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IFH 603: How Indie Film Super Troopers Made Millions with Jay Chandrasekhar

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Today on the show we have director, writer, comedian, and actor Jay Chandrasekhar has contributed to and appeared in a wide variety of critically acclaimed television programs and films throughout his career.

Chandrasekhar assembled the sketch comedy troupe Broken Lizard, which includes Kevin Heffernan, Steve Lemme, Paul Soter, and Erik Stolhanske. Together they performed comedy across the nation until they set their sights on producing television and feature films.

Under his Broken Lizard banner, Jay directed and co-wrote Fox Searchlight Picture’s comedy cult classics Super Troopers, Super Troopers 2, Club Dread, and Warner Bros’ Beerfest. He also directed the Broken Lizard comedy special, Broken Lizard Stands Up.

Super Troopers hit theaters in February 2002 and went on to gross $23 million with glowing audience reviews (and $80 million on home video.)

Jay continued on to direct The Dukes of Hazard, direct and star in Millennium Entertainment’s The Babymakers, and appear in DreamWorks’ comedy hit, I Love You, Man. Recently, Chandrasekhar published his book, Mustache Shenanigans: Making Super Troopers and Other Adventures in Comedy that gives a behind the scenes look at the making of Super Troopers.

In addition to his feature film work, Chandrasekhar has directed various TV shows, including several episodes of the Emmy Award winning series Arrested Development, Community, Chuck, The Grinder, Up All Night, Happy Endings, New Girl, and Psych. More recently, Jay has also directed episodes of Fresh Off the Boat, The Goldbergs, Speechless, and Schooled.

His new film is Easter Sunday.

Stand-up comedy sensation Jo Koy (Jo Koy: In His Elements, Jo Koy: Comin’ in Hot) stars as a man returning home for an Easter celebration with his riotous, bickering, eating, drinking, laughing, loving family, in this love letter to his Filipino-American community. Easter Sunday features an all-star comedic cast that includes Jimmy O. Yang (Silicon Valley series), Tia Carrere (True Lies, Wayne’s World films), Brandon Wardell (Curb Your Enthusiasm series), Tony nominee Eva Noblezada (Broadway’s Hadestown), Lydia Gaston (Broadway’s The King and I), Asif Ali (WandaVision), Rodney To (Parks and Recreation series), Eugene Cordero (The Good Place series), Jay Chandrasekhar (I Love You, Man), Tiffany Haddish (Girls Trip) and Lou Diamond Phillips (Courage Under Fire).  

Easter Sunday, from DreamWorks Pictures, is directed by Jay Chandrasekhar (Super Troopers, The Dukes of Hazzard), from a script by Ken Cheng (series Wilfred, Betas). The film is produced by Rideback’s Dan Lin (The Lego Movie franchise, It franchise) and Jonathan Eirich (Aladdin, The Two Popes), and is executive produced by Jo Koy, Jessica Gao, Jimmy O. Yang, Ken Cheng, Joe Meloche, Nick Reynolds and Seth William Meier. The film will be distributed by Universal Pictures domestically. Amblin Partners and Universal will share international distribution rights.

Jay also just launched a new app designed to give the power of reviews back to the people. It’s call Vouch Vault.

“When my film, Super Troopers, showed at Sundance, it played to big laughing crowds. But when it was released to the public, the reviews were only so-so. On Rotten Tomatoes, Super Troopers, got a 38%-fresh aggregate score from less than a hundred reviewers. With the public, though, the film garnered a 90% fresh rating from more than 250,000 non-reviewers. This 38% reviewer-number stuck in my craw. I remember thinking, “Who are these reviewers, these strangers with outsized power, and why are we listening to them? Seriously. When’s the last time you walked up to a stranger and said, “Hey, what movie should I see?”

Our goal with Vouch Vault is to take recommendation power from anonymous strangers and give it to the people whose tastes you know and trust.”

You can download the new app here: Vouch Vault.

Right-click here to download the MP3

Jay Chandrasekhar 0:00
As the human mind works at a much faster rate than you think it does, and so you can pull things out and tighten it tighten and tighten. And the tighter you get. Often the closer to the rhythm you even imagined was and you're trying to lock into a rhythm with the audience.

Alex Ferrari 0:15
This episode is brought to you by the best selling book Rise of the Filmtrepreneur how to turn your independent film into a money making business. Learn more at filmbizbook.com. I'd like to welcome to the show Jay Chandrasekhar. How're you doing Jay?

Jay Chandrasekhar 0:31
I'm doing great. How are you?

Alex Ferrari 0:33
I'm doing great, man. Thank you so much for coming on the show. Man. I've been a fan of yours, brother since since I can't even tell you when spac obviously some Super Troopers came out. I pissed myself and continue to piss myself every single time I watch it. So I appreciate you guys making that.

Jay Chandrasekhar 0:49
Maximum reaction we are always hoping for.

Alex Ferrari 0:54
So I wanted you on the show, man because, you know, Super Troopers and the sequel and many of the other films you've made. I mean, specifically Super Troopers was kind of like this. In the you know, it's kind of like the beginning. Again, if you remember the 90s it was like every week there was a new El Mariachi or brothers mall in or clerks, brothers broken losers was that for the early 2000s is one of those films that kind of just came out of nowhere from you know, group of filmmakers who really nobody knew and exploded on the scene. So before we get into that, how did you get started? Why did you want to get started in this insanity? That is the film industry?

Jay Chandrasekhar 1:29
Well, I was an actor and in high school and college. Almost not an actor I've my sister was, I was kinda like, little lost in high school my freshman year. And my sister was like, why don't you just get in the play? It's super fun. You make a lot of friends. And I'm like a play. I don't know, like, what am I going to do? Like act? And she goes, be like an extra be in the chorus or something. I'm like, Alright, so I auditioned for a play to get in the chorus. I guess. I didn't make it. And I'm like, I was like, wow, I didn't make it. And so the next time they put up a play auditioned again, and I got into the head, a couple lines. And it was really, it was rejection that made me dive back in the second time. I'm like, How dare you? And once I started doing it, I thought, Okay, this is incredible. This is really fun. I was so and I became like, kind of that one of the main guys in the in the theater group in high school. And then in college, I started the lead in place. And then I looked at the television and movie screens. It was in the late 80s. And I was like, hey, there are no Indians on there. I mean, the Ben Kingsley was the one Indian and and they they weren't going to make it Gandhi too. Right? So I was like, well, when they wanted Indians, they put you know, white guys in brown face and these guys did this hilarious accents. I thought like Fisher Stevens and

Alex Ferrari 3:01
Wow, yeah, yeah, that did that does that age well at all? It's a short circuit.

Jay Chandrasekhar 3:05
It's funny, short circuit. My dad told me he goes he goes you have to see short circuit. And I said why? Because they didn't Indian in it. And I'm like, that's not a real Indian. He goes, where does this closest we'll get.

Alex Ferrari 3:19
Look, I'm Cuban and Scarface. I mean, so there you go.

Jay Chandrasekhar 3:25
That's such a good foot. Peter Sellars played a good Indian in the party. I thought I thought he did a nice job. But, you know, like, Indians were showing up but they were the guys who are selling Brad Pitt the pack of cigarettes before he went over and hooked up with cheddar friends or whoever, right? Oh, it'd be the guy would have picked up whichever is. So I decided in college. I started a comedy groups. You know, because I was. I don't know, I don't know how much of this you want. But anyway, I was in college as a junior and I decided I'm going to try to make it and show business. And I said the way I'm going to do it is I can make my friends laugh, no problems. But can I make strangers laugh? And so I moved to Chicago, which is where I'm from. And I spent the summer in Chicago and then I took a semester off college and I went to college in Chicago got credits there, and I immersed myself in the improv comedy world. And I got involved in this thing called the Improv Olympic. And Chris Farley was the top guy at the time and Dave keckler. And they would go see their shows or improv shows, and they were incredible. Like, just like it was like magic. It was he couldn't believe how funny he was. And then I would go do my improv shows with my group, which was like eight beginners, and we would get almost no laughs I mean, I don't know if we got any laughs And I thought, well, wow, that's really failing the test of this. Can I make strangers laugh? So I decided I'd better go cross down and write some stand up. And so I went down an open mic and I did five minutes of stand up and I got laughs and I was like, okay, okay, I passed that test, I'm going to do it. And so I got back to Colgate. And there was an opportunity to start a comedy group. It was basically like, Hey, you want to direct a 1x? And I said, instead, I'll start a comedy group. And so I went around and getting look Magnificent Seven, I gathered all the funniest people I knew. And I put them in a room and I said, Here's, hey, we do improv. And I'm like, now I'm like this worst improv improviser in Chicago, teaching seven other people how to improvise. And it just didn't go anywhere. First of all, we had no the audience. So we were like, Is that funny? I don't know. Is that funny? I don't know. And then we're like, you know what, we're all history majors and English majors. This is right sketch. That's you Saturday live, we can do that. And so we started writing sketches. And one of the guys who I hired was from Los Angeles freshman, and he goes, I really pretty good with this camera. It's like, okay, well, like Santa Claus. We should share video. So we started shooting short videos, and we put on a show and the first night about 30 people showed up. And but it was a good show, I thought and the next night, it was 400. And you couldn't get enough seats it. And the next night was sold out in the next night was sold out. We're like, oh my god, this thing is really caught on. And so we did another show them, we moved to New York, and we reformed his broken lizard. And that was 1990. And I'm watching what was happening in the film business. And I'm like, so all these, like, just Kevin Smith, who's any person what's going on with that guy, Rick Linklater. And I'm like, you know, maybe the only way I'm gonna get because still, there are no Indians on screen. And I'm like, maybe the only way I can get into a movie would be if I wrote it myself. So we wrote a movie together. And then I'm like, you know, we had an experience of Comedy Central with another director who directed us. And I'm like, it didn't really feel right. until like, maybe I should learn how to direct. So that, and I've been directing all these little short films for broken lizard. So I kind of had a leg up. And so we raised money, and we made a half an hour film, and then we raised more money, and we made puddle cruiser, which got into Sundance. And it was just us, me and my friends in the movie. And that group, obviously, then went on to make Super Troopers. And you know,

Alex Ferrari 7:13
And the rest, as they say, is history. It's funny that you say like, you were looking at the 90s. And for people who listen to this show that many of them are younger, who does understand what the 90s and independent film was, it was the first time you really saw the technology is so cheap, and the opportunity for the festivals and Sundance and that Sundance decade, to blow up, you know, filmmakers, there was just a window of about 10 years really, that you could do that that gave you the inspiration to go. I think I could do this. Because if, if, if Kevin Smith made clerks for $27,000, and it's funny as hell, good writing and everything. Wow, what can I do that I'm funny? Similar, same idea?

Jay Chandrasekhar 7:51
That's exactly right. It's very much like if that guy can do it. I mean, it was very much like that. And, and it was, No, the truth is the, you know, the landscape was littered with the bones of filmmakers who didn't make it.

Alex Ferrari 8:06
Oh, and still are, sir.

Jay Chandrasekhar 8:10
But, but we, you know, I've always been some, like, like cocky to the point of stupid,

Alex Ferrari 8:20
Which has to be you have to be

Jay Chandrasekhar 8:23
Attempt to write and direct your own film and shove yourself into Milan. And help.

Alex Ferrari 8:30
Which, which, which. So you made your short film, which was Super Troopers. It was called Super Troopers Three?

Jay Chandrasekhar 8:35
No, no, the first No, the first fish called the tinfoil monkey agenda.

Alex Ferrari 8:41
Oh, fantastic. Name. Fantastic. Fantastic.

Jay Chandrasekhar 8:46
The second the first feature film was called puddle cruiser right. took place at Colgate. And then the the film after that was Super Troopers. One I'm writing Super Troopers three right now,

Alex Ferrari 8:57
When I was so so puddle cruiser. So that was kind of like your clerks. That was the that was your that was going to be that first film that was going to like, and you got to Sundance, which is a huge.

Jay Chandrasekhar 9:09
And Harvey Weinstein saw it and was, you know, tested it and it tested it tested well, but he didn't end up buying it. And he's like, I want to make it into a TV show. Because he just had a deal with ABC. So he's like, you gotta make it a TV show. And then we ended up making it into a TV show with another company and another guy but but we came like inches from being purchased by Miramax just didn't. He wasn't in the room at the right time.

Alex Ferrari 9:44
Fair enough. Fair enough. Now on when you made panel cruisers, I mean, that's the first time you made a narrative feature face you know, as a director, what was the biggest lesson you learned on the directing side making that first feature?

Jay Chandrasekhar 9:55
Well, you know, the thing about A comedy is it's all about rhythm and timing. And if you watch those, you know, I keep mentioning canceled people. But if you'd like to Woody Allen's great work, he'll have three minute takes where the actors are creating his comedic rhythm. And I'm sure he's telling it faster, faster, faster, faster. And he had his he has it taken one of his phones or two people are arguing in the living room, they walk into the kitchen, the camera just points the kitchen while they keep arguing that they walked back after about a minute of arguing in the kitchen. And the reason it works is because the rhythm, right. And so I always had a sense. I mean, I don't know, it may be if you're a comic, you know that it's all about really. And I was like, I think this movie is going to work based on the rhythm we've written into the script. And I don't know. And so we would shoot these scenes. And I'm like, Yeah, that's feels right. This sounds right, right. And then we cut it all together. I'm like, yeah, yeah, there it is. But But what we learned most is that there's so much extra stuff, and space that you need to eat, because the human mind works at a much faster rate than you think it does. And so you can pull things out and tighten it tighten and tighten. And the tighter you get, often the closer to the rhythm you even imagined was and you're trying to lock into a rhythm with the audience. And we were able to do that. So you know, what it taught me is that we couldn't we can do it. Making

Alex Ferrari 11:30
Which is, which is a very important thing, which gave you the confidence to make Super Troopers, which was a slightly larger budget.

Jay Chandrasekhar 11:38
It was 1.1 million.

Alex Ferrari 11:40
How did you get that? How did you get that movie? Money?

Jay Chandrasekhar 11:42
Well, we just asked everybody in Hollywood, and they all said no. And we were like, no, no, we're the pokers. Guys. They're like, yeah, where Joe was sold to Harvey Weinstein, but

Alex Ferrari 11:53
Almost

Jay Chandrasekhar 11:58
You know, we, we, we went to so many different people. And they were like, so let me get the stripe. You guys are the cops. Like, nobody knows who you are. You know, one guy is like, I'll give you the money. But we put Ben Affleck and as the role of authority. I'm friends with them. They'll do it. And I'm like, no, no, I'll play that part. Because good luck with that. And then we and we would we went from place to you know, we were repped at CAA at the time. And they introduced us to all their finance ears. And they interested in this and we got close again, we'd like the we were friends with the Zucker brothers so that they introduced us to the Farrelly brothers and the Farrelly brothers tried to get a made of Fox and they were like we just the studio won't. Because you guys, they just won't do it. And we went with Bob Simons, who was producing a lot of Adam Sandler films and he goes, I'm doing it. We're doing it for 5 million. I'm like, great. And then Bob couldn't get paid the amount he wanted to get paid in the budget. And so he's like, sorry, guys, I can't do it. And I'm like, Oh, okay so then.

Alex Ferrari 13:05
God just all this back and forth. I love people hearing and hearing the stories because it's like, oh, you know, one day you get into Sundance next day, you make broken lizards in the money just comes rolling in. Like, that's not the way it works.

Jay Chandrasekhar 13:18
So then we ended up a friend of ours was George Clooney as assistant. We moved to LA right. And we're like, we were hanging out with her. We're partying with her. We're you know, doing ecstasy. I don't know. Anyway, whatever we're having, but and we were sleeping at George Clooney his house because she was he was off making the peacemaker, I think, and we were, she was alone. And she's like, I can't sleep in this house alone. There are all these paparazzi in the woods. And we're like, okay, so we moved in there for a month. And we

Alex Ferrari 13:53
Does George know this?

Jay Chandrasekhar 13:57
Robes around the slippers and we go feed his pigs. Thanks. That's right. And we had a bomb. And when he got home, he's like, you know, introduce me to these knuckleheads are sleeping in my house. So we met him and he goes, What are you guys trying to do? And we're like, well, we're trying to do this movie and he read it and he goes, this is a great movie, I'll participate. And I was like, Alright, okay, so that was how we're going. And I think we asked him to be in it because I'm just gonna produce. Okay, good. So, then we, you know, we're like, trying to take that around town. And, you know, the jersey films, which is Dan to beat us company is like, we're simultaneously trying to create a television show with them around Super Troopers, because, you know, didn't make it as a movie. We're well let's make his TV show. Then we are unable to sell that. To Fox. We've had a pilot to Fox right. We had a pilot and there We're like, we don't know about them. We don't know about you guys. And they pass. So then Jersey films like why don't we make it move? And I'm like, Well, we're already making it with George Clooney. Great. We'll jump on. So now we're in Danny DeVito and George Clooney and two companies. And Soderbergh is giving us notes on the movie because he's with Clooney. And Soderbergh's, like I don't know about this opening scene, I guess. I don't even know what this he goes. I don't know what's so funny about these cops because I think you guys need a new wrinkle to it like you need you know how, like in Point Break there were those those President United States masks, he was like that, like, Why can't hide our faces? Because we're not famous. But I did. But but we're like, we're not doing that notice. In any case, so then we go around to all the studios, and they all go Yeah, already said no to that. We're not doing it just because you guys are. So now we're like, what the hell? All the independent people said no. And, and, you know, so finally, we're like, I'm in my office pack. I had a New York office, and I was I had moved to LA but I go in there, bring everything back. So pack in the opposite. Get ready, get unplugged the phone again. It's done. I'm moving out. And the phone rings and I pick it up and it's my friend cricket. And she goes, Hey, I hate to do this to you. But you know, my father is a investment banker. And he's, he's retiring and he wants to write scripts, and you're the only one I know is kind of in showbusiness kind of cricket. And he goes, Do you mind just talking to him? He wrote a script, he needs somebody else to look at it, I guess. And I'm like, alright, I'll do it. Right. And so I get on the phone with this guy. And he's like, because you write scripts. He's like, Donald banker, kind of like, tough guy. And I'm like, yeah, yeah, we've written a couple that goes, All right. Well, I wrote a script to it. I'm like, Oh, great. Don't make me read it. But I know you will. And then he's like, I guess I'll send it to you. But why don't you send me your script first. So I can just see what kind of writers you are. And I'm like, I'm being audition to read. Terrible script to sell Exactly. But I like cricket, and I kind of want to kiss her. So I'm like, you know, then I didn't kiss her. But anyway. So I said, I send the script over to this guy. And he, you know, a few days later, he calls me back. And you know, I'm unplugged the phone. Yeah. And he goes, I read your script. I said, Okay. I'm waiting for him to go. Okay. Now. Now I get to read your script. And he goes, pretty funny. Oh, yeah. Because what are you doing with it? I said, Well, it's a banker and raising money. Because how much you need. I said, we need a million to six. That's our budget. And he goes, I'll do it. And I hang up the phone and walk in my producers. I'm like, I know, the banker on the floor, wants to do the movie. And he goes, I will. My producer was an investment banker, too. He goes, Oh, to get this guy to fly? I'll find out, you know, I'll be able to suss him out. And he gets on the phone. He goes, Okay, right. Oh, and then he hangs up because he's a real deal guy. And within within about two weeks now, the bank,

Alex Ferrari 18:24
No, money dropped within two. I've never heard of a movie drop money dropping.

Jay Chandrasekhar 18:28
I'm funding the deal. Let's do it. That's how he looks at it. He goes, when I say I'm funding the deal, the money goes in the thing. And I'm like, why? Wow.

Alex Ferrari 18:38
That is what that is called. Just some some force in the universe just said, It's time for these boys to go make their movie started like that and

Jay Chandrasekhar 18:49
Run them all the way to the end where there's just unplugging the phone.

Alex Ferrari 18:55
Just just as a joke, we'll just go. Here's one last.

Jay Chandrasekhar 19:00
What do you got to pass the test? Which is to be nice to cricket.

Alex Ferrari 19:03
Right! Because if you so basically, we weren't I wouldn't be sitting here right now. God knows where your career would have been. If you wouldn't have been nice to cricket.

Jay Chandrasekhar 19:11
I would have been the Indian guy in the deli selling cigarettes to Brad Pitt when he goes to have sex with whoever.

Alex Ferrari 19:19
They're really funny. Really funny.

Jay Chandrasekhar 19:24
I it may not be true, but I call myself the Indian Jackie Robinson of of comedy. And it's because there were no there were no Indians in comedy. Right. And I got in and a lot of them have come up to him and like, Hey, I saw you on the screen. I thought I could do that too. And you know as these and Mindy and all these folks, I mean, if you look at the wave, there was me and then everybody came in and they're doing great work. I mean, look at all these great people. So

Alex Ferrari 19:58
Yeah, um, You were the Jackie Robinson, sir. You were the Jackie

Jay Chandrasekhar 20:02
Robinson. Yeah, I mean, you know, nobody hurled things at me from the stands are called me.

Alex Ferrari 20:07
There's that. There's that. But But you did have to sit in a room with Harvey Weinstein. So there's that.

Jay Chandrasekhar 20:15
You know, it was it was quite, it was actually quite thrilling. I didn't know. Obviously, all the stuff he had done.

Alex Ferrari 20:21
No, look, not everybody, every week could correct trash him now, because he's a monster and all that. But in the 90s, he was a god.

Jay Chandrasekhar 20:28
Yeah, I don't trash everyone's I mean, he's, what he was doing was awful. But you know, there were a lot of people around who seemed to know what he was, what he was doing, like it was just what the boss did. And you're like,

Alex Ferrari 20:48
I don't and there's, and there's a lot of that stuff that happens in Hollywood. I had heard stories running around town about that since I was starting out. So it's something that hopefully has changed a bit, but I think it has changed, I think, a tremendous, a tremendous amount since since the 90s. And early 2000s, without question, alright, so you get Super Troopers funded by a miracle. Miracle you're shooting? What is it? What is it like shooting? How did how did the production go smoothly? How did it run?

Jay Chandrasekhar 21:17
It had to go smoothly, because we only had the money for 28 days of shooting. Like he's like, in fact, peatland God put in 1,000,002, not a million to six pieces. Like that's all I'm giving you. And so I put in 30, and credit card and rich per element producer put in 13 credit card and we were like, hanging on by a thread. And, you know, like, the weather had to go well, the film. I mean, we shot on film, it had to be you know, everything had to go well, and it and it did. It went it went according to plan. And then we you know, we cut it together. And you know, it was Sundance was, was interested in the film because of the previous thing. But we were so close to the deadline that it was, it was you know, like we had shot it. We shot it in June and the Sundance deadline was, you know, September. Yeah, September. So we cut it together, we put together we sent it in, and I was in. I can't remember. Anyway, whenever we got the call, you get a Thanksgiving that they see or, or your or they don't call it. But the we got the call that we were in and we were like, oh my god, we have to finish this movie in time. And we're not sure we can even do it because we were the do art film lab. And yet all the films that got in were rushing. And so we just received finished, right. And, in fact, it was so close that we we ended up in the do art film lab on the morning that we were flying to Salt Lake City, that we're watching the final approach. And I was sitting in that room with Kevin Halford into play farva And the color timer. And we're watching it. And we're watching it and like watch the first the opening scene of Super Troopers. If you haven't seen it, like I'm a cop, and I know you've seen it though, I guess. And another, we pull over some stoners, and we we mess with them. And there's some other things that's so and it's you know what, it has gone on to become the scene which we're known most for, I would say like, you know, like they're like, it's the scene that describes broken lizards comedy, I think quite well, and people were like that to you guys. Okay, so I watched that scene. And the title of the film comes up Super Troopers. And I'm like, Can we can we turn the lights on for a second? And they stopped the film. And I stand up and I look at Kevin, I'm like, we blew it. That opening scene sucks. And he was we talking about? And I'm like, it's terrible. Otherwise, I act like that. I don't know what. Nobody was telling me that I was acting like that. And he goes, I think it's pretty good, dude. I'm like, What the hell do you know? And the color type of goes, I think it's pretty good too. I'm like, You know what, pal? It's not. And we got to go to Utah tomorrow and show this terrible learn. Right? And I'm like, Ah, Doom. I was just feeling doom. Wow. And in fact, the opening scene a puddle cruiser is the worst scene in the movie. It's just okay. You know, like, like it with comedies. You want to get them laughing fast so that you can keep them laughing and they're like, oh, yeah, we're laughing we're supposed to. So I was like, we tried so hard to make Super Troopers a good opening scene. It was just because of how bad the opening pedal cruiser was. We the product was there opening was so it wasn't bad. It was just slow and whatever. We used to take up a marionette. Like it was Jimmy the dummy, right? And it's like a little ventriloquist guy. And we did a whole scene at the first Sundance with this dummy, where, you know, like one of us would go up on stage and go, Hey, the film print broke. And we're getting a new one shipped in from Salt Lake, the whole packed audience, and the audience have grown. But it's coming, it's coming. We'd make up this thing. And then the dummy had like somebody on the on the, in the audience ago, unprofessional. That was one of us, right? And then another guy would be like, Hey, leave him alone. And is this guy with a ventriloquist dummy. And they go, what? I think these guys are young filmmakers, and they're trying really hard. And then the guy you shut up, you dummy. And then everybody be yelling at each other. And then a guy in a UPS uniform. What am I guys would come run it in. I got the film. And he'd run unspool everywhere, right? And the audience was laughing and laughing. And then we started the movie, and they're laughing and then they go, I was like, to Kevin, I'm like, we gotta go back to my house right now. We'll take the cab go back to pick up Jimmy, the dummy. We're doing the things sketch again. Because we're not doing it. We're just showing it and I'm like, to go to Park City. And we're in a bar, and I'm sitting in the bars, Harvey wants you. And I'm like, oh, we gotta get this guy in the screening, right? And so we send Marissa Coughlin who's in the movie, and she knows him. And she's, he's, she's, he's like, he's like, come on over. And so it was I'm telling the story of this criminal now. So and So Harvey, and, and he's like, look, Jay, I'd love to go to your movie. But I got a meeting right in the middle of it. I can't. If I go to your movie, and I leave, you're not selling your movie. And I'm like, I know. But if if I said, well just put you in the back seat. just sneak out and then you know, he goes, Okay, I'll come to your movie. Put me in the back seat. I'll sneak out and I'll come back. And I'm like, great. Let's do it. And so we do it. We put them in the back seat, back row. place is packed with really high and kind of drunk people because it's like a midnight screening. And we know a lot of people in LA and New York. Everyone's like, yeah, revved up, right. And they all turn and look at Harvey Weinstein. And they go well, right. He's here. Holy shit. He's here, right? And so he's sitting in the back. The movie starts unlike, it's gonna be terrible. And immediately the laughs start rolling and rolling. And then I mean, it rolled. And then when that title came up, the place blows up into an ovation. And tears rolled up. Because I was so tense. I was so tense. And then I'm like pacing in the lobby as enlisting to the movie laughter. And Harvey gets up around the 30 minute mark, he goes, this movie is killing, because I'm coming back. And he, he leaves goes to thing and he comes back and he slides right in he goes, incredible. And at the end of the movie, he goes, come over, talk to me talk to me, because I'm not going to necessarily buy your film yet, because I haven't seen it all. But this is going to help you. Because he watch what happens here. And he goes, in fact, I want you to meet me at this bar. And you watch where we'll be in. You'll be in the daily, whatever the page six. I'm like, okay, so we meet up at this bar, right? And, and I'm there and like, whatever. We're kind of chatting, I'm a spy the movie, because I got to watch it first, give me the print. So we're kind of doing that thing. And I'm at the bar and executives from searchlight. And executives from Sony are like don't sell don't sell to Harvey. Let us we need more people to come see it don't sell or don't sell. And in fact, it created this frenzy. And then we showed it again Saturday night. And we showed it again Sunday night and searched late and made an offer a three and a half. And we're like Harvey, you want to beat that with Sony, whatever. And search sites like that offer expires when your Sunday night screening starts. So take it early. And we're like, We'll take it. We'll take it. Thank God we took a search like because we had such a nice career with those guys. And we never had to deal with, you know, Harvey Scissorhands, which is what he was called by a lot of filmmakers. So we went in recut. I mean, like, obviously a lot worse things recut movies, but I always grateful that I never fell into his his hands.

Alex Ferrari 29:36
Right. But at least he did whatever he did for you back in the day. It started the conversation. It's that's that's an amazing story. So you tripled your budget, and your career was off the ground. I have to ask you, I mean, it turned into a huge hit. I mean, it was it and not only huge financial box office hit but then DVDs back then and

Jay Chandrasekhar 29:58
It made Fox over 100 A million dollars, cheese, a million dollar movie. Almost every penny of

Alex Ferrari 30:07
I was about to say almost every single buddy I like I'm sure that you didn't get that. But but so let me ask you a question I always love asking filmmakers who get this kind of situation happen to them this kind of lottery, I call it the lottery ticket. Because it's like it's, it is a lottery, it's a lottery ticket moment that you worked very hard for. It's not like you was lucky to get it. But all the circumstances that happened like crickets was gives you the money. And then Sunday, there's a lot of these things that happen. How did the town treat you as the director of this film afterwards?

Jay Chandrasekhar 30:43
That what happens is there's a period of, of heat, right? So we instantly got to television deals one with the NBC and one with ABC. You know, like we we entered into, you know, searchlight one at our next film, which would become Club Dread. And, you know, we were, I was in the conversation around town as one of the new guys. But I wasn't pursuing that I didn't even know how to pursue it. Because I was like, I would read these, you know, often not great comedy scripts. And I go, Well, no, I can't make a not great movie, but didn't occur to me that I could then put my improvement tour on it and rewrite it 10 Guys rewrite it or we rewrite I didn't even know that sounds like, well, if it's this now then I can't make that movie. That's how kind of dumb I was. And so I passed a lot of good movies. And then I said, Oh, well, you know what, this is an idea for a film this movie. And I'll just take it, I'll rewrite everything. And and then it'll be the same movie, but it'll be about my version, which should be in my opinion, a good now, like, that's what I do. But then, yeah, I was, I was like, one of the guys who, you know, I was on variety, top 10, directors, you know, all that stuff,

Alex Ferrari 32:22
You went through the water bottle. So you went through the water bottle tool, or you just went, you met everybody.

Jay Chandrasekhar 32:26
The bottom line is, in the film, business is a largely self generating business. And if you relax and be like, I made it, I'm in the top 10. Director, so it's meaningless. It's like, yeah, some producer might call you and go, Hey, can you do something with this, they're still trying to get the money. And, you know, if you're not generating yourself, if you're not out there going, I want to make a movie about this. And this, this, and I'm gonna write this script. And this is the writer is going to do it. We're going to do that together. And if you're not doing that, you're not getting movement. Still.

Alex Ferrari 33:00
Still, at any level. I mean, even Spielberg can can get some things made, but he still has to develop and build and do things like that.

Jay Chandrasekhar 33:09
Yeah. Yeah. I mean, he's has a little easier.

Alex Ferrari 33:13
But yeah, a little bit a little bit easier. That

Jay Chandrasekhar 33:15
Leads me to this. I don't want to jump off your train. Yeah. But if you want to continue we can I have a spiel Brooks. I love skills.

Alex Ferrari 33:24
I have so many people who've worked with Spielberg on the show. I have he, it seems to me that he always he's always in the mix somehow, with any any, any big thing that happens in town, you always get the call from even if it's just like, hey, man, great movie. What was your what's your Spielberg story?

Jay Chandrasekhar 33:39
Well, I was I was sitting at home in the pandemic. And I basically had turned into like a full time golfer, like I played every day. And I was just sort of there and I get this call from my agent that said, hey, what do you know about Joe coy? And I said, Well, Joe coy the comic I mean, it's funny, funny, dude. Right? Instead, well, okay, here's the deal. Joe coy has done a stand up special on Netflix. And Steven Spielberg during the pandemic happened to watch it. And he loves Joe Callie. And now he's like, wants to make a chill coin movie. And they want to do it in Vancouver. And they want to and you gotta go any day now, because the film can only be shot in May in June because that's Jo Koy standup window, where he's got stand up shows all over the world and the big show so and I'm like, big shows really? sells out 16,000 seat arenas. I was like, oh, oh, okay. And I'm like, okay, so May June. So we got to be in Vancouver when Monday and they're like, Yeah, kinda. And I'm like, Okay, so I'm in the strips. So I read this rapid I'm like Okay, I got it. I mean, I know Joe's stand up, and it's, uh, it's like attempting to be about his family. And I'm like, Yeah, I said, you know, look, this script, were I to do it would need some work, but it's not work that can't be done. So I said, y'all go. Well, I mean, cuz they Amblin was asking for me to go. And I said, Yeah, I'll do it. So I flew to Vancouver. And and when did a quarantine for two weeks in a in a hotel very nice. But it was hard, where I couldn't see any but I can step over the the entrance to the I just stayed in that room. And then I got out and Jo Koy came to town and I met him for the first time. I mean, I we'd met on Zoom. And we you know, I hired a writer, and she and I rewrote the thing. And, and then, you know, I started I met Steven Spielberg, I just because of the quarantine and the COVID thing, I get to know from every now and then like movie stars don't wear hats. And I'm like, okay, he can't wear a hat and the next thing but

Alex Ferrari 36:10
Steven, Mount Olympus called, and you can't,

Jay Chandrasekhar 36:14
You know, like, we were gonna hire an activist for a part that, and we sent it to him the choice. And you know, she was the more famous person, right? And I've been at Warner Brothers for years, I had to deal over there. And they're, like, just hire the most famous person, we'll put them on the poster, and we'll make it work. And I'm like, I just assumed everybody did that. And so I'm like, I get in the choice most vampers. And he sends a note back. There's other woman's much better actor than the most famous person or anything. And I'm like, Well, yeah, but she's not the most famous person. And he has when he when she was a better actor, I like of course I do. I didn't know I could. I did. So then I did. And it's the it's the central decision for the whole movie. Like, it's because we hired this woman. The movie works in a way you can't even believe in my view. It's called Easter Sunday. Right? Has this you know, you know, he's not just some rando. He's like, who just said, my name is on it? He's like, what about that? What do you think about that? And you're like, Okay, great. But you know,

Alex Ferrari 37:19
I'm assuming one day, you'll get a phone call, maybe,

Jay Chandrasekhar 37:22
You know, I will, I will. I will go to my grave, not assuming I'm gonna meet Steven Spielberg. Even though he's my boss, I just don't I don't see how that could happen. I live in a world where I'm like, constantly convinced I'm about to be kicked out of show business. So there's no space in that world for me to believe that I will meet Steven Spielberg. So

Alex Ferrari 37:41
I always love asking this question from from, you know, people who've hit a certain level in the business is like, do you do you? So you just said, you truly believe that at any moment, security is gonna come in, like, what are you doing here? You need to be escorted out.

Jay Chandrasekhar 37:54
Right! Like, I realized how ridiculous it is. Because I was I did a stand up show recently. And it was me. And Tiffany Haddish. And Anthony Jeselnik. And Tom Arnold, and we're upstairs. We're just chatting for comments, chatting. And I'm like, moments like these were my were where I have to admit that I might have made it. And I hate to admit that, because I'm so hungry. And I'm so they don't want me and show business. I'll show them I'll make a I'll make my 10th movie.

Alex Ferrari 38:33
No, I have to ask you. So that's fantastic. By the way, I was gonna bring you Easter Sunday because I saw Easter Sunday. And we've been working on this interview for months now. And then all of a sudden, I'm like, oh, Easter Sunday is coming out and like, and I'm such a joy cliff. I'm like, absolute huge joy play fan. And I've had I've had the pleasure of meeting him we almost work together on this close up almost working together years ago. And Joe is just wonderful. It's just I'm such a such a fan of his but Super Troopers to is such a unique story and how you got that made? Because the studio didn't want to make the sequel and you had to raise the money yourself. Right?

Jay Chandrasekhar 39:11
They were worried that it was too long. Between films. You know, first one came out in 2002. The second one might have come out in 2016 or 18, or something, I don't know. But it was it was it was a long time. They were like ah or no. And they're like, so they said well, why don't you raise the money yourself? Really, you made $100 million. You can't just carve a couple up. And they're like, yeah, it raise the money yourself will distribute it and like okay, and then they said and you have to raise the prints and advertising budget to which is all the money. It's the budget and all the money to release it. So you're talking about, in this case, we had to raise $30 million. And I'm like, I can't raise 30.

Alex Ferrari 40:13
Cricket, cricket.

Jay Chandrasekhar 40:17
Cricket, British jazz, like, I'll put money in. And we put money together. We had like, I don't know, maybe we got to about five or so. And then we were like, kind of hit a wall didn't weren't eight. And then they also said, we'll never let you take to another studio because other studios are like, Neff. You know, Netflix they will do. Oh, yeah. Can't take it out of work. No. And we're not making it but no, he can't take. So we happened upon this. I mean, we, you know, we, we watched watch the news, we saw these brought from Mars had raised some money for the movie of that. And we thought, well, cat, I mean, we're at least in a similar position, and you know that a thing they loved and they're doing a thing. So we we hired the guy did that campaign sky Ivan asked cough. And he he, he put together account, he first of all, he goes, I'm not terribly familiar with your work. That's the first thing he said. And I'm like a computer guy. And you have no tact or anything. It's so funny. And he then he goes, You know, there's quite a bit of interest in your comedy. around the internet. I've done a search. And I was like, how do you what, okay, and he goes, I'm gonna take this job. And I'm like, okay, great. Let's do it. Thanks. This incredible campaign with great art and incentives. And we made a video where you like, we locked farva in the trunk of a car, and I remember it, and then we said, Give us money, or else we won't let them out of the truck. And then we push go on the campaign. And it was like, oh, like, I mean, we raised I think $5.8 million

Alex Ferrari 42:15
On Indiegogo, right,

Jay Chandrasekhar 42:16
Indiegogo, something like that we were second to product remarks. Whatever they made, we've made a little less. And, and search site was like, what? Oh, how many 50,000 people gave me money. And they're like, Oh, okay. Oh, wow. Great. And then. So then we were able to then now they were really excited about it. And and then they agreed to release the film for us with their money. It's nice. And so yeah, so we still funded the production. They they funded the you know, but we made the movie. And then we tested the movie. And the reaction in the audience was like, I mean, it was insane. The reaction and all the searchlight executives are there. And when they put the they take keep 20 people back to talk to him about the what? How would you feel about the movie? And that and they're like, this is from a franchise? And yeah, so the test did I tell you about the testing of the screen. It tested incredibly well, like the numbers were astronomical. The audience was comparing it to franchises like Star Wars. And Fox, people were like, Oh, my God, we gotta hit. And so they pour the money and they did great campaign, two posters, super cool. Everything was great. And we were like, holy, this is incredible. We're gonna we're gonna have a, you know, it looks really good. We're gonna have a hit movie. And so then the weekend, the week we arrived in New York, it's what you do at the end of the of the campaign to do press in New York Press. We're, it's Monday, and the policy is with us. It's like, I hate to break it to you guys. But whatever, you got really bad tracking on this movie. Like, and the tracking predicts what the box office opening weekend is gonna pay. And they're like, it's it's tracking to open to about $3 million, right? In order to be a success. This movie would in search sites view what he wanted to open to 10 You know, that would be a success for a small film. And we were like, 3 million. How's that possible? Like we had a 50,000. And they're like, Well, you know, like our fans have been notoriously stoners, right? They're like a little slow to the mark. A little slower the market. Got there, like they would have to do a Stand Up Show. There'll be tickets available up until an hour before the Friday and there's like 100 Tickets available. And then boom, it's sold out and you're like gas kit. Get your internet Oh, can you do this? So I'm like, maybe that's it. And they're like, maybe I don't know. And Monday, Tuesday is still tracking three, Wednesday, it's still tracking 3 million. And everyone's like, we make the president of searchlight calls and go, Hey, man, we tried. I'm sorry, right. And then Thursday morning, we're in an interview in some brewery or something in Brooklyn or something. And publicists, because she's looking at her phone. She goes, there's some weird there's some weird and numbers out of the matinees that, well, they're just not, they're not right, but we're gonna get a check. We're gonna check. And I said, What are they there? She's like, well, the next are sold out. And I'm like, Yeah, that's that's true. And so she goes, yeah, there's a problem with the computer the system. There's a problem, obviously, obviously. So then the next screening she goes, yeah, these these numbers are stupid. They're all sold out. And the so two screenings are now sold out morning at 11am. And one and then the third one, she was sold out again. Like he's a real numbers, and suddenly, we've now we went Thursday, we went Friday, were the top movie in the country. And, and we had 1800 screens, I think, or something like that. And Amy Schumer had 2600 2800 screens. So we were beating her on per screen average. And then with the volume of Sprint's they ended up winning the weekend, but we won the per screen average for the weekend with our 1800 scripts. It was a miracle. It was a miracle, and searchlights. Like, let's make two more movies. And then you know, there we go. And there we go.

Alex Ferrari 46:48
And now that's why now you're writing Super Troopers 3.

Jay Chandrasekhar 46:51
We made a film called quasi, which is set in 13th century France. And Steve Lemmy plays a hunchback, and I play the King of France, and Paul said, replace the Pope. And it's a full on Monty Python esque style movie. I'm sure people are gonna go, you guys aren't as good as Python and will go away agree. But still, we made one and we said, You know what the end knew we were in it with this accent. You're like, oh my god, we're in the middle of a Python movie.

Alex Ferrari 47:22
That's amazing. That's amazing. Now I'm jam and ask you a couple questions. Ask all of my guests. What advice would you give a filmmaker trying to break into the business today?

Jay Chandrasekhar 47:31
Well, my advice would be don't wait around for other people to let you in. Because there are people like me on the other side of the door, pressing our shoulders against it to keep you up. And the only way and is through that door. So keep pushing. Until wait for me to let you in.

Alex Ferrari 47:55
That's not gonna happen.

Jay Chandrasekhar 47:56
I got this side. I'm in Vegas, the hotel. That's good. The answer as it's awesome. We respond to the same things you would think we respond to, which is followers. And, and numbers. Like if you can demonstrate an audience by making your short films and putting them on the internet and having people watch him, you know, and we go, Oh, my God, a million people watch Oh, wow, that's good. Maybe well, you know, comes with a built in audience, you know, it's like it. It, it's not easy, but it's also you have an ability to chart sort of do things cheaply. The problem for the new generation is that so many people are trying to do things cheaply. There's so much stuff you're like, it's hard to really get your mind around it. And so, you know, the system benefits those with access to capital. And that's sort of the sad truth of it. All right, if you can, if you can raise money. I mean, it's even harder now. Because it's like, Sundance isn't what it used to be, you know, like the people are not. Companies are not going to Sundance and necessarily buying. I mean, they are they're buying phones, but it's a little different. It's not, you know, you don't have these people are automatically in the theater. So yeah, I was streaming a little bit and you know, and that's all good. And that's all good. But that's sort of the changing moment here.

Alex Ferrari 49:20
Do you think that Super Troopers, what would happen if Super Troopers got released today?

Jay Chandrasekhar 49:24
It probably would have gone to somebody like Netflix, maybe?

Alex Ferrari 49:30
Maybe we've ended up knowing that you did. Nobody knew who you were, you made a million dollar movie,

Jay Chandrasekhar 49:35
I believe it would have sold because the response in the room was electric. And that's really the game right? If you can get to Sundance and show the movie in a room full of people, you've flipped the power dynamics so that the buyer instead of watching it on their desk on their laptop and drinking coffee and walking around and doing all this stuff, they are now in a room with audience in the hall. Do you have to like and they're like oh no what do i do i better buy it. I mean that's sort of how that works. And that still works that way you know like I you can still get a movie it into the theater so if you're nobody's and you know nobody's in the movie then it's harder right it's like the probably end up on a streaming service first and maybe you'll never get out of there. I don't really know. I mean, the problem with the problem and Netflix is they pay more money than searchlight does. And and you know, and then the movie ends up being sitting there you know, lost in the soup doesn't have the same when you get a postcard campaign and interviews and it you know, the movie series into audiences brains in a different way. You know, the the movies on Netflix, currently don't do that in my view.

Alex Ferrari 50:55
Right. Yeah, you've right I mean, Top Gun. did what it did because of it. Well, it did. Okay. Yeah. The biggest Memorial Day weekend opening ever. Oh, good.

Jay Chandrasekhar 51:05
Good, good. Good. I you know, the whole thing is I want I you know, I said to universal when we were getting ready to think about how we're going to put out this movie in the middle of the pandemic, of course, the movie tested well, Easter Sunday tested really well. Joe coy is the biggest ticket selling stand up comic in showbiz. He's number Wow, wow. That was 56,000 seats in Los Angeles and three nights. He says 30,000 in Seattle, he is filling hockey arenas everywhere he goes. And I said to them, Look, guys, we got to we got a theatrical comedy that works really the audience's we tested. They love it. We've Jo Koy in his first film, this is like having Steve Martin before the church or Eddie Murphy before for eight hours. We got him. And you guys are universal. And I mean, like, if we can sell this as a theatrical comedy. We you guys, we should all stop. You know. Cuz I said we gotta be you know, we're all looking around go, who's gonna bring the actual economy back? You know who it is? It's us. We're, we're, we've been put here to do this. This is our turn. It's time to do it. And so I've been telling people like, we're bringing the company back. And we're the only theatrical comedy coming out this summer. That's how bad it's gotten.

Alex Ferrari 52:22
You're absolutely right. I mean, yeah. I mean, it is outrageous. And now it's like everyone's saying that theaters are just for the event films. And they are for certain extent, of course. But, you know, like a film, a film like Easter Sunday will absolutely open. Well, I mean, you've got an audience that is used to buying tickets for this artist on top of it sounds like, make sense.

Jay Chandrasekhar 52:44
We'll see if I'm right. I mean, we'll see if I'm right. But I but I hope I am. I mean, you know, it's a gambling business, you know, that it's gunslingers and gamblers

Alex Ferrari 52:53
We're working on we're such a big joke, my fans, my family and our daughters, everyone. So we're gonna we're gonna head out to the theaters to see it when it comes out.

Jay Chandrasekhar 53:01
To do we do you know about my the APA credit, are you?

Alex Ferrari 53:05
I don't, ah, tell me about the app.

Jay Chandrasekhar 53:10
So it all goes back, Super Troopers comes out after this incredible Sundance experience comes out in the theaters. And the reviewers on Rotten Tomatoes, a site named for throwing rotten fruit that people like me some site. They give it a 38% Fresh, the reviewers, right? And I was like, what, what, what do we have to do? Like and the and then that's 100 people. Then over time, you know, the audience weighed in, and and the audience gave us a 90% Fresh, right? That's 200,000 people read it that way. And I'm like, Who are these strangers with outsize power, right? They're just, they're, you know, a reviewer, I got no problem with reviews, right? I shouldn't think they're valuable. But aggregating all of them, and putting it into a score is just nonsensical, like we got reviewed for Beer Fest from a woman in Arizona named grandmas reviews. And her review of the film was, I didn't like it. There's too much drinking. I'm like it's an ode to binge drinking. It's called Pure fats. So but that goes into a reviewer score. And you're like, I said, Oh, my God, I need to get revenge on Rotten Tomatoes and stood with me for 1820 years. And then I said, I know how I'm going to do it. I'm going to build an app. Right? I mean, look, the premise is this. reviewers are strangers. When's the last time you walked up to a stranger on the street and said, Hey, what movie should I see? That's what we're doing

Alex Ferrari 54:54
Exactly.

Jay Chandrasekhar 54:56
In Rotten tomatoes. You're taking all these strangers aggregate They're strange opinions and putting it together. There you go. Here's what the strangest thing. So I said, you know, I want to build an app that is, you if you want advice for a movie, you talk to your friends, right? You talk to your friends, your or maybe you know some celebrity on something that some filmmakers today, this is a good movie road to Busan or whatever it is, Train to Busan era. And so I made an app, I started to develop an app that was going to be a recommendation site for movies, TV books, podcasts, music, right? And I connected with these two guys who are computer guys, and they were already reacting to this. You know, like Amazon reviews or Yelp reviews, they're like, who wrote the review? Was it the owner of the restaurant who wrote it? Was it the restaurant across the street and wrote them a bad review? Was it somebody who doesn't like the waiter who gave them a bet? I mean, you know, you're like, you just you're strangers, right? So they were working on an idea to try to solve that problem. And we teamed up. And we made a thing called vouch fault. All right. It's in the App Store notes in the Apple Store. It's in the Android store. And it's basically that says, basically Instagram for recommendations. So if you open my vault, you'll see that I like Reservoir Dogs, you'll see that I like Pulp Fiction, you'll see that I like Richard Pryor live in Long Beach that Stand Up Show. You'll see that I like that joke Koy stand up, you'll see I put Super Troopers there you see, you know, if I like this indie hustle, you could see that like, you can put anything you like. And so if you follow me, like, oh, Jay likes this thing, and you push a button, you can try it, right. But books, anything, I have all sorts of books on there, right? And so it'll work best. I think the goal is to say it's a word of mouth machine, you know, it's also a memory machine so that when I tell my children you know, this Fleetwood Mac rumours album was very important for you to listen to they go, it's not just me saying it. It's there in the vault. Right? They go, Oh, yeah, Dad was talking about this album, I listened to it. You know, it's like and if you if you somebody recommend something in the past, you write it down on a little note in your phone right here. There's a tribal you just stick it in there. So when you're home on a Friday night and like what's in my tribe while you're like oh, yeah, this new BBC Three documentary I wanted to see I remember I wrote it down there it is. Try it. And so it's it's a machine that I hope is going to change the way specifically film is judged the way you know, I want reviewers on there. I'm gonna talk I'm trying to get oh and gleeman and trying to get Drew McWeeny and go hey, guys, I tell me what you love. Right? Tell me the films you love that nobody knows about. And then I'll watch them. You know? I'm not trying to kill reviewers. I'm I am trying to kill Rotten Tomatoes. I am. It is a revenge ploy. It is a revenge.

Alex Ferrari 58:02
You are not the only assert. You're not the only one who feels some vengeance as needed against Rotten Tomatoes, many filmmakers, many filmmakers feel the same way you are and I

Jay Chandrasekhar 58:12
All get on this app. And let's show them who we are.

Alex Ferrari 58:15
Fantastic. And last question, three of your favorite films of all time.

Jay Chandrasekhar 58:20
48 hours, Reservoir Dogs and Goodfellas

Alex Ferrari 58:29
Rest in peace Ray Liotta

Jay Chandrasekhar 58:31
They're all the reason they're all on that list is because they're all tough, funny films. And I like I like it when the guy when the people are tough in the movie. And I like when they're when it's that funny and it's that you know it's sometimes you know, violent and funny is some sometimes really funny but they played straight for eight hours you're like there's some broad stuff but there's some the bad guys are bad the violence is is terrifying and obviously Goodfellas is a way it's funny as hell.

Alex Ferrari 59:06
Joe Pesci scene alone

Jay Chandrasekhar 59:09
I can't believe really leave it at that Reservoir Dogs is still work.

Alex Ferrari 59:17
It's a masterpiece masterpiece. Jay and when is Easter Easter Sunday coming up

Jay Chandrasekhar 59:23
August 5th.

Alex Ferrari 59:25
Man I cannot wait to see it. And Jay thank you so much for coming on the show man and and sharing your adventures and your knowledge with experiences with the tribe man, I really appreciate you. Thank you for your inspiration and just like you were inspired by Ed burns and and Clerks and Kevin and Mariachi and all those kinds of films. People listening now hopefully will be inspired by us like if this guy can do it.

Jay Chandrasekhar 59:49
That's right. That guy can do it. That's a John Oliver said to me when I was I was directing him community. He had never acted before. And I'd seen him do stand up and I loved him to stand up. I said John has first acting scene ever and then like, he nervous at all. And he goes, how hard could it be?

Alex Ferrari 1:00:23
A pleasure meeting you my friend. Thank you again for being on the show brother continued success and I can't wait to see Easter Sunday, man. Thanks again.

Jay Chandrasekhar 1:00:28
For indie hustle, buddy. I'm gonna put indie hustle in my bouch ball.

Alex Ferrari 1:00:32
Indie Film Hustle. I appreciate you brother. Thank you again, man.

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