In this episode we interview the team behind Spaceship Joyride, a new filmmaking company that specializes in music videos.

This is Film Center, your number one show for real entertainment industry news.

No fluff, all facts.

Now, here are your anchors, Derrick Johnson II and Nicholas Killian.

Welcome

to Film Center News, I'm Derrick Johnson II.

I'm Nicholas Killian.

And today, with a little bit of a flashback, we're back again with actually,

we're actually here at the same time.

We have a duo here.

Do you guys want to reintroduce yourselves to people who

missed the previous episodes?

Yeah, sure.

I'm Bennett Sommer.

I'm the founder of Spaceship Joyride.

And I'm John August Stapp.

I'm the creative director of Spaceship Joyride.

Welcome back, guys.

Welcome back.

Glad to be here again.

Yeah.

Spaceship Joyride.

That's such an interesting name, but we're gonna, we're gonna

back it up just a little bit.

Back it up just a little bit.

To, to the people who, To the people who didn't, maybe didn't catch the last couple

of episodes can we talk about, you guys are both from Emerson College, right?

Give us some stories on how you guys met each other, friendship?

First of all, say what your company does.

So that way everyone knows where this is going.

Yeah, we are a creative production company that specializes

in music visuals and film.

Cool, so you both met in Emerson.

Yeah, so we met freshman year at Emerson actually.

It was our first class, or at least it was my first class of college in general.

Freshman you do like a basic, video production class, basically.

And we met in there just in the same class.

And then we actually worked on each other's final projects with each other.

Cause we had this thing where it was like, you posted three ideas

for a final project and then your classmates would like comment on

them and be like, oh, That's cool.

Whatever classic film school classic Exactly, and we both

really liked each other's ideas.

So we were like, oh word.

Let's just work on them together And that was the first two

projects we worked on together.

And then yeah, we just kept going from there So you two

went to film school together?

Yep Let me ask you this.

Do you guys ever?

Was there a whole bunch of like suicide or black and white?

Films that you guys saw or whether you people actually have I've never been to

Emerson I don't know the it's actually really funny because one of the final

projects we did We made this satire of an experimental film Yeah And we

pretended to be like the directors doing a commentary over it like this like kind

of pretentious Experimental film and we were like dude, how funny would it be

if someone makes an experimental film?

That's like Just way out there in this class.

And then the one be like, you screen them at the end of the class.

And the one right before that was this experimental film.

Oh my God.

Now this guy's going to think we're making fun of his.

Yeah.

And we were like, now we feel bad about this dude, but make some

more effective than none of that kind of worked out for the better.

But yeah, that was that was how we met and we, I think realized through that we have

a similar approach to making stuff and we enjoy the styles we both like, awesome,

and then another thing is, what was your guys first impressions of each other?

No, what's your first impression of each other's projects?

Because you both had to make movies, right?

How did you guys know oh, okay?

What we'll say is, you guys liked each other's comments, right?

But, let's hear what the first impressions that you guys thought

of each other before the work.

Obviously, you guys worked together, but what did you think of each

other when you first met each other?

That's a great question.

I thought he was a pretty chill positive guy.

Yeah.

He's a stud look at him like come on, it's all good to just be like real honest.

Likewise, he was like, I think he used to wear this like Bobby Tarantino jacket.

Logic Jacket, I think.

Logic Jacket.

I was like, oh, this guy's a Logic fan.

Okay.

But yeah, he just seemed chill as hell.

Then saw some of his stuff and it had good energy in it.

I think energy in a piece is like really important.

You can tell where the person's heart is at, where their mind's at in a piece.

Do you guys just fall into working together or was it something

that you guys chose to do?

Because I remember like, when I was in film school, there were some

people who were always on your set.

Not because of you sought them out, but because you just You know, it's

just because we talked about in a previous episode If someone's always

doing the right thing, that's just who you want to work with, right?

You don't feel like going find new people and then you have other people who are

like, oh, I just want to work this person.

Yeah.

We just, yeah, we worked really well together.

Like we just started we'd always talk about ideas and then one of us

would be like, oh, let's do that.

And then it would just grow from there.

And it's we're a part of it from the beginning.

So it was just see it through.

Now, did you guys start out, you guys obviously started

out as work partners, right?

You guys worked together really well, and then you were like, Oh obviously you

don't slack off and I don't slack off.

We're going to work together.

And then, is the way that the friendship blossomed was the fact that you guys

had late nights and you're like, Hey, do you want to go get food?

Or was it like a conscious effort to become friends?

It was in The house searching process that I think we became closer friends.

Yeah.

We were we were going to get a house with a few more guys and then that

kind of fell through, but we said, Hey, let's go get a place together still.

And then once we was during film school or way before you came out to Los Angeles,

this was during, yeah, this was during.

Okay.

All right.

And then what was the process in which you guys.

Obviously got closer when you guys got an apartment together, right?

Yeah, then you're like, oh, it's good and then so Where

was the idea to form a company?

Where did that come from?

Yeah.

Cause that's a little bit further than Oh yeah, let's just be, just work together.

But I was like, Oh, let's be in charge.

Let's risk money together.

Yeah.

I think once we live together and we really got that experience of

being, so close to each other all the time and really understanding

who each other are better and, How we overcome conflict as a team.

We've realized that we can work together pretty well.

And we knew we wanted to create something.

We want to build something over time that we're proud of.

And in the long run, we can look back and say we did that together and so exciting.

And I think we initially were thinking just film production company, but then

at least for me I graduated a year early, so I had, I did like a reverse

Gap year where I took some time and okay, how do I where do I want to go?

Where do I want to navigate more specific with the thought process?

Where do I want to specialize?

and so over that time I realized I really enjoy making music videos and

I have a passion for that and it's not The greatest place to be making money in

film because if you're going to artists for money artists typically don't have

money And they don't want to give it to you And they want you to do three grand

worth the work for a hundred dollars yes, but Spaceship joyride, we're

really not looking to maximize profit.

We want to make dope art and Make stuff that we're proud of People can enjoy and

have a super visceral experience watching.

So when did you guys decide okay, this is the name that we're gonna go with.

Debated that name for a while.

We debated a couple names.

Yeah.

Yeah what's the one with the finalists?

What was the one with balloons?

Yeah.

Balloon Man Productions.

That's dope.

Code Red Productions, but then that was like, Eh, that sounds a little scary.

That's Mountain Dew.

That's Mountain Dew.

Yeah.

Mountain Dew Code Red.

Oh, Code Red, true.

DEFCON 4 PRODUCTIONS!

Ha!

Player 2 Productions was another one.

Yeah.

I kinda like that one, but, we're Player 1, we're stepping up.

Yeah.

It's interesting talking about you guys.

It's a lot of businesses in our industry that are production.

They start off that way.

Me and Nicholas used to be roommates.

Yeah.

Yeah.

That's how we, that's how we did it.

Yeah.

That's how we ended up.

And we had a whole bunch of, Insano names right?

It's just like what like we went to down to a bar.

We like just yeah You know a bunch of names and they were a bunch of insane

names But the crazy part is and I would be interested to know if you

guys happened upon the same thing.

So we were going back and forth on the names But whenever he wrote down one

of the names for one of the podcasts that we had, it was called Southern

Sempais, as soon as he wrote that out, we were like that's the name, obviously.

And we kept comparing everything else to that name.

And we kept comparing everything else to that name, and we were like, no,

it's so obvious that this is the name.

Yeah.

Did you guys Have that experience.

I felt that just the way it flows off the tongue, Spaceship Joyride.

I enjoyed it and I said in our previous podcast, like I wanted

to be an astronaut growing up.

So I think something, some child within me just really your inner

child is happy that you named that.

Also People would ask, why not just go work for other people

and yeah, that's a good question.

Why not just go work for other people?

Why do it the hardest way possible?

and make a company and then, and take the risk.

It is a big risk.

Yeah.

And especially 'cause since you're both went to film school in Boston,

but now how long have you guys been out here in Los Angeles?

Two months we've been here.

So you guys are two months now, guys.

Fresh.

Fresh.

New.

Yeah, fresh.

She's out here.

Freshy, newbies.

Yeah.

So we're, this is a huge transition to not only say, okay did you start your

company before you got out here or did you start it when you got it here?

It was a little bit before.

So a couple months before you already had your company formed,

then you said, decide, okay, we got to take this to Los Angeles.

What was the thought process?

Why not do stuff in Boston?

I think the thought process was mainly there's a lot more

artists to work with out here.

And a bunch of our friends are based out here from Emerson.

So we thought there's a lot of good connections and people that

can hop on projects with us.

And the music scene is just rising here.

Boston, it's a little smaller.

It's mainly Berkeley college music kids, which is still good.

They make amazing stuff.

But we thought we'd diversify our portfolio a little bit out here

and have better opportunities.

It's so interesting.

You talk about music.

So I'm from Tennessee, right outside of Nashville.

I feel like it's a decent spot.

Yeah, there's so much music that comes out of there.

The whole, there's this huge new wave of this country hip hop sound.

Yeah.

With Shaboosie.

And then I think It's like a Kane Brown sound and all that.

Yeah, the person who made it like a quote unquote, Beyonce attempted it recently.

Yeah.

Apparently made quote unquote really popular.

They say Lil Nas X with Old Town Road.

Yeah, Old Town Road, yeah.

And I remember hearing that song for the first time and being like, This is

placed in Nashville called Rocket Town.

And, Rocket Town, I'm not really gonna get into that, but basically, that's where

that whole area, that sound kinda like hip hop country sound kinda came from.

I remember a whole bunch of my friends texting me like, Do you hear this beat?

Where have I heard this before?

I was like, dude, I think that's kinda Rocket Town, I'm not gonna lie.

You know each every city has a whole bunch of music that might be

local and central to them Have you noticed a huge musical difference?

You're doing mostly music videos.

Have you heard notice a huge musical difference of what's

available from here than Boston?

There's a Great range of sound here.

I think there's a people doing all kinds of stuff and that's

what's so great about this city.

It's definitely Probably pop oriented, but I also love that Cali vibe Beach

sound to some like those are the bands.

I'm really excited to start working with and doing that kind

of Wallows sound where it's just you know, like old like Beach Boys.

It's like We're here we're in Cali so if we're in Cali.

Yeah, I think we like, like grounded music.

There's a lot of indie rock out there and, all other genres.

But if they have a really grounded and localized sound,

I think that's really exciting.

Especially because then you can really build a world very strongly around that

and give it its own identity, and make a, Visual artistic voice for that artist

based on their sound and in boston, you have a lot of like people trying to sound

like john mayer, it's Is that really?

Yeah.

Yeah, they're all trying to sound like John mayer and like dropkick murphy's

is what I would say you get in boston a lot of guitars A lot of guitar a

lot of acoustic guitars at a mic.

Yeah and that's great, that's some great music some great art and stuff,

but I think out here there's just a Opportunity to do a lot of different

work and that's what's super exciting wider variety of things to do since

you guys Work on a lot of music videos.

Is there anything about music video production?

That we might not know since we're not as close to it as you guys it

might be different from doing it from film Or television production wise.

Yeah.

Yeah, I think production wise.

It's just a super fast process a lot of the time you're making a micro short

almost in the process Music video medium and that's probably, yeah that's probably

the bigger difference because honestly, the rest of it, you can get a little

more conceptual with some stuff, right?

You're not necessarily capturing dialogue always.

You're not lighting stuff the exact same.

You can get a little more abstract with it.

But besides that, it's really just the pace of turnarounds and of production.

And then on the shoot days, it's a lot more, Very high energy dynamic kind of

filmmaking because you're never really sitting down for a dialogue scene in

a diner it's you're not gonna have that You're just getting this shot

and then we're moving on and you're moving on exactly and you're always

thinking about Post production, how is this gonna cut together and where our

transition is gonna be and you guys even have scripts when you're doing

this We'll do we'll do like shot lists detailed shot list lyric by lyric so

you do it based off each lyric compared to yeah lyrics or the beat, right?

through the song a lot over and over.

We'll figure out, okay, what's the story of the song?

What's the emotions of the song?

And then we start shot listing through it.

We figure out if there's going to be a story in it.

So if there's a story, we'll figure out what's the story we're going to

tell first and then we'll shot list it.

What's the story of the songs telling and that we're going to

bring through in the music video.

And that's how we go through it, but we're not doing like a traditional script.

We're more doing You know if we're doing more of a story, then

we'll do a little bit more, but it's not like Interior exterior.

It's like this is the story.

We're gonna tell these are the locations.

We're gonna go to so There's a very famous quote.

I forget the person who said this, but it's a curious quote I think he

was a guy who did a lot of the Beatles like music videos where he says

Oh, the song's about a pink house.

You don't shoot a pink house.

Yeah.

Yeah, you find the subtext really?

Yeah.

So what is that?

What is that process like?

Is it long?

Is it short?

Because it's like you're saying you listen to a song over and over again.

You're like, okay, listening to it.

I'm starting to understand what they're talking about.

Or is it more do you guys have to figure out yourselves or more okay, I

need to sit down with the artists and hear what they think this subtext is.

Yeah, definitely.

I love sitting down with the artists and seeing what they're thinking.

Because then you can, Voice something through a visual medium that the song

itself can't do, and it can add an extra context or meaning to the song in general.

Like one of the ones we just worked on with a really

talented artist named Eckley.

The song isn't he's talking about, is it okay to ask for help?

Basically.

And the song has no religious context if you just listen to it, but if you

frame it in this religious and the social context that we chose to do it in, it you

interpret the song in a different way.

And I think, finding what the song means to the artist, and now, how

can we tell that differently for you, is the most interesting thing.

Yeah, I think one of the most exciting things is that, finding that synthesis

between the two visions, right?

Because we'll have a gut reaction listening to the song and

then we'll talk to the artist.

And if it's like, what are these two ideas, right?

It's like the theory of montage, it's like you're taking two ideas and you're

blending them together and then you're getting an idea that wouldn't have

existed without that collaboration.

And that's what makes something so much more powerful.

I think is that Kind of blending of voices into one, one voice.

Speaking of blending I'd love to get your take on this, but I've been on some

music sets where they're just vibing out and they're just capturing it, right?

And you see it and you're like, wow, that's awesome.

But then there's some sets where you're on, where it's more of a

manufactured vibe to make it look like a certain thing while on video.

Yeah.

How do you go?

And prevent the second.

Prevent the second?

For making it look like, awkward.

Some shots, you have them.

Cause you do have to manufacture it sometimes.

You have people dancing in the crowd, possibly to them playing the song.

But, like you said we've been on sets where they look like, it looks like

it comes out fake from the camera.

How do you prevent that?

Yeah, it feels awkward.

I think that's like the magic of, that's the whole job of

any kind of filmmaking, right?

Is taking this fabricated thing and making it feel super organic and super genuine.

And I think a lot of that goes into pre planning, visualization knowing

how to use the camera, right?

How to, what angles you're choosing, what lenses you're having and what colors are

looking like this, what feels natural and what needs to be enhanced to feel natural.

And then what kind of what we expect as audience members now from a camera, right?

From a look, because Audience members are so good now at saying,

That looks off, that looks fake.

That just doesn't look right.

They're more aware now.

They're very aware now, right?

Because we see it all the time.

And I think to avoid that manufactured look, it's really about, it's really about

the pre planning and just making sure your mise all there and all in the moment.

And that if everything is together, it's not going to feel fake, but if

one thing's off, that's what's going to say, oh, Red flag, like this was

fake because that shouldn't be there.

Do you think if somebody sees that one thing that's off that's fake Then they're

more likely to try and pick out other things that could potentially I know I

do I know I would it drives me crazy and then are there some things or you have

to direct the artist to say I know this is awkward in real life But on camera,

this is going to look really great.

That's all the time.

Can you speak to, since you say it happens all the time, can you speak

to certain situations where you've had to say that and the artist is

like, what are you talking about?

But then once you show it to them, you're like, see, this is what I'm trying to.

Yeah.

I put someone in a.

In a pink morph suit for one video.

And I was at my cousin actually.

And he was not too happy about that, but I was like, bro, just trust.

I'm not going to keep you in the pink morph suit, bro.

I'm going to edit you out.

And he's okay, cause he doesn't really understand.

It's going to be, this is just, I need this for right now.

I feel embarrassing in this pink morph suit right now, but it's

you got to commit to the art, man.

All right.

One time we had to I'm not going to name this artist because I don't think the

video is out yet, but we had to paint this woman, her arms and her face in black.

And then the director wanted her to like, do you want to like a liquid look?

So it's a shot from above and she's supposed to look like some like black

entity, like with a white liquid background, that she's like coming out of.

And so originally the day of, they were like, okay, we've

got a whole bunch of water.

She's sitting in the tub.

We have a whole bunch of white food coloring.

Good to go.

Okay.

It didn't really work out.

So then he goes, oh where's the nearest grocery store?

And I'm like, I think it's like down the way he's like, all right, cool

You got some PA to get like I was like it was like 18 gallons of like milk

And the worst part is It looked great in camera, but like trying to convince the

artists like, hey, I need you to submerge.

First of all, you're already First of all, she's already not fully

clothed right because she's about to get into this tub but It's like

milk, you know what i'm saying?

It's like it has a smell and stuff to it Yeah, you guys ever find yourself doing

something where you're like doing some sort of special effects that might be

like I really gotta somehow make this work That pink morphsuit shot needs

some some special effects work on it.

But I would say in general with that, like artists who are willing to just

commit to it with no questions asked are just like I love the bravery of that.

And I love the commitment to the art and to say, I'm gonna get in that tub of milk.

No questions.

Like we need it for the shot.

We'll do it.

Yeah, that's that.

Yeah.

So inspiring.

Yeah.

It just comes down to trust really again, right?

It's if you guys trust each other that you're going to execute what needs to be

executed, it's you'll do it for the shot.

How do you gain those trusts from artists?

Especially if there's just you're working with someone, they, obviously the future

portfolio, the thing that is your great XYZ, you think that they're great.

They'd be great to work with.

But once you're on set, you still do need to gain their trust.

How do you gain the trust of those performers?

I think the way that we go about it is planning and pre production and then a

lot of communication, and explaining the vision and meeting and talking about,

okay what do you think about this?

And just having this collaborative creative process so that there's

no doubt that the product is going to be what the vision was.

And then in that sense, it's okay This might be weird shooting it

for this moment, but you know how it's going to turn out and that's

why we're doing it like that.

More often than not, are the artists more amenable or do you have to,

are they like, no, this is what I'm doing and I don't care what you say?

It really depends.

I think a lot of them realize that the visual world isn't their forte.

So they're, that's why they're bringing people in.

And they're, so they're very open to ideas and trusting you, but they also

have their image that they're curating.

So they're like, Oh no, I'm like, I can't do that.

That's not the brand I'm pushing out.

And it's that's the fun challenge is okay.

We have to now mix this video and this vision with this

brand and vibe of this person.

So it's almost an in between.

I know that's a non answer.

Oh, I'm sorry.

Has there ever been an artist where it's nope, I'm not doing that.

You're going to have to find a way around it.

I'm not doing this.

And does that, we spoke previously about Challenges right

how they inspire creativity.

Do you find that those more do you find a lot of those happening?

So then you have to get even more creative or usually are they more?

Collaborative.

I used to say yeah, I don't think we get a lot of hard nos but we

definitely get people that are like, this is what I'm going to be doing.

Like just capture it or something.

Or this is what I'm imagining.

We got to figure it out.

And it's more of a vibe.

You had to know the vibe of the person.

You had to spend a lot of time with them prior to.

We try to, we try on, we try to call them as much as we

can, have meetings with them.

Like really get to know them as an artist and them as a person, right?

. 'cause you have your artistic voice and you have your personal voice.

So working with someone to be successful, you need to like work with them as

a person and as an artist almost.

Yeah, but I think any like challenges like that, like limitations I

think make the creativity kind of bubble a little bit, right?

Cause it's like you're, it's like you're squeezing a tube and

you're forcing the creativity out.

And it makes it really exciting.

It makes it a really fun challenge.

And it just makes it a blast, what would you say separates your company from other?

Companies that make music videos because everyone has like something

about them that makes them different Yeah I think we're more focused on

world building with the artists which You know, you see the spaceship But

spaceship world different places.

I see what you're doing out of this world.

Yeah, so we like Ideally with an artist, we like to create not just one video,

but multiple visual pieces around this album or single or something

that can be more of an extended piece and extended rollout for the artist.

So it's not just a regular, simple video.

It's a bit more marketing for the artist as well, because nowadays, as I said,

in our interview before, like vertical content is where it's at a little bit now.

Music videos have always been a way it's a marketing tool for the artists really.

And it's a piece of art and that's why we love making them.

It's a beautiful art form, but also Respect the marketing sense of it and

how we're trying to get the most people to listen to these artists songs as

possible and So we're gonna extend that world extend the rollout make new

types of content for social media that Other companies might not be focused

on doing throughout the whole process.

Yours is more focused on the entirety of where this video like the actual

usage of the video compared to just oh just You're more worried about okay

how are they going to present this?

How, where are they going to show it to like the marketing side of it too?

Which is pretty smart.

Cause a lot of, I know a lot of music video production companies

that they don't worry about that.

They worry about like the front end part.

It's okay, cool.

We shot it.

We're done.

Comparative to you guys who are more like, okay no, we're

going to take a step further.

We've already pre planned this part of the marketing, right?

This is how you can be able to use this.

This is how you use this extension.

I think the, like a key difference is that we're interested in a holistic

visual approach, so we would love to do Out visual albums for the artists

if they release an album I think a big part of this is a lot of music videos

can sure they can exist on their own and they can Just sit there but if you

make the If you make it a bigger world and you make the distribution of it

something larger it's you're creating an experience now, right and you're

making that song or that album or that artist their own kind of world and their

own kind of enclave to bring people in.

And that's what's super exciting.

And it really, I think it connects people more on a personal level with the artist.

If they build this.

this universe around their song, right?

And if they really care about it and try to tell a story with

everything they're doing that's going to bring people in, right?

Because we naturally connect with stories.

That's how we, that's how we communicate in the world.

So I think if that's the goal of every piece we do, it's just going to up,

up your Do you have any advice for, so if there's some musicians listening

do you have any advice for what they should bring when they're dealing

with people who do music videos?

Because I'm sure like some clients you've had have been easier than

others, no fault of their own, right?

But it just seems like some artists might come with more ideas than others.

And stuff like that, or maybe, the artists are a little bit newer compared

to some seasoned musicians, right?

Is there any advice you can give musicians who might want to work with you guys?

Where it's okay This is my something I may need to think about or what could

help you make your side a little bit easier that they can Bring to the table.

Yeah for sure.

I think first of all, reach out to spaceship joyride But I think what's

helpful to know is Know the song you want to do or a couple songs If you

have any conceptual ideas for it hundred percent bring those to the table.

Let us know Have a timeline you're interested in because timelines very

big schedule Yeah, like it was quicker.

We can get that done the quicker.

We can lock it down and then get to work and then really just bring some

excitement and bring some energy and Let's make some great art together, right?

It's not just a, it's not just like a little video to showcase your song.

It's a world, right?

It's a beautiful piece of art that we're going to make.

And that's like the most exciting thing ever.

So bring some excitement, bring some energy show us who you are as an

artist and we'll take it from there.

Super excited to work with you and know your lyrics.

Yeah, really?

You'd be surprised.

Really?

Know your lyrics.

Do you ever have to impress upon your artists that you work with,

hey, we are building a world here.

We're not just shooting a music video.

I'm sure it's different.

Cause it's cause since you're building a whole world, I can't.

Imagine some, especially people who might not be as seasoned musicians,

they're like, they might confuse them.

They're just trying to get music videos out there for exposure and

they're, they don't realize, hey, if you build a whole conceptual world

and give a whole experience like you guys are talking about, they're going

to love it so much more than if you just do three or four music videos.

Yeah, I think showing some examples of artists that have done that

in the past, if they're not fully sure what we're talking about,

helps and also inspires them.

They're like, Oh yeah that, that is pretty cool.

And as John said, once I think the artist realizes that it gives the fan something

to grab onto more and as an artist, they want their music heard and you tell

them that this will spike engagement.

And I think they're pretty stoked about that idea.

And.

I don't know.

I think a lot of them enjoy having that world built.

Yeah, I think a lot of people, um realize the value of what they've

created and they don't want it to really fall on deaf ears, right?

And I think when you put more effort into creating this visual landscape

for your song it's really gonna help engage people and drive them to

follow more and say, okay what's in this, like, why is this their image?

Why is this there that even if that's subconscious, right?

Like you don't even have to, even if they see something, Images move you

right away when you see it, right?

It'll grab onto you.

So I think keeping that in mind, it's a lot, it's a big reason to

do more than just sing to a camera and put it online, off camera, we

talk off camera, off off the show.

We talked a little bit about shot deck.

So is there, any specific way that you guys, because they're

musicians, that's their corner.

You guys are helping with the visuals and the world being and stuff like that.

Do you find that there's sometimes trouble explaining that to him,

that connection of okay, this piece goes here, this piece goes there.

And like, when you're presenting to them, because we thought about

shot deck and both of us use shot deck to get visuals from different

projects to present examples.

Yeah.

Yeah.

Shot deck's a great tool.

So what we've been doing is we've been talking about.

We'll go through the shot list with them and we'll pull examples from shot deck

and say this is what we're thinking.

This is the order.

This is the progression here.

You can see the color palette.

You can see the angle we're thinking of.

It'll be a little different, like this from shot deck.

But it's definitely a super useful tool to lock in people's head what we're going for

before the shoot so they can conceptualize Exactly what they're doing exactly.

So we've been talking a lot about music videos Is that the future of

your company or do you want to expand?

Or is that you're going bread and butter for right now?

Or is that the bread and butter, like DJ was just saying, is that the bread

and butter of your company right now?

Yeah, I think we always want to keep the music videos rolling.

That's still a long term goal of ours.

But I think we also want to move into film more down the line.

We're still doing film right now.

We're constantly writing new stuff.

We're in pre production of one, we're in post production of another.

But we definitely want to move into features down the line once we have

some more experience under our belt.

Yeah, we want to really grow the company to have like mainly two divisions, to

do kind of music video side and then to have a more dedicated film division.

And we think that's going to be a great approach.

And another big goal of that is to bring in other artists, we really want to,

uh, get everyone on the joy ride, right?

Let's all take the ride on the rock.

That's what it is, man.

It's it's the more art we can pump out and the more art we can

support of other people as well.

It's just going to elevate everybody, right?

Because every time or hear a piece of great art and great music, great film

it's improving you slightly, right?

Cause you're just soaking in this great work.

And then you're inspiring yourself and going out.

Yeah, we see this thing really growing and no pun intended taken off, but

So it's been great having you guys on the show There are some of magicians

who want to reach out to you.

How can they contact you?

Yeah, you can find us at spaceshipjoyride.

com or Instagram spaceshipjoyride as well Yeah, we have our contact info on there.

Don't hesitate to reach out.

We would love to work with you guys in any capacity.

Let's do it.

Yeah.

Excellent.

Guys, this has been film center news.

I'm Derek Johnson.

Second, I'm Nicholas Killian.

We're here with Bennett summer on August step.

Awesome.

We'll see you next time.

All right.

Thank you for having you guys.

This has been Film Center on Comic Con Radio.

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