1 00:00:00,000 --> 00:00:05,000 [MUSIC PLAYING] 2 00:00:05,000 --> 00:00:06,840 Told you he is, folks. 3 00:00:06,840 --> 00:00:08,640 It's so time. 4 00:00:08,640 --> 00:00:10,920 People pay good money to see this movie. 5 00:00:10,920 --> 00:00:12,560 When they go out to a theater, they 6 00:00:12,560 --> 00:00:16,080 want cold sewage, a hot pop-plorn, and no monsters 7 00:00:16,080 --> 00:00:17,400 in the projection booth. 8 00:00:17,400 --> 00:00:20,240 Everyone pretend podcasting isn't boring. 9 00:00:20,240 --> 00:00:21,040 Then it'll arms. 10 00:00:21,040 --> 00:00:24,040 [MUSIC PLAYING] 11 00:00:24,040 --> 00:00:28,040 [MUSIC PLAYING] 12 00:00:28,040 --> 00:00:46,240 This hit goes out to you, Mr. Wait. 13 00:00:46,240 --> 00:00:48,520 What the, this moment. 14 00:00:48,520 --> 00:00:50,480 42 regular wasn't? 15 00:00:50,480 --> 00:00:51,200 Yeah. 16 00:00:51,200 --> 00:00:53,400 [MUSIC PLAYING] 17 00:00:53,400 --> 00:00:54,640 And so it begins. 18 00:00:54,640 --> 00:00:55,640 Yeah, yeah, yeah. 19 00:00:55,640 --> 00:00:58,400 [MUSIC PLAYING] 20 00:00:58,400 --> 00:01:06,040 Challenging into single combat. 21 00:01:06,040 --> 00:01:09,000 If you will, don't have your freedom. 22 00:01:09,000 --> 00:01:10,480 And when I say you want one thing, 23 00:01:10,480 --> 00:01:12,480 without one slow. 24 00:01:12,480 --> 00:01:13,480 Amen. 25 00:01:13,480 --> 00:01:16,480 [MUSIC PLAYING] 26 00:01:16,480 --> 00:01:19,480 [MUSIC PLAYING] 27 00:01:19,480 --> 00:01:37,480 [MUSIC PLAYING] 28 00:01:37,480 --> 00:01:39,480 [MUSIC PLAYING] 29 00:01:39,480 --> 00:01:42,480 [MUSIC PLAYING] 30 00:01:43,480 --> 00:01:45,480 And peace. 31 00:01:45,480 --> 00:01:47,480 Isn't this? 32 00:01:47,480 --> 00:01:50,480 [MUSIC PLAYING] 33 00:01:50,480 --> 00:01:52,480 Yeah, not really. 34 00:01:52,480 --> 00:01:54,480 [MUSIC PLAYING] 35 00:02:11,480 --> 00:02:13,080 Hey folks, welcome to a special episode 36 00:02:13,080 --> 00:02:13,880 of the projection booth. 37 00:02:13,880 --> 00:02:14,680 I'm in this episode. 38 00:02:14,680 --> 00:02:17,160 I'm talking with Nate Orlov. 39 00:02:17,160 --> 00:02:19,040 He is an editor. 40 00:02:19,040 --> 00:02:20,880 He's been editing for a long time. 41 00:02:20,880 --> 00:02:25,080 As done, a lot of things that you have properly seen. 42 00:02:25,080 --> 00:02:27,880 Have a scene, 10-cloverfield Lane. 43 00:02:27,880 --> 00:02:30,000 Have a scene, the Force Awakens. 44 00:02:30,000 --> 00:02:31,520 He worked on those. 45 00:02:31,520 --> 00:02:33,440 Have a scene, John Wick 4. 46 00:02:33,440 --> 00:02:36,560 Maybe maybe not because that movie is just about to drop. 47 00:02:36,560 --> 00:02:38,280 He is the editor of that. 48 00:02:38,280 --> 00:02:40,360 And he was a great person to talk with. 49 00:02:40,360 --> 00:02:42,320 I hope you enjoyed me in a real. 50 00:02:42,320 --> 00:02:44,200 I am super excited to talk with you. 51 00:02:44,200 --> 00:02:46,080 I'm a fan of the John Wick film. 52 00:02:46,080 --> 00:02:48,600 But before we even talk about the latest John Wick, 53 00:02:48,600 --> 00:02:49,920 can you tell me a little bit about you 54 00:02:49,920 --> 00:02:51,720 and are you gotten to the business? 55 00:02:51,720 --> 00:02:54,480 I felt love with making dumb high school 56 00:02:54,480 --> 00:02:56,080 and went to film school. 57 00:02:56,080 --> 00:02:58,840 I got my big break as a assistant editor 58 00:02:58,840 --> 00:03:01,040 and 10-center at Bat Robot. 59 00:03:01,040 --> 00:03:04,360 So worked on films like Star Trek and The Darkness, Force Awakens. 60 00:03:04,360 --> 00:03:06,080 So just little indie films. 61 00:03:06,080 --> 00:03:09,080 And yeah, indie film. 62 00:03:09,080 --> 00:03:12,760 No, it was a very, very lucky to have gotten some opportunities there. 63 00:03:12,760 --> 00:03:14,560 And to sort of grow. 64 00:03:14,560 --> 00:03:17,720 I kind of looked at that as like getting a master's degree. 65 00:03:17,720 --> 00:03:20,560 Like I was in the back of the room running 66 00:03:20,560 --> 00:03:22,800 all the visual effects reviews for those movies. 67 00:03:22,800 --> 00:03:25,000 And so to watch every single visual effect shot 68 00:03:25,000 --> 00:03:29,240 from version 0 to version 57 with JJ talking about 69 00:03:29,240 --> 00:03:32,840 like what to do with the shot was like a master class 70 00:03:32,840 --> 00:03:35,200 of just storytelling. 71 00:03:35,200 --> 00:03:39,240 And James was like just visual how he would add things for to make 72 00:03:39,240 --> 00:03:41,480 sure you knew with a scale of how some big something was. 73 00:03:41,480 --> 00:03:42,480 He wants something of tree. 74 00:03:42,480 --> 00:03:45,840 You know, all the little tricks and wonderful visual things 75 00:03:45,840 --> 00:03:48,000 that this part of his brain. 76 00:03:48,000 --> 00:03:50,400 And then I started editing a little bit. 77 00:03:50,400 --> 00:03:52,080 10-Clorid Jail Lane. 78 00:03:52,080 --> 00:03:53,200 I was in No Orleans. 79 00:03:53,200 --> 00:03:55,520 And so I worked with an editor named Stefan Groob. 80 00:03:55,520 --> 00:03:58,120 And then he became sort of a mentor of mine. 81 00:03:58,120 --> 00:04:02,240 And I kind of wrote his co-tails to work with Jason Wrightman. 82 00:04:02,240 --> 00:04:03,320 So I worked on Tully. 83 00:04:03,320 --> 00:04:06,080 And then I worked on another movie of his. 84 00:04:06,080 --> 00:04:08,600 And after that, I was going to give the opportunity 85 00:04:08,600 --> 00:04:12,160 to edit Ghost Busters after life with Dana Cobberman. 86 00:04:12,160 --> 00:04:14,920 And that was a big, the big first big movie. 87 00:04:14,920 --> 00:04:16,960 And after that, it's been just this wild ride 88 00:04:16,960 --> 00:04:20,680 where John had kind of like I landed in every chat 89 00:04:20,680 --> 00:04:23,000 and we really just hit it off. 90 00:04:23,000 --> 00:04:23,720 Why editing? 91 00:04:23,720 --> 00:04:25,760 No, what even got you interested in that? 92 00:04:25,760 --> 00:04:27,480 Was there a particular thing that you saw? 93 00:04:27,480 --> 00:04:29,720 We were just like, wow, that's amazing. 94 00:04:29,720 --> 00:04:32,440 Or what was that impetus? 95 00:04:32,440 --> 00:04:33,880 This is really stupid. 96 00:04:33,880 --> 00:04:37,120 This is a really dumb example from my first first film. 97 00:04:37,120 --> 00:04:39,320 This was a Star Wars fan film. 98 00:04:39,320 --> 00:04:42,680 And I was in eighth grader of freshman year of high school 99 00:04:42,680 --> 00:04:43,400 I forgot. 100 00:04:43,400 --> 00:04:49,320 And we did this move where had lightsaber and hit someone's neck. 101 00:04:49,320 --> 00:04:51,880 And then I cut to a shot. 102 00:04:51,880 --> 00:04:55,520 I had like a body pillow where I put the guys clothes on. 103 00:04:55,520 --> 00:04:56,960 But he didn't have a head. 104 00:04:56,960 --> 00:04:58,480 And then it just flopped forward. 105 00:04:58,480 --> 00:05:00,640 And I used the edit to sort of like trick the idea 106 00:05:00,640 --> 00:05:02,320 that his head fell off. 107 00:05:02,320 --> 00:05:04,480 And I just was like, oh, this was so cool. 108 00:05:04,480 --> 00:05:06,040 The fact that it looked like he hit the neck, 109 00:05:06,040 --> 00:05:09,160 cut to a reaction shot, cut to the like just a body without head. 110 00:05:09,160 --> 00:05:13,120 And it was just like the power of that was just intoxicating 111 00:05:13,120 --> 00:05:14,640 it for a lack of a better word. 112 00:05:14,640 --> 00:05:19,840 What was your first solo feature film that you edited all yourself? 113 00:05:19,840 --> 00:05:23,520 It was his wonderful little film called Different Flowers. 114 00:05:23,520 --> 00:05:26,920 When I was at Bad Robot, JJ's assistant Morgan Dameron, 115 00:05:26,920 --> 00:05:30,080 who was Houtsout Poe Dameron got the name Dameron. 116 00:05:30,080 --> 00:05:32,600 We were both wanting to grow and do something different. 117 00:05:32,600 --> 00:05:34,160 And so it quit at the same time. 118 00:05:34,160 --> 00:05:35,360 She raised my kickstarter. 119 00:05:35,360 --> 00:05:38,400 We did this little road trip system movie. 120 00:05:38,400 --> 00:05:40,160 And I still loved to this day. 121 00:05:40,160 --> 00:05:42,400 And those were my first solo feature. 122 00:05:42,400 --> 00:05:45,880 You also edited worm, whichever I remember really liking. 123 00:05:45,880 --> 00:05:47,360 Oh, I'm so glad you liked worm. 124 00:05:47,360 --> 00:05:49,560 I adore that movie. 125 00:05:49,560 --> 00:05:51,120 That was a fun movie. 126 00:05:51,120 --> 00:05:53,400 How do you approach a project like John Wick? 127 00:05:53,400 --> 00:05:55,480 And I think I read on your Twitter earlier 128 00:05:55,480 --> 00:05:58,760 that you've been working on since June of last year. 129 00:05:58,760 --> 00:05:59,680 Is that right? 130 00:05:59,680 --> 00:06:00,680 Yeah. 131 00:06:00,680 --> 00:06:01,680 Yeah. 132 00:06:01,680 --> 00:06:04,440 That's when I flew to Berlin, June of 2021. 133 00:06:04,440 --> 00:06:06,800 So it's been a long, long journey. 134 00:06:06,800 --> 00:06:11,200 One of the things I think was unique about Chad and the approach on this movie 135 00:06:11,200 --> 00:06:14,960 is that he didn't want someone that is edited at a time action films. 136 00:06:14,960 --> 00:06:19,280 And he told me this later, you know, way later, he's like, you know, what we're talking about. 137 00:06:19,280 --> 00:06:22,880 I don't know why we brought up talking about the interview that I had with him. 138 00:06:22,880 --> 00:06:27,320 He wanted someone that would approach this from a kind of a fresh perspective. 139 00:06:27,320 --> 00:06:33,560 So he told me the films that he loved and the styles that he loved and this samurai, Western, 140 00:06:33,560 --> 00:06:36,640 anime and also he's a huge channel of musicals. 141 00:06:36,640 --> 00:06:41,640 So on the flight to Berlin, I watched Singing in the Rain, which is one of his favorite films. 142 00:06:41,640 --> 00:06:48,800 And I was off-struck in the editing style in that it's just the edits are around the dancing. 143 00:06:48,800 --> 00:06:54,960 The edits are almost avoiding dancing, where it's just showing you what the moves are. 144 00:06:54,960 --> 00:06:59,280 Showing you how talented these people are cut next move. 145 00:06:59,280 --> 00:07:00,920 And it's not emphasizing a move. 146 00:07:00,920 --> 00:07:02,120 It's not emphasizing to this. 147 00:07:02,120 --> 00:07:07,840 And so my entire ethos on this project was to show off how good Kianos, how good is stunt 148 00:07:07,840 --> 00:07:08,840 team is. 149 00:07:08,840 --> 00:07:11,800 And so I wasn't ever trying to punch something. 150 00:07:11,800 --> 00:07:13,360 I wasn't trying to make something better. 151 00:07:13,360 --> 00:07:15,120 I was editing around it. 152 00:07:15,120 --> 00:07:19,200 So it'd be hit and then someone slides cut, then they move forward. 153 00:07:19,200 --> 00:07:21,080 It's never on the action. 154 00:07:21,080 --> 00:07:26,960 And so my whole process on this was to sort of get out of the way of how talented these people 155 00:07:26,960 --> 00:07:27,960 are just to show it. 156 00:07:27,960 --> 00:07:29,680 And that's from amazing. 157 00:07:29,680 --> 00:07:36,080 Yeah, there's that clip of a Liam Neeson jumping over fence and it takes like the 2016 cuts. 158 00:07:36,080 --> 00:07:39,600 Yeah, yeah, yeah, this was the end of the system that. 159 00:07:39,600 --> 00:07:42,400 I really didn't tend to be the end of the system that. 160 00:07:42,400 --> 00:07:46,840 So passion, you've been working this over almost two solid years. 161 00:07:46,840 --> 00:07:47,840 That is wild. 162 00:07:47,840 --> 00:07:50,520 I mean, tell me, like, are you cutting daily? 163 00:07:50,520 --> 00:07:53,600 Like, what's your process to put this whole thing together? 164 00:07:53,600 --> 00:07:54,880 That's crazy to me. 165 00:07:54,880 --> 00:08:00,560 And the cool thing is that, you know, this was a movie that didn't necessarily change a lot 166 00:08:00,560 --> 00:08:05,640 in like restructuring or it didn't require a letter of imagining or reshudes or something 167 00:08:05,640 --> 00:08:06,640 like that. 168 00:08:06,640 --> 00:08:10,560 There's only certain ways it can be put together where they will do enough takes and you 169 00:08:10,560 --> 00:08:14,440 have, by the end, they do really have one, maybe two that are really really good all the 170 00:08:14,440 --> 00:08:15,440 way through. 171 00:08:15,440 --> 00:08:16,440 And then they just move on. 172 00:08:16,440 --> 00:08:19,840 And then they just, unless like a dialogue or drama where it's like, sure, you get three or four 173 00:08:19,840 --> 00:08:22,280 takes and maybe there's one gem and take one, maybe there's one. 174 00:08:22,280 --> 00:08:27,480 And the whole again, either it's around like less cuts and not as many. 175 00:08:27,480 --> 00:08:29,920 So I would, I would really try to just stay on one. 176 00:08:29,920 --> 00:08:34,360 So even if there was one move that was great and take one for his one beat, I didn't use it. 177 00:08:34,360 --> 00:08:36,400 I rather use the big long take. 178 00:08:36,400 --> 00:08:39,760 And so, in a certain way, there's only certain ways these things can be cut. 179 00:08:39,760 --> 00:08:42,560 And so the process is all about sort of trimming. 180 00:08:42,560 --> 00:08:44,160 And what are the best beats? 181 00:08:44,160 --> 00:08:45,560 Let's only really keep the best beats. 182 00:08:45,560 --> 00:08:49,320 That's actually easier said than done in terms of that's why it's in the process takes a 183 00:08:49,320 --> 00:08:50,320 long time. 184 00:08:50,320 --> 00:08:51,600 And a lot of times it'd be effects. 185 00:08:51,600 --> 00:08:54,480 There's a big sequence around the arc to triumph. 186 00:08:54,480 --> 00:08:56,360 And all the stunts are real. 187 00:08:56,360 --> 00:08:58,640 All the car hits are real. 188 00:08:58,640 --> 00:09:00,240 But it's the background that was replaced. 189 00:09:00,240 --> 00:09:04,560 They shot in a parking lot in Berlin or a tarmac like an airport. 190 00:09:04,560 --> 00:09:08,800 And so once those cars that had paths got replaced with the actual cars, the background's 191 00:09:08,800 --> 00:09:10,800 there, the sequence kind of took a different shape. 192 00:09:10,800 --> 00:09:14,160 And there's this kinetic energy there at the whole film and the action's not stopped. 193 00:09:14,160 --> 00:09:17,760 So it's more about just condensing as much as we could over time. 194 00:09:17,760 --> 00:09:23,400 Now, during my break to that a lot of the muscle flashes that those are all put in post. 195 00:09:23,400 --> 00:09:24,400 All of them. 196 00:09:24,400 --> 00:09:25,400 Wow. 197 00:09:25,400 --> 00:09:26,400 All right. 198 00:09:26,400 --> 00:09:27,960 Yeah, Chad's not believe in blanks on set. 199 00:09:27,960 --> 00:09:29,280 He worked on the grow. 200 00:09:29,280 --> 00:09:31,480 That was one of his first films that he worked on. 201 00:09:31,480 --> 00:09:35,640 And so that tragedy, I think, is really stuck with him and then he does not see any 202 00:09:35,640 --> 00:09:36,920 need for blanks on set. 203 00:09:36,920 --> 00:09:37,920 There's no need. 204 00:09:37,920 --> 00:09:41,800 Is it all digital blood or do you have squibs? 205 00:09:41,800 --> 00:09:42,800 It was all digital blood. 206 00:09:42,800 --> 00:09:43,800 Okay. 207 00:09:43,800 --> 00:09:48,680 It's one of those things like you know, you do have to do digital blood at some point. 208 00:09:48,680 --> 00:09:53,400 But then you start, if you start blending, practical and not, there are some shots that have 209 00:09:53,400 --> 00:09:55,120 blood that's there. 210 00:09:55,120 --> 00:09:56,120 But it's nothing that's been squibs. 211 00:09:56,120 --> 00:09:57,560 There's nothing that's explosive. 212 00:09:57,560 --> 00:09:59,240 Either someone's already dead and lying on the ground. 213 00:09:59,240 --> 00:10:02,320 Part of it is like, with shots, starts on there's blood there. 214 00:10:02,320 --> 00:10:06,120 But so then you create a style around what that blood looks like. 215 00:10:06,120 --> 00:10:12,760 And also, I'll go say that like John Wich is a very specific kind of blood and 216 00:10:12,760 --> 00:10:15,320 a guy, I look at the movies and so it's driving. 217 00:10:15,320 --> 00:10:17,080 He's a huge fan of busker keating. 218 00:10:17,080 --> 00:10:20,920 And in some ways, like there's these, this comedy to these, the action where you're just 219 00:10:20,920 --> 00:10:26,280 more impressed at the stunt work and the moves, you're not supposed to be grossed out. 220 00:10:26,280 --> 00:10:28,200 So the blood is very like misty. 221 00:10:28,200 --> 00:10:30,280 And that's a potential designed by Chad. 222 00:10:30,280 --> 00:10:34,240 It's never just like flirting and this, there are definitely moments where you're like 223 00:10:34,240 --> 00:10:36,280 supposed to be really grossed out. 224 00:10:36,280 --> 00:10:38,920 But it's actually surprisingly not really a lot of the gunheads. 225 00:10:38,920 --> 00:10:43,800 So I'm mentioning for economic reasons, you would probably put together an entire sequence and 226 00:10:43,800 --> 00:10:49,640 then handed over to the special effects team to put in the blood, the muscle flashes, all that 227 00:10:49,640 --> 00:10:52,080 or am I completely off base? 228 00:10:52,080 --> 00:10:55,000 No, that's what you would expect, but that's not what we did. 229 00:10:55,000 --> 00:11:01,240 We discovered very early on that, what was so important in editorial was sound first. 230 00:11:01,240 --> 00:11:05,120 And we needed editorial to dictate the vessel flashes. 231 00:11:05,120 --> 00:11:07,600 And then of course impacts. 232 00:11:07,600 --> 00:11:10,560 So everything is like, all right, where's the gunshot? 233 00:11:10,560 --> 00:11:11,560 Where's the hit? 234 00:11:11,560 --> 00:11:16,360 And so the second assistant, Ali Andres, she became like the queen of muscle flashes. 235 00:11:16,360 --> 00:11:17,360 And it backs. 236 00:11:17,360 --> 00:11:19,800 She just likes, it was like, you know, beautiful mind. 237 00:11:19,800 --> 00:11:23,960 It's like, is that what she was like, you see, she became like the person, she had these 238 00:11:23,960 --> 00:11:26,960 tracking dots in Abbott, like tracking it. 239 00:11:26,960 --> 00:11:29,600 The muscle flashes, next frame, that's where it hits. 240 00:11:29,600 --> 00:11:33,760 And then we would put sound to that and make sure it felt right, make sure the rhythm 241 00:11:33,760 --> 00:11:35,800 was good in terms of the scene. 242 00:11:35,800 --> 00:11:37,440 And then we could adjust. 243 00:11:37,440 --> 00:11:41,800 We didn't want to have the effects start putting stuff in all the stuff and then we free it back. 244 00:11:41,800 --> 00:11:45,360 And then we have to cut sound to it and then we discovered that the rhythm is wrong. 245 00:11:45,360 --> 00:11:50,880 So we did it the other way where we sort of dictated from sound and editorial where the 246 00:11:50,880 --> 00:11:53,200 muscle flashes and it backs, you know, go. 247 00:11:53,200 --> 00:11:55,880 Almost something like a symphony of violence. 248 00:11:55,880 --> 00:12:00,720 It was absolutely the timelines our bananas in terms of like, you know, I thought Ghostbusters 249 00:12:00,720 --> 00:12:02,360 was complicated sound wise. 250 00:12:02,360 --> 00:12:09,000 Every gunshot, there's, you know, what it hits and effort, you know, like there's like five 251 00:12:09,000 --> 00:12:12,880 sound effects that happen, you know, and so it's just like, you know, it gets to act as 252 00:12:12,880 --> 00:12:13,880 the end of the timeline. 253 00:12:13,880 --> 00:12:17,240 It's just like sound effects like raw. 254 00:12:17,240 --> 00:12:22,120 I've heard relationship between an editor and a director to be kind of like a marriage where 255 00:12:22,120 --> 00:12:27,280 you just have to work together to try to make something from these two disparate personalities. 256 00:12:27,280 --> 00:12:29,840 What's been your experience as far as working with directors? 257 00:12:29,840 --> 00:12:32,680 I mean, everyone is so different. 258 00:12:32,680 --> 00:12:37,480 And to me, they all have their different things that they emphasize different things. 259 00:12:37,480 --> 00:12:44,240 They notice Jason, for instance, he would notice if I did a three frame trim on a close-up. 260 00:12:44,240 --> 00:12:50,320 He is so rhythm and emotionality and the character focused on these things where he knows 261 00:12:50,320 --> 00:12:55,280 the timing so well and he's a great memory for that. 262 00:12:55,280 --> 00:13:00,880 That is a little more big picture, but also incredibly micro with edits around action. 263 00:13:00,880 --> 00:13:05,640 And that's, I mean, him and I were incredibly in sync on is the level of double cuts. 264 00:13:05,640 --> 00:13:10,880 And I'm so glad that he gave me those movies at front to get and I was at the same page, 265 00:13:10,880 --> 00:13:15,200 like these sort of old Jackie Chan movies, again, where you see things. 266 00:13:15,200 --> 00:13:16,200 There's a double cut. 267 00:13:16,200 --> 00:13:18,720 So you actually notice what's happening. 268 00:13:18,720 --> 00:13:20,200 It's not trying to speed it up. 269 00:13:20,200 --> 00:13:21,200 It's not cheating. 270 00:13:21,200 --> 00:13:22,560 It's actually the opposite. 271 00:13:22,560 --> 00:13:29,240 You're slowing the scene down when you have two or three frames of overlap on a cut so that you know this. 272 00:13:29,240 --> 00:13:32,120 And so him and I were incredibly in sync with those things. 273 00:13:32,120 --> 00:13:37,520 There's also different relationships with directors where I could spend all day with Jason, for instance. 274 00:13:37,520 --> 00:13:42,200 And he'd be in the edit room and he'd be on his laptop for a minute and I'd be like, hey, I'll show you this. 275 00:13:42,200 --> 00:13:48,480 But we're well, Chad would very much like we'd had like really intense hour or two. 276 00:13:48,480 --> 00:13:52,000 And then he'd go away like having to be for a long time and add tons and tons of things to do. 277 00:13:52,000 --> 00:13:55,840 And then at the end of the day, I come back each show and we have another intense maybe 30 minutes to an hour. 278 00:13:55,840 --> 00:13:59,720 It was these like very intense small chunks of time versus like, 279 00:13:59,720 --> 00:14:02,720 because like editing in front of someone can sometimes be just sort of like, 280 00:14:02,720 --> 00:14:05,800 "Experimenting this is weird and it's giving me a minute. 281 00:14:05,800 --> 00:14:11,840 It's sometimes hard and you know, Chad knows when to step away and sort of like, don't let you do your thing." 282 00:14:11,840 --> 00:14:16,000 Yeah, I'm so glad to hear about those Jackie Chan movies because that was so important. 283 00:14:16,000 --> 00:14:20,720 Just the way that those Hong Kong films would really just emphasize like you said, 284 00:14:20,720 --> 00:14:23,240 "These stunts are just so incredible. 285 00:14:23,240 --> 00:14:27,080 Why not show the actors and show them doing this and for one understand, 286 00:14:27,080 --> 00:14:31,600 can a Reeves is like right out there with the best of them doing these stunts?" 287 00:14:31,600 --> 00:14:32,840 No, absolutely. 288 00:14:32,840 --> 00:14:35,520 And he is such high standards for himself too. 289 00:14:35,520 --> 00:14:41,520 Some of the most interesting things that I learned from Chad too is to let imperfections live. 290 00:14:41,520 --> 00:14:45,840 There are times where it's done men in the background might not have nailed this exact timing, 291 00:14:45,840 --> 00:14:48,400 but again, is it worth a cut? 292 00:14:48,400 --> 00:14:52,880 Is it worth like breaking it up to make it more feel more artificial? 293 00:14:52,880 --> 00:14:56,000 And then he has this belief as like, "People are enjoying them. 294 00:14:56,000 --> 00:14:57,680 Maybe they're just gonna enjoy it." 295 00:14:57,680 --> 00:15:02,720 And it was so crazy to be a premier last night and then it was like, "Yeah, people, they just go with it. 296 00:15:02,720 --> 00:15:05,120 It's great. I'm not stickler for continuity." 297 00:15:05,120 --> 00:15:08,960 And it's all in that spectrum of maybe just as a matter of age you're enjoying the film. 298 00:15:08,960 --> 00:15:10,880 You're enjoying the spectacle. 299 00:15:10,880 --> 00:15:15,440 Yeah, I don't care if the cigarette goes from two inches to three back to one. 300 00:15:15,440 --> 00:15:16,720 Tell me a story. 301 00:15:16,720 --> 00:15:17,720 Exactly. 302 00:15:17,720 --> 00:15:18,720 Exactly. 303 00:15:18,720 --> 00:15:21,040 And if you are noticing those things, someone fucked up. 304 00:15:21,040 --> 00:15:24,880 Chad and Wicke is known for the action, but there's also a lot of story. 305 00:15:24,880 --> 00:15:28,280 There's mythology that goes throughout all these films. 306 00:15:28,280 --> 00:15:34,240 How is it balancing the two between those slower moments and then those, we start to ramp up 307 00:15:34,240 --> 00:15:35,240 the action. 308 00:15:35,240 --> 00:15:36,840 We start to really dive into these things. 309 00:15:36,840 --> 00:15:40,760 I mean, is there a point where just like, "Okay, it feels like we need to move forward now?" 310 00:15:40,760 --> 00:15:44,040 Or, "How does that that relationship happen?" 311 00:15:44,040 --> 00:15:48,440 That's one of the harder parts that took time to really sort of hold down the stuff. 312 00:15:48,440 --> 00:15:52,040 Because of the story, especially in this one, I guess they're all in every genre. 313 00:15:52,040 --> 00:15:53,400 It's very litigier. 314 00:15:53,400 --> 00:15:56,120 It's very, this happens in his hammons and his hammons. 315 00:15:56,120 --> 00:15:59,640 And if you remove one of those pieces, stuff stops making sense. 316 00:15:59,640 --> 00:16:02,680 So it was some experimentation in what we could lift. 317 00:16:02,680 --> 00:16:08,280 But the main thing was to always let those scenes be great scenes. 318 00:16:08,280 --> 00:16:12,520 There were definitely times where we pushed too far for the sake of trying to make the movie 319 00:16:12,520 --> 00:16:13,720 shorter. 320 00:16:13,720 --> 00:16:15,800 And we realized we broke it. 321 00:16:15,800 --> 00:16:17,080 We broke the scene. 322 00:16:17,080 --> 00:16:19,400 Sure, maybe the movie got two minutes shorter. 323 00:16:19,400 --> 00:16:23,680 But now you're rushing through the scene and you're, it actually feels longer. 324 00:16:23,680 --> 00:16:26,560 The movie feels longer because the scenes are worse. 325 00:16:26,560 --> 00:16:30,760 And so that we really just focused on honing and on making the scene as captivating as 326 00:16:30,760 --> 00:16:32,280 a possibly could. 327 00:16:32,280 --> 00:16:37,400 And then what I was trying to do constantly was always make sure every single scene flowed at the end. 328 00:16:37,400 --> 00:16:40,840 So it just naturally propels you into the other thing. 329 00:16:40,840 --> 00:16:44,920 So that you're left with some point in thought on these tender moments, especially in the first 330 00:16:44,920 --> 00:16:51,160 half, John's contemplating the consequences of his actions that his rampage is hurting people 331 00:16:51,160 --> 00:16:52,800 that he cares about. 332 00:16:52,800 --> 00:16:54,560 And we need to feel that with him. 333 00:16:54,560 --> 00:16:56,320 I've found it very funny. 334 00:16:56,320 --> 00:16:59,880 People complaining about two hours and forty-nine minutes or something. 335 00:16:59,880 --> 00:17:01,680 And I'm just like, I want to follow with films. 336 00:17:01,680 --> 00:17:04,520 So this is a walk in the park. 337 00:17:04,520 --> 00:17:10,400 I'm just, obviously, a little bit surprised about a post-avatar way of water like that people are 338 00:17:10,400 --> 00:17:13,000 talking about this run time so much. 339 00:17:13,000 --> 00:17:14,600 And also, it's without credits. 340 00:17:14,600 --> 00:17:16,760 It's only two hours and forty minutes. 341 00:17:16,760 --> 00:17:21,760 But it was a big battle internally in terms of what's the right running time for the 342 00:17:21,760 --> 00:17:24,560 film in terms of, and even watch it last night. 343 00:17:24,560 --> 00:17:26,440 I was like, I don't know what I'm going to do. 344 00:17:26,440 --> 00:17:28,760 You start either again, you start breaking things. 345 00:17:28,760 --> 00:17:30,640 If you start lifting story beats. 346 00:17:30,640 --> 00:17:34,120 Okay, yes, we could rush through the scene a little bit, but you're not going to feel it as 347 00:17:34,120 --> 00:17:35,120 much. 348 00:17:35,120 --> 00:17:38,160 Were you into action movies before doing this project? 349 00:17:38,160 --> 00:17:39,160 Oh, absolutely. 350 00:17:39,160 --> 00:17:42,360 No, I'm honestly a big fan of all genres. 351 00:17:42,360 --> 00:17:47,600 And I'm sure it didn't help Chad building that my background was in these sci-fi action films 352 00:17:47,600 --> 00:17:48,600 and go spusters. 353 00:17:48,600 --> 00:17:54,600 I would say it's an action adventure family movie, not completely out of my real house or 354 00:17:54,600 --> 00:17:55,600 where I'm around. 355 00:17:55,600 --> 00:18:00,280 And that was something that was I really relied on a lot as is being a system around Barry 356 00:18:00,280 --> 00:18:06,880 Joe Markey and Mary and Brandon who were experts at Clary in action because action seems 357 00:18:06,880 --> 00:18:13,160 to me have this fun thing where Mary Joe expected to me, you should be able to explain to a 358 00:18:13,160 --> 00:18:14,600 five year old. 359 00:18:14,600 --> 00:18:16,600 That's not looking at the movie. 360 00:18:16,600 --> 00:18:17,760 What's happening in each show? 361 00:18:17,760 --> 00:18:21,840 And it could be a simple sentence of John Runt stops looks. 362 00:18:21,840 --> 00:18:22,840 Cut. 363 00:18:22,840 --> 00:18:23,840 Show up. 364 00:18:23,840 --> 00:18:29,720 And there's these little stories and narratives you create an action and it has to be crystal clear. 365 00:18:29,720 --> 00:18:34,920 And so that's to me where I find my pacing in my rhythm is not just cutting of a cutting 366 00:18:34,920 --> 00:18:40,720 sake is like if you were writing in this all down in a story, each shot is a sentence, 367 00:18:40,720 --> 00:18:43,600 what is it saying and making sure that you get it. 368 00:18:43,600 --> 00:18:45,240 Each shot has a point. 369 00:18:45,240 --> 00:18:47,240 Otherwise you just cut into the same kind of thing. 370 00:18:47,240 --> 00:18:50,880 You said to you, flow over to Berlin, were you over in Berlin this whole time? 371 00:18:50,880 --> 00:18:54,320 Yeah, I was in Berlin for four months and then Paris for two. 372 00:18:54,320 --> 00:18:55,320 Wow. 373 00:18:55,320 --> 00:18:56,320 Yeah. 374 00:18:56,320 --> 00:19:00,880 You actually like unset and you're not interacting with anybody, any of the actors, right? 375 00:19:00,880 --> 00:19:02,520 They don't allow you to do that. 376 00:19:02,520 --> 00:19:05,040 Incidentally, interacted with a few of them. 377 00:19:05,040 --> 00:19:09,840 Like for instance, on, on, during the very beginning of the project, I didn't know who she 378 00:19:09,840 --> 00:19:12,920 was but Rina who plays a cure in the movie. 379 00:19:12,920 --> 00:19:16,680 She was just seeing X to me at video village and I was like, "I'll live here that 380 00:19:16,680 --> 00:19:17,680 too." 381 00:19:17,680 --> 00:19:18,680 So she's like, "Thanks. 382 00:19:18,680 --> 00:19:19,680 What are you doing in the movie?" 383 00:19:19,680 --> 00:19:21,360 She was like, "I'm just starting to talk." 384 00:19:21,360 --> 00:19:23,360 And she like, "God, I've got inside the scene." 385 00:19:23,360 --> 00:19:25,160 I was like, "Oh, God." 386 00:19:25,160 --> 00:19:26,400 And so she's great. 387 00:19:26,400 --> 00:19:29,840 What I would do is they would shoot nights all the time and so I'd work normal hours and then 388 00:19:29,840 --> 00:19:34,360 about 70 in the clock, I'd go to set with my iPad to show Chad when I'm working on it. 389 00:19:34,360 --> 00:19:36,960 You know, I would do that two, three times a week. 390 00:19:36,960 --> 00:19:39,880 And there was a few times where I was flying things being like, "Hey, I really think 391 00:19:39,880 --> 00:19:41,560 we need one more wide shot here. 392 00:19:41,560 --> 00:19:43,680 We need to go back and really shoot this." 393 00:19:43,680 --> 00:19:48,000 I happened to only twice but it was kind of important that I was there to fly it. 394 00:19:48,000 --> 00:19:52,440 And then it was good to get a sense of Chad and a sense of abilities and show them things. 395 00:19:52,440 --> 00:19:57,960 Because it's if you just send stuff online and email back, it's so much better to do 396 00:19:57,960 --> 00:19:58,960 in person. 397 00:19:58,960 --> 00:19:59,960 Yeah. 398 00:19:59,960 --> 00:20:02,160 Well, I'm sure you had to do a lot of that during COVID. 399 00:20:02,160 --> 00:20:03,160 Yeah. 400 00:20:03,160 --> 00:20:06,120 No, I've edited an entire movie over Zoom called Plan B. 401 00:20:06,120 --> 00:20:09,240 And I'm very proud of that movie and Natalie and I are very close. 402 00:20:09,240 --> 00:20:13,040 Because we have to just be on Zoom all day long to get there. 403 00:20:13,040 --> 00:20:17,680 The thing that I also appreciate about the John Wick films too is just the caliber of 404 00:20:17,680 --> 00:20:20,880 acting and just the caliber of actors that you have in there. 405 00:20:20,880 --> 00:20:22,920 I mean, you know, let's read it. 406 00:20:22,920 --> 00:20:29,720 Of course, RIP, but like in machine, I mean, just so many great people that populate these 407 00:20:29,720 --> 00:20:30,720 phones. 408 00:20:30,720 --> 00:20:31,720 It was a treasure trove. 409 00:20:31,720 --> 00:20:36,320 I feel so lucky to be able to edit actors in these caliber. 410 00:20:36,320 --> 00:20:39,880 And like you were saying earlier, in terms of the balance of these serious dialogues, 411 00:20:39,880 --> 00:20:46,600 scenes with mythology, to me, Chad created this weird combination of how anyone could 412 00:20:46,600 --> 00:20:54,360 predicted of like completely taking itself seriously deep mythology of a hitman culture and strange 413 00:20:54,360 --> 00:20:55,880 underworld. 414 00:20:55,880 --> 00:20:59,880 And he looks at this as a great myth, especially John Wick for we were very much doing this, 415 00:20:59,880 --> 00:21:00,880 especially with music. 416 00:21:00,880 --> 00:21:03,840 We have these like choir voices for the villain. 417 00:21:03,840 --> 00:21:05,880 It's like they're going to see Zeus. 418 00:21:05,880 --> 00:21:08,080 It sees big mythic abics. 419 00:21:08,080 --> 00:21:13,280 And then also we have people being thrown into cars and John jumping out of window and it's 420 00:21:13,280 --> 00:21:15,240 like line two tunes for adults. 421 00:21:15,240 --> 00:21:16,920 It's like this is how does this work? 422 00:21:16,920 --> 00:21:17,920 I don't know how this works. 423 00:21:17,920 --> 00:21:20,920 And it's only works because the actors are so good. 424 00:21:20,920 --> 00:21:22,720 They keep this show grounded. 425 00:21:22,720 --> 00:21:28,200 They take themselves seriously in the roles and in a weird way that allows us to have fun because 426 00:21:28,200 --> 00:21:29,560 it feels real. 427 00:21:29,560 --> 00:21:32,960 Was the premiere was that the first time you got to see it with an audience? 428 00:21:32,960 --> 00:21:37,480 No, we did two preview screens that were really fun and really well. 429 00:21:37,480 --> 00:21:38,480 That was last summer. 430 00:21:38,480 --> 00:21:41,240 So that was this is my third time seeing a audience. 431 00:21:41,240 --> 00:21:46,560 So what is that like when you get to actually sit down with an audience and watch your work unfolding 432 00:21:46,560 --> 00:21:47,960 in front of their eyes? 433 00:21:47,960 --> 00:21:52,640 Oh, at the first preview, people cheered at the end and I cried. 434 00:21:52,640 --> 00:21:55,480 They was like one of the most wonderful ones in my entire life. 435 00:21:55,480 --> 00:21:59,720 You were working on this thing in a bubble and at that point it had been a year. 436 00:21:59,720 --> 00:22:01,520 So it'd been, yeah, because it would be. 437 00:22:01,520 --> 00:22:04,840 It was like mayor June 2022 we previewed. 438 00:22:04,840 --> 00:22:10,520 So it was like a year later after first going and to have that release that people liked 439 00:22:10,520 --> 00:22:16,280 and were satisfied by any ending, your dome like adding, I, that's one of the best professional 440 00:22:16,280 --> 00:22:17,880 feelings I can possibly imagine. 441 00:22:17,880 --> 00:22:20,400 Well, it's going to be a feel great for you. 442 00:22:20,400 --> 00:22:25,280 I mean, you know, it's not like we said earlier, it's not like you started on small indie 443 00:22:25,280 --> 00:22:26,280 films. 444 00:22:26,280 --> 00:22:29,320 You were starting in the big leagues, but here you are. 445 00:22:29,320 --> 00:22:34,600 This I would say this is probably a major milestone for your career to have added this, 446 00:22:34,600 --> 00:22:36,760 you know, this movie is going to be huge when it comes out. 447 00:22:36,760 --> 00:22:40,640 The other three have been fantastic and I can't wait for this one to come out. 448 00:22:40,640 --> 00:22:41,640 Thank you. 449 00:22:41,640 --> 00:22:42,640 I agree. 450 00:22:42,640 --> 00:22:44,240 I'm, I'm very excited. 451 00:22:44,240 --> 00:22:49,840 It feels, it feels great and it feels, and I'm incredibly grateful for the opportunity and for 452 00:22:49,840 --> 00:22:52,560 the team that I work with, I would drive you nothing without. 453 00:22:52,560 --> 00:22:55,600 So it's just surreal to say the least. 454 00:22:55,600 --> 00:22:58,320 Have you already have your next project lined up? 455 00:22:58,320 --> 00:23:00,480 Yeah, I fight a London tomorrow. 456 00:23:00,480 --> 00:23:01,480 Wow. 457 00:23:01,480 --> 00:23:04,080 Two, two, and next guest busters. 458 00:23:04,080 --> 00:23:08,640 Something that I really appreciate about these John Wick films too is just the different types 459 00:23:08,640 --> 00:23:10,000 of people that are in the movies. 460 00:23:10,000 --> 00:23:11,000 I totally agree. 461 00:23:11,000 --> 00:23:15,080 And that's another reason that something that I did sort of flagged that is something I'm open 462 00:23:15,080 --> 00:23:19,840 and wanting to talk about is that Chad does not care where a good idea comes from or a 463 00:23:19,840 --> 00:23:21,320 good actor. 464 00:23:21,320 --> 00:23:23,240 They came in, did audition. 465 00:23:23,240 --> 00:23:24,480 He didn't care. 466 00:23:24,480 --> 00:23:28,480 It was later on that people were like interviewing him, being like, it's so cool that you cast 467 00:23:28,480 --> 00:23:29,480 a trans actor. 468 00:23:29,480 --> 00:23:31,640 Well, and it's a non-binary actor. 469 00:23:31,640 --> 00:23:33,960 And he's like, okay, great. 470 00:23:33,960 --> 00:23:34,960 They did a great performance. 471 00:23:34,960 --> 00:23:35,960 I really enjoyed it. 472 00:23:35,960 --> 00:23:36,960 It was like simple. 473 00:23:36,960 --> 00:23:43,440 It is a good moment now that hopefully some balance has been achieved and diversity in both 474 00:23:43,440 --> 00:23:45,640 and in front and behind the camera. 475 00:23:45,640 --> 00:23:46,640 Chad didn't care. 476 00:23:46,640 --> 00:23:49,480 He didn't notice until like way later. 477 00:23:49,480 --> 00:23:51,080 And it just so happens that I'm gay. 478 00:23:51,080 --> 00:23:52,880 My person is gay in my second. 479 00:23:52,880 --> 00:23:53,880 It's a woman. 480 00:23:53,880 --> 00:23:58,600 And it's just sort of, I think an interesting thing to me, almost masculine movies. 481 00:23:58,600 --> 00:24:01,520 Like, I possibly imagined coming out was edited by this team. 482 00:24:01,520 --> 00:24:02,520 I just love that. 483 00:24:02,520 --> 00:24:06,000 And I wanted people to know that I can terms of what's possible and who can do what. 484 00:24:06,000 --> 00:24:10,400 There are no limits in terms of what kind of stories will kind of people can tell. 485 00:24:10,400 --> 00:24:12,120 Nathan, thank you so much for your time. 486 00:24:12,120 --> 00:24:17,280 I hope that you have a fantastic time in London working on the next Ghostbusters. 487 00:24:17,280 --> 00:24:19,520 And thank you for doing John Wick 4. 488 00:24:19,520 --> 00:24:20,520 I can't wait to see it. 489 00:24:20,520 --> 00:24:22,960 And I can't wait for you to, please feel free to do it. 490 00:24:22,960 --> 00:24:24,080 And I'd love to hear your thoughts. 491 00:24:37,080 --> 00:24:38,080 Yeah. 492 00:24:38,080 --> 00:24:40,360 I'm my guest, ladies, so I come job with you. 493 00:24:40,360 --> 00:24:42,200 You don't want to flood with us, please. 494 00:24:42,200 --> 00:24:43,840 Yes, quick, I do many shells. 495 00:24:43,840 --> 00:24:45,040 Give this a limit, bell. 496 00:24:45,040 --> 00:24:46,160 Get on your knees and I fell. 497 00:24:46,160 --> 00:24:47,820 Double J with the place on fell. 498 00:24:47,820 --> 00:24:49,780 Double Tasa, we made to a veil, yeah. 499 00:24:49,780 --> 00:24:53,060 Boston tell this to you, my, my guest, ladies, so I come job with you. 500 00:24:53,060 --> 00:24:54,940 You don't want to flood with us, please. 501 00:24:54,940 --> 00:24:56,680 Yes, quick, I do many shells. 502 00:24:56,680 --> 00:24:57,800 Give this a limit, bell. 503 00:24:57,800 --> 00:24:59,160 Get on your knees and I fell. 504 00:24:59,160 --> 00:25:00,640 Double J with the place on fell. 505 00:25:00,640 --> 00:25:02,640 Double Tasa, we made to a veil, yeah. 506 00:25:02,640 --> 00:25:04,040 Reload in my magazine. 507 00:25:04,040 --> 00:25:05,400 And know my pissed-o-bank. 508 00:25:05,400 --> 00:25:07,640 Hey, my money, pocket up, and then I'm out like her. 509 00:25:07,640 --> 00:25:11,800 Go bang, I'm scratchin' shit up, my bucket list, where my god likes so much to give. 510 00:25:11,800 --> 00:25:14,960 Don't kill what you're with, some shit is, I know that they can't fuck with us. 511 00:25:14,960 --> 00:25:18,200 Yeah, no bounce, I made to be make a bounce, I'm making all these sounds. 512 00:25:18,200 --> 00:25:19,760 They can see me when I'm making the rounds. 513 00:25:19,760 --> 00:25:21,360 They can see me when I come for the crown. 514 00:25:21,360 --> 00:25:23,760 I came through with the base, they can't do it with the heat. 515 00:25:23,760 --> 00:25:27,320 People ain't Josh's rap, yeah, I make me like these, but yeah, I make his like that. 516 00:25:27,320 --> 00:25:28,320 All day, everyday. 517 00:25:28,320 --> 00:25:31,400 You're on the tutus scene with my guns blazing, like I'm job with. 518 00:25:31,400 --> 00:25:34,640 You don't want to fuck with us, cause I got bus quit. 519 00:25:34,640 --> 00:25:37,760 Bus in tutus scene with my guns blazing, like I'm job with. 520 00:25:37,760 --> 00:25:40,760 You don't want to fuck with us, cause I got bus quit. 521 00:25:40,760 --> 00:25:44,200 Bus in tutus scene with my guns blazing, like I'm job with. 522 00:25:44,200 --> 00:25:46,760 You don't want to fuck with us, cause I got bus quit. 523 00:25:46,760 --> 00:25:50,160 I got too many shells, kid to piss in my belt, get on your knees and I fail. 524 00:25:50,160 --> 00:25:53,800 Double j-boz, a place on bail, double tazer, we made to a bail, yeah. 525 00:25:53,800 --> 00:25:57,040 Bus in tutus scene with my guns blazing, like I'm job with. 526 00:25:57,040 --> 00:25:59,640 You don't want to fuck with us, cause I got bus quit. 527 00:25:59,640 --> 00:26:02,960 I got too many shells, kid to piss in my belt, get on your knees and I fail. 528 00:26:02,960 --> 00:26:06,600 Double j-boz, a place on bail, double tazer, we made to a bail, yeah. 529 00:26:06,600 --> 00:26:09,840 Fun charm with gunmore like windows, use my blades how they're poor, get on. 530 00:26:09,840 --> 00:26:12,960 Talk shit, put some true thread in them, up to a bad luck, roof that hit them. 531 00:26:12,960 --> 00:26:16,880 Stay back when I walk up to the place, you ain't me surpass your pace, can't keep up, 532 00:26:16,880 --> 00:26:19,520 but it's ain't a race, I slay like crados, move on canos. 533 00:26:19,520 --> 00:26:23,240 The men have been up like logic, I'm abolish, check knowledge, that I've been a hardest step of my list. 534 00:26:23,240 --> 00:26:28,520 Stop piling and the rick and the ball, we know a complex, I've accomplished almost everything that I've got on the list. 535 00:26:28,520 --> 00:26:32,080 Got some bullets coming, I'm missing them back, I never miss. 536 00:26:32,080 --> 00:26:35,320 Bus and two to see what my guns blazing like, I'm John with. 537 00:26:35,320 --> 00:26:38,520 You don't want to fuck away this, cause I guys bus quit. 538 00:26:38,520 --> 00:26:41,760 Bus and two to see what my guns blazing like, I'm John with. 539 00:26:41,760 --> 00:26:44,840 You don't want to fuck away this, cause I guns bus quit. 540 00:26:44,840 --> 00:26:48,200 Bus and two to see what my guns blazing like, I'm John with. 541 00:26:48,200 --> 00:26:54,120 You don't want to fuck away this, cause I'm just quick, got too many shells, kid to piss in my belt, get on your knees and I fail. 542 00:26:54,120 --> 00:26:57,760 Double j-boz, a place on bail, double tazer, we made to a bail, yeah. 543 00:26:57,760 --> 00:27:00,960 Bus and two to see what my guns blazing like, I'm John with. 544 00:27:00,960 --> 00:27:03,560 You don't want to fuck away this, cause I guys bus quit. 545 00:27:03,560 --> 00:27:14,320 Bus and two to see what my guns blazing like, I'm John with. 546 00:27:14,320 --> 00:27:17,200 You don't want to fuck away this, cause I guns bus quit. 547 00:27:17,200 --> 00:27:19,080 Bus and two to see what my guns blazing like, I'm John with. 548 00:27:19,080 --> 00:27:21,080 You don't want to fuck away this, cause I guns bus quit. 549 00:27:21,080 --> 00:27:25,080 Bus and two to see what my guns blazing like, I'm John with.