‘A Millennial Job Interview’ viral video sensation, exclusive group interview with actors, writer and director

A millennial job interview

A Millennial Job Interview has only been out since late fall 2017, and its runtime is less than three minutes, but it has become a viral phenomenon and has received a total of nearly 100 million views across multiple platforms including Facebook, Vimeo, YouTube and other sites worldwide.

What originally started as a demo reel for L.A. actress Melissa Tucker has become a debated part of pop culture where the entire team behind it including co-star Tom Katsis, writer Ralph Odierna and director/producer/editor Daniel Brea have been pleasantly surprised by the reactions and remain hopeful for the results to yield more offers of work.

Now, not all reactions to this video have been good.  For those who have not yet seen A Millennial Job Interview, here’s the gist:  Amy goes into a job interview with an old school Baby Boomer named Abraham and they aren’t quite speaking the same language.  Amy rarely looks up from her phone and isn’t quite professional and the interviewer is flabbergasted by her answers and behavior.

The comments are almost as good as the video. People either love it or hate it. Some people do not find it funny at all and are offended by this depiction of Millennials (BTW: the director and the star are both Millennials), while others find it to be a little too spot on.  Multiple political comments representing every possible point of view are made as a result of the video. A group that seems to love it the most is HR professionals.

The video is a satire—a very funny one at that, but some people don’t seem to get that this isn’t a castigation of all Millennials and that it isn’t meant to be taken literally.

The team behind A Millennial Job Interview including actors Melissa Tucker and Tom Katsis, writer Ralph Odierna and director/producer/editor Daniel Brea spoke with Michelle Tompkins for TheCelebrityCafe.com about the theatrical origins of this project, how the actors had such great chemistry, a bit about all of their professional backgrounds, their reactions when the video started to take off, what their hopes are for the video and more.

Michelle Tompkins:  Everyone please introduce yourselves and tell us what was your role or position in this film?

Melissa Tucker:  Okay. Yeah. Hi, I’m Melissa Tucker and I play Amy Connor, the millennial in the film.

Tom Katsis:  I’m Tom Katsis and I was honored to be chosen to play the part of Abraham, the gentle, but yet, firm boss.

Ralph Odierna:  Ralph Odierna. I wrote the piece.

Daniel Brea:  And I’m Daniel Brea. I produced and directed it.

Michelle:  Now, how would you describe A Millennial Job Interview to someone who’s not seen it yet?

Ralph:  Well, I guess the idea came from every generation has a film, whether you go back to Animal House or Ferris Bueller’s Day Off or Fast Times at Ridgemont High, to Legally Blonde, and I just didn’t see one out there for this generation. So I decided to have fun with it.

Michelle: So Ralph, tell me about the original play.

Ralph:  The original play’s a ten-minute short, and what you see is two minutes from mid to towards the end of the play. And it was performed for eight performances at the Whitefire Theatre in Sherman Oaks.

Michelle:  Now, tell me what are some of the differences between the play and the short that we see.

Ralph:  Well, it’s just elongated. You would see her from when she enters the office, and then there’s a going over some of the resume and some of the background. And then there’s also much more in-depth in the interview itself, where she wants to know what her position is called, how many days off does she get, does she have a private office, can she bring her dogs in [laughter]. There’s a lot more in there.

Then the only thing that we adjusted for the sake of being able to wrap it up a bit sooner is just that in the short that we produced, she does not get the job and walks out, and then the script actually continues quite a bit.

She gets the job because she addresses him that her father is a lawyer and she has rights.

Michelle:  Oh, great. That’s always someone you want to hire [laughter].

Ralph:  That’s right.

Michelle:  Now, let’s talk about the happy news. Tell me about the numbers to date right now.

Daniel:  As far as Tom’s keeping track a little bit on Facebook, now the behind-the-scenes number I see on Vimeo— Vimeo is a little bit behind on their statistics update, so what the public sees is 1.9 on the original upload, I think, which is 1.9 million. I think the actual number behind the scenes is now approaching 5 million on Vimeo, and YouTube, I think, is approaching 2 million. And Facebook is where it’s actually going nuts. And there’s been dozens of reposts internationally now. I’m getting calls and emails from Russian places that want to translate it and post it in Russia, and in Spain, and other countries. But there are requests coming in all over the place, and I think the biggest account is this— I think it’s called One Federation News, something like that they have.

Tom:  Nation One News. They have, I think, 35 million and counting, and so I would wait—Actually, they crossed 40 this morning.

Daniel:  So, then I’m sure that the total number probably add up to easily over 50 million if you count all the accounts together.

Michelle:  Wow [laughter]. Amazing. Congratulations to all of you.

Daniel:  Yeah. And I’ve seen multiple other channels with over a million and then there’s another channel called RV, I think, which posted it. I think they’re up to 2 or 3 million already. We couldn’t have posted this more than a month or so ago. Or maybe it’s two months by now. And I think these last two or three weeks is a wonderful place to start. Things really are starting to take off.

Tom:  Twitter too. And Michelle, I only watched it many times myself, so I’m just calculating all of that [laughter].

Michelle:  So Melissa, how did you get the inspiration for Amy?

Melissa:  Well, I actually— so I grew up in the Valley.

Michelle:  Shocker [laughter]!

Melissa Tucker

Melissa:  So I said a lot of kind of in phrasing from hanging out with friends and being around different people. And I kind of once I started reading it, I just kind of let it come out instinctively and just having fun with it, really. And kind of letting it just come from that place.

Michelle:  So you and Tom seem to have instant chemistry.  Did you find out immediately, or through rehearsals?

Tom:  Well, we were rehearsing and we just were working off of each other. And she was so amazing was that she’s got to react to what’s going on here.  At that one moment, we did a little improv where she talks about showing up at 10:45 a.m. and I drew that long take and I go, ‘Wow [laughter].’ I think you just take you know what she just told me. So it was a lot of fun.

Melissa:  Yeah, it was just very easy, and working off of each other’s energy was really great. And so it just glowed and worked.

Tom:  Well, I don’t want to forget to tell you guys just that when Daniel did that awesome job of editing and trying to get together and sent to me as a short, I sent it to a showrunner, Mike Larsen, who’s been— He’s been a showrunner.  He’s been on five television series. He sent back. He said, ‘When did this air?’ So I said, ‘Daniel, we go to get this up.’ And I got a nice note from someone asking, ‘When is the movie coming out [laughter]?’

Michelle Tompkins:  Oh, yeah. So awesome! Now, how much of the script was improv?

Melissa:  Just little bits and pieces. Just a bit.

Tom:  The writing was so good, we just want to eat just some different beef. Like Melissa said, the way we just work off of each other and just the different things that Daniel would have us try to do, like he had her get up. ‘I’m not feeling safe right now.’ So he had her get up and kind of do that physicality, which bit the scene.

Daniel:  Yeah. And maybe have little words come out here and there.

Michelle Tompkins:  Was that tisk sound you did at the end planned?

Melissa:  Just about.

Tom:  Because we were working through each take. We just got this. Every time, there was just a new little thing that popped into one of our minds, and we were trying, and it was working. And then we would do another take with that. And then we’d find something else and kind of, I think— We didn’t do that many takes. Right, guys?

Daniel:  No.

Melissa:  Then, but by the time we finished, it was— I almost didn’t want it to end, it was just going so well.

Michelle Tompkins:  How long was the filming process?

Melissa:  A couple of hours.

Daniel:  Less than two hours.

Tom:  And it was important that when Daniel did those scenes with people, he had a crew there for sound. You’ve seen a lot of good demo reels by people, and there’s no—they’re in an office, but they’re not because somebody put a plant by a sofa [laughter]. But we had a great setting. And if the sound’s not good, you can kiss it goodbye, whatever your project is, so everything about this was just great.  It’s a sweet little gem. I call it a little gem.

Michelle Tompkins:  So what were your original expectations for the project?

Daniel:  Well, let me just jump in and be the first to say that— because this is a bit of a surprise, I think, to all of us. The expectation was to give Melissa something that she could take out there and show people. Tom called me and said, ‘I think this should be put online.’ And I’ve posted some things online for the company website, but I— it was neither here nor there. I loved it, but for me, the job was done and on to the next. And he said, ‘You know, I think we should post it, and I have a couple of friends that would appreciate it.’ And then the numbers just started going up like crazy.

Melissa:  Yeah. Daniel was just like, “Hey, do you mind? Can I post this on a few sites?” I was like, “Yeah. Sure. Go ahead [laughter].’ And then, the next thing you know, it’s like, whatever, go ahead. And then all of a sudden, he’s like, “Do you know what’s happening with this?” I was like, “No.” And it just took off.

Michelle Tompkins:  Melissa, did he call you when it had hit 750,000?

Melissa:  Yeah, when it hit 400,000. I was like, ‘Oh my gosh, what [laughter]?’ Just at 400,000, I couldn’t believe it. I was like, ‘Oh my gosh, 400,000? That’s insane.’ And then it kept going.

Tom:  Try 40 million.

Michelle Tompkins:  That’s amazing. So far, has this video landed you any auditions or other job opportunities?

Tom:  Well, it’s a door-opener, for sure. I think it’s so new to what’s happening with it that we, of course, have to promote, like what Daniel’s done, and the wonderful writing of Ralph. So it’s incumbent on the actor, director, or writer, or producer. Your agent only gets 10%. You’ve got to do 90 percent of the work. So that’s why we’re going to try to get this in the hands of some of the comedy— some of the TV casting directors that do comedy, some of the showrunners who run their own shows and also some film parts for both Melissa and me.

Melissa:  Yeah. It’s definitely started. Yeah.  I’ve definitely started hearing from people about it, and wanting to talk about different things, and projects, and stuff. So…

Daniel:  I think it’s still so fresh now that everything’s still kind of conceptual and up in the air. I mean, it’s hardly been a month that it’s been going viral. But so far, the— I mean, on my end, of course, the communication’s been mainly, ‘Hey, can we post this? Can we use this?’ And for me, it’s just, “Get it out there, please [laughter].” As long as you credit everybody, you put writer, director, and the two stars on it, throw it out there, you know?

Michelle Tompkins:  And Ralph, please tell me a little bit about your writing background.

Ralph:  Oh, I’ve been a script doctor for almost 20 years, and I have written so much for other people. It wasn’t until about four years ago I decided to start writing just for myself. And in the last four years, I’ve written three shorts, and all have been major film festival award winners. And then I’ve had the Whitefire Theatre produced ten of my plays that I’ve written.

Ralph Odierna

Michelle Tompkins:  Oh, wow.

Ralph:  I just sold a show to CBS, and hopefully, Daniel’s started editing it, but we’re working on it. I sold a show to CBS, and I just optioned a screenplay to Ion TV.

Michelle Tompkins:  Are you allowed to tell us the names of those projects?

Ralph:  No, because they’re not out yet, but the plays I can tell you. The plays have been— I think, Melissa, we called it The Interview I think when we first did it, didn’t we?

Melissa:  Yeah.

Ralph:  Yeah. So then there was Married to the Mob, there was Guess Who’s Coming to Dinner, there was Soul Mates. I have a passion for short content, as I told you in my email to you. O. Henry is one of my favorite writers, and Hemingway’s short stories are some of my favorite stories. There was a collection of shorts called Here’s Your Hat, What’s Your Hurry? It’s one of my favorite books.

Michelle Tompkins: Well, what would be your dream writing gig?

Ralph:  I guess personally, my romantic comedy screenplays. Everything I write is female-driven. I have a fascination with very strong female protagonists so almost 95 percent of everything I write is female-driven, so if I can get my screenplays or— I have a thriller about a female vigilante who thinks that she’s been blessed by God. I think that would make a great Netflix arc episodic and I’m just finishing that up right now.

Michelle Tompkins:  That sounds cool. I look forward to hearing more about it. I’m sure we’re going to be after this success, so yay. Now, what is your experience with millennials?

Ralph:  Well, I’m in the entertainment industry and I live in LA so I’m surrounded by them [laughter]. I try swatting them away but they keep coming back [laughter]. It’s just everyday life and I’m an observer of people. I do most of my writing outside and so I observe people. I’m always questioning people. I’m talking with folks and that’s where it comes from. Plus I have a niece and a nephew who are both millennials. One is 25 and one is 29.

Michelle Tompkins:  Now Tom, tell me a little bit about your acting experience?

Tom: Well, I mean, got the bug back when I was in Sioux City, Iowa. I was a big fish in a small pond and I did the live theater. I did the commercials, and I moved out to LA and I realized there was competition out here for crying out loud. Who the hell thought of that? And the last 19 years I’ve been one of the nation’s Lincoln presenters because I look like Abraham Lincoln and if you go to my website and look at the Lincoln tab and you’ll see the reviews of my work there. And I’ve done general television and…

Daniel:  Tom, I’m going to cut you off for one second because if you watch the Millennial Job Interview you’ll see that he has a beard but his mustache is just barely coming back. That’s a little bit of leftover Lincoln right there [laughter].

Tom:  Thank you, fellow citizen, and I’m looking for my big break. I mean, I’ve got 39 credits on IMDb. A lot of them are wonderful independent films and I’ve done some TV. I’ve been on Criminal Investigation CSI and I died within a minute. I was in make up for two hours, Michelle. I died in about 14 seconds [laughter].

Tom Katisis ‘A Millennial Job Interview’

Michelle Tompkins:  Still, it’s an IMDd credit.

Tom:  Yeah. To be in a film with the amazing Melissa and maybe 50, 60, 70 or maybe even 100 million people will see us doing Ralph’s words and Daniel’s directing, it can’t get any better than that for the opportunities that lie before us.

Michelle Tompkins:  Well, I’ll tell you the personal story about me and how I came to this. My dad is a prison psychologist and one of his colleagues told him he had to watch this [laughter]. And so he had me pull it up on YouTube the first day I got back in from New York and we watched it at least seven times that first day. We’ve shown it to everybody. I’ve sent it to my bosses. We keep sending it around and around. One of the reasons for it is that it’s incredibly relatable because – regardless of if you’re the interviewee or the interviewer – we’ve dealt with these kinds of situations.  So it’s funny, but I think one of the things that make it interesting is the comments. I was going to ask lots of questions with you guys on the comments because those are amazing, because the worse they are, the funnier they are.  Some people don’t seem to get that this is a satire.

Ralph:  I was going to—I have to admit, when I’m bored, I troll through the comments, and—

Tom:  I do the same thing.

Ralph:  It is absolutely amazing how— and I don’t want to overgeneralize, but millennials don’t get satire, not at all [laughter]. They’re like, ‘This would never happen in real life [laughter].’

Daniel:  Yes. I mean, the comments are great, but the personal emails are the best. The ones that take the time to sit down—and I was just telling Tom and Melissa before we worked out the technical issues that it’s not that often, but maybe once or twice a week you’ll get a really long email from somebody who just really said, ‘You know what? I’m going to sit down, and I’m just going to tell this person what he’s doing is wrong.’ And I get this— oh my God.

I had a farmer complaining about how America is working against him and it’s all corporate and everything, and it all led to that from this just rant about how I portrayed millennials, and I was just—if he only knew what this was [laughter]. It’s like, ‘Oh, you’re propaganda. This is unhealthy.’ What are you talking about?

One filmmaker said, ‘If I was you, I would take this down and turn around and start making content that is good [laughter].” And I think she meant good as in good for society; it just came off as, ‘What you’re doing is crap.’ But then, I responded with, ‘Hi. Thank you. As a millennial, I understand where you’re coming from [laughter].’ Because a lot of people don’t seem to realize that I’m a millennial as well, and then just proceed to saying, ‘Hey, [look?], it’s fun. It’s a fun video. These are actors. This was written by a creative person who had an idea and wrote it down, an observation. It’s satirical. Not everything about it is true. Not everything about it is false. But this is lighthearted stuff, and you know what it’s doing? It’s starting a conversation, which the same for my documentary. I tell people, ‘You can like or dislike the protagonist and what I did with the documentary, but it’s one of those films that people chat after it for about a half an hour, and isn’t that what it’s all about, this conversation, figuring these things out?’

The common threads themselves have the two generations going back and forth and, in a way, working out their issues because [laughter] you gave them a platform to discuss it.

Tom:   I actually like the helicopter parents who stick up for their children [laughter]. ‘My child would never be like this. They work 15 jobs, 15 hours a day.  They never sleep. ‘I’m like, ‘Oh my God.’

Daniel:  [laughter]. No. I have three kids, and built two production companies, and I’m still not really making— I’m still trying to make ends meet here, and I’ve been doing this for over a decade and a half, so what are you going to tell me?’

Ralph:  Daniel even had twins. That’s how brave he is.

Daniel:  Yeah. It’s amazing.

Tom:  All of us work very hard, but it’s just funny. It’s funny.  Michelle, I had a gentleman from South Carolina that found me on the web and found an email address, and he said, ‘I usually don’t do this, sir. I hope you don’t mind.’ And he went on to tell me that—he said, ‘I don’t watch movies much, but boy, when I saw this movie…’ and I told Daniel and Melissa this earlier. He said, ‘When is the movie coming out?’ He said [laughter], ‘I want to go.’

Michelle Tompkins:  I’m glad that people want the next chapter. Something I told Daniel about yesterday is that I like that Amy isn’t stupid; she just is in a bubble. But back to the comments for a second. Do all of you have a couple of your favorite comments?

Tom:  It’s more about the tenor of the comments that really makes you laugh.

Ralph:  I mean, there was— Melissa, there was one favorite one, though. This person says, “Really? Like she’s really a millennial. What is she, 12 years old [laughter]?”

Daniel:  Yeah. One that came to mind, I think, was just so serious and so, ‘Wow. Where do you live?’ He was like, ‘First of all, never have an interview alone in a room with a young lady. Blah, blah, blah [laughter].’ And then he was telling us some kind of a— “this is so-and-so versus the state of Illinois, and blah, blah, blah.” And I can’t remember where. It was one of the early comments. But it was literally the guy saying, ‘This is an unrealistic interview scenario, and even if it was being done this way, this is dangerous [laughter].’

Tom:  Oh, Michelle, I’ve got one that I like a lot.  One of my clients is an attorney in Beverley Hills, and she asked to see it. So I sent it to her, and so she starts showing it to all the office mates. So I followed up with her, and she said, ‘Tom’— and she’s in her 60s. ‘Tom, Joe and I went to a very nice dinner party with a lot of our children and their millennial friends, and the millennials tore into us. How we’ve ruined the environment, destroyed the economy and there’s not much hope for the world.’ And so she looked at them and she said, ‘Stop taking pictures of yourselves and do something about it [laughter].’

Michelle Tompkins:  Oh, like that. Now Daniel, tell me a little bit about your background as a director. How did you get your training?

Daniel:  Oh, I’m a hands-on guy, so I tried school and I lasted for six months. So after my military service in Israel, I went to intern. I didn’t know what to do so I went to intern with a friend of mine whose father owned a production company and started learning. I knew I wasn’t going to be a director right away and I had to find a feature project to direct. I mean, I have my documentary and I’ve produced films and stuff, but I think director is easily one of those jobs that everybody comes here and says they are or want to be, but once you really dig into it, it’s kind of scary how much you really need to learn.

And I think I started just trying to understand film-making, the technical process first. At some point in a book or something, I read that you need to learn all the technical stuff so that you can throw it all out and go make movies, because it’s like an artist who doesn’t know how to draw. If you have an idea in your head, if you couldn’t actually draw the characters that he’s thinking of, or Tim Burton couldn’t actually make the characters that he’s thinking of physically, then his mind is only going to take him so far.

So for me, it was just important to learn how to film things properly, everything about cinematography that I could learn, not obviously becoming an expert, but just enough to understand it and then editing because I feel like editing, aside from writing which is where everything starts, is– there’s three stages of storytelling. It’s the writing and the actual working with the actors on set and getting their performances, but then really the story’s stitched together in the editing. So I started as an editor, started filming more, did some writing, realized that I’m not built for writing at all [laughter]. I’m not a good writer, but I still learned about writing and how stories should be structured. I read all those

books, Joseph Campbell’s books and Hero with a Thousand Faces and The Writer’s Journey and what was his name?  I forget. Schneider. But anyway, there’s a bunch of books, and then I just kind of started doing more and more kind of bigger projects and—not bigger than Hollywood big, but just bigger from where I was and just tried— okay, this time I’m going to hire a guy to film it so I’m not filming it myself. This time maybe I’ll work with an editor so I’m not editing it myself, and I just tried it kind of taking every project that I got off the ground or was working on, I started kind of trying to look at it through the eyes of a director. Even if I hired a director for it I would observe and see what I thought he was doing right or wrong or she was doing right or wrong and then eventually I had the balls to try it myself, I guess, and then yeah. That’s how I kind of started directing, I guess.

Michelle Tompkins:  What is the name of your production company?

Daniel:  Well, the umbrella company is Brea Films. B-R-E-A Films and LA Reel House is the sister or the love child of Brea Films and my passion for practicing, directing, and giving actors something that they can actually use so it’s LA Reel House and Brea Films.

Michelle Tompkins:  Melissa, how did you find Daniel?

Melissa:  I think I just looked online for some different production houses to film at, and his name popped up—Brea Films. So I contacted him.  I think that it was actually over the span of a couple of months, and I decided, ‘I think I want to bring him this project.’

Daniel:  It took us a long time to get to this point.

Melissa:  I was like, ‘I think I want to bring this in, but I’m still trying to figure out some things on it, and…’

Daniel:  And you would send me like, I think, six or seven pages of it, and then we were thinking, “Okay. We only got to pick one or two pages from this’ and off we went.

Melissa:  Yeah, because I was trying to figure out which part to film, because like Ralph said, it was a lot longer. So I sent them over to Daniel, and I was said, ‘I think I want to do the last two pages, what do you think?’ And we kind of just kept talking, and then finally it was like, ‘Okay. Let’s do this.’ And then we finally filmed it.

Daniel:  Yeah. I think it was maybe six months or so from the time she called me until we finished.

Michelle Tompkins:  Wow. So that’s a long time in the process. It wasn’t just an overnight kind of deal.

Melissa:  I noticed we would talk. I really liked talking to Daniel and he was just really cool with the whole process. He just talked to me about it. But then I was trying to figure out exactly what it was that I wanted to shoot and which pages, and then I’d be working on something. And then finally I said, ‘Okay. Just need to film this.’ And then we did it.

Tom:  So what Ralph says earlier, Michelle, I thought, was pretty fascinating about there’s always been this reaction to the youth. Like what Aristotle said, the youth don’t respect us. They don’t work. They don’t think. And it’s that way throughout all our lives. And so Ralph just picked up on that theme, which I think is pretty amazing.

Michelle Tompkins:  I think so too. I think the voice was very good. Ralph, what did you think the first time you saw the finished product?

Ralph:  I have to be honest, I always envisioned it that way. And my intention is, as Melissa knew, is after the run, I was probably going to shoot the entire short in the spring because I felt it would do really well on the festival circuit. It was one of the few projects that I’ve written, and this has nothing to do with Daniel’s directing. But when I presented it to the stage group, it was over-directed at the stage level. And I thought, ‘This is a kind of projects where the words on the page are the story.’ You don’t have to add a lot to it. It flowed so well. And Melissa also played it on stage, so it wasn’t just in the film. She’s the one that did the whole run on stage.

And I even told her after some of the performances, I said, ‘I feel bad for you,” I said, ‘Because it’s over-directed.’  And she agreed. And that was probably why I was thinking about reshooting it because—they need to allow the words to tell the story and that’s exactly what Daniel did.

Melissa:  Yeah, because we actually did it like it was kind of more a straight face and in a more serious way. And when we were at the theatre, because it was theatre and they wanted it to really say, and so, yeah. We were able to kind of take it back to how it was before, isn’t it?

Ralph:  It goes so well. It’s such a great piece. The acting, all of the actors– well, both of the actors did this amazing job. And Daniel allowed the words to tell the story. And it really flowed very, very well.

Yeah. It’s funny. Going back to Daniel, the comments about how you started directing, I feel that’s one thing that I learned from a few friends of mine who have been in the industry a lot longer is that as a young director – or not that I’m that young anymore – but when you’re starting out, I think you just feel like, “Oh, I’m here. I’m the director. I have to do stuff. I have to tell people to do stuff.” If the actors are killing it, let them kill it [laughter].

Just let them do it. I mean, it’s not like I wasn’t doing anything. It’s just little tweaks. To stay on the road with your car, you don’t have to yank your steering wheel left and right. You just got to tap it a little bit. That’s it. You just make sure– if an idea comes up, try it. It’s getting a little bit longer than just sitting there, so I thought, “Maybe, yeah, you know what? Why don’t you get up for this? Let’s play with that. Let’s feel the tension here, like you really step away from them because these things that we tried that weren’t— We say everything that they were doing because what they were doing was nearly 90 percent theirs.

Michelle Tompkins:  Well, I mean, facial expressions are really one of my favorite parts. And I know a lot of it is editing, but also if the actors were able to pull them off. Did you guys practice in mirrors? Or just with the dialog, were you saying, “This will be funny if I do this?”

Melissa:  Yeah. Really with this dialog it was kind of playing around with the different facial expressions and letting come out.

Tom:  That’s right was, I think, really what works so well with them. It just worked. I think we started early, which is working off what the other performers doing in being great listeners of each other. And then breathing. It really does count. When you practice golf a lot, and you make a good golf to them, of course, it’s like, “Wow.” No. It’s all that practice, practice, practice, practice, practice. And knowing the words, knowing the words. And then when you’re doing the performance, you’re not thinking about the words. You’re just looking at your scene partner and working off your scene partner.

Daniel:  Yeah. And then the other thing is just a matter of finding the best reactions and the best lines, and just combining them all, and timing it out properly. So maybe in some takes, the last part was a little stronger. Again, all the takes were actually—if you watched them just continuously, and maybe it has something to do with that having been rehearsed so heavily on stage first, they’re all solid. And even though Tom was not involved in the stage play, all the takes could be used in and of themselves. It said that as the short of clerk notes combining the best of the best. That’s what makes it the best. But yeah, it was very easy.

Tom:  Oh, I had a quick question for Ralph. Ralph, in the script, does the professor say, “Wow,” or did I add that?

Ralph:  You didn’t say, “Wow,” in the script.

Daniel:  The only two words that were added were— I forget the very last line when you say, “Fine, you’re fired,” or whatever. Is when you said, ‘Wow.’ And then after Melissa says the Facebook line where she says something, but she adds, ‘That’s funny.’

Tom:  I got it. Yeah. That was good.

Daniel:  I think Tom that wow was I think towards the end we were just having some fun with it and were just experimenting a bit and you just did that kind of reaction and I think that was– I’m happy you did it, because–

Tom:  Yeah, it worked out pretty well.

Melissa:  Yeah. So I think it was just when I say, “That’s funny.” And then you say, “Wow.”

Michelle Tompkins:  Well, it’s been incredibly quoted in my family.

Michelle Tompkins:  Where can people find you on social media? 

Daniel:  Oh, okay. Well, Tom, do you want to start it?

Tom:  My twitter is @zorbaman (Z-O-R-B-A-M-A-N).

Daniel:  He could also be reached by telegraph.

Tom:  Yes [laughter]. Then send in a horse for me to bring water [laughter] and I’ll be milking the cows when I get to the freeway. Website: tomkatsis.com. And you know what I think? For me being such an old guy, I think my Instagram is zorbaman too. I think I could look at that for a moment here. I think my Instagram is zorbaman as well.

Ralph:  Yeah. At Twitter, you could find me at @historicralph. On Facebook, it’s just my name, Ralph Odierna. I’m old-school [laughter].

Daniel:  A real name.

Melissa:  So, well, just my Facebook I saw this but it’s: melissamaetucker. And then Instagram: melissamae8. And the website, just type in Melissa Tucker.

Daniel:  And I am The Daniel Brea because also, somebody has taken my name, which, of course, is such a human thing to do. Somebody said my name. I was like, ‘Yeah, no. He just has the same name. That’s fine.’

Michelle Tompkins:  No, they stole my name. It’s still the same way. I’m sorry. They stole it. Even if they had it first, I don’t care [laughter].

Daniel:  Right. Yeah. So that’s @TheDanielBrea Instagram. Vimeo.com/thedanielbrea. And my company, the umbrella company, brea (B-R-E-A) films.com. If you email the online form there, it will get to me. And they make films and stuff for me as well.

Michelle Tompkins:  Specifically for you Daniel, how do you want people to reach you regarding doing reels for them?

Daniel:  Reels, they can go to lareelhouse.com. For now, we’re staying with that name. I think we’re going to change it pretty soon. But for now, it’s lareelhouse.com.

Michelle Tompkins: Now, for everyone, what are your hopes for the film, now that it’s doing so well?

Ralph:  I get paid [laughter].

Melissa:  I think, tell people to continue enjoying it. Hopefully, I hope it turns into something bigger, raising serfs with so much fine material there and things for people to learn from, and to have fun with. So I just hope it continues on.

Tom:  Well, I agree with Melissa, and also for us to be very castable and some of us the different things that we can do because of—I am so honored that I was in this and that it shows what we can do. And that’s all you can ask when you’re called in for a movie, a TV show. You just want a chance to show what you can do.

Daniel:  Right. And, yeah. I think I’m just happy that it’s getting everybody’s names out there. I don’t know what I want from it necessarily. Obviously, it’s a new opportunity. Then without saying too much, Ralph and I are working on something.

Tom:  Very good.

Daniel: So we’re working on something based off on the video, and there are already some interesting conversations. And we’re going to have to kind of leave it at that and not jinx it. But hopefully, this is going to grow.

Michelle Tompkins:  That’s exciting.

Tom:  Well, I want to personally compliment Ralph on his gift of writing the spoken word because I have a pretty funny person naturally and I think that was uncle’s kind of words that you wouldn’t have seen that kind of performance out of me.

Melissa:  Yeah, right?

Ralph:  Thank you very much.

Tom:  It is amazing for us to be able to show off the comedic skills.  One of the comments, Ralph, earlier on when I was trying to follow some of the feeds, ‘Written by a Baby Boomer.’

Michelle Tompkins:  I think anyone with a sense of humor can get a kick out of it. And I think we can get a kick out of those who don’t have a sense of humor.  The comments of the people who don’t find the video funny are almost as funny as the funny piece.

Daniel:  Absolutely [laughter].

A Millennial Job Interview can be seen here and has been submitted for a Webby award.

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Michelle Tompkins

Michelle Tompkins is an award-winning media, PR and crisis communications professional with more than ten years experience with coverage in virtually every traditional and new media outlet. She is currently a communications and media strategist and writer, as well as the author of College Prowler: Guidebook for Columbia University. She served as the Media Relations Manager for the Girl Scouts of the USA where she managed all media and talking points, created social media strategy, trained executives and donors and served as the organization’s primary spokesperson, participating in daily interviews with local, regional, and national media outlets. She managed the media for the Let Me Know internet safety and Cyberbullying prevention campaign with Microsoft, as well as Girl Scouts’ centennial Year of the Girl To Get Her There celebration in 2012, which yielded more than 800 million earned media impressions. In addition to her extensive media experience, Michelle worked as a talent agent in Los Angeles, California, as well contracting as a digital content developer and her writing has appeared in newspapers and online. She is passionate about television, theater, classic movies, all things food and in-home entertaining. While she has lived and worked in NYC for more than a decade, she is from suburban Sacramento and gets back there often to watch the San Francisco Giants on TV with her family.