This is a transcript of SYS Podcast Episode 211: Screenwriter Duncan Falconer On His Latest Action Film Stratton.

Ashley: Welcome to Episode #211 of the Selling Your Screenplay Podcast. I’m Ashley Scott Meyers, screenwriter and blogger of the Today I’m interviewing Duncan Falconer. He’s an ex-military guy, a novelist and a screenwriter. He recently did an action film called Stratton which is based on a series of novels he also wrote. Stay tuned for that interview. If you find this episode viable, 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 it on Facebook. These social media shares really do help spread word about the podcast so they’re all very much appreciated. Over on iTunes I wanna thank HenryJ56 who left me a very nice review. Thank you very much for that review. It is very much appreciated.

If you do have a minute please do go to iTunes and leave some feedback. If there’s a comment you wanna make to me that you don’t want to be public, that’s fine too. You can just email me at I really have no way of knowing what aspects of the podcast people like and what they don’t like, so any and all feedback is very much appreciated. These iTunes reviews really are helpful. It helps get the podcast listed in more places in iTunes, so it reaches a broader audience. Also if you subscribe in iTunes to the podcast you’ll get the new episodes downloaded to your phone each week automatically, so that’s a nice way to stay current on the podcast. Anyway, thanks again to HenryJ56 for that very nice review. 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 every episode incase you’d rather read the show or look at something later on.

You can find all the podcast show notes at, and then just look for episode number #211. If you want my free guide- How to Sell a Screenplay in Five Weeks, you can pick that up by going to It’s completely free, you just put in your email address and I’ll send you a new lesson once per week for five weeks along with a whole bunch of bonus lessons. I teach the whole process of how to sell your screenplay in that guide. I’ll teach you how to write a professional log line and creative letter and how to find agents, managers and producers who are looking for material. Really it’s everything you need to know to sell your screenplay. Just go to

I just wanna quickly mention the writer’s group that I’m in. We’re always looking to add good writers to the rotation. We meet every Tuesday at 7:15pm until about 10:00 pm in Sherman Oaks, California, which is right around where the 405 and the 101 freeways intersect. Here’s how it works–each week three member writers put up around 25 pages of a screenplay they’re currently working on. The pages are read on stage by professional actors in front of the other writers in the group, and then the listening writers give notes to the presenting writers. As a member writer you’ll be putting up pages about every five weeks. It’s a great way to workshop your material, network with other talented actors and writers and hone your critical thinking skills by giving notes to other writers.

This is a live in-person event, so you need to live somewhere near Sherman Oaks, California to be able to attend weekly. If you’re not in the Los Angeles area perhaps consider starting a writer’s group of your own in your local area. The one big stumbling block for people in this group is that you have to be committed to showing up nearly every Tuesday, even when you’re not up so that you can give notes to the other writers who are presenting that week. If you’d like to learn more about the group go to The word writers group is lower case and all one word. And of course I will link to it in the show notes.

Quick few words about what I’m working on. Once again the main thing I’m working on writing wise is the kids’ television show I’ve been talking about the last couple of months. I’m working on episode number three right now and the plan is to shoot four episodes for the first initial season, so I have one more to write after this one is finished. There’ll definitely be some rewriting reworking once I get those four episodes done, but I’m pretty into episode three now. So I would say another week or two on episode three and then hopefully by mid or end of February I’ll be done with episode four and then I’ll start doing some tweaks and rewriting.

Last week I went to Vegas to meet with the two producers and the main actor of this show. I’ve never been involved in the business side of things quite as much as I am in this. I won’t even say I’m involved but I’m very friendly with the producers and so I’m at least sort of privy to discussions that they’re having on the business side. It’s just interesting to hear those discussions. As I said, when I’ve sold scripts in the past to producers, usually you sell the script and you’re not necessarily involved in really anything other than sort of the story and the screenplay. But in this case you know I’m just getting to know these producers in these types of meetings on the phone. We’ve had a number of conference calls and I’m just hearing them talk about the various business side of things. I find it fascinating. I mean, there’s just a ton of business stuff that needs to happen for something like this to take off.

Obviously the raising money but there’s a lot of business things that have to get sort of in place so that they can ensure that their investor has a good chance of recouping his money. That means cutting some sort of a deal with the TV network, maybe doing some sales overseas, trying to sell the TV rights to some foreign countries. The producers have high hopes for this. I mean, this is a kid’s TV show. There’s dogs and cats—trained dogs and cats in it. It’s a very kind of family friendly kids show that I think could travel well. It is sort of a comedy but the comedy is very broad with animals and sort of physical humor. The producers have high hopes that they will be able to sell it outside of the US, so they’re trying to start arranging some of those meetings and potentially presell that stuff. Just a lot of business stuff that goes on.

Now, all that to say that during these two days in Vegas, there was not a lot of discussion about the script and story, which is fine by me because I’m the one handling that and the more notes you get, it makes it more difficult especially with…you know, we have an actor and then these two producers, but so far been very little. Obviously the main actor, that was really our discussion. The actor and myself, we were really discussing more of the story stuff, while these two producers were more interested in the business side of things. And I’ll just give you an example, all these sorts of things, these business decisions that they’re making, one good example is…one of the producers is looking on some investment from China. They think again that this show could potentially play in China.

China is a growing market, so basically their note is, “Hey, can you write in…there’re two kids in the show—two main kids. Can you make one of the kids friends a Chinese kid and then we can have him in there and that should hopefully open some doors to this Chinese investment because obviously the people in China, they like to see something that they can relate to as well. Those are the sorts of practical notes that I came away with. Not so much story notes or character notes, dialogue notes…nothing like that. Anyway, it was an interesting trip and I think the project is moving along. So any event my fingers are crossed, and hopefully they’ll be able to raise the money and we’ll be able to shoot it.

Now let’s get into the main segment. Today I’m interviewing writer Duncan Falconer. Here is the interview.

Ashley: Welcome Duncan to the Selling Your Screenplay Podcast. I really appreciate you coming on the show with me today.

Duncan: Hi, 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 ultimately end up in the entertainment business?

Duncan: Right. Briefly? I only got 30 seconds?

Ashley: Two minutes sort of [inaudible 00:07:45] [laughs].

Duncan: I started in London but [inaudible 00:07:49] grew up on the rough side of the city, couldn’t wait to get out, wanted to be an engineer or something like that but in my day the economy was in the bin. The only way to get out was to join the military for a few years. So that was the plan. I joined the military and they wanted to…as soon as I did my basic training they wanted to make me a pen pusher and clerk and I panicked and said I wanted to be Special Forces. I’d never even heard of Special Forces really. And the next thing I knew, I found myself on the selection course and somehow out of 150 guys I got through. It was about nine of us. And so I embarked on a career in Special Forces and after about 12 years of that I came out and got involved in private stuff which was just quite interesting for someone of my background…military intelligence and that sort of thing.

I was heading over to South America to get involved in kidnap and ransom which was quite a big trade in those days and I stopped off in Los Angeles for a couple of months just hanging out, wrote a screenplay which I understand was mandatory for anyone arriving in Los Angeles. You actually haven’t got one. Yeah, you get asked at the arrivals, “How’s your screenplay coming?” So I started writing the screenplay and to my shock and horror Warner Brothers bought it. I thought, “This is fun!”  And of course never found it quite that easy for a few years but that’s how I got into the film industry.

Ashley: Perfect. And what was that original screenplay about? Was it based on your background in the military?

Duncan: Yeah, it was called The Killing House. It was about Special Forces, a kind of a new team. It never got made. It got chopped up. I saw it in bits and pieces in the field. I had some great ideas but I wasn’t good enough to get picked up or lucky enough or whatever on that occasion.

Ashley: We’re gonna dig into your movie Stratton. I wonder if you can give us a little bit of background on that. How did you move into writing novels? It sounds like your first foray into writing was this sale of the screenplay. Had you written some novels before that point? Was that before and after? Maybe just to bring us up to date on your novel writing.

Duncan: Well, I spent 15 years in Los Angeles, wrote quite a few movies under a different name, a TV show under a different name—Pacific Blue, ran for five years. It was one of my creations. Then I was asked to write my autobiography because I had quite an interesting career in Special Forces. I was the youngest Special Forces guy ever in UK and I had a very interesting time because I was a [inaudible 00:10:51], when I joined I didn’t know anything. I was a school boy. I got sent immediately to operational areas and they kind of forgot about me and I spent my first five years in high [inaudible 00:11:04] operational areas and I sort of emerged from that in my 20s as quite an experienced operator. That was the basics of my novel…actually my biography which is called First Interaction. The publishers kind of liked it and so they came back to me and said, “Would you fancy writing a fiction?” I had never even dreamed of writing a fiction book but there you go and I ended up writing nine of them.

Ashley: And so, did you have that experience when you arrived in LA and sold The Killing House? Had you started to write some of these fictional novels?

Duncan: No, the only thing I’d ever written when I got to LA was operational reports, you know, technical clerks. I had never written…I told a few toll stories in my time but never put anything on paper.

Ashley: And I’m curious, you made the remark earlier in the interview that they wanted to turn you into a pen-pusher. The people in the military, did they see that you were a very good writer or like you were exceptional at this and so it was more of something that they saw a talent in you, or did you…because the way you said it, it sounded like they were kind of trying to push you off in that direction where you didn’t necessarily wanna go but I wonder if someone recognized that you did have a talent for writing.

Duncan: No, unfortunately no. I mean, when you join the military it’s sort of like the marines. There’s one officer whose job is to fill the slots for cooks, for drivers, for pen-pushers, clerks, and so they randomly chose people for those jobs. Nothing quite [inaudible 00:12:40]. They didn’t even know I could write…I didn’t know I could write. No one knew I could write.

Ashley: I see. Okay, let’s dig in to your current Film- Stratton starring Dominic Cooper. Maybe you can give us a pitch or log line. What’s that film all about?

Duncan: Well, it kind of revolves in many different directions, but it’s a story about a Special Forces guy who is Special Forces and he kind of needs to know I guess [inaudible 00:13:13] introduced the Special Forces and undercover operations MI6 James Bond. These are all completely different categories. So my character Stratton, he’s a guy who…one of the rare people…this is based on truth—he’s a rare Special Forces Operator that made the jump into the MI5, MI6 Bondian type operational areas, which are all real. I mean, I know Bond is fictionalized but is based on fact and so a lot of my stuff is too. Stratton is a guy that is Special Forces but because of his unique abilities, being a lot being in the right place3 at the right time, he ends up coming under the eye of MI6 and MI5 and he then starts getting drawn into those operations. That’s what this story is essentially about. It’s a guy that makes the jump into SIF type stuff.

Ashley: I see. Perfect. Let’s talk about these novels. You just mentioned that you’ve written nine novels. All of those novels, do they have the same Stratton character in those novels or some of them do some of them don’t?

Duncan: Now, I started off the first couple. When I was writing them, when I came off to 9/11 I jumped back into this world of into this world of [inaudible 00:14:37] operations and I went straight to Iraq and Afghanistan and I took a job taking a high profile media character from CNN, FOX News, people like that who wanted to go into really dangerous assault areas and so I would take them in, plan their ops and get them out without losing them or myself, which I managed to do for 15 years. Never lost anybody, well except this one guy who was slightly mauled. While I was there I was writing these Stratton stories. But one of my stories I decided to write about what I was doing there. It was a fictional story. It was basically a guy I knew who found a million bucks in a tin can in a rack and tried to get it out of the country. So it’s one of those type of stories. But otherwise all the others are based on Stratton.

Ashley: Okay, and so let’s talk about that move from you’ve got these novels out there, they’re selling out in the market place. How did you make that leap? Did you pitch the project as a film to some of your film contacts or did someone, a producer read the book and then contact you and say, “Hey, let’s turn this into a movie?”

Duncan: Yes, it’s the latter. An American producer just liked my books. She came along and said, “Hey, let’s do a movie together.” I wrote the screenplay and went through the film process…went to find money and then went to find a star, I went to find a director and as you know you just got to fall down in one of those [inaudible 00:16:17] and the film doesn’t get made. But somehow we kept managing to jump one obstacle after another and bingo, we got the movie made. It wasn’t easy. It was tough but we got it done.

Ashley: I’m curious, with your background writing for film and TV, why didn’t you ever think about pitching these novels as film projects?

Duncan: I did actually. I had a lot friends in LA. I spent a lot of time there. I knew a lot of characters—Dick Donner and Florence Schuler and…I can go through a whole list of people that I sort of knew. I did actually spend a lot of time in the studios pitching projects and got a lot of airtime with some very high profile people but nothing ever seemed to stick. It’s a tough business and it seemed a little bit strange. I then left Hollywood, went back to the war zones and started writing books and it’s the books that attracted me back into the film industry if you like.

Ashley: I just wanna touch on your writing process a little bit and we can sort of open it with screenwriting but I’d be curious to kind of get the same answers, you know, screenplays versus writing a novel. How much time do you spend preparing to write? In other words, in that sort of outlining, mulling things over stage. How much time is spent there versus how much time is spent actually opening up final draft or opening up word I guess in the case of a novel and actually doing the actual writing?

Duncan: I believe that most of the work done in the preparation is in the synopsis. I don’t believe in starting the book or the screenplay until the synopsis is really [inaudible 00:18:08]. And synopsis for me just gets bigger and bigger until it’s almost a book or the screenplay without the dialogue almost and in fact if you get some good ideas of dialogue you throw it in there. It’s got to be tight. That’s where you make all your mistakes, that’s where you refine the plot so that when you actually then begin the book or the screenplay, then it’s just a run then you just really can enjoy yourself and then it’s a case of just writing and polishing, writing and polishing. That’s my process.

Ashley: So what are we talking…is that outlining stage usually three months, six months, a year? What does that usually look like for you?

Duncan: It doesn’t look long for me mainly because…well, one of the rules about writing as far as I’m concerned is write about what you know. It’s a lot easier if I was going to write a book on landing on the moon, it’s probably gonna take me about a year to sit down and do some research. Because I’m writing about things I know a great deal about, it cuts down a lot of time. So I would like to spend a couple of months, three months maybe during the synopsis stage, finalizing it. And then you’ve got story problems, story obstacles which you need to overcome. One of the techniques of writing is obviously…because you don’t want to be predictable, get yourself in situations that you can’t figure how you’re gonna get out of it and then you got to figure out how you’re gonna get out of it and sometimes that can take days or weeks or months even.

Ashley: Yeah, for sure. And so what do you your days look like when you’re actually in that writing zone? Do you write for a couple of hours a day and then work on other projects, do you write for 12 hours a day? During those three months that you’re outlining, what do those days look like?

Duncan: Well, I always like to keep busy so I don’t wanna just write. I’m still actually in the game a bit…in the conflict zone game, not so much on the ground. I do a lot of planning and operational stuff, so I do tend to split my days up. I do a lot of crisis management for companies and actually I’m a responder for some big companies. I was involved in a crisis a couple of years ago in Iraq where I go out and I planned the rescue of 200 people who were caught behind ISIS enemy lines. And so I still do that sort of stuff but I like to put my writing in between. Sometimes I might not be able to work for a few days but then I’ll certainly be stuck in a hotel for a week waiting and that’s perfect writing time for me. There’s no formula for me in that respect because I still try and keep busy. I got to mix the two. I get told off…I’m quite often late with my product. My publisher is always pulling his hair out because I looked like I was gonna be on time and then suddenly I’m like two months late because Ebola broke out in Liberia and so I got stuck.

Ashley: So how can people see Stratton? Do you know what the release schedule is gonna be like?

Duncan: No, I don’t know. I talk quite a bit to the GFM—the financiers. I’m good friends with them and…I don’t actually to be honest take a lot of notice about that stuff. I’m working on a new trilogy now, Stratton trilogy, a really exciting new project and my head’s really kind of stuck in there at the moment.

Ashley: Yeah, no problem at all. And what’s the best way for people to keep up with what you’re doing? Twitter, Facebook, blog, anything you’re comfortable sharing I will round that stuff up and put it in the show notes.

Duncan: Yeah, I got a Facebook…I [inaudible 00:21:59] Facebook and I try and keep people updated on that. I should be better I know, but sometimes when I go a lot of places I can’t get a connection anyway, you know, you’re stuck in some hole on the planet, can’t get a connection.

Ashley: Perfect. Well, Duncan I really appreciate your time. I wish you luck with this film and your next projects as well.

I just wanna mention a brand new service that I recently launched here at Selling Your Screenplay. I built the SYS Select Screenplay data base. Screenwriters upload their screenplays along with a log line, synopsis and other pertinent information like budget and genre and then producers search for and hopefully find screenplays that they wanna produce. I’m adding features to this nearly every day, so ultimately it will be the hub for all of the SYS Select services. If you’re a member of SYS Select already you should have access to it and have your log in information. If you don’t email me, I’m happy to get that to you. I’ve already got dozens of producers in the system looking for screenplays. Screenplays are getting viewed, are getting downloaded. As I said, I think last week I’ve already sort of heard that some producers have contacted some writers and there’re some negotiations going on there. So it seems to be working nicely.

To learn more about this you can go to When you join SYS Select you get access to this brand new screenplay database along with all the other services that we’re providing to SYS Select members. Those services include the monthly newsletter that goes out to our list of over 400 producers who are actively seeking writers and screenplays. Each SYS Select member can pitch one screenplay in that monthly newsletter. Also some screenwriting leads. I’ve partnered with one of the premier paid screenwriting leads services so that I can syndicate those leads to SYS Select members. There’re lots of great paid leads coming in each week from our partner. Recently I’ve been getting five to ten high quality paid leads per week. These are producers and production companies who are actively looking to buy material or who are looking to hire a screenwriter for a specific project. If you sign up for SYS Select you’ll get these leads emailed directly to you several times per week.

These leads run the game form production companies looking for a specific type of spec script to producers looking to hire a screenwriter to write up one of their ideas or properties. Producers are looking for shots, features, TV and web series pilots. It’s a huge array of different types of projects that these producers are looking for and these leads are exclusive to our partner and SYS Select members. Also you get access to the SYS Select forum where we will help you with your log line and creative letter and then answer any screenwriting related questions that you might have. Also in the forum is all the recorded screenwriting classes that I’ve done over the years, so you’ll get access to all of those as well. You can learn more about those classes by going to I will link to that in the show notes as well. Once again if this sounds like something that you’d like to learn more about, please go to

I had an email exchange last week with a screenwriter who was wondering about the stats they’re seeing with their screenplay that they have loaded into the data base. Basically he was wondering…inside of the data base you can see how many log line views, how many script info views, how many screenplay downloads you’ve gotten as a screenwriter. You can see that information about your own scripts. So he was wondering…he had a bunch of log line views but no downloads and he was wondering what do people typically see from log line views to actual downloads. At some point I will make a video so that writers can see what the producers see just to give you a little more insight into how the process works. But for now I’ll just kind of give a quick overview.

So basically…and it seems pretty intuitive but I’ll just describe it here. Basically a producer logs into SYS Select and they can then go to the screenplay search page and they can use a variety of search criteria like genre budget, maybe even scripts that have won contests, scripts that maybe have placed highly in the SYS Script Analysis Service. There’s a whole bunch of criteria that they can look through, and then they hit the search button and then they’ll get a bunch of results printed out to them. Every script that gets returned in the results gets a log line view. Basically the producers sees a list of the writers name along with the log line of each script that gets returned in the search results. Each one of those search results returns a log line view for each one of the scripts that show up.

If the producer likes the log line, they’ll read the log line and they like it, they can click a button that says “more script information” and that will give them a synopsis for the script and a whole bunch of other information that the writer might have written about specifically about the script. Then if they still like what they see, they read the synopsis, they like whatever the writer has written about the script, then if they like that they can click another button that says “download the full script”. So you have log line views and then you have script info views and then obviously script downloads. That’s kind of the progression of how a producer is gonna go through the site. There’s one little caveat. The producers can also…once they’re looking at the search results, they can also click a link that says, “writer’s info” and that will pop up some sort of general information about that writer including a log line for each log line that that writer has.

Say that writer has three or four scripts in the SYS Select data base, then when the producer clicks “writer info” they will then see all four of those log lines and of course they can drill down into that and actually get more script info and then potentially download the scripts. So if you’re using SYS Select and you’re wondering what writer info views, that’s what those are. That’s when someone has actually clicked just to learn a little bit more about the writer, but maybe not specifically about that script. The writers info…at least for the conversation that I’m having right now, the writer info view isn’t really that important but that’s what that is. Okay, so all of this view info again, it’s available to you if you’re a writer in the SYS Select System, you just go in there, you can click a button and you will see all of these views listed and you’ll see the companies that have viewed the log lines and potentially downloaded the script.

Basically what this writer was asking is, “If I get 10 log line views, how many downloads should I get?” And this is a very reasonable question and it was one that I was interested in trying to find out myself. Now, before I start talking about this specific actual numbers that I’m going to give about the SYS Select data base, one word of warning- there are a number of other similar services out there, similar to SYS Select where you upload a script and producers can search for it. I’ve never used any of those other services as a producer. I’ve used many of them as a screenwriter but never as a producer, so I don’t know exactly how the producers are viewing information and I also don’t know how those services are counting log line views. That’s all to say that the numbers I’m about to talk about for the SYS Select data base, they may not be applicable to these other services because these other services are just different in how they’re laid out and they’re different in how they might potentially calculate the log line views and the script downloads.

So I don’t think you can extrapolate the numbers I’m about to give you to these other services. I just don’t know. Maybe you can, maybe you can’t. It’s hard to say. Anyways, in terms of my own service, here’s what I am seeing roughly speaking. For each log line view that you get, about three percent of those log line views are resulting in a producer actually clicking all the way through and getting to the button and clicking the download screenplay. So to make the math easy, if you get 100 log line views, you should see roughly three downloaded screenplays. If you’re seeing numbers that are lower than that, you might consider rewriting your log line. This might seem like a very low percentage, but keep in mind the log line views are just a view of the log line from the search results. That’s all it is. So producers doing lots of searches, they’re looking for the log lines and they’re just scanning through them. So it stands to reason that you’re gonna have a lot more log line views than actual script downloads.

Now interestingly, from log line views to script info view, again, keep in mind the producers do a search, they see a bunch of log lines, they’re then clicking on the button that says “more script screenplay info”, they’re clicking on that. That was about 6.7 percent of the time. So if you see…again, to make the math easy, if you get 100 log line views roughly speaking, almost seven percent of the time the producer should be clicking to the more script info. This is how you can start to tell if your log line is effective or not. What I thought was interesting about that, your log line view to script info views and then ultimately to the downloads, it’s almost 50 percent…a little bit less, let’s say 42 percent. The 6.7 percent, it’s a little more than double of the three percent, so maybe 40 percent, 42 percent. Something like that of the time when you get a log line view and you get to the script view, once the producer gets to that script info view, almost 50 percent or 42 percent of the time, they’re actually gonna download the script. This surprised me and I thought that that was very interesting.

I would have expected a lot more script info views where…because the synopsis is there. If they wanna read the synopsis they have to look at the screen info. And I would have thought producers would be more interested in looking, “Oh, that sounds like an interesting log line, let’s read the synopsis.” Or look at the synopsis and say, “Yeah, no thanks.” But it’s almost 50 percent and what that indicates to me is that…again, I’m surprised by this but what that indicates to me that the log line is just so so important because if you can hook them with the log line, you got almost a 50 percent chance of them actually downloading the screenplay. Now, again I would look at your specific numbers and see where you are at with all of this. The other thing that really occurs to me is that different genres are gonna be different.

And this is early in the stage, I mean the SYS Select data base. It’s only been around now for a little over a month. Really it was late December, we are at the end now of January when I launched it. So maybe it’s like six weeks, seven weeks old. So there’s still not a lot of stats. These stats may not be statistically significant but I do think that they were interesting and just wanted to point them out to people. But again, I do wanna emphasize that different genres could be different. You could be seeing more downloads in specific genres, you could be seeing more log line views. So at some point it’s a little more difficult. I’ve got to actually write some code to be able to figure out by genre these types of stats. It was easy for me to just kind of do a quick analysis of all log line views, all screenplay downloads so that’s kind of what I did today.

But I would say don’t get too freaked out if your numbers are not matching up to these, but maybe think about it, maybe rewrite your log line if you’re not seeing the log line views ultimately at three percent get to screenplay downloads, and same thing if your log line is not getting 6.7, almost 7 percent of the time getting to that script info, maybe rewrite the log line. And then if you script info is not getting the downloads, perhaps rewrite the synopsis, perhaps rewrite the other information about that script. It might help a little bit. Anyway, I thought this was interesting and worth sharing. Hopefully you’ll think it’s interesting as well. If you find this stuff super boring, please do email me. Some people are probably not into this type of stuff. And again, I just have no way of knowing what people find interesting and not interesting. If you find this sort of stuff interesting, just drop me a tweet or send me an email Say, “Hey, I found that interesting.” Or if you don’t, just tell me, “Hey, I found that stuff kind of boring.” Because again I can continue to analyze this numbers and I can continue to talk about them on the podcast, but if people think it’s boring, I’m happy to not talk about them as well.

Anyway, so on the next episode of the podcast I’m gonna be interviewing Canadian writer Jayson Filiatrault. He just did a cool Indie film called Entanglement and we talked through that process as well as how he got a start in the business, and all of his writing has really been done in Canada. He broke into the industry in Canada and he wrote this current film in Canada and had networked and met a Canadian director for it. It’s a great sort of inspiring story if you don’t live in Hollywood on how you can potentially make things happen for yourself. Just keep an eye out for that episode next week. Anyway, that’s the show, thank you for listening.