Latest / Cinema Yūgen / Playwright to Filmmaker: The Journey of Michael Coulombe

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Playwright to Filmmaker: The Journey of Michael Coulombe · Cinema Yūgen

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G'day. That's right, it's that time again. Time for Cinema Yugen!
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Music.
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Yes, Cinema Yugen, welcome back! Michael Kalam, an award-winning and nominated
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writer and director from Los Angeles, is our guest today.
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He has also served as a script supervisor for nine years and in over 200 films.
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He first sprung onto the scene in 2011 with his play You Can Call Me Eve,
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which was produced by the Wright Eck Repertory in Hollywood,
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California, and went on to become a feature film starring Academy Award-winning
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actress Olympia Dukakis.
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He also wrote and directed the short film Axe in 2012 and co-wrote feature film
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script Eden Falls with his friends Martin Rogers and Victor Miller.
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He has created the monthly networking group Eastside Indie Film Group because
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he feels strongly about bringing the industry together. He is also a published
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author with his poetry book Swimming the Storm.
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We are happy to have him on Cinema Yugen. Please welcome Michael Cullum.
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Wow, what a nice intro. Thank you so much. Thank you very much.
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There'll be a bit more of it.
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That's just leading into the conversation. But listen. I should always have
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someone with an Australian accent. Introduce me. I love it.
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I can't take any credit for it, mate. I was born with it.
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I love it. Anyway. But listen, thank you for being my guest.
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You're an incredible filmmaker. I've been researching and watching some of your
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work and looking at your diary.
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And things leading up to our chat.
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Okay. I love that. I guess a good place to start is what,
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sometimes i've you know i've done a lot of interviews over
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the years and and sometimes i used to lead in with
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you know what what was the what was
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the film that lit the spark that that started the
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journey but in in in some cases people
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came from completely different careers and and
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by accident in some cases got a
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job on a film set for a day and realized it was a lot more fun than
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what they were doing and and went over that
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way but yeah michael what was what
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was it that made you want to have a go at uh well i always tell people that
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that i didn't find film film found me like i wanted to be a writer like i was
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a writer growing up i wanted to be a novelist and a playwright and i actually
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did have a play produced i had a play produced back in 2011.
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But like the film journey was interesting because i had
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a friend who was like oh i know
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you like to write but i want to work on a script and he's like i
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don't he goes i really need help writing a script do you know how to write scripts and
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i said no i don't even know like i've never read a script i don't know anything about
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it like i was i was open to
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making movies i just never it wasn't something i like was like
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i'm gonna school i was gonna go to school it's just one of
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those things like and so he actually mentioned that i
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should take a course on script supervising because it would help
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me understand script breakdown and he
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goes maybe that'll help you sort of understand how the concept
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of scripts are made and i was like okay and i had a full-time job at
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the time and i was very unhappy there so i was like well sure whatever i'll
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be open to doing it and i took the course and i found it very interesting because
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it was teaching me so much about actual film like how movies are made why we
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do the things we do and of course you know script advisors track continuity
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and so like literally our job is to make sure that like Like what's movies are,
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are we shoot them out of order when they put back or that makes sense.
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So it's like, it gave me such an in-depth understanding of like how movies are made.
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And I was like, I thought that was very fascinating. And so,
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Because I learned this particular craft, and I wasn't happy at my job.
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I was like, well, I guess I'll just go make movies and see what that takes me.
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And I've been doing it now for 20 years.
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So it was just the most random thing, yeah. It was just going to be like,
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I wasn't even going to do it. I was just like, well, just get me out of this gig.
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And then I was making movies, and I was working with celebrities,
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and I was traveling all over the place. And I was like, okay, I like this.
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And then from there, it kind of just led me into writing and directing. yeah
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but but of course you prior to
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that you obviously watched movies and have enjoyed
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movies of course yeah and you know what's so interesting is people go ahead
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yeah you'll go you're right well no i was just saying because people when i
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was when i first started like i would watch a lot of like behind the scenes
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things when i was younger about how movies were made and people are like oh
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i feel like that destroys it for you i thought it very fascinating so it never,
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And even to this day, even after working on it. Yes, I am totally in that camp with you.
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I, in fact, not long after seeing my first film when I was young,
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what really lit the fire for me was not the movies. I mean, I loved the movies.
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But what really lit the fire or, you know,
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in a different description, what blew the brains out the back of my head was a,
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and I've told this story before, but there was a TV special
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it was a tv special in the states but it came out
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here in australia on bhs and it was called spfx the
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empire strokes back which was a an hour tv program
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hosted by mark hamill about special visual effects in movies up until including
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fire strikes back you can actually see it on youtube okay oh that sounds exciting
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because it's a it was made at the time of empire so it's special visual effects
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up until and including the empire strikes back which was.
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Yet to be released, I think, when this special came out.
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So this was like a prelude to the release of The Empire Strikes Back.
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And it...
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I saw in that, not just the visual effects, but I saw them filming portions
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of the Hoth sequence and you see the British assistant directors going around
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the Norwegian army who are dressed up as rebel soldiers.
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And when I saw that and then saw the movie and put it together,
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like, oh, this is what people put these together, like almost watching a watchmaker make a watch.
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Completely, that completely blew me away And that sort of enriched my love for
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it because if once it became possible that, oh, this is something that I can
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get in on, this is action I can get in on, that is what really lit the spark for me.
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It wasn't, the film was already fascinating, but once I saw how the machine
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worked and that I could possibly be part of the machine, that was even more exciting to me.
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Well, it's so funny because people, when I tell people I work at film,
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like oh it's oh that's so great that's so exciting it's so glamorous and i was like i mean i guess.
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If you get to go to oscars it's glamorous but it's like it's just
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like any job but i know people don't realize like so
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a minimum day is 12 hours like people don't
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realize that you know and it's like long days okay
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but keep that in point people don't realize like what it takes to
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even make like two minutes of film like they don't realize that we
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light all day and we have to get really good sound and the actors have
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to look great and then we just do like you know
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we should we'll set up a shot and then we'll do like five six takes and
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then we set up another shot and do five or six takes for coverage and
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they do and they don't realize that there's a lot of people like my family
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would come visit me on set they're like oh my god like
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what an interesting process and i was like i know and like this
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is only going to be two minutes of screen time if that you know they don't
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realize and it's like we do this over and over and over
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again till we have an 80 90 minute movie yeah yeah
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or even with television and they're just like i'm so my whole family's been
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on set now and they've been extra than stuff so they they understand
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it but when they first got on set they're like we like had
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no idea and i was like yeah it's a it's a
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definitely a process it's a fun process and they but
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they don't realize sometimes i remember when i started early on and i had like
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a lot of directors i had my mother and grandmother in one of my early films
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right and my grandmother didn't i mean she she's one of the ones responsible
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for me watching movies anyway because she was kind of the film, I think,
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buff of the family.
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Oh, okay. Yeah, yeah, yeah. But she said to me at one point during the making
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of this, it was only a short film at the time, but she said,
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why do we have to do this bit over and over and over and over?
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And I said, well, I'm trying to get, there's certain things I'm trying to get in each pass, right?
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Yeah, yeah. so that I get the pass that's going to fit.
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And she goes, fit what? And I said, the rest of the movie in my head. Yeah.
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And I said, I'm just looking for this particular thing to happen.
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And either, you know, as you know yourself, sometimes you can either make it
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happen or it happens by accident. You just hope the camera is rolling at the
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time. Right, right. Yeah.
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Happy accidents are always fun. The happy accidents, yeah.
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But my grandmother had done, my whole family, well,
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I will tell you this, before I got in the film, my my grandmother randomly
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was working at this place where they shot a movie right and
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there was a just they just it was at a it was at a stadium
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right a baseball stadium and so and she was
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working it so she ended up just being an extra and so she was the one that told
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me they do it over and over again so like before i got into film i kind of already
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knew well there you go so yeah she just was an extra by accident yeah yeah i
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mean yeah i mean i remember working at a video store during sort of my last years of high school.
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And I remember very specifically, this old woman came in one afternoon and she
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had rented the, I don't know if you've seen it, it's called Babette's Feast.
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I haven't, no. But I've heard of it, but I have not seen it.
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It's a French movie. It's called Babette's Feast.
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Anyway, she hands it over and I scan it and take the money and she taps it and
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she looks at me. She goes, you know, I'm in this.
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And I said, really? She said, yes, I was an extra in this movie.
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Because I was where they were filming at the time.
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And I go, fair enough. There you go.
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I said, I'll have to watch it. She said, oh, you can only see my back and whatever.
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But I'm in it. And I said, oh, okay, that's great.
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Yeah, such a fun thing. Yeah. And I've done extra work, so I get it.
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Yeah. That was fun. Yeah.
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It's a bit of fun. I've been an extra on a few
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things and some lucky enough to
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get near the near the front where you actually get seen right
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although that was in like a japanese beer commercial um
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you know 20 years ago but um whatever whatever
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it takes but hey lesser things have shown up on youtube one day you know it
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it could be a sensation and i'll be i'll be an overnight success that only took
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40 years to happen but you know i mean i kind of feel the same way so i feel
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you on that one well look i mean people have become famous for lesser things,
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I mean, you're not wrong. You're definitely not wrong about that.
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Yeah. More to the point. Your films are, and I watched your reels too,
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you seem to have this very –.
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Natural ability it seems in in in the scenes to create this an ambience like
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it's how do i describe it it's you seem like you're one of those directors that
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knows where to put the camera,
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you know what i mean i literally make movies for a living so yeah yeah
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i mean because you know i started off as a scripturizer so i mean i've scripturized
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200 over 200 films and i also do commercial so like directing for me because
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it's a natural progression you know a lot of script advisors either move into
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editing or directing and also writing and so like the technical aspect of filmmaking
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is is second nature to me it's i just do it so so often,
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and so i think because i'm not overwhelmed because i work with a lot of first-time
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directors and sometimes they're just like there's a lot of things you have to
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know there's all technical stuff and then there's all the greatest stuff and
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it's like understanding all of it together i don't so because i know how to
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communicate to the crew because i i am crew most of the time,
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it's really easy for me to tell people what i want and then because of that
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i can be very collaborative and then because of that i'm able to i try to i
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try to surround myself with people.
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That can get me a vision that i want and then
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like i allow them the creativity to do it like the freedom
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to do it and so i can so sometimes
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i'm told i make an actor's director because then because i
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know i do so much prep before we shoot i can
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go on set and really spend time with my actors but then
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because my crew already knows because we've talked we've had
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a good conversation and then like because like
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i heard like i when i just did this thing i just did
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this project called reicher and i worked with this this costume
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designer that we got along with we did a movie in florida and i liked
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his vibe we got along really well and so when i.
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Did reicher i was like can you just because i know you i know you're
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the person you owe me as a script advisor i know you as a we already have like
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a rapport i'd love to just bring you on and work
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and so then that way it's like we talked about
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my vision and then i go take my vision
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this is what i want and then he likes to create a mood board right his
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name is malcolm he's fantastic he creates a mood board and i look at it
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i go this i feel like we're on the same page maybe not
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this maybe this you know we kind of tweak it but then i just go he does
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his own thing he knows what he needs to do so by the time i go
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to set you know it's like everybody's been dressed and and
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like we've so i can sit there and help
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the you know the actors you know because my philosophy is the
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actors each actor understands their character like they're they're
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trying to navigate their own character i want the
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actor to live in that space but my job is
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to see the overall picture so i feel like as a director my job is to
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sort of help guide everybody to get to where we need to be and so that's why
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i try to really focus on two things i try to focus on where to put the camera
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because i want it to motivate the story and i love using sound and i don't think
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people understand the importance of sound because we'll always hold for we'll
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always hold for camera we don't always hold for sound but.
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Sound can give you so much that i don't think people realize you know
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like i do a lot of horror movies so sound really plays in
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horror movies and like building suspense and stuff
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yeah don't totally you gotta have both if you like
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i say to people if you just look at at
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at daily sometimes of stuff and just hear the
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the sound without all of the the mixing
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yeah it's like and on the color timing and
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all that it looks really crappy i know
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it's funny
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because like i was looking at all the dailies from when we did ryker and even
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when we did grandma's cookies and it's like i mean because we i mean
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i know that's sorry i should i should say i know that's different today because
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you can you can do a lot in camera that that you know right in the format that
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you shoot but it it still it still is nothing compared to the finished product
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that you eventually release oh of course yeah because you've color corrected
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and you sound designed it and
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yeah it's all that it's you know it's everything yeah and you sign the sound
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effects and music but like when you got when you first like you're watching
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dailies you're like you have to have an open mind because you're like.
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I you know i work with a lot of first-time producers who like will work on films
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together and they're like oh it looks so it looks great i'm like it's gonna
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look better like it's flat like just understand that like we're just looking
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at dailies right and making sure we have the shots that we need so yeah but
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we understand the process i think you and i do so that's why we we can look
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at it with an open mind I mean,
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look, I said to someone, if you watch the myriad of extra features on the Lord
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of the Rings disc, there's a feature where Andrew Lesney shows you just,
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you know, footage that they shot on the day.
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And it looks, I'm not saying it looks crappy, but it's overexposed.
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It's, you know, it's all that sort of stuff. but he says it needs to be in this
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instance because of all the color grading because they have,
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incredible digital color timing
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now right where as you know you can
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even go in and if you don't have a light source on a particular part
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of a face or a thing you can you know digitally put it in there and all that
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sort of thing right yeah it's also interesting if you know you want to be you
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want to be overexposed more than underexposed underexposed exactly yeah what's
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also interesting when you see footage from stuff like that where they haven't
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done green screen yet because.
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So you see it you're like oh it's interesting because like they'll have like
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like a background but it's not complete because you know they're going to add
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some of it and right yeah and add to it so it's always interesting to see footage
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like that too where you just like it's so,
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nowhere near where it's going to be when it's complete so it's always kind of
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fun too yeah Or there's a great feature on that, the last Planet of the Apes movie they did,
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there's a great feature on that where you can see it with all of the.
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Like without all of the cg you can watch it
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with all the oh right see all the actors in
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their mocap suits and see how
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much see how much actual performance they do it's not
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necessarily all cg the actors really go
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for it you know they're not um right of course they're not
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just standing there hoping the cgi helps them make them
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a better performer this right they've still
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got i've seen a lot of videos like that right exactly and they have to act to
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each other i yeah i've seen a lot of videos like that with avatar too where
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they're like acting to each other and stuff it's very fascinating yeah
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those big those big because a lot of people think when
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there's it's like with ai people think
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that you know cgi was as as
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one uh effects artist once said people mistook the
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the lesson cgi should have been a great tool to
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enhance like you said to enhance the things that
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you couldn't put in that's what cgi should have
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been it should have been an enhancement tool but the lesson
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that unfortunately was learned that oh people
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like this stuff so the movie has to be mostly cg and then people will love it
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more somehow which is the wrong lesson should have always been a tool to help
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tell the story and not let's come up with a story that uses the most computer
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effects cgi i know yeah that's that's a little overwhelming you know yeah.
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Yeah sort of like the early 3d craze like
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we need to have stuff come at the screen to make this whole
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3d thing right i off
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so it has to be the well i mean yeah it's kind
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of kitschy though yeah but it's yeah
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you know i i personally 3d like and and i'm i'm aging myself here but you know
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having been one of those people that saw 3d with the old 3d glasses back in
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the oh yeah and even the new the new 3d well i still think it looks it doesn't look as good,
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with the you're talking about like digital 3d yeah it's so different yeah it's
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very different well we had i thought because once you put the glasses on it's
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there's a slight tint to them and right yeah and i yeah i just look you know
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the gimmicks it's like popcorn buckets,
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great if the movie's really that good you're not really worried about popcorn
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bucket sales and having to make it in 3D if it's a good story the audience will come don't you think.
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Yeah, because people will say how great it is and they'll go.
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They'll want to go see it again. They'll go with somebody else.
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Yeah, so I agree with that.
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It always comes down to the story. I've said this in every interview.
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I mean, it comes down to the story.
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Yeah. I mean, I think they talk about a lot of things, the downfall of Hollywood.
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I still think to this day it comes down to how good the stories are being told.
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Yeah, of course. The mainstream has drifted from the multiverse into the risk-averse,
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which they've been in for a long time.
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I mean, there's always great benefit in just reproducing something that people
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know and just putting it in a different package and saying, this is a flavor that you love.
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The packaging is different, sure, but it's a taste that you can count on.
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It's a taste that you can bank on.
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Right, exactly. whereas yeah whereas i think the indie film revolution is going
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to bust this bubble because.
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Simply because it yes you do
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have to make money there's no getting around that but just
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because you're doing something in in a in a box it
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doesn't matter it's a genre box or whatever you've still got quite
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a lot of freedom inside right inside
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the box you know people talk about you need
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to think outside the box but sometimes you need to just be really creative with
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what is in the box you know what i mean right you know it's interesting you
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should say that i i am i had this conversation with matt my manager you know
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because he set up this this call but we were i was telling him you know i said
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when we were going through the first writer's strike.
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And then like the whole burst with like streaming and
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all that stuff and i said you know these big studios are
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shooting themselves on the foot because like they're so focused
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on wanting to keep the money and and and no one's working
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with him that all the independent films came so i said you know watch and the
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oscars of 2025 it's gonna be all independent films
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because none of the big studios were filming because they were so busy trying
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to hang on to the money that they had and sure enough what won this year
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anora which was an independent film a lot
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of independent films are in there so i think we're definitely in
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a new another era of like independent films coming and then let's talk about
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horror i mean something as great as like terrifier the first one did so well
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that the second one was in the theater and in amc and it's like for us independent
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filmmakers to be able to have a movie especially horror to see that in the theater
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and then you have stuff like you have winnie the pooh blood and honey and the sequel and
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It's like, as people like us, it's like, you know, I don't do just horror,
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but horror is such a genre that I love.
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And to see, like, something like Terrifier do so well that the third one came
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out and everybody wanted to go see it, that's, like, that gives us hope.
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And I think really now's a good time to focus on independent film.
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Not that anyone wanted to do a big studio project. I just think there was a
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moment where they're just, like, so caught up in being, well,
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we don't want to give any of our money, especially people like Netflix.
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And it's frustrating because you're like, we're trying to make art for you.
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Right. But I think that gave an opportunity for independent filmmakers to be
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like, all right, well, you guys figure your stuff out. We're just going to keep making movies.
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And there you go, this year. So I remember saying that last year,
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and I'm just glad that I was right.
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No, I mean, Terrifier is a fantastic example. That's what everybody wants.
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People forget that the first Mad Max was a similar situation.
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It was an independent movie.
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I mean, while it was well-reviewed, it didn't do well in Australia.
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It found its audience in the US, thus prompting the more talked about and eventually
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more commercial sequel, The Road Warrior or Mad Max 2. Oh, good. I love that one. Yeah.
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So, I mean, and it only goes from strength to strength there.
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The same with The Terrifier, a great example, because it gives independent filmmakers
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and directors and producers hope that if they stick to their guns and rather than bow to.
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Convention and stick with stick with the
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whole idea that we got into this business this storytelling
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business because we used to read a lot of stuff that came along and
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it was all different you know yeah now we live in an age where they've turned
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the the great flavors of our childhood exactly into that into like cereal flavors
23:46
like you've got star wars flavored cereal and you've got you know all of the
23:51
franchises transformers you know all lined up and they're just flavors on a shelf, you know,
23:56
because they've been corporatized and now they're just products.
24:00
They're not stories anymore. Right.
24:02
It's products. Yeah. The great thing that I love about working,
24:06
you know, as a screenwriter and doing this in the independent film world is
24:10
it's the last original game in town.
24:13
Like, okay, we have to make genre films. It doesn't matter if it's horror,
24:16
action, science fiction, whatever.
24:19
Yeah. The freedom of what you can do inside that is literally limitless.
24:26
Right, of course. Yeah, I love that. I mean, you take a genre,
24:30
yes, because it's commercial.
24:32
Horror movies will always sell doesn't matter what market you're
24:35
going to if you've got a good horror movie with
24:38
a decent hook and a good story and some fine performances
24:41
and some atmosphere you'll sell it all day
24:44
long well yeah i mean horror does really well it's got a great
24:47
audience very loyal yeah and
24:50
they love that and they love it and they will go that horror fans are so devoted
24:54
and they will go you know like you said to terrify if it if it if it just keeps
25:00
going from strength to strengthen the filmmakers each time just not so much
25:04
try to better themselves but try to.
25:08
Continually enhance the experience so it doesn't just become
25:11
mainstream stale and and
25:14
start to rest on its laurels and go well people like this
25:17
in the last film let's just give them more of that kind
25:20
of like what they did to the matrix movies like the first one was yeah
25:23
and then the second one is just a cop out
25:26
because they go oh well people really like bullet time so instead of six or
25:30
seven bullet time sequences we're going to have 50 right and neo fighting 10
25:35
guys he's going to fight 3 000 guys right right and it's just that's not you know i mean that's just,
25:44
yeah that's pandering yeah and it's not storytelling well i mean independent
25:49
films been around for so long and if i can get if this proves anything but the
25:53
austrians that people love they just like a good movie that it doesn't necessarily
25:57
be five you know it doesn't have be a $25 million, $50 million, $600 million movie.
26:01
Although I love Wicked, by the way, so I don't want people to think that.
26:03
I would love the musical.
26:04
But it is nice to know that sometimes people just want a good story.
26:07
They want to escape their life for two hours.
26:09
They want to have a nice night. They want to go out with their husband or wife
26:12
or their kids. They want to watch a movie, have dinner.
26:15
So sometimes we just want a night where they just... You want to escape your
26:19
life. I get it. So give them a story.
26:22
That's how people go to theater. There's all these people who go to concerts.
26:25
I just want to be in law. There's a place for independent kind of fun
26:28
yeah yeah exactly that's what we just want to be lost in
26:31
whatever story you're telling i just want to be lost right i
26:35
just want to be right i want to do it i want to be in the thick of it and immersed
26:39
in it and so much so that by the time it's over i stop and and you know it's
26:44
almost like i haven't paid attention you you know you know when you've as i
26:50
say to people you know you're watching a good movie where you're not checking the time.
26:55
Right yeah whether it be on your phone or
26:58
or whatever because i get sent a lot of you know screeners to you know people's
27:04
movies that they're promoting to do interviews with right film threat and whatever
27:07
else but so i do watch a lot on my phone and i do notice that the ones that
27:13
are slightly more difficult to get through i i tap on them to see how much more of the movie.
27:19
Yeah right you're like oh five more minutes yeah but but the good ones i i don't do it once,
27:25
you know and then that goes yeah i
27:28
agree with that i i tell you what i haven't i
27:31
haven't really i haven't seen a bad independent film
27:34
this year and i've seen a few already more than
27:38
a few that's good that's awesome i'm i'm
27:41
constantly encouraged with the way
27:43
it's going both both in the independent dramatic
27:47
films genre film documentary short films
27:50
animated films yeah it's very
27:53
encouraging i love that and it's so like like i say to people i i love watching
27:59
independent films because they're so original they're not like they're not they're
28:03
not cookie cutter like comes out of the comes out of the mainstream you can
28:08
guess where it's going five minutes into the.
28:11
Into the movie you know yeah independent films
28:15
still have that element of mystery and surprise which
28:18
i miss all right sometimes going to the cinema because
28:21
uh let's face it if you're going to the cinema to
28:24
see another star wars movie or another ghostbusters movie
28:27
or beetlejuice whatever they're
28:30
making in a sequel to next you know what you're getting and there and there
28:35
is a place for that i'm i'm a huge believer in that like there you know there
28:39
are certain ip that i love that i'll go see like i want to see them in the theater
28:41
there is a place for that yeah look i'm not saying that they're all wholly bad
28:47
but i'm saying you know there's there's no.
28:51
There's more of a promise than a surprise there because you right you you partially
28:57
know what you're in for you know you are gonna get you are gonna get a different
29:01
different story obviously But, you know,
29:05
they know that this recipe works, so they have to hit certain notes to make
29:13
sure it pays off. Because it doesn't pay off. Because it is a business.
29:16
Right. It is a business. But independent films sometimes aren't governed by
29:20
that. So they have the freedom to be a little more….
29:24
Just to change, you know, I guess I think outside of the box,
29:26
but a little bit more of like the freedom to do something different,
29:30
which is nice, which is why audiences like them.
29:32
That's why I said there's a place for each of them. Yeah. It's perfect. Yeah.
29:35
Look, I mean, there's each have their audiences, but of course what is exciting
29:39
to see is the crossover, like you said, with Terrify.
29:43
Now independent filmmakers finding a place, you know, coming up into the mainstream
29:50
where a larger audience.
29:51
Right let's face it once you get into larger distribution
29:55
you're now exposed to a much larger audience then
29:58
which is amazing yeah so uh which is
30:01
always the best place to put anything if
30:05
you want if you want genuine feedback for what you've done because as good as
30:09
you think something you've done is is is fantastic or not an audience is going
30:13
to tell you exactly what you've done true right i mean and they've done it before
30:18
so i'm just straight i mean you know I've been in a sympathy for 20 years.
30:20
You have to build a thick skin.
30:23
I've had people go and tell me that my shit sucks. And I'm fine.
30:26
I'm not for everybody. And I totally get that. I don't want to be. Yeah.
30:31
Beauty is the one of the behold. Michael, you're a vastly talented man.
30:36
I've loved looking at your work. Have you got anything that you are currently
30:39
working on or doing that you wish to tease?
30:44
Well, the only two things that I have presently are, I did Grandma's Cookies,
30:48
which is that nice Christmas horror short that's doing really well.
30:51
We were going to release it last year, but it keeps getting in festivals.
30:54
So we're just like, well, we'll just give it another run.
30:56
We're going to release that. I am working on a project right now called Riker.
31:00
That was a project we started last year and then i
31:03
do have a movie on dubie called dark lullabies it's a anthology
31:06
of a lot of my shorts i do have a couple projects coming up
31:09
that we're moving forward with but i don't have any i can't talk about it just
31:13
presently but that means i can come back on and have something to talk about
31:17
yeah that's cool do you have a you have a website and all that that people can
31:22
follow you yeah i know my my name is interesting that's it my website is,
31:27
michaeljcolomb.com it's just my name you can put in but it's my first name michael
31:31
m-i-c-h-a-e-l then j and then my last
31:34
name is c-o-u-l-o-m-b-e so michaeljcolomb.com it's all there all there,
31:41
there's a projects button just hit it it's there every project i've done and
31:45
i like to i like to vlog and stuff on there too so it's always it's available
31:49
jcolomb.com well we will michael we thank you for being our guest and we will
31:54
totally put all the links.
31:55
We'll put your IMDB. We'll put your website, YouTube, all of that in the links
32:00
to check out Michael Palom.
32:02
He is a really talented guy.
32:05
Really great. I look forward to Michael, everything that you have coming up.
32:11
And it is definitely been a pleasure to have you as my guest here.
32:16
Oh yes, so much. Thank you so much.
32:18
I know the time difference is crazy. So thank you so much for having me on your show.
32:21
I really prefer that yes michael colomb
32:24
a fantastic bloke we look forward to everything he's got
32:27
coming up please check the links in
32:30
the description for all of michael's work and to keep up to date with everything
32:35
he's got going michael colomb links in the description ladies and gentlemen
32:40
and as always my little eugenites thank you for listening to us on spotify or
32:47
wherever If you choose to listen to your favorite podcasts, I'm Kent Hill.
32:50
And until next time, you've been listening to cinema.
32:55
Okay.
32:55
Music.