1
00:00:01,120 --> 00:00:03,279
Speaker 1: And now Audio Theater Central.

2
00:00:09,320 --> 00:00:12,119
Speaker 2: Hello, welcome to Audio Theater Central. This is the show

3
00:00:12,119 --> 00:00:16,199
that explores family friendly audio drama through news, reviews and interviews.

4
00:00:16,640 --> 00:00:21,800
I'm your host, JD. Setter. This is episode two fourteen. Well,

5
00:00:21,800 --> 00:00:25,960
today I've got some feedback from Sarah, Jeremy and Blake,

6
00:00:26,519 --> 00:00:28,879
and I've also got an interview with the creators of

7
00:00:29,039 --> 00:00:32,320
the Road to Kayluma, a brand new fantasy audio drama

8
00:00:32,359 --> 00:00:37,320
that is releasing today on podcast platforms. So I'm excited

9
00:00:37,359 --> 00:00:38,759
to share this with you. I think this is a

10
00:00:38,799 --> 00:00:42,439
show you're going to really really enjoy and I wanted

11
00:00:42,479 --> 00:00:46,840
to dive into the process with these first time producers. Now,

12
00:00:46,840 --> 00:00:51,280
there's no audio drama updates or monologue segment in today's episode,

13
00:00:51,679 --> 00:00:53,520
but I did just want to give a couple of

14
00:00:53,560 --> 00:00:56,920
quick little notes before we bring in our guests, and

15
00:00:56,960 --> 00:00:59,240
that is of course, if you have any audio drama

16
00:00:59,320 --> 00:01:01,320
updates that you want to let us know about so

17
00:01:01,359 --> 00:01:04,040
we can share it with the community, please let us know.

18
00:01:04,599 --> 00:01:06,840
Click the link in the sidebar on our website to

19
00:01:06,879 --> 00:01:09,799
fill out the news submission form, or go directly to

20
00:01:09,879 --> 00:01:14,400
it by typing in PFM dot link slash atc News

21
00:01:16,040 --> 00:01:19,599
and the next item is about the Senica Awards. There

22
00:01:19,640 --> 00:01:22,599
will be more details coming soon as soon as I

23
00:01:22,640 --> 00:01:24,959
possibly can. However, I did just want to give you

24
00:01:25,000 --> 00:01:27,280
a little update and say thank you to everybody who

25
00:01:27,400 --> 00:01:31,280
filled out the survey about the future of the Seneca Awards.

26
00:01:32,359 --> 00:01:35,519
I am working on things. I am trying my very

27
00:01:35,560 --> 00:01:39,400
best to get things up and running again for this year.

28
00:01:40,560 --> 00:01:44,239
That said, I'm not guaranteeing it at this point. I'm

29
00:01:44,239 --> 00:01:46,760
trying to get all of the tech in place to

30
00:01:47,000 --> 00:01:50,680
handle the changes that we're having to make, and also

31
00:01:50,920 --> 00:01:54,760
I'm having to move the entire website, so those are

32
00:01:54,799 --> 00:01:57,799
taking up my time right now on the Seneca Awards

33
00:01:57,920 --> 00:02:01,480
side of things, and I'm hopeful to be able to

34
00:02:01,519 --> 00:02:05,319
relaunch this year, but I will keep you informed on

35
00:02:05,599 --> 00:02:10,360
the progress of that. Next up is I just wanted

36
00:02:10,400 --> 00:02:13,120
to give you a quick reminder about the Making Great

37
00:02:13,159 --> 00:02:16,960
Audio Drama camp that's coming up in Colorado this summer.

38
00:02:17,719 --> 00:02:20,919
This is a fantastic opportunity to learn from some of

39
00:02:20,960 --> 00:02:24,159
the top creatives in this industry if you are interested

40
00:02:24,280 --> 00:02:29,919
at all in writing, sound design, the entire package of

41
00:02:30,039 --> 00:02:33,599
creating Great Audio drama, So click the link in the

42
00:02:33,639 --> 00:02:36,360
show notes or head over to Audiodrama Institute dot com

43
00:02:36,719 --> 00:02:40,680
to learn more about that. And finally, before we bring

44
00:02:40,719 --> 00:02:43,439
in our guests, I wanted to play the trailer for

45
00:02:43,520 --> 00:02:45,719
the Road to Kailuma in case you hadn't heard it yet.

46
00:02:46,000 --> 00:02:48,840
It was released a few weeks back, but if you

47
00:02:48,919 --> 00:02:51,319
missed it, I wanted to share that with you so

48
00:02:51,400 --> 00:02:53,039
you have a little bit of context for what we're

49
00:02:53,039 --> 00:02:54,879
going to talk about here in the next segment.

50
00:02:58,560 --> 00:03:02,919
Speaker 3: I'm Uric, son of Chief Yon. I'm a Kosan or

51
00:03:03,080 --> 00:03:08,800
heir of Pahar. Nothing really happens here. I guarantee you

52
00:03:08,879 --> 00:03:12,159
nothing of consequence will ever happen here.

53
00:03:12,599 --> 00:03:15,159
Speaker 1: An event of great consequence has just a cut.

54
00:03:16,639 --> 00:03:18,599
Speaker 2: I am Lord Shaffris.

55
00:03:18,639 --> 00:03:21,960
Speaker 4: Saffron is bent on power. My kingdom's expansion is like

56
00:03:22,039 --> 00:03:26,080
a wildfire. Saffron has gotten his hands on some Gando stone.

57
00:03:25,960 --> 00:03:30,840
Speaker 5: Some sort of crystal or stone or a stone on.

58
00:03:31,039 --> 00:03:34,360
Speaker 2: Rival value and power.

59
00:03:35,879 --> 00:03:39,560
Speaker 5: Jesus Film Project and Famine Life present a full cast

60
00:03:39,680 --> 00:03:42,800
audio production of an ancient tale reimagined.

61
00:03:44,759 --> 00:03:47,439
Speaker 1: First, You're worse Nightma.

62
00:03:49,439 --> 00:03:51,800
Speaker 4: You will make me proud one day, one day.

63
00:03:52,000 --> 00:03:53,919
Speaker 5: There as much your father keeps from.

64
00:03:53,800 --> 00:03:55,360
Speaker 4: Your young Corsa, that's a lot.

65
00:03:55,520 --> 00:03:57,400
Speaker 3: Where is the Chief Janik of old.

66
00:03:57,560 --> 00:04:00,400
Speaker 4: He probably told you it's just a common Yeah.

67
00:04:00,319 --> 00:04:03,280
Speaker 2: You don't even know my father. You shouldn't be playing

68
00:04:03,520 --> 00:04:12,039
with daddy's things. Work.

69
00:04:14,360 --> 00:04:19,399
Speaker 5: The Road to kay Luba available June twenty twenty five

70
00:04:19,800 --> 00:04:21,959
on all major podcast platforms.

71
00:04:22,519 --> 00:04:25,839
Speaker 2: Oh my goodness, doesn't that just sound amazing? All right,

72
00:04:26,040 --> 00:04:28,720
so let's go ahead and bring in our guests to

73
00:04:28,879 --> 00:04:32,480
talk about this brand new audio drama from the Jesus

74
00:04:32,519 --> 00:04:37,120
Film Project and Family Life, an epic fantasy five part

75
00:04:37,240 --> 00:04:39,600
audio drama called The Road to kay Luma.

76
00:04:40,439 --> 00:04:42,560
Speaker 4: Just say your name and the role you're playing in

77
00:04:42,600 --> 00:04:46,319
this production. Please excuse me, excuse me, the local news

78
00:04:46,360 --> 00:04:47,480
station would like to talk to you.

79
00:04:47,839 --> 00:04:50,680
Speaker 1: Oh and here's a company play, right. I'm here to

80
00:04:50,680 --> 00:04:51,959
ask you a couple of questions.

81
00:04:55,079 --> 00:04:58,199
Speaker 2: Well, it is a great pleasure to have the creative

82
00:04:58,240 --> 00:05:02,319
team behind the brand new audio drama, The Road to Keayluma,

83
00:05:02,720 --> 00:05:05,800
Perry Wilson and Landon Holly. Thank you guys for coming

84
00:05:05,879 --> 00:05:07,879
on Audio Theater Central. I'm excited to talk about the

85
00:05:07,920 --> 00:05:09,720
show and tell the listeners about what you guys have

86
00:05:09,759 --> 00:05:10,240
been working on.

87
00:05:10,639 --> 00:05:11,360
Speaker 1: Pleasure to be here.

88
00:05:12,040 --> 00:05:14,560
Speaker 4: Yeah, thanks, we're excited too. Really, Yeah, I really appreciate

89
00:05:14,560 --> 00:05:15,800
you taking the time to have us on.

90
00:05:16,319 --> 00:05:20,600
Speaker 2: So you guys have sort of shared the responsibilities on

91
00:05:20,720 --> 00:05:24,920
the creative side of this project. Landon, you were credited

92
00:05:25,199 --> 00:05:29,800
in the show as the head writer, and you sort

93
00:05:29,839 --> 00:05:33,720
of handled more the director responsibilities and Perry sort of

94
00:05:33,959 --> 00:05:37,000
more the producer side. But you collaborated on the whole process.

95
00:05:38,480 --> 00:05:41,199
I guess before we get started on all the details

96
00:05:41,399 --> 00:05:43,560
of the project, was this the first time you guys

97
00:05:43,560 --> 00:05:45,439
had collaborated in this manner before.

98
00:05:46,240 --> 00:05:48,240
Speaker 4: That's a good question. I'm trying to think of other

99
00:05:48,399 --> 00:05:50,480
projects we've worked. I mean, I'm sure we have.

100
00:05:51,519 --> 00:05:53,720
Speaker 1: Yeah, I mean in this manner I think is the key.

101
00:05:53,839 --> 00:05:57,160
And I would say definitely to this degree we've collaborated.

102
00:05:57,279 --> 00:06:00,160
You know, we've worked on some short film, you know,

103
00:06:00,279 --> 00:06:02,600
on set for some different you know, maybe he's been

104
00:06:02,639 --> 00:06:05,480
the ad and I've been the producer of something. But

105
00:06:06,560 --> 00:06:08,360
but yeah, definitely start to finish.

106
00:06:08,480 --> 00:06:11,439
Speaker 4: Yeah, and also for context, so we actually met through

107
00:06:11,959 --> 00:06:14,639
Cruse internship program and we roomed together two years. So

108
00:06:14,720 --> 00:06:17,959
we've been friends for several years. And we like to

109
00:06:18,120 --> 00:06:21,000
watch movies, critique movies, talk about audio, drama, all those

110
00:06:21,079 --> 00:06:24,199
kinds of things together, So it feels like we've collaborated on.

111
00:06:24,399 --> 00:06:27,079
Speaker 1: At least those might have just been conversations in the

112
00:06:27,120 --> 00:06:29,199
living room, that's what you're talking about.

113
00:06:29,680 --> 00:06:33,120
Speaker 2: Yeah, yeah, so yeah, you know, it's it's always much

114
00:06:33,240 --> 00:06:35,639
more enjoyable when you're working on a project with people

115
00:06:35,680 --> 00:06:36,879
that you already like and know.

116
00:06:38,360 --> 00:06:41,759
Speaker 4: Absolutely totally. Yeah, you kind of almost need that level

117
00:06:41,839 --> 00:06:44,639
of trust because we've disagreed on so many things throughout

118
00:06:44,680 --> 00:06:47,040
the project and you need something deeper to be like

119
00:06:47,079 --> 00:06:49,560
a mutual respect, to be like, hey, we're both trying

120
00:06:49,600 --> 00:06:51,480
to make this better, and so when we when we

121
00:06:51,560 --> 00:06:53,439
butt heads, it and makes it better because of that trust.

122
00:06:53,600 --> 00:06:57,879
Speaker 2: So yeah, so before we get into the project itself,

123
00:06:58,240 --> 00:07:00,639
let's just clear up one thing first, because I found

124
00:07:00,639 --> 00:07:02,839
this a little bit confusing myself, and I'm sure I'm

125
00:07:02,879 --> 00:07:05,040
not alone. There's probably a listener who is kind of

126
00:07:05,079 --> 00:07:07,480
curious about this. So tell us what is Crew? What

127
00:07:07,680 --> 00:07:10,040
is Jesus Film, and what is family life? And how

128
00:07:10,199 --> 00:07:12,560
do they all work together to make this project happen.

129
00:07:13,199 --> 00:07:14,240
Speaker 1: That's a great question.

130
00:07:14,399 --> 00:07:16,040
Speaker 4: I'll let the I'll let the Crew kid take that one.

131
00:07:16,240 --> 00:07:20,680
Speaker 1: Okay, Yeah, so Crew formerly knows Campus Crusade for Christ

132
00:07:20,800 --> 00:07:24,279
is the parent ministry of both of our ministries that

133
00:07:24,360 --> 00:07:26,839
are that are credited, as you know, as the production

134
00:07:27,000 --> 00:07:30,279
companies so to speak. Behind the road de Queluma Jesus

135
00:07:30,360 --> 00:07:32,600
Film Project is the ministry that we both work for.

136
00:07:32,759 --> 00:07:37,480
It's a international media arm originally focused on translating the

137
00:07:37,560 --> 00:07:39,920
Jesus Film into every language in the world, and now

138
00:07:39,959 --> 00:07:42,879
it's kind of branched out into some other other types

139
00:07:42,920 --> 00:07:46,639
of media, contextualized media for different countries, different languages. And

140
00:07:47,079 --> 00:07:49,279
this is the first time they've ever done something like this.

141
00:07:49,920 --> 00:07:54,279
And then Family Life is CRU's family ministry and we're

142
00:07:54,360 --> 00:07:58,079
collaborating with them obviously because family is kind of our

143
00:07:58,079 --> 00:08:00,319
target audience. It just made sense and so are like,

144
00:08:00,600 --> 00:08:03,040
you know, Jesus Film might not be able to get

145
00:08:03,040 --> 00:08:05,319
it to as many of our target audience really as

146
00:08:05,360 --> 00:08:08,279
we as we're hoping that, you know, it can reach,

147
00:08:08,360 --> 00:08:11,079
and so collaborating with Family Life just seemed like a

148
00:08:11,120 --> 00:08:11,560
great fit.

149
00:08:12,360 --> 00:08:16,000
Speaker 2: Okay, makes sense? And that now Family Life is this

150
00:08:16,120 --> 00:08:18,240
the radio network Family Life Radio or.

151
00:08:18,279 --> 00:08:20,639
Speaker 1: Is this Yeah, so you might be confusing it with

152
00:08:20,759 --> 00:08:23,240
the one on the West coast. There is a Family

153
00:08:23,399 --> 00:08:27,480
Life radio network that is not affiliated with KOREW. Yeah,

154
00:08:27,519 --> 00:08:31,160
this one is so Family Life Today Radio. Yeah. Has

155
00:08:31,319 --> 00:08:33,919
they have their flagship show and that's that's what this

156
00:08:34,559 --> 00:08:35,120
ministry is.

157
00:08:35,679 --> 00:08:38,519
Speaker 4: Got it got which yeah, which functions similarly to focus

158
00:08:38,600 --> 00:08:41,240
on the family, you know another make sure it does

159
00:08:41,480 --> 00:08:44,399
great work that obviously adventures came from, which was an

160
00:08:44,440 --> 00:08:45,279
inspiration for us.

161
00:08:45,559 --> 00:08:48,120
Speaker 1: And this is their first audio drama as well. So

162
00:08:49,000 --> 00:08:51,720
new stones being turned on all sides.

163
00:08:51,720 --> 00:08:55,360
Speaker 2: Covering new ground all around. That's awesome. So tell the

164
00:08:55,440 --> 00:08:58,240
audience what is the road to Kailuma? What what is

165
00:08:58,320 --> 00:09:01,360
this audio drama all about? Out give us the elevator pitch.

166
00:09:01,960 --> 00:09:06,360
Speaker 4: Yeah. Absolutely. This started with Perry and I really taking

167
00:09:06,440 --> 00:09:09,919
a look at our relationships with our own parents and

168
00:09:10,120 --> 00:09:13,000
kind of thinking about things we almost wish we'd be

169
00:09:13,039 --> 00:09:17,320
able to teach our younger selves. And so as more

170
00:09:17,320 --> 00:09:19,399
and more I've kind of grown in my faith and

171
00:09:19,440 --> 00:09:21,759
talked about my testimony, I used the lens of the

172
00:09:21,799 --> 00:09:25,360
Prodigal Son because I've resonated with both brothers at different times,

173
00:09:25,399 --> 00:09:28,639
and so kind of combining those things with a lot

174
00:09:28,720 --> 00:09:32,080
of inspiration from Tim Keller his book The Prodigal God,

175
00:09:32,159 --> 00:09:35,519
we took that story and put it in an epic

176
00:09:35,679 --> 00:09:39,919
fantasy world. So you've got all these different clans in

177
00:09:40,000 --> 00:09:43,799
the West, and the Chief's son kind of runs away

178
00:09:44,159 --> 00:09:46,320
from home to help save the day. He's got to

179
00:09:46,320 --> 00:09:49,879
fight a lot of battles, mythical creatures, all that stuff

180
00:09:49,919 --> 00:09:51,840
along the way, and then he kind of gets to

181
00:09:52,320 --> 00:09:54,440
dive into a little bit deeper of his relationship with

182
00:09:54,519 --> 00:09:56,879
his dad as he goes. So you know, we've got

183
00:09:57,879 --> 00:10:01,639
evil lords and yeah, mythical creatures, like I said, and

184
00:10:01,759 --> 00:10:04,320
big battle scenes, which was well love to talk about.

185
00:10:04,320 --> 00:10:06,720
That was a challenge to do just pure audio and

186
00:10:06,799 --> 00:10:09,080
you can't see anything, but we're pretty ambitious and it's

187
00:10:09,120 --> 00:10:12,159
been a lot of fun. So yeah, yeah, classic, parable

188
00:10:12,320 --> 00:10:14,480
high fantasy and that's your basics.

189
00:10:15,080 --> 00:10:17,519
Speaker 2: Yeah, and I love that you said that you related

190
00:10:17,559 --> 00:10:20,159
to both brothers at different times, and it brings to mind.

191
00:10:20,159 --> 00:10:21,759
I don't know if you're familiar with that old Avalon

192
00:10:21,919 --> 00:10:25,440
song from I don't know, late nineties or early two

193
00:10:25,440 --> 00:10:27,960
thousands that says, part of me is the prodigal, part

194
00:10:28,000 --> 00:10:31,000
of me is the other brother and and I think

195
00:10:31,000 --> 00:10:33,200
it says something like most days I'm somewhere in between

196
00:10:33,320 --> 00:10:33,919
or something like that.

197
00:10:34,159 --> 00:10:36,919
Speaker 1: But great song, buddy, to go listen to that song.

198
00:10:37,039 --> 00:10:40,440
Speaker 2: Yeah, it's very good. But I think that's something that's

199
00:10:40,519 --> 00:10:43,759
very relatable for anybody who has been walking in the

200
00:10:43,840 --> 00:10:45,360
Christian life for any length of time, right.

201
00:10:46,399 --> 00:10:48,480
Speaker 4: Yeah, I would say, I mean, yeah, I mean I

202
00:10:48,519 --> 00:10:50,360
could go season by season, even like you're talking about

203
00:10:50,360 --> 00:10:52,360
this song, like day by day. Sometimes I'm like, oh,

204
00:10:52,879 --> 00:10:54,000
the little heart check right here.

205
00:10:54,240 --> 00:10:57,559
Speaker 1: So yeah, yeah, I think a lot of kids you

206
00:10:57,720 --> 00:10:59,840
grow up and you you hear out the Prodigal Sun,

207
00:10:59,879 --> 00:11:03,240
and you immediately are like taught about the younger son.

208
00:11:03,320 --> 00:11:05,480
And then like somewhere when you start getting a little

209
00:11:05,519 --> 00:11:07,799
old enough to really like maybe dive a little deeper

210
00:11:07,879 --> 00:11:10,879
with spiritual ideas and themes and stuff like that is

211
00:11:10,919 --> 00:11:12,559
when it kind of smacks you in the face that

212
00:11:12,600 --> 00:11:16,120
there's a whole nother side of the story of the

213
00:11:16,159 --> 00:11:18,360
Prodigal Sun that you need to digest and see if

214
00:11:18,440 --> 00:11:21,960
you relate to and find yourself in. And yeah, so

215
00:11:22,039 --> 00:11:25,200
it's just interesting to explore it and from a new perspective,

216
00:11:25,320 --> 00:11:29,279
you know, from the perspective of the Sun's sun. So

217
00:11:30,200 --> 00:11:33,519
we get to see that kind of three layer, you know,

218
00:11:33,639 --> 00:11:37,120
that we explore generational sin a little bit, and it's

219
00:11:37,159 --> 00:11:38,679
been a lot of fun. It's been a lot of fun,

220
00:11:38,960 --> 00:11:41,399
and honestly, I feel like I've grown in the process

221
00:11:41,480 --> 00:11:46,000
of just kind of exploring the story vicariously through our characters.

222
00:11:46,440 --> 00:11:49,120
Speaker 4: Yeah, I think as a kid, it's hard to understand

223
00:11:49,120 --> 00:11:50,879
those things, and that's what we wanted to do, as like, man,

224
00:11:51,000 --> 00:11:54,240
we're not for century Jews and we're missing so much

225
00:11:54,320 --> 00:11:57,039
cultural context. So how can we take those things and

226
00:11:57,480 --> 00:11:59,200
kind of go back and think about our younger selves

227
00:11:59,240 --> 00:12:01,200
and like, man, I could learn from the story if

228
00:12:01,240 --> 00:12:04,559
only I had something like this to listen to. And

229
00:12:04,639 --> 00:12:07,360
oh yeah, let's throw in a big fight with a

230
00:12:07,399 --> 00:12:10,519
giant bat to keep people entertained. So kind of kind

231
00:12:10,559 --> 00:12:12,200
of a fine little balance at all that.

232
00:12:12,360 --> 00:12:15,039
Speaker 2: So, yeah, that's something that we've talked about here on

233
00:12:15,080 --> 00:12:17,639
the show before. Is there are well, there's a lot

234
00:12:17,720 --> 00:12:20,639
of different Biblical audio drama out there, and some of

235
00:12:20,679 --> 00:12:25,679
them are just straight dramatizations of Bible stories. Yeah, but

236
00:12:26,080 --> 00:12:30,279
sometimes you know, looking at a very familiar especially if

237
00:12:30,279 --> 00:12:32,600
you've grown up in the church, a very familiar story

238
00:12:32,639 --> 00:12:36,960
that you've heard since Sunday School from a completely different POV.

239
00:12:37,919 --> 00:12:40,600
It really just like you're like, whoa, Okay, I see

240
00:12:40,639 --> 00:12:44,679
this in a completely different way now, And so you know,

241
00:12:44,759 --> 00:12:47,519
taking it out of that familiar context of the Holy

242
00:12:47,639 --> 00:12:50,759
Land and that time period and just dropping it in

243
00:12:50,879 --> 00:12:55,759
this unfamiliar world. It's it's very interesting. And so, you know,

244
00:12:55,840 --> 00:12:59,919
you talked about this is a project for families. You know,

245
00:13:00,480 --> 00:13:04,080
family life is that's kind of their thing, right, And

246
00:13:04,159 --> 00:13:07,600
I'm assuming you're expecting or hoping that families will listen together.

247
00:13:07,679 --> 00:13:11,120
But what exactly is the target age for this particular show.

248
00:13:11,720 --> 00:13:14,919
Speaker 1: Yeah, we've been saying, you know, eight to fourteen, but

249
00:13:15,519 --> 00:13:17,360
you know, if I'm being honest with you, Phineas and

250
00:13:17,440 --> 00:13:19,639
Ferb says eight to fourteen. And I love it and

251
00:13:19,720 --> 00:13:22,639
I'm twenty eight. So that's kind of where I feel

252
00:13:22,720 --> 00:13:25,639
like The Road to Kuluma Falls is like it's got

253
00:13:25,679 --> 00:13:30,759
a little something for anyone who loves fun and playful storytelling.

254
00:13:31,279 --> 00:13:33,200
If you're under the age of eight, you know, your

255
00:13:33,240 --> 00:13:35,600
parents probably should screen it for you if they If

256
00:13:35,639 --> 00:13:37,799
you're a little you know, if you can get a

257
00:13:37,840 --> 00:13:40,440
little scared of some things, like there's definitely some more

258
00:13:40,480 --> 00:13:43,120
intense moments. So that's why we do say, you know,

259
00:13:43,240 --> 00:13:46,120
like eight to fourteen as like the sweet Spot, but

260
00:13:46,600 --> 00:13:48,879
I think people older than that that love story are

261
00:13:48,919 --> 00:13:50,759
gonna enjoy it just as much, if not more.

262
00:13:51,559 --> 00:13:54,600
Speaker 2: So. What was the impetus for Jesus film to even

263
00:13:54,759 --> 00:13:58,519
explore the idea of audio drama. Obviously the background is

264
00:13:58,559 --> 00:14:00,559
in film, so why audio drama?

265
00:14:00,919 --> 00:14:02,840
Speaker 4: I mean, honestly, credit to Perry. I feel like you

266
00:14:03,000 --> 00:14:05,840
were kind of thumping on that door early on. So

267
00:14:06,000 --> 00:14:10,000
this actually, this idea was incepted, if you will, when

268
00:14:10,039 --> 00:14:12,600
we were at the Austin Film Festival back in what

269
00:14:12,919 --> 00:14:15,360
was it twenty one, Yeah, Yeah, we were at a

270
00:14:15,440 --> 00:14:18,399
coffee shop doing some writing and Perry was like, let's

271
00:14:18,480 --> 00:14:20,879
just take a crack at an audio drama, and so

272
00:14:21,000 --> 00:14:22,679
we tried writing it. We kind of tried to pull

273
00:14:22,720 --> 00:14:28,000
from like imagination station type of thing, portal fantasy type

274
00:14:28,000 --> 00:14:29,919
of stuff, and it just it didn't really work. And

275
00:14:29,960 --> 00:14:32,279
then we kind of decided to go the more high

276
00:14:32,320 --> 00:14:36,080
fantasy epic route. And then yeah, it was something where

277
00:14:36,720 --> 00:14:39,240
we pitched it as a pilot. People really liked it

278
00:14:39,279 --> 00:14:42,120
that like give us the whole thing, and so after

279
00:14:42,200 --> 00:14:44,480
a lot of labor, they were just very on board.

280
00:14:44,639 --> 00:14:46,080
We've had a lot of people who really just have

281
00:14:46,159 --> 00:14:49,200
believed in us and willing to try new things, which

282
00:14:49,320 --> 00:14:52,039
I just think as a creative makes me so happy,

283
00:14:52,080 --> 00:14:54,200
whether that be here or you know, other guests you

284
00:14:54,240 --> 00:14:55,600
have on or whatever that might look like. But just

285
00:14:55,679 --> 00:14:58,639
innovative media is awesome, and so I'm really glad to

286
00:14:58,679 --> 00:15:00,519
have some people believe in us as we've we've crafted

287
00:15:00,600 --> 00:15:02,480
this for four years.

288
00:15:02,320 --> 00:15:05,960
Speaker 2: Now, so well that's fantastic because I'm always excited to

289
00:15:06,000 --> 00:15:08,879
see new people getting into to this space. I mean,

290
00:15:09,600 --> 00:15:12,120
we said it even before we started recording. You know,

291
00:15:12,240 --> 00:15:16,240
Odyssey is the big one that everybody knows, and not

292
00:15:16,480 --> 00:15:20,480
just in you know, Christian audio drama, just overall clean

293
00:15:20,559 --> 00:15:24,480
audio drama. There's still some of the highest quality stuff

294
00:15:24,519 --> 00:15:28,360
that's being made in the world. And you know, they've

295
00:15:28,360 --> 00:15:30,559
been going for thirty five, thirty six years now, and

296
00:15:30,720 --> 00:15:34,279
so you know that's that's great. But when somebody else

297
00:15:34,399 --> 00:15:36,000
is like, you know what, let's let's try to do

298
00:15:36,120 --> 00:15:39,639
this too and do something really interesting, do something different,

299
00:15:40,159 --> 00:15:43,519
I love seeing that because i mean, why not. Why not?

300
00:15:43,840 --> 00:15:46,240
This is an amazing storytelling medium, So let's get more

301
00:15:46,279 --> 00:15:50,240
people involved. So I'm so glad that the Ministry was

302
00:15:50,320 --> 00:15:52,399
willing to take a chance on this project.

303
00:15:53,000 --> 00:15:53,240
Speaker 4: Thank you.

304
00:15:53,360 --> 00:15:53,519
Speaker 1: Yeah.

305
00:15:53,559 --> 00:15:55,240
Speaker 4: I was gonna ask you, Jad, how have you seen

306
00:15:55,279 --> 00:15:57,080
because you've been following this for a long time, how

307
00:15:57,159 --> 00:15:59,639
have you have you seen trends change? In audio drama

308
00:15:59,720 --> 00:16:01,480
since kind of back you were telling us how you

309
00:16:01,519 --> 00:16:04,080
got into it, you know, around that time. Have you

310
00:16:04,200 --> 00:16:07,320
seen there be kind of an evolving way it's done,

311
00:16:07,679 --> 00:16:09,639
or trends or things that people are.

312
00:16:10,039 --> 00:16:11,799
Speaker 1: Getting into it at a certain time.

313
00:16:12,519 --> 00:16:16,679
Speaker 2: Yeah, well, so it has really really grown in probably

314
00:16:16,759 --> 00:16:21,039
the last ten years. Audio drama was almost dead in

315
00:16:21,399 --> 00:16:24,960
the States since since the you know, the fifties. I

316
00:16:25,000 --> 00:16:27,399
mean there were a few productions that were still going,

317
00:16:27,480 --> 00:16:31,480
but in the UK that didn't happen. It just kept

318
00:16:31,559 --> 00:16:33,480
right on going. It never stopped, and it's still a

319
00:16:33,600 --> 00:16:35,960
huge part of their culture and other places in Europe.

320
00:16:36,159 --> 00:16:38,960
In Germany, audio drama is a huge thing. A lot

321
00:16:39,039 --> 00:16:42,080
of children go to bed every night listening to audio drama,

322
00:16:42,480 --> 00:16:45,840
so it's still huge. But for some reason it sort

323
00:16:45,879 --> 00:16:49,559
of died out over here. And in the last handful

324
00:16:49,600 --> 00:16:54,080
of years, especially with the proliferation of podcasting as a

325
00:16:54,120 --> 00:16:59,879
new technology, that has really caused a resurgence of intro

326
00:17:00,320 --> 00:17:04,200
in this medium from both consumers and producers. And I

327
00:17:04,359 --> 00:17:04,599
love it.

328
00:17:05,079 --> 00:17:06,400
Speaker 1: That's cool. That's cool to hear.

329
00:17:06,759 --> 00:17:08,519
Speaker 4: Have you gotten to listen to a lot of you know,

330
00:17:08,839 --> 00:17:13,799
European audio dramas, does it does it feel different than ours. Yeah,

331
00:17:14,319 --> 00:17:15,720
that's something I've tapped into very much.

332
00:17:15,839 --> 00:17:18,720
Speaker 2: Well. The BBC in particular, they work with a lot

333
00:17:18,799 --> 00:17:22,680
of different producers. There's there's not like a cohesive like BBC.

334
00:17:22,880 --> 00:17:27,279
This is a BBC style. They're so varied across all

335
00:17:27,319 --> 00:17:31,640
of their productions, but there is a sort of flavor

336
00:17:31,759 --> 00:17:35,079
to most of their stuff. Sometimes it can be very

337
00:17:35,119 --> 00:17:39,680
sparse on sound design or even music. So I find

338
00:17:39,759 --> 00:17:42,039
that a lot of the ones, the really high quality

339
00:17:42,079 --> 00:17:45,440
stuff here in the US, like Focus on the Family

340
00:17:45,559 --> 00:17:48,440
Radio Theater or Lamplighter Theater or the Extraordinary Adventures of

341
00:17:48,519 --> 00:17:52,440
g A Hint, those are all extremely immersive in terms

342
00:17:52,480 --> 00:17:56,279
of the sound design and the original scores, and so

343
00:17:56,720 --> 00:17:59,559
I love that aspect of it. There has been, like

344
00:17:59,640 --> 00:18:04,319
I said, a big resurgence of interest in just the

345
00:18:04,359 --> 00:18:08,519
secular world as well. And the problem is that many

346
00:18:08,599 --> 00:18:11,559
of them this is a new medium to them, and

347
00:18:11,759 --> 00:18:14,799
so they're not very good in terms of production values.

348
00:18:15,480 --> 00:18:19,240
Just the writing. As you guys learned in this process,

349
00:18:20,400 --> 00:18:24,160
writing for the ear is very very different from a

350
00:18:24,279 --> 00:18:27,839
novel or for the screen or the stage. It's different

351
00:18:28,000 --> 00:18:31,720
and you have to shift your mindset as you write

352
00:18:31,759 --> 00:18:34,480
for audio, and a lot of them just they don't

353
00:18:34,559 --> 00:18:37,079
get that, and so you know they're coming from a

354
00:18:37,160 --> 00:18:41,160
visual medium and they forget. So there is some good

355
00:18:41,200 --> 00:18:44,759
stuff out there, but much of it is a subpar

356
00:18:45,200 --> 00:18:48,440
I think what Christians are doing in this medium is

357
00:18:48,720 --> 00:18:52,000
the highest quality there is right now. So it's amazing.

358
00:18:52,480 --> 00:18:55,279
Speaker 4: Yeah, it really is. I mean I think of you

359
00:18:55,319 --> 00:18:58,079
asked us about inspiration earlier. I mean, I think the

360
00:18:58,279 --> 00:19:01,359
Chronicles of Narnia, which is another folkus one. I grew

361
00:19:01,440 --> 00:19:05,200
up just eating that up, love Lewis, and I think

362
00:19:05,200 --> 00:19:07,440
it's stuff like that that I mean, Perry, I feel

363
00:19:07,440 --> 00:19:09,079
like you would agree with this, Like we wanted to

364
00:19:09,160 --> 00:19:11,799
try and hit that bar as closely as we could

365
00:19:12,279 --> 00:19:13,799
and it's hard to do. Like, we learned a lot

366
00:19:13,839 --> 00:19:16,240
from John Thornoff. Perry, you could maybe speak more to

367
00:19:16,319 --> 00:19:18,240
getting him on board, but I feel like we had

368
00:19:18,359 --> 00:19:20,119
a lot of like, oh yeah, we have to learn

369
00:19:20,200 --> 00:19:20,640
these things.

370
00:19:21,720 --> 00:19:23,599
Speaker 2: Yeah, yeah, I want to talk about foreorn Off here

371
00:19:23,599 --> 00:19:26,400
in just a minute, but before we do that, you

372
00:19:26,680 --> 00:19:30,640
talk about inspirations here and the title for episode one,

373
00:19:30,920 --> 00:19:33,880
the Stone in the Sword. I love that sort of

374
00:19:34,480 --> 00:19:37,640
a twist on an Arthurian legend sort of reference there,

375
00:19:38,200 --> 00:19:41,920
And you mentioned Narnia. So were there any other authors

376
00:19:42,039 --> 00:19:43,599
or works that you took inspiration from.

377
00:19:44,599 --> 00:19:48,559
Speaker 1: I mean, yeah, totally. I think the biggest one that

378
00:19:48,720 --> 00:19:50,720
has clearly made its way into the story is How

379
00:19:50,759 --> 00:19:54,799
to Train Your Dragon, you know, with the father Son's story,

380
00:19:55,119 --> 00:19:58,839
with the talking head at the beginning, even Or's character

381
00:19:58,960 --> 00:20:02,119
a little bit is a a little hiccuppy, So I

382
00:20:02,200 --> 00:20:03,839
think that one's a great one. I mean, I think

383
00:20:03,880 --> 00:20:08,440
there's some some Princess bride elements in there. I think

384
00:20:08,559 --> 00:20:12,200
there's some Rangers Apprentice, which is a book series we've

385
00:20:12,240 --> 00:20:15,319
both really enjoyed, especially with our world building. I think

386
00:20:15,440 --> 00:20:18,279
there's there's some of that in there as well. Landing

387
00:20:18,279 --> 00:20:20,960
anything else that comes your mind right away, Yeah, you.

388
00:20:21,279 --> 00:20:23,440
Speaker 4: Hit the big ones. I mean Narnia being just I think,

389
00:20:23,519 --> 00:20:27,640
to me, the stories I find myself most gravitating towards

390
00:20:27,720 --> 00:20:31,400
are ones that have something to say about something, and Lewis,

391
00:20:31,480 --> 00:20:34,279
I think, does that so elegantly in a way that

392
00:20:34,440 --> 00:20:38,400
kids are going to understand these pretty weighty things. I mean,

393
00:20:38,440 --> 00:20:41,200
I think of Horse and His Boy in particular, just

394
00:20:41,880 --> 00:20:46,240
the relationship between Shasta and Aslan. But anyway, all that

395
00:20:46,319 --> 00:20:49,200
to say, to do that requires you know, a specific touch,

396
00:20:49,240 --> 00:20:52,000
and I think we didn't get there. We're not, we're

397
00:20:52,039 --> 00:20:54,079
not modern day Lewis, but we we wanted to try.

398
00:20:54,160 --> 00:20:57,039
We wanted to try our darnist. So yeah, definitely inspired

399
00:20:57,079 --> 00:20:58,240
inspired by him quite a bit.

400
00:20:58,720 --> 00:21:00,839
Speaker 2: So what did the name Luma come from?

401
00:21:01,559 --> 00:21:04,359
Speaker 1: Well, we were sitting down one day trying to figure

402
00:21:04,359 --> 00:21:07,839
out what to name this thing, and uh with Google

403
00:21:07,880 --> 00:21:11,319
Translate open, Yeah, at that time, we hadn't we hadn't

404
00:21:11,359 --> 00:21:14,880
written the ending yet, so we didn't know where they

405
00:21:14,920 --> 00:21:17,559
were necessarily going. We hadn't named the king We knew

406
00:21:17,559 --> 00:21:19,759
they were going to the place where the kingdom was,

407
00:21:20,039 --> 00:21:22,079
and we didn't know what to call it. And uh,

408
00:21:22,319 --> 00:21:24,640
we we looked up some words and we liked it.

409
00:21:24,720 --> 00:21:26,960
We did a lot of combining words in some of

410
00:21:27,039 --> 00:21:29,880
these places, some of these people's names even, and we

411
00:21:30,000 --> 00:21:32,079
we at one point we had a lot more made

412
00:21:32,119 --> 00:21:34,359
up words in the script than we we paired some down.

413
00:21:34,480 --> 00:21:39,160
But Klum is the Latin word for heaven, spelled with

414
00:21:39,200 --> 00:21:41,279
a C. I believe mightbe C A l u M.

415
00:21:41,319 --> 00:21:45,880
I'm not sure, Okay, So we decided to add a

416
00:21:45,960 --> 00:21:48,359
K and an a at the end and the road

417
00:21:48,400 --> 00:21:51,039
to Kluma. So it's kind of a double on Tandra

418
00:21:51,319 --> 00:21:51,839
as you will.

419
00:21:52,480 --> 00:21:54,880
Speaker 4: Yeah, yeah, that was That was a fun thing for

420
00:21:55,000 --> 00:21:57,200
us to do. Is we kind of as we're building

421
00:21:57,720 --> 00:21:59,599
we I mean, there's one kingdom in our world and

422
00:21:59,839 --> 00:22:03,319
more different independent clans that have kind of different cultural

423
00:22:05,240 --> 00:22:07,960
combinations maybe isn't the right word, but just inspiration for

424
00:22:08,079 --> 00:22:09,880
multiple cultures, and so we were able to kind of

425
00:22:10,240 --> 00:22:13,119
take words from different languages and kind of put a

426
00:22:13,119 --> 00:22:16,160
little twist on them for some of the in world language.

427
00:22:16,200 --> 00:22:18,200
And so that was one example of kind of that

428
00:22:18,440 --> 00:22:20,440
Latin being that. But we had a ton of fun.

429
00:22:20,519 --> 00:22:22,400
I mean, Perry came up with that name, and I

430
00:22:22,440 --> 00:22:24,079
feel like we had a ton of fun naming characters.

431
00:22:24,119 --> 00:22:26,440
There's nothing more satisfying than when I would get a

432
00:22:26,480 --> 00:22:29,400
text at like two fifty seven on a random Thursday

433
00:22:29,440 --> 00:22:32,440
with Perry's like I've got the name, and She's.

434
00:22:32,279 --> 00:22:35,799
Speaker 1: Like, I mean, we're still we have so many, so

435
00:22:35,960 --> 00:22:37,720
many times where we're just like, what do we name

436
00:22:37,799 --> 00:22:42,000
this thing, this element, this person, this land, this tripe?

437
00:22:42,079 --> 00:22:44,839
You know, we want them to be significant in some way.

438
00:22:45,640 --> 00:22:48,559
Speaker 2: Yeah, well that's that's a really fun part of the

439
00:22:48,640 --> 00:22:51,759
creative process. So last year I wrote and produced a

440
00:22:51,920 --> 00:22:56,559
five minute fantasy story as a standalone. So the challenge

441
00:22:56,599 --> 00:22:59,359
to do an entirely self contained story in five minutes

442
00:22:59,680 --> 00:23:03,480
set in a fantasy world, and I also relied on Latin.

443
00:23:03,559 --> 00:23:06,160
It just it lends itself to that, I think, and

444
00:23:06,400 --> 00:23:08,440
he did the same thing, sort of combining words and

445
00:23:08,759 --> 00:23:12,559
pulling from different meanings, and it's just it's so much fun. Yeah,

446
00:23:12,599 --> 00:23:14,720
you're absolutely right about that, Jadi.

447
00:23:14,799 --> 00:23:17,359
Speaker 4: What are as you were making that? What were some

448
00:23:17,480 --> 00:23:19,559
of your inspirations or what kind of fantasy do you

449
00:23:19,640 --> 00:23:24,880
find yourself gravitating towards in terms of other specific favorite stories, books, movies,

450
00:23:25,200 --> 00:23:29,319
or like, I love worlds with good world building or

451
00:23:29,359 --> 00:23:31,400
magic systems or whatever that might look like.

452
00:23:32,400 --> 00:23:37,920
Speaker 2: So I'm primarily a character person. When I'm reading, I'm

453
00:23:37,960 --> 00:23:40,680
going to have it a reader, and fantasy is something

454
00:23:40,720 --> 00:23:43,920
that I've appreciated and enjoyed for years, but it was

455
00:23:44,000 --> 00:23:46,319
never like my go to. I wouldn't say that I'm

456
00:23:46,319 --> 00:23:50,440
a fantasy fan until just the last handful of years

457
00:23:50,440 --> 00:23:53,119
where I sort of started reading more. Probably the first

458
00:23:53,160 --> 00:23:55,599
fantasy I ever read was The Hobbit many years ago.

459
00:23:57,119 --> 00:24:01,200
And I love Tolkien and I love Lewis, and there's

460
00:24:01,279 --> 00:24:02,920
there's still sort of the gold standard to me, I

461
00:24:03,000 --> 00:24:06,680
mean every every other story. I'm kind of like grading

462
00:24:06,759 --> 00:24:09,960
them by those those, you know, but there are some

463
00:24:10,079 --> 00:24:15,319
others that I've really enjoyed. And really, the characters have

464
00:24:15,440 --> 00:24:17,960
to have to be relatable, have to be you know,

465
00:24:18,079 --> 00:24:22,519
something about them. The world building is really important, of course,

466
00:24:22,640 --> 00:24:25,119
but you know, it does come back to characters. Now.

467
00:24:25,720 --> 00:24:29,160
Really immersive worlds can be fun, but they it's also

468
00:24:29,400 --> 00:24:31,319
a little bit of a danger or a double edged sword,

469
00:24:31,400 --> 00:24:34,400
because you can't go too crazy that that it's really

470
00:24:34,440 --> 00:24:39,279
difficult for the consumer to understand what's going on unless

471
00:24:39,319 --> 00:24:42,640
you want to write twelve hundred page tomes where you

472
00:24:42,920 --> 00:24:44,799
explain every single little detail, and that can get a

473
00:24:44,839 --> 00:24:49,079
little tedious. But so and especially in audio, you know,

474
00:24:49,440 --> 00:24:52,680
it has to be understandable. The listener isn't seeing your script,

475
00:24:52,759 --> 00:24:56,000
They're not seeing how that name is spelled, and so

476
00:24:56,720 --> 00:24:59,400
how it comes across audibly has to make sense to

477
00:24:59,480 --> 00:25:02,519
them as well well. And so it can be difficult.

478
00:25:02,559 --> 00:25:06,839
But I sort of just built something that I thought

479
00:25:06,880 --> 00:25:11,839
I would enjoy reading or hearing. And I've had several

480
00:25:11,880 --> 00:25:14,279
people say we need to we need to expand this world,

481
00:25:14,359 --> 00:25:16,839
and so I've already got some ideas that I'm working on,

482
00:25:17,039 --> 00:25:21,200
but you know, Tolkien, Lewis. I liked some of Brandon

483
00:25:21,200 --> 00:25:24,480
Sanderson's stuff, I even though it is much maligned. I

484
00:25:24,799 --> 00:25:30,559
quite liked some of Christopher Paulini's Inheritance cycle series. Not

485
00:25:30,680 --> 00:25:34,079
familiar with those, Yeah, he got he got some flack,

486
00:25:34,200 --> 00:25:36,960
people saying that he was too derivative of other works,

487
00:25:37,039 --> 00:25:40,000
But I thought it was extremely well done. The characters

488
00:25:40,079 --> 00:25:43,640
were fantastic, the world was amazing, you know, because Tolkien

489
00:25:44,119 --> 00:25:47,559
created entire languages. You know, we talk about deriving words

490
00:25:48,319 --> 00:25:51,079
from existing languages, but he created an entire language. And

491
00:25:51,880 --> 00:25:53,920
Paullini does a little bit of that as well, and

492
00:25:55,039 --> 00:25:59,079
so all those little details can help immerse the reader

493
00:25:59,160 --> 00:26:02,759
or listener in this. But again there's a fine line

494
00:26:02,880 --> 00:26:08,200
between immersiveness and too much vagueness and and too too

495
00:26:08,240 --> 00:26:11,319
hard to understand. So yeah, it's it's it can be tough.

496
00:26:11,559 --> 00:26:14,640
Speaker 1: Yeah, totally, totally, Yeah, especially on audio, like you're talking

497
00:26:14,640 --> 00:26:16,880
about that was. Yeah, we faced that a lot when

498
00:26:16,920 --> 00:26:19,359
we we I think I was constantly bringing land in

499
00:26:19,400 --> 00:26:21,640
a little little more down to earth than he wanted

500
00:26:21,680 --> 00:26:23,880
to like Land, and I think was the one that

501
00:26:23,920 --> 00:26:26,359
would maybe want to push it a little higher and

502
00:26:26,440 --> 00:26:28,480
higher fantasy where I'd be like, we might want to

503
00:26:28,480 --> 00:26:29,839
bring it back a little bit. We gotta you know,

504
00:26:29,880 --> 00:26:32,000
we got to keep it a little bit grounded. You know,

505
00:26:32,279 --> 00:26:34,559
let's let's go a little lighter on the magic or

506
00:26:34,680 --> 00:26:37,119
you know, these kind of things that we conversations that

507
00:26:37,200 --> 00:26:39,559
we had push and pull, but we bounced each.

508
00:26:39,400 --> 00:26:41,880
Speaker 4: Other out really well because I think, yeah, one of

509
00:26:41,960 --> 00:26:43,920
the things that was important to me to do was

510
00:26:44,000 --> 00:26:46,960
to not talk down to the kids, because kids are

511
00:26:47,000 --> 00:26:49,039
smarter than I think we sometimes give them credit for.

512
00:26:49,559 --> 00:26:51,079
And so there were times like, yeah, I'm we're not

513
00:26:51,559 --> 00:26:55,319
gonna write and now I'm going to unlock the jail cell.

514
00:26:55,480 --> 00:26:58,119
Like you got to just trust that kids can pick

515
00:26:58,200 --> 00:27:00,400
up the sounds and yeah, and so that was a

516
00:27:00,480 --> 00:27:03,240
definite challenge. We wrote one of the episodes there's a

517
00:27:03,319 --> 00:27:06,039
full kind of heist scene, and that was hard. It's like, man,

518
00:27:06,079 --> 00:27:08,279
to what degree do we say, all right, I'm doing this?

519
00:27:08,480 --> 00:27:10,079
And we kind of got to cheat a little bit

520
00:27:10,079 --> 00:27:12,119
with having the main character talk to himself in a

521
00:27:12,240 --> 00:27:15,440
way that didn't feel too too camp be at least

522
00:27:15,480 --> 00:27:18,200
in my opinion. But yeah, it was so many challenges,

523
00:27:18,240 --> 00:27:20,079
a lot of fun, and I think, yeah, Perry was

524
00:27:20,319 --> 00:27:22,519
and I really just complimented each other well in terms

525
00:27:22,519 --> 00:27:25,759
of like finding that delicate balance, but well, the joys

526
00:27:25,759 --> 00:27:26,680
of a writing partnership.

527
00:27:27,319 --> 00:27:30,519
Speaker 2: Yeah, you talk about relying on the sound, and that

528
00:27:30,720 --> 00:27:32,960
is one thing that I see or hear I should

529
00:27:32,960 --> 00:27:36,720
say a lot in new productions, and that is that

530
00:27:37,039 --> 00:27:40,640
the writer is afraid to rely too much on the

531
00:27:40,720 --> 00:27:43,599
sound and you can convey so much with the sound design.

532
00:27:44,240 --> 00:27:46,720
And so, yeah, you don't have to call out everything.

533
00:27:47,200 --> 00:27:50,000
I've talked about one just recently. I'm not going to

534
00:27:50,039 --> 00:27:53,200
call them out right now, but there was a lot

535
00:27:53,279 --> 00:27:55,799
of that going on, where the characters explaining exactly what

536
00:27:55,880 --> 00:27:59,200
they're doing. That's not necessary. So yeah, I think you

537
00:27:59,240 --> 00:28:02,119
guys did fairly well with that kind of stuff. Now

538
00:28:02,160 --> 00:28:05,839
you've alluded to the fact that this is sort of

539
00:28:06,119 --> 00:28:08,720
a new take on the story of the Prodigal Son,

540
00:28:09,240 --> 00:28:11,519
but I really appreciated that you guys didn't do like

541
00:28:11,599 --> 00:28:14,039
a one to one sort of translation of the story,

542
00:28:14,200 --> 00:28:17,200
just pluck it from the Bible and just drop it

543
00:28:17,240 --> 00:28:20,319
into a fantasy world. It's very different. The first half.

544
00:28:20,839 --> 00:28:23,039
You don't even realize that, I mean I didn't, I

545
00:28:23,119 --> 00:28:25,519
had no I mean I think I had heard at

546
00:28:25,599 --> 00:28:28,599
some point in the discussion from somebody that it was

547
00:28:28,680 --> 00:28:32,000
based on that, but it's not recognizable through the first

548
00:28:32,440 --> 00:28:36,279
few episodes. And I really appreciated that because I think,

549
00:28:36,640 --> 00:28:39,240
if you're gonna do a twist on a story, do

550
00:28:39,400 --> 00:28:41,279
a twist, you know, go for it, go all in.

551
00:28:41,920 --> 00:28:44,759
And so I really appreciated that. So how did you

552
00:28:44,920 --> 00:28:48,119
land on that particular story from the Bible? I mean,

553
00:28:48,160 --> 00:28:50,079
there's lots of different ones you could have done. So

554
00:28:50,480 --> 00:28:53,119
why the Prodigal Son? I know Landon talked a little

555
00:28:53,119 --> 00:28:55,160
bit about that at the top conversation.

556
00:28:54,799 --> 00:28:59,359
Speaker 1: But well, you know, actually I think Landon was the

557
00:28:59,440 --> 00:29:02,359
one Landon didn't weren't weren't you the one who brought

558
00:29:02,440 --> 00:29:05,000
in the or maybe we had already decided I'm going

559
00:29:05,039 --> 00:29:07,119
with the prodigal Son, and you brought in that video

560
00:29:07,200 --> 00:29:08,799
that Tim Keller sermon just to give us a little

561
00:29:08,799 --> 00:29:09,400
more perspective.

562
00:29:10,440 --> 00:29:12,799
Speaker 4: Yeah, I don't remember, you know, sort of chicken and

563
00:29:12,839 --> 00:29:15,440
egg thing, which which came first. But yeah, just I

564
00:29:15,519 --> 00:29:19,240
mean really realizing because oh man, I want to get

565
00:29:19,279 --> 00:29:22,279
that quote right that Keller says, but the younger brother

566
00:29:22,759 --> 00:29:25,599
tries to get the father's things by being very very bad,

567
00:29:25,839 --> 00:29:27,799
and the older brother tries to get the father's things

568
00:29:27,799 --> 00:29:30,599
by being very very good, and neither of them really

569
00:29:30,640 --> 00:29:32,519
care about the father at one point or another. They

570
00:29:32,640 --> 00:29:35,240
just want the father's things. And that was just I

571
00:29:35,319 --> 00:29:37,440
mean kind of like I talked about it, just it

572
00:29:37,599 --> 00:29:40,160
just hit us. And to your point, you know, Jda,

573
00:29:40,200 --> 00:29:42,279
of what you were saying of we kind of need

574
00:29:42,359 --> 00:29:45,039
to flesh out like those are lived in characters. And

575
00:29:45,240 --> 00:29:46,799
I mean, no one can tell it better than Jesus.

576
00:29:46,960 --> 00:29:48,799
So it's and he does it in you know what,

577
00:29:49,319 --> 00:29:51,480
page and a half in your Bible or whatever, But

578
00:29:51,799 --> 00:29:53,839
what would it look like like what would that character's

579
00:29:53,920 --> 00:29:56,799
backstory be and why would he have made the decisions

580
00:29:56,839 --> 00:29:58,960
that he did? And I think that was really interesting

581
00:29:59,039 --> 00:30:02,000
to explore. And then Perry, I mean you really kind

582
00:30:02,000 --> 00:30:03,680
of connected that to your own story, I think in

583
00:30:03,759 --> 00:30:04,240
many ways.

584
00:30:04,400 --> 00:30:04,599
Speaker 2: Yeah.

585
00:30:04,720 --> 00:30:07,920
Speaker 1: Well, well, I think first, like something that was important

586
00:30:07,920 --> 00:30:10,319
to us was making a story that was good stand alone,

587
00:30:10,640 --> 00:30:12,799
that it wasn't like even if you are a non believer,

588
00:30:12,960 --> 00:30:15,039
even if you've never read the Bible before, that the

589
00:30:15,160 --> 00:30:19,400
story would be good regardless. And so I think part

590
00:30:19,440 --> 00:30:22,240
of that came with like trying to build some connection

591
00:30:22,359 --> 00:30:25,680
to the characters before connecting it to a Bible story

592
00:30:26,200 --> 00:30:29,359
so that the audience feels like it's a unique and

593
00:30:29,480 --> 00:30:32,000
authentic with no you know, like it's totally original, which

594
00:30:32,200 --> 00:30:34,599
you know, for the most part, it's original, but you know,

595
00:30:34,720 --> 00:30:37,119
then we we kind of have that reimagining of how

596
00:30:38,039 --> 00:30:41,200
these characters in the parable are in this in this world.

597
00:30:41,279 --> 00:30:44,000
But I definitely, yeah, I grew up with a lot

598
00:30:44,079 --> 00:30:47,400
of like I'm a missionaries kid, so and I kind

599
00:30:47,440 --> 00:30:49,480
of grew up with that pressure of feeling like I

600
00:30:49,599 --> 00:30:53,359
had to be the perfect kid, and you know, mostly

601
00:30:53,440 --> 00:30:57,119
self inflicted pressure. But it's something that you can kind

602
00:30:57,160 --> 00:31:00,519
of really see in the relationship with with Or and Yonick,

603
00:31:00,559 --> 00:31:04,240
where you know, Oric feels like he's got this standard

604
00:31:04,279 --> 00:31:08,160
he's got to live up to, and Yanick doesn't help

605
00:31:08,279 --> 00:31:11,240
the situation because he doesn't really know what Oric needs.

606
00:31:11,279 --> 00:31:13,839
He's he thinks, you know, Oric just needs to succeed

607
00:31:13,920 --> 00:31:17,319
and that'll make that'll make Ork happy, that'll make Yanick proud.

608
00:31:17,359 --> 00:31:20,920
You know, they're just not speaking the same language. And yeah,

609
00:31:21,079 --> 00:31:23,440
so you can really see that play out and uh,

610
00:31:23,480 --> 00:31:25,640
and then you can kind of make the connections between

611
00:31:25,759 --> 00:31:28,680
how we're seeing this play out between Ork and Yonick.

612
00:31:28,759 --> 00:31:30,519
But really they're some of the same exact things that

613
00:31:30,599 --> 00:31:34,400
played out between Yanick and his father, So it all

614
00:31:34,440 --> 00:31:36,000
comes full circle. But yeah, there's a lot of our

615
00:31:36,039 --> 00:31:38,559
own a lot of our own stories are as any

616
00:31:38,599 --> 00:31:40,440
good story is. You know, we put a lot of

617
00:31:40,480 --> 00:31:42,559
our own a lot of our own heart and soul

618
00:31:42,599 --> 00:31:42,920
into it.

619
00:31:44,240 --> 00:31:44,440
Speaker 3: Yeah.

620
00:31:44,680 --> 00:31:48,359
Speaker 2: Yeah, Well, I mean, if you work on a project

621
00:31:49,119 --> 00:31:52,839
of this scale and you spend this this long with it.

622
00:31:52,920 --> 00:31:56,319
You said four years you were working on this, a

623
00:31:56,440 --> 00:31:59,680
significant amount of you ends up in it. I mean

624
00:31:59,799 --> 00:32:03,079
it's it's it's impossible for that to not happen, so.

625
00:32:03,519 --> 00:32:04,640
Speaker 1: Literally and figuratively.

626
00:32:07,079 --> 00:32:10,160
Speaker 4: Yes, our voices were also and a lot of cameos.

627
00:32:10,240 --> 00:32:13,039
Speaker 1: We have a lot of a lot of voices scattered throughout.

628
00:32:13,359 --> 00:32:16,079
Speaker 2: Well yeah, so yeah, you talk about the actual production

629
00:32:16,160 --> 00:32:18,319
side of things. So let's talk about John Fornoff here

630
00:32:18,359 --> 00:32:20,640
for a minute. So he was the casting director for

631
00:32:20,720 --> 00:32:23,920
the project and Landon. I believe you told me earlier

632
00:32:24,039 --> 00:32:26,359
that he did some consulting on the on the project

633
00:32:26,440 --> 00:32:28,640
helped you learn a little bit better how to write

634
00:32:28,680 --> 00:32:32,359
for audio. How did John Fornoff get involved in the

635
00:32:32,400 --> 00:32:33,200
project to begin with?

636
00:32:33,599 --> 00:32:35,519
Speaker 4: Yeah, Perry got ahold of him. So I'll let you

637
00:32:35,599 --> 00:32:36,119
kick us off.

638
00:32:36,400 --> 00:32:36,640
Speaker 2: Yeah.

639
00:32:36,839 --> 00:32:40,599
Speaker 1: Actually, well it's actually a really weird story. We were

640
00:32:41,160 --> 00:32:45,039
looking for composer at first, and John wasn't involved. This

641
00:32:45,200 --> 00:32:47,799
was this would have been the last year, at the

642
00:32:47,839 --> 00:32:49,680
beginning of the year where we were like, okay, we're

643
00:32:49,720 --> 00:32:51,200
doing the math. We're like, okay, we need to get

644
00:32:51,200 --> 00:32:55,480
a composer on contract pretty soon, and we're looking around,

645
00:32:55,559 --> 00:32:58,279
we're contacting people, and I'm like, you know what, why

646
00:32:58,319 --> 00:33:00,440
don't we just take a swing at John Campbell. You know,

647
00:33:00,640 --> 00:33:04,000
we're inspired by Adventures in Odyssey. Why not just email him?

648
00:33:04,000 --> 00:33:07,400
I found his email online and shot him an email

649
00:33:07,400 --> 00:33:09,400
and he and we had a phone call and he

650
00:33:09,599 --> 00:33:12,400
was on board. And he was actually the one that

651
00:33:12,519 --> 00:33:14,799
was like, hey, since this is your first time doing this,

652
00:33:14,920 --> 00:33:17,759
maybe you should reach out to John Fornoff, And he

653
00:33:18,319 --> 00:33:20,680
he gave us the contact, and you know, John, being

654
00:33:20,799 --> 00:33:24,039
the the ambassador of audio drama that he is, was

655
00:33:24,200 --> 00:33:27,839
like on board right away, you know. So, yeah, we

656
00:33:27,960 --> 00:33:30,279
got him involved as much as we could without you know,

657
00:33:30,440 --> 00:33:34,680
totally like while still keeping the ownership because it's our baby,

658
00:33:34,759 --> 00:33:38,480
you know. But yeah, he was super valuable and just

659
00:33:38,640 --> 00:33:41,759
like helping us kind of avoid some of those beginner

660
00:33:41,839 --> 00:33:45,680
mistakes that we probably would have inevitably not thought of,

661
00:33:46,079 --> 00:33:48,319
or you know, things that we wouldn't have wrote into

662
00:33:48,359 --> 00:33:50,119
the script that needed to be there for the actors

663
00:33:50,240 --> 00:33:54,160
to be able to deliver a great performance. And then

664
00:33:54,200 --> 00:33:57,039
connecting us with the cast was just huge doing being

665
00:33:57,079 --> 00:33:57,880
our casting director.

666
00:33:58,000 --> 00:33:59,839
Speaker 4: So I would say for me writing and editing was

667
00:33:59,880 --> 00:34:02,480
he like, I didn't know audio drama format, and he

668
00:34:03,079 --> 00:34:05,160
just taught me a lot of things that streamline the process.

669
00:34:05,319 --> 00:34:07,400
And then he kind of showed you because you know

670
00:34:07,440 --> 00:34:09,440
when you watch a movie. I don't know if you've

671
00:34:09,480 --> 00:34:11,760
ever watched a fight scene, but they do certain things

672
00:34:11,880 --> 00:34:15,119
to accentuate certain movements. So like they'll show the hit

673
00:34:15,840 --> 00:34:17,679
and then the from like a wide and then they'll

674
00:34:17,960 --> 00:34:21,000
come in and show it again or you know, close

675
00:34:21,039 --> 00:34:23,559
to it wide or inverse, so you're seeing it twice,

676
00:34:23,599 --> 00:34:26,360
but just your brain puts it all together as one thing.

677
00:34:26,559 --> 00:34:28,159
So there's a lot of audio tricks that you know

678
00:34:28,440 --> 00:34:30,039
movie people like. He kind of showed us how to

679
00:34:30,039 --> 00:34:32,960
do that on the audio side with with sound because

680
00:34:32,960 --> 00:34:34,559
you kind of have to boost some things and do

681
00:34:34,639 --> 00:34:37,079
a little bit of trickery here and there, and I

682
00:34:37,159 --> 00:34:38,679
think that was super helpful. And then he had a

683
00:34:38,679 --> 00:34:42,559
Perry's point. I mean, the cast is stellar. We couldn't

684
00:34:42,599 --> 00:34:45,559
have been really more pleased with the people that were

685
00:34:45,599 --> 00:34:48,159
on board. And it's just been so much fun.

686
00:34:48,800 --> 00:34:51,800
Speaker 2: That's fantastic. And it was cool for me to hear

687
00:34:51,880 --> 00:34:54,679
a lot of these actors that I'm familiar with. I've

688
00:34:54,760 --> 00:34:57,199
met several of them in person. I'm gonna Carol O'Brien,

689
00:34:57,239 --> 00:34:59,920
Andy Harvey, Beny Baldwin. I'm mean, I know these people

690
00:35:00,599 --> 00:35:06,159
and they just all delivered fantastic performances. Joshua Nicholson's another one.

691
00:35:06,679 --> 00:35:11,519
Just just great, great talent. And so I loved hearing

692
00:35:11,599 --> 00:35:15,199
all of these actors come together. And I was curious,

693
00:35:15,239 --> 00:35:18,480
from your perspective, the first time that you've tackled a

694
00:35:18,519 --> 00:35:21,320
project like this, you get all of these actors in

695
00:35:21,440 --> 00:35:25,159
the same room in a studio together, what was that

696
00:35:25,280 --> 00:35:27,000
studio experience like for you guys?

697
00:35:28,000 --> 00:35:29,559
Speaker 4: I thought it was a ton of fun. One of

698
00:35:29,639 --> 00:35:33,159
the things they told us it was interesting. Specifically, let's

699
00:35:33,159 --> 00:35:36,960
see Bethany and Ben Ben Little who played Oric. They

700
00:35:36,960 --> 00:35:39,880
because they've done several before. It was Ian Lolam who

701
00:35:39,880 --> 00:35:42,440
played Yanick. It was his first time doing audio drama,

702
00:35:42,480 --> 00:35:47,159
if I remember correctly. Thanks, but they typically don't all

703
00:35:47,239 --> 00:35:49,679
record locally, so a lot of audio dramas, you know,

704
00:35:50,000 --> 00:35:53,000
there's people remote, which we had to have some of

705
00:35:53,079 --> 00:35:56,639
our cast remote, but you could feel the energy in

706
00:35:56,719 --> 00:35:59,480
the room from those three in particular, like playing off

707
00:35:59,480 --> 00:36:01,920
of each other. We did run into problems with bleed

708
00:36:02,039 --> 00:36:05,159
as a result, so we're learning for the future seasons

709
00:36:05,480 --> 00:36:07,800
for listeners who may not know bleed being you know,

710
00:36:08,039 --> 00:36:10,840
you have two actors in the same room. Actor b's

711
00:36:10,920 --> 00:36:12,840
microphone might pick up what Actor A is saying if

712
00:36:12,840 --> 00:36:13,719
they're talking at the same time.

713
00:36:13,880 --> 00:36:17,239
Speaker 1: But this the listeners of Audio Theater Central know what bleed.

714
00:36:17,480 --> 00:36:18,599
Speaker 4: Sure well, then.

715
00:36:18,599 --> 00:36:19,519
Speaker 1: Cut their education.

716
00:36:19,599 --> 00:36:22,960
Speaker 4: Sorry if I'm over explaining, No, that's great, but yeah,

717
00:36:23,039 --> 00:36:24,599
but it was just it was so fun to have

718
00:36:24,719 --> 00:36:25,920
them in it. I mean they were in for a

719
00:36:25,960 --> 00:36:28,039
few days and we got to go out and get

720
00:36:28,079 --> 00:36:30,079
food with them. I feel like we all really kind

721
00:36:30,079 --> 00:36:32,920
of bonded, and so Lord Willing, if there's more seasons,

722
00:36:33,000 --> 00:36:35,000
we'll bring them back out and get to hang out

723
00:36:35,039 --> 00:36:36,960
more with them. I well, I just genuinely like spending

724
00:36:37,000 --> 00:36:37,400
time with them.

725
00:36:37,519 --> 00:36:41,440
Speaker 2: So yeah, yeah, and you're right about that, because there's

726
00:36:41,639 --> 00:36:44,480
there's very few that might be a little bit of

727
00:36:44,480 --> 00:36:47,079
a stretch. We'll just say there's there's not all that

728
00:36:47,280 --> 00:36:51,360
many who record what what Focus calls family style, or

729
00:36:51,800 --> 00:36:55,079
they might call it an ensemble cast recording. Over in

730
00:36:55,199 --> 00:36:57,719
the UK, most of them are done that way still,

731
00:36:58,039 --> 00:37:01,119
But over here the vast majority of audio dramas all

732
00:37:01,159 --> 00:37:03,719
recorded remotely, and there are certain times, I mean, you

733
00:37:03,800 --> 00:37:06,199
can still get a good result from that. Everything that

734
00:37:06,280 --> 00:37:09,679
I've directed personally and produced has all been done that way.

735
00:37:10,199 --> 00:37:12,159
But when you can get everybody in the same place

736
00:37:12,199 --> 00:37:14,960
at the same time, at least your principal cast right,

737
00:37:15,440 --> 00:37:17,440
and they can play off of each other, the energy

738
00:37:17,639 --> 00:37:20,440
in the room, it's just it takes it to the

739
00:37:20,519 --> 00:37:21,039
next level.

740
00:37:21,480 --> 00:37:24,239
Speaker 1: Oh for sure. I think we knew early on. We were,

741
00:37:25,000 --> 00:37:29,199
you know, committed to getting Oric, Vera and Yanick whoever

742
00:37:29,280 --> 00:37:31,239
they may be. You know, long before we had them casts,

743
00:37:31,280 --> 00:37:33,920
we were like, these three need to be in studio together.

744
00:37:33,960 --> 00:37:35,519
We have you know, we had access to a studio.

745
00:37:35,599 --> 00:37:38,159
Family Life does a lot of podcasting, so they have

746
00:37:38,239 --> 00:37:41,679
a great sound studio. But we just knew that like

747
00:37:42,280 --> 00:37:44,360
the warmth of the chemistry, you know, Oric and Vera,

748
00:37:44,440 --> 00:37:45,920
they play off each other a lot. They have a

749
00:37:45,960 --> 00:37:50,679
lot of really funny witty relationship. And then and then

750
00:37:50,880 --> 00:37:54,360
Oric and Yanick have some really emotional moments, and so

751
00:37:54,440 --> 00:37:57,000
we just knew we needed them to be instu We

752
00:37:57,079 --> 00:37:59,159
needed them to meet each other, to build that chemistry

753
00:37:59,320 --> 00:38:01,760
early on, be together for a week so that you know,

754
00:38:01,880 --> 00:38:03,920
they could really you could experience that. I feel like

755
00:38:03,960 --> 00:38:05,719
we got that by the end. And then and then

756
00:38:05,840 --> 00:38:08,880
John ending up as King Rosen was just kind of

757
00:38:08,960 --> 00:38:12,039
like the icing on the cake. He we didn't know

758
00:38:12,159 --> 00:38:14,840
we were hiring him when we uh as the as

759
00:38:15,000 --> 00:38:17,760
king as the king when we hired him, and he's like,

760
00:38:17,800 --> 00:38:20,800
oh that was me. I I uh sent my submission

761
00:38:20,840 --> 00:38:24,000
in under a fake name, not just to not sway you.

762
00:38:26,159 --> 00:38:29,199
Speaker 4: Was rankings on on everyone, and he very humbly put

763
00:38:29,280 --> 00:38:31,840
himself second on his list of I would recommend these

764
00:38:31,920 --> 00:38:32,320
top three.

765
00:38:32,440 --> 00:38:38,239
Speaker 1: Jack Farthing, yes, yes, we've just Jack think of a

766
00:38:38,280 --> 00:38:38,960
new name, John.

767
00:38:39,440 --> 00:38:44,159
Speaker 2: Yes, that's interesting. Listeners will get that reference too.

768
00:38:44,840 --> 00:38:49,760
Speaker 1: So if anybody listening has ever found some some audition

769
00:38:49,880 --> 00:38:52,679
tape from Jack Farthing and and just ripped it to shreds,

770
00:38:52,760 --> 00:38:57,440
you now know that you were ripping. Unless there's a

771
00:38:57,440 --> 00:39:00,440
real Jack Farthing out there, that's I mean, that's also possible.

772
00:39:01,079 --> 00:39:03,519
Speaker 4: Wait it was the reference. Is that an honesty character?

773
00:39:03,920 --> 00:39:07,559
Speaker 2: No, that is a sky Ship dreamer reference.

774
00:39:08,760 --> 00:39:09,360
Speaker 4: Over my head?

775
00:39:09,480 --> 00:39:12,960
Speaker 1: Yeah, me too. But yeah, he ended up coming down

776
00:39:13,079 --> 00:39:14,599
for the recording as well, so we had those four

777
00:39:14,719 --> 00:39:17,639
in studio the rest of the rest of our cast reverrsual.

778
00:39:17,679 --> 00:39:20,119
But they honestly did an amazing job. Andy. I mean

779
00:39:20,119 --> 00:39:23,840
you talked about Andy. I wrote a lot of Saffron's stuff,

780
00:39:24,239 --> 00:39:27,440
and I had this picture in my mind of what

781
00:39:27,559 --> 00:39:30,119
I wanted the voice to be, just very like a

782
00:39:30,199 --> 00:39:32,719
smooth talker that could get really angry and scary when

783
00:39:32,719 --> 00:39:35,639
he's angry, but also an eloquent speaker that would maybe

784
00:39:36,119 --> 00:39:40,480
manipulate you into thinking that what he's saying is actually right,

785
00:39:40,599 --> 00:39:43,079
but you know, you're not maybe seeing the whole picture.

786
00:39:43,119 --> 00:39:46,840
And yeah, when he we ended up doing his monologue

787
00:39:46,840 --> 00:39:51,440
on the first day of recording, and just his voice

788
00:39:51,599 --> 00:39:54,440
doing it just absolutely blew me away. Yeah. I was like,

789
00:39:54,840 --> 00:39:57,360
I was like, this is the voice that I heard

790
00:39:57,519 --> 00:40:00,760
in my head. How is it even possible? So, yeah,

791
00:40:00,880 --> 00:40:02,239
he's so which is not always.

792
00:40:02,000 --> 00:40:04,679
Speaker 4: A luxury you have. I mean, there's so much happens

793
00:40:04,800 --> 00:40:07,119
in the brain and even when you write a line,

794
00:40:07,199 --> 00:40:09,599
you're like, oh, this is so good, and then really

795
00:40:09,679 --> 00:40:12,079
talented actors do it like, oh wow, this was not

796
00:40:12,280 --> 00:40:13,199
I pictured.

797
00:40:14,079 --> 00:40:16,559
Speaker 1: News the whole way, the whole way through writing and

798
00:40:16,639 --> 00:40:19,280
so we're making voices, we're reading lines a certain way,

799
00:40:19,519 --> 00:40:21,719
and so you know, we did have to adjust a

800
00:40:21,800 --> 00:40:24,639
lot to like these actors, these are who are playing it,

801
00:40:24,760 --> 00:40:26,920
they're reading it differently. Their voice sounds a little different.

802
00:40:26,920 --> 00:40:29,639
But like now, now afterwards, you know, after hundreds of

803
00:40:29,719 --> 00:40:32,360
hours of listening to voices through the sound design and

804
00:40:32,480 --> 00:40:34,960
editing process, we couldn't hear it any other way.

805
00:40:36,039 --> 00:40:39,440
Speaker 4: Yeah, it's phenomenal. It was phenomenal to see them just yeah,

806
00:40:39,920 --> 00:40:41,679
embody the characters so quickly.

807
00:40:42,199 --> 00:40:45,360
Speaker 2: That's that's so cool. So, I mean, this has been

808
00:40:45,519 --> 00:40:48,719
a massive undertaking for both of you. I'd love to

809
00:40:48,800 --> 00:40:52,239
know as you look back it's done. You finally have

810
00:40:52,400 --> 00:40:57,360
a completed full length audio drama. As you look back

811
00:40:57,440 --> 00:41:00,320
on this, what was the most challenging part of bringing

812
00:41:00,360 --> 00:41:02,119
this project together for each of you?

813
00:41:02,800 --> 00:41:04,960
Speaker 1: I think writing it was tough, but that wasn't the

814
00:41:05,039 --> 00:41:08,280
most challenging part, at least for me from the producer perspective.

815
00:41:08,280 --> 00:41:11,480
I think I think the hardest part was the process

816
00:41:11,519 --> 00:41:13,840
of trying to actually get this made at the quality

817
00:41:14,679 --> 00:41:18,320
that we felt it deserved. I think, you know, we

818
00:41:18,400 --> 00:41:20,599
talked a little bit earlier and Landon referred to how

819
00:41:20,719 --> 00:41:22,679
some people have kind of bought into the project that

820
00:41:22,960 --> 00:41:24,800
had no reason to. They just kind of believed in us.

821
00:41:25,119 --> 00:41:28,199
But the reality is, like at the beginning, it was

822
00:41:28,320 --> 00:41:29,960
more of like, we want to do this, Can we

823
00:41:30,039 --> 00:41:31,800
do it as like an R and D kind of thing?

824
00:41:31,920 --> 00:41:34,239
Can we just get a few thousand dollars maybe? And like,

825
00:41:34,480 --> 00:41:36,599
you know, and so we got the permission to kind of,

826
00:41:37,480 --> 00:41:40,119
you know, start writing it, and but then like we didn't,

827
00:41:40,159 --> 00:41:42,920
you know, it's it really was a snowball effect that

828
00:41:43,000 --> 00:41:45,639
took a long time before we actually started getting any

829
00:41:45,880 --> 00:41:48,320
any buy in from you know, people outside of our

830
00:41:48,360 --> 00:41:51,000
own team. Our own team bought in right away, but

831
00:41:51,079 --> 00:41:52,920
then as we started getting a little more buy in,

832
00:41:53,000 --> 00:41:55,800
you know, we get family life on board, and we

833
00:41:55,880 --> 00:41:59,719
start getting a more connections within our ministry that allow

834
00:41:59,840 --> 00:42:02,840
us to maybe access maybe a little more money or

835
00:42:03,239 --> 00:42:07,039
or resources or and then I think sound design was

836
00:42:07,079 --> 00:42:09,679
the biggest hurdle. We have some hurdles with music, but

837
00:42:09,880 --> 00:42:11,880
you know, John's amazing. We just had to kind of

838
00:42:12,880 --> 00:42:16,559
make sure that we adjusted all of our expectations for

839
00:42:17,199 --> 00:42:19,880
the goals we were trying to hit. But in terms

840
00:42:19,920 --> 00:42:24,159
of sound design, we had some definitely had some hurdles

841
00:42:24,199 --> 00:42:26,559
that we had to leap through and and it really

842
00:42:26,719 --> 00:42:31,519
wasn't until we got permission from an internal sound design

843
00:42:31,599 --> 00:42:35,000
team that had been working on another project that had

844
00:42:35,039 --> 00:42:38,239
been put on hold and for a indefinite length of

845
00:42:38,320 --> 00:42:40,840
time where they've said, they said, all right, you can

846
00:42:41,119 --> 00:42:43,559
work on Kai Luma, you know, as your full time

847
00:42:44,639 --> 00:42:48,440
role right now. And so that was Joel Joel Boyder,

848
00:42:48,559 --> 00:42:50,639
he was our sound designer, and it wasn't until he

849
00:42:50,719 --> 00:42:55,639
got on board that this actually started becoming like the

850
00:42:56,079 --> 00:42:57,719
high quality or at least I think is a high

851
00:42:57,800 --> 00:43:01,320
quality product that you all are going to hear. Before that,

852
00:43:01,440 --> 00:43:03,199
it was like, Okay, we think we have a good story,

853
00:43:03,239 --> 00:43:04,760
we think we have good acting, but how's this all

854
00:43:04,760 --> 00:43:06,000
going to come again? You know, we have John cam

855
00:43:06,079 --> 00:43:08,480
We're gonna have good music. So if our sound design

856
00:43:08,599 --> 00:43:11,280
isn't great, we'll we'll just kind of keep it quiet,

857
00:43:11,360 --> 00:43:13,880
you know. But once Joel came on board and we

858
00:43:14,000 --> 00:43:17,559
realized this guy is really talented, it just took it

859
00:43:17,639 --> 00:43:18,519
to that next level.

860
00:43:18,760 --> 00:43:20,840
Speaker 2: So that was all in house then that's right. Wow,

861
00:43:21,000 --> 00:43:23,639
that's great, that's great. So what about for you Landon?

862
00:43:23,920 --> 00:43:25,480
Speaker 4: Yeah, I mean I was just gonna say, on that note,

863
00:43:25,480 --> 00:43:26,840
I mean there's kind of that adage you can make

864
00:43:26,880 --> 00:43:28,800
something quality, you can make it faster, you can make

865
00:43:28,840 --> 00:43:31,280
it cheap. You can usually do two of those three things.

866
00:43:32,119 --> 00:43:36,400
And we were really not willing to sacrifice quality. And

867
00:43:36,599 --> 00:43:38,639
so the fact that and I think it did take

868
00:43:38,679 --> 00:43:41,039
more time than we wanted, but I think, yeah, just

869
00:43:41,239 --> 00:43:44,559
open doors truly of getting Joel on board, I think

870
00:43:45,199 --> 00:43:47,599
I mean I would probably say all that is more

871
00:43:47,679 --> 00:43:50,519
or less the same. So the challenge on that note

872
00:43:50,639 --> 00:43:54,360
was we wrote the pilot episode episode one to kind

873
00:43:54,400 --> 00:43:56,599
of say get people to buy intoy, Hey, like, what

874
00:43:56,679 --> 00:43:58,679
do you think of this? Can we make this? Can

875
00:43:58,760 --> 00:44:01,360
we make you know? A season? And so we had some.

876
00:44:01,480 --> 00:44:04,519
Speaker 1: Ideas of where we were going and but not we

877
00:44:04,599 --> 00:44:07,440
certainly had the crux of an outline.

878
00:44:07,960 --> 00:44:10,280
Speaker 4: Yeah, we had some tracks, but we didn't really have

879
00:44:10,400 --> 00:44:13,440
a destination. So I think we hit a point when

880
00:44:13,480 --> 00:44:17,280
we were like halfway through writing episode three, We're like where,

881
00:44:17,480 --> 00:44:21,280
what where? Where are we going? And as a writer,

882
00:44:21,519 --> 00:44:23,920
I'm like, I mean this to me is just like

883
00:44:24,039 --> 00:44:26,039
I need to know I need to know this, and

884
00:44:26,199 --> 00:44:29,159
so we actually get able to get you know, one

885
00:44:29,159 --> 00:44:31,039
of our coworkers, her name is mel She came on

886
00:44:31,239 --> 00:44:33,559
and story consulted for us, and she was so helpful

887
00:44:33,599 --> 00:44:35,599
to us and kind of cracked a couple of things

888
00:44:35,880 --> 00:44:38,679
wide open. But that's something I'm looking forward to again.

889
00:44:39,159 --> 00:44:41,840
We're willing we get a season two. Is getting to

890
00:44:41,920 --> 00:44:44,679
write the whole thing and then going back and making

891
00:44:44,840 --> 00:44:47,760
edits that will make my writer's brain more happy.

892
00:44:47,880 --> 00:44:50,679
Speaker 1: Well, and to give you some credit, Land and I

893
00:44:50,840 --> 00:44:55,440
think one of the things that really helped kind of

894
00:44:55,559 --> 00:45:00,280
get us moving towards the finished line was again I

895
00:45:00,280 --> 00:45:02,639
don't want to spoil too much for people who are

896
00:45:02,679 --> 00:45:05,039
listening to this, but still need to go listen. It's

897
00:45:05,119 --> 00:45:07,840
live now check it out. It's it's that episode four,

898
00:45:08,719 --> 00:45:11,920
just the way the method that we get to get

899
00:45:11,960 --> 00:45:16,280
to explore Yani's past. And we battled with that a

900
00:45:16,320 --> 00:45:19,400
lot because you know, we didn't want to go to cliche.

901
00:45:19,719 --> 00:45:22,199
We didn't want to go too far out, but we

902
00:45:22,280 --> 00:45:25,559
knew we wanted it to be intentional. We wanted to

903
00:45:25,679 --> 00:45:29,440
really go a lot deeper than just than just Yani

904
00:45:29,840 --> 00:45:33,320
reciting a story, because that's boring. That would end up.

905
00:45:33,400 --> 00:45:36,280
You know, that's an audio book, not an audio drama,

906
00:45:36,360 --> 00:45:39,320
you know, Like so it was I think Landing kind

907
00:45:39,320 --> 00:45:42,880
of cracked the code for that episode. That kind of

908
00:45:43,000 --> 00:45:45,880
sent us towards the finish line a little bit, and

909
00:45:45,920 --> 00:45:48,000
we battled a little bit with the ending. How is

910
00:45:48,039 --> 00:45:50,800
it going to end? You know, we knew, we knew

911
00:45:50,800 --> 00:45:54,400
we needed something exciting and another kind of final clash,

912
00:45:54,519 --> 00:45:56,920
but that was another kind of thing we had to job.

913
00:45:57,599 --> 00:45:59,880
Speaker 4: I think episode four is probably the best example of

914
00:46:00,159 --> 00:46:03,119
of magic impacting the story which it's supposed to do.

915
00:46:03,719 --> 00:46:06,079
I'm always gonna be critical looking back, but I think

916
00:46:06,159 --> 00:46:09,079
that is our strongest point, even maybe more than the finale,

917
00:46:09,159 --> 00:46:09,519
I might.

918
00:46:09,480 --> 00:46:11,239
Speaker 1: Say, emotionally certainly.

919
00:46:11,639 --> 00:46:15,639
Speaker 2: Yeah, yeah, yeah, I really actually enjoyed that. And as

920
00:46:15,679 --> 00:46:17,559
you said, I don't want to go too much into

921
00:46:17,599 --> 00:46:19,639
detail because I don't want spoil anything for the listener,

922
00:46:19,719 --> 00:46:22,079
but yeah, I thought that was that was handled very

923
00:46:22,280 --> 00:46:22,639
very well.

924
00:46:22,880 --> 00:46:25,519
Speaker 1: Well, thank you, thank you. Gave credit to John as

925
00:46:25,559 --> 00:46:28,800
well for the score that he made for for that

926
00:46:28,960 --> 00:46:31,280
whole sequence is just amazing. I mean, he called me

927
00:46:31,360 --> 00:46:33,840
one day and he's like, I don't know what I'm

928
00:46:33,880 --> 00:46:35,360
gonna do. I'm gonna have to find a time to

929
00:46:35,440 --> 00:46:37,639
get out here. I don't know, I just can't. I

930
00:46:37,679 --> 00:46:39,960
can't just write music for this whole section, can I?

931
00:46:40,039 --> 00:46:41,719
And then he called me the next morning He's like,

932
00:46:41,760 --> 00:46:44,239
I wrote for the whole section. I had to do it.

933
00:46:44,440 --> 00:46:47,000
It just needed it, and it's and it's better with it,

934
00:46:47,079 --> 00:46:49,639
and I'm like, all right, I appreciate it. I appreciate

935
00:46:49,719 --> 00:46:50,679
and it's it's awesome.

936
00:46:51,039 --> 00:46:52,320
Speaker 4: He went above and beyond it.

937
00:46:52,480 --> 00:46:55,360
Speaker 1: He consistently, he consistently went above and beyond.

938
00:46:55,559 --> 00:46:57,320
Speaker 4: Yeah. If I was filling out a survey, I would

939
00:46:57,320 --> 00:46:59,039
say consistently exceeds expert.

940
00:47:01,280 --> 00:47:03,719
Speaker 2: And he's just a genuinely nice guy too.

941
00:47:04,039 --> 00:47:05,840
Speaker 1: Yeah, Yeah, it was great working with him.

942
00:47:06,320 --> 00:47:06,519
Speaker 4: Yeah.

943
00:47:07,039 --> 00:47:09,400
Speaker 2: Well, as we sort of bring this plane in for

944
00:47:09,639 --> 00:47:12,800
landing here, you talked about some of the challenges here.

945
00:47:13,039 --> 00:47:15,920
I'd also like to know from each of you what

946
00:47:16,119 --> 00:47:18,960
was your personal favorite part of the process, because again,

947
00:47:19,000 --> 00:47:21,400
you guys handled a lot of different aspects of this.

948
00:47:22,039 --> 00:47:25,000
You know, most larger scale projects like this are very

949
00:47:25,400 --> 00:47:28,400
broken down across the whole team, but you guys really

950
00:47:28,440 --> 00:47:30,199
got in there and did a whole bunch of different things.

951
00:47:30,239 --> 00:47:32,440
So you know, was it the writing, was it the directing,

952
00:47:32,519 --> 00:47:34,079
what was your favorite part Landon.

953
00:47:34,440 --> 00:47:36,800
Speaker 4: Yeah, I think those two were my favorite. There was

954
00:47:36,840 --> 00:47:40,440
a phase when we had I could have written I

955
00:47:40,480 --> 00:47:42,719
could still be writing Season one right now if Perry

956
00:47:42,760 --> 00:47:46,639
didn't give me deadlines. I'm eternally grateful for him. But

957
00:47:46,719 --> 00:47:48,920
when we were under deadline, like we're recording in a

958
00:47:49,000 --> 00:47:51,440
week we wanted, or we're recording at the end of

959
00:47:51,440 --> 00:47:54,000
the month or whatever we want to give the actress.

960
00:47:53,719 --> 00:47:56,679
Speaker 1: We were not writing a week out. No, no, no, no,

961
00:47:57,119 --> 00:47:58,039
maybe maybe two weeks.

962
00:47:58,880 --> 00:48:01,320
Speaker 4: Yeah, I had the deadline that we had to meet,

963
00:48:01,519 --> 00:48:05,079
but I was writing probably till ten or ten thirty

964
00:48:05,239 --> 00:48:07,960
most nights, and I was just having so much fun.

965
00:48:08,079 --> 00:48:09,559
Like I was like, I don't I don't care that

966
00:48:09,639 --> 00:48:12,159
I'm working late, Like I just love this and I

967
00:48:12,440 --> 00:48:15,199
have my you know, music in the background and just

968
00:48:15,360 --> 00:48:17,639
locking it. I just oh, it was. It was awesome.

969
00:48:18,199 --> 00:48:20,880
I'm a procrastinator a little bit, so feeling the heat

970
00:48:20,920 --> 00:48:23,320
of the deadline anyway, just fond memories of that and

971
00:48:23,400 --> 00:48:26,440
then just yeah, like getting to meet the talent, being

972
00:48:26,519 --> 00:48:29,039
in studio with them, the time spent with them, and

973
00:48:29,199 --> 00:48:33,320
just there's something so invigorating about seeing something you wrote

974
00:48:33,559 --> 00:48:37,440
come to life from and have another human interact with

975
00:48:37,519 --> 00:48:41,559
your words and relate to them differently, maybe than you intended,

976
00:48:41,599 --> 00:48:44,480
but you get the shared experience. But also it's their

977
00:48:44,480 --> 00:48:47,480
own unique story, and so Perry and I were infusing

978
00:48:47,519 --> 00:48:50,039
parts of our story into it, but they connected with

979
00:48:50,800 --> 00:48:54,400
Ian differently and John differently, and so I think that

980
00:48:54,679 --> 00:49:00,360
was just magical to see and consistently they formed it

981
00:49:00,480 --> 00:49:02,840
better than I could have imagined, and so it was

982
00:49:02,960 --> 00:49:05,519
just that is one of the most fulfilling things to

983
00:49:05,559 --> 00:49:06,840
see as a writer director.

984
00:49:07,000 --> 00:49:11,159
Speaker 2: So yeah, there's no other feeling in the world like

985
00:49:11,880 --> 00:49:15,840
hearing an amazingly talented actor bring to life something that

986
00:49:15,920 --> 00:49:19,440
you wrote. I mean, I just it's incomparable.

987
00:49:20,239 --> 00:49:22,320
Speaker 1: Yeah, No, I mean that's exactly what I'm saying with

988
00:49:22,400 --> 00:49:24,840
the with with what Andy did for Saffron and some

989
00:49:24,960 --> 00:49:27,920
other I mean some other moments, many other moments as well.

990
00:49:28,000 --> 00:49:30,760
And if I were to answer that question, I you know,

991
00:49:30,800 --> 00:49:32,480
I would hope to say that it's still to come

992
00:49:32,679 --> 00:49:34,800
when we get to and hopefully experience a lot of

993
00:49:34,840 --> 00:49:38,760
people that this impacts and and hear stories and you know,

994
00:49:38,880 --> 00:49:40,679
get to see that for years to come. But I

995
00:49:41,400 --> 00:49:44,280
doubt that that will top just I mean, maybe let's hope.

996
00:49:44,559 --> 00:49:47,480
But I just had so much fun with the recording week.

997
00:49:47,559 --> 00:49:50,280
I say that that was that was still the most

998
00:49:50,320 --> 00:49:53,239
fun I've had, the most fun week of work I've

999
00:49:53,320 --> 00:49:56,119
had in my life. It was it was so much fun.

1000
00:49:56,199 --> 00:49:57,920
I mean, I just love playing make believe and to

1001
00:49:57,960 --> 00:49:59,760
play make believe with a story that we came up

1002
00:49:59,800 --> 00:50:01,360
with and just live in that world.

1003
00:50:02,199 --> 00:50:02,360
Speaker 2: You know.

1004
00:50:02,440 --> 00:50:05,840
Speaker 1: I love doing dumb, goofy voices like my wife hates it,

1005
00:50:05,960 --> 00:50:09,159
so getting actually to do that like on purpose, it

1006
00:50:09,320 --> 00:50:12,719
was just so much fun. So yeah, nothing can top

1007
00:50:12,840 --> 00:50:14,559
recording week for me. And just end getting to hang

1008
00:50:14,599 --> 00:50:17,079
out and meet some new fun people getting to work

1009
00:50:17,119 --> 00:50:18,119
with them, it was a lot of fun.

1010
00:50:18,599 --> 00:50:21,000
Speaker 4: Yeah. I do want to say one more story to

1011
00:50:21,760 --> 00:50:24,480
what you said about just impacting future people. We have

1012
00:50:24,960 --> 00:50:28,599
Our recording engineer has been sneaking episodes to his daughter

1013
00:50:28,679 --> 00:50:31,880
before release, and he came to me one day and

1014
00:50:32,000 --> 00:50:35,119
he's like, she's begging for episode five? Is it gonna

1015
00:50:35,119 --> 00:50:38,079
be done? And she's like, Dad, this is my favorite

1016
00:50:38,119 --> 00:50:39,079
audio drama ever.

1017
00:50:39,360 --> 00:50:39,559
Speaker 2: Wow.

1018
00:50:39,639 --> 00:50:41,679
Speaker 4: And I don't know that it's the best one ever,

1019
00:50:42,159 --> 00:50:46,320
but to just hear even secondhand, the joy that a

1020
00:50:46,440 --> 00:50:48,599
child was receiving from it, because I remember waking up

1021
00:50:48,639 --> 00:50:50,920
I had I had a three episode a day limit

1022
00:50:51,000 --> 00:50:54,400
of Adventures in Obviyssey growing up, except for Christmas morning

1023
00:50:54,519 --> 00:50:56,360
when I so my parents could sleep in, I would

1024
00:50:56,400 --> 00:50:58,199
wake up and I had gotten one for Christmas. Even

1025
00:50:58,199 --> 00:51:02,000
I'd listened to six episodes, remember that feeling, and so

1026
00:51:02,480 --> 00:51:04,880
to get to see that at another child was just

1027
00:51:05,039 --> 00:51:06,519
like full circle.

1028
00:51:06,840 --> 00:51:07,039
Speaker 2: Yeah.

1029
00:51:07,400 --> 00:51:10,039
Speaker 1: In the art she drew as well, she drew some

1030
00:51:10,239 --> 00:51:13,480
fan art and you know, she had some some different

1031
00:51:14,159 --> 00:51:16,079
I think she drew like the Bad and she drew

1032
00:51:16,119 --> 00:51:20,760
the Deventive Great Consequences, just a cook scene and yeah,

1033
00:51:20,840 --> 00:51:22,440
it's just fun stuff, very sweet.

1034
00:51:22,599 --> 00:51:24,519
Speaker 2: Oh man, Yeah you talk about we didn't even talk

1035
00:51:24,519 --> 00:51:26,440
about the art at all. We don't have time to

1036
00:51:26,519 --> 00:51:29,960
go into Yeah, my goodness, the artwork is so so good. Love.

1037
00:51:30,360 --> 00:51:33,400
You know, this is an audio medium, but good artwork

1038
00:51:33,480 --> 00:51:37,559
is still really important because that's that's the first thing

1039
00:51:37,679 --> 00:51:40,719
that the consumer will see, and so it has a

1040
00:51:40,800 --> 00:51:42,760
huge influence on whether or not they even check out

1041
00:51:42,800 --> 00:51:45,400
the show. And I think you guys nailed that as well,

1042
00:51:45,519 --> 00:51:46,800
So really really good job there.

1043
00:51:47,119 --> 00:51:49,960
Speaker 4: Yeah, shout out Katie and Lydia who did that work.

1044
00:51:50,079 --> 00:51:52,599
They are phenomenal. We had I Drew nothing.

1045
00:51:53,360 --> 00:51:54,079
Speaker 1: Yeah, me neither.

1046
00:51:54,800 --> 00:51:54,840
Speaker 3: No.

1047
00:51:55,599 --> 00:51:59,360
Speaker 2: Well, you talk about make believe. They're a moment Ago Perry,

1048
00:51:59,480 --> 00:52:03,719
and we've mentioned out several times throughout this conversation. But

1049
00:52:04,800 --> 00:52:06,519
this is a good question. I kind of I like

1050
00:52:06,599 --> 00:52:08,400
to ask every once in a while for a guest

1051
00:52:08,440 --> 00:52:12,639
who is familiar with AIO. Imagine you have stepped into

1052
00:52:12,719 --> 00:52:15,239
to WIT's End, which end is a real place here

1053
00:52:15,320 --> 00:52:17,880
we're going to make believe, and I would I would

1054
00:52:17,880 --> 00:52:20,239
love to hear from each of you what's the first

1055
00:52:20,360 --> 00:52:22,400
place in What's End that you're going to visit.

1056
00:52:23,000 --> 00:52:24,400
Speaker 4: I would go on Imagination station?

1057
00:52:24,719 --> 00:52:28,320
Speaker 1: Okay, I do not Yeah, I mean I mean after

1058
00:52:28,440 --> 00:52:31,679
I get, you know, like some ice cream that I got,

1059
00:52:31,760 --> 00:52:35,400
I go ice cream first, but then then imagination station.

1060
00:52:36,559 --> 00:52:37,639
Speaker 2: Okay, so.

1061
00:52:39,360 --> 00:52:39,719
Speaker 1: Totally.

1062
00:52:39,960 --> 00:52:43,000
Speaker 2: Yeah, So that's it. That's your order Landon or is

1063
00:52:43,039 --> 00:52:43,719
that yeah?

1064
00:52:43,840 --> 00:52:44,000
Speaker 1: Or no?

1065
00:52:44,079 --> 00:52:46,360
Speaker 4: I would I would go straight straight there, straight to

1066
00:52:46,480 --> 00:52:49,159
the imagination station. I don't know what. I guess that

1067
00:52:49,320 --> 00:52:51,400
he usually usually has something qu'ed up, right. You don't

1068
00:52:51,400 --> 00:52:54,239
necessarily get to choose your own adventure. Yeah, yeah, where,

1069
00:52:54,599 --> 00:52:57,800
but who knows? Maybe Kluma is somewhere out there.

1070
00:52:58,280 --> 00:53:01,360
Speaker 1: Yeah, if you can queue that up, that'd be fun.

1071
00:53:01,559 --> 00:53:03,880
Speaker 4: The crossover you've all been waiting.

1072
00:53:03,679 --> 00:53:04,800
Speaker 3: For exactly right.

1073
00:53:04,880 --> 00:53:07,800
Speaker 2: Yeah, well, this has been a delightful conversation and I've

1074
00:53:07,840 --> 00:53:10,719
really enjoyed chatting with with you, gentlemen. You know you've

1075
00:53:10,800 --> 00:53:13,719
you've mentioned there is a possibility of more to come.

1076
00:53:14,920 --> 00:53:19,159
Tell us what's what's next for Jesus film and audio drama.

1077
00:53:19,280 --> 00:53:22,400
Is it more Bible stories in the world of kay Luma?

1078
00:53:22,599 --> 00:53:25,039
Is it is it a completely new show? What does

1079
00:53:25,079 --> 00:53:25,559
that look like?

1080
00:53:26,119 --> 00:53:28,360
Speaker 1: Yeah, I can't tell you a whole lot, but I

1081
00:53:28,440 --> 00:53:31,880
can tell you this that I think our whole ministry

1082
00:53:31,920 --> 00:53:34,719
has been really excited and really impressed. And you know,

1083
00:53:34,840 --> 00:53:37,079
depending on how it's received, So you know, maybe that

1084
00:53:37,159 --> 00:53:39,559
puts the ball in the court of the listener a

1085
00:53:39,639 --> 00:53:42,079
little bit, But depending on how it's received, I think

1086
00:53:42,480 --> 00:53:46,039
there's definitely a lot of momentum to pursue more in Kluma.

1087
00:53:46,119 --> 00:53:47,719
I mean, we've certainly left the door open, and we

1088
00:53:47,800 --> 00:53:50,880
certainly have more stories to tell. I'll just put it

1089
00:53:50,960 --> 00:53:53,639
that way. And and and I think there's also the

1090
00:53:53,719 --> 00:53:58,559
possibility of different types of audio, whether it's audio drama.

1091
00:53:59,559 --> 00:54:02,000
I think there there's other different audio projects and the

1092
00:54:02,039 --> 00:54:04,400
works that are you know, kind of right on the

1093
00:54:04,480 --> 00:54:08,360
verge of being set into a full motion. So yeah,

1094
00:54:08,559 --> 00:54:10,800
I think we're right now just really hoping for just

1095
00:54:10,880 --> 00:54:13,440
a lot of good fun feedback, a lot of families

1096
00:54:13,519 --> 00:54:16,440
that are impacted by it, that it creates spaces for

1097
00:54:17,360 --> 00:54:22,360
growth and conversation and laughter and excitement, and even like

1098
00:54:22,440 --> 00:54:24,559
a lot of kids, I think exploring a new medium,

1099
00:54:24,719 --> 00:54:26,760
Like there's going to be a lot of parents that

1100
00:54:26,880 --> 00:54:29,159
are in there, you know, late twenties, thirties, forties, whatever,

1101
00:54:29,280 --> 00:54:33,119
that are showing their kids audio drama, probably not for

1102
00:54:33,199 --> 00:54:34,800
the first time if they grew up on Odyssey, but

1103
00:54:35,280 --> 00:54:38,480
you know, I think that there's the chance for kids

1104
00:54:38,519 --> 00:54:41,800
to really get engulfed in a new medium as well.

1105
00:54:41,880 --> 00:54:44,239
And so yeah, we're just we're just kind of excited

1106
00:54:44,320 --> 00:54:46,039
and giddy on the edge of our seat waiting for

1107
00:54:46,800 --> 00:54:49,239
the release to see how it's received.

1108
00:54:49,559 --> 00:54:52,280
Speaker 2: Yeah. Yeah, So a listener, there's a link in the

1109
00:54:52,320 --> 00:54:54,480
show notes to head over to the website, and they're

1110
00:54:54,639 --> 00:54:58,159
on that website. On that page is a player and

1111
00:54:58,440 --> 00:55:01,639
also links to the podcast platforms. This is available as

1112
00:55:01,679 --> 00:55:06,840
a free podcast, so no subscription, no cost associated with

1113
00:55:06,960 --> 00:55:09,480
checking out this show, So encourage you to hit up

1114
00:55:09,519 --> 00:55:12,119
that link. Is there anything else that they need to

1115
00:55:12,199 --> 00:55:15,719
know that I forgot to cover or we should we

1116
00:55:15,719 --> 00:55:17,000
should let them know before they dive in.

1117
00:55:17,480 --> 00:55:20,280
Speaker 1: I would say just a thanks to Jesus Film Project

1118
00:55:20,360 --> 00:55:24,079
and Family Life. If you listen and enjoy, feel free

1119
00:55:24,199 --> 00:55:27,960
to send us an email at Kaluma at jesusfilm dot org.

1120
00:55:28,079 --> 00:55:30,320
Kayluma at Jesus film dot org. Send us an email

1121
00:55:30,360 --> 00:55:32,360
that actually will end up going to us, so well,

1122
00:55:32,559 --> 00:55:34,400
at some point we'll get to see it. So if

1123
00:55:34,400 --> 00:55:36,679
you want to send us a cool story of listening

1124
00:55:36,760 --> 00:55:39,320
to it, or you know, we just be encouraged. I

1125
00:55:39,400 --> 00:55:41,360
think just to know that you and your family enjoyed it,

1126
00:55:41,559 --> 00:55:44,639
or you know, hopefully you're not going to email us

1127
00:55:44,679 --> 00:55:46,599
telling us how much it how much you hated it,

1128
00:55:46,679 --> 00:55:48,000
but you know, teach your own.

1129
00:55:48,800 --> 00:55:52,400
Speaker 4: Yeah, And if you go to jesusfilm dot org slash Kayluma,

1130
00:55:52,679 --> 00:55:56,119
you can see some fun character bios. You can see

1131
00:55:56,280 --> 00:55:58,920
some Companion podcasts where Perry and I talk about the

1132
00:55:59,000 --> 00:56:02,920
themes of the episode codes and we have some downloadable

1133
00:56:02,960 --> 00:56:06,400
discussion guides that kind of unpack some of the themes

1134
00:56:06,440 --> 00:56:08,639
and they are good conversation starters for parents and kids

1135
00:56:08,719 --> 00:56:11,719
to have to kind of engage in those those themes together,

1136
00:56:11,880 --> 00:56:14,440
so go check that out. All of it's free coloring.

1137
00:56:14,159 --> 00:56:17,599
Speaker 1: Pages, theories where we almost forgot all that that supplemental material. Yeah,

1138
00:56:17,639 --> 00:56:20,400
there's a whole companion podcast where if you liked hearing

1139
00:56:20,559 --> 00:56:23,880
Landon I's voice on three year Speakers today, you can

1140
00:56:23,920 --> 00:56:27,079
hear us more talk about the themes of each episode.

1141
00:56:27,440 --> 00:56:30,079
So yeah, for sure, lots of extra extra goodies.

1142
00:56:30,480 --> 00:56:33,559
Speaker 2: Yeah, and for the audio drama super fan like me,

1143
00:56:33,800 --> 00:56:36,719
I love it when there's all kinds of extra bonus content.

1144
00:56:36,920 --> 00:56:40,000
So all of that great stuff is available now, so

1145
00:56:40,119 --> 00:56:42,599
go check it out. Perry Landon, thank you so much

1146
00:56:42,679 --> 00:56:45,320
for taking time to come and talk about this project

1147
00:56:45,360 --> 00:56:46,159
with us. I appreciate it.

1148
00:56:46,320 --> 00:56:48,559
Speaker 1: Thank you, j D really great to make us happy

1149
00:56:48,599 --> 00:56:49,800
to be on. Thanks for inviting us.

1150
00:56:52,159 --> 00:56:54,639
Speaker 2: Well. Thank you again to Landon and Perry for coming

1151
00:56:54,679 --> 00:56:57,159
on the show. Really appreciate them taking the time. I

1152
00:56:57,239 --> 00:56:59,119
thought it was important. You know, we have a new

1153
00:56:59,239 --> 00:57:02,480
player in this family friendly audio drama space. They are

1154
00:57:02,519 --> 00:57:05,000
doing something really high quality. I thought it was important

1155
00:57:05,239 --> 00:57:08,039
to let them come on and tell you about it

1156
00:57:08,159 --> 00:57:12,360
and sort of how they approached this journey, and so

1157
00:57:12,519 --> 00:57:15,400
I'm excited to hear what they've got coming in the future,

1158
00:57:16,039 --> 00:57:18,639
and I'm looking forward to hearing what you think of

1159
00:57:18,760 --> 00:57:22,320
the Road to Kluma as well. Now, a few little

1160
00:57:22,679 --> 00:57:26,280
thoughts to share post interview here if you are interested

1161
00:57:26,360 --> 00:57:28,800
in an initial reaction that I did of episode one

1162
00:57:28,960 --> 00:57:31,199
of The Road to Kayluma that is in Audio Theater

1163
00:57:31,320 --> 00:57:36,239
Central backstage. Now. The Avalon song that I referenced in

1164
00:57:36,320 --> 00:57:38,679
the conversation but forgot to give the title for is

1165
00:57:38,760 --> 00:57:42,679
called Always Have, Always Will, and it's from their record

1166
00:57:43,559 --> 00:57:46,320
called In a Different Light. I've got that linked up

1167
00:57:46,320 --> 00:57:47,440
in the show notes if you want to check it

1168
00:57:47,440 --> 00:57:50,800
out as well. Really great song. And also, I just

1169
00:57:50,840 --> 00:57:53,360
wanted to quickly clarify I did say something about not

1170
00:57:53,480 --> 00:57:56,400
having experienced directing actors in person. I don't know why

1171
00:57:56,440 --> 00:57:59,360
I said that. I think it's just because the very

1172
00:57:59,519 --> 00:58:02,440
first couple of Portlite Family Media audio dramas I did

1173
00:58:02,480 --> 00:58:06,920
were in person, using volunteers from my local church, and

1174
00:58:07,079 --> 00:58:09,639
that has been many years since we worked on those projects,

1175
00:58:09,639 --> 00:58:11,440
and I sort of just spaced them out, I think

1176
00:58:11,559 --> 00:58:14,840
is what happened. Because everything else that I've produced since then,

1177
00:58:15,320 --> 00:58:18,760
Greenhorn Tales, all of my micro audio drama projects, et cetera,

1178
00:58:19,119 --> 00:58:21,639
those have all been done remotely, so I guess it

1179
00:58:21,800 --> 00:58:24,960
just sort of slipped my mind that my earliest projects

1180
00:58:25,000 --> 00:58:27,719
were done in person, so I do have experience directing

1181
00:58:27,800 --> 00:58:31,920
actors live and in person. But anyway, I just wanted

1182
00:58:32,000 --> 00:58:37,079
to clarify that point and just give a few little

1183
00:58:37,159 --> 00:58:39,599
thoughts here. This is not going to be a full

1184
00:58:39,639 --> 00:58:42,280
fledged review. I want you to go and listen to

1185
00:58:42,480 --> 00:58:46,559
this production for yourself, and again, my initial reactions are

1186
00:58:46,599 --> 00:58:49,440
in ATC backstage, but I wanted to share a few thoughts.

1187
00:58:50,039 --> 00:58:53,480
The Road to Kuiluma is a really solid audio drama.

1188
00:58:54,039 --> 00:58:57,039
It's solid. It's not perfect. I did have a few

1189
00:58:57,119 --> 00:59:01,079
little nitpicky things with the writing here and there, but

1190
00:59:01,320 --> 00:59:05,480
overall I thought it was extremely well done. The production

1191
00:59:05,679 --> 00:59:09,039
values are top notch. The music, the sound design, it

1192
00:59:09,239 --> 00:59:14,039
sounds really really good. The acting was excellent. They've got

1193
00:59:14,079 --> 00:59:16,719
some really really great talent there. We named several of

1194
00:59:16,760 --> 00:59:21,440
them in the conversation, and so I think for a

1195
00:59:21,519 --> 00:59:25,000
first release, I am very impressed with what they were

1196
00:59:25,000 --> 00:59:28,719
able to accomplish. And of course they pulled in a

1197
00:59:29,239 --> 00:59:32,559
top notch composer in John Campbell from the industry, you know,

1198
00:59:33,239 --> 00:59:36,280
and consulting with John Fornoff. I'm sure that helped a lot,

1199
00:59:36,360 --> 00:59:41,039
but even then, embarking on a project of this scale,

1200
00:59:41,559 --> 00:59:44,559
you know, we're talking five episodes of about a half

1201
00:59:44,599 --> 00:59:46,800
an hour each. That's a long audio drama for your

1202
00:59:46,840 --> 00:59:51,199
first production. You've probably heard me tell people, and if

1203
00:59:51,239 --> 00:59:54,039
you've attended my classes at Sonic Con, I always tell

1204
00:59:54,039 --> 00:59:57,079
people start small, start with five minutes. I've been saying

1205
00:59:57,119 --> 00:59:59,960
that for years, even before I started producing my own

1206
01:00:00,079 --> 01:00:03,679
micro audio dramas. So to just jump in on the

1207
01:00:03,760 --> 01:00:08,360
deep end here and produce such a massive show, my

1208
01:00:08,480 --> 01:00:10,400
hat's off to these guys. They did a really, really

1209
01:00:10,440 --> 01:00:13,960
great job. They put a lot of thought and detail

1210
01:00:14,039 --> 01:00:16,440
into the world building and characters, and I think that

1211
01:00:16,599 --> 01:00:20,119
shines through. I think it makes the story that much

1212
01:00:20,199 --> 01:00:23,440
more immersive. And yeah, so I think this is a

1213
01:00:23,559 --> 01:00:26,440
really solid audio drama. I'm looking forward to what they

1214
01:00:26,519 --> 01:00:29,920
might come up with in the future. And I think

1215
01:00:29,960 --> 01:00:32,320
it's when you should check out and when we have

1216
01:00:32,400 --> 01:00:34,239
somebody new coming into the space and they're willing to

1217
01:00:35,039 --> 01:00:38,079
go all in on the podcast model just to try

1218
01:00:38,119 --> 01:00:40,960
to get the content out there. There's no barrier to

1219
01:00:41,119 --> 01:00:43,360
entry here, so go check it out. You know, if

1220
01:00:43,400 --> 01:00:46,719
you like it, let them know. They mentioned the email

1221
01:00:46,760 --> 01:00:50,480
address which is Kluma at jesusfilm dot org and that's

1222
01:00:50,519 --> 01:00:55,880
spelled ka e l Uma at jesusfilm dot org. And

1223
01:00:56,000 --> 01:00:59,559
of course the website is jesusfilm dot org slash kluma,

1224
01:01:00,360 --> 01:01:02,719
which has a little bit of behind the scenes information

1225
01:01:03,559 --> 01:01:06,840
all of that stuff that they talked about, And these

1226
01:01:06,880 --> 01:01:09,400
links are available in the show notes as well, of course,

1227
01:01:09,840 --> 01:01:11,519
and also in the show notes is a link to

1228
01:01:12,320 --> 01:01:15,119
the road to Queluma on Podchaser, which has links to

1229
01:01:15,199 --> 01:01:19,480
all the different podcast platforms. So if their website doesn't

1230
01:01:19,480 --> 01:01:21,599
link to the one that you prefer, you can go

1231
01:01:21,719 --> 01:01:24,679
to that link there in the show notes and subscribe

1232
01:01:24,719 --> 01:01:27,280
to wherever you want to listen. So all of that

1233
01:01:27,559 --> 01:01:30,519
is of course in the show notes, but I wanted

1234
01:01:30,559 --> 01:01:33,119
to just give a few post interview thoughts here and

1235
01:01:34,360 --> 01:01:35,800
I would love to hear what you think once you

1236
01:01:35,880 --> 01:01:38,880
have a chance to listen to it. All right, well,

1237
01:01:39,079 --> 01:01:42,000
speaking of what you think, let's jump into the feedback.

1238
01:01:42,360 --> 01:01:43,920
So what do you think of the show?

1239
01:01:48,639 --> 01:01:50,000
Speaker 5: Please leave your message after.

1240
01:01:49,840 --> 01:01:53,119
Speaker 4: The shown Hi, Audie, Peter Central, Hey guys, this is

1241
01:01:53,159 --> 01:01:54,440
awesome preaching hell.

1242
01:01:54,320 --> 01:01:57,119
Speaker 3: About j D Royan Andrew minhumed Victoria.

1243
01:01:57,400 --> 01:01:57,519
Speaker 5: Now.

1244
01:01:57,599 --> 01:02:00,119
Speaker 2: Yesterday I received a letter from a big band. No

1245
01:02:00,239 --> 01:02:00,800
time to dry.

1246
01:02:01,079 --> 01:02:01,800
Speaker 4: I've got an email.

1247
01:02:02,000 --> 01:02:04,079
Speaker 3: This another package for me today.

1248
01:02:04,239 --> 01:02:05,800
Speaker 1: No, it's actually just your mail.

1249
01:02:09,119 --> 01:02:10,679
Speaker 2: As always. If you'd like to get in touch with us,

1250
01:02:10,760 --> 01:02:13,599
feedback at Audio Theatercentral dot com is the way to

1251
01:02:13,719 --> 01:02:16,400
do that via email, or you can always comment on

1252
01:02:16,480 --> 01:02:19,719
the show notes at the website, or you can send

1253
01:02:19,760 --> 01:02:22,239
a text message or leave a voicemail at our feedback

1254
01:02:22,280 --> 01:02:25,280
line which is six two three six eight eight two

1255
01:02:25,440 --> 01:02:29,280
seven seven zero again six two three six eight eight

1256
01:02:29,519 --> 01:02:34,159
two seven seven zero. Well. First up is an email

1257
01:02:34,239 --> 01:02:37,559
from Sarah and this is in response to ATC one

1258
01:02:37,719 --> 01:02:41,000
ninety eight our review of Adventures Not to Sy album

1259
01:02:41,079 --> 01:02:44,519
seventy four Buckle up, and she said, Hi, I've been

1260
01:02:44,559 --> 01:02:47,719
listening to your AIO album reviews. I was just listening

1261
01:02:47,760 --> 01:02:50,039
to the album seventy four review. I know this is

1262
01:02:50,079 --> 01:02:52,519
a year late, but I remember the scene JD was

1263
01:02:52,559 --> 01:02:55,360
talking about where Katrina and Eugene said each other's names.

1264
01:02:56,679 --> 01:02:58,840
I believe it was the episode where Jimmy Barkley put

1265
01:02:58,880 --> 01:03:02,039
together at Kid's Radio Nativity Audio Drama. I think it's

1266
01:03:02,079 --> 01:03:04,760
at the end, the second to last scene where Eugene

1267
01:03:04,880 --> 01:03:07,400
ends it by saying I love you. I haven't heard

1268
01:03:07,440 --> 01:03:08,920
that one in a long time, but I remember the

1269
01:03:09,000 --> 01:03:12,679
clip from the Eugene Losing his Memory three parter. On

1270
01:03:12,800 --> 01:03:16,639
another note, love the podcast, great work, Sarah, Well, thank

1271
01:03:16,639 --> 01:03:18,480
you very much, Sarah. Glad you found the show. Glad

1272
01:03:18,519 --> 01:03:23,320
you're enjoying the AIO reviews. And I cannot remember for

1273
01:03:23,400 --> 01:03:25,639
the life of me what we were talking about in

1274
01:03:25,920 --> 01:03:29,199
that album seventy four review that made us bring up

1275
01:03:29,440 --> 01:03:31,960
this moment where Eugene and Katrina say each other's names.

1276
01:03:32,719 --> 01:03:36,199
But yes, it is in that episode. Unto us, a

1277
01:03:36,360 --> 01:03:41,320
child is born, which is it's just a fun, fun episode.

1278
01:03:41,960 --> 01:03:45,440
Longtime fans of AIO will know that one. You know

1279
01:03:45,599 --> 01:03:50,039
right away. It's a very meta story. Love the audio

1280
01:03:50,159 --> 01:03:53,440
drama inside of an audio drama sort of thing, kids

1281
01:03:53,599 --> 01:03:57,079
radio angle. It's fun and yeah, that is absolutely when

1282
01:03:57,119 --> 01:04:00,400
it does happen Eugene and Katrina say each other's names

1283
01:04:00,440 --> 01:04:03,239
at the same time, it's when they're exchanging Christmas gifts

1284
01:04:03,559 --> 01:04:05,639
towards the end of that episode. So yeah, thank you

1285
01:04:05,719 --> 01:04:09,800
Sarah for refreshing my memory on that. Next up is

1286
01:04:09,840 --> 01:04:12,960
an email from Jeremy and he is responding to ATC

1287
01:04:13,280 --> 01:04:17,519
to twelve our review of Odyssey. Again. This one album

1288
01:04:17,639 --> 01:04:21,440
seventy six, keep it together, and he said, Dear JD,

1289
01:04:21,639 --> 01:04:23,840
I really enjoyed the last podcast where you and Michael

1290
01:04:23,880 --> 01:04:27,079
talked about album seventy six of Adventures Odyssey. This was

1291
01:04:27,119 --> 01:04:31,280
a great episode. I really enjoyed Album seventy six. I'm

1292
01:04:31,320 --> 01:04:33,920
also really excited to hear about the Audio Drama Alliance

1293
01:04:33,960 --> 01:04:36,719
production of The Hardy Boys The Tower Treasure. I'm really

1294
01:04:36,760 --> 01:04:39,679
looking forward to hearing this when it's done. Yes, I

1295
01:04:39,800 --> 01:04:42,760
am excited about this production. It's it's been a ton

1296
01:04:43,000 --> 01:04:47,360
of work and we still have a long, long way

1297
01:04:47,400 --> 01:04:49,599
to go in this process. I had hoped to be

1298
01:04:49,639 --> 01:04:51,320
a little bit further along by this time in the

1299
01:04:51,400 --> 01:04:54,760
year than we are, but we're doing the best we can.

1300
01:04:55,440 --> 01:04:57,840
Head over to Audio Drama Alliance dot com for more

1301
01:04:57,920 --> 01:04:59,920
details on that project if you're just now hearing about it.

1302
01:05:00,840 --> 01:05:03,239
Lots of behind the scenes information is listed there. The

1303
01:05:03,320 --> 01:05:05,719
full cast and crew credits are there, everything like that.

1304
01:05:05,920 --> 01:05:08,039
So yeah, we're very excited about it too. So I'm

1305
01:05:08,079 --> 01:05:10,840
glad to hear that you're looking forward to hearing it, Jeremy.

1306
01:05:11,679 --> 01:05:13,639
He also said, I wanted to give you my answer

1307
01:05:13,960 --> 01:05:16,159
of things in Adventures of Odyssey. I wish were real.

1308
01:05:16,480 --> 01:05:19,960
This was a question I posed in that episode, and

1309
01:05:20,119 --> 01:05:22,280
he said, I really wish the Imagination Station was real.

1310
01:05:22,760 --> 01:05:25,400
I also agree with you about Lamplightder Theater. I am

1311
01:05:25,400 --> 01:05:28,360
a new listener to that show. Yeah, so in that

1312
01:05:28,519 --> 01:05:31,599
episode we talked about what were some things from audio

1313
01:05:31,679 --> 01:05:35,920
dramas that we wished were real, and yeah, Finian's Shop

1314
01:05:35,920 --> 01:05:39,079
and Lamplightder Theater great stuff. And of course how can

1315
01:05:39,119 --> 01:05:42,679
you go wrong with the Imagination Station as actually we

1316
01:05:42,760 --> 01:05:45,360
talked about in the conversation with Perry and Landon there.

1317
01:05:45,760 --> 01:05:48,920
So yeah, I think it's pretty unanimous among AIO fans

1318
01:05:49,000 --> 01:05:52,039
that everybody wishes the Imagination Station was a real thing.

1319
01:05:53,800 --> 01:05:57,039
Jeremy continues, Also, I really enjoy the different soundclips when

1320
01:05:57,039 --> 01:06:00,039
you switch between the different segments of the podcast. What

1321
01:06:00,119 --> 01:06:02,199
are the audio drama shows that you use for the

1322
01:06:02,320 --> 01:06:07,360
news segments? Well, that is a very good question, and

1323
01:06:07,519 --> 01:06:10,440
I will have to go into my notes and figure

1324
01:06:10,480 --> 01:06:13,440
that out because I made all of these quite some

1325
01:06:13,679 --> 01:06:16,639
time ago. I will try to put that list together

1326
01:06:16,719 --> 01:06:18,280
and I don't know, maybe I'll publish it on the

1327
01:06:18,280 --> 01:06:22,360
website somewhere. Because Jeremy, you may not be the only

1328
01:06:22,440 --> 01:06:24,519
one who has wondered that, so that would be a

1329
01:06:24,559 --> 01:06:27,559
good thing for me to put together, So I will

1330
01:06:27,599 --> 01:06:29,719
try to get that done as soon as possible. And

1331
01:06:30,159 --> 01:06:31,719
thank you for letting me know that you enjoy those.

1332
01:06:32,239 --> 01:06:35,239
I think this might be the first feedback I've ever

1333
01:06:35,280 --> 01:06:37,239
heard about those, and they took a long time, and

1334
01:06:37,519 --> 01:06:39,920
I know it was something that I thought was fun

1335
01:06:39,960 --> 01:06:42,239
to do, but I never really got much feedback on

1336
01:06:42,320 --> 01:06:44,960
whether people liked it or not. So I'm glad to

1337
01:06:45,000 --> 01:06:47,480
hear that you do, Jeremy. Now, you know, we've had

1338
01:06:47,519 --> 01:06:51,000
the feedback one for a very long time, and it's

1339
01:06:51,039 --> 01:06:53,400
only been within the last couple of years. I think

1340
01:06:53,599 --> 01:06:56,119
when I made the rest of them for the other segments,

1341
01:06:56,440 --> 01:06:58,760
when I sort of did a bit of a restructuring

1342
01:06:58,840 --> 01:07:01,840
of the show, and at that time I did reach

1343
01:07:01,880 --> 01:07:05,039
out to the Audio Drama Alliance members and just said, hey,

1344
01:07:05,199 --> 01:07:06,480
you know, this is what I'm planning to do with

1345
01:07:06,920 --> 01:07:10,559
the ATC show. What are some recommendations of clips that

1346
01:07:10,639 --> 01:07:13,320
I can use. So I may have gotten a bit

1347
01:07:13,360 --> 01:07:16,320
of feedback from the ADA members at that time, whether

1348
01:07:16,719 --> 01:07:20,880
you know they enjoyed having the feedback montage sort of thing,

1349
01:07:21,559 --> 01:07:25,119
but again, I haven't really heard much from the rest

1350
01:07:25,159 --> 01:07:28,679
of the ATC community about though. So anyway, long story short,

1351
01:07:29,039 --> 01:07:31,360
I enjoyed putting them together and I think they sound

1352
01:07:31,400 --> 01:07:34,199
pretty fun, and so I'm just glad to hear that

1353
01:07:34,320 --> 01:07:38,320
you enjoy them as well, Jeremy, and thanks for your feedback.

1354
01:07:38,719 --> 01:07:42,800
Always appreciate your emails and the fact that you continue

1355
01:07:42,840 --> 01:07:44,880
to listen. You've been listening for a very long time,

1356
01:07:45,519 --> 01:07:49,679
and I appreciate it. Thank you very much. Another person

1357
01:07:49,719 --> 01:07:51,840
who has been listening for a long time and always

1358
01:07:51,880 --> 01:07:55,599
since in great feedback is Blake. And this episode, Blake

1359
01:07:56,000 --> 01:07:59,239
sent in an email in response to ATC two ten

1360
01:07:59,320 --> 01:08:01,760
where we talked about the breaking news from Adventures and

1361
01:08:01,760 --> 01:08:05,119
Odyssey about the future of the show going exclusive to

1362
01:08:05,679 --> 01:08:10,000
the club now. Blake is Canadian, and he mentions several

1363
01:08:10,039 --> 01:08:13,840
different Canadian towns here, and so I'm going to do

1364
01:08:13,880 --> 01:08:17,840
my best to pronounce them correctly. If I mispronounced anything,

1365
01:08:18,319 --> 01:08:20,239
you can always let me know. But I'm going to

1366
01:08:20,279 --> 01:08:23,800
do my best here, Blake says. Now, I fully understand

1367
01:08:23,840 --> 01:08:27,119
that doing CD releases for audio dramas can be costly. However,

1368
01:08:27,600 --> 01:08:30,720
as somebody who lives in the Pass Manitoba, which is

1369
01:08:30,800 --> 01:08:33,920
fairly near to communities here in northern Manitoba that due

1370
01:08:33,920 --> 01:08:36,560
to lack of infrastructure, did not have enough cell reception

1371
01:08:36,760 --> 01:08:39,640
or internet service to be able to stream. So by

1372
01:08:39,680 --> 01:08:42,359
the AIO team forcing people to have to join the

1373
01:08:42,439 --> 01:08:46,479
club to exclusively stream episodes, they are unintentionally shutting out

1374
01:08:46,520 --> 01:08:49,399
anybody who lives in a region that has poor internet access.

1375
01:08:50,720 --> 01:08:52,520
I was recently on a train trip from the Pass,

1376
01:08:52,600 --> 01:08:55,560
Manitoba to Churchill, Manitoba, which is about a thirty hour

1377
01:08:55,720 --> 01:08:59,079
train journey, and we passed through many communities that have

1378
01:08:59,199 --> 01:09:03,279
minimal receptions because of lack of towers. Oftentimes people would

1379
01:09:03,279 --> 01:09:05,960
go to a larger community such as Thompson, Gillem or

1380
01:09:06,000 --> 01:09:08,159
even the Pass to download stuff so they can keep

1381
01:09:08,199 --> 01:09:10,560
their kids busy. As like it or not, we live

1382
01:09:10,600 --> 01:09:13,319
in a digital age. I think it is important for

1383
01:09:13,359 --> 01:09:16,560
audio drama producers to always provide some sort of offline

1384
01:09:16,600 --> 01:09:20,800
option and not relying exclusively on streaming, because by making

1385
01:09:20,880 --> 01:09:23,720
your show a stream only show, you are limiting your

1386
01:09:23,720 --> 01:09:26,840
audience to those who have good internet access. I am

1387
01:09:26,920 --> 01:09:29,880
lucky that here in the past Manitoba, because we are

1388
01:09:29,920 --> 01:09:33,520
a large center relatively speaking, we have fairly decent internet.

1389
01:09:33,840 --> 01:09:35,640
But there are communities not too far from us that

1390
01:09:35,720 --> 01:09:39,319
do not, like Cormorant, snow Lake, and even communities north

1391
01:09:39,359 --> 01:09:43,560
of Thompson, which is Northern Manitoba's only city, like Ilford,

1392
01:09:44,000 --> 01:09:48,399
lack signal. What are your thoughts on this, Well, Blake,

1393
01:09:49,199 --> 01:09:51,800
That is a very interesting point to bring up, and

1394
01:09:51,840 --> 01:09:54,680
I think it's a very valid point. I'm sure this

1395
01:09:54,920 --> 01:09:57,960
region of Canada is not the only place that has

1396
01:09:58,479 --> 01:10:03,279
poor internet reception, and even places here in the rural

1397
01:10:03,600 --> 01:10:08,720
areas of the United States some lack strong internet access,

1398
01:10:09,439 --> 01:10:14,159
and some places where they have internet access, it can

1399
01:10:14,239 --> 01:10:17,720
be tough to get a plan that allows you to

1400
01:10:18,479 --> 01:10:21,239
download and stream a lot of content, so some places

1401
01:10:21,399 --> 01:10:25,439
it's very very basic. So I think it is a

1402
01:10:25,520 --> 01:10:27,720
good point to keep in mind. Now, of course, the

1403
01:10:27,840 --> 01:10:30,720
numbers of people who have this issue are going to

1404
01:10:30,800 --> 01:10:34,640
be small. It's going to be a very small minority

1405
01:10:34,760 --> 01:10:39,960
considering when you consider the full populations of English speaking countries,

1406
01:10:40,000 --> 01:10:42,439
which would be the ones who would likely be the

1407
01:10:42,760 --> 01:10:46,039
consumers of Adventures Odyssey if we're looking at them as

1408
01:10:46,199 --> 01:10:50,119
an isolated example here. So if you only look at

1409
01:10:50,159 --> 01:10:54,560
this by the numbers, I'm sure that it's very small

1410
01:10:54,680 --> 01:10:56,439
and it isn't going to make that much of an

1411
01:10:56,520 --> 01:11:01,720
impact on their overall consumption. So that's just looking at

1412
01:11:01,760 --> 01:11:06,159
it from the numbers or the business perspective. But when

1413
01:11:06,159 --> 01:11:08,479
you look at it from a ministry standpoint or just

1414
01:11:08,640 --> 01:11:13,119
a service to your audience standpoint, then yes, it does

1415
01:11:13,239 --> 01:11:16,640
get to be a point of well, do we want

1416
01:11:16,680 --> 01:11:20,079
to cut off these people who would be potential listeners?

1417
01:11:20,600 --> 01:11:23,399
And so yeah, I think it is something that is

1418
01:11:23,479 --> 01:11:26,079
worth considering. Now we should note here if we're going

1419
01:11:26,159 --> 01:11:27,800
to have this discussion, we do have to look at

1420
01:11:27,840 --> 01:11:32,319
both sides. And the club app does allow you to

1421
01:11:33,039 --> 01:11:36,760
download episodes and pin them to your device or or

1422
01:11:36,800 --> 01:11:38,800
I forget the terminology that it uses, but it does

1423
01:11:38,880 --> 01:11:40,960
allow you to save them so that when you go

1424
01:11:41,039 --> 01:11:42,640
to listen to them, you don't have to have an

1425
01:11:42,720 --> 01:11:46,079
active Internet connection at the time. But that is not

1426
01:11:47,079 --> 01:11:50,439
the most enjoyable way to consume the show. And if

1427
01:11:50,479 --> 01:11:53,359
that is the only way to access it, anytime you

1428
01:11:53,399 --> 01:11:55,359
want to listen to something you have to go download

1429
01:11:55,359 --> 01:11:58,359
it to your device and save it for later consumption.

1430
01:11:59,159 --> 01:12:02,079
It's a huge inconvenience, it's a headache, and it's not

1431
01:12:02,479 --> 01:12:05,560
the most enjoyable way. So all of that to say,

1432
01:12:05,760 --> 01:12:08,319
I sympathize with your point here. I totally get it.

1433
01:12:08,840 --> 01:12:12,560
And it's another reason which I don't think I really

1434
01:12:13,319 --> 01:12:16,279
talked about all that much in the previous episodes where

1435
01:12:16,319 --> 01:12:19,720
we discussed this issue, but it is another reason, another

1436
01:12:19,800 --> 01:12:23,800
valid reason for having digital downloads available, so that people

1437
01:12:23,920 --> 01:12:26,960
can go purchase them, save them to their devices, and

1438
01:12:27,079 --> 01:12:31,960
listen to them wherever and whenever they want. Now, I said,

1439
01:12:32,039 --> 01:12:35,199
you know a moment ago about these rural areas in

1440
01:12:35,319 --> 01:12:38,760
Canada and the US not being the only places you

1441
01:12:38,840 --> 01:12:42,600
know around the world. Internet access is even less ubiquitous

1442
01:12:42,680 --> 01:12:46,239
than it is here in North America, so this would

1443
01:12:46,239 --> 01:12:50,199
be an even bigger issue elsewhere. Now, as I pointed out,

1444
01:12:50,319 --> 01:12:51,880
you know, English speakers are going to be the ones

1445
01:12:51,880 --> 01:12:56,159
who aren't going to be listening to Adventures Odyssey. However,

1446
01:12:56,760 --> 01:13:00,279
there are missionaries from North America around the world world

1447
01:13:00,359 --> 01:13:03,600
in other countries who are fans of Adventures and Odyssey.

1448
01:13:03,640 --> 01:13:06,840
We've heard them even on the official podcast. Sometimes they've

1449
01:13:07,119 --> 01:13:12,039
interviewed missionaries who are fans of the show. So again,

1450
01:13:12,600 --> 01:13:15,840
I sympathize with your position. I understand exactly where you're

1451
01:13:15,880 --> 01:13:18,479
coming from, Blake, and I'm sure you are not alone

1452
01:13:18,560 --> 01:13:23,119
in this, And yeah, I totally get that point. So

1453
01:13:23,920 --> 01:13:26,960
I would say to your main overall point here about

1454
01:13:27,800 --> 01:13:33,359
exclusivity in streaming for producers in general, I do think

1455
01:13:33,399 --> 01:13:36,720
it is important to have that other option of accessing

1456
01:13:36,960 --> 01:13:39,880
your content. If you're wanting to build an audience and

1457
01:13:40,159 --> 01:13:43,439
a following and super fans of your content. That's the

1458
01:13:43,520 --> 01:13:47,079
way you need to be able to have your content

1459
01:13:47,680 --> 01:13:51,159
easily accessible to people. So it is something to consider

1460
01:13:51,239 --> 01:13:55,520
for sure. And again, as I've said in the previous

1461
01:13:55,520 --> 01:13:58,840
episodes where we talked about this issue relating to AIO

1462
01:13:58,960 --> 01:14:01,479
in particular, if this is a concern that you have,

1463
01:14:01,760 --> 01:14:05,039
if this is a problem that you're facing, you've got

1464
01:14:05,079 --> 01:14:08,239
to let them know. They will take feedback into consideration.

1465
01:14:08,439 --> 01:14:11,720
So definitely reach out to Focus and let them know

1466
01:14:11,760 --> 01:14:13,880
what you think about this. But I thought it was

1467
01:14:13,920 --> 01:14:17,439
important to include this message because we hadn't really talked

1468
01:14:17,439 --> 01:14:20,920
about that side of the issue, so to speak, so far.

1469
01:14:21,159 --> 01:14:24,159
So thank you, Blake. And also Blake sent in another

1470
01:14:24,199 --> 01:14:28,119
email a very lengthy and detailed one about celebrity casting

1471
01:14:28,279 --> 01:14:31,439
in audio drama, which I think is a great discussion

1472
01:14:31,520 --> 01:14:34,359
to have as well. And I think it's going to

1473
01:14:34,439 --> 01:14:36,000
take a bit of time, so I want to get

1474
01:14:36,079 --> 01:14:40,760
some thoughts together and address it thoroughly, So thank you

1475
01:14:40,840 --> 01:14:43,520
Blake for sending in that email. I will be talking

1476
01:14:43,560 --> 01:14:46,520
about that in a future episode, but just didn't have

1477
01:14:46,640 --> 01:14:50,880
the time in this one. Well, thank you again to

1478
01:14:51,439 --> 01:14:54,760
Blake and Jeremy and Sarah for the feedback. Always great

1479
01:14:54,800 --> 01:14:58,439
to hear from you in the ATC community. Fans of

1480
01:14:58,560 --> 01:15:01,199
family friendly audio drama are such great people and it's

1481
01:15:01,239 --> 01:15:04,520
always a joy when you reach out to share your

1482
01:15:04,600 --> 01:15:07,680
thoughts on a show or this podcast with me, So

1483
01:15:07,800 --> 01:15:11,960
thank you very much. Well, be sure to if you

1484
01:15:12,039 --> 01:15:16,000
haven't already, join our email newsletter, the ATC Insiders. We'll

1485
01:15:16,039 --> 01:15:17,800
email you about the cool stuff that we're up to

1486
01:15:18,119 --> 01:15:20,880
in between episodes when we have something important to share.

1487
01:15:21,199 --> 01:15:23,199
It's very infrequent, but it is a great way to

1488
01:15:23,319 --> 01:15:26,279
be sure to have that direct connection with you, and

1489
01:15:26,920 --> 01:15:28,840
so be sure to do that. And if you'd like

1490
01:15:28,880 --> 01:15:31,399
to get in touch with us, Audio Theatercentral dot com

1491
01:15:31,560 --> 01:15:34,600
slash contact has all the ways to do that. Love

1492
01:15:34,680 --> 01:15:36,079
to hear from you. As I said a moment ago,

1493
01:15:36,560 --> 01:15:38,600
and the show notes for this episode with the links

1494
01:15:38,640 --> 01:15:41,680
to everything we talked about with Perry and Landon and

1495
01:15:41,920 --> 01:15:44,159
in the feedback segment, all of it is linked up

1496
01:15:44,239 --> 01:15:49,079
there at audiotheatercentral dot com slash two fourteen. I will

1497
01:15:49,119 --> 01:15:51,199
see you next time. Thank you so much for listening.

1498
01:15:58,159 --> 01:16:00,960
Audio Theater Central is a production of por Rchlight Family Media.

1499
01:16:01,279 --> 01:16:04,319
Our theme music was composed by Sam Avandanio. The show

1500
01:16:04,399 --> 01:16:07,079
is produced and edited by Yours truly JD. Sutter, and

1501
01:16:07,199 --> 01:16:09,640
our website is audio Theatercentral dot com.

1502
01:16:14,880 --> 01:16:19,039
Speaker 1: S Porklight Familymedia your source for family centered content

1503
01:16:19,680 --> 01:16:21,720
Speaker 2: S Portlightfamilymedia dot com