An Interview with Alexandru Borchescu Director of "Sex Before Church"
Hello, everybody. We're here with Alexandru Orchescu, writer, director, and producer of the upcoming independent film Sex Before Church, a genre bending art house film about a fatalistic poet and quirky painter that fall in love, but all is not what it seems. With principal photography having wrapped up, Bradescu and team have launched a Kickstarter to help fund the postproduction to really make the movie reflect their vision. Welcome to Cinematic Anarchy. We are happy to have you here and talk about your film.
Speaker 2:Yeah. Hi. Hi. You got my last name surprisingly right, so that's a a good start.
Speaker 1:That's great. Yeah. We're definitely off to a good start. Names are important. And thinking about names, the the title of the film, sex before church, is pretty evocative.
Speaker 1:Tell us about the the origin of that.
Speaker 2:So so just the origin of the title. Yeah. It just well, first of all, it just works when it comes to, you know, marketing. It's short. It's eye catching.
Speaker 2:But, yeah, it perfectly captures the whole symbolism behind the film, which is and the narrative, which is quite complex. I'm even struggling when people ask me, you know, to give a synopsis, but I think the title does a good job to ease you in into what to expect. There's a little bit of, you know, shocking images and but but the net net the narrative is there. So that is like the church part. That's like the, you know, the more the more like the philosophy behind the whole thing.
Speaker 1:Yeah. Yeah. So tell us a bit about some of the themes that we can expect to see in the film. I know you said the narrative sounds very rich. Tell us, yeah, what what you want us to be thinking about when we see it.
Speaker 1:What are the themes that we'll be picking up on?
Speaker 2:So so that's the thing. I I did it all, like, completely independent, and I didn't try to fit in a box. And when you do that, you get a quite a unique combination. So it has horror elements. We have even like straight up shocking body horror stuff in it.
Speaker 2:We even have a stand up comedy scene. We have dark humor. We have some sensual nude scenes, tasteful, nothing forced. So it's hard to say that it's fits in some kind of genre. I like to call it art house, but you can also just call it a drama drama, thriller, thriller with, you know, more like experimental elements.
Speaker 2:Yeah, that would be it, but it has something for everyone basically.
Speaker 3:It's kind of why I like independent cinema and nothing should just completely fit into one box. And I watched the trailer several times before we even started today just because I was trying to kinda get a feel for what the film was about, and I got the feeling that it's just sort of something that
Speaker 1:it You have to It's a easy to to understand.
Speaker 3:Definitely. I I I got it something in the in the vein of, an a '24 kind of film, something that definitely has a unique artistic style to it. You know?
Speaker 2:So Yeah. You can see it's a author film. I don't know. Or if anybody have seen this or it's a knows Vincent Gallo, Buffalo 66 type of stuff. Like, when just one crazy guy does a film, I mean, that's that Vincent is even crazier than me because he even acted the main role in that film.
Speaker 2:So he's completely gone. You just get a unique combination just like with with that with that one. It's a comedy. It's a drama. It's shocking.
Speaker 2:Has experimental elements. So, that's it's it's hard to to to describe, but in a good way, I think.
Speaker 3:So you have the two lead actors for your film. How did those actors sort of shape the personality of the the characters in your story?
Speaker 2:Oh, yeah. In, like, completely different ways and rhythms in the way that I have I didn't even have, a first draft of the script completed when I posted a casting call very, very early because I I need I need this I have this need to give it like a face to my my characters. It's easier for me to build the script around. So I posted like the casting call before having anything. And I saw this guy, Neil's Neil's Neil's not only he's German that ended up to be the the main actor.
Speaker 2:And I was I was I saw his profile on the casting website, and I was like, okay. I'm gonna message him tomorrow. It was very late. And, actually, he messaged me during the night. So it was like, yeah, meant to be type of moment.
Speaker 2:And that was eight months before we started filming. And, yeah, we started the character build. He flew in to Barcelona where we initially started to build it up. And now we just went to do the script and start building it and watching Mitch McConaughey in True Detective. That was like a big inspiration for the level of intensity that I wanted.
Speaker 2:But anyway, fast forward to the other part of the film, Josephine Winkler, the the girl, the the costar, the other main character, there's only two of them. Yeah. The the opposite way. We just found her. We just keep casting, keep casting potential female actress for the second part of the film and just couldn't find it.
Speaker 2:And we found it, like, we found her a month and a half before starting shooting. So just in time to get a little more than a full month of, you know, like, live live rehearsals on. Yeah. So that that worked out. And you said yeah.
Speaker 2:So Neil's there there was because no one you know, the the main character that he played is quite complex, so I couldn't find just straight away somebody who's just completely gone like that. And this I would have to go and search like in a mental asylum or something. But the girl, I just needed like this quirky, funny, younger female artist type of stuff. So, yeah, she fit it. She didn't need too much preparation.
Speaker 2:She was just all there already. So yeah.
Speaker 1:Yeah. And if I remember right from your Kickstarter campaign, you talked about how you had an original actor for Sarah, but they eventually dropped out. And I'm I'm curious to hear about that experience and how you're able to push through that kind of setback or any setback when it comes to filmmaking.
Speaker 2:That's the thing. I was trying to avoid going through this story again, but let's do it. I mean, it's it's good. It's entertaining. So as I mentioned, I tried to do the film around Barcelona, Spain, first of all, and we couldn't get this going.
Speaker 2:Also, that economic zone is higher for when it comes to films costs. So maybe that was why no one was taking me seriously when I was telling them about the the budget I had. And eventually, we also kept casting and rehearsing with Niels. And eventually we flew in this theater, Greek actress from Athens. And, yeah, she was great, great chemistry, all that.
Speaker 2:And she was she was like, if you guys can get anything going here, come to Athens. I have some contacts. She's pretty big here, you know, in like the the theater scene. So, yeah, after not even a month, just packed everything and just moved to Athens, a couple of different city, never been before, have no idea about the language, still don't. And she just completely ghosted me.
Speaker 2:So that was cool. That was kind of the first, don't know, piece of luck, whatever you wanna call it, because it just ended up working for me. I mean, I I did my film here. I found the perfect team here. So, you know, hard doing that was a huge blessing, you know, so, you know, no hard feelings.
Speaker 2:So, but, yeah, that's that was that's that part of the production story, the preproduction.
Speaker 1:Yeah. Definitely sounds like a challenge. So in the Kickstarter campaign, you also mentioned that, you know, after a a life event that you experienced that sort of changed everything for you, you put some of the shattered pieces of yourself into this story. I'm interested to hear, like, what are some of the challenges or experiences of making such a personal film? How has that been for you?
Speaker 2:Well, I mean, the main character, the the guy doesn't have a name in the film. In in the script, his name as a. My name is Alex, so you can, you know, put that together, who he's supposed to be. And, yeah, this is just going I don't wanna go too much in, like, the the personal stuff. It's not that interesting anyways.
Speaker 2:But this is just part of my set of principles when it comes to filmmaking. And that is if you want your film to stand by itself, you need to have something to put behind it as a force and energy. So use what you have. If you have some kind of trauma that also means you intimately are aware of that type of energy. So you know how to represent it.
Speaker 2:If if you you know, if I'm gonna try to make a spikely film, it probably is not gonna work, you know? So that's why use use what you have when it comes to especially energy and, you know, that's gonna make a film, especially a film like this that's based on feelings and on at the atmosphere and stuff like that. You you know you need to know what you're talking about, basically.
Speaker 1:Yeah. Yeah. Absolutely. And so how how does it feel to put something that is kind of so personal out into the world?
Speaker 2:I mean, it's liberating for sure. It's you know, you you feel that you have this voice and this huge whatever those things are called that directors have on sets, big directors not like me that used to project their voice. How how are they called to the round ones?
Speaker 1:Chris, is the word coming to mind for you? Because it's not for me.
Speaker 3:Not off the top of my head, honestly.
Speaker 2:No. No. Whatever. So yeah. I just I just, you know, I just feel that I can express myself because after all, this is what it's about.
Speaker 2:It's a way to express yourself, you know, art. So I'm just happy to be doing it to filmmaking and writing. Yeah. So I did see that one of
Speaker 3:the things that led you to this point to making this film is I I it sounds like you you were in film school. You realized that that the experience of being in film school, that piece of paper that you were gonna get at the end of the day really wasn't what you needed. You needed the experience of actually going out and making your own film because film school is just going to kind of teach you to look at other people's works and assess those, and that doesn't translate into the experience of making your own film. What about actually being in that film school led you to the point where you finally decided to leave?
Speaker 2:Well, COVID that was the years, the COVID year. So it was the new case, so it didn't make sense to, to try to finish it there. So I moved to back back home to Romania. I just transferred. What what was the come again.
Speaker 2:What was the
Speaker 3:Was there, like, a defining moment? And I wouldn't call it quitting. You just pursued something else. You know?
Speaker 2:I just I just realized that I I even knew before going to film school that this is not it's you know, it doesn't work that way. You don't get the diploma and you go to a 24 and say, okay, where are my $10,000,000 to make my film? It's it's it's useless. And in my case, because I wanted to make actual films, I didn't want to be a career guy to work just in producer. I was never interested in like the technology aspect of filmmaking, like being a camera guy or stuff like that.
Speaker 2:Again, I'm a writer at heart. So I just knew that I just expected best case. I'm going to meet some like minded individuals which we can do. We can make, you know, project shorts. I mean, we have all the equipment we could ask for from the from the school, but it was UK.
Speaker 2:It was students, young people. Everybody was like, oh, man, next year, let's just smoke another joint. So I was, okay, what are we doing here? Like, why not now? You know?
Speaker 2:And next year was COVID. So I was kind of yeah, I had I kind of had a feeling that nothing much was going to happen. So yeah, that was my school film, my film school experience. And that's why if you guys see one of our rewards is like, I'm actually trying to be a film school. I'm often like a mentorship.
Speaker 2:And this is the thing like, Okay, I can give you I can we can do like one on one discussions and I can help you get your idea to a script and then your script to the first shooting and stuff like that. But I'm also offering what they don't, which is a guaranteed spot, like a production role. All expenses paid in my next film, which is, you know, that's the whole objective to go to film school. And that's that's where you learn everything, basically, like in everything in life, learn by by doing it. So, yeah, that's one of the cool ideas I had for this campaign.
Speaker 2:And I think, you know, because, yeah, I thought a lot about it, like about why I went to filmmaking school, how it helped, why it didn't. So I think I can really help people to, to maybe even skip spending all that money and those years. Yeah, and also I have that guaranteed of a hands on experience. I think it's what many people are looking for, but enough with the plugs. Enough with the
Speaker 1:Yeah. That kind of mentorship is is really helpful, and it's great to, you know, get other young filmmakers, you know, through the process that that you've been in writing the script filming. So could you tell us a bit about what got you into filmmaking in the first place?
Speaker 2:It was always there. Again, I don't know if I'm a filmmaker first or a writer first.
Speaker 1:Yeah.
Speaker 2:The film also has like my own original poetry. So, and there's also a book attached to the film. We can get into that later. So I was always a creative type. It's just here like in Eastern Europe.
Speaker 2:The educational system is like, okay. Go be an IT person. So creative stuff is not really encouraged. There's not really outlets. So, basically, I yeah.
Speaker 2:The whole thing was with the with the with the consultant. Yeah. With the educational consultant. She she told me that, like, I was initially gonna go to criminology to to take a criminology course in a and be a detective detective, like in true detective. And then the the consultant was like, but why you want to?
Speaker 2:And I was like, oh, I I like these TV series. Okay. But doesn't that mean rather that you wanna make films? And I was like, oh, yeah. You're right.
Speaker 2:Can I do that? And she said, oh, yeah. This is like filmmaking school. So that's how that that went.
Speaker 1:Yeah. So you you mentioned your book, Ramblings of a Young Man. I know that there's some poetry in there. There are some essays in there. How does that piece, fit into the film?
Speaker 1:How are you expressing yourself in poetry, and what makes that different from, like, the script here? I'm I'm just interested to hear about sort of that part of your artistic talent.
Speaker 2:Oh, yeah. The the connection is direct. So the the story, the the narrative of of the film is this accomplished writer. So it's kinda like me trying to project that, hopefully, I'm gonna become one. Is looking to launch his next book, and he's looking for a collaboration with this painter to put her drawings together and publish them as illustrations in his book.
Speaker 2:So this is the actual book from the film, like the title and everything. There's even a scene in the film with the launch of the book at the very end. So, yeah, it's connected directly and even three of my poems, my my better and longer poems are in the film. Yeah. We find a I I merge them in a really, really I think it works really well.
Speaker 2:So, yeah, they are basically one of the same. If you I would recommend if anybody likes the film when eventually we're gonna be able to see it. The book is basically everything that's behind the film. Like, explain that whole energy and that whole system of belief that is behind the film.
Speaker 1:Yeah. Yeah. Definitely interested to dive into that after after seeing the film.
Speaker 3:I feel the opportunity to market both the book and the Blu ray together when they come out.
Speaker 2:Yeah. We
Speaker 3:This sort of It's sort of a package deal.
Speaker 2:Oh my. Mean, you put it on the on a plate, so I have to go for it. Another second shameless plug. We have like the the value pack, which can which actually gives you two two physical reward options. You can actually choose the book and the Blu ray or also a t shirt or the t shirt and the poster.
Speaker 2:So, yeah, if anyone interested I mean, you just you just, you know, raise it up there, so I had to go for it.
Speaker 3:Hey. Hey. We're all about shameless plugs. Feel free.
Speaker 1:Oh, yeah. Of funds, right, the whole purpose of the Kickstarter is to get funds for post production. So Oh, yeah. Tell us a bit about, like, what are some of the details that you wanna pull out from that post production process to to get you to the final product that you want audience to audiences to see?
Speaker 2:I don't really understand the question. You mean what what would be the role of post production or
Speaker 1:Yeah. What what are the yeah. How how do you wanna use these funds to get the movie to be what your vision is?
Speaker 2:Yes. So there's still lots of I I just I just was able to afford just like the first steps of post production, have like a rough cut and some initial steps done, and we're all waiting to see if this, this goes through. And then, yeah, there's like the color color correction needed to be done and the sound mixing. And I keep even now just finding out more steps, more expensive steps to be done. So so, yeah, that that's, it's all about the money.
Speaker 2:All all of it is going to the film and even more. And and, the yeah. That's that's about it. About post production is very, most of the people who were involved in the actual filming crew are also in the post production. Like the DOP is going to supervise the coloring.
Speaker 2:The sound recordist is going to be the sound engineer. So that's also good. Like I already have the team formed, so we're good to go. Just we're just waiting to see, can we get some extra funds to do it at like a proper professional level? Like we did the principal photographer where we're going to have to cut some corners.
Speaker 2:Yeah. So hopefully I mean, it's moving quite good for, like, the first couple of days. We got some good progress, and hopefully, if we can keep going in this rhythm, it's looking good. Yeah.
Speaker 1:Yeah. Yeah. Absolutely. So photography has wrapped. I'm curious to hear, do you have any memories from the days of filming that really stick out to you, be it something, like, super exciting or something that was really challenging?
Speaker 2:Yeah. Me me basically almost passing out on the film set multiple times. But so the structure was twenty one shooting days in the first phase in Greece. Yeah. And then I that's the first time when I went completely broke.
Speaker 2:So I had to move to Romania. And that's the many of the times that that ended up working for me. Because if you guys see the very end of the teaser, there's some nature shots with kids and stuff that that I I couldn't do I couldn't do that in Greece because huge forest forest here, like, could you can find a a decent, you know, older forest here. But back home in North Of Romania, from where I'm from, it's full forest and mountains. So, yeah, that worked for me.
Speaker 2:I could get, like, amazing shots and even combine our, like, traditional motives and visuals in the in the end, like, with the blue house and stuff like that and religious symbolism. Yeah. So the prince it was about twenty five days total, and it was all about working with professionals. Like, I was just talking yesterday with a with a guy who does kind of B horror films, And he said that last week he flew to another state, Illinois or whatever. And during the flight, the director texted him that, hey, our main actor dropped out.
Speaker 2:So, yeah, I just happened that that was the biggest the biggest element to that. This is not one of this horror production stories that, yeah, everyone in the the director of photography, the AD, the even have an experienced production manager made his work because, yeah, we are like filmmakers. We know that it's not about one individual thing and just arranging them and putting them together. And it's just going to work by itself. It's about then them working for like many consecutive days together perfectly.
Speaker 2:Otherwise, you know, huge problems you lose. And so even the weather, it's yeah. So luckily, yeah, didn't had any problems that would affect the film. Everybody, everything helped, even when we were not able to get the type of location I desire. Like I wanted for a the main character to be this writer in this very modern, you know, fully metal house, stuff like that.
Speaker 2:We found and we found the opposite, a very homely, a big type of almost mansion, lots of wood and stuff. But that ended up that ended up working for me. I like this amazing library that I think we can see in the teaser, if not in the other materials. So, yeah, I I don't know. I am am I delusional or everything, worked for me?
Speaker 2:I am not sure, but it just seems that way. I mean, the film works. I don't have any traumas from the film, so think I'm good. You know? I think
Speaker 1:Yeah. That sounds like a success.
Speaker 3:All fell into place pretty easily. Yeah. Well, not easily, but yeah. Right.
Speaker 1:I'm sure there are
Speaker 2:many challenges.
Speaker 1:So you kinda you know, as you were moving around to these different locations, you managed to piece together a crew. What was that like? How did you go about finding these people?
Speaker 2:I'm gonna see something new. Luck. No. It's not. It's just again luck.
Speaker 2:So, yeah, the story with that. Again, I tried to do this in two different countries, even no success in Barcelona, probably because of the budget, things that are just more expensive with like 30 to 40%, I would guess. So maybe that was the reason. And then we're here and started to try to build out groups, you know, by having zero contacts, not even knowing the language, like not even having anyone to message, like just literally a stranger. And, yeah, I keep trying.
Speaker 2:I keep finding collaborators. They keep falling out. I keep finding a director of photography. He kept inviting to do commercials, he was like, who cares about art? I'm going to make money.
Speaker 2:So I keep doing that. And then, yeah, it was about to consider maybe I should go home, put this on hold, which usually if you do that, it never happens after that because then the, you know, the next hurdle gets in the way and so on and so forth. And I don't even really remember, but just like the the AD came in the picture and he was like, I know what DOP and the DOP. Okay, I know production manager and DOP. Okay, I know Gaffers and all that.
Speaker 2:So it just literally born built by itself. I just naturalized.
Speaker 1:Yeah. Kind of snowballed.
Speaker 3:So looking towards the future just a little bit, you're going through post production. Once you're finally through things out and end up going out into the festivals, you have your Blu ray out there eventually. What are you hoping to to have people think when they see your film? So what what do you want them to think or feel?
Speaker 2:I want them to be like, give this guy more money to make more films. That's I want I want all of them to to tell this to producers and stuff like that or producers to say that directly. But yeah, joking aside, that's my main goal to make more films. I'm not motivated by, you know, material games or anything. I just want to make my next film.
Speaker 2:And I I don't I think I mentioned this. I want to make oh, I mentioned this before starting. I want to do it in The US. I have like this Midwest story set in that area that I have. I know I don't sound like a guy who knows, who understands American culture, trust me, I do not.
Speaker 2:I think I can pull it off like kind of like a drug story, Reclaim For A Dream with that very isolated element in those towns there. It's a really inspires me and obsessing you for like two or three years now. So that's what I would like to do next. But obviously, you know, I'm going to take any chances. Is the producer going to be okay?
Speaker 2:I can get you something, but you're going to have to do it in a different place. I have like eight eight script ideas that can work in every in any areas, which yeah, that that's why I use this downtime for before, you know, before the first principle photography to the second, and then to the second to this point, which was, like, about three years, I ideas kept popping out, and I keep letting them develop, and I kept writing. So, yeah, I don't it's you know, the downtime was good. It was very productive. Yeah.
Speaker 1:Yeah. As a native Midwesterner myself, I'm pulling for that idea. I can't wait to see what goes on there.
Speaker 2:You know about the, you know, the American football type of Midwest emo.
Speaker 1:I know about Midwest emo.
Speaker 2:Yeah. That's the type of element I also wanna pull in. And I think it's underused, the location, the area, the type of music. It has a very strong fan base. So I think those elements combined, you know, the main the main character is one of a lead, a lead in a band like that.
Speaker 2:And there's a love story and then some drugs. And yeah, I think I can make something in those elements. I just think it's another use. We can talk about it. I'm looking for partners.
Speaker 2:I even started to build a community that's based there to help maybe with location scouting and soon maybe put some materials together so that we can keep in touch for sure.
Speaker 1:That's awesome. Speaking of music, I know that in the campaign, you said, you know, when you started to write this, the song Someday, by The Strokes was kind of in your head. And that song, you know, it has some elements of nostalgia. It has some elements of, like, doomed relationship. What what brought that, song into mind for you?
Speaker 1:How influential was it on the story? How do you wanna incorporate it? Tell us a bit about that.
Speaker 2:When it comes to the narrative, it's not like a huge part. It can be replaced, but otherwise, it's just like Niels just fitting perfectly in the character. And it's just like the title that fits perfectly. You know, it's just something that it's gonna be hard to replace if it's not gonna happen. So because I expect to be expensive, whatever.
Speaker 2:But, yeah, it just it just represents exactly the scenes that I wanna use it on top of, which are which are this part of the film where it's right before the storm starting to come. So, you know, it's also it's it's funny. The the song is funny, jovial, but also has like kind of this nostalgic element foreshadowing maybe a little bit. So it just fits perfectly on the montage I wanna put it on. So, yeah, hopefully, I can I can, yeah, get that right somehow?
Speaker 3:Yeah. Is there anything about your film that we haven't asked you that you would have want us to ask you during this, interview? Any points you wanted to touch on that I we didn't quite reach out to you about yet?
Speaker 2:I mean, we covered the the Kickstarter about the film. Mean, we could talk for days. It's the production story and what's behind it and stuff like that. Yeah. I mean, that's about it.
Speaker 2:Learn learn a lot from it. That's why, again, I'm motivated and I think I can offer values to to other people to the mentorship, but, you know, again, not anybody can reach out to me, ask questions and, you know, I can look look, take a look at your project and give my best advice and stuff like that. Yeah. I mean, I'm kind of in the flow of, you know, answering questions. So kind of hard to think about.
Speaker 2:Yeah. What we haven't covered.
Speaker 1:So An article,
Speaker 2:you know, conversation and I don't know, find a gap. You know?
Speaker 3:I put you on the spot. Nice. Well,
Speaker 1:so I I did notice that one of the rewards one of the reward tiers was getting to see the movie earlier than most other people will. Tell me about what the release plans for the movie are. Are you gonna try to do a festival circuit? What is planning for that looked like?
Speaker 2:I I mean, yeah, going to the festival and about that, yeah, that's our $24 a year. It's a that's the usual pricing for that year. And, yeah, it's about everybody who you know, that's also like kinda like the main motif for the whole the whole Kickstarter. And, yeah, everybody who goes for that is gonna straight up get the link basically straight after is done. So it's not they're not gonna have to wait months or something like that to go to the film festival, just a private link.
Speaker 2:And, you know, you can play play it anywhere. And yeah, plans. I am still is just me, you know? So I didn't know how to put a crew together. I learned that I didn't knew how to about post production.
Speaker 2:Now I'm learning that. So I guess I'm just going to learn to finish the the distribution. And that's, you know, the the launch of the film. But yeah, I'm probably just going to submit to festivals. I do have some meetings now.
Speaker 2:We had like a Reddit post just going viral. So I got some production companies contacting me. I have a meeting for tomorrow, said that they maybe they're trying to get involved, push somehow. I would like to have someone like that has festival experience to help me strategize the whole course of that. But yeah, it's it's that's what I learned.
Speaker 2:And that's one of my main unsolicited advices. If you want to make something, be ready to do it on your own. Don't expect help because it's your own. You know, it's like building your own house. Like, why would even somebody else help, you know?
Speaker 2:So, yeah, don't. Yeah. Don't don't start something that you are not sure you will be able to finish and have, like, the funds for it because that's how production hells are created. And those stories that, you know, started my film, like, eight years ago and still is not finished. So, yeah, I don't yeah.
Speaker 2:That that must be horrible. So, yeah. Just plan carefully.
Speaker 1:Yeah. No one wants to be stuck in production hell. Yeah. That that sounds awesome. We are both super excited for the film.
Speaker 1:Chris, did you have any anything else that you wanted to ask?
Speaker 3:Honestly, that kinda put on the spot question that I threw out there was sort of my my closing salvo, so to speak, just because I I I was just wondering if he had anything else he wanted to do to plug his film. I I mean, that's where we're we're leading anyway. If you wanna go ahead and just, for the listeners and the the viewers at home, if you wanna just go ahead and plug your Kickstarter campaign and your film to to close out the episode today.
Speaker 2:Yeah, I guess we're going to have the links in the descriptions. Our main social is Instagram where, you know, the Kickstarter is easy to find. And yeah, that that's our main socials. We also have a disc Discord if you wanna get in their direct contact, a message on Instagram. I can get you on the Discord.
Speaker 2:So, yeah, we're gonna have those links and easy to find straightforward. The whole objective here is the Kickstarter. Don't have other stuff to push out there. So yeah.
Speaker 1:Yeah. Yeah. So check out sex before church on Kickstarter. The end date for the campaign is October 13. So let's let's make this happen so that we can see Alex's vision come to life for what this film can really be.
Speaker 3:I know what I'm investing in in just a couple of minutes here. Thank you again, Alex, for joining us to discuss your film today, and we we wish you the best of luck with all of the the post production well, it sounds like a little bit of chaos, which we kinda like over here anyway.
Speaker 2:Yeah. Thanks for the opportunity to get myself out there. I'm not the I I don't have headshots. So just like the the person who's helping me with the publicity, she kept saying, bro, you need to get your face out there. You need to give the project a face.
Speaker 2:And I was like, oh, maybe you can do podcast. I don't I have an aversion to pictures. And, yeah, the the teaser. We have a killer teaser. Maybe we can include that or find it on YouTube.
Speaker 2:Yeah. The teaser is maybe that's that's the first step for anyone. So, yeah, thanks. Thanks, guys. Yeah.
Speaker 3:Thank you. And I will save us the pain of me signing off the way that I normally do and just say thank you, and come back for more when you get a chance.
Speaker 2:Yes. Sure. Sure. Sure.
