Interview with Filmmaker Chandler Levack

It’s a big weekend for filmmaker Chandler Levack—and we’ve got her right here on Best Boys.

With two new projects, Mile End Kicks (2026) in theatres now and Roommates (2026), premiering now on Netflix. Chandler is having a major moment across the film world. In this episode, we sit down with the Canadian director and writer to talk about her creative process, the themes driving her latest work, and how she’s navigating the spotlight as her work reaches a wider audience.

Known for her sharp voice and grounded storytelling, Chandler opens up about building characters that feel real, working within today’s film landscape, and what it takes to bring deeply personal stories to the screen.

If you’ve been seeing her name everywhere this weekend, this is the conversation that gives you the full picture.

Transcript

SPEAKER_02 0:01

Ahoy hoy! Welcome back to another episode of Best Boys, a Levit Brothers podcast. Today's episode features a conversation with filmmaker Chandler Lavac. Chandler's a sharp, distinctive voice in contemporary cinema. He's worked with humor, vulnerability, and an unfiltered look at relationships and identity. We recorded this interview ahead of a major moment in her career, the release of her two new projects premiering April 17th, Mile Ed Kicks, you can see in theaters across Canada and the United States, and Roommates, which is now out on Netflix. In our conversation, Chandler breaks down her creative process, the themes driving her latest work, and what it means to navigate storytelling at this stage of her career. Here's my conversation with Chandler Levesque. How did Mile and Kix uh come together? Um, can you tell us a bit about the path from pre-production to financing and distribution and kind of where your creative process like falls into that? Like how it kind of doesn't get lost.

SPEAKER_00 1:01

Yeah. Well, I started writing the script in um 2015. So it's been like a decade in the making, and I think the initial impetus for that was just like I love romantic comedies, and I really wanted to write a new script, and I at the time I was maybe like 27, like three or four years removed from kind of the the summer that I lived in Montreal, and the the weird guy in a band that I dated and stuff. And um, I don't know, it just kind of like came to me the the sort of idea of it, and I was just like, Oh, I really want to like you know, just take a month and and write a script. Like I I I've never really like bent on myself in that way where I'm just gonna only focus on like a creative project for myself.

SPEAKER_01 1:51

Yeah.

SPEAKER_00 1:52

So my friend Mark Slotsky, who's a filmmaker in Montreal, um, he was going on his honeymoon and they needed like a cat sitter. So I I just went to his apartment and it was like subletting it and then living like right in the my land, and just every day I would like work on the script for like eight hours and like saunter around, and I didn't look at the internet, and I only like tried to read books and watch movies, and it was just this very fertile, like exciting month of just being in the world of the script, and and it was so fun. Like, I mean it I started with like just page one, like just a blank screen, and then by the end of the month I had like a full screenplay.

SPEAKER_02 2:27

So just like the flashy, like cursor, yeah.

SPEAKER_00 2:30

Yeah, that's great, and like only worked on it when I wanted to, and it was just like a really nice reminder that like I was a writer.

SPEAKER_02 2:37

Yeah, it sounds kind of like like the go like going to like a cabin retreat, yeah, walking yourself away, but in plain sight. With more carbs and that takes a lot of discipline. Yeah. I know it's something I've tried to work on myself, and it's hard to find the time just to let to let yourself go there.

SPEAKER_00 2:52

Absolutely.

SPEAKER_02 2:52

And stay there and clean, clean your kind of from a clear place, have your writing.

SPEAKER_00 2:57

I know, because it's like I love writing so much, and yet I have such a tortured relationship to it, and I like convince myself I hate it, and then when I'm actually doing it, I'm like, oh, this is a joy, this is so easy, and it's like, yeah.

SPEAKER_02 3:08

Okay, well, this leads me to our next question, kind of actually.

SPEAKER_00 3:10

But I guess I didn't fully answer the question.

SPEAKER_02 3:12

No, no, yeah, so go ahead.

SPEAKER_00 3:13

Oh, yeah, yeah. So that was the idea.

SPEAKER_02 3:15

You did about the the journey for sure, but like, yeah, maybe tell me a bit about like as far as like you know, because a lot of movies need financing and distribution ahead of time. Was that the case with your movie? Did you find financing afterwards? Like, how was it? You said it was 10 years. Yes. At what point were you like, oh, this is happening? Like, here's the money for it. We're shooting in that 10-year period.

SPEAKER_00 3:36

So in 2016, um, Mr. Pruder Films who did Nirvana, the band that showed the movie, Blackberry and Operation Avalanche.

SPEAKER_01 3:43

Oh, yeah.

SPEAKER_00 3:44

Um, they had this like screenwriting contest for women because at the time I think they were getting a lot of black that was like, you know, the the movies you make are so exciting, but like where are the women? Like you criticize like the Canadian film industry, and you say that you, you know, Canada like you know has trouble like cultivating emerging voices in like the independent film community, but like you know, you guys are powerful and successful now, like yeah. So they I think they were like they kind of took that to heart, and then they had this um contest where they were looking for um like a first feature by a female screenwriter and they were gonna help them like develop it. Cool. And so it was like a blind submission thing, and and I submitted like a treatment for myelin kicks and at the time, which was called Anglophone.

SPEAKER_01 4:29

Oh, okay. Yeah, yeah, yeah.

SPEAKER_00 4:31

And then I and I won the contest, so then cool. Uh I you know, that became this incredible uh sort of collaboration with with Matt Miller, where you know, they I got they hired a story editor and they kind of helped and Matt Johnson and they helped me kind of shepherd and develop the script from yeah, you know, at that point I maybe had like I was on like a third draft or something with it. So it was really fun to like really just like work on the script and I would rewrite it. And I mean for like three years I rewrote and wrote the script over and over again, probably like 30 drafts or something. Yeah, and then in December of 2018, you know, I'd had a short that was at South by, I'd been nominated for Juno Awards for music videos that I directed, you know, and I was like, okay, I'm ready to like make a feature, like let's go. And at the time, I think we were looking to make the movie for like about a million dollars, and I just like couldn't get anyone interested in financing it. Like I couldn't get actors to read it. Um telefilm, like they said that they were interested, but they were like, we'll give you like 300,000 if you assure us that the$700,000 is like already raised, and you know, it's just like getting really frustrated and frustrating for me. And you know, people were suggesting, oh, what if you shoot it in like Sudbury? And I was like, No, it's like the whole movie takes place in like a four-block radius in Montreal. Like, I would spend my entire budget like making one quarter of Sudbury look like you know, say beater. Like, it's just this is like so annoying and frustrating. And so Matt Miller like wisely said, like, why don't you make another feature first through talent to watch? Gotcha. And then if that feature is successful, then we'll have like sort of the clout for you to be able to make this movie. And at the time I was really mad because I was like, You want me to make like an entire other movie first? Like, how many hoops do I have to jump through?

SPEAKER_02 6:21

Like, especially because you've seen that how long this movie takes. Yeah, I can't wait another 10 years to make this movie.

SPEAKER_00 6:27

I was like, I'm I'm ready, like, I'm ready to make this. And I was like watching like behind the scenes videos of like Greta Gerwig directing Ladybird and like sobbing because I was like, it felt very primal, like it just felt like I think the way that other women are like, I'm ready to have a baby. I was like, I want to make a movie. Yeah. And but you know, it was really great advice, and there was a part of me that was like, fine, I'll show you. I'll make like I'll make something and like you'll see. So that was kind of like the impulse for me to make I like movies, which I made with um at the time a hundred and twenty-five thousand dollar grant from telefilm for their talent to watch program.

SPEAKER_01 7:04

Oh, okay.

SPEAKER_00 7:05

So I'm so glad that happened the way it did, because like I never would have made that film without that kind of challenge, and it taught me so much about writing and directing and working with actors, and I think by the time that movie came out, it it did, it was like a a wonderful lesson that like you kind of just I don't know, keep writing, keep making things, like because you never know when and I you know, and then I'm so I feel really lucky because I think the way that it turned out, like this was always the cast that was meant to be in it, you know. This is always the way I got to actually make it the way I wanted to.

SPEAKER_02 7:40

Yeah. Did you so did you what did you learn? Like, what did you learn the most, probably would you say, from pre-production or actually being on set or post-production from I Like Movies, your first feature, to making my light kicks? Like, did you take something from the first one and you're like learning experience, learning curve, or you're like, this is what I gotta do a bit differently.

SPEAKER_00 8:00

Yeah, I mean, there's such they were such different movies, like, especially because I like movies was shot in the middle of the pandemic, so you're getting like nose swabs every day before going to said, and there were very strict like COVID protocols at the time, so this was like a very different experience, you know, where it felt like, oh, this is actually like when you make a feature and you get to like all eat lunch in the same room, and you're not like opening the door to allow like airflow and stuff. Oh wow. Um, and that you know, I think this was just like a little bit more ambitious in terms of scale, and um it wasn't just like two people in a video store with like my mom in the background as an extra risking her life to be in an extra in the movie. Um it was like that's awesome.

SPEAKER_02 8:46

I like movies is that yeah, that's amazing.

SPEAKER_00 8:48

Sometimes it was like you know, scenes with like a hundred people in them and blocking extras, and you know, we had to write like original songs for the movie, and so it's just like the scope of it and the ambition of it was like a little bit crazier. But I think what I did learn from I Like Movies and also my background in music video directing was just like the very DIY approach that I like try to have with everything, which is like you know, I love to like location scout, and like it was a real every location in this movie was like based on us like scouring the neighborhood looking for like apartments and flyering doors, and like you know, a lot of the locations were like written to the scripts into the script from like a the first draft, like the okay because that was that was actually a question was like, yeah, how did you decide that?

SPEAKER_02 9:34

So you're just saying that it actually came about right away, where you kind of know because the the the the Matreal and Toronto are a big part of the movie and their identity part. So how did that exactly come about?

SPEAKER_00 9:45

Well, they're all it's all just like sort of um sense memory exercise of like real places that um were really significant to me when I was in my mid-20s. So I was like, Well, yeah, we're gonna shoot at Sneaky D's because that's where the Wavelake show was on Sundays, and like she's gonna take the megabus because that's where you what you would do. And so I think that was like the interesting challenge of me being like, no, it has to be the megabus. And they're like, Well, can't it just be like a bus, or could she just take a train, or like we can just show her briefly at the airport? I'm like, no, it's like it's the megabus, it looks like this, you know. And so I mean, I'm really grateful that I had like a producing team that understood that, but it was a very stressful time when we're like about to shoot and like still waiting for the megabus to email us back, and I'm like silently freaking out because like no other bus like looks like that, no other bus has that weird.

SPEAKER_02 10:38

The first thing I said to you was after watching was like, I love the mega bus shot. Like it's just like it's like I've been there, yeah, everyone's been there. We're taking that bus and know that feeling. So, so yeah, so Milo Kick draws a lot from your time in Montreal. When you're when you are adapting something like that from you know your personal story, like what are you what are you unwilling to compromise, and where do you need to like intentionally kind of detach from reality in the movie? Or is there an instance of that, or is it all like how much of it is is your like like you said, like it has to be the megabus, it can't be in Sudbury. It's like it's like I refuse, which is amazing because it just doesn't work, right? Like it is part of the character, so yeah, I mean that's a great question.

SPEAKER_00 11:18

I mean, I think that's like the the whole thing with filmmaking is like you know, what are you what is like fundamental to your vision and like what things like are like impossible to like compromise on because it just like that's not the movie you're making, and then what things are like things you can live with so that the movie can actually get made, and and how do you do that at the dance where you know people understand your vision and like want to go on that journey with you and aren't like getting in the way, you know, or you're running out of money or time or resources and stuff. But I think for me, like uh I guess for the more personal autobiographical films that I'm making, like I need things to feel real, I need it to be the actual object that I remember having in my hands, like because they're all kind of like memories to me, and I want the film to feel like a memory. So like with I like movies, you know, all of our set deck was from an actual blockbuster that I had found abandoned in northern Ontario. Oh, that's awesome. And like someone told me that this blockbuster has just been sitting vacant for 15 years, and I like emailed the I like found out who the property manager was by like calling the pet store that was next to the abandoned blockbuster, and then he met me and like gave me the keys, and when I opened the door, like all the shelves and the card and the TVs and the computer, like they were all still there, and so we just like literally like hijacked the block ransacked the black blockbuster and like put it in a cube truck and drove away. And I feel like like that is my style of filmmaking, is like just like same with Mileen Kix's like you know, a lot of her clothes are like the real like spin t-shirt that I got when I was a 20-year-old intern, like working at the magazine and the Sonic Youth shirt that I got when I saw like all of Daydream Nation at McCarran Pool Park, and so it's just like that's just like how my my brain works, and those I guess those lived details are what makes something feel cinematic to me.

SPEAKER_02 13:26

Yeah, that's awesome. Well, yeah, I guess so I kind of asked you this before a bit, but you you could you or I've I've I wanted to go back to this because you kind of didn't mention this about when you're writing, um, like you're kind of in a bit of a different mode. So going from writing to directing, where do you uh sorry? So we're going from writing to directing, like what what changes do you have to make like as a collaborator? What kind of execution changes do you have to make? Do you change modes from writer to director?

SPEAKER_00 13:56

Um, yeah, I mean I think it's like soon as you start involving different people in the process, like you, you know, your script opens up and you know, there's some things you have to change from like a budgetary standpoint or a logistic standpoint. There's stuff you want to change because you meet some incredible actor and they're so fascinating, and then parts of their lived experience and like kind of infiltrate the script and you try tailoring the character more towards them, you know. So ideally it's like I that's the kind of the game of filmmaking, I guess, is like adjusting what you wrote to like make a movie out of it. And then again, when you're editing, it like you rewrite the scripts like all over again. Yeah, you rewrite it with sound, you rewrite it with score. So um, yeah, I think it's give to be kind of malleable, but also stay true to what why you wanted to make this thing in the first place.

SPEAKER_02 14:47

Uh okay, what I did want to ask you too is about um tell me a bit about your collaboration with Topps. Uh kind of you given your connection to Montreal's music scene, how did that relationship develop and what do you think they brought to the film?

SPEAKER_00 14:59

Oh yeah, I mean Topps are like my favorite band in the entire world, and I've been obsessed with them since I was like in since 2012, you know. So I was always just like dreaming of working with them on this movie because I just love their music so much. So I think I just like cold emailed them and sent them like a copy of the script in the lookbook, and they were interested.

SPEAKER_01 15:21

Yeah.

SPEAKER_00 15:21

So it just became this really fun thing. Like I because yeah, there's two original songs they wrote. Yeah. One's called ASL.

SPEAKER_02 15:29

Yeah, which is a great song.

SPEAKER_00 15:31

And then one's called Slept in My Jeans. Yeah. And for ASL, like I was like, okay, um, I had this like long playlist of songs that I thought we could like extrapolate from for like the sound of the band. So it was like a lot of pavement and oh, what's that song? Archers of loaf. Yeah. That band.

SPEAKER_01 15:50

Yeah, yeah.

SPEAKER_00 15:51

And kind of like 90s slack rock, like super chunk and stuff. And then uh, and so then I was we it kind of like we would just dissect it, like we're like, okay, we want like a big guitar solo here. We know we want like the band to start like trading off on vocals here. Cool. Um it should like kind of soar. It's I I wrote some of the lyrics. Oh really? They and then and like it just uh yeah, and then with Slept in My Jeans, it was like I really want this to be like a freaky solo project for the lead singer, so this is like his like aerial pink, like John Mouse kind of vibe. And I love John Mouse so much, and like his song Um Bennington is like my favorite love song of all time.

SPEAKER_02 16:33

I I saw that performed live like three months ago, four months ago uh here in LA. It was like it was awesome. Yeah, I love John Mouse.

SPEAKER_00 16:43

Yeah, I've seen him three times in concert, and he's done that song like three times.

SPEAKER_02 16:48

Oh my god, is there anyone better live?

SPEAKER_00 16:50

It's like the most emotional like outpouring ever.

SPEAKER_02 16:52

Yeah, and the visuals are always great too.

SPEAKER_00 16:54

Yeah, yeah and I think I I dated someone who loved John Mouse, and so like you know, when you like you'll always associate a song with like a person, and so that song really became like uh really important to me. So I was like, yeah, I want to write like my version of Bennington.

SPEAKER_02 17:12

Yeah, oh that's that's awesome.

SPEAKER_00 17:13

Yeah, and there's an amazing music video that's um this vanilla ice movie called Cool as Ice.

SPEAKER_02 17:19

Familiar. Oh, yeah.

SPEAKER_00 17:20

That was shot by like a Dart cinematographer, and um Oh really? And and it's set to Bennington, you can watch it online, and it's like to me my favorite uh piece of art.

SPEAKER_02 17:30

I'm definitely gonna check that out. That is amazing. Well, that was kind of my next question, too. Is that like music like is a part of the story, it's part of the character. Um and so like so can you tell me a bit about like you said you were making the songs like did you have any struggle with music licensing or like song selection? Like because ultimately like it's a huge part of the I mean it was really challenging.

SPEAKER_00 17:49

Like we always knew it was gonna be a music movie, and we're always like like don't run out of money because like you have to save like$200,000 for the music, and then it is like really challenging, right? Because you want to get all these like period-era songs, you want them to be needle drops, you want them to be like legitimate. Yeah, a lot of songs were written into the script, like um the the song at the for the end credits by Autolux. Like, I love that song too. Yeah, it's a great song, yeah, um, and so yeah, and like you know, we're like a scrappy Canadian um movie. So, like Evan Davinsky, um, who is one of the co-producers and he was one of the producers of that like movie, is like he is an amazing music supervisor, and he just like worked so tired tirelessly to help me license stuff for the movie. And I wrote a lot of personal letters to like Alanis Moore said and Peaches and Joanna Newsome and Deer Hunter and Yeah, so didn't it respond? Um Alanis was like, I give you my spiritual blessing. And she literally played God in Dogma, so that's like pretty good.

SPEAKER_02 18:56

Yeah, no, yeah.

SPEAKER_00 18:57

And um yeah, and it was just so it was really they gave us like our songs for like much cheaper, and I hear you know, Joanna Newsome like very rarely gives her songs to movies, so that that sequence where Grace is listening to easy and uh at work late at night and writing about them and the lights go off. Like I'm really proud of that because I just I just think that song's so beautiful and it works so well in that moment.

SPEAKER_02 19:20

Yeah, it means so much just to even just get it in there, right? Yeah, yeah, that's awesome.

SPEAKER_00 19:25

Uh and also just like to also be able to feature like real musicians from that time period to like Caden Sweapon and Sean Nicholas Savage and Tops and sort of also really illustrate uh what what the scene was like at that time and all the the players in it, you know.

SPEAKER_02 19:43

Yeah, yeah, for sure. Um so yeah, so sounds amazing, but I also wanted to want to talk about uh because I think the film looks like Oh, I also forgot to mention that Kayla Thompson Henant, um, who's now Cecile Believe.

SPEAKER_00 19:56

Yeah, she did the score and she was like for Mozart's sister and think about life, and she's just an amazing musician.

SPEAKER_02 20:03

Oh, yeah, they did a score because I ran into someone who was telling me about uh uh yeah, anyways.

SPEAKER_00 20:09

Yeah, and I think the score is like so awesome too, and she absolutely killed it.

SPEAKER_02 20:14

Amazing, yeah, yeah, yeah. So what's their name against Ray?

SPEAKER_00 20:17

Uh Cecile Belief. Cecile Belief that used to be uh they used to have a project called Mozart's sister.

SPEAKER_02 20:22

Yeah, because I remember Mozart's sister, so that sounds familiar.

SPEAKER_00 20:25

Yeah, yeah, yeah. And she's like a legend at that time.

SPEAKER_02 20:27

Where where where are they from?

SPEAKER_00 20:29

Uh they're from Victoria. They're from Victoria, yeah. But and they live in LA now. Gotcha. Um and wrote songs, you know, for Sophie. And just like such a genius, like producer and songwriter and musician. So that was really fun. Like to kind of be like, hey, what's the like inflection point between MacDamarco and like John Bryan? Yeah.

SPEAKER_02 20:50

But what I do want to ask you about about because I think the film looks great. It looks so good.

SPEAKER_01 20:54

Thanks.

SPEAKER_02 20:54

Um, so can you tell me a bit about the conversation that you have with your cinematographer and you know, about the visual language of the film and how you kind of decided, you know, what would work, what kind of you want what you wanted the feel and look to be of the actual film?

SPEAKER_00 21:10

Oh, that's a great question. Yeah, I worked with Jeremy Cox, who's a cinematographer from Vancouver. All right. And he's just like immensely, immensely talented. And that was one of my favorite aspects of the movie was just getting to work with him. And uh he shot like keeper, like that Oswald Perkins movie that came out this year. Oh yeah. He shot Backrooms, like the A24 movie that's coming out later this year. He's just like so brilliant, so thoughtful, works so hard, yeah, cares so much. Um so you know, it was really cool because he was like, Okay, if we're gonna do this, like I want to come to Montreal like a bunch of times before to like scout locations and just like feel the world. Like, I'm not gonna come to set like the day before we shoot and like awesome. I'm gonna I really wanna like know this place and like s and and have my own like vantage point on it. And, you know, I think at the time I was like, oh well, I've rem you know, I was like, oh, maybe this should be shot by like a a Quebec cinematographer, but it was actually really great to have his specific lens as like an outsider and just notice the things that he finds beautiful because it it really became like her gaze. Yeah. And so every weekend he would go out and just like walk around the milan and shoot like little almost like documentary footage of stuff that he thought was like beautiful and interesting. Yeah. Of like people walking around the street. There's like this amazing shot in the movie where like a cat is like crossing the train tracks. And that was just him that's just Jeremy like on a Sunday like shooting whatever he wants or like different Hasidic Jews in an alleyway or you know it's just like the texture and like real world of this very specific neighborhood. Which in the summer is like to me the most cinematic place alive.

SPEAKER_02 22:54

Well you he understood that like Montreal was is like a character in the movie right? Yeah.

SPEAKER_00 23:00

So yeah I think like I have a long letterbox list of movies that like inspired me.

SPEAKER_02 23:05

Okay.

SPEAKER_00 23:05

I think Licorice Pizza was like a big touchstone for us. Like just the way that like Yeah I can see that yeah I know what you're saying yeah kind of like the breeziness of it and how interestingly like they would cover like a scene and kind of like a walk and talk you know and then you know like a lot of like like Manhattan and Annie Hall and you know the the Eric Romer like summer comedies like I love look collection is and you know Claire's knee and like yeah all those movies where like French people are sort of bored at the summer and just like lounging and so it's very much Montreal.

SPEAKER_02 23:43

Yeah exactly that's Capture Montreal.

SPEAKER_00 23:45

And then I mean there's like some Quebec movies too that were like a real touchdown like um Lesemor Imaginaire by Xavier Dolan and um Two Door Nicole by Stefan Lefleur and you know I love Mona Chacree's movies a lot and stuff. So it's kind of like trying to find like the texture of like Quebec Cinema and then a big thing too was just girls by Lena Dunham.

SPEAKER_01 24:08

Yeah.

SPEAKER_00 24:08

And just like rewatching all those seasons especially the first season and just being like this is so brilliant and innovative like the attention to detail and the specificity of those characters and the way she covers things is like amazing and so and when I when we were blocking like the sex scenes with the intimacy coordinator like we would just watch the sex scenes from girls as kind of like creative inspiration. Interesting you'd show like a a reference to like a a cinematographer or like a costume designer as a composer it's like yeah you should be kind of like doing that with an intimacy coordinator too I think.

SPEAKER_02 24:46

Okay so when you look back at the full production and even doing I mean I love movies both and uh Miley kicks what is you find kind of the most difficult stretch? Like where did you kind of get stuck and ultimately like kind of power through like you know what I mean because obviously you powered through because it's the movies but like you know where is someone that you got stuck where you're like oh I really did have to do that whether it's pre-production post or oh god I mean there's so many moments right like I think movies are just like pure miracles and like any film that gets made is like it's like there's so many moments where you feel like you're you're gonna gonna give up or like it's it's just like you feel like you're like this is I'm never gonna finish this movie.

SPEAKER_00 25:28

Like especially with I like movies. There were so many moments where I was like this movie is like you know it's like like whether it's like just like a reshoot or um an editing thing like it's just a step distribution like it's like every step is like so impossible sometimes. And so it's like really important that you're working with people that like are like no we're gonna finish this it's okay.

SPEAKER_01 25:53

Yeah.

SPEAKER_00 25:54

And I think the challenging thing with Milan Kicks was that you know while we're still editing the film I got uh another job like oh um for this uh Adam Sandler film that I directed last summer call roommates that's also coming out on April 17th. So you have double premiere yes I gonna are you gonna go to both or um I mean that I think the premieres are on different days but both movies are being released on the otherwise I'll just miss a south fire yeah I was gonna say that's like New Age like that's like a flash like an episode of Entourage or something. You know what I mean? That's really funny. Yeah. So so you know I was like I got this job like super unexpectedly and like I you know I was just kind of in a position like both for my career and also just financially and just the opportunity itself I'm like I can't say like there is something about this world right where it's you have you can't say no.

SPEAKER_02 26:51

You have to keep the ball rolling you have to have the momentum.

SPEAKER_00 26:53

Yeah I mean and luckily like my producers were like super accommodating about that and like totally understood what a great opportunity it was but it was also like insane because I'd be like flying back from New Jersey to Toronto like every weekend. Oh wow being like okay let's like keep working on the sound mix and I would like to then shift back and my flight would get like delayed and I'd miss like the first day of the sound mix and then I'd have to like fly to LA and like work on the stuff with the composer or like be like location scouting in a van all day and then it'd be like 9 p.m and I'd be like I haven't eaten all day and I'm like all I want to do is like eat Chipotle and go to bed. Yeah exactly but it's like no you have to spend like five hours like figuring out the score cue and it's just you know it's it's like it needs to be done but it was really it was really challenging because it's a lot of self-motivation. Yeah and I I mean I'm really grateful to everyone who like tried to make it happen but it's like there's a reason I would never want to be like in prep and shooting a movie while finishing another one ever again.

SPEAKER_01 27:57

Yeah.

SPEAKER_00 27:57

And I don't recommend it. Yeah and everyone really did like move heaven and earth for me and like did the absolute greatest job like they could but it still was really really hard.

SPEAKER_02 28:09

Well this kind of you kind of answered my question but I was gonna ask you what's next for you.

SPEAKER_00 28:12

It's like having a baby getting like pulled out of your uterus while you're like six months pregnant with another one or something.

SPEAKER_02 28:21

I like that that's a very crazy right there.

SPEAKER_00 28:26

I met a four that I I don't know.

SPEAKER_02 28:28

Yeah no yeah so I guess yeah that is a good example of somewhere where you kind of got stuck and had to persevere but I mean that's a really good problem to have though um so the last question I have for you is I mean you kind of answered it which is what is next for you but you said you're working on the standard so where are you at that that works at stage at right now?

SPEAKER_00 28:48

Uh we just I think we're gonna be done on Monday.

SPEAKER_02 28:50

Yeah because if that premiere is because it must be coming out really soon. Yeah. Where's it where where are we gonna be able to watch that?

SPEAKER_00 28:56

It's gonna be on Netflix.

SPEAKER_02 28:57

Amazing do you know where we're gonna be able to watch Myland's kicks yet?

SPEAKER_00 29:01

It'll be like released theatrically across Canada and the US.

SPEAKER_02 29:05

Awesome.

SPEAKER_00 29:05

So and I think I think in Spain too it's coming out and they'll end up on a street service. Yeah I don't know which one yet but hopefully it will have a long life theatrically and um people will go out and see it and um yeah I'm really excited about it.

SPEAKER_02 29:20

Yeah well I mean congratulations honestly it's it is great.

SPEAKER_00 29:22

I'm so happy proud to say that uh you know sitting here with you oh that's so sweet well thank you for your incredible questions and yeah it's it's so cool to be on your podcast.

SPEAKER_02 29:32

Yeah well thanks for coming really appreciate you having here and we can see Myland Kicks April 17th and roommates April 17th perfect on Netflix so you have no excuse like if you got you gotta watch something Chandler of ac if not two things on that day. So I definitely know I'll be but yeah thanks again and congratulations yeah thank you Chris great questions thanks for joining us that was Chandler of Vac. We will be back next time Adam and I to talk movies hidden gems indies just like we always do