Mike Timm: Universal Studios Producer on How Movies Actually Get Made & Sold in Hollywood | Be Yourself Podcast

Mike Timm

Hollywood Producer at Universal Studios — on How Movies Actually Get Made & Sold, the Why vs. How of Filmmaking, and How Social Media Changed the Movie Business

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38 minutes
Hollywood · Filmmaking · Movie Business · Social Media

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About the Guest

Mike Timm — Hollywood Producer at Universal Studios

Mike Timm is a Hollywood producer whose path into the film industry started in film school and was shaped early on by his work with the Sundance Institute — an experience that immersed him in the independent film world and its emphasis on story and voice. From there, his career moved into the studio system, where he now works as a producer at Universal Studios, helping bring projects from idea to screen.

Across his career, Mike has worked on both sides of the table that decides which movies get made: the creative side, where an idea has to be compelling enough to resonate, and the business side, where that same idea has to be sellable enough to get financed. That dual perspective — understanding both why a story matters and how it actually gets produced and sold — runs through everything he talks about in this conversation.

His Path
Film school → the Sundance Institute → producing at Universal Studios. A career built across both the independent film world and the major studio system.
What He Does Now
Works as a Hollywood producer at Universal Studios, helping evaluate and develop projects from script to screen — sitting at the intersection of the creative pitch and the business deal.
On Why vs. How
Mike's core framework for filmmaking and creating in general: understanding why a story matters has to come before figuring out how to make it.
On the Movie Business Today
Talks candidly about how social media and shifting viewing habits have changed what gets greenlit, why emotional resonance beats budget, and what that means for creators deciding whether to go niche.

Key Quotes

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there's a difference between learning why and how to make movies. And some people are just in the business of making movies and they really don't like why to make the movie.

Mike Timm
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the worst thing that ever could happen to independent film was social media... it became less about the actual doing of it all and that's the thing.

Mike Timm
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emotions aren't cheap, but that's something that doesn't cost money... are the emotions on the page when you're writing? Are they on the screen, cutting from one scene to the next? Do people care?

Mike Timm

Episode Chapters

0:00 Intro 1:18 Main Challenge for Movies Today 3:10 Mike's Hollywood Journey 5:17 Hustlers in Hollywood 7:20 Why & How of Movie Making 9:31 Reality of Screenwriting 12:34 Movie Consumption Pattern Change 16:32 Where Mike Feels Most Creative 21:05 WHY You Create 24:52 Advice for Content Creators 28:05 Should We Go Niche? 31:35 Mike's Take on Poetry 34:39 Final Message

Full Transcript

BTW: This episode of the Be Yourself Podcast is produced by Beverly Media. Also on the show:
Ryan Rambo — 26-Year Army Counterintelligence Veteran on How to Prevent Corporate Espionage →
0:00 Intro
Mike First, I learned why to make movies. And then when I moved to LA, I already had some production experience, but not a lot, and I just I needed to learn how to make movies, the mechanics of it. So there's a difference between learning why and how.
Sergey Let's take Dallas Buyers Club with McConaughey, a very strong social issue, right?
Mike You got to know what idea you're conveying to the world and why studios should want to invest. Every day I get a message in my LinkedIn box saying, "Hey, I wrote this great fantasy sci-fi trilogy. Will you read it and can you help me get it made? We'll all make a gazillion dollars." But the reality is...
Sergey Hey everyone, welcome to the Be Yourself podcast, the podcast on expressing our true selves. Today my guest is Mike Timm, who is a senior creative producer at Universal Studios Home Entertainment. Mike, welcome to the show.
Mike Hello. How are you? Nice to be here. Thank you.
Sergey Yeah, thanks for joining me. You had such an extensive career in the movie business. You've been a writer, a director, a producer, you won multiple awards. And my first question to you, minding what's going on in the world right now...
1:18 Main Challenge for Movies Today
Sergey ...right now, what is the biggest challenge that you think right now the movie business is faced with?
Mike Biggest challenge. Oh my god. You know, I think the thing that everybody's been talking about — I don't know how it is internationally in all international markets, but — just people streaming versus theatrical, right? What's going to get people out of their house to go see a movie in the movie theater? That's really what it comes down to. What makes a movie theatrical, what's going to get them out of their seat at home — listen, I watch plenty of movies at home and have a good time too, so what really gets you out of your seat and into the theater? And the challenge really is coming up with movies, and it's not just the audience — it's the filmmakers. The filmmakers have to write stuff that is theatrical, and producers and studios have to take more risks. So you have to have this idea in mind that you're creating a piece of art for the big screen. Every time I shoot, doesn't matter if I know it's probably just going to be watched on the iPhone or whatever, I always tell my DPs, we're shooting for the big screen. Always shoot for the big screen.
Sergey Yeah. Mhm.
3:10 Mike's Hollywood Journey
Sergey So, how long have you been in the business? And what are some things that you're most known for, Mike?
Mike Oh. Let's see, what am I known for? That's a good question, I guess that's hard for me to say, because I know me from a different side than other people know me. But here's the deal — the way my career, I started off, you know, after film school, and not everyone's got to go to film school, but I went to film school at Rochester Institute of Technology. But the thing mainly, then after that, I went and I worked for Sundance Institute, and that for me was like my real film school — not just all about storytelling, but about the business itself, you know, and that alone was pretty amazing. But what am I known for, that? No, I think, you know, the people that are supportive of me and have known me, I think what I'm known for is being prolific about my work, about getting it done, about shooting, raising money, knocking it out, whether it's a short film or helping produce somebody's feature films. I'm not known for being a producer, but I'm known for being good at producing.
Sergey Awesome. There's a difference.
Mike Yeah.
Sergey But I mean, this is really cool that you're saying that you have this experience that is so diverse, right? And I had Kelly Price on my show, and when I was listening to him I realized, oh my god, you guys are like Swiss knives. You're like jacks of all trades, and you have to have all the energy in the world to pull off something so energy consuming as a movie, or a short film even.
Mike Yeah.
Sergey So yeah, he's a hustler. And are you, do you, is that a trait that you think people in...
5:17 Hustlers in Hollywood
Sergey ...Hollywood share, being a hustler and a grinder?
Mike Well, well, being a hustler — there are some people out there that are hustlers, but I don't think there are as many these days. There's a lot of people that like to be in a certain, not box, but they like to just wear one hat, and they just want to stay there, and that's fine too. But there's a lot of people who, you'll recognize now, especially on LinkedIn or something, you're going to see there's so many people that just want to be the gurus of the business and talk about it, but also you could see that some people just regurgitate what they read on Deadline or what they're getting from Variety. I think that we need more, we do need more hustlers out there. I think that's where the confusion is, is that there's producers, more producers that have a little bit more of a jack of all trades, right? They're producers who just want to be producers, you know, and the thing is, sometimes they don't understand what a grip does, really what a grip does, or how long it takes a grip on set to do something that the cameraman needs to do to get — you got to be in the trenches, you got to understand every single — be in the trenches, right? And that's the thing. So after Sundance, you know, I lived on Cape Cod in Nantucket, and I worked for the Nantucket Film Festival. I helped run things there, and I did a bunch of stuff in New York, in New York City. When I moved to LA, what I always tell people is, I learned first — I learned why to make movies. And then when I moved to LA, I already had some production experience, but not a lot, and I just I needed to learn how to make movies, the mechanics of it. So there's a difference between learning why and how to make movies. And some people are just in the business of making movies...
7:20 Why & How of Movie Making
Mike ...and they really don't like why to make the movie, right? Then there are people that, yeah, I guess there are people that have the why to make this movie, and that's the business part. But I think if you kind of blend the two, you get that magic cocktail that you now understand a little bit more, right, than most people. So like as a writer, somebody would come to me and say, you know, I need this, I need a, you know, you got to rewrite this script, or we need a girl-and-horse movie, Disney-like, it's going to be shot in New Mexico on $2.5 million, but the whole movie is set in Malibu. They have so many preconditions before they even have the script. But that was a writing job that I got. I was like, but I knew how to write that because I'm like, I know what $2.5 million can do and cannot do in production and movie business. I've been a location scout manager, I know Malibu. I've lived in Salt Lake City and Utah, so I kind of know what New Mexico is like, right, and I'd been to New Mexico, so I just knew, like, alright, I got to write this kind of stuff so they could shoot this here, here, and here, in New Mexico, and then just a bunch of other stuff in second unit in Malibu, and it'll look like a movie somewhere else. But the thing is, working in films and being a location scout manager, those are the kinds of things that I think you would only learn if you were in the trenches.
Sergey Yeah.
Mike You know, or at least, anybody could maybe write something like that, but you'd have more of a clue.
Sergey Yeah. Yeah. So you're saying that you're becoming a more prolific writer only when... I think people want you more when they know that you know the complexity of the whole thing. Right.
Mike Right. Right.
Sergey So can I come to the conclusion that sheer inspiration, or writing for the sake of art, is no longer a thing?
9:31 Reality of Screenwriting
Mike I wouldn't say that, you know, you could totally do that. But here's the deal — almost every day I get a message in my LinkedIn box saying, "Hey, I wrote this great fantasy sci-fi trilogy, will you read it and can you help me get it made? It'll be, we'll all make a gazillion dollars." Well, the art of it is writing this science fiction fantasy trilogy, but the reality is there are like less than five people that could probably get it made in the whole industry, because it probably needs a good $200 million for each movie. And who's going to just do that? And then it's like, well, maybe it is great, but it's not even based on a book, so you can't even say it's adapted from the award-winning books from blah blah. So to do that, you've got to be somebody high-powered. And there are lots of filmmakers that are high-powered that have done original stuff like that. But to try and write that and then sell it is really the hardest, probably, way to break in. So it's not about artistry, it's about scope and scale. You know, when you're an independent filmmaker trying to break in, you've got to consider your scope and scale. And as a screenwriter, your scope and scale, it doesn't have to be a one-location house movie, but you got to keep it contained. Keep it contained in one town, keep it contained in modern day, keep it contained so it's easy things to get made and sell. And that's how you can break in. And when you're a filmmaker, make something on a smaller level, keep scope and scale, right? Don't try and make a $5 million movie because you want to spend $5 million. Make a $500,000 movie, because you know you can get that made, and you can raise the money, and you do it, and then show what you can do. You know, don't underproduce something, but don't overproduce it. Get it done. It's out there. And now someone's going to give you $5 million next time.
Sergey Yeah.
Mike You know, no one wants to spend more years trying to get $5 million.
Sergey No one wants to do the work before they know that they're going to have budgeting, right? Yeah. Yeah. Yeah.
Mike The thing is, this is what happened, and the worst thing that ever could happen to independent film was social media.
Sergey Yes.
Mike And the way I say it is because everybody could talk about what they're doing, and who, and they become somebody, and it became less about the actual doing of it all, and that's the thing, right.
12:34 Movie Consumption Pattern Change
Sergey Okay, so you mentioned social media being an elephant in the room, and we all have to reckon with it. How is filmmaking changing in this era of, not only social media, but people's behavior that is shifting away from big screens, I mean, social media?
Mike Well, I don't, I mean, that's a hard one for me to answer, the way it's affected everything. I think, listen, I like watching movies on my iPhone.
Sergey Really?
Mike I actually like it. Yeah, no, I do. I like, I sit on my couch, lay back, and I watch on my iPhone, and I tilt, I'm not a vertical guy, but I'm a traditional horizontal guy.
Sergey Horizontal filmmaker.
Mike I like watching movies, and my earbuds in, you know, do I like the big screen? Of course, always on the TV, but I think it also has to do with the fact that I've got a family, so the house sometimes is a little loud. So if I'm in my little cocoon, you know, just like my kids are with their earbuds and music and whatever, I like watching on my phone. And you've got to consider it all. I was a copywriter, right, so when I first started, in my late 20s, when I lived in Utah, moved from New York City to Utah, there was a time when I was writing and then I started directing. I was writing commercials, but the thing is I had to come up with campaigns to advertise something, and the campaign itself had to work in print, radio, and commercials, TV. So the first thing is you've got to come up with that one image, just like a movie poster, the one image that translates and basically communicates the idea of what you're doing. For commercials, that one image would be an image in a magazine, the image on TV, things like that and newspapers. And then the radio was more of the campaign of what they talked about, same thing that I would write for the commercial on TV, but all three formats had to align. So I think it's the same thing here, when you're making a movie, you shoot for the big screen, does it work for your iPhone, does it work for your computer, iTunes? At Universal I work with designers and help manage the process for iTunes extras, for the menus, the interface, does it work for the computer, does it work for Apple TV on the TV, does it work for the phone, the iPad, how does everything sort of adapt? And I think you need to think about that when you're a filmmaker. What are the main things you have to consider? I think mainly it's good sound. You just need good sound, and that's the best, and that's the thing that really kind of connects us all, the sound, that's part of filmmaking, not just the sight.
Sergey Interesting. Yeah, musical perception and background, as a producer you always think about the credits song, right, this, you're always thinking about how the music's going to complement the visual part, this is...
16:32 Where Mike Feels Most Creative
Mike ...it's like, right...
Sergey And Mike, you work across different mediums, I guess, or we can call it genres, commercial, studio, indie. For you personally, where were you able to create the most, where weren't you bound to certain standards or requirements? So this is a question about creativity, and where in your life do you feel like you express your creativity the most?
Mike Um, where, I mean, I think right now in my life is the most creative I've been. But I think I'm always in the place of becoming, because I want to be that way, right? It's asserted to me there is, the past was never... I don't know, I would hate to say that, oh, I was most creative 10 years ago when I was doing X, Y, and Z. No, now, I'm most creative now. I'm never going to, it's never going to stop, or I'm going to be the most like I can be, and I think right now, in my life, that's where I want to be, and I'm the most creative right now. I hate to say it if you wanted a different answer, I can't give it to...
Sergey Well, so what boosts your creativity the most? When are you the most creative? I think this is the question that's interesting for the most creative.
Mike Yeah, I'm most creative at night. And I think, just thinking, when I get a chance to be home, sitting in my back patio, listening to music, and literally, I'm sorry, but literally, looking up at the stars. I know this sounds kind of fairy-tale-like, but looking up at the stars, listening to music, and just thinking, after work or whatever it is, after a full day of even writing, that's when I'm sitting there thinking about creative stuff, thinking through scenes, thinking about the movie as a whole, thinking about a concept, like, or concepts. Like right now, I'm trying to decide what is my next screenplay going to be. That's a really hard, that's probably the hardest decision to make.
Sergey How come?
Mike Like, what screenplay am I going to write next? Because it's not just about enthusiasm and excitement for the creative, it also is about the business, right?
Sergey You know...
21:05 WHY You Create
Mike Well, the thing is this — I just wrote something that was just creative. It's partly business, but mostly it's a movie that I'm going to produce and direct myself.
Sergey Oh, right.
Mike I'm not going to wait for somebody else to produce it for me. I'm not going to try and get out there and really sell it. I'm not going to wait for someone to bring me $5 million. Like, no, I'm going to make this movie, and I've got a certain budget. I've already raised my first investor, because they believe in me, because I know that I've done work already and they believe in what I could do. And I just talked to somebody else that believes in all the short films and other things I've written and the features I worked on, and whatever, they know what I can do. So I'm in the process of that. So I wrote that script, that's Bobby's Got a Gun, and I'm very proud of it. But now I'm like, okay, now I've got to write something as a career thing that maybe I could sell, because I have a manager, and I've got a business partner who's a manager, and that's what managers are, they're business partners. So I got to write something that they can be a part of too, that we can shop around. And also shopping around is not just about selling the script, it's about awareness. I need to write something that might open up somebody's eyes to like, whoa, what is that, even if they don't buy it, you write something that wows them, or that there's a bit of a chatter, it creates heat for you.
Sergey Yeah.
Mike Like, okay, cool, it all works together. You don't know what kind of car you're really making until you make it. But you got to have the idea. And this is kind of coming back to what you said about why, understanding your why.
Sergey So, you can build upon some social issue, right? Let's take Dallas Buyers Club with McConaughey, a very strong social issue, right? So you've got to know what idea you're conveying to the world and why studios should want to invest, right?
Mike And that's the hardest part for me, because to me there are so many things, there are so many choices, right? I have personal stuff, but I really want to write about everything. There's so many causes that I would love to write about, so many issues in society, so many world things that I would love to write about. So I'm just right now exploring. I'm in the scene of, I actually had three phases of creativity, space, time, and Jezebel, right? Space-time. So space is the phase of a writer where you're thinking, you're dreaming, you're looking up at the stars, dreaming, thinking about, alright, what am I, why am I writing this, what am I writing, you're writing down, you're developing the idea and writing everything, that's the space, giving yourself the space to think. Time, when it shifts into time, now you're taking the time to actually write the script, whether it's longhand or you're typing it away, but you're spending the time. And then once it's written, it jumps into the phase called Jezebel, which is, biblically, and you're trying to sell the script.
Sergey Yeah.
Mike Yeah, anyway, but really just trying to, so hopefully that answers your question, but just trying to take the time to think about what are the issues right now that are important to you, because it's got to be an important issue to you, because you've got to have the enthusiasm and the heart and the spirit to write about it. And sometimes you write about stuff that is very close to you and is scary — if you're going to write about suicide and you've dealt with suicidal thoughts personally, maybe personally, or you write about an issue about that, or right now I'm helping produce a documentary that is about suicide and addiction and recovery. And someone asked me, well, do you have a personal thing to that? I'm like, no, I don't have, I've never been addicted to anything, I've never thought about suicide, but I know people that have, and so very close to me. So that's why I'm helping produce this documentary. Same thing with, if I was going to write something about that, but also I can write something about local government, and that's just as corrupt sometimes as the top brass of the United States.
Sergey Yeah.
Mike Or other countries.
Sergey It kind of resonates with me, because as a creator, I'm not producing movies for big screens, but I'm producing content for my YouTube, and I like the fact that I do everything. Well, I do have helpers obviously, but I have control over the entire thing. And I think we're living in a creator economy which is blooming right now, right, this is like a new profession. So do you have some advice for upcoming creators...
24:52 Advice for Content Creators
Sergey ...on how to create stories that are gonna stick, or how to create content that's gonna stick, in addition to knowing your why?
Mike Well, I think it depends. Like you're saying, you're a content creator. And to me, that's such a general term these days, right? What does that mean? Like, what kind of content do you create? You put it on YouTube. Why do people watch it? Do they watch it because it's just a bunch of goofy people doing goofy things? You know, there's that. Are people watching it because it's a story and it's a narrative story that people are following? Are people watching it because it's a horror thing, and it's like, oh my god, that was, and the shock horror, and it's like, oh my god, we're in the dark.
Sergey We're in the dark.
Mike So I guess it really depends on what, I don't know what audience you're trying to grab, really. I mean, if I was going to do something for YouTube, who's my audience? Is it my kids, is it early 20-somethings, and what kind of humor do they have, what kind of stories do they like, what kind of things do they follow, what do they like to talk about that you're going to talk about and they're going to be like, "I want to listen." I guess for me, that's a hard question to really answer. You've got to explore. I think really it comes down to what is it going to take to keep you doing what you're doing.
Sergey Yeah.
Mike What do you enjoy? Where's your enthusiasm? Do you want to do videos of people on mountain bikes? Then go do that, because there's a lot of mountain bikers out there that would love to just watch you guys mountain bike and spill out and be like, "whoa, look at that trail," and whatever. Or you're writing about, or you're making movies or shows about people in bars, and you're just talking to people, random people, like, "hey, can I interview you for 10 minutes?" Sure. One, I'll buy you a beer, and that's the show. Now you get to learn about people.
Sergey I faced a challenge myself, of narrowing things down, because obviously I have a podcast, and I don't talk about politics or religion, but I talk to sportsmen, I talk to artists, I talk to entrepreneurs. And I think at some point you've got to niche down, right? But at the same time, if people, I think people are multifaceted today, right? So the audience can fall in love with you as a creator. When we watch Christopher Nolan, we know that we're up for a treat, right? We're in for a treat. So regardless of which movie he creates, we're going to watch.
28:05 Should We Go Niche?
Sergey So, I'm on the fence of whether I should go super niche or not. Mike, what's your take on this? You want to, it's better to go niche?
Mike Oh, I think, I think it depends. I think that totally now depends on your resources and your production sort of scope.
Sergey Yeah.
Mike Right. Can you tell, like, now, Nolan never had, he started off making a small independent movie, and then he made a bigger movie that, people that were still low-budget but not that low-budget, so he really took off pretty quickly. But what does he have? He's got the budget to make things look good and sound good and swooping camera work and production design. It's like, if you don't have that, then don't try to emulate that. I think it's all about what do you have, right? What do you have to work with, your tools, and then what you should do. If you want to make creative narrative that are stories, I think the one thing that is cheap as hell is emotions, right? Emotions aren't cheap, but that's something that doesn't cost money, right? You can translate that, and that's all in the writing, right? And that's all in the camera work, and that's in the editing. I always talk about, like, I did a movie, one of the first features I did, Girl Guy Space Helmet, it's on Tubi. I made the movie for $10,000, right? And it's kind of emotional, it's a goofy movie, but it's emotional, because, you know, this is when we were talking about what makes things theatrical, I also, what makes things watchable is the layers of emotion. I think if your niche, if you want to do horror or you want to do sci-fi, well, if you don't have the resources for the sci-fi, then it's going to look like a goofy sci-fi, or you have to write something that's like time travel and that's the sci-fi in it, not like you're creating a whole other world. But I think the emotions for you, I don't know what kind of stuff that you want, but the emotions have to be there, right? Are the emotions on the page when you're writing? Are they on the screen, cutting from one scene to the next? Do people care? There was a term, like, don't let the air out of the balloon, is this the next scene that we're in, is the air leaking out of the balloon because we're just bored watching people talk, it has nothing to do with the movie, and the emotions are just draining because there's nothing exciting happening, and now you gotta build it up again. No, you want to keep it going. I think what Nolan does is the pacing, not just on screen, but I'm sure the scripts are pretty good too, just kind of keep moving, keep moving, keep moving, keep moving. You got to build, build, build. And that's what's exciting about his movies. And of course he uses Hans Zimmer music all the time, so that's going to help it. But that's part of filmmaking, that's part of the team, right? So you got to ask yourself, like, alright, do you want to... I don't know. Yeah.
31:35 Mike's Take on Poetry
Sergey So everyone's got a team in the movie business.
Mike Right. Well, let me ask you this, what kind of stuff are you making, and do you want to make?
Sergey Oh, we don't want to open this... well, I do podcasts, but I also have poems. I write poems, and I play DJ music, and I've been very, very insecure about whether or not I should share it with the world, but the emotions are there, like...
Mike Yes. No, definitely share.
Sergey Yeah. So you see, and like with the podcast, the main theme is be yourself, stepping into your authenticity, and finding the life or the career that would fit your passion, right, that will follow your passion. So this is the idea of my show, but not all people follow their passion. This is what I realized doing this podcast for two years, that not a lot of people follow their passion, and a lot of times it takes years for them to actually uncover what they really want to do.
Mike You've got to get it out there. If you write poetry and you do the music, put them together and put it out there on YouTube or whatever platform you're going to do, that's content creating. Poetry is content creating. It was, it's always been. We've always had content creators. Poets are the oldest content creators alive, thousands of years ago, or whatever, before Shakespeare, everybody, there's like, content creators were the poets. So, to me, it's just now you just have a different medium to get that out there. But I think you should get that. And it doesn't mean that you have to recite your own poetry, you could do it by just text and music and shots of the city and people laughing, people, homeless people, whatever.
Sergey Yeah.
Mike Bring more music video, but, or, or you could just be, or maybe it's, like when I grew up, my brothers and sisters, few of them were poets and they still are, but they went to poetry slams and ran them, to go to New York and poetry cafes and see poetry slams. Like, do you have a poetry slam where you live? Do you have a place that you go and recite poetry in front of a crowd at a bar?
Sergey Well, not necessarily, but yeah, there are some meetups.
Mike But, I mean, is that something you even want to do? Sometimes people just want to write poetry as a release.
Sergey Yeah.
Mike No, definitely. Definitely.
Sergey Well, I think this was really, really insightful. Mike, do you have some final word for people who are lost?
34:39 Final Message
Sergey Because I draw the portrait of, my listener is people who are still looking for their path. So do you have some words that you can share with my listeners?
Mike You know, it's, you always want to ask yourself, and sometimes we don't, but we should, what's our purpose? Everybody does have a purpose, I think. You may not know it, you have to find it. Sometimes you just have to decide. But also your purpose can change. I think it's the, what's, follow your enthusiasm. What are you most enthusiastic about? Is it cooking? Is it the outdoors? Is it making horror movies, and you want to do that? Just follow your enthusiasm. Whatever feels good to do. I'm not saying that, oh, it's all rosy, no, it's still hard work, but it feels, the hard work feels good. You have to just follow your enthusiasm, and that'll help you. And I think, if, as long as you have a smartphone, you can make movies, shoot it on your iPhone, cut it on iMovie, and you're done, and then upload it.
Sergey Yeah, I've done plenty of those.
Mike That's how, my editors would upload stuff to Frame.io, and I would just download different takes to my iPhone, and I'll cut it in iMovie, and then send it back to my editor and say, "cut the scene like this."
Sergey Yeah.
Mike Because you can do that. So don't limit yourself, don't, just tell your stories and enjoy it, but follow your enthusiasm, because we're all here together. So no, nobody should be lost. Someone's watching you.
Sergey Yeah.
Mike You know, someone's watching.
Sergey That's true. Thank you, Mike. That was an amazing conversation.
Mike Yeah, that's it.