Jason Biggs

But I'm not going to pretend to know what I don't know.

And that was the White Brothers for me.

I just remember them

and also trusting the actors, like really, like, you know, they trusted their casting decisions.

And so they were, and then once the actors were sort of comfortable, they trusted them to contribute in the way that they, you know, and so,

yeah i don't know they they really stand out for me i'm i'm indebted to them for sure kevin smith is someone who i've worked with a bunch and just like he you know he everyone wants to be there everyone who's on a kevin smith set wants to be there um because they like working for him they think it's fun they think they're making something special you know um you know i uh

this is a name that I'll be very specific about, you know, what I took from it, but like I worked with Woody Allen and I, that's where I fell in love with the one, one shot, the one-er, you know, like I had never, I, I, in American Pie, we had done one or two sort of long one-er shots that I remember thinking, wow, this is really, really cool, very theatrical.

But then when I did the Woody Allen movie, I mean, we were, we did,

almost like there were so many oners like constantly.

And I just remember feeling so incredibly engaged as a performer because it was very theatrical.

It was very, you know, in the pressure.

Now it was also very traumatic for me.

I, you know, like what he can be was very

I, I, it was very nervous.

It was very nerve wracking, but it's a whole nother story we could get into.

I'm sure I've lost the trauma around it, but, but, um, more, I should talk about his cinematographer that I work with, just how he put these shots together.

And I, and so I, I always thought, Oh, if I ever direct, like I have to find space for one, I have to like find at least one

you know, one-er in this.

And the movie, Untitled Home Invasion Romance, is not very conducive to that style of filmmaking.

It's much more kinetic.