Latest / Cinema Yūgen / Outrun the Doubt — Inside Andrew David Barker’s Fierce Indie Filmmaking

Transcript

Outrun the Doubt — Inside Andrew David Barker’s Fierce Indie Filmmaking · Cinema Yūgen

• 0:00
  G'day. That's right, it's that time again. Time for Cinema Yookin.
• 0:16
  Yes, welcome back. Cinema Yookin. Andrew David Barker is a filmmaker who lives
• 0:22
  where story, shadow and imagination collide. A screenwriter, director, an author.
• 0:27
  He's a creative force behind the award-winning short Laura Living Backwards
• 0:31
  and the upcoming features The Wilding and Improper Bastards.
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  Real diamond geezer stuff that.
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  He also wrote and directed the haunting micro-budget horror film House on Litterman Street.
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  Bold, fearless and driven by character and atmosphere.
• 0:50
  Barker crafts worlds that linger long after the credits roll.
• 0:54
  This is the voice of modern independent cinema and his story is only the beginning,
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  so pick up a cup of tea or a pint or whatever fulfills your delight and listen to the man himself.
• 1:06
  Andrew David Barker, welcome to Cinema Yugen again.
• 1:11
  Hey, man. How are you? That was quite interesting. I like the sort of the ringmaster
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  vibe to it. It was very cool.
• 1:18
  Yeah, well, I used to be a fan of, have you ever heard The Twelfth Man?
• 1:21
  Do you know what The Twelfth Man is? No.
• 1:24
  Do you know, are you familiar with Australian cricket at all?
• 1:27
  No, I'm not. Well, back in the heyday of Australian cricket,
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  there was a very successful Channel 9 News commentary team, and they were so
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  successful and so full of characters, this Australian comedian,
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  an absolute voiceover genius.
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  You can listen to this stuff on YouTube for listeners who are curious.
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  It's called The Twelfth Man.
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  He was one guy, and he did all the voices.
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  He was the entire commentary team. From Richie Benner, who used to sound a little
• 1:58
  bit like this, to Max Walker, who had a very nasally voice like this.
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  And he used to do the sports on Channel 9 and he'd become something of a national hero.
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  So he had a very nasally voice like that. Anyway, so the guy did the whole,
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  it was like a comedy piece and he played all of the characters.
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  And it was basically a riff on the wide world of sports. You can watch it on,
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  I believe all of this stuff is on YouTube, The 12th Man, Still The 12th Man.
• 2:26
  And so, yeah, Max Walker was a, I used to do, I used to impress my friends by
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  doing Max Walker at school because he was, he was a cricketer who became a national
• 2:37
  hero and also wrote novels and, uh,
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  you know, I used to go around saying, if you bought a copy of me book yet,
• 2:43
  what about a copy of me board game?
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  I'll send you a copy. I'll autograph it for you.
• 2:47
  Oh, true polymath. Yeah.
• 2:51
  When was his heyday? So the eighties, nineties? Yeah, yeah, yeah.
• 2:54
  Yeah, I mean, they were all young men in the 70s, came to Promise in the 80s,
• 2:58
  and then ended up on TV talking about it in the 90s, so yeah,
• 3:02
  they all went full circle. The golden era.
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  Yeah. Most of them are dead now. Richie, Max.
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  The, the, the dude, the 12th man is, is since retired from, from comedy and broadcasting.
• 3:15
  So yeah, if they're not, they're not dead or retired, they're no longer around.
• 3:21
  Well, I don't know if you know this, but it's 2026. For me, that was like,
• 3:25
  we live in now living in the future.
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  Yeah. Cause it feels like the nineties was just 15 years ago to me still. It does, doesn't it?
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  Apparently it turns out that it was 30 years ago. It turns out. Yeah. Shit.
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  So much so that if back to the future happened now it would
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  be like 1994 or 95 or something like that
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  when they uh it's just unbelievable yeah yeah
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  it's depressing yeah i was still in
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  high school i mean it's been stolen from us yeah it
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  slips away pretty quick it's as you know with this as you
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  know all too well with this screenwriting graham uh shit
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  the development hell is is a real place and
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  you can write stuff and it can drag on and
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  on and on i've been involved in some scripts in the past that
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  have gone on and on for like three four years of just
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  backwards forwards oh we're getting closer no
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  everything just forever oh there's some hope again nah sorry it's all oh but
• 4:23
  there's a chat nah sorry about that you know it's um i read a bullshit yeah
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  I read a book recently on about Clint Eastwood and you know uh you know when you're,
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  you know, you see all these aspiring filmmakers and who do you want to be like?
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  And they all want to be like David Fincher or Stanley Kubrick or something.
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  Yeah. But my man's Clint.
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  Like one take, two takes at most he's done and he moves, he often shoots first
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  drafts because that's the, the, when he responds to his scripts that that's
• 5:01
  what got him excited. Yeah.
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  He knocks off about five o'clock, four o'clock. in his heyday,
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  of course, and he just gets it done.
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  And I don't see why it needs to be any other way.
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  Yeah. I mean, look, the whole Fincher, Stanley Kubrick.
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  It was like in the Kubrick documentary that Jan Harlan made years ago now,
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  20 years ago, after he died.
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  And, and I think it was Sidney Pollack is interviewed in it and he says the
• 5:40
  word perfectionist in our business is kind of a euphemism for an asshole. Um,
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  But, you know, like that whole thing of like, have you heard the story?
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  Like this was, this was news to me, the story that Harvey Keitel was originally
• 5:56
  in Eyes Wide Shut and he did.
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  But he was playing the Stanley Pollack part. He was playing the Stanley.
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  And he, I think Gary Oldman told the story online and yeah. And apparently just pissed him off.
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  I think he was, he was making him come through a revolving door about 90 times. Yeah, like 30 times.
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  He just like, he turns to Stanley and just, you're crazy. I'm going home.
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  It's great. I'll tell you a good movie I saw recently, I watched last night
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  that I hadn't seen, that I only found out recently. Have you seen Still Alive?
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  It's a documentary about Paul Williams.
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  You know, Rainbow Connection, Paul Williams. Yeah, yeah, yeah.
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  No, sounds interesting. It's called Still Alive. And what I found out last night
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  watching it is I really like this indie movie from the,
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  I think it was the mid nineties and it's called the independent and it's Jerry
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  Stiller basically plays a Roger Corman esque character.
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  And it's a, it's a, it's a mockumentary style movie.
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  About jerry stiller who's this guy called
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  morty fineman who was
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  who is the the underappreciated king he's like a cross between roger corman
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  and al adamson kind of no i'm i'm sold i'm gonna have to track this yeah it's
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  called the independent but he but the point of the story is is that guy who
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  made the independent made this documentary about paul williams okay because he thought like
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  some people have done in the past, he thought Paul Williams had died.
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  You know, it's like, you don't hear from these people in, in,
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  in a while. Like in Hollywood, they think you're dead if they don't hear from you. Oh, really?
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  So yeah. And it was, yeah, it was just, yeah.
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  I didn't even know about this. And then someone said, have you seen this documentary
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  about Paul Williams? I said, no, there was a documentary about Paul Williams.
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  Oh, that's two films. I've got a track down there. I might, I might start a list here.
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  Oh, look, I watched too many movies. And now that I'm doing a film for it as
• 8:01
  well, I shouldn't complain. They give me movies to watch for free.
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  So, I mean, that's. Do they?
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  Oh, yeah. Any job where they let me watch movies for free, I'll take it.
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  That would be like me working at a Guinness factory or something like that.
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  Really? That's not work, is it? Well.
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  One for you, one for the public. One for you, one for the public.
• 8:24
  Yeah. But yeah, no, it's, I see, watch too many movies really.
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  It's part of the job. It's part of the job. You're going to write films,
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  you're going to watch them.
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  And I think, you know, I take inspiration from probably most things that I watch.
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  There's always something there that I could take away from.
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  When I take away from it. And yeah, it's the same as reading books.
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  It's all part of the storytelling.
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  Well, you need, you need, you need stimulus to, to hit something.
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  Cause you never, as I say to people, you never know when you're going to have
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  to, you know, it's like, um,
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  I saw this documentary once, another documentary, and this guy was talking to
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  this guy who wanted to be a comic book artist.
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  And he says, he said, what do you use when you draw?
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  He said, do you draw from memory or do you use photo reference?
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  And he says, I use a lot of photo reference.
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  And the guy said to him, come back and see me when you can draw it without a
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  photo, because you're going to be in a situation one day where you've got to
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  draw a street lamp and you're not going to have a photo reference.
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  You've got to draw a street lamp.
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  And so that's you know that holds
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  true too i mean i don't know about you but i was quite surprised the
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  deeper i got into the businesses how many people's cinema literacy
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  was so poor i felt like the weird man
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  in the room that had seen too many movies and all these people hadn't seen them
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  i'm like what do you do you work in the movie business and you don't watch movies
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  what's wrong with you people uh yeah very strange yes and they don't read either
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  which is kind of yeah yeah they don't read books,
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  which is, I don't read scripts either.
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  Oh, no, no. It's not the ones that I said, Norm.
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  Oh, man. It is a strange, a strange beast.
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  It's a strange beast. And the more sort of dipping my toe into it,
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  on the peripherals, I'm just peering in. I just think, this is crazy.
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  This is, this is. It's really, it's really nuts. It's a wonder.
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  It's still, it's still absolutely boggles my mind.
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  How movies get, how one movie, yeah, it really boggles my mind.
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  Like out of put it, put it in, to put it in this perspective, like the end of 2024,
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  I wrote like 12 screenplays in a row from like September through to early December.
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  You wrote 12 screenplays in four months. Yeah. Cause it only takes me like about a week to do. Wow.
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  So, I mean, that's look, I mean, I had to have something because the,
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  unless I can go around it like Sterling Moss, I write screenplays exactly the
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  same way you do. Same structure.
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  They all look the same. we both use the same language to write in so there's
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  nothing that you can really effectively do on the page except be really efficient
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  and and have have a voice that's true yeah you know.
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  Because the way our screenplays look on the
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  page all look the same right yeah absolutely a screenplay
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  looks like a screenplay looks like a screenplay the only
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  advantage you have against the sea of
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  people who have woken up this morning go hey i'm gonna try screen
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  by a screenwriter that will be
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  fun little side quest yeah no
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  that's that's the only sort of weapon that you
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  have against the sea of of of would-be
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  screenwriters out there they're all jockeying for the same positions is
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  that you have a slightly you have a voice you have something
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  that's unique that sounds because obviously you sound unique you
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  don't sound like me i don't sound like you and you're
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  writing does to you if you know if if you're good at what you do your personality
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  comes through in your writing someone can read that and sort of hear your voice
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  maybe maybe subconsciously so you have that and then the only other weapon you
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  have is efficiency if you can do it you know oh i've done it,
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  Like over a weekend, like the first to impress Rene Perez back in the day,
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  I said, he wanted me to, he said, I'll give you a go.
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  If you can write this script, you know, we'll work together.
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  And I said, it was Friday afternoon. And I said, well, do you want it by Monday?
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  And he said, he said, well, you don't have to do it that fast,
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  but if you can, that's impressive.
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  And I've been, I've, I've been in enough desperate situations before.
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  Where you've got someone's ear finally and they say, Oh, that sounds like a
• 13:03
  good story. Have you got a script?
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  Yeah yeah i just if you give me till monday i'll polish it up and and then i'll
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  bring it to you yep cool that sounds great and then you go away really quick
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  and that's it yeah i write the thing,
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  you've got 48 hours no sleep it's easy um you just get really really drunk and forget about the fear,
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  and yeah just well there's a phrase there's a phrase that i use called which is outrun the doubt,
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  yeah yeah that's a good one i have i have read some of your your blogs but not
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  all of them i'm sorry but uh some of them yeah that's quite all right but yeah
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  i think that's important to.
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  To just stay ahead of the fear begin and stop
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  you know stop the question stop questioning yourself or
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  don't allow yourself to be to question yourself and
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  just just do the work just get the
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  work on as fast as possible and not not second
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  guess yourself yeah and well it's
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  i've got faster as i've got older i i i think you were saying earlier that you
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  were very precious but when you were younger and so was i oh sure and heartbroken
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  when anything got changed yeah perfectionism is is it's a it's a a,
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  it's a dead end because it doesn't exist for starters and you just got to try
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  and do the best you can in that moment on that project and not be precious about it and move on.
• 14:39
  You're always trying to do the best you can, but if you're trying to, you know.
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  Write a perfect thing, whatever that, that thing is, you're chasing,
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  you know, You're chasing your own tail, really. Mm-hmm.
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  So I, I've long ago sort of got rid of that in my head.
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  I've, I've compartmentalized it and, and put it away and just,
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  just work on the, the, the joy of actually writing, you know?
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  And well i mean in the end that's the as my friend metty greenberg said to me once on an interview,
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  he said that it's the juice is kind of like when you write that draft whether
• 15:29
  you're being paid or not it's almost like when you go to see like live theater
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  now they do their shows twice a day,
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  seven days a week it's the same show over and over but the show that you see
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  the night that you go is completely unique unto you,
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  even though they've been doing the same thing and they did it earlier that day,
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  the show that you see, because no one can do the same thing,
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  exactly the same is going to be unique to you.
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  And so like the version of the handyman, when I was writing it,
• 15:58
  I've seen a version of that movie that no one else will ever see.
• 16:03
  Up here, right? And that's kind of cool because there's a, there's a,
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  there's a thing that happens.
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  Like when you get into that, the zone, like Terry Gilliam talks about it in
• 16:12
  that, uh, he dreams of giants, which was really great documentary about when
• 16:17
  he finally got to make the man who killed Don Quixote.
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  And he talks about the zone being like the best drug on the planet.
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  And that's when you're just, you know what, you know what you're doing.
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  You've done it so many times.
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  And it's just kind of automatic. It's like you sit down and the hands start
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  to work and, like, you don't know what's happening, but you're there.
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  And all of a sudden the movie starts playing. It's like, yeah,
• 16:45
  okay, and then he turns to him and then all of a sudden it just, you know.
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  And that's, like, such a – that's the place that we all love to be in and that's
• 16:53
  the place to get back to, you know, constantly.
• 16:57
  It is. The magic happens and it's like you've seen – the movie is happening
• 17:03
  in front of you, you know, it's unfolding beneath your fingertips. And, uh, it's a lovely.
• 17:11
  Yeah. And I mean, like back, you know, 10 years ago, I used to be like,
• 17:17
  you, you, you are naive enough sometimes to think that you'll hand that over.
• 17:21
  And that's exactly how the movie is going to turn out. Yeah.
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  Like how I've seen it because these people will read it and they won't be able
• 17:29
  to see anything else, but what I see and they'll go, yes, this has to be this way.
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  But, uh, yeah, that's not the reality. But look, like I, like I said before
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  we started, like you have to, you have to choose whether you want to,
• 17:45
  Whether you want to work or whether you don't want to. Well,
• 17:49
  if it's a hobby, fine, but you won't get anywhere treating it like a hobby. No.
• 17:55
  I had a shift a couple of years ago where I'd written,
• 18:01
  several screenplays, and they'd all been original to me, and there were often
• 18:09
  low-budget things that I could try and get made myself.
• 18:13
  And then i don't know what happened but i had sort of a i think i just thought
• 18:19
  i just need to sort of branch out from this and start working with some other people and start,
• 18:26
  working with other people's ideas and adam park approached me to write or co-write
• 18:34
  his his film The Wild In, which is now finished, ending release.
• 18:41
  And I thought, this is great. I can just... And from that moment on, everything opened up.
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  Because I found that I can...
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  If i've got a strength i'm very good at structure and i'm
• 18:54
  very good at seeing what a
• 18:57
  film needs and it's a lot clearer to me
• 19:00
  when it's someone else's idea i often find i can get in the weeds on my own
• 19:05
  stuff but when it's someone else's i know exactly okay that needs to be there
• 19:08
  i know i know the shape that this needs to be it's just the language of film
• 19:14
  you know and our entire lives watching movies you get to know that language.
• 19:21
  And from that moment i've now
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  been writing with a lot of other people or writing for
• 19:27
  a lot of other people it really opened everything
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  up you know and in the last couple
• 19:33
  of years things have really begun to move i've got a lot
• 19:36
  of projects pending with various people i i've
• 19:40
  you know i've co-written some original ideas as well
• 19:42
  but by and large it's been writer for hire stuff and i really enjoyed it you
• 19:47
  know it's fun isn't it it is fun i've got i'm co-writing a script at the minute
• 19:54
  with my mate dave bryant a horror film that he asked me to jump on it's his idea that's great.
• 20:01
  I'm talking to a producer tomorrow who who's interested in in hiring me to write
• 20:06
  something I did tell myself at the beginning of this year though,
• 20:10
  that I am going to write something for myself at some point this year,
• 20:15
  but you know, if the work keeps coming in, just can you, you know,
• 20:19
  like you say, do you want to work or do you want to. Right, Wally, iron.
• 20:23
  Yeah, absolutely. Sometimes it takes decades for the iron to get hot.
• 20:28
  So when it's hot. Well, absolutely. I feel like, I mean, I've been doing this
• 20:32
  on and off for probably 20 years.
• 20:35
  Probably more if you can although the kick around stuff I did in the 90s with my mates but yeah
• 20:44
  you know seriously i'd say 20 years and it's been
• 20:46
  a slow burn i haven't done it solidly for
• 20:50
  the years but i i do think in the last
• 20:53
  certainly the last five or
• 20:56
  six years i've got i've really gone for it and yeah and you know like i think
• 21:01
  was it ray bradbury said you only fail when you stop and uh yeah that's true
• 21:07
  i mean i i every time i used to feel weird until i,
• 21:14
  saw an interview with shane black yeah and he said to the guy he said i feel
• 21:21
  like it's the last time every time i've done something whether it was lethal
• 21:24
  weapon or whatever he said i always have that feeling oh if this is going to
• 21:28
  be the last movie i get to write or direct or whatever,
• 21:32
  that's cool he said i always feel like that and i used to think i was weird
• 21:36
  for feeling like well well that's good i got one i'm happy if i never get an
• 21:41
  and i always i still always feel that way I feel like the last one's going to
• 21:45
  be the last one until the next one comes along. So, yeah.
• 21:49
  Well, I often find, I'm finding that, and I think that you found the same as
• 21:55
  well, is that one job leads to another.
• 21:57
  And it just starts building. Yeah. I mean, once you've.
• 22:02
  The biggest hurdle that faces everyone, and for people listening who want to have a crack,
• 22:08
  is finding that first job, the job that you have to get so that other people
• 22:16
  will hire you, the Catch-22 situation. No one will hire you until you've actually done it.
• 22:20
  But finding that first gig, and it's a movie that actually comes out,
• 22:26
  that you can actually then go to someone else
• 22:29
  so you're not just the dreamer with the screenplay under
• 22:32
  your arm you've actually got something to go well instead
• 22:36
  of like oh that's great you've written a screenplay well
• 22:38
  done you've actually finding that
• 22:41
  one thing where you can actually show like well okay i've done something
• 22:44
  see it's been produced it's come out it's fine that's that's
• 22:48
  the real hurdle that that a lot
• 22:51
  of people face because until you kind of get that until you've kind of proven
• 22:55
  yourself you can't really i mean i've i've directed two features now one still
• 23:01
  waiting to come out but i've directed a lot of shorts i found that the shorts didn't do anything,
• 23:09
  for me no one cares about
• 23:12
  that but i think with the wilding i spoke to adam park earlier today and it
• 23:20
  looks like that's got distribution it looks like it's gonna get picked up pulled
• 23:24
  out i think they want to change the title because they said that the wilding
• 23:27
  doesn't mean anything it's like Okay. They all want on the nose titles.
• 23:31
  Yeah. Oh, but people, people said to me, I got, I remember when that happened.
• 23:38
  So like Righteous Blood, Righteous Blood, when I wrote it, wasn't called Righteous
• 23:42
  Blood. It was called Duel with the Devil, which I thought worked.
• 23:46
  Did they Duel with the Dead? No, Duel with the Devil.
• 23:51
  Duel with the Devil. Yeah. Well, both of those titles are good.
• 23:54
  Yeah. And I thought that was good for a Western, and I thought it was good because
• 23:57
  he was in this internal struggle with the devil, like his past being a killer,
• 24:02
  and now he's got to be like a good guy.
• 24:04
  So, yeah. But, yeah, when the movie came out, it was called Righteous Blood,
• 24:08
  Neil. Well, there you go.
• 24:09
  No there's nothing you can do about it i mean it's it's
• 24:13
  it's one of them isn't it like i was a writer
• 24:16
  on that film but i it's it's very much adam's film
• 24:19
  and obviously now a distributor takes it it's their film and they if they're
• 24:25
  going to change the title they'll change the title you know and that's kind
• 24:29
  of part of it part of it so i don't know what it's going to be called now but
• 24:32
  It will be coming out sometime this year. Well done, yeah.
• 24:37
  Yeah. And my film, I directed a very micro-budget horror film. Yes.
• 24:45
  2020, what year we in? Yeah, 2024. So I directed. House on Lidderman Street.
• 24:53
  That's right, yeah. It was based on one of my short stories.
• 24:56
  And I basically it was you know it's a one location,
• 25:02
  film you know very few characters it was all designed to be as simple as possible
• 25:07
  we got it shot in eight days and you know bang it out and then post production took forever but.
• 25:16
  That's gonna be I think the producers submitted to festivals over here I think
• 25:23
  it's been submitted to a few horror festivals and,
• 25:26
  And various other things. I think he wants to put some screenings on in the
• 25:29
  spring, so that'll slightly roll.
• 25:32
  So those two films, hopefully, are in the world this year.
• 25:37
  Well done. I like the title of this other one that you co-wrote,
• 25:40
  Improper Bastards. I like that. It's a good title.
• 25:45
  That is a funny title. It sounds like a movie I would go and see if it was playing
• 25:48
  in the theater. Absolutely. It's a proper...
• 25:50
  It's a proper... It's a proper geezer thing, is it?
• 25:56
  I wouldn't say Courtney, but it's a, it's a Southern, uh, gangster film.
• 26:01
  You know, it's, I'm from the Midlands, so I kept, I have very North,
• 26:05
  I have a very Northern sense of humor and the director, Rick Roberts kept changing
• 26:13
  stuff in the script and said, this is too Northern.
• 26:15
  We need to make this a bit more. We can't handle all these Northern monkeys
• 26:19
  and all these Southern fairies.
• 26:22
  Right. Yeah. Yeah. So there's all that north-south divide that we have in this country.
• 26:26
  But yeah, I tell you what, that script was a lot of fun to write.
• 26:31
  That's when I really had to hone my skills in structure. Yeah.
• 26:36
  But Rick is full of ideas and he wanted this in and that in,
• 26:42
  blah, blah, blah. And it's a very, very low budget project.
• 26:46
  It's 120 pages of script. I said to him, it's a massive script for a film.
• 26:53
  That's big for a little movie. It's big for a little movie, I think it was.
• 26:59
  It reminds me of these biscuits that we have. It used to be in Australia,
• 27:03
  Shapes. and the ad used to be, how do you get such a lot of taste in such a little biscuit?
• 27:10
  That's kind of like the indie mythos, like how much can we get into this little movie?
• 27:18
  I don't know if he's going to film all that, but he's going to need a few weeks to get it all done.
• 27:24
  There's a lot there, and it's quite complicated as well.
• 27:28
  It's like our script, One Last Heavy Whack, that I've still been trying to like
• 27:31
  shop around to like different people.
• 27:35
  And they also get the script.
• 27:39
  Yeah. It's a great look. Anyone, any producers listening, it's a fantastic movie.
• 27:44
  It's gangsters versus aliens.
• 27:45
  It's once upon a time in America meets dog soldiers, but with aliens,
• 27:50
  it's dull, dull. It's waiting.
• 27:53
  It's like, this thing's like the Ark of the Covenant waiting to be opened.
• 27:59
  This is like the holy grail at the end of the last crusade when you drink it
• 28:04
  you'll drink from it you'll be changed i wonder ken you know you know what i
• 28:08
  was saying before about how people always want these on on the nose titles now
• 28:14
  yeah heavy whack yeah it's just,
• 28:17
  It's, it could mean anything. Maybe it's too much of a mouthful.
• 28:21
  Yeah. Maybe it just needs to be gangsters versus aliens and people.
• 28:25
  Look, look, look, look, as a slap in the faces that is, I mean,
• 28:33
  cowboys and aliens worked sort of. Yeah.
• 28:36
  Absolutely. So gangsters versus aliens. I mean, there's cockneys versus zombies. So, I mean.
• 28:41
  There is. All we need is like two famous people to play the two gangster guys,
• 28:46
  There's two heads to put on the poster and we're home free. Yeah.
• 28:50
  I need to, I'm going to reread that again next week and see,
• 28:55
  and see what it is we've got.
• 28:56
  Cause we're right now, what, 2021 or 22?
• 29:00
  It was before the strikes. I remember that much. Yeah. This has been a lot of
• 29:05
  screenplays in between, but yeah.
• 29:09
  Oh yeah. Then I, I really enjoy it. I really enjoy that one.
• 29:12
  I think that's got a lot of, Maybe we should dust it off and, uh, yeah.
• 29:17
  So you see now, now that we've both got some, now that we've both got some street
• 29:21
  cred, we might get, I'm not sure about that.
• 29:25
  That's some different, you know, Hey, I just wrote the handyman.
• 29:29
  Hey, I got something for you.
• 29:31
  I think, yeah, we might be in a different position now, but yeah, that's a story.
• 29:37
  We'll talk about that. Yeah, yeah, yeah.
• 29:40
  But yeah, it's a great stuff, producers listening. Give me or Andy a call if
• 29:44
  you're really concerned. You should be because it's great stuff. Make new stuff.
• 29:49
  Make cool stuff. That's what I'm about.
• 29:52
  But I'm very glad that all of this cool stuff is happening to you, for you, with you.
• 29:58
  And I can't wait to check some of it all out, man. Yeah.
• 30:02
  Cheers, man. As soon as I've got, well, I could send you, I'll send you,
• 30:06
  I'll send you the house on the street. Oh, cool.
• 30:09
  So you can watch that. I don't have the wild in, but that'll hopefully be coming
• 30:14
  out at some point in the first half of this year. Sweet.
• 30:18
  Sweet. Yes, Andrew David Barker. What a man, what a man, what a mighty filmmaking man.
• 30:25
  I can't wait to see everything that is on Andy Slate coming up.
• 30:31
  You can too stay tuned check the
• 30:34
  links in the description andrew david barker the
• 30:36
  man of pros and pictures what a
• 30:39
  man what a man what a mighty talented man andrew david barker get down to the
• 30:43
  links in the description and as always my little eugenites thank you for listening
• 30:51
  to us on spotify or wherever you choose to listen to your favorite podcasts
• 30:55
  i'm ken hill and until next time you've been listening to.
• 30:59
  Cinema okay.