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17-Oct-2020 00:13

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You will cry and laugh as you watch the redemption story of Jim Arnaud, Austin Police Officer. We close ourselves off when we should be opening up. The movie opens with Arnaud giving a eulogy at his mother’s funeral. Incapable of expressing his emotions, he careens wildly from collected to bawling to seeking approval from those around him. I felt like it worked narratively better to not have it. With that, we realized that we could do all this as a fun Mike Judge style family drama comedy. I wrote it in a couple of days, in my friend’s basement, and sent the first draft out to Ben, and friends and family. William: This was quite a challenge you bit off for your first feature film! And so the night before, Lowell’s like, “I can’t do it. I sat down with another producer of mine, Natalie Metzger, and we had a little chat. The scene of me breaking the window of the car and trying to get into the car is a good example of how hard it can be but also how it can come together. So, if I wasn’t constantly humiliating myself on film, I would feel worse about it. How do we actually continue to give me spinning plates and just pile on more shit for this guy to go through? Brad Gullickson and I jumped at the chance to chat with Cummings and his producer Ben Wiessner. With no approval to feel things, how can we work through our emotions? And even if we wanted to open up, we don’t know what to do or where to start. Brad: And, monetarily-wise, it’s probably a good call, too. It changed over a couple of months, but we were shooting it before the end of the year. And I was crying harder than I’d ever cried in my life. Let’s end this thing.” And we went in, and I fucked up one take. Then we did the last one and it was the one that’s in the movie. There were times where Lowell or somebody would say, “Oh we should do this on the movie and move around this guy when he’s walking into the police station.” I was like, that’s going to be way too cool! We’re like, okay, we start out and we’re driving 30 miles an hour down the road, trying to pull this guy over. Me cutting my arm on the window and then super gluing it shut. But from day one, we said this might be the most important thing that I do with my life, and we have to watch this guy go through hell. “Marriage is punishment for shoplighting in some countries,” goes a was still incredibly popular – America was still very much in its reality TV phase.Colby Donaldson, the second place winner in the second season, was very much a celebrity at the time, which is why the (Holocaust) survivor vs. Brad: Today, we are so happy to be joined by the filmmakers behind , one of our favorite films of the year, without a doubt. Jim: Well, it was very difficult to get in touch with Springsteen to get the rights for the song for the short film. We can talk about that – Jim: No, I’m from New Orleans, man. Saying the thing they wish they hadn’t said, and so you relate to him. Doing the performance over and over and over again. Jim: There were times where we’d be location scouting, it’d be at night, like, “Alright. We’ve got other stuff to shoot today.” Brad: Right. Jim: It is great to be with any audience at that moment where you’re watching this live wire, you’re watching this meltdown. The next day, we got up to Charlottesville to do it there. “Deliverance” is my favorite book in the world, but that’s the image we have of the South in cinema. It’s just such an easy go-to voice reference, visual reference, or character reference. When you decided to turn this into a feature, how did the opening slightly shift from the original? Jim: No, it’s on the front page of the newspaper this morning – William: Yeah, it’s been a crazy week. William: Anyways, I don’t want to make the conversation about that. This is a family that moved to Texas because they couldn’t be in Louisiana anymore. And it kills, and then in the next scene, he has to crawl it back and be like, “Sorry I said that thing about you getting hit by a train.” And it’s funny, but everybody feels like that sometimes. Everything was an opportunity to run and rerun every single scene. ” But because I was a producer for years, and because my film team is my family, I’m very reasonable. And so, if we get it, and I know that we got it, then it’s like, “Okay, we don’t need coverage. Let’s pack up the parking lot and get the hell outta here. We had a hometown-screening three miles from my high school in Raleigh at the Alamo Drafthouse there. There aren’t many actors that have southern accents.

Then we would have these long walks to my car and Ben would say stuff like “We’ll figure it out tomorrow.” That kept me showing up.

“Did you come here to fuck or did you come here to talk about your dirty suit?