And how does your background in that world of distribution, how do you think it influences the way that you produce work?

I don't think I would have ever worked in scripted audio without that background because I was really curious about...

The proof of concept and the proof of concept beyond a short film that showed off how fantastic a director or cinematographer was, but the proof of the IP as a valid investment vehicle to then take that into a long form space on screen.

And it was such a beautiful contained way to actually have an audience experience an entire story arc in a way that you just don't get with a short.

And so my distro background is what took me into the scripted audio space of being quite curious about the pathway to audience there and going, oh, my gosh, we don't have to tell a 10-minute version of this four-hour story.

We can tell the four-hour story with incredible talent and tonally capture what it is we're setting out to do and then we own the IP at the end of that.

So I don't think I would have had that background and that background has continued to serve me in the screen work that I've done since then, the scripted work.

and so you said you got the funding three weeks before some butcher rack after three weeks after yeah okay three weeks after so can you talk about what the experience was like essentially producing these two very different formats kind of in an overlapping way