1 00:00:00,360 --> 00:00:04,280 Speaker 1: Huntsville, Alabama in nineteen forty six, a city that was 2 00:00:04,320 --> 00:00:09,119 Speaker 1: as American as Apple Strudel. From l A Times Studios 3 00:00:09,200 --> 00:00:13,560 Speaker 1: comes paper Clip, a podcast sponsored by Amazon Studios and 4 00:00:13,640 --> 00:00:18,160 Speaker 1: inspired by its Emmy eligible dramatic series Hunters, starring Al 5 00:00:18,200 --> 00:00:22,440 Speaker 1: Pacino and Logan Leharman. Join host Michael ian Black as 6 00:00:22,480 --> 00:00:25,120 Speaker 1: he teams up with a Cold War scholar to explore 7 00:00:25,200 --> 00:00:29,240 Speaker 1: Operation paper Clip, a real life top secret program that 8 00:00:29,320 --> 00:00:33,040 Speaker 1: brought Nazi scientists to the American heartland to work on 9 00:00:33,120 --> 00:00:37,880 Speaker 1: government aerospace and medical research projects. Available now on Apple 10 00:00:37,960 --> 00:00:49,959 Speaker 1: Podcasts and all other platforms. Welcome to Strictly Business Varieties, 11 00:00:50,000 --> 00:00:53,680 Speaker 1: weekly podcast featuring conversations with industry leaders about the business 12 00:00:53,720 --> 00:00:57,760 Speaker 1: of media and entertainment. I'm Cynthia Littleton, business editor for 13 00:00:57,880 --> 00:01:01,760 Speaker 1: Variety Today. My guest is Blair Yard, a veteran producer 14 00:01:01,800 --> 00:01:04,360 Speaker 1: known for her work on such auto driven series as 15 00:01:04,440 --> 00:01:09,080 Speaker 1: Louis Baskets, One Mississippi and Better Things. Briard takes us 16 00:01:09,080 --> 00:01:11,679 Speaker 1: through the work done by the New York Producers COVID 17 00:01:11,760 --> 00:01:15,680 Speaker 1: Response Alliance to develop safety protocols for the happy day 18 00:01:15,760 --> 00:01:18,360 Speaker 1: when the industry gets the green light to resume production 19 00:01:18,400 --> 00:01:22,360 Speaker 1: in New York City. We're problem solvers, she says, matter 20 00:01:22,440 --> 00:01:25,920 Speaker 1: of factly, sounding like the season line producer that she is. 21 00:01:26,720 --> 00:01:31,360 Speaker 1: Blair Brillard film and television producer, thank you so much 22 00:01:31,400 --> 00:01:35,880 Speaker 1: for joining us today. Thanks for inviting me to your 23 00:01:36,240 --> 00:01:41,880 Speaker 1: to your podcast. Pleasure to be here, No problem. Um. 24 00:01:41,920 --> 00:01:44,160 Speaker 1: You know we're we're both in New York right now, 25 00:01:44,240 --> 00:01:47,240 Speaker 1: and and New York is the you know, epicenter of 26 00:01:47,280 --> 00:01:50,560 Speaker 1: all things at all the time in this in this 27 00:01:50,600 --> 00:01:53,800 Speaker 1: season here we have been the epicenter of COVID nineteen 28 00:01:54,040 --> 00:01:56,640 Speaker 1: um hopefully hopefully seeing a little light at the end 29 00:01:56,680 --> 00:01:59,600 Speaker 1: of that tunnel. And Blair, you have been very involved 30 00:01:59,760 --> 00:02:02,280 Speaker 1: with an organization that has come together called the New 31 00:02:02,360 --> 00:02:07,520 Speaker 1: York Producers COVID Response Alliance. You have been youans and 32 00:02:08,080 --> 00:02:10,959 Speaker 1: a lot of your confederates in the in the producing 33 00:02:11,000 --> 00:02:14,560 Speaker 1: trenches have come together and put pen to paper to 34 00:02:14,680 --> 00:02:18,079 Speaker 1: come up with some guidelines in an effort to kind 35 00:02:18,080 --> 00:02:21,680 Speaker 1: of make the New York production community shovel ready for 36 00:02:21,760 --> 00:02:24,639 Speaker 1: when the day, when the happy day comes that people 37 00:02:24,680 --> 00:02:28,160 Speaker 1: can get back to work. Tell us, um, tell us 38 00:02:28,200 --> 00:02:30,959 Speaker 1: about sort of the impetus for the for the COVID 39 00:02:31,040 --> 00:02:37,360 Speaker 1: Response Alliance, Like, how did it come together? Well, I 40 00:02:37,400 --> 00:02:40,480 Speaker 1: guess about six or seven weeks ago. I'm sort of 41 00:02:40,520 --> 00:02:44,920 Speaker 1: losing track of time. A few of us producers in 42 00:02:44,960 --> 00:02:48,040 Speaker 1: New York decided that we really needed to get together 43 00:02:48,080 --> 00:02:53,480 Speaker 1: and start putting together kind of best safety practices with 44 00:02:53,560 --> 00:02:56,760 Speaker 1: the New York focus. So we're a group of experienced 45 00:02:56,800 --> 00:03:00,480 Speaker 1: producers and production managers in the New York film community, 46 00:03:00,720 --> 00:03:04,280 Speaker 1: and we just felt like, let's start. Let's get in 47 00:03:04,360 --> 00:03:07,160 Speaker 1: front of this and start talking about it amongst ourselves 48 00:03:07,200 --> 00:03:10,959 Speaker 1: because one thing that we do well is problem solved. 49 00:03:11,400 --> 00:03:13,680 Speaker 1: I mean, shooting in New York is a very unique 50 00:03:13,680 --> 00:03:18,079 Speaker 1: and specific challenge. Um everyone in the group has kind 51 00:03:18,120 --> 00:03:20,520 Speaker 1: of cut their teeth growing up in New York as 52 00:03:20,520 --> 00:03:25,240 Speaker 1: a producer production manager. So I think we're well positioned 53 00:03:25,680 --> 00:03:30,239 Speaker 1: to to address the very specific challenges of shooting in 54 00:03:30,240 --> 00:03:32,560 Speaker 1: New York. So if you put the COVID lens in 55 00:03:32,600 --> 00:03:35,640 Speaker 1: front of that, we just a handful of us started 56 00:03:35,680 --> 00:03:39,320 Speaker 1: talking and said, we've got to start being proactive and 57 00:03:39,360 --> 00:03:43,240 Speaker 1: thinking about how we get back to work, when we 58 00:03:43,360 --> 00:03:46,600 Speaker 1: get back to work, and how do we do that safely. 59 00:03:46,760 --> 00:03:51,360 Speaker 1: Because safety is a really really important thing in our business, 60 00:03:51,720 --> 00:03:55,160 Speaker 1: and and it and it takes many forms. Obviously, this 61 00:03:55,240 --> 00:03:57,800 Speaker 1: is a new thing that none of us have ever encountered. 62 00:03:58,560 --> 00:04:01,200 Speaker 1: But we started reading all the documents that were out there, 63 00:04:01,240 --> 00:04:04,560 Speaker 1: the recommendations that were out there, and just felt like 64 00:04:04,600 --> 00:04:09,320 Speaker 1: it was kind of on us to put together um 65 00:04:09,760 --> 00:04:14,760 Speaker 1: A safety practices and document that that illustrated safety practices 66 00:04:14,960 --> 00:04:18,919 Speaker 1: as we understand them at the moment um as a 67 00:04:18,960 --> 00:04:22,280 Speaker 1: guide to also say to the rest of the filming 68 00:04:22,320 --> 00:04:25,760 Speaker 1: community in in you know, in l A or wherever 69 00:04:26,400 --> 00:04:30,039 Speaker 1: we get it, we understand what the problems are, and 70 00:04:30,120 --> 00:04:32,040 Speaker 1: we are thinking about it. We want to be in 71 00:04:32,080 --> 00:04:36,080 Speaker 1: front of it. We want to have proactive solutions as 72 00:04:36,160 --> 00:04:40,600 Speaker 1: members of our very small, really and unique community here 73 00:04:40,600 --> 00:04:44,159 Speaker 1: in New York to um TO to send up the 74 00:04:44,160 --> 00:04:46,960 Speaker 1: message that we have a plan, we are thinking about this, 75 00:04:47,400 --> 00:04:50,920 Speaker 1: and we want to be partners in and figuring out 76 00:04:50,960 --> 00:04:53,280 Speaker 1: the best and safest way to go back to work. 77 00:04:53,680 --> 00:04:57,159 Speaker 1: So so that's us where the New York Producers COVID 78 00:04:57,200 --> 00:05:01,000 Speaker 1: Response Alliance were very agnostic. We're et in in the 79 00:05:01,040 --> 00:05:06,160 Speaker 1: middle of of all the organizations out there because everybody, 80 00:05:06,560 --> 00:05:12,120 Speaker 1: all unions and studios and and AMPTP and everybody are 81 00:05:12,520 --> 00:05:16,960 Speaker 1: are working on putting to Everybody is working on putting 82 00:05:16,960 --> 00:05:21,080 Speaker 1: together safety practices but as a New York group, we 83 00:05:21,120 --> 00:05:24,520 Speaker 1: really felt like we have a unique view into the 84 00:05:24,560 --> 00:05:29,000 Speaker 1: specific challenges of New York. So, um, we've put together 85 00:05:29,520 --> 00:05:34,000 Speaker 1: a document of safety practices, which we know will change 86 00:05:34,200 --> 00:05:38,440 Speaker 1: and grow as we continue to get more updated medical 87 00:05:38,480 --> 00:05:44,320 Speaker 1: information and recommendations from the CDC and government agencies. Um. 88 00:05:44,360 --> 00:05:48,240 Speaker 1: But we we just wanted to start the conversation and 89 00:05:48,279 --> 00:05:50,760 Speaker 1: be in the front of it. Yeah, and do something 90 00:05:50,760 --> 00:05:54,159 Speaker 1: proactive totally. Yeah. That and and for for producers that 91 00:05:54,160 --> 00:05:56,960 Speaker 1: are used to making things happen, that is no no surprise. 92 00:05:57,839 --> 00:06:01,240 Speaker 1: What did you find to be like the big challenges 93 00:06:01,360 --> 00:06:05,960 Speaker 1: given the given the conditions of filming, Well, you really 94 00:06:05,960 --> 00:06:09,279 Speaker 1: have to extrapolate sort of all the threads in the 95 00:06:09,360 --> 00:06:11,880 Speaker 1: strands of what goes into a production. You know, it's 96 00:06:11,880 --> 00:06:13,800 Speaker 1: a very it's like a wheel and there are many 97 00:06:13,800 --> 00:06:17,680 Speaker 1: many spokes. So we started at the beginning, what is 98 00:06:17,839 --> 00:06:21,760 Speaker 1: what's in the script because we're you know, the script 99 00:06:21,839 --> 00:06:26,200 Speaker 1: is the roadmap, it is the it's the architecture, right, 100 00:06:26,240 --> 00:06:29,520 Speaker 1: It's this, It's what you have to figure out how 101 00:06:29,560 --> 00:06:32,839 Speaker 1: to make. So we start started with creative thoughts about 102 00:06:33,560 --> 00:06:35,640 Speaker 1: what what's it like to tell a story? How do 103 00:06:35,680 --> 00:06:37,599 Speaker 1: you tell a story? What do you need to tell 104 00:06:37,640 --> 00:06:41,640 Speaker 1: a story? And we went through every single aspect of 105 00:06:41,680 --> 00:06:46,920 Speaker 1: production from the script through post production and delivery. How 106 00:06:46,960 --> 00:06:50,520 Speaker 1: do you prep? How do you socially? How can you 107 00:06:50,600 --> 00:06:53,839 Speaker 1: be socially distant? And you know, when you're on a 108 00:06:53,920 --> 00:06:58,040 Speaker 1: stage and they're excuse me, people around a camera pushing 109 00:06:58,040 --> 00:07:01,560 Speaker 1: a dolly and watching things on the monitor, and actors 110 00:07:01,640 --> 00:07:04,919 Speaker 1: who are standing next to each other who really can't 111 00:07:04,920 --> 00:07:08,280 Speaker 1: wear a mask when they're working. So I think the 112 00:07:09,400 --> 00:07:17,280 Speaker 1: trickiest thing is how to keep people safe when they're 113 00:07:17,400 --> 00:07:22,600 Speaker 1: actually standing on the set rolling cameras. We all feel 114 00:07:22,640 --> 00:07:26,080 Speaker 1: like there's a way to figure out how to um 115 00:07:26,160 --> 00:07:29,560 Speaker 1: keep people safe and prep. How who can work remotely, 116 00:07:29,640 --> 00:07:33,000 Speaker 1: how to stagger um times for people to show up 117 00:07:33,040 --> 00:07:37,520 Speaker 1: in the office, how to maybe change the schedule and 118 00:07:37,640 --> 00:07:40,320 Speaker 1: preps so not everybody is working at the same time 119 00:07:40,320 --> 00:07:43,760 Speaker 1: every day. M h. Those things are a little bit 120 00:07:43,760 --> 00:07:49,280 Speaker 1: easier to figure out. It's the actual filming itself, excuse me, 121 00:07:49,680 --> 00:07:53,720 Speaker 1: that is um that is a little trickier, but you 122 00:07:54,120 --> 00:07:59,600 Speaker 1: really can when you get down to it, construct like 123 00:07:59,680 --> 00:08:02,920 Speaker 1: what is the most basic number, What is the minimum 124 00:08:03,040 --> 00:08:07,200 Speaker 1: number that you need to actually roll a camera? Move 125 00:08:07,280 --> 00:08:11,040 Speaker 1: the camera with actors in front of it with them 126 00:08:11,080 --> 00:08:16,600 Speaker 1: being lit, and um, that's that's the hardest part. But 127 00:08:16,680 --> 00:08:21,880 Speaker 1: I feel like there are real conversations, constructive conversations going 128 00:08:21,960 --> 00:08:27,160 Speaker 1: on about how you do that in the place that 129 00:08:27,320 --> 00:08:31,440 Speaker 1: is the most difficult to be socially distanced, which is 130 00:08:31,680 --> 00:08:34,000 Speaker 1: right on the set. You can move a lot of 131 00:08:34,000 --> 00:08:36,120 Speaker 1: people off the set. We we do it. You can 132 00:08:36,160 --> 00:08:39,240 Speaker 1: say this is a closed set, we're having an intimate scene. 133 00:08:39,800 --> 00:08:43,240 Speaker 1: Only the most necessary personnel can be here for the scene. 134 00:08:43,440 --> 00:08:46,440 Speaker 1: So it's sort of using that model, the close set 135 00:08:46,559 --> 00:08:51,680 Speaker 1: model for all of filming. But within that, how do 136 00:08:51,720 --> 00:08:53,800 Speaker 1: you keep those people safe? So that's sort of the 137 00:08:53,840 --> 00:08:57,680 Speaker 1: heart of the conversation. Do you think that there are 138 00:08:57,720 --> 00:09:04,040 Speaker 1: some inevitable difficult conversations with iotsy with the d g 139 00:09:04,240 --> 00:09:07,720 Speaker 1: A coming in terms of you know, that question of 140 00:09:07,760 --> 00:09:12,360 Speaker 1: what's the minimum number of people those jobs? You know, 141 00:09:12,400 --> 00:09:15,440 Speaker 1: there's a potential here for for job classifications that have 142 00:09:15,559 --> 00:09:19,360 Speaker 1: traditionally been part of sets to to either be in 143 00:09:19,400 --> 00:09:22,520 Speaker 1: a diminished role or you know, not on the set 144 00:09:22,559 --> 00:09:26,199 Speaker 1: at all. As as as everybody knows, you know, the 145 00:09:26,679 --> 00:09:31,480 Speaker 1: crews are all governed by by very thick and specific contracts. 146 00:09:31,520 --> 00:09:33,840 Speaker 1: Is that do you anticipate. Do you have a sense like, 147 00:09:34,280 --> 00:09:38,080 Speaker 1: will there be you know, will will there be conflict 148 00:09:38,120 --> 00:09:40,959 Speaker 1: if there is an effort to to to make crews smaller, 149 00:09:41,040 --> 00:09:44,320 Speaker 1: or do you think that that there the unions will 150 00:09:44,960 --> 00:09:48,320 Speaker 1: be amenable to understanding the goal of getting you know, 151 00:09:48,360 --> 00:09:50,880 Speaker 1: getting people back to work as much as as much 152 00:09:50,920 --> 00:09:54,160 Speaker 1: as possible, and as quickly and as safely as possible. 153 00:09:55,600 --> 00:09:58,480 Speaker 1: I do believe very strongly that the unions and the 154 00:09:58,559 --> 00:10:03,160 Speaker 1: guilds all ultimate goal is to get people back to work. 155 00:10:03,280 --> 00:10:06,240 Speaker 1: I do believe that, you know, everyone will have a 156 00:10:06,280 --> 00:10:10,800 Speaker 1: slightly different approach, but I do believe that everyone is 157 00:10:10,800 --> 00:10:16,160 Speaker 1: amenable to figuring out how we have to change and 158 00:10:16,160 --> 00:10:20,920 Speaker 1: and be flexible in working in in in the post 159 00:10:20,960 --> 00:10:25,560 Speaker 1: COVID environment. It's probably hopefully not gonna last forever, but 160 00:10:25,640 --> 00:10:29,040 Speaker 1: it will be at least an interim period where we're 161 00:10:29,080 --> 00:10:31,040 Speaker 1: going to go back to work and we're going to 162 00:10:31,120 --> 00:10:34,920 Speaker 1: have to alter the way we work. So in terms 163 00:10:34,920 --> 00:10:41,280 Speaker 1: of there being a reduction in basic staffing and minimum requirements, 164 00:10:41,320 --> 00:10:46,720 Speaker 1: I actually don't think that will ultimately happen, because if 165 00:10:46,760 --> 00:10:49,600 Speaker 1: you have a certain number of people on set, you're 166 00:10:49,640 --> 00:10:53,920 Speaker 1: going to need a certain number of people supporting them. Offset, 167 00:10:54,280 --> 00:11:00,000 Speaker 1: whether it's cleaning equipment, prepping the equipment, dropping it inside, 168 00:11:00,280 --> 00:11:05,200 Speaker 1: taking stuff outside. We've had many, many conversations about this, 169 00:11:05,800 --> 00:11:09,319 Speaker 1: and I think what will happen is the footprint will 170 00:11:09,360 --> 00:11:13,080 Speaker 1: be reduced on set. I'm not sure the actual number 171 00:11:13,760 --> 00:11:18,520 Speaker 1: of people being required to get the job done will 172 00:11:18,520 --> 00:11:21,440 Speaker 1: be reduced because there's going to be a lot more 173 00:11:21,640 --> 00:11:25,400 Speaker 1: to do. I think that the length of the day, 174 00:11:25,440 --> 00:11:29,240 Speaker 1: for example, will be altered because we're going to have 175 00:11:29,320 --> 00:11:34,559 Speaker 1: to do testing or some kind of screening. We're not 176 00:11:34,920 --> 00:11:37,840 Speaker 1: entirely clear about how that's going to be, but we 177 00:11:37,880 --> 00:11:39,640 Speaker 1: know that there's going to be a process at the 178 00:11:39,679 --> 00:11:43,439 Speaker 1: beginning and the end of every day, whether it's um 179 00:11:43,440 --> 00:11:46,920 Speaker 1: making sure that people are wearing their ppe or taking 180 00:11:46,920 --> 00:11:49,760 Speaker 1: it off properly, or disposing of it properly, or getting 181 00:11:49,760 --> 00:11:55,760 Speaker 1: their temperature checked or whatever. So we there is a 182 00:11:55,840 --> 00:11:59,680 Speaker 1: feeling that there will still be a kind of ecosystem 183 00:11:59,800 --> 00:12:02,360 Speaker 1: with than the set. It just may mean that there 184 00:12:02,360 --> 00:12:05,560 Speaker 1: are fewer people on set, but we're not necessarily thinking 185 00:12:05,600 --> 00:12:08,600 Speaker 1: that there are going to be fewer people overall employed. 186 00:12:09,120 --> 00:12:12,960 Speaker 1: We actually think it might take more people to get 187 00:12:13,000 --> 00:12:15,880 Speaker 1: the same amount of work done, if that makes If 188 00:12:15,880 --> 00:12:22,360 Speaker 1: that makes sense, Yeah, nobly, absolutely does UM. Obviously, another 189 00:12:22,400 --> 00:12:25,560 Speaker 1: big question mark here is cost. There's going to be 190 00:12:25,600 --> 00:12:28,000 Speaker 1: a cost for PPE. There's gonna be a cost for 191 00:12:28,120 --> 00:12:31,040 Speaker 1: monitoring for probably things that you know that nobody's even 192 00:12:31,040 --> 00:12:35,080 Speaker 1: thinking about right now. Have you know, have those conversations 193 00:12:35,120 --> 00:12:37,120 Speaker 1: been had. I mean, is it gonna be that you're 194 00:12:37,120 --> 00:12:39,199 Speaker 1: gonna have a COVID line item that is going to 195 00:12:39,320 --> 00:12:42,280 Speaker 1: have to have a couple of zeros behind it. I 196 00:12:42,320 --> 00:12:44,600 Speaker 1: think that's what's going to happen. I think there's been 197 00:12:44,600 --> 00:12:48,840 Speaker 1: a kind of widespread acknowledgement, at least in our you know, 198 00:12:48,960 --> 00:12:53,880 Speaker 1: kind of off the record conversations with studios and streamers 199 00:12:53,920 --> 00:12:56,720 Speaker 1: and and and you know, the people who are dealing 200 00:12:56,800 --> 00:12:59,520 Speaker 1: with the numbers, that there has to be a cost 201 00:12:59,559 --> 00:13:01,960 Speaker 1: we're gonna have to buy We're gonna have to purchase 202 00:13:02,240 --> 00:13:06,720 Speaker 1: PPE for everybody. It's going to have to be replenished daily, weekly, 203 00:13:06,840 --> 00:13:09,920 Speaker 1: what have you. UM, And there's gonna be extra time 204 00:13:10,240 --> 00:13:13,840 Speaker 1: to deal with those things, which means maybe you end 205 00:13:13,920 --> 00:13:17,200 Speaker 1: up having to add some days to your schedule to 206 00:13:17,280 --> 00:13:19,960 Speaker 1: get the work done because you can't get all done 207 00:13:20,000 --> 00:13:22,600 Speaker 1: in the same day. So I think there's a there's 208 00:13:22,640 --> 00:13:27,000 Speaker 1: a pretty widespread acknowledgement that there's going to be a 209 00:13:27,040 --> 00:13:32,120 Speaker 1: direct financial cost. There's also I think everybody feels very 210 00:13:32,160 --> 00:13:35,720 Speaker 1: strongly that we're going to have to have a dedicated 211 00:13:36,480 --> 00:13:42,040 Speaker 1: qualified health and safety supervisor or some kind of person 212 00:13:42,200 --> 00:13:49,520 Speaker 1: that is UH paid for to be to to monitor 213 00:13:49,760 --> 00:13:54,760 Speaker 1: or support uh the crew and cast health and safety. 214 00:13:55,840 --> 00:13:59,880 Speaker 1: There's no way that that duty can be are that 215 00:14:00,080 --> 00:14:02,960 Speaker 1: task can really be absorbed by existing crew. We need 216 00:14:03,040 --> 00:14:09,080 Speaker 1: qualified medical professionals who really know what they're doing, and 217 00:14:09,120 --> 00:14:12,760 Speaker 1: they're gonna have to get paid. And I think that that's, uh, 218 00:14:12,800 --> 00:14:15,240 Speaker 1: that's just going to be one of the additional costs 219 00:14:15,320 --> 00:14:24,560 Speaker 1: of of being in business and keeping people safe. We'll 220 00:14:24,600 --> 00:14:30,880 Speaker 1: be right back Huntsville, Alabama, in a city that was 221 00:14:30,920 --> 00:14:35,720 Speaker 1: as American as Apple Strudel. From l A Time Studios 222 00:14:35,800 --> 00:14:40,160 Speaker 1: comes paper Clip, a podcast sponsored by Amazon Studios and 223 00:14:40,240 --> 00:14:44,760 Speaker 1: inspired by its Emmy eligible dramatic series Hunters, starring Al 224 00:14:44,800 --> 00:14:49,040 Speaker 1: Pacino and Logan Leharman joint host Michael Ian Black as 225 00:14:49,080 --> 00:14:51,720 Speaker 1: he teams up with a Cold War scholar to explore 226 00:14:51,800 --> 00:14:55,880 Speaker 1: Operation paper Clip, a real life top secret program that 227 00:14:55,960 --> 00:14:59,600 Speaker 1: brought Nazi scientists to the American heartland to work on 228 00:14:59,680 --> 00:15:04,480 Speaker 1: govern an aerospace and medical research projects available now on Apple, 229 00:15:04,560 --> 00:15:14,040 Speaker 1: podcasts and all other platforms. Welcome back to strictly business. 230 00:15:16,160 --> 00:15:19,120 Speaker 1: What has been your sense of like where city and 231 00:15:19,280 --> 00:15:23,360 Speaker 1: state officials are about, you know, dealing with the production 232 00:15:23,400 --> 00:15:27,320 Speaker 1: community's needs. Obviously you know they have very very high priorities. 233 00:15:27,360 --> 00:15:31,280 Speaker 1: But do you feel like that there is um attention 234 00:15:31,320 --> 00:15:34,680 Speaker 1: being paid to this, to the production community and their needs. 235 00:15:35,120 --> 00:15:37,360 Speaker 1: Are people? Are people listening to what you're saying in 236 00:15:37,440 --> 00:15:43,920 Speaker 1: city hall or in Albany? I do think that, UM, 237 00:15:43,960 --> 00:15:47,720 Speaker 1: there isn't an understanding that the film industry is a 238 00:15:47,840 --> 00:15:52,320 Speaker 1: vital industry in New York City and a New York State. UM. 239 00:15:52,640 --> 00:15:57,600 Speaker 1: We are in conversations with the Governor's Office of Film 240 00:15:57,600 --> 00:16:01,520 Speaker 1: and Television, the Mayor's Office US that deals with film 241 00:16:01,520 --> 00:16:07,040 Speaker 1: and television UM, and there is an understanding that this 242 00:16:07,120 --> 00:16:10,760 Speaker 1: is an industry like any other industry in New York. So, 243 00:16:11,240 --> 00:16:14,600 Speaker 1: whether it's the restaurant industry, the trucking industry, the industry 244 00:16:14,640 --> 00:16:19,200 Speaker 1: of universities, the um the farming industry, where one of 245 00:16:19,200 --> 00:16:21,720 Speaker 1: the spokes in the wheel of an industry in New York. 246 00:16:21,760 --> 00:16:25,600 Speaker 1: We bring a tremendous amount of revenue UH to New York. 247 00:16:25,760 --> 00:16:30,400 Speaker 1: As we know and UM. So so there is there 248 00:16:30,480 --> 00:16:34,200 Speaker 1: is attention being paid. I think, like all the other industries, 249 00:16:35,200 --> 00:16:40,280 Speaker 1: we will be asked to come up with, um, what 250 00:16:40,480 --> 00:16:44,160 Speaker 1: are I think is being referred to as white paper, UM, 251 00:16:44,640 --> 00:16:49,720 Speaker 1: and that outlines how we will protect our industry and 252 00:16:50,120 --> 00:16:53,280 Speaker 1: the workers in our industry. So I think we're a 253 00:16:53,320 --> 00:16:56,720 Speaker 1: spoke in the wheel and we are being paid attention 254 00:16:56,760 --> 00:17:00,880 Speaker 1: to because we're being very proactive and having a very 255 00:17:00,880 --> 00:17:04,159 Speaker 1: strong voice and saying, hey, don't forget about us because 256 00:17:04,320 --> 00:17:08,120 Speaker 1: we are We're a big piece of the pie. So 257 00:17:09,600 --> 00:17:12,399 Speaker 1: I do feel like we're being heard, and there is 258 00:17:12,680 --> 00:17:14,439 Speaker 1: And right now it's sort of like are we in 259 00:17:14,520 --> 00:17:17,359 Speaker 1: phase three or are we in phase four? You know, 260 00:17:17,560 --> 00:17:20,280 Speaker 1: someone said, oh, we're entertainment, We're in phase four, but 261 00:17:20,400 --> 00:17:24,399 Speaker 1: we actually make entertainment. We're we are not you know, 262 00:17:24,520 --> 00:17:27,159 Speaker 1: we're not the we are the thing that people go 263 00:17:27,240 --> 00:17:29,080 Speaker 1: to see, so we have to make it. So we 264 00:17:29,720 --> 00:17:33,119 Speaker 1: we think we might be in phase three, which is manufacturing. 265 00:17:33,160 --> 00:17:39,800 Speaker 1: I don't I'm not personally aware if that's been confirmed yet. UM. 266 00:17:39,840 --> 00:17:42,280 Speaker 1: But like all the under other industries, we're trying to 267 00:17:42,320 --> 00:17:44,920 Speaker 1: come up with our plan, which is this is how 268 00:17:44,960 --> 00:17:49,160 Speaker 1: we keep workers safety, so please let us go back 269 00:17:49,160 --> 00:17:53,800 Speaker 1: to work because we're the producer's grip. Did you have 270 00:17:54,080 --> 00:17:57,959 Speaker 1: any kind of forum for producers talking or did this 271 00:17:58,000 --> 00:18:03,679 Speaker 1: alliance really come together, like out of the crisis, This 272 00:18:03,760 --> 00:18:07,880 Speaker 1: particular alliance really came together. Out of the alliance there 273 00:18:07,920 --> 00:18:10,560 Speaker 1: are you know, New York is doesn't have the hugest 274 00:18:10,640 --> 00:18:14,280 Speaker 1: film community. I feel like I know almost everybody. I've 275 00:18:14,280 --> 00:18:16,760 Speaker 1: been doing this for twenty eight years. I feel like 276 00:18:16,800 --> 00:18:19,600 Speaker 1: I know most of the people working in the New 277 00:18:19,680 --> 00:18:23,760 Speaker 1: York film community. So I you know, and so there 278 00:18:23,760 --> 00:18:26,720 Speaker 1: are a lot of us who just trade information regularly. 279 00:18:26,920 --> 00:18:28,879 Speaker 1: We just check in with each other. And it was 280 00:18:28,960 --> 00:18:31,680 Speaker 1: sort of out of that kind of Hey, how's it going, 281 00:18:31,760 --> 00:18:34,280 Speaker 1: how's it what's happening with your permitting process? Are you 282 00:18:34,320 --> 00:18:37,120 Speaker 1: working in a neighborhood that's a hot spot? How can 283 00:18:37,160 --> 00:18:39,879 Speaker 1: we you know, how can we help solve this problem 284 00:18:40,000 --> 00:18:43,359 Speaker 1: or that problem. We're really we're problem solvers. So it 285 00:18:43,560 --> 00:18:46,520 Speaker 1: just came out of that sort of very loose kind 286 00:18:46,520 --> 00:18:49,439 Speaker 1: of network of colleagues and friends who work in the 287 00:18:49,440 --> 00:18:54,320 Speaker 1: business in the city. The of course, New York City 288 00:18:54,320 --> 00:18:56,600 Speaker 1: has a lot invested in production, and they have a 289 00:18:56,720 --> 00:18:59,960 Speaker 1: very expansive Mayor's Office of Media and entertainment. Have they 290 00:19:00,200 --> 00:19:02,960 Speaker 1: been have they been proactive? Have you have they Have 291 00:19:03,040 --> 00:19:04,600 Speaker 1: you had a good dialogue with them? Do you feel 292 00:19:04,600 --> 00:19:07,320 Speaker 1: like they're on it? Absolutely, we've had a very good 293 00:19:07,320 --> 00:19:09,760 Speaker 1: dialogue with them. And I mean they have a lot, 294 00:19:10,119 --> 00:19:12,639 Speaker 1: They have a lot to deal with. So part of 295 00:19:12,680 --> 00:19:14,480 Speaker 1: what we want to do is take some of that 296 00:19:14,560 --> 00:19:19,200 Speaker 1: burden and say we're thinking through these problems. Use us 297 00:19:19,240 --> 00:19:22,880 Speaker 1: as a resource to help problem solve. Like if we've 298 00:19:22,920 --> 00:19:26,199 Speaker 1: got an issue, you know, in a neighborhood, and you 299 00:19:26,200 --> 00:19:29,960 Speaker 1: can imagine a neighborhood might be thinking, we don't want 300 00:19:29,960 --> 00:19:33,040 Speaker 1: a film crew or a television crew with all these people, 301 00:19:33,560 --> 00:19:36,560 Speaker 1: random people coming into our neighborhood in this COVID world. 302 00:19:36,640 --> 00:19:39,639 Speaker 1: So let's talk about which one of us can start 303 00:19:39,720 --> 00:19:43,840 Speaker 1: liaising with the community board from that um, from that 304 00:19:43,920 --> 00:19:47,119 Speaker 1: neighborhood that helps alleviate some of the burden on the 305 00:19:47,119 --> 00:19:51,879 Speaker 1: mayor's office. We just want to be a helpful problem 306 00:19:51,920 --> 00:19:55,800 Speaker 1: solving resource because we're the ones on the ground kind 307 00:19:55,840 --> 00:19:58,120 Speaker 1: of dealing with this moment to moment, day to day. 308 00:19:58,680 --> 00:20:01,800 Speaker 1: That's a very long answer, but the mayor's office is 309 00:20:01,880 --> 00:20:05,800 Speaker 1: super involved and very proactive and they really want to help. 310 00:20:06,040 --> 00:20:08,360 Speaker 1: They have a lot on their play. There's a lot 311 00:20:08,440 --> 00:20:12,560 Speaker 1: to figure out for them about how to move forward. 312 00:20:12,720 --> 00:20:16,280 Speaker 1: So our hope is just that we can we can 313 00:20:16,400 --> 00:20:19,760 Speaker 1: help them. Do you think that this will kind of 314 00:20:19,840 --> 00:20:24,920 Speaker 1: inevitably change storytelling, at least for a short at least 315 00:20:24,960 --> 00:20:27,560 Speaker 1: in the short term, change the types of stories that 316 00:20:27,600 --> 00:20:30,760 Speaker 1: are told. I do think it will have an effect 317 00:20:31,119 --> 00:20:33,639 Speaker 1: on the stories that are being told, at least in 318 00:20:33,680 --> 00:20:38,600 Speaker 1: the short term. And I think that's okay. I think 319 00:20:38,640 --> 00:20:44,000 Speaker 1: throughout the history of storytelling, people have had to work 320 00:20:44,160 --> 00:20:49,280 Speaker 1: within whatever the limitations were of the day, of the moment, 321 00:20:49,440 --> 00:20:51,639 Speaker 1: of the time, of the location, of the place, of 322 00:20:51,680 --> 00:20:55,199 Speaker 1: the budget. So yeah, I think it will have an 323 00:20:55,200 --> 00:20:59,720 Speaker 1: effect on storytelling. But again, as as producers, our job 324 00:20:59,840 --> 00:21:03,280 Speaker 1: is to say, like, how can we how do we 325 00:21:03,400 --> 00:21:06,720 Speaker 1: figure out how to tell this story? Okay, maybe telling 326 00:21:06,920 --> 00:21:10,240 Speaker 1: this certain kind of story is something that's going to 327 00:21:10,320 --> 00:21:18,080 Speaker 1: be not really possible in September, you know, maybe it'll 328 00:21:18,080 --> 00:21:24,440 Speaker 1: be possible in January. Um. But I do think that 329 00:21:25,520 --> 00:21:35,520 Speaker 1: sometimes adversity does lend itself to real blossoming of creativity. 330 00:21:35,760 --> 00:21:41,160 Speaker 1: So I'm hopefully that this wall of COVID will make 331 00:21:41,240 --> 00:21:44,800 Speaker 1: people turn in other ways and tell stories in a 332 00:21:44,800 --> 00:21:48,600 Speaker 1: different way that will actually help mark this moment, could 333 00:21:48,600 --> 00:21:54,840 Speaker 1: help really memorialize this moment in time that we're faced with. 334 00:21:57,040 --> 00:22:01,159 Speaker 1: Absolutely change comes through, absolutely comes through adversity. Did you 335 00:22:01,359 --> 00:22:03,959 Speaker 1: have anything that was actually shooting at the time of 336 00:22:03,960 --> 00:22:06,920 Speaker 1: the sort of the great shutdown in that that mid 337 00:22:07,000 --> 00:22:13,560 Speaker 1: March period. I did not. I shot a pilot in January, 338 00:22:13,600 --> 00:22:17,119 Speaker 1: so we were in the post production process. We shut 339 00:22:17,160 --> 00:22:22,880 Speaker 1: down post and and and did finished everything remotely. UM, 340 00:22:23,600 --> 00:22:27,119 Speaker 1: which has its own challenges of trying to be you know, 341 00:22:27,160 --> 00:22:28,600 Speaker 1: how do you do a sound mix, how do you 342 00:22:28,640 --> 00:22:31,959 Speaker 1: do a color correct um? How do you look at 343 00:22:32,000 --> 00:22:36,639 Speaker 1: it on a on a monitor that's really calibrated to 344 00:22:36,720 --> 00:22:38,760 Speaker 1: show you what the color is gonna look like. How 345 00:22:38,760 --> 00:22:44,040 Speaker 1: do you room with someone and hear what those layers 346 00:22:44,080 --> 00:22:46,199 Speaker 1: of sound really sound like if you don't have a 347 00:22:46,200 --> 00:22:49,440 Speaker 1: state of the art sound system at home. So so 348 00:22:49,520 --> 00:22:53,840 Speaker 1: it had its own challenges. UM. But it wasn't like 349 00:22:54,000 --> 00:22:58,879 Speaker 1: the people who literally closed their stage doors and walked 350 00:22:58,880 --> 00:23:01,119 Speaker 1: away and still have standing sets. I was not in 351 00:23:01,160 --> 00:23:05,160 Speaker 1: that situation. So I we're waiting to hear about whether 352 00:23:05,200 --> 00:23:09,159 Speaker 1: or not this pilot gets picked up two series UM, 353 00:23:09,200 --> 00:23:12,000 Speaker 1: and I've already spoken to the showrunner and said, you know, 354 00:23:12,160 --> 00:23:16,119 Speaker 1: just would love it if you'd keep in mind some 355 00:23:16,359 --> 00:23:21,199 Speaker 1: of the um some of the challenges that we're that 356 00:23:21,280 --> 00:23:24,600 Speaker 1: will face, as if we get a pick up as 357 00:23:24,640 --> 00:23:28,719 Speaker 1: you write, and if you have questions about what that means, 358 00:23:29,160 --> 00:23:31,840 Speaker 1: talk to me and I'll help you figure out how 359 00:23:31,880 --> 00:23:36,000 Speaker 1: to tell the story within these limitations. And that's really 360 00:23:36,240 --> 00:23:38,879 Speaker 1: kind of I think the conversations that will start having 361 00:23:39,000 --> 00:23:42,800 Speaker 1: is with our showrunners and our writers and our directors, 362 00:23:42,840 --> 00:23:46,679 Speaker 1: like how do we how do we like what? What 363 00:23:46,800 --> 00:23:49,800 Speaker 1: do you need to tell the story? Like what can 364 00:23:49,840 --> 00:23:55,280 Speaker 1: we take away that's extraneous without hurting the storytelling? And 365 00:23:55,400 --> 00:23:58,320 Speaker 1: I think those kinds of conversations will be very common. 366 00:23:58,480 --> 00:24:00,920 Speaker 1: Can you talk Blare about I know, if I'm not mistaken, 367 00:24:00,960 --> 00:24:02,840 Speaker 1: you kind of came up through the indie film world. 368 00:24:02,880 --> 00:24:06,480 Speaker 1: Can you talk about that? You know, when you started 369 00:24:06,520 --> 00:24:09,439 Speaker 1: to see the not the shift, but the expansion of 370 00:24:09,560 --> 00:24:12,359 Speaker 1: television opportunity in New York And I right in thinking 371 00:24:12,400 --> 00:24:16,720 Speaker 1: it was about ten or fifteen years ago. Yes, So 372 00:24:17,119 --> 00:24:19,840 Speaker 1: I started in New York and the low budget indie 373 00:24:19,880 --> 00:24:24,520 Speaker 1: film world, the very kind of autour driven art house 374 00:24:24,680 --> 00:24:28,720 Speaker 1: movie world, and at that time, you know, those are 375 00:24:28,920 --> 00:24:32,040 Speaker 1: really common films lots of lots of people were making them, 376 00:24:32,480 --> 00:24:35,680 Speaker 1: and and it was you know, the situation was, here's 377 00:24:35,720 --> 00:24:39,520 Speaker 1: two million dollars go make the film. There's no studio there, 378 00:24:39,560 --> 00:24:42,280 Speaker 1: there's nobody to go to. If you run out of money. 379 00:24:42,720 --> 00:24:44,560 Speaker 1: You just had to figure out how to make it 380 00:24:44,640 --> 00:24:46,800 Speaker 1: work with what you had, and you had to figure 381 00:24:46,840 --> 00:24:48,760 Speaker 1: out you had to make sure you had enough money 382 00:24:48,760 --> 00:24:51,679 Speaker 1: to get through post production and delivery. So I really 383 00:24:51,760 --> 00:24:55,560 Speaker 1: cut my teeth in that situation, sort of standing on 384 00:24:55,560 --> 00:24:57,679 Speaker 1: the streets of New York, going, well, we can't have 385 00:24:58,520 --> 00:25:02,560 Speaker 1: you know, three fifty ft lifts, we can't afford them, 386 00:25:02,600 --> 00:25:05,080 Speaker 1: you know, to light up this night scene, Like what's 387 00:25:05,119 --> 00:25:08,199 Speaker 1: going on in this scene? What is the story? How 388 00:25:08,240 --> 00:25:12,520 Speaker 1: do we either preserve that through alternate methods or how 389 00:25:12,560 --> 00:25:15,359 Speaker 1: do we change the scene to fit within what we 390 00:25:15,400 --> 00:25:18,320 Speaker 1: can afford. So I learned how to do that because 391 00:25:18,359 --> 00:25:21,119 Speaker 1: that's what was happening. I mean, at that time, I 392 00:25:21,160 --> 00:25:24,600 Speaker 1: don't think there was well there's certainly, I think kind 393 00:25:24,640 --> 00:25:26,639 Speaker 1: of most of the television that was happening in New 394 00:25:26,720 --> 00:25:31,040 Speaker 1: York was you know, daytime soap operas, the late night shows, 395 00:25:32,160 --> 00:25:35,000 Speaker 1: and I don't know, maybe there were some big network 396 00:25:35,119 --> 00:25:37,840 Speaker 1: series here, but they weren't on my radar because I 397 00:25:37,880 --> 00:25:43,240 Speaker 1: was making movies on tour directors and some were really 398 00:25:43,240 --> 00:25:45,960 Speaker 1: good and some were maybe not so good, but they 399 00:25:45,960 --> 00:25:50,480 Speaker 1: were all great learning experiences. And then I started to 400 00:25:50,560 --> 00:25:56,119 Speaker 1: work in sort of bigger budget features, more UMU studio features, 401 00:25:56,160 --> 00:25:58,760 Speaker 1: and sort of learned that world as well. And it's 402 00:25:58,760 --> 00:26:01,439 Speaker 1: it's easier to make things with more money than it 403 00:26:01,520 --> 00:26:04,240 Speaker 1: is with less money. And I would always ask to 404 00:26:04,480 --> 00:26:07,600 Speaker 1: please have more money, and I don't. I don't love 405 00:26:07,760 --> 00:26:11,760 Speaker 1: having no money at all, but I learned how to 406 00:26:11,800 --> 00:26:16,760 Speaker 1: do that. So in February, just before things went haywire, 407 00:26:17,160 --> 00:26:19,879 Speaker 1: you unveiled a new deal with the New York company 408 00:26:19,880 --> 00:26:25,119 Speaker 1: called Above Average Productions, and you are working with them 409 00:26:25,320 --> 00:26:29,920 Speaker 1: on on launching a production services company, production services. As 410 00:26:29,920 --> 00:26:32,760 Speaker 1: we've just been discussing, it may not be the sexiest 411 00:26:32,800 --> 00:26:37,080 Speaker 1: sounding part of entertainment, but literally the TV shows would 412 00:26:37,119 --> 00:26:39,399 Speaker 1: not be on the air without them. Tell me what 413 00:26:39,520 --> 00:26:42,040 Speaker 1: led to that partnership. Why did you team with them? 414 00:26:42,240 --> 00:26:46,359 Speaker 1: Why did you team with Above Average Productions? Well, I 415 00:26:46,400 --> 00:26:50,200 Speaker 1: think that everything works better in a partnership, and I 416 00:26:50,280 --> 00:26:54,200 Speaker 1: really like being in a partnership. I work alone on 417 00:26:54,200 --> 00:26:57,280 Speaker 1: on certain things, but I'm good in a partnership, it's better, 418 00:26:57,600 --> 00:27:01,399 Speaker 1: there's more you just so all that's sort of you know, 419 00:27:01,600 --> 00:27:04,879 Speaker 1: film and television making is a really collaborative process. But 420 00:27:05,000 --> 00:27:07,960 Speaker 1: I do understand something about myself, which is that I 421 00:27:08,000 --> 00:27:12,760 Speaker 1: like working with other people. So Average above Average has 422 00:27:12,800 --> 00:27:17,440 Speaker 1: been in business for over eight years and they I 423 00:27:17,840 --> 00:27:20,919 Speaker 1: had met um, the two people who are sort of 424 00:27:20,920 --> 00:27:24,160 Speaker 1: the main people at that company, at a writer's guild 425 00:27:24,200 --> 00:27:28,880 Speaker 1: pitch event, and we really liked each other and we 426 00:27:29,119 --> 00:27:31,800 Speaker 1: ended up sort of working with a young writer and 427 00:27:31,880 --> 00:27:36,120 Speaker 1: developing a show together. And so the relationship evolved over 428 00:27:36,160 --> 00:27:39,880 Speaker 1: about a year and a half and I we realized 429 00:27:39,880 --> 00:27:42,119 Speaker 1: that we kind of shared the same values and in 430 00:27:42,600 --> 00:27:48,720 Speaker 1: filmmaking and television making UM with uh, you know, just 431 00:27:48,760 --> 00:27:53,399 Speaker 1: thinking about having that creative comes first and talent comes first, 432 00:27:53,880 --> 00:27:56,639 Speaker 1: and there's a way to support these creative voices even 433 00:27:56,800 --> 00:27:59,920 Speaker 1: within kind of limited budgets. But I need a sort 434 00:28:00,040 --> 00:28:03,159 Speaker 1: and kind of support that they could really provide for me. 435 00:28:03,359 --> 00:28:06,960 Speaker 1: They they have they could provide me with back in 436 00:28:07,119 --> 00:28:14,120 Speaker 1: production support and accounting and payroll and insurance, banking, guild intencies, um, 437 00:28:14,160 --> 00:28:17,040 Speaker 1: that sort of thing, And and I didn't want to 438 00:28:17,080 --> 00:28:19,760 Speaker 1: set up all that stuff by myself. I just like 439 00:28:19,880 --> 00:28:22,520 Speaker 1: working with other people. It felt like a great fit 440 00:28:23,080 --> 00:28:29,640 Speaker 1: and a great relationship. And we had been out uh 441 00:28:29,760 --> 00:28:33,240 Speaker 1: to l a twice before the shutdown happened and met 442 00:28:33,280 --> 00:28:36,359 Speaker 1: with all the studios and all the streamers because I've 443 00:28:36,400 --> 00:28:39,560 Speaker 1: known a lot of those people first twenty years more 444 00:28:39,800 --> 00:28:43,640 Speaker 1: twenty four years, and I just had never really wanted 445 00:28:43,680 --> 00:28:47,440 Speaker 1: to be in the production services business before. But one 446 00:28:47,480 --> 00:28:52,080 Speaker 1: thing I began to understand about my stuff is that 447 00:28:52,240 --> 00:28:57,920 Speaker 1: having come up through physical production, I really understand everything 448 00:28:57,960 --> 00:29:00,200 Speaker 1: about physical production. I mean, maybe not every thing, but 449 00:29:00,200 --> 00:29:02,320 Speaker 1: I understand a lot. I have a lot of experience 450 00:29:02,360 --> 00:29:06,160 Speaker 1: in physical production that I moved into being a creative producer. 451 00:29:06,560 --> 00:29:10,920 Speaker 1: And I really had the wonderful opportunity to work with 452 00:29:11,680 --> 00:29:17,200 Speaker 1: writer directors, autours creators, so I could also understand the 453 00:29:17,240 --> 00:29:20,440 Speaker 1: creative vision and how to make it work within the 454 00:29:20,480 --> 00:29:23,480 Speaker 1: limitations of a budget. Because I understand the budget. So 455 00:29:24,720 --> 00:29:29,680 Speaker 1: I think that the production services company and partnership for 456 00:29:29,760 --> 00:29:34,160 Speaker 1: me gives me the opportunity to use all of my skills. 457 00:29:34,200 --> 00:29:37,120 Speaker 1: I can be involved in everything from A to Z. 458 00:29:37,240 --> 00:29:39,920 Speaker 1: It's very old fashioned. It's a very old fashioned way 459 00:29:39,960 --> 00:29:43,280 Speaker 1: to be a producer. I'm not separated from the creative 460 00:29:43,280 --> 00:29:46,520 Speaker 1: I'm not separated from the physical production, and I think 461 00:29:46,560 --> 00:29:50,880 Speaker 1: that that makes me a better producer. So there are 462 00:29:51,120 --> 00:29:56,320 Speaker 1: lots of studios and streamers who just need partners because 463 00:29:56,440 --> 00:30:00,840 Speaker 1: they're they're creating so much content. For example, Netflix does 464 00:30:01,040 --> 00:30:04,240 Speaker 1: a lot of in house production, but they are doing 465 00:30:04,280 --> 00:30:07,880 Speaker 1: so much production that they also need partners who have 466 00:30:08,000 --> 00:30:15,080 Speaker 1: production services companies Amazon, Hulu, Uh, Apple, you know some 467 00:30:15,360 --> 00:30:19,920 Speaker 1: HBO projects, some studio projects. Not everybody has the internal 468 00:30:20,400 --> 00:30:27,760 Speaker 1: mechanism to do physical production. Thanks for listening. Be sure 469 00:30:27,800 --> 00:30:38,760 Speaker 1: to tune in next week for another episode of Strictly Business. Huntsville, Alabama, 470 00:30:38,840 --> 00:30:44,080 Speaker 1: in a city that was as American as Apple Strudle. 471 00:30:44,640 --> 00:30:48,720 Speaker 1: From l A Time Studios comes paper Clip, a podcast 472 00:30:48,760 --> 00:30:52,800 Speaker 1: sponsored by Amazon Studios and inspired by its Emmy eligible 473 00:30:52,880 --> 00:30:57,880 Speaker 1: dramatic series Hunters, starring Al Pacino and Logan Learman joint 474 00:30:57,880 --> 00:31:00,520 Speaker 1: host Michael ian Black as he teams up with a 475 00:31:00,560 --> 00:31:04,800 Speaker 1: Cold War scholar to explore Operation paper Clip, a real life, 476 00:31:04,880 --> 00:31:08,800 Speaker 1: top secret program that brought Nazi scientists to the American 477 00:31:08,880 --> 00:31:13,040 Speaker 1: heartland to work on government aerospace and medical research projects. 478 00:31:13,520 --> 00:31:17,320 Speaker 1: Available now on Apple Podcasts and all other platforms.