Intro: Meet Ben Pritchard, Filmmaker — [00:00:00]

Nicky P: Welcome everyone to another episode of We Came From Celluloid. I'm Nicky P., here as always with double vision. Do I see the folly of youth and the wisdom of age, or the exuberance of youth and a man who should mind himself a little bit better? I kid, folks. We have Brian as always today. We happen to have some of his offspring here, because I just love saying offspring and not referring to the crappy used-to-be-a-punk band.

Brian Pritchard: Yeah, man. I'm excited to have my son here, and while it's not just nepotism at play — I'm here because my son is on brand, you know? We had some plans to talk to his fiancée, Amelia, AKA Melodite, who's doing some of our shows on this upcoming tour, but sounds like she's recording this evening, so we'll have that one coming up a different night. And, man, I thought what a wonderful opportunity it would be to talk to my son, the filmmaker. We cover band stuff, we cover movie stuff, and you do have sides on both of those fronts. But today, Ben, I wanted to talk to Ben Pritchard the filmmaker, if I may.

Ben Pritchard: Yeah, absolutely, of course.

Nicky P: Well, you guys get to talk all the time. Why do you get to lead this conversation and not me? I never talk to the kid.

Brian Pritchard: Not at all. Please, take the reins. You've got all the questions — I don't think there's much you don't know.

Nicky P: In fairness, we did start the conversation before you got on. I was grilling him — I've gone and listened to some of his material on Spotify as a musician, and was curious where he sees himself in the scope of music. Is it more as a producer, since he works with Melodyte on material? Does he see himself more as a rapper? I know he does some rapping on the tracks I listened to, and I wasn't sure if it was, you know, kind of like in the DJ Khaled sense — just adding a little flavor to the tracks — or if he has ambitions of being an actual rapper. What does that look like for you?

Producer, Rapper, or Both? — [00:01:00]

Ben Pritchard: I think I'm better at producing than I am at rapping, but I really like doing both. My music isn't always my production — I have a friend, Avery, who I've been working with for years, and he's actually doing the current project I'm working on, and he's extremely talented too. I don't think I'm trash or anything, but I definitely think I'm better at behind-the-scenes stuff, especially recently.

Nicky P: To be blunt, you clearly make some choices as a vocalist in that realm — it's not like you're just walking up and talking as a normal person. You clearly have your voice you're trying to articulate with, and I found that interesting.

Ben Pritchard: Yeah, it's a little more high energy, whatever. I'm way more laid back than I present myself, for sure — I think as most people are.

On Being a White Rapper — [00:03:00]

Nicky P: Even in that — there's definitely a way that white people tend to rap. We always tend to go to the high part of our register, and no matter where you're from, it feels like we're always kind of trying to rip off either Ad-Rock or Mike D. You're younger than your dad and me, so I'm always fascinated by the cultural cues that are different — I don't think you have the same baggage I would've had coming up trying to be a rapper back in my 20s.

Ben Pritchard: Yeah, I think at this point there's been a lot more people who've managed to be white and successful in that scene. I don't know — I think all that matters is you've gotta be good. As long as you're not being a bullshitter — there are white people who desperately want to be Black, and those ones don't usually succeed, because it comes off as goofy.

Nicky P: They're inauthentic. You have to deal with the fact that you're a white guy from the suburbs — you're not from the hood, so pretending that's your life doesn't make sense.

Ben Pritchard: Right — I can't say "you don't understand where I came from, I came from a lovely home and a good family, you just don't get it." No.

Nicky P: My parents are still together. Nobody sold crack.

Ben Pritchard: Yeah, it's great.

Nicky P: It's great over here, you don't get it.

Music and Film: Two Separate Processes — [00:06:00]

Nicky P: So, kind of pushing that out of the way — as a filmmaker, how does the music inform that, or doesn't it? In your head, are they two completely different ways of being an artist, or is there some type of confluence between the two?

Ben Pritchard: I think of it as being pretty separate. My most recent movie, Next Up, probably wouldn't have been made if I wasn't doing music stuff, because it was loosely inspired by feelings surrounding that. But there's no methods I use for my music that I use for my movies, other than just working hard. I try to be quick but not messy — with Next Up, every day we'd shoot, and then I'd edit the scene and add it to the larger movie that same day. The day I shot the last scene, at 6:00 in the morning, I added it to the movie, downloaded it, and it was done — then I watched it and made little edits afterward. I don't wait till things are done to edit — I go as I go and try to be efficient, but not in a way that rushes things. So that's kind of a shared thing there, but other than that it's largely separate.

Next Up and That Time We Stole the TV — [00:08:00]

Nicky P: What ambitions do you have — is this a feature film type thing, or a small short? What's the context, and what do you plan on doing with it?

Ben Pritchard: I did both last year. The one that's already out — in September I released a short film called That Time We Stole the TV, and I had so much fun doing that the gears started turning for something else, and that ended up being an hour and 16 minutes — technically feature length, or just under it. So I did a short and a feature.

Nicky P: That's what we call classic, perfect length — that's what movies were when we grew up. I believe the perfect movie is 86 minutes long. They didn't start making everything over two hours until I was well into my 30s.

Ben Pritchard: Well, then this is for you. I re-watched it recently — I hadn't watched it since I put it out, and I was curious to see if it held up for me. When I'd just finished making it I felt like I had more bias, watching it through the lens of "yeah, I just made this." So I wanted to let it simmer — it's been about seven months since I put it out. I wanted to see if it was still good, and I think the pacing is very good — it was over before I knew it, in a good way. I think that's important.

Ohio Walnuts, Spinal Tap, and Finding a Style — [00:10:00]

Brian Pritchard: Ben, part of what I'd say if you weren't here — talking about the two pieces I saw, and even Ohio Walnuts, which you were in and influencing even though you didn't direct it yourself — that's another project that fits into that space. It's almost an unofficial trilogy.

Ben Pritchard: Yeah, kind of.

Brian Pritchard: I think of it the way Spinal Tap is a Rob Reiner movie that sent Christopher Guest off on a certain path. I see a style you're playing around with — guys like Conor O'Malley, Eric Andre, Nathan Fielder, even the Safdie brothers — there's a sort of sub—

Ben Pritchard: These are all my favorites, I appreciate that.

Brian Pritchard: There's an interesting blurring of the lines between documentary and fiction, using the real world and organic moments — it's different than Spinal Tap and Curb Your Enthusiasm, and different than other types of improv. It's an interesting subgenre you're playing around with.

Ben Pritchard: I appreciate that. Part of it comes from — I did write the script for That Time We Stole the TV, but that's only about 30 minutes, so it wasn't a long writing process. I find it really hard to motivate myself to write a script. With Next Up I had all the ideas outlined in my notes app, even certain lines of dialogue, and I just wanted to make it rather than sit there typing out a script and figuring out how to connect everything.

No Scripts, Just Notes: How Ben Works Fast — [00:12:00]

Ben Pritchard: There was a little improv in That Time We Stole the TV, and I felt confident in my ability to be quick on my feet, and I felt that way about the people I was working with too. I didn't feel a script was necessary, especially with it being in mockumentary format — it helped that nobody was trying to remember lines, we just knew what was meant to be conveyed and figured it out amongst ourselves. That's what I like so much about Curb and Nathan For You and shows like that — I just like when shit feels natural. There are moments in That Time We Stole the TV where you can tell people are reading a script — not a criticism, that's just how it is, we're not trained actors. But nothing feels forced in Next Up, at least to me, and I wanna keep it that way. Not writing a script helps with that.

Found Footage, Mockumentary, and a Third-Act Twist — [00:14:00]

Nicky P: What genre do these films fall under — are you trying to invent something completely new?

Ben Pritchard: I don't know if it's completely new, but I'd say they're found-footage comedies. They're both shot on a little grainy camera I have. The first one opens shot on my phone, clearer, and then somebody says "I found a camera" and it switches to that, and you follow from the camera's perspective from there. Next Up is formatted like a documentary the whole time — it starts like you're watching a YouTube vlog, and then they run into the main character, who's me, and I'm like "I'm the greatest of all time, you gotta shift the focus to me," and I convince them to start documenting my process. So the whole thing is found footage, documentary, mockumentary format. The third act takes a shift — I don't want to spoil it, but it gets a little darker. I've seen people call it horror-esque in the back half. I don't even know if saying that is too spoilery.

Nicky P: Well, that was my next question — if you want to keep me interested, how many people die in the movie?

Brian Pritchard: You gotta watch it to find out.

Where to Watch (and How to Get a DVD) — [00:16:00]

Nicky P: Where can I watch it?

Brian Pritchard: It's on YouTube.

Ben Pritchard: Or I can send you a DVD if you want.

Nicky P: It would be a conversation piece for people who stop by and look at my DVD collection.

Ben Pritchard: It's important. I'm looking at both of them right now on my shelf. You know what — give me one sec.

Brian Pritchard: We were talking to a guy in one of the bands we're playing with next Friday, who was working with a filmmaker for their music videos — actually, that's the dude we didn't end up talking to, who made that feature film I watched the trailer for.

No Gatekeepers, and Why Cream Rises — [00:17:00]

Brian Pritchard: All that to say, it's been intriguing to have a scenario where there aren't gatekeepers the way there once were — we all have access to the same equipment, high-res cameras, iMovie and easy editing software, distribution platforms like YouTube. Whether it's filmmaking or white rappers, there's no gatekeepers, but by contrast that means the market is flooded.

Ben Pritchard: There's a lot more competition.

Brian Pritchard: Cream must therefore rise to the top. If you've seen Catch Me If You Can, there's a delightful speech Christopher Walken repeats — two mice fall into a bucket of cream and have to find their way out, and they turn the cream into butter. My point is there's a message about preparation and luck intersecting — whether it's a guy plucked out of obscurity to front Journey, or the drummer from Vola who was making Vola cover videos and then got grabbed when they needed a new drummer, or these YouTube guys who made Backrooms an obsession. I don't mean that as a dig — it's a really interesting time to be in the underground making authentic shit, and it's a cool thing to see you be a part of.

Ben Pritchard: Thank you, I appreciate it.

Curry Barker, Backrooms, and I Love Boosters — [00:19:00]

Nicky P: I'm curious about your opinion on the Curry Barker phenomenon — you might be a little older, but you're roughly the same age. He's a kid who made a movie for a couple hundred thousand dollars after a YouTube channel and it became one of the most profitable movies ever made. Or the director of Backrooms —

Ben Pritchard: Shane Parsons is the Backrooms director.

Nicky P: Right — who managed to get actual money to finance that movie. I think it was like $24 million made on it, and it made back around 86. The cost-benefit ratio isn't as good as, say, Obsession, but both are beautiful instances of people your age kicking dust in Hollywood's face while Mando and Grogu sit in third place.

Ben Pritchard: I love that. I don't think it's outperforming Star Wars, but I Love Boosters is at least rubbing shoulders with them — I've seen way more people talking about that movie than Star Wars, and I think it's great. Smaller, very talented creative people are getting lifted up right now, and that's very exciting. It makes me feel better, because it's easy to think the only stuff that makes money is Marvel and Star Wars movies, but the last couple of months have shown that's just not true anymore. People are tired of that shit.

Nicky P: These last couple of years have shown that all Marvel movies are good for is losing money — that's all they've done since Endgame.

The Online Creator Collective: Johnny, Jack, and a Kickstarter — [00:21:00]

Brian Pritchard: Ben, I'm also seeing you go to Atlanta again in a couple weeks, after our tour, to be an actor in another project — this'll be the third time you're onscreen talent in somebody else's work. There's other people in that network who have aspirations to make movies too. Please tell the story — the YouTube creator connection that got you guys together. Tell the origin story of something like Ohio Walnuts, because I think it's amazing.

Ben Pritchard: It started with my friend Johnny — I met him through YouTube, I don't remember how. I think he commented on one of my videos, or one of his videos popped up in my algorithm despite being a smaller channel, and we followed each other on Twitter and started talking more there. Then Jack followed both of us and started commenting on and liking our stuff a lot, and we were both kinda like, "Who the fuck is this guy?" He ended up being really chill. Same with Luca, who was also in those film discussion spaces. And my friend Avery, who did the music for Ohio Walnuts. We all kind of met online — it was a group chat with me, Jack, and Johnny for a while where we'd just send bullshit back and forth. At some point we were all on a Zoom call together when I was working on one of the first Sparks McFly albums — which isn't out anymore, because it's terrible — and we recorded and mixed it, some songs were even written, all in one evening. Jack found that whole process so interesting, and felt there was something there. A couple other people got added to the mix, like Luca, and Caden — a friend of mine in real life who got to know those people online too. I guess enough people online were interested in what was going on there.

Brian Pritchard: Jack did a Kickstarter, right? He managed to take this group of people who'd become a unit — not because you were all in the same town, but because you were all doing the same YouTube experiments as adolescents. By the time he's graduating high school, he's making this Kickstarter video, with a suit on, going, "Hey world, fund this project so I can go out to Cleveland and make this thing with my friends." And that was the first time all of you guys ended up meeting in person, through this film.

Ben Pritchard: It was so wild. I've known Johnny since I was 12 or 13 years old — I remember messaging him while sitting in seventh-grade English class. I've known that dude for a very long time, so that one in particular was wild as fuck. We'd been on the phone a lot, seen pictures of each other, but meeting in person was a weird thing. The same sort of thing happened when I shot Method — I've known Chandler for years, and Travis, and hanging out with Johnny again was super crazy too. There's a lot of stories of people forming a friendship online and then meeting that person and being kinda disappointed — it's not that way at all. All those people are as cool as they are on my phone. So that was nice.

Brian Pritchard: Johnny's an actor in Ohio Walnuts, he pops up as an actor again in Method, and the one you're going to shoot in Atlanta is his directorial debut, correct?

Ben Pritchard: Correct — yes, and he's also acting in that one, but yes, it is.

Brian Pritchard: He has a cameo in Next Up too — I love that scene where he's on the phone as your brother, you hear him but he's not on screen.

Ben Pritchard: A great scene, huge standout. He killed it. That third act, I take great pride in — everything from that moment forward, I think, is so incredible.

A Formula for Success (and Why AI Can't Do This) — [00:26:00]

Brian Pritchard: To me it's exciting to see the idea that for anybody to pop and have any level of success, it extends out to the network — a group of people all rowing in the same direction, supporting each other's projects, this kind of musical-chairs thing, is such an incredible formula for success. There's the Duplass brothers, Jay and Mark — there's somebody else in that network too. In Seth Rogen's sphere, people take turns the same way. There's Dan Gilroy, who made Nightcrawler, and a different Gilroy who made Michael Collins with George Clooney — he's a producer on his brother's stuff and vice versa; when one's writing and directing, the other comes in to produce and lend a hand. All that, along with the timing of these YouTube phenomenons, seems like such a cool formula for success. Even when I was calling you about 28 Years Later recently, talking about drone photography and this interesting intersection between authentic low-tech and still getting stuff that looks cool on a big screen — it's a cool time to be coming up.

Ben Pritchard: I don't know, it's just great we have access to all this shit. And I feel like, especially with AI and bullshit, people feel more inclined to really make a splash — like, "No, fucking robots can't do this." I think there's even more of a desire to craft great and interesting stuff right now, and I think that's great.

Nicky P: One of the things those of us who like AI for its value tend to think about is: if you're scared of AI taking your job, you should probably get better at your job.

Ben Pritchard: I'm not scared of it, I just think the art is lazy.

Nicky P: Especially in that realm — if you're worried about Suno taking your music career—

Brian Pritchard: You end up hoping the public doesn't just embrace it to such a degree that they devalue — that's what comes to mind for me as it relates to losing the job. It would be sad, not only as a creator but as a consumer, to see the majority not give a shit about what I'd consider valuable, authentic stuff. It's reassuring to see things like I Love Boosters — the idea that people are still making things to try to break through and connect.

Scenes: From Grunge to Scorsese's Circle — [00:31:00]

Nicky P: I wanted to comment on this little collective of friends you guys have. We've talked before about the idea of scenes — the different scenes that became musical genres. It was the Pacific Northwest that became the grunge scene, The Strokes and those New York bands that became the scene for indie, the New York post-hardcore scene that was Coheed and Cambria and My Chemical Romance. These are all people who knew each other. In film, let's not forget Scorsese, Spielberg, Lucas — all those guys were friends and roommates, and it was their little scene that took over Hollywood for a lot of the past 60 years.

Brian Pritchard: I totally see where you're going with that.

Nicky P: It's these scenes where art happens — whether it's camaraderie or a subtle push against each other trying to compete, whatever makes it what it is, you never want to take for granted being in a group of people all kind of working for the same thing and making everybody better around it. We mentioned earlier all those guys from the '90s making music videos and commercials who became the big directors of our era — the Michael Bays, the David Finchers, and so on.

Ben Pritchard: Fincher was doing music videos for a while too — I think that's a good start. That's how I started, with Lego stop-motions, but a lot of my first time actually directing with people was music videos. I think that's a good way to get familiar with the whole process.

Links, Trailers, and Three-to-Five-Year Goals — [00:33:00]

Brian Pritchard: Obviously I'm biased because this is what we're doing right now — I like this format. But you and I were talking the other day about how I could see a world where, if it's not you, somebody should be leading the charge of treating it like a scene — a rotation of interviews with the different figures in this world, giving people the spotlight to talk about what they're working on. With that in mind — there's two things I've been playing around with in terms of how I end shows. One quick one: do you have trailers for both the short and the feature? Send me what you want us to use, and if we can add links to the show description, we can drop those in, and at the very least put the trailer in so people can find it however they want.

Nicky P: Do you know how to get the links added to the show notes? You send them to me and I can put them in — I'm far too busy to go hunting links down.

Brian Pritchard: I know, that's not what I meant, but yes.

Ben Pritchard: So Nick, should I send them to you?

Brian Pritchard: Yeah, you can send them to both of us — you've got Nick's direct info.

Ben Pritchard: I'll send them.

Brian Pritchard: The other thing I've been playing around with — I have this other show where I talk to entrepreneurs, and one of the things I talk about is goals. That's not something we do on this show, but I'm curious, based on where you're at: when you think about the next three to five years, even though we inevitably zig and zag as new stuff comes in front of us, what are some things you'd like to see come to fruition?

Ben Pritchard: In the next three to five years, I hope to be making money off of all of this. I want this to be my job. I want to have successfully toured, gotten my film some sort of distribution in theaters — I just want my art to be seen. I want a couple more films under my belt. I pump out music a lot because it's easier than throwing together a movie, but I definitely want to focus on making more movies. I have a couple ideas, a partial script written, and an outline for another thing — there's a lot of ideas, I just have to make them real. That's the goal right now: movies, movies, movies.

Commercial Work, Getting Noticed, and the Dan Smots Story — [00:37:00]

Nicky P: You started to answer the question I was going to ask — what commercial aspirations, if any, do you have with your art? Some people, like your dad, like to keep everything very personal — I don't do musical work outside of what's for me. Whereas I'm more of a "I've amassed a bunch of skills in a rarefied skill set, and I'll find any way to utilize those to make money, because I'd rather use those skills than other skills." So as a filmmaker, do you see yourself taking your skills into making music videos for other people, short-form commercial work to pay the bills as you build up your personal catalog and reel? The joke I always say is, "I can make all the art I want, well, Britney Spears is paying me to play spoons" — there's certain people where a better job's a better job.

Ben Pritchard: Yeah, all that sounds great to me. I have no problem with that — I'm not somebody who'd be annoyed doing a commercial instead of my own script. I just love working and making shit — as an actor, behind the camera, all of it. If somebody wanted me to make a commercial or a music video for them, I'd do it in a second. I just like making shit.

Nicky P: So how have you positioned yourself to allow those things to come at you? I have a friend, Dan Smots, out of the Midwest, who got picked up because he was making really killer music videos for his own band, developed one hell of his own aesthetic, and eventually that led to more and more calls. For a while he was finding a lot of work with political parties doing promo videos, because he's got a very youthful aesthetic nobody else was capturing — everything else looks dated, and then you put one of his videos on. He did one for a vice-presidential candidate for the Libertarian Party a couple years ago that got something like 200,000 hits in under 24 hours — it so outshined the presidential candidate that they had it pulled immediately, since he was just the VP candidate. A lot of it is those opportunities happen as you allow yourself to get noticed. What are you doing to put yourself in places to get noticed, other than the art-collective thing, which is always a good start, since you're building up a resume of people who know you?

Ben Pritchard: I do my best to remind people I've made shit, if not every week then every other week. I'll throw it on my Instagram story. I've had a couple tweets get real big recently — there was a picture of me doing a money spread with two giant Lego dollars that got like 100,000 likes, and I linked my shit under that and it got Next Up a couple hundred extra views. That's working. I never want to be one of those guys commenting under completely unrelated posts going "hey by the way" — that makes people not want to watch your shit. People have kind of an aversion to self-promo, so I try to avoid being annoying. But self-promo's kind of the only way to get attention on your shit.

Nicky P: It's not the self-promo people have an issue with, it's people pretending to be places they shouldn't — like, dude, we can tell you're an interloper here, you're only here to shill stuff, you're not actually part of this community. That's the big determiner.

Ben Pritchard: Right — I try to share my stuff in places that feel appropriate, comment sections or wherever. I posted Next Up in a found-footage subreddit the other day, and some guy commented "I love it," commented on the YouTube video, and subscribed to my page. It was just one guy, but that's somebody who might show it to somebody else.

Bartering, Paid Gigs, and the Tour Documentary — [00:42:00]

Brian Pritchard: Even though we're more bartering with you than paying you — although I've paid you for music video stuff before, and we'll do so again—

Ben Pritchard: You paid me a hundred bucks for a video when I was like 10.

Brian Pritchard: Yeah. And the more of a demo reel you develop, the more intention can go into getting a .com with your portfolio, and all that can get figured out. I'm excited to have you moving back home, and excited to help facilitate you being in a space where you can concentrate on your craft and explore next steps. I'm excited to work on this documentary — you're gonna come out on the road with us. It doesn't sound like you and Amelia have worked out a thing where you're behind the decks doing DJ stuff, but I think that'd be a cool part of the act, to have you on stage as the guy who made the beats. Your work is gonna be featured on the tour either way. I want to still see your style applied to this space — we're gonna make a real documentary, and it's so cool to be out in the world open to people and places and things, seeing what happens on the open road.

Ben Pritchard: Absolutely. I haven't done much outside Ohio — I shot Method in Georgia, but that was something I was invited to be part of, not my own project. Everything I've shot for myself has been in Ohio, which is cool, but I'm very excited to work in completely different environments. I think that's gonna lead to a lot of cool stuff.

Brian Pritchard: Where do you want people to check out your stuff?

Sparks McFly, a One-Cent Domain, and Buying Your Kid's URL at Birth — [00:44:00]

Ben Pritchard: YouTube — Sparks McFly should get you there, that's where the movies are. If you guys have links for the trailers, those will get you to the page too. It's Sparks McFly on Spotify and Apple Music, and Sparks McFly on Twitter, but I'm missing the A because somebody took it — it's S-P-R-K-S—

Nicky P: So your dad is not liking you into this. Go get sparksmcfly.com and point it to a Linktree — you don't even need to develop a website.

Ben Pritchard: Yeah, I've seen those a lot, I thought about that, I just hadn't—

Nicky P: sparksmcfly.com pointed at a Linktree, and you're done.

Brian Pritchard: Go get it now before somebody squats on it, you don't want squatters stealing domain names.

Nicky P: If I need to buy you the damn URL, I'll buy you the damn URL.

Ben Pritchard: I appreciate it. If you type Sparks McFly into Google, that should get you to all that stuff. Thank you for having me — this was cool, kind of a fun spontaneous thing, I did not wake up today thinking I was gonna do this. I'm glad I did. Oh, and I've gotta figure out a way to sell these, but I've got DVDs for both movies — message me on one of those places and I'll give you one. sparksmcfly.com, by the way, is available on GoDaddy for one cent.

Brian Pritchard: Oh, shit, let's go.

Ben Pritchard: Seems like a no-brainer. As soon as this is done, that's what I'm doing.

Nicky P: For the record, I'm not picking on you, I have this conversation a lot.

Ben Pritchard: I didn't take it that way at all — even as I was listing four different things, I was thinking, "who's gonna sit there and type all these out?"

Nicky P: I'm a lunatic who bought my daughter's name when she was born.

Ben Pritchard: That's what's up, future star, Irma Picone.

Nicky P: Irma Jean Picone — I've owned it for 12 years.

Brian Pritchard: You just know.

Nicky P: It's Irma Jean, technically. Irma Jean Picone.

Outro — [00:47:00]

Brian Pritchard: That'll pay off in the future. Ben, I can't wait to see you in a couple days, for all of us to be out on the road together — we're gonna share music, laughter, love, and a lot of laughs. Maybe even learn a thing or two.

Nicky P: It's gonna be a very weird trip — there's a good chance most of the travel's gonna be you, Melodite, Brian, and your new gay father, as far as anyone who sees us out and about is concerned.

Brian Pritchard: That's Nick. He's the baron in question.

Ben Pritchard: Sounds good. There's no better blend — we'll make something happen for sure, and we're turning it into music and a podcast for you.