Interview with the Cast & Crew of Don't Answer (2026 Indie Mystery Film)!

[00:00:00] This podcast is a production of Unfiltered Studios. If you would like to know more about joining Unfiltered Studios, please visit our website at unfpod.com for more information. Next, reloaded. Re-edited. Sometimes we get so deep into conversation that we have separate segments worthy of their own place in the sun.

[00:00:32] Here is a reshuffled mini-episode. So, welcome to the show! Once again, we always love promoting all kinds of independent mystery and suspense films on the show, and lo and behold, we have another production straight from the heart of Dallas-Fort Worth, which is Don't Answer, another psychological thriller.

[00:00:57] This time, it follows a premise involving a babysitter watching over her professor. Once she starts hearing threatening voices, though, she realizes there might be some foul play happening inside the house itself, hoping to bring a feminine psychological perspective to this, as well as make use of mood and sound mixing in hopes to navigate differently for this 90-minute thriller.

[00:01:20] All right. In you go. Mm-mm. No more playing, and no more hiding, and no getting up unless it's an emergency. Got it? Can you check under the bed for monsters? No glowing eyes or claws.

[00:01:50] Molly! It is produced by Juanita Rogers for Delore Studio Productions, and we also have, lo and behold, makeup artist Artesia and director Reggie Henderson. Welcome. Thank you, thank you.

[00:02:20] Thank you. We also have co-star Luke Jackson. Welcome. We also have Chip Miller. Welcome to the show, Ms. Miller. Hello, hello. Right. So, lo and behold, I do admire the mystery genre, because it is really hard to figure out how much you want to give away versus how much you want to build upon versus what you want to tackle differently.

[00:02:40] You know, there's so many different components to it. There's other subgenres it falls into, you know, like home invasions or stalkers. In this case, you guys were making use of the one location. What really drew you all to this concept differently?

[00:02:54] What I was looking for was a contained thriller where we could really focus on one location, you know, mostly as independent filmmakers, your budgets are really low. And so you have to kind of think multiple locations, company moves and things like that. So I was trying to think of how can we tell a story to keep the audience engaged and having it at one contained location.

[00:03:18] So that is kind of like what the concept was to keep it contained and at one location. I think one location films, you really have to keep the audience engaged because there's only one location and all these things are happening. So you're having like all these little stories or different things happening in one location. So that was the first time that I really, this is my first psychological thriller in a more of a feature film in a contained location.

[00:03:45] Lovely. And, you know, Juanita, I've been just blessed to know you at some of the different film festivals. You've been on so many different productions from Detective Shorts to Faith Movies. You've been tackling producing for a while. How did you get the chance to partner up with Q and CODA films, though?

[00:04:01] I know Ellen. I know Ellen is like a friend of the family's. And so when I had did my first feature film, Shadows of My Past, she came to the premiere and she had came in on the back end and helped me as an executive producer for basically like finishing funds for the film.

[00:04:24] Yes. And so when we did that first film together and then I had I pitched it to her and asked her would she be interested in coming on as an executive producer for this film. But this film is a little different because it's working together from start to finish, which was different from the Shadows of My Past. So, you know, I'm really thankful that, you know, Ellen came in and helped out with financing, which is honestly, everybody knows that's the hardest part of making films.

[00:04:52] Wonderful. Director Henderson, when you were brought on to this, what were some of your influences when it came down to just everything from the storyboarding to the planning to the shoot days? There was always like, well, I mean, there's always challenges within indie. So my main focus was trying to see how we can tell it within the budget and that will allow us to be able to, you know, fully have a story from start to finish.

[00:05:17] That was kind of like my main focus. And even though it was no indie film, we still had a lot of things that were kind of up against us. And I felt we really rise to the challenge and really met. I mean, for one, we had eight days for shooting. Eight days. It was all night shots. No pressure. Eight days. Yeah. It was all night shots. It can be done. It absolutely can be done. It's just everyone's got to be focused.

[00:05:40] Yeah. So to add to that, they're all night shots. Our window of opportunity, you know, to get everything was really contained within like a 8 p.m. You know, to 6 p.m. when the sun started to rise, we were up against that. And then to add to that, we had two, you know, wonderful child, you know, actors. So we had to worry about that as well in terms of, you know, make sure they get sleep. You know, as charming as Luke is, Luke can get cranky when he was, you know, sleepy and the same.

[00:06:09] So, you know, all he's prepared was that we had to worry about, you know, on an 80-day super indie project. But I'm really proud of what we were able to accomplish because we did really pull off, you know. Wonderful. You know, so that was my main focus, just trying to make sure we could get everything, you know, contained and done in the 80-day period. And one location really does save a lot of time constraints because now you can make the location be a character. You can choose where to find the exact suspense.

[00:06:38] We were definitely intentional. I mean, there are a couple scenes where they're not in that location, but we were less than a mile away. You know, some exterior shots where we can just go over there, knock it out real quick, and then get back to the movie. Stuller? Do you have any influences? There's been just so many different kinds of movies, you know, just... Oh, yeah. Wait until dark, you know, when a stranger calls, phone booths. Yeah, well, Anita sent me when a stranger calls, and I actually had seen them before, and the older one.

[00:07:06] But I've always liked thrillers, you know, Psycho. I'm more of a kind of an old-school type, you know, Norman Bates type of, you know, thriller. Right. Hitchcock. Hitchcock, definitely love Hitchcock. So, yeah, I was kind of looking at those, and then also trying to add that kind of modern, you know, not Final Destination in terms of the story, but kind of... Right. A little bit more bright, vibrant colors. For other indie filmmakers listening, what do you think is the biggest key component? Obviously, you've got to feel like you can do something with the concept.

[00:07:37] You've got to like the premise or the script. But what do you think is the hardest part about building any kind of suspense? You know, is it more the lighting, or is it mainly just making sure all the actors are just well-rehearsed? The suspense is all, for me, I think, predicated into establishing the world. When we were trying to go back and forth for how many days we need, I was really stressing, like, you know, if we want to create this mood, we're going to have to take the time to light. You know, certain things you can't get around, you know. Establishing shots.

[00:08:05] How many days we have, you know, after you light it correctly, if you want to have that cinematic look. And what, you know, Juanita agreed. So, you know, like I said, we did eight days and we really honed in on lighting. So because we were honing in on lighting, sometimes two-hour, you know, move and try to shoot it in eight days, something would have failed. You know, so we were able to, you know, scale down the script for the last eight days and be very intentional about the lighting.

[00:08:31] Ruth is a star in the making, antagonist, you know, once you see her. Pretty remarkable. Like I said, it's two in eight days with the budget we had. Lovely. So, Jacque Miller and Artesia Mewks, how did you guys get involved with the production? Well, I've worked with Juanita and Reggie on a few films. So, well, Juanita actually asked me to be a part of the crew. She sent me the script and my wheels just started going. Like, you know, I love scary movies.

[00:08:59] I love, you know, suspense and thrillers. So I was very eager to be a part of this film. What do you think is probably the most key when you're pitching this? Because it seems like, you know, now when you go to a film pitch meeting, you know, you'll meet plenty of serious investors. You'll also meet film snobs. And you have to tell them, hey, yes, I'm similar to other movies. But no, I'm my own movie at the same time. I'm doing my own thing, my own concept.

[00:09:29] And networks are always trying to find new material to produce. You know, AMC's All Black Network has been so supportive. TV One has been in the documentary business for a while. And, you know, now Tubi is looking for original content now. So what do you personally think has really ultimately changed about getting everyone on the same page for independent film nowadays? Trying to get everyone on the same page? You have to be different.

[00:09:55] And I felt like this film was different than what I've seen on TV. Because I'm a movie head myself. And this thriller was very different. And when you read in the script, you're like, you know, you're like, oh, but when you actually get to see it in action, you're like, whoa. Like, definitely something you haven't seen on screen before.

[00:10:23] I think she did a great, great. She did great on this one. Oh, it's wonderful. Because everyone's got to be all convinced on it. It can't be just like, well, let's just see what happens. It's like, no. I believe you. I will give you my time. Yes. No. Like I said, when I read the script, I was like, oh, yeah. Like I said, my wheels started turning. Like, you know, because I did hair, makeup, and wardrobe. So I was ready.

[00:10:53] I was ready. It was great. It was great. And then, like I say, like when you actually get to see it in action, you're like, yeah. Reading it was nothing. Watching it play out was everything. Oh, that's wonderful. And like you say, you have your friends. It was like, I will do anything for you. But we always got to do something different than last production. Right. And every production I've actually been on with them has been something totally at the box different. So that's what makes it really fun.

[00:11:22] Because you, I mean, you never know what you're going to get into with them. But I can tell you one thing. It's not what you've seen before. No. Well, what do you think is also fascinating about approaching the productions differently? Because there's times where it's like, let's do scouting first. No, let's do the line producing. Let's do whatever we do first. Let's make sure the pre-production is invaluable. Yeah. I think just bringing a crew together is the main thing.

[00:11:49] And everyone has to be able to play their part and being able to pick the correct people that you know for a fact. I mean, even if it's friends, friends don't always come through. But picking, you know, people you know that will bring value to your film is the key. That is the hardest thing to kind of break it to others. Where it's just like, we do want a name. But we're not going to give you a nothing role either. But we do really want you. Right, right. I think that's the other fun thing too.

[00:12:19] Is it's like, there's so many actors who if you do get a, or even co-producers, if you get a great connections with them, it's like they will give you a moment of their time. Instead of having to go back and forth through emails and agents. Yes, absolutely. There's many co-stars from like shows like New York Undercover or even Longmire. They'd be happy to do a production in between the next giant production that's going to take up more of their time. You know, stages. Mm-hmm. Mm-hmm.

[00:12:47] We'll return after these messages. Hi folks, how's that here? We got a 90-minute weekly Shackstop. It's growing all over the world. Find it at 2 p.m. and 10 p.m. Eastern Time on Mondays. Then 3 p.m. on Wednesdays. Then 7 p.m. on Thursdays. You can catch it on many more radio stations. 99.9 KERV. 1 p.m. Central Time. 2 p.m. Eastern on Mondays.

[00:13:18] Then catch the Encore on Thursdays at 5 p.m. Central Time. 6 p.m. Eastern. Then catch it Wednesday mornings at 11 a.m. Eastern Time. 10 a.m. Central on 1077 K-Twins. Then hang out with us Wednesday afternoons on MXTR and House Hack Radio. 3 p.m. Eastern Time. Then Thursday. Get up bright and early with us on 95.7 Web Radio at 6 a.m. Pacific Time.

[00:13:46] 9 a.m. Eastern Time. Of course, we've got the Friday covered as well. 12 p.m. Eastern Time on MXTR FM. And 10 p.m. Eastern Time. 9 p.m. Central 1077 K-Twins. Find everything on HouseShack.com HouseShack. Do you ever find yourself thinking about who would win in a fight between Goku and Superman?

[00:14:13] Hi, I'm James Gavsey, and on the Who Would Win Show, me and my co-host Ray ignore anything important happening in the outside world and debate fictional battles between characters from comics, movies, and video games. We got a new show every week, and almost always am I the winner. Yeah, not true, Ray. In the past, we've discussed such matches as Captain America vs. Darth Vader, Solid Snake vs. the Iron Giant, classic matchups like Robocop vs. Terminator, and even the Muppets vs. Sesame Street. That one was crazy.

[00:14:42] So if you're a fan of geek culture and love a spirited debate, check out the Who Would Win Show wherever you get your podcasts, or check us out at WhoWouldWinShow.com. We also have Montreal Diggs joining the interview here. Welcome, sir. I'm here. All right. Well, welcome aboard. Thought we could do this roundtable chat. Thank you. Thanks for having me. How did you get involved, Mr. Diggs? I believe I received a call.

[00:15:08] The amazing Juanita received a call and let me know that she wanted me to play a character in a movie. She felt that she can trust that I would do a great job. That's how I landed that role in that. What were you really hoping to bring to the table differently in this role? Because, you know, you've already navigated other crime, action, mystery films before. What were you really hoping to gain from this role the most emotionally? I was hoping that I brought, you know, once I was playing a college student, and I was hoping that I was, that I'm at my age, the age that I am,

[00:15:36] that I was hoping that I could still bring College Boy, that I could still play it. But, yeah, so I was hoping that the audience grows a like to my character. Like I said, I sold the character well and made it believable. What I expect to bring was, I mean... Because I mean, you had eight days. It's like you got to stay in character. You got to really focus. Yeah, I know. And it was like, it was so long ago until we shot it. So I'm trying to remember.

[00:16:06] I'm trying to remember more about their character, more about their role. It is mild how your different training as an actor comes in to display multiple times and you're having to remember all the different tips and tricks that you've been trained on. This is like, I got to always be doing something, even if it's a subtle close-up or... I got to be in the scene. I got to be in character. Right, right, right, right, right. And, you know, I know it was, I think over eight days of filming. I think I filmed like three days.

[00:16:36] I'm trying to, I'm trying to jot my memory. I can say from a direct standpoint, he brought a lot of comfortability from my standpoint. You know, Montreal, he always knew, he already had a place and a vision that he wanted to bring to there. Blushing it out, you know, and as he mentions his age, he still looks like he's 22, if that. Because, I mean, you play, you play basketball and football players. It all worked well, you know.

[00:17:01] You know, I think if anything, you know, he kind of had to, you know, he had to display kind of more of a softer edge. You know, like you said, different from all the soldiers, detectives, you know. Yeah, you know. Yeah. Yeah. A little more laid back and subdued in his approach. You know, I think he did great. Yeah, I appreciate that. I appreciate that. Yeah, absolutely. Coming back to me now. Yeah, yeah, absolutely, man. It's just selling that role of being a 40 plus male playing a college student. You know.

[00:17:31] You can always say, I'm returning. I'm returning to college. Yep. I always say it, yeah. So, Luke Jackson, you've done a few different roles. What really made you feel just right at home working with this invaluable crew? I think what made me feel right at home. So, when I got the part, I was like really excited and more respected. More respected. Like I met a lot of like amazing people throughout filming. You know, it's a mystery film.

[00:17:56] So, as a result, you know, there's so many times where everybody's got to kind of have an aura mystery to them. You got to have kind of a roster of suspects. It could be anybody. I do applaud how Juanita, Reggie and company did conceive just a very progressive movie. It's like strong female role and bringing in a female perspective to this. And you're being very delicate with this, clearly based on the synopsis of this.

[00:18:19] I think that's very neat because, you know, there's so many movies that good or bad get so much controversy because they don't approach things very delicately and they don't characterize their characters. So, they just feel like, you know, victim number one for five. So, it's cool that you're taking this seriously and you want to actually, you know, the characters are the real star. Yeah, yeah. We definitely want to be intentional about, you know, highlighting everybody. Play the part. You know, as you said, it was, you know, a contained thriller. And the cast really isn't that big, you know. Yeah.

[00:18:46] Everybody had a chance in the moment to shine. 11 castmates, you know. It's pretty good. Yeah, I just wanted to chime in on the child actors. They did an amazing job. The chemistry was there. They knew their lines. I believe they knew the script better than me. Like, they were right on it. You would have thought that they had been seasoned for years. They can't be, you know, they can't be doing it that long because they're young.

[00:19:14] But they did an amazing job. The chemistry was there between the two actors. They were able to really connect with Trina, who was the lead character, the babysitter. They did an amazing job. At the casting for Noah, I really didn't have an idea who I wanted Noah to be. He was kind of open. But when Elle came in and did the audition, I told Reggie, it has to be him. No, that's great.

[00:19:42] I said, I didn't know how he was going to work it because, you know, the family. So one thing about the cast is different ethnicities in it. So I was like, well, that can work because it can be really Dr. Mitchell's son. You know, that's Dr. Mitchell's son. And then Rain could be the both of them. But I was going to make it work no matter how it was going to be. We was going to figure it out. Any rewrites? We're going to make it happen? We were going to make it work because the audition, it was killed. It was an amazing audition. Thank you. That was great.

[00:20:12] And just real talk. You got so many things. You know, you got to figure out when's catering coming in. And kid actors, you know, can't work the same amount of hours as the adult actors. Got to get them wrapped early. Got to make sure everything's staged. Cameras and gaffing are working properly. There's all so many factors. What would you say, Juanita and Reggie, you guys do the best at just de-stressing everything? Making everyone look forward to the next day? Well, from a director standpoint, you know, as a director, you kind of have to be all in.

[00:20:42] You have to be coach, cheerleader. That's true. Trailblazer, if you will. You know, and after I was comfortable with who was working and everything was going good and, you know, we would get the shots set up. You know, then it was just kind of just like dealing with, you know, circumstances. You know, and again, testament to everybody there. You know, Juanita, because again, it was a daunting task, you know, to be able to do it overnight. So it was overnight. So, you know, naturally people were getting a little sleepy. Yeah. You know, all these things. So it really was kind of like keeping the momentum going.

[00:21:10] You know, so that's my main thing is trying to go through the finish line. You know, making sure that. So it's like I got to make sure we get all the stuff kind of, you know, on board and keep everything on track. You know what? Oh, and that's neat that you got to work with Trina LaFargue. You know, she's, you know, no stranger. You know, she's worked for Disney. She's been on that Anne Rice witch show as well as just so many other productions. Where you guys just like beyond excited because you're like, oh, snap. You know, we're working with a big TV team now. Yeah, true. And Demetra as well.

[00:21:38] Both of them were really, really just class acts, you know, and ready to rock and roll, you know, and Trina as an actress and a coach. You know, she helped Luke and Rain, you know, in the process, which is tremendous help for me. You know, she's like, yeah, you know, I coach and train. So I'll check in with them, you know, and tremendous because she didn't have to do that, you know. Right. And it's nothing personal. Sometimes, you know, performers want to go to the next production and say, I'll talk to you when I'm on set. You know, it's nothing personal. Yeah.

[00:22:08] And Demetria, you know, she had up, we only had her for a couple of days, you know, and she came in and she just, again, very professional. Yeah. Yeah. I just think everybody really, really played their part. Yeah. I must say the same thing as well, man. Yeah. Demetria did a great job. I watched her work. It was a great deal to watch her work, you know, live and sick. Because I normally have watched her on TV. She played Whitney Houston, after all, and Bobby Christina. That's a big part. Yeah. Yeah.

[00:22:37] And, you know, just to watch her work, you know, and just to watch her professionalism and how she just carried herself on set. It was just, you know, it was just so great to have her on board. You know what I'm saying? And then as far as working with Trina, Trina is so awesome. I talked about her for so long. Like, we're still staying in contact to this day. Yeah. She's just so great acting, man. It's just so, she's so great. She gave me a few pointers. And we just talk, you know, we talk a lot about acting. But it's just to work with her, man.

[00:23:06] It's just like her energy was always so high, so great. And anytime you're working with people with high energy, there's great, with good positive energy, it's always easier and fun to work with. You know, you're able to create, you know, better scenes with a partner like that when you know that the chemistry is there, you know?

[00:23:31] Friends and colleagues, therefore, it's easier to just kind of build off of that actual existing energy in the room. Absolutely. Absolutely. And the children did an amazing job as well. You know, it just was an all-around great cast. It was a great pick. It was great director of photography. It was great directing. It was just great all the way around, man. It was just, I had so much fun filming Don't Answer. When it got time for rap day, I wasn't even ready to rap. I was ready to keep going.

[00:24:01] I'm looking forward to it. That's how fun it was. It was just great, man. Even though we came to work, it was just so fun making it. You know? Oh, it's wonderful. And when everyone could just naturally just kind of wrap up the scene instead of constantly have it. I mean, you're having to look at the time behind the scenes, make sure, you know, everything's getting done on time. But if it can go by so fast and be like, oh, we got time for a few more reshoots, a few more takes. You know? That's perfect. Yeah.

[00:24:31] You know, I will say too, when you have a cast and a crew where everyone gets along, Oh, man. It really made... That's heaven. I feel like every scene just flow. And when you have a director that is just as funny and cool and just laid back, but when it's time to work, it's time to work. And you know when he's like, okay, we got to go.

[00:24:54] So, I mean, I think that makes a huge difference and a big deal when everyone on set, one feeds off of each other. Everyone is there in good spirits. There's... I mean, the vibes are perfect. And I mean, no one is coming on set thinking that they're bigger than the next person. So, I think that makes it a great environment to be in. Absolutely. That's wonderful.

[00:25:24] And Montrell just... Hands down, he just... I don't even know what to say. I really... It was points where I thought he was really talking to me, but he was in character. That's how good he is. I appreciate that. Thank you. Thank you. I appreciate it. I received it. You got it. You know, you'll see a couple tears in there. I'd like to... Yeah. Every time I... I pull it back, I'm like... Are those tears? Yeah. I'm looking at that, I'm like... Is that a tear drop coming?

[00:25:54] Who am I trying? Yeah, I was trying... I was trying... You know, I was... One thing with... So, I try to... When I... Anytime I have to cry, so I'm like... I just... I just... I just feel the moment of what's going on. And that tear... Those tears that I was shedding in that scene, those were tears of being afraid. Of being like... You know, like... Oh, we're about to die. You know what I'm saying? It's like... Right. We can't do nothing right now. So, those was those... That wasn't the sad tears.

[00:26:23] It was the more afraid tears. That was different. That's why I brought those. I can come with different type of tears. I can go left eye, right eye. You know? Yeah. Yeah. You know? It just... I just... I just allowed myself to be vulnerable and understand what was going on in the scene. And understanding that it was like... Oh, this is our last day. I didn't came over here. I came to this house. And... For one...

[00:26:53] I'm here at the wrong time. And two... And two... And two... I'm still brave. Because... I'm going to take my girlfriend. But it's like... Oh, shoot. I don't want to die either. Right. So, you know? Yeah. The hero moment. But, you know... You know? The hero moment. But I don't want to die. Yeah. You don't want to steal the spotlight away from everyone else. But it is... Have you ever noticed that's kind of hard at times, too? It's like... We don't want to overwhelm each other's performances.

[00:27:23] But we've got to bring the same level of energy. You know? Yeah. Momentum. It's like... It's so hard with an ensemble. It's like... Right. And so, when you see a big budget movie and you wonder where the budget went, you're like, Oh, come on, guys. You had even more time than us. What happened? Yeah. Yes. As far as, like, the part where he says, like, the hero. So, originally, when the writer had wrote the script, when Darius had came over, you know,

[00:27:53] he left. And I was like, no. You know what? I really wanted... I said, no. What if he actually comes back and he's more like the hero? And she was like, okay. Well, you know, that sounds pretty good. So, I like that he said it was like the hero scene. Because that was really written like that. Because originally, it was like he came over and he left. You'll see it in the film. But I was like, no. I really wanted him to come back and redeem himself and, you know, be the hero. So, that was really good. There were some scenes in there. Like, he was saying that crying scene.

[00:28:21] Every time I watch it, I just bust out laughing. Because it's... That cry, that scream, I was like, wow. Okay. So, it was really... Where did that come from? Yeah. Try standing right in front of him when it happened. And I'm looking like, this man is crying. It is. It is. I know my body, man. I just... Once I start to feel my heart racing at a certain...

[00:28:47] Like, when it starts getting high, I just already know, like, I'm not about to hold back. Whatever it's about to look like, whatever it's about to pour out of my eyes or the way I'm going to frown up or out of my nose, out of my mouth, wherever, I'm just going to just allow it. So, that's what it was. It was like I started feeling my heart. Now, I'm starting to remember. I was still in my heart, like, pumping. It was pumping so hard because I was shaking so much and trembling so much. I just... I built up so much...

[00:29:17] A drilling... Drilling... Drilling... Yeah. So... Again? Yeah. You're pumped up right now? No? I agree. Yeah. So, it's just like... I was... Right. So, I was in the moment. And I just was like, just release. Just release. But I wanted to make sure that the camera was on me while I released at the right moment, though. And Reggie got it. Well, they got that. They got that. Yeah, I see he got it. He said he saw it in post. So, you know... It is hard.

[00:29:45] You don't want to sell the scene short. And at the same time, you want to give it the most energy every time. So, it's just like, yeah. We better be rolling. Yeah. No, he definitely didn't do it. And the same for everybody. Like he was saying. Like, even, you know... You know, back to Luke as, you know, one of these things. Great. I mean, both him and Rain. You know, they had to be... You know, they had to play scared. Or, you know... 80% of the film. And that's just not something that you just can't...

[00:30:16] You know... Say. You either look scared or you don't. And, you know, they did a real good job of just, like, looking like... You know... You know... You know... You know... You know... And just, you know... Looking around and Rain. It's just, you know... Looking all over. You know... They did a really, really good job. You know... And bringing that... The whole... The whole cast did. You know... Thank you. Our sister was saying in terms of professionalism... With Trina and... And... And... Yeah... So... They... They...

[00:30:46] They shut down. You know... They're joking. They're laughing. You know... They're having a good time. You know... And not really... You know... Stuff you or anything like that. You know... They really... You know... When you have your stars of that caliber... Really laid back. They gotta... Yeah... You gotta make it not be life or death. Well... At the same time... You know... When you're rehearsing... Make sure... Okay... Now... Our emotions... Ready to be filmed. No one got hurt. You know... If you wanna do method acting... Don't hurt anyone else. You know... Right. Right. Way on... I do wanna... Sure.

[00:31:16] Give a big cue shout out to... Um... Jacque... She's our script supervisor and... Yes... I'm here. Yes. Yes. And she's an amazing script supervisor. I must add... Every time I do a film... She is... The first person... As a script supervisor... That I reach out to... Because I know she's... Bringing professionalism... She's gonna... Get what we need... So... When it comes to the editing... It can... You know... Run smoothly. So I just... Definitely... You know... Excited to...

[00:31:45] To work with her. She's an amazing asset... To the crew for sure. Oh... Thank you. Thank you. Thank you so much. Hello everyone. Can y'all see me? You're welcome. I'm glad you're talking about us. It's my birthday. Happy birthday. Hello. Thank you guys. Happy birthday. Thank you. Thank you. Yes. It was awesome... Doing this film. It was... Definitely... A few moments... Where I was... Scared myself. I'm sure we have some help...

[00:32:15] With background vocals... On screaming. That's the fun part. Kinda. Yeah. Where... You know you can do... What you've been assigned to do... And yet you're like... Oh... But I'm working against... All kinds of different talent. I'm... Expected to bring this. It's not gonna get any easier... But I'll make it as easy... As a character. But you know... The actors... They really, really brought it. Everybody brought... So good. And even down to like... The eerie silence... That was in the house... While we were filming. It was so awesome.

[00:32:44] And it's gonna make... For such a good premiere. I can't wait to see it. But yeah... Everyone brought their A-game. And um... Working with... I worked with Reggie... And uh... Winnie on quite a few films. Um... But it was my first time... Working with... Our DP. And he... He was so... Fun to work with. I mean... A live wire. He kept us going and moving... And getting all of those... Good angles. And you know... When you're watching a film... The best thing is... When you're... Able to envision it... From your perspective. And so...

[00:33:13] I'm excited to see... How that's gonna translate on film. I hear ya. Well... And like you say... Like... You already got a good concept of... The project. And... Uh... When you got a good cinematographer... You kinda can kinda rest on their shoulders. Just like... I trust you. You know... You're making the tough call as well. You know... Well... Very important. And that goes along the way with everybody. Because... As Juanita said... We had to kinda... You know... Truncate the story down.

[00:33:42] So even like you said... With... Uh... Jack Way. You know... I... I look over to her... And she'd be like... Yeah... We got it. We got it. I was like... Oof... Okay... Good. You know... Because there are certain things... We had to make sure... Again... As a thriller... We had to make sure that the dots were connected. You know... Um... And make sure that... You know... Everything was making sense. And I know we had left... Some of it out. Because... You know... Again... Just didn't have enough time... To do everything. Um... But really being able to lean on... You know... Her...

[00:34:11] Lean on... You know... Uh... Our DP... You know... Which was... You know... Another thing that was really, really comfortable... From my standpoint... Was just wanting to make sure that... Quality that I'm used to... Is still going to be able to be delivered. You know... And... And... Seeing and talking with him... You know... Weeks... You know... Probably a couple months... Even beforehand. You know... Just... Seeing some of his work... And seeing how he posted it... You know... To help us... You know... To make this work... You know... And so... Yeah... The...

[00:34:41] The crew... Cast... Everybody did amazing. The catering... I mean... Oh yeah... Gotta have good catering... There's no... Catering... I got that... Catering... Catering... Was almost... The problem... Because I didn't want to do anything after I ate... I hear ya... Yeah... This is working the opposite... Right... Yeah... Oh... Great... Are there any other tips you recommend... For anyone doing night shoots... You know...

[00:35:10] Like... Especially if you gotta work with other cast and crew... Who are struggling to make it work... They can... They clearly can do the job you've asked them to do... But... You know... They gotta make sure... Their other... Gigs... And their family... Are aware of the situation... Like... Hey... I'll be getting back at a different time... You know... Yeah... I mean... Nice to be thankful to play the heart... No... No... It's hard... But it's... It can be done... But... Yeah... And I think... Everybody... You know... And...

[00:35:39] And another shout out to... Luke and... And Rain's parents... You know... That was the biggest... Thing of all of it... You know... Is the young... Child actors... I can... You know... I can... You know... Sneak a couple hours to sleep here and there... You know... But we have to... I wish I had your gift... That's great... You know... We're... We're... We're good... You know... So... But no... It's definitely not easy... Like I said... You know... On a regular... You know...

[00:36:08] 12 hour shoot day... You know... Get... You know... Get up to... Whatever... But when you're shooting it... The 90% of that night... You have a smaller one... You know... And even some of that kind of... Carried over into the day... And we had to kind of... One day... We had to kind of shoot day for night... You know... A little bit... Day for night... The classic routine... Yeah... And... Explaining it... Kind of just... Being up front... You know... With the... With the two of... So... Especially if you want...

[00:36:38] The shot to be as well lit... As it is... It is funny having to describe that to others... It's like... Yeah... If you want... In a certain way... It has to be reversed this way... There's a reason they've done it that way... For so many years... Any kind of production... Luke... Now that you've done this part... Are there any other roles that... You're just dying to play... In other kinds of productions? Um... I mean... I'd rather just play any part... Like... Any part would be fine for me...

[00:37:08] Cause... Um... Like... I can be a boy... I can be a girl... I can... I can be a bad guy... I can... I'm not really like... Like... Wanting to do anything like... Yet... But I bet I will be wanting to do one soon... Hey... You got to be in a mystery movie... That's... No easy feat... It's a great experience... What drew you to the world of acting to begin with? Well... I think I just wanted to be an actor for a long time... And... Like...

[00:37:37] When I did my first film... I felt really excited... And then... Since I got into Don't Answer... I felt really good... Because... Then it was my second film... And... Uh... So I got into acting... Because... I just watched a lot of actors that I really liked... And... Then that's when I decided that I wanted to be like them... Right? Yeah. And you've done theater prior to this... So... What was the transition like for doing... Live... Productions...

[00:38:06] Versus recorded productions... Would you say? It was a little different... Because... I noticed that inside of... Inside of filming... Like you have to act a little more... Yes. Than in theater. But I still do theater though... Like I'm actually doing a play right now... Okay. Hey... Don't let your skills get rusty... Artesia... You've worn so many hats... You've done modeling... You've done makeup... When you got attached to this project... What were you really hoping...

[00:38:35] Where your skill set was really gonna shine? I would say probably all three. All three. Because... Yeah. Because... Um... This is... This was actually my second film that I've done wardrobe for. That's right. Because I usually always just do hair and makeup... But... I love fashion anyway. Yeah. So... That was... That was my thing. But I... I used to... Um... I used to... I was a designer before. So... It just... It really just became natural for me on set. So I was...

[00:39:04] I was pretty happy about... You know... Putting all three of... All three of my favorite things to do. Nice. How was it working with Tamia Cannon? I saw that she's also worked in front of and behind the camera as well. She's got some Christmas specials in development right now. She's really fun to work with. Um... She's a sweetheart. I worked with... She moved to California though. But... Yeah. But... Yeah. She... Yeah. She's really... She's... She was really fun. A really good person to work with on set. Very easy to work with.

[00:39:34] Yeah. I... I saw she had worked on some non-profits. She got interviewed in Shout Out, DFW Magazine. So that's neat. Mm-hmm. Fabby's awesome. If she enjoyed the experience, she won't forget you guys. She'll come back. That is the hardest part though too. Where it's like you work with different... Uh... Just talents of different ilk. And then... It's like... Ah! When can I get your back? Oh well. You're on this irrefusible gig. Well... Let's just talk in five years. Let's see. Yeah. And... That's the other thing too. Juanita...

[00:40:04] What I really admire at all the different pitch meetings I've seen you at... You kind of get down to the nitty and gritty. You really do just do the best, like, summaries. To where it's like... Okay. I'm intrigued. You're not playing around. What's on your bucket list though? Uh... Material to pitch and produce right now. So I... I do have another thriller that I'm producing. I'm producing it with another... Thank you. I'm producing it for another EP. But on my own bucket list, I have a...

[00:40:34] I would guess... I guess you would call it a romance drama. It's a film about young love, poetry, and a road trip. So that's something that I really want to, you know, do. Maybe in the next year or two is something that I've been, you know, thinking about. So that's something that I'm really working on. I know right now thrillers, Wembley Thrillers are what's trending right now. So I do understand that. But I still want to do this film. Because I know once I do this film, it's going to be a hit.

[00:41:03] It's a beautiful story. It's a beautiful script. But it's... You're serious. You don't play around. It's like 90s vibe. Like, you know, you have comparables to be like Love Jones, Poetic Justice. Oh, hey. All those things. The script itself actually has won several film festivals. Just for the screenplay at long. Okay. Hey. So I haven't... Pat yourself on the shoulder for that. That's lovely. Thank you.

[00:41:33] I do have some pop and R&B music artist friends. If you ever need to give them a call. Oh, yeah. We'll need all those. All those. That's awesome. Thank you. You did get to direct your first short film a year ago? I really did your homework. Okay. Oh. I don't want to ask you stuff you've been asked before on local radio. Yeah, I did. So I'm taking a class at Dallas College TV Film.

[00:42:00] And so in the particular class I was taking was production management. And one of the things we had to do is write, produce, and direct our own short. Here's the test. Yeah. And so that was my first time, you know, actually, you know, really writing and then producing and directing. So that was a real neat experience. It was a short film called Love Notes. And Artisha was on that as well. She's always with me.

[00:42:30] And yeah, I really enjoyed that. Directing is something that I actually want to pivot to and transition to eventually. No, that's wonderful. And so because now that you are used to the nonstop schedule and how you're calling all the shots, but, you know, it is great for everyone to try and do some kind of directing because then you can find out, okay, no, I want to be the person behind the scene or

[00:42:57] I want to be the financer or I want to just be the location scout or better yet, how about I just do the line producing and I have my best friend, you know, who's got more experience direct. So that's cool that you were getting your feet wet and you're just like, I'm completely comfortable with this, but I'd still rather start these projects from the ground up. You know, that's great. So I'm pivoting to directing. So you think you would absolutely still return to the director's chair?

[00:43:22] Yeah, that's really where I want to be because I love producing because I think what the part of producing that I like is the storytelling portion. When you take a concept and then you bring it to the screen. So more of like a creative producer. So I know there's all types of producers, like line producers and budget. That's the thing. I had to learn how to do it, but I'm not excited about it. That's not something that crunching numbers and things like that.

[00:43:50] That's, you know, when you, when you're producing your own films on this independent level, you usually are the line producer. So you're doing the budget, you're, you know, doing all those things. But creatively, I love having an idea, hiring cast and crew, and then putting them on the screen. So it is rough at first though. Like, it's like, I got to try out all the different job positions. Yes. And then I do have to mix it with where I'm actually mentally and emotionally invested

[00:44:19] in is like, yeah, but this is a grind or this is good, but I don't feel anything when I do this creative avenue versus this. You know, I just. I don't feel anything when I write a budget. There you go. Save yourself. You have to do it, but you know, I'm learning all the, all the avenues of producing, but I definitely want to step more into the creative spaces as directing. Oh man.

[00:44:47] Shirley, you know, he's a local comedian. I keep telling him he's got to do more standup open mic nights. Are you familiar with Fabian Lopez? Yeah. I've always worked with Fabian. He's my. Love him. He's my. I'm out there. And I worked with Fabian as an actor before when I was into acting. Fabian and I, we were in this vampire series and I think we worked on that series about two, three years. And so I really got to know Fabian as an actor. And he, we were like, um, arch enemies.

[00:45:13] Um, he was a detective and I was the lead of these vampires and we, we didn't get along at all in the film. He should be a bigger name than he is, but I went when working with him, he would just always just know when to just kind of do just a few jokes just to kind of get everyone back engaged and in characters. Like that's, that's wonderful. Cause you need that kind of just stress relief, you know? Uh, it wasn't any not safe for work joke. It was just like the right kind of, Hey, you know, I need to look in here.

[00:45:43] Hey, cue cards over here. You know, gotta give a speech. He's just always good about that. And he's going to get everyone's attention. Uh, how would you say you're good at getting everyone just focused, you know, just kind of back on track while also kind of keeping, breaking the levity, keeping it light. I think when I'm on set, I'm very, I absorb, observe more than I do a lot of talking. I'm usually very quiet on set. A lot of people say, well, are you not really saying anything? You know, I think because when I'm on set, I'm always in my creative space and I'm learning

[00:46:11] and I'm watching, trying to see how something could be better. So when I'm on set, I think that I'm just more laid back and a little quiet. So I'm at the first AD and, uh, the director do all the, the barking. First day days are so invaluable, but we got over it. Hey, as long as everyone was de-stressed and still taking it seriously, uh, director

[00:46:39] Henderson, have you, I don't know if any of you guys are familiar with, uh, the famous director, uh, Mick Garris, he's done every other Stephen King adaptation. He had a funny thing on his now defunct podcast where he taught, he joked how first ADs are basically assistant executive producers because ultimately they report to the person in charge saying, Hey, production's running smoothly on time. Yeah. Right. Yeah. Yeah. ADs are incredibly important. And as long as they know their place and they're not overwhelming, you know, talking

[00:47:08] disrespectfully to the executive producer or trying to co-direct with the director is like, no, no, that's not what you do. You're, you're just re-relaying info. That's all you're doing. Saying, Hey. Right. Right. Yeah. No, it's definitely an important role because yeah, they're, they're kind of like the bridge between, you know, the above the line. Props just called me. They're going to be 10 minutes late. Is that okay? Yeah. Something like that. Yeah. As well as also like, yeah. Keeping the ship on, on its course, you know, so.

[00:47:37] Camera B did not pick up the shot you requested. Do we need to go again? You know? Right. Right. What did you shoot that on? It's like, well, if you liked what I filmed for you, what were you even asking that question? You know, we don't really get that insecure question anymore. Oh, did you shoot on film versus digital? It's like, did you like how it looked? Yes. Okay. We don't need to have this conversation.

[00:48:06] Yeah. Those questions are more for people that are in the business. You know, I think viewers. I would hope instead of, well, you know, I want to ridicule you. They don't particularly care, you know, but people, you know, and the business are always asking, you know, and I guess there's, you know, there's places for it, you know, but like I would tell everybody. It should always be constructive anyway. You know, it's like. Yeah. I mean, you can have a, you know, great camera and terrible lighting. It'll get the same. Exactly.

[00:48:36] Or you can have the best lenses in the world. Oh, man. And don't know how to work the camera until it gets the same result. I was on, trust me, I was on plenty of student films where someone had a red camera and didn't know how to use it. And it was pretty much just trying to cover up his mistakes. And I said, never again. Not going to do that. Yeah. All that's good to know. I mean, ultimately, you know, we do want to make sure that we had the lighting. That's great. You know, sometimes it can be tedious and it can't be helped.

[00:49:04] And you just have to get everyone's, you know, blood pressure, you know, you know, down by just saying, hey, we're well. While this camera is resetting. How about we go here and do some other rehearsal here? Make use of every minute instead of. Well, you know, we've got some other unavoidable expectation that just occurred. But hey, eight days. That's great. That's nonstop. I wish I had that much free time. That's great.

[00:49:30] Miss Miller, when you're looking at the script supervising, it really is an invaluable position because I have to make sure the lines being said exactly how it's being emphasized. You know, or hey, you did the line, but the dramatic beat was forgotten. What would you say you really focus on the most in terms of getting it right? Yes.

[00:49:51] In regards to continuity, script supervising, the dialogue wasn't too bad because the actors, of course, were on it. But the main thing was just trying to make sure all of those small in-between things happened. And, you know, when you're looking at their screen and you're in the moment, you got to make sure that you're on it.

[00:50:12] So I think the biggest thing was being able to get that trust from Reggie, you know, as well as Celine to ensure that we got what was necessary for it. And, yeah, I enjoyed it. But most importantly, I think the biggest thing for me was just trying to make sure because we were at one location, the great thing about being at one location is you don't have to do too many company moves.

[00:50:42] But the other thing is you have to make sure that everything, you know, looks correct in every way and every scene. So that was the main thing, just making sure that when we went back into certain rooms or what angles that we, you know, stayed on top of set design and making sure that everything was good as far as continuity-wise. Yeah, continuity, when that becomes the bigger thing, that does say a lot because it's like, yeah,

[00:51:12] this line will not make any sense if you're not holding this one object, if you're not, you know, focused. Exactly. People are going to be confused in the editing room. Yes. The great thing is, though, once with actors, I mean, I didn't have – they were awesome. So they were pretty much on it. So they honestly made my job easy. I thoroughly enjoy getting to know the actors, getting to know their style of working,

[00:51:39] and, you know, what ways that I can help them in regards to it, especially when it can be something that's dialogue-heavy. So, yeah. Director Henderson, what I think is a wonderful task for anyone to have to do – I'm sure everyone else could speak to this as well – but what do you think is the biggest challenge when you're having to remind everyone, hey, this is dialogue-heavy, but this is all going somewhere. You know, it's not like I'm making you do five different speeches. You know, this is a proper script, and I need to stay focused and just kind of, you know,

[00:52:08] be more in the rhythm and then worry about getting the lines right. You know, there's so many different actions to that. What do you think is one of your shortcuts you use a lot for dialogue-heavy movies? Well, for this one, you know, we had a lot – A lot of rehearsal. Read the script, like maybe four or five times, you know, as an ensemble cast through before we actually got onto the set. And like I said, you know, Trina, you know, she got with Rain and Luke, you know,

[00:52:36] and kind of honed in there with them, which, like I said, was a big help. But in terms of being dialogue-heavy, you know, because it's a whodunit, if you will, there really wasn't – there was like two pockets of the project. There was kind of dialogue-heavy. Trina was deleted, played by Trina. We read through it so much. You know, they were kind of pretty much – Second nature now? Yeah, you know. That's great. Although, you know, with Demetra, you know, I was a little kind of worried

[00:53:06] because, you know, she was – because, you know, she's busy, you know, being on all these movies that she's on, that we didn't get a chance to rehearse with her, you know. So I was a little worried at that point, you know, if we had to kind of, you know, work out the bugs and the kinks. But she came in there and she just – like I said, she – in my opinion, and, you know, I could be biased, you know, I mean, I haven't seen all her work, but I think this is probably one of the best performance from her that I've seen,

[00:53:35] you know, especially because she's playing a role that she hasn't been able to play before. It's kind of like this, you know. It is wild though too when you're working with a different pedigree of actors and it's like, who do I spend more time on coaching, you know. Yeah, like she – you know, and she just went for it. And I think for her, I think – and again, it goes to the level of, you know, her talent. You know, she just instantly commits. You know what I mean?

[00:54:05] There's no – there wasn't – You have to. Yeah, there wasn't like a warm-up period. You know, she just – what are we doing? Oh, I'm being nuts. And action. And she's nuts. You know, and it was like – Totally. Really just – really went to town on it. So, yeah, there was a couple of pockets where there was kind of dialogue heavy. And like I said, because we rehearsed it so many times, they kind of knew that. They kind of felt comfortable and I was just smiling about positioning. Whatever will just make everyone just always come alive, you know.

[00:54:35] You know, you've released it for the summer. You're hoping for a wider home media release the following year, if that's correct, the earlier PR? Yes. We're going into the distribution phase of it now. So, I'm putting my package and everything together for distribution. I'm looking for, of course, domestic distribution, but I'm definitely looking for international distribution as well.

[00:55:03] So, that's really one of my main focuses is looking for some international distribution, especially with the kind of the psychological thriller trope. Those are what I've been told do well overseas. I'm curious always about that just because, you know, marketing is no slouch. It's no easy feat. And I really have always admired it in some capacity even before I knew what it was. My father, still to this day, does website marketing.

[00:55:32] My mother used to do journalism for Star Telegram. How would you say you approach marketing? Because, you know, like you say, this goes back into the nuts and bolts of how do I make this interesting? And how do I get good at this? And how do I make this be second nature? You know, especially when you can't predict the markets. You can't always figure out or read the room. You know, so for Don't Answer, I always had an idea of making it more commercial.

[00:56:02] Where it could cross kind of like. So, it's not just one group of people will be interested in watching the film. So, that was the thing that I wanted it to be was commercial. So, I believe with a diverse cast, that kind of that to me was giving the commercial appeal that I was looking for. I also know that like thrillers and horrors. It's not a horror because it's not a lot of killing and stuff.

[00:56:29] But it's still on the same trope of a horror. So, that's really a commercial appeal. Especially with like Blumhouse and Shudder. And like how Obsession just did amazing. From a filmmaker. Like it's. It was the typical trope of a million dollars and it's making 50 million. And people are finding it agreeable. They're like, wow. Where'd this person come from? So, that was kind of my thing.

[00:56:57] I wanted to kind of have like a commercial type of film that could, you know, do well anywhere. And one thing about like horrors and those type of films. You don't have to have a lot of. You don't have to have star power at all. No. Because it's just, you know, good story. People will like it. So, I just hope that this is a film that could be more of a commercial type of film. Where everyone will enjoy it. Some people. Like I don't really like scary movies. I'm kind of scared. But this one. So, it's like you're making a scary movie.

[00:57:27] But it's not really scary. Right. It's more of like suspense. And the music really drives the film. So, I think it's a film that everyone can enjoy the plot twist at the end. You don't really. You don't see that one coming at all. I'm glad you brought that up. Because there are times where you'll see that. You'll see a director politely saying, well, the distributor labeled it as this. I did not intend it to be labeled that. So, that's cool that you and Director Henderson were speaking the same language. Yeah.

[00:57:57] Henderson is familiar with all the different genres. You're like, I want to keep this like firmly here. You know, it's just a preference. You know, I just. What I think would be best for this. Yeah. So, that's so. As far as like marketing. The marketing that I have for this one was just making it more of a commercial type of film. That it will be easy that I feel to market than some films that just have.

[00:58:25] Where it's just going to be on one particular platform. So, that's what I was really looking for the marketing to be more commercial. And that's what we're, you know, hoping for, you know. And we'll definitely keep you updated. The premiere sold out, which was really good. That's wonderful. Yeah. Yeah. It sold out. And we're still being bombarded now with people trying to figure out where these tickets are. And I tried and I tried. I tried to get a bigger theater. But they're sold out too.

[00:58:54] So, that didn't work. So, we'll have another opportunity for people to see it before any streaming on the 15th. So, we're excited that it sold out. We're excited that everyone is interested in it. And we've only so far made a teaser. So, it's not, the people are not even hyped up about a trailer. Because there is no trailer, actually, that's been made. It's just, I believe. Sold as is. You know. Yes. It really is. There's no trailer.

[00:59:23] But that's, I really applaud yourself, guys. Because, you know, there's so many times where you see on the indie filmmaking experience where people are just making easily avoidable mistakes. And it's like, no, everyone knew exactly from, you know, square one. Here's how we're going to market it. Here's how we're going to film this. Here's how we're going to distribute this. You know. And then, for a wider release, let's talk. You know. Yeah. What I hope to do is that next time we're on here talking, I want our story to be about. I can't even think of its name.

[00:59:53] Sorry, teasing it next time. This is how you know it. It's a great interview. It's great. What's the producer for Obsession? I can't think of its name. Oh. Oh, and see, we're so struck by the movie. We're forgetting who. So that's what my next conversation wants to be on my next interview. All of us sitting down and they're trying to figure out. Curry Barker. Yeah. That's what the next interview is going to be about. How did y'all do that? But that's what was neat, though, too.

[01:00:20] It's like he and like three other people were just TikTokers and YouTubers. So they already kind of had a pre-existing fan base, but they are like, hey, we're going to try something else that's out of our comfort zone. So when you kind of got everyone just I mean, if you want to go to Jordan Peele's, you know, get out, you know, everyone at first was like, you know, improv comedian is going to direct, write a movie that's both social commentary, a dark comedy, a horror mystery is like, whoa, hey, it's possible.

[01:00:49] But like you say, it's like when you just have the concept sale versus everyone's looking at a box cover art and, you know, who's in charge of what is like that. That's that's still a gift. It's like, hey, I got your attention. Give me a minute of your time. Won't let you down. It's definitely going to be really great. You know, we appreciate you for, you know, having us on here and hope to be back with another day on how great it's doing and we're distribution.

[01:01:20] This was really a neat get together just because, again, I just applaud anyone who just has film be their day job, you know, and they take it seriously. And it's so tough when you have all these oversaturated markets, both good and bad, and you're having to just say, hey, here's our unbreakable formula. We're going to keep doing you. You will see our movie one way or another. And we're going to make this be a serious business. You know, hats off to you guys. Thank you so much.

[01:01:48] And I definitely want to definitely give it a rental when it comes out. OK, sounds good. Sold. Is there any other cross projects, cross promotion we'd like to do before we take off here? So everyone's always got something cooking on the side. Well, Ellen does. She has a thriller and then I'm gonna let you guys go. She has a thriller called Harry Hines. So if you know anything, Harry Hines in Dallas. It's it's on Harry Hines.

[01:02:19] I don't know if that was a thriller. So that's another film that she had out of Dallas called Harry Hines. I did see that on your resume. It is like, you know, hey, social commentary thrillers. They are impactful. You know. If you want to address any problems in society, society, definitely use a movie platform to make that statement. You know. Thank you for saying that, Juanita. Yeah. You're welcome. I don't have anything else.

[01:02:49] OK. Director Henderson. Director Henderson. It's unbreakable. I got to call you by your title. Yeah. Just like present. Just official. Oh, you are. I got a project coming out called The Storyteller. Storyteller. It's a real storyteller. It tells a story about four different cultural moments. It's kind of a thriller as well.

[01:03:16] Juanita is one of the stories and is starring in one of the stories. She dug back in her acting bag. OK. But yes, basically one of them that takes place during the Korean War. Oh, wow. One that takes place during the 1800s and then one that takes place during the 1900s and then one that takes place in 13 BC in Japan. Multi-generational. Yeah. Yeah. Drama. So that's the one.

[01:03:44] And then I have a vampire series I've been working on for a while. Oh, hey. The vampire craze is back, baby. Yeah. Yeah. So, Miss Jackson, do you have anything you're working on? Next. Go back to theater. I'm working on a play, which is Anastasia. Oh. And I didn't get that big of a part, but I mean, it's something, which is good. I got Paulina. Hmm.

[01:04:12] Which she's one of the girls who is like trying to audition thinking like to try to make Dimitri think that she is Anastasia, but we all know that she's not. Gotcha. Yeah. Well, hey, I wish the best because, you know, it's always atypical when you're doing another take on another period drama, another long told tale. It's like, yeah, what can we do to keep this fresh? How can we play this part differently?

[01:04:41] And there's definitely more freedom from that in a theater setting. Yeah. Glad we got to do this. This is pretty much straight to the point, but hopefully we just let everyone else hear about just the inner creative voice in. Putting any kind of independent mystery film together. Thank you so much for having us. Absolutely.

[01:05:09] Follow us on the web on Facebook, Twitter, and Instagram. The podcast is available on Podbean, Spotify, iHeartRadio, Anchor, Apple, and anywhere else podcasts are available. Feel free to review our show and leave comments on any of those sites. Thanks a million for listening. It's a jacked up review show. Bye. Oh, my God.