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Inbetweening: The Hustle Behind the Screen · Cinema Yūgen

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G'day. That's right, it's that time again. Time for Cinema Yugen.
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G'day, welcome back, Cinema Yugen. As Orson Welles once said,
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I have wasted a greater part of my life looking for money and trying to get
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along, trying to make my work from this terribly expensive paint box, which is a movie.
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And I've spent too much energy on things that have nothing to do with making a movie.
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It's about 2% movie making and 98% hustling. And that's no way to spend a life.
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That's very, very true. And never has
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this utterance been so accurately
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captured as it has been now in melhouse's
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in betweening yes in betweening is wonderful
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new independent film in betweening takes
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spike lee's bamboozled woody allen's deconstructing harry
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and richard linkletters waking life and tosses them
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into a blender it's a handsomely shot brilliantly
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written dramatically staged which drifts from drama to
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animation to puppets singing with narrated
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storyboards to construct a madness which is the pursuit of
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a career in the film industry the
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rest of my review for this wonderful movie the
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link will be in the description but now eugenites welcome
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to the show the man behind the madness the
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man who lived the life that you'll see in
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this wonderful film in betweening please put your
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hands together and welcome him to the show here he
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is the man who knows all about in-betweening the mighty mel house g'day mel
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thank you for having me sir mate it's an honor to have you it's an honor to
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have watched the film in-betweening you know mel i have to say that there are
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quite a few people probably hundreds.
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That I've met along my journey that have done quite a lot of in-betweening.
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Let me just say. Oh, yeah.
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Yeah. Especially when involved in the arts and more specifically involved in
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the film business. Definitely. Definitely.
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So is that, or was that, I should say, the inspiration for in-betweening?
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Like, did you hear a lot of war stories along your way or? Well,
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what's funny is it, it actually sprung out of obviously like a personal story of mine.
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And it was specifically that part where he's in the car talking to the famous
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pop star, you know, like sort of in running in between doing everything because
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that, that literally happened to me.
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I was trying, there was, it was about 10, no, it was more than that was maybe 15 years ago.
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I was trying to get a movie going and we had, it was right after I'd done my
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last feature film and, you know, it had gotten a decent release.
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So there was a little bit going on around it. So I was able to get some people
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attached. Like we had Robert England attached. We had Charles Dutton attached.
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At one point or another, we had like different, just a bunch of different name
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actors attached. And, but at the same time, I, I, I had always worked a day
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job during doing all this stuff.
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And at the time, the day job I had, had gotten rid of my position. Right.
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And this was right when my daughter was about to be born. She just turned 13,
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two days ago. So it was like 13 years ago. Yeah.
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So she was on the way. So I was like, well, shit, I got to do something.
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So the only job, the only place that would hire me was a pizza delivery place.
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But while I'm doing that, I still was sort of fielding calls to try to get this movie going.
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And one particularly surreal moment was I was dropping off like 16 pizzas to
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this 14-year-old pool party, a bunch of 14-year-old girls.
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And they all just, they just were like complaining about the pizza.
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They were telling me I was late.
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But at the same time in my earbud, I was on the phone with this producer and
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this pop star that everybody knows. You know, I don't want to say his name,
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but everybody's, everybody's heard of him, you know?
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And I was like, this is, you can't make this up, dude.
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Like, like if you know what I mean? And I, and that was when I was like that
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I have to write about this.
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Like I've got to write about this. So it's, it's largely autobiographical.
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Oh, mostly. Yeah. And, and what's funny is at the time I didn't really,
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I was so in my head with all of it.
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I, when I was making the movie, I didn't know if people would be able to relate to it or plug into it.
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I thought it would seem like too much bitching, moaning, why,
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you know what I mean? Like navel gazing shit, you know? Right.
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Yeah. But, but since it's come out and people have gotten a chance to watch
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it, I started to hear back, oh, I have this kind of story like that.
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Or it's kind of universal in its specificity. You know what I mean?
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Because regardless of what,
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What your pursuit is, there's a relative amount of in-betweening,
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doesn't matter what you do, really.
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Right. In life, I mean, particularly if you're married with a family and you
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have a career and, you know, that real life and work life and the work-life balance,
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there's always in-betweening in there. Oh, yeah.
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A hundred percent, yeah. But I have to say, immediately when I finished watching
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it, I thought of that Orson Welles saying that, you know,
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that movie making is, you know, 99% hustling and 1% movie making.
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It's no way to extend a life.
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So true. Yeah, the calling sort of supersedes that, or the love supersedes that.
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One of my good friends is a longtime Hollywood screenwriter.
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And he's, I agree with him when he said, you know, you really need the love
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because talent, you know, I think it was Stephen King that said all the talent
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in the world won't carry a quitter, you know? Right.
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And it's, it's, it's vital that if you really, really want this,
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because there's, there's, there's a thousand people, thousands of people, millions.
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Hundreds of millions of people you're competing with all over the world,
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all different age groups.
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They all want a piece of this pie and i
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do believe there's enough to go around uh but
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the only problem is is the circumstances under
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which the movies get made it's it's quite amazing sometimes
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that that movies get made yeah i totally agree you know yeah totally agree if
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people like when people talk to me about movies just generally on the street
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you know they have absolutely no idea of what goes into even an independent
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film the pieces i i compared it once to like.
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Buying a thousand piece puzzle one piece at a time yeah
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yeah yeah that's a good analogy yeah and you
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you you know you get another piece and you
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get another piece and you get another piece and eventually hopefully at
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the end of it when you put all the pieces together you get some sort
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of coherent image right which
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you can then and take out but of course
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like in like in your story with with
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brandon cole's character he uh he
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came off some some promise you know
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sort of some early momentum and that's another
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thing i remember talking to larry karaszewski about this
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and and the momentum too is another big thing when making movies or making art
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isn't it like once you like you said you you you sort of on a roll but if you
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don't sort of keep or endeavor to keep the momentum rolling,
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you can very easily lose it. And it's very hard to get that back.
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Yeah. Yeah, definitely. At that time, right before that happened,
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right before I lost my job, it seemed like everything was sort of going to crack open.
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I started getting invited to all these cool parties and hanging,
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you know what I mean? And cool screenings and stuff.
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And then all that sort of went away and
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nothing really changed other than I wasn't actively
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working on something because i couldn't i was just in survival
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mode you know and that was a i
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i wrestled in this movie i wrestled with whether or
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not it like it's a movie about making a
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movie but there's no movie making in it or
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they're very right yeah yeah and i and i were i
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wrestled with that i was like well should i put more of him like trying
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to write or be on a set or something and i was like well
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no because that's not what it was like like i was
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where i did three movies kind of back to back to back to back the
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last one came out had some big premieres and played some
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big festivals and then it sort of like fell off a cliff and like
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for several years after that or a couple years it was
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just surviving and while i was calling people trying to get stuff happening
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or trying to find out what was happening with my other stuff there was it's
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not like i was actually making you know something other than maybe writing down
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ideas to eventually use in this movie you Like when something crazy would happen.
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But, but yeah, that's, I did wrestle with putting that stuff in,
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but then I was like, no, this is what it, like they were back to the Orson Welles quote.
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Like most of the time is spent just trying to get your shit together to like
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make the stuff happen. You know?
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Yeah. I, I know in the review, I, I, I,
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I liken this in-betweening to one of Woody Allen's films, Deconstructing Harry.
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But in retrospect, I really think I should have said Annie Hall because I know
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that your film is not about relationships.
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But the fact that in that film, Woody Allen went with all the – there's some
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animation in there. There's breaking of fourth wall, which is in yours.
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And of course, Richard Linklater's Waking Life and Spike Lee's Bamboozled.
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There is a great number of wonderful elements
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in this and i love how it it
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drifts in and out of them sort of at
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the right time like i don't know what when you were writing it
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did you did you write it did you write it
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straight and then go well this scene could be animated or
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did that did it develop did it
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wasn't written like a straight story and then
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you decided well this sequence could be animated in this sequence or
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did you just write it how it is it was
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it was actually a little bit of both there were a couple things where i
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was like where i knew either because of
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access to a location sorry my cat's gonna this cat
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is gonna be back here because of access
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to a location or just what
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we were able to pull off i knew i was like okay it'd
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be easier to animate this and then also that initial
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scene where the standardized patient scene where he's
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like in the medical school and i i knew
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that i kind of wanted him to fall into it and all so i knew that
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i wrote that one animated but there were a couple that i wrote as you know just
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sort of wrote straight as live action and either i either through discussing
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it with nick our animation director or something that happened during production, I was like, oh,
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we can't, it's not going to make sense logistically to do this live.
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Let's do it animated the musical number in particular is what i'm thinking about
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because we were actually going to shoot all that live right we had a choreographer
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we had because we have a lot of musical theater people in the movie that's why
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i wanted to do a musical number.
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And we were going to shoot it live and we were getting very close to doing it but,
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schedules started diverging and it and i
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kind of was putting it off for anxiety reasons too because it was going
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to be a big deal right i was kind of afraid of doing it and
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chelsea our lead actress that played michelle she got
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pregnant fishbone started touring so angelo
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was relatively unavailable right yeah ty who
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plays the zombie guy he actually just mounted a
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show he he just opened a show called titanique which
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had just opened in new york right off off broadway
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but that was eating up a lot of his time in fact
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i think it's about to open in sydney oddly enough it's actually like
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spread out you know i love i love the dead what was
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his official title dead guy oh zombie guys
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zombie guy that's right yeah yeah so that was
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that was like i i was stressing about getting their schedules together
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you know so then i started thinking well what if i animated this
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part that i thought i was going to do live action and i have a effects company
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that i had been working with on the previous couple movies that were like more
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horror sci-fi movies and they they basically just did like clean up or just
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like tweaks of stuff for me on those films but But they would always email me and go,
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hey, do you have anything to animate? We do a lot of 2D animation.
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And Nick and his team were already loaded up with everything I had written animated
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already that they were doing.
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So I thought, well, what if I reach out to this Indian, they're in India,
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animation studio that keeps asking me for animation.
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And now that scene will now be animated.
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So that sort of changed sort of midway.
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And did that help with the budget, delegating certain scenes to animation?
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Yeah, absolutely. Absolutely. It made it, yeah, it made things a lot easier.
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And especially with a lot of those scenes where people are, like I said,
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spread out, like Ty was in New York at that time. He's from Houston,
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but he lived in New York at that time for the show.
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Angelo's all over the place. You know, it, it,
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brought that time that i had to have everybody together down to
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a minimum because you know i paid everybody i put them up in hotels
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or airbnb's you know although it was
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indie i tried to make it as comfortable as possible
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because you know we're all tired of sleeping on floors or you know what i mean
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like we yeah or in some dude's garage right exactly so so that's that's not
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biographical is it you did you didn't sleep in some dude's garage which doubled
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as a a taekwondo that so it's a little bit.
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I, it was more like couch surfing type stuff. However, I know I've been,
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I've been in martial arts for a long time and I've known a lot of guys that
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have done that exact thing.
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Because they, they travel somewhere to go train with a certain person.
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They don't have any money, but those guys are like animals.
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You know what I mean? Like, they're just like, yeah, sure. I'll sleep in the
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garage, but I've heard that story from so many people. So I'm like,
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oh, well that's believable, you know?
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So yeah, that's kind of where I thought that's how kind
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of I put those things together but as as far
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as everything like the puppet stuff was written because i just i
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kind of wanted to work with puppets grew up on sesame street yeah why not
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and meet the feebles is one of my favorite movies so
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i was like oh really oh my gosh yeah that
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that is actually when i moved to college in
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austin in the 90s they
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were playing that at the dobie theater which is at the time it was like the
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art house theater on campus and i was like what the hell is this and so and
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that's when i got hooked on peter jackson like that's fantastic i have a i have
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a dvd copy of that which at the top of it says from the academy award winning
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director of lord yeah yeah yeah,
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Yeah.
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Yeah. Yeah. And you've got, you know, cats in the alley smoking bombs and,
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you know, blow job from a cat and all that sort of stuff. Rats sniffing underwear.
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I like the contortionist gets his head stuck up his bum. Yes.
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And he's like, I'm in need of assistance. My head is stuck up.
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Yeah. My, uh, my band in high school slash college, we, we covered the,
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uh, sodomy song that the Fox does.
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You won't see that in a high school musical. Nope, you won't.
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Don't listen while I sing about an act that's fun.
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So good. I'd love to talk to Peter Jackson about that.
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I'd throw out Lord of the Rings and all that other stuff and just go,
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let's talk about Meet the Thieves. Yeah, yeah, yeah, yeah, for sure.
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And Bad Taste too. I like all of his elders. Oh, yeah, yeah, yeah.
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Yeah. Yeah. All that stuff. I mean, you can really see, I mean,
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that's the thing with some filmmakers. You can see, you can see the sort of,
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sometimes you can see the trajectory of where they're going.
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Oh, for sure. And sometimes you're just like, I don't know.
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Whoa. Right. Right. That was a weird, that was a weird step or a side quest
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as the kids say today. Yeah. Yeah.
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That's great. Meet the Feebles. But, yeah, back to the in-betwoining,
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it really struck home for me, this film, because I myself have been in – I mean,
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I've couch surfed. I've never lived in a garage or anything.
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And, you know, you do a thousand other things besides that, which,
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you know, you're striving for.
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And I think that's why, and I hope that your film continues to get –,
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a lot of responses for it because i'm pretty sure that it
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speaks to just about anybody especially in this business especially an
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independent film right and another thing
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i liked that's brought up in there is is about credits and this is this is something
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that that i came to late and the fact that if you don't have any credits people
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really as good as you are they're really not sort of interested because until
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you've sort of proven that you can do something they're not going to hire you
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do anything is that what you're right right.
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Oh yeah yeah definitely definitely and
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earlier on the less so now
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but at at the time around when that all that stuff was
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sort of happening people were really obsessed with
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like your imdb rating or not rating but
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like your your popularity number i think you know
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and they're like well you know you're only in
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the like hundreds or what you know what i mean like there was a lot of yeah i'm
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like you're not talking about sorry yeah yeah
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and it's weird because it's sort of
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the hat it happened in the other direction for us too because at
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the time that my last was like two features ago
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but i did a movie with katie featherston from paranormal activity right when
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it was when it was between when one and two came out so she was like number
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one on imdb and that's when everything sort of blew up for the movie she was
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in with us and she was only in it for a few minutes but i mean she we put her
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in because I knew her through Dallas.
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She's a Texas actor. So I just friends of friends, you know,
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but I knew that that movie was going to be popular. So I was like,
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yeah, let's put her in it, you know, do something.
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I never realized it would be that big, you know, but it's sort of,
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It gave us a bunch of good fortune and bad fortune, because as soon as people
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got over that, then it was like they didn't care about any of it anymore. You know what I mean?
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But yeah, I definitely did experience a lot of that.
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Who are you? What have you done? What's your IMDb rating?
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Right, yeah. hide into that. Again, another reason why I didn't know that I
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didn't really, I didn't know if it speak to people at that time,
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for whatever reason, maybe still to this degree, I was working out in LA a lot
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or trying to work on movies and stuff as a crew member or whatever.
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And people would not admit to doing anything other than that.
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Like they could have had 12 side gigs, but it's like, if you take a meeting
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with somebody or even not even somebody that's going to make something happened,
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but just maybe somebody you want to partner with the, the minute they would
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get a whiff of, Oh, this isn't like you have a day or you have a day job.
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They would be like, Oh, you're not like just in the biz kind of stuff.
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And there was a lot, there were four or five times where that happened.
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And I'm like, what are you talking about, man?
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I know you just, I know you just worked a catering job last week.
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You know what I mean? Friends of friends.
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So there was a lot of that. So it, it became weird to where like,
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I, there was a movie I was producing here that Debbie, I actually got Debbie
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Rashawn and Lisa Wilcox in, and it was, it was being shot at St.
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John's Academy, which is where they shot Rushmore. A lot of well-to-do Houstonian
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kids have gone through that school. Right.
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And I don't even remember how I met these kids, but they asked me to help produce.
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Cause I had done a couple of movies.
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I knew some people that wanted me to get people attached, but I found out quickly
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that I had to kind of hide the fact that I was going to deliver pizzas after
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we wrapped or had to leave because I mean,
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they were all rich kids to be honest. Like they'd, they'd,
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They, I mean, their parents gave them money to make the movie,
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you know, they didn't know about like trying to scrape shit together to like make something happen.
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And, uh, I remember Debbie and I had this code and I was like,
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Hey, Debbie, I gotta go. I gotta go have a meeting with the Italians.
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That's what we called me going to the pizza job. So it sounded like I was doing something official.
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Yeah yeah yeah but yeah it was why and and even that like i said even that would
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kind of if had they found out i think it would have got twisted and it did eventually
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when they they found out that i wasn't mr big shit you know indie horror guy
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or at least not what they thought you know,
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they i they kind of just all you know they they all kind of drifted away and
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you know didn't really want to have anything to do with me unfortunately but yeah it's it's weird how,
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there's this people put up this facade of you
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know everybody's sort of surviving off this when the reality is like
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most people aren't yeah it's very
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it's very rare you know yeah yeah i i was interviewing um bill oberts jr great
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actor earlier this year and his manager told him a very interesting phrase and
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and it's really stuck with me since i heard it it's perception is reality,
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especially in the film yeah.
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I mean that sort of sums up a little bit of in-betweening too you're trying to,
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You're not trying to front, you're trying to be a professional,
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but you're forced to front because of all the other crap that's going on.
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Correct. Yeah, yeah, yeah. Yeah.
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And not everyone has a nice, happy little train to go away and sit in and chill out for a few minutes.
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I love that sort of scene anyway. Is that little train, is that somewhere near you or is it something?
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Yeah, it's kind of, again, it's a combo of a couple of things.
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Like there was, so in Houston where the, the medical, they call it the medical center.
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It's where like a lot of the medical schools are in a bunch of big hospitals,
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but there's a big park, right? Sort of in the middle of it's where our zoo is as well.
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And there's a, a tracked train that runs through the park and it's sort of like a scale model.
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Like, you know, you see, you see them in a few big parks, you know,
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around the world, but I would sometimes after my shift at the SP hospital,
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when I would get like in between working with
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medical students because a lot what a lot of us would do is we'd
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take a shift teaching this case to these kids at this school and then take a
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shift in the afternoon at the school across the way and you have a little break
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but you kind of would have to piece it together like that to sort of make a
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living at it right it's not something that was consistent you know right right
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it's like most of these it's it's gig work kind of so what i would do is i would go and just,
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fall asleep on this train and just pass out because it would you know take 30
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minutes to like lap the park.
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And during the day they didn't really care. And it was like a dollar or two
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to get on it. And it was so relaxing, you know, the, the rocking back and forth, the noise.
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So I would do that often. And there were a lot of times where people would look
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at me crazy or think I was, you know, you know, a homeless person or whatever,
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but. It's a game of a filmmaker.
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Exactly. Yeah. There were a couple of times where I did do it in my gown,
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you know, cause I just didn't want to change.
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So I can only imagine that they thought that I, you know, I just like walked
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out of some hospital over there.
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But there was that one. And then the train, the train pretty much exactly like the ones in the movie.
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Was they had a train like that in the mall that was
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like directly across from where my pizza restaurant was so
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i would go kind of that one was a little harder to chill
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out in because somebody my i'm a bigger guy so somebody
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my size like it's very hard to like get in those little yeah sort of relax yeah
24:18
but i i did once or twice because i was just bored and i had time between shifts
24:22
i was like huh i wonder if i can recapture that train feeling on this thing
24:27
you know you pay for a ticket they don't care you know as long as there aren't
24:30
a bunch of kids trying to get on and you're trying to crowd them out or whatever.
24:33
So yeah, I would, I was, I would just get on and kind of laid out in that or
24:37
pass out and just kind of space out as he drove around the mall, you know?
24:42
So it was like my weird sort of Zen area, both those trains and that,
24:47
that original train, the one that's actually on tracks in the park,
24:50
they had agreed to let us shoot. They were going to let us shoot up, shoot there.
24:53
But I quickly realized that there would be a lot of starting and stopping and maybe turning around.
25:00
It's not because it's on actual tracks. Right, right, right.
25:04
Whereas this one, this is a train they rent out for parties and stuff and they
25:08
kind of bring it. It can run anywhere.
25:10
And on the second or third shot, I was worried about having to ask the engineer
25:16
to move it every time for whatever we needed or whatever, the owner.
25:19
But on the second or third shot, he went up to Jill who plays Andy and said,
25:23
hey, let me just show you how to drive it.
25:25
You could just drive it around so he was letting her drive it around the park.
25:30
So we could just kind of just do what we wanted you know
25:33
yeah it's um look it's
25:36
it's a it's a wonderful film it's it's it's about
25:39
all the heartaches and hardships that that go along with this it's funny i just
25:46
finished reviewing documentary about dan rather yep and dan And rather used
25:53
to sign off by simply saying, courage.
25:57
And that's what you need to do this thing, isn't it? Absolutely. Absolutely. A lot of it.
26:06
Yeah. Yeah. A lot of it. A whole lot of it. A whole lot of it.
26:11
That's what I found, really.
26:13
I mean, every time I have to give myself another round, well,
26:19
consistently a round of pep talks to do it again, do it again, do it again.
26:22
Even after like this, this has been so well received, you know,
26:27
and you would think that I'd have no issues getting to the, but I know. Yeah.
26:32
Yeah. But I know that whatever that's, I don't even know what it's going to
26:35
be at this point, but I know that I'm going to go through the same round of,
26:39
oh man, I don't know if I can do the second guessing imposter syndrome,
26:43
you know, or is anybody going to care, you know,
26:45
kind of because I've done that almost every time, you
26:48
know so yeah because well i mean like like
26:52
uh like you're the lead character in the film um and
26:56
and as i stated in the review you in the whole in this business you're only
27:00
as good as your last movie and if your last movie doesn't uh even attract or
27:04
doesn't attract or doesn't uh right doesn't gain any traction then you're uh
27:09
you know you you're pissing into the wind yeah,
27:14
most definitely most definitely yeah because you're trying to convince i mean
27:19
the the big thing that people don't realize is that most of the time is you're
27:23
trying to convince other people.
27:25
You know you spend you spend a majority of trying to convince other people or
27:29
trying to sell other people on on your ideas and the fact that this is this
27:34
is going to be this is going to be good and we've got we've got you know xyz
27:39
actors and we've got you know this and that and we've got all that Well,
27:43
that sounds really good.
27:45
What else have you done? Yeah. Yeah. Exactly.
27:50
Exactly. You know, or just, just like the, it's look, it's perfectly illustrated
27:55
in your movie in the scenes where he's in front of these, you know,
27:59
the, the suits, if you will.
28:00
Yeah. And trying to convince them that, that he's the guy. I mean,
28:05
uh. Right. Yeah. People. Yeah.
28:08
People suffer the, the, the, the illusion that like once you've had a few movies,
28:15
or you've got those credits now finally that all of a sudden the seas become calm,
28:21
the sun comes out and the wind fills your sails and the rest of the voyage is smooth.
28:28
But as in-betweening beautifully illustrates that there is no smooth sailing.
28:34
No, no. And the maelstrom is perpetual.
28:38
And if you do not have the courage and consistency and tenacity and the love,
28:45
The road is going to, unfortunately,
28:48
like it does to poor Brandon, it gets on top of him so much that he nearly does
28:54
something very silly, unfortunately.
28:58
But it's all in between. And it's a film that I've watched.
29:04
Just reviewed recently. The link will be in the description, listeners.
29:07
It's a fantastic film. I encourage you all to get out and see it.
29:11
Mel, tell a listening audience where they can see in-between.
29:14
Absolutely. Right now, it's available on Amazon Prime.
29:18
It's on Tubi. Tubi? And it's on Fossum, which is, a lot of people don't know
29:24
about that, but it's a very Tubi-esque sort of platform. Okay.
29:27
There's a few of those in the States, isn't it? There's another one I've noticed that's called Zumo now.
29:32
Right, yes. That one just popped up. yeah and uh
29:35
it actually has been licensed by another platform i
29:38
don't know if i can say it yet because it's a youtube-based sort
29:41
of streaming platform so as soon as that goes live
29:44
i'll let everybody know but you know you can you can find all
29:47
the info about it at my website which is upstartfilmworks.net i
29:50
try to update it with because everything i'm it's it's self-distributed as
29:54
well i'm kind of doing i'm the chief cook
29:57
and bottle washer like putting it out there yeah and and
30:00
and promoting it with you exactly because
30:03
i've had so many bad experiences with other
30:07
you know where it's like it goes out there
30:09
and you just never know what's happening
30:12
with it where it's at i found there's a i have a
30:15
poster for my one of my features it's a japanese poster it's
30:18
right over here on the wall yep and i didn't even know it was out in
30:21
japan like somebody a friend of a friend was like
30:24
oh i got this tell mel i got his movie and you know the watch
30:27
it's great and i'm like i didn't even know it was out over there so i had
30:30
him scan i had him scan the art and send it to me and
30:33
i made a poster of it oh i was similar i was similar i wrote like a horror western
30:37
and i thought because it didn't it didn't seem like it got distribution the
30:43
people that paid for it seemed like they were distributing themselves yeah and
30:47
they put it out on dvd in states and the next thing.
30:51
I didn't hear anything and I thought, oh, they've just put it on DVD and they're
30:54
selling it, you know, like on website or something.
30:57
And I thought, oh, that's a bit of a shame. But then someone called me and they
31:01
said, hey, did you know you got a, they sent me a photo and it was out in the
31:04
UK and some DVD company had picked it up in the UK. So I eventually got one from the UK.
31:11
But, yeah, but it was very like, oh, wow, it's out in the UK, really?
31:15
Yeah, yeah. Because like you said, they don't, you don't, you know,
31:19
I mean, And depending on where you're at, whether you're the filmmaker or the
31:23
screenwriter or what, you don't usually, sometimes you don't hear whether or
31:27
not these things come to light or get released.
31:30
I mean, look, I've worked on some films that have never been released at all. Yeah.
31:35
You know, God knows what happened to them or the circumstances or whatever,
31:39
but it's the nature of the beast and it's the battle we fight.
31:45
But Mel, I want to thank you, mate, for your courage and your professionalism
31:50
and for making this movie.
31:51
It's a really, really great movie,
31:55
and I think it has a lot to say to young filmmakers who may be feeling overwhelmed
32:00
and that the rising tide is crushing them, but if you stick in there,
32:05
you might get a movie out of it.
32:07
So depending on how much you love it and how much you really,
32:11
really want to be in the movies, you'll stick with it, just like my mate Mel
32:16
here and his wonderful film.
32:19
In-betweening, all the links will be in the description. Mel,
32:23
you're a wonderful bloke. You're a top bloke.
32:26
You're a great filmmaker. Thank you, sir. Can't wait to see what you get to do next.
32:30
Thank you, sir. I appreciate it. Thank you so much. Yes, Mel House,
32:34
great bloke, great film.
32:35
In-betweening, there's no excuse to wait, ladies and gentlemen.
32:39
Get out now. The links are in the description, links to the review, links to the film.
32:45
Go get it now. It's on Tubi. it's on amazon it's coming
32:48
to to blu-ray lots of cool
32:51
extras mel's a top bloke get down
32:54
to the links in the description and
32:57
check out in betweening if you want a career
33:00
in film business this is this is a look at
33:03
what it takes and the courage required
33:06
to see your dreams on silver screens
33:10
come true it's in between check the
33:14
links in the description and as always my little eugenites thank you for listening
33:20
to us on spotify or wherever you choose to listen to your favorite podcasts
33:24
i'm ken hill and until next time you've been listening to cinema you're okay.
33:30
Music.