November 24, 2024 • 46 mins
What if a meeting at a bar could catapult you into the world of filmmaking?
In this episode, host Cindy Claes has a chat with her co-producer Gian Bonnicchi, where they share the exhilarating journey of how their short film "All Dogs Go to Heaven" was made in just three days!
Together they affronted unexpected production hurdles. This was Cindy's first step into the world of "making film". An innocent project of 5 people grew into a team of almost 30 in a matter of days. Neither of them expected such a turn-out when registering for a short film challenge organised by Bigoli Studios in Barcelona.
Cindy's dear friend and collaborator, Gian, is an accomplished actor, screenwriter, and producer with a vibrant artistic background spanning across Italy, Miami, and now Barcelona.
They recount the humorous yet stressful moments that defined the experience, from writing the script on set, to finding a script supervisor, to loosing their filming location at the last minute. After the chaos... a 10min dystopian sci-fi was born and is now starting festival season!
This episode isn't just about the film; it's about personal growth, the power of collaboration, and the sense of empowerment that comes from finding your true creative potential and leadership within.
Guest Instagram:
@gian_bonacchi
Host Cindy Claes Instagram:
@cindy_claes
Teaser of All Dogs Go To Heaven (Short Film):
https://www.youtube.com/watch?v=Ru8ltTzm-ew
IMdB All Dogs Go To Heaven:
https://www.imdb.com/title/tt32612617/?ref_=nm_flmg_knf_t_1
Want to send Cindy Claes a DM?
Podcast Intro Review
Let's continue the conversation on Instagram:
Cindy Claes - Host
@cindy_claes
Loud Whisper VZW - Producers
@loudwhispervzw
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Welcome to the Loud Whisper Takeover podcast.
Today is a very special episodebecause I'm not interviewing
somebody.
I'm actually having a chat witha collaborator, my co-producer,
a person that I can call a dearfriend, that I appreciate so
much.
Today I made my first shortfilm ever, called All Dogs to
(00:22):
Heaven.
On the journey of making thisfilm, I met John.
Today we are inseparable.
I just want to continue workingwith John forever.
We're going to tell you thetale of how this movie was
created because the madness andanecdotes we're going to tell
you.
I hope that this will reallygive faith to people that want
(00:43):
to make their first short filmand don't know where to start.
We created magic.
We had to face many challenges,but right now we're starting
festival season.
Please welcome Jan on thepodcast.
Hey, jan, how are you doing?
Speaker 2 (00:57):
I'm good.
I'm good.
I'm very excited to be in thepodcast and chat about all this
amazing short film that we madetogether.
Speaker 1 (01:07):
First of all, we're going to have a chat, you and me
, we're going to basicallyrecall all these memories of how
we made this film a reality.
But before, because peopledon't know you yet, can you tell
us a little bit about who youare, what you do as an artist,
as a producer, the countries youlived in, countries you studied
in, and so forth?
Give us a bit of an insight ofwhat your world looks like.
Speaker 2 (01:30):
Yeah, I started in Italy when I was very young I
was 15.
I started to study as an actorin Italy and I've worked on some
short films.
Then I moved to the US when Iwas 19, to Miami, to get my
bachelor in acting for film, andthen I started to work there as
an actor with an agency andthen the last years, I've been
(01:53):
working as a screenwriter aswell and a producer, and after
four years, I moved to Barcelonato do my master in
screenwriting, production anddistribution, and I've been
working now in production.
In writing, I work as an actorand right now I'm about to open
(02:13):
my own association.
I will be doing classes as wellabout production and stuff like
that, but also organize eventsfor every kind of artist.
It can be photographers,painters, modeling, filmmakers,
(02:36):
theater people and that's what Iwant to do here is create a big
community for all the artistsand help and collaborate each
other.
Speaker 1 (02:39):
And so one of the things that is absolutely
mesmerizing is that you reallyhave the ability to have this
creative brain where you're theactor, where you're the
screenwriter and stuff, and thenyou're very, very capable and
just like in a split of a second, you can be the producer, being
super organized, and totallywear a different hat, not
(03:00):
because you need to, because Ifeel sometimes, often people
need to be the you know, theproducer and then a lot of
things go wrong, but here you'rejust able to go from one to the
other.
Can you tell us becauseobviously you're still young but
you've already gained a lot ofexperience like how many short
films, feature films youactually worked on already?
(03:22):
Because I feel there is a bunch.
Speaker 2 (03:24):
I think I'm almost like 25, 30, maybe yeah, like
counting the commercial andtheir stuff like music videos
over 30.
I'm happy because I startedvery young, I started to be in
the industry, understand certainthings, but I'm always, every
time that I work in a newproject, I always learn new
(03:46):
things, and it will always belike that for everyone.
Speaker 1 (03:51):
Let's go now to the start of All Dogs Go to Heaven.
So, for the listeners, this wasactually created because there
was a challenge that was beingannounced by Bigoli Studios in
Barcelona, and the challenge wasmake a film in three days,
write it, film it, edit it andsubmit it for a challenge.
(04:11):
And so it kind of started likea very innocent small project
and all of a sudden we became abeast of a production within a
matter of days, and now we'regoing to start festival season.
John and me, we've preparedquestions for each other.
So, john, do you want me tostart or do you want to start
with a question that you havefor me?
Speaker 2 (04:33):
You start and then I'll ask you some questions.
Speaker 1 (04:36):
So for all the listeners, I was in a position
where I wanted to create andproduce my first short film, but
, to be honest, I had never doneit and I was super scared of
doing it.
In the world of theater anddance I've been producing,
choreographing, writing,performing, and I kind of know
the ins and outs of the industry.
(04:56):
But the world of film to melooked like too big.
It just looked like such abeast that I wasn't ready for.
I had only been an actress inthe world of screen and for the
camera.
And so I said to the universeokay, I want to do this, but I
really truly thought that by thetime that I gained all the
(05:19):
experience and the knowledge, itwould probably take me two
years to actually make my firstfilm.
But I tell the universe,because I also have my
non-profit, that I want to makeit happen and I start sending
messages on Instagram hey,donate for the making of a
future sort of short film in themaking that really have this
(05:39):
timeline of two years in mind.
Then I meet you.
So a common friend of ours,monica, who is also an actress
in film.
She invites me for a drink andshe's like hey, come along, I've
got a friend who's ascreenwriter, and so we didn't
know each other.
So what were your firstthoughts when we met at that bar
(06:00):
for the first time?
What did you think about theproject that I put on the table
and what did you think about me?
Because we didn't know eachother yet.
Speaker 2 (06:09):
I told him my first idea was to go there to
celebrate Monica's our friend'sbirthday and be chill.
But then, when you arrived andyou said that you were like an
action actress, I was like, oh,that's interesting, it's a good
thing.
And then you came up with thisidea of to make this short film
for this Bigelow StudiosValentine Challenge.
I was like I don't know.
Let's see, I was like, becausethere are a lot of people that
(06:31):
tells you, oh, let's do it,let's do it, and then stuff
never happens.
But then I was like, let's doit, let's give it a shot and
meet new people.
And I was like, yeah, let'sgive it a shot and let's try.
Speaker 1 (06:42):
And funny story for all the listeners.
I actually forgot it was a StValentine's challenge, but we
did not come up with a romanticcomedy at all.
Our end product is actually avery dark psychological sci-fi,
but super dark.
And yeah, just a funny thought.
(07:02):
Jan, me and Monica, plusanother friend of theirs, sergio
, go come out of that barthinking, oh my god, yeah, let's
do this challenge.
The only thing is that we needto have a camera guy.
There is a whatsapp group inbarcelona that is for filmmakers
and I put a message out thereto try and find a camera guy.
(07:23):
I find somebody called Dannywho became our DOP, and when I
met him we just hit chemistrystraight away.
We had good vibes and, okay, hewas on board.
So here we are, a team of fivepeople.
Now you have to understand thatme, as a very emerging
filmmaker, actually is my firstever film I ever gonna produce.
(07:44):
Emerging filmmaker actually ismy first ever film I'm ever
going to produce.
I'm super excited.
I'm thinking, wow, we are fivepeople, this is going to happen.
My network in Barcelona isstill very small.
John's network in Barcelona isstill very small.
Danny's network so our DOPcameraman.
His network is very smallbecause he is that incredible
talent that has been creatingbeautiful work by himself in his
(08:08):
little studio, but actually hadnever really collaborated with
anybody.
And then, after a bit of abrainstorm, what do we do, jan,
we went to an event.
Speaker 2 (08:20):
We went to an event that was actually our first
event this internationalfilmmakers events in Barcelona
and then the beautiful scene waslike that.
We went there and we started totalk to all the people asking
who wanted to be involved in theproject.
Speaker 1 (08:39):
Hold on let me just clarify this for those that are
listening and that don't live inBarcelona.
Let me just clarify this forthose that are listening and
don't live in Barcelona there isthis event that's called the
International Film NetworkingEvent.
So it's literally an eventwhere directors, actors and
anybody who's working in thefilm industry can come and
basically meet other people.
It's an opportunity to have adrink, but you still have to go
(09:02):
and do the networking yourself.
So a couple of days later, thisevent is happening.
But here's the thing I hadnever thought of actually adding
people to the team.
John, you come up with the idea.
You tell me oh, cindy, we needa makeup artist, we need
somebody for sound, we needsomebody for lights, we we need
(09:22):
and you were on fire but thething is like there are a lot of
people that like working with afew people in the crew.
Speaker 2 (09:30):
Me, I'm a person that , even if it's a short film,
like a short product, a smallproduction, me, I always wants
minimum 20 people, 15 peopleinvolved, because it's now,
everything becomes messy, peoplehave to do multiple things, so
minimum 15 people needs to beinvolved.
Then, like we started, so westarted to talk to all these
(09:52):
people and all the people werearound us like bees around the
honey and they wanted to getinvolved in this project.
And it was amazing because inthe end, we ended up having over
30 people involved in thisproject so let us just like go
step by step.
Speaker 1 (10:09):
So we got to this networking event.
I want to say I was on fire atthis networking event because
you were on fire and your firewas feeding my fire, and so it
became like a snowball effect ofbeing on fire.
And while I've been to manynetworking events where I
(10:32):
actually don't talk to anybodyor don't come out with any sort
of business card, at that eventwe probably doubled our
Instagram followers.
Speaker 2 (10:41):
Yeah to a lot of people.
Speaker 1 (10:43):
It was mad, and so makeup artist gaffer, like it,
just kept going, like you said,and we came out as a team of 17
people out of that event.
But that's not where it stops.
Speaker 2 (10:58):
And I wanted to ask you when was the moment that you
realized that we were going tomake the film in a good level?
Speaker 1 (11:07):
I think it's when you called me drunk and you told me
Cindy, I'm still out and I'mstill talking to people to
collaborate.
Speaker 2 (11:17):
Oh my God, Did I send the video?
Oh my God.
Speaker 1 (11:20):
Because I went home like when the networking was
done and solid and it was theend of the party, I left and
also I don't drink.
But then the next morning Iwoke up and I got your phone
call saying oh, cindy, I was sodrunk but I'm still networking.
I'm talking to this and thisguy about a collaboration.
Speaker 2 (11:38):
Yeah, it's 5 until 2 am and I sent in the WhatsApp
group a video like half buzzsaying we got a lot of people
are going to make it.
Speaker 1 (11:48):
That was absolutely freaking crazy.
So then let's fast forward.
We start to brainstorm ideasabout this film.
Even though it's a StValentine's challenge, we come
up with mad ideas.
I wanted to have an action movieand I wanted it to go yeah,
like I love thrillers and stuff.
(12:08):
If we could go in thatdirection, great.
But you as the writer.
We start to exchange ideas andthere is like the yeah, like not
a script that start.
There was no script, but therewere ideas right of a possible
narrative, right of a possiblenarrative.
(12:30):
Then at some point I told theteam look, guys, we are so far
ahead with our brainstorm andthe team that we got when the
challenge starts.
So the challenge started aThursday evening, I think.
And then, basically, they giveus some elements that we have to
incorporate in the script andthen, from that moment, you, you
write the script, film thescript, edit the whole thing.
I told the team whateverelements they give us, if it
(12:50):
doesn't fit, it doesn't fit.
And if we get the awards of theteam that followed the least
the instructions, so it be.
But we cannot mess this up.
We have to really stayauthentic to the ideas that we
have now, because we're goinginto a strong direction.
Speaker 2 (13:07):
I mean that was the hardest part because, like for
the challenge, we didn't want tomake something too hard to
realize.
We couldn't write something toolong or too complicated to do.
But in the end we were so crazyand so like on fire that we
started that we decided to makea dystopian sci-fi thriller.
Can you believe?
For a romantic challenge of 69hours, we made a dystopian
(13:33):
sci-fi.
Speaker 1 (13:35):
And so one of the anecdotes that I would love to
share, because that, for me, wasa very powerful one.
So we were about four or fivein this meeting basically to
organize the whole thing, andsome people want to make the
team even bigger.
At that moment people hadstarted calling me producer and
(13:55):
I was like no, no, guys, I'm nota producer.
I don't know what I'm doing.
Speaker 2 (13:59):
Told you, you were.
Speaker 1 (14:00):
Yeah.
And then you told me don'tworry, cindy, I'll help you.
And that's where we becameco-producers, because you had
the experience and I was the onethat kind of you know had put
the, the initial idea, to thetable.
So we became co-producers.
So we're sitting at thisproduction meeting and some
people are like, oh, we alsoneed a script supervisor.
(14:23):
And for me, I will rememberthis moment forever, because I
didn't know what a scriptsupervisor was and people are
asking me, as the producer, tobasically find a person to
fulfill a role I had never heardthe job title of.
(14:44):
I've never heard of that jobtitle script supervisor.
I didn't know what this personwas doing.
But so at this table, at thismeeting, people are saying we
need a script supervisor.
Right at that moment, myWhatsApp rings and I receive a
voice note from a guy I hadliterally met five minutes in my
(15:06):
life Because, also, myInstagram was full about finding
a sound guy.
And so this particular personleaves me a WhatsApp voice note
saying, hey, I don't do sound,it's Neil, right?
So now he's a really goodfriend.
But at that time we had onlymet five minutes prior to that,
(15:26):
because I was looking foraccommodation in Barcelona and I
was visiting rooms and he wasrenting out a room, and that's
how I met him randomly, right,and so he leaves me a whatsapp.
Because we were both in the arts, we started following each
other on Instagram and stuff andand he's like Cindy, I don't do
sound.
(15:46):
However, if you need a scriptsupervisor, let me know.
And so right at that moment,I'm like guys, I got a script
supervisor, can somebody callhim?
Because I don't know what tosay, but partly you guys know,
and so for me, that is sort ofwhat happened all the time, all
the time, and this team becamebigger and bigger and I was
(16:08):
there basically recruitingpeople.
I had never heard the joke.
Speaker 2 (16:11):
Title of we needed a script supervisor because in
some production maybe still youwant to cut people.
They're the one scriptsupervisor.
But for me they're veryimportant because, like, someone
has to pay attention to thescript continuity.
And also, when you guys went tovisit the first location for
(16:32):
the film and you brainstormedthe story, I wasn't there.
I was in my house trying tofigure out an idea to write and
old people calling me every,every time like, oh, no, we want
to do something like that.
Then, oh, we want to dosomething like that.
No, we have decided to makesomething more like that.
And I was like, oh my God, whatthe heck am I going to write?
Speaker 1 (16:53):
Yeah, we were really under pressure.
But another thing aboutlocation.
Do you remember that we lostour location like 24 hours or
something before the shoot?
Speaker 2 (17:02):
Yeah, I remember.
Speaker 1 (17:03):
We were going to film at a friend's apartment.
We go and visit the locationOkay, we're going to set the
cameras here and this scene wewill film it there.
Blah, blah, blah.
The next morning Our friendDanny calls me and he's like
Cindy, there is going to be aproblem, we're not going to be
able to shoot at my place and hefilms outside his room and
(17:24):
basically there were somemassive roadworks that had just
started and if you've ever beenin Barcelona, you know that
noise is a big problem and thoseroadworks were just going to
screw up or will shoot.
I didn't know many people.
I then called one guy againthat I had met for five minutes,
who also only speaks Spanishand my Spanish was still chunky
(17:49):
and he has a studio where heteaches classes and stuff, but
it's like a big, massive studio.
It's called Agape Studios.
I call him and I literally say,hey, we've got a challenge that
is starting within the next 24hours or something.
I'll need this big space.
Do you know somebody?
Or can we use yours if it'sfree, but I need it from 7am to
10pm.
(18:10):
At the end some budget was fine, but it was very little, but
because it was such a small andinnocent project.
We started with absolute zero,and all what we're telling you
right now literally happened ina matter of days.
This was not months of planning.
(18:30):
This was days of planning.
Speaker 2 (18:33):
I'm still surprised at all.
We did because we made a sci-fishort film with almost zero
budget.
It's like crazy.
Speaker 1 (18:40):
I guys never seen something like that are there
any other anecdotes that youremember for pre-production?
Before we talk about themadness of the of our production
and the madness of the day wefilmed, are there any anecdotes
in pre-production that you wantto share?
Speaker 2 (18:56):
the pre-production.
I've lived the pre-productionin pain because I needed to
write a script and the thing islike I wrote the first draft the
day before the rehearsal onWednesday.
I stayed from the afternoonuntil 2 am in the morning
writing the script and I sent at2 am the script to the director
(19:17):
and to you and you sent me amessage at 4 am saying, john, I
read the script.
And I sent at 2am the script tothe director and to you and you
sent me a message at 4am saying, john, I read the script.
Speaker 1 (19:24):
We were just unstoppable.
It's like we were functioningon zero sleep.
Okay, and let's go toproduction now.
So we received the brief fromBigoli Studios.
They gave us three things toincorporate, which was mad.
The first thing was an objectand we had to use a feather.
When they said we have to use afeather, somebody whispered in
(19:47):
my ear Cindy, there is a featherin Agape Studios.
Our film, the script.
There was no script, really,because everything still changed
.
There have been so manyrewrites.
But the sort of the narrativethat we had in mind was about
the cycle of life, and so atheme we received was karma.
(20:09):
And then we received a sentencewhich was easy to incorporate
in the script.
So we were just like, soblessed, because whatever we had
prepared in advance was justlike, was matching the brief,
other than the fact that we werenot going down the romantic
comedy route.
But so OK, so we start filming.
We received the brief on aThursday night, friday morning,
(20:31):
at 7 am, and we knew we weregoing to film until 10 pm.
At 7 am somebody is walking inthat I don't know, and so we
were 25 people at that time andsomebody I don't know is walking
in.
I'm like, hey, how are you?
Who are you?
And he's like, oh, I'm an actor.
I was called yesterday.
(20:52):
I'm like, oh, okay, then we areat 26.
And so this team just becamebigger and bigger and it was
just absolutely mad.
7am people were called in, butactually the script wasn't
finished.
There was some sort ofnarrative, but there was no
dialogue or anything.
So what happened?
Because that's the thing, I wasan actress on that day.
I stepped out of my productionshoes and I took my production
(21:17):
hat off and I was fully inactress mode.
But I didn't have, I didn'tknow my script at all.
I just went to makeup and I waswaiting.
What happened on your side onthat day?
Speaker 2 (21:27):
It was one of the most challenging.
With more pressure I'd have herhands, because we needed to
create this script, to writethis script, and it needed to
make sense Like we neededsomething concrete.
What happened?
I stayed all day in thestudio's hallway with the script
(21:47):
supervisor, neil thatfortunately, he helped me a lot
writing the script because Iwould have never been able to do
it by myself with that shortamount of time.
And so we stay all day in ahallway writing the script and
every time we were writing liketwo scenes we were going to give
them to the director and theactor, so they had to learn the
(22:08):
lines and everything.
It was like crazy, but I thinkthat it's always a challenge
that teaches you how to workunder pressure.
Speaker 1 (22:17):
I remember you and Neil sitting on two small little
chairs in that corridor withyour laptops out.
Speaker 2 (22:25):
Just being fully focused.
It was cold in that time.
Speaker 1 (22:29):
And it was cold because it was February, that's
right.
Speaker 2 (22:32):
It was crazy.
And then do you remember therewere like those neighbors that
were like complaining becausewe're making some noise.
You remember they came out it'slike you cannot stay here.
Speaker 1 (22:44):
When they were writing, they got upset so me as
an actress, I was obviously onset and I was always waiting for
the next bit of script toarrive and also the narrative
started, sort of it kind of gottweaked little by little.
So it was like a game ofjuggling and just like adapting
myself as an actress moment bymoment, really living it in the
(23:05):
present fully but I want to knowhow you felt in that moment.
Speaker 2 (23:08):
You were like just thinking about acting and you
were like stepping out of theproduction role and you were
like how did you feel?
Like you were like worried.
Did you think that you, we werenot gonna make it or that we
were going to make like a shittyfilm?
Speaker 1 (23:22):
No.
So I was fully trusting.
I was really trusting theprocess, and I'm going to tell
you why.
There are two things.
First of all, from thebeginning of the process and the
beginning of this creativeadventure, I didn't know what I
was doing.
People started calling me aproducer.
You told me, cindy, you wereproducing, I'm producing, we're
(23:42):
co-producing what?
Because I didn't know what Iwas doing, because I was
recruiting people that I didn'teven know what their job title
was or what they were actuallymeant to be doing on set.
I thought I don't know whatthey're doing, but they seem to
know.
So the biggest lesson for mewas just surrender and trust,
(24:05):
surrender and trust.
For me, this short film wastruly orchestrated by the
universe and it was like theonly thing you can do, cindy, is
surrender and trust your team.
They know what they're doing,they know their job title, they
know what they're doing, theyknow their job title, they know
what they're doing on set.
So just trust.
The second thing is, as anactress, I actually attended the
(24:28):
Jacques Lecoq School in Paris,and that's probably another
topic, but this school wasincredibly hard on an emotional
level.
I would describe it as both mybiggest dream that came true,
and my biggest nightmare.
There was a very toxicenvironment in that school, but
at the same time I learned somuch as an artist.
(24:50):
But one thing that I must saythat training gave me is that
you got to be ready to takenotes.
You got to be ready to adaptyourself in any situation.
You got to work quick.
And so as an actress, I canwork quick, I can adapt quick, I
can just change choices.
(25:10):
And also as a dancer the danceworld is, you know, you're also
being put under a lot ofpressure.
So as an actress, I feltconfident.
As a producer, I was just likeyo, the only thing you can do
here is learn, shut up and learn.
But I'll tell you one thingabout me as an actress on set
(25:31):
that day it was at the end ofthe day, so obviously from 7 am
till 10 pm or 11 pm we werefilming.
We received the script and thelines drop by drop, and at the
end of the day people are tiredand we had to finish because I
think somebody had to leave andalso people were just like so
exhausted and so people arescreaming and there's just a lot
(25:54):
of noise around me, but it'sthe most emotional scene of the
whole film, so I have to be, asan actress, in such an emotional
state to perform it.
But people are screaming aroundand when I'm sitting there and
I'm just using all my meditationtechniques to just ground
myself and cut out the noise,but it was, it was phenomenal
(26:17):
that moment, because I had to beable to do it in like two takes
, I think, because we just hadto wrap up right.
It's your favorite scene, theclose-up make me cry that moment
was really powerful on set.
Is there anything else thathappened on set that you want to
share before we move on to whathappened next?
Speaker 2 (26:39):
what happened on set.
It was good that in that case,like phil helped us with the
production stuff, because youwere acting and we were writing,
and that is good, that we foundeven people that were very like
, they had a lot of experience,like the sound guy, tdn and the,
and the makeup artist too.
They were very experienced andeverything seemed to work
(27:03):
properly.
Like, actually, I think thatfor being a challenger we didn't
have a shortlist to anything wefeel very quick, we were very
quick, like we did a very goodjob Because, thinking about what
we had, we had nothing.
I'm satisfied.
Speaker 1 (27:22):
I remind all of the listeners, all of that literally
happened within a week.
I think it was like super fast.
So then we filmed the whole day, then we had two days or a day
and a half for the edit.
So post-production starts.
The other thing that isabsolutely mad.
So at that time we were 26,right, I think there were six
(27:44):
actors in total and the rest,like literally every single
department of a film you know ofwho should be a part of your
creative team and all of yourproduction team and the crew was
represented, from gaffers toDOPs to.
We had a stunt coordinator,alex, we had Lali for VFX like
(28:06):
literally every singledepartment was being represented
.
Speaker 2 (28:11):
Everybody, all the roles were covered, and I wanted
to ask you, because you knowyour first time producing the
short film was your, you know,biggest challenge, what was the
hardest thing for you to handleas a producer?
Speaker 1 (28:28):
for me the hardest thing well, not the hardest
thing, I wouldn't say it was ahard thing, it was just the
biggest learning curve.
I'd rather do rephrase it as mybiggest learning curve is that,
well, number one, this shortfilm.
For me, I felt that within thespace of only a couple of days.
And then now, a couple ofmonths later, because we had a
(28:50):
longer post-production phase andnow entering festival season, I
literally feel, like I, thatI've been doing a master's in
how to make a film, andobviously that has the fact that
you were more experienced thanme and studied it.
Obviously I come with myexperience of life and my
experience in theater and dance.
(29:10):
But the fact that everything,our collaboration and everything
that happened of how we set upthat team, for me I was like, oh
my gosh, like I literally havea master's in how to make a film
, like it's freaking incredible.
And also, in the beginning ofthis chat, I said I had to trust
the universe because theuniverse was orchestrating this.
(29:33):
But what was phenomenal is thatI thought I was not ready to
make a film.
I thought I would need twoyears to be ready because I
needed to gain some knowledgeand understand the industry and
blah, blah, blah.
And then the universe basicallytold me Cindy, you know what,
you are ready, hold on a second,here is your team, make it
(29:54):
happen.
But then my biggest learningcurve going back to my biggest
learning curve is I was trustingthe process.
As we explained, we went to anetworking event where we
attracted people like peoplewanted to become a part of the
team, and there was a lot ofhuman interactions that were
phenomenal.
But there was one person in thecreative team.
(30:16):
From the moment I met thisperson, I knew we were not
really aligned, neithercreatively neither socially, and
that throughout the three daysit became more and more clear
that was the case.
This person initially had a lotof say in the creative sort of
(30:36):
brainstorm and the fact thatthings went in the wrong
direction and then it went.
I guess in every team there canbe disagreements and stuff, but
this particular disagreementbecame a sour one.
But I'm very happy that ithappened, because if that
relationship, that creativecollaboration, didn't go sour, I
(31:05):
would have never learned asmuch as I did.
Because I think if everythinggoes is beautiful and everything
just like, if there's no like,there is no challenge, there is
no, no hurdle to jump over.
That's not where you learn themost.
You learn the most when thingsgo wrong and because that
particular collaboration wentdown the wrong direction.
I learned so much as a producer, I learned so much about a
filmmaker.
I learned so much about puttingmy foot down for what I believe
(31:28):
is authentic to my creativevoice, and I think I learned a
lot about who I would or wouldnot recruit on my next team and
why this is important.
Speaker 2 (31:39):
Now that I've been in Barcelona for almost a year and
I work with a lot of people, Iknow who I can trust or who I
like working with, and that'sgood, because even when you work
with people that they don'twork the same way that you do it
happened to me.
It's good because you stilllearn something.
Speaker 1 (31:58):
Absolutely.
Just a little side note I'velearned about you as a friend
and a collaborator is thatyou're incredibly flexible and
you're able to really work witheveryone really, and I
appreciate you for that so much.
And I think why we alsocollaborate really well is that
(32:19):
I can take the place of the badcop, Because I fired two people
on that team and it was not anice thing to do but it had to
be done.
But I feel we also collaboratewell on a human level from that
perspective.
Speaker 2 (32:35):
Me.
I'm a person that I try to bealways diplomatic, because when
you fight with someone or when,then we create problems and then
like, for the sake of the fieldI try to create a good
environment because it's nicePeople start to fight.
It's going to affect the field.
Speaker 1 (32:51):
And the position of leadership is also to motivate
the teams but also make sure.
Yeah, like, sometimes you haveto fire people, and that's not
the nice part of the position asa leader, but it's also a part
of the job description.
So let's move on topost-production.
Post-production happens.
We end up with a 10 minuteshort film that we show at
(33:13):
Bigoli Studios and our work wasActually it was longer.
Speaker 2 (33:18):
It was longer in the beginning.
Oh yeah, it was what was.
Speaker 1 (33:20):
Actually it was longer, it was longer in the
beginning.
Speaker 2 (33:21):
Oh yeah, it was what 11?
It was 12.
12.
Speaker 1 (33:24):
It was 12 minutes initially and our work was
recognized and appreciated atBigoli Studios.
Can you explain what happened?
Speaker 2 (33:32):
They edited the project in almost two days less
than two days for the challengeand and so when we went there
for the screening, they gave usthree awards.
We won three awards and I waslike a super, like hopeful.
I knew it.
Like even the next day, whenyou weren't happy about the
(33:53):
results, you were like, oh, Ithought it was better, it's not
go a lot of mistakes.
So like it's a challenge toread this child you think you're
going to make like aChristopher Nolan movie in 16
hours.
I was like this is a great filmfor making it in 16 hours.
And I was right.
I was right because it wonthree awards and everybody liked
(34:15):
the film and everybody came totalk to us after the screening
that day.
Speaker 1 (34:21):
Yeah, so funny story, I took a seat back because I
was asked to take a seat back,because I was the lead actress.
I would never do that as aproducer ever again to take a
seat back in post-production.
That's also something I learned.
But so basically I see thefirst cut or the cut that we
submitted to the challenge justright before submission, and the
(34:43):
editing team is like, oh my God, this is an amazing movie and I
see it.
And funny story, I hate it,like literally.
I hate it so much that I've gottears in my eyes and I don't
even want to attend, I don'teven want to have it screamed.
And then friends of mine gaveme feedback and I think there's
feedback that was taken on boardover the last few months to
(35:04):
re-edit the whole thing, butdefinitely for the 16 hours or
the two days of editing weachieved something of high
production quality that stillneeded work.
But what were the awards thatwe won?
There was Best Use of Object,so the feather.
Speaker 2 (35:22):
Yeah, the Best Use of Prop.
We won the Best Acting Duo youand Monica and the Best
Cinematography.
Dan, it was a great night, guys.
Speaker 1 (35:31):
Yeah, it was like a great celebration.
And so then afterwards youconvinced me.
You were like Cindy.
We have a great high-qualityproduction here.
Speaker 2 (35:41):
I said I'm not going to say anything about the film
until the challenge, because forbeing a challenge we made a
good work.
After the challenge, that'swhat I'm going to step up really
want to move forward thisproject, make it look like good,
like high quality.
We need to put our hands andfix some stuff and that's what
(36:06):
we did.
Speaker 1 (36:07):
That's what we did.
So we obviously have ouramazing editor, danny.
We have our amazing VFXspecialist, lali, who have been
working like relentlessly,really, to basically make a
total new version of this film,with your creative input, with
my creative input, and so we hadthe final version.
(36:29):
We even have more people on theteam now, because we have an
amazing person that is workingon the poster Hamid.
He's going to be on thispodcast as well very soon.
We have somebody that is goingto help us for some posts on
social media and stuff Like.
The team keeps growing,basically.
And then recently we had reallygood news because we're only
(36:52):
starting festival season and wegot our first selection when
South Africa, south Africa,festival season.
And we got our first selectionwhere south africa south africa.
We are being selected and weare waiting for a lot of, uh,
other selections that the newswill drop over the next few
weeks and next few months.
I want to ask you, john, whatdo you hope for this short film
(37:13):
to bring to the world?
So all dogs go to heaven.
Dystop, dystopian, sci-fi, darkworld.
What do you hope that this filmwill bring to the world?
Speaker 2 (37:25):
I want to create a debate about the AI chip, all
this artificial intelligencescience, because, like as we
show in the film, like at theend of the day, the AI is very
useful.
We even use AI programs or AItechnology to edit the film or
(37:45):
to make some changes.
So, at the end of the day, aihelped us to make the film.
But also I want to show peoplethat if you abuse of
technologies, you mess up theworld, you mess up society, you
mess up society, like we show inthe film.
I don't want to spoil it toomuch, but that it's about this
chip, that it removes people'semotions.
(38:08):
People, they don't feelanything.
They don't feel more goodemotion or bad emotion.
They think that they live abetter life, that they're
happier, but at the end of theday, they don't feel nothing.
They live a better life, thatthey're happier, but at the end
of the day, they don't feelnothing.
And so for me, even if in lifethere are challenges and bad
things, but there are alwaysalso good things in this world
that you cannot renounce youhave to live your life feeling
(38:31):
something.
Speaker 1 (38:32):
Yeah, for me the most touching thing about this film
is really the fear of loving,because love can hurt and is it
worth to take the risk of beinghurt?
Um, I think for me that's avery beautiful sort of theme
that is really apparent in themovie, but also, for me, this
short film we could almost makea film of how we made the film,
(38:54):
because of the beautiful storiesthat came out, the beautiful
friendship, yes, the making ofand also that's why I wanted to
do this podcast, because I feelI want to give hope to people
that, hey, you are an emergingfilmmaker.
you just have an idea.
You can make it happen, likeliterally happened to me.
In a few days I had a beast ofa production and I made so many
(39:15):
great friendships Like I feelthere are collaborators that I
want to work with again and thenthere are friends like you that
are, for me or not, a part ofmy tribe and there is only like
a big future ahead of us and I'mreally excited about.
Speaker 2 (39:29):
I wanted to ask you something Because, for example,
for me it's not the first timethat I've been in charge even on
post-production or moving likea film forward.
Because I think that a businesscoach that I work with that
she's very good she always saysyou have to give 100% of your
energy to make the film, butalso 100% to move the film
(39:53):
forward with marketingdistribution, because if not,
it's not going to go anywhere.
So how was for you, the feelingof moving the film forward
after being made?
That that's the hardest thingfor every filmmaker.
Speaker 1 (40:07):
For me.
I absolutely dislike admin.
However, the whole process ofdistribution and looking for
film festivals and stuff for mehas just been made more easily
because you and me, we are ateam and, as the l, we both
bring something else to theconversation when we are
(40:28):
selecting film festivals wherewe're sending it to.
So for me, that makes thedistribution part is more easy,
even though I would love just tostart working on the next film,
but that's also part of thereality is making sure that
people can see what we created.
Speaker 2 (40:46):
That's the thing.
That's the thing because, ofcourse, you want to move this
project to festivals, to thefestival circuit, whether we go
with a distribution agency orwhether we do a
self-distribution.
But we also are planning toorganize beautiful events and a
great screening, like we said,interactive screening.
Speaker 1 (41:11):
And we have an amazing podcast episode with
Kathleen as well that is givingus basically really beautiful
coaching about how to set up animmersive screening for all dogs
.
Go to heaven.
To wrap up this interview, john, I still have another question
for you, or a last question,which is how did you come out of
this experience at the end?
Do you feel like something inyou changed, as a human being or
(41:32):
as a creator?
After making this short, film.
Speaker 2 (41:36):
I feel like, especially as a screenwriter,
that I got very challenged, so Ifeel like more confident and he
helped me a lot to develop somewriting skills to write so in a
quick time.
Also, I felt the story so muchwhen I was writing it and every
time that I watched the film Ialmost cried, like I felt I feel
it too much, like I feel theemotion of the characters and I
(41:59):
really think that it's one ofthe projects that I did that I
love the most.
Every time that I watch it andI think about the first version
of the film that we presented tothe child and I see the final
version now, I say I don't knowin this world who is going to be
able to make a sci-fi shortfilm with almost zero budget in
(42:23):
such a short time.
I want to know it.
I want this person to come andwrite to you in the podcast if
he's able to do it.
Speaker 1 (42:30):
But what I find amazing and what you're sharing
is also you, as a screenwriter,created something that touched
your own heart so deeply,because sometimes, as creative
people, we can create a show,create a film, create a script,
and it touches us a little bitor not too much, and then there
(42:52):
are certain pieces that wecreate that really touch our
soul and our heart really deeply, especially when it's being
created so quickly.
It's not always the case, so Ifind that really beautiful to
hear that it touches your souland your heart.
Do you have any other questionsfor me, jack?
Speaker 2 (43:04):
I want to know what you learned the most about all
of these experiences, what'syour favorite moment or what's
your best takeaway?
Speaker 1 (43:14):
For me it's probably about personal transformation,
or I was maybe in a cocoon and Icame out as a butterfly, in the
sense that when I was in thedance and theater world, like I
said, I did everything fromwriting to performing, to
choreographing, to producing to.
I was wearing every single hatpossible.
And in the world of film I wasvery intimidated.
(43:34):
I always said you know what?
No, I'm just an actress.
I'm an actress and an actionactress.
I just work in front of thecamera.
But I feel what was reallymissing for me was the
expression.
There was a part of myself thatI wasn't expressing.
There was a part of mycreativity that had no space
(43:56):
really, and a part of myleadership skills that had no
outlet.
I couldn't express them.
And for me that I'm now comingon the other side of making film
is massively important, becauseI feel I'm not shying away from
my truest light, like it'salmost like I was dimming my
light because I felt so insecure, because it felt like a beast
(44:17):
of an industry.
And I feel now I'm fullyaligned with myself because I
have this creative leadershipthat comes out and now I feel on
fire to start making film andto call myself a filmmaker and
for me that is massivelytransformative.
Speaker 2 (44:37):
Welcome on board, because we're going to make
films until the end of our life.
Speaker 1 (44:44):
Oh yes, oh yes.
Thank you, boss, for thisamazing podcast interview.
Speaker 2 (44:49):
Thank you boss for this interview and chat.
Speaker 1 (44:54):
And, obviously, thank you to every single person that
have been a part of the journeyof the making of all dogs go to
heaven, from the actors to themakeup artists, the special
effects, the music, the sound,like the runners, like everybody
that was bringing food, likeevery single person that has
been helping us on this journey,is absolutely phenomenal.
We will be putting in the shownotes also the teaser or the
(45:17):
trailer of All Dogs Go to Heaven.
And if you want to work withJohn as an actor, producer or
screenwriter, where can theyfind you?
Speaker 2 (45:25):
You can find me on Instagram.
I have a YouTube channel or Ihave like a digital business
card where you can see myportfolio, and soon I'm going to
open my association, and soguys stay updated because I'm
going to post and update andsend information about all of
that, because good things arecoming and we're both on fire.
Welcome to the Loud Whisper Takeover podcast.
Today is a very special episodebecause I'm not interviewing
somebody.
I'm actually having a chat witha collaborator, my co-producer,
a person that I can call a dearfriend, that I appreciate so
much.
Today I made my first shortfilm ever, called All Dogs to
(00:22):
Heaven.
On the journey of making thisfilm, I met John.
Today we are inseparable.
I just want to continue workingwith John forever.
We're going to tell you thetale of how this movie was
created because the madness andanecdotes we're going to tell
you.
I hope that this will reallygive faith to people that want
(00:43):
to make their first short filmand don't know where to start.
We created magic.
We had to face many challenges,but right now we're starting
festival season.
Please welcome Jan on thepodcast.
Hey, jan, how are you doing?
Speaker 2 (00:57):
I'm good.
I'm good.
I'm very excited to be in thepodcast and chat about all this
amazing short film that we madetogether.
Speaker 1 (01:07):
First of all, we're going to have a chat, you and me
, we're going to basicallyrecall all these memories of how
we made this film a reality.
But before, because peopledon't know you yet, can you tell
us a little bit about who youare, what you do as an artist,
as a producer, the countries youlived in, countries you studied
in, and so forth?
Give us a bit of an insight ofwhat your world looks like.
Speaker 2 (01:30):
Yeah, I started in Italy when I was very young I
was 15.
I started to study as an actorin Italy and I've worked on some
short films.
Then I moved to the US when Iwas 19, to Miami, to get my
bachelor in acting for film, andthen I started to work there as
an actor with an agency andthen the last years, I've been
(01:53):
working as a screenwriter aswell and a producer, and after
four years, I moved to Barcelonato do my master in
screenwriting, production anddistribution, and I've been
working now in production.
In writing, I work as an actorand right now I'm about to open
(02:13):
my own association.
I will be doing classes as wellabout production and stuff like
that, but also organize eventsfor every kind of artist.
It can be photographers,painters, modeling, filmmakers,
(02:36):
theater people and that's what Iwant to do here is create a big
community for all the artistsand help and collaborate each
other.
Speaker 1 (02:39):
And so one of the things that is absolutely
mesmerizing is that you reallyhave the ability to have this
creative brain where you're theactor, where you're the
screenwriter and stuff, and thenyou're very, very capable and
just like in a split of a second, you can be the producer, being
super organized, and totallywear a different hat, not
(03:00):
because you need to, because Ifeel sometimes, often people
need to be the you know, theproducer and then a lot of
things go wrong, but here you'rejust able to go from one to the
other.
Can you tell us becauseobviously you're still young but
you've already gained a lot ofexperience like how many short
films, feature films youactually worked on already?
(03:22):
Because I feel there is a bunch.
Speaker 2 (03:24):
I think I'm almost like 25, 30, maybe yeah, like
counting the commercial andtheir stuff like music videos
over 30.
I'm happy because I startedvery young, I started to be in
the industry, understand certainthings, but I'm always, every
time that I work in a newproject, I always learn new
(03:46):
things, and it will always belike that for everyone.
Speaker 1 (03:51):
Let's go now to the start of All Dogs Go to Heaven.
So, for the listeners, this wasactually created because there
was a challenge that was beingannounced by Bigoli Studios in
Barcelona, and the challenge wasmake a film in three days,
write it, film it, edit it andsubmit it for a challenge.
(04:11):
And so it kind of started likea very innocent small project
and all of a sudden we became abeast of a production within a
matter of days, and now we'regoing to start festival season.
John and me, we've preparedquestions for each other.
So, john, do you want me tostart or do you want to start
with a question that you havefor me?
Speaker 2 (04:33):
You start and then I'll ask you some questions.
Speaker 1 (04:36):
So for all the listeners, I was in a position
where I wanted to create andproduce my first short film, but
, to be honest, I had never doneit and I was super scared of
doing it.
In the world of theater anddance I've been producing,
choreographing, writing,performing, and I kind of know
the ins and outs of the industry.
(04:56):
But the world of film to melooked like too big.
It just looked like such abeast that I wasn't ready for.
I had only been an actress inthe world of screen and for the
camera.
And so I said to the universeokay, I want to do this, but I
really truly thought that by thetime that I gained all the
(05:19):
experience and the knowledge, itwould probably take me two
years to actually make my firstfilm.
But I tell the universe,because I also have my
non-profit, that I want to makeit happen and I start sending
messages on Instagram hey,donate for the making of a
future sort of short film in themaking that really have this
(05:39):
timeline of two years in mind.
Then I meet you.
So a common friend of ours,monica, who is also an actress
in film.
She invites me for a drink andshe's like hey, come along, I've
got a friend who's ascreenwriter, and so we didn't
know each other.
So what were your firstthoughts when we met at that bar
(06:00):
for the first time?
What did you think about theproject that I put on the table
and what did you think about me?
Because we didn't know eachother yet.
Speaker 2 (06:09):
I told him my first idea was to go there to
celebrate Monica's our friend'sbirthday and be chill.
But then, when you arrived andyou said that you were like an
action actress, I was like, oh,that's interesting, it's a good
thing.
And then you came up with thisidea of to make this short film
for this Bigelow StudiosValentine Challenge.
I was like I don't know.
Let's see, I was like, becausethere are a lot of people that
(06:31):
tells you, oh, let's do it,let's do it, and then stuff
never happens.
But then I was like, let's doit, let's give it a shot and
meet new people.
And I was like, yeah, let'sgive it a shot and let's try.
Speaker 1 (06:42):
And funny story for all the listeners.
I actually forgot it was a StValentine's challenge, but we
did not come up with a romanticcomedy at all.
Our end product is actually avery dark psychological sci-fi,
but super dark.
And yeah, just a funny thought.
(07:02):
Jan, me and Monica, plusanother friend of theirs, sergio
, go come out of that barthinking, oh my god, yeah, let's
do this challenge.
The only thing is that we needto have a camera guy.
There is a whatsapp group inbarcelona that is for filmmakers
and I put a message out thereto try and find a camera guy.
(07:23):
I find somebody called Dannywho became our DOP, and when I
met him we just hit chemistrystraight away.
We had good vibes and, okay, hewas on board.
So here we are, a team of fivepeople.
Now you have to understand thatme, as a very emerging
filmmaker, actually is my firstever film I ever gonna produce.
(07:44):
Emerging filmmaker actually ismy first ever film I'm ever
going to produce.
I'm super excited.
I'm thinking, wow, we are fivepeople, this is going to happen.
My network in Barcelona isstill very small.
John's network in Barcelona isstill very small.
Danny's network so our DOPcameraman.
His network is very smallbecause he is that incredible
talent that has been creatingbeautiful work by himself in his
(08:08):
little studio, but actually hadnever really collaborated with
anybody.
And then, after a bit of abrainstorm, what do we do, jan,
we went to an event.
Speaker 2 (08:20):
We went to an event that was actually our first
event this internationalfilmmakers events in Barcelona
and then the beautiful scene waslike that.
We went there and we started totalk to all the people asking
who wanted to be involved in theproject.
Speaker 1 (08:39):
Hold on let me just clarify this for those that are
listening and that don't live inBarcelona.
Let me just clarify this forthose that are listening and
don't live in Barcelona there isthis event that's called the
International Film NetworkingEvent.
So it's literally an eventwhere directors, actors and
anybody who's working in thefilm industry can come and
basically meet other people.
It's an opportunity to have adrink, but you still have to go
(09:02):
and do the networking yourself.
So a couple of days later, thisevent is happening.
But here's the thing I hadnever thought of actually adding
people to the team.
John, you come up with the idea.
You tell me oh, cindy, we needa makeup artist, we need
somebody for sound, we needsomebody for lights, we we need
(09:22):
and you were on fire but thething is like there are a lot of
people that like working with afew people in the crew.
Speaker 2 (09:30):
Me, I'm a person that , even if it's a short film,
like a short product, a smallproduction, me, I always wants
minimum 20 people, 15 peopleinvolved, because it's now,
everything becomes messy, peoplehave to do multiple things, so
minimum 15 people needs to beinvolved.
Then, like we started, so westarted to talk to all these
(09:52):
people and all the people werearound us like bees around the
honey and they wanted to getinvolved in this project.
And it was amazing because inthe end, we ended up having over
30 people involved in thisproject so let us just like go
step by step.
Speaker 1 (10:09):
So we got to this networking event.
I want to say I was on fire atthis networking event because
you were on fire and your firewas feeding my fire, and so it
became like a snowball effect ofbeing on fire.
And while I've been to manynetworking events where I
(10:32):
actually don't talk to anybodyor don't come out with any sort
of business card, at that eventwe probably doubled our
Instagram followers.
Speaker 2 (10:41):
Yeah to a lot of people.
Speaker 1 (10:43):
It was mad, and so makeup artist gaffer, like it,
just kept going, like you said,and we came out as a team of 17
people out of that event.
But that's not where it stops.
Speaker 2 (10:58):
And I wanted to ask you when was the moment that you
realized that we were going tomake the film in a good level?
Speaker 1 (11:07):
I think it's when you called me drunk and you told me
Cindy, I'm still out and I'mstill talking to people to
collaborate.
Speaker 2 (11:17):
Oh my God, Did I send the video?
Oh my God.
Speaker 1 (11:20):
Because I went home like when the networking was
done and solid and it was theend of the party, I left and
also I don't drink.
But then the next morning Iwoke up and I got your phone
call saying oh, cindy, I was sodrunk but I'm still networking.
I'm talking to this and thisguy about a collaboration.
Speaker 2 (11:38):
Yeah, it's 5 until 2 am and I sent in the WhatsApp
group a video like half buzzsaying we got a lot of people
are going to make it.
Speaker 1 (11:48):
That was absolutely freaking crazy.
So then let's fast forward.
We start to brainstorm ideasabout this film.
Even though it's a StValentine's challenge, we come
up with mad ideas.
I wanted to have an action movieand I wanted it to go yeah,
like I love thrillers and stuff.
(12:08):
If we could go in thatdirection, great.
But you as the writer.
We start to exchange ideas andthere is like the yeah, like not
a script that start.
There was no script, but therewere ideas right of a possible
narrative, right of a possiblenarrative.
(12:30):
Then at some point I told theteam look, guys, we are so far
ahead with our brainstorm andthe team that we got when the
challenge starts.
So the challenge started aThursday evening, I think.
And then, basically, they giveus some elements that we have to
incorporate in the script andthen, from that moment, you, you
write the script, film thescript, edit the whole thing.
I told the team whateverelements they give us, if it
(12:50):
doesn't fit, it doesn't fit.
And if we get the awards of theteam that followed the least
the instructions, so it be.
But we cannot mess this up.
We have to really stayauthentic to the ideas that we
have now, because we're goinginto a strong direction.
Speaker 2 (13:07):
I mean that was the hardest part because, like for
the challenge, we didn't want tomake something too hard to
realize.
We couldn't write something toolong or too complicated to do.
But in the end we were so crazyand so like on fire that we
started that we decided to makea dystopian sci-fi thriller.
Can you believe?
For a romantic challenge of 69hours, we made a dystopian
(13:33):
sci-fi.
Speaker 1 (13:35):
And so one of the anecdotes that I would love to
share, because that, for me, wasa very powerful one.
So we were about four or fivein this meeting basically to
organize the whole thing, andsome people want to make the
team even bigger.
At that moment people hadstarted calling me producer and
(13:55):
I was like no, no, guys, I'm nota producer.
I don't know what I'm doing.
Speaker 2 (13:59):
Told you, you were.
Speaker 1 (14:00):
Yeah.
And then you told me don'tworry, cindy, I'll help you.
And that's where we becameco-producers, because you had
the experience and I was the onethat kind of you know had put
the, the initial idea, to thetable.
So we became co-producers.
So we're sitting at thisproduction meeting and some
people are like, oh, we alsoneed a script supervisor.
(14:23):
And for me, I will rememberthis moment forever, because I
didn't know what a scriptsupervisor was and people are
asking me, as the producer, tobasically find a person to
fulfill a role I had never heardthe job title of.
(14:44):
I've never heard of that jobtitle script supervisor.
I didn't know what this personwas doing.
But so at this table, at thismeeting, people are saying we
need a script supervisor.
Right at that moment, myWhatsApp rings and I receive a
voice note from a guy I hadliterally met five minutes in my
(15:06):
life Because, also, myInstagram was full about finding
a sound guy.
And so this particular personleaves me a WhatsApp voice note
saying, hey, I don't do sound,it's Neil, right?
So now he's a really goodfriend.
But at that time we had onlymet five minutes prior to that,
(15:26):
because I was looking foraccommodation in Barcelona and I
was visiting rooms and he wasrenting out a room, and that's
how I met him randomly, right,and so he leaves me a whatsapp.
Because we were both in the arts, we started following each
other on Instagram and stuff andand he's like Cindy, I don't do
sound.
(15:46):
However, if you need a scriptsupervisor, let me know.
And so right at that moment,I'm like guys, I got a script
supervisor, can somebody callhim?
Because I don't know what tosay, but partly you guys know,
and so for me, that is sort ofwhat happened all the time, all
the time, and this team becamebigger and bigger and I was
(16:08):
there basically recruitingpeople.
I had never heard the joke.
Speaker 2 (16:11):
Title of we needed a script supervisor because in
some production maybe still youwant to cut people.
They're the one scriptsupervisor.
But for me they're veryimportant because, like, someone
has to pay attention to thescript continuity.
And also, when you guys went tovisit the first location for
(16:32):
the film and you brainstormedthe story, I wasn't there.
I was in my house trying tofigure out an idea to write and
old people calling me every,every time like, oh, no, we want
to do something like that.
Then, oh, we want to dosomething like that.
No, we have decided to makesomething more like that.
And I was like, oh my God, whatthe heck am I going to write?
Speaker 1 (16:53):
Yeah, we were really under pressure.
But another thing aboutlocation.
Do you remember that we lostour location like 24 hours or
something before the shoot?
Speaker 2 (17:02):
Yeah, I remember.
Speaker 1 (17:03):
We were going to film at a friend's apartment.
We go and visit the locationOkay, we're going to set the
cameras here and this scene wewill film it there.
Blah, blah, blah.
The next morning Our friendDanny calls me and he's like
Cindy, there is going to be aproblem, we're not going to be
able to shoot at my place and hefilms outside his room and
(17:24):
basically there were somemassive roadworks that had just
started and if you've ever beenin Barcelona, you know that
noise is a big problem and thoseroadworks were just going to
screw up or will shoot.
I didn't know many people.
I then called one guy againthat I had met for five minutes,
who also only speaks Spanishand my Spanish was still chunky
(17:49):
and he has a studio where heteaches classes and stuff, but
it's like a big, massive studio.
It's called Agape Studios.
I call him and I literally say,hey, we've got a challenge that
is starting within the next 24hours or something.
I'll need this big space.
Do you know somebody?
Or can we use yours if it'sfree, but I need it from 7am to
10pm.
(18:10):
At the end some budget was fine, but it was very little, but
because it was such a small andinnocent project.
We started with absolute zero,and all what we're telling you
right now literally happened ina matter of days.
This was not months of planning.
(18:30):
This was days of planning.
Speaker 2 (18:33):
I'm still surprised at all.
We did because we made a sci-fishort film with almost zero
budget.
It's like crazy.
Speaker 1 (18:40):
I guys never seen something like that are there
any other anecdotes that youremember for pre-production?
Before we talk about themadness of the of our production
and the madness of the day wefilmed, are there any anecdotes
in pre-production that you wantto share?
Speaker 2 (18:56):
the pre-production.
I've lived the pre-productionin pain because I needed to
write a script and the thing islike I wrote the first draft the
day before the rehearsal onWednesday.
I stayed from the afternoonuntil 2 am in the morning
writing the script and I sent at2 am the script to the director
(19:17):
and to you and you sent me amessage at 4 am saying, john, I
read the script.
And I sent at 2am the script tothe director and to you and you
sent me a message at 4am saying, john, I read the script.
Speaker 1 (19:24):
We were just unstoppable.
It's like we were functioningon zero sleep.
Okay, and let's go toproduction now.
So we received the brief fromBigoli Studios.
They gave us three things toincorporate, which was mad.
The first thing was an objectand we had to use a feather.
When they said we have to use afeather, somebody whispered in
(19:47):
my ear Cindy, there is a featherin Agape Studios.
Our film, the script.
There was no script, really,because everything still changed
.
There have been so manyrewrites.
But the sort of the narrativethat we had in mind was about
the cycle of life, and so atheme we received was karma.
(20:09):
And then we received a sentencewhich was easy to incorporate
in the script.
So we were just like, soblessed, because whatever we had
prepared in advance was justlike, was matching the brief,
other than the fact that we werenot going down the romantic
comedy route.
But so OK, so we start filming.
We received the brief on aThursday night, friday morning,
(20:31):
at 7 am, and we knew we weregoing to film until 10 pm.
At 7 am somebody is walking inthat I don't know, and so we
were 25 people at that time andsomebody I don't know is walking
in.
I'm like, hey, how are you?
Who are you?
And he's like, oh, I'm an actor.
I was called yesterday.
(20:52):
I'm like, oh, okay, then we areat 26.
And so this team just becamebigger and bigger and it was
just absolutely mad.
7am people were called in, butactually the script wasn't
finished.
There was some sort ofnarrative, but there was no
dialogue or anything.
So what happened?
Because that's the thing, I wasan actress on that day.
I stepped out of my productionshoes and I took my production
(21:17):
hat off and I was fully inactress mode.
But I didn't have, I didn'tknow my script at all.
I just went to makeup and I waswaiting.
What happened on your side onthat day?
Speaker 2 (21:27):
It was one of the most challenging.
With more pressure I'd have herhands, because we needed to
create this script, to writethis script, and it needed to
make sense Like we neededsomething concrete.
What happened?
I stayed all day in thestudio's hallway with the script
(21:47):
supervisor, neil thatfortunately, he helped me a lot
writing the script because Iwould have never been able to do
it by myself with that shortamount of time.
And so we stay all day in ahallway writing the script and
every time we were writing liketwo scenes we were going to give
them to the director and theactor, so they had to learn the
(22:08):
lines and everything.
It was like crazy, but I thinkthat it's always a challenge
that teaches you how to workunder pressure.
Speaker 1 (22:17):
I remember you and Neil sitting on two small little
chairs in that corridor withyour laptops out.
Speaker 2 (22:25):
Just being fully focused.
It was cold in that time.
Speaker 1 (22:29):
And it was cold because it was February, that's
right.
Speaker 2 (22:32):
It was crazy.
And then do you remember therewere like those neighbors that
were like complaining becausewe're making some noise.
You remember they came out it'slike you cannot stay here.
Speaker 1 (22:44):
When they were writing, they got upset so me as
an actress, I was obviously onset and I was always waiting for
the next bit of script toarrive and also the narrative
started, sort of it kind of gottweaked little by little.
So it was like a game ofjuggling and just like adapting
myself as an actress moment bymoment, really living it in the
(23:05):
present fully but I want to knowhow you felt in that moment.
Speaker 2 (23:08):
You were like just thinking about acting and you
were like stepping out of theproduction role and you were
like how did you feel?
Like you were like worried.
Did you think that you, we werenot gonna make it or that we
were going to make like a shittyfilm?
Speaker 1 (23:22):
No.
So I was fully trusting.
I was really trusting theprocess, and I'm going to tell
you why.
There are two things.
First of all, from thebeginning of the process and the
beginning of this creativeadventure, I didn't know what I
was doing.
People started calling me aproducer.
You told me, cindy, you wereproducing, I'm producing, we're
(23:42):
co-producing what?
Because I didn't know what Iwas doing, because I was
recruiting people that I didn'teven know what their job title
was or what they were actuallymeant to be doing on set.
I thought I don't know whatthey're doing, but they seem to
know.
So the biggest lesson for mewas just surrender and trust,
(24:05):
surrender and trust.
For me, this short film wastruly orchestrated by the
universe and it was like theonly thing you can do, cindy, is
surrender and trust your team.
They know what they're doing,they know their job title, they
know what they're doing, theyknow their job title, they know
what they're doing on set.
So just trust.
The second thing is, as anactress, I actually attended the
(24:28):
Jacques Lecoq School in Paris,and that's probably another
topic, but this school wasincredibly hard on an emotional
level.
I would describe it as both mybiggest dream that came true,
and my biggest nightmare.
There was a very toxicenvironment in that school, but
at the same time I learned somuch as an artist.
(24:50):
But one thing that I must saythat training gave me is that
you got to be ready to takenotes.
You got to be ready to adaptyourself in any situation.
You got to work quick.
And so as an actress, I canwork quick, I can adapt quick, I
can just change choices.
(25:10):
And also as a dancer the danceworld is, you know, you're also
being put under a lot ofpressure.
So as an actress, I feltconfident.
As a producer, I was just likeyo, the only thing you can do
here is learn, shut up and learn.
But I'll tell you one thingabout me as an actress on set
(25:31):
that day it was at the end ofthe day, so obviously from 7 am
till 10 pm or 11 pm we werefilming.
We received the script and thelines drop by drop, and at the
end of the day people are tiredand we had to finish because I
think somebody had to leave andalso people were just like so
exhausted and so people arescreaming and there's just a lot
(25:54):
of noise around me, but it'sthe most emotional scene of the
whole film, so I have to be, asan actress, in such an emotional
state to perform it.
But people are screaming aroundand when I'm sitting there and
I'm just using all my meditationtechniques to just ground
myself and cut out the noise,but it was, it was phenomenal
(26:17):
that moment, because I had to beable to do it in like two takes
, I think, because we just hadto wrap up right.
It's your favorite scene, theclose-up make me cry that moment
was really powerful on set.
Is there anything else thathappened on set that you want to
share before we move on to whathappened next?
Speaker 2 (26:39):
what happened on set.
It was good that in that case,like phil helped us with the
production stuff, because youwere acting and we were writing,
and that is good, that we foundeven people that were very like
, they had a lot of experience,like the sound guy, tdn and the,
and the makeup artist too.
They were very experienced andeverything seemed to work
(27:03):
properly.
Like, actually, I think thatfor being a challenger we didn't
have a shortlist to anything wefeel very quick, we were very
quick, like we did a very goodjob Because, thinking about what
we had, we had nothing.
I'm satisfied.
Speaker 1 (27:22):
I remind all of the listeners, all of that literally
happened within a week.
I think it was like super fast.
So then we filmed the whole day, then we had two days or a day
and a half for the edit.
So post-production starts.
The other thing that isabsolutely mad.
So at that time we were 26,right, I think there were six
(27:44):
actors in total and the rest,like literally every single
department of a film you know ofwho should be a part of your
creative team and all of yourproduction team and the crew was
represented, from gaffers toDOPs to.
We had a stunt coordinator,alex, we had Lali for VFX like
(28:06):
literally every singledepartment was being represented
.
Speaker 2 (28:11):
Everybody, all the roles were covered, and I wanted
to ask you, because you knowyour first time producing the
short film was your, you know,biggest challenge, what was the
hardest thing for you to handleas a producer?
Speaker 1 (28:28):
for me the hardest thing well, not the hardest
thing, I wouldn't say it was ahard thing, it was just the
biggest learning curve.
I'd rather do rephrase it as mybiggest learning curve is that,
well, number one, this shortfilm.
For me, I felt that within thespace of only a couple of days.
And then now, a couple ofmonths later, because we had a
(28:50):
longer post-production phase andnow entering festival season, I
literally feel, like I, thatI've been doing a master's in
how to make a film, andobviously that has the fact that
you were more experienced thanme and studied it.
Obviously I come with myexperience of life and my
experience in theater and dance.
(29:10):
But the fact that everything,our collaboration and everything
that happened of how we set upthat team, for me I was like, oh
my gosh, like I literally havea master's in how to make a film
, like it's freaking incredible.
And also, in the beginning ofthis chat, I said I had to trust
the universe because theuniverse was orchestrating this.
(29:33):
But what was phenomenal is thatI thought I was not ready to
make a film.
I thought I would need twoyears to be ready because I
needed to gain some knowledgeand understand the industry and
blah, blah, blah.
And then the universe basicallytold me Cindy, you know what,
you are ready, hold on a second,here is your team, make it
(29:54):
happen.
But then my biggest learningcurve going back to my biggest
learning curve is I was trustingthe process.
As we explained, we went to anetworking event where we
attracted people like peoplewanted to become a part of the
team, and there was a lot ofhuman interactions that were
phenomenal.
But there was one person in thecreative team.
(30:16):
From the moment I met thisperson, I knew we were not
really aligned, neithercreatively neither socially, and
that throughout the three daysit became more and more clear
that was the case.
This person initially had a lotof say in the creative sort of
(30:36):
brainstorm and the fact thatthings went in the wrong
direction and then it went.
I guess in every team there canbe disagreements and stuff, but
this particular disagreementbecame a sour one.
But I'm very happy that ithappened, because if that
relationship, that creativecollaboration, didn't go sour, I
(31:05):
would have never learned asmuch as I did.
Because I think if everythinggoes is beautiful and everything
just like, if there's no like,there is no challenge, there is
no, no hurdle to jump over.
That's not where you learn themost.
You learn the most when thingsgo wrong and because that
particular collaboration wentdown the wrong direction.
I learned so much as a producer, I learned so much about a
filmmaker.
I learned so much about puttingmy foot down for what I believe
(31:28):
is authentic to my creativevoice, and I think I learned a
lot about who I would or wouldnot recruit on my next team and
why this is important.
Speaker 2 (31:39):
Now that I've been in Barcelona for almost a year and
I work with a lot of people, Iknow who I can trust or who I
like working with, and that'sgood, because even when you work
with people that they don'twork the same way that you do it
happened to me.
It's good because you stilllearn something.
Speaker 1 (31:58):
Absolutely.
Just a little side note I'velearned about you as a friend
and a collaborator is thatyou're incredibly flexible and
you're able to really work witheveryone really, and I
appreciate you for that so much.
And I think why we alsocollaborate really well is that
(32:19):
I can take the place of the badcop, Because I fired two people
on that team and it was not anice thing to do but it had to
be done.
But I feel we also collaboratewell on a human level from that
perspective.
Speaker 2 (32:35):
Me.
I'm a person that I try to bealways diplomatic, because when
you fight with someone or when,then we create problems and then
like, for the sake of the fieldI try to create a good
environment because it's nicePeople start to fight.
It's going to affect the field.
Speaker 1 (32:51):
And the position of leadership is also to motivate
the teams but also make sure.
Yeah, like, sometimes you haveto fire people, and that's not
the nice part of the position asa leader, but it's also a part
of the job description.
So let's move on topost-production.
Post-production happens.
We end up with a 10 minuteshort film that we show at
(33:13):
Bigoli Studios and our work wasActually it was longer.
Speaker 2 (33:18):
It was longer in the beginning.
Oh yeah, it was what was.
Speaker 1 (33:20):
Actually it was longer, it was longer in the
beginning.
Speaker 2 (33:21):
Oh yeah, it was what 11?
It was 12.
12.
Speaker 1 (33:24):
It was 12 minutes initially and our work was
recognized and appreciated atBigoli Studios.
Can you explain what happened?
Speaker 2 (33:32):
They edited the project in almost two days less
than two days for the challengeand and so when we went there
for the screening, they gave usthree awards.
We won three awards and I waslike a super, like hopeful.
I knew it.
Like even the next day, whenyou weren't happy about the
(33:53):
results, you were like, oh, Ithought it was better, it's not
go a lot of mistakes.
So like it's a challenge toread this child you think you're
going to make like aChristopher Nolan movie in 16
hours.
I was like this is a great filmfor making it in 16 hours.
And I was right.
I was right because it wonthree awards and everybody liked
(34:15):
the film and everybody came totalk to us after the screening
that day.
Speaker 1 (34:21):
Yeah, so funny story, I took a seat back because I
was asked to take a seat back,because I was the lead actress.
I would never do that as aproducer ever again to take a
seat back in post-production.
That's also something I learned.
But so basically I see thefirst cut or the cut that we
submitted to the challenge justright before submission, and the
(34:43):
editing team is like, oh my God, this is an amazing movie and I
see it.
And funny story, I hate it,like literally.
I hate it so much that I've gottears in my eyes and I don't
even want to attend, I don'teven want to have it screamed.
And then friends of mine gaveme feedback and I think there's
feedback that was taken on boardover the last few months to
(35:04):
re-edit the whole thing, butdefinitely for the 16 hours or
the two days of editing weachieved something of high
production quality that stillneeded work.
But what were the awards thatwe won?
There was Best Use of Object,so the feather.
Speaker 2 (35:22):
Yeah, the Best Use of Prop.
We won the Best Acting Duo youand Monica and the Best
Cinematography.
Dan, it was a great night, guys.
Speaker 1 (35:31):
Yeah, it was like a great celebration.
And so then afterwards youconvinced me.
You were like Cindy.
We have a great high-qualityproduction here.
Speaker 2 (35:41):
I said I'm not going to say anything about the film
until the challenge, because forbeing a challenge we made a
good work.
After the challenge, that'swhat I'm going to step up really
want to move forward thisproject, make it look like good,
like high quality.
We need to put our hands andfix some stuff and that's what
(36:06):
we did.
Speaker 1 (36:07):
That's what we did.
So we obviously have ouramazing editor, danny.
We have our amazing VFXspecialist, lali, who have been
working like relentlessly,really, to basically make a
total new version of this film,with your creative input, with
my creative input, and so we hadthe final version.
(36:29):
We even have more people on theteam now, because we have an
amazing person that is workingon the poster Hamid.
He's going to be on thispodcast as well very soon.
We have somebody that is goingto help us for some posts on
social media and stuff Like.
The team keeps growing,basically.
And then recently we had reallygood news because we're only
(36:52):
starting festival season and wegot our first selection when
South Africa, south Africa,festival season.
And we got our first selectionwhere south africa south africa.
We are being selected and weare waiting for a lot of, uh,
other selections that the newswill drop over the next few
weeks and next few months.
I want to ask you, john, whatdo you hope for this short film
(37:13):
to bring to the world?
So all dogs go to heaven.
Dystop, dystopian, sci-fi, darkworld.
What do you hope that this filmwill bring to the world?
Speaker 2 (37:25):
I want to create a debate about the AI chip, all
this artificial intelligencescience, because, like as we
show in the film, like at theend of the day, the AI is very
useful.
We even use AI programs or AItechnology to edit the film or
(37:45):
to make some changes.
So, at the end of the day, aihelped us to make the film.
But also I want to show peoplethat if you abuse of
technologies, you mess up theworld, you mess up society, you
mess up society, like we show inthe film.
I don't want to spoil it toomuch, but that it's about this
chip, that it removes people'semotions.
(38:08):
People, they don't feelanything.
They don't feel more goodemotion or bad emotion.
They think that they live abetter life, that they're
happier, but at the end of theday, they don't feel nothing.
They live a better life, thatthey're happier, but at the end
of the day, they don't feelnothing.
And so for me, even if in lifethere are challenges and bad
things, but there are alwaysalso good things in this world
that you cannot renounce youhave to live your life feeling
(38:31):
something.
Speaker 1 (38:32):
Yeah, for me the most touching thing about this film
is really the fear of loving,because love can hurt and is it
worth to take the risk of beinghurt?
Um, I think for me that's avery beautiful sort of theme
that is really apparent in themovie, but also, for me, this
short film we could almost makea film of how we made the film,
(38:54):
because of the beautiful storiesthat came out, the beautiful
friendship, yes, the making ofand also that's why I wanted to
do this podcast, because I feelI want to give hope to people
that, hey, you are an emergingfilmmaker.
you just have an idea.
You can make it happen, likeliterally happened to me.
In a few days I had a beast ofa production and I made so many
(39:15):
great friendships Like I feelthere are collaborators that I
want to work with again and thenthere are friends like you that
are, for me or not, a part ofmy tribe and there is only like
a big future ahead of us and I'mreally excited about.
Speaker 2 (39:29):
I wanted to ask you something Because, for example,
for me it's not the first timethat I've been in charge even on
post-production or moving likea film forward.
Because I think that a businesscoach that I work with that
she's very good she always saysyou have to give 100% of your
energy to make the film, butalso 100% to move the film
(39:53):
forward with marketingdistribution, because if not,
it's not going to go anywhere.
So how was for you, the feelingof moving the film forward
after being made?
That that's the hardest thingfor every filmmaker.
Speaker 1 (40:07):
For me.
I absolutely dislike admin.
However, the whole process ofdistribution and looking for
film festivals and stuff for mehas just been made more easily
because you and me, we are ateam and, as the l, we both
bring something else to theconversation when we are
(40:28):
selecting film festivals wherewe're sending it to.
So for me, that makes thedistribution part is more easy,
even though I would love just tostart working on the next film,
but that's also part of thereality is making sure that
people can see what we created.
Speaker 2 (40:46):
That's the thing.
That's the thing because, ofcourse, you want to move this
project to festivals, to thefestival circuit, whether we go
with a distribution agency orwhether we do a
self-distribution.
But we also are planning toorganize beautiful events and a
great screening, like we said,interactive screening.
Speaker 1 (41:11):
And we have an amazing podcast episode with
Kathleen as well that is givingus basically really beautiful
coaching about how to set up animmersive screening for all dogs
.
Go to heaven.
To wrap up this interview, john, I still have another question
for you, or a last question,which is how did you come out of
this experience at the end?
Do you feel like something inyou changed, as a human being or
(41:32):
as a creator?
After making this short, film.
Speaker 2 (41:36):
I feel like, especially as a screenwriter,
that I got very challenged, so Ifeel like more confident and he
helped me a lot to develop somewriting skills to write so in a
quick time.
Also, I felt the story so muchwhen I was writing it and every
time that I watched the film Ialmost cried, like I felt I feel
it too much, like I feel theemotion of the characters and I
(41:59):
really think that it's one ofthe projects that I did that I
love the most.
Every time that I watch it andI think about the first version
of the film that we presented tothe child and I see the final
version now, I say I don't knowin this world who is going to be
able to make a sci-fi shortfilm with almost zero budget in
(42:23):
such a short time.
I want to know it.
I want this person to come andwrite to you in the podcast if
he's able to do it.
Speaker 1 (42:30):
But what I find amazing and what you're sharing
is also you, as a screenwriter,created something that touched
your own heart so deeply,because sometimes, as creative
people, we can create a show,create a film, create a script,
and it touches us a little bitor not too much, and then there
(42:52):
are certain pieces that wecreate that really touch our
soul and our heart really deeply, especially when it's being
created so quickly.
It's not always the case, so Ifind that really beautiful to
hear that it touches your souland your heart.
Do you have any other questionsfor me, jack?
Speaker 2 (43:04):
I want to know what you learned the most about all
of these experiences, what'syour favorite moment or what's
your best takeaway?
Speaker 1 (43:14):
For me it's probably about personal transformation,
or I was maybe in a cocoon and Icame out as a butterfly, in the
sense that when I was in thedance and theater world, like I
said, I did everything fromwriting to performing, to
choreographing, to producing to.
I was wearing every single hatpossible.
And in the world of film I wasvery intimidated.
(43:34):
I always said you know what?
No, I'm just an actress.
I'm an actress and an actionactress.
I just work in front of thecamera.
But I feel what was reallymissing for me was the
expression.
There was a part of myself thatI wasn't expressing.
There was a part of mycreativity that had no space
(43:56):
really, and a part of myleadership skills that had no
outlet.
I couldn't express them.
And for me that I'm now comingon the other side of making film
is massively important, becauseI feel I'm not shying away from
my truest light, like it'salmost like I was dimming my
light because I felt so insecure, because it felt like a beast
(44:17):
of an industry.
And I feel now I'm fullyaligned with myself because I
have this creative leadershipthat comes out and now I feel on
fire to start making film andto call myself a filmmaker and
for me that is massivelytransformative.
Speaker 2 (44:37):
Welcome on board, because we're going to make
films until the end of our life.
Speaker 1 (44:44):
Oh yes, oh yes.
Thank you, boss, for thisamazing podcast interview.
Speaker 2 (44:49):
Thank you boss for this interview and chat.
Speaker 1 (44:54):
And, obviously, thank you to every single person that
have been a part of the journeyof the making of all dogs go to
heaven, from the actors to themakeup artists, the special
effects, the music, the sound,like the runners, like everybody
that was bringing food, likeevery single person that has
been helping us on this journey,is absolutely phenomenal.
We will be putting in the shownotes also the teaser or the
(45:17):
trailer of All Dogs Go to Heaven.
And if you want to work withJohn as an actor, producer or
screenwriter, where can theyfind you?
Speaker 2 (45:25):
You can find me on Instagram.
I have a YouTube channel or Ihave like a digital business
card where you can see myportfolio, and soon I'm going to
open my association, and soguys stay updated because I'm
going to post and update andsend information about all of
that, because good things arecoming and we're both on fire.
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