Latest / Cinema Yūgen / Trauma, Obsession & Indie Grit — Patrick D. Green on Beau Ideal

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Trauma, Obsession & Indie Grit — Patrick D. Green on Beau Ideal · Cinema Yūgen

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G'day. That's right. It's that time again. Time for... CINEMA! YOOGEEEAAAAAAA!
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Yes, Eugenites, welcome back. Filmmaker, actor, indie powerhouse Patrick D.
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Green drops into the show to talk about one of this year's most gripping,
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the stunning psychological thriller, Bo Ideal.
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At a time when intelligent adult dramas have nearly vanished from our multiplex
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screens, Green and co-director Ed Blott have delivered a slow-burned suburban
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nightmare, cut by the same cloth of What Lies Beneath, Little Children,
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and the dark Americana David Lynch liked to tease.
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Tense emotional, volatile, and armed with a climax that lands like a hammer-blow bow ideal.
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Is proof that Daring Cinema hasn't disappeared, it's simply gone indie.
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Green stars as Jake, a man attempting to outrun childhood drama in the quiet
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stillness of small-town Oregon, only to spiral into paranoia.
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Obsession, and emotional collapse after suspecting a neighbour of abusing his son.
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What begins as concern becomes a powder keg of guilt, rage, and moral reckoning,
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with Green delivering a raw, fearless performance.
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Simmering with anxiety and wounded fury
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alongside him eric martin reed is magnetic
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as the intimidating dave while michelle treasure grounds
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the chaos with aching emotional realism visually
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the film is extraordinary and blotts award-winning cinematography
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drenches every frame in creepy dread with alejandro medina's
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score pulsing behind the
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surface like a warning siren every glance
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feels loaded every silence dangerous this
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isn't nostalgia filmmaking or empty imitation
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bow ideal is the real thing intelligent emotionally
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charged cinema made by artists refusing
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to wait for hollywood's permission to tell bold stories
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this episode slides deep into the filmmaking the psychological
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tension the performance artistic risk
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and the making of a film that deserves to be
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spoken about far louder than it currently is patrick
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d green is here ladies and gentlemen
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bow ideal is his movie get down to the links in the description to read my review
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from filmthreat.com and the website bowidealthemovie.com to check it out and
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where you can find it bow ideal will blow your mind, but right now please welcome my guest.
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The intensely and immaculately talented Mr. Patrick D.
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Green. Welcome to Cinema Eugen, Patrick.
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Oh, Ken, thank you so much for having me. Mate, thank you so much for being
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here, and thank you so much for making this picture Bo ideal.
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I have to say that when it popped up in the slate of films given us to review
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Film Threat, I, like some of the last sort of good indie dramas, thrillers,
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dramedies that I've seen, I was lured to specifically sort of by the very short
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description of the film, which, which struck me in the beginning as kind of
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a what lies beneath story,
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but without the supernatural element, obviously.
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Was that film a, a touchstone for you going into this at all?
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You know, not specifically that one, but I do love kind of the early arts,
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nineties, even eighties thrillers.
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Yeah. I only bring it up because it, it, I thought Zemecki, I like,
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I kind of, when it goes supernatural, when it leans into the supernatural,
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I think it loses something.
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But those early scenes where Michelle Pfeiffer is curious as to the neighbor
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and his wife and their relationship, I thought was the more compelling thing.
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Part of the story like once it becomes a ghost story you kind of you know where
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it's going but i really like those early very atmospheric exchanges you know
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when she's up at the fence.
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And she's like yeah and and then all of a sudden boom the chick's there she has,
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and like she tells her something and runs away and then she goes and
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tells harrison for you know i think the neighbor is beating his wife or whatever
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yeah so good yeah so
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i mean that that was the only reason i brought that up because kind
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of like in bow ideal the early elements or
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the seed of of what is going to to carry the
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narrative of your story sort of begins that way with
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this with the your character witnessing something you know to be to keep it
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vague because like i said i don't want to spoil this too much for anybody but
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once he sees once he sees this particular event it then leads that's kind of
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the chain reaction which leads him down,
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this path of intrigue almost sort of amateur sleuth and then it becomes like
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this posturing jewel between oh you know the the city guy and the country guy
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and you know all that sort of stuff right you know i mean uh what so what was
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the what was the the germ of this.
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Story i mean because you are the the epicenter of
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this film the writer the director the producer yeah
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so first of all it was the location it
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was near mount hood in the pacific northwest oregon this
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beautiful river the salmon river and just
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kind of having moved out there from the city and
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yeah that kind of cultural difference with with kind of the more mountain you
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know rural folk yeah me the city boy right right so this so so the germ was
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an actual life experience ago this is an interesting sort of germ for something.
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Yeah, and I actually used to work for Children's Protective Services.
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Ah, okay. Right, okay. Yeah.
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Okay, so wow. Okay, so now it's getting interesting. Okay, so the plot thickens.
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So, okay, so this is very close to home. You're drawing from...
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Life experience yeah and actually personal
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experience as well okay yeah generational trauma
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in the family and that kind of thing right right no because
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it does it does feel like that i mean
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i i think that
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the most resonant material is
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when an artist of any kind be
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it an author filmmaker actor truly leans
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into something to a story that they they're
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almost the only person that can tell it based on everything
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that's happened to them and everything they've experienced do you
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feel that way yeah i i certainly do
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i think a lot of what i was thinking about here was you
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know this this idea that we as men want
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to be the hero in a lot of different situations and because
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you know a lot of the times we're not really allowed to you.
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Know deal with our own personal trauma and stuff we
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we kind of do it with a short-sighted nature you know
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right what doesn't kill you makes it
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makes you stronger yeah we want to think that
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don't we yeah that's that's kind of like the the big
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uh the band-aid to sort of
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gloss over it like well i survived it so it
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didn't cross my eyes so it must be okay yeah but
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really the the scars the damage is is
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something that's more internal and and you know
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just like something cancer is it it grows silently
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until it becomes all consuming wouldn't you say yeah yeah i completely agree
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and you see that with our our hero here shape you know yeah he's i mean but
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he's already i mean at the start of the story your character is already on edge.
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Oh yeah. Yeah. I mean, he's, he's, he's already tense. I mean,
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I mean, was, is that intentional?
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Like he's, he's already kind of wound up and this is meant, this is meant to
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be the big unwinding, but it almost sort of.
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Binds him tighter, if that's possible. Yeah, yeah.
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I mean, he's going through a lot with his own personal family,
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and then he's put in this situation where he sees a very similar thing going on next door.
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So, yeah, he wants to insert himself into it. I also like the subplot with the
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sister and how that sort of comes in and out.
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Yeah, I kind of considered them to be trauma twins in a way.
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You know, they kind of family abuse and they're dealing with things in different ways.
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Yeah. But she's more, she's more at the forefront because she's kind of like
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the bridge, but the pacifier in between, like, like, can't we just get along
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for this half an hour and then you can go back to hating each other later on, you know? Right.
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You know, it's like true siblings are, right? Yeah. Yeah.
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Because it's almost like there's one of you that, and, and, you know,
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in some cases it's often expected to be the oldest sibling, but,
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but oftentimes it's either the younger or the middle one.
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Who's like the, you know, it was like the Bee Gees.
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If you ever watched interviews while they were all still here,
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the middle brother was like the bridge between the youngest and the oldest who
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apparently were at each other's throats at times.
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So he was like, I'm the calm one in the middle. I'm the one both call.
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Oh, could you go and tell Robin that, you know, we're going to do the He goes,
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why don't you call Robin?
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And he's just like, well, you talk to him more than I do and all that sort of thing.
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But, yeah. I'm a middle child. I get it.
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Yeah. Oh, so you've been, look, man, you're the perfect man to write and direct
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this movie. You've been all of these characters.
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And it makes sense in a lot of ways. Because, I mean, that's why they're so
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well written is because you know them so well. Is that?
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Oh, I appreciate it. You know, this was my first time trying to write something myself.
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Wow. Wow, wow, man, okay, I've found the bar, folks, and here it is.
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First, wow, first, so this is your first screenplay, you've never read it?
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Have you written something before this or not i've written
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in you know just a couple shorts in the past but okay wow
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so the first feature screenplay well this is a this
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is a huge accomplishment patrick this is a very
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very well written extremely well written
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character story and that's
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man i know people will will ho-hum
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and i have cinephile friends that ho-hum at me for
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liking films that are mostly just people talking in rooms but
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i said what is oppenheimer right there
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you go it's mostly people talking um
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you know and look there was
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a very famous filmmaker once said that the greatest landscape you can catch
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in the cinema is the landscape of the human face i love that you know and and
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it's true and to watch your character run an absolute gamut of emotions while
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doing something that he fully heartily is,
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is almost on a spiritual soulful level invested in like, well,
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I couldn't save myself, but maybe I can save this kid and I'm not going to let
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this kind of abuse continue.
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If I have the power to stop it. Right. And that's like, I mean,
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for him, it's like the shining, like I'm the knight in shining armor.
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I mean, that's the way he's justifying. But in the end, it's,
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it's going to end with something very, very, very dark. Yeah.
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And, and sinister, you know, which, which kind of like, that must've been tough.
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Like when you're writing that and you come to that that turn
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like what was that like
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in in the writing is it something like well you've got your outline and was
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there ever a point when you were writing this i guess the question is where
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you went off the outline and it kind of your personal your own personal sort
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of self just sort of takes over and you just go i know how this goes right,
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yeah i don't know if this says a
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lot about me or not but i am kind of drawn to the darkness you know kind of
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a melancholy kind of and people and i i feel like you know because i've been
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i've been an actor a long time too you know as i was writing it like the the
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characters just start to have their own voice and then the story just.
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It just be, it just appears. It's not something that I could,
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you know, mold or shape or create.
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It just, it, it had to be the story that it was. There was nothing else. Yeah.
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No, it's, oh, you don't, honestly, I know, I know it sounds like I'm blowing
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fan smoke up your keys, but I just, I was so honestly like,
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you know, like, I don't know what, what I know what,
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I know what people expect when they go to
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something that's worth a hundred million dollars and
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big bright and shiny and you can't not know this
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movie's coming out because it's everywhere it's on the side of buses
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it's on the junk food that you get on the
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way through the drive-through it's on your phone
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every time there's an ad in between something else that
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you're trying to watch and there's 50 ads now there's more
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ads on the internet than there used to be on tv oh so
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true but with these
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with really quality personal very
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polished indie pictures like this it's it's it's it's like almost a miracle
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sometimes that you trip over and i've seen so many good films that really should
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and deserve to be seen you seem to lay i mean sheerly by.
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The nature of like, not just how much you can throw behind it as far as promotion
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and advertising and word of mouth is concerned, but also at the, at the level of,
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well, there are now billions of voices screaming into the void for attention
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and so much product and everyone can now,
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like the democratization of the art form is, is even more so than it was in
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the, when, when digital video and the final cut pro and all that sort of came
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out and it was like, wow, we don't need a film camera anymore.
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You've got a laptop and a camcorder. You can do something.
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And now iPhones as well, but the line still exists. It was a great line by Harrison, Ellen Shaw.
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Who said Shakespeare never had a word processor. We have word processors. We have no Shakespeare.
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And that's very true. But it's not true in a sense because there are really
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marvelous filmmakers out there and incredible writers too, like yourself.
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It's just they're harder to – you really have to now, more than ever,
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you have to sift through the great mass of media. I mean, how do you,
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now this is, I mean, this is your debut feature.
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How do you feel about it as, as someone trying to get their film seen?
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You know? Oh, it feels like pushing a huge boulder up a giant, right?
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Like, you know, I, I think if I allowed myself to get too consumed thinking
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about that, I would give up altogether.
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Right right don't tell me how hard the mountain
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is hey yeah yeah just climb
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yeah yeah just don't tell me when i'm getting there right
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don't tell me the odds yeah i think that
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the thing is you know like there's no way i can compete with hollywood right
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this was made on a micro budget you know i couldn't afford you
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know a name actor or anything this is
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something where i really feel like as an independent artist if you're doing
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it for the the actual craft of it that's you know that's the part that is really
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worth more than anything is like I told a story and I told it the best I could, you know, I, I.
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You know i i feel like you know if you're writing something very personal it
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will connect to someone else and it will find an audience and that's what i
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feel like i just really have to have faith and,
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yeah yeah because i mean i i guess that
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if you uh as i have known people if
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you don't sort of see results like people feel
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like oh well i put so much into this project it's got
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to pay off it's got to do something right because like you say what they're
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what they're aiming for and and the longer you go on in this business the longer
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you see what people are actually aiming for because it is defined by their choices
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in in in sort of next steps like okay they did this,
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you know as a screenwriter myself i'm always like as much as i enjoy what i'm
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working on now i'm i'm constant there's part of my brain that's already constantly
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thinking about the next one and the next one.
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Because it's about, it's about survival really.
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I mean, if you want to, if you want to stick, if you want to stick in it and,
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and keep in it, you have to like sort of plan.
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You have to almost be a chess player in some sense and think a couple of moves and,
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uh yeah you really do and i
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feel like you know for me this this one film
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bow ideal is kind of a calling card that hey i can
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do something i can write a story i can edit it
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i direct it you know i can put that
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out there and i have something to point to in the meantime
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you know i'm working on two other screenplays and i hope
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to have you know bigger budgets and and and
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all of that i hope so too and just keep just keep going you
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know yeah geez i hope you do so now now
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you've now you've put some sugar on the table may you
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tant may you tantalize us with with simply the the genres that you are uh are
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they dramas well so like one is a drama kind of a dark drama zone of avoidance
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is what it's called it's about a middle and to who returns to his hometown after
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nearly 30 years being away,
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and he's looking for his long-lost brother who allegedly ran away when they were children. Hmm.
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And then E-T-A-N-A is another one. It's more in the line of a dark thriller.
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It's about two very different couples, one a drug-seeking couple and another
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a queer couple who's trying to rebuild their relationship after a traumatic
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thing that happened to them.
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And so these two couples converge at this cabin in the middle of nowhere.
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Yes. Yeah. True. I'm so.
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I'll be there. What was that? Day one. I've already got two tickets for both.
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Nice yeah selling tickets individually yeah
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why not you know i mean look the
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studio i mean look the odyssey was selling tickets a
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year before it came out so why
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not jump in there early like don't don't worry
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about having written the script yet like here's the next
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movie i'm gonna make i'll go around one ticket at
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a time and then
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and then you'll have the budget and then you'll have a year
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to make the movie and then there you go yeah just keep
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going man just keep going no it's no it's
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fantastic it's great and certainly after
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seeing beau ideal you know anything you do next i'm i'm i'm very very eager
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to see like and and do you plan do you plan to keep being in them as well are
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you looking just to to in some cases just right and direct or are you happy doing the full Monty.
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Well, unless I age out of these projects, the plan is that I would be in them.
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Yeah, I'm just a narcissist actor here.
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Hey, look, Woody Allen made a career out of it.
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Yeah, there you go. I know he's a hot topic because of his post and all that
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sort of thing, but you cannot deny the genius of that.
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I completely agree. He's an inspiration. generation
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right right right a film year and direct a
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film a year for 50 years he is almost
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peerless except for the early filmmakers like buster
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keaton and charlie chaplin yeah in that
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respect so yeah okay some of
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the latter pictures like the the one
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with barking joaquin phoenix i thought was a bit boring and
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wonder wheel and some of the latter ones weren't as good
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but like peak peak woody allen like
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70s woody allen even early 80s
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woody allen was did you like match point where
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he did his own yes yes and also also
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a little talked about one cassandra's dream the
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one with ewan mcgregor and colin oh i haven't seen yeah check that one out really
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good up your alley as far as dark family stuff and with regards to the one you
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were talking about the better dude who comes home after a long time have you
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seen the australian film the dry,
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The Dry. D-R-Y? Yeah, it's just called The Dry, and it stars Eric Banner.
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Oh, I love Eric Banner. I'll check that out. Yeah, watch that one.
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That's a similar story. Not about a guy who goes back to find something,
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but he's called back because a friend of his has died, and there's a funeral.
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Oh, okay. But they have died under suspicious circumstances.
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I won't say anything more than that, but, uh, he is, he has,
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he had a little country town, which he left many years ago. Cause he went off
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and joined the federal police.
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So obviously he's in the city. And of course now that he'd come back for this
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funeral, now the folks of the, the chappy who's dead, former friend of his,
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is going to ask him to hang around and, uh,
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and, uh, you know, dig under the rug and I'm intrigued.
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So yeah the dry eric banner check that
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one out too i reckon that will be definitely up up your alley uh
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yeah and and and might might lend a bit of of inspiration too for your uh for
23:45
your film as well because it has it has it has well not exactly the same plot
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but a similar thing like a guy coming back to his past and and all that sort
23:54
of thing that's a good stuff yeah i mean i And also,
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too, I re-watched recently Trainspotting 2, which I only watched once back when it came out.
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The sequel, I have only watched that one once as well. I just recently watched the first one again.
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Yeah, and I watched the sequel and I liked it much better the second time I
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watched it because now I get sort of what they were going for because it's a
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different kind of movie.
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It's about these guys, you know, there's actually a line in the film where he
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says, like, you're a tourist in your own childhood or something like that.
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You're a tourist in your own past or something like that, you know.
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When you go back and look at old houses and old haunts and hang out with old mates.
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You know what i mean it's so yeah i'll have
24:39
to check that one out again i've only seen it the once but isn't it fascinating how
24:42
like just in like a different time period of
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your life and where you're at like a movie can go from being really
24:48
bad to being really good yeah it's like
24:51
that thing they talk about you know you when you listen when you're
24:53
a kid listening to the song you listen to the beat and when you're older
24:56
you listen to the lyrics or the lyrics sense or
24:59
something like that you know because it's it's
25:02
it's like you in when you're young you sort of bop
25:06
into the beat but when you're older you listen to the lyrics and the
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lyrics sort of have more meaning because the you know
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yeah you're not hip enough to dance
25:14
to the beat and if you are you you're considered uh
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oh god don't realize
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how you realize how dirty all
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the lyrics were yeah yeah it's just like wow
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i didn't i don't remember ever coming
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across that way but yeah don't think about masturbation
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yeah yeah it's crazy right and like
25:36
detachable penises and yeah it's like
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wow we used to listen to like dennis leary singing about
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what an asshole he was and and yeah it was some crazy stuff let's do it like
25:50
we do on the discovery channel yeah it's like wow it's great to watch kids today
25:58
watch like discovering like they make these clips of themselves listening to to.
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90s music and 80s music like like we
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used to hear music from the 50s and stuff like yeah
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isn't this quaint like detachable penis isn't that
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funny yeah it's
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uh yeah it's it's really fun it's also fun watching them too like watching sort
26:21
of uh notorious films from back in our day like you know first viewing of deliverance
26:27
and first viewing oh yeah of of you know i don't know nine and a half weeks
26:32
or something like that, or angel heart or something like that.
26:35
And they're like, Oh my God, how intense, how, how sexually graphic.
26:43
My goodness.
26:46
Mother, best cover your eyes, I think.
26:51
This stuff. It always happens when you're watching a movie like that with your, your parents, you know?
26:55
Yeah. Yeah. It was crazy. Well, I remember watching a deliverance with my,
27:00
with my father um yeah
27:04
and it came to that scene because i mean you watch it
27:06
now and it's and it while it is very it's
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clearly what's going on but visually it's
27:14
only suggesting it's not graphic right as opposed to like but but i think in
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some cases your mind remembers it to be more graphic than it actually wants
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it's true like look at even psycho like everything that happens about The shots
27:29
were amazing, but you don't really see a lot.
27:31
There's not a lot of blood. I mean, except for that little bit where you see
27:34
the water running down the. Yeah.
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There's not, I mean, there's not blood all over the, I mean,
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have you said, did you see Gus Van Zandt when he did like the shot per shot?
27:44
Remake of psycho yeah and
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and vince vaughn plays the yeah anthony
27:51
perkins yeah yeah ashes is is
27:54
the that cast was amazing yeah and julianne moore vigo mortensen from memory
28:00
yeah yeah but i mean and it was interesting to watch it like literally shot
28:06
for shot and and and like hitchcock he didn't You know, like,
28:11
cause today with the remake,
28:13
they're more tempted to like, well, there wasn't much blood in the shower scene
28:16
then, but guess what we're going to do.
28:18
Right. We've got a, we've got a water truck filled with liquid blood outside.
28:24
We're going to fill the shower with blood. It's going to be the shining Mark six.
28:31
She's going to be stabbed once. And then the shower of blood is going to come skating down.
28:36
It's going to wash her out of the shower. In fact, out of the room in the hotel completely.
28:41
The river of blood will cascade down the highway and even watch the cop car
28:45
that's rushing out to the scene off the road any kind of restraint these days
28:51
is considered like unusual yeah we've got a hundred million dollars we can afford
28:57
it let's put robert downey jr in as the killer.
29:05
Who's also the the who plays
29:08
uh the cop as well because he's got a twin brother who's on
29:11
the other side of the law this summer
29:14
yeah no
29:17
it's it's crazy stuff it's the movie
29:20
business is such a volatile field to
29:24
play in wouldn't you yeah i it's such a strange time in the movie business too
29:30
because yeah it feels like something's about to happen but i'm not sure what
29:34
i i don't know if it's gonna be good or bad yeah yeah it's like it's literally
29:38
like i i feel like everyone's standing on this great precipice looking down,
29:43
Uh, at something that's about to either rise or, or, or maybe we're going to
29:49
be looking down and something's going to come from on top, you know,
29:52
the horror movies where they're looking around the room, but the thing that
29:54
they're looking for is up on the ceiling, looking down,
29:57
you know, it's just like, Hey, it's true.
30:01
I was waiting for that moment where, where the actor's face fills the camera
30:05
and then they hear something or some goop touches you on the shoulder.
30:12
Is this a good goop or bad goop yeah is that snot yeah it better be.
30:22
Yeah as long as it's as long as it's uh what is the old stuff k-y jelly yeah
30:28
yeah or burger grease or whatever they used to use,
30:33
but uh yeah as long as it's not actually actual ectoplasm
30:37
we we will we will restrain from having
30:40
a fit and running as fast as to see that's why i
30:43
have to like encourage everyone to just get out there and make your
30:46
own stuff because who knows what's going to do
30:48
yeah that's true and and i personally think that
30:51
with the strength of films like yours and the strength of
30:54
a lot of the indies i've seen in the last year or
30:57
so working with the film threat it's been
31:01
absolutely staggering and i agree with
31:03
the editor of film threat alan ing and saying that
31:06
indie revolution is is in full effect it's
31:09
not coming it's here and i think that with with passionate and and really really
31:16
awesome filmmakers like yourself leading the charge it's it's only going to
31:20
go upwards and and and the moment of the new easy riders and raging bulls riding
31:26
into hollywood from the indie scene is
31:28
not a question of how but when right yeah i agree it's just keep pushing that
31:33
boulder up the mountain right yeah i mean and again don't think about how high
31:38
the mountain is and and as harrison ford famously once said don't tell me the odds,
31:44
Yeah, just go into the asteroid field. You might get hit, you might not.
31:50
One step after the other. Yeah. In the movie business, you're after a hit though. That's the thing.
31:56
You want to strike. You want to strike. You want to be like that dude in, in, uh, in Pale Rider.
32:03
You know, he's hanging away with that big boulder and then all of a sudden he
32:05
cracks it. And the largest gold nugget in history is beneath it.
32:10
And then he gets killed. He goes to town to get drunk to celebrate and he gets shot. Poor bugger.
32:16
That can happen in Hollywood too. You just get to the top of the mountain.
32:19
You get the rock all the way to the top and then you die from the shot you get
32:24
pushed off yeah you know or you say something stupid right at the last,
32:32
right but look the the it's not a job it's an adventure and that's exactly right
32:38
the idea of a quest is it's it's it's ongoing it doesn't a quest never really
32:43
has an end you know no adventure has an end of quest kind of keeps going.
32:49
Journey is what it's about, right? Yeah. It's like the, it's like the Odyssey
32:52
only it, it doesn't have Matt Damon in it.
32:55
And yeah. I mean, look, if Matt Damon wanted to be in my Odyssey too,
32:59
I'd say, sure. Why not? I would, I would let Matt Damon join one of my movies anytime.
33:04
Yeah. I mean, he's look from, from like having watched now, it's,
33:07
it's weird now. Like having watched Matt Damon go all the way from like school
33:11
ties to the Bourne identity to now, you know, now Odysseus.
33:19
And I thought he, I personally thought he was really good in better than he
33:23
has been in a little while in, in Oppenheimer as the, the asshole general sort of thing. Yeah.
33:30
Yeah. I thought he was good. Like, cause he usually like, I like it when Matt
33:34
Damon plays a slight asshole, you know what I mean?
33:36
Yeah. Like he's good at, he's good at being the, the nice sympathetic,
33:41
like he can do the hero thing easily, but I think he's more interesting,
33:47
you know, like I would have liked to see Charlton Heston play more villains.
33:51
You know what I mean? Like, yeah, like he's good as a hero, but that's like,
33:56
he can do that in his sleep.
33:58
You know, like I like it when dudes play, you know, bad guys,
34:02
you know, like Nicholas K like, I like when Nicholas Cage plays a bad guy.
34:08
Yes. You know, like, like, like in face off and stuff like that.
34:12
Not always a crazy bad guy, but sometimes like, you know,
34:15
one of those, one of those searing like bad
34:18
guys where it's kind of boiling beneath the surface and
34:22
you know that you're going to explode at some point you know
34:25
as an actor like the the villain is the best of all oh sure
34:29
sure yeah well he's
34:32
he's the he's the hero but the antithesis of
34:35
the hero yeah you know and and the stronger the villain is the better because
34:40
you know you can't really have a you can't have a strong villain and a weak
34:44
hero nor can you have a strong hero and a weak villain you have to have the
34:49
equal you got a match right because that's how you get that nice.
34:54
Nice counterbalance yeah contrast yeah well patrick before we run out of time
35:00
tell the folks where they can please get over and see beau ideal at their next best convenience,
35:08
so bow ideals currently on film
35:11
festival run we got a few festivals coming up in the
35:14
fall and then it will go to streaming probably in
35:17
winter so winter 2026 2027
35:20
and they can check out
35:23
all the information on the movie at bow ideal movie.com ideal
35:27
movie.com all the links will be in the
35:29
description along with my review of film.com bow
35:33
ideal patrick d green has been my guest patrick
35:36
i can't wait to see everything you've got
35:38
coming up it's been a real pleasure to see this film
35:41
all the best mate and yeah keep pushing that
35:45
boulder up the hill it's the mountain it's it's
35:49
there don't worry about it just keep it mate it's fantastic
35:52
to see what you've done i can't wait to see what you're going to do next oh
35:56
such a pleasure being here and such a pleasure talking to
35:58
you thank you so much for having me yes patrick d
36:02
green bow ideal a film that really snuck
36:05
um on me and really left me gobsmacked as
36:08
it will you i promise please seek it
36:11
out get down to the links in the description check my review
36:14
at filmthreat.com and check out the film's website
36:18
at bowidealmovie.com you.
36:22
Really need to see this it is one heck of
36:25
an impressive indie thriller see it
36:27
now you're down to the links in the description and as always my little yuganites
36:34
thank you for listening to us on spotify iheart radio or wherever you choose
36:39
to listen to your favorite podcasts i'm kent hill and until next time you've
36:43
been listening to us on cinema.