“Glass House Distribution”
Glass House is looking to acquire well-made films and documentaries for distribution on VOD, DVD, Foreign markets, TV and potentially US Theatrical.
By Patrick Donovan – Author/Screenwriter
US Navy Disabled Veteran – 1980 – 1991
Seattle, WA (The Hollywood Times) 09/20/2020
“If you want the inside scoop on film distribution, then you’ve come to right place! Michelle Alexandria and Tom Malloy give you an inside look into the world of TV and Film distribution 101. You’ll enjoy the conversation I had with them and perhaps, they may be interested in your film.”
– Patrick Donovan
About Glass House Distribution:
Glass House Distribution is an international distribution company specializing in feature films and television. This company was started by filmmakers who know what filmmakers go through in making a good quality film and the hardships of seeking distribution.
Founded in September of 2015, Glass House has grown from a small suite at AFM to attending all major markets each year including the EFM and the Marché du Film in Cannes. The simple guiding motto of “Full Transparency,” (hence the Glass House), as well as a high bar for quality movies has set Glass House on a course to be one of the future leading sales companies and has already generated buzz as one of the upcoming sales agencies.
Glass House maintains a presence at the AFM, the EFM (Berlin), MIPCOM, Toronto, and the Marché Du Film in Cannes, where each film is sold directly to buyers… relationships that have been built many years prior to forming the company, when each of the Glass House reps were filmmakers attending markets.
On the distribution side, recently, Glass House’s original series Dropping the Soap won an Emmy for Star Jane Lynch, for Best Actress in a web series or comedy.
Glass House Distribution is a member of IFTA, the International Film and Television Alliance.
About Michelle and Tom
Michelle Alexandria – Head of International Sales
Michelle Alexandria’s producing credits include family film FIRST DOG (Eric Roberts, and Priscilla Barnes), and comedy THE EXTENDABLES (Mark Dacascos, Kevin Sorbo, and Martin Kove). She also produced French films; romantic comedies Coup De Foudre à Saint Germain Des Pres (English title: “Love At First Site in Paris) and comedy Mon Pere S’Appelle Bernard starring veteran French actor Bernard Menez. More recently she produced a drama with Denise Richards and Jennifer Taylor of Two and a Half Men titled A LIFE LIVED. Michelle has been a regular attendee at the major film festivals and markets since 2002, including the Cannes Film Festival, MipCom, EFM Berlin, Ventana Sur Buenos Aires, Sundance, and The AFM working both as a producers’ rep and sales, acquisitions, and distribution for established international sales companies.
Tom Malloy – President
Actor, writer, and producer Tom Malloy, along with his company Trick Candle Productions, are known for their quality independent films that span a variety of genres. Trick Candle has most recently produced #SCREAMERS, HERO OF THE UNDERWORLD, FAIR HAVEN, and ASHLEY. The roster of films written and produced by Malloy over the years also includes the 2009 Romantic Comedy LOVE N’ DANCING, (Amy Smart, Malloy, Billy Zane, Betty White); the psychological thriller THE ALPHABET KILLER, (Eliza Dushku, Cary Elwes, Malloy, Timothy Hutton), and the horror film THE ATTIC, (John Savage, Malloy, and Elisabeth Moss.) Tom is also well known for writing the #1 book on film financing, BANKROLL, which now can be learned online at filmmakingstuffhq.com.
The Review: If you ever wanted to know how to get your film distributed, then Glass House Distribution is the place to do it. I had an in-depth conversation with Michelle and Tom and got a real insight into how film/tv distribution works. From their humble beginnings in 2015 to today, Glass House Distribution is a leader in this industry. Enjoy the conversation I had with them and see if your film, short or series will tickle their fancy and take your project to the next level.
The Interview: Here’s the interview with Michelle Alexandria and Tom Malloy
Audio Interview:
Click to play and listen to the audio interview with Tom, Michelle and me. Note: The spoken word is different than the written word as we speak differently than we write so, corrections have been made for removed of double, triple and quadruple words, uh’s, um’s and the like. Grammarly is what is used to correct our speech via the transcription but it does not detract from the actual content or intention of the speakers.
Pat Donovan: Hi, Michelle, Tom. Thank you for joining me today. Welcome to the Hollywood times. How are you both doing, and as you and I have spoken, Michelle, working from home, has been challenging. Tom, has that been the same for you?
Tom Malloy: No, I don’t think so. Michelle has a young son. I have two kids, but they’re older. They’re teenagers, so they’re pretty much self-sufficient except when they want to eat. So, other than that, it hasn’t been much of a change except that I haven’t been on a plane. Usually, I’m the type of individual that flies two, three times a month. Right before the quarantine, five years had not gone by where I didn’t fly at least once a month.
So other than the non-flying, most of the time, we run the business from our desks, from our offices. So it’s a lot of it is just in front of the computer, and that much hasn’t changed. In fact, in some ways, it’s increased.
Pat Donovan: Michelle, how are you doing with your kids at home? And everything’s fine, and you’re working even harder, aren’t you?
Michelle Alexandria: Yeah. Yeah. I’m working harder because we have to do the homeschooling online. It is what it is. Now that that just ended, it will allow me to focus a little bit more on work. But now my child has been immersed in his iPad, which is something I’m trying to find a solution for. It’s a little bit tricky because mommy still must work, but now I have the little one who has nothing to do and nowhere to go, but we’ll find our balance with this just a few days in. So, we’re still looking for other possibilities of education, instruction, and play on all of the above.
Pat Donovan: That’s great. Tom, you’re in Webster by mom’s right around the corner off of Empire Boulevard.
Tom Malloy: Oh, that’s crazy. I know exactly where that is,
Pat Donovan: So my mom will cook Italian food, and you should go and see her. I mean, she’ll make you manicotti, everything!
Michelle Alexandria: Patrick, I have to tell you, though, but I’m in LA, and Tom is there. I see Tom more than I see anybody that I know in LA. Except maybe my mom. But Thomas is such an LA boy, even though he lived there. He is here all the time. I see him more than anybody; it’s incredible.
Pat Donovan: It’s such a small world, man. You started glass house distribution in 2015 where, you were just a tiny AFM suite American Film Market. Tell me about your vision, how it all started and what was the impetus for Glass House?
Tom Malloy: I had written a book called Bank Roll that was considered at the time, the gold standard book on film financing. There were two editions, and a lot of times, I would get people that would email me. And up to then, I had been an actor, writer, and producer, and I hadn’t ventured into distribution, and somebody sent me an email. A guy named Brian Glass.
And the joke that I always say is you should always check your spam because it went to spam and I found it like a week later. Looking for another email that I thought would be in spam and I went, Oh, who’s this? And it turned out to be Brian. He said he had done some research and he found that distribution was kind of the safest area and he wanted to get into it.
So, from there, we talked, and that’s how we formed a Glass House. So Glass House started with his last name but went to the double entendre we have now, full transparency. You could see everything going on, but that was 2015. And I remember, yeah, at the time we had a mini booth at AFM.
I brought Michelle on as a consultant, just to be there at AFM. We had maybe 23, 24 meetings in this little mini booth. Cut to this year or last year’s AFM where we were now, we’re seven people in the company, and we had what, 214 meetings, Michelle and so thankfully, things have done. They’ve gone very well.
Pat Donovan: That’s fantastic. Michelle, you started as a consultant, and then you moved up into an international distribution representative.
Michelle Alexandria: Yeah, well, I’ve known Tom for years. We’ve worked together. We’ve produced films together, and so Tom has known me already working for distribution; I’ve been in distribution for many years with other companies, and I had been going to Cannes since the early two-thousands. I’ve been going to AFM for, I don’t, I don’t know, almost two decades, I’m not sure how long, but it’s been a long time. And so Tom has always known me to work in distribution. So I had just gave birth to my son, not even a year before that, and Tom had started this distribution company, and then he asked me if I could consult with him for the first AFM. Then it just grew from there as my child was growing up and I was getting back into the work world, it just worked out organically and correctly, and now I’m the head of international sales and in production.
And so we just produced our first Glass House, a film called Trauma Therapy, which is doing great. And we’re proud of that, and we’re looking to do more shortly. And at the same time, we’re a full-fledged distribution company.
Tom Malloy: Yeah, and Michelle and I work together with my production company, and we’re partners in Trick Candle Productions, so we produced two films. I mean Trick Candle’s produced a slew of films and 16 is my total, but now she’s part of that company, and we did Screamers and Trauma Therapy, so we’ve done two films together have multiple in development. I mean, six, seven movies in development.
Pat Donovan: Amazing. Thank you. That’s fantastic. So I see that you not only distribute films, but TV; what are some of the projects you’re looking to consider?
Tom Malloy: Well, yeah. You know, I had seen some friends again, what Michelle said about going to markets that would always be kind of our thing. This will be my; I believe, 15th year in a row going to AFM as-long-as, knock on wood, it’s not canceled, this will be the 15th year and, she probably has more years than me, but the bottom line is we see these people, and it’s almost like a high school reunion.
Every time we take people from all these places, we can’t walk 10 feet without hugging somebody or avoiding somebody. But anyway, I had had some friends that had made successor had some success in television, and I’ll say that it was explicitly on the scripted side, not reality, but more a car racing show or a drone competition show or this or that and, or true crime.
So, I saw a market there, and it just so happened that Merkel Gomez, who’s one of the financiers of the company, he’s our CFO, had talked to him about bringing, starting a TV division and bringing on somebody to run that. So we got Michael Pappia, a fantastic television executive, and started venturing into that.
And so now we have a renovation show in development, and we had a real crime show that’s shooting, and of course, a lot of that got put on pause as everybody did, and so when we were starting to ramp it up, that’s when the pause button was hit. So, that doesn’t, that pause button will be “unpaused” at some point, and it will be, but that’s where we’re venturing into initially. We’re not in the scripted space yet, but right now, only working with unscripted projects.
Pat Donovan: That’s great. You know, I met Jane Lynch this year, WGA awards February 1st, right before COVID. She’s a wonderful lady. Talk to us about the accomplishment of winning an Emmy for Dropping the Soap.
Tom Malloy: Yes. Well, that project was brought to me through friends. Often, some of the biggest films that we’ve ever worked on in television we’ve worked on is because of connections and the, and that we’re friendly and people love to work with us. Through my friend, a soap opera actor, Scott Bailey, and he introduced me to Paul Whitten, who was one of the producers of the show. And we just thought it was hysterical in the beginning. And so when we got behind it and released it. We partnered with the team of Dropping the Soap to get a publicist involved, and we did, and then the Emmy nomination hit, and the best part is we had it on Amazon.
Amazon came to us at that point, just after the nomination. It was like can we run ads for your show? Are you going to say no? At that point, we were like, yeah, that’s amazing. So they were placing banner ads for our show. And then she won “best actress” in a web series family. So that was a great accomplishment, Bryson kind of our first four, right?
Our foray into the script did a web series type of show, and we were developing a second season, but yeah. And Jane’s fantastic, by the way, she came to the premier, supported it tweeted, and was excited when that happened.
Pat Donovan: Michelle, your first film or one of them was First Dog. Sounds so adorable. What was that like? Tell me about Eric Roberts, playing POTUS.
Michelle Alexandria: Yeah, I, I love First Dog. It’s a charming family film of it’s about a little boy who is an orphan, and he finds this lost dog, and he finds out that this dog belongs to the president of the United States, which is played by Eric Roberts. Eric is fantastic.
I can’t speak highly enough about him. He’s great to work with. And he’s; he’s just fantastic. And the best part about this was that. When we were shooting this summer, when we were in pre-production, it was during the campaigning of Obama’s first run. And then as we’re filming, he just won the election.
He just became President of the United States shortly after that. And the first thing that they started talking about all over the news was that he was searching to have his First Dog. So, Michael Stoller, the creator of First Dog and the director and I looked at each other like, “Are we getting free advertising here?”
So funny enough, we have months and months of First Dog, First Dog, First Dog, which is the title of our movie, and it became number one Red Box for a month, which, at the time, was a big deal. Red Box was a big thing at the time. So yeah, it was just, it was just an incredible coincidence to have, and Eric made it fantastic. He’s a wonderful actor. I had a great time making that movie.
Pat Donovan: Julia is his sister, and she’s equally a great actress. And, so yeah, I love them both. They’re great people. So.
Tom Malloy: I’m not familiar with Julia. Is she a, is she, is she an actress, or I’m not familiar with her? Is she in a different business? I’m kidding. [Laughter]
Pat Donovan: You know, I’m going to pull a Robert De Niro on you. “You, You, you’re good you!”
Tom Malloy: [Roaring Laughter]
Pat Donovan: Let me tell ya.
Tom Malloy: [Laughter]
Pat Donovan: Your first film you acted in Tom was Gravesend in 1995. Talk to me about that.
Tom Malloy: Funny enough. I think it was a little later than that, or unless I’ve been hit in the head too many times, I think it was more like, in 97 or 98 when it, at least when it came out. We might’ve, gosh, we met, started in 95, but we were, I had met the director of that movie, who’s gone on to do bigger and better things. a guy named Sal Stabeale and he’s once he directed Gravesend, then he moved on and became a very well-known writer. In television, I mean, wrote what’s considered to be the best episode of the Sopranos Rescue 9-11. He was a show showrunner. He was now, I think he’s one of the showrunners of Waco, which is on Netflix, but Revenge, another show.
So, but at the time, he was a waiter in a restaurant in Little Italy where I used to be one of my stomping grounds, and we were going into a restaurant and sitting outside, and he came over to our table and said, what can we get you? And we’re going to, and my uncle said, “Well, what can we get you?” Jokingly, he said. “Well, how about some money to shoot my movie?”
And of course, my ears perked up as I was only an actor at the time, and I said, “Well, I’m an actor,” and from that point on, I went in and got the audition and shot the movie. Now we did shot the film over a year and a half because he kept running out of money and then creating new scenes and gained weight, lost weight, hair long, hair short, in the actual movie, but it had this raw energy.
I mean, we would go up to the street corner to be a gang of thugs. And we’d be like, “You guys want to shoot a fight scene?” and they’d be like, “Yeah, alright,” and then a real fight would break out. But it gave this raw energy to the movie, and when we were done, we had all our stars name on it, then he decided to put his name on it, and it was in theaters. I thought, “Man, I’m never going to have to work outside of the acting business again!” Now, when that happened, obviously everything else in my career, I decided to start learning every other aspect of it.
But that was the story behind Gravesend, which was my first kind of jump in the pool, so to speak of making a movie much in the John Casavetti style, I might say.
Pat Donovan: I’ve got to see that. It sounds exciting. What is film distribution all about? Why is it so important? Both of you can answer that question.
Tom Malloy: You’re going to go first, Michelle?
Michelle Alexandria: Go ahead, Tom. Go ahead.
Tom Malloy: Okay. When you make a film, as opposed to television, a lot of times on the independent, it’s not like it’s not a lot of times, a hundred percent of the time, the definition of an independent film is you don’t have a distributor or a studio that’s financing it.
The studio finance is a much different ball game where there are decision-makers and executives, all planning a movie, and many times an independent film comes from passion or an idea or excitement or drive or whatever it is. And so when that film is made. Then they must find a way to get it out in the world because filmmakers, there’s no just click this button, and you just submit it to everybody.
And while there is kind of thing with YouTube, but not the same if you want an actual release of your film, almost like an actual releasing a book in bookstores everywhere. You need to go to a publisher in this case, with a film, you need to go into a distributor or a sales agent that has relationships with distributors internationally and in the US and North America.
And so you’re a filmmaker when they’re done with their movie, how do they get it out there? How do they get to the theaters? How do they get it too? VOD now is it used to be DVD and before that it was VHS. So there is a gateway there. and I think the gateway to making a film has dropped significantly with the evolution of equipment that anybody, I mean, I can go to Best Buy right now and buy a camera that’s as good as the cameras people can shoot a movie on. So, that has opened the flood gates of films coming out, and people don’t know how to get them out there. The answer is to find a distributor or sales agent to distribute them to the world.
Michelle Alexandria: Yeah! Well, I think Tom nailed it. That’s precisely what distribution is and the importance of it and how it’s viewed differently from the indie films versus a non- indie film. It’s something that Tom and I both do love doing, and it’s not something that we can just voluntarily do too much of it.
But we love helping filmmakers accomplish making that movie as well, and it’s not that easy to do, but then again, it is because people make it a little bit harder than what it could be. When you’re making a movie, distribution is a crucial factor, as is the story, as is the actor, as is the director, as are the other elements involved in making a movie.
So, distribution is a very serious part of it, and it’s usually the end part of it, but at the same time, it’s something that you can address from the very beginning when you’re just thinking about the movie that you’re going to make. One of the first things that you should consider is who your target audience is?
If you feel that there’s not going to be much of an audience or you don’t see that there’s much of an audience out there, you already know that it’s going to be a tough film to get out there to the world. If it’s already a tough thing to consider in your mind, it’s going to be tough for a distributor or for a sales company to get it out there.
So, it is an incredibly important part of the process, and more and more filmmakers show interest in understanding what distribution is. I mean, that’s how it started for me. The very first film I made that I was involved in, we didn’t think about the distribution side. It wasn’t until we had it in the can back in the day that we said that because it was in a nice little DVD box and I was in a film market trying to sell my film and in that process. I was learning about distribution as I was going from meeting to meeting. I was asked so many specific questions that I realized I should be asking myself those questions when I have the script or when I’m even considering the hand and making this movie.
And so I see that’s where a lot of filmmakers, their downfall could be because they’ll make a movie about something that has such a small audience, if any. Still, it’s just something that that person wants to do, and if they’re looking for longevity in the industry, they should reconsider what it is they truly want to make.
If it’s a onetime deal and they just want it to make that one movie to make that one message to show their family, then great, that’s a different avenue. But usually when I speak to filmmakers, it’s not that. They’re looking for a career in the business, and so distribution plays a significant role in there because that’s how your movie is going to be seen.
Pat Donovan: Question, my friend Gregory Crosby had distribution, of course, in the can using your term, before his movie was ever made with Mel Gibson. It was Hacksaw Ridge; I’m sure you’re familiar with it and, he got a lot of his money with presales. Discuss that, please. What is it?
Michelle Alexandria: I love the whole world of presales. It’s not something that we; Tom I should let you take over on this, but I’ll just start with, it’s not something that, that we see today.
Unfortunately, the newer filmmakers, indie filmmakers, they learn terms. They know sound bites, and then they’ll come to us and start using those big words, and well, we need a minimum guarantee or presales and, and I’ll look at the project they’re putting together with the cast, and it’s all very elementary. It doesn’t mean it’s terrible. It’s just more elementary. And then I have to go into filmmaking and distribution 101 of why presales are not part of the language and explain that a little bit more further presales is where you have distributors around the world, paying up in advance for a movie that’s not made.
So when James Cameron or Luc Besson is making a movie, they’re going to get their presales because we already know they’re going to have strong casts. They’re going to have a strong story. They have a history of making a lot of money on their movies, but when you, the indie filmmaker, you’re coming to this playing field, you’re brand new, or you’ve only made a few independent films.
They’ve made a little bit of money, and that’s it, but you know, you’re still an unknown, I don’t have anything to sell, so no one is going to pre-buy for me to have it presale. So it’s something that I think indie filmmakers should not lean on for financing and financing really should come from other sources, such as investors, crowdfunding, what have you, some filmmakers it’s with their own money. Still, presales are not; it’s not an option to consider today if it happens, and it comes because you’ve cast your best friend, and your best friend is Brad Pitt. Now we can talk about presales until that time comes. You know, it’s just not something to put in as a, in, in one of your bag of options in financing, your film.
Tom Malloy: Well, yeah, I mean, Michelle hit it on the head. Presales were something that existed, and they still just to a certain extent. And she touched on that too. If you do have. Marketable A-list cast, and this is not something that studios do. I mean, you’re bringing up Mel Gibson. It’s a perfect example because he was making independent films without studios, so that’s different.
I mean, it was self-financed financing, so they were theoretically independent, and those can be presales. Like Michelle said, we had Brad Pitt attached, guaranteed. We could sell it in territories left than right, just by that person’s name. But presales used to be a thing where you could do it for most films.
And if you had medium names, you could do that. There was a famous story that Brittany Harlan, the director of Cliffhanger, talks about an AFM in the eighties, true story, where he went around with a poster of this Chuck Norris movie and got $80,000 from Japan and $200,000 from Germany, and this and that and raised $8 million in pre-sale.
He didn’t even have Chuck Norris; all he did was get a graphic designer to make a poster and put a title on it and put Chuck Norris’ face, and thank God he said yes, and he was able to make the movie and then started his career. But if not, he’d be in jail right now. The bottom line is, presales were something that territories would do, and then they got a little bit smarter, and this is back when the VHS days and the DVD days were more robust and could support making a $3 million movie, and you’d make 6, 7 million off of that movie. And that’s not the case these days. So, presales are precisely what you said. Don’t assume you can throw it around, like, “Wow, can we get the presales on movie, just because it’s a horror or something like that?” And the answer is no; they’re not what they used to be. You need legit, sellable a-list casts to get presales these days.
Pat Donovan: You answered my question for another question that generated that one. So at least one A-list actor could help a filmmaker yet presale distribution money? It sounds like it’s so vital for someone who is an unknown if they were to get such as, in this example with Chuck Norris, that you said, of course, with permission in the future to use that person’s face, [Laughter] but I get the point. It makes so much sense and, so I’ll be touching on something that you made mention, investors. If you have an independent filmmaker and he is seeking investors, where does one go? When you’re unknown to find that money and have an investor say, yeah, I believe in your project. Here’s a check. Let’s do this. Where do you go for filmmakers?
Tom Malloy: [Chuckles] Well, I wish I could answer that in 30 seconds, but yeah, it’s precisely my entire career. Actually. It’s a funny story that I’ve that Michelle is so that I hate to dig for her, but I’ve used so many times Michelle, which is that she got a friend that called her and said, Hey, Michelle, how do you produce a film? And she’ll like, “How am I supposed to answer that in just a quick [laughter] or like you know, even a half-hour phone call but I have a membership site, a filmmaking membership site, called fimmakingstuffhq.com, partnership with Jason Brewbaker he, we both own Film Making Stuff, which is a significant blog on film and film financing is exactly what I’ve taught in my books Bankroll which are out of print now everything’s on FilmMakingSuffHQ and even the financing course, I believe is 81 videos, five and a half hours. So they is a myriad of approaches to financing movies. The key, maybe what we touched on, and that’s definitely how Michelle and I make movies, is to try to attach talent, which is value, so we’ve already gone these kinds of fishing expeditions on our film to try to get one sellable name.
Then we can get the financing for that. But the key, I guess, if I learned anything in almost 20 years of doing this is: Improve the Project. Those three words are the key. Meaning you’re making it better, adding value, and just keep developing it to where now it’s an extremely fundable project, and then money just starts showing up.
It’s a lot easier to get money. You know, somebody called me and, just recently with a project and it’s like, you can do this, and oh, it’s a great script. And again, stealing from Michelle, she says is a script could be the Godfather, and it doesn’t matter. It does not matter because it’s like, where is the value at that point?
You know, a great script. Yes. Almost across the board. It has to be a great script, but now let’s add Jack Black to it. Okay. Now we’ve got something, let’s add, add Matthew McConaughey, let’s add Sandra Bullock. Now we’ve got something that is sellable in front of us. It doesn’t always have to be the case. If you’re looking and you say, I don’t have any connection to those actors; I just want to make a horror movie with some teenagers, that’s fine too. Well, I, you, to be making that for a couple hundred thousand dollars and making something that is financeable for that low level. So there’s no easy answer except to say those three words improving the project is the key to raising money.
Pat Donovan: Perfect. Great. Listen, we got about four minutes left. So I’m going to try and get through this as quickly as possible. So I’m going to ask you a series of questions from the late James Lipton and Inside the Actor’s Studio. I hope you are ready. Ready for both of you. What are your favorite words? What is your favorite word? We’ll go ladies first.
Michelle Alexandria: My favorite word is mama.
Pat Donovan: Tom?
Tom Malloy: Wow, I wish I could think that up but, mine is actually. I love the word actually. I’ve always loved it.
Pat Donovan: Michelle, what is your least favorite word?
Michelle Alexandria: Ain’t!
Pat Donovan: Tom?
Michelle Alexandria: Bigot.
Pat Donovan: What turns you on, Michelle?
Michelle Alexandria: This is a weird one, but, Algebra equations. I love solving for X. [Soft Laughter]
Pat Donovan: Tom?
Tom Malloy: Working hard! When I feel that work does, like I nailed a day and I’ve done my entire to-do list. God, I get this real work buzz! Like I’m buzzing inside, and I feel like moving things.
Pat Donovan: So what turns you off, Michelle?
Michelle Alexandria: Ignorance.
Pat Donovan: Tom?
Tom Malloy: I would agree that that’s the key to a certain extent is being accused of something you didn’t do, meaning it’s you were trying to best to do something or help a movie, and they thought the exact opposite of that, drives me up the wall.
Pat Donovan: What sound or noise do you love, Michelle?
Michelle Alexandria: When I was pregnant, and I heard my son’s a heartbeat, I recorded that, and then for the last few months of my pregnancy, I went to bed every night, replaying the sound of his heartbeat. So I have to say my baby’s heartbeat,
Pat Donovan: Tom?
Tom Malloy: I love Laughter. I love my kids Laughter. It’s the greatest!
Pat Donovan: What sound or noise do you hate, Michelle?
Michelle Alexandria: Oh, that’s an easy one. Someone talking on their cell phone, on a flight, or in a car while I’m there.
Pat Donovan: Tom?
Tom Malloy: I hate coughing. I’ll be honest. Pre COVID. I still hated it. [Laughter] I even hated going like, God, you couldn’t cover that. Always drove me up the wall.
Pat Donovan: What profession, other than your own, would you like to attempt, Michelle?
Michelle Alexandria: Violinist?
Pat Donovan: Tom?
Tom Malloy: There’s no other professional. I’d like to attempt if I wasn’t programmed to be in this business that I am now, I’d say something cool like a homicide detective would be awesome. To try and piece a puzzle together.
Pat Donovan: What profession would you not like to do, Michelle?
Michelle Alexandria: That’s an easy one. Cook. Be a cook.
Pat Donovan: Tom?
Tom Malloy: Crack, Hoe!
Pat Donovan: What? [Shocked Laughter]
Tom Malloy: No, I’m sorry; that’s a joke. [cracking up Laughter] I would say, accountant.
Pat Donovan: Okay. If heaven exists, what would you like to hear God say when you arrive at the pearly gates, we have 45 seconds.
Michelle Alexandria: Don’t worry. I’ll make sure your family will be okay and safe.
Pat Donovan: And Tom?
Tom Malloy: You, really, lived life.
Pat Donovan: Well, listen, it’s been a pleasure. It’s been fun. You guys gave a lot of great information. I’m looking forward to posting it. Thank you so much. Have a wonderful day.
Michelle Alexandria: Thanks, Patrick.
Pat Donovan: Take care. Bye, bye.
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