Gratitude:UnFiltered w/ Award-Winning Filmmaker Paul Brenno
brought to you by Greatest-Mask.com
Joshua T Berglan: What’s up, everybody. Where’d I go, why am I not on the screen? There I am. No, I’m not. Where am I going? I’m talking to myself. You think after doing this for 500 times, I would know what I’m doing. Pushing the buttons. What’s up, everybody. This is Gratitude:UnFiltered. I’m your host. Joshua T Berglan. You guys are in for a treat today. I am so pumped about our guest’s award-winning director. This dude’s just awesome. So he’s just, I, I’ve only known him for a couple of weeks now, but I’ve been following his stuff.
I’ve been looking at his body of work and what he’s created, and he’s just, he’s just awesome. Like I’m so pumped to have him on. We’re going to have a lot of fun. This is a rare evening. Gratitude, unfiltered. So I may be a little bit loopy. This is the fourth broadcast. So there’s no telling what will come out of my mouth. Hopefully, it’s not too offensive, but we are blessed to be blessed to have you here. You want to share this out? We’re getting ready to play. God. I hope I don’t get in trouble with copyright people, but we’re to play well.
Was an award-winning music video. This is super cool. I love this artist. I’ve listened to this song multiple times today, and I’m just, I’m digging it. So you guys check it out. We’re going to play a commercial and then we’re going to bring our guests. Paul, this is going to be dope. It’s going to be a lot of fun. Ladies and gentlemen, check this out.
Music Video: I had to take a step back for a second and look at my life from a different perspective wise it job and should be listened to with come my way. When I try to do this positive energy, infinite, Ben, we need to, the dark times in my life, I’m going through it as Bendigo stupid on pizza. I put up a fight and I’m trying to find a way to get them a fee to get for me, what I kind of do to you to get it, to work with. They don’t need a friend. I really just need a pen pad and a blank piece of paper that they give a single never competed in like way back when me and my homie act. This is what happens when everybody in the room through people’s thinking that they got you figured out, but they figured out what about everything else out of my head with an energetic, for lyrics, <inaudible> get a chance, get confidence that you need in advance. Because all I ever do is make a murder scene and it occurred to me. I’m making fans, but that’s okay because I’ll be getting my tone and the facts don’t come. Everything was just a world. Then I’ve gotten away to only use the beat, which is on say when I be the only one coming up from the down below, you take a step back because the outer story, you can think of the simple things around me that really want to be <inaudible>.
And if you want to better, you can be all the whole school. They tried to ignore my two legs on my floor. Plus I came a long way, but that’s just what happens when the room you retaking the guy and his shortcuts. I’ve been at it for a minute. Now <inaudible> making them spin around. When they get hit with at least a flowing deep Brown King of this, can you do that? Can we just make a rebel? And he, nobody gets to me actually I’m cavities in into one pass to me, had to be doing it massively. Regardless. What all y’all need to know is these one-hit wonders. The only mint that BCS and no week explode, which you want to claim you the best value, the best power, anybody, but few, you kick your feet.
You make the leap because then nobody ever get to see the real you I’m looking at you from a distance game for business, with my persistence. Tell me, what is this? I got to fix this <inaudible> show. I can drop a flow, make it stupid. How they stop and shop and row make hip hop, hit stop. Cause you begging for mercy in both of my microphones. And now he knows the approval. I’m murdering the mole, my Judah, what? The down a sort of a bull. Yeah. In other words, trying to come to stop me. Cause feudal, give me a second. I’ll take a second and throw him a second to show him that ain’t nobody reckons the form is tend to be worn. When everything went out of my radio, everybody wants a better, but they can’t even make a bit stop and listen.
No competition is going to stop the visit proton and gets them up. Talk your wisdom, pick trapping and victims. Don’t get the <inaudible>. I started it shot up to eight to 10 at the dinner table. I would take a pen, put the words down. Weird mumbled, trying to make them Ben bought a microphone and put a store. I knew there was nothing. I couldn’t do it. I still got the same plan, but the only gift Princeton’s not approved.
Joshua T Berglan: Wow, that was super cool. Ladies and gentlemen is an honor for me to introduce, I’m not going to try to say his last name, cause I don’t want to butcher it right now, but I am honored to introduce you to award winning filmmaker. Paul ladies and gentlemen. Welcome to gratitude. Unfiltered, Paul, how you doing, man? Hey, thanks for having me. That was kind of a cool video. Who made that?
Paul Brenno: The last name? Cause your last name is Berglan and mine is Brenna and it’s very Norwegian. So as Oh no. Are you crapping out? Are you there? Are you still with me? Alright. You froze up for a second. We’re having some word Texas. So I’m hoping to connect and stop to me. Oh no, we’re going good.
Joshua T. Berglan: Okay. All right. All right. All right. God, let’s fix the technology please, but no technology demons in this broadcast today,
I rebuke you
Paul. I first thing before we get into all of this,
Paul Brenno: My man. Oh, Doosan, just, I, I feel well, there were so many things. It’s not just one thing, but I’m grateful to be here with you first of all. And it’s a very, it’s a, it’s a, it’s an incredible honor when somebody or some people invite you on because of the work that you’ve done, either that you’ve done or that you’re doing. And I’m just, I’m just so grateful to God that he as rush Limbaugh said the talent on loan from God. And that’s kinda how I look at it because this is the talent that I have, but I didn’t just start doing it.
I mean, I think God blessed me with some gifts that I’m now just glad I can be able to use,
Joshua T Berglan: Man. You were speaking my wife and I’s language. I, we had just had this conversation before you came on. I mean, I kid you not. It was like, I, I think the words that came out of my mouth or I’m a genius, but it’s because of the Holy Spirit is nothing like it’s not me at all. But I think we all have genius in us
Paul Brenno: When we just trust God and allow Him to work through us. And then all of a sudden it’s like everything that we touch amplifies and it’s, it’s just very much true really is because in the film and video world, I guess just like politics or, or just being in the public spotlight, you meet so many people who think they are it. They are, it. You do not question me. You do not wonder you don’t even talk to me unless you’re my buddy. And I look at that and I thought, Oh my God, it’s like, you really need something bad. And that is humility. You know? And I was actually working in Dallas several years ago and I, and I, I was around these same people in Houston years ago, but not as many as in Dallas because Dallas is the big deep boys you’ve got bounce TV series.
Dallas was known for ego. And I was around a bunch of guys that they, one guy, he did one job, one job and a high school kid could have done his job, but he thought he was it. He bragged about it all the time. And I thought, you know what? I really want to learn everything I can from me to know what never, ever to be. Yeah, because he was a, he was a, he was kind of like a clean cut redneck because he looked, he didn’t have the, you know, he didn’t have the typical, good old boy look, Oh, Oak, you can tell, learn what you can and avoid this guy at all costs.
Joshua T. Berglan: So I was really arrogant for a long time. And when I got humble and the worst way, and I got humbled publicly, but I, I did learn those lessons. And you know, it is it’s humility sometimes have to be, it has to be beaten into you. I was one of those people that had to be beaten into, but I’m grateful for that because now I don’t take things for granted that I used to. And especially the opportunity to be able to meet with people that are doing things that I want to do.
And you know, as I think about like everything that I’ve been blessed with in my life up to now, like ever since I gave my life to the Lord and I was, you know, I was blessed before that. I just didn’t appreciate it and notice it. But when I became, when it was, I had had no money homeless that nowhere to go, it becomes very, very easy to remember the person that opened a window for you to be able to crawl through so that you could have an opportunity, whatever it may be.
It’s amazing. And I, and I think about all of the people like, cause I didn’t know that I would ever work in the industry at all. Like I saw a vision for it, but I’m like, I live in Oklahoma, this ain’t happening. But for you, you grew up in North Dakota and I’m pretty sure there’s a big, I mean, there’s more going on. Film-wise in Oklahoma than North Dakota. Where did this passion come from being born in North Dakota?
Paul Brenno: Well, it was interesting because when I was answering questions for other interviews that I’ve been honored, honored with, I began to wonder that because when you grow up, I think every child has a thing. There is practice to you know, cars, it could be sports, it could be one of those niches. And ever since I was like five or six, and I remember this because I can tell you this story later on, but I remember, you know, getting up and always being attracted to TV where wherever there was a screen, that was where that’s where I was at. And it’s very similar to today when you have like, he babysitters, they give them an electronic and that’s our babysitter. You know, that was kind of like me way back in the seventies. That’s because I was born in the late sixties.
And I remember watching TV and just being sucked into it. And one of the big things for me was the super friends cartoon. Yeah, Batman, Superman, but I w but it was not only the cartoon, but the voices on the cartoon because every Superman had the best voice to me. So did Batman wonder woman? And as I kept going, my father and my mother, it was a big, they were a big influence to me of what my career was going to yet. They were my biggest critics because coming up in a small town, you don’t do TV.
Cause it’s too small, too small market. You can’t make any money. And unless you’re married with kids, that’s what you’ll do because you won’t make more than 40 grand a year if that in a small market. Sure. But my father was a salesman in TV and radio growing up. So I was around it. He was on the business side and I distinctly remember going out, always being influenced by movies and TV, going up to the TV station. And I remember distinctively that I was seeing how my father was introducing me around to people, news anchors and the credit people, salespeople.
So this is my son, blah, blah, blah. And the door, the studio was cracked open. I had no idea what was behind there, but I saw a bunch of lights and they were the studio lights. And I was drawn to that. I thought what’s in here while this is so cool. I walked in there and I thought I was in Hollywood because it just had that same feeling. And I saw the camera and I was kind of sucked in right away. Not even knowing it. I thought I get this, I understand this. They started talking about tungsten and you know, lighting and cameras.
And I looked at the lighting and I looked at the camera, distributed cameras, one of those old, old cameras. And I began to pan and tilt it. And I thought, Oh, this is it. This is it. When I just loved it. And then still photography came after that to a class that I was in. And it sort of all culminated as what big draw was, but I had no idea of what to do because in North Dakota, it’s a great state for many, many people. If you’re a, to agriculture and farming, 99% of the businesses that similar to South Dakota, but South Dakota is more tourism, but North Dakota primarily wants, they kind of want to be left alone.
And I don’t want to say that in a bad way. They just like, they like the small town. They don’t like all the publicity and everything else, but it was a great place to grow up and have an imagination because I didn’t have the computer. I had comic books and I thought that really fed that need. And I just loved it. And that’s where I got my, my love from it just, it just went from there.
Joshua T. Berglan: That’s so cool. I, when I was a kid, I had two things that kind of probably helped this, but my father was a musician. They toured with Ike and Tina Turner and Jerry Lee Lewis. And I remember when we would be going to our homestead when this Indian Hills road, Norman, Oklahoma, we were in the city. So we would be listening to AMA and he would, or KA yeah, Kayla. And he would be telling stories of all of the different artists that would play. And so if he had toured with them or play with them, he would tell us stories, but is fascinated as I was of the musicians and the artist, it was the DJ or the, the interviewer that I was always drawn to.
So then I discovered that, you know, Don Imus and Oprah, of course, Larry King and you know, and I, I as a kid and Oh, an infomercials love infomercials to this day. I still love infomercials, but I was always drawn to it. I couldn’t explain why I have listened to talk radio as like 12, 13, 14 years old. I’m listening to talk radio, who does that? But I was fascinated in any time anyone ever asked me what I wanted to do with my life.
I would say, I want to be a talk show host, but I’m not going to go to broadcasting school. So that’s never going to happen. Well, not so true now how that works, but let’s go back to childhood dreams. Sure. I said, I think I say this every time I broadcast those dreams, I believe with all my heart are, God’s showing us, what’s possible what he has for us.
We just have to pursue it. What do you think about that?
Paul Brenno: That’s kinda what I, well, I, I completely agree because if, if there, if I didn’t have my faith in Christ and I, and we talked about this, I’m not a religious guy because you can be religious about any of that, you know? And it’s all you have to do is think of something I followers and you’re a God to them. It’s like, sorry, I ain’t going to work. But to me, I believe that as, as we’re growing up, one of the things and you sort of touched on it, I began to talk. And in my, not that I wasn’t able to, but it was the sound of my voice.
And I can hear it coming back a little bit. Once your voice gets moist with like water, not with anything else, but it has that thing in your throat to where you know that if you get on, if you get near a microphone, if you’re near a phone, people can hear that voice. And to me, I was blown away by voiceovers narrators, as well as the movie trailer guys that blew me away at that. I wanted to do that. I didn’t, I didn’t have that thing. So, and when I got into video, I went to broadcasting school at my local university.
When I was growing up, it was three blocks away. Now that I might also go and people kept mentioning that over my childhood. I thought if it’s mentioning it, there’s gotta be something there. And I began reading it and I began, I took a theater and I didn’t like being an actor. I just didn’t because I didn’t have any range. My voice is a certain way. I can’t do, I can’t do accents and I can’t sing, but I can talk now that you used it. So I began doing voiceover work for commercials, and I wanted to do movie trailer, but you have to have that niche, that specific niche that only maybe one out of a million people have, but I started doing it because people kept saying, man, you’ve got a good voice.
And then I thought, God, I hope I have a good face too. You know, but I love doing it because you can perform and then you can help other people perform. And still to this day, I want to do more of it, but I haven’t done it in, I don’t know how many years, but it’s so great when you have that skill.
Joshua T. Berglan: It, you know, I’ve always had, was told that I had a radio voice and that’s great. I mean, that’s cool when you should do voiceover. Well, I remember when I first tried to read, copy listen, it’s one thing to get in behind the mic and just talk and say what’s on your heart or whatever. And reading copy as a sport
Paul Brenno: Such there’s such an art to it because I remember, I think it was, I don’t know how many years ago it was, but I remember starting my career. I think it was 19. Oh, I want to get this right. 88 to 89, because in 89 I joined the air force and I got out and I restarted it again. But I had the chance to go back and listen to an old commercial. This is on VHS, you know, archive stuff. It was so awfully bad. I thought, my God, I can’t believe I didn’t get fired. But it was one of those deals where I, I was able to work in Houston years later and I got it down.
And I remember one time and I can’t remember the name of the guy, show something. He was Mr. Voiceover guy in Houston. He did, he was like the guy to call bond. And he came in and he was supposed to voice a deal for Honda. No, no, no. I’m sorry. Yamaha. And the commercial Yamaha was, was going to be seen at reliance stadium, the home of the Texans. This, it goes back to like 2001, 2002, when the Texans first formed, he didn’t show up. So they asked me to do it and I thought you want me to do, are you serious?
So I got in there and my, my voice was just right enough to where I never saw it, but I said, yeah, this is going to be a reliance stadium during the Texan game. And I thought, it’s going to be loud. Nobody’s going to hear this. But I thought it was really cool that my voice was able to use that now that this is great. I just try to make it sound not like it, but like a movie trailer voice. So that was the closest thing.
Joshua T. Berglan: That’s, that’s really cool. I loved it. You know, and the thing too, that I love about where we are with technology. I mean, there’s a lot of things that you can say about technology, but you know, there’s people all over the world, not in, just in LA there’s people in Oklahoma and Kansas, North Dakota, South Dakota, Wisconsin, India, Beirut there’s people that, you know, have that vision, have that skill for filmmaking or that the talent for it.
And now the world has opened up like Hollywood is a global thing now where there’s opportunities everywhere. I mean, I go through all casting.com and I have my agents and all of that. But then you see these gigs that are available and it’s like, I know other people dream of this. And it’s the most, it’s so competitive. And it’s not for everybody. You deal with 99% rejection. And that sucks sometimes because you think you’re perfect for something and you, but you don’t fit the director’s vision.
Paul Brenno: One of the things that I have come to get used to that I had my heart set on for 10 years, 10 years, this is on my, but I wanted to go to Arizona and live in Phoenix because most of my family have moved down there. And every single resume that I’ve sent even to this day has been rejected. Every one of them. And they never say, why could you give me any feedback? And you’ll, you’ll love hearing this cause I love tuck. Cause it’s so ridiculous. The story last November, December to move down to Arizona from North Dakota and I was done when I applied for a government job and the government job was about a 45 minute drive from where I was staying.
I thought, great. I can perfect salary. Everything was good. And I have this meeting with the guy and I began telling him while I was, I was honored enough to have these awards on me. He goes, yeah, we noticed that blah, blah, blah. At the very end of the interview, I thought, well, I would love to join your company. And that was the end of it. I contacted them two weeks later and they said, Oh, we just hired a guy. And I said, Oh really? It’s like, could you give me any feedback as well? I think you need to tone down your rewards a little bit now that really?
Yeah. They said, well, just, they’re just, it’s just too many. And I thought, see, I thought I had never heard that. It’s almost like saying you’re way too good at what you do. So we can’t hire you. And I thought, okay, well that was the first time I’ve heard that. But that started the downfall for me to an Arizona thing. I’m still getting rejected to this day, but I’m going to go to Texas because they actually want me. Yeah. Well, after that, I’m gonna move there and I’ll go to Arizona when I, you know, and I can shove it in their face.
Joshua T. Berglan: Well, I, you know, and I, I understand what you mean. Like I, I get that attitude. I totally understand. I, you know, my influences in entertainment are kind of random, but masterpiece and Nipsey hussle have had the biggest influence on me and my mindset and how I approach the industry as a whole. And even how we operate our media organization, because it’s own everything on your message. You own your own distribution. You own the products that you’re promoting you like every, you own it or you license it out like that.
Always it resonated with me. I got, had the opportunity to be a backup dancer and a masterpiece on little Romeo’s video. That was your first, first time on camera in that sense. And I, but I remember like I was like, I, cause I thought master P was what he presented himself as. So I was trying to get him to probe me with me and do all this stuff. I’m just a punk college kid, but he didn’t. He was like, nah, man, I’m not about that. And I’m like, what? You’re a rapper. What are you talking about?
So made me curious. And so I started paying attention to him and what he was teaching. I’m like, and this is in college. So I’m 41 now. So this is over 20 years ago. I think math, math sucks, but it really had a huge impression on me that that lasted. So, and now what I was going with with that, I was saying earlier about all over the world. People have these dreams of being filmmakers or actors now is an opportunity for everyone to be able to go into the industry and have a little bit more control of their destiny than ever before.
And that’s because of technology. So from your perspective, could, you’ve been in the industry you’re seasoned, you have all of these awards, how like seeing the changes and how technology has changed. Things changed how going to a theater is no longer really the thing. How, how has that adjustment been for you and preparing for the future of media and filmmaking?
PAul Brenno: Well, it’s interesting when you mentioned people who interview. I, cause I first have to say, cause I know that this actually two gentlemen like you and those people who influenced you. I, my first time I got to meet a Hollywood cinematographer was in 1991 and I was actually stationed in the air force in San Antonio. And I was looking at all the technology because nobody would think that you can make any movies now, now compared to like way back when, because back then you had to, I don’t know if you had to go to the right school, but it, but it helped because it’s all about connections, but then you can’t go by a Panavision, 35 millimeter camera for two or 300,000.
I’m no idea how much they cost. Whereas now he can pick up a DSLR camera and shoot it for 500 bucks. It’s the same thing that DSLR revolution. Well, two gentlemen influenced the heck out of me that I actually got to meet. And that was the first guy that I met and his name was Ken Lampkin. And Ken Lampkin passed away, I think about 10 years ago or so. But he photographed the phrase, your sitcom. I got to meet him when I was in San Antonio. And this is before he did Frazier. He was coming off a TV series wings.
And I saw him on a morning show and I thought I have to reach him somehow. And I was in the air force. I didn’t have any time. How do you do enough? A car? Cause I just, I had just come over from my overseas assignment in Italy and that transformed me as a person living over in Italy. And this was during the Persian Gulf war. So things were just wow, life changing. I get home and I’m watching this TV show and there Ken is, and they were making a independent film film with Dirk Benedict. He was on the 18th and I thought, I don’t care. I don’t care. I just want to meet Ken and talk to them about cinematography.
I did. He called me up and I went on the sip for three days and watched him work. Oh, that’s cool. It was. And his wife and I still co we’re still in touch with each other. It’s amazing. Now, six years later, maybe six, seven, eight year it sometime later I’m in film school in Montana. And I should back up saying before I was stationed in San Antonio, I got to go to way when I was home on leave. This was before the Persian Gulf war. I got to go to a little movie called dances with wolves,
Joshua T. Berglan: A little movie.
Paul Brenno: And of course everybody was talking about it because it was shot in South Dakota, North Dakota. So it was a big deal back then. I’d not heard of it. When I went to the movie that single movie made me want to be a cinematographer that single movie and fast forward to Montana. And you know, the TV series Yellowstone never saw it, but I heard about it. Yeah. It’s Kevin Costner, Tyler Taylor Sheridan. It’s a masterful series modern day, Western Kevin cosmesis star.
That’s where they’re shooting it in Montana where I went to film school. And it’s amazing because when I was in Montana, I got to meet Dean Semler the Oscar winning cinematographer of dances with wolves. I wrote him a letter saying you are one of the reasons why I became a cinematographer and I just wanted to send this some, thank you for your inspiration. I did not invite myself. Didn’t say, can I have a job? I just said, I just want to say, thank you for being such an inspiration. He called me, his assistant called me. He said, Dean wants to meet you.
And they were actually on my campus that night. So I met him, took a few shots with him and I said, do you mind if I just watch? And he says, soak it in all you want, just make sure you don’t take cameras when we were rolling. And I thought, perfect. That was the dream right there because he said, I said, Dean, how, how do you start? And he was from a small town in South Australia where they had no where they had no TV. So it was almost similar to the North Dakota, small town, middle of nowhere. So he, my experience in my growing up mirrored his, so it was just amazing.
And now with technology and the reason I’m telling this story is because when I first won my first cinematography award, this is 2016. I wrote to Dean again saying, Dean, I don’t know if you remember me or not, but I just wanted my first cinematography award and you continue to inspire me. Well, Dean then called me and we talked for about an hour about cinematography. And I thought this was just a meeting. We talked about all the technology and you know, and he joked with me saying, I’m just waiting for the studios to call me up and say, we’ve got a film with Angelina, Joe Lee.
We’re going to be shooting in Africa and you have an iPhone to shoot it on. And we kind of joked about that, but there’s, award-winning films being shot with iPhones. Oh geez. You talk about, there was a commercial on the Superbowl with an I phone nine or six or whatever couple years ago. But it was a snowball fight with, in a very cinematic way. I could do that. Well, I found out that they actually shut it on an iPhone, but the cinematographer was a James Bond feature filmmaker.
He shot, I look at it like nowadays, it really doesn’t matter what you shoot a film on. It’s the creative eye behind it. Yeah. And I thought you could shoot something on VHS. And if it’s a good story, people are going to watch.
Joshua T. Berglan: That is true. That is really true. I mean the quality, obviously there’s you want to have quality. In other words, you don’t want the internet breaking up the feed and things like that. People will watch black and white. In fact, because now with technology and when COVID happened and everything’s shutting down, right. We started to look like Facebook, like stream yard technology was basically what was on TV. And I mean, there’s some streaming technologies out there that are probably a li I mean, they’re definitely better, but it’s not for the masses.
Everything started to look alike. And it’s, it’s really interesting. Like I think I shared this with you or maybe it was the last show I did today. I’ve done. This is the fourth reminds me of where I first started the good old days. But, but what it reminded me of, I lost my train of thought. Nevermind. It doesn’t matter what I want. What I want to ask you about though, is the technology. How do you see the industry kind of morphine into itself?
In other words, going back to what I was saying about TV and Facebook and YouTube, where now it all kind of looks the same. You can do the same exact things that you see on CNN or Fox or ABC. You can do all the same stuff at home. Like you don’t need all of this. You don’t need a studio. You don’t need all of that. But even filmmaking, now that you can do it with a phone, how do you see the industry? Do you think it’s going to kind of all morphed together and become some mish-mash thing or it’s going to splinter into different categories because it’s definitely not remaining the same.
Paul Brenno: It’s really hard to say because who knew? I mean, I remember, and maybe this was foreshadowing for shadowing and prophetic a little bit. I remember I had a Pentax K 1000 camera. This goes back to the mid to late eighties when I was just discovering photography, how much I loved it. I was on a Hill photographing, just my hometown. I don’t even know what time of day it was, but I wanted to see what color the foam would be because I was just discovering all this. I was taking pictures and I looked at the lens, but then I sort of depending until to do this.
And it’s like, man, I wish this was video DSLR revolution. And I thought who would, who would have thought that idea would come true years later? Because so many people now with, I think it was either Japan or I think Japan, they’re thinking ahead so much that, you know, I-phones now can shoot eight K or you know, the Ursa black magic cam camera. That’s a shoulder camera, I’ve got a, black magic. It’s an Australian camera that is now competing with Canon.
That’s competing with a Sony. And that like the end, the panics Lumax, all these DSLR cameras are coming out. And I was joking with the guy saying, I wish they would stop upgrading because I still need to learn 4k. And then I thought, I think we may get into a dangerous territory because once you and I, and I was, I had a cousin of mine. This was when I was in film school. And this is before I met Dean, I think it was 1996. I graduated in 97. I was up, I was out to Los Angeles and Los Angeles and got to be a guest of a, of a company that did a motion picture rental equipment from, you know, grids or not grids, but dollies and lenses and somewhere, it was, it was like a kid in a candy store.
I loved it.
Joshua T Berglan: Are they on Santa Monica Boulevard by chance?
Paul Brenno: They’re in Santa Monica, but this was, this was the year. This is 1996. I was like, Oh yeah, well, I was actually helping my, my cousin’s husband too. It was just fun for me. Cause I went out there for what a week. And I thought this is cool seeing LA and all this other stuff. And I remember seeing the first high definition, like demo, but it didn’t, it didn’t register with me. I thought, Oh, this is cool. I was just taking everything in. I was seeing uncle Louis from Seinfeld, walked down the road, you know, all these movie stars.
It’s like a fare in Hollywood. But I remember seeing a lot of technology, but not thinking about anything was going on in the future. Cause you’re just trying to get through graduation. I need to buy 16-millimeter film and blah, blah, blah. And then I have to edit tape the tape. Cause I can’t edit on film and all this other stuff. And I thought where’s techno, how are you going to go? And I thought somebody said during that time, makeup artists are going to hate eight K and 12 K. And then why? Because it’s so sharp. You see every single blemish that’s true Lumix 4k camp for like 500 bucks.
And I shot some 4k footage and it was so sharp and beautiful. I thought I’m in trouble because you see every flaw. Yeah. Art is going to handle this
Joshua T. Berglan: Whose anchors had to, when HD first came out, they, the whole makeup game changed because you could see how well, I don’t want to say anything bad about anybody, but they weren’t as attractive as you thought they were. Yeah.
Paul Brenno: Cause I thought the lighting has to be so right because if there’s a little shadow, it could be a makeup that they missed or something. And I thought this is not going to be good, but I thought they already have the black magic cinema camera they have, which is just a shoulder camera. They have, they have 12 K out now. And I thought, would you just stop? Cause 20 Ks. And I got it. It’s going to be crazy.
Joshua T. Berglan: I can’t wait to our well where they have to choose your own adventure movies where virtually just puts you on the set. And now you’re in your favorite movie getting to play your favorite. Like I think that’s where we’re going. It ha like where else could we go?
Paul Brenno: No, they actually have something similar called I think it’s called reface. I’ve heard of that. It’s an, it’s an app. I tried it because I wanted to try Superman and Kevin Costner. So I tried it. I think it’s called rethink. I believe. Look it up on your phone. You can take your face and Morphin on your favorite actor and be in a scene it’s coming like five bucks. Yeah. Cause I tried Superman and I tried Kevin Costa from Yellowstone and I thought, I know it’s kind of cool, but I thought it’s interesting.
You know, maybe when I was maybe 20 years earlier, I would have been looking better.
Joshua T. Berglan: So one of the things that I’ve seen, cause I pay it, we’re going to be entering film festivals this year with our devil inside. And one of the things that I’ve noticed about it is short films are becoming really, really Paul Obviously will have to equate with one’s attention spans, you know, like that, that that’s your attention span like long, long-form video, even long-form interviews like that.
Art is dying. Like it’s not, it’s not going to be it’s fading away. It’s just not what it used to be. So as a filmmaker, because you know, you want to engage people. You want to tell the story, you want people to enjoy the acting, the cinematography, all of it. What does that mean? Like as a filmmaker to see this and go, well, this is a trend that we can’t ignore short films or are stirring up. Can you speak on?
Paul Brenno: Yeah, it was interesting because short films you learn in film school and I was never told that’s where they belong because you don’t want to sit through a first-time filmmaker. Who’s never done one and really do it unless they’re really an experienced actor first-time director, or look at my film. What about pacing? What about music? Do I even like, you know, you’re bored out of your mind. It’s like give me that two hours back or that hour and a half back. That’s what you want to avoid. And now, because of YouTube, because of social media, you have 10 to 15 seconds to catch them.
If you don’t catch them, you’re done. And that’s the reality right now and it’s not going to change well, I’ve done some shorts and I really like them because you can do many of them. You can do one long Epic. And I was watching, I think it was an interview with a cinematographer Dean Condi and he’s famous for back to the future. Jurassic park, cinematographers, Spielberg. I mean, this guy is a legend in the cinematography world and he was doing back to the future. I don’t know what his last feature film is, but now he only does shorts.
He doesn’t do anymore. And I touched base with him on Instagram. And I said I’m a cinematographer too. I’m not a big shot. At least I don’t think I am. And he says, I said, how do you like doing shorts? And he, he, he wrote back, love them. Wow. Because you can do a lot of them. There’s no studio input. It’s all independent. And you can have creative control. Who’s going to, who’s getting what suit is going to fight you over a short, be up to maybe 15 minutes along, whatever the film festival circuit thing is.
Cause I’m not prepping a documentary about the company I work for. And I have to figure out, I have to ask them certain questions, but then their answers have to be a certain length. I’m not going to say you can’t do that to the boss. But I thought if you say this in this time period, it gives us less time to do some other dramatic things. Maybe. So I have to keep it about 10 to 15 minutes. But if it’s pacing, if it’s good, if people watch, if it’s rock and roll or if it’s dramatic or funny, people are going to watch, it’s true.
And I’m kind of sold in that because you can have the best actor in the world in a really bad movie. And it’s going on constantly now because all the toots and I can’t say this for sure, because I’ve never won, but I’ve never had this experience. But the number one thing that suits one is one thing and that is money. They all be careful with money. They don’t care about the art. Give me money. I’m sorry. You broke up a little bit.
Say that again. I said killer clowns from outer space is right. Well, I was actually watching some short feature films on cable one night. Some of the ones I had never heard of. And they were really, really good. And I thought I’m so sick and tired of the Hollywood film just because they follow that certain formula. And it’s like, well, it’s cliche, it’s beginning, middle and end. You know, what’s going to happen, blah, blah, blah. But one of the things that I did enjoy and I have to plug this cause my family’s involved in this, but my cousin Tori, her cousin, Tony is a feature film producer in Hollywood.
And he did the last two Denzel Washington equalizer films. He was one of the producers. Yeah. And I remember the TV show in the eighties with the British gentlemen, Edward mull hair. I believe it is. And I watched it, but yeah. And I thought actually I thought the second film was far superior to the first film, but the first film was great, but I thought my cousin, I had a meeting with him in Arizona just before the second one came out. But I really, I hadn’t won all the awards that I’ve won now, but I don’t know what Hollywood looks at it.
And one of the people had mentioned, I think in Arizona, they said, I don’t care if it’s LA shorts or if the Houston world Fest if you’re not Sundance or tell your ride, leave me alone. And that’s what they look for here. And I thought, okay, fine.
Joshua T. Berglan: That’s what they look for. But here’s the thing that’s for a blind spot because of what’s going to happen. It’s kind of like streaming. When, when Napster came out, everyone was pissing all over that going, nah, this is garbage, blah, blah, blah. Well now look, everything’s streaming. So the love that I love that old. So I don’t want to bet. I do not like to bad mouth people, but there is a group one Facebook that has Christian filmmakers in it.
It’s, that’s one other, that’s the theme of the group. And, they have that old Hollywood mentality in the group as followers of Christ. And it’s like, this is the most, this is douchebaggery. I want no part of it because you’re all blind to where the industry is going. It’s good change. And it’s going to blow up in all of your faces. Like it’s changing, it’s changing so fast too. And it’s awesome because everyone’s going to get their chance.
Now, if they have them, if they have the willingness to pay the price and do the work, everyone’s going to get their chance. Now that’s what technology has afforded us.
Paul Brenno: And I think one of the biggest influences for me, as far as it Christian film, when it’s, I hate to say it’s a Christian film because to me it’s a masterpiece. That’s the Passion of the Christ Mel Gibson. Because that, to me, that is the only one that matters really because it was so dramatic and so good and so disturbing. But yet everyone really looked at it as torture porn. Now that you really don’t understand the word of this film at all, because I can really only watch it once, because this is what Christ is doing for you for us.
Amen. If you look at it as torture porn that I just suggest you go and watch regular porn. Cause that’s all you get out of it. You just get out of it. One thing. And I was actually working in the ministry when I was in Denver, producing Christian based faith based videos. And I absolutely loved it. I just loved it. And then the recession came in and kicked us all out and I’ve never been able to find out with love, to work in Christian media again, but not producing sort of like Christian, the stereotype. I just want to get great films that you get a great message out and
Joshua T. Berglan: Well, and so Gratitude:UnFiltered, the show that you’re on right now, it was born out of a meth relapse, like a long one, like, and it was, God came to me for a day. I mean it saved my life, him, him giving me, coming to me, saved my life that day anyway, without going to all that. But the whole point of this is unfiltered. The whole point of this is to talk about things. The church won’t talk about and to put a spotlight on the shadow world.
And here’s the problem is that Christian films and even the church as an, I, I can’t say the whole because I haven’t been to every church. I don’t know. But the churches I’ve been in, they talk about, well, I struggled with porn. Yeah. All right. First of all, you can say a child has been molested by a priest and guess what? You don’t, you don’t even bat an eye at it because you’ve been desensitized to it with the thing about the passion of the Christ is this.
And it was why it was so perfect. And it serves as inspiration for the devil inside me and what my wife and I are doing about my, with my testimony is to literally make you feel like death, to make you feel the pain, to wake up your demons that have been hiding inside of you, all of your, your triggers that you, that have been hiding, like it’s to awoken all of it, to show you what you get to heal to make you uncomfortable.
Because if you don’t get uncomfortable, you’re not going to change anything and films are so douchebaggery, it’s terrible because none of them, it’s not real. It’s not changing. You’re just preaching to the choir. Guess what? That’s not changing anything. And the films are laying there, laying all disrupt Christian, Phil. I want to, I want Christian films. I don’t even want to use the word Christian film. I just want to make a film that it draw.
Like I want to, like, I w my hope when we turn the devil inside me into a movie is that it is a secular success because we’re going to draw people in with all the meat in all the dirty, and then tell them, Oh, this is how evil you can be. And this is what Jesus can do for you. Oh, that’s what the world needs. Not this fluff crap that’s being out in mass production.
Paul Brenno: Well, I think one of the things that I grew up, cause I grew up in the preteens was in the seventies. Teens were in the eighties. So it was interesting seeing all the cheese TV that came up and it was very family-oriented, which I really liked because we could watch it have fun. The biggest problem with Christian films are they’re just done badly. They’re just good, but it’s terrible. And I thought you know why? Right. Is because they’re afraid of offending the Catholics, the Baptist, the meth, everything. Just because if they, if they have a kiss, God forbid that they, you know, they dissolved to a different shot.
You can’t even show a function. I thought this is not being faithful. This is being religious. And there’s a difference. Absolutely. And one of the, I have to say this about a friend of mine. She’s a very, very dear friend. I may have even mentioned. There were two, there was Leslie and she lives here in Texas. Very, very dear. I mean, we haven’t met yet. It’s mainly been through social media, but she’s a very strong woman of faith. And we were talking about doing some prep. She’s an actress, a model and a businesswoman.
And we were talking last year, texting about projects that we could do. And I thought it’d be so great to do some faith-based projects. I think of her life, her struggles and everything else. And I thought, especially if you do it in a wonderful way and tell a story, but don’t preach. Just tell a great story because anybody and everybody can probably relate, you know, and I’ve seen some others like Kirk Cameron, who I deeply admire for going from Hollywood to Christ. And he gets slammed all the time about being a dummy.
It’s not that you’re being dumb. You’re being blessed beyond being blessed, you know? But it’s interesting what they’re doing. And Kevin Sorbo and his wife doing his films and now Dean Kane, PB, Superman,
Joshua T. Berglan: And NASCAR was the end of the Indy car racer who has a film studio now? Gosh, he was a big boy rodeo Sabato Jr.
Paul Brenno: Yeah, yeah. Yep. Yeah. He said his acting career is pretty much dead, but I thought, no, it’s not. Hollywood may be dead, but we went to Hollywood. Miker, isn’t dead, but it’s all how you look at it. Because if you want fame, money, sex, drugs go to Hollywood have at it. And I’m still being contacted today with all my awards from people who are, you know, through Instagram, which is kind of a toilet right now with all the junk I’m getting. But it’s a great vessel for many people in the industry because I’m still getting great connections, but they’re looking at you.
Like you’ve got awards. I need work. What are you going to do for me? Nothing. I don’t know you, but that’s what Hollywood is like. It’s like, give me why, who are you? You know? So there’s always the good and the bad with that.
Joshua T Berglan: You know, I knew I had more confidence when I first started getting on sets. I, and I didn’t do, I didn’t, no one told me this. It was just made sense to me. But when I’ve got all my first set, I hung out with the director and I was always ready. Cause they could see everybody sitting off on the side and they were on their phones. And I’m like, cause I heard a rumor that some people get bumped up to principal roles. That means your pay quadruples and all that stuff.
You go from $120 to 1500 and it’s like, screw these guys. I’m going to be right here and ready to go. I don’t care if I’m paying for 14 hours. Every role up until recently every principal role I’ve had has come from me, sitting there as an extra being ready. When I got to be Brian Urlacher, his body double in a super bowl commercial, like it was from that. Like, and then even my speaking role parts I had and I never had that attitude.
And I remember a filmmaker named Armie, auth artsy, AMI artsy. He’s in LA. He used to be, he’s just, I love this guy. And he was dry. He’s a little bit older. He was whining out of the industry. But he said to me, he said, if you can maintain your work ethic, you’ll blow by everybody. And I always remembered that. And I was so thankful for my upbringing in Oklahoma because I was, I learned work ethic.
My parents didn’t give me anything. They, they taught me to work for it. And I carried the attitude in it that developed that habit. And it’s served me well, those people that think that they’re going to walk in and be an overnight success. It’s just if you want to be, but it’s not happening in a way that you get to keep your soul that’s for sure.
Paul Brenno: Well, that’s the thing too, is one of the things I learned in film school is, Oh gosh, I think it was, it was, it was a former alumnus of our school. It was a, a second unit cinematographer on Waterworld and tons of other big-name films, but he wasn’t a name, but he was a name to me cause he had done all these second unit visual effects stuff. And he said, it basically takes a miracle to make a film and Hollywood that well, that doesn’t surprise me. Well, when I got to meet both Ken Lampkin, the first cinematographer, and then Dean Semler, Ken is a very high-end TV cinematographer.
And then Dean Mr. Feature film mad max two and three. Apocalypto all these huge films. One of the things that I took away was humility because they were humble. They were, they were, they invited me on the set. I didn’t ask. But when I met Dean, he was actually dry. It was like 10 o’clock at night. Everybody was tired. And I remember getting in there and I had my dance of the wolves, videotape DVDs. Weren’t out there, but I, he signed it. He took a picture with me. He was so down to earth and friendly years later when he called me again, I was doing some, I always like to watch interviews with these filmmakers because it kind of helps me in situations like this, where I never think that would be invited to be interviewed about my career, not what they would do, but how they did what they did.
They just talk. They didn’t, I, you know what, I’m the best. I’m the best. You know, it wasn’t like that. They talked about the work and the people they think they were so huge. They’re so humble. And when Dean called me that night, I didn’t know what to say to him. I had no clue what to say to him, but he talked to me like I was an equal. And I thought if I can only, I can only hope I’m as good a quarter as good as you. But it was so great because that really wanted me to, to expand my learning and, and, and do a better job on every, but he still, I I’ve kind of lost track of him, unfortunately, over the years.
Cause I think of health and he’s working and you want to be like that. You don’t want to be them as like a fan or an idol, but you want to take away maturity that you’re good. You don’t need to tell people you’re good because you already are. You know? And he T but it was, it was humility and confidence. And I just took that away. And I thought, man, if I can never be like this, that would be great. And when I was contacted by Leslie and some of the other people I never, ever in a million years would think that I would be where I’m at ever.
You dream about it. You hope. And if it does happen, you think like if you win like best picture or best directory that, Oh my God was I, the only entry that I wouldn’t by default, you know, you go through that because nobody is encouraged. Cause my mom passed away years ago. And she was my greatest cheerleader. When Leslie, she kind of took over that, which is it still chokes me up in a way, because she’s probably one of the most beautiful women I’ve ever seen. And I got to know her through texting, but we never actually talked, but I thought don’t live in fantasy world of somebody you’ve never met before you have to live in reality.
But that time it’s like, I don’t deserve this. I don’t think. But it’s like these still the most beautiful women I’ve ever not seen. And a woman named Cindy. I know in Dallas and Tammy and Florida, these people because their industry and they get it, you know? So it’s just really wonderful being able to be around good people.
Joshua T. Berglan: You know, it’s interesting too, about a film set. And I compared this to a group of people that had no clue of what I was talking about the other day, but a film set operates the way the body of Christ is supposed to operate everybody walking in their gifts. They’re there to serve because our gifts are not about us. Our gifts are for other people. We just get to use them. And it brings us joy and purpose and happiness, but a film set like literally everyone stays in their lane.
It’s not about what the other person is doing. There’s no judging. You stay in your lane, you do it in excellence. And that’s what you do. And you’re there to serve, which is interesting because you know, the film industry gets all of it. You know, it has such a bad name for being evil, but it literally operates like the body of Christ better than churches do
Paul Brenno: They really do? I mean, one of the things that I realized when I first went on the set with Ken Lampkin and this was an independent feature in San Antonio, I didn’t see it then because like you hanging out with directors, I was around the camera lighting. That’s what attracted me. I didn’t give a crap who was on. I didn’t care if you know Robert Redford, I didn’t care. I just said, give me the camera and I’m happy here. But one of the things that got me was having been in the military, it’s like a Christian army or military because it’s controlled chaos.
Yeah. Because you’ve got running run over. We’re trying to get stuff done, trying to get the shot. Other people that are in a second unit, you have the main unit over here and you got it. And people are running around left and right. But Nope, but everybody knows what they’re doing. That branches on that tree. They’re going in all over simple directions, but they’ve got that single route, you know? And that’s what I look, I mean, when Christ talkie, he talked in parables and I thought, okay, well if Christ isn’t God, then what does all your other religion guys do? The Christ didn’t what did Buddha do?
Whatever, you know, Ramah or whatever. What did all these guys do? You know, Christ died for us, but what did Confucian do? Give us a philosophy who cares? I’ve got to plus me along, you know, that’s how,
Paul Brenno: But you say, well, Christ. He was the greatest person who’s ever lived on planet earth and nobody will ever replace him ever. You know like, like when rush Limbaugh passed away. Well, nobody can, yeah. He’s an icon and radio. Nobody can replace him. I think when people come after him spreading the message of Christ, it’s not what you’re saying, but it’s how you’re saying it. That’s right. And I thought it’s almost like making a film. It’s not specifically the story you’re telling, but it’s how you’re telling that story and the tools you’re using telling the story.
Because if I have an Aerie Alexa, that I’m shooting on compared to a black magic 4k, are you going to know the difference in what the visual images? Probably not me. I don’t think so. I probably wouldn’t even know, but I kind of would, but it’s interesting how that goes because Christian movies were so bad, but I thought, I think they’re more focused on the message than the actual production because I’m bored. Click, I’ll click over to watch the news, which is awful. Anyway. And I worked in news for a couple of years as a photojournalist and, and I, and I saw firsthand the bigotry, the hatred towards Christianity, not in everyone, but the ones I worked at because I was at a one NBC station.
This goes out on 13, 14 years ago. And I was going to a church and the church had a shooting, made national news. I was a member. I just went there because they had a group that I liked. And the news director, she said, I was having a misunderstanding, what that reporter? And she looked at me saying, well, I’m going to go with a reporter because everybody knows you go to that church that you’re discriminating against me. You’re making a judgment against me that you have no clue about that really opened my eyes up to the biases of the media and what they can portray.
Say, you know, like the drive-by media that rush says, it’s like, you don’t know the facts. You’re just reporting what you think is happening. But delve deeper, you know, one type of thing. And that’s a lot of what, not movies, but the message, you know, it’s all about sex, drugs, rock, and roll. It always has been, always will be. But I thought if there’s a different message to that, and if it resonates, that’s going to be a threat.
Joshua T. Berglan: You know what the most shocking thing in the world is that would sell better than anything. Anyone Hollywood writer could ever dream up.
Paul Brenno: Oh yeah.
Joshua T. Berglan: If we just told the truth, what an amazing story that is because the drift, the truth has a power, a superpower, unlike anything else and stories that itself are fascinating. I don’t care if you’re somebody that sits on your couch and watches TV, there’s a story. While you’re sitting your butt in front of that TV all day and day long, there’s a story there. There’s something there like our truth. Our story is enough, but we’ve, we’ve become infatuated with it.
I heard someone say this, and this is completely off the subject. But because comedy is dying too, comedy is sucks. Now there’s no, reason why is con what makes things funny is when it’s true, but when you’re aligning or trying to manipulate or you’re twisting the truth, you lose the humor because it’s not rooted in anything.
Paul Brenno: Well, I think what I was talking to somebody the other day about this, and I thought that it’s, it seems that the culture changes when the president does. Yeah, that’s right. And I thought, well, you have, you know, Obama when he came out and I don’t want our presidents to fail. I never do. Having served in the military. I respect the office too much. But when somebody comes in and the media just adores them, then I have a problem. Sure. Because it’s not what you’re going to tell the media news media, our funding over the sky, never it’s like, we just want him because of, or because of this reason, because of that.
And to me, I love that when Trump came in and just shook things up and pissed everybody off, I love that because he really needed to. And the co cause I look way back at the 1970s when Viet Nam that changed the culture, sort of the Persian Gulf war and all these things happen. And I thought I don’t get Hollywood because Hollywood is a bunch of rich millionaires voting against policies that make emergent millionaires. They want everybody to be equal. No, they don’t. Do you think Brad Pitt wants to make the same money is a grip?
I don’t think so. I don’t know what his deal is, but then you have these idiots like Michael Moore and you know, these documentary filmmakers who were slam everything that made them successful, didn’t have a Fijian. And I thought to be like that because of documentaries, but that doesn’t mean I’m a documentary filmmaker. I’m a filmmaker pure and simple. And I want to do more. And just, I just happened to be doing this right now. Like Jennifer, you know, but I know it’s the, it’s the stories and faith-based that really gets you. But it all goes back to one thing and that is money.
That’s all it is.
Joshua T. Berglan: Well, and I look for the technology that’s available. And like, I know like one of the networks that I produce for, like, I know this piece of technology that we have that is going to be amazing for filmmakers and, and how they can monetize and where they can still be in control of their art. I’m excited about that because we’re getting ready to unveil a Saturday night at the movies kind of thing. And I’m really pumped about it. But Paul, I, I am so listening, I want to have you back on, I
Could talk to you for hours. I’m going to take my wife on a date and I’m going to show her again.
Paul Brenno: It’s lucky you have, you have a woman because it’s so great. When you can share your passion with somebody who gets it,
Joshua T Berglan: She listened. She is been the greatest gift to me. And I’ve been married three times, failed them. I failed in every relationship, but yeah, you know, her, she’s like my true, like if there’s ever was somebody chosen for me, it’s her. And we get to create together. She, we share the same gifts and it’s like, it’s just, it’s so much fun. It’s so much joy. And I, but I’ve been like, we like, it’s just, yeah, I’m ready to take her away. I saw what she looked like and I got to go.
She looks too good.
Paul Brenno: Yeah. Well, that’s the thing too, with this, a woman, Leslie. Cause I talk about her a lot because she just means so much to me, but not being able to meet her. And we, we discussed this one time too, because having her be a strong woman of faith, she has two kids and they’re just gorgeous kids. And I thought, my gosh, the gene pool is creating your family. But I know that she’s been going through a lot lately. And I told her, it’s like, every time I get an email from you, I smile. I don’t care what you’re saying. It could be the worst thing in the role, but you’re sharing this with me.
And that’s what I appreciate. Because once you stop hearing from them due to whatever reason, it’s like, you really, really miss that because that really fed me during COVID. And now that I’m here in Texas, hopefully, we’ll be one of these days, but I understand the special-ness of somebody. And when you hear from them, and this could be from other, a good friends from, from one of my best friends that I went to in high school. So, but at the birthday and he was so happy about my success. And I thought, well, I’m not a millionaire yet, but I’m doing okay. But it’s interesting how people react to that and support it.
Joshua T. Berglan: Yeah. Oh absolutely. It’s, it’s a true blessing because everything we get to do is because of our partnership and that’s to me is awesome.
PAul Brenno: Well, that’s great. That’s what I’m using to replaces
Joshua T Berglan: Paul. You are a, I honestly, man, like I’ll have you back anytime. I I’m, I’m a fan of you. I love you more. I mean, you never know what to expect when you, you know, you’re chatting through that and stuff like that. But I may count myself as a fan, bro. I, I you’re welcome back any time. And so honored that you’re here, I will prepare the media kit that has everything and send it to you. It’ll have all your, like everything that you’re doing in it and, and we’ll publish that.
But I listen, I, again, you’re welcome back anytime. And I hope one day we get good grades.
Paul Brenno: Well, would’ve been great to be able to talk to somebody cause it’s like, you never, I don’t expect ever to do stuff like this. And I’ve got two more podcasts coming up one in California and I thought good grief. Do you want to interview me? And I thought, you just can’t believe it because you’re not around people like a public system, you know, you’re not around that environment. So it’s like, is this a joke? I mean, April it’s April, April fool’s day. Do you know? So I’m just so grateful to that and being able to say, thank you to Dean and Ken and to Leslie and all these other people who’ve and my family can, you know, it can’t dissuade them of course, but it’s still great when you can just say thank you.
And you know, to the God above that, it lives in all of us. And he saved me and he continues to save me every day and get me through a lot of stuff. My mom’s death and everything else. But I, but the great thing about it is this is just temporary. Let’s do great work because we know we’re going to be going somewhere else and we belong. And then
Joshua T Berglan: So beautiful, Paul, God bless you, man. Have a great weekend and I’ll be in touch.
Paul Brenno: Thank you so much. It’s been a pleasure being here.
Joshua T. Berglan: Absolutely, man. See you soon.
Paul Brenno: That was awesome. That was so cool. You guys have a blessed weekend. What a day? This has been for broadcast, but that was such a cool way to end it. And I, I have a feeling that he’s going to be back on because there’s so much there. What? I just want a cool guy. Like I, I didn’t know what to expect. I was a fan and then now I really liked the guy. So that’s amazing. And so we’ll be publishing the published thing. This last publishing this interview on the lip, Moto worldwide.org later about the audio, the transcript, and the video because you know,
Joshua T Berglan: Social Media is holding our PO or our message back, but you can go to live on worldwide and be able to see it. Thank you to everyone watching on live on a worldwide multimedia broadcast network. Just want to thank everyone for your support going over there because honestly you supporting the model worldwide. And our broadcast network means way more than seeing us on Facebook because of Facebook, YouTube, Twitch, Twitter, all of those social media platforms. That’s, that’s not us.
When you go to live on a worldwide.org and watch our content or check us out on the streaming TV networks, that’s helping support our foundation. And that means a lot because we believe in our mission and we’re grateful for the opportunity to get to serve in the way that we do. So you supporting us matters. So thank you also. And this bottle right here is you can’t see it. Well, there’s the liquid. This bottle is going to change the world more in photo com.
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