Latest / Bulletproof Screenwriting™ Podcast / BPS 443: Breaking the Mold: Lily Yasuda and Michael Wolfe’s Journey to Crafting the Anti-Rom-Com

Transcript

BPS 443: Breaking the Mold: Lily Yasuda and Michael Wolfe’s Journey to Crafting the Anti-Rom-Com · Bulletproof Screenwriting™ Podcast

• 0:03
  Speaker 1: You are listening to the IFAH podcast Network.
• 0:06
  Speaker 2: For more amazing filmmaking and screenwriting podcasts, just go to
• 0:10
  Speaker 2: ifahpodcastnetwork dot com.
• 0:12
  Speaker 1: Welcome to the Bulletproof Screenwriting Podcast, Episode number four forty three.
• 0:16
  Speaker 1: Your dream doesn't have an expiration date, Take a deep
• 0:19
  Speaker 1: breath and try again. KT Whitten broadcasting from a dark,
• 0:24
  Speaker 1: windowless room in Hollywood.
• 0:26
  Speaker 3: When we really should be working on that next draft.
• 0:28
  Speaker 2: It's the Bulletproof Screenwriting Podcast, showing you the craft and
• 0:32
  Speaker 2: business of screenwriting while teaching you how to make your
• 0:35
  Speaker 2: screenplay bulletproof.
• 0:36
  Speaker 3: And here's your host, Alex Ferrari.
• 0:41
  Speaker 1: Welcome, Welcome to another episode of the Bulletproof Screenwriting Podcast.
• 0:44
  Speaker 4: I am your humble host Alex Ferrari.
• 0:46
  Speaker 1: Now, today's show is sponsored by Bulletproof Script Coverage.
• 0:50
  Speaker 5: Now.
• 0:51
  Speaker 6: Unlike other script coverage services, Bulletproof Script Coverage actually focuses
• 0:56
  Speaker 6: on the kind of project you are in the goals
• 0:59
  Speaker 6: of the project you are, so we actually break it
• 1:01
  Speaker 6: down by three categories micro budget, indie film, market, and
• 1:05
  Speaker 6: studio film. There's no reason to get coverage from a
• 1:07
  Speaker 6: reader that's used to reading temp pole movies when your
• 1:10
  Speaker 6: movie is going to be done for one hundred thousand dollars,
• 1:13
  Speaker 6: and we wanted to focus on that. At Bulletproof Script Coverage,
• 1:16
  Speaker 6: our readers have worked with Marvel Studios, CIA, w MEE, NBC, HBO, Disney,
• 1:22
  Speaker 6: Scott Free, Warner Brothers, The Blacklist, and many many more.
• 1:25
  Speaker 6: So if you need your screenplay or TV script covered
• 1:29
  Speaker 6: by professional readers, head on over to covermiscreenplay dot Com.
• 1:34
  Speaker 6: Enjoy today's episode with guest host Dave Bullis.
• 1:39
  Speaker 4: Under this week's episode, I have three people who decided
• 1:42
  Speaker 4: to self produce their own movie because they sold it
• 1:44
  Speaker 4: as the only alternative They wanted to go out there
• 1:46
  Speaker 4: and make something. They wanted to go out there and
• 1:48
  Speaker 4: actually see something be made and not just talk about
• 1:50
  Speaker 4: it and not just write about it. You know, you
• 1:52
  Speaker 4: actually want to see things get made. My first guest,
• 1:55
  Speaker 4: because there's two of them. My first guest is a writer, actor,
• 1:57
  Speaker 4: and filmmaker from Boise, Idaho. She got sduated summa cum
• 2:00
  Speaker 4: laude from Chapman University, and we'll be making your on
• 2:04
  Speaker 4: screen debut in the movie Like Love. My other guest
• 2:08
  Speaker 4: is a writer, producer, director who's made his slew of
• 2:11
  Speaker 4: short films and documentaries. He graduated with a PFA and
• 2:14
  Speaker 4: film production from Chapman University. He is currently interning, I
• 2:19
  Speaker 4: believe at Scott Ruden Productions and he's actually a full
• 2:22
  Speaker 4: Bright semi finalist, which is actually pretty cool. So we're
• 2:25
  Speaker 4: going to talk all about, you know, going to production companies.
• 2:28
  Speaker 4: We're going to talk about film school hangover, We're going
• 2:30
  Speaker 4: to talk about self production and their new project which
• 2:34
  Speaker 4: is on Seeden Spark right now called Like Love, with
• 2:37
  Speaker 4: guests Villi, Yasuda and Michael Wolf No.
• 2:41
  Speaker 5: Only good things. Marty's super great. He's actually more of
• 2:45
  Speaker 5: Michael's friend than mine. You had him as a professor, Yeah.
• 2:48
  Speaker 7: No, he Marty.
• 2:49
  Speaker 4: So.
• 2:49
  Speaker 3: Marty was the production coordinator at Chapman University, where Willie
• 2:55
  Speaker 3: and I both went to school and met for the project,
• 2:57
  Speaker 3: and he has a lot of experience with crowdfunding, which
• 3:02
  Speaker 3: is something we're doing for the movie we're making. And
• 3:06
  Speaker 3: I had gotten to know him through the school and
• 3:09
  Speaker 3: we were putting together a team of advisors for the project.
• 3:12
  Speaker 3: And since he has experienced with crowdfunding, he seems like
• 3:15
  Speaker 3: a logical bet. And one of the things we were
• 3:17
  Speaker 3: talking to was Marty, who do you know that we
• 3:19
  Speaker 3: can tell more people about this kind of thing that
• 3:21
  Speaker 3: we're doing. And he was more than happy to help
• 3:24
  Speaker 3: because Marty's just the nicest guy on the planet. But
• 3:28
  Speaker 3: he did talk a lot of smack on you.
• 3:29
  Speaker 5: He was like, whatever you do, don't talk to Dave
• 3:31
  Speaker 5: because he's terrible. So we went to you immediately, and
• 3:34
  Speaker 5: here we are, so we hope we don't get in
• 3:37
  Speaker 5: trouble with Marty.
• 3:37
  Speaker 4: But exactly, you have to outsmart him. You do the
• 3:41
  Speaker 4: exact opposite of what he suggests.
• 3:44
  Speaker 5: Exactly, that is exactly what we learned in film school.
• 3:46
  Speaker 5: And here we are making a movie. So I don't
• 3:48
  Speaker 5: know what could go wrong, but so far, so good.
• 3:52
  Speaker 4: Yeah, I know Marty for years, and Marty is a
• 3:55
  Speaker 4: really great guy, and I'm actually happy that, you know, you,
• 4:00
  Speaker 4: you were able to be taught by somebody who not
• 4:03
  Speaker 4: just talks to talk but also walks the walk because
• 4:06
  Speaker 4: Marty's actually made films. He's actually crowdfund of things before.
• 4:10
  Speaker 4: For for listeners of the podcast, they they kind of
• 4:13
  Speaker 4: know my history of you know, I didn't go to
• 4:16
  Speaker 4: film school, but I did teach film school stuff. And
• 4:21
  Speaker 4: what happens is I have a kind of a love
• 4:23
  Speaker 4: hate relationship with that because oftentimes they hire these colleges
• 4:27
  Speaker 4: hire professors who don't know what they're doing. That that
• 4:29
  Speaker 4: that that's the black mark of a lot of a
• 4:31
  Speaker 4: lot of colleges. That's a dirty little secret they don't
• 4:33
  Speaker 4: need to know about. But anyways, I'm sorry what we're
• 4:35
  Speaker 4: about to say.
• 4:36
  Speaker 3: Oh no, that's that's absolutely that's absolutely true, and just
• 4:41
  Speaker 3: like it's a I think I think it's partially because
• 4:44
  Speaker 3: film is just so it's still very new to the world.
• 4:48
  Speaker 3: You know, like a lot of like really only the
• 4:50
  Speaker 3: private colleges have caught on to it. And even then,
• 4:53
  Speaker 3: like a lot of the people they get to teach
• 4:55
  Speaker 3: it are like you know, they're they're people who have
• 4:58
  Speaker 3: tried and decided like I can't do this full time,
• 5:01
  Speaker 3: so I just want to, like you know, help other people.
• 5:04
  Speaker 3: And it's it's easier for them because they're proud they're
• 5:06
  Speaker 3: not as hot in the industry anymore. But it's just
• 5:10
  Speaker 3: such a new concept. It's very it's very touch and
• 5:13
  Speaker 3: go where you like you really have to do your research,
• 5:15
  Speaker 3: and the Hollywood Reporter, which is like the go to
• 5:18
  Speaker 3: for a lot of people, like that's how we found Chapman, Like, yeah,
• 5:21
  Speaker 3: totally that that's just like you know, staff by people
• 5:26
  Speaker 3: who all come from USC and the bigger schools, and
• 5:30
  Speaker 3: so they're just going to promote their own and it's.
• 5:32
  Speaker 5: Like and I think coming from a you know, Chapman
• 5:35
  Speaker 5: is certainly an up and coming, certainly a recognized school,
• 5:37
  Speaker 5: but you know a little bit a little bit newer
• 5:40
  Speaker 5: on the sort of film school scale.
• 5:42
  Speaker 7: You know.
• 5:42
  Speaker 5: I think it's been great for us to you know,
• 5:44
  Speaker 5: obviously Michae when I met through school, and so that
• 5:46
  Speaker 5: in and of itself, I think the fact that we're
• 5:47
  Speaker 5: making this movie proves that film school does provide a
• 5:51
  Speaker 5: degree of network and then could be really helpful. But
• 5:53
  Speaker 5: we're also just trying to move forward with you know,
• 5:54
  Speaker 5: having a net of advisors, people like Marty, but we
• 5:56
  Speaker 5: also have you know, some other people on our list.
• 5:59
  Speaker 5: You know, Dave Line as a friend of my dad's,
• 6:01
  Speaker 5: who's a DP on Homeland and True Blood has worked
• 6:05
  Speaker 5: with Kevin Smith, you know, and.
• 6:09
  Speaker 7: Clerks together.
• 6:10
  Speaker 5: Yeah, yeah, Dave and Kevin Shock Clerks when they were
• 6:13
  Speaker 5: like like twenty one or twenty two, like our age,
• 6:15
  Speaker 5: you know. But having some people outside of the faculty
• 6:18
  Speaker 5: sphere that can also provide some support and some guidances
• 6:21
  Speaker 5: is really important. So it's definitely about about cultivating that network.
• 6:26
  Speaker 4: So you one of the questions I was about to
• 6:28
  Speaker 4: ask too was where did you guys meet? And you
• 6:31
  Speaker 4: just you just mentioned in film school. So I wanted
• 6:34
  Speaker 4: to ask that because I thought maybe you guys, you know,
• 6:36
  Speaker 4: you two were friends before film school and you decided
• 6:38
  Speaker 4: to go there at Chapman together. So let me ask
• 6:40
  Speaker 4: you this. When you both decided to go to Chapman,
• 6:43
  Speaker 4: when did you actually meet each other? And then, you know,
• 6:46
  Speaker 4: how did you start working together like you are? Now?
• 6:51
  Speaker 5: Do you want to do it? Yeah?
• 6:53
  Speaker 3: Well, so it turns out we lived on the same
• 6:57
  Speaker 3: floor freshman year. But yeah, well we didn't find that
• 6:59
  Speaker 3: out until like a year late because we didn't really
• 7:01
  Speaker 3: talk to each other.
• 7:02
  Speaker 7: We met in a.
• 7:03
  Speaker 5: Like I knew that you existed, but I don't think
• 7:05
  Speaker 5: i'd ever actually spoken to you.
• 7:07
  Speaker 3: Yeah, I think that's what it was. But we met
• 7:10
  Speaker 3: in this creative writing class outside of the BUILD program
• 7:13
  Speaker 3: because you you just like, you have to take electeds
• 7:17
  Speaker 3: and you want to like fill in those something this
• 7:19
  Speaker 3: general education, so it's something that's fun and sustains you.
• 7:22
  Speaker 3: And we Willy and I both just standed up like
• 7:26
  Speaker 3: we had to write like a memoir piece, and Willy
• 7:29
  Speaker 3: and I both ended up tackling topics about like our
• 7:32
  Speaker 3: like sexual history, like I've told the story of like
• 7:35
  Speaker 3: my first blow job.
• 7:37
  Speaker 5: They were Yeah, they were like very unfortunate, they were
• 7:39
  Speaker 5: they're very unfortunate, very humorous like material, and we just
• 7:43
  Speaker 5: we just bonded. Yeah, we like we had to read
• 7:46
  Speaker 5: them out loud, and it was like super uncomfortable because like, oh,
• 7:48
  Speaker 5: who wants to go first? And Michael went first, and
• 7:50
  Speaker 5: Michael Starr was like, so ethically like we'll say vulnerable
• 7:54
  Speaker 5: in like an artsy way, we'll go with embarrassing in
• 7:56
  Speaker 5: like a more literal way. That I was like, okay,
• 7:58
  Speaker 5: then I have to share. And we like talked after class, yeah,
• 8:02
  Speaker 5: and like had mutual friends. And then he sent me
• 8:05
  Speaker 5: an email like I don't know a few weeks later
• 8:07
  Speaker 5: pretty much s tootally out of the blue and was like,
• 8:09
  Speaker 5: I want to I want to produce a feature when
• 8:11
  Speaker 5: I graduate. I want you to write me something. And
• 8:14
  Speaker 5: I was like, cool, what do you want it to be?
• 8:16
  Speaker 5: And he was like it can be whatever you want.
• 8:18
  Speaker 5: And I was like that's really nice, but that's not
• 8:19
  Speaker 5: what you mean, Like what what's the movie that you
• 8:22
  Speaker 5: want to make, and he you had a ton of
• 8:26
  Speaker 5: ideas you sent me, like a doc. They were like
• 8:28
  Speaker 5: eight or ten things on that list, but one of
• 8:32
  Speaker 5: them was a story about a girl that he was
• 8:34
  Speaker 5: friends with in high school. He was really close with
• 8:36
  Speaker 5: and he was super into her and she was not
• 8:38
  Speaker 5: super into him, and sort of I guess the fallout
• 8:42
  Speaker 5: of that and like sort of the like weird price
• 8:45
  Speaker 5: you pay for one sided reciprocation. But then it became
• 8:48
  Speaker 5: this conversation but like the friend zone, you know, and
• 8:51
  Speaker 5: sort of what relationships look like now, and that seemed
• 8:55
  Speaker 5: like an interesting place for us to start. So it
• 8:57
  Speaker 5: was a pretty loose pitch when I started it, and
• 8:59
  Speaker 5: Discres has been through a lot in the last few years,
• 9:04
  Speaker 5: so yeah, it's definitely evolved, but it was Yeah, it
• 9:06
  Speaker 5: was Michael's pitch, and I think that that coming together,
• 9:09
  Speaker 5: I think, not as friends but like worries more about
• 9:11
  Speaker 5: like being collaborators.
• 9:13
  Speaker 3: Yeah, edit hers well. And it was important to me
• 9:15
  Speaker 3: because I am more of a director than a writer.
• 9:18
  Speaker 3: Like I like writing and I like to talk about writing,
• 9:21
  Speaker 3: but the actual writing is so difficult. And what's great
• 9:25
  Speaker 3: about Lily is she just is She's really prolific, like
• 9:29
  Speaker 3: she's always writing something and she has to finish it,
• 9:32
  Speaker 3: and you know, you usually you just start stuff and
• 9:35
  Speaker 3: you don't finish it, and that's me.
• 9:37
  Speaker 7: In a nutshell it.
• 9:38
  Speaker 3: So I approached Lily because she was the person who
• 9:43
  Speaker 3: I knew it could finish it.
• 9:46
  Speaker 5: And that's kind of what you want when you ask
• 9:48
  Speaker 5: someone to write you a movie. You want to make
• 9:50
  Speaker 5: sure you have at least all the movie. So that's
• 9:53
  Speaker 5: what that's what we're trying to do as we move forward.
• 9:56
  Speaker 4: So when you mentioned the person who would never reciprocate.
• 10:01
  Speaker 1: We'll be right back after a word from our sponsor,
• 10:07
  Speaker 1: and now back to the show.
• 10:10
  Speaker 4: Is that one of those typical people you kind of
• 10:12
  Speaker 4: meet not only in film school but in all types
• 10:14
  Speaker 4: of like colleges, in the workplace, where they're always there
• 10:16
  Speaker 4: when they when they need something, and then whenever you
• 10:19
  Speaker 4: need something from them there you know you can never
• 10:21
  Speaker 4: find them.
• 10:22
  Speaker 5: I think that's probably true. I don't think that's unique
• 10:25
  Speaker 5: to film school. But I think the story that Michael
• 10:28
  Speaker 5: brought to the table, you know, is less about I
• 10:30
  Speaker 5: don't know, feeling jilted or like like being taken advantage
• 10:34
  Speaker 5: of by someone who doesn't reciprocate your feelings, but just
• 10:36
  Speaker 5: the idea that, you know, romantic comedies have spun this
• 10:39
  Speaker 5: idea that like, oh, well, if you're a boy and
• 10:41
  Speaker 5: a girl who like each other's company, you're destined to
• 10:44
  Speaker 5: be in love. And I don't know, if you've ever
• 10:47
  Speaker 5: existed in the world, you've probably found that that's not true.
• 10:49
  Speaker 5: And I think just sort of mining the story within
• 10:52
  Speaker 5: that about yeah, sort of the realities of attraction and
• 10:56
  Speaker 5: intimacy and what that means, and that you can love
• 11:00
  Speaker 5: someone and not be destined to be their partner was
• 11:04
  Speaker 5: sort of the underlying ideology.
• 11:08
  Speaker 4: Yeah, yeah, I know, I see exactly what you mean.
• 11:10
  Speaker 4: I just you know, I've again when I when I
• 11:12
  Speaker 4: used to work at different universities and teach film stuff,
• 11:16
  Speaker 4: there's always you know, there's always a little friction sometimes
• 11:19
  Speaker 4: and usually that's like the type of person you know
• 11:20
  Speaker 4: what I mean. It was always like, you know, needed neat,
• 11:23
  Speaker 4: very needy, and then when they when you need something,
• 11:25
  Speaker 4: they're just never there. It just as a side question,
• 11:29
  Speaker 4: have you ever met, like, I guess, the the the stereotype,
• 11:34
  Speaker 4: which is basically the what I like to call the
• 11:37
  Speaker 4: art school, uh, the art school reject. And what I
• 11:40
  Speaker 4: mean by that is there the person who is just
• 11:42
  Speaker 4: you know, makes everything they want they want to make
• 11:44
  Speaker 4: is like avant garde that you know what I mean?
• 11:47
  Speaker 4: And they and they and I dare I say they
• 11:49
  Speaker 4: almost wear they want to wear a beret.
• 11:52
  Speaker 5: That this literally honestly not even the metaphorical bray.
• 11:57
  Speaker 4: Like, yeah, the.
• 11:59
  Speaker 7: Love people, but they have no idea.
• 12:01
  Speaker 3: They they when it comes time and you help them
• 12:04
  Speaker 3: out on their project, they have no idea like how
• 12:07
  Speaker 3: to communicate what it is they want. They just kind
• 12:09
  Speaker 3: of just bark at things that you and you're just
• 12:14
  Speaker 3: you just kind of you're just kind of scrambling. And
• 12:16
  Speaker 3: they usually like you know, especially in film school and
• 12:19
  Speaker 3: in the industry as and when you're starting out like this,
• 12:22
  Speaker 3: you want to trade as many favors as you can.
• 12:24
  Speaker 7: Like that's my biggest thing totally.
• 12:27
  Speaker 3: That's the kind of person where like they can't trade,
• 12:30
  Speaker 3: they can't trade, they can't do anything. They've never even
• 12:32
  Speaker 3: been on a set before, Yeah, they weren't even Like
• 12:34
  Speaker 3: they don't know how to be a boom up and
• 12:36
  Speaker 3: why it's important to be good at boom opping and
• 12:39
  Speaker 3: motivate a person who's going to boom off for you someday.
• 12:42
  Speaker 5: Totally.
• 12:43
  Speaker 4: Yeah, we know people. I usually have a saying, if
• 12:49
  Speaker 4: you were in a class, you know, and you're in
• 12:52
  Speaker 4: film school and you can't find that person, chances are
• 12:55
  Speaker 4: you might actually be that person.
• 12:58
  Speaker 5: Definitely if you're like I don't know anyone like that, like,
• 13:00
  Speaker 5: oh other people, other people know that person, and I'm
• 13:03
  Speaker 5: sure they could point you in the right direction.
• 13:07
  Speaker 4: When I when I was, you know, working at different places,
• 13:11
  Speaker 4: there was a student project that this person made and
• 13:14
  Speaker 4: they were kind of you know, in that sense, they
• 13:17
  Speaker 4: were in that regard, and they were they would constantly
• 13:21
  Speaker 4: quote you know, you know, they talk about Krosawa films
• 13:24
  Speaker 4: and this and that. Oh yes, and now I'm a
• 13:27
  Speaker 4: huge movie nerd, so obviously I'll talk about that too.
• 13:29
  Speaker 4: But but it's just they kind of you know how
• 13:33
  Speaker 4: I mean, they they they shoot one thing and it's like, oh,
• 13:35
  Speaker 4: this is exactly like Crosa would do it. Oh my god.
• 13:37
  Speaker 4: So anyways, the project they handed in, uh was so
• 13:43
  Speaker 4: badly done. Like I could I could do a whole
• 13:46
  Speaker 4: podcast about what had happened, but essentially aspect ratios didn't
• 13:52
  Speaker 4: match from scene to scene, and I at first, I
• 13:54
  Speaker 4: was like is this an artistic choice of why you're
• 13:56
  Speaker 4: going from you know, all these different aspect creator she
• 14:00
  Speaker 4: was maybe maybe this is just something that I'm not
• 14:02
  Speaker 4: aware of, And no, it wasn't a artistic choice. And
• 14:06
  Speaker 4: there was there was a lot of that. There was
• 14:08
  Speaker 4: a lot of sound issues you're speaking of boom like operator,
• 14:12
  Speaker 4: there was, and there was something else. I want to say,
• 14:15
  Speaker 4: there was something wrong with the coloring. And I can't
• 14:18
  Speaker 4: remember what it was, but I think the color correction
• 14:22
  Speaker 4: on the scene was so blown out. It was just
• 14:25
  Speaker 4: like everything. It was like a hodgepodge of everything not
• 14:29
  Speaker 4: to do in film school. But if I said to you, like, hey,
• 14:31
  Speaker 4: come up with every stereotype of film school, that's what
• 14:33
  Speaker 4: this was awesome?
• 14:35
  Speaker 5: Awesome. Yeah, well, and I think so much of that is,
• 14:38
  Speaker 5: you know, particularly as young as young filmmakers, as student filmmakers,
• 14:42
  Speaker 5: you know, there's a desire to do something really big.
• 14:44
  Speaker 5: Everybody wants to be Chris Nolan or everybody wants to
• 14:47
  Speaker 5: be Tarantino, right, people want to oh god, and with
• 14:51
  Speaker 5: all due respect to Edgar Wright, but you know, I
• 14:54
  Speaker 5: think there's a diire to tell really big stories. And
• 14:56
  Speaker 5: I know that, you know, I get off a little
• 14:59
  Speaker 5: bit easier because I operate more on the writing side
• 15:01
  Speaker 5: than the production side. But you know, I like to
• 15:04
  Speaker 5: tell really small stories, and that's good news for me
• 15:06
  Speaker 5: because small stories are really producible. And that's very much
• 15:09
  Speaker 5: how we approach this movie, like love, that we wanted
• 15:13
  Speaker 5: to tell a small story both that would not kill
• 15:16
  Speaker 5: our our pocket book when it came time to pay
• 15:20
  Speaker 5: for it, but that we could really focus on telling
• 15:23
  Speaker 5: the story well and not getting too hung up on
• 15:25
  Speaker 5: lens flares and car chases and all that.
• 15:29
  Speaker 4: Oh yeah, and we've all been there too, where where
• 15:33
  Speaker 4: you know they were going to make some movie that
• 15:35
  Speaker 4: we absolutely passively can't make, like you know, a car
• 15:39
  Speaker 4: chase movie or a time travel movie, stuff like that.
• 15:43
  Speaker 4: And that's why, you know, it's just when people do that,
• 15:46
  Speaker 4: it's always like godspeed, but you know you're probably going
• 15:49
  Speaker 4: to end up we're hating every single second when you're like, oh,
• 15:53
  Speaker 4: making a time travel movie where we're going back to
• 15:55
  Speaker 4: eighteen hundred and oh there's cars in the background, or
• 15:58
  Speaker 4: if you walking, you know what I mean.
• 16:00
  Speaker 5: You're like, Oh, it can't be that hard. We'll just
• 16:01
  Speaker 5: need a few cars, and you're like, those cars are
• 16:03
  Speaker 5: really expensive. Though like a few cars can be most
• 16:07
  Speaker 5: of your budget.
• 16:08
  Speaker 7: Well that was me. That was me with my thesis film.
• 16:11
  Speaker 3: It was a superhero movie, which I now like because
• 16:15
  Speaker 3: I had done the smaller stuff and I was like,
• 16:16
  Speaker 3: I want to challenge myself, So I'll make a superhero
• 16:18
  Speaker 3: movie with like six locations, like it had the effects
• 16:23
  Speaker 3: sequences and how big was your crew? Our crew we
• 16:25
  Speaker 3: had like crew of like eighty people, and it was
• 16:28
  Speaker 3: as a student filmmaker, you're leading a crew of like
• 16:30
  Speaker 3: eighty people and you're just like that's a lot to manage.
• 16:33
  Speaker 3: And you're also like there's so many elements that you're
• 16:37
  Speaker 3: trying to get into place. You can't even make the movie.
• 16:40
  Speaker 3: You're trying spending so much time trying to make the
• 16:42
  Speaker 3: movie happen that you don't make it good.
• 16:45
  Speaker 7: You don't even Yeah, you don't make the movie.
• 16:46
  Speaker 3: You just you just kind of like assembled, You just
• 16:49
  Speaker 3: kind of throw a bunch of stuff.
• 16:50
  Speaker 7: On screen and call it a movie. Yeah, at that point.
• 16:53
  Speaker 5: And also for the record, I would just like to say,
• 16:56
  Speaker 5: there will not even be eighty people on our set
• 16:59
  Speaker 5: in total, including extras, on this feature, So we're really
• 17:04
  Speaker 5: scaling back.
• 17:05
  Speaker 4: On this on this project.
• 17:06
  Speaker 3: That was that was a crash course and like what
• 17:08
  Speaker 3: what not to do? Yeah, but I learned you do
• 17:12
  Speaker 3: learn how to stretch your budget really quickly when you're trying.
• 17:14
  Speaker 5: To assemble all those things. Goldfish for everybody, fruit snacks,
• 17:20
  Speaker 5: that's true pro tip aspiring filmmakers. Everybody loves fruit snacks and.
• 17:24
  Speaker 3: It has to be it has to be welches. It
• 17:26
  Speaker 3: can't be the off friend.
• 17:27
  Speaker 5: Yes, exactly, that's our advice.
• 17:31
  Speaker 4: That's like the Lloyd Kaufin brain of doing things. You know,
• 17:33
  Speaker 4: the goldfish crackers and dale old bagels. That that's the
• 17:36
  Speaker 4: old Lloyd Kaufman special.
• 17:38
  Speaker 5: That's the two major food groups. Honestly, Like you get
• 17:40
  Speaker 5: something crispy and something with cream cheese.
• 17:42
  Speaker 3: On it, and like you'll be fine. For my for
• 17:44
  Speaker 3: my thesis, we had a night shoot and uh marpur
• 17:48
  Speaker 3: Chucer she's a wonderful, wonderful person, but she's from China
• 17:52
  Speaker 3: and she got bagels and instead of cream cheese, she
• 17:55
  Speaker 3: got sour cream. Like three in the morning, and you're
• 18:01
  Speaker 3: you just want to go to sleep, you know, and
• 18:03
  Speaker 3: you just try to work and so and so you're
• 18:05
  Speaker 3: not reading the labels. You just see what looks to
• 18:07
  Speaker 3: be cream cheese and you're putting sour cream on bagels
• 18:10
  Speaker 3: and they spread them because they thought it was they
• 18:14
  Speaker 3: thought it was cream cheese and nikes. Yeah, talk about
• 18:17
  Speaker 3: a way to wake up though coffee.
• 18:21
  Speaker 5: That's rough.
• 18:23
  Speaker 4: That that yeah, that's that is that is pretty rough.
• 18:26
  Speaker 4: I I don't know. Uh did she was? She able
• 18:29
  Speaker 4: to sort of save herself, meaning that like she did
• 18:31
  Speaker 4: she realize the mistakes she made and and she tried
• 18:34
  Speaker 4: to to make amends.
• 18:36
  Speaker 3: She did, she did, she went out crafty for everybody.
• 18:40
  Speaker 4: Oh good good.
• 18:41
  Speaker 7: Uh you gotta you gotta.
• 18:42
  Speaker 3: Feed your crews. Well, yes, that's important.
• 18:45
  Speaker 4: Yeah, absolutely, you know. Uh. And before we start talking
• 18:49
  Speaker 4: more about like love, I just wanted to ask, you know,
• 18:51
  Speaker 4: when when when both of you are shooting, you know,
• 18:53
  Speaker 4: your student projects throughout you know, your your four years,
• 18:57
  Speaker 4: did you ever when you were out out shooting did
• 18:59
  Speaker 4: you ever get you know, maybe somebody coming to ask
• 19:01
  Speaker 4: you questions about hey, what are you doing? H and
• 19:04
  Speaker 4: you kind of were able to pull the whole Hey,
• 19:06
  Speaker 4: I'm a student filmmaker. Card Wait, I'm sorry, repeat the
• 19:13
  Speaker 4: question real quick. Did you ever, like when you were
• 19:15
  Speaker 4: out filming, did you ever get to pull the whole hey,
• 19:17
  Speaker 4: I'm a student filmmaker card. Like like if you're ever
• 19:20
  Speaker 4: out somewhere shooting and somebody asks you like, hey, what
• 19:22
  Speaker 4: are you doing here? Like, hey, what are students? We're
• 19:24
  Speaker 4: making a movie?
• 19:26
  Speaker 5: I think I think that's hard in California, especially in
• 19:29
  Speaker 5: Orange where Chapman is located, because everybody does like everyone
• 19:32
  Speaker 5: is on set all the time. Like the residents of
• 19:34
  Speaker 5: Orange hate student filmmakers, which like is probably not unwarranted,
• 19:41
  Speaker 5: you know, but for this, for this feature, we're shooting
• 19:43
  Speaker 5: in Boise, Idaho, and even like today, like we did
• 19:46
  Speaker 5: a couple of location scouts and like people are just
• 19:48
  Speaker 5: so stoked, like there, what are you doing? And you're like,
• 19:50
  Speaker 5: we're making a movie. And they're like wow, could we
• 19:52
  Speaker 5: be in the movie? And you're like yeah, potentially, Like
• 19:56
  Speaker 5: people just think it's so fun. So I think there's
• 19:58
  Speaker 5: a higher sort of like novelty.
• 20:01
  Speaker 1: We'll be right back after a word from our sponsor
• 20:07
  Speaker 1: and now back to the show.
• 20:10
  Speaker 3: Well yeah, well in Orange, you was like you downplay
• 20:14
  Speaker 3: the student aspect and you just go for the we're
• 20:16
  Speaker 3: young and hungry and.
• 20:18
  Speaker 5: Chat enter kind of thing. You do, not say you
• 20:20
  Speaker 5: go to Chapman, the people, the residents of Warrens. You
• 20:23
  Speaker 5: do not want to help you as a Chapman student.
• 20:27
  Speaker 4: See and that that there's the those are the pro
• 20:29
  Speaker 4: tips that see that that that are like you know,
• 20:32
  Speaker 4: you have to be in the note to get them.
• 20:33
  Speaker 4: Oh sorry, I just hit the microphone so I was
• 20:35
  Speaker 4: See I was so excited about that pro tip. I
• 20:37
  Speaker 4: hit the microphone with my hand. Uh but no, but see,
• 20:39
  Speaker 4: those are the types of things that you kind of
• 20:41
  Speaker 4: have to you know, ebb and flow out of because
• 20:44
  Speaker 4: you get you don't want to say you're you're you know,
• 20:46
  Speaker 4: going to Chapman, but you're also you're always want to
• 20:49
  Speaker 4: be able to say, hey, look, you know if you're
• 20:50
  Speaker 4: if you're out somewhere and you're shooting without a permit
• 20:53
  Speaker 4: and you're you're doing a gorilla style, you want to
• 20:55
  Speaker 4: be able to say, hey, I'm I'm I mean, I've
• 20:57
  Speaker 4: done it too where I'd like, hey, I'm just a
• 20:58
  Speaker 4: student making a film. What's going on here? I didn't
• 21:00
  Speaker 4: know an it's sumfer.
• 21:03
  Speaker 3: Yeah, well that's why that's why we're in Boise in particular.
• 21:06
  Speaker 5: It's because they don't they don't like need filming permits.
• 21:10
  Speaker 3: Yeah, there's not an emphasis on like in I think
• 21:12
  Speaker 3: in La, what is it like if you if I
• 21:16
  Speaker 3: don't know if this is a rumor or not, but
• 21:18
  Speaker 3: I've heard horror stories where like people will build film
• 21:23
  Speaker 3: guerrilla style and then in La they find out you
• 21:25
  Speaker 3: didn't have a permit. Afterwards it can lead to huge
• 21:28
  Speaker 3: fines and like you can't use your footage like without
• 21:32
  Speaker 3: being sued by the city. It's it's a yeah, it's
• 21:35
  Speaker 3: like a big it's a big deal just because they
• 21:37
  Speaker 3: have so much production fatigue, whereas in you come out
• 21:40
  Speaker 3: to this small place like like Boiser, like a significantly
• 21:44
  Speaker 3: smaller where there's no where there's hardly any film and infrastructure.
• 21:47
  Speaker 3: I think I think they don't even have like film incentives.
• 21:50
  Speaker 5: Right, So maybe this is really just an elaborate plug
• 21:53
  Speaker 5: for people to come shoot films in Idaho, Like surprise
• 21:56
  Speaker 5: you got us. Like, if you're looking to shoot an
• 21:58
  Speaker 5: independent film, maybe should come do it in in Boise.
• 22:01
  Speaker 5: It's it's hot and dry and people are nice and
• 22:05
  Speaker 5: we like to deep fries steak like it's a pretty
• 22:07
  Speaker 5: good time truth be told. Yeah, awesome, boom. We have
• 22:12
  Speaker 5: one convert that is our that is our mention.
• 22:16
  Speaker 4: I'm here in Philadelphia and uh, there was a point
• 22:20
  Speaker 4: where production fatigue started to kind of sort of set in.
• 22:23
  Speaker 4: But then you know, all the productions left the Pittsburgh
• 22:25
  Speaker 4: and now the only thing we have left there's Creed
• 22:27
  Speaker 4: two is here right now, and that's it. Uha. So
• 22:30
  Speaker 4: it's like.
• 22:31
  Speaker 5: That's so bad that you take it take cream two.
• 22:35
  Speaker 4: Yeah, Well, it's just funny because there used to be
• 22:38
  Speaker 4: so many other things going on here and now there's
• 22:41
  Speaker 4: like nothing and is just like it has become just
• 22:44
  Speaker 4: you know, it's you know, the people were, you know,
• 22:46
  Speaker 4: wondering where all the all the productions went. So apparently
• 22:48
  Speaker 4: they've all gone to either Pittsburgh or and now as
• 22:51
  Speaker 4: I find out, boysyadah, Yeah.
• 22:53
  Speaker 5: Surprise, we're stealing them from you, you know.
• 22:56
  Speaker 4: And I wondered too if there is you know, if
• 23:00
  Speaker 4: there even is there a film commission in Idaho?
• 23:02
  Speaker 5: Like, is there one there is?
• 23:04
  Speaker 4: Okay?
• 23:05
  Speaker 5: Cool, We tell you almost nothing else about it except
• 23:07
  Speaker 5: that it exists, but we do have one.
• 23:10
  Speaker 3: I think they're waiting for their big their big opportunity.
• 23:13
  Speaker 7: La La Land too.
• 23:14
  Speaker 5: That could be us.
• 23:15
  Speaker 4: Well we see see if I was I mean, I mean,
• 23:17
  Speaker 4: and and Mike, you know, you you being a you
• 23:19
  Speaker 4: know a producer on the project. I imagine my my,
• 23:23
  Speaker 4: my producer hat starts to go off here, and I
• 23:25
  Speaker 4: imagine there's a lot of empty buildings in in Idaho,
• 23:30
  Speaker 4: not just around the Boise area. And what I mean
• 23:32
  Speaker 4: my empty buildings is you know farms, old warehouses, old
• 23:36
  Speaker 4: uh you know, kind of like dairy silos, all those
• 23:39
  Speaker 4: types of places. And I kind of wonder, you know,
• 23:42
  Speaker 4: if they could be utilized more, you know what I mean.
• 23:45
  Speaker 5: Sure, maybe not in our movie, but if you need
• 23:47
  Speaker 5: a good like serial killer film, maybe this is the
• 23:51
  Speaker 5: good place to do it.
• 23:53
  Speaker 7: Well, they absolutely could.
• 23:55
  Speaker 3: And the the nice thing too, is like when you
• 23:58
  Speaker 3: don't have a town that has all the production can
• 24:00
  Speaker 3: league is people will just open up and they're happy
• 24:03
  Speaker 3: to have it. The the trick though, and this is
• 24:06
  Speaker 3: a discussion like when I visited New York, I went
• 24:08
  Speaker 3: they the city has a like the Mayor's Office for
• 24:11
  Speaker 3: Film and Television, and they're very big on educating to
• 24:15
  Speaker 3: so many shows shooting New York. Uh, They're very big
• 24:18
  Speaker 3: on educating the city about why film is great and
• 24:20
  Speaker 3: TV is great and how it supports everything.
• 24:24
  Speaker 7: And one of the things that they do is they
• 24:26
  Speaker 7: train a lot.
• 24:27
  Speaker 3: Of the the they have a program that trains a
• 24:30
  Speaker 3: lot of people who want to get involved in the
• 24:32
  Speaker 3: industry to create the infrastructure there really and yeah, and well,
• 24:36
  Speaker 3: and that's the challenge with Boise is there's there are
• 24:39
  Speaker 3: there is a small team people who are willing to
• 24:41
  Speaker 3: do it, but there's just a small team, sure, you know.
• 24:44
  Speaker 3: And so we are we're bringing out some crew from
• 24:46
  Speaker 3: California and we do have the community support and a
• 24:49
  Speaker 3: lot of people who are very interested in the arts
• 24:51
  Speaker 3: stepping us out. But the people with the skill sets,
• 24:54
  Speaker 3: for sure, are.
• 24:55
  Speaker 7: There's a there's only so many.
• 24:57
  Speaker 3: There's there's so many of them, and there's like they're
• 25:00
  Speaker 3: either on other projects that you're doing other things. So
• 25:02
  Speaker 3: you can find these places to shoot, but the project
• 25:07
  Speaker 3: that you're making still is going to cost somebody because
• 25:09
  Speaker 3: you have to bring you have to bring do you
• 25:11
  Speaker 3: have to bring? Yeah, you get to bring in the
• 25:13
  Speaker 3: support network for it for sure.
• 25:16
  Speaker 4: Yeah, and that is true. And but I you know,
• 25:19
  Speaker 4: I still think you know again that that filming in
• 25:22
  Speaker 4: in you know, the small towns and stuff like that,
• 25:24
  Speaker 4: it's always you know, it's it's always an advantage if
• 25:27
  Speaker 4: you can use it as an advantage. And what I
• 25:29
  Speaker 4: mean by that is, you know where towns where they're
• 25:32
  Speaker 4: not actually you know, fatigue from filming, whethery're not, fatigue
• 25:35
  Speaker 4: for people asking for favors or you know whatever else.
• 25:38
  Speaker 7: You know.
• 25:38
  Speaker 4: That's why if you do live in Middle America or
• 25:42
  Speaker 4: even in a small town in in California, whatever, you
• 25:45
  Speaker 4: can actually because again you know people you know and
• 25:48
  Speaker 4: you and the people are willing to help you. Because
• 25:49
  Speaker 4: if you live in a small town, most of the
• 25:51
  Speaker 4: time you all know each other, you know what I mean. Yeah,
• 25:53
  Speaker 4: other than living in like New York or LA where
• 25:55
  Speaker 4: as soon as you walk in you go, hey, hey,
• 25:57
  Speaker 4: you know, hey, Lily, I want to film in your restaurant.
• 25:59
  Speaker 4: You'll like just get no, exactly exactly.
• 26:02
  Speaker 5: And that was ultimately, I mean, I'm from Boise, So
• 26:05
  Speaker 5: that's sort of the short reason why we're here for production.
• 26:08
  Speaker 5: But yeah, just the generosity and just people are so
• 26:11
  Speaker 5: freaking nice. And you know, when you're poor and you're young,
• 26:15
  Speaker 5: and this is both of our first feature and you're
• 26:18
  Speaker 5: starting at I mean, you just need that infrastructure of
• 26:20
  Speaker 5: support and not even I mean, yes, professional support of
• 26:24
  Speaker 5: talented people that are willing to work for not a
• 26:25
  Speaker 5: lot of money on set, but just people that are
• 26:28
  Speaker 5: willing to bring you food, people that are willing to
• 26:29
  Speaker 5: house your crew, people that are willing to you know,
• 26:32
  Speaker 5: we were freaking out. We didn't have our we're prepping
• 26:35
  Speaker 5: our crowdfunding campaign on seed and Spark, and we realized
• 26:38
  Speaker 5: like two and a half weeks out that we didn't
• 26:40
  Speaker 5: have graphics, like we needed a thumbnail for the video,
• 26:43
  Speaker 5: we need reward stuff. And we were like, oh no.
• 26:45
  Speaker 5: We're like, okay, well we need to hire someone basically
• 26:48
  Speaker 5: today who can start work tomorrow. We can't pay them,
• 26:52
  Speaker 5: and we need them to deliver like a bunch of
• 26:54
  Speaker 5: stuff in like ten days. And we were like who
• 26:57
  Speaker 5: could we talk to And we were like, literally, no one,
• 27:00
  Speaker 5: Like like students aren't going to do that, Like professionals
• 27:02
  Speaker 5: aren't going to work for free. We were freaking out.
• 27:05
  Speaker 5: I talked to my dad, Davey Suda, who works like
• 27:08
  Speaker 5: in marketing. He works in e commerce at a company
• 27:11
  Speaker 5: that sells meat, but like he's done some stuff and
• 27:13
  Speaker 5: like sort of the commercial in film space and has
• 27:15
  Speaker 5: directed and produced and done some stuff like that, but
• 27:18
  Speaker 5: has done a lot of work in the advertising sphere,
• 27:20
  Speaker 5: and reached out to his friend Paul Carew, who runs
• 27:23
  Speaker 5: a local ad agency and was like, hey, Paul, will
• 27:25
  Speaker 5: you designed for my daughter for free?
• 27:27
  Speaker 4: And Paul was like sure, And so.
• 27:28
  Speaker 5: We got like a whole team of people to like
• 27:30
  Speaker 5: do our graphics for literally no pay, you know. And
• 27:32
  Speaker 5: you're not going to get that in LA, or I'm not.
• 27:35
  Speaker 5: Maybe if you're maybe, if you had better better friends,
• 27:38
  Speaker 5: but you're really well connected, you're really if you're not me, basically,
• 27:42
  Speaker 5: maybe LA would play out for you.
• 27:44
  Speaker 4: So better friends. Yeah, I like that.
• 27:50
  Speaker 5: Yeah, Michael, get out.
• 27:53
  Speaker 4: Yeah, Mike, come on, No, it's true.
• 27:55
  Speaker 3: She's literally like she's bringing all the resources to the
• 27:59
  Speaker 3: project and I'm just kind of coming in and going, yeah,
• 28:02
  Speaker 3: let's do this.
• 28:02
  Speaker 7: Let's not do this.
• 28:04
  Speaker 5: He provides moral support, moral support. I like that.
• 28:08
  Speaker 4: So let's talk about like love. You know, I'm interested
• 28:11
  Speaker 4: because you know, I can just tell what you're you're
• 28:13
  Speaker 4: you know, both you're wearing a lot of different hats
• 28:15
  Speaker 4: for this project. So you know, you know, Lily, you're
• 28:18
  Speaker 4: from Boise, so you're shooting it in Boise, Idaho. You know, Mike,
• 28:22
  Speaker 4: you're you're coming along for the ride, so uh, you know,
• 28:26
  Speaker 4: and Lily, you wrote this correct, that's correct. And then
• 28:29
  Speaker 4: and Michael you're directing it, I am yes, And then
• 28:33
  Speaker 4: now are you both staring in it?
• 28:36
  Speaker 5: I am Michael will be making a small appearance as
• 28:39
  Speaker 5: gas station attendant, but I'm playing the lead role.
• 28:43
  Speaker 4: Correct, Okay? Cool? So, so just to talk more about
• 28:47
  Speaker 4: like love, you know, Lily, since you wrote it, could
• 28:50
  Speaker 4: you sort of give us the log line or synopsis
• 28:52
  Speaker 4: about the film?
• 28:53
  Speaker 5: Yeah, for sure. So it's heavily inspired by When Harry
• 28:56
  Speaker 5: Met Sally, as I suppose most romantic comedies are, but
• 29:00
  Speaker 5: we wanted to take that sort of a step further
• 29:02
  Speaker 5: and very directly, honor, you know, the interviews of One
• 29:04
  Speaker 5: Harry Met Sally. For those of you who've seen the film,
• 29:07
  Speaker 5: you know, and for those of you who don't, I'll
• 29:08
  Speaker 5: fill you in real fast, you know. So When Harry
• 29:10
  Speaker 5: Mett Sally is like the classic rom com gout two
• 29:13
  Speaker 5: friends who eventually fall in love over the course of
• 29:16
  Speaker 5: like thirteen years or whatever being together. But the backbone
• 29:19
  Speaker 5: of the story is a series of interviews of like
• 29:22
  Speaker 5: old sort of crotchety couples telling the stories of how
• 29:25
  Speaker 5: they met and how they fell in love. And I
• 29:27
  Speaker 5: love One Harry Met Sally, but I think the.
• 29:29
  Speaker 3: Interview the tension of it is that, like, yeah, the
• 29:33
  Speaker 3: tension of it is is there these two people who
• 29:35
  Speaker 3: are friends that fall in love, but it's like men
• 29:37
  Speaker 3: and women can't be be friends because the sex and
• 29:41
  Speaker 3: the traction always gets in the way, right, And.
• 29:43
  Speaker 5: At the end of the movie it turns out that's
• 29:44
  Speaker 5: true because of course they get together. So the interviews
• 29:48
  Speaker 5: being all these various elderly couples telling the stories of
• 29:51
  Speaker 5: how they met, how they fell in love, and I
• 29:53
  Speaker 5: think the interviews have aged really badly, Like if you
• 29:56
  Speaker 5: watch them now, they're all of these like sort of
• 29:57
  Speaker 5: sad stories of where it's.
• 29:59
  Speaker 1: Like, we'll be right back after a word from our sponsor,
• 30:07
  Speaker 1: and now back to the show.
• 30:10
  Speaker 5: The guy is like, well, I saw this woman and
• 30:13
  Speaker 5: she was so fine that I just had to have her.
• 30:15
  Speaker 5: And we'd been married for one hundred years, and you're like,
• 30:18
  Speaker 5: I don't know if that's like cute, you know, like
• 30:22
  Speaker 5: and obviously the interviews are intended to be funny, but
• 30:24
  Speaker 5: they just I don't know, like, if you wanted to
• 30:27
  Speaker 5: go there, there may be a little bit misogynistic, but
• 30:29
  Speaker 5: they just reflect I think this very outdated sort of
• 30:31
  Speaker 5: idea of like love at first sight like, then being
• 30:34
  Speaker 5: together forever is more important than like being happy or
• 30:37
  Speaker 5: supporting each other in a meaningful way. So that was
• 30:39
  Speaker 5: sort of the impetus for the story. So Like Love is,
• 30:43
  Speaker 5: as we've been pitching it, an anti romantic comedy about
• 30:47
  Speaker 5: two friends who try to fall in love and can't
• 30:51
  Speaker 5: and what that then means for their friendships for them individually,
• 30:55
  Speaker 5: and trying to overcome the can men and women actually
• 30:58
  Speaker 5: just be friends and have that be a meaning full
• 31:00
  Speaker 5: prize at the end.
• 31:02
  Speaker 3: And it particularly plays on the gender dynamic because it's
• 31:04
  Speaker 3: from the woman's perspective and how she's not he's into her,
• 31:09
  Speaker 3: but she's not into him, and what like, like how
• 31:15
  Speaker 3: she feels precious because she thought she has this really
• 31:17
  Speaker 3: awesome friend and he wants something more.
• 31:20
  Speaker 5: And she doesn't want to jeopardize the friendship and it's
• 31:23
  Speaker 5: easier for her to try and be in love with
• 31:25
  Speaker 5: him than for her to tell him that she's just
• 31:27
  Speaker 5: not interested.
• 31:29
  Speaker 4: I say, so the old friend zone I plays I'm
• 31:31
  Speaker 4: familiar with very very often. No, I'm just kidding, nod, but.
• 31:36
  Speaker 5: You're like, I've been there. I feel that I think
• 31:38
  Speaker 5: we all have.
• 31:39
  Speaker 4: So the story of my life. No, but but you know.
• 31:43
  Speaker 4: So when you were talking about the interviews, Lily, let
• 31:46
  Speaker 4: me what kind of like I say, I always think
• 31:49
  Speaker 4: there's there's generation gaps because I think each generation, you know,
• 31:53
  Speaker 4: they have a different idea of relationships and love and
• 31:56
  Speaker 4: all these sort of things. And uh, you know, I
• 31:59
  Speaker 4: fall into the millennial category. I guess are you millennial
• 32:03
  Speaker 4: or generation why? I don't know or how far are
• 32:05
  Speaker 4: you on the cutoff?
• 32:06
  Speaker 3: We're on the cut We're so we're both like you're
• 32:10
  Speaker 3: twenty one one, I'm twenty two. Like we're both on
• 32:12
  Speaker 3: that like cutoff where like I think the New York
• 32:15
  Speaker 3: Times even had like a whole thing about it where
• 32:17
  Speaker 3: they're like they ask people our age specifically, are we millennial? Yeah,
• 32:21
  Speaker 3: because the cutoff is supposed to be like some people
• 32:24
  Speaker 3: say the cutoff is two thousand and two thousand and one,
• 32:26
  Speaker 3: and some people are like, no, it's nineteen ninety and that's.
• 32:30
  Speaker 5: A significant difference.
• 32:32
  Speaker 3: But we're like right in the middle of Like it's
• 32:33
  Speaker 3: weird because like the Parkland teams that are so big
• 32:36
  Speaker 3: for their activism or even called gen Z or whatever,
• 32:39
  Speaker 3: and yeah, yeah, and we're like we're like not that
• 32:44
  Speaker 3: much older than them, Like they would have been freshman
• 32:46
  Speaker 3: when we were seniors in high school.
• 32:49
  Speaker 5: So unclear. Well, I feel like millennial sounds snappier, so
• 32:52
  Speaker 5: we'll go with that.
• 32:53
  Speaker 7: We're in that.
• 32:53
  Speaker 3: Weird middle gap of like I remember what it was
• 32:55
  Speaker 3: like to play outside and I did that, and I
• 33:00
  Speaker 3: remember life, but I remember life were cell phones, Yeah,
• 33:03
  Speaker 3: but definitely we've grown up with them, and for sure
• 33:07
  Speaker 3: what the expectation that smartphones and all that stuff?
• 33:10
  Speaker 5: Sure and online dating and all of that stuff.
• 33:12
  Speaker 3: Yeah.
• 33:14
  Speaker 4: So I mean I think on what probably like eight
• 33:17
  Speaker 4: the nine years older than both of you because I'm
• 33:19
  Speaker 4: I'm thirty one, so it's kind of like I'm, well, yeah,
• 33:22
  Speaker 4: so basically like about ten years older than you guys.
• 33:24
  Speaker 4: So I'm kind of like the because I've read somewhere
• 33:27
  Speaker 4: that that the millennial coff was like nineteen eighty to nineteen,
• 33:32
  Speaker 4: like ninety two. I think it was, so like I,
• 33:35
  Speaker 4: you know, I fall into that category there, and I
• 33:38
  Speaker 4: always sort of go back and I and I see how,
• 33:41
  Speaker 4: you know, these different generation gaps in this country kind
• 33:43
  Speaker 4: of view different things because each generation kind of is
• 33:46
  Speaker 4: a lot different than the one before it. I mean,
• 33:48
  Speaker 4: you have the you have the the once in the
• 33:51
  Speaker 4: nineteen forty, which are called the Greatest generation. And then
• 33:54
  Speaker 4: you have the they gave birth to the Baby Boomers,
• 33:56
  Speaker 4: and they they were totally different in a lot of
• 33:58
  Speaker 4: different ways. And then you have the Generation xers, which
• 34:02
  Speaker 4: you know, which are even more you know, different than
• 34:03
  Speaker 4: their parents. I mean, it's just you know, I I
• 34:06
  Speaker 4: don't think there's any country in the world that has
• 34:09
  Speaker 4: such generation gaps as we do here in America.
• 34:12
  Speaker 5: Definitely. And I think, you know, sort of the evolution
• 34:15
  Speaker 5: of the romantic comedy or just maybe how people see
• 34:18
  Speaker 5: romance in general is a good time capsule of that
• 34:21
  Speaker 5: that gap.
• 34:23
  Speaker 4: Yes, yeah, And that's why I think with the with
• 34:25
  Speaker 4: those uh uh interviews, I think that's a good you know,
• 34:27
  Speaker 4: time capsule to have because I think you know, you're,
• 34:30
  Speaker 4: you know, you're looking and saying, look, you know this
• 34:32
  Speaker 4: is you know, they they they dated. I mean, look
• 34:34
  Speaker 4: look at how finding jobs are so different now, you know.
• 34:36
  Speaker 4: Back you know, you hear a lot of baby boomers talking,
• 34:39
  Speaker 4: they go, oh, you know, I asked the old uh
• 34:41
  Speaker 4: Fred to have the steel mill for a job, and
• 34:43
  Speaker 4: I got a job. And we're like, what the hell
• 34:44
  Speaker 4: are you talking about? Like, you know, there's no there's
• 34:47
  Speaker 4: no steel mills. And and if you go to a
• 34:49
  Speaker 4: place right now and say hey, can I talk to somebody,
• 34:51
  Speaker 4: They're gonna say, no, you have to make an appointment,
• 34:53
  Speaker 4: you have to apply, blah blah blah. Definitely, you know
• 34:55
  Speaker 4: what I mean. So it's like it's all it's all
• 34:57
  Speaker 4: so different now. But but that's why, you know, again,
• 35:00
  Speaker 4: just going back to the generational gaps. But you know
• 35:03
  Speaker 4: when you're so you're you're on Seed and Spark right now,
• 35:07
  Speaker 4: or you're going to be on Scene Spark correct, you're
• 35:09
  Speaker 4: going to be launching.
• 35:10
  Speaker 5: We are live as of two days ago. So this
• 35:13
  Speaker 5: is day or is this day three? This is day three,
• 35:15
  Speaker 5: day three of our campaign? So we have twenty seven
• 35:18
  Speaker 5: days to go.
• 35:20
  Speaker 4: So, so what are some of the you know, the
• 35:21
  Speaker 4: things that you've encountered. We're you're playing this crowd funny campaign.
• 35:24
  Speaker 4: Have you Have you been encountered a lot of you know,
• 35:26
  Speaker 4: unexpected things that have sort of come up.
• 35:30
  Speaker 5: I guess just that it's really hard, Like I would say,
• 35:33
  Speaker 5: nobody tells you, but everybody tells you that, oh it'll
• 35:36
  Speaker 5: be really hard, and you're like, oh, but it won't
• 35:37
  Speaker 5: be that hard, and then you start doing it and
• 35:39
  Speaker 5: you're like, this is in fact very hard.
• 35:41
  Speaker 3: Yes, it's a it's a full time job and en of.
• 35:44
  Speaker 5: Itself, but you don't get paid. You hope that other
• 35:47
  Speaker 5: people pay the campaign. So no, but we have a
• 35:51
  Speaker 5: great team and like we have a we have a
• 35:53
  Speaker 5: social media advisor, and our producers have been involved as well.
• 35:57
  Speaker 5: So you know, again it's pretty early on and we've
• 35:59
  Speaker 5: made good progress given where we're at, but it's a long,
• 36:04
  Speaker 5: a long and windy road.
• 36:05
  Speaker 4: Ahead of us, i'd imagine. So, so what is your
• 36:08
  Speaker 4: goal right now?
• 36:10
  Speaker 3: We're trying to raise a little over thirty one thousand
• 36:14
  Speaker 3: dollars and then the.
• 36:16
  Speaker 7: Budgets a little bit higher than that.
• 36:17
  Speaker 3: We also received a generous grant from the Alexa Rose
• 36:20
  Speaker 3: Foundation in Idaho sports Idaho based artists.
• 36:23
  Speaker 7: Like Lily So uh, but the thirty one thirty one.
• 36:27
  Speaker 3: K is the is roughly the goal on the platform.
• 36:30
  Speaker 7: Yeah, yeah, on the platform.
• 36:32
  Speaker 4: So before the you know, the the launch of this,
• 36:35
  Speaker 4: I'm sure you know, Marty was probably working with you
• 36:37
  Speaker 4: on this. So did did you know if there's any
• 36:40
  Speaker 4: advice you would give to anybody out there? What would
• 36:42
  Speaker 4: what would it be that you maybe you wish you
• 36:44
  Speaker 4: would have done differently or you know, maybe just you know,
• 36:48
  Speaker 4: is it more time, did you wish you have something else?
• 36:50
  Speaker 4: Is there anything you would have you know that that
• 36:52
  Speaker 4: you wish you knew that you know now before we launched.
• 36:57
  Speaker 3: Well, I mean, you know, it's it's kind of it's
• 37:00
  Speaker 3: kind of in a way like the pro it's not.
• 37:04
  Speaker 3: It's similar to the process of preparing for just to
• 37:06
  Speaker 3: make a movie in general, Like you know, you really
• 37:09
  Speaker 3: do have to plan, Like there's the crowd funding campaign
• 37:13
  Speaker 3: has its own separate reproduction. You have to pitch video
• 37:16
  Speaker 3: that needs to really reflect the movie because people are
• 37:20
  Speaker 3: watching that and they're expecting and when they see that
• 37:22
  Speaker 3: that they're going to see what they're going to see
• 37:23
  Speaker 3: when you make the actual movie.
• 37:25
  Speaker 5: Yeah, and visual consistency and fonts and colors and graphics
• 37:29
  Speaker 5: and all that. You know. I feel like we I
• 37:32
  Speaker 5: think we did everything we could, which is not to
• 37:35
  Speaker 5: say we couldn't have done more. You know, again, We're
• 37:37
  Speaker 5: only three days in and I'm already like, oh my god,
• 37:39
  Speaker 5: we haven't done enough. But I think it's just giving
• 37:42
  Speaker 5: yourself time to fully prepare and just really going through
• 37:46
  Speaker 5: all these specifics with your team, and ultimately I guess
• 37:48
  Speaker 5: it's about cultivating a cohesive message of like, so what
• 37:51
  Speaker 5: is the project, why does it matter? And who would
• 37:53
  Speaker 5: watch it? And Michael and I we had sort of
• 37:57
  Speaker 5: a turbulent road producers, and so like we've gone through
• 37:59
  Speaker 5: a lot of stages of pitching the project, of selling
• 38:02
  Speaker 5: the project of you know, who are we and why
• 38:05
  Speaker 5: should we tell this?
• 38:06
  Speaker 4: And why this story?
• 38:07
  Speaker 5: And why now? And I think once you've done that work,
• 38:10
  Speaker 5: I mean, yes, you need to think about what you're
• 38:11
  Speaker 5: going to post on Twitter and whatever, but it's more
• 38:14
  Speaker 5: about that branding of what you're selling is what I
• 38:17
  Speaker 5: would advise people to think about.
• 38:20
  Speaker 3: Yeah, and making sure that your your team in particular,
• 38:23
  Speaker 3: is very consistent in that message.
• 38:25
  Speaker 7: And because you.
• 38:27
  Speaker 3: Have your friends and your family who are going to donate,
• 38:30
  Speaker 3: and that makes up a large part of it. But
• 38:32
  Speaker 3: then if your movie is geared towards a very specific
• 38:34
  Speaker 3: audience like ours, which is well, you know, young millennials,
• 38:41
  Speaker 3: then how do you market a movie to your friends
• 38:45
  Speaker 3: and family so that they donate, but then also make
• 38:47
  Speaker 3: that message so that it plays to the people I
• 38:49
  Speaker 3: would watch your movie?
• 38:50
  Speaker 5: Yeah, Like your grandma would probably donate to your movie,
• 38:54
  Speaker 5: but your grandma is probably not your ideal audience member,
• 38:57
  Speaker 5: you know.
• 38:58
  Speaker 4: I mean, I love my Grandma's don't get me wrng.
• 39:00
  Speaker 3: But and then your ideal audience member isn't exactly someone
• 39:03
  Speaker 3: who's rich and has a lot of money, So how
• 39:04
  Speaker 3: do you find them?
• 39:06
  Speaker 7: Get them?
• 39:06
  Speaker 3: And so it's been a costed back and forth of
• 39:08
  Speaker 3: like where are we going online to find these?
• 39:11
  Speaker 5: Yeah, so maybe the point is you should just make
• 39:13
  Speaker 5: a movie that only really rich people would want to watch.
• 39:16
  Speaker 5: I think that's your ideal, and then the audience just
• 39:20
  Speaker 5: takes care of itself, you know.
• 39:23
  Speaker 4: I think that is excellent advice. I think just having
• 39:26
  Speaker 4: rich friends and just saying, hey, this movie will be
• 39:28
  Speaker 4: for you.
• 39:30
  Speaker 7: You know.
• 39:31
  Speaker 4: And the weird part is only I, you know, because
• 39:33
  Speaker 4: I get to talk to so many that one of
• 39:34
  Speaker 4: the benefits of doing this podcast is I get to
• 39:36
  Speaker 4: talk to so many different people, not only in America
• 39:39
  Speaker 4: but also you know, all over the world. And sometimes
• 39:43
  Speaker 4: it actually happens where somebody has a very rich friend
• 39:46
  Speaker 4: who bling is a lot of money to projects and
• 39:48
  Speaker 4: I'm just like, you, son of a bitch? How that hell?
• 39:53
  Speaker 4: You know, how do can I get that? Because you know,
• 39:56
  Speaker 4: I'm just some schmuck here in Philly.
• 39:57
  Speaker 1: But you know, come on, we'll be right back after
• 40:01
  Speaker 1: a word from our sponsor and now back to the show.
• 40:09
  Speaker 4: Yeah.
• 40:10
  Speaker 5: Well, And I think it's also about remembering and I
• 40:12
  Speaker 5: say this, I'm really bad at implementing it, but in
• 40:14
  Speaker 5: theory remembering that as an independent filmmaker, especially if you're
• 40:18
  Speaker 5: if you're like Michael or I, where you're willing to
• 40:20
  Speaker 5: wear a lot of hats. I mean I can barely
• 40:24
  Speaker 5: see for all of the hats that I'm wearing. But
• 40:27
  Speaker 5: you know, where you're wearing a lot of hats, you're
• 40:28
  Speaker 5: doing a lot of work that you need to love
• 40:31
  Speaker 5: doing the work because ninety nine percent of the work
• 40:34
  Speaker 5: is not being on set. It's not being on set,
• 40:36
  Speaker 5: and it's not shooting the movie, and it's not like
• 40:38
  Speaker 5: getting a beautiful shot right, it's like you're gonna you're like, hey,
• 40:42
  Speaker 5: today's the day we're going to hire a production designer,
• 40:45
  Speaker 5: and that needs to be really interesting to you, or like,
• 40:47
  Speaker 5: today's the day we're gonna come up with a mock poster,
• 40:49
  Speaker 5: and that needs to be really exciting to you, because
• 40:50
  Speaker 5: like that is your that is most of your job.
• 40:53
  Speaker 7: It's not out of people, out of people.
• 40:55
  Speaker 3: See that yeah, fathe you love doing the work, then
• 40:58
  Speaker 3: they're more interested in Like you've got to be You've
• 41:02
  Speaker 3: got to be really open and like vulnerable about everything
• 41:05
  Speaker 3: that it is you're doing, which is really hard when
• 41:07
  Speaker 3: you're a filmmaker who's telling a story. Like usually you know,
• 41:11
  Speaker 3: you're a little cagey because you're putting you're putting art
• 41:14
  Speaker 3: out into the world, and you know there's a good
• 41:16
  Speaker 3: chance a lot of people everyone has an opinion about
• 41:18
  Speaker 3: that's for sure.
• 41:19
  Speaker 7: Sure, And but if you're.
• 41:22
  Speaker 3: Willing to just like what I've been discovering is you've
• 41:24
  Speaker 3: just got to be willing to be.
• 41:26
  Speaker 7: Very open about it, definite.
• 41:28
  Speaker 3: Like when so like we shared like our campaigns, like
• 41:31
  Speaker 3: our film's tone reel, we're sharing like the actual process
• 41:35
  Speaker 3: of like the nitty green of power creating race and
• 41:38
  Speaker 3: it's about you.
• 41:39
  Speaker 5: Get Yeah, you get to watch Michael and I eat
• 41:41
  Speaker 5: like nineteen frozen waffles, which is a pretty good time.
• 41:45
  Speaker 5: Which in case you were wondering, like, don't eat frozen
• 41:48
  Speaker 5: waffles when they're warm from the sun, Like, I wouldn't
• 41:51
  Speaker 5: advise that. It's a terrible idea. So that's the kind
• 41:53
  Speaker 5: of stuff that you just can't learn in film school.
• 41:59
  Speaker 4: I don't want to you don't worry you about the waffles. Yeah,
• 42:04
  Speaker 4: it's just, uh, some of the things you learn in
• 42:05
  Speaker 4: FILLM school and some of the things you can't, and
• 42:07
  Speaker 4: that's one of them. Don't eat don't eat the waffles
• 42:09
  Speaker 4: that are that? Are that are? Yeah?
• 42:13
  Speaker 5: I beg that a T shirt? You can have that.
• 42:16
  Speaker 4: Oh, thank you, Lely, thank you. I know we're running
• 42:20
  Speaker 4: out of time. I know you both have to run,
• 42:22
  Speaker 4: so I'm going to link to everything in the show
• 42:24
  Speaker 4: notes everybody. But just in closing, Lily and Michael, is
• 42:27
  Speaker 4: there anything you want to say to sort of put
• 42:29
  Speaker 4: a period at the end of this whole conversation.
• 42:35
  Speaker 3: Yeah, Well, thank you so much for you know, having
• 42:38
  Speaker 3: us on the show. It's great just to know the
• 42:41
  Speaker 3: talk and talk about the project just so other people
• 42:44
  Speaker 3: can hear about it. And you know, we're happy to
• 42:47
  Speaker 3: uh if anybody who's listening. I know a lot of
• 42:49
  Speaker 3: your listeners are very interested in working professionals, and you know,
• 42:53
  Speaker 3: we're happy to connect and whatever way we can with project,
• 42:57
  Speaker 3: but also to help them because the reason we the
• 43:00
  Speaker 3: reason I'm doing this and the reason I'm in film
• 43:02
  Speaker 3: the generals, because I love working with other people and
• 43:06
  Speaker 3: tying that into Like Love. I'm very excited about the crew.
• 43:09
  Speaker 3: We've got a trap young crew, micro budget of ten people, homeless.
• 43:14
  Speaker 4: Micro budget, so micro.
• 43:15
  Speaker 7: You know, we're all wearing multiple hats.
• 43:17
  Speaker 3: And I'm so excited for you, for for everyone to
• 43:20
  Speaker 3: get to see the work that we're doing.
• 43:22
  Speaker 7: And I think, what's what's true about this movie?
• 43:26
  Speaker 3: And it becomes a cliche, But you know, we're here
• 43:29
  Speaker 3: because we value working with each other and we value
• 43:32
  Speaker 3: the story that we feel like we haven't seen for Yeah,
• 43:34
  Speaker 3: and Like Love has been.
• 43:37
  Speaker 5: Very collaborative, very very collaborative, and I think, you know,
• 43:41
  Speaker 5: in the spirit of collaboration of working with other people,
• 43:43
  Speaker 5: I think my takeaway for for listeners or I don't know,
• 43:47
  Speaker 5: just other people out in the art industry. Like I
• 43:50
  Speaker 5: was telling Michael, nothing makes you want to be generous
• 43:54
  Speaker 5: to other people who make art, like desperately asking people
• 43:57
  Speaker 5: to give you money, Like again, we're only a day
• 44:00
  Speaker 5: free of our campaign, and you know, I think it's
• 44:02
  Speaker 5: easy as you know, whether whether you are a working
• 44:05
  Speaker 5: artist or you're just someone who likes art, you know
• 44:06
  Speaker 5: that you see other people making stuff and they're like, hey,
• 44:08
  Speaker 5: like we need extra, Hey, we need five dollars or hey,
• 44:11
  Speaker 5: and it's kind of like, oh, that's nice, but it's
• 44:13
  Speaker 5: easy for that to sort of sto the background of
• 44:14
  Speaker 5: your life and not then it. You owe it to
• 44:16
  Speaker 5: everyone you meet to give them five dollars or spend
• 44:19
  Speaker 5: your really to become an extra. But you know, just
• 44:21
  Speaker 5: little things of there are people in your life or
• 44:24
  Speaker 5: your community who are writing a play and need a
• 44:26
  Speaker 5: place to stage it, or if there are people like
• 44:28
  Speaker 5: you know, I think making art intrinsically requires the help
• 44:32
  Speaker 5: and support of ours and I think if you're in
• 44:34
  Speaker 5: a place to support people, you have an oblation to
• 44:37
  Speaker 5: do so. And I know that's something I was not
• 44:38
  Speaker 5: very good at before starting this movie, and even on
• 44:41
  Speaker 5: a very small level. Just like I was at a
• 44:43
  Speaker 5: play the other night at Homegrown Theater in Boise, and
• 44:46
  Speaker 5: you know, they were like really looking for people to
• 44:48
  Speaker 5: help the sponsors, right for five bucks a month, but
• 44:50
  Speaker 5: you can become a sponsor, And I was like, you
• 44:52
  Speaker 5: know what, I want to be a sponsor because like
• 44:53
  Speaker 5: I've spent literally my whole day sending emails trying to
• 44:56
  Speaker 5: get people to give me five dollars and it is
• 44:57
  Speaker 5: so hard, and I think, like you at that moment,
• 45:01
  Speaker 5: I was like, the at least I can do is like,
• 45:02
  Speaker 5: you know, help them keep the power on so.
• 45:04
  Speaker 3: Well, and that's that's what's cool about supporting like love
• 45:07
  Speaker 3: is like love is being supported by a community like boys. Yeah,
• 45:11
  Speaker 3: so it's like it so like would people come and
• 45:13
  Speaker 3: support us. They're supporting Boise general, sure, and you know
• 45:17
  Speaker 3: we're supporting them in tandem. It's it's a win win
• 45:20
  Speaker 3: in that way. So it's it's really great to be
• 45:22
  Speaker 3: a part of a project like that. Yeah.
• 45:24
  Speaker 5: So I think to anyone out there, if you can
• 45:26
  Speaker 5: help us out, that would be awesome. But really, truly,
• 45:28
  Speaker 5: there's any way we can help anyone out there if
• 45:30
  Speaker 5: you're looking for advice or help or maybe five dollars.
• 45:33
  Speaker 5: I have exactly five dollars to give, so hit me up.
• 45:37
  Speaker 5: You can find us on our site.
• 45:38
  Speaker 7: We could give it to ourselves.
• 45:40
  Speaker 5: We could give it to ourselves. No, no, this five
• 45:41
  Speaker 5: dollars is only reserved for someone who's not you, Michael.
• 45:46
  Speaker 5: So yeah, but Daz, thank you so much for having us.
• 45:48
  Speaker 5: We really appreciate it. Yeah, if you have any questions
• 45:51
  Speaker 5: or comments for us, like, feel free to feel free
• 45:54
  Speaker 5: to let us know.
• 45:55
  Speaker 3: And you can find the links to our social and
• 45:57
  Speaker 3: everything in our seat spark at like clubmovie dot com.
• 46:00
  Speaker 5: And that should all be in the show notes.
• 46:01
  Speaker 7: So and that will be thank you so much for having.
• 46:05
  Speaker 4: Oh no, no, no, no album, No problem, Mike, Mike and
• 46:07
  Speaker 4: Dully and uh yes everyone, everything will be at the
• 46:10
  Speaker 4: show notes because I know a lot you know, everybody
• 46:12
  Speaker 4: died or I'm sorry everyone ingests a podcasts of really
• 46:16
  Speaker 4: sometimes they're you know, riding in their car, or they're
• 46:18
  Speaker 4: walking to work, or they're at the gym, so so
• 46:21
  Speaker 4: they can always check those show notes. That's one thing.
• 46:23
  Speaker 4: That's one tip I've always learned about podcasts is that
• 46:27
  Speaker 4: you should if you're are going to give you know,
• 46:29
  Speaker 4: you know, like links and stuff like that, it's always
• 46:31
  Speaker 4: you have to you have to do the one two
• 46:33
  Speaker 4: accommodation of putting them in the show notes because people people,
• 46:36
  Speaker 4: you know, people are busy. They're not like, oh my god,
• 46:37
  Speaker 4: I got you know what I mean, it's adestley out
• 46:39
  Speaker 4: of mine.
• 46:39
  Speaker 5: So uh, I don't think I've ever listened to a
• 46:41
  Speaker 5: podcast not in my car.
• 46:43
  Speaker 4: So that is that is sage advice.
• 46:45
  Speaker 5: As man I'm going to test to I do like
• 46:47
  Speaker 5: to text while I am driving the car, but that
• 46:49
  Speaker 5: is not safe. I would not recommend that, so please
• 46:53
  Speaker 5: please haul at your motor vehicle before checking the show notes.
• 46:57
  Speaker 4: Yeah, don't, don't click and drive, you know, so just
• 47:00
  Speaker 4: put the phone down. Lilly Michael, I want to say
• 47:03
  Speaker 4: thank you so much for coming on.
• 47:05
  Speaker 5: Thank you so much, Dave, thank you, thank you.
• 47:07
  Speaker 3: And I have to give Marty another thank you for
• 47:09
  Speaker 3: introducing us because it's a great conversation.
• 47:11
  Speaker 5: Big shout out to Marty.
• 47:13
  Speaker 1: I want to thank Dave so much for doing such
• 47:15
  Speaker 1: a great job on this episode. If you want to
• 47:17
  Speaker 1: get links to anything we spoke about in this episode,
• 47:19
  Speaker 1: head over to the show notes at Bulletproof Screenwriting dot tv.
• 47:22
  Speaker 1: Forward slash for forty three. Thank you so much for listening. Guys,
• 47:25
  Speaker 1: As always, keep on writing no matter what. I'll talk
• 47:29
  Speaker 1: to you soon.
• 47:30
  Speaker 2: Thanks for listening to the Bulletproof Screenwriting podcast at Bulletproofscreenwriting
• 47:34
  Speaker 2: dot tv.