Speaker 1: Oh jis boat. It's showtime. People pay good money to
Speaker 1: see this movie.
Speaker 2: When they go out to a theater. They want cold sodas,
Speaker 2: hot popcorn in no monsters in the protection booth.
Speaker 1: Everyone pretend podcasting isn't boring.
Speaker 3: Cut it off. The whole to me was a woitch hunt,
Speaker 3: and it was a joke. You know, it's a cliche,
Speaker 3: mind blowing, but that's what it was. I said, that's
Speaker 3: the damnedest.
Speaker 2: Thing I've ever seen in my forest service career.
Speaker 3: I've never seen anything like that. What in the world is.
Speaker 2: Going on.
Speaker 1: When you start out on any case, you don't know
Speaker 1: where you're going to wind up or if you're going
Speaker 1: to solve it.
Speaker 2: Had to do it the mountain.
Speaker 1: It's Mount Shasta. You can't keep anything a secret in
Speaker 1: Mount Shasta.
Speaker 2: Dude, you're famous, famous.
Speaker 3: Yeah.
Speaker 2: The FBI is here, the US Pharmas Service are here.
Speaker 2: They want to talk to you about digging a hole.
Speaker 2: They kind of think you did it.
Speaker 1: They were trying to plan something like what's going on?
Speaker 1: Like if I got myself into something, what happens when
Speaker 1: we find it?
Speaker 3: Whoever was digging this whole, whatever reason they might have had,
Speaker 3: all of this crazy surrounding all of the theories. That's
Speaker 3: all part of it. And when people don't have, you know,
Speaker 3: any facts to work from, you know that just slaves
Speaker 3: a hole that can be filled in with anything.
Speaker 2: Hey, folks, welcome to a special episode of the Projection Booth.
Speaker 2: On this episode, I'm talking with Elijah Sullivan. He is
Speaker 2: the writer, director, producer of The Whole Story That's hol E.
Speaker 2: It is a documentary about a hole, a giant hole
Speaker 2: that was found right by Mount Shasta. We talk a
Speaker 2: lot about Mount Shasta and the atmosphere around that place,
Speaker 2: as well as this whole and how he came to
Speaker 2: make a documentary his first feature length film, and had
Speaker 2: a wonderful time watching it. I believe that you might
Speaker 2: be able to see it at the slam Dance Channel
Speaker 2: site slam Dance channel dot com. But yeah, definitely track
Speaker 2: it down and check it out. I think you will
Speaker 2: have a great time. Thanks so much for listening, and
Speaker 2: I hope you enjoyed the interview. Tell me a little
Speaker 2: bit about you before you even got into filmmaking, or
Speaker 2: how did you decide to get into filmmaking.
Speaker 1: Oh, I'm one of those folks who knew I wanted
Speaker 1: to do this when I was maybe fourteen something like that.
Speaker 1: I'd always been the creative create, not in a self
Speaker 1: congratulatory way, but like I was always interested in the arts,
Speaker 1: and it was more like the dabbling went in the
Speaker 1: other direction, like maybe I should try something practical, and
Speaker 1: kept getting detoured and would have to come back and
Speaker 1: be like, no, I'm not good at anything else. I
Speaker 1: don't want to anything else. In fact, when I first
Speaker 1: heard about this specific story, my initial instinct around it,
Speaker 1: as silly as it sounds, was maybe I could turn
Speaker 1: this into a newspaper article and get a job at
Speaker 1: the paper, because at the time I was trying to
Speaker 1: do journalism. How long ago was that that you heard
Speaker 1: about this, Oh, it was twenty twelve, a little bit ago.
Speaker 1: It was a little bit ago. It took a long
Speaker 1: time to get the I thought when I decided to
Speaker 1: make this into a documentary, I thought, this takes place
Speaker 1: literally up the street from my house. It's a community
Speaker 1: of thirty five hundred people. I know some of the
Speaker 1: people involved already. This shouldn't take too long.
Speaker 2: Famous last words, all right, So when did you decide, Okay,
Speaker 2: I am going to make this a movie. I'm going
Speaker 2: to make this a documentary.
Speaker 1: It was probably a couple of years later, I think,
Speaker 1: when I started digging into asking around, assuming that it
Speaker 1: would be easy to solve this mystery, and meeting some
Speaker 1: initial resistance. Then I went out, does that mean that
Speaker 1: the craziest version of this story that I heard is true?
Speaker 1: Is that why people aren't hesitant to speak about it?
Speaker 1: And it took a couple of years and then I'm
Speaker 1: not sure which year this was, I imagine it was
Speaker 1: maybe twenty fifteen. I distinctly remember a specific day where
Speaker 1: I was lying in bed for just waking up thinking
Speaker 1: about that it was a really good story and the
Speaker 1: folks who were telling me that I should make a
Speaker 1: documentary about it were correct? And why was I hesitating
Speaker 1: to make it myself? Because when I thought about anybody
Speaker 1: else making it, I was not only a little bit jealous,
Speaker 1: but I went, they're gonna mess it up. I may
Speaker 1: not know how to make a movie yet, but I've
Speaker 1: seen all of that. Whenever Mount Shasta turns up in media,
Speaker 1: it's always something like ancient Aliens or something like that,
Speaker 1: which is really fun, but it's one specific take on
Speaker 1: the subject. And I knew I wanted to see something
Speaker 1: that was a different take. Mount shast has been in
Speaker 1: the media and various different TV shows and books, and
Speaker 1: it has its own little niche in pop culture, and
Speaker 1: it's usually presented in one of two ways. One is
Speaker 1: what I would call overly credulous things like ancient aliens,
Speaker 1: where every single theory is true, all the most bizarre stuff,
Speaker 1: Bigfoot is abducting and eating people, like the crazy, most
Speaker 1: sensationalistic stuff. And also just basically overcredulously repeating things that
Speaker 1: I would consider material out of like cult propaganda Pamphletskay,
Speaker 1: maybe we shouldn't promote that too loudly, because I see
Speaker 1: where that pipeline ends. When I bump into these people
Speaker 1: on the street. I'm all her people practicing any religion
Speaker 1: they want. But I think when it comes to this
Speaker 1: specific type of cultural scenario we have in Mount Shasta,
Speaker 1: I would put a buyableware thing, a couple stuff just
Speaker 1: to be like, just see, you know these folks over here,
Speaker 1: These people are pretty nice. There's a couple of things
Speaker 1: you might want to know about these people. And then
Speaker 1: the other end of the spectrum is the people who
Speaker 1: are maybe excessively incredulous, where they say, oh, look, people
Speaker 1: with funny hats and point and laugh, and it's low
Speaker 1: hanging fruit of laughing at people for their spiritual beliefs
Speaker 1: and not taking them seriously as human beings and just
Speaker 1: taking that one dimensional approach. Whereas I grew up around
Speaker 1: these folks, and I know that a lot of the
Speaker 1: time is just totally regular people. I'd be working at
Speaker 1: a video store and chatting with them, and they might
Speaker 1: be somebody's parents, and you might not realize that they're
Speaker 1: into something. Lou and they're lovely folks and they don't
Speaker 1: come across as crazy, and it's not helpful to say, oh,
Speaker 1: the reason that somebody ends up in a cult is
Speaker 1: because they already like funny hats. That's not insightful, that's
Speaker 1: not interesting, that's not humanistic at all. Growing up in
Speaker 1: that situation, I had parents who were called to the
Speaker 1: mountain quote unquote spiritually, which was something that I obviously
Speaker 1: love my parents, and I don't consider them crazy. So
Speaker 1: it's always been an open question to me, like, why
Speaker 1: is what's going on? I'm agnostic myself, so I never understood,
Speaker 1: and so I think I've always been interested in trying
Speaker 1: to find a story to tell that would include some
Speaker 1: of these elements where it's in the background of this documentary.
Speaker 1: Is it is any of this real? And to what degree?
Speaker 2: I'm obviously not from northern California. So what is it
Speaker 2: about this particular place? Is that the mountain itself? Is
Speaker 2: that the area itself? What is it that attracts this
Speaker 2: attention and has these groups spring up around it?
Speaker 1: There are probably a few different answers that you could
Speaker 1: get to that question. The answer that locals would give
Speaker 1: is that it's the mountain itself is a spiritual place,
Speaker 1: has a shangri law kind of atmosphere. It's been chosen
Speaker 1: as a place of residence for spiritual beings for thousands
Speaker 1: of years, and they are actively putting their tendrils out
Speaker 1: and drawing spiritual people there to create a community. And
Speaker 1: so people feel called to the mountain and feel like
Speaker 1: it's a spiritual place where they're meant to gather. And
Speaker 1: so even though it's a small community, there's a pretty
Speaker 1: large contingent of folks there who are there for spiritual
Speaker 1: purposes and are building a community. It's not all one
Speaker 1: spiritual group, it's it's a cluster of many similar groups
Speaker 1: with overlapping beliefs. But there's a huge amount of diversity
Speaker 1: inside of it. Answer might be because it's a destination
Speaker 1: already for outdoor activities. It's a popular ski destination. Skiing's
Speaker 1: amazing apparently ilt ski, and it's a beautiful, a very
Speaker 1: striking mountain. You do feel a sense of awe when
Speaker 1: you're standing in front of it. It can immediately put you
Speaker 1: in a maybe a receptive state to think that maybe
Speaker 1: something special is happening here because it's so imposing visually,
Speaker 1: and I imagine that has something to do with it
Speaker 1: as well. And I think the last answer would be
Speaker 1: because some of those things already had some traction. It
Speaker 1: gets fed a lot by the Chamber of commerce, anybody
Speaker 1: looking to drum up tourism and people. When the logging
Speaker 1: and mining industries dried up around there, people had to
Speaker 1: turn to something, so they turned to tourism and then
Speaker 1: also spiritual tourism, where it's turned into oh, you want
Speaker 1: to come meet the descended bastards who live in the mountain.
Speaker 1: I can take you to a spot where you can
Speaker 1: try to find one of the entrances to the mountain
Speaker 1: and we'll stand there and meditate. And it's three hundred dollars.
Speaker 1: Some people are just hustling to make some money. Some
Speaker 1: can ride that line where they're doing it and keep
Speaker 1: one foot in spirituality and being an ethical person and
Speaker 1: getting permits and things like that. Some folks are pretty firebleware.
Speaker 2: So walk me through your process when you decide, Okay,
Speaker 2: this is going to be my project. I'm going to
Speaker 2: make this documentary because you go down a lot of paths,
Speaker 2: and I just want to know, like, how do you
Speaker 2: mentally prepare for that to how do you pursue these things?
Speaker 2: Or do you say this is the path I'm going
Speaker 2: to go down. You start down that and then suddenly
Speaker 2: you start to veer off this.
Speaker 1: Story And kind of thought about it for a little while.
Speaker 1: I realized, this is a through line, more of a
Speaker 1: through line than if I just made a documentary about
Speaker 1: the people who live here. Right then, I have no
Speaker 1: cohesion at all. I could get lost going down all
Speaker 1: the different rabbit holes. So I knew I had this mystery.
Speaker 1: We found a giant hole on Mount Shasta. It was
Speaker 1: dug by hand. Somebody was looking for something. Is this
Speaker 1: a story of obsession? Is this something sinister with somebody
Speaker 1: looking for something specific for nefarious reasons, was this just
Speaker 1: a garden variety mining fraud thing, So that at least
Speaker 1: narrowed down the Mount Shasta, all the different colors of
Speaker 1: what was going on there down to a specific track
Speaker 1: that I could go down, or at least I narrowed
Speaker 1: down the tracks that I could go down. But then
Speaker 1: when it came to making the movie myself, I didn't
Speaker 1: have any money. I was the director, as a writer,
Speaker 1: as a producer. I was doing the research and the
Speaker 1: editing and most of the cinematography and things like that.
Speaker 1: I honestly was going in every direction at once. And
Speaker 1: because I had never made a movie any larger than
Speaker 1: a several minute long experimental short, I did everything wrong
Speaker 1: the first time, and I probably did everything wrong the
Speaker 1: second and third, and fourth and fifth time. There are
Speaker 1: shots in that movie. A lot of the interviews are
Speaker 1: my second take at at interviewing that person, and there
Speaker 1: are shots in that movie that took you know. I
Speaker 1: just want to get a specific lenticular cloud that looks
Speaker 1: like a UFO that appears near Mount Shast and that's
Speaker 1: one of the things that kind of ties the UFO
Speaker 1: culture into the Mount Shasta culture. I spent years waiting
Speaker 1: for the perfect lenticular cloud. There are shots in the
Speaker 1: movie where I spent three days just making sure that
Speaker 1: I had the right lens on the camera, with the
Speaker 1: track laid in the right place, and the light the
Speaker 1: sunlight would fall right on the trail that I needed
Speaker 1: people's eyes to go to, and I just waited. And
Speaker 1: sometimes I had to wait a long time for interviews.
Speaker 1: There was one interview in the film that took seven
Speaker 1: years to get. I just had to wait, And so
Speaker 1: in the meantime, I would I just had a long
Speaker 1: to do list, and I would go, which one of
Speaker 1: these can I do today? And I'd go all the
Speaker 1: way down the list until I ran out of things
Speaker 1: to do, phone calls, to make emails, to write, And
Speaker 1: then if there was still any daylight left, I'd be like,
Speaker 1: the light's nice, it's Karen's Malick. This in just in
Speaker 1: the last forty five minutes of each day. When the
Speaker 1: light is nice, go get two shots. And what was
Speaker 1: it twenty four or something when I maybe shot the
Speaker 1: last footage in the fall, Oh my goodness. It was
Speaker 1: a long process.
Speaker 2: And you're working a full time job at the same time.
Speaker 1: I ticket, Oh, yeah, No. There were times when I
Speaker 1: was working five jobs at one point. I don't think
Speaker 1: I got very much done for about thirteen months because
Speaker 1: I was running a public access television studio. When I started,
Speaker 1: I was working at a video store for the first
Speaker 1: two years as a video store clerk, and that was
Speaker 1: actually very helpful. I actually made a lot of connections,
Speaker 1: found a lot of people through that.
Speaker 2: I don't want to be too nerdy, but there are
Speaker 2: two shots that I want to talk about in particular,
Speaker 2: or two types of things, the Russhot test, the mirroring
Speaker 2: of things. Were you doing that in camera or was
Speaker 2: that all post Oh I.
Speaker 1: Wish I had done that in camera. That would have
Speaker 1: been fun to have done in camera. I honestly hadn't
Speaker 1: thought of it at first. I knew that was an
Speaker 1: element of the story, but I was dealing with it
Speaker 1: more like coming from the direction of I knew that
Speaker 1: people were already psychologically projecting onto the mountain, that people
Speaker 1: were obviously projecting a lot of positive things onto the mountain, right, spirituality,
Speaker 1: things like that, And then I thought, with the whole
Speaker 1: but it's out of balance where people mostly talk about
Speaker 1: the fun, beautiful, spiritual, groovy things about the mountain and
Speaker 1: not the dark sides. So then we have this hole
Speaker 1: where people started projecting onto that, and it tended to
Speaker 1: be all of the darker things about the mountain that
Speaker 1: you know, like the four service people saying, ah, I
Speaker 1: think this might be mining fraud, or somebody being like,
Speaker 1: I think that this was like a cult up to
Speaker 1: something creepy, and I went, okay, so we're going to
Speaker 1: get both by just examining this image. But then one
Speaker 1: of my friends said, with like a rorshack test you've
Speaker 1: got and I said, yeah, that came up in interviews,
Speaker 1: but I cut it and he said why did you
Speaker 1: cut it? And I said I didn't want to be
Speaker 1: too on the nose. I just wanted to let it
Speaker 1: be that he said, you got to put a scene
Speaker 1: in there. Said okay, and I thought about it, and
Speaker 1: at some point I came up with the idea of
Speaker 1: mirroring one shot and it was pretty odd, honestly, pretty
Speaker 1: simple effect that I just dragged and dropped on it
Speaker 1: and devincu resolved. That's another thing. I edited this on
Speaker 1: a twenty thirteen Mac with Devinci Resolve fifteen the free version.
Speaker 1: I had my hands tied in a lot of ways
Speaker 1: on this project, but Luckily it had this effect on it,
Speaker 1: and I went, oh, that's cool, and then I get
Speaker 1: a few shots that way. It probably took about forty
Speaker 1: five minutes to do that. That's one of the only
Speaker 1: scenes in the movie that maybe I did one version
Speaker 1: of it in forty five minutes and then didn't change.
Speaker 1: I went okay, And I actually still debated putting that
Speaker 1: in the movie. I still go, is this two on
Speaker 1: the nose? But everybody responds to it so well.
Speaker 2: I totally responded to it. I thought I was great,
Speaker 2: and I don't think that you overuse it. I think
Speaker 2: it's just a nice spice that you throw in there
Speaker 2: at the right time.
Speaker 1: That's what I tried for. Great. Thank you.
Speaker 2: The other thing, obviously, this movie is called The Whole Story,
Speaker 2: so you're going to be thinking about that whole the
Speaker 2: whole time. Sorry for the pun, but how do you
Speaker 2: get the shots of the whole? They talk at the
Speaker 2: very beginning about the whole being filled in? So how
Speaker 2: do you get these shots? How are you doing that? Oh?
Speaker 1: Yeah, so none of those. It's too bad. I was
Speaker 1: never able to photograph it because, as you say, it
Speaker 1: got filled in within a few weeks or months, depending
Speaker 1: on who you ask, And I was never able to
Speaker 1: photograph it myself, so everything in the film is based
Speaker 1: on a photograph that somebody took, and I had to
Speaker 1: just get creative with putting pain and zooms and things
Speaker 1: on things. As much as I like experimental films and
Speaker 1: stuff like that, I went back to nuts and bolts
Speaker 1: ken burns, how does he get so much emotion out
Speaker 1: of an old photograph with a little bit of painting
Speaker 1: and zooming and some voiceover and some music, and just
Speaker 1: being like, I just need to keep this, keep our
Speaker 1: eye moving, keep the mesmerism going, keep the interest going.
Speaker 1: And I've gotten that note a couple of times from folks.
Speaker 1: You didn't realize that none of those were video, and
Speaker 1: I went, oh wow, I have no objectivity left on
Speaker 1: this movie. I've been editing it so long, and of
Speaker 1: course it's hard to be objective in any situation ever anyway,
Speaker 1: if not impossible, And at this point, I'm just shocked
Speaker 1: that anybody says something like that. I still cringe when
Speaker 1: I see those.
Speaker 2: I bought into it one hundred percent of Climb and Cinker,
Speaker 2: So yeah, I thought that was a recreation of some
Speaker 2: sort or some sort of double plane where it's here's
Speaker 2: the bottom of the hole, and here's the time that
Speaker 2: you were doing this. In some sort of weird post effect,
Speaker 2: I'm like, yeah, and I'm looking at this stuff in
Speaker 2: the hole and thinking about what the scale of it is.
Speaker 2: Because they talk about how it looked like a bucket
Speaker 2: that was actually this huge garbage can. I'm like, okay, yeah, no,
Speaker 2: I bought into it. And I can really see your
Speaker 2: experimental film background in so much of it, like the
Speaker 2: Worshock test, but really even just those moments of quiet
Speaker 2: where you're looking at the wildflowers and talking about how
Speaker 2: long it takes for the wildflowers to come back, and
Speaker 2: just it's such a beautifully shot film.
Speaker 1: Oh, thank you so much. Yeah, I really spent a
Speaker 1: long time on it. It was a dream project in
Speaker 1: so many ways of that it really tied into something
Speaker 1: like I said that I've been deeply interested in my
Speaker 1: entire life. Even though I'm not in the film, it's
Speaker 1: a very personal movie for me, and I got to
Speaker 1: do things like what I used to do when I
Speaker 1: was a kid, would go out with a camera and
Speaker 1: just photograph things. It was the subject of what I loved,
Speaker 1: my community and the area, I could spend so much
Speaker 1: time in nature, and I could take my time with
Speaker 1: the editing. I just had such a great time with
Speaker 1: it in so many ways. And then of course the story.
Speaker 1: Stories like this don't come along very often for me.
Speaker 1: It was like I knew I was hooked, and everybody
Speaker 1: I talked to about it immediately got hooked. Every time
Speaker 1: they had asked me, what's up with the whole of
Speaker 1: you found any more information? Is that people actually want
Speaker 1: to see this, and nobody's ever wanted to see one
Speaker 1: of my movies before.
Speaker 2: When you do a good job of leading us down
Speaker 2: a path and then pulling the rug out, and then
Speaker 2: leading us down another path and doing the same thing,
Speaker 2: and it was done so masterfully that I was not
Speaker 2: angry at you. I was just like, oh, he got
Speaker 2: me again. All right, now let's do another thing. And
Speaker 2: you're presenting all of these ideas like this could be
Speaker 2: true or this, and I just I love that that.
Speaker 2: Too many times Hollywood movies are just like, no, you
Speaker 2: always need to find the truth. Maybe in the last
Speaker 2: five minutes, we'll do a little twist and show you
Speaker 2: who Kaiser show as I really was. But no, I
Speaker 2: love that I can hold different ideas in my head.
Speaker 1: Yeah, I wasn't. I didn't want to do the usual
Speaker 1: suspects approach. But one film that I really studied, like
Speaker 1: literally shot by shot, was Picnicked Hanging Rock. It's a
Speaker 1: beautiful story about a mystery at a geological location, and
Speaker 1: I don't want to spoil it for anybody, but I
Speaker 1: really studied how much story could they create with a
Speaker 1: minimum amount of exposition and execute an ending that should
Speaker 1: theoretically really upset people, but it is really emotionally satisfying.
Speaker 1: I love that film so much. That was probably one
Speaker 1: of the ones that was the most influenced by I.
Speaker 1: Not that I could come anywhere close to that film, but.
Speaker 2: Obviously you don't have the same cinematographer as Peter Weird
Speaker 2: did or anything. But it's you out there with the
Speaker 2: camera alone. Rather than I would not even ask you
Speaker 2: about your crew because I imagine it's you, it was me.
Speaker 1: Most of the time. I did have help. My brother
Speaker 1: did the score. My friend Audie Carlisle, who's a wonderful
Speaker 1: documentary filmmaker her self, helped me with a few of
Speaker 1: the interviews. I think about twenty minutes of the film
Speaker 1: is her, but it's mostly the talking head stuff. But
Speaker 1: that's great because I could delegate some of those interviews
Speaker 1: in there. Like the guy who's most of the last
Speaker 1: thirty minutes of the film. I had to shoot that
Speaker 1: an hour and a half as he was passing through town,
Speaker 1: and all the stuff in the hotel room that was
Speaker 1: done that night, all the stuff with him up on
Speaker 1: the mountain that was in like forty five minutes after
Speaker 1: the interviews. It took twelve thirteen years to make the movie,
Speaker 1: but there's like a twenty something minute section of the
Speaker 1: movie that was shot in twenty two hours.
Speaker 2: Was he the one that you had to wait all
Speaker 2: those years to get?
Speaker 1: No, he found me.
Speaker 3: Yeah.
Speaker 1: I was about to give up on finding one of
Speaker 1: the diggers, and he popped up in my chat while
Speaker 1: I was chatting with somebody saying I think I'm about
Speaker 1: to give up, and this other chat pops up and
Speaker 1: this guy says, I have a story to tell you.
Speaker 1: And then even greater luck because he had moved away.
Speaker 1: He was passing through town like the next spring, and
Speaker 1: I had a couple hours with him. I got lucky.
Speaker 1: If so many things hadn't gone perfectly, I would not
Speaker 1: be here. I pinched myself every day.
Speaker 2: Well, and it's just so remarkably to me that this
Speaker 2: is your first feature length film and that you're in
Speaker 2: slam Dance, and it's just it's such a compelling and
Speaker 2: beautifully shot. I'm sorry I keep saying that, but it
Speaker 2: just looks so good, and like I said, it just
Speaker 2: keeps you on the edge of your seat the whole time.
Speaker 1: Thank you so much. Yeah, I did want to make
Speaker 1: it a little bit accessible this time, and I was
Speaker 1: worried about, like you said, the rug polls, but then
Speaker 1: I went, that's what happens to each thing, even if
Speaker 1: I want, I couldn't answer those if I wanted to,
Speaker 1: so I just had to make sure that it was
Speaker 1: of a piece of where I said, this is built
Speaker 1: into the story we're gonna And people kept trying to
Speaker 1: talk me into intercutting things, and I said, the approach
Speaker 1: of getting into somebody's story and forgetting that we left
Speaker 1: the last thing dangling and getting sucked into their story
Speaker 1: and then getting spat out the other end, going wait
Speaker 1: a minute, what and then going into the next thing,
Speaker 1: and trying to just get people into one person headspace
Speaker 1: one after the other and then hope that it added
Speaker 1: up to more than the some of his parts at
Speaker 1: the end.
Speaker 2: Have you seen this with an audience yet?
Speaker 1: I showed it to a local film festival in Sisku County,
Speaker 1: so they're just a handful of people in there, none
Speaker 1: of whom I think heard about this. And this is
Speaker 1: before I knew I'd gotten into slam dance. Otherwise I
Speaker 1: might have waited for him premier status. Although it was
Speaker 1: nice to show it for the first time in the county,
Speaker 1: and I don't think they knew what they were about
Speaker 1: to see, and they had a lot of questions. P
Speaker 1: I'm really curious to play it in the city of
Speaker 1: Mount Shasta. I played it about forty five minutes away.
Speaker 1: I'm really curious to see how this will play it
Speaker 1: to an audience in Mount Shasta. Am I gonna have
Speaker 1: to what's the film? Was it a Boonwell film or
Speaker 1: win war film? Where he he was like sticking rocks
Speaker 1: in his pockets as he went in there and somebody
Speaker 1: tried to light the screen on fire. I hope it's
Speaker 1: not one of those, but there are gonna be some
Speaker 1: people who are upset. I think they might be.
Speaker 2: Upset, but that I'm also curious to hear if you
Speaker 2: get follow up as far as people saying I know
Speaker 2: the real story and coming up to you afterwards.
Speaker 1: Even on the day that I was as I was
Speaker 1: sitting there exporting the movie for slam Dance, somebody slimmed
Speaker 1: to my DMS and said, hey, I know the people
Speaker 1: who dug the hole and gave me a lot of
Speaker 1: information that nobody should have known unless they were an insider.
Speaker 1: But then a completely different explanation of who did it
Speaker 1: or why, And they were very much these people have
Speaker 1: guns and they're serious and you need to be careful.
Speaker 1: And she was like, I haven't shown this anybody, right,
Speaker 1: And I'm like, I'm sporting to slam Dance. I mean,
Speaker 1: he's screaming this in LA for the Oh I hope
Speaker 1: it's not like the Russian mob or something.
Speaker 2: Well, it's the people that were taking those dinosaur eggs
Speaker 2: out of the hole.
Speaker 1: Right, Yeah, that's all it was. They were just some
Speaker 1: it's in or something.
Speaker 2: I did their call John Hammond, Yeah.
Speaker 1: Yeah, oh, I hope. So those would be the cuddliest
Speaker 1: people that actually know. I think the people who did
Speaker 1: this probably, I don't think they were a bunch of
Speaker 1: crazy Ukrainians with machine guns?
Speaker 3: Who did it?
Speaker 1: That was like? Or no? Checkloads of Awkians? Anyway, I've
Speaker 1: lost count of how many different versions of the story
Speaker 1: that I've heard and how many different nightmares I've had
Speaker 1: about it.
Speaker 2: Is there a good place for people to keep up
Speaker 2: with the movie online so we can actually hear if
Speaker 2: it's going to play other places or once it comes
Speaker 2: out on streaming or Blu ray or any of that.
Speaker 1: Yeah, you can follow me on Instagram and on Facebook
Speaker 1: and things like that. I'm not super active on social media,
Speaker 1: but I'm trying to learn.
Speaker 2: I am so excited for you to have your premiere,
Speaker 2: and I hope that other people click with this movie
Speaker 2: as much as I did. And I really appreciate you
Speaker 2: sending this my way.
Speaker 1: Oh really, I thank you so much for saying that.
Speaker 1: I'm glad you enjoyed it. Thank you so much.
Speaker 2: Of course, do you have your next project picked out?
Speaker 2: Any other mysteries you're going to tackle?
Speaker 1: Am I ever going to find another mystery like this?
Speaker 1: I'm worried that I just peaked. I do have other ideas.
Speaker 1: I do have other stuff kicking around, a couple of
Speaker 1: feature dok ideas and a couple of narrative features. I
Speaker 1: guess it's going to be a bake off, but am
Speaker 1: I ever going to find another thing that is obsessed
Speaker 1: about with this? I feel like I'm gonna go into
Speaker 1: withdrawal when this is over.
Speaker 2: Elijah, thank you so much for your time. This is
Speaker 2: great connecting with you.
Speaker 1: Likewise, Thank you so much. Thanks, thanks stops t E
Speaker 1: exactly