You're listening to song exploder where musicians take apart their songs and piece by piece tell the story of how they were made. I'm Rishikesh, your way. This episode contains explicit language. This is key change where I talked to fascinating people about the music that changed their lives. My guest today is director Ryan Johnson, which is exciting for me because I've been a huge fan of his ever since seeing his first feature film, Brick in 2006. Since then, he's made six more feature films, including Looper in 2012, Star Wars The Last Jedi in 2017, The Murder Mystery Knives Out in 2019, and his most recent movie, Another In The Knives Out series, Wake Up Deadman, which is already out in theaters and comes to Netflix on December 12th. I talked to Ryan about a piece of music that had a profound impact on him, which was the overture to Doss Ryan Gold, the opera by Rick Card of Wagner, Colin Richard, his friends Colin Richard. So this is either going to be really fun or really pretentious and boring. For the record, I think it was really fun. Here we go. I think what people think what Wagner is, the Bug Spongebob, they cartoon, yeah, kill the rabbit, kill the rabbit, kill the rabbit, kill the rabbit, also, by the way, if any true opera scholars or fans are listening, I don't know when I'm talking. I'm a casual, I'm a fan of opera. I'm not like a, I probably say dumb shit probably in the context of opera. But you were not an opera listener when you were growing up. When I was a kid, no. And then I was pretty broke in my 20s and trying to get my first movie made. I never traveled. And so I scraped together some money and did a backpacking type trip to Berlin. But the nice thing about Europe is, you know, opera is subsidized by the state. And so you can get good tickets for not that much. I went to see La Treviata, the Verde opera, and the opera bug got me. It was just so powerful and beautiful. And that was just completely. And from that point on, I would say I was an opera fan. And so how much time passed between seeing the first opera and then seeing Duss Rangold? So that trip happened maybe late 90s. And it was 2011 when I saw Duss Rangold. Oh, okay. So you, at this point, you'd already made brick. I made brick. You know, it got picked up by Focus Features and that meant I was able to make my second movie, The Brothers Bloom, which was a big, beautiful experience in a very personal project and nobody saw. So I saw it. Oh, you saw it. Thank you for watching it. And then I have a very good producer. So he was able to get my third movie, Looper off the ground. And I had made Looper at that point. And it had been well received and it had done pretty well. And I felt really, really good about it. But there's this strange thing that happens when you make something and put it out in the world where suddenly people start talking about it. And it's not even like everything they say is great about it, but it becomes an object outside of yourself. And for the first time, I experienced the thing of me kind of feeling like it became kind of a foreign object. And I couldn't remember how I made it. And this led to me kind of getting stunted in writing the next one, basically. Yeah, I definitely feel like there are albums where there's a band that I love. Yeah. And then they make another album and you start to think, did they read their reviews? And now they're playing into what people think they're supposed to be or something like that. It's interesting, man. How it like, yeah, it can get in your head. It can mess you up. It can, I don't know. It's a strange thing. So I had an idea for like a science fiction movie to follow up Looper with. And it was a very clever idea. And I was really proud of it. So I had started kind of like working on it. And my girlfriend at the time, now my wife and I, we went to Paris for the summer. And you were feeling good at this point. You were feeling pretty good. There was something that was slightly grinding about it. I was like, okay, this isn't quite clicking, but I was like, okay, this is going to be the next one. Let's go to Paris and write it. Oh, this will be great. I'll be sitting there with my beret writing. And when I was there, we lived in the meret. We lived on this little street, Roushapalm. And it was a quick walk down to the bestie opera house, which is like the big modern opera house in Paris. And I saw that they happened to be playing a ring cycle. Could you explain what the ring cycle is? So the ring cycle is four operas, or really technically three operas and one prelude opera. So it's 18 hours worth of opera. And it's one big massive story. And it's kind of drawn from Norse mythology. It's got gods. It's got giants. It's got mermaids. It's got dragons. And it's Wagner's magnum opus. It is Wagner's magnum opus. It's also, if I may be so bold, one of the great works of art that a human being has ever created. It's a magnificent, huge work on every single level. And the essence of it is opera number one, nature is in harmony. And the rine gold, which is this golden treasure is at the bottom of the rine river. Everything is good. And then the rine gold is stolen and turned into a ring of power. This obviously very much influence Tolkien eventually. This is where he got the notion of of like a ring of power. It takes four operas and acts of grand sacrifice and some incest. A bunch of weird, weird Norse shit and German shit and just a bunch of weird shit to get that gold back into the rine and restore order to the natural order of things. So I was like, all right, I'll take it. I'll take it for this. That sounds good. And so I went and I just walked down the loan and sound the theater. And the lights go down and in darkness that overture begins. It's basically one chord. It's an E flat chord. And it starts as almost nothing and then slowly just rises and builds this single chord over the course of like three minutes. It just is a slow hypnotic rising wave that evokes nothing less than the birth of everything. Immediately I found myself just closing my eyes and it pulled me and lulled me into this state where by the time it reached the climax of it. I just felt like my heart was going to come out of my chest. It was just an amazing experience. It kind of really mucked me up because I went home that night and looked at my clever little idea and it just wasn't happening. It was not like, I can't make it as good as that. But the emotional place that that had taken me to, I realized that's what was not in the thing I was writing. I realized I'm writing a clever sci-fi idea. I don't know what the emotional resonance of it is. And I need to find that. I did not expect that this is where the story was going to go. I thought that you were going to feel so inspired by the opera that you were going to come home and like, exact opposite. It fucked me up for like three years. I was like, yeah, I can't. And not because Lupert also had been that for me. Lupert had been a very emotional. I knew the emotional heart of it. I knew the thing that was actually about the story I was telling. So I don't know. The experience of this just kind of shattered all illusions and just cast me a drift kind of. It completely crashed me out. The fact that you saw that's run gold by yourself. Do you think that that played into how much of an effect it had on you? 100%. Yeah. Yeah. I think especially because it is an essentially weird thing. And going to, I love going to movies alone. I love going to opera. I love going to things alone. Partially because of the type of person I am. If I go with someone, part of my brain is always, are they okay? Are they enjoying it? Do they think this is dumb? But also there's a surreal space you're in when you go to something alone because you're surrounded by people but you're isolated and you're kind of just in your own head the entire time. And I think that aids the transition into sort of the dream like state that can lead to the heightened experience, I think. Couldn't you tell me a little bit about your relationship with cleverness and emotional resonance? You know, I'm a huge fan of cleverness. Yeah. Probably too much of a fan. Yeah. But it took me a while before I realized that it was maybe at odds with something that felt emotional. Yeah. Yeah. I feel like it's impossible for me to get motivated to make something out of cleverness, which is a little bit of a saddening. And I'm sure my movies, I think that I do have kind of a puzzle maker's brain and I'm sure they definitely feel clever for some people maybe too of a fault. For me, I know though that the longer I do it and the more of these murder mystery movies I make, I don't know the more I come to sort of distrust cleverness, I think. But in a way that I think has been really helpful because the clever elements of the murder mystery, you have to remember that they're not going to entertain an audience. You have to have an actual story going on that people are following and they care about the fate of a character. So a character wants something they can't get it. The audience gives a damn. That's a basic ingredients. But it's not a matter of taking that and then pasting the cleverness on top of it. For me, it's finding these two things fit together like two gears and turn each other. And the cleverness is often some genre mechanics. So for example, in Looper, the fact that with a time travel movie, you can literally have not just a father's son, you can have the elevated mythological version of that, which is you sitting across a mere older self. It's literally you. Because I talk to musicians so often and yeah, because I'm writing songs myself, I feel like there is something that feels really special in the moment where you can come up with a melody and a lyric that go together that feel like they were born together. Yeah, I feel like they're inseparable. Yeah. And it sounds like it's a similar kind of journey of trying to find a thing that what you're saying and the way that you're saying it are married. 100% yeah, that they serve each other and it's alchemy. And so with that in my mind, I kind of stopped working on this and didn't know what I was going to do next. And suddenly it was three years later and I didn't even have I like had fragments of that script. And finally, I was like, I just have to stop. Did you feel like you were any closer to cracking it? Nope. Nothing. I had another tried all of and went down all the different ways. I had also wasted a lot of time just because I was avoiding it. And honestly, it was the siren song of how clever the idea was that kind of and that was a very good lesson for me. I think, you know, so my producer and my agent were like having interventions with me sitting down saying, maybe it's time to look for something else basically. And the next thing that happened is I was offered a Star Wars movie to Red Interact. And so I was like, oh, that's that there's anything in the world that you can kind of strap yourself to. That's a rocket that's going to take you to the place that I went and in the dark listening to the opening of this opera. It's a Star Wars movie. My conversation with Ryan Johnson continues after this. So with the Star Wars movie, you were picking up from the JJ Abrams one. Did you feel the same kind of panic about coming up with something that carried the kind of emotional content that you were looking for since it was the second movie. So second movie. So no, not at all. I'd say because, first of all, story wise, I had, you know, JJ's script. And so my job was to kind of continue the line straightforward from there. And I was coming up with how that was going to happen. But that dictates a very specific path. But the bigger thing I'd say is it wasn't coming up with it whole cloth because I grew up with Star Wars. It's something that for me was almost a kin to religious stories when you're growing up. It's something that's so deeply in the bedrock of who you are. And not only who you are, but why you tell stories that emotional resonance and its connection to the material was not just there. It was this big throbbing thing inside me that was just ready to come out. Was there a moment in the process either in the pre-production or in the production or whatever during that Star Wars experience where you felt like you had connected to the thing that you'd been looking for that night you came home from that's Ryan Gold. Oh, yeah, absolutely. There were many, many moments. I would say that the experience of making Star Wars and this more than just the cool things about being on the Millennium Falcon are getting to work with Carrie and Mark and or the creature guys more than any of that fun stuff for me. The reason that making that movie was the best experience in my life is because every single day I felt like I was tapping back into the power of that story that I had grown up with. For me personally, I'm not saying that like you know I perfectly captured or whatever it for for me personally, it was nothing but just emotional resonance from the start man. It was it was really nice. Can you perhaps remember a specific moment that you had where you were like, oh right, this is the thing I've been looking for? Yeah, there was a moment on set. I mean, there are other moments in the finished movie, but there was a moment on set where spoiler alerts kind of for the last Jedi. It's near the end of the movie, the rebels are trapped in a cave, they think they're doomed, there's no way out. And then out of nowhere, we don't explain how we got there, but Luke Skywalker shows up. And it's a goodbye scene between Luke and Leia. No one's ever really gone. When Mark and Carrie did that scene together, it felt like church on set. And Mark did a thing which he came up with on the day where he like kissed her forehead before he left. And it was just this powerful, beautiful moment for me for everyone on set. And I felt both the the star war ziness of it and also the emotional resonance of it tied to the emotional resonance of these two actors who have been on this journey together since they made the sci-fi movie in the 70s. It was so powerful. And I thought, okay, yeah, that's I never want to make something that doesn't feel for me in some way like I'm getting to this place. Yeah, I was thinking about how for us, star wars is essentially our Norse mythology. Yeah, I think it is. Yeah. When I was a kid, there was no way to really watch the movies beyond going to the rerelease in the theater or signing up for a waiting list where you waited six months to get the VHS tape and had it for 24 hours. The realities we didn't see the movies very much. The toys were almost the bigger thing. And playing with the toys meant more than anything, I think fused it to kind of the birth of the creative instinct and a lot of us because when we were telling our first stories, they were in that world with those characters with those toys. And I think that's why you hear stories of adults walking onto the millennium Falcon set and bursting into tears. It happened to me. And what I was imagining was my Kenner toy in my bedroom when I was a kid, you know, so yeah, I think there's something to that. Have you ever tried to find a place for the prelude from that's Ryan Gold in one of your films? I think I've tried to slap it in the few play. It's a very specific piece of that both always works and never quite work. I mean, you know, Malik can get away with it. He's Malik and he's a genius and it fits. But unless your Terrence Malik, it's a tough thing to kind of just temposene with. Yeah. It'd be balsy to try. Your cousin Nathan is your composer. Nathan's my composer, yeah. And have you talked to him about this obsession? So not only have I talked to him about it, but we now have a tradition. We've done it three or four times now where my buddy Noah Sigan, Nathan is my composer and Steve is my cinematographer and like best friends and so 17. We now travel together. We do bro trips to go see rings cycles. We went to San Francisco for the first one. We went to Byright, which is the, I probably if you know, I said I'm Byright, I think, which is the small town in Bavaria in Germany where Wagner built his opera house exclusively to kind of show the ring cycle. And the other thing I should say about Wagner, also a terrible person, a raging anti-Semite. And it's interesting when you go to Byright just outside of the theater grounds, like in the air mission, you can stroll over. They have kind of a garden that's pretty incredible where it's not like they sugarcoat anything. They go hard at it. They have essentially plaques of all the Jewish artists and performers that worked with Wagner worked on these operas. And what their fates were a few decades later. And then at the head of it, they have a sculpture. I forget the artist name, but it's a sculpture that was done by Hitler's favorite artist. And it's a bust of Wagner. Wagner died before the Nazis came to power, but Hitler was obsessed with them. If you read Wagner's writing, it's obvious. The only reason he wasn't up there on the platform with Hitler is because he died before they came around, I think. So does that complicate your appreciation for tremendously, of course, yeah, absolutely. And much more insightful people have written lots and lots about me. But the Alex Ross, who's the music critic of the New Yorker, he's a huge Wagner scholar. He wrote a book called Wagnerism that anyone who's kind of interested in this, I would highly recommend. It's almost a cultural history of the past 200 years through the lens of Wagner fandom. So yeah, it's a, it's a big complicate thing. To go back to this balance between cleverness and emotional connection, is that something that you were consciously looking for, trying to find when you were making wake up dead man? Oh, yeah, absolutely. So the last movie, Glass Onion, which was the second one, which I was really proud of, it was exactly we wanted to make. And it does have some personal things in it for me, but it was a little bit more of kind of a big broad comedy. So with this movie, it was not a corrective, but it was almost just like, oh, I had done that for a few years. I wanted to kind of dig in deeper and make it more personal. The wake up dead man, it's a Benoit Blanc murder mystery. So it's a big fun murder mystery, but it really is about faith and it's about religion. And I think it kind of, yeah, hopefully genuinely kind of digs into some of that. And that's a personal thing for me. I grew up very religious. I grew up very Christian, very Protestant evangelical, up through my mid-20s. And I'm not anymore. And so it's something I have a lot of complicated feelings about. And there's an emotional place that the movie gets to at the end that that essence of being risen on the tide and brought some place emotionally was absolutely very much in my head when I was trying to construct it. Nowadays, besides going to see the ringsicle in person, do you ever find yourself just putting on Doss Rhyngold to listen to? I mean, it's kind of an intense emotional experience to sign up for, but do you ever just put it on in the car? Oh, hell yeah. Yeah. Blast that shit in the car. That's so good. Blast some Wagner. Driving down sunset. Yeah, no, I come back to it. I listen to it a lot actually. I listen to a lot of a lot of different opera, a lot of different, I've been listened to a lot of classical music lately, but the ring cycle is something that I come back to. And I do find actually it's very good writing music. I think all opera is because it has a drive to it. It has emotion. It has a human voice, but you can't understand the word they're saying, which is really nice. And so yeah, no, Wagner, I just something that I'll definitely tap into that well pretty often. So the thing that you had gotten stuck on, how did you find your way around this idea of people talking about this thing that you made being out in the world? And not being blocked by it. Yeah. How did you get around that? How do you stay not being blocked by that? I mean, I think that it's hard because it's like a lifelong journey. I think if you're lucky enough to be able to take that journey and keep making stuff, it's a journey. And part, I think it's a muscle that you do develop in terms of how to kind of isolate yourself and your mind from the things that can kind of mess you up. It's also something it's not like you learn it, and then you've got it. It's something that you constantly have to be a little aware of, I think. But ultimately, there's also, I mean, it is a danger, but it's not as big a danger as you think, because I find that once the actual creative process takes hold and you start into something, it's very hard for me to hold abstract external pressures in my head. You got your head down, you're doing the thing and you lose track of what time it is. And if it's working, if it's connecting and working, I actually I find it hard to have that problem. It's when it's not working that that problem creeps in. Ryan Johnson's new movie Wake Up Deadman is out now in Select Theaters, and it'll be streaming on Netflix starting on December 12th. Also, Ryan's website is very cool. It has behind the scenes photos and the shooting scripts from his movies. It's at Ryan-Johnson.com. Visit songexploter.net slash keychange for more keychange episodes and for a playlist with all the music that's been discussed. This episode was produced by me Craig Ealy and Mary Dolan, with production assistance from Tiger Biscuit. Song Exploder is a proud member of Radio Topia from PRX, a network of independent listener supported, artist-owned podcasts. You can learn more about our shows at radiotopia.fm. If you'd like to hear more from me, subscribe to my newsletter. You can find a link to it on the songexploder website. You can also get a songexploder t-shirt at songexploder.net slash shirt. I'm Rishikesh Herway. Thanks for listening. Radio Topia from PRX. Did you hear the keychange episode that I did with Jason Schwartzman? If so, do you remember him telling the story of how Davie Annelson discovered him and got him to audition for Rushmore? Well, that Davie Annelson is one of the kitchen sisters, along with Nikki Silva. They are the award-winning producers of so many podcast stories and radio series, and they're also my fellow radio topians. They've got a new series that ties all this together, because this year, for the first time, there's going to be an Oscar for achievement in casting. And the kitchen sisters are going to take us behind the scenes to meet the Academy Award nominees and learn about the mysterious, fascinating world of film casting. Plus, it's hosted by four-time Oscar winner Francis McEnormon. So check out the kitchen sisters present everyone's a casting director, the first ever Academy Award for achievement in casting in the 98-year history of the Academy Awards. I can't wait to listen. Check it out at kitchencisters.org or wherever you get your podcasts.
