This is a transcript of SYS 450 – Directing A-List Actors With Matt Eskandari .
Welcome to Episode 450 of the Selling Your Screenplay Podcast. I’m Ashley Scott Meyers, Screenwriter and Blogger with sellingyourscreenplay.com. Today, I have on director Matt Eskandari, who just directed a Kevin Dillon, Bruce Willis film called Wire Room. It’s a contained Action-Thriller Film. We talk about how he got involved in this project, and how he typically is brought on to projects like this, as well as his thoughts about why this particular screenplay worked so well and ended up getting produced. So, stay tuned for that interview.
If you find this episode valuable, please help me out by giving me a review in iTunes or leaving a comment on YouTube or retweeting the podcast on Twitter or liking or sharing it on Facebook. These social media shares really do help spread word about the podcast, so they’re very much appreciated. Any websites or links that I mentioned the podcast can be found on my blog in the show notes. I also publish a transcript with every episode in case you’d rather read the show or look at something later on. You can find all the podcast show notes at www.sellingyourscreenplay.com/podcast and then just look for episode number 450.
If you want my free guide How to Sell a Screenplay in Five Weeks, you can pick that up by going to sellingyourscreenplay.com/guide. It’s completely free, you just put in your email address and I’ll send you a new lesson once per week for five weeks along with a bunch of bonus lessons. I teach the whole process of how to sell your screenplay in that guide. I’ll teach you how to write a professional logline and query letter, and how to find agents, managers and producers who are looking for material, really is everything you need to know to sell your screenplay, just go to sellingyourscreenplay.com/guide.
So, a quick few words about what I’m working on. I’m still working hard getting ready for the film festival. But there are some big updates this past week. I did launch the website this week. That’s at www.sixfigurefilmfestival.com. We have the full unlocked schedule so you can check that out. Our opening night films are all set. It’s October 7th at 7:30pm. We have cool short film by director Darren Coyle and a fun comedy feature made during COVID called Christmas Staycation, I’m going to be doing a screening of my own film – The Rideshare Killer at 10pm on that opening night, that opening Friday night. So, if you have any interest in seeing my film, do check out the website for the ticket link. And then we have a bunch of other film screening throughout the weekend. Again, there’s lots of information about the films on the websites, we’ve posted loglines, posters, just basic stuff all about these films, we’re doing a table read on Sunday, October 9th at 2pm to 4:30pm, I’m going to choose one of the top scripts from this year’s contest to read live with actors is going to be probably a writer who, you know will look at the top scripts and I’ll probably just start at the top of the list and then find a writer that lives in LA or is local and can get here and actually attend this reading because that’s really part of the process is giving notes and getting notes. As the writer, I think it will be valuable for some individual to have their script read by actors and really get those notes. As I said, we’re going to choose the script once we get through some of these screenplays, we’re still actually reviewing screenplays and we’ll have those announcements shortly. If you’ve never been to a table read like that, it’s a great tool for screenwriters. So, I definitely would recommend checking it out. Basically, we’re going to have about a dozen actors up on stage reading the various roles from the screenplay. And then once the screenplay is read, the actors sit down and the writer goes up on stage and listens to the notes. I’m going to invite a bunch of other writers and industry judges to come and be a part of the audience. So, we’ll be listening to the reading by the actors. And then once the reading is done, then we will actually offer the notes to the writers, the industry judges, we will start offering notes, the writer will go up on stage and get these notes. It can be a little unnerving if you are the writer. But it is really a great exercise. The writer doesn’t respond to the notes at this point. They’re just sitting on stage I’ll be up on stage as well, just sort of calling people and keeping things organized. But the writer will basically be up there just listening, perhaps writing stuff down. But this is actually not the time to … our instinct when you get up on stage is to start defending the script and defending the material and explaining things if things didn’t seem clear and concise to people. But that’s not actually what this exercise is for. It’s really for the writer, just hear the notes and get some consensus. It’ll be interesting, you know, you’ll be able to hear other people’s notes as you’re in the audience and sort of say; Yeah, I agree with those notes. Oh, those are good notes or oh, I didn’t think of that. Or perhaps maybe you did think of that you’re giving similar notes and that’s good for a writer to hear that multiple people are coming up with very similar notes because those are usually really the notes that writers should be concentrating on. Anyways, it is a little unnerving for the writer but as I said, it’s a really great exercise. Some of the actors, as I said, some of them probably will just go home after the reading, but probably some of them will sit down in the audience, and then they’ll have comments as well. And again, this is just really valuable information because the actors, you know, come at this from a very different perspective than the writers. So, you know, you could potentially get some notes from these actors, and they, their notes will typically be very much geared towards, you know, the role that they play, they’ll be very accurate notes. But those are great notes to get, because you want actors to read this script and respond to it. So having some, you know, trained actors give you notes, again, is another big part of this process. Anyways, again, I will invite as many writers interview judges out, so it should be really interesting session, just getting notes. If this sounds like something you’d be interested in, do check out the website, there are ticket links. I think it will be a fun and educational experience, really for any writer. So, if you’re in the Los Angeles area, definitely check this out. And perhaps think about attending.
Also, we have a little signup form on the website, email signup form, he’s putting your name and email address. And, you know, I won’t be sending out selling your screenplay updates to that list. So, if you want to get on the film festival list, do sign up there, because I’ll be sending out your specific updates about the festival to that list. And especially as the years go on, you know, next year I’ll start with a list. We’ll have a bunch of people so I can sort of announce the festival. And again, it’s just a good way for me to start to separate Selling Your Screenplay from this Festival. Hopefully the festival can kind of have a life of its own. And again, it’s geared towards more indie film and specifically screenwriting, although ultimately, I would like to turn this into a very, you know, writer-centric Film Festival. Anyways, I hope I get to meet some of the folks who listen to this podcast at the festival. Again, if you’re in the LA area, do consider coming out. And again, just check out our website for all the details sixfigurefilmfestival.com to learn more. Anyways, that’s a big thing I’ve been working on, now let’s get into the main segment. Today I am interviewing director Matt Eskandari. Here is the interview.
Ashley
Welcome, Matt to the Selling Your Screenplay Podcast, real appreciate coming on the show with me today.
Matt Eskandari
Hey, it’s a pleasure. Thanks for having me on.
Ashley
So, to start out, maybe you can tell us a little bit about your background. Where do you grow up? And how did you get interested in the entertainment business?
Matt Eskandari
Yeah, it’s sort of a long journey. But I’ll try to condense it in an interesting sort of way. But, you know, I immigrated to America as a child from Iran. And I grew up in California. And growing up, I always was interested in filmmaking and films and art. And I went to USC film school. I studied film there, graduated, and I did a couple kind of short films that won some awards, got some attention. And then from there, sort of my career sort of had its path forward from there. I mean, I did some indie movies, mostly in the horror-thriller genre. You know, I did this film that got me a lot of attention – 12 Feet Deep. It was a contained thriller about two sisters trapped in a pool. And from there that kind of opened the doors and I was able to, like land like an agent or manager, who were able to kind of get my foot in the door with Lions Gate and get basically my career kind of jump started with these last few years, and I’ve directed four movies now with Bruce Willis at Lionsgate and Virgo Entertainment. So, it’s been, yeah, it’s been an interesting journey. I mean, I feel like everybody has their own really unique journey. But, you know, you can always learn from somebody else’s.
Ashley
Yeah. And just take us through that step from the short films to actually getting paid to direct a feature film. Were you writing script? Were you sending out your reel at this point, you had a bunch of shorts, so you had your reel, just what were those steps from going from sort of a hobbyist to a professional?
Matt Eskandari
I definitely was writing a lot. I feel like that’s one of the most important things as an up-and-coming filmmaker, screenwriter, specifically, you have to write I mean, you’re not going to understand the industry and the process, unless you’re actually doing it. And I think one of the huge things that I learned early on was not only your like, especially if you’re want to be a successful screenwriter, not only are you watching movies, which a lot of screenwriters do read the screenplays, read the specs, sometimes I would see a movie come out and I’m like, I wouldn’t even watch the movie, I would just read the spec. They got picked up and bought based on that and that story, and I’d be like, oh, that’s why that movie got picked up. Okay, I get it now. Sometimes I would see things in the spec that didn’t even make it on screen. But I was like, okay, that worked on the page. And I wonder why it didn’t get translated on screen. And the learning process of that, like was a huge stepping stone for me, it helped me understand why certain scripts were selling, why some weren’t. And at the same time, I was writing a lot of scripts, working with writing partners. And you know, just like a lot of other writers, I have a huge drawer of unproduced screenplays, collecting dust. And it’s like hey man, those are just the you know, but I look back and I’m now like cringing at how bad the writing is an important story like doesn’t make sense or whatnot. So, it’s just a process really, I mean, and that transition from, like you said hobbyist to professional, a lot of times, it’s not just like one moment, or one thing that does that. I mean, there was a huge period of my career where I was doing really well and I thought things were going to take off. And then next thing, you know, I’m going to three years without anything, and I’m my professional still, or what happened, you know, kicking the movie off the ground, so, it’s like, you know, in your career, looking back, there will always be ups and downs and twists and turns, almost like a good screenplay. You’re going to have to kind of slow and see what you learn from it.
Ashley
Yeah, yes. Sound advice, for sure. So, let’s dig into your latest film Wire Room starring Bruce Willis and Kevin Dillon. Maybe just to start out, you can give us a quick pitch or logline, what is this film all about?
Matt Eskandari
Yeah, basically, it’s about this rookie Wire Room agent, it’s his first day on the job. And he shows up there his first day on the job to basically surveil this drug cartel member. And on that first day, all hell breaks loose when this drug cartel member is attacked by these bad guys. And he has to keep the target alive, and he decides to break the rules and talk to the target. So, it turns into this very kind of tense suspense thriller, contained suspense or between the agent and the cartel member and the back and forth, that happens there. And one of the things I think is a huge thing for a lot of your podcast listeners is, the script itself was written by a writer who had experience working in a wire room who actually had experience being a Homeland Security Agent. So, when I picked up that script, initially, it had so much authenticity to it, that it hooked you right away, right. So that whole adage of write which you know, it does pay off, right? Because if it’s something that you know really well, you bring an authenticity to that voice. And that’s something you can’t fake.
Ashley
Now, the flip side of that, as you’re saying that, and I actually clicked on the rise, I can’t remember his name, I clicked on his things. And this is his only writing credits. So, the flip side is it’s very authentic, because he has real world experience in this. The flip side, of course, is that he doesn’t have a lot of experience writing the screenplay, where there’s some issues, structural issues, just sort of screenwriting one on one issues that he had, even though he has authenticity, and let’s just sort of dig into the script. What was sort of that development process like once you came onto it?
Matt Eskandari
No, I mean, to be honest, I think that I mean, I can’t speak for his background or whatnot. But the script worked on a very sound structural level story level. And I think that I felt this was his first script. I mean, this is maybe his first spec that he sold. But it’s one of those things where this is probably his 20, that script. And it was like one of those things where he finally hit one out of the ballpark, because it was something very authentic. And the hook was just something that felt fresh, it felt new, it felt different, it felt like; Okay, I’ve seen movie scenes sending wire rooms, specifically, but I’ve never seen an entire movie where the conceit the hook is, you’re just in the wire room with this one guy, who is on this journey. So yeah, I mean, when as soon as I think that that script, I could tell that it’s something that wasn’t a first draft. It wasn’t something that you know, just not it was something that he’d worked a lot on to get in that place where I can read it in a first read and be like; Okay, this works on very sound fundamental levels. I mean, obviously, some tweaks are going to need to be made, but it worked well, on the page.
Ashley
Yeah, yeah. So how did you get brought into this project? How does that work? Is this something your agent, people are submitting to him, and then he says; Hey, what about this project? Walk through that sort of how does that actually work?
Matt Eskandari
So, for me, I’m at that phase in my career, where producers will bring projects to me so for producers will say; Hey, I’m directing or producing this one film, what do you think? Well, I want to bring you on to direct. And so, I’ll get every few months or whatnot, different producers will reach out to my manager, or reach out to me directly and say they got this script that they’re working on or thinking about casting X, Y, and Z, would I want to be attached to it to help get the project moving along. So yeah, so it’s one of those instances where the producers, they’re like, oh, we’re thinking about taking this to Lionsgate. I know you’ve done a couple movies, or you know, a few movies with them. Is this a project that interests you? And then you know, and I read the script, and I was like, oh, yeah, that’s cool. Yeah, I like this script a lot. It’s helped me from the beginning and it’s something I’d definitely be interested in. From there, it’s a negotiation process of attaching me to a project, but yeah. And that’s not the only way that I get projects. I mean, that’s just one avenue, but there are writers submit to me, as well, as you know, my manager will find scripts and get them to me and stuff. So, there’s different ways that projects get set up at that stage.
Ashley
So, it sounds like in the case of Wire Room, this was a producer that had the project. And then he reached out to you to see if he could attach you as a director. Now, what was in place when he reached out to you? Did he already have Bruce Willis and Kevin Dillon on? So, you were the were the first piece?
Matt Eskandari
Exactly. So, I’m sort of one of the first pieces that falls into play, because then they can take it to a sales agency and say, no, no, we’re thinking about casting a Bruce Willis or a Mel or XYZ star to take to play this role. And then from there, they’ll reach out to me, like right now I’m in the process, very similar situation. There’s a couple of scripts that I’m semi attached to now. And they’re considering going out some stars to attach to so. So yeah, it’s sort of an interesting process. So, it’s something that I didn’t know existed.
Ashley
Yeah, yeah. And I’m curious. You know, you’ve worked with Bruce Willis a number of times before. So, I wonder how much that impacts a producer looking you up? I mean, obviously, he likes your directing. And you know, just what you do with the camera. But how much do you think sort of these practical experience sort of plays into your getting chosen over say, another director?
Matt Eskandari
No, I feel like it has a huge, it’s a huge advantage. I mean, people can look at my demography and be like, oh, he’s worked with Bruce A-Lister. So, he knows how to, you know, he got along with him, and they’ve worked out well. And so, if we go to Bruce for another movie, then obviously, they get along already, they have this prior relationship. So yeah, that definitely is something that it helps out a lot.
Ashley
Was there any issues… So, it sounds like you really liked the script. It sounds like it was pretty buttoned up, you know, authentic and all that. But were there any issues, was there anything that you thought needed to be changed? And was there any back and forth with the writer?
Matt Eskandari
I mean, there was dialogue and whatnot exposition that I tried to tighten up when I when we did our initial pass with the writer. And I think the biggest question mark was, you know, with a story like this, there’s the backstory of the of the hero, and how much of it do you want to reveal, how much do you want to keep it ambiguous? Is there enough time in 90-minutes to dive into that sort of story and backstory, so I remember on the on the page, there was a lot more there than then we ended up putting on screen. But I felt like it didn’t lend itself to it in a way. I mean, I kind of liked the idea of leaving a little backstory more ambiguous and sort of leading the audience with some breadcrumbs in terms of who this character was, but not just spilling it all in this belief that it wasn’t revealed in an organic way that felt right for the situation that he was in. So, it was a back and forth, there was a writer to try to find that and try to discover it. And it’s specifically the biggest change when we cast Kevin Dillon initially, the main protagonist was like some 19-year-old, young kid right out of Homeland Security. And I was like, well, that’s going to change the story a bit, now that we got Kevin Dylan. So, you know, the writer had to go back and do a fresh pass where it integrated the fact that okay, this guy’s got some experience already. But why is he here, and then he had to sort of rework the backstory there. And I thought that it was interesting in that it made the film different, because I felt like we had already seen that other story before; the fresh 19-year-old rookie. This was something unique and different. I felt like that added another layer of uniqueness to the concept.
Ashley
So, over your career, you’ve worked with a number of different writers, what are some advice you could give to writers when they’re working with a director? Are there some things that you notice from writers that? Oh, wow, this is a great writer to work with? He takes notes, well, maybe just give us a little advice? What’s your advice to screenwriters who are working with a director who is giving them notes?
Matt Eskandari
Yeah, I mean, I feel like a good writer understands the production process as well. I mean, the more you can understand, because once you, you know, it’s one thing to write a script and just to write it spec it out, you have this idea, you have this oral that you’ve created. It’s another thing that now you have a director and a producer on board, and now we’re trying to actually execute this script, right? So, what are the constraints of actually shooting a movie and understanding; okay, when I go to a writer and say, okay, we got Bruce for X amount of days and X many hours, you’re going to have to take all his scenes and make them fit into this amount of days. So, do you understand that process? And you know how to do that? And it without just slashing pages, how can you make that character work by understanding the process and the constraint that I’m giving, which is you got this many hours to shoot with this actor or this many days to shoot this action scene. And so, I feel like the more that a writer can kind of understand production and the issues and things that a director and filmmaker has to deal with a better writer they’ll be because once he gets to that phase, where you’re working with a director on a film, you’re going to need to know that. Because at that point, it doesn’t matter how… well, you can’t just come up with random ideas at that point now it’s okay, this is what we were given, how can we make it work with the constraints that we’ve been given.
Ashley
Yeah, yeah. So, one of the things I talked about on the podcast is sort of like genre requirements. And oftentimes I’ll talk to distributors or producers, and they’ll have some pretty clear requirements, especially a movie like this, that sort of an action film. You know, you hear it, you’re just common knowledge, just every 10 minutes, you need an action scene, how do you approach some of these things, sort of these very formulaic genre requirements that you run into? How do you try and lean into them, but give them a fresh spin? And what’s your sort of approach to some of these, more template type things?
Matt Eskandari
Yeah, I mean, there’s definitely a lot of times in the here when it’s a genre piece, there is very clear studio distributor sales agent requirements. I mean, Bruce has to be in 20 minutes, or, you know, you are casting let’s say start using this many minutes and there’s only this many action scenes. And a lot of times, it does create a challenge. I mean, it’s challenging you to like, Okay, how do we do this in a unique way, that we do this in a different way? Or how can I spin this in into something that is still fresh and exciting, but obviously meets the distributors requirements. So, a lot of that comes down to, you know, just working with the script and finding those moments and finding those beats. And, you know, sometimes I’ll make the conscious decision to cut something, knowing that later on; okay, well, yeah, we’re going to have to condense. We’ll have this little action beat here. But let’s make sure that in 10 more pages, something bigger even happens, so that it pays off even more. So, you have to really kind of massage that, finesse that and I feel like when you’re given that sort of a requirement, you have to just do your best to work within those confines.
Ashley
I’m curious, you’ve worked with a number of big stars, and this is more of a disappeared, directing question. How do you get these guys to come on to your movie, and give their A game as an actor, when a lot of these films are way smaller than some of the big hits that they’ve worked on. You know, and a lot of these stars, you know, they dabble in sort of the smaller movies. But how do you get them to show up and bring their A game? I mean, these are very talented. It’s like a thoroughbred racehorse, you know, really getting them out there to show what you can do as a director and what they can do as an actor.
Matt Eskandari
Yeah, I mean, it comes down to really, they have to trust that you have a strong vision as a director, and you’re there to do something of quality and elevated, right? I mean, I remember when I was doing the first film that I did with Bruce is this film called Trauma Centre. And, you know, looking at the script, and you know, it was too late in the process, you’ve already shown up and you were shooting, and I noticed, he was doing all these long exposition scenes. And I was like, why don’t we have Bruce here doing all these long exposition scenes? I mean, like, this guy’s a legend, man, let’s give him only money scenes, and like really fun scenes, character-driven emotional stuff, because I noticed whenever there was character-driven emotional scenes, Bruce would turn it on, and I was like; Oh, okay. So that’s what he responds to. So, the next film, I went back that I was, I knew what I knew I was going to do another film with Bruce. And I went back and I worked with the writer. And we really made sure that we’re not given Bruce five-page monologues about exposition in the story we’re giving him character moments and emotional turns and interesting, sort of character arcs and stuff. And I noticed it right away when Bruce showed up on set for that second film that I made with him Survive the Night. He was just he was already on. He was like, his managers give it to me like, yeah, Bruce would like to script and this, and I was like, oh, okay. Cool. And usually when he’s done wrapped shooting, he just jumps on his private jet and takes off. So, on that one, he sat there and was like, just hanging out with crew and he wanted to stay longer. And I was like, Man, I wish we had more scenes to shoot.
Ashley
Just aim the camera in his direction. Yeah.
Matt Eskandari
Put the camera at him right now and just shoot something now. But it comes down to the page like, well, what’s on the page and an understanding that, you know, actors want to work on quality material, even though it’s a tight schedule, tight shot, you want to bring to them stuff that they respond to, right. So, I think a part of that is working with somebody first time they respond to and then they’re knowing what, okay, this is what they liked. And let’s tailor that to that.
Ashley
Yeah, for sure. I just like to end the interviews by asking the guests if there’s anything they’ve seen recently that they thought was really great. HBO, Netflix, are there anything you’re watching currently that you could recommend to a screenwriting audience?
Matt Eskandari
Yeah, well, recently I watched that action film Nobody. I don’t know if you guys saw that. That was a fun one. I thought that that was a simple concept. And it felt sort of like, I see the trailers like I’ve seen this before. But it was just so well executed. The action was so well done. And the main protagonist, there was just something so interesting about him where he Just like this average guy who’s thrown in this situation, and you really step into the shoes and you’re on the journey with him, and he’s not John Wick. He’s not getting the living bejesus out of everybody. I mean, he’s getting the beat. He’s getting the crap out too and I thought that was cool that you got to see, you know, this sort of average looking dude who’s getting the crap beaten out of them the whole movie. But he dishes that out too. So, it was a fun movie. I thought it was coo, it was quirky sort of action. And that’s the type of stuff that I felt was fun and unique. So, anybody can write something like that, I think it’s cool.
Ashley
Yeah, yeah. So that’s a great recommendation. How can people see the Wire Room? Do you know what the release schedule is going to be like?
Matt Eskandari
It’s released September 2nd on select theatres, as well as Apple TV and most streaming platforms. So, you should, you should be able to catch it on like Amazon Prime, iTunes, all that.
Ashley
Perfect, perfect. And what’s the best way for people to keep up with what you’re doing and follow your career? Twitter, Facebook, Instagram, anything you’re comfortable sharing? I’ll put in the show notes.
Matt Eskandari
Yeah, no, go ahead. Follow me on Instagram. My Instagram is Matt Eskandari. So just find me on there. And I usually post filmmaking tips in terms of things. Follow me on there.
Ashley
Okay. Perfect. Well, Matt, I really appreciate you coming on and talking with me today. Good luck with this film. And good luck with all your future films as well.
Matt Eskandari
It was a pleasure. Thank you so much for having me on. I look forward to chatting again in the future.
Ashley
Thank you. We’ll talk to you later. Bye.
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On the next episode of the podcast, I’m going to be interviewing director Alex Purcell and producer Jeffrey Allard. They just did a sci fi feature film called The Alternate. It’s a contained thriller where a man finds a portal to a parallel dimension and gets to view his own life in this parallel dimension. And it’s a really fascinating conversation. Alrik as the director and one of the writers really spearheaded this project, and they really discuss Jeffrey and Alrik really discuss in some detail their relationship, how they met, and sort of how it functions. I found it really interesting just to hear Jeffery talk about it. Jeffrey is a very experienced producer, he put together the remake, actually of the Texas Chainsaw Massacre that was done in 2003. And he’s done a bunch of films like that since he’s really a finance guy, a business guy. So, he’s got a really interesting perspective on films, especially low budget films like what Alrik and he just produced. So again, a fascinating insight into sort of a producer’s mind as well as Alick mind, just getting his thoughts on the film and the project and then ultimately what he did to get this thing produced and how he was able to meet Jeffrey again, a very, very experienced producer, so keep an eye out for that episode. Next week that’s our show, thank you for listening.