Interview: Sam Macon, Co-Director of the film Sign Painters

Director Sam Macon talks to Sean about working on the film Sign Painters, the effect the film had on them creatively as they went through the process and the adventure of getting to know the dysfunctional family of sign painters as a community. More info on the film Sign Painters at: ⁠http://signpaintersfilm.com/

Transcription:

Coming to you from Starr Studios in Denison, Texas, this is Coffee with a Signpainter, a weekly podcast hosted by sign painter, Sean Starr, that consists of interviews with other sign painters and some of the customers and characters Sean comes across while running his studio. Okay. Welcome back to Coffee with a Signpainter. This week, I am going to be, talking with co director of the film Sign Painters, Sam Macon. Really, interesting guy, articulate guy, creative guy, and it's, we'll get to look behind the curtain to a certain extent and kinda figure out why, why they, him and Faith Levine were motivated to make the movie sign painters in the book and, how they did it, and where it's going from here.

Before we get into that, I just really wanna thank all of the listeners, who've been tuning in, and everybody who's been sending just the greatest, most supportive feedback through emails and social media. You know, we are now being, downloaded in 41 countries, and the show is just really being embraced. And I'm I'm I'm thrilled, kind of, prepared myself that I'd probably have, like, 10 people an episode tuning in, and, it's just completely kind of taken me by surprise that, it would be, this widely embraced, but you know, that real credit goes to, Sam and Faith. Without the the book and movie sign painters, I think that we would still, be looking at obscurity and disconnection. I think they really unified, not only the community of sign painters, but you know by bringing in that audience.

I think it's, really created something completely new and unique all on its own. So yeah, we're gonna be talking to Sam, and it's kind of interesting to to see his perspective, as an outsider who's coming into what I describe as the dysfunctional family reunion of sign painters. So let's go ahead and let's talk to Sam and let's see, let's see what made him tick. I don't think I could do a live show. I think that would be too stressful and chaotic and probably have some really boring moments.

Well, sign painters can talk. That's for sure. So I imagine you've got endless footage sitting on the floor somewhere. Hours. Well, you know, I gotta be honest.

Like, because I've done other real people stuff and I've done some short doc stuff. I will say that the you know, by and large, the older generations in general are better at they'll maybe being long winded Mhmm. Getting to the point. Whereas young people, there's a lot of umms and likes and Yeah. I noticed that too.

Yeah. I'll try to keep it to a minimum. Kind of a strange phenomenon. Yeah. Okay.

Well, one of the questions that I wanted to ask you, because it's like, I kind of view the the little micro world of sign painters as kind of this dysfunctional family. So Sure. In a way, like, you and Faith came into this dysfunctional family reunion of, like, it had to have been a little bit of a freak show environment because, like, a lot of us, things that we think are normal or just everyday life, I imagine to an outsider was a little bit strange. So I wanted to ask you, like, what what was the the process as you guys did the the movie, as far as how that affected you guys? Yeah.

Well, I think a good thing to kind of keep in mind was when Faith and I entered into the the project, though we were naive to a lot of the specifics of of sign painting and the and the people within that world, we we do have sort of, a wide variety of life experiences and interests between faith and I, you know, both with our own sort of focuses or unique fascinations. But between the two of us, you know, we had spent a lot of our lives experiencing a lot of new things being involved in a variety of different scenes, whether it's like a small art scene in a city like Milwaukee or the punk rock scene across the nation because I was in a touring band and, you know, and and Faith had been an avid traveler and lived in a lot of cities. So we're both maybe better positioned than some people to dive into a world that was not ours. That being said, I think because we had done that in various ways throughout our life, it's also we're we feel confident enough to start conversations and to meet people and to reach out to strangers.

We also know enough to know that we didn't know anything. So we are really there as observers and foremost or as like curious, you know, curious people who are granted access into a very specific sort of tribe or dysfunctional family as you put it. And, you know once we got in and again as the project ramped up we were sort of granted more and more access there were some people that were resistant in the beginning not out of you know any malicious you know intent or or you know paranoid intent it was more a matter of like who are these young people that aren't really involved in sign painting. Where did that resistance come from? Was it some of the sign painters that you had approached or Yeah.

And I would say it was you know I think there's probably some skepticism on the part of some of the younger painters, but it was more an issue with older guys that were just they were just a little bit more like, who the heck are these people? Okay. And why are they asking me these questions or asking me about a thing that, you know, no one's been interested in outside of other sign painters over the course of, like, a forty year career. So it's almost like a suspicion? Yeah.

I would say there was a bit of a suspicion. You know, I think and a number of people spoke to this, you know, amongst, like, some of the older crowd, there was obviously a lot of secrecy built in. Uh-huh. And, you know, like, individual trade secrets and competition and resistance to that. I mean, clearly, we weren't a threat in that regard because we weren't looking to, start up our own business with all of the information that we gleaned.

Yeah. Yeah. But but it was more I think initially, it wasn't it wasn't really motivated any by anything other than, like, curiosity, confusion, and a dose of skepticism. But once we got in and we, I think, proved ourselves to be, you know, good listeners, not total not complete ignorant outsiders because, again, as the process went on, we learned so much. I mean, one interview would be a wealth of knowledge, and we would take that information, and we would then bring it to our next interview.

And we would maybe ask some questions based on what we had heard there. So, because we didn't go into it with very highly preconceived notions about what we were doing or what we wanted anyone to say, you know, we're really looking for people to just have a conversation with us, similar to you, without too many preconceived notions about what we wanted to say or what points we wanted to hit. And that, you know, I think that warmed people up to us a little bit. And, you know, for for Faith and I, it was just just being comfortable enough to jump in no matter how crazy some of the experiences would maybe end up being and not crazy in the sense that, you know, there were no big explosions or anything like that. But, you know, you are ask you are invading somebody's space.

Space. I mean, when you're making a documentary, you're really asking a lot of people. And if you're comfortable with your intent, which we were, and you can make that clear, you know, I I've found that when when you give people an opportunity to talk about what they're really passionate about and you're not doing it you're not kinda going through the motions, I mean, we would genuinely jump in and get engaged in these really great conversations. So it was very, you know, I think every situation ended up pretty amicable and enjoyable for both parties, I would hope. Yeah.

And that that's one thing, that that might be that that might be kinda cool to share with, the listeners who, you know, have seen the movie is that, one of one of the neat things to me, like, when you guys came out to our studio in Big Bear, was that you basically just said, have a seat and tell us what's on your mind. Mhmm. And I'm I'm assuming that's how you approached the whole show, you know, the whole movie with everyone you talked to is just, you know, get them talking. And I think that's what makes the the movie so engaging. And, you know, that's one of the feedbacks that I've gotten from a lot of people who've seen the the movie is that, you know, they're they're it riveted their attention even if they had never heard about sign painting before.

Right. And I think that that that happens because, you know, again, like, Faith and I, we're outsiders to the world. So we were asking we were effectively the of viewers in a way. We were coming in and we were asking the same questions that a viewer potentially would when they sit down to watch a movie about sign painting. And that question may be as simple as what the heck is sign painting?

So, you know, the conversational nature of the documentary was very intentional. You know, when you when you when you set out to make a film and you call it something as broad as sign painting, you know, there's it's kind of like that's like a foolhardy journey, I guess. You can't you can't we can't encapsulate an entire trade, like, historically and factually within an hour and a half movie that's meant for, like, the general audience and for the sign painter audience. It's like, it's gotta be about we have to tell the story of sign painting by telling the story of these individual people. Right.

We couldn't just we, you know, we or we weren't looking to make the sort of fact checkable, Ken Burns style historical document that is wholly accurate. We wanted we wanted stories. We wanted to, like, create a texture and a feel and a sense of what it was like to be involved in this, you know, trade, and that's done through really natural conversation. It's also the it's also when you get people to share the most, whether it is like technical, like what kind of brushes are we using or what kind of paints are we using or what's something funny that happened along the way or how does how to sign painting square with your general outlook or larger outlook in life? Those are the things that come up in conversation, not the kind of thing that you can generate by looking at your bullet pointed talking points list Right.

Right. And firing off questions. Yeah. And it's very staged. Yeah.

I think it would be hard for us to have you know, to get you to talk about your disappointment in, like, the landscape of America in terms of how vinyl impacted it if we were just ask if I just asked you that question? What do you think about vinyl affecting the landscape of America? You probably answer that question well, but I just don't think it would be said as interestingly. Yeah. I could see that.

One one thing I've wondered, from, everything I can tell, the the the film and the book has done really well. Yeah. Did does that kind of freak you guys out? Did it get embraced on a larger scale than you thought it would? You know, because I know some of us I've talked to some of the others, during the process and after the release of everything, like, what they felt about it.

And most of us, I think, were like, well, this is really cool, but I don't think anyone's gonna care. Just because of our working experience and going through the process of digital and vinyl taking over and everything, it was kind of like, well, this is really cool, but is this like the epitaph? I don't know. Yeah. Well, we certainly didn't wanna, like, write the ending chapter.

No. I think well, I will say this. The number Faith and I were beyond pleased with the reaction and very surprised. You know, I think if you're going into making a documentary over the course of multiple years about a relatively niche topic that a lot of people don't know about, if If you're doing that with the motivation of, like, making a big hit movie or selling a bunch of books, you're barking up the wrong tree. Right.

So you I mean, we were only motivated by our in our own interest and, like, kind of selfish interest. Like, well, we know this is worth telling. We know this is interesting. We know these are great stories and really interesting people, you know, incredibly talented individuals. We're very committed to a thing that doesn't get a lot of credit, which is more and more rare in this world where it seems like people really only devote time and attention to things that are, you know, hotter or more of the moment.

Right. And so, you know, we didn't have any delusions of grandeur in terms of of how it would be received, though we did believe in the material that we were compiling and the thing that we were creating. You know, the number one thing that we were freaked out about was how it would be received by the people who had offered their time and opened up their homes, studios, and lives to us. You know, that was the number one concern was like, oh, jeez. Are are the sign painters gonna like it?

Or are they gonna call bolts, you know Right. On the whole experience because, you know, we are outsiders and we didn't get everybody and that, you know, you know, there was a number of things that someone could maybe bring up and say, like, well, they just really missed the mark in this regard. Now is what we were always the most worried about, far more so than the amount of outside attention that we would that we were potentially going to or hoping that the film would gain. You know, Faith and I always said that, you know, if if one you know, if, like, if, like, if if everyone gets, like, one more job because of this film, then we'd done our job. Well, it definitely did that.

I I know for a fact, you know, for not only in my case, but, in some of the other's cases, it's it's given us a boost, which is really cool, you know, just to, I mean, you're you're still gonna go about your business and do what you're gonna do, but when you get that call from somebody, in fact, I just finished a project for the band The Toadies. Mhmm. And, Crazy. Yeah. And and the the Clark, he's he's the guitar player.

He he called and tracked me down because him and his girlfriend had just watched the movie. Oh, very cool. Like, we need to find that guy. And so they Googled me and then were like, oh, man. He's in North Texas and that's, like, their home base even though he's out in LA.

So, yeah. You know, and that's that that alone is just one of probably a dozen projects where people told me specifically, I I saw you in the movie, liked what you had to say, wanted to find out more, and then I found your portfolio. Awesome. Well, and, you know, and to that point, you know, we also weren't looking to make a commercial No. No.

For everybody. However, you know, it became you know, I I think part of the reason why sign painters and the trade was an interesting a uniquely interesting topic for a movie because a lot of people make, like, movies whether they're shorts or features about people making stuff. And there is a trend in culture right now to kind of, like, romanticize everything. Right. Yes.

And The most mundane things. Yeah. And, you know, I I I don't believe that everything, you know I'm interested in a wide range of things, but I don't believe that everything is interesting Right. In the same way. And I think what was great about Sign Painting was we didn't have to try very hard to, like, find what was interesting about it or, like, we didn't have to, like, shoehorn this humanity into it.

Yeah. Or try to make it seem more precious or precious or romantic. You know, if anything, we like dulled down the romanticism in some respects and made it seem more real. Like, we wanted it to be a a a kind of a true document of, you know, a grind, like a practical career, a job. You know, it's more about, like it it was more about labor than maybe arts necessarily.

Right. No. And and that comes through. There's there's not a lot of, I I there's not a lot of drama. There's not a lot of, like what you said, it's not romanticized.

And you kinda just captured people, I think, a day in the life kind of thing, which is, for me, what was so engaging, especially, you know, I knew a handful of the guys in the movie, but then there's quite a few in there that I didn't know. And it's pretty cool to kinda get to peek into their little world and their thought process and without it being dramatized. Mhmm. Which, you know, I mean, in the you know, and that's where that's where editing comes in. I mean, you did have to, you know, you do have to construct a story, and we kind of allow, you know, recent history to create some of the drama, you know, but we didn't, like, we didn't make the whole film about, like, somebody trying to get a job, you know, trying to, like, land a big account or something like that, you know.

And and and the narrative arc of the film really came from, though we weren't trying to really drive the interviews or dictate what people said too much, you know, there were so many common themes and or, like, historical touch points that everybody that had worked in the game long enough brought up, which was, you know, like the proliferation of vinyl, which that's something that I think appeals to or makes the film connect with a lot of people that have know nothing about sign painting because a lot of industries have been affected, kind of turned on their head Yeah. In the introduction of computers. A common thread of that era, it was a cultural shift across the board, I think, has affected a lot more than just sign painting. Yeah. So one one question, I was curious too.

I know with myself and other sign painters who have mentioned this, when we work Like if I go work for a week on a project with another sign painter, that changes how I work creatively in some way from there forward. Mhmm. Whether it's techniques, whether it's viewpoints, whether it's just feeling more connected. I'm I'm curious, you know, you and Faith are both, like, you know, career creatives. Mhmm.

You know, that have worked on multiple projects of different kinds in in the arts. And, I'm curious, did it have that effect on you? Did you come away from it? It changed in any way, at least how you approach things creatively? I'm just curious if that affected you in that way.

Yeah. I mean well, certain I mean, certainly. I you know, the making of sign painters is is, like, it's my feature film in any capacity. And though I am a filmmaker, you know, by trade and pretty obsessive about it, you know, I saw a lot of parallels with, like, not with, like, necessarily the art of filmmaking or the craft of filmmaking and sign painting because, however, there's a lot of there's a lot of parallels in, like, the business angle of it. Okay.

You know, like being a freelance filmmaker and being a freelance, you know, or self employed sign painter, there's a lot of similarities in terms of, like, you know, you know, there are no days off. Right. Unless, you know, the or, you know, unless you've chosen to take one, you know, it or and, you know, you every lead must be followed. And The machine is always running. Yeah.

Exactly. And it's like every job could be your last, you know, so you gotta kill it each time. Yeah. And you need to pick up points from anywhere. You know, the the one thing with with, sign painting and how it's similar, I guess, to filmmaking is the accumulation of influences enriches your work.

Yeah. You know, like the accumulation of styles and or experiences, whether it's, like, how to navigate a certain type of client or if you are in, you know, another country or just other regions in America and you pick up, you absorb styles of certain places or from certain painters. It's like with filmmaking, if you're a good filmmaker, you're you're actually, I am in my opinion, you're you're thinking more about every you're thinking more about everything other than the craft of filmmaking. That's something you need to know. That seat needs to be sort of baked in, similar to, like, letter formation.

Like, you you can't get up on the side of the building and then be, like, thinking about how you form the r. You need to already know how to form it. Like, that's gotta be automatic. So the craft of filmmaking needs to be automatic so that you can think about, you know, humanity and story and and and experience and texture and all these things that you wouldn't necessarily think apply to filmmaking, but absolutely do because those are the things that make films interesting. Right.

Okay. Well, that that makes sense. I could see that. And so what you know, the number one thing that I took from the experience of of sign painters that I've been able to apply or I've rolled into what I do is just the like, the intense level of commitment to the trade. And there are probably lots of examples that you can find.

I call it OCD. Yeah. Yeah. I mean, that's the thing. It's like the alt you're trying to get you know, in the case of sign painters, you're trying to carve out work in a world which is you know, the word the work is rarer, but when it comes through, possibly more rewarding than maybe it used to be.

Right. Because you're hammering out less for rent signs every day. Yeah. Exactly. And and and, you know, the film industry is similar.

It's like a lot of people wanna make films, and everyone that makes one, whether it's a short or a music video or a documentary or a feature film, everyone that makes one wants lots of people to watch it. And so there's, you know, an incredible amount of competition. And I think that really the only thing that a filmmaker can bring that sets himself up to a project that will set themselves apart are their own experiences. So it's like the accumulation of experiences and knowledge outside of your outside of your go to that will that will kind of separate the, you know, the good from the bad or the great from the good for that matter. And and and just the number of people that we met and the cool places we got to go and the interesting conversations that we got to have, you know, everything like that, every one of those opportunities in my life will make me a better filmmaker.

But with sign painters, you know, it was just shocking how interesting and and enjoyable the experiences that we had. I say making the film, but to say making the film, it's really just more, like, I could say the same thing and just say the conversations we had. That was making the film were the conversations we had, or just the meeting of people that we had. And, you know, I think those are those experiences I'll take into, you know, take with me for the rest of my life in and they're they're not like they're not necessarily like lessons learned that I could teach in a class. Sure.

But they've they've be it enriched my influence you. Worldview for sure. Yeah. So so what's next? Is there a next?

Is there anything you guys have thought to take it any further? Are you guys just like, that's encapsulated, and and now you're on to other things, obviously? Like, is there a next on any level with this? Well, I mean, the the funny thing is is that because of the way we sort of approach making the film, because of the way that and that that be that that way being the way we kind of, like, followed one lead to the next, you know, as opposed to just going out with a shooting schedule and a list of people that we're gonna talk to and then not expanding upon that. You know, it was it was very it was it was very journalistic.

It was like follow the lead, the way that and because of the way that we kind of blogged about the experience. The film became the film was a film before the film existed. Like, people were asking about the movie and wanting to screen the movie before the movie was anywhere near completed. Okay. And then from the, you know, from all of this information that we had accumulated for the purposes of a movie came a book.

And then from the movie and the book came us traveling and meeting, you know, new sign painters and connecting, you know, people who were looking for sign painters with sign painters that could do their work. And, like, I'm running the Instagram. You know, it's it's it's basically like this ongoing project. At this point, I guess, in a way, it'll be, like, forever. Yeah.

And then You know? I asked the question, I'm just it I I see that there's ongoing activity, way beyond just the simple of, well, we're just promoting the film kind of thing. I mean, there you guys are engaged. So, like Yeah. You know, it's I'm I just am curious, like, what do you foresee that turning into?

You know, I mean, I I really want it to just continue to be, you know, do we make another film on sign painting? No. We don't. You know, do we wanna go to the fiftieth anniversary letterhead meetup? Yes.

We do. Should we shoot some stuff when we go there? Absolutely. Okay. You know, does it kill me that, like, Noah Weber is not in the movie?

Yes. It does. We've got a great interview, you know, in the vault with, Ray Geezy from San Jose who, you know, because of generational gaps and, Complications. Complications, you know, he didn't make it in, but in a way that's a crime. So I would like it to kind of continue to expand.

You know, we did some additional features that are available on the website, and, you know, we could give we could give there there should be another ten minutes of everyone in the film, including some people who didn't really make the cut in an interesting way. And that's because, we're trying to we ultimately have to create this narrative. And then, so people don't get some people don't get dropped or don't get highlighted because they weren't interesting or didn't say great stuff. It's just because it's a puzzle that didn't fit together. Right.

Right. So, you know, I mean, I'd like material like that to continue to come out. Yeah. I think that's kind of where it is now. I mean, Faith and I aren't we're very involved in, like, the I wanna say promotion, but, like, the community of the film continues, and we're very involved in that.

But we're kind of bad, like, salespeople. Yeah. You you know? Like, we could have done the calendar and, like, the postcard series and sold more t shirts and and all of that stuff. But it's kind of like I think that things like that will go on without us and they should.

We don't need to do it for our purposes. Right. You know, so I just kind of wanted to like continue to exist and continue to be a thing. But if someone, you know, there's another filmmaker out there who's like, well, the story isn't fully told and they want to go make another sign painter documentary. I mean, they should.

There are a lot of great, you know, capsule videos that people do online, and I think that should all continue. You know, this is the one that we made, and we're really happy with it. Yeah. And we'd probably be very involved just in terms of voicing our support for any other similar projects that move forward. You know, and then beyond that, I mean, Faith and I have, you know, other personal projects that are always percolating.

But they you know, I think we're not done with the film in the sense that, like, we're not interested in sign painting anymore or the world or the people we met. I mean, again, like, basically, lifelong friendships have been created by making the film. Sure. So we'll be involved in that capacity, but we're not the type to, like, capitalize on the success of sign painters with, like, a new angle on it, really. Sign painter action figures aren't coming?

Well, I don't know. That'd be pretty cool. But yeah. No. The the three d printer hasn't arrived yet.

I don't know how But you know, but I think I know I can speak for myself that like my what I'm interested in, my taste preferences will probably lead me to be involved in similar projects. You know, I'm working on a documentary on a French paper company that is a that is a family owned paper company from, Michigan. It's the oldest family run business in the state of Michigan. One of the oldest family run continuously family run businesses in The United States, and they make this really great paper. I mean, they make the paper of choice for graphic designers, like or or letterpress artists.

And, you know, it's like, I should have my facts. They're six or seven generations deep. I mean, they started the company a year before Jesse James was shot. Wow. That's awesome.

Yeah. And, you know, it'll be a shorter documentary. It won't be a feature. But what what I like about this as a topic is it in similar to sign painting, it's an interesting intersection of aesthetics, creativity, and labor and work. You know, it's a thing that creates jobs.

It's a thing that's always been done a certain way because it's the best way to do it and it seems now people are catching on to that being a good thing, not because it's hip, but because it's about process. It's the right way to do something. That's what's great about it. Do you have a title of that that people can look for when it comes out? I don't.

Okay. But sign painters will probably you know, the sign paint the various sign painter accounts will probably brag about it when it Okay. Cool. When it does come it'll be the only documentary about French paper company. Well, we will keep our eyes out for that.

Cool. Sounds cool. Yeah. So this leads to the most important question of the podcast, which is what's on your iTunes this week? Even if it's embarrassing, you have to admit what it is.

Musically or podcast wise? Because I've Musically. Oh, Musically? Well, I've been I'm working on a script, like, of a made up movie. And so when I do that, I can't really listen to singing.

You know, I can't listen to vocals. I've been listening to a lot of Philip Glass because it's very, you know A serial kind of stuff. Yeah. Dramatic, you know, symphonic, you know, it's good movie music. So I've been listening to a lot of Philip Glass.

What else have I been listening to? Some heavy metal band called Fuzz that I've been listening to a lot. But, you know, it's what I listen to, it it ranges wildly based on what I'm doing, which is probably the case for most people. Right. So if people are interested in seeing other stuff that you've worked on, like, I I I know I've seen some of the music videos you've done for bands and stuff.

Where can they find that? I think sammaking.com is probably the best your best bet. It's pretty up to date. Yeah. My my other video work is similar to my musical taste.

It it ranges wildly. I mean, I do I do commercial work for a living, you know, you gotta pay the bills. So there's commercials that you may or may not have seen, and then there's music videos that get pretty far out. And then there's a number of, you know, documentary based shorts. You know, of note, like I did a, you know, an eight minute short.

And this is a few years back of, a a hat maker in Chicago. Again, like, interest in people I I I'm a firm believer that if you get people talking about what they like, it's gonna be interesting no matter what the thing is. Yeah. The passion. The thing almost becomes yeah.

Exactly. It's kind of irrelevant what the what the passion is. This is about the passion. Yeah. And so there's, yeah, like, Optimo Hats is would be on my website, and that's an an example of that.

But, yeah, the the music videos are where I get to be a little bit more aesthetically far out or crazy. Yeah. Sammakin.com. That that would be the best place to see stuff like that. Awesome.

Well, I know you're a busy dude, so I really appreciate you taking the time out to do this and giving our show some support. We're having a lot of fun with it and we're you know, I think too because, of the technology that I'm using, which is basically very primitive, I'm able to talk to people in other parts of the world, which, you know, the signed pair movie was just confined to The US because we'll just Sure. Practicality. But, you know, so that's that's kind of a neat thing. I I feel like I'm continuing your story, by bringing in some other people that might not have had a chance to be seen.

Right. And what's great I mean, there was a number of instances where, you know, Faith and Travis, our director of photography, and I would we would leave an interview, and we would say, well, hell, we could make we could make a an entire film about that one person. I mean, Keith Knecht could be his own movie. Yeah. And and we didn't have to edit him much at all.

I mean, he the way he told stories was, like, so fluid. I mean, his, like, you know, almost four hour interview just plays. It's crazy to watch. The very time I watched the the movie, I told my wife, I could have watched a whole movie just on him. Yeah.

He's so engaging and so just a great storyteller, you know, is awesome. Yeah. So what what's great about your podcast is you're kind of actually giving everybody the the the time they deserve, you know, which is cool. And I'll be I'll be listening, and I just don't know how you're gonna keep the swearing out of it. But I they don't all swear.

I've had but a lot of it. Great cooperation. Everyone's been very cool about it. You know, I made a decision going into this that I wanted to, you know, keep it that way so that it could be, comfortable for everybody. You know?

Yeah. Cool. It's good for everybody. Everybody's been really cool. And, you know, I've only had one f bomb dropped out of the five interviews I've done so far, and that was easy to clip out.

So it's all good. Pretty good. It's it's it's good for everyone to be reminded that they can clean it up if they have to. You know? Yeah.

Somebody slips. You know? I'll go in and doctor it up with my high-tech skills. Yeah. The high editing skills.

Well, cool, Sean. Thanks a lot, man. Yeah. Thanks for coming on, and, we'll be in touch. Yeah.

Let me know if, I need to clarify anything. I ramble, like the sign painter, maybe. That that's that's what makes it interesting. All right. Well, thank you, Sam, for coming on and supporting the show and, giving us some insight onto, how you guys approached making sign painters.

And, I'd like to thank the listeners. Really, am again, I'm very overwhelmed by the support we've had and, getting emails and messages through social media on a daily basis of people that are genuinely enjoying the show, and I really appreciate the support. It's, it's really cool. And I would like to ask that, if you're listening and you like the show, please go on iTunes and subscribe and, review the show. We are being told that makes a big difference.

So if if you could take a few seconds out of your day and do that, that would be super cool. Alright. Hopefully, you guys get to, get some brushes wet this week and do a little painting and, enjoy your day. Today's episode of coffee with a sign painter is brought to you by Full City Rooster Coffee Roasters in Dallas, Texas, roasting distinctive coffees from around the world. Sean drinks Full City Rooster coffee every day in the studio.

You can order their coffee online at fullcityrooster.com. Thanks for listening to Coffee with a SignPainter, hosted by Sean Starr. You can find all sorts of info about the show and sign painting, including previous episodes at our website, seanstarr.com.