In this episode of the Joe Rogan Experience, I sit down with two of my good friends, Mike and Danny, to talk about their new movie "The Devil Next Door" and how they came up with the idea for it. We also talk about how they got their start in the entertainment industry, how they met and fell in love with each other, and what it was like growing up in the 90s and early 00s in Australia. I hope you enjoy this episode and that it gives you a little insight into what it's like to grow up in Australia in the 80s and 90s, and how it's possible to be creative and still be creative in that time period. I really hope that you enjoy the episode, and that you get something out of it! -Joe Rogan If you like what you hear, please HIT SUBSCRIBE and leave us a rating and review on Apple Podcasts. We'll be looking out for your favourite podcasters and podcasters on the next episode, so we can keep giving you the best podcams! Cheers, Cheers! -Your Hosts: , & Mike & Danny Timestamps: 0:00:00 - How did you feel about this episode? 6:30 - What do you think of the movie? 8:10 - What was your favourite part? 9:15 - What are you looking forward to next? 11:40 - What kind of movie do you're watching right now? 12:20 - What would you like to see in the movie you re watching? 15:00 16: What's your favourite movie you're making the most of? 17:30 18:00- What is your favourite thing? 19:30- What s your biggest takeaway from this movie right away? 22:00 | What are your favorite part about it? 21:00 // 22:40 | How do you want to see me make the most out of this film? 26:00 + 27: what are you most excited about? 27:30 | Which movie would you're going to do next? / 16:00 / 27:40 28:00 & 29:00s? 29:10 32:40 / 32:20 35:00 Is there a movie you would like me to make next week?
00:03:37.000Everyone was growing up, getting jobs, getting girlfriends, and we were still trying to make movies.
00:03:41.000Yeah, we'd organise a big weekend with everyone.
00:03:43.000But everyone was 18. In Australia, you can go out when you're 18. And we're like, look, guys, we've organised this weekend filming, trying to organise all these people.
00:03:51.000And they're like, no, I'm fucking going out.
00:06:50.000Well, it was a way for you to write and meet people, because there's a lot of interesting people that would go through there.
00:06:56.000But I just hate injections, so I don't know.
00:06:58.000I also did try and get over my fear for injection, because once they administer the drug, they have to get your blood every 15 minutes.
00:07:05.000So they'd put the cannulas in your arm, and they'd just keep taking out blood, taking out blood, and just testing whether or not things would go wrong.
00:07:11.000What was the worst side effect you got?
00:09:06.000Like, there was that famous case, I don't know if it was in where it was, but the patients, because they do it, like, you know, they'll test one person, then half an hour later, test another, then another, right?
00:09:16.000And then people started dying off, and, like, then it was, like, going down the line.
00:09:21.000Because, like, someone died, half an hour later, they died.
00:09:32.000Well, I don't know what story specifically this guy's talking about, but the trials that I was checking into, no one died.
00:09:37.000The worst one I heard of was they tested on mice before they tested on the humans, and they had to bring everyone back into the trial and say, hey guys, and I heard this from a friend that recommended the trials to me.
00:09:47.000He's like, guys, we don't want anyone to worry, but some of the mice have gone blind.
00:09:53.000And yeah, so everyone was sort of waiting to see if someone was going to fuck up their sight.
00:09:56.000And this was after you'd already gotten the drug?
00:09:58.000Yeah, well, this is a friend's experience.
00:10:01.000Yeah, they'd had the drug and they brought everyone back in like a week later and they said some of the mice have gone blind.
00:10:27.000So, like, that one, when they administered it and my whole arm went paralyzed, they realized they couldn't administer that drug to everyone else.
00:13:34.000And every time we did a car hit, we'd have to like, we'd step it up a little bit.
00:13:38.000There was one nasty one we did and I was like, because I was like, oh...
00:13:42.000I know that if it does, like, half-assed, Daniel would go do it again, so I'm like, oh, let's just do a good...
00:13:47.000And usually I have stunt performers for car hits, because usually, before you hit someone in a car, you, like, brake a little bit to, like, dip the bonnet down, and this guy wasn't a stunt driver, and I was like, just do it, and then he hit me, and I was like, whoo!
00:14:02.000It's an interesting thing for car hits, where it's like, because you lose where you are for, like, a flash second, you know?
00:14:23.000In Australia, you have to get certification to get a stunt license.
00:14:28.000In America, you can just say, I'm a stunt guy.
00:14:31.000I guess if you're bad, they just won't call you back or something.
00:14:34.000So was getting hit 24 times a part of that Some of the stuff was like martial arts for six months, body control, stunt reel, being on set for 10 days, a letter of recommendation from an assistant stunt coordinator and a stunt coordinator.
00:18:11.000Yeah, and so stunt performers that really, really innovate their craft or really put their bodies on the line or build up to a really big stunt, I just...
00:18:20.000For our film for Street Fighter, we know we want to do a whole bunch of practical stunts.
00:19:41.000Likes, you know, and cool opportunities to, like, go to cool countries and do, like, awesome things.
00:19:48.000But you end up just, like, you're chasing trends and you're just following the algorithm and you're not really expressing yourself towards the end.
00:23:36.000Do people get mad at you because people are trying to imitate what you guys are doing, getting hit by cars and saying that it's irresponsible?
00:23:44.000Uh, no, because our stuff was always, like, that one was paying out YouTube, like, trends like that, like the TirePod challenge and things like that.
00:23:53.000Our stuff was always, like, a filmmaker, like, it was, like, it was, like, it was, like, stunts and things, but it was done through, like, a scene, like, a movie scene and stuff.
00:25:11.000Their whole family's like, oh, they're so cool, man.
00:25:14.000Like, Izzy saw, like, we met him through Talk To Me, and then we went to his premiere for his documentary and stuff, and then, like, I used to watch him fight Knees of Fury in Adelaide, in South Australia.
00:25:29.000The first time I saw him fight, he was main event, and he was fighting the champ, and I was like, oh, man, this guy's going to get killed, to Izzy.
00:25:37.000But then Izzy just flying near the dude in the face, like, first round, and the guy didn't get up for half an hour.
00:25:44.000It was so like savage and the way that he moves is like, and there's like a flow and a rhythm.
00:25:50.000Like the last fight we went through, the last fight, it was unfortunate what happened, but when he came out like moonwalking, it was like, oh man, he's got such a fucking vibe about him.
00:26:16.000There was these neighbours that we watched grow up and one of them was experimenting with drugs for the first time and was having a negative reaction to what he'd taken and he was on the floor convulsing and the kids that he was with weren't helping him, they were filming him and laughing at him.
00:26:30.000So that was the first thing that really stuck into my head that I wanted to put on the page.
00:26:35.000There was a guy named Daley Pearson who produces a show called Bluey in Australia.
00:26:48.000There was no hand or anything like that.
00:26:50.000There was that kind of concept of using it for fun, like possession for fun.
00:26:54.000So I did a rewrite of the short film, and then once I did that, I just couldn't stop writing.
00:26:59.000So within the first 10 days, 12 days, I had 80 pages for a script, and I've got a co-writer named Bill Hinsman that I send everything through, and we just collaborate and bounce drafts back and forth.
00:27:10.000So that happened around 2008. In 2018?
00:27:14.000And then we decided that we're going to move out of Australia, move to Hollywood, said goodbye to all our friends and family, did a big dramatic goodbye.
00:27:20.000We're like, we're going to go to LA and we're going to sell this fucking script.
00:27:23.000And it's going to take years to sell it.
00:28:25.000They were surprisingly interested and surprisingly took a chance on us.
00:28:29.000They helped us develop the script further.
00:28:31.000So we did another draft and then probably after three months of them, we were ready to go.
00:28:35.000And by then, our company in Hollywood reached out and we're going to make it.
00:28:39.000But they started giving us creative notes that were pushing it into a bit more of a typical direction.
00:28:46.000They weren't bad notes at all, but it was sort of wanting to explore where the hand came from, explore how to beat it, explore who the demons were.
00:28:53.000And it felt too typical, whereas I really wanted the kids to be in out of their depth and over their heads and not understand what it is that they're messing with.
00:28:59.000That was part of the intrigue of the film.
00:31:08.000Like, it could get yanked in two different directions.
00:31:10.000But if Danny does, like, because we write scripts separately, then there's, like, the outline.
00:31:14.000It's like, oh, okay, I know what you're going for, and then add notes that way, as opposed to, like, trying to veer it into a different thing.
00:31:21.000And then also, writing's so personal, and you're exploring really personal themes, and Michael and I just don't get that deep and personal with each other.
00:31:27.000Even though we're brothers, we'd find that really awkward, but we just don't have that sort of relationship.
00:31:31.000We have more of a working relationship as opposed to...
00:34:30.000The thing is, one of the reasons we didn't go with the Hollywood studios is because they would have Final Cut and be able to make changes and stuff.
00:34:38.000Every single shot and sound effect and everything would have a strong sense of how we want it.
00:34:44.000I couldn't imagine having that control taken away from us.
00:35:37.000There were days when we asked her not to sleep and come to set not having slept because her character's losing her mind or she's meant to have been up all night.
00:37:41.000Everything we're trying to achieve in our life, like being in film, and it was scratching the door forever, it just blew open, and then everything was the most fucking surreal.
00:37:58.000And even all those emails, all these people reaching out, all these heroes of ours or all these companies that you've seen so many products from saying, oh, do you want to look at this script?
00:38:38.000Painful experience because it was the first time we were going to be exposed to critics and like harsh critics, you know, Sundance and things like that.
00:38:46.000We wanted audience members just in the theatre, but I think it was all just like industry professionals.
00:42:03.000Well, I do have a nightmare of being ourselves.
00:42:04.000I have a nightmare of, like, you, like, chewing me out on something, and then, you know, then it'll be your comments on YouTube, like, hey, look at this fucking guy getting chewed out.
00:42:14.000Like, yeah, yeah, the fuck he showed you.
00:42:17.000I have a nightmare of being here as well, you know?
00:42:20.000You guys have a nightmare of being here?
00:43:14.000Like, that was the most impressive thing about it is because you're taking this sort of genre with, you know, possession and demonic possession and you turned it into this very unique thing.
00:45:18.000And the way they promoted it was like, I think A24 does more like, again, this whole world, like making stuff where that's our like whole lives, but the stuff after, all this stuff, I have no idea what, like this is such a new process for us, like marketing and releasing all that stuff.
00:45:34.000So I think the way that they- If you say, Bola, we've got a publicist.
00:45:38.000Oh man, it was the first time we had like, you know- Like, our schedules now...
00:45:42.000It's good that we have, like, management now that gives us a schedule because we have no idea what's happening every second.
00:45:48.000But, yeah, in a publicity, you go to a new thing, and there's, like, a list of, like, 30 interviews that you're doing that day.
00:45:53.000And then, like, you see, like, there's some control.
00:45:55.000It was a lot of word-of-mouth screenings.
00:45:58.000And, yeah, they didn't do, like, billboards and things like that.
00:46:01.000That wasn't the way that they promote.
00:47:00.000Yeah, even when you're writing something like that, you get so caught up in the world and with the characters, you can't help but start writing scenes for a sequel.
00:47:07.000And so I had ideas for it, and I told A24, I said, if it's successful, I would be so down to do a sequel.
00:47:14.000So I just sort of planted the seed, and every Q&A that we did in these word-of-mouth screenings, I was like...
00:47:53.000Imagine a movie where we get a cool, talented director, like Africa, writer-director, and then they do a version of that world in their surroundings.
00:48:13.000It comes out in Japanese cinemas December 22nd.
00:48:16.000But when I was with the Japanese distributors, I said, I was like, if you can think of a director that would want to do a spin, I would love to see a Japanese talk to me film.
00:51:51.000All that stuff was just experience to be, like, you know.
00:51:54.000Like, one day, there's a montage sequence in Talk To Me where they're all, like, having fun, like, using it.
00:51:59.000And, like, we only had two hours to shoot that whole montage sequence.
00:52:03.000And we had 50 setups to get 50 shots we wanted.
00:52:05.000And we wanted to riff and, like, you know, just, like, do improvisation.
00:52:09.000And the first AD was telling us, you can't...
00:52:11.000It's mathematically impossible to get all these shots in this amount of time.
00:52:15.000And we're like, let us control the set for these two hours.
00:52:18.000And we just had a boombox, and we had two cameras, and we're just like, get in there, get in there, get in there, get in there, make up change, go, blah, blah, blah.
00:52:25.000We had jibs, and the group's like, and we just had this momentum, and we were able to just shoot this.
00:52:31.000And I think that energy translates through the screen, instead of just like, you know, set up.
00:53:37.000Once we filmed a video for Deadpool, promoting Deadpool, and we went to a junket, a press junket, and we didn't really do interviews and things like that, and they said...
00:55:53.000VFX always looks really odd around the eyes, and you can always tell.
00:55:56.000So we had to sit them down and say, it's going to be really uncomfortable, but we need everyone to be able to put these proper contact lenses in.
00:56:08.000They're the most uncomfortable things in the world.
00:56:11.000Yeah, but all the actors around of it, and the makeup bible, there were so many references of real corpses and real dead bodies, and just to try and capture it and make it feel really real and authentic, and not too heightened, was the makeup effects.
00:56:25.000And then also, doing everything practically, even with the kid that's pulling his eyeball out of his face, we built his face on top of his face, so he could, you know, interact properly, and practically...
00:59:36.000Dude, I do think it's because it's clearly on the floor, on the ground.
00:59:41.000I think it's got to do with what's surrounding it and the way that the light is...
00:59:44.000Well, and also because it doesn't have, like, the amount of, I guess, like, little creases and light, like, shining off it than a normal car would.
00:59:53.000There'd be a lot more light bouncing off it, I guess, than a normal-sized thing.
01:02:57.000When we're recording that make-up, You have to roll for, like, five to ten minutes to try and grab something that looks realistic for, you know, one second.
01:03:19.000And not, I think it's also not lingering on things to be like, oh, look what we've done.
01:03:24.000Like, and then like lingering on like an impressive effect or anything like that.
01:03:28.000I appreciate movies more when they show something that's really impressive, but they don't just like keep cutting back to it or show it forever.
01:04:04.000And what was cool about doing all the YouTube stuff as well, our makeup artist, Bec Barato, who would help us do all the YouTube stuff for free, were able to get her as a head of department on the film and know that she can pull stuff off.
01:04:15.000Even though she hasn't got the experience of being a head of department on all these other films, we could vouch to our producers and say, no, we've been doing this for years with her.
01:04:23.000And she's super committed and she's super talented.
01:04:25.000There's a video that we did where we recreated Mortal Kombat fatalities and it's the most graphic violent thing ever.
01:04:31.000And she would help pull these effects off.
01:07:27.000Always that imagination when you look at things like the Goosebump covers from R.L. Stine or if you go into the VHS, when you're looking at all those covers of horror films and you're making up on your head...
01:07:37.000When you go to the horror film section, like in the video stores back in the day, kids, you go in there and the horror section, you're like, what the fuck is happening in that movie?
01:09:54.000That's where everyone goes, like, and everyone has, like, the childhood traumas, right?
01:09:57.000But it feels like you are, and everyone has a childhood trauma, whether their parents weren't there, or they were there, or they were too nurturing, and then you can't go into the real world.
01:10:07.000It's, like, little things that change you, like, and you don't even realize that.
01:11:01.000But then also things like, I guess like everything we see is like a film scene or something.
01:11:07.000So it's like always just ideas stemming from all different things.
01:11:10.000When I start writing, I have to get into a certain headspace to write.
01:11:14.000I could never just sit down and be like, okay, I've got two hours free, I'm going to write now.
01:11:17.000I have to get into a certain headspace.
01:11:19.000If I'm writing a scene where characters are depressed, I feel like I need to get a little bit depressed.
01:11:24.000So when I was writing this new thing that I'm working on, it was sort of staying up for two days straight, not sleeping, watching things that freaked me out, and then doing things in real life that would try and scare me.
01:12:01.000I drove out to that cliff at like 3 in the morning and I went up there and I'm talking to someone that's not there but on this cliff edge and getting myself into this weird state where I'm a bit freaked out.
01:12:12.000And I was like, okay, I'm talking to this character that's here.
01:12:15.000Let's say someone that we know died here and we're trying to connect with this person.
01:12:19.000It's like, alright, let's do it again with that friend that I'm with, the imaginary one.
01:12:22.000What if he died and I'm trying to connect with him?
01:12:24.000And run through scenarios in real life and just do things that try to freak me out.
01:12:30.000I think we've found the side effects of those drugs.
01:13:23.000Like, I found a family of, like, 12 kids that grew up All fighters.
01:13:28.000And two of them are like world champions now.
01:13:30.000And they're like, they're just like at the backyard of their house and they just fucking fight every day.
01:13:34.000And like they had to, they had to fight to, you know, to eat.
01:13:37.000And like, I remember talking to one, Mimi, her name is, she's champion now.
01:13:41.000And she's like, if I wanted to, because there were so many kids in her family with such low incomes, like if I wanted something special, I need to fight because I need, that's the only way we could afford it.
01:13:50.000So that world is like, it's just so much inspiration that you get from stories and people.
01:13:55.000That's why I think action would be funner.
01:13:56.000When it's a horror thing and you're too often going into a weird mental headspace, it's so unhealthy and you can feel it being unhealthy, you know, on your mental health.
01:14:06.000Where I'm like, I can feel my sanity slip away if I want to let go of it when you get into those zones.
01:14:10.000When you guys wrote Talk To Me, did you try to talk to someone who's had experiences with the supernatural?
01:14:18.000I remember I had one friend that went through a really extreme trauma and he told me about this kinesiologist that made him levitate off this table.
01:14:29.000He's like, and this is someone that doesn't bullshit.
01:14:31.000It's not someone that just says things to say things.
01:15:12.000He's like, okay, the source of this, the reason why this happened is this being that is attached to me and this person I want to believe is pulling this thing off of me now.
01:15:22.000And it's something that's really cathartic about it and it's an emotional thing as opposed to an actual spiritual thing.
01:15:28.000But what do you think about the levitating part?
01:15:31.000I think that he was in a really heightened emotional state, and so he believed that was happening when actually maybe it wasn't.
01:17:23.000When I go into it, because she does, like, readings of houses and stuff where someone's lost their life or stuff like that.
01:17:28.000She goes, like, rids ghosts out of houses.
01:17:31.000And she said, I know what's real when I go to a room, I don't know the history of the house, and I'll have a feeling that there's something here, some presence...
01:17:41.000Something about a little boy and I just felt that in my room and he's sad and all this.
01:17:46.000And then later I do research and then find out that little boy died in that room.
01:17:59.000Who was the psychic that died and then they got their wife to give them a code word and they travelled around to all the most famous mediums in the world and had a code word that him and his wife shared.
01:18:48.000She tried to connect with Harry during seances with a code that only the two of them knew about to be sure that the spirit medium was not a fraud.
01:19:13.000I think it is very possible that occasionally people can tune in and perceive information that's not readily available.
01:19:25.000I think that it's very possible that places have memory and that there's something about traumatic events and spectacular events that leave almost a stain in a place.
01:20:45.000I knew it was more of a magic trick than reality, but there was this couple that we met, and they were in this room, and they said, when we hold hands, our power of connection will open the door to the spirit world, and you will hear spirits.
01:24:29.000So I think for the sequel, we can explore that a little bit more.
01:24:32.000But even with the sequel, we're writing two versions of the sequel right now.
01:24:35.000One that's continuing on with the characters from the first film, and then another sequel idea, which is a whole bunch of different characters in a different country.
01:24:42.000I don't want to spoil it, but I love the end of it.
01:24:47.000It's that thing that when you're drafting and redrafting and you're always figuring things out and you can strengthen things and you really follow an idea or a theme and you just find things like that ending.
01:24:57.000Yeah, and you punch them all through the script.
01:25:31.000Like, a world and characters and things like that, and then, like, a basic kind of outline, and then our poor co-writer's like, okay, I've got to try and fit this into, like, film structure now, and, like, this means this, and, like, kind of navigate the mess.
01:25:44.000And always try and attribute different things with...
01:25:48.000So exploring things that really bother you, or like, I remember when our grandfather passed away, it was Christmas Day, and our dad was trying to give him CPR, and his vomit was stuck in his beard.
01:25:59.000Like, my dad was giving my grandfather CPR, and my grandfather's vomit was stuck in his beard.
01:26:03.000And I remember that was sticking in my mind, the vomit in his beard.
01:26:45.000You should have had the fucking smelling salts for that.
01:26:48.000Because it's sort of like, it's so engaging and stimulating.
01:26:51.000You have to make sure that you've got every single shot that you could possibly want because we know we don't have the budget to come back here.
01:26:56.000As soon as we wrap this location, we're done.
01:26:58.000That's the only shots we're ever going to get for this film forever.
01:27:10.000I started crying because I was like, I can't believe...
01:27:13.000What came out of this, and it's everyone, our cinematographer Aaron McCluskey, our production designer Bethany Ryan, our producer Samantha Jennings, the performances of everyone, it's all those crafts and all those masters putting all their energies into this one thing that makes it more heightened or more incredible than you ever could have imagined.
01:27:31.000Even, like, our sound designer, Emma Bording-Yong, as soon as she started doing passes, you see things getting stronger of every single part.
01:29:11.000We only did it once, where we had a bunch of different people come in from all different age ranges and uncles, a teacher, younger teenagers, and they all come and watch the movie and then ask, did it all make sense?
01:29:25.000Is there stuff that felt like it didn't make sense, didn't click with you?
01:29:30.000Is there parts that sagged or got boring and you kind of get different input?
01:29:33.000And if a lot of people are saying the same thing, then you kind of go, you know...
01:30:09.000Mike was so specific with music that he edited to a really specific temp score.
01:30:14.000I listened to hundreds of songs and then put a temp score together and gave it to the composer and said, amazing composer, but I was like, this is exactly the vibe of the film.
01:30:24.000And this is music that we can use or we can license it if we need.
01:30:27.000And he's like, I'll stick close to the temp.
01:30:29.000And there was no communication after that until a week before or two weeks before the score was supposed to be delivered.
01:30:36.000And I went and saw him and it was, He'd recorded the whole soundtrack, but it was very different from our, you know, version.
01:33:06.000And that's why movies can kind of I feel not come together completely if there's all these amazing creatives, but they're going in different directions.
01:33:15.000So it's like kind of like having it all go to one direction.
01:33:18.000That's like when everything's working in sync as opposed to against each other.
01:33:51.000And it's like finding those heads of departments, like Emma and Cornell, people that are achieving things that you could never possibly achieve.
01:33:58.000And Jeff, our editor, we can't accomplish this by ourselves.
01:34:02.000Someone that we can really look up to and rely on.
01:34:17.000As budgets get bigger and studios get larger and then the consequences or at least the risk is higher for them, they're going to want to have more control.
01:34:25.000Yeah, and that's the thing is sometimes these movies...
01:34:29.000They want to have a creative director, but they have to protect their investment.
01:34:34.000And the way to protect your investment is to do what's worked in the past.
01:34:37.000So then it turns, instead of being like a new thing, it kind of turns into what has worked in the past.
01:36:29.000Like, that's the kind of position we're in now.
01:36:31.000I could see people rushing into things, like half-baked ideas or something too early because you're thinking about money and capitalising on this moment.
01:36:40.000And then the second one being not as...
01:36:43.000You know, because the first one's like, that's everything.
01:36:46.000It has to be the best fucking thing ever.
01:36:48.000Then when you do one, like the second one or the third one, where you haven't had that time to develop the script, you know, and you kind of rush into the...
01:38:10.000I'm so drawn to it and I love it so much.
01:38:12.000Even as a kid, I was always drawn to that really extreme side of wrestling.
01:38:16.000There was Cactus Jack McFoley who Undertaker threw off the top of the cell.
01:38:20.000And he used to wrestle in Japan in Deathmatch in a company called IWA. And that was my first time seeing a Deathmatch tournament where he was wrestling...
01:38:28.000Terry Funk with exploding barbed wire, exploding ropes.
01:38:37.000Imagine you're watching John Wick and, you know, Keanu Reeves is going to get kicked downstairs, but you're there in person and he's doing the stunt live and you don't know if he's going to be okay or not.
01:38:50.000Like, that kind of energy in the room.
01:43:31.000You're making us look stupid and crazy.
01:43:34.000But this one's like, when we have the stunt guys, I purposely tell them not to come to this stuff because this isn't like normal stunt performing.
01:43:41.000You just get hit over the head by a neon lightbulb?
01:43:44.000Yeah, so that's the one that went up into my room.
01:44:21.000You get paralyzed from something like that.
01:44:24.000I don't know what it is that draws us to it, but we're sort of doing the documentary to explore the psychology behind the need to do it or why they do it and talking to the wrestlers and finding out, you know, what's going on with them and why they're drawn to it and why we were drawn to it.
01:44:38.000It's so interesting to me because I know it's disgusting.
01:45:27.000I guess it's different with martial arts, but when people look at it at base value, like, oh, they're just cockfighting, or people are just going to...
01:45:35.000But it's so much deeper than that, martial arts and things like that.
01:45:44.000I remember I could watch deathmatch wrestling as a kid and always loved it, and then I would shake when watching UFC. I would physically shake.
01:45:53.000I couldn't believe that they're actually trying to hurt each other.
01:45:56.000As a young kid, UFC used to freak me out.
01:45:59.000I remember when I played UFC 1, the game on Xbox, I was fucking shaking when they were hitting a thing.
01:46:04.000Something about fighting and that really one-on-one violence, I found that so much more...
01:46:10.000So no, maybe that's where we get into it.
01:46:12.000So you like this performative violence.
01:46:52.000We're writing three films right now, and it's just in constant circulation.
01:46:56.000Whenever we hit a roadblock of one, it'll sort of jump onto the next one.
01:46:59.000So we're developing the Talk To Me sequel, and we've got another project of A24. We're talking about Street Fighter right now as well, with Capcom and Legendary.
01:47:08.000And then, yeah, so it's just sort of developing a bunch of stuff and working on a bunch of stuff.
01:47:12.000It's finding time, like delegating time's the thing now.
01:50:16.000Well, the first page says suicide attempts.
01:50:19.000And then also, the sleep doctor I was speaking to is like, there's two...
01:50:24.000It's like, people are debating, they actually don't know whether it's people that are in bad places, don't have the energy to take their own lives, but being on Xyrem gives you the energy to do it.
01:50:35.000Or is the Xyrem changing your mind to...
01:50:41.000Think more like that, more radical or something like that.
01:51:14.000I've never tried going alright before, but I've done days where I'll fucking smash go to the gym and do boxing, go sparring, do a full day of exercise to exhaust myself.
01:51:24.000And it will help me sometimes initially fall asleep, but then 90 minutes up.
01:51:29.000How many hours are you getting a night?
01:52:10.000Energy drinks helps me when I get like a low in the day or whatever, if I'm bored.
01:52:15.000But when I go, I did a full health streak, you know, like when I had like a diet that I was sticking to and like a time, getting up at the same time every, you know, morning, going to get the sun in the morning, and then doing all that, whatever, you know, like I did that, and then it still...
01:52:41.000And it's like, I used to think it was a good thing when I was a kid, because I'd be like, oh, I still have six hours before I have to get up for school.
01:55:46.000I saw a thing with Izzy when Volk defended his title fight before the last one, and he's in a crowd going crazy, and the comments are like, giving him shit.
01:55:56.000I was like, dude, when we watch Friends fight, you're like, fucking yeah, come on!
01:56:18.000Yeah, physical stuff has always been, like, you know, ever since little kid, like, I love doing, like, the stunts and whatever as kids.
01:56:26.000Then I did a bit of Muay Thai, just training, and then we were part of the reason why Logan Paul fought KSI. Because we were friends with both of them.
01:57:04.000And also, we even sponsor a fighter named Tim Rogers, who's champion right now in South Australia, which I think he could maybe crack into the UFC as well.
01:57:12.000So I'm just obsessed with it and watching it.
01:57:13.000It's just like a thing that we love as well.
01:57:16.000I listen to Ariel Hawane every day, the fight news, everything.
02:00:40.000No, as a joke, like, you're mucking around with him, but seriously, I would have played it.
02:00:43.000And I used to think I was, like, I trained in Cyprus for a month before the fight, and then I was, like, I didn't realize about how the climate change, like, your cardio just goes.
02:02:01.000You'll see Volkanovski's speech after the fight where he was saying that he felt that down when he wasn't training or he didn't have that purpose.
02:02:08.000And then that made him rush into that fight.
02:02:12.000Getting really emotional, seeing someone open up like that and be vulnerable like that.
02:03:56.000There's a thing also when we're talking about mental perception about if that happens, are you going in kind of like with that in the back of your mind now?
02:04:05.000I mean, that was the first time it happened to him in the UFC. He only had been stopped once in his career ever, and that was at welterweight.
02:04:12.000So he was fighting someone who was 170 pounds.
02:04:14.000And that was quite a long time ago, early, early in his career.
02:04:17.000And he's been completely undefeated in the UFC. And then there was the Makachev fight.
02:04:21.000So he loses that decision, very close decision.
02:05:54.000And one loss like that can define you forever because it can change the course of your career, especially if it's a really bad knockout.
02:06:01.000Like if you get completely knocked unconscious, go to the hospital, neck brace, the whole thing, wheeled out on a stretcher, that can define your entire career.
02:06:09.000It can change the course of your career.
02:07:21.000I mean, it's going to get better and better and smaller and smaller with battery technology and all sorts of other things that are going to be, you know, all new innovations.
02:08:09.000I like practical, but it kind of feels like...
02:08:11.000I'm down for those screens of sci-fi movies as opposed to trying to just say, oh, we'll do that on an island instead of going to an island.
02:08:25.000You know, the CGI and stuff gets to a point where you literally can't tell the difference between the model car and, you know, a real car.
02:08:32.000Then it's like, it's kind of like, it reminds me of when they were doing Disney movies back in the day where they would draw every single frame.
02:08:39.000And then when that CGI came in, like Toy Story, I think Toy Story was the first film to do it, where they're like, we don't need to do that anymore.