164 Final Destination (ft. creator/writer Jeffrey Reddick)

Episode Transcript

Brett: [00:00:00] Welcome to the New Flash podcast. My name is Brett Arnold @Brettredacted on Twitter.

Joe: [00:00:06] Joe Avella on Instagram, and the New Flesh Podcast on Instagram.

Brett: [00:00:11] And we are with a very special guest for a very special interview that we’ve been waiting for for a very long time. Jeffrey Reddick the creator and writer of Final Destination, which led to of course a very, very successful franchise Jeffrey is here, calling in from I believe his home in Los Angeles, welcome Jeffrey Redick.

Jeffrey: [00:00:31] Yes. I’m calling in from my really super sized mansion with a helicopter pad is my very quaint place in Los Angeles.

Brett: [00:00:42] Yeah sitting on all that Final Destination change in la I love it.

Jeffrey: [00:00:48] It’s literally according to Piers Morgan. It’s millions and millions and millions of dollars. So I’m just like I’m bathing it right now.

Joe: [00:00:56] Congrats to you on that.

Brett: [00:00:58] I did I did notice a Twitter spat between you and Piers Morgan. What is that about?

Jeffrey: [00:01:03] Well it honestly I didn’t even try to start a spat with him. But that whole Gellette ad campaign that came out about kind of like being the best man. You can be , you know, he just wrote his normal silly stuff about it and I was very nice and I didn’t reply to him because that pull somebody into one of your things, you know what I’m saying? So I just quoted his tweet and I was like, the ads not attacking e. The ads not saying being masculine is bad, the ad is saying that certain, you know behaviors that we teach boys , you know can harm them. You know, like don’t show your emotions. Don’t cry, don’t show fear, you know, solve your problems with your fist and he basically tweeted back and he wrote something in the UK Daily about it as well. He’s like, oh, yes, and I got this message from  Jeffrey Reddick and it said this and he goes and it’s all fine and good until you look what he does for a living. You know, he makes a living, you know chopping up and strangling and stabbing women.

Brett: [00:00:25] Oh my God!

Joe: [00:00:26] What!

Jeffrey: [00:00:27] I know and so I just wrote him back and like, dude, I have no that’s not my movies aren’t about that at all. Like it’s definitely not picking and targeting women. I don’t even write nude scenes in my movies and you know death is, you know, all my horror movies have been very fun. And if there’s a killer, everybody’s like kind of equally killed  but there’s nothing gratuitous. I mean, I didn’t do part 3 of Final Destination. So yes that tanning bed scene was very gratuitous, but I didn’t do that, you know, but so that’s all he said because obviously he was wrong so he didn’t respond back, but it just kind of it got picked up by some news outlets…

Brett: [00:00:18] People love the Piers Morgan clickbait outrage. Yeah, he’s a real moron.

Joe: [00:00:23] But also they really they really love any story that points out any sort of hypocrisy in the film industry. So for you to have an opinion and for him to throw it back you’ll be like well and makeup that you make movies of objectifying and killing women which obviously you don’t then that just like people can jump on that to be like, what is this guy know?! He’s more Hollywood liberal blabbity blah.

Jeffrey: [00:00:43] Yeah, and that’s and that’s why I’m always careful about what I say because it’s it’s just funny because it they tell you like, you know, so if you’re a businessman and you start from nothing and you build a successful business, then you should be able to talk about politics or if you were, you know, an average Joe on the street who’s like, you know built a company and are even opened a restaurant or if you’re you know, they say are pretty much everybody apparently and in the world should have a voice in politics except for people in Hollywood. Even though most of us come from like small Midwestern towns. And yes people people want to want us to entertain them and I try not to get too political unless it’s things that impacted my life personally, you know, I try to kind of just stay out of it. And if I do engage, it’s not like I try to not attack people because I grew up in a very, you know, I grew up in an Eastern Kentucky like years ago when I mean people are having all this outrage about the governor. I think it was the politician they found a picture in his high school year but blackface…

Brett: [00:01:44] Medical School yearbook not even a school. It’s wild.

Jeffrey: [00:01:47] High School. Yeah, but the funny thing is like I when I went to high school we grew up. I mean, it’s just because it was backwards at the time and it’s changed so much in the people of you know, people are you have to take into account where people grew up and we had a talent show at my school were literally somebody dressed up in blackface to play to lip-sync a black singer. And just because I had grown up around that because it was like me and my sister and two other people who aren’t white and this whole white like kind of again really kind of, you know, small town in the middle of the hills, you know, like we didn’t even think anything was wrong with it. You know what I’m saying? Because that was just that was the culture that we lived in at the time and now I’m like, oh, yeah. We’re that’s that. And in the person who did it, I’m trying to avoid pronouns to but the person who did it, like, you know, they weren’t doing it to be like, ah, ha, I mean, he was a Klans person, obviously, there’s a different connotation than putting on blackface to lip-synch a singer, but you know people forget how, I I was born in the late 60s and people forget that you know up until probably the 90s there were still like a lot of crazy, right?  When Vanessa Williams was the first Miss America like that organization got hate mail saying that they had ruined the organization. They were bomb threats. I mean, it was people don’t remember that stuff. But you know Vanessa Williams just being the first black Miss America, like people are like you’re destroying that you know, she doesn’t represent a merit like, you know, they had to put security on her like it was that it’s…

Brett: [00:03:20] Yeah and like I think we’ve come so far but like, you know, the political climate being what it is how far truly have we?

Joe: [00:03:28] Oh, I was gonna say like forgiving her digressing but don’t you think it’s weird that med school has it has yearbooks?

Brett: [00:03:36] Yeah. That was what I think a lot of people learned that the other day.

Jeffrey: [00:03:40] I didn’t I didn’t know that schools have your books.

Brett: [00:03:42] Yeah. It turns out it was I think it was like a you know, the students made it themselves. It wasn’t like a school mandated thing because yeah, that was like people like how the hell did the school at this happened? Yeah. It’s this whole. Story that is developing right now. And the latest by the way, after after this Governor yesterday, apologized for the picture now, he’s claiming he doesn’t remember to taking it and that he it wasn’t him. So he’s really resisting.

Jeffrey: [00:04:07] Oh dude just own it.

Joe: [00:04:09] Like yeah just refresh my memory I’min blackface so often.

Brett: [00:04:16] yeah, when was this?

Jeffrey: [00:04:17] Yeah, which time was this? Because I don’t remember that background…

Brett: [00:04:21] And everyone’s asking like, you know, why didn’t anyone speak out about this at the time forgetting that oh, it was probably an entire blackface party and everyone there was doing it. So no one spoke up because they’re also doing it. Yeah. Anyway, let’s change topics and talk about what we’re here to talk about very subtle transition into truly one of my favorite horror franchises growing up. The Final Destination franchise which you are credited as the creator of you have such an interesting history with New Line Cinema. I was just hoping that you could like tell us how you how you got involved with New Line at the very begining.

Jeffrey: [00:00:40] Yeah. No, I mean I New Line, in my opinion, and I’m obviously biased because I work there 11 years, but I think New Line was the the best studio that I’ve ever worked and that’s from a creative to also being, you know street savvy Bob Shaye like built this company on its own.

But how I got involved it’s a have the truncated version because I’ve told it sometimes so don’t worry when I say that I was 14, but I saw Nightmare on Elm Street when I was 14 and they original one is my favorite movie of all time. It’s just, amazing film and so, you know, I live in the middle of Kentucky. I don’t know anything about the movie business, so I went home and I’m like, I’m gonna write a prequel and I typed up one on my onion paper typewriter and I mailed it to Bob Shaye like I called information of track down all the information. So I mailed it to Bob Shaye. And so he sent it back to me, and he’s like we don’t take unsolicited material. So usually you have to submit through an agent to get them to read it.  So he sent it back to me and then I wrote it back. I’m like look Mister, I’ve seen three of your movies and I spent like three dollars on your stuff. That was a lot of money back in  84. And so I said, I think you can take five minutes and read my story and so he did he read he read the treatment and he wrote me back and he was very encouraging. He definitely told me I needed to learn. You know study the craft more but he’s like you’ve got a great imagination and stick with it and I ended up becoming pen pals with him and his assistant Joy Mann who’s no longer with us, unfortunately. She was like a wonderful woman and I stayed in touch with him from 14 to 19 and I was studying Theatre in college degree in Kentucky and I went to New York for summer program to study the American Academy of dramatic arts. And when I went to New York new line was like hey, do you want to intern here? And I’m like sure and then once I got in a new line, I’m like, I’m not leaving I’m staying here. So I worked at the studio for 11 years. I started in 91 and then I sold the treatment for Final Destination in 97 and I’d come up with the idea originally, You know, they want you to write something or they did back in the day, they wanted to write something for television that something that was already on television to show that you could write other characters voices. And I love the X-Files. So I use that idea of the premonition is an X-Files episode and I had scully’s brother Charles have the premonition and so it was very personal story.

But before I send it off one of my buddies at new line Mark Kaufman, I was always like to just name the people that helped me because they’re really important to my my career but, you know Mark Kaufman is a friend of mine. He’s like man, this is a really good idea for a feature like you shouldn’t do this as a TV show. So we never send it to the X-Files, but I hooked up with Craig Parry at Warren Zide who produced American Pie and one of my friends at new line, a lot of everybody at some point at their career if they’re over a certain age as worked in new line. It’s just they all pass through somehow. Chris Bender work there. It was a friend of mine and he started working for these producers and they were looking for horror projects. So I sent them, you know the flight 180 treatment which they liked and they had a deal at new line because I knew even though I worked at new line it was better to go to a producer who had a deal to kind of stack the deck in my favor and we worked on it, you know, like six or seven times with a studio and they just couldn’t get their head around death being the killer.

That was what they kept bumping up on. They’re like you can’t see it. You can’t kill it. We’re like that’s the point.

Brett: [00:00:56] So so before before it ended up being the way that it is with like, you know, the kind of the chain reaction almost Rube Goldbergesque death scenes. What what was it in the previous drafts like that? They have it as like a person?

Jeffrey: [00:00:14] No. No, it was always an interesting progression because in The X-Files episode. I set up against it’s always funny. I think to see all these things evolve and that’s what’s great about the creative process is things do change. But when it was an X-Files episode, there was a sheriff who was helping them investigate who is murdering the people who got off the flight and you found out that every time there was a near-death experience somebody had a premonition where they escaped death. Somebody who flatlined at the same time would be revived and then that person ended up being the murderer. So you found out the cop is the murderer. So you just death possessed him, basically. That was for the X-Files.

When we decided to do it as a movie. I wanted to make death more of a force and in my thinking, you know, okay. Alex has to have the permission because he’s not supposed to die in the playing cause I always say why you know, why does it happen to this person? You know, that’s kind of one of the standards, you know rules of writing like why this person, so originally we learned at by the end of the movie that Alex wasn’t supposed to die in the crash, but when he pulled all the other people off they cheated death. And my original thing was that since death messed up the first time it couldn’t just back come back and kill them. So it basically toyed with each of the kids had some guilt or isn. I don’t know but not even it like a religious in some sensinse that they’d done or something that they had done that death exploited and kind of very Nightmare on Elm Street scenarios, and then the kids ended up killing themselves, which is a little heavy but it was it was really done like Nightmare on Elm Street kind of set pieces that drove them to kill themselves. So it wasn’t like it’s a it’s always funny when you come out of horror stuff. It’s like it wasn’t that bad suicide but like, you know in the in the final version, you know, because James Wong and Glen Morgan came up with the Rube Goldberg device and I’m actually really thankful they did that because I think that that’s you know, my version I think would have played really well to like the nightmare crowd and the horror crowd, but by swapping out the nightmare stuff and adding in their Goldberg stuff as the framework for how death got people, I think that’s what really made it more universal.

My version. You never saw death either but like the guy that gets hung in the bathtub in the movie like in the script, you know, he was a he was a preacher’s son who was kind of selling drugs on the side and he felt really guilty about it when he survived the crash and you know, he brings up this noose and the garage, it’s it plays out pretty cool because he calls his father and he’s kind of confessing to his father, but he’s done some awful things and his father can tell like something’s going on. He’s trying to hurry home and the sons rigged up a noose in the garage so that when his dad opens a garage it hangs him.

Brett: [00:03:10] Oh, wow.

Joe: [00:03:11] Mmm.

Jeffrey: [00:03:12] We kept a lot of the parallels like with you know, the two brothers were ine stayed on the plane and one got off, in my script, it was like two sisters

Brett: [00:03:19] Did I asl read that it was like before, you know, I feel like it was before when Scream came out, you know, everyone’s like you got to make a teen movie. So like, wasn’t it adults at first and then it became teenagers?

Jeffrey: [00:03:34] yeah, it was definitely more like some of the latter versions like it was they were adult characters that that weren’t connected to each other and then Scream come out and they’re like, we got to make them teenagers and at that point I’d been in the studio system long enough that you know, I’m not… I know what I want with my work but I’m up precious with it. As long as I feel it’s being developed in a smart way so I could definitely tell that, you know teens were trending again so it’s like, alright. Well, let me just make it a group of students going on a trip.

Joe: [00:04:02] Interesting. I have a question. So as the the scripts at this idea is evolving as you’re developing it, was Bob Shaye or anyone at New Line kind of mentoring you to know the difference between good changes to make to make them go forward versus bad things that might kill the project.

Jeffrey: [00:04:19] I didn’t necessarily have a specific Mentor but I definitely I was reading things voraciously. I mean I would recover, you know, I’d read all the coverage that came in. I found coverage from a script of mine that I’d sent them when I was in high school. They were like, oh it was great, but it just doesn’t for isn’t right for us. And then I found the coverage and it was like this script wouldn’t wouldn’t pass muster for an after-school special. It’s so bad.

Brett: [00:04:43] Oh my God.

Jeffrey: [00:04:43] So that’s that’s why I never tell people, especially people starting up when they’re younger writers, I never liked try to crush anybody’s dreams because you know you grow and so the best, you know, you know, I had  many mentors at new line that were like showing me the ropes on the business side of it, but I’d gone out to to New York to be an actor. So the writing was kind of like secondary at first, but I did learn a lot of things, you know, just on how to try to think of a script that you know is going to hit as many people as possible when they read it, you know, and that you know, they do a lot of market research. I think that I think one of the best things aside from just being in the environment that I tell people helped me as a creative person is being at a studio you realize that so many of the decisions that are made at Studios aren’t about the quality of the script. And writer is a lot of times,  if you don’t, if you’re not if you haven’t been on that side of it, you don’t understand it. So you take rejection personally like oh my God, this person doesn’t like my writing. So it must be bad and it can honestly just be this happened so many times or a great script would come in, everybody at the company be excited about it. And then like Jim Carrey would breeze in with the script that wasn’t as great, but it’s Jim Carrey.

So, you know and he’s a super phenomenally talented person. But you know, yeah any script coming with somebody at his level attached and all said, it’s like screw that other script that was really good. Let’s go with this one. So you kind of learned and I worked in all the different departments to which was good. Like they created this floater position for me where I could kind of fill in for anybody any of the executives when their assistants were out I could fill in for them. So pretty much worked in any I mean, I worked directly under Bob. I worked under the CFO. I worked in marketing. I worked in home video. I work in development. So over those 11 years. I got a really solid education and it looked like the last five years I was in TV development and marketing. So I just I got to learn all the business stuff which was amazing.

Brett: [00:06:51] So that experience then so that experience led you to- actually listen to the commentary on the the DVD which I of course owned, have owned for several years now and never listen to the commentary before, but it was it was very interesting because you talk about, what was I going to say, you talk about, you know being in the business long enough to know that the concept was yours but you knew that the business was and that you knew that first-time writers get rewritten and that you had, you know detach yourself, I think you say at some point because the final cut wasn’t yours to make so that’s kind of want to hear about that experience. Was it you know as the as much of a horror story is people would expect like getting Studio notes to be or was it like did you think it benefited the work ultimately like how do you feel about all that?

Jeffrey: [00:07:42] You know, honestly every movie has been a process a different animal and it’s so funny because I’ll just go through, you know a couple of like I worked on a project for USA Network’s that was a sequel to their movie Cabin by the Lake called Return to Cabin by the Lake and I wrote a script that I loved and they loved it. They got Judd Nelson back on board to Star. They got the director back on board to direct it and then one executive decided that the writing was too clever for their Network and had one of their staff people come in and like just dumb the script down. And you know, when you see the movie, you can almost tell that the director was like, well, they’re making me direct this now fuck it. I’m just going to make it a comedy. So it’s stuff like that gets a little painful after a while. When changes aren’t making the script better, but you also have to learn kind of your pecking order when you’re doing something so like with Final Destination, you know, I was in the New York office and Bob Shaye was literally bringing me every right and asking for my notes on them. So then I would give my notes back to Bob and Bob to put them in a studio notes. But that actually, that became a problem because… There was there is one part and I just tell the story because it’s the truth. But you know, there was one part of the script where in some of their rewrites they had like three or four fag jokes like in the first 30 pages and one was at the memorial service where and you know, we’re the guys like I don’t mean to sound gay or anything, but I miss you. I’m like, they’re fucking at a memorial service

Brett: [00:09:16] My God.

Jeffrey: [00:09:17] Why would why do you have to say I don’t want to sound gay if I say I miss you so…

Brett: [00:09:21] It’s like a line from Orgazmo.

Jeffrey: [00:09:24] Yeah. Yeah. Yeah it is and so I had nicely mentioned that to Bob and they all agreed with me and they kept putting that in the studio notes that went back to you know, James and Glenn. The director and writer. But they the drafts kept coming back with them in and so finally like five rewrites later, I wrote Bob and I was like dude like why are they just ignoring this know like, I’m gay like if somewhat somebody asked me like why are these stupid jokes in there? What am I supposed to say? I asked them to take them out and they wouldn’t do it. So Bob being the one and only Bob Shaye that he is just forwarded my email to James and Glenn. The director and the writer and, I didn’t know any of this. So apparently they just flew off the handle and got pissed off and nobody had told them that that they were giving me notes, you know, they didn’t want to upset them by saying. Oh, well Bob’s been giving Jeffrey every draft to give notes on, so they thought I was just like randomly like writing to fuck up there movie. So it was pretty funny because they shot a whole scene with me and I probably for the 20th anniversary, I’m sure they’ll dig this up somewhere, but I played like a security guard at the airport.

So they built a whole set, had hundreds of extras and all the main cast, and going through the security checkpoint, and you know, I had some lines with Devon and that’s the only thing they cut from the movie and that’s the only thing they didn’t put on the Blu-ray extras, and if you notice the commentary seems a little janky,

Brett: [00:10:54] uh-huh, I did.

Jeffrey: [00:10:54] That’s because my friends in LA or like hey, we just noticed that Wang and Morgan are you are shooting the commentary, why aren’t you out here? I’m like, I didn’t know they were shooting in commentary. Give me give me a minute, and I just called Bob and I’m like, hey Bob, they’re recording the commentary without me. He’s like what? I’m like, yeah. He’s like what the fuck? I’m like, I don’t know. I just heard he’s like, give me a minute. About three minutes later I get a call from the guy doing the commentary who’s since become a dear friend of mine. He’s like, hey Jeff, we want to make sure we get you in the commentary. We’re going to record you from Los Angeles answering some questions. yeah, that was like I mean, hate to call that a horror story because it’s the movie did well and it came out well and I wrote the story for the second one, which I actually really love…

Brett: [00:11:51] I love the second one.

Joe: [00:11:52] Yeah, I love the second one so much.

Jeffrey: [00:11:54] And that’s actually my favorite to be honest, but and it’s not just because there was no drama with anybody involved in it. It’s just I just did all this stuff I would like a horror sequel to do but you know, it’s funny with the first one. It’s like I was huge fans of their work. I mean, I still like their work, you know-

Brett: [00:12:13] I was going to use because it started as the X-Files back when then it’s like ended up being, you know, directed and written by X-Files producers. So was that a coincidence or how did that happen?

Jeffrey: [00:12:23] No, it was it was a lucky coincidence. And and here’s the funny thing is Bob actually came over to me one day and he’s like, what do you think that these guys Jame Wong and Glen Morgan from the X-Files? And I’m like are you fucking kidding me? They’ve done some of my favorite episodes. You should definitely get them. And I was like, so so not only I’m not saying that I was instrumental in getting them, but he asked what I thought of them and if I’d have been like, oh those guys are awful I don’t know what they’d have said, but I was like, I was super excited to get them on board and

Brett: [00:12:50] So your relationship with that isn’t great, at this point.

Jeffrey: [00:12:54] Well when you know what we didn’t really have one, you know, because I was in New York and they were in LA and you know, they did some interview, it was clearly with the fan site, were the reviewer is like clearly a friend of theirs, because they were like, well we heard that Jeffrey Reddick wasn’t very happy when you guys came on board the project. Is that true? And they’re like well, we heard rumblings that he was not happy with what we were doing, but that never made it to us and the studio is happy. I’m like, it was just ridiculous. And then the reviewer goes well, despite what Jeffrey thought…

Brett: [00:13:31] Oh my god.

Jeffrey: [00:13:32] Those things stick with you when you work on movies, but you kind of just deal with it. I mean certain point.

Brett: [00:13:40] I’m so glad you brought up the commentary thing because I listen to it, you know, and it’s noticeable that you are not there. And that it’s pretty much you kind of just like your they’re pretty frequently for the first like half hour and then it’s just kind of them for like the rest of it.

Jeffrey: [00:13:56] Yeah.

Brett: [00:13:57] Yeah, that’s wow. I think that’s

Jeffrey: [00:13:59] it’s just funny. I mean

Brett: [00:14:01] it’s funny but it’s also like, you know a bad experience for you it just like on a DVD extra forever

Jeffrey: [00:14:07] Yeah, no and it’s just like it’s in it’s like it’s the first film that really took off  and I’m one of these people in Hollywood and it’s because I had a theater background and they taught us at my college like, you know, they’ve drilled it into us like the actor is no more important than anybody else on this set or crew because if it wasn’t for the crew, you wouldn’t be able to do your job. And if the director if it wasn’t for the script wouldn’t be able to do his job. So I was kind of brought up from a everybody’s is just as important as anybody else and we should be grateful if we get an opportunity and my thing was when I started getting like bitching about the whole thing and like those dudes haven’t had a fucking hit movie like they could at least a tiny bit grateful. I don’t ask for much, but they they could think they changed everything and it’d be nice to go, you know what that was a cool idea that the guy brought us, but like nothing. It was like it was like, yeah, we just kept the plane crash and then everything else we threw out. I’m like, well that’s not true, dudes. Anyway…

Brett: [00:15:04] Yeah, the commentary is a lot of them just saying what it was and now what it is. Like it was this but now we did this. Yeah, I found the whole thing kind of confounding and I’m really glad you could shed some light on that. So you weren’t onset very often.

Jeffrey: [00:15:22] No, I just they flew me out to do it, you know do a cameo, so I went out for a couple of days and and then when I got back I was talking to Craig Parry and Craig Parry again, he’s the producer of Final Destination and American Pie. Hes literally one of the most amazing producers I’ve ever met in my life. And if anybody ever gets a chance to work with him they should, and he’s been like The Godfather the project and he’s very instrumental in the sixth one getting made, or being written, but it’s going to get made.

Brett: [00:15:55] Oh, yeah, of course it is.

Joe: [00:15:56] Sure sure.

Brett: [00:15:56] That’s what reminded me to reach out to you again because I think we were talking about a year ago about getting this done this podcast. I know we never got it done, and then the news came that it’s being written by the Saw sequel writers who are also I believe the winners of that project Greenlight season, Feast?

Jeffrey: [00:16:12] And they did and they did these it’s maybe cooler, yeah, and I know Marcus and Patrick, more so Marcus, we spent a lot more time together. I really love those guys. They’re so, we’re just really good people and they love the genre and they work, you know, you know because it’s hard to come into a franchise like a Saw movie and then do like something we’re the world’s already been set up and you have to follow the rules of it, but I think they’re very good at like developing like characters like really quickly that you like very distinct and they’re also good with their with their death scenes, so and they take it very seriously like they’re not like, there are some writers out there that are just like a just give me a check and I’ll give you a first draft, like they really they are passionate as fuck.  I don’t cuss in real life, but get me on a friggin podcast, anything and it’s like I have to like watch myself.

Joe: [00:17:07] no we swear on this.

Brett: [00:17:09] Yeah, that’s great.

Jeffrey: [00:17:10] I try not to but they yeah, they take this serious, you know, I’m really excited.

Joe: [00:17:16] Yeah, as of right now you’re happy with the direction of the I guess we can call it a reboot of Final Destination.

Jeffrey: [00:17:24] Yeah.

Joe: [00:17:25] Terrific.

Brett: [00:17:26] What’s your involvement with it as a pretty like hands off or

Jeffrey: [00:17:30] yeah, definitely hands off. I mean, you know again Craig Parry has has been like a really good friend and Mentor through the whole Final Destination process. So, you know, he definitely keeps me in the loop about what’s going on and you know, like what’s you know kind of what the story are, things like that and you know, sometimes he bounced around ideas about which one sounds the best but I don’t want to  overstate my involvement. It’s just you know, technically I don’t have to be involved with it at all.

Brett: [00:18:00] Right but you still get a paycheck, right?

Jeffrey: [00:18:03] Teh ysend me checks when they do a new one, but the fact that Craig’s an amazing guy and he knows also like I’m really all about making that keeping the brand alive and making it you know, it’s so we don’t end up in space.

Brett: [00:18:18] It’s an endless endless potential franchisee. One of those were like, they mean it became, the kills from this movie, I would say, like the most iconic horror thing to come out of like the 2000s. Like everyone knows Final Destination is the movie where people die and elaborate ways.

I’m sure BuzzFeed has several lists, that list, you know people’s favorite ones…

Joe: [00:18:40] And they become, I would argue that they’ve become as iconic as like the you know Nightmare on Elm Street Freddy kills and and you know, the the the real sweet spot of the Friday the 13th, you know, five six and seven Jason kills. I mean they like the really awesome in-depth somewhat ironic Rube Goldbergesque kills the Final Destination are iconic and horror Cannon, which is amazing.

Jeffrey: [00:19:05] Yeah. I always I always joke, like he doesn’t matter how you know, when you’re like stressing cause it’s a stressful business, but you know, I’ll at least at least four times a week. I’ll get somebody either send me a picture behind a log truck or a joke about a log truck, and that’s totally from being growing up in Kentucky and growing up behind those things. So, you know, it’s definitely it’s just something we’re yeah here people go that’s a Final Destination.. Even on interviews I hear people talking about, we had a final destination moment and it’s just kind of cool to know

Brett: [00:19:39] It’s part of the Lexicon man.

Jeffrey: [00:19:40] Yeah, I mean for a fan this is a fan like that, you know is like cool because if you’d told me well when I was 14 I of course I thought I would write all the Nightmare on Elm Streets and be like the next Wes Craven. I had a lot of you know, you dream a lot bigger when you’re 14.,

Brett: [00:19:56] I did want to ask what your pitch was, if you remember it the ten-page treatment or whatever for Nightmare on Elm Street.

Jeffrey: [00:20:04] I wish I had kept it. Because it’s was again 14 year old and probably got awful. But it was it was just a true prequel. I mean, you know, I was like it was just he was a janitor that worked at the school, and he was killing it was he was killing kids, but the one of the one of the boys that was a going to star a boy, which is yeah… They rip me I’m kidding, but and he just started having these weird like nightmares that we’re making him kind of pointing to Freddy being the Killer and so he found out he was a killer and him and this girl get away from them and their parents like torch Freddy and then the guys like we made it and then Freddy kills them in their dreams. so yeah. Sweet delicious fourteen-year-old bad writing.

Jeffrey: [00:21:01] I wonder I know you said you get the log truck thing, but I just want to say there’s one thing that stuck with me the most and I still think of it anytime I’m in a car and it drives me crazy is the water bottle under the brake.

Joe: [00:21:13] Oh gosh, I get, dude, any sort of like object under the brake pedal can’t stop fuck. I think about that a lot too. Whenever I drive.

Jeffrey: [00:21:22] Well, you know, it’s funny and again, that’s why I love when you work with collaborative people like with the sequel because it was very collaborative. And you know when I when I wrote the treatment, I definitely spelled out, you know details in the, you know, in the accident, but you know David Ellis who directed it he’s no longer with this either, but he was such a good stunt man and knew how to do stunts and so, you know, Eric Brests and J Mackye Gruber wrote the actual screenplay. They didn’t go into detail about the about the pileup. They were just like, you know, it’s chaos and destruction everywhere because they knew this was his Forte like he does stunts and so he be able to like really come up with something amazing. So, you know, he he said everything, you know, we knew the log truck was happening, you know, but as far as all the details of it of everybody and how the crash played out like he came up with that with his team. And yeah, I just amazed, it’s one of my favorite scenes in a movie to this day, I could wath it over and over.

Brett: [00:22:30] Oh, yeah, it’s definitely my favorite of the, if I were to rank the opening sequences definitely second movie is my favorite one.

Joe: [00:22:38] Yeah, Same, real quick, like of the first to Jeffrey, is there a specific kill that made in the movie that you like the most?

Jeffrey: [00:22:46] It’s funny because there are variations on the kills like so, you know in my script I had the asshole jock after his girlfriend died, It was kind of turning herself and he was waiting in a subway station and he throws himself in front of the subway car, which I thought was a cool splatter scene but they change that to a bus scene with her.  I love the bus scene.

Brett: [00:23:12] The bus scene is pretty shocking the first time you see it.

Jeffrey: [00:23:14] Yeah, so. That’s my as far as like impact scene like that’s the one that I think is the coolest ,then the log truck scene I think is amazing. I think the one that’s actually disturbed me the most was the gymnastic scene in part 5.

Brett: [00:23:34] Dude

Joe: [00:23:34] yoooooooo

Brett: [00:23:34] That one is incredible that movie was am I crazy? Is that the one that’s written by Eric Heisser? Is that his name?

Jeffrey: [00:23:41] Yes. Yes, the guy who did the Arrival.

Brett: [00:23:43] Yeah, the guy who did Arrival and I think bird box also most recently and something else.

Jeffrey: [00:23:49] He’s and he’s so talented and it’s funny because what happened just behind the scenes is we had to get the fourth one out before the writer’s strike. So they didn’t have a chance to really work on the script, you know, the you know, it would have been great if the writers had an extra couple ow weeks, but then they know that to they did we’d had to rush it in production.

Brett: [00:24:08] That’s the one that’s called The Final Destination. Right?

Jeffrey: [00:24:11] You’re right and new line not only did it in 3D, but they called it the Final Destination, which if you’re a horror fan, you don’t really, you know, when you the final chapter of Friday the 13th they kill Jason, again they bring him back. So with the Final Destination everybody thought oh, well, we’re going to find out what Tony Todd.. We were going to get all these answers. So it’s actually the most successful movie of the franchise but people felt gyped and I think they felt more gypped because it really don’t think it was because of the story I think they get just they felt like we thought they were going to be some answers in this one because it’s the last one and you know, and everybody loves Tony Todd and you know, they all have different theories about who he is and you know, so they thought they were going to get some answers and then they didn’t so even though the movie did so much money, it did more than all the others.

Brett: [00:25:01] Wow,

Jeffrey: [00:25:01] When they came to write the fifth one they were like, you know what? We got to make sure this one is written for the fans and you can tell that I think the fifth one feels like it was written for fans like Tony’s got more screen time than ever

Brett: [00:25:12] I couldn’t agree more. I think 5

Joe: [00:25:14] The ending, the  ending is *mwah*.

Brett: [00:25:16] Yeah.

Jeffrey: [00:25:16] I know.

Brett: [00:25:17] It’s such a fun twist.

Jeffrey: [00:25:19] Yeah, and that was Craig Parry. I wish I could take credit for that one. But that was the genius Craig Parry who had that idea. Yeah. So, um, yeah. No, I I tell everybody. I mean, yeah, no offense to any of the other ones, but I’m like if you want to watch them watch 1 2 and 5 and then your file you’ve got a good Trilogy.

Brett: [00:25:38] Yeah, I think so too. I think yeah three is fun because I love I love Mary Elizabeth Winstead. She’s great in it.

Jeffrey: [00:25:45] Everybody loves her.

Brett: [00:25:46] Yeah. She’s fantastic and that movie though. The rest of it is like I can’t really remember more than like a couple kills from it. I feel. Five is very memorable.

Yeah one and two. I know every single Kill from like the back of my hand for sure. Do you do you enjoy the creative kills as much as like audiences do is that like what you I’m assuming because it seems like you know initially at least what you were talking about like the suicide and stuff, but I thought that’s a much darker and different movie.

So like I know that I’m sure you’ve embraced it by now. But like do you enjoy that the creative kills of it and like how that’s kind of become it’s calling card.

Jeffrey: [00:26:22] yeah, and the thing is that most of my in most of my and most of my movies like I never tried to get I’ve never been into like the torturey stuff for and I actually like the roller coaster rides of horror movies. Like I don’t like I hate nihilistic horror films and I know we need some out suicide it sounds very. It is very dark, but it’s like I’ll just give you one more example, but like the two sisters were like the one stayed on the plane in the one got off like the one who stayed on the plane was like the straight-A student who never got in trouble and her sister was like always in trouble maker so she felt guilty because in her head, she’s like, well, I’m sure the parents wished that I would be the one that was, you know, like I’m always the one in trouble like I’m sure you know, so she had all this guilt about being like her sister.

So she started seeing her sister and started trying to like dress like her sister and act like her sister. And you know, her parents are freaking out and she realized that she was never going to be her sister. So she sets herself on fire like so that still sounds serious. There’s no way I can describe these things to make them fine, but you know nightmare would do that was like the dream stuff would be very dark

Brett: [00:27:27] Oh totally it would be very dark.

Jeffrey: [00:27:28] Yeah, but it’s pretty fucking dark. I’m not going to try to lighten that one up a little bit but no, I love like that’s what I love about horror films. I love to roller coaster ride. You know, I don’t like I don’t like the torture stuff. I like I like to come up with stuff that people haven’t seen or maybe we’ll get under their skin like, you know this movie I did Tamara that you know, it’s kind of turned into like a mini called classic.

Brett: [00:27:51] Yeah, I’ve seen it, I love that movie.

Jeffrey: [00:27:53] But but yeah, I like even though poor Roger that the guy who gets it first with the you know, where h televises his death. Yes on screen like I like love that scene because I was like hear no evil speak no evil. See no evil. It’s like and then, you know, he’s cutting off body parts to match that phrase and so for me, it’s like.  It’s gruesome, but there’s like symbolism and it’s kind of fun. You know.

Joe: [00:28:19] Sure

Brett: [00:28:19] totally are there any rejected kill sequences or opening sequence pitches that you over the years have accumulated that you can share that are fun?

Jeffrey: [00:28:33] They’re not fun. That’s why they got rejected because originally originally the second one was going to be kids heading down to Florida for spring break and they stopped at a hotel and the hotel catches on fire. So it’s going to be a hotel fire. So Craig’s like eh, think of something better Jeffrey and that’s what I went home and got behind a log truck and that that was the end of that. But they did use that they did use that opening for the comic book, which I didn’t know about us like oh, okay. But there I mean there’s certainly been just like when we’ve been spitballing openings. It’s been like, you know, a ritzy art gallery opening or you know, a party boat or a casino in Vegas or you know, like you definitely like, try to run through is like as many you want it to be something that people can relate to like right now. I think they could go too.

Brett: [00:29:26] I feel like I know what the new ones going to be. You can’t you can don’t have to confirm or deny it.

Jeffrey: [00:29:30] What it going to be?

Brett: [00:29:32] It’s got to be a music festival, right? That’s like the that’s where everything’s heading. The Fyre Festival is huge right now all the kids love music festivals. It would be a mass casualty event. I feel like that has to have come up in the pitch room, no?

Jeffrey: [00:29:50] No, I’m just thinking that would be I’m just thinking that be a good idea for another horror movie. That’s that’s not going to be this one.

Brett: [00:29:59] Okay, cool. Joe had a good one, which I feel like his has had to come up before.

Joe: [00:30:06] yeah, so I’ll hit you with mine and I it’s funny we talked about new line to begin with because mine really kind of gleams a little bit too close to New Nightmare, but I’ll throw it at you cause I got you on the phone here. So if I was to do a final destination movie if I was going to be involved in a reboot, I would say that you go meta and the movie it starts off we’re making the new Final Destination reboot and there’s an accident on set and the cast narrowly escapes with their lives. Fast forward to the movie was made, it’s out, huge success and as they’re kind of out there doing publicity X y&z like the stars of the movie are getting killed off one by one. What do you think?

Jeffrey: [00:30:44] No, that’s actually not a bad idea. I actually like meta if they’re done.

Joe: [00:30:50] Yes! All right, if this happens you can take the idea. I don’t care. I don’t want any credit. But if it does becomes a movie, I want a crew jacket. That’s my one stipulation. I get a jacket.

Jeffrey: [00:31:01] But you know, the funny thing is you can do those like my the return to cabin by the lake movie I did that I did that because in the first movie, he’s writing a book. He’s trying to write a screenplay about killer who kills women and get motivated, he actually drowns women in the lake. And so yeah the second one I made it where they were shooting a movie based on his script and you know, he wormed his way into set and starts like killing people. So I think you can always come up with like a fun meta way to kind of yeah…

Brett: [00:31:29] Yeah, sneak your way in. And this might be a strange question, but I want to ask it. So I know like, you know, once 9/11 happened a lot of like movies and TV shows that featured, you know, sensitive content were like pulled I remember there was a Simpsons episode where I think Homer Parks between the two towers that came out right around 9/11 that they pulled from air. There was the The Spider-Man trailer that had the World Trade Center that they ended up reshooting the whole thing and deleting that scene or whatever and this just because Final Destination came out like, you know a year a little year and some change before. I just wonder if you ever thought about or if there was ever any drama with like it playing on HBO during a sensitive time. Do you think this movie would have ever gotten off the ground if it if you guys were conceiving it after that happened?

Joe: [00:32:29] Or during?

Jeffrey: [00:32:31] um, I think there would have been a there would have been a lot of issues, we would have probably had the change the opening but you know, what’s interesting. It’s like and I know which wasn’t certainly had nothing to do with most of us, but I know that they used some footage from a real crash that happened. I think between the time that I wrote the movie and when it came out, they used it as on the news footage.  Some people thought like we had, you know, ripped off the true story of the you know, there was a flight going to New York to France. I think that crashed and and you know, and so it’s always interesting where you never know where the public Zeitgeist is because yeah, I had a you know, I have had several scripts, It’s like oh we can’t use this now because it involves somebody shooting somebody in the school, but I’m like, but it’s not a it’s not a school shooting. It’s not like this guy’s going into school to shoot people like this guy’s a spy and they come to the school to shoot him. We can’t we can’t do it. So it’s, hollywood’s like, it’s a weird Beast because you know, it used tove a lot of creatives that ran the studios and you still have creative people running Studios, but you also have a lot of business people running the Studios. And you saw that kind of take over happen even at new line where Warner Brothers kind of came in and you know hired like corporate heads to like take over things. So they’re from a business person, you know, they’re looking at movies from a business point of view. So they’re going to play it as safe as possible to try to get as many people in theaters as they can.

So that sensitivity is still there. It was going away but now because of the stupid internet and people getting so reactionary and you know, and you know, I love when you’ll see this clickbait articles where it’s like the internet’s and uproar because somebody said this or did. And you actually look at the tweets that they’re using and it’s like okay this guy has like two followers and this guy’s got four followers, so there’s like ten people that are bitching on the internet and they don’t even have a lot of followers and you’re making like a huge deal about it, but people listen to that stuff, unfortunately and it’s like backlashes are so Fierce now that it’s like people they’re afraid of everything. It’s just it’s hard creatively when you’re doing stuff. I mean, aren’t you can’t even make, I was watching Married with Children, which I love that friggin show. I was like, wow, you could never make that show now, you know, I remember friggin Porky’s, you know?

Brett: [00:35:01] Yeah that premis would not work right now.

Jeffrey: [00:35:07] and they even showed like dong in that movie too. It’s not like they were yes, they definitely was more leering at women, but you know, they were showing nerd dick and nerd butt and it was like, you know, it’s like you could never show that now it’s like we’ve gotten more repressed that in a way.

Brett: [00:35:22] Well, that actually leads me to another question, which is I wanted to ask you how do you think, I mean horror is kind of a hot ticket item right now, but I also beg the or I posed the idea that you know horror doesn’t need to have a Resurgence but it’s always kind of been there if you’ve been paying attention. I was wondering how you feel about that. And if the horror genre how it’s evolved and what not, especially new line who’s crushing it with I think don’t they aren’t they doing It and Conjuring and all that stuff right now?

Jeffrey: [00:35:49] Yeah, absolutely. Ya know the funny thing is if you’re if you’ve been a horror fan like you realize a horror never goes away, like what happens is, you know, a watershed movie will come out like, you know Halloween or Friday the 13th or Nightmare on Elm Street. You know some a watershed movie will come along. It does really well and then people start copying that, you know for like three years and people start getting burned out on seeing the copy of what made you know the last film but it’s there’s never been like a year where there weren’t good horror films, you know there since I can remember like there’s always horror films coming out and they’re always doing well, but they don’t always become like huge box office successes, you know, but they’ll still do really well on home video. It’s just it’s always around it’s kind of funny. As a fan because you’re like, you know horror was always like look down on.

Brett: [00:36:47] It still is, like Toni Collette should be nominated for hereditary, but she’s yeah, yeah.

Joe: [00:36:54] It’s also telling that every year they’re like at least the past three years. It’s been like wow. Can you believe it? This year’s been like a banner year for horror and it’s kind of like at least for me watching horror all the time. Like it’s always been great for horror. Like why is it going just noticing now?

Jeffrey: [00:37:09] Yeah, it’s money. But then the funny thing is like, okay. Well now that make more good horror films and then they don’t and you’re like okay, it’s just, there’s a perception in the business that it and it’s this is in any kind of business, it when something comes along that breaks the mold people ignore like, you know new line did Blade. Everybody was like who’s going to want to see a movie with a black Vampire Slayer and Mike DeLuca is like trust me there’s going to be people.

Brett: [00:37:37] Every fucking body. Yeah.

Jeffrey: [00:37:39] Yeah, like Mike DeLuca literally was like one of the, one of the  biggest Geniuses I’ve ever met like in his business because he pushed like movies like Teenage Mutant Ninja Turtles and Friday and Blade Runner and the Mask and people are like you’re crazy like who’s going to see a movie about this stuff? And then it would be you know Blade had like three sequels and made a lot of money.

Brett: [00:38:00] Yeah, and it should be thriving today, but it’s owned by Disney so they’ll never fucking do it.

Jeffrey: [00:38:05] Yeah, I know and it but then it’s like people forget and I’ll then with Black Panther it’s like I mean in trust me I am like floored by black panther because you know, I think I can say this because I’m part black but with you know blade it was like, yes, you had a black vampire slayer I bet there were a lot of white people in that movie.

Brett: [00:38:24] Kris Kristopherson in fact. Exremely white.

Jeffrey: [00:38:27] yeah and Jessica Biel was she was in the first one to right?

Brett: [00:38:31] Jessica Biel’s in the third one.

Jeffrey: [00:38:33] Okay. Sorry.  um, I take my geek card back a little bit but with  black panther like that movie was so Afrocentric like from the costumes and music to everything and it did so well around the world and people are going to argue well, it’s because it’s a superhero movie but I’m like but it’s a super black one like it’s not just one black person. I mean it was all black people and black women and you know also dark-skinned black women which you know, you know, that’s an issue within you know casting as well.

That movie did so well that you’re like guys obviously it wasn’t like black people around the world saw this movie 10,000 times like this box office like everybody from all different backgrounds and see this movie so you so when something like that happens, you’re like, okay. Well now things are going to change and then they don’t. or they it’s a baby step, you know, and it’s like, you know that this always happens and you know whenever there’s like any kind of groundbreaking movie we’re like, okay. Well now people are going to start you know, you know all these horror films that have women in the leads that aren’t Stars, you know, and they do really well internationally. Well now you can maybe start seeing that you can cast the movie around a female but when you deal with sales people internationally, they’re like, well who’s your guy? Who’s the man that’s got the the numbers at the box office? And it’s like well the woman’s got a lot of numbers in the box office. Her last movie made a hundred million dollars. Yeah, but we need to know who the guy is. And it’s just more of a habit it is.

Brett: [00:40:07] It is a habit. I mean, yeah, I see this all the time with Crazy Rich Asians is another phenomenon that they’re like Hollywood’s pretending like it’s like, oh, wow, we had no idea. This was going to be huge. It’s like like pay fucking attention to the box office and you would see there’s a there’s a appetite for all these type of things and they do very well.

Jeffrey: [00:40:29] Absolutely. And my thing is like horror fans. They just want to see a good horror movie. Yeah, like they don’t care like I mean,

Brett: [00:40:36] we know they’ll watching anything yout put out. So make it good.

Jeffrey: [00:40:39] Yeah. Yeah, they’ll yeah sadly sadly on a rainy day will pretty much watch anything. So if you make it good, then we’ll definitely go see it. My first slasher movie and that’s in it’s going to have like a 95% like African-American Latino cast and the story is not about race at all. It’s just I jokingly tell people it’s like a really good like scream. I know he did last summer kind of slasher movie, but instead of focusing on all the pretty white people, we just shift the camera over to where all the pretty brown people are hanging out. and we focus on them. Like it’s you know, it’s a really solid slasher film not making a political statement other than the fact that our cast is mostly people of color. And yeah, so I’m really excited about that.

Brett: [00:41:26] And what’s that called?

Jeffrey: [00:41:28] It’s about Superstition.

Brett: [00:41:30] And that’s what you’re working on that right now?

Jeffrey: [00:41:33] Yeah. Yeah,

Brett: [00:41:34] and you have a movie that you wrote that is not out on Blu-ray until March, but I believe it had like a one night only fathom event style thing The Final Wish. I tell us a little bit about that.

Jeffrey: [00:41:46] Absolutely. And yeah, I’m really excited about that film.

Brett: [00:41:51] It’s got a very high score on Rotten Tomatoes. Congratulations.

Jeffrey: [00:41:54] thank you. I know people well the thing is it’s you know, it’s a it’s a script that I wrote with 2 writing Partners, John Doyle and William Halfon   and you know, Tommy Hudson who produce sleep no more and he’s done a lot of other things as well. He’s a great writer. So we teamed up to produce this and you know, there’s this director Timothy Woodard Jr. Who you know, he’d been hit me up on Facebook, you know just to see if I’d had anything because he’s like I direct and and you know, I know it was kind of tied up with a lot of stuff. So I kind of was like I didn’t really have anything at the time but also I’ve been I didn’t really know the guy from Adam and you know, it’s just me. I don’t have like the staff working for me. So I was like, I don’t really have any this point then he finally he sent me like a trailer for one of his new movies. And I was like, whoa, holy crap. This is this looks stunning like this looks like like a big-budget studio film and he only wrote me back was Now do you have a script ha ha ha.

I was like, I’ll meet you with my producer for lunch and so like five minutes into lunch I’m like oh this guy we’re gonna let this guy do it. And it’s basically it’s more of a kind of a Gothic fairy tale than a kind of a typical like horror movie.

Brett: [00:43:10] But okay. Yeah like Crimson Peaky something like that.

Jeffrey: [00:00:00] Yeah and more. It’s yeah more drama like it’s about it’s about a man who kind of goes back to his Michael Welch plays plays this guy Erin Hammond who goes back to his hometown after his father passed. To help us mother, you know, and he kind of left town under bad circumstances. He kind of ditched the girl that he was in love with left.

His best friend left his mother behind and never look back and somehow he’s got to kind of come back and help us mother who’s played by Lin Shaye who is just phenomenal.

Brett: [00:00:27] Am I correct in assuming that you guys have known each other for a long time and are close?

Jeffrey: [00:00:34] well, I’ve known who she is forever from work when I worked at new Line I know I didn’t get the chance to meet her.

Brett: [00:00:39] For those who don’t know Lin Shaye is Bob Shaye’s sister.

Jeffrey: [00:00:42] Yes, and she is an amazing actress. She started off back and she was in a she did something one more maybe before alone in the dark. And that’s the first of all I remember her in alone in the dark. And then she was the teacher in nightmare on elm street but she’s been in there something that Mary she’s been in everything that was said woman’s just like

Brett: [00:01:00] yeah, and now that she’s our of the huge hugely popular Insidious franchise.

Jeffrey: [00:01:04] Yes, and that’s so amazing because that franchise it sounds only a slight spoiler. Well, it’s a big spoiler but. If you seen the first one, but you know, they killed her so they had to make their making that all the seagulls have had to be prequels because she’s so popular and it’s amazing because again, I adore her and the fact that that there’s a woman who’s not like 30 who has her own franchise.

Brett: [00:01:31] Yeah. Truely the star of these movies

Jeffrey: [00:01:33] She’s the star of them and it’s amazing. So Timothy wanted her and he got her on board. And yeah, and and the father is an antique collector and so he has an they Unleashed, you know, there’s an urn that has an gem in it. Basically it starts granting his wishes and obviously like a monkey’s paw like the wishes come true and horrible ways.

But I think what people are really responding to is Timothy really did want to kind of focus on the family stuff and the drama of the situation and not make it like a jump-scare like gorefest. And you know and I think that that’s why we were getting a scores were getting because you know, it’s it’s it’s, you know, it’s an indie film but it it has some really strong acting in it and some great twist and characters and fathom did a did a one night event Nationwide with it, Cinedigm. Yeah, that was so it was so it was so cool. Just have a movie in that many theaters and then Cinedigm is putting it out on the 8th of February for a week in 10 cities. So

Brett: [00:02:39] oh so I bet I could see it in New York then.

Jeffrey: [00:02:42] Yeah, I yeah and I think it’s in New York, but I think it might it might be in Jersey. It might be a New York. I gotta I gotta look at that, but it’s pinned on my Twitter page. But yeah, but it’s going to be out for a week in theater. And it’s going to be on demand as well. And then in March, it comes out on Blu-ray and DVD, so it’s been a fun experience because you know, you never know how movies going to… You just ever movies a different scenario you hope for the best and you hope for people to connect with a movie and sometimes they don’t and sometimes they do and sometimes the ones that you think are going to be. This one’s gonna like blow up be huge and they end up not doing that well, and then the other ones that you’re like well, I hope this does well, but it’s you know, this one is really more kind of a Gothic character-driven fairytale kind of story.

So but people are responding to that and so it’s just been a really exciting experience.

Brett: [00:03:38] Can’t wait to watch that. That’s awesome.

Jeffrey: [00:03:41] Yeah, thank you. Thank you so much. And yeah, I’m getting ready to direct my first film. Yeah,

Joe: [00:03:48] very nice.

Jeffrey: [00:03:49] I decided I would not lead with that but. Yeah, wait, wait.

Wait. No, it’s called Good Samaritan and it’s based off of a short. Well, I did a short based off the script actually, but it’s about a group of people who see somebody getting assaulted in a park. And for various reasons, they don’t help the person and he ends up dying and somebody videotaped the witnesses watching and puts it online, and so they outed and then somebody starts killing them and the lead character is seeing a lot of things around her and signs and mysterious things that make her think that his Spirit or something is after them Supernatural and you don’t the question is is something coming after them or is it a killer or is she crazy?

So you don’t really know till the end and. It’s a really fun movie. I’m I’m super excited about that.

Joe: [00:04:38] just out of curiosity now that I mean, it’s been a you’ve had a coming in at least 20 year career as a writer and now filmmaker like with final wish and now this movie like how has the landscape kind of change for making movies and like obviously the industry’s gone through so many changes with streaming and digital Netflix etcetera. But now that you have a name for yourself and you can make these indie films like how is it different than when you were doing Final Destination?

Jeffrey: [00:05:04] You know, I mean the landscape has changed a lot. I mean I when I talk to you know classes of writers, I’m always telling them like to get their head out of trying to get a Studio Movie set up because if you’re going directly to the Studio’s if you look at what they’re putting out like 90% of it is like sequels remakes something based on book something based on video games like they’re always looking for existing IPs. And if they do take a chance on like something like Inception, it’s because Chris Nolan did like to Batman’s for them, you know, so Studios aren’t really the place to go for like, you know, they’re not that shouldn’t be your end goal for like original content, but there are so many Avenues to distribute stuff.

I just tell people if there’s any way that you can do it make your own movie. I mean. It used to be it’s still it’s still hard to make movies, but the technology has gotten so much better now. I mean, I’ve seen movies that were shot on iPhones that you know that hold up to movie that I’ve seen that are shot on film and you know, so I tell people especially if you’re you know a creator of content or you want to write movies, like if you can like write something, you know, do keep in mind if you if you wanted to get it made it because a lot of people are just like, you know, They want to write and sell but it’s like if you want to write and get something made like kind of be smart like with your first couple of projects and don’t write anything where it’s like a plane crashes again. That was a separate story because I was at the studio, but but you know, right something that you can you know do and maybe again if you have a network of creative people around you like directors and some actors like just even start small doing a short. And start just short because to show people what you can do because I think that’s the biggest change now is it’s like even with me like if I take a script to a studio they want to know who’s attached to act in it and that used to be their job.

You would take them a script and they had to be like we love it. We’re going to go out to Talent or we’ll go out to a directors. And now a lot of times they’re asking us. Well, who do you have attached to it? But it’s that catch 22 where you know, there’s so much work out there that talents not going to attach themselves to a project that’s not financed and then financers won’t find out something unless there’s Talent attached. So it’s navigating that world. That’s you know, it’s a plus and a minus. It’s just you have more options now to get your stuff out there than you’ve ever had before but there’s also you know, it’s even hard like with Netflix, you know, I’ve had some great pictures of Netflix where they’ve option stuff and they were about to buy something. They didn’t for some reason and I see something that they picked up. I’m like really and I don’t think all my trust me. I’ve written some crappy stuff. So whenever I say stuff like that, it’s not like I think all my stuff is amazing because trust me there’s some scripts that I would I’ll probably just shoot it in people be like, oh, I didn’t know you wrote comedy.

I’ll be like no that was that was a very early scripts that wasn’t meant to be but it’s just ridiculous, but it’s exciting. It’s it really is an exciting time and I think. From just time for my experience that haven’t worked in a studio and seeing them Machinery behind the magic, you know, it helped me a lot to not take things so personally because I see the biggest thing I see with people who want to work in film. A lot of people may think it’s easy and they’re not really passionate about it. And you I heard this when I was young that, you know, you have to be willing to pretty much. Dedicate ten years of your life to whatever craft you’re doing before you start making a living at it and that’s not even before you’re all the sudden.

You’re rich and own pressure that’s making a living at it. And I think they tell you that because you really you it does. It was 10 years to the day. I graduated high school, but I still find blessed nation and. When I went to New York at 19, I got an agent I got an internship at new line Cinema. I was getting cast on like just background stuff and extra work on movies and TV.

I was like screw that 10 years thing. I’m 19. I’m going to be the next biracial guy in TV magazine, and then that didn’t happen. But you know, I stuck with it and I kind of rolled with road with life and like, all right, well non-traditional casting back then was not a thing. So let me get into writing.

And I’ll write myself stuff, you know to be in so I think it’s the business is evolving and sometimes the people that have the money and control the purse strings. I haven’t evolved with the business. So sometimes the people like that are creating stuff are actually ahead of the people financing stuff.

So I think it’s just really being tenacious and always working on your craft because you just have to you’re always going to get better like nobody. None of the people that are great filmmakers that I’ve ever met. Great actors or actresses or anybody? None of them have ever thought they’re great.

They’re always like I’m good, but I kind of screwed up a lot on this last one. I got to make sure you know, there’s still always trying to grow in the people that are the worst of the ones that are like I’m 20 and I never went to film school but I watch it movies and I know my script is awesome.

And then you read it. It’s like it’s not even formatted right dude. So please go under format scripts. Yeah. That’s it. I’ll worry about that later. No, no, you got to wear with that kind of first. Well, Jeffrey, thank you so much for for telling us everything you told us and for being on the show.

We’re big fans and so much. Yeah, we’re really excited about the new projects. Yeah. Well, we’ll talk. We’ll talk more when I have some stuff Rollin and I always I always joke is as writers, you know, it’s such a solitary thing. You know, you’re always by yourself. So whenever I do like podcasts are no use.

I got is ramble. So oh no, that was wonderful. So it’s a rambling media medium. So rambling good rambling is good. So but thank you all for reaching out and obviously staying in touch. It will stay in touch about everything going on and I just appreciate the support and the fans and. Everything so thank you guys.

Thanks for the great movies. I appreciate it. Yeah. Thanks Jeff hugs and then but I can’t junk this