Hollywood Misconceptions Holding Filmmakers Back | Kinolime Podcast Ep 38

Show Notes

🎬 Episode Highlights & Industry Truths The Indie vs. Hollywood Myth: Chaya dismantles the idea that independent film and Hollywood are at war. Instead, she explains how they function as a single ecosystem where the indie scene serves as a vital scouting ground for major studios seeking fresh, expandable talent.

The "Great Script" Fallacy: Think Hollywood will automatically find you just because your script is brilliant? Think again. The hosts emphasize that you must be the driving force behind your own career, constantly hustling and packaging your value alongside your writing.

Credentials vs. Commitment: When building producing partnerships, gritty commitment will always beat out an impressive film school degree. Discover why the most successful producers look for relentless collaborators who are willing to stick it out through all the inevitable ups and downs of production.

🛑 The Biggest Hollywood Myths Busted The Producer's Attachment: Attaching a top-tier producer is a massive win, but it doesn't mean your film is instantly greenlit. John and Chaya remind filmmakers that an attachment is just the starting line, and getting a movie made is always a hard-fought miracle.

The "Bullshitter" Epidemic: Does everyone in Hollywood lie? While the middle ranks might have their share of opportunists, Chaya reveals that the highly successful players at the top are genuinely kind, hardworking people who deeply value authentic relationships and reputation.

Red Carpet Reality (Glamour vs. Grit): For a producer, the real "glamour" and freedom happens in sweatpants on an active film set. Conversely, getting dressed up for stressful red-carpet events is where the most calculated, high-pressure networking and work actually takes place.

💡 Filmmaking Philosophy & Inspiration Art over Message: The hosts discuss the modern trend of "spoon-feeding" literal, surface-level messages to audiences. They argue that filmmakers should focus on creating incredible art and compelling characters first, allowing deeper themes to surface naturally without feeling lazy or forced.

Adapting to Shorter Attention Spans: Rather than reacting to the TikTok generation by "dumbing down" narratives or endlessly restating the plot, creators should adapt by making their stories undeniably engaging and sophisticated enough to command a modern audience's attention.

The Myth of "The Top": The Hollywood ladder is an illusion. Chaya shares her perspective that with every new success, you simply find yourself at the bottom of a brand-new ladder, making it crucial to embrace the continuous grind while lifting up others along the way. (Plus, find out why The Godfather is her ultimate cinematic "cleanse!")

✍️ Make Your Own Movie with Kinolime The 3.0 Screenwriting Competition: The episode wraps with an exciting announcement for writers everywhere: Kinolime's third annual feature film screenwriting competition is open from January 23rd to March 15th.

Turn Your Script Into a Feature: Anyone around the world can submit an English-formatted screenplay. The script with the most community votes gets fully funded and produced by Kinolime, joining previous winners like The Waif and Mob Mentality (both entering production in 2026). Visit Kinolime.com to submit your work!

Full Transcript

[00:00]

The problem is that middle ground where there's those bullshitters who can see your weakness,

[00:04]

see that you need something, promise something that they can't deliver, and you feel so

[00:08]

f***ed because you feel like somebody who you gave your heart to, now f*** you over.

[00:12]

But that's not the case.

[00:13]

Yet, do they ruin it for everyone short, but it's a misconception.

[00:16]

Hey everybody, welcome to the KinoLine podcast.

[00:28]

We have today the amazingly talented, super brilliant, and oh my, esh, so fashionable,

[00:35]

kaya more in the studio.

[00:37]

What's so cool, how you doing?

[00:39]

Good, though, this was short.

[00:40]

Thank you.

[00:41]

I mean, look at you.

[00:42]

If I had to say everything, it would take up the entire time.

[00:45]

True.

[00:46]

And we would have to edit it out like people want to hear about producing and like how

[00:49]

to make it and all that stuff and all the great tips you got.

[00:51]

Let's give it a crowd what they want.

[00:52]

I gotta be honest, when you came to me with this idea of today's podcast, I immediately

[00:58]

liked it.

[00:59]

You did, you did.

[01:00]

You were like, I'm very authentic, you know, I wear my feelings on my sleeves, you know,

[01:04]

I don't like something.

[01:05]

But today we're going to talk about Hollywood misconceptions.

[01:09]

Now, why I love that is because there's so many misconceptions about like filmmaking and

[01:17]

what it takes to be a writer and how to get in and producing and all the stuff.

[01:21]

We're just going to have like a very candid conversation with a dear friend about like

[01:25]

the Hollywood misconceptions.

[01:26]

We've had different paths in our careers.

[01:30]

I on the writing side, kind of the producing side, kind of a whole bunch of other stuff

[01:33]

as the why.

[01:34]

But so we're going to give you our different perspective.

[01:35]

But kind of really value your opinion as always personal situation.

[01:39]

You don't have a choice.

[01:40]

I don't have a choice.

[01:41]

But I would love to just get into this.

[01:43]

Yeah, let's have fun.

[01:44]

I'll have to talk about.

[01:45]

So a Hollywood misconception that's about it is the Hollywood versus Indie the divide.

[01:51]

Right.

[01:52]

So there's a misconception in the business that Hollywood hates Indies and he hates Hollywood.

[01:56]

What's your thought?

[01:57]

I love the misconception of Hollywood versus Indie because for me, the biggest misconception

[02:01]

is thinking that it's a two separate entities when it's really part of the same singular

[02:05]

ecosystem.

[02:06]

Yeah.

[02:07]

It's just that they have just different roles in the ecosystem.

[02:09]

So the indie world, right, you start in a way it feels like, you know, it's more creative

[02:14]

and there's more open doors, but it's just there's a lot less voices in it in the starting

[02:18]

point.

[02:19]

So it feels maybe like a bigger open door, but it's it's all very intertwined.

[02:22]

And if you think about it, all of the Hollywood, all of it have their hands very deep into

[02:27]

the Indie world because they're there to kind of, you know, see what is going to be out

[02:31]

there.

[02:32]

What's what's interesting?

[02:33]

What can they take on and what can they magnify?

[02:35]

So in the end of the day, really, Hollywood is shopping in the Indie world and the Indie

[02:40]

feels like maybe more open doors, but we're trying to get into the Hollywood kind of frame

[02:46]

so they can expand the creativity.

[02:48]

So Hollywood doesn't kill creativity and Indie doesn't create creativity.

[02:52]

It's just that Indie is a way for people to have a start in the ecosystem and Hollywood

[02:57]

is a way to kind of take that and expand it, including the creativity.

[03:01]

I love that.

[03:02]

And I do feel it's a very yet and young situation that like you both, they both need each other.

[03:06]

They must.

[03:07]

It's an ecosystem.

[03:08]

Right.

[03:09]

It's kind of the thing where they, they have to coexist to feed off each other because

[03:12]

it's pushing the filmmaking world together as a whole, you know, you need the Indie.

[03:17]

You need to put the Hollywood, whatever that defined as.

[03:21]

And they both need to work together.

[03:22]

So I really love that you highlight that because they do work together.

[03:26]

That's what created that head space.

[03:27]

I'm like, I know.

[03:28]

No, but the thing is though, anything, our motivation is that Hollywood can see it and expanded

[03:34]

and Hollywood think about it.

[03:36]

They need a lot of content.

[03:37]

They want content.

[03:38]

So they want people to, but they don't necessarily want to, you know, put their money there unless

[03:42]

they know it's something good.

[03:43]

So this is their shopping market.

[03:45]

And they're always looking for the great indie director.

[03:47]

They really are.

[03:48]

They're really are.

[03:49]

They're really are.

[03:50]

They're looking for that.

[03:51]

Yes.

[03:52]

To then, you know, corrupt their soul.

[03:53]

And I'm kidding.

[03:54]

But I know.

[03:55]

But that's a thing.

[03:56]

No, but that's a thing like in the Indie, it feels maybe less but think about it.

[03:59]

It's all the same thing.

[04:00]

You have a producer who has an opinion and everything is all a part of it and all the

[04:03]

creatives and the collaborations.

[04:05]

Defining Indies is that it's independently of finance or produced outside of the Hollywood

[04:10]

correct studio system.

[04:11]

So instead of like the Warner Brothers, you know, Sony.

[04:13]

Yeah.

[04:14]

And we have to have all the big dogs.

[04:16]

All the big dogs.

[04:17]

You have an opportunity.

[04:18]

You have an opportunity to make something happen so the big dogs can see it.

[04:21]

I think we need love.

[04:22]

We need both and they will never go away.

[04:25]

Indies will never go away because they people who want to make films don't have the money.

[04:29]

So they have to be independent to make their film.

[04:32]

And Hollywood will always exist because they have the money make their own thing, but

[04:36]

also need the indie filmmakers to to groom and come up.

[04:40]

Absolutely.

[04:41]

Absolutely.

[04:42]

And there's a reason why actors intertwine between the indie and the Hollywood.

[04:45]

They want to perform an indie film.

[04:47]

They want to perform the movie.

[04:48]

Everybody.

[04:49]

Yeah, that's why it's all part of one thing.

[04:51]

And you have all of the Hollywood, as you said, Warner Brothers, Fox, whatever it is,

[04:55]

they're all set up in every single festival all there.

[04:57]

Everyone is trying to pitch and shop.

[04:59]

So it's a great ecosystem because it gives actually opportunity and it continues to go

[05:03]

up the ladder.

[05:04]

It's great.

[05:05]

Misconception number two.

[05:06]

Right.

[05:07]

If my script is great, Hollywood will find me.

[05:10]

So this is this is one that I was.

[05:12]

I chimed in on on the list because look, I'm an idealist.

[05:17]

I do believe the cream rises to the top if you write a great screenplay, but that's the

[05:21]

misconception.

[05:22]

I, you know, it's a hard business to break into here.

[05:25]

And honestly, seeing my friends be successful writers are friends that are fantastic writers

[05:31]

and they're friends that are not so fantastic.

[05:33]

And it's like the ones that are working in my experience are typically not so fantastic

[05:37]

ones, but they're.

[05:38]

Yeah.

[05:39]

They just whatever it is.

[05:40]

It's good.

[05:41]

They do.

[05:42]

But here's the thing.

[05:43]

Yeah, I couldn't agree more.

[05:45]

First of all, you know, we haven't have the Tesla of, you know, film yet.

[05:49]

You know, we don't just have like a self-driving.

[05:50]

You have to drive your own.

[05:52]

It's just the way it works.

[05:54]

And in any, honestly, any industry, you can have a good idea, but it's no one's going to

[05:58]

find you.

[05:59]

That's just not what it is.

[06:00]

You have to package it.

[06:01]

There's nothing you can do about that.

[06:02]

It's very important.

[06:03]

And which leads very good into the next one, which we'll go into soon, which I love.

[06:07]

But it's very important that you make yourself valuable because your script might be good.

[06:11]

But you're the value to the script.

[06:13]

More than the script itself, the script needs to be good.

[06:15]

You are.

[06:16]

And two things.

[06:17]

One, this is why Kenyla exists not to plug us, but honestly, we are here to find the

[06:22]

next great screenplay.

[06:23]

Because we're in a position to get it made, right?

[06:25]

So we're now thinking, hey, in the world of filmmaking or screenwriting, if you do write

[06:31]

something great, we will find it, you know, through a competition, but it's not like

[06:35]

that everywhere.

[06:36]

But even then, we're telling you we have, you have to go through the competition.

[06:39]

You have to put yourself out there in a certain way.

[06:41]

In a certain process, even if it's great, it's still important.

[06:44]

And even that even in the eat, like, let's just say the leg up form, no matter what, you're

[06:48]

always going to have to put yourself in a certain position.

[06:51]

A great executive I worked very closely with, named Charlie Johnson, gave me this great

[06:54]

piece of advice that fits squarely into this.

[06:58]

He said to me that he heard from a producer that he said, John, when I was talking about

[07:03]

screenplay that I wrote, he said, John, nobody wants to make your movie.

[07:06]

And I was like, oh, my gosh, that makes so much sense.

[07:10]

I was thinking about like, they don't want to make your movie.

[07:12]

They want to make whatever that's already in their slate.

[07:15]

You got to make your own movie.

[07:16]

You got to push yourself out there.

[07:17]

You got to get your screenplay as great or not so great.

[07:21]

You have to do the work.

[07:22]

You can't just write it and Hollywood is not going to be knocking.

[07:24]

No, it's going to be very difficult.

[07:25]

So, obviously, it's not meant to be a downer.

[07:27]

It just seems like you really got a grind to get your stuff out there.

[07:30]

Yeah, important to make a really good script.

[07:32]

Put yourself in a position for success by getting it out there.

[07:35]

But it's not just, if you write something great, it's not you're done.

[07:38]

That's like you're happy with it.

[07:39]

You got to keep going.

[07:40]

You're not even halfway done.

[07:41]

You're done of the first journey, part of the journey, if I can say.

[07:45]

Which goes really well into the next one, which is committed versus credentials.

[07:48]

And I love this one so much because as a producer, it's everything to me.

[07:53]

Because I can't even tell you most of the people that I meet.

[07:56]

I mean, listen, it's their world.

[07:57]

They know a lot of people.

[07:58]

They know a lot of things.

[07:59]

They know how a lot of things work.

[08:01]

So there's a lot of, you know, you have great conversations and you're like, wow, this

[08:04]

person is no so much.

[08:05]

But then you realize like what matters most is the relationship, a committed relationship.

[08:10]

When I look about with partnerships and anyone that I've ever worked with, what are you

[08:14]

willing to get there until the end with me, which means all the ups and downs.

[08:18]

I don't care what happens.

[08:19]

I need to know we can make it till the end end end of the journey together.

[08:23]

So the misconception is that being credentials is enough, meaning you have your degree, you've

[08:27]

been to film school, whatever, whatever.

[08:29]

That is the misconception that if you have that, you're enough.

[08:31]

No.

[08:32]

The thing is, no, it's the grit, the hootspot.

[08:36]

Yeah.

[08:37]

It's the grind.

[08:38]

Yeah.

[08:39]

And you to go and get yourself out there.

[08:40]

And I got to say, I could speak solely from experience on this.

[08:44]

So I'm not the most talented writer when I started with the most, no, I'm being honest

[08:48]

here.

[08:49]

Like in my opinion, when I started out, when I started out, I was in the most talented.

[08:53]

But how I got consistent work was because I was a grinder.

[08:56]

I was the one outworking every writer I knew.

[08:58]

I was staying up late.

[08:59]

I was writing draft after draft after draft.

[09:02]

I was only owning in on my craft.

[09:03]

Yes.

[09:04]

I wasn't trying to say I watched so many movies.

[09:05]

I was like, I'm just going to put up the page.

[09:06]

I'm going to bleed on this page and grind as much as possible.

[09:09]

So I was able to get work, a working writer based on that grind alone.

[09:13]

Absolutely.

[09:14]

And it is.

[09:15]

It's kind of in New York.

[09:16]

It's in on the grind.

[09:17]

We're in on the grind.

[09:18]

But it really did make it end as a producer.

[09:20]

I really have to say, like most of the partnerships that I got were not necessarily the people

[09:24]

that were the most talented in regards to how much they knew and how much, you know,

[09:28]

how much of a cinephile they were or the facts that they knew about, you know, from this

[09:32]

guy and that guy, it was, it was the people that literally didn't ever stop.

[09:36]

They were like, they committed to something and they saw it through to the end.

[09:39]

And I'm like, that's who I want to work with.

[09:40]

I want to work with you.

[09:41]

I know that we're going to make it.

[09:42]

And as a producer, we're going to go to our misconception number four that if you have

[09:46]

a producer attached, you're basically right with it.

[09:49]

And oh, man, I was, I've been hard on this early in my career.

[09:52]

I can name names.

[09:53]

I had a, to this day, this person is probably top three independent film producer in the

[09:59]

business.

[10:00]

Like top three, if this person wants to make a movie, he will get it made.

[10:04]

I optioned screenplay into this company.

[10:06]

I get a phone call from this individual and he's like, John, I just want to say like,

[10:11]

I can make, I'm going to make your movie.

[10:13]

And I'm like a year and a half movie in an LA.

[10:15]

I'm like, this is like gold.

[10:17]

And the movie never got made.

[10:19]

So I just again, like, yes, it's a good thing.

[10:22]

It's a good thing.

[10:23]

I mean, that means you hustled.

[10:25]

You did right.

[10:26]

Well, I didn't get par, but, but don't let go of that movie.

[10:28]

Yeah, it's, it's a misconception that it's just because a producer, any producers at

[10:32]

the catch that your movie is going to be greenlit.

[10:33]

That's not the case.

[10:34]

Not only that, the good thing about getting a producer attached is knowing that your script

[10:38]

is good enough to make it.

[10:40]

It's in a way, it's a boost.

[10:42]

But you, I think it's really important for communication.

[10:44]

Yeah.

[10:45]

And if a producer camp communicates what are the actual lines?

[10:47]

What are, you know, the expectation lines?

[10:49]

It's really important you continue to hustle.

[10:51]

Yes.

[10:52]

Find other partnerships.

[10:53]

And not only that, that also helps the other producer be like, oh, wow, there's other people

[10:56]

interested.

[10:57]

Maybe I should actually keep this in my front.

[11:00]

And set an expectation like, you know, producers are human, like not, there's very few

[11:04]

people in Hollywood that can make every movie they want to make, right?

[11:08]

So if you have a producer attached, yes, it's awesome, like congrats, you know, pray,

[11:12]

like handles, whatever it is you do.

[11:14]

But I hear this whole time making a movie is a miracle.

[11:18]

People say this all the time.

[11:19]

Who make movies consistently?

[11:20]

Like every time a movie gets made.

[11:21]

It really is a shock.

[11:22]

I'm shocked.

[11:23]

It's a miracle.

[11:24]

So it really is.

[11:25]

And if you have a movie made, that's amazing.

[11:28]

But just because a producer is attached, your movie is not greenlit.

[11:32]

It's really, it's really just again, it's part of it.

[11:35]

It's part of the process.

[11:36]

That's the thing is that it's really not the end.

[11:38]

It's still in the beginning line.

[11:40]

Remember that.

[11:41]

It's the beginning of the line.

[11:42]

So the beginning of the line means so many things can change and happen and shake it

[11:45]

make.

[11:46]

So be on top of it.

[11:47]

Stay very vigilant of the situation.

[11:48]

It's important.

[11:49]

Okay.

[11:50]

Let's go into the next one.

[11:51]

Which is also kind of goes into it.

[11:52]

I love our fifth misconception.

[11:55]

Success versus bullshitters.

[11:57]

Oh, yeah.

[11:58]

And I love this one so much.

[11:59]

Every time I almost speak to anybody, they're like, how do you deal with the bullshitters

[12:02]

of Hollywood?

[12:03]

Everyone's Hollywood.

[12:04]

So the misconception is that everyone in Hollywood is a bullshitter.

[12:07]

Yeah.

[12:08]

And first of all, everyone in life is a bullshitter.

[12:09]

Let's start with that.

[12:10]

Let's go.

[12:11]

But the reason why such a misconception is because part of making this making it at all

[12:16]

in this industry is all about relationships.

[12:18]

You must have collaborations and relationships.

[12:20]

You will not make it without it.

[12:22]

It doesn't matter how much money that you have.

[12:23]

Your reputation is everything.

[12:25]

Lose a reputation.

[12:26]

You fall.

[12:27]

Yeah.

[12:28]

The thing about bullshitters is that they sit in the middle, right?

[12:30]

So you have anyone that I've ever met on top and you can probably say the same thing.

[12:33]

You're like, they're the nicest person I've ever met.

[12:36]

I've only, only heard good things and only had a great experience.

[12:39]

Which means these are real good people who worked really, really hard to get where they

[12:43]

are.

[12:44]

And they continuously maintain the relationship.

[12:46]

They know they can fall at any moment.

[12:48]

The relationships matter to them.

[12:49]

And it's the same with people on the bottom.

[12:50]

They're working really hard to build their relationships.

[12:53]

The problem is that middle ground where there's those bullshitters, listen, and every, unfortunately,

[12:57]

no, every business.

[12:58]

Every business we got the bullshitters who can see your weakness, see that you need something,

[13:02]

promise something that they can't deliver.

[13:04]

And you feel so f***ed because you feel like somebody who you gave your heart to, you know,

[13:07]

f*** you over.

[13:08]

But that's not the case.

[13:09]

Yet, do they ruin it for everyone short?

[13:11]

But it's a misconception.

[13:13]

Success is meaningful.

[13:14]

Yeah, it is.

[13:15]

And I will say there, you know, every business has BSers.

[13:18]

But Hollywood's not full of BSers.

[13:20]

Like there are a ton of talented people who are committed to making great movies and

[13:25]

wanted it.

[13:26]

Yeah.

[13:27]

Like at every, you have sometimes it's a fake it till you make it or feel, you know,

[13:30]

act like you've been there.

[13:31]

Like I played sports.

[13:32]

So there was like act like you've been on the big stage.

[13:33]

And like I get that.

[13:34]

But the missing, there are a ton of bullshitters there are, but you got to stay committed to it

[13:40]

and like grind.

[13:41]

Yeah.

[13:42]

You don't like, don't get deterred by these by the bullshitters.

[13:44]

Don't.

[13:45]

But here's the thing.

[13:46]

The bullshitters, they're in a talented business.

[13:47]

So they're very talented.

[13:48]

Yeah.

[13:49]

They're good at what they do.

[13:50]

They know how to mimic, they know how to act.

[13:51]

This is own art form.

[13:52]

They are the art of bullshitting.

[13:54]

But I think it's like, don't get deterred by that because the people at the top are

[13:56]

not bullshitters.

[13:57]

They are not bullshitters at all.

[13:59]

And when you know that, you know like, okay, I met the bullshitter.

[14:02]

Let me find the one that's not the bullshitter.

[14:04]

Yeah.

[14:05]

And you typically see that you'll see the bullshitter on the lower level.

[14:07]

Yeah.

[14:08]

But when you get up there and you're meeting with real decision makers, these are really

[14:12]

smart.

[14:13]

Really smart kind.

[14:14]

Kind.

[14:15]

Kind.

[14:16]

Like, I'm admitted to feel like, you know, it's okay.

[14:18]

It's fantastic.

[14:19]

Again, not everyone, but the misconception that we're trying to prevent is that Hollywood

[14:22]

is not full of bullshitters.

[14:24]

At least the successful ones.

[14:25]

Exactly.

[14:26]

All right.

[14:27]

So let's move on to the next one.

[14:28]

I like this one actually a lot.

[14:29]

This is art versus message.

[14:30]

Yeah.

[14:31]

I really like this one because the amount of...

[14:33]

So the misconception here is that you need a message in your movie, right?

[14:38]

You always hear it all the time.

[14:39]

The why now?

[14:40]

Like, at least that's what I...

[14:42]

Yeah, no, literally.

[14:43]

Every page is like, why this is so important.

[14:45]

That was what I was saying.

[14:46]

It was a relevant...

[14:47]

And you do need it.

[14:48]

You need the message, but the art needs to outperform.

[14:51]

The art needs to drive the message.

[14:53]

The art needs to be amazing.

[14:54]

I mean, look at films like Casa Blanca, let's just say, or The Godfather.

[14:58]

You don't even know there's a message.

[15:00]

Yeah, it's amazing.

[15:01]

All you can see is the art and the performance and it's so beautiful.

[15:03]

There was a great article that came out.

[15:05]

I want to post a link here when we'll be fine because there's really worth reading.

[15:08]

It's about how art today is so literal.

[15:12]

Like it's so on the nose.

[15:13]

Two on the nose.

[15:14]

Two on the nose.

[15:15]

The quality of meaning has been lost.

[15:18]

Like it's now what you're writing and shooting, it's got to be like, so in your face, like,

[15:23]

it's about this.

[15:24]

Yeah.

[15:25]

And we've missed, and I do miss that because I don't want to be hit over the head with the

[15:28]

message.

[15:29]

Of course, and it's not timeless when it's about just like that, you know.

[15:32]

It's giving me a good story.

[15:34]

I'll find...

[15:35]

The message will be there.

[15:36]

Yeah.

[15:37]

And I understand you want...

[15:38]

This is more of the screenwriting side.

[15:40]

You want to write from a place of theme, right?

[15:42]

The theme, the meaning, whatever.

[15:43]

Like you really got to let the art, the character drive it.

[15:47]

And then I think innately the theme or the meaning will organically blossom.

[15:52]

Absolutely.

[15:53]

But if you push, if you're pushing that as your engine, it's going to be...

[15:56]

You're going to telegraph it.

[15:57]

It's going to be too obvious.

[15:59]

And therefore, I think people get allergic to that.

[16:01]

I think you see that a lot in box office numbers today is why certain films do bomb is

[16:05]

because there is such a forward message.

[16:07]

Yeah, the message is way too forward.

[16:09]

But then, you know, and then there's also the films where, again, the messaging is important

[16:13]

and the art, you know, needs to kind of drive it.

[16:17]

But then you have like films that I find way too often where the messaging is also very

[16:21]

lazy.

[16:22]

It's very lazy and very flat, right?

[16:24]

So you'll have like some parts of this film.

[16:26]

And I...

[16:27]

Did you say like it's too surface level?

[16:29]

It's not deep enough.

[16:30]

It's not deep enough.

[16:31]

Yeah, it doesn't, but it also doesn't give you enough context, right?

[16:33]

So like, I'm going to like, I feel bad to...

[16:36]

I'm going to bring like Marvel in there.

[16:38]

But the reason why is because the art is so amazing and the scripts are so talented

[16:42]

and some of the messaging is brilliant, right?

[16:44]

You'll have like a messaging like, you know, in order to destroy, you know, the democracy

[16:48]

is that you cannot come from, you know, has to come from within.

[16:51]

You cannot just...

[16:52]

They're too strong to come from, you know, you...

[16:53]

They can't see us coming.

[16:55]

You have to make them fight within itself.

[16:56]

And you're like, yeah, that's true.

[16:57]

That is the reality.

[16:58]

But then they'll have like, oh, he was bad.

[17:00]

Let's forgive him because he said sorry.

[17:01]

Yeah, yeah, yeah, yeah.

[17:02]

Okay, I mean, since when do we just...

[17:05]

Yeah, I mean, forgiveness is good, but I mean, there needs to be a little bit of context

[17:08]

and consequences.

[17:09]

Or a little deeper in that, yeah.

[17:10]

Yeah, where then you apply it to life and you see everybody walking around being like,

[17:13]

well, I said sorry, you're like, yeah, but that's not real.

[17:17]

And it's almost as if people adapt the meaning more meaningful than it is.

[17:20]

Sure.

[17:21]

And it's important, I think, not to be lazy with the meaning as well.

[17:23]

Yeah, I really love that because, again, I think you should write my opinion, you know,

[17:29]

oh, this is all our opinions, right?

[17:31]

Let's make it clear.

[17:32]

Right, your story from a place of like character, and I really think or apply, I really do

[17:40]

feel that when you are trying to write and breathe life into these characters, they're

[17:45]

going to speak for themselves.

[17:46]

And there'll be some natural subconscious meaning that comes out of it, you know, and

[17:52]

like a lot of obviously art's interpretation, right?

[17:55]

But when you are so forward about it, so too, in your path of trying to push a meaning

[18:02]

down, like I get turned off.

[18:05]

Absolutely.

[18:06]

Don't be too forward and don't be too busy.

[18:07]

Take it on an adventure.

[18:09]

I want to be told a story.

[18:10]

I don't want to be told a lesson.

[18:14]

Well, that actually leads very well into kind of, well, we were talking about like before

[18:19]

about space versus engagement, which isn't really, it kind of like just goes into it.

[18:22]

It's not really a misconception at all, but it's just a good, like topic in general,

[18:26]

to talk about the fact that like it's very important to engage.

[18:30]

Make sure that the audience is very engaged in the messaging.

[18:32]

Like the, them come to their own conclusion.

[18:34]

Yeah.

[18:35]

Don't spoon free them.

[18:36]

There's a lot of spoon feeding.

[18:37]

So that's great.

[18:38]

And it goes into what we've been saying.

[18:39]

But again, I love that you bring up the fact of let the audience, you know, again, you

[18:44]

look at a piece of art.

[18:45]

I do this all the time.

[18:46]

I'm not art literate.

[18:47]

But when I go with people who are way smarter than I do to museum and then go a little

[18:51]

while here, like, I love the art that lets me interpret it.

[18:54]

Yes.

[18:55]

I want to know what the meaning is.

[18:56]

Like, I want to find it.

[18:57]

You want to find it.

[18:58]

You want to get back in place.

[18:59]

It's so beautiful that you're enjoying it on your own and you get to interpret on

[19:03]

yourself.

[19:04]

Don't like over spoon feed me.

[19:05]

You look at the, you know, the Bible or certain ancient religious texts.

[19:10]

No, I mean, like, that's up for interpretation.

[19:11]

Like, let the author sometimes just have, they're saying whatever they have to say.

[19:15]

It's true.

[19:16]

I have so many things to say that I really want to go there.

[19:18]

I want you to laugh.

[19:19]

No, I love that.

[19:20]

I love that.

[19:21]

But it is true.

[19:22]

I mean, listen, that is as we evolve, we need to, it's important to reinterpret things

[19:25]

because you need to adapt to it, which is great.

[19:27]

And I think a movie will become, or you're story, we more timeless that way, if you leave

[19:31]

it to the audience interpretation.

[19:34]

Because it'll be able to adapt through time.

[19:37]

But if you're talking about it and again, I'm not saying that you can't write a movie

[19:40]

about a specific moment.

[19:41]

I look weird.

[19:42]

The time's relevant is very interesting.

[19:45]

It is.

[19:46]

But in a way, it's the time to be more crafty about it.

[19:48]

Sure.

[19:49]

Because everybody has such a pin.

[19:50]

But if you had, like, let's say there was something that happened here in America that

[19:55]

you want to make a story about.

[19:56]

Like, it's okay to hone in on that time of that moment.

[20:00]

But again, if you're pushing the message, I think that's where we go.

[20:02]

Yeah, to sure.

[20:03]

Absolutely.

[20:04]

I think there's a way to kind of keep politics and ideologies out of messaging.

[20:09]

It is important to do that and keep that open.

[20:11]

Which is also good to kind of like segue into the fact that aside for just spoon feeding,

[20:16]

I think there is also people that, like, I'm saying films and filmmakers that maybe

[20:20]

give too much space.

[20:21]

Yeah.

[20:22]

Where there's like, you know, you ever have a story, you just don't understand the story.

[20:24]

Yeah, sure.

[20:25]

Like, I don't know why the character is making this face.

[20:27]

I don't know.

[20:28]

There's too many loose ends.

[20:29]

There's like suddenly there's a cliffhanger.

[20:30]

I feel like in horror films, that's fine.

[20:32]

But other than that, you know, because you're not supposed to have any expectations.

[20:35]

Other than that, it's like the two loose ends where now I'm like, I don't even know what

[20:39]

it's happening to the point of like, you know, it's kind of like the pendulum of like

[20:42]

the spoon feeding.

[20:43]

Yeah.

[20:44]

Now I'm going to give you just like nothing.

[20:45]

Nothing.

[20:46]

So yeah, there's definitely a balance.

[20:47]

You know, those films for certain people, I agree it's not my cup of tea.

[20:49]

Not my cup of tea, personally.

[20:50]

I think it's important to keep everyone engaged.

[20:52]

So Kai, maybe you can walk us through the misconception of glamour versus grit.

[20:56]

I think the biggest misconception, I guess, at least as a producer, is that when I'm on

[21:02]

the glamour part, when I'm actually dressed up and I'm on a red carpet and I'm on a

[21:06]

stage, that's my biggest grit moment.

[21:08]

That's a time where I work.

[21:09]

Very cool.

[21:10]

This is my working moment.

[21:11]

So this conception is that it's old glamour?

[21:13]

No, this is grit.

[21:14]

Actually, maybe to someone, maybe I'm wearing a dress while I'm working.

[21:18]

Sure.

[21:19]

And my hair is done.

[21:20]

But this is the moment where it makes a very big difference who I meet, how I pitch,

[21:24]

how I'm, you know, navigating through all of that.

[21:27]

Not only that, you also have investors.

[21:28]

You have a lot of things that you're dealing with making sure everything is running through

[21:31]

production well.

[21:32]

It actually feels like it's a different kind of work and not the work that's creative,

[21:36]

per se, and the work that I really need to prove myself.

[21:38]

Yeah.

[21:39]

So I feel like it's a lot of great where I feel as the most glamour versus when I'm in my

[21:42]

hoodie and sweat and on set.

[21:43]

Nice.

[21:44]

That's my glamour.

[21:45]

That's when we're glamour.

[21:46]

This is when we're having a good time.

[21:47]

We're just in there in the creative moment.

[21:49]

It feels so free.

[21:50]

The glamour part is where you feel the most tense and the most like I need to calculate

[21:55]

everything I say and move and put myself to work.

[21:58]

So that's the misconception for me.

[22:00]

And I guess probably for the 1% of the talent in Hollywood that you see at the Oscars

[22:05]

of the Loads in their in their Tuxedo's partying, you see Leo with his new meme, having a great

[22:09]

time with Tim and the talent.

[22:11]

And I'm just, I could have a good time.

[22:12]

The 99% of the people there are working.

[22:15]

It's like a grind like I've been to these events.

[22:18]

I'm with you.

[22:19]

Yeah.

[22:20]

I don't love getting dressed up.

[22:21]

I, it's, it's, I have to be on.

[22:23]

Yeah.

[22:24]

And I don't want to be on.

[22:25]

Yeah.

[22:26]

I want to just chill and have my champagne go watch something.

[22:28]

But you got to be on because you got to be on.

[22:31]

The only time I would say that the glamour does have both the grit and glamour is if your

[22:35]

specific film won an award and now you get to like kind of celebrate with everyone.

[22:41]

So yeah, you're working, but you're also getting to smile and feel good about something

[22:44]

that was successful.

[22:46]

So there is that both, but never, never the less the glamour never takes away from the

[22:50]

grit.

[22:51]

Great.

[22:52]

No matter what.

[22:53]

I agree.

[22:54]

Yeah.

[22:55]

Now the next misconception, reacting versus adapting.

[22:57]

Yes.

[22:58]

We're going to put this into into a good category here because I feel like especially for nowadays.

[23:04]

That's why is this is very timely.

[23:06]

It's so time-time.

[23:07]

I'm talking about messaging.

[23:08]

Yeah, Matt Damon just came out with or he was interviewed talking about Netflix how Netflix

[23:13]

apparently wants the filmmaker to state the plot like three or five months.

[23:17]

Yeah, because of the, yeah, the people are on their phone.

[23:19]

Yeah, this is actually maybe me reacting to his specific interview.

[23:23]

There we go.

[23:24]

But I'm going to debunk him here.

[23:25]

Good.

[23:26]

I think he's stating what Netflix is asking, but the misconception is that the industry is

[23:33]

moving to a depth to the people with less attention span.

[23:37]

Yeah, let's use Netflix more.

[23:39]

Yeah, let's go over the blanket.

[23:41]

Yeah, no, Matt Damon.

[23:42]

But you have an issue that I'm adapting to.

[23:44]

No, yeah, here's the thing about social media where again, another misconception, I think

[23:48]

at least in my end, is that social media is very fast paced that is true.

[23:52]

But a lot of it is also people are gaining, gaining a lot of knowledge and they understand

[23:56]

that there is a lot of, you know, a lot of the content that they get.

[23:58]

If it's not interesting for them, it's not because they're dumb.

[24:01]

It's actually because they're maybe getting an overload of information.

[24:03]

So if anything, the fast pace doesn't mean that you know less.

[24:06]

It could be that you know more, which means if you're actually oversimplifying it and

[24:10]

over repetitive, all you're doing is just, you're reacting to what you think is the problem

[24:14]

when really you just need to adapt the meaning of your film to be meaningful enough for the

[24:20]

generation to take a beat and be like, oh, this is actually really interesting.

[24:23]

I want to watch it because we all do that when we flip.

[24:25]

And something is like, hey, actually, let me see it.

[24:27]

Let me rewatch this again.

[24:28]

And I do see that.

[24:29]

So I have quite a large family and I'm around a lot of young ages.

[24:34]

So mostly like teenage, teenage section.

[24:38]

And I see this a lot.

[24:40]

And like there's no debate that the youth have a less of attention span, like 100 percent.

[24:45]

No doubt.

[24:46]

But I think that if they find something interesting, a movie, and I see this, like I

[24:51]

watched, I put on for three teenage girls a few weeks ago, my cousin, Vity, all glued

[24:57]

to the TV.

[24:58]

Not like the fast-paced film.

[25:00]

It was made in like the early 90s.

[25:01]

So it had a very chill pace.

[25:04]

But yeah, it's the acting's good, the writing's good, the director's there's a mix.

[25:11]

And it's got to be harder now than ever to earn the attention.

[25:14]

Their engagement.

[25:15]

For sure.

[25:16]

I mean, listen, we didn't have all of that when we were growing up.

[25:18]

So yeah, sure.

[25:19]

So we came out, we were willing to go through it no matter what.

[25:22]

And even now I'm not willing to go through it, but it doesn't mean my attention.

[25:25]

Adapt to who we are, right?

[25:26]

It doesn't mean my attention span can't handle it.

[25:29]

It just means it won't handle it if it's not good.

[25:31]

So I think what we're trying to say is don't adapt to the-

[25:35]

Don't react.

[25:36]

Don't react to the fact that there's a fast pace seemingly-

[25:40]

Don't react that there's a less of an attention span.

[25:44]

I think you just need to write your best story.

[25:46]

Yeah, adapt to the fact that this is who they are.

[25:49]

They're going to have to become even more engaging.

[25:51]

Make it more interesting.

[25:52]

Give them more of a reason to dive in, not less of a reason.

[25:56]

Don't repeat your stories.

[25:57]

Don't speed food more.

[25:58]

Yeah, food food food food food food food whatever.

[26:02]

Don't use spoons.

[26:03]

Just use your hands.

[26:05]

But either way, yeah, this is where we're going to be.

[26:07]

I do.

[26:08]

I love that.

[26:09]

Love it.

[26:10]

Let's-

[26:11]

All right, our last misconception, top versus bottom.

[26:12]

Okay, I'm not going to say my preference, but-

[26:15]

Yeah.

[26:16]

To talk about-

[26:17]

The misconception of top versus bottom is that I think that people think like,

[26:19]

oh, like, I'm starting in the industry, I'm in the bottom, you've done something

[26:23]

you're on the top.

[26:24]

And it's like, no, you're always on the bottom.

[26:26]

Now, it's not a negative thing.

[26:28]

It can feel negative, but it's not.

[26:29]

But specifically in this industry, every time you succeed in one thing, you're always

[26:34]

now on the bottom of something else.

[26:35]

Yeah.

[26:36]

You really, really are.

[26:37]

You never-

[26:38]

I never, ever feel like I'm the top of anything.

[26:40]

And actually, what's good to remind myself sometimes is to breathe, look back and be like,

[26:44]

hey, you've wanted to reach here and you've got here.

[26:46]

And now you're just on the next leg of that journey, but talking, wrapping all the way

[26:50]

back from the ecosystem, the ecosystem does make you feel like you're always in a way

[26:55]

on the bottom of the new rung, which is still its own success.

[26:58]

Don't get me wrong.

[26:59]

Sure.

[27:00]

But there is no top, there's only a bottom.

[27:02]

Like, that's really what this is.

[27:04]

I'm about to get heady and we're going to get into it for-

[27:06]

Let's go ahead and hand it here.

[27:07]

So, you know, there are some theories which I happen to find quite interesting is that

[27:13]

time doesn't exist.

[27:14]

Well, and that's a whole other podcast.

[27:15]

This is your fun.

[27:16]

Time doesn't move in a, you know, past, present, future fashion.

[27:20]

It's just one moment.

[27:21]

It's like-

[27:22]

And there are theories about this like astrophysic or theoretical physicists.

[27:25]

We'll talk about that the construct of time is not what we believe.

[27:29]

So I want to say there is no top, there is no bottom.

[27:32]

You're just-

[27:33]

You're just somewhere hovering in the middle.

[27:35]

You just are.

[27:36]

I like that.

[27:37]

I like that.

[27:38]

And I think if you can remove that from your mind that I-

[27:40]

I was a victim of this.

[27:41]

Like, I got to get up.

[27:42]

I had success very early on in my career.

[27:45]

And I couldn't sit in that moment at one minute of being present and being like, wow,

[27:51]

this is where I was like, I got a clog on it.

[27:52]

You're in the Hollywood grind and you're like seeing friends get movies made and make

[27:56]

the big checks and blah, blah, blah.

[27:58]

So I was constantly grinding and it's like, man, I just wish I could just sat there and

[28:03]

just be-

[28:04]

Right.

[28:05]

And remove the construct of top bottom.

[28:08]

Just do you.

[28:09]

I hear you.

[28:10]

That's good.

[28:11]

I really like that.

[28:12]

I'm going to put the construct back.

[28:13]

Good.

[28:14]

But I like that you took it off.

[28:15]

I'm going to put it back is because the reason why I think at least for myself is important

[28:20]

is because anytime that I feel like, oh, wow, like, there's so much still to grind to keep

[28:25]

going to the next step.

[28:26]

I remind myself that I can reach out to the latter below me and help someone up and

[28:30]

someone up there can help reach out below them and help me up.

[28:33]

And it is a moving system, meaning you're always in the grind.

[28:36]

But I think if you see someone who seems up there, but you remember, they're also in the

[28:41]

grind.

[28:42]

You know, you might have succeeded something in a movie.

[28:44]

You open up a TV series.

[28:45]

You have no idea where you're going, what you're doing.

[28:47]

You rely on each other a lot.

[28:48]

And it's important if you remember that you're all a part of the, the, the grind and where

[28:52]

you are, it can be a, a bottom to something else, a top to somewhere else.

[28:56]

It just, it's all about this.

[28:57]

It just came to you.

[28:58]

What if you viewed it like a carousel?

[29:00]

And you know, like the, like the carousels in the parks where they, everyone has like their

[29:03]

own triangle section.

[29:06]

I feel like we're going into horror movie right now.

[29:08]

No, no, but think about like the carousel.

[29:09]

You're on one, you're on one wrong.

[29:12]

And then the person to your right is.

[29:13]

Yeah.

[29:14]

They all equal.

[29:15]

You're all just on a circle going and like they're again, no top, no bottom.

[29:19]

You just all, you don't have the horses that move up and down.

[29:21]

No, no, no.

[29:22]

You know, like the little, the merry go round they spin.

[29:24]

Oh, those, those are scary.

[29:26]

Those are very scary, but they're all, they're all equal.

[29:28]

Why did King Arthur have a round table?

[29:31]

Because there was no head top or bottom again.

[29:35]

However you want to view it, but I can't see we can disagree.

[29:38]

We're going to disagree here because I do think it's important that you see something

[29:42]

on top so that you can visualize yourself getting somewhere above you.

[29:46]

We're trying to offer two ways to view it.

[29:48]

I think it's important to see that, but I think when you get there, sometimes you'd be

[29:51]

like, wow, now I'm back at the bottom.

[29:52]

And that reminds you that we're everybody else always sits.

[29:55]

So it gives you, I guess for me, it motivates me to never feel like I'm always sitting

[30:00]

on the bottom, but that that I'm always somewhere new and I have to start.

[30:03]

And when we spoke about this, what my initial gut was that there is no, you'll never, that's

[30:11]

the way I should say reach the top, but it's human nature to want more.

[30:14]

There's always more.

[30:15]

As you climb up, you get hungry and hungry.

[30:16]

I'm very hungry.

[30:17]

Like what I was saying, you go hungry, you go hungry.

[30:19]

And so you'll, some people never are satisfied.

[30:22]

And like that's not what you want to head space.

[30:23]

You want to get into you want to just be in the moment like on or where you're at.

[30:27]

Yes, on every step climb.

[30:29]

Every step is free.

[30:30]

Reflect, but that's why I debunk.

[30:31]

There's no top and bottom.

[30:32]

You are always climbing.

[30:34]

There is higher moment.

[30:36]

There's, there's rungs that you want to hit.

[30:39]

But I think just to just to know that there's always a grind, it can be very helpful to

[30:44]

to understand that like there is, there's no, I guess, there's no just one beginning.

[30:50]

There's always new beginning.

[30:51]

That's a continuing going.

[30:52]

And by the way, specifically in this industry, because you could fall if you don't continue,

[30:57]

you actually can't stay stationary.

[30:58]

You should enjoy the moments.

[31:00]

You should look back and reflect on your accomplishments.

[31:02]

But if you let ghost, oh my god, in this industry, you're out.

[31:05]

Boom, just like that.

[31:06]

Like you can not lie.

[31:07]

Like you just climb that skyscraper in Korea.

[31:09]

Oh my god.

[31:10]

That's scary.

[31:11]

Yeah, that's very scary.

[31:13]

But yeah, you, you, you have to always maintain your spot because there's always someone

[31:16]

else that wants it.

[31:17]

You have to make sure to maintain it and continue growing in order for you to do well in

[31:21]

this industry.

[31:22]

But just remember, even though you started somewhere, everyone is continuously starting

[31:25]

somewhere on the bottom.

[31:27]

We are done with our list, but I have a few more questions for the stage.

[31:30]

Done with the list.

[31:31]

Done with the list.

[31:32]

Done with the stage.

[31:33]

The fire, Amore is, Kyle, what have you learned as a producer?

[31:38]

In the past several months to a year that you're taking with you into 2026.

[31:43]

What's something that you learned?

[31:44]

There's so many things that I can speak about.

[31:47]

There's only lessons in my life.

[31:49]

I feel like everything is just a lesson in a good way.

[31:52]

Yeah.

[31:53]

I'm saying word.

[31:54]

This is just one big lesson.

[31:55]

You've been on a lot of sets over the past few years.

[31:57]

What is something unique that you find that you bring to the set and to the production?

[32:02]

Okay.

[32:03]

That's a good question.

[32:05]

I hope it's not unique to me, but I don't know if this is something that other people do.

[32:10]

Everyone answered.

[32:11]

But it's really important for me that I know every single person who's on set.

[32:14]

That's right.

[32:15]

I love that.

[32:16]

No, it's very, very important for me.

[32:17]

I ask everyone what their name is.

[32:19]

What do they do?

[32:20]

I go into it with everybody.

[32:22]

There is not a single person that I want on set that hasn't, I haven't personally met.

[32:27]

Know that I know that they are there.

[32:28]

I care that they are taken care of in a good way.

[32:31]

So it's very important for me.

[32:33]

Not only that, it's a family.

[32:35]

And it's really important that everybody feels good because I want them to do their best.

[32:38]

So I think that if people feel like they're appreciated and that they're looked out for

[32:44]

and cared for, I feel like they bring more.

[32:46]

And I feel it.

[32:47]

I do.

[32:48]

I really feel like people come in and excited to be there because everybody is a family.

[32:54]

It doesn't feel like, oh, the boss is here.

[32:56]

Let's all scram.

[32:57]

So it's very important that everybody knows that I really care about that.

[33:00]

What is something you've seen lately that blew your mind?

[33:04]

Physically or spiritually?

[33:06]

No, blew my mind.

[33:08]

Move your TV.

[33:09]

Something that you watched.

[33:10]

Honestly, I re watched The Godfather.

[33:14]

I did the whole thing.

[33:15]

Again, I told you this the other day.

[33:17]

It's kind of my cleanser.

[33:19]

I know this sounds weird.

[33:20]

One or two.

[33:21]

One or two?

[33:22]

I watched one, two and three.

[33:23]

No, but what are you allowed to do?

[33:24]

Oh, I'm a one.

[33:25]

I'm a one.

[33:26]

I'm one.

[33:27]

Yeah, we're leaving three.

[33:28]

That is true.

[33:29]

That was like a full closure.

[33:30]

Definitely.

[33:31]

Two is amazing.

[33:32]

Yeah, no question.

[33:33]

But one is my journey.

[33:35]

This is what it is.

[33:36]

It's a two and a half hour film that engaged me so much that I'm willing to go back into

[33:40]

it and get engaged again to it.

[33:42]

Like 1972, I think.

[33:43]

You know, so you're not talking about modern where it's like, it's not that snappy.

[33:46]

No, there's good films out there.

[33:48]

There's a lot of it.

[33:49]

Yeah, almost a lot of amazing things.

[33:50]

No, it's a movie that's 40 plus years old.

[33:53]

The reason why it reminds me why I'm in the business.

[33:56]

It reminds me.

[33:57]

It's my, it gives me inspiration of like, oh, that's a good movie.

[34:00]

I want to watch more of this.

[34:01]

This is good acting.

[34:02]

It just drips from all sides of just, it oozes just everything that a movie is supposed

[34:08]

to be.

[34:09]

So, yeah, that's my, that's my cleanse.

[34:11]

And my last question and speaking of a drip is, you know, your fashion just always blows

[34:16]

me away.

[34:17]

Where do you shop?

[34:19]

Oh, okay.

[34:20]

This is a eye shop.

[34:23]

I just go to people's home, steal their clothes, put it on.

[34:26]

No, what I do is I have, it's, it's, I'm not actually, I don't go shopping.

[34:30]

I'm not shopping physically in the sense of like, let me go shopping today.

[34:33]

I have very like, oh, I see it.

[34:34]

I wanted I'm taking it kind of.

[34:36]

You thrift.

[34:37]

I store the stores.

[34:38]

Everything.

[34:39]

Online.

[34:40]

There's nothing that is unlimited to me.

[34:42]

It's just that I, if I'm feeling it, I see it.

[34:45]

I find it.

[34:46]

I go for it.

[34:47]

Also, there's, I don't ever shop for anything particularly.

[34:48]

Because you're so fashionable.

[34:49]

Thank you.

[34:50]

And I get very jealous.

[34:51]

I just, you get jelly.

[34:52]

I do.

[34:53]

You can take my shirt.

[34:54]

I wish I had.

[34:55]

I wish I had.

[34:56]

I don't have any other stuff like that, but the, the, the map on how to find items like

[35:01]

you do.

[35:02]

Well, how about reverse it?

[35:03]

Because sometimes I'll see something that passes my, through my, like, my way.

[35:07]

We have like Tom here, amazing Tom, who's, have done like, amazing photography for fashion.

[35:12]

And I'll see like, something out of like a book.

[35:14]

And I'll be like, I want that.

[35:15]

Like, how do I find something similar to that?

[35:17]

And I'll just be like, okay, let's find something weird in that kind of context.

[35:20]

If you come across a men's medium or pants 3230, can I have feathers?

[35:24]

I'm your guy.

[35:25]

I'm okay.

[35:26]

I love Kyle.

[35:27]

All right.

[35:28]

This is so fun.

[35:29]

John, you're amazing.

[35:30]

He's a great screenwriter.

[35:31]

I don't want to say otherwise.

[35:32]

But everyone, thank you so much for joining here at Keenaline.

[35:35]

We're out.

[35:36]

There you go.

[35:37]

You're a screenwriter filmmaker.

[35:38]

You've got to listen up because here at Keenaline, we're opening up our third annual

[35:42]

feature film, 3.0 screenwriting competition, January 23rd to March 15th.

[35:47]

That means you, a screenwriter or filmmaker, get your movie made.

[35:51]

How amazing is that?

[35:52]

So our submission period opens January 23rd to March 15th.

[35:56]

So sharpen your pens, get your fingers ready, get that screenplay polished and formatted

[36:01]

and submitted to Keenaline for open competition.

[36:04]

If you don't know about us, Keenaline, this is what we do here.

[36:07]

We open a screenwriting competition yearly where anyone from around the world, as long as

[36:11]

it's in English and format correctly, can submit their screenplay into our competition.

[36:15]

Readers, film lovers from all around the world, read your work and vote on it.

[36:19]

If you get the most votes at the end, your screenplay will get made into a movie here

[36:24]

at Keenaline.

[36:25]

Just to give you some updates, our first competition winner, The Wave, and last year's competition

[36:29]

winner, Mob mentality, are going into production in 2026.

[36:33]

Yes, you heard that right.

[36:35]

We're making two movies from the past two winners this year.

[36:38]

That means you could, if you win this year, we're going to make your movie next year,

[36:42]

or maybe the year after depending on how production goes.

[36:44]

But at the end of the day, if you want your dreams to come true, if you want your screenplay

[36:47]

to be turned into a film, go to Keenaline.com right now.

[36:50]

Set up an account, find out all the information, ask questions.

[36:54]

We're here for you.

[36:55]

Get your submission ready between January 23rd and March 15th, and we cannot wait.

[36:59]

I cannot wait to read your work.

Hollywood Misconceptions Holding Filmmakers Back | Kinolime Podcast Ep 38

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