NOLA Film Scene with Tj & Plaideau
A podcast about acting, filmmaking, and the improv scene in New Orleans.
NOLA Film Scene with Tj & Plaideau
David Rabalais: Gumbo, Ghosts, And The Fois
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A haunted gumbo, a bayou curse, and an indie crew determined to pull off the wildest horror-comedy to come out of South Louisiana—this conversation goes deep into how “The Fois” became a full-on feature. We sit down with writer-director David Rabalais to unpack the origin of the cursed recipe, the family story at its center, and the gleefully gross folklore that turns a quiet town upside down. It’s equal parts heart and chaos: a pilot returns to inherit his papa’s camp, wakes the ghost of his gumbo-champion mama, and—thanks to a disastrous viral recipe—unleashes a supernatural outbreak that sloshes through the waterways.
https://davidrabalaisfilm.com/
Voiced by Brian Plaideau
Have you been injured? New Orleans based actor, Jana McCaffery, has been practicing law in Louisiana since 1999, specializing in personal injury since 2008. She takes helping others very seriously. If you have been injured, Jana is offering a free consultation AND a reduced fee for fellow members of the Lousiana film industry, and she will handle your case from start to finish. She can be reached at janamccaffery@gmail.com or 504-837-1234. Tell Her NOLA Film Scene sent you
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Welcome to Nola Film team with TJ Play-Doh. I'm TJ. And as always, I'm Play-Doh. Welcome to Nola Films team. We are here with David Rambelay. Thank you.
SPEAKER_02:David Ramelet. The the ass is silent, I say. Uh one of those uh weird French names. It's not Ramelass.
SPEAKER_00:Ramble ass. You are the director of the the Foix. Which probably should put that ass back in there. Foi. Foi. Yeah, that might save them for production costs. Exactly. Not a problem. David, if you could if you could tell our uh our viewership a little bit about you and your film, please. Yeah, sure.
SPEAKER_02:I'm a writer director from here in South Louisiana. And uh I I've done other stuff, but this is the first the first uh feature narrative work that I've done. I've I've done a a feature documentary before, but um this is the first feature film uh like this that I've done. It's a horror comedy about about the floor. So did you want like a whole synopsis about the movie?
SPEAKER_00:As much as you want to share, because before talking to you and our good friend Hick Jeremy is a part of your film, so that's how I kind of got introduced. I never knew what that was. So as much as you want to tell him and just tell him what the floie is.
SPEAKER_02:Oh, yeah. Well, the floa is basically Cajun slang for uh diarrhea, and so that's why it's a horror movie. Every everybody thinks I like diarrhea now. It's not true. Uh that's why it's a horror movie because I don't like it. And if you're if you have a supernatural case of the of the foie and it's deadly, like in the movie, then boy oh boy. The the movie's about uh like this struggling pilot who inherits his papa's camp, and he has to come back down to the bayou and reconnect with his roots and inherit the camp. Uh he awakens the ghost of his mama claudette, and she was a gumbo champion, and they wind up cooking like this messed-up TikTok recipe gumboat or prize-winning pot. Uh I don't know if you know Haas, uh Cajun cooking with Haas, but he he throws it in the long grass, it seeps into the water supply, and now there's a supernatural, deadly case of the foie uh spreading throughout the waterways in South Louisiana, and it turns a small bayou community upside down.
SPEAKER_00:It's it's like y'all made that Disney recipe in Momo's pot.
SPEAKER_02:It was like that, or worse.
SPEAKER_00:I didn't I did know that was the part of it, you know, I knew a little bit my heart dropped. No tom no tomatoes in there, right?
SPEAKER_02:Oh, well, in in one of them there is, but uh the it in another scene we have to cook a proper gumbo to save the world, not uh spoiler alert. And we actually have a rusty from Rusty's seasonings come and supervised for that shoot, and he made sure that we had a a legit gumbo for that scene. But yeah, the the one that unleashes the curse, that is you know, probably this Disney level or worse.
SPEAKER_00:Rusty did the catering for Cajun Con. Oh, I didn't yeah, yeah, that's right. Yeah, yeah. He's good. I didn't get any of it.
SPEAKER_02:We're gonna have to make a special trip, TJ. I think he's gonna cook for the uh for the premiere. I think Rusty's gonna come out and cook. We might even do a gumbo hook-off for the premiere and call it foie fest. You're getting you're guaranteed to have the foie or your money back.
SPEAKER_00:Sponsored by Pepto, Tony Saturis, and the toilet paper of your choice.
SPEAKER_02:Yeah. We'll make it all you can eat gumbo. If you don't have the floie by the time you leave there, you're doing it wrong.
SPEAKER_01:I don't know. So I got a toilet brush the other day, but long story short, I went back to toilet paper.
SPEAKER_00:You're using it wrong. Uh foie two attire use couldn't ael, but yeah.
SPEAKER_02:Well, the the this the the sequel is called the floie number two. And uh that movie's the shit. Well, it's a trilogy. That the the third one is good, the third floie is gonna be the foie three, menager foie. That's wonderful. So some humor just deal with age, does it? So I I haven't I haven't matured mentally since I was like 12. And that's fantastic. Uh it's kind of leveled off right here.
SPEAKER_00:How did you get into filmmaking?
SPEAKER_02:Uh I I worked at TV10 and Lafayette, and I guess that was the first time I held the camera professionally. And then when I left there after college, I I just started doing video production on my own. I did all kinds of stuff: weddings, music videos, commercials. I I still do like commercials and social media for for clients. I I've always wanted to make uh movies, and I've got all these ridiculous ideas, and I'm like, well, um I'm getting older. If I'm not, I better start making them before it's too late. So here I am. There's never a perfect time to do it, so I'm just doing it by hook or by crook.
SPEAKER_01:So you said you've you've done a feature documentary and now a feature narrative. Do you do you prefer the process of one over the other so far? Or different feeling for you? Like what are your thoughts on that?
SPEAKER_02:I like the the the narrative uh a lot better than the documentary. I I like them both in different ways, but the the only problem with doing a narrative work is that I don't have a million dollars to uh make things happen, you know. Like that I can write whatever I want on the page, but you don't I I don't we don't have like a big budget to make it happen, like logistics we're struggling on. Other than that, um besides all the scheduling and logistics and lack of funds, I love the process more of doing the narrative works. And uh it's been uh a challenge, but it's been a a lot of fun.
SPEAKER_01:Yeah, that that makes sense. I mean, with a documentary for at least for a roll, if nothing else, you can just darken darken the scene, make the scene dark, and just a a couple of lights and really good camera and sound, and doesn't doesn't take a whole lot logistically. Not like it would for a feature film anyway.
SPEAKER_02:At least it seems like well it's documentaries are mostly like interviews and b-roll, and I do enough of that for for client work. I it's not really that fun compared, unless it was like a big expose or something like that that you might see on Netflix. Like I love the true crime documentaries and things that are really compelling like that, but I don't know. I I've always wanted to do horror movies, comedies, and this one's a horror comedy, so this is right up my alley. This is I mean, if I had a billion dollars, I'd still be doing it. It's probably a better version of it. I hear you.
SPEAKER_00:Well, and we work on independent movies too, and it can always be like El Mariachi to Desperado, Evil Dead One to Evil Dead Two. You can almost make the same movie once you get a budget, and yeah, that's true. I just wanted to point out we have someone in the chat, so it might be only our second chat. Louisiana Girls at Louisiana. Hey Rachel, yeah, she she's in the movie, she's a swamp witch. Ooh, we met I met uh traveling with Taryn. You're one of the other swamp witches. She's a swamp witch too, yeah. Rachel, thank we met her at CajunCon. Rachel, thanks for watching and commenting. You've you might not be our first, but you're our most recent. We haven't had many chats, and I'm struggling to try to find some way to contact her. So we're gonna be learning more, but hey Rachel. Anyway, back to the questions. Enough of you, Rachel. What was your no have have you done other movies? I I'm sorry if I got a little lost in it, but I know you're doing videos and production. Is this your first movie?
SPEAKER_02:First uh narrative work that's but I've done like little shorts and skins and stuff before with with friends and and whatever, but this is the first feature film uh for narrative works.
SPEAKER_00:What is what were some of the best things that you've experienced jumping up to this feat this level? And maybe one of the things you had to struggle with that you learned and you overcame to let people know part of the process and inspire them and what they can expect.
SPEAKER_02:I mean, I I I was gonna do a feature film just because it to me it's almost as much work to do a short film than to do a feature film. You still gotta do all the all the steps. You can do a lot more with a feature film than a short film after it's made. I I feel like you can. I mean, short films are great for film festivals. I I don't really care about film festivals. I I wanted to make a feature film and get it distributed. And anyway, I at first it was like me and maybe five people that I knew that might want to do it, but then it kind of snowballed, like more and more people wanted to be in it, and I was really surprised by that. And uh, I had a couple friends that were actors, uh Kristen Ritten and Nick Manning, and and they wanted to be in it. I'm like, all right, well, that's great, they're experienced and and all that, and then uh more and more people wanted to be in it, and I I I eventually ran an ad on Facebook just kind of describing the movie and what we were doing, and it asked if anybody wanted to volunteer to be in the movie, and I I had to turn the ad off after two days because we had like over 200 people submit it, and I was like, wow, this is this is crazy. I couldn't even get back to everybody. So um was I was pleasantly surprised and kind of overwhelmed at the same time that so many people wanted to.
SPEAKER_00:That's awesome. And is that how you got Hick?
SPEAKER_02:Yeah, I didn't know Hick, and and he I think he commented or wrote in or somehow uh he he expressed interest, and he was he was pretty busy and he had like one day available, and it just so happened to work with us too. So we shot his scene in one day.
SPEAKER_01:Oh, that's great.
SPEAKER_02:And we we have a lot of uh Cajun influencers and people like that on on uh TikTok and social media nowadays, so a lot of them wanted to be in it too, and that's great because they already have an audience, and so uh what what I did is I just gave them roles in the movie depending on their schedule. If they just have like one or two days available, I'll write a part for them to be in it, and uh just kind of like a grassroots uh social media connection or family now. Like we're all we all talk almost every day on Facebook and stuff, and um it's it's kind of like a flaw community. Yeah, you got Corey Ledoux? Yeah, Corey Ledoux in it, yeah. And and he and he had a good time doing his scene, and I thought he did well, and so I wrote him another part after that, and he came back and did another part with the swamp witches.
SPEAKER_00:Nice. I I I really can't wait to see this. I think you're you're within a month, you'll be finished with principal photography, and then yeah. Do you have a lot of special effects you have to work with, or and you don't have to say you can keep it quiet if you know anything you don't want to release?
SPEAKER_02:I I don't know how much we're gonna deal with special effects, it depends how it looks. Uh I most of what we did was practical. Well, um, but I do I do need to make like some fog and stuff like that, and we're doing that on the computer.
SPEAKER_00:Yeah, I I did a movie called Bayhuasca. I play a uh a swamp swamp wizard, and we call it a Cajun Jedi, but I helped out with things behind the scenes, so I was operating the fog machine, and this the wind kept switching. So first it was great, it's it's coming in, and then it switched, and it wasn't even making it to the actors. So I had this sign and I started wafting the fog, wafting the smoke, and and I I did it in different patterns, you know, boom-boom-boom. They're like, Oh, that fog was great. Hey, look, I'm the fog whisperer. Maybe you got a new occupation, yeah. Hey, hire me. Yeah, but um I I like using practical effects, but the it can turn on you like the wind without giving anything away.
SPEAKER_01:And I keep saying that, but you definitely don't want foie turning on you.
SPEAKER_00:You don't want that backing up on you. What what's a problem that you encounter that you didn't expect?
SPEAKER_02:Um, I probably just wrote too many characters in the movie for like people's schedules. It's really the only issue we've had. Uh well when everything when everybody is there and and they show up and we're having a good time, I we haven't had any trouble. Um, because I wrote what in the script, I started the script by writing what I had access to. And um, I got like I I know these people will do it, and I know I'll be able to use these locations. So I I didn't too much in the script compared to what I had, it's just the the timing, the scheduling. Some some scenes we've had like 40 people in them, like they're pretty massive. Wow, and oh wow. Well, a lot of those are extras, but you know, like with main characters, we'll have uh maybe a handful of characters, maybe even like 10 characters in the same scene, and there just wasn't any days where I could get everybody there on the same day. Uh, because they're all volunteering, you know, we don't have any money. Well, it's not like a real movie with the budget, you know. So uh some some scenes we we had to shoot like this side of the room with these people, and then the other another day we shot the other side of the room with these other people and stuff like that. You just have to make it work, and then like sometimes people just don't show up, and I would have to rewrite the script on the set um to make that make sense that they're not there now. So stuff like that was uh the biggest challenge. Um, and and hopefully one day uh we can have a good movie budget and make all make uh a living or at least some money doing it. That's my dream. Um, to do something like that, just to get to that level.
SPEAKER_00:We're we're with you on that. So, what I'm hearing is what I love about independent filmmaking. You you you took the plunge. You you you know we can all wait for the perfect time. There's never the perfect time. You you saw your dream, you left for it, you rounded up the people around you said, I have these assets. You didn't worry about what you didn't have, and then when you got more, you added, and when you had to, you subtracted. But it's all creative responses, and that's a beautiful thing. I'm proud of you.
SPEAKER_02:Well, thank you. Yeah, luckily we didn't have to do anything too crazy. Like, I was like, Well, what if this person uh doesn't show show up ever again? I've got around like a like a time travel scene or a switching body scene, and you know, like I was trying to think of things.
SPEAKER_00:They get they get hit with the flop, and now they're a totally new person. Yeah, yeah. Oh look, I see a comment pop up. TJ's working at that's Rachel, yeah, and there's another person. Oh, Haas Haas is in the house. Hey Hoss, hey Rachel. Don't don't throw our episode in the long grass, please. Hey, and a I saw a Rochelle in there, and I'm fine.
SPEAKER_02:Rochelle, she she's from Paris. She she flew all the way from Paris to be in the movie, and she plays um the title character basically. Uh Claudette is the official title is The Flo Revenge of Momo Claudette, and uh she plays the ghost.
SPEAKER_00:You go, girl. Howdy, Haas. How you doing? We're gonna have you on the show one day. Maybe we'll do a cooking segment.
SPEAKER_02:You shouldn't. Yeah, he's got a new cooking setup now. Are you guys going to the um do you guys uh uh ever put weenies in your spaghetti? You go into that thing?
SPEAKER_00:I I haven't heard about that. Um, I I don't know if I'm gonna feel comfortable talking to you about my weenies, but uh uh Sheldon talked about it on Big Bang Theory, right?
SPEAKER_01:He didn't that what he talked about doing? I've never tried it.
SPEAKER_02:They have a weenie and spaghetti festival. I just found out about it, and I think I'm gonna I'm gonna be there on the on the 10th in Homa.
SPEAKER_00:I will probably not make that. That is he loves Weenie and Spaghetti. It'll be it would be great, except the 10th is my wife's birthday, and that same weekend is fan expo. So I'm already juggling too many things, you know. So it'll be like fan expo then during the day, either take her out at night or we do something Sunday. But she her birthday every year falls on the same weekend as that con. And I'm lucky this New Year's we've we'll have been together 21 years, and she's put up with that for so many I can't even count. We got her in the house for Cajun Con. She sat at our booth, so and she used to go with me a lot, but it she's not nerdy like me.
SPEAKER_02:Yeah, you you don't you don't want to give her the flaw for her birthday at the weenie fest, right?
unknown:No.
SPEAKER_00:Nor do I. No, I I think I'll get her, you know, something else. Yeah. Uh well, where are y'all shooting?
SPEAKER_02:It's mostly shot around Lafayette and Henderson. Well, one of the main locations we had access to was Cypress Cove Landing. Shout out to them, Cypress Cove Landing and uh Henderson. It's on the Achafalae basin, and they got a boat dock and they have live music on the weekends and they serve food and stuff like that, um, at least during the spring and summer. And they said we could shoot there, and they got they had uh house boats and things like that. So just having that location alone, a lot of the branding that we saw was called Cypress Cove Landing, and so I just named the fictional town in the in the movie Cypress Cove, uh, just so it would kind of make sense. And so the Achafalae Basin is I would say the main location in the in the movie, and then the Popwise camp was uh a building that we had access to um through some relatives, and that was at a different location, but it's waterfront, so I just made that part of the the basin in the story, like it's it's all next door, pretty much, uh, on the Achapali Basin in the in the in the story.
SPEAKER_00:Nice. We're all stunned.
SPEAKER_02:Oh well, I mean and most of the actors and stuff was uh from laugh the Lafayette area, and all most of the locations that I had access to were also around Lafayette. So between Lafayette and Henderson, almost everything was shot. And um we also had a place in New Iberia, like we helicopters and airplanes in the movie because uh what one of my video clients is in New Iberia, uh Aviation Academy, Louisiana, and they are a flight training school, and and so made a deal with them to have some helicopters and airplanes, and so we had that location as well. It was pretty cool.
SPEAKER_00:That's wicking. Yeah, that's function. You got planes, you got you got fancy stuff.
SPEAKER_02:Yeah, well, I mean, I didn't even need airplanes and helicopters, but I knew I had this to them, so I wrote them into the that's one of the the main things I was trying to do when I was writing is just like think of every single thing that I had access to and the people that I knew. I I got more and more on the way, but I that's what I started with.
SPEAKER_00:How how's the soundtrack? Have you you've already incorporated That you're gonna do that after. How's that looking?
SPEAKER_02:Uh honestly, I could use more uh music probably, but um I I had I had Leroy Thomas, who's a Zydeco musician from Elton, he plays all around uh the country, and he he he was so um you know nice to deal with and a nice guy that I was like, Well, do you want to act in the movie too? And he did, so he's playing the deputy. So um I I just basically made him the musicianslash deputy in the movie, and we filmed at one of his concerts at Cypress Cove Landing, which was one of the main locations. It just all kind of worked out. Like I saw that he had a show there in about a month. I'm like, well, it was kind of risky because if if the scheduling didn't work out, I don't know what I would have done, but we made it work. Uh yeah, so he's the deputy and Zydeco musician. We're using a lot of his songs, and some of some of the songs uh Leroy Thomas just wrote on the stage. I'm like, I I need a song about this, and and so he's like, let me just let me think for like 30 seconds. And it's like, all right, and he just plays it and his whole band jumps in. I don't know how they do that, but they just write music on the spot. And then um, well, I got another band that wanted to be in the movie, uh Nock New in the Wild Moutons or Wild Uh is it is it the word for cat? I don't know. Nock New is gonna have some music on there, and uh maybe a couple of other ones, but we could definitely use more uh occasion and zydeco music if anyone is interested, just let me know.
SPEAKER_00:That's cool. School I I didn't want to say, I I don't I don't have the floa, but I'm starting to get a little heartburn, and I'm not even joking about that. Just so uh I know we have some swamp witches in our in our chat. Did it did I offend y'all? What what what's going on here? Although my wife did make jambalaya, I think I've got the fourth one.
SPEAKER_02:Did she use a haunted pot?
SPEAKER_01:Uh now you're in for it.
SPEAKER_00:No, it's not it wasn't a food, it probably the quantity I ate. No melons. Uh long.
SPEAKER_01:Sorry, how long was the process for you conception to actual starting principal photography?
SPEAKER_02:Um, I I had the idea last October 2024, and then I wrote it over the next few months, and we started shooting in June. So probably six months, six, seven months before we started really shooting.
SPEAKER_01:That's pretty good. I mean, that's pretty pretty quick.
SPEAKER_02:Yeah, well, I I thought we would finish shooting much sooner, but we we we've had some setbacks, and uh a lot of that comes with just um people volunteering and not having a budget and just on people's off time. And we've also had unexpected setbacks with um like Nick Manning was in a motorcycle accident, and we were lucky he wasn't hurt terribly bad, but he was out for you know four to six weeks, and then right after that, um Kristen Rinton had to go shoot a real movie in New York for uh four or five weeks. So um that was like two two two months, maybe two and a half months, where we just weren't really shooting much at all. And so I'd say from like June until now we shot basically 99% of the whole movie just in people's off times. But I was I was hoping to do it much faster than that, but it sometimes it doesn't work out that way.
SPEAKER_00:But speaking of exactly go ahead, yeah, go ahead. No, I was gonna say my first movie working background was Jay and Silent Bobby Boot, and that was 2019, and I met Josh Stevens there. He said, Do you want to be in my movie? It's called Death Trip, and I didn't hear from him for a year. My first line in that movie, in any movie, was Saturday, March 14th, 2020, and then the world broke. We all got quarantined, so it's finally done. We're looking at uh distributors now, at least I think it's done, all post-production, everything. So that took six years with no budget, you don't have speed. Keep out it, never lose your focus, brother.
SPEAKER_02:Well, I'm not we're too far in it now. Um yeah, hopefully the next one we can make it much faster because I think I've learned a lot of lessons on this one.
SPEAKER_00:We've talked to Ann Mahoney and others, and this seems to be the consensus. We need to set up a foundation, an organization, something that will distribute money, like hook filmmakers up with people who have the money so you can get it done. And I think that'll be the next step in Louisiana filmmaking, because we can't wait on Hollywood anymore. No, that's a fact. We like your Hollywood. I don't want nothing, you know. We're not we're not putting Luray Hollywood. We'll we'll still work with you, please. But we got to do it on our own, take advantage of our own tax benefits and all that good stuff. That's right.
SPEAKER_01:Funding's the hardest part.
SPEAKER_02:Yeah, it really is. I don't I don't know much about that side. I just like to make the movies, you know, and we're just doing it with whatever we have. Yeah, the business side of the movie industry is not always fun, and sometimes there's a lot of predatory people out there that will take advantage of you, and so I'm just trying to do as everything as independent as I possibly can, even if it means not having a budget.
SPEAKER_00:Yeah, yeah, keep that control, control, and answers with creativity.
SPEAKER_02:So, yeah, and sometimes when you have limitations, you get more creative, you know. Uh we've had to do a lot of creative things because we couldn't get this or couldn't get that, or you know, things happen, and it it's it's still fun, but it would be a lot easier with money. Definitely.
SPEAKER_00:Well, I was gonna ask you if you had any divas on the set, but we probably shouldn't say, especially with them casting spells at me from the chat. I mean, when I work with TJ, I know who the DJ the the Divas gonna be, but we don't have to talk about that. It's it's me. It's me.
SPEAKER_02:I didn't have any divas. Well, uh the the only bad people like never made it to the set because you you figure out that they're bad before you even get to the shoot, you know. You just you talk to them before and you can figure out who's who's not a good uh the good person. And this is we we there's really not many though. Like I can think of one off the top of my head that I would not want to work with, or but other than that, everybody was really great, and that's the third part of independent filmmaking.
SPEAKER_00:People know that you're I don't want to say desperate, but you're low budget, and so then the focus and every and the teamwork comes together. Always gonna be a couple assholes, and in a movie like The Fois, dot dot dot.
SPEAKER_02:But yeah, yeah, and it's usually the the better quality person or or location for that matter are the easiest and best to work with, and the people least amount of experience or or or like a it's like like the higher I would try to set my sights, the bet the better experience I would have in a lot of different situations. So um that it's probably like that with a lot of things in life, but I think it turned out pretty good for the first movie.
SPEAKER_00:Uh I think it's gonna be more than pretty good from what I hear. And you are absolutely right from our own experience. From we've had a few celebrities and stars we've talked to, and the higher up they are, the more accomplished they are, the nicer they are. They're not worried about fight to get their scene, and you know, they want to help their fellow actors. Or, like I was reading the article, it's not the close-up on them, they will stand behind the camera and help the other actor. Whereas the I don't want to say mid-level, but the say divas or the jerks, they want to go to their trailer. It doesn't, they're not worried about this the production, they're not worried about their fellow actors, and and you can see, and that we say it all the time: reputation gets around. If you're a jerk, it's gonna go like wildfire through the industry. If you're a good person, it might take a little longer, but those roots grow deeper.
SPEAKER_02:Yeah, absolutely. I think I think Kristen Rinton was our most experienced uh veteran act actor, and and she was the nicest and would always help people and even go uh help with the script and stuff like that. So um can't say enough about her. And you y'all know Hick, he's been in a bunch of movies and stuff, and and Hick was really great to work with too, even though it's just that one day I got to meet him. And uh yeah, it was kind of like that with everything. That like the the better, the more experienced and the better reputation people were the best to work with.
SPEAKER_01:Yeah, that's I find that to be true. Yeah, we've worked, we both worked with Hick a few times and like working with him. Good work, solid work ethic, solid, solid, solid guy.
SPEAKER_00:He got that hic set hick ceremy stare. So he was behind the camera helping me in a gunfight, a cowboy gunfight, and just having that look and a fake prop gun looking at me, you feel it.
SPEAKER_02:Yeah, well, he probably had too many grocons. Hick? Too many what there's no such thing as too many for Hick. He had a cool scene in our movie. He was he was he got to play like a creepy, recluse guy, and uh he pulled it off really really well. He he was kind of scary.
SPEAKER_00:Yeah, he's got this that steely stare for being such a nice guy. Yeah, yeah. Well, his Santa. He and I traded Santa's. I got to do a little commercial playing Santa, and he while CajunCon was going on, that's when he did his costumes, were so elaborate. His Santa suits, I was jealous.
SPEAKER_02:I I like I think I saw that. That was great.
SPEAKER_00:Oh, thank you, thank you, David. Uh, I think we are about at that time where we're gonna have to flush this episode. Uh we we can't thank you enough for coming on. We can't wait to see the foie and everything else you do. And and I can't think of anything else nice to say, but I had a great time talking to you.
SPEAKER_02:No, it's nice talking to you. Thanks for the opportunity, guys. I appreciate it. Uh maybe we can do it again when the movie comes out. I'll have more to show you.
SPEAKER_01:You want to share? Do you have a website for the film or socials or anything that you want to share? We can also put that in the description when we when we publish the edited version.
SPEAKER_02:Yeah, I I I kind of made new socials and everything for filmmaking, like David Rabelais Filmmaker. Good luck spelling that. It's uh it it's just my my name, David Rabelais Filmmaker, and the website is David Rabelaisfilm.com. So you can see everything you want to see on there.
SPEAKER_00:And probably more.
SPEAKER_02:You might see more than you want to see. I don't know. Yeah, I'm gonna I'm just getting to the point where I'm gonna start posting some clips and trailers and stuff, and it it's it's getting to be the exciting time of the floa. So if you if you love diarrhea movies, by all means tune in, follow along. We're gonna uh we're gonna oh I mean we got floa cannons, all kind of behind the scenes stuff I'm gonna post. It's pretty incredible.
SPEAKER_00:Flo cannons. My support job, I'm a janitor. I have run into people's floa, and I'll leave it at that. Well, I've met the poop emoji in real life. We can end it there.
SPEAKER_02:Well, call me next time, and it'll it'll save a lot of money with post production.
SPEAKER_00:Okay. I'm having next time. I'm having flash David.
SPEAKER_01:Thanks, David. Thank you. Bye, folks. Thank you guys. See y'all next time, folks.
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