Wine and...Movies: WHO'S THERE? (2018) by Mike Pecci and Will Simmons

WHO'S THERE is oe of two films that that aren't available anywhere, but anyone *can* gain access to see them, *IF* they take direct action and DM the director their Top 3 Horror Films, and Top 3 *Demonic* Horror Films.

The director is Mike Pecci and you can DM him on Instagram at inlovewiththeprocesspod.

DM him your Top 3 Horror films and he''ll send you a link to see "12KM", a film about a drilling team that drills 12 kilometers into the earth and unleashes something horrific.

DM him your Top 3 DEMONIC horror films aka any film featuring a demon or demonic possession, and he'll send you a link to see "WHO'S THERE". Something knocks on doors and you DON'T want to find out "who's there".

Who doesn't want to share their favorite horror movies with a horror film director? You can also listen to our full podcast episode about Mike and these films, if you want to know more. Get to it and happy horror season, y'all.

THE WINES:
Dallas' Pairing:
Gerard Betrand Trouble xp Red, France
Grenache Noir | Syrah
A non-filtered, cloudy, organic, vegan wine. The grapes are harvested separately when perfectly ripe, based on grape tastings performed before the harvest. Each grape variety is vinified separately. Some of the Syrah undergoes cold maceration to preserve the integrity of its aromas, whilst the rest of the Syrah and the Grenache grapes go through traditional maceration (de-stemmed harvest). Vinification is temperature controlled (maximum 25°C). The wine is not filtered or clarified, remaining cloudy. It is matured in vats to preserve its fruity aromas.

Dave's Pairing:
Porto Morgado Ruby (or any Ruby or Late Bottled Vintage [LBV] Port)
One of the best ruby port values out there, this authentic Porto from Portugal is only $10.99 at Trader Joe's across the USA. If you don't live near a TJ's, I'd recommend a Ruby or LBV (Late Bottled Vintage) Port from DOW or Sandeman - skip the Taylor Fladgates, their ports are only okay at best.

Chapters

• 3:04 300 Subs Celebration! / Car-Free Existence in LA
• 8:14 A Film Available Nowhere, But Anyone Can Watch
• 10:01 Director Mike Pecci + In Love With the Process
• 19:40 Near Death Experience + 12KM
• 31:52 Hollywood Interest
• 38:16 Going Viral
• 41:43 Instructions to See Both Films
• 47:07 Who's There
• 1:02:13 Dallas' Wine Pairing
• 1:06:20 Dave's Wine Pairing
• 1:12:10 Wrap-Up!

Transcript

0:51

He's Dave and I'm Dallas and we have opinions on just about everything. Sometimes they're on point and sometimes they go down better with a glass of wine. Join us. This is the Wine and Pie. Welcome back everyone to another wine and the podcast where we pair wine with entertainment, delude ourselves into thinking you want to hear what we have to say about different pieces of pop culture and art, but know for a fact that you need to hear what we have to say about wine because motherfucker who knows anything about wine? We sure don't. That's not true. We actually totally do and we can help you find the perfect pairing for whatever it is you're planning to read, watch or listen to. Now, before we get started, please make sure to hit that follow button and subscribe. does help this podcast grow and reach new listeners and please leave a rating and or review. At least do so if you love us. If you don't love us, don't send, don't leave a review, send us an email, send a nasty email to wine and pod wine, the letter N P O D at gmail.com. We will read that nasty email and take your feedback into consideration. And we will take it very seriously. So please send that email and see if we don't improve and get better. And if we don't, then leave that nasty review. That's fair. I think that's fair. And if you can also make sure to find us on Substack, that is our home base of operations, wineand.substack.com where you will be the first to know when new episodes drop, get in depth show notes, sometimes uncut versions of these episodes, bonus pairings, articles, chats, pairing directories, wineand.substack.com. Be a cool kid, drink the wine cooler aid and join us on Substack, which by the way, not incidentally, 30 minutes before starting this recording, we broke 300 subscribers on Substack. So I'm very proud of that. And the 300th subscriber is my ex boss from Studio System Nielsen, Susan Stobner. Which was which is I know she gets to be so Susan if you're if you're listening to this she just started her own sub stack a couple of weeks ago And I subscribe to hers and then left a comment. She is actually she has a sub stack called they paved paradise which is all about exploring becoming a a carless or at least a less car full culture in LA So talking yeah So talking about public transportation and like, you know how, cause we have a lot of work to do before the Olympics in a couple of years that we're supposed to be housing and we're supposed to have like a, way to get around LA car free by the time the Olympics hits. And we're going to see how that goes because man, LA has talked to good talk and not walked a good walk. That on that on at all. And I've been a walker in LA since I moved here because I came here from New York where I believed in public transportation. I believed in walking. Even before that, I was in the DC metropolitan area and I walked around like a motherfucker. I was a sweaty, nasty mess walking around in the DC area all the time. And I had a car then I did not have a car in New York. And then I held out on getting a car for years and years here in LA. And it wasn't until my parents essentially pawned one off on me that I was like, fine. And I took the car and I still have that car today. But I was was a believer in not needing it. As I get older, my joints are are are happier that I have a car sometimes. It's like, you know, sometimes you've got to do the big grocery store haul and don't haul. Don't walk or don't even take that on a bus. Like just just put it in a car and take it home for God's sake. So sometimes it's good and necessary. she started up that substack and then we connected and now she just today became our 300th subscriber. Can I just say folks that the first, surprisingly, the first 200 to 250 were a bit of an onslaught. Like we achieved that kind of quickly, you know, because we started Wine and we were a Wine and Comics pairing thing where we only had like kind of like 50 to 60 subscribers. And it was so niche that we weren't really growing from there. And then we broadened and became Wine and and we went from 50 to 250 in pretty short time. And then these last couple of months that or like the last two months, that final 50 reaching up to 300 has been a bit of a slog. It's been of a slow burn, a slow climb. And I think by the time you're in between 200 and 300 subscribers, what I've noticed on Substack is that you bleed people finally for the first time where you're gaining people, but then people are also effing off and unsubscribing at all. So you're like two steps forward, one step back every single, every single week where you're like, you're gaining two subscribers and then one just disappears. And Substack doesn't let you really, you know, they're trying to keep it kind of ambiguous. unless you're paying, unless you are memorizing your 300 subscribers, you don't know who just effed off. Someone just did. and you're not sure who or why, they don't really leave feedback. yeah, sometimes I think when you're at this many subscribers, now you have people where they either they change their mind, they're like, we're not really that interested in this, nevermind. And I have too many subs, I've subscribed to too many things. Let's just start, which ones do I read? Which ones do I not really read? Let's start calling my list. Or they don't like something you said or wrote or did, which always happens. So you start to hit this number of subscribers where it's not your passionate, close enough, intense enough circle. And so now people are coming and going. And so these last 50 have been a surprising, like I've just noticed we, you hit something like 275, then 280, then you're back to 275. And you're like, wait a minute, what? And then and then you back to 280 and then 282 but then back to 280 and you're like, my god So it winds up being this much slower little climb, but 300 this will probably I'm gonna say Susan is our first 300 subscribers You're probably gonna bleed some and actually fluctuate and before we pass it again and then finally get past it past it To where we move forward from there. So but this is our first 300 subscriber Yay to us. Thank you. And thank We'll take it. We love it. Yes. And to the 300 people that are subscribers, we love you. We appreciate you through and through. Even to those who were one of the 300 plus subscribers that then dropped out at some point, at some point, you were near and dear to us. And we do appreciate it, even if you decided to F off at some point. All right. So on that note, today, we are here to tackle. Our very first short film. Wait, why a short film? No, wait, Is it the first? Wasn't the Irish one a short, technically? no, Dallas, that's a feature film. was almost 90 minutes long. Why did I think it was so short? Okay, go on. you were. Okay, good. For a moment I thought you were about to say like, what are we talking about today? I prepared for something totally different. was like, no, this is gonna be an interesting episode. That's so funny. I'm remembering that as a short, I guess because it was so tight. It was a very tight 90 minutes. That's true. Yeah. Okay, I think it was under, was 80 something minutes. And but I mean, you know, if you're like 70 minutes, you're a feature. If you're even if you're over 60 minutes, you are technically a feature film at that point, even if you are a very, very short feature film. Absolutely. And it's indie, super indie, which this is also going to be super indie in its way. So why a short film? And this short film is a little unlike most are going to encounter out there. In fact, you'll never encounter this one. unless you take direct action to gain access to it. Because this is a short film that is available to no one, yet anyone can gain access to watch it. right. The fucks am I talking about? Well, I'm glad you asked. So the short film in question, Who's There? is the second proof of concept horror short by director Mike Petschy. And to understand what this film is and how to watch it, we have to talk about the man, himself. So I know Mike from his, well, I know of Mike from his podcast. I don't know Mike personally, or rather, Mike doesn't know who the fuck we are. So I know of Mike from his podcast. Yes, he's a fellow podcaster in love with the process. A podcast where Mike talks to guests from various roles within the entertainment landscape to discuss their story, how they got to where they are and the lessons they've learned along the way. Basically being in love with the process of making it in this industry. achieving anything within this industry. He's talked to directors, cinematographers, actors, dancers, acting coaches, producers, writers, aerial camera operators, stunt people, executives, musicians, you name it. Mike has likely talked to them on the show, which is well over 300 episodes at this point. think it might even be over. It might be approaching 350. It might be over 350. I'm not sure. I think it's between three and 350. He also started a sister podcast with one of his acting muses, Lance A Williams, called Right Place, Right Time, where the two also have guests from the industry on to discuss what their right place, right time moments were and or what they believe that phrase to truly mean. Like one of the things they explore in right place, right time is what is a right place, right time? Does that exist? Is that a big part of what makes the world go around? The consensus generally is yes. Like that you have to you have to have right place right time moments to make it that's that luck factor, right? But it's also about you have to expose yourself to right place right time moments, right? It's like if you're in your hidey hole working on your craft Nothing's ever gonna happen. Like chances are that will never happen because you're not out there meeting people making connections networking, like part of the quote unquote networking, which is kind of a dirty word, and creatives don't like it because they're like, I just want it should be about the quality of the output and things like that. And it's like, well, yes. But then, but someone has to read it, right? So we'll see it if it's a movie or hear it if it's music or an audio something like people have to be exposed to it. And to be exposed to it, you have to present your or to, you know, turn someone on to it. you have to be out there talking to people. And then they're like, so, and it might happen that you mentioned you have a podcast on top of other things that you do, or, you know, yes, you're a music video director or commercial director, but you know, you've done some narrative short films and you're working on a feature and blah, blah, And this is where, and then if they've already liked your other work, they're like, hey, now wait a minute. You know, I have a, either I am or I know of someone who might be interested in taking a look at your stuff. So on and so forth. Like these are right place, right time moments. Right. And so the sister podcast, if you just look for in love with the process podcast, both podcasts are listed under that. So if you go to Spotify, if you go to Apple iTunes, you just get all of it in one go. And there's a lot out there. You can also go to his website in love with the process.com where he curates it by subject matter. So if you're only interested in hearing about directors. You can just find all the episodes that have directors or writers or cinematographers or what have you. So you can, you can curate it a little bit rather than wading through, you know, each individual episode and trying to find it now. Mike hails from Boston and got started as a music video director. One of my favorite stories he's told on the podcast on his podcast is, and this is in Mike's own words. When I was first getting started, I called up Roadrunner Records. I was watching MTV2 at the time and saw the latest video from Kill Switch and Gage. In my young arrogance, I thought it sucked. I can make a better video, he thought. And I just want to say, Mike, by the way, if you ever listen to this, I know you're a comics guy as well. And Alan Moore, one of the great comics writers out there, he has something that he says that one of the best mode, one of the best things any up and coming creator can do in Alan Moore was talking about writings and writers specifically, but I think this pertains to all creatives is to consume things that are bad that you think are not good because it makes you think I can do that. I could, I could do this. I could do better than this. And that is motivating to actually create and to do your own stuff. And so he believes that is a great motivating factor now. Mike thought this and so and again in Mike's own words. So I sat down and wrote an email explaining how shitty I thought the video was and how I could do it better. I then cold called the label and somehow got their rep on the phone. Quote, I'm reading your email now, he said. I sat in silence as he read through my bullshit. At the end, he said, Who the fuck are you? What have you done? The guy was pissed. And I've heard the stories like there are musicians who have been really cocksure about things. Now, you don't denigrate with the other because I've heard another story recently about a musician who wanted to work with the ex Genesis guitarist who now has a huge solo career. Steve. I should know all the Genesis guys. I have it. Steve Hackett. Yes. So a drummer wanted to work for Hackett. And instead of saying like, yeah, your music sucks, I can make it all better. That's not going to get you anywhere. But what he said is he wanted to audition for they were looking for a new drummer and he missed the he missed the window. They're like, we're pretty sure we know who we're going to go with. But, you know, keep in touch. And at first he was like, OK, yeah, that sucks. But then he called back and he's like, look, just tell can you pass on a message to Steve? Tell him if he'll let me audition. And he doesn't decide to go with me. I will pay for the room that we audition in because, you know, you have to rent out the room. And he's like, but if he goes with me, then he pays for it. the message. Yeah. So ballsy, but not denigrating. Right. Not mean and nasty. And that actually Hackett decided he's like, this guy's got balls. And so he wrote, he's like, let's do it. And he did wind up going with the guy. So it just goes, so you can be ballsy. You can have chutzpah or whatever you want to call it, but don't be. Don't denigrate the work of other people. It is walking a fine line because it is art. So they're going to take your critique personally. And if it comes off really targeted and nasty and aggressive, you're going to be someone they just shut out, you know. Yeah. But if you have some critique and a way to kind of. make it better or add something to it, then generally you're gonna be appreciated. So don't just go in balls out being an asshole. Right, right. Ballsy is not necessarily a bad thing, but negative ballsy and denigrating ballsy, these are not winning combos. So yeah, don't do that. So after saying you'll never do a video for us and hanging up the phone, Mike says, Fast forward six years later, high five and Jesse and Adam on the set of our first Kill Switch Engage video. Funny story that no one knows about until now. Bottom line is yes, you can write to your favorite bands, but be sure you can back it up. Find a friend who has a small band and make them a video first. You are gonna learn shit doing that that you will need when doing something bigger. So, And so Mike did have to climb that when he says fast forward six years later, like he did have to work his way up that ladder. Like he had to start with much smaller bands. He had to make videos. He had to do the work. And he, you he even created a small music video, essentially a production company in Boston that was, you know, for this purpose and then worked his way back. And he finally did do a kill switch engage video. And I believe when I listened on his podcast, he basically said that when he did like these guys still had the same reps. and the reps did not know this was the guy who called them all the, all that time ago. Right. Because they're not going to really remember who you are. They might remember the story and tell that story of like some kid once called me up, right? You know, and like they might relate that as like a, you believe this shit story? but they're not remembering your name and when, they've never seen you before probably. So it's like, they're not going to. You don't have a target on your back from something like that. If it's that early in your career, if you're doing it as a complete nobody that, you know, burn, make your mistakes when you're the nobody and absolutely don't. don't bring don't don't banner wave your name when you do that. Just go ahead and try it and fail and burn, burn out and then never do it again. Right. Exactly. So, OK, so That was Mike doing music videos in Boston, fast forward many years later, and Mike suffered a near death experience when he went ice skating to impress a date, or rather he went on a date and it was ice skating, but he'd never ice skated before, I believe. Now this date is a woman who is now his fiance today. So it worked out, you know, but he fell and hit his head. and suffered a hematoma inside his skull. Right near, and this was a hematoma that was right near a main blood vessel. So normally when they want to do a hematoma, they drill into the skull to release the hematoma. But it was where it was located. If they drilled too deep, it would hit the blood vessel and he would bleed out and die. So they waited a couple, they were like, let's wait to see if the bleeding stops on its own. We don't want to risk drilling in there. That is really hard to do to do it that fine finally. So they waited five days and it did stop on its own. But then he had months of recovery because he had a concussion and things of that nature. while he was recovering, he experienced a certain disassociation such as hearing voices in his head that during that time he was convinced weren't his own. And this was an So this is something that like later he's like, no, okay, those were, but like he remembers in the moment believing they weren't right because of how much he is his head. Right. Exactly. He had suffered such trauma in his head that this was, this was something that he had. then during recovery, he realized that having suffered a near death experience, the one regret he would have had was not making the films he truly wanted to make. If he had died in that this guy. this is a Hollywood outsider story right here. This is an indie darling in the making. Exactly. Because he had gotten really comfy making music videos, think commercials, things like that. Like he was a production company. They hired him. He gigs. Right. Exactly. He was gigging and fighting for gigs too, right? You pitch for gigs and things like that on these things. once he recovered, He realized everything else in life. you know, he had now he had met this, he had met this girl that now that was going really well. He kind of was financially he was doing okay with this production company, but he was not taking risks. He wasn't doing the things he really wanted to be doing. This was supposed to be a stepping stone, you know, into what he actually wanted to do. And he had kind of lost sight of that. So he was inspired. He stopped putting off working on a passion project and was inspired. by the disassociative experience that he had suffered while having the hematoma. And he combined that with this urban legend called the well to hell. And the well to hell is a legend about a Soviet drilling project in Siberia that supposedly drilled down, reached a cavity filled with fire and screaming. However, the Soviet Union actually drilled the Koala super deep borehole on the I'm sorry, the cola. Yeah, super deep borehole on the Cola Peninsula, which is not in Siberia. The Cola super deep borehole reached a depth of 40,230 feet in 1989. And while geological anomalies were found, no supernatural encounters were reported. But this this urban legend persists that they drilled a well to something like hell. So Mike was like, Okay, I think there's a way to combine like someone the type of experience of someone almost being possessed, right? Like when you have that voice in your head that isn't your own kind of a thing and connecting it to something like this well to hell that would just be super visually and conceptually really cool for a film. So Mike wrote a script called 12 kilometers or 12 KM, which 40,000 feet is 12,262 meters, right? So he was like 12 kilometers, that's the depth of the drilling. So. 12KM, now being an idiot, he decided it would take place in Russia and be performed entirely in Russian. Mike is neither Russian nor does he speak it. in Boston. Love love it. Dallas is like all in, all in for a penny and for a pound. Now, Boston does have a pretty significant Russian population. So he was still living in Boston at the time. So he put casting notices all around and one of his neighbors, Gene, Raven responded. Gene was cast in a supporting role in 12 kilometers, but I believe he was also instrumental in translating the script into Russian and securing other Russian actors as well as translators to work on set. So because everyone spoke Russian in this movie, many of them did not speak a lot like a lot of it. I believe some of the actors like were not. big English speakers per se. was some like they needed translators on there. And Mike didn't speak a lick of it. So he was there as the English speaking director directing this whole pony dog and pony show. Everyone's speaking in Russian and he just had to trust that the script was what it was supposed to be. And apparently the translation was tricky because Mike being, you know, he's an East Coast American full of cynicism. and satirical ways of thinking and you know, is a very according to him, he's like Russian is a very literal language. You don't do this sort of, what's the word I'm looking for? Not satirical, sarcasm. There was a lot of sarcasm in the way people were speaking to each other. And that does not translate like Russians don't do sarcasm. They they're very blunt or the way the language works. It's Every syllable matters. Right. It's very direct. there there there was a lot of things that needed to be translated properly for that or tweaked to like make it a proper Russian script. So 12 km was partially funded via crowdfunding. By the way, we are not here to talk about 12 km. So we're just on the journey. to talk about, but we do need to know all of this to understand why we're talking about what we're talking about today. So 12KM was partially funded via crowdfunding on Kickstarter, raising just under 17,000. It was filmed entirely using practical effects. Now this is something that is really, when, if and when you see 12KM, and I'll talk about how you might be able to see 12KM during this podcast episode, as well as how to see the short we are here to talk about today, but. When you see it, you will be stunned to know that it's all practical effects because some of the visual effects, they seem tailor made to be digital. And some of the way they even look, you're like that you had to have done that digitally. Right. And like, he did it like there is a black ooze that is sort of a sentient black ooze that comes out of this pit. And he used it using What do they call it? Faro liquid. The stuff you can control with magnets. Yeah. And they controlled it with magnets and then reversed the shot to make it flow in a way that is like you look at it you're like, whoa, that's cool. But it is all actual liquid that they are maneuvering on camera as you like physically. None of it is digital effects. So that is that is a really cool thing about 12 km. Now, when the film was completed, Mike knew a number of people who worked in the Boston Film Festival Circuit. So he invited them all over to a screening. He played them a movie and he played them 12 K.M. When it was done, the room was dead quiet. And he was like, OK, so what do you guys think? And they said, yeah, it's fantastic. It's great. And he's like, awesome. So where should I submit it to? And they said nowhere. It's not going to get into anywhere. Because it was too long. at just under 30 minutes. All right. Now, this kind of took Mike by surprise. This is a bit of a shock because technically under the standard film festival short film maximum, there's usually a maximum of 30, sometimes even 40 or 45 minutes for a lot of festivals. And let's talk about that, though, because, yes, technically, they film festivals give themselves an out of going up to 30 to 40 or 45 minute and calling it a short film. But no one wants to program that because when you program a film festival, there are physical days with physical minimal, like maximum amounts of time in that day to play these shorts. A lot of times the short blocks are like, here's an hour. How many shorts can you cram into this hour on this day and then one more hour tomorrow? You want to get you want to give as many opportunities as you can to as many people. And if one person is taking up half of that hour, that is one person. Nobody wants to do that unless you are a big celebrity filmmaker. Then maybe that's like they always want to leave themselves that out. If like you are, let's say you're a filmmaker who like this festival is where you got your start and now you're a big time. but you want to come back to the film festival that gave you your beginning and do a brand new proof of concept 30 minute short. Sure, you can do that, but they're not going to program yours, It's like they're not going to do that. They don't want to. They want to do more shorts in that time. So 10 minutes, 12 minutes, absolute maximum, but really 10 minutes and under is what you're aiming for. So Mike was effed. He, so real quick, if you are listening to this, Mike, as a person who routinely writes short films that are upwards of 40 minutes, I understand my friend. understand. Yes. Now to Mike's credit though, he only did it because he thought he could. Right. so, but I still do it. And the, and the best part is it was always in his mind. 12 kilometers was going, was always a proof of concept for a feature length version. Right? So he actually in retrospect or not retrospect in interviews since he has said that like for the feature length version, this would be the cold opening, this short part. And he's like, it wouldn't be this long, actually. It would only be like 10 minutes long. But then there'd be a lot more coming for the rest of the film. But he patted it out to make it more of a standalone feature. He thought that was better. to add more to it and make it a 20 something minutes short because now it's a more robust standalone quote unquote feature, like a feature short. And that wound up being the bullet, like shooting himself in the foot because that is exactly what no one wants. They actually want the 10 minute cold opening. But yeah, leave us hanging. It's a short who gives a fuck. Like most shorts leave you hanging. They always end on this sort of open note. Like you can walk away, but you're like, of course, the short is meant to make you want more, right? You want more either from the story or from this filmmaker or from these performers. It wets the appetite. That is what a short film is really meant to do. You don't really want it to be so done in one and done in a few minutes that you're like, Yeah, cool. I'm good. I don't need to see anything else from this person or from like that. Right. You want to what the effort you want to stimulate the curiosity. Absolutely. Yeah. Right. Right. So now frustrated that he had made this film that essentially was dead in the water. Mike was friends with a writer who asked if she could see the film and write a review for it on the Twitch website. Today, that's known as Screen Anarchy. But back then, Mike had never heard of the site. Bad Mike. I that is bad. I loved Twitch back in the day. It was my go-to. It's not what it used to be now. It was so much fun back in the day. was just sort of the Wild West in a weird way. Like, it's just fantastic. It was one of the best genre film sites that was out there back in 2010. Nowadays, there's a, is it City on Fire? I think it's one that does a lot of action in Asian cinema and genre cinema. Screen Anarchy still exists and it's still going, but it doesn't have quite the clout that it had back then. And people use these sites. This is the other thing that Mike didn't realize. So she wrote a glowing review and suddenly a lot of people in Hollywood started taking interest, right? Because this short wasn't on, and because this short wasn't on the internet for all to see easily, people had to reach out to Mike and make contact. to get access. He also got a call from someone who was like, I see you don't have a manager. And me and Dallas know that game. Turns out now, of course, Mike being a cynical Bostonian, he was like, who the fuck is this guy? This is not a real manager. But turns out the guy was from the Gotham group. One of the big and well-respected management companies in the biz, they're East Coast and West Coast. They're literary, they're film and TV, they're everything. And so he got signed at the Gotham Group after talking to this guy and showing him the short film. And then very shortly after got signed at UTA for agents. this blew up for him. And he found out like even when he talked to his manager at the Gotham Group, he's like, yeah, we have people dedicated to just scouring the internet, just finding these shorts and finding mentions of these people. this is not as true today as it was back then. But not at all. But back then, people were so hungry for new talent and the internet and film festivals and just following that news of what is making a splash, what is making a buzz, what seems to be interesting. Exactly. And now Mike was repped. And so Mike started taking a lot of what are called general meetings. And general meetings for those not in the biz are just You kind of, your management company and your agency are going to start setting you up for these generals. And it's just really a meet and greet with all these different production companies, studio execs, creative execs at studios. You're not really pitching anything yet. You're just sitting down with them and they're like, who are you? What do you do? What might we be interested in? Okay, are you? As the kids say, you're trying to get the vibe. You're trying to get the vibe. And you're also you're getting in the room rapport with each other, right? Like how much do you like each other? And do you how much do you really want to work with each other kind of thing? As a person who routinely used to go into these into general meetings with a fuck you. I just want your money to make my art attitude, which now did get me far. No, don't do that, kids. Don't do that. No, no. Mike did a little bit of that, but not too much. He did try to play the game quite a bit now. when he was taking these general meetings, he was flying to LA like from Boston and then like, you know, trying to pack in as much as he can in like a week and then F off back to the East coast. So in 2019, he made the move to LA and re situated himself here right before the pandemic lockdown. exactly. Sorry, Mike. I know. Now, a few things did happen in between. He was able to set up 12KM. was optioned to be a potential feature film at Ridley Scott's Scott Free. So they've had it there for all these many years. And he can never talk about how it's going, really. But we think things are going relatively well. Now, the one thing about 12KM, the feature film there, Scott Free was interested right away. But it was going to cost more than anyone really wanted to give a first time director. right of a feature film and Mike definitely he's not interested he's not a writer he considers himself a director in fact he so much does not consider himself a writer that during this time Mike met writer Will Simmons a blacklist winner and Will is alongside Mike sort of like they're they're collaborating but Will is writing the 12km feature script like he is the writer and the short film that we're here to talk about today Will is also the writer of this second proof of concept short film that Mike did. So Will is now, Will and Mike are like bosom buddies. Will is his writer. He's getting this done. And Mike just gets to plainly creatively, they are always, I know he and Will have like gone off on retreats, writing retreats together to like hash out things, but Will is the script writer, right? So the story by Mike and Will or something of that nature, I'm assuming. But the script, the writer, like Mike does not seem to be interested in getting writing credit or being one of the writers of the script. just, but of course he wants it to be his vision. So he wants, so he's working very closely with Will, but now Will Simmons is Blacklist writer. And Mike has said things about Will where Will is amazing at, he's like, you know how you have to grab someone's attention in like the first page of a screenplay. Like, know, within one to five pages, people know if they're in or out. They're not reading the rest of it. And he's like, suck. And Mike has been like, I suck at that. I don't know how to do that. And Will apparently is incredible at that and knows how to like formulate a script to structure it in a way where it's like, he knows what's gonna keep an executive's attention. He knows how this is gonna get them to the finish line. Now, so. Because 12KM though was going to cost more than most people seem to be willing to give Mike for his first feature, it was time to think about making a second proof of concept short film for a film that theoretically would be much lower budget that he could make as his first feature. So this brings us to who's there. Although one last important story before we talk about who's there directly in early 2022, Mike leveraged the popularity of his podcast, In Love with the Process, to try and get people to watch 12KM. So he told his listeners, and I think learning about how people had to reach out to him after the Twitch article to get access to 12KM, he tried this little sneaky thing where he told his listeners that they could DM him on Instagram, their top three horror movies, and if he agreed, he'd send them the link. And this movie was not available to be seen anywhere else. Now, cheeky devil. Now note, he actually sends the link to everyone. So if I agree, but I think it was just a spice up the challenge of it all. But he's not if you send him your three top three horror movies, he's not going to be like, those movies are shit again. He's learned his lesson from his youth. So he's not just going to shit on other people's movies or other people's opinions. But then a YouTuber, Big Vic Media. DM, he saw this and he's like, that's cool. I got I got to take and he this is what he does. He takes a look at at feature films, movies, at short films. So he's like, I got to take a look at the short film. He had read the Twitch article, I believe he had seen Mike make this sort of challenge to his listeners. So basically this guy, Big Vic Media. He usually has to like, okay, how do I want to represent this to my audience to make it compelling? And he realized, you know, this DM thing, I don't have to make up anything. I can just present it what it is. And it's really compelling. So he did. And, but then he did do one really, I think, and Mike thinks, I'm pretty sure, genius thing, where at the end of it, he's like, you have to DM this filmmaker, your top three horror movies. And if he agrees, he will send you the link to this movie. And he ended it with the question, Is this genius or just pretentious? And two weeks later, this fucker went viral, like viral viral. Mike started to receive thousands and thousands of DMs and could not keep up with them. To this day, it can still take him months to respond to your DM because he is that. far behind. This thing has gone viral multiple times. In fact, since 2022, like every six months or so, another country apparently, like it's gone viral in India, it's gone viral like overseas, like another place suddenly gets hold of this question. And everyone loves that is this genius or pretentious, everyone wants to weigh in on that shit, right? And so it became engaging. It became the kind of you can, you can bad mouth it. You can say it's just for, of course it's pretentious and everyone wants to do that, of course. So, but it, but it got people to interact and they would be like, yeah, it's pretentious. And then they'd fucking send them the three top four. They DM them, of course. So it doesn't matter what your opinion is. You're engaged. You're doing it. And now I will say, I am honestly not 100 % sure if 12 KM is still available to be viewed in this manner. Yes, turns out 12 KM is available the day after we recorded this episode. Mike went ahead and dropped. a short little five minute update on his podcast, In Love with the Process, with a very quick update episode titled The Password for 12KM is... That is going to be right before episode 322 on the podcast if everyone wants to go check that out. But apparently he had been sending out the password. People were having trouble with it. So he confirmed the password, gave some hints and tips to troubleshoot with it if it wasn't working. So yes, 12 km is available. He is sending it out from the sound of it He's sending it out much faster than he has in the past. Apparently 12 km went viral yet again So let's make who's there go viral this time guys But when you do reach out for who's there and give Mike your top three demonic horror movies We're gonna talk about this in just a moment Also send your top three horror horror movies not specifically demonic for 12 km ask for both. He will send you both All right, let's get back to the show and talk about the details of that. I have seen it. I DMed Mike and I did get that password and it is brilliant. I love this film. So we're gonna talk about Who's There, which is the latest thing that he's doing this with. And when you do this for Who's There, send Mike the top three horror films to get 12KM2. Ask. It can't hurt and see if you can get both because they're both well, well worth watching. Now. Recently, it's become who's theirs turn. So you can DM Mike on Instagram and it is in love with the process, POD, in love with the process pod, that's his Instagram, DM him there your top three demonic horror movies. All right, so any movies involving demonic possession or demonic beings and he'll send you a Lincoln password to watch who's there. There is no other way to view this short film full stop. Say it again. it again. Say it again. There is no other way to view this film full stop. You must DM him your top three or email him at inlovewiththeprocess.gmail.com. There are links down below in the description of this episode. You can find links. You'll find the email. You will find a link to his Instagram. You will find a link to his website where you can also then find links to his Instagram and email. So you'll have everything down below. But it is in love with the process at gmail.com or in love with the process pod and love with the process pod. And there is no other way to view this film or 12 KM for that matter. So for 12 KM, your top three broad horror movies, all horror movies and for who's there, it is your top three demonic horror movies. exactly. All right. Now, be patient when you do this. As already mentioned, he is behind the eight ball on this. now recently, so I emailed Mike for who's there back in February of this year. He emailed it to me end of September. So that was roughly six months turnaround time. Now he did announce on his podcast just a few weeks ago. So after he sent me mine, like a week or two later, he announced on his podcast that he finally had an assistant. that was helping him with the communications and that everything's gonna get sped up compared to what it's been in the past year. So likely it will go faster than six months for you, but nevertheless, just send the DM and fucking forget about it. Yeah, send it and you're like, great, I've done it. Wipe your hands, ignore it, don't worry. Trust me, you'll think about it for a couple days and then you won't. Then life moves on. And then when you get, like when I got that email, There was a moment, like it took me a solid couple minutes to understand what I was reading. Because I was like, what is this communication? What is it for? What is it from? And then I looked back at what the email chain was. I was like, holy shit. I had forgotten about it. I forgot I tried. I forgot I sent this out. Maybe you'll be watching this by Halloween next year. That's right. And you'll have a sweet surprise. But there is no other way to watch this. And you might get too big. proof of concept films from this director who is one is currently set up at Scott free and it he's been very cagey he says lots he says big things are going on right now. He has already directed a 3rd proof of concept film that has made the festival circuit called come home with Lance Williams the actor who is doing the right place right time podcast with I can't wait to see that right now that is not available in any way shape from doing the festival circuit still right now so it has to be unavailable while it's doing that. And then we'll see what happens there. But there seems to be something finally brewing for Mike, I think, on the feature film front. So this is a good time to get in on the ground floor with him and know who this director is and know what he's got coming up and where he started, especially if you're into movies. If you consider yourself a cinephile, you want to know about this guy and you want to know about these these films. All right. Now, who's there? Directed by Mike Pache, written by Will Simmons. as already mentioned and starring Margo Budzina, Shay Pacheco and Gene Raven, who you might remember is the Russian guy from Boston who helped translate 12KM and responded to the thing back in the day. So he was cast as a supporting role in 12KM and he's one of the three leads in who's there. The DOP on these films is a guy named David Kruta, K-R-U-T-A. And David Kruta, he was DOP on 12KM. He's kind of Mike's DOP. They also are, and this is another thing about like right place, right time and in love with the process and something that Mike always harps on is like you find your people. Right? By getting out there and doing things, you find the people that you love each other, you want to work together. And so when the time comes, when that opportunity arises, you are not starting from dead scratch. You've got people in your corner. You've already got a certain dynamic with working dynamic with so that's always very important. So always remember that now let's talk about who's there. It's finally time to talk about the fucking movie itself because six months later we got to see it. And this was so in Mike's words this was a film. It is a proof of concept for a potentially lower budget film than 12 KM would be and I can I can definitely see that this is much more contained. But again all practical effects. All the visual effects were done practically in this one, but done in ways where it did cost less and a feature film would be a little more, much more plumb housey. Like you can make this for, you know, maybe even less. I don't know. I don't know what Mike's thinking on that front. I don't want to put words into his mouth because he has not said what he thinks this would be made for. And I don't. You know what? I might even cut that. So no executives hear this. Yeah. Like, can do this for under. Then I'm like, I'm sorry. I should I should not have put this on in on the public airwaves. I'll probably cut that. But you know, what are our thoughts on this? And I believe Mike even says like there's definitely some hellraiser influence here, which I 100 percent see. And it's a Christmas movie. So it takes place during Christmas time. So yeah, if you can get your hands on it in the next couple of months, watch it a Christmas with your family and kids. Good idea. Yeah. Good idea. Do not, no, no, do not do that. Not with kids at least. With your family maybe. They gotta grow up sometime. It's right? It's scary, but it's not, it's not gruesome. There's, well there, there is some, some sort of partial nudity ish, very silhouetty, but you definitely see some nip silhouette. So, You gotta you gotta be careful there. But outside of that, you know, this is this is not as as we mentioned in a previous podcast, this is not the concerned moms review of this short film. So we do not have to tell you what the adult things in this film are. So we will not per se. But yeah, Dallas, your thoughts on who's there? Ten minutes in and out done. But what do we think? First off, what do we think of the story and style of this? How did it hit you? it was, you know, those, okay. I should just read my notes rather than spit balling. I will say this. It's visual palette is kind of sumptuous and sleek, oddly sexy. but I associate, I associate horror films with a, with a sensuality for some reason. I mean, is again sensuality in the final minutes, especially is actually a thing. Yeah. Yeah, for sure. It takes a while. It's really a family at Christmas looking for a lost kid in that sense, not sexy at all. Yeah. But then go somewhere weirdly sexy in the final minutes. Yeah. I love the sort of media is the sort of drawing the action already in play, drawing the audience already in play. the moment we hit frame one, we know something's happening. You know, the energy is already there. it's already been wound tight and we're about to take off into this little journey. I love the kind of hell raiser ish concept of the, I say what it is, but there is And there's something like the mystery, the puzzle box from Hellraiser. For those who have seen Hellraiser or read the Hellbound Heart Clyde Barker story, there's a puzzle box that starts everything. And there is an object in this short film that is plainly, think, I think very, I don't think Mike's even hiding it, like plainly inspired by the puzzle box from Hellraiser. Even the way he finds it in the other room in something is very reminiscent of Hellraiser. I love the father's journey in this. You know, brief as it may be, it is a full sort of characterization. You know, the setting, the stage work, the stagecraft, the lighting, everything about it is very, I mean, extremely well done. It is a really well done film and production wise. And yeah. I thoroughly enjoyed it. It's it's a, it's a tight little ride. It's a tight little ride. The music is used to great effect to heighten the moment. I think in an episode which will probably air, which will definitely come up before this, we reviewed, the new hell boy, film. And one of my chief gripes with that film is the sound escape. it is overused. overwrought and just a little too sharp throughout the entire thing. And with this film, it's definitely been mixed or engineered so that there are levels so that the sound sort of enhances the moment rather than being overbearing and sort of just sort of lying over the moment. So I think, you all the components in this film come together, come together very nicely. And while there isn't, I'm not gonna say there's anything necessarily terribly new being, you know, sort of in terms of a thesis or anything sort of being presented here, that doesn't matter. Cause at the end of the day, exactly. It's not pushing boundaries, but it is giving you a lovely little spin on a concept that we are fairly familiar with in cinema. with some solid performances, great design, like the production design here. Really, again, it feels so much larger and bigger than this production actually seems to have been. So yeah, hats off to him, for sure. Yeah, the things that stick with me, like the things I keep thinking about after having seen, and I watched it twice. And after the first time, the main thing that stuck with me the first time was the color palette, right? It's like you can just keep picturing that color palette because it is so unexpected. It's a Christmas movie that has a very dull on purpose color palette until this the supernatural elements start to come in and that they have their own color palette, which is not the color palette you quite expect in a Christmasy movie. It's very you can tell Mike is a child of the 80s and 90s with this color palette, but it's like It doesn't, it harkens a little bit back to the neon saturation of the 80s without being on the nose about it. Like it's still its own thing. It's not the way we did it back then, but you can see the influence of like Giallo atmosphere and color schemes and color palettes and the way they were able to drench the atmosphere in color in certain ways, which you wouldn't think would with the dark and negative space. The way they play with the dark and the negative space. Right. Right. But you would almost think you need like for a horror film, you're like, so it's just going to be dark. And that's it. And Gialto's kind of taught us an opposite of that. It's like, OK, it's dark and there's shadows at play. But there's dimension. There's shadows can be very colorful and be still completely terrifying and effective as horror. And I thought. Yeah, the atmosphere and the palette that's on display here is great. On the soundscape thing, I agree. It's very subtly done until the final moments, but it works incredibly well. When those final moments begin, this new sound effect suddenly emerges, and it's a very pronounced sound effect that's very alarming and continues until the end of the film once it starts. But it is like, and now we're here. And now we're doing this and bam, here we go. And it tells you everything you need to know. And I appreciate that the film, you can follow everything that's happening easily, but it explains jack shit, none of it. Right, right, right. As you're moving, as the audience is moving into the next room, because it's essentially a series of next rooms, you don't know what you're going to find. And that is particularly in a short is a very effective way to increase the tension and expectation of your audience and manipulate it because at the end of the day, really effective horror films do one thing really well, which is manipulate the expectations of the audience. And, you know, 10 minutes in and out, we start on in the middle of a motion in the middle of some inertia with these characters, there's a central mystery that's established. And for lack of a better phrase, we end up just sort of wandering through this space in order to fund this series of rooms in order to find, you know, sort of figure out the puzzle. And it's it's pretty effective. It's pretty damn effective. And I will say as a calling card for director, writer, producer, sort of a proof of concept. You can't get much stronger than something like this. You really can't because it does a lot of things that a lot of things on our own display that you need to have in your sort of cadre of talents in order to get a producer or studio interested or manager and agent. You know, it's a seamless sort of puzzle. 10 minutes in and out. Everything's kind of firing on all cylinders, as we said, not necessarily doing it, you know, breaking any boundaries or adding anything terribly new or outlandish to the conversation, somatic, cinematically or thematically. But everything that's done here is done really well. And proof of concept, that's what you want. Yep. And you can even like internally, everything makes enough sense. It's a very short film, so there's not even internally, you don't need to necessarily like make sense. Like you're not setting up a mythology or anything like that. But just as you go with the flow of what's going on, everything seems right with whatever the setup is. And there is a basic like once whatever this object is, once someone unleashes whatever it does, the main crux and why this film is called Who's There? is it knocks on things. It knocks on not just door doors, but like anything with a handle essentially. And if you open it after it knocks, that's when something happens. You're gonna find out who's there. exactly. And the way, like the thing that happens to the mother I just thought was visually, like it was just that perfect, like showing just enough. And then the the dad Had a much lengthier fate, but it worked really well and and this is where almost the Slightly more hellbound heart slash hellraiser bit comes into it where you're like, I'm really I'm it's such a bark Clive Barkery. It is moments. Yeah that that that finale but in a all in good ways in And it's not as like Barker would actually probably be more self-indulgent in his version of this. Whereas this was much more restrained, which I also really appreciate it. Because again, you got to do your own version of these things. And I feel like this definitely did. So yeah, who's there, guys? I do love the color palette. And the final moments, they replay in my head over and over and over again. That's sticking, that's staying power. And I appreciate that. So, all right. That's we can say. We're not going to talk about 12 KM because I've seen it, but Dallas is not. All I can say about 12 KM is it is lengthier and in terms of practical effects, even more impressive. But again, that's why it would take more money to do a feature film version is the kind of things you'd have to do in that film. like, it takes a lot more. Who's there is like, we want to do something much more dialed down. than what we were doing in 12 KM and they pull it off. So I do hope, I hope to see future film versions of both in the future. And I would like, I'd like to see a future film version of this because you know, as a person who has created, it's funny when I realized it was sort of a, about about eight or nine years ago, I created this concept, which was essentially a hex being put on a house and everything that opened as a door was basically a doorway to a door. Interesting. And so You know, I seeing this, I'm like, yeah, see, it's a solid idea. It's good. Yeah. If only you would have done something with it. If only I would have. Yeah, actually, just I know. I know. Take it. Take it from Mike. Do something. I know. I off the. Well, on that note, on the note of staying on our doves, what are we drinking while watching this Dallas? What what what would you pair? What did you pair with? Who's there? You know, I I started trying to you know sort of just muse about what I would pair when I watched this the first time and by the time I finished it through the first watch I knew I wanted something that was sort of a light red blend I know that's a little on brand it's a little you know on the nose but occasionally it's okay to be on the nose you don't need to rock the boat all the time right and I remember using pairing a wine it was a white from the Batrond Chardad Batrond winery and he does a lot they do a line called trouble and they're a cloudy wines they're organic vegan and very into this lately you know I think because the They're a little more... They're a little more interesting in the initial sips. They require a bit more challenging to kind of parse. And does it help that you don't want to drink more than one glass at a time, really? Yes. a lot of these wines? Because again, there's a lot to them, right? Yeah. That's exactly it. It's like a glass is more than enough at the time. And that's OK. And generally, that's my sort of consumption sort of behavior anyway. I don't need a whole lot of anything. one glass generally. But so metrons trouble line. Again, they are cloudy organic vegan wines. They're pretty unconventional, pretty nonconventional. The appearance is definitely cloudy because of the venification methods. And there's an air of sort of mystery to them for sure. They I think the last time, yeah, I did, I used their white and I can't remember their cloudy white, what I paired it with, but it was probably about three months ago. But I had their red at when I picked up this bottle at their tasting and it's curious. It's mysterious. It's a Syrah and a Grenache blend. It goes through a traditional maceration destemmed. Of course, the temperature is controlled. The wine is filtered, then clarified, but remains cloudy. It's matured in vats. Of course, this is all not news to anyone who's familiar with wine. But in terms of the tasting notes, you get black fruit, you get the current, you get the raspberry, you get. You know, all the things you would expect from a Grenache and a Syrah blend. But there's also, and I haven't figured out what the note is. There's a note in the back of the throat, on the back of the palate, for me at least. And it's spicy, but it's not capsaicin, and it's not chili. It's a I can't figure it out. Is it alcohol? No, no, because alcohol burns off. Alcohol burns off. OK. It's like this remains as a tingle of some kind. Yeah, there's a tingle. guess that's it. Yeah, there's a tingle. And yeah, that's what goes with this guy. The fracas said the first time we watched it, I knew it was something a little unconventional and remembered having troubles white. And I decided to go for the reds. And, yeah, that's where we are. How about you? All right. Cool. Cool. All right. Yeah. For me, I went, mean, to be fair, I did not go terribly unconventional either for this one, but for me, I went with a Ruby port. Nice. Because I just felt, yeah, I mean, standard standard Ruby port. Now why Ruby port? It is a fortified dessert wine. So you've got the extra alcohol. It's sweet. For some reason I wanted, this is a Christmas movie with that color palette. There's something kind of candied about this. Really not, it's not a nice movie. It's not a feel good movie, you know, film, but it is sweet in its way. So I wanted something, I'm like, something, but also dense, like something powerful, sweet, extra alcohol. It's got that fortification. And then, you know, it is a short film. So a two, three ounce pour of port is exactly what you're going to drink in 10 minutes. Good point. Yeah. You're going to sip that. You're going to sip that bad boy nice and slowly. Two, three sips, you're done. And but during those sips, each sip is going to contain so much, just like a short film does, too. And especially this short film, where it's like you're packing so much, you've got to get so much information across and show and tell so much in such a bloody short amount of time. that it's got that concentration. you could do, so port guys, Ruby port is your fresher, younger version of port. You can do a tawny port, which gets a lot more oak exposure for longer periods of time, which is it's brown rather than bright red. I could see a good tawny port going with this as well because of brevity. I'm gonna say no. I'm gonna say no with the tawny. Because the tawny is just too earthy. The tawny is just too, it's not the flavor of this short to me. The ruby port was necessary for me. Now a tawny works in a pinch if that's what you, or if that's what you like and you're like, ruby port, fine, do a tawny port you assholes, I don't care. But for me, if I'm gonna say like, what is the pairing that pairs, I gotta go with a ruby. Now you can do a ruby port, proper, honestly I drank, the Porto Morgato that you can just get at Trader Joe's for, I think it's 10.99 a It's such amazing value. I like this port quite a bit. For a Ruby port, for a young fresh Ruby port, I'm like, it is incredible value at 10.99. It's easily worth 20. I'm going to give you little, not even a hack, just a sort of thing. If you take a poor glass of the Ruby port and sit it in the sun for like 10, directly in sunlight for like 10 minutes, So there's something that happens with the sort of caramels in it that just, OK. See, you just want a tawny port. Just drink a fucking tawny No, no, not at all. I just like the idea of the syrupy-ness of the Yeah, but you want to caramelize it. that's where you get No, no, it's not caramelizing. It's not caramelizing. It's literally, you're just putting it in the rays of the sun for a few minutes to kind of allow it to warm just a bit from. It's kind of fantastic. No, thank you. Also, that's great over ice cream. Not that I haven't eaten 5,000 gallons of that in my life. Right, right, right. That's the opposite of eating it in sun. it goes well anyway. will try the warming it up. I'm going to say no. like it. I like it a little chill on my Ruby port. you can get Ruby port will basically just your basic straight up Ruby port. Or you could do late bottled vintage port. LBV port, which is a Ruby port. And late bottle vintage is one that they hold back for many extra years before releasing, which is why it's late to go into the bottle, late bottled. Now, it is not as good. It's not as high quality as a proper vintage port. And a vintage port will be a port that has a year on it. So, you know, you're going to see like a 2018 or 2019 port. most port is non-vintage. It's a mixture of different years. They just keep pointing of different ages. They all just kind of blend together and they pour a little more of the young stuff in with the old stuff and they just keep it going. And that's your standard port. And then the vintage port is the best of the best, but you got to age that fucker, which is the problem with vintage port. Like you don't want to drink it young. That's not when it's best. It's going to get so much better. 10 years down the line. So you want to sit on that guy for a little while. Late bottle vintage is actually something ready to be drunk young as well. So late bottle vintage is as close as you get to vintage while still drinking it young and right away. Do not age it. It's usually lower quality grapes that they use for the late bottle vintage. That's why they age it that extra long time. It makes it smoother and nicer even though the grapes are not as good. And it is meant to be drunk young. So I would go with a late button, an LBV or just your straight up Ruby port. Those are the two that I would highly recommend. Vintage port, if you got one that's at least 10 years old, that, crack that fucker open with who's there, man. Do it. Especially if you've had to wait six months or more for the film to be delivered to you. That is a celebration right there to be had. But otherwise, yeah, there's something about Ruby port where it matches the duration of the film. It matches the atmosphere and the color palette. There's something about the density and the sweetness with that extra spike of alcohol and richness. It's just because again, it's the color palette, the sound design, everything. It's rich. And I wanted something rich like that. Ruby Port. So yeah, that's my guy. Ruby Port, Dallas Trouble, Cloudy Red. All right. And who's there? Once again, go to Instagram in love with the process pod in love with the process pod. That is Mike's account. DM him there. Your top three demonic horror movies for who's there or. DM him your top three horror movies to try and get 12KM as well. And you can also go to inlovewiththeprocess.com and listen, definitely, especially if you're interested in this kind of stuff, listen to In Love With The Process podcast because it is, it's one of those you definitely want to listen to on a long drive, a long walk or while you're working out because they tend to be epic. They're long conversations, but they're wonderful. They're in depth. And he sometimes has some really cool guests. had Uwe Boll on recently. Yeah, exactly. So you'll get some crackers in there, Like those direct, like the ones you don't think are going to do a podcast, right? And you're like, whoa, what the fuck? By the way, that is going to be our pull quote after you mentioning Uwe Boll going, yeah, he sometimes gets some crackers in there. Very nice. And once again, This is a movie you can only watch by DMing him these things. So you cannot watch it any other way. So get on there, get to it. And once again, this has been Wine and we will be back in one week with another wine and entertainment pairing for your entertainment. Ciao. Take care until then. One more. We have one more next week for Halloween where we tackle the most horrific subject of all time elections. And we will be celebrating that by covering the 1999 movie. elections starring Matthew Broderick, Reeth Witherspoon. This is gonna be fun. Dallas has never seen it. So I cannot wait to see what he thinks about this cult classic. And good luck to everyone on election day. I'll say that again when we actually drop our election day election episode, which will drop directly on Halloween to celebrate how horrific elections are. until now, guys. Take care. See you then. Later, guys. you I'm up at the... you noticed that. No worries. I do it all the time myself. I know. I don't know where that came from. And then when you recognized it, I'm like, wow, I'm not even sure my brain entirely recognized it when it was happening. I do it all the time. If anyone out there does not recognize what we just did, and I don't know, I might make this a short a little bit, but yeah, the ba-da-ba-da animal, but I think it's animal who does the ba-da-ba-da. No, no, no, it's one of jazz musicians. Ba-da-da-da-da-da-da. Ba-da-da-da-da-da-da. I do that shit all the time. Ba-da-da-da-da-da. my God, Sesame Street, get some culture if you don't know what we're talking about. That's right. Look that up. I have no idea how you're going to look that up. Try to look that up and see if you can. I'm sure YouTube's got it. I'm sure. Yeah. All right. All right. All right. Proper, proper. Here we go.