0:00

After that , the journey of slick films

0:02

. Did it , did you take on more films

0:04

then ? What was kind of like for your company

0:07

and as a director ? What did that mean for , like the

0:09

aftermath of winning an Oscar ? Yeah

0:11

did you need more ?

0:12

employees .

0:14

Look , it was kind of like getting handed the keys

0:16

to a Ferrari after just passing your driving

0:18

test .

0:21

This is the Cinematography for Actors podcast

0:23

.

0:24

More than a podcast . Cinematography

0:26

for Actors is a vibrant community devoted

0:28

to bridging the gap between talent and crew

0:31

. Each week , our show offers transparent

0:33

, insightful conversations with industry

0:35

leaders . We unveil the magic

0:37

behind the scenes , from candid discussions

0:40

about unique filmmaking processes to in-depth

0:42

technical exploration . Join us

0:44

in unraveling the intricacies of filmmaking

0:47

, one episode at a time . It's more

0:49

than just cameras and lenses we

0:51

aim to inspire , educate and empower

0:53

as we peel back the curtain on the art of

0:55

effective storytelling . Now on to the

0:57

episode .

1:01

Hi everyone and welcome to another episode of

1:03

the Cinematography for Actors podcast

1:05

. We are bridging the gap between talent and

1:07

crew . Sitting with me here today

1:10

is our lovely , fun

1:12

filled room of co-hosts . Here

1:14

today we have Brianna

1:16

Wing , actor and partner at CFA . We have

1:18

Jack Gibson , our outreach director

1:20

and wonderful co-host , who helps me with all

1:22

the technical , and we have Haley Royal

1:24

, one of our co-founders , as co-host as well

1:26

. And with us today in the

1:28

late hours of the London nights is

1:31

Chris Overton , famed director

1:33

and founder correct of Slick

1:36

Films production company .

1:38

Yes , welcome .

1:40

Welcome , welcome Welcome .

1:41

Look at that .

1:41

I am so happy we can finally connect because

1:43

I know with Holly Shorts you had three films there

1:45

produced under Slick Films . Congratulations

1:48

for that and I'm sorry we couldn't connect during . But I'm

1:50

so happy we get a full episode

1:52

to connect now . Yeah . I'm just a 15

1:55

minute episode , a full thing . I

1:57

mean three films at 15 minutes each . You know

1:59

, here we go , Full episode .

2:01

Right . Well , I'm very pleased to be here

2:03

. I love what you guys are doing . I think it's

2:05

just yeah , as I said earlier

2:08

, the brand and the website , it's just . It's really

2:10

on point . So I'm very pleased to be

2:12

here .

2:13

Oh , thank you so much . Now , chris

2:15

, I would love to talk

2:17

about Slick Films . And let's

2:20

kind of get started with what Slick Films

2:22

is who's in the team , how

2:24

you built it out as a director

2:26

and producer and how you got started

2:28

.

2:29

Yeah , I kind of fell

2:31

into it , I kind of think by accident

2:34

it was . You know , I was an actor from

2:36

a young age and then I

2:38

picked up a camera when I was like 13 years

2:40

old , fell in love with that . It was

2:42

kind of editing really that I fell in love with . But then

2:44

I just started filmmaking and I didn't really

2:46

know what part of filmmaking

2:48

that I enjoyed I liked . You

2:50

know , I did a bit of everything and

2:52

but I made films really

2:55

at a young age to so I

2:57

could be in them as an actor , you know that

2:59

was . That was really what that was about . And

3:02

then I think I was 19

3:05

. Yeah , I was about 19 when I registered

3:07

the domain for Slick

3:09

and , yeah

3:11

, we started to create showreels for

3:13

actors . That's how . That's

3:16

how we began really . So

3:20

, years and years of making mistakes on

3:22

showreels sets and it was just two

3:25

people and two actors . You know , two crew , two

3:27

actors . So everyone

3:29

says , oh , silent Job was your your first film

3:31

? And yes , it was . But I'd

3:33

done a lot of . You know , I've

3:35

been able to have this environment that I created

3:38

to make loads and loads of mistakes where

3:40

I learned sound editing , first

3:42

aid in cinematography , producing

3:45

you know , a range

3:47

of a whole spectrum

3:49

of the filmmaking industry

3:53

, really . But

3:55

yeah , and then I

3:58

brought on , you know , people

4:01

to kind of help as the company was growing

4:03

and , you know

4:05

, one thing led to another . And then

4:07

I met Rachel

4:09

Shenton whilst I was , you

4:13

know , being an actor . And

4:15

then , five years later , we kind

4:17

of met again out in Los Angeles when I was trying

4:19

to be an actor doing pilot

4:21

season and that went horribly wrong .

4:24

But the best thing about that trip .

4:27

Yeah , it was awful . I've got some stories

4:29

for you . And then , yeah , rachel

4:32

and me kind of connected over there and

4:37

yeah , she had this idea for

4:39

a script and

4:41

she told me about it and I was just like , oh my God

4:44

, you've got to write it . So she

4:46

did , and it was the Silent

4:48

Child and that , yeah

4:50

, the rest was kind of history really

4:52

, and since

4:54

then we've just been making more short

4:56

films , trying to learn our craft

4:58

, earn our stripes and help other filmmakers

5:00

make their films

5:02

too at the same time .

5:04

So , yeah , let's clarify for those

5:06

that don't know the Silent Child won an Oscar

5:08

, correct Won .

5:10

It did , yeah , a few years

5:12

ago now . Yes , wow .

5:14

And I can imagine Congratulations . Congrats

5:17

. Now what ? And for

5:20

the Silent Child ? What was that

5:22

process like ? We talked to

5:24

a lot of people at Holly Shorts and we continue to talk to directors

5:26

and producers about the FYC track

5:28

and what happens . What was the process

5:31

in which that film was

5:33

, you know , at Oscar qualifying festivals ? Where did

5:35

it win ? How did you get it kind of on the track

5:37

to go to the Oscars and eventually win ?

5:41

Yeah , I mean it's a long . You know I could

5:43

give the long answer , but I'll try and make

5:45

it as condensed as I can because it

5:47

was a long journey but it kind

5:49

of wasn't . But we

5:52

really didn't know what we're doing . If I'm being completely

5:55

honest , it was , like you know , we made

5:57

this film with so much heart and we had this

5:59

incredible team and I'll be forever

6:01

indebted to everybody who worked on that and

6:04

we just we made this and we didn't really know

6:06

, kind of , what we'd done . Really , it

6:08

was a lot of people's first film but it

6:11

, like I said , it was made with a lot of heart and it had this

6:13

very important message . And

6:15

we got it into

6:17

Rhode Island Film Festival . That was like the

6:19

key thing . But we

6:21

were literally just finishing the film off

6:24

, I think , like

6:26

the day we had to post it to

6:28

Rhode Island . We were made like a final

6:30

change . Anyway , we went to that festival

6:33

, we won , we won the grand jury prize

6:35

and Maisie Sly , the young actor in

6:37

the film , she won Best Actress as well . So

6:39

, it was really it was really great

6:41

and I

6:43

don't know . We didn't really think anything more of it

6:45

after that . To be honest , it was like people

6:48

kept coming up to us and saying well

6:50

, you know , it's August now , the Oscars

6:53

applications close very soon

6:55

. You better get your application in . And we were like I

6:59

love that .

6:59

I'm not hilarious .

7:01

We just didn't realize what they meant . If

7:03

we're honest , we knew that we

7:05

could submit , but we just didn't know how . Really

7:08

. We thought I don't know

7:10

people thought it was obvious with what to do

7:12

, but we didn't know that . So we

7:14

got an email from the festival director

7:16

at Rhode Island saying "'Guys , you don't have long

7:19

, please submit" . And we were like , okay , we were just a

7:21

bit clueless , so we did

7:23

, we got it together and we submitted and

7:25

then again carried on with our festival journey

7:27

. And it's tough , it's out there , the festival

7:29

journey . There was still a lot of rejections for the silent

7:31

child People go , really . But it wouldn't ask

7:34

them like , yeah , you wanna see the rejection list , anyway

7:36

. So I can't

7:39

remember the date , but it was December of that year

7:41

, so only a few months later . And then we got an email

7:43

and then the

7:46

producer , rebecca Harris , who's

7:48

head of film at Slick Films , she

7:53

messaged us and said "'Guys , the

7:56

Academy" . And we didn't know what she meant . And

7:58

then found out that we were down

8:00

to the final 10 for

8:02

the Oscars . And when

8:05

I say we honestly never expected that , we

8:07

really never expected that . And

8:09

then they announced the nominations

8:12

live and that was like a month later

8:14

and our

8:16

inbox went crazy after that

8:18

point . It was unbelievable

8:20

Overnight distributors

8:23

, press sales

8:25

agents , people

8:28

wanting to interview us . It was crazy

8:31

. And then , yeah , you watched the nominations

8:33

live and they tell you to record it . And

8:36

you don't wanna record it because I thought

8:38

, god , we couldn't think of anything worse if we didn't get nominated

8:40

.

8:41

I don't think I really wanna have that video

8:43

. Yeah , yeah .

8:45

And the camera was like right on

8:47

this bookshelf , pointing us over there just

8:51

out the way . And anyway , we were nominated

8:53

and I think the most special thing about

8:55

that was we just thought , wow , we can take this little

8:57

girl to the Oscars . What

9:00

an amazing thing . And

9:03

then , yeah , we

9:05

went there and there was a lot of press around

9:08

it . There's this whole event leading up towards it

9:10

. And then we won . And

9:13

then I was locking eyes with Meryl Streep on

9:15

stage and

9:18

I just always remember that , as Rachel

9:20

was doing her speech and leading up

9:22

to it , it

9:25

was drummed into us like you have 45

9:28

seconds , that's it and we will kick you off

9:30

the stage . And you're

9:32

like , okay , and then , anyway , rachel

9:34

did her speech , and then I was

9:37

just about to start mine and

9:39

then there's this big screen in the middle of the auditorium

9:42

and it says time's up , get off

9:44

the stage . And I have

9:46

to speak and do like I had the boring

9:48

job of doing all the thank yous , so

9:51

I just had to rattle through it and then the

9:53

music started to come up . And then the next step

9:56

would have been for the mics and the lights to be

9:58

turned off , but I literally got it in and

10:01

oh yeah , there isn't a time

10:04

that clicks down , so you can manage

10:06

. I think there is

10:08

on the screen , but you know you'll just lost

10:10

. You'll just lost it . You're lost on the auditorium stage

10:12

.

10:12

Yeah , I mean

10:15

, can you follow directions ? Wasn't

10:17

it a countdown ?

10:18

And he's like I had to see the time you're winning , Like

10:20

I don't know , but that's

10:23

wonderful .

10:23

Nobody ever really knows what it's like in

10:26

that moment , totally .

10:27

Totally . It's a screen that

10:29

says get off the stage , Exactly

10:32

.

10:33

That's wild . You're just in shock .

10:35

Yeah , a little bit , and I

10:38

don't know what you do . You know I wasn't just gonna

10:40

walk off .

10:41

Yeah , you have to thank everybody

10:44

, yeah exactly . You get through the music and you know what . I bet

10:46

those people are like that . It was beautiful , he pushed , he

10:48

really pushed . His luck on that one . For me

10:50

, yeah , exactly that's

10:52

so wonderful .

10:54

Now , after that , the journey of

10:56

slick films , did you

10:58

take on more films then ? What was kind

11:00

of like for your company and as a director

11:02

? What did that mean for , like the aftermath

11:05

of winning an Oscar ?

11:06

Yeah , Did you need more employees

11:08

?

11:10

Look , it was kind of like getting handed the keys

11:12

to a Ferrari after just passing your driving

11:15

test . Oh , you know , it really was

11:17

like we were like rabbits in

11:19

headlights . You know , we just it was

11:21

very overwhelming , very exciting . Lots of

11:23

doors opened , you know , some really nice opportunities

11:25

that we took , but we really we

11:28

just wanted , we just felt like we had to learn

11:30

the craft a little bit more . It was our first

11:32

film and

11:34

I'm so glad we did that because

11:37

there was opportunities to do a feature , but it

11:39

wouldn't have been the right feature . You know , I got signed

11:42

with an agent in America very quickly and they were

11:44

sending me scripts and I

11:46

was reading the first page going like I can't

11:48

connect to this , I can't tell

11:51

this story , you know . So

11:53

we were a little bit lost . We just didn't know

11:56

which direction to go

11:58

down , really . And then , I think , people

12:00

started to come to us and

12:02

say , oh , can you help me with my short film ? And

12:05

so , whilst we were working on our own , Rachel

12:10

was writing and I

12:12

was looking at how to

12:14

build the company and , yeah

12:16

, it kind of happened

12:19

that we just started to take on more shorts

12:21

and now we've got to slate

12:23

all in different stages , like 35

12:25

short films . So

12:28

you know , like eight are like out there , finished

12:30

, some are being distributed , like

12:32

lots are on the festival circuit at the moment , some

12:35

are in post-production , a couple

12:38

are about to just have their world premiere , so , and

12:40

then you know , we've got a large slate in development . So

12:42

shorts are a big part of what we do

12:44

, but we really want to step

12:46

up now and we

12:49

are , yeah , working very hard towards

12:52

our debut feature which , all being well , we

12:54

might be on set this time next year , maybe .

12:56

Oh hell yeah , Congratulations , congratulations

12:59

, yeah , absolutely .

13:00

Slick Films also has some other cool

13:02

facets to it , right ? I

13:04

mean , you're not just a production company not

13:06

that that's not something but

13:09

like you also have a program

13:12

to help younger

13:14

filmmakers kind of go out and

13:16

feel confident , correct , that's right .

13:19

Yeah , I think that comes from , like

13:21

me being , you

13:24

know , finding it very hard to break into the industry and

13:26

kind of having to set up in a way in my

13:28

own film school . Like you know , before

13:31

Slick Films was Slick Showreels , you

13:33

know that kind of is now still

13:35

going and thriving , but

13:38

that is a brilliant ladder into the industry and

13:41

that's how I started . You know , as I mentioned earlier , I did

13:43

, you know , hundreds of showreels where I got

13:45

this playground to learn

13:48

and make loads of mistakes , but

13:50

it's still . There's still a client , you know there's

13:52

still . You still have to deliver good quality , but

13:55

it's just not like a set full of 100 people , you know

13:57

. So

13:59

, yeah , we really champion

14:01

having trainees come on and then being

14:04

able to step up into short films and

14:07

, hopefully one day , feature films . So

14:09

we really want to , you know

14:11

, be able to set a clear pathway

14:13

from the bottom to

14:15

the top of the industry .

14:16

So that's why , sorry , is that like a ? Training program

14:19

that these

14:21

young filmmakers pay to be

14:23

a part of ? Is it like

14:26

a nonprofit type of situation ? How

14:28

are they getting involved and what kind of expectations

14:30

should they have ?

14:35

Yeah , so it's quite casual , if I'm honest

14:38

, like we don't monetize it or anything

14:40

like that . We

14:43

just find people

14:45

, just find us and get in touch

14:47

with us and there's like an application form so

14:49

we always try to put

14:51

one train in the honor

14:54

. Our show real shoot . So we've got this large

14:56

database . So , you know

14:58

, every so often we'll try someone else and

15:01

if they're good they tend

15:03

to stick around and then , before

15:06

you know it , there's people that we want to continue

15:09

to work with and they've already broken into

15:11

the industry . And we're like we can't get hold

15:13

of them . We're like I'm like

15:15

, hey , do you want to come and do

15:17

a day on my short film ? And like , oh , sorry

15:20

man , I'm really busy on an Avengers

15:22

movie . I'm like , okay , good . It's

15:24

really lovely how that happens

15:27

and that's a real success . But

15:29

and it happens quite quickly , you know , depending

15:31

on the department and

15:33

you know when it's a short film we had on

15:36

our my latest short film In Too Deep , we

15:39

had about six trainees and you

15:41

know they were just all brilliant . One of them's like full-time

15:43

in the BBC now Another one we just saw

15:46

so much talent in and

15:48

just was doing loads of BTS content

15:50

for us and really starting to think about

15:52

his own show . So

15:55

it just yeah , there could be

15:57

more structure to it , but we feel like it's

15:59

quite nice that

16:02

it's quite casual as well and we're

16:04

just , I'm just very open . I think we're very open

16:06

at Slick . If someone comes to me with

16:09

passion , that's like the number one . Anyone

16:11

can learn the skills . If someone comes

16:13

to me with passion and

16:15

like comes to me at a film festival and said , look , I want

16:17

to do this , and if I can feel

16:19

their genuine , I'm like right , come on , set them . I

16:22

met someone at a film festival last week

16:24

. I you know I was talking to him before I even knew

16:26

he won the student award and

16:29

he won . I had to present him this award

16:31

. And then someone said oh God

16:33

, I really need a trainee on my shoot . And I was

16:35

just emailed him . I was he emailed

16:37

and I just went do you want to come on set tomorrow ? And he was like

16:39

yeah , all right . I was like brilliant , and then

16:42

he's going to do come on set more

16:44

with us , and that's kind of how it is

16:46

. It's quite loose , but like we're very spontaneous

16:48

where that is concerned .

16:50

Amazing . Now you've worked in both Los

16:53

Angeles and the

16:55

UK well in the American market and the UK

16:57

market . How would you say

16:59

they differ ? What are , like , the biggest

17:01

things that hit you ? I know in the LA you've

17:03

mostly worked as an actor . Previously

17:05

you were talking about pilot season and stuff . Have you also

17:07

directed in the States , or is it mostly in the

17:09

UK ?

17:10

No , I haven't directed in the States

17:13

, but I would love to . And yeah

17:15

, me and Rachel have just got green cards actually , so

17:17

because they're oh my gosh , that's

17:19

huge .

17:20

I know we're very excited yeah .

17:23

So you know that's something we'd really like to do . I'd love to

17:25

do a few episodics of . I

17:28

think you just make amazing TV and

17:31

amazing content over there and

17:33

America has just always been very I

17:36

don't know . It's just been very kind to me and Rachel

17:39

. So anyway , that's been something

17:41

we've been working on for a while and you know how

17:46

do they differ . I think , yeah

17:48

, I haven't worked as a director over there

17:50

, but I have been over there trying

17:52

to be an actor . So I'm trying to think I

17:54

don't think I have worked over there

17:56

. Actually , I've tried to work over there

17:58

but didn't work out .

18:02

What are you ? What do you think community

18:04

and network is like in the UK

18:06

compared to what you've heard of LA

18:08

? I know one of my best friends , anna

18:10

Goodbrands , who's an incredible DP in London

18:13

. She says that sometimes

18:15

people can be a little more like gatekeep-y

18:17

. They can . It can be a little more closed

18:19

off sometimes , but it seems like you

18:21

are changing that by having the mentorship program

18:24

and training . But do you think it

18:26

is like that ? Do you find it's hard to

18:28

break into it , but once you get like

18:30

that person or that moment that

18:32

it becomes easy ? What are the challenges

18:34

or pros of working in the UK ?

18:38

Yeah , that's a really good question about you know . Is

18:41

it a bit more locked over here ? Is that what you

18:43

mean ?

18:44

Yeah .

18:46

Yeah , I think that might be fair

18:48

to say that . Yeah , I think it's

18:51

maybe because it's smaller , like it's tougher to break

18:53

in . There's fewer opportunities perhaps , and

18:56

you know , like you know , we have the

18:58

biggest . There's a few public

19:00

funders that film for or

19:02

channel for , bbc and the BFI

19:04

, and like everybody just is

19:07

trying to get something from them and

19:10

it must be such a tough job . They

19:12

can't help everyone . So I

19:14

think it's more that if they could help everyone

19:16

, they would , whereas I don't know , I think

19:18

I've heard America is very different

19:20

. They don't have the public funds .

19:22

As far as I'm aware no , as

19:24

a Canadian working in America , I can say

19:26

, because Canada has so many grants

19:28

, so much funding , so many film councils

19:30

and opportunities , and then when you come to the States

19:33

, it's like almost expected of like make your

19:35

way . So it's like there's a huge network and

19:37

I think people are very open

19:39

to experience and like on a person to person

19:41

level it's very open . But from like a funding

19:43

level or applying for grants , unless it's tax

19:46

credit , it's very , very restricted

19:48

. So there isn't like that many opportunities

19:50

, which is different . You know , when I go back

19:52

to Canada I'm like let's apply for these six grants

19:55

, you know . So , yeah , it's very

19:57

different .

19:57

Yeah yeah . But is it like

20:00

over here ? It's almost like

20:02

a little bit hopeless . You

20:04

know you apply for a grant and it's just like , oh , I've

20:06

got to do just in case there's no hope

20:08

. Really it doesn't feel like there's much hope

20:10

you know we've got 35 short and

20:13

I think one of them got

20:15

some funding , you know . So

20:17

the ratio is very , very low .

20:19

Just because everyone's applying .

20:21

I think so .

20:22

Yeah .

20:23

I don't know .

20:24

maybe people are more open

20:26

in the states

20:28

, maybe Okay , we are

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21:00

.

21:01

And in terms of networking , I mean

21:03

I

21:05

don't know , it depends on what festival

21:07

you go to . I mean , there's a film festival called

21:09

Bolton Film Festival which I

21:12

just absolutely adore . Oh cool , it's

21:14

just , it's incredible for networking

21:17

. Like , if I'm honest , it's a bit embarrassing

21:19

to admit , but I didn't really get networking until

21:21

about a year ago until I went to

21:24

Bolton last year . I went again this

21:26

year and I just always

21:28

used to go oh , I'm not very good at networking

21:30

, I don't network , I can't do that , I just you

21:32

know , I'm not very good . And then

21:34

I just I've always said this , like since I've learned

21:36

it last year that I think

21:39

networking should be crossed out . It should just be called

21:41

socializing , because that's what it is . I

21:43

think I was like okay , it

21:46

was a bit of a .

21:47

Definitely for me .

21:48

I was like yeah

21:50

, I just need to chat to other

21:52

filmmakers about what I love , which is film .

21:54

Correct yeah .

21:55

And I did that . I didn't think , oh

21:57

, I need to get something out of this . No , oh God

21:59

, this is , and so many things have come

22:01

from that .

22:02

Yeah .

22:03

So yeah .

22:04

This is just making friends Last time .

22:06

I was in America , yeah

22:09

.

22:10

Yeah , it's something that Indy is super

22:12

passionate about and that just converted

22:14

us all here at CFA . That , like

22:16

networking is huge and it's

22:19

the main thing and it's so important and it

22:21

doesn't have to be like this scary word

22:23

of like oh it's business , so it's networking

22:25

. We're just trying to find out what we can get from everybody

22:27

else . It's these are your friends . It's

22:29

your film family , of course , if you don't wanna work with

22:31

your friends , it just all is rolled

22:33

up together , yeah .

22:35

Yeah , so that's wonderful . I love

22:37

that you said , the Bolton Film Festival . I

22:40

am a huge . I'm gonna look it up because I'm a huge

22:42

fan of Camry Mosh . I go every year . It's been

22:44

like my ninth year . This will be my ninth year going to Poland

22:46

for Camry Mosh Film Festival and

22:49

that's how I know my entire network , like literally

22:51

everyone . It stemmed from that . Even when I moved to

22:53

the States I already had people I knew because I had

22:55

gone to Poland for so many years and known them . So

22:58

I love a good Film Festival wreck . So I'm so

23:00

happy you said that because I'm sure our audience is

23:02

gonna love to check that out . Can

23:04

you talk a little bit about Bolton and

23:07

what it is and how you found it and what it's

23:09

known for and the networking opportunities and

23:11

things like that ? Yeah , sure .

23:14

So we were there for its first

23:17

year when we did the Silent Child and

23:20

I just couldn't . I've been to

23:22

lots of other festivals before this one around that time and

23:26

I just remember thinking , god , they've

23:28

done well here . This

23:30

feels like a festival that's been

23:33

running for forever . So professional

23:35

. It's just two of them , adrian and Zoe

23:37

, and they're like proper salt of the earth , working

23:43

class from a photography background , and

23:46

they just knew what they were doing and

23:48

they're just very real and

23:54

yeah , I don't know , just

23:58

see it grow year on year and then they very

24:00

quickly got like BAFTA accreditation

24:02

or . But you know they were BAFTA accredited

24:04

or whatever you qualify yeah

24:07

, and then they would be yeah , but you

24:09

know it's got those little film freeway

24:11

after Biffa goes

24:14

on , yes and

24:16

that happened very quick for them and I don't

24:18

know like just it's . They screen

24:20

amazing films , it's programmed so well

24:22

and it's just a really relaxed

24:24

environment and you know , there's great panel

24:26

discussions on and there's an online part

24:28

to it as well and I don't know everything

24:31

that they're doing is just like top

24:33

notch . I think it's actually in

24:36

the top 10 festivals in the world right

24:38

now fantastic , cool

24:40

film freeway , yeah , apparently amazing

24:42

.

24:42

I'm going to have to create like a little film guide

24:44

eventually for everyone's recommended festivals

24:46

, so it's like peer reviewed festivals from

24:49

cfa and and yours

24:51

will be on there for the Bolton rec , because

24:53

I just think it's so wonderful to to

24:55

allow people to understand what the opportunities are within

24:57

our industry and that you don't have to be located in New

25:00

York or LA or London . You know

25:02

. It can be a worldwide thing of like what

25:04

is your local resource , you know , and where can

25:06

I meet people ?

25:06

well and also to know , like what each

25:09

film festival has a different feel

25:12

. You know , like in LA we use the term

25:14

vibe a lot and you

25:16

you can feel that , like you said , you're like

25:18

, oh , this ones they've done

25:20

well here and there are other ones that may

25:22

not like vibe with certain

25:25

people , certain film , certain types . So to have a resource

25:27

like that , that says , like , this film

25:29

festival feels like this and it'll be

25:31

good for this type of thing totally type of

25:33

networking can be so helpful , because film

25:36

freeway is so

25:38

inundated , there's just like so

25:40

much , and a lot of people , especially like first

25:42

time makers , have no idea which your

25:44

entire budget is going to film freeway .

25:47

If you don't know idea , yeah , I

25:49

want to think .

25:50

I mean , I think it's also really

25:52

important that you mention that it's kind of has this laid

25:54

back and comfortable vibe

25:56

to it , and I think that I mean that directs or

25:58

that relates so directly to what

26:00

we're calling networking . But I feel like , truly , the

26:03

distinction is like capital and networking and

26:05

then lowercase and networking and capital

26:07

and networking is the like thing

26:09

that I truly hate .

26:10

I think the big scary very few people .

26:12

I've ever loved it , but it's you know

26:14

the difference of . We were for

26:17

Holly shorts very recently , were

26:19

at , you know , a kind of a celebratory

26:22

function and there

26:25

was this kind of cold call vibe where someone

26:27

came up to me and just like won't

26:30

introduce themselves purely as business

26:32

, like a human business

26:34

card , and I was

26:36

just like okay , I don't want to talk to this person

26:39

anymore like I . You know

26:41

you've already cut me off from this , this

26:43

conversation , by introducing yourself in

26:45

that way and you know I mean that

26:47

kind of cold call , I stuff has its own place but

26:49

that I've gotten so

26:52

many more jobs , friends

26:54

, communities from introducing

26:57

myself as a person and talking , and then

26:59

somewhere down the line in the conversation , you know it's

27:01

like , oh well , so what do you do ? You know , and

27:03

then , and then you get into that and that's totally

27:05

the ethos that we have at cfa

27:07

and I think that's really important , because there are a lot of festivals

27:09

that are capital and networking

27:11

and I know a lot of directors

27:14

who dread going to certain film festivals because

27:16

that's what the vibe is , that afterwards

27:19

you go to a party . It's not , you know it's , it's

27:21

it's not familiar .

27:22

Yeah , it's not like it's being a salt of a kind

27:24

of age right exactly , and

27:27

so I think it's a really cool thing to

27:29

know about .

27:29

The Bolton film festival is like , yeah

27:32

, uh , just following that ethos in all

27:34

corners of the business business , because it's there , and

27:37

it's really cool to shine a light on the places where

27:39

it is yeah

27:41

, can we talk about some of your ?

27:45

couldn't agree more with the way , yeah

27:47

, yeah , let's get into it . The three films

27:49

at holy shorts this year . Can we talk about

27:51

them ? Why , uh

27:53

, we missed out on them , uh , during

27:55

holy shorts . So let's , let's talk about

27:57

three . Yeah , we were too busy

28:00

.

28:00

Um , we were too busy interviewing

28:02

70 , 70 interviews

28:05

, so we tried to catch a lot of

28:07

them on .

28:07

I mean , that's insane yeah

28:10

, afterwards .

28:11

So we caught a few , but yeah , we didn't . We

28:13

only got to screen one in

28:15

the theater . Yeah , because

28:17

it was , uh , these guys's

28:20

well .

28:20

I know , I know how , I know how

28:22

busy you were , because I scrolled

28:25

through the spot , I stayed . I was like holy shorts , holy shorts

28:27

, holy shorts . Oh my god

28:30

, I was like where's

28:33

the first episode ? And I'm doing

28:35

it again yeah yeah

28:37

yeah , but in too deep

28:39

was opening night . Come on , guys

28:41

.

28:42

I know , I know , good night

28:44

. No , we were busy , we

28:46

okay . Well , I'll let you off . It was like it

28:48

was like it was like set it was like proper set

28:50

days .

28:52

I came away as a class .

28:53

Yeah , yeah it was

28:55

wild . Yeah , we're sorry to miss it . We

28:58

uh , yeah , but please tell us about

29:00

opening nights , tell us about in too deep . Tell us about

29:02

the other two as well . Like we want to hear about them and

29:04

we want to also , um , get them out there to our

29:06

audience yeah

29:09

, well , I wish I would have been

29:11

there and I was gutted to not have

29:13

been there .

29:14

Um , I was very close to coming out and I was supposed

29:16

to do a panel , but anyway , it didn't work out . Um

29:19

, but yeah , so I don't know

29:21

what it was like for opening nights , but when

29:23

you know , when you find out you're an opening night , it's just like it's a

29:25

big deal . So , um , yeah , I was very

29:27

proud of that and I think I think

29:29

that it's in too deep . In particular

29:31

, I'm very proud of the film um , but

29:33

it's also been timed

29:36

very well and I wouldn't mean to plan

29:38

for this AI strike you know the right

29:40

to strike to happen , but in too deep is

29:42

the story of , uh , a far other

29:45

that goes to extreme measures to bring

29:47

back the memories of his dead daughter using

29:49

AI technology . So it's a laugh a minute that one

29:51

, as you can tell , yeah

29:53

, funny . So

29:55

, yeah , it's like a drama thriller , but

29:58

the AI side of it , I think

30:00

, resonated and has resonated with , like

30:02

festivals in in Canada and and

30:04

other festivals in America . It seems to be doing very

30:06

well , um , and

30:09

I think I don't know that that

30:11

is probably helped by the AI theme

30:14

behind it , um , so

30:17

, so yeah , that that's in too deep . I directed

30:19

that um , yeah , we're

30:21

. What else can I say about it ? What else do you want to know

30:23

? Um about ?

30:25

yeah , yeah , I can say very seriously

30:27

, uh , if you could talk a little

30:29

bit about the actual pipeline of like

30:31

from when you guys

30:33

first got a hold of of that

30:35

script . How did you get it ? Was it a submission ? And

30:38

then kind of what's the , what's that pipeline look

30:40

like for anyone who would be you know ? Uh

30:42

, even just didn't try and work with you , like

30:44

through like home .

30:45

Yeah , yeah okay

30:48

.

30:48

So , yeah , the writer was James Spillman

30:50

and he just sent this email that really

30:52

caught my attention . He was just , he

30:54

just said , look , like this is what

30:57

it's about . I don't I won't spoil it and say what

30:59

type of AI technology is used , just in case

31:01

, but , um , he explained

31:03

that I

31:05

mean , he was ahead of the curve . He really

31:07

was , because he , he

31:09

kind of almost predicted this . He was like , look , this is

31:11

a very fast moving technology and

31:13

it's it's going to get

31:17

worse and worse . And , um , he was

31:19

right . Um , and it just

31:22

so happened that , you know , we released

31:24

a film around the time of

31:26

the strikes , um , but

31:28

that that that caught our attention

31:30

. That was like January 20

31:32

. I think that was January 2020

31:35

. I read the script , so it was a long time ago . Um

31:37

, and then , yeah , we spent

31:39

a long time trying to , you know , raise the money

31:41

and working on the treatment , getting

31:44

it all together , and then COVID happened

31:47

. So it was a real victim of COVID we

31:49

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32:11

that delayed the shoot really by a year and

32:14

you know , first time working there's a lot of , you

32:16

know , not a lot , but there's a bit of VFX in the

32:18

film as well , um , and

32:21

that made for a very long

32:23

post production . So it took

32:25

yeah , took a long time . But also everything

32:27

that could have gone wrong within too deep

32:29

went wrong . You know it really oh

32:32

no , I can't believe we're out the other side now

32:34

what happened ?

32:35

yeah well

32:38

, covid happened .

32:39

Yeah , but like some people , got

32:43

away with filming during COVID and nicked

32:45

it in and and got in , got out very

32:48

quick and did very well . I mean , we also

32:50

filmed another film before this

32:52

one . It was um , and that , yeah

32:54

, came after reading it anyway . But

32:56

yeah , like you know , actor availability

32:59

, um , we rescheduled

33:02

it four times I think , because it was like the day

33:04

before the big announcement . Like you know

33:06

, are you , uh , are you , is your

33:08

work priority ? That kind of thing are

33:10

you ? you know , uh , are you

33:12

, you've got it ? And we were just very confused , and this

33:14

is the day before we had the first day , and then

33:16

we had to do the big shots

33:18

at the end , um , which

33:20

had like a big crane with

33:23

just six people , and it should have been a crew

33:25

of 25 . So we

33:27

, we just had to , like we were just

33:29

, you know , really

33:32

in a difficult position , speaking to the local council

33:34

, and the police was just kind of saying like no , you can

33:36

only have this many people and you can't go inside

33:38

that you , there's so many restrictions once

33:40

you've got that one , yeah like shooting

33:43

, no disasters or some

33:45

disasters . Well

33:47

, we shot like one day and then we had to wait three

33:49

months , then we shot another day and then finally

33:52

we had to wait nine months for

33:54

actor availability . But then when we did shoot

33:57

you , just the same usual

34:00

problems , you get Nothing

34:02

major .

34:03

That's great and still

34:05

it happened .

34:07

It worked out and still it

34:09

got into one of the greatest short

34:11

film festivals in the world Opening night .

34:13

Wow yeah , what you can do with

34:15

it .

34:16

Yeah , what Chris can do . It's like everyone

34:18

, it's like a film .

34:21

It's . You know , film is painful . It can be

34:23

really painful . I haven't had an experience

34:25

that has gone that smooth yet , but

34:28

I think that's just filmmaking , isn't it ? Yeah

34:31

, it is .

34:31

It's short filmmaking as well . So it really

34:34

is . It's like working on limited resources

34:36

, having the passion , having the people involved that

34:38

are so passionate and

34:40

making something that truly holds up

34:43

. And one of the things I

34:45

wanted to ask about that , talking about the AI and

34:47

how you see a lot of festivals picking it up

34:50

for some of the genres and themes , in addition to the actual

34:52

film itself , what is for you

34:54

? Is there an importance of having a niche in

34:56

a film ? Or , like your directing style , are you

34:58

always picking something that is very

35:00

much like a part of the niche or a part of the current

35:03

or let's tackle this , because I know it's becoming a big

35:05

thing or what's kind of

35:07

like your methodology or mindset around choosing

35:09

the next films that you're directing ?

35:12

Yeah , honestly , I just

35:15

know whether I should be directing something or not . I

35:17

get a little twinge

35:19

in my heart . That sounds so corny

35:21

, but it's true . And

35:25

the Silent Child is the biggest example , because I wasn't

35:27

a director before that . And

35:29

then when I read the script , I was like holy

35:32

shit , I've got to tell this story

35:34

. You know , and I think that's when

35:36

I became a director , I was a filmmaker

35:39

and I wasn't a director before that and

35:41

then , yeah , I just kind of am

35:43

very compelled and I'm exceptionally

35:45

lucky to have , you know , rachel

35:47

and Rebecca , to have this team that

35:49

are just so on the same

35:51

page . You know , whatever Rachel writes , I'm

35:53

just like , oh my God , I'm so lucky

35:56

really . So

35:59

, yeah , we're very much like , we're very much

36:01

on the same page . It just so happens

36:03

that what she writes is like all the stories

36:06

that if I was a as good a writer

36:08

as she was , that that's the kind of things

36:10

I'd be writing for sure . So

36:14

, yeah , that's kind of it . Just , it's a

36:16

feeling , it's a good feeling . And

36:18

if Rachel did write something that I thought it's

36:20

not really for me , then I would . I

36:22

would say I don't think I could . I

36:25

could only tell stories that I really , truly

36:27

believe in , and they are usually things

36:29

that have a message . You

36:32

know , not everything has to have a message , and we're very

36:34

conscious of that at Slick , like

36:36

most of the things that we do , I'd say 90%

36:39

of the work that we do does

36:41

hold like a , you know , an important message

36:43

or something that could , you know , help to impact

36:46

society . But also

36:48

we like to throw in like a love story or

36:50

something that's just purely , purely entertainment

36:52

. Or , you know , we had the showcase

36:54

recently where we , you

36:57

know , we've got about 200 people to

36:59

come to see the Slick film showcase in

37:01

London and there were seven films

37:03

we screened and at the end I was like , oh my God

37:05

, we need comedy . I

37:11

was like , wow , okay , yeah . But seeing

37:13

them all together was like , okay , yeah , we need

37:15

some comedy .

37:16

Yeah , it is rare . Honestly

37:18

, Like as a DP who started

37:21

by doing a lot of shorts , it

37:23

is very rare to find directors

37:25

who want to do comedy . It's like it's

37:28

a lot of drama , it's a lot of like personal

37:30

stories , it's a lot of like horror

37:32

, it's a lot of like trying

37:34

to have as much like movement

37:37

and emotion and effect on screen as possible

37:39

for a lot of first time directors . And

37:41

so it's funny that you say comedy , because I always

37:44

look at my show reel or like when I'm like

37:46

re-editing it at the beginning of the year and I'm like I

37:48

need to do comedy . Like it's just like something

37:50

that I actually don't have a lot of experience in

37:52

, for the reason that the directors I work with are

37:54

mostly drama and

37:56

it's a funny . It's a funny theme , which

37:59

is what are like . I want to know

38:01

from an actor perspective . You were talking about coming

38:03

up as an actor and then , at 13 , getting

38:05

your hands on a camera and things like that , and

38:08

and obviously you've come to LA for pilot season

38:10

stuff as a director now

38:13

and you need to feel connected to your script , as you said

38:15

. How is your directing style

38:17

affected , based off of your experience

38:19

as an actor , do you think ?

38:22

Oh God , I mean , it's literally been

38:24

the best

38:26

training to be a director , because

38:29

I , I , I mean I hear it , and I've seen it a little

38:31

bit as well , that directors are quite scared of

38:33

actors , not you

38:35

know , but just scared to give

38:37

them a no or just interact with them , and

38:40

I'm not at all Like I think anyone

38:42

that's been an actor then a director

38:44

is just brilliant , you

38:47

know those . To learn

38:49

those skills and to have empathy for what actors

38:51

go through is , yeah

38:53

, that's just the best , the best

38:55

thing for me . Anyway , I'm

38:58

so grateful that I've had

39:00

that experience and not just , you know , gone to

39:02

a few classes . I was an actor from the

39:04

age of eight to like , I don't know , I

39:06

don't really call myself an actor anymore unless a director

39:09

friends says , oh , can you come and do this one line . I'll be like , yeah

39:12

, sure , you know , but I've

39:14

been an actor for a very long time . I was an actor first

39:16

.

39:19

That's really really beautiful and interesting

39:21

to me and I know from

39:23

. I know Bri and I just started

39:25

doing a documentary together as co-producers

39:27

and she's directing MDPing . And Bri

39:30

and Haley here are the actors . We have Jack , who's a writer . I'm

39:32

a DP and I

39:35

know for you in asking questions

39:37

during the documentary . Being an actor was a huge

39:39

part of that as well .

39:40

Yeah , there were some aspects of directing

39:42

that I like gosh . I don't necessarily

39:45

know how to proceed or I don't

39:47

have experience , but what

39:49

I do feel connected to is this human

39:51

being sitting in front of me and I felt

39:53

so much empathy for them

39:55

. So my

39:57

wheels are turning , wondering what it was

39:59

like for you in those early transition

40:01

periods when you directed your first

40:03

film , because we have a lot of people that

40:05

maybe have pivoted careers or are

40:08

multi hyphenate . What

40:10

was going through your mind when you wanted to direct

40:12

your first film but you hadn't yet ? What

40:14

were some of the obstacles tangible

40:17

ones or mentally you had to overcome

40:20

in order to do take that first

40:22

step , because sometimes people are scared to make that

40:24

pivot .

40:29

I mean it is scary . I remember

40:31

the week before shooting I

40:33

couldn't sleep Like I had genuine

40:35

. That's the first time in my life that I've had like anxiety

40:38

, like I

40:40

just I woke up in the middle of the

40:42

night , thought , oh my God , I'm gonna like a heart

40:45

attack or something , and I read this book that

40:47

was . It was called my I think it was called my first

40:49

movies . Oh cool , there's

40:52

loads of feature directors that

40:54

write that you know , tell their story about

40:56

their first , their first movie

40:58

, and that completely calmed

41:00

me down . I was like , oh my God , I'm not

41:02

alone . All the things that

41:04

I'm feeling is all these massive directors

41:07

have felt this . So that honestly

41:10

changed it a little bit for me , because

41:13

I'm very much a person , like a lot of

41:15

us , who just like to get on

41:17

with it , doesn't ask for help . What

41:19

is really good is if you can have a mentor . If I

41:21

had , if I would have had a mentor , someone

41:23

to just like it was just one step ahead of me

41:26

, who'd made a short , who could have said

41:28

and I had a few friends around me , but I mean

41:30

like a proper mentor , who'd , like I spoke

41:32

with like I don't know a few

41:34

times a week . That would have really calmed me down

41:36

. So just that

41:39

lack of experience was the most challenging

41:41

thing the fear of the unknown . However

41:43

, I think ignorance is bliss as

41:45

well . I honestly think that's part

41:47

of the success of the film , because

41:49

you don't know what can can go wrong . You don't

41:52

. I think . Sometimes the more you know , the

41:57

harder it is , because I

41:59

can't really articulate why that is . But

42:01

I think

42:03

there is a beauty in not

42:06

knowing everything as well

42:08

. So that had its pros

42:10

and its cons , Definitely

42:12

.

42:13

The . It's funny you say that because I remember

42:15

, like at AFI we had a class

42:17

that was all about this . This book that talks

42:20

about like film , code and

42:22

how you design shots and as a

42:24

DP you have an eye and you have an idea of what

42:26

you like to shoot and how you might shoot different stories

42:29

. But this book broke down , like you

42:32

know , depth of the frame , so like flat

42:34

space versus deep space . You

42:36

know your golden ratios . It

42:38

broke down kind of lines and where they're

42:41

directing the actors and it's a lot of information

42:43

if you're like just to memorize that and go

42:45

for it , because then as a DP , if you're

42:47

starting out , you're going oh , for every shot

42:50

, do I have to have a column on my shot list

42:52

that says is this flat or deep space

42:54

? Is this vertical lines or horizontal lines

42:56

? Are these converging , like it's ? it's

42:58

those questions around how

43:01

you're doing it and so when you have so much information

43:03

, it can overwhelm you , but what I think

43:05

is is key to this is like you can

43:07

learn these things , but then you can pick the one

43:09

or two things that resonate with you , that

43:11

are most important , almost like what draws you to the

43:13

scripts that you read , and use that

43:15

as like your methodology or your dogmatic

43:18

approach to filmmaking , which is cool . But

43:20

it's not about taking all the information and holding

43:22

it there . It's about like letting go of some

43:25

of it and being like no , this makes sense to me

43:27

, this amount , this capsule , so

43:29

that's great . Yeah , I get it with the information

43:31

that class was theory of the one

43:33

.

43:33

Yeah , absolutely , and and

43:36

yes , sorry .

43:37

No , no , no , please go ahead .

43:40

I think I heard . The

43:42

best thing I ever heard was someone said that

43:44

you don't even need to try to find

43:46

your style , it's just in you

43:49

. It's like oh my God , yeah

43:51

, and it is because , like

43:53

, you start out as a director

43:55

not knowing what you're like

43:57

, but you definitely know what you don't like . Yeah

43:59

, absolutely . You looked at 100 images

44:02

, you'd be like yep , yep , no , no , no

44:04

, no . And then you've got this collection of images

44:06

which is essentially what you like , and

44:08

then , over time , that forms

44:10

your voice . Your voice is

44:13

a collection of things you like

44:15

and , I guess , don't like , or you know

44:17

, the things you don't like have just been pushed aside .

44:19

I had a fortune in my fortune

44:21

cookie that said discontent

44:24

is the first step of

44:27

progress for man or nation

44:29

, and I was like that actually makes

44:31

a lot of sense .

44:33

Yeah , I love this random

44:35

wisdom and the way you pronounce it

44:38

so , but that's

44:40

amazing , I love that

44:42

.

44:42

Keep hold of that fortune cookie , yeah

44:45

.

44:46

I got it probably eight to 10

44:48

years ago and I've kept it in a little ceramic

44:50

job .

44:52

Say what it said again , because I

44:54

was so focused on .

44:56

I was distracted when you said for .

44:58

Jack's arm so hard because you said fortune

45:01

or tune or tune or

45:03

tune or tune .

45:03

We're from East Coast world . That's an

45:05

East Coast . Maybe I got judged

45:07

as for it .

45:08

I've never heard of it .

45:10

We really attack people for mispronouncing .

45:12

We do so .

45:17

What did it say ? The fortune

45:19

says discontent

45:21

is the first step

45:23

of progress for man

45:26

or nation . Well , holy

45:28

shit Like that right , because

45:30

knowing what you don't like

45:32

helps guide you towards

45:35

specificity of what you like

45:37

. I think Chris wrote that yeah

45:39

, you do fortune cookies on the fire for two

45:41

cookie .

45:42

That was me there

45:44

we go .

45:46

I've been found out .

45:47

Yeah , slick side , I agree

45:49

with that though , yeah , absolutely

45:51

.

45:52

Doesn't just do development branded short

45:54

stories , production , post-production , epk

45:56

. They all said fortune cookie .

45:59

Yeah , it does speak to whether you're pivoting

46:01

or expanding

46:04

your career capabilities or becoming

46:06

a multi hyphenate . Something

46:10

not feeling right or not liking something

46:12

doesn't have to be scary or bad

46:14

, because it might just help course

46:16

, correct you or give you

46:18

more of a vision to something

46:21

that does feel right and aligned creatively

46:24

for a story , for whatever it is

46:26

you're working on . So don't be

46:28

scared of things that are

46:30

knows or don't feel right

46:32

, because it's actually a really exciting

46:35

opportunity to get specific on

46:37

what is your next

46:39

step . Gorgeous , absolutely

46:41

.

46:42

Yeah , yeah .

46:43

Absolutely yeah .

46:45

That's a unfortunately , we have to wrap things up

46:47

. I feel like we'd really just found something

46:50

. I know .

46:50

I know .

46:51

I'm not good at yeah . Yeah , it's going

46:53

to be my cold open for this episode .

46:56

I do two things .

46:57

Yes , absolutely .

47:00

I just wanted to relate this back , really importantly

47:02

, to slick films , because

47:05

you said something

47:07

that is very true , which is that filmmaking can

47:09

often be painful , but there exists

47:11

a possibility in a world

47:14

in which everyone experiences

47:16

a large amount of pain alone

47:18

, especially when you're

47:20

, when you're coming up and you're new and you

47:22

have no idea what's going on and how to break in

47:24

. But then there are people

47:26

who create opportunities

47:29

and they they , in

47:31

their experience shoulder a

47:33

burden that , to a new person , would

47:36

be much more painful than to you

47:38

know , any any degree

47:40

of established community

47:42

group business , and it's something that

47:44

we strive to do and the

47:47

thing that I love the most about slick films , which

47:49

is that it shoulders a burden and

47:52

allows young

47:54

people coming up into the industry , or

47:57

even not young , but but young in terms

47:59

of , you know , work . It

48:05

affords them an ability to traverse

48:08

the space and not

48:10

feel the full brunt of that pain and not get turned off

48:13

, as a lot of people unfortunately do , which

48:16

I just want to . I just want to honor .

48:18

Speaking from experience .

48:19

I am . I am , and then

48:21

one of the nicest thing anyone's ever said .

48:23

That's bloody lovely , thank you you

48:26

started this off off

48:28

camera before we started recording with

48:30

such an unprompted

48:32

, glorious review of us .

48:35

And then I hope because you've just gotten your green

48:37

card that we will see you very soon in LA and you're always

48:39

welcome here at the CFA studio . Thank

48:42

you so much . Come and visit you , guys .

48:45

I hope you have to come back and accept another

48:47

Oscar .

48:49

Okay , you in physically to the studio .

48:52

I don't know if that'll ever happen again . Guys , who knows ?

48:54

that's a one in a lifetime , who knows

48:56

Don't say things like that yeah

48:59

just think about it as a possibility for

49:01

you know a do over

49:03

and getting those names in right

49:05

before the music starts .

49:07

Practicing and preparing for 45

49:09

seconds , so you don't get played off .

49:12

And Bree will ask you if there's a countdown clock and you'll

49:14

know . But

49:17

thank you so much , chris , for coming on . I'm Chris

49:19

Overton , everyone and we are very excited

49:22

about about everything

49:24

going on at Slick , as well as the massive slate

49:26

of films that you are bringing , hopefully

49:29

, to all of the festivals that we will be official podcast

49:32

partners out in the future .

49:33

So thank you so much , thank

49:35

you guys Real pleasure Cheers .

49:38

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49:40

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49:42

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