What happens when an automobile industry manager with a love for photography stumbles upon filmmaking? This podcast brings you the fascinating journey of Bill Howard, who swapped car engines for camera lenses and embarked on an unconventional path to become a filmmaker. This episode isn't just about Bill's career transition, it's about his deep-rooted passion for storytelling and the inspiration he found in the film "500 Days of Summer."
From the automotive world to venturing into the world of photography and filmmaking, Bill's journey is nothing short of amazing. Our conversation delves into his experience of writing an outdoors column for newspapers, which ignited his love for photography. We further explore his transition into full-time photography, the creation of his YouTube channel, and producing a feature-length film on a shoestring budget.
But it doesn't stop there. We also delve into Bill's artistic pursuits and his aspirations for his work. His profound interpretation of Tom's character in "500 Days of Summer" and its portrayal of relationships is a testament to the power of creative vision. Join us as we unravel Bill's hopes for his work to leave a lasting legacy, and how he uses film to capture life's precious moments and create conversation pieces for the future. This episode is all about the fascinating intersection of passion, creativity, and legacy.
What happens when an automobile industry manager with a love for photography stumbles upon filmmaking? This podcast brings you the fascinating journey of Bill Howard, who swapped car engines for camera lenses and embarked on an unconventional path to become a filmmaker. This episode isn't just about Bill's career transition, it's about his deep-rooted passion for storytelling and the inspiration he found in the film "500 Days of Summer."
From the automotive world to venturing into the world of photography and filmmaking, Bill's journey is nothing short of amazing. Our conversation delves into his experience of writing an outdoors column for newspapers, which ignited his love for photography. We further explore his transition into full-time photography, the creation of his YouTube channel, and producing a feature-length film on a shoestring budget.
But it doesn't stop there. We also delve into Bill's artistic pursuits and his aspirations for his work. His profound interpretation of Tom's character in "500 Days of Summer" and its portrayal of relationships is a testament to the power of creative vision. Join us as we unravel Bill's hopes for his work to leave a lasting legacy, and how he uses film to capture life's precious moments and create conversation pieces for the future. This episode is all about the fascinating intersection of passion, creativity, and legacy.
Have you ever stopped and thought about how you got to where you are today? The opportunities that came along, the places you've been, the food you've eaten all of these things are parts of your journey, your experience being you, and one of the biggest things that can affect how your life turns out is the people you meet. 500 Days of Summer is a testament to this fact. Starring Joseph Gordon-Levitt and Zoe Deschanel, this film is a quirky romantic comedy that demonstrates how the relationships we build ultimately shape our character and our lives. There's lots of fun to be had in this movie, but for my guests today, the events that mimic real life are what make this film truly special.
Taylor D. Adams:
Bill Howard is a photographer and filmmaker who feels the effect 500 Days of Summer has as a film is the same as someone searching for the love of their life. That parallel, despite this film's use of magical realism at times, is a huge comfort to Bill. He and I chatted about his unconventional journey to becoming a filmmaker, the warm reception of his most recent film, something Walks in the Woods, and the idea of leaving a familial legacy. We've got a lot of ground to cover here. So roses are red, violets are blue. Here's Bill Howard talking about 500 Days of Summer on the Film Nuts podcast.
Bill Howard:
I'm actually doing wonderful. It's a lot better than what it could have been. Covid could have put me out of business. I would say.
Taylor D. Adams:
Yeah, because correct me if I'm wrong a lot of your work in the past, for a long time, has been event-oriented. Is that kind of right?
Bill Howard:
I do commercial, corporate real estate and core sports, which is how you and I met. And when COVID hit, it hit us right there in the ACC tournament. I remember that. Yeah, I never got back with the university after that because of the rules, but I picked up like five customers, five clients that did vacant land stuff and I had never been to California until COVID hit and I've been to California seven times. I shot like 60 properties in the Mahabey Desert. Yeah, a whole lot different. And then, of course, some of the dead time got me thinking about getting into filmmaking, which is kind of a little bit while we're here now to discuss films too. Yeah, because I was basically a stills photographer. Video never cost my mind.
Taylor D. Adams:
Well, why did it cross your mind?
Bill Howard:
Because, since I was traveling the country so much once COVID hit and I got to see places that I never would have seen before If I had a nine to five o'clock in o'clock out job, I'd never been able to travel like I did, and I got into time lapses, and so initially my filmmaking was based on I wanted to be a time lapster, I wanted to do those type of films and I upgraded my equipment where I could do 8K time lapses and that type of thing, because I was thinking we're starting to get 8K TVs. Now you get in early, then your stuff's out there, and then it just kept evolving.
Taylor D. Adams:
Well, like what? Like how did it keep evolving? Like you did a time lapse, and then from there you're like oh, let me put more than one time lapse together. Or like how did the train get rolling?
Bill Howard:
Yeah, I really liked Michael Sheenblum and his time lapse.
Taylor D. Adams:
I'm not familiar with him and I started doing some stuff trying to.
Bill Howard:
I just I weren't as good as he is as far as combining everything, but I did sell a lot of stock footage from time lapses. But in October two years ago I had a guy approach me about doing about being the cinematographer for a short film and I read the script. Script was okay, it wasn't a bad script. It was a horror short and I ended up co-producing, co-directing and editing it as well and I really liked the way the visuals were coming out and honestly, I think the photography side of it really drives what I want out of visuals. But I enjoyed the experience of having cast and crew where doing time lapses is just me.
Taylor D. Adams:
Yeah.
Bill Howard:
Yeah, and my prior life before I got into photography and filmmaking photography I'm a little over eight years now, full-time, but before that I always that was a manager, a director not a director of films, but in automotive service and so it gave me that management experience, logistics experience again, and I enjoyed that.
Bill Howard:
For ten years I wrote an outdoors column for multiple newspapers here in North Carolina and South Carolina, and so I decided to write my own script. I learned how to write a script in the proper format and and instead of doing short films that I was like, no, all a short film is, it's just Sings and that's all a feature film is, I just need more scenes for the feature film. And so I wrote a feature length script and it did very well and in some of the film festivals, as far as the script part of it. Obviously I hadn't filmed it at that point I was just sending in the scripts for submissions Toronto film a script awards, for instance. I did really well there, and so I just bit the bullet and decided to start trying to film it and, thank you, I've become really good at making feature films for, like you know, thousand dollars.
Taylor D. Adams:
Yeah, the low budget stuff. Man, a little budget stuff is important.
Bill Howard:
Yeah, and so I started.
Bill Howard:
I cast the for the great dismal, which was the first feature film I did, and then we ran out of time the great dismal space and the great dismal swamp but everything started getting really green when I was filming in the winter and it transitioned spring and summer, so so we had to pause the film and we would continue it when the winter came.
Bill Howard:
And while that was happening, I started thinking about distribution and there was a Film series I don't know if you've ever heard of it the Blackwell ghost, and he's got seven of them out now, and I kind of studied what he did, business wise, and so I wrote a script called something walks in the woods. I did some marketing through like tick tock and YouTube shorts and Facebook and Instagram shorts and and because I was forcing this being real about this little figure that walks across the edge of the woods, and so I wrote that film, did I probably got four days total filming in it. Most of the filming came for the cameos. I had during the end credits, but I Did it for 350 bucks, got it on to be Is hit most popular horror as number one and documentary is number one several times on to be and so how did it end up as a documentary?
Taylor D. Adams:
I got a question about that one man, I don't know, because I watched it yesterday and I was like this is not a documentary. Why is this less than as a documentary?
Bill Howard:
It's just what to be chosen to be. I guess that's so weird and you see, it's not even listed in a horror, but it made most popular horror. So I don't know, and I call it soft horror.
Bill Howard:
Yeah.
Bill Howard:
I can see that and it's a mockumentary but it was fun making it and it's now a five films thing. I'm working on film number two for it now cool, you know you said you watch it. It's a slow burn and it builds up at the end and so we're kind of Film number two is gonna be kind of on a tangent film. Number three brings it back to what number one is and then Film number four is actually gonna be a narrative rather than the mockumentary documentary thing, because my distributor has said I've got to do it as a narrative. So we'll have a narrative is number four and then we bring it back to a mockumentary on five.
Taylor D. Adams:
Wow, well, I mean, that's exciting. You got so much going on.
Bill Howard:
Yes. That's really cool and I'm writing another film, now called the AT, which is gonna be. It's like a mockumentary as well, but it's a true true crime type Rather than a war type.
Taylor D. Adams:
Okay, Cool, interesting.
Bill Howard:
Yeah, I'm just trying to play with all these genres.
Taylor D. Adams:
So, yeah, I don't like to do this, but if I had to judge a book by its cover, I Would not say that your favorite movie is 500 days of summer. Yeah, you would so. So I would like to know, though, howard, why your favorite movie or the movie at least you wanted to talk about today is 500 days of summer one.
Bill Howard:
I like Zoe Deschanel. Hmm to I like Joseph Gordon Leavitt. Mm-hmm and then the way the movie made me feel it. It's kind of reminiscent of when you have the butterflies, when you're, when you're still trying to find the person that you're gonna love Mm-hmm, I guess is it and that feeling felt really good.
Bill Howard:
I also love the way it was written and and Performed on. You know, on screen, hmm, the bounce and back and forth showing the same scenes, but on one scene, you know, when you see it the first time, everything's real giddy and happy, and then, next time you see it, it's real down and depressing. And you know it's like real life.
Taylor D. Adams:
That make sense. I See, I see what you're saying. Yeah, I see what you're saying when. So when did you first see it? What was that experience like? Do you remember I?
Bill Howard:
Didn't go to theaters to see it. I saw it on DVD the first time. See COVID really messes with timing. I can't remember if I got it from blockbuster or red box, but yeah, we rented it and my wife didn't like it nearly as much as I do and my friends don't like it nearly as much as I do. I could watch it all day long. I could have it as background. It every, just about every scene in it makes me feel a certain way and it again it's kind of like real life in that you find that one person that you want the relationship to work so badly, you're so smitten, and the other person just doesn't reciprocate quite the same way and it's usually that next relationship it's the one that really counts. It's what happened with me and my wife. It's you know, and you look at it and you're going. That's the way it was in the film for Joseph Gordon-Lemmett, but it was actually the way it was for Zoe. She was the one that found, you know, the person she loved after the relationship broke up.
Bill Howard:
Yeah, it just reminds me so much of real life, and not just relationships. It can even be work. You know it. As far as going from photography to filmmaking, going from automotive to photography, everything Seem like there's a pattern, but, just like in the movie, it may bounce around everywhere. You know that they bounced around from day one, today, 30, today, 500, at that, today 10. You know stuff like that. Where In real life? Yeah, you have these up and downs that I played with photography a little bit when I was an automotive Got. Then got into it Much later and went full-time with it. It's all got its place.
Taylor D. Adams:
Make sense. Yeah, I know, I get. I think one of the things that that this movie is known for and sometimes applauded for is kind of, in a ways, being a romantic comedy but not being about the romance. It just serves as kind of a vehicle for those individuals to Discover the thing that they're, you know, meant to be around if they play around with destiny and fate in this movie.
Bill Howard:
Yeah, it's a passionate about another person. Yeah, but yeah, exactly yeah, I'm.
Taylor D. Adams:
Going back for a second, I actually super curious about how you ended up switching from working in the automotive industry to being a photographer.
Bill Howard:
All right, so well. Again, let's go way back. Let's bounce all the way back right I went to. Nc State for journalism and I had to. I left school before I graduated and first I ran a restaurant and then I ran a they heat and air company, and then I got an automotive and I Was on a motor for 20 years and so so were you bouncing around for, just like try and pay the bills, were you following whims like what was, what was that journey?
Taylor D. Adams:
I?
Bill Howard:
got engaged when I was well, actually didn't get. I met my wife when I was at the restaurant. She was a frequent customer, okay, and I Wanted to ask her to marry me, but I'm I was working six days a week at the restaurant, weird hours. So that's how I got in. With the heat and air company, one of my customers I'm the heat near company and he asked if I would run their like commercial division, which I did. I ran it for, ran it up until our first born, and Once that happened, that's how I got into automotive. I just had to get a change of career with that. Automotives, good learning you and even if you decide to leave, you can always find somewhere else an automotive to go and there's always a job opening that has good money. And so, yeah, 20 years, everything from Jiffy Lube to mostly General Motors dealerships.
Bill Howard:
The final five years of automotive I was, or maybe four years of automotive I started writing an outdoors column for the newspapers and that expanded up to about 16 newspapers that were carrying the column each week. So that was good side money and it also allowed me to go hunting, fish and hike and camp and do stuff like that too and get paid for it. I got a camera because I was starting to get magazine covers and doing freelance for magazines as well, and I needed something more than a cell phone for my photos to go with my stories. And so I got a camera Nikon D3300 and that got me into the photography side. We had a really good month at the dealership in the service and parts, and they redid my contract and it wasn't favorable, and so I landed a gig to shoot dressage on a weekend, and six weeks after that first paid gig I went full time.
Bill Howard:
So you just said, I'm doing this vacation to go shoot some commercial stuff for a self storage facility throughout North and South Carolina, and so that gave me the money for when I would quit that I had his backup. I did not want to do weddings. I was doing everything I could to stay away from weddings and I think I've averaged maybe one every 18 months.
Taylor D. Adams:
So, yeah, I mean, that's just a. It's just a wild journey to hear, I mean, anybody that goes through those shifts to try, and even if you're not trying to end up somewhere, you end up somewhere. Right, you end up somewhere where you maybe didn't even start For for this movie, this was directed by Mark Webb. It was his first movie that he made feature length. He'd done crazy amount of music videos and think I read, he made over 100. And in my mind I'm thinking like what I use that number is like a reason to then do something bigger. But for you, with the projects that you've been working on, like you mentioned earlier, you've always kind of like. You know, you decided to at one point you decided to put multiple pictures together to make a movie. Do you think there's any part of you that thought that you were ready to make that move?
Bill Howard:
No, I mean, I created a YouTube channel to kind of cover my landscape and sports photography. So I was, I was getting more and more comfortable in front of the camera and, again, because of the photography side, I knew what kind of visuals I wanted. And, yeah, I never thought for sure that I wanted to do video. I played with it. I liked Ben Horn and Thomas Heaton for landscape photography and I really tried to model some YouTube stuff out of that. But it I just wasn't really good at it. I didn't understand how to put the story together and out. Once I was able to start scripting things, it became a whole lot easier to put these stories together.
Taylor D. Adams:
So sorry for the interruption, but I will be brief. I am so grateful that you decided to listen to the Film Notes podcast today. If you are enjoying what you're hearing, please consider supporting the show on Patreon. With a small monthly amount, you can get access to behind the scenes goodies, early access to full episodes, and you can vote on what movie we watch the first Monday of every month on the Nut House Discord. The Nut House itself is free to join and is full of other film and TV lovers, so you'll fit right in. You can check out info on all these things in the show notes, and if all of this sounds like a bit too much, that's totally okay. But if you wanna keep up to date on all of our episodes, please be sure and subscribe on your favorite platform of choice, and if you're listening on Apple Podcasts, go ahead and leave a rating review so we can get in front of other awesome people like yourself.
Taylor D. Adams:
Okay, enough of me rambling Back to the good stuff. What you've been working on specifically within kind of the artistic side of things, whether it's photography, videography, TV, film, what have you? I think of stuff like that as making something, building something kind of in some aspect, creating a legacy and when I'm watching 500 Days of Summer, I'm looking at Tom's character and the little. It's not the main focus, but the fact that you learned that he's an architect and that he wants to be an architect and he's currently writing for a greeting card company.
Taylor D. Adams:
One thing works with building buildings that last hundreds of years, the other is a piece of paper that gets thrown out, and he also is very concerned about building a relationship with someone. So is there any part of you that kind of connects with that drive to make things that outlast you Absolutely?
Bill Howard:
This whole filmmaking side of it is really the legacy build. I won't have good stories. I want something that people can watch. I'm not gonna have, obviously, I'm not gonna put out the best movie there is for $1,000 or 350 bucks. I'm mostly shooting these myself. Even when we had Cast and Crew for the Tramping Ground, which was that short I was telling you about, I was the audio guy, I was the light guy, I was the film guy. I had a-.
Taylor D. Adams:
The life of low budget.
Bill Howard:
Yeah, I had a co-director and basically he held stuff while I'd shot. That's basically what it was. Yeah, it really is about legacy. It's something that maybe my grandkids can. My kids will tell their kids hey, you got to see this crazy crap that your granddad used to do.
Taylor D. Adams:
So your idea of anything legacy oriented is very direct within the family. Look at what your granddad did not like. 100 years from now, here's a filmmaker Bill Howard. Is that kind of where your focus?
Bill Howard:
is I'm not trying to be Alfred Hitchcock Going back to the Outdoors column, my Outdoors columns. They weren't about fishing and hunting reports. It wasn't about hey, the trout are now running. That's not what it was about it was. They were stories each and every week for 520 weeks, because I stopped it on the 10 year anniversary. It was about reminiscing and talking about going hunting with my dad and my granddad, going fishing with my dad and my granddad, that type of thing. Those were the stories I put out each and every week. And then, as my kids would grow like, I did a three week story on taking my youngest fishing for the first time, about hyping it up for and making him so excited that he would pee his pants if he caught a fish. That was the goal and honestly, we're talking about the legacy. I've got great photos with me and my kids doing things like that that I probably wouldn't have had otherwise. I mean, even my two oldest kids both had state records. It's conversation pieces, right.
Bill Howard:
But yeah, it's very much legacy oriented and, like you were saying with Tom, especially with the architecture side, it's not just him building a legacy and trying to find that relationship that's solid. He wants to build, not just a relationship. He wants to build his surroundings when he's sitting on the park bench talking about, yeah, the park, a lot needs to go.
Bill Howard:
He's designing his utopia, and with filmmaking, that's kind of what we get to do.
Taylor D. Adams:
Yeah, I think with that lens too, it comes to mind that Tom's because the new movie is seen through his eyes. Yeah, and he's crafting the world around him and yeah, it goes beyond him sketching a skyline that he's witnessing, like it bleeds into the magical realism of it, of breaking into a mosh pit. Not a mosh pit, a flash mob dance scene. Feature in the UCLA marching band.
Bill Howard:
That is one of my favorites. That's one of my favorites, especially the big brass coming out right behind him at the perfect moment. Oh yeah, I'll call you. You make a mad dream come true.
Taylor D. Adams:
You, you, you, Wow, wow, wow you. You make a mad dream come true. Speaking of favorite scenes, do you have a favorite moment or a favorite scene other than that one from this movie? That's the thing about that. That's why I said I like this movie so much because every scene is so great.
Bill Howard:
The tearjerker's the part where you know he's going in for the interview at the end and he comes back out and he asked the lady's name and she says autumn.
Bill Howard:
He's now. He's now. It's the turning of seasons. Okay, hit that part that we all desire to hit, right. He's hit the part that Summer hit earlier in the film, when she left him and then found someone.
Taylor D. Adams:
And you know it was engaged at that point. Do you think, at the end of 500 days of Summer, that Autumn is the woman that Tom ends up with, or is this another 500 days?
Bill Howard:
I think she's the one he ends up with.
Taylor D. Adams:
Why.
Bill Howard:
Because there's not been a sequel to Tell Me Different.
Taylor D. Adams:
No, they haven't made it yet.
Bill Howard:
Again, there's the turning of the season and she's the one for that maturity part of life. And you know, summer found her person. Tom came off of his breakup with Summer. It's usually that next one is the one you end up with. It's what happened to me. Honestly, it's what happened to my oldest son. He had a bad relationship that he wanted to go all in with and there was just something missing. But the next one was the one. It was the way it was with my wife. She had her heartbreak and then I came into her life. I don't know, does it work that way with you? Let's turn the interview around.
Taylor D. Adams:
I didn't really have an interpretation of it. I was just like, I'll be honest, when her name was Autumn, I was like, really, that's a great twist, that's really on the nose. But I did with. The thing I had to keep in mind when watching this movie is when it came out, so coming out in 2009,. It feels very much like a 2009 movie in the way that around that, the era from like probably that I wouldn't say that whole decade, but the majority of that decade is very focused on it's quirky comedy, it's norm core, the way this film looks like. It's super beige and tan and brown and muted, but it's contrasted with quirkiness, magical realism. So 2023 me rolled my eyes. 2009 me would have been like, oh, I think that's probably what would have happened if I had watched this when it did come out and I did appreciate the fact that, yeah, the day ticker went back down to one, so you could interpret it either way. I think, yeah, did you have you shown this movie to your son, who got his heart broken?
Bill Howard:
I've tried to get everybody in my family to watch this movie. I've joked on Facebook about how the greatest movie ever is 500 Days of Summer, and I usually get a lot of people that tell me how wrong I am.
Taylor D. Adams:
Well, they just don't have a heart, apparently.
Bill Howard:
Exactly. They're cold hearted. They're very bad people. Maybe their next person will make them realize that 500 Days is great, maybe so yeah, all they need is to get their heart broken. Exactly, but yeah, I don't know. Sometimes you go into a film and you study everything about the film, but there's movies you want to go in there and just enjoy, and that was what 500 Days of Summer did for me, and everything about it was fun. I mean the CGI or not the CGI, but the effect of adding Han Solo on the TV.
Taylor D. Adams:
It's cheesy.
Bill Howard:
It's a carbon dance, but it was fun. Yeah, it was fun. The animated bird on his shoulder during that scene. It was cheesy, but it was fun when the band came out with the big brass. If you did not smile when that happens, then you do not have a heart.
Bill Howard:
And then, if you, don't get dejected when that elevator opens up and his head's hanging down and he's ragged because of the breakup. I mean you're not following it for fun, you're following it for something else. You know again, I know it's mostly in the writing Not only the skipping of the days going back and forth and they're not real flashbacks because of the way the film was done but the parts where you had people just narrating in front of the camera.
Bill Howard:
You know, all of that just hits home for me. Anyway, I just thought it was brilliant the way that they had the little narrations here and there throughout.
Taylor D. Adams:
Yeah, and in what way did that hit home for you?
Bill Howard:
They were narrating life breaking the fourth wall with it, and they're talking to the viewer and it makes sense. It's something that not everybody's lived in, I'm sure, but I've lived it, my wife's lived it. I can see my kids live in the same experiences that they're talking about.
Taylor D. Adams:
Is that why, for some of the movies you're working on, there is this sense of reality to it. I mean, you're working on stuff that's in the paranormal, in the supernatural. Some of it is doc, some of it is not, but they're all still kind of grounded in either a setting that's super recognizable or a direct-to-camera kind of thing. Like, is that a filmmaking technique that you think you've attached yourself to because it attaches the art to the real world?
Bill Howard:
Yes, now I'll give you a couple of things here, like the docs, the two that you can see behind me back here. For one, I'm an introvert, so it's a whole lot easier for me to film something quick by myself without other people having to direct or even talk to, and I had to get comfortable in front of the camera to do that. But I've also learned that in those two films when I talk to the camera, I've had so many people talk about how great I acted. I wasn't acting, it was me. I'm just using the camera as the person I'm talking to. So it's not true. Found footage and found footage has got a strong following. It's a very loyal niche.
Taylor D. Adams:
Well, found footage doesn't have to be nonfiction Like found footage is just it's a style, it's not necessarily rooted in a particular genre.
Bill Howard:
So the incredulous case of aliens, the US government, arnie Smith that's her true story. But I hired actors to tell the story. Now, when I say it's a true story, it's true as in it came from somebody to me.
Bill Howard:
That's for the viewer to find out, because it goes way out there. Something walks in the woods is based off of a tick top that my wife showed me and I decided to make my own figure walking across the edge of the woods, and that would be a good reason. To do a documentary is to find out if there's something really there or not.
Taylor D. Adams:
I got to tell our listeners and our viewers. If you're interested in any of the stuff that Bill has made, I would say check out something walks in the woods. Because I watched it yesterday with, actually, a friend of mine. I sent her a link and we watched it at the same time because she's big in the ghost, and we started watching it because it's listed under documentary and we're like I start watching it and I tell you when I got so mad, whenever I could tell that you added sound and the effects were being up, I was like this is not a documentary. What happened? And then I'm like I'm researching more and I'm like, oh, to be just like put it there Like they did. I'm like I know Bill didn't say this is a documentary, because even at the end of the movie you say it's a work of fiction. So, but I, but not knowing that, I was so mad.
Bill Howard:
Oh me.
Taylor D. Adams:
But yeah, yeah, it's, it's, it's, it's. It's interesting that the work and like your for lack of a better term idea of this like art, artistic success, is basically what you're doing right now. Like, I don't doubt that you would want to make like bigger things, but I also completely understand and believe that the stuff you're making right now you would just continue to make. Yeah, because of that, because of that legacy of whatever your grand kid is going to think of you, I think that's a really sweet idea. I like that a lot.
Bill Howard:
And I mean they get. They'll get to know me, you know, because I'm acting it when I'm on camera, I'm acting as myself. Now the narratives, you know that's a different story. I've got one big narrative and, taylor, if you've got $50,000, you want to invest, I'll happily add you on as an executive producer.
Taylor D. Adams:
Oh man, I'll, I'll contribute, you contribute in other ways. I think the specific type of Bill's desired legacy pairs really well with the idea that our relationships with people, loved ones, friends, whoever can really shape who we become Because of our intention is to positively affect those closest to us. That will inevitably instill that same way of thinking into the next generation and maybe, just maybe, we'll learn to accept love in all forms and set out to achieve our dreams. A huge thanks to Bill for chatting with me today and a thousand greeting cards worth of thank yous to you for listening. If you want to check out some of Bill's work, including links to some of the films he's made, go ahead and take a look at the show notes for all those goodies. If you enjoyed what you heard today, please go ahead and subscribe to stay up to date on all of our episodes on your favorite podcast platform of choice. And if you happen to be listening on Apple podcast, please it would mean so much to me to leave a rating and review. Doing that helps us get noticed by more awesome people like yourself. If you want to help the show grow and get some really cool perks in the process, please consider supporting the film notes podcast on Patreon, much like our recent patrons route and Jeff. Thanks for the love guys. If you want to be cool like them, you can check out the show notes or visit patreoncom.
Taylor D. Adams:
Slash film nuts. Our theme this season is brought to us by the deep end. Our artwork is designed by Madunga Super Hoodie and all episodes of the film that's podcast are produced and edited by me, taylor D Adams. If you want to get in touch, you can email film that's podcast at gmailcom or follow us on Instagram, tiktok and Twitter at film nuts podcast. And don't forget to join the nut house discord community Absolutely free by checking out the link in the show notes as well. Thank you all so much for listening today, and here's hoping your next random encounter in the elevator leads to something truly remarkable. Thanks.