fbpx

IFH 453: Clerks, Sundance and Making $500 Million+ at the Box-Office with Scott Mosier

Share:

NEW 2021 PODCAST COVER 400x400

Top Apple Filmmaking Podcast

11+ Million Downloads


Right-click here to download the MP3

You guys are in for a major treat. I’m always talking about those “lottery ticket” filmmaker stories that we all dream of happening to us one day. Well, today’s guest’s story is one of the mythological stories that come to life.

We have a 90’s independent film icon, Scott Mosier. Scott is an indie film producer, editor, writer, director, actor, and podcaster of Smodcast, which he co-hosts with his long-term filmmaking partner, Kevin Smith.

From Vancouver Film School to Hollywood, Scott’s trajectory has been inspiring for many in the industry. He produced some of the best 90s classics like Clerks 1 & 2, Jersey Girl, the Oscar® Winning Good Will Hunting, Dogma, and many, many more.

Scott acted in, edited the movie, original sound, and contributed to Clerk’s budget. After the massive hit, they followed up with the embattled Mallrats. The film was not well received and did no money at the box office. Kevin and Scott were essentially discarded and called a one-hit-wonder. For most filmmakers that would be all she wrote but not for Kevin and Scott.

They decided to go back to their roots and make another low-budget indie and prove to Hollywood that they were here to stay. Their next film was the brilliant romantic comedy-drama, Chasing Amy. The tells the unfortunate twist of a male comic artist who falls in love with a lesbian woman, to the displeasure of his best friend.

After self-financing, the majority of their initial projects (Mosier & Smith), 2001, Jay and Silent Bob Strike Back was Mosier’s first big-budget ($20 million) production.

Based on real-life stoners Jay and Silent Bob, so when they get no profit from a big-screen adaptation they set out to wreck the movie.

If that wasn’t enough Scott also co-executive produced the Oscar® Award-Winning Good Will Hunting in his spare time.

Wanting a change Scott decided to branch out and start directing himself. His 2018 directorial debut was a stand-out project! A box office hit, grossing about $512 million globally and the highest-grossing holiday film of all time. Dr. Seuss: The Grinch became the third screen adaptation of the 1957 Dr. Seuss book, How the Grinch Stole Christmas.

I had a ball talking shop with Scott. We discussed the genesis of the independent film movement as we know it today, dealing with studios, what was it like being in the Clerks hurricane, and much more.

Enjoy my conversation with Scott Mosier.

Alex Ferrari 2:41
I'd like to welcome to the show the legendary Scott Mosier how're you doing Scott?

Scott Mosier 4:14
The legendary Scott Mosier is not here.

Alex Ferrari 4:18
Well then we'll just deal with the Scott Mosier that's in front of us. Yes. I'm good. How are you? I'm good, man. I'm good. Thank you so much for coming on the show man. I've I've been a fan of of your, you're producing for a long time and you're directing my kids are now fans of your directing as well, which we'll get all into that in a bit. But, you know, many, many of my listeners know that you you know kind of get your start in clerks. Working with Kevin and getting that whole thing going. I have to first tell you when I first saw clerks, because you and I are similar vintage, as far as age is concerned. So

Scott Mosier 4:58
You're looking at I'm about to what's today? Friday on Friday, um, a week. So today's February 24. So March 5, I turned 50. I'm like, Yeah,

Alex Ferrari 5:10
You're a little bit, you're just slightly a bit older. I'm 46. So we're in similar we, we've crossed over the same bodies, in the bits in the business. So, um, when I first thought clerks, I was so upset because I was working in video stuff. Like, it was right in front of me. Why did I think of this? It was like, literally, I was I worked at a video store for five years. And I was just like, God, damn it, man. I was so upset at myself, like I had. And I thought about that. But you guys, you guys did it. So how did you get involved with Kevin? How did you get involved with clerks and that whole kind of crazy story?

Scott Mosier 5:49
So I mean, you know, I backing it up, like I was probably, I guess I was like, 14, or 15. Or even younger than that. It was like Raiders of the Lost Ark was the movie I saw. Where it wasn't just that I was like, Oh, I love this movie. It was more that I was like, Oh, what is how do people do this, like, you know that it's a constructive thing. You know, like, it became, I became aware that it's like, oh, people made it didn't just appear on an air. And so then I started getting released in film. And then, you know, ultimately went to the Vancouver Film School, because I was living just outside of Vancouver, BC. So. And so Kevin and I both just sort of independently end up getting in, we're in the same class. It was like the 25th 26th. Like they were they were numbered, so it's cool, just opened. And we both went because our grades weren't that good. And so it's like, this is a tech school, right? You just go it's eight bonds, you're in and out, Kevin. So we arrived there together, we kind of become friends. But Kevin is the one who came with a plan, like Kevin had already sort of, he was working in a convenience store. And the videos are back and forth. And so he kind of went there with the intention of like, I'm going to learn how to make a movie, and then go back and make the movie with my friends. And then we became friends. And so it became like, around halfway through the program, it's like the four month mark, it was like 10,000 all and then they take it the halfway mark, like you had to put in your next 5000. And Kevin was like, I'm not gonna do it. I'm gonna go home and get my job back. And you say, and finish the term out and learn how or whatever's left tiller. As far as like, all that was really left in the back half of the four months was we switched into doing these sort of narrative 16 millimeter shorts. So you worked on like, two, I think or one now you just worked on one. And and so Kevin left to save the money to put towards the movie. And then I stayed. And that's when Dave like Dave Klein is in our class, who was the cinematographer on clerks. And he we've kind of known each other. But as soon as Kevin laughs like that, Dave and I started hanging out a lot. And so by the time we graduated, so it was like March of 92. We start class, October we finish. And Dave and I are friends. And after that we started making like, there's all there's a bunch of, you know, there's like a community of like, people have gone to the school, and they were making short films outside of the program. And so I was, I was editing one was the editor on one and I was the dolly grip during the shoot, I was doing it, I was cut in at night. David shot and, and so we were all just kind of around with cevin. In the meantime, I remember working on that short when I was Dolly, Dolly grip for a reason. And that's when I read in convenience or the first draft of clerks. So that was like probably November of 92. So we meet in March of 92 by November of 92. I have the the draft for clerks and then and then from there, we were gonna shoot earlier, but then there was a big flood and Kevin's like house was flooded and his car was flooded and so he couldn't do it. And so we we postponed until March and then I was prepping in the morning to rent equipment like I was getting up like really early at like 5am to call houses in New York to rent camera equipment and we'd sort of talked to you know, I mean, there's a lot of stories that we have talked to, you know, we talked to one DP was in New York is an older guy who had his own path lighting and etc, etc. And I remember Kevin, I was talking to him like, this is totally. I mean, look, it all worked out. So, but I remember I remember being like, I remember distinctly feeling like, oh, man, like, if there's that one guy who knows everything, and we're just complete neophytes, it's like it kind of, we both were a little bit like, it feels wrong, like, you know, or it feels like it just felt like the wrong move to have this person who was always like, can't do that. And you have to do this. And you have friends that I think we're just selfish and scared.

Alex Ferrari 10:52
Ignorance, ignorance is bliss.

Scott Mosier 10:54
Yeah, it was it truly was like, kind of like, and then Dave, we knew Dave like, well, let's update. You know, let's, let's, let's bring a lot of people who know nothing.

Alex Ferrari 11:07
So I'd be on paper. This sounds fantastic as an investment. So we were talking about it's I mean, it really does black and white movie about clerks. No Star Power cost about 20 something 27,000 If I'm not mistaken. First time DP really, I mean, other than shorts, first time director first time producer. First time cast essentially had no actors for Summit. So again, on paper, solid, solid investments. Everyone lined up. Everyone's just like, How much money do you need?

Scott Mosier 11:36
Yeah, I'm like, why don't you give us a million? And we're like, no, no, no, no. We only want 1000

Alex Ferrari 11:44
Let's not get crazy. And then And also, I just recently found out that Dave, Dave was the DP on the Mandalorian. So he's done okay, for himself.

Scott Mosier 11:54
Yeah, I mean, dude, you know, shot from day one on the ship shoot, like, most the seasons of homeland, and now he's on Mandalorian. Like, you know, he, yeah, he's sort of, you know, his career. And last two has just taken off, you know, and he's doing, you know, he's been nominated for Emmys. Like, it's just amazing. But yeah, we were at that point, you know, that's my feminine paying for it, you know, essentially all those on his credit cards, but, you know, his, his, his mindset, which always made sense to me was, like, you know, you can go to NYU is if you've got mam IU, or another sort of more prestigious film school site, he could have spent 100,000, you know, 100 $200,000 So it's like, you know, by the time he came out of Vancouver Film School, having spent like, you know, eight to $10,000, and fees, and living, etc, etc. And then you add, you know, another 30 grand and credit card debt. It's like, it didn't seem you know, it was like on paper, once again, like, on paper, it was like, Is this the worst thing like, nuke? Yes, you're in debt. And if the movie is a total disaster, you'll have to dig yourself out of it. But like, I mean, but that's, and I will say this, like, that's, that's, you know, that's not me. That was Kevin, like Kevin had, Kevin's always had that drop, you know, and like to make that sort of like, leap, you know, he made the leap of like, I'm just, like, Fuck it, like, I'm just gonna do it, you know, and like, start rash, like getting credit cards.

Alex Ferrari 13:32
You know, it's, it's, I mean, look, you know, I grew up in the 90s. And that you you guys were part of that first wave of true independent like that what what we consider independent film today was created, starting in 89, with sex lies, and continue with clerics and El Mariachi and reservoir and that whole, you know, Linkletter and slacker and all these guys. And when you guys were making clerks, it hadn't really hit yet. Sundance was Sundance, but it wasn't Sundance like you guys helped create the mythos around Sundance with with clerks, and mariachi and then of course, all these other films that came around that time. So there was, there wasn't even kind of a blueprint for what you guys were doing. Like it wasn't like, oh, yeah, we're gonna submit to Sundance and then obviously, Harvey and Miramax is gonna pick this up and we're gonna get a fat check in our careers. Like, that wasn't even a thing. It's the risk that you guys were taking was not only crazy, looking. In hindsight, it's like on paper, it looked horrible, but it was like really? It was really brave and stupid.

Scott Mosier 14:39
100% but I will, I will sort of like, unfortunately punch a hole.

Alex Ferrari 14:45
Please, please punch away.

Scott Mosier 14:46
Because there was actually like a absolute blueprint with Slacker.

Alex Ferrari 14:52
You're right, I guess. Slacker. Did you write slacker?

Scott Mosier 14:54
Slacker slacker comes out. Kevin sees fluff like, here's the slacker boy. prep. Kevin goes to New York See, slacker goes, it loves it. And he's like, if that's a movie, I can make a movie, right? And then from there, there was like, you know, there was enough examples.

Alex Ferrari 15:14
I guess you're right. You'll be really early though.

Scott Mosier 15:17
Slacker. We were super early. And we definitely became like part of the sort of Sundance mythos of like, the ultra low budget, kind of like film from nowhere, you know, and then filmmaker plucked out and sort of, you know, given a career, like, we're definitely all part of that. But there was enough, you know, right down to the fact that Kevin was like, there was an article about slacker who had framed on his wall, which was, Rick had made the movie and then showed it as a in progress screen in the IFM, which was the international feature film market. And an Amy talbin did this sort of wrap up article every year called, picked a few movies, and she had picked slacker. And so that really was the blueprint, like Sundance was technically not the end zone, the end zone was to get to IFAM and screen it. So we had that blueprint. And then there was another article I remember written by Peter Broderick, which was a budget breakdown of laws of gravity, which is very, very, like by year, but it still was like, and so it kind of helped shape this idea of like, I think we can do this because the slacker was 22,000. And laws of gravity was around there, too. So it was like, it kind of became this sort of, like $25,000 idea. That was the budget, you know, and before you know, the other person who was like, very influential, who had proceeded everybody was Jarmusch. You know, like he stranger than paradise was a huge influence. I mean, like, a big influence as far as like, long takes, you know, like, there was definitely an influence, but it was also just an influence of like, you know, the young and like the those those are the first independent films, like Think stage in Paradise was like the first indie film.

Alex Ferrari 17:23
What was it? What year was that? What year was that? Is that 89 90?

Scott Mosier 17:26
I thought it was 89. I was about to look.

Alex Ferrari 17:29
Yeah, I think, because I know. I mean, obviously Soderbergh's, you know, sex lies was that was a million dollar. I was like, a million dollar movie. That wasn't a small indie. But it was the thing that kind of launched Sundance into being what Sundance essentially became. And prior to that Hollywood shuffle in 87, which was another big blueprint, which I think I think Robert Townsend doesn't get enough credit for, for being like one of the first guys I think he was one of the first guys to put everything on his credit card, and just say, Screw it, and yet, yeah,

Scott Mosier 17:58
And I like I like Kevin, the blueprint. I'm pretty, I think that was definitely Kevin put it on his credit card. It's like it was like the like the Blueprint was sort of like Hollywood shuffle slacker. laws of gravity was just the first budget I'd ever seen where they broken it down into camera equipment, and all that stuff. And I was just like, such a neophyte that I was like, it just gave me something where I was like, oh, like, so if somebody says the camera package cost three times as much I can cry bullshit, and go like No, no like this. You know what I mean? It just gave me something to, to base it off. But we did have this sort of, we had this blueprint and we ultimately go to the AFM. We have a terrible screening. And no one's in. Like there's, there's awesome the cast. And then there's like three or four other people, you know, but there's one guy, there's one guy, this guy, Robert Hawke, who was a consultant for Sundance, and was a big part of the indie film world. And he had watched it, and he becomes this sort of like, he leaves and he tells Peter Broderick, and then Amy Talman wrote the article calls Peter Broderick and says, like, is there anything I missed? And he's like, You got to watch this movie clerks. So then Kevin's in the store, we're all depressed because we're like, Well, that's it right? Like that's, that's 40 grand like, the Blueprint was over. Blueprint grant really ran out. We've turned the page and we're like, Fuck, it's blank. There's nothing left to do except lick our wounds. And then Amy Tabin calls Kevin at the store and basically we become we become the sort of, if the slacker article she wrote as the prototype, we basically become that film for that year we became the film you know, we became the slacker, over article. And then everything just sort of ballooned from there. You know, everything was just like it was all look, it's all so much of it was word of mouth.

Alex Ferrari 20:07
We'll be right back after a word from our sponsor. And now back to the show.

Scott Mosier 20:18
Because it was like, from Peter Broderick, Amy Talbott, like, it just became like, Larry cartouche from MoMA, and then John Pierce, like it, just, you know, then the film just starts like, then people are moving, advancing things without us doing anything. And we're just sitting back, you know, like, like, watching, like, you know, roller coasters. Like this. Here's like, what to

Alex Ferrari 20:44
Use someone for the ride at that point?

Scott Mosier 20:46
Yeah, as soon as we look, you know, as soon as we get to Sundance, you know, the idea leaving left is like, will someone buy, you know, we still didn't know that. And, and there have been sort of screenings prior. So some of the studios have seen it. And it was really like, well, we got to have a, we have to have really great screens to see it. So that was the only thing kind of left. And then once it's bought, then then it's truly like the roller coaster of like, you know, but it was it was really, you know, it was, it's something that the experience from beginning to end is was so incredible. Like it was it was like it was written, you know, like you by the time you're like, by the time we're in Cannes in critics week. And Kevin and I are like, trying to avoid going to the awards dinner because we didn't want to dress up or some stupid shit. And then we go when, you know, and we're just sort of like, there's this amazing photo of us sort of like, I mean, I think it's more on my back. But Kevin Spacey is just that, like, what? Holy shit moment of like, you know, because you're constantly you in a way you your, your mind sort of adjust to what happened, you know, like, Okay, we got into can and now it's over, like, Okay, we got to Sundance now. They kind of go like, alright, like, just can't keep going. Yeah, like the amazing train has, okay, maybe the train stopped here. Okay, this is great. This is amazing. And then it's like, it just kept going with that movie. It just had such a life of its own. And it was such an amazing sort of, you know, we flew around the world, it was just everywhere. I was 22, I think. So it was such, it was incredible. It was it was like, you know, in four years, it was like it has been, it will always be it will always be the most this incredibly special experience that nothing can really touch. For reasons of like, for reasons that aren't the fault of any other film I've ever worked for Don, it's just, you know, you can't, you can't really experience something for the first time.

Alex Ferrari 23:11
It's like, it's like your first love, like you can't re experience your first love. You might not end up with that person, or whatever. But that moment and that time and your age and where you are in the world and your evolution, all that stuff. You'll never ever get your first kiss. Like that's, that's something you'll never get your first. So Clark's was essentially your first time.

Scott Mosier 23:34
The first time and it was amazing. It was like, we were in Cannes and I remember, there was a Miramax boat. And then next to it was this was a yacht and Simon Obama was on it. And basically, we were, you know, we were running around all the time. But basically, we end up meeting sila bond, and he's like, you know, it kind of says, like, Oh, I love to see a movie. And I was like, I was I was planning like eight in the morning or something crazy. And he's like, we'll come get me. So I basically got up at 730 walked all the way to the because we were staying at a hotel, I walk onto his boat and no one's awake. So I wink I rouse sign on the bar, who's like, and I take him to this and I walk him into a screening. You know, it was just like,

Alex Ferrari 24:20
That's like, that's just that's like bizarro world kind of stuff. Like, you can't even write that.

Scott Mosier 24:25
Yeah, exactly. It was just such an it was such an amazing experience. And there's been so many movies, you know, there's lots of great experiences, but it was, you know, it was being that young, right? You know, and watching these doors open into a world it's like you can't I mean, that's the thing. You know, you only walk through the door wants and that was like such an amazing experience of walking through the door into this sort of world that you know, we generally are our, you know, it's presented as you know, behind the velvet rope. wrote, so to speak. So it's like, you only kind of get to walk in there Watts and that was, you know, that was clerks.

Alex Ferrari 25:07
Now the one thing that I want everyone listening and I think this is this is a this is an issue that I dealt with most of my filmmaking career and I think a lot of filmmakers still do is they look at stories like clerks and slacker and mariachi and, and that kind of time period. And they will think they'll make films today thinking that that's an option. Meaning like, what will happen to you like I always consider you guys like a lottery ticket. Like you guys want a lottery ticket, it was the right place right time right product. And that goes along for like slacker and mariachi, like, if you guys show up today with clerks, do you think you can cut through the noise?

Scott Mosier 25:43
Um, I mean, it's hard to say what I what I will say is like, something always cuts through the noise. Right? Always something that cuts through the noise. And, and part of it is part of it is definitely luck. And timing. You know, it's like, part of it is luck and timing. Because, you know, as our career went on, like, releases of movies, it's also about luck and timing to you know, it's like, you can sort of make a great movie and it gets released that a bad time of the bad marketing campaign. It doesn't sort of like, I think, could, you know, it's like, it's a time right, right now, do I think that the film like clerks? Well, it's like reading our comedy and all that, like, so much of that has grown since we've sort of come on the scene. And there's so many actors in that, in that world, that I do think it would be harder to cut through because we, what we were what and what Kevin was, was like, whether people think he's the voice of a generation, or like, I'm not arguing that point, but he was a voice from that generation that was unique and specific. And that's the thing that that's the thing that, in addition to luck, you know,

Alex Ferrari 27:12
There's a combination, it's a formula, it's not just a one thing, it's a bunch of different things I hit to get

Scott Mosier 27:17
You know, people who are out there going like, you can't if people look at clips, or slack, or it's not like Kevin looked at Slack, or I was like, I'm gonna make slacker, he more was like, Oh, that's a movie that like, that's a that's a vision from Rick Linklater, like, you know, that Kevin was like, This is what I find funny. And this is what I enjoy doing any portal himself into that, and had a unique voice. And, you know, always say this, which is, you know, Kevin had been writing for years and years and years and years since he was really young. So by the time he's 22, and writes a script, it's like, it's just fucking better than you know. And when he's 18, he's like, I'm gonna, I'm gonna write scripts. And then, you know, it's just because I ran those I wrote those, like I wrote, you know, I've tried to write a script, but holy shit like this is, you know, because I, Kevin, who was just a much more developed narrative writer, he's just kind of new, and you can see it on the page. So I think there's a lot of, you know, luck. Luck is so many things. But, you know, the pursuit of a unique voice, right? The goal shouldn't be like, What do I have, you know, like, or it's like, let's just make a movie like, let's make clarbeston in a, you know, a like valets. Let's make ballets. And it's like, you can go ahead. But unless being a ballet is this very personal thing, where you can convey something to the audience that that is unique, then you just become like, a knockoff movie, you know? And I think like, I think when people sit there and go, like, hey, let's make something cheap. It's like, well, maybe something cheap and personal. And those bad combination. Will that that combination, at least has the chance to come through them. Right? Because you're doing something that's like you have to in some people's personal, what's personal to them, and what means something to them can be a $30,000 movie or some people it's like before it even like, you know, sometimes the scale of that can be some people like sci fi, like, it doesn't really matter, but like, I do think finding your voice is and I'll bring it back to me, which is like, that experience of finding your voice was a much longer process for me. And then like I you know, Kevin walked in the door and like 22 like he had been developing his voice for years though, like he But writing school plays and stuff like that. But finding your voice for me is the most important thing that you can do. Like that's the thing that like finding your voice finding that thing that's unique to you. If you can look at something in a way that no one else is necessarily expressing. There's other people who see it the same way. And if you can capture that, that's how you gain an audience, right? Like, we all look at things in different ways. But there's also just like, anyone clerks did it. This is like, not anything I thought about 21. But what I thought what I think it did was it created this sort of, you know, it was an expression of something that didn't exist. And there was this huge audience. So it was like, it does exist. This is how I talked about like, like, this is what we think is funny. This is when we fall short with our friends like, and that that's the part where it's like, there's all kinds of luck that has to come into it. There's all kinds of timing. And we as filmmakers, like I believe, what you have to focus on first and foremost is like, what's the unique? What do you what's, what's the unique sort of perspective that you're bringing? To what you're doing?

Alex Ferrari 31:21
That's a that's a great, great, great piece of advice. You're absolutely right, if you could connect with something that's authentic to you in your own voice. If you try to go make another clerks, you're gonna fail, because there's, there's already a clerks, and it was done authentically by Kevin and you. And, yeah, I agree with you. 100%. Now, after clerks, obviously, you guys are the toast of the town. You know, you're the belle of the ball. You're you're being wooed. It's the it's the early 90s. Money is flying everywhere. And they say, What do you want to do next? And I and Kevin, and you say, hey, let's do mall rats. And you're like, here's, here's that those million dollars you were talking about earlier, now we'll accept your money. So you make mall rats, which by the way, I'm I'm actually a very big fan of mall rats. I actually saw it in the theater test screening in the theater when I was in college. And I got I got that little book that the movie official movie book. They gave one to you as you walked out and stuff i Oh, yeah, I saw I was me and my friend, were pacing ourselves when we saw it, because it was speaking to us at that time in our lives. So Mallrats didn't live up to the financial expectations of the studio. I didn't want to say that loud, it.

Scott Mosier 32:33
Totally bought the bar out of an eel, you know, a long time ago, knowing that, like the audience ultimately found that movie. You know, it didn't didn't, it wasn't 99 You know, when it came out, it was like, it was pretty dark. We're both like, fuck, because you Paul, I work into it. But and you and you.

Alex Ferrari 32:53
And you guys were pretty much so you guys were put in because you you had one hit, which was clerics, which was kind of like, alright, this is an anomaly. Let's see if these guys have anything else. So they give you a little bit of money. And then Mallrats happens and it bombs. So that pretty much blacklist you in town for my understand, like it kind of just your director, jail and producer at this point.

Scott Mosier 33:11
It's this, you know, it's the sophomore slump, because the reviews are terrible, you know, a lot of it sort of like pointed right at Kevin, I think, which was just like, you know, we built you up, we, you know, we really send you and then you make this and, you know, I think in hindsight, I would be curious, if any, if any critics would have the, you know, to go back and relook at that movie and, and understand its connection to clerks, you know, like, understand that it's not this sort of, and I think for you as an audience member, like you understood it, right. Like, it felt like, like a proper extension of what that movie was. And but we were, you know, at that point Kevin has adopted before was over Kevin and started writing a version of Chasing Amy that was a little bit more commercial. And as soon as it happens, it's like, I guess you're in jail, but in a way we didn't even we lived in Jersey, so it was like, it wasn't like, it wasn't like, we were injured. It's like when you're not in Hollywood. It's like you're not it's like you don't really

Alex Ferrari 34:24
You didn't feel the heat. If you will

Scott Mosier 34:26
We didn't feel anything we're just kind of like more bummed out and like, oh shit, what do we do now? And Kevin was like, you know, like, let's just go make a movie. You know, and let's do it quickly. And so JC Nene became a, a reaction to all that money, you know, that we were given and the fact that it didn't do well we're like, well, let's create something that we know we can get enough money. Let's do it cheap and, and also do it our way. You know, we kind of went back to it. Let's do it for enough money that we can be left alone. And then really be specific about what we're doing and not worry about, you know, casting like we can cast to we want so let's do it for, you know, shot the whole thing.

Alex Ferrari 35:15
You know, like 100 grand or 100 grand or something like that, right?

Scott Mosier 35:18
It was like to shoot it and start cutting, you know, to deliver like a sort of a couple cuts of the movie and get it far along is a couple 100 grand. So there's a post cost and all the rest of it, but we did it, you know, we kind of went in and a price point that was like, we knew that it wasn't a huge investment for somebody, we can make our money back, you know, we're using like, a great crew, you know, young people, and because we were young, two of them were I think I was 26 at that point, young crew from New York, you know, it was coming down, you're shooting on Jersey, and then you know, we're back to sort of a version of, of making clerks again, just with, you know, we took the experiences from clerks, we took the experience from our ads and sort of JC Namie becomes the, the rebuilding here, you know, I've become like, let's, let's, let's sort of, like, we, we had other producers on Mara, too. We got along with but it was like, this was like, alright, let's just do this our way. Like, yes, we need a bigger crew. Yes, we need this. Yes, we need that. But like how do we do that through through our filter and through the way we want to do things and then from there, it's like, after GCD we that's where we carry on through document everything else but there was a really like it was a refocus. The whole movie was a sort of like a shift back to like, this is what we're doing

Alex Ferrari 36:45
And the smart thing that you guys did is that you move so quickly. Because Mallrats was you know, you guys, it was a lot of eyeballs on you in town, like oh, these guys obviously, they're there. They're one hit wonder, you know, that's it their bubble gum. Let's it's it's move on. But you guys like No, no, let's let's get in there. And arguably Chasing Amy is one of my favorite of the filmography of what you and Kevin have done. There's so much heart so much authenticity in that film. It's not nearly as silly as Mallrats in the crudeness of it, but there still is those elements. But there's so much more heart in chasing me like there's it's deeper, in a way am I am I wrong on that?

Scott Mosier 37:27
No, no, I mean, I think I think JC Namie becomes the sort of I think a lot of people react to it, because it becomes the sort of the movie that sort of represents kind of more the totality of food cabinets, right. So it's like, the crude humor, of course, is part of it. But it's like, you know, he's also a drama, you know, he's a dramatist. He's, you know, he's, he's also somebody who's like, has a big heart. And, you know, it's also a personal movie, you know, and so, it's a personal movie for him. And I think that that sort of shifts, you know, sort of Clarkson Maher as this becomes something where he's like, I'm gonna tell another personal story, which, you know, just happens to be more grounded in you know, there's a lot more drama and real drama. Right. So it's like, sort of drama coming from stemming from a specific situation, but I think it became like, and that was a year lace of marks comes out in 9596, like February or something, we start shooting juicy Navy in February, March. And then January 97. We're in Sundance, you know, we're we're back.

Alex Ferrari 38:45
And we're back baby. And we're a we're back. And that and that does gangbusters at the box office, especially for its budget and launches. This little known actor really Ben Affleck was just his first starring role and in that, that whole thing, so it was just an exciting time because I was I was following you guys. Like I was following you and Robert and Quinton and all that, you know, that crew and Richard and all that crew, I would watch every damn thing you guys put out. And it was that weird time. And I always tell people that's like the 90s It felt like, every month there was a new Cinderella story. It's either John Singleton, it's, it's at burns. It's it's Kevin Smith, it was like, it's just it was an amazing time to be an independent filmmaker. It was kind of like when, when Spielberg and Lucas and bilious and and Coppola and dipalma that film school brats generation when they were given the keys to Hollywood because Hollywood had no idea what the hell to do. So they'd like here go make taxi driver. And you guys kind of had that run in the 90s. It was that from like, 89 to like, 9899 there was that run that was just so many amazing filmmakers came out during that time.

Scott Mosier 39:55
I mean, I think there's you know, I'm sure someone's read a book about it, but you Like, you know, part of it is like the industry sort of needs to open.

Alex Ferrari 40:05
We'll be right back after a word from our sponsor. And now back to the show.

Scott Mosier 40:16
You know, sort of like, especially then it's like, nowadays, it feels like there's a lot of venues and ways to get things made. And back then it was like, it was just harder to get things made, because there weren't as many outlets. But you also see the surge of, you know, Fox Searchlight. So there's more sort of like, there's more outlets for these movies, there's more opportunities, but also, it felt like the big you know, like in the 70s, the business kind of like, how do we fucking how to make money? Yeah, like, what do audiences want? Like, you know, there's also a generational thing to me, which is like, the industry has to open its doors every once in a while to let in the new generation of voices that they don't necessarily understand. Either, like, what was happening in the 70s. It's like, it's not like, those guys who were making movies in the 50s. And 60s, necessarily understood like that the audience wanted to see Easy Rider, right? Like, right,

Alex Ferrari 41:15
Easy Rider kind of opened the door for all those guys that like this, wait a minute, this 200 and something $1,000 movie went on and made like, you know, $10 million, or whatever it made, they were just like, we don't know what the hell's going on. Let's give it to these guys. This Scorsese the Spielberg kid, let's give him that shark movie.

Scott Mosier 41:31
Just became a, it's like audiences change. You know, I think it's always like, some combination of, you know, audiences are changing and the fan, you know, jogger, people come up, and it's happening now. Like, like, there's, you know, I'm almost 50. So it's not like I'm the young buck anymore. And there's a whole generation of people coming up that have been influenced by totally different people. And, you know, they've all had the internet, since they were born, like, all of these influences change where people people's tastes. So it's like, I you know, and I think in the 90s, there was a sense of like, coming out of the 80s it was like this need of like, fresh voices and, you know, something that was more reflective of, of that generation coming up.

Alex Ferrari 42:22
The Gen X the Gen X guys, you know, you were Gen X guys were the generation was like, I just yeah, there's the 90s were fun, man, the 90s were fun. I miss I miss them more now than ever before. When you could just go to a movie theater. That was nice.

Scott Mosier 42:39
Well it was like last year. Back to the 90s. But yeah, the 90s were weird a lot. You know, I have a lot of fun in the 90s. It's funny, no one ever talks about the 2000s.

Alex Ferrari 42:52
You know, like, you never hear like, Oh, the 2000s music like no, you know, I know those songs. And I know that and I know those films, but in the 80s and 90s. Get in the 70s 80s and 90s kind of get that they have their own thing. But the 2000s is tough. And like the 2010s was another

Scott Mosier 43:09
just too young.

Alex Ferrari 43:11
I don't know, oh, no, don't worry, it'll come back around. Like right now we're in our 90s nostalgia. And I think now people are starting to kick into the early 2000s. It's like a two decade run. Because eight remember when the 80s was like all the rage, like everything was 80s 80s 80s and 80s. It still 80s is still cool to a certain extent. But I remember when the 70s like in the 90s the 70s were kind of like a thing and it's like a two to three decade delay.

Scott Mosier 43:35
We're old enough for it's like a certain point, like we're not Estelle I like part of is because like we have we you and I will probably never have nostalgia for the 2000s. Right, because we're too bold, like, like, once you hit 30, or whatever it feels like you sort of cease being you know, it's like you stop like living in this, you stop reflecting back in the static terms. Like, as I was going, like, I graduated from high school in 89. So the 80s was like, when you know the movies and music. You're you're you're sort of what I think is like the 80s For me, 80s and 90s was an explosion of like, I'm ingesting massive amounts of art in the form of movies, music, photography, like everything, like the 80s and 90s. Like I would fucking watch like for me, like when I was in, I would watch four movies a day. Yep. Like, like, if this massive period where you're taking things in, partly because you know, you're not great, or you have an outlet to like, put things out. So you're sort of like, you're amassing all this stuff. And so I think that's why it has such a strong influence. Who we are like, I think back to the 80s and 90s. And yeah, like I like everything I do today. It's like it feels a little bit referential to that time, but part of it is because like that is when the synapses are really forming around like, and these sort of large touchstones like land in your head during that period of time like 1000. Like, I don't have all these sort of cultural test touchstones of like, you know, I was, of course, I was listening to music and watching movies, I'm doing all that stuff. There's great movies from that period of great music and all that stuff. But it's still like, it doesn't have the same sheen to it, because it wasn't during that sort of explosive period of like, you know, getting your driver's license and kissing like everything's new.

Alex Ferrari 45:44
You're absolutely you're absolutely right. You're absolutely right. Now, there's a couple of there's a few films that you produced that I had. I mean, I'd heard of a couple of them. But I didn't when I started doing research, I actually went into it, and there was a group of four features that you produce vulgar. Drawing flies a better place in the big helium dog. I I've seen some of big helium dog. It was shot on like, VHS, I'd like I don't beta like what was that?

Scott Mosier 46:12
I think they were all shot on 16 millimeter.

Alex Ferrari 46:15
Really, they were all shot because I guess the copy that I saw was so bad. That it was like you shot it on video. And like, why did they shoot this video? This makes no sense. But the other ones were shot on 16. So you know, some of the people in that like, yeah, the broken lizard guys, you had a cue from Impractical Jokers. And Baba Booey, Brian Lynch, all this these amazing people tell us Can you tell me a little bit about those four movies. And because they were kind of in a small, they were in a short period of time, they were all made.

Scott Mosier 46:45
It was after, I think it was after Chasing Amy. And we had sort of signed a deal with Miramax like an overall deal. And part of what we threw in was like, hey, we want to make these micro budget movies, it sort of in a way to sort of like our career was sort of the movies are getting bigger, you know, the budgets are getting bigger. And we're like, Well, hey, let's sort of with some of the people we know, that have scripts that that they're writing and stuff, like let's go make some of these micro budget things in the 2025 range, basically click to budget, I feel like we got 100 grand to make for movies, and we sort of and then the relationships was, you know, Brian Lynch had worked on tasty Namie. Vince Brera had been around since clerks who directed a better place, and then vulgar Brian Johnson was Kevin's friend for a long time. All these movies just became an extension of that moment, we were like, Oh, well, let's go sort of make some of these movies. You know, and, and it did it happened within like a two, or I think it was like two or three year period, you know, and, and Brian was the one who knew the broken lizard guys, and poor, you know, he kind of had connections to them, and Brian Quinn and just worked at the office. So like, he had worked. Even more, I just, I was talking to him the other day, like, we've known each other for like, 25 years, he had sort of come in to work at the office, like he was in charge of, like, back in 19. You know, 99 If you got a t shirt set in the mail, it was Brian Clinton did it. You know, like, that's where he was.

Alex Ferrari 48:38
He was working. He was working at USQ

Scott Mosier 48:40
Yeah, he was working at USQ at that time. And so all the people we kind of knew, and it was like, you know, we loved independent film. And so we're like, Let's go make some of these movies. And they're all very different, you know, and vulgar got into Toronto, and they all had various degrees of success and, and then and then I think it was like, my memory of like, why didn't we keep doing it? It was it was a lot. It was a lot of like, there's almost too much work.

Alex Ferrari 49:10
Like making making a movie. It's not that easy.

Scott Mosier 49:13
We weren't it's not like we were on set all the time. And I think it was just a matter of like we need dogma so we're heading into dogma and and the club's cartoons happening and it's like the the amount of more coordinating is expanding and then suddenly like to maintain those were to keep them going just saw too much work. But it was really fun.

Alex Ferrari 49:33
And now it's true that there is just no copies of big helium dog anywhere.

Scott Mosier 49:38
I mean, Brian Lynch has one.

Alex Ferrari 49:41
I just saw an interview he said, but he doesn't have one. He said

Scott Mosier 49:47
As far as I know,

Alex Ferrari 49:48
He has a copy of it, but it's not been released, but it's not available and released.

Scott Mosier 49:52
And I can't remember why there was some clearance issue. But it was never released. Now the rest of the hammer

Alex Ferrari 49:59
That's a hell of a cast now.

Scott Mosier 50:02
I don't know what happened to it, it was like it was off and on through the years, it was like music clearances, or there was something that was sort of pain over its head. And it just, it just never sort of my thought of he must have a copy

Alex Ferrari 50:15
I have to believe and he's the director, he's got to have at least just copy of it or

Scott Mosier 50:21
The lost arc define. Exactly. Yeah, I don't know, might be uncertain, like we're USQ or somewhere, there's got to be a copy, I do not have a copy. So

Alex Ferrari 50:31
One day, we'll get one day we'll get leaked on on on online, just like Deadpool did accidentally. Now, you you, you also got involved with another little known film as a producer called Goodwill Hunting. And that was, you know, one of my favorite films of that of that time period. And how did you get involved with that? And how did you like kind of was the band that brought you in on that.

Scott Mosier 50:58
So we were on Mallrats, we met that. And at that time, we were aware of who he was because like the whole saga of Goodwill Hunting was at a trade where they had sold like Ben and Matt install the script to Castle Rock for a bunch of money. So it's like, you know, other young guys, like sell script for a lot of money. And so it was on our radar. And then through Maher ads, we became friends. And my memory is that like during that period, we met Matt during like, a sort of internal screening Mr. outs. But basically, what we found out is that that Castle Rock was going to put into turnaround, because the guys are attached, but they wanted to attach a director that the guys aren't excited about. So basically, there was like a, and so there was like a big turnaround cost. And they sent us the script, and we really loved it. And we had just signed our overall deal Miramax. And so we sent it to our executive job board, and we're like, this is fucking great. You guys should make this like we, you know, like, you should meet with the guys. There's a turnaround cost, you guys should act fast and dive all over it. And so it happened really quickly. And that's, you know, our job. We really were just like, we just signed the deal. So we became a sort of conduit to get up there, hype it up and get everybody excited. And then it happened really quickly. So that time by the time Chasing Amy happens. All that was done. Like basically the movie was at the movie was it was a Miramax and they were writing doing rewrites, and they were also like, like, I remember like meeting with directors, you know, there was like before, like they want to guess to do it because they had met Gus and Gus wanted to do but then it was like Michael Mann and a couple other drugs.

That would have been an inch Michael Mann's Good Will Hunting would have been a very interesting might have been a couple more guns, just a couple,

Like an all guns, but

Alex Ferrari 53:15
It would have been a shootout with Will Hunting, which is that bluff, that great sequel, Good Will Hunting to hunting season for Strikes Back.

Scott Mosier 53:24
The version in a totally different way. But yeah, it was and then we you know, sort of, and then once it's in the hands of governments, and it's sort of just you know, then you just get to be a fly on the wall. So we were up there a couple times are shooting in Toronto, and it was just, you know, it was really interesting. I mean, for me, it was really interesting to watch, because you're working so much you're not on us, you know, you don't go on the sets of other filmmakers. And it's sort of interesting to watch how people act in different ways. Like he's very quiet and sort of, you know, he's not sort of sitting at the monitor shouting like, he sort of directs in this more sort of quiet way. Yeah, I mean, I felt was like, I remember seeing the, we went into New York to see like, the, the director's cut or whatever. And it was like, an ad. Like, it was basically 90% 95% of what the movie ended up being like, it was just so like, he just knew what he wanted it to be. And it was so specific. And like, it was just incredible. Like I remember just being chills was like, wow,

Alex Ferrari 54:28
So, so good. It's just so, so, so, so good. Now, during this time, I think you were heading into dogma. Did you? Did you guys know that this was going to be as controversial, essentially became

Scott Mosier 54:43
We knew, in the sense that, you know, at that point, Miramax was owned by Disney, and Disney was like, you know, we're not going to let you make this movie. So it's like it wasn't like we kind of entered into it. The writing was on the was a little bit from the very beginning that like, there was a real like, problem, that there was a problem and then it sort of it, you know, kind of grew from there and then kind of like, you know, peaked at a certain point and didn't kind of get worse or, or didn't get better or worse. It just sort of, you know, there's pickets in the New York Film Festival and tickets to the movie, you know, ticketing are when the when the movie came out, but

I actually remember seeing Kevin going out to pick it with them, like, Who's this bastard who made this movie? It was

Yeah, he went out. And he protested.

Alex Ferrari 55:41
He protested on his own film

Scott Mosier 55:42
Yeah, it was great. But, but yeah, it was a it was we we kind of knew enough to you know, we had a fake name for the movie while we're making it. You know, nothing really came of it. But there was there was definitely like, a tension about it before. Early on, and it was, I mean, was it a surprise to us? Like, we're like, what's the big deal? Yeah, but enough people at that point, we're like, You got to take it more seriously. And so

Alex Ferrari 56:13
You're playing with fire, you're playing with fire guys. Just be just be aware of what's going on. Don't be completely ignorant of what's happening.

Scott Mosier 56:20
I mean, part of me is just like, it never really got that bad. And I couldn't imagine if you know, today,

Alex Ferrari 56:28
Oh, my god, can you imagine daughter showed up today?

Scott Mosier 56:32
Like I just, you know, partly was social media and all the rest of it. It was just, I mean, that's part of the thing, too. It's like even a protest has to like be ignited. Right, it needs fuel. And I think it was still 1998. And it's like, there just wasn't the, you know, it was still just like people in like, 10 people in front of a movie theater, and I was just driving home, oh, my God,

Alex Ferrari 56:54
Whatever, whatever. Yeah. Okay, yeah. Imagine Facebook around that time, or Twitter or some like that would have exploded?

Scott Mosier 57:01
It would, it would certainly do fewer people. I mean, the key is like, a few people can make a lot of noise now. And you know, and I think back then it was way harder to do. So just sort of the momentum of what happened around the release, it just kind of was like, it just it was kind of gone very quickly.

Alex Ferrari 57:20
Now, another film that you produced, Jersey curl was unlike anything I'd ever seen in the sense of the attention that you guys were getting, like, while the movie was being made, because of Ben and Ben and Jennifer's relationship, or Bennifer, as they like to call it. I mean, the pressure of you guys, as the filmmakers must have been like, do I just want to make a movie and it all of a sudden turns into this thing that it's not even about? Like it's about Jennifer, we got to cut Jennifer out of it now, because she had this thing with Jill with Julie or the other thing that they said, like you got you got caught up in this kind of tsunami, that was not even your fault, or even initiated by you guys got just caught up in the, the banner for tsunami? How do you deal with that being like, in the center of a hurricane like that? When you Kevin, we're dealing with that?

Scott Mosier 58:11
You know, you I mean ultimately, like with everything in life, it's like, you get to a point where you're just like, well, there's nothing we can do about like, there's nothing you can do about it, it but like the you know, the time when we started the movie, it's like, their relationship just started. So on one level, there's, you're like, well, this could be great for the movie, right? Like, there's no you don't know, either way. And then when, and then by the time we get to the test screen, it's just obviously not going to be beneficial to the movie, because people had such a strong opinion of the two of them that it, you know, transferred onto the movie itself. And then it was kind of after the first test or anywhere like, well, there's nothing we can do. You know, it's like, there's really nothing we could do. It's like, the audience is not going to be enamored with this. And so like, it did become about trying to look, you don't want to be in that situation. You know, you don't want to be sort of fueled by or be making creative decisions based on just sort of like a negative response that your audiences has to the actual individuals and not the characters. But you also, you know, there's nothing to do it's like, once you're sitting, and it was it was enough. It wasn't like there's two people it was like there was like, a couple that like we're like we fucking hate those guys. It was like, like it was palpable. You're like, alright, if we keep testing this thing, and it wasn't now there's gonna be a whole other audiences like we love them. We hate them. It wasn't even like it was just like, generally people were like, We don't want to necessarily watch this.

Alex Ferrari 59:59
Well right back after a word from our sponsor. And now back to the show.

Scott Mosier 1:00:10
And so, you know, you try to pivot off of that and try to maintain, you know, the story you want to tell as best as possible, but But you know, ultimately is going on with theater, ultimately, an audience is going to end if it's, if it's keeping the audience. Unfortunately, it's like, you know, it's not what the movie is about. So you're like, right, if it's keeping the audience from sort of interacting with, or sort of being receptive to, you know, what the heart of the movie is, then, you know, you have to make that decision of like, start to trim that part of the movie down and get into the sort of the rest of it. So it was, it was definitely frustrating. But, you know, I tend to believe, like, the interviewer spend battling things you just have no control over is just, you know, a lot of wasted energy. And

Alex Ferrari 1:01:06
Well, that that is, that is that is a words of an almost 50 year old man saying that, and I completely understand what you're saying, because things i There's just stuff you just can't get until you hit a certain age, or experiences in your life.

Scott Mosier 1:01:21
Like, there's a great saying, like worrying is paying debt on money. You don't own.

Alex Ferrari 1:01:25
That's great line. Great line. Yeah.

Scott Mosier 1:01:29
And that's, you know, it's like, and you can apply that to like worrying about things that you have absolutely no control over, is paying debt on money, you don't know, like, you're sort of, you're just grinding in this sort of thing. And, look, we're younger back that. So I can probably impart these ideas, because, like, you go through enough experiences where you're like, oh, wow, there really was nothing we could do like that. That component of the movie was this exterior issue that existed outside of us, we couldn't reach into it, then like, we couldn't read cut their public persona, right?

Alex Ferrari 1:02:07
That that was, that was the thing about it is it was a lot of times when there's controversy and filmic dogma was generated by you guys. Like that's just the nature of the story. And there was a there was a, you know, controversy and all of that stuff. And even Zack and Miri Make a Porno. That had some controversy too, because had to work porn that way. Like it freaked people out. And but again, generated by you guys, but this was out of your control, like it was completely exterior. And I think also people were just so exhausted of seeing those two, together, which we don't want to see a movie with these two now. Like, it was just so much and you guys just got caught up in that week.

Scott Mosier 1:02:42
Yeah, I mean, look, there's, there's, for every look, Hollywood, you know, couples in Hollywood getting together making movies has got has been an incredible publicity benefit. And it's been a bad one. And it's like, it's not like, it's not like we came to that moment. If we all come to that moment, and they're like, every time two stars are moving together like this, it's a disaster, then, obviously, there would have been enough people in the room go like, don't do it. But it wasn't that it was like there's cases in both sides. It's like, it could either be a boon, or it can be bad.

Alex Ferrari 1:03:22
It could be midterm, it could be Mr. And Mrs. Smith, you know, which was exactly the same kind of Brangelina and that whole thing, and it was, but it fed it, it fed that movie, and this one, it just sucked and hurt the movie.

Scott Mosier 1:03:38
And by the time the movie comes out, it's like, there hasn't been a sort of turn. But basically, from the time we started moving on, it's like, you know, you know, the public is is fickle. In their mind and like, and you sort of sit in the tester and go like, alright, you know, like, what are we gonna? Like, there's nothing we could do, we could be bad, like, it was hard. You couldn't really focus your ire on anybody either. I mean, you could try but once again, it was like, it was just that situation

Alex Ferrari 1:04:09
As Don Quixote essentially hitting the windmill at that point, you're like, there's nothing you can do.

Scott Mosier 1:04:14
You, like I said, we couldn't, if we have the ability to get to go in and reshape the public persona, to make it awkward again, we could have done that and get the movie the way it is. But that's we have no we can do that. The only thing we can control is, is the content and the movie sort of, you know, trimming back their sort of relationship with the beginning of the movie.

Alex Ferrari 1:04:42
But it ages Well, like you watch that movie now. It's aged very, very well, because you're so far removed from that ridiculousness that now the movie can live on its own. So it's, I was just I was curious about that.

Scott Mosier 1:04:54
And the movies hopefully about him and his daughter, and so the movies about and and And so you know, it ultimately, like you said, sort of. I don't necessarily I think there's probably a I don't think even trimming back some of the beginning stuff was the end of the world, I think there's probably like a another version of the movie that's more of like a, you know, maybe a slightly extended up to being maybe putting some of this stuff back in there. But I think overall, it's like, you know, it didn't it didn't it didn't sort of break the movie. Let's put it that way.

Alex Ferrari 1:05:29
Exactly, exactly. Now, you know, we've been talking all about you producing and making, you know, VSU kind of films and all that kind of stuff. But then out of left field, almost, I start seeing that you're writing Freebirds and getting involved with that, and then directing the Grinch co directing the Grinch, and how the hell did you get into animation? And like, how did that work around town when you walked in? Like, I think you were saying, like, aren't you the clerk's guy? Like, why are you in animation?

Scott Mosier 1:06:04
I am, you know, I'd always want to remember, I was gonna go to art school or film school. So so the sort of, I was I was I was doodling and drawing. And I was really like, before, I was really debating whether to go to art school or Trump school. Right at the moment that I ended up making a decision, go to Vancouver Film, school and makeup, and like, It's that fast. And I didn't know what to do. And I was living near UCLA. I could, my grades weren't good enough to go there. But I was living in these sort of like shitty apartments there. And I used to run around the campus, like I would do two or three runs around the entire campus. And then sometimes I cut through the middle, and there were these big stairs, where they shot gotcha, like, are these big stairs right in the middle of the thing, and I would run up the stairs. I was running and I was like, What am I gonna do? And I run up the stairs, and it was nighttime, I'd run at night after I was working. And against the top of stairs, it was really bright light in my face, and so I kind of like slow down and adjust. And they were shooting a movie. And I was like, I was I was it like I was like, you know, I was my decision was sort of made in that moment. And then basically, I very quickly applied the main console school, and 455 months later, from that moment in time up in Vancouver, and I mean, Kevin, like after that sort of moment, but was the hard part, you know, the art thing was always in my head.

So in other words, if a if an animation cell would have fell out of a window and hit you in the head, we you might have never gone on that

Life drawing class up there. I'd have been like, oh my god, like I just assign.

Alex Ferrari 1:07:55
This is the sign!

Scott Mosier 1:07:56
And so I go to, but I'd always been interested in it. And then, you know, I've always loved animation. But the big moment was I remember Kevin and I, because Jason league up to see the Incredibles four came out. And it was like, and it was a special screening. And, you know, I loved animation. And, you know, I've thought that Toy Story and I'd already sort of, like, I was really interested in this sort of new technology applied to this sort of classical to these. And so I saw that screening, though. And that was the thing where I was like, oh, no, dude, like, I really love to do this, because it felt like it was a movie. Like it really felt like a movie. It was like, it's an animated movie, but the can't, you know, the camera work the performances, like it just felt like, oh, you can you can just make a movie. Like you could do what crane shot like, you can do whatever you want it like you have all the filmmaking tools inside of this box, you know, and, and from there, and I remember telling Kevin, like, I think I left there and I was like, I want to do that, like I want to I want to get under the hood of that and sort of do it and and so coming off of Zack and Miri it was kind of the moment where I was like, I was like, I'm gonna do it. Like, I gotta, you know, I just got to do it. Like, I gotta sort of stop. I could do this forever. This is comfortable. And, you know, for me, I was like, this is the stop and sort of, you know, rebuild myself like we refocus myself specifically on animation and and writing to and like I sort of stopped up Zach and Miriam was just kind of like focusing on writing and trying to get into animation and that's when this guy Aaron Warner, I knew and then it just and then it becomes like you're in the business long enough and you know enough people and it's sort of if you If you're fun to work with, you're good to work with your work hard, like, you know, all that stuff can pay off, I call the say that which is Freebirds becomes this guy here, and Warner would produce all the tracks was like, have this movie Freebirds was called turkeys at the time. And he was like, you know, cuz you want to if you want to learn animation like this thing's like a fast moving train. And if you're willing to sort of like jump onto it, you'll learn very quickly that and so I was like, as the producer and I was like, Yeah, I was like, This is my shot, you know, because at that point, it's like now, now it's like animated animation, making animated films is a much broader sort of, there's more opportunities, but at that point, it was like, you know, this is the, this is the beginning of everything opening up that, you know, that was more like Pixar and blues, like there's these established studios, if you had an idea, you had to go to those specific places, and that was it. So then I jumped on Freebirds. And just through the process of making it, you know, it's it's a very open, collaborative, sort of medium, it's a little, you know, a little bit different from making live action, because it's just the pace of it's different. It's just a much more open forum, you know, you're sort of making it a you ever, you're getting together with a bunch of artists coming up with ideas. And so I started writing pages, and those are getting, you know, brought in and then I come off of that. I come on Freebirds. And I don't want to do I don't want to do animation. And so because I was tired. It was a it was a tough, it was just tough,

Alex Ferrari 1:11:45
Yeah because you produced and wrote as well.

Scott Mosier 1:11:47
Yeah, it was a tough schedule. And so I came off, I was like, I'm not sure. I was like, I loved a lot of it and the people I worked with, but I was like, I'm not sure if I want to do it. And then then I was just working as an editor, you know, and stepped up to the years. And I cut a documentary on Marvel that was on ABC called from pulp to pop was like, so I did that. And then I was cutting. I've taken over ours finished, I was just doing a Polish, a little polish. I wasn't the main editor, I was just there for the end of a movie called it ultimately became called no escape. But it's called The coup was going Wilson and Pierce Brosnan. It's by the doubt and bro the down the breath down the brothers. We just did the Waco series and like I've known them. And my friend was the editor. And I was like, Oh, get on that. And we're were and then that's when I got emailed by from Chris Mellon Donner email me. And I didn't know. And I was like, Well, I don't understand why I'm getting an email from him. But once again, so Brian Lynch, who was the craft service guy on JC Namie. I've done all these other things. You know, he wrote minions and but he wrote top, so he'd been working in illumination for a while. And he had given me ever he had given Chris my information. And Chris was like, hey, cuz elimination at that point was like, they were making more movies. And so it was like, as opposed to one every two or three years, they're trying to do, you know, to a year like they were just, and he was feeling like, maybe I'll bring in for the first time like a producer, like an independent producer to help me sort of manage projects. And once again, I was like, No, I'm not sure if I want to do animation. And the doubt and brothers are just like, the edit room I were in was like a block and a half from Chris's office. And they're like, they're like, dude, like the fuck, like a walk down the block. And I was like, alright, so I went, and then Chris, and I hit it off really well. And we met three or four times. And then before we met a couple times before the Grinch came up, and then he showed me some artwork had been going on at that point for six, seven months or whatever. And, and so we went back and forth. And then finally, I was like, yeah, like I was kind of, I really got along with him. Well, and I was like, I was like, Yeah, I'm gonna do it so

Alex Ferrari 1:14:30
That it's so funny because when you talk about as you're talking a lot of a lot of filmmakers listening a lot of times they think, oh, it's about it's about the agent or it's about the manager, it's or about, you know, this or that and it's just, it's about relationships. I mean, seriously, the craft service guy, who if you would have been addict to? Yes, I would have never recommended you for that job. Because you never know where anyone's gonna be. And I've had that happen to me in my career where they were my interest And then they all go off and are directing movies and have, you know, all these amazing career? It's so remarkable that just the craft service guy, what is it? 15 years later? 20 years later?

Scott Mosier 1:15:13
24, five years later, and I've kept in touch with Brian like, sure. You know, we've read, he'd send me scripts, and I'd read them and we've kept in touch and but yeah, that was, you know, relationships. Yeah, that was a seed of it of like, then someone like Chris was, like, knew Brian was like, trust his opinion. And then he's like, who do you know, that might be good about and I come off a free bird. So I ultimately had some experience at that size. Like, I had some experience. And so, and I was even honest with Chris was like, like, I honestly don't know if I want to do any

Alex Ferrari 1:15:53
Worst job interview ever.

Scott Mosier 1:15:56
I was really like, I want to get into this. But like I said, I really got on with him. And then, you know, when he finally brought up the grand shots, and look, we brought up the Grinch, I was torn to because, you know, I love the Chuck Jones version. I grew up with that. And so I was like, oh, man, like, I don't know if I want to be the guy that Fuck this. I don't want to be the guy that screws up the grids. Yeah, guys, like, it was just the book. It's like, these are like, oh, you know, like, he didn't do a good adaptation. But it was like, there's there was a lot of things for it. There's, there's the beloved Chuck downs, classic, which was was in me too. But you know, then I was like, but it's a really cool opportunity to sort of build out a different version of it. And also, you know, build a bigger world, you know, that was like, part of what we were doing is like, Oh, we get to really explore Whoville and really expand on it and make this sort of a more expansive, experiential movie of it.

Alex Ferrari 1:17:04
So and it did and it did okay. at the box office did okay.

Scott Mosier 1:17:07
It did ultimately did well, yeah,

Alex Ferrari 1:17:09
Half a half a billion according to IMDb Pro. So, not not bad for a job you didn't want.

Scott Mosier 1:17:17
The credit goes to so many people. Sure. What's so much fun with animation is it's like, there's so many incredible artists from, you know, lay out to, you know, animators to, you know, that sort of concept artists and art directors and the vocal talent of so many people. That's the greatest thing of animation. It's like, you know, it's like, you spend years and years and years, and just when you're like, about to shoot yourself going, like, it's fun to fucking look at a storyboard, you know? It's like, then you start to see, like, then it's like, right, when you're there, it's like, you start animating? And then right when you're sort of like going, like, they start lighting and rendering and like, it's like, right, when you're sort of getting tired and cut going, like, what do we get to see the final, you know, revenues, sort of desperate to see final images, they always seem to pop up. And you go, like, Okay, this is why we're doing it. Cuz it's like, it does just look in crowd. It's like, when you get to send in dailies and see the finished stuff, there's like, it's just so amazing. That's what it is, like, it's a paint, you have to be patient.

Alex Ferrari 1:18:31
No, it's now it's a system. I mean, when they were coming up, you know, when when Disney animation was kind of setting it all up. And they didn't even know what they were doing. But like now, it's there's a system and I have a good buddy of mine that worked that Disney for 12 years as an animator. He did, he did environments. He was in the elite and environments, and I would go into Disney animation. And I'd walk around and I'd see the different apartments and it just like, in awe, it's just in awe of what you could do. And as a director, I cuz I know that they did this a Disney Animation is they would have a board up. And they would give the directors a stack of cash of like paper cash, and they would have all the sequences of the movie Up. And they go, you can put money on what sequences you want to spend a little extra money on. But this is all the money you get. So they would get to choose, like this action sequence. I want a lot more more attention to as opposed to just less Can I kind of get through. And if there's anything like that happened with I was just a Disney thing.

Scott Mosier 1:19:31
That definitely did not happen because I would have just walked out

Alex Ferrari 1:19:37
I'm done. I'm out. My pocket. And it was fake Scott. It was fake money.

Scott Mosier 1:19:43
It was Yeah, we could talk about this later, but I'm gonna take my wife. No, we didn't do that. I mean, you know, it's something that but that, that those conversations are sort of collective. You know, you're you're sort of

Alex Ferrari 1:19:59
We'll be right back. back after a word from our sponsor. And now back to the show.

Scott Mosier 1:20:10
And, you know, I mean, to me, it's just something you inherently know, whether it's a live action movie or, or right before animated movie, you're you, you're sitting there going, like, hey, we have limited resources, we have limited money, we have limited time. So it's like, you know, you know, in an animation too, there's that sense of like, well, if you want this sequence to be freakin huge, then you better get going now, right? Because there's a pipeline, there's a moment where it's like a movie, it's just like, it's cut off, it's like, you can't add new shots, you can't, they won't make it through in time. So it was a lot of thought constantly put into going like, Oh, this is, you know, we want to do a big shot here. Like we're doing some, there's a big huge, like, kind of drum crane shot and grants where we're like, going through this pod of people skating and all the way up to like, so you have to sort of like get all that stuff arranged. Because all the, you know, it's it's basically live action, you know, you have to sort of make sure that you've made those decisions to be like, Oh, we want to set the time here and want to do that here. And part of that is has more to do. It's just like, making movies with financial limitations, you know, right, which is most people I mean, there are people who don't, you know, there's they're filming, or are given a sort of, do whatever they want. And I don't necessarily like, I mean, he's offered.

Alex Ferrari 1:21:41
These are not problems. You are I have,

Scott Mosier 1:21:44
Yeah, this is not a problem that I have. And I don't think that's a problem that I'll face. But I do think the limitation is those limitations can be really, really helps you, for me, it just helps you focus on the story, right? And go like, hey, like, you better know what's important, you know, or you better figure it the fuck out really quickly, because you are in charge of like, trying to argue why people should, you know, we need more assets, we need this, we need that you're the person who's going to be driving and pushing for things. Like, you know, the limitations will help you figure it out, you go like, alright, like, we, we, you know, like we can we can reduce the amount of shots here, we can do this here. We don't need that many extra was there, like, make that choice? Because like, you know, I really want this to look like this, or I want this to sort of exist there. So, you know, but no, nobody came around with cash.

Alex Ferrari 1:22:43
Very enough. Fair enough. Now, I just have a few questions. I asked all my guests, something like rapid fire. If you could go back to your younger self, what would you tell him?

Scott Mosier 1:22:58
Somebody else asked me this recently, not to, you know, like, call you on originally.

Alex Ferrari 1:23:05
You know, it's got I'm quite offended. That's okay.

Scott Mosier 1:23:09
Like, for like, somebody asked me this. And, you know, um, it's probably more insight in the way my brain work because, like, I take it so literally, I don't, but it's like that I'm like, I don't think I would say anything. I don't know what I would say I don't know what could. Because everything I know is is or every, every, every like, conclusion I've reached, that has any value in my life, is because of the experiences I went to, you know, and I don't think you can go back to your younger self and be like, you know, buy Apple

Alex Ferrari 1:23:47
Buy Apple at $7 buy Apple at $7. Buy face buy Facebook at 30.

Scott Mosier 1:23:52
You have $3,000 from your car sale. I know this won't make any sense. But buy apple

No buy in 2021 there's going to be a Gamestop buy GameStop.

That like that's a good advice and like how your career cuz here's the thing, like my career, in a way makes no sense, even to me. Like it's not like there's no linear line. Like, I can't point to it and tell somebody like, this is what I did. You should do this. Yeah, it's just like I I followed my curiosity, which is what I do now, you know, I still just sort of go I'm not I'm not sort of, I'm driven by my curiosity of like, animation or this or that and I kind of like, which is why my IMDB page is kind of a weird mishmash of producing and documentaries, you know, like, I I love documentaries, like I'll go in that direction. Like, you know, I sort of follow I don't I'm not like my like, I make horror movies or I make you know, real comedies like, I've just love I, from the time I was a kid, but I just love film. I mean, my, my sort of taste in music is the same film, which is really diverse. I just watch a lot of different things. So

Alex Ferrari 1:25:15
Yeah, I mean, honestly, that at the end of the day, you know, I try to hack the whole set, like, what's the path I can take? Okay, should I try to do what Kevin did? No. Okay, maybe what I do what Robert did no. Okay, maybe what I do with Richard, like, and I'm not the only thing like we all do that, like at one point, you know, you start looking at other people. Like you guys were doing it with Richard, you guys were doing with slacker like, literally, that was what we were trying to do. But at the end of the day, it's it's it's a lot of luck. Right Place Right Time. Like you happen to run into Kevin Smith. You to happen to gel. He happened to have a script about clerks and then and then and off you go. And it happened in the early 90s When that was a fertile ground for something like that to kind of take off. Like you said, would that if it would happen in 85? Is there a does it happen in 2005? But you know, I always tell people dislike if Robert shows up with a mariachi today. I'm not sure he breaks through with a mariachi today. But in 91, a $7,000 action movies shot on 16 was exactly what the industry needed. It was the proof of like, oh my god, someone made a movie for $7,000. Or the story they sold at least

Scott Mosier 1:26:30
Robert was, if you, you know, to me, like you transplanted like the $7,000 version of El Mariachi that Robert would have made would have been very, very different. So

Alex Ferrari 1:26:41
In today's with today's Tech, you're right. Yeah, you're absolutely right,

Scott Mosier 1:26:44
Calculate that he could have sort of done it. Because, like, yeah, there's like, the thing that I still go back to, and, you know, it's not about people's career paths. Or look, it is about who you know, making connections, like meeting people having like a deep sort of list of people that you know, people that are making movies, I mean, it starts in film school, like if you know enough people you're working on shorts, and like, it doesn't even matter if the short skirt good just trying to get experience, right. Like that's like you're a good worker, you work hard. You can fucking push a dolly, whatever. Like, for me like that was a big part of it. But I also think like, this specific people want to be writers, you know, writer, writer directors and stuff like that. I think it's like, you know, the thing, it goes back to having that unique voice like what what's the story that only you can tell, you know, and at the end of the day, like no, mariachis, slacker is like very, like, all those guys had one thing in common, which is they really wanted to tell that story. Not because they really wanted to tell that story. And not because it was the idea cheap idea. That to me is like always, like people are like, Yeah, well, I really want to make this but they're like, but then I, you know, I came up with a cheap idea. It's like, well, no, no, like, come up with ideas. And like, if all your ideas are $80 million dollars, then you might have a problem. Like, yeah, but but like, if you like, if your passion isn't in these cheap ideas, like everyone's gonna know this.

Alex Ferrari 1:28:30
You're absolutely you know, I've never really I've really never quantified it the way you stated, because you're absolutely right. Like, you know, when I, when I make my movies, you know, the ones that sing, or the ones that I really wanted to do. And the ones that were like, I'm going to try to be this guy or I'm this is going to get me to that next level, this is going to be the one that gets me the agent or the those don't they fall, they fall flat, you know, and the ones that have all the passion and the voice are the ones that people really connect to. And that's something that filmmakers trying to break into, they really don't get. And that is the thing that will cut through. You're absolutely right, that is the thing that will cut through all the noise.

Scott Mosier 1:29:09
Because if you're I mean, if you have to go talk about a movie you're making, you know, that's the simplest part of the equation. It's like, if you're passionate about I have for hours, you know, if made it as some sort of vehicle, I mean, the amount of people I've known over the years, like, well, I'm doing this, but I really want to do that. And I'm like, I was like I get it, but I was like you have to find like everything should be an extension of your passion. You can do things just to learn, right? Those are the two levels. If you want to go make a film that you're just like because you can because you could afford to do it and learn and become a better director or become a better whatever. There's value in that right. But you have to know that the end result of that is that you learned you know, if you want to The other reason to make some is like, what are you fucking excited about? Like, what are you passionate about? Like, what kind of stories are you passionate about? Like, is it? You know, like, if you love horror movies, then it's like, that's great. But what's the personal version of a horror horror movie? You know? I mean, if you look at Jordan Peele, it's like, that's why those movies are fucking amazing. Because their personal like, it's not, he didn't invent or he basically it was like, This is my perspective of what a horror movie is, right? And I was like, Holy shit, like you are, you are the only version of you. And I'm not saying you're an antique snowflake. But

Alex Ferrari 1:30:40
We're all unique snowflakes that we're all unique snowflakes,

Scott Mosier 1:30:43
Your perception or your take, or your sort of joke on, like, if you throw something on the table, and everyone makes a joke, like, there'll be 10 Different jokes, right? Like, that's what makes you different. And the more you sort of push yourself to find that, and that, to me is like, was a very long process. Like I in 21, like, I did not have a voice. Like I like, and it was having Kevin was like such a great. That was part of the benefit of standing next to Kevin is because I was like, that's what a voice. Like, that's what it means. That's what it means to have a voice. That's what it means to cut through the noise, right? Because all the rest of it is noise. And so I was very aware of how long it would sort of take me to develop my own voice like I did the whole time. I was like, oh my god, like that's a voice, right? Kevin's a voice, like no one can argue that you may not like the voice, but this motherfucker has got his own voice. And, you know, a million people, the Coen brothers like Oh,

Alex Ferrari 1:31:49
Richard Richard Linkletter all those guys. Yeah, they all have a voice. You're absolutely right. Even even Robert, even Robert, who makes those kinds of action and stuff, but that's, that's his voice inside all those movies,

Scott Mosier 1:32:02
You can learn how to you can learn how to edit, you can learn all the technical stuff, and all that stuff is smart. Like that's basically just making you better your job. If you want to tell your story. If you if you want to be a writer, director, you know, you really have to find your most importantly do is find your voice

Alex Ferrari 1:32:20
Two last questions, what is the lesson that took you the longest to learn whether in the film business or in life?

Scott Mosier 1:32:25
Find your voice

Alex Ferrari 1:32:28
Next question. Find the voice

Scott Mosier 1:32:32
To find your voice. And like part of the reason about finding your voice is that finding your way through the process of finding your voice, what you will do is create confidence in what your voice is, you know, it's like there's two, there's, there's all these, there's all these positives that come towards really taking a deep dive and be like, what kind of stories do I want to tell? Like, what do I get emotional when I watch? Like, what do I want to create, recreate on the screen, like, you know, some of those basic questions of like, when I watch, like, I love to make people piss their pants laughing. I like to make people shit their pants. Fucking, like scary, or like, if these are all like, we're all here, because we're like, movies make us. Movies evoke emotions, they make us feel things. And I really like for me, part of the process was going like, what what are the things that I love to feel when I'm watching a movie, and therefore that's the thing that I don't want to recreate in my own movies. And so locating that, like, you know, what's the thing that you're like, oh, fuck, like, I go watch a movie. And, and like, I'm terrified, like, I just walk away. And I'm like, from joy. So I'm so excited. If that's it, then you should focus on that. Like, if you're like, No, I love to make people feel like life is worth, you know, like, I like to make people cry. You know, like, all those things exist. And it's sort of, it's almost like finding your voice to me is more about focusing on like, what's the emotions that you like to evoke in the kind of content you're making? Because that's part of like, what will help you fill out the kind of stories you want to tell which is like, what's the emotional impact? You're looking for? anger, rage, love, like all those things. Like those are the things sort of think about so yeah, finding, finding finding my voice was like probably the biggest thing

Alex Ferrari 1:34:30
And three of your favorite films of all time.

Scott Mosier 1:34:35
If so many. I'll just sort of rattle some off. Well, I go way back to the beginning like time band.

Alex Ferrari 1:34:44
It's so good. Terry manTerry Gilliam.

Scott Mosier 1:34:48
Huge. The ones that like, you know, for me, it's always like, ones that shift your perception about you know what a film is? are the ones that really stick in my mind. And there's tons of amazing movies that don't necessarily do that. But like time, man, it was a big one for me. Raising Arizona was another one, like, really early on where I was like, I just, I just hate it. And, you know, and then now I can go. I mean, like Fight Club is a weapon later on in life where I was like, so completely just like, Fuck,

Alex Ferrari 1:35:27
What am I doing?

Scott Mosier 1:35:28
Yeah, just like, just like, I want to walk, like, and then I just watched it like, 100 times. But, you know, eight and a half was another, like, just mind blowing sort of experience, right? Like, you know, we're in that space. You're like, this is a movie. Like, that was the exciting part about being young is like, you're constantly like watching so many things. And that experience would be like I'm constantly redefining what a movie is. Through everything I'm watching. Like that's the sort of those are the movies in like time, man. It's Raising Arizona eight have been Fight Club is one where I was like, I was sort of be like, Oh, okay, like, I'm kind of pivoting and you're like, This is a movie.

Alex Ferrari 1:36:13
I mean, when I when I mean, I've had Jim who wrote Fight Club on the show, and I just geeked out with him and Fincher and basically anything Fincher does you just walk by and just like, what are we? What are we doing it really, I mean, and I've talked to some I've talked to some amazing filmmakers. And anytime Fincher comes up, they just say like, I don't, I just, I don't even know what we're doing here. It's, it's, it's having one of those like, it's like Kubrick when Kubrick would pop up with a movie just like what what am I doing?

Scott Mosier 1:36:42
Yeah.

Alex Ferrari 1:36:45
Scott, man, thank you so much for being on the show. Brother. It has been an absolute pleasure talking to you, man. And I wish you nothing but success exploring your new wants and, and things that excite you wherever, wherever you go. And I hope that IMDb account gets a little bit more broad and increased.

Scott Mosier 1:37:26
Me too. Thanks for having me.

LINKS

SPONSORS

  1. Bulletproof Script Coverage – Get Your Screenplay Read by Hollywood Professionals
  2. AudibleGet a Free Filmmaking or Screenwriting Audiobook
  3. Rev.com – $1.25 Closed Captions for Indie Filmmakers – Rev ($10 Off Your First Order)

Share:

FEATURED EPISODES

Where Hollywood Comes to Talk

Oliver Stone

Oscar® Winning Writer/Director
(Platoon, Wall Street, JFK)

Edward Burns

Writer/Director/Actor
(Brothers McMullin, She's the One)

Richard Linklater

Oscar® Nominated Writer/Director
(Boyhood, School of Rock)

HIGHLIGHT GUESTS SML - BILLY CRYSTAL

Emmy® Winning Writer/Director/Actor
(City Slickers, Analyze This)

JOE CARNAHAN

Writer/Director
(Smokin' Aces, The Grey, Narc)

HIGHLIGHT GUESTS SML - ALBERT HUGHES
Eric Roth

Writer/Director
(Menace II Society, Book of Eli)

Oscar® Winning Screenwriter/Producer
(Forrest Gump, Dune)

HIGHLIGHT GUESTS SML - EDWARD ZWICK
HIGHLIGHT GUESTS SML - EDGAR WRIGHT

Oscar® Winning Writer/Director
(Last Samurai, Blood Diamond)

Writer/Director
(Shaun of the Dead, Baby Driver)

Free Training of The Week

FREE LOWER - SUZANNE

How to Produce a Profitable Low Budget Feature Film

By Suzanne Lyons

Join veteran producer Suzanne Lyons as she shows you the three key secrets to produce a successful and profitable independent film.