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Making Indie Films as a BLIND Director with Gough from Beernuts Productions
Today’s guest gough, from Berrnuts Productions, really doesn’t let anything get in his way. When the rest of us are making excuses on why we can’t do this or that this legally BLIND director is making films he wants to make. You heard correctly, gough is legally blind and yet he’s a prolific film director running a production company, with employees I might add, and doing it his way. He has shot 14 short films and 1 feature film.
He’s a true inspiration to any filmmaker out there who says they can’t do it. When you listen to his story you will see what an amazing journey he has had to get to this point.
Here’s a bit on gough and his company:
Beernuts Productions is Australia’s most exciting and innovative production company. Founded by gough in 2006, Beernuts Productions has set out to prove itself as a prolific producer of contemporary, cutting-edge and award-winning cinema, television, downloads and books with a wide range of topics and projects to be undertaken.
“I Will Not Go Quietly” was Beernuts Productions’ first feature film project, a documentary discussing the important topics of mental health and disability. gough is the first legally blind person to write, produce, edit, direct and star in feature filmmaking this project a world first. Since then gough has gone on to write, produce and direct many other projects, including a number of films, audio downloads, and books. Beernuts Productions has worked with some of Australia’s finest actors, artists, and production crew, helping make all content on the Beernuts Productions website world-class.
Beernuts Productions also has numerous other projects in development and prides itself on its diversity and challenging range of topics and projects were undertaken, clearly demonstrating Beernuts Productions skills, fortitude and determination to entertain no matter the genre.
Enjoy my inspirational conversation with filmmaker gough.
LINKS AND RESOURCES MENTIONED IN THIS EPISODE
- Soundstripe.com – Find the Perfect Song for Your Project (DISCOUNT CODE: IFH – 10% discount off of a membership)
- BlackBox – Make Passive Income From Your Footage
- Rise of the Filmtrepreneur®: How to Turn Your Indie Film into a Moneymaking Business
- Rise of the Filmtrepreneur®: FREE AUDIOBOOK
- Indie Film Hustle TV (Streaming Real-World Film Education)
- Alex Ferrari’s Shooting for the Mob (Based on the Incredible True Filmmaking Story)
REAL-WORLD STREAMING FILM EDUCATION
- Indie Film Hustle TV (Streaming Real-World Film Education)
- Hollywood Film School: Filmmaking & TV Directing Masterclass
- Filmmaker in a Box – Learn How to Make an Indie Film – 18 Hours+ of Lessons
- Storytelling Blueprint: Hero’s Two Journeys
- The Dialogue Series: 38 hours of Lessons from Top Hollywood Screenwriters
- Filmtrepreneur® Podcast
- Bulletproof Screenwriting® Podcast
- Six Secrets to getting into Film Festivals for FREE!
- FreeFilmBook.com (Download Your FREE Filmmaking Audio Book)
Alex Ferrari 0:04
Now if you thought that last week's episode was an insane story with Faith's movie, deuce of spades, and all heard amazing adventure of making over the course of five years. This week's guest will blow you away. He goes by the simple name Gough. And what makes him a unique story as a film director is that he is legally blind. That is right. He is a legally blind director who has directed tons of short films, as well as documentaries, does interviews and runs his own production company called beer nuts productions out of Australia. And when Gough came to me and kind of reached out to me, I was skeptical that this was real. But as I did in my research, I found out that it is real. And he has an amazing story to tell. And I wanted to have him on the show, to just shut every filmmaker I've ever met up with excuses about why they can or cannot do something. And from now on, I hope everyone listening to this right now will never come up with an excuse on why they cannot do something, if a legally blind director in Australia is not only making the art that he wants to make, and making money at it. And he's also running a company with employees that he is responsible for, can do it. What's your excuse? By the way that I also mentioned, that he's also the cinematographer, the editor, producer, and writer of many of his projects as well, we get into how he does all of it in this amazing conversation. So I really do hope you find this, this conversation inspiring. It inspired me. So without further ado, let's get into it. Please enjoy my conversation with Gough. I'd like to welcome to show Gough man, thank you so much for being on the show.
Thank you for having me on Alex, I appreciate your time.
Alex Ferrari 3:48
Well, I mean, you reached out to me and told me about your story. And I'll be honest, I've never heard of a blind or a legally blind director before. So I needed to find out what's going on. And how are you doing what you're doing?
Yeah, no, I absolutely. So yeah, I started up peanuts productions, which is my production company back in 2006. And since then, we've made one feature film and 14 short films. So we're, yeah, we've been been quite busy at the bayonets Fun Factory and I, I write, produce, and direct and edit all of all of the work. So it's all all original, independent work.
Alex Ferrari 4:31
So before we get into all of the technical stuff, I wanted to first ask you, how did you get started in the business? What made you want to get into the film industry?
I, I've always been interested in writing. So it started off as writing and then I had these scripts, and I'm like, Well, I want to get these made. And people were like, yeah, we're not giving you funding cuz you're blind. And I'm like, Well, I still want to get my work made. So how am I going to do that? And that's when I thought, Well, why don't I just start up my own production company and get one funding and do it myself. So that's kind of where it all started. So I've always had a love of writing and telling stories, and especially comedy, comedy is my number one genre. And so, yeah, that's kind of where the production company all all started from.
Alex Ferrari 5:17
Now, I mean it, but there was never a moment. I mean, I have to ask the question, because it's like the elephant in the room. You're, you're legally blind. So at any moment in time, did you just say, this is crazy? To yourself, because I want to I want to hear from your point of view.
No what the answer is simple. No, for the simple reason is because I've got a script. And I'm like, Well, I think this is a really good script, it'll make a really funny film. So how can I get this made? And so, you know, I don't, I was very lucky, when I was at elementary school, I was very lucky to have a really, really great teacher who pretty much hammered into all the blind and visually impaired kids at the school, that you know, you can do whatever you want to do, there's no barriers, you know, you might have to take a bit longer, or it might need to be done a little bit differently to the other kids. But there's absolutely no reason why you can't get over the hurdles, or find a way around the hurdles to do what you want to do. So that's been instilled in me from a young age. And so yeah, when I've got a script, and I'm like, Well, how am I gonna make this and people won't give me funding? Well, I just need to figure out a different way to do it. So at no stage did I think No, this can't be done. There's always there's always a way.
Alex Ferrari 6:30
That's amazing what an amazing attitude about not only about filmmaking, but about life in general. Because, I mean, so many filmmakers get caught up in like, oh, if I don't have this, or if I can't get that, or I need to do this, all these perfect conditions have to happen. Or they keep going down the same path every time and keep failing. And they don't make the connection saying, hey, maybe I should change something, maybe I should figure out a way around, instead of instead of trying to go through, and that's essentially what you do on a daily basis.
Well, you're exactly right. I mean, there's always a way and look, at the end of the day, I'd love bigger budgets, because that would mean I could hire more crew members. That means I could maybe throw a couple of extra jokes or stunts or whatever into a film that I'd like to do. But if that's not available to me, then I've got to go. Okay, well, I still want to make this film, it's still gonna be a really funny project. So I just I'll, I'll just rework the script a little bit. So I can I mean, the last film we did, I wanted to do some documentary about the fitness industry, taking the piss out of personal trainers, and all that sort of stuff. So there was a, I had to rework the original script just slightly, because obviously, some of the things I wanted to do, just would I mean, I wanted, yeah, I just wouldn't be able to do it on the budget that I had. So I just had to, and it didn't take away from the story in any way. In fact, you know, I replaced that joke with a different joke. So it says, I'm just replacing jokes. So you know, I write a script originally. And then I sit down and think, Okay, well, this is my budget, this is how much money I've got to make it. So what can I do? Do I need to change the script in some way? Or, you know, how many casts can I afford? How many crew can I afford? and all that sort of stuff. So it's just about figuring it out. And then you know, that there's always a way, you know, if people are hung up on the little details, then, you know, I think that more shows something about them being too frightened to actually get their feet into it, you know, because there's always a way there is always a way,
Alex Ferrari 8:39
I I'm so happy you said that. I mean, you completely hit the nail on the head, is I think a lot of filmmakers do make up all these excuses. Because they don't, they're afraid. They're afraid of putting themselves out there, they're afraid of failing. That's why they get hung up on gear, they get hung up on I need the best cameras, I need this ledger, I need this much money, I need this actor, as opposed to just going I want to tell a story. And I don't care what I have, when I look at what I have with me and do what I can with what I have right now.
And that's absolutely, and that's exactly what we do. And that's how we've been able to make 14 short films or one feature film in such a short period of time because, you know, I just, I've got the scripts, I've got the ideas and you know, I've got a base crew now that I work with, and, you know, proper staff that I work with all the time and so, you know, I've got to keep them, you know, employed now it's got to the stage where I got to keep it moving now, so it doesn't matter. Like there's always a way you know, in Australia, I'm sure I've been to America a few times, you've got the same phrases you know, you need to grow a pair, you know, you gotta you got to just do it, man, you know, you if you sit on the sidelines, that's where you're always gonna be man. So you've got to you got to get in there.
Alex Ferrari 9:56
And what I love about what you're saying too is that you adapt to a And and maneuver and pivot when something's not exactly what you need it to be.
Absolutely, absolutely. So for example, you were saying about equipment. So we've got our, I mean, Simon, who's my right hand, man, my main production man, he owns most of the equipment that we need. If we do need something else, we can see if we can get our hands on it. But for the most part, we use what Simon's got. And he's got really good stuff. I mean, he's got four cameras. So when when we're having a chat to, like, I sit down with him and tell him the shots that I want for the film, he'll make the decision, what camera he thinks is going to be best for that. And it's just watch one out of his four cameras. Now, he doesn't have, you know, $90,000 worth of camera to play with, but their TV caught like their proper proper quality cameras, but it's not your proper hardcore film cameras that we're using, but it still does the job. I mean, people can still see what's going on on the screen. You know what I mean? So it people need to, as you say, it's just about adapting to what you can do. And yeah, that there's always a way there really is
Alex Ferrari 11:12
Now with the with the gear, how did you like on your first project? How did you teach yourself? Did you go to proper film school? or How did you teach yourself the gear just to be able to to get what you need to do? And then we'll talk about your editing as well.
Yeah. So in regards to cuz I actually shot the very first film I did, I had pretty much no money. So that's why I did a documentary. Again, because, well, there's a few reasons why I did a documentary, it's obviously very cheap to make a documentary, because essentially, it's just talking heads. So it's more about the planning and the research and all that sort of stuff for Darko. And so, I pretty much I went down, I've got a camera from a shop, I just went down and got the most expensive camera I could afford. And I got I've got a mate of mine who's a bit of an IT geek. So I got him over. And we pretty much worked out how to use it, he taught me how to use it. And then I just sort of pointed and hope for the best pretty much when it came to came to shooting the documentary, but it worked out fine. Like, again, you know, it all, it all worked. I mean, it's not the greatest film ever shot, obviously, you got a blind dude behind the camera, it's not going to be, you know, incredibly framed or lit or anything like that. But it kind of the documentary is about disability and mental health. So it does kind of prove the point of the film, which is that, you know, blind and vision impaired people can do whatever they want to do, which is sort of the point of the documentary. And I think the fact that I actually filmed it and made it myself kind of also demonstrates that point in a subtle kind of way. So
Alex Ferrari 12:48
It's very mad, It's very mad of that way.
Yeah. So that that's, that was the daco that I shot. And then obviously, when that made a bitter coin, I was then able to employ Simon and other people were able to come on board slowly and surely to make life a little bit easier for me when it came to shooting the shooting the projects
Alex Ferrari 13:08
Now and then how do you edit because you do all your own editing. So I'm fascinated about that.
Yeah, so I had to play audio. So I my first job out of high school was working in radio as an audio producer. So I was basically doing all their commercials and promos, and all that kind of stuff. So that taught me how to edit because obviously editing audio with radio is reasonably straightforward. I mean, takes a bit of time to learn how to do it. But so I learned how to, that's sort of how I learned how to edit. So when I'm editing, I do it all by ear. So once the joke or whatever the line is concluded that I want to be finished, I'll I'll know when to cut. That's when I cut, that's my edit point. I'll cut it there. And then we go to the next scene or the next angle or whatever I want to do. So that's I edit by audio just purely by audio. And then now I've got Simon who sits next to me. So if it's a scene, for example, of somebody getting out of a car, for example. So I'll say to Simon, that's my point. That's where I want it to finish and he'll make it so it matches up. So when the person's getting out of the car, so we know from interior to exterior, it all looks seamless, so he makes the visual part of it marry up for me, but I tell him where I want the Edit to actually sort of happen and he just makes it makes it nice and neat for me.
Alex Ferrari 14:31
I mean, I gotta tell you, man, I've heard so many sob goddamn stories from filmmakers, with all these goddamn excuses that I hear all the time. And man you just don't care and I love that about you. You just like you know what, I'm gonna go do this and the hell with everything and the hell with everybody else. No one's gonna stop me. And I'm going to go and I just wish more people would have that energy to the man at you. You truly are an inspiration, man. I can't I can't tell You enough?
Well, well, it's what I've always wanted to do. I mean, when I was a little kid, you know, like I said earlier, I love writing and telling stories. And so, you know, I'm sitting at home with these scripts. And I'm like, Well, I want to get these made on, you know, at the time, I was working in radio, as I say, and then at nighttime, I was doing stand up comedy for a living as well. So I'm doing comedy at night working in radio at day, which was great, that's fine. But it's not really what I wanted to do. I wanted to make these scripts. And so the bottom line is, well, if I've got because I love entertaining people, and especially making people laugh, that's what I really enjoy doing. And so, you know, I've got these scripts, and I think they're going to make people laugh, and they're going to entertain folks. So the, let's make them let's get it done. So that's, that's what I do. And yeah, so I mean, editing, I actually think it works a little bit in my favor, because I'm not distracted by the little things. When I edit. I'm just purely listening for the actor's delivery. So when we're going through the different takes on listening for their delivery, making sure their tones and inflections are exactly what I'm wanting. And then I go with that take and then Simon will say to me, or look, we can't use that because you know, he's looking to the side or is staring right in the camera. So okay, well, we can't use that take. But I always go by sound first and foremost, because especially with comedy, I mean, if a joke isn't delivered quite right, your tones and your inflections, it's just not funny.
Alex Ferrari 16:27
And also the timing. And also the timing is so important.
Absolutely. Absolutely. 100% it's just not funny. So that's, that's my number one thing is its audio is got to be spot on. So I always get so I guess it's I said to Simon, it's kind of like I'm editing a 90 minute radio commercial. That's sort of how I look at it. So yeah,
Alex Ferrari 16:49
That's awesome. Now, I know you obviously have crew as well, that works with you. How do you deal with because I look, it's tough enough handling crew, when you can see, let alone when you can't? And I'm sure you've gotten attitudes. I'm sure you've gotten all sorts of stuff. How do you deal with crew?
Well, yeah, I mean, it did take a while to find a group of people who I could absolutely trust. I mean, there was a, I had a camera man once who I had to sack because he just kept filming his own thing. And like, we get into the editing suite. And I'm like, What the fuck that that's not what I asked him to do. Like, it's a completely different frames completely different shot, like, What's he doing to me, so he had to go. So yeah, I just can't have people going rogue on me, obviously, because I can't, it's too late. Once you're in the editing room, it's too late then because we haven't got the budget to go back and reshoot anything. So I need a group of people I can trust. And it's also a responsibility on me to make sure that I communicate my ideas really, really clearly with the actors and the crews, so they know precisely what I'm after. So if you come to one of my sets, it's run a lot differently, obviously, to a normal set. Because Because of that soul. So for example, like with Simon when he's framing a shot, I'll be super clear. So I won't just say our one a wide medium or anything like that all actually be really specific. So say I want you to shoot from just above his navel or just above his belly button. And you're going to go to like two centimeters or half an inch above his head. And that's your shot for this particular frame. And he's like, Ah, no worries. So it's just about me being really clear with what exactly I want. Everything to be like. And same with the actors. I mean, I drive the actors insane, because I'm forever just listening to how they're delivering the lines. And if they get a word wrong, or they stumble, or stop, start again, do it again. So yeah, it's just about me being really, really clear and communicating my ideas really clearly with everybody. So everybody knows exactly what they need to be doing. And also so that everybody knows what everybody else is doing as well because that's equally important.
Alex Ferrari 19:10
Now I can imagine you could be a nightmare for an actor because all you're doing you're not being persuaded by their performance, visually. It's all about the audience have a syllable is off, that's all you got to hold on to so they got to hit their line perfectly. That must be a nightmare for them sometimes,
Yeah, though. Some of them are really cool and they like it, you know, they'll because they want to do a really good job and they want to get it right. And they they enjoy that. And some of them don't like it so much at all. So it's kind of a it's a little bit 5050 some of them really don't dig it because you know, they they're like I'll deliver the lines that's my job on the active but some of them really love working with me and just nailing it absolutely perfectly. So again and then you know if I have someone who doesn't like the way I do things that obviously, they're not going to work with me going forward. So you know, sort of weeds people out a little bit too, you know. So
Alex Ferrari 20:08
We'll be right back after a word from our sponsor. And now back to the show. Yeah, I'm sorry, I'm gonna cut you off. But how do you do the castings? Like, I'm sure that actors are walking, like, I'm sorry, the directors want. That that's happened a few times.
So I actually do the castings myself for the simple reason. And I don't understand why more writers directors don't cast their own projects. And it's because I wrote it. So I know exactly how everything should be delivered. So when an actor comes in for an audition, I don't want somebody else interpreting my script I, you know, I, I know exactly what that character is supposed to sound like supposed to fit and make me feel and all of that sort of thing. So I run my own auditions. And again, I do it very differently. So usual, casting would be probably five minutes long, mine goes for about half an hour, because what I make them do, I tell them not to memorize any portion of the script, we're gonna go through all your lines, we're just going to read it do like a table read with you and me, and I'll see how you go. And it's just about me seeing how they're gonna interpret the jokes, and the character and all that. And it also gives me a good feel for their attitude and how they're going to be able to work with me and all that sort of stuff as well. So, you know, I'm really, you're really, and the other thing I don't like is improvisation, I spend a lot of time writing my scripts. So when they come in for an audition, I'll say to them, Look, no improv, you've got the script. So I just want to see how you go with the lines. Let's rock and roll. And so yeah, it goes for about half an hour. And I get a really solid idea then of who they are as a person, how they are as an actor, and how they're going to go with this character and these job.
Alex Ferrari 21:57
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So locations can be tricky. Yeah. Luckily, I try again, this all goes down to the writing. So when I'm writing something, after I always write it with no limitations. And then once I edit it, that's when I'm thinking about my limitations. So when I'm editing, I'm thinking about the locations. What do I know? That is, you know, where have I been so weird. The last one we did, which was a day in the life of a personal trainer. I'm like, Okay, I need a gym. So the gym that I actually attend wouldn't let me film there because they're jerks. So I'm like, okay, so I need to find a gym. So I asked a few mates of mine, you know, do you know have a good gym? And so one of them said, Yeah, I'm good mates with a woman that runs a gym. So I called her up. And I said, Can I come down and check out the gym? She said, Sure. So me and another production guy that I had on my team. We went down there, he took some photos and stuff for Simon to look at. But she pretty much just gave me a tour of the gym. So you know, this is the leg press. This is the this, this is the that. And so we walked around. And it turned out to be a really, really great venue to shoot out because she had everything that we needed. And there was plenty of space and all that sort of stuff. So it was really cool. But yeah, it's about trying to find places that I kind of already know. And then if I don't, I just have to ask as many people as I can find, because it's not like I can just get in my car and drive around town and look for places. So it's again, it's just about sort of improvising the best I can and trying to work my way around it. So we needed six locations for the last film I did. And some of them were really tricky to find the public swimming pool was hard. The cafe was tricky as well, but it's about sort of just you know, finding resources where and how you can you know, it really is. Now how do you make money with your films? So people just go on to the bns productions website. And it's direct downloads, there's no third party involvement. So people just download our projects directly off the website. So I'm production and distributed all in one. So it's a completely independent process that I do. So yeah, people just like I say, they just go to the being arts productions website, and they can download any project they want directly off the website.
Alex Ferrari 25:33
And now do you Is this the only revenue stream from these projects?
Yeah, I don't sell them, I don't go to festivals, I don't do any of that sort of stuff. I just just concentrate, I kind of describe it because I have tried that sort of stuff in the past. And it's, it's a bit of a nightmare. To be honest, it's all very political. And it's all you know, it's very time consuming. And it's, it can cost you a lot of money as well. And so I figure, I described it to one of my production crew the other day, as in, I'm going to play football in this field over here. And you're all welcome to come over to my field and play football. But I don't want to go to your field and play football, because it's just too busy. And it's too much for me. So I'm just gonna stay in my field and play football, and you can all come and play football in my field. So that's kind of how I look at it, I do my own thing, and they can do their thing. And hopefully, people come and they check out my work, and they enjoy what I do.
Alex Ferrari 26:32
Now, do you? Um, I just had a brain fart sorry. The Well, what, what, first of all, what, what's the next project you got going on?
Well, I'm in sort of a I get in sort of mood. So I'm in a documentary kind of a mood. So I've done a few documentaries. The last one, like I say, was all about the fitness industry. I've done one all about the so called war on drugs. I've done one about the environment. And I've done one about the pornography industry. And so I think I'm gonna do another documentary. I'm just in the process of finishing the writing of a couple, I've got a few little things going on. At the moment, I just need to decide which which angle I want to go with a bit. It's all about the promoting of the fitness one at the moment, because that's, that one's only like two weeks old. So that's the Yeah, so that's the one we want people to go and watch and laugh and enjoy.
Alex Ferrari 27:30
Now, how do you how do you get people to come to your site and actually buy stuff and watch stuff? Well, how do you marketing?
Well, through kind people like you, Alex, come on your podcast, telling people all about being arts productions.com, that it's all about? I mean, you are in all seriousness, you are correct. Marketing is by far and away the biggest challenge I have, there's no question. So I've got Amy now who does. She's been with me for just on two years. And she does all my marketing stuff for me. And she's incredible. She's helped me tremendously over the last couple of years. Because I mean, that's not something I've studied at university or knew much about. So I was just sort of doing the best I knew how to do you know, and then when I had enough money to employ someone, I was like, Yes, finally, I can actually get somebody with some skills in this area. So she's great. So yeah, it's all about just like, obviously, I'm all over social media. So Facebook, Instagram, Twitter, LinkedIn, YouTube, just type in being arts productions, and I come up and you'll see all kinds of little ads and promos and all sorts of stuff there to get people over to the site. And then obviously, doing media interviews, so TV, radio, podcasts, any magazines blogs, whoever will have me on pretty much all the old chat to them and tell them all about the great work that we're doing a peanuts productions and hopefully, enough people hear me and come and hit up the website and download and enjoy our work.
Alex Ferrari 29:02
Now you actually have a staff or you have people that work with you all the time that you that you have like a kind of do you have a big staff, a small staff that you constantly do it? Or is it a per project kind of thing
Ihat I've got about? Well, I've got four permanent staff and then it's then I employ as I need so obviously the actors tracted for when I need them crew and then same same with any extra, extra crew, man, I've got my key crew that I always use, but if I need it, I mean, we did a film a year or two back now that needed an explosion. So I had to hire a couple of special effects guys to do the explosion for me, which was really cool. I've never blown anything up before it was a lot of fun. I can't wait to blow something up again.
Alex Ferrari 29:46
It is it is quite fun.
Actually, the just really quickly the guy Chris, who was the head head explosive, dude, he I said to him as he was setting up the charge. I said to him, how long have you been doing this? Chris, he said 19 years I said you've still got all your fingers. That's a very good effort. So
Alex Ferrari 30:05
It's a good time.
Yeah, absolutely. So, but that was Yeah, that was that was a lot of fun so that actually people can on the homepage of the beenox Productions website, people can see that explosion video because it was a little 32nd commercial I did to promote the production company. So yeah, that was a really fun little shoot that we did.
Alex Ferrari 30:26
Yeah, if you definitely don't want to hire the, the the Pyro guy that does that doesn't have a few fingers. That's not a good sign
Half an arm and no eyebrows.
Alex Ferrari 30:37
Not enough, probably a good guy for pyrotechnics. Now, no golf, I gotta ask you about what keeps you going, man? What keeps this this dream going? Because you've been doing this now for 12 years, at least with the production company? And I'm sure you were doing things before then. What drives you? What kind of keeps things going for you, man? Because I'm sure there's ups and downs like everybody?
Absolutely, absolutely. It's not one big. I mean, like I said earlier, I would love to have bigger budgets. And I could have, you know, more crew, which would make life a lot less stressful. I could, you know, I wouldn't have to worry so much about finding locations because I could build some awesome sets. I mean, I'd love to have bigger budgets. But at the moment, that's just not possible. But to answer your question, I got asked this actually the other day, and it's really quite a simple answer. And that is that there is 7 billion people on this earth. And I won't be satisfied until all 7 billion people have watched to be in arts productions film. I mean, I want to entertain everybody, I don't discriminate, I think everybody needs to see my nonsense and be entertained by it. So I just want to entertain folks. And so I've got scripts, that I've still got a bunch of scripts that I want to make, I've still got a bunch of ideas that I want to turn into really entertaining film. So I just want to, I just want to entertain people. That's what I think that's what I was sort of born to do is just to make people laugh and entertain folks, that's what I thoroughly thoroughly enjoy doing.
Alex Ferrari 32:06
And I think you've also were born to inspire, don't don't think i think there's a little bit of that as well. And you sir.
Thank you, thank you very much, Alex. But at the end of the day, you know, when someone watches one of my films, and they're having a laugh at a joke, or whatever. And you know, for that moment in time, they forget about the fact that their wife just left them or they've just got some money troubles or whatever, you know, it takes them out of themselves, and they can get a bit of enjoyment from something I do. And that's, that's a real buzz to be able to do that for somebody you know, to make them laugh and to make them happy for a little while. I think that's a, that's a really important thing to do. And there needs to be in the world we live in today, Alex, there needs to be more of that, you know, there needs to be it's a real shame that there's not more independent films out there that can entertain folks. And so people can, you know, have a good laugh and get some entertainment, you know, so we're, yeah,
Alex Ferrari 32:59
I'm trying, I'm trying, I'm trying to get the word out, man, I'm trying to help them. I'm trying to get more of these out there.
That's why again, that's why podcasts like yourself are so important so that people like me can come on and, and tell folks about you know, being its productions and their production company and their scripts and their ideas. And people can go and get themselves entertained and enjoy themselves and watch some really quality because there's some really fantastic independent entertainment that doesn't get watched. And it's really sad. So people need to be encouraged like you do. People need to be encouraged to go and, and hunt out that independent entertainment and get themselves whether even if it's a, you know, a live band or a comedy club in their local town, they got to support that kind of stuff.
Alex Ferrari 33:43
Absolutely no question about it. So I'm going to ask you a few questions. I asked all my guests. What advice would you give a filmmaker wanting to break into the business today?
Well, I think I probably summed it up better. Earlier, when I said grow a pair just I mean, he just got a, you just got to do it, man. I mean, seriously, like, if you put obstacles in your way, then that's you putting obstacles in your way that the only person stopping you is you. So you just need to find a way that there's always a way I mean, I wasn't able to get traditional funding. So I made a documentary, I put that online, I got sales, and then I was able to make another film and another film and now I mean, it's not the kind of a financial planner probably wouldn't recommend recommend my business model. But you know, at the moment, it's working, and so we'll stick with it, you know, so you just got to find what works, you know, and get stuck in.
Alex Ferrari 34:37
There's at least four or five t shirts and anything you've everything you just said at least four or five t shirts that you could put that put what you just said on it and sell them I'm serious. Now if you do that, if you do that I want at least 20% obviously, obviously, sir, obviously. No one lesson took you the longest to learn whether in the film industry and in life?
A that's a really good question. Um, I guess, yeah, just not to take things so personally, and not to not to get down on yourself and on the situation, you know, because it is difficult. I mean, especially when you have a disability. I mean, someone says to you, you can't do that, because you're blind. I mean, that's discrimination. I mean, it's like, it's no different to racism, you can't do that. Because you're black, you you're not going to sit on this bus or you're not going to go to this receipt in this restaurant, because you're black, it's no different. You know, you can't do this. Because you're blind and on. as a little kid, you think to yourself, Well, how would you know, you don't know me? What would you know what I can and can't? Do? I just met you five minutes ago, how dare you tell me what I can and cannot do? That's really disrespectful. It's rude. It's inappropriate. I mean, and it can, it affects people mentally. That's why I made the documentary as well, because a lot of people, especially in Australia, who have a disability, also then go on to have some kind of mental health issue as well, because of the high levels of discrimination they face. So it's an I was no different. I mean, you know, there was a time there where I was, you know, really, really down because of people were just going no, go away. And it's and I'm like, but I've got this really funny script, and they're like, well, we don't care how good your script is. Go away. And then, so it's, it can get you really, really down. So I suppose it took a long time for me to sort of figure out well, you know, screw them, what do they know, you know, you just got to, and it's easier said than done. I say, you know, I, you just got to grow up here and get into it. And that is true. That's what you need to do. But it is easier said than done. But at the end of the day, you just have to suck it up and do it. Really? I mean, it did take me a long time to sort of get my head around that it really did.
Alex Ferrari 36:57
I mean, it is hard it is it is easier said than done. But what choice do you have? If you want exactly you want to go down this road? You've got to jump in the game. If you want to play you've got to jump in the game.
Absolutely. That's That's precisely I mean, I'm not ashamed to say I saw a few psychologists in my time. And one of them said to me, Well, you chose this industry.
Alex Ferrari 37:22
You're not a prisoner, you're not a prisoner.
That's it. You're the one that chose this industry to be in. So what are you waiting for? Just go on, do it.
Alex Ferrari 37:32
If you want to get if you want to get hit by a car, you got to step in traffic.
Like she said, This is what you keep saying you want to do? So do it. Right. Yeah. And she's I mean, again, it is easier said than done. But the end of the day, she is correct. I was the one that chose to do this as a career path. So therefore, it's up to me to make it happen. So I mean, it's the same if you want to be a cook, if you want to be a builder, yeah, if you choose to be a bricklayer, that's your passion in life is to build houses, then stop building houses, you know, but like, yeah, it's just about making sure that those people, those ignorant people that want to put you down, you don't allow them to affect you mentally and affect your mood, you'd have to find a way to move past that and to move on, you know, and that that is the tricky part.
Alex Ferrari 38:23
No, it's it's so true. I mean, there's so many filmmakers out there who are like, Oh, this business Oh, I, I, you know, it's not letting me do what I want to do. And I want to do this, and I want to do that. I'm like, well, do it. It's we're in a place now where you if you want to write write, writing is the cheapest thing you could do in this business. You can have 30 or 40 scripts sitting there and cost you nothing to do.
Well, there's a there's a very famous Australian, he ran a wonderful skit if people jump on YouTube, and they just thought, I mean, they should be looking at being arts productions or film hustle. But after they've done those two things, there was a guy called Ian McFadden who did the comedy company in the 80s, here in Australia. And it was a sketch comedy program that was massive here in Australia. And I saw him speak because he's now a lecturer at university. And I actually went to one of his speeches. And he actually said, Look, it has never been cheaper and easier to make a TV because he's all about TV. So he said, it's never been cheaper and easier to make a television show, but it's never been harder to get seen. So he said, it's, he said, I if you gave me $1,000, I could give you a half hour sketch show. But then getting it onto the networks and getting it seen. That's the tricky part. He said, it used to be the other way around. It used to be really expensive to make stays there back in the 80s. When we were doing the comedy company, it was really expensive to make it but it was really easy to get it on television because there was nothing else for them to air. So they were but I mean, everybody's got reality. shows all sorts of crap that they're punching through. So it's Yeah, and he is correct in what he says it is true. It's never been easier to get stuff made because the equipment's cheaper, you know, everything's cheaper and easier to do with digital. I mean, things are easy to edit. They're easy to put together, put in special effects easier. Everything's easier to do. It's just harder to get it out there and get it seen. So that's where the shift has been.
Alex Ferrari 40:24
That's where that's where the marketing and the social media thing is so important.
Absolutely. 100% Yeah.
Alex Ferrari 40:30
Now, what are three of your favorite films of all time?
Ah, that's a good question. I, I've got so many though. It's hard for me to narrow down or go with a kind of go with more obscure sort of dark comedies. There's an English film called still life that I really, really love again, probably nobody but may have seen it, but it's a really, really fantastic, really dark comedy, which I really love. The more commercial I really loved actually, there's two Jim Carrey films that I really love. And they're not the ones that people probably would naturally assume. Cable Guy love. No, not the Cable Guy.
Alex Ferrari 41:09
That's a dark comedy.
To be honest, to be fair, I didn't think that was as bad it was. It was. It wasn't as I liked it.
Alex Ferrari 41:15
I actually enjoyed it, too.
There was there was some funny lines in there, man. I didn't think it was that bad. Anyway, anyways, I really, I really love I love you. Philip Morris, I thought that is so that was so funny. And so cleverly made, the way that's directed is just genius. They are so, so clever. Those boys do some really good films. It was so well made. And so funny. And he was really great in it. And also, I love The Truman Show. I thought that was really fun film as well.
Alex Ferrari 41:42
That's a classic, but it's a masterpiece what they did in that film.
It is I just like both of those films because the ideas are so rich. Well, I mean, I know I love you, Philip Morris is a true story. And I often find I really enjoy watching True Story films. I find them to be really interesting. But I know that's true. But this story is so unbelievable. It's just and the way they did it so funny. And like you say, Truman shows just a classic. And it's such an original idea because it was reality television before reality television even existed. Yeah. It was a really clever idea. And again, the way they made it was so clever. And I tell you who's underrated in that film. Is it Harris Oh, that guy. He's the best villain. I didn't. I didn't see him as a villain. But he so well cast because he was creepy as hell.
Alex Ferrari 42:35
He was amazing. He was amazing in that movie. So Goffman Thank you. Well, first of all, where can people find you? I know we've mentioned it a few times of this show. But just to be clear, where can people find you in your work?
Absolutely be a nots production. So people need to have a beer, get some nuts, and watch my productions. Just beernutsproductions.com. And they'll find we've also got on there, we've got audio downloads and books as well. So there's so so if, if they don't feel like watching a film, they could download a couple of the audio sketches that we've done or or read one of the books as well. But But yeah, so there's plenty up on being nots productions to entertain them. And like I say, all over social media. So make sure you hit up YouTube and Facebook and all that stuff. And you'll find peanuts productions Everywhere you look,
Alex Ferrari 43:21
I'll put I'll put all those links in the show notes. God, thank you so much for for coming on the show and, and showing people and showing the tribe that there is nothing that's stopping you other than yourself. And you could just do it just grow as you say, grow a pair and get in the game.
Absolutely. Absolutely. And, Alex, I really appreciate your time. And it's been a lot of fun chatting with you today.
Alex Ferrari 43:47
Like I said before, I don't want to hear any excuses from anyone anymore. Gough is an inspiration, man. I mean, how he could just keep going no matter what is a testament to his ability to just go and hustle and move and make it happen no matter what. So Goff thank you so so much for sharing your your amazing story with us. And I really do truly hope it lights a fire in the ass of every filmmaker and tribe member listening today. And if you want links to golf in his work, and anything else we talked about in this episode, just head over to indiefilmhustle.com/261. And if you haven't already, please head over to filmmakingpodcast.com and leave us a good review on iTunes. It really, really helps us out a lot. And I want to thank all of the tribe who've been sending all of these amazing emails and messages, congratulating me on my film on the corner of ego and desire getting into the rain dance Film Festival. It means so so much and thank you for sharing your stories with me as well about your projects and what you're doing. So keep going guys no matter what happens. It is up to you to make your own fate. It is your job to make the life you want. As always keep that also going. Keep that dream alive, and I'll talk to you soon.
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