Latest / Frightmares / Ithaqua feat. Casey Walker (2026)

Transcript

Ithaqua feat. Casey Walker (2026) · Frightmares

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions Podcast Network.
• 0:07
  Speaker 2: Hello and welcome to Tumbleweeds and TV Cowboys. My name
• 0:10
  Speaker 2: is Hunter. In this podcast, I'll be joined by a
• 0:12
  Speaker 2: different guest each week to discuss a classic Western movie
• 0:15
  Speaker 2: or TV show. I've been a fan of classic Westerns
• 0:18
  Speaker 2: for as long as I can remember, and in recent years,
• 0:20
  Speaker 2: they've become very nostalgic for me. I love the aesthetic,
• 0:23
  Speaker 2: the tropes, and I love seeing different filmmakers' takes on them.
• 0:27
  Speaker 2: At their best, they're incredibly entertaining, rewatchable, and some of
• 0:30
  Speaker 2: my all-time favorite movies are westerns. We'll mostly focus on
• 0:33
  Speaker 2: western movies made in Hollywood, but we'll also be covering
• 0:36
  Speaker 2: spaghetti westerns, and one thing I'm very excited to get
• 0:38
  Speaker 2: into are western TV shows. I've got some amazing guests
• 0:41
  Speaker 2: coming on the show, film professors, historians, and podcasters, and
• 0:45
  Speaker 2: Tumbleweeds and TV Cowboys is part of the Someone's Favorite
• 0:48
  Speaker 2: Productions podcast network. And many guests on the show will
• 0:51
  Speaker 2: be from other shows on the network.
• 0:53
  Speaker 1: Thanks for listening.
• 0:54
  Speaker 3: The following podcast will contain spoilers, tangents, hot takes, and
• 0:59
  Speaker 3: excessive foul language. Viewer discretion is advised. Enjoy the show.
• 1:44
  Speaker 1: Welcome back to fright mares podcast i'm your host austin
• 1:46
  Speaker 1: proctor and joining me today talking about a brand new
• 1:49
  Speaker 1: movie for this year is casey walker director of it
• 1:53
  Speaker 1: oh i already forgot how to say it it's a
• 1:58
  Speaker 1: quad i just asked you casey how are you doing today.
• 2:00
  Speaker 3: I'm great how are you doing man.
• 2:03
  Speaker 1: I am doing very well. I was sent over this
• 2:07
  Speaker 1: movie from, I think his name is Michael Krause, who
• 2:10
  Speaker 1: reached out to me and asked me if I'd be
• 2:13
  Speaker 1: willing to check out the movie and interview you. And
• 2:15
  Speaker 1: I'm never going to say no to that. Watched the
• 2:18
  Speaker 1: movie last night because I like to have things very
• 2:19
  Speaker 1: fresh in my head before I get into an interview.
• 2:22
  Speaker 1: If you're not familiar with the movie, that's okay because
• 2:25
  Speaker 1: I wasn't either until this was introduced to me. It
• 2:28
  Speaker 1: is an action, at least according to IMDb, it is
• 2:30
  Speaker 1: an action, history, horror, thriller, western, which sounds like a lot.
• 2:35
  Speaker 1: It does, but somehow this all works absolutely seamlessly. Set
• 2:39
  Speaker 1: in 1821 in Fort Thomas or at Fort Thomas, which
• 2:42
  Speaker 1: is a remote fur trade outpost. Very interesting setting, very
• 2:49
  Speaker 1: specific setting, which I as a horror fan enjoy. Um,
• 2:53
  Speaker 1: what made you usually would go into like background on you,
• 2:56
  Speaker 1: but I know you have limited time. So like where,
• 2:59
  Speaker 1: where did this inspiration come from? Where did you, what
• 3:01
  Speaker 1: did you pull from basically? Cause I heard also that
• 3:04
  Speaker 1: it was like a 12 year roadmap to making this
• 3:06
  Speaker 1: movie from what I was sent over.
• 3:08
  Speaker 3: Yeah.
• 3:09
  Speaker 1: Yeah.
• 3:09
  Speaker 3: The, the idea came simply because this, uh, fort is
• 3:14
  Speaker 3: a historical reenactment site in my hometown of Thunder Bay, Ontario,
• 3:18
  Speaker 3: and it shuts down to the public in the winter. So,
• 3:21
  Speaker 3: I approached them and said, Hey, I have this idea
• 3:23
  Speaker 3: for a film. And they were like, yeah, write it
• 3:26
  Speaker 3: up and let's take a look. And then they saw
• 3:28
  Speaker 3: it and they were like, you're crazy, but they approved it.
• 3:30
  Speaker 3: And then, so I always had this location in my
• 3:34
  Speaker 3: back pocket that nobody could really touch. And it was,
• 3:38
  Speaker 3: and it's big, it's like a $ 50 million provincial facility
• 3:42
  Speaker 3: that has like 75 buildings and 250 acres. And some
• 3:48
  Speaker 3: of it's modern, a lot of it's period. So It
• 3:50
  Speaker 3: was production value that like it basically was a studio backlot.
• 3:54
  Speaker 3: We would never be able to afford to build what
• 3:56
  Speaker 3: we had access to.
• 3:57
  Speaker 1: I think that's what was like one of the most
• 3:59
  Speaker 1: impressive things about the film is what you just mentioned.
• 4:03
  Speaker 1: I mean, you have built in production value there, which
• 4:05
  Speaker 1: is definitely going to save you a lot of money
• 4:07
  Speaker 1: for sure. And it felt very time accurate. I mean,
• 4:11
  Speaker 1: I was just impressed with. Everything about this movie aesthetically
• 4:15
  Speaker 1: and even the story itself. But yeah, having that available is,
• 4:19
  Speaker 1: I'd say that was a big win for the production
• 4:22
  Speaker 1: of this film. And so 75 buildings, 250 acres. So
• 4:27
  Speaker 1: what we see in the movie, because you get a
• 4:30
  Speaker 1: lot of good wide shots of kind of this little,
• 4:33
  Speaker 1: I assume that's just kind of a small section of it.
• 4:36
  Speaker 3: Yeah.
• 4:37
  Speaker 1: Wow.
• 4:38
  Speaker 3: Yeah, it's the main the main fort and then all
• 4:40
  Speaker 3: the stuff, the outline and everything. We just it wasn't
• 4:42
  Speaker 3: part of our story, so we don't include it. But yeah,
• 4:45
  Speaker 3: it's a big place. Wow.
• 4:47
  Speaker 1: That's impressive. Yeah. So like I said, 1821 setting right
• 4:51
  Speaker 1: at the end of the fur trading, kind of like
• 4:54
  Speaker 1: right at the decline. What were some of the issues
• 4:59
  Speaker 1: you ran into, especially shooting in, I'm assuming, winter because
• 5:02
  Speaker 1: it was snowy? So what were some of the challenges
• 5:05
  Speaker 1: making sure this felt period accurate and shooting in a very,
• 5:09
  Speaker 1: very cold environment?
• 5:11
  Speaker 3: I mean, the, the challenges of period accuracy weren't very difficult.
• 5:15
  Speaker 3: It just was a matter of like going for it. Um,
• 5:18
  Speaker 3: we used, uh, like we, we made every piece of clothing,
• 5:22
  Speaker 3: everything's manufactured all the way down. And that's a lot. Like,
• 5:25
  Speaker 3: I think it's upwards of like 6,000 pieces to make
• 5:28
  Speaker 3: the movie. And then I worked with my special effects
• 5:31
  Speaker 3: team and Steve Newbern, like we made dentures for everyone.
• 5:34
  Speaker 3: So everyone's teeth are rank and everyone showed up in
• 5:37
  Speaker 3: makeup every day to get their fingernails dirty. And there,
• 5:40
  Speaker 3: cause you know, you bathed like maybe twice in a
• 5:43
  Speaker 3: winter in 1800s, uh, different level of that. And, uh,
• 5:48
  Speaker 3: and then past that, just like making the environment itself
• 5:52
  Speaker 3: feel authentic where like my art department was like mixing
• 5:56
  Speaker 3: up weird colored waters to toss in the snow outside
• 6:01
  Speaker 3: of of buildings because you basically like just threw your
• 6:05
  Speaker 3: piss and shit outside the door right so and there
• 6:09
  Speaker 3: would be like guys i've been looking at my monitor
• 6:11
  Speaker 3: and the art director would come over and be like
• 6:12
  Speaker 3: like on his radio to the the set dressers and
• 6:15
  Speaker 3: be like what do you want more of i'm like
• 6:17
  Speaker 3: number one or number two i'm like we need number
• 6:19
  Speaker 3: more more number one by the door more number two
• 6:22
  Speaker 3: by the post like that kind of stuff so yeah
• 6:24
  Speaker 3: and it was just like making it like grimy but
• 6:27
  Speaker 3: like you you You really have to commit when you
• 6:30
  Speaker 3: go for it. It can't be like pull anything modern forward.
• 6:35
  Speaker 3: And yeah, that was our raison d'etre for the whole
• 6:38
  Speaker 3: thing is just like push it as far as we could.
• 6:41
  Speaker 1: Fully commit. Yeah, I mean, that's kind of what Eggers
• 6:43
  Speaker 1: does with his, you know, he does a lot of
• 6:45
  Speaker 1: period accurate stuff. And I love that when you commit
• 6:49
  Speaker 1: to a very specific time frame and a very specific
• 6:53
  Speaker 1: look and you do it well. In my opinion, that's
• 6:56
  Speaker 1: a win, and this movie just is very cohesive with
• 6:59
  Speaker 1: how it looks altogether with the wardrobing and the setting,
• 7:04
  Speaker 1: and I just really, really enjoyed it. I am curious
• 7:07
  Speaker 1: how cold it was, and this is a silly question.
• 7:09
  Speaker 1: How cold was it on a day-to-day basis during shooting?
• 7:12
  Speaker 3: That's not a silly question. The fact that we just
• 7:15
  Speaker 3: survived the production is a miracle.
• 7:17
  Speaker 1: Okay.
• 7:19
  Speaker 3: Luke Hemsworth left Australia at 35 degrees Celsius and arrived
• 7:24
  Speaker 3: in Thunder Bay at minus 30. So he did a
• 7:28
  Speaker 3: 65 degree shift in 19 hours. Our coldest day was
• 7:34
  Speaker 3: a night because most of the filming is done at night.
• 7:37
  Speaker 3: I'd say like more than three quarters. And it was
• 7:42
  Speaker 3: minus 52 degrees Celsius. The average temperature was like minus
• 7:47
  Speaker 3: 30s every day.
• 7:48
  Speaker 1: Okay, and for us Americans who are not on the
• 7:51
  Speaker 1: Celsius degree because everyone else is, but we decide not to,
• 7:55
  Speaker 1: negative 30 degrees Celsius is about still negative 22 Fahrenheit.
• 8:00
  Speaker 1: Good Lord. That is cold.
• 8:04
  Speaker 3: And that's the average temperature.
• 8:05
  Speaker 1: Right, and I'm from Florida where it's hotter than Satan's
• 8:09
  Speaker 1: asshole here, and every day is humid and muggy. I
• 8:12
  Speaker 1: do love the cold, but I don't think I've ever
• 8:14
  Speaker 1: been in negative 22 degrees. I think I've been in
• 8:17
  Speaker 1: like negative four, five at max. So I couldn't imagine
• 8:21
  Speaker 1: being there, but also having to shoot a film in
• 8:24
  Speaker 1: those conditions. So you're right.
• 8:25
  Speaker 3: The fact that it was, it was punishing. And I
• 8:27
  Speaker 3: think you see, you see it because like everyone's rosy
• 8:30
  Speaker 3: red skin is real and all the breath you're seeing.
• 8:33
  Speaker 3: I used to have to ask a couple of takes
• 8:35
  Speaker 3: because we, we may have had the camera and light
• 8:37
  Speaker 3: in a specific way that it, that I'd have to
• 8:39
  Speaker 3: say to actors, like, don't breathe while you're doing your lines.
• 8:43
  Speaker 3: Because if they exhaled, it just created this big cloud
• 8:47
  Speaker 3: of vapor around them and we couldn't see their faces.
• 8:49
  Speaker 3: And it looked hokey. It looked like, oh, that's bad VFX,
• 8:53
  Speaker 3: where you're like, no, it's all real.
• 8:55
  Speaker 1: I swear, yeah, because even when one of the first
• 8:58
  Speaker 1: shots inside where Luke Hemsworth is talking, you can see
• 9:03
  Speaker 1: his breath fully. I'm like, it must be cold to
• 9:06
  Speaker 1: be inside and have your breath like that uh, presence.
• 9:10
  Speaker 1: So yeah, I can't imagine, uh, working in that, but
• 9:14
  Speaker 1: God bless you guys for doing that. So speaking of,
• 9:16
  Speaker 1: of Luke Hemsworth, uh, I'd love to know how he
• 9:19
  Speaker 1: got involved. Cause I also saw he was a producer
• 9:22
  Speaker 1: on this. So tell me a little bit about that.
• 9:24
  Speaker 3: Um, yeah, Luke's an executive producer. He, uh, he came
• 9:28
  Speaker 3: to me probably six or seven months out. We had
• 9:32
  Speaker 3: a general and his team had sent him over the
• 9:35
  Speaker 3: script and he just got it. Wow. He, he we
• 9:38
  Speaker 3: had like a half hour meeting in which i went
• 9:41
  Speaker 3: i thought i was i had all my questions and
• 9:42
  Speaker 3: everything laid out and he just like he's like all
• 9:45
  Speaker 3: the characters this like he knew that it was an
• 9:47
  Speaker 3: anti-hero he knew that this was a damaged person he
• 9:51
  Speaker 3: knew that there was no uh like come to jesus
• 9:54
  Speaker 3: moment or i survived this shit's full spoiler everyone fucking
• 9:59
  Speaker 3: dies um but but it's the like it's the path
• 10:03
  Speaker 3: towards that he had no ego in it and the
• 10:06
  Speaker 3: biggest thing for me was that like he was he
• 10:09
  Speaker 3: was investing in the movie and me not in um
• 10:13
  Speaker 3: like a vehicle for him to be a movie star
• 10:17
  Speaker 3: and he led the team like that the the the
• 10:20
  Speaker 3: the production was so punishing and that and he was
• 10:23
  Speaker 3: number one on the call sheet and if he wasn't
• 10:26
  Speaker 3: such good spirits the whole way through everyone would have
• 10:29
  Speaker 3: crumbled but he was in there going like well i
• 10:32
  Speaker 3: don't fucking know why you guys stopped here on your
• 10:34
  Speaker 3: journey west but i guess we're making a fucking movie
• 10:37
  Speaker 3: here that's my worst hemsworth impersonation by the way.
• 10:42
  Speaker 1: Mine would probably be worse. So I think, I think
• 10:44
  Speaker 1: you're more on the money than I would be. So
• 10:49
  Speaker 1: you also have Kevin Durant in this film who I
• 10:52
  Speaker 1: really feel is such an underrated actor. He is, I've always,
• 10:56
  Speaker 1: now this is going to be silly. My introduction to
• 10:59
  Speaker 1: him was a long time ago. Cause I believe he's
• 11:02
  Speaker 1: in wild hogs. I'm pretty sure that's Kevin Durant and
• 11:05
  Speaker 1: wild hogs. Yeah. So that was my introduction to him.
• 11:07
  Speaker 1: And I loved him there. And as I grew as
• 11:10
  Speaker 1: a cinephile and started seeing him in more things, I
• 11:12
  Speaker 1: was like, I really enjoy Kevin Durant. He's been in
• 11:15
  Speaker 1: every genre you can imagine. He was recently in Abigail,
• 11:20
  Speaker 1: I believe. Yep. And in this movie, I was like,
• 11:24
  Speaker 1: who the fuck is Kevin Durant? where, where, where is he?
• 11:27
  Speaker 1: And it took me longer than I'd like to realize
• 11:29
  Speaker 1: that he is the Lieutenant all dressed in red with
• 11:33
  Speaker 1: the beard and the tall hat. And I'm like, Oh
• 11:35
  Speaker 1: my God. Okay. Cause the white beard and the, the,
• 11:38
  Speaker 1: the heavy accent really threw me off. And I was like,
• 11:40
  Speaker 1: this is what I love about Kevin Durant. He shows
• 11:42
  Speaker 1: up in a movie. I don't even know who he is.
• 11:44
  Speaker 1: And then I'm like, that makes sense.
• 11:45
  Speaker 3: He's like, he's a chameleon.
• 11:47
  Speaker 1: He is. He's very much a Carl urban because Carl
• 11:50
  Speaker 1: urban to be in a movie. And you're like, you
• 11:52
  Speaker 1: look like Carl urban, but your, your hair is different. So,
• 11:55
  Speaker 1: Kevin Durant in this was fantastic. I'd also kind of
• 11:59
  Speaker 1: like to know how he got involved. Because like I said,
• 12:01
  Speaker 1: I feel like he's just so underrated as an actor.
• 12:03
  Speaker 3: I mean, I wish there was a big, long, crazy story.
• 12:06
  Speaker 3: But the reality is Kevin and I went to high
• 12:08
  Speaker 3: school together. And 14 years ago, I wrote the role
• 12:10
  Speaker 3: for him.
• 12:11
  Speaker 1: Oh, that's right. I did read that you were both
• 12:13
  Speaker 1: local to Thunder Bay, Ontario.
• 12:15
  Speaker 3: Yeah. Yeah. So it was our dream, like even as kids,
• 12:19
  Speaker 3: to like make things happen. at home, but it was
• 12:22
  Speaker 3: not conceivable, right?
• 12:24
  Speaker 1: Okay.
• 12:24
  Speaker 3: And then when I approached him with the script at first,
• 12:26
  Speaker 3: he was on a meteoric rise. So there was no
• 12:31
  Speaker 3: chance then that the little movie I was making, because
• 12:33
  Speaker 3: this started off a very small film. And then just
• 12:37
  Speaker 3: as the film itself grew, Kev's career kind of collided
• 12:42
  Speaker 3: with me in the sense that he was really looking
• 12:46
  Speaker 3: for these really challenging character pieces.
• 12:48
  Speaker 1: Okay.
• 12:49
  Speaker 3: And he'd always known that I had something special there
• 12:52
  Speaker 3: for him that he could really like rise to the
• 12:54
  Speaker 3: challenge in. And he did. He like, he nailed it.
• 12:57
  Speaker 1: I'd say he nailed it. Cause like I said, I
• 12:59
  Speaker 1: didn't even recognize him for like the first few times
• 13:02
  Speaker 1: he was on screen. Cause I was like, he's like
• 13:04
  Speaker 1: second build. Where is he? And then I finally got
• 13:06
  Speaker 1: like a closeup and I was like, Oh my God, he's,
• 13:09
  Speaker 1: he's right there. So I'd say he absolutely nailed it.
• 13:11
  Speaker 1: He is a, he is a vibe in this movie
• 13:13
  Speaker 1: from the outfit to the accent, the beard, um, Um,
• 13:16
  Speaker 1: then of course we have Aaron pool friend of the
• 13:18
  Speaker 1: show was on, uh, back in 2024 talking about the void,
• 13:21
  Speaker 1: which I'm currently wearing the shirt off. Cause I love
• 13:23
  Speaker 1: that movie. Aaron pool is also, uh, just a great
• 13:26
  Speaker 1: phenomenal actor. I love him. And he is a little
• 13:30
  Speaker 1: bit more of a side character, but still has a
• 13:31
  Speaker 1: pretty major role in this film. Um, and I really
• 13:35
  Speaker 1: enjoyed his performance and, uh, I'm assuming since you guys
• 13:38
  Speaker 1: worked on the void, that's kind of how you, or
• 13:40
  Speaker 1: did you know him from high school too?
• 13:43
  Speaker 3: No, I met Aaron through friends a couple of years
• 13:46
  Speaker 3: before The Void. And it was on The Void that
• 13:49
  Speaker 3: I was crafting more of this script. And in between setups,
• 13:54
  Speaker 3: I said, hey, I want to write this role and
• 13:56
  Speaker 3: I think you're the only one who can do it.
• 13:59
  Speaker 3: And without even really knowing what it was, he's like,
• 14:01
  Speaker 3: I'm in. And then like two years later, I sent
• 14:03
  Speaker 3: him the script and he's like, shit, I agreed to this.
• 14:06
  Speaker 3: And I was like, yeah. And he's like, okay, I'm in.
• 14:09
  Speaker 3: And he stayed all the way along to the point
• 14:11
  Speaker 3: where like he showed up 30 pounds underweight, a Scottish
• 14:16
  Speaker 3: accent already dialed in. Like he was so committed. He
• 14:20
  Speaker 3: stayed in the accent the entire time we were shooting.
• 14:24
  Speaker 3: He got really sick and would not miss a shoot day.
• 14:28
  Speaker 3: It was like he, again, everyone was really committed to
• 14:32
  Speaker 3: making this work. Otherwise it would not. If we had
• 14:34
  Speaker 3: one chink in our armor, it would have collapsed so fast.
• 14:39
  Speaker 3: So I can't even begin to describe how, this like
• 14:42
  Speaker 3: team of miscreants that joined me were able to pull
• 14:46
  Speaker 3: this off.
• 14:47
  Speaker 1: Well, that's funny that you say he, he, you know,
• 14:49
  Speaker 1: he gets, he got sick on set cause he kind
• 14:51
  Speaker 1: of does in the movie as well. So I find
• 14:53
  Speaker 1: that kind of an interesting parallel there. But yeah, he's
• 14:56
  Speaker 1: another person that I was like, I'm looking for Aaron pool.
• 14:59
  Speaker 1: I don't see Aaron pool because a lot, you know,
• 15:02
  Speaker 1: it's winter. There's a lot, a lot of headgear, a
• 15:04
  Speaker 1: lot of coats. And again, once I got a more
• 15:07
  Speaker 1: close up of him, he had kind of long scraggly
• 15:09
  Speaker 1: hair and, And his voice is very distinct when he's
• 15:12
  Speaker 1: just speaking how he normally speaks. But it was the
• 15:15
  Speaker 1: accent that threw me off. And then I heard like
• 15:17
  Speaker 1: one or two words that I was like, oh, that's
• 15:19
  Speaker 1: Aaron Poole. Again, just in this chameleon disguise. So I
• 15:23
  Speaker 1: love that there are so many recognizable faces that I
• 15:26
  Speaker 1: had to kind of search for because of, like you said,
• 15:29
  Speaker 1: everyone's got teeth in. They all have these big coats on.
• 15:32
  Speaker 1: So you've got an amazing cast, truly dedicated to the role.
• 15:36
  Speaker 1: And I really love the Native American side of things.
• 15:39
  Speaker 1: Because this involves some Native American folklore, if I'm correct,
• 15:45
  Speaker 1: which is always interesting to see in movies because I
• 15:50
  Speaker 1: don't feel like they're utilized enough. And something that I
• 15:53
  Speaker 1: picked up on, and again, I just like to see
• 15:57
  Speaker 1: if my speculation is correct, because there is a trail marker.
• 16:02
  Speaker 1: It's carved in the tree. And then, of course, at
• 16:03
  Speaker 1: the end of the movie, you do see it again.
• 16:05
  Speaker 1: And it's present throughout the movie. It's basically an hourglass.
• 16:08
  Speaker 1: An hourglass. an hourglass with no base. So from what
• 16:12
  Speaker 1: I've read, this is supposed to represent when the triangle
• 16:16
  Speaker 1: at the bottom is left open or disconnected, it merely,
• 16:20
  Speaker 1: it alters the meaning to indicate disruption, structural danger, or
• 16:24
  Speaker 1: an unsafe path ahead. Is that kind of in the
• 16:26
  Speaker 1: vein of being right? Or does it represent something a
• 16:29
  Speaker 1: little bit different?
• 16:31
  Speaker 3: Our location and the peoples of that time who lived there,
• 16:35
  Speaker 3: the Ojibwe people, And we, my writing partner is a
• 16:39
  Speaker 3: guy named Peter Vickery, who's a Micmac, uh, which is a, um, Eastern, uh, band.
• 16:45
  Speaker 3: And they, Peter, Peter found this and he went through a,
• 16:49
  Speaker 3: a very deep dive cause he's a, a not so
• 16:53
  Speaker 3: amateur historian. And he found the, uh, there wasn't a
• 16:57
  Speaker 3: written word back then, but there was a lot of
• 16:59
  Speaker 3: symbology and he found the symbol for dead body and
• 17:04
  Speaker 3: he found the symbol for headless bodies. And so what
• 17:08
  Speaker 3: you see is our sigil is the, the Ojibwe symbol
• 17:11
  Speaker 3: for headless body.
• 17:13
  Speaker 1: Gotcha. Okay. All right. I love it.
• 17:15
  Speaker 3: The disruption, everything else that plays into that is, is
• 17:18
  Speaker 3: also part of the interpretation, but the, the exact, what
• 17:21
  Speaker 3: we took is a, it's essentially something that's still moving
• 17:25
  Speaker 3: with no heads.
• 17:26
  Speaker 1: Gotcha. Okay. That makes more sense because yeah, I mean,
• 17:29
  Speaker 1: I was trying to search as much as I could
• 17:31
  Speaker 1: because I like to do as much kind of investigating
• 17:33
  Speaker 1: into the movie when you have such an iconic symbol
• 17:35
  Speaker 1: like that. Google only gives you so much and it's
• 17:38
  Speaker 1: not very accurate. So that's why I like to clarify.
• 17:41
  Speaker 1: So yeah, kind of on, kind of on the right path,
• 17:43
  Speaker 1: but that makes a lot more sense because the opening
• 17:45
  Speaker 1: of this movie, which by the way, uh, love this,
• 17:48
  Speaker 1: like kind of tracking one shot where you start, uh,
• 17:51
  Speaker 1: these snow covered trees, you kind of pan down, the
• 17:53
  Speaker 1: camera shifts over, there's just this cabin on fire. And
• 17:56
  Speaker 1: then we go over to this person who is deceased
• 17:58
  Speaker 1: with that marking there. And you hear a little bit
• 18:00
  Speaker 1: of growling and something kind of tugging at the body.
• 18:03
  Speaker 1: And then you get into the movie. And my interests
• 18:06
  Speaker 1: were already piqued at that point, especially given the setting
• 18:10
  Speaker 1: and stuff like that. So you're able to draw at
• 18:13
  Speaker 1: least me in very well with the opening scene. Did
• 18:16
  Speaker 1: you actually burn that cabin or was that VFX?
• 18:18
  Speaker 3: 50-50.
• 18:18
  Speaker 1: Okay, okay. I was like, that looks pretty convincing. I
• 18:24
  Speaker 1: was like, I think they.
• 18:27
  Speaker 3: The good VFX is a blend, and you can't tell
• 18:29
  Speaker 3: where the fire begins and ends because we have the
• 18:33
  Speaker 3: actual fire on location to map things out.
• 18:35
  Speaker 1: Yeah.
• 18:37
  Speaker 3: That's when you try and create something completely from scratch
• 18:41
  Speaker 3: in a natural environment where it falls apart.
• 18:43
  Speaker 1: Right, right, yeah. It looked very good. So... Yeah, I'd
• 18:48
  Speaker 1: kind of like to go back a little bit and
• 18:49
  Speaker 1: talk about kind of how you got into this. Because
• 18:53
  Speaker 1: from my little notes here, you've been in television and
• 18:58
  Speaker 1: genre for about 26 years, at least according to the
• 19:02
  Speaker 1: information I was provided. You built something called MyMillionDollarMovie.com, which
• 19:07
  Speaker 1: was the first online platform to fund a feature. Consulted
• 19:10
  Speaker 1: on Kickstarter and Indiegogo architecture. In crowdfunding's early days, you
• 19:16
  Speaker 1: also directed something called A Little Bit Zombie, which sold
• 19:19
  Speaker 1: in 50-plus territories, produced The Void, and Piwacket, and also
• 19:23
  Speaker 1: In a Violent Nature, while serving as the executive producer
• 19:26
  Speaker 1: on In a Violent Nature. You have financed... I did.
• 19:32
  Speaker 3: Not have to go through the struggles that was producing
• 19:35
  Speaker 3: In a Violent Nature. I am the only EP, and
• 19:37
  Speaker 3: I kind of just came in to help my friends.
• 19:40
  Speaker 1: Okay.
• 19:42
  Speaker 3: Make a bad situation better.
• 19:44
  Speaker 1: Okay. But I mean, you finance, produce, and directed, I mean,
• 19:48
  Speaker 1: from basically, you know, every channel. in the room, which
• 19:50
  Speaker 1: I find, I find very interesting. And what's even more
• 19:54
  Speaker 1: interesting is kind of digging into your career here on
• 19:57
  Speaker 1: what IMDB has to provide. You started off in TV shows.
• 20:02
  Speaker 1: One of them is Escaping My Memory because I thought
• 20:04
  Speaker 1: I had this saved on my iPad. It was a
• 20:07
  Speaker 1: show called, what was the first?
• 20:09
  Speaker 3: Zabuma Foo.
• 20:10
  Speaker 1: It was Zaboomba-thoo? Oh, I must have missed that. Okay,
• 20:13
  Speaker 1: so how did we transition from kids' shows to this
• 20:19
  Speaker 1: absolutely horrifying horror movie? Let's see this arc. I would
• 20:24
  Speaker 1: love to hear.
• 20:25
  Speaker 3: In the late 90s, I mean, we're pre-digital. We're right
• 20:29
  Speaker 3: at the beginning of nonlinear editing. Everything's being shot on film.
• 20:33
  Speaker 3: You go to film school. There's no creator class in
• 20:36
  Speaker 3: YouTube yet. The way into the industry was through the
• 20:41
  Speaker 3: way you can get in. So for me, it was
• 20:43
  Speaker 3: through children's television because I had a background in early
• 20:48
  Speaker 3: education and childhood development. So, yeah, it's just kind of
• 20:53
  Speaker 3: you find that path and you like the first job,
• 20:56
  Speaker 3: it gets the second, it just keeps flowing from there.
• 20:59
  Speaker 3: And I had a great run. And in TV. And
• 21:04
  Speaker 3: then I woke up one day just not happy with
• 21:06
  Speaker 3: my career after 10 years. Not so much the career itself,
• 21:10
  Speaker 3: but just I wasn't challenging myself enough. And I had
• 21:14
  Speaker 3: that memory where I went to fucking film school. So
• 21:19
  Speaker 3: I was like, I'm going to do something about that.
• 21:20
  Speaker 3: And I'm going to go make. And so, you know,
• 21:22
  Speaker 3: it's only the stupid and naive who transition out of
• 21:27
  Speaker 3: a successful television career into movies before Blockbuster tanked. Like
• 21:33
  Speaker 3: it was a very different time. And yeah, no one
• 21:39
  Speaker 3: would teach me anything. So I took a lot of
• 21:41
  Speaker 3: really important and powerful people out for lunch and just
• 21:45
  Speaker 3: played dumb and stole everything that they could teach me
• 21:47
  Speaker 3: and applied it in a way that was my own.
• 21:50
  Speaker 3: Not so much structure as the industry per se, but
• 21:54
  Speaker 3: would work for me to get me across the line.
• 21:56
  Speaker 1: I got you. Yeah.
• 21:57
  Speaker 3: And then after I made my first movie, I really
• 22:00
  Speaker 3: realized I didn't know how to make a movie. Yeah.
• 22:02
  Speaker 3: And that's when I, but I did know how to
• 22:05
  Speaker 3: put the meal together. So I, um, I kind of started,
• 22:10
  Speaker 3: I started looking for, uh, younger filmmakers that, uh, could
• 22:14
  Speaker 3: benefit from the stuff that I went through. Uh, and
• 22:17
  Speaker 3: at the same time, really talented people that I could
• 22:20
  Speaker 3: learn from. Hence why The Void came around because Jer
• 22:22
  Speaker 3: and Steve were just like next level creative. And I
• 22:25
  Speaker 3: knew for me, uh, I mean, I have a lot
• 22:27
  Speaker 3: of experience that they benefited from, but I certainly learned
• 22:30
  Speaker 3: a ton about, production and just how the tricks are
• 22:36
  Speaker 3: pulled off.
• 22:37
  Speaker 1: Yeah, Steve Kostanski is a man. Legend. Yeah, I mean,
• 22:42
  Speaker 1: I don't know how else to put it. From The
• 22:43
  Speaker 1: Void to Psycho Goreman to what was his recent one
• 22:47
  Speaker 1: with the puppets, it's escaping my mind right now.
• 22:50
  Speaker 3: Frankie Frico.
• 22:50
  Speaker 1: Frankie Frico, yeah. He has such an aesthetic and such
• 22:56
  Speaker 1: a passion for practical effects, which in this day and
• 22:59
  Speaker 1: age is... something that I admire because in a world
• 23:03
  Speaker 1: where VFX are taking over everything and I mean, you
• 23:07
  Speaker 1: do it right. Sure. But we all, as, as a
• 23:10
  Speaker 1: diehard horror fan, we appreciate when something is actually on
• 23:14
  Speaker 1: screen that somebody made and it just makes it, that
• 23:18
  Speaker 1: makes the effect just much more, um, I guess impactful,
• 23:21
  Speaker 1: but yeah, I'm seeing Zabumba Fu here now in 1999.
• 23:23
  Speaker 1: It looks like you were an animal helper director of
• 23:27
  Speaker 1: additional segments. Then we move on to something called, let's see,
• 23:32
  Speaker 1: Prank Patrol, which was another show.
• 23:35
  Speaker 3: They did a lot of hidden camera gag shows that
• 23:38
  Speaker 3: were just basically, it's comedy, but my whole shtick was
• 23:43
  Speaker 3: scaring people.
• 23:44
  Speaker 1: Oh, okay.
• 23:45
  Speaker 3: That's kind of like, because I always loved horror movies
• 23:47
  Speaker 3: and most of the things I did in that show
• 23:49
  Speaker 3: were horror based.
• 23:50
  Speaker 1: Okay.
• 23:51
  Speaker 3: Because people love laughing at people being scared.
• 23:53
  Speaker 1: That's true.
• 23:54
  Speaker 3: They know it's absolutely ridiculous. Um, and then, yeah, that,
• 23:59
  Speaker 3: that certainly helped like the, me work into more comedy stuff.
• 24:02
  Speaker 3: And then the, the transfer of comedy into horror is, uh,
• 24:06
  Speaker 3: as you're, you're seeing with people like Curry Barker are, um, even, um,
• 24:11
  Speaker 3: Zach Greer, like the starting comedy is that you learn
• 24:14
  Speaker 3: timing and timing is essential for horror too.
• 24:18
  Speaker 1: It really is, yeah, and I've noticed that, like you said,
• 24:21
  Speaker 1: those two guys moving into, because, you know, Curry Barker,
• 24:24
  Speaker 1: because some people might not know, I don't know how
• 24:26
  Speaker 1: much they know about him, I've dived into his whole thing,
• 24:30
  Speaker 1: but he has a channel called That's a Bad Idea,
• 24:32
  Speaker 1: where he does a lot of comedy sketches, and yeah,
• 24:36
  Speaker 1: so I don't know how many people know that out there,
• 24:37
  Speaker 1: but that's what, and he still does it today, and
• 24:39
  Speaker 1: he's got a new movie coming out called Anything But Ghosts,
• 24:42
  Speaker 1: but yeah, I've been finding that the people, and even
• 24:45
  Speaker 1: Jordan Peele is another one, He came from a comedy background,
• 24:49
  Speaker 1: and those three guys are making some of the most
• 24:51
  Speaker 1: creative and inventive horror movies around. I mean, those are
• 24:56
  Speaker 1: three heavy hitters of the modern era. I'd also like
• 24:58
  Speaker 1: to throw Joko Onwar into the mix here, because while
• 25:00
  Speaker 1: his is more lore-based in Indonesia, he just recently put
• 25:04
  Speaker 1: out a movie called Ghost in the Cell, which is
• 25:07
  Speaker 1: a combination of... Oh, have you seen Ghost in the Cell?
• 25:10
  Speaker 3: Yeah, I'm on the festival circuit with it. It was
• 25:12
  Speaker 3: playing in... Where did we... I think it was... No,
• 25:16
  Speaker 3: Fright Fest in London he was playing there.
• 25:18
  Speaker 1: Okay, yeah. And he's never really done a comedy before.
• 25:23
  Speaker 1: So I find it interesting that he started with just
• 25:26
  Speaker 1: these just lore-heavy, just psychologically damaging movies to me that
• 25:31
  Speaker 1: I love. And then Ghost in the Cell was like,
• 25:34
  Speaker 1: this is everything cranked up to 11 with a whole
• 25:36
  Speaker 1: bunch of comedy. So yeah, I feel comedy and horror
• 25:38
  Speaker 1: kind of go hand in hand. And well, God damn it,
• 25:41
  Speaker 1: I already... It's aqua. It's aqua. It doesn't really necessarily
• 25:46
  Speaker 1: have comedy in it. There are some, you know, comedic moments,
• 25:49
  Speaker 1: but I wouldn't label it as a comedy, you know, in,
• 25:51
  Speaker 1: in the genre.
• 25:52
  Speaker 3: Your levity is important.
• 25:53
  Speaker 1: Yeah, exactly. And your, your film is much more kind
• 25:56
  Speaker 1: of that dark brooding cosmic vibe that's going on, which
• 26:00
  Speaker 1: is what I love. And that's why I feel like
• 26:02
  Speaker 1: I attached myself to the movie itself because it's, this
• 26:06
  Speaker 1: is exactly the stuff as a, uh, you know, future
• 26:10
  Speaker 1: budding filmmaker. That's my dream as well. is to make
• 26:13
  Speaker 1: stuff exactly like this. Maybe not period accurate, because I
• 26:17
  Speaker 1: don't know if I have the skills for that, but
• 26:19
  Speaker 1: in the Lovecraft vein, in kind of that cosmic element, headspace-y,
• 26:23
  Speaker 1: psychological area, those are the movies that I find the
• 26:26
  Speaker 1: most interesting, and that's why watching this movie last night,
• 26:31
  Speaker 1: I mean, I was in from the minute it started,
• 26:33
  Speaker 1: and I was, you know, I'm just wondering, I'm like, okay,
• 26:35
  Speaker 1: is this gonna be like a slow burn until the
• 26:38
  Speaker 1: last few minutes? No, I'd say at about 47, 48
• 26:41
  Speaker 1: minutes out of an hour and 42 shit pops the
• 26:44
  Speaker 1: fuck off at around 47 minutes. And it is just
• 26:47
  Speaker 1: ramps up from there and no spoilers on the actual ending,
• 26:50
  Speaker 1: but the ending, literally the last five minutes had my
• 26:54
  Speaker 1: jaw on the floor. And then it's just like, bam,
• 26:56
  Speaker 1: you know, black, black screen, the title card with the,
• 27:00
  Speaker 1: with the symbol behind it. And I was, I just,
• 27:02
  Speaker 1: I literally was, cause I had to watch it on
• 27:04
  Speaker 1: my iPad, but I put good headphones on. But I
• 27:07
  Speaker 1: literally was in my chair, held my head and spun
• 27:09
  Speaker 1: around and was just like, oh my God, how did
• 27:13
  Speaker 1: he manage to pull off so many genres in one
• 27:16
  Speaker 1: movie and do it so effectively? Thanks, man. Yeah, like genuinely,
• 27:22
  Speaker 1: like this isn't me just gassing you up for no reason.
• 27:25
  Speaker 1: I love this film and I'm very happy that we're
• 27:28
  Speaker 1: talking about this because I really want more people to
• 27:31
  Speaker 1: see this. Do you know if it's going to be
• 27:34
  Speaker 1: hitting theaters or like VOD? If you can't talk about that,
• 27:37
  Speaker 1: I totally get it.
• 27:38
  Speaker 3: Yeah, theaters and VOD is getting a day and date
• 27:41
  Speaker 3: across Canada, U.S., and U.K. in February. I don't know
• 27:45
  Speaker 3: the date. The date date. Okay. I know it's not
• 27:49
  Speaker 3: going to be up against In a Violent Nature 2.
• 27:51
  Speaker 3: That weekend's all theirs. Yeah.
• 27:57
  Speaker 1: They can have that weekend. They can have that weekend. Okay.
• 27:59
  Speaker 3: But yeah, the powers that be are dropping it in February. February, March.
• 28:04
  Speaker 3: I just know it's the first quarter of next year.
• 28:06
  Speaker 3: That's why we're doing all this press, all these festivals.
• 28:09
  Speaker 1: Yeah.
• 28:10
  Speaker 3: Just to get the word out there for when it drops.
• 28:12
  Speaker 1: Perfect.
• 28:12
  Speaker 3: Yeah.
• 28:12
  Speaker 1: So I guess even though it was made this year,
• 28:14
  Speaker 1: I guess technically it'll be for us, it'll be a
• 28:17
  Speaker 1: 2027 release, which is great. So I will wait. I
• 28:20
  Speaker 1: won't add that to my 2026 watches. I'll save that
• 28:23
  Speaker 1: for next year because I can easily tell you, even
• 28:28
  Speaker 1: though I know nothing about really what's releasing next year,
• 28:30
  Speaker 1: with the rating that I gave it, it's easily going
• 28:32
  Speaker 1: to be in my top 10. for next year because
• 28:34
  Speaker 1: it is a very unique premise. I mean, I will say,
• 28:37
  Speaker 1: I do think you have to be into these elements. Uh,
• 28:40
  Speaker 1: like I'm not the biggest Western fan, but when you
• 28:43
  Speaker 1: combine it the way that you did, it works for me.
• 28:47
  Speaker 1: And so don't let, if anybody out there listening is,
• 28:50
  Speaker 1: isn't like huge into Westerns, don't let that scare you
• 28:53
  Speaker 1: off from the movie because it is so much more
• 28:55
  Speaker 1: focused on the horror and the psychological tension between these
• 29:00
  Speaker 1: characters and, what inevitably happens to all of them along
• 29:04
  Speaker 1: the way. Really, the Western is the setting, the, you know,
• 29:08
  Speaker 1: the outfits that they're wearing and stuff like that. Because
• 29:11
  Speaker 1: I saw Western and I was like, hmm, intrigued. Western
• 29:15
  Speaker 1: horror is not really done a lot. And when I
• 29:17
  Speaker 1: see that, it immediately intrigues me because I'm like, I'm not,
• 29:21
  Speaker 1: like I said, I'm not the biggest Western guy. I
• 29:23
  Speaker 1: am almost 40 though. So I think I'm going to
• 29:25
  Speaker 1: hit a point where I can see my Western like
• 29:29
  Speaker 1: genre just on the horizon where I'm about to start
• 29:31
  Speaker 1: getting into them. I feel like every guy that turns
• 29:34
  Speaker 1: about 40 is like, all right, it's Western time.
• 29:37
  Speaker 3: It's Western time.
• 29:37
  Speaker 1: It's Western time. Kick on, you know, the good, bad,
• 29:40
  Speaker 1: and the ugly. So, yeah, don't let that scare you away.
• 29:44
  Speaker 1: But again, I will say, I think this is, the
• 29:47
  Speaker 1: people who are really going to appreciate this movie need
• 29:50
  Speaker 1: to be into this kind of style, honestly. I don't
• 29:53
  Speaker 1: think this is going to appeal to everyone. I mean,
• 29:55
  Speaker 1: what movie does appeal? But for me, who is very
• 29:58
  Speaker 1: much into this style and the production value alone, like
• 30:02
  Speaker 1: I said, your DP was just on point. And did you,
• 30:06
  Speaker 1: because I know sometimes directors will just let their DP go.
• 30:10
  Speaker 1: Were you guys working more together on a vision? Like,
• 30:12
  Speaker 1: did you have a storyboard kind of for what you
• 30:14
  Speaker 1: wanted or did you just?
• 30:16
  Speaker 3: Oh, I'm a taskmaster and I work with people that
• 30:20
  Speaker 3: bring more to what I do. have in my head,
• 30:24
  Speaker 3: but if we only land on what's in my head,
• 30:27
  Speaker 3: I know we're going to be okay. I work with people, though,
• 30:30
  Speaker 3: that can elevate the stew that's floating around up here,
• 30:34
  Speaker 3: and Bryn and I certainly, we finished this movie, and
• 30:37
  Speaker 3: while I was in post on it, we got funding
• 30:40
  Speaker 3: to do another movie, and he and I just rolled
• 30:42
  Speaker 3: right into shooting a second film, so we made two
• 30:45
  Speaker 3: movies in 18 months.
• 30:47
  Speaker 1: I was going to say, yeah.
• 30:48
  Speaker 3: He's one of my favorite people to collaborate with, Um, he,
• 30:53
  Speaker 3: he improves my ideas. He challenges my thinking. Um, but
• 30:57
  Speaker 3: then like, I'd say like half of the drone shots
• 31:00
  Speaker 3: in the movie I shot. So really like, yeah, yeah.
• 31:03
  Speaker 3: It's a, it's a, it's a give and take. And like,
• 31:05
  Speaker 3: he's got the camera on his shoulder all the time.
• 31:07
  Speaker 3: And we're, you know, you know, I'll be, I'll be
• 31:10
  Speaker 3: running into do art department stuff just cause it's, it's,
• 31:14
  Speaker 3: and we finished each other's sentences just cause he'll give
• 31:16
  Speaker 3: me a look. And I like, Oh no, instead of
• 31:18
  Speaker 3: me calling for the person to do the thing, explain
• 31:20
  Speaker 3: to them, I just run in and do the thing
• 31:22
  Speaker 3: that he wants me to do that I think is
• 31:24
  Speaker 3: because he wants me to do it because he knows
• 31:26
  Speaker 3: that's what I want. And when we just move really
• 31:28
  Speaker 3: fast and some people stand back and fucking hate us
• 31:30
  Speaker 3: for it, but, but, but we're getting what we need
• 31:34
  Speaker 3: and what we want. And at the end of the day,
• 31:36
  Speaker 3: that's what we're all there for. So no one can
• 31:37
  Speaker 3: be precious about me adding more blood and guts to
• 31:41
  Speaker 3: this thing because it should be nastier.
• 31:44
  Speaker 1: Uh, yeah, no, I, I agree. I agree. The next
• 31:47
  Speaker 1: project you're referring to is that the devil's children.
• 31:51
  Speaker 3: No, Homebodies was shot already.
• 31:54
  Speaker 1: Oh, okay. I saw that. For some reason, that was
• 31:57
  Speaker 1: listed below this movie.
• 32:00
  Speaker 3: Oh, both 2026.
• 32:01
  Speaker 1: Okay, got it.
• 32:02
  Speaker 3: I shot it after Itaqua, but we premiered it before Itaqua.
• 32:08
  Speaker 1: Oh, okay. All right.
• 32:09
  Speaker 3: Because that's how this crazy business works sometimes.
• 32:12
  Speaker 1: It does seem to work that way. Yeah, so the
• 32:15
  Speaker 1: synopsis for Homebodies is two children raised in total isolation
• 32:18
  Speaker 1: by an automated house. begin to confront the mysteries of
• 32:23
  Speaker 1: their existence after an enigmatic stranger arrives from outside. I
• 32:28
  Speaker 1: can tell you, I'm telling you, whoever's doing these summaries,
• 32:31
  Speaker 1: the synopsis, 10 out of 10, because they draw me in,
• 32:34
  Speaker 1: they give you just enough information, but they don't overdo
• 32:37
  Speaker 1: it to where I'm like, well, I know what's going
• 32:38
  Speaker 1: to happen. So I'd love to see that. Do we
• 32:40
  Speaker 1: have any information on a possible release for that movie? Again,
• 32:44
  Speaker 1: if you're allowed to say.
• 32:46
  Speaker 3: I'm not allowed to talk about that one.
• 32:47
  Speaker 1: That's totally fine. Respect.
• 32:50
  Speaker 3: Good things are coming, though.
• 32:51
  Speaker 1: Good. I love it. I love it. I know you
• 32:54
  Speaker 1: said you had about 30 minutes.
• 32:56
  Speaker 3: We got three left.
• 32:58
  Speaker 1: Three left? Okay, so then I guess I'll ask one
• 33:00
  Speaker 1: last question here for you before I let you go.
• 33:03
  Speaker 1: If you had any advice for a first-time filmmaker or
• 33:06
  Speaker 1: someone trying to get into the film industry, such as myself,
• 33:11
  Speaker 1: what advice would you have? I know that's a very
• 33:13
  Speaker 1: broad question. If you need a minute to... No, not
• 33:15
  Speaker 1: at all.
• 33:15
  Speaker 3: Yeah. Because I think back to when I was starting out,
• 33:18
  Speaker 3: how I would have liked some better advice too. Because
• 33:21
  Speaker 3: just people, there was only one way to do things
• 33:23
  Speaker 3: back then and everyone kind of pigeoned you into the whole.
• 33:27
  Speaker 3: I mean, Robert Rodriguez was the only one who was
• 33:29
  Speaker 3: like really out there fucking going wild and doing his
• 33:31
  Speaker 3: own thing.
• 33:32
  Speaker 1: Yeah, he was.
• 33:33
  Speaker 3: And that was inspiration for me. But what I could
• 33:35
  Speaker 3: say to everyone is that the only thing time or
• 33:37
  Speaker 3: money buys you in this business is time. So when
• 33:41
  Speaker 3: you're planning something out, And if you don't have money
• 33:44
  Speaker 3: for the crane shot and you don't have money for
• 33:46
  Speaker 3: those things, you need to figure out how to get
• 33:49
  Speaker 3: the time to do them. Because a crane shot is
• 33:53
  Speaker 3: one thing you, um, sticking a camera on a stick
• 33:58
  Speaker 3: and raising it up off a roof to go higher.
• 34:00
  Speaker 3: You just have to figure out the ways to do it.
• 34:03
  Speaker 3: Also look at every app and this is a Duplass thing.
• 34:06
  Speaker 3: That I didn't even know I talked about until someone
• 34:09
  Speaker 3: was like, Mark Duplass gives that advice. It's like, look
• 34:11
  Speaker 3: at every asset that you have at your disposal that
• 34:14
  Speaker 3: costs you nothing. So like, you, you, you know, an
• 34:19
  Speaker 3: uncle with a farm, there's a great location. You look
• 34:22
  Speaker 3: at all those things where you're like, I can get
• 34:23
  Speaker 3: that for free. I can get that for free. I
• 34:25
  Speaker 3: can get that for free. And I can get my
• 34:27
  Speaker 3: friends together. I've got two actors. I can do the
• 34:30
  Speaker 3: Best Buy rental program or the Amazon rental program, which
• 34:33
  Speaker 3: is you put your credit card down, you get all
• 34:35
  Speaker 3: the gear you need, and you have exactly until that
• 34:38
  Speaker 3: return time is there to get it back. Don't damage it.
• 34:43
  Speaker 3: Shoot your movie and return all the stuff unused. And
• 34:49
  Speaker 3: by doing it that way with all the free things
• 34:52
  Speaker 3: and the cheap way forward and finding that month or
• 34:55
  Speaker 3: so and the time to do it where it doesn't
• 34:57
  Speaker 3: cost anything, It's going to cost you insurance. Always get insurance.
• 35:00
  Speaker 3: Play safe. And you've got to feed people. But past that,
• 35:06
  Speaker 3: once you have all those free things and once you've
• 35:07
  Speaker 3: got that free rental, you're greenlit. You don't need to
• 35:13
  Speaker 3: ask for permission. And the more you wait around for
• 35:17
  Speaker 3: someone to give you permission to do things, the longer
• 35:20
  Speaker 3: or the more likely it'll never happen. So just make
• 35:23
  Speaker 3: that path and go.
• 35:24
  Speaker 1: I love it. I love that. I didn't even know
• 35:26
  Speaker 1: about the Amazon thing. That's quite interesting. So I will
• 35:29
  Speaker 1: have to look into that. Luckily, my dad owns a studio,
• 35:32
  Speaker 1: so I have access to a lot of gear already.
• 35:35
  Speaker 1: So I always use him when I can. Yeah, wrapping
• 35:40
  Speaker 1: up here, Itakwa will be releasing, as Casey mentioned, sometime
• 35:44
  Speaker 1: in February. Definitely go check this out. We need to
• 35:48
  Speaker 1: be supporting indie films. And, I mean, this has the
• 35:50
  Speaker 1: Frightmare stamp of approval. I would absolutely consider this a
• 35:53
  Speaker 1: slap of a movie. That's our terminology here for when
• 35:56
  Speaker 1: a movie is really good. Yeah, exactly. Actually, I have
• 36:00
  Speaker 1: a right there. There we go. Smack. So, yeah, just
• 36:05
  Speaker 1: to give, because usually I give ratings on movies. This
• 36:07
  Speaker 1: one I rated on Letterboxd as a 4.5 out of 5. genuinely, uh, yeah,
• 36:13
  Speaker 1: genuinely a masterfully done film through and through. So, uh,
• 36:17
  Speaker 1: check that out. Casey, if anybody wants to follow you
• 36:20
  Speaker 1: on social media, kind of keep up with what you're doing.
• 36:22
  Speaker 1: Can they find you anywhere?
• 36:24
  Speaker 3: Yeah, it's super simple. It's that Casey Walker. That's it.
• 36:27
  Speaker 3: That's all. Boom.
• 36:29
  Speaker 1: I love it. Okay. So that'll do it for our
• 36:31
  Speaker 1: bonus episode for October. Uh, next month, funny enough, uh,
• 36:36
  Speaker 1: timing is really weird on this. We are going to
• 36:38
  Speaker 1: be doing a Lovecraft-themed Cosmic Month, talking about The Void,
• 36:43
  Speaker 1: talking about a lot of good HP Lovecraft adaptations from beyond,
• 36:47
  Speaker 1: all the good stuff. So until then, guys, I'll also
• 36:50
  Speaker 1: thank you, Casey, for your time. I do appreciate you
• 36:52
  Speaker 1: taking 30 minutes to chat with me. It has been
• 36:55
  Speaker 1: a wonderful conversation. But yeah, until next month, guys. Thanks
• 36:58
  Speaker 1: for watching the movie.
• 36:59
  Speaker 3: Oh, man.
• 36:59
  Speaker 1: Hey, I'm just glad Michael reached out because that is...
• 37:03
  Speaker 1: That it's, it's, it's incredible. I cannot gas this movie
• 37:06
  Speaker 1: up enough. It is so good. So, um, until month, uh,
• 37:10
  Speaker 1: next month, guys stay tuned and stay spooky.
• 37:17
  Speaker 3: Yeah.
• 37:50
  Speaker 1: Thank you for listening.
• 37:51
  Speaker 3: To hear more shows from the Someone's Favorite Productions podcast network,
• 37:55
  Speaker 3: please select the link in the description.