Comedy Legend David Zucker Reveals Untold Stories Behind Ryan Reynolds, Matt Stone, Trey Parker, and Hollywood’s Hidden Secrets
Quick few words about what I’m working on. The rom-com that we shot in November is coming together. We got our first look at an assembly cut last week. I think it looks fantastic. I’m really excited to finish the project and share it with everyone. So now I’m going through the film and making notes for the editor. That’s sort of the next step and I’m creating, He was doing that first assembly cut, I’ve been off creating content for Kickstarter and it’s really a lot of TikTok videos, short form TikTok videos. I sort of do a little class about how I created this micro budget film and I go through all of the different steps in short little videos, and I’m going to release those leading up to our Kickstarter and then release them leading up to our actual film release. But that’s taking me a lot of time as well. But now we have this assembly cut so I’m putting, watching that and then creating notes. To me, this is the funnest part of the filmmaking process. There’s no, it’s an indie film, micro budget indie film. So, there’s no like hard and fast deadlines. There’s no executives breathing down our neck. It’s a creative process and since it is low budget, we do have the time. It’s that old film adage, good, quick and cheap. You can have two but not three and this is going to be cheap because it’s a low budget. So. if we want it to be good, it’s not going to be quick. And I really always think about that when I’m working on these low budget films. Just give us enough time to make good creative decisions. But as I said, to me, this is the funnest part of the process. There’s just so many decisions that need to be made from the visual, color correction, which takes to use, how to compose a scene. There’s story issues that we’re finding. So finessing those, rearranging some of the scenes, putting some scenes sooner in the movie than maybe we had originally thought. All of those kinds of decisions. There’s lots of cuts from the protagonist’s cell phone point of view. So we’ve got to figure out how that’s going to work and what that’s actually going to look like. You know, we’re already talking about some pickup shots. You know, what shots are we missing? What can we do to fill those blanks in? The poster, the trailer, all of that stuff. We’re trying to figure out sound. There’s going to be a number of songs. The film takes place in a bar. So, there’s a number of songs that are played just through like at the bar and they dance and that sort of stuff. So, we need some actual songs, license some songs and put those in there. So, I think there’s maybe three or four spots where we’ll need actual songs. And then, you know, obviously a score as well. We’re talking about that. You know, the score is really key. I mean, this is assembly cut. So obviously there is no score, but that’s something we have to start thinking about and figuring out. I know there’s a lot that has been done with AI in terms of music. So, I might start there and just see if we can figure something out with AI. But if not, maybe we’ll bring on a composer. But again, this is all sort of the fun of the project. You know, everything sort of, we shot it. We’ve got all of our footage. You know, now it’s a matter of just, it’s just like this big puzzle and now we just have to put it together. So, there’s lots of things to figure out. But again, this to me is really the most fun part of the process.
