This is a transcript of SYS 479 – Making Faith Based Movies With Jon Erwin and Brent McCorkle .
Welcome to Episode 479 of the Selling Your Screenplay Podcast. I’m Ashley Scott Meyers, screenwriter and blogger but sellingyourscreenplay.com. Today I’m interviewing filmmakers Jon Erwin and Brent McCorkle. They just did a feature film called Jesus Revolution starring Kelsey Grammer. They’ve worked in the faith-based family genre for a while now and bring some significant insight into that. It’s a genre I don’t really know a lot about so I have some interesting questions to ask them. And of course, we talk about how this film came together and how they met and ultimately how they were able to get this film off the ground. So, stay tuned for that interview. SYS is a six-figure screenplay contest is open for submissions, just go to www.sellingyourscreenplay.com/contest. Our regular deadline is May 31st. Your script is ready definitely submit now to save some money or final deadline is July 31st. And the price does go up with each passing deadline. We’re looking for low budget shorts and features I’m definitely I’m defining low budgets as less than six figures. In other words, less than 1 million US dollars. We’ve got lots of industry judges reading scripts in the later rounds, we’re giving away 1000s in cash and prizes. We’ve had a number of options and sales from the contest over the last few years. And again, this is only our fourth year. So, we’re getting a nice little bit of traction with the scripts and with the contest. There’s always lots of producers looking for high-quality low-budget scripts to produce. We have a short film script category this year as well. 30 pages or less. If you have a low budget short script, by all means, consider submitting that as well. I’ve got a number of industry judges who are producers that are specifically looking for short films. So, hopefully we can find some homes for those short film scripts as well. If you want to submit to the contest or learn more about it, just go to www.sellingyourscreenplay.com/contest. And again, you can learn more about it I have all of the industry judges are listed on that page as well. So, you can kind of get a feel for who are the people that are ultimately going to be looking at some of these scripts. Again, if you want to learn more about it or check it out or enter just go to sellingyourscreenplay.com/contest.
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Ashley
Welcome Jon and Brent to the Selling Your Screenplay Podcast. I really appreciate you guys coming on the show with me today.
Brent McCorkle
It’s great to be here. Thanks for having us.
Ashley
Yeah, sure. So, to start out, maybe you can tell us a little bit about your background where did you grow up? And how did you get interested in the entertainment business? And Brent, why don’t you go first and then Jon will follow up with you and as I said, just you know one- or two-minutes kind of summation of your careers and how you guys have gotten to this point.
Brent McCorkle
Yeah, I think I’m a typical-artists wiring a lot of ways. I didn’t realize I was creative and I just thought that was very natural. So, when I was a kid, I remember thinking wow, if I can do something with drama and music in it for the rest of my life, I know I’d be really happy. But then I was adrift and lost in college. I switch majors five times. And I was married already and had kids and was you really want to be in film you really wanted to direct movies and so I went back to college started studying film at SMU in the Dallas area and from there I launched out just tried to start working on crew anywhere in Dallas I worked on a lot of commercials I gripped I was a union grip. I worked in art department I worked in audio I did a ton of different things. And on the weekends, I made short films with my friends. And over time I really honed in my voice and put it in my 10,000 hours on the craft doing the short films. And we would get in festivals. I would win some I would lose some. But ultimately some of my shorts got in front of some producers that were looking for a director, they were looking for a filmmaker and I got invited to make a full-length feature film. In Nashville, there was an indie. And that’s really that was how I broke in with just creating a bucket full of short films and failing many times, but you know, I always tell people, you’ve got to clip into the mountain, like, you can’t talk about climbing a mountain, you’ve got to start climbing. And so the way I chose to start climbing, which is making dumb little, like, no budget shorts, with my friends, like running out in the woods, and quite frankly, man, I missed those days, those were the pure days, it was like the street ball, you know, like, you know, when you when you kind of start moving up through AAA and minors and maybe feel like you might be in the majors a little bit. You long for those days where you’re just playing stickball with your friends, you know, in your neighborhood. And so that’s definitely how I’ve gotten where I’m at. And the drum that both Jon and I bang is you got to make stuff, you have to make stuff and the stuff you’ll make it first will probably be bad, unless you’re Orson Welles, you know, but you know, for us, you know, I think Jon would agree, but you’ve got to get on the process and start somewhere. And as you start starting, you’ll see progress. And you’ll look back at the short you just did and realize, oh, wow, I’ve learned a lot that’s actually better than what I did two months ago. And so, my journey was short films, and I chose short films. So, I can work with actors especially and actually work with dialogue. It’s a very niche. It’s a very niche thing, you know, as you know, writing dialogue or even directing dialogue, it’s very niche. And so, I felt like I can double down on my trajectory by getting in and starting to work early with dialogue.
Ashley
Yeah, yeah. So, Jon, maybe you can give us a quick two minute pitch kind of how you got into the business as well.
Jon Erwin
Yeah, I feel like a bad co-director and friend because I’m like, oh my gosh, you had five college majors and you already had kids and like, never even sat down and hurt your life story. What’s wrong with me? I’m from Birmingham, Alabama. I was born and raised there. I live in Nashville now and I had the good fortune of being around when the camera man got sick when I was 15. I was in apprenticing for another cameraman, and three hours before the kickoff I got to take their place and became a cameraman for ESPN and like a kid to join the circus just fell in love occasionally very early. And my dad bought me a camera the next year with money he didn’t have helped me get a lone. My brother quickly followed and we start working together in my dad just a dream bowl; dream big, dream impossible. And you know, give 20 years your life to this. And so, and it does, it takes a while. So, I am a huge believer in what Brent talked about just that 10,000 hour rule that Malcolm Gladwell talks about in Outliers that, you know, you just get reps in our business. And so, for me, it was my brother’s music videos. And we just did music video after music video after music video, after Napster sort of tore up the industry, but we were like, hey, someone’s going to give us 10 grand and music, let’s do them all, you know. And so that was what really refined our craft. And then and then in 2010, we started doing developing feature films, it’s just scary job and raising money for those films, every filmmaker should do that should raise the budget to make the thing and to market the thing at least once in your life, because it turns you into a pragmatist very quick. And, you know, really doing I think I’m a huge believer in doing something specific and serving an audience. Sometimes the narrower the focus, the wider the appeal. And so, we unified our craft with where we’re from and our beliefs and really jumped into this frontier of faith-based entertainment, and one film led to another and Brent was a huge part of films like Woodlawn and I only imagine our fourth film was the film where it all sort of tipped and we had to raise the money for it and build it to break even at like 15 million bucks off as it did like 86 It was the number one film of the year and that that led to the relationship with Lionsgate. So, we love telling inspirational, true stories and true stories that uplift and inspire. That’s our focus. And that’s our obsession.
Ashley
Can you just briefly, how did you two met? How did the two of you guys kind of get in each other’s orbit?
Brent McCorkle
Yeah, it’s a cool story. We both had our first feature films come out the same year. And we both launched our movies to a certain degree out of Nashville. So, we built that premieres in Nashville and we’re both mutual admirers of each other’s work and we were all very blue collar, you know, Jon, Jon is very gracious. But I mean, we all like paid our dues. You know, Jon and Andy shot cameras for ESPN and I was like a grip audio on like corporate jobs in Dallas, you know, so to for both of us to land in Nashville with a feature film coming out together in the same year, we just had this mutual respect. And we started a conversation and John as brother Andy, and Andy is the editor in the family and I love to edit too. So, we collaborated together on Woodlawn, and I helped Andy edit that and consulted on story with him a little bit. And then I ended up scoring about a third of the music which led to more collaborations, you know, we just all got along and I feel like we really improved each other’s creativity and craft when we got around each other. And so yeah, it was just this mutual admiration of, you know, up to indie films coming out in the same year.
Ashley
Gotcha. So, let’s dig into your, your most recent film Jesus Revolution, starring Kelsey Grammer, maybe you can just give us a quick pitch or logline. What is this new film all about?
Jon Erwin
Well, I found it while we were working on another film before, I can only imagine working on a film Woodlawn, I found a Time magazine cover story that was just the psychedelic portrait of Jesus and said that Jesus Revolution I read it got on eBay, couldn’t read the article online and I read it and was just deeply moved by this account of this spiritual awakening that was sweeping America. And it was buoyant. It was optimistic. It was hopeful. It was rebellious. It was happening with teenagers and hippies. And I just got obsessed with it. I think curiosity, especially for like a writer. Curiosity is like the underrated virtue. You know, and I just got really curious and study that for several years, that was met Greg and Cathe Laurie who were characters in the film. And really just between every film that we’ve made, I’ve wanted to get the story of made. So, we’ve made many attempts at this movie, and but it’s just been the passion project that we wanted to get made. And I’m blown away that Lionsgate would let us make a movie called Jesus Revolution. But it’s basically just the story of a spiritual awakening that began in Southern California, with two completely unlikely partners, with Kelsey Grammer playing this sort of very square pastor who throws his doors open to the hippies, the leader of witches is played by Jonathan Roumie, and this spark that ignites a revolution. And it’s fun and funny, but it’s also meaningful, and something that I hope we can all get to remember that it’s in a similar time of despair. This is one of the places that we found hope.
Ashley
Yeah. So, I’m curious. And just looking at the IMDb credit, it looks like Greg Laurie had like a book credit. Was that your first introduction to him? It looked like you guys had worked on some other films together as well, with him, but just talking about that relationship, was that how he came on your radar, you saw this time magazine article, and he had written sort of this life story about him?
Jon Erwin
It was actually, he wrote it after we I found the Time Magazine, and really wanted to meet someone that was from the time and from the movement. And that led to a relationship. And we’ve since done many things together. But we actually, you know, he wrote the book after that, you know, in preparation for us doing the movie. And then it took us way longer to do the movie, you know, than any of us thought. But that was the beginning of our relationship. It’s been a great friendship. We’ve been we’ve done a couple of documentaries, one on Steve McQueen, one on Johnny Cash. And they’re just great. And he and his wife, Cathe are portrayed as teenagers in the film. And they’re going on 50 years of marriage now. So, it’s cool. It’s a cool moment for them and in a cool, threatening story, but his life was certainly changed over the course of this movement. And so, we wanted to put that in.
Ashley
So, I’m curious, and this is kind of a general question. And I think I fall into a lot of what screenwriters are, you know, I’m not religious. I’m not particularly spiritual. But I know that the faith-based market is one that’s underserved it but it’s not something that I really know a lot about. Can you talk a little bit about that? What are some tips for screenwriters that want to be in the faith-based market? From where I sit, it always seems like a market there’s some real success stories as far as the film’s but there’s not a ton of it seems like an underserved market, one of the few I would say underserved markets in Hollywood, because you know, Hollywood is not typically overly spiritual or religious.
Brent McCorkle
Yeah, yeah, I would. I would say to that. Be careful with it, if it’s not coming from an authentic place, because people will feel that and know that you know, like if you’re not particularly spiritual. I think people can sense that. So just be careful and make sure that you find a good connection point if you’re going to try to tell a story. And I would make some distinctions between like Christian entertainment and something that has a faith element to it or whatever, there’s, there’s tons of different areas to play and actually feel the same about horror. If you don’t love horror, and especially if it’s a supernatural horror, I mean, some of the greatest horrors made come from people that have some sort of faith, because you’re getting into spiritual territory, you’re getting into supernatural territory. So, if you aren’t able to tap into that, whether it’s horror, or a Christian film, or whatever, I think people will sense that. So, you know, it’s screenwriting one on one just try to bring things out from an authentic place. And I think that’s one reason honestly, I mean, not to Jon and Andy’s horn, but it’s not some sort of contrived things, these guys like really have faith and they’re so passionate about their faith that they just want to make movies about it. And I think that’s really beautiful. And I’m able to come in alongside them. I’m pastor’s kid, I was raised in all this, you know, I am a very spiritual person, and I believe in God and, and I’m definitely more on the Ubiquiti side of things. And I want everyone to feel included, and like, feel the love. And so between all in between all that and all these different belief systems, we craft this thing that I think can go really wide, but we don’t lose the authenticity of actually people of faith being on the pirate ship, so to speak. Jon, do you have anything else to add?
Jon Erwin
I think, you know, I’d say, my biggest advice is, when we worked in the music business, it was like, there was two types of bands, when we would do these music videos and commercials and concerts, there was bands that wanted the audience to be there for them, and bands that wanted to be there for the audience, you know, and the people that knew the difference between those two things were the audience. And I think one of the real hacks of really getting a movie made is to really focus on entertaining the audience and getting to know the audience and having a relationship with the audience. You know, I think Tom Cruise is like the king of that, you know, everything he constantly talks about entertaining the audience, and what does the audience want. And this is a privilege. And I think that with faith-based films, you know, if you’re like; Oh, here’s that we can make money over here, that’s very different than just getting to know an audience authentically. And then serving that audience well, and I just think in entertainment, we’re in a service business, it’s about the people in the seats and the experience they’re having with the film. And that’s it, like, it’s not about us. And I think so many times, the opposite is true. And the audience can feel the difference between those two things. So, I think with faith entertainment, or whatever you want to call values based, I think there’s a lot of white space in the market, there’s an ability for things that are infused with values and hope. And so, you can pretty much tell any story, but if you tell it through the lens of hope, and you, you highlight and uplift a certain set of values, that can be distinctly Christian, but also universally appealing, you know, things like redemption and self-sacrifice, and forgiveness and courage, and, you know, these type things. And if you do that well, and I also think if you do it in a way that is accessible to a lot of the family, I think this audience wants shared experiences, they want things that they can watch with their kids. And that’s important. But the best way to do it is to like, go hang out with them, you know, like, go, I’m just a huge believer, for me and living with the audience that I serve, but also just spend time with them and understand what’s important to them, and what’s missing for them and entertainment, and then serve that well. So, I think when you apply a service mindset, to the audience, you know, it actually makes you a much more successful filmmaker, you know, because we’re in the entertainment business, and so I think that that’s the key, but what this audience is looking for, is a certain set of values, championed and highlighted in content that is relatively safe for their entire family. That’s what they want.
Ashley
Gotcha, gotcha. So, let’s talk about just the writing process a little bit. And Jon, maybe you can just speak to this. There’s another writer credited, I guess, John Gunn, and then obviously this great warrior. You’ve worked with him. Just talk about that process a little bit. How did everybody participate in it. Again, it sounds like you had some relationship with Greg Laurie. So you want to be truthful to his story, how do you make those you know, concessions where maybe his true story is not the most entertaining story so you push in one direction, but maybe just talk a little bit about the writing of this project for us.
Jon Erwin
Well, you know, they say a filmmaker sort of finds their story and tells it over and over again. For us. It’s inspirational, true stories. That’s just where we live and ever since Woodlawn, and I think it’s our sixth inspirational true story in a row. And so, when you’re adapting a true story, you want to stay faithful to the source. But I love this quote from Sorkin, where he said, “It’s not a photograph, it’s a portrait.” So, you’re trying to paint a portrait of someone and an event and a moment in time, you’re trying to get to the truth of the meaning of the thing. And then you want to make sure that any concession to the stories in that spirit. So, I have found, the two most common sort of changes to a true story are compression of time, and composite characters. So, you’re taking events that might have happened later, you’re putting them into the story, you’re sort of trying to in 90 minutes or two hours, you know, pay the scope of an event or a moment in time or a life. And so, you have to compress. And I think you also have to composite characters, but I’m just a huge believer in the writing process being collaborative. I love Ed Campbell’s book Creativity, Inc, and the Pixar sort of method, and they have a, what they call the brain trust. And we really started applying that to films. And we found that I just I find collaboration on the page to be just a much quicker way forward. And this is the third produced screenplay that I’ve written with John Dunn, and he’s just a fantastic writer, and a wonderful collaborator, and a wonderful director. Brent also come in as director, he’s also a writer, as well as being a composer. So when you have a lot of people that have a great sense of story, you can collaborate, I actually think having a really strong vision means you can feel a lot of ideas, and you can listen to a lot of people and you can say, okay, that is consistent with my vision. Yes, that’s, you know, it doesn’t mean that you’re, you’re off on an artistic, you know, mountaintop it actually means that you can feel a lot of ideas. So, I believe in the collaborative process. And then I also just believe in delaying the writing process as far as you can, sort of in that McKee, spirit of like just spending a lot of times on structure and seeing cards and being able to verbally pitch the story in sequences of scenes, is big, and then and then go into a treatment and then a script. And so, I think that the further you push off the fun part of writing, the quicker it is. The Navy Seals, what do they say slow is smooth, smooth is fast. And I think spending a lot of time for me on seeing cards and structure before we actually write has sped up the process quite a bit.
Ashley
Yeah, yeah, for sure. I get a lot of emails here at selling your screenplay about specific actors, so how can I get this actor attached. I wonder if you guys can just speak a little bit to getting Kelsey Grammer attached to this project. How you guys went about that? Did you know he was maybe interested in doing some faith-based projects? Was there some in Have you worked with them before? But maybe you can speak to that a little bit? How did Kelsey Grammer get involved with this project? How did you bring him on?
Brent McCorkle
Yeah, there’s a beautiful story he’s been telling and all of his press, but he was having a kind of a spiritual retreat with some of his friends. And they were lamenting the fact that they had done a lot of stuff that they didn’t feel like was very significant. I can significant cultural contribution or spiritual contribution to the world. And they kind of made like a bit of a blood oath, like, hey, going forward, let’s try to choose stuff that’s more spiritually significant. And that morning, no joke Jesus Revolution script, hit his inbox. He just, he thought he took it as a sign. And he read it. He called his agent immediately and said, I want to do this and shout out to Jon Erwin. I mean, Jon wanted Kelsey, that was his number one. And then yeah, manage it, just when you watch the movie, it’s the best thing he’s ever done. It’s just such a beautiful performance. So out of him kind of making that promise to himself to do something spiritually significant. He brought that spirit in with him in his performance. And, you know, Jon may have a counterpoint here, which would be great. But, you know, for me, I think you can waste a lot of time trying to attach an actor, like what I see work is, you know, you get your script set up, and the money’s real. And you call and start a clock on these guys. And you’re like, hey, so until after that, we really want you, you know, you’ve got a week. The money is real. Here’s the money that we have yes or no. And if they say no, you go to the next person. But the problem is it’s so competitive and there’s so many films that are greenlit that if you’re just trying to get kind of an attachment to something that’s not real yet. It just goes to the bottom of the stack with the agents. And so, if that’s a little too cynical, John, like help us help me lift a little bit. Like you try to get the money real. And then and then you can actually put timers on people because man, they’ll put you off. And what’s really tough is there’ll be so kind you on the phone? Oh, yeah, we you know, it’s definitely in the it’s not dude, it’s in there languishing. But if you can like put an egg timer on these guys and be like, here’s the money, you got seven days and that’s when I see Hollywood actually move and become responsive to you and want to talk to you. Jon thoughts?
Jon Erwin
I would only two things that I would say are another great writer, Randall Wallace told me one time he said, you know, the before he had his breakout with Braveheart, he worked in Nashville and country music. And he said a mentor of his said there was always a producer crazy enough to not know you couldn’t get all of us on the phone. And he said that was always the producer that ended up booking Elvis, like, sometimes you just you got to try, you got to go for it. And you just never know. But yes, match that, with what Brent said, I think the best way to do it is to be a moving train. If you can have urgency, and a certain fear of missing out, and the money is real. And this is when it’s happening, and we learn and just and then reach for the stars, and you just never know who’s going to say yes, and I’ve been blown away throughout my career with the talent that we’ve been able to work with. And they just, you know, right time, right place. But a lot of times people have note on an independent film, they’re not going to say yes to something, you know, four or five, six months from now, because they’re going to want to hold out for larger projects. But if you’re shooting next month, and it’s real, and the money is pretty good, that’s when you can get them. So, it’s actually better to try to just go and not have your financing be dependent on talent, and then just have a level of urgency in your negotiations. But then, in the context of that, I’m telling you, it can be surprising who will end up saying yes to you. If the money’s that have bad and it’s happening.
Ashley
Yeah, yeah. So excellent advice. How can people see Jesus Revolution? Do you know what the release schedule is going to be like?
Brent McCorkle
It’s nationwide, over the country, Friday, February 24, like 2700 screens or something, so. So yeah, everywhere, you can see it everywhere in your little hometown, you can see it, it’s Lions Gate wide, and we’re so excited to have them as a partner.
Jon Erwin
I’m grateful for Lionsgate for letting us make the movie. It’s unbelievable. And then also for giving it a theatrical release, especially in this environment, because I think it is an event for our audience. And, and I’m very, very grateful for the studio. Yeah, letting us have that. So, it’s theaters nationwide.
Ashley
Perfect, perfect. And what’s the best way for people to keep up with what you guys are doing personally, Twitter, Facebook, Instagram, and if you’re comfortable sharing, I will round up and put in the show notes.
Brent McCorkle
Facebook and Instagram for me, Brent McCorkle. I love talking to people about movies. And like I didn’t really feel like I had enough encouragement or enough mentorship coming up. So, I really try to give back and take 20 minutes out of my day sometimes to talk to somebody.
Jon Erwin
The company is called Kingdom Story company. And it’s everywhere. Facebook, Instagram. Look us up there and perfect. And yeah, and I appreciate you doing it. And the biggest thing is for writers especially just keep going like if you feel that this is what you’re supposed to do. The key is not to give up on it. It takes a long time, but just never quit. You never know when that breakthrough. You only have to get one yes. You know, for all the nos. You don’t have to have a parity with yeses and nos. You just have to endure all the nos to get to that one yet. That can be life changing. And sometimes I think most of us just give up too soon, before we get there. So, I think I think the real thing is just keep going.
Brent McCorkle
I have something to add to that. I always tell my screenwriting people that reach out me I say this, I say don’t write scripts, write movies. And if you look at what John and Andy and I have, is like, something inside of us told us that no one was going to call us we were going to have to do it on our own. And so, the big advice I give writers is find a DP that you like, find some actors start starting even if you have to shoot a short film on an iPhone, shoot your content like don’t just try to script and hope someone’s going to call you that’s never going to happen but get out there and make it happen. So, I you know, I don’t want to speak for Jon but I just feel like we felt that it was incumbent upon us to write our material but then go out and see it through and get it made. So that’s a little phrase I’ve coined to all my writing friends is like you know, you can be very, very kind of imploding on yourself and very in your own mind in your own head and you’re hoping the phone will ring but the odds of that happening are very are minuscule. And so, you know, don’t write a script, write a movie that gets made. And if you have to find some help and build a little pirate team and run out in the woods like we did when we were younger, do that and actually see your content, get actualized in even in the waiting time, you know, like, if you’ve got something really big, and let’s say you have an agent, that’s fine, but write other stuff and see it get made. Because, man, there’s nothing more depressing to me than a script that just is literally today getting burned in an estate sale. Some brilliant, like attorney like writes a script and just puts it in his desk, you know, like hopes Hollywood would call and it just got thrown into a fire, you know, so I want to see this stuff getting made, you know, and so yeah, that’d be my big advice.
Ashley
So perfect. Well, I really appreciate you guys coming on and talking today. Good luck with this film and good luck with all your feature films as well. Thank you. We’ll talk to you guys later. Bye.
I just want to talk quickly about SYS Select. It’s a service for screenwriters to help them sell their screenplays and get writing assignments. The first part of the service is the SYS select screenplay database. Screenwriters upload their screenplays, along with a logline, synopsis and other pertinent information like budget and genre, and then producers search for and hopefully find screenplays they want to produce. Dozens of producers are in the system looking for screenplays right now. There have been a number of success stories come out of the service. You can find out about all the SYS select successes by going to sellingyourscreenplay.com/success. Also, on SYS podcast episode 222, I talked with Steve daring who was the first official success story to come out of the SYS select database. When you join SYS select you get access to the screenplay database along with all the other services that we’re providing to SYS select members. These services include the newsletter, this monthly newsletter goes out to a list of over 400 producers who are actively seeking writers and screenplays. Each SPSS select member can pitch one screenplay in this monthly newsletter. We also provide screenwriting leads, we have partnered with one of the premier paid screenwriting leads services, so I can syndicate their leads to SYS select members, there are lots of great paid leads coming in each week from our partner. Recently, we’ve been getting five to 10 high quality paid leads per week. These leads run the gamut. There’s producers looking for a specific type of spec script to producers looking to hire a screenwriter to write up one of their ideas or properties. They’re looking for shorts, features, TV, and web series, pilots, all types of projects. If you sign up for SYS select you’ll get these leads emailed directly to you several times per week. Also, you get access to the SYS select forum, where we will help you with your logline inquiry letter and answer any screenwriting related questions that you might have. We also have a number of screenwriting classes that are recorded and available in the SYS select forum. These are all the classes that I’ve done over the years, so you’ll have access to those whenever you want once you join. The classes cover every part of writing your screenplay, from concept to outlining to the first act second act third act as well as other topics like writing short films and pitching your projects in person. Once again, if this sounds like something you’d like to learn more about, please go to sellingyourscreenplayselect.com Again, that is sellingyourscreenplayselect.com. On the next episode of the podcast, I’m going to be interviewing filmmaker Michael Escalante, who just did a cool low budget horror film called The Burial. It’s a contained cabin in the woods type horror film. We talk through this film, how he wrote it, and ultimately how he got it produced. We’ll also dig in a little bit to his career and how he got to this point where he is now writing and directing a feature film so keep an eye out for that episode next week. That’s our show. Thank you for listening.