Mandy. If you listen to this show, you're probably as obsessed with that film as we are, and if you aren't: stop what you're doing. Go watch it right now. Once you've seen Nic Cage in an acid-induced chainsaw fight, I'm betting you'll feel the same way we do. The whole film has such a unique voice, and it's clear that this was purposely created by the director and editor. Host Mike Pecci has admitted that this podcast is an excuse for him to talk to people he'd love to work with, and when you add in the fact that we haven't had an episode focused on editing, our guest, Brett Bachman, was the obvious choice. In addition to Mandy, Brett has edited other ILWP favorites like Color Out of Space and Daniel Isn't Real. If you're as big of a fan of these films as we are, this conversation between Mike and Brett is just everything you could want.

After beginning his career at Steven Spielberg’s company DreamWorks in 2005, Michael Pruss worked at Paramount Pictures as an assistant in Production & Development before joining Focus Features as a Creative Executive in 2007. While at Focus, Michael worked on such projects as Gus Van Sant's Academy-Award winning MILK starring Sean Penn, THE AMERICAN, starring George Clooney, and the animated feature CORALINE from Henry Selick. Since joining Scott Free in 2013, Michael has produced EQUALS, Kristen Stewart’s short–film directorial debut, COME SWIM, NEWNESS, ZOE,AMERICAN WOMAN, EARTHQUAKE BIRD, and most recently Gabriela Cowperthwaite’s THE FRIEND, a true story based on the Esquire article of the same name, starring Jason Segel, Casey Affleck, & Dakota Johnson.
In this episode Mike & Mike talk about how Pecci's short film 12KM brought them together, they discuss how Pruss became a sought after Hollywood producer, how he finds new talent, and their love of everything Tokyo.

When was the first time you saw a Quentin Tarantino film? For some of us, it was in a theater. For others, a friend put it on the TV. For the younger audience, it might have been Netflix. But for our guest Richard Gladstein, the first time he saw a Quentin Tarantino film it was a script on his desk. In fact, he was one of the first to see Tarantino's work. Richard's experience in the industry ranges from handing out dog biscuits to producing some of Hollywood's biggest films: Reservoir Dogs, Finding Neverland, The Bourne Identity, and Pulp Fiction. Now, he is the Executive Director of the Feirstein Graduate School of Cinema. Both Host Mike Pecci and our AP Liam discuss with Richard his producing career, his experience working as one of Tarantino's closest collaborators, and some advice he has for young filmmakers: a topic very important to Richard whose current role is the Executive Director of the Feirstein Graduate School of Cinema. Our first Producer episode delivers every bit as much as you'd expect it to.

Being an editor, a really good editor, means knowing how to fix problems no one caught on set while also knowing when to choose your battles with the director. 2015 Eddie winner and BAFTA Nominee Anthony Boys (VEEP, Vice Principals, RUN) has learned how not only to perfect his craft as a technician and artist, but also as a de-liberator and collaborator. He joins Host Mike Pecci on this episode to drop some serious wisdom from his years as an editor on some of the funniest comedy series as well as feature films.