The Church of What's Happening Now: The New Testament - #557 - Bethany Ashton Wolf

Episode Date: February 8, 2018

Bethany Ashton Wolf, the screenwriter and director of the new movie,"Forever My Girl," joins Joey Diaz and Lee Syatt LIVE in studio. See "Forever My Girl" in theatres this weekend! This podcast is brought to you by: eharmony - Enter code CHURCH at checkout for a free month when you sign up for a 3 month subscription. eharmony brings compatible people together.      Onnit.com. Use Promo code CHURCH for a 10% discount at checkout.   Recorded live on 02/07/2018.

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He's going to give you little details on E-Harmony. For now, go to E-Harmony.com right now and entercode church and change your life, buddy. All right. Lee, kick that mule. Oh, shit. The church of what's happening now, bitches. Here we go. This is my jam.

Is this always your song? Oh, my God. Fast forward this to the end. The fuck. Listen, when this song came out... Like the last minute or something? Yeah, when this song came out... When this song came out, I wanted to stab my girlfriend

because girls lost their mind in 1984. Yes. When this song came out, girls took a different meeting for it. Oh, yes. We're going to start fucking. And I had a girlfriend at the time. Listen to the end of this is great. But I love it.

It does bring them back to my childhood. Oh, shit. Here we go. They just the woman. They just the woman. Oh shit. Oh, shit. What in the world can't?

Oh, shit. That's what's happening now. Awesome. That pulled me out of my flu. Thank you. My girl, Bethany Ashton's in the house, and my number one Christ killer. Is here. How's everybody doing today?

I hope everybody's well. February 7th. That's a great song, and I fucking hated it when I was 21. That song came out. I was trying to follow love. And this chick would sing this song and kind of like hinted me like I want to see other guys. You know, it would lose my fucking mind. You understand me?

Isn't that crazy how it represents something different to everyone? After I matured, I listened to the song one day. When I hear it, it makes me so fucking happy. Like in the mornings, like if I hear it in the car when I'm driving, I'd sing along to it. People look and I'm like, what the fuck is wrong with that? Honestly, that was the best because I, as you know, have the flu. and I have fever and a sore throat, but I couldn't help, but jam out to that. First of all, I'm really happy that you made it on it amends the world to me.

For you people don't know at home, this is Bethany Ashton Wolfe, all right? Hi, everyone. She directed a great movie that's out right now, forever my girl. I've known it for 20 years. You know, I've watched her. You did the little chitty-a-year. When I met you, you had just done something. I did a lot of shows.

I raised my own money. I wrote and directed my own short films. And I raised my own money to do my first feature film, theatrical feature. Before I had met you, I raised my own money to do my first Saga experimental feature. I just had to, you know, I was a female. And there were no female writer-directors. There were a few. It was at 1% 20 years ago.

It's now at 4%. So, hindsight being 2020, I would still pick the same road and do the same things. But, yeah, long, long journey to hear. Now, what made you become a director? Did you go to college for this? I didn't.

I, you know, I grew up in a really small town, and I didn't know that there was even an occupation. to be had as a screenwriter and director. I was very smart. I graduated with 4.0. When'd you go to college? My college was funny. That's where things, where I started to feel a pull towards something that I didn't know what was out there.

So me being the girl who looked like I was headed toward everything conventional and all my friends were going to LSU and I did have the opportunity to have academic scholarships. I started to not embrace it and I didn't know why. I knew there was something else out there for me. and I didn't know what it was. And so I remember I missed all the deadlines for my scholarships. I grew up without means or money, so I had to accept an academic scholarship. So at the last minute when all my friends were going to LSU, I took the only thing at the time which seemed out of the box was a full ride to Louisiana Tech.

And then from there, and I just think the universe intervenes, because then I was pretty much all alone with all my friends at LSU, and I was at Louisiana Tech, and I felt very isolated and alone. And then just a summer program that was happening for college students. You could go and work at Disneyland and Orlando for, you know, on a college exchange program. And I went, and it's crazy in Orlando sound so small, but, the small town I was from in Louisiana, there was a huge jump. And I met actors for the first time because Universal Studios had just opened up in Orlando. And so young, and I was young, I graduated high school at 17. So I was a year younger than everyone else out there at the time, you know, headed into the world. So I was a young girl. And I met actors who were working at

Disneyland for their day, you know, for their day job and pursuing acting. So that opened up my world into seeing films being made for the first time. So then I just gravitated to sets and got myself on set as a stand-in and an extra. And that's where I really got to see as a stand-in when you're on a set. That's the best seat in the house to really see how a film. works. And for those that don't know what a stand-in is, a stand-in is the person who literally stands in for the lead actors while the set is being lit. So the actors come in and rehearse, and then they step away and go back to their trailer or have their time. But you get to be on set while everything is happening. So I could really study for 18 hours a day.

what it was all about. So I knew then that I wanted to write and direct. The world told me, and the industry told me, no, no, no, sweetie pie. That's not for you. That's not for you. That's not a job that you can have. And I didn't really understand that, but I was really fighting a system at such a young age that it took me a little while to understand the why, but I still kept pursuing it. But the door that I, that they did let me in was the acting door. So from there, I just thought, well, I did enjoy acting. And I started working as an actress, but still keeping my eye on more on everything and

the moving parts of what was happening behind the scenes. So my film school became my own journey of, never picking up my ball and going home. And so while Hollywood wouldn't let me in the door of writing and directing, I just said, okay, I'll find a way to raise my own money, write and direct my own stuff, and stand in my truth. Because I don't know how any other way to be. How old did you stay at Disney for?

I was only, I was at Disney and I had to like to support myself. I worked at Disney and two other jobs, and I think I was there just a couple of years, because I did immediately, I was just at Disney maybe a year, because literally when I met actors, I was like, I want to do that. And so then I did consistent stand-in work. So I started doing stand-in work. I remember I was Roy Scheider's stand-in on an HBO movie. Like, HBO was brand-new.

I was Bonnie Bedelia stand-in. on another HBO movie. And then I started booking jobs. It was when Nickelodeon first came out. And I think Nickelodeon started in Orlando at Universal Studios. So then I was co-hosting a little kid show. All living in Orlando. All living in Orlando.

On my own. Yeah. Where are you going? Let's open the door. Oh, I love you. Oh, listen to everyone, out of the flu and a fever. Only Joey Cocoa Diaz could get me out of bed. I really, and I love that you did.

Thank you. Thank you. I wanted people to get to know who you were. Thank you. To get to know this beautiful film you did and to get to know your journey. That means so much to me. Thank you. On this podcast, we smoke dope and we Google and we talk about the zip line that Lee broke and all this shit.

But I also want people to know that we all put our pants on one leg at a time. Just because you do live. and bum-fuck Louisiana, like Theo Vaughn and yourself. Theo, yes, I love Theo. You have dreams. We have dreams. And the dreams start there. It doesn't matter.

And it was in my gut. Yeah. I didn't know what it was. No, it's in you. And you had to know, how long did you last in Louisiana to you came out here? How long did you go out? Well, from Orlando. So in Orlando, I literally like ate up everything that I could there.

So every TV show that was being filmed there, I had done a guest star on. And I really just ate it all up and just literally was taking it all in. And it's so crazy to look back because I'm, you know me. I'm a rather shy girl. I'm not an exhibitionist. I don't need to be the center of attention. But I was driven. My passion for this art that I couldn't quite put my finger on exactly.

I was just being pulled toward it. And so I remember jumping in my little car and calling my stepdad and saying, well, you drive me out to L.A. Because I've done everything that I can do here. And I know that's where there's more for me to see and know and be and feel this art that's pulling me. And I knew one girl. And this is just how sheltered I was. I knew one girl. And she lived in Hollywood, and Hollywood was pretty seedy still at the time.

And she, I didn't know, but she was living with her boyfriend and her boyfriend's band in this little one-bedroom apartment right off of Hollywood and July Street. Like, it was still. And I remember my stepdad bringing me to the apartment. It was guys with long hair, and I'd never seen guys with long hair before. That's how sheltered. He was like, are you sure you want me to leave? you here and I was like I think so and um but I just I just jumped right in and um where I realized I truly was meant to direct I'd always been a storyteller and English lit was always my thing

and I'd again like everything that I could could do and have you know in my town like I remember I would do English lit rallies and win state rallies and stuff like that. So writing and storytelling and I grew up in the French quarter and around New Orleans. And so around all these very influential storytellers that shaped my life. But directing, when I saw what the job was, I realized, oh, that's what I've been doing with my brain since I was a little girl. That part comes very organically to me. I'm making a movie right now of you and me, of us three here. It's how my brain processes.

I'm making a movie. I'm editing it. I'm putting it together. And I'm making it a little more fantastical than it actually is. Part of it, I'm sure, came from self-preservation growing up. And part of it is just my wild imagination. The only way I know how to explain it, you know, the film Life is Beautiful. And you guys remember that film and he was in, you know, a really, really tough situation with his family.

And he made just this imaginary world around them and sort of lifted up where their reality was by creating this, you know, just going into the mind of your imagination. So you can make anything better. I can control and make anything better that I'm writing on a page. I can take my characters anywhere I want them to go. And then my brain can release everything creatively that's happening in my head in a way. So it's very healthy for me. It's very cathartic and therapeutic and it makes sense. When did you start writing?

I started writing when I got to Hollywood. because the acting had come pretty quickly and it came easier in Orlando because that was a much smaller, you know, a much smaller pool, so to speak. And then you get to L.A. and everybody here has their little resume with their guest starring roles. And you're like, oh, my God, this is going to be tough. So I first started writing and directing my own stuff from a very self-serving place of I have to showcase myself as an actress to get work and I have to build a real. So that's I started, I don't even know how I knew how to do that. Again, I think these things come from the gut and I was a very intrepid, courageous and tenacious girl. And so I'd raise a little bit of money and started writing and directing, but starring in it as well.

And then I got an agent from that. But I kept dancing around and kept saying, I really, really love writing and directing. And everyone would just kind of say, no, that's not, you don't fit that mold. That's not something for you. You belong in. Who do you look at as directors that inspired you? Like what director? Because I remember having a conversation years ago,

and you were dropping some fucking names. I don't know what the fuck you were talking about. You were going deep on my ass. You took me to the fucking dry clean. I'm like, I don't even know what you're talking about. At the time, I mean, that's what Penny Marshall was one of the few female direct. You know, when I was 17 and saying, I want to write and direct, they were like, you're not, there's Penny Marshall, you're not Penny Marshall.

And you're not quirky. and you're not, you know, so there just wasn't that much. And there were other female directors. You know who did a good job with me one time? And there's Nora Fron. You know, I don't want to discount. The check from Mali with Children. She directed me on Mad TV.

Oh, yes. And she was good. She's amazing. I, I, I, she was like, she was the guy's wife. Yes, she was just. But how long ago did she direct you? Like, we're going back. We're going back to 20 years.

And, uh, one. Yeah. So see, so it was good. It opened up. Like it did, like there were, I mean, there was Nancy Myers. There's Nora Fon. Um, yes. That's the name?

Siegel. Um, no, no, no. Katie Siegel is from sons of anarchy. No, Katie Siegel, isn't that here talking? No. She's married with children. Who's not married with children? The second one from married with children.

Oh, I don't know that one. The couple's wife. The little wife. Yeah. She's a, first of all, she's lesbian. in real life And there were more lesbians It made no difference to me

Fit the mold Right I get what you're saying right Lesbian like I didn't have there were And they'd say like maybe if you pull your hair back And wear a top hat and some funky glasses Christina Applegate? No No I do love Christina

Amanda beers But they were Saying that I just didn't Fit the mold You know I was just a little too normal. I was female, and the quintessence of female.

Now couldn't you do the normal DP cinematographer, and then become a director in Hollywood? I think... Or they wouldn't even let you go that route, no way. If I would have known how long the journey was, I think if I... But I, again, like, I embrace everything that I've gone through, because honestly, who I am on a set now

is because of every... short film I've ever made. Every, you know, because I do come from a producer's perspective, I'm mindful of a budget, I know how to stay within a budget, I'm thoughtful about that. And my producers really appreciate that. All that, everything I've experienced, being able to make really, really fast decisions, I know how to do those because I was on the indie circuit for, you know, 15 years and working on the indie circuit. So what I say, I wasn't embraced. Once I made, you know, I did get in some doors.

Like that film that I made, I raised $100,000 and shot a SAG experimental film in 1997 that I starred in because they kept telling me, you know, like Ed Burns had done it. And they were like, well, we kind of get it. if you write and direct and star in something. And so that's what I did with first and last. And I remember just taking my little tape back then and going to CIA and dropping it off and going to all the big players.

And that's back when they let you drop something off and getting back home and literally having messages on my little machine and then went and met with all the bigwigs from making that movie. So it did move the needle. Yeah, and it got me. So I signed with three arts.

That's what I met you, 97. And I remember they got it. They were like, look, we understand. We get that you want to write and direct, but you may just have to go in one door at a time. And I remember that's why I signed with them. Because a lot of others were still really pushing and saying, you could be the next Julia Roberts.

You could be the next Sandra Bullock. And while that is really, really an incredible thing to hear, it wasn't what I knew my destiny to be, and that I really, really wanted to write and direct. So at least Three Arts was telling me, we get your dream. You may have to go in this door to get to those two doors. And so I went with that for a while, but I never seemed to get to those two other doors. And this is around the time where you and I, because I remember it was like, how can they take me seriously about being a writer-director if I'm not taking myself that seriously? How can I go out for pilot season and work as an actress and still stand here and say, no, but I really, really want to just write and direct?

So I had to, you know, you work really, really hard. Three Arts is very prestigious. Buckwold, I was with Julia Buckwold. I had worked really hard to get to that level. And I was a working actress. I did have one really amazing mentor, David Frankel, which was a game changer for me, because I was still not understanding.

I was like, when do I get to go to that other door, the writing and directing door? David Frankel, who is a huge film director, he did The Devil Wares Prada, he did Marley and me. At the time I met him, so I shot that Saga Experimental in 1997. It was getting me in a lot of rooms. And he was doing a TV show at the time called Great Vine, which was in 1998, and it was shooting in Miami. And so I was cast in the pilot of Grapevine. And David watched first and last.

And I remember we were on set. And I still, even though it was really amazing to be on set and to be an actress, he watched me kind of always migrating to the crew. And I was always standing with the crew. And I didn't really want to be. And I know I appear to be a girl who, you know, I wear my makeup and I'm I'm a I'm a I'm a I'm a feminine girl I like all that stuff and and I'm I'm not dishonoring acting acting is is extraordinary and but I wasn't passionate about it the way I was

with writing and directing and so I was I was good but I didn't dig in and want to really go you know I didn't I didn't want to spend my days going to acting classes. I would spend my days riding and raising money and making my own shorts and if I could raise enough money in features. And I remember David and I was like, where are you going to set up the next shot? And I remember David, David, Frankl, we were, you know, it was in between shots and he said, Bethany. He said, I think you're really, really great actress. But I loved your movie and you're a really, really great writer and director. And I love you being on this set. But if that's your passion, you go get it. And it was the first person in this industry that said it to me that way. You know, just like someone that I truly

looked up to and admired and was successful in the business that I wanted to be in, he was saying who you are is enough. I'm about to cry. You can tell. But it's funny because I tell people that

all the time. Now, did you just needed that one push? Did you ever act ever again after that? Well, here's the thing. So I remember him saying that and I absorbed every single morsel because no one had ever truly said it to me that way and sort of filled me up with enough courage because I remember sitting down with my manager at

three arts and Julia, Julia Buckwold at Buckwold and associates and I was like, here's the thing. I absolutely treasure and adore what all you guys have done. for me and believed in me and have given me. And right now I have, not that I was a huge actress, because I wouldn't, I wouldn't ever commit. I would just kind of dance around. It was an income. It was an income.

And I enjoyed it. Listen, to be a director, to be what you got to today, that little Disney shit you did and all that, that was all part of who you are today. Nick Lee, well, we're not having this conversation on a car ride home. We were talking last night on the phone. we went to do an open mic at 10 o'clock at night. And on the drive home,

when I got home, I called you, and we discussed that, even if this is not what you want to do, doesn't matter. You know that world now. You understand that world. Bethany, as a director, is so much better to work with an actor.

Right. Because she was on that side of the camera. I don't let an actor leave my casting room, and I've been lucky enough. to have Jeannie Backerack as my casting director, because she knows this. If someone comes in the room and bombs and they're nervous, and I can see they're nervous, I don't let them leave the room until all the nerves are gone. Because a lot of times nerves in a room mean that you really, really, really want it.

And a lot of people come in and they're terrible at auditioning. But man, they were amazing if I had been able to see them. do what they did at home before they came. So anyone that's nervous, I stand up, because I remember being in those rooms, and they can feel really intimidating. If they're not talking to you, or looking at you, your nerves take over, and for some reason, you feel a little inferior. Sometimes not a little, a lot.

How about when you hear this? I would say. That's how I would read. And I would stand up, and I would take their hand and say, hey, guess what? my car almost ran out of gas on the way over here. I don't know how I'm going to pay my rent next month. I just, I humanized myself, and I just stand there, and I was just like, I feel goofy and silly standing here right now.

Let's both stand here and feel goofy and silly. I cast, I've cast more people that way, and they shine. You shine. And I love, and there's not a lot of casting. I remember being intimidated by certain cats. housing director. Oh, I'm sorry. I'm battling

throat, fever, and all that stuff. I told me that I was out till 3 in the morning to do them blow. And I thought it was going to be a regular producers session. Oh, thank you. And when I got there, the Gus of Anzant was in the room, and Travolta.

Oh, my God. You know, what happens to you? You expect, you know, they just threw a fucking curveball at you. Yes. Whatever you read, if you're a young actress and insecure, like, I was at that time, you know. It can rattle you.

You're reading and you can hear the line. Like, I'm reading, and I'm off book, but I would always center myself. I would always take the script and fold it down the middle. And even if I wasn't looking at it, it was a center for me. Yeah. I'll never forget being in that room, the Sopranos, the second season. Mm-hmm. My hand was fucking shaking.

And what you do is, I was telling me about bass. ball that when they said the first time I act I didn't know what I was doing I didn't go to acting class listen first three jobs yeah I never even saw the director that's the thing I was like where's the director you know even when I said I mean I'm a director who doesn't sit in video village because a lot of times they're sitting in video village three rooms away from you which is fine I'm not saying that's how I do it is the way to do it but for me I every shot of every movie I've ever done and forever my girl right now, if you pulled out just one mil, even just one little centimeter, you'd see me because I'm as close to my actors as I can

possibly be so that I can be there for them, feed them, not feed them literally, if they need me to feed them I would, but literally to be there to feed their soul, to feed what they need to help guide, support, love, help move, pivot, or just be there if, you know, just to be there. That's, that's the safe haven in the bubble that I like to create for my actors. And, and I know that a lot of that comes from, I was in that position. So yeah, it's all a journey that gets you, gets you to hear. thankful now looking back. Now, along the ride, sometimes it gets really hard because you don't know. And when the world's up against you and they keep telling you know, some days it's very,

very hard to stand up and keep brushing it off and moving forward. But those little moments like that with David Frankel that gave me a huge, huge push. You know, sometimes all I needed, I always watch the Oscars and the Spirit Awards, not ever even thinking of, oh, one day I want that for myself. Just seeing someone accept an award and you hear a little bit of their struggle. Like, oh, it took them 20 years to get this film made or just their journey. It would just help me get up the next day and keep moving forward on my own journey. And knowing that because mine took longer, and I think this is a message that I,

if I have a manifesto, it's this, that don't let society tell you how long you have to chase and follow your heart's desires. It's your own journey. It's your journey. And if society is trying to convince you that time's up, don't it's your life your pilgrimage your journey and a lot of times people think you reach a certain age you've tried a certain amount of times you've been up to bat it's it's don't let someone else's

journey to hear determine what my own journey to hear i'm i'm so grateful and thankful and now understand why mine was the road less traveled and the longer road because I feel I know what my voice is. I know what my who am I is. I know who I am to my crew, who I am to my actors, who I am with my producers, who I collaborate with, how I work within a studio system, how I work in the Indy world. But it took your fucking years. It took me 20 years. It took your fucking years. Yes. 20 years of people saying no.

So now little cheneers, you did that. I thought that was going to be the game changer. I thought that film. We all think it's going to be, everything's going to be a game changer. Oh, you guys don't think I'm tough enough. Let me go shoot a movie all on water, all deep in the Louisiana Bayou, where we have to shoot from boat to boat. We don't have a land base for 20 miles. It's like Apocalypse now. We're shooting it in 115 degrees in August, in Louisiana, before the tax incentives, before anybody

was there shooting with alligators and snakes and mosquitoes. And you shoot a film that then gets 10 best picture awards on the festival circuit. That's a male-driven storyline. It's like, okay, Hollywood, if you didn't think I was tough enough before, Here you go. Here it is. And they still, that began my career in the indie world, but they still weren't going to let me in that studio door, which was crazy to me. They were like, well, you can do that with a million and a half. How do we know you know what to do with 20 million? That is the most backwards way of thinking. Try taking a director who's only had a lot of money, a lot of of times they don't know how to get out of situations when you have to be very resourceful,

when you're in a heated moment. And it's like, we got to split here in 20 seconds, or we're going to lose the light and the shot. And what are you going to do? And you have to really move fast and think and know what to do with what you have right in front of you. It's so crazy how I've been here for 20 years. Never took a formal acting class. went to a bunch of movies. It was how I learned how to speak the language. Yes. It's how I learned how to speak the language.

I never understood when people said he's a good actor, he's a bad actor. I never understood that until I got older. And even now I watch movies and I'm like, that dude was a bad fucking actor. But I got thrown into a big world at first. I got thrown into a CBS pilot. Yeah. I got thrown into basketball with the two guys

and they were in the heat of passion. I auditioned for that. Yeah. That's all far back you and I go. So it's crazy that I was still part of the, Bethany, we're only going to use you. You're in two scenes, but we're going to use you for three weeks. They would just throw money at you in those days.

And then I did a short that paid nothing, but I wasn't paying attention. And then I focused on stand-up, and then I came back, And I basically went on a tear for maybe six or seven years. And I shot films with huge budgets. Yeah, you did. Where they have a girl with an umbrella so you don't get a sun tan.

And then I shot movies where... I used to be that girl holding that umbrella. You used to... I shot movies where you have to bring your own clothes and you're your own wardrobe person. And then I've shot in TV shows. Did you see the one I posted last on Facebook? No, I don't think so. The fucking, the pizza, the Rafaelo's pizza,

that got that guy into it to sell two things to HBO. Like, the journey that different people have, last night somebody posted something, I didn't. I was still doing blow then. Because I remember I agreed to do it because they were paying me cash that night. Like, I'm like, so wait a second. Oh, my God, Joey. I'm like, wait a second.

That's a great acting game. The call is at nine, and it's a three-hour shoot, and you're paying me cash tonight, And they're like, yeah, don't worry about nothing. We'll pay your cash on the table. Oh, my goodness. And the guy ended up, but anyway, that was his journey. He did a thing about a pizza parlor,

and he ended up getting a two-script deal at HBO and it didn't pan out. But, all right, then the last thing I heard, I was talking to a mutual friend and you were doing like a short about Marie Antoinette or something. Me, I did a short about Vivian Lane. Okay, I knew it was somebody. You know me I'm bad with names.

No, no, no. And that's, yeah, and I would love. And Sophia Coppola. And I also just want to say, along my road to hear, I am so grateful for the few female filmmakers that have risen and have, because they help, they have helped the cause along the road for me. And I'm sure for many other, you know, aspiring female filmmakers. So when Catherine Bigelow won for the Hurt Locker, that was a game change.

I used to walk into rooms knowing I was always armed and I was I was challenged by that. I didn't mind it. Everyone's eyes would glaze over when I'd walk in the room. They had already made up their mind about me before I had even said a word or pitched if it was for me to write and direct. And I remember thinking, I see it. I see that look. I'm challenged by that look. my goal is to change your mind about me within the next five minutes.

And I was like, I will change your mind in the next five minutes. And to watch it go from glaze to unglazed and then lean in, that was always a win for me. And I remember always, I go in, I had to be so over-prepared. And I'm still so over-prepared because if you don't fit the mold, I have to prove a thousand times more how right I am for the job. I have to go, if everyone else is going a thousand miles, I have to go 100,000 miles. And I'm used to that. So I go in with all my armor, my big backpack, and I have visuals, and I do all the work.

I literally have even gone out and shot things. Little things just my style. I have to show them and not just tell them. But when Catherine Bigelow won, the rooms changed. I would go in armored and look for the glaze. And then the room became like, hey, come on in, sit down. I loved your ripped jeans. Where did you get those?

Before years ago, I was like, you need to wear the quirky top hat and the glasses. And like, you just, who I was suddenly became enough. and Catherine Bigelow, who's very private, and we don't know a lot about her personally, but she was the perception of a feminine female at the helm of a male-driven movie who won for Best Director. Well, the thing was that year,

that's all needed. They gave that guy $800 million to do a movie. He's sitting there like he's some fucking genius smoking cigars. What are you talking about? James Cameron. I love that whole scenario. that night. Like I was...

Oh, I forgot. I was at home putting a luke on him. This is how it went down. There you were? Yes, I was. Because I didn't go see that movie. I'll tell you why.

Because they spoke how highly of them. Listen, I like Game Cameron. But when they give you that type of money, a monkey can make a good movie. When they give you $800 million... When they say, if you can make a great movie with a million a half, what are you going to do with $20?

Yeah. I think it should be the reverse question. The reverse fucking question. If I can make a good movie with a million and a half, Imagine what I can do with 20. So they give this guy $800 million. He's sitting there like Johnny Bananas.

But the best was he, I know the fucking room changer. You need some chapstick? No, I don't need nothing. You need some chapstick. I'm good. See, I'm a girl. I'm putting my chapstick on.

The room changer was when they contacted Barberstries out. Listen. Oh, when she came out, said that, that for me. You know what you got to pay her? You know what her rate is. But when she said that and she did it so. Fix was in.

Elegantly. They were like, you know, what we're going to do? And with such grace. We're going to get Bomber Strice here to give him the bad fucking news. If anybody could give James Cameron

bad news, Bob Streisand is going to lay it out of him. And he knew it. He knew it. As soon as he saw Bobber Streisand, we'll put it up on YouTube. That motherfucker said, oh no.

He knew it. He was done. That 800 million couldn't save him. That little girlfriend of his couldn't save him. Nobody could fucking save him. They used to be married, and they sat them there. Yeah, yeah, yeah, tremendous.

This couldn't be a better story. She whipped out her dick and said, how you like me now, bitch? And I love she didn't. I loved it. She just accepted it very gracefully, her award. And the same with Sophia Copp. There's women in Brooke, Mario Diablo, Cody. God, just women who just break the mold.

I'm so grateful and so thankful. For those women who stand in their truth. I was going to tell Lee to pop up my MDB because I've been running through my head thinking about how many women directors I've worked with. And you don't want to know the real straight. Yeah. I think, too. But back to love scene, which you brought up, love scene. Love scene is Vivian Lee?

Yes, Vivian Lee. And I'm, I still have an option on her life rights through a beautiful book. And I love Vivian Lee's story. and the love story of her and Lawrence Olivier. And I wrote a screenplay that many people were interested in. But again, I think with me attached as the director at the time, it was such a huge movie because it's iconic set pieces. You're on the set of Gone with the Wind and Weathering Heights

and a streetcar named Desire. So for me, when I entered the world of screenwriting on the studio level, and not attaching myself to direct because it was the only way I was not working. I would get the job as screenwriter attached to direct and it would either just loom or never happen. And I was like, I have to, you know, I'm married and I have three children. We're a two-income family. I have to change something up here. And I remember in 2010, my team said, we know how much you love directing.

And it really honestly, writing for me as the first half of directing, it would be like cutting off my arm to me to separate the two. And I really didn't know if I'd be able to do it. But I was at a place where I had to see. They're like, just go in for one pitch. Don't talk about directing. That's a by the way. And this, again, like. So you should have sold it as a by the way.

Yeah. That's the by the way angle. I'm directing. So smart. because I had spent 10 years of not moving forward in the studio world. And again, like getting a screenwriting gig, you're going up against 10,000 people to get a studio screenwriting gig. So it wasn't like, oh, go the cakewalk route, you know, route. But it was like, just go in and see.

And I sat down with Lawrence Mark, who did all of many. of Nora Ephron's films and he's an Academy Award winning producer and they were having trouble finding a screenwriter to adapt this book that was a coffee table book called Other People's Love Letters and I went in and pitched my take on it and got the job and so and that was the first I remember my team was like just go in and see and I went in and I was ready I was ready I was like I want to see what it's like to be a part of something huge and big and not small and indie that it turns into when I'm attached to direct. And I want to experience what it's like, you know, at the studio level and to watch a director and go on the journey of a big film. And so and see if I feel like I'm going to die.

Like I really had to see. And so I got the job and the director was attached. beautiful, beautiful human being, a male director. And I started working with him and going to his house every day and working on my, and it was a greenlit. It got, it was bought by CBS films. I don't know if I'm supposed to be saying all this. And it was a greenlit film that we were working on. And it's like, look, I'm doing it.

I'm not dying. And I'm experiencing something. really, really beautiful and liberating. And I loved collaborating and development. That's what I learned that I really, really, really love development at the studio level. And so from there, I went into the next room and booked another studio screenwriting job, time between us with another male director attached, started working on that one. And I was like, look, I'm not, I'm doing.

this is incredible. And then forever my girl was the third one. So I was doing all of those simultaneously, but not talking about, not even mentioning directing. And what I would do, my gift to myself on each one, is I would go and direct my own short film.

And so Love Scene was one of them that I directed and took it on the festival circuit and it won everywhere we took it so I could feed my directing soul that way. So I'd do a screenwriting gig and not be attached to direct, but I'd feed my directing soul by giving myself the gift of directing something. Now, this forever my girl. When did this come into the picture? So forever my girl.

So that same year, and I was had two, I was attached a screenwriter to two greenlit scripts that were moving forward, that were studio projects with two directors attached. And forever my girl, I was hired as the screenwriter. And I remember going into L.D. And I will forever, forever love and cherish and sing their praises from every mountaintop, LD, entertainment, going into that room and pitching for forever my girl and my vision of how I would. And I still, even though I wasn't attached to direct, I had to approve. approach things and write it as if I was directing it or my work would suffer.

Now, you took this, you gave you this, you took it, you turned it into a screenplay. I wrote it into a screenplay and developed with them. Now, this whole time, are they smelling director? No, I mentioned nothing, but to my team, I'm going, this is the one. This is the one. This is the one. It's the perfect one for me. It makes sense.

And I just remember, and this is the beauty of who they are, because now the tide is turning and things are being, they're shaking it up right now for female, which I love and I'm so excited for Lady Bird and Greta Gerwig right now. But let's go back five years. So this is five years ago, 2013, and LD Entertainment. This is when, this is when I, yeah, 2013 hired us a sister. Can you fucking imagine that people at your house that you're sitting there, that you think these movies like, like, and this is a fast track movie? Yes, but like when you shoot, like when I shot the longest yard, they were editing that night. Like they were doing 324s. You know what I'm saying?

Like they get there. They put 80 million in. But they want their investment back quickly. They want that 80 million back quickly. Well, they were also the reason things, it was fast. fast-tracked, but they're also a thriving production company, and they do about eight films a year. So, and they, they're boutique. And it's awesome.

That's perfect. That's perfect. So you just have to, as you develop, you'd have to wait a few months before you'd meet again, because they were off shooting other films. But I remember when they said yes in the room and leaving that room and going, saying to my team, I was like, I don't want to just sit at that table. I want to break bread with these people because they are doing something so unique. They're free thinkers. They're out-of-the-box thinkers.

They're unconventional. They're passionate. And they never, ever once, when I became attached to direct, I never even had to go into a room with them and convince them that I should be the director. It's just when they saw my director's reel, they were like, This is her? Okay. This is her work?

Let's do. Oh, she's hired. I never even had to go and sit down and do the normal like, tell us how you're going to do it. Tell us how you'll lead. They 100% just from getting to know me in the development stage and then seeing my work as a director, I just got the phone call that you're now attached to direct. When did you shoot this movie? And then, so that was 2014.

I was attached to direct. But I remember I, and then we didn't shoot until 2016. I was attached to direct, but I wasn't, there wasn't a date yet. And I remember, and they're thriving. And they're big, and they're doing big movies with big stars. And ours was a smaller, modest budget film. What was the budget? 3.5 million.

and but for me it didn't matter. I was like, I'm going to take that and I'm going to run. I'm going to run and I'm going to run and I'm going to move mountains and I have huge lofty, palatial plans, not dreams, plans for this film. And this is my one moment up to bat and I'm going to swing and I'm going to hit and I'm going to go. And so I remember just for me, the music in this film was so very, vital and important. Now tell them at home what is the plot. The plot is a nutshell. A young man is about to get married in his hometown to the love of his life, Josie. And I won't give away why,

but fame and fortune finds him as a country singer and he gets swept up into being the biggest country star in the world, and he leaves the girl in the small town and his family behind, and you don't know why. And the interesting thing about it is he finds himself coming home for a very different reason. So he hasn't had that revelation and then goes home to a tone. It's not that kind of redemption story. You find a man and a young man in the midst of a this storm. He's the most famous country star in the world, but you see him off stage and he just has all this anger and angsts just bubbling underneath him and he's just going through the motions of his life. And then when he finds himself back home, he finds out that the love of his life that he left

behind has a daughter, that he has a daughter. And so through his daughter, he starts to want to become a better man. And through that, he finds his way back to the love of his life or so. It's a more labyrinth and journey than that. And that's the beauty of the film that it's not just a romance. It's romantic love and it's about familial love. It's a father's son story. It's a mother's son story.

It's a father, daughter's story. It's a brother-sister story. The thing that got me was the little girl got me. She's so good. Put it together. Like I said, I wanted to really, last Friday was date night in my house. And usually on Friday night, we go to a movie. We try and me and my wife tried to catch it because my wife really wanted to see it.

And, you know, I was so proud when I'm sitting there watching whatever the fuck I'm watching on TV. and they ran like I'm high at the house at night so I stayed home for a few weeks and they ran your trailer and I saw your name and I'm like

it's now now I'm too fucking high and then they fucking reran it KTLA reran it like during the sports report they're doing such a great job and they ran and I saw your name and I'm like oh my God this is real

and then I called a mutual buddy and I asked them what's going on with Bethany. This is, and he told me, he broke it down. He goes, bro, the movie, it was like one of those movies where the critics were fucking with it. But the things, like, I've been to- It's got a grassroots movement. Yeah.

I've been in movies where I got a call saying, Dog, that movie you did. Yeah. It's getting like 50% of the ratings after reshoot scenes. But, like, your movie was blowing up at those things. It's blowing up. Still, yeah. So here are these test screenings that they're fucking knocking them out of the fucking part. But all sitting at these critics that are saying this and this and now.

I don't, yeah, I don't read reviews. Did you have, did you cast this whole film? Yes, with my casting director. Yeah, so Jeannie, the beautiful things and what I love about LD, there was complete 100% trust in me. for the first time in my career, in my complete, who am I? My truth. My truth is a leader. They loved and embraced that I was a lover, a gusher, a hugger, a pleaser. They looked at those things as attributes. They could also see that I was a powerful leader, visionary, communicator,

collaborator, and an artist. That was so liberating and so beautiful to have a crew that 100% Not because it was their job. They just, I earned it and they could see it. They were like, girl, we're watching you move mountains. They knew you were part of something. We're going to charge and move some mountains with you. L.D. started moving mountains with me. What really fueled everyone was when the movie wasn't, it was greenlit, but it didn't have a date on it.

And they did, they had some big movies with big stars on their slate. And I was like, I have to get this little movie on the map. I have to get a date on it. I have to get a date. And the music to me was so important and so vital. But it's very hard to pitch something audible in a room, like something visual. I get up and move around. And, you know, I'm very, I gesticulate and I'm demonstrative.

But unless I start singing, it's very hard to pitch what this music is going to sound like. So we had a development meeting that was three months from the date. I remember it was March 2015, and our next development meeting was in June. I was like, I have three months on my own. I'm going to go out without telling anyone because they'll say it's too crazy and too unconventional. Don't do it. I went and found songwriters and singers and all the music you hear in the movie. I developed into in this from March to June 2015 and I went into the development meeting

didn't tell anyone but I had a band waiting in the lobby and everybody's pulling out their laptops and their iPads and thinking we're going to you know talk about the script and I was like guys I have a surprise for you I have a band waiting outside in the lobby and I'm going to have them come in and I'm going to walk you through the entire movie, and they're going to play every song and where it's going to go in the movie. Now, my two managers were in the room with me. Their faces were like this.

Like, they were so scared. This again is where I love L.D. and how they think. Mickey, the head of the production company, was like this. He was smiling and like, oh, my God. This is incredible. This is how you do things. This is exciting.

We're sitting. And people do not get it sometimes. We're sitting in a conference room and I'm bringing a live band in. We played all of the music. And Mickey said, we are making this movie. Here's the date. Let's go. And so the beauty for me, watching this movie in theaters in 2018,

but sitting in a room with my music producer, Brett Boyette, and he's the songwriter in Jackson O'Dell. We developed those songs and they wrote those songs and they went in and sang them and we pitched them and those are the songs. And so to watch that plan, that lofty, palatial that probably seemed crazy to some people plan that I had and I said, you guys watch i'm going to do a country star soundtrack it's it's been charting i don't know where it is right now but i know the first week it was charting at number three right next to the greatest showman and pitch perfect our little three point five million dollar movie with its humble beginnings of starting in my living room um with brett boyette and jackson odell so that was the two things

I had in my contract was Brett and Jackson and the music and that I really wanted Jeannie as my casting director because I knew Jeannie understood how I liked cast that I don't let anyone leave a room until I really, really, really know. You know, I never want to miss out on finding some hidden gem. And she's so incredible and has been my casting director for, you know, for as long as we've known each other too all the way back to you know my short films how's it feel how's it feel it feels to be where you're at right now surreal in some ways because i'm i've still been so engaged in making sure the it's doing as much as i can i love the film so much most directors move on and are on to their next project this is my you're still in thrall about baby i haven't i haven't

how you saw it on tv i haven't experienced it i haven't experienced it that. I haven't watched, I haven't watched TV and seen my own, my own trailer come up, but I did go home this weekend to my hometown. I'll start to cry, Joey, and watched it. You know, I said it in Louisiana, and there's so much of my childhood and my experiences. And of course, because when you write, you write from your soul and what you know and your journey. And, it's such a love letter to them and the place that I'm from and how I grew up and the strong women who raised me and my beautiful single mama, the steel magnolias in my life, to sit and watch with that town and have the opportunity to experience that in the same theater where I saw

flash dance growing up. That's too much. You can't beat that or know that I would end up here in doing this, but the biggest gift was to give that back to them and pay tribute to them. And I was lucky enough that the local newspapers let me write to love letters to Louisiana called Dear Louisiana, which was to really pay tribute to the people who really, to my family, to my family. family and to my stepdad and to, you know, my mom who passed away. But, you know, you know, my love for my mom. And no one believed me. That's why I asked you. I said to you. As much as my mom. And those strong-willed, beautiful, gracious women who taught me that I could be both, that you could be loving, gracious, kind, sweet. But you could also be strong and powerful and be a leader. And that you could be a leader.

you could be both that I really learned that from them I really wanted to get you on because I loved your story and I loved that you know we always talk about the journey on the show and the 20 years and look and I have to hold your hand Joey and this isn't even a journey this is the beginning of big things for you I know that you're sick I got to catch ballet yeah I know I love that you're going to ballet with your daughter you people that support me with the love that you do to do me a favor this weekend check out forever my girl do me as a favor here this is a great movie and it comes you listen to her she gave you a great this is coming from her heart i know her you guys know me i wouldn't have had her on here this is we're not fucking

around here this girl has put her heart and soul into what she does and she's sitting opposite me holding my hand because of the utmost respect that i have for what she's done so I don't ask you guys for Dick. Do me a favor. Go watch her dream on screen this weekend. Oh, that's sweet. And it'll inspire you. This is, remember what we talked about, how to get inspired?

Sometimes you're stuck. You can't write something. You have to go get entertained. So please, uh, if you need it. I have to mention my husband. Yes. No, no, no, no. Fuck your husband.

No, I really. I don't want to talk about your husband right now. I wouldn't have been here. Yeah. My main brother, Josh Wolf. I didn't want you guys. to think I put her on this show because of her accomplishment. I didn't want to mention Josh Wolfe.

I wanted to put you on the show because of your accomplishment. Thank you. I'm sorry that you're sick. I wanted to get you on this week so people could go see this movie for Valentine's Day. You know, now you got E-Harmony and you meet somebody on E-Harmony and go see this powerful movie. Again, I love you. And it's got it's funny. It's funny.

It's funny. It's got its moments. It's funny. Don't make you laugh. Make you laugh. This is why I had you all the props in the world. Thank you so much. And so much love to my hubby and my children.

Mr. Josh Wolfe, you bad motherfuckers. Let me get some shout-outs here. The Butcher of Black and Blavikin. Whatever. I don't know. I love you. Top quality, Tony, Eric Rocha, Gary Deal, Matt, I hate Matt,

rocking pins, Rony Man, and De Brock for the drawing. I love it. The, uh, immigrant mentality drawing. Don't forget we add an extra show in Denver on the 22nd at 945.

Also the birthday show, the double nickel show, is February 18 at the comedy store and I'm in Huntington Beach. It doesn't matter. I'll see you motherfuckers on the birthday show February 18th. Don't forget, she's part

of the church family, Bethany, Ashton Wolf. Don't forget to go see forever my girl this weekend. and I love you. Thank you for taking the time of being on the show. You make me so happy and you're so sweet. I want to thank Bethany, Ashley, and Wolf for coming in again. Don't forget to go see forever with my girl.

She's a sweetheart of a kid. She fucking wrote it, directed it, and she's fought hard. Can you imagine that shit and getting the movie to be number three in the country? It's an amazing feat, guys. I was so impressed by her resume. She's been doing it forever. It sounds, to me, like, that sold me more than the trailer. Like, I'm excited to go see.

It sounds like a good movie. You know, man, it's like I always tell you guys. Listen, it's great. People think that people just pop out of the woodwork. They've been doing this shit for years. For years that chick ate fucking cabbage and soup and, you know, her mom passed. So I want to give us some props. That's why I want to bring on the show.

As usual, don't forget, we added an extra birthday show, February 18th at the Comedy Store Belly Room Sunday night at 10.30, never fear you got no work Saturday morning. Great, all-star lineup. Some guests. We're going to have some fucking stars. And then they're extra there an extra show in Denver,

which you guys know about. And that's basically it. We're tip-top fucking Magoo. I want to thank Onit. Number one, listen, when it comes to supplements, honor keeps me the fuck alive. Square business. That Shroom Tech Sport just does it for me. In the alpha brain, I do it for about six weeks.

Then I take a breather, and then I do it for another six weeks again. Then I take a breather. But the Shroom Sport, listen, every fucking ounce of this fucking fat body, that thing gives me a little bit of breathing room from time to time. And now with the flu, the Shroom Tech immune, same fucking thing. Go to Honnet.com right now and press in. Church. And get your first 10% off your first order.

Deliver to your house. Now, as you know, it's Valentine's Day. Lee's single, Lee's been on E-Hominy for a few days now. He's been looking anything good on there? Oh, yeah. I mean, it's amazing because they really tailor it to, like, it's a long, really detailed admission process, so they people are people who you're interested in. I have two friends that they swear by E-Harmony.

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Enter code, church, at checkout. I mean, listen, stop waiting and start your journey to a satisfying, meaningful relationship. It can be fun to play around with online netting apps, but when you're ready to fall truly in love with somebody, and have a meaningful relationship, kids, the whole thing. There's one app that's built to bring you real love, and that's He-Harmony. Come see how He-Harmony can change your life.

Go to e-Harmony.com and get started. All right, tonight, right now, I'm going to get you one month for free, so you get four months for the price of three. Enter code, church at checkout, C-H-U-R-C-H. I want to thank my little friend here, my... Christ, killer friend. I want to thank Bethany, Ashley Wolf, but most importantly, I want to thank you fucking savages

for listening to the church. Have a great weekend, and we'll see you next Monday. Stay black.