SUMMARY:
We caught up with Phil Barantini a successful actor turned filmmaker who screened with us at Manchester Lift-Off 2018.
WE COVER:
1. Phil's history up to this point.
2. Phils biggest hurdle in his career
3. How he overcame it
4. The biggest piece of advice that Phil would give to aspiring filmmakers
5. What is the proudest moment in Phil's career?
6. What Phil is currently working on
7. Getting an agent
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SEE PHIL'S WORK HERE:
Boiling Point Film
IMDB
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I'm not see Daniels and I'm here with
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Philip Bertini
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a professional member who screamed with
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us at Manchester lift-off Film Festival
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Philip why don't you introduce yourself
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and tell us a little bit about your
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background
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okay my name is Philip Barrentine I
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started as an actor over 20 years ago
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and I did many many films TV jobs and
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that was quite quite successful in that
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way I worked quite a lot and then I I've
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always had an interest and passion for
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directing and general filmmaking so like
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that was it yeah last year I decided to
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to sort of take the leap and be brave
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and and direct of my first short film
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was called seconds out it's about a
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young boxer who's suffering from mental
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health and he attempts suicide but fails
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and ultimately the film was about
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seeking help and being not being you
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know knowing that young men so you know
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in that that world boxers footballers
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whatever whatever it may be it's okay to
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talk about your problems so that was the
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first film I did and then I still got
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the book then and and I wrote my second
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short film called boiling point which is
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what we in the Manchester and won best
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short film thank you very much and yeah
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I just I just you know it's just that's
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what I want to do now is it so I've
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decided that's that's my my path and is
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direct and I think great Juna I didn't
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think about boiling point because a lot
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of members were there at Manchester so
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they did see your film says anything
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he'd like to share about the background
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of how that film was made or how it was
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shot absolutely yeah and so I I was I've
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been a chef for many years as well
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because you know as an actor when you're
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not working is you've got your what what
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they call it downtime you know a lot of
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a lot of actors work behind bye
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working it you know waiters waitresses
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and I want I was I have passion about
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food so I wanted to explore the kitchen
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side of things so I went to work as a
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chef and I worked my way up and became
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yeah I became head chef in a couple of
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places and during that time I
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experienced you know people struggling
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with with addiction and you know the the
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high pressure of the way that sort of
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industry works and so boiling point is
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loosely based on a character on a guy
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that I worked with who used to come into
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work every day and and he don't next
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door to the to the to the local to the
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supermarket and buy a bottle of vodka
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and then he decant it into into a
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squeezy water bottle and he'd just be
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drinking it throughout the night and
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he'd also you know be taking drugs at
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the same time to keep himself going and
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he did he just got through and you know
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he was just normal it wasn't like he was
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drunk or he would never have expected or
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suspected a and then one day he he just
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he sort of collapsed in work and and
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then it was a stroke he had a mild
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stroke but he was only in his thirties
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and it stuck with me forever that you
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know Anna I always had the idea of of
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trying to trying to show what the real
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world of kitchens is like you know it
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you see on TV a lot and even some movies
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as well now and it Kalama rises at the
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business a little bit and yeah it can be
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like that you know food is food can be
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amazing too if you're working and you
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know it's very creative industry as well
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but this was a really high pressure then
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and you know I wanted to sort of get
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across that the realism of what it is
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like working in a busy a busy kitchen
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that is is is just a piece of meat on
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the girl I feel the way you shot it as
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well with the the one tank was the
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perfect way to show that intensity and
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and the stress that is behind a kitchen
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so I personally I think you did that
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wonderfully you must have you must have
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come across
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some technical issues or some sort of
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problems that you had to overcome is
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there anything that you can share about
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that if I'm honest it was it was
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technically we we were we didn't really
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run into any problems it the only
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anything that happened was it was a
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moment when we work when we had to there
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was a blackout basically on the monitor
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and that was because we had one go to
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too much technical detail but but the
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Teradek system which is like it you know
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like a radio link between the camera and
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the monitors and so you saw its wireless
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basically but there was a moment where
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that wouldn't work because because of
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that the distance was too far so it
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would have it would have would have
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caused an issue so there's a moment we
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had to unplug the Teradek and plug in a
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wire but it was about 10 seconds of
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blackness on the monitor for me so I I'm
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sat in another room watching the
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monitors and and I'm 10 seconds in that
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situation when it's so intense and and
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it's all in one take 10 seconds felt
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like an absolute lifetime you know
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especially when it when I'm watching
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every tiny little detail that's going on
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to make sure that it's all working and
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it's all right and everybody's hitting
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their marks and everybody's saying the
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right thing so to have 10 seconds of
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nothing is was was yeah it was it was
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really scary and but you know we watched
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it back every taken and I trust my DOP
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and an operator to you know even if so
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so that was that was one issue that we
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had to overcome you know the other thing
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was the fact that we had like 20 actors
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all speaking and you know my my plan was
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to you know the the technical problem
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not a problem but something that we had
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to sort of you know work out early early
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on was was was the sound and how we were
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going to make up every acted you know
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this there was I've got 18 radio mics
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and to that one microphone onboard the
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camera we couldn't have a boom operator
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in the in the rooms
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with the camera because you know when it
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when it's when you're shooting 360
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degrees like that all the time they
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could be among when the camera moves
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across and catches something so so we
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made a conscious decision to have to tap
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their microphone on top of the camera
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and 13 radio mics so we have three sound
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recordists all record an individual you
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know they had their own their own actors
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to deal with and so again my my
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headphones I only had one one recordists
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sound in my ears so I could hear Steven
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Grimes dialogue
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Jonas Armstrong and I don't know that
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maybe another four or five but the rest
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of them you know I had to go off Steve
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into microphone and that was so so he
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could I could hear other people because
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and it wasn't clear enough and so again
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it was like you know I had to trust in
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my team that they were getting
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everything that we needed to get and it
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was difficult to I wouldn't be able to
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go back we didn't have the time to go
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back and then listen to each each
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microphones what it's recorded so again
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I said trust you know implicitly my team
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and and and and yeah they did a
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fantastic job you know I was very proud
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of everyone that worked in that film
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great now that's a really nice
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introduction to boiling point I highly
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recommend anyone to see it where is it
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screening anywhere next what is it
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available well we we've submitted it to
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a lot of festivals
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none of them of which have been noted
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with the notifications haven't come out
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yet so we don't know where we're at with
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that and liftoff was the first one and
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you know fantastic festival it was
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really great to to sort of showcase it
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for the first time it's of an audience
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that that didn't work on it like we did
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a couple of you know casting crew
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screenings in it and a just a couple of
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screenings for friends and family yeah
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and they're gonna say they loved it you
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know it's obviously that's a yes little
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bait they have to say
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so it was it was interested to come see
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liftoff at Manchester away and and then
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I didn't realize that people would be
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scoring he's gone so that was a surprise
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and but you know I obviously got the
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scorecards back and enough and I've
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looked through the morning
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yeah the comments are fantastic and and
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you know the scores were amazing so also
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gives a nice insight to what other
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filmmakers like you said that aren't
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your friends and family and the people
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who worked in it actually think of your
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film so it's just nice to get that other
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eye yeah yeah yeah I'm really you know
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I'm over the moon I'm really grateful
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because we had this idea and and we
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didn't have long to be able to until we
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had to shoot it because Steven Graham's
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availability was slim you know he was
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taking some time off in December and he
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loved the project so much lady said you
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know I'll give you three days and then
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I'm gonna take time off for Christmas
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and spend it with the family so it was
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we were we had I think it was maybe two
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months or something to get everything
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together you know the the location or
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the crew or the cast so it was shot in a
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restaurant um well it's set in a
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restaurant yeah but it was actually shot
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in well it is a restaurant it's a it's a
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fully functioning work working
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restaurant but it's in a today a
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catering College great so you were able
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to shoot on there kind of time on yeah
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yeah so we we went along to a bunch of
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these catering colleges just to see
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whether they logistically worked and
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that one in a Lingam Trafford College in
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altering who we were like absolutely
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it's so accommodating it was it was
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unbelievable
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they just said yeah just you can you
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know have the space with for the three
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days do what you like change what you
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like you know but they're really back
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the project and I think because of the
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subject matter and also what you know
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they're teaching young young people you
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know the world of chef in and cooking
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and and and and also they they wanted to
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to be involved in that side of it
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because it's
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it's an educational thing as well and we
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got a lot of their their students to
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help out
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they had a film departments in the same
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building so I said look you know I want
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to help out these students you know
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we're shooting a film why not they come
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down and just just you know observe for
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bran and do some running or you know
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just just to watch and learn really and
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and you know we we had some great great
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people down there
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I actually had a call from the person
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who runs this college after we had given
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you a selection to LA left off and they
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wanted to interview us so they could
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write a press release and spread the
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word about your film and about their
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college they were also using it to
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promote themselves which i think is
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absolutely perfect and every filmmaker
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should be doing this so to hear that
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different organizations doing it it was
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just I was really pleased that they were
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oh that's fantastic
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oh yeah I mean it was honestly there was
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just a lovely lovely bunch and Matt who
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runs the Cajun side of things you know
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he was so just so on board from the word
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go you know we we just rocked up and
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said look we're shooting this movie so I
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chef who is addicted to cocaine and
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alcohol and he's gonna run around the
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kitchen and we're gonna shoot it all in
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one take and he must have just been like
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what what yeah we went with it and you
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know he was yeah the whole team they
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were fantastic great um so now we've
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talked about boiling point when I focus
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more about you as a filmmaker um what is
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your ultimate goal within the industry
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what is it that you wish to accomplish
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within your career I think I'm still you
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know I'm still learning every day and
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I'm on this this journey now I made a
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conscious decision last year to direct
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and and that's what I want to do now for
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the rest of my life I think so in terms
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of goals I I don't know whether have an
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end goal because I don't feel like there
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is an end goal in this industry you know
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I just want to continue to make really
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good content you know my sort of thing
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that I like to
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and I like to watch and ultimately like
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to make I think is you know very real
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raw unapologetic sort of story that that
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that you get a reaction from whether
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that be happy sad you know I want it I
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want to I want to make people feel
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something you know they're any films of
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filmmakers who have inspired you to go
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down that route
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yeah well the recently Barry Jenkins you
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know his his new reason I love his style
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and everything he's about really in
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terms of the way you know his characters
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in the films everything's very subtle
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and and very real and you know his his
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his characters they don't really
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necessarily have to do anything really
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but you still really engage with them
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and the stories and the and the look and
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the and aesthetics and everything is
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just it's just beautiful I just think I
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think he's incredible yeah and Shane
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Meadows you know another inspiration I
329
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think yeah I love the way he works and
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any particular film okay i well
331
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obviously this is England this is you
332
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know yeah that's it yeah
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deadpan shoes is I think was incredibly
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clever and smart for this time you know
335
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it's it definitely got me at the end I I
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didn't I wasn't expecting that be and
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that's because I think what he does is
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he pulls the audience in and and you wit
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these characters and and you love them
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or hate them but you're with him on his
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whole journey and then you know
342
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ultimately at the end when and it's
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flicked on it's on his back it's like
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wow it's that that that's the type of
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feeling that I like to get when I'm
346
00:15:10,829 --> 00:15:14,970
watching movie I feel fulfilled and I
347
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feel like I've been on this journey for
348
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an hour and a half two hours however it
349
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is and you know I've forgotten about
350
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everything else that's going on in the
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world and and I mean and I'm in here you
352
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know and I think he does that incredibly
353
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well and that's again I guess that is
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the type that's the goal about that I
355
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that I aspire to have is is is like a
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you know films that
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that resonate with people and and feel
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real yeah I think is very much
359
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performance like you know in believable
360
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and at the moment yeah exactly yeah I
361
00:15:46,529 --> 00:15:54,420
mean I I studied Meisner as a you know
362
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yeah yeah yeah so you know it's it it is
363
00:15:54,420 --> 00:15:58,500
it is about that being truthful and and
364
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you know and putting your attention on
365
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the other person so that you have
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natural reaction to that just as in as
367
00:16:02,370 --> 00:16:06,480
in life you know you just you and I are
368
00:16:05,250 --> 00:16:07,829
talking now I don't know what you're
369
00:16:06,480 --> 00:16:10,350
gonna say to me next I don't know what
370
00:16:07,829 --> 00:16:14,010
you know what what how work in you know
371
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gonna interact so it's it's very much
372
00:16:14,010 --> 00:16:18,060
much that really and Philip Seymour
373
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Hoffman was it was a it was a great
374
00:16:18,060 --> 00:16:25,620
example of am I as an actor he did so
375
00:16:22,200 --> 00:16:28,829
well and you know that that's that's my
376
00:16:25,620 --> 00:16:31,350
my sort of thing is to is to really get
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into these characters and and delft
378
00:16:31,350 --> 00:16:36,209
really deep and got quite you know the
379
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personal level in terms of storytelling
380
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and and that's everything yeah did I
381
00:16:39,000 --> 00:16:46,829
answer your question no I know it's
382
00:16:44,550 --> 00:16:48,930
great Meisner isn't amazing like
383
00:16:46,829 --> 00:16:51,870
technique to use with actors as a
384
00:16:48,930 --> 00:16:53,250
director but for some of our members on
385
00:16:51,870 --> 00:16:54,570
the network who maybe are looking to
386
00:16:53,250 --> 00:16:57,149
direct their first film is there any
387
00:16:54,570 --> 00:16:58,350
advice that you can give them regarding
388
00:16:57,149 --> 00:17:00,000
this technique in getting that
389
00:16:58,350 --> 00:17:02,760
performance out of the actors that you
390
00:17:00,000 --> 00:17:05,150
desire well I mean what I would say is
391
00:17:02,760 --> 00:17:07,679
if you wanted to go down that route of
392
00:17:05,150 --> 00:17:10,140
demise and technique I would I would I
393
00:17:07,679 --> 00:17:13,439
would read the book you know I think
394
00:17:10,140 --> 00:17:16,050
it's acted Meisner on acting yeah that's
395
00:17:13,439 --> 00:17:17,579
the book that I read initially to which
396
00:17:16,050 --> 00:17:19,800
would spurred me on to go and do the
397
00:17:17,579 --> 00:17:26,130
course in in if the actors temple in
398
00:17:19,800 --> 00:17:27,630
London and I literally it blew me away
399
00:17:26,130 --> 00:17:29,490
you know it's not for everyone
400
00:17:27,630 --> 00:17:31,200
don't get me wrong the technique is not
401
00:17:29,490 --> 00:17:34,679
fair when I remember people being in the
402
00:17:31,200 --> 00:17:36,900
class that you know they completely
403
00:17:34,679 --> 00:17:39,630
broken down and and they didn't come
404
00:17:36,900 --> 00:17:41,730
back the next the next time so it's not
405
00:17:39,630 --> 00:17:43,169
for everyone but I would definitely wait
406
00:17:41,730 --> 00:17:46,650
as a director I would definitely read
407
00:17:43,169 --> 00:17:47,400
the book and I and just get yourself it
408
00:17:46,650 --> 00:17:50,309
really
409
00:17:47,400 --> 00:17:53,640
teaches you and shows you about you know
410
00:17:50,309 --> 00:17:56,700
not just how actors behave but also you
411
00:17:53,640 --> 00:17:58,770
know how human being should behave you
412
00:17:56,700 --> 00:18:03,390
know and and communicate with each other
413
00:17:58,770 --> 00:18:05,280
I think if you you know I'm lucky
414
00:18:03,390 --> 00:18:07,140
because I've been doing it for over 20
415
00:18:05,280 --> 00:18:09,780
years and I know how actors are I know
416
00:18:07,140 --> 00:18:12,300
how I have been in the past you know
417
00:18:09,780 --> 00:18:14,790
we're very sensitive people and so you
418
00:18:12,300 --> 00:18:17,070
have to approach act this in a in the
419
00:18:14,790 --> 00:18:20,460
right way when it comes to giving them a
420
00:18:17,070 --> 00:18:22,370
note or you know tell them to maybe
421
00:18:20,460 --> 00:18:24,900
telling something down you know it's
422
00:18:22,370 --> 00:18:26,340
it's also finding that common ground
423
00:18:24,900 --> 00:18:28,679
with the actors but the language they
424
00:18:26,340 --> 00:18:30,330
understand exactly if you can find a
425
00:18:28,679 --> 00:18:31,920
common ground their performance will be
426
00:18:30,330 --> 00:18:34,760
better and the workload for you it'd be
427
00:18:31,920 --> 00:18:38,490
easier absolutely hundred percent yeah
428
00:18:34,760 --> 00:18:40,140
and you know every again and it doesn't
429
00:18:38,490 --> 00:18:42,000
necessarily work for every actor because
430
00:18:40,140 --> 00:18:44,580
everywhere every act is different you
431
00:18:42,000 --> 00:18:48,080
know I'm learning a lot myself you know
432
00:18:44,580 --> 00:18:50,610
the first film I did was it was with
433
00:18:48,080 --> 00:18:54,450
Robbie O'Neil who who also wrote the
434
00:18:50,610 --> 00:18:56,460
film fantastic actor but he because he
435
00:18:54,450 --> 00:18:59,040
written the script he he had he knew
436
00:18:56,460 --> 00:19:01,110
exactly what the character was you was
437
00:18:59,040 --> 00:19:03,059
supposed to be doing and and we were on
438
00:19:01,110 --> 00:19:04,530
the same page from day one and I knew
439
00:19:03,059 --> 00:19:05,910
exactly what we've been so that that was
440
00:19:04,530 --> 00:19:07,890
in a way it was quite easy because
441
00:19:05,910 --> 00:19:09,330
Robbie's a friend of mine anyway it was
442
00:19:07,890 --> 00:19:11,370
easy to work together I thought like I
443
00:19:09,330 --> 00:19:14,340
could tell him what what not what to do
444
00:19:11,370 --> 00:19:16,470
but you know maybe tutor self nurtured
445
00:19:14,340 --> 00:19:17,970
him a little bit and you know guide him
446
00:19:16,470 --> 00:19:20,970
in in different ways and try different
447
00:19:17,970 --> 00:19:24,320
techniques but you know with boiling
448
00:19:20,970 --> 00:19:27,840
point mad 20-odd active speaking roles
449
00:19:24,320 --> 00:19:29,760
so the way I approach that was I took
450
00:19:27,840 --> 00:19:32,429
them aside individually and we talked
451
00:19:29,760 --> 00:19:34,740
about you know the characters and we
452
00:19:32,429 --> 00:19:38,640
spoke on the phone a lot prior to to the
453
00:19:34,740 --> 00:19:41,070
shoot and them and you know they totally
454
00:19:38,640 --> 00:19:43,500
understood they did allow their own
455
00:19:41,070 --> 00:19:45,929
backstories as well and and you know the
456
00:19:43,500 --> 00:19:48,510
way the way that I got the the actors
457
00:19:45,929 --> 00:19:50,550
who sort of feel believable was I
458
00:19:48,510 --> 00:19:52,860
actually gave them real jobs to do in
459
00:19:50,550 --> 00:19:55,260
the kitchen you know I gave him a job
460
00:19:52,860 --> 00:19:58,530
that would last at least 25 minutes half
461
00:19:55,260 --> 00:20:00,210
an hour and I said don't you know this
462
00:19:58,530 --> 00:20:01,049
is your job that you've got to say you
463
00:20:00,210 --> 00:20:03,480
know fill it all
464
00:20:01,049 --> 00:20:06,059
fish you've got to chop those vegetables
465
00:20:03,480 --> 00:20:07,830
and put them in that pot turn on the
466
00:20:06,059 --> 00:20:09,840
water and wait for it to boil stare that
467
00:20:07,830 --> 00:20:12,149
every so often you know things like that
468
00:20:09,840 --> 00:20:16,110
jobs like that so they're not thinking
469
00:20:12,149 --> 00:20:18,090
about what they're actually what they're
470
00:20:16,110 --> 00:20:20,730
totally in the moment and you know any
471
00:20:18,090 --> 00:20:23,309
sort of reaction they know what they
472
00:20:20,730 --> 00:20:24,419
have to say and when so and when Stephen
473
00:20:23,309 --> 00:20:27,629
comes over to them and they have to do
474
00:20:24,419 --> 00:20:29,789
their bit it's it just happens it's not
475
00:20:27,629 --> 00:20:31,619
it's not preempted or you know and
476
00:20:29,789 --> 00:20:34,470
Stephen was fantastic as he was the
477
00:20:31,619 --> 00:20:36,210
driving force you know with everybody
478
00:20:34,470 --> 00:20:43,049
because he has to interact with everyone
479
00:20:36,210 --> 00:20:44,730
so you know he's very good at and he he
480
00:20:43,049 --> 00:20:46,320
wouldn't he's not specifically maizena
481
00:20:44,730 --> 00:20:49,019
but it the way he works is very much
482
00:20:46,320 --> 00:20:52,070
Meisner yeah but he wouldn't say oh yeah
483
00:20:49,019 --> 00:20:56,369
that's that's the technique that I use
484
00:20:52,070 --> 00:20:57,659
but yeah you know actors are a very
485
00:20:56,369 --> 00:21:00,119
interesting you have to sort of sauce
486
00:20:57,659 --> 00:21:01,580
them out before before you start working
487
00:21:00,119 --> 00:21:04,879
with them because everybody's different
488
00:21:01,580 --> 00:21:08,549
I'm about I'm about to do a feature
489
00:21:04,879 --> 00:21:10,139
start start on Monday actually start
490
00:21:08,549 --> 00:21:13,710
prepping and were just casting at the
491
00:21:10,139 --> 00:21:16,259
moment but you know it's we've got some
492
00:21:13,710 --> 00:21:17,609
a couple of big actors on on board and I
493
00:21:16,259 --> 00:21:20,759
had a meeting with one of them last week
494
00:21:17,609 --> 00:21:22,350
and he's a lovely lovely guy and I
495
00:21:20,759 --> 00:21:23,820
really respect him as an actor and and
496
00:21:22,350 --> 00:21:26,419
you know I was quite nervous because I
497
00:21:23,820 --> 00:21:28,889
thought one day if he's he if he's like
498
00:21:26,419 --> 00:21:30,720
not a nice person or how are we gonna
499
00:21:28,889 --> 00:21:32,369
get through this because you know
500
00:21:30,720 --> 00:21:36,389
there's only so much that you can sort
501
00:21:32,369 --> 00:21:37,379
of do to be nice to someone and then you
502
00:21:36,389 --> 00:21:39,779
know you've got to find that common
503
00:21:37,379 --> 00:21:41,879
ground and be you have that connection
504
00:21:39,779 --> 00:21:45,239
so that so that were we're all singing
505
00:21:41,879 --> 00:21:47,249
off the same hymn sheet and you know
506
00:21:45,239 --> 00:21:51,570
we've got a worth to go for six weeks so
507
00:21:47,249 --> 00:21:54,119
it's we need to get on but luckily he
508
00:21:51,570 --> 00:21:55,649
was absolutely beautiful person and and
509
00:21:54,119 --> 00:21:59,009
you know and I can't wait to start
510
00:21:55,649 --> 00:22:02,190
working with him now that sounds good um
511
00:21:59,009 --> 00:22:04,950
it's gonna ask you is there any or what
512
00:22:02,190 --> 00:22:06,600
has been the biggest obstacle or problem
513
00:22:04,950 --> 00:22:12,830
or war that you've had to overcome as a
514
00:22:06,600 --> 00:22:18,019
filmmaker biggest
515
00:22:12,830 --> 00:22:20,330
obstacle I think well again it's also
516
00:22:18,019 --> 00:22:22,909
very new to me this though you know I'm
517
00:22:20,330 --> 00:22:25,700
learning as I'm going along I learned a
518
00:22:22,909 --> 00:22:28,220
lot during my time as an actor you know
519
00:22:25,700 --> 00:22:30,140
being on set I was always interested in
520
00:22:28,220 --> 00:22:31,789
what was going on behind the scenes I'd
521
00:22:30,140 --> 00:22:34,190
always try and stay after after I was
522
00:22:31,789 --> 00:22:35,600
wrapped it to talk to the crew and yeah
523
00:22:34,190 --> 00:22:36,980
I'd always be little cheeky one in the
524
00:22:35,600 --> 00:22:38,750
core and asking questions what what's
525
00:22:36,980 --> 00:22:39,919
that for what you doing with that why
526
00:22:38,750 --> 00:22:41,990
you moving that light over there that
527
00:22:39,919 --> 00:22:43,940
kind of thing yeah I wasn't doing it
528
00:22:41,990 --> 00:22:45,860
purposely to because I wanted to direct
529
00:22:43,940 --> 00:22:48,049
and that was a burning desire that I had
530
00:22:45,860 --> 00:22:50,510
but I was just genuinely interested in
531
00:22:48,049 --> 00:22:53,210
it and I think subconsciously that's
532
00:22:50,510 --> 00:22:56,870
that was what I was leading up to is to
533
00:22:53,210 --> 00:22:59,510
be a filmmaker and I think the only the
534
00:22:56,870 --> 00:23:03,889
only obstacle or war that I've had to
535
00:22:59,510 --> 00:23:07,159
overcome is myself because as an actor
536
00:23:03,889 --> 00:23:09,350
looking up with directors going wow I
537
00:23:07,159 --> 00:23:11,809
couldn't do that I mean he's that's the
538
00:23:09,350 --> 00:23:14,000
director he you know he's that he stays
539
00:23:11,809 --> 00:23:16,309
on his own pair of stories he's the main
540
00:23:14,000 --> 00:23:18,559
guy I couldn't do that job I mean why
541
00:23:16,309 --> 00:23:22,669
would anyone employ I just be I'm just a
542
00:23:18,559 --> 00:23:25,690
little actor and then suddenly I I you
543
00:23:22,669 --> 00:23:29,269
know my mom passed away three years ago
544
00:23:25,690 --> 00:23:32,990
quite quite suddenly and it was it was a
545
00:23:29,269 --> 00:23:35,210
huge eye-opener for me in terms of how
546
00:23:32,990 --> 00:23:37,730
short life is and what what life is
547
00:23:35,210 --> 00:23:39,440
really about him you know getting my
548
00:23:37,730 --> 00:23:42,019
mind set completely changed in that way
549
00:23:39,440 --> 00:23:44,450
and and I just you know I just decided
550
00:23:42,019 --> 00:23:47,419
I'm going to I'm gonna go for it and why
551
00:23:44,450 --> 00:23:50,690
not you know you've got to just you just
552
00:23:47,419 --> 00:23:53,360
got it you know stop having the fear and
553
00:23:50,690 --> 00:23:56,360
and and just if you don't try you'll
554
00:23:53,360 --> 00:23:58,850
never know and so so that's that's what
555
00:23:56,360 --> 00:24:01,669
that's my attitude and you know and
556
00:23:58,850 --> 00:24:04,399
anything that does get in my way there's
557
00:24:01,669 --> 00:24:08,120
always a way over it round it under it
558
00:24:04,399 --> 00:24:11,000
you know so yeah it's it's it's and
559
00:24:08,120 --> 00:24:12,409
sometimes when there are obstacles when
560
00:24:11,000 --> 00:24:14,179
there are obstacles in the way it
561
00:24:12,409 --> 00:24:15,830
doesn't necessarily need to be negative
562
00:24:14,179 --> 00:24:17,330
you could have found a way around that
563
00:24:15,830 --> 00:24:20,419
one which was so much better and
564
00:24:17,330 --> 00:24:22,730
actually made the production quality or
565
00:24:20,419 --> 00:24:24,980
X Y Zed whatever it is so coming so see
566
00:24:22,730 --> 00:24:26,390
obstacles makes you a more fulfilled
567
00:24:24,980 --> 00:24:29,810
don't make up is
568
00:24:26,390 --> 00:24:34,460
and you know that that goes like we
569
00:24:29,810 --> 00:24:35,630
recently we just we my do people I used
570
00:24:34,460 --> 00:24:37,760
them the last two and he's also doing
571
00:24:35,630 --> 00:24:39,830
the feature and we were talking about
572
00:24:37,760 --> 00:24:43,040
shot lists and you know how we're going
573
00:24:39,830 --> 00:24:44,570
to map out this this film and I was like
574
00:24:43,040 --> 00:24:46,160
right so we need to do a shot list so we
575
00:24:44,570 --> 00:24:48,980
need to do this and it has to be you
576
00:24:46,160 --> 00:24:53,030
know this way and yeah then he we just
577
00:24:48,980 --> 00:24:55,010
sort of sat down and was like we should
578
00:24:53,030 --> 00:24:57,290
just take more of a relaxed approach to
579
00:24:55,010 --> 00:24:59,720
this you know be like look when we get
580
00:24:57,290 --> 00:25:02,780
on set we'll have a shot list that we
581
00:24:59,720 --> 00:25:04,160
want but if something happens that we
582
00:25:02,780 --> 00:25:05,660
can't get that shot or you know
583
00:25:04,160 --> 00:25:07,640
something may happen where we go oh my
584
00:25:05,660 --> 00:25:10,340
god let's not let's scrap that let's do
585
00:25:07,640 --> 00:25:13,010
this now yeah I think as a filmmaker you
586
00:25:10,340 --> 00:25:15,920
really have to be open to to anything
587
00:25:13,010 --> 00:25:17,150
that is thrown your way like you said
588
00:25:15,920 --> 00:25:21,500
positive or negative
589
00:25:17,150 --> 00:25:23,120
yeah so yeah it's it's a there's nothing
590
00:25:21,500 --> 00:25:25,160
set in you I don't think you should be
591
00:25:23,120 --> 00:25:27,280
set in your ways as a filmmaker I think
592
00:25:25,160 --> 00:25:30,620
you should be very open to change into
593
00:25:27,280 --> 00:25:34,820
other people's input as well you know
594
00:25:30,620 --> 00:25:37,730
don't don't be don't be the micro
595
00:25:34,820 --> 00:25:39,740
manager who who you know tells everybody
596
00:25:37,730 --> 00:25:43,310
how to do their job and because you know
597
00:25:39,740 --> 00:25:45,380
but I certainly have an idea about about
598
00:25:43,310 --> 00:25:47,720
everybody with this job and you know why
599
00:25:45,380 --> 00:25:50,450
they you know what what their job is
600
00:25:47,720 --> 00:25:52,910
but don't be telling them how to do the
601
00:25:50,450 --> 00:25:55,460
job yeah a lot of the time they can
602
00:25:52,910 --> 00:25:56,780
bring everything to the table so you can
603
00:25:55,460 --> 00:25:58,550
just pick and choose what you want and
604
00:25:56,780 --> 00:26:02,090
it just helps the production so much if
605
00:25:58,550 --> 00:26:05,120
you are open as you said yeah absolutely
606
00:26:02,090 --> 00:26:07,640
yeah and what's been the proudest moment
607
00:26:05,120 --> 00:26:10,820
or biggest achievement that you've made
608
00:26:07,640 --> 00:26:13,910
so far in your career as a director or
609
00:26:10,820 --> 00:26:16,640
even as a director as an actor whichever
610
00:26:13,910 --> 00:26:20,960
you think is like that has fulfilled you
611
00:26:16,640 --> 00:26:23,420
the most Wow I mean I've been so lucky
612
00:26:20,960 --> 00:26:29,060
as an actor to to worth it something
613
00:26:23,420 --> 00:26:31,760
credible you know talent people I was I
614
00:26:29,060 --> 00:26:36,740
suppose one of the highlights for me was
615
00:26:31,760 --> 00:26:39,549
working with Heath Ledger on Ned Kelly
616
00:26:36,740 --> 00:26:42,070
in Australia
617
00:26:39,549 --> 00:26:44,409
chale for five months and we were just
618
00:26:42,070 --> 00:26:47,529
we were just there as mates we were you
619
00:26:44,409 --> 00:26:49,210
know it was we played this gang there
620
00:26:47,529 --> 00:26:51,580
was those none of you ever saw the film
621
00:26:49,210 --> 00:26:53,139
but those and there was four of us in
622
00:26:51,580 --> 00:26:58,299
the gang basically this we you in the
623
00:26:53,139 --> 00:27:01,450
Ned Kelly yeah Heath Ledger Orlando
624
00:26:58,299 --> 00:27:07,119
Bloom me and an Irish actor Colin's
625
00:27:01,450 --> 00:27:10,570
Kinlan is fantastic and we just hung out
626
00:27:07,119 --> 00:27:12,580
for four five months in Australia just
627
00:27:10,570 --> 00:27:14,529
being mates because that's what the
628
00:27:12,580 --> 00:27:17,320
characters were so that is a huge
629
00:27:14,529 --> 00:27:20,440
highlight for me in terms of my acting
630
00:27:17,320 --> 00:27:23,470
career as a director you know the
631
00:27:20,440 --> 00:27:26,080
highlight is was was working with
632
00:27:23,470 --> 00:27:27,970
Stephen Graham for you know that's
633
00:27:26,080 --> 00:27:32,139
that's gonna be the highlight so far and
634
00:27:27,970 --> 00:27:35,350
and you know to work with not only Steve
635
00:27:32,139 --> 00:27:38,859
and Graeme but such a incredible caliber
636
00:27:35,350 --> 00:27:42,879
of talent that worked on it on the film
637
00:27:38,859 --> 00:27:45,519
and you know I think it's all a
638
00:27:42,879 --> 00:27:47,080
highlight at the moment because I'm
639
00:27:45,519 --> 00:27:48,549
doing something that I feel really
640
00:27:47,080 --> 00:27:51,340
strongly about really passionate about
641
00:27:48,549 --> 00:27:53,830
and I'm I'm just getting out there and
642
00:27:51,340 --> 00:27:56,049
doing it you know and I feel really
643
00:27:53,830 --> 00:28:00,700
really grateful
644
00:27:56,049 --> 00:28:02,590
it's a minute yeah I think do you have
645
00:28:00,700 --> 00:28:03,820
anything you wish to plant you've
646
00:28:02,590 --> 00:28:05,049
already talked about some of the stuff
647
00:28:03,820 --> 00:28:06,489
that's coming up for you is there
648
00:28:05,049 --> 00:28:08,470
anything else is coming up so you're
649
00:28:06,489 --> 00:28:11,220
welcome on the future yes sir the
650
00:28:08,470 --> 00:28:15,100
feature is called it's called villain
651
00:28:11,220 --> 00:28:19,210
and it's set in London it's like a crime
652
00:28:15,100 --> 00:28:22,899
drama about a guy who's who's been in
653
00:28:19,210 --> 00:28:26,109
prison for for 15 years he comes out of
654
00:28:22,899 --> 00:28:28,690
prison and once the settle down in his
655
00:28:26,109 --> 00:28:31,539
in his pub that he's owned for four
656
00:28:28,690 --> 00:28:33,220
years his brothers been looking after
657
00:28:31,539 --> 00:28:35,409
the pub for him while he's been away but
658
00:28:33,220 --> 00:28:37,779
his brother's gotten himself into a lot
659
00:28:35,409 --> 00:28:40,210
of debt and he's got the pub into a lot
660
00:28:37,779 --> 00:28:43,720
of debt and he's also been mixing with
661
00:28:40,210 --> 00:28:44,350
the wrong crowd in the in the drug world
662
00:28:43,720 --> 00:28:47,529
basically
663
00:28:44,350 --> 00:28:49,480
so his older brother ultimately has to
664
00:28:47,529 --> 00:28:52,480
help him out his family yeah reluctantly
665
00:28:49,480 --> 00:28:53,210
he helps him out but it it all goes
666
00:28:52,480 --> 00:28:55,039
completely wrong
667
00:28:53,210 --> 00:28:58,340
and pear-shaped and a lot of bad things
668
00:28:55,039 --> 00:29:04,279
happening ultimately it spirals into
669
00:28:58,340 --> 00:29:11,270
this into this crazy you know explosion
670
00:29:04,279 --> 00:29:16,840
of badness yeah but so does that yeah
671
00:29:11,270 --> 00:29:20,450
and signed with an agent recently cited
672
00:29:16,840 --> 00:29:24,289
Jago Erwin independent oh nice
673
00:29:20,450 --> 00:29:26,120
yeah that's very exciting so I had a
674
00:29:24,289 --> 00:29:28,690
bunch of meetings with with some some
675
00:29:26,120 --> 00:29:31,549
incredible people the last few days and
676
00:29:28,690 --> 00:29:34,240
I'm just you know I'm so grateful and
677
00:29:31,549 --> 00:29:38,179
it's just riding this wave and and and
678
00:29:34,240 --> 00:29:39,980
hopefully oh it won't water and have
679
00:29:38,179 --> 00:29:41,510
many filmmakers out there who are maybe
680
00:29:39,980 --> 00:29:43,250
thinking they should get an agent or
681
00:29:41,510 --> 00:29:47,600
shouldn't get an agent what advice do
682
00:29:43,250 --> 00:29:49,940
you have for them and I think it all
683
00:29:47,600 --> 00:29:53,000
depends on what they want to do in their
684
00:29:49,940 --> 00:29:55,340
career I think you know it's you know
685
00:29:53,000 --> 00:29:56,630
that this is I think there's a lot of
686
00:29:55,340 --> 00:29:59,090
different filmmakers that want to do
687
00:29:56,630 --> 00:30:01,279
different things if you want to just you
688
00:29:59,090 --> 00:30:03,950
know make indie films and do it your way
689
00:30:01,279 --> 00:30:06,830
I know I know that director who who does
690
00:30:03,950 --> 00:30:10,039
that he's happy make it you know four or
691
00:30:06,830 --> 00:30:14,029
five films a year you know on a real
692
00:30:10,039 --> 00:30:15,620
shoestring budget um but it all depends
693
00:30:14,029 --> 00:30:21,409
on what what you want to do I think I
694
00:30:15,620 --> 00:30:23,539
think it's it's a you see the way the
695
00:30:21,409 --> 00:30:25,760
way it happened for me was was I was
696
00:30:23,539 --> 00:30:28,309
very lucky you know off the back of
697
00:30:25,760 --> 00:30:31,669
boiling point it happened that way but I
698
00:30:28,309 --> 00:30:34,010
think there is ways of doing it yourself
699
00:30:31,669 --> 00:30:36,200
I'm sure but but it certainly does help
700
00:30:34,010 --> 00:30:38,809
to have someone who's you know back in
701
00:30:36,200 --> 00:30:40,940
you and and helping you to get to get in
702
00:30:38,809 --> 00:30:42,559
those rooms and and get yourself out
703
00:30:40,940 --> 00:30:48,020
there really but but you certainly can
704
00:30:42,559 --> 00:30:50,059
do that yourself yeah do you have
705
00:30:48,020 --> 00:30:52,450
anything else you'd like to add to this
706
00:30:50,059 --> 00:30:52,450
interview
707
00:30:53,049 --> 00:30:58,580
nothing really apart from the fact that
708
00:30:55,190 --> 00:31:02,240
you know I think lifts office is such a
709
00:30:58,580 --> 00:31:03,860
great networking you know I didn't
710
00:31:02,240 --> 00:31:07,160
really know too much about it before but
711
00:31:03,860 --> 00:31:09,410
since you know joining in and also we
712
00:31:07,160 --> 00:31:10,850
part of the festival and I just think it
713
00:31:09,410 --> 00:31:13,340
I think it's a great opportunity for
714
00:31:10,850 --> 00:31:16,160
filmmakers to you know express
715
00:31:13,340 --> 00:31:18,800
themselves and be and give himself a
716
00:31:16,160 --> 00:31:20,510
platform and and so get out there you
717
00:31:18,800 --> 00:31:23,750
know I think it's a I think it's really
718
00:31:20,510 --> 00:31:25,010
great yeah thank you so much and thank
719
00:31:23,750 --> 00:31:27,230
you for giving us your time to talk to
720
00:31:25,010 --> 00:31:30,850
us today my pleasure
721
00:31:27,230 --> 00:31:30,850
thank you thank you