TRANSCRIPT OF INTERVIEW WITH FILMMAKER AND SCREENWRITER ANDREW COHN September 30, 2020 Host: Bryan Smith Andrew Cohn (00:00:00): I remember calling my wife and just saying, "I just got a phone call from Alexander Payne." And she said, "What?!" And I said, "Yeah, he read my script and I think he wants to direct it." And she said, "What?!" And I said, "Yeah, I know, right?" But I remember walking down the hill and thinking: I think this changes things. Bryan Smith (00:00:24): Bryan Smith here and welcome to the DreamPath podcast. Where I try to get inside the heads of talented creatives from all over the world. My goal is to demystify and humanize the creative process and make it accessible to everyone. Now, let's jump in. Bryan Smith (00:00:42): Andrew Cohn's on the show. Andrew is an Emmy award-winning filmmaker and screenwriter. His most recent film is The Last Shift which he wrote and directed, starring Academy Award nominee Richard Jenkins, Shane Paul McGee, and Ed O'Neill. The film was executive produced by two time Academy Award winner, and film legend, Alexander Payne. You probably remember Alexander from his films The Descendants with George Clooney, About Schmidt with Jack Nicholson, Election, Nebraska, and Sideways, among others. The Last Shift premiered at Sundance this year, where it was picked up by Sony pictures and released last week in theaters. I was lucky to see The Last Shift at Sundance, where I interviewed the film's production designer, Adri Siriwatt, but I wasn't able to connect with Andrew. So it was great to talk to him last week, right before the film's theatrical release. Bryan Smith (00:01:33): Andrew cut his teeth in the documentary world with films like Medora, produced by Steve Buscemi and Stanley Tucci, for which he won an Emmy. He went on to direct a series of compelling documentaries, including The Warriors of Liberty City produced by LeBron James. The Last Shift is Andrew's first narrative feature, but you would never know it given how adeptly he subtly weaves themes of race, class and identity into beautifully communicated, tragic performances from the cast. In this interview, Andrew talks about how his approach to documentary filmmaking helped him transition smoothly into narrative features, how he was able to learn the craft of screenwriting and filmmaking without ever going to film school, how he was able to shoot The Last Shift in 20 days and come in under budget, how he was able to secure A-list talent and producers on his first narrative feature, and how Alexander Payne got involved in the project; which was a burning question for me going into the interview, because I'm a huge fan of Alexander's work. Bryan Smith (00:02:34): For me, Andrew's approach to filmmaking is inspiring, because it's not centered around preparing to become a filmmaker with film school or masterclasses or books. Andrew just jumped right in and did it in a very trial by fire way, learning through mistakes, but also through friends and colleagues he met on that journey. Very early in his career he worked with some of the most talented actors, producers, and crew in the business. And I think the importance he placed on professional relationships put him on an incredible trajectory in the film world. So, without further ado, let's jump into my chat with Andrew Cohn. Bryan Smith (00:03:10): Hey, Andrew. Andrew Cohn (00:03:11): Hey there. Bryan Smith (00:03:11): How you doing, man? Andrew Cohn (00:03:15): I'm doing great, man. It's good to see ya. Bryan Smith (00:03:17): Good to see you. Thanks for making time for me. Andrew Cohn (00:03:20): Yeah. I'm excited to talk to you. I'm sorry we didn't get to connect at Sundance. Bryan Smith (00:03:25): Oh, you were so busy there. Andrew Cohn (00:03:28): I was? Bryan Smith (00:03:28): Yeah, I'm sure. I'm sure you were just inundated with press there. Andrew Cohn (00:03:33): It feels so long ago. Bryan Smith (00:03:35): It does, it feels like an eternity ago. And also there's this, I don't know the sense of like- That may have been the last festival where it was this COVID-free feeling of anything is possible, and we can go anywhere we want and there's no restrictions. And I don't know when we're going to get back there. Andrew Cohn (00:04:00): I think maybe you should print those t-shirts, Sundance 2020: the last film festival ever. Bryan Smith (00:04:08): It really was the last film festival. In fact, I think I read an article where there were COVID positive people at the festival and it's one of the theories of how it's spread worldwide, because of all the people that were there. Andrew Cohn (00:04:23): I was deathly ill when I was at Sundance and I am curious of whether I had COVID back then. I didn't have- I haven't had the- I've been tested since then, but I haven't had the, what's it called, the...? Bryan Smith (00:04:34): The antibody test? Andrew Cohn (00:04:35): The antibody test. But I don't know if you remember, but here in Los Angeles, there were large swaths of people that were getting sick the month up until that, and this was before COVID was coming out. And I was told that I had bronchitis, but who knows? Bryan Smith (00:04:54): Yeah. As I was listening back, I went and listened back to the Adri Siriwatt interview to prepare for your interview. And I'm listening to my breath and my- I was trying to hold back coughs in the microphone. And I was like: Wow, I was sick back then. So- And it was toward the end of the festival when that interview took place. So, it makes sense that maybe I caught something there. Andrew Cohn (00:05:21): She's fantastic. I can't even speak highly enough about the job she did. She's so brilliant. And yeah, a funny story, we were looking for production designers and Adri was in Chicago, which is where we shot the film. That's where she's based out of. And I got on a call with her and I said, "Oh, where do you live?" And she said, "Well, I split time between LA and Chicago." And I said, "Well, where are you now?" And she said, "Oh, I live in LA. I'm in LA right now." We lived two doors down from each other. Bryan Smith (00:05:51): Oh my gosh. Andrew Cohn (00:05:52): And didn't know it until we met, when I randomly interviewed her for the job, so... Bryan Smith (00:05:58): That's crazy. And I agree. She is a very impressive creative, from the standpoint that not only is she just super talented, but she's so understated and modest; the way she talks about her own skillset and the way she talks about luck and fate and there's- I don't think she attributes a lot of her success to her own talent necessarily, which is a testament to her character. Andrew Cohn (00:06:25): That's very Midwestern of her. I'm from Michigan and yeah. I mean, I think that we certainly connected that way, as you always want to push the credit, as you should, to others. And I think that she- We just had a great connection from the beginning and both wanted to make the same movie. And she understood the textures and the energy that I wanted the main space to be. She's so kind and she's so sweet, and she's just a great collaborator. I mean, I think her work speaks for itself. And I think that that's the kind of the way I approach my career is like, I love my work and I really enjoy the process and everything else that comes after it is great, but I almost just would rather allow the films to speak for themselves. Bryan Smith (00:07:16): Yeah. It's interesting how you phrased that, "I want to allow the films to speak for themselves." I was interviewing a director recently named Tommy Avallone, who directed The Bill Murray Stories documentary, and Ghosthead, and he's done some fun stuff, but he talked about this concept of sales. Like, if you're a producer or a director you're expected, to a certain degree, to sell your work, and this is why you should watch it. This is why you should make this or help me make this. And he said that he just is terrible at it. And he's just not interested in that aspect of it all. And so when people ask him, why should I watch this film? Or why should I help you make this use? He says, "You know what, don't bother." Andrew Cohn (00:08:06): Yeah, yeah. I mean, for me, it's also, when people ask me to dissect my work or to be critical or to analyze my own work: What does it mean? Or what are you- What stories are you interested in? And I can try, but it's, for me, filmmaking is such a spiritual thing.