Max Landis…oh hell, you know who Max Landis is. Even if you don’t know that he’s the dude who wrote CHRONICLE, AMERICAN ULTRA, and VICTOR FRANKENSTEIN. Even if you haven’t seen his Youtube shorts, including the famous “Death and Return of Superman.” Even if you haven’t read the crop of Superman comics that vid led to, including his currently-running American Alien series. Even if you weren’t aware that his dad was uber-director John Landis, and even if you didn’t follow him on Twitter (@UpToMyKnees), you probably know who he is.
I often get the feeling that Mr. Landis has gotten far more attention for having a famous old man and his occasionally headlining-inciting interviews than he has for his actual output as a screenwriter, but the sense of ambition and style in his writing has been on display in his four produced scripts thus far. Now, his freshman film as a director, ME HIM HER, is finally coming out, and it’s not the genre film one might've expected from his first time at bat, but rather something that blends bromances, rom-coms, AFTER HOURS/INTO THE NIGHT one-night-out type flicks, coming-out comedies, and slivers of surrealism into something that’s charming, funny, and decidedly personal. As Max himself admits, it’s a bit rough around the edges and shows the limitations of his experience at the time of production, but he shows a taste for tonal balance and sincerity that older pros often lose.
Max is known for being very expressive when dealing with press, and sure enough, he was really energetic, funny, and gracious as we discussed ME HIM HER, American Alien, MR. RIGHT, and the recently-announced BRIGHT, a cop thriller involving orcs and fairies that has David Ayer, Will Smith, and Joel Edgerton attached:
VINYARD: How you doing today?
MAX: Max Landis interview, don’t read the comment section!
VINYARD: Never. I’m kinda surprised…for your first movie, you didn’t do a superhero movie!
MAX: I’ve never really written a superhero movie! CHRONICLE has more in common with CARRIE than it does with SPIDER-MAN. I’ve always wanted to write a superhero movie. I did a draft of POWER RANGERS for Lionsgate and Saban, but even that was more of a fun, character action-adventure movie with a big finale featuring a giant robot fighting a big monster. I love superhero stuff, but I find that when you set out to write a superhero story, you fall into a certain set of traps. I think even the best writers do. I, as not amongst the best writers, definitely do. I would try to start from the ground up. For my first movie, I did an adventure movie.
VINYARD: And it’s also a romance.
MAX: I think it’s sexual, it’s romantic, but ultimately, to me, the movie’s more about friendship. Even the most romantic relationship in the movie is ultimately maybe better suited as a friendship! I find the lines between friend-love and romantic-love can be extremely blurry when either one is felt intensely. A person can come into your life and feel like the other part of your brain. I’ve had friendships and relationships where when the person wasn’t available to me to talk to, whether it was a fight or they moved away or we’ve moved apart, it felt like I was missing part of my brain. This movie is about very intense friendship-relationships. But I’m glad you felt it was romantic.
VINYARD: Very much so. And I definitely saw this theme that keeps recurring in your work about self-discovery and self-actualization, like Dane DeHaan’s character in CHRONICLE, AMERICAN ULTRA, and the character of Brendan here. Is that something you’re conscious of?
MAX: A hundred percent. All of my scripts are about someone with a special talent…or not even a special talent. They’re denying an aspect of themselves and it’s making them miserable, and they’re unhappy people. Then, they engage with these special and bizarre aspects of themselves, and in doing so, find a greater level of self-actualization. In Andrew’s predicament, and in the script for VICTOR FRANKENSTEIN, sometimes that can be a bad thing, or in the case of Brendan or Mike in AMERICAN ULTRA, or Martha in the upcoming MR. RIGHT, when you engage with a part of yourself that’s dangerous, you might find something you like. I just find that to be true in life.
VINYARD: Did you write the movie for yourself to direct?
MAX: I realized I was gonna direct it. It’s funny, because the first draft of the script, there are elements that stayed, but the first draft was much more surreal and bizarre. It was like a Spanish film almost, in terms of how it played with the language of cinema. But I found, as a director and with the budget we had, I could only execute certain parts of my vision. I sorta hued it down. I wanted to direct because I want to ultimately shift into being more of a director. I think of myself principally as a writer, but when it comes to projects like this, projects that are personal, I want to be at the helm. I want to be able to say, “Yes, I can do that.”
VINYARD: Kinda reminds me of John Sayles, who I talked to a few weeks ago, who’s obviously written PIRANHA, and ALLIGATOR, and stuff like that, but who ends up directing his more personal projects himself.
MAX: I’m very flattered to be compared to John Sayles, thank you.
VINYARD: What did you learn from this that you’ll bring into your next project as director?
MAX: Everything. I learned everything! I knew nothing! I was a little baby! The only thing I’d directed was ”Death and Return of Superman” for Youtube! If you look at “Wrestling Isn’t Wrestling”, which I made after ME HIM HER, it’s so much better directed! It looks like shit, intentionally, but it’s better at looking like shit than “Death and Return of Superman.” It’s because I learned that the only way you can learn how to direct a movie is to direct a movie. I really believe that.
My dad, he gave me almost no advice. My father and I have a strange relationship, but he’s a good father and that’s what matters. When he found out that I was directing a movie, all he told me was, “Get a lot of coverage, because you’ll need it later.” And I was like, “Nothing else? You don’t have anything else for me there, dad?” And he was like, “I don’t know…it’s gonna be really intense.” I have an e-mail him that just says, “It’s gonna be really intense.” I remember thinking, “Thanks, pop.” Every tweet about my dad I’ve ever gotten accusing me of nepotism, I look at that e-mail that just says, “It’s gonna be intense.” It’s like “Yeah, good luck!” as I’m dropping myself out of an airplane. I jumped out of an airplane and expected him to teach me how to open a parachute, and uh, I don’t think he thought that was his job. He hasn’t seen it yet! He hasn’t seen my movie!
VINYARD: Why not?
MAX: He saw a rough cut, and was like, “Here’s 1000 notes.” And I added that to the pile of a thousand notes I’d already gotten from the producer, a thousand notes from the company, and just said, “Okay, it’s in the pile.” I am very excited to show it to him. I’m actually pretty happy with how the movie turned out. I think it’s funny.
VINYARD: Did anything happen on set that made you want to call him and ask for last-minute advice?
MAX: Yeah, every 20 minutes, but I knew it was pointless. I’m lucky in that I’ve always been directing, to a degree. I’ve always been making shorts for myself. You can go back and find terrible shorts I’ve made on Youtube and music videos and all this shit from up to 10 years ago. The truth is is that I’m not one of those guys who makes a short that wows Sundance and looks beautiful and I shoot it on an Alexa in all-natural light, but I am confident enough in my ability as a director that when I said, “I want to direct this,” I felt like I knew I could do it.
VINYARD: A huge part of directing is directing actors, and casting is obviously paramount because you have a lot of dialogue in the film and very distinct characterizations. How’d you choose your three leads?
MAX: The casting process was long. Luke (Bracey), I knew immediately I wanted him, Dustin (Milligan), I knew immediately I wanted him, but there were a couple of strong contenders and Dustin won out. I’ll tell you a story about casting this movie. Emily Meade was the first audition I’d ever seen as a director. It was the first audition I’d ever seen of my own work being read by an actor for me. It was a selfie, she made it in New York. I opened Cast It, the program we used, and I watched the audition, and I was amazed. My jaw was on the floor. In my dumb brain, I went, “Well, god! If they’re all gonna be this good, casting’s gonna be easy!” Long story short, first audition I saw, I saw a lot more, but she’s in the movie.
VINYARD: What about Angela Sarafyan? She’s great in the movie.
MAX: Angela Sarafyan is so much fun and was playing so far outside her comfort zone because her character is a cartoon. She’s like a Disney villain. She’s evil in a way I call “Trumpian,” or like Martin Shkreli, or…who’s the guy who killed all the people on the HBO show?
VINYARD: Robert Durst.
MAX: Yeah, Fred Durst. (laughing) But yeah, Bob Durst. You know how people like that exist? And you’re like, “How can you be this awful? How can you exist?” If they’d been like this in a movie, you’d be like “They’re overacting.” I just told her, “Angela, this is one of those people. This is a clear narcissist-sociopath.” And she asked what her character references were, and I said, “Anton Chigurh and Ursula from THE LITTLE MERMAID.” I think she nailed it.
VINYARD: I love the end when she’s howling with the mascara running down.
MAX: Yeah, she turns into a monster! (laughs) Such a silly movie, dude.
VINYARD: You had a pretty low budget. Did you hit a wall at any point in terms of what you could or couldn’t do?
MAX: It was just taking out all the really crazy, surreal aspects, but we left some of it in. You can see the way it was executed, the company I worked with, Big Beach, god bless ‘em, they let me make the movie, and I had a delightful time working with them. Big Beach wasn’t used to doing movies with a lot of visual effects, so stuff like the flying bed, that was new vendors. If I did that today, I would work with all my friends. I’d just hire guys like Mike Diva and people I know who are running around doing stuff for Youtube who I think would do a killer job.
I’m happy with how it turned out. The main walls we hit were stuff where no one involved, including me as a first-time director, was 100% sure how to execute. What we needed, and ways proposed to execute it, started with a capital M and ended in the Y and in the middle of that was an O-N-E. It was just like, “How would we ever do this in a way that looked great for no money?” Of course, I turn on Youtube and I see fuckin’ RocketJump doing it on Youtube for 12 bucks in two hours. You live you learn.
VINYARD: Has your writing changed since you’ve become a name writer?
MAX: Hell no. In my comic, American Alien, sure. The dialogue in CHRONICLE sounds different from the dialogue in AMERICAN ULTRA, which sounds radically different from what the actors and the director did with the script of VICTOR FRANKENSTEIN. They don’t seem like similar movies to me. ME HIM HER changed the way I write, fundamentally, because it gave me a better idea of what executable dialogue is. I found myself dropping so many lines and cutting down long monologues. It just helped me so much. It also helped me in terms of thinking constantly about production when I write. The scripts I’ve written since ME HIM HER, which I actually wrote after AMERICAN ULTRA and VICTOR FRANKENSTEIN, but it’s coming out after, and MR. RIGHT I wrote before all of them- the movie industry, man- but it definitely changed the way I write on-page. I now write to achieve rather than to write. I try to write only achievable things.
VINYARD: Do you have anything you have that you’re ready to direct?
MAX: Yes, I definitely want to direct a script I wrote called HELL RUN. The process is long, the road is long, but…if they let me, if they put the ball in my court, I really feel like I could kill it. It’s rare you get to say that. I feel good about myself as a director at this point. ME HIM HER was such a group effort of everyone involved in that, from Katie (Byron) the production designer, to the costume designer (Lynette Meyer), to Ross (Riege) who helped shoot it, Pete (Saraf) and Leah (Holzer) the producers. Even our line producer and like three A.D.s, everyone involved was putting such a weird thing together that when I talk about ME HIM HER, I never say it’s for everyone, because it isn’t. But I think the people who like it are going to really like it, and I think it is true to itself. When I look at that, I think, “I think I made a good movie.” And I feel like I could do it again, so hell yeah I want to direct again, but I need another great team of people behind me.
VINYARD: About American Alien, I think there are still three issues that haven’t come out yet.
MAX: Three issues left!
VINYARD: How’s that process been for you, and what’s there to look forward to from issues 5-7?
MAX: Oh my god, so much fun stuff! #6 is probably my favorite issue. #5 is in Clark’s first six months out as a vigilante, and we learn the flip-side of “If you have no law enforcement training and you have no paramedic training and you have no training of any kind, and you decide ’Now, I’m a crimefighter because I think it’s the right thing to do,’” we learn the flip-side of how clumsy and weird that can be. How when you’re Clark, and you’re a guy of above-average intelligence but not a genius, how utterly emasculating it can be when confronted with people who are smarter and more dangerous than yourself. There’s a lot thematically that goes on in #5.
#6 is about something I don’t see enough of in comics, and I say that not like I’m gonna revolutionize anything, but who are these guys’ fucking friends?!! Who are their fuckin’ friends?!! Who is Superman’s best friend, Batman?? Hell no!! Jimmy Olsen? Jimmy Olsen’s younger than him!! He’s more like a buddy, he’s not a best friend. Superman’s best friend is Pete Ross. Okay, have they ever just spent an issue kicking it with them and seeing what their relationship was like?? If you had a best friend who moved to the city, started dating a Pulitzer-fucking-award-winning news anchor, and who was on TV all the time NOT WEARING A FUCKING MASK as Superman, what would you think of that?? You see him fight a monster on TV, your best friend since childhood is being beaten down by a giant monster. Everyone’s cheering for Superman, what are you thinking about? It’s an issue about that.
Then, in issue #7, it’s finally an issue with Superman in it. It’s one year into Clark being Superman, and a disaster happens- it’s not a disaster, it’s a crime, but it’s a massive crime, a crime so massive it could be called a disaster- happens in the center of Metropolis, and when Clark responds, he meets someone unlikely. What happens from there is the most violent fight Superman’s ever been in, both physically and emotionally. All of my fights with Superman would be this way if I wrote a monthly. Honestly, if I wrote a monthly Superman comic, he’d be in like two fights a year. I feel like a character like that can’t be kicking ass every issue. It has to be an emotional journey. In every episode of THE SOPRANOS, Tony wasn’t beating someone to death with his bare hands. In every episode of DEADWOOD, Timothy Olyphant wasn’t gunning someone down. To treat Superman like a prestige character, you have to give the person behind the “S” weight. That’s what I’m trying to do with that comic.
Can I just say that writing that comic, and working for those artists, and having such real control over my work with no one telling me what to do and only like one or two, “You can’t do this, you can’t do that, he can’t smoke a joint,” shit like that that I don’t care about, I gotta say dude, it’s the most control I’ve had over my work other than “Wrestling is Wrestling” and “Death and Return,” and it’s the proudest I’ve been. I wake up every morning so happy that I’ve been given this opportunity. I’m just so relieved people have liked it and that it’s gotten the reception it’s gotten, because it’s a dream for me. Some people say I’m a polarizing figure, and I’m relieved that I finally did something where there’s no excuses, ‘cause it was just me.
VINYARD: I know you’ve talked about this in the past, but in a nutshell, what is the appeal of the gestalt of Superman to you?
MAX: I’ve said it before, and I’ll say it again: he’s a good person. He’s not motivated by fear. That Yoda quote, which is to some agree adapted from Taoism and Bhuddism, “Fear leads to anger, anger leads to hate.” I find that fear is a motivator in so many of our heroes. What I love about Clark, and the idea of him, the central notion is, “What’s Superman’s deal? He’s good.” He’s not a fucking asshole. No one had to be murdered in front of him for him to think “This is the right thing to do.” He saw a world that could be better with his involvement, and we won the jackpot that he was the Kryptonian baby that landed on Earth. We won the jackpot that he ended up on Kents’ farm. We won the jackpot that the he had the childhood and high school experience that he did. That’s what shapes people, dude. That’s what sets up your entitlements, and anger, and bigotry, and your fear, those moments in childhood. This dude was raised right, and he’s here to help. That is so dope, because that character to me has so much more stake. You can fuck him up and put him in danger in ways you could never do with someone who’s a badass motivated by a traumatic experience, and I love that.
VINYARD: Have you seen BATMAN V. SUPERMAN yet?
MAX: No comment.
VINYARD: What about MR. RIGHT? Have you gotten a chance to see it yet?
MAX: Yeah, I like it! It’s really silly and weird.
VINYARD: Have you ever experienced when someone else directs your script, and it’s a take that you never would’ve imagined in a million years?
MAX: Yes. I have experienced minor versions of that and major versions of that.
VINYARD: What was the most major?
MAX: Uh, no comment, but I will say this: CHRONICLE, if you read the shooting script, not the first draft, and then watch the movie, it was insane watching it for me and it set up a broken expectation because the script is just the movie! I was like, “Oh, being a screenwriter is like being god! Everything Shane Black was telling me about it being a hard job is nonsense! Joe Dante doesn’t know what he’s talking about! My dad doesn’t know what he’s talking about! They’re all idiots! I’m the best screenwriter in the world!” Wrong, wrong, that’s now how it works!! CHRONICLE is so easy, and then the kicks to the balls began!
That doesn’t even go into one of the real hard parts of being a screenwriter. I’ve sold in the neighborhood of 20 things now, five of them have been made. It doesn’t mean I didn’t love those stories, it doesn’t mean I wasn’t attached to those stories that are now wandering loose like ghosts in the ether of studios and financiers. It’s a bizarre job, and it’s hard. Movies are hard. I never try and blame anyone, and I never try and say, “This is bad because of this.”
VINYARD: You mention that a lot on Twitter, about how when people blame the screenwriter it just shows how they don’t really know how a film actually gets made.
MAX: 100%. If you actually work regularly in film, the idea of reviewing a movie and commenting on its script is a joke. It’s like saying…I don’t even know what it’s like saying. It’s bizarre.
VINYARD: Like the catering had an impact or something.
MAX: No, no, it’s more important than that. But you don’t know! You can’t know! A movie could be 100% its script, it could be 1/10th its script. A line of dialogue can go from good to bad with the wrong music behind it! Forget editing, forget direction, forget performance, if an actor delivers a beautiful line of dialogue with the fucking Benny Hill theme is playing behind them, you’re going to be like, “This is dumb!” And your brain is going to tell you that the script is bad, and you’re wrong! I’ve always said that.
What’s funny is that I’ve said that publicly all the way back since I first came out, and when people would compliment me on the script for CHRONICLE, in my heart I knew that that movie was just the script so it made me feel good, but I would still, a lot of the time, say, “It’s a team effort.” And once I had movies that didn’t do as well, or didn’t get good reviews, when I would say, “It’s a team effort,” or “You can’t talk about the script,” people would go, “You’re just sayin’ that!!” And it was like, “Come on, man. You don’t know what you’re doing.” Anyone who sits down to make a movie with a script can feel that shit changing the moment it leaps off the page into real life.
VINYARD: Is that something you’ve made peace with?
MAX: No! No one does. No one ever makes peace with it. It’s a nightmare! Even ME HIM HER is different than the script, and I fucking directed that! You never make peace with it. It’s never going to be the movie you saw in your head, but that doesn’t mean you didn’t see it there first and that doesn’t mean you shouldn’t do it. Because, sometimes, it is the movie in your head. There are moments in VICTOR FRANKENSTEIN that look exactly the way I thought they would. A lot of AMERICAN ULTRA is how I imagined it. CHRONICLE, my god, that was like seeing it from my heart to the screen. When I first saw Michael B. Jordan, I started crying in the theater, because I realized I killed him. “Oh no, Steve dies!” And I was sitting alone in a theater at Fox the first time I saw it in completeness. Josh wasn’t even there, I was just alone, sobbing. An emotional experience like that…the moment in ME HIM HER when you’re yelling at each other in front of the Beverly Hills sign, or when Heather says, “Words and actions don’t matter, all that matters are emotions.” Angela’s delivery of that line. Or when Emily’s losing her shit over having slept with a guy, or when Cory gets up on the gay pride float, these are moments that I have that I would never trade for the world. The second I get over the idea and I come to peace with the idea of script changes, I’ve given up on having the flip-side of that idea as well.
VINYARD: You mentioned that you were really proud that David Ayer was not only taking on BRIGHT, but that he was going to rewrite your script.
MAX: He didn’t rewrite it. He did something I’d never seen anyone do. He didn’t change anything. He took the script away, and I was freaking out because I love David Ayer, so it was like a fanboy experience. He took the script away, and it came back in Ayertian. It’s 98% of the same dialogue, it’s 100% of the same story beats, but the way the action dialogue is written is in his gruff, sarcastic, South Central, doesn’t-give-a-fuck-about-anything way. He left a lot of my stuff too. It was like reading a draft from an alternate dimension. Same movie from an alternate dimension, and my god, it was the sexiest fucking thing in the world.
VINYARD: Because you wrote that it was an homage to Ayer in the acknowledgements before Ayer was even on. What is it about the script that you think is so perfect for him?
MAX: Oh my god, the same thing he thought was so perfect for him! It’s written for him. It’s the connections between the men, it’s the connections between cops. Elements of race, the fact that we don’t trust each other for reasons that are stupid. The fact that we betray each other for reasons that are stupid. The fact that power can corrupt, and the fact that power can save you too. All of the themes Ayer adresses in his work. The idea that machismo is dangerous, and when it can be controlled, it can be heroic, and when it can’t be controlled, it can be chaotic and reckless. The dude is a great writer, and he’s one of my big inspirations. The fact that we might end up working together on this should we set it up and everything goes perfect, it’s thrilling. (Ayer’s) one of the people who have really inspired me a lot, and I’m so lucky to be friends with Shane Black. I’m so inspired by other writers that I put (Ayer’s) name on the cover when we sent it to him, and he liked CHRONICLE which started it off and he thought ULTRA was okay, When I got the call from David Ayer…I freaked out. It’s powerful to be able to work with a director that you’re in sync with. It feels good.
But we’ll see! I’m going to get a tattoo that says, “We’ll see.” A movie isn’t a movie until it’s a movie. It’s going to be my only tattoo, I’m not kidding. “We’ll see.” All this shit, all this culture of announcing that people are interested in scripts, announcing that things are in production, saying the loglines and judging movies on them, it’s nonsense. It’s fucking bothering nonsense. Pooh would think it was ridiculous. Pooh would laugh at that and eat honey. It’s fucking nonsense. It means nothing. What does he say in WOLF OF WALL STREET? “It’s a wazi, it’s a woozie, it’s a fugazi, it’s fairy dust.” That’s so real, and no one knows, and everyone’s afraid to say it out loud, because it sounds so much more confident to say, “This is what’s happening.” But, god, I love that script, and if Will and Joel end up working on this movie with me, I’ll freak the fuck out. That movie is DOPE. I am psyched out.
VINYARD: What’s your sense of the impact that all the press and all the hubbub has on the average filmgoer these days, because I really don’t know.
MAX: I don’t know. I think Rotten Tomatoes hurts movies, and I think Rotten Tomatoes is really bad. I thought that when I first saw it for CHRONICLE, when I was first made aware of it, and I think that now. That’s not to hate on them, I’m sure they’re good people, but saying, “It got a 48% on Rotten Tomatoes,” is different, contextually, than saying, “Pretty much half of the people who’ve seen this movie like it.” If someone told me, “Half of the people who have seen a movie liked it…”
VINYARD: That’s pretty good!
MAX: I would be like, “That sounds good! I’ll go see that!” But if you tell someone a movie got 46% on Rotten Tomatoes? “Well, that sounds like it’s probably a piece of crap.” And that’s not fair! That’s no the way art is supposed to work! Saying 46%, and saying “Fresh” or “Rotten” deny the human capability for variance of thought. It also assumes my opinion on movies is the same as Devin Faraci’s or a bunch of strangers. That’s not the way your relationship with art is supposed to be, much less critiqued. You’re supposed to find a critic who you trust, and follow them. You’re not supposed to trust some conglomerated Frankenstein’s monster with a bunch of fucking little quotes. It’s the Donald Trump of film review sites, it’s just noise.
VINYARD: I think part of it is people’s increasing allegiance with TV. People seem way more inclined to watch TV in their leisure time than films.
MAX: I’m not equipped to comment on the nature of the business. I can just answer micro-questions, like “Do I hate all this backstage stuff?” or “Is the fact that all this backstage stuff comes into reviews now bad?” Yes. Do I like seeing my name in the trades? Yes, I do! You would too! It’s cool, it’s cool! I don’t feel famous.
VINYARD: Hell, I like seeing your name in the trades.
MAX: Oh, shut up dude. I’m glad you didn’t hate the movie by the way. Did you have a favorite part?
VINYARD: Probably the end that I mentioned with Sarafyan freaking out. I also really liked that you open with her before we meet Gabbi, when you track her walking down the hallway with the earphones before the breakup scene. It was this nice, unique thing, where just one little 10-15 second shot makes us empathize with the culprit rather than the victim.
MAX: Yeah, well, in horror movies, you usually see the killer before you see the killed.
VINYARD: …is that true?
MAX: Yeah, usually. They’re within seconds of each other, but in most movies, you’ll see the hitman going in to kill someone. You’ll see the assassin loading the rifle before you see the person they’re going to assassinate, and poor Gabbi, she’s got a bullet comin’.
VINYARD: Do you have anything else in development, aside from the stuff that’s kinda languishing in development hell?
MAX: Frustratingly, and I say this not to tease, all my current things that I’m making money off of and that seem to be going somewhere are secret, which is good and bad, but it certainly makes my Twitter a more polarized place because I have less to comment on. Generally, my first TV show that I’m just a producer on, that I helped my friend Nick (Antosca) set up, CHANNEL ZERO, comes out in October, then DIRK GENTLY, I’m running the room on right now. I have to shower and go to work showrunning, which, by the way, never do it, my advice to you. The most intense job in history.
VINYARD: Even before the show goes on the air?
MAX: Yes! Oh my god, prep? It’s insane! I texted my friend who does BATES MOTEL, Carlton (Cuse)-look at me namedropping, pathetic- “Is it always like this? How do you more than one show at once?” And he just texted me back an emoticon with a dead mouth. Like a straight line mouth. That was the review of what it’s like to be a showrunner.
Catch ME HIM HER on VOD starting tomorrow (that trailer above was cut by Landis himself), and MR. RIGHT on April 8th.
