Ashley: Welcome to episode #130 of the “Selling Your Screenplay Podcast.” I’m Ashley Scott Meyers Screenwriter and Blogger over at – www.sellingyourscreenplay.com. Today I’m interviewing Remy Auberjobois, who write and directed the feature film, “Blood Stripe.” He has had a long career as an actor and has now turned his attention to writing and directing, so stay tuned for that.
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I continually build up the SYS Script Library, and I want to thank Steve Cleary. Who sent in the screenplay for, “Butter” and Nabee Mousud, who sent in the scripts for, “Steve Jobs, Straight Out of Compton” and “Big Short.” If you have a screenplay you do not see listed in the SYS Script Library, please do Email that to me. The SYS Script Library is completely free. We have well over a thousand screenplays in the library. Many hit movies, award winners, top television shows. All the scripts are in PDF format so you can download them and read them on whatever device you use, just go to – www.sellingyourscreenplay.com/library.
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A quick few words about what I am working on this week. So, once again, the main thing I am working on now is? Pre-production for my crime, action-thriller screenplay, “The Pinch.” Shooting starts July 9th. I’m on the final countdown to get everything in order. At this point there just is a million small things to do. I got to meet with my 1st AD to go over the final shooting schedule. I have to meet with the actors, go over stuff, wardrobe, hair, that kinda stuff. I’ve got to meet with the stunt coordinator, to talk through some of the small stunts that are in the film. I’ve got to talk to my DP to get some of that stuff organized. I’ve still got a few roles left to cast. And I’ve got to find more positions to fill in the crew. But that’s basically moving along nicely. Last week, again, just trying to move the ball forward a little bit. I went to the prop house and got the props, some of the props. In order, so we can rent those. Mainly, I got lots of stuff that you can’t get at the store. Like: Fake guns, fake police holsters, a fake knife, a, you know, a prop fake knife, and that kinda stuff.
I’m going to be renting, I met with an actor, my lead actor from last week. Talking some of the roles, he had some cool ideas about. Just kinda fill-in some of the background backstory on some of the actors. Some interesting stuff that might help, sort of color, what kind of clothes he would wear? What kind of look he’s going to have? So those kinds of things that are great for the story, great for making a project. Better, but they are very, very time consuming. So at this point, I’m really on a time crunch just trying to get everything done as it, so there are a million and one tiny little things that I got to try and get in. Or so, needless to say, I’m very busy trying to get things done and going. But, this should get it, it’s still pretty well locked-up, July 9th which is a Saturday. It will be the first day of shooting, and then we’ll go till July 29th. So, three weeks, five days total, for three weeks. Anyway, that’s what I’m working on.
So, now let’s get into the main segment. Today I’m interviewing, Writer/Director, also actor – Remy Auberjonois, here is the interview.
Ashley: Welcome Remy to the, “Selling Your Screenplay Podcast. I really appreciate you coming on the show.
Remy: Thanks a lot for having me on, I’m happy to talk to you.
Ashley: So, let’s dig into your latest film, “Blood Stripe” maybe to just start out you can give us a quick pitch and log-line for the film.
Remy: Yeah, the film is dramatic psycologic thriller about a female Marine veteran. She is just back from Afghanistan, and she finds it impossible to return to her domestic life. She flees to the North woods to seek solace and solitude. But discovers that she carries the burdens of war with her in her. It’s a psychological unraveling based on the trauma she carries.
Ashley: Okay, okay. So, where did this idea come from?
Remy: You know, actually came a little bit of “Cart before the horse.” We decided where we wanted to make a movie. And we decided, when I say, “We” the lead actress in the film is also my co-writer. And really the co-creative force behind the film. Who also happens to be the person I’m married to. But we decided that we wanted to make a film there. And I really wanted to focus in on it, a single character. Which she would play, because I knew I had to have a part for her. And it came organically, out of that. Because we did some research. And we discovered that a lot of people serve who live in the iron reins of Minnesota. There are a lot of service members with kind of there that area. That’s how they support themselves. And we felt that, that kind of character would be really suited to her strengths as an actor. And in doing some research about that experience, the story came organically. And we tailored it for her, for the places we could get. Even down through, oh you know that this guy owns a plane. Who could pick us up and get some aerial shot. We needed locations, and what could happen there. This is really based on what was doable, and cataloging back stuff and we discovered the movie.
Ashley: Okay. So let’s back-up just a sec. this location was in Minnesota, is that what you said?
Remy: Yeah, it’s northern Minnesota, we shot mostly narrowly on Lake Vermilion. Which about an hour south of the Canadian Border. And we based it at summer camp,
Camp Vermilion. Where I again, it was really about what was a goal. It was a great location for living, working, shooting, and at the base camp to access the whole lake. And the Lake is really a character in the film too. It sort of represents her psyche at times. So, yes, it’s a time range in Southern Minnesota.
Ashley: Okay, and how were you aware of this? Was this someplace that you guys just went on vacation and you guys just went, “Ah, this is the location! This is a great spot for a film.” How did that, or that you become aware of this location?
Remy: Yeah, her families have had a place up there for many years. And her grandmother actually. And this is another way into the story. Her grandmother lived up there many years ago, around alone later on in her life. And so there was a sort of family history, Hardy men living alone up in this area. Yeah, it was her family, her summer up there. Her family has a place and really wanted to spend time there and wanted to combine that with making a movie.
Ashley: Yeah, yeah. I’m not sure I’m.
Remy: Making a movie entirely going to have insights on it from the screenplay. Because it was such a self-generating project. Which we then had to sell to other people on the idea of, in order to finance the making of the film.
Ashley: Yeah, yeah. So, I’m curious, I mean there’s always good and bad shooting outside of L.A. I mean, do you, the good is always a lot of the stuff you said. The guy with the airplane is willing to take you up for free. You wanted someone in L.A. They would want a lot of money for it. But then the flip side of that, is the bad. And you’d have to fly a lot of people in because there’s not typically a lot of great actors or great, you know, Cinematographers just sitting around in Minnesota. How did you handle that sort of balance of that? Well, I have to actually, there are a tremendous balance to that. There is a Minnesota, and there are, there is a great crew base. I’m going to boost Minnesota a bit now. Certainly not, we did some fly in’s mostly up in cast, and we flew in our crew heads. So, yeah, my Cinematographers, our Costume Designers, or Production Designer, we flew them in. And the principle cast, we flew in. However, Minnesota Has really good incentive, and this area in Minnesota had doubly good incentive. Because there is a local incentive, that goes on top of the state incentive. So, by shooting in this area we get 45% back on certain qualified expenses. So, we were able to bring crews in from the Twin Cities and off-set certain costs. This is from a posterior point of view it balances itself out that way. And there is a lot of production happening there actually. Because it’s home to, I think 25, 35, Fortune 500 Companies. So there’s a lot of commercial and corporate production there that happens. There’s a lot of agencies, there, so. You know, it’s one of those things where leaving L.A. yes, it’s moving away jobs, even from the people from the Twin Cities. But as a location, just, there were certain benefits that made it pretty good feeling actually.
Ashley: Okay, no, no, that’s a great answer, that’s interesting to hear. So let’s talk a little bit about the writing process. You mentioned that you collaborated with your wife on this.
So, maybe just take us through the process. You kind of brought us up, you have the location. You started to just kind of form the basic idea. Then what sort of happened? What was the next step? Did you guys do an extensive outline? Did you just dive into “Final Draft” and Start writing the script, what was that process like?
Remy: Yeah, we did a real outlining process, you know, the film is, as I said. It’s an exploration of the psychological state. You know, in what we hope is a real gripping, mysterious, but gripping, at times gripping narrative. So, and again, it’s very mysterious. But some of it was image is a came to us in Drahenen. Some of it was, how were we going to literalize this feeling we want to get It’s kinda paranoia becomes a sense of danger. What is it to be a woman alone in solitude? In that beautiful place, but carrying this sense of awareness and danger and that the world is not a safe place. And how do we literalize that? So, the writing process was sort of, and then also applying it to locations we knew we had and what could happen here. What would be the reality of what could happen here? Oh, it’s just a summer camp. But, we don’t want the deal with campers to look after the camp is closed. And what’s that like, and how does that inform the story. And we started, we did a real time line of note cards. Where we had anything, an image, or line or an emotional beat, or a piece of music. And we just sort of started to get all of those down and built a structure that way. And then move it all around, we did it pretty analoged style kinda at first. And we were working because we were working at home. We were pretty much able to take over a whole room in our apartment devoted to this sort of collage note cards and that way. Which and then became scenes. Which then became about a full page outline. Which we used to appeal to a musician and music we really wanted to use. That was our, we sort wanted to get lines that we wanted to meet him and get it to him. So, that spurred us into sort of like a frenzy of writing the outline, which got it to a 40 page descriptive form. And then that was the base that was the script.
Ashley: Uh, okay. Let’s talk a little bit about writing with a partner, I’ve had many different writing partners and you know, there’s always those moments where you don’t agree. And you know, this was handled a little bit differently. I’m always curious to hear how writing teams work? What is that process like when you guys have maybe disagreements? How do you guys solve those types of issues?
Remy: You know, I mean, these, the added thing is, we’re married. So, you’re not necessarily always going to be as polite as you might be to someone you are less intimate with. So that was a challenge, to maintain a degree of distance. And, but when we would disagree, usually we would hear the sense from one side or the other. And there was never a moment where either one of us dug in our heels. And said, “Yes, or I’m walkin’”. And for the most part, sometimes those disagreements meant they have to do with the duct. And, sometimes it was just whoever’s gut was the strongest then you just trust that other person’s gut. Then a lot of time I found that there were rational behind it. And you might not even understand the rational behind it? Now first, when you start to defend your point of view. When you start to refine your rational, or your rational unravels. You realize, oh, yeah, never mind. Yeah, you know, never mind what I said before. I done more talking about it now, but it doesn’t make much sense.
Remy: Yes, emotionally I understand what the characters are doing that. Or, I understand why you back feed that there. Because my conviction is that it made more sense to for this other scene had stopped making sense to me as it was explained. I think it’s sort of happens that way. We had disagreements for sure. But usually if one of us don’t really write about something? We trusted each other.
Ashley: Yeah, yeah. I think that’s good advice. So, let’s talk about your development process a little bit. Once you started, I guess this 40 page this sort of descriptive treatment of it? Or even the first draft even, rough draft. Who did you send that to, to get notes? And you know, do you have any advice on that process?
Remy: Yeah, we know some writers, certainly both of us have been professional actors. That we happen to know a lot of people who do this. We sent it to that musician, who we had originally reached out to. We sent it to my father who, we also wrote in a part for. We sent it to some writer friends of ours. Eventually when we did connect with the producers, we continued to do development drafts with them. And actually here’s something, we started out trying to find somebody else to write it. At first we came up with the idea, in a sort of central bind of a story. We conceived it, and then we wanted to have one of our script writer friends do it. And for one reason or another, we a couple other people we approached weren’t available, they couldn’t do it. And so we just started it ourselves. But then, so we tried a few good people, an editor friend of ours, a couple of play write friends of ours, and then the two we mentioned. And then we did the, a reading of it, which was kind of an introductory to it. A reading in the photo well before we started it. And that was just for us to hear it for ourselves, and that helped us a lot too. When you had a question of detached to the people we had the reading with.
Ashley: Yeah, yeah. So, let’s just talk for a minute. You now got a script that you like. You start sending it out. What are those first steps in getting producers attached? And ultimately getting this thing financed. Maybe you could just talk about that briefly.
Remy: Yeah, you know, I learned as I went, that there was a lot I didn’t know? And you know, at first, the goal was when they first approached, we we’re going to make a micro-budget film, and we’ll sort of, you know, roped into somebody who maybe hasn’t done it before. But as we were developing it and writing it, and I came to a point where? Okay, now I, we’re going to make this film. And we want to make it, and we were doing it in a fairly short time. From the time we were conceived of the film, to the time we actually finished it, shooting the film was about ten months. So, I knew I wanted to make it in this one window of time, for various reasons. And I was pushing to do that. And I was going to go out and financing myself direct to hang out with individuals and then family, and we’ll just, I was going to make it happen. Now, in the lead-up to that push. I’m going to go try and finance it. I knew that I needed to make a budget. I said, “Okay, now I have this script” which I’ve made this fair as possible, this according to as many resources as I know I can marshal. What is reasonable is it going to take to make this? And I connected with Jose who is a friend of mine. She mentioned that her husband could do a budget for us. He like to help people, and he’s produced this huge movie. This is the guy who wound up being our Executive Producer, one of our Executive Producers. Along with a woman, Stephanie Dillon, Gene McBrown, who’s you know produces big, big, big movies! He took a look at it, and said, “Oh, alright quite the script with so many areas, I really am interested.” And he made a budget with, which was way bigger than I had ever conceived of. But he said, movies at a level at which this is a lullaby, which you can see I made the film. But I have these friends that have good films they had produced at different levels. And they work more independent films. And he connected us with a company called, “Tandem Pictures.” And we had a really good meeting with Skyler Wyss, and Lucas Kasteele from Tandem Pictures. And they came on as producers. We were still driving, and Jim was behind the finances, and we really had the instincts that we would get the money in Minnesota. Which was more or less what we ultimately did. We ended up getting financing, fully financing from one individual actually. Which then fell through, and we ended up having to hobble it together from other people. But, in terms of finding producers? It was in the same way as the script was very organizing on it. The process, by which people came to it with their various organized. This person had this friend, you know, Gene Asterman, Gene connected us with Dan and they liked it. And we just were going, you know, so actually they were the fairly unusual situation and that.
Ashley: Yeah, yeah. And it sounds like you just being a working actor for a number of years. That was probably the initial step you had to take. You had all these contacts coming in, right?
Remy: Yeah, I have, yeah, I mean, I have, yes I have relationships. And I have some degree of credibility and people, I don’t know if that’s earned? But I think people took it at face value. And then people did respond to the script. It’s just, ultimately I found that on some levels people are investing in you. But, I also feel, itself it became much more, bigger than me. You know, and much bigger than Kate, my partner.
Remy: You know, we, it really grew energy and resources to it. And the people who were involved were very enthusiastic. And a film like this couldn’t happen without that. But we also, you know, we went, I like to say, we are going to react. To the people who didn’t give us money, there was plenty of people who didn’t return my calls, many people who didn’t read the script. Or if they read the script after, maybe and I didn’t know, and maybe they didn’t like the script a bit, they never got back to me. You know, because we did send it out. But you know, it does take one yes, you know, to, from in each area. You know, a yes on the money gets the yes’s going. A yes on some money, gets the yes’s going. A “Yes” on a actor gets a “Yes” no. The crew versus signing on with other people, what do you expect? You know, that all starts to build energy towards it.
Ashley: So, how can people see it, “Blood Stripe” do you know the release schedule?
Remy: We don’t have a release schedule yet right now. We have a world premier at the Los Angeles Film Festival, and a screening. The world premier is sold out, but we have the second screening at Sony, in Culver City Los Angeles. The Philippian in dinners. And then the East Coast premiers the Providence film Festival, in Cape Code, that will be through June 16th and June 18th. And we’ll take it from there.
Ashley: Perfect, perfect. Well, Remy I really appreciate you coming on and talking with me today, good luck with the film. I really thank you for coming on.
Remy: Yeah, thanks a lot for talkin’ to ya man.
Ashley: A quick plug for the SYS Select Screenwriting Analysis Service. It’s a really economical way to get a high quality professional evaluation of your screenplay. When you buy our 3-Pack, you can get evaluations just $67.00 per script for full length feature films, and just $55.00 for Teleplays. All the readers have professional experience reading for: Studios, production companies, contests, and agencies. You can read a short bio on each reader on our website, and you can pick the one who you think is the best fit for your script. Turn-around-time is usually just a few days, but rarely more than a week. The readers who will evaluation your script. The readers will evaluate your script on six key factors:
Over all craft – Which includes: Formatting, spelling, and grammar.
Every script will get a grade of Pass, Consider, or Recommend. Which should help you roughly understand where your script might rank if you were to submit it to a production company, or agency. We provide analysis on features and television scripts. We also do proof reading without any analysis. We will also look at a treatment or outline and give you the same analysis on it. So, if you are looking to vet some of your script projects? This is a great way to do it. We will also write a log-line and synapsis for you. You can add this service to the analysis. Or you can simply purchase it, the service as a stand-alone product. As aa bonus, if you script receives a recommend from one of our readers? You get a free Email and Fax Blast to my list of industry contacts. The is the exact same blast service I use myself to promote my own scripts. And it’s 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.
On the next episode of the Podcast, I’m going to be interviewing Stephan Bugaj and Dustin Sloan, who run the creative writing career Podcast. Stephan and Justin that have both worked in the video game industry as writers. And in fact Stephan has actually hired writers in the video game industry. So, it’s an interesting talk about what video game companies. And what they are looking for, in terms of writing background and writing will experience to get higher up as a video game writer. So, if you ever considered this as a career choice? This is a great episode to listen to. In addition, they have also written a book recently. Where they have interviewed a bunch of very successful screenwriters. We talk about that as well. Some of the lessons they have learned from interviewing all of these working screenwriters. So, keep an eye out for that episode next week.
To wrap things up I just want to touch on something from today’s interview with Remy. I’ve mentioned this before on the Podcast, one thing I’ve noticed about my own Email and Fax Blast Service. Is that, the people that seem to have the most success from it are people who have experience in the industry. And I’m not just talking about writing experience. You know, any kind of experience in the industry can help you as a writer. There have been lots of options, and I don’t want to over-state this here. But lots of options through my Email and Fax Blast Service. But in the vast majority of cases, and it’s not every case? I definitely think of a couple of cases where I don’t think the people have any real experience and were able to get an option from the Fax Blast Service. But the vast majority of them, the sales and the options have come from people that have some experience. We’re not talking about tons of experience, but some experience in the industry. So, it kind of becomes the question? How do you let this experience, and one of the things that sort of rubs and dove tails into it is? For an example, I had an actor, I think it was maybe a year or two ago. He usually uses the Fax Blast Service. Well he never really written, he hadn’t written a lot anyways. Maybe written some? But he hadn’t written, but he had worked as a theatre actor for decades. And he wrote a script and had it optioned it. And he had this kind of experience to a great background to color your writing and help you as a writer. Obviously being an actor is a very tough profession to make work. So, when Remy is very lucky he has that experience. And you know, it is great experience, but it’s not easy experience to get. And I don’t necessarily want to recommend anyone that they take to acting as a way to break in as a writer. Because being an actor is hard or harder than the writer. So, you just take on one difficult pursuit for another. But I do think there are probably are some good jobs that would help lay the groundwork for a screenwriting career that are also fit for or are fairly easy. That are easy at least for reasonably realistic to actually achieve. You can actually get one of these jobs. I keep referencing this thought or article on the Podcast. I did write an article, I’ll link to it in the show notes. But I basically went and broke down all the, I think it was the first 75 episodes of the Podcast. I basically made a chart of who I interviewed and how they broke into the industry. And you know, far and away, the way people broke in was through networking. And if you, and actually broke that sub-category, and broke networking down into sub-categories? And again, the major ways that people broke in, obviously the networking. And then the subcategory under networking was working in the industry. So, that’s by far the, or that’s by far the biggest tried and true way of breaking into the industry. There is definitely other ways, selling Email and Fax Blast Service, that’s the way, there’s contests, “Ink Tip” “Black List” there’s all these other services, you know. But by far and away, by the way, the most successful broke in is by working in the industry. So, in most cases, when you look at what the, what is actually working in the industry. In mostly means working most of the low-level jobs, P.A. maybe getting a job in the mailroom, working your way up networking. And I think that’s great and if you’re young, just up out of college. You don’t have a whole lot of family obligations. By all means move to L.A. Los Angeles and pursue that. And I think again, that’s the most tried and true way. But I also want to understand there are also lots of ways. And people who listen to this Podcast, were not in a position to do that. So, I just thought it was again, interesting. This actor I’m talking about, he used my name and my Fax Blast Service. And he had worked in the theater for many years. So, there is probably local opportunities no matter where you are and where you live in the country U.S.A. or anywhere in the world. There are probably local opportunities, that maybe not exactly screenwriting, exactly what you want to do? But they at least can help you in some small way? Pursue your career as a screenwriter. They think they can help you build skills that will be advantageous to have as a screenwriter. As an example, when I first got to Los Angeles, me and a buddy we just walked into. It was a very small talent agency, that had a sort of literary, you know, arm to it? And we just walked into the agency. And we had gotten the tip at a coffee house. Another guy was reading scripts for things. And he said, “Yeah, just go over there and ask them?” There was essentially no pay, it was some sort of a deal like, if you read a script that ended up selling. You would end up getting some percentage of the agency’s percent. So, you know, I guess, deferred pay. Their real deferred fault was pay. But again, it was a great way to just get some experience and read a bunch of scripts. And kind of get your feet wet. Just network with this agent and talk to him. And see what kinds of scripts were going and coming in? But mainly it was a lot of reading of scripts.
And I had someone Email me a couple of months ago? Asking about how could I get that kind of job? And it occurred to me in this day and age, when I got to L.A. Really I guess Email was around. But it wasn’t quite as ubiquitous as it is now. So, you pretty much had to you know, if you wanted to have those kinds of jobs. I don’t think really you would anymore? I think you could probably Email, and I’m not just talking about CAA with the big agencies. But, some of the smaller agencies that are like, WGA City Agencies. It looks like some of the small ones you could probably call them or Email them now. And they would probably just say, “Hey, I’m an up and coming screenwriter. I’d love to read scripts for you for free, or deferred pay.” And I would be pretty, surprised if you were not able to get one of these types of jobs. And again, it’s not going to make a lot of money. But it could be something you did at nights. Read one or two scripts at night, per week. And that could add up to some really valuable experience.
I had a friend years ago, who worked for a local cable access channel in a small town, in his small town. He was just running around shooting stuff that would go up on the local, you know city access channel. And he would edit it together. He would do the entire production from front to back. He was a screenwriter and doing this job. And again, I think this, that was a great way to get some experience. Do this, again not quite writing, but it was definitely something that helps with the experience. Excellent experience for anybody who is a film maker. And then, he was not high paid, it was a full time job. He was definitely getting paid for it. But it was not a high paying job, but it was a cool job. And he enjoyed, as I said, I think it can be real to help him get some of that experience. As a film maker, just shooting stuff, working with the camera, understanding how all that works. Really can help him as a writer.
I met a guy recently who worked as a copy writer, weighing ad copy maker, again, I think this is excellent experience for anybody who wants to be a screenwriter. Just you know, it’ll be your daily work, you know, 9-5 job. If you’re spending a lot of times with words and you know, learning how to make people manipulate people’s feelings. And you know, attention, using words. Again, I think that’s great experience of as a first screenwriter. And going back to the young kid. Or the guy who’s shooting video for cable access shows. You know, probably it’s about every small town throughout the country. And maybe in some of the small towns, it’s may be a full time job. Maybe it’s like a weekend job. Maybe they pay $100.00 and you go out and work on Saturdays or something? But there’s probably these types of small jobs that exist. The cable access, which is in just about every small town in the U.S.A. Maybe any of them in the world have something like that? Again, probably not super high paid, so it’s not going to be super competitive. It’s probably something you could get. Writing ad copy, if you could get, learn how to write ad copy? I mean, now days, you could get those types of jobs from anywhere as long as you have an internet connection. You can pretty much do that from anywhere. Again, you could probably break in, these things you’re going to have to work for free for a little bit. Or, you know, build out a portfolio of stuff that you’ve done. These jobs are not top, is if you are very good at it? It is actually very highly paid. So there probably will be some pretty handsome dues on that. And again, I think that there is some real synergy with someone being a screenwriter. Even what I’m doing here with “Selling Your Screenplay.” You know, there’s quite a bit of networking I’m doing with producers. Producing the monthly newsletter that goes out. I’ve started to interact with, I’ve started to have, you know, Writers/Producers on the Podcast. And there’s definitely some you know, back and forth there, where I’m meeting people and networking with people. So, again it’s you know, kind of double-list kind of a job, think about that. You know, what else can you do? And these are just a couple of ideas as I was just preparing to record this Podcast. Just a couple of ideas that are, I just threw out there. But, there is probably millions of ideas. But, think through this, what is your day job? And can you get some sort of day job that at least in some small way, pushes you closer to you a screenwriting career. It gives you some of this experience that could be useful as a screenwriter. And as I said, sort of circling back to what I said, and started with. I could tell you from seeing who are the people that have success with my Email and Fax Blast. It’s always people that have at least some experience. And again, it’s not like experience as screenwriters. Like they sold lots of scripts before, not necessarily. But the actor who has worked with here for many years who kind of read obviously a ton of scripts, a ton of plays. Understands how sort of how it all works. And understands how to write dialog, because he’s an actor, he’s done it. Those kinds of types of jobs. Copy writers, who have worked in newspaper, journalist, and those kinds of people have had success with the Email and Fax Blast. So, I just kind of think you’ve got to get this experience if you are doing something that’s just wholly unrelated to screenwriting. And none of you sort of 9-5 job is helping you with your screenwriting. I think that’s potentially a mistake.
Anyway, that is the show, thank you for listening.