Run Rabbit Run: Unmasking the Madness – A Writers’ Room Special

Summary

Podcast Summary: Table Read Episode – "Run Rabbit Run: Unmasking the Madness – A Writers’ Room Special"

Introduction

In the "Run Rabbit Run: Unmasking the Madness – A Writers’ Room Special" episode of Table Read, executive producer Sean Sharma sits down with writers Jesse Carter and Thomas Baudouin. Released on September 17, 2024, this episode delves deep into the creative process behind the script, the collaborative dynamics of the writing team, and the inspirations that shaped the narrative. The conversation offers listeners an insider’s view of scriptwriting, character development, and the intricate balance of genres that make "Run Rabbit Run" a standout project.

Post-Recording Reflections

The episode begins with the trio wrapping up the live recording session. Sean Sharma captures the writers' immediate reactions:

• Thomas Baudouin shares his exhilaration: “Euphoric. Just the nerves are vibrating right now” (00:38).
• Jesse Carter echoes the sentiment, emphasizing the layering of anticipation experienced throughout the process (00:41).

Both writers express their excitement about the final product, highlighting the seamless blend of acting and sound design that Table Read is renowned for.

Collaborative Writing and Character Development

Sean probes into the collaborative nature of the writing process:

“We knew we were in good hands just by reviewing the other episodes... which alleviated a lot of anxiety” – Thomas Baudouin (01:25).

Notable Characters: Floyd

A significant portion of the discussion focuses on the character Floyd, portrayed by Matt Curtin. Jesse praises Matt's portrayal:

“He had such a unique flair. Nailed it, knew exactly what to do and brought it to life” – Jesse Carter (03:11).

Thomas adds that without Matt's interpretation, Floyd could have easily fallen flat, underscoring the importance of actor input in character development.

Inspiration and Influences

Thomas Baudouin delves into the inspirations behind "Run Rabbit Run":

“Like Butch Cassidy and the Sundance Kid... timeless... Just like writing a score or a symphony” – Thomas Baudouin (06:54).

He cites Out of Sight (1998) and its iconic tie-removal scene as a pivotal moment that sparked the initial concept for the script. The influence of classic duos and the blending of humor with tension are highlighted as core elements shaping the narrative.

Script Refinement and Creative Process

The writers discuss the evolution of the script from its initial drafts to the final version:

“Both monologues... have a beginning and middle and an end, and the message through them are just going straight to the heart” – Jesse Carter (11:28).

They emphasize the importance of refining raw ideas into polished scenes, likening the process to shaping clay or painting. This meticulous refinement ensures that the story remains engaging and emotionally resonant.

Balancing Genres: Comedy, Drama, and Thriller

One of the challenges highlighted is integrating multiple genres seamlessly:

“If you make those characters potent enough, you draw the attention of names like that, and you get names like that filing in to play the part” – Thomas Baudouin (25:02).

The writers aimed to create a narrative that oscillates between dark comedy and intense drama, ensuring that transitions feel natural rather than disjointed. This balance keeps the audience engaged and emotionally invested.

Favorite Scenes and Memorable Lines

Jesse and Thomas share their favorite moments from the script, highlighting lines and scenes that stand out:

“When they're 16 with the motorcycle and he's revving the engine and rolling. 'Where's the gas?'” – Thomas Baudouin (13:09).

This line not only adds humor but also deepens the characterization, showcasing Roland's complexity and selflessness.

Production Insights and Budget Considerations

The conversation shifts to the practical aspects of bringing the script to life:

“The budget is not cheap... the car going through a wall is definitely something that will cost a pretty penny” – Jesse Carter (23:55).

They discuss the financial implications of action sequences and stunts, emphasizing the need for collaboration with experienced production teams to realize their vision without compromising quality.

Vision and Audience Takeaway

Sean Sharma inquires about the intended impact of "Run Rabbit Run" on its audience:

“Just to be entertained... luck shapes our lives good and bad” – Thomas Baudouin (20:29).

Jesse adds that the film is designed to be an immersive experience, encouraging listeners to let their imaginations roam and fully engage with the story’s unconventional twists and vibrant characters.

Encouraging Belief and Collaboration

Towards the end, Thomas stresses the importance of believing in one’s vision:

“You have to believe it and you have to see it, or you'll never make it there” – Thomas Baudouin (26:04).

This sentiment underscores the writers' dedication and optimism in seeing their project come to fruition, inspiring other creatives to persevere in their endeavors.

Conclusion

The episode wraps up with expressions of gratitude and excitement for the project's future. Jesse and Thomas commend Sean and the Table Read team for their support, and all parties express anticipation for the audience's reception. This special episode not only showcases the intricate process behind "Run Rabbit Run" but also celebrates the collaborative spirit that fuels creative storytelling.

Notable Quotes with Timestamps

• Thomas Baudouin (00:38): “Euphoric. Just the nerves are vibrating right now.”
• Jesse Carter (03:11): “He had such a unique flair. Nailed it, knew exactly what to do and brought it to life.”
• Thomas Baudouin (06:54): “Like Butch Cassidy and the Sundance Kid... timeless... Just like writing a score or a symphony.”
• Jesse Carter (11:28): “Both monologues... have a beginning and middle and an end, and the message through them are just going straight to the heart.”
• Thomas Baudouin (25:02): “If you make those characters potent enough, you draw the attention of names like that, and you get names like that filing in to play the part.”
• Thomas Baudouin (20:29): “Just to be entertained... luck shapes our lives good and bad.”
• Thomas Baudouin (26:04): “You have to believe it and you have to see it, or you'll never make it there.”

Visit and Additional Resources

For those interested in exploring more about "Run Rabbit Run" and other productions by Manifest Media, visit the Table Read Podcast website and Manifest Media Productions. Scripts, cast information, updates, and behind-the-scenes content are available for enthusiasts eager to dive deeper into the creative processes behind these stories.

Transcript

[Sean Sharma]

So it's. That will be total.

[Jesse Carter]

Okay, so you see, here we are.

[Thomas Baudouin]

Live recording some other lady they don't recognize. Jackie O.

[Sean Sharma]

You're rolling?

[Thomas Baudouin]

We're rolling.

[Sean Sharma]

We can just go now. Okay.

[Thomas Baudouin]

I can't believe it's already over.

[Sean Sharma]

Yeah, we're kind of. All right, well, let's get into it then. This is. This is Sean Sharma, one of the partners of Table Read podcast, sitting here with Jesse Carter and Thomas Baudouin.

[Jesse Carter]

Yep.

[Sean Sharma]

Who are the writers of Run Rabbit Run, which we just finished recording. How are you guys feeling, Thomas, starting with you?

[Jesse Carter]

A little on edge, to be honest. Like, not on edge, but what's. What's the word?

[Thomas Baudouin]

Euphoric.

[Jesse Carter]

Euphoric.

[Thomas Baudouin]

Just the nerves are vibrating right now.

[Jesse Carter]

Exactly, exactly. I think Jesse has got the words for me. Really. The energy was great. The acting was phenomenal. I just wanted to. I just. I can't wait for you guys to put all the sounds on it. It's like now the anticipation is. It's like the. The anticipation has a few levels. You anticipate to come here. You're shaking all the way here. And then now that you're recording, you're shaking because you're anticipating all these lines, and now you're anticipating the final product. It's like all of it is anticipation, and. And it's. Yeah, it's a great feeling to be going through. Absolutely.

[Sean Sharma]

How about you, Jesse?

[Thomas Baudouin]

Yeah, I mean, I knew we were in good hands just by reviewing the other episodes and the other content you guys had done, so I had a lot of confidence just based on that, which alleviated a lot of anxiety as to where this was going to go or what it was going to be like. So that helped tremendously. And then, you know, of course, the casting, getting the talent involved, you know, you really start kind of seeing the picture come together. And it just. It went so well. The chemistry, the banter, just. It all. It all came to. It all jived in the way that it was designed to because, you know, words sound different than they read. And so, you know, when you're stuck on the paper with it until you hear it in that way and performed in the way it's supposed to, it's not quite alive yet. And to see that leap from the just words on a paper to, you know, life projected, it's just an unbelievable feeling. To see it, you know, it's like music. It's like writing a score or a symphony, and then you have the idea of what the violins are going to sound like with the drums. You Know, you have an idea in your head and then when you watch it performed and you watch the instruments play, it's, you know, it's just like.

[Jesse Carter]

With everyone's flair into it as well. It's like in a flare.

[Thomas Baudouin]

You don't expect.

[Jesse Carter]

Yeah, exactly.

[Thomas Baudouin]

Because, you know, you write a certain way, but yet, you know, there's all these interpretations. But in good writing, you have the guidelines you kind of know. You know, it's like a roadmap, but then from there you can do your own exploring.

[Sean Sharma]

You mean like with Floyd?

[Thomas Baudouin]

Exactly. And I was nervous about him because he's such a unique.

[Jesse Carter]

Not the actor, such a unique character.

[Thomas Baudouin]

But yeah, the character.

[Jesse Carter]

It's hard to hit it on the head.

[Thomas Baudouin]

It's an oddball and it's coasting. Such a strange line of perversion and charm. And he had fun with it. He had such a unique flair. Nailed it, knew exactly what to do and brought it to life. Because that character could have been a belly flop. He could have just tripped off the curb and just face planted and nobody would ever know what it could have been.

[Jesse Carter]

It sword like a phoenix, right off the page. And he took it to.

[Sean Sharma]

Yeah, that was Matt Curtin who did that. Stars who did that role. Well, you make an interesting point that actually being able to review the projects that we already have up for any other writers who want to potentially do this project with us, they have all these different episodes they can look at to see.

[Jesse Carter]

Absolutely.

[Sean Sharma]

The quality and all of that. What's fun about today too is that in putting the cast together with such a collaboration between the two of you and with me and with me and Jack, although it was really the three of us piecing it together. And so because a lot of times in the past we're doing all of the casting, but the fact that it was kind of almost like half and half. Like half your friends, half people that we've relied on in the past. Yeah, they worked really well together. But we just did a table read of this. It's actually how you and I met. Jesse. Right. Is at the table read of this that we did back in January. February. So how was today different than that table read?

[Jesse Carter]

Oh, wow. I think maybe they. I think the actors had maybe a little less prep for the first table read.

[Thomas Baudouin]

Yeah, it's more raw.

[Jesse Carter]

So it was a little. Yeah, it was a little more raw. And even though it was a little more raw, sometimes the lines didn't make as much sense back in January and February. But there was also the same kind of genuineness in terms of discovering the characters and also pulling them out, pulling them off the page. The difference, I think, of course, as actors, we want to perform and we want to, you know, do a good job. So with the mics, you know, there's a certain kind of, not necessarily a composure, but there's something that. That happens when you have a group of actors who are here to do a job. It's like the energy, you can feel it in the room.

[Thomas Baudouin]

It was powerful.

[Jesse Carter]

I'm sure the mics have picked up on it. Like, I have no doubt about it. The vibration is there. So I think that, you know, maybe it was a little more intimate back in January, and now this time it's like, it's a production. It's something a little bigger. It's like, okay, let's go, let's take it the next level.

[Sean Sharma]

When you have so many accomplished performers in the room, we're also wanting to, like, be there for each other and help elevate each other and all that.

[Jesse Carter]

Absolutely.

[Sean Sharma]

So what was the inspiration for those who are listening to this, what was the inspiration for the film in the first place?

[Thomas Baudouin]

Well, I'll tell you, one scene reference that kind of sparked the whole Roland thing is there's this out of sight. It's 1998 ol Sodenberg. There's a scene where George Clooney robs a bank without a gun. And he never robs a bank with a gun, but he comes out of the bank and there's this freeze frame of him just yanking the tie off his neck because he can't stand the tightness of the tie. It kind of represents the working, you know, lifestyle, you know, just, you know, it represents so much constriction.

[Sean Sharma]

And he's an iconic image. When he comes out and he slams.

[Jesse Carter]

It, freeze frame on that.

[Thomas Baudouin]

He had to wear the tie. He hated that he had to be so phony. And then his car won't start. And so the luck that he has, because if his car had started, he would have been able to get out of there and the cops bust him in the car. And that kind of led to. That was kind of the nucleus or the seed that led to, you know, rolling and the luck kind of aspect and just. And Butch Cassidy and the Sundance Kid, that kind of. That movie when I was a kid. And it still holds up now so well. Just the chemistry between those two, you know, just the magnetism of those guys and the humor of it and the pace and the style. It's timeless. And that always stayed with me. You Know, kind of like a lethal weapon, but even better, even richer. And, you know, I always wanted to kind of bottle that kind of, you know, and it's hard to go out and find it. You kind of have to, you know, it kind of has to land on you. And then you grab that idea and then you just start sowing and the rest, you know. And then Thomas and I just took those seeds, and it's like playing tennis or something, just hitting the ball back and forth to each other. But eventually the rally gets faster, and next thing you know, you're hitting it back to each other. 80 miles an hour. And then that's. That's where the real ideas, you know, one idea leads to another. And, you know, I saw you guys.

[Sean Sharma]

Like, slapping each other's shoulders at parts.

[Thomas Baudouin]

Well, because we've been in the melting pot with this for years. I mean, the hours and years of. And sometimes it gets real heated because it's the best idea that wins. There's no ego. It doesn't matter whose idea it's the best idea. And we're both. And this is rare because some people, they want it to be their idea. They don't care if there's a better idea. They want to stick to theirs. Both of us are really good about recognizing what's the best idea, who gives it, whose idea it was, what's the best idea. And it's through that. Sometimes it's friction, you know? Yeah, absolutely.

[Jesse Carter]

You have to communicate your ideas. And, you know, sometimes you're lacking the words or you're stumbling on your words, and then the other one is just waiting for that idea to come out. And the way it comes out, it doesn't reach the other one, and the other one is already somewhere else. And especially with a story like this where it's a multiple character plot, it's all over the place. It talks about luck, and you lose characters in places that you don't expect them to.

[Sean Sharma]

Poor Tyler.

[Jesse Carter]

Yeah, poor Tyler.

[Thomas Baudouin]

On that scene in particular, when we were discussing that, we were like, do we show that? And we were like, absolutely not.

[Jesse Carter]

Absolutely not.

[Thomas Baudouin]

Let them imagine.

[Sean Sharma]

Yeah, we love him by now. Don't show us him.

[Thomas Baudouin]

You can't show. Because we know it's a saw blade. And you can just imagine how horrific that was. We don't need to spell that out. Let the individual create that scenario how they want.

[Jesse Carter]

And that's the thing, as far as this, as we've taken this script, the things that happened in this script, a lot of it actually happened in real life. Like these things. Like this saw blade actually comes from newsreel. It's something that actually happened. This guy was walking into Delhi or a grocery store, and as he's closing the door, this saw blade just, wham, rams into that door right behind it.

[Thomas Baudouin]

Broke off from a construction site and rolled at a like 40 miles an hour.

[Sean Sharma]

Giant.

[Thomas Baudouin]

And right when he walked in the door, it stuck into the. And shook the whole shop. And he stepped back out and realized if he had paused or taken a moment longer, that saw blade might have just cut him in half.

[Sean Sharma]

Oh, so he survived.

[Thomas Baudouin]

He survived.

[Jesse Carter]

He didn't get touched.

[Thomas Baudouin]

He won't get it. No, no. It's not as bad as Tyler.

[Jesse Carter]

It's not as bad as Tyler.

[Thomas Baudouin]

We took that and, you know, that's the thing. Injected some movie magic.

[Jesse Carter]

It's the kind of. Those are things that happen, like car chases or, you know.

[Thomas Baudouin]

Well, and that's what we wanted to do with this movie is it's outlandish and it's absurd by design, but we had to keep it tethered to reality in some regard, otherwise they would just disconnect from it and not go on the adventure. But it's intentionally absurd and just kind of.

[Sean Sharma]

Yeah, but you guys pull it off. So one of my favorite parts of it that is like, I can't imagine how you guys came up with it. And there's other times throughout the script where I'm like, it shows the years you put in to kind of work these scenes out and see how you can enhance them, or these sequences. But when all this drama over. Where's Samantha? Then she's in the trunk the whole time, and then they pop the trunk, she runs in the woods. And it's just this comedy of errors, of people not knowing what the fuck is going on.

[Thomas Baudouin]

Yeah, comedy of errors.

[Jesse Carter]

That's comedy of errors.

[Sean Sharma]

So it's like, that kind of stuff is really fun, you know, because you had to come conceive of it and figure out how you can sell it and whatever. And so there's little moments like that, like what happens on the yacht and whatever. So, like, are there moments or scenes or lines of dialogue that you're particularly proud of, like that stick out to you, where you're like, yeah, that was a good find when we did that.

[Jesse Carter]

I personally, I think. I mean, boy, there are too many. To be completely honest, I think there are too many.

[Sean Sharma]

Pick one. What's one line?

[Jesse Carter]

I think it's. As an actor. I think every actor wants to do a monologue. And I Think both monologues that we've worked into this. There's something about those monologues that have a beginning and middle and an end, and the message through them are just going straight to the heart.

[Sean Sharma]

You're talking about the one. The two of Roland's monologues. The one about the snake and then.

[Jesse Carter]

About love, the true love, the cotton candy. But then at the same time, like, the ideas. Like, it's funny because often we'll be talking about ideas, and then, you know, somehow, like, I'll give an example. Like, I'll have an idea. Okay, well, okay, we have to change this character. We have to give the runaway car to someone else. And then. And then we'll have the idea about, like, oh, it's gotta be. And, you know, it's gotta be Floyd. And then we're both like, oh, shit. We got goosebumps. That's how we know it's real. That's how we know it's real. Okay, we got the goosebumps. We're onto something good. Exactly.

[Thomas Baudouin]

You feel it.

[Sean Sharma]

And then.

[Jesse Carter]

And then Jesse, in the middle of the night, or, you know, in the middle of the evening, he's like, I got the scene down. He's sending it to me. I'm like, that's brilliant. That's brilliant. And the whole scene reads perfectly. And.

[Thomas Baudouin]

Well, we have to go in and tweak it. Like, I'll have some raw scenes. They, you know, when they, you know, it's like bottled lightning. But then you gotta iron it. Iron it. And then. But it's fun to work on it once you have it. Because that blank paper, that's what discourages a lot of writers, the blank page. What do I. Where do I start? What do I do? Just put it down. And then what happens is it's just like clay or a painting. Once the paint is on the canvas, you can then go and play with it. But until it's on the page, it's daunting.

[Sean Sharma]

How about for you, Jesse? Is there a line, a scene, a character, Something you're particularly.

[Thomas Baudouin]

I mean, it's all so close to me that, you know, it's hard. But one that has. That's been there for a long time is when they're 16 with the motorcycle and he's revving the engine and rolling. Where's the gas?

[Jesse Carter]

Oh, yeah.

[Thomas Baudouin]

And he's like, seriously? Because that. Anybody that rides bikes knows that if you have to ask that, you don't have a clue what's going on.

[Sean Sharma]

Yeah.

[Jesse Carter]

Yeah.

[Thomas Baudouin]

Where's the gas? Like, and then the way Roland plays it off, if it's got handles, I can handle it. And to bring that line at the end when Monty knows he can't handle it, and that. That ending, it's changed a lot. But the fact. It was a very crucial one when we kind of came to that conclusion, because Roland, it's such a selfless act. He knows he's probably gonna die, and he. And he's already brought Monty into so much trouble. And all of them. He decides right there he's not. And that's why he doesn't let Monty in the car. Like, he doesn't. He's already caused him so much, so many close calls and risked his life. He's gonna take that one for the. And he knows his odds aren't good. He knows he doesn't have a chance in hell. But it's like, take jumping on a grenade, literally, for somebody like that. It's like jumping on the grenade so that, like in the Thin Red Line, Woody Harrelson's character jumps on that grenade and he kind of saves all his. Not teammates, but his platoon. And he died for that. And that's because we love the anti hero. All the heroes have to be a little flawed because then the viewer has to be able to think, hey, I could do that. That could be me. Because if they're perfect, that's how they're relatable. You can't relate to it. And we're all flawed. And so the anti hero is. You know, that's where it's at. Because you then feel like, I could do that. I could be in that situation. And then that's when it's transcendent. That's when the audience. Those are the movies that really stand the test of time or do what they're supposed to do, because you then put yourself there. And that is.

[Jesse Carter]

You know, we're also very reminiscent of the movies we've watched growing up.

[Thomas Baudouin]

Yeah.

[Jesse Carter]

You know, as children or as teenagers. You know, and that's. That's also the way we write. That's what inspired us.

[Thomas Baudouin]

Absolutely.

[Jesse Carter]

To either become an actor or to become a writer. And so we're very much inspired by all the greats that we look up to.

[Sean Sharma]

What are some of those films?

[Jesse Carter]

Oh, look. I mean, like, we have another script called For Adam, and that's.

[Sean Sharma]

That was. I saw that on your IMDb.

[Thomas Baudouin]

It's like a goony Stand By Me meets Stranger Things.

[Jesse Carter]

But what's with three young girls as leads instead of boys instead of boys?

[Thomas Baudouin]

It's like a girls adventure.

[Jesse Carter]

Yeah, exactly.

[Thomas Baudouin]

They don't really have anything like that.

[Jesse Carter]

Having a daughter, I'd love to. I'd love to. I would love to see a movie where my daughter can actually relate to the characters and see how courageous these girls are and just be like, yeah, I could be that. You know, but also, like, for Run, rabbit, run, like he said earlier, out of sight. It's funny because when he came up to me with the idea or like, the first draft of the script, I was reading it, and then when we saw each other again, I said, look, I'm reading it. I have to reread again. I have to reread it again. But right now, the feeling that I have is kind of like, out of sight. He was like, you're right in the ballpark. I appreciate it. Let's go.

[Thomas Baudouin]

So, yeah, because we love the mixing of genres, and this is what's taken so much time with it. The transitions and the mixing of genres.

[Sean Sharma]

How many years of time?

[Thomas Baudouin]

I mean, off and on. I mean, there were years where you just. Because sometimes you got set aside and because you're so close to. You got to let it marinate and cook for a while, then reapproach it. So, I mean, over the course of, you know, nine years or nine to 10 years, but not the entire time.

[Sean Sharma]

But see, that's what's so important. Like, for any writers who are listening or anybody, actors who are listening, you know, we owe it to our writing partners to do our work and come prepared because the amount of time they've spent to create this story, and then we get to roll in at the last second and have the fun doing the stuff. Like, to phone it in or to not rise to the occasion is so disappointing. When it's like, look at the work you put in to create this world.

[Thomas Baudouin]

But it's fun work. It doesn't feel like work. Yeah, and it is a lot of work, but it doesn't feel like work. It's not like mowing the lawn or something. Like, you know, like when we.

[Jesse Carter]

When you create something that you're really into, of course, like, it's not. It doesn't feel like work.

[Thomas Baudouin]

Yeah.

[Jesse Carter]

When you're like, you know, depending on the job that you're working on, but like, scripts like this or scripts that we actually work on or that we come up with is literally both of us sitting down and just giggling and laughing. If we're not necessarily, you know, arguing about a line or. And it's not necessarily an argument.

[Thomas Baudouin]

But sometimes it is but that's like a banter because it's out of passion.

[Jesse Carter]

Exactly. And then we put it on the page.

[Sean Sharma]

It's like, well, you decided not to act today, right? Why?

[Jesse Carter]

I just wanted to hear it. I didn't want to. I didn't want to be. I didn't want to influence the actual read. I just wanted to. First of all, Tom is an incredible actor, and I wanted him to have.

[Sean Sharma]

A go at it because Monty's the character that you probably most relate to or play.

[Jesse Carter]

I relate to all of them. I relate to all of them. Killian loves all of them. Jameson, like, I literally relate to every single character in the story.

[Thomas Baudouin]

Even Floyd.

[Jesse Carter]

Even Floyd, absolutely. Despite his perversion. But, yeah, and these ideas came out like. It's like you grab them, you're like, oh, yes, this is. This is so good.

[Sean Sharma]

And lecturing Monty on driving is classic.

[Jesse Carter]

Yeah, absolutely.

[Thomas Baudouin]

Well, you want to know a funny thing is that was originally Wyatt. Yeah, it's all changed a lot. Like, it.

[Jesse Carter]

Yeah.

[Thomas Baudouin]

Honestly, the hardest thing with this one was the meshing of the genres to. To go. Because just a comedy, it's linear, you know, it's easy to maintain if it's just a comedy. But to have, like, kind of that Magnolia drama, you know, that Coen Brothers kind of drama, but then kind of fuse it with, you know, outlandish comedy, and it's kind of like boxing in that way. Like, if you're laughing at something, you're disarmed and you're not ready for the violence, you know, where if it's just, like, violence, you know, you're always ready for it, but the humor disarms you, so that when the violence or the drama sets in, it actually gets you because you're not, ah, you know, tents. Ready for it. You're laughing, and then from the drama, you go to comedy. And so it's, you know, and that was the most difficult thing we had to do was kind of balance all the jaunt because it is, you know, a drama, but it is also, you know, ridiculous comedy, and there's tension and thriller, you know, so it was kind of making all that work where it didn't feel disjointed. Like, wait, what kind of movie is this a drama? Who gives a shit? It doesn't matter. You know, it's like, who cares what the rules are? If it works, it works.

[Sean Sharma]

Two more questions, because I know it's been a long day.

[Jesse Carter]

It's all good. It's always good to talk about it. We could talk about it. All the time.

[Sean Sharma]

A lot of people are going to get a chance to experience the story now audioly, which is we all grew up listening to stories, so it just reaches us. We can use our imaginations and stuff. So my first question is, what do you want people to take away from the film when they listen to it? Or eventually one day when they watch it? What do you want them to take away from it?

[Thomas Baudouin]

I mean, above all, just. Just to be in it, really. For. For me, what it's all is just to entertain them. And if they're moved at times and they laugh and, you know, just. But just to be entertained and, you know, and just the undertone is luck, you know, I mean, there is a metaphor all throughout it. And that's how much is always to blame. Shapes our lives good and bad. And sometimes bad luck is good luck. Things that happen bad in our life. And we all. I don't care where you are, who you are, what creed, color, wherever you are in the world, that is the human condition. Sometimes bad things often turn out to be treasures and you don't recognize it at the time. And it takes time sometimes for the journey to unfold, to realize that that was a blessing. There's this old expression like, thank God for unanswered prayers. And that always stayed with me, too, because it's like when I was young, I didn't know what that meant. Like, what does that mean? But when you get older, you know, it makes more sense because you have to live enough life to see things unfold. But really just that, you know, just. I mean, really just to be entertained.

[Sean Sharma]

Is that the same for you, Thomas?

[Jesse Carter]

Yeah, I think the entertainment is the major factor or the major takeaway of this movie because like we, like Jesse was saying earlier, there's something about the drama starting with really strong drama and then, boom, going straight into some dark comedy. And then it just takes you by surprise. And to go along with. For the ride, it's. You don't. You know, not that I want to throw our. I don't want to throw us some flowers here. It's just like it's the kind of movies or the kind of stories and scripts that. It's the kind of script that I. I personally really enjoy reading and working on. And I think the takeaway as the audience is to just go along for the ride and let your imagination flow into this crazy world and be entertained by all these crazy characters. And then, yeah, just have fun with them. Because once this movie gets made, I want the crew and the cast to just have fun as well, because that's what it's all about. That's really what it's all about. It's entertainment.

[Sean Sharma]

So that's the last question that I have for you guys, which is the. Well, yeah, it's that part of the reason why we do this podcast in the first place is to bring these scripts to the public in a way where producers lit people like production companies, network studios, they don't have to read the script. They can listen to it and it's brought to life. Right?

[Thomas Baudouin]

Yeah.

[Sean Sharma]

So the. So the hope for all of us is that we can be a platform to expose great stories that ultimately get picked up and made into shows and films. So my question is, like, if I'm a production company or a studio and I'm listening to this movie on this podcast, like, what's the budget? Like, what is. What's. What are you guys looking like, how would you pitch it to, like, somebody in production?

[Jesse Carter]

How would we pitch it?

[Thomas Baudouin]

I mean, the budget is. It's not cheap.

[Jesse Carter]

Well, I think as comps, we would probably say Bullet Train meets Seven Psychopaths. And that's probably where we would try to land in terms of style and genre.

[Sean Sharma]

So I'm trying to think of what's really expensive in the film.

[Thomas Baudouin]

Well, the action sequence, certainly at the end. I mean, that could all be toned down, I think.

[Jesse Carter]

Location. Yeah, the action, like, the luck rolling. The stunts. The car chase.

[Thomas Baudouin]

Yeah, it's pretty.

[Jesse Carter]

But I mean, of course, like, the car going through a wall is definitely something that will cost a pretty penny. Yeah, that's right. There's a lot of stunts in there that would probably be like. Yeah, a couple cranes here. We need 15 walls for 15 takes. For a car to go through that 15 times, you know, for all the different angles or, you know, probably. You know, I think. I'm not too sure in terms of. In terms of budget. I'm not too sure, and it's not necessarily my forte. Yeah, I'd rather leave that to someone who really knows about it. And. But we're definitely not shy of. That's the thing. We're definitely not shy of working and collaborating with people who actually know what they're doing in terms of that kind of storytelling. And let's go. I mean, let's play ball and let's go. You know, it is a collaboration.

[Thomas Baudouin]

Oh, yeah. That's. That is not if, you know, if.

[Jesse Carter]

Producers or directors see the vision and they see where we want to take us, where we want to take it. Yeah. Let's go, that's awesome. Let's make it happen.

[Thomas Baudouin]

Our emphasis and see the characters come and go. So it's like you could come in and do your part and not have to spend six months doing it. Right. But yet it's juicy and potent. And so that was in the same way, not to compare to Pulp Fiction or anything like that, or Big Lebowski, because, you know, it's like. I'm not saying it's anything like, oh.

[Sean Sharma]

But it's got flavors of flavor, but.

[Thomas Baudouin]

It'S like, you know. But the idea, though, is if you make those characters potent enough, you draw the attention of names like that, and you get names like that filing in to play the part. Sky's the limit.

[Jesse Carter]

And that's why it was definitely the dream.

[Thomas Baudouin]

That is the dream.

[Jesse Carter]

By no means. We're actually, you know, we're actually.

[Thomas Baudouin]

Yeah.

[Jesse Carter]

I mean, you know, but we're telling everybody, like, oh, yeah, that's what we are. No, no, absolutely not. Like, these guys are inspirational. Like, these guys inspired us in the work that we started.

[Sean Sharma]

Right. Where we all did.

[Jesse Carter]

Exactly.

[Sean Sharma]

Exactly.

[Thomas Baudouin]

And listen, this is the truth, too. If you don't believe it, no one. You have to believe it.

[Sean Sharma]

That's right.

[Thomas Baudouin]

You have to. It doesn't matter. Nobody else can believe in you, but if you believe in it, that's it. Everybody can believe in you. But if you don't, it's not going to mean squat. So you have to believe it and you have to see it, or you'll never make it there. It will never happen.

[Jesse Carter]

So I think. I think the vision is actually pretty clear on the page now. All these years and after ironing all the creases, or at least most of the creases out, and I think that whoever reads the script or even listens to it, yeah, they'll get the vision. They'll get the sense of it.

[Sean Sharma]

Well, when we put the episodes up, we also, on the website, put a link to the script so they can read along with listening to it.

[Jesse Carter]

Oh, really? They can see it come alive? That's a good, good surprise, man. That's.

[Thomas Baudouin]

What a great way to read the script while you're.

[Sean Sharma]

That's right.

[Thomas Baudouin]

Comes fully in bloom.

[Sean Sharma]

Because I don't know about you, but sometimes it's nice for me to have a second screen up where I can just, like, read along and see what's happening.

[Thomas Baudouin]

Well, this is the first time I didn't read the script while we were doing.

[Sean Sharma]

I know. I saw that. Both of you guys were just watching.

[Thomas Baudouin]

I wasn't even like, well, I was just listening because I'm the script I spent too much time with, so. And we know it so well that I don't. I know all the lines.

[Jesse Carter]

Like, you know, you're part of the thread, Right. Like, we just kept on shooting lines at each other. Even with you, it's like, oh, and then, you know, we're talking about something, and then the line pops up from the script, like, just because it's well placed within our conversation with you or, you know, between the two of us. It's like. It's so fresh in our mind. It's always there.

[Sean Sharma]

Yeah.

[Jesse Carter]

It's almost like.

[Thomas Baudouin]

Yeah.

[Jesse Carter]

I mean, a dead grandma just looking over you.

[Thomas Baudouin]

Yeah.

[Jesse Carter]

Just like.

[Sean Sharma]

Well, I just. I want to thank you both for trusting us with this opportunity to tell the story in this format. And I am so excited for other people to hear it and to see what energy this generates.

[Thomas Baudouin]

No, it was a pleasure working with you guys. I had complete confidence when I saw the quality of everything. I knew I had no reservation at all once.

[Jesse Carter]

And I really want to say the.

[Thomas Baudouin]

Proof is in the pudding.

[Jesse Carter]

They said. Yeah. And I really want to say thank you, Sean, for having us on board, because.

[Thomas Baudouin]

No, I mean, you were kind of our lightning rod.

[Jesse Carter]

Absolutely.

[Thomas Baudouin]

Kind of trailblate, like.

[Sean Sharma]

Yeah.

[Thomas Baudouin]

Yeah.

[Sean Sharma]

Well, I didn't know if you guys would be up for it, because we just read the script together earlier this year, and I was just like, hey, what the heck? Well, just toss it, because we needed another really fun piece.

[Thomas Baudouin]

I'm glad it worked out.

[Sean Sharma]

No, thank you, and I appreciate that, and thanks for spending some time talking about it. It'll be fun for people to get us some insight.

[Jesse Carter]

Absolutely.

[Thomas Baudouin]

All right.