Mom's Car: Larry Trilling

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• Larry Trilling attended Santa Monica High School alongside many future stars like the Penn Brothers, Charlie Sheen, and Rob Lowe, though he was only close friends with Dean Cain.  Copied to clipboard!
• Trilling's directing career was heavily influenced by his high school friend Matt Reeves, who introduced him to filmmaking using Super 8 cameras and later led to Trilling directing his first TV episodes on *Felicity*, which Reeves co-created with J.J. Abrams.  Copied to clipboard!
• Trilling learned to direct actors by focusing on process, using imaginative substitutions (verbs) rather than adjectives, and developing the confidence to adapt blocking based on actor input, a skill he honed while working on shows like *Parenthood*.  Copied to clipboard!
• The discussion about favorite movies revealed that Michael Mann's *Thief* profoundly influenced one speaker to commit petty crimes, including stealing a parking meter and attempting a 7-Eleven robbery after watching the film.  Copied to clipboard!
• The conversation about television shows highlighted *Breaking Bad*, *Mad Men*, *The Sopranos*, and *Friday Night Lights* as top contenders, with a debate arising over whether *Parenthood* was superior to *Friday Night Lights*.  Copied to clipboard!
• Dax Shepard and Larry Trilling expressed a strong mutual desire to work together again on a future project, provided they could find a fresh take that avoids the pitfalls of a disappointing reunion scenario.  Copied to clipboard!

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Introduction to Larry Trilling

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(00:00:00)

• Key Takeaway: Larry Trilling directed approximately 60 episodes of Parenthood and is highly regarded by Dax Shepard for being exceptionally sweet.
• Summary: Dax Shepard expresses immense admiration for director Larry Trilling, noting he directed a significant portion of Parenthood. Trilling is described as the sweetest and smartest man Dax has worked with. The introduction sets a warm tone for the episode of Mom’s Car.

Canadian Beer Laws Anecdote

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(00:01:26)

• Key Takeaway: In British Columbia, a law historically prevented the sale of cold beer in liquor stores, requiring customers to cool their purchases in ice water tanks.
• Summary: The conversation briefly shifts to travel, specifically Vancouver, British Columbia, where Trilling recalled an unusual law regarding beer temperature. Liquor stores used cooling tanks filled with ice water for customers to spin their beer cans to chill them. This workaround existed because selling pre-chilled beer was illegal.

Dog Breeds and Emasculation

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(00:02:41)

• Key Takeaway: Aaron Weakley owns a Cavapoo (King Charles Cavalier and Poodle mix), and both he and Trilling find that owning ‘doodles’ can feel emasculating due to public reactions.
• Summary: Dax reveals to Aaron that he knows Trilling owns a Labradoodle, leading to a discussion about dog ownership. Aaron’s smaller dog is identified as a Cavapoo. Both men agree that the breed often elicits comments that feel emasculating, even from tough-looking individuals.

Santa Monica High School Alumni

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(00:03:22)

• Key Takeaway: Santa Monica High School produced a remarkable number of actors, including the Penn Brothers, Charlie Sheen, Rob Lowe, and Robert Downey Jr., who was noted for being ‘riveting’ in a student play.
• Summary: Dax informs Aaron that Trilling attended high school with the cast of The Outsiders, listing actors like Rob Lowe and the Penn Brothers. Trilling recalled Robert Downey Jr. being magical in a student play, even demanding payment for a student film role. Dean Cain, whose father directed Young Guns, was a friend Trilling played basketball with.

Evolution of LA School Districts

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(00:06:39)

• Key Takeaway: The prevalence of Hollywood children attending public schools like Santa Monica High in the 1980s reflects that private schooling was not yet the mainstream norm in LA.
• Summary: The prevalence of famous children attending public school is attributed to Santa Monica being an esteemed district where families moved for education. Private schools like Crossroads were considered experimental at the time, making public school the default for many affluent families before the mid-to-late 80s. Trilling graduated from Santa Monica High in 1984.

Fading Young Actor Careers

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(00:07:52)

• Key Takeaway: Dax ponders the painful experience for young, successful actors who quickly disappear from the spotlight, contrasting this with Ralph Macchio’s recent career renaissance.
• Summary: The conversation touches upon actors who achieved early success but subsequently vanished, citing Craig Sheffer as an example who was once considered a bigger star than Brad Pitt in A River Runs Through It. Dax expresses curiosity about whether this sudden loss of fame is painful for those individuals. Ralph Macchio’s sustained relevance in the Karate Kid franchise is noted as a positive counterexample.

Trilling’s Path to Directing

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(00:09:41)

• Key Takeaway: Larry Trilling was inspired to direct by his friend Matt Reeves, whose father was an ABC television executive, providing an early entry point into filmmaking culture.
• Summary: Trilling’s parents were not in the industry; his father was a stockbroker, and he initially studied English at Columbia before attending UCLA film school. Reeves ‘seduced’ Trilling into filmmaking with his Super 8 equipment, leading them to make several short films. Their student work was aired on a public access show called ‘Air Your Shorts,’ where they met J.J. Abrams.

Benefit vs. Curse of LA Upbringing

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(00:11:35)

• Key Takeaway: Growing up in LA provides the benefit of seeing the industry as achievable, but the curse is that one’s entire life can become defined by the desperate pursuit of success in the business.
• Summary: Trilling notes that growing up adjacent to Hollywood made the industry seem more doable compared to those who moved there with singular desperation. The benefit of his background was better life balance, as his existence wasn’t solely determined by achieving his dream. He acknowledges that the proximity to success likely made the goal seem less impossible.

Film School and Early Career Struggle

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(00:14:02)

• Key Takeaway: After film school, Trilling spent five years struggling to make a living as a director, surviving by delivering pizzas until his low-budget independent feature film became a calling card.
• Summary: Trilling’s MFA required significant time for thesis work, resulting in a multi-year gap before he earned any money in the industry. He gave himself a five-year deadline before considering law school, eventually selling and producing an independent feature that started his career momentum. He initially aimed for feature filmmaking, viewing TV as less artistic than movies at the time.

Directing in Television vs. Film

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(00:17:44)

• Key Takeaway: In film, the director is the boss, whereas in television, the showrunner or writer holds the most important opinion, requiring the director to balance respect for established tone with ambition to elevate the episode.
• Summary: Trilling contrasts the authority structures, noting that TV directors must respect the established tone set by the showrunner. He learned to be confident in his point of view within those boundaries, avoiding being too passive or trying to steer the show in an inappropriate direction. He credits early mistakes to being overly deferential to long-term crew members.

Motivating Blocking with Storytelling

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(00:19:56)

• Key Takeaway: Effective directing requires developing the skill to motivate blocking through storytelling and maintaining the confidence to pivot when an actor suggests a better, story-driven movement.
• Summary: Trilling emphasizes developing blocking by imagining actor movement and writing a shot list, but stresses the need to be nimble when actors suggest changes. He learned to motivate blocking with storytelling rather than just making a shot look cool. Putting ego aside to recognize and adopt a better idea is crucial for directorial growth.

Techniques for Directing Actors

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(00:21:09)

• Key Takeaway: Judith Weston taught Trilling to direct actors by focusing on process and verbs (e.g., ‘scold Aaron’) and using imaginative substitutions (‘as if you hadn’t seen this person in 10 years’) rather than giving emotional adjectives.
• Summary: Trilling credits acting experience and classes with Judith Weston for improving his work with actors. The key technique is avoiding adjectives (like ‘be angry’) and instead giving actionable process instructions or using imaginative substitutions to place the actor in an emotional space. This helps actors internalize the motivation rather than just performing a prescribed emotion.

Conflicting Actor Processes

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(00:24:33)

• Key Takeaway: Directing actors with opposite processes, such as the text-exhaustive William Hurt and the spontaneous Billy Bob Thornton on Goliath, requires tailoring directorial support privately to each actor.
• Summary: Trilling managed the opposing styles of William Hurt (who needed exhaustive textual investigation) and Billy Bob Thornton (who preferred immediate action) while directing them. He rehearsed privately with Hurt while allowing Thornton to operate spontaneously on set. The challenge is ensuring both actors deliver their best performance despite their divergent preparation methods.

Dax’s On-Set Performance Strategy

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(00:25:47)

• Key Takeaway: Dax Shepard admitted to manipulating Pena’s performance on CHiPs by being overly big and energetic off-camera, knowing he would never use his own loud reactions in the final edit.
• Summary: Dax recognized that he was manipulating his scene partner, Pena, by being excessively loud and energetic during takes, even though he knew he would cut his own performance down in editing. He realized Pena must have thought Dax was receiving no direction because Dax never vocalized his self-criticism. This highlights the complexity of acting opposite someone while simultaneously directing.

Seventh Grade as Peak Life Year

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(00:27:48)

• Key Takeaway: Dax Shepard and Aaron Weakley consider seventh grade the best year of their lives because they became a popular, funny duo whose primary goal was making each other laugh, which translated to confidence.
• Summary: Dax and Aaron recall seventh grade as the peak of their friendship when they became a popular comedic duo by focusing on making each other laugh. This singular audience provided them with confidence that they projected outwardly. Their paths diverged later due to differing levels of delinquency, with Aaron engaging in more serious trouble.

Divergent Paths Post-High School

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(00:33:23)

• Key Takeaway: After living in a car for six months post-graduation, Dax abruptly decided to leave the shared life in Detroit to pursue college and film in LA, fearing he would blink and end up working in his family’s business.
• Summary: Dax and Aaron reunited in 11th grade, both sober and immersed in the punk rock scene, attending shows in Detroit. Dax eventually felt compelled to leave the comfortable, fun life in Detroit because he foresaw ending up in his family’s business if he stayed. He moved to California with the goal of becoming a writer like Bukowski, despite feeling the pursuit of acting seemed ‘soft’ or emasculating.

Criteria for Favorite Films

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(00:46:10)

• Key Takeaway: Dax defines a favorite film based on three criteria: the size of its initial impact, its cultural relevance/influence, and its re-watchability, explicitly prioritizing ‘favorite’ over ‘best’ in critical terms.
• Summary: Dax established specific criteria for his favorite movies, noting he is not an erudite film critic but prefers mainstream, impactful cinema. A film must hit at least one of the three points: transformative initial impact, cultural importance, or high re-watchability (unlike films like Schindler’s List). He contrasts this with Tarantino’s films, which he finds entertaining but not emotionally profound enough to meet his criteria.

Gateway Films and Cinematic Realization

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(00:37:41)

• Key Takeaway: Raising Arizona was Dax Shepard’s gateway film that made him realize movies were manufactured and visually specific, while Annie Hall was Larry Trilling’s gateway, focusing on dialogue, banter, and the smart guy winning the girl.
• Summary: Dax cites Raising Arizona as the first film where he noticed specific visual language, like the use of wide lenses, making him aware of directorial intent. Trilling’s realization came from Annie Hall, where Woody Allen’s writing, directing, and starring made the singular point of view clear. Both recognized that movies were constructed narratives rather than just real-time unfolding events.

Favorite Drama Films Ranked

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(00:48:42)

• Key Takeaway: Thief by Michael Mann is cited as the number one drama of all time by one participant.
• Summary: Ordinary People is highly regarded for being deeply emotional and rewatchable. Michael Clayton was categorized as a drama rather than a thriller. Thief is noted as the most re-watched movie by one speaker.

Impact of Michael Mann’s Thief

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(00:49:06)

• Key Takeaway: Watching Thief while intoxicated led one speaker to steal a concrete-anchored parking meter and attempt to rob a 7-Eleven with a fake gun.
• Summary: The film Thief inspired a self-righteous, toxic justification for taking what the speaker felt they deserved. The speaker successfully dragged the entire parking meter, concrete base included, up to their apartment steps. Attempts to break open the meter for change were unsuccessful.

Top Tier TV Shows

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(00:51:10)

• Key Takeaway: Breaking Bad and Mad Men are considered potential all-time favorite TV shows, with The Sopranos and Friday Night Lights also ranking highly.
• Summary: Cast members of Parenthood often asserted that it was better than Friday Night Lights, despite the latter being created by the same showrunner, Jason Katims. Brad Pitt noted that the only downside to being in Tarantino films is the skewed perspective when watching them later.

Duality of Celebrity Love

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(00:52:26)

• Key Takeaway: One speaker maintains two distinct relationships with Brad Pitt: the personal acquaintance and the idealized on-screen persona they are obsessed with.
• Summary: Brad Pitt confirmed he relates to this duality, citing Robert Redford and Sean Penn as figures he experiences similarly. Robert Downey Jr. is described as an ‘angel that fell out of the sky’ alongside being a known friend. These dual perceptions can coexist.

Future of Parenthood

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(00:53:13)

• Key Takeaway: Jason Katims is reportedly open to revisiting Parenthood if a fresh, non-repetitive take can be developed.
• Summary: Both participants expressed a strong desire to work on a set together again, prioritizing that opportunity. They acknowledged the risk of returning, comparing it to a high school reunion where the cherished magic might be absent. Scheduling conflicts, such as working more than three days a week, could derail any potential revival.