October 1, 2024 • 15 mins
Nathan Tape is the director of a new movie called Off Ramp that centers around a pair of Juggalos attempting to make their way to The Gathering. All sorts of hijinks get in the way in this really well written indie movie and the two lead characters pull off the herculean task of making Juggalos seem just like the rest of us. How much did it cost to make Off Ramp? What tricks did Nathan use to save money and put out an incredibly high quality product? We ask all this and more and encourage you to give the movie a watch.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Earlier this week, I was telling you I had watched
a new movie that I think is the best movie
I've seen in twenty twenty four, and I want more
people to see this. If you're into a great piece
of storytelling, if you're into different subcultures and counterculture elements
being explored, this movie off Ramp is so good. It's
(00:23):
so good and so well done. And I don't even
know how Courty ended up finding it was on some
lists she looked up somewhere. And I'll give you the
overview here before we talk to the director, Nathan Tape.
It says, filmed in New Orleans, Off Ramp tells the
story of Trey and Silas played by John Oswald and
Scott Turner Showfield, a couple of lovable, degenerate Juggalos who
(00:44):
must sojourn through America's hellish underbelly to the gathering of
the Juggalos.
Speaker 2 (00:47):
There's also a character's name we can't say, ah Man.
Speaker 3 (00:51):
Yeah.
Speaker 2 (00:51):
Unfortunately on the radio, not all of them.
Speaker 1 (00:53):
Frans Ver Jugglers are fans of the hip hop group
or hip hop group excuse me in Sant Clown Posse
and other artists signed to Psychopathic Records. Their record label
and go on to talk about what a juggalo actually is.
But first of all, Nathan, thank you for joining us.
We appreciate you taking the time.
Speaker 4 (01:08):
Man.
Speaker 3 (01:08):
Yeah, welcome, Thank you very much for having me. I'm
honored to be here.
Speaker 1 (01:13):
And Nathan, I want to ask you. First of all,
I don't even know if your public are willing to
say this. You can feel free to tell me. You
just don't want to tell me? What was the budget
on this film? What kind of money does does it
take to put together a piece.
Speaker 2 (01:23):
Of work like this?
Speaker 5 (01:26):
Let's say it's you know, well under a million dollars,
but you know it was it was, you know, something
like that. They tell us not to say those things explicitly,
but whatever about half a million dollars?
Speaker 3 (01:40):
All right?
Speaker 1 (01:40):
Here's why I say this. How is it that we
see all of these movies? Megalopolis is an excellent example
at the moment. How is it we see all these
movies with these massive, bloated budgets.
Speaker 2 (01:51):
You filmed the movie that is beautiful.
Speaker 1 (01:53):
To look at, incredibly well acted but properly portrays the
subject matter, has special effects, has a soundtrack, has all
of these things on par with any other film, you're
going to see in theaters out there.
Speaker 2 (02:07):
Why do these movies get.
Speaker 1 (02:08):
So bloated and out of control of their budgets when
you clearly can make a high end movie like yours
for half a million.
Speaker 3 (02:14):
Dollars, Well, thank you very much. It was a you know,
a team effort.
Speaker 5 (02:19):
I spent a lot of time myself as a gaffer
in the film industry here in New Orleans, and so
I think I learned a lot of tricks of the
trade and the ways to sort of.
Speaker 3 (02:29):
Cut corners and called in a lot of favors.
Speaker 5 (02:32):
I think, truthfully, you know, I think film I think
they have much better filmmaker than myself. I think somebody
like Hitchcock or Kisawas said you need three things to
make a good movie.
Speaker 3 (02:41):
The script, the script, the script, And I think that
that's very true, is it?
Speaker 5 (02:45):
Oftentimes people don't spend enough time in the script or
they ignore that. And you know, that was always something
that was very important to us. It took us a
long time to make the movie, so we spent a
lot of time kind of reworking the script and reworking it.
So I you know, I would say, I don't know
exactly how it happens. But I can also say that
(03:05):
being in the film industry, I have seen a lot
of waste and I would like to eliminate some of
that and try to do, you know, as much as
I can with what I have.
Speaker 2 (03:14):
You know, yeah, how long ago did you start working
on this?
Speaker 3 (03:19):
About twenty fifteen?
Speaker 5 (03:21):
First, Yeah, we first started working on the script about
twenty fifteen, my co writer Tim Cairo and I and
we then, you know, as I said, I was at Gaffers,
I kept kind of getting job offers and I would
kind of go do those jobs and you know, kind
of put this on the back burner. And then twenty twenty,
during the pandemic, was like we all had a lot
(03:42):
of time to sit around and think, and I said, well,
you know, I'm not getting younger.
Speaker 3 (03:45):
If I'm going to make a film, let's make it now.
Speaker 5 (03:48):
And that really was like kind of the impetus to
really get it going at that point.
Speaker 1 (03:52):
The storytelling in off Ramp, this movie that you made
is so well done. But one of the things that
must be a notch compliment is when you see the Juggalos,
and this story is built around the world of Juggalos,
and if you hear that, and you go, oh my god,
this is not that's just the story arc, right, and
(04:13):
this is for general audiences.
Speaker 2 (04:14):
Everybody's gonna like this movie, I think for the most part.
Speaker 1 (04:16):
But when you're doing this and you see the very
community that you're writing about, say you did a really
good job representing them, that's got to feel like a win.
Speaker 2 (04:28):
Right, So how did you do that?
Speaker 1 (04:29):
How did you get into the world of Juggalos and
ICP and all this stuff so that you could properly
write characters that would seem legit to even the fans.
Speaker 3 (04:40):
Well, thank you very much. I'm really honored to hear that.
Speaker 5 (04:43):
And honestly, every time a jugglo watches a movie, I
think I get more nervous than when other people do,
just because you know, you want to do right by them.
Speaker 3 (04:51):
But as far as my journey with it, I met
there was you.
Speaker 5 (04:55):
Know, it was kind of fascinated by the world of
Juggalos and I thought it was such an interesting subculture,
and I ended up getting introduced to this guy named
Scotty d who he runs a website called Fago Lovers Heaven,
and he's like one of the they have one of the
biggest kind of ICP and the whole underground.
Speaker 3 (05:12):
Music scene as I call it.
Speaker 5 (05:14):
He hits one of the biggest fan sites, and so
I really asked him a lot of questions.
Speaker 3 (05:18):
I got in, you know, input on the script from him.
Speaker 5 (05:21):
And then when I went to the gathering in twenty
twenty one, and of course I filmed like the b
roll footage at the gathering in twenty twenty one, and
I really got to know a lot of these folks
and really kind of, you know, just learned a lot
more about who they were. And I think the thing
that I think was so interesting is that, you know,
the Juggalos seem like someone who is there in other right,
(05:42):
like I think our film speaks to a lot of others,
and I think, but you know, what I really found
was just like very similar commonality to two people who
are our you know, genre film fans or hip hop
fans or you know, we're all just kind of like
looking for our tribe, and I think a lot of
these folks are the same way.
Speaker 4 (06:01):
You mentioned You mentioned going to the gathering of the
Juggalos to get footage for the film. At what point
you said this began around twenty fifteen ish, At what
point during the production and creation of the film, did
the Insane Cloud Posse become sort.
Speaker 2 (06:16):
Of aware that this was going on? When did they
catch wind of it?
Speaker 3 (06:23):
You know, that's a good question.
Speaker 5 (06:24):
I don't know exact I mean, we I guess they
kind of got winded at about the same time that
I met with Scotty, because I contacted their manager to ask,
you know, to try to get rights to miracles, and
we kind of tried to involve them a little bit more.
But they're a little hesitant, understandably. So you know, I
think a lot of people have portrayed Juggalos in a
(06:47):
less positive light than we.
Speaker 2 (06:49):
Have, right like our government calling them, what was it,
domestic terrorists at some point. That's in the movie.
Speaker 1 (06:55):
Yeah, they talk about that in the movie, and all
these things were were handled, I thought in a really
good way. And you could tell, just to hit you
with some flattery here, that you did go over that
script over and over and over and over until there
wasn't a lot of fat on it and it was
right down to the key pieces of storytelling that you needed.
Speaker 3 (07:15):
But thank you very much, you.
Speaker 1 (07:16):
Got a killer performance out of a lot of the
people that you had in this movie.
Speaker 2 (07:22):
Off ramp.
Speaker 1 (07:23):
Did they have to explore the world of Jugglos on
their own and try to get into the mindset of
one of these people that you know, they're a little different.
They found their own community and you got to understand
where they're coming.
Speaker 2 (07:34):
From, right, Yeah.
Speaker 3 (07:36):
Absolutely.
Speaker 5 (07:37):
I mean I think I shared a lot of you know,
documentaries and things with the cast. They took a lot
of inspiration from that. I feel like we did, you know,
I feel proud of how, like you said, we.
Speaker 3 (07:49):
Worked in the script for a very long time.
Speaker 5 (07:51):
So the kind of realer it got, the more kind
of I think more authentic at got I think it
was kind of easier for the actors to sort of
dive into it. And yeah, they did an incredible job.
I mean Scott and Scott and John as as as
Silas and Trey, they just had amazing chemistry and as
(08:11):
soon as they met, they just really bonded and and
everybody just really bought in, which is just we're very
lucky that they did. And I like to think that
that was a part of the script and a part
of the kind of thing that we were trying to say,
and we're trying to say something kind of universal, even
though it is said through a sort of different lens,
(08:31):
if you will, But we really wanted to say something universal,
which is that, like, hey.
Speaker 3 (08:36):
Who among us has has not felt like an outsider?
Speaker 5 (08:40):
And and if you, if you haven't, I'm not necessarily
been fine, good for you, exactly exactly anybody can be
down with it.
Speaker 1 (08:50):
You're making a name for yourself now, Nathan Tape with
the movie off ramp. But do you look at where
the movie industry is now and think it seems to me,
as a person not in the industry from a distance away,
there's never been a time where you could do as
much as you can now in terms of quality of filming,
(09:11):
putting productions together yourself. Twenty years ago, there was very
little shot that somebody's gonna make their own movie without
a big studio involved.
Speaker 2 (09:22):
Now it seems.
Speaker 1 (09:23):
Like if you have a great idea and you really
work on things and you really put effort into it,
people can do that. Like it's more accessible now. If
you found that to be true.
Speaker 5 (09:33):
One hundred percent, I mean, you know, just will sound
like the old guys in the room, but it's true.
Is that, you know, there's a lot of technological advancements
that have been made in the last even five years,
and but you said over twenty it's just been a
huge step.
Speaker 3 (09:47):
I mean simply just like digital editing.
Speaker 5 (09:50):
And digital photography has just you know, gained So it's
just moved the industry so much further along. And now
lights are cheaper and everything's of like less expensive that
you know, it did used to cost a lot more
money to do things, and now you have a lot
more freedom. Plus I think storytelling has also evolved, you know.
(10:12):
I think one of the big movements that when I
was in film school was Dogma ninety five, you know,
a large fruntrier and I think that Dogma ninety five
really taught us was similar to where the French New
Wave taught taught us before, but that like you know, again,
a story is really what's most important, and I think
that that storytelling, you know, at its best, we will
(10:33):
transcend sort of the medium. So I think that, yeah,
things have gotten a lot easier in a lot of ways.
At the same time, what I also have sort of
discovered is I think that you know, distribution because of streaming,
is also kind of harder in some ways because there's
so much more content and trying to kind of filter, yeah,
and try to kind of filter through that is is
(10:53):
kind of a challenge, you know.
Speaker 1 (10:55):
Last question that I have for you here was if
you had another community that you could explore like this
and create a film out of the fan base. The
Juggles is a super interesting one obviously, and you you
got that done in behind you here, but is there
another fan base that you would be interested in doing
something like this with?
Speaker 5 (11:15):
Gosh, that's a good question as far as like a
musical fan base. I mean, I think the only real
like equivalent would be somewhere like you know, Deadheads or
maybe like fish fans.
Speaker 3 (11:26):
Or things like that.
Speaker 5 (11:27):
But I'm not sure that that's exactly what I would
want to do.
Speaker 2 (11:31):
I don't think that's as sexy as Juggalos.
Speaker 4 (11:35):
There's not as much shock factor and just I mean,
I think anything you would learn from dead Heads or
fish Heads is pretty predictable. I'd say mimes group of
minds I talked about You talked about advances in technology, uh,
making it easier for directors like yourself to to pull
(11:57):
off things like this on a smaller budget. Can you
think of a scene or a shot in off ramp
that you can look back on and think, man, a
handful of years ago, this would have cost thousands more dollars,
and now we were able to do this in such
a way make it cheap but also make it good.
Speaker 5 (12:17):
Yeah, I mean, you know all of them, I guess,
but you know, you know, shooting in a car, you know,
filming in a car is something that it's an interesting
one because a lot of people look at it as
like a very challenging thing to do because the car
is moving and there's all these other and if you
have to use you know, a process trailer where it's
just where you basically put the car on a trailer
(12:37):
and it gets tracked, you know, pulled by another truck
and all that stuff, those things can be really costly
and we did none of that. We just basically always
said we again, some of my experience in filmmaking gave me.
I said, well, I'm not going to write this in
a small car. We're going to write it in a
big van so it can fit people in the back
there you go.
Speaker 3 (12:54):
So so some of those kind of things they gave
us a little bit more space.
Speaker 5 (12:58):
And you know, even truly we did a lot of
X tier car to car stuff, which was something we
you know, is it would have you know, twenty years ago,
really costs a significantly higher a larger amount of money,
and we were able to do on a pretty small budget.
Speaker 3 (13:13):
So you know, I think just quite a lot of things.
Speaker 5 (13:15):
I mean basically, you know, almost everything, And just to
give you a little like behind the scenes sort of thing,
we actually lost some footage and had to go back
and do some reshoots. Oh no, which, yeah, for a
low budget movie, is a pretty massive.
Speaker 2 (13:29):
Hit, right.
Speaker 5 (13:30):
But truthfully, I will say too that the film got
better as a result of that because we were able
to edit it and kind.
Speaker 3 (13:36):
Of go back and look at at.
Speaker 5 (13:38):
What we were missing and kind of more so in
the end, it was a blessing in disguise.
Speaker 4 (13:42):
Oh god, I can't imagine that day though, when you
realized it was lost, Like how you looked everywhere.
Speaker 5 (13:48):
Well, yeah it wasn't. It wasn't lost that way, if
you get my drift. It was a hard drive that failed.
Speaker 2 (13:55):
On that bad movie.
Speaker 3 (13:58):
It was no, but it was the day I started
smoking again. So we'll put a welcome.
Speaker 1 (14:05):
Hey, we want to offer ourselves up if you ever
need a radio show in any movie you make.
Speaker 2 (14:10):
We are here to be your radio show.
Speaker 1 (14:14):
Yeah, we can pretend to be any sort of format
and whatever you need. We are your radio people. We
appreciate the time we got all this sound effect. Nathan Tape,
Thank you, Matt.
Speaker 2 (14:24):
I appreciate you.
Speaker 3 (14:25):
Nathan, thanks so much for having me. Really appreciate you.
Speaker 2 (14:28):
Go check out his movie. It's called off Ramp.
Speaker 1 (14:30):
I told people that they could watch on Amazon Prime
and on YouTube. Where's the site where can people learn
more about off Ramp?
Speaker 5 (14:38):
Off rampfilm dot com. Off rampfilm dot com. We'll have
a link to all the places you can see it.
We have some merchandise there as well. On all of
the socials we're off remp film. Follow us on any
of the socials. Please reach out. I answer dms as
much as I can, and yeah, it's really just having
the film connect with people is really the greatest gift
that I could could receive.
Speaker 3 (14:59):
So please go out check it out and ask me
questions if you if you have some.
Speaker 1 (15:03):
I would say, if you like indie movies at all,
there's about one hundred percent chance that I think you'll
like Off Ramp. The writing, the direction, all of it.
You nailed it, So kudos to you and I hope
this gets even more attention, Nathan uh and we'll talk
to you sometime.
Speaker 3 (15:20):
Take it easy, yes, please, thank you very much, really
appreciate it.
Speaker 2 (15:23):
It goes, yes, all
Speaker 3 (15:24):
Right boo boo baby boo boo quick great,
Earlier this week, I was telling you I had watched
a new movie that I think is the best movie
I've seen in twenty twenty four, and I want more
people to see this. If you're into a great piece
of storytelling, if you're into different subcultures and counterculture elements
being explored, this movie off Ramp is so good. It's
(00:23):
so good and so well done. And I don't even
know how Courty ended up finding it was on some
lists she looked up somewhere. And I'll give you the
overview here before we talk to the director, Nathan Tape.
It says, filmed in New Orleans, Off Ramp tells the
story of Trey and Silas played by John Oswald and
Scott Turner Showfield, a couple of lovable, degenerate Juggalos who
(00:44):
must sojourn through America's hellish underbelly to the gathering of
the Juggalos.
Speaker 2 (00:47):
There's also a character's name we can't say, ah Man.
Speaker 3 (00:51):
Yeah.
Speaker 2 (00:51):
Unfortunately on the radio, not all of them.
Speaker 1 (00:53):
Frans Ver Jugglers are fans of the hip hop group
or hip hop group excuse me in Sant Clown Posse
and other artists signed to Psychopathic Records. Their record label
and go on to talk about what a juggalo actually is.
But first of all, Nathan, thank you for joining us.
We appreciate you taking the time.
Speaker 4 (01:08):
Man.
Speaker 3 (01:08):
Yeah, welcome, Thank you very much for having me. I'm
honored to be here.
Speaker 1 (01:13):
And Nathan, I want to ask you. First of all,
I don't even know if your public are willing to
say this. You can feel free to tell me. You
just don't want to tell me? What was the budget
on this film? What kind of money does does it
take to put together a piece.
Speaker 2 (01:23):
Of work like this?
Speaker 5 (01:26):
Let's say it's you know, well under a million dollars,
but you know it was it was, you know, something
like that. They tell us not to say those things explicitly,
but whatever about half a million dollars?
Speaker 3 (01:40):
All right?
Speaker 1 (01:40):
Here's why I say this. How is it that we
see all of these movies? Megalopolis is an excellent example
at the moment. How is it we see all these
movies with these massive, bloated budgets.
Speaker 2 (01:51):
You filmed the movie that is beautiful.
Speaker 1 (01:53):
To look at, incredibly well acted but properly portrays the
subject matter, has special effects, has a soundtrack, has all
of these things on par with any other film, you're
going to see in theaters out there.
Speaker 2 (02:07):
Why do these movies get.
Speaker 1 (02:08):
So bloated and out of control of their budgets when
you clearly can make a high end movie like yours
for half a million.
Speaker 3 (02:14):
Dollars, Well, thank you very much. It was a you know,
a team effort.
Speaker 5 (02:19):
I spent a lot of time myself as a gaffer
in the film industry here in New Orleans, and so
I think I learned a lot of tricks of the
trade and the ways to sort of.
Speaker 3 (02:29):
Cut corners and called in a lot of favors.
Speaker 5 (02:32):
I think, truthfully, you know, I think film I think
they have much better filmmaker than myself. I think somebody
like Hitchcock or Kisawas said you need three things to
make a good movie.
Speaker 3 (02:41):
The script, the script, the script, And I think that
that's very true, is it?
Speaker 5 (02:45):
Oftentimes people don't spend enough time in the script or
they ignore that. And you know, that was always something
that was very important to us. It took us a
long time to make the movie, so we spent a
lot of time kind of reworking the script and reworking it.
So I you know, I would say, I don't know
exactly how it happens. But I can also say that
(03:05):
being in the film industry, I have seen a lot
of waste and I would like to eliminate some of
that and try to do, you know, as much as
I can with what I have.
Speaker 2 (03:14):
You know, yeah, how long ago did you start working
on this?
Speaker 3 (03:19):
About twenty fifteen?
Speaker 5 (03:21):
First, Yeah, we first started working on the script about
twenty fifteen, my co writer Tim Cairo and I and
we then, you know, as I said, I was at Gaffers,
I kept kind of getting job offers and I would
kind of go do those jobs and you know, kind
of put this on the back burner. And then twenty twenty,
during the pandemic, was like we all had a lot
(03:42):
of time to sit around and think, and I said, well,
you know, I'm not getting younger.
Speaker 3 (03:45):
If I'm going to make a film, let's make it now.
Speaker 5 (03:48):
And that really was like kind of the impetus to
really get it going at that point.
Speaker 1 (03:52):
The storytelling in off Ramp, this movie that you made
is so well done. But one of the things that
must be a notch compliment is when you see the Juggalos,
and this story is built around the world of Juggalos,
and if you hear that, and you go, oh my god,
this is not that's just the story arc, right, and
(04:13):
this is for general audiences.
Speaker 2 (04:14):
Everybody's gonna like this movie, I think for the most part.
Speaker 1 (04:16):
But when you're doing this and you see the very
community that you're writing about, say you did a really
good job representing them, that's got to feel like a win.
Speaker 2 (04:28):
Right, So how did you do that?
Speaker 1 (04:29):
How did you get into the world of Juggalos and
ICP and all this stuff so that you could properly
write characters that would seem legit to even the fans.
Speaker 3 (04:40):
Well, thank you very much. I'm really honored to hear that.
Speaker 5 (04:43):
And honestly, every time a jugglo watches a movie, I
think I get more nervous than when other people do,
just because you know, you want to do right by them.
Speaker 3 (04:51):
But as far as my journey with it, I met
there was you.
Speaker 5 (04:55):
Know, it was kind of fascinated by the world of
Juggalos and I thought it was such an interesting subculture,
and I ended up getting introduced to this guy named
Scotty d who he runs a website called Fago Lovers Heaven,
and he's like one of the they have one of the
biggest kind of ICP and the whole underground.
Speaker 3 (05:12):
Music scene as I call it.
Speaker 5 (05:14):
He hits one of the biggest fan sites, and so
I really asked him a lot of questions.
Speaker 3 (05:18):
I got in, you know, input on the script from him.
Speaker 5 (05:21):
And then when I went to the gathering in twenty
twenty one, and of course I filmed like the b
roll footage at the gathering in twenty twenty one, and
I really got to know a lot of these folks
and really kind of, you know, just learned a lot
more about who they were. And I think the thing
that I think was so interesting is that, you know,
the Juggalos seem like someone who is there in other right,
(05:42):
like I think our film speaks to a lot of others,
and I think, but you know, what I really found
was just like very similar commonality to two people who
are our you know, genre film fans or hip hop
fans or you know, we're all just kind of like
looking for our tribe, and I think a lot of
these folks are the same way.
Speaker 4 (06:01):
You mentioned You mentioned going to the gathering of the
Juggalos to get footage for the film. At what point
you said this began around twenty fifteen ish, At what
point during the production and creation of the film, did
the Insane Cloud Posse become sort.
Speaker 2 (06:16):
Of aware that this was going on? When did they
catch wind of it?
Speaker 3 (06:23):
You know, that's a good question.
Speaker 5 (06:24):
I don't know exact I mean, we I guess they
kind of got winded at about the same time that
I met with Scotty, because I contacted their manager to ask,
you know, to try to get rights to miracles, and
we kind of tried to involve them a little bit more.
But they're a little hesitant, understandably. So you know, I
think a lot of people have portrayed Juggalos in a
(06:47):
less positive light than we.
Speaker 2 (06:49):
Have, right like our government calling them, what was it,
domestic terrorists at some point. That's in the movie.
Speaker 1 (06:55):
Yeah, they talk about that in the movie, and all
these things were were handled, I thought in a really
good way. And you could tell, just to hit you
with some flattery here, that you did go over that
script over and over and over and over until there
wasn't a lot of fat on it and it was
right down to the key pieces of storytelling that you needed.
Speaker 3 (07:15):
But thank you very much, you.
Speaker 1 (07:16):
Got a killer performance out of a lot of the
people that you had in this movie.
Speaker 2 (07:22):
Off ramp.
Speaker 1 (07:23):
Did they have to explore the world of Jugglos on
their own and try to get into the mindset of
one of these people that you know, they're a little different.
They found their own community and you got to understand
where they're coming.
Speaker 2 (07:34):
From, right, Yeah.
Speaker 3 (07:36):
Absolutely.
Speaker 5 (07:37):
I mean I think I shared a lot of you know,
documentaries and things with the cast. They took a lot
of inspiration from that. I feel like we did, you know,
I feel proud of how, like you said, we.
Speaker 3 (07:49):
Worked in the script for a very long time.
Speaker 5 (07:51):
So the kind of realer it got, the more kind
of I think more authentic at got I think it
was kind of easier for the actors to sort of
dive into it. And yeah, they did an incredible job.
I mean Scott and Scott and John as as as
Silas and Trey, they just had amazing chemistry and as
(08:11):
soon as they met, they just really bonded and and
everybody just really bought in, which is just we're very
lucky that they did. And I like to think that
that was a part of the script and a part
of the kind of thing that we were trying to say,
and we're trying to say something kind of universal, even
though it is said through a sort of different lens,
(08:31):
if you will, But we really wanted to say something universal,
which is that, like, hey.
Speaker 3 (08:36):
Who among us has has not felt like an outsider?
Speaker 5 (08:40):
And and if you, if you haven't, I'm not necessarily
been fine, good for you, exactly exactly anybody can be
down with it.
Speaker 1 (08:50):
You're making a name for yourself now, Nathan Tape with
the movie off ramp. But do you look at where
the movie industry is now and think it seems to me,
as a person not in the industry from a distance away,
there's never been a time where you could do as
much as you can now in terms of quality of filming,
(09:11):
putting productions together yourself. Twenty years ago, there was very
little shot that somebody's gonna make their own movie without
a big studio involved.
Speaker 2 (09:22):
Now it seems.
Speaker 1 (09:23):
Like if you have a great idea and you really
work on things and you really put effort into it,
people can do that. Like it's more accessible now. If
you found that to be true.
Speaker 5 (09:33):
One hundred percent, I mean, you know, just will sound
like the old guys in the room, but it's true.
Is that, you know, there's a lot of technological advancements
that have been made in the last even five years,
and but you said over twenty it's just been a
huge step.
Speaker 3 (09:47):
I mean simply just like digital editing.
Speaker 5 (09:50):
And digital photography has just you know, gained So it's
just moved the industry so much further along. And now
lights are cheaper and everything's of like less expensive that
you know, it did used to cost a lot more
money to do things, and now you have a lot
more freedom. Plus I think storytelling has also evolved, you know.
(10:12):
I think one of the big movements that when I
was in film school was Dogma ninety five, you know,
a large fruntrier and I think that Dogma ninety five
really taught us was similar to where the French New
Wave taught taught us before, but that like you know, again,
a story is really what's most important, and I think
that that storytelling, you know, at its best, we will
(10:33):
transcend sort of the medium. So I think that, yeah,
things have gotten a lot easier in a lot of ways.
At the same time, what I also have sort of
discovered is I think that you know, distribution because of streaming,
is also kind of harder in some ways because there's
so much more content and trying to kind of filter, yeah,
and try to kind of filter through that is is
(10:53):
kind of a challenge, you know.
Speaker 1 (10:55):
Last question that I have for you here was if
you had another community that you could explore like this
and create a film out of the fan base. The
Juggles is a super interesting one obviously, and you you
got that done in behind you here, but is there
another fan base that you would be interested in doing
something like this with?
Speaker 5 (11:15):
Gosh, that's a good question as far as like a
musical fan base. I mean, I think the only real
like equivalent would be somewhere like you know, Deadheads or
maybe like fish fans.
Speaker 3 (11:26):
Or things like that.
Speaker 5 (11:27):
But I'm not sure that that's exactly what I would
want to do.
Speaker 2 (11:31):
I don't think that's as sexy as Juggalos.
Speaker 4 (11:35):
There's not as much shock factor and just I mean,
I think anything you would learn from dead Heads or
fish Heads is pretty predictable. I'd say mimes group of
minds I talked about You talked about advances in technology, uh,
making it easier for directors like yourself to to pull
(11:57):
off things like this on a smaller budget. Can you
think of a scene or a shot in off ramp
that you can look back on and think, man, a
handful of years ago, this would have cost thousands more dollars,
and now we were able to do this in such
a way make it cheap but also make it good.
Speaker 5 (12:17):
Yeah, I mean, you know all of them, I guess,
but you know, you know, shooting in a car, you know,
filming in a car is something that it's an interesting
one because a lot of people look at it as
like a very challenging thing to do because the car
is moving and there's all these other and if you
have to use you know, a process trailer where it's
just where you basically put the car on a trailer
(12:37):
and it gets tracked, you know, pulled by another truck
and all that stuff, those things can be really costly
and we did none of that. We just basically always
said we again, some of my experience in filmmaking gave me.
I said, well, I'm not going to write this in
a small car. We're going to write it in a
big van so it can fit people in the back
there you go.
Speaker 3 (12:54):
So so some of those kind of things they gave
us a little bit more space.
Speaker 5 (12:58):
And you know, even truly we did a lot of
X tier car to car stuff, which was something we
you know, is it would have you know, twenty years ago,
really costs a significantly higher a larger amount of money,
and we were able to do on a pretty small budget.
Speaker 3 (13:13):
So you know, I think just quite a lot of things.
Speaker 5 (13:15):
I mean basically, you know, almost everything, And just to
give you a little like behind the scenes sort of thing,
we actually lost some footage and had to go back
and do some reshoots. Oh no, which, yeah, for a
low budget movie, is a pretty massive.
Speaker 2 (13:29):
Hit, right.
Speaker 5 (13:30):
But truthfully, I will say too that the film got
better as a result of that because we were able
to edit it and kind.
Speaker 3 (13:36):
Of go back and look at at.
Speaker 5 (13:38):
What we were missing and kind of more so in
the end, it was a blessing in disguise.
Speaker 4 (13:42):
Oh god, I can't imagine that day though, when you
realized it was lost, Like how you looked everywhere.
Speaker 5 (13:48):
Well, yeah it wasn't. It wasn't lost that way, if
you get my drift. It was a hard drive that failed.
Speaker 2 (13:55):
On that bad movie.
Speaker 3 (13:58):
It was no, but it was the day I started
smoking again. So we'll put a welcome.
Speaker 1 (14:05):
Hey, we want to offer ourselves up if you ever
need a radio show in any movie you make.
Speaker 2 (14:10):
We are here to be your radio show.
Speaker 1 (14:14):
Yeah, we can pretend to be any sort of format
and whatever you need. We are your radio people. We
appreciate the time we got all this sound effect. Nathan Tape,
Thank you, Matt.
Speaker 2 (14:24):
I appreciate you.
Speaker 3 (14:25):
Nathan, thanks so much for having me. Really appreciate you.
Speaker 2 (14:28):
Go check out his movie. It's called off Ramp.
Speaker 1 (14:30):
I told people that they could watch on Amazon Prime
and on YouTube. Where's the site where can people learn
more about off Ramp?
Speaker 5 (14:38):
Off rampfilm dot com. Off rampfilm dot com. We'll have
a link to all the places you can see it.
We have some merchandise there as well. On all of
the socials we're off remp film. Follow us on any
of the socials. Please reach out. I answer dms as
much as I can, and yeah, it's really just having
the film connect with people is really the greatest gift
that I could could receive.
Speaker 3 (14:59):
So please go out check it out and ask me
questions if you if you have some.
Speaker 1 (15:03):
I would say, if you like indie movies at all,
there's about one hundred percent chance that I think you'll
like Off Ramp. The writing, the direction, all of it.
You nailed it, So kudos to you and I hope
this gets even more attention, Nathan uh and we'll talk
to you sometime.
Speaker 3 (15:20):
Take it easy, yes, please, thank you very much, really
appreciate it.
Speaker 2 (15:23):
It goes, yes, all
Speaker 3 (15:24):
Right boo boo baby boo boo quick great,
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