NOLA Film Scene with Tj & Plaideau
A podcast about acting, filmmaking, and the improv scene in New Orleans.
NOLA Film Scene with Tj & Plaideau
Matthew Carroll: From Educational Videos to Disney Films
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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 . & check out our website: nolafilmscene.com
Hey everybody, my name is Matthew Carroll. I am a actor, writer, director, producer. I got to do it all. I'm super excited to be a part of NOLA film scene and, yeah, I can't wait to get this started. Let's do it.
Speaker 2:So, Matt, thanks for joining us, Thanks for having me man, I'm excited yeah man, of course. How about you?
Speaker 1:buddy. Hey look, I couldn't believe you guys asked me to do this. I'm honored to be a part of this. I felt like it's a long time coming, so I'm excited.
Speaker 2:Yeah, thanks to you.
Speaker 3:We've had some really fun projects in the past year and I can't wait to tear into some of those and see where it goes. Hopefully, all good places, fingers crossed. Let's start with your beginnings. How'd you get into the industry? What inspired you? Just a brief history.
Speaker 1:So I started off when I was 12 years old. I kind of fell into the industry. I started doing educational videos for a company down here in New Orleans called Cinderstar. I became one of their like top people and I do all their educational videos about bullying and like God and all those things. And then after that I really delved into it pretty deep when I went to college and I ended up getting into NOCA. So I went my senior year of NOCA I went to the Unified Professional Auditions in Chicago. I auditioned for 13 schools in three days and got accepted to 10 of them. Wow, I ended up not being able to go to them because they were 40 grand a year and I just couldn't swing it.
Speaker 2:My parents, weren't rich, you know.
Speaker 1:Yeah, that's a lot. Guy had hit by a car and passed away. And because that happened I ended up coming back to New Orleans and I ran into my old manager and agent. They ended up putting me out there again and I started booking all these Disney movies. And so I started doing these Disney movies one after the other and it was right there around 2004, 2005. And then after I did all that, I was feeling really good about myself and everything you know, with my friends passing kind of the grief I've gone. I went through the grief and then I was ready to go back to school.
Speaker 1:So I went back to school and over the summer I auditioned for a film and I ended up getting the lead in it and then that ended up pushing me out to Los Angeles and then I fell into producing. Just happenstance, I was actually in a Carl's Jr when it happened. I moved out there and a friend had this project I think it was called Spirit Lake and I went there to audition and the guy was like, well, let's see what you got. And I was like man, we're in a Carl's Jr. Like what do you mean? Let's see what you got. And he was like here's the scene.
Speaker 1:And it was like my friend dying in my arms and I was like, um, and, mind you, I'm like 21, 22 at the time. And I was like, uh, all right. So like I grabbed the script, I said give me like a couple of minutes. He gave me a few minutes. I learned it immediately. I said, okay, I'm ready. He's like all right, whenever you're ready. And he was like eating his burger, right, and? And I'm like crying and Carl's Jr, and I'm holding my friend and I'm shaking and I'm doing all this stuff.
Speaker 1:And then I finished and I'm there and he goes that was pretty good, man, you got some chops, you got the part. I said, oh man, great. And then right after that he got an email saying that the fun that they were in, which was like this slush fun, from like an edge company it all fell apart and I was like, oh, so the part that I just got is no longer available. He's like no, no, it's available, it's available. And I said, ok, so that's how I fell into producing, because my friend was on American Idol, and so I called him and I said, hey, I'm looking for a producer that's interested in doing something like this. He's like I got the perfect guy for you.
Speaker 1:So I'm driving down to Ventura Boulevard to go meet this guy Right and pitch him on all these ideas. Because he's like oh, let's hear what you got. So I'm driving Right, I'm driving down there, and as I'm driving down there, I get the phone call from the director, producer, whatever, of the Spirit Lake, and he's like I don't want my movie in that slate. And I'm like well, this is the reason I'm going down here, you don't want the movie. And he's like no, no, I don't want to mess up the slush fund that we're in. I'm like I don't, what do I do? I'm already driving to Ventura Boulevard. He's like, oh no, you'll figure something out. I'm like, okay, so I call everybody.
Speaker 1:I know that wrote scripts and I ended up finding a script called no Town from this guy named Max Taylor that I met out there. We ended up getting that produced and we were in the throes of making it in Shanghai and everything was going great. And then we couldn't get somebody to sign away the rights. We ended up not not doing the film. Oh wow. And then I ended up back in Louisiana and making my own stuff and you ended up at a certain coffee shop.
Speaker 1:Yeah, yeah, I did, and we sat down and we talked about this soldier's heart.
Speaker 3:Yeah, what had happened, folks, is Matt and his team had gone on social media asking if actors want to be a part of a movie, and that was November of 23. A lot of us put in. We got the email, we sent in our resumes and our headshots and our reels and then we didn't hear anything. So on my side I thought, ok, it just fell apart you. So on my side I thought, okay, it just fell apart, you can't worry about it, you can't live. You know, end of January, matt's like, hey, we got pre-production done, want to meet at coffee shop and talk? Cool.
Speaker 3:And for me, because I work seven days a week cleaning a bar, people are like hey, you want to go party? Hey, you want to go this? I don't really want to. I'm a my fifties. And we sat down, we started talking and you go, you're in your fifties, but you don't come across like you're in your fifties. So you can't do the sheriff. I said, okay, but I want you to be the OBGYN. I said I can get all up in that role and then, he and I started talking.
Speaker 3:Man, I started talking, well, I'd like to get this actor. So I know, jeremy london okay, let me give, because he was one of my teachers oh, that guy jim bleeson and billy slaughter, a couple more of my teachers tj, we got. You know, we were just throwing out names and then I talked to hick sheremy and he's like, yeah, I talked to matt and you know I thought he was gonna do something for me and he he didn't have a role for me Never contacted me and you had told me you wanted him in. So I was like hold on. So in that way, that was kind of my first job producing after being at a restaurant, whoa yeah.
Speaker 1:The idea behind that was, when I met you, you looked way younger. In my head the sheriff was more an older fella, more graying, more Grizzled yeah, sam Elliott type, right. And you didn't strike me as Sam Elliott and I was like, ah no. And I was like, but you know what you could be the OBGYN. I was like that could easily be a role that you can fit.
Speaker 2:I was like okay, yeah.
Speaker 1:And I was on the fence about that because I was like man. I don't know if a lady would want to go to a man with a beard. That's an OBGYN and have him like you know, and I was like, ah, that might be a little much. But then I was like, no, it's fine. There's men OBGYN all over the place and I was like I don't be okay.
Speaker 3:Hey, people like me, I'm comforting.
Speaker 1:And I wasn't going to be like hi, I'm your doctor.
Speaker 1:And then everybody else. It was all about putting the pieces together. It just kind of all fell into place and it was crazy. Because I wanted Hick but I didn't know what I wanted Hick for and I knew I had a scene where there were all these veterans and I wanted people that look like veterans. Right, I felt like he could do a role where, like, the camera was coming in. I saw the image. I didn't really have the scene yet, I didn't have anything. I saw the image and I was like, okay, this is what we're going to do. And I wrote a monologue in five minutes. I was like this is what you're going to say. He read it. He was like I love it. I was like I just wrote it. I was actually in the tub writing, but I wrote it, yeah.
Speaker 3:TMI, I know.
Speaker 2:TMI Five minutes. I mean we saw your expeditious writing at work when we did the 48. We sat down, we were all just kind of having a little sidebar conversation and boom, you had the script. I'm like wow. I mean I don't think I could have thought of an entire script that fast, much less type it out and have it roles assigned and figured out.
Speaker 1:It was a lot about. When I drove from the place where we got the information to when we got to Jana's place, I knew kind of a rough idea of the direction I wanted to go in and I just needed to see if everybody else was on board. If not, I could have switched and went in a different way. But when it came to you know, me throwing my idea out, everybody was like oh yeah, I love it. I was like okay. Well then I guess I'll start writing it and as as soon as I started writing.
Speaker 1:It was just, it was just rolling out as far as like the story itself. It was like, okay, well, we need coffee, we'll have them steal coffee, so that he looks like the hero that brings cough. And then I was like, okay, what else do we need in the scene? Because she had to have the coffee mug. And then we had to have the scene where you said, um, oh, what was?
Speaker 3:it. Uh, the line was how did you find it that we had to find it?
Speaker 1:yeah, yeah, yeah I knew something needed to be missing, and then jake magically brings it into existence, you know. So we needed to make him the hero, and I thought it would. The coolest part was that that Jake didn't even work there.
Speaker 3:He was the mail worker.
Speaker 1:And you guys hated my character so much that the mail worker was the guy that you know like, all right, look, we're going to make this dude look like a hero and I felt like that was, you know, hilarious.
Speaker 2:It was yeah, yeah, agreed.
Speaker 3:And you had the same. A similar writing explosion for the seven and seven competition. Yeah, similar but different. A similar writing explosion for the 7 and 7 competition.
Speaker 1:Yeah, similar but different. I didn't really know where the story was going for that. When I wrote it I knew I wanted to have a gunfight. I knew I wanted to have the two brothers. That was kind of an homage to Appaloosa. Have you ever seen that film?
Speaker 3:I have not.
Speaker 1:So it's fantastic. It's Viggo Mortensen and oh, who's the other gentleman? It's a great film, mortensen, and oh, who's the other gentleman? It's a great film. And what happens is they meet the Cross brothers and the Cross brothers come into town and they're like real cordial and smiling and he's like watch out for them, they're good, he's like as good as us. He's like, yeah, just about. So we know that those dudes are some bad dudes and that's the two brothers that I wanted to bring to the screen.
Speaker 1:I was like, ok, so that's an homage to that. And then I wanted the sheriff to be this bumbling catalyst that ended up at the end with the money. And everybody was like looking every way in the sheriff's, like, oh, running away with the money. And then all the other stuff kind of fell into place with, like, the tooth and all that, because that was part of what we had to have had to have a toothbrush, yeah, and I had to justify why, on camera, you showing a toothbrush. So I was like, okay, we'll give you an abscess. And so the abscess now travels throughout the story and you constantly bring this toothbrush out and people like, oh, he's dealing with his abscess again yeah.
Speaker 1:So yeah, ed harris and jeremy irons okay yeah, whether it were two of the guys in that. Wow, yeah, I had to pull it up because it was so yeah, ed Harris and Jeremy Irons. Okay, yeah, yeah.
Speaker 2:Two of the guys in that, wow, yeah, I had to pull it up because it was killing me. I couldn't remember, yeah.
Speaker 1:Jeremy Irons was the main bad guy, but the two cross brothers was the guy. I want to say. It was the guy from aliens and some other guy, michael Bean. No, I don't think it was Michael Bean, timothy Murphy, possibly. Was he an alien?
Speaker 2:To me Timothy Murphy kind of looks like Ed Harris, just a little younger.
Speaker 3:Okay, is the guy in Aliens an older guy you're thinking of?
Speaker 1:I thought it was Lance Hendrickson.
Speaker 3:Lance Hendrickson. Is that who?
Speaker 1:it is.
Speaker 2:No, I think it's Timothy Murphy. He kind of resembles, he kind of resembles that.
Speaker 1:That archetypal character.
Speaker 3:Yeah, a lot of this will be cut out the podcast.
Speaker 1:No no worries Sorry.
Speaker 2:No, it's all, I mean it's all film related, right, I mean yeah.
Speaker 3:Cool, I'll just cut out me saying it'll be cut out, or I'll leave that in. I don't know, we shall see. So what you have demonstrated to us is that under pressure, your creativity can thrive and you can come up with a story. And I say it like that, folks, because in the 48 hour competition you find out on Friday what you have to do and have to have in the movie. You write it Friday night, film it Saturday, edit it on Sunday, turn it in on Sunday, and we've seen others. There are people did great stuff too, but some people they didn't understand the part about story or couldn't get it done, not even talking about technical problems. That happened that weekend. So where do you think your understanding of story came from?
Speaker 1:I think it's actually the first time I started writing. Yeah, I started writing when, like, I sat down at a computer I've never written anything a day in my life, right and I said I want to start writing. So I started writing. Hey, how are you? Oh, you seem like you're okay. What's going on? Is something bothering you? Well, I went to a party last night and I started writing this random script about a girl that's sitting in her bedroom and her mom walks through the door and you find out that she's afraid that she might have gone too far with a boy in that situation.
Speaker 1:Right, and all it was, was from a hey, how are you? Situation like that. That was what I wrote and that was the very first thing. And then I decided to write a monologue and I wrote a monologue. I watched Patch Adams and I really felt like Patch Adams was this great film. So I wrote this monologue about this character, you know, given Patch Adams as flowers, so to speak. And those were the first two things and I believe that that helped me realize that, just because the story starts somewhere, it can always go somewhere. And at one point, when she was talking to her, I was like well, aliens can come in now and break through the ceiling and we can go in so many different directions. And I was like, if I keep it on this linear path, it's more interesting than this. You know, absurdity where, like rhinoceros, where the rhinos come through the wall and you're like what was that?
Speaker 1:But yeah those Ionesco plays, like that was the thing in that time. They wanted to try all these things. And I get it, because in the seven and seven I almost had like this Native American woman that kept popping up in your visions and I don't know why. But I told, I told that to Boots and he was like I don't think we need to do that. I was like, okay, fair enough.
Speaker 3:And if I can pause you, that's JB Boots. That's his nickname. You weren't just talking to cowboy boots sitting on the shelf.
Speaker 2:Yeah, sigler, jonathan Sigler.
Speaker 1:Oh, I'm sorry, my bad. I told him. I said, oh man, it'd be really cool if every now and again you get this image of this lady in like a red, like a red background, and she's like walking out and like I don't know if we should do that in seven minutes. He's like I think we should just kind of stick to the story itself and I was like, okay, all right, that makes sense but for the feature exactly, and I think for the feature, it could be a ghost, maybe, or it could be his wife.
Speaker 1:It could be, you know, is it the sheriff's wife? Well, so it was originally the sheriff's image, but now that we're talking about the feature itself, I think it could be the boxer's wife, or it could be something to do with like an old proverb or something, or something that the sheriff owes money to, or something's haunting him. We could figure that out out. It could be a curse, or it could be a premonition, or it could just be somebody protecting more, like an angel.
Speaker 3:Yeah, I thought it was the sheriff. It's the guilt of his wife, either losing his wife or her leaving because he's such a goof.
Speaker 2:Someone he failed to save because he was afraid.
Speaker 1:Yeah.
Speaker 2:Afraid to take action.
Speaker 1:Because we have to keep in mind that it's that time period where guys were like, hey, and I'm supposed to be out here being a lawman, you know, and it's like, okay, that's that time period. So we have to make sure we stay in that. I guess.
Speaker 2:Yeah, I mean, that was the culture back then. That's just how it was.
Speaker 3:Yeah, that's what they were allowed to do, yeah.
Speaker 2:Expected to do Exactly Expected. Yep.
Speaker 1:So we don't really know what the feelings were, because it was an everyday thing, you know. Like it was like oh, this is what I got to do today. And even like in farms and stuff and I'm not from a farm, I'm from the city, I grew up in Marrero but like farms and stuff, they have to wake up every morning and they have the cows and then they have to plow the land and all these things, but they're used to that. They're just like, ok, 3 am in the morning, time to go milk some cows. It's like, wait, what, like you know city life? It's like 3 am in the morning I'm sleeping. Yep, yeah, sorry, that was a tangent.
Speaker 3:I think you see the pitfalls of what could be I don't want to say dangerous, but you have to be cognizant of. I don't have that experience, even if you were writing farm life. Neither one of us have been on a farm, so we would have to investigate, talk to people on the farm and learn that to authentically represent that life.
Speaker 1:A hundred percent. If you notice everything that I write, I do my history, I do my research because, like, I've never had PTSD, I've never been a soldier, I've never been you know anywhere. I've been in the States. I haven't really traveled much, but I looked up all of these things and I read tons of articles and, like I watched a tons of video. There were so many things that I didn't know, Like I didn't realize that the hero coin that we pass throughout the story, I didn't realize that was a real thing. I in my head was like we need a catalyst that makes this interesting and I was like ha ha. And then I found out it was actually a thing that happens and I was like, oh wow, that's pretty cool.
Speaker 2:And your research, did you get the story of how it started the hero?
Speaker 1:coin. No, I didn't find out how it started. Do you know how it started, mm? Hmm?
Speaker 2:Aha, do tell so. Challenge coins is a thing, and kind of the loose rule is you carry your challenge coin and you can you challenge somebody else that has a coin and whoever has the highest coin gets the other one, in other words, the high a coin that they got from the highest ranking person. The way it started, they had buttons on their uniforms and they carried these coins to identify themselves. There's variations of the story, but from what I remember, it was paratroopers and they were behind enemy lines and they would have it started with a button from their uniform that they could confirm who they were. And it grew into a thing that units developed these challenge coins that's where it started was from the article from their uniform to identify that they were in fact a US soldier.
Speaker 1:That's pretty cool. I didn't know that.
Speaker 2:So if you buy unit challenge coins, a lot of them will actually come with a little card and it kind of explains the history. It's been a little bit since I've read the history, but that's the gist of it.
Speaker 1:I talked to my buddy and he received one from his commanding officer through a series of things, and I was like, oh, this really is an actual thing. And then I looked it up and I saw that it's not only in this branch, it's in multiple branches. It's just called something different, but it's the same idea.
Speaker 2:A challenge coin is typically what it's called. So say, we were out together and I had a challenge coin from my skipper and he's an 06 and your skipper is an 05 and we challenged. Technically my coin would win. People don't really like if you're carrying one that you earned. I mean I'm not going to put one up that I got from my skipper, but you buy the other guy.
Speaker 3:A dream is kind of what it comes down to. I was sitting there like man. I wouldn't want to lose my challenge coin, especially if I had earned it first. I was like I'm not playing that game.
Speaker 2:When the unit orders them, you can buy and have a stack of them and usually if you go to a school or you know you have a gathering of people from different units together. People exchange challenge coins and they actually they get kind of heavy to travel with when you have a sack full of these coins, cause some of them are pretty hefty.
Speaker 1:You had a sack full of them. Yours always won out, you had like the number one no no, no, no. You were like all right, let's see who's going to beat me this time.
Speaker 2:No, no, no. I mean like whenever I would go to a school I would take a handful of them with me, because usually people were exchanging coins from their units.
Speaker 1:That's cool.
Speaker 2:I don't mean that I won like I challenged people and won their coins.
Speaker 1:Bring it.
Speaker 3:Would that be a picture like Santa with challenge coins in his sack? You get a coin, and you get a coin, and you get a coin.
Speaker 2:I just had this picture of David Harbour. What was the Santa movie where he was the Violent Knight? Violent Knight, that's a good one. I just had a picture, an image of David Harbour smacking somebody with a sack full of challenge coins.
Speaker 3:I was thinking when we did Soldier's Heart and I was going to be the OBGYN but the ER surgeon backed out that day. So I got a promotion and the lady who came with me, who had given me scrubs, she became the OBGYN. So we were just giving out rules, but you were able to help me ground myself in that role. You know, I just did something recently. I've seen some clips and I thought I was cool and collected and when I see it I'm like, oh God, I'm so stiff. You know what I mean. So the dance between a director and an actor becomes more apparent with each role I get. What are your views? How do you draw the best performance out of your actors?
Speaker 1:So my big thing is as an actor, I know I do research on the character, on what their background is and all these things, so I know that I'm coming to the table with something right. So the first take that I'm going to do from the director's side, I'm going to see what the actor brings to the table, because I don't want to negate their creativity right off the bat. And if they like jump on top of the table, I go okay, how do I make this work? No-transcript? And so like when we were doing the seven and seven and you were brushing your teeth and it was the moment where you're supposed to deliver that line, and I was like do it again, do it again, let's do it again, yeah.
Speaker 1:But then you hit it. I was like that's it, that was it.
Speaker 3:It's that feeling where you can tell something feels real. It's not pandered to the audience, it's not where you're like I see you, it's more of like I see you. You break the actor, so to speak, exactly. No-transcript. I have to stand this way. I got to go walk this, I got to hit my mark, and you get caught up in all that and making sure you got your dialogue right and you forget to just be and feel and what the motivations are.
Speaker 1:And then, once we did, it felt so different, like the skies open up and you hear the heavenly choir and it's the hardest part for any actor, myself included, is listening, because we tend to want to speak consistently and we tend to go OK, my line's coming up, my line's coming up, it's two away, it's one away, ok, my line's here. Ah, and I say it right, and it's so forced If I'm just listening to the conversation and I know my line, that's when they say, hey, do you want some wine? I go yes, absolutely I would love some wine. It's that moment where the rubber meets. I wasn't able to really work with everybody like I wanted to for certain performances, but I felt like the performances were great because they were one a ton kind of thing, right, like it was like okay, that's fantastic, You're that character, okay, let's onto the next kind of thing because it was so fast, but I felt like, being a comedy, it really lent itself to that.
Speaker 2:Yeah.
Speaker 1:But if it was a drama I felt like we would have had to take more time and really kind of work with each piece and like that kind of thing.
Speaker 2:So, yeah, we would have had to slow it down, for sure, yeah.
Speaker 3:And everyone remarked on the 48 hour set that the flow was fantastic. You know what I mean. Everybody felt like they were part of the same team. Yeah, don't even have to say that we had divas, because we rarely have that. We've had a couple of incidents. You know what I mean. Tj, I'm talking to you, I don't know, exactly who you're talking about. I'm kidding TJ, you weren't a diva.
Speaker 2:I'm just covering something I'm trying to think of. When? What did I say?
Speaker 3:It was the coffee cups and the Keurigs, but that was good. Well, we're talking about folks that I'm making a joke about, and TJ wasn't a diva. While we were moving coffee around, the Keurig cups fell down and it kind of made this process. Instead of a quick switch, he had to stumble through it. So that made it funnier because it was awkward. And then the sound effects that Boots put on it. You know just, it was incredible.
Speaker 2:Yeah, kind of.
Speaker 3:Yeah, yeah, almost the martial arts of coffee.
Speaker 2:Yeah, like switching, between yeah.
Speaker 1:That was my favorite scene in the entire, the entire short film.
Speaker 3:I think that in the part where it's the triple tip and when we go into this like this, this conference room, and everyone's sleeping.
Speaker 2:I think that's funny too yeah, for me the funniest part was when you came walking out. I think it was kind of a little bit improv. You're like manana and you did it a couple different ways. Taco tuesday, baby, and you did it a couple of different ways. Taco tuesday, baby, and you threw up like the peace sign and you're like strutting, wearing the track suit. It was hard to not laugh out loud when you did that.
Speaker 3:I had to physically tell myself, okay, stay in the moment, stay, stay in a moment, because that was a funny take and what it did for you, because when they zoom in on you you have this confused.
Speaker 1:Look like what the fuck is wrong with this yeah, no, that was all because I wanted the character leaving. And boots was like, okay, well, we're just gonna shoot it from here. And I was like, okay, that's fine, because we'll get the wall in the background, that'll be nice. And so when I did it, he was like just leave. And I was like, okay, so how would this douchebag leave? And I was like he'd strut and he'd walk and he'd do like more of an ace ventura kind of thing and make like a big production of it.
Speaker 1:I'm leaving yeah, all right, appreciated my g's. Yeah, that was fun man yeah and I had asked the makeup artist, reina, if she would put more like orange on me.
Speaker 1:So that I, I looked like I a spray tan before the employee of the month award ceremony and when I was talking to my girlfriend she was like I just thought she just put a little too much orange on you and she was like I couldn't really tell it was like a fake spray tan and I was like, oh, I wanted to play more. I should have did more orange.
Speaker 2:To me on film. It looked like I mean because I know how you normally- look. And when I saw it on film I absolutely thought yeah man, that looks like spray tan, like he looked orange.
Speaker 3:And it popped. When you get into Jana's office unexpectedly and you walk in, you didn't know that he hired the camera crew in the movie and he walks in to talk to the boss, he goes oh, hello there. We'll put that in the comments when we share these, yeah.
Speaker 1:And it's funny. So I was doing a film called cooked in 2002 and I wanted to get people to donate to my gofundme right, so I played kenny g and I have my. I have a fireplace right but it's electric fireplace. So I have my electric fireplace, it's going and it and it's going through, and then it gets on me and I go, oh, hello there.
Speaker 1:And then I bring up wine and I'm like you're probably wondering what I'm doing here. And then I went into asking people for money about coats and that's where the oh hello there came from.
Speaker 2:Ah, it was nice, Aside from developing the 7 and 7 further into a feature. What's next? What's your next big plan? And it's okay if it's something you don't want to share, Obviously don't share. But what do you have in mind? I'm curious.
Speaker 1:Okay, so I want to do a television series. Right, I have a television series that I optioned. It's a really cool story about a record executives that get fired from a record company and go start their own business. And then I am currently trying to. I keep seeing these images of a film that I want to write. Like I see this person walking past this mural and I see this person taking pictures of things and like, and I know roughly that I want to do a story about someone that deals with an ailment.
Speaker 1:I won't say what it is but, deals with an ailment which causes them to kind of revert back to who they used to be, and that's kind of the story I'm playing with. Revert back to who they used to be, and that's kind of the story I'm playing with. Plus, I'm dealing with a couple of other things. I got some other things irons in the fire. One is a story for a friend about their life, and we talked about kind of making it a fried green tomatoes kind of movie, or we talked about actually turning it into a television series as well, something different. So those are the things that I'm kind of currently creating.
Speaker 1:But then there's things that I'm actually going to be a part of the one with you guys, the, the Riverhood, and then the and I don't know if that's just producing aspect. If that is, that's fine or whatever that may be or whatever that may look like. And then the immortal invitation. I'll be a part of that, producing in it and, I believe, acting in it. So there's a lot of things that could be happening for me pretty soon. Plus, I've already been cast in some things. It's just not yet.
Speaker 2:Yeah, understood.
Speaker 1:I haven't signed paperwork yet, but one of them could be a Hallmark movie, and then one of them could be something on Lifetime.
Speaker 3:Nice.
Speaker 1:Sweet Very cool.
Speaker 3:Not to mention a little bit of post-production on some things.
Speaker 1:Yeah.
Speaker 2:Post-production on a lot of things actually.
Speaker 1:The story for the Soldier's Heart. The guy said and this is I heard it from him today we may have a trailer on Monday, whoa.
Speaker 2:Interesting.
Speaker 1:Yeah, he said don't get my hopes up, but we may have a trailer on Monday. Nice, I'm excited about that.
Speaker 2:I'm excited to see that yeah.
Speaker 1:He said he sees a through line. He watched it. I see a through line, I see the trailer. I said okay. He said I think I can have you a trailer by Monday.
Speaker 3:We've pre-recorded this, folks, so that trailer will be links when we share. Yeah, matt, it's been a pleasure having you, love hearing your stories, love working with you, love to work with you in the future. Thank you for coming my friend.
Speaker 1:Thank you guys for having me. I enjoyed every minute of this. Any questions or comments anybody has, if they post them to you, I'm happy to answer them. I'm an open book man. If I can help anybody, please let me know. I believe we will be working together in the future. I enjoy working with both of you guys. I consider both of you guys my friends.
Speaker 2:Likewise.
Speaker 1:If I can do anything to help anybody else get up to where they need to be. The one advice that I give somebody is that start now. Don't just say you're going to do it, just start doing it. Just start making stuff. It doesn't have to be good, it doesn't have to be Oscar worthy, just start making stuff and you'll get better at along the way. And then you know, 10 years later you'll be like man I did. I have a whole catalog of things because I started 10 years ago. Just write something down.
Speaker 2:That's right, all right. Well, thanks, matt.
