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Speaker 1: Lute force. If it doesn't work, you're just not using enough.

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Speaker 1: You're listening to soft web Radio Special Operations Military mails.

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Speaker 1: I'm straight talk with the guys in the community.

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Speaker 2: Hey, what's going on. This is rad I am the

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Speaker 2: excited host of soft Rep Radio and I have a

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Speaker 2: very special guest today. But before I introduce to you,

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Speaker 2: Dwayne Worrel, I slipped it. But hold on, before I

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Speaker 2: introduce you any further, I want to mention that we

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Speaker 2: have a mert shop. We have branded equipment in there,

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Speaker 2: we have branded shirts, we have you know, stuff that

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Speaker 2: you might want to wear and support us. If you

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Speaker 2: like what we do and the message that we put

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Speaker 2: out there of be cool to one another, then go

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Speaker 2: check out the merch store. And also the book club.

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Speaker 2: We like books. Read all the books. Read any book

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Speaker 2: you want to read. Just read a book. At the

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Speaker 2: end of the day, join our book club which is

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Speaker 2: soft rep dot com hyphen book Club. Okay, so come

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Speaker 2: find that and then without further ado, I do have

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Speaker 2: a book here. It's called Androne right here, and it's

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Speaker 2: written by Dwayne Warrell, who is the author, director, writer,

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Speaker 2: filmmaker living in Hollywood. Dwayne, Welcome to soft Rep Radio.

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Speaker 3: It's great to be here, man. I appreciate you having me.

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Speaker 2: Yes, you know, Dwayne, I just want to read a

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Speaker 2: little bit about your book. First of all, let's read

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Speaker 2: a little bit about Dwayne. Okay, let me just tell

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Speaker 2: you what they want me to tell you about Dwayne.

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Speaker 2: All right, here we go. So Dwayne Worrel is a filmmaker, traveler,

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Speaker 2: a novelist, a Caribbean native who resettled in the US

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Speaker 2: in the nineties. Dwayne currently resides in LA where he

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Speaker 2: works as a film and television writer and producer. His

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Speaker 2: writing credits include Marvel's Ironfist, CBS's Fire Country, Amazon Studios,

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Speaker 2: The Wall, and the Disney play series National Treasure, among others.

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Speaker 2: So that's who we're talking to today. Where you're talking

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Speaker 2: to Dwayne. He loves to use his imagination, he likes

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Speaker 2: to put it on paper. And I want to hear

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Speaker 2: more about how Andron and the Special Operation community come together.

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Speaker 2: So welcome, Welcome, Dwayne.

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Speaker 3: Thank you man again. I really appreciate you having me.

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Speaker 3: It's great to be here, great to talk to you guys.

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Speaker 3: And yeah, Andron was something that, you know, a film.

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Speaker 3: It started as in my mind, something that I wanted

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Speaker 3: to produce on film and have be a movie. I

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Speaker 3: love science fiction, I love military stories. So I sort

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Speaker 3: of took the tooth and I put them together, and

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Speaker 3: I wanted to create this story about a near future

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Speaker 3: world where drones aren't just operated in the sky, they're

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Speaker 3: operated on the water, underwater, on land, bipedal, quadrupedal, four

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Speaker 3: legs to legs, whatever type of service they can provide,

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Speaker 3: we create them. So we have all these different types

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Speaker 3: of drones. And the story is about a drone pilot

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Speaker 3: and drone pilot and andrones are bipedal, built in our image,

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Speaker 3: machines about seven to eight feet tall, powerful human like tanks.

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Speaker 3: And it's about drone pilot who pilots these machines and

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Speaker 3: he discovers something, which is a spoiler, so I won't

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Speaker 3: say what he discovers.

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Speaker 2: Yeah right, No, there's so many, but he.

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Speaker 3: Discovers something and it changes everything about his goals in

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Speaker 3: the military, his personal life, everything changes when he discovers this.

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Speaker 3: It was just a really interesting story I wanted to tell.

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Speaker 3: So in Hollywood, when you're trying to tell certain stories,

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Speaker 3: they say, no, we want to do superhero movies. So

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Speaker 3: I figured, you know, it's going to be very challenging

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Speaker 3: to get it done as a film, so I decided

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Speaker 3: to write it as a book. And now it's in

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Speaker 3: your hands and hopefully everyone else's hands.

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Speaker 2: Very soon exactly, it will be out on bookshelves and

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Speaker 2: everywhere that you can check out this book androne once

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Speaker 2: it's released, it'll probably be at the airport if you're

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Speaker 2: going through Lax or Burbank or Provo Airport here in

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Speaker 2: Salt Lake City. You can just you never know. These authors,

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Speaker 2: they travel and do these junkets and these book shows.

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Speaker 2: You just never know if the book you're looking at

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Speaker 2: is signed by the author who just sneaks in there

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Speaker 2: and says, you know, I'm going to sign this.

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Speaker 3: Further might be right behind you as you pick up

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Speaker 3: the book at the airport.

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Speaker 2: You're just like looking over the shoulder with a cannapringles

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Speaker 2: for the flight, like is he picking up my book?

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Speaker 2: Please pick up my book? Yes?

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Speaker 3: I'll probably make a comment or two like, no, I've

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Speaker 3: read that one. That's pretty good.

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Speaker 2: Oh, you know that's good. I won't give you these spoilers,

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Speaker 2: but chapter seven, let me tell you I do like,

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Speaker 2: let me tell you about Androl So I'm six foot

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Speaker 2: five and I just got down to two hundred and

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Speaker 2: seventy six pounds from two ninety three, so I'm a

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Speaker 2: big dude. Yeah, is there an Andron for me? You know,

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Speaker 2: because I'm reading it and I'm not trying to give

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Speaker 2: away any spoilers, bro, but you know, I mean he's

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Speaker 2: got sice twelve feet. I can say that, right, Okay,

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Speaker 2: we know he's got sized. I got sice fifteen. What

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Speaker 2: if Sequille O'Neil needed to get in one?

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Speaker 3: What about Ra's true?

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Speaker 2: How do we get into this? What's our position?

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Speaker 3: And I don't think this is the spoilers. I could

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Speaker 3: tell a little bit about this. There are different types

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Speaker 3: of Andromes for different things. So the military they named

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Speaker 3: the andromes after Great Military war machines because they considered

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Speaker 3: the Andron of war machine. So they decided to name

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Speaker 3: them after the Spartan series, the SPQRS series, the Apache series,

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Speaker 3: the Mongol series, the Zulu series. There's the Kingsmand series

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Speaker 3: after the British Empire, and of course there's an Americana,

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Speaker 3: which is the most modern Androme. So each of these

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Speaker 3: androids are differ sizes and built for different uses. For

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Speaker 3: what you described to say about six y five who

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Speaker 3: got some Matthew. I think you would like the Mungo series,

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Speaker 3: is I would. This is a heavily armored, powerful, strong Yeah.

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Speaker 3: So you get it and you uh a egg egg

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Speaker 3: shaped sort of circular carpet. You get inside and you

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Speaker 3: operate this machine that is maybe in Iraq, maybe in Afghanistan,

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Speaker 3: maybe Siria, you don't know where it is. But you're

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Speaker 3: out there and you're you're controlling this machine. And I

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Speaker 3: think you would enjoy controlling the mules.

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Speaker 2: I really would, I really And I love that you're

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Speaker 2: keeping So you know, I can't talk about the book,

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Speaker 2: but I want to talk about the book, right because

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Speaker 2: like you're the author of the book, and I read

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Speaker 2: a lot of your book and I want to say

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Speaker 2: things that are in the book. But you already said

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Speaker 2: the egg. And I was going to say what came first,

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Speaker 2: the chicken or the egg, and so you already got

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Speaker 2: the egg, right, And then I just like how you

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Speaker 2: put the cables on. You know, in my mind, my

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Speaker 2: mind really just wanders with your book. So I'm thinking

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Speaker 2: of different components and I want to put it out there.

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Speaker 2: Like when my dad read the movie or the read

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Speaker 2: the book Hunt for October by Tom Clancy back in

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Speaker 2: the day. It's about a sub mariner. Yes, and then

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Speaker 2: he went and saw it. He was kind of like,

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Speaker 2: it's not the same in my head because he has

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Speaker 2: all the specs you see, but in the movie maybe

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Speaker 2: you couldn't get all the specs right, but you can

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Speaker 2: get the gist of the synergy of the book adapted

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Speaker 2: to the film. Okay, because it takes a lot for

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Speaker 2: a submarine film, I can imagine, you know, it's going

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Speaker 2: to be super difficult to be one hundred percent accurate

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Speaker 2: on such a futuristic movie. I bet you did your best, though,

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Speaker 2: right or for for the book? Excuse me, I did.

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Speaker 3: I spoke to my brothers in the military. My brother's

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Speaker 3: in the intelligence field, and I can't I don't want

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Speaker 3: to talk too much about, you know, what he does,

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Speaker 3: but he does work on aircraft and other things like that.

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Speaker 3: And I just spoke to a friend, another friend who's

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Speaker 3: also in the military. I'm worry about putting names out

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Speaker 3: there because I don't know that they they want to

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Speaker 3: be associated with the book, you know, exactly exactly.

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Speaker 2: Yeah, I spoke to.

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Speaker 3: Them, and then I did my own independent research, not

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Speaker 3: just on drones, but I think when you're writing, you've

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Speaker 3: got to get into the characters' heads. And what is

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Speaker 3: the mindset of a person who is sitting a million

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Speaker 3: miles away and murdering some or killing someone, I should

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Speaker 3: say in comparison to And this is one thing that

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Speaker 3: that struck me as I was writing the book. And

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Speaker 3: I thought a lot about as I was writing the book.

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Speaker 3: Is my emotional state different if I'm in the trenches,

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Speaker 3: climbing through the mud, scratches the mosquito bites all over

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Speaker 3: me and I have a gun aimed at someone, or

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Speaker 3: I'm sitting in an air conditioned office and I'm at

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Speaker 3: the controls and I have a gun aimed at someone.

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Speaker 3: What is the different mind set of a human being

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Speaker 3: when they're in those two separate states. And that's sort

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Speaker 3: of something that that was in my.

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Speaker 2: Mind as I well today you're just saying, you know,

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Speaker 2: give them a value packer downloadable content and they'll go

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Speaker 2: to war for you, dude. It's like they'll drink their

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Speaker 2: big gulp and sit there and play with their thumbs

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Speaker 2: and they'll be desensitized to that situation. It's just like,

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Speaker 2: and that's it.

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Speaker 3: That's the desensitization of it is. It's an istion because

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Speaker 3: some people might think, oh, if I'm in the air

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Speaker 3: conditioned office, I may not shoot him because you know,

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Speaker 3: you know, but there's that desensitized state that they're in

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Speaker 3: when they're in the air conditioned cockpit, while if I'm

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Speaker 3: sitting there on the trenches, maybe there's a little more

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Speaker 3: empathy that I have if I have the scratches and

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Speaker 3: the bruises and everything on me with that person. And

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Speaker 3: I can't say that, you know, I can't say what

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Speaker 3: I would do. I've never been in that situation, but

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Speaker 3: it does make me, you know, I did put a

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Speaker 3: lot of thought into the differences between those two situations.

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Speaker 2: Well, when you look at like World War II trench warfare,

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Speaker 2: and it was like Christmas time, and they had like

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Speaker 2: a like just like a quiet the almost like we're

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Speaker 2: singing hymns to each other across the battlefield of Christmas time,

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Speaker 2: you know, celebrating, you know, like you couldn't do that

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Speaker 2: in a machine per se. You couldn't have that moment

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Speaker 2: of like I don't want to kill you anymore, you

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Speaker 2: don't want to kill me anymore, because machines like John

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Speaker 2: Connor and Terminator loosely quote, it says they're only as

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Speaker 2: good as the people that programmed.

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Speaker 3: Them, right, right, right exactly?

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Speaker 2: You know, you know, and so have you seen. I

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Speaker 2: usually reference this movie called snow Piercer who has a

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Speaker 2: Captain America in it, Chris Evans. I thinks his name, yes,

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Speaker 2: I guess, And so, not to give away everything, it

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Speaker 2: just talks about the human element has to be involved

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Speaker 2: for anything to consider moving in this earth, right, It

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Speaker 2: can't just be nobody's brain helping like you're talking about.

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Speaker 2: These things could go off do it themselves, but it

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Speaker 2: takes the human element to be involved in these androns right.

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Speaker 3: No, it's it's it's so integral to the story. And

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Speaker 3: when you see the cover you may think, oh, this

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Speaker 3: is a Terminator movie where it's AI and the machine

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Speaker 3: killing people. You see the machine, but there's a human

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Speaker 3: being controlling that machine, and that is the most important

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Speaker 3: element to this story. It's so I can't give that

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Speaker 3: part away, but maybe I can't let me think it's interesting.

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Speaker 2: Thing is, it's not given away. It's it's there because

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Speaker 2: we know he's there. Okay, that's all.

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Speaker 3: Well, he makes an empathetic decision in that machine, and

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Speaker 3: the person on the opposite side of that machine does

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Speaker 3: not know for a very long time that there's a

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Speaker 3: human being inside it. There, right, So there's and this

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Speaker 3: happens a little further into the story. But and I'm

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Speaker 3: not giving away the twist. The twist is still still hidden.

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Speaker 3: But the person out side of that machine does not

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Speaker 3: know there's a human being inside. They believe it's Ai.

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Speaker 3: They believe it's the machine is autonomous, and over time

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Speaker 3: a relationship grows between him inside that machine and the

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Speaker 3: person outside of it. And one thing to keep in mind,

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Speaker 3: that person that does not speak English, and he cannot speak,

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Speaker 3: they cannot communicate. So there is a relationship within this

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Speaker 3: story between a human machine and another person, and there

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Speaker 3: is no linguistic communication. So there's there's there's more to

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Speaker 3: the story a little furthermore.

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Speaker 2: I can just see it in my head. It's like

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Speaker 2: he's trying to like, can you hear me? Okay, and

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Speaker 2: it's like looking at him and like I'm not killing

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Speaker 2: you exactly exactly? Yes, Wow, yeah, no, cool. I'd love

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Speaker 2: to see it. I know that right now. You know,

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Speaker 2: as we talk, there's a strike going on in Hollywood.

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Speaker 2: And around the world with the direct Director's Guild of America,

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Speaker 2: the Writer's Guild of America, the Screen Actors Guild, the

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Speaker 2: Theatrical After is involved with that all the unions, and

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Speaker 2: I have stepped up for equal pay. I'd like to

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Speaker 2: maybe touch base with that with you a little bit

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Speaker 2: and just say, hey, you know, ask someone who's SAG

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Speaker 2: eligible and worked in you know, different projects. Myself, I

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Speaker 2: understand what that union and what the health insurance does

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Speaker 2: for those who are making the minimum to be in

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Speaker 2: the union, right, because you're lucky if you have a

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Speaker 2: million dollar roll come your way. You're lucky if you

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Speaker 2: have these things there, you have an agent working behind

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Speaker 2: the scenes for you. But if you can get into

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Speaker 2: a project, as you know, you go out for a

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Speaker 2: featured extra role and all of a sudden, like you

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Speaker 2: know what, we might just like you for the driver

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Speaker 2: who has two dialogue lines, and next thing you know,

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Speaker 2: you know, you just got into the sage right, and

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Speaker 2: so that and now you're like, oh, I want more

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Speaker 2: of this. So there's that person who's at the very

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Speaker 2: bottom of the spectrum, right, let's call them me. And

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Speaker 2: then you have and then you have the tom Cruisers

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Speaker 2: who have put so much equity of their money into

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Speaker 2: the funds for these insurances and for these programs. Millions

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Speaker 2: of dollars from their their checks go into that versus

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Speaker 2: the lower paying actor, because it's all scaled exactly. If

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Speaker 2: I'm wrong, say you're wrong, you know.

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Speaker 3: You got it, You're on it.

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Speaker 2: Yeah. I just think that there should be fairness across

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Speaker 2: the level. You know, you see these Brian Cranston's and

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Speaker 2: you see these other you know, noted well off actors

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Speaker 2: standing there saying we want equal rights. And I don't

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Speaker 2: think other people are understanding who they're trying to fight

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Speaker 2: for because they were that. I need a place to

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Speaker 2: stay on your couch. I just have an audition in

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Speaker 2: the morning. Can I give me a right on the

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Speaker 2: way of your work. I won't be any more in

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Speaker 2: your way except for tomorrow. I'm gonna sleep on your

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Speaker 2: couch again.

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Speaker 3: You're exactly exactly right. What some people may not understand

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Speaker 3: is that this strip isn't really affecting Tom Cruise at all.

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Speaker 3: Tom Cruise will still make twenty five million a movie

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Speaker 3: and still get back in afterwards. So it's not about

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Speaker 3: Tom Cruise. It's about the people, like you said, who

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Speaker 3: are not earning a lot of money. Who For example,

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Speaker 3: one thing that studios want to do is they want

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Speaker 3: to for background actors who get paid very very little already.

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Speaker 3: They want to take basically a three dimensional picture of

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Speaker 3: their face and use it forever in the background, so

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Speaker 3: you get paid for that one time, and then the

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Speaker 3: studios can just use you forever, So it eliminates the

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Speaker 3: need for background actors. It eliminates the need for extras though,

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Speaker 3: those people who come in and just do one day's work.

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Speaker 3: And Brad Pitt used to be an extra. All the

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Speaker 3: actors I would say, ah, but many of the actors same.

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Speaker 3: I've done that work as well, and not that I'm

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Speaker 3: an actor, but I've done it from time to time.

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Speaker 3: And it's a good way to earn a paycheck. You

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Speaker 3: can get in and it gives you the set experience.

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Speaker 3: But it's also a path that mini actors take. Mini

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Speaker 3: actors start there and then slowly but surely find the latter.

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Speaker 3: So it's green men, they're they're they're very much trying

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Speaker 3: to take away everything, not everything, but a lot of

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Speaker 3: the healthcare, a lot of the fonts from a lot

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Speaker 3: of the lower level actors and writers and that's the

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Speaker 3: side that I've been on on the strike and a

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Speaker 3: lot of the things they're trying to do with AI

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Speaker 3: and having AI write the films is sort of it's

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Speaker 3: it's very sad to see and a lot of people

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Speaker 3: are are struggling.

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Speaker 2: You know, I've heard it about podcasts. You know, we've

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Speaker 2: talked about it within our house of soft reap. AI

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Speaker 2: is here. We understand, you know, all these chat GPTs,

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Speaker 2: all these different mechanisms that are out there. But if

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Speaker 2: all you do is start using that, all you're going

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Speaker 2: to have is that watching it, and all you're going

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Speaker 2: to have is AI watching AI.

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Speaker 3: Yes, yes, I think that AI does. They're not there yet.

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Speaker 3: AI can't write screenplay the same way that person can

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Speaker 3: write screenplay. But what this is maybe a little insight

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Speaker 3: into what writers deal with in Hollywood, is studios are

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Speaker 3: very very much hands on when it comes to the

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Speaker 3: writing of screenplays. A lot of people think a writer

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Speaker 3: will write a story and they will make the words

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Speaker 3: that they say into a movie. That's usually not how

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Speaker 3: it works. Usually a studio will come to a writer

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Speaker 3: and say, hey, we want to make a movie about ABC,

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Speaker 3: and we want this moment, that moment that moment, that moment.

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Speaker 3: So the writer will then go, Okay, you're paying me,

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Speaker 3: so I will write this moment the way you want it.

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Speaker 3: I will write that moment the way you want it,

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Speaker 3: and I will create a story in your image. I

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Speaker 3: will create a story in the way you want it

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Speaker 3: to be written. And then they will look at the

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Speaker 3: screenplay and then give us notes and say, we want

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Speaker 3: this change, we want this change, we want this change.

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Speaker 3: So the writer in the system is actually, we don't

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Speaker 3: have as much power as people think. We are really

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Speaker 3: writers for hire. We make the work the way the

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Speaker 3: studios want it, especially on the big budget films. If

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Speaker 3: you see an indie film, maybe the writer had more

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Speaker 3: influence there, But in the big Marvel hop, you know,

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Speaker 3: big big films, we have less influence than love.

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Speaker 2: Right. So something like a franchise, like a Marvel universe

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Speaker 2: that's going to be specifically like we want this, this,

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Speaker 2: and this out of it. You're going to write this, this,

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Speaker 2: and this. We've already got this talent for these scenes.

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Speaker 2: It's all storyboarded and foreseen through their crystal ball at

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Speaker 2: the studio exactly whereas like an old indie film like say,

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Speaker 2: you know, like Clerks, right, okay, right, probably nothing to

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Speaker 2: do with the studio writing in that.

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Speaker 3: Exactly exactly right, you're exactly right. Yes, the smaller films,

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Speaker 3: the indie films, those are we call them spec screenplays.

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Speaker 3: And The Wall, which I wrote, that would spec mostly.

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Speaker 2: For Amazon, right for Amazon, right, yes.

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Speaker 3: But a lot of bigger films we write what they

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Speaker 3: want to write, and if we don't write it to

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Speaker 3: those specifications, they will fire, not fire, still, let us go,

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Speaker 3: and they'll bring in another writer and that writer will

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Speaker 3: will do the job. So that's sort of how the

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Speaker 3: system works and how we.

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Speaker 2: Play it, right, And I guess with the writers guild,

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Speaker 2: you know, you guys like an actor, you got the

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Speaker 2: gig you're in, you're writing. You know, it's like, oh,

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Speaker 2: I'm actually hey mom, hey, dad, friends, I'm doing it.

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Speaker 2: I'm writing for Hollywood, right, Hey, I got into Stephen

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Speaker 2: King movie. I'm doing acting. I'm you know, next step,

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Speaker 2: next step, And it's like you don't want to like

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Speaker 2: lose that, And so they know that we as the talent,

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Speaker 2: walk on eggshells, try to be in these projects so

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Speaker 2: that I don't want to offend anyone on set. I

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Speaker 2: don't I don't want to bump into the caterer and

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Speaker 2: say this sucks because he's going to be the director

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Speaker 2: one day.

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Speaker 3: You're exactly exactly right. You get in there, you get,

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Speaker 3: oh my god, I'm writing a Marvel movie. Whatever you say,

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Speaker 3: I'll do it. And I'm writing a you know, a

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Speaker 3: Pixar not usually not Pixar, but maybe a Disney Plus

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Speaker 3: film or a Disney Plus show or a CBS show

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Speaker 3: or ABC. You just want to you want to make

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Speaker 3: the studio happy, you want to make your employ it happy.

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Speaker 3: So you do what they tell you and you put

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Speaker 3: out the product to their liking. So that's that's that's.

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Speaker 2: What That's kind of where this whole situations you know,

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Speaker 2: coming about in LA and then the Guild and the strikes,

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Speaker 2: is that you know, you have these big conglomerates that

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Speaker 2: are able to dictate what they want. Now they're moving

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Speaker 2: into more of a reality based programming where they say, oh,

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Speaker 2: there's no writer involved. But hey, listen, Dwayne, what I

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Speaker 2: want you to do in this scene is I'm not

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Speaker 2: telling you what to do, but I want you to

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Speaker 2: do what you want to do in the scene. But

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Speaker 2: I'd like you to like maybe rub your head in

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Speaker 2: the scene. But that's up to you if you do

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Speaker 2: it right. And so then Dwayne's like, oh damn, I

389
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Speaker 2: just got some direction from rad to maybe rub my head. Okay,

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Speaker 2: so maybe the right around here, And I'm like, okay, cut, Yeah,

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Speaker 2: I mean, how's that not writing? You know, how's that

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Speaker 2: not giving? So what happens is the actor is in

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Speaker 2: this world of non sag project and they have k

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Speaker 2: so you feel like it's a sack project, right right.

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Speaker 3: Right right? No, And we see that a lot of

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Speaker 3: reality too. And I don't I don't know that much

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Speaker 3: about reality TV. I've never been involved in real TV,

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Speaker 3: but I do know that I do know people. I've

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Speaker 3: heard a lot about reality TV and that it is

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Speaker 3: almost to a degree scripted too, you know, to get

401
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Speaker 3: that best. But they don't they don't pay. From what

402
00:21:25,400 --> 00:21:29,359
Speaker 3: I've heard, the reality TV stars don't get paid in

403
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Speaker 3: the same way. They don't get residuals at the shows.

404
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Speaker 2: Nope, none, they're out yep.

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Speaker 3: Yeah.

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Speaker 2: So I mean I was I was offered a reality

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Speaker 2: show and they wanted like all sorts of perpetuity contracts

408
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Speaker 2: signed and off offshoot camera. I mean, a lawyer on

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Speaker 2: my side here watching everything I was doing for me

410
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Speaker 2: on my side. And that's what I have to say,

411
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Speaker 2: is they came with all these papers like hey, Rod,

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Speaker 2: just sign this and don't want a ten percent of

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Speaker 2: my business for light and perpetuity, and like they just

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Speaker 2: want to know how do I tick? What makes me rock?

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Speaker 2: And this is a reality network coming at me. They

416
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Speaker 2: pitched it in DC at the Speak Huge event and

417
00:22:07,320 --> 00:22:10,200
Speaker 2: all these different companies were like, yeah, well, and then

418
00:22:10,720 --> 00:22:13,440
Speaker 2: it was all about war games and so at the

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Speaker 2: time of twenty twelve, there's a lot of like active

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Speaker 2: shootings going on, I see, and it doesn't go well.

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Speaker 2: So it was put away, right, So that was then,

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Speaker 2: And I'm kind of glad I never went through to

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Speaker 2: fruition with that because I'm happy I'm not out there

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Speaker 2: splattered on the back of a pack of poker cards exactly.

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Speaker 3: And I know what you mean yet, because they will

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Speaker 3: market you however they want to market you. They'll put

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Speaker 3: you on the side of a bus or on the side,

428
00:22:39,320 --> 00:22:41,600
Speaker 3: like you said, in a pack of cards. So that's yeah,

429
00:22:41,640 --> 00:22:44,800
Speaker 3: that's not You have no control at that point. And

430
00:22:45,119 --> 00:22:47,960
Speaker 3: the thing about real is my cut exactly exactly. And

431
00:22:48,040 --> 00:22:50,399
Speaker 3: the thing about reality TV is people, even though it

432
00:22:50,400 --> 00:22:53,399
Speaker 3: may not be real. People see it as real. People

433
00:22:53,480 --> 00:22:57,359
Speaker 3: see movies, they know, you know, Chris Evans is not

434
00:22:57,440 --> 00:23:00,520
Speaker 3: Captain America. They know that's a movie. When they see

435
00:23:00,600 --> 00:23:06,240
Speaker 3: reality TV, they do believe that that's who they those

436
00:23:06,280 --> 00:23:08,800
Speaker 3: people really are. And sometimes it's not. Sometimes it is,

437
00:23:09,320 --> 00:23:10,960
Speaker 3: you know, it's a bit of a bit of a

438
00:23:10,960 --> 00:23:12,200
Speaker 3: show based on.

439
00:23:12,160 --> 00:23:14,520
Speaker 2: Yeah, And I guess I'm just standing up with all

440
00:23:14,560 --> 00:23:16,760
Speaker 2: of those folks out there that are standing on the line,

441
00:23:16,840 --> 00:23:19,159
Speaker 2: just saying, you know, it's a fight to fight. And

442
00:23:19,800 --> 00:23:23,639
Speaker 2: here in Utah it's different. We're a non union state,

443
00:23:24,200 --> 00:23:27,040
Speaker 2: so the production companies that come here get a certain

444
00:23:27,520 --> 00:23:30,320
Speaker 2: investment in their production. So if you hire seventy five

445
00:23:30,320 --> 00:23:33,520
Speaker 2: percent Utah's you get all these incentives to come film

446
00:23:33,520 --> 00:23:35,879
Speaker 2: in Utah, including all of the locations that are like

447
00:23:36,359 --> 00:23:41,800
Speaker 2: used in every Mars movie, you know, or in like

448
00:23:41,920 --> 00:23:45,520
Speaker 2: what was that with Jen a Forrest Gump when he's running,

449
00:23:45,560 --> 00:23:47,840
Speaker 2: you know, out in the middle of the desert. You know,

450
00:23:48,320 --> 00:23:50,560
Speaker 2: Utah it's beautiful, right, We have all sorts of locations,

451
00:23:50,600 --> 00:23:53,080
Speaker 2: real locations where you don't have to film cgi for

452
00:23:53,119 --> 00:23:57,119
Speaker 2: a Cowboys scene, actually have a long stretch of scenery

453
00:23:57,119 --> 00:23:58,560
Speaker 2: into the sunset right right.

454
00:23:58,520 --> 00:24:00,400
Speaker 3: Right, right, right, and you have a lot of great

455
00:24:00,440 --> 00:24:03,240
Speaker 3: festivals as well up there. I've never been to Utah.

456
00:24:03,280 --> 00:24:05,960
Speaker 3: I really like to visit. But you say it's a

457
00:24:06,040 --> 00:24:08,840
Speaker 3: non union state, so a lot of the stuff, you guys, Shoot,

458
00:24:09,320 --> 00:24:11,200
Speaker 3: there's no unions protecting you. Guys.

459
00:24:12,119 --> 00:24:15,639
Speaker 2: No, they come in as a SAG production, but at

460
00:24:15,720 --> 00:24:18,560
Speaker 2: SAG non union, so they come in with SAG guidelines

461
00:24:18,600 --> 00:24:21,399
Speaker 2: and SAG rules. And if you get on a project here,

462
00:24:21,520 --> 00:24:23,920
Speaker 2: you can actually earn your SAG eligibility. So it's a

463
00:24:23,960 --> 00:24:27,119
Speaker 2: lot easier for someone to earn their SAG eligibility here

464
00:24:27,760 --> 00:24:31,320
Speaker 2: than to swim with sharks as a little goldfish in

465
00:24:31,359 --> 00:24:33,280
Speaker 2: that big ocean in La So if you want to

466
00:24:33,280 --> 00:24:36,320
Speaker 2: be kind of a bigger fish in a smaller pond.

467
00:24:36,240 --> 00:24:38,520
Speaker 3: Right right, right, that makes a lot of sense. That

468
00:24:38,560 --> 00:24:39,399
Speaker 3: makes a lot of sense.

469
00:24:40,760 --> 00:24:43,240
Speaker 2: See, so I'm always swimming around here. They're like, oh,

470
00:24:43,280 --> 00:24:45,359
Speaker 2: there's Ratti's right over. I see his dorsal fin. We

471
00:24:45,359 --> 00:24:47,320
Speaker 2: know he's here. We can always call him into an audition,

472
00:24:47,720 --> 00:24:47,919
Speaker 2: you know.

473
00:24:48,480 --> 00:24:50,160
Speaker 3: Is there a lot of production in Utah? Is theres

474
00:24:50,160 --> 00:24:51,879
Speaker 3: a lot of stuff going on? Is it's pretty active

475
00:24:51,880 --> 00:24:53,000
Speaker 3: as far as filming goes.

476
00:24:52,960 --> 00:24:58,359
Speaker 2: Yeah, very much. A lot of Disney happens here. So

477
00:24:58,680 --> 00:25:00,480
Speaker 2: I was in the Luck of the Irish in the

478
00:25:00,520 --> 00:25:03,720
Speaker 2: early two thousands for Disney Channels Luck of the Irish,

479
00:25:04,119 --> 00:25:06,159
Speaker 2: and then we did there was like High School Musical

480
00:25:06,240 --> 00:25:09,159
Speaker 2: was filmed here, Double Teamed was filmed here. You know.

481
00:25:09,280 --> 00:25:12,639
Speaker 2: John Carpenter's Mars was filmed here. Those are just like

482
00:25:12,720 --> 00:25:15,400
Speaker 2: from the early two thousands all the way to Costner

483
00:25:15,400 --> 00:25:19,720
Speaker 2: has been filming Yellowstone here, you know, and then I

484
00:25:19,760 --> 00:25:22,600
Speaker 2: think something just he just left his production. Something was

485
00:25:22,640 --> 00:25:24,000
Speaker 2: going on with the production. But they are here the

486
00:25:24,040 --> 00:25:28,400
Speaker 2: whole time for Yellowstone. And then I think the Roughnecks

487
00:25:28,440 --> 00:25:32,440
Speaker 2: for filming, which is another Costner oil rig style thing

488
00:25:32,480 --> 00:25:34,320
Speaker 2: going on. There's a lot of projects going on. I

489
00:25:34,359 --> 00:25:36,200
Speaker 2: just went out for a bunch of this year. I

490
00:25:36,280 --> 00:25:40,240
Speaker 2: got a couple of callbacks, one with Harrison Ford. I

491
00:25:40,280 --> 00:25:43,480
Speaker 2: didn't go further. I was hoping it would have been cool.

492
00:25:43,840 --> 00:25:46,160
Speaker 2: But a callback, you know how, that's.

493
00:25:47,520 --> 00:25:53,920
Speaker 3: Yeah, just a callback. Yeah, it's I do not say why.

494
00:25:54,080 --> 00:25:56,760
Speaker 3: I did not envy the actor in many ways because

495
00:25:56,800 --> 00:26:00,879
Speaker 3: it's it's so hard and I know actors here in

496
00:26:01,040 --> 00:26:04,560
Speaker 3: LA you'll get that callback and you do the auditions

497
00:26:04,560 --> 00:26:07,520
Speaker 3: and you go in and and then sometimes it doesn't,

498
00:26:07,800 --> 00:26:10,760
Speaker 3: you know, come to fruition and it's always like it's

499
00:26:10,840 --> 00:26:13,920
Speaker 3: that constant heartbreak. Sometimes I kind of know who the

500
00:26:13,960 --> 00:26:16,280
Speaker 3: actor is, but I know a lot of coming actors

501
00:26:16,280 --> 00:26:20,560
Speaker 3: who love the craft, and it's it's tough, it is challenging,

502
00:26:20,680 --> 00:26:21,520
Speaker 3: it is challenging.

503
00:26:21,560 --> 00:26:23,760
Speaker 2: Through that, I do love it and I do pursue it.

504
00:26:23,800 --> 00:26:26,040
Speaker 2: And that's that is another reason why I thought we'd

505
00:26:26,080 --> 00:26:28,200
Speaker 2: have a great conversation is because I do like that

506
00:26:28,280 --> 00:26:32,080
Speaker 2: side of acting and being rejected and accepted. It's nothing,

507
00:26:32,200 --> 00:26:35,119
Speaker 2: there's nothing like success, right you get the part. So

508
00:26:35,280 --> 00:26:39,480
Speaker 2: I've been taught there's no small roles, there's just small actors. Okay,

509
00:26:40,000 --> 00:26:41,840
Speaker 2: So I will never say I went out for this

510
00:26:41,960 --> 00:26:44,000
Speaker 2: small role. I just went out for this role as

511
00:26:44,040 --> 00:26:46,199
Speaker 2: the driver. And the director is like, we want you

512
00:26:46,240 --> 00:26:50,439
Speaker 2: as the father, and I was like, deal, that's cool.

513
00:26:50,920 --> 00:26:52,800
Speaker 2: It was one line in the audition. I was like,

514
00:26:53,320 --> 00:26:58,080
Speaker 2: the building's over there, it's one line. But I went

515
00:26:58,119 --> 00:27:01,840
Speaker 2: in there was so much like Okay, Yeah, it's called

516
00:27:02,119 --> 00:27:04,760
Speaker 2: fire Starter by Stephen King and it was made for

517
00:27:04,840 --> 00:27:07,520
Speaker 2: Sci Fi Channel and I play Andy McGhee, which is

518
00:27:07,560 --> 00:27:10,720
Speaker 2: the father to the fire Starter, and so I have

519
00:27:10,840 --> 00:27:13,800
Speaker 2: like kinetic energy powers to make you do what I say,

520
00:27:14,040 --> 00:27:16,679
Speaker 2: and so it's kind of a yeah, you know, I

521
00:27:16,720 --> 00:27:20,000
Speaker 2: feel like a lot of these popular streaming shows kind

522
00:27:20,000 --> 00:27:24,920
Speaker 2: of steal some thunder from Stephen King's Kids with you know, fire.

523
00:27:25,200 --> 00:27:27,840
Speaker 2: But anyways, yeah, I'm in fire Starter. So that was

524
00:27:28,080 --> 00:27:31,000
Speaker 2: picked up in so I was in the pilot series.

525
00:27:31,600 --> 00:27:34,680
Speaker 2: I was picked up as the reoccurring father. We were excited.

526
00:27:34,760 --> 00:27:36,280
Speaker 2: We were like, okay, We're going to film the whole

527
00:27:36,280 --> 00:27:39,760
Speaker 2: pilot in Utah, and then we wound up going. Nine

528
00:27:39,800 --> 00:27:43,680
Speaker 2: to eleven happened after and that just shut everything down.

529
00:27:44,000 --> 00:27:46,159
Speaker 2: And since there was a lot of explosions because she

530
00:27:46,280 --> 00:27:50,479
Speaker 2: uses fire for her attitude, they were like, we can't,

531
00:27:50,880 --> 00:27:52,680
Speaker 2: we can't put this out. So they even put the

532
00:27:52,720 --> 00:27:55,119
Speaker 2: show back two years before it was released because they

533
00:27:55,119 --> 00:27:58,240
Speaker 2: wanted to let society settle down, because you got to remember,

534
00:27:58,280 --> 00:28:01,000
Speaker 2: after nine to eleven, the number one movie was Zoolander

535
00:28:01,040 --> 00:28:05,760
Speaker 2: in October. So September eleventh happened and everybody was like,

536
00:28:05,760 --> 00:28:08,760
Speaker 2: what just happened to America and the world. And then

537
00:28:09,080 --> 00:28:12,600
Speaker 2: Zoolander was coming into theaters in October, which is kind

538
00:28:12,640 --> 00:28:15,840
Speaker 2: of what everyone needed, and it was like a huge

539
00:28:15,920 --> 00:28:19,800
Speaker 2: hit because everybody laughed and for a moment, we just wanted,

540
00:28:19,880 --> 00:28:25,920
Speaker 2: you know, frozen Frappe Makachinos with a gasoline fight. Right,

541
00:28:25,960 --> 00:28:28,919
Speaker 2: I don't know what to say about that, you know, Zoolander, Right,

542
00:28:28,960 --> 00:28:32,120
Speaker 2: that's kind of how society adapts, you know, the again

543
00:28:32,240 --> 00:28:36,160
Speaker 2: control of the theaters, they said, pause everything, only put

544
00:28:36,200 --> 00:28:39,320
Speaker 2: out something happy, a cartoon of Bambi.

545
00:28:41,400 --> 00:28:44,200
Speaker 3: Yeah, no, no, no, that's that's yeah, And that's sad

546
00:28:44,240 --> 00:28:46,680
Speaker 3: that that happened at that time. It was it was

547
00:28:46,840 --> 00:28:51,440
Speaker 3: a difficult full time. I'm sorry because you mentioned nine

548
00:28:51,440 --> 00:28:54,880
Speaker 3: to eleven and I really I just sort of reeled

549
00:28:54,920 --> 00:28:57,120
Speaker 3: back to that time. I was like, where was I

550
00:28:57,160 --> 00:28:59,840
Speaker 3: was like, like, I just sort of went back there.

551
00:29:00,400 --> 00:29:02,520
Speaker 3: But yeah, nine to eleven was. It was a horrible,

552
00:29:02,520 --> 00:29:03,600
Speaker 3: horrible time.

553
00:29:04,120 --> 00:29:06,240
Speaker 2: Well, and I never really like to date my episode

554
00:29:06,280 --> 00:29:08,880
Speaker 2: so that it can seem timeless. But we're right around

555
00:29:09,240 --> 00:29:11,360
Speaker 2: revisiting nine to eleven because it's August with me and

556
00:29:11,400 --> 00:29:14,360
Speaker 2: you you know, this yearbook's coming out and this will

557
00:29:14,360 --> 00:29:16,960
Speaker 2: be out in appropriately time, but you know, nine to

558
00:29:17,000 --> 00:29:19,360
Speaker 2: eleven will have either hit us at the same time

559
00:29:19,400 --> 00:29:21,760
Speaker 2: this comes out or right after. And you know, we're

560
00:29:22,320 --> 00:29:27,320
Speaker 2: twenty two years now from that situation. Yeah, and we

561
00:29:27,400 --> 00:29:30,680
Speaker 2: had a long Afghanistan Iraq war with a lot of

562
00:29:30,720 --> 00:29:33,560
Speaker 2: our friends and family. We all know somebody who has

563
00:29:33,600 --> 00:29:37,200
Speaker 2: been involved in the conflict in one way or another.

564
00:29:37,760 --> 00:29:40,720
Speaker 2: Chasing down you know, terrorism, and it's no different than

565
00:29:40,880 --> 00:29:45,560
Speaker 2: than Andron how your guy, you know, Paxton, Right, he's

566
00:29:45,600 --> 00:29:48,720
Speaker 2: the guy it's up. It's his twelve feet, twelve sized feet.

567
00:29:49,400 --> 00:29:52,280
Speaker 2: You know, his shoes. You got to fill that, you

568
00:29:52,320 --> 00:29:54,760
Speaker 2: know the weight of that, and he has to go

569
00:29:54,800 --> 00:29:57,800
Speaker 2: and try to I don't know, let's just say save

570
00:29:57,960 --> 00:30:02,320
Speaker 2: humanity possibly, you know, like there be this greater existential

571
00:30:02,400 --> 00:30:05,760
Speaker 2: threat out there that maybe it is up to you

572
00:30:05,840 --> 00:30:08,320
Speaker 2: listening that has never joined the military, maybe you will

573
00:30:08,360 --> 00:30:10,719
Speaker 2: go join. Maybe you are that guy that will change

574
00:30:11,000 --> 00:30:14,040
Speaker 2: or that gal that will change the situation. Yeah, you

575
00:30:14,080 --> 00:30:16,160
Speaker 2: just never know if you're the one, and if if

576
00:30:16,200 --> 00:30:18,080
Speaker 2: you're on the fence about thinking about joining, you know,

577
00:30:18,120 --> 00:30:21,080
Speaker 2: and I don't really get paid to advertise, you know, recruitment,

578
00:30:21,120 --> 00:30:23,000
Speaker 2: but I tell people, if you're on the fence, you're

579
00:30:23,160 --> 00:30:25,240
Speaker 2: like a six or seven of joining the military, what

580
00:30:25,360 --> 00:30:28,160
Speaker 2: makes it not a ten? You know, if you're like, oh, six, seven, eight,

581
00:30:28,480 --> 00:30:30,680
Speaker 2: I might well just go and try it. See if

582
00:30:30,880 --> 00:30:33,760
Speaker 2: the next step that you walk in takes you to

583
00:30:33,800 --> 00:30:35,680
Speaker 2: the right place. Right, that's it, you're yourself.

584
00:30:35,880 --> 00:30:36,760
Speaker 3: There's somebody advantage.

585
00:30:36,800 --> 00:30:37,960
Speaker 2: Lets people know go try.

586
00:30:37,800 --> 00:30:42,000
Speaker 3: It advantages too. When when I got out of high school,

587
00:30:42,160 --> 00:30:43,720
Speaker 3: I could be because I didn't know what I was

588
00:30:43,760 --> 00:30:45,720
Speaker 3: going to do that I ended up traveling. I ended

589
00:30:45,800 --> 00:30:49,320
Speaker 3: up going overseas. But one of my thought about being

590
00:30:49,320 --> 00:30:51,960
Speaker 3: a police officer, and I thought about joining the military.

591
00:30:52,160 --> 00:30:54,160
Speaker 3: Those are sort of two of the options that were

592
00:30:54,160 --> 00:30:55,680
Speaker 3: sort of laid out in part of me when I

593
00:30:55,720 --> 00:31:00,000
Speaker 3: graduated high school. So yeah, I think, to damn good

594
00:31:00,080 --> 00:31:03,160
Speaker 3: option and one that a lot of a lot of

595
00:31:03,160 --> 00:31:04,240
Speaker 3: people we need.

596
00:31:04,640 --> 00:31:07,320
Speaker 2: Yes, yeah, we need you. We need you to keep

597
00:31:07,400 --> 00:31:10,120
Speaker 2: us to be free because we've some of us have

598
00:31:10,200 --> 00:31:13,200
Speaker 2: done that, some of us have thought about doing that.

599
00:31:13,360 --> 00:31:14,680
Speaker 2: At the end of the day. We need people that

600
00:31:14,760 --> 00:31:17,360
Speaker 2: can just you know, stand up to that call. And

601
00:31:18,120 --> 00:31:22,320
Speaker 2: you know, dang, I'm forty five. I'll still help. You know,

602
00:31:22,520 --> 00:31:25,120
Speaker 2: if if it comes to my house, I don't want

603
00:31:25,120 --> 00:31:27,960
Speaker 2: it to come to our shores. Yes, you know, That's

604
00:31:27,960 --> 00:31:30,560
Speaker 2: why I'm a big proponent for keeping it at bay

605
00:31:30,600 --> 00:31:33,320
Speaker 2: where it's at, and you know, putting effort into the

606
00:31:33,360 --> 00:31:37,520
Speaker 2: situation where the war is at and and you know,

607
00:31:37,560 --> 00:31:40,160
Speaker 2: it's already there, so let's fight it there. And yeah,

608
00:31:40,960 --> 00:31:42,480
Speaker 2: I talked to this guy they day. He was kind

609
00:31:42,480 --> 00:31:45,800
Speaker 2: of yeah, and I know that our podcast isn't it's

610
00:31:45,840 --> 00:31:47,800
Speaker 2: not it's totally about your book, Andro, and I'm gonna

611
00:31:47,800 --> 00:31:49,960
Speaker 2: say it, but you know, with Ukraine going on, we

612
00:31:50,000 --> 00:31:52,400
Speaker 2: can't help but be humans, right, yes. And so I

613
00:31:52,400 --> 00:31:54,160
Speaker 2: was talking to this guy the other day and I

614
00:31:54,440 --> 00:31:56,680
Speaker 2: was just getting my oil change done and and he

615
00:31:56,800 --> 00:31:58,200
Speaker 2: was like, oh, yeah, you know, And I said, if

616
00:31:58,240 --> 00:32:01,000
Speaker 2: we don't help supply the people in Crane, are you

617
00:32:01,080 --> 00:32:03,960
Speaker 2: ready for a supersonic missile to blow up our store

618
00:32:03,960 --> 00:32:06,280
Speaker 2: next door right now while we're sitting here having an

619
00:32:06,280 --> 00:32:08,280
Speaker 2: oil change? Bro? And he looked at me. I said,

620
00:32:08,320 --> 00:32:11,280
Speaker 2: are you ready? Are you really ready with your mentality

621
00:32:11,440 --> 00:32:13,120
Speaker 2: like what you're telling me? Are you ready for a

622
00:32:13,160 --> 00:32:16,640
Speaker 2: supersonic missile, a supersonic missile man to fly in in

623
00:32:16,680 --> 00:32:19,640
Speaker 2: our airspace and blow up that store right there right

624
00:32:20,120 --> 00:32:21,360
Speaker 2: And he looked at me. I said, are you raise

625
00:32:21,360 --> 00:32:23,240
Speaker 2: your daughter? Are you ready to go see your daughter

626
00:32:23,280 --> 00:32:26,480
Speaker 2: if that happens, because that's what's happening over there.

627
00:32:27,080 --> 00:32:32,680
Speaker 3: And the thing about hypersonic missiles is Russia and China

628
00:32:32,840 --> 00:32:35,800
Speaker 3: sort of have an edge in that area over US.

629
00:32:36,520 --> 00:32:39,520
Speaker 3: Like hypersonic missiles isn't something that the US and we

630
00:32:39,560 --> 00:32:41,800
Speaker 3: are now catching up to them a little bit, but

631
00:32:41,880 --> 00:32:45,200
Speaker 3: that's that's a technology that they had the first step

632
00:32:45,840 --> 00:32:48,120
Speaker 3: on and we were sort of playing a little bit

633
00:32:48,120 --> 00:32:49,640
Speaker 3: of catch up in that area.

634
00:32:50,360 --> 00:32:52,480
Speaker 2: And look what they've done to like all of like

635
00:32:52,560 --> 00:32:55,200
Speaker 2: adults and all these regions in the Ukraine that I

636
00:32:55,280 --> 00:32:58,120
Speaker 2: never even no fence, I didn't even know about, and

637
00:32:58,160 --> 00:33:00,680
Speaker 2: now I know about these names and these these areas,

638
00:33:00,720 --> 00:33:04,280
Speaker 2: and you know Crimea and the bridge in Crimea so much,

639
00:33:04,320 --> 00:33:05,080
Speaker 2: we know so much.

640
00:33:05,120 --> 00:33:09,720
Speaker 3: And Ukraine is holding the floods. They're fighting for Europe

641
00:33:09,720 --> 00:33:15,960
Speaker 3: because I feel very strongly that after Russia took Ukraine,

642
00:33:16,240 --> 00:33:18,360
Speaker 3: they were going to take to name of the country

643
00:33:18,560 --> 00:33:23,000
Speaker 3: right west, just directly west of Ukraine is a very

644
00:33:23,000 --> 00:33:26,400
Speaker 3: small country, a small nation state that the name slips

645
00:33:26,440 --> 00:33:30,040
Speaker 3: my mind at this point, but I think Putin wants

646
00:33:30,080 --> 00:33:34,000
Speaker 3: to sort of reclaim at least part of that Soviet

647
00:33:34,080 --> 00:33:38,760
Speaker 3: era right exactly exactly exactly.

648
00:33:39,240 --> 00:33:44,240
Speaker 2: I just was thinking West, yeah, and I.

649
00:33:44,840 --> 00:33:47,760
Speaker 3: You know, just in listening to his speeches, he wants

650
00:33:47,800 --> 00:33:52,160
Speaker 3: to reclaim some of that old Soviet glory. And take

651
00:33:52,280 --> 00:33:56,640
Speaker 3: back part of a good chunk of eastern Europe. There

652
00:33:56,680 --> 00:33:59,360
Speaker 3: is no way that's good for the United States. That's no,

653
00:33:59,480 --> 00:34:02,240
Speaker 3: there's no way that's that's good for for us at all.

654
00:34:02,320 --> 00:34:05,560
Speaker 3: So it's it's an important fight to be one.

655
00:34:06,680 --> 00:34:08,600
Speaker 2: Yeah, agreed. Otherwise, if he wants to go back to

656
00:34:08,600 --> 00:34:12,000
Speaker 2: Peter the Great, they just give it back to Genghis Khan. Right,

657
00:34:12,000 --> 00:34:13,600
Speaker 2: you know, like how far back you want to go?

658
00:34:13,719 --> 00:34:15,920
Speaker 2: You know, it's like, what are you crying over? You

659
00:34:16,000 --> 00:34:19,680
Speaker 2: want the empire back? Well, I'm sure Mexico would like

660
00:34:19,800 --> 00:34:20,439
Speaker 2: Utah back.

661
00:34:20,680 --> 00:34:22,759
Speaker 3: Yeah, exactly, exactly right.

662
00:34:22,960 --> 00:34:28,600
Speaker 2: What's to stop Mexico from saying, hey, you know Utah California?

663
00:34:29,080 --> 00:34:32,000
Speaker 3: Right? You know, well I think yeah, I think that.

664
00:34:32,160 --> 00:34:33,280
Speaker 2: So I understand that.

665
00:34:33,560 --> 00:34:37,640
Speaker 3: If he takes back you know, more Viero he has.

666
00:34:37,840 --> 00:34:41,799
Speaker 3: If he takes Ukraine, for example, Ukraine, Moldova, a few

667
00:34:41,840 --> 00:34:47,200
Speaker 3: other states, he has more oil, more land, more more

668
00:34:47,239 --> 00:34:51,360
Speaker 3: of the sea black Sea. Russia becomes a more powerful country.

669
00:34:51,920 --> 00:34:55,320
Speaker 3: Russia becomes a wealthier country. There's a lot of smaller,

670
00:34:55,320 --> 00:34:59,160
Speaker 3: little details that people don't know. Just let him take it. No,

671
00:34:59,480 --> 00:35:02,040
Speaker 3: you can't allow that to happen. You need to score.

672
00:35:02,120 --> 00:35:06,160
Speaker 3: You cra need to. You can't allow that ideology to

673
00:35:06,160 --> 00:35:07,120
Speaker 3: become more powerful.

674
00:35:07,160 --> 00:35:11,680
Speaker 2: Communism and fascism exactly exactly. You got something to say

675
00:35:11,719 --> 00:35:14,399
Speaker 2: about what I'm saying, comment down below. I don't care.

676
00:35:14,760 --> 00:35:17,919
Speaker 2: Go ahead, you know, because if you like communism, kiss

677
00:35:17,920 --> 00:35:18,440
Speaker 2: my ass.

678
00:35:18,560 --> 00:35:20,360
Speaker 3: Yeah, exactly exactly.

679
00:35:21,239 --> 00:35:26,680
Speaker 2: That's it. And I know the internets forever. Yeah. I

680
00:35:26,680 --> 00:35:31,279
Speaker 2: was raised with Red Dawn, so let's not forget that. Okay.

681
00:35:31,600 --> 00:35:34,120
Speaker 2: I was a warsaw you know, child of a Green

682
00:35:34,160 --> 00:35:36,719
Speaker 2: Beret who sat in my dad's office looking at all

683
00:35:36,760 --> 00:35:39,719
Speaker 2: sorts of nineteen eighties, you know, propaganda that the Green

684
00:35:39,760 --> 00:35:42,680
Speaker 2: Berets were training on against Warsaw countries. That was their

685
00:35:42,719 --> 00:35:45,040
Speaker 2: whole theaters of like they were studying. I would study

686
00:35:45,080 --> 00:35:48,600
Speaker 2: all these RPGs and tanks and all these different things.

687
00:35:48,680 --> 00:35:51,319
Speaker 2: Ak's that might these these these flash cards that were

688
00:35:51,360 --> 00:35:54,080
Speaker 2: just in my dad's office. It's like, oh, ak, oh

689
00:35:54,239 --> 00:35:57,399
Speaker 2: RPG seven, Oh RPG seven eight, this you know, oh

690
00:35:57,440 --> 00:36:01,760
Speaker 2: T seventeen. Oh, That's that's how I feel. Man. So

691
00:36:01,800 --> 00:36:04,600
Speaker 2: I'm forty five, right that I'm not. I don't think

692
00:36:04,640 --> 00:36:07,280
Speaker 2: I'm very old really in the grand scheme of things.

693
00:36:07,360 --> 00:36:10,400
Speaker 2: So we're the same age, man, We're the same age.

694
00:36:11,320 --> 00:36:14,080
Speaker 3: We're the same age. And this is a war of ideology.

695
00:36:14,360 --> 00:36:18,719
Speaker 3: It's a war of ideology. It's war free thought capitalism

696
00:36:18,760 --> 00:36:21,640
Speaker 3: with all its flaws, but capitalism. And then on the

697
00:36:21,680 --> 00:36:25,320
Speaker 3: other side there's communism and there's control and there's no freedoms,

698
00:36:25,440 --> 00:36:28,080
Speaker 3: and if we want to, we'll just roll into another

699
00:36:28,120 --> 00:36:31,000
Speaker 3: country and take over. And that's that's not that's not right.

700
00:36:31,320 --> 00:36:33,960
Speaker 3: There's countries near to us that we could take over

701
00:36:34,080 --> 00:36:37,239
Speaker 3: if we wanted to, right, we don't. That that's not

702
00:36:37,360 --> 00:36:40,120
Speaker 3: and it's not. Again, I'm not saying the United States

703
00:36:40,200 --> 00:36:43,359
Speaker 3: is perfect. We there, We definitely aren't. We've done many

704
00:36:43,480 --> 00:36:47,880
Speaker 3: things that are wrong, but you know, we're we're not

705
00:36:48,080 --> 00:36:53,680
Speaker 3: rolling into weaker nation states on our borders and physically

706
00:36:53,719 --> 00:36:57,880
Speaker 3: taking over. And I think right, for all the flaws

707
00:36:57,880 --> 00:37:01,240
Speaker 3: of capitalism, for all the flaws of the United States

708
00:37:01,280 --> 00:37:05,960
Speaker 3: and our military, sometimes the fight for Ukraine is one

709
00:37:05,960 --> 00:37:07,560
Speaker 3: of the right things that we're doing.

710
00:37:07,640 --> 00:37:11,400
Speaker 2: Yeah, exactly. And I know that their February twenty second

711
00:37:11,640 --> 00:37:14,399
Speaker 2: or twenty fourth of twenty twenty two is kind of,

712
00:37:14,880 --> 00:37:18,360
Speaker 2: you know, overshadowed, but it's it's a nine to eleven

713
00:37:18,520 --> 00:37:22,280
Speaker 2: type moment where you know, the destruction that has happened

714
00:37:22,320 --> 00:37:24,480
Speaker 2: and occurred over there since the beginning of that attack

715
00:37:24,920 --> 00:37:28,680
Speaker 2: is just it's it's huge, right, they just went after him,

716
00:37:28,760 --> 00:37:32,120
Speaker 2: and you know we need some andrones.

717
00:37:32,400 --> 00:37:37,480
Speaker 3: Yeah, let's get some andros on the battlefield and and

718
00:37:37,560 --> 00:37:40,440
Speaker 3: give them to Ukraine and world be over in a

719
00:37:40,480 --> 00:37:41,480
Speaker 3: couple of weeks.

720
00:37:42,239 --> 00:37:45,200
Speaker 2: So, speaking of like Tom Cruise real quick, have you

721
00:37:45,320 --> 00:37:48,239
Speaker 2: seen his movie Edge of Tomorrow at all?

722
00:37:48,560 --> 00:37:51,839
Speaker 3: I love Edge of Tomorrow. Edge of Tomorrow is one

723
00:37:51,840 --> 00:37:54,280
Speaker 3: of my is it might it might be my favorite

724
00:37:54,320 --> 00:37:57,520
Speaker 3: Tom Cruise movie. I love that movie. I think it's brilliant. Again,

725
00:37:57,560 --> 00:37:59,799
Speaker 3: I'm a huge kind of science fiction. I'm a huge

726
00:38:00,040 --> 00:38:03,279
Speaker 3: of military stories. So there's again a great combination of

727
00:38:03,400 --> 00:38:05,319
Speaker 3: military sci fi. I love that film.

728
00:38:05,400 --> 00:38:07,400
Speaker 2: But sorry, go ahead, No, it's just talks about it.

729
00:38:07,760 --> 00:38:10,480
Speaker 2: It's along the same lines, you know, the and and

730
00:38:10,560 --> 00:38:13,120
Speaker 2: he doesn't realize what's up. He's like, wait, what I'm

731
00:38:13,600 --> 00:38:15,359
Speaker 2: wait now I'm in this machine and he's like, how

732
00:38:15,400 --> 00:38:16,239
Speaker 2: do I even shoot it?

733
00:38:16,440 --> 00:38:16,720
Speaker 3: Right?

734
00:38:17,040 --> 00:38:17,320
Speaker 2: Right?

735
00:38:17,480 --> 00:38:17,719
Speaker 3: Right?

736
00:38:17,800 --> 00:38:18,520
Speaker 2: Yes? Yeah?

737
00:38:18,600 --> 00:38:21,280
Speaker 3: No? And that's uh. You bring up such a great film.

738
00:38:21,280 --> 00:38:23,479
Speaker 3: And I think as you read andrew On a little more,

739
00:38:23,520 --> 00:38:27,440
Speaker 3: you'll see a few more similarities in the way the

740
00:38:27,480 --> 00:38:30,279
Speaker 3: stories are told. But yes, I love that film, love it.

741
00:38:31,040 --> 00:38:33,600
Speaker 2: Yeah, I do too. And I like that Mary Poppins

742
00:38:33,719 --> 00:38:34,080
Speaker 2: is in it.

743
00:38:34,400 --> 00:38:38,200
Speaker 3: Yes, yeah, she did.

744
00:38:38,320 --> 00:38:40,880
Speaker 2: Great.

745
00:38:41,280 --> 00:38:44,160
Speaker 3: What's most interesting about that? Emily Blunt?

746
00:38:44,239 --> 00:38:44,399
Speaker 2: Right?

747
00:38:44,680 --> 00:38:47,360
Speaker 3: That one takes place in Europe and it is about

748
00:38:47,760 --> 00:38:51,160
Speaker 3: it is in some ways the Battle for Verdune, and

749
00:38:51,640 --> 00:38:53,839
Speaker 3: you know, all the stuff from world sort of World

750
00:38:53,920 --> 00:38:57,520
Speaker 3: War two a little bit, a little bit of thematic

751
00:38:57,560 --> 00:39:01,280
Speaker 3: elements sort of played into the uh to that that story,

752
00:39:01,280 --> 00:39:01,880
Speaker 3: that narrative.

753
00:39:02,160 --> 00:39:05,960
Speaker 2: But great, you know. And the newest blockbuster out there

754
00:39:06,040 --> 00:39:11,840
Speaker 2: that everybody's been talking about with Barbie okay and Space

755
00:39:11,840 --> 00:39:16,480
Speaker 2: Odyssey two thousand and one. Have you seen those two comparisons,

756
00:39:17,239 --> 00:39:20,360
Speaker 2: Janley Kubrick and Greta Gerwick.

757
00:39:20,800 --> 00:39:24,160
Speaker 3: I haven't, no, no, I have you seen them?

758
00:39:24,840 --> 00:39:25,759
Speaker 2: Have you seen both of them?

759
00:39:26,200 --> 00:39:28,600
Speaker 3: I haven't seen Barbie, but I have seen two thousand

760
00:39:28,640 --> 00:39:28,879
Speaker 3: and one.

761
00:39:29,280 --> 00:39:31,680
Speaker 2: Okay, So when you go see Barbie, and I advise

762
00:39:31,960 --> 00:39:34,360
Speaker 2: everyone should go see Barbie. It's a good movie. It's funny, Okay,

763
00:39:34,400 --> 00:39:36,560
Speaker 2: I like it. I don't know what everybody's turning around

764
00:39:36,560 --> 00:39:40,080
Speaker 2: the world. It's it's Barbie. Okay. Second, it's supposed to

765
00:39:40,120 --> 00:39:43,200
Speaker 2: be Barbie with Malibu, Barbie and the Jeep and everything.

766
00:39:43,640 --> 00:39:47,480
Speaker 2: So yeah, i'd say you should watch it and then

767
00:39:47,560 --> 00:39:49,520
Speaker 2: come back and hit me up in a DM and

768
00:39:49,560 --> 00:39:52,319
Speaker 2: say rad because or or maybe you can google it.

769
00:39:52,360 --> 00:39:55,000
Speaker 2: They've put us side by side of two thousand and

770
00:39:55,040 --> 00:39:57,680
Speaker 2: one Space Odyssey and Barbie side by side. Seemed to

771
00:39:57,680 --> 00:40:00,400
Speaker 2: see to scene, to see the scene of certain elements

772
00:40:00,440 --> 00:40:02,799
Speaker 2: and how they all come to fruition, and how Greta

773
00:40:03,080 --> 00:40:04,720
Speaker 2: pays homage to Stanley Kubrick.

774
00:40:05,000 --> 00:40:07,200
Speaker 3: I think I think I know what you're talking about, though.

775
00:40:07,239 --> 00:40:10,160
Speaker 3: I think I've seen that scene from the movie in

776
00:40:10,239 --> 00:40:13,600
Speaker 3: some sort of preview or something. Yeah, I won't ruin it,

777
00:40:13,640 --> 00:40:17,000
Speaker 3: but yeah.

778
00:40:15,840 --> 00:40:17,680
Speaker 2: No, no I don't. I don't want to. But yeah,

779
00:40:17,719 --> 00:40:20,280
Speaker 2: So it's funny how you know it's okay. I feel

780
00:40:20,280 --> 00:40:22,400
Speaker 2: like for a movie to kind of parallel or like

781
00:40:22,960 --> 00:40:25,000
Speaker 2: kind of have some of the same thing from another movie,

782
00:40:25,040 --> 00:40:27,680
Speaker 2: it's like yeah, yeah, And then when you watch it

783
00:40:27,880 --> 00:40:30,520
Speaker 2: at my age, I'm like, why does this scene seem

784
00:40:30,800 --> 00:40:32,040
Speaker 2: so emotional to me?

785
00:40:32,960 --> 00:40:35,919
Speaker 3: You know what's interesting though, is that you say there's

786
00:40:35,960 --> 00:40:39,360
Speaker 3: a lot of fooppla, and I just you know, I

787
00:40:39,360 --> 00:40:41,720
Speaker 3: don't go to the theaters as often as I should.

788
00:40:41,760 --> 00:40:44,120
Speaker 3: I haven't seen Barbie. I haven't seen Afenheimer. I haven't

789
00:40:44,120 --> 00:40:47,360
Speaker 3: seen the only movie. The last movie I saw was

790
00:40:47,400 --> 00:40:51,840
Speaker 3: Mission Impossible and Dead Reckoning. But it is interesting that

791
00:40:51,920 --> 00:40:54,279
Speaker 3: you say there is this hoopla. I do hear a

792
00:40:54,320 --> 00:40:58,160
Speaker 3: lot of old Barbie is anti man and stuff like that.

793
00:40:58,520 --> 00:41:00,560
Speaker 3: You you did see any of that when you watched it.

794
00:41:01,560 --> 00:41:02,799
Speaker 3: That's good, that's good.

795
00:41:03,280 --> 00:41:06,000
Speaker 2: You know what I saw. A man being man is

796
00:41:06,040 --> 00:41:09,400
Speaker 2: what I saw, okay. And if man has a problem

797
00:41:09,719 --> 00:41:12,960
Speaker 2: with the way man is, the man should fix himself.

798
00:41:13,160 --> 00:41:14,120
Speaker 3: Good.

799
00:41:14,160 --> 00:41:17,920
Speaker 2: Okay. So if you read like I said, in a movie,

800
00:41:18,080 --> 00:41:20,759
Speaker 2: you'll have that veteran who's just gonna stare at every

801
00:41:20,800 --> 00:41:22,880
Speaker 2: single ribbon on that dude's chest and make sure that

802
00:41:22,920 --> 00:41:27,239
Speaker 2: it was more proper than the scene. Yeah, it's like

803
00:41:27,280 --> 00:41:29,960
Speaker 2: you know, you know, uh so it's like you should

804
00:41:30,000 --> 00:41:32,000
Speaker 2: watch the scene and and and get I get it

805
00:41:32,040 --> 00:41:33,719
Speaker 2: that one guy's gonna stare at that and say, oh,

806
00:41:33,760 --> 00:41:37,240
Speaker 2: the ribbon should be over here. Okay, But the whole

807
00:41:37,280 --> 00:41:39,359
Speaker 2: scene is what we're trying to show you here, which

808
00:41:39,400 --> 00:41:42,360
Speaker 2: is you know, whatever that is. I find Barbie to be.

809
00:41:42,960 --> 00:41:44,319
Speaker 2: I think there's a lot of people trying to like

810
00:41:44,640 --> 00:41:47,799
Speaker 2: polarize it, but I don't know what there is to

811
00:41:47,840 --> 00:41:49,920
Speaker 2: polarize because it's Barbie.

812
00:41:49,760 --> 00:41:53,319
Speaker 3: And it's a fun film, right right, And.

813
00:41:53,239 --> 00:41:55,200
Speaker 2: You're like, oh, and you see the background, You're like, oh,

814
00:41:55,239 --> 00:41:58,399
Speaker 2: that's that's that's the beach. No One. Yeah, Barbie goes

815
00:41:58,400 --> 00:42:00,680
Speaker 2: to the beach ends at the each We all know

816
00:42:00,760 --> 00:42:06,480
Speaker 2: Barbie Malibu, Barbie Skipper, Barbie ken Ken hangs out with Barbie.

817
00:42:06,600 --> 00:42:09,160
Speaker 2: I mean, have you not grown up? Are we not

818
00:42:09,239 --> 00:42:10,040
Speaker 2: forty five? You know?

819
00:42:10,400 --> 00:42:12,600
Speaker 3: Yeah? I think that a lot of people try to

820
00:42:12,760 --> 00:42:15,440
Speaker 3: loie things that aren't supposed to be ple in size

821
00:42:15,480 --> 00:42:19,880
Speaker 3: and try to create divides in the country where sometimes

822
00:42:19,880 --> 00:42:21,759
Speaker 3: there doesn't need to be, you know.

823
00:42:22,480 --> 00:42:26,200
Speaker 2: So that's well, we're gollible. That's where we are. We're gollible.

824
00:42:26,400 --> 00:42:29,479
Speaker 2: We're like, oh, that guy wrote the song about us,

825
00:42:29,520 --> 00:42:31,360
Speaker 2: and he's like, no, I wrote the song about me,

826
00:42:31,640 --> 00:42:35,640
Speaker 2: and or you know, we're gollible. You know, that's what

827
00:42:35,800 --> 00:42:39,920
Speaker 2: we are. It's like, hey, here you go. Yeah, I

828
00:42:39,920 --> 00:42:43,040
Speaker 2: think this way. That's why I love my show so much,

829
00:42:43,080 --> 00:42:45,960
Speaker 2: because I get the freedom to talk with you and

830
00:42:46,040 --> 00:42:49,479
Speaker 2: have conversations like this. You're a wonderful writer. I've loved

831
00:42:49,480 --> 00:42:52,680
Speaker 2: reading your book. It's very quick chapters, and I've read

832
00:42:52,719 --> 00:42:54,319
Speaker 2: chapters that are long, and then all of a sudden,

833
00:42:54,320 --> 00:42:55,919
Speaker 2: it's like, how many more's left in this pitch? Okay?

834
00:42:55,920 --> 00:42:58,600
Speaker 2: I got fifteen more pages in this chapter? Now, man

835
00:42:58,680 --> 00:43:01,600
Speaker 2: one two three, I'm like, oh, I got another chapter. Okay,

836
00:43:01,719 --> 00:43:04,759
Speaker 2: let's keep going and then keep going and then keep going,

837
00:43:04,880 --> 00:43:07,719
Speaker 2: and then my imagination starts to take off, and I'm like,

838
00:43:07,719 --> 00:43:09,600
Speaker 2: how am I going to get in this movie? How

839
00:43:09,640 --> 00:43:11,640
Speaker 2: am I going to fit? I'm six ' five. I'm

840
00:43:11,640 --> 00:43:14,280
Speaker 2: like talking to the guy who can make me a suit?

841
00:43:14,480 --> 00:43:17,560
Speaker 2: Kind of like Samuel Jackson talked to George Lucas and said,

842
00:43:17,600 --> 00:43:21,560
Speaker 2: what about a purple light saver? He's like, purple, you

843
00:43:21,560 --> 00:43:24,520
Speaker 2: mean a beard? You need a beard? A beard? A beard.

844
00:43:24,960 --> 00:43:31,800
Speaker 3: I've heard about those conversations. Yeah, no, man, I really

845
00:43:31,880 --> 00:43:33,960
Speaker 3: I really want people to, uh to check out the

846
00:43:33,960 --> 00:43:36,800
Speaker 3: book and and you know what, read it and and

847
00:43:37,440 --> 00:43:42,239
Speaker 3: enjoy the story. And if they take something away from

848
00:43:42,239 --> 00:43:44,640
Speaker 3: it because of what happens to us the end, if

849
00:43:44,680 --> 00:43:46,919
Speaker 3: they take something out of it, then that's that's really good.

850
00:43:46,960 --> 00:43:50,960
Speaker 3: But again, I appreciate you. You you talk to me

851
00:43:51,520 --> 00:43:54,200
Speaker 3: about the book, it's uh, you know, giving me this

852
00:43:54,280 --> 00:43:56,799
Speaker 3: platform to sort of put the book out there.

853
00:43:56,880 --> 00:43:59,640
Speaker 2: I do appreciate that well, that's exactly what we are.

854
00:43:59,680 --> 00:44:01,359
Speaker 2: And as you notice at the beginning of the show,

855
00:44:01,400 --> 00:44:03,879
Speaker 2: I mentioned our soft rep dot com forward slash book

856
00:44:03,920 --> 00:44:06,759
Speaker 2: hyphen club. Let me just plug that, agib. But it's

857
00:44:06,800 --> 00:44:09,440
Speaker 2: a thing. It's a book club. And as much as

858
00:44:09,440 --> 00:44:12,640
Speaker 2: we're scrolling all the time and constantly, you know, digitally

859
00:44:13,480 --> 00:44:17,439
Speaker 2: staring at something and blue light reading a book, there's

860
00:44:17,480 --> 00:44:20,680
Speaker 2: nothing like. Honestly, I swear to god, there's nothing like

861
00:44:20,719 --> 00:44:24,200
Speaker 2: a page. Okay. I have looked at these kindles and

862
00:44:24,239 --> 00:44:26,719
Speaker 2: these other iPads. It's just not the same. I know.

863
00:44:26,760 --> 00:44:29,680
Speaker 2: They try to have reading style and make it look

864
00:44:29,719 --> 00:44:32,200
Speaker 2: like paper. They want it to look like this, but

865
00:44:32,520 --> 00:44:35,000
Speaker 2: there's nothing like, Oh, let me doggy ear my page,

866
00:44:35,280 --> 00:44:36,680
Speaker 2: or let me flip back real quick.

867
00:44:37,080 --> 00:44:38,640
Speaker 3: One thing I want to say about that is like

868
00:44:38,719 --> 00:44:41,799
Speaker 3: people are looking for good content, or good stories, or

869
00:44:41,800 --> 00:44:44,719
Speaker 3: good movies or good shows. A lot of times, if

870
00:44:44,760 --> 00:44:47,360
Speaker 3: you want to find it, it's in a book. There's

871
00:44:47,600 --> 00:44:51,040
Speaker 3: so many stories that are told on the page that

872
00:44:51,080 --> 00:44:54,320
Speaker 3: you're looking. I would love to find a great science

873
00:44:54,320 --> 00:44:58,359
Speaker 3: fiction television show. There aren't many out there. The ones

874
00:44:58,400 --> 00:45:00,920
Speaker 3: that are out there, most of them are kind of cheese.

875
00:45:01,239 --> 00:45:03,400
Speaker 3: The great science fiction stories you're looking for or in

876
00:45:03,440 --> 00:45:05,919
Speaker 3: a book. If you're looking for a great military show

877
00:45:05,960 --> 00:45:09,600
Speaker 3: that is in there on television or in the arm film,

878
00:45:10,080 --> 00:45:13,200
Speaker 3: it's probably on the books in a book. So but

879
00:45:13,400 --> 00:45:16,560
Speaker 3: there's far more variety of far more niches within the

880
00:45:16,560 --> 00:45:20,680
Speaker 3: book community than there are on film and television. So definitely,

881
00:45:20,719 --> 00:45:23,960
Speaker 3: like you said, forward slash Book and I forgot the

882
00:45:24,120 --> 00:45:25,879
Speaker 3: uh page with plug it again.

883
00:45:26,800 --> 00:45:29,560
Speaker 2: Oh yeah, softwarep dot com Ford slash Book, High Food

884
00:45:29,600 --> 00:45:32,440
Speaker 2: Club and yeah, you never know, we might even have

885
00:45:32,600 --> 00:45:35,120
Speaker 2: Dwayne's book in our book club. You know. I love

886
00:45:35,200 --> 00:45:37,080
Speaker 2: to just put it out there. If there's an option

887
00:45:37,160 --> 00:45:39,160
Speaker 2: for us to have your book in rotation, the more

888
00:45:39,239 --> 00:45:41,600
Speaker 2: the merrier, you know, it's a book club. It's like, hey,

889
00:45:41,600 --> 00:45:44,280
Speaker 2: here's your book. I want to touch base on another

890
00:45:44,360 --> 00:45:48,319
Speaker 2: movie that has Rambo. Right, did you ever see any

891
00:45:48,360 --> 00:45:49,200
Speaker 2: of the Rambos?

892
00:45:49,520 --> 00:45:52,439
Speaker 3: I've seen the first one, but interestingly enough, it's been

893
00:45:52,520 --> 00:45:55,080
Speaker 3: so long it's so bigue in my mind now I

894
00:45:55,120 --> 00:45:57,880
Speaker 3: haven't I didn't rewatch it. I watched it back in

895
00:45:57,880 --> 00:46:00,880
Speaker 3: the early nineties and are in mid nineties.

896
00:46:00,480 --> 00:46:03,120
Speaker 2: And camera, well, they say that that first book, the

897
00:46:03,160 --> 00:46:06,720
Speaker 2: first movie is good to the book, like him walking

898
00:46:06,760 --> 00:46:09,439
Speaker 2: through the town like that kind of like plays off

899
00:46:09,440 --> 00:46:12,640
Speaker 2: on it. It's the second one that he wrote where

900
00:46:13,120 --> 00:46:17,839
Speaker 2: there's some of that the veteran c flaws right right,

901
00:46:17,840 --> 00:46:19,560
Speaker 2: But in the first one it's more like, yeah, he's

902
00:46:19,560 --> 00:46:21,319
Speaker 2: just like a vet. He's got his hands in his

903
00:46:21,320 --> 00:46:24,040
Speaker 2: field jacket. He's just walking through town with his knapsack,

904
00:46:24,520 --> 00:46:26,440
Speaker 2: and then he just gets chased all over you know

905
00:46:26,440 --> 00:46:29,280
Speaker 2: what I'm saying, Like, you can't. That's they put that together.

906
00:46:29,320 --> 00:46:30,680
Speaker 2: But then the second one is like, Okay, he's got

907
00:46:30,680 --> 00:46:32,279
Speaker 2: to go into a pow camp. Now he's got to

908
00:46:32,280 --> 00:46:34,000
Speaker 2: have helicopters blown out him and he's got to blow

909
00:46:34,080 --> 00:46:35,880
Speaker 2: up the helicopter. He's got to save the POW's but

910
00:46:36,000 --> 00:46:38,759
Speaker 2: not kill them, but shoot an RPG at while they're

911
00:46:38,800 --> 00:46:41,160
Speaker 2: behind him in the helicopter. It's like all these different

912
00:46:41,840 --> 00:46:44,520
Speaker 2: little things like this real quick.

913
00:46:44,320 --> 00:46:46,520
Speaker 3: And it's related. It may not sound related, but it

914
00:46:46,600 --> 00:46:50,319
Speaker 3: is related. Sometimes I watch I read articles or I

915
00:46:50,360 --> 00:46:54,440
Speaker 3: watch podcasts and our critics on Rotten Tomatoes and they

916
00:46:54,440 --> 00:46:56,879
Speaker 3: will talk about the writers and the writing and it's

917
00:46:56,880 --> 00:47:00,680
Speaker 3: not about me specifically, but it's about other writers films

918
00:47:00,960 --> 00:47:03,560
Speaker 3: and they're like, the writing was bad, And I know

919
00:47:04,200 --> 00:47:08,440
Speaker 3: for a fact that that scene was not the writer's

920
00:47:08,440 --> 00:47:13,080
Speaker 3: fault that that scene was a studio executive saying this

921
00:47:13,160 --> 00:47:17,120
Speaker 3: movie is too slow. We need an explosion, and so

922
00:47:17,160 --> 00:47:19,800
Speaker 3: we're gonna we're gonna put in the middle of the script,

923
00:47:19,840 --> 00:47:24,120
Speaker 3: We're gonna shove in a helicopter chase sequence with an explosion.

924
00:47:24,800 --> 00:47:28,560
Speaker 3: And sometimes you can't blame the writer. Sometimes you can't

925
00:47:28,600 --> 00:47:31,000
Speaker 3: blame the writer. But as the writer, I got to

926
00:47:31,040 --> 00:47:33,560
Speaker 3: stand up for my other writers and say some of that.

927
00:47:33,719 --> 00:47:36,560
Speaker 3: A lot of that stuff you see in movies, it's

928
00:47:36,600 --> 00:47:40,360
Speaker 3: not on us, man, it's it's an executive saying we

929
00:47:40,400 --> 00:47:42,319
Speaker 3: need an explosion or we need a car chase, and

930
00:47:42,360 --> 00:47:45,719
Speaker 3: we need something that isn't true to what the writer

931
00:47:45,840 --> 00:47:49,760
Speaker 3: wanted to put in the script. So that second film,

932
00:47:49,800 --> 00:47:52,480
Speaker 3: I don't know who who was responsible. Maybe he was

933
00:47:52,560 --> 00:47:55,800
Speaker 3: in the writing of it. Yeah, those things that weren't

934
00:47:55,800 --> 00:47:57,960
Speaker 3: accurate to the to the to what the writer, to

935
00:47:58,000 --> 00:48:01,200
Speaker 3: what the book had. Oh yeah, may have been a

936
00:48:01,239 --> 00:48:03,640
Speaker 3: little bit of aization of that.

937
00:48:03,960 --> 00:48:07,799
Speaker 2: And there has to because Hollywood. Yeah, yeah, you know,

938
00:48:08,239 --> 00:48:11,920
Speaker 2: it's supposed to take you out of your commuter daily

939
00:48:11,960 --> 00:48:16,719
Speaker 2: seatbelt life where you go office to office. Yeah, sitting

940
00:48:16,760 --> 00:48:20,160
Speaker 2: in traffic, and now you can eat some popcorn I

941
00:48:20,200 --> 00:48:22,080
Speaker 2: love that about Tom Cruise. He loves popcorn and I

942
00:48:22,080 --> 00:48:26,600
Speaker 2: love popcorn in a movie fan, and we get to

943
00:48:26,600 --> 00:48:28,720
Speaker 2: sit there and be taken away.

944
00:48:29,080 --> 00:48:32,960
Speaker 3: I really enjoyed the last Mission Impossible movie, Dead Reckoning.

945
00:48:33,040 --> 00:48:35,799
Speaker 3: It was I thought it was one of the best,

946
00:48:35,880 --> 00:48:39,080
Speaker 3: if not the best, of the Mission Impossible movies. And

947
00:48:39,120 --> 00:48:42,160
Speaker 3: it didn't do well. It didn't do that well. Unfortunately,

948
00:48:42,200 --> 00:48:48,000
Speaker 3: only made about one fifty or one sixty domestic off

949
00:48:48,080 --> 00:48:52,000
Speaker 3: of the budget of two hundred million plus, so it's unfortunate.

950
00:48:52,160 --> 00:48:55,880
Speaker 3: But that was a really good film. And sometimes yeah.

951
00:48:55,800 --> 00:48:59,160
Speaker 2: Yeah, in the days of DVDs have gone away, you know,

952
00:48:59,280 --> 00:49:01,359
Speaker 2: like having that resis vigual, like Okay, hey, we're gonna

953
00:49:01,360 --> 00:49:03,400
Speaker 2: have one launch and that's gonna be box Office the

954
00:49:03,760 --> 00:49:06,719
Speaker 2: theatrical one fifty, and then we're going to relaunch the

955
00:49:06,800 --> 00:49:08,960
Speaker 2: DVDs and that's going to probably bring in the other

956
00:49:09,000 --> 00:49:12,600
Speaker 2: fifty to one hundred. But now they're not doing that

957
00:49:12,320 --> 00:49:13,840
Speaker 2: that DVD life.

958
00:49:13,920 --> 00:49:17,480
Speaker 3: There's so much competition of it. I mean, these massive

959
00:49:17,560 --> 00:49:25,279
Speaker 3: studios are competing with thirteen year olds doing TikTok online,

960
00:49:25,320 --> 00:49:29,640
Speaker 3: so they have to compete for time with all these

961
00:49:29,680 --> 00:49:35,880
Speaker 3: different platforms from video games to YouTube and TikTok, and

962
00:49:36,520 --> 00:49:39,960
Speaker 3: you really it's a lot more challenging to make money

963
00:49:40,680 --> 00:49:45,360
Speaker 3: strictly on films nowadays, So the film industry has to evolve,

964
00:49:45,360 --> 00:49:47,399
Speaker 3: it has to adapt and has to climb a different way.

965
00:49:48,239 --> 00:49:50,319
Speaker 2: Well, I'm always going to chase my oscar. I'm always

966
00:49:50,360 --> 00:49:52,600
Speaker 2: gonna give my auditions the best I can give, And

967
00:49:53,400 --> 00:49:55,719
Speaker 2: when I'm on set, i's gonna be that plumber that

968
00:49:55,760 --> 00:49:57,839
Speaker 2: comes in and has all the tools and just leaves

969
00:49:57,880 --> 00:50:00,760
Speaker 2: your receipt and says I'm out.

970
00:50:00,760 --> 00:50:03,520
Speaker 3: Well, I'm actually now curious as to what you're doing next,

971
00:50:03,600 --> 00:50:06,479
Speaker 3: what you're working on, and I'd love to hear more

972
00:50:06,640 --> 00:50:09,120
Speaker 3: even after we get off on the stuff you're doing.

973
00:50:09,400 --> 00:50:11,719
Speaker 2: Sure, I'm on the film side always. I just am

974
00:50:11,840 --> 00:50:14,440
Speaker 2: staying focused. I just you want to know what I do.

975
00:50:14,640 --> 00:50:18,839
Speaker 2: I pursue what I love. That's what life's about, and

976
00:50:18,880 --> 00:50:19,879
Speaker 2: I make that what it's about.

977
00:50:20,000 --> 00:50:22,200
Speaker 3: Well, that you have one life. You know that you

978
00:50:22,280 --> 00:50:24,399
Speaker 3: have one life, You have a certain amount of years

979
00:50:24,400 --> 00:50:26,359
Speaker 3: and you've got to do it. If you don't do it,

980
00:50:27,239 --> 00:50:29,319
Speaker 3: that's that's sort of it. You know, unless you believe

981
00:50:29,320 --> 00:50:31,200
Speaker 3: you're incarnations and you do have another chance.

982
00:50:31,280 --> 00:50:34,560
Speaker 2: But maybe an animal, maybe I'll be an orca. I

983
00:50:34,600 --> 00:50:37,200
Speaker 2: wouldn't mind being an orca, do it. That'd be cool,

984
00:50:37,239 --> 00:50:37,719
Speaker 2: that'd be cool.

985
00:50:37,920 --> 00:50:42,160
Speaker 3: They are very intelligent. Now you get the intelligence, you

986
00:50:42,239 --> 00:50:45,680
Speaker 3: get the underwater life.

987
00:50:45,560 --> 00:50:48,560
Speaker 2: Yes, and I'm a mammal.

988
00:50:49,200 --> 00:50:51,640
Speaker 3: Mammal, You're still a mammal. You're still in that mammal faith.

989
00:50:52,120 --> 00:50:54,200
Speaker 2: That's right, warm blooded, that's right.

990
00:50:54,320 --> 00:50:58,359
Speaker 3: Yeah. But no, man, it's like, yeah, it's you got

991
00:50:58,360 --> 00:51:00,640
Speaker 3: to do what you love, and whether that's film, whether

992
00:51:00,680 --> 00:51:05,680
Speaker 3: it's you know, military and again my love with military films.

993
00:51:06,040 --> 00:51:09,319
Speaker 3: There was this period during the early two thousands, I

994
00:51:09,320 --> 00:51:12,400
Speaker 3: would say, mid to late two thousands where military films

995
00:51:12,440 --> 00:51:14,359
Speaker 3: were the thing and there were a lot of them,

996
00:51:14,400 --> 00:51:18,080
Speaker 3: and they aren't as many anymore, and I it's stopped, man,

997
00:51:18,120 --> 00:51:20,759
Speaker 3: it's stopped. I've written another, I've written another one, and

998
00:51:21,040 --> 00:51:22,840
Speaker 3: you know, trying to find someone to make it. And

999
00:51:22,880 --> 00:51:25,880
Speaker 3: it's it's really challenging. A lot of films want to

1000
00:51:25,880 --> 00:51:26,800
Speaker 3: be you.

1001
00:51:26,960 --> 00:51:28,840
Speaker 2: I watched like the last war movie I saw was

1002
00:51:28,880 --> 00:51:34,040
Speaker 2: like nineteen eighteen. That was a good one World War two,

1003
00:51:35,120 --> 00:51:35,480
Speaker 2: that was.

1004
00:51:35,680 --> 00:51:38,160
Speaker 3: One shot, like they were trying to do the entire

1005
00:51:38,200 --> 00:51:41,640
Speaker 3: thing in one shot. I really enjoyed that film.

1006
00:51:41,960 --> 00:51:45,920
Speaker 2: Yeah, Oh you know what else? Was good. Dead Presidents.

1007
00:51:46,120 --> 00:51:47,960
Speaker 2: You ever see Dead Presidents.

1008
00:51:47,520 --> 00:51:50,440
Speaker 3: The old film from like the nineties.

1009
00:51:50,920 --> 00:51:54,600
Speaker 2: Yeah, like yeah, like cleon you better get it head, Yeah,

1010
00:51:54,760 --> 00:51:55,600
Speaker 2: I do.

1011
00:51:55,840 --> 00:51:59,279
Speaker 3: That's another classic. That's another classic. Yes, well you went

1012
00:51:59,320 --> 00:52:00,120
Speaker 3: back to that one.

1013
00:52:00,880 --> 00:52:05,000
Speaker 2: I love the firefight scenes bro in that like that

1014
00:52:06,080 --> 00:52:08,080
Speaker 2: the whole the sound of the grease gun that the

1015
00:52:08,160 --> 00:52:11,120
Speaker 2: lieutenant had, the sound of all their firearms everything going

1016
00:52:11,120 --> 00:52:13,080
Speaker 2: off in there. That was really like you know that

1017
00:52:13,120 --> 00:52:14,960
Speaker 2: ambush scene and everything when they're fighting.

1018
00:52:15,880 --> 00:52:20,080
Speaker 3: No, that's that's another another great film. That film. Those

1019
00:52:20,120 --> 00:52:22,960
Speaker 3: type of films are very rarely made anymore, unfortunately in

1020
00:52:22,960 --> 00:52:27,120
Speaker 3: this era. But I believe that after this strike, things

1021
00:52:27,120 --> 00:52:29,560
Speaker 3: in LA things in Hollywood are going to change. I

1022
00:52:29,640 --> 00:52:31,160
Speaker 3: really do, I really really do.

1023
00:52:31,960 --> 00:52:34,960
Speaker 2: Well. I stand with all of you out there, all

1024
00:52:35,000 --> 00:52:38,040
Speaker 2: my fellow actors, writers, directors, everybody out there that's fighting

1025
00:52:38,040 --> 00:52:41,200
Speaker 2: the good fight against you know, n Goliath out there.

1026
00:52:41,520 --> 00:52:44,080
Speaker 2: You know it takes a village, all right, I'll just

1027
00:52:44,080 --> 00:52:46,839
Speaker 2: say that. So I just want to let me wind

1028
00:52:46,880 --> 00:52:49,640
Speaker 2: this down. I've stolen you for an hour of your time,

1029
00:52:49,800 --> 00:52:51,680
Speaker 2: and that's I love that. I don't want to ever

1030
00:52:51,719 --> 00:52:55,720
Speaker 2: abuse our life interacting with one another. So Dwayne World,

1031
00:52:56,040 --> 00:52:58,560
Speaker 2: he wrote Andron, it's going to be out in all

1032
00:52:58,600 --> 00:53:01,160
Speaker 2: of the bookstores. Go support your local mama pops who

1033
00:53:01,160 --> 00:53:03,879
Speaker 2: will be carrying this. Check the local airport and see

1034
00:53:03,880 --> 00:53:05,520
Speaker 2: if there's a sign one. Just buy it, bye, Yeah,

1035
00:53:05,719 --> 00:53:07,719
Speaker 2: just buy it. Hit him up on Instagram say hey

1036
00:53:07,760 --> 00:53:09,640
Speaker 2: about your book. Check it out. He might share you

1037
00:53:09,680 --> 00:53:10,320
Speaker 2: in a story.

1038
00:53:10,440 --> 00:53:13,719
Speaker 3: Oh I will. I definitely will look for in Throw

1039
00:53:13,719 --> 00:53:18,319
Speaker 3: when it comes out September first Amazon, on Amazon or

1040
00:53:18,640 --> 00:53:22,080
Speaker 3: any online bookstore, you will find it. And yeah, give

1041
00:53:22,080 --> 00:53:25,440
Speaker 3: me a shout out and I will shot you out too. Instagram, Twitter.

1042
00:53:25,680 --> 00:53:28,960
Speaker 3: You can find me at Dwayne warrel on in Twitter

1043
00:53:29,000 --> 00:53:33,560
Speaker 3: and Instagram or at my website Dwayne warrel dot com.

1044
00:53:33,560 --> 00:53:35,799
Speaker 2: Perfect well, Dwayne, that was a great way to close

1045
00:53:35,840 --> 00:53:39,239
Speaker 2: out this segment. And I your host rad have had

1046
00:53:39,239 --> 00:53:41,880
Speaker 2: a pleasure of interviewing you, talking to you, getting to

1047
00:53:41,880 --> 00:53:43,920
Speaker 2: know you. And I want to say thanks to my

1048
00:53:44,000 --> 00:53:46,759
Speaker 2: listener out there, thanks for always tuning in giving me

1049
00:53:46,800 --> 00:53:49,280
Speaker 2: a chance to talk with some guests that have great

1050
00:53:49,800 --> 00:53:52,680
Speaker 2: stories and things to tell us. And again, go check

1051
00:53:52,680 --> 00:53:54,920
Speaker 2: out that Mert shop on softwarep dot com. And I

1052
00:53:54,960 --> 00:53:56,799
Speaker 2: got to say a big shout out to Brandon Webb,

1053
00:53:57,080 --> 00:54:01,000
Speaker 2: also an author. He has the whole Blind, Fear, Hold, Fear, Steal,

1054
00:54:01,040 --> 00:54:03,279
Speaker 2: Fear series out now, so please go check out those

1055
00:54:03,280 --> 00:54:05,600
Speaker 2: books as well. And I'm the voice of Finn, so

1056
00:54:05,600 --> 00:54:07,520
Speaker 2: if you want to hear more of me, audio bullet.

1057
00:54:07,840 --> 00:54:10,600
Speaker 2: So with that said, on behalf of my guest Dwayne,

1058
00:54:11,120 --> 00:54:18,600
Speaker 2: I'm gonna say it please, you've

1059
00:54:18,640 --> 00:54:20,800
Speaker 1: Been listening to self red Radio