RJ Cooper — Osmosis, Oners, and Editing Three Movies at Once

James's longtime editing partner and secret weapon RJ Cooper finally sits down in front of a camera. A USC film school grad who started out designing posters for Batman Begins and Spider-Man, RJ has cut the bulk of James's directing filmography — Survive the Game, Hot Seat, Fortress, Darkness of Man, The Workout, Boris is Dead, and I Have Proof — and the two have developed a creative shorthand that borders on telepathy. This one gets into the real craft: how editors read footage, fight for the film alongside the director, and keep the heart of a movie alive when producers start circling.

Key topics & highlights:

• How RJ and James developed their editing language across seven-plus films — and why the first cut keeps getting closer to what James actually wanted
• The frame-blending trick born on The Workout and the Star Wars–style wipe transitions RJ snuck into Boris is Dead over James's objections (and won)
• Hot Seat's unique challenge: building fake computer screens for Kevin Dillon to react to and fighting for every stock helicopter shot
• Why The Workout's extreme multi-camera chaos (15 cameras, cell phones, angles James didn't know he had) ended up changing the way both of them shoot and cut forever
• Editing three feature films simultaneously — and how he keeps the worlds straight
• Reading a director's signature: James = performance + action + dark humor; Matt Eskandari = relationships; John Keyes = women against impossible odds
• Actors who gave him gold he had to leave on the cutting room floor: Antonio Banderas and Alice Eve
• RJ's most panic-inducing job: Hot Seat, with its blank monitor problem
• His first feature: Game of Assassins shot in China with Bai Ling
• Three Bruce Willis films with Matt Eskandari
• Pre-production involvement on Boris is Dead — hired before cameras rolled, suggesting shots and knowing the film needed heavy needle drops from day one
• Music as craft: temp tracks (Dark Knight, Interstellar, always Sicario), playing the edit like an instrument, and using his wife as a fresh-eyes test audience
• AI in post: Night Driver as a real-world test case, AI ADR via ElevenLabs, the color-space limitations of AI-generated visuals right now, and why storytelling with a point of view is the only real moat
• RJ's directorial ambitions: sci-fi (loves Denis Villeneuve), Westerns (already collecting sound effects just in case), and James's on-the-record promise to produce his first feature
• James's $7,000 first-film program and the indie model (No Stars, $200K budget, $4.5M at AMC with no P&A)
• UFOs, Tesla life, Gerald the Dolphin, and alien cinema (Blurp 3 is apparently the masterpiece)

Find RJ: rjcooperfilms.com | @rjcooperfilms on Instagram

James brings his big sister Samantha Sellars onto the podcast — curriculum manager by day, BookTok evangelist by night — and the result is an hour of family chaos: the graduation purse cigarette ambush, a toddler-James getting tricked by Toy Story walkie talkies, how Sam accidentally introduced her boyfriend to extreme M/M torture fiction, and whether 300 years of alien luxury living is worth getting eaten at the end.

Watch on Youtube: Click here to watch a video of this episode.

Creators & Guests

• BJ Hendricks - Host
• James Cullen Bressack - Host

Kelly Lynn Ryder - (actress/producer, Deadlock, Complex Texas, The Leader) sits down with James and BJ for a wide-ranging conversation about building a career entirely on her own terms — no reps, no fallback plan, no safety net, and apparently no Die Hard. Kelly and James have worked elbow-to-elbow producing Complex Texas and The Leader (a Heaven's Gate biopic that just got into Tribeca), and this episode is part industry masterclass, part warm roast of someone who sprinted to South Georgia at 5:36 p.m. for a last-minute Bruce Willis recast.

Key Topics

• From quantity to quality: why Kelly went from saying yes to 95% of jobs to producing her own projects — and how cultivating financing relationships became her leverage
• The Deadlock call: getting phoned by director Jared Cohon at 5:36 p.m. and driving to South Georgia overnight for a three-and-a-half-week lead role opposite Bruce Willis — while her mom read the script to her on Bluetooth
• Bruce Willis from Friends: Kelly's now-legendary confession that she knew Willis primarily as a recurring guest on Friends, not from Die Hard
• Slotherhouse: the killer-sloth Tubi movie where an American sorority house doubled for the Serbian royal palace
• The first Deadline mention: sitting at Grumpy Grizzly coffee shop in upstate New York with her grandmother when the notification hit — and sobbing into her cup
• Producing Complex Texas: first full producing credit alongside James, including James knocking himself out cold taking a baseball bat to the head (one take, one piece of sugar glass, one dented car)
• Kevin Dillon on set: powering through illness for every take, running lines with the full cast, staying for everyone's coverage — and Kelly not knowing who Johnny Drama was until halfway through filming
• The crab bucket theory: why success creates enemies and why you have to build your own table
• The Leader at Tribeca: the Heaven's Gate biopic Kelly co-financed and acts in, with Joel David Moore's Balcony Nine and director Michael Gallagher
• Wes Craven's advice: the people who make it aren't the most talented — they're the ones who don't quit
• James's knuckle tattoo: deliberately making himself unemployable in restaurants to remove every possible exit from filmmaking
• The go bag: always packed by the door since Deadlock, ready to drive to Georgia at any moment
• Advice for aspiring actors: outlast everyone, say yes to the rooms the universe opens, and remove every escape route