David Wilde - Wilde One Films

Running the Bases today with David Wilde, Founder, CEO and Creator of Wilde One Films. David Wild is a digital media producer who has created five feature films, a crime series, and dozens of short films. He began acting in his thirties to meet girls and eventually ended up in London to attend an acting school. He has since learned how to make a movie, from coming up with an idea to doing the marketing work to getting the finance. Now, he is working on a novel based on a movie he produced for the  TV series Crime Lord. 

Very excited about today’s Guest.  A TRUE CREATIVE, Our guest today takes our Small Business Genre in a new Space for our Podcast!  While he does run a Traditional Digital Media Agency, His PASSION lies with his company Wilde One Films.  He has made five feature films, a crime series, and dozens of short films, and he has a novel coming out at the end of the year.  His works have been shown on Amazon Prime & Apple TV to name a few.  His IMDB Page lists him with 26 Producing Credits, 27 Editing Credits, 25 Writing Credits, 19 Acting Credits and 17 Cinematography Credits. 

David’s Podcast - Wilde World

Watch - Crime Lord

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Bull Durham

The Natural

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Episode Transcript

(00:01):
fascinated with entrepreneurs andsmall business owners.
Plus, I love baseball.
Every show I sit down with a smallbusiness owner and we discussed
there running the bases ofentrepreneurship.
We throw the ball around onstrategy, management, execution
and innovation.

(00:21):
Plus, a little fun baseball talk.
Hey, thanks for joining us today.
Settelain, grab your cracker jacksand you know what they say.
Play ball.
Okay, hey, it's a great day for aball game.
This is Randy Rodi with runningthe bases with small businesses
and welcome to the show.
A very excited about today's guestbecause it's a little different

(00:44):
than what we've had in the past.
This guy is a true creative.
He takes our small business genreinto a new space for the podcast.
So while he does run a traditionaldigital media agency, his passion
lies with his company Wild OneFilms.
And he's made five feature films,a crime series, dozens of short

(01:09):
films.
And he has a novel coming out atthe end of the year.
And his works have been shown onAmazon Prime, Apple TV, just a
name of you.
And his IMDB page lists him with26 producing credits, 27 editing
credits, 25 writing, 19 acting, 17cinematography credits.
His dreams of opening his ownstudios someday.

(01:33):
This guy is busy.
So please welcome to the show allthe way from Scotland, David Wild
from Wild One Films.
All right, David.
Hi, Randy.
very much for having me on yourshow and for me can be so sweet.
So that sounds very Okay, thisstuff out there.

(01:55):
I can hardly actually talk aboutsome of the projects you have been
involved in.
However, I do want to talk aboutlet's go back maybe to some early
years.
you do all of this stuff withfilms and I mean, you're a really
a creative guy and you do acting.
I've seen some of your stuff.
Actually, you're not too bad.

(02:15):
Not too bad, right?
Yeah.
Thanks a lot.
Did you grow up in an art lovingfamily?
I mean, is this in the genes?
Is this in the Thanks a lot.
the total opposite, absolutelynot.
In Scotland, you have when I was achild, my father, the only sort of
influence we movies and stuff, myfather used to take me to the

(02:37):
cinema to see movies like in the70s, like Star Wars and Superman.
And at that time, it was all thedisaster movies, you know, the
airport 1976 in the town inFernlow and the earthquake.
I the world was coming to an end.
So my father probably took me to alot of movies, but I never
actually thought it was such adistant world that I thought,
well, I want to do that one day.

(02:58):
That just wasn't in my head.
But there must have been some seedplanted there.
And as he has went on, you know,and technology gets good and
potentially doable in movies thanthat became more.
I never started to often films atall.
It was acting and I went to thelocal community center.
And because I had to was going tobe girls there.
It wasn't you do reactant, youknow, and I thought, maybe I can

(03:19):
meet some girls.
And I went there was no goodlooking women.
So That is so funny.
There are instances in my lifewhere I have been motivated by the
same factor.
Yeah, yeah.
I mean, I think that's an honestmotivation rather than saying I
want to be an extra little.
And I think you come to it fromthe basic bottom.
And then you go, and then you canadd fun with the process of

(03:43):
something.
And while I make any of this, youknow, you don't you don't have any
aspirations to make it be a bigstar.
It's just like you can fall intothe process and start from the
basics, which I think there's agood way.
You yeah, yeah.
So when you started in the how oldwere you when you started doing
the acting.
So you must have been a littleolder because about girls.
So yeah, well, yeah, just on 1920.

(04:04):
I hadn't really got any act in thejob only.
I to a summer course.
And actually I remember thatJeremy Butler was there, you know,
okay, he was not summer.
And that I drifted I went toLondon and I got on I dreamer
school but I couldn't afford togetting so I can're drifting and
part of London.
I really wasn't until my my 30s myearly thirties that really get

(04:25):
more serious about it.
you know, very so yeah, yeah,yeah, yeah, yeah, what how did
your family respond when you said,hey, I'm going to get into acting.
And my went to by the, but whenyou're in Scotland and Glasgow,
and it's not a sort of thing thatyou want to broadcast from the
rooftops, you know, back in Yeah,because there's so many action
movies in this like macho and butif you want to say you want to get

(04:50):
an act in the early days, it's thesort of thing you kept to yourself
to, I mean, because I've seen thiskind of men dressed in tights and
the feet are in shut with like,you know, and you know, it's
cooler today, you days today.
know, but back then it wasn't, youknow, I know, nobody understood
your accent in the UK.
If you came from Scotland, youwere totally, you know, and if you
want the Queen's English, youknow, then, well, you know, unless

(05:11):
you were Sean Conny, Sean Conny,you know, right, right.
Sean he's got a great, yeah, he's,he did well for Scotland, right,
to get and Wales.
Well, he's, yeah, because he'sgot, as he's Scotland or Wales,
where's he from?
To say people is a man.
What?
Well, he's, yeah, because saypeople is a man.
What?
People used to say Sean Conny,they thought he was Polish, they
thought he was Russian, theythought he was Wales, they thought
he's Scottish, comes from adifferent brother.

(05:32):
You know, does that.
You know, I didn't know that.
Yeah, yeah, yeah, yeah.
So, Yeah, yeah, yeah, yeah.
So, yeah, yeah, so, yeah, so, youknow, so that's how I really
started was just as a slowprocess, you know, kind of fallen
into it, you know, all right.
yeah, incredible.
That's so funny.
You talk about the Scottishaccent.
So before we hit the recordbutton, David and I have a mutual
friend named Craig Campbell and Iwas telling David that, yeah, it
took me about six months tounderstand Craig's Scottish

(05:53):
accent, because it's quite heavy.
That's That's that's one of thereasons I agreed to come on.
That's because I thought, Brian,he's already had those cragues for
the last, you know, so it mayunderstand Mike's.
And, you been on the show.
So folks, you can go.
Yeah, yeah, yeah.
Yeah, yeah.
A year or two and find Craig show.

(06:14):
Yeah.
So we kind of move forward throughyour acting career and you kind of
put out your first film, I guess,and had some early success around
year 2000 or so called.
Yeah.
Pasty.
I mean, I Yeah, it right.
I started to get a series of actsin a bit three years before that.
But I get so frustrated becauseI've got your film set on a shoot.

(06:38):
And, you know, if you've got a fewlanes to say, doesn't matter,
you've always got to sit there forabout 12 hours or 14 hours before
you get to see your rods, youknow, and a lot of the times I
used to get cast as killers andmaniacs.
And I'm, I'm, I'm coming around tosay, and I'm getting ready to kill
somebody and I'm on wound up and Iwant to go and I want to race and

(07:03):
I want to act and you tell me,it's like 15 hours later, you're
seeing's ready.
And but that time, you're alreadyburnt out, you know, and again,
you're waiting for calls to getacting jobs because back in those
days, there was no internet.
So you went for an agent call youand you got for a commercial over
where you know, the movie took tosay we're Dustin Hoffman, you got
for a commission, you're going toplay a car at something and then,
you know, it's no, it's not onlywhat you're saying up front.

(07:26):
You want to play the, the denietalroles, you don't want to play, do
you know what I mean?
So that's, that's an act of sortof life and I got kind of
frustrated with that, you know, Idon't want to wait for a phone
call.
So what I would do, I started torate screenplays, you know, I
would start to rate scripts andthat took me quite a few years,
wrote maybe 50 scripts and I threwthem in the bin and then I started
to send them away to the BBC andstuff to get feedback.

(07:49):
Cut a long story short, aroundthat period there was movies like
Guy Richie movie, Lockstock, getme lockstock a smoking barrel so
they were looking for sort ofcomedy movies and stuff and I
tried, I started an approvaltrailer and I went to Las Vegas, I
went to LA to get a small crew andI shot a trailer to present me a
business plan to try and raise350,000 which took me a bit a year
and a half and I managed to raisethe money to make a movie and that
was how the first movie reallystarted, you know, which was the

(08:11):
wrong move really, you know, forvarious Hmm, interesting.
So what I am curious about, so thebusiness of filmmaking, right, so
we'll get back into business.
But, yeah, and just like anybusiness, gotta have some some
capital behind you, whether you,that doesn't matter what business
you're in, it's gonna take somemoney, some capital behind you to
get things kind of up and running.

(08:34):
film, I would imagine, you know,you said you needed 350,000 to do
your film, some of these filmstoday are millions, right?
The budget, yeah, yeah, lookingwith these things.
But so do you need the money allof that way up front before you
start or can like some of thatkind of dribble in as your as a
project progresses?
How does that all show you?
you, yeah, yeah, does don't needany money to start really, but

(08:57):
what you do need is a supply, youstill need it, you still have to
treat it like a business, youstill need that, a business plan,
a treatment.
I needed a business plan because Ihad to get some small investors
around like 10,000 pounds, youknow, there was no internet back
there, there was looking atstartups.

(09:19):
So I might have to get friends andfamily and show them a plan and I
took photographs, the cast and thecrew and the vision for it.
I might as well raise 10,000pounds so I could go and make a
trailer or to so that somebodycould see, well, they ever made a
film before and I went, no. So Ihad to make a promo trailer, so I
went, made that.
Then I took that promo trailer tothe Cannes Film Festival.

(09:39):
I took it to Los Angeles.
I took it to the Soho and Londonwhere other film companies are.
So it was a package.
So it was a plan.
It was a treatment.
was a trailer.
It was the poster.
It was photographs in the cast.
And then you use that to pitch themovie.
And people like that because itshows that you've done some
homework in it.
You're having my team's, I wouldgo and attack, and attack the
driver.

(10:00):
I'll say, oh, I've got an idea fora movie.
Nobody gives a shit about an idea.
You know, you've got to put someaction on it.
Yeah, you've got to put someinvestment in it.
You know, I mean, then some time.
Yeah.
Right.
So, and so then that sort ofmoney, you take it to sales
agents, what you call sales agentsand sales agents get pre sales.
So when they go to the Cannesfilms, first of all, they can do a

(10:20):
pre sale to different territoriesaround the world and bring out a
budget, you know, especially inbigger movies and a bigger movie,
say you say you want to make a $50million movie, right?
if you go to the festivals and yousay, I've got George Clooney that
really like, subscribe to be, youdon't have any money, you know.
So if you try and get pre sale to,you know, George Clooney is say,
big in America, he's big inGermany, he's big in, so all these
territories bringing the pre salesthat adds up to $50 million and

(10:43):
that's the budget to make themovie.
And then that movie's delivered toall these distributors, you know,
so you pre sale movies that way,become, and that's how you do it
with bigger movies.
It's the same way we smallermovies, a bigger movies, really.
But the industry's changed so muchover the years because you're
really selling movies to likeAmazon and Netflix.
ago, it used to be theatrical,release your selling to all these
different territories.

(11:04):
But you're really looking for thatbig Netflix deal really an Amazon
or Disney or Apple TV with thebigger movies.
And you know, I've got my movieson those platforms, but they don't
promote those movies because I wasgoing to star them.
if you guys start and board anApple TV and Netflix is going to
promote it big, you know, and youknow, because it's the market

(11:25):
money that costs you can make amovie for $25 million, but it's
also $25 million to market themovie, you Well, that's what it
sounds like just even what youwere walking through the process.
It sounds like all of the pre-workthat you're doing before you even
sit down and start filming thestory itself.
You're doing all of thismarketing.
Oh, marketing.
Oh, yeah.
I mean, movies have been over thelast few years are very, very,

(11:47):
very small films, right?
Very small films.
But the reason I've done them isbecause when I made my first
movie, I really hustled that, youknow, I didn't know what camera
man did.
I didn't know what the late peopledid.
I know what I just hustled thatI'd directly done a script.
Then I discovered as the yearswent on, I'm going to learn every
part of the process so that when Ido get a budget one day, I know

(12:09):
everybody's job and I can respectthe jobs and I can delegate, but I
want to know every job.
So I think you have to knowChristopher Nolan talks about that
Christopher Nolan made corporatevideos before he made those big
movies and he knew everybody'sjob, he knew the light and then he
had sound.
did that himself at first.
That's the mistake that I madeRobert Rodriguez made a movie for

(12:31):
$7,000.
He's one of the biggest filmmakersin the world, same as Christopher
Nolan, but they made their moviesfrom the very start with no money.
I my movie with a budget and Ididn't really know how to make a
movie.
So I had to go back the way andlet it make movies.
So that's what I've been doing thelast 12 years and I do have a
script that's $30 million that I'mtrying to get some names and
bought.
Nice.

(12:51):
And that's, it's actually to behonest, it's very hard to get
money for movies, right?
But it's easier to get $30 millionthan it is to get million dollars.
Oh, sure.
I can see then.
Yeah.
Yeah.
Because if you spend the milliondollars, right, then you go,
right, who's in it?
You're not going to get a hugename in it, names in it for a
million dollars, right?
And they're not going to spend $25million market net.

(13:12):
If you've no big names in it.
So for $25 million for aproduction budget, then you can
get Jerry Butler, you can get abunch of names and they're famous
faces international.
Then they're going to pick 25moments market it.
So it's too risky.
If you have no, it's less risky togive you 25 or 50 or 100.
Yeah.
Yeah.
No, you've got to have a big pricetag because then they think you've
got a big idea, right?
And so that's you've that's why Igo from nothing, I go from making

(13:32):
my movies for nothing, trying toget movies out in the 25, 40
million range.
Sure.
You know, I go from the opposite.
You know, well, now you've got theexperience behind you, right?
Now you know, yeah.
That's out of the yeah.
That's out of the picture.
Let's walk, understand, fromconception, you come up with an
idea to take it to the platforms,understand every single step of
the way.
that it's the same, well, it's asmall movie or a big movie,

(13:55):
understand how it business works.
So, but it's taking me all thistime to learn that.
So hopefully, you know, I'm 56years old, but you know, Ridley
Scott is still going to make hismovies at 80 and Clip used with
his style.
God's not priorities.
They're all going, you know, andso yeah, you know, maybe I'll get
20 years in May.
So maybe I can catch He's madeforie... you know, hey, there you

(14:16):
go.
So what do you think is thehardest part about making a movie?
I mean, you've got all of thismarketing work that you're doing
in front.
Haven't even talked anything aboutreally the process of shooting the
movie.
What is the hardest part in youresteem at this point?
The part again is the finance, butbefore you even put it up, I've
approached the finance, thehardest part is coming up with a
script.
I'm not talking about the smallmovies I make.

(14:39):
I'm talking about, I've got ascript that I've developed over,
it took me years to write.
hardest part is coming up with agreat, great, great script because
you know yourself, you've got anNetflix around, there's so many
movies out of the same and you go,I've seen that, I've seen that,
I've seen that superhero movie,I've seen that, it's the same as
everything else.
The hardest part has come up withsomething unique, but it isn't too

(15:01):
unique that the studios think it'stoo quirky, too small.
You have to come up with aconcept, I've come up with a
concept, I'm not going to say whatthe movie is, but it's called the
Vipers and it's seven guys andwomen on a mission movie.
It's a different idea that hasn'tbeen done before, let's get
potential franchise aspects to it.
So you have to come up withsomething, the genre is similar,
right?
not too different because ifyou've got, you know, but you have

(15:23):
to come up with something fresh, afresh angle and you have to write
a script and really work on ascript and then present that
script because there's so many badmovies made and you go, how did
those movies get made?
You know, they just get madebecause people attach some staff
to them.
I mean, if you go to the CannesFilm Festival, right?
Everybody thinks the Cannes FilmFestival was this prestigious

(15:44):
thing where you see people walkingup the carpet and all their walls,
right?
It's seeing the Cannes FilmFestival as a buy-on-sellers
market where they've got all thesereally, really terrible movies
itself that they make, right?
And you see stars on them.
see Robert De Niro when the bigRobert De Niro was on the poster,
but he's only here for a day.
He's $3 million for the day, youknow?
And it's an terrible freakingmovie.
know, are the Russell Coz and itfor two days or something.

(16:06):
So these bad movies get madebecause they can attach to stars
and if they get the budget, theycan give the star, you know, and
then they work out of the movie.
If they can make the movie for 15million, they've got a couple of
stars for a few days and at thestick they've been front of the
poster and the movie's shit, butthe star doesn't care because it
never really gets seen that much,but it'll probably make it as

(16:28):
money back.
So, you know, that's the way thatthe movie business works, you
know?
I mean, I can have made a wholebunch of movies that are like 3
million, 5 million dollars if Iwent to Cannes Film Festival made
a lot of crap, right?
But it's no really what I wantedto do.
I rather be known that in the lastyears of my life, I've made a few
couple of good big movies thatwere going, that was really good.

(16:50):
And a little, and build more andso on, like business DIY as well
beside that, you know, likeSteven, Steven Soderbuggle make
movies, he made Oceans 11, but healso makes movies and iPhones, you
know?
So it's trying to get a businessheart where you're making work to
fulfill your creativity, butyou're also trying to make work
and build a business to make moneyas well, so you can keep funding
yourself, you know, right?
So you've got this big project.

(17:11):
So now I begin to wonder, youknow, kind of relating it again
back to just a normal smallbusiness.
you out kind of pitching the idea,the product, so to speak?
So you've got this idea for thisgreat big movie, potential
franchising, you know, so give itsome legs, some real life.
Are you, is that the approachselling the idea or are you
exercising kind of connectionsmaybe that you have in the
industry now?
Well, I think it's, as I've beenas I've been coming up with these
ideas, really scripts, right?
I've spent my time over the yearskeeping making stuff because when

(17:32):
you approach producers, if you'veseen get an idea that gets
scrapped, they can look onlinetoday, and if you have a medium,
it's at all in years.
They don't want to invest inpeople that I want to invest in
doers.
So even if it's, if you've beenmaking small movies, they still
see that you're doing and you'redriven and you're on to Penurio.
So you get more chances you'rescrapping, getting ready, your
biggest script.

(17:53):
So my main thing as well is thatfor me that in a way trying to get
big movie made is like wantinglottery, you know, it's not quite
as it, the odds are not quite asbig as that, but it's still like
that.
you don't sit in wait for thephone to come back after you've
sent the scripts away.
So for me, it's always a bit buildand you don't create a business

(18:16):
online as well.
And if that doesn't happen,especially on internet today, you
know, look at people on internet,look at YouTubers and building
their audience, you know, I don'twant to look back in 10 years time
and say, oh, I wish I'd done filmsonline and build my audience.

(18:37):
I to do both, do you know what Imean?
So that if I don't get those bigmovies and building my audience
because when you build youraudience, you get more creative
control as well.
You get more control your work,you get more creative freedom.
I would absolutely, probably morefun.
I would rather have a nicheaudience that you can is make

(18:57):
stuff and make your work than havea movie once in a while.
So, I mean, and hey, you can makea movie, a big movie for the
industry.
And if it bombs, you go todirectors jail for 10 years, you
know what I mean?
Whereas if you've got an audienceonline and you make something, go,
that was good, that wasn't good,whatever.
Still stick with you if theybelieve in the person because
people, I think online people buyany people, they invest in people,

(19:20):
they invest a tiny bit of people.
Rather than the project itself.
And that's what I've learned overthe internet for years, you know,
you're so random, you know, peoplefollow you online because they can
buy any of the person that brands,it's not necessarily the project,
or always, you know, you know.
Yeah.
So I think that goes for I thinkthat's an interesting concept,
especially build your audience andthen you have more control.
I think that is absolutely spot onI'll be honest, that's my ultimate
goal because if I got a deal for abig movie, big movie aspect is

(19:44):
just to raise my profile as wellthat can bring an audience direct
to me.
Right.
You know, that is really the maingoal.
It's not to say, well, I've got abig movie made because I know that
can last five minutes.
You're only as good as the bigmovie he's made.
But if you can build that, bringthat audience towards you and you
see him making definitely freshstuff, even if it's smaller, the
immoray, and that's the way theworld is today.
Look at some YouTubers says thatMr. Beast, Mr. Beast just tundered

(20:04):
on a billion dollars on YouTubechannel.
He's got 100 million YouTubesubscribers.
He's just been making videos on aphone 10 years ago and he makes
all these YouTube videos and hejust tundered a billion dollars
because it's worth between 10 and20 billion dollars.
Yeah, yeah, that's just makingvideo content.
He's doing exactly what he wantsto do.
Do you know what I mean?
The difference with YouTubers isYouTubers can make content on a

(20:25):
phone at the start, filmmakershave to cast people, get a little
crew, get locations, takes moretime and a bit more money.
You know, but you have to getinventive with it.
You know, so yeah, I mean, so likeany other business really, you
have to, and as today is like, youhave to, you know, you have to
have a vision for the future, butonline, you know, you know.
So I Yeah, yeah, that's to stepback to that early project you

(20:48):
did, pasty face, is that right?
Well, the title is awful.
it's like what is it like?
It's like, yeah.
Yeah.
So what happened with thatproject?
So you went out, you raised350,000 dollars or pounds.
You created, you ended with aproject, right?
Yes.
Yeah.
is it like?
It's like, Yeah, you went to thecinema, went to television.
It was, and made money.
Yeah.
Yeah.
What happened after that?
How, you know, the, the, the DavidWild role?

(21:09):
How come, you know, you're notdoing the, I went, I I went, I
went, I went, I went to Utah,there's the sales role, but down
to you.
You know, what happened with thatmovie was when you're making a
movie, that time there was so manypeople involved with, there's so
many producers involved with it,which he expected a lot of
producers to be involved with amovie that caused 50 million, but
it was a lot of producers involvedwith a lot of people with Amstit

(21:31):
and America, and then I would haveto have the confidence call about
a scene that I wasn't, they wantedto change and this, real that.
had no creative control over itand I was very green as well.
So I was turning it into a moviethat I never wrote, you know.
I was shooting the movie and I washating it.
I released the movie, I getreleased and I hated it.

(21:51):
But I still promoted it.
I it in national television.
I went into cinema, went into DVD.
There was a lot of copies in thestores.
I hated that.
Wasn't a great movie.
So I basically kind of destroyedmyself and you've even got other
offers.
I get soul.
I let it get to me so much.
What I should have done was like,I've never made a movie before.

(22:12):
no been in film school, but I'mactually making a movie.
I pulled it in and made money.
That's a success.
if you say that in Hollywood, thisHollywood says Hollywood movies
are terrible all the time.
You know, they make money.
If you make money on the movie,that's a success.
a Martha movie shit as long as itmakes money.

(22:34):
You make a movie.
The next one.
I can I crucified myself too muchover it over and I disappeared for
eight years and never gettingmovies again.
And it wasn't until the technologystarted to command cameras as we
know the internet and all thetechnology.
I can because I made RobertRodriguez on a TV show and I was
talking to him and he made hisfirst movie for $7000 so he could

(22:58):
completely control it.
that's how we built a career.
And the same as Christopher Nolan,it makes $200 million movies.
He's first movie because $7000 sothey could control it.
I no control.
So I just wanted to start again.
You know, I wanted to write directproduce, edit, control everything,
distribution.
then if I come back to biggermovies one day, at least much more
experienced, and much more, youknow, I could be in a room full of

(23:20):
executives and I could say, yeah,they need to themselves and vull
for a It's a business that'smaking money, of course, but I
could handle it much better.
And of course, over the last 20years, the music and everything,
the evidence change technologywise, you know, is, you know, it's
an evidence change.
longer.
So to make money on movies isdifficult to make money on music
is difficult.
So you go on to Pinotty on manydifferent ways, you know.
there in today's world, thinkingabout positioning yourself, right?

(23:43):
So in small businesses, whetheryou have a product that you're
selling, you've created something,you're selling it, you're, or it's
a service, you're also alwaystrying to find your angle, right?
What differentiates you from thenext guy around the block?
there in the creative industry,and what is it, is it possible, I
guess, to kind of do that?
Can you, can you create adisruption?
Can you create something that's sodifferent from some of the stuff
that's been out there?

(24:04):
I mean, the movie and the creativeTV industry, I mean, it's, it's, I
don't know how many, you know,gangster movies you can do, right?
They all have the same kind ofconcept.
Now, the technology and the wayyou deliver it, you know, with
technology in today's world, youknow, filming on your phone or
delivering it through YouTube orother channels, that may always

(24:26):
change a little bit, but you know,in this creative industry like
this, can you really, what can youdo all I think the first thing
that you have to do is well, whenI say the Wads, George Lucas, I've
created Tarantino, or Woody Allen,David Lynch, or Spielbug, what do
you think when I say it was Wads,those people have branded
themselves, you know, you think Isent it to a movie, right?

(24:47):
So if you go along for years andyears and years and years and
become a filmmaker, and there'smany filmmakers that make TV
serials and film an episode, big,big TV serials, but you'll never
know the name as directors, youknow, you'll never who they are,

(25:12):
you know, the maker living, but Ithink if you want to build your
own audience online, you need tostart branding your name, you need
to be entrepreneurial, people needto know that name, they need to
know what they're going to get,and when it comes to making
movies, you need to see thingsthat you haven't seen before, but
you need to see things in adifferent way, you need to give
them value, like any otherbusiness, if you've got a
business, when you've got abusiness, you've got a solution
for a that's why somebody, whetheryou're a plumber, somebody needs a

(25:33):
plumber, well, you can, in art,it's not really, you're not really
solving a problem, but if peoplestill need art in their life, they
still need music, movies, youknow, they still love that, you
know, it's part of their everydaylife when they go home, they stick
on Netflix, so I think you've gotto brand yourself so that you

(25:59):
become a name, so that when youbecome entrepreneurial, even if
you're making movies, and you sayI'm going to make a movie in Las
Vegas, do you know what, I'm goingto have an event in Las Vegas,
people can come to that event, myfans can come to the event, they
can be in the movie, stuff likethat, you make it fun for people,
they can come to the, they cancome to the premiere, if it's that

(26:22):
crane movie, they can dress upwith crane characters, you just
have to be inventive of stuff aswell.
You know, like I've got a seriesplan in making, I probably start
next year called Mad World andit's an anthology series, we're 30
minute movies, like movies andstuff, and it probably won't get
an Amazon because it's to extreme,you know, it's not like the type
of thing you would normally see,you know, you can break the rules

(26:43):
with things, but that's the beautyof the internet today, you can do
things differently, but mostpeople are not trying to do things
differently, they're trying tomake small versions of what the
big studios do, if you try to doit studios do you fail because
they do it bigger and better, youknow, so you have to find
something small and differentpeople haven't seen before, I go,
I haven't seen that, that's crazyshit that, it's almost like
underground, but actually if youcreate niche, niche can be big, I

(27:04):
mean Apple is niche when itstarts, it's true, I mean, you
know, right, you know, it'samazing that you know, you I mean,
you know, right, you know, it'samazing that you say this stuff
though about like even in yournext project the Madworlds
because, you know, between Amazonand Netflix and HBO and Showtime,
I mean all of those networks, Imean, they're all into this
competition for content andthey're putting billions of
dollars into uncovering,developing, distributing original
content and some of the stuffthat's on these channels, I look

(27:26):
at them like, wow, that is themost bizarre, I can't believe they
put a, you know, 10 episode seriesaround that, that is crazy.
So when you're talking about yourMadworlds, I don't know, I mean,
unless it's way crazy, I think youprobably got a shot to put it
after I think what I try to do is,I make things for no money, right?
But what I try to do is come upwith concepts that, if I make
them, that producers could spotthem and go, that could be
something bigger, move you're abigger series, you know, it's like

(27:47):
my cream series, it's no money,it's no names and it's very small,
right?
But the actual concept is somebodythat writes as a criminal, but it
is trying to get legit, we'recreating novels, getting drawn
back and it has creamed worlds.
rates cream novels, And then asthey become a big creamed world,
the novels become a success andyou can't get, I think they, the
concept, and I've had a few peopleapproaching me could be bigger.
And the same as I've done a horrormovie, I've done a horror movie,

(28:10):
no crojoma, and I've said somepeople interested in that because
of the concept was original.
So if you can create originalconcepts, like the Mad World
series have got and you make ityourselves, then you can take that
to producers and make them say, wecan buy it, can we buy the rights
to that to make the biggerversion.
So, and that's what I tried to doover the last few years as well
when I make small movies, at leastI'll own them 100%.

(28:31):
My first movie I didn't own it,you know, which I don't care a bit
because I hated the movie anyway.
You know what I mean?
So I think when you try your own,you don't IP your intellectual
property, which is, you know, theway that the world was going with
NFTs as well, I don't know ifyou've had that, you know, it's
still early days for NFTs, youknow, you NFTs, you know, you
know.
I'm going to get into it.
I'm going to ask you about yourNFT stuff.

(28:54):
So don't, don't, don't spill thebeans yet on.
No, no, no, no. Yeah, I think it'svery interesting.
My wife and I, we just finishedwatching, I can't remember what
platform it was on, but strangerthings.

(29:16):
Are you familiar with that series?
There's some weird shit in thatseries.
That is like crazy stuff.
And I'm, there's a part of me asthe seasons kept rolling.
I'm like, this is getting weirderand weirder as it goes.
I can't even believe I'm watchingthis, but I'm not alone that it's
been created that way.
And then it's so hugely popular.

(29:37):
That's why I think, yes, all ofthis horror and crime stuff is, I
don't know, it's a massive genreright now.
And so if you've got a, kind of anew way or a new angle to present
it, to create it, I think youprobably have got.
Are you familiar with that series?
Well, I think, yeah, the moviebusiness changed over the years.
The movie business in the 1990sand 1970s embraced independent
films where that's where a greattime in Tinoe come along with

(30:01):
reservoir dogs, another smallermovies and Cookeew's Nest and the
70s and Easy Rider.
But after the 90s, the blockbusterstarted to take over and then
those superhero movies.
And before you know it, it was avet movies, it was theme parks,
you know.
Right.
So there was an audience thatwon't get fed.
They would only get those movies.
But when streaming kicked in inNetflix and Amazon, that was an
opportunity to make moreinteresting cereals and films.
And that's why, because there's awhole market that has been catered

(30:22):
for.
So that's where the streamingcompanies cater for those market.
And the big blockbusters are keptfor people that want to go and see
the big theme park movies, youknow.
So, you know, that is interestingstuff.
All right, so I kind of led into,we're going to talk a little bit
more about some of your currentprojects that you're doing.
But David, before we get intothat, do you like I don't share
the Well, Scotland, well, it'sthat time I can try something.

(30:42):
Here we go.
It's time the seventh inningstretch.
we have this saying here, David.
We call the seventh inningstretch.
And I get to ask you a little bitabout baseball, and I know, and I
know from my other friends fromScotland and the UK, you know,
these, you guys don't know Jackabout baseball.
Well, and you just told me to somepeople, tune and just to listen to
the baseball and go, that's that'sbe fucked up the show.
All right.
So, but my wonderful team though,the, the, does the prep on the

(31:03):
shows, they come up with some verygood questions that are very
related to your niche and yourbackground.
So, so the, so the question todayis going to evolve around baseball
movies.
right, baseball movies.
I'll give it a shot.
Yeah, there we go.
So, you know, baseball is thoughtof as America's favorite pastime.
And there's something like 100,well, this is according to IMDB,

(31:24):
100 and 73 movies about the gameof baseball.
And there's all kinds of moviesout there.
they go and they look at thisthing in a lot of different ways.
People rank, you know, what, whatare the best baseball movies of
all time, all of this kind ofstuff.
And, you know, there's MajorLeague field of dreams, money
ball.
I watched that one actually nottoo long ago again.

(31:45):
But there's two movies that seemto go back and forth.
This isn't your question, but I'mjust going to throw this out
because people are always kind ofcurious.
crazy.
Two movies.
Yeah.
Two movies that always are likeright at the top.
They're either number one ornumber two.
One of which is Old Durham cameout in 1988.
Right.
So, yeah, Kevin Casner.
You get Tim Robbins, Susan Serenaand then, right, some good stuff.

(32:08):
then the other one that's rankedright there.
Also, it's respects the score thatstarts getting better.
In loft.
front or right behind Bull Durhamis the natural with Robert
Redfield.
Closed, conbasing here.
Yeah, that came out in 84.
So here's your question, David.
Are you ready for this?
was the first baseball film?
Do you have an idea on the yearor, you know, you get you'll get
double hits here if you can evenget the title.

(32:29):
Oh, Google.
I All right.
not too long kind of even see thecast.
I doubt it.
I really don't.
The cast is going to do it.
to do it.
The only thing I can think of myhead is going to a black and white
movie.
Is that big the who's on first orwhatever.
That whole stand by.
No, it was.
Certain.

(32:53):
It's in black and white.
It's probably been put off intocolor at some point.
But in 1915, a movie called RightOff the bat.
And that is recognized as beingbaseball's first.
Who did you have a stop in it?
And I had no star.
And actually at that time whenthey were making move, they
actually used real baseballplayers.

(33:15):
And this and this starred playercalled John McGraw or Mugsy
McGraw.
he played himself in the movie andand actually was in about a dozen
movies after that.
All right.
Playing baseball players.
So there you go.
Right.
That's it. 1915.
Right on the bat.
1915.
Oh, there you go.
And we're talking about it today,David.

(33:36):
So see, I will be talking aboutthese pasties for a long you have
a stop in it?
And I had no right.
on the bat.
1915.
Oh, there talking about one.
These are can barrier.
Got to get it.
Let's get back into it.
Label.
So speaking of pasties, can Iwatch this somewhere?

(33:58):
Can I pull it up on YouTube?
Is where I?
So many producers involved withit, right?
And they owned the RageState andthey owned everything to it.
So I really can address on that.
There isn't even on streaming.
You know, you can buy it on DVD,online and Amazon and places like

(34:18):
that.
know, in May, this money back canbe some money.
But there's the even on streamingbecause I don't want to
distribution company owns that.
And I don't give a shit.
I'm glad there's no streaming.
That's the only good thing I like.
You know, I love attitude aboutit.
It's like, wasn't it so bad?
I hated it.
I don't really care if you watchit or not.

(34:39):
I don't give a shit.
Look, you can make a movie.
Look, the movies that I've madelately are not great.
Movies okay.
They make there may be a fewthousand dollars.
But at least, and they're notgreat.
But it's sort of like I made amovie in America, you know, called

(35:09):
screen.
And it was about a bunch of kidsat Halloween.
And the FBI find them dead andfrontly and driving movie screen.
whatever has killed them, whateverthey've seen on the screen has
killed them.
So you go back 24 hours before theparty to try and find out what
they saw on the screen.
So I try to, I quite like theconcepts, you know, I don't mean
some concepts so I go, if I like amovie I've made for a few thousand

(35:31):
dollars, I did the best that I hadwith a few thousand dollars.
then I don't give myself a hardtime, you know, but in that movie,
I had three hundred fifty thousanddollars and it's a stinking pile
of shit, you know, there is noexcuse, right?
Yeah, but at the same time, howmany Hollywood movies have you

(35:53):
seen that 50 million dollars thatis a steaming pile of shit?
Oh my gosh, yes.
know, there's a lot of bad movies.
So, you know, it's gone, I let itgo, I've learned from it, you
know, I've moved on, you know, Iread better scripts today, you
know, and I'm more in control mystuff today, so I don't cry too

(36:16):
much about it, but I'm glad thatnobody can forget.
See that?
my gosh, yes.
good.
That's funny that you even saythat my son went to go see this
movie, the the rocks latest movie,and he came back from the theater

(36:38):
and I'm like, how was it?
I was thinking I wanted to go seeit.
like, oh, dad told it is theworst.
I mean, yeah, all the same.
And then we were talkingyesterday, and he's like, we were
listening to the news, and theywere saying something about how
much over the weekend that moviebrought in and my son's like, I

(36:59):
can't believe that.
That thing is so bad.
Why would anybody go see that?
Don't think no, yeah.
Yeah.
Yeah.
So the time, mean, yeah, yeah.
Yeah.
Yeah.
So the time, you know, I'vesomething to get a sequel and a
prequel.
It's just the same audience.
Yeah.
Because of that.
All of that.
All right.
So, so you've produced a bunch offun stuff, and gonna roll through,

(37:19):
and I'm gonna see if our audiencecan kind of connect the dots here.
So you've got pasty faces, whichwas about.
I was from kind ofners crime ofsome sort, from kind A few actors
went to America when he holleredwith the tr... and making
Hollywood and ended up dropping.
I could see the one Yeah, yeah.
So the gangsters stuff.

(37:40):
Then you get the mission X. Yougot close.
I should know.
Code poll-blooded killers.
You've got screen, as youmentioned, Paul Girl, which, you
know, that says itself.
And then you jumped into the TVseries, Crime Lord.
And I want to talk about that alittle bit.
So you've got this kind of theme.
That seems a genre that you dolike.
It's kind of this gangster-ishcrime, some heavy, dark world,

(38:00):
dark side of humanity a littlebit, maybe, right?
Is that your main Don't think,yeah, I'm going to take a U-turn
on that soon.
But I don't think it's muchgangsters.
It's more to do with crime.
And, you know, when we say theywere crime today, we think we
think a gangsters may think.
When I say crime, I think you openthe newspaper and you see, you
know, you know, a husband has justkept his wife and took her head
off and wore it as a hat orsomething.

(38:23):
The world is insane.
The world is apps.
You cannot use papers each day.
And it's absolutely insane, mecrime.
The government's commit crimeevery day, you know what I mean?
So for me, the crime genre is avery universal genre.
It's a very wide broad, you know,AC movies, but see your killers
and stuff.
I'm more than a crime, which Iwanted to do in the future.

(38:44):
And horror rather than gangsterstuff is such.
I want to move away, you know,from kind of gangster, more crime
and more.
More to be assuming conditioning,the how it all pull it off the
heads really.
To me, what to do with that?
Psychic, because what world ispretty insane?
It's always been insane since wewere born.
And yeah, I mean, you know, peoplego to the world and it's getting
worse, but I think it's justbecause we see it more because

(39:05):
we're all connected.
You don't blame me.
You see do you know, right?
So our paths crossed around yourcrime lord.
Crame, yeah, yeah.
Did Crame, yeah, yeah.
Did you got a partner?
You were really good.
sorry.
Thanks for mentioning.
Yeah, so I do have a, I can't, I'min season two, the very last
episode, I think of season two.
And yeah, yeah, yeah, which we'reyeah, yeah, which we're still
doing a feature lens because thecondenser.

(39:27):
So yeah, you're playing a hitman.
Yeah, you know, there's going todo a job.
And it's funny when I got thefootage through sometimes because,
you know, when stuff comesthrough, you don't know what
you're going to get because, youknow, you're not any acting or
whatever.
But so weird, so many times thatwhen I make my films, I cast
actors, but also cast non actors.
Right.
And the reason being as well, thatwhen actors, I look at them go to

(39:49):
drama school, they're taught howto act, they're taught a certain
style.
But when people are not actors,they don't know a certain style.
They don't really stick to therules.
So the break the rules, they justdo the thing.
And sometimes that's moreinteresting.
Yeah.
Actors sometimes act, you know,and when I saw you and a couple of

(40:11):
guys coming through with that, Ihope it can just be natural.
Right.
You know, honestly, when I sawyour thing coming through with,
bag, that's it.
That's it.
That's all he needs to do.
That's all he needs to do.
It looks like the guy, he soundslike the guy, quite clinical.
And, you know, a hitman would beclinical.

(40:35):
He wouldn't be emotional.
Be like, he's not getting anyvengeance on him because he's not
after, he's just after, he's justgoing to do a job for money.
It's very clinical.
And that's all he needs.
It's great.
And well, that was it was fun.
It was fun to be able to do.
I to do.
I did the round day.
I gave you a plug in the movie sothat all your audience are going

(40:59):
watch it.
Yes, there you go.
Yes, yes.
I think they can.
I'm waiting for it to come out oneither Apple or Amazon here in the
States.
I'm not sure if it's a hit here.
It's it's on it's in the States onAmazon.
And it's on it's an Apple TV and87 territories.
OK. So it's in the States, it's inthe UK.

(41:19):
It's across the world.
So it's on Apple TV.
Well, I know we've watched thefirst season of Crime Lord on
Amazon, I think, is where we'veseen it.
Is season two out on Amazon now?
See, two, season two, which is theone that you run, basically tons
of feature lens.
Oh, OK.
Because I was a bit two or threeepisodes short, but my aggregate,
my distributor says, look, David,I'll actually get more of an
audience if it's a feature lens.
And you can still call it aseason.

(41:41):
OK. So I say, OK, I'll just turnon any feature.
And then it's, you know, it's, youknow, it's over an hour and a half
long.
It's nearly two hours.
So it's a good size feature.
Oh, there.
So season two is on Amazon now inthe US and Apple TV.
And it's also going to be a Huluas well.
And a bit 40 other platforms, youknow.

(42:03):
Oh, So Oh, nice.
All right.
Well, I'll do a watch party at myhouse and with all of my friends.
Yeah.
Again, it took me a minute.
I a Yeah.
Again, it took me a minute.
I probably have to put thesub-tait with some, you know.
Yes, yeah, Yes, yeah, becausewe'll be sitting around like my
son.
I can't So you went from thatproject.

(42:24):
Now you're going to turn this,what I understand as well into a
novel.
This is the novel that's comingout here at some point this year
or early next year.
Is Craig?
I a project coming up thatcompletely unexpected and I'm
going to collaborate with some ofthese.
So that's took about my time,which I can talk about in a
second.
But the real reason for the novelis, it's like I said before, I

(42:46):
think the concept I had about acream right in criminal was a good
concept.
But when you don't have the budgetto execute at the best way for the
full vision that you have, whenyou create a novel, you don't have
a budget limitation where a novel,if your movie was going to cost 30
million dollars, then your novelcan be the 30 million dollar
story.
So you can write the way that youoriginally in Vigygeet that, and

(43:08):
the novel is actually set inAmerica for many reasons.
The characters in America, ratherthan in the UK for many reasons.
So it's loosely based on that, butthe concept is the same.
So that would tell the real storythat I had in my mind originally.
I love it, I love it.
love it.
Well, and I love that genre that'skind of my entertainment reading
is kind of crime novels anddetective novel kind of things.
So yeah, it's okay.
Well, let's get to the novel kindWell, let's get to the first

(43:28):
novel.
The first novel took off, thenthere's another novel go on,
because it boils a criminalempire.
So you can tell the real story inthere.
And look, movies are made becausethe novel is back to Hollywood.
Hollywood makes most moviesbecause the comics and novels and
toys.
So if the novel done well one day,then they pick up the for that.
Yeah, yeah, no kidding.
You look at Jack Reacher, thenovels.

(43:49):
Yeah, all of the movies are Yeah,all of the movies are made because
the novels.
So you're starting, you alluded tothis new project.
I'm guessing is this LincolnTownley documentary.
Is that what you're Yeah, I'vegot, I'm going to say, besides
with my own series, but I'mconnected with a sort of artist
online a few earlier this year.

(44:10):
And I actually asked him, I wasdoing a lot of podcasts.
So I had an actor on, I had afilmmaker on, and I wanted an
artist on the podcast.
I invited him on the podcast.
But he reached out to me and saidthat he wanted to do a film about
his life over the last 10 years.
Would it be interesting?
Then I was completely, you know,of course, I'd been interested.
I looked what he's, first I wasn'ttoo sure, much about him, but I

(44:32):
looked at his backstory and hisstory is incredible.
And when a filmmaker gets accessto his story, everything's about
having a great script, a greatstory.
What the man's done in the last 10years is pretty amazing.
He started off, he was a managerof a strip club in London and
Soho, a famous strip club.
And he caught up in drugs andwomen and became a cloak, addict,
and he almost died.

(44:52):
He met this actress, who's afamous actress in UK television,
they got together, they got sober.
And she's seen some of these artand she couldn't believe she
thought it was like, France isbacon or like Picasso or
something.
And he didn't know that's mine.
Yeah.
So the put a long story short, hestarted to make his art, take the
galleries, he'd get tundered by ahundred galleries.

(45:13):
And then he put on his own showand it sold out.
Cut a long story short, MichaelCain, discovered his art, Michael
Cain, bought his art, championedhim, he promoted him before,
before long, he was gettingcommissions for Al Pacino, the
capital, the needle, how he'd beenstarting, you know, Nick Nalti,
he's done the art film, was everystar in the world, you know.
So he's exploded and he sells hisartwork, he just sold some artwork
there for three million pounds forsix pieces.
Wow.
And he's made 20 million duringthe pandemic.

(45:35):
So he's incredibly successful andhe's a different artist because
he's Michael Cain, he calls on thenext Andy Warhol, because he's
making his art, he's making moneyand he's bowed on a brand and
he's, and he's disrupting thegalleries, another big galleries
come to him, but he sells itbefore he's worked, goes to the
galleries, you know.
So it's an incredible story, youknow, and he's been shooting the

(45:56):
footage, how many students, histeam has been shooting footage
when he started his garage 10years ago, he started painting his
garage and they've been shootingfootage for 10 years.
But they don't know how to pull ittogether as a story and as a movie
and as a film, you know, they'vejust been shooting the footage.
So he's came to me and it's a, Imet him in London a couple of
weeks ago, one he's, he wantedshows where to break first, and

(46:18):
it's gone well.
So it looks like I'm going to bedoing that, which is an amazing,
amazing opportunity, you know,because whether to make infection
movies or documentary, I'm stilltelling a story about, and then
I'm amazing character, you know,and a story so, yeah.
Well, this he's Well, this guysounds like an incredible, you had
me already at the start, you know,he managed a strip club in London,
I'm like, really, what's it's got,you know, but yeah, it's one

(46:40):
amazing story.
I've, yeah, really looking forwardto that.
So in a project like this, do youstart, are you involved then in
writing the screenplay, you know,get it to pull it together, or
does he have something alreadykind of but yeah, it's Yeah, and a
documentary, that that it So muchto screenplay.
I mean, I watched it and the viewsof Michael Mood and Alex Gibney.

(47:02):
Alex Gibney is one of the biggestOscar winning documentary
filmmakers there.
making, And there we're talking.
You don't really do a screenplaybecause if you've got the story,
you get the basics of the story.
They've been shooting out thefootage of his journey over for
the last 10 years.
the stories there, the greatstories already there.
The footage each step of thejourney is there.
So basically, it orchestratedaltogether to turn it into a
three-act sort of story.
it's got a structure to it.

(47:24):
So once you've got the footage,you put it in the timeline, you
start finding the stories there.
You just find the structure.
You tell the story.
You know, the start and the offprobably if we are painting these
garage and then you're seeing, youknow, you give the audience a
little teaser to what's coming 10years ahead, which is one of the
biggest artists in the world inthe space of our 10 years.

(47:49):
In fact, it was probably sevenyears, which is amazing.
most artists, 95% artists don'tmake a living at all from art.
This guy has made, you know, morethan anybody can make in the
lifetime in the last few years.
So it's an incredible story.
it's not just a story, but art.
It's a story, but most bands, mostmusicians, most filmmakers, most
act don't make a great living fromthe creativity.
He's shown a way to make a livingfor your creativity, been taking

(48:12):
control.
He's created his own virtualgalleries as well, but people
actually don't need to go to thegalleries and London.
They can go to the virtual galleryonline and they can see the
paintings on the wall.
So he's always collectors.
always collectors by from all overthe world.
He's done work for the Kennedys,the Kennedy families, the
commissions for them.

(48:33):
So it's just an incredible story.
Yeah.
And it's a great opportunity forme.
So that is, that, you know, it'san exciting story.
So at the moment, I'm involvedjust bringing the structure of
that together, you know, and hewants it out next year, because
it's his and it is 10 yearanniversary next year.
Yeah.
Yeah.
Yeah.
So it's not only a Yeah.
And Yeah.
Yeah.
Yeah.
So it's not only a great storyabout success in the creative

(48:54):
world and what he's doing, but itsounds as well and curious as this
comes together that also it soundslike a great story of just of him
overcoming his own personal demonscoming.
These elections and his alcohol.
Yeah.
The recovery of that, which isalways the inspiring story.
Lord, that and his is a story.
Yeah.
I never meant build and been oneof the biggest artists in the
world.
Yeah.
So yeah, that's probably mybiggest opportunity from a very, I
mean, so I couldn't ignore that.

(49:16):
So it's like, so we're workingworking at the moment, you know,
and of course, side by side, youknow, that's why I've moved
forward.
My novel and I've moved forwardthe mad world a little bit until
next year, but you know, when I'vegot a few days off each month, I
can, so you know, we're stillworking at the moment, but it's
gone well, you know, so well, Ilike and know, so well, I like and
I'm going to relate this back toany kind of small business or any

(49:39):
business.
You're always looking for thatnext opportunity that you can
bring to market.
And I think in your particularworld that is very much the case,
you're always looking for thatnext creative opportunity, that
next creative idea and and well,yeah, and concept that you could
bring yeah, and concept that youcould bring forward.
I think you're talking in thispodcast at the moment, right?

(50:03):
The only reason I connected withthis guy was this because I always
started to do a little videopodcast, to talk to actors and
filmmakers and actually, if Ihadn't started that podcast, I
wouldn't connect with a guybecause I actually asked them on
the podcast.
couldn't make the podcast, butthen he came in with this
opportunity for me.
So that's how we connected.
So the more you put yourselfthere, the more whatever you do,
and if you're sharing what you doand you share with passion and

(50:24):
your energy, people see that.
So, you know, you're still around,this world has changed, this world
has a bit bound.
Oh, look, building businessrelationships is always a bit
relationships, whether it's onlineor offline, both.
So I think the more that we putyourself out there and podcast and
videos and social media, eventhough we're all random, social
media and how bad it can be, Ithink it's an amazing opportunity.

(50:45):
You know, it connect with people,you know, and, you know, as we all
know that, you know, know, yeah.
All right.
So I want to be sure I also giveyou an opportunity to talk a
little bit about another personalproject, the Mad World series.
Yeah.
What is that exactly?
How it?
Give us that.
Well, I wanted to run down.
you're making a series like a DeadCreme Lord, you get the same
story, the same characters thatyou're doing, you can get caught
up with that.

(51:07):
You know, if you want to dosomething fresh, like an
anthology, like, you know, theTwilight Zone was an anthology,
you know, where there's 30 minutestories, there are different,
there are different characters.
So for me, Mad World is basicallyall sorts of stories, horror,
crime, 30 minutes long, differentcharacters.
I look at the world that retaineverybody in SENSUS, then I used
to speak.
most friends down for the idea fora story.

(51:27):
That's a film there, that's a filmthere.
And I thought, I can't make 90feature films for the rest of my
life, but I can maybe make 90, 30minute episodes over the next few
years and different stories.
And I like the idea that peoplecan't put you in the box because
if they see a horror movie, theygo, oh, he's a horror guy.

(51:49):
And then I'll do somethingdifferent.
Oh, he's noise, this guy is that,you know, I like the idea, but
you've still got to have a kind ofcontinuity to the type of stories
that you do.
To me, what I was so insane, Ijust want to communicate that, no
communicating that way, whether Ihit you over the head or a
message.
And I sort of entertain me if youknow what I mean.

(52:10):
You know, and so yeah, I want tostart that early next year.
And I've already got the episodeswritten the first 10 episodes, 10
films really, you know, I've gotthe bread.
So, but I just want to build thatas my own line thing, you know,
and again, if I get noticed oneday, then it can go bigger as
well.
Just taking a different approachfrom the crime thing, purely for,

(52:33):
you know, but yeah, you know, andthat'll be a mixture of actors and
non-actors and I'll be short inthe UK, it can be short in the US,
it can be short in France,different films, you know, so.
That's it, you know, know, likeanother great opportunity.
So people can go tomadworldseries.com, go check that
out for support information,understand.
Yeah, there's a mew West, theother people want to think that
more about it as a mew West, thesay not from, you know.
to All right, so David, here wecome.

(52:55):
We're down to the bottom of theninth.
All right.
Okay.
This is where I get to ask all ofour guests, what advice do you
have for rookies in the game,meaning those who are just
starting out in business or thosewho already have their business
and are looking for, you know,some guidance, some words of
wisdom from guys like you thathave been around and been, you

(53:16):
know, scrapping away and puttingthem enterprise together and what
kind of advice do you have forfolks?
know if I've got one of the wordswhen being, you know, a mapl just
trying to share stuff that I'velearned and I think the most
important thing, whatever you wantto do make movies, sell products
from our website, whatever, starta shop, I think.
And I think you've got to beprepared to feel and and have a
joy and feel, but I don't meanfeel you with this catastrophic

(53:38):
that you're going to mortgage yourhome to start a business,
especially today, you can start abusiness today very small, inside
your business for your phone, Iit's important today, if you've
got an idea for some idea for abusiness or you're wanting to turn
your hobby into a business, then Ithink you should start it with the
smallest budget it's possible.
And not to see if it works, to seeif, now sometimes you start things

(54:00):
in life and go, that isn't reallyme, but you don't know that until
you've tried it, I think youshould do things kind of fast and
cheap and give it six months andyou go, then you find that that
isn't for me, then then you canoff the things that you find
doesn't you, and that might takethe path that is you, you know, I
think you've got to be prepared tofall in love with the process of

(54:24):
what you do and no think about adestination which everybody does,
I'm going to make this amount ofmoney one day, whatever, because
if you don't fall in love with theprocess or something, I mean, as
an interview with Steve Jobs talksabout that, you could have an idea
for the next big thing that couldbe the next big billion dollar
thing, right?

(54:47):
But you'll never get there if youdon't love the process because
even if you somebody says thatI've got the recipe, make gold
bars, right?
If you don't have the energy andthe love actually gone that
journey of the process, you'regoing to burn it before you get
there.
So what have you do?
Enjoy it.
Look, you look at the kids thatstart from their bedroom,

(55:09):
beginning computers, and then theydon't think about a career, they
don't think about making it, theyjust enjoy playing with computers
or playing games, and then thatbecoming gamers and make money,
like the guy told you for YouTube,it's make, you know, a kid's silly
channel for a billion dollars, hedidn't do it, he didn't do it to
make money, he just did it becausehe loved making videos, you know?
I think people have got to fall inlove with it, what they do, try
it, these things, be prepared tofail.
Look at all my movies that I'vemade, that movie is a failure, but

(55:32):
it wasn't a failure because itmade me realize what not to do the
next time, you know, and to findyour own way.
So I think people just think toomuch about the destination today
and don't fall in love with theprocess and have fun with it up
there, you know, and then, if youreally have fun with what you do,
right?
You could sell, you could sellanything to anybody, because
you'll start marketing it, youstart branding it, you live and

(55:52):
breathe it, and, you know, I thinkthat's the main thing, I think
forget about the destination,forget about making the big box,
if you can make it a hump, put itthis way, right?
Most people, a lot of people hatethe jobs, right?
I think a lot of people that ifthey could find it, that it could
do something that they love doing,but they get half the money, a

(56:13):
quarter of the money, but they'rereally happy, but over the years,
you'll end up making more moneythan you would in a job that you
hate, that's a much more enjoyablelife, you know, because when you
go to a job, you don't like youend up doing all the vacies, you
end up drinking too much, you gotoo many holidays, you get fat,
you get, you watch too muchNetflix, you know, you know, I

(56:36):
mean, you look for all these otherthings that you don't have from
yeah, I love that.
I know it's so, falling in lovewith the process.
I think that is.
I think it is.
I don't think anyway, I'm fuckingit is.
I don't think I mean, we all knowit, but it's the same thing that a
lot of people see, but at the sametime, people stole.

(56:58):
I see them online.
Here, make quick money.
Make a quick buck and this.
Make a quick buck and that.
Here's a short, there is no shortcuts.
Right.
You know, so if you're going topick the long road, pick it, take
the long road.
It's something that's fun.
It's like me making these smallmovies.
I like the time of bloody hard.
get stressed out here, but I stilllove the process of doing it.

(57:19):
I mean, and I learned somethingeach time and each time I learn
how I know I can do it.
This is 11 person, you know, and Iknow that maybe in an hour, five
years time, I can do a living thatI can never dreamer.
You know, so I think that's thekey.
Just find and be prepared to enjoyfailing but don't again, don't
mortgage your home.
You know, I think it's something.
Right.
Right.
I speak with the business faniPhone, you know, yeah, I think
it's great advice.

(57:39):
I think love your passion behindit.
I think really it is a trueentrepreneurial kind of a spirit
or an anthem there, which ispeople, you know, start
businesses.
They pursue and try to grow abusiness because they love it.
Yeah, it is what I love to dothat.
And that's it.
Yeah.
And if you may, if you don't loveit, you're probably aren't really
going to succeed at it.
I mean, you do have to love theprocess, I think.
Oh, if don't love it, maybe a lotof money, maybe really miserable

(58:01):
and spend that money on doing shitthat's not making you happen
buying all this.
I mean, many, many rich peoplethat measure, you know, I mean, I
spoke to Craig Campbell, you know,Craig Campbell, SEO people on your
mate, and Craig was talking aboutwhen he started his SEO, and he
was basically saying, I didn'tknow I was doing, but I loved, I
loved the process.
I love what I was doing, findingmy way and asking and also on
that.
then I go on it out and, you know,and then he's really good at

(58:24):
weight.
It doesn't have.
So, I mean, it's that simplereally, but people always wear it
in a short cut.
Don't they?
You right.
Well, man, I appreciate you beingon the show.
So fun to talk with you and haveyou on.
I'd love to get you on again at apoint when you have a couple of
these other projects out, youknow, the Lincoln Townley project.
I'd love to see that thing comearound as well as the, the mad

(58:45):
world.
So, and I'll be looking for thatcrime Lord novel because that is
right up my.
Yeah, no, I I definitely did not,you know, and I think said, right,
I really appreciate it.
And it's been great talking toyou.
Yeah.
Yeah.
And if you Yeah.
Yeah.
And if you ever need a bald headedAmerican, you know, character
actor and something, you know, youknow where to look me up here.
I can see in my world.
So, yeah, if I do it, if I do,we're about to use the states.

(59:05):
Yes, we're, we're about to thestates are you?
Oh, I'm right in the Midwest rightno, right?
Okay.
So if I'm close to Ohio, yeah.
Yeah, yeah.
There go.
All right.
Well, it's a day, but thank you somuch.
that's the ballgame folks.
Thanks for joining us today.
And if you liked our show, pleasetell your friends, subscribe and
review.
And we'll see you around theballpark.
Running the bases with smallbusinesses is brought to you by 38

(59:27):
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