And welcome to another edition of The Movie Crypt. I'm Adam Green. I'm Joe Lynch. We are recording this episode way back, almost some... a little over a month ago, probably at the time this is going to air on Wednesday, October 16th. So just think about it. When you guys are hearing this, Halloween has already happened. The election. Has already happened. Oh my god. I guarantee you there's still. The whole world has changed. Isn't a winner. Because. Everyone knows I won.
A little hard to do housekeeping when we're recording so far in advance. We can do reflections. We can do some reflections. Yes, and considering that this past month has been a pretty crazy month, and I'm talking about October, for movies, considering that... Let's see. Joker 2 crashed and burned, which, shockingly, I loved. I thought it was great. But Terrorfire 3. Terrorfire 3 destroyed. So the true...
like the true crowning of a new clown prince has been anointed, right? There has been a new nightmare before Christmas. I mean, because it's, you know, based on Christmas time, you know, it makes sense. I see what you did there. It has been fantastic. And the most important news of maybe the entire year. Adam Green has seen three movies in a theater in the span of the last month.
And that is shocking to me, at least, because I can't get you to go fucking see any movie. Maybe it's a Blumhouse Halloween movie. And the last thing you want to be in is next to Adam Green in a fucking Halloween remake movie, because all he does is twitch and like. and shove people out of the way to get the fuck out of there. I get very itchy, that's all. Yes, but now you've seen three movies in the theater, and...
You've liked all of them? Yeah. First of all, again, by the time this airs, you guys have hopefully seen it. You might have seen six movies by then. Who knows? Maybe. But Smile 2. Yes. Don't give anything away. I won't, but do Parker. Killed it. The opening, the first, we'll just say scene. We're going to go see it this weekend. You're going to love it. Like it's 45 minutes too long, but that's, I'm going to say that about every movie except for one.
that I saw because it was actually 93 minutes or something like that. But yeah, Smile 2 was so fun. Adam Robitel was there. I saw him. Oh, nice. Natasha and I sat with him. I love that guy. Yeah. But yeah, Parker did such a good job. And when it's doing the smile thing and the scares, so effective. I love it. Wasn't that last year that the first smile came out? So they're trying to position this as like the new...
Paranormal Activity. Wasn't it two years ago? I don't have to look, but I'm pretty sure it was last year. But hopefully you guys heard Parker's... episode of this podcast oh no you're right it was it was two two years yeah because it was it was the pandemic that's another movie terrifier and smile two great examples
I love pointing this out because like everyone always thinks on the pandemic fucked everything up. Yes. For many of us, but some movies benefited from it. Yeah. And South by getting canceled. And Parker's short for Smile being left up where people could keep passing it around who worked at the festival. And all of a sudden, his short getting traction. Anyway, listen to the episode because it's like a miracle that Smile got made.
And then it was only supposed to go straight to streaming, but look at what a hit it's become. And obviously at the time we're recording this, the movie opens in 48 hours, so we don't know how it's going to do, but I'm pretty sure it's going to do damn well. Considering that...
People have an appetite right now for horror movies, especially low-risk horror movies with an IP. People want to go out to the movies and feel like they're getting something that they're getting their money's worth. So to you out there, if you're making a horror movie, just ask. a two or three or nine you'll be the title you'll do great absolutely well as long as this is an original i'll go see it um the other one that i saw that i
Fucking loved was the substance. Yes. See, every time now, when Becca and I leave a theater, we go, should we tell Adam about it? Because if I say it's good, he's going to probably hate it. Well. We have different tastes. I'll get to why I've seen.
so many movies in the theater. Well, Smile 2 is because it was a friends and family thing. Yes. But it was at the Paramount Theater, the big one. Did you get to walk around at all? No, they had everything close off there. Oh, I love that. Oh, that's a bummer. That was the first lot I ever worked on as an assistant. That's right. I love going there But that theater The sound in that theater Fucking great Yeah But the substance was
Awesome. One of the weirdest movies ever. Almost becomes like the Toxic Avenger at the end a little bit. It's maybe the most body horror movie I've seen in a very, very long time. It may be my favorite movie in a long time. I think that was the best role. I mean, more as I ever played. She was so good. Better than the ass shot and I spit on your grave? Well, that's just a shot. Doesn't matter. But what...
What a movie. What a message. If you haven't seen The Substance yet, see it. And then the other one that I just saw last night was The Apprentice. And again, only went... because of the runtime, because if it had been longer, I guarantee you we wouldn't have gone. But yeah, not to sound like an old man, but The Apprentice is, I knew exactly what it was going to be because I've read at this point.
Because it's not an origin story of Trump. It's more of like a... No, it's an origin story. Really? Because I heard that it's more about Ray Cohn than it is about Trump. Roy Cohn, yeah. It's the story of how Trump learned... to be the character that he is. Gotcha. And the dude who played Roy Cohn, I can't believe I'm spacing his name. Oh, Jeremy Strong. Yes. Yeah. Fucking great. He's great. Did you watch Succession? Yes, I did. Oh, my God. It just dawned on me.
Because he's so different. Really? Yeah. I just think because of the title and because of our current political landscape, it felt like there were people in the theater who didn't realize... the time period that the movie was about and they thought that was set in the 80s i just don't i think they were expecting they're eating the dogs they're eating the cats i think they were expecting that trump and this is
This shows you how he became that Trump. As someone who has read every book, I thought it was very fair, to be honest. I thought it was very fair because it showed good and, you know. truth and uh but you walked into that knowing exactly what it was but also that you walked in kind of bias it's like because well there is controversy but there is controversy obviously out there where trump is trying to get it
from people seeing the movie, and people are going in... He also hasn't seen it, at least at the time we're recording this, because even Roger Stone was like, it's actually very... Wouldn't you watch a movie about yourself, the fucking narcissism that he employs? Anyway, well, let's not...
Hopefully that nightmare is over by the time this airs, but I guarantee you it's not. Anyway, but the reason why I've gotten to go to so many movies... Yeah, what the hell? ...is because, as you guys know, we've been recording things way in advance because originally... I was leaving in September. Yeah, that's true. Then I was leaving late October. That's true too. Then I was leaving...
Mid-November. Okay. And now I'm not leaving until like, which we're going to say Christmas time, right? But it's all a good thing because... You need to knock on Woodmore. I know. Well, the... There was a very big movie shooting on one of our locations for this thing I'm doing.
And they decided to stay on that location for six weeks. Oh, my God. Can you imagine if we go an hour? Just casually just being like, oh, we need more days. Yeah, let's stay for another month and a half. That's how big the movie is. I don't want to. You can figure it out. What other big movies are out there? Come on. But as of...
I think probably 48 hours ago at the time we're recording this, all of our casts, their deals are closed, signed, locked. I didn't even hear this, really? Yeah, I mean, it's... Are you happy with the cast? Very happy, very excited, and a lot of people are saying it's going to be the best movie ever.
About dinosaurs fighting mechanical robots. Oh, wait, no. There's Mechagodzilla. That was definitely better than this. All right. Second best movie about dinosaurs fighting. It's not about dinosaurs. But the movie that took our set for six extra weeks. that's about dinosaurs anyway um but i wound up here and so i've actually had time and it's like let's go to the movies let's go but for like months now it's been
prep and then the Halloween short and this thing and that thing. Tasha's been away. And then she was away for, well, that was only like 10 days for something. It felt like an eternity. But it's so great to kind of get surprised that I... I did get Halloween. Yeah. Because I thought, oh man, I'm going to miss Halloween. That's right. Yeah. I remember when you first talked about this and...
when you were mapping out when you were going to leave and it was like mid-September and you're like, well, what am I going to do about Halloween? What about all those kids who need their candy? All those kids are getting candy. We have 116 full-size candy bars. We have 18 different kinds.
of candy bars for them to choose from this year. All those kids have already had that candy at this point. Let's be fair. Yes, that's true. That's true. I wonder which one got the razor. If there was a... I can only watch one Halloween movie... on like Halloween night, what would it be? Either Halloween, John Carpenter's Halloween, or Trick or Treat. See, you know what's funny is that lately, in the last, like I've just mapped out the last four years of, because when...
September 1st hits. That's when Becca and I start watching our horror movies like at least once a night or twice or whatever. We try to get in as many as possible. And the one movie that keeps getting fucking played every year because we try to stagger it out is Night of the Demons. I don't know. I love that movie so much. Kevin Tenney, people don't give that movie enough respect. That movie is really well shot. Yes, it does have a lot of like Sam Raimi-esque flourishes, but there's...
So much ingenuity going on in that movie. And three years ago on Halloween, we watched Garash's remake of it. I got to watch that again. Which I have such a soft spot for because that was the height of Fright Club. everyone's in it or referenced somewhere. Like there's that, the whole party scene, there's a Victor Crowley standing out front and Billy from saw. And like, it's just, I don't know. I have a soft spot for that movie too. Um, but speaking of Halloween things,
that you guys are now hearing about in mid-November. So I did Not Scary Farm, which was fucking great this year. Haunted Hayride, which... Oh, you did do it? Not... Oh, wait. Didn't do it for us. Who's the, uh, Janelle Monae? i guess was that the woman i was supposed to recognize and that yeah i i don't know i i didn't um was not uh but we also went on a saturday night which was a mistake normally we go anyway uh and then so i'm recording this
Next week we're going to be going to do Reign of Terror, which I haven't done in 15 years. That was another Fright Club thing. It's in like Thousand Oaks. It's like the whole top of the shopping center, but year-round they hold this big spot. It's like, it's...
I just remember it being really fun. So hopefully it's going to continue to be really fun. All right. We're going to shut up and get to our interview with Brandy Roderick. Unfortunately, we only had her for so much time. So, but we got to talk about everything.
We got to talk about this real life. We got to talk about a little bit about Playboy and living in the mansion. We got to talk about Baywatch a little bit, but we mainly talk about her new movie Wineville, which is available right now for you to rent digitally. but you can also get autographed DVDs from Brandy directly at winevillemovie.com. I hope I said that right, right? Because she said it at the end of the...
I think it sounded right. Listen to the end and you'll get that website. But yeah, so cool to see somebody step behind the camera. be a director of their own feature for the first time also pulling double duty as a producer and a lead actor in the film and accomplish what she did and when you hear how many days she did it in and what she was up against and when it was shot
you will really have a new appreciation. But such a great person. I'm so happy that she reached out. And hopefully you're going to... You'll have already seen her by the time we hung out. It was fucking crazy. It was awesome. Yeah. But she was spooky empire in between Baywatch conventions, being a mom, all this stuff. And I was so happy that she could make time for us for this. So enjoy our conversation.
with actress slash producer slash director Brandy Roderick. So we're really excited to have our next guest. This kind of... popped up just like a few days ago and we wanted to definitely make sure we got to talk to her you know her from oh my god Baywatch, Starsky and Hutch, Hood of Horror, The Nanny Diaries. She was Playmate of the Year in 2001. She's done dozens of guest star appearances on network TV shows. She was a main cast member of the...
first season of The Surreal Life, one of my favorite shows. And she was also on The Celebrity Apprentice twice. Please welcome to The Movie Crypt, Brandi Roderick. Thanks guys. How are you? I'm fantastic. You guys, how are you? I am great. I'll hold off on my questions about the surreal life. Right before we started this, I just watched Vice's episode, The Dark Side of the Surreal Life. Oh, yeah.
I was very let down. Cause all it was, was like a summary of what we all saw. And I was like, usually those are pretty salacious too. Usually. Yeah. But not really honest. I should say honest. Sure. Sure. My season of The Surreal Life, as you know, Adam, was the very first ever Surreal Life and the very first ever celebrity reality show, if you can believe it.
And with our cast, it was like a love fest. We just all got along for the most part. You know, there was some drama with Corey Feldman and MC Hammer and some people. But for the most part, we all got along. along so well and we just all became friends and are still friends to this day so we didn't have any of the crazy salacious behind the scenes which is so funny because that show that you watch is called the dark side yeah right
And there really wasn't any. I've been like, I might have to do it myself at this point. I don't think I'm the right guy to do it. But I want someone to do a documentary about that era of, I know the first season of The Surreal Life, that was the WB, right? And then it moved to VH1. But there are so many great stories about Rock of Love.
And the murder that happened with Megan wants a millionaire And I love money getting cancelled There's such good stories there But I know everyone involved is under It's either a 20 or 25 year NDA Holy crap It's pretty, it's a lot. I am glad. But most importantly is you just. directed, produced and starred in a movie called Wineville, which we both just watched. And congratulations to everyone listening. Wineville is available.
This episode drops. It's already out. You can rent it digitally or you can even buy autographed DVDs, which Brandy will tell you all about. But a great job, first of all. And how did this all? come about where you're like, I'm just going to make my own movie. This feels like one of those moments like, but what I really want to do is direct. Yes. And you made it happen. How many actors have we all worked with where they say that, especially like when the director.
walks up to them gives them a direction and then they walk away and they give the jerk off sign and then they say to the camera guy what I really want to do is direct fuck that guy Oh, I've never done that. I know, I know, but I've turned around and caught them. But how did you, yeah, how did you transition into this? And if anything, what was like the impetus for you having that desire?
For me, honestly, it wasn't directing. For me, it was the need and the desire to continue acting. And when it all kind of went down, it was COVID and we were shooting. We were still able to shoot, actually. We were shooting Ace and the Christmas Miracle.
And all this stuff started going down and, you know, there was no jobs, you couldn't work. And so I'm like, well, I'm going to create something. I've got to get something going. I'm not going to, I'm not the type of person that's going to sit around and wait. And I've been in the business for, I'm an old lady, almost 25 years.
And so I figured, you know, with all my friends and my help from, you know, friends and being in the business for so long, I'm like, I think I can do this myself. And so it started with. talking to my producer friends, like what's the easiest genre to sell? So now the business sense is coming in and my friends are like, well, horror, which I don't know if that's even the same case anymore. But at that time it was horror.
And I have a friend who owns a winery in Mariloma slash Wineville. And they said I could shoot at their winery for free, which as you guys know, as filmmakers, wow, that's. like just amazing. So it kind of started with that was my desire to continue to work and not wait around. for COVID to be over and for, you know, anything. Plus it's, you know, in an era where, sorry to say it, but blonde hair, blue eyed girls, you know, is going out the window. There's not a lot of roles for us at that time.
or even now so i needed to start uh creating you know uh my own work and horror is a genre that i know all too well it's the the genre that i'm most comfortable with i come from a very crazy intense horror
enthralled family, like they are insane. So that's where I kind of feel the most comfortable. And the backdrop of this location really lent itself to just that old um horror whether it's 60s 80s whatever like it's like an old location was built in the early 1900s so it kind of started location and a and a craving and a wanting to work and survive that's kind of where it started
With your family loving horror so much, were there any particular ones that got everybody around the TV together? Or were there any staples or any of them that you remember going, okay, this is like... Because I think all of us, family-wise, have those movies. Like, for us, it was Poltergeist. Because we could relate to the family in Poltergeist, which scared us even more. Or if it was my mom's case, it was The Exorcist or something. What were there for you?
OK, well, that is so funny that you say that, Joe, because my very first intro into horror was The Exorcist. And I was six years old and I watched it with my mother on the couch. That's how sick my family is. My mom had me watch. The freaking exorcist. We have the same mom. I know. I'm wondering. Are you a... What is it? A brother. What is it? A brother from another mother. A brother from another mother, not a...
sister from another mister. That would be, you'd be a girl in that point. You never know. You never know. So it was, yes. So very sick. Like that should just give you an idea, you know, six years old. Watching that. But my, you know, while all the other kids, you know, were, for example, like dressing up as, you know, Pippi Longstocking or. bimbo bright my mom is dressing me and her is the devil um and i mean i'm like four or five like it's crazy um
My we watched, you know, when I was a kid growing up, my 10th birthday and every year after we would watch a horror film and then we would all sleep outside in the tent. And my dad would come out with a knife and try to scare all the girls. And most.
time all of them would go home they call their parents screaming and crying um and my 10th birthday actually was sleepaway camp which was a very very nice for me and my friends were probably freaking out because they'd never even seen a penis before So, you know, that's interesting that you bring that up because that was, I remember so many of my friends never got sleep away camp because I think all of us at the, for the, you know, the big final shot, I think a lot of us.
like wait what is that a girl got like we didn't couldn't compute it was a lot of information to kind of throw at a six or eight year old kid because that's what i remember seeing sleepaway camp when i was like it was younger than 10 and going like, I don't understand what is going on here, you know? So it's, it's a lot to take in when you're like a young fan like that.
Yeah, it was crazy. And I freaking love that movie. Yeah. Well, you can tell with Wineville that you do actually like... horror because like we were saying earlier like if I'm gonna make something what genre sells there's so many times where you see movies where you can tell that was the only reason the person was making it and they don't actually care about
the genre know anything about it they just assume oh i could throw some blood around and kill people whatever i could do that and and it doesn't work but like this is like you it's you have an opening scene that delivers the gore and stuff that your effects are done by vincent guastini who's amazing oh my god yes but by the time you get to the end of the movie and we don't want to spoil it for anybody but you go to some really dark places
Yes. It's I'd almost call it more like a drama thriller with horror elements. Yeah. You know what? You're so you're so right about that. it does it does have those elements right it's not your typical slasher for me it was really um plot and and and story and plot twists. I really wanted to shock people. I wanted to make them go, holy shit, I wasn't expecting that in a way of, you know, like when I'm watching movies, I try to figure out everything. Who's the killer? Who did this?
blah, blah, blah, blah. And I always feel like I figure it out. And I'm always disappointed that I figure it out. Like I want somebody to stump me. And I really wanted to stump people. I wanted them to be shocked. And my mind. you know, when people watch the movie and you guys watched it, they'll see that like, I'm really sick and twisted. Like I go there. And.
I think it is from all of the movies that I've seen over the years, like watching, you know, Linda Blair stab herself in the vagina with a cross saying, fuck me over and over again when I'm six years old, or even watching The Brood. If you guys remember that as a kid, I watched.
um and that's just intense with the the woman and the the the the babies that she's i mean it's just a parasite that's coming out of her stomach and stuff yes it's just sick and so i've had this whole upbringing of just twisted stuff and I feel like it just all came to fruition with this movie and I just really wanted to push the envelope and shock people and do things that are different.
So even though as sick and twisted as it is, I wanted to be different. And one of my favorite things about it is the actor who plays your son in the film. is your actual son and he's great he's so good i didn't know that when i was watching it and i was going because it is so hard to get a great performance out of a young performer. And that's no slight on any young performers that are listening out there. Right. More now than ever.
Based on look, you know, there has to be a safety protocol. There has to be child labor laws. So no one gets. but more and more, like I just worked with a kid on a TV show and the amount of time that they give you to be able to get everything that you need. And this kind of, this is a trickle down effect. This is something that you almost have to realize from a script level, whether you're a show runner or.
like a screenwriter or whatever that you're only going to have so long with that kid, whether it's a boy or girl, whatever. And you got to make a count and there has to be protocols in place. So I usually watch movies now, especially indie films going, I don't know, this might not, this kid might suck and no offense, but then five things that come out of his mouth in the car, in the fair, in that.
first scene i was like this kid's fucking good yeah like holy shit and then i walk in and adam goes you know that was her kid right i'm like get the fuck out of here no way so good job Thank you. Yeah, I do. I hear that a lot that people, you know, it's hard to work with kids and the actors are usually not that great because of the reasons you just mentioned. So I'm very proud of him. You know, we have the advantage really of...
like, especially with our scenes, you know, writing it in a way that's very conversational for him and I, how we would really, you know, talk so that it felt natural to him. So that was definitely, I feel like a blessing. I got to ask, sorry, have you let Keaton watch it yet?
or just his scenes yes so no when when he first shot it he was 12 and i was like unfortunately you can shoot the movie you cannot watch the movie um which i feel bad you know i'll make you a cut for you and your friends and you guys can watch it it'll be two minutes long But once he turned when we had the premiere this month, he was 14. And I'm like, you know what now? Yeah, you're good. You can watch it. So there were some things. He walked out of the theater. He didn't like to watch the.
the guy on guy stuff um he made him feel uncomfortable which i could totally understand you know he's not at that age yet where you're seeing that kind of stuff um but so that's the only part that really made him feel uncomfortable really i mean he He kind of knows, I mean, he knows, you know, it's all just is what it is. And he loves horror movies. So yeah, he was good. And now this was.
The story for Wineville was an idea that it was you and Richard Shankman who came up with what the story was going to be and then Richard wrote it. Am I correct? Yeah. Yep. People know Richard directed The Man from Earth. Yeah. Remember that one? Yeah. How did you guys meet and end up collaborating on this? You know what? It was through Another director that we had reached out to who one of my producing friends was friends with, and he was not available. Was it Mark Pellington? Yeah.
Oh my God. How did you guess that? No, no, no. Wait, was it Mark? It wasn't. No, no. Just say yes. Just say yes. Mark Pellington was a part of this whole production. I know that. I met Richard through Mark when, because Mark Pellington came on the show, we really hit it off and we've been kind of keeping in touch ever since. And then out of the blue, he's like, oh, you got to meet my friend Richard. And then I'm like, oh my God, Rich, I know, I know Richard's work. So when.
his name popped up in the credits. I'm like, Richard is everywhere. It's a small world. Yeah, no, we definitely, he, I think. He might be the one and I could totally be messing this up, but I think he might have been the one because we sent him the script early on. Cause you know, he's awesome. And I think he might've been the one that suggested that we do this seventies because it wasn't originally scripted to be a film set in the seventies. But when he read it, he said this.
freaking movie lens itself to be set in the seventies. And we were like, Oh my gosh, you're right. If we could pull this off financially, let's do it. Yeah. That's the thing with period pieces is it instantly raises the budget. Cause now your picture.
your wardrobe you just have to be smarter about it yeah because everyone now like especially with horror everyone is trying to figure out how do i get around the cell phone issue how do i get around how small the world has gotten because of gps and um you know ways and phones working everywhere you can't do that you know what i was going to say what no one's ever done is just say oh there's no signal i can't get a oh wait no that everybody does i did it but when you can get out
of that by and and unfortunately and this happens like every script that's going around now that like you set in the 70s and you go so why did you set it in this in the 80s or whatever or that you're even like the early 90s oh because they had they didn't have cell phones then i'm like
that that's kind of that kind of sucks because then the flip side of that is now you have to deal with picture cars and costume design and there's needle drops it's like it's a balance you have to figure out like is it really worth it can you figure out another way of dealing with the cell phone situation personally i thought especially in the beginning when you set up
you know like you and your son driving through and you have the pick the period cars like you only need so many cars to set that up and then with the music and everything i was immediately transformed the costumes like it's just you have to be clever you just have to be smart about it and you don't throw money at the situation no and i remember um one of my producer friends saying brandy people will look for shit they're gonna look
to say find something you missed so he's like you gotta just look for everything so i was like i remember in one scene going up the hallway oh my god there's a more modern thermostat we gotta cover that get rid of that And, you know, when you're, you got to watch the movie in post, like with a fine tooth comb and the one thing, and I think it was Richard that caught it, um, because I wouldn't have even known.
There was a fire extinguisher in the background and it was a more modern one. And I guess they were a lot different in the 70s. So we had to have our guy go in and digitally remove that. damn fire extinguisher i think it cost me 300 bucks oh my god and that's worth it that's the other thing that modern technology ruined though is now because of the internet something that maybe
Five people would have even cared about her notice now, right? It's now they know and everyone claims. Oh, I I totally saw that No, you didn't you didn't even care about the fire extinguishers shut up. Yeah, it's it's a whole But you have to catch everything because if you don't, somebody will. So I feel like we did a good job. Like, I don't think there was anything that we missed.
And, you know, we were lucky because the location, like I said, it was built in the early 1900s. So so that was great. You know, that helped out a lot. And a lot of I only had to pay for one car. Out of all those seven cars or six, seven cars that were in there, they were all friends. So we got lucky with that. How many days did you have to shoot? We shot 12 days. 12 days. Yeah. We had Sundays off. Yeah. Wait. Okay. So I can just take.
the first half of the movie with all the coverage that you have even with like the picture car stuff and like the the the car rig shit i mean i know that you cover a lot and that's and i thought it was really smart with the coverage and everything but still kids gore uh stunts there's like texas battle like there's there's so many factors that you have to weigh into the texas battle joke was was for texas battle only but but it's true like there's so much that you have to
like literally weigh in on that i i have to watch the movie again just to see it as like an achievement of holy fuck they got this done in 12 days first time featured director Like usually when you're a first time director, that's
you're just not making your days because you saw it a certain way you want to get it that way but you have to constantly keep compromising because your ad is like no you don't have time you get one one angle of this that's it we got to keep moving and it's just here's the thing I was also remember the financier. I only had 12 days and that was it. So we had to get it. So and, you know, as you guys know, I mean, Richard was my mentor. He was there with me 24 seven and he's really good. Like.
as far as he doesn't care about Um, I don't want to say, I don't know if this is mean, but he doesn't care about making friends or keeping friends. You know what I mean? Like he just will just go out and go after it and, and, you know, get it done, which is great for me. Like him being on set.
because I have to be in a million places at once as you guys know what it's like um but you know so so that's knowing that we only have so many days we have a certain budget you know there's no time to you know oh let me just try this out let me this let me get creative and you know try this and you know in the beginning this is an example of that uh when we when we were casting
there was a couple people that i was considering casting because they were kind of like nutty in real life like they were just crazy and i was like oh i like that Ooh, this person would be great for this role. And Richard's like, hmm, Brandy, you don't want to do that. And here's why. This is a low budget film. You'll have so much time. If you get someone that's unpredictable, this could ruin your whole day.
He said, you need to hire seasoned actors that show up and have a good reputation. And I am so freaking glad that he said that because on the day we had. One take and then one for safety. We had two takes and that was it. That's all we had time for. So thank God.
Everybody was professional. They showed up, they, they knew their lines and they were ready to go and they got it done in the two takes. So I'm so glad I listened to that advice because who knows, maybe the movie would still be going right now. I listened to that advice and hired all these crazy nutty people because I thought they were crazy in real life. I can so relate to that advice because with the original hatchet, I was hell bent on casting Crispin Glover.
in a certain role and John Carl Biegler who did the effects and he had directed Friday 7 and Cellar Dweller Troll he was like Crispin is amazing he's an amazing actor an amazing guy you don't want him for this and i was like why like i haven't even we haven't even offered it to him yet he's like you gotta trust me on this like he's gonna do things differently every time he's an artist
He's like, and you don't have time for that. You're going to get one take. And it was great advice because in my mind at that point in pre-production, I'm like, I'll get at least four or five takes of everything. No, a lot of times. One, especially back then on film. We didn't have the money to do it more than that. How did you find acting and directing? Did you have to? go watch playback or did you have somebody in the monitor everyone's got a different process to that i didn't
I didn't really watch a whole lot of playback. And we didn't even I never even we didn't even do dailies. I didn't watch dailies. There was no time for that. But, you know, it. Again, like I say, with acting with my son, that was so easy. I didn't even have to think, right? Like that was just natural. It was easy.
A lot of my dialogue was created in a way that would just be really easy, easily roll off the tongue and natural for me as a as a person. So I think that it would have been really difficult if I. had a lot of, even though she is, she does have a lot of deep issues, right? She went through, but it's not like it was. It wasn't anything, you know, Academy Award worthy. Right. I wasn't like trying to do anything insane. But I feel like.
The hardest part for me was more the producing side because it was just me and I'm running around putting out fires constantly. And again, I keep saying Richard, thank God I had Richard there.
you know, day one, the uh seamstress got covid you know we were still having a covid test which was so annoying she had covid and this is not something where you can just run down walmart and get clothes you know as a period piece um another day a girl sprayed spray paint in her eyes we had to get her to the
emergency room. Another day SAG was going to be making a surprise call and then we had to do Zoom with SAG right when I'm in the middle of shooting a scene. So it was more like running around just being crazy. That stuff was kind of, you know, tough, but then running in and jumping in a scene. But yeah, I mean, it's all crazy, but you know what? I love it. You know, we do this because we love it, not because it's easy, right?
All right. I have, I have a question because I think every director who's listening to this, I know you and I have had those moments too, where we've had what I like to call the fuck yeah moments where you're behind video village, or you might even be on set because you were also acting in practically ever seen. but did you have that moment or and and if you can remember which which moment it was in the film yes
Oh, that was easy. Like everybody else. It's that moment where it all gels. It's all coming together. It's the confluence of the good producing and the good writing and the directing and the acting and it all like just comes on screen and you watch that take and you go. fuck yes either to yourself or what i like to do is i wait till after instead of saying cut i say fuck yeah yeah i scream check that shit yeah what was that what was that moment for you
Um, well, there was just a moment of, oh my God, this is so good. Like that moment for me was, um, Margaret, right? Margaret is freaking insane. She's so good in this. And when she, shoot, how do you talk about this? It's without giving shit away. Yeah. Cause I, I keep wanting to ask something about her, but I don't want to give away what happened. So what I will say is she came up with, she just started singing out of the blue, go tell it to the mountain.
and in the scene and you know just started singing it and I was like oh shit is that okay can we use that you know is that free is that song free and thank god it was because I was like this this really shows a lot and it was perfect and it's so hard to talk about it without saying anything so i don't know if this is coming across right but just just having her create and seeing something out of the blue which was not scripted it was just all
her I was like oh this is freaking good like this is good it was just I loved it you know and it's again sorry it's hard to talk about without saying anything but yeah we don't want to spoil You had been on a million sets before directing this. I mean, just Baywatch alone and the schedule on a show like that and how fast things need to move.
Without that suddenly naming names, was there anything that you saw in your career so far where you're like, oh yeah, never do that. I'm never going to make that mistake. Yeah. So one thing. especially Baywatch. So I was always complaining, like, why would you put me in the scene where I'm going to get my hair wet?
And then I have to go and do this other scene where my hair is fully dry. And, you know, then I have to redo my makeup. Like I was always like, you know, why are you doing this? Like, you know, it's all about us, the actors, right? And then I had to put a schedule together. And I'm like, oh my gosh, I will never ever say anything ever again because hello, there's a hell of a lot more to put a schedule together than the freaking actors. You know, the location, the... night, the day.
everything you can think of it really had nothing to do with the actors has everything to do with everything else and I will never ever again complain if I have to do something like that and and not wonder why it's not, you know, scheduled around my hair and makeup. Yeah. So I definitely learned that. That's, that's so funny.
That you asked that because that is one thing I definitely learned is just to be more gracious. I mean, I've always been gracious. I would never be it. I'm not, I am not a hard actress to work with. I am not a bitch, but I always wondered why they didn't, you know, work it around art.
hair and makeup on Baywatch yeah whenever you hear about movies where they're like oh we shot the whole thing in order like I don't I hope they realize how lucky they are I know especially with they do that horror because sometimes you have to shoot the last scene first or ending scenes first and so now the characters are kind of beat up and bruised or dirty and you're kind of guessing
Well, this is what I think they're going to look like at this point. And so, yeah, it's usually the audience never seems to mind with that stuff. But if they're engaged in the story, then they kind of they. The audience will fear forgive a lot. As far as like working with your actors in this, though, and giving direction was.
From all the direction you've been given, did it just come naturally to you for how to speak to actors and get the performance you wanted without just telling them say this like this? No, you know what? No. There was really no direction as far as acting really at all. I let them do their thing and. There was no tweaks that needed to be had. I mean, these actors were freaking amazing. They were awesome. And there really wasn't any tweaking.
everyone was good and prepared. And that's kind of how, you know, usually when, even when I'm on set, it's like, they just let you do your thing. And if there's something needs to be said, they can say it. But I mean, I didn't, I mean, I don't. even think i even had to say anything how did you find texas battle oh texas totally professional awesome how did you wind up working with them um how did you cast them
Well, you know, so what happened with him, so we had originally cast, if you guys know who Gary Dordain is. Yeah, of course. CSI. He was originally cast and then some family emergency came up at the last minute and, you know, he had to bow out. So we then had to go and send out the casting like kind of a little last minute. And luckily, Texas sent in his audition because he was perfect for this role. Perfect. He has such a kind face. Yes, right?
perfect just so genuine and sweet and had kind of a little bit of that like boyish awkwardness, you know? And so he, he was great. He was so good. And he was willing to do what we needed because since you guys saw the movie, I was so lucky. I had, you know, so many. professional, top notch people working on this. And I had Art Camacho as my stunt coordinator who does huge films now. And he's a friend from a previous movie that I did. And he came to help me out. But Texas was so willing to come.
and do all the rehearsals. Because, you know, we only had a half a day to shoot that scene. And that's a crazy scene. So we wanted to be prepared. And he was right there, ready for rehearsals, to shoot, and just so professional. We were lucky enough that the guys were really into it and came to, you know, to come and rehearse ahead of time so we can be prepared and ready to shoot. Did he refer to himself in the third person? I don't remember.
I don't remember that. I don't remember him doing that. I had always heard people do that before because I worked with Texas on my first movie, Wrong Turn 2. And we had this amazing thing, ready, called... rehearsals. Never heard of it again. Only happened once.
and it was a magical time we actually had the cast in for like a week so we all got to hang out and workshop for a movie called wrong turn two it's like it's very rare that that ever happens but we all got to know each other and immediately
I what's funny, I don't think I've ever told this before. I didn't realize that Texas's name was Texas Battle, really, because he kept saying, well, you know, Texas Battle thinks that, you know, maybe he should go over there. I'm like, who the fuck is he talking about? Who is this Texas Battle guy?
and then i'm realizing like i thought maybe it was like an alter ego or like maybe his assistant or something like that but nope nope he just refers to himself in the third person and oh that's but it made him so sweet and endearing you just got like you just went like that's just texas being texas but i i'm i'm glad that you had that same experience too because when when you're dealing with
stunts and gore and and like high stakes drama like horror and genre usually bring a lot of actors don't take it seriously and once i got texas to take well actually no it was henry rollins actually went up to him and said give me that fucking phone and his phone away once his phone was taken away he's very very focused but he was always just like immediately bring it and be so pro and and like like we were saying before
You can't make your days when you have actors who are like, I just want to discover or, oh, it usually takes me like three or four times to finally remember my lines before I actually nail it. Like, nope, we kind of need it on the take zero. We need it on the rehearsal take that I'm going to roll. anyway and guys like Texas are those guys
I think he's done enough of these films. He's just such a pro now. Like he was just always like, Brandy, you want to run lines? Let's run lines. So we'd be in make, man. He always wanted to run lines because I think. he knows and has that experience. Like we're on an independent film and we need to get this done in one and two takes. So he was very good about that. He was always tracking me down to run lines. Yeah, he was awesome. This discussion about.
Wrong Turn 2 just made me think of something. What was the network that Wrong Turn 2 was playing on for a while that made no sense for it to be on it? Was it Lifetime? Yes. Which makes no sense. Hillbilly cannibals and trails everywhere, but it played on lifetime a lot. Right. Have you made a TV sale for this yet? Or is that a dark star thing that they, they have to do because especially.
Lifetime. Lifetime in the last 10 years, they've turned erotic thrillers. Mar Vista does a lot of movies for them. They've realized that it's not all... romantic comedies and christmas movies that people want to see genre when i was watching this i'm going this is and i don't don't take this the wrong way this is from someone who made a movie last year that everybody called a lifetime movie which was this movie called suitable flesh and um
Like Lifetime is now known as being, I guess you could say a more female gaze centric. genre station it's like shutter but for women and i mean that in a good way because a lot of times genre is very male gaze based what i loved about
what you did with, with this is that you also presented a female gaze version of this story. Now there could have been a male gaze version, of course, but it was that it was so like, female forward in a way that you don't normally get from these types of movies and we were so conditioned in the 70s and 80s where most of the directors were male and uh and most of the guys who saw the movie were 12 year old to 15 year old boys so it was
It was the right time for something like this. So yeah, I mean, this feels like this perfect for either like Hallmark or Lifetime or any of those channels that really cater to that audience. Yeah. Yeah, I mean, I don't, but I think it isn't, would, are they're not in the SVOD character? category though. Once you get past SVOD, because then if you can get on a network like that, the movie takes on a whole second life.
Would that be after TVOD or between SVOD and TVOD or after TVOD? What's TVOD? Yeah. No, that's, sorry, that's, I'm thinking transactional. Sorry, AVOD. Oh, okay. Yeah, after that. Yeah, usually. After AVOD. the way that movies used to be distributed, you know, back in our day when it was like theatrical home video and then.
you know uh basic cable yeah so that's become the new version of that since most of those basic cable channels or even the premium channels all have their own streaming devices too or all their streaming services so this would be after but you'd be surprised. Like all, both of us have had movies where years later and all of a sudden frozen is number two on Hulu. How many years after it came out and you, and in a world where we were always.
conditioned to think like it has to be number one opening weekend or you're a bomb.
You don't get those second chances or third chances or 10th chances. Like the suitable flash movie came out on Hulu like two months ago. And it was number, it was number two on Hulu for like the, for, for an entire weekend. And I'm like, a year later you know so this is the type of movie that feels like it just it needs an audience that because look once you put something out on Hulu everybody sees it sometimes it's really difficult to get people to
embrace svod because they just don't have the awareness of it you know or they just don't pay for it even if it's exactly a dollar 99 they're like oh wait so right i know it's a new world new world i know going back in in your career when you like we were talking about when we first started how
that first season of the surreal life. I don't, I don't know if enough people can appreciate just how iconic that season was because it changed the face of reality TV in so many ways. Then there were celeb this show, celeb that show, celebrity rehab. It was everywhere. But when you accepted the offer to do that show, what did you expect it to be versus what it wound up being? um i don't recall having really any expectations except that they said it's like
a real world for celebrities and except you're only going to have to live in the house for 10 days. Um, and I, I'm always down for something, some fun, you know. experience and and doing something different plus you know i found out you know some The people that were going to be in it, which I know I've known Corey Feldman for many years, so I already knew him. I already knew Vince Neil for years, so I kind of felt comfortable, right, going into it because I already knew two people.
But the thing that put it over the edge for me was MC Hammer because I grew up a huge MC Hammer fan. And I was like, I get to freaking meet MC Hammer. and live in a house with them, like, I'm in. So that's what kind of sealed the deal for me, for sure. That episode where...
everyone goes to church to see him do a sermon. Yeah. Is like that might be my favorite episode of that whole season. And it's funny because like there's so many funny moments or like some of Corey's meltdowns or whatever, but like that. moment with vince sitting there actually hearing it and accepting it was just beautiful and i don't think any of the other seasons came close to that moment as someone who's watched
that show a million times, although it's currently not streaming anywhere, which is killing me. It's funny how, when you were saying the pandemic happened and you were like, well, I need to make something instead of making something, I sat in a chair and watched nothing but. those reality shows for like a year because they're the only thing making me happy during such a tumultuous time but then you went from that one on to Celebrity Apprentice which
By that point, you could have at least seen the show before and known exactly what it was, right? Yes, and I did. I watched every single Celebrity Apprentice that was made. because I'm very competitive and I wanted to win. So I went and studied it and studied exactly how it's done. And I put together this big book of people that I could reach out to for every single thing. that I could possibly need or want. So yeah, so I at least had that advantage on that one of knowing what that show.
was about and the thing that was different about that show for the i'm sure most people know but since that was a competition based show that is real reality like they can't tweak it you know at all like they can't put different words in your mouth or do these different things or try to encourage some crazy shit to happen because it's competition based so i knew that was going to be real reality because between surreal life and this
There had now been all kinds of crazy reality shows that had been starting where they were doing all kinds of crazy shit to make people look bad. Um, so going into the apprentice, it was all, you know, good. You know, if you look bad, it's cause you made yourself look bad. When you, when you look back, like just through your whole life, do you, do you remember a moment where, where you decided, cause like when you're saying.
i just want to have fun i want to take risks i don't there's so many people who take this isn't probably the right phrase, but take, just take themselves or their career so seriously that everything needs to be planned out. I'm only going to do this and then I'm going to do this. No, I would never do that or whatever, but like you've taken, you've been in.
a part of so many different things at this point like where did you develop that sense of i'm just going to try this and and instead of being scared of everything i think it i want to say maybe just came with age and experience as well because for example um this with starsky and hutch todd phillips kept begging me and asking me to please do, this is kind of like not, I don't know that this is even relevant, but he begged me and wanted me to be topless for that scene for the DVD.
And I was like, like you're saying, you know, you have to be so controlled and not to, you know, be a certain way. And I was like, no, I'm not doing that. I'm trying to be taken seriously as an actress. Right. Because. Came from Playboy and, you know, all those things I need to be taken seriously. So there was that moment in my career where I was kind of like worried about all that kind of stuff. And but.
Now I'm just like, screw it. I think Baywatch, Baywatch changed that perception so much for a lot of, maybe it. Maybe it's just being able to look back now, but there, I think there was that stigma at some point, like, Oh, if you do nudity in a movie, that's all you'll ever do. And then when they don't want you to do that anymore, you're done. But yeah, like, but.
Baywatch was, was casting people that were known for being models that were known for being beautiful and then showing they can actually carry a show and they're great. And that if anyone listening. Hasn't yet watched that four-part Baywatch documentary. Oh, I still have to watch that. It really gives you such an appreciation for what that show actually, and I mean, the other thing that you can't deny with that show is it was a global.
smash hit it was like the biggest thing in the world it was the number one watch show in the world and syndicated too which is crazy yeah and people can say oh well because everyone on the show the men and the women they're all so beautiful and perfect That could only carry a show for so long. It has to be good to reach what it reached. And that's yet another thing. I think they.
that you were on the front lines of as a show that did change that perception of people Who might have first been known for modeling or something Like we've obviously seen that happen before But that show had so many And everybody did great So it's just I'm just glad that you were willing to take those risks because we deal with it all the time you get offered a movie and you're like i guess i could do this
But wait, then what would that mean? And then like for my next thing, if I do, I already did something like this. So I probably should say no. Right. Or I should. But like, do I do a sequel? Do I do like it's just. Yeah. If you're feeling it, do it. Absolutely. Because, you know, it is, there is really a thing, but there really is a thing called typecasting because.
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