Latest / Bulletproof Screenwriting™ Podcast / BPS 359: When Hip-Hop, Skateboarding and Filmmaking Collide with Jeremy Elkin

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BPS 359: When Hip-Hop, Skateboarding and Filmmaking Collide with Jeremy Elkin · Bulletproof Screenwriting™ 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 ifahpodcastnetwork dot com. Welcome to the Bulletproof Screenwriting Podcast,
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  Bulletproof Screenwriting Podcast, showing you the craft and business of screenwriting while teaching you
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  how to make your screenplay bulletproof. And here's your host, Alex Ferrari.
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  Welcome, Welcome to another episode of the Bulletproof Screenwriting Podcast. I am your
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  humble host Alex Ferrari. Now. Today's show is sponsored by Bulletproof Script Coverage.
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  Now. Unlike other script coverage services, Bulletproof Script Coverage actually focuses on
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  the kind of project you are and the goals of the project you are,
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  and many many more. So if you need your screenplay or TV script covered
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  by professional readers, head on over to covermiscreenplay dot Com. Well, guys,
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  today on the show, we have filmmaker Jeremy Elkin, who just directed
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  a documentary that was very close to my heart called All the Streets Are Silent,
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  The convergence of hip hop and skateboarding from nineteen eighty seven to nineteen ninety
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  seven. Now, many of you guys might have known that I was raised
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  in New York during these years, probably a little bit earlier than that,
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  and I was there to see the birth of hip hop, breakdancing, street
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  culture. And I was very young at that time, but it's something that
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  still is still inside of my blood. And when I saw this documentary,
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  it really brought me back to that place, and I wanted to talk to
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  Jeremy, not only about how we put this whole thing together, which is
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  a massive undertaking of thousands and thousands of hours of footage, but just talk
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  hip hop, talk skateboarding, and talk street culture and how all that came
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  together. So, without any further ado, please enjoy my conversation with Jeremy
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  Elkin. I like to welcome to the show, Jeremy Elkin. Man.
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  How you doing? Jeremy? Hi, how you doing? Man? So
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  I wanted to bring you in the show. Mat. I saw your film
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  All the Streets are Silent, and it really hit a chord with me,
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  man, because I was, like I was telling you before. I was
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  raised in New York as a kid. So for most most of the seventies
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  and up until about eighty five, I was in New York and my dad,
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  my stepdad, was a cab driver, so I would ride with him
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  throughout Manhattan and I saw hip hop coming up and break dancing and skateboarding and
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  all that Washington Square. I was all in that stuff. I was a
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  young kid at the time, but I saw it happening. So when I
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  saw this, I was like, oh, man, I'm back home.
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  So how did the project get together? Man? How did you put the
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  whole thing together? That's a big question. Which part of it? Well,
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  justin jendal, like I mean, so what was the genesis of the
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  project, Like, how did you, like, at what point did you
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  go I got to put this thing together. I gotta tell this story.
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  Yeah, so you know, I made skate videos for a long time,
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  and I made documentaries for a while. And I had always known that Eli
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  Esner had this like magical archive based on his footage that was in ZW York
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  mixtape. And I knew that he was at the Stretching Bob radio show a
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  lot. I knew he was a club promoter, but I didn't really know
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  the full extent until we started to dive in. So, yeah, it'd
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  be perfectly honest. I didn't know there was a story until probably like a
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  year and a half in to making it. Didn't really know if it was
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  anything more than just a behind the scenes on how mixtape was made. And
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  it really wasn't until we discovered Yuki Watsonabe, who was the founder of the
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  nightclub Mars. Until we discovered his archive from the nightclub, that's when the
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  story opened up. Now, how can you explain to people the importance of
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  Mars Because I had MOBI on the show a little while ago and Moby talked
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  about Mars like it was, you know, the second Coming. So can
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  you take the importance of those years, because it wasn't around for a long
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  time. It was around with four or five years something like that. Two
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  years oh too, it was only around two years jesus, yeah, midnight
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  like New Year's eve eighty nine. And it closed spring of ninety two,
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  oh jesus. So it was only January nineteen ninety was to like, you
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  know, April or May of ninety two. I mean, so a couple
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  of years. But it was such an impactful club. Can you explain to
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  people what that was about? Yeah, So it was actually not a hip
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  hop club. It was a club that had many different genres of music and
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  every floor was a different genre. That's that's how Yuki and Rudolph set it
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  up. And Yuki was a DJ and he was super interested in the youth,
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  and so he set up this little radio station called Radio Mars where he
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  would record mixes in his little office and he would audition DJs for the for
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  you know, for the next week or whatever. Right peop would drop off
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  demo tapes, they would come, you know, do a session for him,
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  and he would figure out who who could pare with who and which floor
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  they would go on and whatever, but it wasn't about hip hop into There
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  was one evening famously when Easley, who's a character in the film, found
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  a microphone with Eli, the narrator, and this is in the basement.
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  They had like this house party in the basement. They plugged in the mic,
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  and word got around that there was a mic where you could wrap because
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  in the basement's house. But they were like playing hip hop, like they
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  weren't supposed to play hip hop because it brought like that insurance whatever, and
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  you he didn't want to be then like gang violence. But they started playing
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  like Dala Soul and Tribe and Black Sheep and not Black Sheep goes later Dale
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  Soul on Tribe and you know, Jungle Brothers and those guys all the then
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  tons and they had a mic and run the MC showed up and you know,
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  and and we're like, you know, this is how you rhyme kind
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  of thing. I think just word got out in the in the community that
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  there was an open It was the ability to go to a club with a
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  DJ and you could get a mic. So that's sort of that was like
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  the birth of I think the club blowing up and that was within the first
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  like you know, let's say six months of it opening. And then I
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  saw in the video in the film that did you had some footage of jay
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  Z, a young unknown jay Z just wrapping on the mic. Yeah,
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  that was insane. That was Yuki's wife actually filmed that. That was a
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  yea, it was a crazy one. That tape was like, that's a
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  whole other story of discovering the tape. But yeah, jay Z was you
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  know, completely unknown under Jazzo's wing coming up and uh, Jazzo sort of
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  gave him the chain that night to wear, and I think he just went
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  off and he had ever seen that footage. We showed it to him maybe
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  a year ago, and he was he couldn't believe it. You know,
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  he didn't even know anyone recorded it. He didn't he didn't even know that
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  jay Z ever played that that clok because he obviously he didn't know whose Jayz
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  was, so he just wasn't not another rapper, right, I'm saying like
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  jay Z didn't even know it was recorded. Oh, jay Z didn't even
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  know it was He didn't know, but no, Uk, Yeah, he
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  didn't know. You know, these are all unknown rappers. It's like,
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  if you know, it's like if we go to a club next week and
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  there's a bunch of people rhyming like and an eminem shows up, we're certainly
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  not gonna tape it. And I think Yuki as wife both had Eli as
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  well, but you know, Eli was a lot younger back then. But
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  they had the foresight to record, you know, every once a week,
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  once or twice a week, they would record performances at the club, and
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  that was just happened to be one of those nights. Yeah, And I
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  think they only recorded that because the jump. If you watch in the film
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  The Jungle Brothers, he's kind of doing a dance and there's like an interview.
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  There's an interviewer there from I think MTV or VH something like that,
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  and they're interviewing him. And so they were filming The Jungle Brothers being interviewed
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  on broadcast TV. That the cameraman was in there, so I wonder.
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  I don't know they were in there to record the Jungle Brothers as an interview
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  in the club. This is according to like what I've seen in the tape.
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  I mean, Yu he doesn't remember, they don't remember, but I
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  don't think the cameraman would have had the you know, I don't think they
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  were recording all the all the musical performances that night. I mean, it
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  was a lot of people going on. I doubt they got it in that
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  quality. But you know, Yuki's wife was able to Miami Watsinabe was able
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  to record it, and she labeled the tape rap Street Style New York Group
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  or something, So it would have never been able to like, how the
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  hell do you find that in the probably thousands and thousands of tapes. They
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  Yeah, so he he was only giving me the tapes that were properly labeled,
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  and then there was like another two three four thousand tapes that were unlabeled.
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  There were mainly house and disco and not really the nights it was like
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  a gay night, it was this night. Actually there wasn't really like there
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  wasn't like a hip hop night collection. The hip hop was sort of embedded
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  in the archive. So you know, they would make these highlight reels of
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  each evening. So for instance, you know, one evening it was I
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  think the one the tape where the jay Z appear that saw a glimpse of
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  them on was was a mashup of a variety evenings. We'll be right back
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  after a word from our sponsor, and now back to the show. There
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  was a glimpse of like two to three seconds of most mute of jay ZD
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  on the mic, and I called Yuki right away. I was like,
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  where's the jay Z tape? He's like, he never played in Mars.
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  No, he wasn't there. I would have known him, you know.
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  And I was like, no, no, I'm pretty sure it's jay Z.
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  I sent him a picture and he's like, yeah, it looks like
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  him. Like, no, no, it's for sure it's JC. And
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  he's like, well, I don't know, Like it must be in an
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  unlabeled date, you know, if we have it, because those highlight reels,
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  you know, Miami and him were like doing the tape tape editing or
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  whatever it was called, where you would make like a highlight reel of a
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  variety of tapes on the one tape, but you couldn't have like the audio
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  wouldn't transfer with it, so you just put you choose a song and then
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  you would layer in footage, you know, And that's what that was in.
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  Yeah, So you you mentioned the Zoo York mixtape. Can you tell
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  people what ZUO York was and in the importance of Zu York in this whole
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  movement. So, yeah, z York was a skate company founded by Rodney
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  Smith, Adam Shatz, and Eli Esner in ninety three. Adam Shatz,
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  Eli had come over from doing Fat Farm and Rodney was the founder of Shut
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  Skateboards, which is the first New York skate company in the early eighties.
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  And so they sort of combined forces after Eli had had success with Mars and
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  Flat Farm developing platform under Russell He you know, they got together started New
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  York and it was kind of like the first It was really like the first
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  successful East Coast skate company, I guess you could say, because Shut had
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  some success, but it was definitely underground and more like Transition Pool Skaters.
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  ZW York was really street and had like the hip hop roots graffiti aspect with
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  the tags and yeah, it just was. It was a really like raw
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  street brand that existed for about uh, you know, seven eight years before
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  it got bought by Mark Echo and became something else. But during those first
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  years ninety three to two thousand ish, uh, it was it was you
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  know, as good as it gets first skate for street skate on the East
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  Coast and then so because at that point, basically West Coast owned the skating
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  world. I mean with Tony Hawk and the the what are those guys called
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  them Dogtown Z Boys, Z Boys in Docktown and they kind of I'm not
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  sure who were they? They were the first to skateboard, right were it
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  West Coast? Or is there or is there or is there a conversation?
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  There's a lot more cruise, Like there was the emb Crew in San Francisco.
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  There were a lot of amazing skaters in LA that were doing street skating,
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  just like the New York guys. It just the only mainstream press was
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  you know, only the mainstream press was picking up Tony Hawk, the Z
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  Boys, et cetera. But there were there were, I mean, there
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  were a million skate companies that were awesome on the West Coat. It wasn't
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  it wasn't like if anything, that Tony off the Z Boys were seen as
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  corny and the you know, menace and some of the like Girl Chocolate skateboard
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  guys, Spike Jones's crew, those guys were like those guys were like,
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  you know, the skaters that everyone like looked up to, at least from
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  you know, the type of skating that I grew up you know, enjoying,
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  right, and then the whole skate scene in New York was a lot
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  more I mean, I mean again when I was raised there, So it's
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  a lot grittier. There's no palm trees, there's no beaches. You don't
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  want to go to the beaches most of the time, things like that.
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  So the energy was just so different. Now, at what point did the
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  street culture combined with hip hop? Was that the mixtape? I mean,
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  there's I mean, there's a lot of examples of it, you know,
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  I think even going way way back to like breakdancing circles and the projects in
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  the eighties. Yeah, I'm sure like kids with skateboards. There was a
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  DJ in the park and there was a couple of du breakdancing and doing graffiti.
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  I'm sure it was all it was always it was always like part of
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  one thing, you know. I think it wasn't so like black and white.
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  But I think the mixtape just like showed as as Josh Kayless puts it
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  in the film, he says, they show how close they were in Relaysia.
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  I think you know, as opposed to like you know, some like
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  abstract archival photo from the mid eighties. I think just seeing a forty minute
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  version of that was way more impactful. And just the fact that like clearly
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  the guy Eli who was at the radio station and the guy filming the skating
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  also Eli and Rbu Mallley, you could tell they were using the same cameras.
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  It might have even been from the same tape. So I think that's
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  what really like hit home with people. It wasn't like they just scraped the
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  internet for ex footage and then paired it with the footage they were filming.
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  It was all part of the same body of work. That's probably why it
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  hit hard. Now, two of the main people in the movie that are
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  in all this archival footage is Harold and Justin who I mean, gone too
• 15:13
  Soon was lack of of course, but they're characters. I mean Harold,
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  I mean he's a legend. I mean there's people wearing his name, his
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  face on t shirts still, and he passed years ago. I knew him
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  from I was introduced to him by for Kids. I mean I saw kids
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  in the theater. When I saw kids, you know, I was just
• 15:31
  completely blown. Right, Rosario Dawson, who's in your movie? I think
• 15:35
  that was her first movie? Right? That was her first movie? Was
• 15:37
  Kids? Can you explain? You? Can you explain first of all what
• 15:41
  Kids was? And then what that impact? Because Kids blew up in a
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  kind of an underground world. It wasn't like a massive worldwide hit or anything,
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  but it was a big thing, especially for basically a bunch of street
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  kids, you know, just running around skateboarding. What was Kids? And
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  then how did affect Harold and Justin as far as what how did it affect
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  their lives? Yeah, So Harmony was in town. He moved to New
• 16:08
  York from the South. I think it was from to attend school to Zen
• 16:15
  College. I began this wrong, but I think like the New School SPA.
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  I think I think it was a new school. And one of his
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  I think it was his thesis project was the script for what became Kids.
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  And Larry Clark, who was a season filmmaker photographer at that time, he
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  I think he saw something in Harmony, and you know, he needed a
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  writer and Harmony was like well and basically you know, I can't, I
• 16:42
  can't. I don't want to get this wrong. But something like that where
• 16:45
  they you know, they joined forces, decided to make this movie based on
• 16:48
  the kids at Washington Court Park. That's the gist of it, right,
• 16:52
  And yeah, they decided to cast you know, kids from Alphabet City in
• 16:59
  Lower East Side, in Washington Square and Tompkins, the East Village and kind
• 17:06
  of create a film that was like, She's so real that it could have
• 17:10
  just been a documentary. That's the That was I think the goal. But
• 17:12
  it's just about you know, what kids get into in their in their everyday
• 17:17
  lives downtown New York And how did that how did that fame and exposure affect
• 17:23
  Harold and justin psychologically? Could you talk a little bit about that end of
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  doc Yeah, I think you know, it must have been it must have
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  been pretty nuts. I mean, you know, I don't I don't think
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  Harold was getting paid by Supreme. I think whatever board royalties and wheels and
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  shirts whatever he was getting from New York was probably maybe a thousand bucks whatever
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  he was getting a month. You know, they were not exactly like rolling
• 17:48
  in the dough or or forget about profitable. They weren't really like recognizable outside
• 17:53
  of the bubble of like the hundred skaters who skated in New York. You
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  know, he was tiny, and then all of a sudden he was like
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  at the low cinema on the big screen and selling out movie theaters. I
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  think it's a it's a huge change, right, I think, like it
• 18:11
  must have really messed with him and Justin I think with their psychologically, with
• 18:17
  their probably their like hopes and their their aspirations of what they wanted to do
• 18:22
  as kids in the downtown seeded for sure probably changed. And then you know
• 18:26
  they were also getting older and having I don't remember what year. I don't
• 18:30
  know remember how old howld was when kids came out, but he must have
• 18:33
  not been more than twenty or twenty one years old, you know, maybe
• 18:37
  even maybe eighteen hours. He was young for sure. Yeah yeah, so
• 18:42
  yeah, huge impact now, you know, when you approach this project,
• 18:48
  uh you know, I've, like I said, I've been editing for years.
• 18:51
  Man, how the hell did you go? How did you approach this?
• 18:55
  I mean you're talking about thousands of hours of footage on what is it
• 19:00
  HI eight hiate tape a mix of High eight and mini earlier, and they
• 19:04
  were like, you know, obviously photographs sixteen mil reels eight millimeters, et
• 19:08
  cetera. How the hell did you? I mean, I'm assuming you had
• 19:11
  help because I can't believe you did it all yourself. As far as just
• 19:15
  categolic category cataloging all this stuff. Yeah, the cataloging was done by a
• 19:19
  few people who came in at the very start. It was it was definitely
• 19:23
  like you know, three people, one or two of them a week for
• 19:27
  the first like you know, three four months, and then after that it
• 19:30
  was really just me and my assistant, Kaiber who who stayed on and and
• 19:34
  helped develop it. You know, we developed it together, I think in
• 19:37
  terms of like figuring out you know, a B C grade footage. You
• 19:41
  know. Now, as far as the story goes, I'm always fascinated whant
• 19:45
  to talk to documentary filmmakers about you know, you discover the story as you
• 19:51
  go along. We'll be right back after a word from our sponsor and now
• 20:00
  back to the show. And that's something that a lot of filmmakers listening don't
• 20:03
  understand on the documentary side, like, yeah, you might have a script,
• 20:07
  maybe you have an outline, maybe you have aything that you want to
• 20:08
  kind of go after, but when you start, like you know, you
• 20:12
  meet that one interviewed, You're like, oh my god, that just took
• 20:15
  me off to a complete new direction. How did you approach the storytelling of
• 20:19
  this? I mean, did you, like you said before, it could
• 20:22
  have just been a behind the scenes of the mixtape. But once you've got
• 20:26
  that one interview, how did you kind of like structure it all? Like
• 20:30
  how did you put it together? Outlining it and stuff. Yeah, so
• 20:33
  I think it's a three part answer. One, my boss, when I
• 20:38
  was a many Fair, was the producer on the film. He was a
• 20:41
  Anyfair for twenty five years. He's an amazing journalist, amazing editor, writer.
• 20:47
  So working with him the way that we were it was just the same
• 20:52
  as what we had of any Fair. So we worked really well together,
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  and I think that's part of the success of the story is the two of
• 20:59
  us. I think if he had just been dt me he's not a filmmaker,
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  but if he had just been doing it on his own someone else,
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  maybe it wouldn't have looked the same. I think I would have gone a
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  little nuts had I not had him. I think he really, like you
• 21:11
  know, helped sort of like I think he just, you know, he
• 21:15
  saw the bigger picture, but he also let me tell it, it was
• 21:19
  an interesting relationship, you know, like I think that that's you know,
• 21:23
  a I think you know, the bottom line here is that it's Eli's story,
• 21:30
  the narrator, Eli Gessner, it's his archival footage for the most part,
• 21:34
  you know, largely, it's sixty seventy percent of it. The film
• 21:37
  is his archive, meaning that we I was trying to just tell it as
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  he was, you know, as what he was recording. So he didn't
• 21:45
  record Janet Jackson in Midtown. There's no dantage. You know, there's certain
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  things that aren't in the story that might pertain to like or dating Q Tip
• 21:53
  or this some weird other connection. Those are left out. If we didn't
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  have the footage, we weren't just like taking things off the internet and then
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  and then figuring out how they were aligned. It was really like what is
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  the basis of Eli's collection? And how is how is is there a story
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  in there? You know that was first and foremost and yeah, it's like,
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  you know, it's totally Eli's it's what happened to Eli, and and
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  also what Eli recorded that's the result of the film, Like that's the that's
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  like the core of the movie. What got you into filmmaking? What?
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  What did did you make? What made you want to be a filmmaker?
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  Yeah, I don't know. It's just it felt like I never was like
• 22:36
  I want to be a filmmaker. It wasn't it wasn't like that. It
• 22:38
  was like I didn't have pictures of Scorsese on the wall, and shit,
• 22:41
  no, honestly I haven't. I've probably seen like one percent of the movie.
• 22:47
  Is that most filmmakers, like I don't like watch a ton of movies.
• 22:49
  I make things all the time, and I just the media of his
• 22:52
  film. But I don't. I'm not like a student of film, you
• 22:56
  know, like I'm not. I'm not you know, probably watch a movie
• 23:00
  a month or something like. I don't watch movies. I want it.
• 23:07
  It's just it's just the it's just the medium that I'm that I'm using,
• 23:10
  you know. It's it's you know, it's the only it's a thing that
• 23:14
  I guess I'm I'm good at or is easy and easy for me. And
• 23:18
  that's that's sort of it. So it's not like I wouldn't have like some
• 23:19
  big master plan to be like a director. It was never that I never
• 23:23
  wanted to be a director. I always wanted to be a designer, and
• 23:26
  so it just sort of like fell into this. Yeah, how did you
• 23:29
  fall into it? Was like, what was the was it a drop because
• 23:32
  of vanity? Started filming? Yeah, I just started filming skateboarding in Montreal.
• 23:36
  Growing up in MTL, it was like there weren't many people who had
• 23:41
  video cameras. And I looked up to see this guy, Eric Lebau downtown
• 23:45
  Charles Eric awesome, great, great dude, and he had the VX one
• 23:51
  thousand sony that I was. I was like twelve years olds. I couldn't
• 23:53
  afford that, but he was, you know, was aspiring to see him
• 23:57
  out there every day, and I just was like I want to do that,
• 24:00
  like whatever that is. But also like my friends were way better than
• 24:03
  me at skating, and they were doing tricks that were arguably better than what
• 24:07
  I was seeing in the video. So I was like, someone's got a
• 24:08
  film this, and so, you know, I picked up a camera and
• 24:12
  then made one skate video and another another another, and then wound up doing
• 24:15
  things outside of skateboarding and then so now we're here just kind of like how
• 24:19
  Spike started Spike Jones, Yeah, a lot I mean not just by like
• 24:23
  like Ti Evans. I mean, there's a lot of amazing filmmakers that come
• 24:27
  from just you know, the skateboard skateboarding and now. I always asked this
• 24:34
  question of my guests, what is the lesson that took you the longest to
• 24:37
  learn, whether in the film business or in life. I think just like
• 24:44
  the things take time, like don't rush anything. I think that's the like,
• 24:48
  that's like the number one. Uh, you know, I'm interested in
• 24:55
  how people connect and how things develop and how scenes sort of inner line and
• 25:00
  that's always been interesting to me. So you know, the film is the
• 25:04
  natural progression. But yeah, I think that's just you know, I would
• 25:07
  I would say, just do something that do something that you love and you're
• 25:11
  passionate about. And do you have any advice for filmmakers trying to like kind
• 25:15
  of make it in today's world. I don't know, that's just give me
• 25:21
  a sure, Okay, we're good. Yeah, So do you have any
• 25:32
  advice for filmmakers that are trying to break into the business today. Yeah,
• 25:36
  I mean, just meet everyone you can and be good to people, and
• 25:41
  uh, you know, try and try and make I mean the biggest advice
• 25:45
  the biggest advice I would that I would say is like, if you're gonna
• 25:49
  make a story about a place, or if if the story that you're trying
• 25:53
  to fill is in a certain place, like live in that place, don't
• 25:57
  make a film about Tokyo living in Australia, you know what I mean.
• 26:03
  Like it's it's just not going to have the same texture or the same sound
• 26:07
  or the same feeling as someone who understands that their environment. I think,
• 26:12
  Yeah, you're absolutely right. So many filmmakers make you write the Australian who
• 26:17
  makes the movie about Tokyo or New York I had never been there, and
• 26:18
  they just what they grab is they grab it from the Internet or books or
• 26:22
  movies and things like that. There's nothing like actually living it, breathing it,
• 26:26
  being there, especially a documentarian. I mean you've got to it's a
• 26:30
  documentarian. Yeah, I mean the walking out your door, whether it's in
• 26:34
  New York or anywhere else. Like you kind of want the environment to inspire
• 26:38
  you. You want it to be like a constant source of inspiration, and
• 26:44
  you know, just make things in the same environment as your work. You
• 26:47
  know, I don't know' that's you know, like take in the typography and
• 26:52
  the architecture and the smell and the pollution and the whatever element is out there
• 26:56
  in your city. Put that in the picture and in the sound. It's
• 26:59
  going to make a huge difference than if you're like then if it wasn't in
• 27:03
  there, if you're just researching, what is what inspires you as as an
• 27:07
  artist? Man? Well, like what kind of makes your juices flow?
• 27:11
  Just honestly, like opening the front door, that's like the best thing.
• 27:15
  Just going I can just just walking in one direction for a lot, for
• 27:21
  like eight hours or an hour, whatever it is. You can just going
• 27:23
  around the block. You just at least I live downtown in the city in
• 27:27
  New York, and it's like that's the inspiration for me, you know,
• 27:33
  I don't know. I like seeing just how different every second of every day
• 27:38
  is here. And where can people watch the movie? So the film is
• 27:44
  out, Well, when does this there? I think? Where before it
• 27:47
  comes out? So okay, So the film comes out July thirtieth, Nation
• 27:52
  and Wiatt it's limited release in New York until then, and then September seventh,
• 27:57
  it'll be out on digital platforms on Apple and I believe on Amazon as
• 28:03
  well. And we're in What are you doing next? What are you working
• 28:07
  on now? Working on a street podjects that I can't unfortunately can't talk about
• 28:12
  exciting, super exciting stuff. Jeremy, thank you so much for being on
• 28:17
  the show. Brother. I appreciate your time and thanks for putting this together.
• 28:18
  Man. This tells a story that hasn't been told before, so I
• 28:22
  appreciate you. Man. Thanks so much, man, I really appreciate it.
• 28:26
  I want to thank Jeremy for coming on the show and sharing his adventures
• 28:30
  with us. Thank you so much, Jeremy. If you want to get
• 28:33
  links to anything we've spoke about in this episode, head over to the show
• 28:34
  notes at Bulletproof Screenwriting dot tv. Forward slash three fifty nine. Thank you
• 28:40
  so much for listening, guys, As always, keep on writing no matter
• 28:42
  what. I'll talk to you soon. Thanks for listening to the Bulletproof Screenwriting
• 28:47
  podcast at Bulletproof Screenwriting dot tv.