Ep 6 | Simon Crook - Location Manager: Mad Max: Fury Road, Avengers: Age of Ultron

Mike: Hello and welcome to Red Carpet Rookies! My name is Mike Battle, a film production junior working for studios in London. Each episode, I bring you advice and stories from film, tv, and content professionals to help demystify and democratize the industries for juniors and fans alike. Thanks for joining me, let’s get started Today’s guest is location manager Simon Crook. First working in the transport and unit departments, Simon has since traveled through the industry to become one of the most in demand location managers for international film making. With credits including Mad Max: Fury Road, Mission Impossible: Rogue Nation, Children of Men and many more. He joins me today from his location offices on Jurassic World three. Simon, welcome to the show, how are you?
Simon: I’m very well, yourself?

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Mike: I’m very well thank you, it’s nice to see you again. Now, before we get going, for any juniors who might not know the intimate details of location managers in the film industry, would you be able to explain how you see it in your own words. Cause it’s not just going around the world and looking at amazing places is it?

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Simon: No, not at all. It’s a big part of it, we are one of the only departments, I think it’s only production that actually deal with every single department on the film you know. We start very early in the morning until very late at night. Our day is not only just a beautiful location and having fun at location while filming. I think, one of your previous guests Sonya said it’s about parking pavements and toilets, isn’t it. We have a bit more to do with that, you know. Administering defense, or it could be just people on the street, you’ve upset that day because you’re filming on their streets. There’s always a, everyone watches television or films so (inaudible 2:31). Try and be friends with everyone.‍

Mike: Absolutely, and I though we would start by asking where you grew up, and how you ended up in the industry. Because did you have any careers beforehand, or was it always the film industry in mind? Often people fall into it.

Simon: That’s the funny thing, I was thinking about it this morning when you first contacted me a few days ago about doing this interview. I remember, when I lived in Sunbury on Thames, in fact when I lived there, it was just called Sunbury. I remember going past shepherds a few times on the bus. Looking in there at what they were filming and stuff like that. Back where we used to live, Hampton, I remember seeing one night, really bright lights above the waterworks, and I didn’t know what was going on. So, we went to the cornfield at the back of the waterworks, me and my friends. And they were filming, there was a big swastika flag over the front of the waterworks. I was wondering what film it was, it might have been (inaudible 3:36), or something like that. So a long time ago, and I was just amazed by how many people there were and the whole look of what was going on. I was amazed at the lights really, just how bright the lights were, and they were all brute lights that used to burn to make it bright, that’s how long ago it was.
You know, and that’s sort of what got me intrigued a little bit. For a long time, I wanted to be a stuntman. Probably not many people know that.

Mike : I don’t know that no. And what was it that got you your first job in the transport. Because from what I can see, that was where you first got going right?

Simon: Yeah, I worked for a little while I worked in a garage in Ashton, so just around the corner from Shepperton and every now and then we would do some rushed overnight work for action movies. Which would be used on the set, it might have gotten damaged or had to have a color change, and I would take them back to Shepperton. Sometimes on location. A long time ago, we had an old Rolls Royce damaged on the set. We repaired it over night, and it was for A Murder She Wrote, being shot in the UK. I went out and I stayed with the car for the whole day because they asked me to stay with it. And, I got to drive it on set which was quite fun just for show. Some good old days you used to pay cash. I thought well this is interesting and I though I might be doing that for a weeks work of driving around.

5:22 Mike Battle:

Were there any, given the transport department you described as the eyes and ears of the film to some extent, were there any lesson you learned from those days that you’ve carried with you through the years?

5:30 Simon Crook:

Yeah, there is quite a bit and I think that’s why there’s quite a bit of logistics on films. Because, you know you’ve always got to go look at everything. You can put a big unit it somewhere, go and look at it, check access.

I remember we were on the (inaudible 5:47) a few years ago and we went up there with the units, the facilities, and you have ot look at the width of the road.

You have to look up in the air too, because lots of low power lines and things like that, you’d never even think of on the location you went to. You know, so that can be a lesson learned.

6:07 Mike Battle:

I’m sure, following these first few jobs, you quickly got into unit managing which can be one of the toughest jobs in the industry.

I’ve heard of unit managers doing 24 hour shifts and the like.

Would you be able to explain to the listeners what the unit manager does, and I feel like you must have at least one good unit manager moment to share.

6:26 Simon Crook:

Yeah, there’s a few moments.

Um, unit managing is a funny one. It’s not really understood by our American counterparts really. You know, you’d often see on films with credits it’s a unit manager will be higher up than the location manager and it’s only because the Americans don’t understand our term unit manager.

Obviously, the nearest thing they have is a unit production manager. So really, our unit managing job, it’s not really a term I’ve ever like to be honest. You’re an assistant location manger really, that’s what you do. You’re assisting the location manager.

On a lot of films I’ve worked on very early on. We would have a location manager, possibly an assistant location manager, and they would have a unit manager.

So really you were supporting the location manager. And, being on the set day to day. What we have know we have assistant unit managers, supervising unit managers, and that’s the latest title I’ve heard recently. I don’t think I’ve ever had that title.

7:45 Mike Battle:

It’s interesting you say maybe about the UK and the US American system, because obviously so much is getting made in the UK now. Do you find that sometimes there is a bit of a disconnect between that, because obviously it’s huge stuff happening on both sides of the Atlantic? Do you think there’s a little bit of miscommunication maybe.

8:00 Simon Crook:

Um, no, I don’t think so. I think out biggest thing is, even to the local UK crew, it’s what we actually do. Sometimes I think the recognition there is actually what the location team do on a daily basis.

Because mostly we just turn up on the day, shoot and go away. Nobody realizes it’s months and months of planning.

I mean I did a job in South Korea, in Seoul, where we closed the main city bridge for one day. Now the permissions started six months before that, for a one day shoot. You know it’s never been done before.

8:50 Mike Battle:

What was the show, Simon?

8:53 Simon Crook:

It was Avengers Age of Ultron

8:55 Mike Battle:

Oh, of course.

8:57 Simon Crook:

Yeah, I don’t think people realize what we actually do on a daily basis. Setting up on the bigger films is much harder to do, because you are second guessing it.

When you first come into these meetings very early on saying what a great idea it is to shoot on the major bridge in the city.

9:21 Mike Battle:

It’s incredible!

It’s interesting your progression, because given that the industry can be so randomized in it’s nature, the move from low rungs, to unit manager, location manager, and often ultimately to production manager is actually quite common.

So why do you think it is that they run so smoothly into each other?

9:36 Simon Crooke:

I think that the biggest thing is dealing with all of the departments, there’s an understanding. Because obviously, you can only learn on the floor. You know, I can tell because I have been doing this some time, I can tell if the production person has come through the office if they’ve had a floor run.

There is a big difference, it’s also about learning to talk to people, you know, I’m dealing with the construction team every morning, certain things. Talking to the producer every day.

You know, and I think sometimes people forget how to talk to the rest of the crew.

10:23 Mike Battle:

It’s almost like a politician Simon.

10:24 Simon Crook:

It is a bit like a politician, yeah. And it is every day, we’re trying to keep someone happy.

10:29 Mike Battle:

Just before we started the recording, you mentioned that you had a mentor named Angus More Gordon who I think is a producer.

Do you think these sorts of relationships are vital when you’re coming up, and I guess who the lady is as well.

104:2 Simon Crook:

Yeah, I do and I think what happens now is that I was Angus’s assistant, and I think we worked about seven years.

And at the time there was only probably five big location manager, you know and Angus was in that five.

I think what happens, I think the biggest issues nowadays, and we’ve talked about this, I think people who move up to quickly. I think that why departments are getting bigger, bigger, and bigger. Location teams now, when I first started, as I stated earlier, we were like a three-man team.

Occasionally, on the bigger film we might be a five man team. We still did it, filmmaking hasn’t changed. There a lot more paperwork now, and the hours are very important to us. We would very often go out at six in the morning or four and not get home till four in the morning and then go out again at six.

You know, so that side of things has changed for the better. I think you have to learn your craft these days.

I feel that some of our true members, certainly within our department move up to fast.

12:07 Mike Battle:

Yes, that does seem to be quite a widely held viewpoint among the people that I’ve been interviewing. So thankyou for the insight, and we’ll be back after the break.

12:18 Mike Battle:

Your career took a turn where you were hired to work in Israel on the Tony Scott, Robert Redford, and Brad Pitt blockbuster Spy Game. How did it feel to be on such a huge production then and how did compare to the smaller UK based productions you had been working on previously?

12:33 Simon Crook:

Um yeah, it was a bit of a eye opener.

My first sort of big one away, unfortunately it was a little bit short lived cause we got moved out of Israel quite quickly due to the trouble that’s still going on there now.

So, I only did a very short stint on it was about six-eight weeks. I think my last sort of memory of Israel is I was driving a motor home with a honey wagon behind it to the port as we were trying to get out.

We were very worried about actually running out time before we had to leave the country.

I went back to my old transport days and jumped in a motor home and moved it to the port.

13:20 Mike Battle:

How to the locals feel when hey have these Hollywood films running around, blowing up things, and the like? Have you ever had any notable positive experience, or indeed negative ones with the local communities or authorities?

13:33 Simon Crook:

Yeah, I think with anything that we have to, when we go into someone else’s country, I think we have to respect everything with what we’re doing. And I still think that here, You’ve always got to ask and tell them what you’re going to do. And obviously speak to the communities beforehand.

You know, I did a job in India, unfortunately it never filmed quite a long time ago. Called Shanta ram, it never made it in India, it’s quite famous.

But we were going to film in an actual slum. We went in and we did a lot of work to make friends with lots of people in the slum, employed lots of people. We didn’t want to give anyone just individuals money. So we would have done a new church, and a new shower block and some other community work.

Which is something I still like doing now. When we were in Thailand, in Alexander, we rebuilt the local school. For the local village. So no individual benefitted, it was for the community, and that’s really important to me.

I still get the old email from Thailand, now from when we did Alexander. I wasn’t sure when we did Alexander, at some poing.

14:57 Mike Battle:

No way, that’s really cool

15:01 Simon Crook:

So we, so that’s really important. In Morocco we went back into the villages we had shot in before and said hello to the people. Cause there’s always someone that knows you.

I’ve just recently shot out in Abu Dhabi and met some people out there from when I shot in Dubai.

15:17 Mike Battle:

I was going to ask, you seem to be, not quite a film question, but you’re one of the best people to ask I guess.

You’ve been working in Abu Dhabi, and the UAE, places like Morocco for some time now. You’ve been there during the build up, the huge particular UAE.

Have they changed massively in that time, in maybe attitudes, and I guess the film industry as well, in a wider sense, how have these countries changed over a twenty year period, it’s an interesting perspective?

14:45 Simon Crook:

Yeah I certainly Dubai, I was there fourteen years ago in Serrano, and maybe 15 years ago.

That’s a country that’s really evolved. When we got there, there was a lot more desert than there is now.

So you know, Dubai, actually touches Abu Dhabi now. Whereas there used to be a sort road, now a dominant road running between the two of them.

16:15 Mike Battle:

You mentioned earlier about moving onto your first big international jobs with Spy Game. While those international shows would become a bit of a home ground for you. Was there anything you were nervous about when you were taking your first steps into the international sphere like that?

It’s quite a daunting task in many ways.

16:28 Simon Crook:

You know, I don’t think there was. You know, one of the first big jobs I did as well was parent trap. That was another big one. Standing up there at college, on those real wet days the rain was really wet, you couldn’t get dry.

I thought, there has to be something better. A few days later, I got the phone call about a much bigger film.

So it was my first Disney film.

17:13 Mike Battle:’

I see, I was going to mention when you go out to these countries, particularly I guess somewhere like Namibia, is it as difficult to start from nothing as it sounds. It seems like such a mad process to say, you’re going to turn up in the desert and then in a few months, you’re going to have hundreds of people running around in costumes and that.

Is it as crazy as it sounds in my head?

17:34 Simon Crook:

Um, yeah it can be. I mean Max Max was a difficult start out in Namibia for everybody. Because, we didn’t really have a script. So it’s really hard to break down what you really wanted to do.

We had Colin Gibson, obviously a Oscar winning designer. He had a clear vision of what they wanted. Mostly the location we found, it was his second time in Namibia.

We had a location list, but what we were doing on these locations was not really set in stone. To break down the storyboards to see what it was.

18:22 Mike Battle:

Cause it was very heavily storyboarded, to my knowledge.

18:23 Simon Crook:

Yeah, the whole film was. We didn’t have a script, it was storyboarded. I mean, we didn’t get scripts until about four months in, something like that.

Also when they were there before, Namibia was a very different place. When we got back this time, the whole place was declared as a national party. So, you couldn’t quite do what you wanted as easily.

We had environmental issues going on with 200 cars driving through a desert. Which seems easy, but it’s not. We removed one of the planes that we did just on the outskirts, we removed somewhere in the region of 2,000 little plants, which you couldn’t even see. They were little stone, we had a team of people lifting these plant and putting them into a little nursery for the next six months.

19:29 Mike Battle:

Oh wow, so they looked after them, they weren’t binning them. That’s incredible!

19:33 Simon Crook:

We looked after them in our little nursery. Man goes in and waters them everyday.

19:38 Mike Battle:

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With something like Mad Max, obviously it’s meant to look at incredibly chaotic on the screen, what was it like on the production?

Did it have the same feel or was it actually really well ordered and well well run?

20:16 Simon Crook:

No, it was actually was very well organized. Our main playground is stretched over about a 20 kilometer by 5 area. So, you’ve got 200, or 100 vehicles obviously doing what they would do.

You soon run out of real estate. So, every night we would have a team og people with dragnets, going to the area we were filming on and get rid of all of the tire marks.

Obviously it was all meant to be nice and new, crisp desert.

Then we would move to another area to let that recover for another day. The wind out there is quite good, wind is your friend out there.

One of George Miller’s best signs was dust, you saw the amount of dust and it was awful.

21:29 Mike Battle:

Most people think that gallivanting around the world on blockbusters is the dream. But it can be a tough life as well. To any juniors, or anyone listening, what advice would you give them about the potential difficulties of the lifestyle?

21:33 Simon Crook:

I’ve been going a long time living abroad, it’s tough. I’m very lucky, my family is very understanding. I’ve been to some lovely countries that my family has also come out to visit. They probably never would have gone as a holiday destination.

So, the main thing is enjoy what you do. That’s the main thing to anyone coming up. It’s not suited to everybody, working abroad. For me, it works, I quite enjoy having two months off. It’s my time for the family, they get to come out. Not to all of the countries, some of the countries we actually say let’s not come to this country, I don’t think it would suit you.

If they’ve got beaches and stuff like that. So, I don’t go to all the nice places all the time.

22:23 Mike Battle:

You need to choose some different shows than Simon. Namibia, Morocco, the dust is your friend.

22:32 Simon Crook:

Yeah, and they like Namibia, and they all like Morocco.

22:33 Mike Battle:

On the other side of that, I imagine you must have had a few magic moments, in all of this travel sort of sitting back and going wow this is an incredible moment on these huge sets, or these magical landscapes.

Do you have any that maybe come to mind?

22:43 Simon Crook:

Yeah, South Korea that was an eye opener for us all, to make it work. More recently on Fast and the Furious number nine out in Georgia. Never been shot before on that scale. It had been in lots of small commercials and things like that.

What we did, you’ll see it when it comes out. We filmed the equivalent of their regent street. We shot for three weeks. I think we had somewhere in the region of 1,500-1,200 location contracts that were done just on that one road.

It was a task, the Georgia location team out there, I never though we would pull it off. We did, we had great support from the governors, great support from the police and the municipality, and the people.

We wouldn’t have been able to do it without the people.

23:51 Mike Battle:

Speaking of films like that, Fast and the Furious. A lot of your work has been on big action blockbusters. When the stakes are so high, there can be a bit of carnage on the way, do you remember ever a serious issue that you guys had to step in and deal with. Maybe with an authority or a problem on the set.

24:06 Simon Crook:

Yeah, we, there’s always something I mean change is the biggest problem we have.

If we have a major change, some people can’t really deal with that, so it’s about how you approach that.

Just recently we were out in Abu Dhabi with Michael Bay. I had never worked with Michael before, he’s a great director and I’d seen lots of his work.

But, I’d heard lot’s of horror stories about him changing things on the day. So, it comes with experience. For me, what I did with Michael was that the permission wasn’t only for this road, it was for three roads behind and other areas and we spoke to everybody.

So when we did have little changes, it didn’t really affect us, it does come from experience.

24: 53 Mike Battle:

I’m sure, on movies like Six Underground which is the one you’re talking about there in Abu Dhabi with Michael Bay, obviously giants like Netflix are stepping into the ring now which are tach backed in the way they approach things.

Do you notice there’s maybe a difference in management style, from the top of the tree, from someone like that, as opposed to quote on quote studio a bit?

25:15 Simon Crook:

I don’t think it’s much of a difference, I think it does stem from who the producers are and who is obviously being employed to make the film.

So, it doesn’t, I don’t think at the moment it’s affecting any of us.

We have to move forward now with who’s doing what. We have out major film studio in the UK, we have Netflix, Disney taking over out major studio.

So, and Amazon is now around making big stuff too. So, I think we have to keep looking forward since they are going to be a big influence.

25:56 Mike Battle:

Definitely, something I would like to ask, is that you had an interesting situation because you worked on one of the original mummies, as well the new Tom Cruise version.

One of the thread I’ve been noticing throughout this interview, is there have been very noticeable large changes in the way these large studios have been run.

Have you notices this change or not?

26:18 Simon Crook:

Uh yeah, I suppose so obviously the mummy returns for me it was a great film to work on. I only really looked after the pyramid part and forwards. So, for me I was not working on location, only for the second part of that film.

The second mummy which was shot is Namibia which was good for me. That was Tom Cruise film, you know Tom Cruise films are very different. So, you get everything that comes with the TC world as well.

Which I don’t actually mind, because I know where we are, and what’s needed, and I know what we need to do it.

I’ve been done working in Morocco and Namibia, for me it was bit easier because I knew what was expected.

27:15 Mike Battle:

Is it true that he wants to meet everyone on set and say hello?

27:16  Crook:

Yeah he does, and it’s not only people on set, it’ s location owners, and people like that. Yeah, I really enjoyed working with him and his team.

27:07 Mike Battle:

Thank you very much for that insight Simon.

We’re gonna talk about the future of the industry, in a minute, after this quick break.

Obviously with the world in Covid mania at the moment. Jurassic World 3 has been publicized as one of the first large scale productions to go back.

How has it been for you guys on set, particularly on the location department, where I would argue you are the ones doing a lot of the Covid practice?

27: 53 Simon Crook:

You know, we’re into out ninth or tenth week back at shooting now. When we first literally got shut down for Covid, I was part of the Covid team, from literally the very next week saying how do we get people back safely with no guidelines or anything.

When we first got back, and still, we have two Covid testing tents, we’ve had a drive thru testing center. A bit like the NHS ones we’ve got.

So, we’ve got a lot of work has gone into this, and a lot of change. My biggest issue, it’s great having all of these talks around tables, and on zoom and everything. But when we first came back, the whole world was still shut down, so including all the supplies we need to get. We need to get signage, where will the generators, heating come from.

They were all closed down. So, to convince these companies ot come out of Covid and come back to work, was quite a challenge really. A lot more than people though within out industry.

We’re still finding it now, still 9-10 weeks into it. I had to get a company the other day, that was still working from home.

We forget that the whole real world is still dealing with the pandemic. What Jurassic has done, is prove that we can do it safely. We’ve learnt a lot of lessons on the way, following guidelines.

29:42 Mike Battle:

So it is workable?

29:44 Simon Crook:

It’s definitely workable, you know we’ve. I’ve just seen a truck turn up with 50,000 masks. We’re going through them. We did get a big order of rubber gloves and then the guidelines changed for that as well.

It changes every day, and we are just trying to keep people safe. You know, we’ve all got families.

It’s good, we have to convince the actors to come back. Without the actors, we could not have done anything. There obviously the people without the masks every day along with a very select few like the director who are not wearing masks on set.

The rest of us all have to do our bit. You know, without them we can’t do anything.

30: 39 Mike Battle:

That’s wonderful to hear, and definitely a positive for the future. Speaking of changes, Covid is obviously a huge change for us all. I like to ask guests, if they could change one things about the industry, is there something they would like to change.

30:51 Simon Crook:

I do think we touched on earlier. I think anyone coming into the industry has got to find the time. Don’t go up to early. If you’re asked to step up after the first job, if your production assistant and they want you to be assistant location manager. I’ve only met a couple of exceptional assistants, one of them has been with me sometimes now that actually gets the whole of what we do.

I think it’s very easy for our industry to promote people that aren’t quite ready.

There’s a bit more people, bit more time on the floor to learn your craft is a much better way because you will become a better production manager the more time you spend on the floor.

31:55 Mike Battle:

Given the tasks involved, and the number of jobs available for location marshell I would argue that that is a great point of entry for juniors who may not be able to enter a department with higher barriers to entry.

Would you agree on that?

32:08 Simon Crook:

Yeah, I do, and I think that marshals and thing are a good way to get into the industry and learn it. I mean we’ve had 14 Marshals here just helping out around the studio with lock outs around the north lot and up at the 007 stage.

Out biggest issue, and what I’ve been trying to do. I don’t leave anyone on the same post for too long, because you can be very bored standing next to rigor making a noise, asking them to be quiet all day.

It’s very easy when you get some of the marshals maybe 14, lets say they were twelve that were really good and two that weren’t great.

When you’re a marshal, that’s your time to shine. When we have another list, you will be at the top of the list. There’s a list of marshals we will use again in a few week and some have got crosses beside their names. It’s the floor team that deals with the marshals every day.

33:20 Mike Battle:

How would you say that, I know that you are not necessarily too connected to it? But I’ve done that job a few years ago and I would have said one of the hard things for me was working out how to get ahead of the pack in the sense that some of the jobs you are doing aren’t necessarily the easiest to prove you whatever.

Is there a way that someone would be noticed by you maybe?

33:38 Simon Crook:

You know what impresses me? I’ve seen it, I was walking down a corridor in a very very swanky hotel in Bangkok I believe. There was a member of our staff, I was with the general manager, a very nice guy, and I walking behind. Just about 40 feet in front of us there was another member of staff, and there was a tissue on the floor.

That member of staff picked up the tissue. You know, and he didn’t know we were there.

Someone that goes the whole way and picks up rubbish and stuff like that, that’s what we do.

You’ll often see me pick up rubbish, I’m sure you’ve seen me when we last worked together. People like that stand out for me.

34:39 Mike Battle:

Finally, what is something that keeps you positive about the future of the film and TV industries.

34:42 Simon Crook:

That’s a difficult question. I actually do enjoy seeing the younger members coming up.

You know, I’ve nearly had my time. It won’t be long now, I hang up my cones up and don’t do it anymore.

You know, I look at my current assistant Mitch, who’s got a long future in front of him. I can just see that he’s going to be one of the greatest, you know.

I think some of the guys that I’ve worked with in the past, that all have their careers now. I’d like to say that I had a little bit of help along the way.

I’d like to say that we are moving in the right direction our staff, levels and the care that’s shown.

You do have to care, it shouldn’t be about the money.

35: 30 Mike Battle:

That’s fantastic to hear.

And, we’ll be back with our little final questionnaire after the break.

Welcome back to Red Carpet Rookies, about to do my questionnaire that I ask all my guests, based on the James Lipton in the studio questionnaire.

It’s quick fire Simon, so just say whatever comes into your head and the first question is what is the best advice you’ve ever been given?

35: 58 Simon Crook:

If your on time, your late.

35:00 Mike Battle:

Number 2, do you have a favorite film?

36:04 Simon Crook:

Smoky and the Bandit

36:06 Mike Battle:

Number three, what gives you a reason to get up in the morning for an early call time, and yours are earlier than most.

36:11 Simon Crook:

I enjoy what I do really

36:13 Mike Battle:

What profession, other than your own would you like to attempt, and secondary question what job in the industry would you like to do if you weren’t doing yours?

36:24 Simon Crook:

The first one, I’d like to be involved in doing event like the Olympics start to finish. Just because I find it a bit of a challenge. Secondly,  I don’t know what else I’d like to do in the industry other than what I’m working now.

36:45 Mike Battle:

That’s probably a good place to be than. Number five, what general profession would you not like to do?

36:52 Simon Crook:

In the film industry, catering without a doubt.

36:58 Mike Battle:

Number six, if you could work with one person, living or dead who would it be?

37:00 Simon Crook:

I don’t know I think it goes back to my favourite film. I’d like to work with Burt Reynolds just because I think his presence. He was a worldly presence.

37:10 Mike Battle:

Number seven, what is a book that everyone should read?

37:13 Simon Crook:

I like Close Encounters of the Third Mind, it’s a cool film, but an incredible book.

37:23 Mike Battle:

Finally, if you won an Oscar who would you thank?

37:24 Simon Crook:

Without a doubt my family, and everyone I’ve worked with in the past. You know it was a team event.

37:31 Mike Battle:

Incredible, thank you so much to Simon Crook for joining me today.

Fantastic advice and industry insight info from a Mr. international of the film business.

Thank you for listening and we will see you next time.

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