Celebrity Interview | Entertainment & Film Industry - Tara Pirnia Talks About Her Directorial Debut At SXSW With Switch Up

Celebrity Interview | Entertainment & Film Industry - Tara Pirnia Talks About Her Directorial Debut At SXSW With Switch Up

One reason I created The Staffa Corner podcast is because we’ve witnessed a decline in our ability to engage in thoughtful debates and maintain civil discussions. When someone disagrees with us, our reflex is often defensiveness. 

As a TV/film critic, it is easy to write a negative review, post it, and swiftly move on to the next critique.

Recently, I had the opportunity to screen Switch Up, which premiered today at SXSW. Although there were several positive aspects, my thoughts on the film leaned toward the negative. Let’s face it—we tend to gravitate toward criticism. When I had the chance to have the film’s director, Tara Pirnia, on the podcast, I eagerly accepted.

We engaged civilly during our 45-minute conversation, and I enjoyed talking to her. Did Tara concede her mistakes and align with my perspective? No, but that wasn’t the goal. Sometimes, a civil disagreement doesn’t alter viewpoints. Instead, it fosters a deeper understanding of differing opinions. 

I sincerely appreciate Tara’s willingness to join the podcast, especially considering it was recorded just 24 hours before the release of her first feature film.

Switch Up premiered at SXSW March 10, 2024 and will likely be making the film festival rounds. 

Transcript

Voiceover 0:00

You're listening to the Staffa Corner Podcast, a Staffatarian look at entertainment in life. With your host, Greg Staffa.

Greg Staffa 0:28

My guest today is director Tara Pernia. She is directing the upcoming feature switch up. Tara, thank you for uh joining us. It'll be at South by Southwest.

Tara Pirnia 0:38

Yes, it's fantastic, actually. Thank you.

Greg Staffa 0:41

You've shown other stuff at South by Southwest, but this is your first directorial appearance of any kind, right?

Tara Pirnia 0:48

Correct. Of any kind, yeah. So last year we had our film Deadland at South by Southwest, which I was a producer on, but this is the first time I premiered anything director-wise anywhere in the world.

Greg Staffa 1:01

What made you go from going to producer for directing?

Tara Pirnia 1:04

I wanted to be even more involved in the creative. Uh when I was on set uh in the edit bay, you know, I felt like, of course, it is a director's vision. It is what, and I'm there to support the director's vision as a producer. However, I thought if I want to be able to control the entire aspect and of course keep it as a collaborative, creative experience with everybody, of course, then you know what? I need to step up and you know do that. And it always interested me, you know, to write it, to direct it. And it was an idea I came up with, so I was like, let's do it. Uh and it's been amazing. It's been such a fun, collaborative experience. I feel really blessed to have that.

Greg Staffa 1:48

Now I'd imagine that being a producer uh helped you become a better director. Did becoming a director help you become a better producer?

Tara Pirnia 1:57

Actually, more. It was more, oh, I see why they become so precious about something. That's what because as a producer, there's a budget, there's a timeline, there's a deadline, and you're at first you're putting it together to make the film happen, and then in the middle of it, you have to come in, you know, either at budget, try not to go over budget, and then there's of course the deadline if you're delivering to studio or the sale. But when you're a director, it is is that scene perfect? Is the score perfect? Am I hitting those right notes? Both acting, performance, score, color, all of it. And I used to think as a producer, well, it looks good. Let's just keep moving on. And no, as a director, I really I now fully understand what all directors really go through. It is, it's not an easy job. It's, you know, the producers are there to support you, to hold you up, and producing is a very tough job as well. And sometimes I think producers don't get enough credit for everything that they do. But the weight, I mean, the creative weight of the movie is on your shoulders as director. But it was a very rewarding experience. And to be here at South By, and especially in my hometown, is full circle and absolutely amazing.

Greg Staffa 3:09

So let's step back a little bit and talk about your upbringing. What got you into the film? How did you how did you get started?

Tara Pirnia 3:17

Interestingly enough, I was a journalist and I was an entertainment journalist. And I was when I was going to the sets, when I was speaking to the filmmakers, I slowly started to realize I want to be in that process. I want to tell stories, I want to make the films, I don't want to report on the films. Um, so that was really the process that I got into. And funny enough, I was in Austin, I was working on the 24-hour news station as her entertainment reporter, and I had been on the spy kid set and then also on the spy kids red carpet. And I asked Elizabeth Avion at that point. I had that was the first time I ever met her. I said, What advice would you give to people who, you know, are thinking about going into film and becoming a producer? And she said, you know, you don't think about it, you just go for it and you learn along the way. And two weeks later, I quit the journalism job, moved back to LA, and fast forward to 2021, I produced a film with her. So it is kind of that way. I think film is something you can just jump into as long as you have a strong, you know, you have to be passionate about it and you have to have perseverance and you have to have faith that it's all gonna work out because it is a tough business.

Greg Staffa 4:38

So you're saying in two weeks after talking to you, maybe I should start looking for other career choices. Is that what I'm gonna do? No, no, no.

Tara Pirnia 4:45

If you love journalism, no, no, no, no, no, not at all. No, journalism, journalism was really great, but I really I and I really believe that journalists and films are a very it's a great match. And it's it's I think filmmakers should be, you know, looking at you know journalists and even critics as a not a scary experience, uh experience where you're gonna learn more about your film, or maybe there's something someone says about your film that you hadn't thought of before. So I would embrace it and not be afraid of it in any way, shape, or form. For me, I love the process of storytelling. It's why I got into journalism. And then I decided I just, you know, I I just love to bring stories in a longer format, you know, in front of people. That's what I would, that's that was where my passion was. And I still love journalism. I still, I mean, there's a part of me that wishes I could do some of the hard news stuff and maybe cover a hurricane or something like that, but I I think I made the right decision.

Greg Staffa 5:48

Now, going from producer to director, is is that a normal transition that people that you would suggest people make, you know, get into producing something and then become a director because that gives the insights into how things work without kind of putting yourself out there fully. Is that a route that you would suggest to other young people that are looking at getting in the film industry?

Tara Pirnia 6:11

I think with anybody who wants to get into the film industry, first and foremost, get on a set, get on a show, even if it's production assistant, because you're going to see every aspect of filmmaking. And maybe you're sitting there saying, I want to be a producer, I want to be a director. But sometimes when you actually get into the process, you realize, oh, I actually love the costume department, I like the camera department, I want to go learn more about becoming a DP as opposed to becoming a director or a producer. So I think the best thing to do is immerse yourself into the process. Don't think about where everything is gonna land. It's all a journey. Just immerse yourself in the process, and I think organically it will come to you. As far as producer and director being interchangeable, um, the last few films I worked on, the director was also very heavily involved in the producing side. And I know that's not always the case, and for the most part, it's not, but I think we were lucky that every director understood the producing side, and it made for better films, you know, uh, when we were in that situation.

Greg Staffa 7:24

One thing I will say about Hollywood, just I mean, I'm uh I still consider myself somewhat as an outsider being from Minnesota, but one of the things that I've I've seen is that just because you start off at one thing does not mean that that's where you're gonna end up. And I've been amazed at the journey that people have taken because like I've done interviews with or I've done reviews, and I'm like, I love this writer. I love every time this writer writes an episode of a script, and then two years later, that guy is a showrunner, and yeah, they remember when a critic named Greg, you know, said nice things about them, so then they'll reach out and say, Hey, you want to you know check this out or whatnot. And I've always been amazed that Hollywood is a great place, I think, for the people that behind the cameras that are always moving up and moving around and exploring different things. And I think it's a I think it's a rarity in most industries to have that kind of freedom.

Tara Pirnia 8:19

So isn't it? It's really there's so much freedom if you can like I I I feel lucky that I got the journalism experience because that really teaches you how to work on a deadline. There are zero if and or buts if you miss a deadline at a network, at a news network. So I really enjoyed going in and out of different like career spaces in our industry because it's all communications, it's all entertainment. Um, and you're you're absolutely right. We get so much freedom to explore every aspect of this business. Um, I didn't I found out through this process that I love writing. I mean, there's one thing to do the story by, which is, you know, flushing, you know, you're you're kind of going through an idea, you're figuring out what works and what doesn't work, and then the screenwriter takes over. But to become the screenwriter, to put that dialogue to paper was such a rewarding experience and then bring it up on the screen. I didn't know that. And I absolutely fell in love with it. So it can be a really rewarding experience. Just keep your mind open. Don't don't pigeonhole yourself into anything like, oh, I I have to be a director, and if I don't be a director, I'm gonna die. No, don't do that. Just take the experience step by step by step.

Greg Staffa 9:40

Now you were a critic, you were in the entertainment kind of covering things.

Tara Pirnia 9:45

Yes, I was. Yeah.

Greg Staffa 9:46

Is there any regrets now that I mean it's one thing to be reviewed as a producer, but now this is all on you come Monday. Is there any like, oh boy, I wish I was a little bit kind of like a little bit.

Tara Pirnia 9:56

Actually, it's Sunday. It's less than 24 hours. It's sun, it's Sunday. It's Sunday at 11 a.m. Yeah, no, Sunday at 11 a.m. So yes, in less than 24 hours, that'll be a good idea.

Greg Staffa 10:08

I mean, it's a different it's a different beast when it's all on you. Is there any looking back going, boy, I wish I was a little bit kinder when I said those things about the other stuff I reviewed.

Tara Pirnia 10:20

Uh no, I always try to be constructive. I, you know, I I know, yes, there are some critics out there that are a little more um, you know, a little more for right. Uh, but I always try to be constructive of, you know, you read my review. I haven't read yet. No, I haven't. Uh it hasn't been sent to me yet. But uh, I mean, just trying to be constructive and point out the good points, and then, oh, if they could do a little bit more here or a little bit more there, maybe I don't know, would have elevated the film or you know, made it more comprehensive. But I've never been abrasive about a film because that's someone's baby, that's someone's creative up on the screen. And I I was always very sensitive about that. It's it's wow, putting yourself out here and doing this, um, I get it now.

Greg Staffa 11:15

It's difficult, and it is, and it's easier for me to sit back and judge and and say things and uh my review, just without giving too much, uh, it was critical. Um it has I don't want to say a negative tone. Um, there were some expressions, but I also thought there was a lot of good that came out of it too. And we'll get to that in a little bit. But I just wanted to there it was a healthy mix. I at one point I said it felt like at times it was written by two different people. And so I just wanted to get that out there, but we'll talk about that in a little bit here. The last thing I wanted to do is talk about, well, before we get to the film, is talk about being a female. One of the things that South by Southwest has always been great at is giving women opportunities to direct. I mean, the last I've been going there the last five years, and it's more and more of women directors. Yeah, but they don't seem to crack that upper echelon of of bigger feature films. What's what do you think is holding that back?

Tara Pirnia 12:21

I don't know because we can do it. I think we still have some. There's some, you know. I'm not really sure how to answer that because I honestly don't know. Because I I think women can do it all. I mean, look what Greta Gerwith did with Barbie. That was not an easy little feature. That was massive sets, massive casts, massive budget, and a lot to juggle, and she knocked it out of the park. There's been action female directors that completely leave me in awe. So I think we just gotta keep keep our noses to the grindstone and just do it. Just keep doing it, doing it, doing it. And it is getting better, and the diversity is really kicking up, which I love. Um, but yeah, it's a process, as everything is in life.

Greg Staffa 13:10

It almost historically it almost seems log jammed at kind of like the the um south by southwest or the the um yeah kind of circuit of film festivals that here's all these opportunities, but they just rarely kind of break through. And I wonder what why that is, because they are getting opportunity. I mean, we can no longer can really say women aren't giving the opportunity to direct because there's a lot of opportunity out there, it's just not on the bigger scale with kind of the the bigger boys.

Tara Pirnia 13:36

Well, I hope Barbie changed. I hope Barbie changed that. I hope you know, even further back, Kurt Locker started that process a little bit. Um, you know, but it I think w we just keep pushing. I do know of a director right now who just you know is is directing a massive feature that was previously directed by a male. Um, so it's it it is getting there. It's slowly but surely though. And we just need to keep pushing on that. We just need to keep uh, you know, as also female directors putting ourselves out there and just pushing and pushing and pushing. And sometimes we have an idea and sometimes you know we have a script, and we're at we say we want to direct, and they're like, Well, no, you know, we kind of have this guy in our stable and we kind of you know want him to do it, then don't do it. You know, don't let them do that. Just say, I, you know, stick to your guns and say this is this is my baby. I feel like I'm the right director for it. And well, you know, it's healthy to we have to agree to disagree.

Greg Staffa 14:32

So now that you've done your first directorial debut, you're still a producer, you're now a director. Is directing the drought you want to take? Is producing still you know, your passion? This is a fun experience for you, but you know, I'm gonna go back to producing.

Tara Pirnia 14:47

No, I love both. I really love both. I I think what I learned as director is there, you know, I want to be passionate, really, you know, about a project. And if as a director, I know my limitations on what I can and can't do, or want to do, I should say. That's the way I should really say it. Um, and as producing, I love supporting other artists. I love to be, you know, really. I recently just heard about an idea. I absolutely love the idea. It came with a director already attached, and he was attached for years. Um, and I will probably be a producer on that, only because I I would love to shepherd that and get it up on a screen, get that done. So I think I seriously just really love both. I love the creative process and I also like the let's put it all together and let's make it happen. Because sometimes I think directors and writers, if you don't have the producing experience, if you don't know how to package it together and put the entire production together, you know, there's beautiful projects that never get out there. And that's so sad. You know, so if I can be a part to make that happen, why not?

Greg Staffa 16:00

What was your biggest takeaway as a director that just kind of opened your eyes? That maybe as a producer, you kind of saw around you, but you didn't realize that wow, this is a game changer for you. Was there anything that was eye-opening that I just never imagined this to be the case until I actually directed?

Tara Pirnia 16:17

Yes, and that is to give director their creative space. Yes, that it's not always about the bottom line, that it's not always about, oh well, we're hearing that this is trending and it's selling, and therefore we need to put this in the movie because of that. Like it's like a business tactic. You got if you're bringing on a director, let's say you have a project and you're bringing on a director, there's a piece put in front of you that you want to produce, you you have to give them their creative space. And that's the biggest thing I learned. I was lucky that I had that space. I was lucky that my producers trusted me with some of my performances that they gave me that space to play in. And that's one thing sometimes you know, some producers don't give to directors. I know moving forward, if I produce, I'm gonna do that for the next director. Absolutely.

Greg Staffa 17:06

Now there's a a movie called The Rookie, uh Disney movie. Uh-huh. Uh but I think it's based in based in Texas, and he gets called up, and the game that he gets called up for finally is in Texas. And it was just ironic that you get called up in your hometown, and uh, you know, everything, you know, his family was able to attend and all that stuff in the movie in the movie. I don't know how if that's true about real life, but that's how I played out in the movie. It was all heartwarming. You finally make your tutorial debut. Was South by Southwest a target, or is that just kind of on the film circuit that that's where everything kind of wrapped up and hit and said this is our first opportunity, it's gonna be at the home field.

Tara Pirnia 17:49

We we well, Elizabeth Aveon, who's the producer on the project, um, we're both from here. Um, I grew up here, and of course, she spent the better life, the better part of her life here, and you know, built the film industry here in Texas. It we had hoped that you know South by would love it and allow us to premiere here. So it was it was really like an aspiration, a hope. And then when it became reality, we were just we were over the move.

Greg Staffa 18:18

And how does it feel? I mean, I'm assuming you're in town. How does it feel to be back as now a director? Does it feel does it feel differently than it did last year?

Tara Pirnia 18:27

Well, actually, I live here. I I live here. I saw I grew up in Austin, I did go off for 25 years or so in Los Angeles, London, and moved back home in 17. Um, and just commuted, been able to commute everywhere that I need to go, whenever I need to go. But it feels wonderful bringing my first directorial feature here. And you know, last year, when it was my first year at South By, even on the producing front, I was so proud of Deadland. Um, so it's been a blessing two years in a row. I I I think you know, you can't, you know, I I feel so lucky to have you know both films at South By.

Greg Staffa 19:08

So let's talk about the film. Uh film's called Switch Up. Alrighty. Uh no, I'm gonna be nice to you. Um Films Called Switch Up. What about it? I mean, that one like this is this is the time, this is the story that I want to make my directorial debut.

Tara Pirnia 19:24

I think the thing about the film is, and the reason why I thought about it now is that even if you have everything in your life and then you suddenly lose it, as one of the characters says in the film, it's not too late to change your life. It's not too late to realize there was something missing in your life, and sometimes that is paying it forward and helping others. And I think we're in a day and age right now where sometimes humanity is a little lost. Um, and to be able to put that out there and show how even when your life is completely falling apart, you still can do something to help someone else, and maybe that's the piece that is missing from your life to enrich it. And that's kind of what I want to put it on screen. That was the homeless angle, you know, that I wanted to take in the movie, actually.

Greg Staffa 20:16

So that at the core, you knew the subject, you kind of knew the story, and then you just had to surround it with something else. Or the the the rest of the plot around it.

Tara Pirnia 20:27

Which part of the plot?

Greg Staffa 20:29

The you you had the concept of the home, I mean you knew that you wanted to do something on homelessness, you just needed to find kind of the right story to surround it to make to make it a conclusion.

Tara Pirnia 20:39

Yeah, I did. I really want to put homelessness to me is something that is very close to my heart because one of the lines in the film where uh Jeff Fahy's character says, We're all yeah, well, the job, and also we're one paycheck away from losing everything. And that can happen. You can lose your job, you can lose your health insurance, become incredibly sick. You may get evicted for having a dog in your house. Yeah, I can't tell you how many times I've seen homeless people that construct these tents and they have their aunt, their pet with them. And they said the reason we're homeless is because you know, I my landlord wanted to evict me because I had a dog and I couldn't let go of my dog. Um and that just struck such a chord with me that if you see someone homeless on the street, it may not be for the reasons you think they're there. It could be for eviction, it could be for a bad family home life situation that they're escaping or trying to get away from and they can't get another home. They don't have anybody that they can go to. So when you see someone homeless, don't just automatically assume the cliche of it. You know, meet the person, maybe talk to the person. Maybe there's something you can do to help the person, you know, you know, past, you know, give. Giving them a little money or some food, but that is a human being there that does not have a warm place to sleep at night, does not have a roof over their head, and try to help them. Just be just have a little humanity. And that's what I was trying to get across in the movie.

Greg Staffa 22:16

Yeah, we automatically kind of jump to drugs and alcohol being the problem and it's their fault.

Tara Pirnia 22:22

Yeah, we do. I hate to say it. Sometimes we do, or oh well, you know, they're lazy, they just don't want to go work. Well, guess what? You can't work unless you have an address most of the time. You know, McDonald's is or any, I don't want to drop names of any any organization. But yeah, I mean, a long time ago when I first did uh it was my last thing I did for college for journalism, I went to went to downtown LA at midnight, worst time of night, took four of my very big friends with me just in case. And I met the homeless on the street. It was a three-parter about homeless living in downtown LA. And there were stories down there that I didn't even imagine. And the one that stuck out to me the most was a guy who you could tell really wanted to put his life together, really wanted a job, couldn't get one because he just didn't have an address. He was living in a sometimes living on the street, or if he had a little extra cash, he could get a room at the motel right there on the corner, which was completely, you know, you know, definitely wasn't five star, um, or even two star. But you know, that was his thing. He just he couldn't get a job because he didn't have an address. So and that that break broke my heart.

Greg Staffa 23:35

So while filming, did you consult any you know shelters? Yeah, was it just kind of based on reporting? How did that go about?

Tara Pirnia 23:44

Um, we we consulted uh we consulted with the shelters we want to shoot in. Um, I also um was told about a beautiful community here in Austin, community first. And Elizabeth, you know, and I we we kind of researched on that as well, is how these communities, how these soup kitchens kind of come together and not only provide food and shelter, but also try to help you turn your life around. So, yes, there was quite a bit of research that went behind it.

Greg Staffa 24:13

Wow, that's interesting. And so it was actually shot at a real shelter.

Tara Pirnia 24:18

Uh no, we convert that was a place that actually provides food to a shelter.

Speaker 3 24:23

Okay.

Tara Pirnia 24:23

And if we had any leftover food, because it was also we were shooting in the time of COVID, so all the food came in kind of you know contained containers, like sealed containers. And after a day of shooting, we would actually go donate that to the homeless because we didn't we wouldn't, you know, finish. Yeah, we were completely green, we were, you know, donating food out, and that was somewhere that actually cooks for the homeless in their community in Brownsville.

Greg Staffa 24:49

I'm trying to think if I've heard of that one or not. Yeah, it's amazing how we use COVID now as a kind of a day, it's like almost like the Bible BC or yeah, BC for the Bible and everything. Oh, this is COVID. Oh, I know exactly what's going on and and what you mean by having to package anything.

Tara Pirnia 25:06

Yeah. So yeah, packaging, we had to be careful.

Greg Staffa 25:09

So um, so you got your homeless story, and then you surrounded it with kind of the rags to riches, kind of the falling part of yeah. Was that always kind of the plan, or how did that story?

Tara Pirnia 25:22

That was kind of the plan. Yeah, I was I I've always been a fan of the kind of rags to riches or riches to rags, and vice versa, going back um ever since trading places with Dan Aykroyd and Eddie Murphy. I've always been a fan of that story, and I kind of wanted to do it um that way. And you know, Christian Delafonte was I always had him in mind for the league because we had just finished another movie together and we wanted to work together, and I knew his ability um for comedy as well. So it was kind of always in my head that way, yes.

Greg Staffa 25:52

That was my other question is the choice of doing treating it as a comedy versus a drama. Was that ever kind of a decision that was tossed about, or did you always kind of feel I didn't I didn't feel it was the comedy part, I'll be honest, didn't fully work for me. Um I I I didn't I didn't like the initial setup with Marcus and and um McLean. Um but I thought once it got to the homeless parts, I thought that worked really well. And I I say in my review, I I said um something to the extent of I felt like she had an idea at its core, and the idea had good intentions and is well meaningful, and she knew what she wanted to tell. It's just around it to encompass it. And I equated it to the hot dog, the guy that invented the hot dog. He comes up with you know, everyone else had burgers, and then he comes up with the hot dog. Well, now what do I surround it with? I can't use I can't use bread, I gotta or like loaf of bread. I gotta come up with something different, and that's where I felt the struggle was, and so I don't mean to be too critical. I just no, no, no, no, no. The homeless part worked. Um for the most part. I just some of the jokes with Marcus and and and McLean were just too when put in contrast with the homeless story, it was like, well, this is kind of different, and so I wasn't a huge fan, I'll be honest, with them. Okay. Uh, but I think the second or the last two-thirds of it I I enjoyed. Um fantastic.

Tara Pirnia 27:34

So it did strike a cord with you. You know, it just wrecked a cord. Basically, once he got yeah, once he got into the soup kitchen and all that.

Greg Staffa 27:41

And I don't I don't know if they told you anything about me coming into this at all.

Tara Pirnia 27:45

No, just call him at call him at four o'clock.

Greg Staffa 27:48

I I I worked for the airline industry for ten years.

Tara Pirnia 27:52

Got injured, wow.

Greg Staffa 27:54

I got injured uh here in Minnesota.

Tara Pirnia 27:56

Oh, sorry.

Greg Staffa 27:57

And um the company fought it. I won, but it happened during the Delta merger, and I ended up losing everything, and I spent three years homeless.

Tara Pirnia 28:08

And so really sorry.

Greg Staffa 28:09

I lived out of my car for three years, during which time I wrote a blog about how a TV show helped get me through homelessness, uh, because I realized that you know getting out of homelessness isn't something that's gonna happen tomorrow. It's it's something that takes time. And so I needed something that got me through to the next week, and so I needed something to kind of look forward to. And for me, it was getting a cheap two-star hotel room um and watching the TV show and kind of looking forward to that. Uh, an entertainment site saw it to come right for us once he housed. And once I got housed, I started writing for him. Next thing I know, I'm doing red carpets at South by Southwest and kind of rebuilt from there. So anytime Hollywood tries to do a homeless story, I'm always intrigued. I'm like, all right, I want to check this one, this one out and and see how they do it and interpret it. And so I may be a little bit more critical when it comes to surroundings, stuff like that. Um, but I do think that the homeless aspects worked. Um wasn't perfect or anything like that, but no homeless story is. But I also applaud someone anytime they do try to tackle homelessness. It's not an easy topic. Um, it's not an easy topic to convey, and so I gave you credit there. I just felt thank you. I I didn't think it was a comedy. I think had it been treated a little bit more as a drama, I think that would have worked better.

Tara Pirnia 29:33

I think a dramedy.

Greg Staffa 29:34

A dramedy. It's just I I wasn't a fan of Marcus and McLean. McClain. There, I mean it there's their stuff had a there kind of Anter had a a place and time. I just didn't think it was it fit. And so to me, that was that was my only gripe. So my view was a little bit critical, but then I said, but she turns around to two-thirds. Um so two-thirds was very positive.

Tara Pirnia 29:59

I thank you. Thank you so much for that because I really wanted to hit the sentimental mark on that. I wanted to move people with that. So I'm so happy that happened.

Greg Staffa 30:08

And I I felt that you had an idea, you had the story at the core. It's just what do I do to kind of lead up to this? And that was the part that I felt was on on cheeky.

Tara Pirnia 30:21

Well, I felt that I want to take you on a little bit of a my perspective on doing that was kind of making you laugh one minute and then hitting your heart the next. And you know, we can always agree to disagree, not a problem. Uh, but yeah, I I really want to make sure that the sentimental side and the part where we really get into the homeless, you know, does convey over. So I'm really happy to hear that it worked for you.

Greg Staffa 30:49

Like I said, it is it's always tricky, but this offending.

Tara Pirnia 30:52

And comedy's tricky. Comedy is tricky. Um, I've I've heard, you know, every the I gotta tell you, some I've heard people say, I love the comedy, but the sentimental side, you know, I was like, okay. And then people saying, I love the sentimental side and the comedy, you know, yeah, it was there, great, but I love the you know, the last part of the movie, the two, as you just said, the two-thirds of the movie. So I've I've heard both on both ends. And you know, to me, I was like, okay, great. So it's working for some. I mean, some people love it, some people I that's just film. That film is subjective. I bet there's a film you love, and I'm gonna say, wow, okay.

Greg Staffa 31:32

Android. You're you're saying you're saying Paul Bart Malkop isn't a classic.

Tara Pirnia 31:38

Uh no, I'm telling you, that is something that you watch at least once a month to laugh. No, I no, there they're believing me. There are some that I would say, okay, I can understand why it's made. I I get why even it got nominated and it got awards. I get it. Isn't my cup of tea? Not really.

Greg Staffa 32:00

Well, you know, so I you know, I think I said something along the lines of, you know, that it homelessness is a story that we can't forget about. And so anytime it is kind of mentioned, whether it's in a good way or bad way. And I equated this film. I mean, the the the South by Southwest films are on a different level, they're independent films, they're you know, small, much smaller budgets. Um and I equated there's a there's a TikTok account that they make like five or six little short videos and put together it forms like a seven-minute movie about you know discrimination or treating the handicapped you know nicely, or homeless and stuff like that. And it felt like this film was a step above that, where it's you know, we have a message, but very short time, very constrained budget. Yeah, you know, it's hard to judge someone based on that. If you were given a Spielberg budget, I'm sure the film would have been you know much different. So some of that goes into place. And I I sent my editor my my review, I'm like, I don't know if she'll come on after talking, or if she sees this first, but I feel like it's a little negative, but it it tries to be positive because I I do think it's positive, but it might strike some as negative, but I didn't mean it fully to be that.

Tara Pirnia 33:22

No, I think it's very I think it's constructive, um, and I think it's you know, it's subjective, as all film is subjective.

Greg Staffa 33:30

Plus, it's also um your first. I mean, I doubt the first of anything that we do in life was you know hugely successful, or you know, wow, I nailed that one. That's a learning experience, and so I think you know that says something a lot too. You took on a difficult topic, yeah, and you did the best that you could with it. Did I think it has some flaws? Yeah, but I did find it overall enjoyable. Uh just you have to get through the first part to get to this the rest of it, which I believe I said was enjoyable and all. How's the you you've obviously shown it to some people? This is just its big premiere. How how are you feeling how going into it? I mean, is it a different nerve set than than what you were a year ago?

Tara Pirnia 34:16

Yeah. Well, a year ago we um we went right up to the the buzzer with this one finishing it. So a year ago we had had you know screenings for deadland. We knew what was we we were very relaxed going in with deadland. We knew we had really good material. Um, and director I felt was relaxed. Uh Lance is really good at uh, you know, having just a really relaxed, chill back, you know, demeter, and he was fantastic to work with. Um but this one, I mean, this one was a labor of love. And we came almost really down to the buzzer on this one. So it's gonna be it's a feeling of you know, we got we we got it there. We're so proud to be at South by and I can't wait to see it with a full audience because I've had a couple of screenings where it's been 10, 15 people like test audiences all the way throughout the process. But this is the first time with a real audience on the big screen. So it's um it's exciting for me, it's excitable nerves for me. Yeah.

Greg Staffa 35:27

What's next to you?

Tara Pirnia 35:30

Um, there's been a couple of things to put on the table. Uh, so I'm just kind of going through those and seeing what would be the best fit. Um, all of them are really great projects, and we'll just see kind of what comes together.

Greg Staffa 35:45

Is it a mix of directing and producing, or are you starting to learn one way or another?

Tara Pirnia 35:50

I no, I'm just keeping the options open, but both have been presented. Yes. I mean, because I always had stuff before I became before I started directing, there was already things on my table, so I haven't already I haven't forgotten about those. But on the directing side, there's been some great projects put in front of me, and it's gonna be fun to see, you know, where everything goes from here on out.

Greg Staffa 36:13

Now, several years ago, you as a naive, you know, young journalist approach someone in in Hollywood and asked for advice. Now you're that person. Um if a young journalist tomorrow comes up to you and says, What advice would you have? What advice would you give?

Tara Pirnia 36:33

Same as what Elizabeth gave.

Greg Staffa 36:34

You can't say the same thing.

Tara Pirnia 36:37

I'm gonna say, well, I will say this much. I will say, go for it, but it's a process, and you cannot you have to you can't lose faith in it. You know, you have to love it, you gotta keep pounding the pavement on it. Everything is not gonna fall into place, you're gonna have changes, you're gonna have disappointments. It's you're gonna have amazing highs, and there's gonna be some lows, but it is completely about the journey, and you gotta love that journey. If you don't love the journey, this is not for you. That I would say, I would get a little more into it. I don't think she had that much time on the red carpet. I think Elizabeth would say that to anybody as well. I'm not gonna speak for her, but um you gotta love this process because this is not, unless you go into the corporate studio system, if you're an independent filmmaker and you want to do your own stuff or you want to be hired, you know, there isn't a 401k in this. There isn't a lot of stability in this. I was just speaking to one of the actors today who I love, and we were talking about how there's gonna be a phone call tomorrow that says, I need you on set in a week, and you gotta drop everything and go. And you have to make sure your home life understands that, you know. So it you got you gotta love it. If you don't love it, then it's not I I don't think it's for you because wow, there's ups and downs.

Greg Staffa 38:03

So two questions here. Is the next 24 hours is that the fun part or is that the most stressful part?

Tara Pirnia 38:14

It is the thank goodness we're here part, and I can't wait till I see that first frame on the big screen.

Greg Staffa 38:25

That's that part.

Tara Pirnia 38:26

So it's excitable energy.

Greg Staffa 38:28

Secondly, I I'm the type of person that like when taking a test, you know, you have an hour to take the test, and you get done with 45 minutes, and then you start going back and analyzing and analyzing, and you don't turn it in until the hour is done. With you, you know, what at what point did you I mean you said you kind of came to the last minute, but at what point was more of a color and sound, yeah.

Tara Pirnia 38:50

That was more color and sound.

Greg Staffa 38:52

At what point were you ready to say this is it?

Tara Pirnia 38:56

I think it was both. I think we did get to a point where you I think any filmmaker is gonna keep opening up that cut and tweaking and tweaking and tweaking, even after maybe, you know, release for five years. You always want to kind of take it back and go, can I tweak that area? Can I tweak that color and sound a little bit? But no, there was a point, I think it was two, three months ago, where I was sitting with Elizabeth, and you know, she has been an amazing mentor in all this, she's been an incredible partner. Um, and I think we just knew we're done. This is it. This is the law cut. Yes, we're doing more score, yes, we're you know doing more color and sound, but this this is the through line here. This is this is the cut. And you feel it, it's a gut gut instinct. Now, would I still go in and tweak and tweak and I'll tweak forever? So at one point you just gotta say, okay, we're good to go. You know, and I I'm I'm pretty I'm pretty proud of what's on that screen.

Greg Staffa 39:54

Yeah, and as clear, like I said, as critical as I was, I do think there's enough heart to justify seeing it. I I hope you don't uh thank you get sent to copy by review and go, I talked to that jerk. What was I doing?

Tara Pirnia 40:08

No, no, no, no, no. Um I mean I'd love to ask you about one scene, but I can't because it'll give it away. But I there's one I, you know, I absolutely love it. I love asking people about it after they've seen the film.

Greg Staffa 40:18

Well, I won't air this laughter if you want to ask it.

Tara Pirnia 40:22

Oh, okay.

Greg Staffa 40:23

Um, this is I'm treating this as embargoed also, so this won't be Oh, embargoed also, yes.

Tara Pirnia 40:28

Um, well, I you know, how did you feel about the death scene?

Greg Staffa 40:33

I saw it coming.

Tara Pirnia 40:37

I felt it needed to happen.

Greg Staffa 40:40

Yeah. I would have liked to see less time with the two knuckleheads and more time with him because uh it is the line that he has about jobs. Um very even right now, um but I would I I liked him as a mentor and I wish we would have gotten more with him.

Speaker 3 41:00

Oh thank you.

Greg Staffa 41:01

I would have traded I would have traded less of the studio stuff and more with him. And then like I said, I think you had the core, and then you just struggled to, in my opinion, struggled to find the story to kind of set everything up. But I thought him, their relationship, I would have liked to see a lot more of.

Tara Pirnia 41:21

Oh, it was really Fahy, the actor? Yes, it was Jeff Fahy, which is amazing. And you know, for any director, if you're lucky enough to get him, you're gonna have one of the best experiences you've ever had as a director.

Greg Staffa 41:35

Yeah, he'll you really.

Tara Pirnia 41:36

He is so he's fantastic.

Greg Staffa 41:38

He really stood out why was there controversy over it or no, no, no.

Tara Pirnia 41:43

I just always like to see what people thought of that. No, no controversy at all. And I really I I you know I wish, you know, there, you know, I guess a little bit more of that. I I originally had a two-hour 10 cut and then cut cut it back to an hour 46. So uh yes, I mean I love the chemistry between those two characters, and I love Jeff's performance throughout all of it. So, yes, um, thank you for saying that because I was aiming at that and I'm glad it resonated with you.

Greg Staffa 42:15

Once we got to the homeless story, uh there's things that I mean, it wasn't perfect. I mean, no one's gonna lose everything that fast. I mean, it took me for a while to so, but given the time frame, given the budget, given everything, given that it's your first feature film, you know, I thought what you set out to do for the homeless aspect worked. You know, could have been done better. But this is your first I mean, I'm always amazed. I often wonder, you know, what happens, what would happen if we took you know a lot of the film people from that do South by Southwest and five years from now say, Okay, we're gonna give you the same budget, but we want you to recreate your first film and see how much they've grown and changed and how the story would have changed. And so to me it's always interesting, but I applauded you for taking a chance uh with it being your first feature film, and like I said, a lot of my gripes were kind of the initial setup and stuff like that. I think I was pretty negative. Um but I I give you grace at the end. So don't totally hate me.

Tara Pirnia 43:19

Uh no, as I said at the beginning of this interview, I think that filmmakers in uh they shouldn't be scared of reviews, and then also, you know, read the review and take it as constructive criticism.

Greg Staffa 43:33

You know, it's also just that it's my opinion. I mean, and it's based on my personal history of stuff, and so everyone has you know, you know well, you don't know what other person's shoes have have been through, and so it's it's easy for me to sit back and watch something having no clue what you went through, and that was during COVID and well see that was the m well, that was the message of homelessness too.

Tara Pirnia 43:56

If you see someone homeless on the street, you don't know what that person's been through. Don't know what their circumstances are that they're sitting on a street corner in the middle of the rain.

Greg Staffa 44:05

Yeah.

Tara Pirnia 44:06

So, yeah, exactly.

Greg Staffa 44:08

I'm looking forward to hearing how things went, and I'll appreciate you coming on. I know it's the honeymoon before the the storm, so I appreciate you dropping what you're doing and thank you so much, and thank you for having me.

Tara Pirnia 44:22

And you know, thank you for putting a a lot of thought into this interview, and I appreciate the coverage. Thank you.

Greg Staffa 44:29

Thank you. That does it for this episode. Thank you for listening to the Staff of Corner.