NOLA Film Scene with Tj & Plaideau
A podcast about acting, filmmaking, and the improv scene in New Orleans.
NOLA Film Scene with Tj & Plaideau
Joe Badon: Navigating the Indie Film Creative Process
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Ever wondered how to navigate the indie film scene in the face of unprecedented challenges? Get ready to hear writer-director Joe Badon's incredible journey with his latest film, "The Wheel of Heaven." From pandemic-induced delays to hurricane disruptions, Joe shares the raw reality of bringing his vision to life. If that's not enough, you'll also gain insights into the unique inspirations behind the film, which combines elements of choose-your-own-adventure books and sketch comedy anthologies. Plus, there's exciting news about the film's upcoming streaming release this fall and a DVD/Blu-ray release next year.
Follow us on IG @nolafilmscene, @kodaksbykojack, and @tjsebastianofficial. Check out our 48 Hour Film Project short film Waiting for Gateaux: https://www.youtube.com/watch?v=z5pFvn4cd1U
Hey, I'm Joe Badon. I'm writer-director of the Wheel of Heaven and I'm happy to be on the NOLA film scene.
Speaker 3:Hello, welcome to the NOLA film scene with TJ and Plato. I'm TJ and, as always, I'm Plato. With TJ and Plato I'm TJ and, as always, I'm Plato. Okay, folks, we're back with a friend of mine, director Joe Badan. He directed me in the Wheel of Heaven, as Death Finally gave me lines as the Grim Reaper. How you doing, joe?
Speaker 1:Doing good. How are you?
Speaker 3:I'm doing good. What's going on lately? Anything new?
Speaker 1:Nothing much, just been babysitting the Wheel of Heaven through the film festivals and getting distribution for it and all that kind of stuff.
Speaker 3:Oh, one step closer, one step closer.
Speaker 1:Yes, yes, yes.
Speaker 3:I've been watching your posts. You've been getting a lot of good interviews, yep, yep, a lot of festivals.
Speaker 1:Lots of great reviews, lots of festivals.
Speaker 3:Any idea when it might hit the theaters or be distributed?
Speaker 1:Yeah, I'm pretty sure that we will have a streaming release sometime in September, September or October, I think.
Speaker 3:Excellent.
Speaker 1:And then we will have a DVD Blu-ray release at the beginning of next year. That's the plan so far. Awesome, yeah, we have a distributor, but I can't name it yet.
Speaker 3:Right. Everything about this business is hurry up and wait.
Speaker 1:Yes.
Speaker 3:Hurry up and background. Let's get you there and we're going to sit you down for 12 hours. We're going to use you for two minutes. You get an agent. I can't tell anybody. You get the job. I got to hurry.
Speaker 1:Right.
Speaker 3:We did this man? When did we film? Was that right after the pandemic in 21?
Speaker 1:We shot in 22, I think. Well, it's hard to tell anymore.
Speaker 3:No, you know, because it's an indie film, folks, post-production takes a little bit longer because you have to invest your own time and money. And we in New Orleans, we had to deal with hurricanes and we had our release party. Well, actually it was in 23.
Speaker 1:Yeah, yeah, we did. I'm trying to remember the timeline. I think we shot at the end of 2021.
Speaker 3:Yeah, like November.
Speaker 1:Yeah, I think yeah, and it took about a year to edit, but yeah, so we're finally getting it through the film festivals and yeah, it just takes a while. Yeah, my editor got his roof ripped off his house during the editing process. So yeah, it took a while.
Speaker 3:Yeah we don't mean to laugh at his tragedy, but it's, you know, for me, no, no, we should laugh. No, I'm just kidding. Right, right, we laugh to, like the dark humor, to relieve stress. Right, that's right. But I started to be an actor. I had my first line in a movie and the pandemic hit the world broke. Yeah, I finally got an agent. I'm ready to start auditioning.
Speaker 1:The strike happened yeah, sister tempest, my last feature film before wheel of heaven. We finished editing it and we were ready to premiere it, and it was the day that they shut down everything for the pandemic. We had to cancel the premiere. So, yeah, it fucked up everything.
Speaker 3:And your first movie, the God Inside my Ear.
Speaker 1:Right.
Speaker 3:My and your just flipped in my head, so the God Inside my Ear and Sister Tempest can be found on Tubi Correct, and then later the shit of the third one and then any news on the fourth one. Anyway.
Speaker 1:No news, no news at all. Yeah, just kind of trying to get through Wheel of Heaven Right and then we'll concentrate on the next project, you know. But at the same time I'm, in no hurry, really busting my ass the last few years making films. I'm a little exhausted. Taking a little break just to kind of take a breather and get back on my feet again.
Speaker 2:Sometimes you got to take that mental health break, yep, because it'll wear you down. Work and running, work and running, oh yeah, so Brian has explained the concept of Wheel of Heaven and I've seen some of the pictures and some of the things that you promoted and put out. I kind of get the concept. He's described it part of it at least as kind of like a choose-your-own-adventure book, a table read, and they're going into the different scenes. I loved choose-your-own-adventure books growing up and I find the concept of this film fascinating and I'm wondering what your inspiration was for this concept that you used for it.
Speaker 1:Yeah, choose-your-own-adventure books were huge for the concept of this. That's like the only books I ever really read, like pretty much ever. Like I just love those books. I love the idea that they're interactive art. If I had a way, I would have made Wheel of Heaven to where you could actually interact with it, like actually make choices and things like that Nice.
Speaker 1:But I decided, instead of unable to do something like an interactive game movie, I am able to make a meta movie. So I made it as meta as I possibly could and I started off with basically making it into an anthology series. So that's really what this movie is. It's an anthology of short films and that's kind of based off my love for things like Kentucky Fried Movie and movies that are just like kind of sketch comedy in a way, movie and movies that are just like kind of sketch comedy in a way.
Speaker 1:I wanted to make that kind of an anthology movie but then take all of these separate storylines and actually have them all tell the same story. And so I did that by casting the same actor in each role of each different universe, each different story that I'm telling and then in each storyline or each universe is essentially telling the same story and they all kind of bleed into one another. It's kind of like a Russian nesting doll in a way. It's kind of hard to explain until you watch it, but it is kind of like a movie inside of a movie inside of a movie inside of a movie.
Speaker 2:The concept sounds fascinating.
Speaker 1:Yeah, thank you. I was trying to make it something to where it would be unforgettable on the film festival circuit. I told my crew I wanted to make this like our Kim Kardashian sex tape, like something to where it was so ballsy in a way that it would get attention. People have no choice but to talk about it.
Speaker 2:Right.
Speaker 3:Right.
Speaker 2:Yeah, exactly.
Speaker 3:And if we have some younger listeners, choose your own adventure books would be. You'd start the story and then like if it was a sword fighting thing, okay, do you want to enter the cave and fight the dragon? Turn the page such and such. Now, if you want to run away and go back to the tavern and have a drink, turn to a different page.
Speaker 1:Right.
Speaker 3:And the whole book was like that and that could be. Multiple endings could get you to the same one. And I also told TJ there's a point. It's also like someone flipping channels. Yeah, you know, getting in between the types of scenes, yeah, and then you'll follow the lead actress, kelly Russell, and then it'll pop out and it will be on the table, read and just talking about it there or back to your couch and you're telling her what the movie is about.
Speaker 1:Right.
Speaker 3:It's mind blowing. It's hang on like a roller coaster, but it has a point, even though it seems just totally chaotic. It was amazing and fun to be a part of.
Speaker 1:Yeah, thank you.
Speaker 3:What would you say was your inspiration to get involved, to be a storyteller?
Speaker 1:We love finding that about how people got started like things like Star Wars, you know, like huge inspiration. Of course, probably for everybody. But that's my earliest memories is watching like I had a beta tape of a bootleg of Star Wars and also a copy of a movie called SPFX, which was like a. It was a documentary that they put out, that Lucas put out after Empire Strikes Back came out, and I watched those tapes until it was just snow. It was like literally couldn't even watch the tapes anymore. And I'm just fascinated with behind the scenes, with how to make a film. I think I always enjoyed watching behind the scenes more than I enjoyed watching the movies. I think it was just growing up being fascinated with behind the scenes.
Speaker 3:Right, and you're also an illustrator and you've done some storyboards for films, and let's discuss that, because we don't get many artists.
Speaker 1:Yeah.
Speaker 3:On our show.
Speaker 1:Yeah.
Speaker 3:All our actors are artists and all our directors but a painter.
Speaker 1:Yeah, that's what I do for a living. I sell my art on the streets of New Orleans to drunk people from all over the world. Yeah and so. Yeah, I did storyboards for all sorts of movies and TV shows, well, and commercials. The biggest project I worked on was a movie called Keanu with Key and Peele.
Speaker 3:Yeah.
Speaker 1:That came out like five, six years ago, something like that. But yeah, I think storyboards since being able to work with directors like directly with directors in pre-production I got to see how the sausage was made. That's pretty much all of my experience as far as filmmaking or all my schooling for filmmaking was really just working with directors making storyboards, which made it great. For when I finally did make films, I storyboarded each film myself and storyboarding has been the most crucial part of filmmaking. If you can get storyboards all done, you just follow the boards and you will never lose a scene. You won't have to do pickup shots it's great and you can stay on task and stay on time Once every board is circled at the end of the day, then we know we've got all our shots and we can go home. It's great. Yeah, yeah, I think it's important.
Speaker 3:Cool. Yeah, I think it's important, cool. Oh, I had a question and I lost it.
Speaker 1:Sorry. Let's see it's all right, take your time.
Speaker 3:Oh, I know what it was. You used Kickstarter and raised. If you want to say how much you did just for Wheel of Heaven.
Speaker 1:Sure.
Speaker 3:About 20,000.
Speaker 1:Yes, about 20,000.
Speaker 3:Yeah, yeah, and that was a struggle. It was great to get making a film on your iPhone? Yeah, but that still was daunting in a lot of ways for production For sure. What would you say to a new filmmaker kid right out of college that is looking to not just raise their own funds but the goal of being a filmmaker and what they could do to do that to raise funds?
Speaker 1:I'll give you the gold secret. You ready for the secret nugget to raise money?
Speaker 3:Hit me.
Speaker 1:Here we go. When I was raising money for Sister Tempest, I looked up there's this guy called the Kickstarter guy, I think is what his name is and he helps films raise money for their films. So I looked up the films that he helped raise money for and I sent them messages and I said what did this guy tell you? Because this guy wants $300 just for like an hour of his time. I'm like I'm not spending $300 on this, so just tell me what he told you. And so I had one film actually respond back, because most of them didn't, I guess, didn't want to give away their secrets.
Speaker 1:But he basically just said this every person you know, every person on Facebook and Instagram and all that stuff, every family and friend you send them personal messages and you say, hey, I've got this project and could you either share it or drop in at least a dollar. That would be great. And that's what you do. That's it. It's just literally knocking on doors, like cold emailing and messaging and spending, you know, four or five hours a day just sending out messages, and that's it. It's like real simple stuff.
Speaker 3:It's putting in all this work that you know in time that you just need to carve out of your life to do. You have to be dedicated and a salesperson by yourself.
Speaker 1:Yeah, but it's really just like writing up one two-paragraph message and copying and pasting it to every person. You know, you know, that's it. So there you go. I know it's like the secrets of the universe, just right there so you don't have to go work on a street corner.
Speaker 1:Good, good, that's right that's right, so, and that's how we raise money for wheel of heaven and sister tempest, and we did, you know, 20 000 for each film. Pretty much, of course, that's like nobody's getting paid. Pretty much, you know, like you're paying little pittance to people, right, so that they can take a little time out of their lives, but yeah, it's pretty much everybody working for free and it's doing it for the love of it. Yeah, for sure.
Speaker 2:We have a lot of listeners that are actors, but there are a lot of my friends that are also making films. A lot of people are working on their own short films. Yeah, and I did a short last year, a student film over in Georgia, and they're just finishing up post on that and about to start submitting to festivals. Can you walk us through the process once the film is finished, like how do you get it into the festivals? What's the purpose? I mean, we understand it, but what's the purpose of significance of submitting it to the festivals and then what happens to it after that once it finishes the festival circuit?
Speaker 1:yeah, going through festivals is this is what I would suggest make a trailer for your film and then email every festival. You the trailer and say, hey, here's the trailer, check it out. If you like it, then send me either a discount or a free waiver. And that's what you ask for, and never pay full price for any of the festivals. If they don't give you a waiver, it means they don't like it, that's it. They don't give you any kind of discount. Nice, and it's also.
Speaker 1:I read a bunch of articles and pretty much the consensus is is if you don't get in with a waiver or a discount, then you are hindering your chances to get in. It's actually easier to get in if you get in for free. Interesting, so that's number one. And then the significance of festivals. I have no idea, because it doesn't seem to do a whole lot for me, but I don't travel to a lot of festivals. I don't have a ton of money, so I've traveled to the festivals that I can travel to. I've even had Brian. One of them had helped me fund travels to festivals before and I appreciate that.
Speaker 3:We sent you to Canada.
Speaker 1:Yeah, that's right. Yes, the first step in the invasion, you know, like going to festivals doesn't necessarily guarantee anything. It just means that you put yourself in a position where you might meet people. But I've been to a bunch of festivals. It's good for networking. You end up meeting other filmmakers that you end up working with. So I think that's a big friend of mine who got a film in a festival and he got offered like a hundred something thousand dollar deal on his film. You know, through a distributor. That is such a rare case that it's kind of like saying, hey, I know a friend who won the lottery, so, like you know, we should all play the lottery. Well, fuck, that's like rare that you're going to win. Ok, so the most you're going to get is you're going to be able to network with people and you might get a free distribution deal. What I mean by free is it is free. It means you don't get ever any money ever right and that's the way most of the distribution deals are.
Speaker 1:Most of filmmakers I know either don't get any money up front and then never see any money from profits. It is just the way the film industry works. It sucks, it is predatory and I hate it. But that's where we are Right, unless you want to self-distribute, which is a whole other ball of wax. That I will never do.
Speaker 1:I self-distributed with comic books when I was doing comic books and it was such a life-giving thing. You have to give your life over to self-distribution because you're going to have to have a whole room dedicated to it. You're going to have to have a whole 40 hours a week dedicated to it. So just expect that with film festivals, that you're going to get a bunch of reviews. Well, you might not even get a bunch of reviews. Well, you might not even get a bunch of reviews. You're going to get eyes on your work and you'll be able to network with people. That's cool. And then for distribution, you're talking to a director as no agent who does all this stuff himself. That's like total DIY sort of situation. So that's where I'm coming from.
Speaker 1:When it comes to after the film festivals, it's a matter of finding a distributor. That is a matter of just sending the trailer once again to distributors, and that's to distributors who have an email that you can find, which is any of the bigger ones. They don't want you to just send them a message, so you're not going to find that shit. But you know, like, dig around, there's ways to google search and find the higher up, the people in bigger companies that don't have their contact information online, or you can find them through social media linkedin do the work and find, like guys that work in these distributors and become friends with them on Facebook and Instagram and LinkedIn, all that shit and become friends with those guys.
Speaker 1:And I would say, do that while you are in the middle of shooting or before you even start shooting. Do that, start sending them messages, like, don't send them messages, start commenting on their things and liking their things and just become their friends, because that's the only way you're going to get in is by being friends with people. It's stupid. Wow.
Speaker 1:that makes sense, makes sense so I don't have a lot of energy for that shit, so I don't do it as much as I should. But as far as distribution, once again send out emails to every distributor that you can find an email for and send them a trailer for the film and say, hey, if you like it, I'll send you the rest, and there you go. You're going to have to send out like probably 300 emails and you'll get like 10 responses and out of that you'll get two offers. That's it. It's about sending a lot of messages.
Speaker 2:I mean mean that makes good sense, networking visibility, trying to find a distributor. If you're one of the rare cases and you get an offer for distribution early, like the example you gave, guy got something thousand right. If you get an offer for distribution on your your film early, do you still go to the other festivals?
Speaker 1:you take the offer, obviously, and you talk to the distributor and you tell them hey, I got all these festivals, what do you want to do? And you let the distributor kind of take the lead.
Speaker 2:I got you Makes sense.
Speaker 1:Yeah, and usually you still go to the festivals but the distributor kind of like starts marketing it, talking it up and stuff.
Speaker 3:Right, and even if they don't distribute your film, you might have just made another contact another. You're networking online, but also you might just make a friend.
Speaker 1:Sure.
Speaker 3:You know what I mean. So it's not. I don't want people to think that we're just like what can this person do for us?
Speaker 1:Oh, no, that's what I'm like. Oh, I, I mean, really, that's the way I mean, it's all scratching each other's back, you know? Yeah, I don't have time for. Right, right I mean, that's really what you're supposed to do, Like what you're saying is you're supposed to be like hey, I'm the actor who my part has been done for years. Right.
Speaker 3:You've had to go, put your effort into it and you try it and then you know it's like you might be a little burnt out.
Speaker 1:Joe, just a little bit, just a little bit. Oh yeah, but that's like every director out there.
Speaker 3:Right.
Speaker 1:Right.
Speaker 3:That you talk to. Yeah, and we were just talking with some college students and they were asking for advice and they were their future directors. How do you get the best performance out of your actors, or any tip you could give those guys on how to do it shoes before because I would have to work for a writer doing a comic book.
Speaker 1:The more the writer tried to meddle in my work, the worse my product was, and the more that he just gave me creative freedom, the better piece of artwork I gave him. And so I feel the same way with the actors. I a lot of the times will give them maybe like a movie to watch or like here's some scenes from a movie that this actor that I really like, maybe you can kind of study what they're doing and then that's it. Or I'll give them kind of a vision board. Here's some pictures of some things and here's some videos to watch, and then I just let them interpret the material the way that they feel watch. And then I just let them interpret the material the way that they feel, because, especially if you've nailed the audition, then I already know where you're at, I already trust you. That's about it. If I find people that nail the audition and then I say just do what you did in the audition.
Speaker 3:Yeah, I know, when I was on set because that was my first real film and when I've talked about here on the podcast, I had taken Anne Mahoney's self-tape class and Charlie Adler's voice acting class, each about six weeks, on Zoom, and there was a break. I did Wheel of Heaven and then came back and both the teachers said you're doing so much better. Those words and being in a film, my brain and my soul finally went. I'm not a student anymore, I'm actually an actor. That's awesome, thank you, thank you. There was one scene we were in the living room. It had the lights behind us and I'm talking to the character. You know the one I'm talking about.
Speaker 3:And I struggled. You know what I mean. It felt like I kept flubbing my lines. I'm all worried, I'm all nervous, and something you said got me away from the actor doing lines and into the character just being the character. Yeah, I don't remember what it was that was so helpful, that that was so helpful.
Speaker 1:That's cool.
Speaker 3:When the actors can just chill out. I know I've got the job, but I want to do a good job. I would you know. Once you can get past the actor's nerves, it's wonderful to just play and be a kid again.
Speaker 1:Yeah, I think I try to foster that kind of feeling on set. I definitely want everybody to just be having fun and be themselves, yeah, and I think you're just going to get the best performance. I hate it when you see these really controlling directors, because you just create such an atmosphere on set that's not conducive to creativity I don't know what it's conducive to, but it's not conducive to a creative workflow. Right, I just want to have fun and be creative and collaborate. I think collaboration is huge, right. So you know, I played music for a long time. The best part about playing music is when you bring a band with a riff and you have a riff and then they bring the drums and the bass and everything on top of it and it creates something different than what that riff originally was. And I think it's the same with movies you bring a screenplay, you let everyone interpret it and they create something that's out of your hands.
Speaker 3:So we usually ask people what is your dream job or the dream actor who you'd like to work with? But I'm thinking it's a little different for you, joe, because you're always different. What do you think it would take? And when I say that you're burnt out right now, I don't mean that you're ready to quit, but your energy is low and I can see it.
Speaker 1:Yeah, yeah, for sure.
Speaker 3:Other than unlimited funding? What do you think it would take to relight your pilot light to get you ready to do the next movie or something? Not what can I do, but what can I do. What could anybody do to help you?
Speaker 1:I think funding I mean as stupid as that sounds like, you're just saying that like finding some sort of investors you know, or finding producers that are the producers that find money, you know, those kind of guys yeah, just getting to that level, to that next level not a huge level getting to that low budget level. Right now I've been doing all micro budget, which is basically just a strain on life, is all it is Right. You're spending all your money and your time, like even you were spending your own money on this, on the project. You're spending all your money and your time, like even you were spending your own money on the project.
Speaker 3:I am an executive producer. I invested in the Kickstarter.
Speaker 1:That's right, but what I'd like to do is get to the place where we have either investors or producers that find money and we're able to do things that are like $100,000, $200,000 films, movies where I can pay myself and actually take a few months out of my life to make the film, instead of trying to like make the film and still like make my own money and all that kind of stuff.
Speaker 3:Right Makes sense.
Speaker 1:So just yeah, just like that low level kind of success is, would be great, would be great right now. So if there's any producers that are listening that would like to jump on board, I am ready to lock arms with some producers that can find me some money.
Speaker 3:Or if you're just a local NOLA rich person who happens to own the Saints, Miss Benson. That's right yeah exactly Come help some filmmakers out.
Speaker 2:Exactly so. With a budget on a film you said trying to get into the festivals, a waiver, a discount or free. Besides salaries, what's the most expensive part? Equipment salaries, post-production editing.
Speaker 1:For me, since we're doing micro budgets right, the most expensive thing has been food. That's been more expensive than anything because with equipment I've been blessed to work with a cinematographer that has owned his own equipment, so that has like made a huge impact. Food was always been the most expensive thing on set. It's like taking up half of our budget all the time. Also, because I'm actually a believer in actually feeding the people on set. I know that some productions can really skimp on food and I've never thought that that was a good idea. That really ruins all the morale on set. I've always tried to keep the food as a high priority. Makes sense, but that's in the micro-budget world.
Speaker 3:Right, one day I was crafty, but it was a smaller crew.
Speaker 1:Yes.
Speaker 3:And I paid for sushi. I think there's only seven of us.
Speaker 1:Right.
Speaker 3:And then eight if we include your wife, because we were. That was Joe's house, right.
Speaker 1:Daniel's house.
Speaker 3:Daniel's house. Thank you, thank you. It's one of our people, right? They're going to love this. So the next time we met was the big scene that I was in. I was deaf and there was love, and I was the Holy Spirit and there was more. And then when they heard's our sushi, I don't have any more money to buy it. You know what I mean.
Speaker 1:They were jealous yeah, whenever we have small shoot days, we always try to like make the food better yeah yeah, since we don't have to spend as much money and sam's and costco is a good place to hit for oh gosh, I'll tell you what for us, and what we've done every time, or a lot of the times, was rouse's has a really great selection of sushi that's already made and like sandwiches that are already pre-made, little bitty like finger sandwiches and chicken strips and all that kind of shit. That's like ready party food that's ready, and so the motto has always been to find food that is finger food but, like you know, pizza and little finger sandwiches and sushi, things that people can pick up without using forks. So that's like less expense, so you know, and people don't even need to use plates, they can just use a napkin and just keep on walking. So like just kind of thinking of things like that to keep costs down, you know, being as cheap as possible on micro budget sets.
Speaker 3:Cost down and morale up.
Speaker 2:That's right. What's next? Obviously without being too specific. Do you have something in the pipeline once you're finished with Wheel of Heaven? Do you have something waiting that you're ready to start making after that?
Speaker 1:I'm working on a script for a fantasy, like a Hercules kind of story. Oh good, but it's a musical with a female lead Should be interesting. I've got like three or four outlines and I'm working on these scripts that the idea is that you can shoot the whole feature in between two and four days, and so there'll be short scripts. There'll be like 40-page scripts that will be edited to be about 65 minutes. So I'm making these shorter scripts that are tighter, that are a mixture of live action and animation Wow.
Speaker 1:So that's why you can shoot them in shorter days, because there'll be more in post-production, oh, wow. So that's what I'm working on now, and the idea is that I can pitch this to an investor and say, hey look, this movie is going to take four days to shoot and I already have a team of artists and animators that we can work on the back end to finish the project, and four days of production is a lot cheaper than 10 days or 20 days. That's where I'm at right now, trying to basically create a slate of films that we can shoot in the $100,000 to $200,000 range. Oh, that's cool.
Speaker 3:Excellent. I'd just like to remind you my love of wearing makeup. I've taken a theatrical sword play class and a few singing lessons, so I'm just putting it out there.
Speaker 1:Yeah, yeah, yeah.
Speaker 3:I can't play the female lead. I'm not that good of an actor, but you might need a minotaur.
Speaker 2:Too much beard. You got too much beard going on.
Speaker 3:You just never know, you never know.
Speaker 2:But you're ready for the singing, that's for sure.
Speaker 3:Joe, it's been a blast talking to you, as always.
Speaker 1:Yes, this has been great.
Speaker 3:I can't wait to see you again.
Speaker 1:Thank you.
Speaker 3:You live on the North Shore, I'm on the South Shore which, if you're not an older Lake Pontchartrain separates us, and it's just too much for me to get to you, you Yankee.
Speaker 1:I'm in the Dirty Dell side L.
Speaker 2:I'm on the North Shore too. Where are you at Covington? Oh okay, Cool, cool, cool. So kind of west of you sketch on SNL.
Speaker 3:Well, you take the I-10 and then you take it's been good talking to you.
Speaker 1:Joe. Yeah, it's an honor. Thank you guys. It's a pleasure. Yes, absolutely.
