Episode Transcript
[00:00:00] Speaker A: What stands out is when people are just like, authentically themselves and authentically making what makes them laugh or what makes them feel good. And if something is true to you and if something resonates and you know that it's your voice 100%, then the critiques don't matter because you succeeded just by making it.
[00:00:22] Speaker B: I'm Luke Steinfeld.
[00:00:23] Speaker C: And I'm Wyatt Sarkisian.
[00:00:24] Speaker B: We made the 5050 podcast to support you on your filmmaking journey.
[00:00:28] Speaker C: 50% business. 50, 50% creative.
[00:00:30] Speaker B: Every Tuesday, a new how to.
[00:00:32] Speaker C: Well, it's a special week this week because this week we talk with 5050 audience award winner Miles Hodder. The born and raised Canadian flew down for his first ever trip to LA and took home. Well, he took home the 5050 trophy. In this episode, we discuss that short company card about a questionable charge made on a company card and delve into Miles place in the world of comedy and what his bright, bright future holds. And one quick announcement before we begin the episode. Former podcast guest and Slamdance winner Elijah Davis is hosting a screening of his debut feature Three Colors Pan African at the Fine Arts Theater in Beverly hills on Sunday, May 2nd at 2pm Tickets linked below. And now, here's Miles.
[00:01:21] Speaker A: I don't know if I. I didn't really talk about this at all, but, like, I come from, like, a little, like, I come from this place called Newfoundland where I was, where I grew up. It's an island in Canada.
I grew up in a town of 400 people.
So, like, I graduated high school with like 16 kids.
And so it's like you grow up and you have this, like, it just seems so, like, not attainable at all.
It's just like, so not in the world of like, my grandfather is, was like a lobster fisherman. And you know, a lot of my family, like, go into the trades and so the thought of, like, coming, like, having something or even like being in LA or going to Hollywood is like, it's like, oh, that just happens in movies, you know. So, like, I think I'm obviously a lot older now and, you know, I've been around, but I've never been to LA specifically. So there was like that little kid in me that's like, oh, my God, I'm like 10 years old and I'm like, like, watching movies all the time and like, looking like, wishing I was, you know, like a celebrity in the Hollywood Hills. And then like going and just seeing everything for the first time was like. Yeah, it was kind of nice. Yeah, it was more than kind of nice. It Was great. What.
[00:02:38] Speaker C: What are the. What are the movies and TV shows that framed your. Your view of la?
[00:02:43] Speaker A: Of LA specifically? Yeah, great question. I feel like not so much. I would say LA specifically, but.
Well, that's not true, I guess.
I was, like, a real big fan of Pretty Woman, and I don't. Is Pretty Woman famously set in la? Yes, Yes.
I feel like at one point we were driving and I was like, let's go find the apartment.
Let's go find the Pretty Woman apartment.
So it's like, that's the kind of stuff we were doing. Like, I was looking for, like, the American Horror Story Burger house that we got, like, we did like, one our first day. We got all of that out of the way. Like, we're gonna have our tourist day and just, like, nick everything off, and then we're just gonna actually, like, live like locals. Because all of my cool friends back home who have been to LA so many times would be like, miles, why are you.
Why are you sightseeing?
[00:03:41] Speaker B: It's a good thing to do, though. I don't know.
[00:03:42] Speaker C: It's.
[00:03:43] Speaker B: It's. It's fun to do it once, you know?
[00:03:46] Speaker A: Totally, totally. Yeah. And you got it. Like, I'm not gonna be like, oh, one thing we didn't do, though, is go to the beach. And everyone's like, how was the beach? I'm like, I don't know.
[00:03:55] Speaker B: That might be, you know, the most.
[00:03:57] Speaker C: You live on an island, you see the water.
[00:04:00] Speaker B: That might be the most local thing you did, man. It not go to the beach, you know?
[00:04:04] Speaker A: True.
[00:04:05] Speaker C: It's true.
[00:04:05] Speaker B: Yeah, yeah.
[00:04:06] Speaker A: Isn't everyone like, oh, my God, it takes, like, forever. Don't go to the beach.
[00:04:10] Speaker B: Yeah, yeah, yeah.
[00:04:13] Speaker C: I feel like that's like the main. That's the main thing isn't. Isn't Come From Away set in Newfoundland.
[00:04:20] Speaker A: Yeah, yeah, yeah, yeah. That's a musical that happened. It was on a true. Based on a true story of this town called Gander.
I'm pretty sure it was Gander. Oh, my God, I hope I don't get canceled. It was a gander. I think it's Gander. They take all. All of the planes that were being diverted from New York, like, landed in this small town. Similar.
[00:04:45] Speaker C: During 9. 11. Yeah.
[00:04:47] Speaker A: During 11. Yeah. So these people were, like, taken in by our people and.
Yeah. I have actually never.
[00:04:56] Speaker C: Local bars, the vets that everybody, like, in the town.
It was.
[00:05:02] Speaker A: Yeah, yeah. Sleeping everywhere.
[00:05:04] Speaker C: Yeah. I just. I remember it's a. It's an amazing idea for a musical, right, because there's all these. This clash of cultures coming from literally everywhere in the world trying to get to New York. And it's like, if you imagine you put, like, the immigrant population of New York in this little Canadian village for, like, a week.
[00:05:21] Speaker A: Yeah.
Where are we?
[00:05:24] Speaker B: Yeah, Miles, I'd love to, because we'll. We'll give the context in the episode as well. But, I mean, you just won our audience award at 5050 comedy. Congratulations again.
[00:05:37] Speaker C: It's.
[00:05:38] Speaker B: We're now, like, a week. Almost exactly a week away. Tomorrow will be a week.
I would love to. To hear about how it's going, man. Like, does it feel like that was yesterday? Does it feel like it was a year ago?
[00:05:51] Speaker A: Yeah. Yes, to both. Honestly, I feel like that was so. That was such a good night. It was so much fun. I had no expectation of anything going into it. I was just like, this seems like a fun festival. And, like, I'm excited to have this film play in front of a live audience because it was originally just going to be a piece for, like, my commercial reel.
And I was like, no, I feel like I want to, like, do something more.
So that was, like. The fact that it was just in front of a live audience in general was, like, really, really nice. And the laugh, the initial laugh for the reveal, I was like, oh, shit. Like that. That was. That felt really good. And, yeah, you know, you're like, it's
[00:06:35] Speaker C: kind of all riding on that, right? Like that.
[00:06:37] Speaker A: Yeah, yeah, yeah, yeah.
[00:06:39] Speaker C: Joke at the beginning, you know.
[00:06:40] Speaker A: Yeah. Which is kind of like, I'm kind of like, putting that in my mind now. I'm like, okay, start with a joke.
Start with a joke. Hook the people. Hook the audience. I was like, that really wins. That really wins people. Like a hard.
It feels great. I'm. I'm, like, so thankful to everybody that came. And I didn't think that, you know, I was like, I was the only Canadian there felt, and I didn't think that, you know, I didn't know a lot of these people, and I didn't know who, you know, was coming, so I didn't know if anyone would. I mean, I thought people would like it, obviously, but, yeah, I'm just very, very grateful for it.
[00:07:18] Speaker C: Was it unexpected, the audience award win? Because I feel like it was. It was so, so exciting to have someone specifically from. From Canada and from far away. Like, it was kind of like, it's ideally what. What happens at the festival, you know, that you have people who wouldn't otherwise sort of get the opportunity to screen on this Big screen and meet all these people that come and sort of, you know, get that. Not only that, that award, but also the, the sort of second half of the night, which we try to very tactically, you know, create, which is the sort of schmoozing hour where everybody gets to have dinner and chill, but also, you know, meet each other and in. In the wake of you winning that award, you know, in the wake of all six great films getting screened, you
[00:08:04] Speaker A: know, and it's such like a smart model too, because a lot of these, you know, you go to a festival and a lot of these things are like, it's a screening and then everybody leaves and they go their separate ways. Sometimes, you know, for bigger films, there's like afterparties or something, but specifically for shorts, I know that, like, from past experience, it was kind of like, okay, you go and you create your own party. But it's usually just your circle of friends and family and colleagues that, like, worked on the film with you. But the fact that it's like, industry based and it's a bunch of peers coming together that are all growing within this industry is, like, so smart and so great for, like, young filmmakers and new filmmakers to just have that chance to talk to people and.
Because so many times you, like, see the work, but you don't get to see the personality or see, you know. Oh, a lot of the times it's if I like this person, like, I want to work with them. And like, these relationships are important, especially in our industry. So it just fosters like, such a really, such a great environment to have that. Like, that second part of the night was so good. Yeah, that was so much fun.
[00:09:17] Speaker B: And, and I know I've, I've told you this, Miles, but like, we got so many compliments from the industry side, of course, about your film, but then also about you as a person. And like, that to us on our side of it is like, the best thing ever, because of course, like, makes us look good, you know, naturally. But also, like, there, there really is a trust for future events when we have filmmakers like you and this group. And like, all these six films had incredible people behind them all you guys were so social. And like, that really leaves this lasting effect for our horror fest in October, for our next comedy fest. Like, all that stuff where people come being like, these are filmmakers that, like, are legit. Like, I know for a fact I want to work with these people. Who, whoever's at 50, 50, like, I want to work with these people. I, I would love to, to ask You. Because that's interesting to know that this was meant for your commercial reel. I'd love to ask, like, the genesis of this idea. I know you mentioned it a bit on stage of just, like, you had a joke and you said, why not?
But this podcast is very much dedicated to the next generation, and a lot of aspiring filmmakers listen to this who might be thinking about their first short film or their first comedic sketch would love to lean into how you built the company card.
[00:10:38] Speaker A: Yeah. So I feel like there was a long time where I. I come from comedy. Like, I get, like I said before, I think we spoke about it, I, like, I started out as an actor. I'm like, I went to theater school, I went to act, like, acting classes my whole life. I was an actor when I was a kid.
So I feel like I've always had that kind of social, like, part of just being like that actors naturally have.
And then on top of that, I started in comedy. Like, I went through Second City and things like that. And I've always been, like, attracted to comedy. So when I started my, like, commercial directing, I noticed that I was doing a lot of, like, not sad work. Like, it's sad as in, like, it's not the right word for it, but, like, really earnest.
Like, I. I did this campaign for the National Museum for the National Museum for Human Rights in Canada, and it was, like, a great piece. I, like, had a fantastic time,
[00:11:52] Speaker C: and
[00:11:52] Speaker A: it was all about, like, this thing called the LGBT Purge, which is, like, something that happened in Canada from the 50s to the 90s.
And though, like, those projects are obviously rewarding and I, like, feel very fulfilled doing it, but comedy is where I want to be. And so I've had this conversation in my reps, and I have my commercial reps, and I have had this conversation of I need to pit, like, I want to pivot. And this because I come from improv and sketch. I was like, okay, a quick five minute short to show that I can do comedy.
Like, what do I have? Like, I just have, like, sometimes when I think of a funny joke or a funny scenario, I'll just write it in my notes.
And then, like, I just went through that.
So I think, like, what I would say to somebody who is starting out and they're kind of like, what do I do? I feel like the. The biggest thing is to find your. I know this is so cliche and, like, how. But, like, find your voice. Find what really makes you happy and what makes you, like, want to do it.
Because if you find that you're more into horror, but you're trying to, you know, everyone around you is making like mumble core indie. Then, you know, it's like, it's. I, I went through that where like, a lot of the films in Canada are very like us. There's a certain, there's a certain like, feel to a Canadian film. And not all genre filmmakers in Canada like feel that they want to make something like that. So it's changing now and a lot of filmmakers are like challenging those norms of what it is.
But for a long time I felt like I had to make these more earnest coming of age or, you know, sad films to kind of make it as a Canadian filmmaker. But when I found that doing the company card and really honing in on comedy is what I want to do, like, it immediately paid off. Like coming to this festival, like, oh, everybody. People want to laugh. Like people like the world is crazy. Shit is crazy. People just want to laugh and like escape and. Yes, kind of. And it brings a community together.
[00:14:13] Speaker C: So,
[00:14:16] Speaker A: yeah, finding that voice and finding what it is that you really want
[00:14:20] Speaker C: to say, it's so funny because I think of, I mean, I, it might just be what I've been exposed to, but I think of Canadians as so funny. Like, I, I think of, and I think of the history of Second City and everything and like, it just, it just still feels like it's like such like a ripe comedy landscape. But it's interesting to hear from you about like, what is like the typical film that you're making as like a younger filmmaker in Canada, you know, and
[00:14:45] Speaker A: you're right, it is. It's like we do have like the comedy, like Catherine o', Hara, Eugene Levy, like all of these people, even like the, the actors in my film, like Laura Ramoso, she's like an incredible Canadian comedian.
[00:14:57] Speaker C: Yes. So comedically talented.
[00:14:59] Speaker A: Yeah, yeah. She's like on like a world tour right now and she's absolutely killing it. We've been friends since Second City and like Rodrigo Stoll, who's plays Terry, he's like this incredible Canadian actor and he's so, so funny and he brings so much like, to everything that he does. And then Tommy Marshall, another, like, really, really talented Canadian comedian, came up through Second City as well. Went through, went to Chicago for the Institute. And then like these people, we have funny people here. And so it's nice to, it's nice to like, I don't know, be able to like, use them in your, your, your stuff because they just bring so much talent.
[00:15:43] Speaker B: Yeah, dude, the Casting was so good. So good, you know, like.
[00:15:47] Speaker C: Like, you don't need to hear what people say before you know the type of person it is.
[00:15:51] Speaker B: Like, it was just so spot on, man. Like, the. The casting with the look of it, like, how you shot it, like, everything about it was just this really.
And simple. Simple tends to win. We've spoken about this before in the podcast, like, with the festival. And like, audiences really respond to simplicity. And like you said, they just want to laugh, you know.
And the company card is. How long is it? Five minutes?
[00:16:18] Speaker A: Yeah, it's like literally five on the dot, I'm pretty sure. Or like.
[00:16:20] Speaker B: Right. It's like a. You know, the rest of these were, I don't know, eight to 15 minutes.
So it's always really interesting to see what audiences respond to. And I think the company card did a great job of contained space. Right? Like, you're in an office in a. In like a boardroom, basically, with three characters, you know, and a pretty, very simple premise, you know?
[00:16:44] Speaker A: Yeah, Yeah. I feel like that's. It's so funny. The we did.
We shot. So we shot so many different. Like, I come into things and I always like to have, like, a heightened visual aspect behind what I do. Like, I like a hard comedy, but I like to make it look a little, like, crazy.
And my dp, Rico Moran, who's like a great Canadian cinematographer, we talked a lot about, like, showing the space, and I came in with like, a lot of different angles. Like, there were like, actually, like, there's so much that is not in the.
I was like, oh, there's like this, like, we're looking down on him and there's this like, perfect, like, like symmetrical, cinematic wide. And then there's all like. So there was. We had a lot of coverage. And then when I was editing and my editor, Matt Blakely and I, we were editing it and. And I was like, all of these different angles. It was a great learning experience for me because I was like, all these different angles. I'm like, I don't need them. Like, we're in with these characters and we just want. I was like, we. Let's just use the close ups. I'm like, we got. We got like extreme wide in the beginning just to, like, establish where we were and then, like, bringing those close ups in because, like, like comedy. Someone told me. I can't remember who said this, but whoever said it, thank you. Comedy, like, exists in the close ups because, like, we want to see, you know, what these people are going through and like, their Facial expressions. And I felt like that was, that was something that was like a great learning experience where it's like, oh, I don't have to make this. Like, I'm not trying to be like, you know, Yorgos, you know, like in insane.
He's a big inspiration for me, but like insane, you know, I'm not trying to overshoot it is basically. Totally. That's something now that I've learned, like, you don't need to overshoot something thing totally.
[00:18:40] Speaker B: With your background in improv.
Right. And like you're working with real comedians on a. On a set like this. And you also have this idea of like, you know, coverage, but shooting so many different angles.
How closely are you sticking to the script versus letting your actors play free? And of course, on a set like this where like, it is comedy, but then you're like, wait, we need the, the wide from up top. We need this close up. And can you say that again? Like, how are you managing all of that?
[00:19:18] Speaker A: Great question.
Yeah, that is tough, especially when you work with actors who are very skilled at improv.
So when one take really works, I'm like, that was hilarious. Like, we just like making mental notes of like, okay, wait, Rodrigo, you're gonna have to say that again for the next one because, like, I need to cut between this coverage. You know, ideally, if we had had a bigger budget, I would have liked to do a camera on Rod and a camera on Laura and then kind of like cross shoot it and then just have them go nuts.
Totally. But you know, because of obviously we were like a low, lower budget short.
We had one camera. And so it's like everything kind of had to be block shot a little bit where it's like we had to get all of Rod's stuff first and we had to turn around. So I was very like, I spoke to the actors a lot about like, make sure. Make sure to like give the performance but also not like tire yourself out. It's like save like the real improv, like real funny moments. Or like, save your magic for the close ups and like kind of, you know, and I mean, they know this. They're professionals. Like, they know to like give a good line read when they're off camera so that their scene partner can have something to go off of. But also like, save their, save their, you know, magic for the, for the close up.
[00:20:41] Speaker C: So it's good advice. And it's also, to me, it's. Of course they're great actors and instinctually that that is something that they should know. But at the same time, like, I feel like actors like to hear from their director, like, what are your focuses? What are your priorities?
You know, even if it's something they know, just, like, say it out loud. I feel like it helps in. In that environment.
[00:21:00] Speaker A: Totally, totally. And, like, yeah, a lot of it, like, there we. We did stick to the script, but there are some really funny. But there was this. There was this really funny line that I kept in there that was improv from Rod, the guy who plays Terry. And it makes me laugh every single time. But, like, I can't say it. I can't say it as a spoiler.
[00:21:22] Speaker C: Shit.
[00:21:23] Speaker B: Okay.
[00:21:24] Speaker C: What I do want to get into, you know, without obviously revealing the reveal, I kind of want to get into, like, the science of the short, specifically, like, the writing behind it, because there is such, like, a comedic reveal in the short. And I want to discuss, you know, how you as a writer, you know, figure out. Because it's such a funny joke. But how do you figure out the right time to make that reveal, specifically with comedic timing? Because I was literally like. I think I was on a walk the other day and I was thinking about Company Card. And I was like, it all rests on that reveal, you know? So just thinking about, was it. Was it, you know, in the editing after, where you really understand the timing on it, is it, you know, in the. In the moment, you're like, okay, I know this is going to be the exact, like, energy of the point, you know, Are you thinking about the audience? Like, I want to sort of dig into all of that with, like, the conception of the short and, you know, when you choose to reveal it in the writing.
[00:22:22] Speaker A: Yeah, I feel like when I wrote it, I was told as a comedy writer, you know, especially when you're writing something short, there's, like, a rule of three. Like, kind of three jokes and, like, when to space them out.
So it's like there's kind of three moments in the.
In, like, there's a sequence of three moments in the short that, like, I felt when I was writing it, it was very clear in my head because I kind of, like, could see it, and I already knew I wanted these two actors in it. So I was, like, kind of playing to their strengths while I was writing it. But it was funny. When we were in the edit originally, the reveal was longer and more drawn out.
And it, like, it. It didn't.
[00:23:09] Speaker B: I.
[00:23:10] Speaker A: Like, every time we did it, it was like, it didn't hit. There was like, too much pot. It's like I was like, pausing for laughter.
And I was like, every time it.
[00:23:20] Speaker B: It.
[00:23:20] Speaker A: It. Like I saw it, it, like, it didn't hit right. And, like, something, like, felt off. So I think, like, went with my instinct. And I was like, I feel like it needs to, like, happen, like, immediately. I was like, there needs to be that hook. And it always happened immediately. But. But there was just this kind of.
It was like some. I, like, I call it taking the air out of it.
So it's like. Instead of, like, just get to it and, like, the abruptness is what I think is so funny. And then it sets you up to, like, kind of find your. The rhythm of your jokes a little later. So it, like, works. It works in this. Like, it. It kind of comes at the script. It comes with, like, the actor's delivery. Because, like, you can write something that's a funny joke, but if the actor can't deliver the line that is, you know, in a funny way, or if it's not, like, a punch, then, like, it doesn't matter. Like, there's so many times that you've seen, like, you know, oh, I bet that's a funny script. But they, you know, they didn't, like, execute it. Like, the actor didn't execute.
[00:24:18] Speaker C: Yeah, the actor has to really be, like, tuned into the writing of it all, you know, like, they really have to get what you're going for.
[00:24:25] Speaker A: Exactly. And Laura and I have, like, written together before. Like, we've, you know, had some ideas for projects in the past, and we've known each other for almost 10 years. So, like, I knew what made her laugh, and she knows what makes me laugh. And we have that kind of, like, mutual understanding of what kind of comedy we like.
[00:24:49] Speaker B: How. Because. Because I'm interested in, like, how you involve the actors in the writing process. And of course, we spoke about improv on the day, like, on set.
But I think even on top of that, it's like, you mentioned that you're an actor. You went to school for acting, right? You've done Second City. Like, how do you approach directing as an actor? And on the day, are you someone. A director that gives a lot of notes? Are you a director that says, hey, you guys do your thing? Are you director that says, let's spend two weeks before shooting this in rehearsal?
Like, what do you. What's your style when it comes to a short like this?
[00:25:27] Speaker A: I think a strength that. I think a real.
Before I get into that, I will say that I think every director should take an acting class. I'm not the first person to ever say that, obviously, like, it's not new information, but, like, I'll just reiterate. I was like, I think every director should take an acting class. Take an improv class. Like, working with actors is, like, so important because. Or, like, being an actor, it is. You know, what is kind of going on through an actor's mind and, like, what I. As an actor, like, what I like in a director that's like, I don't. Like a micromanager.
And sometimes I feel like I.
Being in, like, being from sketch and improv and stuff, I have to stop myself from, like, giving a line read.
Like, that is something that I was always taught. Like, don't give an actor a line read. Like, don't tell how to say it. Like, tell them how to feel or talk to them about what? You know what I mean? Like what?
[00:26:24] Speaker C: Because it won't be authentic, you know?
[00:26:26] Speaker A: Yeah, yeah. They're just parroting what I want them to say. And it's like, exactly. You can see that that doesn't work. But sometimes I have to. Like, that is something that I've had to learn about. Like, okay, yeah, don't give an actor a line read.
But I think I am kind of hands off unless I need to. Like, if. If I find that.
[00:26:47] Speaker C: Oh.
[00:26:47] Speaker A: Oh, this was a really funny take. But instead of being like, there was. There was two ways where we played Rod's character, and it's crazy. When we went into, like, the first edit, like, there is, like, a totally different take on his character.
He played more. There's two ways he played it. So it was. I. He initially came into it, and he was kind of not mopey, but it was.
There was, like, this different energy that he had that was really funny.
But I realized I was like, okay, I can't have two people being crazy. I was like, if one person's crazy, the other person has to be the straight man. So I was like, okay, why don't we try this one? And instead of like, you know, you're. You're. You're. He was, like, throwing a tantrum at one point and, like, kind of. And, like, it was great, but I was like, I feel like your character is. Your character has to be like, more like, what is going on?
So that was. That was cool. I was like, let's do, like, more of, like a stern.
Let's take it again and do more stern.
Like, you're like, you're. You're the boss. You are. Because he is the boss.
[00:27:54] Speaker B: You. You mentioned. You mentioned. Yorgos, as a, as an inspiration because he is a very absurd style. Obviously he does have those heightened visuals that you said you're drawn to.
What about Yorgos gets you pumped up?
[00:28:11] Speaker A: I really like his dry humor.
I love that everything is like kind of in this absurd world and these weird characters, but everything is played very naturally.
Like, I love like my fit. I love the favorite.
I think that's one of my favorite of his. And I just love this like, I don't know, it's like it was just this world that you could escape into and it's like everyone's crazy. Like Olivia Coleman was like so, so good in that. And that's just like what I'm drawn to. But also the new.
Oh my God. What was, what's his new one? Bonia.
[00:28:53] Speaker C: Bonia.
[00:28:54] Speaker A: Bonia. Yeah. Like, I thought that one was just like incredible as well. I love all of his stuff, but I mean the killing of a sacred deer was like a little darker and like that's something that I'm like more into like the comedic side of it, but still with like this like beautiful world building and these like like insane characters. Like, I love a character, I love a costume, I love like production design. Like I, I just think everyone is so important. And I've worked in like, I've worked in wardrobe, like, I've worked in production, like art. I've done like, I really like the fact that I came up in the product on the production side of things. Because you really as a director, get an understanding of like what it is you're asking your team. Like if I'm asking for something that's like, like, babe, this is 30,000, this is like a, A, you know, a small short and you're asking for this like you're an idiot. Like I know what is like realistic and just having like a respect and an understanding for you're the people that you're working with because it's their project too, you know, so.
[00:30:04] Speaker B: Because I know you just had a bunch of these, these meetings like business wise and whether they're generals or you know, really just having these. Setting the foundation of long term relationships after this festival. But like, what, what is your pitch? Like, are you like when they say what do you want to do, Miles? Are you like, I want to make movies like Yorgos, I want to make Marvel movies. I want to like what, what is your. I'd love to hear your answer to that.
[00:30:30] Speaker A: Yeah, I mean I'm a writer, director and I an actor. I feel like I really love, I love Comedy, Some, like, new. I feel like I exist in the space of, like, comedy and, like, surrealism or, like, magic realism, like, those two coming together.
It can. Sometimes my work can lean more commercial, sometimes it can lean more indie.
I mainly just want to make people laugh, and I want the product to look good as well, because I feel like a lot of comedies sometimes, you know, they don't. Like, a comedy doesn't have to look bad. It can look like, you know, stylistic. So I feel like a writer. I mean, I really look up to, Like, I love Lena Dunham. Like, Girls was, like, a huge thing for me. I'm reading Fame Sick right now.
Girls was just like, such a, you know, of, like, my generation or like the. You know, maybe like a little older. But these people who, like, write and direct and they act in their own projects, and John early is like another John Early Caperland. Like, those people are very, very. Yeah, like, influential to me. I saw this. The short film, this short film that they did.
I don't remember when it was, but it's called Rachel showed me this short, and it's, like, one of the funniest shorts I've ever seen in my life. And it's just, like, based on this true story of this girl that showed up to their apartment that no one knew, but everyone was too nice to tell her to leave.
And it's like. It's just so good. And I don't know that.
[00:32:13] Speaker B: That.
[00:32:14] Speaker A: That space of, like.
I just think they're geniuses. And.
[00:32:18] Speaker B: Yeah.
[00:32:19] Speaker A: Andrew DeYoung, I believe, was the writer director of that. But yeah. Yeah, I like, that is like, those are the careers that I really look up to and that I kind of want to, like, emulate.
[00:32:32] Speaker B: I love that young man friendship, you know, dude, the company card felt very Tim Robinson.
[00:32:39] Speaker A: Yeah. And, you know, like, Tim Robbins. Like, a. A lot of my friends are fans of him. Like, I. I love him. I think he's hilarious. I wasn't, like, too familiar with his stuff. I mean, like, I. I mean, obviously that's a lie. I am. But, like, I.
I like.
[00:32:55] Speaker C: But there are super fans out there. For sure.
[00:32:58] Speaker A: There are super fans. And my friends, like, a lot of my friends are like, big, big super fans. And I think he's hilarious, obviously. And I'm actually watching the chair. I actually was watch. Watching the chair. Company. Company. I think the chair. But I'm like, I. I think what I mean to say is that I'm, like, getting into him now, like, that. I think you should leave. Sketch where he's like, on the zip line where he's, like, the Bachelor contestant. She's like, I think you're just here for.
[00:33:24] Speaker C: Yeah, it's. That is essentially Tim Robinson, like, in a sketch that's.
[00:33:28] Speaker A: Yeah, it's perfect. Yeah, yeah.
[00:33:30] Speaker C: And you can find in. In the chair company, there are, like, those mini sketches within the show, you know, of, like.
[00:33:37] Speaker A: Yeah, yeah. Where, like, he's going on the guy. The wheelbarrow guy.
[00:33:42] Speaker C: Yeah.
[00:33:43] Speaker A: So funny.
He's like, don't tell anyone I took this wheelbarrow.
[00:33:48] Speaker C: There's, like, little moment, like, you wouldn't ever think about that in a show, but he just, like, will center on a moment like that for so long to the point where it just becomes super comedic. I love that.
[00:34:00] Speaker B: I was saying in the first episode, though, where he. Where he sits on the chair and it. And it cra. Like, you're just. You're waiting. Like, you're waiting for something to happen. Like. And that's the power of Tim Robinson. Like, I. I remember watching Friendship in. In theaters, and the first time he comes on screen, it's. Everyone laughs. Like, it's just a. And it's like a. A very. It's not a funny situation. It's like a. Yeah, it's. Is it like a cancer thing? Like, it's. It's people in a circle talking about trauma, support group, and, like, everyone is just immediately. They're just waiting for.
[00:34:36] Speaker C: You're like, oh, God, what's he gonna say? I think that's so intentional. He's done a great job at, you know, talk about comedic voice and, like, finding your voice. He's done a great job at not only that, but, like, asserting himself into, like, anything. You know, exactly what character you're gonna get, you know?
[00:34:53] Speaker B: Absolutely.
[00:34:54] Speaker C: He's oftentimes playing that sort of fish out of water guy who seems.
Who sees the world in a very different way than everybody else and gets stuck on things that nobody else would get stuck on, you know?
[00:35:05] Speaker A: Yeah.
[00:35:07] Speaker C: So he's, like, asserted and. And as you said, Luke, like, a bunch of people who know what he's doing go into a theater, and the moment he gets on screen, people are laughing because they're like, oh, God, like, what's he gonna say?
[00:35:17] Speaker B: That's exactly. It's like.
[00:35:18] Speaker C: It's the.
[00:35:18] Speaker B: Oh, God. You know. Yeah, yeah, yeah.
[00:35:21] Speaker C: He's an essential. Oh, God. Comedy for sure.
[00:35:25] Speaker B: Miles, how did you. How did you find your voice? And I know it's a lifelong journey, man, but, like, was there a moment where you're like, oh, this feels like me.
[00:35:36] Speaker A: Yeah, I think so. I feel like I had made some. I had made a short a couple years ago, and it was more earnest. It was like something that I was going through at the time.
Like, when I was younger, my mom passed away. So it was like kind of a.
Like, it was an earnest film I wrote during COVID and shot about, like, losing your mom and we played at tiff. It was a film called Little Bird. And it was like, great at the time. And I really liked. Obviously, I. You know, it was very cathartic and stuff, but I really found that the. What I really wanted to do was just, like, make people laugh.
And that was something that I found that I was like, kind of missing. I was like, I come through. Come from comedy and, you know, like, growing up and like, being surrounded by like, a lot of, you know, my mom was sick very. For a very long time, so it was like using, like. I've kind of always used comedy as, like. Like to help, you know, get through, you know, hard times or something like that. And I feel like you develop this, like, thick skin and it, like, I feel like I found my voice that way. Like, that's why I kind of gravitate. Gravitate. I mean, it's not really the company card so much, but gravitating towards, like, darker comedy is like a way to, like, have this, like, shield. It's like a. Almost like a suit of armor to help, you know, protect yourself. But I think from that, just that and like, improv and Second City and all of those things, I think was like, oh, I really exist.
I really like to exist in the comedic space. And like, I've, you know, friends always saying, like, I think you should do more comedy. Like, you're funny, like, do comedy. And I'm like, okay, I'm just going to listen and do it. And it feels great. I'm like, this. The company card is like the first of many things that I'm like, okay, I found my voice and this is like the avenue that I want to go down and like, all side, like everything kind of points that that's the right direction. So I'm thankful that I, like, found that.
[00:37:59] Speaker B: It's so interesting that, like, you gotta.
You gotta take that path before you get to the company card. You know, like, you had to do those.
There's more dramatic.
[00:38:09] Speaker A: Yeah.
[00:38:10] Speaker B: You know, shorts to and like, really explore those emotions and feelings to be able to get to the company card, which is like, it's a sketch. It's a. It's a. It's a great sketch, you know, and. And we've. We've spoken to people about this before. I think it was the Maria Quesada episode.
She's a great filmmaker, had a film in the last one, and we spoke about how there was a time for her where. In film school where she, like, had to make drama. Like, I. Comedy. I can't. Like, comedies are like, oh, no, that's not. That's not good enough. Like, I have to do drama. I have to be a real.
[00:38:50] Speaker C: She felt, like, the weird pressure that I feel, like a lot of filmmakers, especially starting out, feel to just, like, you know, do. Do your, like, drama piece, you know?
[00:38:59] Speaker B: Yeah, like, drama. Drama means serious, very real, professional filmmaker. And then I think every comedic filmmaker has that moment where you're, like, either on set or you're in the edit, or you're at a, you know, screening at the Friends, and you're like, what am I doing? This isn't me. You know, and even the idea of
[00:39:17] Speaker C: thinking about comedy is cathartic, you know, Like, I even got that sense from you, like, you did. You did that very personal short, which I'm sure was a beautiful experience in a lot of ways. But then, you know, you mentioned all your friends being like, just do comedy. And you're like, oh, I can just do comedy. And, like. Yeah, and I do think it's, like, a personality type to some extent. Like, I. I do think it's like, this is Miles, and he. He leans towards comedy, and, like, that's what truly, like, makes him smile and makes him happy, you know?
[00:39:47] Speaker A: Yeah, definitely. I think so as well. And it, Like, I relate to that so much, and the fact that, you know, I'm in the. Like, so many of my peers and my friends in here in Toronto are like, cinephiles. You know what I mean? It's like, they all came up through.
Through film school. And so everyone has, like, so much more of a knowledge of, like, film and, like, classic films and films that you really need to see and coming as, like, an actor and, like, someone from sketch. Like, I was, like, watching the movies that I loved, and I loved movies, but I couldn't, you know, like, be like, I. I don't. I'm not, you know, like, a. A film bro, by any means. Like, I don't know, you know, these things that other people know. So I feel like that a lot of people were maybe felt that way in film school that they had to kind of, like, adhere to that and kind of, like, make those Films that, you know, you see, you see being made. But it's like the. What stands out is when people are just like, authentically themselves and authentically making what makes them laugh and. Or what makes them feel good. And if something is like, true to you and if something like resonates and you know that it's your voice 100, then the critiques don't matter because you succeeded just by making it.
[00:41:11] Speaker C: Yeah, by making yourself laugh. Exactly. There's so much too, that I'm gathering, you know, when, when we keep referencing your comedic voice, you always are referencing. My friends are telling me this. You know, I, I do this with my friends and it seems like such. Specifically with comedy, it's such like a communal experience.
[00:41:29] Speaker A: You know, my friends, like, I love my friends, like, I. Because, well, I came from Newfoundland, right. So it's like Toronto was like, all of my family is back in still in Newfoundland. So I kind of developed this like, circle of friends that became family. It's like you're, you know, I hate chosen family or whatever, but it's like you're. It's like a, a family away. And especially when you're in the same industry. And I feel like a lot of people will find this film is like such a specific industry and it's so all encompassing and it's so it can take over your life. Like it really can. So there's a lot of people that aren't that don't that have the same experience or have the. Like, everybody's in the same boat and we're all trying to make something happen. And we all want to be, you know, writers, directors, actors, or, you know, any like costumers, cinematographers, editors. And it creates this community of like, people that are just there for each other. And it's like really, really special. And I'm grateful because a lot. Some people don't have that, but I encourage everyone to go find it because it's a long journey and especially film and television, like, a lot of people won't understand your lifestyle.
So you really need to find people that do because it's important.
[00:42:53] Speaker C: Yeah, it's cool. I think through 50 50, Luke and I have found those, like, friend groups who we keep coming back to. And like, you'll see one person directing and then the next time their DP is the person who gets their short in or the person who was acting in it is now behind the camera or directing or something like that.
It's really fun as we widen the breadth of the festival to sort of tap into all These little communities. And you'll just. If you see the credits of the past few 5050 festivals. It's like all these names that keep popping up. Cause we love delving into these communities and expanding our community through finding these people. And now we have you and Veronica and all these people who are like in the, you know, in the Canadian circuit and the Toronto people. And it's just like, it's really fun.
That's the reason why we can get on to this podcast and talk about, you know, all this comedy stuff. Because it's the same and we all love it and we all like understand those different roles that people play and the multi hyphenates and the writer directors. Like it's such a comedy is such a community based thing, you know.
[00:44:03] Speaker A: Totally, totally. That's. Yeah, I agree. And I think like a same thing. I'm like so grateful to like now have all of you know, you guys in LA and of this kind of community of 5050 that you like. It's just, I, like I said I was saying this that night, everybody's just like nice and like an actual like actually kind. Like I think that everybody. What I really liked coming and seeing in LA and specifically at 5050 that night was everybody was genuinely kind and just like wanted each other to succeed.
And like that is so important. Totally. It's easy to get bogged down and like comparing yourself to others and then that can be like a dangerous slippery slope into kind of like self destruction. And I think there's nothing better than like being happy for your friends and like wanting your peers to succeed because in doing so you also succeed and everybody's time will come. And so it's just so nice to see like genuine people. Yeah, yeah, it was great.
[00:45:11] Speaker B: I love that.
Can you talk about this outline? At the beginning of the call you mentioned you're working on or ideating perhaps the next step for you and why you're doing that.
[00:45:25] Speaker A: Yeah, so I am working on this feature film that I have in develop. It's early stages right now, but it's called Medieval and it's this comedy. I won't say too much about it because I'm still in the process of it, but. Yeah, but it, it's like I, I found that coming there I wasn't expecting all of this like all these great things to happen and taking, you know, meetings with people and I think one thing that I will definitely say to a, you know, anyone watching is always have something prepared because you never know what will come from an opportunity and People will always want to ask, what's next?
And have that. What's next?
Always be working, always be writing, always be, you know, have your features, have your pilot samples, like, have those ready to go. So when somebody asks you for them, it's just, yep, here you go.
And, like, that's something that I've learned is just to always have your slate, like, know what it is in your slate. Like, I have this document, and I'm always like. And I've had, like, people, showrunner friends in the past tell me always have, like, two or three things going, because, you know, if they don't. If they're. If they're not vibing with one thing, but they like you, and they'll be like, oh, well, what else do you got? And it's like, okay, I've got this. And always working on it is just, like, so, so important.
And that's kind of what I'm going through right now.
[00:47:09] Speaker C: The more. The more stuff you have, the better people can understand you as a voice, too. Like, it's not just because we've seen that and we want more. It's because, okay, like, I. I'm kind of getting to what we. The sort of thing you do. Company Card is a very specific thing. If I have another thing to pair with that, it's like, oh, like, okay, this crafts it a little bit more and he can do this. Like, he can do a feature. He wants to get into making movies. Like, that's a thing that we know. And oftentimes, like, the way the industry works is like, even if you're pitching original ideas and it doesn't align with the production company that you're talking to or management or whatever it is, like, they still want to get to know you as an artist so that they can keep you in mind for. If they option a book that is tonally right up your alley, they can. You can meet on that. If they have a project with a streamer that they need a writer for, they're. They're always coming. They'll think, like, oh, Miles did exactly that with Company Card, and I could totally see him doing a rewrite for this or whatever.
And also, you know, in addition to that, the. The thing that I'll say is, like, you. You have those, you know, that thing that you just made and then these, like, you know, maybe an outline for a feature and then a fully written pilot or something. But then sometimes, like, the best ideas come from, like, just talking with someone for 30 minutes and being like, oh, that's a Space that I would love to get into. Like, what if this. And that's the idea that comes from it, you know, or like I've spent 10 minutes thinking about this, you know, a couple weeks ago, and I have a paragraph write up on it. Let me just send that to you. And so what I'm saying is like, it doesn't have to be a lot, but it just has to be like something in addition to the sort of main slate of ideas. That's like sometimes those kernels of ideas are the best because especially for a producer that likes developing, they want to be able to develop it with you. And you know, that paragraph will turn into a nine page pitch doc and then you'll figure out what, you know, do you want to do an outline treatment, all that stuff. That's, that's really helpful. So I think it's like, are you at this point sort of crafting your slate and what does that like strategically look like for you?
[00:49:20] Speaker A: Yeah, that is such good advice, Wyatt. I feel like that's really, really helpful.
I think like, it's easy to, when you have these opportunities, come at you quick to kind of get a bit overwhelmed and go, oh, if I don't have anything right now, like, oh my God, like are they gonna forget about me or is, you know, is this the one shot and then that's done and then it's like, oh, like I, I like missed that or something and it's easy to like ruminate and like really get like hard, be hard on yourself about. So that is like so nice to hear that, you know, it doesn't always work that way. And it, you know, it's all about like fostering a relationship and open communication and when a producers like to like the development side and so it can just stem from a conversation and like an outline, like that's all really, that's. Yeah, that's good. And I feel like a lot of people shouldn't hear that, should hear that because I feel like I'm someone that puts a lot of pressure on myself. And I know a lot of writer directors are the exact same way way because we dedicate our life to this. And when something opens up, you don't want to lose that shot and you put so much like pressure on it.
But you just got to like take a breath and believe that if they like you, they're not going to be like, oh well, see ya.
[00:50:45] Speaker C: Totally. Like when, when you're in the door, you're in the door and they're not going to like kick you out of that door, you know, like, even if, you know, however prepared you are in your first trip to la, like you, you made, went and made a thing that, that is amazing and you won this award and now you're sort of dining out on that and you have a couple ideas and nothing, you know, but like to me it's like now you have that person's email, you can be like, hey, you know, in, in six months, once you have that feature written or whatever it is, you can be like, hey, like, you know, would love to hop on a 15 minute zoom and tell you about what I'm working on. If it's of interest, I'll send it. You know, like that's it. It's, it's much more, and it's much more relaxed than I think people put it out to be with, with these generals and the sort of like your introduction into the industry.
[00:51:35] Speaker A: It's true. Yeah, that's so. And that's what I've come to know as well is that people just kind of want to get to know you. And it doesn't have to be, you know, you're not coming in with a suit and tie and being like, hello, I have this idea and you're going to love it. It's like, yeah, it's relaxed. And I think that's so important because, I don't know, I think it all comes. There's so much like, yeah, like I said, like, pressure and anxiety about just like wanting to do, like wanting to get it and like make it. And so learning to chill out is really cool. Like learning to chill out.
[00:52:11] Speaker B: It's tough though, right? It's, it's tough to chill out when like, like you said, this is your life, you know, like, this is being a writer, director, and the dream is to, to make a movie, you know, and like put it in theaters. And like all of a sudden you're talking to the people that can actually do that, you know, and it's like, well, I don't want to mess this up. I've been working towards this for 30 years, you know, and it's like, yeah, but there, like why it's saying it's. It is. And why. That's incredible advice. I don't think anyone's ever said that,
[00:52:38] Speaker A: which is like, yeah, it's no rush,
[00:52:40] Speaker B: you know, there's no rush. They like you. They like you. I think, you know, Absolutely.
[00:52:45] Speaker C: I think like from the, from the producer's perspective, to me it's about finding that like, mutual passion, right? Like, because the most authentic way that a. And there's obviously different versions of this and people put their priorities in different buckets. But the most authentic like writer, producer relationship is like finding that idea that Miles is super passionate about. I'm super passionate about as a producer for my own reasons. My, whether it be my upbringing, my company's priorities, my, my, you know, personal passions, and then figuring out, okay, Miles can execute and I can be the one telling them how we can shape this to make it sellable, make it commercial, you know, whatever the priorities are for the company. So I think it's like, it's about that communication and that long term relationship and finding those ideas that producers and writers are mutually passionate about. I feel like that's the most authentic way.
[00:53:40] Speaker B: I love that. And it's also super aligned with like what we're trying to do at 50, 50 and like set that precedent of like, the relationships between creative and business are meant to be long term, not as much transactional, short term. And like, that is. I've never, I've never really thought twice about that. I love this like, kernel idea, you know, of like, yes, you have a couple scripts to bring in and a short film. But like, I'm also really excited about the potential of this idea of my grandpa was a lobster fisherman, you know, in Finland. Like, and they're like, whoa, wait, what's that? What's that about?
[00:54:17] Speaker C: Exactly, exactly.
[00:54:18] Speaker B: And, and, and you're like, I don't know, let's.
[00:54:21] Speaker C: There's never together, there's never like, not enough. Like, yeah, if a kernel is a kernel and producers, like good producers understand that, they're not going to be like, well, I'm not going to engage because where's the feature? Know, it's not written. They're, they're gonna like the idea that it's, that it's a, a shorter idea and it's more to like bounce off with the writer and craft and develop together, you know, so.
[00:54:45] Speaker B: Interesting.
[00:54:46] Speaker C: Yeah. I'm curious if we can pivot a little bit. I'm curious about your relationship with social media because I think specifically in comedy there is that known pressure at this point in the, the weird era that we are in, in 2026 to, you know, as a, as a comedian or an actor, like, especially with you doing so many things, it's like, do you feel pressure within your community to like, try and go viral or like gain a following or do it yourself? And I know you made this amazing short and that's like one version of doing it yourself. And creating your own brand. But, like, do you feel pressured to build a following on social media? Like, what are those conversations that you're having? Like,
[00:55:30] Speaker A: yeah, I feel there was a point where I did, it did cross my mind. I was like, should I go this route?
I was maybe like, putting out some stuff and then it just felt so. I was like, oh, I don't want to be perceived. And then I like, took it off, like, deleted the videos. And I was like, no. I was like, people on the Internet, Internet are so mean. Like, I don't want to do that, but I don't know, I feel like there, I, I've like, so many people now. Yeah, like you said, we're in such like, a weird time where, like, we have to be like, doing all of these things for social media and like, essentially like dancing monkeys for views and trying to go viral and yeah, I think, like, it never, I, I, I like, applaud the dedication it takes for people to do that. It's like, it is hard work and it's dedication and like, people don't realize. It's like you kind of, you got to constantly be doing it.
But I just don't think that's like, the right avenue for me specifically.
I tried it and it worked a little bit with, like, my friends thought it was funny and I was like, okay. And then.
But I don't think I could be, like, trying to go viral. I feel like I maybe just let my, you know, let my work speak for itself and kind of like go the old fashioned route. I don't know, make some shorts and like, make a feature and.
[00:57:00] Speaker C: No, I love that. That's such a, that's such a refreshing answer, honestly, because I feel like, especially in L. A, we live in this bubble of, like, you know, constantly, like, you know, you are just figuring out and you're blurring that line between, like, what's this high production thing? What's this low production thing? And it can get confusing with your priorities and everything.
But I love that. It's like you have to figure out what's authentic to you. That's like part of finding your creative voice, you know?
[00:57:27] Speaker B: Exactly. And we've seen, we've seen both sides of it. Like, and I think, Miles, you're a great example and past filmmakers, alum at this point, 5050 alum, like, have proven that, like, a massive following is not necessary for some people. You know, it's like if you have a great short, like you said, if you have work that can speak for itself in a Different way. Socials absolutely do that too. Like Instagram absolutely does that. YouTube absolutely does that. Like, we've had.
[00:57:56] Speaker C: And clearly you're not like a, you're not like a one person thing. Like, you have a group of people who support you and you're like carrying that group with you and everything, and other people are lifting you up. So I think there's different forms of like, finding that following quote unquote in that community.
[00:58:09] Speaker B: Yeah, but it's, it's the, the through line. Seems like it's about trying it, you know, trying all angles and seeing what works for you, you know, and going from there.
[00:58:20] Speaker C: I love that.
[00:58:21] Speaker B: And it's working, Miles. Good stuff, man. It's working.
[00:58:25] Speaker C: People are, People are talking about you, man. They're.
[00:58:28] Speaker B: That.
[00:58:29] Speaker C: A lot of the texts I got, you know, coming out of the festival or what's Miles up to? How can I get in touch with Miles? So it's working.
Exactly. Exactly.
Well, we do, we do ask this question to all of our guests at the end of the podcast, and it's very intentionally simple and vague. What is the dream for you?
[00:58:52] Speaker A: The dream for me is to make a living from, like, my work. Like, make like just, you know, there was, you know, all these.
When you're younger and you're like, oh, I want to be, I want to be famous. And I think that, like, comes with like, immaturity a little bit where it's like, it's not all it's cracked up to be. Not that I know I'm like, not famous, but like, I feel like it's like making sure that the work is, is the center of it. And I just, the dream for me is to just make movies. Like, I want to make movies, I want to make television. And, and if that, you know, is like, with a niche population that like, really like it or if it is, like really commercially successful, like, obviously that would be incredible.
But I feel like nowadays it's like I just want to be able to like, make a living off of it and have it be, you know, a sole, a sole source of income and just get to create. Like, when I'm on set, like, I just feel like I could be there all day, every day. Like, it's just I've, I, I've, like, I truly just feel the most like myself when I'm on a film set. And the dream would just be to do it all the time and to like, foster this community that I can bring all of, you know, we can all lift each other up together and succeed because there's room for everybody, truly, and it doesn't have to be so, I don't know, cutthroat.
[01:00:31] Speaker C: Thank you so much, Miles, for coming on the pod. We really, really appreciate it. You've been such a joy throughout this time and, you know, it is our priority to have genuinely just like good, positive, happy people in a room. And I feel like you're like the pinnacle of that and you come with just such like a new, fresh spirit to this, to this town and to the industry. Then we're more than happy to welcome you here to LA in the future. And, you know, we'll. We'll definitely keep in touch about what you're up to and, you know, we would love to, you know, support in. In any way possible. You're. You're just the best. It's really. We're lucky to. To have you on the pod.
[01:01:10] Speaker A: Oh, my God. Thank you so much, you guys. That means so much. I had so much fun. I just want to thank you, the both of you. Like, you guys have just been so great throughout this whole process and, like, so welcoming and so cool. It's so down to Earth and 50. 50 is great and what you guys are doing is great and I'm just like, really happy to be part of it. So thank you so much.
[01:01:32] Speaker C: Thanks for joining us for our 5050 commercial. We can call this episode.
[01:01:36] Speaker A: Yeah, Plug.
[01:01:37] Speaker C: Plug.
[01:01:41] Speaker B: Exactly. Dude, you gotta make that lobster short. I mean, or the lobster show.
[01:01:45] Speaker C: I want the whole show so much there.
[01:01:49] Speaker A: I know there could be something lobster.
[01:01:50] Speaker B: About your grandpa.
[01:01:52] Speaker A: Yeah, Maybe he finds a huge lobster or something.
Yeah, yeah, there we go.
[01:01:59] Speaker B: And you could call it the Lobster. The Big Lobster. The Huge Lobster.
[01:02:02] Speaker A: The huge Lobster.
[01:02:03] Speaker B: By not argos Lobster.
[01:02:05] Speaker A: Yeah, yeah, exactly.
[01:02:10] Speaker C: And now it's 5050 after hours.
[01:02:15] Speaker B: Miles is the man. He's such a.
[01:02:16] Speaker C: He is the man. He's so. He's. It's so funny because, like, he comes off as such like a chill guy, but he clearly takes this so seriously and like, you can tell just like, you know, from. From that sort of like, you know, our. Our advice portion of. Of this episode, which was like, you can chill, you know, and he was like, what? I can chill. You know, it was like. I feel like people feel.
[01:02:39] Speaker B: That was. That was news to me. Like, I. I never knew that. I always thought it was like, you have. If a window opens, it's only gonna be open for so long, you know, I think.
[01:02:47] Speaker C: I think windows stay open. Especially like, I think windows stay open if you. He's already put in the work, you know.
[01:02:53] Speaker B: Exactly.
[01:02:53] Speaker C: He has. Exactly. He has created an amazing short that won this award. He's obvious, like, you know, he's getting into other festivals with it. He's like. He's dining out on something that he is, like, calling card, basically.
[01:03:06] Speaker B: So people.
[01:03:07] Speaker C: People know him as that. And then everything else is, like, great, great. Like, would love to see it when it's ready.
[01:03:12] Speaker B: Nobody's rushing. That short is not going anywhere. You know, like, it's. It's. It's out. It's a thing that he can show people and bring to people. And people can share it around, too, by the way.
[01:03:22] Speaker C: Totally. We should try and send it to Tim Robinson. I'm sure he would love it. It's like, so him.
[01:03:28] Speaker B: And the. The. You mentioned it about not rushing product or. Or just projects in general, but of, like, don't let the. The buzz of a week get in your head. You know, it's like, oh, my God, I gotta turn an outline for a feature round by Monday.
You know, it's like, take the time to make it great and, like.
[01:03:48] Speaker A: Exactly.
[01:03:48] Speaker B: I think that will probably play a whole lot further and really actually build a relationship with, you know, Jake and Amanda at these agencies, whatever it is, you know.
[01:03:59] Speaker C: Yeah, for sure.
Yeah. It was a. It was a.
It was a great festival.
[01:04:04] Speaker A: It.
[01:04:04] Speaker C: It. Every year, it just feels like it gets bigger. And especially with the Brain Dead partnership, it was, like, so much fun.
[01:04:11] Speaker B: Brain Dead felt like home, man. It really felt like we'd been. Yeah.
[01:04:14] Speaker C: Right away, everybody was coming up to me and being like, so how long have you done it here? You know, it's like, first time.
[01:04:21] Speaker B: Four hours.
[01:04:22] Speaker C: Yeah, four hours. We got here five hours. Four hours ago.
Yeah.
[01:04:27] Speaker B: It was fun. It was. It was really special.
It was a great festival. Very grateful for everyone that came out.
[01:04:34] Speaker A: And.
[01:04:34] Speaker C: And we should also say that we're planning on getting a lot of the other filmmakers on the pod too, because.
[01:04:39] Speaker B: Absolutely.
[01:04:40] Speaker C: Because they are.
I loved the selection because everything was so different, you know? Like, everything.
I, like, I feel like Parker's was so, like, naturalistic and felt very, like, almost TV to me. And I know she's inspired by a lot of those TV showrunners and. And she's really finding her voice. Like, it's so fun to see people come back and, like, as they.
That's what we want. We want the festival to grow and mature with us, you know? So, like, it makes sense that some of the filmmakers who have, you know, been previously selected are continue to submit and continue to sort of serve different roles and in that community. I think like, you know, you and I always talk about with these interviews, like finding that passion in the person. And I think like that community aspect was like, you definitely saw Miles eyes light up a little bit with talking about his friends and everything. Like, you can just tell that he. It's such a special community that they, that they have up there, you know.
[01:05:34] Speaker B: That's comedy though, right? Like, comedy is all about community and working with your people. And it. I don't know, I mean, in film in general, you see that with plenty of filmmakers across genres where it's like, wait, they've been working with the same ad for 25 years. Who works with the same second, who works with the same grips and all of like, yeah, it's the same crew, you know, and it's like, this is not an easy medium, you know, not an easy industry. Might as well have fun doing it. Work with people you love.
And he absolutely has that. He has a circle of people that he loves and they're so freaking talented. Like the, the casting note I get like it. It. That short is just. It checks all the boxes.
[01:06:17] Speaker C: I'm just like obsessed. I've been so lucky to be able to be around all these Canadians. I'm just like, I feel like an
[01:06:23] Speaker B: honorary one, you know, something, something the water out there. But there's been for years, like comedy.
Comedy managers.
[01:06:31] Speaker C: What, what some of my bosses say about it is that there is so like, the weather is so brutal in Canada that for like six months out of the year they have to just stay inside. So they just like drive each other insane. Like they truly, like when, when they're snowed in, they just like, they have no.
They have no. It's just like their thing. They're driven insane and they just have to like, make fun of it.
[01:06:55] Speaker B: You know, they go straight to improv.
[01:06:58] Speaker A: Yeah.
[01:06:58] Speaker C: I think that there must be something, something about that or something about just the general sentiment and attitude and like the, I don't know, Canadian. There's the stereotype that they're so nice, which I think is definitely true. But also like, you know, where does that like good hearted comedy come from? It's an interesting question. You know, it's.
[01:07:17] Speaker B: It's crazy to see like the second city alum from out there. It's been ridiculous.
[01:07:23] Speaker C: Oh, absolutely. They all come here and, and do their big Hollywood thing. But yeah, I think there's Miles too, man.
[01:07:29] Speaker B: Miles.
[01:07:30] Speaker C: Yeah, I absolutely. I'm like, when are you moving out?
[01:07:40] Speaker B: Did you learn something? I'M like your mom. Did you learn something in this episode? I hope so. Or not. That's okay. Thanks for hanging. Make sure you follow us at the 5050Fest on Instagram and give us five stars, because. Why not? Why not subscribe? Why not? You know why not. Okay, bye.
