SPEAKER_00 0:00

Just want um to do a name check. I do this with everyone. Um do you like John David Wolf?

SPEAKER_04 0:07

I mean, just when you're talking to me, I'm I'm John, but when we're referring to me, I'm John David Wolf. Okay, I'm the only John David Wolf on IMDB.

SPEAKER_00 0:17

So that is a feat. That is yeah, no one calls you yet like J Dog or J Wolf.

SPEAKER_04 0:25

When I worked on um Straight Story, uh-huh, this David Lynch film back in God, what was that? Like 96. People called me Wolf.

SPEAKER_00 0:37

That's pretty I like it.

SPEAKER_04 0:38

That was the only time I had like a set name that wasn't, you know, people were calling me by my last name instead of instead of John, but I kind of got a kick out of that.

SPEAKER_00 0:48

That's fun. I mean, I feel like now with Dick Wolf, with all the the Dick Wolf shows in Chicago, it's a little tougher to be to be called Wolf.

SPEAKER_04 0:56

Or having people think that you're you know somehow related.

SPEAKER_00 1:05

For over two decades, my next guest was the guy finding the exact right alley, diner or hallway for movies you've already seen. Credits on Spider-Man 2, high fidelity, proof, and rhythm and flow, but never his name up front. Now he's the one calling the shot. Welcome back to Elis It Will Stay, the podcast where behind the scenes becomes the whole story. Welcome to my brain. I mean to say your host, currently out of coffee filters, so I've just started doing shots of espresso. You've been warned. My guest today is a DGA member who spent years as a location scout and location manager on some genuinely massive productions before making the jump to producing. He's now the co-founder and executive producer of Candy House Productions, a Chicago-based company building out film, TV, and vertical series projects of their own. And my guest today, boy, does he know what it takes to get a production off the ground from the ground up, literally. Please welcome John David Wolf.

SPEAKER_04 2:19

I love that. I love that. I love an intro like that because I was raised not to talk about myself or brag about myself. So hearing someone like kind of condense you down into uh an intro, it's kind of cool.

SPEAKER_00 2:34

Yay, I'm glad. Were you are you a Midwesterner? Because that's a very Midwest. Yeah, that's a very Midwest thing.

SPEAKER_04 2:41

Born and raised in uh West Des Moines, Iowa.

SPEAKER_00 2:45

West Des Moines, Iowa.

SPEAKER_04 2:46

Yeah, my family has been in Iowa since uh just before they made it into uh like when it was a territory, 18 1830s something.

SPEAKER_00 2:58

Oh dang.

SPEAKER_04 2:59

Wow year a while, like Iowa. Yeah. I was good, good people.

SPEAKER_00 3:02

Yeah, yeah, yeah. So how did you get from Iowa to Chicago?

SPEAKER_04 3:06

After I went to um yeah, I went to college, um I started out and and then I took some time off. I went back, got a degree in communication studies, film and video production focus. And it was, I was done with school, and I thought, I mean, this is kind of a silly thing, but it was my family. My my grandmother was what 74 then, which now I'm like, wow, that's not very old. And I'm like, okay, um, I want to be within a driving, I want to be within like three or you know, three and a half, six hours of where my family is in case anything comes up. I don't want to have to be in LA and hop on a plane and come back. So that was my excuse to, and I had friends that had already moved to Chicago and were um living here and being successful, and I had come out and got a taste, and I thought, hey man, I'm I'm gonna make it here.

SPEAKER_00 4:04

Yeah. So your first uh I was a little taken aback by your IMDb. Your first credit, at least on IMDb, I don't know if you know this, it's high fidelity, which is quite like an incredible first credit to have. How did that happen from like moving here to that?

SPEAKER_04 4:26

Within the first couple of months, I was made aware of a director named Michael Alexandro De Gaetano who was um making a film called Butch Camp. And I met with him, they had an investor's reading at a theater. I helped with that. Months go by. Uh, he reached out again and I started uh working as his assistant in production. From there, I met a production manager, Michelle Wilson, who did commercials, and she introduced me to Nietzsche Chopra, who was working at the uh in the production office of Early Edition the first season. And there was a position open there for an office PA. And uh I went in and I saw Deb Hoyer and she hired me, and that's how I got my first um real studio job. Yeah, and then from there after that, I um had I had uh a couple other things, but High Fidelity is one of my favorite um early movies.

SPEAKER_00 5:27

No, it's great.

SPEAKER_04 5:28

To have worked on that during that time period was something else. Yes, it was something else, yeah.

SPEAKER_00 5:34

It was really great, absolutely. Um, and so like quick question on that, because like PA production assisting is like a great way or was a great way to get into the business. Do you think that the business has changed at all? Or would you like if you could um give any advice to folks who are wanting to get into the business? Is that still like the route to go? Because I've heard it on several for several folks that started that way.

SPEAKER_04 6:06

It depends on what you want to do and where you want to go. Okay, if you want to get into the industry, the PA position is the entry-level position. It isn't easy to get a job as a PA on these movies and and uh TV shows. It's just it's very hard to this like out of the gate, you know, have them accept you with them, you know, having no um uh entry into the business. Like I said, it was because of Michelle Wilson's friendship with Neo Chopra that I was made aware of this job. And I I met I met NeToo Chopra out at like uh the brown bottle or something like that, uh the map room, maybe. I don't know. Yeah, and and we were talking, had a drink. She looked me up and down, she's like, Yeah, you'll do one. Come come down and see that lawyer. I was I came in, yeah. I gave him my resume, talked to him, they're like, okay, yeah, yeah, start start on Monday. Um, so it that's how I got in. Now, I think it is in it is very important if you are a creative, though, right? Because most of the people who get into this industry, they do so because they've got stories they want to tell.

SPEAKER_02 7:16

Yeah.

SPEAKER_04 7:16

My advice is to find ways to tell your stories while you can.

SPEAKER_00 7:22

And take that PA position.

SPEAKER_04 7:25

I would and take the PA position, but not wait for the PA position. I would be actively getting out my um my work as soon as I could. Now, because then you also have the momentum of if you can if your stuff is good and it's getting attention, then you can um elevate yourself from there.

SPEAKER_00 7:45

Leverage it, yeah.

SPEAKER_04 7:46

From this position of I am a creator, look what I can create. Now I can, you know, if it is good and people like it, you can start making a name for yourself and and and building on that. Um when you get into like the studio system, you're ultimately going to get funneled into a job description, one of the um different departments.

SPEAKER_00 8:14

Sure.

SPEAKER_04 8:14

Um so and once you do that, you are on a career path. When I was going to the University of Iowa, I did a course I would drop in on. I was taking a course with um Sarah Stein, who had been a uh the editor. Her and her husband had done the editing on uh Hindenburg Ship of Doom, a documentary. They won um an Academy Award for Best Editing in a Documentary in some time in the 80s, at the beginning of the 90s. So she was in one of these, it was a budgeting class, and we were talking about stuff, and she's like, Look, here's how it's gonna go. You're gonna graduate here. And then she she came from New York, right? And so this was her experience. She was living in an apartment, she graduated from school, she started calling all the production houses looking for a job. And she's like, the first job you're gonna get is answering the phones. And if you're good at answering the phones, they'll want to keep you on the phones. After three months of the phones, you tell them you want to get off the phones and into something else. And if they don't move you, find another job. But watch out what department you end up in. I ended up from the phones into editing. Had I had my own, if if things had gone a different way, I might have ended up being a production manager or directing or having some other role. So it is, you have to be conscious of the fact that once you enter into that system, you you may get sucked up into that system to the point where that is then your career, and you work within that department for the rest of your career.

SPEAKER_00 9:53

That is, I've seen so many folks go down that path that they wanted to do XYZ, but now their day job or an apprenticeship has deviated their plans for the for for better or worse, right? Um I want to go back a little bit on what you said about uh getting your work out there. What do you think is the best way to do that now? Would it be verticals? Would it be social media? Is it still shorts in your opinion, or how do how does one do that?

SPEAKER_04 10:27

I think getting your work out in any way possible. You're like just getting if you can think of a way to show your work, then show your work in that way. And I'm talking gorilla stuff, I'm talking regular Instagram, Facebook, YouTube, TikTok, social media. Um, if you need to make it vertically to have it seen, then perhaps you should make it vertically. If you can't, if if you don't want to make it vertically, don't make it vertically. Make it the way you want to, and then get it out any way you can. There are, you know, there within like Chicago's got a big independent film community, and they've got Chicago film events, and you can go um get involved with different um uh events, and you can uh become part of a community and you can find places to show your film, not only like in a like internet kind of way, in a digital kind of way, in a way that gets people into a room physically with you and your work.

SPEAKER_00 11:36

That is still the best way, in my opinion. Yeah.

SPEAKER_04 11:40

I've watched the decline of cinema throughout my life, right? The theaters and stuff, but it's so sad. It's so true. It is, it is super sad. Yeah, but there is there's nothing like being in a darkened, large, darkened room full of strangers with all of their own psychic and electromagnetic energy experiencing a waking dream together with you. Okay, yeah, there's nothing else like that. I mean, I guess the the stage uh theater is is like that, but um, as far as the uh recorded, projected, movie style stuff, theaters are where it's at for me. I love audience um interaction. So I would I'd get if it was me, I was just starting out, I would try, I would get my work done, whatever it is, and accept it as it is, so I could go on to the next piece of work and make it and make it better and keep growing and not get stagnated on trying to make something perfect. Get it out into the world, get some feedback.

SPEAKER_00 12:50

Yeah, be prolific, not perfect. That is something that I am constantly trying to remind myself.

SPEAKER_04 12:57

It's I'm a Virgo, you've got to let it go.

SPEAKER_00 13:00

Shut up. Would what would day? I'm a Virgo too.

SPEAKER_04 13:03

Oh, really cool! Yeah, yeah, yeah. There's an element of service within that mutable sign. We do feel like we have to we've got to do something, we've got to create, and we have to be of some kind of service.

SPEAKER_00 13:18

Yeah.

SPEAKER_04 13:18

In some way, agree. I just you know, that's my feeling.

SPEAKER_00 13:21

I love that we already touched up on a little bit of woo-woo, but before then, I want to do hot cakes. They're like hot takes, but they stack up. Um, we're gonna put 60 seconds on the clock. Are you ready?

SPEAKER_04 13:33

Oh no. I've got an archaic processor, so you know it's I'm gonna I might have to blurt out like the first thing that comes to mind. Absolutely.

SPEAKER_00 13:42

Please do so. Look, we can cut anything you don't want. Best hidden Chicago location almost nobody knows about.

SPEAKER_04 13:51

There's a staircase in Lakeshore Park um east that goes from the park which is sunken into the cityscape, up to the upper deck. Um, it's just north of um Randolph, just west, or just east of Michigan Avenue, that kind of area.

SPEAKER_00 14:13

Weirdest ask you've ever gotten from a director.

SPEAKER_04 14:16

It was a producer, and it's can we change the patterns of the planes? Can we call O'Hare and have him change the flight pattern?

SPEAKER_00 14:23

That is very weird.

SPEAKER_04 14:25

And we were shooting Strength. And on the on the Tech Scout, I'm standing with them all, the producers, the writers, the director, and I'm like, okay, stop. We're in this, we're gonna be shooting in this garage. All right, we all hear that the planes, we all we all know this is happening, right? Oh yeah, this will be fine, it'll be fine. We go to shoot first first day we shoot in the garage. Ted. Do you think we could call up O'Hare and You freaking kidding? I said I said I would try. I I did kind of follow up on it, but it was it was ridiculous, it was happening.

SPEAKER_00 15:01

Best celebrity run in onset.

SPEAKER_04 15:05

Sigorny Weaver.

SPEAKER_00 15:06

Oh, that's a good one. Go to snack.

SPEAKER_04 15:10

Coffee.

SPEAKER_00 15:11

Yes, agreed. Worst weather disaster mid-shoot. You're la you're you're got it.

SPEAKER_04 15:20

No, it's it's a nightmare. Uh was that a Lexus commercial? We're shooting downtown weekend, Twilight, LaSalle Street, six blocks, helicopter, thirty to forty feet off of the ground, flying down into the valley, along the road, and then back up out of the valley. I've there are over a hundred plus PAs for every single door that you could come out of.

unknown 15:57

Oh my goodness.

SPEAKER_04 15:58

On this street, and we're all ready to go. And then the sky opened up. It was totally predictable, but the producer did not call it within 24 hours, and since everything was now on the table and paid for, she just rolled the dice, and it was bam, and then all of those people scattered, and we went to different hotels in the area and just like camped out until everything was cool. I mean, it was really a disaster.

SPEAKER_00 16:28

Whoa. Okay. One Chicago building you'd love to film in, but haven't.

SPEAKER_04 16:36

The rookery?

SPEAKER_00 16:38

Okay. Best behind the scenes secret you can actually tell us. Anything that you're like, any any secret you can tell us? How you get locations, how you uh anything.

SPEAKER_04 16:55

Secret. I when you say that, I'm like, uh it immediately goes to like gossip. It's like I don't know any gossip, I I don't remember any gossip. All of the all of my good stories I've forgotten about until everybody's either, you know, too old for that.

SPEAKER_00 17:11

Fair enough. What Chicago building is actually haunted?

SPEAKER_04 17:17

The Uptown Theater.

SPEAKER_00 17:19

Oh. Thank you so much for playing uh the the four-minute version of hotcakes. Chicago's best kept secret? It's not name. It's Joel MySonette Photography. He's legitimately the best. And it's about time everybody knew. Actors, execs, LinkedIn Lurkers, book at mycinetphotography.com. Thank me later. Tell us more about the Uptown Theater.

SPEAKER_04 17:59

I've scouted it, I think, three times in my career, right? And the last time was, oh man, like probably 15, 14, 15 years ago. Um it it my experience with it is that it is frickin' haunted. Okay. One experience in particular in this this theater is big. I mean, that it's so enormous. And it's got you know several levels of mezzanine and an upper level in this place where you can walk around. Taking pictures, and it was one of the upper levels, there was there it there was some moving around. No, and then just the creeps in there, but I totally saw I saw an apparition. Stop if it was in my mind and I was projecting it out onto the scene. Well, then that's what it was. But I saw some freaking thing, shadowy figure up there, was not a person disappeared, plus the the sounds, and just so that would, but that was it's haunted.

SPEAKER_00 19:14

It's creepy, yeah. Yeah, um, so since we already got into like the horoscopy, you know, turn and now the haunted anything else that is woo-woo that you believe in.

SPEAKER_04 19:28

Here's the weird stuff. This is you know, stuff I can verify having experience with, which makes me go, what the heck?

SPEAKER_00 19:35

Okay, I'm here for it.

SPEAKER_04 19:37

The Britney Spears with the red jumpsuit, and she had a black frickin' mic.

SPEAKER_02 19:43

Okay.

SPEAKER_04 19:43

Okay, now she doesn't, but there are still dolls made of her from this video with the mic. They're costumes, Halloween costumes, with the mic included, but now the mic does not exist. The this the Chick-fil-A one happened relatively recently where there were people that are like it was it had a K, it had a K. It's chick with a K fillet, and then suddenly it was C H I C and no K.

SPEAKER_03 20:18

And F U, you're you're crazy if you ever thought it has a K. And now is the K back? It looks like the K. So don't you tell me that that whole fucking thing didn't happen because it did. It had a K, and then it had a C, and we said it had a K, and you said you're crazy. It didn't, it's always been a C, and now it's got a K again. So that kind of thing.

SPEAKER_00 20:41

The little glitches um are interesting. And have you seen The Good Place?

SPEAKER_04 20:46

I've I've caught part of an episode before.

SPEAKER_00 20:49

They have they they talk about time um being non-linear, and they have like a really funny uh way of expressing it. I highly recommend, I think it's in the later seasons. Um the gym Jiminy, it's not Jiminy Cricket, but it's like something silly like that. Um, and I think it ties into everything we're talking about where is it linear, is it not? Um are these like glitches? Yeah, what what happened with these things?

SPEAKER_04 21:18

Add in space to time.

SPEAKER_00 21:21

Oh my goodness, yeah. You know, I mean and the fact that aliens are just a fact now are they are they are they Nordic folks, you know, like what I'm very open-minded about that, but the sensible side of me can't. I can't fathom it.

SPEAKER_04 21:40

Thinks that it is the a lot of the craft and stuff that we're seeing is uh human technology. Yeah, it's it's it's human technology.

SPEAKER_00 21:51

Yeah. But again, going back to the creativity of it, it's just fun to think about. It it it gets you out of Of it makes me feel like a kid again. I've said that before, where um, you know, I used to wake up at like 7 a.m. and start my day and finish it and be an adult. And now that I've kind of dabbled in this and I just get excited about life, I get excited about the what-ifs. Um, and it only helps my creativity, it only helps me be childlike. And I think the more we can be childlike, um I think the the the more we can actually process things and and maybe change our minds as well. That's why I think like Star Wars, Star Trek, they deal with really tough subjects, but because it's taken out of our reality, I think people are are easy, it's easier for them, it's easier for us to digest. And I think that that's what's wonderful.

SPEAKER_04 22:44

Storytelling through mythos, right? Those are arguably all archetypal characters. When you're dealing with big mythic, epic stories, that's what they become. The characters become embodiments of different archetypes of uh the psyche or the collective and uh represent, you know, a symbol.

SPEAKER_00 23:11

And so I want to get a little bit into candy house productions. How did that come about from all of your success, you know, with the networks and in the big, big, big movies that you worked on? How did that transition happen? What does Candy House mean to you?

SPEAKER_04 23:30

I did a lot of work in commercials for the past 15 years, and I was thinking, I'm just gonna like pull this location management thing until I retire and give up on my dreams, right?

SPEAKER_00 23:42

As one does, you know, every once in a while.

SPEAKER_04 23:45

And then um, I'm like, no, that's not the way this is gonna happen. I got um the opportunity to be uh co-producer on a spec pilot called Suede, uh, that James Form me uh produced, directed. Um and from that I I started seeking out and doing producing work. And then two years ago, I was working on a uh low-budget fashion project movie and met Chloe Kogel, my partner, and that was it was a very rough movie, and it was very much like putting the plane together as it's taxiing down the runway. So we we got it up in the air and then we landed it. And after that, um, there was another movie that individually I'd been approached about producing, and I got Chloe involved in that, and then that eventually did not work out, and we're like standing next to each other going, let's just let's make a company, you know, let's get our own IP and let's produce our own work. And I'm like, Yeah, I'm down, I'm totally down for that. So uh that's how it began. It began with a challenging, very low-budget show, and we uh trauma bonded and in a very great way. Yeah, yeah, because you could tell I could tell immediately that she had what it takes to make it in this industry, and that's uh also a fact. Yeah, it's just a fact. There are certain things that you have to have in your personality or you're willing to change about yourself to be able to do this.

SPEAKER_00 25:26

Yeah, 100%.

SPEAKER_04 25:28

And and she she has what it takes, and so it was just a no-brainer. It's like, hey, let's let's let's do this. This is fun.

SPEAKER_00 25:35

I think we learn more from when it's all going the wrong way versus when everything's going right. Um is that the skill set that you saw in Chloe, or what other skill sets did you see?

SPEAKER_04 25:48

First, it is the dedication to the work. You can just see in someone's behavior and how they approach their their day-to-day. Um, she was just really brilliant about breaking down the schedule and keeping us on schedule. The only times that we got into any trouble was when the director insisted that we do something out of order and it put us behind, and we lost a couple of shots that we weren't able to get. And so she was unit production manager on this as well as the first AD. So I'm watching her break down the script into the the schedule, make that schedule make sense and and keep us on our days, and then you know, help with overseeing uh the budget and and breaking that down, and then just being able to run the set and keep us on time. Yeah, those that's a lot that was amazing. Yeah, yeah. And then she's just like, yeah, she's got a great personality, great person. She's the kind of person you want to work with.

SPEAKER_00 26:50

Yeah, I think people forget about that too. Like, you you gotta have fun onset too. Yeah, um, and Candy House, why Candy House? Why that name?

SPEAKER_04 27:00

I really don't want to offend anyone, right? But on the film that we worked on together, I started to equate the experience with Hansel and Gretel.

SPEAKER_00 27:14

Yes.

SPEAKER_04 27:15

Because we were lured into a situation that was not exactly as it was purported to be, and I ended up locked in a cage, and she ended up scrubbing the floor. And I'm begging her, you've got to push her in the oven before she eats it. Okay. So it was that was that was our running, that's what kept us sane. I mean, no offense to this director, producer, director, whatever they want to call themselves, but it was not it was not a pleasant experience. It was terrible. That's it was a terrible, terrible experience. And uh, so we turned it into candy house.

SPEAKER_02 27:56

You have to.

SPEAKER_04 27:56

It's like we took back, we took the thing that lured us in that that that that that tried to kill us. We have taken it over and transformed it. And now it it's a manufacturing house. You can come by and you can get some candy, you can get some cookies.

SPEAKER_00 28:12

It's a manufacturing house. I love that.

SPEAKER_04 28:15

We're like the Keebler elves, except with movies and content.

SPEAKER_00 28:18

Yeah, you kick the witch out and then you build a business.

SPEAKER_04 28:22

The witch ended up in the oven. That is over. We have taken over. The recipes are brand new.

SPEAKER_00 28:30

That's amazing. That's awesome. Um, and I do want to talk about Big Spooky House.

SPEAKER_04 28:36

Oh, yeah, it's big, it's spooky, and it's a house.

SPEAKER_00 28:38

I know. Can you tell us a little bit about how that landed uh in Candy House and uh where folks can catch it?

SPEAKER_04 28:47

So Big Spooky House is the first feature film of Jerry S. Gonzalez, who is an independent film maker here in Chicago.

SPEAKER_00 29:01

We've had him on the podcast. We've also had Ben Bishop. Great, great people.

SPEAKER_04 29:05

Yeah, those guys are in this. This is the project that we're working on together. And um so I met I met Jerry at uh KinoWorks event, the event that was happening at KinoWorks. Um Filmmaker Friday, maybe two years ago in October, and we were talking, and uh a couple of his friends were there that I met before I met him, and he comes up and he's like, Phil, I'm making this movie, and it's blah blah blah blah blah, hamster in my hand in some guy's head, and puppets! I'm like, puppets? He said puppets. And I was very I was interested because you're using live action and then you're you're doing your effects with puppets. I'm into that. I'm interested.

SPEAKER_00 29:54

You're back to being a little kid watching Sesame Street and wanting to put on the put on the show.

SPEAKER_04 30:00

I can't it's in my blood. So um followed him on Instagram. He did a post a few months later um where he was showing some retrospective work. Told and I I gave it a heart. He said, Why don't you come? I said, Chloe, let's go see this guy's work. We went, we saw three of his first films, and it was like, Yes, yes, you you have something, you know, you've got something special. And within his movies, there's this thing where you're set up for usually you're set up for something to you're expecting an expectation. You know, you have an expectation of how something's going to be, and then it's flipped over onto its head. Like with Spaghetti Man, his short film he made. Yes, my friend Brittany is in that. The monster, you you think it's gonna be the scary thing, but in the end, for him to get me misty-eyed over the monster, I that's good. Yeah, it's I could, yeah, and I could um I could see the potential in him and his creativity, and then he shared with us um his first script for Big Spooky House. And that was it. And and that was it. That's awesome. It's uh about a uh man, Seth Spooky, who uh has a fear of everything, and he has got to um confront his fears and and face his his fate in a house full of ancestral spirits that want to kill him.

SPEAKER_00 31:36

That's so fun. That's so fun.

SPEAKER_04 31:41

To win his girl, you know, have a place to live. He wants to marry his girlfriend Luna, and and so they end up having to battle these ghosts, these ancestral spirits to try to um take back the house. And um, you know, along the way, developments happen, shenanigans, some heartwarming stuff, and there are puppets.

SPEAKER_02 32:03

Amazing.

SPEAKER_04 32:03

It's a it's a movie that's going to be but primarily just it's practical effects. So we're leaning hard into practical effects.

SPEAKER_00 32:10

That's great. Yeah.

SPEAKER_04 32:11

Yeah.

SPEAKER_00 32:12

Um, is it making its festival rounds?

SPEAKER_04 32:14

Uh do you have the house is in pre-production currently. We're going to launch a um a GoFundMe style um campaign um here in the beginning of the fall um as we continue to develop and get ready to uh pitch this and and and go after uh some some big money. We have uh a couple of stars that we're trying to persuade seduce into our little here and uh and some some money we'd like to find along the way. The one thing I can say about this is that it is a winner. Yeah, it's a winner, it's going to be a um a cult classic for generations, a Halloween cult classic.

SPEAKER_00 33:06

I believe it. And honestly, you're a winner. So thank you so much. Thank you so much for being on the podcast. This is very, very fun.

SPEAKER_04 33:15

Well, I appreciate you talking to me. You know, it's been nice to chat it up.

SPEAKER_00 33:25

What a fun episode. Uh we stayed intended a little bit about how there is something in the water in Chicago right now. Um, and it is producing some incredible, credible things, um, which Candy House Productions is a part of. So if you liked um what you heard, what uh we were talking about, if you found it inspirational, if you want to reach out to Candy House Productions, go follow them on Instagram at Candy House Productions. That's where John and Chloe kind of live. Uh not in the not in the social media, but you know what I mean. Thank you so much for listening. Really appreciate it. DM me, send me some funny things. Um, and yeah, we'll uh keep popping these episodes out for ya. Thank you. Thank you for listening. If you've listened this far, you're my favorite.

unknown 34:16

Bye.

SPEAKER_00 34:20

Ilse Will Say is an Intrepid entertainment podcast produced and edited by Jacob Cagle, music by Eric Fakis and photography by Joel Maestonet, and I am your host, Ilse Sacharya Rivera. The views and opinions expressed on Ilse Will Say are entirely those of the hosts and guests, and do not reflect the views of any employers, sponsors, or innocent bystanders. This podcast is for entertainment purposes only. Nothing said here should be taken as professional advice, expert opinion, legal guidance, or a reason to DM a few conspiracy theories. We're here for the laughs, y'all. Carry on.