Somebody asked are drugs part of your process. Yeah
. But not the way you think Dan. Dan
takes like a weed gummy to sleep because so he'll
quit replaying those conversations in his head. Yeah.
The line I usually say is like, I don't
, we don't take drugs to come up with the
ideas. We take drugs to stop them. And
I think that's like, I think people, again
, people who don't have a D H D don't
really understand how intrusive and while your thoughts are constantly
, constantly just moving in directions that they shouldn't be
. What do you do as a duo when you
can't, when you don't agree. After Swiss Army
, man, we have this big debate about how
much suffering is worth it to go through to make
good art. And my answer, you know,
was different than his, you know, like it
circled around chef's table because I thought that show was
about like maniacs who torture everyone around them to make
good food, I guess. But I was triggered
by it because we had just shot this movie.
It was the hardest thing we've ever done and it
got too hard for me and I thought we were
never gonna agree on this, you know. Uh
, and then, but I, but I was
like, I don't want to make more movies if
it's that hard, if it's that unpleasant, I
don't wanna do it that way. You know?
This time we tried to enjoy the process more and
be nicer and, and, and not torture ourselves
or the crew and it paid off. It made
the movie better. So many people when they talk
about the process of filmmaking, they use military and
war metaphors. It's like we're in the trenches of
the, there's a hierarchy and you have to do
whatever one else tells you to do. Otherwise the
whole thing falls apart and our whole careers, we've
been trying to reframe that less like the military and
more like summer camp. And I think, yeah
. And I think, I think um I don't
think everyone should do it our way because, you
know, you have your own language and your own
process and I think the important takeaway is just like
, find your version of, of, of a
beautiful, healthy community and try to build your sets
to exist in that way because I think that way
everyone will bring their best versions of them to you
. And that's how you make the best movie.
That's how you make a movie like this for like
$14 million. Um When we first budget out,
everyone's like, it's gotta be like 50$60 million
. Um, but it's kind of, it's kind
of like at the end of Monsters Inc where everyone's
like, oh, fear, fear, fear,
scream, scream, scream, that's how you get
energy. And then the moment someone laughs, it's
like 20 times more energy. And I think that's
actually really true. At least in our experience we
give a lot of space for love and fun and
, you know, camp exercises and whatever with like
, while we're on set and it just energizes people
kind of exercises like exercises. You have the crew
and the cast every, every morning, morning,
warm up. Like what uh you do one right
now, should we shake it out or this classic
one that I learned in like theater school, I
think. And so everybody's gonna need to stand up
if you can and you're gonna raise your right hand
and you're gonna count to four and shake your hand
four times and then you do your left hand four
times, right hand, right foot, left foot
and then your 3123123 and everyone's counting out loud into
one and it gets faster and faster and here we
go. And so everyone's loud in sync and fast
. Ready rights. Hands up. Yeah. And
then we'd be like, alright, let's do a
family drama thinking on this question of like, do
you need to suffer for good art. Um And
I actually at one point I did come to a
place where I was like, complacent. I was
very proud of this movie, which was never,
has never been the case, even without anyone seeing
it. Like, it hadn't come out yet.
But I knew I was like, I'm really proud
of this. I know, I don't know what
the world's gonna think, but at least I feel
content and I got lazy for like a few months
. I was just like, I don't really want
to, I don't need to make anything right now
. I'm not suffering. I feel great. This
is awesome. And I was like, maybe I
do need to suffer to make stuff to have a
chip on my shoulder to have something, you know
, something kind of pulled me out of my comfort
. And um that was not the lesson. The
lesson actually is that um I do think you need
suffering to make good art, but the suffering will
come regardless of whether or not you make it happen
. You know, there are seasons for joy and
rejuvenation and healing and there are seasons for pain and
confusion and suffering. And you have to as an
artist, you just have to be aware of which
, which season you're in and make the most of
that moment even.