Over the three decades, the only technology that changed was the digital cameras. “The whole point was to use these handcrafted techniques and not go digital, which I don’t like,” Tippett states. “Chris Morley, the DP, and Editor Ken Rogerson are good with color; they would lead the charge, and I would keep my eye on it and go, ‘What if we did this or that?’” Shudder acquired the exclusive streaming rights for Food Good, but success was not predestined. “The first two film festivals that we applied to were in Berlin, and they rejected it. At that point, it was like, ‘Oh, shit!’ Because I had shown it to a few friends and they liked it a lot and said, ‘But it’s not for everybody, Phil.’ I thought, ‘Okay, here we go. This is the “not for everybody” part.’ Then, once we premiered it at Locarno [Film Festival in Switzerland in August 2021], it exploded beyond my wildest dreams. It’s only going to be in that indie world.”

The future lies with writing for Tippett. “There are some prospects out there. I don’t even care. Where I’m at right now is like the same I ever was, which for the lack of a better term is essentially a hobby that I don’t know what it’s going to turn into.” In regards to the Disney+ documentary series Light & Magicproduced by Lawrence Kasdan, about the establishment and legacy of Industrial Light & Magic, Tippett remarks, “Never thought about it [as being my formative years]. Of course, they were. I was sent a screener which I binge-watched. It was very nostalgic. I really liked the way that Larry Kasdan put it together. It expressed the camaraderie of the people. It was like looking at a family album and watching your kids grow up. Generally, I don’t look back. I put things behind me.”

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