Hey! I'd love to hear your thoughts, send me a voice note.
What happens when a holiday in Galicia, natural wine, friendship, and the end of the world become one film?
On this episode of The Physical Cut, Krloz sits down with Kyle Greenberg and Anna Maguire of STUPID CO to talk about their new hybrid documentary GALICIA!, a found-footage film that began with a simple idea: visit friends in Spain, experience their wine harvest, and imagine what would happen if the apocalypse arrived while you were there.
We start with the story behind STUPID CO, from its beginnings as a playful creative label to the filmmaking company it has become. Kyle and Anna talk about making films together, wearing nearly every hat on their productions, and why keeping their work independent allows them to experiment.
We get into GALICIA! and the unusual way it was made. The film combines travel, dark humor, friendship, natural wine, and an increasingly unsettling sense that something has gone very wrong. Kyle and Anna explain how much of the film was planned, what happened organically during their trip, the real-life nightmare of lost luggage, and why the film deliberately moves between comedy, anxiety, documentary, and horror.
We also talk about Purrela Wines, the Galician winemakers at the center of the film's harvest, how wine became part of the story from the beginning, the culture and landscapes they encountered while traveling through Galicia.
GALICIA! premieres in New York on October 13 at the Roxy Cinema as part of the Downtown Festival, with additional U.S. festival dates to be announced.
In this episode:
- The origins of STUPID CO
- Making independent films outside the traditional system
- GALICIA! and its found-footage approach
- Natural wine and Purrela Wines
- Traveling through Galicia and capturing local culture
- Balancing comedy, anxiety, horror, and documentary
- Making a film about the apocalypse in the real world
- Politics and contemporary reality in independent filmmaking
- Building an experience around a film and its wine
- The future of GALICIA! and its physical release
Follow STUPID CO: stupidco.biz / @stupidcobiz
Follow The Physical Cut on Instagram: @thephysicalcutpod Check our website krpodlab.com
You can support our indie shows by buying us a coffee.
00:00:00 --> 00:00:02 I learned don't have friends, just be a solo.
00:00:03 --> 00:00:22 Yeah. Don't have friends, touch grass. Welcome
00:00:22 --> 00:00:24 back to The Physical Cut, where films live beyond
00:00:24 --> 00:00:26 the stream. My name is Carlos, and I am very
00:00:26 --> 00:00:30 excited today. As a wine drinker and as a horror
00:00:30 --> 00:00:33 lover, I do have two omission guests today with
00:00:33 --> 00:00:36 a new upcoming film titled Galicia. I am joined
00:00:36 --> 00:00:39 by Kyle and Anna. How are you guys doing today?
00:00:40 --> 00:00:44 Good. Thanks for having us. I'm so excited to
00:00:44 --> 00:00:46 talk about the film. I had a chance to see it
00:00:46 --> 00:00:50 earlier and I think I mentioned to you, Kyle,
00:00:50 --> 00:00:52 I don't know who I was speaking to on Instagram.
00:00:52 --> 00:00:55 I said that. I have a love -hate relationship
00:00:55 --> 00:00:58 when it comes to found footage films. Hi, Seth.
00:00:58 --> 00:01:01 They do freak me out more than usually than any
00:01:01 --> 00:01:04 horror type. I was kind of expecting to be freaked
00:01:04 --> 00:01:08 out, but I feel like this one came from a very
00:01:08 --> 00:01:12 personal point of view, that it was a very big
00:01:12 --> 00:01:14 experience in the sense of I'm a big traveler,
00:01:14 --> 00:01:18 and I intensified with this show for two reasons.
00:01:18 --> 00:01:21 One, the traveling part. The second part, the
00:01:21 --> 00:01:23 wine, and we'll get to that later on. But I feel
00:01:23 --> 00:01:27 like this film was still more anxiety -inducing
00:01:27 --> 00:01:29 for different reasons. At least that's what I
00:01:29 --> 00:01:32 took from it. I don't know if that was the perspective
00:01:32 --> 00:01:35 you guys were trying to go for. But before we
00:01:35 --> 00:01:37 get into the film, because we do have a lot of
00:01:37 --> 00:01:40 talk about the film, I want to know, I do love
00:01:40 --> 00:01:42 the name from your company, which is called Stupid
00:01:42 --> 00:01:46 Co. And I believe it started off as a hat. Yeah.
00:01:46 --> 00:01:49 I mean, there's a lot of people that need to
00:01:49 --> 00:01:51 be walking around with a hat. Name's stupid.
00:01:51 --> 00:01:55 So please. So Anthony, how did the company, the
00:01:55 --> 00:01:58 idea started? What you want it to be and how
00:01:58 --> 00:02:01 you ended up building it together? Well, Anna
00:02:01 --> 00:02:05 and I met about four years ago and out of us
00:02:05 --> 00:02:08 starting a relationship, a lot of our own creative
00:02:08 --> 00:02:12 practice kind of blossomed as well. We made a
00:02:12 --> 00:02:14 couple of short films. We've started a roaming
00:02:14 --> 00:02:17 dog friendly screening series. And we have a
00:02:17 --> 00:02:20 one day festival we host in Vancouver called
00:02:20 --> 00:02:23 Off Vif. But even before kind of all of that
00:02:23 --> 00:02:27 started, as we were approaching our first short
00:02:27 --> 00:02:29 film called How You Are Currently Being Recorded,
00:02:29 --> 00:02:35 we were wondering how do we just like hub. name
00:02:35 --> 00:02:37 our creative endeavors. And yeah, we weren't
00:02:37 --> 00:02:40 setting out to start a company or a film distribution
00:02:40 --> 00:02:43 company or anything like that. We just really
00:02:43 --> 00:02:47 wanted to label what we were doing personally
00:02:47 --> 00:02:50 and find a way to play. So yeah, Anna was joking
00:02:50 --> 00:02:53 that, which will be a good theme throughout this
00:02:53 --> 00:02:56 that leads to Galicia later. Yeah, what if we
00:02:56 --> 00:02:59 called it stupid? And out of that, we started
00:02:59 --> 00:03:03 having all sorts of ideas like, well, yeah. uh
00:03:03 --> 00:03:05 if you know for me i would say something like
00:03:05 --> 00:03:07 if art is such bad business then we might as
00:03:07 --> 00:03:11 well call it stupid or also just you you're kyle's
00:03:11 --> 00:03:13 an illustrator and drawers and so he just drew
00:03:13 --> 00:03:16 logo stupid and we really thought it was i thought
00:03:16 --> 00:03:17 it was really great and i think he's really talented
00:03:17 --> 00:03:20 and so and we've gone to like this really great
00:03:20 --> 00:03:22 festival called houghton which is an amazing
00:03:22 --> 00:03:24 electronic music festival in the woods and we
00:03:24 --> 00:03:26 took some photos of the trees and the lights
00:03:26 --> 00:03:29 and so we just made two hats one which was red
00:03:29 --> 00:03:31 and blue with based on the lights one set of
00:03:31 --> 00:03:33 lighting scheme and one which was purple and
00:03:33 --> 00:03:35 green or purple and camo but yeah i guess tree
00:03:35 --> 00:03:39 and purple and so it was really just uh fun creative
00:03:39 --> 00:03:42 thing we're just we're just having some fun I
00:03:42 --> 00:03:46 think I come from filmmaking and acting and film
00:03:46 --> 00:03:48 education and in a more traditional I say that
00:03:48 --> 00:03:52 sort of with air quotes sense and obviously Kyle
00:03:52 --> 00:03:53 comes from film distribution in a more sort of
00:03:53 --> 00:03:56 traditional air quote sense and I feel like both
00:03:56 --> 00:03:58 of us had sort of hit a point in in our lives
00:03:58 --> 00:04:00 where we were like can we just have some more
00:04:00 --> 00:04:03 fun is this it you know are we just having to
00:04:03 --> 00:04:06 do this forever and so really stupid co was born
00:04:06 --> 00:04:09 out of just being fun and playful and irreverent
00:04:09 --> 00:04:11 and just be a bit more stupid, have a bit more
00:04:11 --> 00:04:13 fun. Don't worry so much about it. And that's
00:04:13 --> 00:04:14 how we've sort of approached a lot of our work.
00:04:15 --> 00:04:18 Yeah. I mean, it is. Sorry. Yes. Sorry. Just
00:04:18 --> 00:04:22 reclaiming the word. Stupid. Yeah. Yeah. I do
00:04:22 --> 00:04:25 feel that it is a good name for a production
00:04:25 --> 00:04:26 company. And it's kind of in the fact that it
00:04:26 --> 00:04:30 started as a hat and then just goes into a full
00:04:30 --> 00:04:33 blown production company. But talking about hats,
00:04:33 --> 00:04:35 I know that you guys wear a lot of hats. On this
00:04:35 --> 00:04:39 production, you do write the film, you direct
00:04:39 --> 00:04:42 the film, you produce the film, you're the cinematographers
00:04:42 --> 00:04:49 of the film, and you also act in the film. Was
00:04:49 --> 00:04:54 that the plan the entire time, or just came to
00:04:54 --> 00:04:58 be? Well, it was, the whole idea was quite organic
00:04:58 --> 00:05:02 in that it wasn't like, we kind of, the idea
00:05:02 --> 00:05:05 came to me, well, I just had to sort of, The
00:05:05 --> 00:05:06 basic premise of the idea when we were walking
00:05:06 --> 00:05:08 to dinner one night after we'd met Max and Paola
00:05:08 --> 00:05:12 at a restaurant in Paris and we just sort of
00:05:12 --> 00:05:14 met them randomly and became friends. And they
00:05:14 --> 00:05:16 were like, come visit us in Spain. We were like,
00:05:16 --> 00:05:18 cool, we'd love to. But obviously a lot of the
00:05:18 --> 00:05:20 time you never sort of follow up with those things.
00:05:20 --> 00:05:22 And then we were walking to dinner one night
00:05:22 --> 00:05:23 and I was like, wouldn't it be funny if we went
00:05:23 --> 00:05:25 to visit Max and Paolo on the holiday? And then
00:05:25 --> 00:05:26 these pocket clips happened and we could never
00:05:26 --> 00:05:29 go home again. And then that sort of snowballed
00:05:29 --> 00:05:32 into what exists now. And we got in touch with
00:05:32 --> 00:05:33 them and we were like, we want to make something.
00:05:33 --> 00:05:34 Do you want to make it with us? And they were
00:05:34 --> 00:05:37 like, yeah, sure. They're also quite playful,
00:05:37 --> 00:05:39 creative people. They'd never made a film before,
00:05:39 --> 00:05:41 but they were sort of absolutely gung -ho down
00:05:41 --> 00:05:45 to invite us to their harvest and trust us, which
00:05:45 --> 00:05:48 we're very grateful for. And so we ended up with
00:05:48 --> 00:05:52 a funny little movie. Yeah, and I think the making
00:05:52 --> 00:05:57 of the film is... Galicia, in a way, completes
00:05:57 --> 00:06:00 a trilogy for the two of us. We make two short
00:06:00 --> 00:06:04 films that lead up. to Galicia. Hi, you're currently
00:06:04 --> 00:06:08 being recorded from 2024 and another short film
00:06:08 --> 00:06:12 from 2025 called French Lessons. And both of
00:06:12 --> 00:06:16 the shorts feature us as ourselves, quote unquote.
00:06:16 --> 00:06:20 Versions of us. And we, to the idea of keep it
00:06:20 --> 00:06:23 simple, stupid, have fun. The way we made those
00:06:23 --> 00:06:25 two short films was really like just playing
00:06:25 --> 00:06:28 with our two friends, Maddie and Christina. We
00:06:28 --> 00:06:30 went out and we made those shorts. for really
00:06:30 --> 00:06:33 nothing with very little equipment and utilizing
00:06:33 --> 00:06:37 some found footage aesthetic as well. One of
00:06:37 --> 00:06:39 the shorts deals with surveillance specifically.
00:06:40 --> 00:06:44 So, you know, as we started digesting this idea
00:06:44 --> 00:06:47 of what if we went on a holiday and the apocalypse
00:06:47 --> 00:06:50 happened, we started merging that idea with how
00:06:50 --> 00:06:54 do you stylistically that and it kind of quickly.
00:06:55 --> 00:06:58 hit us that it needed to be done through a camcorder
00:06:58 --> 00:07:01 and a found footage aesthetic. Yeah, that was
00:07:01 --> 00:07:04 also kind of the interesting part. You could
00:07:04 --> 00:07:06 have gone a lot of different routes. The fact
00:07:06 --> 00:07:10 that you went with the found footage, it could
00:07:10 --> 00:07:13 be more taken in the way of, oh, we are planning
00:07:13 --> 00:07:15 basically a travel blog. That's the best way
00:07:15 --> 00:07:18 to put it. You start with a travel blog and everything
00:07:18 --> 00:07:21 goes to hell, especially at the beginning, because
00:07:21 --> 00:07:23 it's not just the fact that you're traveling.
00:07:23 --> 00:07:26 You also have. the pre -travel plans. You have
00:07:26 --> 00:07:29 Anna's character that she's doing an audition.
00:07:30 --> 00:07:33 So you have that. It was kind of weird at the
00:07:33 --> 00:07:35 beginning because I'm like, this, this is a very
00:07:35 --> 00:07:38 dark humor tone. Like it's so very dark humor
00:07:38 --> 00:07:40 tone at first. And I'm like, oh, she's being
00:07:40 --> 00:07:42 tortured. But then all of a sudden she's like,
00:07:42 --> 00:07:44 stop. There's that, there's that, you know, there's
00:07:44 --> 00:07:48 that playfulness, but that lingers in dark humor,
00:07:48 --> 00:07:50 which I do love dark humor, don't get me wrong.
00:07:50 --> 00:07:53 But then it kind of becomes a regular light.
00:07:53 --> 00:07:55 harder humor especially when you guys are in
00:07:55 --> 00:07:58 the car and i have a very specific question about
00:07:58 --> 00:08:00 that car scene later and it then kind of just
00:08:00 --> 00:08:02 you know goes to shit you know the apocalypse
00:08:02 --> 00:08:04 starts happening but there's so many things that
00:08:04 --> 00:08:09 you do capture in between that the film itself
00:08:09 --> 00:08:12 i would say it doesn't have necessarily like
00:08:12 --> 00:08:14 okay it's gonna be a travel film it's gonna be
00:08:14 --> 00:08:17 even though it's a found footage basically it
00:08:17 --> 00:08:20 feels like it goes through a lot before it becomes
00:08:20 --> 00:08:25 full i would say thriller, suspense, horror,
00:08:25 --> 00:08:27 whichever category you want to put it in. And,
00:08:27 --> 00:08:30 but it's like, for me, again, I travel a lot.
00:08:30 --> 00:08:33 So it's like seeing this happen and it gets the
00:08:33 --> 00:08:35 shit out of me. So I was like, that's why I couldn't
00:08:35 --> 00:08:40 travel after Final Destination. Yeah. Final Destination
00:08:40 --> 00:08:44 kind of kept me on the ground for a while until
00:08:44 --> 00:08:46 that I was like, let me just watch it on a plane
00:08:46 --> 00:08:51 and get my fears over with. Having the shift
00:08:51 --> 00:08:54 in tone. From the beginning to the end, you know,
00:08:54 --> 00:08:57 from the dark humor to the genuine laugh out
00:08:57 --> 00:09:00 loud moment and then becoming much darker. Was
00:09:00 --> 00:09:03 that something you wanted to move through or
00:09:03 --> 00:09:05 just kind of, like you said, came out naturally?
00:09:06 --> 00:09:09 Yeah, I mean, we had about 14 hours of footage,
00:09:09 --> 00:09:12 I think, 14 something. Our editor put it all
00:09:12 --> 00:09:16 on Wall Street and their apartment had a cinema
00:09:16 --> 00:09:18 where she was living at the time and she was
00:09:18 --> 00:09:20 like paying popcorn. And so, yeah, there were
00:09:20 --> 00:09:22 many different versions. I mean, I think that's
00:09:22 --> 00:09:24 what's so interesting. One of the interesting
00:09:24 --> 00:09:27 things for me about the film is like, or making
00:09:27 --> 00:09:29 a film or making a documentary, because for us,
00:09:29 --> 00:09:32 it really is a document. It's a hybrid documentary.
00:09:32 --> 00:09:36 It's real and yet it's... constructed just like
00:09:36 --> 00:09:39 any documentary right any story that's being
00:09:39 --> 00:09:41 told and so we were really interested in that
00:09:41 --> 00:09:43 construction and when we started with the edit
00:09:43 --> 00:09:47 Safi our amazing editor had sort of lent further
00:09:47 --> 00:09:49 into the into the sort of humor of it and it
00:09:49 --> 00:09:51 was really interesting to see where that came
00:09:51 --> 00:09:53 out and then we wanted to sort of lean into the
00:09:53 --> 00:09:55 anxiety which ends about all the films that we've
00:09:55 --> 00:09:59 made were really interested in capturing different
00:09:59 --> 00:10:01 experiences because for me what's also interesting
00:10:01 --> 00:10:03 is you're taking an audience on a ride you're
00:10:03 --> 00:10:07 taking an audience on a journey and you say about
00:10:07 --> 00:10:09 final destination I can't watch horror films
00:10:09 --> 00:10:11 it's too scary for me but I am really interested
00:10:11 --> 00:10:13 in films that can move through different emotional
00:10:13 --> 00:10:15 states and different states that an audience
00:10:15 --> 00:10:18 can feel It's more dynamic in that way, rather
00:10:18 --> 00:10:20 than like going and being like, I'm going to
00:10:20 --> 00:10:21 watch something and I'm going to be scared or
00:10:21 --> 00:10:22 I'm going to watch something or I'm going to
00:10:22 --> 00:10:24 laugh. This is something where you're like, wait,
00:10:24 --> 00:10:25 am I laughing? Am I not? You have to kind of
00:10:25 --> 00:10:28 locate yourself within how you experience that.
00:10:28 --> 00:10:30 And I'm really interested in cinema that does
00:10:30 --> 00:10:32 that, that asks, that doesn't give you the answers
00:10:32 --> 00:10:35 necessarily, but that asks you to determine where
00:10:35 --> 00:10:39 you sit within it. Yeah. There's just seen, it
00:10:39 --> 00:10:42 really stuck with me because again, I mentioned
00:10:42 --> 00:10:44 to you previously that I do go to Spain a lot.
00:10:45 --> 00:10:48 And it's probably one of my favorite places to
00:10:48 --> 00:10:52 go. And there's just carelessness about some
00:10:52 --> 00:10:56 of the characters that are in the film. At least
00:10:56 --> 00:10:59 the scene where in the table outside, one of
00:10:59 --> 00:11:00 the characters mentions something, kind of like
00:11:00 --> 00:11:03 they're worried about this and that. And she
00:11:03 --> 00:11:06 just says, I don't know, I just drink. Just have
00:11:06 --> 00:11:10 a drink. And it's just that, you know, this joy
00:11:10 --> 00:11:15 of living that the Spanish tend to have. It came
00:11:15 --> 00:11:17 through so clearly. And, you know, again, if
00:11:17 --> 00:11:21 a viewer has an experience, it is very well captured.
00:11:22 --> 00:11:24 The tone, like you said, it was very important
00:11:24 --> 00:11:26 for the tone to carry throughout the film. And
00:11:26 --> 00:11:29 I think you did that, you know, very well. I
00:11:29 --> 00:11:33 didn't know what I was expecting. So going through
00:11:33 --> 00:11:37 moments of humor throughout the film to the moment
00:11:37 --> 00:11:38 that you said is supposed to be anxiety -inducing.
00:11:39 --> 00:11:41 It is what happened. So it wasn't something that,
00:11:41 --> 00:11:43 oh, you know, as a viewer, you're not going to
00:11:43 --> 00:11:44 capture that. You are going to capture that.
00:11:44 --> 00:11:50 Going back to the travel vlog perspective, you
00:11:50 --> 00:11:52 take the viewer through a journey. And if you
00:11:52 --> 00:11:54 love sitting down to watch your travel vlog,
00:11:54 --> 00:11:56 that's what you're getting. You're getting the
00:11:56 --> 00:11:58 vistas and you're getting the food and you're
00:11:58 --> 00:12:01 getting the friendships. There's that joy within
00:12:01 --> 00:12:04 the friends, the community of friends. And the
00:12:04 --> 00:12:06 fact that you said you met these people. in real
00:12:06 --> 00:12:09 life and you kept in touch with them. I love
00:12:09 --> 00:12:12 meeting people when I travel and I usually do
00:12:12 --> 00:12:14 keep in touch with them. So it's like, it kind
00:12:14 --> 00:12:17 of even puts more fear. It's like, well, we're
00:12:17 --> 00:12:19 not going to be stuck, you know, in Madrid and
00:12:19 --> 00:12:21 the apocalypse happened. Not a bad place to be
00:12:21 --> 00:12:23 stuck. Oh, no, it's not. They were like, bring
00:12:23 --> 00:12:26 this lovely, like, ultimately better than London.
00:12:26 --> 00:12:28 We'd been, we were in London at the time and
00:12:28 --> 00:12:30 I was like, better than London, you know. How
00:12:30 --> 00:12:32 does she in the Galician countryside where wine
00:12:32 --> 00:12:38 is being made and we're good here. Let's talk
00:12:38 --> 00:12:39 about Galicia because I know Galicia, obviously
00:12:39 --> 00:12:42 it is the big part of the film because it is
00:12:42 --> 00:12:45 the entire film. Obviously you do travel. Through
00:12:45 --> 00:12:47 other parts, because you don't start in Galicia,
00:12:47 --> 00:12:50 you start in London. And you move through another
00:12:50 --> 00:12:53 part when you were calling about your travel
00:12:53 --> 00:12:55 horrors, which is. That's where in France. France,
00:12:55 --> 00:13:01 yeah. My mother in Cannes. My real mother. Amazing.
00:13:02 --> 00:13:05 Yeah, along the way, it's capturing some of our
00:13:05 --> 00:13:08 air travel. We ended up in the Madrid airport
00:13:08 --> 00:13:11 transferring. We ended up in a beautiful city.
00:13:12 --> 00:13:15 ahead of going to the countryside called Acheronia.
00:13:16 --> 00:13:20 And yeah, that was kind of where I think some
00:13:20 --> 00:13:24 of that story about the horrors of travel begin
00:13:24 --> 00:13:29 taking place, as you were commenting on. We travel
00:13:29 --> 00:13:32 through different environments in the Galician
00:13:32 --> 00:13:35 region. And we were on a holiday, you know, which
00:13:35 --> 00:13:37 was what was so lovely. We were on this beautiful
00:13:37 --> 00:13:40 holiday. We'd never been to Galicia before. And
00:13:40 --> 00:13:43 we were completely blown away. It's such an interesting,
00:13:43 --> 00:13:48 multi -layered, complex, ancient place. It's
00:13:48 --> 00:13:51 got an interesting, strong Gaelic. Gaelic? Was
00:13:51 --> 00:13:55 I correct? Yeah. It's got the Scottish Gaelic
00:13:55 --> 00:13:59 connection. the land and also even just like
00:13:59 --> 00:14:01 there's this bagpipe so we captured the bagpipes
00:14:01 --> 00:14:03 at one point and it makes a lot of sense when
00:14:03 --> 00:14:05 if you've like for anyone who's ever been to
00:14:05 --> 00:14:09 scotland and you look at the landscapes and it's
00:14:09 --> 00:14:12 by the sea yeah you know it's yeah i think you
00:14:12 --> 00:14:15 touched on one aspect earlier which we both love
00:14:15 --> 00:14:18 to travel this movie came out of us traveling
00:14:18 --> 00:14:21 it was like we met people through travel and
00:14:21 --> 00:14:24 then that inspired more travel and yeah for me
00:14:24 --> 00:14:29 travel is always um yeah is is such an important
00:14:29 --> 00:14:32 way of understanding the world and connecting
00:14:32 --> 00:14:35 with other cultures because you can understand
00:14:35 --> 00:14:38 other cultures through the food through the wine
00:14:38 --> 00:14:41 landscape and yeah that was really what what
00:14:41 --> 00:14:44 this trip was and i had never i had only ever
00:14:44 --> 00:14:49 been um to the basque region and so i had never
00:14:49 --> 00:14:52 spent time in in this region of spain and it
00:14:52 --> 00:14:58 was very eye -opening and The film itself does
00:14:58 --> 00:15:01 have that quality of like lived in quality. That's
00:15:01 --> 00:15:05 why I said it feels very personal. But in general,
00:15:05 --> 00:15:10 how much of what we're seeing is what came from
00:15:10 --> 00:15:13 simply just being there and allowing things to
00:15:13 --> 00:15:15 happen or how much was it planned? So the film
00:15:15 --> 00:15:19 didn't have a traditional script. The film didn't
00:15:19 --> 00:15:23 even have a budget. We planned a holiday. And
00:15:23 --> 00:15:28 we kind of structured the story like a documentary
00:15:28 --> 00:15:31 treatment saying, we're going to travel to this
00:15:31 --> 00:15:32 place. We're going to travel to this place. We
00:15:32 --> 00:15:36 want to spend time harvesting with Max and Paola.
00:15:36 --> 00:15:40 And we didn't want to force dialogue and lines
00:15:40 --> 00:15:43 upon anyone because all of our friends aren't
00:15:43 --> 00:15:46 actors. Apart from Sergio. Except for one actor
00:15:46 --> 00:15:49 who joined us named Sergio Frejo, who actually
00:15:49 --> 00:15:54 has family from there. in which we made the film.
00:15:54 --> 00:15:58 So, you know, for us, as Anna was saying, it's
00:15:58 --> 00:16:01 a very organic process, pun intended, when it
00:16:01 --> 00:16:05 comes to the line, where things happened along
00:16:05 --> 00:16:08 the journey. We originally actually thought this
00:16:08 --> 00:16:10 was going to be our third short film. And I was
00:16:10 --> 00:16:13 like, oh man, this might be like a 30 -minute
00:16:13 --> 00:16:16 short film that's going to be so hard to do something
00:16:16 --> 00:16:18 with. But we didn't care because we just, we
00:16:18 --> 00:16:20 loved the concept and we wanted to go on this
00:16:20 --> 00:16:23 journey. But then throughout the journey, we
00:16:23 --> 00:16:27 went to different sites. We ended up... My luggage
00:16:27 --> 00:16:30 got lost. Losing luggage. That was all real.
00:16:30 --> 00:16:32 So a lot of stuff just happened. So we started
00:16:32 --> 00:16:34 playing with what was happening. We're like,
00:16:34 --> 00:16:38 okay, let's just see how it manifests. And we'd
00:16:38 --> 00:16:40 go to the harvest and we'd film some harvest.
00:16:40 --> 00:16:43 And we'd sort of just... Max and Paola told us
00:16:43 --> 00:16:45 to go check out a church. We'll go here, we'll
00:16:45 --> 00:16:48 go there. And we just kind of... flowed and we'd
00:16:48 --> 00:16:50 make stuff up as we went and then we'd also react
00:16:50 --> 00:16:53 to what was happening and alvaro one of the one
00:16:53 --> 00:16:55 of one of the one of their friends who was helping
00:16:55 --> 00:16:57 with the harvest he'd also lost his luggage so
00:16:57 --> 00:16:59 that was a real you know so it was a thought
00:16:59 --> 00:17:01 again quote unquote what's real what's not real
00:17:01 --> 00:17:05 i think that there's a lot of what real and then
00:17:05 --> 00:17:08 i guess this question of like what's not real
00:17:08 --> 00:17:12 is also a question of like how we how we thread
00:17:12 --> 00:17:15 the needle And how that story starts to devolve
00:17:15 --> 00:17:17 and how you start to wonder whether it's in my
00:17:17 --> 00:17:21 character's mind or Anna in the movie's mind.
00:17:21 --> 00:17:23 I think there's this sort of sense that she's
00:17:23 --> 00:17:26 maybe suffering from anxiety or suffering from
00:17:26 --> 00:17:27 a sense of it's something not being quite right.
00:17:28 --> 00:17:31 And we really wanted to sort of, again, it's
00:17:31 --> 00:17:33 like, where's the exit? Where's the entrance
00:17:33 --> 00:17:35 point? Where's the sense of what reality is?
00:17:35 --> 00:17:38 What is real to who? How are we perceiving? reality
00:17:38 --> 00:17:41 and so much of what we perceive it's sort of
00:17:41 --> 00:17:43 what happens right so we kind of want we're playing
00:17:43 --> 00:17:45 along those lines it's not necessarily strictly
00:17:45 --> 00:17:48 but but also playing along the lines of yeah
00:17:48 --> 00:17:52 where are we going as a society as what how are
00:17:52 --> 00:17:55 we how do we make sure we don't end the world
00:17:55 --> 00:17:59 because actually we're in such the world is beautiful
00:17:59 --> 00:18:01 like the film is a love letter really it's a
00:18:01 --> 00:18:05 love letter to each other to to creation to our
00:18:05 --> 00:18:07 friends who are making all this beautiful organic
00:18:07 --> 00:18:10 wine because they love it. We really do live
00:18:10 --> 00:18:13 in heaven. And we could just remember that. We
00:18:13 --> 00:18:16 could just remember that, all of us. I was going
00:18:16 --> 00:18:19 to ask, because obviously the wine for Tien is
00:18:19 --> 00:18:21 a big part of the film. You guys, besides the
00:18:21 --> 00:18:25 film being set in Galicia, you made the collaboration
00:18:25 --> 00:18:28 with Purella Wines. You said you discovered these
00:18:28 --> 00:18:30 things, not by accident, but just part of your
00:18:30 --> 00:18:32 travels. One thing took you to the next thing
00:18:32 --> 00:18:36 and so on. But at one point during the travels
00:18:36 --> 00:18:39 or just... In general, do you probably say like,
00:18:39 --> 00:18:42 okay, I would want this to be a big part of the
00:18:42 --> 00:18:46 film, the wine connection? I think we knew wine
00:18:46 --> 00:18:50 from the get -go would be a big part of the story.
00:18:50 --> 00:18:53 We met Max and Pella at a wine bar in Paris.
00:18:53 --> 00:18:57 So our relationship started with us enjoying
00:18:57 --> 00:19:00 wine and food together. And yeah, we quickly
00:19:00 --> 00:19:02 learned from them that they were making their
00:19:02 --> 00:19:06 own wine. an independent filmmaker, maybe you
00:19:06 --> 00:19:08 start with a short film, maybe you start with
00:19:08 --> 00:19:10 a no budget film. And they were starting with
00:19:10 --> 00:19:13 one barrel and then one barrel turned to more
00:19:13 --> 00:19:16 barrels. And so, yeah, when they invited us to
00:19:16 --> 00:19:20 visit them, it was specifically, hey, it was
00:19:20 --> 00:19:22 specifically them saying, hey, we're harvesting
00:19:22 --> 00:19:25 in the fall. Would you want to come join us and
00:19:25 --> 00:19:29 hang out? So we always knew that the film. would
00:19:29 --> 00:19:32 be centered around the harvest. But we hadn't
00:19:32 --> 00:19:34 been to the location. We hadn't seen them in
00:19:34 --> 00:19:36 maybe a year. Yeah, we didn't know. We also,
00:19:36 --> 00:19:38 it's their real harvest. So we obviously didn't
00:19:38 --> 00:19:40 want to sort of just be stepping on any toes.
00:19:41 --> 00:19:44 And they were very generous to allow us to sort
00:19:44 --> 00:19:45 of play with them whilst they were in the middle.
00:19:45 --> 00:19:47 And when there's a scene with Max where he's
00:19:47 --> 00:19:49 like, it's a nightmare. I think for them it was
00:19:49 --> 00:19:51 a difficult year. There was rain. There was this
00:19:51 --> 00:19:53 constant threat of like, oh, the grapes are so
00:19:53 --> 00:19:57 juicy at that point that. If you get a big rainstorm,
00:19:57 --> 00:19:59 it can break all the grapes and then you lose
00:19:59 --> 00:20:02 your harvest, right? So there you're on the edge.
00:20:02 --> 00:20:03 It was one day when we were picking the grapes.
00:20:03 --> 00:20:04 It was one of the scenes where we were picking
00:20:04 --> 00:20:06 the grapes really quickly because they were stressed.
00:20:06 --> 00:20:08 It was stressful. But one of the great things
00:20:08 --> 00:20:11 that they were saying is, and what is so beautiful
00:20:11 --> 00:20:14 and how they carried us through and their energy
00:20:14 --> 00:20:17 through, is that the harvest is all about the
00:20:17 --> 00:20:19 intention with which you harvest the grapes.
00:20:19 --> 00:20:21 And that goes into the wine bottles and that
00:20:21 --> 00:20:24 goes in. It's very... intentional. And so everyone
00:20:24 --> 00:20:27 had to be in a really good, we had to be calm
00:20:27 --> 00:20:29 and in a good place and energetically to pick
00:20:29 --> 00:20:31 the grapes. And I think that was also a really
00:20:31 --> 00:20:34 lovely way to think about making anything, right?
00:20:34 --> 00:20:35 What's the intention that you're making things
00:20:35 --> 00:20:38 with? You can go to dark places, but it doesn't
00:20:38 --> 00:20:41 necessarily inherently have to be a dark message.
00:20:41 --> 00:20:45 It did walk that fine line. When you start going
00:20:45 --> 00:20:48 into the harvest, when you meet the characters
00:20:48 --> 00:20:50 of the harvest and you're spending the time at
00:20:50 --> 00:20:53 the harvest, there's... This interesting shift
00:20:53 --> 00:20:57 that happens in the film that goes from, you
00:20:57 --> 00:21:00 know, you guys going through this hell, not just
00:21:00 --> 00:21:01 the luggage where you're going through the experience
00:21:01 --> 00:21:03 of traveling and all of that, but then it kind
00:21:03 --> 00:21:07 of turns into a small winemaking documentary
00:21:07 --> 00:21:10 because it is very real. This is what's happening
00:21:10 --> 00:21:14 on real time. And you're capturing that on real
00:21:14 --> 00:21:17 time. It doesn't really come out as. fake or
00:21:17 --> 00:21:20 too pushy. It just comes out as a documentary
00:21:20 --> 00:21:24 within the film. How was it at least when you
00:21:24 --> 00:21:27 sat down to edit the movie, you said, okay, let's
00:21:27 --> 00:21:31 just make this combination of now we have this
00:21:31 --> 00:21:34 part where we're being educated on the process
00:21:34 --> 00:21:36 of winemaking. Because honestly, to be honest,
00:21:37 --> 00:21:40 I just drink it. I mean, it was great. I'm like,
00:21:40 --> 00:21:43 okay, so, you know, you learn. But it was kind
00:21:43 --> 00:21:45 of interesting because it's just in the middle
00:21:45 --> 00:21:47 of the film and it's just They're flawlessly.
00:21:47 --> 00:21:49 It's not like, oh, now you're going to hear a
00:21:49 --> 00:21:52 documentary about what I'm making. No, it's just
00:21:52 --> 00:21:55 there. It's part of the story. So we're learning
00:21:55 --> 00:21:57 as the characters go. So when you're sitting
00:21:57 --> 00:22:00 in the editing table, how do you come about and
00:22:00 --> 00:22:02 be like, okay, we're just going to insert this
00:22:02 --> 00:22:09 part here. Well, I think really the simplest
00:22:09 --> 00:22:15 answer I can give is Max and Paola. are just
00:22:15 --> 00:22:20 so fun to watch. Like, they're just such lovely
00:22:20 --> 00:22:25 people and they're just so organic, again, in
00:22:25 --> 00:22:29 front of the camera and authentic. And a lot
00:22:29 --> 00:22:33 of what we captured is just them being so real
00:22:33 --> 00:22:39 and generous and interesting. And one of my favorite
00:22:39 --> 00:22:42 parts in the movie is where Max is talking about...
00:22:42 --> 00:22:48 why he makes wine. And he jokes very much a joke,
00:22:48 --> 00:22:53 but he goes, well, I'm a drunkard. And yeah,
00:22:53 --> 00:22:56 I think that's just all them being real, but
00:22:56 --> 00:22:59 they're such smart people that throughout them
00:22:59 --> 00:23:03 being real and throughout them, because of their
00:23:03 --> 00:23:08 generosity, they wanted to teach as well. And
00:23:08 --> 00:23:11 we had never harvested before. No, oh my God,
00:23:11 --> 00:23:14 we learned how to cut the grapes. It was so cool.
00:23:15 --> 00:23:17 We were so lucky to go out there. That's what's
00:23:17 --> 00:23:18 so beautiful about making films is that you can
00:23:18 --> 00:23:21 kind of go and learn things, right? That's essentially
00:23:21 --> 00:23:23 why I make films. I'm like, what could I learn?
00:23:24 --> 00:23:26 What could I do to learn something I can learn?
00:23:26 --> 00:23:28 Yeah, and so we kind of wanted to share that,
00:23:28 --> 00:23:30 what we learned with an audience. And also, we
00:23:30 --> 00:23:32 think it's interesting. Same how Max is in that
00:23:32 --> 00:23:34 same interview. He's just like, we do it because
00:23:34 --> 00:23:38 we love it. You know? The great thing about independent
00:23:38 --> 00:23:41 film like this is that you've got no studios
00:23:41 --> 00:23:43 breathing down your neck. No one's telling you
00:23:43 --> 00:23:45 how long it needs to be or what's boring or what's
00:23:45 --> 00:23:48 interesting. We just kind of did what we wanted
00:23:48 --> 00:23:50 to do. And that was what we wanted to share.
00:23:50 --> 00:23:54 And so we're really glad that it resonated with
00:23:54 --> 00:23:55 you. And I'm sure that it will resonate with
00:23:55 --> 00:23:56 other people. And then some people will be like,
00:23:56 --> 00:23:58 oh, it wasn't a straight horror. It wasn't this,
00:23:58 --> 00:24:01 it wasn't that. And that's fine. I think that's
00:24:01 --> 00:24:03 the nature of making anything. Once you put it
00:24:03 --> 00:24:07 out there, you stop. being in charge of it and
00:24:07 --> 00:24:09 you let it just kind of go and live its life
00:24:09 --> 00:24:11 and communicate with who it's meant to communicate
00:24:11 --> 00:24:13 with. And it's so lovely to hear all your thoughts
00:24:13 --> 00:24:15 about the film and your questions and feedback
00:24:15 --> 00:24:19 because I feel like you really got so much of
00:24:19 --> 00:24:21 what we were trying to do. So I'm just so...
00:24:21 --> 00:24:23 I mean, you have wine and a backdrop of Spain.
00:24:25 --> 00:24:29 I'm a very simple person. But at least what you
00:24:29 --> 00:24:32 captured from Galicia, the culture, was that...
00:24:32 --> 00:24:35 something you wanted to do just besides using
00:24:35 --> 00:24:36 it as a simple background? You were planning
00:24:36 --> 00:24:39 on going there the entire time, but capturing
00:24:39 --> 00:24:42 the culture, was that something you also wanted
00:24:42 --> 00:24:46 to come through on the film? Yeah. I think we
00:24:46 --> 00:24:49 were so lucky. We got more than we thought we
00:24:49 --> 00:24:51 could. You know, when we were out, we were just,
00:24:51 --> 00:24:54 we were, it really felt like we were playing
00:24:54 --> 00:24:56 with the universe. Like we were, the whole film
00:24:56 --> 00:25:00 was this funny dance with the sort of powers
00:25:00 --> 00:25:03 of creation. And it really felt like that. And
00:25:03 --> 00:25:06 we were given so many gifts and offerings that
00:25:06 --> 00:25:07 we were then like, right, how are we going to
00:25:07 --> 00:25:09 respond to this in the form of the film and these
00:25:09 --> 00:25:12 characters and this sort of iteration? And so
00:25:12 --> 00:25:14 we were just always kind of playing. And some
00:25:14 --> 00:25:19 gifts that we didn't plan for again that wouldn't
00:25:19 --> 00:25:21 even have ever made it into the movie. We were
00:25:21 --> 00:25:25 staying in a small village and where these random
00:25:25 --> 00:25:30 tourists with our Galician friends and yeah,
00:25:30 --> 00:25:33 some of this. Local locals came up and gifted
00:25:33 --> 00:25:37 us figs and fruits that are growing locally.
00:25:37 --> 00:25:40 And yeah, everybody was so warm and welcoming.
00:25:41 --> 00:25:43 Because we were just these random, these tiny
00:25:43 --> 00:25:46 villages with people not off the tourist track,
00:25:46 --> 00:25:49 right? Not the tourist track. So we were so...
00:25:49 --> 00:25:51 And that's also another amazing thing about being
00:25:51 --> 00:25:53 let into people's worlds is that you're taken
00:25:53 --> 00:25:57 off the beaten path. And we wanted to take people
00:25:57 --> 00:25:59 on that road with us, on that journey with us.
00:26:00 --> 00:26:03 as a kind of gift to the people watching it.
00:26:03 --> 00:26:05 We got that gift, so why not share it with others?
00:26:06 --> 00:26:08 Yeah, there's this thing about Spanish culture,
00:26:09 --> 00:26:11 not just in restaurants, but I like going to
00:26:11 --> 00:26:14 small restaurants and they don't really judge
00:26:14 --> 00:26:16 you. They're like, oh, wait, you're leaving?
00:26:16 --> 00:26:18 Are you sure you don't want to eat more? I am
00:26:18 --> 00:26:20 from Puerto Rico. I don't know how to serve food.
00:26:20 --> 00:26:23 I don't even know how to cook food for two people.
00:26:23 --> 00:26:27 I serve food for like a whole village. And when
00:26:27 --> 00:26:30 you have that culture, when you go. And you're
00:26:30 --> 00:26:33 like, oh, I could just sit here and drink three
00:26:33 --> 00:26:35 more bottles of wine because they just keep coming
00:26:35 --> 00:26:37 to you and telling you stories. And, you know,
00:26:37 --> 00:26:39 whenever you meet someone over there, it's going
00:26:39 --> 00:26:41 to be the whole night. One important question
00:26:41 --> 00:26:44 that I have, too, and I had to write this one
00:26:44 --> 00:26:46 down because I was very curious about this one.
00:26:46 --> 00:26:53 The rap scene in the car. Was that improvised
00:26:53 --> 00:26:56 or you actually you actually drop bars like that?
00:26:57 --> 00:27:01 he can he can other yeah so that was all improvised
00:27:01 --> 00:27:05 and there's um yeah it's funny you bring it up
00:27:05 --> 00:27:08 because multi -talentedness there's a thank you
00:27:08 --> 00:27:11 there's a few through lines of of like the rap
00:27:11 --> 00:27:14 influence of the movie really like i grew up
00:27:14 --> 00:27:18 in new york i grew up like first big names i
00:27:18 --> 00:27:21 was interested in was like big l nas obviously
00:27:21 --> 00:27:24 like jc Then the group started getting older
00:27:24 --> 00:27:27 and like the Southern rap wave started hitting.
00:27:27 --> 00:27:32 So I got really into 3 -6 Mafia. And then I went
00:27:32 --> 00:27:35 to the University of Texas at Austin and all
00:27:35 --> 00:27:39 of my friends were Texas, Texas boys who loved
00:27:39 --> 00:27:44 UGK, DJ Screw, that sort of stuff. And yeah,
00:27:44 --> 00:27:47 so when I was in college, definitely had a lot
00:27:47 --> 00:27:50 of stupid fun, just like rapping with my friends.
00:27:51 --> 00:27:53 And yeah, something I just play around with every
00:27:53 --> 00:27:57 now and then. But yeah, it became a larger interesting
00:27:57 --> 00:28:00 through line for the movie because as you've
00:28:00 --> 00:28:05 seen, there's kind of a chopped and screwed mechanism
00:28:05 --> 00:28:09 to the movie itself. And as we were figuring
00:28:09 --> 00:28:13 that out, which is building off of the amazing
00:28:13 --> 00:28:16 editing work that our editor Saffron has done
00:28:16 --> 00:28:19 for our other shorts. We've worked with her for
00:28:19 --> 00:28:22 everything that we've made together. And there's
00:28:22 --> 00:28:24 when you're dealing with found footage, lived
00:28:24 --> 00:28:27 in cameras, like we really wanted to play with
00:28:27 --> 00:28:30 the idea of what's glitching, what's working,
00:28:30 --> 00:28:32 what happens when the world is ending, how does
00:28:32 --> 00:28:35 that impact the camera itself, what's being recorded,
00:28:36 --> 00:28:38 what's been lost. So as we were really diving
00:28:38 --> 00:28:43 deep into the edit, I tasked Saffron to listen
00:28:43 --> 00:28:46 to Chopped and Screwed music. So that could help
00:28:46 --> 00:28:48 influence the edit itself. So yeah, the ending
00:28:48 --> 00:28:52 with Sergio is very much for that. I think you
00:28:52 --> 00:28:56 have a documentary there already. That's going
00:28:56 --> 00:28:59 to be your next film. The rap culture in America.
00:29:00 --> 00:29:03 It's true. I mean, I can only imagine what the
00:29:03 --> 00:29:05 rap culture in Austin is. Yeah, I didn't want
00:29:05 --> 00:29:07 to see the film initially, but I was like, this
00:29:07 --> 00:29:10 has got to go. It was fun. It was funny. I feel
00:29:10 --> 00:29:11 like that. That's why I said, like, you know,
00:29:12 --> 00:29:13 you have the dark humor, and I feel like when
00:29:13 --> 00:29:16 you guys are in the car, I feel like that's what
00:29:16 --> 00:29:18 really cuts into a more natural humor. It does
00:29:18 --> 00:29:22 separate the film in a big way. Obviously, like,
00:29:22 --> 00:29:24 when you start talking to the Spanish friends,
00:29:24 --> 00:29:26 it does go into a different kind of humor. It's
00:29:26 --> 00:29:30 a more Spanish humor, and I do love that. So
00:29:30 --> 00:29:33 it does have a lot of ebbs and flows in humor.
00:29:33 --> 00:29:35 There's a bit of humor for everybody in that
00:29:35 --> 00:29:38 film. how easy was it to at least like switch
00:29:38 --> 00:29:41 hats like when you're trying to focus on a scene
00:29:41 --> 00:29:43 but then at the same time you're thinking as
00:29:43 --> 00:29:46 a director and you're thinking as an actor how
00:29:46 --> 00:29:49 easy was that some days easier than others yeah
00:29:49 --> 00:29:53 there was a lot of juggling that needed to happen
00:29:53 --> 00:29:56 i mean another thing you won't see in the credits
00:29:56 --> 00:29:58 is that we were trying to figure out all the
00:29:58 --> 00:30:02 audio ourselves there were times where we had
00:30:02 --> 00:30:05 to shift into being a different version of ourselves.
00:30:06 --> 00:30:10 And I guess what that question makes me think
00:30:10 --> 00:30:14 of is thinking about how Simpaola noticed it.
00:30:14 --> 00:30:17 And I found that really interesting where they
00:30:17 --> 00:30:20 were like, oh, wow, you guys are, you're different
00:30:20 --> 00:30:26 when we got into the scenes. And in a way. we
00:30:26 --> 00:30:29 are and we're not right so yeah but we had to
00:30:29 --> 00:30:32 kind of play slight versions of ourselves and
00:30:32 --> 00:30:35 our insanity although that did end up making
00:30:35 --> 00:30:37 us feel more insane as the project went on because
00:30:37 --> 00:30:42 still kind of relating to one another but slightly
00:30:42 --> 00:30:46 off so it's yeah i mean it's definitely a funny
00:30:46 --> 00:30:48 thing i've made quite a few films that i've acted
00:30:48 --> 00:30:51 in and directed and done a few things and it
00:30:51 --> 00:30:54 does You kind of have to do it for like a short,
00:30:54 --> 00:30:56 sharp period of time. And then you kind of need
00:30:56 --> 00:30:58 to take a break because it does start messing
00:30:58 --> 00:31:03 with like your sense of reality. But yeah, and
00:31:03 --> 00:31:04 even the camera, we borrowed the camera from
00:31:04 --> 00:31:07 a friend. And we were very happy to give it back
00:31:07 --> 00:31:09 at the end. After a little while, we're like,
00:31:09 --> 00:31:11 okay, bye camera. When we started shooting, I
00:31:11 --> 00:31:13 was like, maybe we need to just buy this camera
00:31:13 --> 00:31:16 so we can just keep building on the story. And
00:31:16 --> 00:31:19 then, yeah, three weeks later, we're like, yeah,
00:31:19 --> 00:31:21 we're giving it back. And no more camera. Yeah.
00:31:22 --> 00:31:25 There's another interesting topic that kind of
00:31:25 --> 00:31:29 shows up on the film. While a lot of people try
00:31:29 --> 00:31:31 to stay away and shy away from, at least filmmakers,
00:31:32 --> 00:31:36 try to shy away from current politics. You kind
00:31:36 --> 00:31:38 of like caressed it a little bit throughout the
00:31:38 --> 00:31:41 film, like a little nod here and there. How,
00:31:41 --> 00:31:45 why were you not afraid? What made you at least
00:31:45 --> 00:31:48 say like, okay, this is contemporary times and
00:31:48 --> 00:31:50 we want to make sure that this is also reflected.
00:31:51 --> 00:31:53 You know, this reality is reflected on the film.
00:31:55 --> 00:31:59 It was always really important to me to make
00:31:59 --> 00:32:04 this film. It's a document, a documentary. The
00:32:04 --> 00:32:07 way it was constructed, and obviously physical
00:32:07 --> 00:32:10 media being very important to you, was that it
00:32:10 --> 00:32:13 was almost as if a memory card is found hundreds
00:32:13 --> 00:32:15 of years in the future. And obviously there's
00:32:15 --> 00:32:18 that sort of overlay with the person, whoever's
00:32:18 --> 00:32:21 working behind. And a bit like a time capsule.
00:32:21 --> 00:32:25 Remember those things we made in 2000? It's kind
00:32:25 --> 00:32:28 of like that. And for me, especially, it felt
00:32:28 --> 00:32:31 like it was really important to talk about what's
00:32:31 --> 00:32:33 going on in the world, to talk about climate,
00:32:33 --> 00:32:36 to talk about the genocide in Palestine, to talk
00:32:36 --> 00:32:37 about all these sorts of things, which are really,
00:32:37 --> 00:32:42 really... They feel, for a lot of us, like the
00:32:42 --> 00:32:45 end times. Because we're watching humanity...
00:32:46 --> 00:32:49 destroy itself and destroy the earth that we
00:32:49 --> 00:32:51 live on and and that doesn't need to be the case
00:32:51 --> 00:32:54 right we don't need to go that way and if i'm
00:32:54 --> 00:32:56 very interested in sort of past civilizations
00:32:56 --> 00:32:59 and and the iron age and the bronze age and you
00:32:59 --> 00:33:02 know maybe even further back and thinking about
00:33:02 --> 00:33:05 these banters even these civilizations mythical
00:33:05 --> 00:33:10 or otherwise right that that were destroyed that
00:33:10 --> 00:33:13 by the hubris by the sort of icarus like nature
00:33:13 --> 00:33:17 of man And I feel like we're at a turning point
00:33:17 --> 00:33:22 now, nowadays, and we have the power and the
00:33:22 --> 00:33:26 capacity and the love to not go that way. And
00:33:26 --> 00:33:28 I think that's why we sort of call this Galicia,
00:33:28 --> 00:33:31 the sort of the hidden title, which is somewhere
00:33:31 --> 00:33:33 in the film, Galicia, a better world is possible.
00:33:34 --> 00:33:38 That we don't need to blow up the planet and
00:33:38 --> 00:33:43 kill each other to get into a better place. I
00:33:43 --> 00:33:44 think the only way we're going to do that is
00:33:44 --> 00:33:46 if we take a long hard look at ourselves and
00:33:46 --> 00:33:49 where we're at and how we can actually sort of
00:33:49 --> 00:33:51 love one another and love each other through
00:33:51 --> 00:33:54 our differences and put down the guns. Put down
00:33:54 --> 00:33:58 the guns. Because the only way, it's not going
00:33:58 --> 00:34:00 to make it better. Every time I go to another
00:34:00 --> 00:34:03 country, I apologize before I say where I'm from.
00:34:03 --> 00:34:05 There was a scene in London where you had the
00:34:05 --> 00:34:08 protests going on. I don't know when you recorded
00:34:08 --> 00:34:11 that necessarily. It's still more realistic with
00:34:11 --> 00:34:15 all of that happening. But obviously a lot of
00:34:15 --> 00:34:19 apocalypse -based films tend to happen somewhere
00:34:19 --> 00:34:24 in some different reality. Why was it so important
00:34:24 --> 00:34:28 to capture our reality for this apocalypse? Like
00:34:28 --> 00:34:30 you said, we don't want to destroy ourselves,
00:34:30 --> 00:34:33 but was that something you were planning on having
00:34:33 --> 00:34:36 it? In this reality where all of this is happening,
00:34:37 --> 00:34:38 or at one point you guys thought about having
00:34:38 --> 00:34:41 it removed from this reality? It was always going
00:34:41 --> 00:34:44 to be this reality. I mean, for me, cinema, making
00:34:44 --> 00:34:49 art, making, telling stories, making creation,
00:34:50 --> 00:34:55 right, is alchemy, is a form of alchemy. And
00:34:55 --> 00:35:00 for me, for us, for the world, it's like a small
00:35:00 --> 00:35:03 offering. I'm like, what if if we could end the
00:35:03 --> 00:35:05 world in this way, maybe the real world doesn't
00:35:05 --> 00:35:07 need to end. But it's like it's almost I'm like,
00:35:07 --> 00:35:11 it's a spell to ward off the darkness. It's a
00:35:11 --> 00:35:14 way to sort of end one timeline and sort of hopefully
00:35:14 --> 00:35:17 usher in another without. I don't know. That
00:35:17 --> 00:35:19 seems a little bit kind of blatant, but that's
00:35:19 --> 00:35:22 a bit how I think about making work. And that's
00:35:22 --> 00:35:27 kind of why, in a way, even though we are Anna
00:35:27 --> 00:35:31 and Kyle on the film, we're playing. versions
00:35:31 --> 00:35:35 of ourselves but really kind of exercising the
00:35:35 --> 00:35:37 worst versions of ourselves in the same way it's
00:35:37 --> 00:35:41 like how do we exercise the worst possible outcome
00:35:41 --> 00:35:45 of this reality and what if that worst possible
00:35:45 --> 00:35:52 outcome had a potential for hope and love we
00:35:52 --> 00:35:55 don't know what the apocalypse will be if it
00:35:55 --> 00:35:59 comes when it comes it's here yeah Exactly. It's
00:35:59 --> 00:36:02 here. No. How quick it'll be, how slow it'll
00:36:02 --> 00:36:05 be. In every society, every sort of generational
00:36:05 --> 00:36:08 conversation about apocalypse forever. So it's
00:36:08 --> 00:36:13 like, what if we could just end that? Yeah, it
00:36:13 --> 00:36:16 was always rooted in reality for us. And I think
00:36:16 --> 00:36:20 really all of our work together has been. Yeah.
00:36:20 --> 00:36:23 But these kind of versions of reality. So, yeah,
00:36:23 --> 00:36:26 it's a box within a box. And hopefully. It's
00:36:26 --> 00:36:27 a spell that will mean we don't need to face
00:36:27 --> 00:36:30 the end of days. Was the actual name of the wine
00:36:30 --> 00:36:33 was Delano Faresuna Mierda or was that just a
00:36:33 --> 00:36:35 made up? Oh God. Okay. So yeah, I need a bottle.
00:36:35 --> 00:36:38 I need a, I need a bottle. But when she said
00:36:38 --> 00:36:39 the name, I was like, wait, hold on. Let me rewind
00:36:39 --> 00:36:41 that for a second. Let me take notes of that.
00:36:41 --> 00:36:43 Cause I'm like, if this is an actual real wine,
00:36:44 --> 00:36:47 I need to find that wine. I need to find it.
00:36:47 --> 00:36:50 So wherever the distributor sells them to me,
00:36:50 --> 00:36:53 I have friends all over Spain. I'll make them
00:36:53 --> 00:36:57 hunt for one. Yes. Absolutely. Exactly. This
00:36:57 --> 00:36:59 Bible in Europe and Spain, at the moment, they
00:36:59 --> 00:37:02 don't have distribution in the U .S., but hopefully
00:37:02 --> 00:37:05 after this movie, they will. But you're also
00:37:05 --> 00:37:10 building an experience with the wine because
00:37:10 --> 00:37:11 you're trying to build an experience around the
00:37:11 --> 00:37:15 film and the culture that inspires it. What is
00:37:15 --> 00:37:17 the intention, for example, like pairing the
00:37:17 --> 00:37:23 movie with the wine? Yeah, well... I come from
00:37:23 --> 00:37:27 a film distribution background and my belief
00:37:27 --> 00:37:31 is that independent film needs to be an experience.
00:37:31 --> 00:37:35 I think there are so many movies out there and
00:37:35 --> 00:37:37 there's so many amazing movies out there, but
00:37:37 --> 00:37:40 that means that there's a lot of noise and we're
00:37:40 --> 00:37:43 competing with music. We're competing with video
00:37:43 --> 00:37:46 games. How do you capture attention? How do you
00:37:46 --> 00:37:49 interest people on going out to a movie theater?
00:37:50 --> 00:37:53 As I said earlier, for me, What excites me about
00:37:53 --> 00:37:57 travel is often the food and the wine. And I
00:37:57 --> 00:38:01 think expanding upon the experience of cinema
00:38:01 --> 00:38:06 to include food or wine specifically is a really
00:38:06 --> 00:38:12 exciting idea. And yeah, so Purella is based
00:38:12 --> 00:38:14 in Europe or they're based in Spain, but their
00:38:14 --> 00:38:16 wine is mostly available in Spain or in Europe.
00:38:16 --> 00:38:21 But the intention for us is to have... their
00:38:21 --> 00:38:24 wine available to pair with the film wherever
00:38:24 --> 00:38:27 we possibly can. And then a bit of a teaser for
00:38:27 --> 00:38:30 the podcast listeners is we've also partnered
00:38:30 --> 00:38:33 with a US -based winery called The Vice, who
00:38:33 --> 00:38:36 will be creating our own collaborative stupid
00:38:36 --> 00:38:41 co -wine. Kyle's sister. So yeah, speaking to
00:38:41 --> 00:38:43 like my illustration background, I've illustrated
00:38:43 --> 00:38:46 some bottles for them over the years. It's all
00:38:46 --> 00:38:50 part of the family. Yeah, so we'll have a small
00:38:50 --> 00:38:53 batch of Stupico wine that will be available
00:38:53 --> 00:38:56 at some of the initial U .S. festivals this fall.
00:38:56 --> 00:38:59 We get to invite everyone in for a drink. So
00:38:59 --> 00:39:02 the film, it does take everyone on a journey
00:39:02 --> 00:39:04 to the end of days. And the aftercare of that
00:39:04 --> 00:39:07 is have a glass of wine with us and let's imagine
00:39:07 --> 00:39:11 a better future together. Guys, talking to you
00:39:11 --> 00:39:13 has been so amazing. I know you guys have a lot
00:39:13 --> 00:39:17 on your plate. But before we go. Galicia was
00:39:17 --> 00:39:20 made in the Galician region of Spain with Viral
00:39:20 --> 00:39:24 Wine and Under Stupid Co. Just for our listeners
00:39:24 --> 00:39:27 who want to check that out as well. And it premieres,
00:39:27 --> 00:39:29 this is an important date for you guys and for
00:39:29 --> 00:39:31 me because I'm over here in New York. It premieres
00:39:31 --> 00:39:35 in New York on October 13 at the Roxy Cinema
00:39:35 --> 00:39:39 as part of the Downtown Film Festival. I believe
00:39:39 --> 00:39:42 you mentioned you have more U .S. festivals that
00:39:42 --> 00:39:48 are coming soon, the TBD. Yeah, for anybody listening
00:39:48 --> 00:39:51 also more interested in the physical media side
00:39:51 --> 00:39:54 of things. One last thing I wanted to plug is
00:39:54 --> 00:39:57 another really exciting partnership that we've
00:39:57 --> 00:39:59 made is with a company called Video Storage.
00:40:00 --> 00:40:05 And we'll be distributing and selling some limited
00:40:05 --> 00:40:08 edition copies of the film on encrypted hard
00:40:08 --> 00:40:11 drives powered by Video Storage. So for folks
00:40:11 --> 00:40:13 who join us in New York, we'll have some of those
00:40:13 --> 00:40:16 drives available. They'll include our two short
00:40:16 --> 00:40:19 films as well. They're really special encrypted
00:40:19 --> 00:40:22 drives with a full menu like they're a Blu -ray.
00:40:22 --> 00:40:25 For anybody not familiar with video storage.
00:40:25 --> 00:40:28 Check them out. Checking them out. Come join
00:40:28 --> 00:40:30 us in New York. And yeah, stay tuned for more
00:40:30 --> 00:40:34 to be announced. I do have some small businesses
00:40:34 --> 00:40:37 that basically distribute film as well. They
00:40:37 --> 00:40:39 create their own Blu -rays. So if anybody's interested,
00:40:40 --> 00:40:41 they can hit you up. They know I'm going to be
00:40:41 --> 00:40:44 linking everything here below. And obviously
00:40:44 --> 00:40:46 they follow us. They listen to our episodes.
00:40:46 --> 00:40:50 So anybody wants to support indie cinema, they're
00:40:50 --> 00:40:52 in the right spot. What's next for Stupid Coco?
00:40:52 --> 00:40:55 Has everybody mentioned the wine? Great. What
00:40:55 --> 00:40:57 else are we expecting? Do you have anything coming
00:40:57 --> 00:40:59 up down the pipeline? Any new film, that documentary
00:40:59 --> 00:41:03 about rap that you have up your sleeve? It's
00:41:03 --> 00:41:07 just a three -hour continuous rap by Kyle. Who
00:41:07 --> 00:41:10 was it? Ken Russell? Not Ken Russell. What's
00:41:10 --> 00:41:13 the guy? Oh, my God. Jesus Christ. A three -hour
00:41:13 --> 00:41:18 documentary about rap. Amazing. Me and rap. Rap.
00:41:18 --> 00:41:23 A rap three -hour documentary about rap. I mean,
00:41:23 --> 00:41:26 if Hamilton did it. You know what? Exactly. It's
00:41:26 --> 00:41:28 been done. Sorry. Yeah, we move on. But it's
00:41:28 --> 00:41:30 been done. You have a producer right there. Just
00:41:30 --> 00:41:33 hit up Lin -Manuel Miranda. Just hit him up.
00:41:33 --> 00:41:36 Yeah, exactly. you never know there could be
00:41:36 --> 00:41:38 another there could be a rap film at some point
00:41:38 --> 00:41:41 but yeah in the meantime i mentioned earlier
00:41:41 --> 00:41:45 we host a roaming dog friendly screening series
00:41:45 --> 00:41:50 called can dogs We have our first Canadian event
00:41:50 --> 00:41:54 ever in Toronto on November 1st. At the Paradise.
00:41:54 --> 00:41:58 At the Paradise Theatre, playing an amazing New
00:41:58 --> 00:42:00 York -made movie called The Woman Who Could Read
00:42:00 --> 00:42:03 the Minds of Dogs. So that's coming up for folks
00:42:03 --> 00:42:05 who might be listening that are based in Toronto.
00:42:06 --> 00:42:11 And then additionally, Anna is working to finish
00:42:11 --> 00:42:15 the post -production on her first... solo directed
00:42:15 --> 00:42:18 feature called External Neighbors. So that's
00:42:18 --> 00:42:22 something for folks to get their eyes peeled
00:42:22 --> 00:42:26 for next year. Where can people find Stupid Co.?
00:42:26 --> 00:42:28 Where can they follow the film and where can
00:42:28 --> 00:42:30 they keep on the updates for the upcoming screenings?
00:42:30 --> 00:42:32 This is one of my favorite things to plug. You
00:42:32 --> 00:42:37 can find us at stupidco .biz or you can find
00:42:37 --> 00:42:41 us on Instagram or social media at stupidcobiz.
00:42:42 --> 00:42:45 And yeah, we'll be announcing more over the coming
00:42:45 --> 00:42:48 weeks and months about the festival tour, the
00:42:48 --> 00:42:51 event tour. Early next spring, we're expecting
00:42:51 --> 00:42:54 to take the film on more of a roadshow. Maybe
00:42:54 --> 00:42:57 so we can go on another holiday. So we can keep
00:42:57 --> 00:43:00 traveling. I mean, that is the excuse. That's
00:43:00 --> 00:43:03 the best part of travel. Pretending you're doing
00:43:03 --> 00:43:07 it for work. Exactly. Exactly. Well, thank you
00:43:07 --> 00:43:09 so much, guys, for being here with me today.
00:43:09 --> 00:43:12 I really appreciate you taking the time. I do
00:43:12 --> 00:43:16 a lot of support into filmmaking and keep doing
00:43:16 --> 00:43:18 what you're doing. Anytime you guys have anything
00:43:18 --> 00:43:20 planned, just hit me up. I'll be on Instagram
00:43:20 --> 00:43:24 24 -7. I don't sleep. 24 -7. Get a girl. Get
00:43:24 --> 00:43:28 a girl to be on Instagram 24 -7. The thing is,
00:43:28 --> 00:43:31 I have friends from different parts. And the
00:43:31 --> 00:43:33 ones from LA, they text me at 9 p .m., but it's
00:43:33 --> 00:43:36 like midnight over here. So I'm having these
00:43:36 --> 00:43:40 conversations. So, you know, I... I learned don't
00:43:40 --> 00:43:44 have friends. Just be a solo. Yeah. Don't have
00:43:44 --> 00:43:48 friends. Touch grass. Well, thank you so much,
00:43:48 --> 00:43:50 guys. Thank you so much for being here with me
00:43:50 --> 00:43:52 today. Don't forget to follow The Physical Cut
00:43:52 --> 00:43:55 on Instagram at ThePhysicalCutPod. Also, you
00:43:55 --> 00:43:58 can check out our website at krpotlab .com. Thank
00:43:58 --> 00:44:00 you for being here with us today. This has been
00:44:00 --> 00:44:02 The Physical Cut, where films live beyond the
00:44:02 --> 00:44:03 stream. And I will see you guys next time.