This is a transcript of SYS Podcast Episode 281: Writer/Director Tony Germinario On His New Crime Drama, The Price For Silence.

Ashley: Welcome to Episode #281 of the Selling Your Screenplay podcast. I’m Ashley Scott Meyers, screen writer and blogger over at Today I’m interviewing writer- director Tony Germinario. I had him on over a year ago to talk about his film Bad Frank, that was Episode number #184. I will link to that in the show notes, so if you haven’t already listened to that do check that out. Well, he is back this week with a new film, The Prince of Silence. We talk through that film and exactly how he got it produced, so stay tuned for that interview.

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So now let’s get into the main segment. Today I am interviewing writer-director Tony Germinario, here is the interview.

Ashley: Welcome back Tony to the Selling Your Screenplay podcast. I really appreciate you coming on the show with me today.

Tony: Thanks for having me back, it’s a pleasure.

Ashley: So I just wanna refer everybody… you were on the podcast before and it’s Episode number #184. I will link to that in the show notes so you can kinda get some of your background. We’re not gonna repeat all of that information here, we’re just gonna dive into your latest film. Let’s start to talk about that. Maybe you can tell us what the Price for Silence is all about. Maybe a quick logline or pitch.

Tony: Sure. It’s basically about a girl who was assaulted when she was a teenager and her father actually took money in order to stay quiet. It’s now years later, her father has passed away and she comes home to confront everybody from the person that did it, people that carried it out and her own family.

Ashley: Where did this idea come from? What was the genesis for this story?

Tony: You know what, after working with Lynnn Mancinelli in Bad Frank I just went to her with the idea. I woke up one night and in the middle of the night I actually woke up and I had this idea. This was actually well before the Me Too Movement ever started. We actually wrote and shot the film before… we finished it about a couple of weeks before the whole Me Too thing started. So it just happened to be very timely that the film that we made ties into everything that’s going on today. So I came with the idea, I went to Lynn and I said, “Hey, I’ve got this idea, are you interested?” And she jumped right in with both feet. She’s super brave and courageous and we kind of fashioned the story together. So I wrote it but it was definitely with a lot of her input and her insight, so it was extremely collaborative.

Ashley: Okay, perfect. Let’s talk about your writing process on this film a little bit. Just a couple of quick questions to start. Typically where do you write? Do you write here in your office, do you go to Starbucks? I’m always curious just to kind of hear about that.

Tony: I write in the bowels of my basement in my house. So yeah [laughs], it’s typically here. If I’m travelling I might do some work on the plane because that’s actually a pretty self-contained area that… especially when I’m flying from Coast to Coast, it’s six hours of dedicated time that I can actually do that. But primarily I’d say it’s right down here in my basement.

Ashley: Okay, perfect. And when do you typically write? When are you down in the basement the most? Is it in the middle of the night, is it morning, is it afternoons? When is your most productive times?

Tony: Middle of the night. My wife and kids are usually on bed by 10 O’clock and I’m a night owl by trade so I’m usually… that’s about when I start hitting my sweet spot, is around 10.30 or 11.00. I’ll usually go for an hour to two hours at a time. Sometimes during the day if I get an idea I’ll jot stuff down, but my real writing takes place later at night. I do some pretty dark and demented stuff, so I think it’s definitely when it’s most conducive [laughs].

Ashley: Yeah, perfect. Let’s talk about the collaboration with this actress. Maybe just talk us through exactly how that process worked. It sound like you went to her with the idea. Did you guys then… was it phone calls, was it Skype calls, did you meet for coffee and just work over the ideas, did you guys have a note book? Maybe talk through that. I know a lot of people have collaborators in one form or another and I’m always curious just to kind of hear how you work that relationship.

Tony: Well, she’s local, so we were able to get together. Basically what I do is I’d write for a week with two weeks or whatever it might be, we’d get together and I would extend to her a copy of the script and she’ll come back with my ideas, like, “Yes, this works here,” and, “I don’t think I would do this in this situation,” or “You might wanna think about this.” So we had several meetings where we got together and did that sort of thing. Now, in addition to Lynn, George Stohr who was one of my producers was also very instrumental in the process as well, because he’s one of the producers, he does a lot of the business side, but he’s very unheralded in regards to his creative side as well. So he always had some good ideas for me in addition to Lynn. So I’d say between all of us that really was how the creative process worked well together.

Ashley: And so, it sounds like then you’re showing her script pages, she’s reading and critiquing them. Was there an outlining stage that you were just going through, just kind of spit balling ideas? And how much time do you spend on that? That’s sort of one of my classic questions. How much time do you spend outlining and then how involved was Lynn in that? And then how much time do you spend actually in final draft cranking out pages?

Tony: I didn’t really outline it per say because it was all in my head and I just talked through it with her. Like we went through idea after idea, just okay, “This works, this doesn’t work.” The script moved pretty quickly. I mean, I think the first draft, considering it’s not my full time gig, first draft we got done in just a couple of months, but we were also honing it along the way, right? I think one of my big things that I’m working on is once I get the idea I start writing the script I just have to finish it. I tend to go back and… I’ll write 20 pages and I’ll go back and I’ll tweak two or three pages and I’ll write another 10 pages. While I’m doing that I’m going back and tweaking more stuff and I really, I wanna get to the point where I crank through it and get a draft done and then go back and look at everything.

Otherwise it seems to take a lot longer than maybe it should, but that’s all part of the process. I’m quirky just like everybody else, so it’s just what I do.

Ashley: Sure. Now, it seems to me that Bad Frank kinda had this same sort of revenge thriller aspect to it. This sort of… they’re not exactly mob movies, but there’s definitely sort of that undercurrent of illegal activity or whatever. How do you come at that? I mean, just being from New Jersey, you’ve been around these people, but how do you come at that? Was there something from a distributor that said, “Hey, these kinds of movies sell?” Maybe just talk about that sort of in general, why you’re choosing these types of stories.

Tony: You know what, that’s a great question and I think the reason why is because it’s so far apart from my regular character. Anyone who meets me, it’s funny I was just having a conversation with some folks around this because they saw Bad Frank and I told them about The Price for Silence and they looked at me and said, “Dude, what’s wrong with you?” Because my stories are somewhat demented and I think that’s kinda where this comes from, is everyone has that part of them and maybe this is my favorite part in it, because I am such a down to earth, low key kinda guy that this story surprises people when I mention it to people and it’s because it’s disturbing and it’s dark. I’m actually… three of my other projects that are coming out right now, two of them are horror projects that I’m working on right now, and the ideas, they just show up.

It’s kind of like a scratch, once you get that idea you got to itch it. Actually it’s like an itch you got to scratch. So once I have it it’s like I got to finish it and get it out there. That’s kind of what it was.

Ashley: Okay. I’m gonna ask this question in a variety of forms. Once we get into production and financing and that kind of stuff I will ask it again. But just in terms of the screenplay, what lessons did you learn from Bad Frank that you were able to actually apply to this new project?

Tony: I think just keeping it as tight as possible and also writing for the locations that you have. We were able to do that with Bad Frank and I absolutely learned, hey, don’t go for the big budget scenes or the big budget locations. Put your characters in places that are meaningful but that you can get within the budget you have access to. That’s very important because you don’t wanna sacrifice anything but you also wanna make sure you’re hitting the points that you want. So to me that was a big lesson that I learned. And also keep you character count as low as you can. We condensed a couple of characters into one character because that’s less people on set, less budget, less budget spent on actors, less budget spent on services.

So when you are basically making a low budget independent film you gotta do everything you can to keep the budget down. So those are some things I always try and keep in mind and make sure that we follow.

Ashley: I wonder if you can just elaborate a little bit on the locations thing you just mentioned. Were these just locations like your college buddy owns a restaurant down here so you knew you could shoot there or do you kind of just go out and talk to some people and say, “Hey, could we shoot here potentially?” Maybe just walk through, what are those locations and what was your relationship with them?

Tony: Yeah, so like we shot at a funeral home. I know the guy that owns the funeral home in our town. I know a guy that’s very highly involved in the fire department so we were able to use the fire house and they had a great back room that we held a party in.  I knew some folks that had access to a great bar, so we had this awesome bar that we used and we shot overnight and he let me do it for free. So all those guys, they gave us their time and their locations for nothing just because they were good friends and that allowed us to put a little bit of budget into some of the other locations that we didn’t necessarily have. We shot overnight at a parking garage that they basically just charged us to park our cars there, they didn’t charge us anything else.

So the whole location cost us 10 bucks because it was overnight and they stopped charging at a certain point. Yeah, so that’s always helpful, is if I know I have access to something, how can I potentially incorporate that into a scene that’s gonna make sense? You can’t force it but usually you can find a way to make it into a story that’s gonna really relate.

Ashley: Alright, so let’s move into the next phase of this. You have a screenplay, it sounds like you worked with your lead actress, you’ve polished it up. What are then the next steps to raising the money, getting this thing financed, getting this thing into production?

Tony: Well, Bad Frank helped us a lot. It did quite well and the film was one that really resonated with people, they liked it, so we were able to get a couple of investors to come on board and put the money up for us, which for me was unbelievable because it was the first time we didn’t have to use our own money in order to do that. So we got a couple of producers to come on board and really put up the funding for it and we were smart in the way that we did it. We put the money into the film, we did set aside some marketing budget, we set aside some travel budget for festivals so we can really go and promote the film, and so far it’s worked out great.

I actually just got back from Beaufort South Carolina and the Beaufort International Film Festival where we were one of the finalists and we got a whole bunch more festivals coming up, but it’s really helped part of the process.

Ashley: Okay, perfect. And how did you get introduced to these producers that were able to bring financing? Maybe you can talk specifically about… did they just see your film at a film festival and approach you? Maybe just talk through that process a little bit.

Tony: Yeah, so it was… one of them was a guy I used to work with, so it was a personal connection, and another guy was George Stohr who I mentioned earlier, it was a connection of his. And then the two other folks were people who knew someone that I knew. So it was very much, very I guess grassroots where we were able to get connected to some people. The festival circuits been great. I would love to find people out of there at the festival circuits that might wanna be part of the next project but that was not something that we did for this specific one. But I think it really comes down to if people… if you get to meet them and they see how genuine and excited you are about your project and how much you believe in it and if they believe in you and the way you think about it then they’re more up to really wanna become part of that project.

Ashley: Perfect. I’m curious about what distributors said to you about Bad Frank in terms of like I just said, what were the lessons you learnt. Were there some things that you saw with Bad Frank that like you just said Bad Frank was a success. Was there some things that you saw that maybe you said, “Aha, I gotta do that in my next film? That seemed to be something that distributors really glammed onto.” And maybe you can talk about those a little bit, maybe something they said, just anything that… insight that you got from a distributor.

Tony: Well, earlier on the first distributors I talked to they asked two questions, who’s in it and is there any nudity. So [laughs], we didn’t really focus on that but in this particular film and the Price for Silence we had Richard Thomas in it. So Richard Thomas is an industry vet. He’s a fantastic actor, he had a wonderful performance in the film. He’s someone that when you put him on the poster and you let people see what he does and that kind of opens people’s eyes as a distributor. So that’s certainly one of the things that if you can find someone, it doesn’t have to be the lead role, it’s someone that at least has somewhat of a significant part that you can sell the film using them.

You might only get them for two days or three days of the production, but that’s fine. As long as it’s an integral part that you can really focus on hey, this guy is important to our film, that’s something that goes a long way.

Ashley: Okay. And so let’s talk specifically about that. I get emails all the time from screenwriters, “How can I get this actor or that actor attached to my project?” Maybe just run through the process of getting Richard Thomas attached to the project. Was it hiring a casting director, was it just reaching out to his agent, you know, you as the director reaching out to his agent. Maybe talk through that process a little bit.

Tony: Yeah. So for two films now we’ve never used a casting director. For the most part it’s we’ve reached out to people who… we actually knew someone who had met Richard Thomas and had worked a project with someone who knew him. So we just actually went directly to the agent. We got introduced to the agent and we just sent him an offer. I think what you’ll find is when there’re people of certain stature, you can approach them directly but you might just have to make them an offer, especially when you’re talking about an independent project, the agent immediately is gonna say, “What’s the offer, what’s the project.” So they wanna know what the deal is a lot of times before they even look at the script.

That becomes really important. Just know what you’re prepared to spend and what you’re able to use as part of the budget to go to a specific actor and just go right to the agent. Call them up, send them an email, they’ll always respond if you’re close to their number. They’re usually amenable to work with. The number that we went to Richard Thomas with was a lot lower than what his agent was looking for initially but we sent the script, he would have some time in between projects, he had just come off the Americans and he had also just finished the play on Broadway so he had a couple of weeks off in between and he… believe it or not he’d been 60 years in the business, he’d never really done an independent film like this.

So it was exciting to him. It was something of a challenge for him and we had him on set for five days and the guy just… he blew it out of the water, he was amazing. Just never be afraid to just go directly to the agent and just shoot an offer. You have nothing to lose. The worse they can say is no and as screenwriters we hear no all the time. So it’s just another no, it will get you to your next yes a lot faster.

Ashley: Yeah. Okay, so two questions on that. Number one, if you don’t have a casting director who sort of used to making these offers, how do you find that starting number? Because you never wanna offer too much, but you don’t wanna go too little or then you won’t be taken seriously. So how did you come… and you don’t have to tell me what that starting offer was, but how did you kind of arrive at that? What was the logic you used for that?

Tony: Well, I really looked at what budget we had. Depending on what the budget is, how much are you going to lock to your actors? So if you’re working on $100,000 film, you’re gonna have to worry about how much is my camera people gonna cost? How much is it gonna cost for travel expenses and for craft services and things like that? What is the budget that you’re going to lock to the actors, then you have to look at how many days is the shoot because when you come down to… most of the actors in the independent film [inaudible 00:17:56] so if it’s ULB- Ultra Low Budget then you’re talking $125 a day for the actors. So depending on how much you have left, that really determines where you’re gonna be able to put your offers from.

So don’t be afraid to come in with a lower offer to someone that you think might be out of your range because at the end of the day you can always improve the offer, but a lot of actors just wanna work. If they fell that there’s a good project out there and they wanna keep that acting muscle going, sometimes they’ll do projects for way less that you would think.

Ashley: Yeah. So did you talk to distributors? One of the things that I found is that the value an actor has is not always intuitive. Like some people that are big stars in the US may not be big stars outside of the US and we don’t always necessarily know that. Did you talk to a distributor? Like Richard Thomas is someone I love. I grew up in the ‘80s, so I saw Battle Beyond The Stars. It’s like when I saw this guy was in your movie I was like, “That’s fantastic.” But he’s not someone that I would have necessarily thought of frankly because he doesn’t do a lot of these low budget movies. He’s not one of those guys. So frankly I think it’s actually a really good move to get someone like him that has a lot of cloud. But I’m just curious, did you talk to a distributor and say, “Hey, if we get this guy, what do you think this movie is worth?”

Tony: We didn’t for him, no. When we got the opportunity to work with him we just jumped at it. I would say that moving forward that’s part of the formula that we’re starting to use to speak to potential investors. So what is the international pre-sale for specific actors, because there’s two main things that we’ve been looking at while we’re looking at our future projects. It’s tax credits and it’s international pre-sales. So if you’re looking at a million dollar budget and you’re trying to get your investors out there, well, if I can say to someone, if we’re to shoot in [inaudible 00:19:53] New York they give a 40% tax credit. So right away you’re mitigating the risk of the investment because if you’re getting anywhere from 30% to 40% back, and it’s cash that comes back, it’s not like a credit.

It’s actual cash that you’ll get back. So if right away you’re getting 30% to 40%, it’s $300,000 or $400,000 return on a million dollar investment. And then if I can say if we get this actor we can pre-sell it internationally because of this actor for 200,000 or 250,000. So right there you’ve made well over 50% back on the budget without even really shooting anything, because you’ve alluded the tax credits, you’re getting the pre-sales, so you’ve basically turned a million dollar film into a $350,000 film. So if you can think of those sort of things and use that as your research if you will and find someone who can get you those numbers, and there’re some folks out there, distributors and such who are kind enough to do that. It really puts you in a whole different playing field.

Ashley: Yeah, for sure. Just so people that are listening to this don’t get laughed out of the house, maybe you can describe what that offer actually looks like in an email. What do you actually put in there? It’s a document, you’re making like an offer so there’s probably some legal ramifications with something like this. So maybe just talk through exactly what those… like a real offer to a real actor look like through their agents.

Tony: It’s actually a very simple email. It’s “Hey, we have this project that we’re working on, here’s the name of it, here’s the logline. We’ve been looking at you, we’d love to make an offer to Richard for example and it’s gonna take five days of his time, that’s what the shoot will be,” and you talk about where it’s gonna be located, and then you present your number. It could be that simple because agents are busy. They’re getting offers all the time. They don’t wanna read this huge email about something. Keep it short, keep it sweet and to the point and make sure you’re telling them exactly what you need them to know about your film. And that’s really it.

Ashley: Okay. Well, the first question that always seems to come back from the agent is, is the movie funded? They always wanna know like how closer this… Was that something you put in your initial offer, like, “Listen, we have funding in place, we’re ready to go?”

Tony: Yeah, I think we had that in there. Yeah, certainly if you have it that’s great, but not everybody has it. Sometimes that’s the catch 22, is people will give you the funding if you can get that actor, but that actor won’t come on board unless you can get the funding. So a lot of times that’s a little game that you have to try and figure out and sometimes you try and find someone who knows somebody that you can get to. And maybe they’ll sign a letter of intent without actually doing the deal. Those are hard to come by but if you’re connected to any actors or if you know people that can get you in front of actors that sometimes like I said, if they really like the script and really wanna work, they might sign on for a letter of intent.

Like I have a Science Fiction project that I’m working on that we’ve gotten three letter of intent from people to do this projects. So we’re hopeful that eventually… it’s a larger budget. It’s actually an eight-figure budget that we’re looking for, so it’s harder to come by but we’ve got three letter of intent attached to it that we show to people, they can see okay, these guys are serious, they’ve already got some names to it, this is something we can really feel good about. I think that’s really what you wanna do is try and find it if you can, but you don’t necessarily have to have it.

Ashley: Yeah. I’m curious too, and you may not know the answer to this, but I’m curious how much your resume as a director, because that the other thing I know agents will look and see a lot of very experienced actors, they don’t necessarily wanna work with a first time director. You’ve got some directing credits under your belt, so I’m curious how much you think that helped all of this situation. Richard seeing… I’m sure him and his agent looked you up on IMDb, they saw that you had a bunch of credits. How much do you think that impacted this whole process?

Tony: Honestly, I have no idea. I mean, I’d like to think they looked me up and said, “Hey, this is a guy we wanna work with.” But I don’t know, that never actually came up. I think he read the script, he like it and Richard is a very humble guy. When he showed up on set, like I said, he’s been in the business for six decades. I’m basically starting my second film and he’d show up and every day he’s like, “Alright, what are we doing today boss? Just tell me what you need.” And he was fantastic. The thing about him is he wasn’t the kind of guy that just showed up and melted in. He was legitimately engaged in the character and he did the research and he was asking great questions.

And while we were on set he’d say, “Well, I was thinking about this line here and I donno if that’s the right line, can we change it?” I’d go off for about 20 minutes and come back with another line, “Yeah, this works, this is great.” He was fully invested in the role which you don’t get all the time. That just goes to show what a pro he was and he worked so well with everybody else. So it couldn’t have been a better experience with him. So I’d like to think that maybe he looked me up and said, “Yeah, this guy, I love Bad Frank. Let’s be part of the next project [laughs]. Let’s hope.


Ashley: What’s next for you? What do you have on the ducky? You mentioned the Science Fiction project, but what else have you got going?

Tony: Gosh, we’ve got so many things going on right now. We just finished a short film that we’re just gonna put out there, just like flexing your muscles. You don’t wanna be sitting around too long in between, so I did a short film with Lynn Mancinelli again and with Emrhys Cooper who is also in The Price For Silence but I’m working on a horror film with [inaudible 00:25:43] who is actually… he’s the guy that got me started in the business. So we’re still very good friends, we’re working on a project together, a horror film that we’re looking to shoot in the south. I’m working on a film called The Fire House, which is another… it’s an art-world based horror film. I’ve got a project called Daddio Sugar [laughs] which is about a male child who’s in search of his father.

So we’ve got so many out there right now that it’s a matter of just how do we get the funding for these projects and now hopefully that our second film which is getting good reviews and we now got a really good track record, so my hope is that people come on board and say, “Hey, we’d love to be part of the next one. So we’re just continuing to build that ground well and when you do quality work you hope people recognize it and just wanna continue to be part of it.

Ashley: Yeah, for sure. So you keep saying that we have this and we have that. What does your team look like? Sounds like Lynn is a part of this proverbial ‘we’. But maybe you can talk about what does that team actually look like? Who are all the people that are in this we?

Tony: Yeah, so the full ‘we’ is myself, Lynn, George Stohr who I mentioned earlier and Jeff Bernat- he’s actually Daddio Sugar. He’s more of a recent addition to the full team, but we also have all these people that we work with. So I’ve got a couple of DPs that I work with that are both fantastic. Part of the reason I wanna get these projects going is because I wanna keep them busy so that they can’t go to other places. I wanna work with them all the time. My make-up people, my sound people, these guys are all fantastic and I wanna make sure I keep them busy because the more I do the more we can elevate everybody else. To me that’s all part of this. We got all this great little family that we’ve developed.

And even some of the actors that I now work with I try and put the same people into projects all the time. Like Kevin Smith is one of my guys. He’s like my favorite writer-director and he brings the same people in all the projects, so I’m just trying to keep that same mentality. I worked with Brian O’Halloran on Bad Frank and I’ve already been talking to him on getting him into something else because he’s just a good guy and he fits well with what we look to do. So we’ve got this little close knot family that I just… I feel I’m bound to do stuff with them. I feel committed, that no matter what I do I just got to keep them busy.

Ashley: Yeah. How can people see The Price of Silence, Do you know what the release schedule is gonna be like?

Tony: It’s gonna be coming out this spring. So we’re just about to sign a distribution deal with a company called Indie Rights. We’re really excited, we’re gonna be out on all the platforms, we’re even gonna get a couple of theatres for a quick theatrical run. But yeah, it should be some time in I think June or early July.

Ashley: Okay, perfect. Yeah, we’ll keep an eye out for it. What’s the best way for people to keep up with what you’re doing, Facebook, Twitter, blog, website, anything you’re comfortable sharing I will round up for the show notes and you can mention them here.

Tony: Sure. If you look me up on Twitter or Instagram it’s just Tony Germ, T-O-N-Y G-E-R-M. I’ve got a Facebook account but I keep hitting that 5,000 person limit. But keep trying because people come in and out all the time.

Ashley: Okay, perfect. I will round that up for the show notes. Well Tony, good luck with this film and of course good luck with your film as well and I look forward to talking to you about that as well.

Tony: Thanks so much, you’ll be first on my list.

Ashley: Perfect. I appreciate Tony. Will talk to you later.

Tony: Alright, thanks.

Ashley: Bye.

Tony: See you.

Ashley: I just wanna talk quickly about SYS Select. It’s a service for screenwriters to help them sell their screenplays and get writing assignments. The first part of the service is the SYS Select Screenplay database. Screenwriters upload their screenplays along with a logline, synopsis and other pertinent information like budget and genre and then producers search for and hopefully find screenplays that they wanna produce. Dozens of producers are in the system looking for screenplays right now. I launched this service at the beginning of this year and we’ve already started to see some success stories. You can check out SYS podcast Episode #222 with Steve Deering. He was the first official success story to come out of the SYS Select database.

You can learn more about all of this by going to When you join SYS Select, you get access to the screenplay database that I just mentioned 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 400 producers who are actively seeking writers and screenplays. Each SYS Select member can pitch one screenplay in this monthly newsletter. We also are have partnered with one of the premier paid screenwriting leads sites so I can syndicate their leads to SYS Select members. There are lots of great paid leads coming in each week from our partner.

Recently, we’ve been getting five to ten high quality paid leads per week. These leads run the gamut. There’s producers looking for a specific type of spec script to producers looking to hire a screenwriter to write up one of their ideas or properties. They’re looking for shorts, they’re looking for features, TV and web series, pilots all types of different projects. If you sign up for SYS Select you’ll get these leads emailed directly to you several times per week. Also you can get access to the SYS Select forum where we will help you with your logline and query letter and answer any screenwriting related questions that you might have. Also in the forum are all the recorded screenwriting classes that I’ve done over the years. So you’ll have access to all of those as well.

The classes cover every part of the writing process from concept to outlining to the first act, second act, the third act as well as other topics like writing short films and pitching your projects in person. Once again, if this sounds like something you would like to learn more about, please go to

On the next episode of the podcast I’m gonna be interviewing writer-director Liam O Mochain who just did a film called Lost and Found, which is an arthouse comedy drama. He had a very interesting approach to shooting this film. The film has several interconnected stories so he shot each individual story sort of on its own as a short and then was able to edit them together into one cohesive story, but he shot it over many, many, many months. And this was an interesting just way of going about doing this. He had a background in doing short films so he figured what could he do to kinda put those skills to work and this is what he came up with. It’s another great example of someone getting creative to shoot a film on the budget that they have and just going out there and making things happen for themselves. So keep an eye out for this episode next week.

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