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SYS Podcast Episode 175: Writer/Producer Tylor Bohlman Talks About His Horror / Thriller Feature Jake’s Dead (transcript)

This is a transcript of SYS Podcast Episode 175: Writer/Producer Tylor Bohlman Talks About His Horror / Thriller Feature Jake’s Dead.


 

Ashley:  Welcome to episode #175 of the “Selling Your Screenplay Podcast.” I’m Ashley Scott Meyers Screenwriter and Blogger over at – www.sellingyourscreenplay.com. Today, I’m interviewing director, Tylor Bohlman. Who wrote and produced a film called, “Jake’s Dead” He’s going to walk us through his entire process from writing the script to producing the movie. He didn’t have a lot of money so, he just really had to be creative to get this film finished. It’s a great story about determination and persistence. So, stay tuned for that interview.

If you find this episode valuable, please help me out by giving me a review in iTunes. Or leaving a comment on YouTube, or retweeting the Podcast on Twitter. Or liking us on Facebook. These social media shares really do help spread word about the Podcast and are very much appreciated.

A couple of quick notes, any websites or links that I mention in the Podcast can be found on my blog in the show notes. I also publish a transcript with each episode. In case you would rather read the show or look up something else up later-on. You can find all the Podcast show notes, just go to – www.sellingyourscreenplay.com/podcast, and look for episode #175.

If you would like my free guide, “How to Sell Your Screenplay in 5 Weeks?” You can pick that up by going to – www.sellingyourscreenplay.com/guide. It’s completely free, you just put in your Email address and I’ll send you a new lesson, once a week for 5 weeks. Along with a bunch of free bonus lessons. I teach the whole process of how to sell your screenplay in that guide. How to write a professional log-line and quarry letter. How to find agents, managers and producers who are looking for new material. It really is everything you need to know to sell your screenplay. Just go to – www.sellingyourscreenplay.com/guide.

So, now let’s get into the main segment. Today I’m interviewing film maker, Tylor Bohlman. Here is the interview.

 

Ashley:  Welcome Tylor to, the “Selling Your Screenplay Podcast. I really appreciate you coming on the show and talking with me today.

 

Tylor:  Hey, great, thanks for having me.

 

Ashley:  So, to start out, maybe you can tell us a little bit about your background. Where did you grow up, and how did you get interested in the entertainment industry?

 

Tylor:  Sure. So, my background. I’m from Marin County California. I grew-up I loved stories, I loved movies. And I got myself into photography. Going into college I decided to go into advertising. I liked the idea of speaking to people, coming up with messaging. My ultimate fantasy was to get a huge billboard, like made a billboard, put something out there that enough people would see it. Like make a difference in a way.

So, being in advertising didn’t end being exactly what I thought it would be? Even in school I interned for some ad agencies. I realized I was going to have to end-up advertising for products I didn’t even believe in. You know like I couldn’t go out and come up with a way that was to sell bleach to somebody. That started for some denied as fun to me. And then did internships at a couple of ad agencies while I was in school. There was basically like “Black Monday” “Black Tuesday” were like everybody in the entire agency would get fired, except for maybe one or two people. And a new ad agency would pop-up somewhere else. And I was like, that’s kinda hazardous work. Anything I had seen, It was fun when you were there. You know, they had all the toys. It was like start-up are now. But, they had pool tables and bars and stuff like that. And it was fun environments. But it was kind of fleeting and you would have to work for someone whom you weren’t necessarily that big of a fan of. So, while I was at the Academy of Arts, studying advertising. Someone asked me? If I had ever thought of doing a commercial? And honestly I really hadn’t. But I put everything together in my head. It was like, in terms of the communication avenue, like you have someone on screen speaking, you have text, you have graphics, you have anything you want, to tell a quick story. And I didn’t even make a commercial. So, I instantly switched over to motion picture and television, at the academy of arts. And it was one of the better decisions I ever made. Just in terms of the classes that taught you how to tell the story. What it meant to tell it visually versus you know, the class that told you how to come up with a script. You know, just learning screenwriting, and learning the kind of blue prints of making a feature film were fascinating and clicked with me really well. You know, keeping a chart, keeping it simple, you know, it’s all about the action, and the dialog. And like, you don’t really, you not supposed to put yourselves in there. You want to keep it flying and keep people entertained. But, ultimately describes the ones that were never heard before too. And then “Jake’s Dead” is partly a thesis project. So, during my last couple of semesters at the Academy. I used their equipment to the largest extent I possibly could. We made the film mostly during that period of time. And then there was a long period of time of a tale of making that film as well. And then, since then. I’ve done freelance video production of in the Bay Area. I do my videos for people. I had a marketing agency in

San Francisco for a while. You know, we traveled the world. Doing videos for wineries and music and dance music events and stuff, played that. And so, right now, I’m kind of I’m still in the Bay Area. I’m very much thinking of moving out to L.A. this summer. So, a lot of changes is possible. But I’m, still writing and producing, as well as the commercial stuff. I’ve got some actually their stuff in the works too.

 

Ashley:  Okay perfect. You mentioned photography? And I noticed on your IMDb page, you’ve been a Cinematographer, not only on “Jake’s Dead” but a bunch of other films as well. How did that? Were you taking photography classes, cinematographer classes, as well as learning screenwriting school?

 

Tylor:  Yeah. So, the cinematography was the thing that came naturally. That was kind of my thought was that I would go with it all. You know, and at least that would be my “In.” Because, I did have a background in photography, I was pretty good at just the technical aspects of things. I really liked the equipment, I liked how the photography and Cinematography department work in a film. And the idea of like moving the camera around to tell a story, very much appealed to me. So, that was kind of my bread and butter going into things, with the cinematography. And director of photography departments.

I decided at the Academy, to kind of take a little bit of everything. You know, I wanted to kind of learn as much as I could while I was there. So, I ended up taking a lot of screenwriting courses. And the directing courses, and sound courses. I mean, I just wanted to learn how to do every element of it. And I had done some screenwriting, not really screenwriting, kind of playwriting almost when I was younger. And I kind of forgot about it. And then as I got back into things. I remembered how much I liked it. And was kind of inspired to put some more stories down. As opposed to where, see also that kind of. That’s how I got into the screenwriting element of it.     

 

Ashley:  Okay, perfect, perfect. So let’s dig into “Jake’s Dead” Maybe just to start out you can give us a quick pitch or log-line for the film?

 

Tylor:  Sure. The movie is about, basically 2 brothers who are reunited by the death of their father. One of the brothers’ is back at their family house, and is addicted to this mysterious green drug. And Jake, the younger brother, who comes back to basically deal with all this. Ends up killing the drug dealer. In an act of protecting his brother. But, it really doesn’t go down so cleanly. And they end up in kind of a nightmare of betrayal, love and drugs.

 

Ashley:  Okay, okay, good, good. Where did this idea come from?

 

Tylor:  So, the director Jack Graham, he had a friend Gabe Jones. And they had this basic idea of two brothers and drugs scenario. And then I put that idea with Jack. And then we went to another screenwriters that could work. And then we turned the thing into an actual screenplay. And I think we wrote for about, for me it was a long writing process, at least six months. And then with three different writers. Where I would basically take script from working with Jack. To working with that and then back again. We kind of gained both of their inputs. And then obviously, just say put my own in where ever I could. And the script changed a lot as we were writing it. And then we were in these whole sessions a movie we had basically written, and then got rid of. And then we, even after we shot the film. We were like, actually it needs something like that back. So, then we went back and referred to that section. You use parts of it, and then actually went back and add those scenes again.

 

Ashley:  Now, when you are starting this process of writing it. Did you guys know you were going to be shooting it yourself. So, you knew the budget was going to be limited. Did you know roughly what the budget was ultimately going to be was that sort of your writing process?

 

Tylor:  Yes. That is a really good question? One of the things I learned later at the Academy. You know, I think most people are tried to listen to it. A really hard thing to actually do. Is to not write for the budget of the film. Kinda like, put down the idea that needs to be down there that minute. Then figure out later how to represent that when you’re shooting it. So, to answer your question? We, I guess we didn’t know we were going to be the one shooting this? I probably think in the very beginning it was a question mark. But, it was pretty soon, that we were going to be the people making this. And we had almost no money to do it. So, that played into the budget. But, I mean, we wrote a pretty aggressive script. In terms of what needed to be shot. But, we did take into account. The things that were out of all those other locations and what not.

 

 

Ashley:  I wonder If you could give us a run through, sort of what is your crew look like on a film this size. What camera do you use, lighting? Does any technical aspect. I know there’s a lot of screenwriters out there thinking, gee I wonder if I could shoot my feature film. And maybe you could just run through some of those technical things.

 

Tylor:  Sure. So, we got, I mean, we got really lucky with everything, it was difficult, is the first thing I’ll say. And you know, it’s not super easy. But, it’s much easier to inspire people to come on the set to help you film something. Than it is to have, you know, have people help you with post-production. Or anything that’s really not on a film set. You know, people do like coming out. And the timing of it for me was really nice because it was the end of my Academy of Art career. I was able to use all their resources. And I had a lot of extra time. And we also had another kind of connection that basically lent us a bulk of equipment for a long period of time for some cast, but mostly Best Man in the project. That was, he rented us like things we didn’t want to deliver and carry around that much. Things like, Dolly Track, a Jib, and some lighting, and stands and stuff from the school. We basically rented equipment every weekend for several months. And we would pick-up the equipment on Thursday. And we would turn it back in on Tuesday. And it was the camera a bunch of additional lighting. And kinda depending on what we were going to shoot. We would get different equipment from them. The camera itself needed special permission, every time we got it out. So, I would have to go and meet with the director of the film department. It was like, hey, we’re doing something for real, and we do need this camera. The camera itself, was an HPX-170 for the most part. Which was a Panasonic Camera. It’s kinda the little, it’s like a slight grown-up version of the HPX-200. Which a lot of people are familiar with. But with a mini-dvd camera. Which we shot some stuff upon as well. The whole problem technically was when we shot this. It was right as DSLM cameras were coming out. So, the Cannon 5D Mark 1, maybe was the very first one? One that actually let people start shooting on DSLR’s, that had just come out. Everybody had one, so some of the scenes are filmed on that camera. But, for the most part everything was filmed on these Panasonic HPX Cameras. And there was a FireStar, which was a big hard drive that was stuck off the side of the camera. Which would fall off, and it was ripped apart on a cable. And we ended up having to spend money on repairing that. There was, so many things that now a-days that you could almost film it just as well with your phone. And we were using all this crazy kind of middle of the type of technology road equipment. Which has a lot of problems. Not like the least being, it not being very good in the final finishing. And then when we went to test for quality control. They kept failing at quality control because the HPX-170 shot at a thing called, “Advanced Pull Down.” Which is a 24 click frames per second kind of band-aid. That when the shot at 33 frames per second, and then we moved frames. And then we edited the thing in “Final Cut 7.” Which could only deal with like 10% of the clips, that had that. So, that when we were going through quality control. We literally had to move the entire project over to “Double Premier.” Which fixed all that, like perfectly. But then caused this other like a thousand little problems. It became a nightmare, but it would have been something, you know, and no one would have to deal with before or after that moment. At it was just kind of, we picked the wrong moment to make a movie. Which is kinda funny. But so, we shot at least 4 day weekends, using the school’s equipment. And it was a lot of loading and unloading out equipment. And, the crew, we had, so, we had a very scattered crew. There was obviously me and the director. And, that was like the main, that was it. And then it was like a little, let’s call some people and see who can show up?

So, you know, a lot of the times we had boom operators, or just people who were there to just help carry stuff. They never really worked on set, but they were our friends. And that was fine, but it was also very inconsistent. We had a few assistants that were there very consistently that helped us with sound and kind of assistant producing, and things like that. But then again, most people were very inexperienced in the larger scheme of things. So, I was fine with it. But, it was very much like, let’s all kinda learn how to do this together. We even had some of the actors would show up on the days that they weren’t needed because they wanted to help and just be around the set. And that’s why I was one actor’s being like, don’t put a credit as booming guy, for Boom Operator. For me, I’ll just don’t worry about that one. Yeah, but it was definitely a nice family venture. Like everyone participated a lot. And that was, and it was a good rewarding like in the feeling of making it. I think everyone learned a lot. But, it was a really hard road. And it’s not that I won’t tell anyone not to try it. But it’s like be weary and try out a lot of friends. Because you’ll probably have half as many friends when you’re done. But, you need a lot to start with.

 

Ashley:  Yeah, yeah. So, it sounds like the way you’re saying. And I think it’s an excellent point. A lot of people think it’s fun to come up on set and help out. So, it’s easier to get those people than the post-production people. Maybe you can talk a little bit about your post-production? Was that a long process? What year did you shoot this?

 

Tylor:  So, a post-production was a long process. We shot in 2009, I want to say.

 

Ashley:  Okay.

 

Tylor:  Which is a long time ago now.

 

Ashley:  Yeah.

 

Tylor:  So, we shot in 2009. We, the one thing we did not do. Which would have been, it would have made things a lot easier. Is that we didn’t have anyone on the site, doing dailies, or editing. So, we basically finished several months-worth of shooting, with just a ton of footage. And then the editor had to start from scratch there. And we had an amazing editor. Jesse Chandler, and he kind of helped us organize everything and wrap our heads around it at one point. We printed out all the scenes, like a still from each scene. And posted them up on a wall and tried to figure out what we could take out, and what we took and reorganized things. The first cut of the film was two and half hours long. So, we’ve already cut half an hour out it, and it’s still two hours long and still a pretty long film. Because it’s funny because it gets better. We almost shot it chronologically. So, as you watch the movie. The scenes that everything’s tighter, like we just figured out how to do everything better and better. So, you know, if you can make it to the beginning you’re going to like the rest of it. So, post-production, we went back and shot a year later, we did pick-up shots. We did like a week of pick-up shots. And that was “Trippy” because, we, they were being cut against, almost, like close-up of actor. And then a year later, a close-up of actor. And they had different hair styles, like, and we were completely surprised that it actually worked. Like, we could point out where you would notice. Like, oh, yeah, his hair is definitely cut shorter in that scene. But, if we don’t point it out, don’t almost like, no one has ever said like, what’s going on, you know?

So, the actual editing took a while there was a kind of like an effects break down. Or kind of like an effects nightmare. We had like an effects crew? Kind of wind up, and they were very ambitious with what they were going to be able to do. And so, the main bad guy in the film, “The Dealer.” Has some facial disfiguring that we wanted him to do as the techno. effect of the drug. And it’s different at different points in the movie. And then there is certain scenes were it’s supposed to be like, at its peak. Well, the effects crew thought it would be fine to put tracking dots on the dealers face during the scene. But, they didn’t have little tiny dots. And so basically, they used big giant splotches of almost like lipstick. Which, fast forward, they were incredibly hard to paint off. And then so, we had everything

set-up, we had a beautiful model of the dealers kind of morphed face. Which we used a little bit of. But, ultimately what happened is? As the film kind of dragged on in post-production. And when we’re doing less fun things on set. More and more people kind of started to drop away. And the effects supervisor had some major issues come up for him that were unrelated to the film. But, definitely interfered. And we kind of left with our pants down, the FX was. And so, there was a moment of time where the film was kinda sitting there. Like, what do we do? We can’t raise enough money to fix this, none of us know how to do it by ourselves. And ultimately it came down to a couple of big friends. Who did know some special effects stuff. And were willing to help see the project finished. And so, they did come on. And I would just call it do the best band-aids we could? And from there we were able to go back in and add some of the visual effects we were really wanting to add on. There was this whole kind of, like we needed to correct for the FX path that didn’t work first, and that took a long time. Sound design, Justin Vallejo, met often, it took a really long time. We know, like with everything on the film takes a long time. You know, I had to go and sit with him, and go through the film. And this is probably when once or twice a week, for months. And you know, went to his home studio and he. And basically at that point he just donating time to us. Because he wanted to see the project finished. And you know, it’s just every little scene and every other little thing takes time. And so, in something that’s got along just looking at anything, you got of any aspect of what you’re doing, it’s just going to take forever. And that’s kinda what you get when you don’t have money, you have to spend time.

 

Ashley:  Yeah, yeah. Did this ever feel like this project, that it would never end? And how do you persevere during those moments?

 

Tylor:  A, yeah. So, not only did it feel weighted, like the project would never end. Well, I would say more so, that the project would never get finished. And that’s what my biggest fear was. Oh, my God, yeah, something that I started right at the end of school, and it’s trailed on for years. And we knew it was basically an impossibility when we set out doing it. And the way that I told everyone that I looked at it, when we were shooting. Anytime anybody asked me that? How are you pulling this off? I would use the analogy of, well, there’s two analogies. One, when you’re pushing a freight train full of people. And so, once you get to up the momentum. You know, then people can jump on the train, like everything’s fine. But, it’s a lot of pushing. And you know, to maneuver it, it’s even harder. Any other way I put it? Is basically, you’re running at a brick wall. And unless you’re running full speed, you won’t break through, you won’t see the door at the end at the last minute. And that’s how it felt. And there was so many moments where I could have just thrown my hands up and said, this isn’t working and walked away. But that would have meant, that wouldn’t have worked. And so, I had to keep pushing.

And it did feel like sprinting at a brick wall. While at times people telling you, this is impossible. And you know, you don’t see it anyway through. And at the last minute, I’m like, Oh, there’s a way.

 

Ashley:  So, there’s a once you guys finally got done. And I’m curious, you just mentioned. “Glabatross.” As a distributor. What were your steps, once you were done? Now that the film was finally finished. What were your steps to actually promoting the film? Did you send it to a couple of film festivals? Did you try and find it a distributor?

 

Tylor:  Yeah. So, one of the last steps in the whole production process was doing a Kick-Starter. We did like a raise the dead Kick-Starter Campaign. Because we needed money for film festivals basically. But, we also needed a little bit of money to complete the film, via effects and sound, and like there was some finishing elements that didn’t cost little money. We needed it to make DVD’s. And that was also been market opportunity. So, we did a successful Kick-Starter, and it wasn’t a lot of money, but it was successful. And then we did a premier. And then we spent a good deal of money on film festivals. Which, none of them really had a lot of press, unfortunately. But, a aside from that it was just kind of friends of friends connections that led us to an agent down in L.A. Which then eventually lead us to the deal with potentially Debutoss, Which then fell through because we failed quality control a few times. And the we ended up going with Spunell, and so, I have a lot of faith in them, that they are going to be pushing that kind of film catalog in a lot of other directions. And I’ll be a part of it, and it’s exciting to have the film actually be for rent online. That’s kind a like, not the total, but undone, total finish walk about. It’s a really nice to get to, to say like this was somewhat successful, you know, l, we didn’t just give up, and fail, we all made it somewhere?

 

Ashley:  Yeah, yeah. So what some, we’ll get back to screenwriting now in a second. What is next for you? Are you working on another project? Do you have something in the pipeline that you want to get going?

 

Tylor:  Yeah. I have a, and I’m not sure how much I want to actually talk about it. But I do have another project that the script is basically done. It’s an ultra-low budget, kind of the idea, it’s a one room film. But it’s a psychological horror again. But this one will be a lot darker, a little bit more claustrophobic. And it’ll be pretty fun to watch. If, you know, not really uncomfortable to watch, it’ll be fun to watch. You know, we’ve been playing around. I have a friend that’s a producer IGM at a network. And so, we’ve been playing around with. 360 degree video and that kind of video. We just did one, and you can actually check it out, it’s called, “Augmented.” Episode 2 just came out. And that’s on YouTube on IGM’s channel. I know, “Augmented is the easiest term to find Because there’s a lot of things that are actually mentioning Augmented in that article. But, it’s a neat kind of exercise in story-telling. So, we might play with that. Ah, but the new project, but we have some new funding coming in down the line. And I’m working out how that’s going to work with my possible transition to L.A. Because I think doing it in L.A. will be a lot easier than doing it up here in the Bay Area, where everything is very, very, very, expensive than that.

 

Ashley:  Yeah, yeah, sure. Okay, sure, so I’m going to get the link, and as you just mentioned. “Jake’s Dead” is going to be at and available at www.Screennet.com.

And I will get that link and put it in the show notes. What’s the best way for people to kind of keep up with you doing you thing. If they watch this movie and they like it, they can just follow you and follow along with your career, how can people do that?

 

Tylor:  I would say, “InstaGram.” And my InstaGram is – @TylorBohlman.

 

Ashley:  Perfect, I will get that in as well, and put that in the show notes as well, so they can click over to that as well. Tylor, excellent interview and I appreciated you coming on and talking with me. And good luck with “Jake’s Dead” and good luck with work on your next film.

 

Tylor:  A great talking to you as well.

 

Ashley:  Perfect, we’ll taklk to ya later, thank you.

 

Tylor:  Alright, take care.

 

Ashley:  Bye.

 

[26:51]

 

Ashley:   A quick plug for the SYS Screenwriting Analysis Service. It’s a really economical way to get a high quality professional evaluation on your screenplay. When you buy a 3-Pack, you get evaluations for just $67.00 per script for feature films, and just $55.00 for tele-plays.

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We can provide an analysis on feature films or television scripts. We also do proof reading without any analysis. We will also look at a treatment or outline and give you an analysis, or give you the same analysis that I just talked about on the treatment or synapsis. So, if you are looking to vet some of your projects. This is a great way to do it.

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As a bonus, if your script gets a Recommend, from one of our readers? You get a free Email and Fax Blast to my list of industry contacts. This is the exact same Blast Service I use myself to promote my own scripts. And it is the same service I sell on the website. It’s a great way to get your script into the hands of producers who are looking for new material. So, if you want a professional evaluation of your screenplay at a very reasonable price, check out- www.sellingyourscreenplay.com/consultants, that’s www.sellingyourscreenplay.com/consultants.

On the next episode of the Podcast, I’m going to be interviewing, Molly Reynolds and Anna May, who recently wrote, produced and directed their own web series. We’re going to dig into all of the details of how exactly they made that happen? From writing the script to producing it. It’s another great example of people going out there and trying to make their own break. So, keep your eye out for that episode next week.

To wrap things up I just want to touch on a few things from today’s interview with Tylor. If you listen to this Podcast at all regularly, you will know that I am just a big proponent of people going out there and making things happen. I think this is a great example of people that really listen to this story. It took a lot of persistence, a lot of dedication just to see it through. That’s just kind of what you’re working on a super low-budget. It’s just kinda how things go. It’s just a matter of plotting ahead. And mistakes are going to be made. And things are going to have to be reorganized and changed directions. But the key is just getting it done, getting it up on the board. They think talent and some distribution for this film. So, that’s great, it would get out there. And I can assure you. All of that experience. All the contacts they’ve made that will only help them on their next project. And a lot of people go into these things. They’re kind of looking for that great. You know, that sort of a “Blair Witch” or “Paranormal Activity.” That’s kind of

super-low-budget. A film that really blows up and becomes international hit. And that’s very, very, very, unlikely to happen. But that doesn’t mean it’s still have a big success or at least a limited success. And again, it’s just a matter of doing these things and building the experience. One of the first films I was, I worked on was, a film that just made. A couple of buddies went out, and we had a mini DV camera. This was back in the early 2000’s. We had a mini DV Camera, kind of a low lens camera. I wrote a script. We just went out and shot it. I mean, our total budget was about $10,000.00. And it was, it included buying me a camera. I think the camera at the time was about #2500.00 or $3000.00. So, we basically shot this thing for $4. $5. $6,000.00 dollars, it was a feature film obviously. No one got paid, it was super low budget. But, you know, it just gave me the confidence to go on and do something like “The Pinch.” Which was at a little bit of a higher level. One of my buddies, was involved, Nate and I had our Podcast. And he helped produce. And he went on to write and direct, and produce some of his own films. And he sort of did projects again, in this movie was called, “Reunion.” And it went nowhere. I mean, we basically got it finished he and I actually ended up editing it together. So, you know, we finished the film. But we never really fund any distribution. We never really went anywhere with it. But it doesn’t, I don’t look back at it like it was a mistake, or we did something wrong? We kept our budget super low so that there wasn’t a whole lot of downside to doing it. And again, that experience just seemed, seeing the process from beginning to end. It gave me confidence and my buddy Nate as well. Just to go on and do bigger and better things. You know, “The Pinch” is a much more sophisticated project. Obviously it’s still super low budget, but it’s not of that, you know, $5000.00, $6000.00 level. And just these things can grow up, and grow and build, and again don’t go into them thinking, hey this thing isn’t just launch my career to the stratosphere, that means it’s failure. Because I definitely don’t think of it like that.

I look at it more like exactly what Tylor did with it, this film. They got the project completed, it’s on the board. They got it hard on the resume. They can move on to their next project? Again, they found some distribution. They kept their costs so low. Maybe they’ll even be able to re-coup most, or all, or maybe even make a profit on their film. And then just move on to your next project. And the next project will be a little bit better. Because there will be a little bit more experience. And I think that’s really the value with these things. And hopefully that’s why I’m bringing late, really, I’ve been bringing it up. And will continue to bring on some people like what I’ve done. Some pretty low-budget stuff, but got it done. And have slowly started to climb, and move up that food chain, in terms of production goes. So, hopefully people find this interesting, and I will end most of all inspiring in it. And I really hope people start to think big. Think that I can go out and shoot a film as well.

Anyway, that’s the show, thank you for listening.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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