>> What we're going to do, is
we're going to play kick ball.
You've got twatch everybody.
Watch everybody.
>> All right, okay
You ready?
>> We're going to throw
a Frisbee and kick the ball.
>> It made all the sense
in the world.
You...
>> I lost my job.
>> He lost his job.
And I'm working now.
And we just felt that we
wanted to supplement things
enrich our life, really.
And so, we turned to Onitrac.
It seemed like a very good
opportunity.
They provide everything, really.
I mean, we have a massive amount
of tapes that we listen to
24/7, 365, absolutely.
And we also have books.
Our favorite, of course,
is the Bible.
We read that religiously.
>> Religiously.
>> If I can say that.
But also, one of our new
favorites, "The 10 Commandments
of Onitrac Success."
It's amazingly simple
and sensible.
And then, three days ago,
we got this new book.
>> It's a good one.
>> "How Would Jesus Sell?"
If I can't sell
how Christ would sell...
>> Then why sell?
>> Then I'm not interested
in selling.
>> Hi, and welcome
to Director's Cut.
I'm your host,
Charles Monroe-Kane.
Here at Director's Cut,
we're dedicated to bringing you
the best in independent films
and filmmakers.
Our film this week is
a mockumentary called
"Going Great White."
Like all great mockumentaries,
it's a satire.
Going Great White's victim
is the pyramid scheme.
Think "Best in Show"
meets Amway.
"Going Great White"
was directed by Frank Caruso
and Frank Sommers.
Frank Caruso couldn't join us
today, but Frank Sommers
is here with us in the studio.
Welcome.
>> Thank you.
>> A mockumentary.
I love the genre
of the mockumentary.
Why did you choose
such an awesome form?
>> First off, the genesis
of this movie came from
Christopher Guest's movies.
I was talking to a friend about
Christopher Guest might tackle
after community theater,
and other different things
he's done.
And we said pyramid schemes.
And once it came out
of my mouth, I thought that's
a really good idea.
And the other thing that
attracted us to it was the idea
that it was something we thought
we could actually pull off.
We had a very low budget.
But we thought that we could
actually pull off a mockumentary
that maybe is funny, and maybe
even production-value-wise,
hold up to other mockumentaries.
>> It's almost funny you say
that, because I was thinking
that a mockumentary
with a high budget--
Forget about actors for
a minute, I understand
that Christopher Guest
has to pay them.
But if you have too high of
a budget for a mockumentary,
it's almost like it should be
an independent film.
Because it would kind of
ruin it.
It has to have that feel.
>> Yes, in fact, there
have been some mockumentaries
that have been done, I think,
with a big budget.
And it feels fake.
It feels too contrived.
And I think the best--
The humor comes out of the idea
that we really believe
this is happening.
It was one of our mantras, too.
We always said, real first,
funny second.
>> Real first, funny second.
For you guys who are going
to make a mockumentary,
real first, funny second.
>> In the film, we wanted to
make sure it felt like this is
real, this is being filmed real.
The actors are doing it as real.
And we have our actors do some
pretty crazy, outrageous things.
But we always said do it
as if it's a real thing.
>> That's interesting.
Real first, I love that.
Do you think you could pull off
real if you had more money?
Or do you think that for you,
right now--
In a sense, you wanted to make
thilm, because you wanted
to learn how to make films.
Is that true?
>> I wouldn't say because
I wanted to learn
how to make a film.
I wanted to make a film.
I wanted a film that
when it was done, you would say
this is entertaining.
This is funny.
This is good.
And you know, I had pretty
high hopes and a high benchmark
for it.
When Frank and I really
committed to it, we said let's
make something that's every bit
as funny, and every bit as good
as anything you would
put into your DVD player.
So the goal was not to learn,
although we did learn.
>> Of course.
>> We said we spent the summer
filming it,
laughing and learning.
That was really
what we were doing.
>> Are you disciples
of Mr. Guest?
>> No, though I'm a big fan
of what he's done.
And I think his films,
"Waiting for Guffman"
and "Best in Show"
are as funny as you know,
very funny movies.
I think again, just trying
to find a target that we thought
could be pulled off.
We didn't want to tackle
something that when it was done,
someone said, okay that's good,
but it doesn't look right,
or it's not up to snuff.
>> Right, or how endearing,
that's nice
for their first film.
You wanted, like I want
my first film to be good.
>> Yes, with very minimal
resources, minimal money.
>> I want to show another clip
from the film.
>> Sure.
>> This clip absolutely
cracks me up.
This is a clip from Gabe
at the restaurant.
Can you set it up for us,
just for a second,
so we know who Gabe is?
>> Sure, Gabe Tinkler
is the guy.
He's actually a couple levels up
on the pyramid scheme.
And he's delusional enough
to have risen up,
but also delusional enough
to actually just not really
be successful.
He sort of makes his way
through life pilfering.
If he goes to the grocery store,
he's drinking stuff
off the shelves.
He's finding little ways
to make the world work for him,
with minimal cost.
>> Let's see Gabe
at the restaurant.
>> I come to busy places,
such as a restaurant, and I
approach people when they're
hungry.
Easy.
Easy sale.
Easiest sale in my life.
People, when they're hungry,
they'll order and say yes
to anything.
So I come in here quick,
make the sales pitch.
If they haven't gotten their
food, or if they're in the
middle of having their food,
they'll say, "Sure, whatever."
They use that phrase,
"whatever."
So they sign up with me
and I get 'em on track.
They say yes most of the time,
because they want to get going
and they want to eat.
We love to eat.
Except for this, I'll tell ya.
They order these huge meals,
like this.
A huge meal, they don't--
Look, these are warm.
This company,
you don't pay anything.
You make money.
Now, may I say something?
Sausage is not good for you,
unless you're working out.
And it doesn't look like
you're working out.
Now, as you can see,
I'm working out all the time.
So I can afford to--
>> Whee!
>> I'm going to take this
off your plate for you.
I'm taking it off for you.
Listen, wait a minute.
>> Who eats with their hands?
>> That's my--
>> You just ate off her plate!
>> People that eat with their
hands are passionate.
>> People that eat with their
hands are passionate.
So you know, one of the things,
to me, there's a couple signs
of a good mockumentary.
Like I said, I'm a fan of them.
And one of them is
the one liner, the zinger.
And I think people leave
the movie theater, and they
quote it to their friends.
And that's one of them.
What was your favorite
one-liner from the film?
>> First, I want to say that
character Gabe is played by
Frank Caruso, my co-director,
as well.
So he was one of the performers,
though he had never acted before
we started writing this.
>> He's absolutely brilliant.
He's a brilliant character.
>> My favorite lines
are the ones--
You know, when you edit this,
you watch the footage
over and over, and over.
And the things that
start cracking you up,
and making you laugh, are
stuff you didn't notice at all.
So they're the small ones.
There's a scene where Gabe
and his sort of the person
he's mentoring
are in the grocery store.
It's just a little
off-handed line, where he's
stolen this glue stick.
And he's gluing his package
back together.
And he just says,
"Ah, it's always a problem,"
as he's, you know, committing
small acts of larceny.
And it's not that funny
of a line, but for weeks on end
after that, I would just go,
"Ah, it's always a problem."
And actually, just today,
you know, it's a bad snowstorm
in Madison today.
Just today, as we were getting
ready, my wife used that line
as we were getting ready.
Ah, it's always a problem.
>> Another favorite moment for
me in the film, it's not really
a one-liner, but I've said it
to my wife already twice,
which is fat Debbie.
Can you tell me
about fat Debbie?
Because, not only was it funny,
but you had to do a lot
to make it happen.
>> Sure, Big Debbie.
>> Oh, Big Debbie.
>> You know, we satirized
a lot of different things.
And one of them, we have
a character who collects
vintage Hostess snacks
and vintage Twinkies.
>> Those people exist!
>> They probably do.
And even there, we thought,
okay, let's make them
collect something.
You sort of bounce around
and find something that seems
outrageous enough.
You know, way outrageous,
and then just realistic enough
that you think
maybe somebody does.
So he had the original packaging
of the Little Debbie brand.
But in our version,
Little Debbie started off
as Big Debbie.
We had to mock up a package,
just like even in the clip we
showed with the books, we had to
mock up "How Would Jesus Sell"
as a book.
It was a lot of little graphic
design we had to weave in
through the whole movie.
>> And it's a picture of
Little Debbie, but she's chubby
and she's Big Debbie.
And they're basically like,
hey, in the health conscious
times, it was changed
into Little Debbie.
That's funny, though.
>> And he says,
"Call me a chubby chaser,
but I prefer Big Debbie."
>> I think I might use that
line, "Call me a chubby chaser,
but I prefer Big Debbie."
I might use that today,
try to squeeze that in.
>> Okay, good.
>> Another sign of
a mockumentary, in my opinion
a good sign, is making your
audience feel embarrassed
and uncomfortable
about the characters.
Not by the writing,
but by the characters.
There were many times where
I just felt uncomfortable
for these people.
Not just for their audacity,
but for their gullibility.
Just being uncomfortable,
just like the "Brady Bunch
Christmas Special."
>> Sure.
>> It makes you feel
uncomfortable.
How do you achieve that
as a director, to do that
without being condescending?
Because you don't want to
make fun of people.
>> Sure, let me say
a few things.
First off, when we started
writing this, you know,
it's tricky writing comedy
as a partnership.
It was like, how do we say
what's funny.
What's funny to you
might not be funny to me.
So we tried to come up
with a language.
And we actually sort of cribbed
from a different show,
"Seinfeld."
We sort of said, okay,
we had three brands of comedy
that we're trying to write to.
One was Seinfeldian, which
was sort of looking at
something that society does.
One was Costanza-like, which was
this cringeful, awful,
sort of ugly moment.
And one was Krameresque, and
that was like the outrageous
physical comedy.
So we tried to give each
of our characters enough moments
that were--
That had enough Seinfeld,
enough Kramer
and enough Costanza in them.
>> That's a good idea.
>> So in any single character,
we might say, "We don't have
enough Costanza" for him.
We've got to add something
where it really gets it
like, awkward, cringeful.
So, we would just try to write
scenes that were really,
unpleasant or uncomfortable.
Then our characters would do it,
and it had to be real.
Keep it real.
>> Keep it real.
That's important.
Well, we have a good
Costanza moment clip.
It's the Pez dispenser moment.
Can you set it up for us?
>> Sure, that's where we're
introducing our character
Crystal.
She has a much more,
even Costanza-like moments,
where we go, "Oh!" like
the family reunion scene.
But this actually sort of
gives you some character
development, and shows that
she's somebody who needs
a lot of medication
to get through her life.
>> Well, let's watch another
clip from "Going Great White."
>> Mom, I'm hanging up now.
What?!
What are you doing here?
>> I'm trying...
>> Are you listening
to my conversation...
To help me out, because
I've got so many medications
I've got Prozac, and Zoloft,
and Valium, Propecia,
Wellbutrin.
It's depressing
seeing all those bottles.
Just liked up, looking at me.
So I put everything in
little Pez dispensers.
I've got Darth Vader.
He's for the Prozac.
And Batman.
Batman is for the valium.
Boba Fett.
And Boba Fett, I don't know
what Bob Fett's for.
It makes me happier
just to see them looking at me.
It makes it a little more
cheerful.
It makes my medication taking
brighter.
>> That's a great clip.
I hope you patented that idea,
because I think it's going
to start happening.
I feel like putting aspirin
in the Pez dispenser.
>> Sure, I want to remark
on one thing there.
We always had our characters
get things wrong.
So there she says,
"This is Boba Fett,"
but it's a storm trooper.
>> It's a storm trooper.
>> And there are several moments
in that, that we know,
that people go, no, that's this.
But yeah, we think yeah, because
people get things wrong.
>> That's the thing, right.
Because if it's a documentary,
okay, then people,
whatever they say, they say.
And so in a mockumentary,
they have to say what they say.
And if they're wrong, that's
cool, because that's people.
I like that.
That's keeping it real.
>> And there were times on set.
You know, we had a character
who was talking about
the Pledge of Allegiance
in the home schooling scene.
And in ours, we say the
Pledge of Allegiance, but we
keep in the "in God we trust."
We did several takes.
And one of our production
assistants said it's actually
under God.
And we're like, yeah, we know.
>> But that's funny, too.
Very funny.
One thing about this.
You had mentioned earlier
about the grocery store scene.
I was thinking about this.
You're an independent
filmmaker.
All the scenes, from being in
someone's house,
to being in a grocery store,
to a gas station,
those are real.
It's not like you had to hire
a location or build a set.
How cooperative are people
when you show up with cameras
and say, "Hey, my name's Frank,
I'm making a movie.
Can I film here?"
>> They were extremely
cooperative.
In fact, a big thank you
to both the city of Oregon
as well as the city of Madison.
>> A shout out to Oregon!
>> And all the locations really,
very quickly, would open
their doors to us.
We'd go, you know, weeks
in advance, and set things up.
But we had no money.
So there's no money for paying
anything.
But the other thing
I think was very important.
I've seen in low-budget movies
where they create a location.
And it always feels fake.
>> Because they don't have
enough money to do it right.
>> Yeah.
And to us, we always thought
let's go where it's real.
You know, we needed a house
that was really high end
for the people at the top
of the pyramid scheme.
And so, we went to really nice
neighborhoods and found a house
where they would let us use it.
From stores, to nursing homes,
to wherever we needed to go,
we said let's find the real
thing and ask if we can use it.
We only had one place, which we
knew, once you got into sort of
a corporate chain, it gets
harder to get approvals
the way we needed to.
>> There's a certain audacity
to independent filmmaking
that I've noticed
from doing this show,
which is showing up and saying,
hey, we're going to film.
I'm not going to pay you.
It's going to be a hassle.
And I'm going to film
in your grocery store.
>> Yeah.
>> When you're open.
>> Yeah.
>> And people will say yes.
Is that because people
want to be in a film,
because they're excited
about what filmmaking is?
>> I think part of it.
Two-thirds of the film was
shot in our home towns,
so people know us.
I think they were excited.
And I also think they were
just willing to help us out.
And you know, also, especially
in our movie, it looks--
A lot of times, we have
characters sort of ambushing
people and trying to sell
to them.
And it looks like that person
didn't know about the film crew.
But those are all people
who agreed to be in our film
and act.
We said just pretend
that you're just shopping
and somebody ces up to you.
>> It must be interesting
reactions from the people
in the store.
>> There was.
You know, occasionally,
you'll see someone
cross in the background.
We'd have to hunt them down
and get a release.
But for the most part,
it was like we would have
people there as extras.
We had over 200 people on screen
at some point in the movie.
>> And you didn't pay them?
>> No one's paid.
>> See, that's good!
>> I would love to pay
everybody.
But we just have no.
>> Next time.
>> Yeah, these movies
are made for very little money.
But again, I think they'd
hold up against any movie
you'd go to.
>> It's interesting,
do you think that--
There's many people that
in a sense, you're parodying.
You're parodying the pyramid
scheme, but you're parodying
home schooling.
There's a bunch
of different types of people.
Do you feel like, on occasion,
somebody would watch this who
is one of those people and feel
like you're making fun of them?
Do you feel like you're making
fun of anybody in this film?
>> I think we're making fun
of everybody.
I think the best mockumentaries
have a great deal of affection
for their characters.
We had a great deal of affection
for our characters.
And I think the best
mockumentaries invite everybody
to go, oh, that's me there.
And our thesis really wasn't
about Amway, even though
that's the mirror.
It really was that people
are flawed and funny.
And hopefully, everyone
watches this and laughs
at everybody on screen.
But in doing so, says, wow,
people really are flawed
and funny, as am I.
And I think there's things in
some of our characters, there's
definitely some parts of me
in some characters.
There's a home schooling guy
who's home schooling
his five kids.
And at the time, I was
home schooling five kids.
He home schools them
very differently
than I was doing.
But still, there was definitely
a wink to laughing at my own
life in that way.
>> That's smart.
Why not include that, right?
>> Those things you know about,
or you know of other
home schoolers doing it.
He home schools very--
He's trying to take the model
of the school and bring it to
his home in very extreme ways.
He gets up every morning,
drives up in a van that says
"school bus" on the side,
just to drive them around
the block once, so they're not
cheated of the experience
of being bused.
But I would like to say, again,
we really did like our
characters.
And I think the thesis,
somewhat from the Christopher
Guest mockumentaries,
is looking at people who have
oversized dreams.
And all these characters,
I think, through this
pyramid scheme, think they're
going to be rich tomorrow.
And very few of them,
if any of them,
have the skills to actually
begin to achieve that.
>> Interesting to watch.
Let's see another clip
from the film.
I think this one completely
speaks for itself.
>> I want you to put it
on channel 2.
You're a 2, then.
Now, I take the bigger one.
I've done this quite a while,
so I know what to do.
And this is how I get
my workout.
I don't bother with
the dumbbells.
I mean, look at the name,
dumbbells.
Who lifts them?
Dummies.
When I started out,
I was with you.
Now stop pumping here
a minute, okay.
I started out on channel 5.
I've worked up to like 37.
So you go up, channel 1.
See, and I can change it.
I flip it around.
I'm watching TV all the time
when I'm doing this.
Channel 2, channel 10,
channel 15.
And I do the reps accordingly.
Now, if you ever get cable,
you really better be
in good shape, buddy, because
you're talking 120 channels.
And you know 120 channels
means up and down 120 times.
And that's a good pump.
You'll start to build up.
And all of a sudden, you're
going to notice, I'm pumped.
I'm making sales.
I'm making sales
because I'm pumping.
I'm doing my workout.
Up and down, up and down.
How does that feel?
>> Pretty good.
>> Try channel 3.
Go ahead.
Take a risk and do it.
Because if you don't take
a risk, you're not
going to be anything.
Up, let's go.
One, two.
We're going to go down together.
Okay, you're using those legs.
Legs you probably haven't used
in a long time.
Let's go.
Down.
With me, baby.
There you go.
Doesn't that feel good?
Come on up, then.
>> Whoa.
>> Felt good?
>> I felt that.
>> Come on down.
You haven't done that
in a long time, have you?
>> No, uh-unh.
>> I see you're shaking.
Once those legs get in shape,
they won't shake like that.
It's called a spasm.
You've probably had a few
of those in your life.
>> Yeah, charley horse, too.
>> Yeah, whoever that is.
>> Whoever that is,
Charley Horse.
You know, when I think about
some of the stuff that happened
there, and the way he's talking.
How much of this is scripted
and how much do you let
the actors go for it?
Because some of that looks like
it's got to be ad lib.
>> There's a lot of ad libbing
going on.
When we were writing this,
we didn't write it
as a traditional script.
We'd have a scene.
And we would just have blocks
of text for our characters
to say.
It wasn't necessarily
this one says this,
this one says this now.
It was like, this is all
the stuff you're going to say
in the scene.
This is all the stuff the
other person is going to say.
And somehow,
here are the main beats.
They have to get them
all in there.
A shout out again to my
co-writer and co-director,
Frank Caruso.
When he first working on this
project, he had these ideas.
I remember him coming in
and saying, I have a character
who lifts TVs
for his fitness routine.
I just thought, what kind of
insane ideas are these.
But again, they turned out
to be very funny ideas.
>> America has people--
I was watching this film
and thinking about America.
I wasn't thinking about
Wisconsin.
I was just thinking
about America, and my family.
I have some weird people
in my family.
There are people
that are like that.
>> Yeah.
>> There just are.
>> Yeah.
>> They're intense, though.
They want success,
and they really are intense.
And I can see them with
a camera in front of them,
and being just like that.
It's kind of bizarre.
>> That character, he's one of
our most delusional.
Actually, those TVs, he has
a whole bunch of different TVs.
And to him, that's better than
watching this big screen stuff.
You just watch four TVs.
And he calls it a loft.
It's a little house
above an attic.
He wears the helmet
because he bangs his head.
>> Of course, that makes sense.
Just when I think about it,
you were talking earlier about
this being a low budget film.
I'm curious, if you don't mind,
how low was your budget
for the whole film?
>> Somewhere between
$1,000 and $2,000.
>> Wow.
>> Very little money.
>> This is a full length film.
>> And we had so many different
locations.
We felt we were definitely
creating the whole universe.
We filmed all throughout,
both Madison and Oregon,
over 200 people in it.
Most of the cost went for
just buying tape stock.
And food was another big thing.
We had to feed our actors.
>> Hungry actors.
>> But really, we kept it
really, really low budget.
And not because we wanted to,
we had no choice.
Again, we had very high goals
for this, but we thought
we have to find a way to do it.
>> One of the things that
gives away independent films,
in the ones that are not
as good, it's not about budget,
and something that could kill
a mockumentary, is bad acting.
>> Sure.
>> Over acting,
contrived acting.
Or not having the ability to
re-take because you don't have
enough tape.
But this is your first film.
You've got between $1,000
and $2,000.
But the acting is really good
in this.
And people aren't getting paid.
How do you get that quality
of actor and actress
to do this?
And why do they do it?
>> Well, let me first say
we had an ensemble cast
of about ten people,
and they were so good.
>> They really were.
>> You can see from the clips.
They're just really strong
improvisational actors,
and just good actors.
When we auditioned them,
we made them audition the way
we were going to work with them.
They had to come in
and be able to act and improv,
and make it real
and funny at the same time.
And you know, Frank and I said
very early on that we didn't
want to cast anybody unless
we thought they were A+.
If we had a million dollars,
we wouldn't have gotten
better actors.
We had a cast of actors
we felt like these are as good
a cast as you're going to get
in any movie.
And so there was our main
ensemble actors.
Then we had a lot of people
who were both secondary,
and very small roles, too.
I think it helped a lot
to say to them, just be real.
>> Right, it makes sense.
Don't act, be real.
If someone takes food
off your plate, be real.
>> How would you be?
We tried not to cast people
too outside
of their comfort zone
of who they really were
for the smaller roles.
The other thing is,
we didn't have a lot of time
for rehearsal.
But we could do a lot of takes.
We're shooting on tape.
It doesn't cost that much more
to shoot more.
So we also didn't move on
to another scene
unless we really felt good
about what we were getting.
>> So if I outline
what I think you're saying here.
Say we're having a lecture here.
If I want to make an independent
film, here's what I learned
from you if I want to make
a mockumentary.
Keep it real.
Real is more important
than funny, even though
you're making a comedy.
And your standards are high.
It doesn't matter if you
have money or not.
>> I have a saying,
if I can say it for people
who are trying to make a film.
Get your standards high.
Get a benchmark
that's really high.
And then, you know,
make sure you get that.
I think it takes such
an investment of time,
such a commitment.
When it's done, you want
to have something you think,
yeah, that holds up.
>> Because you're making it.
This is a good film, but
it's probably not going to get
picked up and distributed,
and make you a million dollars.
So, you made it.
You have a day job.
You made it for?
>> For myself.
>> That's important.
>> I also think it's one of
those things that's going to
live longer than I will, really.
>> This is your legacy.
>> I don't know about that.
But you create something,
you know, you hope you're
creating something
that's going to last.
And also, it really will
live longer than me.
I'm not saying people
don't have pride.
I think when you're starting
off as an independent filmmaker
or a small filmmaker, you think,
oh, I'm just going to do this.
I would recommend saying
I'm going to do this.
And even if you get, you know,
two-thirds the way, it's beyond
what you would've thought.
>> That's good.
What are you guys
working on next?
You and Frank are on another
project, right?
>> We are.
We're all done filming it.
We're in the middle
of editing it.
Some of the same actors
are back.
There is some comedic moments,
but it's pretty much a drama,
with some funny moments in it.
Frank's back as a character
named Lake.
He's playing opposite
Jim Stoffer, who played
the home schooling dad
in "Going Great White."
Jim plays Jimmy.
Julie, who played
the girlfriend of Jeffrey
in "Going Great White"
is back.
She plays a woman named Martha.
They meet on a road trip.
Lake and Jimmy are two men
in their 40's.
They were foster brothers
when they were young.
And now they're reconnecting
on this road trip, and kind of
coming apart at the same time.
Again, it's very serious,
actually some very serious
moments to it.
And yet, there's a lot of comedy
that people, who did like
"Going Great White"
will see some of that flavor.
>> You brought a clip for us.
>> An early trailer.
>> Let's see it.
It will be the world premiere.
Let's see a trailer from
"Lake Jimmy."
>> Jimmy, I want you
to listen carefully
about what I'm going
to tell you.
? ?
>> Hi, Jim, your brother's here.
>> That's odd,
because I don't have a brother.
>> Well, he says
he's your brother.
>> What do you want Lake?
>> I need dad's car.
>> You want to take my car
to Philadelphia?
You're not taking it anywhere.
What's so important?
>> I want a chance
to be your brother.
? When rules that ?
? We live by ?
? To govern ?
? The good life... ?
>> Get out of the car.
Give me the keys!
Out of the car!
>> I'm not giving you the keys!
>> Get out of the car!
? ?
? No sense of ?
? Adventure... ?
>> You know what?
I've asked for a brother
for the last 30 years.
And now all of a sudden,
you want a brother?
? Your head's so level ?
? You can't see ?
? The end all ?
? It's a different ?
? Point of view... ?
>> How you going to get her
over here?
She's looking at you.
She's waiting for you, now.
She's throwing the pitch.
What are you going to do
with it?
>> I'm not going to do anything.
>> What did you do
when we were kids?
I threw you the pitch.
What did you do?
Do the same thing.
Hit a home run.
>> I never hit a home run.
? ?
>> That looks great.
I look forward to seeing it.
Thank you, Frank,
very much for joining us.
>> Thank you.
>> And thank you all of you
for watching Director's Cut.
For more information on today's
film, or to learn more about
Frank Sommers and Frank Caruso,
and where to find out where you
can pick up a copy of this film,
please go to our Web site:
wpt.org/directorscut.
While you're there,
send us an email.
We would love to hear from you.
I'm your host,
Charles Monroe-Kane.
For everyone here
at Director's Cut, thank you
very much for joining us.
Check the gate.