Latest / Indie Film Hustle® - A Filmmaking Podcast / IFH 706: Composing the Biggest Hollywood Blockbusters of All-Time with Klaus Badelt

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IFH 706: Composing the Biggest Hollywood Blockbusters of All-Time with Klaus Badelt · Indie Film Hustle® - A Filmmaking Podcast

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  You are listening to the IFH podcast Network. For more amazing filmmaking and screenwriting
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  podcasts, just go to ih podcast network dot com. Welcome to the Indie
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  Filmhustle Podcast, Episode number seven six. Plot is the most underestimated of all
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  the major writing skills. Most writers know the value of strong main character and
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  lean, hardening dialogue, but when it comes to plot, they think they're
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  just going to figure it out as they go, which never happens. John
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  Druby broadcasting from the back alley in Hollywood. It's the Indie Film Hustle Podcast,
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  where we show you how to survive and thrive as an indie filmmaker in
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  the jungles of the film biz. And here's your host, Alex Ferrari.
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  Welcome, Welcome to another episode of the Indie Film Hustle Podcast. I am
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  your humble host, Alex Ferrari. Today's show is sponsored by Rise of the
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  Film Entrepreneur. How to turn your independent film into a profitable business. It's
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  harder today than ever before for independent filmmakers to make money with their films from
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  just head over to www dot film bizbook dot com. That's film eizbook dot
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  com. Enjoy today's episode with guest host Dave Bullis. In this episode of
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  the podcast, I have a guest who has been a composer and some of
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  the biggest movies like Pirates of the Caribbean, Curse of the Black Pearl,
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  Gladiator, Equilibrium K nineteen. My guests, I got to talk about all
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  that, about how you actually work with guys like Han Zimmerman, how you
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  actually developed soundtracks for these movies, you know, how he actually got into
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  that because he actually was from a completely different background. And we also don't
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  talk about film Hub, which is another avenue for filmmakers. Again, it's
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  all about this podcast is about is all exploring all these different avenues, talking
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  about where the film industry is headed, and just hearing all these crazy stories
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  about how we all got here and some of the crazy things that we've seen
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  on set without further ado with guest Claus Adult, Yeah, you know,
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  it was a bit odd, Like I had my first like tech startup at
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  eighteen, and then assault that with twenty five and turned around on hundred eighty
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  degrees and uh did music and then I you know, mostly filmed music and
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  then in Germany and then I went on I think and like ninety seven.
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  Like so I went on to go to Hollywood on vacation and got stuck here
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  ever since. So what kind of start up did you have? Um,
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  that was already a tech start up that was like you know at the time
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  when they didn't call it startup, you had to actually might make money and
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  the profit and and you know, to to hire the next guy. And
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  I'm writing software at the time. I because part of that decision was that
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  the German music universities didn't take me, so I didn't manage to convince them
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  with my entry exam performance. So I know, I'm just going to do
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  the easiest stuff to goog that stuff I know anyway, and that's the computer
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  stuff. And then only a few years later then said do not. Let's
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  this is good, you know, was very for company and like a fun
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  feel it. Let's do music. Yeah, yeah, you know, it's
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  so true. With a lot of these startups, there's all about it's all
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  about future earnings or potential value. Have you ever seen the TV show Silicon
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  Valley. Yeah, of course, exactly. It's all true. Yeah,
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  it's amazing. I have friends, you know who work out in Silicon Valley
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  and they swear by the show. They go it is absolutely so true to
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  life, where you know, somebody makes a like you know, you and
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  I make a piece of software over a weekend in our in our apartment or
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  uh, you know, a dorm room, and suddenly you know, we're
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  selling it on Monday for you know, a couple million, couple you know,
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  maybe even more, and it has it doesn't really have an audience or
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  you know what I mean, it doesn't. It's just it's just like this
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  theory piece of software that hasn't really proven in itself yet, but the potential
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  value is there. Yeah, I know, it's it's been creating I spend
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  I mean, I'll be going basically backwards here, but I spent the last
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  year quite a bit in Silicon Valley and learned how they do things. They're
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  a lot some of the techniques and it's great though, it's great how to
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  run a company. I learned so much, you can believe. But compare
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  this to LA companies or European companies how they operate. There's a very different
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  different way of running things. And I mean it has to do with why
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  I'm doing this, this startup as well and the film business to bring in
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  different um you know, dimensions, even the way of looking at it and
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  you know, hoping to aiming at like really finding like a whole industry with
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  this, because our industry year and the film business doesn't really work that way.
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  You know, oriented with metrics, seeing that you know, you operate
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  fast and not out of your guts, but have data to back up what
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  you actually do. Uh. And that's actually very profession to me now as
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  a as a composer. Where you um, it's interesting, it's quite a
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  bit similar, even though it sounds like it it would be just emotional when
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  you're right and just intuitive and that's true. But at the same time,
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  now I'm really getting a carried away stop me anytime. But when you write
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  a theme, let's it for a movie, you are not a musician,
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  You're a filmmaker, right you. You you have the first five minutes or
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  eight minutes if you're lucky, to introduce the characters. You have to be
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  very careful about the arc, telling the story. You make people hopefully love
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  the characters so they actually go along with whatever crazy story happens after. And
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  there's a lot of if you want analytics about it, you r have you
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  you know, like a script, they have the acts. You you shaping
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  um something and at the same time you have to be very creative and emotional
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  about it. So this is a great balance. UM. I worked a
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  lot with um like songwriters, and when it comes to scores, you can't
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  tell the songwriter to adjust UM or you know, you to react or to
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  to to tell the story, that tell the story in just the absolute space
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  and that all the ends and in the disaster anyway, but that's a different
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  story. But you know you end up being holding the hand and actually making
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  it work to picture. You're like the director of music in a way.
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  So that shows me every time that it's quite different writing music to movies is
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  quite different to writing music. And there's lots of analytics comes into play.
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  You know, what are some of the things you've noticed just working from Germany
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  to working in here. You always hear a lot about, you know,
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  how how we're You know, America is always compared to Europe um, both
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  both in a good way and a bad way. Uh so what are you
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  some of your thoughts? I mean, have you noticed that you do you
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  like better working over here? I mean, because you know, if you
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  if you were the stereotype Americans working um, it's usually you never you never
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  get a day off, burn out, your your your vacation days, and
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  you know you never stop answering emails on your phone. I mean that's pretty
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  much me. So obviously I like it, but much better here now.
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  I mean, look, I've been here for twenty it's been not twenty years,
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  and um yeah, I think I can compare. And also traveled quite
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  a bit because of the movies. I went a lot to China, to
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  Europe, different European countries which are quite you know different anyway, UK is
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  very different to brands, very different to Germany when it comes to movies,
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  but also to to like, you know, companies, and there in the
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  attitude and people. I mean, there's a reason I'm I'm here and I'm
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  staying here and I live here is I do feel this lots more. I
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  wouldn't call the cliche freedom, but it's much more open what you do.
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  Look, I would have not have a career if it wasn't you know,
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  I came here, I had no basically education. And when it comes to
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  music, and you can do whatever you like if it as long as you
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  make, you know, people feel comfortable and you do a good job.
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  And that's a pretty unique situation I think in real whether it's um in tech
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  or in film or music, but especially in music maybe and film where you
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  um, you know, it's it's very hard to talk about music right to
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  judge music. You have your opinion. I have my opinion everyone has,
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  but what does the audience. Everyone is different, so there's no measurement,
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  no picture you can see if it looks you know, we can measure it.
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  You can look at the frames they look move that visual effective it over
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  to the left. But in music is really hard, so you have to
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  have that that trust, and I think people here are much more generally open.
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  You can totally screw it up quickly and then that's it, but you
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  have much more of a chance, I think, to the thing. And
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  yeah, we'll be right back after a word from our sponsor and now back
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  to the show. Oh I'm sorry, I'm just gonna agree. You know.
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  Um, you know, as we as we started talk about your music
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  career, so at what point did you realize that, hey, you know,
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  I want to start composing musical scores for for for movies. And you've
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  done some video games too, So what point did did you do you know
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  that this is what you wanted to do. I always did more a movie
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  than music. I mean, I had my first I didn't have a keyboard
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  first. I had like a film camera first, and I shot some short
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  movies with the neighbor's son and mother. I know, something like that,
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  but so I was felt for movies. But um, I really never knew
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  that I wanted to do it. I m I you know, like I
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  said earlier, I started with something completely different. I wanted to, but
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  I was not, Like I think the part of it was that I wasn't
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  sure if I could do it. And even when I arrived here and I
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  I sit here in front of you know, the picture and then looked at
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  it like, wow, that's really hard. I mean, I've done this
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  for years, but every time it's really it's for me. It's really hard
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  to create music and to be creative. It's really like a like a writer
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  friend once said, it's like, you know, have to poor gasoline and
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  all over yourself and burn it and when you feel a pain then you actually
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  start really creating. It's a bit like that for me, and I'm not
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  alone, I think with that. So, um, yeah, the process
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  is difficult and it's very rewarding when it works, but it takes a long
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  time to get them. So obviously I want to ask more about that because
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  I think that that is a really cool way to put it. When you
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  start feeling that pain and that's sort of the way you create. So if
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  we were to sort of take that and dig a little deeper, do you
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  think that the whole like starving artist, you know, create constant sort of
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  pain. Do you think that that if I noticed quite a few different types
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  when I worked also with directors and also but also composers, that it's really
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  hard to strive the perfect balance that you are critical enough to create good stuff
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  but not question yourself to the level of pain that you cannot actually but you
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  in your way, in your own way of creating something good because you might
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  see it. And I think it has to do with experience, but also
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  of course with character you can get get rid of. So it's it's this
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  healthy balance where you don't be too full of yourself but also be confident.
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  I always say, it's like what you need is a lot of character,
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  but no ego, and that's very difficult, right, So you have to
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  bring in this this profile and make it very unique, find the unique voice
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  when you create, but don't bring in your own own personality when it comes
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  to actually how to do the job. Because film is definitely a teamwork,
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  and that's actually the essential multi media event, right. You have sound,
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  you have a picture, you have the actors, you have you know,
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  the music, um, when it all comes together. So it's been always
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  the teamwork, which which I what I like about film. And I've never
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  been the type who like says like, oh give me, give me the
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  picture. It needs to be the tape, right, give me the tape
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  and don't talk to me for six weeks. But always been I always had
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  like various studios where I moved close to where the director is. I had,
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  you know, I have place here, a mobile place when I had
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  the Warner brothers and I sit next to the director if they're actually edit there
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  or you know whatever, or in UM in Beijing, UM, wherever I
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  have to go, wherever the director is, I want to be and right
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  next to the editorial and and talk not about music, but like just you
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  know, absorb what they do. So you're part of that creative team.
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  And to understand I'm often on the set too when you understand where but it
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  is the director actually wants to get out of it, how he sees that
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  arc of the senior emotional arc, et cetera. So you're you're part of
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  it, and you just have to express that in music. And the editors
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  would expressed this with you know, but the edit. But it's the same
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  word. So when you're on some of these movie sets and you know,
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  you're you're you're getting that feeling and you're not really thinking about the music.
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  You're more ingrained in what everything's sort of like the minute, you're ingrained in
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  the process of you know, of how it's getting done and everything. Do
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  you when you do go back to to to to start composing the music for
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  this, like let's use Pirates of the Caribbean for instance, When you start
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  going back and creating that music, I mean, you're just drawing from all
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  that experience of being on set of you know, maybe talking with the director
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  of of of you know of what exactly the no just what the scene is
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  about, or you know, or the sequence is about, but just about
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  the whole sort of underlining current of the whole movie. Yeah. Actually absolutely
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  yes. I couldn't agree more. I mean, maybe parts wasn't it the
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  best example because I had virtually no time to create it, But you know
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  what, it was a good example in that way because you have to then
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  trust your instincts and improvise and then it comes to your what you what you
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  do without thinking, but Ultimately, it's a lot. You're right, it's
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  a lot of Yeah, if you want experience to look, I have a
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  a lot of young writers who virtually want to prove themselves and I think they
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  have to, and that's true, you have to. But you know,
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  then you hear these scores which all sound like a pot pourri of stuff because
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  they want to show off. They don't really actively or consciously do this,
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  but it happens like that. And when you make music for film, you're,
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  um, you subordinate to the whole multimedia event, to the whole story.
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  You don't you don't want to not dominate. I mean there's strong music
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  you have to write often, so yeah, you have to just be be
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  careful in the in the give and take. So so, class, let
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  me ask you this when when you're you know, online and maybe you're you
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  know just looking around at you know, different websites and stuff. Have you
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  ever come across some of the like the stock music websites? Oh yeah,
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  yeah, sure of course. So so what are your thoughts on that?
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  Um, it's look, I don't even do demos like you know, in
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  this industry you have this like where directors ask like a handful composer for demos.
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  And it's not that I'm like, I don't know, arrogant enough to
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  say like, oh, I don't do demos. It's it's about I don't
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  believe in that process because it's no process. It's a shot in the dark
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  and something sticks and then you don't know anything about the director composer relationship,
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  how it could develop, or if the composer understands your movie at the director.
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  And so these sites are yeah, of course if you I'm a writer,
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  I always need a picture to work against. I need to be the
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  you know, the filmmaker. UM, I admire that if you can rest
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  it right, like yeah, I mentioned this kind of picture and here I
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  go. I really I don't think I've ever done that. So it must
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  be a very hard job actually to do that. And as a director,
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  of course you um, you want that work relationship more than you want the
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  music. The best directors I had, well I like to work with.
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  The best ways of working together was always UM a director where you where you
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  do not you want to show off where you don't need to. Um,
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  you don't talk about music, You don't talk about what instrument you would like,
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  or that it's actually the second it's not a secondary but that's the output.
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  You're talking about the input. You're talking about what it is, not
• 18:10
  symbolically, what it is, what's supposed to happen here, what's the emotional
• 18:14
  content, what's that's scene for, what's the moment for? How do they
• 18:18
  feel? And how do you want the audience deal? And by the way,
• 18:22
  when you write music, then you often as a director also noticed that
• 18:25
  you suddenly get into like the weaknesses of the movie by putting music on it
• 18:30
  or writing to picture. You suddenly realize issues in editing and issues and oh,
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  we're not clear about that moment here, what do you actually want to
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  say? So music kind of crystallizes that gets takes it outside. And that's
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  music as as a filmmaker, right, as a character, as a as
• 18:52
  a part of the movie, not music put in a slapped on top,
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  which sometimes works too, but it's not it's not the same. Yeah,
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  like the music as a as a character of itself. You know, it's
• 19:03
  like a soundtrack of a of a of a life because you know, when
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  you're watching a movie, it's the most interesting point to that that character's life,
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  you know, and it's like this is the soundtrack of your life,
• 19:15
  you know what I mean? So so class me ask you this when when
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  you're went, what what movie have you seen recently where you have just been
• 19:22
  like sort of blown away by the soundtrack. I have to admit, I
• 19:27
  am. I'm the guy with the smallest score collection, right I have.
• 19:34
  My inspiration doesn't really come from move film music. And that's for several reasons.
• 19:41
  A. When you actually work, you you uh inadvertently rip off and
• 19:45
  you don't want that sound in your head. You don't even know where it
• 19:48
  comes from. I mean, I ripped myself off of project I did three
• 19:49
  years ago and realized much later like, oh my god, that's the same
• 19:52
  theme. I can't believe I wrote this again, and literally it happened.
• 19:56
  We'll be right back after a word from our sponsor and now back to the
• 20:03
  show. And nobody told me and nobody noticed obviously, But I am.
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  I get my inspiration from very different kinds of music. So I'm the wrongman
• 20:18
  to ask if you inspired by that kind of and it's off, if at
• 20:21
  all it's movies, it would be hard for me to point out to um
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  is, but it's where um non traditional composers, right you know, we
• 20:29
  have too many guys who want to sound like you know, Jerry Goldsmith or
• 20:33
  you know, it's like this this ideal which is over um, and you
• 20:38
  need to develop new things and still serve the film. And you get this
• 20:44
  when I know when I listened to a Brian Eno score that to me,
• 20:47
  well, not all of them, but there's so much we're like, oh,
• 20:51
  this is interesting. I would have not done it like this, and
• 20:52
  it probably will never be able to do it like that, but that gives
• 20:56
  you inspiration. I have lots of playlists of songs though, and classical music
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  and electronic music where I keep as an inspiration like two rolling in my in
• 21:07
  my head and in the background often just too where I get something from.
• 21:12
  So so when you actually ripped off your own score, was it air through
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  after the movie had come out? You're like, oh my god, that
• 21:18
  I write? Did I already wrote? I write that? It was years
• 21:22
  after. Yeah, I was a TV show actually, and I ripped myself
• 21:25
  off and I had no idea and nobody at the time told me, and
• 21:27
  um, I mean it wasn't like that bad, but it was the same
• 21:32
  tune and it felt great at the time. Twice I mean for me like
• 21:37
  like, oh, I did it, look at it. That sounds great.
• 21:38
  Oh my gosh, I really this is good. It works and I
• 21:42
  had done this before and it's I don't know, it happens and I don't.
• 21:45
  You don't want to That's the last thing you want And the last thing
• 21:49
  I wanted to sound like something I did before. The last thing I want
• 21:53
  to sound is like someone else who did something before or so. But it's
• 21:57
  really hard sometimes, Yeah, it is, uh, you know, so
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  I'm speaking, you know, just of your process and everything like that.
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  You know what what what is the you know, the absolute best experience that
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  you've had making a score to a film. H And it's so many,
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  I mean, that's there are a few like but I think often is the
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  indie films, which are more you have an opportunity to be you have more
• 22:26
  integrity. It's easier to have integrity in terms of the collaboration and and there's
• 22:33
  less opinions out there in Hollywood. There's a lot of different opinions, and
• 22:37
  it's great to work like that, but it's easy than to like, um,
• 22:42
  I don't know, um to take the edge off everywhere and then at
• 22:47
  the end you sound end up with something mediocre. Um, because nobody dares
• 22:52
  it's it's dangerous, right. So I had some films like um. I
• 22:56
  remember I remember when like life changing was like when I did my first film
• 23:00
  in China where the director Schankaiger, did you know, let me let me
• 23:06
  write a little bit, put me up in a hotel in a lake to
• 23:11
  enjoy and write. And I thought I came up with something okay, and
• 23:15
  he listened to it and Norden and said, okay, let me make some
• 23:18
  phone calls. I think I'm gonna, if you don't mind, sent you
• 23:21
  around the country for the next few weeks and you just absorb whatever we we
• 23:27
  show you, so you get a much deeper feel for where we are with
• 23:33
  all this, I'm gonna yeah, basically like a four thousand year history lesson
• 23:37
  compressed in a few weeks of sightseeing and and that was part of this whole
• 23:42
  process there. And I think if I look back, I can hear that
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  the I was most inspired. And it took me five months there. And
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  I remember when I came back here to Hollywood, people ask me, so,
• 23:52
  oh, why heard you moved to China. I'm like, no,
• 23:55
  I just wrote a movie, but a movie. But I that was like
• 23:59
  life changing him in where you just want to be as good as the director
• 24:03
  and you know you could never be you know, achieved that, but you
• 24:07
  want to contribute and and there's a deep um, yeah, just deep inspiration.
• 24:14
  That was also a project where we never talked about them. I visited
• 24:17
  him a few times, so travel to China. We met for a week
• 24:19
  or two, and um, I don't think a single time we even looked
• 24:25
  at the film. In the first few times, we discussed his life and
• 24:29
  his his symbolism in every shot and every in every not shot, but in
• 24:33
  every scene, what he envisioned for this And and you just learn and we
• 24:38
  talked politics, and you talked all kinds of things and then you prepared to
• 24:44
  give. I think that makes a good director right too, who is just
• 24:48
  interested in getting the best out of your creation instead of trying to squeeze you
• 24:52
  into a certain track. So so what did that with that? You went
• 25:00
  on this you know, this sort of history lesson, this four thousand your
• 25:03
  history lesson and a and in a week or two, you know, did
• 25:07
  when you got out, you know, and they finally got back and they
• 25:10
  actually composed this piece. What was the outcome after that, I mean,
• 25:15
  what did you Was it a success? Yeah? It was a big movie
• 25:18
  there. It was called The Promise in China. Was one of the very
• 25:22
  first when I was ten years ago, so it was it one of the
• 25:25
  very first, like big effects movies. And and the biggest compliment, I
• 25:30
  mean you can hear in the themes. I had so many inspired themes in
• 25:33
  there, and they all did something for the movie at the right time.
• 25:38
  Um. And and the biggest compliment was like, look, I mean,
• 25:45
  I was this German guy or European guy who lives in Hollywood and does a
• 25:48
  Chinese movie. So what do you expect me at? Ask him at the
• 25:52
  time. So I'm not the guy who writes your Chinese movie. It was
• 25:56
  all in Chinese, of course, right, And he's like, no,
• 25:59
  no, and he wants people to with the music to open up the film
• 26:03
  and the understanding about the film to a greater audience, to a big audience,
• 26:07
  and that's exactly okay. Well, so I absorbed a lot of these
• 26:11
  Chinese instruments in history and stories and dances I had like I was at you
• 26:17
  know, in museums and at mountains. You know, they performed dances to
• 26:21
  me and I listened to ancient songs on all these different minorities and absorbed all
• 26:29
  this and put this in, but not to like rip it off, not
• 26:30
  to you know, use this as a superficial color and impose myself on it,
• 26:36
  but to really like, you know, work it in and have flavors
• 26:41
  of this in there. And there was some European flavors in there, and
• 26:44
  of course Western flavors in there. So that was so satisfying for me as
• 26:48
  a process. And you can, you know, you can hear this in
• 26:52
  the inspiration. It's that there is something new created it, you know.
• 26:56
  When I heard some people told me that this is one of their favorite scores
• 27:02
  and not and I didn't know the story, so we can you can always
• 27:04
  hear how inspired you are. You You mentioned about the indie films, and
• 27:11
  uh, I know, earlier on I mentioned Pirates of the Caribbean. You
• 27:14
  know, I imagine just for the sheer thrill of it, because Pirates of
• 27:18
  the Caribbean, no matter when it would come out, is going to be
• 27:19
  one of the biggest films of the year, you know. Um, you
• 27:22
  know, from the first one to the fifth one. I think that came
• 27:26
  out a year or two ago. You know, Um, it's just the
• 27:29
  fact that it's the you know, it's a huge, huge movie. It's
• 27:33
  got Johnny Depp. Uh, you know, it's got you know, a
• 27:37
  name director of Gore Vibrinsky. But if I could actually talk and you know,
• 27:42
  and and and so, I mean, I imagine you know when that
• 27:45
  when that comes out. I mean, I mean connoclutly imagine Klaus when you
• 27:48
  could say, hey, listen, you know you see uh he's telling anybody,
• 27:52
  friends, family, whoever, Hey, you know Pirates of the Caribbean
• 27:55
  that's coming out. You know I did music for that movie, because everybody
• 27:59
  instantly knows, Oh my god, that's me, Johnny tap right. Of
• 28:02
  course. I mean it's always great to have something where you know, your
• 28:04
  your you know, your family asked you, so what are you doing next?
• 28:07
  And do you talk about a movie and they're like, oh, I've
• 28:10
  never heard of it. But and then there's one, you know, there's
• 28:14
  the occasional film we're like, oh yeah, this and everybody's in mind and
• 28:18
  theaters and certainly one of the music pieces but more known. But um,
• 28:25
  I don't know, look at me. I mean I'm proud of it.
• 28:26
  Of course, about talking this down. But I did so many different things,
• 28:32
  and I always like to It's so easy to fall to this Hollywood trap
• 28:37
  to to like what you do too much. And uh, career was never
• 28:45
  an option to me to be in the center of my own attention. I
• 28:49
  just did one thing after another, and honestly I never really thought about,
• 28:53
  like like moving here. And I was one thing I never really fought about.
• 28:56
  It was on vacation I guess I'd, oh, maybe I can do
• 29:00
  this. Of course I loved it and I had the passion for it,
• 29:02
  but I didn't never expected it to happen. I never expected and the same
• 29:06
  thing within any right so I had right after Pirates, for example, I
• 29:08
  didn't, Oh, then the last thing I would want to do is to
• 29:11
  do two, three, four, five seventeen, make it a TV show.
• 29:15
  But instead, I remember at the time where I used the opportunity then
• 29:19
  to do a movie with Dick Donner, or do a movie with Wolfgang Peterson,
• 29:22
  to do a movie with Shane Kayager. All you know what I just
• 29:26
  said, Like went to China five months. My agent was like, you
• 29:30
  know, putting his hair out. It's like, what are you doing?
• 29:32
  This is like the moment to put you can your career. Like I know,
• 29:36
  it's not that I'm not interesting, but that is exactly what I'm doing
• 29:38
  right now. Because of this, it enables me to do really interesting stuff.
• 29:42
  I've done a lot of French movies nobody cares for here in America.
• 29:47
  They don't travel, but which just so amazing me. Satisfying that someone will
• 29:52
  hear the work ultimately, and then you get another job. We'll be right
• 29:56
  back after a word from our sponsor, and now back to the show based
• 30:06
  on something you did which nobody would have given. You know, I did
• 30:08
  Suddenly comedy in New York. Wow, and body would have hired me for
• 30:14
  a New York style comedy because I did pilots of agree with But they did
• 30:18
  that because they heard I don't know, Pidd Cooline in Paris when they went
• 30:22
  on vacation, or you know, I had a meeting and like who's this
• 30:26
  and oh what this is German guy? Amazing, let's do that. So
• 30:29
  this is I think if you constantly do good work and try to not really
• 30:32
  re if you always reinvent yourself and try not to repeat too much, because
• 30:37
  everybody wants that, like you know, they play, they put your music
• 30:41
  in the temp and say I want to exactly this, don't change and note
• 30:44
  this works great? Can you do this again? That's how often you get
• 30:48
  an assignment here is that you are in the temp and sorry. But the
• 30:53
  last thing I would want to do is if I was a director, I
• 30:56
  would ask the composite right, exactly is him think? Again? That's like
• 31:00
  so not inspiring for anyone and they probably can hear this, and you can
• 31:03
  hear sorry, but you can hear composer. I want to mention names of
• 31:07
  films definitely. Where are you? Um? You're like, wow, I
• 31:10
  know exactly what happened in the in the cutting room, how they asked the
• 31:14
  composer of what to do and you can hear it. That's what I'm interested
• 31:18
  in. You know what? I found that in Claus Um. I found
• 31:25
  that in the littlest Star Wars films. You know, I like Star Wars.
• 31:30
  I like the idea behind it. I mean I come from it from
• 31:33
  more of a writing perspective, because if if you ask me what I what
• 31:36
  I am made out of? Everything? You know don't be You know if
• 31:40
  that's why whenever someone says they're jack of all trades, Claus I kind of
• 31:42
  go, well, everyone has to specialize in something. Everybody. You can
• 31:45
  have knowledge of everything, but everybody, at the end of the day,
• 31:48
  everyone specializes in something that that brought because that's what brought you to the dance.
• 31:52
  You know, you have you know, there's one thing that you do
• 31:56
  well. So for me, it's writing. And when I'm watching the store
• 32:00
  with the new ones, you know, and I'm sitting there, I just
• 32:02
  go, I just feel like everything is exactly the same. It's the same
• 32:07
  beats, it's the same shots, it's the same music. It's it's so
• 32:13
  so repetitive. Yeah, I mean, this is what now we're getting into
• 32:20
  what I think is a bit of a problem of Hollywood, and a serious
• 32:22
  problem of Hollywood the last few years, especially that we are not afraid to
• 32:30
  tell a story. But yeah, in a way like it's risky now to
• 32:32
  tell new stories. It has to be a franchise and then you do that.
• 32:39
  And as long as there's a lot of people paying tickets for that,
• 32:45
  how can that be wrong? Right? Um? And and it's okay,
• 32:50
  and we have to all creep keep the lights on and keep the industry going.
• 32:54
  Um, it's just not so much what I'm you know, I did
• 32:59
  do I was about to say I never did sequels. I did do sequels,
• 33:01
  I have to admit. But when it was I made sure that if
• 33:07
  possible, this was like, okay, there's a French ship by the new
• 33:10
  director. Um, a new like a restart of something like in a fresh
• 33:17
  angle at something like when I did my first horror film, I total director.
• 33:23
  I don't like horror. I wish I should. I'm not a big
• 33:27
  horror fan. Sorry, but so why are you asking me? And then
• 33:31
  we started talking. That turns out he neither. So we wanted to do
• 33:35
  something no a genre but something different. Um, and that was that case
• 33:43
  was well, I wasn't really horror, but like Constantine, it was a
• 33:45
  lot of like dark dark stuff in there, and it ended up with almost
• 33:50
  like a French um impressionist film score. Um. You know then I think
• 33:57
  that's interesting. Stuff happens, and we're a bit we've become a bit afraid
• 34:00
  of of doing this year and that's why indie film can often be you know,
• 34:07
  this way, you try out things and then they become mainstream. I
• 34:10
  personally think it indie is the new mainstream. Anyway. Look the last few
• 34:15
  years, last ten years and it's been always indie films winning or being nominated
• 34:22
  for for all kinds of awards. But and there's always that commercial blockbuster thinking
• 34:29
  where you have to do another sequel of another piquel of another TV show.
• 34:35
  Um, I don't know. I'm just coming off a film which had like
• 34:38
  it's the fourth installment, but um, but there was a new idea again
• 34:44
  in there. Um it's called the um I think I can talk about it.
• 34:47
  So in the making, it's called the Ocean Oceans eight, you know,
• 34:51
  it's the Oceans eleven idea, only very different cast and a very different
• 34:54
  fresh idea. It's it's an all female cast, fantastic, very funny,
• 34:59
  and and it's like smart, right, So that that I can live with,
• 35:01
  And it's so that's a good mix of being okay, that's commercially very
• 35:06
  viable, but at the same time there's a lot of new and fresh ideas
• 35:09
  and in a there's a twist in it, and you can talk about tell
• 35:14
  the twist and work on the twist. Yeah, I actually have heard of
• 35:19
  Oceans eight. Um, you know, the all female you know, based
• 35:22
  upon the George Clooney movie Oceans eleven. But instead of being all males,
• 35:24
  all females, and so I mean when you you know, do something like
• 35:30
  that, uh, you know, and you're sort of brought onto this franchise.
• 35:35
  Is there any expectations at all? I mean because real? I mean
• 35:37
  what I mean by that is, do they are they saying like, hey,
• 35:39
  listen, Klaus, you know, if you listen to Oceans eleven twelve
• 35:43
  or what have you, this is what they did here, and we want
• 35:46
  something kind of similar. And you know, is there anything like that?
• 35:52
  Yes? And no, look, I mean they would have. They could
• 35:54
  have easily asked the old composer to do that if they want that same thing
• 35:59
  again. But there's a reason they didn't. But there's also the expectations of
• 36:04
  the audience that you remember when working on Mimi Vice, right, he always
• 36:08
  has a certain expectations, expectation, and you as a director or from as
• 36:13
  a composer too, you have to not you cannot ignore the audience. So
• 36:16
  you should never do that. You play with that, I know, And
• 36:21
  Mime Vice was very hard because the movie was very dark and very different than
• 36:24
  what you know, the TV show was thirty or twenty years before that.
• 36:28
  But and here too, it's it's slightly different but it plays with it,
• 36:32
  and to me, that's fun. That that's okay, that's smart, that's
• 36:36
  um, that's fulfilling the expectation and hopefully adding that twist to it so it's
• 36:43
  interesting and fresh. Again, that's fun. That's not like, okay of
• 36:47
  to do. I don't know Pirates of the Caribbean times seventeen, and they
• 36:52
  won't exactly the same thing. You know. I actually really enjoy The Ocean's
• 36:59
  movie, so I mean, I'll check out Oceans eight. But you know,
• 37:02
  it's kind of like again, you know, I was saying, I
• 37:05
  totally get what you're saying about the indie films. It's kind of like,
• 37:07
  you know, writing, you know, it's like it's it's like composing itself.
• 37:09
  You know. We we're on an indie film, you can you have
• 37:13
  a lot more freedom, it's you know, but when you're on a big
• 37:15
  blockbuster, you know, you know, your your freedom is kind of constricted.
• 37:19
  But when you again, when you're telling you know, people about it,
• 37:22
  you're like, well, hey, listen, I just did music for
• 37:23
  et cetera. They're like, oh wow, I actually you know what I
• 37:25
  mean, Like, holy crap, Johnny Depp, Um, sorry, keep
• 37:29
  going back to Johnny Depp, but he's he's a very good example, you
• 37:31
  know what I mean. But what do you have to say? You know,
• 37:34
  you have that obsession with Johnny Depp? I like that. No,
• 37:36
  but I know what you mean. Yeah, I know. It's it's just
• 37:37
  exactly like it's so tempting. But again, I mean, I remember this
• 37:42
  when my mom asked me, so, I just came out of the meeting
• 37:44
  with Steven Spearbork and and he kind of ripped half of the score apart on
• 37:47
  Gladiator and we're like, gosh, this was one of the hardest days of
• 37:51
  my life at the time. And and I tried to tell a little bit
• 37:54
  like what mommy just did this and she's like, okay, what, um?
• 37:58
  Do we eat enough? So you know it grounds you. She didn't
• 38:01
  care um, and you you get back to like, okay, you know
• 38:05
  what you need to bypass all this this hype about yourself and about others.
• 38:08
  And I just get two words. So I'm not really impressed ultimately with when
• 38:14
  it comes to celebrities. It's only I'm impressed when you know, again,
• 38:17
  it gets starts like when they actually deliver and when you work with them and
• 38:22
  you realize and I understand why they are who they are. Then it gets
• 38:25
  very very interesting. Um, there's some directors I add here. I mean
• 38:30
  when you work with Tom Cruiser, So then it's you you understand, you
• 38:35
  know where that where the success comes from if you have to have a chance
• 38:38
  of workman. But um but again in Indy it's um, it's as refreshing
• 38:45
  and as um as taxing to your creativity and um again you can we have
• 38:53
  more frem to get out of and I do out of the box thinking.
• 38:59
  And you can see now that the audience is really tired of the same Game
• 39:06
  of Thrones and Batman's and stuff. Right They yeah, they'll see it,
• 39:08
  they'll watch it. But you know, I mean I lately did a lot
• 39:12
  of gather a lot of data about this too. Not only they've felt it,
• 39:15
  but there is a lot of data that people are want more variety.
• 39:21
  Now that you have the Internet, you watch much more and you have theoretically
• 39:25
  access too much more. You don't have these gatekeepers because of shelf space.
• 39:31
  Right before, you could go to Blockbuster only, and that limited shelf space
• 39:36
  so they couldn't put out everything, or the theaters could only take on one
• 39:43
  movie night or something right. But now you have all this plus the unlimited
• 39:49
  resources of the internet, so you should be able to watch much more.
• 39:52
  And the more and more people want that. We'll be right back after a
• 39:59
  word from our sponsor and now back to the show. They expect like everything
• 40:07
  to be available, and that's a big chance of indie. I think that
• 40:12
  you have now the chance of being successful without being broadcast style popular. That
• 40:23
  means you don't have to have the millions of millions of years or tickets sold
• 40:29
  or something. Without that, your movie is a flop. I worked on
• 40:31
  maybe flops. I know exactly how hard that pressure is, right I um,
• 40:37
  and and how limiting it can be. But now you can create something
• 40:43
  and you make this for maybe a smaller segment of an audience or have more
• 40:46
  integrity. UM. It's a little bit like music. Like used to you
• 40:52
  have to you had to go to a recording studio. You had to use
• 40:54
  that two inch machine, that tape machine, and it was all very expensive.
• 40:59
  You had to pay the thousands of dollars per day, so you had
• 41:02
  to have all this machine would pay for this, and you know the industry
• 41:07
  or these days are like for a few years. Now you can actually write
• 41:12
  you know, effort, the best productions coming from your laptop to some I
• 41:15
  don't know, pro tools or whatnot on it, and it's really great stuff
• 41:20
  you don't need at all, and it sounds amazing too. There's need talent,
• 41:22
  good ideas, and we have this now in movies too, right,
• 41:28
  that's the big chance of indie We have now digital production pipelines make it very
• 41:31
  very cheap for you to produce now, I don't know, including visual effects
• 41:37
  on your laptop at Starbucks, which rival those we do here in in in
• 41:44
  those visual effects studios. Ya um, but not only visual effect you know.
• 41:49
  That's just an example of everything you just you know, you still need,
• 41:52
  just like in music, a good idea, tasteful implementation. Um et
• 42:00
  uh. That's still the same. But you have now a great opportunity that
• 42:04
  you can move now a lot of things yourself, and that there's a demand
• 42:08
  on the other side of people who want to watch more different things I want
• 42:15
  to watch and give you give the attention to your indie film whist before they
• 42:22
  didn't didn't even have access to it because it wasn't there, I wasn't available,
• 42:25
  and now he can't make it available world. Yeah, you know you
• 42:30
  mentioned Tom Cruise by the way, two Claus. You know, I once
• 42:35
  met Um. I forget what he what he actually is, the Tom,
• 42:38
  but he just said that the he before you even met Tom, he goes,
• 42:43
  he always wondered what he was going to be like, and then he
• 42:45
  said, once I met him, I knew why he was successful. And
• 42:49
  he goes. He wakes up every day at four or five in the morning.
• 42:52
  Um, he gets up and he just starts going and he goes.
• 42:55
  He never complains about having to be on set or don't know, he never
• 43:00
  complains about having to do extra work. He goes. All the guy does
• 43:04
  is he he goes. You know, his professionals can be uh, and
• 43:07
  he goes. He goes. I've never seen him with a with a bad
• 43:12
  attitude whatsoever. And he goes. You know, he gets a lot of
• 43:15
  crap in the media for for different things he goes, but but you know,
• 43:17
  all that aside, he goes. The guy just is a really hard
• 43:21
  worker. Yeah, and the tablaid news that's one thing. But as a
• 43:24
  hot worker exactly, I mean, he was actually fantastic to work with.
• 43:29
  He was probably the only um, you won't even the director on the film.
• 43:32
  I work with him. But you know, the only like producer who
• 43:37
  you know, he had no problems seriously going out at night to the Delhi
• 43:42
  and get everyone who was still working because he had to work all night for
• 43:45
  the last few nights to get us some food. Um, so he had
• 43:49
  Tom cruise looking short of taking an order for Jerry's deli. So that's true.
• 43:54
  And that's not like he wanted to be a nice guy. He's just
• 43:58
  like, yeah, let's do it, you know, keep keep working.
• 44:00
  And I really appreciate that. And then you can see how how this leads
• 44:05
  to uh success, and well, of course how he can lead to controversy,
• 44:09
  but he's a very visible man so and in the in the in the
• 44:13
  news and everywhere. So but again I focus always, like I said,
• 44:16
  I like to focus on actually working with these guys. And that's when they
• 44:21
  they gain my respect. Um and then you realize, oh yeah, okay,
• 44:25
  I don't know why yeah yeah, and uh see again stories like that
• 44:30
  about Tom, you know, uh just you know, insanely hard worker and
• 44:34
  just likes what he does. And uh you know that's why when when his
• 44:37
  movies come out, you know, I'm always interested to see how how well
• 44:40
  they do began with the whole balancing the tabloid side of things, and you
• 44:45
  know what I mean. I I you know, I saw the Mummy,
• 44:50
  and um, I could definitely see what they were trying to do with it.
• 44:52
  Um. You know, I just think that the Mummy as itself,
• 44:57
  the premise itself works at its best when Brendan Fraser had the had them exactly
• 45:02
  because I agree, because Brendan Frasier he's just he's just that he looks like
• 45:07
  a leading man, but he also can act like a goofball, you know
• 45:10
  what I mean, And it's that funny and he and you know what I
• 45:13
  mean, and it's just it works so well. I think The Mummy with
• 45:16
  Tom Cruise just took itself too seriously. And I think a lot of audiences
• 45:20
  now you know, um, you know, with all the options, you
• 45:23
  know, with all the options of TV and YouTube and everything else, and
• 45:27
  and and also with still going to the theater, I don't know if if
• 45:32
  it found its I actually I know it didn't find itself. You know,
• 45:37
  some of the some of the horror and it was was was fantastic, But
• 45:39
  I just think at the end of the day, you know, it's a
• 45:43
  lot of pressure to put on a movie to set up an entire universe.
• 45:46
  So you know, essentially it has because you know what, you know,
• 45:50
  it has to do so many things well and at the same time, it
• 45:52
  has to be a movie by itself. So you know, you know,
• 45:55
  it's just it's a lot to do. And I think it got pulled in
• 45:59
  too many directions. Uh, that happens a lot. And again it's hard
• 46:02
  to because we seem to only be able to do franchises in re re remanufactory
• 46:09
  factor them right now. Oh, like that's the big thing to do.
• 46:14
  Um. Yeah, I totally understand what you're saying. Like the perfect anti
• 46:19
  hero, you know, was Frand Frazier and you know, reminds me of
• 46:22
  I don't know, Harrison Ford, you know, you know Indiana Jones,
• 46:28
  Like he's like you you want that character who's like, you know, he
• 46:30
  say goofy, but he's more like he can do he can't do it actually,
• 46:34
  but he doesn't want to. That's that's not the character, you know.
• 46:37
  You Yeah, it comes in. Tom is always Tom Cruise, right,
• 46:42
  and there's you know, no matter. He's good. He's a great
• 46:45
  actor actually, but he really I really admire his skills, no, no
• 46:50
  questions, no matter what how thin the movie exact is. But he's really
• 46:53
  great. But he's always giving himself into it. Um, so do you
• 46:59
  expect that? And it's it's hard to play against your own character and yeah,
• 47:05
  yeah, yeah, it's true. And he's doing what he likes and
• 47:07
  doing what he loves. And there's also in stunts too, um you know,
• 47:10
  And I know Classes, we talked about distribution. I want to talk
• 47:13
  about film. How I know we're starting to run out of time. Um
• 47:15
  see how see? You know class is kind of like a movie. It's
• 47:19
  like how how crap? How do we get all this in here? And
• 47:21
  we've got too much to cover? We we don't have enough time. No,
• 47:23
  don't worry or about it. No, that's not not supposed to.
• 47:28
  I like to talk about um creativity, and I like to talk about um,
• 47:34
  the force and the and the awakening now Indie should have and I want
• 47:37
  to bring because I believe in it myself and I've done it a lot and
• 47:42
  with indie film, and I believe that there's now this big change and distribution
• 47:47
  or whatever the the the over solution is that we have now as indie filmmakers
• 47:52
  a new um confidence. We should have it, and who doesn't have it
• 47:59
  yet should learn about it because it is now possible. All I'm doing all
• 48:04
  the time now is with either with music in films to support this with film
• 48:07
  up. I'm doing this to support it on a much larger scale, hopefully
• 48:12
  that you can now check this off as in commodity you can now you know,
• 48:16
  you can now do films cheaper with your digital cameras. You can do
• 48:21
  visual effects cheaper with or on your own. You can now check that off
• 48:25
  and check off distribution. You can now be in every living room in the
• 48:29
  world. And you have to think of the world and not just your own
• 48:32
  country. Or you know, we have to stop with thinking in domestic and
• 48:36
  foreign terms. You have to stop with territorial um limitations. We have to
• 48:44
  stop thinking windowing. This is all what the audience doesn't want. This is
• 48:47
  all what the industry wants to make a bit more money, you know,
• 48:54
  to exhort it even more, to milk the cow more. But just like
• 48:59
  in music, we've seen music is like a few years ahead of us.
• 49:01
  In film, you can see how things happen there because also the difference to
• 49:07
  me is only like bandwidth, right music is just less bandwidth needed. But
• 49:10
  you can see the same flow and you can learn from that, and you
• 49:13
  can see how unimportant big industry can render itself. And then they come back
• 49:19
  to what's the actual value. Hollywood does have a big value, but indie
• 49:23
  film has a much larger value than we have given us so far. And
• 49:29
  to strength and strengthen that in this case with the distribution platform where you you
• 49:35
  don't have to pay anything and just be there and let it, check it
• 49:38
  off and then keep creating. And we have much more, much more to
• 49:43
  do that. It's still even though we have the Internet and everybody can now
• 49:47
  watch and whatever they want, whenever they want it and wherever they want it.
• 49:55
  We'll be right back after a word from our sponsor, and now back
• 50:02
  to the show. That doesn't mean you make movies by the way, for
• 50:07
  cell phones right like this is. It's been talked about for the last ten
• 50:12
  years, but that's not the case. You just have much more freedom as
• 50:15
  the audience now to watch what you like. It's harder to find what you
• 50:19
  like because there's so much more now. But we have to know, put
• 50:23
  all these tools into place, all these digital tools into place, and leverage
• 50:28
  them as filmmakers. You've got to move on and and embrace this too.
• 50:35
  We have to stop being that dinosaur ourselves. And there's a lot more to
• 50:39
  talk about right when it comes to but in general, it means like this
• 50:44
  is a great opportunity, is the digital opportunity now to create actually very beautiful
• 50:50
  and meaningful film. Again, more than if I may say so, Hollywood
• 50:57
  is um dares to produce at this point. Yeah, and that's why you
• 51:04
  know, stuff like film Hub and and I was reading your website too,
• 51:07
  you know, I've had other people on here like Jason Brubaker from distribu.
• 51:12
  Uh. You know things like that where you know, people are you know,
• 51:15
  companies like yourself, they're you know, it's a way to get on
• 51:19
  Amazon. It's a way to go on Hulu. Uh. You know,
• 51:22
  so people can because those are where the eyeballs are, right, you know,
• 51:24
  especially with Amazon. I mean, especially with Amazon the way it's becoming,
• 51:29
  Uh, they're trying to get more into the video market. You know,
• 51:30
  Hulu is Hulu, uh, you know, and all these different channels.
• 51:35
  You know, how do you stand out? You know, how do
• 51:37
  you get your film on there? Because I mean, you know, even
• 51:38
  a couple of years ago, I remember, you know, just talking to
• 51:42
  people and I would say, how the hell do you even get a film
• 51:44
  on here? You know, how do you get a film on any of
• 51:46
  these platforms? You know? Do you have to get an sales agent to
• 51:50
  pitch to them? And you know, uh, a few years ago,
• 51:52
  maybe it did, you know what I mean? And actually you did have
• 51:55
  to you know, they had to have the contacts, they had to go
• 51:58
  through this, and then you had to have deliverables the right way, and
• 52:00
  you know, right exactly, I mean seriously, and your Netflix has their
• 52:05
  own way of delivering films, you know, and it's just you know,
• 52:07
  do you have all that? Um, even deliverables? A few years ago
• 52:10
  before that, Claus, you know, you had to have do you have
• 52:13
  a thirty five millimeter print? Um? Do you have this? Do you
• 52:15
  have that? And you're like, well, for for indie filmmakers, you
• 52:19
  know that that's that's you know what what how much did it? Did?
• 52:22
  Princes used to cost cost like fifty thousand dollars I think or something like that,
• 52:25
  or maybe a lot more so, right exactly? So for example,
• 52:30
  yeah, yeah, seriously, it would say it's you know and uh so
• 52:32
  so that's why I wanted to have you on Claus to talk about film Hub
• 52:36
  and just all this stuff. I know we kind we were running out of
• 52:38
  time. Um, but do you know, just just in closing Claus,
• 52:42
  you know, is there any sort of parting thoughts that you wanted to say
• 52:45
  to sort of put a period Danna's whole conversation. Well, again, like
• 52:47
  I think it's about to me, it's about like and I love coming on
• 52:52
  the show like this is to talk about the strengthle Indie and that um,
• 52:57
  we have to develop now really quick our own own um confidence more than you
• 53:02
  know, we think that often. I still I was at Sundance again and
• 53:07
  everywhere I go in these best sorts, we still think too much of what
• 53:12
  we want to achieve is to beat the old system to get your film being
• 53:15
  picked up in terms of uh, like like recording artists in music that also
• 53:22
  already means the kiss of death. You have to develop it on your own
• 53:27
  and be your own, have an ownership model. We have to change the
• 53:30
  model and then the creativity can actually continue. And so what we're building here
• 53:35
  with this film, for example, what I'm doing with my movies thing and
• 53:37
  to support like Chinese movies' is like there is such a variety out there and
• 53:40
  we just have to keep going, um, creating great stuff, and this
• 53:45
  is now a much more open world. And then maybe next time we can
• 53:49
  talk a bit more about well how I how, I see how what the
• 53:52
  what? In my opinion, the right way forward is the right vision forward
• 53:57
  is where this industry can be in five years. But that's maybe too much
• 54:00
  fun now, I could talk about it next time. I know, I'm
• 54:02
  actually now I'm tempted to, you know, keep talking to you, just
• 54:06
  to you know what I mean. I know you gotta I know you gotta
• 54:07
  run, but I'm just tempted to keep you, to keep you hanging on,
• 54:10
  just to just to sort of finish that thought. Um. I mean
• 54:14
  you know that's why you know I'm getting back into the swing of things too,
• 54:17
  you know, I got just burned out from doing things. And now,
• 54:21
  um, for for listeners who who who you know listened to the past
• 54:22
  couple of episodes Clouds, they know I'm actually gonna start making I want to
• 54:27
  make a faux trailer again, just a fun fake trailer and throw it up
• 54:30
  on YouTube. Um. I've been doing a lot more stuff. Um,
• 54:32
  just with with back getting into the saddle with this creative stuff. I've always
• 54:37
  been writing, um and you know, it's just it's just you know,
• 54:39
  getting back into it because I realized, you know, I I just talking
• 54:43
  with everybody leaving, you know, every guest. You know, I always
• 54:45
  hear different things, and it's just important to get keep going and keep trying
• 54:49
  and get hitting back out there, because I mean, I flat out with
• 54:52
  be very honest with everybody. I got so burned out clouds from just the
• 54:54
  amount of bullcrap um just from like you know, projects never went anywhere to
• 55:00
  you shoot a project and then somebody holds it hostage on a hard drive,
• 55:05
  which I've seen. You know. That only happened to me once, thankfully,
• 55:07
  but other people it's happened to them like two or three times. You
• 55:09
  know, just crazy editors. Because I'm just saying that, because are saying
• 55:13
  in the dark the whole time. You know, they gotta snap. But
• 55:15
  yeah, but you know again, I know you have to go clous and
• 55:19
  uh you know, so again I want to say thank you for coming on
• 55:22
  and where can people find you out online? Um? So we're at filmhop
• 55:25
  dot com and my own personal website is at Clausbatl dot com or clous Bottle
• 55:30
  dot com. Um, so you can you can find me there and and
• 55:34
  go from there and and reach out on Twitter. Um we're a filmhop HQ.
• 55:37
  I wannitor that personally too, and then yeah, get in touch and
• 55:42
  let's I think, let's keep creating that revolution or really like that. And
• 55:45
  I love that you, you know, going back getting back into it too.
• 55:49
  We have to keep creating it. That's that's the idea. Yeah,
• 55:52
  you gotta have one foot in theory and one foot in practice. It's dangerous
• 55:55
  when you you know what I mean so exactly. So thank you, Thank
• 56:00
  you, Klaus. I just off top of my head, buddy talk top
• 56:02
  my head. So everyone, it's Dave Bullis dot com, Twitter, It's
• 56:07
  at dB podcast Klaus. I want to say I'll fet us in and thank
• 56:14
  you. See see that that rudimentary German helped out by that. That'll help
• 56:19
  you worldwide. Um. No, thank you for having me all the fun.
• 56:22
  I keep following your podcast and I hope it was in a little bit
• 56:28
  insightful for someone. I want to thank Dave so much for doing such a
• 56:31
  great job on this episode. If you want to get links, to anything
• 56:34
  we spoke about in this episode. Head over to the show notes at Indie
• 56:37
  Film Muscle dot com for Slash seven six, and if you have it already,
• 56:42
  please head over to Filmmaking podcast dot com, subscribe and leave a good
• 56:47
  review for the show. It really helps us out a lot, guys.
• 56:51
  Thank you again so much for listening. Guys, as always, keep that
• 56:52
  hustle going, keep that dream alive, Stay safe out there, and I'll
• 56:57
  talk to you soon. Thanks for listening to the Indie m Hustle podcast at
• 57:00
  Indie Film Hustle dot com. That's I N D I E F I L
• 57:05
  M h U S T l E dot com.