BPS 451: Making Movies Without Sight: Inside the Creative Mind of Gough

Every once in a while, a filmmaker comes along whose story redefines what’s possible. On today’s episode, we meet Gough, the world’s first legally blind filmmaker to write, produce, edit, direct, and star in a feature film. Based in Australia, Gough’s journey isn’t just about overcoming obstacles—it’s about rewriting the rules of what it means to create. Through his production company, Beer Nuts Productions, he’s built a thriving career in comedy filmmaking, releasing over a dozen films, multiple books, and audio projects, all while turning disbelief into admiration.Gough’s career began with rejection. After writing countless screenplays and sending them to production companies, distributors, and investors, he quickly realized that most people couldn’t see beyond his disability. “They knew I was blind and dismissed me out of hand,” he recalls. Instead of giving up, Gough did the unthinkable—he decided to make his own films from scratch. His first feature-length project, I Will Not Go Quietly, was a 90-minute documentary on disability and mental health. He shot, edited, and funded the entire film himself, interviewing experts, comedians, and teachers to shed light on how society perceives disability. It wasn’t just a film—it was a declaration of independence and proof that storytelling is about vision, not sight.

From there, Gough built momentum, producing a string of comedic short films that showcase his wit and unique storytelling style. Each project became a stepping stone for the next. Beer Nuts Productions evolved into a full-fledged creative hub, featuring 14 films, 7 audio downloads, and 5 books. His films—ranging from mockumentaries on the environment and fitness to satirical takes on the entertainment industry—reflect both his humor and sharp social commentary. “I just want to make people laugh and think,” he says. “Entertainment is about making people happy. That’s why I do what I do.”Gough’s success didn’t come without challenges. As an independent creator, he faced the dual battles of production and promotion. While technology made filmmaking more accessible, marketing became the new battlefield. To stand out in a crowded digital landscape, he built a marketing team and launched campaigns across Facebook, Instagram, and traditional media outlets. His approach combines modern outreach with old-school persistence—podcast interviews, press releases, and direct audience engagement. “It’s never been easier to make a film,” Gough says, “but it’s never been harder to get it seen.”What makes his work even more remarkable is his hands-on directing style. Despite his visual limitations, Gough has developed an intuitive approach to editing and performance. He directs actors by focusing on vocal tone, rhythm, and emotion rather than facial expressions. “I can tell by the sound if the performance is right,” he explains. With a trusted crew who understands his creative process, including his longtime editor Simon, he ensures that every cut, cue, and line lands perfectly. The result? Films that are not only technically solid but emotionally precise and deeply entertaining.

Beyond filmmaking, Gough is a storyteller, a humorist, and a living example of creative determination. He believes that ignorance about disability can be cured through education and empathy—and his films do exactly that. Whether he’s producing mockumentaries about modern life or stand-up-inspired sketches, his work carries the same message: limitations only exist if you let them.From his first documentary to his recent comedy The Environment: The Real Truth, Gough continues to prove that filmmaking is an act of courage and imagination. His story is not one of pity or perseverance—it’s one of power, laughter, and possibility.

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Episode Transcript

Speaker 1 (00:03):
You are listening to the IFH podcast Network. For more
amazing filmmaking and screenwriting podcasts, just go to ifahpodcastnetwork dot com.

Speaker 2 (00:12):
Welcome to the Bulletproof Screenwriting Podcast, Episode number four fifty one.
Your dream doesn't have an expiration date, Take a deep
breath and try again.

Speaker 1 (00:21):
Kat You Whitten broadcasting from a dark, windowless room in
Hollywood when we really should be working on that next draft.
It's the Bulletproof Screenwriting Podcast, showing you the craft and
business of screenwriting while teaching you how to make your
screenplay bulletproof.

Speaker 2 (00:36):
And here's your host, Alex Ferrari. Welcome, Welcome to another
episode of the Bulletproof Screenwriting Podcast.

Speaker 3 (00:44):
I am your humble host Alex Ferrari.

Speaker 2 (00:46):
Now, today's show is sponsored by Bulletproof Script Coverage.

Speaker 3 (00:50):
Now.

Speaker 2 (00:51):
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(01:13):
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(01:34):
Enjoy today's episode with guest host Dave Bullets.

Speaker 4 (01:39):
On this episode of the podcast, I have a very
special filmmaker because he has a very special journey, a
very special case, even more so than usual because he's
actually blind. This person is the first legally blind person
to write, produce, edit, direct and start a feature film,
which is the first time that's happened, I mean, you know.
And then he's going to to write and produce and

(02:00):
direct to many other projects, including a number of films,
audiobooks and books. His film production company, Beer Nuts Productions,
has worked with some of Australia's finest actors, artists and
production crew and he has been able to you know,
he's doing you know, following his dream. He's doing it
right there in Australia. And that's one of the things
about this podcast is pulling people from all over the world,

(02:21):
and it's seeing that all of the great things are
happening all over the place, and we talk all about
that stuff and how do you make a film when
you're blind? And you know, all the doors were closed
in his face and nobody really took them seriously, and
now he's out there doing it and now he's on
this podcast with guest Goff. You know, by the way,

(02:43):
you were actually the first person from Australia that they've
actually had on the podcast.

Speaker 3 (02:48):
Oh, I feel honored. I feel OneD. Sorry, Yeah, you're
making it the global now you're going global.

Speaker 4 (02:56):
Yeah, exactly. We've had Canadians on, I've had British filmmakers
on and now and I've had New Zealand filmmakers on.
So now we're going to go to Australia. Now I'm a.

Speaker 3 (03:08):
Little upset that New Zealand came before Australia. I do
have to say, I mean, you know, I don't know
that that's quite I think you've got the order there
a little bit mixed up, you know, so, because obviously
in Australia we make all of our jokes about New Zealanders,
like you guys do about Canadians, you know. So you know,
I'm just a little bit upset the New Zealand came first.

Speaker 4 (03:29):
I'm sorry man it What happened was she reached out
to me, and that was our good friend at Film
Swrights PR and she actually reached out to me and
just said, hey, Dave, want to do this and I said, sure,
you know what, I you know what, GoF I did
not think about it though I should have. I should
have said, I'm sorry, I have that something on Australia first,

(03:49):
and then I can have you on.

Speaker 3 (03:54):
You'll lope for next time.

Speaker 4 (03:56):
Yeah, exactly, I'll make sure to make that now. I'll
never make that mistake again. I swear to God. So
so so goff. If we get started, uh, you know,
just discussing your career, you know, uh you have a
very interesting, uh you know backstory because you know, I've
never had anyone on the show before that has that
is actually legally blind and you're a filmmaker, and I

(04:19):
mean I think that is so unique and so just incredible,
and I think you know a lot of people are
interested to hear you know, how you actually your your
process and how you work. So so just to get started, guff.
You know, how when when did you get started actually,
you know, making films and making movies well, being.

Speaker 3 (04:39):
Up to Productions, which is my production company. I started
back back in two thousand and six, so a long
time ago now, And I first started, like, I had
a bunch of scripts that I had written, and I
was sending them out to distributors, networks, production companies, private investors,
I mean honest, sending out what the play You couldn't
even imagine the pl I was sending out the pictures

(05:01):
and scripts, and it became clear to me that nobody
wanted to pick up my work, and it was based
purely on the fact that they knew I had a disability,
and they're like, oh, blind, this is what the hell
is this guy thinking. So you know, they weren't actually
you know, reading the work promptly. They were just you know,
dismissing me out of hand. So in twenty ten, I thought, well,

(05:25):
the best thing to do is to make a film myself,
and I'll show them that I can actually do what
I say I can do. So that's when I made
my very first film, which was a ninety minute full
length documentary all about disability. And mental health called I
will not go quietly, and so I did all of
that myself. So I shot up myself, I edited myself,

(05:46):
I got the funds myself, you know, I bought my
own equipment. I did the lot myself, and so I
thought that would That's part of the narrative of the
story of that particular documentary is actually showing that, yes,
I can actually do what I say I can do
as well as obviously we interview twenty four experts like

(06:07):
neurosurgeons and school teachers and psychologists and even comedians as
well to get their take on disability and mental health
issues and stuff like that. So after I did the documentary,
then I thought, well, you know, I want to keep
going doing what I'm doing. And so yeah, I just
started making my own turning my scripts that I had

(06:28):
that I was sending out. I thought, we'll just make
them myself, and so I, yeah, I just funded them
myself and started the gravy train, so to speak.

Speaker 4 (06:38):
So just to sort of take a step back, when
you mentioned when you were, you know, getting rejected and
they were sort of saying, you know, what does this
guy know? You know, what kind of scripts were you writing?
Was it like a full Was it full length scripts
or was it like short film scripts?

Speaker 3 (06:53):
I had everything, man, I mean I've been writing ever
since I was a little kid. So I had everything
from TV series, the short films, the feature films, like
things that were big budget and things that were tiny.
And so I was sending out all different kinds of
things to all different kinds of people, and yeah, just
putting together some what I thought were really strong pictures.

(07:13):
And yeah, like I said, just nobody wanted to know.
So I figured the you know, I didn't want to
give up. I mean, I figured I spent all this
time writing all this great work. You know, I want
people to enjoy it and be entertained by what I do.
So you know, the best way to do it is
to just do it myself. If they're not going to
help me, then I'll just do it myself pretty much.

Speaker 4 (07:35):
Yeah, And that dya attitude to do yourself. I think
that that, you know, as we were, you know in
twenty seventeen, that attitude is prevalent everywhere because you can
make your own film now, you know, you can shoot
it on her cell phone, as we've had Sean Baker,
who did Tangerine he'd shut his film on a cell
phone you can distribute it yourself. With Jason brubriger On

(07:58):
talking about that, So you know, things have definitely changed
GoF where you can now do those types of things
yourself and you can be you could be almost the
one man army, you know what I mean. You can
go out and produce material and say you know what,
I can do this stuff and you know what, I
Am going to do it and here it.

Speaker 3 (08:16):
Is absolutely man, I couldn't agree more. Actually, there's a
very famous Australian comedian, writer, producer, director who done a
bit of everything called Ian mcfadgen, who was huge in
the nineteen eighties on Australian television and he now is
a lecturer at university and I remember meeting him one
day and he said to me, he said, Gos, it's

(08:37):
never been easier to make because he was talking about TV.
He said, it's never been easier to make a TV show,
but it's never been harder to get it out. And
he's absolutely right. I mean, the equipment prices have gone down,
Like you say, you can even shoot stuff with a
cell phone if you want to, so that I mean,
so it's never been easier to make it and edit

(08:58):
it and get it packaged and ready to go, But
it's now so hard to get it out to the public.
Because it's hard for you to promote your work and
get the public to your particular website, you know, to
your wherever you're housing your your gear. It's hard for
them to for you to put your hand up in
such a crowded marketplace and say, look at me, look

(09:19):
at me. So it's never been easier to do it,
but it's also never been harder to get your work
out there for people to enjoy.

Speaker 4 (09:27):
Yeah, it's the new war of eyeballs and ears and
you and you say, and you say, you know, how
do I get people to see my stuff? How do
I get people to listen to my stuff? How do
I get people to read my stuff? You know, since
content creation is increasing every every year, every month, every week,
every day, every hour, it's like, you know, and there's

(09:47):
so much stuff being you know, out there, and the
barriers are are are gone and the sort of you know,
the barrier's entry are gone, and now you know, everyone
has the Internet.

Speaker 2 (09:59):
Will be right back after a word from our sponsor,
and now back to the show.

Speaker 4 (10:08):
Well, well, for the time being. Here in America, we
all have the Internet. I don't know if you I
don't know if you know this, Golf, but they might
end net neutrality here and I don't know how that's
going to play into content creation and all this stuff,
but we'll see about that. But so so, but just
to sort of go back to us talking about with
everyone being able to make stuff, it's it's the war

(10:30):
of you know, how do you stand out from the pack? So,
you know, and I do want to talk also about
your documentary, but as one of this topic, you know,
what are some of the things that you found Golf
that that are that enabled you to stand out and
sort of you know, stand out from the pack.

Speaker 3 (10:46):
Well, with each project I do, because I've done fourteen
films now, so with each film that I do, I
do a reasonably heavy marketing campaign. I've got a young
lady called Amy on board who helps me with all
my marketing stuff, and so we do social media stuff,
but we also do a lot of old school marketing
campaign So we contact the media, you know, send out

(11:07):
your press releases to local media and international media and
even like podcast like yourself and yeah, just contact as
many media outlets as we can and try and get
some interview and some press that way as well as
obviously the social media kind of kind of angle as well.
So we sort of hit it in two ways, is

(11:28):
how we go about it at the moment. So yeah,
every time we do a film, we do a reasonably
heavy kind of marketing campaign to go with each film.

Speaker 4 (11:37):
So is there any particular like social media channel or
outlet that works best for you?

Speaker 3 (11:43):
Well, I have found Facebook and Instagram to be the
two best, but I mean I've heard other people love
Twitter and use Twitter a lot. I'm on Twitter, So
if people jump on all of those platforms and type
in Beer Nuts productions, obviously I'll come straight up. And
I obviously encourage people to life follow and share my
social media pages. So yeah, just being ups productions. But yeah,

(12:07):
I've found Facebook probably to be the best in Instagram
as well. But I mean, I think it's a bit
of horses for courses, you know, whatever you're doing. I mean,
everybody's different in their genre and their style and their
way they go about doing things. I mean, so yeah,
it's a little bit that works for me, but what

(12:27):
works for me probably won't work for another guy. You
know what I mean. So, yeah, but I have found
them to be helpful, but you need to do more
than that. You know, you can't just put something up
on YouTube or put something up on Facebook and expect
it to go insane. You know, you got to It's
a full time job. Marketing is the first why I
had to hire somebody, because it really is. It's a

(12:48):
full time gig is marketing, and so you need that
extra help to make sure that people can enjoy your
work because at the end of the day, what's the
point in making something if people aren't going to enjoy it.
I mean, that's the whole point of doing this is
so that you can entertain people and make people happy.
I mean, that's why we all do what we do.
So you know, it's important that you get the work

(13:09):
out there so people can enjoy it.

Speaker 4 (13:12):
Yeah, I agree completely, Goff. And you know it's in
speaking of you know, all these social media channels and stuff.
I wanted to ask because I haven't had a chance
to really ask anyone this yet. So you're very close,
well reasonably speaking to China. Uh And in China, the
number one social media app is is Webo. Have you

(13:34):
ever attempted to use like webo for anything. And the
reason I bring that up was just because you know,
the country has you know, I think a couple hundred
million people on there, and I've always and I just
as a marketer, you say to yourself, my god, a
country has one hundred a couple hundred million people then
and it's legit, you know, and it just and it
just keeps rising as China keeps pulling more and more

(13:56):
people towards the city from rural areas to they to
maybe they could reach their full cap. But with so
many people on that, have you ever attempted to try
to use waibel?

Speaker 3 (14:06):
I haven't. I'm sorry, Yeah, no, I wish I could
give you a really clever answer, but I can't. But no,
it's no, I never have. It not something that Amy
and I have discussed. To be honest with you, I
think mainly because we mainly go for English speaking audiences.
For the simple reason is, you know, my films are
mainly comedy bass well pretty much all of my work

(14:28):
is comedy base, and so you really need to have
a fairly good grasp of the English language. So we
mainly go for you know, your western sort of country,
so to speak, so you had more English speaking audience.
But I mean it's something that we'd absolutely look into
in the future, but yeah, for now, probably probably not,
but you know, it's on the radar absolutely.

Speaker 4 (14:51):
Yeah. I figured i'd ask, I mean just because I've
never had seen anyone actually use it yet, and I
was just interested, you know obviously, you know, just because
anything that's a couple of hundred million users, you're kind
of like, well, I guess I actually at least attempt
to see what you want to see what this is about,
you know, uh, and you being a lot closer to
China than I am. And uh, but but you know,

(15:13):
as we sort of good, I just want to take
a step back. I mean, I know we've we've kind
of gone away to the marketing aspect of this. But
you know, with all your writing and everything, and and
you know, you grew up with this love of writing,
and you started to write all these screenplays and short
film scripts, and you know, nobody, you know, like like
you just said, nobody really took you seriously or nobody

(15:34):
wanted to produce it, and you ended up making your
own film, which ended up becoming I will not go
quietly and you know what was the impetus And when
you finally said, you know, to yourself, I'm gonna shoot,
I'm gonna prove them all wrong. And I'm just gonna
shoot this movie myself, and I'm just gonna I'm gonna

(15:55):
do it, and and and I'm just going to move
forward with this.

Speaker 3 (15:59):
Yeah well oh yeah, well yeah, pretty much out of frustration,
you know, people just not understanding. I mean, there's a
lot of ignorance in the world in regards to disability.
But the good news is is that ignorance is a
curable disease. You know, all you need to do is
get yourself educated, which is pretty easy to do in
now day and age. So it came out through frustration

(16:20):
of people just not understanding, you know, my disability and
what I can and can't do. So I thought, well,
if I use my own story as a template and then,
like I say, get a range of experts to talk
with their knowledge on these subjects of disability and mental health,
then yeah, I reckon I could make a pretty good film.
And sure, en up, I got myself for my ninety

(16:42):
minute feature out of it, which I'm really really proud of.
So yeah, like I said that was back in twenty ten,
so a little while ago now, But yeah, no, I'm
I'm very happy with how it turned out, but yeah,
it was. It was all came about through basic frustration
really and just not being able to be heard, I guess, really, yeah,
And I.

Speaker 4 (17:02):
Think a lot of people have felt that way, and
also installs feel that way. You know, when I and
I read about different paths that we've all taken, and
not only guests on this podcast, but just hearing people
from Hollywood and hearing people in any film world from
all over the world, you know, you start to see
these different paths that people take, and there is always

(17:23):
a time when people sort of say, you know what,
there's there's no it seems like every door is closed.
You try to go this route and screwing and competitions
and that that door is closed. You try to go
to this route and you try to get film financing,
and then you know that door is closed because it
always becomes a catch twenty two right golf, where it's like.

Speaker 3 (17:41):
But you gotta always find a way, man, where you
know where there's a will, there's a way. You've got
to figure out that that's the that's what it's about, though,
because you're absolutely right. I mean, there's nothing more frustrating
that and I'm sure a lot of your listeners who
are filmmakers would absolutely agree with There's nothing more frustrating
the knowing you'll sitting on a really terrific script, a

(18:02):
really great idea, and just people just aren't getting it
for whatever reason. I mean, maybe maybe your pitch isn't
as good as it should be, or maybe they're not
reading it ry, or they're not understanding a character, whatever
the case may be. But you know, you're sitting on
something great. So you just need to figure out, well,
how can I get this now made? How can I

(18:22):
get this out there? You know what, angle do I
hate because I mean that's the traditional way of making films.
I mean, it doesn't really work for everybody. So you've
got to figure out, well, how can I get this done?
So for me, it was, well, you know what, I'll
fund it myself, you know, because a documentary at the
end of the day, a documentary isn't that expensive to do,

(18:43):
because I mean, once you get the equipment, all you
have to do is just organize the interviews that you
want to do and get the clips that you need
to get and put it together. I mean it's not
that different. I mean there's no big stunts or special
effects or anything like that that you have to worry about.
So a documentary is a reason the easy thing to do.
And then of course the money that you make from

(19:03):
that then you can put to which is what I did,
put towards your next project. And then the money you
make from that, you put towards your next project, and
before you know it, you're you're churning him out, which
is absolutely what you want to do. So that that's
sort of how my business model has been. So with
every project that I relieve, I get the money from that,
I put it into the next project and hopefully make
it bigger and better. And then you know, I can

(19:25):
get more money and make the next film bigger and better.
And so that's that's sort of how I go about it,
because that's things to work for me.

Speaker 4 (19:32):
So yeah, it's a good Walt Disney always said that,
you know, he always he only makes he only makes movies,
so we can make more movies. And that's why you know,
when the money would come and you just take that
and you put it towards your next project.

Speaker 3 (19:45):
Absolutely, now absolutely, I mean and like I love what
I do, I really do, so you know, I don't
want to I don't want to blow all my money
on something something that isn't going to be helpful to me.
I mean, I want to keep I've got tons of
scripts still to make, you know, I've still got lots
of great ideas and.

Speaker 2 (20:06):
We'll be right back after a word from our sponsor
and now back to the show.

Speaker 3 (20:15):
Still got lots of scripts that I need to make,
So I'm gonna keep going. You know, I'm not going
to stop. So yeah, when when people hit the website,
the Benuts Productions dot com or c you know, we've
got five books, we've got seven audio downloads, and we've
got fourteen films for people to enjoy. And so yeah,
we're just going to keep on keep on rocking them
out as quickly as they possibly can.

Speaker 4 (20:38):
And that's what you have to do. You have to
keep that momentum going. And that's something I've found is
that once you hit something, even if it no matter
what it is, even if it's a short film that
that's that's five ten seconds, or or a podcast, whatever,
you have to keep that momentum going. Because if there's
one thing I found garfits this confidence is a very

(21:01):
hard thing to attain and very easy to lose. But
once you have that confidence and you can start keeping
the momentum going and it builds up. I mean, once
you have confidence Goth, you feel like you can conquer
the world.

Speaker 3 (21:14):
Yeah, well that's very true. But it's also the confidence
of others. So for example, when I first did my
first scripted projects and not the documentary, when I did
my first scripted film, like the talent agent, so I
go about making a film like anybody else does. So
you know, I contact all the talent agents around Brisbane
and the Gold Coast and I give them a brief

(21:34):
of you know, let's say, for example, I need a
thirty year old guy and he's got to look, well,
he's playing a bad guy, so he's got to have,
you know, an evil kind of look about him. He's
got to look a bit dark and shady. So I'll
send out my brief to the agents. They'll send me,
you know, back a whole heap of actors who have
got on their books that they think would suit. I
do auditions. I hire the best actors, so I do

(21:54):
it all. How a proper film should be made. So
the very first time I did that, man, I struggled
so bad to get the agents to take me seriously.
They're going, you're gonna make a short film by like
with what you know, You're going to fund it yourself,
and you've got a couple of crew members. I mean that,
you know, they didn't really take me seriously. But now

(22:15):
I'm onto my you know, I just finished my fourteenth film.
Now they now have got confidence in me. You know,
they know that, you know, I am actually going to
pay their actors. They know that I'm not full of shit.
I do do what I say I'm gonna do, you
know what I mean. So it's also having the confidence
in and also the confidence from your audience to know that,
you know, they can hit the bea Nuts Production's website

(22:36):
and they know that they're going to get a really entertaining,
funny film, so they're happy to come back time and
time again and keep clicking back. So you're absolutely right.
It's your confidence as well that goes up, but it's
also the confidence of people you work with and the
confidence of the general public as well to enjoy your work.

Speaker 4 (22:54):
Yeah, it's uh, I know you mean at the confidence
of others, And you mentioned by the way you're putting
everything together, and I wanted to actually ask about that
when you were actually making your documentary, your documentary, I
will not go quietly. You know, how did you put
everything together? Since this was your first outing? You know,
I imagine you know, obviously you're you're you're still building

(23:15):
a network, you're still making contacts, you're still looking for equipment.
So how did you go about, you know, getting everything
together for your first project?

Speaker 3 (23:23):
Yeah, well, when with that particular one. So I basically
pulled all my funds together that I had, so pretty
much all my savings, which probably isn't the greatest idea
in the world, but I thought, well, you know, I've
got to go for it. Because that's the other thing too,
just going back to your previous point, Sometimes you just
got to take a risk, you know, you've got to
take a punt and just believe in yourself and believing
your work. So I got all my funds together, I

(23:44):
bought the equipment that I thought I would need, like
just a regular sort of handicam tripod, you know, a
little rated couple of radio mics, you know, just basic
standard equipment. I organized the interviews with the people. I
just went out and I shot them myself, so, you know,
just pretty much pointed the camera and hoped for the best,
because obviously framing's not going to be something I'm going

(24:06):
to be fantastic at. So I just, yeah, I shot
it myself, and then I actually when I first finished
high school, my first job was working at a radio
station as an audio producer, making their commercials and their promos.
So I did that for about three years. So I've
had a lot of practice in editing audio. So when
it comes to editing a film, I do it like

(24:28):
I'm editing a radio commercial, in this case, a ninety
minute radio play. So I get the clips that I want,
I put them to one side, and then I just
put the clips together like a jigsaw puzzle, so just
making sure that they all make sense and they're all coherent,
so to speak, and yeah, just put it together like that.
So I just edit by audio, and that still happened today.

(24:48):
So I've got Simon, who's my right hand man now,
who I edit with, and so he makes sure that like,
for example, let's say somebody is getting exiting a car
for a so he'll make sure that the shot from
inside the car is going to marry up with the
shot outside of the carpet is not, you know, so
it's nice and smooth, you know. So he makes sure

(25:09):
all that stuff is how it should be for me.
But I pretty much tell him my cues as to
you know, when we're going from a if it's a conversation,
for example, if we're going from a long shot to
a close shot, I'll know in my mind the audio
the cue point that. So when the girl finishes speaking,
for example, I want to cut to the two shot

(25:31):
then and have them both on shots. So I know
all my cues by audio, so I'll say the Simon right,
cut it there, two shot, and so he'll make it
all happen for me now. So I still edit by
audio even today.

Speaker 4 (25:45):
Yeah, and you I wanted it as too. Before I
forget did you did you have a full time job
while you were making this film?

Speaker 3 (25:54):
No? No, no, so yeah I I well, yeah, like
I said, I started in radio doing and then I
also was While I was working in radio, I was
also touring as a stand up comedian. So I've toured
all over the plate doing stand up comedy and so
when I started up being up to production, I was

(26:15):
still doing the stand up comedy. But then as obviously
as the films have sort of taken over the doing
stand up comedy, I don't really do that anymore, so
I sort of gave that away. So, yeah, when I
was doing I Will Not Go Quietly the first film,
I was doing the occasional stand up gig. But but yeah, no,
that was pretty much the end of stand up and

(26:36):
working full time on the production company.

Speaker 4 (26:40):
The reason I brought that up was because a lot
of filmmakers when they're making their first, you know, first movie,
they're either working a full time job, they're going to school,
they have a family, or a combination of the three,
and it's it's always like, how the hell do you
have the time to do it?

Speaker 3 (26:57):
You know what?

Speaker 4 (26:57):
I mean to do anything else? And then it's always
at that point, you know, whether when you know you're
you decided you've had enough, you're gonna make something of
your own, and you're this is gonna be you know,
your shot. It's also about you know, you're at that
point where you have really nothing left to lose, so
to speak, and you know, you know, we're just pulling
yourself off out of that and making those connections and

(27:20):
finding the time, and you don't have them. What you
don't you get up early, you go to bed late.
You know, you call in every favor you can to
to make sure that this this movie is as good
as possible. Because I actually had on the guy Elliot Grove,
who runs rain Dance, and he actually, uh was, was
the person who helped Christopher Nolan make his first film.

(27:41):
Following and Christopher Nolan made it on weekends and he
would come to his office and you know, borrow the
same equipment and he was done, you know, he you know,
Christopher Nolan went off and was making other movies at
that point, you know, and the rest is history. But
you know, that's why I'm always fascinated about people's first
films because always a very like David Lynch with a

(28:02):
raser head. It took me years to finish that film.
And you know, that's why I'm always interested about people's
first films, because there's always a unique even a unique
story within the story.

Speaker 3 (28:13):
Yeah, well, well that's why I say, you know, yeah,
you just like you are absolutely correct. I mean, it
came to a point where I was like, you know what,
I can't. I can't keep getting rejected by people that
don't understand me and my work and whatnot. So, you
know what, I just have to do this, I mean,
otherwise I'm going to be going around in circles like

(28:35):
on a racetrack like for the next ten, fifteen, twenty
thirty years. I mean there's guys that I used to
do stand up comedy with who were still working the
same rooms doing the same jokes fifteen years later. I mean, I,
like I said, I haven't done a stand up comedy
gig I reckon in at least five, probably seven years.
But I mean, these guys that I used to tour with,

(28:55):
they're still doing the same stuff. You know that they're in.
They're in a rutso to speak. You know, they they
need to and some of them are really funny, talented
guys who could actually really kick some goals if they
just sort of put their mind to focusing on what
they really want to achieve and what they want to do,
you know. So I suppose it's just comes down to
a case of having the confidence, like you said earlier,

(29:15):
to back yourself in and go, you know what, I
can actually do this, I want to do it and
you never. Hey, look Ben, you've only got one life.
You may as well give it or you've got you've
got to give it a shot, you know what I'm saying.

Speaker 4 (29:27):
Yeah, I couldn't agree more. Guff. You know that by
the way, you know, as you were describing those comedians
that you that you used to work with, you know
that would make an interesting documentary just following them around.

Speaker 3 (29:41):
Absolutely have you ever thought about that? Well, because the
other thing too, I mean, I don't know. I'm sure
a few of your listeners probably a comedy nerds or
go and watch a lot of stand up comedy or whatever.
But behind the scenes it's a very caddy kind of
backstabbing kind of industry.

Speaker 2 (30:00):
We'll be right back after a word from our sponsor,
and now back to the show.

Speaker 3 (30:09):
Because especially in Australia, there's a lot of comedians and
not enough rooms, so people are fighting for work. So
there's a lot of you know, like mean girls kind
of you know, butty high school bullshit that goes on
behind political nonsense that goes on behind the scenes, you know,
Like so it would absolutely make it if you were

(30:30):
able to do it properly. I mean, like, really do
a proper fly on the wall and absolutely expose all
the bullshit that goes on. Because everybody thinks comedians are
just happy, wonderful, hilarious, great people. But that's I mean,
just changing topics slightly. That's why I think comedians make
such fantastic actors. I mean, you look at somebody like

(30:51):
Robin Williams, you know, Billy Connolly is another one. You know,
comedians make great actors because every night they go on
stage and they play a character. You know, so what
you're seeing on stage, they're really funny and they're doing
funny jokes, but that's not who they are when they
get off stage, they're a completely different person. That's just
their stage persona. So they're acting, you know, five, sometimes

(31:13):
even seven nights a week. And so that's why I
think that when it comes to doing a serious role,
a lot of comedians of fantastic actors. I mean, I
saw Will Farrell. I mean people wouldn't think of him
as being a great actor, but I saw him in
a film called Stranger Than Fiction, which I think I
was the only person who actually saw that film. It
was a really great film. But he and he had

(31:36):
to play a sort of a Truman Show, kind of
a serious sort of a character. And he was absolutely fantastic.
He did a wonderful job. You know, it was really great.
So I think that's why comedians make great actors, is
because they're acting every night. So going back to the
original point, I think a documentary like that would be
really really fascinating because you'd actually see what they're actually

(31:58):
like when the camera you know, when when and then
on on stage, you know, and you'd see all the
the agents and the bullshit that goes on back behind
the scenes. You know. It's it's like, uh, it's like politics.
You know, it can be a terrible industry. Really.

Speaker 4 (32:15):
Yeah. I actually had a Don Barriss on here for
episode one hundred and he and I, uh, you know,
discussed that briefly, but about because he he was he
actually works at the comedy store. He actually closes there
every night and uh he see man, yeah he no, Yeah,
it's just all about you know, all the different comedians
that have come come back through and their uh you know,

(32:37):
over time. And on Mark Marin's podcast, he and and
and Mark just discussed working with Sam Kinnison, the legendary
comedian and they would say some of the stuff that
he would come out with and we and you know,
just just some of the stuff where it was it
was so petty over absolutely nothing, and it's like, you know,
you know it a joke too similar, you know, did

(32:59):
this guy get a bigger laughter?

Speaker 3 (33:00):
Me?

Speaker 4 (33:01):
I go on before him? Because I'm a bigger story
than this guy. And it's you know a lot of
the guys are just like, is it really like it?
Does it all this really matter at the end?

Speaker 3 (33:10):
Yeah? Well, well yeah that And that's why I reckon.
But I think it would be difficult to make that
documentary because I think it would be hard to get
that on camera. I think they would make sure that,
you know, they were playing up for that. That's why
I don't. I don't know that you'd be able to
do it for that exact reason. I think it would
be really hard to get them to actually, you know,

(33:31):
show that side of themselves and show the cattiness and
the kid coming. I mean, that's the phrase we use
in the Strada. But I mean, if you've seen the
movie Mean Girls, I mean, that's what it's like, except
the fully grown men who should know better, you know
what I mean? So yeah, but it would it would
be an interesting doco if you could actually do it properly,
it could be a really interesting doco. Yeah.

Speaker 4 (33:54):
You know. I had a friend of mine who made
a documentary and he nobody was really like wanting to
speak their mind, so to speak, and he was really
pissed off. He was frustrated, and he's like, it's not
coming together. So what he did was, by chance, he
went to an after party one night and he was like,
I'll just see what happens here. Well, some of the

(34:14):
people got a few beers in them, and suddenly they're
going up to him and they're just like, let me
tell you about this sort of a bitch about it,
and he's like, oh my guy, he goes, this is
what I wanted. Oh I needed was a couple of alcohol.
I should have thought about the first place.

Speaker 3 (34:29):
Well, when I did, I will not go quietly. I
purposely was very vague with every boy, because, like I said,
I interviewed twenty four people, and I was purposely vague
on my emails as to what I was going to
ask them, because I mean a lot of people especially,
I mean there was a few people that wouldn't speak
to me because, for example, in the disability sector in Australia,

(34:53):
the employment disability sector. I mean, one thing I found
out was seventy percent of all blind of vision impaired
people in a Australia unemployed. They can't get work because
no one will give them a go. It's disgrace. And
so a lot of people in the disability work sector
just would not talk to me because they know they're
not doing their jobs properly and they can't put these
people into work, and you know, it's just a complete

(35:15):
shambles of an organization. So I was deliberately vague when
I would send out the emails. I was just you know,
i'd introduce myself, tell them who I was and what
I was, you know, I was making a documentary on
disability and mental health. But I wouldn't tell them any
more than that. You know, some people said, oh, I
want to see the questions in advance, in which case
I'd send them some very loose questions. But I always

(35:37):
was deliberately vague because if you give people a chance
to rehearse what they're going to say it's not true.
You know, they'll make it well, they won't lie per se,
But they'll put a positive spin to make the situational
themselves look as positive as possible. So I was Yeah,
like I say, I was deliberately vague with the people

(35:57):
I was interviewing them so I would get more honest
and some feedback for when I interviewed them.

Speaker 4 (36:04):
And you know that that's actually ties into uh, well
with a question I really wanted to ask you, Guff,
and I'm glad you actually brought it up. Is when
you were making you know, not only this documentary but
everything else, you know, with you know, you being legally blind,
is is there ever a time when you're watching like
maybe the field monitor or playback when you're I mean,

(36:24):
I'm generally interested. I mean, is there ever a time
when you have where you actually you know, I can't
I don't you know what I'm sarting trying to say, Like,
can you ever like have do you have trouble sometimes
seeing playback or or sometimes you know what I mean
like or do you do you have like a DP
that you depend on for that?

Speaker 3 (36:41):
Yeah, well, well a little bit of all of that.
So so I can if I nose to monitor, I
can see what's going on pretty good. But when we're
shooting because our budgets aren't big. We just got to
shoot and we've got to move on. So I don't
have a chance to actually see the footage until we
begin it, and then I'll look through the footage then.

(37:02):
So for example, the very first scripted film I did,
which was The Heather Roses Interview, I hired a crew
and the guy who was on one of the cameras
decided that my direction wasn't up to his liking and
he was shooting all different things, and so I went
insane because that wasn't cool, man. I mean, that's not

(37:25):
the right thing to do at all. I mean, and
there's no way we could go back and reshoot it
because we didn't have the budget to do that. So
obviously he only lasted the one project and he was gone.
So it comes down to having a team around me
that I can trust and that I know that if
I give them a direction, they can follow it. And
it's also about them understanding what I want to achieve.

(37:47):
So it's about me being able to communicate with my
you know, my director of photography. You know, this is
what I want and this is why I want it,
And then he'll be like Okay, I understand, I get it,
So you know, I can just then leave him alone
to do his job, because I'm a big believer in
that as well. Is you know, if you have a
great team of people around you, you don't have to

(38:07):
babysit them. You know, you can give them their direction
and they'll go and they'll do their job. And that
means that I can then spend more time with my
actors making sure that I get the performances that I want,
because at the end of the day, man, if a
performance from an actor isn't believable, then it doesn't matter
how good your sound is or you're lighting. Is there anything, Man?
I mean, people are going to tune out instantly if

(38:29):
the actor's crap, then I mean there's not much you
can do with that, you know what I'm saying. So
I make sure I spend a lot of time, you know,
really working the script with my actors to make sure
they understand precisely exactly what I want. And not being
able to see I think actually helps because I really
focus on tones and inflections and things like that, so

(38:50):
if they're getting a word wrong, I pick it up immediately,
so you know, because I've spent a lifetime having to
listen to people, so you know, I really really spend
a lot of time with my actors with rehearsing their
lines to make sure they get them absolutely spot on.
And you know, like I say, with the DP and
I just I give. I've got a really good relationship

(39:10):
with him now though he knows exactly how I like
to shoot my work and what I you know, my
sort of style, and so he sort of almost knows
before I do kind of thing, how I'm going to
say I want this shot. He sort of knows immediately
now because we've done well, we've done twelve films together now,
so yeah, he knows how I roll now. So it

(39:31):
works really well. But it's all about trust, you know.
You've got to have a crew that you can trust
and actors that you can trust as well, and the
thing goes as well. For when I'm directing my actors,
I can't see their facial expressions obviously, so I'll say
to Simon, you know, mate, how are they giving me
good face? And He'll say, yeah, they're giving you good face.
And so that's how I know that I'm getting the

(39:52):
facial expressions that I need and we can move on
to the next shot. So yeah, a lot of trust
goes into.

Speaker 2 (39:58):
It will be back after a word from our sponsor,
and now back to the show.

Speaker 3 (40:08):
But you just can't have I mean it unprofessional anyway,
But you can't have people going rogue on you and
just doing their own thing because it just makes a
mess of the whole production.

Speaker 4 (40:19):
Yeah, and you touched on something that I'm a big
advocate of, which is if you're going to hire somebody,
let them do that job.

Speaker 3 (40:27):
You know.

Speaker 4 (40:27):
I've been on sets before a goth where it's like
people want to directors or producers, they want to micromanage
everybody to the nth degree. And you sit there and
you go, well, didn't you hire this person? I mean,
if they don't know what to do, I mean, that's
on that's on you, you know, because you're you're you
know what I mean. If you hire the person and
they don't know what they're doing, that's your fault, you know,

(40:48):
So just just let them do their thing.

Speaker 3 (40:51):
But even when it comes down to things like costume
and makeup. So I'm a boy, so you know I'm
not you know, I don't know a lot about this stuff.
So it down with the makeup artists, for example, and
she'll say, you know, how do you want this girl
to look? And so I'll give a basic description of
how I want it to look, and if she's got
any questions, she'll ask me. But basically it's okay, I

(41:11):
get it right. Well, off you go and make her
look like that. I mean, you know, I mean I
I don't know about you know, different shades of pretty
eyeshadow and whatnot. I've told you the general look of
the girl, the character. So make her look like that.
That's your job. Off you go. So that that's kind
of how I work, and it's important to do that

(41:31):
because then, like I say, I can focus on the
things that I really need to focus on, and if
somebody does have an issue, they can come to me
and I've got time to help them solve whatever problem
that they might have. You know.

Speaker 4 (41:44):
Yeah, yeah, very true. And you know that's why you
have to hire good people as best as you can,
you know, And that's what that goes back to networking.
And you know, I always tell people, even if you
can't afford to pay people, you know, work on their
movie for free, and then have them work on your
movie for free. Just you know, a sort of a
tip for tat if you can't afford to pay people,

(42:04):
there's always a creative way to solve problems, and your
money is not always the answer. I mean sometimes it's
you know, people always say it's the it's the number
one answer, because you know, money's money. But if you
if you do sort to meet new people and say, hey, look,
I have a small thing to do, like a small
short film or a small web or a web series

(42:24):
or whatever, you know, just help each other out, you know,
on that project, rather than just try to you know,
constantly compensate people with cash.

Speaker 3 (42:32):
Yeah. Yeah, well, well that's true. I mean it's like
I said earlier. You know, truck is so important when
you're when you're working with people. So if you if
you have a good relationship with your cat and your crew.
I mean, there's actors that I've worked with three or
four times in the film because I know that they'll
always do a good job for me. They are quality actors.
So if I've got a film coming up and I've

(42:53):
got a particularly I don't necessarily right for actors, But
if I've got a film that's coming up and I think,
you know, so and so would be really good for
that role. I'll call him up straight away and say, hey, buddy, man,
I've got a job for you. Do you want it?
And then you know, we go from there. So it's
I'm a big believer in that in loyalty. You know,
if people it's silly to go out and hire somebody

(43:15):
new when you've got somebody who like I mean, Simon,
he's been working with me now for the best part
of five years and I'm not going to fact the
guy anytime soon because he does a fantastic job for me.
So I mean it's important as well to make sure
that once you find good people, you do whatever you
can to get him to stick around, you know what
I mean.

Speaker 4 (43:34):
Yes, absolutely, you got to keep that team going. And
that's why, you know, I always see directors working with
the same people over and over again. It's because they've
built that team and they sort of work well together.
And as you made your film I Will Not Go Quietly,
which by the way, is free on your website. I
think that's really really cool, by the way, and you know,
you started to make some other films, you know, other projects,

(43:57):
other short films, so you know, do you you know
what was what was sort of that that a journey
you know obviously, you know, just making these other films,
I mean, did you start to get more and more
of a budget or do you always try to keep
the same sort of style and same budget but moving forward?

Speaker 3 (44:14):
Oh no, No, try and try and get as big
a budget as I possibly can, you know, so it
gives me a little bit more breathing space, so I
can maybe hire an extra crew member or if I
need a few other extras or whatever I could, I
can do that. So you know, I always try and
get as big a budgets as I can, But like
I say, it always depends on the sales of the
last film. So that's why obviously I encourage people to

(44:36):
hit up being Uto Productions dot com and they'll see
all the films and whatnot up there, and they can
download whatever they want to, and they're safe in the
knowledge that while they're getting entertained by that particular film,
that that that purchase of download is going towards making
my next film to entertain them. So again, everybody wins,
you know. So yeah, I try and try and scrape

(44:58):
together as much in the way of funds as I
possibly can, so yeah, because it does help. Let's be honest.
I mean it really does help. You know, the more
money you have, the better you can do things, the
more relaxed things can be. So so yeah, no, I
do try and do try and raise as much as
I can. But like I say, it all depends on sale.

Speaker 4 (45:17):
So you know, just as we talked again about, you know,
your project in sales. You're sorry your project and sales.
You know what, what has been the most challenging aspect
of all this has it? Has it ever been? You know,
getting a location? Has something ever fallen through that was
a guarantee? You know what was one of the biggest
challenges that you that you faced, Garfin And how did
you overcome that?

Speaker 3 (45:38):
Well? The films are reasonably straightforward. I mean, like I say,
I've got a good experience in this industry, so you know,
and I'm not one to jump up and down and panic.
So if something is for locate, like for a film
that we're doing currently at the moment, we've had a
bit of trouble finding a specific location, but that's okay. Well,

(45:58):
I'll just keep going until I find someone who wants
to play nice and let us film it. Their location.
But so it's more about the marketing side of things.
That's what I've really found a struggle. Going back to
one of the things we discussed earlier in the chat
was marketing, and that's the number one thing that we
constantly are fighting. And that's why, like I said, I

(46:19):
had to employ somebody full time for that because it
was just trying to constantly market and then make the
films as well. Was just it was getting too much.
So and a plus, I needed somebody with more specific
skills because that's not my skill set, isn't marketing. That's
another important thing as well, when I think with filmmaking
is you've got to know what you're good at. So

(46:39):
I mean when it comes to the writing and directing
that I can do and producing, I can do all that,
but when it comes to I mean, I'm no good
with the artwork because I can't see. So I get
someone in to do that. And same with marketing. I
mean I tried the best I could, but in the end,
I just I knew I had to find somebody else,
someone with more experience and knowledge in that area. So

(47:00):
that's where Amy came in, and she's taken it through
the roof for me, which has been fantastic. But yeah,
as far as the films themselves go, well, I just
I just do what I do, man. I mean, like
I said, we do it all like a normal film
would get made. You know. I get the locations I need,
I get the actors I need, If I need any
specific crew members, I just search around till I find

(47:22):
the right people and the and I just keep going.
We just Yes, there hasn't been any any real big
challenges in that that regard. Like I say, it's all
about marketing. That that's the number one thing that has always,
ever since day one, has been the number one challenge
has been getting the work out there to the people.

Speaker 4 (47:41):
And so now that you that you have all this together,
you have that you have the website, and you have
all your all of your your projects all in one spot.
You know, have have you noticed have you noticed a
sort of a steady increase of views as you sort
of get out there more and more if you were
discovering you and your story. Have you you're to stat
or is it something or are you trying to sort

(48:04):
of you know, are you still sort of looking for
that that silver bullet, if you know, what I mean.

Speaker 3 (48:09):
Oh no, no, it is. It is steadily increasing. I
mean I'd always like it to increase more, obviously, but
you know, but it is. It is steadily, slowly but
surely growing, you know, which is fantastic. I mean, and
that's why I'm so grateful to people like yourself for
having me on the podcasts and letting me, you know,
talk about being nuts productions and what I do so

(48:32):
that people can have a chance to enjoy my work.
And so that's why I, like, I say, I'm very
grateful for your time and for the podcast. You know,
it helped out people like me tremendously to share their work.
So yeah, but it's steadily rising. But yeah, hopefully hopefully
it keeps growing and growing and growing, because that's like

(48:52):
I said in the beginning, Man, I mean, there's seven
billion people on this earth, and I'm not going to
be happy until all seven billion have watched one of
my films. So that's the goal, you know, So it'll
it'll never be big enough.

Speaker 4 (49:04):
And that's exactly, my friend, You've hit the nail on
the head. That's what I've I have that I always
say to myself too. I'm always like, there's seven billion
people on this planet, and by what two thousand and
thirty or twenty and fifty, there's going to be like
I think it's going to be up to like ten billion.
Because of the additions of all the dishes of China

(49:24):
and India. Their populations keep rapidly expanding, especially India and
you know Indi, you know, India is going to be
the most populated country in the world soon.

Speaker 3 (49:34):
Yes, yeah, yeah, it were well, I mean and are
they just their film industry, the Bollywood film industry, I mean,
that is that is mass I think I could be
way wrong, but I think I heard somewhere I was
watching a documentary on it, and I'm pretty sure they
said it's the second biggest grossing product for India is Bollywood.

(49:55):
Their film industry earned the second you know, amount of
money for that particular country income comes from Bollywood.

Speaker 2 (50:01):
Film will be right back after a word from our
sponsor and now back to the show.

Speaker 3 (50:12):
Which is just staggering, it's mind blowing. So you know,
the film industry in India is a huge, huge, huge thing.

Speaker 4 (50:20):
Yeah, and I did hear that as well. And because
they they've they produced so many different movies. Uh, you know,
a month. I mean, there's like.

Speaker 3 (50:30):
They turned them out like but yeah.

Speaker 4 (50:32):
Yeah, seriously, there's always another hit Bollywood movie coming out.
It's uh, you know. And then then some of them,
the rare, the rare top couple find their way over
here to the USA and they sort of they play
in certain areas, which which you know, which some of
them you know, are fantastic, and then other ones. I

(50:54):
you know, I try to watch films from all over
and I'm not a big musical guy, so sometimes when
they break out the song and dance, it's just not
my jam, you know.

Speaker 3 (51:08):
Yeah, No, they do have a very unique style. I mean,
I'm not saying that dad or it's screwed or anything
like that. I'm just saying, you know, they've got their
own way in style of making film in Bollywood. You know,
it's very bright, it's very in your face, it's very yeah,
sol and dance and then a fight scene will break out.
It's it's a bit of a yeah, it's just all

(51:28):
sort of action going on twenty four to seven. It's
it's a very different style to to how how the
Western side of the world makes film, no doubt about that.

Speaker 4 (51:38):
Yeah, and yeah, but there are some of the really
cool ones out there, and that's a whole nother story
for another time. You know, Goff, We've been talking for about,
you know, fifty minutes now, so just you're just in closing.
Is there anything you wanted to see to sort of
put a period at end of this whole conversation.

Speaker 3 (51:56):
Well, well, just my latest film is Theenvironment The Real Truth,
which is a mockumentary about the environment. So I'm in
a bit of a mockumentary kind of a mood. I've
made one about drugs, and I've made one about the
porn industry, and now I did one about the environment.
The next one that I'm going to do is about
the fitness industry. So I'm in a bit of a
mockumentary kind of a feel. At the moment I sort

(52:18):
of get into a mood of a style of filmmaking
and then I sort of just ran that into the
grounds kind of thing. So yeah, the last film was
The Environment, The Real Truth. So where I interview you know,
fake scientists and conservation is like a thieve Irwin kind
of a conservation guy. And then I've got a park
ranger and like I say, a few different scientists as well,

(52:40):
so it was a lot of fun. So go through
about twenty five minutes and yeah, people can just download
that particular film and all the films, all the film,
audio products and books are all available at just Beernutsproductions
dot com. So people can drink a beer, eat the
nuts and enjoy my work. That's what it's all about.

Speaker 4 (52:58):
Yeah, that's a really cool name. By the way, I
was actually going to mention that beer Nuts. I was like,
you know, it's like, yeah, like beer nuts they serve
at a bar, you grab a so obviously, you know,
before I would be verbos if I didn't actually mention
this golf They don't really drink Fosters in Australia, right, No, no, no.

Speaker 3 (53:16):
We sell that to the idiots oversea. We've rent good
beer over here.

Speaker 4 (53:22):
So what is your beer of choice?

Speaker 3 (53:26):
Well, in Australia, the number one beer over here is
Carlton Draft. It's a yeah, that's our number one beer
over here. But we're big beer drinkers in Australia, man,
I mean there are literally hundreds and hundreds of Actually,
it's kind of funny. The last film that we did,
The Environment, The Real Truth, we had to film a
scene in a brewery, and so there's quite a few

(53:48):
around the Gold Coast where I live, and so I
contacted one and they're like, yeah, man, come in film.
That's fine. I said, you're sure, I mean work play
telef and safety or you know, you're processing like food
kind of products. I mean, are we cool to And
he said yeah, just come into what you want to do.
They were the most easy going people I've ever worked
with ever. So we've rocked up to film the theme

(54:09):
that we need to do and I'm like, well, is
there any places you don't want us to go or
is there anything that we need to know or He's like, no, man,
just wherever you want to go. It's all sweet litll fine, okay, great,
And then he gave us a couple of beers before
we left. It was it was delicious. Yeah, I need
to everybody saying to me now, like all my crew
are saying to me, you have to write something else

(54:31):
about it being in a brewery so we can go back.
So yeah, but it's nice when you have people like
that that you know, I just want a nice and
cooperative and easy going and just want to help out.
So yeah, but yeah, that was for the last film
we were in, the bolt Of Brewing Company helped us
out a lot with the location.

Speaker 4 (54:49):
You know, I should mention them in the show notes.
That was actually really really cool of them. So if
you shoot me their name, GoF, I'll make sure to
mention them in the show notes.

Speaker 3 (55:00):
Well, actually, I don't know for your listeners who who
might be big fans of surfing, the sport of surfing.
Three Australian surfers, Mick Fanning, the guy that punched a
shark in the face a few years ago in South
Africa that made the news all over the world. But
Sir Nick Fanning who's a number one surfer, Joel Parkinson
and oh man, I've forgot the other guy. Those three

(55:21):
lads they just wanted with their spare cash. They were like, oh,
what shall we do, Well, open a brewery. But that's
what they did, and like a year later it's just
kicking goals and going from strength to strength. So it's
actually their brewery is where we filmed, and it's because
there's a big surfing culture here on the Gold Coast
where I live, because I we've sort of on the
Florida of Australia is where I live. So there's big

(55:42):
waves just outside my front door pretty much. So Mick
Fanning and Joel Parkinson and that they come from where
I'm at, so yeah, they decided to start a brewery
and good for me because we end up filming there.
So yeah, it's worked out well for everybody. So yeah,
it's it's funny how things work out like that. But yeah,
really cool.

Speaker 4 (56:03):
You know, some a surfer punching a shark. That might
be the most Australian thing I've heard of ever. That's show.

Speaker 3 (56:12):
Yeah, if people haven't seen it, I mean it was
on the news. It happened about a year ago. If
you just jump on YouTube and type Mick Fanning you know,
part of shark punch or something like that. It happened
in a competition in South Africa and Jbay and yeah
he was Julian Wilson was the other surfer in the water,
and yeah, it's the it's really remarkable footage and the

(56:33):
I mean it's funny now because everything was okay. But
the partner makes me laugh the most is the commentator
who's commentating the action. His reaction because he's like, holy shit,
like it was it was there. He's freaking out because
you know, the wade goes over just as this shark's
coming at Mick Fanning and they're like, has he gone under?
What's really? You know, it's actually but the commentator's reaction

(56:56):
is actually very very funny. So yeah, people could just
jump on YouTube and and watched that. It's it's a
funny clip.

Speaker 4 (57:03):
Yeah, I will make sure to look for that and
put that in the show notes. But but that definitely
I I now, every time I think of Australia, I'm
just gonna think of that. Even though it didn't happen
in Australia, happened in South Africa, but still it's a
it's an Australian thing to happen. I I remember there
was this this this video I saw one time. This uh,
this kangaroo actually had this guy's dog and it was

(57:23):
holding them and the and this guy wanted to save
his dogs. He leapt over this fence and he punched
the kangaroo straight in the face and the kangaroo, the
kangaroo fell back on its tail and then just stood
back upright and the guy just ran off because the kangaroo,
I mean, you've seen kangaroos, they can take a punch.

Speaker 3 (57:40):
So it's like they're like the big foot tall. I mean,
you don't fuck with the kangaroo that they they're vicious animals.
I mean people think there's like koala's. I mean koalas
are actually quite I mean their claws they climb trees
and so they're claus they can rip your throat out though,
I mean you don't. You don't fuck with the Australian
wildlot man, that's just that's just the no. He goes own.
So yeah, but I have a thing that clicked with

(58:02):
the kangaroo. It's very funny.

Speaker 4 (58:05):
Yeah, I've seen some of those kangaroos and their tail
they can move it so it's kind of like they
never actually fall down. They're always uh oh GoF. It
has been a hell of a time talking to you man,
and I'm glad we could actually connect again because you
have a unique story as is there you know again,
everyone has a journey in the filmmaking world, making content,

(58:27):
making media, whatever that might be, and it's cool. I'm
glad we could connect and everybody. Everything Goff and I
talked about will be in the show. Notes. Goff, I
want to wish you the best, buddy, and I will
talk to you very soon.

Speaker 3 (58:39):
Thanks very much for having me on. I really appreciate
you Time Dive.

Speaker 2 (58:43):
I want to thank Dave so much for doing such
a great job on this episode. If you want to
get links to anything we spoke about in this episode,
head over to the show notes at Bulletproof Screenwriting dot tv.
For it Slash four fifty one. Thank you so much
for listening. Guys, As always, keep on writing no matter what.
I'll talk to you soon.

Speaker 1 (59:00):
Thanks for listening to the Bulletproof Screenwriting podcast at Bulletproofscreenwriting
dot tv.