Moby (00:08):

Linz

Lindsay (00:09):

Mo

Moby (00:10):

Bagel.

Bagel (00:11):

Mo <laugh>

Moby (00:13):

<laugh>, your voice got much deeper.

Lindsay (00:15):

Yeah. This is, she's really excited. And that happens when she gets excited.

Moby (00:18):

So we've been doing Moby Pod for a while now. A minute. Yeah. Almost like a year and something. It'll,

Lindsay (00:23):

At some point it'll be two

Moby (00:25):

In theory. Yes. Barring Apocalypse, et cetera. <laugh>. But today is an especially unique and exciting episode. Well,

Lindsay (00:33):

I have an idea of why, but I would love to hear your reason. Well,

Moby (00:36):

First of off, we're gonna talk to our friend Mark Weber.

Lindsay (00:39):

Love Mark Weber.

Moby (00:40):

'cause we're working on a project with Mark Weber. Mm-Hmm. <affirmative>. We're gonna talk about our production company. Mm-Hmm. <affirmative>. And oftentimes if someone said, oh, let me tell you about my company, it would be boring.

Lindsay (00:52):

But this is a real fun tale.

Moby (00:55):

I think So. <laugh>, so, so Lindsay and I, you, Lindsay and Bagel, that's me. We have a little company called Little Walnut.

Lindsay (01:03):

Little Walnut Productions.

Moby (01:04):

Little Walnut Productions. And we started it a couple years ago because here's, here's the origin story that I remember, and please correct me if I'm wrong, the pandemic had happened, it

Lindsay (01:15):

Had

Moby (01:15):

Ithappened and it was happening.

Lindsay (01:16):

It was happening. It was active.

Moby (01:18):

And you, at one point you'd been working with Wanda Sykes. Mm-Hmm. <affirmative>. And then you started working at another company. The pandemic happened and you were sort of put on what I believe they called a furlough. Yes.

Lindsay (01:29):

I don't know. I was one of the last people to get furloughed. But yes, it did happen for

Moby (01:34):

Me. I don't know the etymology or origin of the word furlough, but it's an interesting word, but a bad thing that happens to someone with a job. I'd

Lindsay (01:42):

Been

Moby (01:42):

Furloughed. Let go for let go temporarily. And you and I were going on a hike and Griffith Park, and you were saying to me that you really wanted to do something meaningful. Mm-Hmm. <affirmative>. Like if you were like, if you're gonna work in entertainment, you don't wanna make garbage. You don't wanna just spit out the same sort of like generic stuff that seems to routinely get spat out. Which

Lindsay (02:03):

I had been doing at, at Wanda's company. Yeah. I will say that company was very, very purpose driven to bring voices to light and the stories from people of color to light like that. And it was, it was wonderful to work in an environment like that. And then the next company that I worked for, they did a ton of different stuff that was, you know, had its value, but was a little less purpose driven, I'll say. And that wore on me after some time. And I really wanted to find something where I felt like the work I was doing was bigger than just that a baking show. You know?

Moby (02:38):

So nothing wrong with a baking show.

Lindsay (02:40):

I do love baking shows.

Moby (02:41):

Okay. So there we are four years ago, walking in Griffith Park and you say you wanna do something more meaningful in the world of entertainment. And I said, will, how about come and run my production company? Because I had a production company that was kind of, we'll call it P'cino a

Lindsay (03:01):

P'cino?

Moby (03:02):

It's a P'cino.

Lindsay (03:03):

What would you say that means in your

Moby (03:04):

Production Company In Name Only?

Lindsay (03:07):

Oh, <laugh>

Moby (03:09):

<laugh>. So, because I had this production company that I wasn't doing anything with, and I was like, well, I need someone to come in and run it because I'm not doing anything with it. And so you happily took the chance, but also the entertainment business had kind of shut down. So I got really lucky that you were furloughed and willing to take a chance doing this. And we started out with this idea. Mm-Hmm. <affirmative>. Twofold idea. Well, foldy one <laugh> is the idea of first off, making content no matter what it is. Whether it's music, videos, films, podcasts, short films, helping other people with their movies, et cetera. Making sure that it's meaningful. Mm-Hmm. <affirmative>, you know, that we're not just throwing garbage out into the world. Like really trying to make activist oriented content that is engaging, that's not dry, that's not boring, that actually will reach people. And then the second fold is the fold of actually making things.

Lindsay (04:15):

Yeah. I've worked in development for years and people spend so much time coming up with ideas and just hoping they'll happen. And most of them just never happen. My job at development was come up with ideas and I would say 2% of the ideas that we came up with ever actually happened. So you're just waiting. You spend a lot of time waiting and not making anything other than pitch decks.

Moby (04:40):

Yeah. I mean, that's the thing. So also, I realize some people listening might not know some of these terms. Yeah,

Lindsay (04:47):

That's

Moby (04:47):

True. So development is what it sounds like. It's your developing ideas. Mm-Hmm. <affirmative>, you're developing things that you want to turn into a movie or a TV show or something. Mm-Hmm. <affirmative>. And a pitch deck is, you're sort of the idea that you're working on developed in a graphic way that can be presented to people who might shine their favor on you and let you make the thing you wanna make. Yeah.

Lindsay (05:12):

It's your little PowerPoint presentation. Yeah. The old leave behind dropping on the desk as you walk out that old bag.

Moby (05:18):

And to your point, so when I was living in New York, working full-time as a musician, I just assumed everybody was constantly making things. You know, my friends who were painters, they're constantly painting my friends who were writers, constantly writing. And I came to LA and I realized the world of entertainment, especially movies and tv, it's so expensive to get something made. And it's so complicated and time consuming. And you have to get almost everything approved by the big corporations that as a result, very few people made things.

Lindsay (05:50):

I mean, think about it. You write a script, you can write a feature script or a script for a pilot, but you need minimum hundreds of thousands of dollars to get it made. Yeah. Into the millions to get that script turned into something real.

Moby (06:03):

Like when I first moved here, I was having dinner with a friend of mine and her boyfriend, and the boyfriend was so excited 'cause he had just sold a script. And I, I asked the most naive question. I said, I was like, that's amazing. Congratulations. When do you start shooting? And he laughed. And he said, oh, we're never gonna make it.

Lindsay (06:19):

Yeah. That's also something they do. They buy up scripts. Yeah. In case they make it. So then you have the script that might just die on the shelf.

Moby (06:26):

And that idea that there are people in Los Angeles who spend their entire lives not making things, you know? Yeah. And it's, and it, I found that both terrifying and claustrophobic. So when we started Little Walnut, the idea was, well, we're just gonna make things, even if we make stuff that at times flawed or at times is unfinished, we're just make things, make big things, make little things, help other people with their things, and also respect creators. Mm-Hmm. <affirmative>. And that's been one of the most, like, we've helped quite a lot of people now with their projects.

Lindsay (07:04):

Yes. A couple of

Moby (07:05):

Docs of great documentaries. And, um, we're working on our first feature film with Mark Weber who's gonna join us soon. Mm-Hmm. <affirmative>. And one of the things I find really special and wonderful is creative people in Los Angeles are routinely told no. You know, they're routinely told why

Lindsay (07:22):

Constantly.

Moby (07:23):

Yeah. Like, here's why you can't make it. Here's why you have to compromise. And our approach is to say to people like, oh, we respect you. We respect you as a filmmaker, as a writer. And seeing people's eyes light up when we say that, where we're not being cynical, we're not being negative. We're saying, okay, we might not even understand your project, but good for you for making it. Kudos to you for making it. Can we help you in some capacity?

Lindsay (07:48):

Yeah. I think the creative spirit gets very crushed. It can in this city in particular, because it's hard out there in the world of entertainment right now. I mean, it's always been hard, but it's harder now than it's ever been. The industry is changing. People are scared. And I think that a lot of people that maybe weren't getting all of those nos back in the kind of flourishing time of the golden age of television, or the golden age of film, which has been the last 50 years. It's, it's hard. It's very hard right now. And a lot of people feel quite diminished. And also, when you start trying to make things just so they'll sell and you forget what drives you and the story that you might really wanna make. And I think it's very, very important to support the creative spirit, which is something that we've really gotten to do. And even if it's us figuring out how to do stop motion in this studio Mm-Hmm. <affirmative> and you cutting out teensy tiny shirts out of construction paper. We making things. That's us getting to, yeah. We're just making stuff, even if it's not great, but we love what we're doing. Mm-Hmm. <affirmative>. And it doesn't matter what other people think, because we, we loved making it. Yeah. And that's, but that's a rare experience in this town.

Moby (08:59):

So we're helping a lot of people with their films. You know, we're providing some financing and at times, like music and script assistance and production services, the idea is just to really help people. Mm-Hmm. <affirmative>. But we're starting work on a movie that I'm very excited about. And we're gonna talk about that with Mark Weber a minute. But can I, can I tell people what the movie is? Yeah.

Lindsay (09:20):

Well, I would love for you to tell them what the movie is, but I would also, I would also love for you to talk about what it is, but why it exists. Mm-Hmm. <affirmative>.

Moby (09:29):

So the movie that we just started working on is called TECIE. And I'm not gonna tell you what the name means. It's a surprise. And it's a scripted film, meaning, it's a story, it's a love story set in the animal rights community. And you and me and Bagel and Mark and a bunch of other people are beginning to work on this. Mm-Hmm. <affirmative>. And like I said, the goal is to address animal activism, you know, to address vegan issues, but in a storytelling way, you know?

Lindsay (09:59):

Yeah. But as far, I mean, if we're talking about storytelling, do you wanna tell everyone who wrote the script for TECIE?

Moby (10:05):

Uh, the script was written by a, I was gonna say young, but that's not true. The script was written by a, a, a screenplay writer I've become familiar with. His name is Richard M. Hall <laugh>. And he's written some books, uh, and he's written some articles, but I think this might be one of his first screenplays. In other words, I'm talking about myself in the third person. 'cause that's what we insecure narcissists to do.

Lindsay (10:28):

<laugh>. So you wrote this film, and we're always trying to make things that move the needle as far as animal rights would go. But I, I'm interested to know where the spark of this idea, where a why you wanted to put these activists and this love story, why you wanted to put that on paper. Well,

Moby (10:45):

Part of it, thank you for asking that question. Uh, part of it is, or was being in the animal rights community, and oftentimes in the animal rights community, we focus on the issues. You know, we focus on animal rights, we focus on climate, we focus on health, we focus on legislation. But what I've noticed over the decades that I've been an animal rights activist is that the culture of animal rights activism is really visually interesting and compelling. You know, sure, there are some crazy people in the animal rights community, but like a couple of years ago, I was going to the Animal Save events in Vernon, where we actually might be shooting some of the movie. And I looked around and I was like, wow, it's midnight, it's cold, it's rainy, and there are a hundred people lined up on the street to bear witness to pigs who are about to be slaughtered. Like, it was so poignant and heartbreaking. But then I looked around at the people and I was like, well, there's a-list movie stars here. You know, there are rock stars here, there are some of the most glamorous people here, but no one's paying attention to the glamor. No one's paying attention to the movie stars. We're all focused on a purpose

Lindsay (11:59):

Of giving these pigs their last bit of water. Yeah. Before they die. I mean, it's the most moving experience, but yeah. Nobody knows it's happening. And

Moby (12:07):

The culture of it just seemed, I was like, wow. No one has, as far as I know, there's a movie called Bold Native that's a scripted film that looks at this a little bit, but looking at the culture of animal rights activism, like how, who are the people involved? What are, what are their stories? You know, how do they go into the world with integrity and lead happy lives, but purposeful lives? And so that's really the environment that we're trying to create in the movie

Lindsay (12:33):

That inspired you.

Moby (12:34):

It's young, it's sort of glamorous. It's, it's accidentally sexy even, but it's basically, it's got an, it's an idealized version of what the world could be. Yeah. So, and boy, I'm rambling on like a crazy person.

Lindsay (12:49):

Well, I asked you to.

Moby (12:50):

Yeah. No, but I'm also excited <laugh>. Um, so should we go talk to Mark?

Lindsay (12:54):

Yeah. So we'll talk about all of this with Mark, but I just wanna say this is happening. Mm-Hmm. <affirmative>, we are about to go into hard prep. We are getting our cast together. This, this machine is in motion. And

Moby (13:07):

That's a machine. <laugh>, I don't dunno what. Okay. Chugger. Ch ch Chugger ch.

Lindsay (13:13):

Oh my God. Um,

Moby (13:15):

It's a factory <laugh>. That's a donkey. That's not a machine. Is,

Lindsay (13:18):

Um, really good work. See, thanks. The creative mind of Moby really needs its time in the sun. Go ahead. Um, I, I

Moby (13:23):

Need a nap, <laugh>.

Lindsay (13:25):

Okay. Let's go talk to

Moby (13:26):

Mark. Okay. So Mark, we talked about you in the intro and now you're here with us. Mm-Hmm. <affirmative>.

Lindsay (13:40):

Hi.

Moby (13:41):

Hi. Hi. And you just got back from Philadelphia.

Mark (13:44):

Yes.

Moby (13:45):

And so before we jump into talking with you about TECIE, the movie, I've known you for a long time, Lindsay's known you for a while and I know a bunch of things about your biography, about your history. Mm-Hmm. <affirmative>. But I thought this might be a nice opportunity to find out more and to share with our listeners and viewers and Bagel Yes. And even Lindsay stuff that we don't know. Like

Lindsay (14:13):

The superhero origin story. Yeah.

Mark (14:16):

Yes. <laugh>. So, so

Moby (14:18):

At the very beginning, where were you born? I,

Mark (14:20):

I was born in Minneapolis, Minnesota.

Moby (14:22):

Which is in the United States.

Mark (14:23):

In the United States. Okay. In the Midwest. Um, great town. Loved Minneapolis a lot.

Moby (14:28):

Okay. So we're starting a little neutral Minneapolis. Mm-Hmm. <affirmative>. Nice place. Yeah.

Lindsay (14:32):

Nice. Beautiful

Moby (14:33):

Scandinavians. Cold.

Mark (14:35):

Great people. Really

Moby (14:36):

Good people. Nice lake in the middle with some pretty houses around it. Freezing First Avenue.

Mark (14:41):

Yes. First Avenue.

Moby (14:42):

Um, so, but we're building to Philadelphia.

Mark (14:44):

Building to Philadelphia, basically. Minneapolis was, it was, it's great. It's a great place because my family is there. But it was wild. I mean, I was, my first year of my life, I lived in a car with my mom, um, ended up in Philadelphia.

Moby (15:00):

What kind of car?

Mark (15:02):

I don't know. Trying remember. Yeah. And then that car got totaled by Drunk Driver. Mm-Hmm. <affirmative>. And my mom, my mom's a big human rights activist. So she started organizing other poor women and children in Minneapolis and started an organization. Um, and we started taking over abandoned federally owned properties and living in them and protesting and drawing attention to the fact that there's all these vacant properties and here's an easy solution for ending homelessness. It's like, here's empty houses, let's put families in them.

Moby (15:34):

So your mom was like a hardcore activist? Yeah. Like a homeless activist who I believe she sort of chose to be homeless in solidarity with the homeless,

Lindsay (15:44):

Like walking the walk For real. To say, this is the life.

Mark (15:48):

Well, yes, but we actually did become homeless though. My mom actually ended up did losing her teaching job and couldn't pay rent. And we got evicted from our first apartment and then in Philadelphia, same scenario. Mm-Hmm. <affirmative>. Um, there's a lot of details in there that I'm fast forwarding through, but Yeah. We also, in Philadelphia, couldn't pay the bills and had a stint of being on the streets then as well. But at this point, my mom was already a huge organizer and we lived amongst all these people and we took, you know, properties together and moved families in and, and yeah, my mom still lives in Philadelphia in a neighborhood that is not great. You know, what's

Moby (16:33):

Is that, that's the neighborhood with all the, it's

Mark (16:36):

The, it's the Badlands is what they call it in North Philadelphia. It's the largest open air drug market in North America.

Moby (16:42):

Yeah. And, and then, okay, so now forgive my ignorance, I should know this 'cause we've been friends for a while. Were you an only child during this time?

Mark (16:51):

I was, yeah. Okay. So my brother Guillermo was not born until I was 22. And

Lindsay (16:58):

You were already had left Philadelphia by that point, right?

Mark (17:01):

Yeah. Yeah. So me and my brother didn't grow up together. Yeah. So

Moby (17:04):

An only child, just you and your mom living in a car on the streets. Yeah. Because I remember when I first found this out about you, I remember exactly where we, we were driving in Beachwood on our way to a, one of our 12 step meetings. Yeah. And I was like, oh, I didn't grow up homeless, but I certainly grew up the only child of a complicated activist product of the sixties. Mom. Yeah. And, uh, um, so growing up, I imagine that you found yourself as a child in some unsafe environments

Mark (17:33):

All the time. Yeah. Yeah. Totally. All the time. And I think like it's, you know, as an adult now, I would never wish for my children to be in some of the situations that I was in. But then on the other hand too, I am grateful for all these things that I've experienced and all these dangerous situations because they've helped me in some way. You know, they're definitely character building. They can be, I feel like you can, it can, you know, go one of two ways. It can pull you into total despair or craziness, or it can ramp up your sense of empathy and connection. And, you know, and I was lucky that my mom was teaching me at an early age, like, Hey, it's not just about you or us, it's about everybody. Right. And so this concept of being of service at a young age was really amazing. But the trade off was, is that I was put in situations that no little boy should really ever be in.

Moby (18:38):

Yeah. I mean, that was, I remember when I first started doing therapy for real, that was my big therapy moment. I was describing something from childhood, and my therapist asked me the simplest question. He said, if you were a parent, what would you have done? And in one second, my perspective of childhood changed completely. I was like, oh, oh. I would never have done any, not to criticize, but I was

Mark (19:00):

No, I know. Yeah.

Moby (19:02):

Wow. I, all that stuff, all the, the, the obvious egregious unsafe moments that you were put in, that I was put in, realizing, like, oh, as a parent, I would never have done any of that. Mm.

Mark (19:14):

I know. And for my mom, you know, and I, I just, I just was in Philadelphia for a couple days, it just got back. And for my mom, she definitely was doing the best she could with what she had and where we were. She certainly wasn't going out of her way to put me in situations. Right. And sometimes my mom didn't even know too, you know? Mm-Hmm. <affirmative>. So, yeah, we now have a really, I mean, we've always had a great relationship, but now we have a really, a really amazing relationship. It's taken her

Moby (19:42):

Some, she's quite, she's quite young.

Mark (19:44):

She's still pretty young. Yeah. She's, uh, she's 60 now. 61.

Lindsay (19:50):

Wow. That's very young.

Mark (19:51):

It is. But even to say the, my mom's like eternally 25 in my brain. Um, but yeah, she is, she's still young. And it was cool growing up with a really young mom. Yeah. You know, we were very much peers in a way in my head. Um, which my mom always had to, you

Moby (20:11):

Know. Well, it's funny. So, so I was How old was your mom when you were born, Lindsay?

Lindsay (20:16):

Mm. I wanna say she was in her very late twenties. She might have been 28 Mm-Hmm. <affirmative>, uh, I think she was 28 when I was born.

Moby (20:22):

So you just reminded me of something. 'cause I was, my mom was 21 when I was born. Yeah. And as an only child of a single parent, sometimes we'd go to the movies and I would do this thing where I would intentionally slouch and sit lower so people would know that I was a child <laugh>. Yeah. Because I didn't wanna, I didn't, I had this thing, I was like, someone looking at us from behind could think we are a couple. Yeah. And that's so, because, because like mortifying

Mark (20:48):

Yeah.

Moby (20:48):

She wasn't that tall. And so I would like, intentionally, like, make myself smaller <laugh> so that anyone looking at us from behind would be like, oh. To, to mom and her son. Clearly

Lindsay (20:57):

A little boy. Yeah.

Moby (20:58):

Yeah. You know, they're not on a date.

Mark (20:59):

Yeah. No, totally. I relate to moments like that very much, you know? No, that's not my sister <laugh>. Yeah. That's my mom. Yeah. Yeah. Um,

Moby (21:08):

Okay. So now, yeah. So I, I have a, a question which I've, in knowing you for a while, I've never known, which is, how do you go from ostensibly being homeless on the streets of Philadelphia to being a successful actor?

Mark (21:25):

Yeah. It is wild. It was, it's just

Moby (21:28):

Like, when did the fir when did you decide that was what you wanted to pursue? When

Mark (21:32):

I was Yeah.

Lindsay (21:33):

And how it seems like an unlikely place to find this artistic totally spirit.

Mark (21:37):

Totally. It started when I was around five years old. I was like, I, I definitely want to be in movies. 'cause when I would see movies, it took me to someplace else. And that place was a lot better than the place that I was in. Mm-Hmm. <affirmative>. And then when I realized, oh, wait, you know, Indiana Jones is actually an actor, <laugh>, that sounds like a great job. And so the obsession began when I was, when I was a kid. And I, I always just, I liked performing in a way. And I was always in a lot of situations where I had to perform in a way. And so I was kind of just naturally getting good at it and not really knowing that I was. So by the time I was a teenager, I was in a performing arts high school, which I loved.

Mark (22:20):

I had the most amazing acting teacher there who really believed in me and clearly thought that I had something. But I was still at that point in my life, very busy with skipping first and second period and only showing up for my acting classes and ended up getting kicked out of that high school, which was devastating, but also turned out to be the best thing that happened because having a radical mom hearing that I'm leaving school, she was like, well, it's okay. You can get started early. Basically, you know, I was like, oh, yeah, I can <laugh>.

Moby (22:56):

You just reminded me another thing. When I was 22 or 21, I moved to an abandoned factory Yeah. In a crack neighborhood. And I didn't have running water. I didn't have heat. Um, I was making around a thousand dollars to $2,000 a year. And my mom, who had been an aspiring painter, aspiring bohemian, came to visit me. Most parents, if they were to visit their child, who's living in an abandoned factory in a crack neighborhood, would be like, what are you doing? Get outta here. This is unsafe. Her response was, she was jealous. Yeah. She actually asked me, she was like, do you think I could get a space here? <laugh>.

Mark (23:32):

That's amazing. Yeah. I

Lindsay (23:34):

Do think there's something to be said for a parent who believes in what they're doing so much that they're willing to not take the safe route.

Mark (23:43):

Yeah, totally. And that's what my mom did, and that's what she instilled in me was she, she definitely was all about empowerment. She really was giving me tools to empower myself and to never really question or doubt or have fear, you know? Yeah. Um, which was so helpful. So I really just had kind of like blinders on. You know, I, I didn't think about the astronomical odds against me ever making it. Mm-Hmm. <affirmative>. I didn't ever have a fallback plan or another thing that I was gonna do besides being an actor. And I had the full support of my parent, my only parent in my life. And so that really set me up to succeed. Mm-Hmm. <affirmative>, um,

Lindsay (24:20):

Like you, there was, you grew up in an environment of fearlessness. Totally. And I think so many people grow up in an environment of, you have to be really careful if you do that, because here are the 12 things that could go wrong if you could Mm-Hmm. <affirmative>. But you had that mental space to try things and do stuff. Yeah. And, and I think you did too, ma.

Moby (24:38):

And also like Yeah. Being like, well, you could try it. And the worst that would happen is you end up homeless in an abandoned factory. And I'm like, well, I already did that, and it wasn't so bad. It's true. So it's like,

Mark (24:49):

It's a good point. Yeah. I know the, yeah. I definitely was only gonna succeed, you know, in that way. Yeah. So I went to a local casting director in Philadelphia named Mike Lemon. I just showed up one day unannounced and basically presented myself to them and let them know, Hey, I'm, I'm available. Just so you know, <laugh>. And I think the combination of like, just being bold and not typical in that way, they liked that, you know, I wasn't playing by the rules. I didn't know the rules really. And so I left my information and within like a week, I got a call from them for an audition. And it was for a movie that I ended up getting where I basically had to play like a young kid, a street kid in Philadelphia. And I was like, well, perfect for this <laugh> and this filmmaker named Eugene Martin gave me my first real role.

Mark (25:43):

And then I learned by doing, you know, then, and that thing happens, you know, they say, you know, good work begets more work. And, and it did. I learned really quickly, okay, this is how you actually really make a movie. And that set me up to have an opportunity to meet an agent in New York City. And I went up and the same type of energy to innovative artists sat down with this woman, Abby Bluestone, who was my agent. My first agent became my first agent, because I went in there saying, Hey, thank you. I've arrived. This is what I wanna do, you know? And she believed in me and started repping me. And the first thing she sent me out on, I booked it was a Foot Locker commercial. Sweet. So

Moby (26:28):

I got, did you get to keep the sneakers?

Mark (26:30):

I don't remember. But I got to be in it with a friend of mine, which was really cool.

Lindsay (26:34):

That is fun.

Mark (26:35):

So it was great. I booked that commercial and I was like, Hey, Abby, this is great. But I've already done film and, you know, I really <laugh> I wanna make movies. Also, not knowing that, like, it's not typical, you know, agents have their own process if you're a young kid. Mm-Hmm. <affirmative>, like, they assume they're kind of in control in a way. But I very much had an idea of like how I wanted my career to be. And, and I was lucky. I did a lot of theater in New York and I stayed a New York actor, which at the time it was kind of like, you chose to go to LA and do pilot season, or you stayed in New York and did theater and indie movies. And I'm really grateful I chose that path. It was always a stretch for me to think about going to LA and doing pilot season. And I've, I've always really been drawn to just the art of filmmaking and people who are bold and take risks and wanna do interesting stuff. I didn't want to just be on like a soap or a, a CW show, you know. And yeah, it just, it's been a beautiful chain of events. I got to work with really great people early on.

Moby (27:44):

So from acting and being in a whole bunch of things, when did you start thinking you wanted to write and direct and make your own movies?

Mark (27:51):

Like pretty early on, you know, a few movies in, I started to realize, oh, like you turn this all over as an actor, you just do your work and then you gotta let it go. And you have no control over how it's put together. Um,

Lindsay (28:06):

Or no control in the beginning, in the audition part too. It's just an entire, there's not a lot of agency in no acting.

Mark (28:13):

No, not at all. And it was, it's, in some ways it's really fun because you get to just show up and do this thing and give it your all and then hope for the best in a way. But I wanted to start to have a little bit more control over my performance even, and the stories that I was telling and the way in which I was telling them. And then also just working with some really great filmmakers early on. Just, it was super inspiring to be around a really great director who ran a really cool set and made people feel like

Moby (28:45):

Edgar

Mark (28:45):

Edgar Mm-Hmm. <affirmative> Edgar was amazing. Edgar Wright.

Lindsay (28:48):

Edgar Wright, the director,

Mark (28:49):

Edgar's amazing technical director. Everybody that I've worked with have, you know, it's great. They have their own very specific styles. Jim Jarmus was an amazing guy to work with because it's like he makes the movies that he wants to make the way that he wants to make them. Mm-Hmm. <affirmative>, which I love. People like that. I did a Todd Salon's film, um, called Storytelling, which was really cool. Follow

Moby (29:11):

Up to Happiness. The Follow

Mark (29:12):

Up to Happiness. And that movie, like, and

Moby (29:14):

We talked about Happiness being prob. Have you ever seen it, Lindsay? No. It's worth watching. It's,

Lindsay (29:19):

It is, it sounds like what you're saying is it's not about happiness <laugh>.

Moby (29:23):

It is. It is. But in the wrongest

Lindsay (29:25):

Way. But like, the lack thereof.

Moby (29:26):

I mean, it's, it's, it's the wrongest movie, I think. Well, it's that, and maybe Pink Flamingos by John Waters. But happiness is, it's amazing. 'cause everything in it is horrifying. Mm-Hmm. <affirmative>. But it's presented in a way where you're laughing the entire, like it's,

Mark (29:42):

That's the genius of it. And when, and it's

Lindsay (29:44):

True. That's genius. Yeah.

Mark (29:46):

It, yes.

Lindsay (29:46):

So you, what you're saying is you're working with these directors who have this like, powerful perspective Yeah. And are bold and you're feeling inspired by this. I'm

Mark (29:55):

Feeling, yeah. It's like, wow, this is great. And I, I, I love Mo I just, I love movies in general, so I think it's a natural progression. If you love movies in general and you love acting that you kind of wanna learn how to operate a camera or Yeah. I wanna start writing. You know, I just love movies so much. I love the power that they have, the relief that they gave me when I was a kid, the inspiration that they gave me and the impact that they had on my life. You know, certain movies went in there and kind of shifted the way that I see myself in the world. And I was like, oh, that, that's, that's powerful. There's a lot of power in that. Just like music, you know, the power of of storytelling is, is amazing. And I just wanted to have all parts Mm-Hmm. <affirmative> of it, you know.

Moby (30:40):

And then the other lane is, 'cause we're working on an animal rights movie. A vegan movie. Yeah. You, me, Lindsay, Bagel, others. Yeah. So when did you first start thinking about veganism and animal rights? And do, do you, oh, that's great. Yeah. What's your journey there?

Mark (30:59):

My journey there was, well, you know, we talked about a bit about how I grew up. And so I, I ate terribly, you know, it was just as did we all? Yeah. It was just Lindsay, what

Lindsay (31:10):

Was your, it was the nineties. What

Moby (31:11):

Was your favorite disgusting, terrible thing? I

Lindsay (31:13):

Ate dominoes, sugar cubes right out the box.

Mark (31:16):

Oh yeah.

Moby (31:16):

And what about in the world of like,

Lindsay (31:18):

Oh, as far as like, me go, I mean, I would eat anything put in front of me. Yeah. That's what you do when you're a kid. And there I lived in Georgia, Texas, the South. Oh yeah. Like there was, you wanna talk about the stuff that was put in front of me? Mm-Hmm mm-Hmm. <affirmative> wasn't good. Mm-Hmm. <affirmative> wasn't nice. Yeah.

Mark (31:31):

No, I, me neither. And the, and fast food too. I mean, just like, there was a decade in my life. I just lived off of McDonald's, which still blows my mind when you Mm-Hmm. Now know just

Moby (31:42):

How terrible, I mean, because I'm a little older, and just as an aside, it does sometimes amaze me that any child survived the sixties and the seventies. 'cause like, our parents all smoked Mm-Hmm. <affirmative>, there were no seat belts in cars. Driving drunk wasn't a crime for fun. We would go out and shoot each other with BB guns and throw rocks and knives at each other. Yeah. Um, we were given bow and arrow sets for Christmas, and then we would shoot each other with the bow and arrow sets. So

Lindsay (32:09):

You didn't see who, who could jump the farthest off of a trampoline. Yep. And then how did we survive <laugh>?

Mark (32:14):

I know. And

Moby (32:15):

Every weekend day you'd wake up, you'd have some breakfast, you'd watch cartoons, and then around eight 30 or nine, you'd say to, I'd say to my mom, mom, I'm going out. You'd come back at seven o'clock at night. There's never a question. Where are you going? Nope. What are you doing? And it's like, you would ride your bike and explore abandoned houses. You'd ride to different towns. You'd break into people's houses and schools. Like, it was just, yes.

Lindsay (32:37):

It was insanity. We had a game where we tried to knock each other off of each other's bikes. Yeah. Yeah. No. And everyone had big hu I mean, we were all just mangled from the whatever we

Mark (32:46):

Had. Yeah. No helmets. Yeah. No, never. This was like pre helmets, cars without seat belts. Yeah. Or car seats. Yeah. No, I, so,

Moby (32:52):

So, so then like, and then fast food, like the, the diet consisted of like, you'd wake up and have like the worst cereal, like Lucky Charms, if you were Lucky Charms. Lucky. Mm-Hmm. <affirmative>. And maybe some bacon Pop Tarts. Bacon if your grandmother made bacon. And then every meal was disgusting. Yeah. But we're still here. Still here. We can string sentences together. I

Mark (33:13):

Know. tv, I'm just recalling all of it. The TV dinners.

Lindsay (33:17):

Oh man.

Mark (33:18):

Uh, chipped beef in a boiling bag. Like you boil bags, the plastic bag of sauce and meat. Meat. Oh

Lindsay (33:25):

My gosh. We put so much plastic and boiling. Yeah. Water

Mark (33:28):

Back then. Put it on toast. Chipped beef on toast. Oh my God. I'm just remembering that. Right. So, yeah.

Lindsay (33:32):

No, it was so, so bad. Anyway, the

Moby (33:33):

So, so we all, we all grew up eating horrifying garbage. Horrifying garbage. And going to McDonald's was a treat.

Mark (33:40):

Yep. It was, it was a treat. And, and then, you know, so 15, 16 years old, I'm eating in Philadelphia. I'm eating like a bacon, egg and cheese sandwich. I'm having a Turkey hogie for lunch, a cheese steak after that for dinner. It was like, all my food was just meat, meat, meat. Mm-Hmm. <affirmative>. And I felt like and was starting to not feel great about myself. And I got really lucky. I was a graffiti writer. Still am. And I started hanging out with the best graffiti writers in Philadelphia at the time, who just so happened to be straight edge, hardcore punk rock vegans. It was like, oh,

Mark (34:21):

<laugh>. You know, like these two worlds combined. Mm-Hmm. <affirmative>, um, that was, that should never have combined. Right. And they really liked me because, uh, they liked my hand style. They knew that I lived in North Philly and I was friends with some other cool graffiti writers, and they kind of took me in. And I initially was of course just making fun of 'em and, you know, their food and whatever. And then finally one day I was like, alright, I'll try a falafel. You know, I didn't even know what it was. And I was like, well, that's pretty good <laugh>.

Moby (34:57):

You know.

Mark (34:58):

Um, and then Kasu going to like the Chinese vegan restaurants in Chinatown and Philly and just having like general, so chicken and like all these things but made

Moby (35:10):

With but soy protein and stuff. Yeah.

Mark (35:11):

Yeah. Soy protein. And

Moby (35:13):

I want that right now. Yeah,

Lindsay (35:14):

I know. Me too. My God

Mark (35:15):

Sounds so good. I know. Just make me so hungry. <laugh>. Um, and it was amazing. It was amazing. And I immediately started to feel better, you know, and within a few days, and then weeks, you, it creates that space for me to start to realize like, whoa, what was I actually eating? You know? And then it started to connect. This is, this was a living being, this is their tissue, their muscle, and their fat and their blood. Mm-Hmm. <affirmative>. And I'm eating that. I developed a taste for that. Like, and then I started to get the final straw was eggs. 'cause I initially was like more predominantly vegetarian. And then Mm-Hmm. <affirmative>. So I'd still eat some eggs. And then I was just like, it hit me one day, like what? They actually are <laugh>. And I just, I, I, it really bummed me out, you know? So then I started to make that connection to it being actual living beings, not just packaged meat. It's

Lindsay (36:13):

So hard,

Mark (36:14):

You know? And

Lindsay (36:15):

To Oh, to the conditioning is so powerful.

Mark (36:17):

You know? So powerful. So powerful. It's 'cause it's what Yeah. What you're born into. Yeah. You know, and, and so yeah. 17 years old started and then haven't looked back since. And it's amazing. I get to raise kids differently, you know, which is cool.

Moby (36:34):

And it's funny 'cause your kids are possibly more militant vegans than we are. Mm-Hmm. <affirmative>.

Mark (36:41):

Well, it's interesting, you know, at that age, when you're brought up in a plant-based household, they, they just don't understand, like, kill an animal. You know? There's no distinction with them between a cow and a dog. Yeah. Or a lizard or a cat. Mm-Hmm. <affirmative>. You know, and which is beautiful, you know, the innocence and the way that children see it. And it, it definitely, yeah. It's, it's, it's beautiful to bear witness to Mm-Hmm. <affirmative> really, because in their world it's like, why would you kill anything? You know? And then especially with the foods that they eat, they don't understand, you know, it's, it's, you can have a, a burger that tastes better than

Moby (37:22):

A, and it doesn't have blood and gristle in it. Yeah, exactly.

Mark (37:25):

So,

Lindsay (37:25):

And all the other stuff that is in meat that is so gross.

Mark (37:29):

I know. I know. And their, and their understanding of it. And then it's gotten deeper. So my older kids know about factory farming, you know, and have seen things and have been exposed to things and realized like, wait a second, this isn't good for the world. Mm-Hmm. <affirmative>, you know, for the planet. And I think being a young person nowadays, you are really aware of the state of the world. You know, at least some kids are right. That this planet is kind of under siege and that they're the generation that hopefully we will be a part of good change. If not, is it the end? You know?

Moby (38:10):

And they're, they're inheriting this cumulative apocalypse. Yeah. You

Mark (38:15):

Know, they really are.

Lindsay (38:16):

And they know it.

Mark (38:17):

And they know it. These kids know it and they know it. And, and man, that's a whole other thing navigating through that, because I don't want my kids to feel bleak or sad or hopeless. Yeah.

Moby (38:28):

You know, I mean, it must be, I know that there's been a lot written about how hard it is for kids these days. I mean, we were talking about how hard it was for us growing up because we ate garbage and lived in dangerous environments. But at least we had an understanding back then of, oh, things are gonna be okay. Yeah. The world is stable, politics are stable. Yeah. Like, things have, things were

Lindsay (38:50):

Under control a little bit. Yeah. There wasn't as much hands, but now

Moby (38:53):

That feeling that kids must have of like, oh, nothing is stable. Yeah. I mean, no wonder like teen rates of depression and even suicide and self harm are so high. And then these poor kids who had to like in the middle of their childhood interrupt it for two or three years for the pandemic. I know. Like,

Mark (39:11):

I know it's heartbreaking you guys. Yeah. So I'm, I'm trying to take that kind of cesspool of potential depression and pain and despair and turn it into hope and inspiration and like positive power. Mm-Hmm. <affirmative>. You know, because there's, there's something a little, you know, for me it's kind of like, okay, yeah. The state of the world is pretty intense right Now. I can make a couple choices here. I can just lay down and be sad about it or I can do something about it. Yeah. You know, and if in fact it is all gonna, and in a push of a button one day in the near future, right. I'm gonna live my life to the fullest right now and I'm gonna live it with love and positivity and bestow that on my children. Mm-Hmm. <affirmative>. And then this, I'm a dreamer. You know, I'm a big dreamer. I do believe that we can make this world a better place. We certainly have the means and the intelligence to do so, you know, but

Lindsay (40:13):

Also look at how even the three of us were changed by somebody else. Good point. Sharing their experience with us. Mm-Hmm. <affirmative>. Mm-Hmm. <affirmative> in a way that opened our eyes. Like, and that happened to us at a time when that wasn't a thing. Mm-Hmm. <affirmative> It wasn't an accepted or, or you know, it wasn't as normalized as it is now. It's so true. So I feel like if we could shift our path, then it does say there's precedent for people's minds changing. 'cause ours were

Moby (40:40):

So Lindsay, culturally. Yeah. This is something I realized I don't know about you. Were there any cultural things, people, writers, whatever, that led you to be vegan or vegetarian and then vegan? Oh yeah. Well,

Lindsay (40:52):

I always had a really hard time with hunting. Oh yeah. My family were hunters. I mean, it was Texas. Everyone had, you know, their dear lease Yeah. That they would go to, you know, and sitting their towers with their buddies and shoot and drink and bring back, you know, deer sausage. Yeah. And I was always like, Ew. Yeah. It's so barbaric. And I remember like crying when my dad would come home and just literally yelling the word barbaric at him because I couldn't think of other words to say. Yeah. So I was always against that. But all of that time I was still eating meat because I still hadn't really made the connection of the life behind the package. And it actually, I remember it was, it was, I was in college and somebody had said that they were vegetarian and I was like, A what?

Lindsay (41:36):

Yeah. <laugh>. Like, there were so many things I didn't know that you could do. Yeah. I didn't know that you could be gay. Really? Right. I thought it was just like something people talked about in movies and books. Like, I didn't know women could be gay at all. Mm-Hmm. <affirmative>. I didn't know that was a possibility. And I didn't know that you could just go through life not eating meat. Yeah. It had never occurred to me. And so when I heard this, this person say that they were a vegetarian, I was like, that's weird. What do you mean you just don't eat it? And then I remember just looking it up online in my like, little dorm room and being like, what? And then like, one full night of just like doing the research, it was like one of those, do you remember the movie The Fifth Element? Yes. Where she like, hooks into the thing and she like learns about all this stuff really, really fast. Like, I had this one night of just having my world blown open and from then on I was like, Nope. Done. Yeah, we're done. I think I started out vegetarian. 'cause I was still trying to figure out what does, what does it all mean? How do do you do it? And, but then, you know, I got there eventually.

Mark (42:37):

That's cool. Yeah. It's been the one of the greatest things, one of the greatest decisions I've made in my life. Yeah. And my kids are thriving. It did. Yeah. I mean, I could go on and on and on about this too, because I agree if there was a time where I thought you couldn't exist if you didn't have meat. You know,

Lindsay (42:55):

That's what we're all told we're, we're like, we're told your bones will fall apart if you don't drink milk

Mark (42:59):

<laugh>. Right. And then you learn, actually this milk is not where I'm getting calcium from <laugh> and it's leaching it from my bones. And it's like the amount of disinformation and fear surrounding making a decision to stop eating animals is, you know, I now know is just wrong. <laugh>. Yeah. You know, it's like I am the living proof of it. My children are too. You know?

Lindsay (43:22):

But now you're sending out these little vegan warriors out into the world. Yeah.

Mark (43:26):

And also pregnant through pregnancy too with Theresa. Like, there's a lot of fear there. Like, can

Lindsay (43:32):

You be vegan when you're pregnant

Mark (43:33):

Like that? Well, or can be a, a pregnant woman and be vegan. You know, are you getting enough protein? Are you getting enough iron? You know, the, the same things, but Yeah.

Moby (43:43):

Yeah. And so one of the things we're doing in this episode of the podcast is talking about the movie that we're making. Yes. And by the way, um, we're all very excited to make the movie and thank you for agreeing to direct it. Like, when Lindsay and I were thinking about who would direct this movie, we were like, well, there, as far as we know, there is one principled, experienced vegan director in the world. And he happens to be our friend who lives around the corner, who has experienced as an actor, experienced as a writer, experience as a director, experience with cameras experience working on big movies, experience, working on small movies. We're like, huh?

Lindsay (44:28):

It's like you and James Cameron. Well, yeah.

Moby (44:31):

<laugh> Jim Cameron minus the small movie part. Yeah. Right, right. If Jim Cameron were doing this, he'd be like, okay, it's gonna take 12 years. I know the budget's gonna be $300 million. Totally. And we're gonna use the same font as a yoga studio. Yeah. <laugh>. Yeah. That's one of the greatest things on SNL Oh my god.

Lindsay (44:49):

The Ryan Gosling.

Moby (44:50):

Did you see that? No. Ryan Gosling. It's a, it's a short film with Ryan Gosling where he can't figure out why avatar one and two use

Lindsay (44:59):

Papyrus, Papyrus

Moby (45:00):

Papyrus the follow. And it's like, it's, he's like, it's like this muckraking journalist. He's like, yeah. He's like, these are the biggest movies ever made. Yeah. And they use a generic font Right. That's used for yoga studios <laugh>.

Mark (45:12):

Like it's

Moby (45:13):

True. Yeah. That's,

Mark (45:14):

It's Yes. That's funny. Yeah.

Moby (45:16):

<laugh>. Yeah. I, I have a few other questions. Yeah. We're making our movie. Um, and also one thing I'll say to everyone listening and watching Bagel is trying to join Bingo. Do you wanna go jump up there? You wanna go jump up?

Lindsay (45:26):

Go go see Mark. Did you go,

Moby (45:28):

Did you get shy? Um,

Lindsay (45:29):

What happened, <laugh> is she got really brave

Moby (45:31):

For a second. In addition to actors yet to be announced, we're also, we want to cast activists. Yeah.

Lindsay (45:39):

But that is one thing that I, it's like if you're gonna make a film that is an activist film about activists to have as much crew as you can be. Activists, our casting person is a committed vegetarian. Mm-Hmm. <affirmative>. We're trying to find actors that are committed activists and as much crew as we can. Like, it's going to be at the core of every single day we're prepping and shooting. Yeah. I think is so powerful.

Mark (46:07):

It is. And it's, it's really been amazing so far already you guys, and I'm so happy that you asked me to be a part of this. You know, it's, it's beautiful, especially when you get to work with friends. Mm-Hmm. <affirmative>, you know, first and foremost, that's like, doesn't always happen that way. And it's been amazing you guys, because we know that we're making something that could be a lot bigger than just the film itself. Mm-Hmm. <affirmative> what it can unlock. And that's the hope. It's really exciting. And also just getting out there right now and, and starting to cast and grew up meeting really awesome people and seeing people within the community, being so excited

Lindsay (46:47):

And supportive

Mark (46:49):

Is so cool. Yeah. You know, like so supported and so excited. They want, they want this movie to be a maid, you know, and they want to be a part of it.

Lindsay (46:58):

Yeah. There's so much momentum just from like, the spirit of what the film means. Yeah.

Mark (47:03):

Yeah.

Lindsay (47:04):

And it gives us so much momentum, so much, um, uh, drive to make the best thing that we can make because it's about more than just love or whatever. It's about what I think we believe could be something that saves the planet. Yeah.

Mark (47:22):

There's a nice, there's a nice organic purpose in this in a real way, you know? Yeah. And it's just also so fun to make a movie and we're so lucky to be able to make a movie and it's gonna be an awesome summer. Mm-Hmm. <affirmative> of shooting. Mm-Hmm. <affirmative>. That's for sure.

Moby (47:38):

Well, we're gonna let you go because you have children and family and you also have to go out and promote a movie that you just finished with Netflix.

Mark (47:47):

Yeah, yeah.

Lindsay (47:48):

Which is,

Mark (47:49):

That's called Trigger Warning. And

Moby (47:51):

That's not a vegan movie. That is

Mark (47:52):

Not a vegan movie. <laugh>.

Lindsay (47:54):

But it does have a great vegan in it. <laugh> It

Mark (47:57):

Does have a great vegan in it. Yes.

Lindsay (47:59):

Um,

Mark (47:59):

Maybe a couple others too. Oh,

Lindsay (48:01):

Great. And when is that available? That's

Mark (48:03):

June 21st on Netflix.

Lindsay (48:05):

Okay. We're putting that on our calendars.

Mark (48:07):

It's a fun one. A big action movie with Jessica Alba kicking butt.

Lindsay (48:11):

I love Jessica Alba. She's awesome. You wanna talk about an environmental queen?

Mark (48:15):

I know,

Lindsay (48:15):

I know. That Honest company is legit. She's killing it. They're so good. And it's like affordable, environmentally friendly, non-toxic products. Okay.

Mark (48:23):

I know. It's pretty amazing. It's pretty amazing. <laugh>.

Moby (48:26):

Aw, sorry I'm distracted because bagels staring at me and her little,

Mark (48:30):

She's the cutest dog ever. She

Moby (48:31):

Just cute. Her little, her little, her little face. Hi bagel. Okay, so we're gonna let you go. Okay. And, uh, we'll see you this weekend. See

Mark (48:42):

This weekend, but also

Lindsay (48:43):

All the time because there's gonna be a lot of togetherness.

Mark (48:45):

There's a lot of togetherness ahead of us. Well, thanks for having me guys. This. Cool.

Lindsay (48:49):

I'm really glad that we got to talk about this and I'm hoping that as this film process goes on that here or somewhere, we can continue like checking in with you

Mark (48:59):

And Yeah. I want to come back and talk more

Lindsay (49:01):

Talking about how how shooting went Yeah. And when we're getting it out. There's, there's just so much more I think to talk about, uh, as far as the journey we're on.

Moby (49:11):

Yeah. And one thing we can't tell people is what the name means. No

Mark (49:14):

Secret. Not yet. It's secret.

Moby (49:15):

The name. It's a hidden secret. Nope. 'cause people are like, te techy. Mm-Hmm. <affirmative> Tiki. Mm-Hmm. <affirmative>. Nope. TECIE

Mark (49:20):

TECIE. You'll find out. Yeah.

Lindsay (49:22):

You'll find out.

Mark (49:23):

Yeah.

Lindsay (49:23):

Yeah. Anyway, thanks guys. Thank you so much.

Moby (49:26):

And also, just lastly, the movie potentially ends with a graffiti sequence in my ignorance. I didn't know you were a graffiti writer. I also did not know that graffiti writers are called graffiti writers. Mm-Hmm. <affirmative>. I thought it was graffiti artist. And

Lindsay (49:40):

When you say like the kind of font that you use, that means your hand. Your hand.

Mark (49:43):

Yeah.

Moby (49:43):

Okay. Look, we learned things Lindsay. Wow. Graffiti

Mark (49:47):

Writerly hand style. A

Lindsay (49:48):

Philly hand style.

Mark (49:49):

Yeah. Philadelphia. It's really interesting. Philadelphia has a particular hand style that nowhere else in the world. And if you're a writer, you immediately know, oh, that person's from Philly. Will

Lindsay (49:59):

You write Moby Pod and Graffiti? Sure, of course. I mean, like with something.

Moby (50:02):

Yeah. Um, lastly just outta curiosity, name some of your favorite directors, favorite movies and favorite graffiti artists.

Mark (50:11):

Um, the best graffiti writer in the world is my friend, Sam Myerson. Hmm. Writes Curve.

Moby (50:16):

Have you ever been to the Unofficial Graffiti Museum in I think it's in Harlem.

Mark (50:22):

No, I know. Yeah.

Moby (50:23):

It's the, I I went there once 20 years ago. It's basically a giant schoolyard Yeah. And every inch of the schoolyard is covered in the greatest graffiti. And it's like, it's apparently the protected, at least back then I was told there were, I was told that like, this is the one place no one tags over. Yeah. Yeah. Because it's like all the legends, it's

Mark (50:45):

So respected pieces there. Yeah. That's

Moby (50:47):

So cool. And you walk in and it's like, it's just this open air schoolyard covered in the most beautiful graffiti art.

Mark (50:53):

Yeah. I love it. I love it. I know. It's, it's amazing. Favorite movies? Uh, my favorite movie ever is Willy Wonka and The Chocolate Factory with Gene.

Moby (51:01):

The original. Yeah.

Mark (51:02):

Original Gene Wilder. Huge Gene Wilder

Moby (51:04):

Fan. Yeah. Gene Wilder was amazing. Like

Mark (51:06):

What an amazing, I

Lindsay (51:08):

It's amazing. I've never seen, I haven't seen anyone do what he

Mark (51:11):

Yeah. It's like comedy and drama. I,

Lindsay (51:15):

But like dark and

Mark (51:15):

Creepy. It's dark and creepy,

Lindsay (51:17):

But, but like fun and Yeah.

Mark (51:18):

Yeah. Yeah. I really,

Moby (51:19):

I I need to do a Gene Wilder film festival.

Mark (51:22):

Yeah. Like I do too. I need to like go back and watch some more of his stuff. My buddy Michael, Sarah was friends with him. Oh. And I was like so jealous of their, that I

Moby (51:31):

Used to see him on, 'cause Gilda's Place was on Houston by the film by film Forum. Oh wow. And I ally once or twice saw him on the street there. Oh man. And it was just one of those New York moments of like, wait, don't that <laugh> being wild? Totally,

Mark (51:45):

Totally.

Moby (51:45):

Just like hanging out, having a coffee out of a cup. Yeah.

Mark (51:50):

Weird. Yeah. I would've been, he's someone I'd be starstruck over. Yeah. I'd be like, Hmm. Yeah, Lehan was a really, hate was a big one for me. I don't know that, um, really great, uh, French urban film and yeah, those are the, those are my two big go-to ones. Oh and three fugitives. I brought that up with you guys the other day. Mm-Hmm. <affirmative>, that's a, that's a classic that people need to revisit. That's with Martin. Short Mm-Hmm. <affirmative>, Nick Malty, buddy Cop Comedy. That's,

Lindsay (52:18):

That's a team right there.

Mark (52:19):

Yeah. But those are, those are my go. I could watch Willy Wonka in the Chocolate Factory over and over and over again, and I've made my kids watch that movie <laugh> with me and they love it. It still holds up. It's great.

Moby (52:31):

I tried watching the new one and I, I hate to admit I didn't quite get through it. It's not

Lindsay (52:36):

Like Oh, you mean the prequel?

Mark (52:37):

Yeah.

Lindsay (52:38):

With the Timmy. With Timmy,

Moby (52:40):

Yeah. I mean, have some problems well intended. And also I realized sometimes I'll try watching a movie and I'm like, oh, I'm 58 years old. I'm not the target demographic for this. Like, it's maybe if, I mean, not understanding or resonating with the, that movie is like, well, it's designed for 14 year olds, not for 58-year-old guys. Right.

Mark (53:00):

It's important to know. Yes, it's true.

Moby (53:02):

Okay, so we'll let you go. Okay. And then we'll hopefully see you whenever you guys say we're gonna meet up again. Yeah.

Lindsay (53:08):

Sunday. Sunday dinner.

Mark (53:09):

Sunday dinner.

Moby (53:10):

I'm always free, so anytime. Awesome.

Mark (53:11):

Thanks guys. Yay.

Lindsay (53:12):

Thanks.

Moby (53:22):

Okay. So we just had our wonderful conversation with Mark Bagel is looking at me with the most adorable eyes. Yeah. She's so smart. And, okay, so what else we want to say? We wanna say thank you to Mike Fki for filming. Thank

Lindsay (53:35):

You to Mike Formanski for filming and also editing, uh, the video. And thank you to Jonathan Nesvadba, um, the king behind the scenes, uh, <laugh>, um, who edits this podcast. And, um, I also wanna say thank you to Human Content and I also wanna say thank you to Arwin PR who helped us get our announcement out about the movie. And I also wanna say thank you to Bagel for Making Moby yawn 'cause that was funny. And one thing I really wanna say is that it's very exciting to be able to talk about Little Walnut like this and to talk about our hopes and dreams for it, and also see how we expand into more films and television and maybe more podcasts and maybe a theater and maybe all of the stuff that we, we hope to bring to life. And so I'm grateful to everyone for listening to our little story about our stuff.

Moby (54:31):

Yep. And Lindsay's the boss and everyone else works for her. Actually, bagel Iss the boss, Lindsay works for Bagel, and we all work for Lindsay and Bagel <laugh>. Now this, and this is kind of the public announcement, even though we've been working on this for a couple

Speaker 4 (54:43):

Of years. <laugh>. Yeah. So

Moby (54:46):

With that, what time is it? It's time to go have almost dinner. It's

Lindsay (54:50):

Almost dinner. I mean, it's four o'clock mo <laugh>.

Moby (54:54):

Wow. Okay. You just outed me as someone who eats dinner at four 30 or five <laugh>, which I guess I've outed myself as that. But any case, thanks everybody for listening and watching, and we will talk to you and see you very soon. Bye.