August 1, 2024 • 26 mins
How far would you go to make a movie? This week's confessor had to face that question within minutes of taking a gig co-producing an indie film... and personally, we're still recovering 😩😩😩
Sweet-talking property managers, hustling for food donations, and petting cockroaches (😱) is just the beginning. When our confessor learns they need an extra $10K for post-production, they set out on a high-stakes mission to find investors in, shall we say, unexpected places.
"I started thinking. Who do I know who has cash on hand and might be willing to take on this kind of risk? I thought of these two guys I know. Two brothers. They were business owners, gamblers. Maybe they were the type of guys I was looking for."
An "only-in-Hollywood" moment ensues as our confessor tries to get that bag and realizes they've gone a little farther than they intended to. But will it all be worth it in the end? Check out the episode to find out and let us know @fessuphollywood how far you've gone to make your filmmaking dreams come true!
#filmmaking #indiefilm #fessuphollywood
Connect with us:
Check out some of our favorite shows:
- Screenwriters' Rant Room
- Screaming into the Hollywood Abyss
- It Happened in Hollywood
- The Secret History of Hollywood
Hollywood Confessional is a Ninth Way Media production, produced by Meagan Daine and J.R. Zamora-Thal.
Sound Effects and Music provided by Zapsplat and Pixabay.
Keywords: filmmaking podcast, film podcast, screenwriting podcast, entertainment podcast, Hollywood, filmmaking, writerslife, actorslife, setlife
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
In nomine Cinema e TV , espiritu Streaming Amen.
Speaker 2 (00:16):
Hello Hollywood faithful, Welcome back to
another episode of the HollywoodConfessional.
I am your favorite podcastpriest, Megan Dane.
Speaker 1 (00:24):
And I'm your real favorite podcast priest, Jarrah
Zamora-Thal.
I was supposed to have a nicemoment where I welcome you back,
but I don't know if I want tonow.
Speaker 2 (00:33):
Oh boo, Well, you can welcome me back.
I take back everything I said.
Speaker 1 (00:37):
All right, well, welcome back Megan to America.
Speaker 2 (00:39):
Yay.
Speaker 1 (00:41):
You were off doing something very fun.
Why don't you tell the people?
Speaker 2 (00:44):
I was, I was, uh, I was in canada, in toronto, on
set like hanging out with ourcrew for cross season two, which
is super awesome I'm so jealousyeah, it was so much fun.
I have to say um toronto in thewinter not super fun it's tough
yeah, I'm so bundled up, Ican't even see, yeah.
(01:06):
Yeah, and also last seasoneverybody was masked and you
know we were still followingCOVID protocols.
So this season felt like acompletely different, like vibe.
Everybody was so happy wearingt-shirts and shorts and smiling
and out in the sun and you know,it was just.
It was just so much fun to seehow everything is coming
(01:26):
together and what all goes intoactually making a thing.
Speaker 1 (01:31):
Oh yeah, Did anything surprise you about what went
into the process?
Speaker 2 (01:35):
There are so many things that you don't think
about.
Right, if you're just doingyour thing you're a writer,
you're an actor, you're acostume designer, whatever you
are and you just focus on that,there's so many other little
aspects that you don't thinkabout, and one of the things
that I never thought about isthe mechanism by which blood is
(01:57):
produced, and apparently it'svery difficult to control.
It's like they've been doing itkind of the same way for a very
long time.
From what I come to understand,this is something that I didn't
know about until I was on set.
It was just a really interestingthing to get to talk to the
people that make blood happenand like the process that they
(02:20):
have to go through, and not onlythat that they have to go
through, and not only that, butlike you may not think about, if
a character bleeds, then youhave to plan your entire day
around that blood, because youcan't shoot anything immediately
after the blood happens,because you have to stop and you
(02:41):
have to clean everything up andyou have to give the actor new
clothes and then you have toredo their makeup and everything
has to be reset.
It takes a really long time.
So, like you basically shooteverything you possibly can
leading up to the blood, andthen you come back and you set
up for the stunt and then you doit and everybody is just
praying that it goes perfectlythe first time, so we can all go
(03:04):
home, yeah.
Speaker 1 (03:05):
Now that actually reminds me I shot my own short
God, five years ago now, and wehad a scene with blood and we
saved it for the very last bitof the day.
It was like 4am by the time wegot to it.
We shot it and I remembereverybody left set and set was
my apartment and I was therewith one of my best friends and
we fell asleep on the floortrying to clean a bloody
(03:29):
pentagram up off of my apartmentfloor and it was just, oh, it
was so much I vowed never towork with blood again.
Speaker 2 (03:37):
Oh my God.
Well, that actually is aperfect segue.
I didn't intend to segue likethis, but it is a perfect segue
into our story for this week,which is very much about all of
the stuff that goes into makingthe thing.
Speaker 1 (03:49):
Perfect, let's get into it.
Speaker 2 (03:51):
Let's step into the booth.
Speaker 3 (04:03):
Forgive me, Father, for I went way too far to get
funding for a movie.
Speaker 1 (04:08):
Oh God, how far is too far.
Speaker 2 (04:10):
I guess we'll find out.
Speaker 3 (04:12):
It all starts with a dream, right?
I don't like the word dreamwhen it's applied to filmmaking.
Work in the industry for a week, and you'll know it's not a
fucking dream.
It can be fun and exciting ongood days, but 99% of the time
it's a ridiculously hard reality.
Even so, the way I started itwas kind of a dream.
I didn't grow up in theindustry, didn't even think of
(04:33):
going into entertainment, but Itook one class at a community
college and I made a shittylittle short film, and in the
process I got sort of blinded bythis vision.
I was like this is what I'mmeant to be in life.
Side note even in my dreams Iwas not meant to be a director.
It's good to get that out ofthe way.
I mean, I was terrible at it.
(04:53):
The film was awful and, quitefrankly, I didn't really enjoy
it.
What I discovered in theprocess of making this shitty
little film, though, was that Ireally liked producing.
Speaker 2 (05:02):
Whoa plot twist.
Speaker 3 (05:04):
I mean, producers get a bad rep a lot of times
because they deal with money.
But to me, money is just ameans to an end.
You have to have money to getto the fun part.
But the fun part is the peopleGetting a bunch of smart,
creative people together andmaking sure all the pieces are
in place for them to do theright thing and tell a great
story.
I mean, that's the rush.
So after I made that first film,I had this vision that I was
(05:27):
going to produce movies and Istarted looking for the next one
to work on.
At the time I was living in,which sounds like a drawback,
but it actually wasn't, becausethis was the early days of DSLR
cameras.
For you youngins who wereprobably still in diapers back
then, that means digital insteadof film.
When cameras were all film, itwas very expensive and
(05:48):
technically difficult to make amovie.
You had to have a lot oftraining and special skills.
But when DSLR cameras came outto the market, they opened up
filmmaking to almost everyone,which turned out to be a good
and bad thing, I guess,depending on how you look at it.
Turned out to be a good and badthing, I guess, depending on
how you look at it On the plusside.
(06:09):
It meant that, even though I waskind of in the boonies, there
were a lot of movies being madein my area and as an aspiring
producer, I was sort of a hotcommodity.
Basically, nobody wants toproduce.
They all want to be actors orwriters or directors.
So even though I had one badshort under my belt, I quickly
got an interview for my next job.
The job title was co-produceron an independent feature, but
(06:30):
that doesn't really meananything.
There are lots of differentkinds of producers executive
producers, line producers,associate producers, field
producers and they don't allhave hard and fast definitions,
especially on indie films.
You could donate three weeksworth of hamburger helper to a
movie and get executive producercredit.
Speaker 1 (06:48):
Ah yes, hamburger, helping your way to the top.
Speaker 3 (06:51):
No.
So I knew I was applying to bea co-producer, but going into
the interview I didn't reallyknow what that meant.
I met the executive producer,who was also the writer and the
director and the editor and thestar oh no, please stop.
I'm pretty sure he was also thecostume director.
(07:13):
Anyway, we met him at a coffeeshop, or I met him at a coffee
shop.
We talked about my experience.
I basically had none.
He seemed cool about that.
Actually, he seemed cool allaround, maybe a tiny bit
desperate.
He said he'd already shot partof the film.
Everything was great, but hejust needed a little help
finishing it.
I said, no problem, I don'thave a lot of experience, but
(07:34):
I'll do whatever it takes to getthis thing done.
I later learned that this is aterrible thing to say in a job
interview or potentially bad.
I mean, I guess it depends onwho you're dealing with, but if
you say you'll do anything, sometypes of people will call you
on it.
And it turned out that thisdirector, slash writer, slash
star, slash executive producerwas one of those kinds of people
(07:55):
.
My first day on the job heintroduced me to his pet
cockroaches.
Speaker 1 (08:02):
Some animals are not pets.
Speaker 3 (08:08):
He kept them in an aquarium in the front room of
his apartment, which was alsothe production office.
Speaker 2 (08:13):
Of course it was.
Speaker 3 (08:14):
I walked in, looked around at all these stacks of
paper and movie posters, andthen there was this aquarium
with a bunch of roaches in itand the director, who was sort
of this big intimidating guy,saw me looking at them and went
want to hold them.
Speaker 1 (08:29):
Oh hell no.
Speaker 3 (08:31):
I did not want to hold them, but I did sort of pet
one to show I wasn't afraid.
Speaker 2 (08:36):
Oh my God.
No, I mean it was in a cage.
Speaker 3 (08:38):
Come on, guys, you gotta be willing to pet a few
cockroaches in this industry.
I basically waited until hewent out to smoke a cigarette
and then rushed into the kitchento wash my hands and throw up a
little bit.
Then he came back in and showedme some of the dailies from the
film.
I liked it.
It was a fun little crimecomedy.
Like I said, he shot about halfof it already and he needed
(09:01):
money to finish.
By the way, did I mention I wasworking on spec?
No, come on.
Oh yeah, I mean, part of thedeal was that once I came on
board, I could take over some ofthe day-to-day management.
What I now realize wasproduction coordinating and AD
work, which he had also beendoing which might explain why he
looked a little desperate inthe interview and that would
(09:24):
free him up to start takingmeetings to bring in more
investors.
In retrospect that sounds insane, but at the time it wasn't so
crazy.
Again, this was the early daysof digital, but it was
pre-iPhone movies.
So there was a huge amount ofenergy and buzz about digital
storytelling, but it wasn'tsomething that literally
everybody in the world was doingjust yet.
People were excited about thepotential and when people get
(09:46):
excited about something, moneyjust flows.
So in my head, my role asco-producer was basically to do
whatever it took to get thismulti-hyphenate into a position
where he could get peopleexcited about his film.
He needed about 10 grand tofinish the movie and pay for
posts 10 grand.
Speaker 1 (10:02):
That's it.
Wait, was he.
Speaker 3 (10:05):
Oh.
So the editor and postsupervisor and BFX guy and so on
.
He needed $10,000 and anythinghe got beyond that could go to
paying me.
So I said, sure, that soundsgreat.
And I petted the cockroachesand then we got to work.
I mean, the script was adisaster.
It was so full of typos Iliterally couldn't read it.
(10:27):
So I didn't.
I just started showing up atcall time introducing myself as
the new co-producer, tellingpeople they were doing a great
job and I would watch and seewhat people needed.
The first thing I noticed wasthat they needed a lookout,
meaning, since there was nomoney, there was also no film
permits.
Technically we weren't allowedto be on the street making a
(10:47):
movie.
It wasn't a big deal back thenbecause, you know, early days
the cops didn't always know whatwe were doing, or sometimes
they thought it was cool but itwas technically illegal.
So I started posting up on thestreet as lookout.
I'd be at like the entrance toan alley while they were
shooting at the other end.
If I saw the cops coming, I'dcall out.
It was basically like coveringa drug deal.
Speaker 1 (11:09):
This is reminding me of another confession we had
called the man who peed on me.
Speaker 2 (11:13):
Yeah, I wonder if you guys work for the same guy.
Speaker 3 (11:16):
So many guys like this Speaking of pee?
Oh no.
Another problem with not havingpermits is you can't have porta
potties and we didn't have anykind of deals with local
restaurants or whatever.
So I also found that part of myjob was to go into places and
talk people into letting us usetheir restrooms.
This was especially challengingwhen we needed a restroom for
(11:38):
the actors to use for hair andmakeup.
But I soon learned it was mucheasier to get people into a
place than it is to get them out.
So I'd just be like, yeah, oneof my friends just needs to run
in and change her clothes realquick, and then two hours later
the manager would be like whatthe fuck is that woman still
doing in there?
But short of calling the police, there wasn't much they could
do.
I mean, don't ask permission,just ask forgiveness.
(12:00):
That's another tip I learned.
Basically, the shoot was alow-key form of chaos, but
because the production was sosmall, I managed to hold it
together.
I got people to set on time,even when it meant I had to pick
them up and drive them myself.
I made sure nobody got arrested.
I hustled food donationsbecause the director had no
money to feed people and, sceneby scene, we shot our way to the
(12:20):
end.
But there was one majorobstacle to getting it finished
we needed a location, a certaintype of apartment building that
would allow us to shoot therefor several days for free.
There is no fucking way butthere is when there is a will,
there is a way, and I very muchhad the will, because I had a
(12:41):
dream, remember, a vision thatthis was what I was meant to do,
and by this point I was alsogetting attached to the cast and
crew.
I wanted to make it possiblefor them to make their art, and
if that meant getting anapartment building for free, I
was going to find a way to do it.
I drove around town for weekssearching by the way, this is
what a location manager would do.
I saw a few places, took a fewphotos for the director.
(13:04):
Nothing seemed to be exactlyright.
I got a little annoyed with him, to be honest, for shooting
down everything I found ratherthan finding a way to make it
work.
But whatever, he was thedirector.
So I kept looking, and then oneday I found it the perfect
building in a rundown part oftown, and it had a sign out
front that said for rent.
(13:25):
I called the number on the sign.
This guy answered management.
He was like the propertymanager or something, and from
the moment he spoke I could tellhe was really fucking high.
I was like hey, I'm a produceron a feature film that is
currently shooting in your area.
We're looking for a location tofilm several key scenes.
(13:46):
I see you have an apartment forrent.
We only need it for a few hours.
Could we just borrow the placewhen you're not showing it?
And he was like, uh, sure.
Speaker 2 (13:57):
Oh my God, no way.
Speaker 3 (13:59):
I'm telling you where there's a will.
We got this place and again,it's so much easier to get
people into a place than it isto get them out of it.
I had crew and actors coming in.
I talked to the manager intogiving us a key so he didn't
have to be there the whole timeto let us in and out, and then
we basically squatted in thatapartment for two weeks and
(14:19):
finished the fucking movie.
Speaker 1 (14:21):
I can't tell if this is an inspirational story or a
cautionary tale.
Speaker 3 (14:24):
Well, here's the thing I say finished, but really
we had only finished productionand, as any real filmmaker
knows, that's maybe the halfwaypoint.
Speaker 2 (14:35):
Oh, no yeah.
Speaker 3 (14:37):
Because, despite everything the director had said
about investors, we stilldidn't have any money.
As far as I could tell, he'dnever had a single meeting.
Maybe he tried and they didn'twork out, I don't know.
But in any case we wrapped, andonly then did it become clear
to me that we were just as farfrom finishing as we'd ever been
.
The worst part was, I was muchmore invested now.
(15:00):
I cared about the people, Icared about the film.
I didn't want this thing we'dworked so hard to create to end
up on some dude's hard drivenext to his aquarium, full of
cockroaches.
But in order to get it out inthe world, we still needed
$10,000.
And getting it into the worldwas harder than it seemed.
This was the downside to all thecreativity and excitement of
(15:22):
movie making.
At the time, it was cheaper andmore accessible to make a film
than it ever had been, butcompetition was going through
the roof because there was somuch more content.
You had to spend huge amountsof money submitting to festivals
and traveling to meetdistributors, not to mention
marketing the film.
At the time there was this idea, which I don't really think
(15:42):
exists anymore, that ordinarypeople could like buy shares in
your movie.
When you sold it, you pay backtheir investment.
I mean, that's still howfinancing works to some degree,
but it's more often biginvestors with big films, not so
much.
You know your uncle taking outa second mortgage so you can
shoot something in your garage.
So, anyway, I started thinkingwho do I know who has cash on
(16:06):
hand and might be willing totake on this kind of risk?
I thought of these two guys.
I knew two brothers.
They were business owners,gamblers.
Maybe they were the type ofguys I was looking for.
I'd known the brothers forabout five years.
At this point, the older one wassolid.
He was trustworthy, charismatic, you know, the kind of guy who
(16:27):
you either wanted to be him oryou wanted to be with him.
You know what I mean.
The younger brother, though,was his polar opposite snarky,
lazy, kind of a coward.
They were business partners,for whatever reason.
They ran a couple of places,and including a restaurant where
the older brother always workedon Friday nights.
So this was my plan I'd fly outto take a couple of meetings
(16:52):
Not that I really had anyone tomeet with, but you know whatever
.
Then, on Friday night, I'dswing by the restaurant, act all
casual, like we were catchingup and pitch him.
The movie I bought a ticket onSouthwest flew out, crashed with
a friend.
Friday night rolled around.
I went to the restaurant butinstead of the guy I was hoping
to see, the younger brother wasthere and he was so happy to see
(17:13):
me like hey, long time.
Wow, you look great.
Hey, hey, somebody bring ussome shots.
I'm like, oh shit, I don'treally like this guy.
I don't really trust him.
But I also don't know where theolder brother is and I can't
exactly track him down becausemy whole plan hinged on this
seemingly casual encounter.
I either have to give up now orfind a way to roll with it.
(17:36):
I decided to do the latter.
I start drinking, probablyaround like eight, and by 10 pm
I was fading.
I snuck over to the bartender,slipped him some cash and was
like from here on out, fill myshot glasses with water.
Oh damn, that's a good trick,right.
So I start sobering up andmeanwhile the brother's getting
(17:57):
drunker and drunker and I'mthinking maybe this will work,
I'll get him wasted, he'll beopen to anything, I'll pitch him
the movie and he'll just startmaking it rain.
This is an absolutely terriblebusiness strategy.
I do not recommend it to anyone.
I'm just saying that's where mymind was.
I guess I'd kind of taken onthat desperation I saw in the
(18:18):
director.
You know, the first time I methim it wasn't just oh, I'll do
anything to make sure this filmgets made.
It was like in that moment thefilm was the only thing in the
world that mattered, like Iabsolutely had to find a way to
get the money, and I had to doit tonight.
Speaker 2 (18:33):
Why do you think you felt that way?
I mean, given everything you'vesaid about like the state of
the industry at that time, itsounds like you had a really
good chance of finding anotherjob.
Speaker 1 (18:43):
Maybe even one that paid.
Speaker 3 (18:45):
My parents taught me growing up that you don't have
to start something, but if youchoose to start it, you better
finish it.
So there was a sort of moralobligation and, like I said, I
was attached to the cast andcrew.
But I think, if I'm beingpainfully honest, it goes deeper
.
I felt like if I didn't get themoney to finish the film, what
good was I Like if I couldn'tmake this dream come true for
(19:10):
someone else?
I didn't matter as a person.
I wanted to matter, you know,and I wanted to show that I
could do what I said I would.
You know, I stuck around and Ikept pretending to drink with
this guy pretending to like him,waiting and watching for an
opening.
For a long time there wereother people around partying
with us, but after about 1 am orso, they started to peel off.
(19:32):
Finally it was just the two ofus.
And that's when the brotherconfessed his undying love for
me oh no.
And that's when the brotherconfessed his undying love for
me, oh no.
It was so awful, awkward with acapital, a.
He was like I've been watchingyou for a long time.
You seem so much freer now,like you're finally becoming
(19:54):
yourself.
And then he leaned over and hetried to kiss me and I kind of
jerked back and he felt that andsuddenly he just snapped.
He stared at me with this angerin his eyes.
He was like why did you do that?
Do what you pulled away?
Why did you pull away from me?
I don't know.
I mean, I didn't mean to.
(20:14):
I'm sorry.
You came to see my brother,didn't you?
In that moment I realized I madea serious mistake, because I
hadn't really thought of thisguy as a person.
I've been thinking of him morelike a mark.
But now it was like oh, thismust have happened a thousand
times.
He's the other brother, the onenobody wants, and I didn't want
him.
I didn't want his brothereither, at least not in the way
(20:37):
he thought.
But I didn't know how toexpress that.
He looked, at least not in theway he thought.
But I didn't know how toexpress that.
He looked so enraged.
So I just started babbling likeyes, I mean.
No, I mean, it's not what youthink.
Why did you come here?
I just wanted to hang out.
I swear you're lying.
Why did you come here?
I, I don't know.
I just need ten thousanddollars to make a movie.
(20:58):
What I?
I mean?
He was so surprised.
The tension was completelybroken.
I think he was relieved that itwasn't about sex.
He was just like oh, you'remaking a movie, oh, awesome.
So by now it's like two in themorning.
He's completely wasted.
I'm sober but trying to pretendI'm drunk so he doesn't realize
(21:20):
I've been taking shots of water.
I pitch him the movie.
He nods and acts like he'sfollowing everything I'm saying
and at the end he just says yes,seriously.
Speaker 2 (21:31):
This is unbelievable.
Speaker 3 (21:33):
I guess I hoped he would just whip out a stack of
cash, but of course that didn'thappen.
We had to be professional.
He asked about points anddistribution plan and things.
I didn't really understand atthe time and I was like, oh, the
director slash executiveproducer is handling all that.
He has a whole presentation.
Can I introduce you?
And he was like, oh, absolutely.
So I went back home to feelinglike a hero.
(21:57):
I set up a meeting between thebrother and the director.
A week or so later the directorflew out and he went out to the
restaurant.
That night I sat in myapartment back in f*** smoking
cigarettes, checking my phoneover and over About 8 o'clock I
started getting messages fromthe director.
He's not here yet.
I tried calling and he didn'tanswer his phone.
My stomach sort of sank.
(22:19):
You get a sense real quick ifsomebody wants in on something.
If they stand you up, that'snot a good sign.
Eventually, like two hourslater, I get a text saying he's
here and a few hours after thatanother text saying the meeting
went well.
He's going to send a check.
But I already kind of knew itwasn't going to happen and sure
(22:39):
enough he never sent it and I'venever heard from either one of
the brothers again.
Speaker 2 (22:43):
Oh no, that's so disappointing.
Speaker 3 (22:45):
Yeah, it was a shame.
I kind of felt like I burned abridge for no reason, you know.
The director went on to editthe film.
It took him a while because hehad to do everything himself.
He hosted a screening forfriends and family and it was
fun.
But the movie never made it toa festival.
It never got distribution andmost of the people who worked on
it are no longer in theindustry.
Oh man, that's terrible.
(23:11):
I'm so sorry.
Me too.
I think back sometimes andwonder could I have done
something differently?
Is there any way I could havebrought this thing home?
But then I think no.
Even back then there werecertain lines I didn't want to
cross.
And beyond that, what I did doI did for love.
I know this sounds corny, butit's true.
I mean, if you're in thisbusiness for money or accolades,
you're probably going to getfrustrated and quit at some
(23:31):
point because those things arehollow.
But if you do it for love, Imean you can weather just about
any storm.
I mean you can weather justabout any storm.
That's an essential ability inthe film industry, not just
because it's unstable, but alsobecause film is a collaborative
art form, which means you'llnever have full control over the
outcome, not even if you arethe writer, director, executive
(23:53):
producer, editor, star.
Speaker 2 (23:55):
It's a good lesson for all of us to remember.
Thank you so much for sharingit.
Go create in peace.
Oh, I love that story so much.
What a happy ending.
I mean it sort of was a happyending.
You guys can't see, but JR justgave me the weirdest look.
Speaker 1 (24:16):
It was a happy ending .
Speaker 2 (24:17):
It's always happy when somebody finds their
passion and even if they'recoming into this industry, even
if this is it.
Speaker 1 (24:28):
No, we've certainly found our passion in this
industry.
Yeah, what about that story, doyou think warmed your heart?
How did you identify with theconfessor?
Speaker 2 (24:41):
I mean, I just love that it comes around to like if
you do it for love, then you'redoing it for the right reasons.
Speaker 1 (24:45):
You know what I mean.
I just love that it comesaround to like if you do it for
love, then You're doing it forthe right reasons.
You know what I mean?
Yeah, I really like that.
It really struck a chord withme too because, like I was
saying in earlier, I mean I shota short five years ago and it
was so much fun and now I'mgetting the bug again, like
we've been writing so much and Iwant to see something come to
life so are we doing it.
Speaker 2 (25:01):
Is that like?
Speaker 1 (25:03):
yeah like hollywood, confessional raps and jr's new
new short I take off the podcastproducer hat and I put on the
short director hat yep.
Speaker 2 (25:13):
Writer, director, producer, probably lead actor,
editor, sound designer.
Speaker 1 (25:17):
Oh oh maybe it's not going to be that kind of
production I don't know if I'mgoing to be able to do this.
Maybe I take that money and goon a beach vacation, I don't
know.
Oh yeah, that also sounds good.
Speaker 2 (25:29):
That's all we've got for you this week, guys.
Thank you so much for joiningus here on the Hollywood
Confessional.
We have some crazy ass episodescoming your way very soon, so
please hit that subscribe buttonif you haven't done it already.
Follow us on social media atFess Up Hollywood.
Speaker 1 (25:46):
And go create in peace.
Speaker 2 (25:48):
Amen.
Speaker 1 (25:53):
The Hollywood Confessional is produced by
Megan Dane and Jair Zamora-Thal.
Joelle Garfinkel is ourco-producer and AJ Thal is our
post-production coordinator andeditor.
Our cast today Sean Redding,timothy Wardell, taylor Brooks.
Special effects provided byZapSplat and Pixabay.
Hollywood Confessional is a 9thWay Media production.
(26:17):
Follow us on socials atFessUpHollywood.
In nomine Cinema e TV , espiritu Streaming Amen.
Speaker 2 (00:16):
Hello Hollywood faithful, Welcome back to
another episode of the HollywoodConfessional.
I am your favorite podcastpriest, Megan Dane.
Speaker 1 (00:24):
And I'm your real favorite podcast priest, Jarrah
Zamora-Thal.
I was supposed to have a nicemoment where I welcome you back,
but I don't know if I want tonow.
Speaker 2 (00:33):
Oh boo, Well, you can welcome me back.
I take back everything I said.
Speaker 1 (00:37):
All right, well, welcome back Megan to America.
Speaker 2 (00:39):
Yay.
Speaker 1 (00:41):
You were off doing something very fun.
Why don't you tell the people?
Speaker 2 (00:44):
I was, I was, uh, I was in canada, in toronto, on
set like hanging out with ourcrew for cross season two, which
is super awesome I'm so jealousyeah, it was so much fun.
I have to say um toronto in thewinter not super fun it's tough
yeah, I'm so bundled up, Ican't even see, yeah.
(01:06):
Yeah, and also last seasoneverybody was masked and you
know we were still followingCOVID protocols.
So this season felt like acompletely different, like vibe.
Everybody was so happy wearingt-shirts and shorts and smiling
and out in the sun and you know,it was just.
It was just so much fun to seehow everything is coming
(01:26):
together and what all goes intoactually making a thing.
Speaker 1 (01:31):
Oh yeah, Did anything surprise you about what went
into the process?
Speaker 2 (01:35):
There are so many things that you don't think
about.
Right, if you're just doingyour thing you're a writer,
you're an actor, you're acostume designer, whatever you
are and you just focus on that,there's so many other little
aspects that you don't thinkabout, and one of the things
that I never thought about isthe mechanism by which blood is
(01:57):
produced, and apparently it'svery difficult to control.
It's like they've been doing itkind of the same way for a very
long time.
From what I come to understand,this is something that I didn't
know about until I was on set.
It was just a really interestingthing to get to talk to the
people that make blood happenand like the process that they
(02:20):
have to go through, and not onlythat that they have to go
through, and not only that, butlike you may not think about, if
a character bleeds, then youhave to plan your entire day
around that blood, because youcan't shoot anything immediately
after the blood happens,because you have to stop and you
(02:41):
have to clean everything up andyou have to give the actor new
clothes and then you have toredo their makeup and everything
has to be reset.
It takes a really long time.
So, like you basically shooteverything you possibly can
leading up to the blood, andthen you come back and you set
up for the stunt and then you doit and everybody is just
praying that it goes perfectlythe first time, so we can all go
(03:04):
home, yeah.
Speaker 1 (03:05):
Now that actually reminds me I shot my own short
God, five years ago now, and wehad a scene with blood and we
saved it for the very last bitof the day.
It was like 4am by the time wegot to it.
We shot it and I remembereverybody left set and set was
my apartment and I was therewith one of my best friends and
we fell asleep on the floortrying to clean a bloody
(03:29):
pentagram up off of my apartmentfloor and it was just, oh, it
was so much I vowed never towork with blood again.
Speaker 2 (03:37):
Oh my God.
Well, that actually is aperfect segue.
I didn't intend to segue likethis, but it is a perfect segue
into our story for this week,which is very much about all of
the stuff that goes into makingthe thing.
Speaker 1 (03:49):
Perfect, let's get into it.
Speaker 2 (03:51):
Let's step into the booth.
Speaker 3 (04:03):
Forgive me, Father, for I went way too far to get
funding for a movie.
Speaker 1 (04:08):
Oh God, how far is too far.
Speaker 2 (04:10):
I guess we'll find out.
Speaker 3 (04:12):
It all starts with a dream, right?
I don't like the word dreamwhen it's applied to filmmaking.
Work in the industry for a week, and you'll know it's not a
fucking dream.
It can be fun and exciting ongood days, but 99% of the time
it's a ridiculously hard reality.
Even so, the way I started itwas kind of a dream.
I didn't grow up in theindustry, didn't even think of
(04:33):
going into entertainment, but Itook one class at a community
college and I made a shittylittle short film, and in the
process I got sort of blinded bythis vision.
I was like this is what I'mmeant to be in life.
Side note even in my dreams Iwas not meant to be a director.
It's good to get that out ofthe way.
I mean, I was terrible at it.
(04:53):
The film was awful and, quitefrankly, I didn't really enjoy
it.
What I discovered in theprocess of making this shitty
little film, though, was that Ireally liked producing.
Speaker 2 (05:02):
Whoa plot twist.
Speaker 3 (05:04):
I mean, producers get a bad rep a lot of times
because they deal with money.
But to me, money is just ameans to an end.
You have to have money to getto the fun part.
But the fun part is the peopleGetting a bunch of smart,
creative people together andmaking sure all the pieces are
in place for them to do theright thing and tell a great
story.
I mean, that's the rush.
So after I made that first film,I had this vision that I was
(05:27):
going to produce movies and Istarted looking for the next one
to work on.
At the time I was living in,which sounds like a drawback,
but it actually wasn't, becausethis was the early days of DSLR
cameras.
For you youngins who wereprobably still in diapers back
then, that means digital insteadof film.
When cameras were all film, itwas very expensive and
(05:48):
technically difficult to make amovie.
You had to have a lot oftraining and special skills.
But when DSLR cameras came outto the market, they opened up
filmmaking to almost everyone,which turned out to be a good
and bad thing, I guess,depending on how you look at it.
Turned out to be a good and badthing, I guess, depending on
how you look at it On the plusside.
(06:09):
It meant that, even though I waskind of in the boonies, there
were a lot of movies being madein my area and as an aspiring
producer, I was sort of a hotcommodity.
Basically, nobody wants toproduce.
They all want to be actors orwriters or directors.
So even though I had one badshort under my belt, I quickly
got an interview for my next job.
The job title was co-produceron an independent feature, but
(06:30):
that doesn't really meananything.
There are lots of differentkinds of producers executive
producers, line producers,associate producers, field
producers and they don't allhave hard and fast definitions,
especially on indie films.
You could donate three weeksworth of hamburger helper to a
movie and get executive producercredit.
Speaker 1 (06:48):
Ah yes, hamburger, helping your way to the top.
Speaker 3 (06:51):
No.
So I knew I was applying to bea co-producer, but going into
the interview I didn't reallyknow what that meant.
I met the executive producer,who was also the writer and the
director and the editor and thestar oh no, please stop.
I'm pretty sure he was also thecostume director.
(07:13):
Anyway, we met him at a coffeeshop, or I met him at a coffee
shop.
We talked about my experience.
I basically had none.
He seemed cool about that.
Actually, he seemed cool allaround, maybe a tiny bit
desperate.
He said he'd already shot partof the film.
Everything was great, but hejust needed a little help
finishing it.
I said, no problem, I don'thave a lot of experience, but
(07:34):
I'll do whatever it takes to getthis thing done.
I later learned that this is aterrible thing to say in a job
interview or potentially bad.
I mean, I guess it depends onwho you're dealing with, but if
you say you'll do anything, sometypes of people will call you
on it.
And it turned out that thisdirector, slash writer, slash
star, slash executive producerwas one of those kinds of people
(07:55):
.
My first day on the job heintroduced me to his pet
cockroaches.
Speaker 1 (08:02):
Some animals are not pets.
Speaker 3 (08:08):
He kept them in an aquarium in the front room of
his apartment, which was alsothe production office.
Speaker 2 (08:13):
Of course it was.
Speaker 3 (08:14):
I walked in, looked around at all these stacks of
paper and movie posters, andthen there was this aquarium
with a bunch of roaches in itand the director, who was sort
of this big intimidating guy,saw me looking at them and went
want to hold them.
Speaker 1 (08:29):
Oh hell no.
Speaker 3 (08:31):
I did not want to hold them, but I did sort of pet
one to show I wasn't afraid.
Speaker 2 (08:36):
Oh my God.
No, I mean it was in a cage.
Speaker 3 (08:38):
Come on, guys, you gotta be willing to pet a few
cockroaches in this industry.
I basically waited until hewent out to smoke a cigarette
and then rushed into the kitchento wash my hands and throw up a
little bit.
Then he came back in and showedme some of the dailies from the
film.
I liked it.
It was a fun little crimecomedy.
Like I said, he shot about halfof it already and he needed
(09:01):
money to finish.
By the way, did I mention I wasworking on spec?
No, come on.
Oh yeah, I mean, part of thedeal was that once I came on
board, I could take over some ofthe day-to-day management.
What I now realize wasproduction coordinating and AD
work, which he had also beendoing which might explain why he
looked a little desperate inthe interview and that would
(09:24):
free him up to start takingmeetings to bring in more
investors.
In retrospect that sounds insane, but at the time it wasn't so
crazy.
Again, this was the early daysof digital, but it was
pre-iPhone movies.
So there was a huge amount ofenergy and buzz about digital
storytelling, but it wasn'tsomething that literally
everybody in the world was doingjust yet.
People were excited about thepotential and when people get
(09:46):
excited about something, moneyjust flows.
So in my head, my role asco-producer was basically to do
whatever it took to get thismulti-hyphenate into a position
where he could get peopleexcited about his film.
He needed about 10 grand tofinish the movie and pay for
posts 10 grand.
Speaker 1 (10:02):
That's it.
Wait, was he.
Speaker 3 (10:05):
Oh.
So the editor and postsupervisor and BFX guy and so on
.
He needed $10,000 and anythinghe got beyond that could go to
paying me.
So I said, sure, that soundsgreat.
And I petted the cockroachesand then we got to work.
I mean, the script was adisaster.
It was so full of typos Iliterally couldn't read it.
(10:27):
So I didn't.
I just started showing up atcall time introducing myself as
the new co-producer, tellingpeople they were doing a great
job and I would watch and seewhat people needed.
The first thing I noticed wasthat they needed a lookout,
meaning, since there was nomoney, there was also no film
permits.
Technically we weren't allowedto be on the street making a
(10:47):
movie.
It wasn't a big deal back thenbecause, you know, early days
the cops didn't always know whatwe were doing, or sometimes
they thought it was cool but itwas technically illegal.
So I started posting up on thestreet as lookout.
I'd be at like the entrance toan alley while they were
shooting at the other end.
If I saw the cops coming, I'dcall out.
It was basically like coveringa drug deal.
Speaker 1 (11:09):
This is reminding me of another confession we had
called the man who peed on me.
Speaker 2 (11:13):
Yeah, I wonder if you guys work for the same guy.
Speaker 3 (11:16):
So many guys like this Speaking of pee?
Oh no.
Another problem with not havingpermits is you can't have porta
potties and we didn't have anykind of deals with local
restaurants or whatever.
So I also found that part of myjob was to go into places and
talk people into letting us usetheir restrooms.
This was especially challengingwhen we needed a restroom for
(11:38):
the actors to use for hair andmakeup.
But I soon learned it was mucheasier to get people into a
place than it is to get them out.
So I'd just be like, yeah, oneof my friends just needs to run
in and change her clothes realquick, and then two hours later
the manager would be like whatthe fuck is that woman still
doing in there?
But short of calling the police, there wasn't much they could
do.
I mean, don't ask permission,just ask forgiveness.
(12:00):
That's another tip I learned.
Basically, the shoot was alow-key form of chaos, but
because the production was sosmall, I managed to hold it
together.
I got people to set on time,even when it meant I had to pick
them up and drive them myself.
I made sure nobody got arrested.
I hustled food donationsbecause the director had no
money to feed people and, sceneby scene, we shot our way to the
(12:20):
end.
But there was one majorobstacle to getting it finished
we needed a location, a certaintype of apartment building that
would allow us to shoot therefor several days for free.
There is no fucking way butthere is when there is a will,
there is a way, and I very muchhad the will, because I had a
(12:41):
dream, remember, a vision thatthis was what I was meant to do,
and by this point I was alsogetting attached to the cast and
crew.
I wanted to make it possiblefor them to make their art, and
if that meant getting anapartment building for free, I
was going to find a way to do it.
I drove around town for weekssearching by the way, this is
what a location manager would do.
I saw a few places, took a fewphotos for the director.
(13:04):
Nothing seemed to be exactlyright.
I got a little annoyed with him, to be honest, for shooting
down everything I found ratherthan finding a way to make it
work.
But whatever, he was thedirector.
So I kept looking, and then oneday I found it the perfect
building in a rundown part oftown, and it had a sign out
front that said for rent.
(13:25):
I called the number on the sign.
This guy answered management.
He was like the propertymanager or something, and from
the moment he spoke I could tellhe was really fucking high.
I was like hey, I'm a produceron a feature film that is
currently shooting in your area.
We're looking for a location tofilm several key scenes.
(13:46):
I see you have an apartment forrent.
We only need it for a few hours.
Could we just borrow the placewhen you're not showing it?
And he was like, uh, sure.
Speaker 2 (13:57):
Oh my God, no way.
Speaker 3 (13:59):
I'm telling you where there's a will.
We got this place and again,it's so much easier to get
people into a place than it isto get them out of it.
I had crew and actors coming in.
I talked to the manager intogiving us a key so he didn't
have to be there the whole timeto let us in and out, and then
we basically squatted in thatapartment for two weeks and
(14:19):
finished the fucking movie.
Speaker 1 (14:21):
I can't tell if this is an inspirational story or a
cautionary tale.
Speaker 3 (14:24):
Well, here's the thing I say finished, but really
we had only finished productionand, as any real filmmaker
knows, that's maybe the halfwaypoint.
Speaker 2 (14:35):
Oh, no yeah.
Speaker 3 (14:37):
Because, despite everything the director had said
about investors, we stilldidn't have any money.
As far as I could tell, he'dnever had a single meeting.
Maybe he tried and they didn'twork out, I don't know.
But in any case we wrapped, andonly then did it become clear
to me that we were just as farfrom finishing as we'd ever been
.
The worst part was, I was muchmore invested now.
(15:00):
I cared about the people, Icared about the film.
I didn't want this thing we'dworked so hard to create to end
up on some dude's hard drivenext to his aquarium, full of
cockroaches.
But in order to get it out inthe world, we still needed
$10,000.
And getting it into the worldwas harder than it seemed.
This was the downside to all thecreativity and excitement of
(15:22):
movie making.
At the time, it was cheaper andmore accessible to make a film
than it ever had been, butcompetition was going through
the roof because there was somuch more content.
You had to spend huge amountsof money submitting to festivals
and traveling to meetdistributors, not to mention
marketing the film.
At the time there was this idea, which I don't really think
(15:42):
exists anymore, that ordinarypeople could like buy shares in
your movie.
When you sold it, you pay backtheir investment.
I mean, that's still howfinancing works to some degree,
but it's more often biginvestors with big films, not so
much.
You know your uncle taking outa second mortgage so you can
shoot something in your garage.
So, anyway, I started thinkingwho do I know who has cash on
(16:06):
hand and might be willing totake on this kind of risk?
I thought of these two guys.
I knew two brothers.
They were business owners,gamblers.
Maybe they were the type ofguys I was looking for.
I'd known the brothers forabout five years.
At this point, the older one wassolid.
He was trustworthy, charismatic, you know, the kind of guy who
(16:27):
you either wanted to be him oryou wanted to be with him.
You know what I mean.
The younger brother, though,was his polar opposite snarky,
lazy, kind of a coward.
They were business partners,for whatever reason.
They ran a couple of places,and including a restaurant where
the older brother always workedon Friday nights.
So this was my plan I'd fly outto take a couple of meetings
(16:52):
Not that I really had anyone tomeet with, but you know whatever
.
Then, on Friday night, I'dswing by the restaurant, act all
casual, like we were catchingup and pitch him.
The movie I bought a ticket onSouthwest flew out, crashed with
a friend.
Friday night rolled around.
I went to the restaurant butinstead of the guy I was hoping
to see, the younger brother wasthere and he was so happy to see
(17:13):
me like hey, long time.
Wow, you look great.
Hey, hey, somebody bring ussome shots.
I'm like, oh shit, I don'treally like this guy.
I don't really trust him.
But I also don't know where theolder brother is and I can't
exactly track him down becausemy whole plan hinged on this
seemingly casual encounter.
I either have to give up now orfind a way to roll with it.
(17:36):
I decided to do the latter.
I start drinking, probablyaround like eight, and by 10 pm
I was fading.
I snuck over to the bartender,slipped him some cash and was
like from here on out, fill myshot glasses with water.
Oh damn, that's a good trick,right.
So I start sobering up andmeanwhile the brother's getting
(17:57):
drunker and drunker and I'mthinking maybe this will work,
I'll get him wasted, he'll beopen to anything, I'll pitch him
the movie and he'll just startmaking it rain.
This is an absolutely terriblebusiness strategy.
I do not recommend it to anyone.
I'm just saying that's where mymind was.
I guess I'd kind of taken onthat desperation I saw in the
(18:18):
director.
You know, the first time I methim it wasn't just oh, I'll do
anything to make sure this filmgets made.
It was like in that moment thefilm was the only thing in the
world that mattered, like Iabsolutely had to find a way to
get the money, and I had to doit tonight.
Speaker 2 (18:33):
Why do you think you felt that way?
I mean, given everything you'vesaid about like the state of
the industry at that time, itsounds like you had a really
good chance of finding anotherjob.
Speaker 1 (18:43):
Maybe even one that paid.
Speaker 3 (18:45):
My parents taught me growing up that you don't have
to start something, but if youchoose to start it, you better
finish it.
So there was a sort of moralobligation and, like I said, I
was attached to the cast andcrew.
But I think, if I'm beingpainfully honest, it goes deeper
.
I felt like if I didn't get themoney to finish the film, what
good was I Like if I couldn'tmake this dream come true for
(19:10):
someone else?
I didn't matter as a person.
I wanted to matter, you know,and I wanted to show that I
could do what I said I would.
You know, I stuck around and Ikept pretending to drink with
this guy pretending to like him,waiting and watching for an
opening.
For a long time there wereother people around partying
with us, but after about 1 am orso, they started to peel off.
(19:32):
Finally it was just the two ofus.
And that's when the brotherconfessed his undying love for
me oh no.
And that's when the brotherconfessed his undying love for
me, oh no.
It was so awful, awkward with acapital, a.
He was like I've been watchingyou for a long time.
You seem so much freer now,like you're finally becoming
(19:54):
yourself.
And then he leaned over and hetried to kiss me and I kind of
jerked back and he felt that andsuddenly he just snapped.
He stared at me with this angerin his eyes.
He was like why did you do that?
Do what you pulled away?
Why did you pull away from me?
I don't know.
I mean, I didn't mean to.
(20:14):
I'm sorry.
You came to see my brother,didn't you?
In that moment I realized I madea serious mistake, because I
hadn't really thought of thisguy as a person.
I've been thinking of him morelike a mark.
But now it was like oh, thismust have happened a thousand
times.
He's the other brother, the onenobody wants, and I didn't want
him.
I didn't want his brothereither, at least not in the way
(20:37):
he thought.
But I didn't know how toexpress that.
He looked, at least not in theway he thought.
But I didn't know how toexpress that.
He looked so enraged.
So I just started babbling likeyes, I mean.
No, I mean, it's not what youthink.
Why did you come here?
I just wanted to hang out.
I swear you're lying.
Why did you come here?
I, I don't know.
I just need ten thousanddollars to make a movie.
(20:58):
What I?
I mean?
He was so surprised.
The tension was completelybroken.
I think he was relieved that itwasn't about sex.
He was just like oh, you'remaking a movie, oh, awesome.
So by now it's like two in themorning.
He's completely wasted.
I'm sober but trying to pretendI'm drunk so he doesn't realize
(21:20):
I've been taking shots of water.
I pitch him the movie.
He nods and acts like he'sfollowing everything I'm saying
and at the end he just says yes,seriously.
Speaker 2 (21:31):
This is unbelievable.
Speaker 3 (21:33):
I guess I hoped he would just whip out a stack of
cash, but of course that didn'thappen.
We had to be professional.
He asked about points anddistribution plan and things.
I didn't really understand atthe time and I was like, oh, the
director slash executiveproducer is handling all that.
He has a whole presentation.
Can I introduce you?
And he was like, oh, absolutely.
So I went back home to feelinglike a hero.
(21:57):
I set up a meeting between thebrother and the director.
A week or so later the directorflew out and he went out to the
restaurant.
That night I sat in myapartment back in f*** smoking
cigarettes, checking my phoneover and over About 8 o'clock I
started getting messages fromthe director.
He's not here yet.
I tried calling and he didn'tanswer his phone.
My stomach sort of sank.
(22:19):
You get a sense real quick ifsomebody wants in on something.
If they stand you up, that'snot a good sign.
Eventually, like two hourslater, I get a text saying he's
here and a few hours after thatanother text saying the meeting
went well.
He's going to send a check.
But I already kind of knew itwasn't going to happen and sure
(22:39):
enough he never sent it and I'venever heard from either one of
the brothers again.
Speaker 2 (22:43):
Oh no, that's so disappointing.
Speaker 3 (22:45):
Yeah, it was a shame.
I kind of felt like I burned abridge for no reason, you know.
The director went on to editthe film.
It took him a while because hehad to do everything himself.
He hosted a screening forfriends and family and it was
fun.
But the movie never made it toa festival.
It never got distribution andmost of the people who worked on
it are no longer in theindustry.
Oh man, that's terrible.
(23:11):
I'm so sorry.
Me too.
I think back sometimes andwonder could I have done
something differently?
Is there any way I could havebrought this thing home?
But then I think no.
Even back then there werecertain lines I didn't want to
cross.
And beyond that, what I did doI did for love.
I know this sounds corny, butit's true.
I mean, if you're in thisbusiness for money or accolades,
you're probably going to getfrustrated and quit at some
(23:31):
point because those things arehollow.
But if you do it for love, Imean you can weather just about
any storm.
I mean you can weather justabout any storm.
That's an essential ability inthe film industry, not just
because it's unstable, but alsobecause film is a collaborative
art form, which means you'llnever have full control over the
outcome, not even if you arethe writer, director, executive
(23:53):
producer, editor, star.
Speaker 2 (23:55):
It's a good lesson for all of us to remember.
Thank you so much for sharingit.
Go create in peace.
Oh, I love that story so much.
What a happy ending.
I mean it sort of was a happyending.
You guys can't see, but JR justgave me the weirdest look.
Speaker 1 (24:16):
It was a happy ending .
Speaker 2 (24:17):
It's always happy when somebody finds their
passion and even if they'recoming into this industry, even
if this is it.
Speaker 1 (24:28):
No, we've certainly found our passion in this
industry.
Yeah, what about that story, doyou think warmed your heart?
How did you identify with theconfessor?
Speaker 2 (24:41):
I mean, I just love that it comes around to like if
you do it for love, then you'redoing it for the right reasons.
Speaker 1 (24:45):
You know what I mean.
I just love that it comesaround to like if you do it for
love, then You're doing it forthe right reasons.
You know what I mean?
Yeah, I really like that.
It really struck a chord withme too because, like I was
saying in earlier, I mean I shota short five years ago and it
was so much fun and now I'mgetting the bug again, like
we've been writing so much and Iwant to see something come to
life so are we doing it.
Speaker 2 (25:01):
Is that like?
Speaker 1 (25:03):
yeah like hollywood, confessional raps and jr's new
new short I take off the podcastproducer hat and I put on the
short director hat yep.
Speaker 2 (25:13):
Writer, director, producer, probably lead actor,
editor, sound designer.
Speaker 1 (25:17):
Oh oh maybe it's not going to be that kind of
production I don't know if I'mgoing to be able to do this.
Maybe I take that money and goon a beach vacation, I don't
know.
Oh yeah, that also sounds good.
Speaker 2 (25:29):
That's all we've got for you this week, guys.
Thank you so much for joiningus here on the Hollywood
Confessional.
We have some crazy ass episodescoming your way very soon, so
please hit that subscribe buttonif you haven't done it already.
Follow us on social media atFess Up Hollywood.
Speaker 1 (25:46):
And go create in peace.
Speaker 2 (25:48):
Amen.
Speaker 1 (25:53):
The Hollywood Confessional is produced by
Megan Dane and Jair Zamora-Thal.
Joelle Garfinkel is ourco-producer and AJ Thal is our
post-production coordinator andeditor.
Our cast today Sean Redding,timothy Wardell, taylor Brooks.
Special effects provided byZapSplat and Pixabay.
Hollywood Confessional is a 9thWay Media production.
(26:17):
Follow us on socials atFessUpHollywood.
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