JASON SCOTT: Hello, everybody, I'm Jason Scott I'm the director
of the DEF CON documentary.
RACHEL LOVINGER: And I'm Rachel Lovinger the producer
of the DEF CON documentary.
JASON SCOTT: So we are going to talk about how we ended
up with this project in our hands, what we learned,
along with hopefully at the end bonus footage
and strange stuff that didn't get into the documentary and or
in some cases doesn't exist anywhere except for this room.
So let's get started with the fun!
So basically what happened was, last February I was on a trip
with Rachel in Helsinki and she was at a presentation for a conference
and I said I want to go too, I'm doing documentaries of my own.
So I had the smallest set up there and it is freakin' cold in Helsinki.
When I wanted to interview people they would say "you're going
to come here, I'm not going outside"
and we get a phone call from Russ Rogers of DEF CON
and through a Skype call I talked to him and
he put forward this interesting idea.
He said we're coming up on the 20th DEF CON
and I said "great" and he said "and we've been thinking we
want to do a documentary about it.
I can think of no finer person than yourself."
I said and he was like "and we'll pay you" (Laughter.)
Now, I'd been attendee at DEF CON for basically since 1999.
I gave a presentation there about running textfiles.com,
the web site that I run and I have progressively spoken pretty
much every year since then with a few exceptions so I have been
to many of the DEF CONs, I think I missed one, so I was part
of the group, I knew what it was, but I was also well aware
of the rule that there are no cameras running
around taking pictures of everybody!
And that tell be punched in the face!
So the problem here was, you know, we have this wonderful event
and didn't to take on that pain?
Then Russ mentioned the money again (Laughter.) And
the funny part was I came up with, okay, this is what I would do it
for and it was like that on the button and I was like, okay,
you know me very well.
So I said, I think I shall do this.
And bear in mind I was shooting three other document tears at the time.
We will talk about how I handled that, I was busy,
it wasn't my first documentary.
I made two other documentaries that people have seen, one called "BBS
the Documentary" which is about computerized bulletin
board systems.
That one took four years, had 205 hours of footage, ended
up being 7 hours split across eight episodes.
And then GIT Lamp, because I thought VBS was way
too general.
I made a high definition documentary about text adventures, and I went
out and interviewed people from Info Con,
and that one took 4 hours, had 120 hours of interviews, went
out very well, in 2010, so I had decided to do more.
I had some experience with technical document tears
and making things about computer people
and getting people who weren't used to cameras to talk on the camera
and so on.
So I had that experience and I had done a kick starter.
So, yeah, signed on, went for it, but there were some fundamental
issues that I wanted to know about.
The thing was, I knew my previously films had been
about subjects that were general like text adventures, I'll talk
to people about text adventures until I have so much footage I'll do
a movie about it and same with bullet tin boards,
but this was about four or five days and is filmed in Las Vegas
and then never happens again, it's a lot
of pressure and completely different than how I make my films so how
the hell are we going to do that?
How about the fact that nobody wants to be filmed!
Traditionally people have been driven away for doing sweeps, for screaming,
there has been stories of people talking one person talked
about he was running a booth and how he was talking
to one of the Goons and suddenly the Goon said "you will stop that on!"
And who was he yelling at?
Somebody in one of the sky boxes in the old Riviera aiming
down at the booth.
So they were strict about "let's not get
with the cameras" and now they're saying "let's film everything" ?
So that was a nightmare to consider.
And finally how do I make it not suck?
How do I make a film that's not going to be looking
like something that G4 shit out in four days?
(Laughter.) How am I going to bring something special
to it and put a movie together.
Originally it was going to I'm going to direct this and Rachel was
like "I'm going to help you" RACHEL LOVINGER:
(Away from mic.) JASON SCOTT: I know,
but she said "I'll help you do this and we'll approach it together
from the beginning."
Like this wasn't where I got weird and I said "what do I do?"
And she was like "oh, I want a piece of this" and she reminded me
she had a degree in film and maybe she wants to help with this.
Finally, how do you do it in six months
because they wanted me to release the film on Christmas
as a Christmas present to the "gang!"
How am I going to shoot a film where we have less than that
to film, edit and put it together?
We ended up moving straight into planning and I'm going
to let Rachel describe her thought process on how she started
to bring this together for this unbelievably huge project.
RACHEL LOVINGER: There is me in Helsinki.
It was very cold as Jason said.
One of the reasons I thought I could help without with this is I
like planning and I really like documentaries and I
like planning things so this is an example
of a spreadsheet that I made at my office
at work I show a documentary once a month
and my colleague and I brainstormed the kind of documentaries that we want
to show.
We have a list of enough documentaries we could
show once a month for, like, seven years.
We tracked which ones we have seen, what they're about, how long they are,
all that stuff.
Just to give you an example that I like planning things!
JASON SCOTT: She really likes planning things.
RACHEL LOVINGER: I've been to DEF CON a few times
before that so I had some idea what to expect.
That, I think, was helpful.
I've known Jason for a long time.
So that's his senior year high school yearbook photo and I took that!
JASON SCOTT: Quickly for this gang, so what do you pose
with to somehow your fine times in high school?
Your Roger Waters radio chaos album, you can see my figment cap
from when they used to sell those in Epcot Center,
a stolen highway flasher, a stolen pay phone, just there,
just evidence thrown into my high school yearbook photo,
and then, of course, holding in my hand a linemen's test set.
This is basically an evidence photo.
RACHEL LOVINGER: And the dust buster.
JASON SCOTT: And the dust buster.
Right.
There are five photos in the yearbook, and in each
of the photos I'm holding a dust buster, why?
'Cuz I could!
RACHEL LOVINGER: We had a very permissive high school!
So the first question we set out to tackle was how are we going
to film this in this constrained period of time and
of course we realized there is no way between the two
of us we could film everything we need to bring on additional people
to have multiple cameras in multiple places.
So Jason mention he had this kick starter, he put
out a call to his kick starter backers.
JASON SCOTT: So here I'd made this thing called
the "three pack" I'm going to make three documentaries,
will you fund it?
And kick starter gave me shit at the time, you're asking
for a thousand dollars and you're not going to get that and you don't have
any rewards under $100 and my counter
is I'm changing nothing and we're going to put it up anyway and it got $40,000
in 24 hours so I knew my audience.
I have a strong connection to this audience.
They know I work hard on these films, they know why I want to make them
and what I'm about.
And I felt bad that I might take on this other film so I turned it
around and said instead, guess what, you get another film for the amount
of money you put in and you're going to get advance notice of the pieces
in it and everything else.
So I had to turn it around into actually this
is a good thing plus I get more practice and in some ways I get more equipment
that will help.
So that was how I mitigated it, people were excited.
Is this where I mention the recruitment?
RACHEL LOVINGER: Yeah.
JASON SCOTT: So what I did was, I said, I need crew,
if you were supporting the Jason Scott documentary,
did you want to make one with him?
And a bunch of people jumped forward
and said "sure" with no information!
RACHEL LOVINGER: I think you told them we will fly you out there
and it's a sit ton of work!
JASON SCOTT: I didn't even tell them that, I just told them it was
a shit ton of work, I didn't make it clear we were going
to pay for anything because I didn't want them treating it
as a free trip to Vegas, and I said did you want
in and we had eight people sign up and I chose what ended
up being five, and I had one person bow
out because of work commitments, no hard feelings
with him and I had four people from my kick starter group who literally
the way I met them in a few cases was when they flew here.
RACHEL LOVINGER: Welcome back to them, too.
So once we knew we would have multiple people filming, we tried
to figure out what we wanted to cover.
So we poured through the schedule.
We knew we weren't going to focus so much on filming the talks,
a lot of those are filmed anyway, it was more helpful looking
into the forums where we got information about all of the parties
and the contests and the events and the unofficial as well
as the official events and where they were going to be and starting
and that was incredibly useful.
JASON SCOTT: Anybody who uses DEF CON or goes
to DEF CON I'm sure you know there are places you go to and you walk
by and you hear someone saying I'm doing an Easter egg contest
and you're like, well, for you or you don't do it and you go "shit ya"
and there are so many for whom DEF CON
is a limited experience and we had to become
the omniscient awareness pack of all aspects
of DEF CON 20 everything from like how do they set
up the rooms through to every event that was
peripherally being planned in the forums, because some
of them are liquid in the beginning like I'm thinking of doing a thing
and I think I got someone to tell me it was okay, gotta get 'em
on the list all right guy with thing you may be
a movie star soon!
So that was a very strange experience
to pull that much together.
RACHEL LOVINGER: So we pulled that all together into this, again,
a spreadsheet and we captured, you know, what things were happening,
when and where they were going to be and tried to sketch
out the things that we think we wanted to film about this event to sort
of in order to tell the story.
Some of these are going to be things that are happening
all week end so we know we want to be there when Jeff explains what
the tamper evident contest is.
JASON SCOTT: This thing is a fantastic document.
This is Rachel's work and part of her professional job
is constructing data in the a way that makes sense
and understanding the underlying pieces of it and
she is very good at it.
We had a real gift here because if you look at it, there
is a color code to go indicate whether we get in trouble if this
is not filmed down to if the camera swings across it,
everything is good!
Then followed by, what's the narrative?
What's the narrative of the toxic BBQ, what is the story that needs
to be told about a speaker?
Followed by, who do we think are the players in the story?
Do we know who the organizers are and the big people are and finally notes
where I write "I don't understand anything!"
And everything else on the side.
This goes on we only have one slide
but it goes on for, like, a dozen pages at least.
It's a huge, massive document.
RACHEL LOVINGER: And there is also it highlighted things we didn't
know and then we would reach out to Pyro or Russ and ask people,
what's going on with this?
Is the beard contest happening this week and.
JASON SCOTT: That's how we found out the Cannon Ball Run wasn't
happening and we would get surprised there were other things happening
and this was our secret weapon.
One of the secret weapons is, why is the work?
Here it is, screaming work, months of screaming work trying to track
down who is this, so we had the "Bible" that DEF CON doesn't have
as to what DEF CON is.
As a reference document.
The encyclopedia of DEF CON.
RACHEL LOVINGER: That got us as prepared as we can about the event.
The next question we tried to tackle is how are we going to film everyone,
film an audience of people that doesn't necessarily want
to be filmed or hasn't traditionally wanted to be filmed.
We went through a number of ideas.
We had an idea to give out paper masks JASON SCOTT: We
were going to give out we proposed things one
of them was maybe a paper mask with at the point anonymous
or another one that people could hold up when the cameras went by and
the response was "no fucking way are you going
to give 15,000 people masks!"
RACHEL LOVINGER: So instead we decided to make ourselves identifiable
and anyone would be able to see us coming and could get
out of the way or indicate they were not interested.
So our first idea was we would get orange jump suits and we realized that.
JASON SCOTT: We would have only three crew members at the end
in 104 degree weather.
RACHEL LOVINGER: So we went instead with these mesh orange vests
Jason will show off here!
They have lots of nice pockets in them for carrying things
and we spray painted the logo and the word "documentary"
on them so there would be no question who we were.
The side benefit of this was we were really easy
to spot by each other so if we were, like, we're looking
for a crew member we could always find them.
You'll see them throughout the film, actually.
JASON SCOTT: To this day I will see people
in these and go "I wonder what they're filming?"
RACHEL LOVINGER: Then we entered the preproduction stage.
So I wanted to call out to Russ Rogers, he was our primary liaison,
so Russ and Dartangen were executive producers but Russ was our day
to day contact, if we had questions, beforehand, while we were here,
he was our guy.
JASON SCOTT: Russ and I talked when all was said
and Don I think Russ and I talked for roughly
between 100 and 200 hours over the past 18 months, just over time.
He was "there!"
Every time to give me heads up, tell me something is going o
to get back to me on every aspect.
You know, this isn't something where it says "executive producer"
and that means they wrote the check, literally this guy was working
on it equally as hard as me, especially some months, especially
as we started to move toward where is this thing going to end
up and how are we going to publish it, he was right there.
He's not here right now, I don't think, but believe me, he was as critical
as any other component, this guy.
RACHEL LOVINGER: So then we had our crew.
So we want to introduce you to them.
These are the six guys and then Jason
and myself.
These are the photos that we sent to the Goons, the security Goons, so
in addition to having our vests they wanted to make sure
they knew what our crew looked like so nobody could intern nature us.
JASON SCOTT: So there wouldn't be a documentary crew within six house
of a documentary crew running around roughshod.
RACHEL LOVINGER: I don't think anybody impersonated us.
JASON SCOTT: I don't think so.
Somebody with an orange shirt was a dick
and somebody was like, the documentary crew
is harassing me and it was like, no, they don't have the time
to harass anybody!
And I mentioned this to one of the Goons and they said "welcome
to our world and everyone who as a red shirt!"
RACHEL LOVINGER: So I looked back on it,
we gave them shockingly little preparation for what they were going
to experience at DEF CON, especially considering most
of them had never been to DEF CON and now we were asking
them to cover everything about it.
One thing we did ask them was to watch Morgan Sperlock's Comic Con
documentary came out and we knew this was
a good example of what it's like to try to capture on film an event
with massive amounts of people and tons of things going
on at once so we said "watch that and you will have a sense
of what you're in for," and aside from that we wanted them
to be comfortable and safe.
JASON SCOTT: Yeah.
And I do say, I admit Morgan I met Morgan
at a conference and we recognized each other and he was
at a presentation of Comic Con episode 4
and we went there and watched it and said "somebody did something
I want to do" and we watched it and I went and asked them a lot
of way too technical questions personally when
they were just chatting, not Q and A, and I have a question,
it was "please teach me how to film" but I did get hints from him
and what they were shooting for and they did open my mind.
They came up with ideas that they never had work, and I wanted
to mention one, because it's kind of brilliant.
RACHEL LOVINGER: Oh, yeah.
JASON SCOTT: They do a story arc, more than what I would do,
"I'm going to be at Comic Con and here is my story" and
they sent crews to those people, 8 or 9 of them and they ended
up with this story.
What they wanted to do, Comic Con is a massive RACHEL LOVINGER:
It's three football fields long.
JASON SCOTT: He wanted a Super Bowl cam and you would follow
someone's story and they would walk out on the floor
and a camera would pile back and zoom down Comic Con's floor
as a transition and when he got there they were like "no!
There is no line of sight anywhere in the Comic Con floor that does that" .
RACHEL LOVINGER: He could have done that with drones.
JASON SCOTT: That's the next thing they want
is helicopter drones, flying over people
with massive banners so it looks like Star Wars, episode 4 trench scene.
RACHEL LOVINGER: Nice.
JASON SCOTT: But he was thinking out of the box, too,
and it was inspiring so thanks, Morgan.
RACHEL LOVINGER: We had one ringer, a person on our crew,
Eddie Cudall, he is a professional as well and he has done a lot
of work with Boing Boing TV and Maker Bot TV and he's filmed south
by southwest and he's used to being dropped into situations
and being able to handle it.
JASON SCOTT: We wanted a clutch in case it got hot.
Because there were unknowns, we want to send a guy
in who has filmed these things and who is going to hold
the camera steady so if we really need footage
and we're scared and everyone is falling apart, we know Eddie
will barrel through.
So that was just us, taking a little precaution for the good
and I insisted he be paid at close to his regular rate and treated
like this was a professional not "hey, buddy, come in and do hard work
for free" .
RACHEL LOVINGER: I think we made him sleep on the floor, though.
JASON SCOTT: We did.
AUDIENCE MEMBER: (Away from mic.) JASON SCOTT: A
little tired.
Eddie is here!
RACHEL LOVINGER: Why don't you tell them about the equipment.
JASON SCOTT: Where are you going to go when you're putting this
thing together?
A lot of people when they see a movie there is a certain range
of people whose response is "tell me every last piece
of equipment you use to make this film
because that's what we all like to do.
I know a number of film makers who also make geek
documentaries and after I got my kick starter money I sat
down with them, Paul Of Two player Productions,
they have done Moshang, the story of MindCraft, they have done
the 8 bit movie about chip tune artists
and I have become good friends with James Swirsky and Lisanne Pajot,
the creators of" Indie Game: The Movie "and I did a call with them,
your cam remarks what is it?
Your sound, what was it how did you get this shot?
What lens did you buy?
And shopping list, shopping list, shopping list, shopping list
and I bought everything they had.
So I had good stuff like the cannons and good lenses
and everything else.
Just to explain what we're going about here.
So the problem was that the best camera to shoot
with is the Cannon 5D, Mark 2.
I don't mean in life, I don't play that fuckin' game,
but it's the camera I found would produce
really good footage under certain circumstances.
But the body is $4000 and the lenses are thousands,
and I had one, because I got them for my movie,
but I knew we were going to have three crews and I can't give
away three Cannon 5Ds, and we settled on a Vixia, which I
will show you in a moment.
Rachel had a Cannon 5D, I had a Cannon 5D,
and we had three Vixias, and then we also this was one
of our ideas, was let's get little Play Sports,
and what you see there in the center there is an orange one
and two black ones, let's get Play Sports and give them
to people at the Con and get footage
and see what comes of that with the hope that we would get
something utterly disgusting, something horrifying,
where this would be a moment where you were like,
is it more of a crime that it can be seen and not just vaguely remembered
and drank away?
(Laughter.) Is it terrible?
And we figured they would come back and
they would have been destroyed or someone would never come back
with them or whatever but we got 11 of them just in case and
they were cheap, we got them on special, they were under $100,
water proof, shoot in high def, they can take shock and dust they're
tough little bastards, so that was our secret sauce wild card
as opposed to the documentary crew runs in.
Obviously we would respect people and we wanted shots that were
evocative, but we didn't want to loose crew if somebody went
on a road trip RACHEL LOVINGER: And this let us be places we weren't
going to be, we gave them to some Goons and some people that
were competing in the scavenger hunt
and other contests where we couldn't be with them all the time and
to some old timers.
JASON SCOTT: So we ended up with a bunch of these cameras
and other pieces and all digital, no analog, no videotape in here
and we have zoom H4N recorders, which are my favorite,
they're little guys, tough as well and you can do recording with them
in all circumstances and they go right to MP3.
Let's look at the next one.
Here is the set up that we ended up going for or a variation of it.
What this is me at another convention, a comic book grouping
in New York City to test this.
I ran around with it filming and we have
a mono pod that film high definition and here I have
an extended microphone and I'm storing the item in my pocket.
We ended up getting ready of and slimming down and getting rid
of the external microphone and using the internal microphone
and having our guys put the microphone right here and try not
to get in the shot and that actually worked out very well.
So what you see there is a set up that is infinitely portable, it is really fast,
to set up, can get anywhere, takes really good shots,
and can deal with the action in just a really, really intense way.
So it turned out to be a nice combination.
We had three of these going at any given time.
Is there another one?
RACHEL LOVINGER: No.
JASON SCOTT: Okay.
So with that we kind of said, okay, well or I should say Rachel said,
we should have a presence online, let's get people excited,
isn't that what you do with a campaign, let's say here is what's going on,
Facebook group, a Twitter stream, let's let people know what's going
on and build a presence for the DEF CON documentary
in anticipation and there is an interesting thing
about that which is that nobody gives a sit
about DEF CON until like a month before.
(Chuckles.) A few insiders do but on the general nobody
is like" better check the Twitter stream "they don't start
getting excited until right before and we had conflict internally
about this because she was like, we should treat this well and I'm like"
but nobody is giving a shit and we're not getting responses
and I would rather focus on this "so we had conflict and
for anybody who is doing anything like this again, DEF CON
is something that people put a lot of energy in but they put energy either
on their projects or they put energy toward learning
about it in anticipation, like a few weeks
before to get more info so it's better to back load your stuff
and have it ready to go and start dropping hints a week
or two or three before.
Work on it, do your projects but they don't really start paying
attention to day by day, reloading until just before.
That was a hard lesson.
We wasted a little bit of energy on that.
RACHEL LOVINGER: All right, then we get to production.
JASON SCOTT: I think I do production, too.
RACHEL LOVINGER: Hear you go.
JASON SCOTT: How do you capture the spirit of DEF CON past and present,
says the slide!
(Chuckles.) My concern was that.
Like I said, first of all, no G4 crap!
Second of all I wasn't overly interested in doing what I was going
to call" Sparky goes to DEF CON story "where I find a kid,
he goes to DEF CON for the first time I go
to his house I fine out his mom and dad are still married and
he likes computers and he's going to DEF CON and
he will be found dead with the bubbles floating on top
the next day.
(Chuckles.) I wasn't interested in that narrative, it's valid to do
a story that way but I didn't think I wanted to do that.
I wasn't comfortable with that.
What I wanted to do was have authoritative voices
in a mosaic discussing what DEF CON means to them and
the best we can illustrate that in the material over the course
of the next over the course of the movie.
There was another mystery factor and I know the joke which was" what
if DEF CON gets cancelled?
"And it could be there are ways to be cancelled
without being cancelled, right?
Hotel gets smoke bombed, there is a problem,
because of something there is nobody able to attend the talked
in the same way, they run into a security issue,
anything there might not be a DEF CON to film!
That would be an interesting story right?
DEF CON cancelled and just credits, organ music, fades,
it's 17 minute movie, da da da da da da!
I was worried.
So I front loaded with as many interviews
as I could handle especially with staff that I thought would be balls
to the wall so what you're seeing is a set
up at Hope and hope really appreciated that I was filming
a DEF CON documentary there.
I was able to do one thing, we were able to fly
in Dead Addict because he lives in Toronto but I didn't want to go
to Toronto to film him so I brought him to New York so for of first time one
of 4 people who has been to DEF CON every time got to be
to Hope and we're filming in a hotel room I got
for him so it was reuse and I filmed with Dual Core at hope and others
and this is my set up.
You can see my Cannon, I use a boom mic and halogen lights
and flood the room with light and bounce it off.
This is a shitty hotel room; let's be clear.
The hotel in Pennsylvania is one of the worst pieces of property
in an urban area outside much a fire bombing or World War II
but I was able to get mileage out of moving it RACHEL
LOVINGER: If you've sheen" The Shining "it feels like that.
JASON SCOTT:" Shining plus ass rape!
"
So here is me filming Jeff, I'm aiming it at his desk, this
is only one of two locations we could use,
the other was truly unusable, this had an echo,
but I filmed him randomly.
I went to Seattle, I went to Los Angeles, I went to Colorado, Denver area,
and I went to a couple of houses in California and a couple of houses
on the east coast and Washington, D.C.
basically did about 50 interviews with people that made it
into the movie in some cases, some cases didn't get into the movie.
Hacker spaces like Black Lodge in Seattle, they opened
up their spaces to me and one by one I would interview them
and try my best to make them all interesting locations and
by the time I was done, before minute one
of DEF CON started I had roughly, I want to say, between 30
and forty hours of DEF CON footage.
About DEF CON and senior staff explaining why DEF CON meant things
to them, what it was about and everything.
So I knew I wouldn't have to track those people down.
There were people who used to be part
of DEF CON and are never going back again or will rarely go back
like Deaf Vegetable and Swamp Rat, so it took me 60 days to fly
around and do these interviews so I knew I was preloaded so if it
all blue up I could then say" ironically it never happened!
"But the thing is the first BBS documentary has
a lot of talking heads and they're weaved well
and I worked hard on it and the same thing with GIT Lamp and
a lot of illustrations of games.
I knew I wanted it to be kinetic, that there was motion, DEF CON
is a thing of motion and activity and throngs
and people moving around.
So I resolved that even though I had 30 or forty hours of people sitting
and telling you" DEF CON is awesome, I couldn't see by Saturday, it
is fantastic "I wanted that you would see somebody blind drunk
on Saturday or see that people were working hard or soldering
and that was on my list to make sure it would have that feeling.
Yep.
RACHEL LOVINGER: That was all in the lead up time to DEF CON
and finally last July we assembled our crew at DEF CON, there we are.
JASON SCOTT: I love that shot.
RACHEL LOVINGER: With fearless leader.
JASON SCOTT: Yep and the Lost Boys and we are an Army.
I love this shot so it's everywhere because it captures it.
Oh yeah, what's up with the fuckin' segue, Jason!
I've been known for having a segue in previous years because I like segues,
and I discovered or realized that we were going
to have situations where we would be over here
in track 3 and something would happen in Penn and Teller and I would have
to go there so I'm like, I'm going to get a Segue
because we didn't know if we were going to get radios
or communication so the Segue became the"
catchall "solution!
RACHEL LOVINGER: Okay.
So we got here, we checked our equipment,
had a couple of hotel rooms, one of them became our HQ,
production HQ and we made sure everything was there, it was all working.
Before the conference started we took our crew around, we did a walk
through of the space to show them where everything was
going to be and we had them take the equipment with them and kind
of test it out and get comfortable with it and be able
to ask some questions and stuff like that.
So we did a walk through of this area, I think that was helpful.
We did a boot camp, but mostly it was just, again,
to make sure they were going to be safe and comfortable
and bring the footage back to us each day and that sort of thing.
The conference lent us a bunch of things, walkie talkies which ended
up being you don't want to keep them
on while you're filming because you don't want someone
like JASON SCOTT: Do we know where room 4 is?
RACHEL LOVINGER: That can screw up the footage, so these ended
up being of limited use.
JASON SCOTT: I seem to have a vague memory
of us doing something enjoyable with those radios.
RACHEL LOVINGER: We used them to" prank "each other.
JASON SCOTT: And we would fuck with each other," does anyone need
to know where Kyle is?
Kyle here, you don't need to find me ".
RACHEL LOVINGER: And the hotel rooms.
JASON SCOTT: The hotel rooms came from DEF CON themselves
and that was not in the budget.
We had a couple I think we had three to put our staff in and have this thing.
RACHEL LOVINGER: So we bought supplies, got a lot
of water and caffeine and food and Post it Notes and this
is how I learned if you go to two different drug stories
in Las Vegas and spend $100 in each one sometimes your bank turns
off your credit card for no reason!
(Laughter.) That was awkward!
We had our production meeting in HQ every day,
our room and we had our list of things that were going
on and we had assembled our crew into two three pairs
of two people so we would have one person and we actually figured this
out during the boot camp, who liked doing using the camera,
who liked doing audio, we figured out who was a morning person,
who was a night person and we paired them up, like we paired
up morning people together and we had three groups
of one camera man and one audio recorder
and we JASON SCOTT: Colors!
RACHEL LOVINGER: We Nick named them team red, green, blue,
and when we knew what things needed to be filmed each day we would say"
is this something you're going to be interested in?
"So we would go through the things, here is what's happening tomorrow who
want to film this?
And we would makeup a shot list for each day, so they would know
at 10:00 this is happening and what's happening and then we had
a bunch of things that were like, at some point go
by the hardware hacking village so there were things that were happening
and things that were happening all day but they had their list
and we had the master list on the wall which we had every event
that was going on up there and by the end
of the day we would check off the ones that we had gotten
coverage of and if we had ones that hadn't gotten
covered but they were continuing the next day we would move those
over to the next day.
JASON SCOTT: We had team red, we renamed them" team breaking
balds, "because it was two bald guys and we paired
up our least experienced member with our most experienced member so
it was Alex who had not been to Vegas or been to DEF CON
or Donnie shooting up with Eddie who had all of that
with the judged idea that it would be a reasonably talented person
and (Chuckles.) Like everything else, Eddie worked
with Alex and it went pretty well and the other teams worked well,
team breaking bald turned out to be a real gift
because these guys were getting up at 8 and they were going to bed
at 2 or 3 over and over and Steve on that team,
the camera guy would film endless establishing shots of everything.
So if you picked up the groceries, he would film the bag, you grabbing
the groceries, you holding the groceries, the groceries,
the groceries in the fridge, the fridge, the house the fridge is in, the sun,
and the town and the factory that the fridge was manufactured
in (Chuckles.) And that was a gift to me down the line
because I would have someone talk in the editing room and I would be like,
do I have a shot of course I have a shot of that,
because there were shots of rooms, people, each team took
on a character of what they wanted to do and organically that part
of organic but thanks to Rachel's planning there was
a lot that was not organic.
I'm a real improvisor, and I don't come in with a lot
of questions as opposed to, it was like, what is everyone doing, it was
like we knew, and you should go out and come back!
So people see this movie I'm factorially pulling this
out but when people see this stuff it's because she did this matrixes
of all these items of stuff so we were always aware
of what we needed, and that's the real secret hard work that's not
obvious on the screen.
It's not just, oh, they filmed until they made a movie,
that's what was really there.
So unfortunately there is no secret" get movie quick scheme!
" RACHEL LOVINGER: So another part of our HQ,
this was our information hub and every time the guys dropped
off their memory cards we copied them on to multiple hard drives
to make sure we had many copies of it and nothing would get lost.
JASON SCOTT: We had three hard drives every piece of footage went
on three hard drives and then when we got it home we put them
in six hard drives in three locations.
To verify that we would never lose the footage due
to a hard drive going south.
Just to understand how much space these things have, the cameras,
the Vixia's had two, 32 gig cards in them and
they could record 25 hours of high def video and
the audio could do 36 hours of full audio before being swamped
out so even though we did that every day we didn't have situations where
people were like" I'm out of film "so that part was
the overengineered but it turned out to be really good.
RACHEL LOVINGER: Then we started filming.
JASON SCOTT: You know, the gang was set
out on this really strange journey, right?
These guys were put into this thing, for them they had never been
to Vegas before or to DEF CON before and it is strange
to experience DEF CON in" God mode "where you have carte blanche
to walk into anything.
Especially for others.
Imagine you're walking into a room and people are talking and well,
I think I will go on stage and this needs me
and I'm going to film the back of their head because I feel like it
and that guy he's interesting, he's leaving I'll follow him
like a until he goes into the hallway and this thing?
The Goon security center let's talk to them, what the hell?
So that was like a massive emotional thing
for me but for the others it was like, okay, I guess I'm going to film this part!
They were able to film inside and outside, here
is an example of unused footage we filmed Scotland
at the toxic BBQ but you could see how the set
up might be, they're listen to go what's going on and talking
to Scotland about the toxic BBQ and these set ups were
where everywhere.
I started filming from the Segue.
What this does was afforded me" crane "shots to give me
the kinetic energy that I wanted in the shot and the film
is loaded with these.
These are post process the stabilized crane shots, shot
all over and I'm wearing a hat because I tried
to make myself more obvious, like I see a weird orange vest
and a cowboy hat, oh, it's the weird camera guy and looking back
I should have had a steady camera thing
but I didn't do that.
I would be driving along and go like this, go around people
and keep going and that Segue give me enormous ability.
There is a scene where it goes around a speaker party on the roof
in the movie and you see me zooming through people like I'm
on weird rails like right by people's heads and I only ran
over one person the whole Con!
(Laughter.) Which was really amazing, I was surprised it was only once
and it was his fault because he had I was sitting
on the front row with his feet way, way, way out and it was dark and I flew
over and he yelled and I gave him a red card and kept going!
(Laughter.)" Don't touch my Segue!
"Beside accident a transport mechanism it turned
out to be a good flinching mechanism so it added
to the film.
I guess I will mention here I believe in tone poems where you look
at pieces of work and say, why do I feel this when I look at it?
How do I create this?
How do I get that feel?
And for me, believe it or not, a lot of the tone poem for the movie
for me comes from action scenes in Sherlock Holmes 2," Game
of Shadows "and if you watch the fight scene at the end, a lot
of the kinetic sense of that movie I wanted this to have.
So I use that had as a template, a" rough "feeling
of what would it feel like to go through DEF CON so
the Segue helped a lot.
Anyway, so the crew went everywhere!
They weren't afraid to go everywhere!
In a lot of different shots you will see them, because one crew
will catch another by mistake because they're moving
around so much so you can see here all these different cases where they're
filming and this is in many cases our these are screen
shots from other team members catching
other team members on the way.
I watched great movement, and I make a joke about Kyle
because in the beginning Kyle would say" would it be possible
to film you and I would like to talk to you "and by Saturday
he was like" Yo, sup?
"And he's like, yeah, I'm working on this thing and they were
an unstoppable force, like a news program on steroids,
slamming through this place to get info and sometimes miracles
of stepping in and getting a perfect shot of this event happening,
perfectly framed, beautiful!
RACHEL LOVINGER: And Jason mentioned we had some team that was
the morning and some were in the evening
but really everybody was shooting like we were working from 8:00
in the morning until sometimes 2 in the morning and then we would go
back to the room and have our, you know, debrief and production
and planning for the next day so I think we got
roughly, like, three or four hours of sleep a night.
JASON SCOTT: Right and one of the things I mean,
I was very strong about treating the crew with much respect
as possible so, again, we paid for the flights
in so nobody was putting any money in and I insisted that we go
on a nice dinner the night before DEF CON started on we went
to the Italian place to talk more but to let them have whatever
they wanted on the menu because I knew they were going
to get terrible he sleep and terrible teeth,
and I wanted them to have a memory of oh yeah, Vegas was kinda fun once!
While they're stuck on the ground trying
to get this one shot of somebody talking.
I was happy once, I will be happy again!
(Laughter.) So, you know, because, again, this is the first time I have people
working for me in this capacity and I can do whatever I want to myself,
you know, I used to do I had film things where I would go
1,000 miles in four days and that's fine, it's one guy getting punched
in the face from that but I am punching people
in the face doing this and I wanted them to happen I respected them
as people and they're not" for hire "machines that I can run
into the ground and drop into the recycle bin when I'm done.
RACHEL LOVINGER: They worked really hard.
JASON SCOTT: Really hard.
This is my lovely Alex falling asleep during an interview.
It's adorable because if you listen to the footage they're like," do we
wake him?
No, just keep talkin'!
"(Laughter.) This was Alex' first time in Las Vegas and Alex is 18 so
he would finish a day at 2 in the morning and go back out again!
So that's what you do when you're 18, 'cuz, why not?
So it wreked him a few times but he got he definitely has work
to show for it, beautiful work, it was rough on him, so this is one
of my favorites of him.
You just want to hug him!
So we had a lot of really impressive response
in places that we were going.
It say from the DEF CON kids sequence and the crew would always make sure
to get some really nicely framed interviews and do interviews
like I had done to see them and fit them
in and record them under circumstances) seamlessly fit
them in and it wasn't just people talking here is a key
to a door and sit them done and approach them straight up,
why are you here?
What does DEF CON mean to you?
What's a funny story?
Here these kids are explaining what work they're doing
on the damage so there is a lot of stories that are not just mine.
I would estimate 70 to 100 interviews that came back
from the footage.
Of course, we really liked shooting outside.
I didn't think it needed to be and, you know, this was funny
because this is one where Kyle got lost, I believe, right?
RACHEL LOVINGER: No.
It was JASON SCOTT: Was it the other one?
RACHEL LOVINGER: He didn't get lost going there,
they arrived back here and he was trying to find the parking lot
and going around Vegas was the problem.
JASON SCOTT: He took the wrong turn and showed
up an hour and a half later.
With the haunted face of a Vietnam Vet!
And I was prepared to let him have the rest of the day off.
I was like, if he comes back, let him rest and we'll work
with what we have.
RACHEL LOVINGER: Then he turned around and went with us
to the toxic BBQ JASON SCOTT: Boom, grabbed it, went right out,
after the initial haunting and pro, just took it!
So we got wonderful shots Rachel and I wanted
to capture these events that were on the peripheral of DEF CON
and not just make it about, this beige room has these people
and manufacture us never go to the BBQ or other events and this
is what it looks like.
This is why the movie starts with them
because otherwise you would never know that this was happening.
This is interesting because what you're seeing here
is you're seeing General Alexander and Jeff walking
but what you're seeing is Steve fish
a new camera man learning how to do the" walk and talk "and
the West Wing Adam Sorkin shot where he started walking backwards while
these two guys talked about DEF CON and I had no use
for this in the main movie but I made it the beginning
of the preview because in it Jeff General says" what's
up with the guys?
"Do you have news crews and he says" no this is our people "and
he begins to explain to the General, who would be number one
of who would not give a shit about this the nature
of the documentary and what the planning was and why they're
doing that.
So I made it the introduction of the preview so he was like" so,
General Alexander, here is why we made the documentary
and it's going to be an explanation "and it was crazy
and the whole time Steve is walking backwards, filming people.
It's a Stanley Kubrick one take master piece of not getting hit with anything!
So it's crazy.
RACHEL LOVINGER: I would say it helped that General Alexander's people
were screaming" clear the hall!
" JASON SCOTT: That was working out well.
RACHEL LOVINGER: Which he weren't doing that for us.
JASON SCOTT: They should have been!
(Laughter.) When you see the interviews that are done
with the DEF CON logo behind them, what would happen is this
is our hotel headquarters again, I moved the couch, stole a banner,
hung it up behind it with light gear and a microphone stand and
a chair and then swung it behind them and these are
the more" pro "here is a thing behind me and I'm talking
about this so that's why it's here.
I conducted most of these on the Monday afterwards.
These were people like Win and Dan Comin sky,
who had been there and I hadn't had a chance
to be there and Dan moved a night to be able to be interview so
in the movie you will see these with the DEF CON logo, this
is the set up that I would use.
I would be interviewing a person on their no notes, no anything
and then interviewing the person through a whole bunch
of questions so a bunch of people sat this way and this
is how we were able to get a few more" pro "interviews
without too much trouble.
I filmed over in one of the rooms here and if you listen
on the sound track you can hear DEF CON floating in the background.
This is just the sound, thrushing sound
of people and things and I had to do enormous amounts
of sound editing, which I'll talk about afterwards but this is the set
up on the side RACHEL LOVINGER: And Jason would say" where is Jason,
I have Miss Kitty "she is ready to be interviewed right now
and we would have to find you.
JASON SCOTT: And I would walk up to people and say" hey, want
to be interviewed?
"And I would drag them off and it was random through that,
that was how I was spending my day.
Again, people were pulling out Play Sports that we had given them
in all sorts of different locations so we were getting little tiny bonus
with the exception of the scav hunt, produced about 20 hours of it,
we had most people produce about 3 or 7 minutes, because they are
in friggin 'DEF CON, they won't want to film it and they're fuckin'
with things and then being done with it
but there were people using these and they were very usable.
So it turned out to be a good gage for what it was.
There were a couple of times that we would film people
and then they would sober up and find us and be like" you can't
put that in there!
"The most common thing was people would idolly say" and I'm
in a documentary "and their boss's would say" and you're not!
"Sometimes they were government employees,
sometimes they got the fear of God in them and thought
they said something intimidating and we would bodily delete
the files because to be honest, like, 99.9% of the people had no problem
with us filming, right?
So you can't be like, well how dare you, we filmed it, it's ours now.
I wanted to respect these people, I didn't want anyone
to regret income our film offer at least minimize it and one way
to do that was to respect people who were like,
no I don't want to be in this or I'm not comfortable
with it RACHEL LOVINGER: And it only happened a few times.
JASON SCOTT: Just a few times.
I had a custom people who sat down and were interviewed
and said can you not puppet in any part where I discussed this
subject and I said okay, fine.
I don't like playing that game of you said this was okay
and now we own the footage and we're going to use it.
You're making the wrong movie, you are making movies wrong, as far
as I'm concerned in general if you're doing that, if you have
to be that, you know don't act like you're exposing some underground
or orchid ring or that you're Morley Safer
and you just caught people" out "that's not how I operate.
Minimally happened.
Don't do this.
I thought I was interviewing drunk people and they're funny!
And I said and they were going to give me the post more item
of how they won or lost Hacker Jeopardy.
They're super sized drunk, right?
And so I said, it would be funnier to do it in the bathroom!
It got weird.
(Laughter.) So what happened here is that basically and there is footage
of this right because it's on.
And I go" all right let's go into the bathroom and let's do this "so
we go in and there is the casino host who had been using
the bathroom, who came out and said" No!
"
Um, this didn't make it into the movie, but I will always remember it's not
the guy with the white pants but the one next to him,
he's obscured here, the camera comes around,
they're lined up to present and the guy looks over and goes" oh,
what the fuck?
"Like, just that exasperation, God damn, a camera crew,
I am pistoling!
Pissin'!
Anyway, don't go into the bathroom.
The only reason we weren't allowed to film we unwittingly wondered
up one of the crews wondered up behind Goons who were talking,
never approach a Goon from the back!
(Laughter.) And the Goons turned
around and said" whoa, whoa, whoa, you can't film us "" no, no,
no "so we made sure not to film them from a distance and not
to record them because if they're making decisions
and discuss it go and even at the screening last night there was
a Goon incident but you didn't hear it right?
Somebody decided well he was drunk all right, fine,
that's base level, but he decided he didn't need to go all the way
to the bathroom (Chuckles.) So he just pissed himself, pissed
the area and fell off his chair asleep.
(Laughter.) Thanks for the free beer, Jeff, and a Goon had to get
up during the movie while the Goons are talking
about how hard their job is and roll this drunk and get him
out of there.
You don't hear about that.
So the Goons are always working on this and they are working
on stuff that you don't see and they asked that we not have their
internal discussions, otherwise it was free and clear.
Best quote of the whole thing was we had
this happen!
I'm not going to tell you how they were but, yeah,
so we said okay we won't shoot this!
The best moment for me will always be, where I was shooting here,
shooting behind Render Man and Render Man uses this slide which
is the Comin sky problem, and I never see his talks, he wants
to see my talks, he doesn't get to see me and that
is the time I realized he was on stage somewhere and I consider
Render Man a good speaker and so is Dan Cominsky and I was not aware
of where Cominsky's talk was being held and this is a" dream "sequence
as I'm standing behind somebody at his presentation,
he mentioned something I'm like" I must be there now "and I run
off the stage on to my Segue, my winged beast and fly
through DEF CON at 20 miles an hour as fast
as it goes and I pass Eddie and I'm like, Eddie, go to Penn and Teller
and film Comin sky, and I'm like" Drew, see if you can film Comin sky
in Penn and Teller and I zoom in, there are 100 people and 20 minutes
into his own talk waiting to maybe get into his speech.
That's how for some places their job requirement
is the you must see Cominsky's speech live I zoom past them
like it's nothing "see ya bitches!"
I zoom into the room, rundown the center aisle, and jump on stage
and get behind Comin sky and start filming him
and nobody shot me!
I could just do this!
Truly God mode I just wall hacked DEF CON!
(Laughter.) And I ended up behind him and there
is a funny tweet from somebody going "what
the fuck subpoena with the cowboy?"
Like somebody is watch this gone from their room and they saw
the shot and here like "What's up with the cowboy" and then later
"Jason Scott" otherwise this would never had happened and we ended
up putting them together in the movie
because we had that reactiveness and Eddie came
in and started filming and I zoomed back and forth
to get both and get the goodbyes and the footage and everything else.
It was purely, purely luck that he even mentioned Comin sky at all,
weird moment.
Welcome!
JASON SCOTT: Thank you so much.
RACHEL LOVINGER: So the crew after we finished,
we debriefed and found that they had all been asked a lot
of the same questions over and over and over again
as they were doing this.
So some of the those questions were
straightforward, a lot of these things up here we have either already
answered or will answer by the time we get to the end
of this presentation and there were some that were out there.
The first one, people wanted to know when we wanted to film them,
if I agree to be in this am I going to end up feeling embarrassed
for being in this movie.
JASON SCOTT: Get rid of it.
RACHEL LOVINGER: The answer there is we did not set
out to intentionally embarrass anyone this is not a movie of look
at the weird hackers or that kind of thing.
We know that there is a lot of crazy shit that goes
on at DEF CON and we wanted to capture that
but everybody who was doing stuff like what you saw in this slide
they knew what we were getting themselves into.
We made sure of that.
People who were here last year that had these badges, people wanted
to know what our badge was because one of the parts
of the aspect of the badge challenge was you could
take the human badge and hold it up to another badge and
they would communicate with each other and they had
a aspect of the challenge to communicate
with all of the different kinds of badges so we had
a press badge which was a little bit rare, I guess, to find
and so people wanted to scan them.
At first we found it was disruptive, we couldn't get
down the hall once people started doing it and then we realized we could
interview the people so when they would come up and ask
to scan the badge and we would say, okay, you can scan it but talk
to us what you're doing here at DEF CON.
That worked out nicely.
This one was a little weird.
People asked us for help.
My only they would ask directions, the schedule, somebody came
up to me during one of the talks and said "guy popped his knee and
he needs a wheelchair and I was like, I am in no I'm filming a documentary,
I'm in no position to do that.
So we would point them toward the Goons or
toward other people that we thought could actually help them.
It was a little weird and the only reason I could think
of is because we had these original vests and sometimes
the orange vests and sometimes the walkie talkies and we looked
like authority figures but it seemed strange
at DEF CON walkie talkie, this guy is wearing silk pajamas,
for God's saying, not someone you should be putting
all your faith in.
Speaking of orange vests, not too much wanted to Rufie us
but JASON SCOTT: Everybody wanted to Rufie us!
(Laughter.) RACHEL LOVINGER: And as I mentioned
at the beginning these were custom made for our crew
but of course you can order orange vests anywhere but this was
a one time thing.
A lot of friendly people at DEF CON offered our crew drinks
at all times of the day.
Most of the time we were like, oh, we're working, thanks, no thank you,
maybe later.
Sometimes toward the end of the night we were known
to accept a beer or cocktail or in this case a swig
of homemade Absynth.
JASON SCOTT: Two words that need to go together!
(Laughter.) RACHEL LOVINGER: So we were lucky that nobody Rufied us.
JASON SCOTT: There is footage of Eddie which is" Jason I have no
choice "hand come out, beer leaves and goes behind camera!
I'm sorry, Jason!
RACHEL LOVINGER: It all worked out.
A lot of people suggested we should make this every year!
No comment.
But in the end we didn't break anything, we didn't lose any of our equipment,
we didn't lose any of our footage, we didn't get in too much trouble,
I think it was a success.
After we were done we took our crew out to relax in Vegas
for a day JASON SCOTT: We basically said we have no requirement
four for Monday and they were booked
through Tuesday they could have a day of their own,
they went go carting and we went to Pepper Mill and got to see Vegas.
For a couple of them this was their first time in Vegas, so the Encore,
the Pepper Mill, and so they could get their head
out of DEF CON, there is actually a Vegas here.
We're going to show footage until the end and until they kick us
out of the room.
Editing and finalizing.
At one point Rachel said how are you make the plot of this and I said" here
is how you do it "and this is literally what I drew and this was my
plan and she was like, not happy with the way I approach these things
is straight forward.
I watch the footage, put clips out, like" Render Man: I don't get nervous
before I speak "and that's what it's describing and another one" shot
walking from here to here "or it will be like" guy starts to get angry
but then realizes who we are.
Things like that.
So shots of things and I start to put them in a classification
and I build up sequences, where I'm like, here is a bunch
of people talking about there is lots of dripping I go at DEF CON
or speeches are hard to put together or I'm here to meet people
or these people are my family and I start assembling them
in great amounts perform then I start to put together like minded shots
over these sequences to illustrate things until finally this
is actually what the final piece look like.
Before I printed it.
So as you can see, there is well over 2 or 3,000 cuts
in the movie 3,000 cuts in the movie.
It was 278 hours of footage, I went
through that and produced 6,000 clips.
The 6,000 clips then got I probably used 1500 of them and then those 1500 had
something like 3,000 edits done to them.
In many cases I fix what people are saying, I take away um's and AH's,
I remove weird sounds, we have had position softwarewise so
I can remove clangs or phone rings or unintended air conditioning sounds.
I would do this at the end to remove the air conditioning sound you couldn't
hear what the person was saying over it and steadying the shots
and removing line noise or video noise so that they looked better
and I was pleased I got one sequence done and we were like, okay, there
is going to be a movie here and that was the speaker sequence
with Render Man and Comin sky, they were shot
with different footage and there was no question we have a movie here
and I was happy so that was months and months and months of work!
I put the final touch on the final thing for this thing
on June no, July 3rd.
So I was editing I took a month off and I would come back to it.
I estimate I have probably seen the full movie about 170 times.
I can sit here I do this with a lot of my movies and I sit in the back
and "mouth" everything everyone is saying and anticipate it and there
is a syndrome which I call "overfamiliarity syndrome" I
will shoot somebody dancing and live with it for months
and when I see the guy I will be like, "buddy!"
And he's like "who the fuck is this guy?"
And why is he asking why ear lovers and
the answer is because I'm been look at your face for over three months,
like some sort of creepy fans!
How do you get it in for Christmas, you don't!
No way.
It was a big stress and he was like "I made
a promise" so we compromised and made a 20 minute version
and considering that the movie was more footage than I had
ever dealt with before and the previous once were over a year
of editing, the fact that I was able to edit it in nine months is crazy
and enormous amount of work, well over 1,000 hours of editing
and fixing and refining and finding things and dealing with it.
There was surprisingly little editorial control executed upon me
by Jeff who had written the check and for paying me.
Jeff's check paid I took a flat fee up front that paid all my credit cards
off and paid off my car so I was debt free which
is the biggest gift in this world!
So I was debt free and that made a huge difference in my life so
for me the amount of work done was irrelevant
because my life was so much better.
So he didn't there was one part that mentioned a specific number
of how much something costs.
That said there could be contract problems to be publicizing that.
There was one sequence he asked to be taken down from 2:30
and I returned with a sequence that was 2:30,
so that didn't work and there was a couple of other shots where
they were like, does it have to be this shot?
And it was like, fine, for the fact that he completely paid
for it pretty much none, zero.
So that went really well.
It ended up being available here.
I had nothing to do with how they put it together and I'm amazed
at what they came up with.
You can download the movie for free, the tore rent is either up now or
will be today, and they have I wanted it on a USB stick.
Debates of it up to being on Blue Ray and I'm like, that's not
the way things happen now, it's USB, make it downloadable and
they created this crazy, deluxe lunch box hard drive thing
without telling me and it's amazing!
They thought they were I'll say this, they thought they were going
to sell 50 and they sold 50 the first day on preorder.
It was like, yeah, people love this friggin' thing so
it's hard!
This is them recording me asleep, Segue turned out to be a great idea,
throw one in the mix.
Alex will always get a shot.
See in the corner there!
Alex will always get in the shot!
RACHEL LOVINGER: To be fair Al electric was so excited to be here.
JASON SCOTT: He was excited to be here.
RACHEL LOVINGER: And he got excited JASON SCOTT: So
something would be going on and he would get right
in it and he's adorable but he's everywhere!
And, you know, we didn't look at this thing as something we had
to "finish" like we're going to be done with a movie,
I wanted something that changed people's perception of DEF CON
or changed their love of DEF CON to something stronger or encouraged
people to understand how magical this thing is and how it happens.
I gave a year of my life to get that story
out and that's what we tried to do and this is our crew getting their bows
during the closing ceremonies and then running back into places
to keep filming.
RACHEL LOVINGER: I think some of them were filming while we were
on stage.
JASON SCOTT: Yes, they were.
That is the main part of our talk.
Let's swap so we're going to sneak this until they kick us out.
Oh, wow!
RACHEL LOVINGER: It's fun!
JASON SCOTT: So I won't be able to do that, meats amazing!
Do it.
RACHEL LOVINGER: They're all in nope, not that!
JASON SCOTT: All right!
RACHEL LOVINGER: Here!
JASON SCOTT: This is exciting!
Do this!
You drive, I'll point.
(Laughter.) RACHEL LOVINGER: Which one did you want me
to start with?
JASON SCOTT: Let's do this.
RACHEL LOVINGER: It's Karaoke.
JASON SCOTT: Click on extra bits!
So let me show you an example of something that's wonderful
and beautiful and I didn't use it.
It would be top left first one.
It's been awesome, I've met through my
the people who I have been going before me met a lot of interesting,
awesome people.
I would go to dinner with somebody and find
out later it was somebody extremely important that I had no idea,
they just forgot to mention or something.
But sorry.
I'm getting a little excited.
Um JASON SCOTT: Yeah so there is somebody what he's saying
is I found a place where I belong and people and respect
and trust me and it's a beautiful moment!
I didn't put it in the end because I had
all these other beautiful moments, which beautiful moment is going
to get screwed without turning this movie into longer.
Let's skip that one, go to the third one.
This is the great stuff Anyway, so what happened was Mother
fuckers, mother fuckers JASON SCOTT: You know we would get those
helpful responses!
(Wow, that was fun to write!
) Bottom left, I would hear things like this?
(Away from mic.) Keeps on shooting.
So as soon as we're done with this interview, I need to go
to the restroom but I can wait until we're done.
I don't want to miss this.
Are you telling Jason Scott that you need to take a dump?
Pretty much.
Red dump!
(Chuckles.) JASON SCOTT: You have to listen
because you don't know what you're going to miss!
RACHEL LOVINGER: That was the red crew.
JASON SCOTT: Yeah so, um what's the oh, yeah, upper right.
Here is a case of me taking footage I didn't expect
and I decided to do something with it.
(Music Playing.) (Laughter.) A "special" moment.
Let's do the professional thing.
He says some of the most emotional things.
It's dead to me!
JASON SCOTT: He looked at his phone to see how
he was going to answer and we just destroy him!
We have the same phone!
Oh this part here I made the most friends when I was working
the scavenger hunt DEF CON is important to me Sorry,
I'm tweeting!
Sorry, I'm tweeting!
Are we tweeting that the DEF CON documentary crew
is making fun of you?
Come here for verbal abuse!
Scandinavian hunt charged my lig Penis.
Peanut I was going to tell you some things that you may
not realize.
Bring it out!
Great, are you ready?
Let's fuckin' do this!
I am so ready, I want you to think of this interview
as at scrotum that (Laughter.) I'm going to scratch it gently then.
All right.
Grab the left nut of this story and just tug gently, let's not get hurt!
Okay.
So, fuckin' balls!
Go ahead.
We're trying to be professionals here we're
fuckin' professionals!
Hi.
All right.
So JASON SCOTT: What's great about that is if you see
the movie that's what came just before it.
RACHEL LOVINGER: He came out with great stuff.
JASON SCOTT: Beautiful stuff.
There's a time lapse from Los Angeles to Las Vegas.
RACHEL LOVINGER: This is sunset.
JASON SCOTT: Do it.
Windows media player does not love you or care about you!
What happened here was that basically I ended up with this beautiful time lapse
and then I had this other one here where somebody sent me
a beautiful time lapse of the sundown at the Rio, it's flickering
because it made my shit flip out it was three gigs of jpeg's, and
after a while I was like, "this is going to be Friday night,
whatever" so it's absolutely beautiful footage that I never got to use, all right,
knock that one out.
This was the greatest thing that happened
in the entire world, third one up on the right.
Here is the deal not that one.
Pull this one up, boom!
(Music Playing.) Here is the deal, in the original footage they're shooting
and you can hear the team member go get this guy which
guy that guy and they turn and there is this guy!
I don't know this guy, I don't know him, we never knew who he was.
Bless this man!
So we're shooting party footage and this guy.
Now, I mean, this guy, he's a little bit 1, what's the word?
He's height, weight, nonratio bound.
He's dancing, and he's listening to this music.
And he is dancing and he doesn't stop.
And now most people who would be in this situation would go okay,
I got my shit done or calm down, leave, you can see the other people
in the back, the guy on the back left there, he's
like a wiry stick, and he's like, yeah, yeah, yeah, right?
And then this happened!
And he is back!
And if you look down at the crawler, we're nowhere near done,
this guy keeps on going!
So whenever we would have lagging energy on any of the teams,
it would be like 2 in the morning we would be
like "put your fucking hands up" and run back into the crowd
and doing nor filming and for the rest of the weekend,
"put your fucking hands up" RACHEL LOVINGER: That was our
rally cry.
JASON SCOTT: So two or three minutes of him dancing.
I don't know who this guy is, he is incredible and I know he's
probably at his desk right now looking at this thing in December go "oh, fuck!"
"Oh, no!"
All right.
Let's do under water because it has a great line from Rachel.
RACHEL LOVINGER: We mentioned that these cameras,
the "Play Sports were supposedly able to go under water
but we weren't positive."
Hi, I didn't change the mood!
" Scrotum real!
" In case this didn't work we're not telling Jason that happened, oh, sit,
I recorded that?
"(Laughter.) He will only know if it works!
Did you think it up here It's recording right now.
Go for it.
(Gurgles) it didn't turn off!
JASON SCOTT: So guess what they were pretty awesome.
We were able to put a few in there.
Did we fix the crash footage?
RACHEL LOVINGER: Yeah.
JASON SCOTT: This is a footage crash!
(Away from mic.) Creating a new race!
JASON SCOTT: I indicate this was a mating dance.
A young man nostalgic for himself The PP 11 crash!
JASON SCOTT: Hardware crash!
You know, we definitely found time to pop out.
Let's go into the bonus things.
These are bonus features this is all on the USB sticks so
all these pieces here.
RACHEL LOVINGER: The ones you just saw were not.
JASON SCOTT: Those are once that are not in the thing.
Let me see if they capture a lot of these are meant
to be varying states of informative and I have very long things on CDC
and hacking for charity, things that were important stories.
And then there is AUDIENCE MEMBER: (Away
from mic.) JASON SCOTT: Let's make him the last thing!
Down one.
To the right, there you go.
There is this.
This story saved for all time.
So we had went to the New York New York
to that terrible Asian restaurant, Chinese joint and I had Mongolian Beef
and we went back and threw the party in the room so I got
a little bit too drunk, shall we say?
And at the end of the night as everybody was, you know,
as the party rolled down I ended up in my bathroom in my bedroom
and I just lost all of it!
Just like it looked like somebody grabbed
a big old plate of Mongolian Beef and threw it around the bathroom
and it was all of and while it looked like it was normal,
of course it didn't smell that way!
So, you know, we wake up the next morning and I'm intending
to clean it up, but everyone was like, oh, let's go get breakfast and we'll clean
it up after and we're rolling back to the hotel room and this poor made,
the look on her face was awful!
She walks out of the room and she looks at us and
she said" somebody in there go blat, it's so bad I go blat "we made
the maid at DEF CON volume mitt, ink we handed her $60 or something
as a tip and that's the Mongolian Beef story in a nut shell.
(Away from mic.) Oh, yes.
And he's sitting naked many his bathroom and I'm like,
did you want some water?
Fuck you.
And I'm like no did you want No, the AC had frozen and
the smell was awful and I was sweating bullets naked laying in a pile
of vomit on my own floor.
Whew, yeah, a high moment!
(Laughter.) You were going to let me walk
out of here (Laughter.) Without that golden footage!
You were going to be like, I had a good time, I threw some parties!
DEF CON was good!
For some reason I stopped going, goodbye!
(Laughter.) Congratulation on 20 years Jeff I support you!
Very good!
That's not the only thing that happened
at DEF CON!
JASON SCOTT: What I love about that is you can hear there are
like 12 other people in the room because I'm going
through this whole crowd and they're all trying to stay as quiet
as possible while he tells this disgusting story and
they loose it as soon as I start talking.
Let's do the upper right one, top quality production,
blood pressure reel.
One of the things that I don't know Quality production.
I look forward to seeing this in the film.
That exact thing in the film?
But are there principals and Jesus, balls.
It's the quiet one.
It's the quiet one?
What?
It's the Metro link.
It's the quiet ones that kill people though!
Oh that's the Chicago train!
Have fun in Chicago Wednesday!
Not that I know anything about the train going by here!
Busted!
Why?
We're contemplating the perfect fucking shot.
Whatever, get back to work or we'll throw you out!
(Sleeping noise) JASON SCOTT: Not creepy at all.
Good shot of the room and us putting things
together and doing stuff and you know what this needs?
A close up.
(Laughter.) (Snoring.) It feels like (Laughter.) Ah, shit!
Blew out the transformer?
Everything is on batteries so it's still recording.
I have fuckin' light.
JASON SCOTT: I'm a nice guy but sometimes I'm not a nice guy,
you hear Russ giggling in the darkness.
I didn't want you to break your cord.
.
That is awesome, I have that completely on camera,
holy balls!
JASON SCOTT: I use" balls "a lot.
Okay porn Santa.
Epic.
What do you got there?
Random porn.
Yeah, porno!
JASON SCOTT: Never found out story there!
Ho, ho, ho, have some DEF CON porn, would you?
(Chuckles).
JASON SCOTT: That was happening at DEF CON.
(Crowd noise) (Away from mic.) (Away
from mic.) JASON SCOTT: Come on, dude, be a buddy, come on guys,
come on, I love that, people are like, fuck no, and the guy is like come on!
Take the porn!
I love this, he's going around, people are making faces.
(Laughter.) Funny story about porn Santa, here is the deal,
he was going along and he found in a room a bag
of porn so his solution was to go out in the vendor area and handout
all the porn he found.
Here is the problem, the porn was actually
a trick being done by the Ninjatel guys and there was
a Ninja badge in there and unwittingly
he gave away a Ninja badge so there were no
hard feelings.
We have hours of epic events like this.
Places and people.
Yep!
That's us.
Lots and lots and lots, hey, American, good to see you guys, there is Sky Dog,
so it's neat.
Isn't it nice to have this piece of DEF CON history saved forever
on hundreds of USB sticks around the world.
DEF CON, definitely we're kid friendly, we have DEF CON kids here.
I love how many people fuck no!
I don't need this.
You know, no.
Apparently we have evidence of who doesn't need porn, yeah, look
at this they're negotiating.
I don't think really?
You guys, dude, free porn there is no way to take it you jerk!
Just fuckin' take it!
God damn it, Santa clause has so many people
to deliver to this year!
Yeah, sure!
I got to hit my contest, I hope that was good for ya.
JASON SCOTT: The epic journey of porn Santa.
People are coming in.
I think it's respectful to clear the room for the next crowd.
So thanks so much.
If anyone has a burning, burning, question I'll answer it right now,
if there is one.
Anyone have a burning question?
AUDIENCE MEMBER: When it the screening?
JASON SCOTT: Tonight at 8:00 in Track 3, I believe, it's
the track that" Hacker Jeopardy "is not happening in, but it's
at 8 o'clock tonight, and we will screen
the movie and answer questions and play a little other bonus footage
if people are still up for it and have a good time.
Was it worth it?
Of course it was.
It was a wonderful time.
Rachel and I had a lot of fights over many things and a lot
of screaming about get this and that done, but at the end
the product speaks for itself and I think we have
a special piece of work and without Kyle and Drew
and Alex RACHEL LOVINGER: Can we get them to come up here?
JASON SCOTT: Come up and wave, you can do it.
You're smart people.
Stage get on the stage or we won't be able
to see you.
Here is our gang, lovely Alex.
So, yeah, here is our gang who were here
and Drew was here yesterday for the premiere but he had
to go back to Hawaii where he lives now and Rick
is busy in Florida.
Without these people, without Alex and Rick and Drew and Kyle
and everyone else we wouldn't have this movie, no way.
Thank you so much.
Did you want to say anything, Rachel?
RACHEL LOVINGER: No.
JASON SCOTT: Thank you so much for sitting through.