Ashley Jay Sandberg

Transcript

Speaker:
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Ashley Jay Sandberg: I grew up

watching, you know, Raiders, Temple

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of Doom, Last Crusade, Jurassic

Park, Back to the Future, Goonies.

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Like, these were the films, you

know, you really felt for these

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characters in these big worlds.

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Announcer: Welcome to Story Craft.

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Now, here's your host, Marc Preston.

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Marc Preston: All right, here we go.

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Another episode of Story Craft.

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Thank you so much for stopping back by.

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If this is your first episode, welcome.

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Glad to have you.

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My name is Marc Preston.

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Preston, it's a pleasure to

have you along for this episode.

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Great conversation.

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We are talking filmmaking with

executive producer Ashley Jay Sandberg.

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She produced the new blockbuster Twisters,

which is coming out Friday, July 19th,

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and it was a great conversation talking

about her career and her inspirations

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And it was, it was a great conversation.

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chat.

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I think you'll enjoy it quite a bit.

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All right, let's get after it.

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Uh, today we're talking filmmaking,

a big summer blockbuster.

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How does it come to be?

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Well, let's find out today

is actually Jay Sandberg day,

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right here on story and craft.

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So where are you joining us from today?

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Ashley Jay Sandberg: I'm in Los Angeles.

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I just got back.

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We were up north at Skywalker

ranch, finishing the final

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mix on the film twisters.

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And we just got back a day or so ago.

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Marc Preston: Skywalker ranch.

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That's north of.

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San Francisco, right?

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Am I thinking right

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Ashley Jay Sandberg: about an hour north?

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Um, in the Casio.

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Um, and it's really or, you know, right

off the Lucas Valley Road, and it's

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really something pretty spectacular.

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I think for all filmmakers and talent

and finishing a film, you're in the

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most stressful time of your project.

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But yet you're in this, like, very

safe, nestled, quiet community.

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So you're able to finish the film in

this very, you know, serene place.

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It was really pretty special.

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Marc Preston: Don't they have like

a really well known big sound stage

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and everything up there and Yes.

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Yeah,

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Ashley Jay Sandberg: they have a bunch

of offices and stage some of the best in

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the business that are working in sound.

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Um, they also have the best

theater that I've ever been in

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to watch a film and hear a film.

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And that's on the

property right there too.

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So it's.

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to be able to see and hear

your film in that capacity.

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Um, and know what the audience

is going to start feeling.

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We've been living it with it in

such a current state to see these

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final touches and it come alive.

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Um, and be surrounded by people

who are equally as excited for

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the film was it's really great.

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Marc Preston: Now where

you originally from?

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Ashley Jay Sandberg:

Originally, I'm from Baltimore.

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Um, And I knew I wanted

to be in the industry.

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I knew I wanted to work in production.

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At one point I thought it was

news broadcasts that I wanted

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to do and produce the news.

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And so, uh, when looking for

universities and schools, I was

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seeing who had that program and also

how do I get myself to California?

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And so I ended up going to Pepperdine,

uh, sight unseen, which was not too

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bad, cause it was Malibu, I said,

how bad could it be, you know, to,

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uh, to, willing to take the chance.

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And that's what got me out to California.

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And I've stayed ever since.

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So now I've been here

over 20 something years

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Marc Preston: now.

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Now, did you do anything in TV or was

that just a aspiration initially, but

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did you ever spend any time doing it?

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Or it was just what got you to college?

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Ashley Jay Sandberg: I did.

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So for me, when I went to school,

I ended up going the news broadcast

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route and producing the local news in

Malibu and reporting and covering that.

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And then around my, my I took a film

studies course my junior year and I

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ended up minoring in film studies,

realizing I like love the craft,

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loved all the pieces about it.

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And then after I graduated, I worked,

uh, you know, in physical production,

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doing PA work, uh, whatever I really

could get my hands on to be on sets.

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And a lot of the, a lot of those

were TV shows like Ugly Betty.

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And then I, when I went into working

at Kennedy Marshall, I eventually

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at one point in my time there, I

was there for over 12 years, but I

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was working in our TV department and

overseeing our development of TV.

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And then over ended up overseeing all

of our TV and film while I was there.

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Marc Preston: Uh, what drew you to,

uh, The TV thing to the TV news thing.

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Ashley Jay Sandberg: You know, I remember

my morning starting before school,

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putting the today show on and just, you

know, getting a taste of what was going

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on in the world and making the world

seem so much bigger than this, like, you

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know, town that I lived in outside of

Baltimore and, um, and it just fascinated

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me that you, you know, everything that

was going on and how you could, if

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you're a reporter, you could travel and

you cover these different stories and

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for me, I think it always came down to

the story element of it, like, okay,

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what can we get that doesn't exist?

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breaking or new or fresher people.

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What are people not knowing?

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Um, so I think that's the

aspect that really drew me to

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why I wanted to be in news.

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Um, and ultimately I feel like that ends

up tying what my love to filmmaking is.

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And it is the story.

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It is the human interest stories.

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It's getting to know these

characters and people that may

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be, uh, you know, that don't live

like us or live different than us.

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And then we get to know who

these people are and experience.

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Marc Preston: I always thought

it'd be a blast to do that.

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You know, you're kind of

plugged in everything going on.

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And, uh, the only time I had press

passes, I, I thoroughly abused them.

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You know, I went to, I went to

the Texas Rangers games and stuff

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like that, got in the press box.

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Ashley Jay Sandberg: Those

are the perks of the job.

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So, you know, when you have,

when you're able to do that,

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that, that is a good thing.

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That's a fun thing to do.

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Marc Preston: Now, did your, your folks,

uh, were they into the media or were

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they into any kind of, uh, performance?

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No,

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Ashley Jay Sandberg: I, You know,

this was, yeah, my, my mom was a

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social worker for 30 years until

she retired and went into real

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estate and my father was in sales.

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So no industry family whatsoever.

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I just kind of was someone as a young

age, just putting on movies and watching

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them over and over and over again and

really falling in love with like how

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you can make these worlds feel so big.

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Um, and so.

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I really was the only one in my family to

then pursue a job in the arts like this.

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Did

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Marc Preston: you have any brothers

or sisters who were, uh, who were

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around or were you an only kid?

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Ashley Jay Sandberg: No,

I, I have two sisters.

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I'm the middle.

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So I think oftentimes I, my husband

will often mention that I, you know,

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he could see the middle child in me.

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And I think part of it is wanting

to Make sure I, you know, I

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please and get everyone right.

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Everyone's good and happy.

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And you know, everyone's needs are met.

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Um,

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Marc Preston: is that a

trait of the middle child?

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Cause I was an only child.

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I'm living vicariously through my

three kids, but is that a trait of the

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middle child as the, is the pleaser?

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Ashley Jay Sandberg: I In our family,

it was, I felt that, you know, I was

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close to both of my sisters, but I

usually was the middle between the

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older and the younger and making

sure I'm like, Oh, you know, always

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kind of sometimes giving up my spot.

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So everyone else was happy and could

go and we keep, you know, kind of

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the peacekeeper with everybody.

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Marc Preston: Sometimes I'm

kind of checking out on the

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sociology of my three kids.

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You know, what is it?

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Well, how's the dynamic, you know, I

remember always telling him, you're

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going to be brothers and sisters forever.

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You got to get along, you know,

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Ashley Jay Sandberg: I will say it.

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I think everyone gets

closer as they get older.

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I think you start realizing how

important family is and what, you

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know, what we, why we need our family.

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So I found my sisters and I got even

closer as we each, we all got older.

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Marc Preston: They

lived back in Baltimore.

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Ashley Jay Sandberg: I have a one

sister lives in Los Angeles, a mile

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from me, um, which is wonderful and

really helps support our family.

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Cause I'm gone on the road a lot

for work and I have a daughter.

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And so they help us out a lot.

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And then I have one sister back

on the East coast with my parents.

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Marc Preston: You said

you had a little girl.

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How old is she?

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Ashley Jay Sandberg: He's eight.

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Marc Preston: Okay.

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So she's not like a little,

little, but she's, you know, the

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third grade and summer vacations

kicking in, I'm assuming right now.

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Ashley Jay Sandberg: now that

she's older, it's a little harder.

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To have her bring her on location with me.

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Now that school's up and going.

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So our family has a, a, a, not a rule,

but we try to go no longer than two

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weeks without being with each other.

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Marc Preston: Well, this last year

must have been a big year for the

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family with her being in school.

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And this isn't a small project,

finding a stretcher on.

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Ashley Jay Sandberg: Yeah, I

think I have a good partner.

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So that helps a whole lot.

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But, um, she, we really explain

kind of what I do to her.

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So like what my work is

and explain that for her.

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So she has a better

understanding as to why I'm gone.

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And she's very interested.

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And so when we can, we'll

bring her Her onto set.

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And it also helped that our director,

Isaac, he also had a 10 year old

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daughter, and so they were able to

experience some of this film together.

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Marc Preston: Oh, that's fair.

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That's very cool.

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As we go back to post TV

aspirations to now you're, you're

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doing the production thing.

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What was it that kind of.

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Shifted you into saying, you know,

I want to, I want to produce.

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Ashley Jay Sandberg: That was always

my goal for whenever I, you know,

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all the work that I did leading up to

where I am now, whether it was being

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an assistant, whether it was being a

coordinator, it was always of the mindset

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of wanting to be a creative producer.

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And I was always very

transparent with the company.

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I was working for Kennedy Marshall

and Frank Marshall, who I had

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worked with for a very long time.

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And, um, When this project came

along at the time, I was head of

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our production development and I saw

this project come in from Marc L.

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Smith and Joe, and they were

telling us Joe Kaczynski.

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They were telling us this idea that they

really want to relook at twisters and

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we were sitting down talking about it.

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And, uh, I was like, I had a feeling,

I'm like, this is the one, I think

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that we can get across the finish line.

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And, and made, um, and so early on, I,

you know, Frank trusted me and he said,

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this is, you know, this is your project,

spread your wings, go get it done.

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And really that's what we did.

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So it was, you know, about a year

and some change with developing the

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script and getting the script, right.

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And then being able to find

a director to attach to it.

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Once Joe was no longer able to direct

it due to conflicting projects and

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then seeing it, you know, Getting

us a green light and made and, uh,

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for me, it was always what I love

about producing is, is that you get

244

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to help put all the pieces together.

245

00:10:14,555 --> 00:10:18,214

So you, you know, you, you find

the writers and team that you

246

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want to build out the story.

247

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Then you find your filmmaker

who can help see it.

248

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You find your crew, you find your

production designer, all these

249

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people to make this vision happen.

250

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And really my job, a lot of the

times is problem solving and

251

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how do I get How do I get the

director's vision on the big screen?

252

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How do we get yeses

when we're getting nos?

253

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How do we work within the budget that we

have to really get, to make it feel big?

254

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And I always feel there's a way.

255

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Marc Preston: Is Twister is

considered a sequel, for lack of

256

00:10:45,305 --> 00:10:48,165

a better way of putting it, to

Twister, or is it his own standalone?

257

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Uh, project,

258

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Ashley Jay Sandberg:

it's its own standalone.

259

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So this is a next chapter in the story.

260

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I think similar themes with

nature and, you know, what nature

261

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looks like now, you know, uh,

in, in the world that we live in.

262

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But it is definitely all new

characters, new adventures,

263

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new science that's in there.

264

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But for the original fans, you'll

definitely get some good Easter

265

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eggs and, and see that sprinkled

throughout, which is really fun for

266

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people in some of our previews to call

out the things that they recognize.

267

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That are throwbacks or nods

to the original film is

268

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Marc Preston: sharing a DNA.

269

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It's not necessarily a sequel,

but it's, it's definitely carved

270

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from the same cloth as it were.

271

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So when you got ahold of this,

there wasn't even a script.

272

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So this was just an idea.

273

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Ashley Jay Sandberg: It was an idea

that came in and really, you know,

274

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getting Steven Spielberg excited

about it too, which he definitely was.

275

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And so supportive.

276

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He has a really big

fascination with tornadoes.

277

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And if there is a, you know, a

YouTube video of a tornado out

278

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there, he's definitely seen it.

279

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Um, and so he was right off

the bat, very supportive of us

280

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moving forward with this project.

281

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And the really, the big thing for

us was getting the science, right?

282

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Can we make this grounded, um, believable?

283

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We don't want to offer

false hope to our audiences.

284

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And so we really spent a lot of time.

285

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Getting this science, uh, to

a place that, you know, can

286

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be looked into and questioned.

287

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It's definitely science theory,

um, that we're using in this.

288

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And we brought on an amazing

consultant, Kevin Kelleher, who

289

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also worked on the original film.

290

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So I, you know, worked with him and.

291

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Oh,

292

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Marc Preston: okay.

293

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Well, as a kid who grew up in

Dallas, I remember, uh, In elementary

294

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school, the tornado drills go in

the hall, put a book over your head.

295

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No, I mean, you kind of get in like

a crouched in position, but, but

296

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it's a fascinating thing because

as much as they, we know about it,

297

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there's still so much they don't know.

298

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And hence, I guess the whole, uh,

you know, the tornado chasers going

299

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out there and doing their thing.

300

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And just between the time that made the

original movie and now there's so much

301

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that's been learned, but what did you.

302

00:12:52,880 --> 00:12:55,220

Was there anything that kind of,

that you were educated on, you

303

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just didn't know about the whole,

you know, tornadic activity thing?

304

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Or was there something you learned like,

oh wow, this is kind of interesting?

305

00:13:01,240 --> 00:13:04,360

Ashley Jay Sandberg: Well, you know,

we were able to get a tour of NOAA, um,

306

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and what I, you know, and their whole

facility and infrastructure they do

307

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and how they, like, cover the entire

United States in this, in this space.

308

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Space and I think what I've learned now

working on this film is that you know,

309

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tornado alley is just getting bigger

It's not you know What it once was and

310

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also the fact that our now our tornado

seasons are more months It's there's

311

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not a traditional tornado season.

312

00:13:28,444 --> 00:13:33,635

And so um learning about kind of where

the changes have like You know where

313

00:13:33,635 --> 00:13:37,740

that is how that's happening and how

when we were in You know, prepping the

314

00:13:37,740 --> 00:13:39,740

film, there was a tornado in Los Angeles.

315

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It's just, you know, becoming more and

more common, I think, or we're more

316

00:13:43,230 --> 00:13:45,160

aware of it than we had been in the past.

317

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Um, what I did find out too, is that

in the original Twister, you know,

318

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there wasn't a lot of funding for the

research at NOAA and at these facilities.

319

00:13:55,270 --> 00:13:58,680

And so when they were making the movie,

Kevin Kelleher told me, he talked to

320

00:13:58,680 --> 00:14:02,829

Kathy Kennedy, who was the producer

of the first film, and said, Please,

321

00:14:02,829 --> 00:14:07,020

whatever you do, do not make it look

like we have a fancy, like, facility

322

00:14:07,020 --> 00:14:08,760

here, because that's not the truth.

323

00:14:08,760 --> 00:14:13,280

And after the film came out, there was

a lot more money that was granted to

324

00:14:13,280 --> 00:14:16,939

do this kind of studies and research

and up our technology and kind of,

325

00:14:17,230 --> 00:14:18,909

you know, tracking these storms.

326

00:14:19,309 --> 00:14:23,000

And that after the first film

came out, OU became the number

327

00:14:23,000 --> 00:14:24,530

one school for meteorology.

328

00:14:24,785 --> 00:14:29,775

And that wasn't originally that and

it's stayed number one since so, um, you

329

00:14:29,775 --> 00:14:33,245

know, there was a bunch of like, I'm out

to dinner and I'm rattling off facts.

330

00:14:33,245 --> 00:14:36,224

There's a lot of things that have stayed

in that I didn't expect that I would know,

331

00:14:36,224 --> 00:14:37,885

but know so much coming out of this film.

332

00:14:38,275 --> 00:14:39,875

Marc Preston: I remember when

the first one came out, I was

333

00:14:39,875 --> 00:14:41,565

just a biggest Bill Paxton fan.

334

00:14:41,565 --> 00:14:46,265

I had the, uh, opportunity to meet him

at a press junket for, uh, True Lies.

335

00:14:46,335 --> 00:14:49,755

He's from Fort Worth or, uh, was

from Fort Worth and for, uh, like

336

00:14:49,755 --> 00:14:50,704

I said, me being from that period.

337

00:14:51,255 --> 00:14:53,935

And Tornado Alley, being familiar with

it, I was like, oh, this is kind of

338

00:14:53,935 --> 00:14:56,755

a whole thing I didn't know existed,

that there are these people out there.

339

00:15:03,625 --> 00:15:07,004

Something I'm personally curious about

as an executive producer, when you're

340

00:15:07,004 --> 00:15:11,535

coming on board, of course, director has

a lot of say so naturally when it comes

341

00:15:11,535 --> 00:15:14,455

to casting, but, but as the script came

together, you're like, This is who I

342

00:15:14,465 --> 00:15:16,265

think should play this part or this part.

343

00:15:16,295 --> 00:15:16,505

Yeah,

344

00:15:16,505 --> 00:15:18,995

Ashley Jay Sandberg: it definitely

evolved as the script kept going

345

00:15:19,005 --> 00:15:20,745

and as we got into different stages.

346

00:15:20,785 --> 00:15:25,145

Um, when the great thing is, is

that Isaac and I have a lot of

347

00:15:25,155 --> 00:15:30,754

similarities and, and as what, like

in taste and, uh, and creatively.

348

00:15:30,774 --> 00:15:34,105

So when he was talking names with

me, there were also the names that

349

00:15:34,105 --> 00:15:35,905

I were Was already thinking about.

350

00:15:35,915 --> 00:15:40,725

And I think ever saw, since I seen a Daisy

Edgar Jones and normal people, she's been

351

00:15:40,725 --> 00:15:43,844

on my list of actors to continue to watch.

352

00:15:43,865 --> 00:15:48,815

And I feel that she brought so much

to the character of Kate Carter.

353

00:15:48,815 --> 00:15:51,514

And I'm so glad we were able to

get her because I think this is

354

00:15:51,515 --> 00:15:54,485

going to be a really big jumping

off point for her and her career.

355

00:15:54,985 --> 00:15:59,025

Uh, Anthony Ramos is another character

or actor that I wanted to work with.

356

00:15:59,455 --> 00:16:04,305

Um, and it was interesting because the

character originally was a Was named

357

00:16:04,315 --> 00:16:09,125

mason in the script and we were saying

well anthony isn't necessarily a mason

358

00:16:09,425 --> 00:16:14,575

Uh, and so we kind of talked all these

things through and in talking with

359

00:16:14,584 --> 00:16:18,705

steven Which I felt so happy about

is that we really wanted to embrace.

360

00:16:18,994 --> 00:16:22,125

Uh anthony's puerto rican

heritage I'm, also puerto rican.

361

00:16:22,125 --> 00:16:27,225

So it was important for me to have

representation in the film And so we

362

00:16:27,225 --> 00:16:30,224

were able you know, we we were able to

Isaac went into the script, worked with

363

00:16:30,224 --> 00:16:34,245

Marc and we were, you know, evolved

this character into being Javi Rivera.

364

00:16:34,564 --> 00:16:37,334

And a fun fact is Rivera is

my grandmother's last name.

365

00:16:37,375 --> 00:16:39,584

So Javi is, uh, has my

grandma's last name.

366

00:16:39,584 --> 00:16:41,824

Marc Preston: So were you born

in Puerto Rico or is that just

367

00:16:41,824 --> 00:16:42,645

where your people are from?

368

00:16:42,745 --> 00:16:45,354

Ashley Jay Sandberg: I was born in

Maryland, but my family was, yes.

369

00:16:45,355 --> 00:16:46,944

And so, um, yes.

370

00:16:47,005 --> 00:16:49,675

Marc Preston: So anybody in the

family really good at Mofongo or, uh,

371

00:16:49,875 --> 00:16:54,819

Ashley Jay Sandberg: I'm

372

00:16:54,819 --> 00:17:01,624

Marc Preston: just, you know, it's one

of the places I haven't been yet that

373

00:17:01,625 --> 00:17:04,004

I've always wanted to go with, with this.

374

00:17:04,014 --> 00:17:05,405

Is it similar?

375

00:17:05,405 --> 00:17:07,504

I mean, I don't want, I don't

like spoilers, you know, I'm not

376

00:17:07,504 --> 00:17:11,105

a fan of that, but what parallels

between this film and, and twister.

377

00:17:11,305 --> 00:17:12,385

Will people kind of see?

378

00:17:12,395 --> 00:17:15,515

Ashley Jay Sandberg: Yeah, you have two

opposing, you have two talent, equally

379

00:17:15,515 --> 00:17:20,904

talented teams, but opposing teams kind

of going out and chasing these storms.

380

00:17:20,935 --> 00:17:24,835

And it is the interaction between

these groups of people, uh, and a

381

00:17:24,835 --> 00:17:29,635

little bit of the competition layer

underneath it, uh, that comes into

382

00:17:29,635 --> 00:17:31,455

play for a really kind of fun journey.

383

00:17:31,455 --> 00:17:34,715

And we'll give you some reminders,

I think, of how the first film,

384

00:17:34,895 --> 00:17:37,925

what the first film evoked

in you when you watched it.

385

00:17:38,314 --> 00:17:42,855

Um, but it really is, I'd say, the

most, the biggest, and they are all

386

00:17:42,855 --> 00:17:44,345

scientists, you know, different.

387

00:17:44,395 --> 00:17:45,755

They're studying these storms.

388

00:17:45,755 --> 00:17:47,545

They're trying to figure these storms out.

389

00:17:47,955 --> 00:17:51,995

Uh, Glenn Powell, like I will always

say he was meant to play this character.

390

00:17:52,005 --> 00:17:54,785

He's someone I think we

kind of always had in mind.

391

00:17:55,285 --> 00:17:58,805

Uh, For the Tyler Owens character.

392

00:17:59,175 --> 00:18:01,925

Um, I can't wait for

you to see him in this.

393

00:18:01,925 --> 00:18:04,575

I think this is like a

Glenn you haven't seen yet.

394

00:18:04,945 --> 00:18:10,895

Um, and you kind of, he's one of these

characters that you kind of don't know

395

00:18:10,895 --> 00:18:14,685

really what to make of him and ultimately

has this really great arc and you

396

00:18:14,705 --> 00:18:15,965

find out a little bit more about him.

397

00:18:15,965 --> 00:18:16,215

It would have been

398

00:18:16,215 --> 00:18:17,364

Marc Preston: better if you would

have found somebody that's a little

399

00:18:17,364 --> 00:18:20,155

bit more of a leading man character,

a little more attractive, you know.

400

00:18:20,329 --> 00:18:22,299

I mean, Glenn Powell's kind of, he's okay.

401

00:18:22,879 --> 00:18:23,339

I know

402

00:18:23,370 --> 00:18:25,489

Ashley Jay Sandberg: every time you

get New York times today, you open

403

00:18:25,489 --> 00:18:26,929

it up there right on the cover.

404

00:18:26,939 --> 00:18:27,769

There's Glenn's face.

405

00:18:27,779 --> 00:18:31,229

So the hit man comes out today and

I seen it and it's really fantastic.

406

00:18:31,230 --> 00:18:31,689

Yeah.

407

00:18:31,689 --> 00:18:33,279

Marc Preston: That's what I'm

really looking forward to seeing.

408

00:18:33,319 --> 00:18:36,370

Um, kind of brain farting

on, uh, the director on that.

409

00:18:36,429 --> 00:18:36,639

Ashley Jay Sandberg: Yeah.

410

00:18:37,109 --> 00:18:37,629

Link ladder.

411

00:18:37,660 --> 00:18:37,890

Yeah.

412

00:18:37,949 --> 00:18:39,009

Marc Preston: You know,

meet me in a Texan.

413

00:18:39,109 --> 00:18:39,599

You gotta love him.

414

00:18:39,979 --> 00:18:41,579

Uh, you know, dazed and

confused and all that.

415

00:18:41,620 --> 00:18:44,789

Um, but the, this has gotta be a very CG.

416

00:18:44,789 --> 00:18:48,360

I mean, I'm assuming it's

a very CGI heavy film.

417

00:18:48,370 --> 00:18:48,520

Ashley Jay Sandberg: I.

418

00:18:48,960 --> 00:18:49,980

We did a lot.

419

00:18:49,990 --> 00:18:51,310

We use the same.

420

00:18:51,330 --> 00:18:55,570

Um, our head of special effects was

Scott Fisher, who did Oppenheimer.

421

00:18:55,580 --> 00:18:56,540

So a lot.

422

00:18:56,680 --> 00:18:59,540

You're seeing a lot of

practical effects in this film.

423

00:18:59,989 --> 00:19:01,669

Um, we were on the road.

424

00:19:01,679 --> 00:19:05,229

70 percent of the film actually filming

on the road and not on a process station.

425

00:19:05,294 --> 00:19:05,695

stage.

426

00:19:05,695 --> 00:19:10,155

So there is a lot of, you know,

that's, I think what helps make some

427

00:19:10,155 --> 00:19:13,895

of our CGI feel so real is because

we were actually practically doing

428

00:19:14,004 --> 00:19:15,612

a much of what you see in the film.

429

00:19:15,612 --> 00:19:16,134

Marc Preston: I like that.

430

00:19:16,134 --> 00:19:17,374

That's a, that's a really cool thing.

431

00:19:17,435 --> 00:19:18,274

The aesthetic of it.

432

00:19:18,274 --> 00:19:19,174

It just feels different.

433

00:19:19,504 --> 00:19:20,824

And this isn't a small project.

434

00:19:20,844 --> 00:19:22,835

Was this, there's a

lot of plates spinning.

435

00:19:22,835 --> 00:19:24,535

That's why I kind of

brought up the CGI thing.

436

00:19:24,535 --> 00:19:26,855

I was wondering, you got a lot

of different camps working on

437

00:19:26,855 --> 00:19:29,875

different things and do you

just like these big challenges?

438

00:19:29,875 --> 00:19:31,985

Is that just kind of like you

like going into the deep end right

439

00:19:31,985 --> 00:19:33,235

out of the gate or is it just.

440

00:19:33,235 --> 00:19:33,594

Yeah.

441

00:19:33,745 --> 00:19:34,235

Ashley Jay Sandberg: That is it.

442

00:19:34,235 --> 00:19:37,785

I'm like, let's, you know, every

project has, whether it's a

443

00:19:37,785 --> 00:19:41,535

small budget or big budget, it's

really the way you go about it.

444

00:19:41,535 --> 00:19:42,615

It's very similar.

445

00:19:42,645 --> 00:19:45,235

I, you know, you have a bigger

budget, but yet you still have

446

00:19:45,265 --> 00:19:48,125

constraints because you have to make

everything fit in that budget, the

447

00:19:48,125 --> 00:19:49,794

same way you do on a smaller film.

448

00:19:49,814 --> 00:19:51,175

So it's just a different scale.

449

00:19:51,534 --> 00:19:55,064

Um, so you kind of have to have

that sensibility, which was so great

450

00:19:55,064 --> 00:19:58,524

with Isaac because he came from

an independent film background.

451

00:19:58,814 --> 00:20:01,715

So when he looks at things,

he looks at it in that way.

452

00:20:01,715 --> 00:20:04,584

Can we get this at a, you know,

how do we get this for less?

453

00:20:04,584 --> 00:20:07,294

If we get this, you know, if we get a

cost breakdown for what this scene will

454

00:20:07,294 --> 00:20:10,884

cost and kind of constantly looking

at things, I mean, this film, I can

455

00:20:11,125 --> 00:20:15,604

proudly say we came under budget,

um, and you know, across the board.

456

00:20:15,614 --> 00:20:18,465

So, you know, I feel really proud

of the team that we had on this.

457

00:20:18,795 --> 00:20:20,295

To be able to accomplish that,

458

00:20:20,305 --> 00:20:23,715

Marc Preston: that's kind of unheard of,

especially with a big, you know, summer

459

00:20:23,715 --> 00:20:25,395

film like this to come in under budget.

460

00:20:25,415 --> 00:20:27,524

That's, that's kind of an alien concept.

461

00:20:27,965 --> 00:20:31,664

Uh, but no, you can't with Kennedy

Marshall, you're, you're dealing

462

00:20:31,665 --> 00:20:34,384

with folks who, who are the

big summer blockbuster people.

463

00:20:34,505 --> 00:20:38,085

What was it that you gleaned from your

experience there that you really feel

464

00:20:38,085 --> 00:20:43,325

like was, okay, this is a big, uh, big

ingredient and how you're approaching

465

00:20:43,335 --> 00:20:45,205

doing this as an EP on a film.

466

00:20:45,700 --> 00:20:48,190

Ashley Jay Sandberg: I think, you know,

working for Frank and Kathy who have

467

00:20:48,190 --> 00:20:51,360

been doing it for so long and are some

of the best at what they do in their

468

00:20:51,360 --> 00:20:55,889

career, you see how they, you know,

solve problems that come their way.

469

00:20:55,909 --> 00:20:59,919

It's, you know, even every position that

I had at the company, you know, you're

470

00:20:59,940 --> 00:21:03,090

conditioned to look at things like a

producer, which is like time is money.

471

00:21:03,090 --> 00:21:05,549

What's the most effective and

efficient way to do things.

472

00:21:05,550 --> 00:21:07,879

How do we service the creatives

that we're working with?

473

00:21:08,139 --> 00:21:10,620

How do we, you know,

make sure that we are.

474

00:21:10,890 --> 00:21:14,090

Facilitating and creating the vision

that the director wants like that is

475

00:21:14,090 --> 00:21:19,090

your number one job is to really make

that happen for them and so By just being

476

00:21:19,090 --> 00:21:21,270

around them and seeing how they worked.

477

00:21:21,280 --> 00:21:26,530

It really was the best film school you

could possibly get Um, I also spent

478

00:21:26,530 --> 00:21:28,219

a lot of time working in franchise.

479

00:21:28,219 --> 00:21:31,870

I worked on the previous jurassics

and then franchise management Um

480

00:21:31,879 --> 00:21:36,035

over you know The different, uh,

you know, there was drastic world

481

00:21:36,035 --> 00:21:37,685

phone kingdom and then dominion.

482

00:21:38,025 --> 00:21:41,865

Uh, so having all of those experiences

really kind of set you up for something

483

00:21:41,865 --> 00:21:45,764

of this size and scale and I worked

regularly with studios Um, this was

484

00:21:45,804 --> 00:21:50,054

interesting because it was a cofi so you

had warner brothers and universal so and

485

00:21:50,085 --> 00:21:54,760

amblin So usually you get kind of one

set of notes, but now You know, this one,

486

00:21:54,760 --> 00:21:58,470

we also had a lot of other people too

in this to, you know, make sure they're

487

00:21:58,470 --> 00:22:00,160

happy with what's happening in the film.

488

00:22:00,550 --> 00:22:02,670

Marc Preston: God, I can't even imagine

what that, I mean, I just, I'm not

489

00:22:02,670 --> 00:22:05,510

pretending like I know a lot about

how movies are made, but I know enough

490

00:22:05,560 --> 00:22:08,520

that where you've, you get a lot of

chefs in the kitchen, it can kind

491

00:22:08,520 --> 00:22:12,350

of become a little bit of a, uh, it

becomes, you have to be very diplomatic.

492

00:22:12,350 --> 00:22:13,510

I guess that's the best way to put it.

493

00:22:13,610 --> 00:22:14,649

Ashley Jay Sandberg: I feel

like I've learned that through

494

00:22:14,649 --> 00:22:15,760

the years and I think working.

495

00:22:16,245 --> 00:22:19,445

Kennedy Marshall letter that has

really helped me be in that capacity of

496

00:22:19,445 --> 00:22:20,995

making sure people feel seen and heard.

497

00:22:21,365 --> 00:22:24,215

And also how do we, okay, Lynn, how

do we keep everything moving forward?

498

00:22:24,615 --> 00:22:27,055

Marc Preston: Now isn't Kathleen

Kennedy, isn't she doing something

499

00:22:27,055 --> 00:22:29,754

with Lucasfilm or is that my, okay.

500

00:22:29,794 --> 00:22:29,934

No,

501

00:22:29,935 --> 00:22:30,425

Ashley Jay Sandberg: that's correct.

502

00:22:30,425 --> 00:22:33,535

She, in 2012 became the

president of Lucasfilm.

503

00:22:33,565 --> 00:22:36,495

So she has been working

over there, um, since then.

504

00:22:36,965 --> 00:22:41,045

Um, uh, but also because, you know,

obviously Frank and Kathy are married

505

00:22:41,055 --> 00:22:44,960

and, um, Uh, so a lot of times they

would be working out of our office too.

506

00:22:45,040 --> 00:22:47,060

So there was crossover

with Kathy and their team.

507

00:22:47,160 --> 00:22:49,800

Marc Preston: You know, a lot

of the staff has to be on set.

508

00:22:50,330 --> 00:22:54,590

How, how much did you need to be,

you know, on location compared

509

00:22:54,590 --> 00:22:55,790

to, you know, in an office?

510

00:22:55,829 --> 00:22:57,070

Is that really just your choice?

511

00:22:57,110 --> 00:22:59,349

You know, do you like, Hey, I really

want to be where it's happening.

512

00:22:59,350 --> 00:23:01,650

So if there's a question that has

to get answered, I'm right there.

513

00:23:01,760 --> 00:23:02,050

Ashley Jay Sandberg: Yeah.

514

00:23:02,050 --> 00:23:02,690

For this job.

515

00:23:02,700 --> 00:23:06,350

No, my, my responsibility was

to be there the entire time.

516

00:23:06,350 --> 00:23:09,959

So I was, uh, you know, boots

on the ground throughout.

517

00:23:10,405 --> 00:23:15,195

You know development then prep production

pre production prep and you know now

518

00:23:15,195 --> 00:23:19,815

in post production So i'm the day

to day producer on for the project.

519

00:23:20,175 --> 00:23:23,305

So that's seeing us through

Marceting publicity and release Well

520

00:23:23,634 --> 00:23:26,165

Marc Preston: just kind of as a

side like origin story note Like

521

00:23:26,325 --> 00:23:27,665

what were you watching as a kid?

522

00:23:27,735 --> 00:23:30,215

Were there movies that were you

you were watching they're just kind

523

00:23:30,215 --> 00:23:33,365

of had you transfixed you're like,

oh, I love this genre or this You

524

00:23:33,365 --> 00:23:37,045

know when you were junior high age,

let's say what were you really into?

525

00:23:37,725 --> 00:23:41,534

Ashley Jay Sandberg: Yeah, I think I went

you know, I was watching The films for

526

00:23:41,534 --> 00:23:43,685

the, from the Amblin projects, right?

527

00:23:43,695 --> 00:23:46,804

So that's, I think when I first became

interested in working at Kennedy Marshall,

528

00:23:46,825 --> 00:23:52,004

it was because I grew up watching, you

know, Raiders, Temple of Doom, Last

529

00:23:52,005 --> 00:23:58,175

Crusade, um, uh, Jurassic, Jurassic

Park, Back to the Future, Goonies.

530

00:23:58,205 --> 00:24:01,795

Like these were the films that I

was really gravitating towards.

531

00:24:02,169 --> 00:24:02,649

Poltergeist.

532

00:24:02,750 --> 00:24:07,540

It was just, you know, you really felt

for these characters in these big worlds.

533

00:24:07,540 --> 00:24:09,100

And I think that's the big balance.

534

00:24:09,110 --> 00:24:12,520

If you're doing a huge blockbuster film,

you're going to have the spectacle of it.

535

00:24:12,719 --> 00:24:13,839

But what makes us love it?

536

00:24:13,850 --> 00:24:14,929

We love the characters.

537

00:24:14,929 --> 00:24:15,790

We want to be them.

538

00:24:15,810 --> 00:24:16,899

We want to be friends with them.

539

00:24:16,899 --> 00:24:19,719

We want Watch it again, because

we want to experience the

540

00:24:19,719 --> 00:24:21,969

heartbreak, the, the adventure.

541

00:24:22,249 --> 00:24:27,479

So for me, those were the stories that

I liked, and I continue to want to pull

542

00:24:27,479 --> 00:24:31,879

those emotions, like Stephen did in the

past, like some of the people before us,

543

00:24:32,309 --> 00:24:36,349

uh, that made these films that we love

so much and kind of set up a generation.

544

00:24:36,349 --> 00:24:40,925

And really, What Isaac and I want

to continue to do is make films like

545

00:24:40,925 --> 00:24:44,935

that to get people excited to go back

to the theater and experience like

546

00:24:44,935 --> 00:24:46,925

these big worlds and these big fields.

547

00:24:47,195 --> 00:24:49,944

Marc Preston: Spielberg even

mentioned, uh, I think it was him.

548

00:24:50,055 --> 00:24:50,924

I'm sure it's him.

549

00:24:50,925 --> 00:24:54,885

I'm paraphrasing a little

bit that theatrical releases.

550

00:24:54,885 --> 00:24:57,794

We're going to see fewer of them and

they're going to be in the theater

551

00:24:57,794 --> 00:25:00,965

longer, uh, just kind of the way

people are watching things at home.

552

00:25:01,284 --> 00:25:06,554

So what's going to show up on screen

is going to be the bigger stuff, you

553

00:25:06,554 --> 00:25:10,584

know, um, do you think that's a good

thing, uh, you know, in, in terms of.

554

00:25:11,370 --> 00:25:13,480

Theatrically, the movie experience.

555

00:25:13,480 --> 00:25:17,320

Do you think that's better that more

people are that they're really going to

556

00:25:17,320 --> 00:25:20,860

be going primarily for the big stuff as

opposed to like everything, of course,

557

00:25:20,860 --> 00:25:23,030

came out in the theater once upon a time.

558

00:25:23,399 --> 00:25:24,689

What are your thoughts on that?

559

00:25:27,860 --> 00:25:30,519

Ashley Jay Sandberg: Yeah, I

mean, I see I'm a theater goer.

560

00:25:30,530 --> 00:25:35,070

I love watching films in theater,

but I understand that, you know, time

561

00:25:35,070 --> 00:25:39,239

looks different now for people, uh,

the access of having our phones and

562

00:25:39,239 --> 00:25:41,379

our computers and our TVs that stream.

563

00:25:41,379 --> 00:25:44,609

So it's, I don't think he's

wrong in saying that because, you

564

00:25:44,609 --> 00:25:49,239

know, it, our industry is ever

changing and with that change.

565

00:25:49,445 --> 00:25:51,395

You know, our output changes.

566

00:25:51,395 --> 00:25:55,075

And I think what we're going through

in the industry right now, we've gone

567

00:25:55,075 --> 00:25:56,685

through with so many different phases.

568

00:25:56,685 --> 00:26:00,715

We went through it when TV became a

thing, and then it happened again, when

569

00:26:00,715 --> 00:26:05,914

we got to, you know, DVD and VHS and, and

that changed the way we looked at things

570

00:26:05,914 --> 00:26:07,225

and then it happens now with streaming.

571

00:26:07,225 --> 00:26:11,175

So there's always been like this

movement up and, you know, changes once

572

00:26:11,225 --> 00:26:12,764

technology changes in the industry.

573

00:26:12,784 --> 00:26:15,524

But, you know, I, I think that.

574

00:26:16,240 --> 00:26:21,260

At this point, yeah, these big, you know,

event films, I think we like to call them

575

00:26:21,500 --> 00:26:25,340

are what really is driving people to the

theater and I, my hope is that people

576

00:26:25,340 --> 00:26:29,249

are having so much fun in these event

films and being in the theater with a

577

00:26:29,250 --> 00:26:33,469

group of people and feeling that energy

that they'll want to do that for a whole

578

00:26:33,470 --> 00:26:35,109

bunch of different size and scale films.

579

00:26:35,419 --> 00:26:39,060

And I think the movie, whether you

like it or not, Glenn Powell and Sidney

580

00:26:39,060 --> 00:26:42,650

Sweeney's Anyone But You was a really

great example of a film that was.

581

00:26:42,990 --> 00:26:49,060

You know, midsize budget and then

a rom com, uh, more traditional.

582

00:26:49,060 --> 00:26:51,979

And it ended up, you know,

grossing so much in the box office.

583

00:26:51,979 --> 00:26:53,730

They are just like a whole spin behind it.

584

00:26:53,760 --> 00:26:57,050

So I think it broke what the odds

were that people thought that

585

00:26:57,070 --> 00:26:57,940

people would go to the movies.

586

00:26:58,410 --> 00:26:58,599

Marc Preston: Yeah.

587

00:26:58,599 --> 00:27:00,229

I think that, uh, you know, when I watch.

588

00:27:00,495 --> 00:27:03,834

One of my kids watch a

movie on their phone.

589

00:27:03,885 --> 00:27:04,995

I'm like, Oh, really?

590

00:27:05,115 --> 00:27:05,294

Yeah.

591

00:27:05,294 --> 00:27:08,955

No, yeah, I'm kind of, there is

something about the communal experience

592

00:27:08,955 --> 00:27:11,864

of being in a theater, you know,

where you can't be distracted.

593

00:27:11,864 --> 00:27:15,964

I mean, admittedly, I'll be on my laptop

cause I'm doing work constantly and I'll

594

00:27:15,965 --> 00:27:19,695

have like a 75 inch, you know, TV and

it's, something's always kind of on and

595

00:27:19,695 --> 00:27:21,215

I'm kind of half paying attention to it.

596

00:27:21,530 --> 00:27:24,740

But I found if I really, if it's something

big, I really want to see, I try to

597

00:27:25,120 --> 00:27:26,730

close the computer and just focus in.

598

00:27:27,030 --> 00:27:28,540

If you're in a theater,

you have no other option.

599

00:27:28,550 --> 00:27:30,580

You're going to be fully immersed.

600

00:27:31,009 --> 00:27:33,549

And I think that's, that's, there's

something special about that.

601

00:27:33,549 --> 00:27:37,640

I got this kind of the same DNA, I

guess it came from traditional theater.

602

00:27:37,640 --> 00:27:40,320

You're all kind of there in this

kind of experience, you know?

603

00:27:40,320 --> 00:27:45,549

Um, It's so funny because where I am

now, uh, on the island, I got to drive

604

00:27:45,549 --> 00:27:49,010

35, 40 minutes to get to a theater, but

I definitely want to see this movie in

605

00:27:49,020 --> 00:27:53,219

the theater because you know, if it's

anything like the first, I remember

606

00:27:53,219 --> 00:27:55,889

the first movie came out and I saw

some of the behind the scenes stuff

607

00:27:56,500 --> 00:27:59,520

and the sound of the, of the tornado.

608

00:27:59,825 --> 00:28:00,935

Uh, of the tornadoes.

609

00:28:01,235 --> 00:28:04,355

They were, I think, weaving

in some animal sounds.

610

00:28:04,385 --> 00:28:06,785

The sound design of it was spectacular.

611

00:28:06,785 --> 00:28:07,745

It was really awesome.

612

00:28:08,195 --> 00:28:11,705

Um, there was an attention to detail

and I got a feeling, you know, it, this

613

00:28:11,710 --> 00:28:13,145

is definitely a theater experience.

614

00:28:13,150 --> 00:28:15,035

You gotta see this in the

theater, I'm assuming.

615

00:28:15,095 --> 00:28:19,085

Ashley Jay Sandberg: Um, I, I, I'm

absolutely, you know, saying that

616

00:28:19,085 --> 00:28:20,225

you should see us in the theater.

617

00:28:20,225 --> 00:28:24,755

I think, uh, one, like you said, the

sound, our sound design, there's no

618

00:28:24,755 --> 00:28:29,375

animal sounds in this one, but you,

it's like what they did to create these.

619

00:28:29,380 --> 00:28:31,660

we are calling the tornado our jaws.

620

00:28:31,660 --> 00:28:37,230

Um, and, and th scale.

621

00:28:37,230 --> 00:28:42,529

And there's so many of what

kind of tornadoes you kind of

622

00:28:42,560 --> 00:28:47,689

each one has both visually and

sonically recommend theater for it.

623

00:28:47,690 --> 00:28:53,085

Marc Preston: at a time when just

look Three weeks, let's say how many

624

00:28:53,105 --> 00:28:55,075

tornadoes, the frequency of them.

625

00:28:55,075 --> 00:28:58,764

And it seems like they, like you said,

expanding, they're going further north.

626

00:28:58,794 --> 00:29:02,975

They're going like even the LA area, you

know, you know, living, having lived in

627

00:29:02,984 --> 00:29:06,115

New Orleans for a period of time, but

through Hurricane Katrina and Ida and,

628

00:29:06,684 --> 00:29:08,325

and, People like, Oh, it's terrible.

629

00:29:08,325 --> 00:29:10,054

It's like, well, you know, you

know, when the hurricane's coming,

630

00:29:10,054 --> 00:29:13,905

the scary thing about tornadoes

is that monster vibe about them.

631

00:29:13,925 --> 00:29:17,494

You, they can drop in out of nowhere,

you know, and it's when it, especially

632

00:29:17,494 --> 00:29:20,484

when it's dark, you know, that

that's a wonderful way of putting,

633

00:29:20,484 --> 00:29:22,004

it does have a monster element to it.

634

00:29:22,105 --> 00:29:27,264

You know, um, now as far as your,

your, uh, your daughter, has she

635

00:29:27,265 --> 00:29:28,845

looked at you and gone, this is cool.

636

00:29:28,845 --> 00:29:29,995

I think I want to do this too.

637

00:29:30,305 --> 00:29:32,115

She looked at your,

the arc of your career.

638

00:29:32,115 --> 00:29:34,280

She was like, Nah, no, this is this.

639

00:29:34,470 --> 00:29:35,700

This is no, I don't like this.

640

00:29:35,980 --> 00:29:36,360

Ashley Jay Sandberg: I know.

641

00:29:36,360 --> 00:29:40,370

I always say to people There's anything

else you love to do maybe per, you

642

00:29:40,370 --> 00:29:44,599

know, this isn't an easy path or

you know Or you know journey to go

643

00:29:44,600 --> 00:29:48,389

on but like for me I love what I do

and I think she sees that I love it.

644

00:29:48,399 --> 00:29:52,230

So she has an interest in it But when she

comes to set, I always make it a point

645

00:29:52,240 --> 00:29:55,450

to show her, like, here's the costume,

here's the art department, here's the

646

00:29:55,450 --> 00:29:57,250

camera department and show her everything.

647

00:29:57,250 --> 00:30:00,379

Cause it takes all of these pieces

and they're all important, all

648

00:30:00,380 --> 00:30:01,920

these departments to make a film.

649

00:30:02,219 --> 00:30:05,650

So she definitely has an interest

and hasn't narrowed down yet,

650

00:30:05,700 --> 00:30:09,249

but she loves coming and learning

and observing what everyone does.

651

00:30:09,580 --> 00:30:12,420

Marc Preston: I always talk a little

cooking for a brief half of one second,

652

00:30:12,450 --> 00:30:14,230

sometimes more on my show, my show here.

653

00:30:14,230 --> 00:30:17,340

But do you, do you, uh, do you have

some of those Puerto Rican recipes

654

00:30:17,340 --> 00:30:18,259

you're making for your daughter?

655

00:30:18,260 --> 00:30:18,530

I mean,

656

00:30:18,530 --> 00:30:20,759

Ashley Jay Sandberg: We go

back at least once a year.

657

00:30:20,800 --> 00:30:22,459

And so she definitely gets it there.

658

00:30:22,459 --> 00:30:26,070

And then I've at my grandmother made

a certain pasta salad that I make.

659

00:30:26,119 --> 00:30:29,420

I've learned how to make pasteles,

which are really hard, but it's

660

00:30:29,420 --> 00:30:31,540

like a, it's almost like a tamale.

661

00:30:31,900 --> 00:30:33,360

But based with a plantain.

662

00:30:33,640 --> 00:30:35,590

So it's usually stuffed

with the meat inside.

663

00:30:35,950 --> 00:30:37,180

So it's really delicious.

664

00:30:37,200 --> 00:30:39,980

So I've made those for her and then

the rest, she's going to have to

665

00:30:39,990 --> 00:30:43,800

go when we visit my family, uh,

back East and she'll get her fair

666

00:30:43,800 --> 00:30:45,320

share for my aunts and uncles.

667

00:30:45,820 --> 00:30:48,650

Marc Preston: And your partner there with

your, uh, your husband, what does he do?

668

00:30:48,650 --> 00:30:49,110

What's his.

669

00:30:49,150 --> 00:30:49,509

Ashley Jay Sandberg: Yeah.

670

00:30:49,509 --> 00:30:51,480

So he's a doctor of physical therapy.

671

00:30:51,490 --> 00:30:56,660

So he has a practice in Santa Monica and

Beverly Hills and it does vestibular.

672

00:30:56,670 --> 00:31:02,510

So balance, vertigo, um, You know,

and, and has, you know, which is great

673

00:31:02,520 --> 00:31:04,310

because he can go on the road with us.

674

00:31:04,350 --> 00:31:07,650

He can have other therapists to see

the patients and then he can help very

675

00:31:07,650 --> 00:31:08,169

Marc Preston: cool to

676

00:31:08,169 --> 00:31:09,280

Ashley Jay Sandberg: see, see us.

677

00:31:09,280 --> 00:31:12,419

But he's very patient and it's very

interesting because a lot of his

678

00:31:12,419 --> 00:31:15,999

patients are people who have been in

the industry and are older, about 70

679

00:31:16,000 --> 00:31:18,280

percent are geriatric that he sees.

680

00:31:18,310 --> 00:31:21,720

And so they like that he can talk

shop with them when he's in there.

681

00:31:22,485 --> 00:31:25,695

Because he knows enough about the

business through me that he, you know,

682

00:31:25,695 --> 00:31:29,035

can often talk about it with his,

uh, his clients and his patients.

683

00:31:29,135 --> 00:31:31,465

Marc Preston: You hear about the actors

like, Oh, they do their own stunts.

684

00:31:31,475 --> 00:31:34,664

And I'm like, well, like you hear

about them years later, it took a toll.

685

00:31:34,735 --> 00:31:37,114

Keep those stunt people employed, you

know, because they're what they're doing.

686

00:31:37,265 --> 00:31:40,935

So if you were to kind of go down a

very, very short list of things that

687

00:31:40,935 --> 00:31:45,244

you're like, okay, this is the type

of movie I would really love to make.

688

00:31:45,274 --> 00:31:49,990

Be it story, be Character, be it maybe

special effects or a genre or whatever,

689

00:31:49,990 --> 00:31:52,730

what is something that you're itching

to kind of get out there and do,

690

00:31:53,040 --> 00:31:56,169

Ashley Jay Sandberg: you know, I really

love the fantasy space and finding,

691

00:31:56,709 --> 00:32:00,740

you know, Isaac and I have been sitting

and kind of talking about what is next.

692

00:32:00,740 --> 00:32:02,199

What's the next thing we want to do?

693

00:32:02,209 --> 00:32:03,489

And it is looking at.

694

00:32:03,710 --> 00:32:05,710

Is it, you know, hints of sci fi?

695

00:32:05,940 --> 00:32:09,610

Is it, you know, like I said, fantasy, but

always grounded in the human experience.

696

00:32:09,620 --> 00:32:13,920

So I think that's really, and it's

a world that we can really build and

697

00:32:13,920 --> 00:32:15,469

can build additional ones from it.

698

00:32:15,500 --> 00:32:19,350

So something I'm looking for, you know,

franchise right now to see, you know, what

699

00:32:19,369 --> 00:32:24,690

can we keep on making and, um, and really

in that kind of falling in that family

700

00:32:24,690 --> 00:32:28,685

space, I would say like PG 13, which was

what I love about Twisters is that, you

701

00:32:28,685 --> 00:32:32,240

know, You know, my daughter's eight, if

I felt comfortable with her seeing it,

702

00:32:32,240 --> 00:32:35,010

I'm not telling all the other parents of

eight year olds that they can see it, but

703

00:32:35,010 --> 00:32:39,980

it is something that I feel families can

experience together and go and watch, uh,

704

00:32:39,980 --> 00:32:44,469

and have, you know, and I think that's

important now making time for people.

705

00:32:44,520 --> 00:32:45,540

Marc Preston: I couldn't agree more.

706

00:32:45,540 --> 00:32:48,980

Uh, that's one of the things that PG 13

movies, just you don't see many of them.

707

00:32:49,660 --> 00:32:52,960

On the same token, you don't see many

really good of the good old fashioned,

708

00:32:52,980 --> 00:32:55,280

uh, Judd Apatow rated R movies anymore.

709

00:32:55,620 --> 00:32:57,510

You know, I'm like, those are

two things we need to bring back.

710

00:32:57,510 --> 00:33:00,890

Those kind of rated R movies

and the PG 13s that are kind of

711

00:33:00,900 --> 00:33:02,549

the adventure kind of things.

712

00:33:02,549 --> 00:33:06,509

You know, as far as inspiration,

are you looking maybe at books?

713

00:33:06,530 --> 00:33:08,989

Do you look at previous works?

714

00:33:08,999 --> 00:33:11,330

Where, where does that

spark of interest come from?

715

00:33:11,510 --> 00:33:14,970

Or like, you know, what kind of genre

you want to do, but where are you pulling

716

00:33:14,970 --> 00:33:16,420

that from if you want to find something?

717

00:33:16,805 --> 00:33:19,265

Ashley Jay Sandberg: A lot of it

comes, you know, what is pre existing

718

00:33:19,275 --> 00:33:24,245

IP out there like books articles that

have come out So we're i'm actively

719

00:33:24,245 --> 00:33:27,814

reading all the time And checking,

you know, what rights are available.

720

00:33:27,814 --> 00:33:32,475

What are some new series that are coming

in and a lot of times You know, you can

721

00:33:32,475 --> 00:33:37,105

have a completely original idea that

we, you can get and make, but a lot

722

00:33:37,105 --> 00:33:40,315

of times it's really great, especially

with the studios to have, you know,

723

00:33:40,315 --> 00:33:43,185

I, a built in fan base based on IP.

724

00:33:43,194 --> 00:33:46,295

So I, right now there's a project that

we're based at, you know, it's two

725

00:33:46,295 --> 00:33:47,955

short stories being blended together.

726

00:33:47,964 --> 00:33:51,975

That was currently being written

for us and for Isaac and right.

727

00:33:51,975 --> 00:33:55,285

And we're also just kind of reading

a bunch of books right now to see

728

00:33:55,285 --> 00:33:56,995

if we can find that sweet spot.

729

00:33:57,005 --> 00:33:58,555

Can we develop it into something?

730

00:33:58,795 --> 00:34:00,665

that could be a big epic adventure.

731

00:34:00,745 --> 00:34:02,815

Marc Preston: Do you ever,

as a producer, do you look at

732

00:34:02,815 --> 00:34:04,875

maybe casting like this actor?

733

00:34:05,675 --> 00:34:08,165

I can see them carrying

this kind of a project.

734

00:34:08,265 --> 00:34:10,485

I want to find, you know, do you

ever look at the actor first?

735

00:34:10,485 --> 00:34:10,515

736

00:34:10,755 --> 00:34:12,614

Ashley Jay Sandberg: mean, all

the time I'm always watching

737

00:34:12,614 --> 00:34:15,705

people and like, Oh, you know,

I'd love to see them in this role.

738

00:34:15,774 --> 00:34:18,959

For example, Daisy, uh, is really great.

739

00:34:19,380 --> 00:34:22,260

Comedy will you generally see

her in more serious roles?

740

00:34:22,260 --> 00:34:25,770

So it's, it's kind of looking

at, okay, what other range can we

741

00:34:25,770 --> 00:34:27,450

see these actors performing in?

742

00:34:27,750 --> 00:34:31,230

And for me, I also love finding

actors who are on the up and up and

743

00:34:31,230 --> 00:34:33,420

like, what, how can we push 'em over?

744

00:34:33,420 --> 00:34:35,850

Like let's get 'em to be the IT person.

745

00:34:35,850 --> 00:34:35,940

And

746

00:34:36,150 --> 00:34:38,670

Marc Preston: like here in Chika, I

mean, I saw her, there was this movie,

747

00:34:38,670 --> 00:34:40,565

she was, I forgot the name of it, was

748

00:34:40,565 --> 00:34:41,400

Ashley Jay Sandberg: it Totally alert?

749

00:34:41,520 --> 00:34:41,970

Marc Preston: Yes.

750

00:34:41,970 --> 00:34:42,690

Yeah, totally killer.

751

00:34:43,080 --> 00:34:46,170

She's just got this kind of spark to

her, you know, and again, you know.

752

00:34:46,730 --> 00:34:49,990

I know you're trying to do Glen

Campbell, uh, Glen Powell, not Glen

753

00:34:49,990 --> 00:34:51,420

Campbell, totally different people.

754

00:34:51,420 --> 00:34:52,120

Glen Powell.

755

00:34:52,460 --> 00:34:53,530

I know you're doing him a favor.

756

00:34:53,530 --> 00:34:55,690

You know, he kind of is having

a hard time getting work lately.

757

00:34:55,750 --> 00:34:59,979

He's got that kind of handsome guy

swagger, but at the same time there

758

00:34:59,980 --> 00:35:04,340

is he, he can, he's funny too,

which is kind of nice to see some

759

00:35:04,379 --> 00:35:05,940

leading guys out there like that.

760

00:35:06,130 --> 00:35:09,080

But when you're coming together with

an idea, who do you powwow with?

761

00:35:09,110 --> 00:35:11,320

Like, Oh, you know, I got this idea.

762

00:35:11,320 --> 00:35:12,370

What do you think?

763

00:35:12,380 --> 00:35:15,925

Who, who's kind of your, Objective

voice in your life that you

764

00:35:15,925 --> 00:35:17,275

speak with about your projects,

765

00:35:17,375 --> 00:35:17,715

Ashley Jay Sandberg: right?

766

00:35:17,715 --> 00:35:22,314

So I well, there was a woman her name

is melissa goodall and I had hired her

767

00:35:22,315 --> 00:35:27,894

early on at kennedy marshall and um And

have seen her, you know blossom in her

768

00:35:27,895 --> 00:35:32,685

career, but she is always kind of You need

that person, that voice of reason, and

769

00:35:32,685 --> 00:35:35,425

I'm like, does this sound right to you?

770

00:35:35,445 --> 00:35:38,195

And I really, you need that

one person you can trust.

771

00:35:38,195 --> 00:35:42,765

And I know that when someone also has

a similar taste to you, it also helps.

772

00:35:42,765 --> 00:35:46,295

I definitely want people in my circle that

don't think like I do, because I want them

773

00:35:46,295 --> 00:35:49,455

to maybe show things to me that I maybe

wouldn't naturally gravitate towards.

774

00:35:49,915 --> 00:35:54,135

But you always need that one person that

you're, that you can have a short, you

775

00:35:54,135 --> 00:35:56,065

know, quick, can you take a look at this?

776

00:35:56,065 --> 00:35:56,625

Do you agree?

777

00:35:56,625 --> 00:35:57,905

I think this is what I see in it.

778

00:35:57,905 --> 00:35:59,665

And she's generally my go to.

779

00:35:59,945 --> 00:36:03,714

And now, as I progressed in my career

and my collaborations with Isaac and

780

00:36:03,715 --> 00:36:08,574

then another associate named Doug

that's working with us, we oftentimes

781

00:36:09,835 --> 00:36:13,575

Discuss internally together and,

uh, you know, I'm thinking this is a

782

00:36:13,575 --> 00:36:15,135

project that I liked from a while ago.

783

00:36:15,145 --> 00:36:18,065

Would you guys be interested if I

bring it back and kind of seeing

784

00:36:18,075 --> 00:36:21,395

if what, you know, if my fingers

on the pulse, right with things.

785

00:36:21,395 --> 00:36:24,485

And generally I feel like

my taste is, has been.

786

00:36:24,815 --> 00:36:28,725

You know, I, I, good, you know, I

think this casting has been, you

787

00:36:28,725 --> 00:36:32,235

know, I've, like you said, Karen

and Shifka, uh, she's awesome.

788

00:36:32,235 --> 00:36:34,525

She's someone I would absolutely

love to work with again

789

00:36:34,525 --> 00:36:35,615

and find a project for her.

790

00:36:35,615 --> 00:36:38,005

She's like, you will love her in our film.

791

00:36:38,365 --> 00:36:41,369

Um, and yeah, but you need those things.

792

00:36:41,370 --> 00:36:43,070

Those are my people, really.

793

00:36:43,250 --> 00:36:43,790

And occasionally my husband.

794

00:36:44,700 --> 00:36:47,380

Marc Preston: If you were to look back at

making this, what was the big takeaway?

795

00:36:47,390 --> 00:36:50,970

Like, what was something that,

that phrase, man plans, God laughs.

796

00:36:50,970 --> 00:36:53,230

That one thing you're like, Oh, this

is going to work just like this.

797

00:36:53,240 --> 00:36:54,670

And you're like, Oh no, it did not.

798

00:36:55,130 --> 00:36:56,870

But what's one thing that

did kind of surprise you?

799

00:36:56,870 --> 00:36:58,529

That was kind of like a happy surprise.

800

00:36:58,539 --> 00:36:58,919

Oh my gosh.

801

00:36:59,309 --> 00:36:59,629

Ashley Jay Sandberg: We have.

802

00:37:00,295 --> 00:37:01,815

Yeah, there's so many.

803

00:37:01,825 --> 00:37:04,485

Well, we really for us, I

think shooting in Oklahoma.

804

00:37:04,875 --> 00:37:09,365

Um, it wasn't the first choice for studio

because, you know, the incentives there

805

00:37:09,365 --> 00:37:10,635

are different and we're really working.

806

00:37:10,655 --> 00:37:13,664

I will say Oklahoma was great and

working, giving us incentives so

807

00:37:13,665 --> 00:37:14,715

we could bring our business there.

808

00:37:14,715 --> 00:37:18,675

You know, we looked at Georgia,

but, you know, you can't replicate

809

00:37:18,684 --> 00:37:20,594

the planes and the landscape.

810

00:37:21,224 --> 00:37:21,524

Marc Preston: You

811

00:37:21,525 --> 00:37:22,224

Ashley Jay Sandberg: just can't.

812

00:37:22,225 --> 00:37:26,365

So when we were scouting and we went,

did our due diligence, you know,

813

00:37:26,365 --> 00:37:30,375

scouting Georgia, uh, We went to Oklahoma

when we got there, we were like the

814

00:37:30,435 --> 00:37:33,035

cloud, the sun was setting just right.

815

00:37:33,035 --> 00:37:36,764

Like that was a beautiful,

like the skyscape was amazing.

816

00:37:37,194 --> 00:37:39,475

And we're like, this is

where we have to film.

817

00:37:39,495 --> 00:37:41,354

And I think that was one of those moments.

818

00:37:41,354 --> 00:37:44,654

And, and we, you know, rolled up our

sleeves and the credits to the studio.

819

00:37:44,655 --> 00:37:46,685

They really helped us

make it happen there.

820

00:37:46,735 --> 00:37:50,335

Um, we were able to hire

You know, some local crew.

821

00:37:50,335 --> 00:37:54,005

We had to ship a lot of people in, but

we were able to do a trainee program

822

00:37:54,005 --> 00:37:56,035

and really help them start to build out.

823

00:37:56,055 --> 00:37:59,625

I think what, uh, you know, the

film business could look like there.

824

00:38:00,045 --> 00:38:04,974

Um, this we, you know, in

thinking about it, we filmed in

825

00:38:04,974 --> 00:38:06,595

Oklahoma during tornado season.

826

00:38:06,925 --> 00:38:10,745

So, you know, that was an

interesting choice when we're there.

827

00:38:10,745 --> 00:38:13,940

And anytime the sky looked Perfect.

828

00:38:13,940 --> 00:38:15,610

Like this is the perfect sky to film.

829

00:38:15,620 --> 00:38:19,660

We knew thunder and lightning was

coming and we do have to shut down

830

00:38:19,680 --> 00:38:23,480

every time that there is lightning for

30 minutes until the lightning stops.

831

00:38:24,010 --> 00:38:26,230

Uh, it is less than, you know,

we, I think it's say the double

832

00:38:26,230 --> 00:38:28,230

check with six miles or 13 miles.

833

00:38:28,270 --> 00:38:32,469

The number is for a slipping my mind,

but, uh, that part was challenging

834

00:38:32,469 --> 00:38:35,879

and really kind of keeping to

our schedule and making our days.

835

00:38:36,199 --> 00:38:41,390

But our crew was so on top of it and

really wanting to make this All work and

836

00:38:41,390 --> 00:38:45,120

work for Isaac and Isaac was creative and

how he shot things that we were able, you

837

00:38:45,120 --> 00:38:49,460

know, to stay on schedule The hardest part

I think is that we had two strikes happen

838

00:38:49,460 --> 00:38:53,629

while we made this film So we had a writer

strike happen right before we started

839

00:38:53,710 --> 00:38:53,980

Marc Preston: Oh, and

840

00:38:54,800 --> 00:38:58,039

Ashley Jay Sandberg: so that means

no changes to the script Uh, you

841

00:38:58,039 --> 00:39:02,049

know if any changes happened in

the film the actors were doing it

842

00:39:02,059 --> 00:39:04,100

like improvised on the set spot.

843

00:39:04,450 --> 00:39:08,340

Um, and, you know, people were looking

to shut down productions and, you

844

00:39:08,340 --> 00:39:11,510

know, we did everything above board

and really, we kept our production

845

00:39:11,510 --> 00:39:12,780

going through the writer's strike.

846

00:39:12,780 --> 00:39:15,900

And then with 12 days left,

we were hit with the writer's

847

00:39:15,900 --> 00:39:17,410

strike or the actor's strike.

848

00:39:18,090 --> 00:39:20,079

And so that was another thing.

849

00:39:20,079 --> 00:39:23,360

So our whole goal was, can we finish

this movie before the year's over?

850

00:39:23,820 --> 00:39:28,630

Can we make this release date that we

have coming up and everything we did

851

00:39:28,860 --> 00:39:33,539

was working to get this release date,

which is means once we've stopped for the

852

00:39:33,540 --> 00:39:39,839

strike, we went into editorial and edited

Isaac and Terry Shropshire, uh, edited

853

00:39:39,839 --> 00:39:42,460

as much as they could with what we had.

854

00:39:42,660 --> 00:39:46,150

So that way we can make our VFX

turnovers to keep our release date.

855

00:39:46,440 --> 00:39:47,980

You know, with the hope

that we could keep it.

856

00:39:47,980 --> 00:39:51,900

So it was a lot of, you know,

problem solving and staying positive.

857

00:39:52,080 --> 00:39:54,730

Marc Preston: You're earning all

kinds of stripes on this, on this film

858

00:39:54,730 --> 00:39:57,449

here, you know, kind of like saying,

well, I got, I got my strike stripe.

859

00:39:57,449 --> 00:40:00,289

I've got my, you know,

different locations right now.

860

00:40:00,289 --> 00:40:01,740

We're, we're, we're, we're meeting now.

861

00:40:01,749 --> 00:40:03,780

Me being a Texan, we've

got a thing with Oklahoma.

862

00:40:04,109 --> 00:40:05,830

It's kind of like begrudgingly,

all right, they're fine.

863

00:40:06,360 --> 00:40:08,640

But, um, there was a joke

when I was growing up.

864

00:40:08,650 --> 00:40:10,880

It's like cross the red

river, you need a passport.

865

00:40:11,335 --> 00:40:13,515

But I've done my love

for my Oklahoma friends.

866

00:40:13,515 --> 00:40:15,215

But where exactly in

Oklahoma did you film?

867

00:40:15,225 --> 00:40:16,935

Ashley Jay Sandberg: Yeah, our

home base was Oklahoma City.

868

00:40:16,955 --> 00:40:20,575

We use what was prairie surf studios.

869

00:40:20,585 --> 00:40:23,095

That was where our sound stages

were right in the heart of the city.

870

00:40:23,835 --> 00:40:27,194

Um, and everything would really,

when we went on, we were about 30

871

00:40:27,585 --> 00:40:31,335

percent on stage, 70 percent on the

road, and the majority was it in

872

00:40:31,345 --> 00:40:34,915

the Oak, like an, at least within

45 minutes around Oklahoma city.

873

00:40:35,430 --> 00:40:39,555

We did a few in pa shoot in Pawhuska,

which, where they was, where they uhhuh,

874

00:40:39,630 --> 00:40:41,520

you know, shot killers of the flower moon.

875

00:40:42,040 --> 00:40:45,315

Um, we shot up on Drummond Ranch

and that was about two hours.

876

00:40:45,355 --> 00:40:46,355

I know exactly where you Yeah.

877

00:40:46,360 --> 00:40:48,880

Two hours outside of, uh, Oklahoma City.

878

00:40:49,120 --> 00:40:49,915

So that's really Park.

879

00:40:49,915 --> 00:40:50,115

Marc Preston: Oh yeah.

880

00:40:50,115 --> 00:40:51,970

Because that's, uh, that's

re Drummond's place, right?

881

00:40:51,970 --> 00:40:52,330

Ashley Jay Sandberg: Yep.

882

00:40:52,710 --> 00:40:55,800

It was, we, we filmed

on Ford's the brothers.

883

00:40:57,205 --> 00:40:58,065

Marc Preston: Oh, okay.

884

00:40:58,065 --> 00:40:58,465

Okay.

885

00:40:58,835 --> 00:41:01,695

So you didn't get, you didn't get any

good, uh, craft services from her.

886

00:41:01,695 --> 00:41:01,815

Okay.

887

00:41:01,835 --> 00:41:03,535

Ashley Jay Sandberg: No, but

we stayed in town, right?

888

00:41:03,535 --> 00:41:07,545

Where that, that, you know, where hotel

was right by her shop, the pioneer woman.

889

00:41:07,555 --> 00:41:09,134

Marc Preston: You know, I,

I'm very excited to see it.

890

00:41:09,144 --> 00:41:11,515

I will say that I will excited

to see it in the theater.

891

00:41:12,014 --> 00:41:14,724

Uh, even though it's a 35 minute

drive for me, I will go buy my

892

00:41:14,725 --> 00:41:16,415

ticket to go see it because it's, um,

893

00:41:16,945 --> 00:41:17,455

Ashley Jay Sandberg:

promise it'll be worth it.

894

00:41:18,505 --> 00:41:19,255

Marc Preston: Very excited.

895

00:41:19,255 --> 00:41:20,845

And, and this is such a neat place.

896

00:41:21,340 --> 00:41:24,330

Kind of a project for,

especially for Gen X kid.

897

00:41:24,340 --> 00:41:25,560

You know, that was kind of a big movie.

898

00:41:25,560 --> 00:41:30,940

It was, uh, when did it was at

96, 96 was when it came out.

899

00:41:31,330 --> 00:41:32,720

So I've waited a long time.

900

00:41:39,820 --> 00:41:42,779

Before we get going, I got something

I call my seven questions that

901

00:41:42,779 --> 00:41:43,949

I always like to ask everybody.

902

00:41:43,959 --> 00:41:44,909

It's just a little extra fun.

903

00:41:44,990 --> 00:41:46,570

A few questions, but the first one.

904

00:41:46,765 --> 00:41:48,585

What is your favorite comfort food?

905

00:41:48,885 --> 00:41:51,665

The thing that, you know, even makes

you feel good on a bad day, or maybe

906

00:41:51,665 --> 00:41:54,055

you're having a great day, just like,

ah, I just want to go add to it,

907

00:41:54,155 --> 00:41:54,525

Ashley Jay Sandberg: you know?

908

00:41:54,535 --> 00:41:57,614

Yeah, that's a really good

question, but I will say pizza.

909

00:41:57,995 --> 00:42:02,205

I'm like, uh, you know, and I'm,

there's a place, uh, called Great White.

910

00:42:02,215 --> 00:42:06,124

It's a restaurant not far from our

house that has really great pizzas.

911

00:42:06,135 --> 00:42:09,855

And so, um, That's

probably would be my pick.

912

00:42:10,025 --> 00:42:11,875

Marc Preston: Are you are

you a thin crust person?

913

00:42:11,875 --> 00:42:13,975

Are you a uh, deep dish person?

914

00:42:15,005 --> 00:42:16,335

Ashley Jay Sandberg: My

husband's from chicago.

915

00:42:16,375 --> 00:42:21,005

So I definitely experienced the deep dish

pizzas, but I am a thin crust pizza I

916

00:42:21,015 --> 00:42:24,065

Marc Preston: think they're two different

things equally noble, but I when I

917

00:42:24,094 --> 00:42:26,840

think pizza I always think I'm with you.

918

00:42:27,350 --> 00:42:31,940

Now, if you were to sit down, you want

to talk story with three people, uh, sit

919

00:42:31,940 --> 00:42:37,720

down, have coffee for a few hours and

it would be living or not three people

920

00:42:37,720 --> 00:42:40,980

that you would love to sit down and

chat with who, who would those folks be?

921

00:42:41,390 --> 00:42:42,149

Ashley Jay Sandberg: This is really great.

922

00:42:42,240 --> 00:42:46,400

Um, I would say one, I always said I'd

want to sit down with Michelle Obama.

923

00:42:46,775 --> 00:42:48,015

That is one for me.

924

00:42:48,135 --> 00:42:51,855

Um, just to hear, you know, like

kind of, just kind of spitball ideas.

925

00:42:51,855 --> 00:42:54,165

And I think after reading

Becoming and everything she's

926

00:42:54,165 --> 00:42:56,624

done, I think she'd be really

fascinating, interesting to talk to.

927

00:42:57,085 --> 00:43:00,135

Marc Preston: Um, she actually has a

good sense of humor too, you know, kind

928

00:43:00,135 --> 00:43:02,075

of a, you know, she's sharp, you know,

929

00:43:02,595 --> 00:43:04,255

Ashley Jay Sandberg: um, who

else would I, I would want to

930

00:43:04,255 --> 00:43:05,605

sit down with Marilyn Monroe.

931

00:43:06,020 --> 00:43:09,020

I think she just had an interesting,

you know, I feel like she was really

932

00:43:09,020 --> 00:43:13,630

progressive in who she was as a person

and Just kind of want to hear more

933

00:43:13,630 --> 00:43:17,490

about what her experience was like

here and also You know kind of talk

934

00:43:17,490 --> 00:43:19,990

story with you know Different stories

and projects and what drew her to why

935

00:43:19,990 --> 00:43:24,149

she said yes to the projects that she

said yes to And who else would I want

936

00:43:24,150 --> 00:43:26,240

to sit down with this is a question.

937

00:43:26,420 --> 00:43:29,300

I think of my third person um

938

00:43:31,865 --> 00:43:35,445

It would probably be, I think I would sit

and it might be a wild ride, but probably

939

00:43:35,455 --> 00:43:39,525

Alfred Hitchcock because I do have a

love for the horror, the horror space.

940

00:43:39,625 --> 00:43:43,675

And I just saw again recently

psycho on the big screen and it

941

00:43:43,675 --> 00:43:45,894

was just so amazing and well done.

942

00:43:45,905 --> 00:43:47,135

So I think that would be my third.

943

00:43:47,165 --> 00:43:47,315

Marc Preston: Yeah.

944

00:43:47,325 --> 00:43:50,195

I, I love it when they do that,

when they do the re releases, I

945

00:43:50,195 --> 00:43:51,405

wish I could get to more of those.

946

00:43:51,405 --> 00:43:55,335

I'm just not in a place where that really

happens, but I, when I was in Southern

947

00:43:55,335 --> 00:43:56,805

California, that was pretty cool.

948

00:43:56,805 --> 00:43:59,335

You know, you see something

like last time it was on screen

949

00:43:59,335 --> 00:44:00,925

was decades ago or something.

950

00:44:01,075 --> 00:44:01,185

Yep.

951

00:44:01,575 --> 00:44:05,205

Now, the next question I got for you

is, uh, let's go back to a young Ashley.

952

00:44:05,805 --> 00:44:07,955

Who was your first celebrity crush?

953

00:44:07,955 --> 00:44:08,985

Ashley Jay Sandberg: Who was my first?

954

00:44:09,494 --> 00:44:10,895

I think it was, it was Tom Cruise.

955

00:44:12,075 --> 00:44:13,395

My first celebrity crush.

956

00:44:13,545 --> 00:44:15,005

Marc Preston: I don't

know what he's doing.

957

00:44:15,005 --> 00:44:16,885

He, he does not age normally.

958

00:44:16,985 --> 00:44:17,275

I don't know.

959

00:44:17,275 --> 00:44:18,205

He's in his sixties now.

960

00:44:18,215 --> 00:44:18,945

He still looks the same.

961

00:44:18,945 --> 00:44:19,345

962

00:44:19,345 --> 00:44:20,144

Ashley Jay Sandberg: don't know.

963

00:44:20,145 --> 00:44:24,905

I was, I just remember watching Risky

Business and Cocktails with my one aunt.

964

00:44:25,034 --> 00:44:27,974

And I was like, who is this

person when I was younger?

965

00:44:27,974 --> 00:44:31,274

And it was, you know, he left

an impression on all of us.

966

00:44:31,575 --> 00:44:32,065

Marc Preston: Very good.

967

00:44:32,075 --> 00:44:35,515

Now, if you were to be living on an

island, let's say it's an exotic island,

968

00:44:35,515 --> 00:44:36,885

somewhere nice, somewhere you want to be.

969

00:44:36,885 --> 00:44:39,895

It's not, you're not a cast

away, but you're going to be

970

00:44:39,895 --> 00:44:41,645

there for a year, no internet.

971

00:44:41,645 --> 00:44:47,925

So you need to bring one DVD with you of a

movie and one CD with you, uh, for music.

972

00:44:48,305 --> 00:44:52,225

And you say you got one album and

one DVD, one album and one movie.

973

00:44:52,225 --> 00:44:53,305

What would you bring with you?

974

00:44:53,495 --> 00:44:57,205

Ashley Jay Sandberg: Right now, the

DVD I would bring with me would be.

975

00:44:58,155 --> 00:44:59,565

I think I'd bring Raiders with me.

976

00:44:59,675 --> 00:45:00,615

Marc Preston: The original one, right?

977

00:45:00,615 --> 00:45:00,634

The

978

00:45:00,635 --> 00:45:01,135

Ashley Jay Sandberg: original.

979

00:45:01,205 --> 00:45:01,815

Marc Preston: Or the, yeah.

980

00:45:02,015 --> 00:45:03,395

Ashley Jay Sandberg: The first,

yeah, Raiders of the Lost Ark.

981

00:45:03,395 --> 00:45:04,265

I'd bring the first one.

982

00:45:04,805 --> 00:45:10,595

Um, and soundtrack, or like music, I

would say I have to, I'm not plugging it

983

00:45:10,605 --> 00:45:14,565

because it's our film, but our soundtrack

to this new movie, the Twisters album

984

00:45:14,574 --> 00:45:16,705

is pretty fantastic with amazing art.

985

00:45:16,754 --> 00:45:16,844

You

986

00:45:16,845 --> 00:45:18,005

Marc Preston: got to tell

me who's on it though.

987

00:45:18,125 --> 00:45:22,585

Ashley Jay Sandberg: We have Luke Combs,

Tucker Wetmore, Laney Wilson, Jelly Roll.

988

00:45:22,765 --> 00:45:27,765

Megan Mulroney, Bailey

Zimmerman, um, Reland, Shania,

989

00:45:28,205 --> 00:45:29,675

Miranda, they're all on there.

990

00:45:29,845 --> 00:45:32,425

Marc Preston: You've just listed

all of my daughter's favorites.

991

00:45:32,435 --> 00:45:33,485

We'll make sure, I'll get

992

00:45:33,485 --> 00:45:35,445

Ashley Jay Sandberg: you, make sure

we'll get you a copy of the soundtrack.

993

00:45:35,535 --> 00:45:36,255

We'll be out soon.

994

00:45:36,285 --> 00:45:37,266

Marc Preston: All of

that, that's very kind.

995

00:45:37,266 --> 00:45:39,793

Yeah, Luke Combs is, what a,

what a great singer he is.

996

00:45:39,793 --> 00:45:43,735

So how, Just as a little quick side

note, did you have any hand in that?

997

00:45:43,735 --> 00:45:43,915

Or did you,

998

00:45:44,375 --> 00:45:46,755

Ashley Jay Sandberg: I was an executive

music producer on the soundtrack.

999

00:45:46,905 --> 00:45:49,005

So we worked really closely with Atlanta.

Speaker:
1000

00:45:49,015 --> 00:45:51,644

I was working with Kevin Weaver

at Atlantic records and his team,

Speaker:
1001

00:45:51,644 --> 00:45:56,005

they did Barbie and with our music

execs, Mike Noblock, Rachel Levy.

Speaker:
1002

00:45:56,325 --> 00:45:57,245

Over at universal.

Speaker:
1003

00:45:57,245 --> 00:45:58,775

And we kind of was an Isaac.

Speaker:
1004

00:45:58,835 --> 00:46:02,135

Uh, he's also an executive music

producer on the record and we work

Speaker:
1005

00:46:02,165 --> 00:46:05,704

really closely to get the artist

and make sure the songs fit with

Speaker:
1006

00:46:05,704 --> 00:46:07,115

the scenes that we're using them in.

Speaker:
1007

00:46:07,305 --> 00:46:09,704

Marc Preston: I know my

daughter is a big fan of Zach.

Speaker:
1008

00:46:09,715 --> 00:46:10,115

Brian.

Speaker:
1009

00:46:10,124 --> 00:46:10,364

Ashley Jay Sandberg: Yes.

Speaker:
1010

00:46:10,435 --> 00:46:11,245

We love Zach.

Speaker:
1011

00:46:11,275 --> 00:46:14,464

He really, we're trying to make

it work and he's an Oklahoma guy.

Speaker:
1012

00:46:14,525 --> 00:46:17,344

But, um, he's not on this

one, but I, I love that.

Speaker:
1013

00:46:17,345 --> 00:46:19,215

Marc Preston: I think

it's with Warner, I think.

Speaker:
1014

00:46:19,305 --> 00:46:19,715

Ashley Jay Sandberg: Yeah.

Speaker:
1015

00:46:19,735 --> 00:46:21,895

Marc Preston: And I'm, I'm trying to

speak with him because I know my daughter,

Speaker:
1016

00:46:21,895 --> 00:46:25,845

who's actually the voice of my show has

not even heard an episode, but I'm like,

Speaker:
1017

00:46:25,845 --> 00:46:29,185

you know, what are we going to have Ryan

on when he's like, maybe I'll listen.

Speaker:
1018

00:46:29,185 --> 00:46:29,715

I don't know.

Speaker:
1019

00:46:29,725 --> 00:46:31,914

But, uh, but all the folks you

listed, that's going to, that's going

Speaker:
1020

00:46:31,914 --> 00:46:33,414

to be a damn good album, actually.

Speaker:
1021

00:46:33,634 --> 00:46:34,375

That's wonderful.

Speaker:
1022

00:46:34,405 --> 00:46:35,985

Uh, so we, we got that locked in.

Speaker:
1023

00:46:35,985 --> 00:46:39,345

We know you're going to the Island with

now, uh, if we were to say from the

Speaker:
1024

00:46:39,355 --> 00:46:41,150

time you get up, It's time to go to bed.

Speaker:
1025

00:46:41,810 --> 00:46:43,370

Definition of a perfect day.

Speaker:
1026

00:46:43,390 --> 00:46:45,280

The component parts of that perfect day.

Speaker:
1027

00:46:45,640 --> 00:46:47,020

What would those things be?

Speaker:
1028

00:46:47,270 --> 00:46:48,960

Ashley Jay Sandberg: Oh my gosh,

Marc, you're asking like really

Speaker:
1029

00:46:49,020 --> 00:46:50,179

great, thoughtful questions.

Speaker:
1030

00:46:50,190 --> 00:46:53,580

I think for me, if this, let's

say if it's a, a weekend, I'll

Speaker:
1031

00:46:53,580 --> 00:46:54,679

say these are my good days.

Speaker:
1032

00:46:54,679 --> 00:46:56,549

I'll say, or like my free days, but it is.

Speaker:
1033

00:46:56,975 --> 00:46:58,885

You know, my, my family's very routine.

Speaker:
1034

00:46:58,885 --> 00:47:01,015

The dog comes in to wake us up for food.

Speaker:
1035

00:47:01,025 --> 00:47:04,285

Then my daughter comes in and kind of,

we're all in, in the room together.

Speaker:
1036

00:47:04,285 --> 00:47:08,594

And I think would probably be going on

a hike or doing something altogether and

Speaker:
1037

00:47:08,594 --> 00:47:10,494

then getting a really good breakfast.

Speaker:
1038

00:47:10,545 --> 00:47:12,315

Um, I love bagels.

Speaker:
1039

00:47:12,315 --> 00:47:12,415

Speaker:
1040

00:47:12,415 --> 00:47:13,454

Marc Preston: coffee a part of that?

Speaker:
1041

00:47:13,535 --> 00:47:14,525

Ashley Jay Sandberg: Oh, absolutely.

Speaker:
1042

00:47:14,525 --> 00:47:15,285

I forgot that.

Speaker:
1043

00:47:15,965 --> 00:47:16,895

So I would have a

Speaker:
1044

00:47:16,965 --> 00:47:17,385

Marc Preston: morning.

Speaker:
1045

00:47:17,575 --> 00:47:18,715

That's one common theme.

Speaker:
1046

00:47:18,725 --> 00:47:19,305

Most people.

Speaker:
1047

00:47:19,305 --> 00:47:22,895

I remember speaking to, uh, Billy

Magnus and he said, he put it best.

Speaker:
1048

00:47:22,895 --> 00:47:24,855

He said the ritual of making

coffee in the morning.

Speaker:
1049

00:47:24,855 --> 00:47:27,934

I'm like, yeah, that's something I

really, you know, everybody's like, Oh,

Speaker:
1050

00:47:27,935 --> 00:47:28,964

I've got to have that cup of coffee.

Speaker:
1051

00:47:28,964 --> 00:47:29,834

It always starts there.

Speaker:
1052

00:47:29,865 --> 00:47:30,125

Yes.

Speaker:
1053

00:47:30,145 --> 00:47:32,535

Ashley Jay Sandberg: It's like

that cup to get you going.

Speaker:
1054

00:47:32,545 --> 00:47:35,095

And then I think we'd be, we're out

the door pretty early in our house.

Speaker:
1055

00:47:35,150 --> 00:47:37,960

But go out to do something with

the, you know, whether it goes, we

Speaker:
1056

00:47:37,960 --> 00:47:41,600

go up to the Griffith observatory

and go up to, we kind of, there's

Speaker:
1057

00:47:41,600 --> 00:47:43,200

a hike there that we like to do.

Speaker:
1058

00:47:43,600 --> 00:47:47,300

Um, so do that, get bagels,

breakfast, come back.

Speaker:
1059

00:47:47,300 --> 00:47:50,449

And usually it would entail like either

doing something with family or friends.

Speaker:
1060

00:47:50,449 --> 00:47:53,799

I think definitely a movie in there,

watching a movie, whether, you know,

Speaker:
1061

00:47:53,800 --> 00:47:56,970

as a family, hopefully, preferably

something good in the theater

Speaker:
1062

00:47:56,970 --> 00:47:59,970

for us to see, and then getting

a really great dinner together.

Speaker:
1063

00:48:00,350 --> 00:48:02,640

Um, and then calling it

an early night after that.

Speaker:
1064

00:48:02,649 --> 00:48:04,819

So that's kind of, you know, one of my.

Speaker:
1065

00:48:05,150 --> 00:48:06,100

Marc Preston: That seems wonderful.

Speaker:
1066

00:48:06,230 --> 00:48:08,710

That is one thing I do miss about

having the little kids around the,

Speaker:
1067

00:48:08,720 --> 00:48:11,630

you know, coming into the room and

kind of getting you going in the

Speaker:
1068

00:48:11,630 --> 00:48:13,460

morning and they got to be teenagers.

Speaker:
1069

00:48:13,460 --> 00:48:15,570

And I was the one up first,

you know, which is odd.

Speaker:
1070

00:48:15,970 --> 00:48:21,429

Now, if you're doing this for a living

and this vocation wasn't available to

Speaker:
1071

00:48:21,429 --> 00:48:26,130

you, what could you see that would be

out there where you'd derive joy and

Speaker:
1072

00:48:26,130 --> 00:48:28,090

satisfaction to an alternate career?

Speaker:
1073

00:48:28,505 --> 00:48:30,635

Ashley Jay Sandberg: Yeah, for

me, I think it always, I have to

Speaker:
1074

00:48:30,645 --> 00:48:34,615

be doing something creative, um,

and having that ability to do it.

Speaker:
1075

00:48:34,625 --> 00:48:41,504

I think I really do love homes and home

design and, uh, you know, furnishing.

Speaker:
1076

00:48:41,504 --> 00:48:44,225

And I think maybe it would be doing

something like that, like updating

Speaker:
1077

00:48:44,225 --> 00:48:48,295

homes, flipping homes, uh, maybe

something in that space that's completely

Speaker:
1078

00:48:48,295 --> 00:48:49,885

opposite of doing what I do here.

Speaker:
1079

00:48:49,895 --> 00:48:52,585

Marc Preston: But still creative and

still, you know, seeing a project through.

Speaker:
1080

00:48:52,635 --> 00:48:53,025

Yeah.

Speaker:
1081

00:48:53,305 --> 00:48:55,685

Ashley Jay Sandberg: Yeah,

I check things off my list.

Speaker:
1082

00:48:55,875 --> 00:48:58,005

I do find get much joy out of that.

Speaker:
1083

00:48:58,165 --> 00:48:58,655

Marc Preston: Very good.

Speaker:
1084

00:48:58,665 --> 00:49:01,245

Now the last question I got for

you is if you were to jump into

Speaker:
1085

00:49:01,245 --> 00:49:06,025

that DeLorean going back in time,

you've got you go to see 16 year old

Speaker:
1086

00:49:06,074 --> 00:49:07,864

Ashley, you got a piece of advice.

Speaker:
1087

00:49:07,864 --> 00:49:09,175

You got a couple minutes with you.

Speaker:
1088

00:49:09,384 --> 00:49:14,054

What would the piece of advice be to

either put you on a better path or

Speaker:
1089

00:49:14,054 --> 00:49:16,615

a different path or maybe make that

moment in your life a little better?

Speaker:
1090

00:49:16,615 --> 00:49:18,175

What would that piece of advice be?

Speaker:
1091

00:49:18,175 --> 00:49:18,194

Okay.

Speaker:
1092

00:49:18,625 --> 00:49:22,795

Ashley Jay Sandberg: Yeah, I think

it be, um, to be easier on myself.

Speaker:
1093

00:49:22,795 --> 00:49:26,035

I think we're, you know, I think I'm

my own worst critic sometimes and I'm

Speaker:
1094

00:49:26,035 --> 00:49:28,474

really, you know, can be hard on myself.

Speaker:
1095

00:49:28,474 --> 00:49:33,745

And I would say just, you know, you

know, just not to do that and that

Speaker:
1096

00:49:33,745 --> 00:49:35,935

it's okay for not everyone to like you.

Speaker:
1097

00:49:35,984 --> 00:49:40,455

You have to make sure you like

yourself and, and, uh, making choices

Speaker:
1098

00:49:40,485 --> 00:49:42,275

that feel good and right for you.

Speaker:
1099

00:49:42,295 --> 00:49:47,025

And I think that's, I would say, worry

less about the others and really focus on.

Speaker:
1100

00:49:47,500 --> 00:49:49,740

What you need to be doing and

what's bringing you joy too.

Speaker:
1101

00:49:49,940 --> 00:49:50,780

Marc Preston: You know, it makes me happy.

Speaker:
1102

00:49:50,810 --> 00:49:54,560

So many people say something so very

similar to that, that I speak with, uh,

Speaker:
1103

00:49:54,580 --> 00:49:59,440

that, that just go easy on yourself,

trust yourself, you know, take it easy.

Speaker:
1104

00:49:59,639 --> 00:50:03,910

You know, I don't know if, if creative

types naturally as youngins, if we're

Speaker:
1105

00:50:03,920 --> 00:50:06,410

all just kind of, you know, in our

heads so much, we're really kind of

Speaker:
1106

00:50:06,619 --> 00:50:09,370

rough on ourself or, you know, you

know, it's just a very interesting note.

Speaker:
1107

00:50:09,440 --> 00:50:10,650

A lot of folks say that.

Speaker:
1108

00:50:10,650 --> 00:50:13,769

So, uh, but no, I do appreciate

you taking some time out of your

Speaker:
1109

00:50:13,769 --> 00:50:15,100

day to sit down with me and.

Speaker:
1110

00:50:15,545 --> 00:50:19,465

My puppy who's passed out finally

after he chooses just now to pass

Speaker:
1111

00:50:19,465 --> 00:50:22,485

out on the floor You know, he's been

running around the whole time Um,

Speaker:
1112

00:50:22,495 --> 00:50:25,984

but I certainly appreciate it best of

luck to you and hopefully we'll have a

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1113

00:50:25,985 --> 00:50:27,325

chance to connect down the line then.

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1114

00:50:27,415 --> 00:50:28,035

Ashley Jay Sandberg: Okay, great

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1115

00:50:30,455 --> 00:50:35,225

Marc Preston: Okay, there you go ashley j

sandberg the executive producer of the new

Speaker:
1116

00:50:35,225 --> 00:50:39,505

film twisters Looking forward to seeing

it coming out this fall Tomorrow, Friday,

Speaker:
1117

00:50:39,505 --> 00:50:41,975

July 19th, it's going to be a good one.

Speaker:
1118

00:50:41,995 --> 00:50:43,405

I think you'll enjoy it quite a bit.

Speaker:
1119

00:50:43,845 --> 00:50:46,615

Also, everything you could

possibly want to know about the

Speaker:
1120

00:50:46,615 --> 00:50:49,215

show is at storyandcraftpod.

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1121

00:50:50,075 --> 00:50:50,615

com.

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1122

00:50:50,714 --> 00:50:55,194

Um, don't forget if you would to follow

Story and Craft, grab your phone,

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00:50:55,205 --> 00:50:58,644

hit the follow button, get notified

every time there is a new episode.

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1124

00:50:58,664 --> 00:51:02,224

We've got some great ones coming

up here over the next few weeks.

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1125

00:51:02,494 --> 00:51:04,484

Uh, also, uh, if you would.

Speaker:
1126

00:51:04,520 --> 00:51:07,100

Drop a little review in there, some stars.

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1127

00:51:07,120 --> 00:51:10,860

It's a great way to help people

find the show and I appreciate it.

Speaker:
1128

00:51:11,100 --> 00:51:14,150

I'm sending you a big virtual

hug for doing that for me.

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1129

00:51:14,150 --> 00:51:14,470

All right.

Speaker:
1130

00:51:14,860 --> 00:51:16,420

I'm not, I'm not trying

to make it awkward.

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1131

00:51:16,420 --> 00:51:17,330

I just want to give you a hug.

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1132

00:51:17,889 --> 00:51:18,269

All right.

Speaker:
1133

00:51:18,320 --> 00:51:18,920

That's awkward.

Speaker:
1134

00:51:19,219 --> 00:51:19,519

Okay.

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1135

00:51:19,520 --> 00:51:23,029

So go have a great rest of

your day, evening, weekend,

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1136

00:51:23,029 --> 00:51:23,949

whatever you got going on.

Speaker:
1137

00:51:23,949 --> 00:51:27,609

Thank you so much for making

story and craft part of what

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1138

00:51:27,609 --> 00:51:29,169

you have going on every week.

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1139

00:51:29,630 --> 00:51:30,920

Glad to have you be a part of it.

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1140

00:51:30,970 --> 00:51:31,840

Go have a great one.

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1141

00:51:31,850 --> 00:51:35,600

We will connect very soon

right here on Story Craft.

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1142

00:51:35,880 --> 00:51:38,480

Announcer: That's it for

this episode of Story Craft.

Speaker:
1143

00:51:38,710 --> 00:51:43,060

Join Marc next week for more

conversation right here on Story Craft.

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1144

00:51:43,539 --> 00:51:47,410

Story Craft is a presentation of

Marc Preston Productions, LLC.

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1145

00:51:48,400 --> 00:51:50,134

Executive Producer is Marc Preston.

Speaker:
1146

00:51:50,135 --> 00:51:53,525

Preston Associate Producer

is Zachary Holden.

Speaker:
1147

00:51:53,915 --> 00:51:57,425

Please rate and review story

and craft on Apple Podcasts.

Speaker:
1148

00:51:57,485 --> 00:52:01,685

Don't forget to subscribe to the

show on Apple Podcasts, Spotify,

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1149

00:52:01,805 --> 00:52:03,275

or your favorite podcast app.

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1150

00:52:03,655 --> 00:52:06,565

You can subscribe to, show

updates, and stay in the know.

Speaker:
1151

00:52:06,745 --> 00:52:10,855

Just head to story and craft pod.com

and sign up for the newsletter.

Speaker:
1152

00:52:11,455 --> 00:52:12,355

I'm Emma Dylan.

Speaker:
1153

00:52:12,595 --> 00:52:13,555

See you next time.

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1154

00:52:13,705 --> 00:52:16,135

And remember, keep telling your story.

Speaker:
1155

00:52:16,135 --> 00:52:16,795

Come help.

Ashley Jay Sandberg | A New Twist

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