Latest / Cinema Yūgen / Unleashing Creativity: Jeff Bollow on the Future of Screenwriting and Self-Published Cinema

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Unleashing Creativity: Jeff Bollow on the Future of Screenwriting and Self-Published Cinema · Cinema Yūgen

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G'day. That's right, it's that time again.
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Time for Cinema Yogan. I'll see you next time.
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Music.
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Yes, welcome back Yoganites. In this episode, I'm very happy to have Jeff Bolo,
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an actor, writer, director, producer, author, public speaker and film festival
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organiser is the author of Writing Fast, How to Write Anything with Lightning Speed,
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the producer and the director of the Atom Award winning Making Fantastic Short
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Films and the founder of Australia's Screenplay Development Centre in May 2015.
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He also delivered a TED Talk to expand your imagination exponentially.
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He is an incredible speaker. He is full of great words of wisdom.
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I have, since watching him and listening to him, I've wanted to bring him on the show and talk shop.
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So without further ado, here he is. The fastest gun in the West when it comes
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to writing screenplays.
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Plays fast the man of the moment the mad dog who will park your car he is jeff bollo.
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Thank you very much happy to be here mate i've been like i've said been checking
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out your videos for some time it's great to see like you look and sound exactly
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like you do in them in the movies it's kind of cool hey let's start with the
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million dollar question the million dollar question this,
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hey yo mad dog you want to park that there you
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go it's a it's it's an og it's an og
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callback there you go so you gotta
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say it and hey yo mad
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dog no that's that's not my line my line is uh park it
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yourself metallica breath beautiful thing
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that was exactly what i was hoping for park it
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yourself metallica breath i feel like i should get i
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feel like i should like put get myself on cameo or something and
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yeah i'm surprised you don't do those like comic
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cons and sign autographs and take pictures and
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stuff with people yeah i i've i've kind
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of moved in a different direction since then that's cool
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no it was it was great hey do you know it's six degrees
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of of of don't tell mom the babysitter's dead
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the friend i was talking to you about who sent me his book sylvan dupree who's
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a conceptual illustrator for the movies who worked ridley scott and lots of
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tim burton lots of people he recently put out a book los angeles which is you
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know his his reservations and thoughts of his career plus samples and all sort
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of stuff his first storyboarding gig.
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Was don't tell mom the babysitter's dead is that right yeah
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wow there you go that was his first storyboarding gig
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i mostly i mostly knew the actors
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and the crew that were that were sort of immediately shooting
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that thing right yeah that was kind of who i worked with i didn't really work
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too yeah no no i wouldn't expect you to bump into the storyboard yeah on the
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set but uh so there you go small world the baby always seems to be a small room
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anyway jeff mate Ed, I've been enjoying your videos.
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I'll say the links will be in the description to Fast Screenplay,
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YouTube channel, all that good stuff.
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You talk about so much that I think is really important. We can't talk about it all in 30 minutes.
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So I just sort of went through those videos, which I told you that I thought
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were some good points in,
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and I've just kind of written down the points that I think
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that are very important for anyone
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listening who really wants to get into this
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and is serious about writing screenplays and
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just as a quick interjection there if you are
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interested and you are serious you should absolutely do
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it because there is literally unlimited opportunity in the world of screenwriting
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people just do they have the they have it entirely backwards so people are thinking
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it's it's a hard thing to get into and it's very limited and it's very niche
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and that that's just all changing today So if you have any inkling about it,
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definitely jump into it. But sorry to interrupt.
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You're right. No, which leads perfectly into the first point,
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which you brought up in a video, toxic negativity.
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Which is, you know, this perceived notion that there is only one way in that
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you have to hit the high ground, that you have to get it on the green in one shot.
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And so it's just a putt to the finish. You have to get an agent,
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you have to blah, blah, blah, blah, blah, blah, blah, blah.
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And so as you say, the old method, the new methods coming in.
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This has kept a lot of people back, and I still know a few screenwriters personally,
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that it's still holding back because they don't see the value of,
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like, to get to the top of the building, you get on the ground floor.
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Look, I started this, obviously, you're quoting the movie from how many years ago now, right?
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Yeah, yeah. I started a very long time ago in this industry.
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And at the time, it was pre-internet.
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It was pre-indie revolution. It was certainly pre-phones and pre-AI, pre-all that stuff.
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And so that's really the paradigm that we tend to still look at the screenwriting
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realm, that prism we look at it through. Right.
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And I think because we still think of it that way, all of the kind of the classic
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books about screenwriting are all written from that era.
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It's all kind of the lore of the history of it.
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It just makes us it just makes us think all wrong about what this craft is and
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what it is today and what it is moving forward and and why you'd want to do
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it and how you would break it.
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Like everything, everything has changed.
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It's back in the day.
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You know, it was, it was a very few people or companies that would be making
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these projects. And there would be all these people that wanted to write for those studios.
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And so they would all make these spec scripts. They would all send them in and
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it would be these giant slush piles.
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I remember, I literally remember offices with stacks and stacks of hard copy screenplays.
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Right. And, And so the way to break through in that environment is very different
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to a day where now you can go make your own indie short film for no money at all,
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demonstrate that you not only have a voice and a vision and a perspective and
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something to say and an interesting idea.
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You can demonstrate all that all on your own, such that you break through using
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a much more compelling way to grab people.
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And then they want to see your spec screenplay, right? So it's just a completely
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different, it's a different framework.
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And the toxic negativity comes from kind of hanging on to that old model and
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imagining that, you know, I still hear people in my YouTube comments talking
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about, it's all about who you know.
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It's the, you got to be related to Spielberg or something like that.
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It's like, what are you talking about?
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You could go make a movie right now and put it on YouTube for free right now.
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Like you don't need anybody's permission to do this anymore.
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So it's all, it, it has become about your merit.
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It has become about your skill and, and are you able to tell great stories,
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tell them effectively and connect with audiences.
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And so, yeah, it's just, it's just a completely different way to go about it today.
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And I think if we, if we focus on the new way, then it's,
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it's like wide open skies in front of us versus if we hang on to the old way,
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it makes us second guess ourselves in ways that are ultimately damaging to the
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thing that we're trying to, to achieve.
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Total, which leads into the next point that you said, the, the,
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the classic, the three things, skills, proof, and opportunity.
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Now, skills are something that you, you know, what, what do they say?
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Success equals what is it preparation and timing exactly preparation is the
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key if you you can't i mean i i.
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Ten years ago, I couldn't go to a director, hey, when he says to me,
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hey, when can I have the pages? When can I have the first draft?
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I wouldn't have been able to say with confidence, well, give me a week.
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You know, give me a week. Right, right. Something like that.
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Right? Because you don't yet know how fast you can put out. Exactly.
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Because, and we'll get into this in a minute, but these are also a couple of
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things that if you come through the conventional method or, you know,
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you come out of film school, or what they don't teach you is how to go out and get a job.
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Go out and show someone you know how to do a job by getting a job that you can't
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get a job because you haven't been yet able to perceive that you can do the
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job, if that makes any sense at all. Sure, yeah.
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Look, the film industry is all catch-22s.
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It's everywhere you turn, it's catch-22s. You can't get your first acting gig
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until you can demonstrate that you've had acting gigs in the past.
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You can't get your first writing gig until you've been produced somewhere.
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Right you can't it's it's forever a catch-22
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and so what what the industry has
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always been about is prove yourself find some creative way to prove yourself
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sure and then get noticed by coming at it from a different angle than we expected
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like that that's the way to demonstrate your creativity and get noticed and
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you create opportunity through that as you say by creating.
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Value in what you could do by saying, well, it's not going to take me a month
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to come up with the, you know, the outline, a first draft and so on.
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It's going to take me 10 days or a week.
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You know, I've done it in a weekend. Like my first, for instance,
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my one of the, well, the first movie I had officially released.
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Which has just been released yesterday, actually. I got that gig because I read
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in a post the guy said that the fastest he'd ever written a script was five days.
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And so when he approached me with the opportunity, after I told him I was a
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writer and I demonstrated my abilities, as you say,
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I said, well, this was a Friday afternoon.
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And I said, well, if I can get you the script Monday, what do you think about that?
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And he says, well, if you can do that, that would be great.
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And thus I went on to write eight more scripts with him and get some more movies out.
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And I've just done similar again with another director this year.
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I've done eight gigs in a row with this guy who's developing stuff to make next year.
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So, yeah, look, the quicker you can put the pieces together because it's a lot
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like playing with action figures back in the day.
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If you're one of these kids, you used to play with your action figures in the sandpit.
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Sometimes there were Transformers, He-Man, G.I. Joes, all working together, but it wasn't about G.I.
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Joes or Transformers. You were creating other worlds, and these characters had
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different names and they interacted in different ways.
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So it's like the director giving you a bunch of their toys that are kind of
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random. There's this vehicle, these characters, this playset, and they say, have at it.
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So look, the, the reason for being fast, the reason to develop the,
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the skill of speed is not because we just want to rush something onto the, no, no,
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no, no rush rush is no good for anybody.
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What we need is quality at speed, right?
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Quality at the, but the reason we want that is because in order to bring a big
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complex project like a film together, there are an infinite array of variables.
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There are so many different moving parts, right? And so if we're at that place
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where the pieces have kind of come together, we need to strike while the iron's
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hot. We need to take action now.
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And so the reason to be able to create quality at speed is so that we can take
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advantage of all these shifting opportunities that we're here for.
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I think a lot of people, you know, I wrote a book 20 years ago when I was in
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Australia, in fact, that was called writing fast, how to write anything with lightning speed.
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And the idea behind it is I created this fast acronym.
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So fast is stands for focus, apply, strengthen, tweak F A S T,
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which are the four key phases of the writing process.
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The first phase, you focus all your stray ideas into a story plan.
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The apply phase, you apply that to the, to the page, write your first draft
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as fast as you can, basically.
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Then you strengthen it. You rewrite until it's solid the story you wanted to
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tell and then you tweak polish the words the t tweak is you polish the words
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into a page turner reader experience because at the end of the day.
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Nobody's going to ever care how fast you wrote the script what they're going
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to care about is how fast that script reads because a fast read is a page turner
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a page turner is something that is engaging and compelling for the audience so.
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When we think about speed, we have to make sure that we're thinking about it
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in the right, in the full context.
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Cause it's not just about who can, who can fill a hundred pages quickly because,
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and I think this is a problem that newer writers get blinded by.
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Cause if I can just write really quickly, well then I can take advantage of
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these opportunities or I can kind of get past the stuff I don't really want
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to be doing, which is the writing and do the stuff that I do want to be doing,
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which is making the movie and shooting stuff and whatever.
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Yeah. But if you rush it, you end up making more problems for yourself in production
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and post-production because you're trying to kind of take something as weak
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and flimsy and thin and not very good and, and turn it into something of quality,
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which is much, much harder to do. Totally.
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And to take something that's great, like a screenplay that's really good and
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turn that into a pile of crap because that happens all the time.
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Yeah, no, no, no, I agree with you. And I don't, when I say I write a script
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in the week, I don't, I don't cut corners either.
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I write, I've got my pads still.
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I film four days in the pad, three days at the keyboard.
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Right. There you go. Sure. That's my, that's my, that's my, my,
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my stone age method here.
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But no, cause I believe in what Tony Gilroy said.
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I like to make mistakes on the page before I put on my suit,
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which is, is typing scripts. So typing the script is like the last,
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thing because typing it doesn't take that much time at all see i actually think
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i actually think typing it is the second thing and the second before so the
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the one the the challenge that
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i have always faced because look i i don't know if you know my my background
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in the screen writing thing but i taught i have now taught screenwriting for
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like 25 years and i have now.
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Probably interacted with somewhere between 15 and 20 000
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writers all around the world and and the
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the the problem overwhelmingly is
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that people are only concerned with taking the idea from their head
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and putting it onto the page that's that's where
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that's where their concern ends yes but where their concern should be focused
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is from that from the page into their reader's brain yes right because at the
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end of the day what what i put on the page that's an act of creativity That's
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me putting something out there.
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That doesn't mean it's going to land in any way resonant with someone else. Right.
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If you go to see a comedy or horror film, you go to laugh or to get scared.
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Right. You go for the experience.
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You, that is you as an audience member are, are wanting that experience.
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That's an outside inward transaction, right?
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You want some, you want to experience something. it's
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not about the filmmaker it's not
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about their experience or their journey it's about
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yours and so as as filmmakers or writers or creatives we need to always remember
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that as we're as we're designing the thing so just kind of going back to your
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point the the typing of it is you putting it on the page right whereas whereas
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what i would want your listeners to to,
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to think of is that if we,
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if we always kind of work from that vantage point of,
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of what do the, what do these words on the page give to the reader?
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We're going to up our game every time. Yeah.
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Yeah, no, totally. And I, I mean, I, I always say to other people who ask me
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for advice, I say I write the movies that I would watch.
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For sure. I never, even, even if it's a, and I wrote a lot of low budget films,
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real, I mean, real micro-budget, probably more correctly termed.
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But that's where everybody should start. Yeah, that doesn't forego the fact
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that you don't treat it like it's a movie that you – I treat them all like a movie I would watch.
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I can't put something down that I wouldn't sit through.
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Well, so one of the things that I, one of the things that I came up with a couple
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of years ago is this, what I call the breakthrough strategy.
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And the breakthrough strategy is that in order to work at the,
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at the maybe quote unquote higher levels of the industry, the big studios,
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or even the bigger budget, low budgets or whatever.
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If you make an independent film, a micro budget feature that is for a micro
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budget feature, you're extraordinary.
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That's going to make the people at that next budget level up go,
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Ooh, who's that person? I want to work with them.
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And they, they pull you up. So we think of breaking through,
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we think of getting noticed or creating something that the industry or something like that. Yeah.
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We're imagining that being something we are doing. we're
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pushing into that direction but if instead we're we're
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creating something that is so strong and powerful at
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this lower budget that's the secret right
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because then we get plucked up because i'll tell you something the
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people at the medium level and then even also the people at the top level
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yeah they they struggle to find quality
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it is i cannot put into words how hard
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it is to find extraordinary material this
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is the overwhelming the overwhelming stuff that
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is written is written for that creative
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impulse it's not written for the
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audience impulse right so it's really hard for
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people to find the quality writing and so
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they're looking for people to pluck and pull
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up to their level right does that make sense yeah no
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totally and and i i think
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that as you were saying in another video
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about that negativity the the maintaining
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the notion that success only
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equals you know you're right up in variety and
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you've just landed the highest amount of money for a.
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Spec script ever written incidentally i've
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spoken to the man who was the co-author of one of those scripts yeah
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bill marsilli who co-wrote deja
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vu with ted rossio i think
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they've still got the record i'm not sure probably because those are because
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those kinds of paydays tend not to happen on spec scripts anymore and they the
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deals are usually structured differently in the kind of the way the payouts
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happen so it's pretty rare in in line with what you're saying though if if that's if that's.
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The only success that you see
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or you're going to accept, you might go blue in the face waiting for it.
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Well, some of those things are out of your control. One of the key insights
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that I came across along the way, simply because I come at this as an independent
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producer who, while I was in Australia, could not find material to produce.
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I looked through hundreds of films, scripts, submissions, eventually thousands
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of them, eventually spread my spread it to go all around the world, eventually 30,000.
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Like I could not find material to produce the, the,
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the, the reality is the stories that you, if, if your objective is to have this
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one passion project that you've written be made by that filmmaker,
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there's so much there that's out of your control.
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The, the thing that I identified was that the key to making a sale,
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to making a, to, to getting a deal is it's in one word alignment.
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You, your project has to be aligned with the immediate needs and desires of at least one producer.
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Yes. And if it is that project can get a yes.
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Now, if you're going to make it yourself, obviously that's a different story,
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but if it's, if you're going to,
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if you're going to write to a cell yes you
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all of those all of the all of the variables have to line up at the same time
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at the same place i could love a script that you wrote but not be in a position
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to make it right now exactly and so then we're not aligned so that's a no right
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or or an indefinite maybe.
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Which is not now but nobody wants to offend anybody when will then be now soon
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exactly so So the challenge that we have as writers is we want to understand
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that alignment is necessary for the deal,
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but alignment is in many cases largely out of your control.
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So you can't have your ego or emotions tied to that.
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You can't have your strategic career ambitions tied to that because if you do,
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you're going to be disappointed every time. because the odds of all of the things
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aligning at the same moment are very unlikely.
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You said you were writing for the writing with this producer and making these different projects.
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That's the way it typically happens is where you meet a producer and the two
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of you are in sync creatively.
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They like some other thing that you've written and now you're going to work
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together on a project, right?
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So how do you get yourself into that position?
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You get yourself into that position by developing that skill,
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being ready for that moment so that you can take advantage of that and demonstrate
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to that person that you have the skill, not just to be able to create something
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great, but to be able to create something that is in alignment with them.
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Exactly. And increasing your value by doing it,
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as as quickly as you know possible rather than rather than take rather than
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take a month take 10 days or something like that imagine you have you're in
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that pitch meeting and they throw out an idea and you go yeah you could do this
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and blah blah blah and they go wow that's amazing how long is it going to take
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you to get me a first draft and go give me nine months.
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Well i mean it's i mean because i mean i approached it like most screenwriters
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do because you've been writing for so long crawling across the desert and then
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all of a sudden you get offered a glass of water and what are you going to say
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how fast mate i'll do it tonight,
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oh well but if you if you don't have the skill to be able to though then guess
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what that's true you gotta you while you're crawling you should be working you
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know you shouldn't just be focused on the glass of water you should be focused
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on on you know and this is why it's so it's so important for writers to let go.
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I, the, the, the two words that I keep coming back to is let go.
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You have all these ideas and ambitions and targets and whatever,
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and where your actual genuine, authentic creative voice comes from is your creative
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subconscious, not your logic brain trying to figure everything out.
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So we want to get to the point where we can create more or less intuitively.
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Yes. And when you can let go and, and, and create quality at speed,
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that's where, that's where the the stars
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align and you can and you're able to take advantage of those kinds of people
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have thought i've been weird in the past when i've talked about you know spoke to
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students and stuff about writing and that i
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said thinking is the enemy of writing and they all go well but when you're writing
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you're thinking i know you're using your imagination which is different from
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thinking right someone has this idea this age-old idea of the muse and like
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the flow right and tapping into the flow and, and, and letting it go.
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The problem is that when a new writer comes along and they don't understand
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all the dynamics at play, they don't understand the nuances of setup and payoff
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and how to, how to build dramatic tension and all these kinds of things,
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then they just, they let go.
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They tap into the flow, but it's this, this stream of consciousness writing
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that sends them off on all these meandering directions.
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Whereas if you, as you get, as you improve your
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craft you get better at knowing how
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to kind of shape the banks of the river so that when
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you do let it tap into that creative flow it goes in a very specific targeted
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direction which ultimately is alignment yes totally which leads um which leads
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to sort of my my last point and i think the most interesting one that you brought
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up in in one of your most recent videos.
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And and to lead into that i i'm,
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I did the screenplay thing for 10 years the old way, the old official way,
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and we're getting nowhere.
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And one day I was crying in a beard to a friend. He says, well,
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just like you say, you've got these ideas, you've got these stories.
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Why do they have to be scripts?
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And I don't know why I never thought of it before, so I started writing books, right?
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So I tried the traditional way of the book thing for three years,
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and then I stumbled across indie publishing.
26:10
And there was a little there was a little window there
26:13
in the 2010s when create space was separate from
26:15
amazon and this allowed anybody to to
26:20
format do the cover do it and put
26:22
out a book right anyone who ever thought that they want to be
26:25
a writer and publish a book whatever genre they
26:28
could do it did create space allowed that and they
26:31
could make money from amazon doing yeah
26:35
so and a lot of people thought well indie publishing isn't
26:39
real publishing look anyone any any
26:42
person's going to offer you a publishing contract i
26:45
consider it you know whatever why does it
26:48
have to who really cares who the publisher is if
26:51
the story is any good that's going to be the you know
26:54
the secret source it's not going to be oh this is published from you
26:57
know cunning's and cannot it's got to be classic but so
27:02
i got in to indie books and through indie books
27:05
indie film and thus achieved you
27:08
know my goals okay which is moving coming in which is ultimately if you're congratulations
27:14
get in the movie business you that's what you want i mean it doesn't matter
27:18
if it's a low budget movie it's a movie that's what we that's what we fell in
27:23
love with as kids you talked about in this movie self.
27:27
-published cinema is coming and I think it's the possibility and.
27:33
Yeah. I think the, so what we learned from self-publishing is that self-publishing
27:39
was initially kind of this like bastard child that was like,
27:44
like everybody looks sideways at it.
27:46
And then just gradually over time, we get used to the idea that there are traditional
27:51
publishers and then there are self-publishers.
27:52
And it really doesn't, it doesn't matter at the end of the day,
27:55
that the quality of the book is good.
27:57
If, if the writing is good, if they're compelling ideas, I'm,
28:00
I'm buying a book. I don't, I don't care who the publisher is.
28:05
Right. So, so it, it all, it comes back to a meritocracy.
28:09
It comes back to how good is the, is the art is the thing that's been created.
28:14
And that ultimately is what's going to happen now with, with AI.
28:19
So for a little bit of context here, you know, I come at this from an indie film perspective.
28:23
And so from, from an indie film perspective since the
28:27
90s i mean i back in the 90s when sex lies and videotape
28:30
came along and you know all these little clerks and and all
28:33
these little like tiny little yeah el mariachi all
28:36
these little tiny films came along and kind of just changed the
28:39
how we think about indie film that you could
28:42
have easy riders of their time yeah you could
28:45
have these little uh these little tiny little budget really compelling
28:48
interesting and engaging fun enjoyable films and
28:51
so i was always drawn to that i worked briefly for a guy named roger corman
28:54
who was known as the king of the b films and so
28:57
god bless he he passed recently and he's he i mean he his it was just like this
29:03
factory of little low budget like exploitation films and whatever is a great
29:08
place to work as a young guy and so when i got to australia my whole kind of
29:11
aim was to make a little studio video that would do,
29:16
I had sort of higher creative ambitions.
29:19
I wanted to make, you know, more mainstream films and more kind of artistic.
29:25
Exactly. But the.
29:27
So that's the angle that I came at it from. So what I've known all along is
29:33
that all you have to do is go down to the camera shop, rent your little Aeroflex
29:37
camera, buy some 35 millimeter film,
29:40
go shoot it, go shoot the film,
29:43
edit it on your little flatbed in the back office or whatever, and cut it together.
29:48
I know that I'm using language that probably the younger audiences are like,
29:52
what are all these things this old man is talking about?
29:54
But nowadays it's all digital, Right now you just go get a, get a digital camera.
29:59
You go shoot HD, you go edit it on your, even Adobe premiere or Da Vinci or something.
30:04
You're, you're, you're, it's all non-linear editing. It's all super easy and simple.
30:08
The point is the tools have been in our hands to be able to do low budget and
30:13
independent projects all this time or literally 20, 30 years already.
30:18
And so the, when I look at the AI text to video generative stuff.
30:26
Sora, runway, these kinds of tools, I see that we're going to be taking yet
30:33
one more layer away from the need, the expense,
30:38
the logistics, the resources to put together indie film.
30:41
Yes there's a lot of people out there who are freaking out because well what
30:45
happens to the grips what happens to the you know you know what's gonna happen
30:49
the group's gonna go make his own film and it's gonna be awesome right like
30:52
the grip is gonna make a million bucks as a filmmaker because he didn't get
30:56
into it necessarily just to be a grip he's got stories inside him too so.
31:01
The the the way that i look at this this sort of ai revolution that's happening is.
31:06
AI is trained on all this data.
31:09
And so it understands a lot of things. It finds a lot of patterns that can help create stuff.
31:14
But the one thing that it does not have, that it will never have is your unique
31:19
window on the world, your angle on it.
31:22
And it's your angle on it that gives you an imagination that no one else will
31:25
ever have that gives you stories only you can tell.
31:29
Now, take this powerful new technology and say, I want a story that looks like
31:34
this. And it makes that generative video for you.
31:38
And you say, no, hang on a second. I don't want that character to go here.
31:41
I want him to come back from this angle. I want him to stop and have this smirk.
31:44
And he turns around and he says this line, right?
31:47
And it will generate that stuff for you.
31:50
It's not there yet, by the way, as we record this, it's not,
31:53
it's not there yet, but that's kind of what's coming.
31:56
And so what will, what I believe is about to happen is self-published cinema
32:01
in the sense that you all by yourself will be able to make something that is
32:07
cinema quality without anyone else's involvement.
32:12
If you didn't want it now, you can certainly team up with small groups of people,
32:16
large groups of people that will still have Hollywood style films.
32:19
I believe, because that's just a different way of telling a story.
32:24
But what it does for independent filmmakers is it just gives us this extraordinary
32:29
new palette, this new tool set to go off in whole new directions at whole new
32:35
levels of quality and opportunity.
32:37
So what the challenge then becomes is now that everyone can do it, like how do we stand out?
32:45
How do we build an audience? How do we get noticed?
32:47
How do we make this an economically self-sustaining thing? And so I'm kind of
32:52
focused in that direction at the moment with my micromogul stuff.
32:56
I started teaching people how to use AI in my screenwriting accelerator thing.
33:02
I still maintain though that the skillset that you need more than any other
33:06
is the ability to tell your own unique original stories at speed.
33:10
So speed plus quality, the fast screenplay stuff.
33:13
And so to me, it's like, I cannot even put into words how excited I am about
33:19
this era and what is unfolding in front of us.
33:22
Because as, as someone who has dreamt about movies, made movies,
33:26
been involved in movies, wanted to be involved, just, I want to make a thousand films.
33:30
I want to work with a thousand filmmakers to be, to build a studio that makes
33:35
lots and lots of films and, and just the, all the tools and technology is here
33:41
for us now and, and coming online soon.
33:43
And so what I think people need to be doing is, is.
33:47
Kind of preparing for what that future looks like
33:50
because that is bound to change the nature
33:53
of the industry itself it can't help but
33:56
but i think it only opens up great things i don't think it's anything for us
34:00
to be scared about the the way that it has been done is going to change uh it's
34:07
going to be radically impacted but what what replaces it is even more exciting
34:13
and has even more opportunity.
34:15
Totally. And it's kind of a little bit like Termot the Frog once said,
34:20
you know, I found a dog and a bear and a chicken and a whatchamacallit,
34:23
and they all have the same dream. And that kind of dream gets better the more
34:27
people you share it with, Jeff.
34:28
And I think it's been wonderful to talk to you this morning.
34:31
And I think you are full of a lot of wise words.
34:35
And all the links will be in the description. So don't just listen to us talking here.
34:40
Jeff has a war chest, a veritable war chest of wisdom, Jeff.
34:44
And I thank you for sharing a little bit with us.
34:47
Well, I appreciate your time and I appreciate your listeners' time as well.
34:50
So thanks for having me here and I look forward to doing it again.
34:54
Yes, Jeff, great bloke. Lots of wisdom to be had.
34:59
Screenwriters out there, aspiring screenwriters, especially if
35:02
you're thinking about undertaking this wild journey
35:06
into the movie business and you have many movies
35:09
in your head which you want to see come to life and
35:12
maybe get paid to write a few you can
35:15
do it too check out the links in the description and
35:18
please listen to what jeff has to say he's he's a
35:21
very very very positive man a very wise man he's got a lot to offer check it
35:28
out links in the description ladies and gentlemen go there now jeff bollo check
35:34
him out check out those links and as always my little Eugenites,
35:40
thank you for listening to us on Spotify or wherever you choose to listen to
35:45
your favourite podcasts.
35:46
I'm Kent Hill and until next time, you've been listening to Cinema!
35:51
Music.