Original subtitles

This is the Dolly Filmmakers Commentary. I'm Rod Blackhurst.

And yeah, I'm Noah Lang. Well, okay, I'll just start by throwing something

out there.

This was not in the script.

No, and I love what you came up with, though.

It's super fun. I mean, I feel like we wanted to own the storybook thing, and I

think starting this way was always a smart idea.

I mean, it came up late in post-production, right?

Yeah, we knew the fairy tale thing, but we didn't have the like, oh, let's make

this a book.

But it also kind of started to feel like a fairy tale only in the edit, right?

Because I feel like on the page, it was a little more brutal.

It was a little different.

Everything takes on a life of its own as it becomes the thing.

Yeah, I mean, it's funny in script form. I remember reading Dolly as just this,

frankly, like Michael Myers standing there.

How did she get from point A to point B and stay in there? And then Max just

brought so much more physicality to the role. It changed kind of the whole

thing. I feel like what we kind of thought was like we were editing it and

we were like, guys, we can't even breathe.

And we were like, how do we find a way to take a breath? And that was maybe

part of it.

I'm sure if we checked our emails, we could find something. I think that's

very true because also we didn't have any extra footage to work with either.

right so like there i i almost think everything we shot is in the movie so

even scene to scene like we were like oh that's that crazy scene ends we need to

reset for a moment oh well chapter breaks which we're getting ahead of

ourselves here like but also the movie did not begin with these scenes not that

it matters like the script started in the woods and this just felt like a

better introduction yeah i love this scene

And got to give huge props to Kyra Buscelli for the dopest production

design ever.

We gave her no money because we had none.

And spoiler alert, this is just the set that we built in an old perfume factory

in Chattanooga.

This is not a real house.

Those are not real flies.

That's not a real body.

Just welcome to Dolly. Dolly's not real. Dolly's dying.

That's not a real body.

I love this shit.

Oh. Are those the baby boys?

That's the baby boys. Who's the baby boys, Noah?

It's Ross, Rod, Noah, and... Tim and Carl. Tim and Carl.

When you don't have money for a movie, you create your own band and write your

own music.

Yeah,

music's expensive.

Quote.

We paid for multiple studio sessions.

We couldn't afford it.

We bought $7,000 worth of merch recently.

Got to double down.

Man, I feel bad. I should have said it out loud immediately. That's my

daughter, Eve. Oh, yeah. Oh, yeah.

She's not an actor. We just made her do this because we needed a kid who was

willing. Is this her first role?

Yeah, first role ever.

Opposite John William Scott.

Yeah, pretty sweet.

It's kind of funny.

She was, what, seven when we did this? And it's like, you know, we were all

kind of on set a little bit like, holy shit, Sean William Scott. You know, we,

I mean, frankly, he's not that much older than any of us, but we grew up on

his movies. So everyone on set was a little starstruck, except Evie. Yeah,

she was just like, he's my movie dad.

And she's like, that's what's so cool about kids. They're just like, you're my

friend.

And also he's a girl dad too, so it makes sense.

Dude, it's really hard in all of our group threads or even replying to people

on Reddit or YouTube to not send Sean William Scott GIFs.

Like, I'm just going to say that loud. Sean, I love you. But they're just

everywhere.

Not enough, right?

Chase, you're a great man, a great dad.

This house is just the house in Chattanooga that Isaiah Smallman.

one of our producing partners knew the owner of at the time it's since it

doesn't look like this anymore i don't think and that's kate cobb kate cobb is

an actress and a talented filmmaker in her own right that uh bryce mcguire knew

in los angeles and i helped i produced a short film for bryce that kate starred

in years ago so when you make movies just call your friends what was the

short which one it's called the whistler oh i've seen that yeah it's like there's

like the gag at the end i like that shout out mihalena who played aunt sadie

for us Yeah, she's like the nicest human being alive.

She's actually a pit boss for a race company when she's not acting. I said

that wrong. Sorry. She's the pit boss for her husband who drives stock cars,

which is super cool. That is very cool.

Are you talking shit about me?

I love that line.

we actually had a version of that where like we were experimenting with a lot of

sound effects farts and we thought it was funny but all the feedback it pulled

people right out of the movie yeah we had our fart at one point farts are

funny but they have to be earned that's what we learned at one point i remember

like when we were editing the movie Rod was stressing.

I mean, we probably all were, but I texted Justin Oki, our editor, and I was

like, dude, this is like a big ask.

It's like only if you want to do something funny. I was like, you should

do a cut where you just insert like 30 farts and send it to Rod. Be like, I did

a new edit.

He was like, I don't have time for that. Are you fucking out of your mind?

Sorry, sorry, sorry.

Of course.

Well, I mean, farts are funny. It just wasn't funny in the scene.

No, no.

it's funny this the best part like I mean making movies generally

is about creative problem solving and when you're making indies certainly

that's more the case but you just call on everybody that you know and everyone

that's on the crew to

like help with something. I mean, a case in point is this scene starts with like,

there's a shot of a truck in the parking lot as they pull in. And that's just our

first AD's truck or one of his two trucks that we were just like, man, Sam,

your truck looks great. Can we put it in the scene and put a fake, you know,

window decal on it?

There we are.

Memorialized. Yeah. Free picture car.

Yeah. I feel like I, I loved that about the movie too, is we were like, we just

need to have cars with character in this movie.

He's got such a neatly coiffed beard.

He also looks great without a beard.

He's a handsome man. He's a handsome man.

Sean was most stoked, I think, that he didn't have to do any tattoo cover-up.

He could just use... Because I think a lot of times in movies, actors got to

sit in chairs a while. There goes a finger.

Oh, yeah.

There will be more background to come in future dollies.

First of all, that sign's not real. We made that sign.

Hooper Mine is a mine that I grew up near in the Adirondacks, but is also a

tip of the hat to ye olde Toby Hooper.

Who, a character later, that people have probably seen this already know, is also

named after.

It's crazy watching this 16mm.

It just looks so darn good.

Yeah, it was worth it.

Every day, Ross or I or both of us had to FedEx it to Atlanta.

Never got any easier.

Stressful every time.

You just send a whole day's worth of money, which is a lot, in a little box

and watch them toss it in the back.

just reminds me of you negotiating for the film stock being like oh michael

you're so generous so uh we were thinking lower yeah i was just wondering

how they got the 16 millimeter camera up in the sky i don't know it's justin

terry cut you off no i'm sorry no it's all good i was just saying

something that i already forgot

Say I love you. Movie stresses.

This footage, I think, was actually from the first scene that we just used here,

the way it was written.

Also, the script and the movie was originally called Baby Girl.

And then Nicole Kidman took that away. But for the best.

Yeah. She deserves it. Yeah, it's funny. I remember we just were brainstorming

for... We came up with dozens and dozens of alt names before. We were like, why

not Dolly? And just looking back, it's like, how could it not have ever...

always been Dolly.

It also gives the benefit of everyone I talk to is like, is it a Dolly Parton

documentary?

I'm like, why would someone give us the rights to make a Dolly Parton

documentary? Well, we are from Tennessee.

Well, some of us. Well, not from here. We do live here.

My mom's from Tennessee.

Jacksonville, baby. That seems like rights by proxy or something.

We would like to take a quick moment to pitch ourselves if anyone out there has

the rights to Dolly Parton's.

documentary i don't know about that well we should buy that anyway yeah we're

we're willing life rights yeah we are work for hires i every time somebody i i

see that comment coming up online a lot people go oh man is i thought this was

going to be the new dolly biopic turns out it's not and and my response is well

that dolly is the goat and we're also from tennessee enjoy us too folks

english baby it looks exactly like you this is fun fact about this scene I love

that line too. This scene, we let them improvise more than we had previously.

And I can't remember why. I think Sean was kind of, he asked me if they could

like be a little more free form with it, but it meant that no take matched up

because we're shooting single camera. So it's not like comedy where they have

multiple cameras and they.

If they get a good joke, it works across the coverage.

And credit to Justin Oki for solving that. Because Sean was stoked on the

moment, being able to film it that way, and being able to run with it. But it

was really hard in post to piece it together. Because every time they did

the scene, it was different.

Oh, wow.

That's really... Party.

Tennessee River in Chattanooga.

And snoopers rock.

For all those who celebrate.

This was terrifying to shoot on. Yeah.

just come up here all the time when i was younger i can see why so beautiful

let's take a picture they look great together they really do okay

yeah i mean that's a actual

precipice probably 50 to 100 foot drop maybe more yeah terrifying you could

feel it i mean I didn't want to be there sometimes.

I do not like heights.

It's funny. When I was a kid, I mountain climbed all the time, and now I just

totally lost it. I don't like it at all. Ready?

Yeah, I don't want to be up there.

Nice. How about one of the two of us? But we're going back.

Don't tell them why.

Fabi.

And a fun fact, too, is Mialina, who we introduced earlier, had just, I can't

even remember how, she got her hands on, like, the hundreds of dolls.

Remember that? I think she was just at an estate sale while at a race car

event. She was like, do you want them? Do you want them? She texted and was

like, found some dolls.

Also, it was so hot there, and Sean is looking so casually cool as a cucumber

in what looks not a cool outfit.

I don't know how he was doing that. I don't know how. We were all drenched.

Oh, it was so hot.

It was also the summer of like the worst cicada swarm in like decades.

Yeah, right. Tennessee was alive.

The hills were alive with the sounds of cicadas. And I think our sound mixer,

Nick, like incorporates it into the sound effects at times, but it was

pretty harrowing.

Nick Bohan, legend, wonderful composer, post-sound mixer.

I tried to hook him up with an agent at a big agency, and when he found out they

take 10%, he stopped responding to their emails. So I don't introduce him to reps

anymore.

That's so Nick.

I'm the weird one.

Interesting fact of that overlook.

If the river landscape behind Sean actually had houses in a marina down

there on the river. So if you were to look at the camera coverage like

Fabian's coverage or her character Macy, you can see the river. But in Sean's,

we're trying to hide it because we're like, we can't paint that out in VFX.

That's too much money.

This was Sean's first day.

And it was the end of the day and we just got one scene.

right it was just that right and it doesn't even and then well i won't spoil

what's about to happen but that was also sean's first day i think it was in this

and then we stopped down and we picked up i think on the reverse that's coming

up like two different days

it's

funny you could like there's a version of this movie where You just take the

from Friday the 13th and it would totally work.

That's a major motion picture, Friday the 13th.

I haven't seen it in a long time.

There's a few of them.

Wait, what? I got to write that down.

This was a different day.

It's interesting.

When I watch a movie, all I see is the direction of the sun.

Do you guys ever notice that? Nope. Not once. Never thought about that. Not one

time. The no is directional.

Here's the thing, Ross. The sun moves.

That's funny.

I always see those moments in a movie and I go, surely someone's going to

realize we're a fraud.

Like, we fake this.

And then I go, well, yeah, we're making a movie. It's all fake.

It's funny what different people focus on, though. Like, I mean, Ross, who we

were just working with on another project, an actor.

pointed out some little prop like i never noticed set deck and stuff it's

just everyone focuses on different things yeah right now you're focused on

dolly's mask yeah there's dolly by the way which we've revealed after yep max

the impaler ladies and gents

yeah

that was awesome i mean this is a there's a big stunt rig in there like

Corey Piano built our stunt coordinator.

It was like a wire system that lifted Sean up, and they got painted out there.

At one point, he was like, if we can't find, it was called an ankle pick or

something. He was like, we're going to have to get a bulldozer or one of those

things. And I was like, please don't make us do that. We're in the middle of

nowhere.

This was our friend Jimmy's private land. It had all these acres up on the

hill above Chattanooga.

He was like, yeah, just watch out for copperheads, and you can film there.

Do you remember we looked at all that crazy land during this? Oh, my God, I

forgot about that. There we go.

Poor guy.

In fact, we actually did that.

I know, I know. Sean, he was so sweet. He was like, I'll give you my left leg.

He got a stunt adjustment.

I think it's an extra $18. I mean, Ross would know. He knows budgeting better

than I.

Be surprised.

Oh, that's going to leave a mark.

Do you guys remember people wondering, or I feel like we got the note, like,

we showed Dolly too soon. Do you guys, do you remember this conversation? Like,

is either Dolly too soon or like, I was like, oh, wait a minute. The movie is

Dolly. And the movie's titled Dolly.

dolly's going to be the face of the key art and you know the thumbnails i was

like they're here for dolly i think we actually the cat will have been out of

the bag yeah like that like yes we withhold the mask until a certain point

in the film but dolly's the this is a i mean dolly's a

character like it's like i remember getting that or getting that feedback

going Actually think that's wrong, and I feel very good that we well There's a

time and place for like kind of movies where they withhold like you know

barbarian You know I would have been a huge bummer if they you know Like

revealed that in the key art or the trailer or whatever, but it this just

isn't the same weapons Yeah, the way weapons works. Yeah mm-hmm right. This

isn't the same there It's interesting though. I will say like

in

if the movie was still called baby girl which i don't think would be as good or

apt for like all the things we have imagined right for the you know even

when it was called baby girl we had a franchise mapped out well we had the

rough road map for a franchise or multiple films because we want to make

movies with our friends and things we own forever and ever but you know

looking back at it it's like if it was called baby girl would you still would

it be baby girl two baby girl three it probably wouldn't have worked but you

probably could have withheld the mask a little bit in that version right yeah i

mean if you it's like we sort of just jumped ahead the way that friday the

13th eventually became like jason goes to hell jason goes to manhattan or like

i think it's a shame that i don't care for it but uh the uh um texas chainsaw

they make called leatherface it's a bummer i don't like it yeah with dorf

the dwarf

uh only what i'm saying is like that's an iconic title and it just kind of what

a bummer that's so true actually that movie has some cool stuff i'm not like a

total hater i'm just you know it's interesting changing the name though i

think it did do a lot of things where i i almost think in the original script

macy is more of the protagonist and what this has done is it's made dolly

the lead of the film not to take away from anyone else but in a lot of ways

like it really subtly shifts the the dynamic

yeah it just shifts everything into like it being about dolly not like these

people would stumble into a monster in the woods i think it actually like to

fabian's credit fabian therese who plays macy it's hard to be number

one on the call sheet and you're in every scene and you're also sharing

equal footing right because or you know the change with dolly and like fabian

was an incredible collaborator and like did worked so hard and went through the

right like covered in blood covered in like you know special effects makeup i

mean it was hard right and it's you i don't know it's a unique thing to go

well right like i i'm actually helping tell dolly's story too yeah because

basically like the whole thing is like they're like you said going through the

looking glass and the looking glass through it is dolly's world it's not

like we're interrogating macy's not to say we won't eventually but like yeah i

feel like it was um like a kind of a realization that happened along the way

which a fun happy accident yeah i mean it goes back to like max just bringing

so much more to the character that we didn't realize yep i mean it the

character is probably one dimensional on the page but like the minute max and i

started talking just through prep about uh just the character work and the

real world examples that we're going to draw on i i remember having this moment

of like holy smokes like

Dolly is incredibly sympathetic and hurt and broken, right?

I'm going to say it out loud. That's not the way Brandon and I wrote it, and it's

far better this way.

I can't even remember the original intentionality, but random fact, I

believe Brandon's sister is named Macy, which is why Macy is Macy. If you think

about it, with Jason in Friday the 13th, there's a certain level of

sympathy. afforded to him um and like but michael myers it's like no it's just

the idea of like random chaotic evil and uh you know there's just different

schools of thought around doing it i mean freddie was written

as a you know child predator they changed him to a child murderer and it's

funny that like new line was like that's more acceptable just kills kids

it's even thinking about it like when it was called baby girl and when it was

much more about macy it was really just a

response to how do we make a movie with no money and no time so we'll write the

simplest thing we can right um it

wasn't even like oh well we're gonna I mean, again, it was a brutal, more

nihilistic thing on the page that was... This is far better.

Yeah, I mean, it's the... You make the movie when you write it. You make the

movie when you shoot it. You make the movie when you edit it. And we've

basically talked about all three in some form or another already. And how far

into the movie are we? Like 10 minutes? 15 minutes.

It really is amazing looking back at how intense Fabi's schedule was in this.

Like you said, she was in...

every scene i mean she probably had 14 hour days every day we were out in the

woods going through like poison ivy like getting cut up by sticks all this stuff

i remember she was like sick through half of it so like we were like getting

her ivs just to like so she could feel good enough to do it i mean i mean and

she loved it remember she was like well i mean look i've never taken one but i'm

sure it's awesome they do help yeah um but it was just i mean

We were really going at breakneck speed, all of us.

I don't think we could have survived two more days physically at the rate we were

going. It just worked out. It worked out because Fabi, as the one, did

do a good job of setting the tone.

Max, too, who was a wrestler.

Max,

the one thing I'll say about it, too, is

fobby's been in the industry a long time max came in with this level of

excitement and as a professional athlete like they're down to do endless stunts

and stuff and fobby was too even knowing that like that's not always the norm i

guess yeah yeah i mean and i oh sorry oh i was just gonna say that like max would

sometimes just want to do more stunts and be like i'll do it again and or we

would have to have the stunt coordinator do something with some specificity

because we needed to get it quickly and move on and max would always be like no

way like dude i take all the hits like i'm tough and i'm like oh we know you're

we know you're tough i'm not getting in a ring and like wrestling yeah and we

need you for 20 days yes please please uh don't hurt yeah we don't you don't

need to prove you're tough we just we know you're tough make the movie yeah

With everyone safe. And we didn't have cast coverage, which for our friends at

home is a kind of insurance where you can shut down and get covered. So, yeah,

we needed to be a little careful.

What is that thing?

I don't know.

That room, by the way, is just, that nursery set is just incredible.

Like, the design of it, Kyra and her team, I mean, Rizner lighting it,

Justin, like, I don't know, it's just...

great alchemy in this little room.

What do you mean play along?

Yeah, we had some fun on this picture. I remember we were like making fake logos

for Risner's imaginary hot dog cart. It was called Rizzy's Glizzies.

If you're ever in Chicago.

Riz is our gaffer, by the way. He's the greatest. Well, nobody beats, yeah, we

all, like I call him.

Nobody beats the Riz. Oh, yeah.

There's so much to work with. For those of you who celebrate, a glizzy is also a

shaboingboing, which is also a hot dog.

And he takes his hot dog seriously because he lives and works in Chicago.

He does. On The Bear.

And on that Jennifer Connelly show, Dark Matter. And The Bear, it's beef, right?

Well, he was telling me this doesn't matter.

Back to Dolly. Yeah.

And something I love about the set design is there's that door that's

through there that's closed. We never open it, and I love that because it

affords us the ability in the future to do whatever we want with that room. It

could be a portal. It could be a long hallway.

The funny thing is we're all sitting right outside that door at Video Village

because it was the easiest way into the set.

This house is like...

By the way, well, I'll talk about the house in a minute, but the gag of

pulling the stroller in is just done on fishing line, like with Kyra, like off

-camera pulling it forward and or pulling it back, like just old school.

Sometimes the simplest is the best, you know?

It's like in Nightmare on Elm Street when Nancy's running up the stairs and

she sinks in. That's just Crisco with carpet placed over it.

This was actually an actor in makeup.

It's actually Rob.

The hand movements, Max came up with are the best.

Those are my legs. You ain't cool unless you pee your pants.

No, you aren't, man. What else can we lie about?

Well, everything.

It's our movie.

I remember how we got so much of this stuff. It was when we were scouting. We

went to that horrifying house that Crypto Guy owned.

Oh, my gosh.

Okay, so our house set was two separate floors in this warehouse, in this old

perfume factory.

That sounds sketchier than it was.

nice enough it was awesome it was awesome but you know the bathroom the

toilets looked a little train spotting but this The downstairs set is insane to

me still that this just is not a real place that Kyra built this.

And right, so much of the dressing downstairs came from this abandoned

house on this guy's land that somebody had walked away from and was full of the

strangest stuff.

Well, there's stacks and stacks and stacks of porno mags too, remember? I

mean, and mysterious VHS tapes that say triple explosion on them because I still

have a bunch of them at my house.

I don't know why they're at my house.

Well, remember one time we just got distracted because we started to lose it

towards the end.

We were just watching the videotapes. We were like, what are we doing? It was

just security camera footage of an adult video store or something like that.

Yeah, an adult video store, yeah.

But they were all labeled triple explosion.

Which is fantastic.

This is so uncomfortable.

It's fantastic.

I mean, what makes it work is you've got, two characters of course that are

diametrically opposed or like are looking for completely different things

out of this moment you have one who wants only to be a mother and to have a

child you know the other who we already know doesn't want to be a mother and

certainly wouldn't want to subject themselves to this position like they're

never going to be on the same page that you would hope or think right that's

what makes it uncomfortable like it doesn't need to be they could be doing

anything and they're going to do a lot more

Two opposing forces make them have to collide.

Sean's alive.

Well, he also gave his left leg, and he also got a bump to have that.

He said it wasn't going to be a problem for future work, and we were just like,

well, dude.

I mean, that jaw looks so good, not just because of our special effects team,

Ashley Thomas and her partner Al and Yellow Moth, but this incredible group

of VFX artists, these three.

guys out in los angeles adam ethan and tim hendrix um who if you're listening

to this you could probably see some of the side by sides they've done of it but

like there are vfx in the film and i think that and they just complement the

practical effects in a remarkable way and they feel painterly in a part of it

like they're letting the practical effects take first position and then

they're supporting that um and you can't tell you can't tell where they are

Well, obviously, Sean still has his jaw. He's on a TV show.

That was a tough day for him, too.

I mean, he couldn't eat all day.

It was his last day on set, too. He showed up that last day on set, bless

his heart, and he was like, guys, listen, does my character need to wake

up here? Yeah, he asked if we could just kill him instead of basically hidden

from here until the end of the movie. And frankly...

Spoiler alert. He asked me and I just said, ask Rod, because I was afraid.

Well, he had to walk around. The prosthetic jaw was just flapping like a

meat. It was like just a hunk of meat hanging off his face. I need to wear

like a towel wrapped around the top. Dude, you look like you had a toothache.

dude and that was remember we had jimmy's pool house to like base like

everybody and uh at the pool house like when he rapped he came in and and um he

uh he grabs a garbage bag and like jimmy had been like take whatever you want six

beers in it well don't blame yeah yeah we had

a lot more than six beers some nights yeah yeah white claws we took jimmy up

on that yeah

Practical blood. You can tell.

Man, that room, that space was grimy.

Oh, yeah.

Right? It was nasty. I never wanted to touch surfaces in there. I just wasn't

sure what it had.

For continuity's sake.

Oh, we kept it grimy.

Yeah, like, there's, like, vomit later that we had, fake vomit, and we had to

just keep it there. And, like, there was, like, bugs coming. And I was just

like, all right, I'm going to go do accounting.

On props to Michelle Adams here, stunt double. She's so rad.

She started in Cirque du Soleil, right, Ross?

Like, wasn't that what you told me? I think she was, like, in med school.

What?

Yeah. No, she had, like, a crazy double major.

doctor and psychologist I'm making that but it was something intense and then

yeah left to do Cirque du Soleil and then she was I believe 11's stunt yeah

that's right or someone on Stranger Things yeah I think she was 11 she was

like we've been shooting for 11 months or something like that yeah it's funny

like you know so we would get like this stunt's awesome I love that really top

level people that are you know when we were shooting in Chattanooga she shoots

on big set things in Atlanta all the time and We kind of get people like that

sometimes and we think like, sorry, we're this tiny. But it's so exciting to

them because it's so different and visceral and they see everyone on set is

doing two jobs.

It's a different experience and I think it's more exciting for them.

And you're moving faster.

Every time Michelle would work through a stunt or show us, I would

hold my breath because I would think...

It hurt.

And then she'd be like, oh, it's great. Let's go again. And I'd be like, really?

And then Corey would be like, eh, let's maybe not go.

But just because that's the stunt core of your job is be like, if you have it,

you have it.

Don't make him do it again. But that moment in particular in the hallway is a

good jump scare.

There aren't a lot of jump scares in the movie that are trying to just be a jump

scare for the sake of a jump scare. I feel like there are a lot of movies out

there that just rely on jump scares.

But jump scare and then Michelle literally crashes into the wall.

she gets thrown in the hallway it's insane yeah it's funny oh sorry no just

look like it hurt still to this day it looks like it hurts yeah i mean i would

just break my clavicle again um like yeah it's funny just thinking about jump

scares i mean you guys know how much i love mike flanagan and like when he made

the i think it's the midnight club he did a thing in the pilot where it was he

has like a like you put in like the most jump scares like there's like 40 jump

scares like in a row

Again, Sean's last day on set, he was on set for five days.

Yeah. And he shot, yeah, he shot the end of the, or just a little bit on the

first day, I think, and then four full days.

There were two instances where I avoided him that day.

And this is, Sean is the nicest guy, but the first being when he asked me if we

could just kill him off instead, and I said, ask Rod.

And then the other. He never did.

Yeah.

just didn't know the answer and frankly that wasn't you question and then the

other thing is you know after scenes like this I was walking out of our porta

potty we had one in the woods for everyone and was walking by him at our

set medics station and I was gonna go say hi and as I heard them talking he

said all of that's poison ivy and she said yeah everything you just crawled

through is poison ivy and I just kept walking past them and I still feel kind

of guilty about that but it was just like we had so much going on and I was

like I can't be the third party to this conversation dude he I don't think he

ever got poison ivy he didn't but but some people I got poison ivy real bad I

think some other people got it a little bit we learned who was more prone to it

or not because we were surrounded by it although the set medic was wrong it was

not all boys yeah also our set medic was not

Probably not an actual set medic, but we did have someone there.

Who had a table.

Who had a table.

Not being a hater. What's in this milk, Rod?

This milk might be chunky cereal in oat milk or like dissolved

apple jacks.

See.

And then blenderized so it looks sludgy. I give her so much.

I know it's real food, but even cold lentil soup, I don't think I could do

that. Well, you also have an aversion to dairy and cream.

Yes, this is my phobia on steroids.

Everybody had a different aspect of this film that gave them the ick, or they

just didn't want to get involved with.

I'd just say, just kill me.

whereas macy's so like macy's a warrior and ross ross wakes up in a in a

baby doll like a little boy doll outfit in a crib and he's like i'm done yeah no

i'm jumping out the window you're just like sean just kill me now

Bobby has such an interesting face.

I mean that in a huge compliment.

All right, Rod, you want to explain this one?

No.

I mean, obviously, it's an escalation.

I mean, well, listen.

Here we are. Let's push some buttons.

you know yeah like with the movie generally also maybe i'll back up and

say this we've all been making movies together all of us some permutation for

a long time i think with our first movie that noah and i made um called here

alone that i i will admit that like i was too safe with everything that we

were doing like we were like oh we'll just make a movie that shows how

proficient we are we can make a major motion picture and we'll do it for

nothing And surely that will mean something. And then people were like,

oh, yeah, but it's just a movie.

And we're like, well, man, maybe we should be a little more provocative. And

these scenes are not provocative for provocation's sake. But I remember when

we were writing it, it's like, well, let's just go all the way, especially

relative to what these characters are going through and relative to what the

dynamic would be between a mother or a woman.

A wannabe mother. A wannabe mother trying to figure out how to solve what

they think is a child that has problems or needs help, right? Or it's like not

wanting to eat their food. Well, you know what you're going to do? You're

going to try the things. That's what I do as a parent. You're like, I'll try

this thing. I'll try that thing. And then if not, like I'll give them sugar.

And sometimes that's what it takes.

You're like, all right, I'm going to put on puppy dog pals now and I'm going to

walk out of this room. Yeah, Gabby's dollhouse sounds really good right now.

It's so crazy.

Our editor, Justin Oki, did an incredible job building out scenes with

so little. We literally used almost everything we shot. I actually looked at

it the other day.

I could be wrong, but I think the only thing that didn't make it into the movie

is the blue screen doll shots.

Remember we hung up blue screen and we shot falling dolls.

We're going to use them in a scene later on.

I think we literally used every... I don't think there's a scene on the

cutting room floor.

Just wild. I buy that. I don't think there is.

Also terrifying when you're like done the director's cut, I'd imagine.

And you're like, you know, an early cut of the edit and you're like, we've used

everything and it's not there yet. And you just find a way to just binarily

better, worse it until it's better, right? Like decisions.

Yeah.

Some distributors have asked us for like outtakes and we were like They don't

exist because when you're shooting 16 millimeter you roll picture right before

you call action and you cut so fast Because you know, that's just money

rolling through speeding through a gate on the camera Max did offer to take a

real blade. Okay, just trying to continue the gag, but you know

I love the skins on the wall. So good.

Real skins, I think. Yeah.

Which actually reminds me of Here Alone. Remember we found an actual piece of

roadkill and we froze it for that scene where I think her name was Rebecca.

Yes. She went full method on that. A real frozen squirrel.

This was the last stuff we shot of the movie. Remember?

I love that shot. It's funny.

You had an idea for a different shot.

And because of where we were shooting, we... we couldn't get it in the last

minute we couldn't paint everything we needed black so like on a whim with the

art department i think you and camera you decided on that shot and like it's

in the trailer i just think it's like iconic looking and it's funny how like

when things don't work out the way you had them planned sometimes they you know

they're still going to work out if you just go forward with it and like i think

it's

I can't even remember what it would have looked like otherwise.

Ross kind of buried the lead, which was that at the perfume factory, we sort of

just were like, fuck it, start painting it black.

And then they were like, you can't do that. And Ross was put through the

ringer on this picture.

That was when he walked upstairs, and all I hear is a trash can get kicked

incredibly hard, and fuck!

I'm allowed one googie fit per shoot, and that was my googie fit.

Did the perfume factory know that we'd been shooting all night and we lit like

150 candles?

No, honestly, the candles were the last things we shot. This is the very last

scene. Noah and I went upstairs and watched from the window and started

drinking rap beers and I was having an anxiety attack because that was just

lace, dolls, and real candles.

Well, we were also in this, it was the 20th day of the shoot.

we shot until like 9 a.m and we all walked outside and it was already hot

and like i remember camera fully wrapped they they they were like i gotta get out

of here so the truck was fully loaded and they were just done it's amazing the

end of every film on a like small indie the reality is like everyone's happy

when you yell rap and stuff and you think there's going to be this like day

of

camaraderie but people are usually just so beyond tired that they're borderline

angry at you and want to get out of there and then it like people people

resting but it's it's funny there's just like fun this comes later yeah there's

still work to be done to get everything out of there my have you guys heard

there's we have some friends that have this like scale of fun because which is

kind of a misnomer because it's not everything's not fun but there's like

four types of fun type one fun is Fun while you're doing it, fun when you

remember it. So I don't know, like maybe a beach vacation, right, with your boys

or your girls.

I think type four fun is not fun while you're doing it, not fun while you're

remembering it. Like it could be open heart surgery, right?

I think type three fun is no fun.

No, I'm going to forget type three fun. Fun while you're doing it, not fun

afterwards?

Yes, correct.

And that could be drinking and driving.

Yep. Sure.

Okay.

It's basically a movie often. Well, dude, I think type two fun is a movie is

like, it's not fun while you're, or sorry, it's very hard and not as fun

while you're doing it. And then the further you get from it.

the more fondly you remember it and love it. And Rachel, my wife, tells me all

the time, she's like, you're such a type two fun guy. In the moment, you were

dying. And now you talk about it like it was the time of your life. I'm like,

yeah, and in a year, it's going to have been the best time of my life. At one

point, you said, I'm never happier than I'm on set. And Ross, we're like, I

don't know about all the time. He doesn't look happy.

Sorry. No, no. It's fine. It's not easy to make stuff.

But I think there's something that's just like,

I mean, I don't want to say war stories. It's nothing like, we're not comparing

to war, but there's just like a camaraderie that's built up with this

team about that you kind of set out to do something that on paper isn't

technically possible with the resources you have. And somehow just that's the

art of it. People like all do like their job plus 110% and it works out.

It is crazy, right? So someone who hasn't made a movie, it's like you're

starting, and a lot of people ostensibly.

haven't made a movie um but you are building an entire team or like a

battalion or a machine like to just do it once and by time you get really good

at it you're not doing it again yeah it's true no it's true i mean these a

lot of these films are like four weeks 20 day shoots and really like yeah the

The machine is operating finally week four. And then you're like, and now

we're done.

And that's what makes it so weird to me that so many filmmakers and producers

and whatever, they want to build a whole new team each time they make a movie.

And I'm like, why in God's name would you want to do that? You know, it's like

bring in all your trusted people where you're like, I'm going to make your life

really hard and you're going to figure it out. And I, and thank you for doing

that. Right. Or it's yin and yang. Like, right. Like you guys know my.

when I'm troubled or stressed and you know how to compliment that or like help

solve something in the moment or maybe what's good for me like and even that's

the same with your department heads like I mean it's a team right it's like not

we're all we all have incredibly important roles and that's the only way

it works it's it is it is such a crazy thing I know I'll never forget this like

after we made here alone our mutual friend Dave Kaplan

who film producer um said something to us he marveled at the fact that like one

we were all still friends and we wanted to make another movie together and he

was like that's that he's like that's i've not heard of that and i was like

well yeah like dude i mean we're just trying to figure out how to run this

machine like we'll do it better next time and next time well none of us are

really finger pointers it's like issues come up and we just try to solve them

like issues are going to come up right so like just fix it don't look for I

mean that's like the thing is like we're here so you can't throw your hands up

we're humans doing a thing humanly yeah also also humanely humans

doing a humanly thing the other thing is like

off hours of making a movie are so special it's like for people who haven't

had i hope everybody gets a chance to make a movie with ethical people there's

a lot part of why i think what ross and i do and rod's a producer as well but

like um is sort of a sleazy reputation is um it's incredibly fun like when

you're not you know even when you're not shooting because you build this like

summer camp vibe and we had that on this big time

Ross is like, no, we absolutely did not.

Yeah, a lot of people had fun on this.

Ross's PTSD.

Ross's fun might start after this.

So we're recording this about three weeks before Dolly comes out in the

United States. I actually wanted to talk about that and get a little meta with

that. I thought it was interesting.

That we're doing this.

Well, yeah, it's like, you know, when this comes out, we're going to know how

the movie did.

when this comes out, we're going to know how the movie did. And it's either going

to like, I mean, it might change things for us and it might not. And it'll be

kind of cool to like, listen to this as a timestamp of like, frankly, like the

butterflies are really real for me right now. I know, you know, like we're doing

things like this and, and working on frankly, like maybe some other Dolly

stuff and, and like going a mile a minute right now. And I think part of it

is almost to be totally transparent, like this, like.

distracting ourselves from the long slow wait of this like rapidly approaching

release that may or may not change things for us and all the people

involved and um yeah yeah that's really on my mind watching this i feel

this yeah all the time it is i am definitely distracting myself by making

the things we're making right now totally here's our boy ethan just the

the sweetest dude

Absolutely jacked. He's a huge man.

Ross and I were talking yesterday about there's difficult actors and he's the

opposite. And his rider is, I want a kitchen.

That's all he needs.

And a place with a gym.

Because he's going to eat healthy and be healthy.

You know, it's funny.

Ethan is someone that I'm, you know.

It's 2026. I'm 38. I grew up watching like Boy Meets World. That's where I

first knew him. And he was just stood out as this like bully who would like do

poetic soliloquies on it and stuff. And I thought that was interesting. And then

like I got a little older and Remember the Titans was like a movie before I

became like what I would say a cinephile. Right. And I just loved him

and everything and got older and watched American History X and Blow. And like

he's always been one of my favorite actors.

fact that we can work with these people who like we all grew up with it's like i

mean trophies are cool but that's like the 14 like what would 14 year old ross

if i could sit down and tell him what i was doing that's the first thing i would

say it's so cool and when you're not grateful think like i i can't remember

who i was talking to about this but they were like you need to put your because

15 year old you would scream at you for not being feeling like you're can't

count your lucky stars you know maybe you're not making a bunch of money right

now but you're getting to do what you've thought about since you were five years

old yeah it's dude it's hard in the moment to

keep stock or have perspective. By the way, that man laying in the corner is

Isaiah Smallman, who recently told us he's on a mission to have the most

appearances in the Dolly universe on screen.

And he's got a high number already.

Maybe we'll give it away how many he has, but he's the front runner.

Also, I do want to say, Ross, I love Ethan.

we're just pontificating about our lives and experience which is good it's like a

little bit therapy um probably people probably want more stories about the

movie but i want to go back to what you're saying about like the moment

we're in right now pre-release and we don't know what's ahead um it is

also the spirit of what i think a lot of us do all the time is like just go well

no one's going to give us permission and if we don't try maybe

it'll never happen and i think there's like yes there's an audacity to that

it's also there's a muscle to it that i've found that you know you're just

like well dude we're gonna get busy making stuff and we don't know what how

every everybody else or every other force that gets applied to this is going

to affect this but what we can do is do this we can make this commentary now we

can make more dolly movies we can do all this um and so i think we just

Go do it. I mean, maybe looking back, we might not dedicate the podcast to

Michael Bay.

No, that was a mistake.

But, you know, we're learning. I love Michael Bay. Yeah.

We are learning.

And we're work for hires, Michael Bay.

I just remember, like... Ethan's actually wearing...

No, I was just saying, Ethan and I just talked about Lawrence of Arabia for like

45 minutes at one point, which is perhaps the greatest movie ever made.

Baby girl.

There it is, set out loud.

So we actually, so the set was broken into two floors, or we built two levels,

but we actually had to build that stairwell, so he could actually come

down the stairs there, and that was actually a real tower.

that we built just to destroy.

It always bothers me.

I'll never forget, Ethan asked me if he, I think he has socks on so that the set

would be safe, but also I think he had insoles in there so that he had a little

cushion in.

And I was like, man, I am happy. We are happy to provide you insoles because

you're wandering around in your dirty, dumpy butt long underwear.

He always, like, shows up with delicious-looking food, too. He'll,

like, have made himself, like, poached salmon with, like, roasted potatoes and

asparagus or something.

By the way, one of the better-looking wigs I've ever seen in a film. That's

awesome. It's incredible.

That's a wig?

Oh, I'm sorry about this, little girl.

And that's a cut on her face. That's a cut. She's bleeding now!

She's bleeding real good!

Scream again, boy.

I love this weird innocent little smile here.

Once Dolly starts coming.

So good. I love it.

He told me after this day or after this scene that like That was some of the

most fun he's had.

He got to be big. I don't know, but he never qualified it beyond that. What

made it the most fun? I don't know.

I got your baby.

We're putting that on the t-shirt.

I got your baby.

This is where, for the first time, you learn about the dynamic of that family

and that house. And you see something different out of Dolly.

Man.

Was this hard to block?

Oh my God, dude.

Ross.

Dude.

Yes.

I don't even know where. Some of these scenes have so much.

do-si-do-ing, like literally there's a do-si-do right there.

I mean, I think when we were shot listing, you know, we were into double

letters. I feel like there were some scenes that got into triple letters,

which means you're, how many letters in alphabet? 24, right? I hope I'm doing it

right. So you're on your 49th shot. 49th shot in a scene.

Were you consistently hitting that or was it like a constant,

consolidation of shots because of our schedule i think we we would

change the shot list oh man michelle adams dude that one especially i was

like yeah oh that hurts and she's like oh no i'm good to go again no padding on

that floor nope no it was literally a concrete floor under that linoleum um i

think dude kill me baby girl we didn't overshoot we would try to simplify well

dude we you know how long were you gonna keep We would have to simplify because

of weather. Or one day we got out to that Snoopers Rock, that overlook, and

there was a wedding there. We were authorized to be there that day.

But we were like, well, we can't. It'd be bad karma to call the wedding off.

So we pivoted.

And then the car wouldn't work or something. And so literally, I remember

at the Trailhead parking lot, which is yet to come. This is the best. Eyes up.

Yeah, sorry. He told me. Dude, he asked me.

Ethan right there. I'll go back to that story in a second.

He's like.

he's like i know i'm channeling somebody in that one shot he's like can you do

you know who it is and i don't know i know i've been always wondering he said

that he's never said it to me well in that scene that's yet to come just that

trailhead parking lot is like we literally sat there and we're like we

lost all whole day and we literally just rewrote the script sitting there in the

parking lot and i remember like being like i need 30 minutes and we're just

gonna and i don't even remember what it was actually at this point um try to be

efficient with our shot listing um

so that's the end of toby but

i feel like there's so much more of him to tell before all this happened

Yeah, there's plenty to come.

That moment for Max, that scene was

very emotional for them as a performer. I think they would be okay with

us saying that. It was a very emotional moment for them.

The release was very close to the end of shooting, I think.

yeah there was a lot of the third week roughly once we got in there we in that

in the downstairs we were there for pretty consistently uh it was so nice

when we stopped bouncing around from different outdoor areas because remember

things got so fugazi yes by the way that when max broke that crib

that was a moment too where i was like are we gonna is are they okay because

the crib had been pre-loosened right like structurally kyra and her team had

like made sure that it could splinter but i don't think we had a second crib i

think we were going to get it once no no we did it more than once the the thing

was it was so it had to be so loosely assembled that the first take max lifted

it up and they fell apart it just was like so we might have a blooper yeah

kyra fixed it up a little bit yeah hey french distributor

She's going through it. Yeah.

Man, it just looks... Justin Derry and David Risner and that, you know, the

grip and electric and camera department just, like, nailed it.

Mommy, I love you.

You know, the makeup, the special effects makeup team, we really can't say

enough about them two, but just even, like, the progression of the ear.

You know, it goes from ripped to...

stapled or stitched excuse me to like kind of where it's at now it's just

thinking of the continuity of all that when you're shooting they really are the

top of what they do right i often say this and this is not an original

director or filmmaker thought but you know you're the movie

is good because of everybody else who did all these things right like

I don't remember which very famous director said it, and I've just taken it

on, but it's very true.

You're not telling somebody how to say a line.

That's the magic they brought, right? I can't tell Kyra Buscelli how to

production design something, but I'm not a production designer. I can't tell Nick

Bowen how to score it better. You just have ideas, and then one plus one equals

three, right?

Because there's some magic there.

Every movie just works because...

what these people do.

We have the idea, and we try to get us all on the same ship, or the train

headed in the same direction.

I

remember

we showed it to a friend, like an early cut, and they were like, how would he be

able to scream Macy's name?

And I was like, this is a movie about a slasher with a giant porcelain doll

mask, and that's your...

And it's just, it's one of those moments where you're like, oh, right. You just

can't please everyone. This is wild.

Right. That's what you're hung up on. Because it's awesome. You made it this

far.

You made it this far and it's awesome.

We did talk about whether it would be meh.

Yeah. Which is, and they were like.

Someone along the way was like, well, if the back of your tongue was not

flapping, like, oh, that's too much.

We're just going to have him say Macy.

Green screen shot

in the Perfume Factory parking lot.

Parking lot.

Yes, I just said parking lot.

Sean's last stand.

Literally.

Rod cried during this so much.

Yes. I mean that as a compliment. Yeah.

For the listeners at home, we're like two feet away from the huge screen, so

I've never watched it this up close.

It's so good.

That must hurt so much.

Man, that day was very emotional.

I've thought about it, actually, because Max said something to me.

Max saw that I had been crying.

And I was crying for a number of reasons, to be honest. It was close to

the end of the second week where I had this moment watching this happen where I

was like,

Sean came in week two, and I was like, oh, we're actually maybe going to get

through this as a movie.

Because I think every day one or day two or three on every movie is like, you've

got... well besides you've got the jitters and but you've also got this

energy of like oh well nothing's gone wrong yet right and like uh we got this

and then reality sets in growing pains problem you know and there was a moment

that day where i was like oh we're doing it we're gonna get through somehow and

then also just thinking about like the emotion of that moment and being a

father and like

obviously this movie is outside of the realm of reality, but I have a daughter.

I'm saying like, what if you knew you weren't going to go home again? Anyway,

I was very emotional that day and Max saw me crying and Max came up and gave

me a hug and said something to the effect of like, I have these, what good

would these big strong arms be if not to give somebody a hug with?

Dude,

it like, it's even right now, it's very emotional. Like it made me very

emotional. Like they just, what a remarkable thing.

Ross had a cameo in that scene.

Yeah.

You were in them there caves.

I was in their caves.

Scared.

Michelle, are you okay?

You just took a header into a grave.

This actually might have been physically the toughest scene on Fabi. It was our

second day. Oh my gosh.

And, you know, there's a lot of physicality. I mean, all those sticks

are real and they are like jutting out. You can see there by her face, like it's

sharp. She got pretty scraped up in her arms. And I remember her kind of calling

us after and frankly kind of saying like, I mean, I think she was doing it

for the movie. She was just like, I can't physically.

keep that up for 18 more days. And it was a real thing. I mean, I give her

credit for being able to say that and it was right. And, you know, it was a thing

of, again, like she's in every scene for 20 days. We had to, you know, keep her

safe. Yeah. And like we, you know, you figure out making a specific movie along

the way and we hadn't figured it out yet. Yeah.

It's actually one of those things. It's this scene. She's so chock full of

adrenaline and her performance.

I don't even think she felt.

Scrapes on her arms until like two hours after. Yeah, I think so.

Oh, sorry. It's like Ross is good friends with a bunch of UFC fighters.

And I remember you told me that it's like it's a few hours after the fight

where they're like, oh, my God, I am mangled.

Yeah, I think even shortly after. It's just when the adrenaline wears out, you

start to feel it. Or so I'm told.

Going back to blocking. This was a blocking.

This was one that had to be blocked.

I mean, it's like, dude, we had base camp not too far away.

Like, our trucks are just out, just in that direction, just barely out of view.

Oh, man, we couldn't look the other direction because that's where Video

Village and all of our staging was.

The light was changing all day.

Yeah, man.

Also, these were day one and two. No, this wasn't day...

This piece of it wasn't dated. Was that two?

I don't remember. Some of it was day one and two. No, I think we came back to it.

I think we came back to it, yeah. Our stunts weren't there. That's right,

that's right.

Man, oh man.

Here's the thing. I don't actually recall if Macy hits Dolly three times

in the script or if that's a Justin Oki thing being like...

It's just an oaky thing. I couldn't remember at this point.

He gets credit for that. Our editor, yeah. Our editor. There's also another

moment coming up where he did the same thing. I mean, he would do these things

like sometimes he would time ramp footage a little bit and it would change

the, you know, the, and granted that's like a David Fincher thing is to take

out frames at the moment a punch is thrown. So all of a sudden the punch is

there.

But just, I mean.

Justin Okie has all these little tricks that really make the movie come alive or

work. He's like, oh, you've got this material? Here's what I can do with it.

Again, a collaborator that makes it better than what you have in your mind.

Just a fun little fact.

Ashley Thomas, our SPFX person, I guess yesterday we were supposed to talk to

her. She just texted, are you guys okay?

Like, yes, yes, yes. I think we are. We're just busy and stressed. Are we

okay? Well, the movie comes out in three weeks, Ask Us.

Ask Us in four weeks.

Ask Us in three months.

Ask Us after opening weekend.

Love that.

This dolly outfit that Max had to endure was hard.

From this moment going forward, Max also was wearing an application

layer beneath the cracked mask that gets revealed.

The mask was stifling.

We're in Tennessee. It's hot.

They're wearing...

a robe the only hole in the mask is the eye hole so if you can imagine all of

her all of their breaths in and out went through that which was like incredibly

maybe they're getting like 20 the oxygen level um we had no trailers to go cool

down we had that we had a couple of pop-ups with tarps laid down and it was

like on a hill this is our buddy russ tiller he's he's the best

And this band, Nick Bowen's old, our composer's old band, Locked in a

Vacancy.

Russ Tiller used to date the woman who cuts my hair.

And one day in Nashville, she was like, yeah, man, my boyfriend's looking, I

don't know, he's got a reel. And I was like, oh man, this reel is really good.

And now we've made like five things with Russ.

and we'll make more no no no uh did a bear do this i love that one

also going on a t-shirt yes it's a woman with a porcelain doll

mask so honestly we've realized it's almost like best to not write russ lines

and just tell him what's going on and he just delivers like it's just like yeah

that was one of my favorite moments is coming up i got this i got you i got

this

Or he hugs it against his chest.

Like, how do I tell the boys back at base camp about this?

He got the assignment.

I've always liked to think it's just like nepotism and it's first day on the

job. That's why it's like a fresh, like unironed shirt. Like it's just day one.

Get in the car!

Get in the car!

That's going to leave a mark.

We did promise Max, rightfully, that on every other Dolly movie,

we'll figure out better... First take. And there's Zay again.

That's another thing. Sorry to cut you off, Rod, but when Dolly was swinging

that... Max couldn't see where they were swinging because their field of vision

is only that one eye. And they nailed it on the first take.

Oh, my gosh.

And we only had one head, so Zay also had to stand underneath and catch it.

Oh, my gosh. I forgot about that. Get away from me!

I fucking hate you!

I hate you!

I fucking hate you!

Oh, my gosh. Guys, Zay is all over this movie.

I love the man.

We should give him a credit.

Dude, Zay's responsible for so much of this. Oh my gosh. I mean, he's really

the reason we shot in Chattanooga. Yep.

He also did the editing on set.

He did the assembly edit.

Okay.

We actually bought a RAM charger off Facebook Marketplace and at this

juncture told Max they could go ham on it.

And they did.

That's Max getting to take some shit out on a wicked car, though. Real

glass, our DP in there, just with a blanket over him so he didn't get shards

on him.

Zay, again.

Zay's body. Shut up, Zay. Good catch.

That's my wife's hand.

And... No.

Need a shot or two.

So the only snake I saw in this whole production was when we had to go find

the wood that she drives over to find. As if she's driving over Dolly here. We

just put a bunch of 2x4s under her.

Spoiler, dude. You've told them before, dude. My wife's foot. If you haven't

seen it, that's about to happen. Right there.

The thing is, we couldn't drive over a body.

So we needed... No, we didn't have the money.

If you had the money, would it be possible? If you have enough money.

You can do that.

So yeah, you went to get a piece of wood out of the woods or off a pallet and you

pulled it up. And an eight foot snake, it was...

I don't know. We ate something big.

But I was just over it. It jumped out at me, and Jeff had to go get the wood, and

I just lost it. We all had moments of, I was just like, I can't do this anymore.

I think this was the same day, too, that you and I went and towed the Bronco, and

we got here and realized that the ratchet straps had come loose.

And we were like, okay.

It's a Ram Charger. I don't know.

This is why you have Teamsters.

It is a Ram Charger, not a Bronco.

But who's keeping track?

You.

By the way, this scene was the one that was rewritten. There was no more light

left. We were pushing the film stock.

Oh, man.

Tennessee is beautiful in the summer, excluding copperheads and poison ivy.

And heat and humidity.

And life-size dolls in the woods.

Well,

this is the scene with the ram chargers on the process trailer. It was secure

here. We don't know.

No, I think it was. I'm not going to ask further questions here. It was.

I rest my case.

We got just lucky here.

This was the last day, actually, before we went back to the factory, and we were

chasing sunlight, and we didn't even know if the audio was going to get

synced up, and we were just like, well, we've got 30 minutes.

We're just going to shoot it.

And it all works.

That's insane to me.

Yeah.

The light, the coverage, the shots.

Where do we go from here, Rod?

If they've made it this far.

Is this a life question?

I don't know. I just felt the gap.

I was going to say, I don't know. I was thinking maybe you could spoil stuff,

maybe not. It was just kind of an open-ended question.

Someone did ask us at Fantastic Fest where Dolly premiered and was an

incredible experience.

They asked us after the scene if we'd watch Texas Chainsaw Massacre.

I was like, what if I said no?

Would you believe us?

Man.

Movie ain't over, though.

Oh, yeah.

I guess we talked through credits. We should just talk about... I do want to

hear. We got a little more ground to cover. Don't turn us off yet.

Oh, wait.

There's the baby boys.

Who are the baby boys? We're going to get to a point, too, where what they're

watching, is the timing going to be the same with the... It's

not in here.

At all?

The QR codes are not in this one.

Okay, never mind.

Well, to explain that, at one point we had a tip jar in the credits of the

film, and the tip jar is no longer there because I'm just a broke dad of two, or

struggling dad of two. I, of course, have privilege. I'm not immediate there.

Why would any large conglomerate want any artist to benefit in any way at all?

For Fantastic Fest, we initially put... a tip jar in the credits. It would have

changed the timing.

That's what Noah's Reverend did. The commentary.

It's going to sync up though. I really like our credits are

old school.

Totally.

That's really just because we have to always make them ourselves. We can't

afford to make our graphics or credits.

Look at that. Look at that PGA designation.

It looks nice.

Two more.

Feels good.

It does feel nice. It does feel nice, dude. It does feel nice. Well, dude, we

fucking killed ourselves. No, dude, no.

You guys killed yourselves. We're responsible for making this movie. I

mean, all these people are, but like, man, think about how much time we've put

into this. Yeah, I mean, it's been almost two years since that last shot.

It's insane.

Steven Schneider. Steven Schneider.

Steven Schneider, who watched the film a couple weeks before Fantastic Fest, is a

legendary

hollywood producer made like the insidious franchise and paranormal

franchise and he's he and roy lee have a company called spooky anyway steven

schneider saw the film and liked it and i was like i'm just i really like you

steven schneider and what you do in your life and your work and the path you've

taken i was like can we just become friends and we became friends and we

asked him if we could give him a credit relative to all the things we're doing

with dolly and he was like yeah man he's like Sure, whatever.

Like, throw me credit. I was like, we'd love to be in your orbit. Yeah, we want

to be able to do that in the future.

Man, the Baby Boys do sound real good here.

Yeah, they rip.

Haven Howell, just so awesome.

Tennessee-based costume designer.

All credit to Ross for finding her.

No, Bryce.

Bryce and Zay.

Oh, right. Yeah, she was Chattanooga. Now she's Nashville.

I'll take the credit. She did live in Los Angeles for a long time and randomly

was friends with Fabian in Nashville.

Right.

Luke Chandler, script suit.

That's true. Who else?

Set medic, a.k.a. they have a table. Beth Lee, art finishing.

Oh, yeah. Dan Martin in the 13 Finger FX in the UK who designed or built the mask

and printed it.

I can't read these fast enough, but shout out all the homegirls and

homeboys.

Michael Del Plato.

And that's Nick and Chris's company. They got almost every credit on that

page.

We can't give shout outs fast enough.

That's the name of the track. That's the name of the Locked in Vacancy track.

Those are all the kind folks.

Provider of needs.

The perfume factory.

The carpenters who were just carpenters. They're not set carpenters. They were

just truly, they built houses.

Yeah, Ross.

That one I'm going to give you credit for because I remember that very

clearly. And we didn't have a quote until like two weeks before and it was

interesting. It worked out.

Thanks for coming out tonight.

Hope you enjoyed the show.

How about that, Macy?

Is he the singer of the Baby Boys?

Talking about our movie?

Scoot McNary's personal thing.

All of the members of Creed.

I told you guys about Screamfest. They knew that, right? The guy was like, I

noticed you thanked all the members of Creed. We were praying at least one

person would realize that. Mission accomplished.

Well, we'll be seeing you again real soon with Dolly Tudor.

That's right, folks.

You know how these things go.

We're the baby boys.

Give them hell. I know we will.

We did, and we'll do it again.

After March 6th, we've recovered.

Yeah.

Is that thunder?

Anyway, like and subscribe so we can make another one.

Oh, but wait, there's one more scene. And we could probably, these guys can

explain this scene if they want to.

Oh, that's us.

That's me in the orange.

That's me right in the middle.

That's me, Ross, the cop on the right. I'm working that gum.

Wilkerson. Toby.

Noah, what's your character name?

D. Wayne.

And D. Wayne, I stole the spitter from Trailer Park Boys because Ricky always

has a rum and coke and a cut-off plastic water bottle.

You look greasy.

You did ask me the other day if I still had that shirt. That was like a year

ago. I was like, no, the minute we were done.

Wow, damn.

All right.

Thanks for listening, y'all.

Thank you.