Joe Rogan & Kevin Smith on Filmmaking, Quentin Tarantino

Hello freak bitches. What you do is you're very much an accepted inside guy who lives like some guy from Jersey who's trying to break into the business. This is useful because you never really understand how people professional see you. You know how the world sees you because they'll tell you at any given moment. Joe Normal or Sally Normal. People who live in the real world and shit. But your peers and people like we work in entertainment and shit. Yeah. Tell me that again. You're very unaffected. You're a uniquely unaffected guy. But also like ineffective at the same time? No, no, you're very effective. You're effective at doing what you enjoy. That's why you have such a unique and loyal fan base is because they know. It's like in this world there's not a whole lot of unique visions. There's a lot of ideas that get brought to producers and executives and a bunch of people pile in and it becomes more of an idea where it's trying to appeal to a broader audience and it switches up and then someone wants to bring in a love interest. There's all sorts of influences that happen that homogenize as you drink some milk. I know that was perfect. A man drinks his milk. Oh my lord, that was perfect. The perfect timing of a stand up comic. Well done. Really that's the best word for it because even though if it's good, you don't feel like that guy. Tarantino is one of the unique guys where even though his movies are these gigantic mega blockbusters, it feels like Tarantino. He's doing his own thing. Yeah, it feels like this crazy fucker just got the money and the wheels and they're listening to him because he's Tarantino. Your movies have the same kind of feeling. And his thing also connects with more people. There's more of a like, oh yeah, that's cool. It's cinema of cool because you could just look at it even if you don't have an experiential connection to it like, oh I once went to a 50s cafe as per. You're just like, that looks bad. Yeah. I've seen John Travolta dance to the woman, that's badass. All the way up to the most recent. Yeah, everything about it is just like cinema of cool and fed by a lifetime of movie loving and a movie diet. So if you love movies, here's a guy that distills everything that's the essence of cool of cinema. And I don't want to keep hitting the cool bell because people are like, come on, that's a hipster term. But it does distill it down to those moments. Not so much like massive arcs, but ooh this feels awesome. That's dope. Oh, that's metal. Well, yeah. You have that same kind of thing. Your movies are very- For very few people. Well, it's your comedies. I'm the only one left. Your comedies in particular. Like that was one of the more interesting and unique things about Red State. Because I had no- you didn't tell me a word about it. You said, I don't want you to know nothing. Just come and sit there. It sounded filthier than I meant it to be. Me and Marron sit there and watched it. At the end of it, we're like, holy shit. What the fuck was that? That movie was crazy. It wasn't a comedy at all. It's nice to be able to ever once in a while throw him a curve and be like, oh, we thought we saw everything. I always felt most people saw me as like, oh, he did Clerks and then he's done about 96 variations on Clerks. People need to see Red State. If you haven't seen Red State, I don't want to say too much because I want people to go into it the way I went into it. Go see that fucking movie. But that's another movie where even though it wasn't like the same voice, it was still a unique voice. I think- I don't know what it's like to make a movie, but it's got to be- a lot of people have a lot of say. It's bigger the budget. The bigger the budget, the more you have to listen to a bunch more people. You can't be unreasonable about it. If you get tremendous amounts of success like JJ Abrams and you're a nice guy at the same time, you can get away with being like, I'm going to do whatever I want. People are like, what you want tends to work, so here you go nuts. But generally speaking, the more money you accept, the more input you also have to accept. Lower the budget, and if it's coming out of your pocket, you ain't got to say shit to anybody, or nobody could tell you anything. But if you're putting together something small, it's still a smaller circle of people to answer to. You always have to be willing to hear what they're saying. If somebody's willing to give you ungodly amounts of money to make for 10, mind you, this is not like, I'm going to give you funds and you're going to give me eggs, and then I'm going to sell those eggs, and I'm going to make more money selling those eggs. They're like, we're going to give you money and you're going to take this goofy fucking idea you have and try to make it real and turn it into a movie that may work or may not work. It's all crap shit. It's like buying a lottery ticket to a large degree. No guarantees that there'll ever be an audience for it. So I learned that midway in my career and realized, well, just work for you. Sounds masturbatory, but it's like if you're the audience that you're trying to hit, then you'll always be satisfied. It's like if you want other people to like it, it's subjective and you may not find that people dig what you're doing. If you're looking for monetary success, good luck. Nobody can guess that. Even when Marvel releases a new movie, and we know Marvel is exceptional at what they do, put them in Pixar. Marvel, Pixar, I don't care the best of the best. Even when they release a movie, they clench a little bit because they're like, anything could happen. Anything could happen at all. So generally speaking, they're a little more insulated from like, oh shit, we lost money. Well, especially those Marvel movies are so expensive now because they make good. It's like the same thing with the animated movies. The animated movies are ungodly expensive to make, but they print money and they print money not just the first time they come out at the box office. They print money through all the licenses. They print money where, you know, sometimes you go like they're doing a sequel to that. Why? Why don't they do something new? They've already built the world. It's already there in a computer and they're like, oh, we need new script and we're good. We've done our infrastructure. Like when you think about it, if you were building something, you build all this massive infrastructure and spent three years putting it together and did it once and then you're like, okay, everybody goodbye forever. It's kind of a waste of everything you put together. That's why they immediately go for a sequel. A, they know they're going to make money, but B, they're going to make more money because they don't have to invest as much time and money as they did the first time. So that's what makes a studio go like, oh, that's easier. That's low hanging fruit and everyone's happy. You know, it's not like they're making art films that only a few people like. Generally, they tend to make flicks that a bunch of people want to go see and that riles up people that want to see newer films or something like that. Cause like, why is it always the same movie over and over again? But you know, I submit to you, if you're going to see a superhero movie, expect a little fucking sameness. It's a story of like an exceptional being with powers that others don't. And hopefully that person will use it for good. You know, you could only cut that cheese so many fucking times where, and say it's something new. Other than the watch man. I think the watchman took it to a new place. And I love the watch man, but at the end of the day, it's just like people in mass doing the right thing. And he had a fucked in space. But other than that, there was people in mass trying to do the right thing. They were murdered too. They murdered each other. Like it was, they caught up in Batman V Superman. I heard there were some murders in that movie. I was like, did they say somebody fucking died in prison and over Batman? You know, they went in strange directions.