added a unique aesthetic that I believe enhances the storytelling. Throughout the video, I discuss the meditative quality of the film and how it aims to evoke a deeper emotional response from the audience. I share insights into the character development and the importance of authenticity in dialogue, emphasizing that the characters reflect real-life experiences and emotions. The film invites viewers to engage with its themes on a personal level, encouraging them to explore their own understanding of love, existence, and the human experience. I also touch on the challenges of creating an independent film that defies conventional storytelling, aiming instead to offer a unique perspective that resonates with those who are attuned to its mystical elements. The reception of 'One Day Like Rain' has been mixed, with some viewers deeply connecting with its themes while others struggle to grasp its abstract nature. Ultimately, my goal is to create an experience that transcends traditional narrative structures and invites viewers to explore the infinite possibilities of consciousness. Thank you for joining me on this journey. Please like, share, and subscribe for more insights into the world of independent filmmaking and mysticism. 00:00:00 - Introduction 00:00:04 - Concept of One Day Like Rain 00:00:11 - Influence of Mysticism and Spirituality 00:02:09 - Shooting Locations and Financing 00:03:18 - Film Production Techniques 00:04:25 - Transition to Digital Filming 00:05:17 - Viewer's Experience of the Film 00:08:17 - Reflections on Independent Filmmaking 00:10:33 - Discussion on Character Development 00:10:47 - Character's Realistic Dialogue 00:13:52 - Film Reception 00:14:53 - Conclusion

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to Paul Todisco. He is a director and we are talking his film: Freak Talks About Sex. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. Welcome to the DMF. I'm Justin Younts. This is part three. So, how does Freak Talks About Sex come about? It all started when I was searching for my first movie to make. I met Jim Daddabo, a good friend of mine now, who produced Freak Talks About Sex. We bonded over our shared hometown of Syracuse and his college roommate's unpublished novel, which inspired the film. The journey to finance the movie was challenging, taking two years and involving various investors. We shot it on 35mm Panavision cameras, a point of pride for us at the time. The film captures the essence of Syracuse living and the struggles of young adulthood, reminiscent of films like Kicking and Screaming and Clerks. I aimed for authenticity in the dialogue, ensuring it felt real and relatable. The film explores themes of apathy and the longing for escape, resonating with today's generation. Despite some challenges with the final cut and music choices, I believe the heart and soul of the film remain intact. The title, Freak Talks About Sex, was a fun and quirky choice, but it faced pushback from distributors who wanted to change it to something less provocative. This experience highlights the conservative attitudes towards such topics in the industry at the time. Overall, I hope the film speaks to viewers and encourages them to reflect on their own lives and choices. 00:00:00 - Introduction 00:00:10 - How Freak Talks About Sex Came About 00:01:45 - Challenges in Financing and Making the Movie 00:02:48 - Discussion on the Movie's Style and Dialogue 00:05:01 - The Setting of the Movie 00:05:53 - Discussion on the Character's Development 00:10:31 - The Authenticity of the Acting 00:11:50 - Thoughts on Possible Changes to the Film 00:15:05 - Discussion on the Title of the Movie 00:15:30 - Reflections on the Movie's Title 00:16:09 - The Misconceptions Around the Movie's Title 00:16:36 - The Challenges of Filming in Public Locations 00:17:17 - Humorous Thoughts on Filming in a Mall 00:17:53 - Closing Remarks and Call to Action

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to Paul Todisco. He is a director and we are talking David Lynch and certain films. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. Welcome to the DMF. I'm Justin Younts. This is part two. I chose to attend the University of Southern California (USC) because it represented an escape from my life in Syracuse. The allure of California, with its golden sunshine and vibrant film industry, was irresistible. I had been accepted to prestigious schools like Cornell and NYU, but USC felt like the right fit for me. It was a place where I could explore my creativity and immerse myself in a community of like-minded individuals. My time at USC was transformative; I embraced my independence and formed lasting friendships with fellow creatives. We still collaborate and support each other to this day. The program itself was solid, though like any university, it had its areas for improvement. However, I believe that the value of a university experience lies in what you make of it. At USC, I was inspired by professors like Drew Casper, who opened my eyes to the artistry of filmmaking. He introduced me to classic films and taught me to appreciate the nuances of visual storytelling. I remember being captivated by Judy Garland's performances and the groundbreaking techniques of directors like Vincent Minnelli. My passion for film grew as I delved into the works of great filmmakers, including David Lynch, whose unique style continues to influence my own work. I believe that creativity thrives in environments that encourage experimentation and authenticity. As I reflect on my journey, I encourage you to pursue your creative passions and seek out experiences that inspire you. Whether it's through formal education or self-exploration, the key is to remain open to new ideas and perspectives. Embrace the journey, and you may just discover your own unique voice in the world of storytelling. 00:00:00 - Introduction 00:00:05 - Moving to California and Choosing USC 00:01:30 - Influence of David Lynch 00:02:07 - Discussion on Eraserhead 00:03:14 - One Day Like Rainbows 00:06:26 - Experience at USC 00:07:29 - Famous Filmmakers from USC 00:08:30 - Favorite Professor at USC 00:08:59 - Giving up on TV 00:11:02 - Obsession with Judy Garland 00:13:10 - Conclusion

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to Paul Todisco. He is a director and we are talking his upbringing. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. "I discovered my passion for filmmaking in suburbia. Growing up in North Syracuse, New York, I often felt isolated and disconnected from the world around me. The lack of cultural opportunities and the mundane routine of suburban life left me yearning for something more. It was during this time that I found solace in storytelling, inspired by the works of great filmmakers like Steven Spielberg and writers like Stephen King. My childhood experiences, including a supernatural encounter that I had at a young age, fueled my desire to explore the unknown and break free from the confines of everyday life. As I navigated my teenage years, I became increasingly fascinated with the art of filmmaking. I realized that I wanted to tell stories that resonated with others, stories that captured the essence of the human experience. My supportive parents encouraged my artistic pursuits, exposing me to various forms of art, music, and literature. I began to see the world through a different lens, one that allowed me to appreciate the beauty in the mundane and the extraordinary. In this video, I share my journey from a small-town boy with big dreams to a filmmaker who creates compelling narratives that reflect the complexities of life. I discuss the influences that shaped my artistic vision, including my love for horror films and the impact of my childhood experiences. Join me as I explore the intersection of art and life, and discover how you too can unlock your creative potential, no matter where you come from. Let's embark on this journey together and find inspiration in the stories that surround us every day." 00:00:00 - Introduction 00:00:05 - Guest Introduction 00:00:23 - Paul's Background and Early Life 00:01:36 - Paul's Inspiration to Become a Filmmaker 00:02:36 - Paul's Family and Their Influence 00:03:09 - Paul's Musical Background 00:04:33 - Paul's Love for Horror and Supernatural 00:06:14 - Paul's Supernatural Experience 00:08:33 - Films That Inspired Paul 00:10:22 - Artists That Inspired Paul 00:12:34 - Influence of Art in Paul's Filmmaking 00:14:06 - Conclusion

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to Evan Crooke. He is a director, producer, distributor, and a writer. He owns both Osiris Entertainment and Paragon Releasing. This episode, we talk about writing with plot points instead of using character motives, Transcendental Meditation, and calling yourself an entrepreneur as an artist. Also, we discuss 1883, Succession, and Billions. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy.

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to Evan Crooke. He is a director, producer, distributor, and a writer. He owns both Osiris Entertainment and Paragon Releasing. This episode, we talk about the 2012 film: The Kill Hole with is one of Chadwick Boseman's first films, preference of distribution, understanding executives are people, and understanding profit . As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy.

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to Evan Crooke. He is a director, producer, distributor, and a writer. He owns both Osiris Entertainment and Paragon Releasing. This episode, we talk about respecting the business, understanding film budgets, the 2014 film: Electric Slide, and dealing with companies like Starz. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy.

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to Evan Crooke. He is a director, producer, distributor, and a writer. He owns both Osiris Entertainment and Paragon Releasing. This episode, we talk about ideas, optioning books, and differences in storytelling. We do talk about spoilers for the films: Oppenheimer 8:00 to 9:15 and The Killing Jar at 25:46 to 27:01. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy.

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to Evan Crooke. He is a director, producer, distributor, and a writer. He owns both Osiris Entertainment and Paragon Releasing. This episode, we talk about what you should know, reading contracts, and understanding the business part of show business. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy.