00:00This isn't sort of my, like, petty revenge on people who have grown up to me.
00:05Although it'd be great if I went that far and made a whole movie just for that reason.
00:08But, no, I would say, you know, the characters and the events that happen in the film
00:15are not based on actual things that happened.
00:19Also, legally, that is the case.
00:24Actually, what was the very first thing that this movie started with?
00:28Was it an IRL conversation?
00:30Was it a text, like, between you guys?
00:32What was, like...
00:33It was a text, I think.
00:35Yes, I think so, yeah.
00:36We'd shot this music video for a song of mine called 360.
00:41And in that, Aidan wrote his first...
00:44Yeah, my first ever script.
00:45Ever script, yeah.
00:47It was two pages long.
00:48And it was amazing.
00:49It was incredible.
00:51And it was, when he did that, I was like, oh, he's got a movie in him.
00:54And that was the beginning of everything, basically.
00:59You should...
00:59You know how you can, like, release scripts of films?
01:02You should release the script of 360.
01:03I think I posted it on my Instagram.
01:05Make it a little book.
01:06Yeah.
01:06Yeah, yeah.
01:07A two-page book.
01:08Yeah.
01:10Pamphlet, I suppose, would be the term.
01:11How do you...
01:12Okay, so then, did you use the same system?
01:14Because I think for 360, did you just, like, texted your friends being like,
01:18I think you'd be good in this.
01:18Do you want to be in the video?
01:20Is that sort of, like...
01:21Yes, but essentially, that was sort of kind of how it came about.
01:27Yeah, but it was a different process with this.
01:30Yes, well, how did it, I imagine, evolve?
01:32Yes.
01:33We actually got a profession...
01:34Wait, Jennifer Venditti, right?
01:36Oscar nominee to Jennifer Venditti.
01:38Yeah.
01:38Woo!
01:39Yeah, Jennifer.
01:40Yes.
01:41Did you have to convince her?
01:42Did she say yes right away?
01:43Jen was down from the jump.
01:44Jen was actually one of the first people, one of our first collaborators on the project
01:49before we were actually officially greenlit, I believe, Jen was on board,
01:52because, you know, the casting process takes, you know, a bit of extra time.
01:55So I think before the script, genuinely before the script was even finished,
01:58Jen was on board, which was really cool.
01:59And her process and the way that she casts, it was just so perfect for the way
02:07that we wanted to shoot this film, you know, blending fiction with reality.
02:13And, you know, she really likes to work with people who already, in part, at least,
02:18inhabit the character that they're playing.
02:21And so she kind of pretty much brought everybody here into the world of the moment.
02:27And, yeah, she's just so brilliant.
02:28And I know a lot of the cast are already pretty, like, friendly with her.
02:33I mean, you guys are very close.
02:34Yeah.
02:35You and her.
02:35Yeah.
02:36And she was like, Mel's going to be perfect for this.
02:38Did you guys get a choice between whether you were playing a version of yourself
02:43or a fictional, a fully fictional character?
02:46No, I think there were some people written in as themselves, of course.
02:50We've got Rachel Sennett, we've got Kylie Jenner.
02:53And then all the other roles really, you know, went to people,
02:57would look for people that could inhabit those roles perfectly.
03:01You know, say, for example, we've got Mel Lautenberg over here
03:04who plays a character called Mel.
03:06I was like, my character's name Mel.
03:08Because I've lived this script.
03:09When I read it, I was like, this script's so great.
03:11And I've lived every line of this with a top-of-their-game pop star.
03:17I've lived this moment.
03:19So, Mel.
03:20Exactly.
03:21And it really was, you know, I think what's so fantastic about that process with casting
03:26is that we're able to work with people that have this understanding of the world
03:30so every choice they make feels informed, you know?
03:33Particularly in the case of Mel.
03:34When we shot scenes that, you know, it was a stylist and a pop star working together,
03:39you knew the background, you know?
03:42There was no, yeah, it was like the research, it was a lifetime of research, eh?
03:46It was a cathartic experience.
03:48And I told them some horror stories on set that, like, I never tell anyone.
03:52Was it triggering?
03:53No, it was fun.
03:54It was actually really fun.
03:55They were so fun to work with, it was so fun.
03:57And I told them shit I never tell anyone.
03:59About, like, stories, like, behind.
04:01Don't, you bring that up and then I'm going to ask you a question.
04:04A lot of NDAs.
04:05A lot of NDAs.
04:06Mel brings an NDA with them every week.
04:08Okay, fair.
04:10For the other actors, what, like, did anything, what felt the most familiar to you guys of what you've experienced,
04:18like, in business, in the industry?
04:20Was there anything, whether your character or something else?
04:22Well, in a weird twist of fate, actually.
04:24So, they sent us the scene for my character.
04:27The audition scene was to play Charlie's manager.
04:29But, obviously, that went to Jamie, and he's so brilliant, and it's wonderful to watch him work.
04:34But, you know, when we got to the read-through, I had no idea that the part I was playing as part of the Labour Boys would be amongst Rish and Ben,
04:42who are my actual friends in real life.
04:44So, the fabric of our, sort of, mockumentary role was our very friendship.
04:50So, that was a surprise, rocking up and seeing your mates that you'd be playing your...
04:53We didn't even know that you guys knew each other.
04:54It was really fated.
04:56It was so cool.
04:57And it meant that you had this amazing dynamic as a group.
04:59Yeah.
05:00And I remember, yeah, I remember the audition you sent and fell in love with you immediately.
05:03It was...
05:03Mm-hmm.
05:04I just remember the language of the audition was, like, so lived in.
05:07So, it was really fun to play.
05:09Yeah.
05:09Play something so grounded that it just felt of today.
05:14Yeah.
05:14So, it was really easy to drop into that.
05:16Yeah.
05:17Cool.
05:17I think the set, as well, we shot our scene in a studio that I've been in for fashion shoes.
05:24I'm not an actress.
05:26Yes, you are.
05:26You are.
05:27You are now.
05:28I am a doctor.
05:29I know.
05:30I'm a star.
05:32So, that was kind of trippy coming in and working for Vogue, which is something I've done.
05:37So, that felt natural.
05:39I'm not a producer.
05:40That's not.
05:41I'm not a type A person.
05:42But I am very neurotic, so that lent itself.
05:45I've been playing this character my entire life, which is a hammed up version of myself.
05:50So, that came very naturally to me.
05:53But there was the improv that I slightly, when we had a sort of weird fight of your muggler,
06:00muggler bag.
06:00Yeah.
06:01I was like, I would never call it muggler.
06:03Obviously.
06:03But I thought Josette would.
06:04Yeah, I thought it was an amazing choice that you called it muggler.
06:07I mean, oh, brilliant.
06:09I should have.
06:10And I was like, oh, Tess would know how to pronounce it.
06:13Of course, a genius.
06:14Oh, she's a genius.
06:15Exactly.
06:16Exactly.
06:16Coming from the world of publications, what about the production of a movie, like, most stood
06:20out to you?
06:21Like, what was the...
06:23What's the film definitely?
06:24Yeah, yeah.
06:25Like, what do you wish we had in magazines that they have in filmmaking?
06:30Ooh.
06:30Craft services, maybe?
06:31More budget.
06:32Yeah, budget.
06:33Money.
06:34Yeah.
06:34What is...
06:36I guess the thing to me, coming from publications, I'm the editor of a magazine, you get to sit
06:42around and really finesse it and take a bunch of takes to do it.
06:47Like, when you're making a magazine, you talk about it a lot, but then you go on set and
06:49you just do it fast and I felt that here it was fun, that it was really planned, but
06:55it was still so fun and...
06:58We were improvising and it was really scripted and it was just...
07:02They just did such a good job.
07:04Like, it was...
07:05It just really had it together.
07:07Yeah, the framework was such that all of our microphones were exposed.
07:10So on the very first day, we didn't even see a camera.
07:12Like, Sean Price Williams was on a building across the street.
07:15Oh, yeah.
07:15And we're like, well, where's the film being made?
07:17Hayden's like, don't worry, it's being recorded.
07:19It's all good.
07:20Just do your thing.
07:21It's like, this is a crazy way to make a film.
07:24Yeah.
07:24I forgot I was mic'd, which was actually very dangerous.
07:27Yeah, the hot mic.
07:28Mel and I were sort of having a little chat before our scene and then afterwards, we realised
07:35that everybody could hear it potentially, which is back to those 90s.
07:39It's troubling.
07:41It almost felt like doing a play just because we were handheld the whole time so you just
07:46had the freedom to sort of move around and do what you wanted.
07:49I remember, like, the first scene that we shot, I was kind of, like, walking outside of the
07:54parking lot a bit and I asked him, I was like, am I going too far for camera?
07:57And he's like, you can go wherever you want, I'll follow you.
07:59I was like, this is so nice.
08:01Every time, Sean would be like, do whatever you want.
08:03Yeah.
08:03I'll find you, I'll find you.
08:05It was very, like, freeing and we felt quite free to do whatever.
08:09Totally.
08:10Which is not what you have at a magazine.
08:11That felt like a really large part of, like, the success of the film was to sort of make
08:15it, you know, the challenge being that we have something completely scripted that we
08:19wanted to feel, you know, not staged, to feel spontaneous and accidental.
08:24So it was like, that was, you know, that was the testament to these guys' amazing
08:28performances and also to the way that we tried to shoot it, which was, you know, keep that
08:33aliveness, keep that energy and that sort of feeling of spontaneity as much as we could,
08:38you know?
08:40Okay, Charlie, I know obviously there's a lot of satire based on, like, real stuff that
08:43happens in the business.
08:44Maybe you'll have an answer to this more after it, like, releases wide, but do you think
08:49people who do some of the stuff that wound up in the movie recognize themselves?
08:52Like, are you going to have people being like, ooh, I totally did that to you?
08:55Or like, oh, that happened at a photo shoot?
08:56Or people do things better now after seeing it?
08:59We have all met, I think, all of us here, versions of certain types of characters that
09:05live within this film.
09:06For example, Alexander Skarsgård's character, he is, I've never worked with somebody like
09:12the character that he plays.
09:14He plays this concert film director who, his main goal is to kind of make me as sort of
09:22commercially viable as possible to sort of strip away anything that might be deemed too
09:27daring or edgy and really sell the product.
09:30And the product being me.
09:32I've not worked with someone like that.
09:33But I definitely have been around people who are so confident that they get it when actually,
09:42they really fucking don't.
09:43Do you know what I mean?
09:44And I think those characters live probably within all of our worlds within fashion, music,
09:49within film.
09:50It's like we're always coming across those kind of archetypes of people.
09:53So I think there's a lot of that living within the film.
09:57That makes sense.
09:57OK, before we wrap, I've been throwing out a few recurring questions to groups and I'm
10:02going to give you guys this one because I feel like you'll have better answers than
10:05other people have, which is like, what are what are some of your ins and outs for 2026?
10:11Like, what are we getting rid of?
10:12What are we bringing in?
10:13We need we need inspiration.
10:14We can all go.
10:15All of it.
10:16It's all out.
10:17Everything's out.
10:18Everything's out.
10:19So you're in a whole new society.
10:20Not to be that person, but ins and outs lists are out.
10:25I'm just like, everyone just do your thing.
10:28Like, you know, whatever.
10:31Do you know what I mean?
10:32Sorry, but you go ahead and say, oh, I mean, please, yeah, I don't know.
10:39I just see them every year and, you know, every sort of in December, I'm like, oh, should
10:45I think about doing one of them?
10:47And then I don't.
10:48And then I'm always happy that I don't.
10:49So for me, they're out personally.
10:52I don't know.
10:53What do you think?
10:53Well, now I agree, obviously.
10:55I think metal might be in.
10:57Just like generally, lots of metal.
10:59Also, I'm trying not to be an asshole.
11:01And also, I don't I'm not into ins and outs lists.
11:05I don't like them.
11:05Right, right.
11:06So out ins and outs lists and metal.
11:09Yay.
11:12We can work with that.
11:12That one's great.
11:13OK, thank you guys so much for chatting.
11:16I appreciate it.
11:20Thank you very much.
11:22We'll.
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