in the in the industry that is have been here for a minute, it s evident when you read the script and, furthermore, when you see the storyboards, you understand what the vision of the film is and what they want to achieve. and and and what it ll take to achieve that. and then, i present those concerns and needs to usually, typically producers, producer staff. and those concerns are sorted. so, sort of an initial thing was, like, kind of a a passed off, we ll get to that. we ll have that conversation. that s negotiable. and you are at the point where you re doing the negotiation. so, kind of to say it is negotiable is a little bit arrogant and flippant. have you worked on i mean, i don t know if this is a low-budget film. i don t know where it stands in terms of budget. you know, obviously, they were they were having crew members drive all the way to albuquerque when much longer
normally work? i mean, usually, how many crew members would be needed in your view to assist when there are guns being used like this? well, the production did forward me the script. i did significant breakdown on the script and identified where those scenes were. obviously, the character of harlem rust is an outlaw. so it is a recurring theme throughout the film that he is pursued, he is shot at. he also shoots back. there is a lot of detail there. and as um a professional in the in the industry that is have been here for a minute, it s evident when you read the script and, furthermore, when you see the storyboards, you understand what the vision of the film is and what they want to achieve. and and and what it ll take to achieve that. and then, i present those concerns and needs to usually, typically producers, producer staff. and those concerns are sorted. so, sort of an initial thing