Clayne Crawford discusses his recent filmmaking projects, including shooting films during COVID, the challenges of film distribution, and the emotional and powerful nature of his films. He also talks about his experience working on The Baytown Outlaws and his upcoming project, The Bloody Seahorse, which explores the use of NFTs in independent filmmaking. Crawford shares his favorite thing about filming The Integrity of Joseph Chambers and discusses the future of independent filmmaking. He concludes with a message of gratitude to his fans for their support.
Takeaways
Filmmaking during COVID presented challenges, but Clayne Crawford and his team managed to shoot multiple films and navigate the film festival circuit.
The process of filmmaking involves not only the production and post-production stages but also the challenges of finding distribution and reaching the audience.
Crawford is passionate about creating emotional and powerful films that allow him to give performances he’s always wanted to give.
The Bloody Seahorse project explores the use of NFTs in independent filmmaking, aiming to provide a new path for filmmakers and involve fans in the storytelling process.
Crawford’s future plans include continuing to work on independent films and potentially returning to TV series.
Chapters
00:00 Introduction and Farm Life
01:13 Filmmaking During COVID
03:09 Creating Films with Back 40
04:27 Post-Production and Film Festivals
05:24 The Challenges of Film Distribution
06:18 The Process of Filmmaking
07:17 Emotional and Powerful Films
08:15 The Baytown Outlaws and Working with Max Martini
16:17 The Bloody Seahorse Film Experience and NFTs
18:34 Favorite Thing about Filming The Integrity of Joseph Chambers
20:04 The Future of Independent Filmmaking
28:43 Future TV Series and Music Preferences
31:54 Message to the Fans
Clayne Crawford (00:00.138)
Hey guys, I’m Clayne Crawford. I’m here with Chris Gordon on Hellblazer.
Chris Gordon (00:17.998)
Everyone, I have the absolute privilege and the honor of the return of Clayton Crawford, none other than Clayton Crawford. Good guest to my show previous couple of times, I believe, have been on now after the chat. So, yeah, thank you for coming back.
Clayne Crawford
Oh, buddy, it’s my pleasure. Thank you for having me. And forgive me when I’m on the farm. I have very limited time, so I am squeezing in podcasts and meetings while I try to get my chores done out here.
Chris Gordon
Oh yeah. It’s always a full day on the farm. How many animals have you got now?
Clayne Crawford
Always a full day. How many animals? We’ve got, I don’t know, what? Three horses, a dozen cows, a dozen chickens. The newest additions, we’ve got two little baby goats, little figmy dwarf goats. Oh wow. Yeah, so they’re bottle fed still at this point so it’s been a lot of fun.
But yeah, man, we’ve got all kinds of stuff here. It’s the island of mid-bois.
Chris Gordon
Fantastic. And I say, it’s great to have you back. I mean, it’s been a couple of years, I think, since we have spoken. Um, and in that time, it’s like, as I said, we’ve had COVID for three years, but as we’ve just said, it’s not stopped you at all, has it really, to be fair?
Clayne Crawford
I mean, we definitely stopped and enjoyed, I felt like those first couple of months. And, and, um, you know, after you day drink for about two weeks.
You’re like, okay, I got to do something with my life. Right. So we all got bored and I just called up a couple of friends and yeah, we went and shot a couple of projects. I think we shot three films during COVID. We just finished one and premiered it at Tribeca. That’s the integrity of Joseph Chambers. And we’re finishing up “Best Clowns” in UNI right now.
Chris Gordon
Fantastic, fantastic. And I mean, it’s just brilliant. I say the fact it’s going all the rounds and all the…festivals. I couldn’t think of the word again then. It’s amazing. And so that one, but you’ve also had, I mean, one that did come out as well a few years back now, it’s 2020, I’ll say a few years, but it’s obviously on Amazon at the moment. It’s “The Killing of Two Lovers”, which is a piece of personal pride, I think for you, because that was your own company. Usually you’ve put that together yourself as well, didn’t you?
Clayne Crawford
That’s before lockdown. Yeah, they’ve all been my films that I’ve produced and just brought in different directors.
You know, my goal when I kind of started Back 40 was to give directors who I felt are individuals, maybe they weren’t directors yet, but they had stories that they wanted to tell. Um, Robert, Robert Machoian was one of those guys, you know, he’s a photographer. He’s a photographer professor at BYU. And he had always been kind of the DP on his collaboration with Rodrigo. And, uh, they were kind of taking a break and he just said, look, I really want to direct.
Um, so by myself, you know, not without rod and, uh, just kind of give it a shot. So we shot the killing of two lovers in 2019, and then we premiered it at the Sundance film festival in 2020. So that was right before the lockdown. Uh, I think, cause yeah, we premiered in January 26th and then I think the lockdown was what March 14th. So, and then that came out during COVID. Um,
Neon bought it and Hulu and they did a, they actually did a theatrical release worldwide, which was really interesting even during COVID and it did well. And I think we were just motivated by the release of that film to go out and do something else. So Robert and I went and made our second film, which is the Joseph Chambers. We did that right in the middle of COVID.
And then right after that film, we produced through Back 40, my company, Best Clowns with Ashley Shelton directing her first feature. And Summer Shelton, no relation, Spirit Award winner, she directed her first feature, You and I. Fantastic, fantastic. And as I say, they’re currently post-production, those aren’t they? Best Clowns, You and I, they still post-production.
Um, you best clowns, we actually just finished everything. So it’s done, and we just started submitting to festivals. So we’ll see what happens with that film. Um, you and I summer just returned. She had received a grant, for there’s a festival called Poland in Progress. And they take six projects a year. It’s a small festival and it’s films that are kind of again, in a work in progress and She won two prizes there, which gave her grant money to finish the film actually in Warsaw. So she’s been in Poland doing color and sound and she should be finished hopefully in the coming weeks.
Chris Gordon
Excellent, excellent, sounds fantastic. Hopefully we can have a release date on that one soon as well so we can everyone can get to watch it back. So I know everyone’s clamoring at the moment. So absolutely clamoring for the integrity of Joseph’s chambers, that’s all. Other questions I’ve got are people asking when it’s gonna be out, when it’s gonna come out.
Clayne Crawford
Yeah, we’re excited. I mean, look, we’ve had we’ve certainly had some offers on the film that are interesting. What we’re trying to do now, you know, it took when we when we premiered the killing of two lovers, it was in January, we didn’t make our deal close our deal with neon until May. So what is that day before March, April, May, so like five months, come out until the following May. So it’s just, you know,
it’s a grueling process just getting these films kind of completed. And then it’s, that’s kind of the halfway point. Then your next process is kind of seeing it through distribution, um, and making sure that you find that right fit. Um, so we’re in that process right now. So it could be, it could be another, another year, unfortunately.
Chris Gordon
I’m hoping so. I think that’s the thing people don’t understand is the process of filmmaking. It does take a long time. Yeah, I mean, it’s nice. It doesn’t just end once you’ve, you know, you’ve cut at the end to the final cut scene. There’s so much more involvement in it. And it’s great when you’re actually involved yourself because you’ve got all that time and energy that you can spend in it. And so when you finally get to it and you do get that release date, maybe in a year’s time, because you see the reward and the benefit of everyone loving the product at the end of the day.
Clayne Crawford
You know, it’s like raising a child. It’s extremely rewarding and painful.
Chris Gordon
Yeah. I mean, I can vouch for that. I mean, I’ve watched a couple, I think you’ve delved really deeply as well. The films that you’ve come out with, complete, obviously there’s an actor and a film where you’re right to yourself for people who may know you from that show a while back, the action show.
Also, The Killing of Two Lovers, for example, is very, it’s really emotional. Same with Into the Dark as well. They’re very deep, emotional films where it’s focused purely on the action. I mean, The Killing of Two Lovers, there’s very few people in the cast in there. So for yourself and your co-stars in there and that family, wow. I’ll just say it was a powerhouse. I was in tears. It was really, really powerful and emotional storyline to tell.
And it was absolutely subliminal acting from all of you involved in that film. I’m trying to be sycophantic here, Clayne. I’m just saying it was, you know, to watch that film on going through on watch on amazon. And it was, it was, it was a very emotionally charged film, just following that family and to see that side of the acting coming out from yourself. And it was just brilliant to see. And I know we’ve received so many reviews as well worldwide in theatrical release too, wasn’t it?
Clayne Crawford
Look, I really appreciate you, your kind words and compliments. And look, we I was kind of at a turning point in my life and my career. When I turned 40, you know, I went through that situation with the with the last gig. And then I just had to take a long look in the mirror and decide if I was going to continue to do this, I wanted to do it in a way that I was proud of and that was compromising. Life’s just too short, right? And
I was very deliberate with wanting to go make The Killing of Two Lovers. Robert had sent me a short film that he had written. And it was essentially that last scene when the dad goes to pick up his kids for the weekend. You know, in the film, it’s when he comes back from the Rockets, but he comes and then there’s a boyfriend there and they get in a fight. And I just thought there was really something special about the story, but I knew we had to tell it. And Robert had only shot short for the most part.
I was like, let me, we have to create a feature. And I wanted, I just wanted a performance that, I’ve been doing this for a long time. And I was, I wanted an opportunity to give a performance. Like I’d always kind of wanted to give essentially, if that makes sense. And that wasn’t.
I don’t really know how to articulate what it was I was wanting to do other than, um, kind of show I wanted to, if it was going to be, if I was, if this is going to be the last job I did, I wanted it, I wanted it to be truly what I, the performance and make decisions, you know, that truly only trusting my gut and allowing Robert to focus solely on, you know, the photography of the film, which is, you notice it in these perfect little
(10:10.05)
Um, and, and yeah, and I think as a result of us kind of approaching it with that, let’s just give it, let’s put our heart, let’s leave it all on the field essentially. Right. Let’s we’re all, we’re willing to accept failure as long as we give a hundred percent. And, um, and, and that was the, that was the product that came from that. And I think the performances are, are a result of me bringing in people who I knew and loved, you know, like Kristen Seppi.
And I have a great, we have a great shorthand with one another and we understand each other as actors. And I think they’re wonderful storytellers. And look, we were shooting in a small town of 300, I think is how many people lived in that town of Kenosha that we shot in. And it was truly isolated. There was nothing within like 45 minutes of that little town. And it forced us or it allowed us the opportunity.
To just sit with the material and with one another and in this small town. So when Seppi and I weren’t shooting, we were sitting in the red truck, you know, talking about housing. When Chris and I, you know, when Chris wasn’t shooting, we were all just kind of working on the scene at the end of the movie, because we knew that we had limited shots and takes. So we had to be on our game. But I’m gonna tell you, buddy, for actors, that was just a dream come true. It was like actor camp.
We got to just go and perform and it was very freeing. And because we structured it in a way to where there were no cuts really in the scene, it was almost like a play where you got to have this beginning and you got to take all the momentum from the beginning of the scene and whatever you come to that scene with and let it build upon itself so that when you hit that end, those end beats in each scene, it’s fueled by all that emotion that has been able to kind of again,accumulate throughout that piece, which you don’t always kind of get that when you’re shooting traditionally, and there’s tons of coverage, right? You really have to kind of pace yourself as an actor. With this film, we only had one or two takes.
Chris Gordon
Wow. Every film. Yeah. Fantastic. And like you say, yeah, this just sounds like a phenomenal experience as well to actually have all that to go through. It’s absolutely, yeah. And the final result was just, yeah. And the final result was a very, very powerful film.
It was very good to film indeed. Another one I’ve watched, you’re welcome. Another one I’ve watched was the Baytown Outlaws, which is another new one. Oh, that looks like it was fun to make because to be honest, that had me, I was laughing at it and it was just action filled. It was just great. Very different type of characters again, but it was, again, it was kind of sad because you had three, you know, the brothers and stuff going up and when you realize their backstory, but my God, it was good.
Clayne Crawford
It’s fun, right?
If you want to turn your brain off for an hour and a half. Look, I, you know, I’ve been producing films for a very long time and just not getting any credit for it, you know, and, because I didn’t really care to be a producer, but I found so bad. Baytown Outlaws was a script that was brought to me through a friend of a friend who lives here in Birmingham, Alabama. And she goes, you’ve got to meet these two guys, Barry and, um,
Oh my gosh. Griff, forgive me. So she goes, you got to meet these two guys are super talented, super smart guys. And I just time was not always on my side when I was home. I was still living in L.A. at the time. And so they made me this short. They created this film where they basically took this awful horror movie. I did with the very talented James Maradino.
director who directed SLC Punks, but the movie’s awful. We made this awful horror movie and these guys took this awful horror movie and they cut themselves. So they shot footage of one of the other actors, basically like to where they cut it to where it looks like he’s in the scene with me. And he basically turns this very dramatic moment into a very comical beat.
And it made me laugh. So these guys gave me, it was at that time called the Baytown disco. They had written the script. I read it and I fell in love with brick. I fell in love with those, that opening scene when they’re in the wrong. Oh, I was like, absolute gold. So I quickly took the script to my reps and I was like, these guys, they’re super talented. My rep signed them. The script made the blacklist.
We went to go, we were trying to get it shot. Billy Bob wanted to direct it. We didn’t want Billy, we love Billy Bob. We wanted him to direct it. And he, no one would give us the money. So we went and shot a, like a trailer, like a teaser. And it’s me and Chris Payne, you know, from Leverage and Librarians. We’re in it together and he plays my brother, not Travis Fimmel. And we shot this incredible trailer, which I’m sure is somewhere on YouTube.
And that’s what got us the money to go shoot the Baytown Outlaws. And Kane’s schedule didn’t allow him to be in the film. But yeah, man, talk about a grassroot. And but the script was so good, we got Eva and we were able to get Michael Rappaport and such a great and Fimmel and just such a great cast. Andre Brower. We were very, very lucky getting those guys to come and play with us. And hopefully one day we can make a sequel. I’ll be great. It was it was. It was.
Chris Gordon
I say you Andre Brower and everyone out. I mean, he’s fantastic actually. They all are. And it’s just, it was, it was just like, it’s that, and I was just, I was just loving it every minute of it. It’s just, and that opening scene, like you say, when you, you know, you’ve just done that thing and then they tell you and you just like, your face, like, so she’s just like, ah, oh well. Yeah, yeah, yeah. Yeah. Excellent. I, you’ve recently finished as well with, just before we move on to some questions, moved on with Max Martini as well with the channel.
Clayne Crawford
Yeah. Amongst other people as well. That’s a. Look, Max is my brother, man. You know, we’ve known each other since 2001 when we did the great raid together. And, um, he’s just such a part of my family. And, uh, so I got sent the script. I’d not read it. And, uh, usually my phone is, is in the house in a drawer. And, uh, you know, when I’m out working and my wife said, look, this thing will not stop ringing its max, you need to make sure the kids are okay.
I was like, gotcha. So I call and he’s like, dude, what are you doing? And I was like, bro, I’m on the tractor. And he’s like, look, are you doing this movie? I go, what movie? He goes, we got offered a movie. You’re the older brother and I play like an FBI agent. I was like, okay. I haven’t read it yet. He goes, read it. We need to play both brothers. I was like, okay. All right. So I go and I read the script and I’m like, sure enough, Max and I both need to play these brothers. So we get our agents to set up a meeting with the,
(17:14.006)
with the director, the lovely Will Kaufman. And we got on and we just like, hey man, what if I play the younger brother, Max plays the older brother, and we’re just a bunch of, we’re two ex special forces bank robbing maniacs. And he’s like, I think I like that. So yeah, we got very lucky Max and I went and shot that movie in New Orleans. I actually just finished because the end of the movie is five years later, the last scene in the movie. So.
I had to let my hair grow out and stuff from the Mohawk. And yeah, man. So anytime I get to go work with Max and look, I would work with Will Kaufman again in a second. That guy is just a lovely human being, man.
Chris Gordon
Fantastic. I can’t wait to watch. I love Max Martini as well. I think he’s a brilliant actor. I think, mind you, I think it was only the unit, I think, was the first thing I actually, he caught my eye in many years back when he was doing the unit was Robert Patrick. I forgot about that.
That’s where I remember him. And I’ve seen him, yeah, followed him since. He’s fantastic. As you know, I’m sure you’re aware, I’ve got a few questions from people who sent them in as well to ask a couple of questions. Yeah, then Julia, Julia Eaton, you know Julia very, very well. Yes. What was the favorite, your favorite thing about film in the integrity of Joseph Chambers?
So.
Clayne Crawford
I hesitate because there’s so many lovely, I mean, look, if I can give a multiple answer response, I would say that working with my kids was amazing. Shooting in my hometown, watching my friends and family step up with such enthusiasm to kind of help me accomplish this was…
just incredible. You know, I have a friend we couldn’t get Jeff in. We needed we needed to pick up Jeff. And where he was that shoot where he was at with his family on vacation. And my buddy borrowed a jet, who’s a pilot for FedEx and went and picked him up and brought him to set we shot him out and then put him back on that jet and put him back to his family. Like it was just
If I could make every movie with my friends and family in my small town, that’s how I would do it. Not every movie, but I would love to do more with those guys. I would wear them out if I did every movie, they would hate me. But yeah, it was such a joy.
Chris Gordon
Fantastic, fantastic. She’s also asked another question, which Rini Campoli also asked, and that’s tell us more about the bloody seahorse film experience and what was the meaning behind the name and the whole other projects.
I’m not going to tell you the meaning behind the name, but I will tell you that I have, as I’ve said, I’ve been making these films and I want to continue making these films. And I don’t know if the market necessarily is supporting independent films anymore. If you look at what happened at Sundance and you look at what’s happened at South by and Tribeca, you know, I mean, we’re very fortunate to have offers, but so many films have not sold and when they are getting offers, there’s no money attached.
which is making it almost impossible for people to shoot films anymore on the scale that we’ve been making films, which the unfortunate part is, or ironic, is that it’s the easiest time in history for anyone to go make a movie. All you need is a laptop and a cell phone, to be god honest, right? And if you want to upgrade, you’re talking $10,000 in equipment. So it’s not the millions of dollars just to get gear and people who could operate this gear because it was so technical.(21:03.842)
and complicated and then you had to have the film and the processing and it was just impossible. And that’s no longer the case. Technologists put us in a put us somewhere to where if you’ve got a great story the only thing stopping you is you. But unfortunately the market is not supporting filmmakers so we thought with all these streamers and all these many different platforms it was going to give storytellers an outlet and that’s not been the case.
Um, so I’m, I’m working on, I’m trying to see what’s going on. I’m trying to educate myself as much as possible on the blockchain and NFTs. And I’m trying to see if I can incorporate what I’ve been doing with my foundations, which is creating an environment where people can donate money. And as a result, they get to come and hang out with me and my other friends who are on their favorite TV shows and films, and we can all barbecue together and we can enjoy one another’s company knowing that we’ve donated to a good cause. Right. And instead of them having to come to a convention and I’m sitting at a six foot table, signing autographs for $25 a pop, um, that this just seemed. It seemed like a, with the foundation, it seemed like a way for us to raise money and it seemed like me, it gave me an opportunity to connect with the fans. So when I started to realize what was happening with the market, I said, okay, well, what if we launch NFTs?
taking each frame of the film, or the most beautiful frames of the integrity of Joseph Chambers, breaking them down to where each frame is a film, you get a film frame, but with that, you get the utility that you’re gonna get to come to screenings. You’re gonna get to come to premiere events. You’re gonna get to come to after parties. You’re gonna get to come to set. You’re gonna get to eat lunch and dinner with cast and crew. I’m giving extra roles by having one of these NFTs. It’s almost like a membership card.
And I’m also going to be giving out like lines in the film. So I want to create an experience that hopefully will fund independent films. It’ll allow the audience and the fans to be a part of those films. Then it owns itself so that we’re not worried about who we’re going to sell it to, but how we’re going to get it to the people. And if I can figure out that, if I can, if I can solve that middleman equation, which is what. (23:28.97)
destroys all filmmakers. We have to have the distributor, we have to have sales agents, and they all make money on the films. And the filmmakers who have struggled for two years to get these films off the ground, make nothing. And to hear people in this industry, I mean, look, I’m very green at being a producer. This is my fourth project, my fifth that we’re about to start. So I’m again, I’m very new. But when I when people tell me this is just the way it is, that you’re just going to lose money by making these films. That doesn’t make I can’t go to investors and tell them to give me money. So how do I create a platform? And I’m hoping that Bloody Seahorse gives us the platform to not only create original stories, but to allow the fans to be involved in that storytelling process. And then how do we sell it directly to the consumer so that we don’t have to have that middleman? And I don’t I don’t know what the answer is, but Bloody Seahorse experience is the first step with these NFTs.
and it’s an ever-growing and changing and evolving space. So we’re just trying to get in so that we can navigate it in hopes to give filmmakers a different path, a different outlet to telling their stories because I’m fearful that the independent landscape is fading.
Chris Gordon
Fantastic. That sounds like a fantastic opportunity. I thought with, like you said, with streaming and stuff, but it will be a lot easier.
I’ve always loved talking to independent filmmakers and there has always been a struggle there for years now, but you would have thought more streaming services come up, but it’s facing the same problem. So to do a project like that, and I say bring the fan involvement as well, because how good would it be to have a film where you’ve actually been able to help fund or you’ve had a part in it or let’s say if you’ve come and you’ve entered the NFC, you’ve either got a line or you’re in the background somewhere.
It’s probably, it is a fan’s dream to actually do that. And it could even start their career, you know, is the way they want to go into just stuff as well. So it’s, it’s helping a lot of people.
Clayne Crawford
Exactly right. You’re exactly right. But here’s the other thing we’re also like, there’s, I think some people are just excited to have their names in the credit, right? So, oh yeah, hell yeah. There’s going to be names that everybody’s going to get their names in the credit. There’s going to be EPs like there’s, but you know, what you’re saying, what you’re suggesting is exactly the, the big picture of this, which is,
By having one of these NFTs and having this membership, I want people to send me scripts, right? If you have someone in your family who has shot a short film, like I want to, as I was saying with Baytown, as I was saying with, as we’re talking about these other, you know, Integrity, Joseph Chambers, Kelly and two lovers, these are because I went and found these people, or they found me, and they had incredible talent and could not break into the industry. So I think that there’s more people out there.
that have incredible talent, which they just didn’t have the courage to go out and try to tackle Hollywood, which holy crap, when you do have the courage, you get there and you realize you didn’t you didn’t pack enough. It’s a it’s a tough place. And I think that prevents a lot of incredibly gifted individuals. It prevents them the opportunity to share that gift. And look, if we can find success with this. Again, I want to open it up to where if you’re if you’re
If you’re someone who’s always wanted to work in wardrobe, you know, if you’re someone who is wanting to be a script supervisor, I just want to open it up to people in the real world to be a part of this, a part of the industry, because I think we’re all storytellers and we all have a story inside of us. Lovely quote. That’s what I was supposed to say. And it’s right, it’s such an empowering way to be able to empower people like that.
future is definitely future proof in how I think the industry will be working and hopefully because it will take off, well it will take off because it’s a fantastic, you know, it’s a fantastic idea and the amount of people I think you’ll be able to bring on board the films that will get produced as a result of this, you know, this experience is going to be fantastic at the end of the day. So yeah, I’ve listened to that as I feel me loads of like good.
Chris Gordon
Yeah, loads of hope on that one Clay. It really has. That’s actually something I’ve not heard that anyone sort of speak like that before about anything in that kind of film industry. So to have that initiative is what I was trying to find the word for is, you know, it’s something that’s very unique. And it’s definitely going to be a winner, I believe.
Clayne Crawford
Hey, look, I’m an outsider in the industry, you know, and I came in as an outsider. I think anyone who comes from a little small town without roots.
(28:14.106)
or family heritage in the industry is kind of seen in that way. And I like misfits, I like outsiders, and those are the kind of people I like to work with. So if I can build a team and a real production company with individuals who are not following the traditional rules and maybe thinking a little bit outside the box, that’s exciting.
Chris Gordon
Fantastic, fantastic. I’ve got two small questions left for you. All right.
Stan Craig has asked, is there any particular genre you haven’t tackled yet that you would like to?
Clayne Crawford
Western. Okay. I keep telling Taylor shared in my mystical, like sending signals to his brain, put me on a horse with a gun and I’ll be a happy guy. Fantastic. That’ll answer Patricia’s question as well.
Chris Gordon
Would you ever do another TV series?
Clayne Crawford
Yep, I sure would. 100%. I mean, look, I’m not racing to get back on TV. I learned real quickly that maybe that schedule on network isn’t for me. I think that there are some really exciting scripted series, limited series out there that the right one is definitely when the right one comes along, 100%.
Chris Gordon
Definitely the bloody seahorse project might bring that along for you.
Clayne Crawford
Hey, we’ve got a couple of theories that we look the integrity of Joseph Chambers started as a series that we were developing with HBO. And essentially this is the first episode. This is a so this was a 52 page script that we went shot. So when COVID hit and everything really shut down and we had this script. And like I said, HBO wasn’t doing anything. So we just took it and shot the film. So, I mean, in a perfect world, the integrity of Joseph Chambers is a series. So.
Yeah, there’s, who knows man. I think the opportunities are endless as we kind of explore these new branches of technology and as artists, I think we’re all very excited of the possibilities. Fantastic, sounds great.
Chris Gordon
Last question for you Clay is from Simon Barre Brisbois, he’s been a fan of mine for quite a few years, he’s been following us since, questions in his, what kind of music do you like? What are your favorite groups or singers? Completely off the wall to film, but yeah.
Clayne Crawford (30:35.646)
No, yeah, I think they I think, you know, when I listen to music, I’m always trying to naturally, I think of either I always think of scenes that would play perfectly, you know, with the sound. So what I’m listening to write, you know, jazz is always my kind of go to when I have an opportunity to listen to music. But I have to say, in the last couple of years,
Long car rides, I’ve been using for moments of silence. So I know that’s probably not the exciting answer, but silence has been more of what I’ve wanted when I have those moments that I would traditionally listen to music like in the car or so forth.
Chris Gordon
Fantastic, the sound of silence. The sound, which you know what?
Clayne Crawford
That was the name of the integrity of Joseph Chambers before we had to change it. Because it was, it was, it was another film that Sundance that year that already had that title, but, Oh gosh.
Chris Gordon
Excellent. Right. Okay. Before I stop the recording, is there anything you’d like to say to people who are watching and listening?
Clayne Crawford
Just as always, you know, the fans are afford me this opportunity at this life. You know, the fact that I’m here pretending to be a farmer.
Um, you know, growing fruits and vegetables is because you guys support the work that I do as an actor. And, uh, if I can through this experience, find a way to, uh, pay everyone back and bring you into the fold and allow you a true firsthand experience. That’s my goal.
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