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00:02in that zoom the way he describes it you knocked his socks off he believed in you he did he
00:08was
00:08what Matthew and I believe that he is a risk taker though like this is a Matthew is he is
00:14willing to throw down on the careers and with the kinds of people that he believes in regardless of
00:20status regardless of how that's going to work out in his career he's not thinking like that he is
00:25just like he wants to connect to a story a character and a possibility and he he rolled
00:31the dice with me on this and I'm and I'm super grateful for it because now like you said we
00:36can't see the role with anybody else this is deadlines crew call live I'm your host Anthony
00:47D'Alessandro and our guest today is the director writer and producer of the rivals of Mziah King
00:54Andrew Patterson how are you good good glad to be here the movie from Black Bear stars Oscar winner
01:00Matthew McConaughey world premiere to a standing ovation at South by Southwest 2025 which is a rare
01:07thing to get at South by Southwest a standing ovation at the time of its world premiere the movie marked
01:15the live action return of McConaughey after a six year break from films to describe what rivals of
01:22Amziah King is doesn't tell the whole picture you have to see it to witness how groundbreaking it is
01:30in terms of being multi-genre and infusing music in a way that's on par to sinners Matthew McConaughey
01:37plays the title character a beekeeper in rural Oklahoma and his side gig is being part of a
01:43ragtag bluegrass band of misfits his foster daughter Kateri played by Angelina Looking Glass
01:50and her feature acting debut comes back into his life and the honey business and music gets
01:56significantly better until Amziah's rivals show themselves Andrew welcome again thank you before
02:05we talk about this fantastic film I want everyone to get to know you more so tell us about how
02:13you got
02:13into filmmaking okay and how that led to your first your feature film debut which which premiered on
02:20prime during COVID the vast of night yeah so I was I'm born raised still live in Oklahoma like maybe
02:2910 minutes north of Oklahoma City and and it was if it was a million miles away from any part
02:36of the
02:36industry that would still feel closer than it actually felt okay and I started to figure out
02:43that I had a proclivity for at least story when I was younger because I like to write and then
02:49by the
02:49time I was 16 I got a job as a projectionist and at the time that was 35 millimeter movies
02:56in megaplexes and multiplexes so you're talking about eight eight screens 20 screens I ended up working
03:02in a theater that had 24 screens so I would go in after you know school and I would thread
03:08up and start
03:0948 to 60 movies a night literally in my hands somewhere in there that was in the late 90s I
03:16I started
03:17to figure out that movies meant more to me than I than they had you know for other people and
03:24started
03:24to study them and then kind of just figured out one day that I wanted to be a director okay
03:30cool that's a
03:31statement but that's not an action plan there is no way I didn't have a way in there wasn't I
03:36didn't
03:36have a mentor there wasn't any kind of like film program there wasn't anything that taught me how
03:42to get there and so kind of in the the school of I would say like Robert Rodriguez there I
03:49did start to
03:50get access to video equipment in my early teens early 20s so this is getting to be 2001 2002 so
03:59this is you
03:59know a little while back and started to learn that initially my my proclivity was towards editing
04:05I was really better at editing than I was at anything to do with camera anything to do with
04:11writing and so I focused on that for a long time started a small commercial company the commercial
04:16company kind of grew and when I say commercial I'm not talking about Nike ads and and and you know
04:24anything of scale I'm talking about local businesses hiring me so I did that for a decade or so but
04:32at
04:32the same time was trying my hand at longer form but at movies that were 90 minutes two hours and
04:40and did
04:41did kind of get a few of them shot and and was not happy with the result a lot of
04:47times it was amateur it
04:49was with friends there wasn't anything and each time I would get done with one I would kind of you
04:54know take so long my skill set had advanced to the point where I wasn't going to release one of
04:58those
04:59so fast forward about a dozen years and I start getting bigger and bigger work the larger larger
05:04commercial scale stuff still trying to work on movies and in that window once the commercial work
05:11sort of started to take off I really focused on screenwriting that was it that was I mean it was
05:17screenwriting screenwriting storytelling screenwriting that was it and I and I I slammed out a couple of
05:23scripts in about mid-2015 and the second of which was this movie that I wrote called The Bastard Night
05:29I wrote it in 90 days I know that because I did it between Memorial Day and Labor Day of
05:342015
05:35and originally was planning on running out to shoot that thing with whatever funds I had at and at one
05:41point I was going to do it for a $20,000 budget and then I my commercial company would do
05:46a little
05:46better so I could raise the budget ended up you know over a year got some work that allowed me
05:51to
05:52do it closer to a million not a million but about 700,000 make that movie and work on it
06:00for about
06:00a year and send it to festivals and pretty much get rejected across the board like every every
06:06festival every every everyone that you would think would do it didn't didn't agree to bring it on
06:12okay so in the middle of that I write The Rivals of Mziah King 2018 yeah okay I write The
06:20Rivals of Mziah King
06:21about a girl who gets really frustrated at her situation in life and runs out and kind of
06:29exact some revenge because she doesn't have control over the situation she's in
06:34Kateri ends up being kind of the closest proxy for me of any character I've ever written believe it or
06:40not
06:40even though it's not from my point of view then on a whim I submit The Vast of Night to
06:47a festival
06:47called Slamdance which is a secondary kind of a you know a festival next to Sundance typically you know
06:55doesn't yield the kind of entryway into the film industry that that I ended up having although the
07:03first movies of Bong Joon-ho Sean Baker Chris Nolan um the Russo brothers all go through Slamdance
07:11believe it or not before before there's Memento there's Following well Following goes and plays at
07:16Slamdance so I'm kind of really proud of that heritage and that legacy I get that into Slamdance it comes
07:22out
07:23in the in the winter of 2019 and overnight everything changes for me I mean I mean the
07:31first first indication I knew that somebody was excited about my work was I'm starting to see an
07:37email about Steven Soderbergh has seen it he wants to meet with you his publicist is trying to get a
07:41hold of you how can we find you because I don't have social media um I don't I don't have
07:46an online
07:46presence there was no way to get a hold of me didn't have an agent didn't have a manager didn't
07:50have anything and people are like hey can you meet with him I'm like yeah for sure and he's he
07:54he finds
07:55me in the lobby of a hotel takes me next door sits me down he says I don't think you
07:59know what you did
07:59here and I'm like okay well I don't know what that means and he's like I got something for you
08:03a lot of people are going to have something for you do you are you open to something like that
08:06I'm
08:06like well let me read it I don't want to say yes just because I'm you know excited to work
08:10with you
08:11and he and I go on he sends me something I'm like man I think this is a bit bigger
08:15than I want to jump
08:16up to right now and that was that was a week after Slamdance that was very quick I ended up
08:21signing with an incredible agent at WME and then over the next few months my movie gets picked up
08:27it gets put into the the system in Amazon and at the time Amazon was doing um theatrical releases
08:33and and we're doing doing very well at theatrical releases they were winning Oscars with movies like
08:37Jason Ropel Bob Ernie and and Ted Hope and yeah Ted Hope and and Scott found us love this movie
08:44love this movie get it into their system we're gonna put it in theaters and then the theatrical
08:50window fell out because COVID hit got it and so in that window my movie went from being a theatrical
08:57to a streaming and then and then that's when sort of that's when everybody wanted to start meeting
09:03was right around you know May of 2020 so that's the quick version of how I got to you but
09:08yeah you
09:09also got a call from Steven Spielberg yes yes we we so that that was a very interesting extraordinary
09:17month where I went from a movie that was supposed to be in hundreds of theaters in May to we're
09:24pulling back we're gonna go to drive-ins they put it out in drive-ins which was really cool it
09:28played
09:28in a whole bunch of theaters all over America and then dropped on Prime and I start hearing rumblings that
09:34Amblin's got a hold of it oh Amblin's really liking it oh they're gonna they're gonna put in front of
09:38Steven all this other stuff I and I finally get a meeting with Amblin and at the time Jeb Brody's
09:45running Amblin and uh he's asking me normal questions about what do you want to do next
09:49or excited and then I see a blick come on and I see the two letters SS and Spielberg hops
09:56on and he
09:57goes okay the the line's been hacked you've been you've been I've taken over and he kind of jokes about
10:03it and I'm literally like okay this is this is not what I expected from this little movie and he
10:10goes
10:10on to basically say Andrew I'm excited about your career I'd love to work with you this movie was
10:16really exciting to me I've seen it twice on a big screen and and and basically just says what do
10:22you
10:22want to do next and then and then we talk for an hour and I'm like right now I just
10:26I want to make
10:27these small things and I'm excited to get them get them made and and this is the one I want
10:33I did I
10:33don't know if I brought up rivals but that was that was that meeting in summer 2020. So but what's
10:40interesting here is you had were there others I mean first of all were there others let's clear
10:46yeah did JJ oh yeah I've had two or three meetings with Bad Robot they just weren't they weren't directly
10:53with JJ but yes absolutely yeah so I'm trying to think yeah you pull a nick winding ref in like
11:00after he did Drive I guess so Sony the studios came calling I think Sony wanted him to do Spider
11:06-Man
11:07and he still will not do a Hollywood film and you remind me of that you also remind me of
11:14of link
11:14early link ladder yeah is that is that the career is that the trajectory I'm going on yeah look I've
11:19had
11:20I'm look I'm I cannot emphasize how blessed I feel uh-huh I cannot emphasize how grateful I am
11:27to have been doing commercial video work you know a decade ago funding a movie and then within a few
11:35years you know my team is like hey uh we got you a meeting with Tom Rothman and Sanford Panitch
11:41and
11:41so I'm just like okay this is cool and getting on a great call and Tom Rothman telling me how
11:47much
11:47you enjoy vast tonight and how they're excited about me and this and that and at the same time
11:50being like I still I kind of want to step up so it wasn't me saying and I mean I
11:55I can I could I can
11:56think I'm trying to not name drop but you're asking me at the same time I but I did yeah
12:02I met with every
12:02studio head I had the I would say even more than the the water bottle you know couch tour I
12:08really did
12:09feel and I've got some incredible opportunities um offered to me that just felt like they were going to be
12:16a bigger jump than I was ready to do just yet and that's where this movie I'm Ziya became kind
12:22of
12:22the thing I held to during all of that this is and and Matthew Matthew recognized this when he was
12:30giving the intro when he was giving the introduction at South by for the film this breaks a lot of
12:36form
12:36this this is multi-genre this is a musical without being a musical you had always seen it with musical
12:43numbers tell me how you how did this come to be like and it it it's the way you've woven
12:52it all
12:53together is very eloquent and I'm how did this all come to be what were your inspirations you're
12:59you're almost making me like like sweat I'm like I appreciate it but I'm also like because it's not
13:05it's not just you know yes it's a it's a crime thriller but it's not a crime thriller I I
13:12feel
13:13like I the the easiest answer the quickest answer is I I try to trust my gut I try to
13:19do I I tend to
13:21know I was describing this to a journalist say today he wanted to know about my writing process
13:25he wanted my creativity yeah and I was like okay the easiest way I can describe it is that I
13:30I write
13:31kind of a roadmap which is sort of you know all right we're gonna go here we're gonna turn here
13:35we're gonna we're gonna go straight again we're gonna make a right but the only way that a roadmap
13:39works to where you kind of you can go on some wild angles and detours is to know what's behind
13:46you
13:46sort of cinema history is back here so you have to have an incredible incredible you have to you
13:52have to been on the road for 20 or 30 years right get to know what's worked in the past
13:57you have
13:58to know if we go off-road here it's going to be okay you have to know that if a
14:02character doesn't
14:04do what you're expecting them to do on the roadmap you have ahead it's okay we've seen something work
14:09so I tend to look at film history and literature history opera music everything and and see how story
14:17works across across um across every genre and every type of storytelling um and and and trust my gut
14:28that we can do some things that maybe haven't been done before it's a tightrope walk it is a tightrope
14:34walk I will say and I I'm fine with that I would rather be walking a tightrope than you know
14:38something
14:39that is safer I'm glad that it works for you I don't know that everybody will love everything I do
14:45in every movie I make but I'm still willing to to try the thing that is maybe not been done
14:51as cinema
14:52but but has the potential to surprise and and disarm people that's the thing I want out of out of
14:59the
14:59movies that I put out okay talk about the inspiration of the Choctaw Nation of Oklahoma how and you know
15:09your how how because this is also part western yeah so I had worked in the commercial window when
15:17I was doing the the the all the stuff in Oklahoma for the various groups one of the groups that
15:22wanted
15:23that used my services was the Choctaw Nation of Oklahoma and I came down it's about two and a
15:29half hours from where I live southeast Oklahoma and I did a few projects sort of documentary things
15:35with um that were about teenagers and young people in the Choctaw Nation and became really impressed with
15:42the resolution and the personalities and and and honestly just the story of the Choctaw and I remember
15:49thinking at one point if I ever had the resources I'd love to do um some story from their point
15:55of
15:55view a revenge tale told the other way not a cowboy taking down the enemy which was the native community
16:04or
16:04the indigenous how about the other one how about what does it look like when a when a female
16:09you know loses when when a community yeah honestly it was it was I I don't want to like
16:14I don't want to dump on old movies but I was watching a movie called Red River where where at
16:20the
16:20very beginning the first scene of the movie John Wayne just shoots two um Latin American farmers and then
16:26just builds his ranch on top of the deaths of these guys and it's not happens the first 20 minutes
16:30and
16:30I remember thinking what if what if somebody turned that around what if the what if the daughter of
16:35one of those people that got shot got up on a horse and went after John Wayne I want to
16:40see that movie
16:41and so to me the Rivals Williams I King was sort of told from a perspective of how do we
16:45get a Native
16:46American female to the forefront of a story and that was that was a non-negotiable for me so this
16:52was
16:52always your backbone this part yeah this was always the the spine before Am Zaya the character existed
16:57the character of Kateri existed so then before we talk about Am Zaya who's a very I I feel like
17:06we
17:07know this guy sure we we've we've met him we know him you you really tap into how a community
17:14a small
17:14community helps itself that's a very beautiful thing in this movie um but the music of it all um
17:24how where did it to first of all when it comes to studios when it comes to a musical if
17:31you show
17:32they always even with Wicked they would not and and Wonka they will never market a movie as a musical
17:39because that immediately to to to a general moviegoer will will repel them yes Wicked fans know it's a
17:49musical but they what studios do to get the non-frequent moviegoers is they sort of trick them
17:55because they feel like they could trick them in and they get in and then they realize it's a musical
18:00then and they're fine with it they're cool with it at that point that's sort of the but here you've
18:05got this sublime bluegrass the way when I was telling people about this movie I said because this
18:11was seen before sinners that's the interesting thing that is true it was done before sinners it was
18:16yeah and I would tell people the way that sinners uses music I said that's what was already going
18:24on in Rivals of Amziah King yeah so weird weird can you talk about that like incorporating it
18:33I don't think all of its bluegrass I think bluegrass is the easiest description yeah and bison bison yeah is
18:40a very big like yeah they have the anchor theme song in that so tell us about how okay yeah
18:47so so
18:48it's so interesting you bring up sinners because Ryan Coogler got word of the fact that I was writing
18:53a movie about beekeeping and we we connected this is I don't know same same around the same time as
18:59when I was meeting with Spielberg and so on um and he he was he heard about it he wanted
19:05to know more
19:05about that movie and then I was meeting with him and his wife and he walked out of the frame
19:08and he went and
19:09grabbed a beekeeper for dummies book and showed me that he was he was trying to learn how to beekeep
19:14and so on um and of course so it's really interesting this is years ago and then we both kind
19:18of ended up
19:19making similar types of films on the same timeline yeah um so that was really cool but I had written
19:25the thing you know even before I'd ever had a conversation with the Brian and I think I got to
19:30page
19:30page two and had Amziah in you know essentially in a community leading you know his church in some
19:38kind of a song and then on page six I had him like pulling out a mandolin and putting bringing
19:45in you
19:46know different people and having them as basically using songs to get people to let their guard down
19:53and then after that it was sort of just a rampant thing where I thought oh yeah this is this
19:58happens in these
19:59communities and when I had I'll be honest when I had choice of projects I wanted to do next the
20:04thing that kept making me come back to this every time was I I've never seen a movie that utilized
20:11that fused the music with the narrative the way that I wanted to and I think that's what you're
20:16responding to it was always it was just always in the DNA where did where did you were you listening
20:23to bison during yeah when you were writing I knew that song for a few years it it often I'll
20:28be
20:28writing something quill is the song that that is the centerpiece of the movie that is the one that
20:33we use as a theme I'd done that song for maybe two years at that point before I before I
20:38implement it
20:39and the way that that works is a lot of times I'll write a scene and then I'll end up
20:44sleeping on it essentially like I'll rest for you know day or two I'll throw something on the page
20:49it's not the best thing I've ever written and and all of a sudden like after I'd written kind of
20:53a
20:53scene eventually quill came like knocking at me and was like I think I need to be in that scene
21:00I think I need to be in this movie and this is it's the best way I can describe it
21:05is it sort of came
21:05to me and that was when I was like okay these guys are gonna be musicians they're gonna be they're
21:10gonna
21:10be playing acoustic folk kind of rock anytime they can get together and I would be remiss if I didn't
21:17say that the movie the broken circle breakdown had a little bit of a effect on me in that era
21:22if you remember that okay Belgian movie about you know people playing music and connecting over it
21:28so they have a big inspiration for where the music came from on this um McConaughey oh man yeah did
21:37was he on your does this was the if you didn't get him would this movie still be made yeah
21:44okay yeah
21:45but he but but but it wouldn't be this movie right I I mean I see M Zion King and
21:53I see McConaughey and
21:54I think they're one in the same person um just in terms of all the positivity that we know that
22:00he
22:01emanates as as an actor off stage and off screen um how did it how did it come to be
22:09was he
22:10like did you write him in mind no no I mean I was still this is before I wrote the
22:16script before I
22:17ever had any connection to the film industry I was right to me it would have just been done with
22:21local SAG actors and yeah it wouldn't have been a movie star driven thing yeah it came together
22:27because I had I had had primary best and I did all right did well got into the brains of
22:34people um
22:36we had a few actors that were interested in the role McConaughey was not doing a lot and then he
22:41had a movie that he was signed up to do that didn't come together at the last minute and he
22:45was itching
22:46at that point to work and so at that point several of the the team that had that had taken
22:52this to
22:53other actors that were on their roster the agents had other actors available that we had talked to
22:58and got really excited about the role all of a sudden when when those actors didn't work out
23:02McConaughey were you at the same agency yeah got it yeah okay yeah I don't want I mean it's all
23:08it came together in the end in that zoom the way he describes it you knocked his socks off
23:13he believed in you he did he was what Matthew and I believe that he is a risk taker though
23:18like this is
23:19a Matthew is he is willing to throw down on the careers and with the kinds of people that he
23:28believes
23:28in regardless of status regardless of how that's going to work out in his career he's not thinking
23:33like that he is just like he wants to connect to a story a character and a possibility and he
23:39he
23:39rolled the dice with me on this and I'm and I'm super grateful for it because now like you said
23:44we
23:45can't see the role with anybody else I mean yeah I gotta think he read that and said I know
23:50that like
23:51he's I think the second sentence he said to me after we got clear on the zoom and everything came
23:56together he goes I know these people he's like I think you sent it to me because you knew I
24:00know
24:01these people but I do know these people and I was like yeah I know you do so the other
24:06thing I wanted
24:06to ask about was you've got a huge producer attached to them to this yeah in David Heyman who's behind
24:14the
24:14Harry Potter franchise and and now the forthcoming Bond how did that come to be was he one of the
24:20first
24:20people to board this before Matthew and and and basically helped you run this football David
24:28David got in very early in terms of seeing the movie um getting excited about me reaching out
24:36and becoming an advocate for me and and worked with me for a few years just on more or less
24:42navigating
24:43the film industry being patient understanding um you know just simple things about where and how
24:51you know where your confidence needs to be um where you're where you can be confident but be but you
24:57don't need bluster and he's British and so there was a lot of things I I gained just from listening
25:03to
25:03how he talked and and he he wanted that he challenged a lot of things in in the script that
25:09that I I wanted to
25:11explain to him why and how they were gonna look the way they were gonna look and and we we
25:16came to
25:16an understanding but he ended up becoming the the producer that was on before we even had a studio or
25:22McConaughey and then you have if there's someone who is moving you know auteur cinema forward it's Teddy
25:31Swartzman yeah at at Black Bear how did how did how did that connection come to be so we we
25:36came we came
25:38out with this script I don't know in 2020 I can't remember it's been a few years we took it
25:44out and
25:44then we we took it to a number of those groups that have that have decided they're here to make
25:51you know independent cinema and there was two at the end that ended up being available um that were
25:57excited about this movie at different stages and we we ended up putting the deal together with them I
26:04I had some people as actors that were interested in doing it so it was a pretty attractive
26:10thing um in terms of just what I had what I had to offer them with David with the heyday
26:15group with
26:16with the actors I had in in store for the movie and then just you know who who I was
26:22to the the
26:23industry I guess if that makes sense yeah and then we were off to the races and so it's become
26:30something now that it's done you can see all right I'm very appreciative of Black Bear and Teddy
26:37taking a risk on this because there aren't a lot of people that will and so I'm excited to see
26:44you know
26:45where this goes and if audiences will find the risk to be something that's rewarding to them
26:50how long did you shoot we shot for six five or six weeks yeah and then
26:56was it shot in Texas and Oklahoma it takes no no I wish it had been we wanted to do
27:02Oklahoma but
27:03you know a lot of the way these movies get put together is you have to get a tax incentive
27:07at the
27:07state level and we were unfortunately we we submitted to Oklahoma and they they didn't they
27:12didn't accept it I don't know why um we had a pretty good package put together and we were fully
27:17financed and they decided not to so we went to Alabama and they I think in like seven days they
27:23agreed to do it and wow I mean it was very quick so that system ended up working out really
27:28to our
27:28advantage Angelina Looking Glass who plays Kateri it's her first big screen role I think it's her first
27:37big screen small screen anything yeah and tell me about rolling the dice on someone you know it's
27:49on a performer's first time like this and getting everybody on board I mean clearly she's going you
27:56know I would assume you and David watch her uh do scenes against Matthew but but getting financiers and
28:03everybody on board talk about that yeah so she came in we had an incredible Native American
28:09casting director that found her and then we ended up I mean it took two or three loads of young
28:15women
28:15and I hadn't seen Kateri yet hadn't seen Kateri then I think the third load in the 150th range of
28:21auditions I saw this young lady and she had and then she had an intensity that I hadn't seen yet
28:28she had a
28:29control I hadn't seen yet what I do know is if you have control I can direct you you don't
28:36have to
28:36have experience you have to have control if I can't if you can't say your lines without your eyebrows
28:43moving if you can't read your lines without some kind of tick if you can't and this is actually I
28:50this
28:50was the same thing I used on the Vast of Night cast I watched for their control and their focus
28:56that's what she had and so we get her into the room after after I've worked with her for four
29:01or five hours in person one day this is three auditions in we finally get her to do a chemistry
29:05read with Matthew and that's when we we were convinced she could do it and she could hold her
29:11own and that she wouldn't just be drawn into his energy which is very large she would have her own
29:17and so that's how that's the quick answer of how we got from nobody all the way to this young
29:23lady who
29:24you know takes over the movie now there's a lot of bees in the movie it looks like everybody worked
29:31with real bees it does not look like it was cgi to me yeah no it's not cgi yeah no
29:38I mean like I
29:38mean like the whole thing is we we had I knew from doing some documentary work and doing some other
29:44doing tests on this movie we could pull this off don't get me wrong that's easy to say before you
29:49have
29:50a movie star of mcconaughey's caliber coming into a movie it's really easy to be like hey we're gonna
29:54we're gonna have you pull a queen from the hive and go sit over here and then they're gonna they're
29:59gonna follow you and it's gonna take 40 minutes but your arm's gonna be covered that's really easy to
30:04say to pull that off is a completely different that's that's another challenge and so I at one point
30:11he got stung pretty bad in the prep to the point where he it was kind of a mild sting
30:17in his forehead
30:18and over an hour to his eye swelled shut and at that point everybody was like no bees no this
30:23is we're
30:23absolutely not doing this and so we all had a bunker meeting all the producers financiers everybody and
30:30I I said guys this is this is not the movie I signed up to make I'm not gonna make
30:37a movie with a
30:38bunch of cartoon bees yeah so we ended up I think they figured out what I did but but maybe
30:46not we
30:47ended up shooting a scene day one that was empty of everything and I used that as sort of my
30:51cover
30:52then on the last day with mcconaughey we we drove everybody out to the same spot and we reshot the
30:59thing with all the real bees so that if he got stung he could end up did the same thing
31:04with angelina
31:04looking glass we shot an empty one with nothing as kind of a cover and on the last day we
31:11took her
31:11out and we covered her in bees and it worked and I'm very grateful that we were we were savvy
31:17enough
31:17to figure out how to do that but yeah they're all real the director writer and producer of the rivals
31:22of
31:23amziah king andrew patterson thank you the black bear theatrical release comes out on august 14th
31:30this has been deadlines crew call live I'm anthony delisandre
31:35thanks for listening to this episode of the crew call podcast on deadline make sure you subscribe to
31:46us on apple podcasts spotify or wherever you get your podcasts so you never miss an episode
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