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Speeder Rides Again: The Megaforce Resurrection · Cinema Yūgen

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G'day. That's right. It's that time again. Time for... CINEMA! YOOGEEEAAAAAAA!
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Welcome back, ladies and gentlemen. Cinema Yugen in the age of impossible heroes.
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One film dared to promise a future without limits.
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Neon skies, jet-powered motorcycles, warriors who didn't retreat because the good guys always win.
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It wasn't just a movie, it was prophecy.
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And for one boy watching in the glow of the theater long ago, it became destiny.
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While the world moved on he did
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not through decades of fading celluloid and
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forgotten legends one name refused to
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let the fire die bob lindenmeier not
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just a fan a guardian of myth
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not just a filmmaker an architect of
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resurrection for 12 relentless years he
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hunted the past chasing down icons
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uncovering lost stories capturing the
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final words of hollywood giants
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and rebuilding bolt by bolt the thunderous machines
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that once tore across the screen engines reborn weapons rearmed history reloaded
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this is the story of obsession turned heroic of friendship forged with childhood legends.
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Of a mission so personal it
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crossed the line into immortality and
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when the documentary making megaforce exploded onto
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the festival stage it didn't arrive quietly it conquered
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because some films are remembered but
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the legends they rise
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again now speeder that's his megaforce
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name speeder returns bob lindenmeyer returns
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prepare for buried hollywood treasure
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battlefield stunt stories impossible devotion and
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the kind of cinematic passion that refuses to surrender feel the rumble hear
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the engine scream back to life the horizon is burning the countdown has begun
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and just when you think the dream is over you realize this was never about nostalgia
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it It's about keeping the future alive.
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Strap in, hold the line, and remember, heroes don't fade. They ride forever.
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Here he is, Speeder, otherwise known as Bob Lindenmeyer, the award-winning director of making Megaforce.
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Bob, welcome back to CinemaHugan.
3:43
Hey, Kent, how are you doing? Good to be back. Good, mate. First of all,
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right off the bat, congratulations.
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Award this best pop culture documentary. The good guys deserve to win,
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And it's good to see the good guys win again.
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Congratulations, mate, on the win. Thank you so much. Well, yeah,
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yeah. Thanks, Film Threat, and award this, obviously.
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And obviously, you too, because you started that ball rolling and shared my film with...
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The guys and gals yeah well i mean they as much as they get sent a lot of films they don't,
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because i come from a more journalistic background i'm
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always on the lookout for for movies that catch my eye like for instance before
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we just started talking i see that the local boys the spirit brothers directors
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of undead daybreakers and predestination we've got a new film called headless
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which is supposedly going to be a take of the headless horseman in,
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in a mad Maxian type of admired environment,
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which excites a living hell out of me, I have to say.
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So I'm going to have to hunt that one down and get in, go down that road. Yeah, no kidding.
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Well, let me know. Cause, uh, yeah, that's right up my alley too. Yeah.
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So yeah, anything, anything that's gets this kind of mad Max treatment I'm interested
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in because there's, there's more than one way you can go.
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Of course you can go to the dystopian. we drive around on shitty
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old bikes and eat people way of
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doing or you can you can go full fury
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road and create a mythology and and and
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do it sensibly instead of just having people dusty and
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dirty chasing other people dusty and dirty and yes all you need is a quarry
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and some dry ice and stuff like that yeah right it's just like we can't afford
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a location so let's go to the construction site exactly yeah some biker gear
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yeah we'll get some there has been some stand standouts i'm sure i'm sure you're uh.
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A big fan of battle track oh sure another
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michael beck film yeah so truck
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yeah those man those people crap
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on those movies from a great height but they they sit
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next to the warm half of my heart and no one
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shall drive them away excellent it's it's
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it's beautiful cinema and of course beauty is in
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the eye of the beholder and i know that it one man's
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trash is another man's treasure but yeah 100
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for me for me it's all gold and my
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wife does say to me lately that she she doesn't
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want to watch certain films from when she was young because she fears that
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her her growing cynicism will melt
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away that magic that she used to
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have while watching them yeah i can
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safely say that that has never happened to me i can watch movies.
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That i loved when i was a very little boy far less
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furrier and funnier looking than i am now but none
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of that magic has diminished and certainly in
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watching your film again last night for god knows
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how many times there's nothing that has diminished from making megaforce
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it is still an incredible documentary which we can
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now talk about in in greater depth because
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it's out there everyone can see it so we
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can talk about my one of my favorite parts of
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the movie and it is brilliantly structured with the hook
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line and sinker and fans of megaforce will know hook line
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and sinker very well and the sinker part
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of the movie is is what i really wanted to talk about last time but yeah of
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course yeah it was a big deal yeah but now we know about secret vehicles which
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may or may not have been for sale and and And you went out to the desert and
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fulfilled a childhood dream.
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Fulfilled everybody's dream, hopefully, at least yours and I's,
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yeah. Oh, man, if I could have been with you, I would have. But, yeah.
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What an ending. What an ending.
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There's great filmmakers, Bob, that don't know how to end a movie to save their lives.
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But you landed this baby like you've been doing it all your life.
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Yeah, I mean, getting right into it, what was interesting is because the movie...
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You know kind of takes place in in order so you know when i when i hatched the
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idea to go back to the desert right like i didn't know how it was going to turn
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out right it could have been.
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Disaster which would have been good filmmaking also but
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when you know we spent we went to the
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desert twice so total seven days
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out there and the first thing i did
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when i got back was i spent
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six or seven months honestly just cutting
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the last four minutes of the film wow to
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make sure you know it was
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right right it was it was so important for you know
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like my journey barry's journey and everybody in in the
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film to really stick the landing so i
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needed to know yeah i needed to know
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before i started going through and building the rest
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of the film that you know
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we were all headed headed towards the death star transit as
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it were right right yeah yeah yeah it's like
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back home yep exactly yeah
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so once all those pieces were in place i was like i was
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like you know because it's it's
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shocking like i still you know when i look at the footage like
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i just can't believe i was out there doing that
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so yeah yeah and then we just built.
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The you know my editor editor and producer best
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buddy felix chamberlain who says hi by the way yeah well done he's a big fan
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of yours thank you yeah we just work yeah we just work backwards from the end
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to make sure we could put a bow on it because it's probably the section of the
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movie where you say there is the most editing.
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Yes it seems like it seems like it anyway it seems like they're the most it's
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the most edited yeah because there are so many obviously you had to shoot all
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those elements and then combine them with visual effects and uh and so yeah
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and i did all i did all the effects all by all by myself.
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Here in in my humble little wow so you're one of those guys that did all that
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magic on a laptop in your garage sort of thing.
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Yeah, exactly. Awesome. You know, and that was really interesting because,
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you know, the filmmaking part where you're actually making like capital F film
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with, you know. Right, yeah, yeah.
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Scene making and stuff, right?
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Like that was really the goal as far, right? Because obviously I'd love to make
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like a sequel to Megaforce or, you know, a push pop.
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Apocalyptic thing that we're we're talking about and and and again this is my
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first film so it's my first first time at bat at this and i was just like okay
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like this is the part where i get to be,
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the movie maker right the hell right right yeah this is this isn't documentary
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now this is this is if i got a chance to make megaforce at least a scene here
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we go yeah yeah yeah exactly and And there were a lot of like stylistic.
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Choices there right i mean there have been so many great films
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since megaforce and obviously the
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you know kind of the editing sensibility and shot
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selection stuff is a lot more sophisticated now
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and and again since my
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journey was kind of trying to replicate as many megaforce
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things as as possible it was a real education
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trying to shoot shoot those scenes in
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kind of a standard 80s 80s way
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right like done you know
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not cameras all over the cars and high right
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right right really wanted to be kind of like flat like
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metaphors yeah and even the point where the
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classic coverage instead of like a camera up everyone's bum
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hole you know like exactly exactly and even
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the color palette and stuff which we really struggled with
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in post-production um you know
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i i would send out screen captures
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from the original film that were similar and
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was like okay we need to match the sky we need to match the desert color
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we need to make sure the vehicles look you
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know as close to that footage again
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because that was something obviously i was playing with too was
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kind of right you weren't interested in creating
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like the megaforce through the modern 4k lens.
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You wanted the gauze of vhs in there exactly exactly
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yeah my colorist i remember i was
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like man we should put some more like green in this
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and make it look really grainy and and and look really great and stuff but at
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the same time it is like it is a modern film and and modernize you know like
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i didn't want to detract from the through through line there so again i kind
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of just kind of reeled back a little bit and.
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Kept it clean you know but there's that kind of big moment at the,
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at the end where it goes full full cerebral
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fantasy mode right and the entire color palette
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of the entire sequence changes and
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i thought that was kind of like uh all right it's like bob
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vision now right like this is like being in
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his head as the fantasy right
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and then it comes right right this is where the road ends and
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the fantasy begins yeah exactly yeah it's
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it is such a sublime ending that
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yeah look i i i well up a little bit
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i have to say at the end i you know people say oh
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you cried everything a bit like kevin smith but it's
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it's it's look it's touching because i'm one of those kids
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man i would love to that there's
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a moment on your face at the end where
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obviously you break character from
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speeder and just you're just bob sitting there with a smile
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on your face 10,000 miles wide
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yeah sitting next to barry botswick on the back of a megaforce motorbike being
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trapped being towed at speed with the wind in your hair and the it is such the
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visual it is the visual equivalent of just utter bliss yeah.
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On a man yeah well and
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i mean what's so lovely too is you know
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to see barry's reaction right he was right there right like he never in a million
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years thought he'd be right yeah exactly 79 79 years old lashed to a yeah yeah
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being towed at speed next to a guy who's obsessed with him.
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Yeah yeah yeah well he really wanted to
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like there was there were some discussions around you know
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he really wanted to get back on the on this
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motorcycle the live motorcycle and actually
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write it for real and i just in good
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conscience like i just could not that's an insurance nightmare
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isn't it no man there's so well yeah and of
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course since we didn't have insurance and we were you know
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doing guerrilla filmmaking like you
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know i literally and you don't have hell need them to
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double for him either exactly exactly it's
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like well if we're on live motorcycles we have to wear helmets and
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he's like well what about my hair that's beautiful
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i love how he asked that in the
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film too yeah yeah yeah like
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i actually strapped him on the motorcycle he gets on the
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motorcycle and then underneath his jacket we okay into
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the back of it right right like just right he's a national treasure like i didn't
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want it yeah you don't you didn't want to make the film that killed barry bontley
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right yeah that's a different documentary you know that is i mean it would have
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been good filmmaking but holy cow yeah yeah.
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Yes unfortunately bob in trying to live his dream ended barry's life abruptly
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when he fell off the back of a motorbike being towed at speed while one kid
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tried to relive his childhood.
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Exactly. Yeah, well, there were so many lovely moments, too.
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And again, you know, hopefully with DVD special features and stuff,
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right? Yeah, I'm very excited.
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You know like at night like we're the only ones in the desert for for this week and just to see,
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barry hang out around the campfire with all of us right like he wasn't hiding in his trailer,
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yeah right like it was just the most amazing adventure just hanging out with
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the man and Yeah, with tequila.
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A lot of tequila. A lot of tequila. Tequila in the desert at night, yeah.
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I bet you there were some fireside stories being told.
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There was a lot of fireside stories, yeah. Yeah, it was great.
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And he's so sweet, right? He made everybody...
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Because i guess the crew was about 15 people down
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there and he made up a bunch of megaforce names and
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put them in a hat and we all went around the campfire and
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everybody got their official megaforce
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name and that's great so yeah he was he
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was just so so into it and
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i mean oh my god like just so generous like like could
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you ever imagine you know meeting
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warner here and saying hey do you want to come with
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me play mega force yeah yeah
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do you want to come and play mega force with me exactly exactly just
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just yeah i mean it just it's the gift that keeps on giving and the fact that
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there's there's more to see i'm i'm i'm i'm eternally intrigued yeah i was just
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talking to richard green who you met probably at the awards yeah i did i did
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yeah we chat we chatted with He said he's got a lot more, too.
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So, I mean, oh, God, I see you guys.
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You're making me wait. I'm sitting on pins and needles, pins and needles.
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Yeah, well, that's the independent film thing, right? Yeah.
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Especially with my film, right? I mean, we had to cut interviews of whole cast members and stuff.
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Stuff just because, you know, again, if there's 38 Megaforce fans, right?
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Like my school.
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I mean, you don't have to worry about them. You could give them a four-hour
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film and they'd be happy, but you've got to worry about everyone else.
18:52
Yeah, yeah. Well, if it's going to...
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You know, because the conceit was to kind of share Megaforce,
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which essentially is a metaphor for just sharing whatever you love with other people.
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And if you share it in the right way, then you get some real connection with another human being.
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It's positive obsession, not dark obsession.
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Yeah. Yeah. It's the nice side of obsession.
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But, but, you know, look, as you say, it is, it is a metaphor too,
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for any child of any age that became obsessed with anything that no one else was into.
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Exactly. And, and it's like Morgan Freeman's narration from Million Dollar Baby.
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If there's magic, of course, he says in boxing, it's believing in a dream no one else can see but you.
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And this film stands as
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a testament to anybody with with said dream
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that perhaps one day you may in fact
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be able to hook up with whoever your hero was and
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go out into the desert and drink tequila and and play megaforce
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which is you know
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it's better than a wonka golden ticket in many
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ways because who wants a lifetime supply of
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chocolate when you can play in the same play in
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the same dreams as you did when you were children i mean that's yeah yeah yeah
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for sure for sure yeah there's so many things about the right because the i
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mean even the you know the sinker the third act right the you know there's just
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so many important things like the.
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You know the sequence with me and my son getting
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into buggies yeah and just
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doing that run through the explosions yeah yeah
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yeah just that one last ride right like
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you know i mean my goal was obviously you know
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with the history of my father right kind
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of changing that narrator for me and and healing
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with my son but also you know
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that scene when we were working on it
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you know we had full sound effects fully buggies
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room room room and and and the more
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i looked at it like it was just like it
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was a really reverent moment for me so i stripped everything out except for
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the music because like you know like currently like that's the last time those
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vehicles will ever be driven like that in the desert, right?
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And so like as a historical and just kind of homage to the vehicles, right?
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Right it just felt really special and and you
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know and that's where i get i get teared
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up it's just so overwhelming to see you know these old beat-up rigs smoking
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and shaking and and just you know being out there like beautiful right yeah
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yeah so it's pretty important oh it's
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It's tremendously important, but it's also, it's also sends a message that as
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good as artificial intelligence and visual effects and all that sort of stuff
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may indeed become, and Skynet takes over and we're all hiding in the rubbish and,
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and we need Sarah Connor to have a baby because he's going to deliver us.
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I don't think that it's going to
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overpower the artistic vision
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inspiration and dreaming of human beings
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because that bike sitting behind you
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was made by a person that was by a person for a story thought up by a person
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that became a movie that inspired a person to make a movie about a person that
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inspired that person i mean you can't take you can't take people out of the equation,
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much as the technology may get there and may be there for that fact.
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We are the ingredients. We, human beings, are the ingredients.
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The missing secret ingredient to great stuff, I think.
23:07
Yeah, well, and that's kind of the amazing thing just about the new technologies and stuff, right?
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Like, you know, I mean, I'm like, I'm a graphic designer, right?
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For for my career right and and it
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is challenging right now because people think
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those tools can solve solve everything
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and some of them are just insane insanely
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brilliant but like to your point the you
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know the the magic ingredients that are
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actually running the ai as
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its vision are all built from humanity
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right like if it was you know
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if it if it had to reference its own creativity to generate these amazing images
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like it would not be possible right it can only it can only do that you know
24:01
kind of on our backs or on our coattails right so you know and in 20 years there's.
24:08
You know, like it still has to keep coming back to the gene pool in order to create this stuff.
24:14
And if it starts replicating what it's created, it's just going to lose even more humanity.
24:23
Right, yeah, because it's just eating itself at that point. You know, it's like – Yeah.
24:27
It becomes like the poor dude who's lost in the wilderness and he looks at his
24:31
fingers and they go, I don't need 10 fingers, do I?
24:34
That's right. You're right. You know, or I don't need two feet, do I? Yeah. Yeah.
24:40
It's a sad state of affairs, frightening in some areas, but, you know, I think that,
24:48
that your movie also stands testament to for for
24:51
a film that really wasn't widely embraced
24:54
you might say yeah the fact that people
24:57
are still talking about it and there is a there is
25:00
a rich fan culture and the conversation
25:03
about this film is still going on and the
25:06
fact that al ruddy said that you know it seems like god himself
25:09
wanted this movie to be made
25:12
really is is it
25:15
is anything really it begs the
25:18
question i think is anything really obscure is it just so far
25:21
ahead of its time its audience just hasn't really been born yet
25:24
totally totally yeah it's
25:27
it's hard well and i don't know if we chatted about this before but
25:30
like i mean the original megaforce specifically the tv show was yeah yeah i
25:37
mean you know megaforce was three years too early or three years too late as
25:44
far as what the culture was looking for in the 1980s.
25:49
Well, like in our last interview, we talked about how basically the A-Team is like mega-fault. Yeah.
25:55
Yeah. All those shows are, right? Men on a Mission, you know. Yeah.
26:02
Yeah, adventures of the week. Or the government or mercenaries or, you know. Yeah.
26:06
Yeah, yeah. If you've got the money. Or back to like 1977, 1978,
26:11
where, you know, kind of the naive quality of Megaforce as being,
26:17
you know, just purely heroic, right?
26:20
It's much more in line with Star Wars than Empire Strikes Back, right?
26:26
As far as its tone and presentation and, of course, Howl Needham, right?
26:31
Like that's what he was an expert at right yeah
26:34
is is those kind of feel good neat stuff
26:37
movies and or as
26:40
you say in the documentary it's it's it's it's so
26:43
clearly defined it's the good guys versus the bad guys that's
26:46
what it is yeah yeah yeah yeah
26:49
and the yeah and the good guys wear the white hats and the bad guys
26:52
you know he wore black and i wore white and he would always win
26:55
the fight bang bang you know and look
26:59
i i think maybe maybe maybe maybe
27:02
the argument could be made that because it was maybe perhaps
27:05
so well defined and so simplistic maybe that was something
27:08
you know people were expecting maybe something
27:11
with a bit more i don't know complexity or
27:14
depth yeah yeah well but well
27:18
yeah i mean that's interesting because like a lot of people even
27:21
the cast and crew that I interviewed you know like everybody was saying like
27:27
maybe it would have been better if you know people died or there was some more
27:31
violence in it or that kind of thing right and I and I totally get that because again right like.
27:39
You know blade runner mega force and mad
27:43
max 2 right we're all in the same summer right and just how different mega force
27:51
stands out yes what everybody else is to road warrior yeah yeah yeah so as far
27:59
as oh you said road warrior i was trying to be mad max 2 to,
28:02
respect the original title oh that's cool sorry i was i was trying to be respectful
28:08
because you're you're you're over in the states and you know it as the road
28:11
warrior but anyway so that's right in respecting each other we got both titles
28:14
so there we go yeah yeah um but yeah yeah so i think,
28:20
yeah i just think that right like you know
28:23
i don't know if it would have been better with with violence or
28:27
not like it would have been more in line
28:30
with what everybody else was doing yeah well
28:34
it probably it probably would have fallen into that if
28:38
they had gone that route would have fallen into the the mad
28:41
max 2 road warrior uh thing that happened in the wake of mad max 2 and the road
28:47
warrior you know let's get a bunch of cars and desert and have you know chases
28:52
and shootouts and whatever else yeah in the original script they do kill the
28:57
french guy at the end of the movie. Oh, okay. Yeah.
29:00
Yeah. No, but I mean, look, I think, look.
29:05
You could argue sort of, I guess, probably all day long about what could have,
29:13
would have, and should have happened to make it more receptive.
29:16
But I mean, it has been received.
29:19
And I mean, thanks to your film, and I still believe this, I've said this in
29:23
all three of our interviews, that this film is a gate, I think,
29:27
going to be a great gateway.
29:29
Because if people watch it solely for an interesting documentary about pop culture
29:33
or the makings of movies,
29:35
I still think it's a great gateway because at the end of it,
29:38
you still go, well, if I haven't seen Megaforce, I've got to watch this Megaforce
29:42
thing because this guy is so richly and beautifully obsessed with it that it's contagious.
29:48
Yeah, I really wish I could get the analytics on Amazon streaming because the
29:55
rental numbers for the original Megaforce,
29:59
have got a quadrupled in the
30:01
last year since i've been brilliant screening it
30:05
right like you know yeah that's
30:08
kind of like that's kind of like maybe not what you're aiming for but
30:11
certainly it's something that you would have hoped for in starting this that
30:14
at least it would bring more people's attention back to yeah yeah well i mean
30:19
yeah yeah like it deserves a second right it didn't get it didn't get its its
30:25
day in the sunshine at all that summer and And yeah.
30:31
Yeah like i like i think it's nice to like you know again like you said kind
30:36
of bring it back and have have people talk talking about it you know we always
30:43
invite like friends and family to all these different film fest and stuff like
30:46
that and you know and there's a select group of people,
30:50
who don't know what omega force is at all right and
30:53
and you know by the end of
30:56
it right like i've had three or
30:59
four friends of friends whose you know
31:02
wives came right just these middle-aged
31:05
women who are literally the furthest
31:08
demographic from anybody who would entertain the idea of megaforce right and
31:14
they watch the film and they're like oh my god i have to see megaforce and then
31:18
they'll write me after and be like i loved megaforce i loved it right and that Mission accomplished.
31:27
Mission accomplished, 100%, right?
31:30
And I think some of it is, you know, watching my film is a good primer to get
31:37
yourself in the right headspace to actually be open to enjoying this thing, you know?
31:45
So, and that's working out really well. Yeah, I love that, right?
31:49
I mean, that's the power...
31:52
Yeah, that's the power one can have. It's beautiful.
31:55
It's Kermit the Frog's Rainbow Connection, man. You found a frog,
31:59
a dog, and a chicken, and a bear, and a watch and a call it,
32:02
and they all have the same dream.
32:03
Exactly. And that dream only gets better the more people you share it with.
32:08
And I'm very grateful for you sharing it with me.
32:11
I have two more questions left for you, Bob. The $64,000 question.
32:16
The car that wasn't for sale at the end, what happened? Yes.
32:24
Yeah that that was an odyssey for sure so yeah so we're talking about to take
32:32
you off the spot is it still not for sale or is it it's in my backyard okay,
32:40
and let me guess you you're not doing it up are you you're not trying to restore
32:43
it to its original yeah i know i don't i definitely am okay so i figured i i
32:50
had i had a sneaky suspicion but yes i didn't i didn't want to be dogmatic and say what are you doing,
32:59
yeah no well it's it's the same right in in some ways it's it's,
33:05
It's in no worse shape than the other vehicles I restored in the movie.
33:11
I mean, if you're curious.
33:12
You get to see, you know, for those of you who have seen Bob's documentary,
33:17
you get to crawl up inside it and get to examine the guts of it.
33:22
So how hard was the old bugger to push over to get him to sell it?
33:27
Was it a big investigation? It was pretty bad.
33:31
Because he was pretty adamant, like, none of this is for sale.
33:35
Yeah, well, and that's always been his thing.
33:39
So, you know, like one of his crew guys up there who was helping us explore
33:46
the TACOM when we pulled it out of the swamp, I was like, hey, like, so seriously?
33:52
Like, he doesn't, he's like, no, I've worked with them for 20 years and he has
33:57
never sold anything. Nothing.
34:00
But what he does like is trading stuff. Okay.
34:05
So did you have something that he wanted?
34:08
I traded one of my two Megaforce Dune buggies. Oh, okay. That's cool.
34:13
Straight across. Right.
34:16
So the... The ones that you'd fully decked out and everything.
34:20
Yeah, that are in the film. So the one that makes the big jump... Onto the TV.
34:26
Yeah. Onto Roger Ebert's head. That's right.
34:29
Yeah, we call that one stunt buggy because essentially when I got that,
34:34
it was just the fiberglass shell of the car.
34:37
So none of the guts were original so i
34:41
had to get i i sourced out a vintage
34:44
sand rail chassis that could
34:47
fit under underneath it so so that car
34:50
except for the actual body fiberglass body
34:53
is all replica stuff i had to build the guns and
34:56
everything so you know as opposed to
34:59
hero buggy which is the other buggy in the
35:02
film that's got the laser and everything like that like that's all
35:05
original that's the real deal right and
35:09
and so yeah it was just like
35:12
what one how
35:16
many mega destroyers does one guy need you know now that it's served his purpose
35:23
so yeah he was kind of cool now because now you've got like one of each do you
35:27
got a bike you got a strong yeah yeah well And the TACOM, that's a unicorn.
35:33
There was only the one made.
35:36
Period. So yeah, but it was a real sad day. And of course, hopefully this will be a special feature.
35:44
We track all that, like me dropping off.
35:48
The buggy up there and it just goes in his paddock with everything else yeah we're all kind of,
35:55
especially me right because i built that from scratch like that's the one at
35:58
the beginning of the right yeah yeah there's like years old yeah from yeah from
36:03
the nuts to the bolts to the yeah,
36:06
yeah i've had that for you know 20 years so yeah yeah it was it was really bittersweet
36:12
but then you know having instead of thinking of losing a daughter you're gaining a son.
36:19
That's right yeah yeah like having
36:23
your own having your own tank is pretty
36:26
amazing i highly recommend it that's awesome for anybody yeah so it's you know
36:33
i've yeah it's all sandblasted it down got rid of all the rust got a whole new
36:39
power train for it i found uh i can't wait to uh,
36:45
to see the finished product i've no doubt that it will be attacked with the
36:50
same devotion and execution and brilliance of which you have approached this
36:55
documentary before we run out of time bob i gotta thank you again mate for sharing
36:59
your dreams with us with the world with making Megaforce.
37:04
Oh, well, thanks. My last question before I let you go is, did you drink a beer
37:09
or some champagne out of that trophy the other night?
37:11
Like I saw Mike Caravella having a beer out of his cup.
37:15
You know, I was almost going to do that on stage. Okay.
37:19
I was just so nervous that night.
37:23
But, yeah, I definitely drank out of my chalice of winning.
37:29
Well done. Well done. And it's greatly, greatly deserved.
37:33
I wish you all the very best. And all the links will be in the description,
37:38
ladies and gentlemen, where you can.
37:40
Get a hold of making megaforce and make the journey
37:43
if you don't know about megaforce now's your chance to
37:46
experience that brilliance that came out a long time
37:49
ago and join the 38 strong behind megaforce
37:53
bob lindenmeyer speeder my good friend thank you
37:56
for being a guest again on cinema thank you
37:59
wombat much appreciated yeah yeah
38:03
we'll do it again yes bob lindenmeyer making
38:08
megaforce an incredible film
38:11
get down to the links in the description check it
38:14
out for yourself i can't wait to check out all there's
38:18
so much more in store on the physical media
38:22
release get down to the links making megaforce
38:25
support this film and bob lidemeyer what
38:29
a journey what a film what a friendship speeder god
38:32
bless him mate he made the film that all
38:35
megaforce fans have longed for for so many years
38:38
and a documentary that you would love
38:41
regardless of whether you're a fan
38:44
or not this is the gateway you don't know what megaforce
38:47
is watch this and then like most people i think you'll get over and check out
38:51
megaforce get down to the links in the description bob lindenmeyer making megaforce
38:57
get down to those links now and as always my little eugenites thank Thank you
39:03
for listening to us on Spotify.
39:05
IHeartRadio, or wherever you choose to listen to your favorite podcasts.
39:09
I'm Kent Hill, and until next time, you've been listening to us on Cinema U-Game!