Ari Balouzian

Yeah.

Original music for Prime Time by Ari Balouzian.

Quick note, Bolen, DiGerlando, and Balouzian all worked on the Nathan Fielder, Lance Oppenheim You Can See Everything.

So-

Yeah, reading, yeah

... she's expecting.

The music from Ari Balouzian sounds like Philip Glass on ecstasy.

[laughs]

We're going to get into that and more in a moment.

Joining Lance to discuss the creative and technical challenges of this sprawling production are several members of his creative team, including sound designer and re-recording mixer Paul Shue, production sound mixer Chris Welcker, director of photography David Bolen, editor Daniel Garber, and composer Ari Balouzian.

We recorded this conversation on the movie's opening day, and it was quite the challenge to get all of these artists together.

In fact, we caught Chris Welcker on location where he's shooting his next movie, and Paul Schuh stepped out of a tech check at New York Film Festival for his next collaboration with Lance on the highly anticipated movie, You Can See Everything.

Gabriels are a trio from Los Angeles.

Singer Jace-- Jacob Lusk comes from gospel and Ryan Hope and Ari Balouzian have worked on film soundtracks.

Elton John called Love and Hate in a Different Time "One of the most seminal records he'd heard in the last 10 years." Well, that's not a bad review to stick on your fridge, right? Now this version right here is an edit by Frybotar and Mandy from a pack of bootlegs Crypto Ravers put out for ADE, which takes over Amsterdam later this month.

So here's your homework.

It makes the entire thing queasy even before unsuspecting Decoy Dan is thrown into potentially dangerous and traumatic situations.

Ari Balouzian's score is deceptively classical and jazzy with instrumentation, offsetting the increasingly distressing situations with joviality that is itself laced with cold electronica.

Oppenheim takes great creative liberties to get his prey, plunging into memory, dream, and phantasmagoria, and ratcheting up the drama of Chris Hansen's reckless pursuit of ratings and/or retribution.

The film is primarily yoked to Dan's neophyte perspective, but also puts us into Hansen's monomaniacal headspace, as well as the struggle of Andy's attempts to keep control of her production.

Um, but a, a little bit, I guess.

Like, uh, th- th- this thing came about in such an organic way and- I always was interested in seeing what would happen if I could take the same people I normally work with, like my DP David Bowen, and my editor Dan Garber, and my composer Ari Balouzian, and have, like, my pod, my band of collaborators and, like, you know, make something.

But now I guess it's like, uh, this is such a stupid way to think about it, but I, I, I go both ways.

Mm-hmm.

You Can See Everything with Nathan came about in such a random way.

Um, I got to work with, like, my two heroes, Rob, who I've been obsessed with forever, and Nathan, who, like, you know, I've seen every episode, like, multiple times, of Nathan For You.

Um, and I got to make both of these projects with the same cinematographer, David Bolen, the same composer, Ari Balouzian, uh, the same producers, Abbie Rowe, my wife, and, and Christian Vasquez, who's been working with me since film school.

Mm-hmm.