April 25, 2025 • 40 mins
Welcome to Season 2 of The Film Dept. Podcast! We've got a new crew reviewing the latest films screening at The Beverly in downtown Las Vegas... and beyond.
This episode of The Film Dept. Podcast, we interview Las Vegas filmmaker Adam Kilbourn on his latest feature, the high octane action feature proudly produced, filmed, and cast in Las Vegas, ACTION! ACTION! premiering Friday, April 25 at 7p at Circa's Stadium Swim cinema. In addition to Adam being an alum of UNLV Film, this project is notable as also starring our late great professor of acting, Clarence Gilyard, in his final screen performance.
For more on the film: actionactionmovie.com
For more on Adam's production company: Black Raven Films
Credits:
Email us: thefilmdeptpod@gmail.com
HOSTS - Nic Patrick, Ani Rogy, L Villareal Production
Sound Mixer - Sydney Maier
Co-Producer/Editor - Lilly Richie
Assistant Editor - Byron Schnell Davis
Production Coordinator - Kay Walgate
PRODUCERS - Tom Bjelic, Sam Decker
EXECUTIVE PRODUCED BY - Adam Paul, Roudi Boroumand
For The Beverly:
Kip Kelly, Founding Creative Director | Chief Experience Officer
Alexi Harber, General Manager
Ivy Ergunes, Marketing Manager
To read the hosts' reviews, head over to: substack.com/thefilmdeptpodcast
This semester, The Film Department has teamed up with the mad geniuses of The Beverly Theater. Imagined by The Rogers Foundation, The Beverly Theater brings cinematic connectivity, novel collaborations, live happenings, cultural portals, and a zest for independent spirits to DTLV. With a mission to stage uncommon cinematic, literary, and live experiences, The Beverly Theater is Las Vegas’ first and only independent film house, storytelling arena, and live music venue.
For the latest screenings and events at The Beverly, visit thebeverlytheater.com The Film Department Podcast is supported by UNLV Film.
At the film department of the University of Nevada Las Vegas, every story has a beginning.With degree programs for undergraduates and graduates, state of the art equipment and facilities, incredible professional internships around the world, and expert guest speakers, students discover the power and potential of cinema as they prepare for the film and television industry… and beyond.
Learn more at UNLV.EDU/FILM UNLV Film. Find your voice. Tell your story.
This episode of The Film Dept. Podcast, we interview Las Vegas filmmaker Adam Kilbourn on his latest feature, the high octane action feature proudly produced, filmed, and cast in Las Vegas, ACTION! ACTION! premiering Friday, April 25 at 7p at Circa's Stadium Swim cinema. In addition to Adam being an alum of UNLV Film, this project is notable as also starring our late great professor of acting, Clarence Gilyard, in his final screen performance.
For more on the film: actionactionmovie.com
For more on Adam's production company: Black Raven Films
Credits:
Email us: thefilmdeptpod@gmail.com
HOSTS - Nic Patrick, Ani Rogy, L Villareal Production
Sound Mixer - Sydney Maier
Co-Producer/Editor - Lilly Richie
Assistant Editor - Byron Schnell Davis
Production Coordinator - Kay Walgate
PRODUCERS - Tom Bjelic, Sam Decker
EXECUTIVE PRODUCED BY - Adam Paul, Roudi Boroumand
For The Beverly:
Kip Kelly, Founding Creative Director | Chief Experience Officer
Alexi Harber, General Manager
Ivy Ergunes, Marketing Manager
To read the hosts' reviews, head over to: substack.com/thefilmdeptpodcast
This semester, The Film Department has teamed up with the mad geniuses of The Beverly Theater. Imagined by The Rogers Foundation, The Beverly Theater brings cinematic connectivity, novel collaborations, live happenings, cultural portals, and a zest for independent spirits to DTLV. With a mission to stage uncommon cinematic, literary, and live experiences, The Beverly Theater is Las Vegas’ first and only independent film house, storytelling arena, and live music venue.
For the latest screenings and events at The Beverly, visit thebeverlytheater.com The Film Department Podcast is supported by UNLV Film.
At the film department of the University of Nevada Las Vegas, every story has a beginning.With degree programs for undergraduates and graduates, state of the art equipment and facilities, incredible professional internships around the world, and expert guest speakers, students discover the power and potential of cinema as they prepare for the film and television industry… and beyond.
Learn more at UNLV.EDU/FILM UNLV Film. Find your voice. Tell your story.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
The Film Department is supported by UNLV Film.
(00:04):
At the Film Department of the University of Nevada Las Vegas, every story has a beginning.
With degree programs for undergraduates and graduates, state-of-the-art equipment and
facilities, incredible professional internships around the world, and expert guest speakers,
students discover the power and potential of cinema as they prepare for the film and
(00:24):
television industry and beyond.
Learn more at unlv.edu/film.
UNLV Film.
Find your voice.
Tell your story.
[music]
(00:44):
Welcome to the Film Department, the Move Review and more podcast of UNLV Film.
This semester, we'll be discussing film screening at our partner movie house, the Beverly
Theatre, Las Vegas' only independent film house and performance venue.
I'm Davy Parks.
Hey guys, I'm back.
A UNLV Film Alumni now.
I graduated you guys, and I'm here joined by Annie.
(01:06):
Hello again.
[laughter]
Bill and in for Nick, who's out this week.
Nick, we miss you, and we have all of the really cool stuff to talk about.
And Elle, we miss you.
Oh, and Elle.
Yeah, how are we doing?
I'm so sorry.
So you're filling in for two people?
I'm doing two people's jobs right now.
Yeah.
So you have to have two people's personalities.
And I have to have twice the energy.
Twice the energy.
Today we're talking about action action, a film directed by Adam Kilborn, a local filmmaker
(01:30):
who is also a UNLV Film Alumni.
Really great action flick that we got to watch, and we have a lot to talk about.
So I'm going to skip this week's film news and kind of just launch right into it.
That is not what I was expecting.
No, it's different.
What'd you find?
A whole lot of questions.
(01:51):
What's this?
That is a bomb.
You think the cops did it?
Oh shit, it's cops!
There's more to it than you know.
You're not going to kill me, I--
Then we're friends.
Some of my best friends want to kill me.
You know that breaking an entrance illegal, right?
No one told us that they said no one told us that.
(02:12):
What do you expect me to do here?
I paint it.
Where is it?
Face!
It's gone.
I picked up the phones and I picked up the radio.
This whole thing got too shit.
But that means you have a problem.
You still owe me a painting.
What do you need me to do?
Other poker face.
Someone's dying for a sense.
The Lion of Shangri-La.
(02:34):
Who else wanted the painting?
[GUNSHOTS]
[GUNSHOTS]
[GUNSHOTS]
[GUNSHOTS]
[GUNSHOTS]
[GUNSHOTS]
[GUNSHOTS]
[GUNSHOTS]
I just conned my way into a gala of one of the most ruthless mob bosses in the world.
I could possibly go wrong.
[GUNSHOTS]
[GUNSHOT]
(02:55):
We are here with filmmaker, Las Vegas resident, and you want to be film department alumni, Adam Kilborn.
Adam, we're so happy to have you.
Thank you.
I'm excited to be here.
Thank you.
Yeah, so we're here to talk about action action, your newest film, which I watched and I loved.
There's like a million things I could start off talking about.
(03:18):
I think the big thing that really stands out for me is it's very centered in Las Vegas.
I think the first thing I wanted to ask you about was what it was like shooting on location
here in the city.
I think as people who live in Las Vegas too often we watch movies and we see a hotel and
that doesn't look like a hotel I've been in or a street that is very clearly somewhere
(03:41):
in LA.
I was just really infatuated with all of the on site locations.
Could you maybe walk me through a little bit what that was like?
I think so I went to UNLV here back 98 to 2002 and I'm originally from Fairbank, Salasca.
(04:02):
That's a small town and coming to Vegas you just had it overwhelmed.
You look at it everywhere you look.
It was something special and spectacular.
Lights all over the place.
It was bigger than life and six months in.
I was in love.
I was like this is home.
Over the last no I've been here almost a little over 26 years now.
(04:22):
Every year I further appreciated this town and living here and those locations that you
see in the film, there are places that I've been around and worked at those properties
and done stuff with those people over the last 10, 15 years and it's like I wanted to highlight
that stuff.
This town rocks.
It's an amazing town.
(04:43):
Film companies will come or television companies will come and they'll film exterior is here in
Las Vegas and they'll take the project back to LA and they're doing a lot of that because
of the economics of it all.
That's like well the actors live there.
They're film people live there at the location they can do sets there and stuff and so they're
not doing a lot of that production here in town other than those exterior shots and it's
like well we have the opposite thing.
(05:04):
We all live here.
This is our hometown and we don't have any of those other things.
We're looking for locations, the circuit plays a big part in this.
Derek Stevens has been a client of ours for years in a real friend and we got to film
at the legacy club and I'm like I don't know how we make this work but we're just going
to make this work.
It's a beautiful location and because I don't have to redress that set or do anything
(05:28):
other than just show up and start filming it totally works for us.
That I think it's played out in all the locations that we had.
It was driven a lot by necessity.
I didn't have a massive budget to set up locations and to do a lot of set dressing and everything
so from an economic standpoint we needed it there and then the other thing is in this
in Las Vegas at least film making wise.
(05:49):
It's a little impractical to try and find a studio space and then build something set and
then try to do all your production in there.
I don't think we're going to do that.
I think the biggest challenge with locations is getting the owners of the locations to
let you film in there and to make it work for them.
It's not an easy thing.
Right now we're working on a project that we're trying to find a bar that we can film in.
(06:13):
Well, the production schedule requires it's four days and they're not short days, it's
a twelve hour days.
What business is going to let you come in and take over for twelve hours on any given day
and let you just run?
It's hard.
You need to be kind and considerate to the locations.
You've got to take into consideration their business and you can't shut that down or interfere
(06:35):
with it anyway and so all the locations that we have, that's kind of what we're working
with them.
We sort of wrote the script, wrote those locations in specifically because we knew we
could potentially get on.
The world market center is an amazing location here in the center town.
That's like five million or twelve million square feet of space.
My buddy, he's the designer.
(06:56):
He's the architect on the thing.
He drew that building up and he's been a family friend for years.
I was like, "Get, can we, I want to show off your building because it's got this amazing
staircase inside."
It's got this amazing staircase inside.
I think I'm messing with the headphones here.
It's got this amazing staircase inside that I wanted to show off in the film and it's like,
(07:18):
there's no reason that shots in the film other than it's a cool staircase.
It's just beautiful.
I was like, "I got to show it off."
It was because of my relationship with the Ed that I knew well we might be able to get
that as a location in the film there.
The world market center was a kind of a film there and do crazy stupid stuff there.
That was played out throughout the film.
I was thinking about that in the sequence in the antique shop, the chase sequence that
(07:40):
happens there.
As a film student, I was walking through and I was like, "Okay, he had to probably go through
and talk to the owner about what would be going on because it's one thing when you're
shooting a scene where there's people talking and then when there's actual action happening,
you have to assure, like, "No, we're not going to break anything.
We're not going to, so yeah, I told you get where you're coming through with that one."
(08:04):
That's luckily in filmmaking magic.
You can point the camera in a direction and fake stuff.
It's like, "Okay, well, I got this location.
It's one room.
I'm going to point the camera in this direction and it's, I got one look and maybe if I turn
in the other direction, it's something different."
That's beauty at all.
You got to make sure you take care of the location.
Don't tick people off.
Be respectful of their space and they'll let you do it again.
(08:27):
You briefly mentioned your writing process and that you wrote around the locations.
I'm just really curious to hear more about that.
Yeah, so the writing process, that was really a long time.
Okay, so let me talk to you real quick, the genesis of this.
2012, we created a short film called Action Action and we shot it up in the mountains,
(08:49):
up at Blue Diamond Hill and it's an amazing fun short film.
We took it to Dam Short, we went and best knew about a filmmaker with that and we were really
proud of it.
That, I remember sitting on the back porch with my buddy, Will Adams, and years ago and I
said, "I want to make it.
I want to do a car chase and I want to do a gun fight and I want to do a kung fu fight
(09:10):
and maybe we could blow up a car."
There's all these things.
I just listed off the stuff I wanted to do and I'm like, "I don't want to do it.
I don't write it.
I can't do anything."
And he goes, "Well, why don't you try doing that?"
And I go, "What do you mean?
Just do the scenes?
Yeah, just do those scenes.
Yeah.
Do a fight scene.
Do a gun fight scene.
Do a car chase and then figure something out around that."
(09:30):
And so that was the genesis of that short film and my buddy, Adam Zalinski, who was the director
of that, he razzles me because I never saw a script.
He's like, "There was a script.
We wrote one."
But it really was just we wanted to put these things that we always wanted to do into
the script and create around that.
And that's the same process that we did with this film is like, we wanted to do a full
(09:51):
long car chase downtown.
And it's only because we wanted to do it.
It's not because the story needed that in there.
He was like, "No, I want to do a car chase."
And we knew Andrew Commery Pro-Card, or ACP, this stunt coordinator, he was willing to
come out and do that with us.
He's done Hobbs and Shaw and Atomic Blonde and Deadpool 2 and he's a pro.
And he's like, "Yeah, I'll do that with you guys."
(10:12):
That's her thing.
Yeah, it is.
And he was very kind and very considerate of this.
But we wrote that into the script because we knew we could potentially do that.
And similarly, we blew up a house.
People are originally going to be a warehouse because I had bad boys in my stuck in my head
with the warehouse scene.
And we ended up doing a house because that's what we could find.
(10:35):
Because that was a location.
We couldn't find a warehouse to blow up.
And it was like, "Nobody was willing us to let us do it."
And I'm like, "I don't know where we're going to do it."
And we started driving around.
We found an old abandoned house that had people's names on it.
We called them up like, "What's going on in this house?"
And they're like, "It's going to get scraped, but demolished."
But they haven't let us, they haven't given us the permitting from the city.
It's been sitting here for nine months.
(10:56):
So we're kind of in limbo.
And it's like, "We could blow it up for you."
And we pay it for it.
Okay.
But we knew we could do that pyro scene because Dave Barker, who does all the pyro for Marvel
for Jerry Brockheimer, for Pirates of the Caribbean for Michael Bay, he's the main guy in Hollywood
or one of them, he's like right at the top.
(11:17):
He's like one of the absolute main guys that does pyro for all these big Hollywood blockbusters.
He lives in Henderson.
And he's a buddy of ours.
So it was like, we could do that.
And so it's because we knew that we could deliver on those things that they got written into
the script with it.
That's pretty amazing.
So a little bit of like a chicken before the egg thing.
Yeah.
And I think a lot of writers, a lot of filmmakers, not necessarily writers, think this way immediately.
(11:41):
But if you're a producer, if you make these short films and or longer form films, you start
figuring out, well, what can I actually pull off?
And that starts becoming part of the process.
And I think that's, I think that gives you a lot of, I think it gives you like bumpers or
goal posts that you have to kind of aim and hit.
And I think that that can be a really good thing in a filmmaking process.
(12:04):
You look at Star Wars and some of the early things that were done in the 70s and 80s from
someone like Spielberg.
And I think some of that's much more creative filmmaking than the stuff that they've done
with CGI where anything's possible.
If you're limited by something, you start getting creative of how can I pull this up?
Those limitations kind of create freedom in itself in a way.
(12:24):
Yeah, they're like, oh, it's kind of, it's hard, but it's also creates, you get really interesting
outcomes from that as opposed to, well, we'll just paint it on there.
I don't know how to do that.
And I think that's a even greater lesson for filmmakers who are listening is realizing
that those constraints are as much constraints as they are sort of, yeah, like you said,
like goal posts, you know, if I have a friend who can do this, how can I find a way to write
(12:45):
that into the script?
I think that's really--
Yeah.
And we just, we were just setting out, we wanted to do things that we wanted to
see that we wanted to have fun with, you know, our head brotherhoods, stunt crew here in
town, they're out of the Shaolin School of Kung Fu.
We've been friends with them for years and so it's like, we can do Kung Fu.
And it's because Aaron and EZ are our buddies and they'll help us figure this out and we
can spend three, four months if we're doing rehearsals in the shop.
(13:08):
And we like it.
It's fun.
We want to do more of that.
Yeah.
So how long did it take you guys to shoot that car chase sequence?
The car chase sequence on set was three days.
So two days of practical exterior with streets closed down and cops all over the place and
everything.
And then a full day, we then took a break, edited the sequence together and kind of finalized
(13:30):
what we wanted the interior dialogue to be.
And then we did a full night of interior dialogue stuff.
Very cool.
What's unique about that and I think is a testament to--
Or not, what's unique about it and I think is really fun about it is all that's practical.
Everything's driving.
There's nothing done in the station.
There's no sitting in a car and we're like shaking it and moving lights around and stuff
(13:52):
and nothing happens.
We are in the car driving those cars, doing crazy stuff and it does show.
I think it's a blast to do that.
I would have loved other things in there like if we could have had a budget like they did
on the matrix and I got like 50 other cars that we can crash.
We don't have any that.
But we could do the stunts and we couldn't film like that.
And I think it really makes for a really authentic and fun experience of all things.
(14:17):
I was going to say authentic is the perfect word for it.
Is there something that especially because all of us are local to Vitas, we're all born
here.
I think having the concept of like creating a very practical, very like real film within
the places that we know and love, it just kind of is like a love letter.
Yeah, for me that's what really stuck out to me in watching and kind of clocking this
(14:40):
is something special is seeing.
Like Ogden get treated the same way that like oh street and LA would get treated and seeing
it under that like cinematic perspective, I think was really cool.
Like there was a bunch of shots where like you know like I've been out at downtown late
at night and like just like seeing that car chase.
I was like oh like I could just like I could see myself seeing that and like I thought that
(15:00):
that was really cool.
Right.
A big thing I think that really tether is this to not just Las Vegas but you know V Film
as well as Clarence Gileard who is featured pretty prominently in this.
I was wondering if you could speak a little bit to what it was like working with him.
Sure.
Yeah.
Gileard was amazing.
He was Danny's teacher, he was my teacher, he was Jeremy's teacher, Danny Shapper who's
(15:22):
my co-director and Jeremy Lee who is my cinematographer, director of photography.
He was our professor.
I think London, it was London Boyd's professor as well.
I don't know if it was Levi's or not.
I couldn't give you the whole list but there's a lot of students that he worked with that
were on this shoot and Gileard, we approached him and we were like oh maybe Gileard wanted
(15:48):
to be a part of this and so we talked with him and originally we pitched him on Cuba's
character that London plays like it was like reviving the tech guy from when he was in
die hard and was like well maybe he plays that guy and so we sent him the script and he came
back and he's like I don't play that guy.
(16:08):
I want to play Mr. Roo and Mr. Roo is our main bad guy throughout the whole thing and it was
such the right ask from him and he did such an amazing job with it and it was his opportunity
to play with his students.
I think that was the thing that the reason why he said yes to it because I don't know if
he was said yes it wasn't for the money we were in pain of a lot of money in the whole thing.
(16:30):
It was because he was going to be able to perform with his students in a real film setting
and I think that really spoke to him which is it goes to show his character as a professor
and as a human being of like you know I want to give you guys this experience this will
be good for you all and it was like it was amazing.
Like the guy comes on set in the whole set changes like it just you just feel this energy
(16:51):
permeate the whole scene the crew everybody everybody kind of like oh shit I better be
on my best behavior here you know he's the pro and I got to level up a little bit with
it but then when we were done shooting he's just like okay guys thanks.
So much and he's glad you know like it was no big deal and so that was it was a great experience
for everybody on board.
(17:12):
I also want to say his professionalism with it he was he was filming overnight 2 3 4 5 in
the morning and he didn't complain once.
He didn't he didn't give me any pre-Madonna like I'm special or anything from it.
He was down and he was down for the craft and just to do his job and then he left.
(17:37):
It's beautiful.
Yeah it's really great and he was dealing with a bunch of stuff at that time and it was like
I was like nobody here in any of that stuff all he was interested in was being the best
character it could be and he kills it in this thing.
He's so good.
I'm so glad he was part of it.
How lucky I think not just you as a filmmaker but us and the UNLB film community are to
have this be one of his last and I think it was his last project.
(17:59):
Yeah it's my understanding.
So before he passed I think it's very full circle that it's so tethered in Las Vegas and I
think that's a really beautiful gift that you've sort of been able to give not just to people
who were students of Gilear but the general film community here in Vegas I think that's
really cool.
Yeah it's interesting.
(18:20):
We have a memoriam at the end and he's featured on that but we also have another UNLB alum
that passed away this year in November 10th.
The day after we did our private premiere with our friends and investors Levi passed away
and he plays he I graduated college with him here at UNLB and it's like I'm so glad that
these people are in my film that I get to experience them because they're wonderful human
(18:42):
beings.
Yeah and every time I watch the film I get to re-experience them.
You're immortalizing them.
Yeah it's just cool.
I see Levi goof around on the screen and we're like honestly like Gilear and he's up there
like oh my god he's so good.
And it's like it's just neat because they're part of our experience here with it.
What a unique and like special, like I already said GIF but like yeah that like specific
(19:05):
to film that you get to remember them that way.
Yeah it's great.
Yeah in terms of, oh I'm so glad.
In terms of finding your cast and crew I know that you already have like previous relationships
with everybody that you worked with but tell me how that all came about.
So I think one of the, I want to kind of bring it back because just finding cast and crew
(19:26):
is not hard.
Yeah.
Okay you go okay I need a director, I need a cinematographer, I need somebody to sound,
I need somebody to make up, I need somebody to costumes.
Like those are job titles right and it's you can search around and look for that stuff
and it's not the most difficult thing to find people that are willing to come and do
that.
(19:47):
Yes I feel like everyone who already is in the community just actively is excited to work
with each other.
Well they are and those people exist right.
You can find those people that are here that are really quite talented.
The challenges is that is that when you don't have Hollywood money and I bring that up like
Hollywood money like in the millions of dollars okay.
(20:08):
It's a big ask to bring someone on board and you think about what do people get paid
in a regular job.
Yeah.
And it's like I don't know if you don't have a big budget you may not be able to pay someone
a decent amount.
It might be literally I got a hundred dollars for a day the whole day and our days might
(20:32):
be ten to fourteen hours or you want to come out and that's that type of ask makes it
a little more challenging to find those people to do this stuff.
All of the crew everybody was paid on the film and that's something that we need to do but
they weren't paid a lot and the main people that were there like like a co-director position
(20:53):
or a cinematographer or you know a set designer or any of those big positions those were
negotiated deals that they weren't they were doing it because they were passionate about
it and they were willing to go on a journey with me.
So the big thing that you have to keep in mind with it all is what's the experience that
you're bringing for them?
(21:15):
For them.
Yeah.
What's the crew experience going to be like on set?
Do you have the F-snacks form?
I guess like literally one of the biggest things right?
Get snacks right?
You may not need to pay them a lot but you better feed them.
Yeah.
And the time of the day you know the time that is recorded on set like are you managing
that experience for them such that you do you are able to give them breaks from time
(21:37):
to time.
They don't walk away completely burned out on the experience of the whole thing because
you need to come back the next day.
You know and so I think I think one of the reasons why people were willing to go on this
journey with me is because I've been producing in this town for the last 15 years.
And it's I think Danny and Jeremy I've done a lot of projects with them and they've come
(21:59):
to trust me and that's why they're on the project is because they trust me and I trusted
them.
Yeah.
And my you know my brother is my line producer.
It's not because he's experiencing knows what that he's doing.
He's never line produce the day in his life but he's competent.
And I trust him and he'll go to the nth degree for me and I knew that.
(22:20):
And so it was like I needed someone who had my back while we were doing it because as the
chaos of a production day is go day to day to day.
Me as the producer and the director and I'm also one of the stars it's like you get pulled
in so many directions and I just I just needed support from people that I could
trust that would have my back in those difficult.
Everyone's in the bankers each other in the process.
(22:40):
They do and that's a thing that's built up over time.
So I would not have been confident to do this type of a project 15 years ago when I started
out.
It has taken me a long time to get to the point where I'm like you know we might be able
to do that.
Might.
And it would and this whole process is 10 times harder than I ever thought it was going
to be.
Like it is it is the hardest thing that I have ever done that I will ever do is is is
(23:03):
making my does my first feature film is like it's literally the hardest thing I've ever
done.
And so yeah so I think you got to if you're looking for crew people and stuff to bring on board
if you aren't paying attention to that like thinking what's the opportunity for that
person.
Are they going to enjoy themselves because a lot of times these jobs are thankless.
Sound guy do do this all day.
(23:24):
Yeah.
Okay.
This stinks.
It's for everybody listening I'm holding my hands above my head and and and that's
to sound people do they hold it for really long periods of time and this is it's it's it's
it's kind of boring sometimes you know but you got to be there for 12 hours you know so
Justin Bergenzoni he was on the original action action with us 2012.
Oh wow.
(23:44):
He was out about hanging out with us and it's like I've kept those relationships around
and people are willing to come back and play because I do my best to take care of people
and make sure that they're taking care of they have a fun time that their experience
is is rewarding for them.
Yeah.
And so yeah.
Hopefully that answers your question.
Distribution.
That was just about to get started.
Yeah.
(24:05):
Yeah.
So you you film you go through principle photography you have a finished film you you edit
it you cut it you have the final product.
I guess for the people who are listening who are sort of uninitiated into the world of
distribution and sales and acquisitions what sort of as a filmmaker when you have your
finished product now what like what does that look like for you.
(24:25):
It's a great question and it's one of the hardest ones to answer.
So the I we get calls from time to time of people are pitching their script and they're like
oh would you be interested in producing this or something and I just pushed those all
away because I'm not really interested in it's because it's an enormous amount of work.
So if you're like I want to do that Adam I you made a movie I want to do that how do you
(24:47):
do that.
I would say one of the biggest things you first have to do is to raise the money for the
darn thing and that's in monumental hard thing in it at the start.
But you need a you need a budget for it.
Okay so that's the first thing figured out and you can do it through a kickstarter campaign
you can do it the way that we did it the majority of what we did which is private financing
which is me running around with my friends who had money going you want to you want to
(25:11):
blow some money on something really dumb that you probably won't get paid back on.
Or you can try and find an investor that you know like an angel investor somebody that's
out there that might be wanted to invest in this stuff.
I can tell you it's a lot harder to raise any of that money than you would think.
I was like I'm going to raise like a million half dollars no problem.
Nope six months later it had very little money to show for it.
(25:32):
Yeah so it is a lot of hard work a lot of grind to get that and I bring that up because that's
the first step in the process that you need to overcome in order to get to that part which
is distribution.
And you have to be thinking about that in as you raise the money how do I pay these people
back.
Yeah and that because that's the distribution side.
And so you raise some money you've got a script you've got the crew you're like I'm
(25:55):
going to shoot this you're going to shoot it you spend all your money and then you do
your post processing and you go crap I should have kept some for post processing and then
you finish the film and you're like okay I have a finished product now because that's
what we have we have a finished film now and it is a product.
How do I make my money back.
It's a similar process to any other product that's out there.
So if you if you built widgets you build washing machines you have a product I have a washing
(26:18):
machine how do I sell it now.
And so that's a process that you have to take out into the out of the field and figure
out where where's the chains of distribution that I can make deals with in order to get
this out in the world.
And so for me what I was told was you go to a film market.
What's a film market.
The bunch of distributors that are and buyers that get together every couple of weeks every
(26:42):
six to eight weeks around the world.
So there's the American film market that used to be out in LA now it's here in Las Vegas
might be going back to LA we'll see.
There's like the Berlin Film Festival there's Tokyo Film Festival there's a con Film Festival
there are places where you can take your film to sell it.
(27:03):
But as a filmmaker starting out you don't know anybody there.
You're like going in green.
And so when I've been to AFM a bunch of times and it's like every time I go there I don't
know what these people are.
Yeah.
I don't have a relationship with them any you know ongoing.
So it's like it's really hard to like who are the trustworthy ones.
Who's the charlatans?
(27:23):
There's no sign hanging out that says these people are legit and everything.
And I the road map out there is littered with people that have lost their shirts on their
film.
So I have yet to meet a filmmaker who's made a bunch of money on their movie.
And I think that's strange.
I'm like what do you mean you didn't make any money on this thing?
(27:44):
And like I had a conversation with one guy in LA because I was cold calling people for
a while and I talk with him and I was like he goes yeah it's made like a million half
with Sony picture classics but we haven't made any money yet.
Two years in.
Wow.
Yeah wow.
Yeah.
And that was like a more remarkable one because the normal ones are oh we got a deal with
(28:11):
XYZ distributor and it's like 60,000,000 revenue that's come in.
But we haven't seen any of that yet because it's there was a $50,000 marketing spend that
was included in the contract.
So the distributor basically says well I've got costs to distribute this film.
(28:32):
I'm going to have a bunch of costs upfront.
And so until those are exhausted you won't make any money.
Yeah.
I'm going to pay myself back.
I'm going to spend $50,000 on recoding a trailer and supposed to travel around and
traveling all these markets and spending all this marketing money traveling around.
And once that's exhausted then we start splitting and you get 70% of the revenue and I get 30%
(28:53):
or we split it 50, 50, whatever that deal is.
So that deal I heard repeated again and again and again from filmmakers who haven't yet
made any money or if they had made very little like in the thousands of dollars, hundreds
of thousands, thousands of dollars.
On a budget of, on a budget of 100,000, 200,000, 500,000 that type of stuff.
(29:16):
And the reason for that is, I think one of the reasons for this is that micro budget production
is under a million and that's where we live is under a million.
They live in this really weird spot where it's, you haven't spent enough money to create
a product that lives in this higher echelon tier and so you're not respected and played
(29:36):
with it at that higher echelon tier.
And the thing is is that if you're spending that kind of money to get up there you better
have your distribution thing worked out beforehand.
Otherwise, that is one risky endeavor you're really.
So instead, what you're forced to do because you don't have those relationships or those
pipelines out there, you're in this sub million dollar micro budget space and that's littered
with lots and lots of people that don't have connections and there's a lot of distributors
(30:01):
out there that can take advantage of that situation.
And I'm saying, like there are, there's, go on Facebook, there's some lovely Facebook
groups like distributors to stay away from.
This literally a subgroup.
There's a group of people that go, these people stay away from because they're crooks and
corrupt and cons.
And that's the part where the distribution game at this point in 2025 year is, it's, it's
(30:24):
not, I have not found it to be easy to figure out.
Yeah.
So I went to AFM, I meet all these distributors out there and the deals that they're going
to give you are, you give us your movie for the next three years, the next five years,
the next seven years, the next 15 years.
You do, you get 70% will take 30% or will split it 50, 50.
(30:46):
And you got to trust that they're going to go make money on your movie.
You have to trust that.
And I have yet to be comfortable making that deal with anybody.
And I put it akin to, what if you're, imagine you're selling your house, right?
You got a half million dollar house and you found a realtor and they're going to represent
you.
And the deal was, sign the paper, paperwork.
And for the next three, five or seven years, I'm the one selling it.
(31:09):
And if I don't sell it, you get it back at that time.
And I imagine it's also sort of this weird two-way job interview where you're trying to, you
know, phase out the distributors who just aren't going to work for you, the ones who just
are worth, you know, having those meetings with while also simultaneously not just trying
to sell your product, but yourself to these distributors and be like, no, like I have something
(31:31):
that is worth your investment.
So you're kind of having to do two jobs at once.
Yeah, but I think at a certain point, it's a weird model.
It still doesn't make sense for me.
I sell insurance and investment.
So it's like, I've been around selling stuff for a long time.
So this is just the film industry in that sub-million dollar category.
I think it just hasn't broken free into a model that benefits the person making the product.
(31:58):
It's still the distributor has all the authority, all the power in that relationship.
And there's no great recourse for the filmmaker yet that's been developed to do this on their
own with it.
So for us right now, what we're doing, after going to AFM a couple of times and going over
to France to con and meeting with a bunch of distributors is we are self-distributing.
(32:19):
And that we did a deal with one of the distributors that allow us to pay to have our film quality
control, QCID, and placed on various platforms.
And that type of arrangement for me makes the most sense.
I can pay someone, it's like $2,500 bucks, $3 grand, it's not a lot of money, to get my film
(32:40):
placed onto Amazon, to get it onto Apple TV, and then I get 100% of the revenue from that
transaction.
So that type of a deal is so much better in my mind than the same deal with some of these
distributors where you're forever giving them 30%.
So it's a year, two years, five years, seven years down the road, I'm splitting that revenue,
(33:00):
I'm like, what's, you've done your job?
Because all of the distributors that I talked with, they're like, yeah, we're going to do
the marketing for the film.
And that entails a Facebook post or a blog post somewhere, and that's it.
That's the marketing that they do for those projects.
Yeah, so I was like, I can do that.
I can fail at marketing on my own.
I don't need to give my movie to someone else for the next seven years and have no control
(33:23):
over it to make that happen.
There's a, there's a filmmaker out of Australia, Mark Touse, I think is his name.
He had a movie called Machines of Man, and he's got a YouTube video on this.
And I watched that a couple of times and I just was blown away at his, uh, brashness and
his willing to roll the dice and see what came of it.
And I, um, his film, he self distributed because he was looking at deals himself and he says,
(33:49):
well, I, there's no guarantee I'm ever going to make any money on this stuff.
So I, it's my money.
I may, I paid to invest in this film and make it.
Let me, let me roll the dice and, and if it doesn't work out fine as a grand experiment
that they make any money, but let me try.
And he made his money back doing self distribution, transactional video on demand stuff.
And at one point he was doing, you know, um, I don't want to go to watch the, the episode,
(34:10):
it's an amazing episode.
The guy, uh, uh, monsters of man was the movie and I'm pretty, it's on film hustle and, uh,
it's, it's a great, uh, piece about how he did self distributional thing.
But the, my takeaway was he kept control and, um, he, he was, he was not willing to, to settle
(34:31):
for the small pittance of money that he was getting from, uh, some of the streaming companies.
He was on, he, at some point along the way he got talked into doing Amazon Prime and he's
the number one movie on Amazon Prime for, uh, over a month in America and he's like, I made
a couple hundred grand.
That was it.
Yeah.
That's the reactional stuff made well over a million back on that stuff.
(34:52):
It was like, his comment was f streaming; "I'll do transactional."
I'm not going to sell my movie for 5 grand to Germany just because.
Germany's got 50 million people, I can market directly to them.
They don't even know what my movie is about.
They've never even heard of it, right?
So to them I can remarket to them online and they will be reintroduced as if it was a new
(35:16):
movie.
And then you're getting multiple displegues.
Yeah, and he gets to redo it.
They had their initial piece that they pushed out and he made the bulk of his money on it.
He says, "My biggest mistake was not spending enough money on that initial marketing push
because if it were I'd be picking out my next yacht."
So it was one of those moments where I was like, "This person is speaking my kind of
(35:38):
language which is you make your own destiny with that stuff."
And I'm willing to trust myself way more than some of the charlatans that I was meeting
in the distribution space.
So we'll see.
Fingers crossed, like I said, if it doesn't work out, at least still I still own the movie.
I can take it to someone else.
I can go back and do that deal with the distributor and go, "Well, we didn't make any money,
(36:00):
but could you make some?"
The thing at the end of the day is this is a business and that's what drives it.
Which is why I started this conversation about distribution on the raising the capital
for it is that you have to think about how do I sell it at the end?
How am I going to make my money back?
And that distribution model that was there 20, 30 years ago doesn't exist anymore.
DVD sales don't exist.
(36:21):
Blu-ray discs don't exist.
It's everything's streaming.
So right now the big money maker for people is advertising video on demand, Avaad.
And that's places like Toobie or places like YouTube where you're being served ads and
you're getting a penny or two per watch.
Which some people are able to make quite a bit of money on it.
It's not the type of money that you used as BBC and DVD sales friends.
(36:45):
So for those who are interested in seeing action action, can you tell us a little bit about
where we could watch it?
Any upcoming events, anything you want to plug for the film?
Yeah, so we have our first is our world premiere which is happening at Stadium Swim at
the circuit is presented by Duck Duck Shed in the Neumuseum on April 25th and doors open
(37:07):
at 7pm.
It's going to be an amazing event.
The cool thing about that is Derek Stevens, owner and CEO of Circa and Aaron Berger executive
director of the Neumuseum.
They came to work our friends and family cast premiere that we had.
They watched the movie and they're like, "Oh my God, this is great.
People should see this.
We should celebrate this."
(37:27):
And I was like, "Okay, yeah, it's nice.
I'm really glad everybody liked it."
And Aaron's like, "No, serious.
What do we do to Duck Duck Shed?"
And I was like, "That'd be cool."
And they were going to do it at the Beverly Theatre?
Yeah.
And I was like, "Well, if you do it at Beverly, maybe Derek would want to do something at
Stadium Swim or something."
And Aaron was like, "Oh no, we need to join forces."
And so I talked to Derek, talked to Aaron and they're like, "Yeah, let's do it."
(37:50):
So we picked the date.
It's Friday night April 25th and it's really because two people that I respect and have
worked with for the last several years saw something in the film and the thing that we
created and they wanted to help showcase it.
And I'm forever grateful for those guys because it's a neat platform.
My movie would get out there online and find it.
(38:11):
It's an action flick.
Some people would be interested in seeing that.
But to have the city kind of get behind it and have an organization like the Neon Museum
help push it out.
To have someone like, "Circa, because they'll push it out and Derek Stevens pushed out."
It's awesome.
I mean, that's a testament to how much love is poured into the film in general just from
the city.
Totally.
Having that support on an institutional level must be very validating as well.
(38:34):
Oh yeah.
I don't feel like a fraud.
I don't know how to do anything.
But it's really cool to have others respect your work.
And that's, I'm excited.
This morning we were down there testing audio and video on the big screen.
Oh, it's cool.
So 143 foot screen.
And my head is going to be on it.
My movie is going to be there for everybody to see.
(38:55):
And I'm tickle-pink with it.
It's going to be a really fun night.
And I hope from that we create enough attention to it that other people are willing
to go on this journey and discover it for themselves and to help support it.
We're going to do a screening in LA here.
I think we've got May 9th picked up for that.
I'm going to go to my hometown in Fairbanks, Alaska, May 16th.
We're trying to book a theater for that.
(39:16):
Oh, that's cool.
And it'll be online at some point.
I hope that people can, you know, they're willing to buy it and to discover it for themselves.
Because it is a love letter to Las Vegas.
It's a love letter to old school action flicks that we grew up in fast.
And it's a hell ride.
I mean, it's fun.
And I just feel like as you watch it, it just keeps ramping up because it's awesome.
(39:38):
All right.
Well, it was a pleasure having you, Adam.
We're so glad that you got to talk to you and pick your brain a little bit on the film.
So thank you so much.
Thank you.
Thank you all for having me.
It's really a pleasure.
Wonderful.
[MUSIC PLAYING]
And that's it for this week's Film Department episode.
(39:59):
We hope you enjoyed today's class and we'll like, subscribe, and share wherever you're
listening to your fine podcasts.
If you'd like to read previous reviews of films talked about on the podcast, you can
head over to our sub-stack at the Film Department.
Thank you to the Beverly.
And if you're interested in catching action action on the 25th of April, you can go check
out actionactionthemovie.com for more information.
(40:20):
The link will also also be in our show notes.
I'm Davey Parks.
And I'm Annie Roegie.
Goodbye.
Bye.
[MUSIC PLAYING]
Imagine by the Rogers Foundation, the Beverly Theatre brings synopsis
cinematic connectivity, novel collaborations, live happening, cultural portals, and assessed
for independent spirits to downtown Las Vegas.
(40:41):
With emissions of stage uncommon cinematic, literary, and live experiences, the Beverly
Theatre is Las Vegas's first and only independent film house, storytelling arena, and live music
venue.
Check out our event calendar at thebevelytheater.com.
So we're gonna have to...
The Film Department is supported by UNLV Film.
(00:04):
At the Film Department of the University of Nevada Las Vegas, every story has a beginning.
With degree programs for undergraduates and graduates, state-of-the-art equipment and
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students discover the power and potential of cinema as they prepare for the film and
(00:24):
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Learn more at unlv.edu/film.
UNLV Film.
Find your voice.
Tell your story.
[music]
(00:44):
Welcome to the Film Department, the Move Review and more podcast of UNLV Film.
This semester, we'll be discussing film screening at our partner movie house, the Beverly
Theatre, Las Vegas' only independent film house and performance venue.
I'm Davy Parks.
Hey guys, I'm back.
A UNLV Film Alumni now.
I graduated you guys, and I'm here joined by Annie.
(01:06):
Hello again.
[laughter]
Bill and in for Nick, who's out this week.
Nick, we miss you, and we have all of the really cool stuff to talk about.
And Elle, we miss you.
Oh, and Elle.
Yeah, how are we doing?
I'm so sorry.
So you're filling in for two people?
I'm doing two people's jobs right now.
Yeah.
So you have to have two people's personalities.
And I have to have twice the energy.
Twice the energy.
Today we're talking about action action, a film directed by Adam Kilborn, a local filmmaker
(01:30):
who is also a UNLV Film Alumni.
Really great action flick that we got to watch, and we have a lot to talk about.
So I'm going to skip this week's film news and kind of just launch right into it.
That is not what I was expecting.
No, it's different.
What'd you find?
A whole lot of questions.
(01:51):
What's this?
That is a bomb.
You think the cops did it?
Oh shit, it's cops!
There's more to it than you know.
You're not going to kill me, I--
Then we're friends.
Some of my best friends want to kill me.
You know that breaking an entrance illegal, right?
No one told us that they said no one told us that.
(02:12):
What do you expect me to do here?
I paint it.
Where is it?
Face!
It's gone.
I picked up the phones and I picked up the radio.
This whole thing got too shit.
But that means you have a problem.
You still owe me a painting.
What do you need me to do?
Other poker face.
Someone's dying for a sense.
The Lion of Shangri-La.
(02:34):
Who else wanted the painting?
[GUNSHOTS]
[GUNSHOTS]
[GUNSHOTS]
[GUNSHOTS]
[GUNSHOTS]
[GUNSHOTS]
[GUNSHOTS]
[GUNSHOTS]
I just conned my way into a gala of one of the most ruthless mob bosses in the world.
I could possibly go wrong.
[GUNSHOTS]
[GUNSHOT]
(02:55):
We are here with filmmaker, Las Vegas resident, and you want to be film department alumni, Adam Kilborn.
Adam, we're so happy to have you.
Thank you.
I'm excited to be here.
Thank you.
Yeah, so we're here to talk about action action, your newest film, which I watched and I loved.
There's like a million things I could start off talking about.
(03:18):
I think the big thing that really stands out for me is it's very centered in Las Vegas.
I think the first thing I wanted to ask you about was what it was like shooting on location
here in the city.
I think as people who live in Las Vegas too often we watch movies and we see a hotel and
that doesn't look like a hotel I've been in or a street that is very clearly somewhere
(03:41):
in LA.
I was just really infatuated with all of the on site locations.
Could you maybe walk me through a little bit what that was like?
I think so I went to UNLV here back 98 to 2002 and I'm originally from Fairbank, Salasca.
(04:02):
That's a small town and coming to Vegas you just had it overwhelmed.
You look at it everywhere you look.
It was something special and spectacular.
Lights all over the place.
It was bigger than life and six months in.
I was in love.
I was like this is home.
Over the last no I've been here almost a little over 26 years now.
(04:22):
Every year I further appreciated this town and living here and those locations that you
see in the film, there are places that I've been around and worked at those properties
and done stuff with those people over the last 10, 15 years and it's like I wanted to highlight
that stuff.
This town rocks.
It's an amazing town.
(04:43):
Film companies will come or television companies will come and they'll film exterior is here in
Las Vegas and they'll take the project back to LA and they're doing a lot of that because
of the economics of it all.
That's like well the actors live there.
They're film people live there at the location they can do sets there and stuff and so they're
not doing a lot of that production here in town other than those exterior shots and it's
like well we have the opposite thing.
(05:04):
We all live here.
This is our hometown and we don't have any of those other things.
We're looking for locations, the circuit plays a big part in this.
Derek Stevens has been a client of ours for years in a real friend and we got to film
at the legacy club and I'm like I don't know how we make this work but we're just going
to make this work.
It's a beautiful location and because I don't have to redress that set or do anything
(05:28):
other than just show up and start filming it totally works for us.
That I think it's played out in all the locations that we had.
It was driven a lot by necessity.
I didn't have a massive budget to set up locations and to do a lot of set dressing and everything
so from an economic standpoint we needed it there and then the other thing is in this
in Las Vegas at least film making wise.
(05:49):
It's a little impractical to try and find a studio space and then build something set and
then try to do all your production in there.
I don't think we're going to do that.
I think the biggest challenge with locations is getting the owners of the locations to
let you film in there and to make it work for them.
It's not an easy thing.
Right now we're working on a project that we're trying to find a bar that we can film in.
(06:13):
Well, the production schedule requires it's four days and they're not short days, it's
a twelve hour days.
What business is going to let you come in and take over for twelve hours on any given day
and let you just run?
It's hard.
You need to be kind and considerate to the locations.
You've got to take into consideration their business and you can't shut that down or interfere
(06:35):
with it anyway and so all the locations that we have, that's kind of what we're working
with them.
We sort of wrote the script, wrote those locations in specifically because we knew we
could potentially get on.
The world market center is an amazing location here in the center town.
That's like five million or twelve million square feet of space.
My buddy, he's the designer.
(06:56):
He's the architect on the thing.
He drew that building up and he's been a family friend for years.
I was like, "Get, can we, I want to show off your building because it's got this amazing
staircase inside."
It's got this amazing staircase inside.
I think I'm messing with the headphones here.
It's got this amazing staircase inside that I wanted to show off in the film and it's like,
(07:18):
there's no reason that shots in the film other than it's a cool staircase.
It's just beautiful.
I was like, "I got to show it off."
It was because of my relationship with the Ed that I knew well we might be able to get
that as a location in the film there.
The world market center was a kind of a film there and do crazy stupid stuff there.
That was played out throughout the film.
I was thinking about that in the sequence in the antique shop, the chase sequence that
(07:40):
happens there.
As a film student, I was walking through and I was like, "Okay, he had to probably go through
and talk to the owner about what would be going on because it's one thing when you're
shooting a scene where there's people talking and then when there's actual action happening,
you have to assure, like, "No, we're not going to break anything.
We're not going to, so yeah, I told you get where you're coming through with that one."
(08:04):
That's luckily in filmmaking magic.
You can point the camera in a direction and fake stuff.
It's like, "Okay, well, I got this location.
It's one room.
I'm going to point the camera in this direction and it's, I got one look and maybe if I turn
in the other direction, it's something different."
That's beauty at all.
You got to make sure you take care of the location.
Don't tick people off.
Be respectful of their space and they'll let you do it again.
(08:27):
You briefly mentioned your writing process and that you wrote around the locations.
I'm just really curious to hear more about that.
Yeah, so the writing process, that was really a long time.
Okay, so let me talk to you real quick, the genesis of this.
2012, we created a short film called Action Action and we shot it up in the mountains,
(08:49):
up at Blue Diamond Hill and it's an amazing fun short film.
We took it to Dam Short, we went and best knew about a filmmaker with that and we were really
proud of it.
That, I remember sitting on the back porch with my buddy, Will Adams, and years ago and I
said, "I want to make it.
I want to do a car chase and I want to do a gun fight and I want to do a kung fu fight
(09:10):
and maybe we could blow up a car."
There's all these things.
I just listed off the stuff I wanted to do and I'm like, "I don't want to do it.
I don't write it.
I can't do anything."
And he goes, "Well, why don't you try doing that?"
And I go, "What do you mean?
Just do the scenes?
Yeah, just do those scenes.
Yeah.
Do a fight scene.
Do a gun fight scene.
Do a car chase and then figure something out around that."
(09:30):
And so that was the genesis of that short film and my buddy, Adam Zalinski, who was the director
of that, he razzles me because I never saw a script.
He's like, "There was a script.
We wrote one."
But it really was just we wanted to put these things that we always wanted to do into
the script and create around that.
And that's the same process that we did with this film is like, we wanted to do a full
(09:51):
long car chase downtown.
And it's only because we wanted to do it.
It's not because the story needed that in there.
He was like, "No, I want to do a car chase."
And we knew Andrew Commery Pro-Card, or ACP, this stunt coordinator, he was willing to
come out and do that with us.
He's done Hobbs and Shaw and Atomic Blonde and Deadpool 2 and he's a pro.
And he's like, "Yeah, I'll do that with you guys."
(10:12):
That's her thing.
Yeah, it is.
And he was very kind and very considerate of this.
But we wrote that into the script because we knew we could potentially do that.
And similarly, we blew up a house.
People are originally going to be a warehouse because I had bad boys in my stuck in my head
with the warehouse scene.
And we ended up doing a house because that's what we could find.
(10:35):
Because that was a location.
We couldn't find a warehouse to blow up.
And it was like, "Nobody was willing us to let us do it."
And I'm like, "I don't know where we're going to do it."
And we started driving around.
We found an old abandoned house that had people's names on it.
We called them up like, "What's going on in this house?"
And they're like, "It's going to get scraped, but demolished."
But they haven't let us, they haven't given us the permitting from the city.
It's been sitting here for nine months.
(10:56):
So we're kind of in limbo.
And it's like, "We could blow it up for you."
And we pay it for it.
Okay.
But we knew we could do that pyro scene because Dave Barker, who does all the pyro for Marvel
for Jerry Brockheimer, for Pirates of the Caribbean for Michael Bay, he's the main guy in Hollywood
or one of them, he's like right at the top.
(11:17):
He's like one of the absolute main guys that does pyro for all these big Hollywood blockbusters.
He lives in Henderson.
And he's a buddy of ours.
So it was like, we could do that.
And so it's because we knew that we could deliver on those things that they got written into
the script with it.
That's pretty amazing.
So a little bit of like a chicken before the egg thing.
Yeah.
And I think a lot of writers, a lot of filmmakers, not necessarily writers, think this way immediately.
(11:41):
But if you're a producer, if you make these short films and or longer form films, you start
figuring out, well, what can I actually pull off?
And that starts becoming part of the process.
And I think that's, I think that gives you a lot of, I think it gives you like bumpers or
goal posts that you have to kind of aim and hit.
And I think that that can be a really good thing in a filmmaking process.
(12:04):
You look at Star Wars and some of the early things that were done in the 70s and 80s from
someone like Spielberg.
And I think some of that's much more creative filmmaking than the stuff that they've done
with CGI where anything's possible.
If you're limited by something, you start getting creative of how can I pull this up?
Those limitations kind of create freedom in itself in a way.
(12:24):
Yeah, they're like, oh, it's kind of, it's hard, but it's also creates, you get really interesting
outcomes from that as opposed to, well, we'll just paint it on there.
I don't know how to do that.
And I think that's a even greater lesson for filmmakers who are listening is realizing
that those constraints are as much constraints as they are sort of, yeah, like you said,
like goal posts, you know, if I have a friend who can do this, how can I find a way to write
(12:45):
that into the script?
I think that's really--
Yeah.
And we just, we were just setting out, we wanted to do things that we wanted to
see that we wanted to have fun with, you know, our head brotherhoods, stunt crew here in
town, they're out of the Shaolin School of Kung Fu.
We've been friends with them for years and so it's like, we can do Kung Fu.
And it's because Aaron and EZ are our buddies and they'll help us figure this out and we
can spend three, four months if we're doing rehearsals in the shop.
(13:08):
And we like it.
It's fun.
We want to do more of that.
Yeah.
So how long did it take you guys to shoot that car chase sequence?
The car chase sequence on set was three days.
So two days of practical exterior with streets closed down and cops all over the place and
everything.
And then a full day, we then took a break, edited the sequence together and kind of finalized
(13:30):
what we wanted the interior dialogue to be.
And then we did a full night of interior dialogue stuff.
Very cool.
What's unique about that and I think is a testament to--
Or not, what's unique about it and I think is really fun about it is all that's practical.
Everything's driving.
There's nothing done in the station.
There's no sitting in a car and we're like shaking it and moving lights around and stuff
(13:52):
and nothing happens.
We are in the car driving those cars, doing crazy stuff and it does show.
I think it's a blast to do that.
I would have loved other things in there like if we could have had a budget like they did
on the matrix and I got like 50 other cars that we can crash.
We don't have any that.
But we could do the stunts and we couldn't film like that.
And I think it really makes for a really authentic and fun experience of all things.
(14:17):
I was going to say authentic is the perfect word for it.
Is there something that especially because all of us are local to Vitas, we're all born
here.
I think having the concept of like creating a very practical, very like real film within
the places that we know and love, it just kind of is like a love letter.
Yeah, for me that's what really stuck out to me in watching and kind of clocking this
(14:40):
is something special is seeing.
Like Ogden get treated the same way that like oh street and LA would get treated and seeing
it under that like cinematic perspective, I think was really cool.
Like there was a bunch of shots where like you know like I've been out at downtown late
at night and like just like seeing that car chase.
I was like oh like I could just like I could see myself seeing that and like I thought that
(15:00):
that was really cool.
Right.
A big thing I think that really tether is this to not just Las Vegas but you know V Film
as well as Clarence Gileard who is featured pretty prominently in this.
I was wondering if you could speak a little bit to what it was like working with him.
Sure.
Yeah.
Gileard was amazing.
He was Danny's teacher, he was my teacher, he was Jeremy's teacher, Danny Shapper who's
(15:22):
my co-director and Jeremy Lee who is my cinematographer, director of photography.
He was our professor.
I think London, it was London Boyd's professor as well.
I don't know if it was Levi's or not.
I couldn't give you the whole list but there's a lot of students that he worked with that
were on this shoot and Gileard, we approached him and we were like oh maybe Gileard wanted
(15:48):
to be a part of this and so we talked with him and originally we pitched him on Cuba's
character that London plays like it was like reviving the tech guy from when he was in
die hard and was like well maybe he plays that guy and so we sent him the script and he came
back and he's like I don't play that guy.
(16:08):
I want to play Mr. Roo and Mr. Roo is our main bad guy throughout the whole thing and it was
such the right ask from him and he did such an amazing job with it and it was his opportunity
to play with his students.
I think that was the thing that the reason why he said yes to it because I don't know if
he was said yes it wasn't for the money we were in pain of a lot of money in the whole thing.
(16:30):
It was because he was going to be able to perform with his students in a real film setting
and I think that really spoke to him which is it goes to show his character as a professor
and as a human being of like you know I want to give you guys this experience this will
be good for you all and it was like it was amazing.
Like the guy comes on set in the whole set changes like it just you just feel this energy
(16:51):
permeate the whole scene the crew everybody everybody kind of like oh shit I better be
on my best behavior here you know he's the pro and I got to level up a little bit with
it but then when we were done shooting he's just like okay guys thanks.
So much and he's glad you know like it was no big deal and so that was it was a great experience
for everybody on board.
(17:12):
I also want to say his professionalism with it he was he was filming overnight 2 3 4 5 in
the morning and he didn't complain once.
He didn't he didn't give me any pre-Madonna like I'm special or anything from it.
He was down and he was down for the craft and just to do his job and then he left.
(17:37):
It's beautiful.
Yeah it's really great and he was dealing with a bunch of stuff at that time and it was like
I was like nobody here in any of that stuff all he was interested in was being the best
character it could be and he kills it in this thing.
He's so good.
I'm so glad he was part of it.
How lucky I think not just you as a filmmaker but us and the UNLB film community are to
have this be one of his last and I think it was his last project.
(17:59):
Yeah it's my understanding.
So before he passed I think it's very full circle that it's so tethered in Las Vegas and I
think that's a really beautiful gift that you've sort of been able to give not just to people
who were students of Gilear but the general film community here in Vegas I think that's
really cool.
Yeah it's interesting.
(18:20):
We have a memoriam at the end and he's featured on that but we also have another UNLB alum
that passed away this year in November 10th.
The day after we did our private premiere with our friends and investors Levi passed away
and he plays he I graduated college with him here at UNLB and it's like I'm so glad that
these people are in my film that I get to experience them because they're wonderful human
(18:42):
beings.
Yeah and every time I watch the film I get to re-experience them.
You're immortalizing them.
Yeah it's just cool.
I see Levi goof around on the screen and we're like honestly like Gilear and he's up there
like oh my god he's so good.
And it's like it's just neat because they're part of our experience here with it.
What a unique and like special, like I already said GIF but like yeah that like specific
(19:05):
to film that you get to remember them that way.
Yeah it's great.
Yeah in terms of, oh I'm so glad.
In terms of finding your cast and crew I know that you already have like previous relationships
with everybody that you worked with but tell me how that all came about.
So I think one of the, I want to kind of bring it back because just finding cast and crew
(19:26):
is not hard.
Yeah.
Okay you go okay I need a director, I need a cinematographer, I need somebody to sound,
I need somebody to make up, I need somebody to costumes.
Like those are job titles right and it's you can search around and look for that stuff
and it's not the most difficult thing to find people that are willing to come and do
that.
(19:47):
Yes I feel like everyone who already is in the community just actively is excited to work
with each other.
Well they are and those people exist right.
You can find those people that are here that are really quite talented.
The challenges is that is that when you don't have Hollywood money and I bring that up like
Hollywood money like in the millions of dollars okay.
(20:08):
It's a big ask to bring someone on board and you think about what do people get paid
in a regular job.
Yeah.
And it's like I don't know if you don't have a big budget you may not be able to pay someone
a decent amount.
It might be literally I got a hundred dollars for a day the whole day and our days might
(20:32):
be ten to fourteen hours or you want to come out and that's that type of ask makes it
a little more challenging to find those people to do this stuff.
All of the crew everybody was paid on the film and that's something that we need to do but
they weren't paid a lot and the main people that were there like like a co-director position
(20:53):
or a cinematographer or you know a set designer or any of those big positions those were
negotiated deals that they weren't they were doing it because they were passionate about
it and they were willing to go on a journey with me.
So the big thing that you have to keep in mind with it all is what's the experience that
you're bringing for them?
(21:15):
For them.
Yeah.
What's the crew experience going to be like on set?
Do you have the F-snacks form?
I guess like literally one of the biggest things right?
Get snacks right?
You may not need to pay them a lot but you better feed them.
Yeah.
And the time of the day you know the time that is recorded on set like are you managing
that experience for them such that you do you are able to give them breaks from time
(21:37):
to time.
They don't walk away completely burned out on the experience of the whole thing because
you need to come back the next day.
You know and so I think I think one of the reasons why people were willing to go on this
journey with me is because I've been producing in this town for the last 15 years.
And it's I think Danny and Jeremy I've done a lot of projects with them and they've come
(21:59):
to trust me and that's why they're on the project is because they trust me and I trusted
them.
Yeah.
And my you know my brother is my line producer.
It's not because he's experiencing knows what that he's doing.
He's never line produce the day in his life but he's competent.
And I trust him and he'll go to the nth degree for me and I knew that.
(22:20):
And so it was like I needed someone who had my back while we were doing it because as the
chaos of a production day is go day to day to day.
Me as the producer and the director and I'm also one of the stars it's like you get pulled
in so many directions and I just I just needed support from people that I could
trust that would have my back in those difficult.
Everyone's in the bankers each other in the process.
(22:40):
They do and that's a thing that's built up over time.
So I would not have been confident to do this type of a project 15 years ago when I started
out.
It has taken me a long time to get to the point where I'm like you know we might be able
to do that.
Might.
And it would and this whole process is 10 times harder than I ever thought it was going
to be.
Like it is it is the hardest thing that I have ever done that I will ever do is is is
(23:03):
making my does my first feature film is like it's literally the hardest thing I've ever
done.
And so yeah so I think you got to if you're looking for crew people and stuff to bring on board
if you aren't paying attention to that like thinking what's the opportunity for that
person.
Are they going to enjoy themselves because a lot of times these jobs are thankless.
Sound guy do do this all day.
(23:24):
Yeah.
Okay.
This stinks.
It's for everybody listening I'm holding my hands above my head and and and that's
to sound people do they hold it for really long periods of time and this is it's it's it's
it's kind of boring sometimes you know but you got to be there for 12 hours you know so
Justin Bergenzoni he was on the original action action with us 2012.
Oh wow.
(23:44):
He was out about hanging out with us and it's like I've kept those relationships around
and people are willing to come back and play because I do my best to take care of people
and make sure that they're taking care of they have a fun time that their experience
is is rewarding for them.
Yeah.
And so yeah.
Hopefully that answers your question.
Distribution.
That was just about to get started.
Yeah.
(24:05):
Yeah.
So you you film you go through principle photography you have a finished film you you edit
it you cut it you have the final product.
I guess for the people who are listening who are sort of uninitiated into the world of
distribution and sales and acquisitions what sort of as a filmmaker when you have your
finished product now what like what does that look like for you.
(24:25):
It's a great question and it's one of the hardest ones to answer.
So the I we get calls from time to time of people are pitching their script and they're like
oh would you be interested in producing this or something and I just pushed those all
away because I'm not really interested in it's because it's an enormous amount of work.
So if you're like I want to do that Adam I you made a movie I want to do that how do you
(24:47):
do that.
I would say one of the biggest things you first have to do is to raise the money for the
darn thing and that's in monumental hard thing in it at the start.
But you need a you need a budget for it.
Okay so that's the first thing figured out and you can do it through a kickstarter campaign
you can do it the way that we did it the majority of what we did which is private financing
which is me running around with my friends who had money going you want to you want to
(25:11):
blow some money on something really dumb that you probably won't get paid back on.
Or you can try and find an investor that you know like an angel investor somebody that's
out there that might be wanted to invest in this stuff.
I can tell you it's a lot harder to raise any of that money than you would think.
I was like I'm going to raise like a million half dollars no problem.
Nope six months later it had very little money to show for it.
(25:32):
Yeah so it is a lot of hard work a lot of grind to get that and I bring that up because that's
the first step in the process that you need to overcome in order to get to that part which
is distribution.
And you have to be thinking about that in as you raise the money how do I pay these people
back.
Yeah and that because that's the distribution side.
And so you raise some money you've got a script you've got the crew you're like I'm
(25:55):
going to shoot this you're going to shoot it you spend all your money and then you do
your post processing and you go crap I should have kept some for post processing and then
you finish the film and you're like okay I have a finished product now because that's
what we have we have a finished film now and it is a product.
How do I make my money back.
It's a similar process to any other product that's out there.
So if you if you built widgets you build washing machines you have a product I have a washing
(26:18):
machine how do I sell it now.
And so that's a process that you have to take out into the out of the field and figure
out where where's the chains of distribution that I can make deals with in order to get
this out in the world.
And so for me what I was told was you go to a film market.
What's a film market.
The bunch of distributors that are and buyers that get together every couple of weeks every
(26:42):
six to eight weeks around the world.
So there's the American film market that used to be out in LA now it's here in Las Vegas
might be going back to LA we'll see.
There's like the Berlin Film Festival there's Tokyo Film Festival there's a con Film Festival
there are places where you can take your film to sell it.
(27:03):
But as a filmmaker starting out you don't know anybody there.
You're like going in green.
And so when I've been to AFM a bunch of times and it's like every time I go there I don't
know what these people are.
Yeah.
I don't have a relationship with them any you know ongoing.
So it's like it's really hard to like who are the trustworthy ones.
Who's the charlatans?
(27:23):
There's no sign hanging out that says these people are legit and everything.
And I the road map out there is littered with people that have lost their shirts on their
film.
So I have yet to meet a filmmaker who's made a bunch of money on their movie.
And I think that's strange.
I'm like what do you mean you didn't make any money on this thing?
(27:44):
And like I had a conversation with one guy in LA because I was cold calling people for
a while and I talk with him and I was like he goes yeah it's made like a million half
with Sony picture classics but we haven't made any money yet.
Two years in.
Wow.
Yeah wow.
Yeah.
And that was like a more remarkable one because the normal ones are oh we got a deal with
(28:11):
XYZ distributor and it's like 60,000,000 revenue that's come in.
But we haven't seen any of that yet because it's there was a $50,000 marketing spend that
was included in the contract.
So the distributor basically says well I've got costs to distribute this film.
(28:32):
I'm going to have a bunch of costs upfront.
And so until those are exhausted you won't make any money.
Yeah.
I'm going to pay myself back.
I'm going to spend $50,000 on recoding a trailer and supposed to travel around and
traveling all these markets and spending all this marketing money traveling around.
And once that's exhausted then we start splitting and you get 70% of the revenue and I get 30%
(28:53):
or we split it 50, 50, whatever that deal is.
So that deal I heard repeated again and again and again from filmmakers who haven't yet
made any money or if they had made very little like in the thousands of dollars, hundreds
of thousands, thousands of dollars.
On a budget of, on a budget of 100,000, 200,000, 500,000 that type of stuff.
(29:16):
And the reason for that is, I think one of the reasons for this is that micro budget production
is under a million and that's where we live is under a million.
They live in this really weird spot where it's, you haven't spent enough money to create
a product that lives in this higher echelon tier and so you're not respected and played
(29:36):
with it at that higher echelon tier.
And the thing is is that if you're spending that kind of money to get up there you better
have your distribution thing worked out beforehand.
Otherwise, that is one risky endeavor you're really.
So instead, what you're forced to do because you don't have those relationships or those
pipelines out there, you're in this sub million dollar micro budget space and that's littered
with lots and lots of people that don't have connections and there's a lot of distributors
(30:01):
out there that can take advantage of that situation.
And I'm saying, like there are, there's, go on Facebook, there's some lovely Facebook
groups like distributors to stay away from.
This literally a subgroup.
There's a group of people that go, these people stay away from because they're crooks and
corrupt and cons.
And that's the part where the distribution game at this point in 2025 year is, it's, it's
(30:24):
not, I have not found it to be easy to figure out.
Yeah.
So I went to AFM, I meet all these distributors out there and the deals that they're going
to give you are, you give us your movie for the next three years, the next five years,
the next seven years, the next 15 years.
You do, you get 70% will take 30% or will split it 50, 50.
(30:46):
And you got to trust that they're going to go make money on your movie.
You have to trust that.
And I have yet to be comfortable making that deal with anybody.
And I put it akin to, what if you're, imagine you're selling your house, right?
You got a half million dollar house and you found a realtor and they're going to represent
you.
And the deal was, sign the paper, paperwork.
And for the next three, five or seven years, I'm the one selling it.
(31:09):
And if I don't sell it, you get it back at that time.
And I imagine it's also sort of this weird two-way job interview where you're trying to, you
know, phase out the distributors who just aren't going to work for you, the ones who just
are worth, you know, having those meetings with while also simultaneously not just trying
to sell your product, but yourself to these distributors and be like, no, like I have something
(31:31):
that is worth your investment.
So you're kind of having to do two jobs at once.
Yeah, but I think at a certain point, it's a weird model.
It still doesn't make sense for me.
I sell insurance and investment.
So it's like, I've been around selling stuff for a long time.
So this is just the film industry in that sub-million dollar category.
I think it just hasn't broken free into a model that benefits the person making the product.
(31:58):
It's still the distributor has all the authority, all the power in that relationship.
And there's no great recourse for the filmmaker yet that's been developed to do this on their
own with it.
So for us right now, what we're doing, after going to AFM a couple of times and going over
to France to con and meeting with a bunch of distributors is we are self-distributing.
(32:19):
And that we did a deal with one of the distributors that allow us to pay to have our film quality
control, QCID, and placed on various platforms.
And that type of arrangement for me makes the most sense.
I can pay someone, it's like $2,500 bucks, $3 grand, it's not a lot of money, to get my film
(32:40):
placed onto Amazon, to get it onto Apple TV, and then I get 100% of the revenue from that
transaction.
So that type of a deal is so much better in my mind than the same deal with some of these
distributors where you're forever giving them 30%.
So it's a year, two years, five years, seven years down the road, I'm splitting that revenue,
(33:00):
I'm like, what's, you've done your job?
Because all of the distributors that I talked with, they're like, yeah, we're going to do
the marketing for the film.
And that entails a Facebook post or a blog post somewhere, and that's it.
That's the marketing that they do for those projects.
Yeah, so I was like, I can do that.
I can fail at marketing on my own.
I don't need to give my movie to someone else for the next seven years and have no control
(33:23):
over it to make that happen.
There's a, there's a filmmaker out of Australia, Mark Touse, I think is his name.
He had a movie called Machines of Man, and he's got a YouTube video on this.
And I watched that a couple of times and I just was blown away at his, uh, brashness and
his willing to roll the dice and see what came of it.
And I, um, his film, he self distributed because he was looking at deals himself and he says,
(33:49):
well, I, there's no guarantee I'm ever going to make any money on this stuff.
So I, it's my money.
I may, I paid to invest in this film and make it.
Let me, let me roll the dice and, and if it doesn't work out fine as a grand experiment
that they make any money, but let me try.
And he made his money back doing self distribution, transactional video on demand stuff.
And at one point he was doing, you know, um, I don't want to go to watch the, the episode,
(34:10):
it's an amazing episode.
The guy, uh, uh, monsters of man was the movie and I'm pretty, it's on film hustle and, uh,
it's, it's a great, uh, piece about how he did self distributional thing.
But the, my takeaway was he kept control and, um, he, he was, he was not willing to, to settle
(34:31):
for the small pittance of money that he was getting from, uh, some of the streaming companies.
He was on, he, at some point along the way he got talked into doing Amazon Prime and he's
the number one movie on Amazon Prime for, uh, over a month in America and he's like, I made
a couple hundred grand.
That was it.
Yeah.
That's the reactional stuff made well over a million back on that stuff.
(34:52):
It was like, his comment was f streaming; "I'll do transactional."
I'm not going to sell my movie for 5 grand to Germany just because.
Germany's got 50 million people, I can market directly to them.
They don't even know what my movie is about.
They've never even heard of it, right?
So to them I can remarket to them online and they will be reintroduced as if it was a new
(35:16):
movie.
And then you're getting multiple displegues.
Yeah, and he gets to redo it.
They had their initial piece that they pushed out and he made the bulk of his money on it.
He says, "My biggest mistake was not spending enough money on that initial marketing push
because if it were I'd be picking out my next yacht."
So it was one of those moments where I was like, "This person is speaking my kind of
(35:38):
language which is you make your own destiny with that stuff."
And I'm willing to trust myself way more than some of the charlatans that I was meeting
in the distribution space.
So we'll see.
Fingers crossed, like I said, if it doesn't work out, at least still I still own the movie.
I can take it to someone else.
I can go back and do that deal with the distributor and go, "Well, we didn't make any money,
(36:00):
but could you make some?"
The thing at the end of the day is this is a business and that's what drives it.
Which is why I started this conversation about distribution on the raising the capital
for it is that you have to think about how do I sell it at the end?
How am I going to make my money back?
And that distribution model that was there 20, 30 years ago doesn't exist anymore.
DVD sales don't exist.
(36:21):
Blu-ray discs don't exist.
It's everything's streaming.
So right now the big money maker for people is advertising video on demand, Avaad.
And that's places like Toobie or places like YouTube where you're being served ads and
you're getting a penny or two per watch.
Which some people are able to make quite a bit of money on it.
It's not the type of money that you used as BBC and DVD sales friends.
(36:45):
So for those who are interested in seeing action action, can you tell us a little bit about
where we could watch it?
Any upcoming events, anything you want to plug for the film?
Yeah, so we have our first is our world premiere which is happening at Stadium Swim at
the circuit is presented by Duck Duck Shed in the Neumuseum on April 25th and doors open
(37:07):
at 7pm.
It's going to be an amazing event.
The cool thing about that is Derek Stevens, owner and CEO of Circa and Aaron Berger executive
director of the Neumuseum.
They came to work our friends and family cast premiere that we had.
They watched the movie and they're like, "Oh my God, this is great.
People should see this.
We should celebrate this."
(37:27):
And I was like, "Okay, yeah, it's nice.
I'm really glad everybody liked it."
And Aaron's like, "No, serious.
What do we do to Duck Duck Shed?"
And I was like, "That'd be cool."
And they were going to do it at the Beverly Theatre?
Yeah.
And I was like, "Well, if you do it at Beverly, maybe Derek would want to do something at
Stadium Swim or something."
And Aaron was like, "Oh no, we need to join forces."
And so I talked to Derek, talked to Aaron and they're like, "Yeah, let's do it."
(37:50):
So we picked the date.
It's Friday night April 25th and it's really because two people that I respect and have
worked with for the last several years saw something in the film and the thing that we
created and they wanted to help showcase it.
And I'm forever grateful for those guys because it's a neat platform.
My movie would get out there online and find it.
(38:11):
It's an action flick.
Some people would be interested in seeing that.
But to have the city kind of get behind it and have an organization like the Neon Museum
help push it out.
To have someone like, "Circa, because they'll push it out and Derek Stevens pushed out."
It's awesome.
I mean, that's a testament to how much love is poured into the film in general just from
the city.
Totally.
Having that support on an institutional level must be very validating as well.
(38:34):
Oh yeah.
I don't feel like a fraud.
I don't know how to do anything.
But it's really cool to have others respect your work.
And that's, I'm excited.
This morning we were down there testing audio and video on the big screen.
Oh, it's cool.
So 143 foot screen.
And my head is going to be on it.
My movie is going to be there for everybody to see.
(38:55):
And I'm tickle-pink with it.
It's going to be a really fun night.
And I hope from that we create enough attention to it that other people are willing
to go on this journey and discover it for themselves and to help support it.
We're going to do a screening in LA here.
I think we've got May 9th picked up for that.
I'm going to go to my hometown in Fairbanks, Alaska, May 16th.
We're trying to book a theater for that.
(39:16):
Oh, that's cool.
And it'll be online at some point.
I hope that people can, you know, they're willing to buy it and to discover it for themselves.
Because it is a love letter to Las Vegas.
It's a love letter to old school action flicks that we grew up in fast.
And it's a hell ride.
I mean, it's fun.
And I just feel like as you watch it, it just keeps ramping up because it's awesome.
(39:38):
All right.
Well, it was a pleasure having you, Adam.
We're so glad that you got to talk to you and pick your brain a little bit on the film.
So thank you so much.
Thank you.
Thank you all for having me.
It's really a pleasure.
Wonderful.
[MUSIC PLAYING]
And that's it for this week's Film Department episode.
(39:59):
We hope you enjoyed today's class and we'll like, subscribe, and share wherever you're
listening to your fine podcasts.
If you'd like to read previous reviews of films talked about on the podcast, you can
head over to our sub-stack at the Film Department.
Thank you to the Beverly.
And if you're interested in catching action action on the 25th of April, you can go check
out actionactionthemovie.com for more information.
(40:20):
The link will also also be in our show notes.
I'm Davey Parks.
And I'm Annie Roegie.
Goodbye.
Bye.
[MUSIC PLAYING]
Imagine by the Rogers Foundation, the Beverly Theatre brings synopsis
cinematic connectivity, novel collaborations, live happening, cultural portals, and assessed
for independent spirits to downtown Las Vegas.
(40:41):
With emissions of stage uncommon cinematic, literary, and live experiences, the Beverly
Theatre is Las Vegas's first and only independent film house, storytelling arena, and live music
venue.
Check out our event calendar at thebevelytheater.com.
So we're gonna have to...
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