Jeff Speakman's New Kenpo Movie | Lost Echoes

35 years ago, The Perfect Weapon came out and it became the definitive Kenpo movie. And it's been 20 years since Mr. Speakman has made a film. However, he is now coming out with a brand new film called The Lost Echoes. But it's not your traditional martial arts film, it's much more. Today, Mr. Speakman is joining us with his production team to talk about this project. You guys are going to want to check it out. So let's get into it. Mr. Speakman, I would like to thank you for your time and like to welcome you back to the channel as always. And we talked about your brand new project, The Lost Echoes. And I'd also like to introduce the two other gentlemen with us, Mr. Joe Lansdale, award-winning author, and also Chef Joe Gatto, award-winning filmmaker and professional chef. Thank you guys so much for your time today. And the three of you are the creative trio in this project. Can you basically introduce us to what The Lost Echoes is? I think that's a Lansdale question. I think that's a Lansdale question. I wrote the book some years ago, quite a few years ago, and I always felt that it had screen potential, be it, you know, TV or film. And I just never quite got anything off the ground with it. You know, I'd had a little bit of interest, but nothing had ever really happened. And it's a story that has to do with the fact that there's this kid who has an ear infection. And when it heals, it leaves him with the ability of audio chronology. And this is the ability to hear the past in sounds, but it's connected to violence, meaning that if someone did something violent and flung somebody against the door, and many, many years later, someone was to slam that door, he can hear that and experience whatever that violence was. And I'm just using that as an example, but it becomes more and more overwhelming for him to the point where he's wearing like things over his ears. He's got his egg cartons on his walls at home to keep out sounds and therefore all of these images. And he's also trying to nurse that with alcohol. And through coincidence, he meets Jeff's character in a bar where Tad is the character's name, is attacked by a bunch of guys are going to roll him and they find out that this guy is not like an easy drunk, turns out to be a martial arts master. And he and Tad and and there are other characters too, but I'm going to simplify this, they get together, they become friends. And Tad actually begins to be the mentor for Harry, not right immediately. But as time goes on, he realizes that the both of them could quit drinking, that they could support each other and help each other. And that Jeff can teach him something about finding his center more than martial arts. He's trying to teach him to find that moment in himself where we all say, OK, things are level. And then on top of that, Tad, excuse me, Jeff's character is trying to do exactly the same thing. And he's trying to reconnect with his center after the loss of his family. So both of these characters are dealing with loss, which, of course, the book is very much about loss. But it's about having to support you and you them and to find that center, as we call it in martial arts. And I think a lot of other things use that term, too. But it's finding that equilibrium of life. And yet we're also in a mystery here because of the sounds that Harry hears. He discovers something about a murder and together they set out to solve it. Interesting. So he's actually literally haunted by sounds. He's haunted by sounds, literally. Interesting. And Mr. Gatto, you, I believe, are the producer and director of this project. How did the three of you come together to actually work on this together? What was the connection? The original connection is there was a story that I read when I was a teenager in this collection of Joe Lansdale called Bumper Crop. And Chompers was one of the stories. And I turned that into a short film, which eventually got into the festival circuit and started winning awards everywhere. And then Joe saw it. And when Joe saw it, he really loved it. So Joe and I connected. And as when we connected, we developed a friendship. And during that, we decided we really wanted to make a project together. We threw around a couple of different things from an anthology idea to a couple of different stories he had. And then we landed on Lost Echoes because I really love that story. I love that book. I thought the novel was fantastic. And once we landed on that and we started talking about that, we realized, you know, there was the mentor and I had met Jeff Speakman a while back because he was going to be a guest on an interview show I had. And we had developed a friendship as well. So I had mentioned to Joe that I know Jeff Speakman. He had loved his work. We sent it over to Jeff. Jeff loved it. And next thing you know, we're here on your show. Yeah, I did want to add something. And that's Joe made this film that I really like, but he didn't make it willy nilly. He got my permission first. And the reason I say that is I don't want to put you out there making films of mine without knowing that I own the copy. But also when Joe and I were talking and he said, you know, I know Jeff Speakman, I went, I know just the book for us to film, because it's like Jeff walked into this part or walked out of this part. And I felt that he would be perfect. And I believe he is. And here we are. Now, Mr. Speakman, it's been like 20 years since he was on the film. What is it about The Lost Echoes that drew you and made you decide this is the one to come back to? Several things. I mean, it started, of course, with the story in the book and the potential. Really, the important part is the potential in my character to really bring about and expose the true nature of what it is to be a martial artist. We often mistake martial arts for who you can beat up. But it isn't about who you can hurt. It's about who you can help. And this character, my character's journey through the story after going through tremendous loss and living with grief every day of his life, every breath is pain. It's about his arc to deal with the grief and the loss of his loved ones. And then suddenly in comes this kid, a character named Harry, who I can help. And by using the true nature of the martial arts and bringing him under my wing, it gives me a sense of fulfillment in a miserable life. And this allows me a certain, I think, redemption, if you will. When I read it, it reminded me of The Sixth Sense with Bruce Willis. And remember, at the very end of that movie, he, through some kind of a dream state, tells his wife, I just had to help one more person, and now I can go. And I really think that's what life is about. Martial arts has been about that for me. It is the core and the center of the worldwide organization that we have built called Tempo Five-O, which we call ourselves the Five-O family. That's how close we have become over the years. And the heart of that is really what is in this book and what this story is all about. So I was immediately drawn to it. I said, we got to do this. So that's what brought me here. I'm really intrigued about the relationship between your character and Harry, the young boy. You're drawn to each other through the grief and to help each other. So this is more than just a Mr. Miyagi, Daniel sort of mentorship. There's a dynamic here, a duality here. This is a thriller, a supernatural thriller, but it's also very much a martial arts film, correct? Correct. Exactly. The substrate throughout the entire movie is about the true meaning of the martial arts and how that can be of great assistance and a service to all of us who are trying to figure out how to get through this life and do it the right way, and to subordinate your selfish desires and needs to the needs of other people. And in the case, in the character, in the movie, in the case of my life for real, those things exist in a very, very powerful way, especially, you know, my history in the martial arts and how close I was to Ed Parker and also to Lou Angel, who was my original instructor in Japanese Goju-Ryu. And he's how I met Ed Parker in the first place. So there are so many parallels here. It just rings true. And I just said, okay, I'm all in. I need to do this movie. I need to tell this story as the contribution I can bring as an actor. Now, Mr. Lanza, I understand that the book itself does have martial arts in it as well, and that this movie is going to be a pretty, pretty close translation and adaptation. I understand that you have a background in martial arts as well, but it's not Kenpo 50, is it? You've got a different style of training? Kenpo, strangely enough, I didn't study Kenpo a lot, but it probably influenced a lot of my martial arts because I never had the opportunity to just study one. I have ranks in several systems, but I studied so many different arts that I started teaching people for fun. And people said, well, whatever you're teaching, man, that's the whole thing. But it has a whole lot of Kenpo in it because I always thought that Ed Parker and Bruce Lee were two of the most innovative martial artists of the 20th century. And I was influenced by the way they taught as much as what they taught. And I had some good mentors along the way, and I developed this system. So I had been doing it now 63 years, martial arts. I started when I was 11. I'm 75 in October. So it's been a long time. I guess November will actually be the time when I first started, when my dad started teaching me boxing and wrestling. So martial arts is a foundation for my life. Martial arts helped me become a writer because unlike a lot of people who are creative, I was never in that situation where I didn't have confidence. In fact, I have too much goddamn confidence. And so I had confidence and I had will and I had, my father was a good role model too, as far as how to live your life with a certain, I guess, fearlessness, as much as a person can be fearless. I don't claim to be fearless, but I do claim to try to live as much of a fearless life as I can. And when I wrote this book, I took a lot of my philosophy and my experiences and put it into it. And years later, when Chef and I were talking about this, and he mentioned Jeff, I just thought, oh man, he's perfect. Because I knew Jeff had been in it all his life. I knew that he had been mentored by Mr. Parker. And all of that just seemed to fit. So my own experiences as a martial artist, along with my connection to Joe and Jeff, it just seemed like the perfect project. Mr. Speakman, obviously, I imagine Kempo 5.0 is going to be the focus as far as the martial art goes. Are there any, and this is a question for both you and Mr. Lansdale, and even Mr. Gatto, taking Kempo 5.0 and taking the source material, are there any special considerations that you're taking to adapt the material to fit Kempo, or are you trying to take the Kempo system to fit the story? They actually are one and the same. That's part of the staggering irony of this and the beautiful energy that the three of us now have all focused on this movie and this story. It isn't that there's one with two or two with one. They are equal. They're the same. The message is powerful, it's dynamic, and it's real. And the other part of it is, it's desperately needed for the world we live in today. Desperately needed. That you would sacrifice something of yourself to help someone else. Think of the world we live in today. Everybody's waiting to just crush other people so that they can get their house, their car, their bank account, their money. This is the downfall of greed gone bad. This is cannibalistic capitalism, and we're struggling to try to find our way through it. And this story is right on the target. Yeah, and it's also that Jeff's going to be doing the choreography, so we will be seeing Kempo. And he's done choreography, correct me if I'm wrong, Jeff, for all of his films. And so he knows what he's doing. So as far as that goes, Chef Joe Gatto will be saying, OK, let's film this way. But Jeff will be deciding what kind of movements and techniques he puts on the screen. Now, Chef, I've got a question for you, actually. Your background is actually really intriguing to me. You're a professional chef. Do you have any martial arts in your background? No, I mean, I did some martial arts here and there over the years doing jujitsu and taekwondo, but not like these guys. Yeah, I'm really intrigued. So basically, being a professional chef, so basically you take raw ingredients and you put them together into a recipe and you create a flavor. Filmmaking is very much a similar process. You take a lot of different elements and you kind of get the right balance. What approach are you taking to this movie in terms of the tone or the flavor for this film? I mean, you're 100% right on with that. Right. Give me a film camera or a sauté pan and I'm going to I'm going to put something together that's unique. The tone of this is going to have that old school film noir, right? We're going to go back to the night of the hunters seven. Right. And that piece of alienation with both of these guys because they've cut themselves off from society, Tad, because, you know, he's just given up. And once his family was, you know, once he lost his family, he just turned inside. And the same with Harry. He's trying to drown out the world because the world is so hurtful to him. So when they connect, you know, I find that so interesting because you have that alienation at first and they've cut themselves off. So that's that classic tale, something like Taxi Driver with Martin Scorsese. Right. And those kinds of stories. But this one ends with, you know, this this spine of the relationship of Tad and Harry, which I love. So I really want to take it back, not just the story, but, you know, the look and the feel of those, you know, those classic noirs, Double Indemnity, things like that. I want those looks of deep shadows and I want this to be a very textured film. I've noticed that with the artwork, I have to say I love the artwork that you guys have put out so far. It's very Hitchcockian in a way. It's got that you said that noir. Who's the artist behind that? What's the inspiration? Not the inspiration, but is that the direction that the graphics that you're putting out? Correct. Yeah, that's that's it. Exactly. So I designed that. And then I worked with an artist hand in hand, this guy, Jamie, and we really finished it together. You know, that was the idea. Right. You can see it in the first poster that that has that vertical feel to it. And that was the idea. Right. We want to dig into the past. I have a lot of respect for the history of film and where it comes from and what it stands for. And I'd be honored to be part of that lineage. So, you know, all those films, I was a film store geek, still am. And I still correct, collect physical media. I still love film. And that's played a big role in this because I draw on a lot of the past of films from all different times. I mean, you can reference seven, but then you go back to Night of the Hunter and you have this feel in this tone. And I think that's what attracts me to Joe's work because it is so unique and the tone is so different. It's it's never just, you know, horror. It's never just the supernatural and it's never just comedy. It's those combination of things that I love when when I found choppers as a you know, as a teenager, it it just fascinated me because it had this horror element of this woman, old, you know, homeless woman finding dentures and she puts them in and they continue to grow and grow and grow. And she gets hungrier and hungrier. And it starts with eating a rat. But next thing you know, she's eating a cop. And I absolutely love that kind of tonality, right? Like where it just goes off the rails and it almost has that evil dead feel to it, too, where you can really play with the genre and really push it. And that's that's what I'm looking to do. Right. A little silence, a little evil dead. So when it comes to the choreography of this film, so this film is part thriller. It's part mystery, film noir, martial arts. That is a really interesting mix. And noticing a lot of evolution of films today in general are genres are crossing over. So with this project, when it comes to the martial arts, are you going more towards grounded style of fighting, more gritty fighting? Are you going to go more towards, you know, off the wall, more hyper realistic like John Wick versus, you know, 90s action hero? What's the tonality of the fighting going to be like? I'm dead set on doing the same thing that we did before in all my films, which I think is a fairly accurate representation of Kempo Karate as taught by Ed Parker. And the slant that will happen in this film and any other films I do moving forward will be with the evolved status of Kempo Karate, which is what we have done. It's the fifth evolution of Kempo, hence the name Kempo 5.0. So there will be another element, but I'm going for the same dynamics and the same movement and the same practical application that has made Kempo Karate famous throughout the world. Now, in this film, Harry, does the kid already have martial arts training or is he starting from scratch? And will there be fight scenes with the kid or are the fight scenes maybe going to be with Tad or make sure? I might want to straighten that out. He's not really a kid kid, he's a young man. Okay. And so it's not like, you know, Daniel San. He's in college age, but he's not someone who's had that kind of training. He is someone who really has drifted through life because of this ailment that he has that's both a blessing and a curse. You can't mention, Mr. Speakman, your name and the martial arts film without thinking of The Perfect Weapon. It's one of the pinnacle films out there. It's a fan favorite and it casts a very large shadow. How are you gentlemen approaching this project to avoid the being compared to The Perfect Weapon? Different shadow, man. It's not trying to cast the same shadow. It's a martial arts in it. It's not strictly speaking a martial arts film, but the martial arts are prominent and important. And if you take them out, the whole thing collapses, but it's not in the same way. You know, if you're trying to cast the same shadow, have you already done that one? This is not like Groundhog Day. You know, we've got a different shadow this time. So, you know, we want to express the martial arts as something that not only could be used for self-defense, but as a healing process, that it heals them. It even heals Tad's character, who's already been in martial arts because we all fall off some kind of wagon now and again, right? And so we have to, what we used to say, I got to refine my center. And that's exactly what's going on here. But it's a totally different kind of expression. And once again, I would say a different kind of shadow. And Mr. Speakman, I totally agree with that. Yeah. It's, it's been a while. So how, as a martial artist, what would your response be to any fans who want to compare your martial arts fighting back to the nineties, the perfect weapon and address the criticism people might have for, you know, an older character in the martial arts role? How is your approach to this film different than the films you did before in terms of the martial arts aspect? Yeah, I think that for people who know my work, especially people who are fans and really the people who are fans of the perfect weapon, there's no way we're going to get away from those comparisons. And it's perfectly reasonable. I mean, I understand that, but I want it to be a different journey for them because I am a different person now, all these years later. I've learned so much more since I did movies. I've had stage four throat cancer in 2013. For me to say to you that changed my life would be the understatement of the decade. And those are deeply important things. And when you go through something like that, or even remotely related to that, you learn very clear how temporary life is. And if you follow the true teachings of the martial arts back from the world of China, then through Japan, and then in this case, to Hawaii and to the U.S. related tempo, you will see that the real true through line is not about who you can beat up, or how many trophies you have, or the titles that you have. It's really about, are you a good person? And are you dedicated to the idea to make the world a better place because you were here through wisdom, through strength, through kindness? And that's the really deeply important message. We've got to get out of the cloud that we're living in right now worldwide, but predominantly in the United States, because we're the powerhouse of the world. And if the only way that you look at the world is that it's through power and strength and military force, then that's the world you're going to have that you live in. We need empathy. We need understanding. We need sacrifice of ourselves to help to make the world a better place. As all of our law enforcement, first responders, military, they are all our heroes, and they should not be put in harm's way for any reason other than to defend our borders and our country. So we'll make a statement here that there is another way to go through life. There is another way to look at things, and it's with personal integrity and to know that the world is going to be better because of the energy and effort and how you've decided to live your life. ------- A, brother. You know, you're saying it's 20 years later, but I've watched Jeff, and he's like a happy wraith with ballet lessons. I mean, he's just very, very good, you know, and it's not changed. And I think a more definitive aspect of his movement, but that's just me as a martial artist, because I noticed those things in people because I've been doing this all my life. And I think that we're going to see some really class martial arts, and it's going to be the same, but different. I mean, that's the idea, right? Because we all grow, we all change, we all adapt. And that's how you go further in life. I mean, I'm not the same person I was when I was 26. And my tastes have changed, the films are going to change. And, you know, this is a great mashup of a lot of genres. So we'll see the kick ass martial arts, and it's going to be mixed in with, you know, a little bit of horror, a little bit of supernatural and a lot of just great old fashioned storytelling. So everyone's, you know, there's going to be plenty of action, but it's going to be different. It's going to be 5.0. It's going to go to the ground because it's a new time. And of course, Perfect Weapon is going to be brought up, but that's a good thing, right? It's part of Jeff's lineage. So I'd love that. Yeah, you mentioned, and I actually find that we're in a really exciting time right now with cinema that there seems to be a major renaissance happening with horror films. You know, we're getting past just the standard slashers. We've had a lot of great horror films that have messages come out lately. There's another renaissance with independent films are rising up. We've seen this year, there's been several successful films. So I think a project like this, this is the perfect time to launch it. And that's a good way I want to lead into the whole Kickstarter project. So you guys are not going through studio, you're going through Kickstarter and funding as your own independent project. Can you tell us a little bit about that experience? Yes. And there is a reason for that. And I think Joe Lansdale articulated it perfect from day one when we first met. And that was, you know, both of us have had quite a bit of experience in film. And as soon as you bring in people from the outside, especially if they're supplying you with money or distribution or what have you, they start telling you what the story should be. They start telling you things that need to be brought in that really don't. So the whole purpose and the point of doing this primarily with this Kickstarter idea is that the power of those story decisions and how to execute them remain in our hands, remain in the hands of the artists, not of the bankers. Yeah. And I'll tell you what, here's a very simple other thing. I want to work with my two friends. Me too. I don't want to work with a bunch of people I don't know, a bunch of suits that I may never see. I want to work with people I can communicate with that have similarities and differences as well. But yet we're three friends. This is our organization. It'll either fall flat because of us or succeed because of us. But we can at least go, yep, well, we did it. Nobody else screwed it up for us. We screwed it up ourselves. And if it's successful, nobody made it successful but us. But usually that heart, that kind of heart shows through when you don't have that kind of studio interference, when you have that chemistry working together, that often translates on screen so the audience can pick up on that. And I love that dynamic. You got it. You said it exactly right. I couldn't agree more. And actually, Mr. Lansdale, since you've mentioned before, so this is a book that you've written and you're adapting the novel to the screen. Now, I've, you know, My son, Keith, I got to give him credit because he's probably done a little more than I have on this one. Okay. Interesting. A lot of writers, you know, I work in the film industry, in the video industry, a lot of writers have a really, really hard time letting go of their original work. Especially when it comes to adaptations. How are you approaching this in terms of adapting this and allowing any changes to happen and translating this to a different medium? Because film is a different medium than books and they don't, the structures don't always line up. So what is your process in terms of the adaptation? Well, it's not a mini series. If we were doing it that way, God, I look like Nosferatu in this light. But it's, it's more idea of taking the essence of the story and slimming it down to where it will fit within that timeframe. That's one of the things about film that is brutal. It's, you know, it's called beat the clock. And so you have to lose certain things. Also, there are a lot of things in the original book that I don't think would play well in the film. And so we've cut it down to what we think is the book. If you've read the book and you see the film, you probably won't immediately think, oh, that's missing or that's missing. But we had to cut some things. I'm, I'm pretty brutal. As long as I don't have to change the elements of the story overall, I can cut things. I can, I can shoot my darlings in the head. Excellent way to put that. And Mr. Gatto, is there any particular technical aspect that you're approaching? Any, any camera looks, any color grading looks? You see a lot of, filmmakers are playing around with aspect ratios and color grading and tones. Are you at the stage yet where you're thinking about any of that, any specific technical elements that you, you would like to infuse into the film project? Yeah, at the stage, I mean, 24 seven, this, this, this is lives with me. I am completely immersed in this. And one of the things we're definitely looking at for, you know, we, I, I like 185. I don't think anamorphic works for this particular storytelling, but I like 185 and we're looking at, you know, like Panavision cameras with the C-series lens. So we have that classic, like taxi driver look, that old school look. That's, that's what I want to achieve. I don't want the sharp digital look. I really want that, that soft tonal with, you know, deep rich colors and deep rich shadows. That's, that's where I'm going for, because I, I think that tone fits the novel perfectly. And for the Kickstarter, can you guys tell us about what's the timeline, certain milestones you're trying to hit and the rewards that funders can receive? Gato should answer this one. Yeah. Yeah. We can jump on that. Yeah. So the Kickstarter started September 1st, it runs through September 30th. Some of the rewards you can do anything, right. You can get in for t-shirts, some cool posters, and then, you know, as you go further, you can actually get your name in the film, which is a really cool reward. We have everything from, you can be associate producer, executive producer. You can even be a dead body if you want to, which I think is really cool. You get in the effects, make up the whole, the whole deal. So the rewards run the gambit and you can even do Zoom classes with me or Joe or Jeff. So we tried to make them really diverse. And again, it runs till the end of September. And we have, you know, all different stretch goals from 250 to 500 to 750, depending on you know, how much everyone gives and how much we can have, you know, when we go into production and not need from gap financing. So, you know, we're really trying to do it. Like we said, the three of us, so there's no interference and we make the film that should be made. And we stick to what, you know, Joe and Keith have written and make something that we really want to put on this on the screen. That's not a compromise. And that's why the Kickstarter is so helpful because it's, it's an artistic community all help each other. Do you guys have distribution, anything in planning? Because I know people are going to ask, you know, when it comes out, where can they find it? Do you have any inklings yet of where the movie will play? First, you need the movie. And then when you get the movie, the way we, like I worked on some other films, like cold in July and stuff. And the people who were doing that, they took them to film festivals and film festival, people who at the film festival who did that sort of thing, offered certain amounts of funding for distribution and stuff like that. So that's one way that may not be the only way we approach it. But we certainly think that that's certainly a possibility. And I would add, I would add to that, that, you know, that the normal, in quotes, apparatuses for filming an independent film like this, in LA have been a dumpster fire for 10, 15 years. It just doesn't work that way anymore, largely because of new mediums to be able to exhibit on, et cetera, et cetera. But you're always going to find, you're always going to wind up with a stronger film when you don't have to bring distribution in first. Because once again, it's the freedom of the creative people to be able to shoot the film they want, and then you go sell it. Because if you have to use distribution to raise the money, when you're trying to sell the movie, you've already sold it out. And so there is no way for you to go up. It's already a dead deal. So we don't want that either. We want to have the freedom to deliver the movie, the vision that all three of us made. There's also the fact that distribution means different things than it used to. Now, let's say you finish a film and immediately Netflix looks at it, they're your distribution. That's it. And then somebody else might look at it and go, okay, we want to put this out as a film, maybe to Tubi or whatever it is. It can vary, Netflix, whatever, and not as a series. Well, that's a different kind of distribution, even though it's similar, it's still different. And so there are a lot of different possibilities, but Jeff nailed it. And like I was saying, you got nothing until you got the film. You don't want people trying to sell your film for you before it's a film. And you don't want to give them the rights to distribution right up front without knowing what all you're getting out of it. And the more you can get out of it that you control, the better off you are. Because even if you make a large deal in distribution, by the time they get through cutting it up, there's not really much left for the creators. But even sometimes if you make a lesser deal, but that deal is good for the creators. And that means everybody involved with the film, then wonderful, more power to us. And then if it's successful and it gets out there and somebody makes a little money, then there's our next film. Absolutely. And distribution's a little bit of the Wild West right now, as you know, being in film, it's kind of all over the place. And one of the things that for me with this film is, sometimes I think you can overthink it and think too much about where the path and the final piece is going to be. And for me right now with this, being older, being with these two friends, I really want to concentrate on making the greatest film we can and really making something that's spectacular, that I'm so proud of, that has a legacy. Then when we get there, we'll have something that we're so proud of, and then we can take on to selling it together. If you think too far ahead, it's like being in a self-defense situation and saying, I know how this is going to end up. No, you don't. So what you've got to do is you have to move from one moment to the next. And sometimes that includes distribution, that includes the way the film's made. Because even if you do have a script, when Jeff's doing stuff, he might go, you know what? I don't think that's going to work. What about we do this? And then Joe might look at it and say, yeah, that's pretty good, but we might want to shoot it from this angle, or we might want to do this. So that is the chaos of a real situation in self-defense, as well as the chaos of life. I think if you can look at things and embrace chaotic situations without trying to create chaos, I think you've got a better chance of producing something interesting. And fewer hands in the pot. Fewer hands in the pot. Yeah, you'd be so prepared that you can be malleable when everything changes. Yeah. And what's interesting, too, is we're in a time, too, where the success of a film isn't just black and white. It's not like X amount of dollars at the box office. With streaming and just even online and influence, there's so many different ways for a film, especially a Kickstarter film, to succeed. So a lot of people don't realize that it's not just numbers, but you guys just outlined a variety of different ways the movie could be successful and leave its mark on the industry. It doesn't just have to be about distribution or box office. And I think that's absolutely fantastic. And I think one of you just mentioned about, you know, more films after that. So this is not just a one and done hope, that if this works out, you guys have a great experience, you would like to do more films. Exactly. Yep. 100%. Do you have any other, like, Mr. Lanzo? Every film doesn't have to be my books. You know, it's not for that. And we just need to feel that this is a project worth doing, that we all do together, and that we're all happy with. So let's hope that this is the opening. And the only way that's going to happen is not just the fact that we want you to support our film, we want you to support independent filmmaking. We want you to support something that not only that we're using, but that other people can use as an example. Like, I can do that. Because if we do it that way, we're changing a lot of the dynamics that have pushed so many films into boxes, instead of letting them kind of free flow. And so I'm willing to take these things and I hope other people are too. So if you want to see more independent films, not just this one, help us, donate to us. And let's see if we can make this happen and lead to other things. Yeah, it's a very viable model. I mean, other filmmakers have been using it. Kickstarter is great for something like this. Yeah, I'm actually excited to hear about that. And Mr. Speakman, I've got a question for you. I've heard a lot of people since The Perfect Weapon, you know, filmmakers say, you know, I want to make the next Kemple movie, I want to make the next Kemple movie, I want to bring it back to the screen. Is this kind of, in the back of your mind, you want this to be the next representative Kemple movie? Or is that a backseat to everything else? No, I wanted to, I think that's correct, but incomplete. I would say I want it to be the next Kemple movie of what Kemple has become. That's really important, because that was the mandate from Ed Parker for all of his black belts. One of his famous quotes is, please don't traditionalize my art when I'm gone. And so the art must evolve to remain relative in today's world. And that's what Kemple is all about, evolution and change and growth. Always question yourself, question whether these techniques are going to work. And that's why we created the 5.0 system. There was no ground system in Kemple. And in today's world, where is that going to leave you? In not a good place. So we're the ones that took Kemple to the ground. And we did that because that's the format of Kemple. That's what Ed Parker wanted. And there's a lot of people out there who were students of Ed Parker's, but I was there at the end. I went through every technique, everything with him. I got to know him deeply on a personal level, because of The Perfect Weapon, of course, all you got to do is think 10 seconds about that, and that answer will come to you. And so this is the next step. Kemple 5.0 is the next evolution of Kemple, because we have figured out how to take Kemple to the ground. And that is so incredibly important today. And one thing I love about The Perfect Weapon and your movies in general is that you put these little Easter eggs in there, your homage to Mr. Angel with the cut at the beginning of The Perfect Weapon. And any Kemple that's watched your film is like, oh, look, there's five swords, or there's this technique. Are you going to put little Easter eggs, little references like that for fans in this film? Absolutely. It'll be loaded with that, for sure. Five swords is a very popular one. Oh, yeah. That's the Kemple technique. Knows that one, or at least knows of it, yeah. You got to promise, you have to promise there's going to be a scene where you lift a guy off the ground by his crotch like you did in Perfect Weapon. I've been known for worse things, so okay, I'll do that. Yeah, Mr. Speakman, if Mr. Parker could see this film, what would you want him walking away saying about this movie? I've always, on a very, very deep personal note, you know, I've had my event every year in Las Vegas in July, we're coming up on our 32nd consecutive anniversary of that, and I bring in great, great martial artists to sit on the testing boards. Some of them are Kemple people, and they're all my seniors or contemporaries, and I always ask them this question, once they have experienced what we have built, this 5-0 family, and I just say, we ask one simple question, do you think Mr. Parker would be proud? And that always brings a tear to their eye, and they, you know, hug me and hold me and say he would be so proud of what you have done. And that's it. That's all I'm looking for. If I can have that feeling in the center of my mana, in the center of my spirit, then I really feel like I've led a good life. You know, I had stage four cancer in 2013, and when I came out of that, I was a changed person, as everyone is who goes through that. And, you know, death almost got in the way of my life, but it didn't. And, of course, all of us will transition to the other side one day, but the game, the goal, is to try to do as much good for other people as you can before your time to transition comes along. And that's my passion, and I'm going to live that every day of my life, and that is all over this movie. I'd like to spin this question a little bit for Mr. Lansdale and Mr. Gatto, too. With you guys going to this film, what do you want the martial arts community, and specifically the Kepo community, to walk away with? I'm sorry, could you repeat that question? Yeah, from your perspectives as a writer and producer-director into this film, what mark would you guys like to leave on the martial arts community? What would you like Kepoists to walk away saying? Well, I think that's personal for me, is I want people to understand how I respect the martial arts. Not just any one martial art, but Kepo is one that's very important to me, primarily because of the philosophical approach to it. I've taken other martial arts that were just bang and bang, you know, and something that you can do until you're about 30 or 40, and then you're like a wreck. I'm a wreck anyway, because I did everything. And like Jeff, I came close to dying about, I think we're on number four. But I've always came back, and every time I've come back, I go, yeah, you know what? This life part is kind of worth it. And try to make people happy. So if I can do that through writing, if I can do that through this film, you know, get people excited, have them moments of thrills and whatever. But in the end, I want them to go, you know what? I kind of feel pretty good about things, you know? And that movie kind of made me see that there is a way, that there is an importance to finding your center, and to knowing that life is worth living. And to do so, to really truly live a life, you've got to be there to help other people when they need something to help their lives. You can't help everybody, but you can damn sure try to help everybody you can. Beautiful. I love it. Mr. Gatto, do you have any marks you want to leave on the film? Yeah, I mean, for me, you know, what I've learned from Jeff and Joe so much through this process is the martial arts is so much more than just fighting, so much more than just punching and kicking. It's so much deeper, and it can really help just your soul. And I want people to leave this movie knowing that, and that it is helpful in more ways than just defending yourself. That it's deep and rich, and I've just fallen in love with it more just knowing these two guys. So, I can't wait to show that, well, you know, and Jeff kicking people's asses too. So, you know, a little of both. Excellent. Yeah, you can't get around my ass kicking, that's part of it, you know? I love that part too. It's okay. Well, here's a good thing with the sound design. You know, a lot of people know that sound effects are put in, especially in action films. Having seen Mr. Speakman live in seminars, I can tell you right now, you guys don't need to record any sound effects. That's all real. I'm the same way. You know, I love that. I love that. And a lot of slapping and touching and all that brings out those sounds. Sounds nastier than it is. You know, you're working with some guy to think he's killing that guy. But you're not. You know, you're controlling your stuff, and you're, I mean, you know, it's rough. It's not a dance class, but nonetheless, martial arts is so amazing in so many ways, and you're getting in touch with self and them too, you know? Because the more you understand about your own body and how it works, the more you understand how your opponent or your uki, your friend, how that works. And you learn so much from martial arts, but you also just learn a lot about your own physicality. And I think that's been helpful for me. Like I said, dying four times and coming back has really been fun. Awesome. Awesome. So as far as the Kickstarter, so people can go on support the Kickstarter, is there a particular website that they can go to support? Is there a particular website for the Kickstarter? And when the funding process is done, what can people do to keep the word alive and keep the project going? Any additional support beyond that? Yeah, a hundred percent. You can just go to Kickstarter and type in Lost Echoes the movie, or you can go to any of our socials and the link will be right there for you to just click on over and donate. And you know, the rewards are very cool. So you can get to it very easily through our socials. And then after, you know, we'll have, we'll have our website up and we're planning to do a lot of behind the scenes of how the movie's made. So you can follow along the journey. And you know, when you donate, you get to see it from tip to tail, which I think is going to be really interesting for people to watch, but it's also going to be really interesting for us to make the movie too. I can't wait to jump in and make something that not only, you know, that we're proud of and that we love that the fans and everyone else does too. Help us spread the word. Absolutely. Oh, I mean, I mean, just hearing the announcement of a new, just for just the excitement, I've already seen early rumblings of, oh, there's a new Just Speaking movie coming out. So the word is, the buzz is generating. So I think, I think it's going to spread. We need some steam. We need somebody to put some money into it because that's how it gets made. Everybody's all excited and happy and I love it. But you know what makes me excited and happy? The goddamn money to make the film. That's what, that's what we need. That's what Kickstarter is about. That's the reason we're doing it. So, you know, please tell, tell everybody, be excited about it, but you know, give us a little sugar. Daddy needs a little sugar. Well, they can leave their mark on the industry too. You know, they got to be there, put their part into the martial arts. That's right. That's right. Thank you. It's their film too. And that recognition is there for them on the screen if they donate. And we want, we want that. And we have all these awards. I mean, what awards? Rewards that I think are exciting and interesting and will make a lot of people happy. And you should check all those out. When you go to the site, look and say, hey, I can get this. I can get a copy of the script. I can come in and get a writing lesson with Joe Lansdale. I can get a cooking lesson with chef Joe Gatto. I can get a self-defense lesson with Jeff Speakman. I mean, there's a lot of really cool stuff here that I don't think has been offered in a lot of these, almost any of them, not, not this kind of variety because we come at it from such, you know, different points of the triangle, you know? Yeah. I was noticing that because looking at other Kickstarters and looking at your Kickstarter, there is a comprehensive list. Like it takes a while to go through all the stuff you're offering, which is way more than most of them do. So I love that. We don't want to spend time reading the whole list, but we damn sure want them to donate and get something out of that list. This is what I want. So anyone watching, there's so many different opportunities to be a part. Like you can, so many rewards, so many options, but there's just so many tiers. Yeah. It's, it sounds like an amazing project. Appreciate that. Thank you for your help. Oh, absolutely. Anything I could do? Is there anything that you Oh, it's the least we could do. Is there anything that you have not been asked that you, that people have not questioned or asked that you want out there about this film? Something that you want people to know that hasn't been brought up yet? For me personally, the important thing for me is to lay out what the true essence and meaning of the martial arts really is all about. And if we follow that thinking, the world can be a better place and it can be better right now. You know, during my life, we can change things and we can change them for the better. As long as we care about what's right. And long as we care about what's best for all of us, not just in the U S but around the world. And, and just don't step on people, help people to remember that we all came from the same place. And if we use that as our jumping off point, then we're going to be fine. Excellent. Absolutely. Excellent. Well, gentlemen, I thank you so much for your time. I'm looking forward to getting this out there as soon as possible, spreading the word. Appreciate Mr. Speakman, your contribution to the camp on the martial arts and, and, and Mr. Lansdale, I was taking a look at your, your, your work. You've got a huge body of work. I've actually just picked up the copy of the lost echoes. I can't wait to read it. And Mr. Gatto, I'm fascinated. I'm really fascinated. Mr. Gatto, I got to ask you real quick about the whole scratch stuff that I read that you actually make all your stuff from scratch, including even your utensils and your ingredients. So when I, yeah, on my show from scratch, which is on Pluto TV, I, you know, I went around new England making everything from scratch. So I can forge my own knives. I made my own charcoal. I pulled water out of the Atlantic, made salt. I broke down whole animals. I milk cows and made butter and cheese. Like I, yeah, I, I have a blast doing that. So you can see it right on Pluto TV. I do some crazy ---- on that show. It's really fun. That's awesome. And I think that's, you know, a unique aspects that you've got that kind of mindset. So now you're working with the type of project that lends that approach to that. You're literally taking every little raw piece and putting together a dish. That's great. That's the way my mind works and my brain works. It comes from a very, I need to assemble everything at its core and really build it the right way. So when I applied that to food, it was a natural. And when I apply it to film, it's the same, right? It's understanding everything from the core, just like film history and all of that, understanding cameras, understanding story, understanding all of it helps me be able to build it properly as I go forward. And it helps me understand the process a lot better. Gentlemen, again, I thank you all. Thank you so much for your time and, and, and talk to us about the project and it out there. We can't wait to share it and absolutely cannot wait to see this movie. Awesome. Thank you so much for having us. Appreciate it. It's really great to be a part of the show again. Now, if you guys are just as excited about this project as I am, then please be sure to check out the Kickstarter. If you're tired of all the superheroes and Hollywood sloths that's coming out there, now it's time to get something different, an original project. It sounds super cool, super interesting. The power is in all of our hands to make this happen. So let's go to the page, support it, and let's make it happen.