Glenn Payne & Casey Dillard talk Killer Concept!

Glenn Payne and Casey Dillard – interview

 

[00:00:00] Jeff: Hello. Let’s there’s a split our country today on the show we have returning champions, Mr. Glenn Payne and Ms. Casey dealer. How’s it going guys? Well,

Casey Dillard: thank you for all the champions off

Jeff: you survived the first show and you actually came back so

well, last time we chatted. You were, you had, was about the movie, a driven. So, and any updates on that, did that, did the secret, we mentioned ever move into progress or,

Glenn Payne: oh man, no sequel yet. No sequel. Yet we, we, we had fun playing around with ideas that were not serious, but I guess as far as it went.

Casey Dillard: Stop saying yet?

Glenn Payne: I say yet about pretty much everything. I know. That’s true. Just

Jeff: in case. So what is the creative process then? Like for, for both of you? So for an instance, in your new movie killer concept, how did that idea come into fruition? Who came to the idea of first? How was it kicked around? How [00:01:00] was it developed?

And at what point did you guys think to yourselves? Right. We can do this.

Casey Dillard: Do you want to tell the story.

Glenn Payne: Well, I’ll start it off with the hand it over to you. So, so we were, you know, mid COVID, everything was going on with that and we were all locked down and we had a lot of time on our hands like most people.

And we had a small group of friends that was sort of already in our little bubble. People, the few people we were actually seeing which was very limited and we kicked around the idea of something we can make because a lot of us were not able to work due to the way things were going at the time.

And then, so we threw out some ideas to each other until we landed on this one. And then this was Casey’s idea and I’ll let her fill in on that.

Casey Dillard: Yeah, we kicked around a lot of strange ideas. And I think this one originated from an idea of three roommates that live together. And one of them is a serial killer, but he’s getting antsy.

Cause they’re all, you know, closed in because of [00:02:00] quarantine. But at some point in time, I think that we had the conversation like. There is a possibility that there will be a massive influx of quarantine movies or that people are going to be so sick of thinking about it, that they’re not going to want to watch a movie about it.

And so we just, we removed that element and it was like, all right. So what’s another scenario in which it could be, that would, that would pull three people together and it might be relevant that one of them was a murderer. And then we sort of spun from there. And then unlike. Most of the time. We, we did not work from a script with this one.

We, we re we kind of wrote from a story outline where we broke the beats down into scenes, and then the dialog was improvised. And we, we had everybody in the movie I think was both crew and cast at some point.

Jeff: So, [00:03:00] Glen, so what did you think when Casey first approached you with the concept?

Glenn Payne: Like she said, we were kicking around so many different ideas.

I think when she first told me, I mean, I liked it and there was a list of them that she had sent me. And then for some reason, I don’t know, it like clicked with me the next day, or I don’t know, a little while later how much I thought that idea was neat. And the possibility of, especially with like, The first pitch that I recall.

And not that it’s accurate because it’s probably not was the idea of these three people working on a script together about these murders are unsolved and actively being investigated. And then one of them is actually the murderer. And then. The other two kept kind of putting down their suggestions of what a killer might do.

Ah, that’s not right. That’s, that’s never going to seem realistic. And then that person getting more and more frustrated specifically because they were the killer and they knew they knew it was accurate. And I thought that was interesting. And then we sort of went from one from there,

[00:04:00] Jeff: you know, I’m really surprised that what Casey said that basically the dialogue was ad-lib because having watched the movie.

It felt very polished with the dialogue. And I’m surprised that you guys just kind of made up as you went. That’s a little surprising.

Casey Dillard: Well, I was just going to say like, I, I it’s it, it w it was polished because we were able to take the time to Polish it. Cause obviously, like we’re not going to get everything in one take. So every time we do the scene, we’re like trimming down parts that don’t work as well, or rewording things to flow a little more gracefully.

And usually by the time we get to the third person’s shot, the scene is really popping along beautifully. So it’s more of a, it’s more of a. Memory retention game. It’s like we, we sort of improvised a scene. And then when we got one that we liked, we’d be like, okay, [00:05:00] that one worked. So what all did we say?

Yeah.

Glenn Payne: And, and, and, and that’s something that was funny. Casey was we have to kind of monitor each other. Usually there’d be three of us with coli and all three is actors. And and, and you might be like, oh, you might say, oh, you forgot to say this whole bit that you did. The last time it was, oh, no, I, to make sure I get that in there.

So you had to kind of, we had to kind of watch each other. It was just kinda funny.

Jeff: So that’s kind of interesting because when you’re, ad-libbing, you’re obviously thinking about what you want to say, and you’re obviously in your own head thinking about that, but as you’re saying, you’re monitoring what each other is saying at that moment.

So you’re once again, trying to be aware of what they’re saying is working, how difficult was that.

Casey Dillard: Not super difficult. Glen and I have done a ton of improv. Coli has done less onstage than we have, but he’s very proficient at it. [00:06:00] He’s good at thinking on his feet. And, and again, like we had sort of time and a patient bunch of people to sort it out with.

Cause some, cause some of the times that we would try and do a scene, it would be super clunky and get nowhere. And we’d be like, well, we’ve been improvising for, for 10 minutes. Yes. But nothing’s usable.

Jeff: Did, did any of the improv that you guys did change the outcome of the

Glenn Payne: movie? Oh, that’s interesting. Hmm.

Hmm. I’m I’m certain, there were things that were said that we didn’t expect now, whether or not they changed something dramatically.

Casey Dillard: I will say that I don’t think, I don’t think that we had the ending of the movie in mind, by the time we started filming.

Glenn Payne: Yeah, I would agree, which is great. Well, no, we had

Casey Dillard: without getting into [00:07:00] spoilers, but we, we really didn’t know how the ending was going to go until about halfway through production. I think

Jeff: so. I mean, so I, I follow you guys both on social media. So, and I know this project was first mentioned in March as being kind of like a secret project. And it was mentioned in, in the sense that it was in context of it getting distribution, which I’m surprised.

Like once again, it was, as I mentioned earlier to Glen off of air, that it was a project that I had heard nothing about until it was already ready for distribution. So my questions are how first, how did you guys keep it such a secret and to how quick. Is it normal for a project to go with that quickly from getting distributor to becoming available?

Because I think it was only what a couple of months. Three months.

Glenn Payne: Yeah, it was pretty fast. I think the way we kept it a secret is there was only really five of us. I mean, we had some other actresses that came like for one day here or there, but go ahead case.

Casey Dillard: Oh, well I was just [00:08:00] gonna say Oh boy lost that one.

It was, it was something relevant.

Glenn Payne: I can, I’ll talk about distribution. So with driven, we promoted it for so long and we waited because we got into a fright Fest, which was a wonderful festival and a very large one. And we, we heard about getting into it well in advance. We had to keep that a secret. So we waited to get a distributor until.

After that festival happened because we wanted to see that helped with that changed. And so that caused a really, really long delay from the time we started sort of sharing with people and building a fan base to when it actually came out. So we didn’t want to do that with this one. So we decided to kind of just keep it quiet and make it this little secret film.

And then bam, you know, just sort of,

Casey Dillard: And the thing, the thing that I remembered that I wanted to say was that I, that I think there was some concern that people would think that we weren’t being careful in the middle of everything. [00:09:00] If we were just like, Hey, here we are making a movie.

Jeff: Hmm. So what, was there a lesson?

The boys that are, I mean, because of the way things are have been over the last year or so, is his perception a major concern when producing the movie?

Casey Dillard: I mean a major concern, no, but like, I don’t want Like actors and crew who haven’t worked with us yet to feel like we don’t take their safety seriously.

Okay. Like I said, we were very careful during the filming of this movie and, and the, the circle of people was very, very small. Okay.

Jeff: So before we get too deep into discussion of the movie, can you give our listeners both of you, your pitches for killer concept?

Glenn Payne: Yes. Sure. Like just the basic pitch, I guess the basic idea. Yeah. Yeah, sure. So, so there’s three [00:10:00] individuals are, have come together to write a, a horror script. For a movie they want to make, and it’s based on crimes or murders that have happened in their town, actual murders, they’re unsolved and they’re recent.

And so while they’re writing these stories the investigation is still going on, but what two of those three individuals do not know is that the third one is actually the killer in question. And then tension and hilarity ensues.

Jeff: Well, like I said, I saw the movie, I thought it was actually was fantastic.

I th especially once again, just like the, the title of the killer concept, the play on the words of being a great idea, you know, a killer concept. I really at first. When it starts not giving anything away, I was getting the sense that this was going to be a standard slasher film and quickly that notion was expelled this well, because it really turned out to be something far more clever than that.

I really liked how you guys got into kind of the mind of the [00:11:00] killer having been when people in the room. I thought that was, it was incredible idea.

Glenn Payne: Thank you. Yeah. Thank you very much. I’ll throw all that over to Casey, as far as the credit.

Casey Dillard: Oh, thank you. But I mean, a lot of anything that actually made it on screen was definitely a collaborative storytelling effort.

So you definitely can’t kick it all to me. Definitely.

Glenn Payne: For sure. Yeah.

Jeff: Because it is ad-libbed and you’re, you’re thinking of it on the spot. Does that make the characters closer to the real you, because it is coming from from the improv at the moment versus a, a detailed script. And you know what I’m saying?

Glenn Payne: Yeah, I think, I think yes and no, Casey would be my answer. I mean, you obviously stay in character and do things that are different. I, mark would be different than myself, but you are limited with your tools to some degree, to the way you would say certain things here and there. So maybe without prep, I guess you [00:12:00] could fall more into your own ways of doing things.

What do you think Casey is? Interesting question.

Casey Dillard: So to like, Let me hear it one more time.

Jeff: Basically because it is improv and you’re thinking about it on the spot, does that make the dialogue and the development of the character closer to the real you versus sitting and scripting a characters over the course of weeks, months, or whatever, and developing in that way?

Casey Dillard: Yeah. Unfortunately like Glen, I can’t get much more specific than to say yes and no. I will say that like if I, I probably would never do a voice that was very different from my own. If I was in a movie where I am improvising, because I might be afraid that I couldn’t get back to that accent or that voice or something like that.

Same with postures and things like that. Like

Glenn Payne: as opposed to being able to prep for it, you’re saying probably

Casey Dillard: for yes. As, as far as, so, so in those ways, like your character [00:13:00] is, I would say more likely to sound like and sit like you maybe, but as far as how they think and what motivates them, I think, I think you kind of make that decision off screen and if you stick with it, then.

You don’t, you don’t see a lot of the original person staring

Glenn Payne: back. And if you have good seen partners, like, like we did, you can, you can help each other kind of watch your, watch your back sorta, you know, we’ll make

Jeff: sure. Well, one thing I thought was very interesting is that. Early in the movie, the movie comes in immediately introduced itself to being kind of out, very aware of the genre itself and the character of Holly play by Casey kind of goes, goes after Seth a little bit about the typical like misogynistic aspects of horror.

How important was it to get those concepts out of the way and kind of induce the reader, how you’re willing to break those expectations?

Casey Dillard: I think, honestly, that, that [00:14:00] came more out of a place of, it was an easy way to set up conflict early on between Seth and Holly, since they’re sort of the opposing forces in or the opposing. I don’t even know what to say. It’s not influenced is exactly that they are the two people. Whose opinions seem somewhat important to mark for whatever reason.

And so it was, it was more about that. I think. Then necessarily like shining a light on the tropes that we fall back on.

Jeff: So Glen, you play mark in the movie and your role in this movie is obviously a lot, much larger than what you did with driven as both the director and the actor. How difficult is it to direct yourself when you’re performing that level of a role?

Glenn Payne: It can be, it [00:15:00] can be really tough. It’s, it’s both refreshing and makes you nervous at the same time. But once again, really good scene partners and people you trust, help a lot. You know, th th there were definitely times where I was like, man, I don’t want to be the one that’s screwing this up, you know?

Cause like I’m trying to do too many things and it’s like a really just don’t want to be bad here, not just for myself or for the, for the greater good of the, of the project. But it wasn’t too bad. Like I’ve mentioned before the hustle and bustle of just making a movie is probably. The most difficult part, like doing that and then directing and then jumping over, you know, and acting.

But yeah, Casey and coli were so great that it, it, and the nature of mark as a character too, he’s got a lot going on, but he’s also. Observing a lot and nothing. That was very helpful to me. Because like you guys were just talking about, they have these two different ways of thinking about this movie and they’re kind of butting [00:16:00] heads in certain scenes.

And mark is sort of in the middle kind of watching and waiting and picking his spots. So, I think that in some ways that made it a little more doable.

Jeff: So, and, and I didn’t want to, it was very cool about the movie. Once again. It’s how you, the character of mark is handled. Because honestly I thought was very interesting and I was a little surprised by hell how early it was revealed that mark is the killer.

I was under the impression when I first heard about the movie and I started watching the first few minutes of it. That that was going to be the plot line, who is the, which one of them is the killer. And really early on, you do point out that as mark and for our listeners. Why was that decision made to make that the secret, not part of the movie,

Casey Dillard: Because sometimes you want to watch murder.

She wrote, and sometimes you want to watch Colombo. So it’s, it’s less of a who done it and more of a, will they catch them [00:17:00] or like who will prevail in this scenario? Even, even if you look at it as an internal battle that he’s having with himself, you know, like how, how is he going to handle what’s being thrown at him?

And I just think that the audience kind of knowing about it early on, definitely helps shed light on some humor that I don’t think would come across as humor. If you didn’t know this about him,

Jeff: Was it one thing I noticed that mark was such a, what’s going to create that such an interesting character. Is, was there a concern of making him too likable?

Casey Dillard: Yeah. That’s always a concern when you cast Glenn in our role or when you, or when you decide to do a killer point of view movie. Yeah. You, you like.

I, I just tend to lean like this is, this is one thing that Holly and I [00:18:00] agree on completely. Like you just, you don’t glamorize them and you hope that the audience can remember that at the end of the day, the person killing is a terrible person. Even if the people that they kill are like, you know, wild mouth showboat types.

You like sympathetic or unsympathetic characters don’t deserve to die simply by merit of being unsympathetic, because that’s a very strange mindset to have.

Glenn Payne: Yeah.

Jeff: Yeah. Is it, do you find that just inherently the audience automatically sympathizes from the character they have perspective of

Casey Dillard: yes. Or at least the character that they spend the most time with because you are getting like a fuller [00:19:00] picture of why they are the way they are. Like, we, we never see Seth. He makes a reference to his dad. We never see them together. Like that can tell us a lot about why. He acts the way he acts or like Holly, we, you know, we don’t know about her whole situation and why she is as prickly as she is sometimes.

Whereas with mark, we don’t necessarily know it all, but we see, we see him in more vulnerable moments. We see him alone.

Jeff: Do was there any discussion of developing Holly and Seth in, into what their motivations are in writing the script a little bit more?

Casey Dillard: No, we kind of wanted to because the whole the whole situation with mark and what ha what is happening in his head is that he writes his own narrative over the people around him and, and then [00:20:00] gets.

Agitated when they color outside the lines, I guess. And so, I’m not going to call Seth and Holly underwritten because I know that I put in a lot of thought as to who she is and everything, and I know coli definitely did a lot of homework on Seth, even if people aren’t going to see that on screen.

But. People can kind of do with those characters, what mark does like, okay. Will you see them interacting? How do you feel about them? What kind of person do you think this is?

Jeff: And, and, and, and, and mentioning it as you, as you mentioned Coley Brian, he did a great job as Seth.

Casey Dillard: He did, and it’s really the first serious improv he’s done.

Jeff: Was Seth going to be part of the movie? The whole time was he kept because of a character you had in mind at the beginning, or did he literally make his character through that improv?

[00:21:00] Glenn Payne: Well, we had coli in mind, I think for whatever we were kind of trying to build a story originally around the three of us. Why aren’t we Casey, more or less to some extent, you know, might’ve changed a little here or there.

Casey Dillard: He is very talented and he’s also super easy to have on set. He’s he’s great to work with.

And so we were like, yes, it would be very easy to make, make a movie with coli. Yeah, for sure. It’s good to have people that are just easy to be around on set and same with the whole rest of the cast and crew. But yeah, so it was sort of built around having him because he suddenly had this time off. How

Glenn Payne: much did you have, I mean, you had Seth kind of, you know, definitely figured out in the beginning as the writer and obviously through improv too, coli definitely took that and went with it.

He have to almost, but how much, how much did you have Seth kind of flushed [00:22:00] out, fleshed out?

Casey Dillard: Not a ton. I mean, I had kind of, like I said, I had him as a, the, the big, the, the pitch big ideas guy. And he developed a persona. And of course, I mean, you know, the, the, the storyline dictates some of Seth’s stuff.

He like, at some point in time, if he is initiating a lot of the scenes, then he is a guy who inserts himself into a leadership role. So that kind of works itself out. But a lot of that was just him kind of. Working on it behind the scenes and developing it himself. A lot of the little mannerisms and I think his sense of fashion is very different from Coley’s so,

Glenn Payne: well, it was interesting too, because when we were coming up with a story and we were, like we said, it had different ideas.

I think we knew. That we weren’t gonna have the energy or the time, but probably more so [00:23:00] the mental energy to write a whole script and then, and then shoot it in a similar manner, which is why we went ahead and said, well, let’s improvise it. Cause that’s something Casey and I have talked about, or I’ve mentioned to her throughout the years, the possibility of doing a movie like that.

We did it once before the comedy a long, long time ago before I had some stuff figured out as a filmmaker, but yeah, so it was interesting because of the world and the pandemic and how much mental energy was being used just to exist that it was like, I don’t think we’re going to be able to like, write a whole thing thoroughly.

And then also shoot it. So we kind of, tried this, it took us, it took some chances, you know, just to see what would happen to the push ourselves. Yeah.

Casey Dillard: I don’t think we can fully call it an experimental film because it obviously has a narrative, but it was definitely an experiment.

Jeff: And when did you guys, once again, it came out so good.

[00:24:00] Like I was increasingly impressed with the movie. The more, the longer it goes on and the more you see just how much. Potential that the movie did offer it kind of covered things you don’t normally see in a movie such such as it goes into once again, very much the killers mindset, and it’s all done through reactions to what the characters are talking about.

And, and I was wondering like, did you guys spend a lot of time, like researching who this killer, what his motivations were and what killers kind of go through to make this killer feel as well-rounded, as he was.

Casey Dillard: No, I’ll be honest here and say that we did not do a ton of real-world research because that just leads to some very dark

Glenn Payne: and the world was too dark at the time.

Casey Dillard: And yeah, and again, we wanted to just kind of build him from the ground up because the whole idea is that these people are trying to [00:25:00] apply their own logic to him. And.

And so he, I don’t know, his worldview has to be a little bit cloudy even to the people who are watching, because the whole point is that just he thinks and perceives things very differently.

Glenn Payne: And I think as far as playing him, it was, I don’t know. I think the focus for me was really about being. As sincere as possible in those moments with these other people.

And that’s always the way you play a character. So it’s not like it’s groundbreaking, but, but as far as like, do I want to dig into. A lot of real-world killers in their psyche and things like that. It was less about that. And more about what would this guy do in these moments with these people. And not in, not in an attempt to make him likable to round back to that or anything, but just to make him sincere.

[00:26:00] And and because I watched, I think Casey and I both separately watched a project recently, that was really good. But it had a moment. I don’t want to say what else, but I had a moment where you find out who the bad guy is and they sort of, you know, they do a thing where they switch and now they’re sort of like really evil and like squinty eyes and laughing at their own jokes when they weren’t that way before.

And I liked the

Casey Dillard: idea of it was like they turned into a completely different person.

Glenn Payne: Yeah. Yeah. Like they were hiding who they were. And mark is hiding who he is. But it’s, but he’s still, hopefully the same throughout. It’s just, his decisions are very poor and, and, and, and bad. As he deals with these impulses that he has, whether or not he feels like they’re something he doesn’t want or whether he’s lying to himself.

And he just says that. So he doesn’t feel like as bad a person. And he actually does enjoy some of these things. Cause we, you know, [00:27:00] we, we, we deal more with his thoughts after the fact and how he deals with people than we do those actual moments of things happening.

Jeff: Yeah. And you know what, and I do, I want to praise you guys for staying so consistent with all your characters and I, and I do want to point out what I think it was Casey who said it, the idea of, you know, we’re at the end of the villains revealed, he becomes like this weird maniac guy.

I don’t know if that’s, I don’t think that’s realistic in any situation where someone suddenly just switches like that. It’s just unnatural.

Glenn Payne: Yeah,

Casey Dillard: I would agree. I, I don’t know. I mean, I’m sh I think it fits some stories in it and it doesn’t fathers. And I, and I think we wanted to play with the idea of like, essentially mark gets away with a lot of what he gets away with because.

He because people assume that he’s a good dude, because that’s what he seems to be. And we didn’t want to suddenly dramatically shift his behavior just because he is not a good [00:28:00] dude. Like he perceives himself to be that way.

Jeff: And, and I think the movie does a great job of playing with the idea of perception.

Not because you get to watch the killer. See how and hear how others perceive what he’s doing and why he’s doing it. There is a great moment without giving too much away about. Making a connection between the victims and seeing the Mark’s response to that. Like, oh, Hey, I didn’t even think about it. It was such an incredibly clever thing to do.

And I always had a thought that maybe the killer thing of himself. Well, I guess I got to do that now to keep it going, but yeah. Yeah. Well,

Casey Dillard: and that’s when you see him, you know, when he’s scrolling through the dating apps, like now he’s looking for a flower name and. It’s like, he’s not even checking out the pictures or the bio’s or anything.

It’s just on a

Glenn Payne: deeper level that we don’t have to get into too far. It also makes him, he feels like he maybe he’s found the puzzle piece to understand why he is like,

Jeff: oh yeah. [00:29:00] Good point. I mean, I kind of felt like you guys, I mean, I’ll actually, this is one reason I’m surprised that it’s improv. I really thought you guys were intentionally building the, the concept of how.

We are affected by how others view us in that kind of how mark is kind of effective about that. I mean, it was, was that part of the storyline or th once again was the improv just so strong that it just kind of develops that way?

Casey Dillard: I think it was definitely part of, it was a little of both. I think it was always built in, but it was definitely enhanced as it went along.

When, when we get further into, you know, his like, When we see his little like fantasy visions and things like that, and the way that he perceives the world.

Jeff: And another part that I thought was really interesting. It was that I kind of felt like you guys were in, in discussing having let’s look at having a killer in the room.

We you’re discussing the story [00:30:00] and the killer at one point, feeling stunted creatively, it kind of suggested that the murders for him was a creative act. Is that correct?

Casey Dillard: It was an act of expression to him. And so he equates that to creativity.

Glenn Payne: Yeah. I would agree with that. That’s good. Well, I’ll set

Jeff: and yeah, I really, it was so smart and dealer thought.

I was kind of interesting. It was that once again, it’s a very funny movie considering it’s a horror movie. So how did you guys approach making sure that was balanced properly?

Glenn Payne: I would say with this one, it was trickier than, than others. Like, like driven, for example, because with driven. Casey is a very talented writer and comedian and actor.

But so when you develop a script, like driven was, she wrote really fast, but, but you can play in and see this joke’s gonna work. This one’s not going to work, but when you improvise it I don’t know. I guess when we got done, we were like, man, is this gonna, is this funny? So it was really interesting to, I guess in a lot of ways we [00:31:00] kind of would just feel it out and.

I dunno. I don’t remember Casey ever having any like heavy discussions. We were like, we have to pull back right here. I think we all just sorta assuming we made okay. Decisions. I think we just kind of felt it and went with it and

Casey Dillard: yeah. Yeah. Yeah. I think so. Yeah, that’s probably the best way to sum it up

Jeff: there.

The other thing I want to talk, because I know we’re running short on time, is there, there’s not those a TV show or a movie that the killer is very interested in? I couldn’t recognize the movie. Is that a real movie or was that one that was made just for the film?

Glenn Payne: It’s actually it’s a real movie. It’s a public domain.

Pied Piper of Hamlin. If I ha if I say the last I was looking for something for him to watch in that opening scene, and I knew I wanted it to be an older film and I wanted it to be something that he had probably watched with his mother. Because she has a lot to do with, with him. And it just works so well and had such a great vibe in the music and stuff.

It just really, I really connected with it. And I

Casey Dillard: thought there was, [00:32:00] and, and our composer kind of blended some of the score to the songs from the movie in a, in a very effective way.

Jeff: Well, I just want to say to our listeners, the movie really was fantastic. I highly recommend it. It was. Very clever. It was very clever and entertaining.

So where can our listeners find it?

Glenn Payne: You can watch it on Amazon right now. It’s available for purchase there. And then soon in the coming weeks or so it’ll start to own to, to roll out on other places like iTunes and Google play and Tubi, which is a big mobile push whenever it comes out, things like that.

But right now it’s on Amazon for sure.

Jeff: Well, once again, guys, thank you so much for coming onto the show. I highly recommend killer concept to our listeners. Check it out on Amazon is definitely worth watching it’s I think from a writing perspective, it’s very fascinating how it was all put together.

It is a very interesting character study. It’s a very interesting [00:33:00] style of movie-making.

Glenn Payne: Thank you so much. Thank you. Thank you.

Jeff: Thank you. Thank you guys so much.