Sean Parker
When I arrived at the Brattle Theatre for my first Boston Underground Film Festival screening this year, I didn’t even look at what I was seeing. I was so punchdrunk by the atmosphere, excited to be watching indie films again in the cozy, amazing theater, that when I saw it was Off Ramp, a movie about Juggalos getting side-tracked on the way to an Insane Clown Posse (ICP) music festival, I probably winced a little. I’m not a fan of ICP or even that style of music. But I kept an open mind, telling myself the festival programmers have never steered me wrong, and if they did, there were more movies on the way.
Ninety minutes later, I knew director Nathan Tape had owned me. The film blew me away. Off Ramp is the epitome of a movie that will be judged by its poster, featuring Juggalos with wild hairdos and painted faces. Yet, it tells a very heartfelt story about community and found families that both affects and surprises. The film works as a buddy road trip comedy or a drama and contains some suspenseful, horroresque elements. In essence, Off Ramp is never just one thing, much like what it conveys about its characters and why you should look beyond the poster or what you know about Juggalos and give the film a try.
I spoke with Nathan Tape a lot after his screening, grasping his immense cinephile knowledge and listening to his stories from Off Ramp’s set. It’s not every day you watch a movie that you know will make your year-end top ten list, currently firmly seated as its number one, so I wanted to pick the brain of the filmmaker who brought such a fun and intelligent film to life. I had such a good time talking with Nathan; I knew I wanted to interview him for his next big festival showing at The Chattanooga Film Festival.
Starting today, Chattanooga Film Festival audiences will be able to see the film virtually, and I implore them to press play. Trust festival director Chris Dortch the way I trusted the BUFF festival directors and let Off Ramp take you on an unforgettable trip through the dirty south. You won’t be disappointed.
Watch or read the interview below:
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CFF24: Off Ramp Director Nathan Tape on The Gathering, Juggalo Culture, and Filmmaking
Nathan Tape is someone whose name you likely don’t know… yet. However, if you’ve watched The Purge television series, The Jay and Silent Bob Reboot, the 21 Jump Street movie, or The Last Exorcism, then you’ve seen something he had a hand in bringing to life.
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Introduction: Nathan Tape is someone whose name you likely don’t know yet. However, if you’ve watched The Purge television series, The Jay and Silent Bob Reboot, the 21 Jump Street movie, or The Last Exorcism, then you’ve seen something he had a hand in bringing to life. Nathan has been lighting, rigging electrical equipment, gaffing, operating cameras, and doing cinematography on films for the past two decades. Also, directing a bunch of music videos and short films along the way.
Nathan debuted his first feature film, Off Ramp, at the Splat! Film Festival in Warsaw, Poland, last October, and it’s a movie that should be on your radar. It’s about two Juggalos who go on a road trip to the annual Gathering of the Juggalos, only to find themselves navigating through the not-so-friendly South. This film blew me away back in March when I saw it at the Boston Underground Film Festival.
It remains my favorite film so far on the year. For reference, I’m not a Juggalo, nor am I a fan of ICP’s music, but Nathan Tape’s film is just that incredible, and I hope Chattanooga Film Festival is getting ready to get down with the clown because they are in for a real treat.
Sean Parker: So, thank you first and foremost for doing this, I truly appreciate it. It was awesome getting to know you at Boston Underground Film Festival. It was awesome just hanging out with another cinephile, really. I guess let’s just dive into Off Ramp. How did Off Ramp—how did this whole story come to be? How did you come up with all of this?
Nathan Tape: So, Off Ramp kind of began when I bought a little ICP, Insane Clown Posse, maxi-cassette single of “Chicken Huntin’.” Back when I was thirteen or fourteen years old, I was attracted to the colorful album cover art and it was a funny song, and I thought, oh, this is kind of funny. I didn’t really stay with ICP musically. I kind of went into more like underground hip hop, a different side, more like Atmosphere and stuff like that, and indie rock. But I was always aware of Juggalos, and particularly in the early 2000s, there was a lot of media coverage on Juggalo, Vice documentaries, things like that.
Vice was really kind of key in bringing a lot of Juggalos to mainstream culture, and they always kind of looked at them as these kind of wacky characters who liked this music and dressed a certain way. Then I watched a documentary called American Juggalo, a friend had showed it to me, and it’s a great short little twenty-minute documentary. But this was the first time I was introduced to the concept of Juggalo family love, and to me, that was really inspiring because I thought, Well, if these people who are outsiders of society, and even outsiders of music –because even Insane Clown Posse has been called the world’s most hated band—they are this group that even in a musical community, they’re still kind of seen as kind of outliers, outcasts. And so, I thought these characters who wear the piercings and tattoos and crazy hair and makeup and all these things and this kind of like extreme looking Imagery and extreme music that if they can have this very accepting, loving ideal that they live by, I thought that was really beautiful and really inspiring.
I grew up in a Christian household going to church, and I was always struck by the hypocrisy in the church where if somebody doesn’t believe this one thing if you don’t believe in this path—it’s like how are we to say what’s the difference between God and the Son and Buddha and anything, who are any of us to say? And I found really I connected so much with this idea that the Juggalos were like, “Well, whatever path you take, as long as you take it, you come here.”
So, I had this wacky idea. You know, you’ve seen the film, I’ll save it for the people that haven’t. But there’s a thing in the third act where our two heroes are in the woods, and they are singing “Miracles” amongst some pretty wild circumstances. So, that image just popped in my head as this idea of like, what is a Juggalo miracle? What is that kind of thing? What is it to experience a miracle in our real lives? And so, yeah, just from there, I kind of started. And then, my buddy Tim –my co-writer Tim, we’ve known each other for a long time, but we’ve kind of gone different paths, he went in to study law, and I went to [go on to become] a gaffer and then he went back to writing scripts and we connected and we just like hung out. We were just chatting. And I told him I had this idea for the Juggalo movie, and he was like, “That sounds great.”
So, we started working on it, and we worked on it for a very long time, over like eight years or something. And that was kind of like a fits and starts, right? Because we would start, we would write a little bit, and then I would go back to work, and I would kind of get distracted and whatever, but it was always kind of there. And, it’s interesting, I really am glad that it took that time because the film really evolved a lot over that span of time and it got better not just in the writing, but just in the spirit of what I was trying to say. So that’s kind of how we got there.
SP: I did see that there was a short film too, first. It’s called Off Ramp: Juggalo Road. Were there any fundamental differences or changes between that, or was it basically the core story from what you saw in your head?
NT: Yeah, the short is really like a teaser trailer. It was like one of these things that I had this idea sitting around for so long that I felt there’s this need to just go do something, you know? Just kind of get started doing something. And so, we got together and made a little teaser, which helped because it did raise awareness of it. The story was essentially the same. It was still Trey and Silas. They were still on their way to the gathering. They were still distracted. Some of these tent pole things that happened were there, but what was really interesting is—what I really discovered in doing the teaser was, when I shot it, the kind of regular dialogue and stuff that was happening just wasn’t working for me when I shot it. And so, what I really discovered in that time, was this sort of aesthetic of the voiceover and sort of the nature documentaries, I call it. The kind of Terence Malick-y sort of approach to showing things and using the voiceover.
And it was at that time when I started editing the teaser. There was this Aphex Twin song called “Penty Harmonium,” —at least that’s what it was called on the disk, [he may have] called it something else. But it was originally called “Penty Harmonium” and it was like this harmonium playing, and it was this really lilting carnivalesque sort of song. And I always loved that song, but when I put it up next to these images, I was like, “Oh, this is it.” You know? And then using the voiceover and making kind of this serious voiceover, really, I discovered the tone then. So, the short, it kind of failed as a short. It succeeded as a teaser. And really, for me, it really showed me the tonal aesthetic that really ended up in the film and really ended up, I think, being one of the strengths of the film is having that sort of unique tonal aesthetic.
SP: I think, when we talked before, you said that you had made it to a Gathering Festival. What are your memories of that like?
NT: It’s great! I went in 2021. It was the first –you know, they didn’t have it in 2020 because of the pandemic—so, it was the first one back from the pandemic. it’s a very interesting experience. You know, my ex-girlfriend and I went, and we had originally wanted to bring one of the actors, and thankfully, we didn’t because that actor didn’t end up actually being in the film, and it worked out differently. But, that’s just to say that I bought four tickets to the Gathering, drove up to the Gathering, and I was certainly nervous. I was nervous about it because I felt like I knew I had to go to The Gathering, so I was like, “If I want to make this movie, I have to go. I can’t be a poser like this. I have to know these people, and I have to get to know some of them.”
And so I was definitely a little afraid that I was going to be seen as an outsider. That I was this person just coming in to sort of appropriate their culture kind of thing. That was kind of some of the fears. So, one of the things that along the way, I had written the scripts, and there was another Juggalo adjacent movie called Family, which you may have heard of. And I was, of course, afraid that Family was gonna just be my movie, which it wasn’t.
But what happened was at the end, I saw the unit production manager was a guy named Kenneth Yu, who I knew from my days as a gaffer. And so, I reached out to Kenneth and said, “Can you hook me up with your Juggalo connects?” And he introduced me to a guy named Scottie D. Scottie D runs faygoluvers.net, which is one of the biggest fan sites for ICP and really all things Juggalo—it’s not really just ICP, it’s really all things Juggalo—and he was instrumental in helping. He read the script. He gave me notes on the script. He’s like, “Oh, we wouldn’t say this. We would say that, that kind of stuff.” He helped me just kind of understand a lot about it. And then when I went to The Gathering, I met up with Scottie, and he really opened the door to, like, “Here’s the Juggalo world.” He introduced me to a couple of his really great friends who ended up in the film, Mankini, Jimmy Soda, Psycho Scott, Butthole Ben.
I mean, all these guys ended up in the movie and I just learned so much from them about their culture and who they were, and we all connected, you know? And really, it’s not that much different. I mean, they like rap, it’s just they like rap that has clowns in it. And they all love movies, and we love movies, and like it was very similar. It’s just this community that they found was really important.
And, so the first day I was at The Gathering, it was really just kind of like an exploratory mission. I met people. I just asked them about their lives. I wanted to kind of see how accurate my characters were, and was I really hitting the right notes, and who were these people? Well, at the end of the first day, I met Scottie, and basically, like I said, he opened the door, and the next day, we were going to hang out more, and I was going to bring my camera and shoot B-roll on the second day. The first day I was like, let’s not do that. Let me test the waters first.
And what I found was Juggalos were very open. They were very accepting. They were very excited to talk to me about things, especially once I had Jimmy and Scottie and their sort of support. Because Juggalos have been sort of exploited by the media quite a lot, and they have been sort of the butt of a lot of jokes. And they have a good sense of humor about it. They understand. Like, “Oh yeah, we get it. It can be a joke. You know, there can be jokes and whatever.” And they understand that, but I wanted to convey to them that I really wanted to do something honest, and something heartfelt, and something more human than that.
So, at the end of the first day, we were leaving The Gathering and I see this couple outside of The Gathering, and they’re selling Jello shots. I don’t drink Jello shots. I’m a whiskey guy. It’s not my thing. But for whatever reason, I felt compelled to go buy some Jello shots from these folks and just talk to them. And it was a guy and girl. And so, we bought the shots, just started talking to them, and the girl was just so much like Eden. All of her stories just felt so real. And it felt like I knew her because I had written this character, and this character was so similar to her. Aside [from] her brother didn’t drink her breast milk, thankfully, but in that sense, that was true.
And so, I learned that they were selling Jello shots to try to make enough money to buy tickets to go into The Gathering. They had driven all this way, driven like six or seven hours to get there, but they just can’t. They were just gonna sleep in the car and just hope that they could do this thing. And I was like, “Well, wait, I have two tickets.” And so, I felt like this moment was like, “Well, this is what these two tickets were for. These were for them.” And so, I was able to gift them these tickets, and I just felt that spirit and what I then later learned was their idea of The Carnival provides. That phrase “The Carnival provides” is something that Juggalos say all the time. And I was really touched by that notion. And, you know, it was really cool that I was able to kind of give back to the carnival by giving those tickets to those folks. And I was just really touched. I mean, I drove away that night, drove away from The Gathering. I just burst out in tears because I was just so moved by the fact that not only were these people real people, but that we were doing the right thing, and we were telling a story that needed to be told and that these people are deserving of their own story.
So yeah, so that was kind of that. I mean other things about the gathering too are like it was a lot of fun. There was a lot of Faygo, a lot of naked butts, and a lot of—kind of just a wild experience. Also musically, I mean Vanilla Ice was there, Kid and Play was there, R.A. the Rugged Man, Danny Brown, I mean, in addition to Insane Clown Posse and Ouija Mac. And you know, they do put on a really good show, and I highly recommend people going to The Gathering, it’s a really fun time and people are really very accepting.
And it’s also like this time—it’s really cool to see such a community and such a group of people that are so committed to being a community. And ever since I’ve made the film, I think about it more and more about how in this country we’re so fractured and we’re so individualistic, and we just fight community so hard. And I think that’s so sad because I think humans are best when they’re a community and it just feels like this thing in this country that’s like fighting against itself. And I think it’s really cool that Juggalos are like, “No, we are a community, and this is our culture, and we’re gonna own this. And we want this.” And so, it’s very inspiring.
SP: To sort of play off of that, there’s a huge character reveal in the middle of the film that genuinely awakens the audience to sort of the importance of going to that festival, and your characters are so well written. The actors’ chemistry is utterly amazing. What kind of direction did you have to do with them to get them to where they needed to be?
NT: Well, thank you. Yeah, they are really unbelievable together. All three of those folks, I mean Ashley, Scott, and John, are just amazing. You know, I’ve heard it said before: casting is 90% of directing. And I would agree with that. Small back story, Ashley was the one person who was kind of a Juggalo herself growing up. She went to a couple of smaller Gatherings. Her older sister was a real, like, Juggalo. She kind of followed along a little bit. It wouldn’t be exactly her thing, but she was right there, and she was from East Texas. So, she really did identify with being from the South. You know, being a Juggalo, having this knowledge of it, and so when she read the script, she was like, “I just know this person.” She was like, “I just know who this person is.” And so, I think that was really great and likewise with John and Scott.
At the end of the first week of shooting, we had this one day planned where we’re going to do a lot of driving photography, so it was going to be a lot of the van driving around, and it was a lot of the stuff that’s at the beginning of the film. It’s used throughout, but mostly at the beginning in the credit sequence. And so, basically, John and Scott just spent like 8 hours in a van together. And it’s one of these funny things to have two people and say, “OK, now here’s a perfect stranger. Now go be best friends and have this history.”
But it’s a credit to both of them that they really dove into the characters very much. They’re both very giving actors in that way. And really, it became subtle direction at that point. You know what I mean? And also, we all knew we had two days to shoot the scene you’re talking about, the scenes in the bedroom. And we all knew going in we were like—we knew this is the big moment in the movie. We knew this was something that was monumental. And so, there was a lot of great energy going into that day and it was so much fun, and we all just had such a great time working together. We all had similar goals. We had spent time discussing it beforehand, obviously, going through table reads and just reading through the script and making sure that it all vibed and sounded natural and worked out well, but really, in the end, it just came down to subtle kind of stuff at that point because it’s such an emotional moment in the movie, and it just—it works.
So, I’m just really blessed that it was those actors doing that and I think the other thing is that they all committed. I think when you have a script that you really believe in, and that the actors also believe in, and that they –when they bring themselves to it—I think that it really does work out. Because one of the interesting things is there’s not a ton of improv in the movie. There’s like a little bit of improv, but they knew those characters so well that the improv felt really natural when it did happen. And because I think they were so—like, we spent a lot of time writing these characters, and we really knew them really well, so like everything they said was like charged with something, whether it’s a joke or it’s this, there’s always something else there.
So, I think they just all really connected with the characters. They saw themselves as the characters. Really, I think casting those great people and creating a—I think the other main thing, Ashley even said this to me afterwards, that which I take as a great compliment that I was able to kind of create a really a good environment on the set, that people felt comfortable exploring those emotions. And so, that now has been what I will always try and do.
SP: Earlier, when we mentioned the short Juggalo Road, you mentioned Terrence Malick for that Was there anything inspirational that led to the look of Off Ramp the feature?
NT: I mean a lot! You said before, I mean, I’m a cinephile myself. I am a huge—I love film, I watch many films. You can see tons of posters behind me. In fact, we’re in the Kubrick section right here.
SP: Yeah, you can tell.
NT: There’s even more Kubrick section over there. Kubrick is definitely my favorite. Personally, my favorite filmmaker, I think for me, I think he is. But I think there’s a lot of great ones. As far as a look, like certain things about the look, I also spent time as a cinematographer myself and I do photograph TV and movies and shorts and stuff. So, it was an interesting thing because I made a short film called Mariah. That was well-received and did well, but I DPed and directed it. I shot and directed it. And I found that I kept being focused on the camera more because that’s my comfort zone. And I think I didn’t focus as much on the acting as I should have or could have. And when I look back at Mariah I think about that.
And so, when we did Off Ramp, I wanted to hire a DP to shoot it, and there was only really one choice in my mind, who is Bron Moyi, who is a cinematographer. And Bron and I worked together, [when] he started, he was an on-set dresser. And so I was a gaffer, and he was an on-set dresser, so we got to be friends just sharing a love of film. And we would talk about lighting, and then he expressed that he wanted to be a cinematographer. So, we would work on this one TV show, Queen Sugar, and when we would do lighting setups, I would talk to him about it. He would ask me questions about it, and I would whatever.
And so, when he finally decided that he was going to be a DP, his talent—I think he’s a better DP than I am—and I knew when I made it, I was like, “I don’t want this movie to like, look like I shot it.” If that makes any sense. But I was still very specific about what I wanted, and that was what made such a great collaboration with Bron is because if I told Bron, “I think this light’s too bright. Can we make it darker?” There was no ego about that. He was fine with it. But at the same time, he would come to me and say, “Well, how would you light this?” And I would say, “Well, I’d do this,” but I didn’t nitpick it. I would just be like, “Here’s this. And then let him go,” and I was always really happy with the results.
You know, I’m just always really inspired by—I like things that… I love film. I think Malick is a great example. Where Malick’s films, they don’t look real, but they don’t look unreal. You know? They kind of exist in this world of, like, it’s exceedingly beautiful. He’s managing to always see the beauty in everything. Badlands, I think, is one of the best examples of that where it’s this kind of gritty—there’s a lot of grossness to it, but it’s still exceedingly beautiful, and I always thought that was such an excellent piece of work. And so I think that was a big inspiration. You know, Lynch is always a big inspiration. So, you know, I always wanted to put some of that kind of stuff in it. And I always wanted to shoot anamorphic because I just think it looks really cinematic.
There’s also one of these funny things that sort of happens as you become a DP. There’s certain things that you try to do, like always shoot at golden hour if you can. Right? I mean, that’s like the best thing to do. And so, you know, that became one of those things that was like, “Let’s do that all the time.” Interestingly enough, we thought we were going to do more locked-off dolly-type stuff at the beginning, but very quickly I just found that the handheld worked just as well, if not better. Plus, handheld just gives you the freedom to change from a shot that’s like a close-up here, to go and pull out to this wide thing requires a lot of stuff, but not if you just hold it there and move it over here and I think it really gave us a lot of ability to do that.
But there’s so many brilliant cinematographers that I could name that I loved: Gordon Willis, Robby Müller, you know? I mean, Robby Müller is a big inspiration for me as a cinematographer and director. I mean, he was able to see things in such a unique way. It was like it was always accepting the environments how they were. And I thought that was really inspiring. So yeah, I mean a lot. Kubrick, Lynch, all these guys.
SP: Good company, I guess. So, I love this movie. You know that because I’ve told you a few times. It was such a damn surprise to me. I’m not an ICP fan. I know nothing really of that world. Just, you know, showed up for your movie and absolutely walked away going, “Wow, that’s the best thing I’ve seen this year,” and so far, we’re in June now, and that remains true.
NT: Thank you very much.
SP: Hey, thank you! But what do you hope, an audience coming to your film –well, it’s playing at Chattanooga, it’s playing, I think, virtually—what are you hoping that they see in it? What are you hoping they’re taking away from it? What do you want from the audience here?
NT: Well, I want them to have the experience you had. You know? I get so much joy from people being surprised by this film. I think it’s one of the things that…You get so myopic as you’re making a film, and you just kind of only see it from your own perspective because you can’t see it any other way. So, I didn’t know the movie was so sweet until people were sort of watching it. I didn’t know that the heart was as strong. I mean, I think that’s just who I am, and the type of films I want to make are things that do touch people, and Wild at Heart is another really, really big inspiration behind this film. It’s one of mine and Tim’s favorite films. My dog’s name is Lula, named after a character, it’s like it just goes on and on. And I think Wild at Heart really strikes that tone of everything. You get extreme violence, you get extreme danger, you get fear, you get weirdness, but you also have this emotional center to it, and you really feel the love between those characters. And the magic trick that Lynch pulls off with that movie just continues to baffle me because you’re like, “How do you..?”
And so, I guess I hope that that’s what audiences experience. I hope that they come with an open mind, or you know, let them come with a closed mind. Because the truth is I hope that this movie opens minds. Because the other thing too—to mention something and kind of back up—I think making this movie opened my mind too. Because when we first started the script, it was a bit more of that comedic perspective of almost like laughing at Juggalos, and the more we wrote it and the longer time we spent with it, the more I realized that was incorrect and that what would make a much stronger, more beautiful film is to say, “Well, let’s treat these people like humans, and really explore who they are, and what makes them tick and really make some connections there.”
And so, I think it’s really interesting because you’re not the only person who’s surprised. It’s very common that people say that. And I feel really touched, and I find that very joyful because it’s exciting. And also I know myself, when I see a movie and if it—I mean you and I are people who watch a lot of films, and so I take it as such a compliment that you say that too because it takes a lot to kind of surprise someone like us who watches so much, who’s watching maybe four movies in a day sometimes or something. We’ve seen so much stuff that to see something that does surprise you is just really awesome.
And so, I hope that’s what they experience, and I’m excited for people to watch it virtually, but you know, if you can get to a theater whenever that does happen, I can also say that it is a theater movie, and it is a pretty wild experience. I also didn’t know how big of a theater hit it would be, but every time I’ve played it in a theater, there’s a lot of uproarious laughter and cringes and pin drops, and it’s such a joy to be able to experience that, too.
I’ll say one thing, when I was in film school, we were lucky enough to have William Friedkin join us and teach us some things. And he said that you make a movie three times. He says, “You make one movie when you write it, you make a different movie when you shoot it, and you make a different movie when you edit it.” And I agree with that. But I also think I’d add two points to that. I think you make a different movie when you conceive of it, and then when you write it, it becomes a different thing because there’s other machinations that have to happen. And then, as you write it. Then when you shoot it, it becomes a totally different thing. And then when you edit it, it also becomes a different thing. But the truth is you do not know what you have made until you show it to an audience. And that final step is really –I learned a lot about this film by showing it to people.
And like one of the more wild things was we had our world premiere in Warsaw, Poland, at the Splat! Film Fest. And I was like, “Well, how is this movie going to translate to a Polish audience?” You know? it’s a movie about an American subculture with all these inside jokes and wordplay and stuff. And they loved it. I mean, they were uproarious, and they voted it the best film in the festival. And I was like, “Ok, so it does crossover.”
And I think that’s the thing, what’s so great—-what I love so much about the film, and also for audiences—is that this may be a movie about Juggalos, but this is a movie for everyone who has ever felt like an outsider. And they’re a little different, or maybe they didn’t fit in with everybody else, and maybe they’re just a little on the outskirts of the norm. And I think that’s really who the film is for. I really want the film to connect with all of those people, not just Juggalos. I do want it to connect with Juggalos. In fact, to be honest, when Juggalos watch the movie, I get more nervous than anyone because I’m like, “I hope I got it right.”
And, you know, when we had our North American premiere, we had it here at home in New Orleans at the New Orleans Film Festival, and this young kid came up to me afterwards and he said, “Watching this movie made me want to be a nicer person.” I mean, what can you do? That’s like the greatest thing I’ve ever heard. And I said, “Making this movie made me a nicer person.” And I think, if I could just get one nugget of that to everyone, that would be amazing.
SP: That’s amazing. That’s such a good story.
Alright, Nathan, we are out of time, but thank you so much for doing this. I’m so glad that we got to talk again. I truly hope that this movie takes off. I think everybody should go see this. I’ve been talking about it non-stop to my coworkers, to my friends, to my family, everybody is sick of hearing about your movie in my little circle. But thank you, thank you so much, for sitting down and talking to me. I truly love this film.
NT: Thank you. Thank you for being such a supporter. Really, it means so much. It’s so huge.
Just I’ll finish with a few little, small things. One goes to visit our website, offrampfilm.com. There’s a mailing list. Please sign up. We do have a date in addition to Chattanooga. Please see it at Chattanooga, but if you miss Chattanooga, we do have a date for our streaming VOD release, which will be September 6, 2024. So, we will be on most major premium VOD, like iTunes and Roku and Amazon. And there will be some small theatrical release, we’re still working out the details of that, but if you sign up to that mailing list or follow Off Ramp film at Instagram, please do all those things.
SP: You heard him, go do it!
NT: Thank you, Sean. Really, truly, this is awesome.
SP: Yeah, anytime this is. Thank you so much.
NT: You got it, buddy.
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