TEASER VIDEO: [NUMEROUS TRIGGER WARNINGS]
This one never even made it out of the driveway.
I made a deck for a documentary called *Andrew Tate: Giant Piece of Shit*.
My friend and longtime collaborator Ethan Higbee and I also made a teaser like an old-school wrestling promo, an aggressive, petty, wildly overconfident and tasteless shit-talk designed to use Tate’s own visual language against him. A cinematic curb-stomp.
As the deck put it:
“This is not a documentary. This is a takedown wrapped in a flex.”
Whatever the fuck that means.
We showed it to the team and the agents.
The reaction was immediate.
No.
Someone even complained about a sound effect in the teaser: a turd hitting toilet water after an extended barrage of fart noises. Said it was “juvenile.”
With all due respect, the title was Andrew Tate: Giant Piece of Shit. We were not exactly attempting Shoah. The soft, humiliating splash of shit finding its final destination was not a lapse in judgment. It was the fucking thesis.
And that is essentially the entire story.
It was shot down before it could accumulate the kind of elaborate corpse worth performing an autopsy on.
But the deck is too insane not to share, so I am putting it here for your enjoyment.
Peace and love.
And Andrew? Don’t drop the soap.
-ABL
Because this series deals with real projects, real people, and real companies, here’s the boring but necessary note written for me by AI:
Almost Greenlit is written from my personal perspective and memory as a filmmaker and producer involved in the development and pitching of these projects. It is not intended to be a definitive account of what any buyer, executive, company, filmmaker, subject, agent, financier, distributor, or other participant thought, intended, or decided at the time.
Where I describe meetings, pitches, passes, development history, business decisions, or creative choices, I am describing my own recollection, interpretation, and opinion unless otherwise stated. Any quoted material is included from my own correspondence, public materials, interviews, or with permission where appropriate.
Materials such as trailers, teasers, pitch decks, posters, stills, artwork, clips, screenshots, and other project-related assets may be included for commentary, criticism, historical context, archival reference, and educational purposes. I do not claim ownership of any third-party copyrighted material included or referenced here. Unless otherwise noted, photographs included in this series are my own or are used with permission.
Nothing in this series is intended to attack, disparage, or misrepresent anyone involved. The goal is to examine how projects are developed, pitched, passed on, revived, abandoned, or made anyway and what other filmmakers can learn from that process.
If anything here is inaccurate, incomplete, or requires correction, I’m happy to correct the record.
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