Outstanding in the field

Silo film Interview Summary:

Ahead of the Greenstone Customer Conference digital community screening of SILO film, Mike Terning sits down with Sam Goldberg, Producer and CEO of SILO film, to discuss his inspiration for creating a feature film about grain entrapment. Learn the interesting story behind the film, from setbacks like production cancellation to the final success of the film being made.

What you will learn in this episode:

  • Details about Sam’s latest SILO film
  • How Sam was able to pursue both of his passions for Film and Agriculture
  • Challenges Sam and the Production team faced while on the set of SILO
  • What is Sam’s next Agriculture related Film project?

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Transcription of Mike Terning’s interview with the SILO film producer:

Mike:   Hello, this is Mike Terning. Welcome to another episode of Outstanding in the Field podcast by Greenstone Systems. Today I have the pleasure of interviewing Mr. Sam Goldberg. Sam is the brains and the vision behind a movie pertaining to the ag industry called Silo. Sam could you please introduce yourself to our audience, and give a little background on yourself for us please?

Sam:   Definitely. Thanks Mike. Thanks for having me, and thanks to your audience and your company to listening in and giving Silo this platform. I grew up in New York City. I lived there for the majority of my life. As far back as I can remember, I wanted to work in the entertainment business. At first it was as a performer. I did a lot of acting as a kid. I was in radio work or commercials. I was even in a film when I was 13 years old. Over the course of time and going to university, I decided that behind the camera was better suited to my skill set and what I wanted to do, which was help facilitate the creative vision of writers, directors, and all sorts of artists. So whether that be something that happens on a stage like a play or a musical performance or something that happens on a screen like a film or a TV show. I just love working on stories and working on the structure of a particular story and getting at the root of what it’s all about and what it’s mission statement is, what it’s organizing principle is.

So since university, I’ve been working as a film producer. I’m just working with a couple of artists in New York who introduced me from a filmmaker from Tennessee who had an idea to do a movie about grain entrapment. He pitched me the idea, and I have never heard of a grain bin entrapment. I knew almost nothing about agriculture at the time. I thought, well, this could be an interesting way for me to get out of my comfort zone and visit parts of America that otherwise I may not have visited. You know rural parts of Kentucky, Indiana, Illinois, Nebraska, Ohio, Iowa. In doing so, I sort of fell in love with ag and really was so admiring the agricultural community, and the way farmers look out for each other, and the way the industry really seems to have a value system that goes from top to bottom and bottom to top. Obviously not all the time, but in my experience I really admired what I was seeing in ag. So this movie took on really a different meaning for me. Not just as an artistic endeavor, but also as something that can be a bridge-builder between people like myself from big cities who don’t know that much about ag or even people in rural areas of America who don’t know that much about ag and use a heart wrenching real film to get people to understand and empathize with farmers more. So Silo’s really taken on a life of it’s own. We’ve done hundreds of screenings of the movie. It’s reached people all over the country. I’m confident that we’re not only potentially saving lives because we’re raising awareness around farm safety and mental health and other important issues in agriculture, but we’re also showing people what really happens day to day in rural parts of the country so that they can have more understanding and more empathy. I think we could probably all agree we need right now as a country. So I believe stories have a role to play in that, and I’m very blessed that I’ve had the privilege of working on a movie that’s been so meaningful to me personally.

Mike:    Well super. Thanks for that background and introduction. Where are you located this morning? Where are you at? I’m seeing your screen here through Teams, that’s how we’re recording this. Just curious where are you at geographically?

Sam:   So I guess I could be anywhere with this trippy purple background I’ve got going on here. This is our home office. My wife and our 18 month daughter and myself, we moved to Bucks County, Pennsylvania in June. It was originally supposed to be a research and development trip and a dairy farm apprenticeship for our next movie, which we’re hoping is going to be about dairy farming. Due to the pandemic, I don’t know when I can make another film. It’s gotten very prohibitively expensive and very difficult for obvious reasons, but also we left New York City which had been our home—well my home for almost my entire life outside of my time in university. My wife had been, I think, in that same apartment for over 10 years. When the pandemic began, we moved in with some family in Long Island. We said you know we like this whole idea of learning more about agriculture and farming, and we want to give our daughter some wide open space to run around. Why don’t we rip off the band aid and move somewhere else? So I’m calling you from a fairly woodsy wide open beautiful part of America here in eastern Pennsylvania.

Mike:   All right. Well, I had never heard of Bucks County, Pennsylvania before this interview. So what is Bucks County known for? Anything?

Sam:   It’s known for a few things. I think it’s known for a lot of agriculture, especially in the northern part of the county. I think there’s over 500,000 people. So a pretty big county here in PA. In the lower and middle parts of the county, there’s a very famous playhouse called the Bucks County Playhouse for regional theater. Very well known, very well reputed. A lot of artists live here, and then a lot of people who grew up here and are horse farmers or produce or corn and soy. It’s sort of a real melting pot here in Bucks County. People interested in different parts of ag and also arts and culture. There’s a wonderful ag university here called Del Val University. We’re here in the Delaware Valley. So there’s a lot going on. It’s exciting. We’re only a few months in and obviously haven’t been able to socialize like we usually would. I’m excited. We’re recording this in October. At the end of the month, we’re doing a drive in movie screening of Silo to raise money for the volunteer fire department here in Delaware Valley. So that will be a pretty cool way to get the movie out there and maybe help them raise some money because they’ve been hamstrung by COVID-19 as so many of us have been. So yeah. Bucks County. I’ve heard of it, but I didn’t know I’d end up living here but I’m happy that I am, at least for now.

Mike:   So that’s cool. That’s cool. So you mentioned that you heard about this idea of grain entrapments. How did you connect with—I think you mentioned it was a gentleman in Tennessee who had this vision? How do you connect?

Sam:   Yeah, I was working with writers named Rachel Lambert and Nathan Gregorski who are fantastic screen writers. They had just produced something together in Nashville. That’s where Marshall Burnette, the director of Silo, was living at the time. He met them and really connected with them artistically. He said I’ve got this idea and I’m trying to get it off the ground. They said, “Well, we know this producer in New York. He and his business partner Yvonne.” Who was my business partner. He’s a wonderful talented guy. “They’re looking to get behind young artists and see if they can make a movie for a reasonable budget.” So Marshall came up to New York. I remember I met him the first time September 14, 2014. I had just torn my ACL. I couldn’t even get up to greet him. I was just kind of leg up on the couch, but he pitched us this idea. He really evoked a lot with a pitch packet. He had laminated a bunch of photographs that he had taken off the internet and from movies that were meant to evoke a certain emotional response, and it was very effective. I could really feel the pain and the anguish in the faces of the individuals he had chosen in this laminated what we call kind of a look book. My partner and I looked at ourselves and we looked at each other and said, “Yeah, this seems like a great idea.”

So what we did next is we connected to a different screenwriter, Jason Williamson who is from rural North Carolina. I knew him through my time in working in theater in New York City. He’s a very successful playwright but had not yet been commissioned to write any film or TV. He was looking for a chance to do that, and he was the perfect guy. So he and Marshall went on a long research and development trip. I think they spent most of their time in Indiana and in Illinois. They connected right away with a gentleman named Dr.—what’s his first name—Dr. Bill Field. Okay, sorry Dr. Field. I apologize if you somehow end up listening to this. Dr. Field is pretty much the main source of grain entrapment statistics every year. He puts out a report every year about confined space incidents in America. He’s been doing it for a long time, and he’s the go-to guy on it. He was our first sort of launch pad into the space, into learning how surprisingly pervasive confined space accidents are on farms whether they be large corporate ones or small family farms. So they started with Bill and they connected with some farmers. When they came back, they had the plot of the movie ready to go. They pitched me an outline. I said let’s get going, and they wrote the script. From there, it’s a long arduous process to getting a movie made, but that was the real genesis of Silo happening.

Mike:   So basically it started—You got involved mid-September of 2014. When did you actually start filming?

Sam:   So Marshall and Jason did their first R&D trip of 2015. Jason delivered a first draft of the script fall of 2015. Then we realized the script he delivered was way more expensive than the money we could raise. We actually filmed what we called almost a proof of concept documentary in 2016 because we knew it was too hard for us to raise the funds for the bigger film. So I asked Marshall what can we do to show people what we’re capable of accomplishing artistically? So he pitched me an idea. Why don’t we go to a farm town where there’s been an entrapment recently, and just talk to people about what happened. We ended up doing that. We filmed a movie called Silo is Well with a tagline “Edge of the Real World”. That was a documentary. Silo the big film is a scripted film with actors. This was a documentary, real people. We focused on Adam Fox, a 29-year-old farmer, and Clay Althoff who was about to graduate high school and go into farming. It was a wonderful experience. It was very eye opening for me in Aurora County, Indiana. I spent two weeks there, actually a week and a half there. I loved my time there. That documentary ended up getting admitted into the 2017 Tribeca Film festival which sort of launched Silo. People loved the short documentary. Our investors showed up. They came to the red carpet premiere, and they said, “Okay, what’s next?”

So we spent 2017 working on our screenplay and lowering the budget for the film that Jason had written with Marshall. We spent that time fundraising. Then we finally—I know it’s a little bit long winded, but I figured I’d give you the full story—we finally decided to shoot the film in Kentucky and Indiana in 2018. I’d be remiss if I didn’t mention that a lot of 2017 was spent cultivating relationships with people in agriculture who could help us make this ambitious movie. Silo, I won’t tell you exactly what the budget it, but we believe we had at least $2 million worth on in-kind value given to us for free from a variety of very generous partners in agriculture. The first one was Dale Dobson, commissioner Ryan Quarles, and the Kentucky Department of Agriculture. They said, “Come shoot in our state. We’ll make this happen.” So they got us free firetrucks. They got us police cars. They got us lighting. They brought us extras. They had an EMT on set every day. They were unbelievable supporters.

Then we connected with a farmer named Quint Pottinger in Kentucky. He said as long as it’s not mid-harvest, you can shoot on our farm. So he let us shoot for free, basically took over his operation for almost two months. He and his dad, [Rainme ph?] and his wife Leah, they were there every day. They were moving combines. They were talking to actors, giving them advice. We were saying, “Hey Quint was that authentic?” He’d say, “You should probably say this. That felt a little bit off.” We had these amazing mentors and friends that let us come on their farm. Last but not least, we had to figure out with a tiny independent film budget how do you make it look real when you are pretending to engulf actors in corn? That is an extremely complex set build that usually Warner Brothers might spend $10 million on something like that on a sound stage in Burbank, California. We had nothing of that sort. The Sukup Manufacturing Company, a wonderful grain bin grain dryer company out of northern Iowa. Family owned business, very philanthropic. They heard about the movie. I flew out to meet them in Sheffield, Iowa. In the moment, the CEO Steve, his daughter Emily, his son-in-law Matt, they said let’s do this. We’ll give you the engineers. We’ll give you the materials. Come to northern Iowa. We’ve got an airplane hanger you can use to film inside of. They basically helped us to do the impossible, which was make this look authentic on a shoe string budget. As you’ll see when you see the movie, it worked.

I think it’s an incredibly real feeling that people get when they watch Silo. Not only because we had these amazing partners, but because all of them showed up with firefighters, with farm experts, with safety experts who told us what things will look like and feel like during a grain entrapment. So we lead up to 2018. We filmed in the months of July and August. We filmed for three and a half weeks in Kentucky and two weeks in Iowa. Then we spent the better part of eight to ten months editing the film in New York City. We officially released it publicly at the Farm Progress Show in Decatur, Illinois in August of 2019. So it’s along process to get an independent—It’s a long process to get any movie made. We’re still working on it, but I’m proud to say that that whole story I described to you was a speculative endeavor. If you want to use a farming analogy, a farmer’s planting and then will the weather work out? Will harvest season be any good? Will we have any rodent issues? Will we have any insect issues? Same thing with a movie. We planted a field. We hoped it would turn out good. We hoped people would like it, and now I’m happy to say that over the last 13/14 months we’ve learned a lot from the audiences we’ve shown the film to. We’ve had, I think, a very successful film release. So I’m really proud of that.

Mike:    That’s great. Yeah, that is quite a perineal crop there. That’s a long lived endeavor indeed. Basically five years before something really comes to life in the film world it sounds like.

Sam:   Yeah. I mean I think the average time for a film from the beginning of the development of the script to an audience actually watching it is between five and seven years. So you really got to be glutton for punishment I guess, but it’s a very fulfilling feeling when it works. So it’s worth it.

Mike:   Yeah. Which shows that to have that perseverance, you have to have some passion behind it, right? I mean you just ran us through the full gamut of seeing some compelling images, right, to having to go through the entire process of a screenplay and having a vision, scaling it back to basically make it commercially viable. Having lots of contacts and relationships develop to pull the thing off, which that’s amazing.

Sam:   I appreciate the way you said that back to me because yeah it’s a bit of a saga. I didn’t even mention we were supposed to film the movie in 2017, and we had to push that. We had to cancel that production. So that was heartbreak. I mean we had every conceivable issue came our way and we weathered them well. When you’re on set, it’s a 45 person family basically. You’re one big moving company. Everybody weathered the storms, and we got through it.

Mike:   Yeah. I’m sure you had some physical storms too knowing Indiana.

Sam:   Kentucky, you can see the storm coming. You’re out here in the plains. You can see the storms coming from like two miles away. When you’re filming, if there’s a lightning strike within seven miles of your set, you have to immediately shut down your generator. It takes 30 minutes for a generator to ramp back up, some of these put-put generators we worked with. So you picture you’re on a 12 hour workday and you’ve got to squeeze every minute out of this film production because you don’t have a dollar more if things go wrong. I remember we had a day where we must have shut that generator on and off 20 times. It was just painful. It was painful. You get through it. It’s not lifesaving work. We’re not doctors. We’re making a movie. It’s a passion project. It’s important to tell stories, but you always have to keep in context this is a privilege to be working in this field. So as much as I could—Well I had one meltdown on set, but we won’t talk about that. I had one very tough moment, but other than that I tried to keep it cool and keep as much context as I could.

Mike:   Well, in large projects we call that the valley of despair, right? Kickoffs are typically a high moment, and then we get down into the depths of the project and it’s like, “Will we ever get there?” So valley of despair moment. So here at Greenstone we’ve heard of this film and some of our customers are showing it within their agribusiness operations. We have the privilege of having a screening of it to our customers at an upcoming virtual customer conference that we’re doing in November. Why do you feel it’s important for those working in the grain industry to—either indirectly or directly working in the industry—to see this film?

Sam:   Well, off the bat I just think it’s good to watch content that challenges you. There’s a lot of just entertaining stuff out there, which is great. I watch a lot of TV and movies. I like to be entertained. Sometimes I don’t want to have to think about something. Sometimes watching a movie or TV show is an escape because the day is long, and life isn’t always easy. One of the big reasons we tell stories is escapism. I think Silo is a reality check. It’s meant to challenge viewers. It’s meant to make people almost a little bit uncomfortable because this is not an industry that’s easy right now for farmers. It’s just not. It hasn’t been for a while. Whether it be from a safety standpoint, whether it be because the average age of an American farmer is a lot older than most other industries, the fact that there’s actually basically a suicide epidemic in agriculture right now. Then the economy is challenging, whether it be tariffs, whether it be dropping grain prices, whether it be inclement weather. Farmers used to have probably a bit more appreciation from their more regional local communities because people were more connected to ag, but now most American families are a few generations removed from agriculture. I think with that comes a little bit of a lack of understanding of the challenges of the job and the industry. As much as I can raise awareness around that with Silo where people can say, “Oh wow. Farmers are that technologically adept? They know that much about the markets. They have to spend that much market and borrow that much money to buy that piece of machinery or use that new self-driving factor or get as much of a yield out of their crop as possible.” The more we can have people really put themselves in the shoes of that individual, I think the more empathetic and the better off we’ll be as a species and a society.

That goes for any movie like this. This movie is not about—If you ask me what’s this movie about, it’s not about farming, farm safety or firefighters This production is about real people with real issues. Whether this would have been a coal mining incident in rural Kentucky or whether it had been a car accident in New York City, when people are dealing with anguish and mourning and issues like that we want to be able to empathize them and build a bridge. My wife always says—She works in education. She always says that which is most personal is the most universal. That’s what we tried to accomplish with Silo. Whether it be agriculture specific or just to get out of your comfort zone and learn more about people, I definitely think there’s a lot of value in watching a movie like this.

Mike:   Wow. That’s inspiring. That makes me—I have not yet seen the film so I’m looking forward to watching it with our customers in our virtual event. That which is most personal is the most universal. I love that. Well, what do you think is next for Silo?

Sam:   Well, we have focused a lot on grain safety. I’ve mentioned mental health a lot on this interview because not just in agriculture. It’s hard to connect with people these days. There’s a lot of technological in-betweens that often make it difficult to connect with one another. Ironically, this pandemic has lead to more video introductory calls for me than I’ve ever had in my life. I actually feel more connected to people because of it. Do I like to be in person? Of course. When you can see somebody’s face and look them in the eyes—even if it’s through a computer—that’s great. Often these days whether it be social media or text message or email or what have you, people feel a little bit disconnected. Then add to that the fact that rural America has basically been in economic downturn for decades, and that most jobs have moved to cities. So the little main street is a ghost town most of the time. It’s lonely. 97% of American farms are family farms. So I think less than eight people, I believe, is the barometer for that. Most of the time farmers are working alone. So that’s a lonely occupation already. Then add to it the stress of maybe being the person where the farm of six or seven generations or even two or three generations goes under, it’s just enormous pressure. That’s why you see a lot of suicide. You see a lot of opioid addiction and other issues. Not to mention most farmers work through physical injuries that have happened at some point in their career.

So I think it’s really important that Silo specifically continues to work specifically on grain entrapment and grain bin safety, but also that we focus a bit more on mental health. And using the film as a conversational tool for farmers who may not want to open up emotionally to start doing that and to feel like they do have a community that will not judge them at all for having any kind of depression or emotional challenge but will rather embrace them and appreciate them for what they do. So we will continue to do screenings just like we’re doing with your company so that people can watch this and talk about it and learn from it, whether it be as individuals in your company or as your company as a whole. Then we’re going to get the movie out there next year—probably in the last quarter of 2021—in a wider digital release that maybe will be more similar to like an iTunes or a Netflix or an Amazon. Will it be free? Will it be paid? I don’t yet know, but I am working on some exciting partnerships right now that would really expand our audience so that everybody in America could have a chance to see a movie like this and benefit from it. So Silo, right now, we’re going to continue doing screenings and continue focusing from community to community, but at some point I’d like to really talk more and more about mental health and continue to spread the film as far and as widely as I can so as many people can see it and benefit from it. Maybe if it could save a life or two, that would really be—We’ll never know. We’ll never know if it saved a life, but my gut instinct tells me we’re proactively planting a seed in the brains of farmers that makes them think twice about doing something unsafe.

Mike:   Yeah. Well, fantastic. Sounds like a great vision ahead for the film and also touching upon the mental health crisis that is in the ag industry as well with farmers. I did hear a speaker on that at the National Grain and Feed Association last year. I had not thought about it, but the way the speaker spoke about it at that convention, it was very eye opening. Thanks for raising awareness for that issue as well Sam. You mentioned you have a vision for something else. What else is next for you? Obviously, you’ve got some vision here yet for Silo, but I think you maybe have a couple of other things you may want to mention to the audience in terms of what you might want to pursue going forward.

Sam:   Yeah. Well my personal vision is I’d like to be growing some produce on this little farm we’ve got here and maybe have some chickens, ducks, and goats in 2021. So we’ll see how ambitious I am, and we’ll see if I can get my act together to do it. So that’s my personal vision is to really learn. I loved animals as a kid. I love animals in general. I’d love to take care of animals and really have more of a personal appreciation for how they benefit my life whether it be in the form or eggs or a delicious smoked duck dinner. I’d like to do that personally. Professionally, a lot is up in the air because of COVID. The ability to make a movie is so prohibitively expensive right now and borderline dangerous. If the smoke clears a little bit and if it feels safe to make another film in the next call in 24 months. I’ve started to develop a film about a dairy farmer because dairy has been hit so hard, probably more than any sector of ag, in the last 10 to 20 years. I want to tell that story. This was a cash crop film, Silo, about a corn and soy farmer. I’d like to get into dairy and personally learn as much as I can about it. I know that dairy farmers are a very particular kind of individual. It’s a 365/24 hour day/ 7 day a week job. I want to learn more about the psyche of dairy farmers and how they work and operate and the challenges they’re facing right now. Then tell a personal story of that that will—You know Silo is a dramatic movie but ultimately it’s a hopeful film. It’s heavy, but it’s hopeful. It’s real. The dairy movie I feel will be the same, but maybe with a little bit more levity than that even because I see some very interesting things happening in dairy in terms of how people are taking that challenge and turning it into retail businesses of different kinds using their products, using their cows. Will it be agritourism or cheese business or whatever else.

I have some ideas. I’m working with the same writer as Silo. We’re going to start developing—We have an outline. We’ll probably start actually writing the script soon. As you learned from the long gestation process I described, it will go faster this time probably because I’ve learned from mistakes last time, but we’ve got a long ways to go. My hope it to—I want to be with Silo for at least another year plus full time, really making sure we maximize it’s value both financially and philanthropically. Then after that maybe turn my attention to the next thing, which will probably be a movie about dairy farming.

Mike:   Fantastic. Still remaining in the ag industry. That’s great.

Sam:   Yeah. I have not yet had my fix. A lot of meat left on that bone.

Mike:   That’s good. That’s good. Well, it’s funny. You mentioned a little earlier that sometimes we use film as escapism and sometimes we need a challenge. I recently saw a challenging film that sort of relates to the mental health piece that you mentioned. Have you seen A Social Dilemma?

Sam:  No, but I’ve heard it’s really good.

Mike:   Yes. I would–

Sam:   It’s on Netflix right?

Mike:   Yes. It is. I would recommend that to you and anyone else listening, especially if you have children who are using social media. Pretty powerful thing. Interesting it’s a documentary primarily and they interview people from the technology sector, Silicon Valley. Twitter, Google, Facebook. Some of the persuasive technology that’s being used against us, and we become the product, which is very interesting.

Sam:   No, I appreciate it. You’re the second person to mention it to me. So I think it’s time I get on it.

Mike:   The other thing too, I just thought I’d ask. Do you watch any ag YouTube videos out there?

Sam:   These days I’m watching like tractor repair videos so I can learn how to operate this tractor that was bequeathed to me from the previous owner of this home. I follow a few social media personalities. I’m not a huge social media guy, but I like to pay attention for Silo to what’s happening in ag. The Minnesota Millennial Farmer. I know he does great videos on YouTube. I love Rob Sharkey and the Shark Farmer. He’s become a friend. Marji Alaniz from FarmHer who focuses on women in ag. She’s wonderful. She’s become a friend. A host of other people in the industry. I just try to pay attention. I’m very interested in organic farming. I’m very interested in what people are doing with agritourism so people can really come from cities and experience it and understand what’s really happening on the farm because it’s very easy to throw darts from afar. If you don’t really know what’s happening with the science and how it does affect the environment or doesn’t affect the environment. I’m trying to learn as much as I can through those channels as well. I enjoy it. There’s a lot of really smart, really innovative voices in media in agriculture.

Mike: Yeah. You mentioned Millennial Farmer. That’s one I kind of follow. Zach Johnson’s pretty entertaining. He does a really great–

Sam:   Yeah, he’s great. He’s great. We’ve talked about the film a little bit, he and I. We were about to do a screening in Minnesota, and then the pandemic cancelled that event. Minnesota’s basically ground zero for grain entrapments. They’ve had a record number in the last 12 months. It’s been really bad because of the weather in 2019. He’s wonderful. Rob Sharkey’s great if you ever listen to the Shark Farmer podcast. He’s a funny guy, cheeky guy, but he has wonderful interviews. Really great interviews.

Mike:   Okay. I’ll have to check him out. That’s great. Well, fantastic. I really appreciate your time here with me today Sam. More importantly the time that you’ve invested into this topic of confined space entrapment, grain entrapments, mental health in the rural sector. Is there anything else you’d like to leave us and the listening audience with before we call it a wrap?

Sam:   Well, I just want to express my gratitude to you Mike and to Greenstone systems for having me. If I don’t have a platform like this then people don’t know the movie even exists. So I really appreciate that. I don’t take it lightly. For your listeners, if they want to learn more about the movie they can go to silothefilm.com and follow us on social media. Silothefilm1 on Facebook and Silothefilm everywhere else. We’re constantly putting out information about the movie, about grain entrapments. What we feel is important certain week to week in agriculture. Again, I’m a New York City boy who in a million years—Every time I go on one of these podcasts or an interview or something. It’s not like I do that many of them. I said to my wife, I’m talking to this amazing ag company, Greenstone Systems, right now. I’m doing a podcast. She’s like yeah, you didn’t even tell me about it. I was like I got busy. I forgot. I’m so excited. This is going to be really great. I’ve got to pinch myself and just be appreciate that I personally have the privilege to represent this piece of art and the work of so many people who help make it happen. I’m lucky I got to be at the helm of it as the producer and the CEO of the company. I hope to continue doing many more screenings. I definitely look forward to the feedback from your company once everybody who watches it sees it. So please keep me posted.

Mike:   Well, we will certainly do that Sam. Again Sam Goldberg, producer of the film The Silo. We’re happy that you joined us today. Who knows. Maybe this will inspire some other urban dwellers to explore moving out to rural areas of America. You never know. That could be one of the benefits of this whole pandemic, right?

Sam:   I think so. That’s a whole other podcast. That’s another hour if you want to talk about it separately.

Mike:   We’ll have to do that. All right Sam. Thank you very much for joining us today.

Sam:   Thanks Mike.

Mike:   Bye now. That’s a wrap.