[Dave Yarovesky] Hello, and welcome to the commentary for Brightburn.
I am Dave Yarovesky, the director of this movie.
I have with me Mike Dallatorre, aka Mike D, the cinematographer.
[Dallatorre] Hey, how's it going, guys?
[Yarovesky] Your voice cracked there. So, everyone thinks you're...
-[Dallatorre clears throat] -[laughter]
Mike is a 12-year-old boy and he's very excited to be here right now,
and that is definitely-- we're not redoing that.
That is in the movie, no backsies.
[Dallatorre laughs]
With us also is Autumn Steed,
also known as Autumn Steed Yarovesky, because she is my wife.
[Steed] And costume designer.
[Yarovesky] And costume designer. Yes, I should probably mention that.
She is responsible for that incredible Brandon costume,
that right now, if you drove around Los Angeles,
you would see on billboards and posters all over the world,
and movie theaters all over the world.
So, Mike, Autumn, and myself, we've worked together for over ten years now.
We've done collectively over 100 music videos and commercials, short films.
We did a movie together called The Hive,
and we've been on a long road, the three of us,
starting on incredibly tiny,
"Here's 500 bucks, go shoot something" kind of projects.
And now we're here on the Sony lot in a giant recording studio.
-[Steed] What? It's so weird. -[Yarovesky laughs]
[Yarovesky] I don't know why they let us in here.
[Steed] They're probably not gonna let us back.
[Yarovesky] No. They let a bunch of assholes in here
and let us make a movie, probably shouldn't have done that.
But I wanted to do this commentary with them
because it just feels very fitting
that we would find ourselves at this step in the journey.
[Steed] It's been awesome being together, the three of us, for ten years.
I mean, not a lot of people, I don't think, can say that. It's cool.
[Yarovesky] Yeah. But James is away shooting Suicide Squad right now
and Simon, the producer, he's away shooting Suicide Squad.
But they're here in spirit as well as Brian and Mark, the writers,
are here in spirit.
-[Steed] A lot of spirits here. -[Yarovesky] There's a lot of spirits.
I always like these director's commentaries
because I like to learn from the directors
on, like, how they made things, what they did,
so we'll probably be talking a bit about that.
[Dallatorre] One thing, since I feel like we're doing very much tech stuff,
is that we used Arri Alexas
with Panavision T-Series anamorphics to shoot the movie
to help us give, I think, a more cinematic...
[Yarovesky] By the way, I'm just gonna chime in so you guys know that
that shot you just saw of the curtain, we never shot that.
That is a completely digital shot. Anyways, you can...
[Dallatorre] And so that's the gear we shot with
to kind of help tell the story.
It gives that kind of superhero--
The theme we've had from the beginning of the film
was that this was a low budget horror film
that gets invaded by a big budget--
[Yarovesky] You're interrupting this cute Jackson footage right here, you know.
-[Dallatorre] This is original stuff here. -[Yarovesky] With your fancy tech talk.
[laughter]
With your big words.
-[Dallatorre] And this was VHS, I believe. -[Yarovesky] This was VHS.
And it was shot 20 years ago by Jackson Dunn's mother.
Did we credit her as a camera operator on that?
[Dallatorre] We should have given her like "documentary..."
We'll have to put that in the tech specs in IMDB.
[Ya roves ky] Yeah.
[Dallatorre] So, the house.
Talk about the house, Dave. Why'd you like this house so much?
[Yarovesky] Well, that's a good question.
This is a good time to talk about the house
because this is a sequence
where we were gonna kind of show you the geography of the house
and let you understand the play space of where things could jump out of,
where people could hide. And all of that.
The house basically doesn't look anything like this inside.
- Does it? -[Dallatorre] Mm-mmm.
[Yarovesky] One of the things I liked about the house
was that it geographically made no sense,
and believe it or not, she's walking past a--
There's a door behind that wood paneling right there.
And, later in the movie,
when Brandon is flying through walls and stuff,
the way we were able to do a lot of it,
because we did not have a lot of money on this,
was to cover up walls where doors were
and blow through door holes
like they weren't actually doors.
- Like, that's where the hole was. -[Dallatorre] Yeah.
[Yarovesky] So, we would shoot like a cannon through the fake wall
because obviously we shot at a real house.
-[Dallatorre] And a really old house. -[Yarovesky] A real old house.
And now this location, this farm, is not at the house.
This is a different location entirely.
So any time you see the two together, it's a digital stitch.
[Dallatorre] Or the previous shot you saw here
where she actually stepped out the door and you saw the back,
that was just a flat that we built of the back house just so she could step out.
-[Yarovesky] Wait a minute, wait. -[Steed] No.
[Yarovesky] There's something very important we need to talk about.
Now, the volume is very low but, Autumn, I think I just heard you jump.
-[Steed] No. You didn't. -[Yarovesky] Yes.
'Cause you've seen this movie about 800 times at this point.
-[Steed laughs] - You were there when we filmed it.
[Steed] I was listening to your conversation,
not paying attention, and so it startled me.
[Yarovesky and Dallatorre laugh]
[Yarovesky] Now, Autumn, you should talk about their outfits right now.
[Steed] Um...
- Yeah. -[Yarovesky] That's fascinating.
[laughter]
[Steed] Oh, God, I'm gonna be so good at this.
[Yarovesky] You're super good at this.
Look at those rocket ships on his bathrobe. Tell me about that.
[Steed] Yeah, we custom-made that bathrobe.
We originally made one that was covered in wasps.
I don't know if you remember that one, but we ended up vetoing it
because it would be too weird with that wasp cut right there.
[Yarovesky] Yes, that's exactly right.
You know, I did not remember that, but that was a good note I gave you.
-[Steed] Yeah. It would have been weird. -[Yarovesky] That would have been weird.
It would have been a little too much of the wasp thing.
[Steed] Yeah. I think people will probably read into the wasp thing enough already
that if he was wearing wasps on top of that, it would have been--
[Yarovesky] It's a little over the top.
Yeah, the first time we tested the movie,
we showed a bunch of our friends the movie and someone was very disappointed
that he didn't turn into a giant wasp by the end of the movie.
[Dallatorre] They thought he was gonna be Wasp Man.
[Yarovesky] Yeah, they thought he was gonna... yes.
[Dallatorre] Captain Wasp.
[Yarovesky laughs]
[Steed] We also made Caitlyn's dinosaur overalls,
which is one of my favorite pieces of clothing I've ever made in my life,
and you can only see it for, like, this ten seconds, which makes me sad.
[Yarovesky] Yeah, but they were great, though.
[Steed] They were great.
-[Yarovesky] They were great. -[Dallatorre] I stole them.
[laughter]
[Yarovesky] I'm actually wearing them right now.
[Steed] Damn you, Mike D.
[Yarovesky] Yeah, oftentimes some of the great things
that costume designers or production designers do on movies
don't make it into the movie.
[Steed] And the things that you were like, "Oh, no one will notice that,"
is like a close-up, zoom-in of those shoes that you didn't really even think about.
[Yarovesky] Exactly. Mike throws a 150-millimeter lens
on the camera and shoots it,
and then you're at the premiere watching it on a 70-foot screen.
-[Steed] Having a fucking seizure. -[laughter]
-[Yarovesky] Hey, you can't... -[Steed] Can I cuss?
[Yarovesky] No, you can't. You can't cuss.
-[Steed] I can't cuss? -[Yarovesky] No, of course not.
-[Steed] Okay. -[Dallatorre] This is rated R.
-[Steed] I'll try. -[Yarovesky] Autumn, I'm just kidding.
It's a rated-R movie. Have you seen the movie?
-[Dallatorre] "Have you seen the movie?" -[Yarovesky laughs]
[Yarovesky] People can't watch--
Just so you know, Autumn has just flipped me off.
[Steed laughs]
[Zapping]
[Zapping stops]
[Dallatorre] Dave, talk about the color, the blue and red theme that we had going.
[Yarovesky] Mm-hmm.
Yes. Yes, I will get into that.
But before we do,
I do want to say that the stuff in his bedroom
was all part of a reshoot. It was shot months later.
And the stuff downstairs, all that was shot in Los Angeles,
in Sun Valley to be specific, right?
-[Dallatorre] Yep. -[Yarovesky] On a sound stage.
And then we rebuilt his bedroom.
[Dallatorre] And all this stuff was in Atlanta-- Newnan, Georgia.
[Steed] Newnan.
[Yarovesky] 'Cause on the page, right, the idea was to stay with Tori
and her experience through all of it.
But what happened was, you didn't get that this was new,
that this was the first time this was happening.
The audience didn't understand that this was something different happening,
and therefore became the inciting incident,
the thing that set off the series of events.
And as a result, it didn't kick the movie off.
It wasn't exciting.
So, we shot some stuff up there to make it clear what's happening
so you can track it.
[Dallatorre] And then that was actually Autumn right there.
[Steed] Yeah, that was me, that was my handy stunt running. [laughs]
[Dallatorre] She can run fast.
[Steed] You know, 'cause we only had Jackson for however many hours a day
and so we needed that shot after he was gone.
[Yarovesky] So what we did was we put her in a slingshot, like a giant slingshot...
[laughter]
...and we had her back up as far as she could
and just lift her feet up and it just launched her across the shot.
- That's not true. -[Dallatorre] That's not true.
[Yarovesky] That's not how we did it, is it?
[Steed] That is not true. That is not factual.
They told us to be factual.
[Yarovesky] We had you stand in there and move your foot
and then we digitally added a blur.
-[Steed] No, I ran. -[Yarovesky] No, that's not you.
[Steed] You cut me out?
-[Yarovesky] I cut you out. -[Dallatorre] Yeah.
[laughs] We only used the part where you're actually hitting the...
[Steed] The sheets?
[Yarovesky] Yeah, you see your feet a little,
but, yeah, that's a digital blur.
- I know you think you run fast, but... -[laughter]
[Steed] I run super-fast.
[Yarovesky] We should have played a game
where every time someone says the word "Brandon" in this movie,
we take a shot.
[Dallatorre] Yeah, we should have brought a...
[Yarovesky] That's a game you guys can play at home maybe if you're...
-[Dallatorre laughs] If you're bored? -[Yarovesky] Yeah.
Brandon?
Brandon.
-[Yarovesky] See how far you get. -[Dallatorre] Yeah.
[Yarovesky] Drink. Drink.
[Dallatorre] So, this was actually-- that wasn't pickups,
but that was done in, like, a whole 'nother area.
[Yarovesky] That was in the poo room.
-[Dallatorre] Was it? -[Yarovesky] It was in the poo-poo room.
[Dallatorre] Yes, we shot at a water treatment facility,
aka poop processing plant. PPP.
-[Yarovesky] Water treatment facility. -[laughter]
Water treatment facility is a very nice way of saying what it was.
[Dallatorre] It was a PPP.
[Yarovesky] What did PPP stand for? Poop...
[Dallatorre] Poop processing plant.
[Ya roves ky] Yeah. Yeah, and it smelled like it.
-[laughter] - It had these giant machines that would--
I don't know what it's processing.
-[Steed] Poop cleaner. -[Dallatorre] Poop-- sewer water.
All the sewer water goes into there
and they process it and essentially recycle it.
[Yarovesky] Process it, to do what with it?
[Steed] Make it drinkable.
-[Dallatorre] No, not drinkable. -[Yarovesky] Definitely not.
Absolutely not.
[Dallatorre] It can be used for irrigation and stuff like that.
But we have one here at the end, by Manhattan Beach.
And what it does is it takes the poop and makes, like, these cubic poops.
-[Yarovesky] No. -[Dallatorre] Yeah.
- No. - Yeah.
It filters it out and then it makes, like, a cube out of the poop.
[Ya roves ky] Wow.
[Steed] I think we're doing the wrong commentary.
[laughter]
[Dallatorre] So, Brightburn.
[Yarovesky] I didn't know that.
So, that is where we shot a lot of this movie.
[Dallatorre] Yeah.
[Yarovesky] All this stuff with Noah on the road, I'll point it out again,
but from this point forward, we'll call it the poop processing plant
and you'll know it's where they make the poop bricks.
Wait, so what do they do with the poop bricks?
-[Dallatorre] I don't know. -[Yarovesky] All right.
[Dallatorre] I don't know about that.
So, this is also digital photography.
[Yarovesky] Yeah, this is another reshoot.
[Dallatorre] This was...
[Yarovesky] There was a different ending of this movie that ended where...
after Brandon drops Tori and she falls to her death.
[Dallatorre] Spoiler.
[laughter]
[Yarovesky] Hopefully this is not the first way you're watching this movie,
with us talking about poop bricks the entire time over it.
But he drops Tori, she falls to her death,
and then he pulls out that candy and just sucks on it.
And that's the end of the movie,
and I guess it was maybe too bleak.
I guess it was too unresolved, it was too nihilistic.
All this was really cool.
This is also a reshot scene.
When we were looking at the movie,
we wanted to add more power discovery moments,
more moments where he became aware of his powers
and Brian and Mark, the writers, came up with this scene
and they pitched it to us and we were immediately into it.
I think it really works, to do what we were trying to do.
It was an interesting process, right?
Because we were navigating superhero and horror.
And what an audience expectation is of a superhero-horror movie,
what is the story I wanted to tell,
and as a superhero-horror movie, like, how is that gonna work, right?
And so in the first iteration,
it was much more purely Tori's POV,
and Brandon was a bit more alien and a bit...
He was consistently scarier.
[Dallatorre] Yeah.
[Yarovesky] And as we started cutting it,
we felt like the movie would be better
if you just saw a little bit more of the superhero beats, you know,
of him discovering his powers,
of him learning about himself, things like that.
And so, some of these early reshoots are based on that.
[Dallatorre] Yeah.
[Yarovesky] Anyways, back to poop bricks.
[Dallatorre] Well, this was actually at the diner.
[Yarovesky] Yeah, this was in Georgia. We shot the movie in Georgia.
So a special guy deserves a very special present.
[Yarovesky] Now, Autumn, maybe you should talk a little bit about color,
'cause right now he has a red collar, but he's blue and all his family is blue,
and that sort of speaks to the color story, right?
[Steed] Yeah, well, starting it we wanted to--
red represented the evil, the alienness of him.
And so, when you first see him, he doesn't have any red,
and as he gets eviler, we add more red.
And so in that lawnmower scene, there's one little button that is red
that, like, maybe Tori changed out or whatever.
And in this one, he's getting even more,
so we had a little red on his collar.
And then, as the movie goes on, we just add more and more red.
So when you see him in full red, he is really ready to fuck shit up.
-[Yarovesky] That's right. -[Steed] But then it got tricky,
because when we started working with the cape,
those first couple of outfits that we tried, I was like,
"Oh, shit, he can't really be wearing red
while he's wearing a red mask and a red cape,
because then he looks like shit."
[Yarovesky] You know, you have a potty mouth.
You have a filthy potty mouth. [laughs]
[Dallatorre] We're gonna get an NC-17 rating for the commentary.
[Yarovesky] You say a lot of bad words.
No, you're exactly right.
We're telling this color story throughout the movie
where his Earth life is represented by blue
and the forces of his--
[Steed] Also, it's funny that we're talking about this right now,
because her dress actually has pink in it,
which, when we were doing the fittings, was great. It was fine.
But then, after the color treatments, it reads red,
which totally fucks our whole color-- the thing we are talking about right now.
[Yarovesky] Yeah, in color, I actually muted it more in the DI process
and pushed it more away from red 'cause it was redder.
We're talking about those flowers, because if you watch the movie,
there is no red in the movie except for exactly where you want red to be,
except for those flowers, which sort of snuck through.
-[Steed] Yeah. -[Yarovesky] They kind of broke through.
[Steed] In real life, on the dress, it's pink.
- It doesn't read that red. -[Yarovesky] Yes.
But the truth is that it's not all red,
there's a specific shade of red that's associated with Brandon,
and we went through the entire movie with the colorist and made sure that--
I started calling it "Brightburn Red." It is this red, you know?
And so that isn't that red, so we're still within what's okay.
But as you see, everyone's wearing blue, because right now, like...
Blue is his parents' love, is Earth, is the things that is that life.
And red is his alien life. The pods red.
The ship that he came in is red. His cape is red.
So everything red is of that.
So what Autumn is saying is that you can kind of track
the evolution, to some degree, of his character
and the indoctrination of, like, doing the bidding of the aliens...
with his clothes, with his outfits, watching it get redder and redder.
But you're right, like, the more red...
Once he's wearing a cape and a hood, he couldn't also be wearing red.
[Steed] Yeah.
[Yarovesky] We had to navigate it carefully.
[Steed] Being this was the first movie that I had done
that we were like, "Oh, we're gonna do total color control,"
I learned that it is much more difficult to do that than initially thinking.
[Ya roves ky] Yes.
[Steed] And that you basically have to custom-make almost--
I mean, you just have to custom-make so much more.
[Yarovesky] It limits your ability, yeah. It limits the scope with which...
I mean, there's only so many colors you can--
[Steed] Yeah, before you're like, "Okay, everyone's in some weird uniform color."
-[Yarovesky] Yeah. -[Steed] It doesn't look real.
[Yarovesky] Exactly, and Mike can talk to the fact that before we started shooting,
Mike and I shot some tests,
just to the extent with which we controlled color on this.
We shot tests and we went through and we pulled...
We dramatically reduced the green in our LUT,
so even though you can't--
even though this scene right now feels quite green,
the truth is that we reduced a ton of that green.
[Steed] That reminds me. In the beginning, it was also
you can't put anyone in green,
because we're gonna pull the green out of the grass
and we're gonna pull all the green.
So if anyone's wearing green, then that'll get fucked.
[Yarovesky] Yeah, so as you can see, like, the color values of the shot,
his skin tone, the orange.
The thing is, right now you look at it and the green does feel like...
I mean, it feels like green.
[Dallatorre] Yeah, but it was much greener.
[Yarovesky] Much greener, yeah.
We pulled that in the original LUT,
so while we're shooting it, we're watching a very undersaturated green.
[Dallatorre] Yeah, and this is what happens in the springtime in--
[Yarovesky] In Atlanta.
[Dallatorre] Yeah, places where it rains and everything turns green. [laughs]
So, purposely trying to mute the environment, we did that.
What?
Like now.
[Dallatorre] And so, yeah, we developed a LUT,
like Dave was saying. We developed a LUT.
Which is, for those of you who don't know, is called a lookup table.
Which basically is a file that puts a curve on the digital image
for us to kind of see how the contrast and the color is gonna be on the movie.
And we have that loaded into the cameras while we're shooting,
so that we can have a pretty good representation
of what the film is gonna look like.
Kind of like a starting base in a way.
[Yarovesky] Yeah, it's like a pre-color correction basically.
You pre-color correct the movie.
And Mitch Paulson, who's our colorist,
he's a guy who did Prisoners, he did Blade Runner.
He's done a lot of amazing stuff.
[Dallatorre] Does a lot of stuff for Roger Deakins,
one of the senior colorists over at EFILM.
[Steed] This is actually the scene I hate the most.
- The outfit I hate the most. -[Dallatorre] The outfit? Why?
[Steed] Because it was supposed to be their bedding.
Her bedding was supposed to be solid.
And, like, when she's in the bed, there are so many patterns there
that it makes me want to just vomit.
-[Yarovesky] Yeah. -[Dallatorre] Pattern vomit.
[Yarovesky] It's interesting,
because this scene was initially much longer.
And this is one of those moments where we found ourselves
not navigating the waters
between a superhero movie and a horror movie,
because the way this scene originally played out,
she went over to that closet back there, she heard him in the closet,
she goes over to the closet, she opens the closet,
there's a creepy doll in there laughing at her. But he's not in there.
She's, like, moving the clothes out of the way. He's not in there.
This creepy doll, it scares her, she backs away, she goes to the window.
There's all this other stuff.
You saw him outside. It was a much longer scene.
But the problem was that coming into this movie,
the kind of stuff you could just do in a horror movie,
you couldn't totally do,
because Brandon was not just a scary thing,
he was also a character.
And so you were tracking his motivations and the things that drive him
more than you do in a typical horror movie where there's a ghost in the house.
You can just play for ten minutes and a bunch of creepy things can happen
and you don't totally need to be tracking that, you know?
And so, as a result, this scene got tightened a bit.
- By the way, that shot of Brandon-- -[Dallatorre] In the curtains.
[Yarovesky] The reveal of Brandon in the curtains, we did a thousand times.
There were so many different cuts of how that played out
and how the mechanics of the scare worked.
To me, the idea was you have this silent moment,
the curtain opens and it's totally silent.
The audience, or people you're watching the movie with, gasp.
They score the movie for you.
And then you don't see it coming, a huge boom.
The scare lands on her busting through the door.
That was the original idea,
but, man, it took so many different versions,
the cutting it, the timing,
how much of him you can see, how light or dark he is in the curtains.
Like, all of those things were such huge factors
-to whether or not it worked or not. -[Dallatorre] Yeah.
...to take him to someone, like a specialist.
- There's no-- - For what?
For talking back to his dad and keeping, like,
weird jerkoff material under his mattress?
It's more than that, Mer. I don't know.
It's like he's always been my little sweet guy, and now...
- He's so different. - It's called puberty.
- So I'm overreacting? - A little.
[Steed] This is a fun fact, actually.
The leather jacket that Tori is wearing is actually Kass,
our art director, it's her jacket.
- I could not find-- -[Yarovesky] She's our set decorator.
[Steed] Our set decorator.
[Yarovesky] That's her jacket? I did not know that.
[Steed] I could not find the jacket I wanted.
So, like, just-- everything either looked too new
or didn't fit her or whatever.
And I asked Kass, and she was like, "I have this one."
I was like, "Yes! That's perfect."
And it was perfect.
[Dallatorre] You took the jacket right off her back.
-[Steed] Yeah, I did. Myjacket. -[Yarovesky] That was also Elizabeth's--
That was also Elizabeth's last day. That was her--
- That was her final day on set, remember? -[Dallatorre] Yeah.
-[thud] {chickens clucking]
[sighs]
[cocks gun]
Fuckin' wolf.
[chickens clucking]
Brandon. What are you doin', buddy?
[muffled clucking]
[Yarovesky] You know, we haven't talked about David enough.
-[Steed] We haven't. -[Dallatorre] No, we haven't.
David is amazing.
[Steed] He's great.
[Yarovesky] How much can you possibly like a guy?
[Steed] You know, not much more than how much I like David.
[Yarovesky] Not much more than how much I like David, right?
-[Dallatorre] Super, super cool dude. -[Yarovesky] Yeah.
[Steed] My favorite thing about David,
he is the most genuine human that you have ever met.
[Yarovesky] No bullshit.
[Steed] No bullshit. He has zero percent bullshit.
When he thinks something, that's what he says.
-[Yarovesky] It's said out loud. -[Steed] I love that so much about him.
-[Yarovesky] Me too. -[Steed] He's become--
I mean, a lot of the cast has, and crew,
but he's become a good friend of ours.
[Yarovesky] When you dream about making a movie,
you often imagine yourself as a director.
When you're young, you imagine yourself as a director
and you imagine yourself being friends with the cast
and getting along and being pals.
[Dallatorre] That's not always the case.
[Yarovesky] That's not always the case. And when we made The Hive,
we had 17 days or whatever. I didn't have time to develop a--
I saw the cast of The Hive becoming friends,
but I didn't have time to talk to them.
It was just go-go-go, you know?
And in the process of making this movie, Jackson...
I mean, there were tears shed when we wrapped Jackson.
And David, like, I see David every two weeks now or so.
We talk to him quite often. He's become a very close friend.
And Elizabeth's in post on her movie right now,
and we were sharing a post production office,
so I'd see her every day, you know.
I mean, just the cast, we were so lucky with.
But anyways, I started this by saying how great David is.
[Dallatorre] Yeah. He was always down for stuff. He was very like...
He would even hang out sometimes afterwards,
which is kind of rare for actors.
Once they're wrapped, they're like, "Peace out."
He was just kind of like very genuinely interested in the whole process,
but also, like, making sure everything else
that was happening around his scenes,
what was happening, so that he could actually immerse himself more.
[Yarovesky] He cared deeply. He cared deeply about his character.
[Steed] And one thing, one of my pet peeves in movies
is when a guy on the farm is wearing, like, a Hugo Boss designer T-shirt.
I fucking hate that.
[Yarovesky] That's such a costume designer problem.
- That's such a costume designer problem. -[Steed] It fits different.
It's a different texture.
- It's just different. -[Yarovesky] I agree with you.
[Steed] And so, you know, for Denman's character,
those are Walmart shirts,
those are shirts that a farm dad in Kansas would buy.
[Dallatorre] Does anybody want to talk about the hand?
[Steed] Oh, we have got to talk about the hand! [laughs]
[Yarovesky] Oh, good Lord, the hand day. Okay, yes, I do.
I'll talk about it really quickly. The original hand that--
So this is a fake hand, when he crushes her hand, right?
And on the day, the idea was that it wasn't gonna be a close-up,
it was gonna be in that wider shot.
But they made the hand so huge.
[Steed] It was like the Happy Gilmore arm-hand.
[Yarovesky] It was bigger than that. I mean, the actress who plays Caitlyn--
-[Steed] Emmie. -[Yarovesky] Emmie Hunter.
She's very small. She's tiny.
[Steed] She was, like, ten.
[Yarovesky] She's ten. She's ten years old.
But even for a 10-year-old, she's small.
And her hands were probably the size of, like, my palm, the palm of my hand.
But the hand itself that they made was bigger than my hand.
So, it looked like she had the Incredible Hulk's arm.
[Steed] And when they brought it out,
when they pulled the arm out, I was like, "Holy shit."
And I brought the shirt out, and they were like,
"Maybe, could we get a bigger shirt?"
And I was like, "Bro, that ain't the fucking shirt.
A bigger shirt's not gonna help this situation."
[Yarovesky] Yeah. There's no shirt that's gonna hide
-her Hulk-like super arm. -[Steed] This ginormous arm.
[Dallatorre] And that's where you take a chaotic moment
-and figure out how to fix it. -[Steed] Yep, problem solving.
[Yarovesky] Yeah, a lot of problem solving.
-[Dallatorre] A lot of problem solving. -[Yarovesky] Chaos, right?
'Cause that was a very packed day.
-[Dallatorre] Yeah, very packed day. -[Yarovesky] We started behind.
And then we introduced
this very complicated problem for ourselves.
[Dallatorre] Yeah, and no matter how fast you go,
the minute you add some sort of
special effect or visual effect or stunt,
you've halted your production pretty dramatically. [laughs]
- So, if there's a hiccup in it, it hurts. -[Yarovesky] It eats time, yeah.
Like, if you're out there preparing to make a movie
and watching commentaries or whatever, you're fighting time eaters.
Those are the villains on your set, things that will swallow your time.
Every time you have a gag like that, it's a time eater. it eats time.
[Dallatorre] Yeah, and then you just have to be ready to improvise
and figure out how to make it work.
And then, like you said, sometimes you just have to scrap the idea.
[Ya roves ky] Yeah.
[Dallatorre] This was all staged, technocrane.
- Loveit -[Ya roves ky] Yeah.
This scene, every time I watch this scene now,
I think about the sound design, because this was the bear.
We called it the bear, 'cause every time--
Because we did three sound mixes in the movie.
One for the first test screening, one for the second test screening,
and then the final sound mix.
And each time, this scene just swallowed our time,
because there was so many things happening at the same time.
You have the score. You have the alien pod, spaceship noises.
You have the voices that he hears in his head of the aliens talking to him,
which you hear right now. You have the throbbing of the pod.
Not just the voice, but the throbbing of the pod.
Then you have him repeating it.
And over all that, you have to hear that he's translating the words
and figuring out what it's telling him to do.
[Dallatorre] Yeah.
[Yarovesky] And all of those things all worked against each other.
And then you have, like, the sound effects and foley and all that stuff.
But telling, they all step on each other.
And so, I cannot tell you how many hours went into this.
I mean, we did...
I think the final mix was five days or something.
And this scene was a whole day.
[Dallatorre] From him in the bed all the way to her getting here?
-[Ya roves ky] Yes. -[Dallat0rre] Wow.
[Yarovesky] Also, when I watch this scene, I remember throwing up this day.
I threw up. This is the day I threw up. Autumn, you remember this well,
'cause you were taking photos of me throwing up in the field
-as it what was happening. -[Steed] Yes, I was.
[Dallatorre] Those will be on lnstagram soon.
-[Yarovesky laughs] -[Steed] Yes, they will.
[Yarovesky] I have a memory of going up to Elizabeth,
who asked me some kind of question,
and I was so out of it and feverish and weird,
that I had no idea what she said.
I tried to pretend like I could respond, but she just looked at me strange.
And then I started walking away back to video village,
and the thing in my head that I kept saying is,
"Don't faint in front of Elizabeth. Don't pass out in front of Elizabeth.
Don't let her see you faint, man. She signed up, she did your movie.
- Don't let her see you faint." -[Steed] You held it together. Sort of.
[Yarovesky] "Hold it together. Just make it to the video village."
I made it to the video village, and that's where you were, Autumn.
And you looked at me and you were like, "Something's wrong with you."
[Dallatorre] Something's wrong with you. More than normal.
[Yarovesky] More than normal. Somethings wrong with you.
[Steed] No, then what happened was I was like, "Come with me,"
and you started walking back towards Elizabeth.
And I was like, "No, no, let's go away from all the people."
And then we walked out to the barn and that's where you puked all over the place.
[Ya roves ky] Yeah.
[Steed] Projectile vomited.
-[Yarovesky] Yes, I wanted you to-- -[Steed] It was hilarious. [laughs]
[Yarovesky] Yeah, it wasn't that funny for me at the time.
Could you describe to everyone listening what the texture of the vomit was?
[Steed] Ew. Gross.
How much came out of my nose
and how much came out of my mouth, would you say?
[Steed] I'd say 60-40.
-[Yarovesky] Yeah, I think so too. -[Dallatorre] Oh, man. Strong.
[Yarovesky] Forty percent of vomit out of your nose is a lot.
It's a high volume. That's a lot. That's a lot of nose vomit.
-[Steed] Lot of nose vomit. -[Yarovesky and Dallatorre] Yeah.
[Dallatorre] I think the lesson we all learned on that one
was that these films will take it out of you.
'Cause you were pretty much just so tired and exhausted
from how much work we had put into, even to pre-production.
At that point we were ten weeks of full-on work,
but you had months of...
[Yarovesky] Yeah, it was a two-year sprint.
They say it's a marathon, but it was a two-year sprint.
And yeah, my body literally gave up on this day.
[Dallatorre] And it happens. People get tired and they get exhausted,
and they don't understand why.
And it's like, 'cause you're even...
Not just physically, but mentally, you're just drained.
[Yarovesky] Yeah, and by the way,
I was taking incredibly good care of myself.
I'd wake up, I'd work out, I was on a very good eating schedule.
I'd have a yogurt every day.
[Steed] Well, everyone knows, if you have a yogurt a day then you--
[Yarovesky] That's what I hear. Yogurt's really good for you, right?
[laughter]
[Dallatorre] Well, it's better than a ham and cheese omelet.
[Yarovesky] Let me tell you, I've come a long way.
I've come a long way, yes.
'Cause if we made this movie five years earlier,
I would have just lived on french fries and fried chicken.
[Steed] This outfit was my nod to Freddy.
- His shirt. -[Dallatorre] The one on the dad?
[Steed] No, the one on Jackson.
[Yarovesky] Yeah, there's all sorts of little winks and nods
to other horror icons out there.
There's some Michael Myers stuff.
There's a Strangers kind of wink.
There's all sorts of little Easter eggs.
But because we had hoped to cast Brandon as...
The dream in making this was to create a new icon of horror
that could sit on a toy shelf next to those characters,
so we kind of had moments where we would, like, wink and nod at some of them.
-[Dallatorre] Yeah. -[Yarovesky] Out of respect.
It was like, "We see you. We see you, Freddy."
[Dallatorre] It's interesting because
those are all kind of slashers, though, right?
[Ya roves ky] Yeah.
Well, there's an aspect of this movie that is slasher-y, right?
[Dallatorre] Yeah.
[Yarovesky] But think about it this way,
Freddy is kind of a slasher, but he's also kind of a ghost, too.
And I kind of think, in a way, Brandon's similar to that.
More than a Michael Myers or something like that,
because his powers make him a bit like a ghost, right?
Where he can appear here, appear there.
You know, lights flicker when he's nearby using power.
There are ghost-like qualities to him,
-but also, he'll kill you. -[Dallatorre] Yeah.
[Yarovesky] He will kill you.
[Dallatorre] And being a superhero or super villain?
[Yarovesky] I think that most of his actions
are pretty heroic, actually.
[Steed] Hey, there's Simon, our producer.
[Yarovesky] That's Simon Hatt, the producer!
Yay! We miss him very much. He's out shooting Suicide Squad right now.
But if he wasn't, he'd be sitting in this room right now.
[Dallatorre] Yeah, probably on his laptop.
[Steed] And his phone.
[Dallatorre] And his phone at the same time.
[Steed] Simultaneously.
[Yarovesky] Yeah, I will say, 'cause he's maybe the guy I know
who listens to director's commentaries more than anyone else I know,
so he's probably gonna listen to this at some point.
And I want you to know that we had to make him do that a couple of times,
that walk, because he was walking too much like Simon.
- I had to go tell him. -[laughter]
'Cause he walks with way too much purpose, and I was like,
"Yo, man, it's the end of your shift.
You've been cooking burgers all night for screaming kids.
You cannot walk to your car with that much purpose."
[Dallatorre] No, you're broken.
[Yarovesky] By the way, this is a very exciting fact.
Arrid Extra Dry was how we achieved this effect.
And it smelled in there like Arrid Extra Dry.
[Dallatorre] The whole crew was fresh for about three days.
[Yarovesky] I'm still fresh.
[Dallatorre] The sweat just was not a problem.
[Yarovesky] I still cough up deodorant every once in a while.
[Dallatorre] Yeah. [laughs]
[Yarovesky] Now, here comes an interesting scene.
Yeah, let's see what happens here.
[laughing]
I really love watching this scene in the theater with people
who don't know this scene is gonna happen.
[Dallatorre] Yeah.
[Yarovesky] That little eye move is great, isn't it?
[Dallatorre] People don't like things in their eyes for some reason.
- I don't know why. -[laughter]
[Yarovesky] I love the visual effect shot,
what they did with tracking the glass in her eye.
So, that's a practical eye.
It's a marriage of her head shot
and then a dummy head with a piece of glass being pulled out of the eye,
and we kind of married those two together.
You know, there's been a lot of talk about the POV, the bloody-eye POV.
-[Dallatorre] Oh, really? -[Yarovesky] Yeah.
It gets brought up a lot. People dig it. They respond to it.
And it's funny because to me it seemed like a kind of--
Like, I play a lot of video games, and when you get injured in a video game,
often the screen will get red, you know.
Like, someone comes over and stabs you,
the corners of the screen start to get bloodshot or something.
And so all of it seems like a pretty obvious thing to me.
But I guess it's not been used like this before.
And really seeing it in that way I think kind of changed what it meant,
because I guess, in a game, it's not like characters come up
and stab you in the eye and then obscure your vision.
So it is a bit more specific. But that was the thinking in my mind.
I actually think it started-- James started first saying something like,
"if you're gonna shoot a POV, her vision should be messed up."
[Dallatorre] Yeah.
[Yarovesky] And so we started exploring what that would look like,
and Trixster, our visual effects company, came up with some really cool designs.
If you actually look carefully at it there's, like, liquid in it.
[Dallatorre] Oh, yeah, nice, like moving around.
[Ya roves ky] Yeah.
- Boom. -[laughter]
[Dallatorre] That was a composite shot of maybe four separate shots to get that:
her, then the door, then the curtains, and him in the back.
[Yarovesky] Yeah, he hits the plastic curtains,
which is kind of a subtle thing,
but I think it adds to the intensity because he's exploding through something.
And, yeah, he's essentially a digital character in that moment.
Any time he's moving like that, or flying, he is a digital character.
And that was pretty ambitious for a movie of this scale
to have a digital character moving like that.
[Dallatorre] It's expensive.
[Yarovesky] Apparently, it's expensive to have a CG character in your movie.
...calls or texts?
That's correct.
This was the last place she was seen.
[Yarovesky] Autumn, would you like to talk about these outfits right here.
[Steed] Well, most of them are just boring old sheriff outfits,
except for Deever, his coat.
I had found a vintage coat that I really, really--
I love small town sheriff outfits, especially, like, you know--
[Yarovesky] That's a weird thing to love.
-[Steed] Is it? -[Yarovesky] That's a weird thing to love.
Yeah, you're definitely a costume designer.
[Steed] Well, they're always so, like, I don't know.
I don't know, just like...
-[Dallatorre] They have a history to them. -[Steed] Yeah!
They're sort of like cowboy-ish mixed with, like...
- I don't know, I've just always-- -[Yarovesky] They tell a story.
[Steed] And they're always, like, gritty. I don't know. I like 'em.
And I found this vintage coat that I really liked,
but obviously I couldn't use it
because we needed doubles and stunts and all that stuff,
so we basically recreated his coat.
And I like it a lot. That's all.
[Dallatorre] Talk about this little guy right here. What's his name?
-[Yarovesky] You talking about Jackson? -[Steed] Jackson?
[laughter]
[Steed] Oh, this dude. This is actually my least--
This is sort of where this outfit, thanks for pointing this out,
like, right now, Mike, for the outfit I like the least.
[Yarovesky] You like this outfit the least?
[Steed] Well, it's not that I don't like it,
but it definitely breaks our color rule,
in that I wish we could have gotten red.
Like, he's wearing red shoes, but because you don't see...
[Yarovesky] Yes, you don't see his shoes.
[Steed] I just wish I would have got some more red somewhere in this outfit.
[Yarovesky] Right, but this outfit was designed to be worn
with that mask and cape.
Because later tonight, he will be wearing the mask and cape
and that will be the red.
I understand what you're saying.
[Steed] All his outfits, before he puts on the mask and cape,
sort of have the nod to either a superhero or a serial killer.
With an outfit, I was always trying to represent one or the other
at any given moment.
[Dallatorre] Right.
[Yarovesky] Interesting.
So, we've passed the moment.
But the way I always approached this movie, me personally,
was that the first half of the movie
was a possession movie.
That it's about a normal family,
a normal boy, and there's an object calling.
There's a magical object, an object of power that's calling to him, changing him,
having him do things, making him act different.
He's starting to act strange.
That's all the kind of possession movie things, right?
But then once he discovers the pod, his origin,
he's indoctrinated
into the alien way of looking at things,
that he's here to take the world,
and now starts a new phase of the movie,
which is really more of a slasher--
more of that ghost-slasher hybrid thing that we were just talking about.
So, that is the phase of the movie that we're in now,
where people are gonna start to pay dearly for what they've done.
[laughter]
In very violent ways.
This was the shot that James just, like, attached himself to from very early on.
Yeah, he...
When I did the first cut and I showed it to him,
he just really responded to it.
I think it's because it's just
where superhero and horror kind of meet, you know?
[Dallatorre] Yeah.
[Yarovesky] It feels very horror,
but he's flying back there and he's got the cape.
[Dallatorre] Which is essentially, I mean,
there aren't any other films that have come out--
-[Yarovesky] Like this. -[Dallatorre] Yeah.
[Ya roves ky] Yet.
By the time people are listening to this, that may not be true, though.
[Dallatorre] Right.
[Yarovesky] Although, we have not come out in the box office,
so we could also tank in the box office
and then we'll be the last superhero-horror movie also.
[Dallatorre] And they're like, "All right, let's not do this thing that they did."
[Yarovesky] Both are possible.
- We'll find out. -[knocking on door]
That door knock still makes me shit my pants every time it happens.
[Dallatorre] The first one?
[Yarovesky] It's so aggressive.
Yeah, we were, like, abusive with how aggressive it is.
I thought it was funny.
But also, if someone knocked that hard on my door I'd be--
[Steed] No fucking chance would I answer it.
I would immediately call 9-1-1.
If someone knocks on my door like that when it's dark,
- I'm fucking calling the cops. -[Yarovesky] Oh, yeah?
[Steed] Yeah, don't ever do it.
[Yarovesky] I'm gonna do it.
[Dallatorre] If someone knocks that hard on my door, it's probably the police.
[laughter]
[Yarovesky] Yeah, that was an intense knock.
[Dallatorre] But they're also in Brightburn, Kansas,
which is kind of the middle of nowhere.
[Steed] So they knock harder there.
[Dallatorre] They knock harder,
but that's a little bit scarier because you're like...
[Yarovesky] It's a town like any other town,
except everyone knocks on each other's door like total assholes.
[laughter]
- And they process poop bricks. -[Dallatorre] Yeah.
[Yarovesky] That's the main export of Brightburn.
[Dallatorre] The main export and import.
-[Yarovesky] Poop bricks. -[laughter]
[Steed] Wow.
I hope you paid for this commentary.
[Yarovesky] We came here with the express intention
of making a very technical commentary
in which Mike would talk you through some of the technical sides of cinematography
and how we achieved these things.
I thought I could talk about story and why we did some of the things.
[Steed] I was always intending to talk about poop.
[Yarovesky] And you've come here and you've--
No, I wanted Autumn here to talk about designing this costume
and the process of designing the costume.
And yeah, we've just talked about poop, really.
[Dallatorre] I mean, well, we're about to see the costume in full
on its first time coming up, no?
[Yarovesky] Well, no, you see it in the diner.
[Steed] The first time is in the diner.
-[Yarovesky] So we have seen it. -[Dallatorre] That's right.
[Yarovesky] But this would be a good time to talk about the design of the costume.
Would you like to do that, Autumn?
Does that sound like a thing you'd like to do?
-[Dallatorre] What was your process? -[Steed laughs]
[Yarovesky] Tell us how you came up with this thing.
'Cause right now, you should know that as we're recording this,
there are billboards all over Los Angeles,
there are posters all over the world right now in movie theaters everywhere
with the design of the costume you've created.
[Steed] It's crazy. I don't know, it's surreal.
Yeah, I don't know. It's crazy.
Okay, yes...
[Yarovesky] So, that's now a design that's sort of world-recognizable,
to some degree.
And do you want to talk a little bit about
how you've created this design?
[Steed] Yeah, that's what I was brought here for, right?
[laughs] Let's see if I can execute that.
Well, you know,
before we even technically got into pre-production,
me and my seamstress Faith, who I've worked with for almost ten years as well,
were in our guest house just banging out
different iterations of, like, capes and masks
and, you know, what we thought would look cool.
[Yarovesky] I'm gonna interrupt you for a second, I'm just gonna say
what really, I think, started it was you and I were on some computers
and we were looking at pictures, like, vintage pictures
of kids in homemade costumes and how scary they were.
[Steed] Yes, they are terrifying.
[Yarovesky] Kids with just, like, bags on their head and stuff,
photos shot from, like, I don't know, the '60s.
[Steed] They were black and white.
[Yarovesky] Well, some of them were in color, the '60s.
But some of them were from the '20s or '30s or '40s,
just really creepy looking photos of kids in these vintage homemade costumes
and that was sort of where we started.
[Steed] Yes, that was the main inspiration,
that obviously it had to look like he made it.
- It had to look like-- -[Yarovesky] Like a kid in his blanket.
[Steed] Like a kid in his blanket.
Like he took his blanket that he's had for a long time
and he made a costume out of it.
The hardest part was creating something
that was simple and scary at the same time,
and not been done a thousand times before.
[Yarovesky] Right.
You didn't want it to look overly...
-twisted. -[Steed] Overly styled.
[Yarovesky] Twisted would be the word.
You don't want it to look like a nu-metal album cover or something.
You don't want it to look like that, right?
[Steed] Yeah. And when you make superhero-type costumes,
most of those have been designed already.
Someone drew them, they're in comics. And we didn't do any concept art.
We just made an epic shit-ton
of different eye placement, noses, mouths.
We tried building things underneath the mask to, like, maybe change his face.
And we didn't lock this final thing, this final mask,
until, I think, a couple days before we started shooting.
[Yarovesky] Sorry, that jump scare.
I'm just gonna interrupt. We'll come back to that.
But we are in a big sequence,
so we'll talk about this and then we'll go back to that.
But I will say that that crash,
when we were watching it when we screened it,
we had a small screening here for some people,
and there's a woman sitting a couple of seats from me when that crash happened.
I just heard her make a noise. It wasn't a scream.
It was just like a... [groans]
Like the airjust weirdly coming out of her body. It scared her.
Oh, shit.
This was a fun night at the poo-poo plant.
This was all at the poo-poo plant, where we're making bricks.
[Dallatorre] This was two nights making bricks.
-[Yarovesky] Yeah. -[Dallatorre] Two fun nights.
[Yarovesky] Her legs were--
The stunt woman who we hung from a crane to do the shots,
her legs were actually going numb.
So we had to work in quick blocks
because it would cut off the circulation to her legs.
[Dallatorre] Yeah, we were hanging her off of a 50-ton crane,
because we ended up using that crane to lift the truck.
But yeah, she was hanging up in the air for a little while.
So, yeah, that's not Jackson. We used a lady for that.
[Yarovesky] So for some of this, Matt is in the car.
For some of it, it's a stunt double.
But that car is on a crane and we lifted it.
That is not digital. We lifted that.
[Dallatorre] And then dropped it.
[Yarovesky] And then dropped it. [laughs]
[Dallatorre] Multiple cameras, because when you drop a car
from 40 feet in the air...
[Yarovesky] You only get one. On our budget, you only get one.
So this is kind of a fun moment here. This is...
I probably did more takes of this shot than any other shot in the entire movie.
And it's because there was a practical piece of his jaw.
There's a lot of that that's digital,
but there's a practical piece of a fake jaw there that was on his face,
and he would sit up and the jaw wouldn't come off
because it was so sticky that it would stick to his face.
So we had to keep going in again.
It was a really rough thing 'cause he's in this--
Like, we drop the car and then we went to lunch
while people went to work grinding and smoothing out the interior of the car,
and then making it safe for him,
then he climbed in this broken wreck of a car
and we did this take over and over again.
[Steed] And he was such a trouper, because it was horrible in there.
It was freezing, he was soaking wet, like, with gooey...
[Dallatorre] Yeah, that blood is super sticky.
[Steed] He was such a trouper.
[Yarovesky] I also have this great memory of
James, you, Mike, me, and Ramon standing,
trying to figure out the eyeline for that scene.
'Cause the camera's tilted on both directions, right?
We're shooting a POV, camera's tilted, then we're shooting Jackson.
Should Jackson be looking at the top of camera or the right of camera?
If you were to ask me right now, I don't even know what we decided.
I think we went top-bottom. But I don't remember.
[Dallatorre] I don't even remember, but it was eyeline gate.
[Yarovesky] Yes, it was. And you know what happened?
I remember James, who just has this incredibly technical mind,
especially for stuff like that, he's just--
His screen direction and tracking action across scenes, stuff like that,
he has a beautiful mind when it comes to that stuff.
And I just remember him, seeing him figuring it out,
just, like, his finger was going,
like he was doing a math problem in his head while all of us were stumped.
And you know what happened to me,
I watched The Dark Knight.
I learned something from Christopher Nolan.
And I have never met the guy, but just watching The Dark Knight,
at the end of the movie, he's holding the Joker upside down.
[Dallatorre] Yeah.
[Yarovesky] And the camera turns 360 degrees-- or 180 degrees upside down,
and so they're motivating it so he looks crazy, right?
So it looks like two people looking at each other,
but he's really upside down.
And Batman is above him
and Batman should be theoretically looking down at him,
and he should be looking up at Batman.
But because the camera is upside down, up would be down.
But what they did was they just cheated it
and they just ignored what would happen in reality.
They were like, "You look down, you look to the right of camera,
you look to the left of camera."
And they did the scene like that and it just works.
There's no questions, it just worked.
[Dallatorre] That just goes to, like, understanding the 180 rule,
but then knowing that you can break it when it's justified.
And in that instance,
if you did it the right way, it wouldn't have worked.
[Yarovesky] Especially once you start tweaking the camera
in such extreme degrees,
as long as the two images of people look like they're talking to each other,
as long as when you cut back and forth that they match in a way
in which one of them is looking to the left
and the other one is looking to the right,
so that they're looking at each other in some way.
Or above camera, below camera, whatever.
As long as they're complementary images, it seems to be okay.
Now that is definitely not a rule that speaks to everything,
but I did, when I saw that, I laughed and in my head,
I imagined Christopher Nolan and his cinematographer standing there
trying to work out the 180 and how to deal with that scene,
and I know for sure that's what they were doing, you know?
And that is a very technical
director/cinematographer thing to notice about a movie.
Tori?
[Dallatorre] This is the first time we see the pod.
[Ya roves ky] No.
[Dallatorre] No, second time we see the pod.
[Yarovesky] Yeah, yeah.
[Dallatorre] First time we saw it when it fell. Yeah.
[Yarovesky] Yeah, that is right.
[Dallatorre] But this was on the back side of the farm,
where there was, like, a little down slope
when we shot in one of the back areas of the farm.
[Yarovesky] Yes, and she's holding one of the blankets
that you made the costume out of.
[Steed] Yeah, well, that was his, like, baby blanket.
[Yarovesky] That's his baby blanket, yeah, exactly.
[baby crying]
Very scary. Something very scary is gonna happen.
[Steed] Nah, everything's fine.
[Yarovesky] You think you'll be all right?
-[Yarovesky laughs] -[Dallatorre] Good, yeah.
[Yarovesky] I love seeing Autumn jump to things in this movie
that she's seen a thousand times before.
By the way, very important: that's my mom in the background there. She's hugging--
[Steed] She's laughing hysterically, actually.
-[Yarovesky] Yeah, she's... -[Dallatorre] A little camera shy?
[Yarovesky] She's a little camera shy so she ended up burying her head
in her boyfriend's shoulder.
And she was so worried that she was gonna ruin the scene.
[Steed] Well, for one of the takes, it might not be the take you used,
but she got the giggles and she couldn't lock it up.
And a lot of the crew thought she was actually crying.
Thought she really got into some, like, method acting.
[Dallatorre] Oh, wow. [laughs]
-[Yarovesky] So that's her back there. -[Steed] With Rafi.
[Yarovesky] With Rafi, her and Rafi are just hanging out back there.
But anyway, I wanted to circle back to you with that costume,
because so much of this is the costume.
By the way, we started calling the costume--
The code name for the costume on set was SMIVA,
single most important visual aspect,
because I always believed that
the marketing campaign of this movie--
that so much of this movie would be tied up
in that costuming, the look of the costume.
-[Dallatorre] It's true. -[Yarovesky] If Brandon looks scary.
So, not just the costume, the way it's lit.
You know, we did a lot of tests where Mike and Autumn and I--
[Steed] Yeah, I mean, from the beginning
you were obsessed with a mask and a cape
and every single person was against you.
It was like, "I don't know. Is that gonna be scary? Uh, I don't know."
And the whole time, you would be like,
"We have to get this or they're not gonna give me the mask and cape."
So, there was obviously the pressure of, like, the costume designer
in that I definitely want to get the director the thing he's wanting
and do it really well.
But also, like, I want my husband to get what he wants.
[laughter]
-[Yarovesky] Well, good job. -[Steed] And I'm glad you did.
[Dallatorre] But it's also, if you think about it,
it's a great mix between the superhero being the cape
-and the horror being the mask. -[Steed] The mask. Yeah.
[Yarovesky] Yeah, that is the idea.
[Dallatorre] We did tests months before we started shooting,
and multiple times with different materials, different styles.
[Yarovesky] You know, James--
What we would do is we would find a way to shoot it
where it's just at the right angle, lit exactly right, and we were like,
"Look, it looks scary."
But James was like, "It has to--"
He kept pushing us, "It has to be scary in any light."
[Steed] And also practical, like how does it move?
Even though knowing full well that we would never really see
like any time that cape moved.
[Yarovesky] By the way, I just want to pause. That totally failed.
No one has ever noticed, but he was not supposed to go through.
That's another instance
in which there's a door where there shouldn't have been a door,
so we built something to break there and Brandon would fly through there later.
You can see the hinges. There's literally a doorway.
[Dallatorre] There's a mud room on the other side.
[Yarovesky] Yeah, that's been covered the whole time by a cabinet.
The idea was he was just supposed to break the cabinet.
But he's such a big guy. He's like six-- How tall is he, 6'5", 6'6"?
[Steed] Yeah, 6'5", 6'4".
[Yarovesky] Yeah, it's just the velocity of him flying back like that.
He just took the wall down with him.
So, anyways, later on when we shoot Brandon flying through the house,
we just boarded it up, 'cause we didn't have time or money to reset.
So we just had to pretend...
like Tori boarded up the hole at some point,
so that he had something to fly through later.
Sorry, I keep interrupting you,
but all these important moments are happening.
There's just a lotto discuss.
[Steed] A lot to discuss. Not a lot of time.
[Yarovesky] We're gonna need about 17 more of these commentaries.
[Dallatorre] Yeah.
I wanted to apologize.
[Yarovesky] There was an outtake of this scene
that I always thought was funny.
We had to lose it because--
[Dallatorre] Him walking around?
[Yarovesky] Yeah, funny wasn't the way to do it.
But I kept telling Jackson to, like, don't let him out of the room.
Like, just puff up and block him, and David was so great about cowering.
[Steed] I loved the version of that scene.
[Yarovesky] Cowering from him and being like, "Thank you."
Like, the power dynamic had just shifted in the family,
but it was too funny. It was too comedic.
Look how the movie's become so serious and the stakes are so real.
But it was a really funny scene.
- You let him drive. - No, that is not--
And now you are trying to take out your guilt on our 12-year-old son?
Babe-
You are making a hard situation impossible.
Babe, we've gotta do something.
If we don't, more people are gonna get hurt.
[Yarovesky] But believe it or not, one of the toughest parts of the movie
was tracking Tori's relationship with her son
and withholding the reveal, the shift,
until Deever comes and shows her that photograph.
-[Dallatorre] Yeah. -[Yarovesky] But at the same time,
not having her come off weak or stupid.
You know what I mean?
You don't want any of those things. You want to be with her.
You want to get why she can root for her son.
For me, when I read the script that Brian and Mark wrote,
I saw a nugget in it that was about a mother who believes her kid is special.
And I related it to my own mother
and the stuff that happened with me growing up,
just being a weirdo obsessed with horror movies and kids were scared of me.
She had to keep going around saying, "No, he's not a weirdo.
He's special, he's unique.
He's creative but he's harmless."
All the stuff that she's doing, except she's wrong.
[laughter]
But so, this movie to me was a love letter to my mom,
who did all those things for me so that I could make movies like this
and, in a way, torture people in my own way.
Which is, you know, making them watch very scary things.
And actually at the beginning of the movie,
James, Mark, Brian, Simon, I believe,
like all of us, on the fertility books, the authors of the books,
their last names are our mothers' maiden names--
[Dallatorre] Oh, cool.
[Yarovesky] So it's like the second shot in the movie,
it starts with the exterior, then it cuts to those books--
as a kind of love note to all of our moms.
[Dallatorre] That's awesome.
[Yarovesky] Because this movie is really about the relationship
between mother and son.
[Dallatorre] Nice.
[Yarovesky] Did we sort of--
I don't remember where we left off with the mask.
- I mean I feel like we... -[Steed] I think we probably--
[Yarovesky] I think we basically covered it.
[Steed] Yeah.
[Yarovesky] I mean, we didn't have a final mask
until the day before shooting.
We were working on it for months.
[Steed] Yeah, it was right before we started shooting.
[Yarovesky] Well, you had it down to three different versions
and then we picked that version the day before
when we were doing lens tests.
You'll always be my baby boy.
Liz is...
What a great moment with Liz.
I want to spend a moment talking about how amazing she was to work with.
She is a director's dream
because she is also a director,
so it opens channels of communication between the two of us.
She was always prepared. She was always up for it.
In the scene, in the sequence coming up, she's hanging out of a window.
We hung her out of that window. She let us do it.
And I didn't know she was gonna let us do it.
I had to go point to the window, and be like,
"So we want to strap you to that by a wire."
And she was really great.
[Dallatorre] She was awesome. She was always on it. Never, you know.
[Yarovesky] She was always on it.
[Dallatorre] It was almost kind of like, you know,
they always say, like, if you play music or anything,
you want to play with people that are better than you.
And she's such a great actress.
Actor and then director.
[Yarovesky] Yeah, she elevated us all.
[Dallatorre] Yeah, she definitely made me push to try to do better at my work.
[Yarovesky] Yeah, she demanded excellence.
-[Dallatorre] Exactly. -[Yarovesky] In a very good way.
[Dallatorre] Yeah, in a very good, very positive way.
[Yarovesky] Oh, yeah. Every time, while we would step up to plan a scene,
I'd be like, "Okay, here we go."
And she's smart. She is very smart.
[Dallatorre] I mean, the same thing goes with having James on set.
[Yarovesky] Oh, my God.
[Dallatorre] You know, a director who has done $200 million movies.
[Yarovesky] He's a master filmmaker.
When he talks...
'Cause he's a guy I knew as a close friend, right?
He's so close. I don't know if anyone listening to this knows,
but he officiated Autumn and my wedding
a couple of days after we finished shooting this.
I mean, we've been close for ten years before that. I mean, we're very close.
And I've only seen him on set a couple times, you know.
I knew him as a friend.
And in talking with him, there were times when he would say things,
and I would just be like,
"Wow, my friend James is real smart.
[Dallatorre laughs]
He knows his shit."
And, you know what, to be totally honest,
there were times where he would say things, like--
I'll give you one.
There were times when he would say things,
and I'd be like, "What is he talking about?
What is he talking about?" You know?
And I don't get his thing. Now I'll tell you one of them.
At the end of the movie, they're flying up.
[Dallatorre] Yeah.
[Yarovesky] And the way I had drawn the boards,
they fly up and then they're hovering in the air in one position,
and then he drops her.
Like, he flew up to a certain point and then drops her.
And James kept pushing me, "They should be moving.
They're just flying up. Keep it moving, keep it moving."
And I didn't get it. I was like, "What? He goes up there, then he drops her."
Like, he goes up to the point...
And then we're shooting it,
and I start to see how his instincts are so honed.
It's such a nuanced thing, but how the instinct to keep it in motion.
This was another scene, also, about the way things came together,
the sequence of events.
Like, his understanding of those things are on such a level.
And my task on this was not only to make a movie,
but was to, like, face hug or brain suck
all of that information out of him, as much as I could,
because I'm gonna go on to make movies without James,
hopefully more with him, but some without him.
And I just want to learn everything I can
working with James, working with Elizabeth.
- I'm sure you felt the same way. -[Dallatorre] Yeah, absolutely.
[Yarovesky] Remember when we shot that, Mike? [laughs]
[Dallatorre] Yeah, that was great, that was my favorite one.
[Yarovesky] With the drone. The helicopter unit.
[Dallatorre] I actually want to shout out to our camera operator here, Ramon Engle,
who's running through a very uneven forest
and a Steadicam rig like a madman,
360 degrees a lot of the times,
and we did this probably six or seven times at least.
And Ramon was amazing.
Also, our B camera operator, Jan Ruona, was great.
All these, like, beauty shots that you see of, like...
the establishings and stuff,
she did a lot of those when we needed them.
[Yarovesky] Yeah, I'm gonna talk about this effect here.
- I didn't mean to cut you off. -[Dallatorre] No. Yeah, yeah.
[Yarovesky] But all right, so the way we did this
is we had this dummy head of David,
this real practical head, and it had a little diaphragm on it
and it would open up so, like, you could push a button
and his head would kind of open up into a doughnut.
But the back of it, this was so cool,
the back of his head had these little plates of scalp and hair punched onto it.
They'd put it on it and then they would pour acid,
like this kind of acid thing that would eat through it,
and they'd pour it on and it would dissolve
and it would look like his head was kind of, like, burning through.
That was the practical element,
and then obviously all the lasers and all the other stuff was added.
But it was a really cool, physical piece.
Anyways, I didn't mean to cut you off.
Jan, our second...
-[Dallatorre] B camera. -[Yarovesky] Our B camera, thank you.
-[Dallatorre] Yeah. -[Yarovesky] Our B camera.
We would send her off on missions to go capture stuff.
[Dallatorre] Yeah, it was great, and the whole team--
[Yarovesky] But I think people are listening to this to hear about
how we did the head melt.
It's interesting to know how we did that stuff.
[Dallatorre] Yeah, there's a lot of, I mean--
[Yarovesky] The hand. Autumn, the hand.
[Steed] Oh, the hand. I hate that hand shot.
That's a full adult hand.
[Yarovesky] We obviously scaled it to the best of our ability
in digital effects without rebuilding a hand.
[Steed] The first time I saw that I was like,
"No one is gonna believe that that is a fucking kid's hand."
- That is a full adult man hand. -[laughter]
[Dallatorre] It was a full adult lady hand.
[Steed] Yeah, you're right. [laughs] Let's edit that out.
[Yarovesky] Nope. We're keeping that.
This is kind of a fun sequence.
It's amazing what, like, sound and camera shakes
and just, like, a couple of wires on some furniture, just jerking it around.
You know, throw some shakers with dust.
Man, we did this scene so many times.
So there were four walls here. All four doors in a row.
And we covered them up as walls and we shot a cannonball through.
So, here's one, two, three, four. And you can't see all of the--
But there is where the cannonball went through that wall.
But that's really a door there. It's on the other side of the house.
So, if you imagine, the front door and the back door line up and there's two doors.
If you open all the doors, the house becomes a doughnut.
And so, we just built walls right there to cover it
so that we could do that kind of stuff as practical as possible.
[Dallatorre] Yeah, and then before that,
the sheriff being taken away and splattered by him,
that one was a couple of takes on its own, which was pretty fun.
[Yarovesky] Yes, that's right. [chuckles]
[sirens wailing]
[car doors slam]
[indistinct radio chatter]
What the fuck?
[Yarovesky] Originally, I wanted him to, like, fly away,
just take him into infinity.
And then we couldn't afford it,
so we tried to do one where he lands in the front.
He just lands and he stands up and bloods spraying everywhere,
and it might be the dumbest-looking thing we shot.
[laughter]
Like, for real, it might be the dumbest-looking thing we shot.
It looked so bad. And we're all on the day shooting it,
and we're all looking at each other like, "This is a problem."
And so we got in the editing room and I offered this solution
to just paint him out and make it a bloody mess.
[Dallatorre] Which really worked.
[Yarovesky] It really worked, so sometimes there are digital solutions.
[gun cocks]
Request for backup at the Breyer residence.
Immediate help.
We have a 217 in progress at Route 9.
- Requesting backup. -[whimpers]
I repeat, I need backup.
[woman on radio] Come in.
- Come in? Repeat, I have a 217 in progress
at the Breyer residence. I need backup immediately.
[Yarovesky] This might be my favorite shot in the whole movie.
[Yarovesky] This sideways shot?
[Yarovesky] Yeah, this might be my favorite thing.
And this was an example...
of James and I collaborating in a really cool way.
Because I had all these boards.
I walked him through the boards, how I wanted to do the scene.
And he was like, "You should get them in the same shot somehow.
You should get them in the same shot."
He talked about, like, reflection and whatever, and I was like,
"What if we twist the camera like this,
'cause I'm doing all this stuff like that.
What if we twist the camera longways like this and we're under there with her
and we see her face and we see the thing
and we think that we're just gonna hear the death, and then he shoots up."
And it really came together as this cool back and forth between me and him,
and it just ended up being one of my favorite shots.
[woman on radio] Hello? Ayres, please respond.
[whistling]
[Yarovesky] Can't get out of one of my movies
without having a whole bunch of lights flickering.
[Dallatorre] Which makes me want to throw up.
[Yarovesky] Yeah, Mike has that thing, what is it'? It's not epilepsy.
[Dallatorre] It's like a photo migraine. So, like, if there's too much flashing,
it messes up my equilibrium, so then I get seasick.
[Yarovesky] If Simon was here, he would tell you
this was the worst night of his life.
[Dallatorre] Yeah, Simon wanted to end it.
[laughter]
[Yarovesky] The gag we had planned, of Brandon coming in, like--
It was a tricky gag.
-[creaking] -[whimpers]
[grunting]
The ship.
[Dallatorre] This shows a good stitch of us coming off of the actual house
and then going on to the barn.
[Yarovesky] Yeah, but the even bigger thing is that house is not there.
Right, so we painted-- All that stuff is digital.
She's running through a big empty field.
[Dallatorre] And then here's an interesting thing on this.
Because when you shoot with kids,
you can't have them for very long, especially into the night,
and shooting a horror film at night makes that very difficult.
So, this whole barn we ended up tenting it
so that we could shoot through the day with Jackson and make it look like night,
so that we could use him up until midnight,
which I think was his hard out.
Which is insane because to put 20-by-20 solids all around this giant--
it must have been like a 50-yard barn, was quite the feat for our grip team.
[Yarovesky] That's fascinating. That's why people bought the DVD.
[Dallatorre] Exactly.
[Yarovesky laughs] They want to know how we tented...
[Dallatorre] Like, this whole frickin' barn is tented.
[Yarovesky] Yeah, by the way, I said DVD also.
[Dallatorre] Oh, yeah, Blu-ray.
[Yarovesky] Blu-ray. I'm old-fashioned, I guess. I just download things.
On Apple TV. I pay for them and then I download them.
Brandon.
Where are you, baby?
Brandon?
[Dallatorre] Talk about why red and white on the flashing.
[Yarovesky] So kind of going back
to the color story that we were talking about.
Any way to bring red
into the encounters that feel alien,
any way to inspire red
to color the world.
Also, there was a version-- Autumn, do you remember this?
There was a version for a while where she had a night vision scope with her.
[Steed] Yeah.
[Yarovesky] And we did tests with red night vision scopes,
'cause I found that there are red night vision scopes.
Look at this, this is the final stage of SMIVA.
He looks great, right?
Look how cool. I love that it's all ripped up 'cause he's been crashing through.
I really like your design here for where the SMIVA gets to.
How it's all dirty.
[Steed] He's smashed through several--
He's smashed through the forest, he's smashed through walls.
[Yarovesky] What did you call the thing that he's wearing? Murder...
[Steed] His murder-ails. This outfit was--
It's actually tricky because he goes hunting with his dad,
and he's wearing his jacket and his hunting stuff over this,
but because in the edit, we lost the moment where he unzips that.
It sort of looks like he changes, but he doesn't.
He's wearing this under that jacket.
Yeah, and so we called these--
[Yarovesky] No one thought that. No one tracked that.
[Steed] Good, I'm glad no one--
[Yarovesky] But the murder-ails-
[Steed] But the murder-ails over there are sort of my nod to Michael Myers.
I just liked...
-[Yarovesky] And slasher movies. -[Steed] Slasher movies, yeah.
I liked the idea of him wearing,
which is sort of child-like, those murder-ails.
[Yarovesky] Yeah, of course.
My baby DOY-
[gasping]
[panting]
[whimpers]
Brandon, I'm sorry. Oh, Brandon.
[screaming]
[Yarovesky] It was a bunch of green screen.
You know, we spent a whole day on, like, this 10 seconds right here.
Just them hanging from wires.
This was a really tricky scene,
because the sound design and the score
is a tough tonal thing to crack. If it was too sweet, it was ridiculous.
If it was too evil, it was ridiculous.
It was just this really tough tonal tightrope
that we had to walk for this moment right here.
Bye.
[laughter]
[Steed] By the end of the movie, that cardigan she's wearing
is sort of like her housecoat.
In the beginning, Elizabeth and I talking about it were like,
"Yeah, this is what she always grabs."
It's like she goes outside, she grabs her housecoat. This is just her piece.
By the end of it, both Elizabeth and I were so fucking sick of seeing that thing.
She was like, "if I have to wear this one more day..."
And I was like, "Girl, I do not want to put you in this one more day."
[Yarovesky] Yeah, there's a lot in that outfit, isn't there?
[Steed] Just that outer cardigan, and that color, you know.
We needed her in something in a very specific color
so that wasn't that blue.
We bought it and it was white and we dyed it that very specific blue color
that would look good as she was crashing through all these dark scenes.
[Dallatorre] So, some of this is real plane
and some of it was CG, right?
[Yarovesky] Yeah, we had real pieces of plane.
We thank Marvel for it. Marvel gave us these chunks of plane.
So, thank you, Marvel, for those plane chunks.
That cookie looks delicious, doesn't it, Mike?
[Dallatorre] I would love to have one right now, actually.
[Yarovesky] I would love to have that cookie.
[music playing]
[Dallatorre] Love this track, dude, Billie Eilish.
[Ya roves ky] Yes.
-[Steed] It's fucking awesome. -[Yarovesky] Fucking awesome.
Very fortunate to have it.
[Dallatorre] Yeah.
And then so, what does this end sequence kind of say,
that he's going around...
[Yarovesky] I guess that's for the audience to--
That's really not my place to describe that.
- We'll let the audience... -[Dallatorre] Right.
[Yarovesky] I mean, it's not that obfuscated, is it?
-[Dallatorre] No. -[laughter]
[Yarovesky] It's not subtle.
[Dallatorre] What I love about this is I can actually see
Michael Rocker actually having a YouTube channel
that would have millions of subscribers.
[Yarovesky] Brendan Wiuff did that witch woman drawing
and it sort of looks like it was torn out of a history book
on witches and occultism.
And so I thought that was really cool.
And Brendan did all the drawings in the book,
like, all of Brandon's drawings,
and he did all the drawings in The Hive.
[Steed] And he drew our wedding invitation.
[Yarovesky] He drew our wedding invitation.
[Steed] He draws everything we need him to.
[Yarovesky] There's art on our wall that is his.
He's gonna be very excited when he doesn't listen to this.
[laughter]
Or maybe someone will tell him.
[Dallatorre] We'll tell him to listen for his name.
[Yarovesky] Yeah, we'll tell him.
[Dallatorre] He'll have to wait till the end credits.
He's gonna be like, "Man, I had to listen through all that just to hear..."
[Yarovesky] Yeah, a lot of poo plant talk.
[Steed] Making bricks.
[Yarovesky] Making bricks.
What are you guys doing?
[Steed] Is that gonna be our new code for when we have to poop? Making bricks?
-[laughter] -[Yarovesky] We can do that.
[Steed] Yo, I gotta go make some bricks. [laughs]
[Yarovesky] God, no.
-[Steed] Good Lord. -[Yarovesky] No.
[laughter]
No, that's not the code.
-[Dallatorre] That's not the code. -[Yarovesky] Pick another code, please.
My code on set, so that everyone knows, and this is a great place to end,
my code on set with my assistant was I would say to her,
-"I'm going to do rewrites." -[Steed laughs]
[Steed] Rewrite poop. Get it?
[Yarovesky] Okay, yeah, I think they get it.
No, but I would say, obviously, I'm not the writer,
so me doing rewrites was very clear code
that I had important business to handle.
-[Steed] Cool. -[Yarovesky] Go on. Say "poop."
-[Steed] Poop. -[Yarovesky] Yeah, there it is.
That was the important business.
The thing that...
This is some director advice.
A lot of directors listen, or future directors,
and this is the advice I'll give,
and this is advice no one else will tell you, okay?
When you're making an indie movie, if you have to poop,
the entire set shuts down to wait for you.
-[Dallatorre] Absolutely. -[Yarovesky] It's awful.
[Dallatorre] As the DP also. It's the worst feeling.
[Yarovesky] And I could not poop on The Hive.
Like, I could not poop on that.
If I pooped on The Hive, I lost a scene,
'cause we shot that movie in 17 days.
It's like that scene you love? It's gone. You pooped.
[laughter]
That is a million percent true.
So, there was no pooping allowed on The Hive at all.
And this movie, we were moving quite fast.
So, if you want to direct a movie,
and your first movie isn't a $100-million movie,
you have a small movie.
[Dallatorre] Yeah, use the restroom before you get to set.
[Yarovesky] Find your way, but you do not get to poop.
[Steed] Poop before work.
[Yarovesky] Poop before work. Poop after work.
[Dallatorre] I would hate--
There were times where I would go to the restroom--
[Yarovesky] This is good advice, right?
[Dallatorre] It's great advice, 'cause listen...
People don't understand how bad it is.
I would go to the restroom
and there would be a PA outside of the restroom.
And they'd be like, "Mike's on his way back to set."
[Yarovesky] Yeah, and you're like, "No, I'm not even wiping yet."
-[Dallatorre] Oh, my God, you guys-- -[Steed] Don't announce my poop!
-[laughter] -[Dallatorre] It's so embarrassing.
[Yarovesky] Yeah, you're like, "Come on!
Can I have two minutes of peace?"
[Dallatorre] You don't want to use the restroom.
[Steed] Oh, man, on the next one, I'm gonna catch you both.
I'm gonna stand outside that door, Mike.
[Yarovesky] We're gonna knock on the door like Brandon does to Meredith,
just, boom, boom, boom.
"Yeah, they need you on set right now. Emergency."
No, no, but for real,
that is some director advice no one will ever tell you.
There's a pooping problem with being a director.
[Steed] And a DP.
[Yarovesky] And a DP.
[Steed] I don't have that problem.
I can poop when I want.
[Yarovesky] Costume designer can poop any time.
[Dallatorre] Not a problem.
[Yarovesky] Well, they kind of do their thing, right?
We don't even know what happened.
[Dallatorre] The costume has to be made.
[Steed] If things have gone right,
and obviously there's shit that happens on set,
but for the most part, once you start shooting,
-my job is mostly done. -[Yarovesky] Yes.
So, you spend most days just pooping.
-[Steed] Just pooping. -[laughter]
[Yarovesky] Just making bricks.
-[Steed] Oh, boy. -[Dallatorre] Very cool.
Well, I think we've reached the end of this.
[Steed] I think we've nailed it. [laughs]
[Yarovesky] I look forward to Sony legal,
'cause I think they write out everything we say.
[Steed] Guys, they may not give us another movie.
This might be it. This might be our last one.
[Yarovesky] From what I understand, they will write out everything that we say
-and we will have a document. -[Steed] Poop, poop, poop.
[laughter]
[Yarovesky] So, I'm very excited to read that last portion.
Anyways, does anyone else have--
'cause we have, I don't know, a couple seconds left here.
Does anyone else have any other advice for an up-and-coming filmmaker
who has decided to listen to this commentary until the very end?
Let's save the best nugget for right now. Go.
[Steed and Dallatorre] Uh...
[laughter]
[Dallatorre] You said nugget and I got stuck.
-[Yarovesky] Yeah, nugget. -[laughter]
[Steed] You said nugget and I thought about poop.
[Dallatorre] Well, Brightburn.
[Yarovesky] Brightburn. Hey, thanks, guys.
[Steed] And that's a wrap.
[laughter]