Just Shoot It: A Podcast about Filmmaking, Screenwriting and Directing

Rick Darge rickdarge.com talks about casting unique faces, running effective callbacks, and methods to find the best actor. And Matt and Oren dive into the secrets behind Rick’s elevated comedic-style, which is as much zany as contained for the brand.
Rick talks about the importance of clarity. So people who want to hire you know what you mean. But also so a spot hits the beats and tell the story in the 15 or 30-second time slot you need to. And Matt and Oren dig into how Rick creates standout commercials, from scripts that started life being average in quality.
Finally, Rick talks about how he turns his passion for running great callbacks, and collaborating with actors so they see the vision of the script, into a method for having great vibe checks, meetings, or pitches when he meets with agencies and brands for new work as a director. You won’t want to miss this episode if you’re wondering how your unique voice can be put to work in spots that fit your own unique passions and wierdness.

Help Matt's film: https://wefunder.com/badfeeling
Join the Just Shoot it Patreon! https://www.patreon.com/JustShootItPod

Matt's Endorsement: Lowes and Home Depot have sales for Halloween and now its the time to buy skeletons on sale
Oren's Endorsement: the Frame Set's video breaking down Rick Darge's Popeye's commercial. https://www.youtube.com/watch?v=oVzItb8xKec
Adobe Premiere has a new AI footage generation tool
Rick's Endorsement: the movie "Buddy" https://www.imdb.com/title/tt37281055/
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Tom Morris and Carlyn Hudson are back talking about their passion projects. In episode 493, you might remember Carlyn was just about to start shooting and Tom was about to shoot a feature starring his family of five kids. So Matt and Oren chat them up about where they are, what they learned, and how they balanced being working commercial directors with the demands of independent projects.
It starts with a discussion about style – what are the three words that define your style as a director? And Carlyn and Tom share with Matt and Oren the frustration of balancing bias and the need to convey a situation or story in a quick and culturally relevant way.
It’s different in a commercial than in a film. Why? Because there’s more time to tell the story when it’s what people came to watch, like a film or a TV show. But ads have to land quickly.
Commercials, though still very creative and directing them is an art in itself, aren’t what people come to watch. Like, no normal person decides to watch 20 commercials for entertainment. There’s no “20 commercials and chill”.
Taking notes is also much different. And Matt shares a story of vulnerability. And how that can feel challenging when your everyday life is directing work that someone else created. You won’t want to miss this episode if you’re looking to articulate your style as a commercial director, or developing your skills as an indie-filmmaker.

Help Matt's film: https://wefunder.com/badfeeling
Join the Just Shoot it Patreon! https://www.patreon.com/JustShootItPod

Matt's Endorsement: Plant a tree. Also, passion fruit vines.
Oren's Endorsement: Try to present your edits to clients. And show the cut twice before asking for feedback.
Carlyn's Endorsement: "Teenage Sex and Death at Camp Miasma" https://www.imdb.com/title/tt35298123
Tom's Endorsement: India's Tandoori in Burbank, CA on San Fernando Blvd.
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Mike Davidson, Head of Production at Callen https://thisiscallen.com/, joins Matt and Oren. After years with agencies like Leo Burnett, Wieden+Kennedy, Goodby, Silverstein & Partners, and PXP, Mike is happy to be in a role that’s more production-focused while still being client-engaged.
And Matt and Oren chat about his journey from the digital, interactive, and web design side of creative to the TV commercial and production world. And he shares some unique insights that helped him level up as campaigns underwent a transformation to integrated and 360.
For Mike, choosing directors is about finding the right talent who can see the ad's strategic direction, the client’s purpose, as well as how the insanity of the idea is best suited to make things work. And he shares a producer’s perspective on choosing the right person for the directing job. And he describes the often necessary triple bid process, and why it works and sometimes doesn’t.
But Matt and Oren probe Mike on what a producer looks for in a reel. And Mike shares some key insights into what, unfortunately, may be making you appear generic. And it all leads to a fascinating conversation about AI, and how Callen uses AI and LLMs to make their bids more effective while still keeping creative solely the output of a human head.

Help Matt's film: https://wefunder.com/badfeeling
Join the Just Shoot it Patreon! https://www.patreon.com/JustShootItPod

Matt's Endorsement: "BlackBerry" https://www.imdb.com/title/tt21867434/ currently on Netflix.
Oren's Endorsement: "Margo's Got Money Troubles" on Apple TV
Mike's Endorsement: "Patriot", the series on Amazon Prime
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Matt and Oren layout their template for vibe checks. You won’t want to miss this episode if you’re dying to know how to make yourself standout. And you’ll learn ways you can be seen as the best director to pull things off. Without sounding like you have all the answers. And without appearing too desperate for work!

Help Matt's film: https://wefunder.com/badfeeling
Join the Just Shoot it Patreon! https://www.patreon.com/JustShootItPod

Matt's Endorsement: Find a cool indie movie theater when travelling. Watermelon popsicles from Johnny Pops
Oren's Endorsement: "The Hacks" episode of the Script Notes podcast mentions how a writing duo can find their way into the scene. And they talk about competency-porn, when you see an actor do their job really well.
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Dylan Meyer grew up in a film school. Well, kind of; her dad was a screenwriter. And Dylan chats with Matt and Oren about the benefits of growing up in an environment where the idea of working as a film director is not some flimsy dreamy.
Matt and Oren ask Dylan about the importance of being cost-effective. Does it make your script easier to produce? And Dylan shares the importance of “cost-effective-ness”, not only to producers, but to you as a filmmaker. How so? Bigger budgets often invite more adults into the room, more scrutiny, more confrontation, and more negotiation for what you want your film to be. And in this episode Dylan teaches you the right budget range for your movie, if you want to have the greatest amount of creative free range.
In shooting her new film, "The Wrong Girls", there were a lot of scenes where people are high. And Dylan talks about the cinematography, lenses, production design, and other creative and visual considerations that went into making it a believable, altered reality.
Dylan notes that directing forces you to confront your own strengths and weaknesses. And Dylan shares some tips for navigating your own next angst-filled, directing adventure! You won't want to miss this episode if you’re about to shoot the script you just wrote.

Help Matt's film: https://wefunder.com/badfeeling
Join the Just Shoot it Patreon! https://www.patreon.com/JustShootItPod

Matt's Endorsement: "Four Seasons", the show
Oren's Endorsement: "Widow's Bay" and "House of the Dragon" shows. And take hot dogs camping to keep the kids' happy.
Dylan's Endorsement: "Such Brave Girls", the show from the UK
Hosted on Acast. See acast.com/privacy for more information.