BONECRUSHER TRAILER
Update: 2025-01-01
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In the ring, the truth is simple—fight or fall. Bonecrusher tells the unbelievable, untold story of Sam Langford, a scrappy 5’6” fighter who took on giants, both in the boxing world and in life. From a hardscrabble childhood in Nova Scotia to the smoke-filled arenas of global boxing stardom, Langford’s story is as brutal as it is inspiring. With dazzling highs and gut-wrenching lows, his journey redefines what it means to be a champion. Grit, heart, and sheer willpower collide in this stunning saga of a man who refused to back down, no matter the odds.
Brought to life by the award-winning Table Read Podcast and visionary director Jim Morrison IV, this is the untold story of a legend who deserves the spotlight.
https://www.tablereadpodcast.com/
https://www.jimmorrisoniv.com/
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Transcript
00:00:00
We're recording.
00:00:02
It's rolling, so are you guys ready?
00:00:05
Yeah.
00:00:06
OK, so let's pause that.
00:00:09
David, let me know when you're good.
00:00:10
I wouldn't like.
00:00:11
Yeah.
00:00:12
OK.
00:00:12
So Sean Sharma here with Table Read Podcast, sitting with Selena Warren and Marissa Reed team.
00:00:17
As a man, we're like who?
00:00:20
We just did our session recording the Jew who saved Christmas, a hilarious comedy, instant Christmas classic.
00:00:32
Hope you really enjoyed it.
00:00:33
And I wanted to give you all just a glimpse into where this wacky, fun story came from.
00:00:40
So please, how did you even conceptualize the Jew who saved Christmas?
00:00:45
Well, I was raised Catholic in Selena's, Jewish.
00:00:49
So we always wanted to do a Hanukkah Christmas hybrid.
00:00:54
So that's originally what sparked it.
00:00:56
And then I think there was this thing for Hulu called-- Hulu does something called Huluine.
00:01:01
And they do a Christmas, a holiday version of that.
00:01:03
So we had to come up with a bunch of ideas for shorts.
00:01:06
And we had a short idea about Santa going to the wrong house.
00:01:09
And what if it was a Jewish person's house?
00:01:12
And what would their reaction be?
00:01:13
And we were like, oh, they'd want to go with all the way.
00:01:16
So we were like, how do we get a Jewish person to go with?
00:01:19
Santa to deliver Christmas.
00:01:20
We were like, got a drug home.
00:01:21
Something we really pondered and struggled with a little bit when we first started writing this story was like, what's the takeaway?
00:01:30
What's the message?
00:01:30
Because we didn't want it to be like Christmas is better than Hanukkah or that Bernie's missing out on something.
00:01:37
So we really wanted to make sure the message was not holiday base.
00:01:42
And we thought it was fun to see Christmas through a grown woman's eyes, but with that child wonder.
00:01:50
That's great.
00:01:50
For people who don't know the story of T.M.S.
00:01:53
and M, just briefly, how did you meet?
00:01:57
And then how did you get into writing?
00:01:59
Because you're both actors.
00:02:00
And you both began primarily as performers, right?
00:02:04
Yeah.
00:02:05
I was Marissa's RA in college in quotations.
00:02:07
We went to Amida, American Musical Dramatic Academy.
00:02:10
We were tap dancing and Lea Tards mostly.
00:02:13
And drinking.
00:02:13
So I got fired as an RA.
00:02:15
And Marissa got kicked out of student housing.
00:02:16
And then we became best friends.
00:02:18
And we were like, we make great decisions together.
00:02:20
And then we were both acting.
00:02:21
And we saw the future of our careers in the hands of other people.
00:02:27
And we were like, this can't be sustainable.
00:02:29
So we started to write our own material.
00:02:32
And that's kind of how we started.
00:02:33
And the first thing we sold happened to be like pretty quickly after we started writing together.
00:02:37
And that was For some.
00:02:39
The For some was a four season.
00:02:41
Four seasons on YouTube originals.
00:02:44
Well, great.
00:02:44
So then how many scripts have you written in total?
00:02:49
Oh my gosh.
00:02:50
I never actually tallyed it up.
00:02:52
But I'm guessing we write both TV and features.
00:02:57
I would say maybe 20.
00:02:58
20, yes.
00:02:59
Wow.
00:02:59
Around 20.
00:03:00
10 of each.
00:03:01
So what was it like for you today to just focus on being performers?
00:03:05
It was so fun.
00:03:07
It was a dream.
00:03:08
It's hard for me, because I never can just focus on being a performer.
00:03:13
But it was a blast.
00:03:15
And everyone did such an amazing job.
00:03:17
So it was just a fun joyous.
00:03:18
But I'm constantly like circle that line, remember that for later, rewrite that.
00:03:23
It's never quite relaxed.
00:03:25
So how Bernie is Selena?
00:03:27
Or how Selena is Bernie?
00:03:30
I'm not quite as much of a mess while I don't think I am.
00:03:35
As she is, but we both are afraid of flying.
00:03:39
We're both Jews.
00:03:40
I have smoked a little weed in my life, but I wouldn't say I'm like a pothead.
00:03:43
But I would be the exact same way if I went on Santaslee.
00:03:47
And I'm exactly a sautney computer wondering about that.
00:03:51
That's me to a team, fully based on me.
00:03:53
But getting aside, though, is there a character that you feel is like very marissa in the piece?
00:04:00
Maybe more Eve, I would say, like bringing the Christmas-- we have some fun banter like that and bringing the Christmas spirit to it.
00:04:12
So what was the thought behind having a song in the middle of this piece?
00:04:18
Well, it was one of the miracles we thought up.
00:04:21
And naturally, we had to go all out.
00:04:23
And we were at a coffee shop, Republic of Pi, shout out.
00:04:27
And we just started writing it and singing it into our voice memos.
00:04:32
And then Jason Curry, our friend who is a composer, came on board and composed this original song.
00:04:38
And it became what it is.
00:04:40
So for anybody who's looking for a Christmas film like this, would you call it a Christmas movie?
00:04:48
I would say a Christmas Hanukkah hybrid.
00:04:49
OK.
00:04:50
Yeah.
00:04:50
So for anybody who's like, OK, this is great.
00:04:53
What's the vision?
00:04:53
Do you have a budget in mind?
00:04:55
Is there any kind of-- She's expensive.
00:04:57
She's expensive.
00:04:58
Although you could-- there is a world in which-- we were talking about making the short ourselves as a proof of concept.
00:05:03
And there's a world in which you do green screens, sky with a sleigh.
00:05:07
There's a fun, cheaper version.
00:05:09
But I think this is like a 20 million and above feature.
00:05:13
It feels like a theatrical or a Netflix Christmas time release.
00:05:17
We really envision the elves as being CGI, which, of course, automatically-- Absolutely.
00:05:22
--a budget, a budget.
00:05:24
And they're going all across the globe.
00:05:26
So a lot of locations.
00:05:29
But this-- yeah, and there's a lot of special effects and stuff that happens.
00:05:36
And what was the-- you had the comps in the trailer, which is it was Elf meets-- Bad Santa.
00:05:41
OK, that's right.
00:05:44
What rating do you think this is?
00:05:45
PG-13.
00:05:46
Yeah, yeah.
00:05:47
I think the weed automatically kind of makes it edgier.
00:05:51
People tend to hear weed.
00:05:53
And they're like, uh-oh.
00:05:54
It's going to be like pineapple express, which it really isn't.
00:05:57
We go just because it's not federally legal.
00:06:00
Yeah, it's really funny.
00:06:01
It's not something we thought as being super edgy.
00:06:05
Even in Elf, you know, he gets drunk in the mail room.
00:06:09
And we kind of just viewed it like that.
00:06:10
But there still is a stigma on it.
00:06:13
Just because it's not legal everywhere.
00:06:15
So what for you is the message of the film?
00:06:20
That everybody needs help.
00:06:22
You have to accept help in order to get better.
00:06:24
You can't grow without collaboration.
00:06:28
So Santa needed Bernie to go on this journey to be refreshed and see Christmas through the lens.
00:06:33
And Bernie needed to accept all her family's help and Santa's help and learn a new lesson about herself to grow.
00:06:39
And allow Eve to kind of push her into this next step of her life, this next phase of becoming flight attendant.
00:06:46
You can't have, like, reward without risk.
00:06:49
So what's-- I'm going to-- for each of you, so maybe Marissa will start with you.
00:06:54
What's a moment in the writing that you're particularly proud of, like a joke that you particularly love or a moment that you're proud of?
00:07:02
Well, I especially really loved writing all of the Elves puns.
00:07:07
Like all the Christmas puns were so fun.
00:07:09
I laughed at everyone.
00:07:12
We had, like, in the note section of our phone, a list of just every Christmas word or phrase we could think of.
00:07:21
Those were really hard.
00:07:22
And even sometimes we'd have to, like, come back and be like, we'll have to figure it out because we can't spend two hours thinking out this pun.
00:07:29
But those to me are super fun.
00:07:31
I especially loved Fat Christmas ham.
00:07:34
How about you, Sillita?
00:07:35
What's a moment that you're proud of?
00:07:37
That was going to be my answer because we're the same person.
00:07:40
But another really fun part was the song and collaborating with Jason to get the song and thinking of, like, a melody that felt both Hanukkah and Christmas.
00:07:51
And that's-- we're, you know, musical theater majors, so that was really fun to do.
00:07:55
What's your writing process, like, working together?
00:07:59
Well, we physically write together, like, we sit together.
00:08:04
We pretty much talk out loud the story.
00:08:08
We'll say the dialogue as if we're the characters.
00:08:12
And we just workshop aloud.
00:08:15
And I would say I usually type.
00:08:17
We collaborate.
00:08:18
We'll sit across from each other and collaborate on the final draft so that we both can see everything changing live.
00:08:23
And then every time we finish a scene, like Marissa said, we'll re-read it out loud.
00:08:27
So it's basically like a second draft before we move on.
00:08:30
Yeah, so we're both, like, saying the dialogue out loud as we're writing it and then re-reading it, too.
00:08:37
And we usually write a coffee shop.
00:08:40
And we do, like, to be out, have some activity around.
00:08:43
We don't do well just, like, sitting in our apartment.
00:08:45
We get distracted.
00:08:46
We do do better earlier.
00:08:47
So we usually start at, like, 9 o'clock.
00:08:49
We'll ride our bikes to your blood moving to get to the coffee shop and then work for about four hours, then a break, and then maybe another two, three hours on.
00:08:57
And we try to, like, put-- we try to map out what we're going to write before we write it so that we'll know when it'll be done.
00:09:05
As opposed to just being like, we'll just take our time and enjoy, like, we're going to do four cards a day to get this done by X-Date.
00:09:11
How has your writing process evolved or changed over the course of what, as long as it has been the last, like, 15 years or something?
00:09:19
15 years?
00:09:20
How long has your writing process evolved?
00:09:22
You know, it's funny.
00:09:23
I feel like it hasn't shifted too much other than the fact that we used to sit side-by-side and now we sit across from each other.
00:09:30
And, like, hopefully, we've gotten better as writers.
00:09:33
Yeah, our process has always been pretty similar to what it is now.
00:09:38
I think we're more-- we outline much more heavily now.
00:09:40
Like, I think our outlines used to be like, then this kind of happens.
00:09:43
And now, we know every beat and what the theme is before we go to write the script.
00:09:48
How have you maintained, like, a good working relationship over all this time?
00:09:53
Well, we're best friends first and family.
00:09:55
We love each other, we've been through so much together.
00:09:57
So, I think, at our core, that's most important to us.
00:10:01
So we always-- I mean, like, like Selina said, we write our bikes, and as we hop on our bikes to write away, we say, like, I love you, good job.
00:10:10
We end pretty much every day saying that to each other.
00:10:12
And we get annoyed with each other, and we'll be, like, fighting for an idea.
00:10:17
But, like, we always-- we either will be like, OK, you can have this one and, like, come back to it later.
00:10:24
And be like, do I-- was it-- I just annoyed in the moment?
00:10:26
Do I really care about that one wording of something?
00:10:29
And you never really do.
00:10:31
So it's, like, I think, compromise and, like, letting the other person have a moment.
00:10:34
We're both really good at being, like, I'm not going to fight this battle.
00:10:37
Yeah, we get in collaborative or creative fights.
00:10:41
But we, for the most part, share a brain.
00:10:45
And it's, like, Selina said, we come back to it the next day.
00:10:48
We know we were fighting over, but we don't even necessarily remember who was fighting for what side.
00:10:53
So it's, like, we don't let creative fights get us in real fights for them-- for the most part.
00:10:59
I don't think we've gotten in very many actual fights that stemmed from a creative debate.
00:11:04
What do you think the value is of table reads of having your scripts read?
00:11:08
Do you do them as part of your purpose?
00:11:09
Every script.
00:11:10
We love a table read.
00:11:11
We see so much value in table reads.
00:11:14
Because, you know, we read the scripts out loud, just the two of us, but if we wrote it-- so if someone else is reading even just the stage direction and they're fumbling on it,
00:11:25
it's apparent that it's probably not written in the most organic or natural way of saying something.
00:11:31
Also, jokes aren't hitting.
00:11:33
Yeah.
00:11:33
Like the Ned Flandzery blah, blah, blah, blah, on the track.
00:11:36
Yeah, yeah, yeah, yeah.
00:11:37
Well, I got shunned.
00:11:39
Like, OK.
00:11:40
Maybe that one's hired.
00:11:43
Or, like, even after you have a read through people have thought to notes and, like, you'll hear things.
00:11:48
We usually have an assistant come, like, a writer's assistant come, someone we're mentoring, someone we're teaching from school, come and do checkmarks.
00:11:57
Far more time, something gets a laugh.
00:11:58
We write comedy.
00:11:59
And then we'll go back through and we'll look at pages and be like, how many laughs per page in our-- does it start to lag?
00:12:05
You know, so it's like a joke punch purpose.
00:12:07
And also, people have ideas and notes that make your script collaborating.
00:12:11
That's why we're partners.
00:12:12
It's the most important piece of, I think, any creative endeavor.
00:12:17
So a couple other things, on my mind, one being one of the things when we first met that was so inspiring and motivating for me and something that I think is more important than ever is the idea of not waiting for someone else to give you permission to be a storyteller.
00:12:34
And especially with the industry contracting, with some of the issues that the industry is facing right now, people are, you know, even saying things like survival till '25, which is heartbreaking, because we can be telling stories every day.
00:12:47
And we can be finding ways to create our own content and build our teams that can do the things that we don't want to do or aren't good at doing.
00:12:56
So you both did that earlier on in your careers to create for some.
00:13:01
And are you still doing that today?
00:13:05
We didn't totally do it with for some.
00:13:07
That was a traditional studio job where we pitched on an idea and they paid for it and made it happen and did all the hiring.
00:13:14
But it surrounded us by influencers.
00:13:18
So like seeing them create their own work and also a lot of comedians, like John Eliza, who did the reading, he created, like I think being surrounded by people who make their own things,
00:13:28
you get inspired.
00:13:30
And that definitely led us to starting to make our success.
00:13:32
No, but I include for some in what I'm talking about, because it wasn't just waiting for an audition.
00:13:37
It was actually creating a project whether you filmed it yourself, whether you sold it, you still took that initiative.
00:13:42
Totally.
00:13:43
Like especially with the impact of what self taping is done and how many more people are seen for roles.
00:13:48
And we hardly get on the room anymore.
00:13:50
And there's so little transparency around the casting process that like it feels like a lottery.
00:13:55
Like every audition is now a lottery.
00:13:57
And that's not necessarily sustainable.
00:13:59
So I'm constantly encouraging people to create their own stories, their own projects, whether they sell them, make them themselves, whatever.
00:14:05
So I'd love to hear kind of your advice for people with that.
00:14:09
And kind of your thoughts on where the industry is right now.
00:14:11
Yeah, I mean, it's run.
00:14:14
It's something that we're still learning to do and getting the courage to do.
00:14:19
I think a lot of people feel scared that if they create something, it has to be perfect, you know, or even good.
00:14:29
Yeah, it has to be good.
00:14:31
And we're starting to really see the value in the process and enjoying the process and enjoying the journey.
00:14:38
And every single time you create something, you know, you're just striving to be better and to learn something and to enjoy the people that you're working with and surround yourself with a crew that,
00:14:49
you know, you hope to work with again and again.
00:14:52
So we see so much value in that, but it is hard.
00:14:55
Like I think honestly, we sold for someone we were 25 years old.
00:15:00
It was the first professional writing job we had.
00:15:02
And like Selena said, you know, it was more of a typical studio job where our budgets, while they were small for a half hour show, they were still in the millions.
00:15:13
And so going from that to scaling it back and being like, okay, what's a five-page short that we can budget under $5,000 and film it ourselves?
00:15:23
It felt like so much pressure going from something, you know, very glossy and clean to kind of doing it on our own.
00:15:31
So it's something we're still kind of learning.
00:15:34
Same with like, you know, your team, your reps giving you ideas.
00:15:39
Like, oh, you know, it's rom-coms right now is what everyone's like.
00:15:42
Yeah, the mandate.
00:15:43
We really need a rom-com.
00:15:44
And it's like, by the time you write a rom-com, it's going to be something else.
00:15:48
So like, you got to do, like, go for it and write a rom-com, but at the same time write something that you want to tell.
00:15:55
Like, we really wanted to do this hybrid story that nobody asked for.
00:16:00
And also like, I would also say, OWA is open writing assignments.
00:16:05
Sometimes you get these offers for these jobs that like 40 people are pitching on, that you don't own.
00:16:10
So you have to spend a lot of time on something that you might like have been doing for no reason.
00:16:17
But you should do that.
00:16:18
Like, you should do everything because it's a good exercise for your creativity.
00:16:21
It might lead to something else.
00:16:22
You could always turn it into something.
00:16:23
And like, when you say, where is the industry going?
00:16:26
Like, those are the things that are getting made right now.
00:16:28
So like, in addition to making your own stuff and putting them up on stage, like, turning it into, like, what you're doing with these read-throughs, you know, sound designing them and making it so you're listening to the movie,
00:16:39
like, that's what you have to do is create new ways of getting your material, original material, heard and seen.
00:16:45
And to make money, do those OWA's and do both.
00:16:49
So how can people support you?
00:16:51
What do you have going on that people can support?
00:16:54
Where's your mic?
00:16:57
Oh, thank you.
00:16:57
Hi, bad.
00:16:59
Just totally muffled them there.
00:17:01
And it wasn't even-- it wasn't good advice.
00:17:04
OK.
00:17:06
How can people support you?
00:17:08
How can they find you and how can they support you?
00:17:11
You can find us on the gram.
00:17:13
I'm Marissa L.
00:17:15
Reed.
00:17:15
And I'm Selena double-yeah spelled out.
00:17:19
And we just actually wrapped, speaking of creating your own opportunities, independent pilot that we filmed.
00:17:27
We crowdsourced $70,000 to film this pilot.
00:17:33
So you could also check out our Instagram page for that, which is @stepfront_show.
00:17:40
There it is.
00:17:41
If you want to see what making your own-- that's a show that we pitched that nobody bought.
00:17:46
And we're like, you know what?
00:17:47
They just don't see it.
00:17:48
We got to go make it.
00:17:49
And also for ourselves.
00:17:51
Sometimes if you have something you love and everyone says and you're like, go make it, you never know what the next iteration of it will be.
00:17:57
Nothing's ever dead.
00:17:57
Because everyone ends up working at different companies like the people that said no won't be there in a year.
00:18:04
So never say die.
00:18:06
Since this is coming out around Christmas, we'd love to have each of you share a message for this Christmas Hanukkah hybrid season.
00:18:14
You go first.
00:18:17
Oh.
00:18:20
I say, like, be present.
00:18:25
Let the present be your present.
00:18:27
Try not be on your phones with holiday season and not focus on what everyone else is doing and really enjoy where you are.
00:18:35
And I say, do what makes you happy?
00:18:38
The holiday season can be also a hard time.
00:18:43
So do what makes you happy, whether or not that's flying and being stressed out and doing everything perfect.
00:18:53
Just literally do what makes you happy.
00:18:55
And it makes you feel cozy and eat all the good treats.
00:19:00
I'm so, so glad we got a chance to do this together.
00:19:03
Thank you so much for talking with us and for allowing us to bring the story to life in a way.
00:19:07
Yeah, thank you.
00:19:08
Thank you.
00:19:08
You're the best.
00:19:10
best.
00:19:11
