IFH 804: How I Made a Cult Zombie Movie for $75 and Took On Hollywood with Marc V. Price

Alex Ferrari 0:24
Enjoy today's episode with guest host Dave Bullis.

Dave Bullis 1:45
On this episode of the podcast, we have a returning guest who gained fame from making a $75 zombie film. It was actually a feature length film. Cost $75 or 45 pounds, and it was an absolute independent film smash hit because it went to all the different festivals. We were not going to talk too much about that, but we because we've already talked about that the first time he was here, but we kind of touch on it again, but now he's back with not one but two movies, night shooters and a fistful of lead which is actually going to be distributed by Sony. We're going to talk about that as well with guest Mark V. Price.

Marc V. Price 2:33
Well, I haven't been to a cinema in ages. I can't go because I'm stuck finishing up this film. So I have had a chance to really get into, you know, an air conditioned cinema and just hide from the sun.

Dave Bullis 2:44
But we'll see. That's a good problem to have, though, you can't watch movies because you're making movies.

Marc V. Price 2:49
It is true. Yeah, I think a lot of my friends like, I've seen this, have you seen this? And I'm like, Oh, mate, I'd love to, but I got time, you know, I found the time to go and see solo, which is unfortunate, but hey, I did it. It's a thing. But yeah, it was a really empty cinema as well. It's like, literally me. It was just me. I wandered in. There's a bank holiday in Stratham in London, so there's, there's loads of kids around here who would just go to see anything, just to talk. So I was like, Oh man, I'm screwed. This is gonna be a horrible experience. And although it wasn't because of the audience. There was no one there. And I thought, Wow, this film got the audience. It deserved absolutely atrocious. But I feel bad hating it because, you know, I kind of want to be a little bit more supportive of films that I love, and kind of think that I'm lucky to have Star Wars movies. And I remember thinking when I was a kid and there wasn't even that much of a gap between them. How, like, starved I felt the Star Wars content. I never went to the expanded universe for any, for anything. I never really interested me. It was the films I was interested in. And, yeah, all I had was two we walk movies, which, at the time, I loved, like, but yeah, that's, that's me.

Dave Bullis 3:59
Yeah, no, I completely understand. Man, after the last Jedi, I am done with those Star Wars movies. I don't care anymore. I begrudgingly, okay, so I mean, just to give you a quick of the past three Star Wars films, okay, yeah, The Force Awakens, The Last Jedi and whatever the hell the other one was called, yeah, I don't even remember. That's how much I care. They all felt like the same movie. I had no clue what the hell was going on, and I'm just like, Okay, well, it's over now, and I don't even know what this was supposed to do. I mean, is this supposed to set something up? No, because that didn't feel like that. Was this supposed to be a self contained movie? No, didn't feel like that either. What the hell is going on? See, the my whole thing was, I the whole thing was soup snook Snooki,

Marc V. Price 4:50
Oh, so then, like, I gotta say, Up yours. I absolutely loved the last Jedi. That was the one I loved the rest of them. I was like, Oh, all right. Like, so that. But that was the one I love. But, yes. Snoke with this crazy sesame street name, Mr. Snokealafagus. And I was like, What the fuck is he called names like Mr. Bastard or something that's definitely evil, but Snoke God's like, Oh, he's gonna teach you how to say the letter F.

Dave Bullis 5:17
I was gonna say. He actually was a cool character because, okay, he can control, he can read people's minds. Okay, now you got a really, really tough villain here, and he was defeated so easily. And I go, well, that that's there. There goes. That was so anti climactic.

Marc V. Price 5:33
Oh, I honestly, it was the complete opposite. I think this is the disparity between Star Wars movies. I think the one, particularly with this one, because it seems to really be pulling people in different directions. And directions. I was like, I was watching it going, okay, Emperor, shit. We're gonna see him in the next one. And then I suppose you probably get killed before Kylo Ren is like, I'm sorry. I killed my dad, you know, or some shit like that. And instead, I got this scene that wiped him out in a way that I thoroughly was like, fuck yeah, this is awesome. And now I have a character. I have no idea where Kylo Ren is going in the next film, so I'm really interested. Now. I'm really, I'm really, I'm like, I'm in. I want to know what they're doing with him, because he's not evil enough to want to be killed. He's not a good guy by any stretch of the imagination. He's a really interesting, conflicted character. I don't know what the story is going to do with him, so I'm kind of curious. I'm in a position where I don't really know what's going to happen with this character, and he is the most compelling character in the movies. And so I'm kind of in, I'm I'm on board, and I curious to see what JJ Abrams can do when he ends something. For a change, he normally starts stuff, which is why all of his stuff has these mysteries that he doesn't give a fuck about, and there's no plan to end them now he has to. And I'm kind of curious to see what he's going to do with it, to be honest. But I don't, I mean, I don't, I don't love it enough to I mean, I love it a lot, but I don't, you know, I'm fascinated with the debates. I love listening to them. I'm loved looking on YouTube and seeing all the the angry, angry hates. I'm like, Oh, this is really interesting. And I love how Chris McQuarrie, although he's got nothing to do with it, and Ryan Johnson is not like dealing with it on Twitter. Like, this is fascinating. It's just amazing to watch. It's like, I love trashy TV. And it's like, trashy TV. It's these, these bickering arguments. I'm like, Oh, this is amazing. It's just a movie. It's okay if you didn't like it. I thought Rogue One was fine. And I kind of know the guy who made it. It's like, it's, you know, it's Rogue One, yeah, boring as fuck. But it was, it was, you know, the end battle was great. I know one of the X Wing pilots, you know, the one who could act, you know, so it was, it was fine. It was, it was a decent it was, it was an experience. They're all an experience. I just think that with solo, I was by myself and so bored. I was so bored. I was just sitting there going, I could text my girlfriend right now, and I'm not gonna be irritating anyone this cinema. But the downside is, if she replies, and I get into a conversation with her, and this film suddenly gets interesting for about 20 minutes, I'm fucked. So I was a very good boy. I behaved myself. I watched the film and I was I was just so bored. Oh God, that robot, that fucking robot was the worst things, worse than JarJar Binks, much worse than judges. Did you see it? Sorry, I shouldn't.

Dave Bullis 7:51
I haven't seen it yet because, after the Last Jedi, I'm officially just, I'm I don't want to say I'm protesting new Star Wars movies. I'm just, I'm going out of my way not to watch them. Let's just say,

Marc V. Price 8:15
I mean, I'm not say, like, you know, just download it without any money going back, although I think they've learned a lesson of some sort. I don't really know what that lesson is. Maybe don't make movies about characters and don't give a shit about it's like Han Solo is such a non character in Star Wars. I like, I think ham supports cool as fuck, and I love Han Solo in those movies. But you know, as an adult watching within the Jedi, he contributes literally nothing to that story, like he doesn't do anything. He just stands there and pulls derpy faces and doesn't do anything. And I'm just, I'm really kind of as an adult. I'm watching it going, it's amazing how everything sort of switched around for me as a kid, watching to the Jedi, the stuff with the Emperor and Darth Vader was always the boring bits as an adult. The stuff with Darth Vader and the Emperor and Luke is are the best bits. And there aren't enough of those moments in that film for me. So it's, it's, it's nice to see a film that's grown but, yeah, Harrison throws the characters, nothing there. He doesn't have a theme. The fucking Millennium Falcon has a theme. Han Solo doesn't have a theme in a movie. This the score that's peppered with Les motifs is there's not even a theme for Han Solo. It's fucking so they made a movie out of it was like shit. They didn't even come up with one for that. It's just, is it? Yeah, it was, it was, it was not a film I liked much. I wouldn't recommend it. But also, yeah, definitely watch it to have a good old because there's plenty in there to hate. It definitely makes for a more fun conversation. But yeah, there's a real boy in it that's worse than Jar Jar Binks. Like I actually quite I'd never hated Jar Jar Binks. I thought, I thought he's shit as he was, at least he had a really cool, like, at the end, at the end battle in found the menace. I kind of thought, yeah, he works. He's making me laugh. He's tripping over droids and accidentally killing things. That's fine. I'm alright with this. But yeah, I think the rest that, yeah, this, this, this droid, this, this droid, clearly played by another part. British actress who's never heard the fucking word droid before. You know, I mean, it's like, it's, it's weird. I don't know why they keep picking actors who don't give a shit about the thing they're in when there's a legacy of actors who chose to be actors because of stars who you could find who would love to do it would bring a lot to that character. Does that make sense?

Dave Bullis 10:28
Yeah, that makes perfect sense. Yeah. The word droid, I know it's, it's, it's an interesting word. So

Marc V. Price 10:35
Well, it turns out that Luke Skywalker is something of a slave owner now, because that's how they paint the picture of droids in solo. And I was like, oh shit. That's weird. I got on this road. It's, you know, it's like, oh yeah. I mean, yeah. Like, those, those R2D2, and all those guys get a little bit shit on, but you know, it's because I don't know. I've had to think about it now. I've had to think, fuck, what is this like? It's, maybe it's that Luke and no one understood that these things feel even though they yell and scream and they panic and they express fear and, you know, so you might get a lightsaber, then I have a lightsaber fucking bottle of man, yeah, I clearly have a love for Star Wars.

Dave Bullis 11:23
Yeah, I know we the last, the the original 3,4,5, and 6 are just, you know, I think they're universally loved. I actually one, two and three. I mean, they're not, they're not perfect. They, you know, least there was some love. I think George Lucas actually like, put some love into them. He did like making them. And you could tell, even though they weren't, they were, you know, some moments were like, What the hell is going on here? And you could tell there were some moments what made no sense. Like, for instance, in the in The Phantom Menace, when young Anakin jumps into that, into that fighter pilot, sorry, plane, and there's a perfect size helmet just for him. Wait a minute, why would there be a children's size helmet in a in a plane meant for grown men or clones, or what have you, so, or robots or the hell they were using. So then

Marc V. Price 12:16
What I've always loved with things like that is that, like, those aren't accidents, like someone would have had to have designed that. And I think George juice is like, George is like, yeah, no, they'll never get it. It isn't that cool. Like, I always love those things, those those moments, and I always try to do, I throw a lot those moments to myself and say, right, to see if we can get away with this, and if you but I think it's kind of gone a weird way where people spot things, they resent them. They're like, you try to trick me, you son of a bitch. It's like, no, no, it's meant to be all part of fun and games. Come on, guys. But I like the prequels. I don't hate them. I'd like, I could see what the problems are, obviously. But I kind of, you know, I think, like James Cameron say something really interesting where he felt that those films took big steps, they took risks, and they they were huge steps. And, you know, collectively, in many ways, they failed, but in other ways they were. You know that you've got to I'd rather have the films that take risks like that, instead of The Force Awakens, which I thoroughly enjoy the first two thirds of. But then it just becomes a bit of a nostalgia thing with Han Solo and Princess Lea, I'm like, Look, none of these people want to be here. Like, like, I had a happily ever after with these characters that I knew was going to be destroyed by making a sequel. You know, at least George Lucas was smart enough to go, you know what? You go back. There's a happily ever after there. We're not going to come back to this. So we'll go to a prequel, and we'll, we'll go to where this all started, and see if we can tell a darker story. And I was like, Okay, you can't. You can't fault that, like, that understanding of the story that's told up to a point. And yeah, and I think that, like, so the second hand solo comes back. I'm like, Well, my happily ever and happily ever after ending is gone. So everyone's Hadrian, what Luke had become. I'm like, Well, what the fuck do you expect? Like, the Han Solo wasn't Han Solo in The Force Awakens by any stretch of magic. It was more Indiana Jones in the last one that nobody liked, but he was Han Solo in Force Awakens, which everyone seemed to love. So, okay, well, I think, you know, this is not necessarily, the characters aren't going to be the characters. They're going to be sort of like the actors playing different versions of the characters. It's, you know, it happens, I guess it's, I've accepted it, and I'm in a good place. So however, this next film is, I'll be excited for it. It'll come out. I'll be underwhelmed, or I love it. I don't know we'll see but, you know, I'd like to see more, you know? So, yeah, I just wonder what direction I just want them to be special, you know, I want one a year. That doesn't seem to be working very well.

Dave Bullis 14:38
Yeah, it's, I think for the next one, whatever that is, I heard that they're just going to go right to VOD with it, no Theater, which, which, honestly, is probably a good idea for them right now, with all these movies,

Marc V. Price 14:53
Did I mention last time on my idea for one, I got to spin off one, right? Cigala. This is gonna be fucking cool. Essay, Max Rebo band, right? Start in jazz, they survive that explosion. They're like, Fuck this. Max, fuck you. I'm out of here. They'll say, you know, Glebe off, or whatever, you know, alien language. So they're essentially saying, fuck you, you blue elephant cunt. But they'll say in a, you know, in their own alien language, so we can have in our kids film, and that is and then they'll split up, right? And then max will be asked by the emperor, like, I've got this plan, I'm going to destroy the fucking rebels on end, or it's going to be amazing. I want a big party afterwards. So Max Rebo band is asked to reform, just like the Blues Brothers, where he's going around trying to get the band to reform. They reform. They go on to Death Star. Shit starts going down. It's about them trying to get off the Death Star during the Battle of Endor. And they they end up thinking they booked a really cool gig, and they're the cunts. They end up playing yob nub. There we go. That's That's it. That's going to be the story. Low stakes, high octane, Max Rebo band. Blues Brothers. The blue brother will call him because he's, you know, a blue elephant, I suppose. There you go. That's my max. We both story. That's my pitch. How long do you think I kicked me out the room really quick or something.

Dave Bullis 16:12
No, no, they I think they'll green like that at this point. I think they might give you a, you know, like a mill, maybe two mil range, make bigger a gritty independent film, you know, on the long lines of the Blues Brothers and I got it, man. And in fact, you know what they're gonna say, keep all that language in there. So it's gonna be completely different.

Marc V. Price 16:36
It'll be so far like the sexiest Star Wars movie ever. And there'll be like, then I in the Jabba scene. We'll put all these little references to the to the to the special editions where, like, that blue fuzzy thing starts singing, and then someone's like, what was this? It was this? Was he always here? We always in the band. And since when did this singer get so much dexterity? She used to be a little potato on toast picks because she's running around, going up to cameras and blowing her lips. So what the fuck what's going on in here? We used to be a band. God damn it.

Dave Bullis 17:09
You pitched this to Kathleen Kennedy. I think she's gonna say, here's what would happen. Okay? She'd say, everyone can, can you leave the room and just leave Mark and I to our by ourselves, and everyone's got, everyone's gonna go, oh shit. So they're all gonna get up and slink out of the room. And she and they close the door, right? And she looks at you, and she says, Mark, I'm glad that finally somebody has had the balls to come in here and tell me what it's really like. And she's like, I love this thing. We're gonna give you that the x millions to make this, and she goes, it's gonna be a Star Wars for a whole new generation. It's gonna be a punch to the gut. And if anyone doesn't like it, they can fuck off.

Marc V. Price 17:50
I'll say it as well. We're gonna put a Christmas tree in it, right? That makes it Christmas movie. Means that every fucking Christmas is on a lot of lifetimes worth of residuals. It's gonna break it's gonna be perfect. I've got my Star Wars sequel plan, and any of that shit will translate to a Marvel movie either as well. So they want me to make stilt man. I'm like, Yep, got it. Here's my idea. Still man as a band. Boom, it'll take up to be fine. I'm sorry, buddy. I'm waffling. I should, I should, I should. I should let you I'm already sucking you away from your Fourth of July celebrations. Too much, so I'll be good and stay on target.

Dave Bullis 18:26
All I'm gonna do is work. So the only thing there is no Fourth of July celebration to me today, I way, way too much work to get done. But I'm a workaholic. I'm one of those guys, Mark that'll be on my deathbed just wishing I worked more. Be like, I wish I had worked just that one extra hour, and then I'll finally throw my body in trash. But, but, but, you know, it was great talking about those Star Wars movies. I could just imagine you at the bar or the pub later on that night, and you're sitting and your tunnel, your friends, you're like, listen, they actually bought that pitch. Now, I'm, now, you're like, I don't know what else to do now, like, I have to actually make this thing. Don't worry. Like, don't worry, we got you covered. And then it's it. And then it's just, you know, it can become a hit. It could be speaking, just be the new Star Wars type that, you know, take somebody from the background and make them a star the next film,

Marc V. Price 19:21
Exactly. It's gonna go on like that. That's so they all work. Though it's fine. Oh man, yes,

Dave Bullis 19:27
So so cool Marc, yo. It's been a while since, I mean, you know, I'm just gonna keep rolling with this if you're happy with it. Oh yeah, of course, of course. Yeah. Because, I mean, honestly, I think this is hilarious so far. So, you know, last time we talked, I mean, you made Colin, which was, which was this, you made it for 75 pounds, right?

Marc V. Price 19:44
I was, I think $70 was the line, and then 45 pounds was the UK line. There was a, some conversion that went on there. And, yeah, so that was, by the, be honest, that was, there's just that was, if it cost that, I mean, it was a home movie made during a time when I was living. An overdraft, and you know, much younger and more had more ingenuity, and so we just sort of made that movie without spending any money, really. And because it was a zombie movie, the nature of the zombie movie allowed us to incorporate anything we could find and say, Isn't this a cool weapon, brilliant, let's use that. So it kind of it just sort of evolved, really. And the improvisational nature of how I like to make things anyway, kind of carried forward. And yeah, and then we just made that movie. And, yeah, it somehow got released, which is still crazy to me,

Dave Bullis 20:42
yeah, well, because I remember talking to people about that movie, I was at a networking party, and I said, Man, you you know, I just read about this zombie film called Colin, and it was made for, you know, like, 45 pounds, 50 pounds, and you know, it's getting rave reviews, and I'm thinking to myself, you know, what could they have done? And when I finally was able to see it, I was like, You know what? This was fantastic. And I'm not just saying that because you're on the podcast. Mark. I was like, you know? And so there's, there's two zombie films of the past 10 years that are worth anything. Um, one is Colin, yeah. And you know what the other one is? Can you do? You want to take a guess?

Marc V. Price 21:19
I want to say Zombieland, because that was great. I love that, but I imagine it's probably something cooler, but I should

Dave Bullis 21:26
So it's the movie called the Battery. Oh, shit, I don't know that. So Colin and the battery two zombie films, and they're the only zombie films of the past, like 10 years, maybe even since the remake of Dawn of the Dead that are actually worth anything. I did not like Zombieland too much, by the way.

Marc V. Price 21:45
Ah, cool. Hey, I'm looking at the battery now. Oh shit, man, that Okay, that looks pretty sweet, right? There we go. That's on the list. That's the features that you can diagnose this, how this could go, no how I didn't play this. I didn't say, Oh yeah, the battery. And they just hear the sort of typing of the keyboard. I was like, I was honest. I'm like, Oh yeah, the battery, the personalities are two former trivia all the can who's seen a shit? Read the synopsis, I read the crop version. Oh no, this looks great, fool. I wonder if good bad flicks covered this actually, you know, there's a, there's a YouTube channel called good bad flicks. I'm really into a great guy. He's got this a back catalog of really obscure movies that he always sort of showcases. And although it's called good bad flicks, he's not like he doesn't present them as, oh, it's so bad, they're good. He just says, I love this film because, and it's nice to see such in depth, you know, not pretending they're anything other than the films they are, but honest sort of reviews of these really interesting movies that this. You know, the guy who runs it, I think his name is Cecil, just loves you know that their films are very personal to me. Grew up watching and some of them are ones that I caught as well. So is this great? I highly recommend the channel if you don't, if you haven't subscribed already,

Dave Bullis 23:09
It's, I'll put that in the link in the show notes. I haven't actually checked out that channel, but I definitely will, because I'm glad you clarify that too, by the way. Because sometimes, right when I see channel names, you know, I kind of go, Well, you know, I could take this a number of different ways, because, you know, language isn't perfect, and English, as we both know, has so much slang in it that sometimes you're like, is bit when I say bad, then does that mean good? You know, it's,

Marc V. Price 23:34
Yeah, yeah. Well, that's the point actually. Like, shit, were you rolling when I was slinging very insensitive swear words around I apologize. I'm gonna try to hold back on some of the C words. But you know, my best friends are coffee and an Irishman. So you know, it's like saying shit to me. No, it's not the impacts gone. Yeah,

Dave Bullis 24:03
Oh, I see, yeah, I see which, yeah. I mean, honestly, the podcast is uncensored, you know. And, I mean, and the British are known for their sense of humor, in fact, you know, let me, let me just rephrase that, the entire United Kingdom should be more known for their, their sense of humor.

Marc V. Price 24:18
Yes, of course, yes, as well. British is good, because I guess I fall into that, you know, that we're, you know, we couldn't make the escape that you guys could, that you're celebrating today. No, the Welsh were, we're all, we're all under the English we, I mean, I believe we tried. And then we just like, hey, look guys, this just, you know, what's the divide, really? And then I think we all just got along, although we have our own government. Now it's, we're still part of the UK. So it's a, yeah,

Dave Bullis 24:45
You know the sky, the Scottish, the Northern Ireland's the North Northern Ireland, Northern Irish, the, you know, the Welsh and the British. You know, all known for the sense of humor. So it's all it's all good. So that. So I think people would understand, you. But are you impressed that I actually knew what the UK was?

Marc V. Price 25:02
Well, I would have been, but you told me this morning that your mother was Welsh, so now I expect you to know everything, okay, how the UK is all to fight it

Dave Bullis 25:13
It was my grandmother. She, she's actually Welsh. I was a grandmother. Sorry, sorry, yeah, she actually came. She actually came over, uh, you know, directly she, you know, she came over when I don't know how old she was, but, yeah, she, she came over directly from, from Wales, and came over and, you know, started a whole life here. And if you ever saw me, by the way, I, you know, people ask me what my genetic makeup is, and when I tell them, like, oh, it's No, don't, don't even try it, because I'm actually, like 15% Cherokee Indian, Cherokee Native American. But I don't look like it at all. I look, I look, I look exactly like you. Do, you know, like some, some, some, just a ginger Welsh guy. You know, it's, we know that you're ginger, but you know what I mean?

Marc V. Price 25:54
I'm not. I'm not. I have a nephew who is, it's shit. This makes me look like a terrible I think he is. I mean, you look ginger. Looks good. He looks ginger. And I generally cast my eye on the other in the room, and I'm like, what's that noise? Oh, yeah, you're there. Okay, you know, here's some matches play with those. Your uncle's Awesome. Is he around me somewhere? I don't know. It's yeah, sorry, this isn't this is only funny to me. This is not funny to anyone. No one knows who I'm related to. This is a terrible angle to try and get a laugh,

Dave Bullis 26:26
So I think it's hilarious. Gingers don't have souls, so you can't give them matches because, you know, they're like, God only knows what they're going to get into

Marc V. Price 26:35
Exactly. There's only one way to find out. Like, I keep saying, When I get really, really sick, like, terminal sick. These are the guys are gonna have to be pumping me full of heroin on my last few days, just so it doesn't, you know, itch or whatever cancer does, you know. So I was wrong with it like this is how I'm choosing to face the death, the, you know, big creeper on the corner at any point with laugh to laugh at the face of death,

Dave Bullis 27:02
You have to Marc. And also they could have like, you know, great new designer drugs, and you're gonna like, no, no, no, I want the heroin. Just give it to me.

Marc V. Price 27:11
Yeah. I mean, it's the future diseases I'm gonna die from, the ones that turns into zombies like that. Would suck man to have some semblance of consciousness as I'm running around, like, snarling and spewing blood all over some, you know, attractive young fucking person who survives this sort of shit. You know, I've got zombie written all over me in a post apocalypse, I'm I'm fucked like I've got, I can contribute nothing like I'm gonna have to align myself with the strongest and try and do something to try and make sure that I'm not too lowly that, I guess, said that on raids to fight mutants in the desert, which I'm not used to deserts, you know, in I imagine the desert is going to be everywhere, because that's how apocalypse is work, and I'll be stuck. Yeah, I'm not a hero in a zombie movie. I'm definitely a zombie and a shit one too. And I'm just such a throwaway kill. I'm not even a memorable kill. I'm not a screwdriver in the ear or anything like that. I'm just a sort of, like, band kills dead. Moving on. You know,

Dave Bullis 28:07
Yeah, it's like, when the the horde of zombies comes into one of those movies and you've gotten the the hero has, like, a Gatling gun and just goes higher on. You're one of those guys. And just like, for a split second I think, like, I think that was Marc, I can't tell. All right, moving on.

Marc V. Price 28:21
Everyone's looking at my digital arm that got blown off. Yeah, that's everyone's looking at. No one's even looking at me. I don't have, I didn't even have good makeup. Like, I don't have season fucking eight, whatever seasons we're on, Walking Dead level makeup. I've got, like, season two, ran out of money, only two or three complicated ones. The rest of them are just dude shambling makeup. That's what I'll have.

Dave Bullis 28:44
Yeah, I had a friend of mine who's who just shot a zombie film, and he had that, he had the tears. So he said, if you're in the foreground, you're in a zombie, and you get the most makeup. If you're a B zombie, you get, like, a somewhat good makeup. And then if you're a C zombie, he said, somebody just comes by and throws blood on you and they call it a day.

Marc V. Price 29:05
We had a similar system on Colin and anything else I've done with zombies, where we have gold zombies, which now means they get some prosthetic work. We have silver zombies, which are your standard like, you know, the heavy latex stuff, bronze zombies, which are just like the one you described. Then we have lead zombies, which is just someone further back, nothing on them, just shambling and making a shape for their body, so like and then I never necessarily even keep them in the right order, so they're mixed up all over the place. So it's just a mess, which you might have seen in the clip I sent. Actually, that was the last zombie thing we did, which is the film within a film for night shooters, which I thought would be a really fun way to open the movie. And so we do, we open with a big, violent zombie action sequence.

Dave Bullis 29:57
Well, you know, I was gonna ask about that because I was saying to myself, you know, I know what the synopsis of the film is. And I was like, wow, you know, maybe something happens, but it's good. You mentioned that. And so let's start talking about, you know, before we talk about night shooters actually, let's just finish that. Thought about Colin, when you actually released Colin, you know, did that? Did that open any more doors for you? Do we were you just, like, you know, inundated with, like, different people approaching you about, about projects and such,

Marc V. Price 30:30
Yeah, I mean, the, I think a lot of works have happened after that, and then I think from that point, I think I was a little bit nervous quit the day job, really, so I sort of excited, really, lovely. So, like, late at night, evening job where it was just me and one other guy, and we were running this sort of courier company, and then they're a car service as well, like a prestige car service. So I was in the office there, so that's where I was sort of just doing everything, really. And it was, I was just a little bit nervous to leave, because that was a lovely job. And everyone there was really supportive and really, you know, I was able to just do whatever I wanted to do, provided, you know, I answered the phones when they rank, and yeah, so, but when I eventually did sort of leave, that was the scariest part, because I was essentially going freelance, and, yeah, and, but from then everything, there was always some work. It's just, it took a lot of getting used to that, that work isn't always there. So you have to sometimes go a little bit of a period where there isn't much, but that's when you are able to live off the last job you did. There's also little bits of work there, really. But I tended to do a lot more stuff that was in development and and I was really content. I mean, none of it got made. And I think after about, I think after about three years, I started going, Oh, Jesus, I should probably make something, because it, you know, you got to sort of try and keep the fires burning, if that makes any sense. And so that was the thing that I was always I started to get a little bit worried about. And then, yeah, we just started making things. So I made a low budget film called magpie. And then, and I mean, that did okay, I did five. You got a little US release for that very small release, but a very nice release. And after that, I got stuck into another film, which we won't talk about because I got five from that movie. And I don't want to give them any unwanted, any undue press attention. But I got kicked off that movie, and then whilst I was running around trying to get another one made, which turned out to be night shooters. Yeah, there's just, it was always work in between. So there was commercial work, and, you know, little pilots here and there that was asked to direct. So there's always, it's been, it's been work, but it's, you know, it's a scary bit of work. It's not, it's not the sort of work that makes you go, Ah, great, I can relax now. It's sort of work for me to go, Oh God, I hope there's something after this. I'm gonna make rent next month. So things like that, really.

Dave Bullis 32:57
So, so the, I mean, I know we you don't want to mention that the movie title, but what happens, though? Well, I just, you know, just out of my own curiosity, and also Joe, just to as a learning experience. I mean, whenever you get fired from something like that, you know, I mean, like, you know, two things. I mean, did you, I don't want to say, Well, did they give you a reason as to why they why they were letting you go.

Marc V. Price 33:23
Oh yeah, it was, it, was it? So it was definitely a politics thing. So sort of to talk around it. Was talking about it because it's, you know, it's gossip and it's fun, isn't it? So what happened was, I was, I was asked to, I agree to edit the film, and I my fee was very, very low, and I said, Look, I'll just do this, and if you pay me that fee, I'll edit it, and they're supposed to edit it. And, you know, I was given a good amount of time to edit it, but I, you know, and I got it done and, and, but, you know, we needed a lot of pickups. There were a lot of things that the production company failed to come through on, that we asked for that were sort of minimum requirements. So you're making a film without some of those things. And I'm not the sort of person to complain, so I don't even really know if they were that aware of how much of a problem that was. It didn't really come up, but they were fine with me shooting pickups, which is where we're going to make up for some of that stuff. So it was all fine, but I think the I'd invoiced for my fee to edit, because I was very careful about, you know, not taking work so I can concentrate on that. And said, Look, I need to invoice for this now. And although it wasn't part of the agreement, you know, the comeback was, oh, you know, we pay you when you finish the film. And I said, Well, no, that wasn't the agreement. The agreement the agreement was this, okay, fine. Well, we'll pay you now if and then there were a bunch of new terms that were conditioning that payment. And I said, Well, I'm not going to agree to any new terms as condition of payment for the work that I've already done, but I'm happy to have these conversations, but they have to be a separate conversation, because there were things I didn't go left out of the contract, only a delivery date was in a contract. For example, and it was something they wanted in, which is fair enough, but I wasn't going to have that uncondition of something. And also the little things, I think, the visual effects company had not given me anything. Their cell department had not given me anything, and I'm not responsible for those departments. So if the film isn't delivered because those departments were pretty unresponsive, well I'm kind of like, well, hang on. I mean, I'm in trouble then, and I really so I'm not going to sign anything. That means I'm responsible for that when that's not even my company. So yes, so that was my reason. They said, Look, these new terms. I'm not gonna I'm not gonna agree to anything as a condition of payment, but I'm happy to discuss it in another way. And the response was, there will be no discussion. Services no longer required. I thought, oh, surely, that's surely they don't mean that, because it's gonna cost them a lot of money to finish this film mode. Because, you know, the pickups weren't gonna cost anything. And, but no, that's stuck. And I was like, Oh, interesting. And so I just thought about, I just thought, shit, I need to get another film made, mainly just because, you know, I put a lot of, I put a lot of heart and soul into that film. I got a great cast together. We made some really nice stuff. I think some of the best directing I've done is in that film. And and I just kind of felt like shit. I needed, I need to make something else. So I was in a bit of a mad panic to get night shoes done. And so, Night night shoes, so that that landed at the same time as this western fistful lead. And I spoke to my producer, who was amazing. I said, I think, I think we can do these. I think I can do both of these. I can we'll do this one, and then I'll be deep in post on that, and then we'll start shooting the other one, and then it'll all be fine, and it has been fine. I finished night shooters this week. We just got to sort of find out where we're going to get the DCP made for it, and then that's it. I sort of take it over and say, here we go make a movie about this and we're done. And then I spend the next few weeks now finishing up just full of lead. Then I get that to the colorist and the we're working on the sound, and we're gonna get the visual effects done. Yeah, it should. It should all come together quite nicely. So by the end this month, I should have two features under my belt, which is fun. It's tiring, but it's fun.

Dave Bullis 37:16
So you know, I was gonna say, either you're not sleeping or you're either like a raging alcoholic at this point mark. So it's like, what are the other shit?

Marc V. Price 37:25
I'm drinking cider right now. It's not 10am here. Incidentally, you know that, yeah, but Yeah, throw an alcoholic yet. But it does seem very appealing. But, yeah, it's just been very busy. But, I mean, the interesting thing about when you do in a film as quickly as doing night shoes, is you look at that and you haven't had time to watch the film as a whole. So I'm so busy working all the minutiae, you know, and and all the little teeny bits and the connective tissue and all those things sort of come together. And I think I saw it for the first time, for beginning to end a couple of weeks ago. And it was, it was it was it was a really fun experience for me because, you know, coming back to the alcoholism, and then made sure I'd had a couple of beers first, and and I was, I was watching with my girlfriend, who worked on the film. She's sort of the atmospherics and special effects department, and I just really enjoyed the film we made. I was like, Oh, Jesus. I thought I hated this, you know, because you do, you fall out of love with these things. You see all the holes and and then to see it flow like that, I was, I was surprised at how how everything seemed to slot into place in the way that you hope and you work towards and, and we watched it again on Sunday because I had what was close to the final sound mix, so I had some friends around to watch it. And it was great watching their reactions to it, because you see their faces screw up at the right moments, and then they laugh at the right moments and, and it's really nice just to see them reacting exactly how you hope people will react when those moments occur. And from a filmmaking perspective, I mean, that's all I can do. That's all I can do, is make the audience react a certain way at a certain moment, and then after that, whether they liked it or not, that's beyond my control. There's nothing I can do about that. So I you know, but, but if I can at least make them in that moment go, or Yes, or Haha, you know, there's, there's, there's something. So that's all I can really work towards. So that's all I'm really concentrate on. So it's really nice to see there was a small room and just a few people to see that, that reaction, it was lovely.

Dave Bullis 39:37
Yeah, and that's what you're always hoping for, because somebody once said, there's, there's two ways you want someone to like to take your movie, either they love it or they hate it. Because the worst thing you can do is they they're just completely benign to the whole thing. And he said that that's the worst spot to be in, no matter what,

Marc V. Price 39:54
You know what I was speaking, I was speaking to another filmmaker. Because what we do on our films, we have a lot of young people work on them. I think it's really important to get young people working on films, because, I mean, I coming from Swansea, I didn't really feel that there was there wouldn't mean they were lovely people in swans. You did encourage me, but there were a lot of people who the general reaction was, what? What do you want to do that for? Why do you get a real job and and work really hard and get up early and then go to bed early and and live for the weekend and then have a Fauci like, why wouldn't you just, why do you want to do this ambitious thing? If you're considered a little bit strange for wanting something. It's a little bit different to the norm. And, you know, not to knock any of those things. I kind of think, you know, like, raising a family is a very admirable thing, because it's something that, you know, that the I'm not doing, you know, but I see my brother doing it, and it's incredible. And I know that my parents, you know, I was part of that, and it was fantastic. So, you know, it's just this really, you know, it's something I admire, but I've chosen the more selfish life of making films. And, you know, so there's a really interesting thing back in Swansea where I kind of find that there wasn't much support for making films. And so I think it's really important when there's young filmmakers, to say, look, it's worth exploring to its fullest before you move on from this. So we always, you know, as part of work experience, we get a lot of young people working on the film, and we give them proper roles. They're not making tea or coffee for us, their their script supervising, or their camera assistants. And first, first ACS as well. They're not, you know, a runner for the camera department. So it's, we do a lot for those guys. And, yeah, I think that it's, it's, you know, I to me, that's one of the most important aspects of making these movies, and I've always is making sure that the people who are working for you feel like they're part of the film. Because what happens then is that everyone throws in and you end up with a really, it's like, it's like a community where everyone wants the film to work. Everyone's all on the same team. It's like, I love that, that feeling of making a film. I think I've gone on a tangent year and I forgot where I was going with it. But sorry, Dave.

Dave Bullis 42:17
No, no, it's all it's all good. Mark, believe me, I know what you mean. Man, I actually do both. I actually work the day job, like I was telling you before. And I, you know, I get up every day at 4am regardless, I get up at 4am I got before I am today, and I was off today just so I could try to get some extra work. I get work in before I go to work. And then when I'm at the, you know, then I come home and I start doing the other work again, trying to, trying to keep the ends, both ends burning at the same time. Yeah, but I, but the whole family thing, I don't know how people do it. When you add that equation in there, I couldn't even fathom how some people do it, because that's burning at three ends then, oh, it's amazing.

Marc V. Price 42:56
Like, I think I know what tide is working on these movies my brothers. He's like, Oh, you don't know what tide is. You actually have two kids. That's like, okay. Like, I felt like, you know, I see a really happy family, and it's amazing. I was like, Oh, wow. This is, you know, it's, it's, it's exciting. I just think that, like, No, me and my brother have gone in different directions in terms of what we're trying to get out of life. I find what my brother's doing far more admirable than what I'm doing. I'm, you know, like I said, I'm I'm playing. I play games. That's my job. My job is to play games in a way where people look at that and instead of going, Are you but old to play games, they look at that go, oh, man, that's cool. You make movies. And it's like, well, yeah, okay, I don't know. That was never the plan. I was just like, I just want to do this. This seems like fun, and I enjoy doing it, and I want to be better, and you learn and you grow and all those things. So come together I think.

Dave Bullis 43:48
Yeah, yeah. And, you know, I wanted to talk more about nice shooters too. So could you just give a brief synopsis of the film?

Marc V. Price 43:55
The film's about a group of low budget filmmakers who are shooting pickups. They've broken into a building that turns out that it's rigged for demolition. So they've snuck in and the director, well, the term is, the term is gaslighting. Now the director kind of gaslights. A bunch of his crew were just working in a building this rigged for demolition, and whilst working on their movie, shooting their pickups, they see, they witness a murder in the building opposite the murder is being committed by a gangster who owns the demolition company that's leveling the buildings. The idea is, you killed people in the buildings. The buildings collapse on them, and the bodies are buried and, oh, there were people in here. Is the is the idea. So they have to use their filmmaking skills as weapons to survive the constant onslaught from gangsters who are trying to eradicate any witnesses, make sure they're dead and then leave them in the buildings to get demolished. So, yeah, it's, it's fun. The stunt the the stunt guy is a martial artist. The special effects lady takes the plastic expose. From the rig building to create more dangerous explosives using her squibs. The sound guy is leaving radio mics everywhere so we can hear when the bad guys are coming. The cinematographer knows the layout of the buildings perfectly, because she is kind of studied them for all the best angles, yeah, little things like that. It's sort of a fun concept that's as much of a love letter to filmmaking as it is films themselves and even the sound design. We were able to throw in a couple of familiar sound effects that people might clock and go, ah, the world they live in now has these sound effects from films, not the Wilhelm scream, though we didn't do that one,

Dave Bullis 45:40
The Wilhelm scream. That's like a staple, that's like a staple of so many movies. In fact, I think it was in the Last Jedi

Marc V. Price 45:48
It better have been? I think it's in all the Star Wars movies. It should be, it's, it's, it's in all of the Lucasfilm movies. I think it's in Willow a couple of times. It's in all the Indiana Jones movies. It's, yeah, it's, it's, it's what I've always loved that used to terrify me as a kid, because this out it's so anguished and pained. But as an adult, it's, it's the funniest thing ever. Yeah, it's,

Dave Bullis 46:12
It's always something. It's always just makes me laugh whenever I hear it. I know it's in a lot of Tarantino films too, but I'm gonna link that in the show notes everybody, for everyone who doesn't know where the Wilhelm scream is, but, but, but for night shooters, you know, how did you go about you're putting this all together. I mean, you know, did you have to, did you go with the team to sort of find an abandoned building that you could actually shoot in, or even semi abandon, or, what hell, one that was actually fully operational, you know? So, how did you go about it? Starting to put all this together.

Marc V. Price 46:39
We actually found a building that was due to be demolished in our third week of shooting. So we said, yeah, we'll take it. And my amazing producer worked really, really hard to try and convince them to let us stay there. Because the building doesn't just get destroyed. It gets, you know, there's a degree of tidying up, electronics come out, all that sort of thing. And that's when, that's when that, you know. So there's about, there's about two weeks worth of that that would have happened before we would have needed to get out of there. So we were trying to sort of talk ourselves and talk our way into it, which she did, actually, and we managed to get the full three weeks there. The only problem we have is, on the last day it snowed, so we had to shoot some stuff in January. But, yeah, it was we it was great, because the building was going to be demolished. I was like, Can I just trash this place? And they went, yeah, if you sign something, it says we're not responsible. If someone hurts themselves, you can do whatever you want. They were like, Okay, great. So, yeah, we we wrecked the place. There was one room we shot in. And then we thought, Look, this is a good room. The lights are here. Let's smash down this wall, and now it's suddenly and put the cameras over here, and now it's suddenly a new set, right? They were like, Yep, great. So we spent like, 10 minutes throwing ourselves into walls to try and tear the place apart. And it worked quite well. It was a good way to get some frustration out of our systems. Is our week? It was day five. I think at that point we're like, it's, it's that we were shooting actual nights, I remember saying to everyone, I'll be great. We'll just adjust, and then we'll be fine, and we'll shoot. And I think on night three, I turned to this, the special effects department, who were also my girlfriend, and just said, fucked up. Fucked up. So bad. This is really hard. I don't know what the fuck I'm gonna do this for another two and a half weeks, but we did, and it was fine. Of course, I couldn't say that to anyone else, because that would have been poor leadership. But my God, I I remember working like, sort of my early 20s, and thought, yeah, you just get used to it. It's fine. Oh man, it's different. When you're nearly 40, it's a much different experience.

Dave Bullis 48:43
So, I mean, do you find that sometimes, I mean, you know, really, do you does anybody ever really get used to those long days? I've kind of gotten used to them, in a way, but, but some days, when you're on set for, you know, 14, 16, 18, hours, you're like, you know, I thought I'd be used to this by now, if they were doing it for 5-10, years. But it's like, you know what I mean? Just kind of never, never really sinks. You know what I mean?

Marc V. Price 49:07
Yeah, I mean things from, from where I am, because you're always fighting a schedule that's really difficult. The days always seem quite short. From my perspective. I was like, we never seem to have enough time. And only when life is like that do you go? And so the nights would fly by pretty quickly for me. I think there's only one day, and this is when we switched. And because on Saturdays, because it was a part of a complex, a business complex, so we had to shoot at night, just for the noise, really, and because, you know, to block out the windows on some of these buildings was a huge ordeal. So we were so we would just shoot at night. We could just move around, go to whatever we wanted at any point, and we didn't have to spend 40 minutes each set up, blocking out lights. So it was it was it was it did make sense to shoot at night. It wasn't just for the sake of it. But yeah, it was on Saturday. On this we had two Saturdays where we worked during the days or they were later days. And one of those was the hardest I was, I think I just didn't get much sleep the sort of day before. So I yeah, I think I said to my producer and my script supervisor said, Guys, I need you guys to drive time today because I can't. I am just so tired. I'm going to concentrate on what I'm doing, and I'll make sure that works. And then we're going to move on to the next thing. I don't really want to think about time or any of those things, so you guys come to me and tell me that we need to get a move on, otherwise, I'm just gonna assume we're fine and just keep going. And that day worked really well. It was fine. I kind of got through that one. Slept very quickly when I got home. But that was a that was the hardest one. That was the hardest day, because it was a day, ironically, if it was another night, I think I would have been fine,

Dave Bullis 51:01
But it in those moments, man, that's when you need to have that team. You know what I mean? Like, you kind of what you know I mean, like, that's when the team can actually come together. And that's when you're like, Man, I'm glad I've always been, you know, tried to be a good guy, whoever, because now I'm just got to count on these on the team a lot right now, and not, you know what I mean. And it's just those times where you're like, Thank God I wasn't a freaking tyrant. Or maybe you were Marc.

Marc V. Price 51:27
They might have been like, he's alright, except for this, make this word night shit. They were like, these guys. They actually, they were amazing. They were all really great for me. I one of the things I tend to notice is, I mean, I don't think I get, you know, there's always a moment where pressure and time and all those things are compress, and what you end up with is, what I end up with is more of an urgency to get things done. So I think whereas my normal approach is to be kind of, like very excited and happy and, you know, like a child, basically, when it comes to those moments, I tend to get more, I think, focused, so I tend to sometimes I'll just sometimes it doesn't come across as like I'm having a good time. And I think that when those moments do crop up, I noticed that everyone really, really, everyone really works anyway, but I do notice a change in that everyone works to try to get me excited again, if that makes any sense. And the way I've always interpreted that is that I'm obviously doing something where they like me, being happy and enjoying what we're getting like I think that there's something that, and then what they're trying to do is get that back. I think that's just how I've interpreted it, because interpreted it, because, and that feels to me, that feels lovely, that feels like I've got a group of people who aren't just helping me make a film or to tell a story, but, you know, they want me to enjoy myself as I'm doing it. And like I said, a lot of these guys are really young. Some of them are more experienced, and it's just really great when that group of people come together because they see that I'm frustrated or disappointed because something isn't working, and they find a way to make it work, or they're offering solutions. And if you think about it like this, if I was like a complete, like vicious asshole during a shoot, like a young person isn't going to make a suggestion to me, but can save, save the day? They're going to think, Oh, he's a he's a bit grumpy, and I don't want to, really, I don't want him snapping at me. So they keep quiet, but they don't like, you know, when I'm stuck for a problem, I've got people throwing ideas at me, and it's like, that's great. That's what I need. I need solutions to problems, not, you know, a bunch of people scared to speak up because of having a tantrum, and because I'm in a building where I can actually, literally smash a wall. I'm not smashing a wall, you know, which psychologically isn't healthy, by the way, if you do take out your rage by breaking things or damaging things, what you do is you condition yourself, and needs to do that whenever you're in a moment of heightened stress. And that's not healthy. I don't I've read that a while ago. I'm not sure if that's true anymore. You know, it's like with psychological theory, it's always changing and but I did hear that, but I thought, well, nevertheless, it's a very unpleasant thing to see. So, so I so I don't do it, but, but, yeah, it's really lovely that I think everyone sort of comes, comes through. And, you know, everything, we had a really great team on this one. We had a really good cast. Everything was like, exceeded the expectations so much. And it was, it was a tough shoot, but I think what we got is a fun film that, you know, seems to make sense, and the actions really good fun, and the characters are great. I really love, I love tonal shifts. So there's lots of those in the movie. So yeah, it's, it's, yeah, it's a weird one. It's the kind of one of the first times I've talked about it. It's weird because I've been making it for so long. I think. Been interacting with a part of that or that people have been sending clips to all along who've read the script, and this is the first time I kind of spoken about it, sort of without anyone having that frame of reference or context. So I hope it's making sense. If it's not, you just get me, let me know,

Dave Bullis 55:13
And with your permission, Marc, I'm gonna post a link to the trailer if it's up yet, or maybe in the still, if it's not up yet, just so it was a frame of reference. So people weren't like,

Marc V. Price 55:25
Yeah, I'll give you a still, because this is, oh, this is an awkward one. There is a trailer, but I it's, yeah, it's, it's, oh god. This happens all the time, right? Directors don't like trailers they see for their films like, surely, that happens all the time. I've heard it discussed a lot of times. I don't think the trailer represents the film very well. You know, it's interesting because, you know, I'm being as diplomatic as I can. The guys who make the film obviously want the film to do really well, and they care a lot about the film. The guys who have sort of, like been been financing it, but also they're distributing it. And they know their audience. They know the audience they know the audience they want to capture, and that's fine. I can understand. I can get behind it, but, and I know they worked hard in the trailer to achieve what they want to achieve, it's just that. It's, it's just, I just, it's not one that I'm particularly keen on. I don't think, I think it under sells the film criminally. And yeah, and I have really made any secret about it. I mean, I wasn't really involved in the in the construction, the trailer at all, and even from a technical perspective, the way I shot that film to specifically be graded. No one asked me about that either. But this is the difference from the film, I guess I was kicked off, and this film, is that, for this film, we made sure that all the things are in place so that it was like, we own the film, and we're giving it to distributors. So we do. It's our film to make, really, it's just been financed. So that's kind of where it is, really, yeah, I'm trying not to be a dick, because these guys, these guys helped me make a film. You know, it's, I've got nothing but, like, appreciation for what they've done. It's just that I do also, you know, have an idea of how the things should be marketed and and then their idea of how we should be marketed and mine are very, very different. And that battle, it's just, it's just a, it's basically a summer. It's, it's a pull in two different directions. It's, there's, there's, there's nothing but sort of support and love for the film. And you know, I think these guys, I'll be forever in debt them, because I've been able to make a film that's really close to my heart, really personal. Out of it, I just want people to see it. You know, that's where the marketing comes in,

Dave Bullis 57:40
Yeah, yeah. That's the big thing nowadays, is, you know, how do you ask your people to see your movie? You know, you things have gotten, you know, I don't want to say easier, but let's just say more accessible to filmmakers. And you know, now it's like, well, we've made the thing now. How do we people to see the thing? And, you know, is it VOD? Is it theaters? Do we slap it on YouTube and call it a day, you know? And that's where this distribution, you know? That's why it's so important now more than ever. And the movie has to be able to stand out. The marketing has to be able to stand out. Because, I mean, now it's, I think things have gotten it's, it's more like you have to market, instead of trying to do it like the old days, we have to market to everybody and say, okay, and then the chips will fall where they may. Now, you have to market specifically to that group of people who are going to see it. And that's where all this big data comes in. That's where the the changing paradigms of social media come in. And then, you know, and then you can, you know, basically now you can either create that market for yourself or you can pay to have access to that market, you know what I mean?

Marc V. Price 58:43
Yeah, yeah, exactly. But that's the thing it's about, you know, it, it's, I mean, the thing with the marketing is, you know, there are elements in the film and, like, you know, you you saw Colin. I should have sent you a link for magpie. Really, my price probably the best example of what some of this stuff can be. Like that I make where I really play with tone, not to a point where it's incongruous, like you're not laughing at a scene you shouldn't be laughing at, or you're not forced to laugh when you've just had a terrible time, or the other way around. It's, it's, it's tonal shift. It's what Hitchcock does perfectly. Did perfectly. It's what Spielberg does perfectly. And, you know, it's that idea of taking over. And so what happens is, when you sell a film or distribute it as a film, they find an angle in there that they find most appealing, that they then think will help sell the film. So, you know, action being a great one. It's not an action film. We've got a lot of action in it, but it's, you know, it's a character ensemble, really. The action is a small part of the film. I think if people went into this expecting to see the raid, they'd be pretty pissed off, because, you know, the raid is 40 minutes of awesome fighting. We really don't have that long, that much, so it's about sort of like, I think, from my perspective as an audience, I'm always thinking about measuring expectations. I default to what the marketing team did for fistful of lead for example, Sony know exactly how they want to market that. And, you know, this isn't one of their big budget films. This is one of, this is a completely different thing to Ghostbusters, you know. I mean, so it's not, you know, we're not going to fall into the same traps that Ghostbusters fell into. They've said to me, would you like to cut a trailer? I say, I'd absolutely love to. And they said, Okay, we've got one request. Can you make it longer than you'd normally make a trailer? So we have all of what you think are the best trailer moments, and then we'll whittle it down. I was like, well, that's was like, well, that's, that sounds great, yeah, of course, I'll do that. So, you know, I kind of, like, they've got a very, like, Director driven approach to how the film can get out there, which we did on Colin, and it worked really well for Colin, you know, I was, I was, you know, very specific about what I think we should market film towards. And so, you know, it helped, help with sales. So, you know, they said, I think that's how I feel with night shoes, is I just, I want to, I want the film to be seen for what it's going to be. And, you know, like, you know, I'd like to send you the trailer that I cut for the film, because, you know, I'm proud of it. I love watching people watch it. It's but I think what we're going to do is, because I think it's fair that I don't interfere with the marketing that they've put money into. You know, I think we should, I think I should leave it, do its thing, and then when the films released, then we're in a different territory, then we can, sort of, then we can lease the trailer, although I guess, I don't know, I suppose maybe I could put because, because you're the US. This is a UK distributor. The US is a completely different market. We haven't sold the film to the US yet. I'm sure I could give you my trailer and say, well, here's my trailer. You know, it's and I think regionally speaking, no one can do, you know, don't think it's a problem. I'd have to check. But like, what's the harm gonna be if someone from the UK sees our trailer and go, Whoa, that looks amazing. You know, what's the problem? But it'd be great if we could, hey, it's great. You can tell by just scrolling down right now, if it's there, it was fine. If it's not, it wasn't so, yeah, we're in the past right now. Dave, everyone listening to this is in the future

Dave Bullis 1:02:26
Exactly. I know we would think you were in the present, but we're not. We're actually, you know, it's amazing. I will, I, after we're done with this interview, I'm gonna, I'll look at it and I'll give you, I'll tell you my thoughts. I'll give you the thumbs up and say, hey, you know what? I think I'm gonna post this everywhere now, Marc and be like, distributors be damned, but so, but you know when

Marc V. Price 1:02:54
I'm gonna be clear with it, they mean, well, that's the thing. It's not. They're not, they're not like, they're not bad people. They mean, well, they want the film to succeed. It's just that they have their very specific ideas in the same ways of my specific ideas. It doesn't make me write my trailer could suck, but, you know, I, you know, if this, this is the push and pull, and that's, that's the thing with the creative industries that you're always talking about, I always try to break it down to technical technicalities. I don't look at it as like on an emotional basis. Say, emotionally, I like this. Emotionally, I don't like this. I look at it and I break it down technically, I say, right, what is this achieving? Is this story point clear? Is this story point clear? Here's a joke. Is that joke established well enough early in the trailer for it to work at this point in the trailer, if the answer is no, well, we might have a problem. So, so what I try to do with my trailers, they try to make sure that all those components are in place, so that we're telling a story and we have that emotional weight to it, so people do watch it and laugh, people are thrilled. That's that's what you're trying to do. And it's the same thing as making a film. You know, I was trusted with the money to make film and tell that story. Why not trust me to do the mini version of that? You know? Because I'm not exactly the director who says you can't put this and it'll spoil it. I say, Fuck it. Spoil the whole thing. The audience may never this is the thing that most people are going to see this trailer, so you have to do it in a way that gets them in. And if the film's good enough, they will forget all of these little clips, because these clips out of context don't mean anything. It's just flash, bang and cool. But in the context of the story of the film, people will forget that they know what's coming and they'll just enjoy it. Like, do you remember Return of the King? Because I love the Lord the Rings movies in Return of the King. There was that amazing end to the trailer with the, you know, the felby sort of comes in and roars a Gandalf on the horse. And I had, I think, someone pointed out that that wasn't in the film. And I went, oh shit, yeah, that isn't in the film. I, I was so into the movie that I forgot that the coolest part of that trailer wasn't in the film. And I didn't even think to ask where it was. I mean, I just loved the film that much. So that's you can do what you want the trailer. It's fine. It's, you know, it's, uh, yeah, I start thinking bad trailers, and they give the whole thing away, that two minute Genesis trailer, yeah.

Dave Bullis 1:05:01
Well, again, I remember the poster gave that away too. I actually have an idea for a movie trailer, a movie trailer, and it's just called bait and switch, like, literally, it's gonna be a trailer for a movie that doesn't exist, which features scenes from from a movie that, if you were to go to it, it doesn't exist either. So what I mean by that is, it's like, imagine a trailer that showcases a movie that nothing. It has nothing to do with the movie. They're trying to even sell. It's just random, random, like scenes and stuff from others, from you know? I mean, they're all just made up. So if you went to see that movie, if it actually existed, it would, it wouldn't. None of that would be in there anyway.

Marc V. Price 1:05:38
That's great. That's up. I said that they should do, I was up for doing what's called Groundhog Day sequel, but, but what you do is you just release Groundhog Day. You just change the title card. You say, Oh, this is Groundhog Day. But you change the title card and it's, you just release Groundhog Day. And people will go, Oh, I get it. That's great. We got to see Groundhog Day The Secret log day the cinema, and then there'll be other people that go, God damn it. I hated this. This is terrible. So, you know, the the Ryan Johnson approach, you rage as much as you endear.

Dave Bullis 1:06:16
So, you know, just, I know we were talking for about an hour, you know, Mark, just in closing, ask about fistful of lead, you know, how on how did you you come across, you know, that opportunity to make that film, we know with, you know, because I don't know how much I'm allowed to say, but you know, how did you get the opportunity to sort of start making this film? And, you know, because that'll be, that'll be the second film that you're going to have released by the end of this month.

Marc V. Price 1:06:41
Yeah, we'll have it finished the other month. I think it's coming out in December, because I think it's the difference between, actually, is I'll finish it and that the thing is going to be released in the UK virtually straight away. But the Sony want to spend more time, like building up the marketing and then looking at what they can they can do to really push it. So even though our release is far away, our deadline is, is roughly the same. But what happened there was, we were looking for money for night shooters, and we were speaking to an investor that there's a filmmaker. He's absolutely incredible. He's worth looking at. He's a Welsh Roger Corman. And I met him through an interview, a guy called Andrew Jones. And I met him during this interview. And in this interview, he was talking about how he'd, you know, he took the IP for a Night of the Living Dead, made a film called, like living dead Requiem. And he was the first to admit, he said, Look, the film is not that great. But, you know, I just love making movies. So I made this movie. And he made this film, night of living dead Requiem, because he knew that that would sell. And then he did an Amityville one thing he knew that would sell. And he just started doing all these really smart choices. And he started building up invest investors. And the guy makes something like six movies a year, and they all sell and and Sony us, I think it released all of them. And I was just in awe of this guy's ability to his business model is like, like a very low budget plum house, right? So I said to him, I said, you know, I asked him, I said, Look, I'm looking for money to do night shows. And he put me in touch with his investors. And his investors, we got along with very well. It's very generous thing for a filmmaker to do, by the way, to put you in touch with investors. It's not a, it's not a done thing that, you know, directors don't even ask. It's kind of, it's terrible. It's like asking to sleep with a family member. It's wrong. You worked to get those investors. You shouldn't, you know, you shouldn't. You shouldn't really get involved. You shouldn't say, Oh, can I have some of your pie? Because that's money off his table. It's money away from his films. But he was very generous. He sort of, so my producer spoke to these guys, and they were trying to get money for night shooters. And it was a bit of a sort of like, Oh, if it was a bit of a sort of like, Oh, if it could be this, we could do it. If it could be this, we could do it. But then, you know, another company sort of stepped in and said, Oh, we'd like to make night shooters. And so we thought, oh, there's a dilemma. Do we keep working on so that these guys can make it? Or do we just say yes to these, these other guys who were offering a very good deal make night shooters with them, and then just stay in touch with the other investor. The other investor said, if you got someone willing to put money in, definitely do it. Don't worry about that. However, if you are able to, we'd love you to make this this Western. And so I just said, Fuck it, yeah, let's do it. If we can shoot at this date, we'll be able to, we'll be able to do both. Michelle Park and my producer said, You sure that's a lot of work? I said, it's a lot of work for me. I think I can do it. Do you think you could do it? She went and she said, I don't think this is entirely true, but she said, Oh, it's less work for me. It's more work for you, because you've got no two feature films to shoot, direct, write and edit, and not in that order, obviously. And so she so I thought, now let's do it. And and, yeah, so that's how that one sort of fell together. But it's really interesting because we're able to look at what we did in light shooters, which was very ambitious, and then we looked at the planning that we could sort of put into fistful of lead. And comparatively, maybe it's because we shot for nights for three weeks when we shot fist full of lead in two weeks, that was somehow the goddamn easiest film shoot I've ever done in my entire life. It was a breeze. There were two hard days on it, and that was just because we were dealing with weather a lot, because it was a huge snow storm the UK when we shot it. And that just meant that our film looked amazing, because it looked very expensive, because we had huge expanses of land with snow, which you don't get very often in the UK. So when you see it in films like, like Django or the Hateful Eight, there's a quality to having it set a Western set in snow. And although I didn't initially want that, because I thought that was Tarantino territory, when I saw it, I was like, Oh, this is great. We've also got a spray blood in this. This looks, this looks amazing. So, so, yeah, so we just sort of shot that, and we did them back to back, and it was, it's really interesting. It's really interesting. It's really interesting working with both companies on films that have similar budgets, just because it's it's interesting to see how the two different investors managed it really and I think for Michelle, who's, I think these are the first we produced a lot. She's produced a lot of television before, so she's very familiar with what I can do and what I need, and when to tell me, No, I think that these were, like our first two feature films together. And yeah, and I think I've the collaboration has been incredible. It's amazing. I think, if anything, Michelle is as much a psychologist for me as she is a producer, and she keeps me very well protected from things that, like, you're not gonna be very good at dealing with this. So you go over there, you leave it at me or not, and I'm like, I'm happy to get involved the conversation. Don't get much like, no, no, I don't want you there. Fuck off over there. Behave yourself. So yeah, she gives me a check. She's excellent. She's, she's, I, she, she's the only person I think who can say, Don't do that. And I'll be like, Okay, fine. You know, she's and it's not from, it's not from any, any, any sort of a it doesn't come from any a position of authority or anything it's all to do with just like, absolute respect, like I've got, I've got so much respect for her and how we work together, and that it is, and it's so rare to find a producer you can have this sort of relationship with that. Like, when she asks for something, I'm like, Okay, fine. Like she can give me notes, and is one of four people on the planet who can give me notes. And I don't go what you know, because you know this is, this is, this is the horrendous ego of a writer director. It's there again, notes,

Dave Bullis 1:12:57
But that's when you meet. That's when you become Mr. Bastard, like we were talking about earlier that video. Like, God damn, that Marc. He's a bastard.

Marc V. Price 1:13:06
But, yep. But with Michelle, she's like, this doesn't make any sense. Can you you should fix that? I'm like, all right. It's like a little child is like, you're rubbing his heels of the floor, kicking the dirt. You're fine. I'll do it now. Then, you know, it's great. It's I, it's like, I'm really excited. Of course, we're about to produce another film for someone. We're just waiting for all the everything fall into line, when it all falls into light. Then we have ourselves a budget, and we can do the Roger Coleman thing of of getting a filmmaker their first feature, which I'm really excited about, because as a producer, I am hands off. I'm there if they want me. If you get stuck, I've got a camera. I'll go shoot scene and shoot second unit and do whatever you want, or stay here and just eat the catering and and write the next one that I want to make. You know, I'm like, I'm not really interested in telling people how to make films. Like, the idea is we go to filmmakers who make films themselves and and there's like, right? You use your team, you make your film your way. And, you know, if this one all comes together, I'm not allowed to talk about it yet, which is weak, rubbish, I'll tell you a Facebook but like, it's one of those things where it's, we just, you know, it, I'm really excited at what this directors pull together with his resources. He's an infinitely better director than I am. You know, if he wasn't my friend, that'd be a really bitter, jealous person. But yeah, it's, yeah, it's, I'm really quite excited about what we're doing with Alex's so that would be, if that all works out as three films in a year. So we've written and directed two of them, although I did co write fistful of that. Phil Dias really is a writer friend. He stood up and really helped us out there. And then this third film will be what I'm just producing. And if all goes well, we might have another action film in November, which I'm really hoping we do, because I was meant to be doing something else, but I. Think that's gonna be pushed back. So we're gonna try. So it'd be kind of in my head over, like, oh, three films a year. That'd be nice. I don't think I'm gonna be able to do this for the rest of my life, so I may as well do it once I have the useful exuberance.

Dave Bullis 1:15:12
Yeah, you gotta, you gotta hit. We gotta get the momentum going. That's what I found when I stopped for a while. Honestly, Mark, it's so hard to get back. And actually, that's why I'm starting. I'm gonna get back on the horse next back on the horse next month, and I'm gonna shoot the first thing I've shot in probably five years, four years.

Marc V. Price 1:15:31
Yeah, you don't you said this last time we spoke, what happened there? What happened there? You said you can do so that we spoke about a year and a half ago. Maybe, I think

Dave Bullis 1:15:44
No idea I have. I don't even know what we were talking about that point,

Marc V. Price 1:15:48
You said, start making films again. I'm guessing, I'm guessing you didn't. My Facebook stalking didn't reveal anything. So, like, I don't know, you should totally do it, dude, it's it. I know it's, I know it's tough, but like, I would always recommend making a film, because even if you made a bad one, you're a better filmmaker having made that bad one. So, you know? So if you keep making bad ones, three bad films later, you're three times a better filmmaker, you know, I mean, so it's, it's, it's worth doing, even if you're just making a short with two people sat around the table talking about a goldfish. You know it's, it's something, so I'd recommend it. But you know it's, you know, if you need any moral support, dude, I'm here. I'm always here. Just come and I'll happily, I'll happily talk you into it. So I love doing

Dave Bullis 1:16:35
Well, I don't know what I was planning on doing at that point. It could have been one of two things, but what I'm doing with this one is I'm sort of taking the reins of more things myself, like I like I used to do, where it was basically, you know, I was wearing many hats. But the The upside to it was I knew what was getting done and what wasn't truthfully, you know. And I've gotten, you know, since, I don't want to maybe a couple years ago, before I even started doing this podcast, I would get offers all the time, and it would be like, these ridiculous offers. Like, for instance, I got offered to be a part of this website, which was pretty big at the time. At the time, they were actually ready to partner with a Nerdist, and then all of a sudden they were like, oh, but you have to pay for everything, and we're not gonna pay you for this. You're just gonna exposure. And I'm like, Okay, well, I could maybe make something out of this. And I'm thinking to myself, is it worth it? And then I'm like, You know what? So I emailed the guy back, and I just told him my concerns never got back to me whatsoever. And I'm like, you know what if I had actually done this? What if I actually, actually went through spent 1000s or hundreds of dollars or whatever, making something. And then he just never got back to me anyway. And what then, I mean, so with this, what I'm gonna do is, next month, I've already started to sit down. I storyboarded the whole thing out. I have somebody building an automatic right now, I've been actually telling people in the podcast. I've been saying, if you want to help me, shoot me a freaking email. But yeah,

Marc V. Price 1:17:58
How's it going? Is it going good? What feedback? Goods? The feedback the feedback part is that people willing to throw the hat in the ring and enjoy it.

Dave Bullis 1:18:05
Yeah, I actually have had a few people who have emailed, who have emailed me, and, you know, we I've been talking with them. I've had a few people email me, and basically they're trying to see what they what I can do for them, which is kind of meaning that they're like, Hey, what's going on with this? Well, hey, can you help me with my project? Me with my project? No, it's not. I clearly not in a position right now. Did for you for me to do that. So, you know, it's, it's, you know, a lot of I think I know what I was I was gonna do. I think I was gonna do something similar to what I'm gonna do now, when I mentioned it to you about a year and a half, though, I think I was going to do a trailer just to get some eyeballs on some stuff. And then I remember, then, then things kind of went south for a number of different reasons, but I'm making a fake trailer so it's and so that this is going to be fun. In fact, you, Louise, let me send you this stuff when I'm done off of you.

Marc V. Price 1:18:55
Yeah, absolutely. Yeah, yeah. Do it. Do it. Do it. Because, I mean, I I think that there's a lot of people who adopt the attitude of all you shouldn't do it. The time is not right. And I'm just like, look, the time never feels right. You know, whenever someone says, here's here's the money you asked for to make a film of this budget that you wrote specifically for this budget we're shooting in a month, when that day shows up, I'm still like, shit was the script good enough to do shit like you constantly feel unprepared, no matter how prepared you are, so just embrace it and roll with it and make it. Make a shitty movie or make a great movie. Just make a movie just like you know you all you can do is do the best you can do at that particular moment in time. And sometimes we screw it up and we have to get a pickup of a hand picking things up. Or sometimes you get it right. We got the whole thing in a single shot. You know, it's, it's, I'm, I would encourage constantly to make, just make movies.

Dave Bullis 1:20:00
Yeah, I think that is the, you know, when people say, you know, it's got to be the right time, and I'm guilty of that too. You're right, it's ever gonna be the right time. And you know what I found that particularly true, by the way, is when writing a screenplay, I think sometimes people think that they have to have everything known before they start writing. And I'm like, You know what? I The people that I all know, who are the most successful screenwriters, have all said, you know, that we don't really know everything before we start because, you know, there's a lot of downside to that, and not only that, but really it's kind of hard to actually grasp a screenplay, because usually you get an idea, and then you go, Okay, well, now I know the whole story about what this is. And then you start writing it, and then you hit a bunch of dead ends or brick walls or obstacles, whatever, and you're like, oh shit. Now what do you want? Well, now what do I do? Well, I'm gonna start over again, and then you perpetually never, ever finish anything. So I that's another thing to watch out for, is those kind of obstacles. And see, that's where this podcast exists. Mark, so we get guys who are actually out there doing it, like yourself, and coming back here and, you know, it's like, you know, it's just a chat and a laugh. Remember, you ever see the TV show extras? Yeah, I love extras. So, so remember the second season? When maybe it's the first season, but anyways, Reverend Ricky befriends that guy on that Samuel Jackson set. And he said, big guy. And he's like, Oh, I found the joker of the pack. He's like, it's just a chat and laugh. That's what this is. It's a chat and a laugh. I don't know.

Marc V. Price 1:21:30
Let's just bring it all the way back to Star Wars, The Phantom Menace that guy plays. He's a Welsh actor who, my mates know him. That guy plays the general of charge up in his army.That's that guy. There you go. We brought a full circle dude.

Dave Bullis 1:21:52
Well, there you go. I don't think there's anything left to talk about. I think we have, we have, officially, just, just, you know, solved all the problems in the universe, and we've exposed the crack in the matrix.

Marc V. Price 1:22:03
And also, we had a very mature conversation about The Last Jedi, considering you hated it, and I absolutely love you. We had a very mature conversation about it. There was no name calling. Or, you know, you didn't call me like a cuck, and I didn't call you a sexist. It was great. It was great. Although, although, in the UK, a good insult is a cock. You cock, as you know, so I would assume you meant that, if you would have gone down that road, which, of course, you wouldn't, you're a decent human being.

Dave Bullis 1:22:31
Yeah, I'm gonna, I'm gonna talk showing you later on. Now I'm up. I have this friend of mine. He's out bastard. In fact, his name is Mr. Bastard, and he actually, he actually liked the Last Jedi, what? Uh,

Marc V. Price 1:22:48
Oh, no, that'll let me

Dave Bullis 1:22:51
You'll be like, I think someone in America is talking about me right now. And they'll be like, Oh, come on, Marc, who's talking about you in America right now?

Marc V. Price 1:22:57
Oh, God, the stems of my snowflake are melting. I can tell, yeah, it's a very mature conversation. We did. We did, good sir.

Dave Bullis 1:23:08
Before we go, Marc, where can people find you at online.

Marc V. Price 1:23:11
I am on Twitter. I'm at at marc_v_price. I'm sorry. I was early to Twitter. I didn't really do anything with it. So I have one of those annoying underscore names. I'm also the same handle on Instagram as well, where I'm posting a lot of pictures about the films that we're doing as well. So there's a lot, there's a lot on there. Instagram, I'm very active on Instagram, but I think Twitter, I'm working on, I'm working on not leaving Twitter. My Twitter is all I do is retweet shit that makes me laugh. So my Twitter feed is just Star Wars and, you know, shit like that.

Dave Bullis 1:23:46
Well, I'm gonna link to the all that in the show notes everybody, and you can see all the things that make Marc laughs. And you can see me tweet about God knows what. I'm gonna start using my other personal Twitter more, because I kind of abandoned it mark to just do the podcast Twitter, because it was getting a lot more feedback, you know. And I was kind of like, What the hell is the point of, you know, using this one so, and I have one of the and I was an early adopter at Twitter, and I late, and I was very late, and I still, I'm sorry I was late in changing my name, though, and I had to get Dave_Bullis. And I'm like, mother, god damn it. And because a guy who has Dave Bullis, yeah, actually blocked me because so many people were tweeting at him. And I said, Listen, let's just switch usernames. And I said, I'll make it worth your while to I'll slip you like, 20, 20, 20 bucks, whatever. And he and he blocked me. He actually blocked me. And I was like, well, there you go. So because people were tweeting at him, and he's like, I'm not that Dave Bullis. It's this guy here, and I'm like, dude, just switch with me. For God's sakes,

Marc V. Price 1:24:46
There's a, there's a politician, Jon Favreau, spelt the same. The first thing he's got under it is not that one you need. All right, that's not, that's not. He's like, I did not direct Iron Man. So. But yeah, Twitter stuffs. I love a bit of Twitter. It's great. It's how I get my news. But that's how I get the gossip on my news. I'll see on Twitter, then I'll try and verify it. If I go to an actual news source and go,

Dave Bullis 1:25:14
It's all the fake all the fake news and stuff, you kind of like, go, all right, yeah,

Marc V. Price 1:25:18
It's like, Great White Sharks spotted off Cordwell. Holy shit. That's cool.

Dave Bullis 1:25:22
I mean, you know, I have friends who post stuff on Facebook and Twitter and this, this and that, and some of this stuff that I see them post, I go, guys that there's no way that could be true on any which way you slice that. I don't care. I don't care if you're if whatever political party or whatever you're from, there's no way this could be true. There would literally be a mass uproar, or there would literally be some kind of, like, government investigation, one way or the other. There's just no way. Or maybe, maybe I'm the idiot and they're actually all the truth. I don't know.

Marc V. Price 1:25:55
Well, I'm such a sucker, like I'll watch and they go, Whoa, wow, that's cool. I'll check it out before. Just blindly believe in it, because I've learned from my mistakes. But I was like, Oh, well, I believe things for a brief moment before I find out they're not true. Oh my gosh, shit. But there was that one. Remember that Meteor over Russia a few years back? Might be but five years ago, and all those dash cams caught it, and I just went, That's the fakest thing I've ever seen. That's bullshit. No, that's real. Yeah, that one was so the one time I called out thinking, learn from mistakes. Mark, don't trust anything. That's bullshit. Yeah, it was real. And I was like, why the fucking I saw any dash cams in Russia, and then I found out which I went on a wormhole of YouTube that day. Man, it was, those are Russians throwing themselves in front of cars for fake insurance scams. It was, yeah, it was a great day. It was, I was, I think I was working on Magpie at the time. I remember just sitting there going, I'm having a day off today. I'm watching Russians try to run themselves over and meet yours. And that's, that was my day. That was a great day. That was a life of a freelancer. Man, it's, it's ridiculous. It's ridiculous. I should be ashamed of myself.

Dave Bullis 1:26:59
It's all good, man. It's a it's all good. It's up. Because I actually always wanted that too. And then I found out that there was so much insurance fraud over there that that's why everyone drives now with a dashboard camera.

Marc V. Price 1:27:10
That's right, yeah, to clarify. Incidentally, this might seem like, you know, like him loading it up, taking a day off because he just decided to I was broke as fuck as well at that point. So he's really, really stupid. I was leaving my parents. Sounds like, Mom, I gotta stay over in a couple of months. Of months to get me to just try and save some money. So it was a pretty that was a that was one of the dark times before the freelancing really picked up. But my God, yes, it was still, it was still a day off. I remember it fondly back in the past. I'd love another one.

Dave Bullis 1:27:36
Well, it'll be funny. What have you got an idea watching on these scam artists, you're like, Oh, I could fake a scam. Artists, you're like, Oh, I could fake a scam. I could do that for money. And your parents are like, No, Marc, you're not doing that.

Marc V. Price 1:27:49
I did think about getting the dog to do something really cute so I could film it and send it into a TV show and get 200 quid. But I was, you know, their FTP upload site was so frustrating. I was like, I fuck this. I even film anything with the dog. I was just exploring the options. Like, this is too time consuming. I can't do this. I'll carry on making the film. I make it. I hope that makes me money, which it didn't. That's filmmaking for you.

Dave Bullis 1:28:18
So, but now you are, you do? I mean, just out of curiosity, like, do you live in, like, a flat with a bunch of other people now? Or,

Marc V. Price 1:28:25
Yeah, I'm living in London.

Dave Bullis 1:28:26
No, so Jesus, you're broke. I know you're broke now.

Marc V. Price 1:28:29
Yeah, I'm working on it. I'm working with our friend. Actually, they're very creative guys. So one of my flatmates works on a Game of Thrones show throne cast, which, which is like a British equivalent of, hey, we just watched an episode of Game of Thrones. So that's, let's talk about it for an hour. So it's one of those shows. Make sure you tell him about this show. Oh yeah, hell yeah. I mean, John was really cool actually, about his little Game of Thrones thing, because I was on a film shoot once, and there was a guy on the camera department. One of those guys is you just get the impression this guy is just a bit of, a bit of a tool. And he was, he was bragging about fucking I saw battle of bastards last night, and he wanted to just ruin the episode for people. Hadn't seen it, and I just went mate. My flatmate works on throne cast. He's already seen the final episode. Next week, if you fuck this episode up for me, I'm gonna tell you what happens the very last episode. Fuck your episode up. I could do that, because if you do that, you would have equivalent, the equivalent, equivalent of ruin the whole damn series for me. So I'll just blow the last episode for you. So don't, don't test me, pal. And then, of course, the last episode came on. I had to work with him for another five days. That was 10. But to give him credit, he was all talk. He didn't actually blow it. He didn't blow it for anyone. He was just teasing everyone. Very convincing me, which is a confusing way to joke. But hey, you know whatever works, whatever works for you. But yeah, it's but, no, it's a cool it's really great because, like the Game of Thrones, obsession in the in the flat is pretty intense, and you know, I think a lot of the guys are in it somewhere, like, I'm behind Jamie Lance today. If you would just move to the left, you'd see me as an extra shit like that. So it's quite funny. It's, you know, one of my camera systems, like, I'm one of those guys in the background. I'm like, which one the Baldwin? Like, this fucking nine bald people back there? Dude, like, oh, the fuck am I supposed to and they're all out of focus around fire. I can't tell which ones you he said, I think I'm that one. Like, it's funny. It's, it's, yeah, it's, it's, we're in great times, aren't we, where television is so rich and exciting. It's a, yeah, in many ways, I'm glad I don't have a career, because I'd probably love to direct the Game of Thrones episode, and it would just ruin the whole series for me.

Dave Bullis 1:30:50
Like, it was great until I got to direct it. It was all going great. Then, you know that one by Marc V price just, kind of,

Marc V. Price 1:30:58
The camera was just pointed around in place, because he wouldn't look he just was like, I pointed over there, and then have them did the last did the lines over there? I'm not looking, just having it was in focus. Cool, moving on. Yeah, that'd be me directing Game of Thrones, boardwalk, Empire, back. Also, any show that I like, it's just gonna be, that is all it would be. Would be me just go, like, Ah, don't tell me. Just tell me it was in focus. It is, did they sound like they meant it when they said the lines? Then, great. Moving on. That's generally how I direct anyway. I mean, I don't know if I'm very good.

Dave Bullis 1:31:29
That's your secret, right there. We've just had it revealed. That is just kind of like, all right? Was it? Was it in focus? All right. Moving on.

Marc V. Price 1:31:37
Did they sound like they meant it? Great. Moving on. Yeah, I hope this has been entertaining. Is terrifying. We're just talking, I forget that we're doing this for your podcast. It's just a conversation.

Dave Bullis 1:31:54
That's a good sign, though, I think, yeah, so cool. So Marc, I appreciate you coming on, man, and every and this, by the way, you're next on your next up. And I want to say thank you so much for coming on. And I'm going to link to everything we talked about in the show notes everyone.

Marc V. Price 1:32:30
Brilliant! Thank you very much, man.