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You Can't Predict This Thriller From Daniel Stamm Lockbox · Arroe Collins Like It's Live

0:00
Speaker 1: Hey, we're trying out a brand new show on arrow
0:01
Speaker 1: dot Net. It's featured on several different podcasts. It's called
0:05
Speaker 1: Music's Lost History. You know the songs, but do you
0:09
Speaker 1: know the story. I mean, that's the kind of stuff
0:12
Speaker 1: that we used to rush to Rolling Stone Magazine for
0:14
Speaker 1: and every now and then old style terrestrial radio would
0:17
Speaker 1: give us a little shot in the arm two about
0:18
Speaker 1: our favorite songs. Music's Lost History only on Aro dot
0:23
Speaker 1: net Aroe dot Net. Enjoy your exploration. Good morning, Daniel,
0:29
Speaker 1: how are you doing today?
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Speaker 2: Good morning, I'm doing really well. How are you? Oh?
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Speaker 1: Fantastic. I have experienced this movie, and it truly is
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Speaker 1: an experience, and I want people to go through it
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Speaker 1: exactly the way we did it. Don't try to write
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Speaker 1: this movie because it's already written and it's been directed
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Speaker 1: by you, Daniel. Let you tell the story. And it's
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Speaker 1: an oh my god moment.
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Speaker 2: I'm glad that you're saying that.
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Speaker 3: Yes, when I read the script for the first time,
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Speaker 3: I think I went through exactly that. I had no
0:56
Speaker 3: idea what was going on, And you've kind of at
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Speaker 3: some point you feel like you've seen every movie you
1:01
Speaker 3: could pretty well predict normally what is going to happen,
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Speaker 3: so it's really special, So like one in one hundred
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Speaker 3: scripts where I really have no idea, and then in between,
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Speaker 3: for a moment, I'm like, oh, I know where this
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Speaker 3: is going, and then it takes a one eighty again
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Speaker 3: and suddenly it's a courtroom drama and suddenly and it
1:16
Speaker 3: says you know, and all the characters are completely changing,
1:19
Speaker 3: and it was just such a joy. And then of
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Speaker 3: course one of my big thing when we made it
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Speaker 3: was like, oh, let's keep the mystery alive. Let's let's
1:27
Speaker 3: not hint at the third act. But of course as
1:29
Speaker 3: soon as a marketing department gets their hands on the footage,
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Speaker 3: they will go right into the third act and get
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Speaker 3: all the kind of visually meaty stuff. And to try
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Speaker 3: to not signal what genre you were in was kind
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Speaker 3: of a fool's errand on my part, you know, because now,
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Speaker 3: of course the poster is kind of very clearly, you know,
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Speaker 3: telegraphing where you're going. The trailer shows you everything. So
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Speaker 3: to what you're saying, if you can, don't watch the trailer,
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Speaker 3: don't watch anything, just watch the movie as is, and
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Speaker 3: you'll have a much much more intriguing time.
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Speaker 1: Well, I'm really amazing how today's movie making is getting
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Speaker 1: the attention of people like Steven Spielberg, and he says,
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Speaker 1: it's in the directing, and it's also in the writing,
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Speaker 1: because you guys have tapped into this brand new generation
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Speaker 1: of storytelling and you know how to reach it, and
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Speaker 1: you know how to get in there with that intrigue
2:17
Speaker 1: you're talking about while shifting subjects but not interrupting the
2:20
Speaker 1: pattern of flow, right.
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Speaker 2: And it's all in the writing.
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Speaker 3: I studied screenwriting for four years at a film school
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Speaker 3: in Germany before I ever directed anything, and to this day,
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Speaker 3: writing to me is the moment of genius. It's the
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Speaker 3: moment of inception. You know, when someone creates this something
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Speaker 3: out of nothing. It's a godlike process. Whereas directing, not
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Speaker 3: to poo poo on directing, obviously, like something that's well
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Speaker 3: directed is an amazing piece of art, but it's a
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Speaker 3: translation process. You take something from the page and you
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Speaker 3: hopefully enrich it and you probably hopefully make it better
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Speaker 3: than it even was on the page.
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Speaker 2: You tried not to screw it up.
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Speaker 3: Sometimes you screw it up, but at this incredible moment,
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Speaker 3: it's all in the writing. So especially with an audience
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Speaker 3: that has seen everything, and that needs to understand within
3:08
Speaker 3: the first two minutes that they're watching something worth watching,
3:11
Speaker 3: because otherwise they'll find something else.
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Speaker 2: It's all in the writing. I can't make a bad
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Speaker 2: script work.
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Speaker 3: I can put It's like it's like putting putting garnish
3:22
Speaker 3: on a dish that tastes like poop. You know, you
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Speaker 3: just can't make it. You can make it look good
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Speaker 3: for a second, but really you won't get through it.
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Speaker 3: So yes, it's it's all in the writing more than anything.
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Speaker 1: Oh my god. I can so relay with you on
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Speaker 1: a commercial level in the way that they'll bring me
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Speaker 1: a script and I'll look at it now, and this
3:37
Speaker 1: is where I get in trouble. I'll go hmm, and
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Speaker 1: you don't like it. I didn't say that, I just
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Speaker 1: said hmmm. Do you have that moment too where you
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Speaker 1: just go hmmm?
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Speaker 2: I mean I do have that most of the time.
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Speaker 3: In a way because I studied screenwriting myself, of course,
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Speaker 3: I always think I know better and I'm always like, oh,
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Speaker 3: I know what the script needs, which must.
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Speaker 2: Be a nightmare for any screenwriter.
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Speaker 3: But I always have the feeling like if there is
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Speaker 3: even a sixty percent I'm going like, this script is
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Speaker 3: sixty percent there.
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Speaker 2: That's already huge in my world because.
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Speaker 3: That means there is a core to this story that
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Speaker 3: is worth working on, you know. So for a script
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Speaker 3: like this to come that just blows you away from
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Speaker 3: the first to the last page and it just comes
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Speaker 3: you knows as a beautiful work of art in itself
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Speaker 3: is really special.
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Speaker 2: So there was no.
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Speaker 3: They actually they sent me two scripts actually, because it's
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Speaker 3: this it's based on a podcast called Nice Point Horror
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Speaker 3: and there are ninety incredible episodes and they're gonna make
4:39
Speaker 3: a lot of these movies. This is the first one.
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Speaker 3: So they sent me the first two scripts and said,
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Speaker 3: read these two, see if you want to make one
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Speaker 3: of them. And I never, to this day, I never
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Speaker 3: even read the second script. The first one blew me
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Speaker 3: away so much, and it was a random one of
4:54
Speaker 3: the two that I picked that I picked blog Box first,
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Speaker 3: Otherwise we'd be talking about a completely different movie right now.
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Speaker 3: And I I just called them immediately and said, let's
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Speaker 3: make this movie. And I had to pretend I had
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Speaker 3: read the other script, so I was like, oh, yeah, no,
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Speaker 3: this one is actually better.
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Speaker 2: I have no idea what the other script is.
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Speaker 3: It might be fantastic, but Lockbox to me was the
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Speaker 3: movie I wanted to make immediately.
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Speaker 1: You know, for selfish reasons why. I've always said that
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Speaker 1: that podcasting is the next level of theater the mind.
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Speaker 1: And to see that this is coming from a podcast,
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Speaker 1: it doesn't shock me because it is messing with the heart,
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Speaker 1: it is messing with the mind. And then for you
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Speaker 1: to bring it to life. And I know you talked
5:31
Speaker 1: about how well we've all seen these characters before. Yeah,
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Speaker 1: but nobody but Winthrop can pull a body part out
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Speaker 1: like he did and still make me sit there and go,
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Speaker 1: oh my god. You know what I'm saying, He really
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Speaker 1: brought that out in me.
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Speaker 3: Yeah, now he is incredible. I mean, lu Taylor Putchi
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Speaker 3: is an amazing actor. Cala Gujino too. I mean, those
5:51
Speaker 3: are the weapons that you have because what you're saying
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Speaker 3: is exactly right. Podcast is the next medium. And the
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Speaker 3: big advantage that podcasts have is that they don't have
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Speaker 3: to stick quite so strictly to a three x structure, right,
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Speaker 3: they can, and that is what Knife Point Horror does.
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Speaker 2: They give you two amazing acts. Sore Narnia is his name.
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Speaker 3: The writer is complete genius, as Stephen Gunn Stephen king level,
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Speaker 3: and he leaves it open. He leaves the third act open,
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Speaker 3: and it's so tantalizing it haunts you for days after
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Speaker 3: you have listened to that episode because it doesn't have
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Speaker 3: everything tied up neatly in the end. But then you're
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Speaker 3: making the movie and you very quickly realize that it's
6:27
Speaker 3: a different beast. You have to bring things to a
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Speaker 3: conclusion somehow. So how all our work went into how
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Speaker 3: do we get this third act, you know, into a
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Speaker 3: film shape that the podcast doesn't have to sew. Now
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Speaker 3: it's a wonderful medium podcasts for sure.
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Speaker 1: Please don't move. There is more inside secrets. When it
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Speaker 1: comes to lock Box, we'll be back with Daniel. The
6:50
Speaker 1: name of the movie lock Box, it's one you need
6:52
Speaker 1: to put on your listener, must seize and must do's
6:55
Speaker 1: we are back with Daniel. One of the things that
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Speaker 1: you do, and I might be the only one who's
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Speaker 1: going to bring this up, is comic relief. But I
7:01
Speaker 1: do love the fact and I did laugh out loud
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Speaker 1: when James introduces Kevin, because right away, I'm going I
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Speaker 1: expect you, James, to give me another Bible character, not Kevin.
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Speaker 1: As the person that was going to be in that
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Speaker 1: spiritual place. But it did make me laugh, and I
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Speaker 1: thought that is brilliant that you took my mind off
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Speaker 1: this movie for just a second to get some relief
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Speaker 1: and then show back up.
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Speaker 2: Yeah.
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Speaker 3: I love that you're parting that out because that's one
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Speaker 3: of my favorite moments in the whole movie. I mean,
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Speaker 3: the whole thing is so unusual, right right, because you
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Speaker 3: are you have them down as the not to give
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Speaker 3: anything away, but you have them down as the classic
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Speaker 3: villains and then they turn out to be something completely different,
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Speaker 3: And how do you deal with that? Like, if you're
7:43
Speaker 3: in a horror movie, you know what the protagonist is
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Speaker 3: supposed to be behaving like, it's easy if you know this.
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Speaker 2: These are the bad guys, these are the good guys.
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Speaker 2: What do I do but to.
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Speaker 3: Pull it onto the real world level for a moment,
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Speaker 3: because that was the great thing about the movie to
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Speaker 3: me and the podcast, It's like, this is how evil
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Speaker 3: would present itself if it happened to you or I.
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Speaker 2: We wouldn't be the.
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Speaker 3: Protagonist's first row center middle experiencing everything immediately.
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Speaker 2: It would sneak in. Stuff would be weird. We would
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Speaker 2: see a little.
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Speaker 3: Thing of something, then it would be gone again, and
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Speaker 3: we're trying to make sense of it. And by the
8:17
Speaker 3: time that we realized that we have been in someone
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Speaker 3: else's movie entirely and there has been something completely different
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Speaker 3: going on the entire time, you know, we're kind of
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Speaker 3: along for the ride. So with this scene with the
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Speaker 3: third act too, we were like, what would it feel
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Speaker 3: like if this were real life? What would these people
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Speaker 3: they're standing up there right down do they would introduce
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Speaker 3: themselves and it's bizarre because you wouldn't do it that
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Speaker 3: way in a kind of conventional movie.
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Speaker 1: Well, I'm glad that you're bringing up real life because
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Speaker 1: I did feel like it. And that's how I judge
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Speaker 1: a movie like this. I go, would this really happen?
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Speaker 1: Oh my god, no, wonder. I'm feeling real fear because
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Speaker 1: the way that my wife and I described the movie,
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Speaker 1: it's like when you go to a gigantic roller coaster
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Speaker 1: and you're chugging up that hill and because you're pacing
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Speaker 1: in this is amazing because you build it up and
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Speaker 1: you hold it up and you build it up and
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Speaker 1: then woof, down that hill we go, and you better
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Speaker 1: have your seat belt on because it's going to be
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Speaker 1: a wild ride.
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Speaker 2: Yeah.
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Speaker 3: I always feel like you can only scare an audience
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Speaker 3: if you have invested the time to make them care
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Speaker 3: about the characters. You know, no one cares if something
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Speaker 3: horrifical is happening to someone that they don't care about,
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Speaker 3: and so you've got to spend that time.
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Speaker 2: You really need to know these characters.
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Speaker 3: You need to understand that your protagonist cares, because the
9:26
Speaker 3: audience cares about someone who cares about something other than themselves.
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Speaker 2: You know.
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Speaker 3: And you have to get these pieces into place and
9:34
Speaker 3: then you can go full on. And that was something
9:36
Speaker 3: I had to learn because in the beginning, I thought
9:38
Speaker 3: horror movies were about set pieces, and the faster you
9:41
Speaker 3: get into the set piece, the better, and then you
9:43
Speaker 3: go set PI, set P, set P, set piece. But
9:45
Speaker 3: then you really end up with something that doesn't have
9:48
Speaker 3: much of its own flavor and its own identity because
9:50
Speaker 3: the care hasn't been taken to create a world and
9:53
Speaker 3: to create characters that are memorable. So that's always been
9:56
Speaker 3: a big.
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Speaker 1: Thing part of that character Vana. Right away, the very
10:01
Speaker 1: second that we're introduced to Vanna. Right away, I'm thinking
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Speaker 1: Stevie Nicks. And then to go wait, without spoiling the
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Speaker 1: movie which she goes through, I'm going, I know dark Goodwell,
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Speaker 1: that's what's going on in all that candle light inside
10:11
Speaker 1: those studios. I know there's something I mean because you
10:14
Speaker 1: really set up my imagination because to see someone like
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Speaker 1: Vanna right away, I went to Stevie Nicks.
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Speaker 2: Yeah, well, what a once in a lifetime character.
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Speaker 3: Like how often do I read something that has a
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Speaker 3: character in it that jumps off the page as fully formed.
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Speaker 2: As this one? Almost never?
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Speaker 3: And then Catherine Isabel, this incredible actress, came in and
10:34
Speaker 3: just knocked it out of the park. It was actually
10:36
Speaker 3: a fun process because I have the actress from my
10:39
Speaker 3: last movie, Prayed for the Devil, is an incredible actress,
10:42
Speaker 3: and there was no doubt she was gonna play Vanna.
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Speaker 3: This was I had already cast her. She was gonna
10:47
Speaker 3: be brilliant edit, you know. And then Catherine Isabel came
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Speaker 3: in and she did this fantastic job in the audition
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Speaker 3: that didn't need anything, like if we could have filmed
10:56
Speaker 3: just the audition, just cut in the audition. Incredible performance.
11:00
Speaker 3: And I just could not get as much as I
11:02
Speaker 3: was fighting for my actress. Originally I could not get
11:05
Speaker 3: her through and rightfully so, you know, because Catherine just
11:09
Speaker 3: could not be top and she just came in and
11:10
Speaker 3: she owned this character and just had so much fun
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Speaker 3: with it and talking about comic relief. I mean, that's
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Speaker 3: what she does, right She comes in with all this
11:18
Speaker 3: energy and all this humor, and you recognize that because
11:22
Speaker 3: in real life there are people that are fascinating and you.
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Speaker 2: Know they are your downfall.
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Speaker 3: You know, it's just going to be trouble, it's just
11:30
Speaker 3: going to be bad, But man, is it going to
11:31
Speaker 3: be interesting.
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Speaker 1: It sure makes me look at my neighbor a little
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Speaker 1: bit differently because isn't that how she's introduced to us?
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Speaker 1: Oh that's my neighbor. Oh really, your neighbor is her?
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Speaker 3: Not more?
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Speaker 2: You're in for an interesting but troubling time.
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Speaker 3: And then, of course, again without taking anything away, she's
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Speaker 3: not in the movie in a role that you think she.
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Speaker 2: Will be or for as long as you think. And
11:54
Speaker 2: there was another thing to me.
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Speaker 3: If any other script has found a character like this,
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Speaker 3: this is what the movie is going to be about
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Speaker 3: for the next ninety minutes. You don't let that slip away.
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Speaker 3: And Sore and Narnia, who is writing the Knife Point
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Speaker 3: Horror Podcast. He's just so confident in his storytelling that
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Speaker 3: he can introduce a character like this and go like,
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Speaker 3: I don't need to be on her shoulders for the
12:17
Speaker 3: rest of this movie. I have enough other interesting stuff
12:20
Speaker 3: to talk about. And that's what makes him dangerous, like
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Speaker 3: he will kill off people at any moment, and you
12:25
Speaker 3: can just feel it. It's a wonderful source.
12:28
Speaker 2: Oh my god.
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Speaker 1: And speaking of that texture, I love what you did
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Speaker 1: on that lens when it comes to win Through being
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Speaker 1: at the place of homelessness where he's inside that tent,
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Speaker 1: because it almost feels like that you went into a
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Speaker 1: black and white texture. Are my eyes screwing around with me?
12:42
Speaker 1: Or did you actually do that on purpose? You kind
12:44
Speaker 1: of put a like a different kind of effect on
12:46
Speaker 1: that moment.
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Speaker 3: I think that was I mean, the black and white
12:50
Speaker 3: is exactly what I'm always trying to do with everything,
12:52
Speaker 3: because you want to control the colors. And my one
12:58
Speaker 3: sentence is always when we have our meeting, our production
13:00
Speaker 3: meetings and all that, if I carry an orange into
13:03
Speaker 3: this room and I put the orange on the table,
13:06
Speaker 3: I need that scene to be an orange scene. If
13:08
Speaker 3: I put a rose on that table, it needs to
13:10
Speaker 3: be a red scene. There can't be other colors that
13:13
Speaker 3: are willly nearly competing with that. And I always have
13:15
Speaker 3: the feeling that in like very low budget movies, you
13:18
Speaker 3: don't have the time or the money to control your
13:21
Speaker 3: colors on sets, so you do it in color correction afterwards,
13:24
Speaker 3: and you pull out the colors and you manipulate and
13:26
Speaker 3: you try, but you always feel that it has been
13:28
Speaker 3: done in post and it always takes you out of
13:31
Speaker 3: this world a little bit, whereas big budget movies they
13:34
Speaker 3: have the staff the people to kind of control colors
13:38
Speaker 3: on sets. I'm always trying to do that and people
13:40
Speaker 3: will make fun of me because I'm hunting down the
13:42
Speaker 3: last little pen that is somewhere in the background that
13:45
Speaker 3: is blue, where I'm like, well, that needs to be
13:47
Speaker 3: pulled out because that will take in the eyes away.
13:49
Speaker 3: So that's kind of what you're trying to do, and
13:52
Speaker 3: the audience can't really put their finger on I learned
13:55
Speaker 3: that on House of Cards. Like when I watch the
13:57
Speaker 3: pilot of House of Cards, I was like, how does
13:59
Speaker 3: this looks so amazing? And the trick is there isn't
14:02
Speaker 3: a single color in the entire pilot or in the
14:05
Speaker 3: entire show. You know, there is the white shot of
14:07
Speaker 3: a big square of two hundred people walking. Everybody is
14:11
Speaker 3: wearing a black or brown or gray coat, but the
14:13
Speaker 3: audience doesn't put their finger on.
14:16
Speaker 2: It and go like, that's not realistic. There are no
14:18
Speaker 2: colors here.
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Speaker 3: That's just the world you immerse yourself in in five
14:21
Speaker 3: minutes in you don't even realize that anymore, and suddenly
14:24
Speaker 3: you are in this elegant, gorgeous world that still feels real.
14:29
Speaker 3: And that's what we were trying to do. And then,
14:31
Speaker 3: of course, if you're then trying to convey oh my god, homelessness,
14:35
Speaker 3: the hopelessness and all that, you take out. You drain
14:38
Speaker 3: out that little piece of piece of color that you've
14:41
Speaker 3: so far in a very controlled way head in every
14:43
Speaker 3: single scene. You take that out, and suddenly you feel
14:46
Speaker 3: what you just describe.
14:47
Speaker 1: I gotta tell you, I got to figure out how
14:49
Speaker 1: I'm going to see this movie lock box inside that
14:53
Speaker 1: inside a theater that has that new theater ax effects
14:55
Speaker 1: where it's up on the walls, on the side walls
14:57
Speaker 1: and in front of you, because this is one of
15:00
Speaker 1: those movies where I know that Winthrop is going to
15:02
Speaker 1: freak me out, like you wouldn't believe. And I want
15:04
Speaker 1: him coming from my right side and then go all
15:06
Speaker 1: the way over to my left side.
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Speaker 2: That would be awesome.
15:09
Speaker 3: Actually, we saw it in a movie theater with Lou
15:11
Speaker 3: Taylor Putchi with the Winthrop actor and the producers and
15:15
Speaker 3: Long Beach down here in a big Regal theater, and
15:18
Speaker 3: it was the first time ever that I saw in
15:20
Speaker 3: a screening and I thought, this is exactly what we
15:23
Speaker 3: wanted it to be.
15:24
Speaker 2: The colors, the sounds, because usually as.
15:26
Speaker 3: A director you run around during the first screening and
15:29
Speaker 3: try to find the projection booth because the sound is too.
15:32
Speaker 2: Low or too basy and it's too orange. And this one,
15:35
Speaker 2: since then I'm such a Regal fan. I'm like, oh
15:37
Speaker 2: my god. You know, they really can know how to
15:39
Speaker 2: screen a movie exactly as it's intended. Was wonderful.
15:43
Speaker 1: When you're putting a scene together, and I don't want
15:45
Speaker 1: to spoil it for the listener, but there's a scene
15:47
Speaker 1: in there that deals with a walker. I mean, how
15:50
Speaker 1: long did it really take to put that scene together?
15:53
Speaker 1: Because that right there was the epitome of scariness because
15:56
Speaker 1: we all see people on these walkers. But you take
15:59
Speaker 1: it to a completely different level.
16:01
Speaker 3: Well, I'm glad you're saying that, because it was a
16:03
Speaker 3: piece in it, and that had to do with what
16:05
Speaker 3: do you do with the third act that we had
16:08
Speaker 3: to We had to invent a lot of things for
16:10
Speaker 3: the third act, and we wanted to be careful that
16:11
Speaker 3: it doesn't feel like a generic horror movie thing. But
16:15
Speaker 3: we always had this passage in the script that we
16:17
Speaker 3: just called mayhem, and we said, okay, here insert five
16:21
Speaker 3: minutes of horror mayhem because we're again, I don't want
16:24
Speaker 3: to give it away, but it's a very specific thing
16:26
Speaker 3: that turns out to be a different thing later. So
16:29
Speaker 3: we really had a carte blanche to do whatever we wanted.
16:32
Speaker 3: It could be as crazy and as absurd as we
16:35
Speaker 3: wanted it to be. And this walker always freaked out our.
16:38
Speaker 2: Producer, Kiri Peak.
16:39
Speaker 3: She had had a very personal relationship with this episode
16:44
Speaker 3: and the walker was one of the things that always
16:46
Speaker 3: freaked her out the most. So we really made a
16:49
Speaker 3: thing of it when we shot that scene.
16:50
Speaker 1: Are you going to merchandise or market Winthrop in any way?
16:54
Speaker 1: Because I could just see his mug on a T
16:56
Speaker 1: shirt and I swear to God that if I see
16:57
Speaker 1: somebody word, I'm gonna go, oh my god, it's going
17:00
Speaker 1: to be a one hell of a conversation piece.
17:03
Speaker 3: Well I wish you know, there are movies that are
17:06
Speaker 3: have the marketing behind it to show up on mugs,
17:10
Speaker 3: and then there are smaller movies that don't, And this
17:13
Speaker 3: one is kind of one of the smaller movies that don't,
17:15
Speaker 3: and people kind of have to discover it, which I
17:18
Speaker 3: hope will contribute to the effect rather than having it
17:23
Speaker 3: force down people's throats for them to discover it and
17:26
Speaker 3: probably for people to say, oh no, you have to
17:29
Speaker 3: have to check this out. Hopefully it's going to have
17:32
Speaker 3: that air that something have when you catch something in
17:34
Speaker 3: theaters on stage, you know, and you see.
17:38
Speaker 2: Something and you go like, okay, we have one more week.
17:40
Speaker 2: I have to tell everybody about it to watch this.
17:43
Speaker 2: Hopefully it's gonna have that kind of effect.
17:46
Speaker 1: Where can people go to find out more about you,
17:48
Speaker 1: Daniel and everything that you're doing. Because I do like
17:50
Speaker 1: the way that your story sharing these days now, storytelling,
17:53
Speaker 1: story sharing, You believe in sharing the vision, thank you?
17:59
Speaker 3: Yeah, I mean that goes back to writing and directing,
18:03
Speaker 3: right The storytelling is being done in the writing.
18:05
Speaker 2: The story sharing.
18:06
Speaker 3: That's such a good way of looking at it is
18:08
Speaker 3: the directing part of it all. I mean, the good
18:11
Speaker 3: thing about the age we live in is that you
18:12
Speaker 3: get every single thing that I ever made, you know,
18:15
Speaker 3: in streaming. I made my very first movie, A Necessary Death,
18:19
Speaker 3: which is very, very dark, and I'm incredibly proud of it.
18:22
Speaker 3: So anyone who is listening and who is interested in
18:24
Speaker 3: checking out anything at all, I would say, try to
18:28
Speaker 3: get your hands on A Necessary Death, because that was
18:31
Speaker 3: the last movie where there was no money involved, there
18:34
Speaker 3: was no studio involved, and I got to do anything
18:37
Speaker 3: I wanted to do, and I stand behind every single frame,
18:39
Speaker 3: you know, and then everything I did after that kind
18:42
Speaker 3: of comes from that as a basis. So if you're
18:44
Speaker 3: interested in it, A Necessary Death, it's very dark, it's
18:47
Speaker 3: very depressing, it has destroyed lives, but it's a good movie.
18:50
Speaker 1: You got to come back to this show anytime in
18:52
Speaker 1: the future, Daniel. The door is always going to be
18:54
Speaker 1: open for you.
18:55
Speaker 2: Thank you so much means a lot.
18:57
Speaker 1: Will you be brilliant today?
18:58
Speaker 2: Okay? You Tube