Masculinity, Shame, and the Search for Truth in COME with Kole Lee | Kinolime Podcast Episode 22

Show Notes

This video features a discussion between Meera Owen-Griffiths, Danny Murray, and Kole Lee regarding Kole's short script titled "Come".1 Background and Discovery: The script was submitted anonymously to a company short film competition and was ranked among the top 26 entries before the author's identity as Kole Lee, the company's social media manager, was revealed.2 Creative Process: Inspired by filmmaker David Lynch, Kole describes his writing process as an experiment in letting a single idea consume him and following his subconscious rather than overthinking or outlining.3 Thematic Content: Kole describes the script as an exploration of shame and guilt in a young man struggling with relationship issues and addiction.4 Narrative Style: The participants characterize the screenplay as "Lynchian," experimental, and surreal, noting that it straddles the line between a traditional narrative and a completely experimental film.5 Interpretations of Imagery: The group discusses various interpretations of specific scenes, such as the appearance of older characters who Kole views as archetypal figures representing judging forces or a potential future self.6 Personal Connection: Kole notes that one particularly impactful scene involving a child in a wheelchair was influenced by his personal experiences as a parent of a special needs daughter.7 Future Plans: Encouraged by the positive feedback from his colleagues, Kole expresses a newfound motivation to bring the script to life by filming it.

Full Transcript

[00:00]

David Lynch was, for me, one of the most motivational filmmakers.

[00:04]

His whole process was about the idea, just like he would say, it's all about the idea.

[00:10]

You go fishing for an idea, just meditate on that one idea and you let it consume you,

[00:16]

you try to feel it, and then you just let that lead you through every single step of the

[00:20]

process.

[00:21]

I get an idea and I start overthinking.

[00:23]

I start out online really little things, thinking about every plot point, doing character

[00:27]

backstory, like just corrupting the idea in a way.

[00:30]

So this script was like my attempt of taking Lynch's advice to heart and having an idea

[00:36]

and then not really doing anything else except letting that idea consume me and then just

[00:42]

writing.

[00:43]

Hello, Keno Limer's, me, we're here and I'm joined today by Mr. Danny Mori.

[00:56]

Mori, over in New York and Sir Cole Lee, over in LA.

[01:02]

Good evening to you from Ireland.

[01:03]

We managed to sync up all three time zones to get everyone here together on this call.

[01:09]

Welcome guys, how are we all doing today?

[01:11]

Great.

[01:12]

You're incredible.

[01:13]

I'm going to touch on all the eyes.

[01:17]

Nice.

[01:18]

Nice.

[01:19]

How are you, Cole?

[01:20]

I'm good.

[01:21]

Yeah, I'm just using finally the 99 degree heat every day in LA.

[01:25]

I'm really proud of you.

[01:26]

It's like perfect.

[01:27]

It looks great right now.

[01:28]

Amazing.

[01:29]

We work in Celsius over here.

[01:31]

So I have no idea what that means, but it sounds bad.

[01:33]

Yeah, it's hot.

[01:34]

It's like really hot here.

[01:37]

Guys, today we're here.

[01:39]

We're going to talk about a short script that came through in our short competition this

[01:44]

year, all of which is anonymized.

[01:47]

So we do not get to know who wrote the script until we're kind of vetting right at the last

[01:52]

stage just to make sure that we don't let any Woody Allen's in or anything like that.

[01:57]

Now we did that this year and we found that there was a slight conflict of interest because

[02:02]

one of the top 26 that we were going to push through was written by Cole our very own.

[02:09]

And today we just wanted to get together and briefly talk about this script.

[02:14]

Cole, you can say the name of it because I don't want anyone clipping me saying it.

[02:19]

I'll come.

[02:20]

That's the name of it.

[02:22]

That's the name of the screen.

[02:24]

CSC OME.

[02:25]

That's correct.

[02:26]

And that's how I'll refer to it from here on out.

[02:28]

But yeah, Cole, we wanted to have you on basically just to talk a little bit about your script

[02:33]

because we loved it so much and it really kind of just goes to show how many great screen

[02:38]

writers we have attached to this company and out because kind of whether they're creative

[02:42]

execs, head of development.

[02:45]

What's your official title?

[02:46]

You run all of the social medias?

[02:48]

What's your handle?

[02:50]

Social media manager, I would say.

[02:52]

Awesome.

[02:53]

Well, yeah, guys, we really have so many great screenwriters here at all levels.

[02:58]

So we wanted to discuss Cole's script and dissect it a little bit.

[03:01]

Don't forget to mention yourself and the great screenwriters attached.

[03:04]

Give over.

[03:05]

You're going to make me be a good person.

[03:07]

Both are, I guess, technically, John too.

[03:10]

It's something that a lot of people know.

[03:11]

But John got introduced to the company before is really conceptualized because there was,

[03:17]

this is maybe like 2022, there was a pilot run before the company was founded to see how

[03:24]

a competition would work.

[03:26]

And John's script, Temple of the Dog, had the highest score.

[03:31]

So you three are actually our little perfect triangle of people that have ranked very highly

[03:44]

in the competition.

[03:45]

I think that says a lot about this company because it attracts people that aren't talented.

[03:50]

That's why I was so passionate about getting involved in GinoLon in the first place.

[03:55]

And it shows to anybody at home.

[03:56]

If you've got a script up there, you too can be sitting on a Zoom with a bunch of guys next

[04:01]

year if you want to submit to our competition.

[04:05]

Yeah, please be our guest.

[04:07]

So guys, we'll have a fair for any further ado.

[04:10]

Let's talk about your screenplay, COME.

[04:14]

So we've congratulated you and we've talked a little bit about, I mean, can you give us

[04:18]

kind of a brief, a log line or synopsis about what this screenplay is?

[04:23]

Because I mean, while Danny and I are huge fans, it's extremely hard to put a finger on

[04:28]

the pulse of what this screenplay is.

[04:31]

It's weird, it's lynchy and it's a little bit experimental.

[04:35]

Kind of got a yotterouski kind of vibe at times maybe.

[04:39]

When you tell us kind of in your own words what this screenplay is in your own mind.

[04:45]

Oh, this is the worst fear.

[04:47]

This is like the question I was hoping you wouldn't ask.

[04:49]

I don't have a log line for it.

[04:51]

I really can't summarize it myself either.

[04:54]

To me, I can't give it a log line really.

[04:57]

Like a standard kind of clean log line.

[05:00]

But to me, it's just about, I would say that this is like an exploration of a young man,

[05:07]

struggling with shame and guilt while dealing with a relationship.

[05:11]

That's the best that I could say to it.

[05:14]

For me, what the script is about.

[05:16]

That's all I can say.

[05:17]

I really couldn't give it a log line.

[05:18]

I'm sure I could come up with a log line if I sat here and thought about it a lot.

[05:22]

But that was part of the whole process with writing it was like, I didn't think about

[05:27]

a log line.

[05:28]

I didn't think about an outline of summary or anything.

[05:31]

But yeah, I'm sorry, I can't give it a log line.

[05:33]

Maybe throw it in the chat GPT and let it generate a log line.

[05:37]

I don't know.

[05:38]

I find it very fascinating that you're one of like social media's top kind of screenwriting,

[05:46]

educational and inspirational posters.

[05:50]

Was there any sort of advice, writing tips or filmmakers that you were, I mean, obviously

[05:59]

Lynch, but like directly inspired by to kind of get the story rolling?

[06:04]

It was Lynch.

[06:05]

I mean, that was it at the end of the day.

[06:07]

And it was like, I mean, you and I have talked about Lynch before Danny a lot.

[06:11]

He's my favorite filmmaker.

[06:13]

Like, he's just, I think he's the best filmmaker.

[06:15]

It's subjective, but he's my favorite filmmaker.

[06:18]

His films, I feel like, affect me the most when I watch his movies.

[06:21]

Mahal and Drive is my favorite movie of all time.

[06:24]

And this script is kind of born out.

[06:26]

I mean, honestly, when Lynch passed away, that was like, it really made me want to start

[06:31]

revisiting all of his work.

[06:33]

And at the time that I wrote this script, I kind of haven't been writing for years, really.

[06:38]

I mean, like, I kind of had stepped away from like seriously working on anything.

[06:42]

And I've written a lot of stuff.

[06:44]

And I was working on a feature and I kind of was writing on working on it for a few months,

[06:49]

stepping away, working on it for a little bit.

[06:52]

And I kind of had stepped away from writing for a long time and just doing other things

[06:55]

and focusing on other things.

[06:57]

And then Lynch passed away.

[06:59]

And it's like, you know, just, you know, affected all of us, all of us that love his work.

[07:03]

So I just started like rewatching all of this stuff and rewatching all of his interviews,

[07:08]

his masterclass, all of it.

[07:10]

And just got inspired, you know, I just, the whole thing, the idea of this script, this

[07:15]

script really is like just a experiment.

[07:17]

It was like an experiment for you because I've never written something like this at all.

[07:22]

Everything I've written has kind of been more clean cut narrative, beginning, middle,

[07:27]

end, plot points that you can kind of, you know, see what they are.

[07:31]

And rewatching Lynch's work and more specifically like his interviews.

[07:35]

I don't know if you all delve down the whole of like watching, you know, like he, it's

[07:41]

funny.

[07:42]

It's funny because it wouldn't seem like it.

[07:44]

But David Lynch was like, for me, one of the most motivational filmmakers.

[07:49]

I don't mean like Tony Robbins, raw, raw motivation.

[07:53]

But it's fun.

[07:54]

Like all of his interviews would kind of somehow turn into him giving advice and talking about

[07:59]

creativity and ideas and meditation, obviously.

[08:03]

And like you really watch his interviews and listen to what he says.

[08:07]

You learn so much about his process.

[08:10]

And at the end of the day, I think his own words, he would say this, but also just my interpretation.

[08:15]

Like his whole process was about the idea, just that, you know, like he would say, it's

[08:20]

all about the idea.

[08:21]

You go fishing for an idea and you just get that one idea.

[08:26]

And then you just meditate on that one idea and you let it consume you.

[08:31]

You try to feel it.

[08:33]

And then you just let that lead you through every single step of the process.

[08:36]

And it sounds like, okay, yeah, that's common sense.

[08:38]

That's how you write a script.

[08:39]

But that's not the case for me.

[08:40]

Like I'm an overthinker.

[08:41]

Like everything I've ever written has been, I get an idea and I start overthinking.

[08:46]

I start out online.

[08:47]

I find real little things thinking about every plot point doing character backstory, like

[08:51]

just corrupting the idea in a way to the point where like by the time I got to a place

[08:56]

where I felt like I wanted to start writing, it's almost like I wasn't connected to that

[08:59]

initial idea anymore.

[09:02]

So this script was like my attempt of taking Lynch's advice to heart and having an idea

[09:07]

and then not really doing anything else except letting that idea consume me and then

[09:13]

just writing without even thinking about what is the outline?

[09:17]

I didn't even know when I started writing a scene, I had no idea what the next scene

[09:22]

was going to be at all.

[09:23]

It just poured out of me in a way.

[09:26]

So I don't know if that's actually probably not even good advice or anything, but that was

[09:29]

the process for me.

[09:30]

It was like trying something I've never done before and really just letting an idea in

[09:35]

my emotions lead me to write this thing.

[09:39]

And it was my funnest and best experience I've ever had writing a screenplay because

[09:43]

I struggle a lot with writing.

[09:45]

I kind of procrastinate.

[09:46]

That's a really, really interesting call and all the advice that you have about, I

[09:53]

mean I see a lot of Lynch on the social media, your screenwriting and LA page as well as

[09:58]

the keynote line stuff.

[09:59]

Lynch obviously means a lot to you.

[10:01]

And when we met up earlier this year in New York and some kind of gluten free bakery

[10:07]

that we were dragged to, I'm sure.

[10:09]

And I think that we kind of got on to Bull Holland Drive in like a very, very short amount

[10:13]

of time.

[10:15]

And without kind of saying like this is like a lynchian sort of story.

[10:20]

Like there is kind of a similarity in that kind of fugue state, this kind of like sense

[10:24]

of nightmareish is NUE, the right word, I don't even know, but it sounds cool.

[10:32]

But you know, at the same time, I don't think this feels like it's trying to emulate

[10:37]

Lynch.

[10:38]

It doesn't feel like a Lynch project.

[10:40]

I can see those inspirations there.

[10:42]

But when this came across our desks and again, Danny and I read a lot of these, you know,

[10:47]

when we have a chat that we talk about kind of, you know, entrance and oh, you check out

[10:51]

the submission, there are the submissions great and I'd recommend this one and so forth.

[10:55]

We did kind of, you know, it felt like this, this weird kind of, it was so different from

[10:59]

anything else.

[11:00]

It really straddles the line between having a narrative and being like a completely

[11:05]

experimental sort of film.

[11:07]

So I mean, it really feels, you know, completely like its own thing.

[11:12]

One of the comments I had to Danny and to John was that, you know, this right here,

[11:18]

because again, we didn't know that this was cold behind this screenplay.

[11:21]

It really feels like they opened this tap, this faucet and they kind of, they didn't know

[11:25]

what it was going to mean from from one scene to the next, but it ended up kind of meaning

[11:30]

a lot.

[11:32]

But also I don't know what that, you know, actually looks like when I try to quantify it.

[11:38]

So I mean, yeah, it's really, really fascinating to hear it because I can, I could definitely

[11:41]

interpret that you didn't write this with an outline, but to hear you say that you kind

[11:46]

of didn't know kind of what the next scene would look like is fascinating and I'd love

[11:49]

you to share, you know, how much kind of editing did you do on this?

[11:54]

Did you go back and say, well, this scene actually needs to go after or did you kind of, you

[11:58]

know, sit down, write it, bang it out in one, any refinements or how many drafts have

[12:02]

you been through?

[12:03]

Kind of what's your, your experience been like since you, you know, initially kind of

[12:06]

said, here's my, here's my first draft, my vomit draft.

[12:10]

Where do you go from there?

[12:11]

The first stop.

[12:12]

Thank you.

[12:13]

Like I appreciate everything you're saying.

[12:15]

And I wasn't like listen, I love Lynch and it would, it would be, it's an honor just

[12:20]

for you to say like, you know, I can feel the inspiration of Lynch.

[12:24]

I wasn't trying to like emulate or copy Lynch, but like it really was, it was like, I

[12:29]

had no plan to like do anything with this script again.

[12:32]

It was like, I hadn't been writing for a long time and stepped away.

[12:35]

And it's like, I wanted to just do something I've never done before to hopefully kind of

[12:41]

motivate myself to like get back into the process of writing.

[12:44]

And like I was saying a second ago, like I'm, I struggle with writing.

[12:48]

Like I'm, I love it.

[12:49]

And when it's going well and maybe Mira, you can attest to this.

[12:52]

To me, you seem like a prolific writer.

[12:54]

Like the blog posts you write and like your scripts are amazing.

[12:57]

But like I really struggle with it when it's going well, I feel like I'm high and then

[13:02]

book pretty much every other minute.

[13:03]

It just feels like, like I'm overthinking.

[13:05]

I'm procrastinating.

[13:07]

And so I wanted to try out doing something where there was no limitations, like no limitations

[13:13]

really, no restraints on what I'm going to do.

[13:16]

And so I guess my process, like the process was, so I got an idea.

[13:21]

And again, I guess now that looking back, it's like, what was my initial idea with him?

[13:25]

But I think it was just like exploring what shame and guilt around addiction, maybe porn

[13:31]

addiction feels like while you're in a relationship and you feel guilty to leave, you don't want

[13:37]

to leave.

[13:38]

You're lusting over other women, but you love the person you're with.

[13:41]

Like it was like all those kind of ideas crumbled together into into one idea.

[13:45]

And then I just like meditated on that idea.

[13:47]

And rather than what I do, what most people do, which isn't even a bad thing, but for

[13:52]

anyone maybe listening, it's an experiment.

[13:55]

Like it's a way to kind of experiment, try something new.

[13:58]

Instead of me starting to think about, okay, I have this idea now, how can I turn it into

[14:01]

a story?

[14:02]

How can I turn it into a structure of, you know, beginning, middle, end, the enticing

[14:06]

incident.

[14:07]

Instead of that, I just like meditated on it and started thinking about like visuals.

[14:12]

Like, what do I see when I feel this idea or what emotions do I feel?

[14:16]

How can I, instead of how can I tell an narrative?

[14:19]

I was like thinking, how can I make other people feel when I'm feeling when I think of this

[14:25]

idea?

[14:26]

Like what visuals can I write that will maybe make other people feel this, like, you

[14:31]

know, instead of like listen to the story or whatever.

[14:34]

And so then I just started out having all these like images.

[14:37]

And then that's where that's kind of when I started writing, honestly, was I had that

[14:41]

first scene of like a woman laying in a field with all these scribbles looking like

[14:46]

her, you know, private parts.

[14:48]

And I just started writing that scene and then to answer your question about like, how

[14:52]

many drafts and stuff I wrote, I think I wrote this in a matter of like probably like

[14:57]

four hours, but it was spread out between a couple of days.

[15:00]

So I just sat down, wrote that first scene and as soon as that first scene was done, instead

[15:04]

of thinking about what happens next logically, I just, whatever fucking idea came to think,

[15:10]

I just like wrote it down on paper.

[15:12]

Like I just wrote down whatever the next thing was.

[15:15]

And I think, and this sounds pretentious, whatever, it's going to sound pretentious,

[15:19]

but I do think it's like leading with your subconscious rather than your intellect.

[15:25]

Like instead of letting your intellect tell you logically what makes sense to happen

[15:28]

next, I just let whatever my subconscious fed me be the next thing that I wrote.

[15:34]

And then of course, I would take that and kind of flesh it out into something that kind

[15:39]

of makes sense.

[15:40]

And then that was the whole process with it, like just doing that.

[15:44]

And I wrote like maybe the first half in a couple of hours and then the next day went

[15:47]

back to my favorite coffee shop and like wrote the second half and I never re-wrote it

[15:52]

or anything.

[15:53]

I mean, I blessed it out a little bit here and there, but I never like did a second draft.

[15:57]

I never like added more scenes.

[15:58]

It was just literally that first thing that like came to mind.

[16:02]

And when I wrote it again, it was like an experiment.

[16:04]

It was like, I don't want to limit myself with anything with this.

[16:08]

I don't want to think about narrative.

[16:09]

I want to like like just almost like what a painter does when they're just painting

[16:14]

something that's coming to their mind.

[16:16]

I just wanted to like capture whatever this feeling is that's making me feel something

[16:21]

so much.

[16:22]

Like how can I just capture this like in this moment?

[16:25]

And then that was really it.

[16:26]

Like that was the whole process.

[16:27]

That is so crazy to hear, especially is for me, I do so much pre-planning on my work

[16:33]

this year.

[16:34]

A 170 page vomit draft of a screenplay which I then had to whittle down to 120 and it

[16:41]

took forever.

[16:42]

So the fact that you've managed to make something so polished kind of without an outline in

[16:47]

such a short amount of time is crazy to me.

[16:49]

So congratulations and anything that you kind of want to throw at Colwell, we've got him

[16:52]

here on the hotspot.

[16:54]

My first read through, I kind of interpreted the story as like the kind of suffocating

[17:00]

feeling of like wanting to approach someone that maybe you know you're not good enough

[17:06]

for like they're like kind of creating an entire pair of social relationship with someone

[17:11]

that you won't ever actually plan on pursuing.

[17:16]

And then my second read was entirely different.

[17:21]

My second read it almost felt like a man kind of like not to bring it back to Lynch but

[17:25]

like an eraser head story of someone who's just like suffocating in their kind of like

[17:31]

confined life.

[17:33]

And then, potentially what I'm passionate about.

[17:39]

Understanding from your perspective is like where did these two elder characters play

[17:45]

into the story for you?

[17:46]

Like what was your motivation for adding them?

[17:50]

I haven't cracked them at all.

[17:52]

I think it was like well first off, I appreciate like I appreciate everything you're saying.

[17:57]

And just to touch on one thing because you said like your first read it was this, your

[18:01]

second read it was this, when I finished writing it, the first thing I did, which Stephen

[18:06]

Fingleton talked about this actually on the re on his like recent podcast episode, which

[18:09]

you also go anyone who hears this goal is amazing.

[18:13]

Nice, nice, close goal.

[18:14]

Well, he was, he was, I love this podcast.

[18:17]

It's an honor to even be on here because this really is a great podcast.

[18:20]

He was talking about how like one of the best tips you can do when you're writing is kind

[18:24]

of like talk to other people about it.

[18:26]

Send, send your ideas around, talk with friends about it, maybe send an outline around it,

[18:31]

just kind of bounce it off with people.

[18:33]

So like the first thing I did when I wrote it was, you know, I've connected with a lot

[18:37]

of amazing people on social media through my account.

[18:39]

So I sent my script to like 10 or 15 people that like I've just kind of become friends

[18:44]

with and said, Hey, would love your feedback on this more importantly, what's your interpretation?

[18:49]

Like what do you, like what does this make you feel like?

[18:51]

What do you think in every single person had a different interpretation?

[18:54]

There are common, common things like everyone just had their own interpretation, which

[18:58]

again, like again, this is probably going to sound like dumb or sound pretentious, but

[19:02]

that was a part of my attention with writing.

[19:04]

This was like, that's what I love about cinema so much.

[19:09]

It's like it's so subjective in every film, every single person sitting in the theater is

[19:13]

probably going to interpret it in a different way.

[19:15]

And it's all valid.

[19:17]

Everyone's kind of interpretation is valid.

[19:19]

That's the beauty of it for me.

[19:21]

So I did write this really intentionally wanting to like write something that everyone

[19:26]

might feel and see in a different way.

[19:29]

Like depending on where you're at in life, you might like the elder people might connect

[19:32]

to you more.

[19:33]

Like if you're in a certain place in life or like, you know, the woman in the field might

[19:36]

connect you more.

[19:37]

So anyway, the women in the field are the elder, the elder people, I don't know.

[19:42]

I mean, again, I think it was like on the surface, what comes to mind for me when I was writing

[19:47]

that first scene where the elder guy was introduced was I think it's just maybe a metaphor

[19:53]

for the young man's future self, like where he could end up in the future if he doesn't

[19:59]

change his ways or he doesn't do what he wants to do or he doesn't reach out to that

[20:04]

girl that he's crushing on in the park or whatever it is.

[20:07]

I think it was kind of like just like the archetypal kind of like future self, you

[20:12]

know, there to kind of remind the young man where you're going to end up, you know, or

[20:17]

maybe what's important.

[20:19]

You know, I think that's all it really was to me.

[20:21]

And the woman, the elder woman, which I think she's in the scene where he's standing in

[20:26]

the line if I'm remembering correctly, I think she was like an interpretation of like

[20:32]

maybe just the archetypal feminine, like the feminine nature, you know, because she's

[20:36]

the one that like calls out the young man and says you can't be here.

[20:39]

Like, and so I think she was kind of like the archetypal like this feeling that a

[20:44]

lot of young men feel when you don't feel good enough, when you feel like you're being

[20:47]

judged by women, when you don't feel like good enough to go on dates or go ask someone

[20:52]

out, I think she was kind of that judging force of the feminine, but I don't know.

[20:56]

That's just what comes I can't do I can't interpret this shit any better than anyone else

[20:59]

honestly.

[21:00]

That's the best that I can come up with.

[21:03]

What what chance do we have or anyone at home have then call it so I just want to finish

[21:11]

on yet another congratulations call.

[21:13]

I'm sure that you'll find a home for this in some shape or form.

[21:15]

I'd love you to see you you shoot it yourself.

[21:18]

Possibly, you know, I don't know if that's something you're interested in, but you know,

[21:21]

this definitely has a future and we all wish you the best look.

[21:25]

Let us know if there's anything that we can do to help you kind of, you know, actualize

[21:29]

this.

[21:30]

And I'll finish on just a couple of things that really stayed with me from the screenplay.

[21:35]

The shot where the child is being wheeled backwards out of the out of the apartment room

[21:41]

really like stuck with me kind of long after I first read it, it was kind of the, you

[21:46]

know, the one image that was, you know, burned into my brain, I guess.

[21:52]

And also when the elder man says, you know, something on the lines of, you know, like don't

[21:57]

worry, you've still got a lot of time or something like that.

[22:00]

And those were kind of the two moments that, you know, I think you put those on kind of

[22:06]

like your little Oscars, like short, you know, short list clip when you get there.

[22:11]

And yeah, you know, what's your favorite moment from the screenplay then, I guess, both,

[22:16]

you know, to you, Danny and to you, cool.

[22:19]

Danny, you go first.

[22:21]

I'm curious.

[22:22]

I think for me, there's something about just like the opening scene of seeing just this

[22:33]

world, world, there's something about a character where you don't need a lot of description,

[22:43]

but in like the one or two lines you receive, you're instantly hooked into whatever the

[22:47]

story is.

[22:48]

And I feel like just seeing this person laying on grass with squiggly kind of like erotic

[22:54]

drawings all over them was enough for me to just kind of be hooked in it.

[23:01]

It's meant to me what the story is, which is like, I love this.

[23:06]

I don't know what it means.

[23:10]

So like that to me is just a lot of hope.

[23:14]

Me and from the jump.

[23:16]

And I love hearing this from you all.

[23:18]

I'm serious.

[23:19]

It's like, I said this before with John and everything, but it's very motivating.

[23:23]

Like hearing what everyone thought of this is like submitted it on a win.

[23:27]

Like, and by the way, just to kind of plug the competition and stuff, like I wasn't

[23:32]

100% certain if employees like could submit or not submit.

[23:36]

And so I kind of just submitted maybe hoping it would fly under the radar, but also just

[23:41]

to be back just to see what people would say.

[23:44]

And so when you called me Danny to like just personally saying, man, I loved your script

[23:49]

and meant a lot to me.

[23:50]

Like it really, it makes me want to shoot it.

[23:52]

You know, I made a couple of short films with my iPhone, but like this makes me want

[23:56]

to like actually take that next step to try to bring it to life.

[23:59]

But I appreciate it.

[24:00]

And my favorite scene probably like, honestly, you said it, Mira, I do think the the

[24:06]

the kid in the wheelchair, like I have a special needs daughter.

[24:11]

So clearly it kind of came out of struggles that I've had in my life with my relationships

[24:16]

and my daughter.

[24:17]

And so that scene, that moment like you said it perfectly, like willing him out backwards

[24:22]

in the young man, just seeing the kid.

[24:25]

And is it his kid?

[24:26]

Again, you can interpret it however you want, but seeing this kid kind of means wheel

[24:30]

down with all this shame and guilt surrounding it.

[24:32]

Like that scene probably was for me to like the kind of very impactful thing that I felt

[24:36]

a lot when I was riding it, you know.

[24:39]

All right.

[24:40]

Well, that wraps things up guys.

[24:41]

Thanks so much for joining us today.

[24:43]

As you can see behind me, it's getting dark here.

[24:45]

So yeah, we better get going.

[24:47]

Thanks.

[24:47]

It's been a pleasure to discuss this with you.

[24:49]

And yeah, once again, congratulations, Cole.

[24:52]

Danny, thank you for joining us today.

[24:54]

And everybody at home, check out Cole's screenplay.

[24:56]

I'm sure we'll have it linked down below someplace.

[25:00]

Maybe you should have read it before you listen to this discussion.

[25:03]

I don't know.

[25:04]

Maybe that was probably the better way to do it.

[25:06]

But we're here now.

[25:07]

So because it's so surreal and ambiguous

[25:11]

not for interpretation, no matter what you heard,

[25:14]

it's probably wrong.

[25:15]

Read it yourself.

[25:17]

100%.

[25:18]

All right, guys.

[25:19]

Well, yeah, thanks so much.

[25:20]

And I'll see you all soon.

[25:22]

Thanks, Yankele and best of luck.

[25:24]

Thank you so much.

Masculinity, Shame, and the Search for Truth in COME with Kole Lee | Kinolime Podcast Episode 22

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