(relaxed hip hop music)
- I just directed my first feature
that I wrote and starred in, The Cat And The Moon,
with Mike Epps, who is unbelievable in it,
and Skyler Gisondo, and Stefania Owen, and Tommy Nelson.
It's a pretty dark movie about a kid in New York
and lived with this older jazz musician,
so I'm cutting that and it's almost finished
being edited, and it'll be out soon.
I really discovered that directing
is a lot easier than I thought it was gonna be,
because I have all these people helping me.
When you hire good actors and you hire a great crew,
there's actually not that much you have to do.
You plan out the shots ahead of time,
to some degree, and then your great actors,
things kind of speak to you, the movie kinda talks to you.
So I guess directing the movie as an actor,
and directing everything from the point of view
of an actor, what will make the actors give
the best performance, kind of gave it a raw feel.
Yeah, I gotta do it again.
I wanna do it again as soon as possible.
It's a super addicting thing.
Especially right after, I was like,
okay, let's do it again, and then I got fatigued
and had to take a long nap.
The worst part of the movie is getting it financed.
The pre-production part, that would be my one
advice to every director young or old,
it will never be as bad as it is right now.
When you're trying to get it made, it's humiliating.
It makes you sick to your stomach.
You work so hard to make things work.
You're editing, does the and work better,
or the then work better, and all that different stuff,
and then someone's like I just don't get it.
Why is it a kid? Maybe we'll make him, like,
a superhero who fixes dishwashers or something
or just some like really weird, out there shit.
I've grown up with two parents who were brutally honest,
and I remember writing my plays when I was 11
and my mom being like yeah, just his character art
doesn't quite work.
I was like mom, I don't know my multiplication tables.
Can you give me a little bit of a break?
So that got me good at receiving notes.
So I think I am good.
But I think it takes you three drafts of something,
or four drafts of something to be able to get notes.
I've started a new system, where I write a script,
I read it out loud with a bunch of people,
I make my own notes, I work on it for a while,
and then I give it to other people.
I mean, Nat's particularly good at being like,
those few seconds could be tweaked, and this could be cut.
Nat's great at that.
Right now, he hasn't seen the movie in full yet,
and I'm waiting to get it to a point where
I want to show him.
Because I want him to like it,
but I also want to to get it to a point
where he could still give his input.
Because this is the first feature
that one of us has made and the other is producing,
so this will be a whole different process.
I learned, I mean I would call Ari
almost every day, being like, I'm having a crisis,
and he'd be like okay, take a breath.
Marc Meyers, the director of My Friend Dahmer,
I talked to all the time, and he's helped me a bunch.
He's seen multiple cuts of the movie
and read multiple drafts.
Peter Berg, who I worked with on Patriot's Days,
one of the producers on Cat And The Moon,
he has been unbelievable, invaluable to the whole process,
and helps me through everything.
I learned a lot from his style,
and the way he got stuff out of actors.
I think I'm probably most similar to his style
in the way he works with actors.
It's so immediate, it's so adrenaline-based,
and gets your heart racing, and you want to do well,
because he's so fired up.
So I think that really inspired me.
And then Josh Boone, who directed Fault In Our Stars,
and My Brother, and all these things.
He's one of the producers as well. So he's someone I call.
I just basically have my myriad of directors
that I rely on, and they're puppeting the whole thing,
and helping me.
(upbeat electronic music)


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