Episode Transcript
[00:00:00] Speaker A: Hey everyone, Jim Phoenix here. And in today's what's cracking, we've got special guests. Danny and Philip from the hit movie Clone cops. That's right. If you are a Gen Con, you know exactly what I'm talking about. And if you were in Tennessee festival, you couldn't get a ticket because that sold out. So get some marshmallows out and put a mustache on it. It'll make sense in a minute. All that and more on the next. What's cracking? Hit it.
Hey everyone. Jim Phoenix here. And take twelve. This is the clone cops. Oh my God. It's like the movie clone cops. It kind of rebooted. Oh, oh, no spoilers coming out today. We've got none other than Danny and Philip from the Clone cops movie that I got this sneak peek through. N Gen Con. Thanks a lot, Gen Con. And thanks you guys for not checking tickets because I the hell in.
Oh, Annie, Phil, thanks very much for having us some time here. I know you're busy pushing the movie everywhere in the world, as you should be. I have only 25 questions. Question number one, why marshmallows?
That's a marshmallow.
[00:01:16] Speaker B: Yes, it's very similar. Yeah, we, man, we had a good friend of mine, that Chris Butler that I went to college with who did all of our concept art. He came up with all that the clone cop look and the helmet and all that stuff.
And yeah, the whole idea behind the clone cop outfit is that it's like designed by committee and so it's just kind of terrible on purpose.
[00:01:38] Speaker A: Oh, God.
[00:01:38] Speaker B: It's like every department got to put their thumbprint on it and it just created this like huge amalgam of awfulness that all corporate kind of entities create. So, yeah, that's the idea behind it.
[00:01:50] Speaker A: I absolutely love it. And for those who have not seen the movie, a shame on you. And Bdez. You get the way you guys are still touring with the everywhere, right where.
[00:02:01] Speaker C: You now festival run right now and then, yeah, we're looking into some markets to do some. Some theatrical screening. So here's the real deal. If y'all want us to bring it to your market, shoot us an email. We're there. You know, we would love to come out and watch the movie with you wherever you are in these contiguous 48 states.
[00:02:21] Speaker A: See, I like that idea. And I do know someone who owns his own theater somewhere, and he might even be good into movies. He did a couple few, you know, called clerks and mal, Russ and Chase. Amy, you might want to give him a shout.
[00:02:38] Speaker B: Shout out that would be a dream come true. I'd love to show that there. That'd be awesome.
[00:02:44] Speaker A: Of course. Of course. We're talking about Kevin Smith, and I honestly got think you should contact, and I think it'll be a great movie. And matter of fact, Kevin, why don't you just give him a call right now? Well, not right now. We're doing an interview. After the interview, give them a call. I'll give you a number later on, and it's worth it. I have to tell you this. When we saw this at Gen Con A, you were competing against three bazillion other things happening at that moment.
That's a lot of pressure. And you filled the room. You filled the room. What does that feel like when you see, like, oh, my God, I'm. I'm with a bunch of people, and we're actually filling this room for our movie.
[00:03:20] Speaker B: I mean, you know, it was, it was incredible. I think we spent a lot of time talking to people at Gen Con. You know, we spent two days handing out comic books like you saw, and it was just incredible to meet everybody there. And we had so much fun getting to, like, create personal connections with people that we think will love the movie. And I think it paid off. You know, we got to see a lot of those folks that we had talked to previously come out of. We had. We were handing out comics at the screening, and half the people were like, oh, I already got one.
[00:03:50] Speaker A: So that was one of those people, like, I got this. I got this thing. This was so cool. What made you think about the comic as a push? Was it because the convention aspect of it, or did you just have this plan before?
[00:04:02] Speaker C: There are a lot of opportunities for handing out swag, and there's so many, as, you know, so many things that people hand out that go immediately into a trash can or you see it on the floor or on a, on a bench. And we were like, what's something that people actually might value? And so we went out of our way to tell a different story in the comic book, actually a prequel to the movie. So it's some additional world building. And, you know, if and when this film takes off, these limited edition, you know, 2000 comics that we had made might be something, you know, worth hanging on to.
[00:04:31] Speaker A: I'm going to put this next to my golden box games now and put it up. Absolutely. And that's exactly it. We've got so much. I mean, I just threw away a bunch of stuff from Gencon that I'm like, I'm just, you know, hey, why do I have this, you know, garbage for it and throw it all out? And there's things that don't even make it back home. But the comic book definitely does anything that says, oh, my God, this is unique and well made, and the artwork is fantastic. And it makes me remember your movie every time I look at the COVID That's great.
[00:05:06] Speaker B: And I will cop, too. We're very guilty of going on the gen con subreddit and looking at all the hall pictures that people post and trying to find our comic in the halls. And we found it a few times, and it was always a thrill.
[00:05:18] Speaker A: That's amazing. Yeah. You were taking over that booth like the independent film booth. I actually follow the scotch. I thought it was your booth. I mean, this is the clone cop booth. That's how well you're taking that over. Good for you. What? What made you do that?
[00:05:32] Speaker C: We came in with a pretty aggressive marketing plan. We knew we wanted to make a push. Oh, no, no, we don't have time for this. Oh, no, it's Jason behind you.
You were living in the basement?
[00:05:45] Speaker A: I was looting it. Oh, looting it.
[00:05:48] Speaker C: All right, cool.
[00:05:48] Speaker B: Yours?
[00:05:53] Speaker A: I seen Jason go to space.
[00:05:55] Speaker B: Yeah, he's back.
[00:05:57] Speaker A: Yeah, he just came back from space. He's rebooted now.
[00:06:01] Speaker B: He's back and shorter.
[00:06:02] Speaker A: Back and shorter. I think that's a new tagline, Jason back from space, but shorter space. Gravity does that reentry.
[00:06:12] Speaker C: So, yeah, we came into gen con with a super aggressive marketing plan, and we signed up for as many of those Gen con film fest booth slots as we could. And we brought a team and we brought costumes, and we were there to meet people and to talk to people about our film. So I know. I think the typical play is to just kind of sit there and as people approach, you tell them, hey, there's a film fest. My film's in it. You know? And we were kind of out in front of the booth, actively, like, flagging folks down, you know, trying to make eye contact, looking for moment seeing. I was checking the openness, right. Gauging an individual's openness to a conversation, to an experience.
[00:06:49] Speaker A: To the experience. I think that's what is. To the experience of it. And I, like I said, as press, we get so many emails for everything at Gen Con ever. I'm still going through some stuff like, oh, you're still sending me stuff from. That was last month, guys, I can't go. I'm so sorry. Rspv. No, but I had yours. I'm like, okay, this. And I had a game event I had to do at the same time.
I dished a gaming event.
Thank you. I dished a gaming event because of the comic books, because of that contact. I said, you know what? You guys are going the extra mile. Like, screw these. No offense to the gamers, but I was like, no, screw these gaming people who didn't, like, reach out again at all. Like, oh, come to our event. That's it. The end. You guys pushed it, and it looked fun. People want to go there and have fun. And you guys nailed the fun aspect of it. Even though your movie is a bit sad sometimes.
[00:07:46] Speaker B: Sometimes, yeah. And I think certainly we intended for it to be a comedy straight out of the gate. And if it was up to me, it probably would have been all fart jokes and Phil's butt. But the allow that appears. Yeah, yeah.
During the writing process, Phil was very adamant about interjecting some heart into the movie and creating these moments that are really, you know, deepest thematic moments within the film. And I thank goodness he did because it really comes through, and I think it creates an experience that, you know, it's the old, you'll laugh, you'll cry, but you kind of do. You know, I still tear up at certain points in the movie, and I've seen it 100 times.
[00:08:31] Speaker A: Yeah, mostly it feels. But to be fair, yeah, they get an ovation at Gen Con. I don't know if you remember, like, people are like, yeah, dude.
[00:08:46] Speaker B: I was like. When it started, I was kind of like, oh, that's nice. And then it kept going. I was like, are y'all for real? Like, this is way longer than is polite.
[00:08:55] Speaker A: It's our thing. This. Our thing is our jam. And I'm glad you mentioned that there's multi facets. It would work. Honestly, it would work as a comedy. It would be. You have to cut it, obviously, around a bit, but it would work as a comedy. It's got the aspects of it, but I think what makes it last longer is because once the comedic aspect gets you, the dramatic keeps you hooked and pulls you through, and that's the.
Without spoilers. It is a great social commentary. It is reflective of what our live experiences has been for four or five years, at least, if not more. I don't know when Covid is actually was anymore.
Whatever that decade was. I don't know anymore. And, yeah. Where future is going towards. It's very.
It's tongue in cheek at the same time, deep. Does that make sense? Is that. Is that a fair assessment of your own movie?
[00:09:53] Speaker B: I. That's a very lovely assessment.
[00:09:55] Speaker A: Thank you.
[00:09:56] Speaker B: That's. Yeah, I think one of the things I love about Sci-Fi movies is that you can kind of sneak those social commentaries and satire under underneath. You know, like, you can kind of talk about really serious stuff, but you're covering it over this patina of kind of silliness that it. I think it opens a door to people's psyche that they weren't ready to open beforehand because you've kind of Trojan horsed it in with, like, silly guys in masks. And then at the end of the day, hopefully people leave the theater with a, you know, a new perspective and, or at least they're thinking about things they weren't open to thinking about before.
[00:10:33] Speaker A: I think that's completely fair. As an audience goer, it was. I'm here for the zaniness and I left, like, okay, that was actually a pretty thoughtful movie. Like, you know, those well deserve a round of applause at the end.
And I want to. I know Gen Con is a very hard to have a success as a movie because you're competing against everything else, but what's the feel about your current film festivals? What's, what's the jive there?
[00:11:03] Speaker C: Well, we did, we played our hometown fest, Nashville film Fest last night.
[00:11:06] Speaker A: Nice.
[00:11:07] Speaker C: Which is an Oscar qualifying kind of, kind of a big deal. They've really made it a point to grow that festival the past five or so years, and we were one of just a handful of Tennessee features to get in. So we were very fortunate to be included even now because it's, again, it's kind of turned into a thing. We were like, I don't know, are they going to let our weird, fun movie in? And they did. And it was the first film to sell out. It sold out within just a couple hours of tickets going on sale. And I mean, it was surreal last night, dude. I mean, we were standing there, there's two theaters right next to each other, the doors, and there was this massive line. I was like, I wonder what's going on in that theater? And Danny's like, this is for us, man. And, yeah, it was a trip, man. It was absolute trip. And it was great seeing it with the hometown crew and with so many of the cast and crew that were a part of making the film. So it was a really special evening last night. So cool to be here with you today, getting to talk about that.
[00:12:03] Speaker A: That's amazing. And then Danny, we were talking before we started and you said sold out and the twelve year old, you would probably go bananas yeah, I mean, driving.
[00:12:15] Speaker B: To the theater last night, I was very nervous.
It's only the second time we've shown it in a theater. And so I was kind of feeling that feeling, those feelings, and then this wave of calm kind of came over me, and I just realized, like, man, this is it. This is what you've been striving for your whole life. And, like, twelve year old me would be so pumped right now to know that this is awaiting, you know? And so it really, it really was kind of a culmination of just a lifetime of loving movies and wanting to make them and to finally have it happen like that. It's been, it's been really amazing and it's well deserved.
[00:12:52] Speaker A: And I'm glad we're gonna start talking about the movie making itself because I did not know everyone was from Tennessee watching that movie. I'm like, did you guys, like, have an international casting call or what? Like, the accents are really spot on. The playfulness, even the. The way they did the press before the movie starts, it's like a little bit still character y, you know, so it's hard to peel that back. So it's all Tennessee. Everyone was homegrown for you?
Most everyone.
[00:13:22] Speaker B: Yeah. Yeah. We had Skyler Tillett is out of Atlanta.
[00:13:27] Speaker A: Oh, that Georgia.
[00:13:28] Speaker B: No, he was, he was such a great addition to the cast, and, I mean, he's, he's kind of one of the big hearts of the cast, you know, and he did such a phenomenal job. I'm so happy and feel so fortunate that he joined our cast, but, yeah, everybody else was Tennessee. And, man, it's kind of like this weird little kept secret is that Nashville has got talent, man. There are, I mean, I think people expect it with singing, you know, with music and stuff, but we've got some great actors here, and it's been, I've been working with a lot of them for years, so we knew it going into it, but I'm so excited that we finally get to showcase that. Yeah, we've got some serious heavy hitters here.
[00:14:11] Speaker A: It's amazing. And, Philip, you're one of those heavy hitters, by the way.
[00:14:16] Speaker C: Thanks, dude. I mean, I feel super blessed that I got to just come and do my thing and have a, have a ball and be fun and silly and that the rest of the cast really brought the heavy, heavy acting chops, you know? But we did conduct a full out casting call, you know, to agents that rep here as well as in Atlanta. And we didn't go in thinking we're gonna hire our friends, because, you know, we were very intentional that, like, we want to do whatever is best for the film. So I love this person, but if there's a better. If there's a better take on the character or better read, we owe it to the. To the project to do what's best for the project. And in so many cases, it ended up being somebody that we did already know or have a relationship with. And it was like, oh, great, our friend is incredible. And they all crushed it because we knew that.
[00:15:03] Speaker A: Now, did you write for your friends in mind?
[00:15:07] Speaker B: There were a couple roles that we definitely had people in mind when Justin Torrance, who plays thong Daddy 420, is an old friend of mine, and I knew he was gonna crush that role, and so I definitely had him in mind when I wrote that.
And, yeah, I think a handful. But really, honestly, we were very open to considering lots of different folks initial versions of the script. There were some characters that were different genders that once we saw people, we were like, oh, let's just swap that gender and have them come in and play. Play that character, because Roland said, okay, because it was great. They just did such a great job, and I was very happy to have. Have that be, you know, a thing that we were able to make those. That's the benefit of being the writer, you know, like, you can make those changes and do that.
[00:16:00] Speaker A: Now that we've lost Philip for a second, we can talk about his butt. Did he really write that into the script?
[00:16:06] Speaker B: Man, I think. I don't remember whose idea it was to do that. I kind of have this thing with Phil and I have been working together for so long that I kind of try to put him in uncomfortable positions every time we do a movie or cover him in slime. At some point, I got to do something to him to just needle him. And I think we both agreed, like, dude, butt is funny. It's just funny. And so underused. Yeah, yeah. So we just kind of set out to make sure that we were able to work in a nice, embarrassing moment for Philip.
[00:16:41] Speaker A: This is the weird part. We're talking about your butt. The first time you came in, we're talking about your butt, and then you popped out and came back. We started talking about your butt.
[00:16:53] Speaker B: It's a. It's. Hey, it's. It's the elephant in the room.
[00:16:56] Speaker A: Yeah. So I. Without trying to do this without spoiling. Without spoiling fast boiling, there are moments where there are going to be multiple clones. This is clone cop.
How was this first? Just from a technical point is this going to be the same shot, the same person? Are we using buy doubles are using, like, mannequins are what we're using.
[00:17:19] Speaker B: Yeah. So the way that worked out was when we initially started the pre production process, we partnered with a 3d printing firm to have them print 20 helmets.
And by the time we got to shooting, we had four. They ran into production issues. They were trying to scale up their. Their operation for us. And anybody that's 3d printed before knows that, you know, at hour 30, there could be an error and you have to start.
[00:17:45] Speaker A: Both have three. I see one. I have one right there. Yeah. It's always like, the last minute, like, oh, damn it.
[00:17:50] Speaker B: Yeah, right. Or like, comes off the bed all of a sudden.
[00:17:54] Speaker C: Yeah.
[00:17:54] Speaker A: You let him steal a helmet. You have take home a helmet.
[00:17:57] Speaker B: Yeah, he's. We gave out helmets to all of our main clone cops.
[00:18:02] Speaker A: That's cool.
[00:18:03] Speaker B: But. So when we started the movie, we had four, and so we, Phil was always one, and we had three body doubles. And anytime the helmet was off, obviously, that's Phil.
[00:18:14] Speaker A: Yeah.
[00:18:16] Speaker B: There's a shot about midway through the movie where you see about twelve clones all kind of pile into a room, and that was all composited. That was Charles Royce, our VFX supervisor.
We sat down and we marked all those out. Our ad team timed it all out to perfection, and we composited that all in together just with four people.
And I am people. People always say that he can't believe it when they see it because it is pretty seamless. And it was just a nice, a nice moment where everybody's kind of expertise came together and we were able to make that work.
[00:18:51] Speaker A: It is amazing. And I've seen more than my fair share of bad movies. I mean, just movies for, like. Yeah. And this one is. It's an hour 30, right? Hour 30. And you have crisp and clear for the editing, crisp and clear for the acting, the lighting, the color and the sound. Everything is so well done.
Thank you. And it's tight. There's no wasted motion. It's. Everything is gripping.
You kept us in thrall for the entire time.
[00:19:31] Speaker B: That's awesome to hear. I'm so glad to hear. I mean, I did the edit and it was.
It's not my main forte. I'll just say that really, I have done it before. I went to school for, you know, broadcasting and took editing classes, and I edited professionally for a while, but it's just not where my passion lies. So I. But, like, with everything else in this movie, we all wore so many different hats just to keep everything under budget.
[00:20:02] Speaker A: And to some of them are the. That hat right there. Yes.
[00:20:05] Speaker B: Yeah, exactly. Yeah.
[00:20:06] Speaker A: This is the same clone cop hat.
[00:20:09] Speaker B: Yeah, man. It was just. It was. Everybody kind of got to stretch their legs creatively and do do things that they don't normally do. And our kind of goal with all of this, anytime I feel like you have a low budget thing like this, we kind of wanted to take people that want to step up into the thing they want to do and give them the opportunity to do that. So a lot of our crew were people doing a position for the first time in that role. Like, they'd assisted before they had experience, but this was, like, their first time being the lead on certain things.
[00:20:42] Speaker A: That's.
That's astounding. So I'm trying to see, and maybe it's. If I wash it on a smaller screen, I start trying to pick holes into it. I'll see something. I didn't see anything. That was a flag for a first time production from anyone's role. I saw a professionally produced. This is top notch. This is why you're wondering, why are you getting to movie? Like, how are we getting these festivals? You have a great movie. I hate to be the breaker of bad news. You have a good movie. It's an amazing thing, and it's well made. You're going to get into festivals. As many as you want to be.
[00:21:22] Speaker B: Far.
[00:21:22] Speaker A: You want to drive? That's it. That's your limit.
[00:21:25] Speaker B: Yeah, it's. Thank you. Thank you. We love it. We're super happy and proud with it. I will cop, too.
As a perfectionist, I certainly see things warts in it, but it's very heartening to hear that I'm alone in that.
[00:21:43] Speaker C: That was one of the biggest notes from my friends and family last night was like, I didn't expect it to be that good. I knew it was low budget, and I kind of. And that's where you want to be. You want a very low bar so that you can jump over that bar. But, I mean, I took it very much as a. As a compliment that, you know, people like, you know, I expected shoddy cinematography or bad edits or, you know, bad production design, and really, it was just pretty, pretty solid all the way around. So we're real proud of that. We've been staring at it for, like, two years, dude. So we can't we tell each other? We have Friday hype up calls right where it's like, all right, dude, we're gonna make it happen. Our dreams are gonna come true, but it's nice to finally get some real world feedback from people that aren't a so far in it as we are.
[00:22:27] Speaker A: Yeah, it's. And that's a weird thing when you're saying low budget, low budget, low budget. I think we all have, like that. Oh, no, it's gonna be that. It's gonna be that. And I think what the difference is between your versions of low budgets and a lot of low budget is you do have the passion and the talent for it.
It's not low budget for the sake of like, oh, we'll get something out, but put Nick Cage in it. You'll be fine.
Yeah, he'll have, like, ten people.
[00:22:55] Speaker B: Don't get me wrong, we would love for Nick Cage to be in any feature.
[00:22:58] Speaker A: Absolutely.
[00:22:59] Speaker B: And that's incredible. That would be incredible.
Yeah, man. We just kind of set out within the pre production process. We were very adamant about just taking time and making sure we planned everything. And, you know, that's just kind of. I think so many of these low budget films are thrown together. Not that there's not passion. You know, the filmmakers love what they do, but I think so many times it's. They're coming together from all these disparate pieces of like, well, the producers from here, and they're going to come in and work. And so for us to kind of be the lead people from inception to execution, you know, there was this huge carryover where from start to finish, every moment we were involved and we were driving that process forward and striving for to make the best thing that we could possibly make. I mean, there were definitely, we laugh about during production that we shot it over the course of three weeks. And every morning I would wake up with like 6 hours of sleep under my belt and just kind of crawl out of bed and be like, you only got to do this for three weeks, and then all your dreams could come true if you just, just soldier on. And that's what we did every day. We just got up and said, today I'm going to give it 100%. You know, like Deadpool says, maximum effort.
[00:24:13] Speaker A: Maximum effort, three weeks. That's amazing. That's okay. To put that in perspective, one of the best movies ever, little shop of horrors, was shot, like, on the weekend. But most movies are not that tight of a schedule. They're shot over months, if not years.
[00:24:30] Speaker B: Correct.
[00:24:31] Speaker A: You know, and for three weeks, that's okay. That's not from, that's just shooting. That's not, obviously the writing part.
[00:24:38] Speaker B: Right.
[00:24:38] Speaker A: Or you're gonna make me really cry as a writer at this point.
[00:24:40] Speaker B: No, no.
I mean, if, you know, for the filmmakers out there, if you're wondering, like, you know, that, how do you accomplish that? We had one location. Every look in that movie is in one location. We had a great facility where we were able to just, like, explore and shoot in different areas.
[00:24:59] Speaker A: One of the things you could done and you obviously did to keep the budget down. Washington. Okay, we got the perfect thing. Now let's make it look like 12,000 other locations. And you did it really well. If you didn't tell me there's only one location, like, okay, I was thinking, like, maybe two, three locations. They probably went here and then there's this exterior, but no one. That's a great find in Tennessee. You shot in Tennessee?
[00:25:22] Speaker B: Yeah.
[00:25:23] Speaker C: And since we're on haunted MTL, we will say it was an old insane asylum type situation and very, you know, a lot of people reported paranormal vibe. And I found. I was. I was in between takes talking to brick, and I looked over at the filing cabinet we were using as cover for our shootout, and it said death review files. And I was like, dude, oh, my God.
[00:25:46] Speaker A: It puts you in the mood.
[00:25:47] Speaker C: It was kind of creepy at times, for sure in there, but. But, yeah, to Danny's point, we could dress every room the way we wanted. We just had free run. There was no running water in there, so we had to bring in a water buffalo. So, yeah, it was, you know, bringing bathrooms and really made the most out of this thing, you know, that speaks back to making the most out of what you have, you know, really utilizing what's available to you. We rewrote the script in pieces and in parts once we had this location locked down, because it opened up a lot of possibilities for us. Yeah.
[00:26:19] Speaker A: Okay, that's going to be my next question. Yeah, go for it.
[00:26:21] Speaker B: I was going to say a big shout out to Ben Johnson, our production designer, who he did a lot with a little in that space. You know, we. We really kind of created all those different looks and all those different spaces. Did a great job with that.
[00:26:34] Speaker A: No, no, for real. The sets look like they are separate lots.
Like, this is this, this is this. He did an amazing job. You do shoot in a location because it's obvious because some of the action in the movie happens in a physical location. In that physical world is supposed to be the location, but the rest is like, I didn't. Honestly, God, didn't know those one location.
I would not have guessed that. Especially the vibe and the feel. And to know that you guys did this. Well water.
[00:27:04] Speaker B: Well, we went down in that boiler room, the whole boiler room scene that was like that. We walked down there, set up lights, and started shooting. It was perfect. Yeah, it just. Look at this production value like this. You would spend $100,000 just creating this look on a set and just about able to walk in and like, oh, hey, real cobweb, real dust. Let's go.
[00:27:25] Speaker C: Let's just write, you know, so she could run her nails across, and they'd sprinkle off just perfectly.
[00:27:31] Speaker A: Oh, that was so cool. And these are a lot of amazing memories and moments, and I think a lot of these moments happen because you are there as the writers, and you can also be there as the movie maker, and they go, oh, I could fix this. Hold on. I think about this one writing. I know how to do this. I think that's what kind of pushes your movie above and beyond is because you're so intricate and every aspect of it, and you have the ability and the talent. It pushes anything that could have been an issue into a bonus.
Like, there was no issue. Is there just, like, extra bonuses now?
[00:28:06] Speaker B: I mean, I think it's. It's really interesting you said that, because that is something that Phil and I have talked about, is how, you know, any production, there's going to be hiccups, there's going to be things that come along that don't work out as planned. And I feel like we were super fortunate, because it felt like every time we ran up against one of those situations, we were able to turn it around and create a new, better plot point. You know, we were able to work it into the story in a way that made sense, and that was fun.
And also, I. Me personally, being, you know, one of the writers and directing it, I love to see the actors make the characters their own. So that was all Ted Welch, who plays brick, he got. So many of his lines are his ad libs. He ad lib. Almost every one of his good quips is his. And so, you know, and they all. People. People say, like, doesn't that bother you? I'm like, no, I'm gonna get credit for it. I got the writer.
[00:29:07] Speaker A: My name's on the screen for a second. I wrote that anyways.
[00:29:11] Speaker B: But, no, I mean, Ted was super funny, and he had a great time channeling his, you know, his inner RJ MacCready from. From the thing. So he. He definitely brought those vibes to it. It was fun.
[00:29:24] Speaker A: That's insane. I.
Okay, I have one last question. I have one last question. Because with fault spoilers, and if you want to see clone cops right now, you can go to clone copsmovie.com. and there's gonna be the trailers and the, like, the behind the scenes features, if I'm remembering correctly. And hopefully January. Is that your launch goal for a theatrical? Theatrical?
Yeah.
[00:29:50] Speaker C: Yeah. So January is. It is our t Vod release date, and we are running an independent theatrical schedule alongside. So again, if anybody at home wants. Wants clone cops in their neck of the woods, hit us up, and we'll reach out to the local theater and make it happen. So, yeah, we're pretty excited. And it'll be available on Amazon and Apple TV and everywhere that you can, you know, rent and live streaming services.
[00:30:18] Speaker A: I love that. I love that concept. And that's one of the things that we live in the digital age. I think it's amazing if we don't live next to a theater anymore, we have it in our home now download into our brains, and it's an awesome release. Have you thought about doing drive in festivals?
[00:30:37] Speaker B: Yeah, that would be. That would be incredible.
We've got a friend. Well, our production designer Ben Johnson directed movie called curse of the were deer that's out with Troma right now, and I'm pushing real hard for a drive in double feature with. With him.
[00:30:52] Speaker A: That will be so amazing. Joe Bob Briggs, we'll have to get you there, too.
The driving will never die, and this movie is amazing. Clone cops. I lucked out. I'll tell you the truth. I lucked out watching this. I lucked out watching this. And I am one of the nice few who can say this out of five. It's a five. Cthulhu. I'm giving a sneak preview for the first time. I'm reviewing it live. This. I'm reviewing it live. Tonight's taping. I'm giving a five out of five.
[00:31:22] Speaker B: Oh, man.
[00:31:23] Speaker A: Five out of five. Five.
[00:31:25] Speaker B: Thank you. Thank you.
[00:31:27] Speaker C: Appreciate that. Big time.
[00:31:28] Speaker A: Danny and Philip, thank you so much for your time. I love the movie. It's going to. It's going to do amazing, by the way. It just. If anyone's listening and you're wondering, what should we get for a streaming service or what clone cop is the only answer you need? Absolutely.
[00:31:45] Speaker B: Thank you so much for having us.
[00:31:47] Speaker C: Yeah, I was gonna say, of course you can find us lone cops on all social media, on Instagram, TikTok. We got a lot of additional stuff we're putting out in costume. We'll just go out in public and interact with people. That's how we know we've got something. Yeah. Because people love to see. They're like, what is this? They instantly are drawn to it.
[00:32:05] Speaker A: Yeah.
[00:32:05] Speaker C: And so we mess with them.
[00:32:07] Speaker A: So obviously, I love this. It's such a perfect TikTok and, like, insta ready film because it's. It's zany. It's gonna fit the small clip thing. It's been such an awesome thing. So check it out. Follow them on socials.
Go to the screenings and get them, apparently at the. Get the tickets, like, yesterday because it sells out like that.
I had it. I had to sneak in to janky and I'm like, press my. Get my in there now.
All right, guys, thanks for everything. And I want to see the red carpet. When you guys hook that up, let me know. I'll fly out and I'll be one of the people in the front row clapping and laughing at phillips, but all right. Or not laughing at it. Laughing with it. All right, guys. Thank you very much. Irving. Bye, y'all.
[00:32:58] Speaker C: Thanks, Jim.
