[Music]
greetings friends
welcome back to head above water this is
season two
this is your host jason charnick it's
the middle of july
thanks for joining us it's been a real
long time since uh
since i put a show out and i'm glad you
guys have stuck around for season two
it's not been
easy the last four months the last five
months now
have been a tough time for a lot of
people and it has been for me as well
and i'm not used to that
and i've been doing a show about mental
health
and filmmaking and because it's a very
important topic to me obviously
but never really thought i was gonna get
hit as hard as i was
as hard as i have been during this
shutdown it's been tough to get work
a lot of productions are shut down i
work in post-production usually so some
of the things that shot i was able to
keep working on
well once everything that was in the can
was done
then things just kind of stopped and
you know one of the things that i've
been i don't want to spend too much time
on it during the opening of the show but
one of the things that i did want to
talk about a little bit
is when all the shutdowns and stuff
happened back in march
there were a lot of memes and stuff
going around about you know self-care
and which is you know important
obviously but like you know don't don't
if you're not working if if you're
struggling to be creative and struggling
to write or
shoot or edit or whatever you do don't
worry about it don't be hard on yourself
you don't have to be creative during
this time
and other people were saying wow look at
all this extra time we have on our hands
you know we can create and do all this
fun stuff and
some people have put out some amazing
things over the last four months that
wouldn't have been possible if not for
this unfortunate circumstance that we
all find ourselves in
and i did a couple of short things i was
messing around early on when you know it
kind of felt like we would go back to
normal eventually
but now that we're in a different place
in the world a few months later it's
pretty obvious to me we're not going
back to normal anytime soon
so i really got hit by
this internal confusion of you know not
being hard on yourself for not doing
anything
but still wanting to create wanting to
do things but not necessarily
you know having avenues to do that this
podcast is my avenue and i had kind of
drifted away from it because
like like i said i had said earlier in a
post of mine online
i i got depressed i don't know what's
going on in the world
you know i don't know who's listening to
anything that i have to say
anymore and
it's not a comfortable feeling it's not
you know and hopefully maybe it'll
push me to make this show better and
push me to do
you know other things in the future but
right now it just doesn't feel
natural it doesn't feel organic also
dealing with a lot of personal issues me
and my wife have been trying to have a
child over the past three years after we
suffered a stillbirth
and we lost our daughter shelby back in
2017
and we've been trying to have a child
and we've been doing ivf
and it hasn't worked and we're talking
about some other options and adoption
and things like that and all of this
kind of is happening right in the middle
of this huge health crisis
so having to go to the doctor wearing
masks and
and take care and the distancing and all
of that while trying
to deal with fertility issues is also
extremely difficult
but i don't want to really bog you guys
down with any of the personal stuff
um although if you want to hear it i'm
more than happy to go on and on about it
but the show is really focused on
filmmaking
and creativity and trying to find our
voice in this new day and age
so with that being said i want to
present you guys with an interview that
i did
before all the shutdowns and stuff
happened with a dear friend of mine
peter sullivan
peter is a writer director producer he
his most recent film is fatal affair it
is out
on netflix today july 16th
so please check it out i don't know if
my openings for our upcoming shows are
going to be like
this i usually try to keep them brief
try to keep them a little bit more
uplifted but um sometimes i just don't
feel
the days of feeling uplifted have been
far you know few and far between
over the past couple of months but i do
want to bring you guys some interviews i
do want to keep doing these
shows talk to people about how they're
you know dealing with
uh the pandemic dealing with their
current situations and how they're
keeping creative how they're keeping
upbeat
and how they're dealing with um this new
world that we live in for right now so
anyway thank you guys for joining us
thank you for sticking with me on head
above water
we're calling it season two welcome back
to season two of head above water
here's our first episode here's my
interview with writer director producer
a fatal affair and many other films
the great peter sullivan welcome
to this episode of head above water we
have a very very special guest for you
guys today i'm very excited to talk to
him
we have director filmmaker
extraordinaire
peter sullivan from uh secret obsession
is one of his latest the uh the secret
lives of
the secret lives of cheerleaders and the
upcoming
are we allowed to even say that fatal
affair so peter and i have been
friends for 25 years i'd like to do a
little at the beginning like to talk a
little bit about
your origin story so your origin story
is a little bit of my origin story we
met at nyu
yes we did back in 1997
um after i had graduated from college in
boston and took a film program
at nyu and you were in the actual tisch
film school
so tell me a little bit about like your
your origin story why why you wanted to
make
movies and what brought you to nyu and
what
are you at now when i was starting out
you know
obviously the days before youtube and
everything and like
you know the making of movies was kind
of a mystery it was it was it was
something magical and it was made on
film
i know and and i you know you you go
back and i remember
you know the day my my parents told me
that star wars wasn't real that there
really weren't spaceships
and jedi knights and robots and you know
the stormtroopers
and you know were just guys in suits and
and things like that and
and i was like okay what can't be i've
seen them they're they're flying through
space
well that's not real i was like well
i've seen it how can that not be real
and then so you know i got a book in the
library it's like you know the making of
the star wars
uh movies or whatever and and i was like
oh my gosh look at that and
how old are you back then when when then
you know six or seven okay like that and
then i just kind of became fascinated by
it
and then you know i tried to you know
pride my hand in in writing and then of
course my parents had told me well you
have to write movies that haven't been
made all day
uh writing the script for the empire mom
i wrote star wars
i was watching star wars and i just
wrote star wars star wars that's already
been done you need to come up with
something else
uh and so that was sort of the beginning
of it and and and kind of being
fascinated
with the idea of telling stories i
remember writing i remember writing
scripts in in like
middle school and and in high school i
think i wrote my first
feature length uh a script with an
adaptation of the most dangerous game
which we
read in english class and i thought well
this obviously needs to be in space
with an alien uh so i wrote i wrote an
outer space version of that
and then i continued and and i made a
short film in in
high school which then got me into nyu
um at that time i wasn't quite ready to
make the leap across the country
uh so that was like that was about as
far as i i was gonna go at that point
and you grew up in massachusetts yeah uh
uh
uh shrewsbury outside of worcester which
is about 40 minutes from boston
so you know i i had i would not go to la
for another couple years
uh after that point but yeah that was um
ended up a tish which
was i mean it's a great education um
they seem to be they they tend to be a
little
a little more indie you know my you know
they'd be talking about these customers
and i was going to the independent day
you know so that that we had slight
differences in in our
in our filmic styles but um uh you know
it was great i i
you know met a lot of people yourself
included that uh you know have gone on
to
you know wonderful things great
illustrious careers
yeah so let me ask you a little bit
about your time at nyu then when you go
to nyu
you know scorsese went there yeah you
know oliver stone went there
and you know just all everyone who went
there yeah
at the time if you even if you remember
because this was not yesterday
what is is there like an immediate
pressure on you to have to live
up to you know how did they frame your
education do you have to live
up to scorsese stone levels i i think
or do you put that on yourself how does
that affect how do you deal with
with the history of that like i said
there's very much in in
in the minds i mean the films the
filmmakers you talked about uh
the oliver stone uh spike lee is another
one right uh who's kind of a constant
presence
uh there on campus you know it is very
much an indie mindset
and and you know like i said i i was
more commerce i was interested in
commercial films you know
you know star wars raiders lost ark i i
grew up going to the church of spielberg
you know i love you know of course they
they love i love good fellows but but i
was really you know spielberg had you
applied to ucla or usc i never applied
to any of these so
you just wanted to stay back east well i
did early acceptance
okay and so part of the deal with all
the acceptance if you get in you you've
got
to go you're committing so uh i never
got to the actual like more traditional
submission process where you send you
know applications to many schools i had
catalogs but i never
got that far i looked at syracuse ithaca
emerson
um and nyu i think was the only one that
i actually toured but
to answer your question you know because
it's kind of in the
you know it's very much like well you
you go here and you raise money and you
make a film
so you know while i was in the the easy
steps
the easiest everyone should do that
right you know i would say the big
influence on on what your career is
supposed to look like
is you know i happen to be going to
school right when
the indie world was just absolutely
exploding right
and you had people like kevin smith yep
you know
hartley jim jarmish you know these were
guys that were anything
from alex getting you know maxing out 30
credit cards
to make their film and you know here
comes clerks the el mariachi
and and you know that was what you were
supposed to do and
i remember thinking that i'm not sure
about that and i'm under you know for
every clerk how many people
maxed out those credit cards and and you
know just just did nothing but spend the
next 30 years paying them off
right um and i remember a couple people
oh yeah we're going to raise money and
we're going to make this movie i
remember this one guy
that i i i remember talking to and he
yeah he
had you know hundred thousand dollars he
was gonna make the next clerk then you
know we never did
now the original clerks was made for a
fraction but i remember but i remember
you know
that element and there's also you know
there was that kind
with that expectation oh like um i'm
gonna win
the nyu first run film festival right
and then
a studio will see my work and pick it up
and that happened uh to one
one uh director from my class right by
and lawrence that's not what i would
call a real stable career plan
right um but that really was i mean
these were the kind of things that were
talked about
because they never really they never
talked about well what do you do
like what how what do you do when you
get out of school what do you do for a
living how do you
how do you you know make a career out of
any of this right
sustainability is the hot world
but i mean but you always but when you
so when you were at nyu
even though you were making you know
your projects and stuff there and
and doing the in the indie way you
always had
an eye on big budget studio pictures
like you knew what you wanted to do
so you never really felt any compunction
to like have to have
i need to be better than this guy i
mining needs to be better i
i need i wanted to make it i mean
obviously there's going to be a you know
a little bit of competition anyway
yeah but you you you always had an eye
on what you were doing and you didn't
kind of let
any of that mess with your head i i
think
i i didn't really know what i was
supposed to be doing and
and again i think i think that was the
one thing that was missing was just
okay we're going to teach you how to use
the camera we're going to teach you how
to make a little short film and tell a
story
but that's not the same as teaching you
how to how to like you said the
sustainability
of all of this and so that was kind of
the missing component but
i remember very clearly there was one
day and and we were doing our senior
thesis
project and uh the way it worked
is is you would have to go in and you
would write a short script and give it
to the professor
and then he would decide who in the
class would get
to make their senior you know the senior
films and who who would get to make a
film that's a little bit of pressure
yeah no pressure at all and um so i
wrote a script
that was a monster movie uh like it was
kind of like a
i was just actually thinking about it
this morning kind of like you know
nowadays it would be a natural episode
of black mirror
or twilight zone or tail from the crypt
or something like that you know but that
was that was what i wanted to do
and when he first read the script he
said this is great and so well written
and so you know inventive or whatever
and then you know a couple weeks later
it's like you're not going to make the
phone i know i'm not going to i'm not
going to approve the script
and i was like why it's like well you
have to you you know i want you to make
something from your heart and i want you
to you know to tell a story that's
meaningful to you
and i'm like yeah that's what it is
um you know so what i ended up making
for my student film
was this sort of scorsese crime
drama thing but let's be perfectly
honest
this monster movie was way closer to
anything that that i was in that you
really
that wanted then than that other film so
you're already
i mean i guess that's part of the
education you're already learning
to deal with people who are trying to
change your work
but that's like how you know it's like
how dare you try to tell
somebody what their you know what
they're interested in
what's near and where they're personal
to them and i'll give you a very so very
funny
how that story ended so i remember when
i was still developing this and i
and i got as far as designing the
creature and i was talking to a couple
of talented effects artists from class
about it and i remember i met this one
guy
who uh worked with me at the media
program and he and
he and his buddy were doing like
wanted to do monster effects or whatever
and they were into horror movies and
stuff so they were going to work on this
creature for me
and and i remember the guy's name
and you know apparently nobody told him
that he couldn't make horror movies
uh and his name was jeremy sonjay oh
that's a guy
yeah and and he was gonna work on the
monster i mean it's like come on guys
right going to nyu tell people
what personal to them let them decide
what's personal for them maybe
what's personal to me is you know a
little tale from the crypt
kind of you know horror story and that i
obviously that that interaction with
your teacher
left an impression enough on you to
remember it well i thought i mean
literally thinking about it this morning
because i was coming over or just just
because i was like hey maybe i should
you know try to make that movie someday
hey like
could this movie be expanded uh and i
think the answer is no i think
it would kind of you know it's perfect
for what it was which was like a
20-minute
short film i don't think i have any use
for it today but i still like the
concept and
you know oh well but again yeah
interesting that
you know those are the those are the
formative moments that stay with you
when you get started
right so we ended up shooting your
thesis film
and we made it and we got it out there
and then you moved out to los
angeles right and this was in about i
think 1999.
so you moved out to los angeles and got
started working in development
you always had an eye this is you know
another one of the things that's been a
common theme you know just watching your
career as it develops is
you know and it hand in hand with what
your professor said
you always wanted you had a very
specific vision of what you wanted your
career to be
yes you wanted to direct feat studio
feature i i wanted to direct
i i like i said so i went to the school
of
of spielberg you know that was sort of
my you know i
loved the film you know i i loved
michael bay films and bobby rodriguez
films and so i just i'd love to me
movies were away tell a story and
entertain people
and they're people that make movie
because they want to
you know explore the meaning of life or
you know get into
you know the the you know personal
relationship and that's all
that's all yeah as well but but i really
i mean just personally wanted to
entertain people
i bet those are the movies that that i
gravitated towards
and that's what was interesting to me
but one of the things that i got out of
film school really
was a real education on
a whole language of film like i thought
i grew up watching star wars and
indiana jones and that kind of stuff but
then going to nyu exposed me
to the filmmakers and films that i
hadn't
really been exposed to before you know
they might have run on late night
television but i had never seen citizen
kane i'd never
you know i've never seen you know some
of these the you know
one you know born films or or
western you know yeah i mean you know
john
ford and and and frank capra
and i mean movies like it's a wonderful
uh uh wonderful life
it happened one night i mean these are
movies that
you know i i saw for the first time in
film school and they
really meant something to me and kind of
expanded
my my vision on what a movie could could
be and could accomplish
and and so i tried to take that expanded
you know vocabulary and and and i
thought okay
now i you know i'm i'm gonna go and i'm
going to make
uh theatrical films and you know be the
next spielberg
or you know right tarantino or yeah but
you decided to do that in los angeles
i i like going to school in new york but
i knew that
that the nexus of the industry really
was la and even like for example when i
was in film school i i
had an internship with dreamworks in new
york
but it was the publicity department
right you know it
you know the productions and everything
we're being done they're not making
movies
yeah they're not making it after they're
done there i think spielberg came in and
used the bathroom
but that was like you know that was not
yeah that was not
where you know the the magic was was
happening so
when i was in school i had gotten a book
how to get a job in the film and
television
industry and in the back with the list
with the days before the internet uh in
the back where the list of companies
that you know allegedly were looking for
interns
and i wrote to them and one called me
back and
offered basically to hire me sight
unseen
because i wasn't going to fly across the
country just for a job interview to
spend the summer there
working on what would turn out to be tv
movies how many places would you say you
got in touch with before you moved out
to la i mean i don't remember how many i
emailed in the book
um you know i i maybe sent out ten or
four right so just a handful letter
because you you have you have
nyu tisch school for the arts on your
resume
and yet still and yes you're getting
started
but do you have nyu on your resume
we don't even want you as an intern well
i didn't i didn't know anybody what i
did the following years i actually
did come out and interviewed with a
bunch of companies and i got in the door
with quite a few
you know quite a few of them uh the
following year but they put my first
kind of foray into it
and so i figured well i'll just send a
bunch of letters and send my resumes out
and this company that that i knew very
little about and again the internet was
such in its infancy you couldn't exactly
just go on with
pdf these places did not have web pages
i i didn't know anything about them
i mean nothing um really uh other than
what it
would have said in this book uh and yet
i i uprooted myself and flew to la
uh and got a tiny uh bachelor apartment
in
in west la and slept on an air mattress
for summer
and see and this is one of the things
you know and i it's been i've spoken to
a
a bunch of different people about it
because you know a lot of people feel
the same way as you like los angeles is
the center it's the heart i need to be
where the action is
and i've met a lot of people especially
having been south by southwest i've met
a lot of
texas filmmakers and and just filmmakers
from around the world that don't
want to canadian filmmakers that don't
want to move to la they don't want to be
in this situation they still want to
kind of make it on their own
outside of here but you always felt that
los angeles was going to be your final
destination
if you will yeah it has changed
a little bit since then i mean for
example you know
i like i said i grew up in massachusetts
and and back then
there was no film industry enough i i
remember
you know i would call the massachusetts
the massachusetts film office had a
hotline
and every week they would have a
recording of
films that were casting films that were
cooling up whatever
and i mean we're talking about
industrials at this point there's
nothing meaningful going on and now of
course
we've gotten into tax credits and
everything in massachusetts become a
production hub and they're shooting all
kinds of movies there
little peter stone like a nice day and
age uh uh
things might have turned out different i
i don't know i mean i had never been on
a film set
until i got to to nyu and i still
remember
uh the first the first time i i went on
a student film
uh that i was hired to be a pa i mean
this is this little tiny phone
you know student film set but to me that
was like you know i just wandered into
hollywood
all right so you're out here in l.a and
you're getting started
and you're working for now wilshere
court productions
which is where we had worked for a
little bit of time obviously we knew
each other from earlier
but that's you know where we had kind of
where things kind of
sprung out from there right so you're
sleeping on an air mattress
you're living or you're living a very
low pro lifestyle in l.a just kind of
making
do you know going to work every day as a
development assistant
just kind of getting things going at any
point when you were
getting going did you feel like it
wasn't gonna happen
um did that drag on you well i remember
when i was working on a student film uh
uh and i i remember the night very
clearly it was
it was the middle of the night we were
doing an all-nighter in pennsylvania at
a at a defunct airport
i think it was and and i think we were
like using it for like area 51 or
something
and and there was a member on the crew
that was kind of a dickhead
and and he said to me he's like you know
how many films are written a year
and what makes you think you can you can
do this i forget this guy's name jason
something
but anyway um that's so funny because
not that i've not the second part of it
that i i i have mentioned to be like
just so many movies do get made in the
evening but
but no but but it was but that that that
kind of
resonated with me and i remember being
at walter coy
and and you know being in the
development department just seeing all
the script
for for consideration and and behind
every script is a person trying to make
it behind every script of the person
trying to make it and and back then i
mean again before the internet these
scripts were all
you know they were printed they were
mailed in messengered what have you some
of them came from agents some of them
came from
lawyers and whatever and i mean we're
talking hundreds of them and a lot of
them would end up
in file cabinets and i remember they had
shelves and shelves and shelves and
things
and just i remember looking at things
how how can
i get noticed how can i ever expect
to stand out when there's so many and
again that's something they don't really
you know other than the wisdom of mr
sharnek you know they don't teach you
in film film school it's like by the way
you're gonna be in a pool with with
you know half a million other people
trying to do exactly what you're doing
and i remember kind of being a little
depressed about the whole thing
and and i remember the head of
development the
vice president of development at that
time who had hired me
died unseen uh her name was sharon moore
and she you know
i talked to her in the office and she
said you know what don't think that way
and i have a feeling you're gonna do it
and that's all it took
and i was like positive voice one
positive voice one pause
and and so i went back that was the
summer between my sophomore and junior
year
and i went went you know with that
attitude it's like well
fine i'm just gonna keep trying until i
do and it was because
of worcester court and because of that
book that i bought that one day
uh that i did make it i just didn't know
how all the pieces were gonna
fit yet so how do you and i think this
is this can be very useful to a lot of
people just getting started out
how do you was it as simple as just
hearing an encouraging word from one
person how do you fight
through that depression of of just
knowing your you know now you're the
small fish in this big pond
and and you have to people need you need
to be able to somehow
fight through that you know like i said
was it just
hearing one positive voice or you know
what what kind of work did you
do internally to just to
force you to to just keep pushing
forward one you have to ign
almost ignore the object and it's very
hard to do that it's very hard
but you just kind of have to not think
about it and just
kind of stay positive you also can't
give up i can't tell you
how many people over the years that i've
worked with
worked for whatever who have gone on to
wonderful careers in other industries
but you know it i i know there were
plenty of people that came out they were
assistants
you know and i'm not sure what they
expected but
you know uh they gave up they left
and and it really you know you have to
be willing to endure
and you have to be you know you have to
be willing to kind of
you know look being an assistant it pays
terribly
i i did run up credit card debt you you
know you're sleeping on an air mattress
uh you know you're willing to do
whatever it takes to to make it happen
and it's just perseverance you know that
that you have to
kind of just keep going keep going at it
and
and yeah it was it helped to have an
encouraging word it also helped
look you know maybe all these other
people didn't make it
but but these people over here did and
and if they did you know it was great
but i but it is
good and i remember clearly you know
without mentioning names or whatever
you know you you know after graduating
and and coming out you know coming back
out to la
so now i have not only do i have you
know nyu on my resume i have the diploma
right i'm a graduate now and i'm still
working for seven dollars an hour as
as an intern uh at the same company that
i worked at you know when i was
when i was a junior and and still making
the same amount of money
but now i'm trying to actually start a
life it's not summer anymore
right this is my life now and and
just like okay i'm i'm gonna try to i'm
gonna try to do it and i'm gonna try to
work my way up
and you know i didn't know anybody and i
didn't have any contacts in the business
and my
my advice for people another piece of
advice is
you know uh intern if you're a film
student
intern because if you don't know anyone
going in
you got to fix that and they won't bat
the fastest way to fix it right is to be
there
and meet people and you're probably not
going to get hired
if you don't know anybody at first so
being an intern is great because
everybody loves free labor
it's true uh but i remember i mean i
interned it was recording intended dream
work
i interned at copelson entertainment
uh uh for the late uh owner copeland i i
recommend to people since i've been on
the festival circuit go to film
festivals
meet people at film festivals i mean
first of all everybody's got a camera in
their pocket now
so anybody can just go you know when we
when we were getting started
to make a short film was still a
production
it was i used to tell people you know
that that film is a
hard art to pursue because unlike you
know painting or
writing or music or whatever it it takes
a small army
to execute it but but little by little
that's being taken away
and and what used to take thousands of
dollars
now you can do with desktop software
that's
practically freeware if you if you know
if you're just getting started
you can download an app to do vfx and
and use your cell phone
you know i mean cell phones with video
cameras
that's that's that's still you know that
that just didn't exist back then that's
right tell phone family
yeah back then little ones with cameras
in them that's right um
you know so so it really it all changed
it's easier than ever
to create stuff and but it's still
as hard as ever to break through and to
keep a positive attitude
to keep a positive attitude and also i
mean think about it now that it's so
easy everyone else is doing it right so
the competition's
fiercer than ever so it really yeah
it's just you have to just work harder
but um
you know i've made many short films but
again
it's it was the contact that i made as a
result of the internship as a result of
the job i got because of the internship
as a result of the people i met at the
job that i got because of the internship
that led to where i am now not my short
film the idea that i'm gonna make a
short film
and somebody over at paramount is going
to see it and hire me to direct
the next whatever that might happen for
some people but it it didn't happen
uh for for me for sure and it really
happened for
most of the people that i know so all
right so let's
let's let's jump forward then so after
your time at wilshire court
and that company you know went under
shortly after i left and
and maybe around the time that you had
left as well when was your first
professional
someone said i'm gonna pay you money to
direct something
uh well let's start with the writing
because that came first right um
the uh so at wilshire court uh i had
worked my way up from an intern making
seven dollars an hour
uh to an assistant probably making eight
dollars an hour and
um the assistant who i replaced
his name with clinton uh he had left
worcester court he went to
an animation company called nirvana and
then from there
ended up at an indie company called
regent which had
just done like gods and monsters and and
and they they happened to
have uh this is this how i mean this is
just like
kind of how all of the pieces just
happen to fit together neatly there was
a newfangled uh uh
genre just coming in to uh uh noticed
back then
called the reality show and and there
was this new
brand new tv show called survivor
yes and i had this idea that i thought
well what if
what if somebody was on the survivor
island killing the contestants
i mean literally survivor was in season
one yeah
one of the editors of survivor season
one did a picture at wilshere court so i
i thought to myself
hey well let me write a let me write a
horror movie about
about a serial killer on the island of
survivor
and so like this guy clinton that was
with my predecessor had gone on ended up
at a company region
and as luck would have it the head of
regent just
happened to own property on an island he
would shoot
and just happen to be looking for
scripts that was set on island
and i just happened to have one and that
got me in the door
and it never got made it went through a
lot of rewrite then a lot of strange
ideas he sold the island
the the the they ended up they they
ended up taking the reality show
component out of it
and it just became it
it became you know something else
entirely i think there was a mummy
involved at one point
which was far from my slasher on the
island idea but they had bought that
original script they
didn't actually ever pay me for it but
they developed it okay
and then one day i got a call from
regent saying hey uh can you come by
this afternoon
and i was like i really don't want to
talk about this island thing anymore i
mean
gosh just give it up already fine
oh i'll come but i'll calm down and this
is after you had written a whole script
that they did not pay you for well i had
written the script
on spec and then they had me do
copious ends of rewrite about it
so uh uh okay here we go here's another
here's another set of notes just another
rewrite or whatever so wait so let me
ask you this question then
so this and since this is the very first
experience
when so there must be an initial elation
holy shit somebody wants to buy my
script yeah i get the word the contract
i don't i don't remember ever getting
paid i think the contract
said i would get paid when the movie got
made which of course it never did so but
what i'm curious i'm curious about is
your mindset as a young professional
trying to get your career going
going from i'm excited that someone
wants to make a movie out of a script
that i wrote
to oh no these fuck people again
like what's that well okay so i go in
there and
i can take the script and it's like
great i i've just created the next fight
of the 13th
and in my head i'm i'm planning uh you
know uh uh sequels
uh you know nine this is it this is
gonna be my freddy krueger this is going
to be my
jason voorhees and then it's like okay
great well okay we don't really like
this reality show thing so let's make
the market
archaeological students okay well we
don't really like the serial killer
things how can it be a mummy
okay and well you know um
can we have them not all really die but
maybe they
we thought they were dead and they come
back at the end i mean it was really the
kind of note that i was getting
and and so you see quickly how
creatively you you learn
how the development process can go can
go wrong
i mean i'm excited to be working with
these guys i was excited to do whatever
they asked me for
right but i was kind of getting a little
tired of
you know of the you know going off on
you know the tangents
when you know for this thing i mean look
but i think okay we're going to talk
about this
this island thing again so at some point
you go from the elation and happiness
of of all you know everything i imagine
not only for the script but they're
gonna
just like at some point the
self-preservation kicks in
and you're not gonna let yourself get
stepped on
so much i was incredibly excited uh to
be working on that
and uh it was my introduction to the
rewrite process
and it was interesting because well i
shouldn't say within my introduction to
the rewrite process
as a writer i was working for in
development
so i was familiar sort of with this
process i kind of knew what to expect
because i had been transcribing notes
for my bosses
for other writers you know never me but
i was familiar with the idea of network
notes and studio notes and whatever
and this was now my opportunity to see
it
but it was kind of exciting to to be you
know to be going through this
on the other side of the table sure uh
uh and i was very grateful
and so when i got the call to go in that
day i assumed okay
here's going to be another note meeting
you know so i went in there
and um i did not i would not greeted
with the normal executive that i had
been
meeting with they i met with a junior
executive
that um that i'd never met before who
worked at regent
and his name was jeff shank and
he he said uh you know um i said
okay we're gonna talk about the island
thing and he said no no i have something
else i want to talk to you about i'm
like okay
did i have are you familiar with the
i don't remember 100 i think it was in
pennsylvania at that time there was a
pennsylvania
coal mining disaster that had just taken
place
and uh truth be told not only was i
familiar with it
i had been pursuing the rights for my
boss
at hearst entertainment where i was then
now working so i was very familiar with
the story that absolutely
he's like he's like well you know we
can't afford the right to this but we
kind of want to do
you know something similar can you write
a script in two weeks
and i was i absolutely i i
i didn't i just never written a script
in two weeks in my life
and by the way that's the lesson
somebody asks you you say yes yes
and you'll figure it out later right and
i did i wrote i wrote the script in two
weeks i'm not going to say it was
amazing
uh but i wrote it in two weeks then i
got some notes and and and did another
pass
and that became my first produced
screenplay look at that
good look at that so i mean like
sometimes it's just a combination of
luck
in combination of perseverance i think
they you know co-op being cooperative
isn't very important in this business
and i say this as someone who has been
on both sides of the table collaboration
collaboration
listening taking the notes i remember
very clearly
there's one guy uh when i when i was at
nyu i think he worked in that media
department with me
and he was working on something and you
know we started talking about oh what
you want to do one day whatever anything
you know i want to you know i want to i
want to make movies i thought would you
go to l.a
and and he said no man i'm going to stay
indy
i'm not going to let anyone tell me what
to do i'm going to make it on my own
term then i'm going to make movies my
way
and look i don't remember this guy's
name right but i'm gonna guess he never
made a movie
right you know because it you you
you everyone at some point is gonna have
to work with someone else and what i
proved by doing
you know these rewrites on the horror
movie is
i i can collaborate i can you know i'll
take ideas i'll give ideas i can work
with you i'm fast i'm reliable
and so hey we need a writer for this
coal mining thing
let's call peter you know i think you
know that's probably a conversation that
took place
making yourself available and and i uh
and there we go i mean that was now i
was like on cloud nine
absolutely i mean it's like oh my god
i'm gonna make a movie uh i remember
i remember going to meet the the line
producers from australia came out
oh my god this is it this is the moment
i've been waiting for
for you know at that point probably five
or six years
so your career continues to move forward
and and this is
like i said we're pretty much mid-career
at this point
all right so this is still very very
very early still had a day job uh and i
would have a day job for a while and
that's another thing don't expect just
because you have this one film
things are going to change but i
remember i quit when this movie went
into production because that meant i was
going to get paid
well you know there's no guarantees that
that money is going to continue i ran
out of money i needed a job
and so i thus began you know then i got
another little another another part-time
job and another part-time job
uh trying to support myself while i was
writing
you know fighting two movies a year but
it wasn't enough to really
live on so after that first one and you
think
this is going to be it and it's not
quite it just
yet so how do how do you
deal with the expectations versus
reality is
is one of the things i'm on um yeah i
remember i was drafting letters
like you know i really i really need
another job i can't do this anymore kind
of a thing and it was just
a kind of like sense of entitlement that
started to show up and
and and that was a mistake and
your own sense of intelligence my own
sense of you know like well i i deserve
another film
and and and i was working on stuff but
nothing was going and again so you don't
get paid until the movies go
so um you know there was one film that
was produced
a little bit after that was that was
never it was never really
officially released in the united states
i have a dvd from lithuania
there was another disaster movie but i
worked at a bank for a while
and you're still writing this it became
a pattern it really was two movies a
year
um after that point um never had any
thought
i mean we might have talked about this
years ago and still like but never any
thought to like take one of those
and get it made yourself i would try i
would try there was a robin hood project
i was working on for a long time
the respect that i was doing but i i
truth be told i was
being kept busy i mean it wasn't like i
wasn't doing anything
i would be writing constantly but it
seemed like i was
my pattern with two would get produced a
year
and it's hard to turn down
a gig from somebody like jeff who was
hiring me reliably
so i could focus on my own thing i mean
it's like i and and that pattern
continues to this day it's like
i'm very busy i'm very lucky to be tired
to do what i do
i'm not gonna look at gift horse in the
mouth uh i just need to find a way to
make ends meet
right uh so uh you know so again and i
worked at the bank for quite a while and
they were
very kind of cooperative and that was
sort of where i started to get
comfortable because they they were very
um they knew they knew what i was doing
they knew about the you know they knew
about the writing i knew
you know they knew i needed time uh they
were very flexible for me
you know i needed to take time off to go
visit that or whatever they were they
were very
cool with that no hesitation whatsoever
no like
well you have to decide you know they
were no ultimatum
you know and i think they kind of got a
kick out a little bit too you got lucky
enough to
find a job not in the industry right
that gave you the flexibility to work
within that
and i was in administration so i was
doing reports on excel and stuff i
wasn't like you know
i wasn't a teller or something i mean it
was it was office work
you know and and um you know to be
honest i think
they kind of thought it was cool i think
they kind of dug the novelty of it right
you know and and so i mean that
continued for a while
um through the writing and also if the
producing got started but they had
health benefits and stuff like that so
that was good
what ended up happening was and this is
why loyalty is so important
in about 2007 2008 jeff left regent
and started his own company and because
i had experience working in development
as an assistant and working my way up to
story editor and then working at the
development person for my but the
producer that
jody who had that deal at her he asked
me to come on board
with him and basically just the two of
us started
doing uh television movies for
uh that were kind of international
co-production
and that was the beginning so that's how
he was getting the financing for those
those films yeah so the first ones that
we did there was like there was a slate
of i think three film
that we did with canada uh and they they
all got
la they all got uh premieres on unlike
lifetime but they were they were
independents that were
canadian co-production but then
um we were doing a christmas christmas
movie called christmas proposal
which we teamed up with a producer named
barry barnholtz
and that you know from there then we did
dog dave christmas
and we did a filler called the perfect
student and you're directing some of
these at this point i'm not directing
you you're still not having to not
direct
any of these yet so when we teamed up
with barry barnholt to do
christmas proposal that was kind of the
beginning of what became hybrid which is
the company today
uh it's called hybrid because it was it
was van holtz entertainment and then
aero entertainment
jeff company uh mind you two very small
operations
um coming together to be a slightly less
small operation
um that literally would bury uh jeff
myself uh and and we didn't even have
offices together i mean barry had his
office and jeff had
jeff and i had our offices but we were
at the for the first time making movies
under one banner which was which was
hybrid but talk about directing
so i you know i i always wanted to
direct i'd you know do the student film
whatever
but going even back to the
uh island movie um you know the you know
there was no director ever attached to
that project it was never made but
you know i never was shy about asking
i was like hey i i i write this
like i could direct her and and so i
even even when you know i i went to that
island
uh i ended up not that movie but ended
up shooting a couple movies there
you know writing a couple movies that
were shot there i got to go
to set and visit and kind of you know
shadow the director and learn
i was kind of soaking up this knowledge
and jeff just never understood why
i wanted to direct and um you know it's
kind of hard to
articulate but just like i just you know
i just i would
never interested i'd never really been
interested in assembling
and getting financing and all that kind
of stuff i wanted to
make movies i wanted to write in direct
movies and
i kept asking and asking and asking and
then in 2011
we were getting ready to do the third
installment of the dog's save series
and uh the director had done the first
two mike pfeiffer
wasn't available to do the third and
just like well okay okay when we did the
second dog movie
i had to direct some of the voice over
work mike was doing another film
and so they said you know do you mind
going into the audio booth and directing
some of the dark voice overs that we
were recording
and uh they had brought in paris hilton
to do the dog that our hero falls in
love with
and again mike was not available and i
had to go in and do it
and i directed paris hilton and the time
that i got paris hilton to bark like a
dog
apparently apparently got me some
some brownie points and so uh
when the third movie came up they're
like hey do you wanna you know you did
so well with the voiceover
do you wanna try doing the film and and
so that that was the dogs taped
halloween
and always say yes you say yes i said no
you said no
i said no i thought i don't want to do
that fucking dog movie whatever
and i remember it was it was shawn olson
uh another editor that i that i'd worked
with it was like are you crazy
you have to do this okay fine
i'll do it i'll do it i'll direct the
dog movie i'll do i'll do the doggy
thing
i'm gonna pull my leg and uh what made
you say like because we had just said
that like
you know always say yes and now here you
are saying no what what
where did you get the balls to do that
well you know i i
i i mean the dog movies are a very
specific thing
i mean they they tell you you know for
your first especially for your first
film
don't work with children and animals and
this was both
and i think i was just kind of i was you
know it was somebody else's series and i
was kind of intimidated
and i was very uncertain about it but
you know look
you're right i had to remember my own
thing never say no
uh uh when you're when you know when
that break is there you got to grab it
and i said you know let me find i will
do this movie
and and uh you know i remember halfway
through the first day of shooting
we were at a dog park in and off of um
like balboa or something uh over here in
in van nuys and uh you know i was
working with dean kane and and and i
knew these guys because
i had been on set for the other two dog
movies though so you'd already been
shadowing at least
i knew these actors they knew me you
know i was working with a dp that i
you know has done some short films with
and stuff and i remember
you know and so this is my very first
movie my very first day of shooting
and i'm halfway through the first day
and i'm like oh my god
i don't want to do this anymore i hate
that this is awful
this is this is not what i thought it
was going to be like this is what 2011
so this is 11 years in la 12 13 years in
l.a
toiling finally got an opportunity
finally got the chance and i'd like what
if you hate it like you get you finally
get your chance and what if you hate it
and i wouldn't
i was just like i really don't like this
when you say this do you mean direct
direction
i didn't you know i was not comfortable
you know i i i i was very
nervous because here i am at the
beginning saying
part of what got you to where you are
today is the confidence of knowing what
you wanted to do
and it's like what if you don't you know
like what if you get into a situation
where you don't have the confidence you
know what if what if
you know and people will smell that and
people smell that and oh my god i smell
it
if i can smell it they must smell it
it's what's actually kept me from
pursuing a directorial career
really yeah absolutely like i never i
mean we thought that's why i was an
editor when i got started and i never
really wanted to direct
but then after a while and now i'm kind
of getting back into it you know
20 years later but at some point i was
just i had you know when we had done our
shorts over the years and i've done my
shorts
but i was like if i get on set and i
don't know what i'm doing
and i've never worked with you know a
name actor
a dean kane like even though i mean you
know but if i'm
and i don't know what i'm doing they're
gonna eat me alive and i just
said i'm just going to go into post
and be in a quiet dark room for the rest
of the movie
and it's kind of one of the reasons why
i never really even
now after my film's gotten some you know
buzz
to not doc people were like you should
get an agent you should do that i'm just
like
i don't know if i wanna be you know
i didn't go to school for that you know
so it's one of the things that kind of
kept me away from it you know
um i i know i was i wasn't happy and
and i but i i stuck with it i said you
know i committed to do this i'm gonna do
it what am i gonna do
quit and no i'm gonna i'm gonna do this
and i did and i got through the film and
i put it together and i said oh this is
actually you know not so bad and then i
screened it for jeff and barry and then
i realized i'd made a completely
steaming piece of document
and i was like oh well that that didn't
go so well um
uh and and it was really like it was an
experience because
i didn't expect the film to be torn
apart the way that it was
in that first screening by by the
producers okay
um and i kind of you know i thought i
was gonna get kind of like a pat on the
back and here you go and it was like no
you know
it was again it was a whole new
thing something i knew i had never been
exposed to before which was
the film notes but you know but you must
be thinking well no one's going to give
me another chance at this
uh i thought that i thought that i was
like oh my god i've screwed up and and
and you know and and i really didn't get
another chance until
again there was another film that mike
pfeiffer was too busy to do
and so that was uh 12 wishes of
christmas
which you know i i thought came out a
little bit better
and then there was another film that
that mike pfeiffer was too busy to do
that it was christmas twister and
and they're not complaining at this
point no no
i was like hey i want him to be busy
like you can go send him on vacation
yeah i mean no i mean i i i never had
another day
like that first one i mean i think it's
just you just you just kind of like
start to panic
you know and i went on and you know i
met so many wonderful people making that
movie and
i got to work with lance hendrickson and
everything and you know it just it just
you know the the you know you just kind
of
okay this is what it's going to be like
and and you kind of
you kind of like it and it's like i can
i
am now in control of of this and
it it becomes more about okay what were
the mistakes that i made
and and how can i do better and how how
do i make sure that these ideas
shots that i have actually make it and
and
it's hard because especially movies at
this level there's incredible time
pressure
these movies are made very quickly you
don't have room for mistakes and it's
ironic because oftentimes you know well
you know you're starting out so you get
you know you don't have a lot of time
but
it's almost the opposite you almost need
someone with the experience to make
movies at this level
because you do have to move so fast
if you don't have the confidence don't
have the experience
you're not going to be able to cope with
such a fast-paced environment
it's just you're going to lock up and
that's funny that you mentioned that too
because i was actually thinking about
this this morning
the independent filmmakers that i've
been meeting in the community that i've
been hanging out in
when you're making your own i was
literally just thinking about this this
morning
when you're making your own movies
however if someone's painful or not but
when you're making your own stuff
there's very rarely deadlines you know
maybe you want to hit a deadline for a
festival or something like that
but a lot of people especially in
documentaries where they take six seven
years
anyway but like even in the narrative
world in in the you know low budget
micro budget space
there's no deadlines so people just take
their time
they think it's going to be their
calling card and that's absolutely we
want that's what we want we want
everyone's success
but there's you can take your time with
it enough that
you know at this other level you have to
and not just
answer to other people and there's other
people you know other considerations
you gotta pick up the pace and that's a
whole
different you don't even have time to
let it
depress you or worry you you just have
to kind of go and do the work
like like a craftsman at that point like
i have to build this house so i'm gonna
put it together right i think it's
learning how to balance and make the
most of that time
it is the most important thing and
and learning not only to to make your
day but but to make a good day
you know and that was something that
took i mean it still took a while there
was a lot of compromises i mean
there's still compromises every day but
you know i feel like i've gotten to a
point where
you know i know how to set a proper
expectation level
and and you know there's times where you
really need to cover a lot out of a
scene and other times you really don't
and and there's times that you know you
you have time to spend with the actors
sometimes you don't
and you know i i think you know the best
experience is that when you have people
that are used to that
pace used to that schedule and they come
in and they can do it
and and it's not like oh i'm i'm used to
doing you know three pages of dialogue a
day and you're giving me 10.
um it still happens but you know you you
you kind of work through it and and you
just make sure that everybody's on the
same page
you can end up in a situation where you
have like let's say a cinematographer
who's an
absolute perfectionist and needs to take
you know 30 minutes to light a shot it's
like i've got an hour to shoot this
scene
right and now you've just took you just
took a half an hour
to light the first shot of many you know
it's like i i
that that's the type of person that's
not gonna work
when you're on a set like that how do
you find your voice
to because listen you're a nice guy and
you i've never really seen you yell at
anyone i've never seen you really
argue with anyone how do you find your
voice
you know when it's this high pressure
high fast-paced environment
to tell people you got 15 minutes to set
up the show um
i do pretty bad pressure i'll admit i'm
not the best under pressure
and i do i do let it get to me more than
it should and i've gotten better at it
losing your cool or or whatever is not
going to help doesn't bring it back
you can get frustrated and and you know
but but ultimately what what you
have to learn is your demeanor affects
the demeanor of everybody else
if you've got an actress that's in a bad
mood or a director is in a bad mood
or a cinematographer just in a bad mood
uh
it will impact the environment on the
set and can make it an
unpleasant place and
that's important and it's important to
keep that set
as happy as possible and and sometimes
i'm successful at it and sometimes i'm
not
you know and it all depends on all the
variables and
you know that kind of thing sure but
i've had people visit that
a wonderful status so happy everyone's
happy to be here and i've been on set so
people have visited that i had to get
out of there
no i could feel it i i could i could i
could feel the tension i could feel
you know that the morale was low and and
and you know um you know maybe it's me
maybe it's not you know maybe someone
else but it's like
yelling is is never really uh gonna help
it's not and it's human to lose your
time sure
but uh i try really hard not to
so now that you're you have a few movies
under your belt
and and as a director and even more as a
writer and a producer
put yourself back in your nyu shoes
yeah now granted there was a long
journey to get you to this place
yeah the career that you envisioned for
yourself
as a college student as someone just
getting started out
has it gone the way you wanted it to go
are you pleased how do you feel about
how your
your career has gone so far i mean look
i i i it's
easy to say well i
wanted to make you know i thought i'd be
making big theatrical films
you know i thought i you know it's easy
to say well you know i
i was really hoping that you know to be
here by now or they're better
but you know you really have to look
back and say you know what
i am lucky to be where i am
i am absolutely lucky and
and i would be a fool not to acknowledge
that
and appreciate everything that i've got
everything that every opportunity i've
had every person i've met
so it's just it's just kind of
interesting so you don't feel
disappointed
that you haven't made a movie for warner
brothers yet
no no i don't i think i think
i think it's important not to be i
really do i think and it's so easy to
let that
get to it's so easy in this business to
compare
where you are to everybody else social
media
all of you just get to see everybody's
successes and failures
more than ever before um so it's so
humid to do that it's it's human to do
that i mean i remember so i don't i'm
working at world record and i'm i'm
i'm you know seven dollars an hour and
i'm in the turn
and one morning you know because because
you know back then it was actually
printed
you know trade subscriptions like
variety hollywood reporter they were
actually printed on paper we really
needed to remind people we're not
that old they were talking about all
these things that didn't exist when we
came up but we are not that old we are
early 40s
so you know i would get to work early
and i would open up the thing and i
remember
uh one day i opened up the trades and on
the front
uh actually i didn't have to open it up
it was on the cover uh
there was a student that i had been gone
to nyu with who was in one of my classes
who had his student film had been seen
by somebody at new line and new line
gave him
a deal make a feature film and
i remember i was way too jealous
way too envious and i really let it get
to me it disturbed me
in all the ways that it shouldn't and
and
um that's absolutely the wrong reaction
100 the wrong reaction and and these are
things that should be celebrated and
happy
and and you know to somebody who's
feeling that
knock it off yeah how do you how do you
knock it off it's so hard to do
be happy because you know what they did
the same thing you did they were you
know
if he can what you should be saying is
if that guy can make it
i can you know and and
and you know fight on and good for him
and
and you know i follow you know i've
watched his films i've seen all of them
you know good for him
really good there really is room it's
it's a common theme of the show and just
of everything that i say to people
there is room for everyone to succeed
here like you said with all the
streaming
there is more avenues for people to get
their work out there than ever before
you can use it to just let anyone else's
success even if it looks like someone
just woke up one day wrote a script sold
it to new line and
they didn't they didn't do it that way
no and somebody brought up a company i
remember reading an article about about
about this very topic and they're not
getting discouraged
and the particular point like if you
really look into a story if you really
look into an overnight success story
you you will see you can you can kind of
kind of start to feel the connection
well so-and-so was an assistant
at an age so that means that they met
somebody that they knew something who
happened to
you know like i did and they were
probably spending late nights doing all
of that you know absolutely
and there is no such thing as an
overnight success
and you can't expect it and there's
actually it's funny
there was and and this is you know
people fall victim to this i mean not so
much anymore because i think you know we
kind of
you know i think that today's generation
has moved beyond spielberg
but our generation was very much like
you know pre-tarantino whatever
you know if very much spielberg that was
your you know he was the guy
like that's what you wanted to be him
and
you know the story was that he you know
he what broke into universal
and took over you know got off the tram
one day and hid in the bathroom until
the tram left then he found an office
that was empty and claimed it and
you know went to work every day and just
took over this empty office and
i mean just these crazy stories like and
he you know made jaws when he was like
you know 15.
i'm exaggerating he was like 22. but the
point is like you know
if i'm if you know i'm 25 and i haven't
made jaws yet i am a loser right and
that is
absolutely the only one out of that kind
of mindset
there is always going to be a you know
there's always going to be a spielberg
or or um you know uh uh damien chazelle
or somebody who's just a
a wonder candy comes out and and does it
but you know what
that's not that's not the end of it and
and there's so many opportunities out
there
and look there are people that would
kill to be where i am
and i you know and and i would be uh you
know it shame on me for not
recognizing that you know and so that's
that's gonna have to tell
people not just you know funny story on
that topic
that's right i joined the producer's
guild a couple years ago and
they have a a mentor program and i and
and i thought to myself oh well this is
an opportunity
to to you know learn from an experience
but
you know whatever and this is kind of
it's a kind of the wake-up call
that i got so i went up to the person
that ran the in the the mentor program
and i introduced myself
and you know i was like by the way
whatever like you know i'm really
interested in being a part of it
and said okay you know i think i think i
think i can get a lot out of this
that absolutely i will find you uh
some mentees to learn from you
and i was like no no no
i want a mentor but the point is like
don't don't take anything for granted i
am incredibly fortunate and
and although i don't look at it you know
you you you do teasingly you know big
big producer director whatever you
called me um
but it's like two to so many people out
there i i am
but i'm making a living i mean i i may
not be living in in
in malibu with the you know the the
beachfront property and the porsche
but you know i i'm making a living and
i'm making a living doing what i want to
do and
and i'll be doing it i'm very happy
everybody you're happy i mean tomorrow
i'm gonna i i've got a new story idea
that i came up with today that jeff and
i were talking about
that you know we we we you know we might
just kind of fast track
and shoot very quickly very soon and
tomorrow i get to go to the office
and plan that story out how cool is it
that's pretty cool
that's pretty cool you know and that's
what i'm gonna you know uh so i'm
excited you know i'm excited about that
opportunity i'm excited i finished the
script today and turned it in and yeah
sure i'll probably get some notes but
you know i got to write a a you know a
pretty cool thriller and
and and yeah i mean any job will get
tedious just in the repetition of it
but dammit that's cool and you're happy
with where things are
the where where your career is right now
is you're right where you want to be
and and you're you're you're pleased
with all of all that everything is a
step
so you know dog who saved halloween
little 10-day movie made for probably
the craft
service budget on my last film you know
and then you know
okay that was a 10-day movie and then
the next in a couple films for like 11
days
uh then maybe there was a 12 day and now
you're getting into you know you're
getting into
to more network stuff like do a movie
for ion and do movies for lifetime do a
movie for hallmark
you do you know and and so every film
you know you just you're confidently
getting
you're just you're just setting the
sites you know higher and higher and
higher
uh and then you know netflix like okay
this is you know
what the next level and just you know
i've never been satisfied with just
staying in one place
i feel like i'm constantly growing and
doing better movies and different movies
and reaching different
levels and i think as long as that
continues i'll be fine
that's great all right well peter
sullivan thank you so much for joining
us
what are your what are the most current
movies out and where can we find them uh
fatal affair will be on netflix probably
this summer
uh very excited about it it's got an
amazing cast uh neil long just a
wonderful actress we got all my apps
we've got steven bishop who had the big
fan from imposters it's just it's
it's a good one i'm very excited to be
sharing that with people
and that'll be out this summer all right
well stay tuned this summer coming to
netflix fatal affair
and uh peter sullivan thank you again
for joining us dear friend of mine
and we can't wait to to see the next one
and you know just keep putting one foot
in front of the other and
making movies thank you all right thanks
guys we'll see you later back but
there you have it my interview with
peter sullivan we had a good
conversation
no it wasn't usually you know i like to
go a little bit more onto the mental
health side of things but he's a
had a very long career in hollywood so
far he's been working for over 20 years
and you know just his entire uh
you know career path i think is of some
interest to you guys
uh trying to make it you know as
independent film directors trying to
make it
and and the struggle you know the daily
struggle of just trying to get through
and you know be creative and make
something and make a career in this
business
so that was peter sullivan we have some
more exciting interviews coming up for
you over the next couple of weeks i've
got them all on the can
stay tuned i don't know which one's
going to come up next i'm still kind of
shuffling the schedule coming up
but i will have another episode coming
out to you guys next week stay tuned for
more information about that
and we'll be back next week with more of
season two
of head above water thanks for joining
us take care
you