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The Film Panel Notetaker is a fun and informative educational resource for everyone from film professionals to cinephiles where notes are shared from film panel discussions, filmmaker Q and As, and more.
Thursday, August 20, 2009
Please Vote For My SXSW 2010 Panel
Hello Everyone,
I covered the 2009 South By Southwest Film Festival as well as this year's Rochester High Falls International Film Festival for TFPN. Recently, I submitted an idea for a panel to SXSW for the 2010 festival titled "Don't Quit Your Day Job".
My panel will cover how Filmmakers balance their film making with their "day jobs". How do you balance work with filmmaking? How do you negotiate time off? How important is your job situation to fostering creativity? I won't disclose who I'm considering for the panel (I haven't approached anyone), but I'm looking into people who work in a wide variety of employment situations, including teaching, private sector work (office, customer service, etc.), health care, freelancers, and people who work in film and television.
A Conversation With Lynn Redgrave @ The RHFIFF, 5/17/09
A Conversation With Lynn Redgrave at High Falls International Film Festival May 17th, 2009 at 11am Little Theatre, Rochester, New YorkFeaturing: Lynn Redgrave, Actress Catherine Wyler, Artistic Director, High Falls Film Festival Davina Belling, Producer, Member of High Falls Film Festival Advisory Council.
L to R: Catherine Wyler, Davina Belling, and Lynn Redgrave.
The previous evening, Lynn Redgrave received the Susan B. Anthony "Failure Is Impossible" award. Earlier that afternoon, Redgrave was shown Susan B. Anthony's house. She was honored to have an award named after the suffragist because she had become an American Citizen in 1997 to vote. Later, she was disappointed to find out that in the first election she voted in, only 2% all eligible voters voted that day.
The conversation began with a showing of a montage that included Tom Jones, The Girl With Green Eyes, Georgy Girl, Everything You Always Wanted to Know About Sex..., Gods and Monsters, Kinsey, and The Countess, which featured her recently deceased niece, Natasha Richardson. Following the montage, Catherine Wyler introduced surprise guest Davina Belling, and had a tea setup brought out, mentioning this video:
Lynn Redgrave is part of a fourth generation of a theatrical family. Despite this, Redgrave had her sights set on becoming an equestrian as a child. At one point, she'd even been offered an apprenticeship. She changed her mind after having seen her parents perform in a production of Twelfth Night directed by Sir Laurence Olivier.
As Wyler noted, Redgrave began her career as a comedienne, something Redgrave chalks up to her place in the family: "Me and other third children find that the only way to have a niche in the family is to make people laugh. Making people laugh was something that could hide my shyness."
Redgrave joined the National Theatre Company during their inaugural season in 1963, under the direction of Sir Laurence Olivier. (She shared with the audience that everyone called Olivier "Sir".) Redgrave has continued to participate in Shakespearean productions throughout her career. Sometimes, she teaches, too. "I love to teach, and I teach quite often," she told the audience. However, "I usually skip the Shakespeare because people always act in [at least] one Shakespeare."
In 1991, Redgrave got an offer to come to Washington to do a program called "An Evening With Lynn Redgrave". Instead, Lynn wrote and performed in a one woman show titled Shakespeare For My Father, and later toured with it. She credits Shakespeare For My Father with jump-starting her career: after seeing her in Shakespeare For My Father in Houston, director Scott Hicks cast Redgrave in Shine, her first movie role in six years.
"When you put out energy yourself, energy comes back at you."
Redgrave has since written more plays about her famous family, most recently, Rachel and Juliet, about her mother Rachel's relationship with her favorite role, Shakespeare's Juliet.
Diagnosed with Breast Cancer in 2003, Redgrave and her youngest daughter, Annabel Clark, began a personal project documenting Redgrave's treatment. At the time, Annabel was a senior at Parsons and was hoping to do a seperate project for her finals, but Clark was so overwhelmed by her mother's illness that she decided to make their personal project her final project. After being in the Student Showcase the final semester, the photos were published in The New York Times and later as a book titled Journal: A Mother and Daughter's Recovery From Breast Cancer. The photographs launched Clark's career, and recently, she has done work for Redbook.
Lynn Redgrave is often times overwhelmed by the expectations she puts on herself when she's performing. But having survived Breast Cancer and the recent sudden death of her niece, Natasha Richardson, she reminds herself that there's a good possibility she might not be here right now, doing what she loves the most: performing.
Lynn Redgrave at Java's, May 16, 2009.
Q: How do you prepare for a role?
Redgrave: I've been asked about acting, wouldn't you believe it? Usually, when you've got to insert yourself into the character, look inside the character, and ask, "Why are you here? What are you here for? How are you here?" Once, I found myself standing at the side of the stage in a play in New York. Opening night in New York, standing on the edge of the curtain, it's like saying, "I'm going to go skydiving for the first time." There's a sense of danger, which I love. As time goes by and I get older, I expect more from myself, and I do mind tricks, which is quite stressful, in order to go out and feel that at least I did the best I could. I get out there, and I think, "Why did I do that? This is the thing I love to do so much, which is to work and appear in great plays. Why do I put myself through mindtricks? I've had cancer. I could be NOT there. Why do I put myself through this mind trip? I could've died from cancer. I could be NOT working right now." Everyday, you have to have some proper protection, I guess. But I can't NOT get up every day. I find freedom within the role.
Jack Garner: In an interview that I read a few weeks ago, you said something very reassuring to The Washington Post (following the death of Natasha), about what your father did the day your grandmother died.
Redgrave:The day I finished the show (Rachel & Juliet) was right after Natasha had died. People were expecting me to cancel, and I think that a lot of times, being part of a theater family, that's what we do--the show must go on. When my father's mother passed away, he was sobbing, absolutely sobbing, and that night he went out and gave one of his greatest performances. I felt if I had decided to cancel, that would be, in a way, a disgrace to her. I went out there because that's what you do.
My sister, as you probably heard, was supposed to put on a performance ofThe Year of Magical Thinking, but had to postpone, of course, because of the play's subject matter. Eventually, she did perform it, and I think that's a testament to our family.
Erin/TFPN: I met you at Java's last night, and we had a nice conversation about the British New Wave.
Redgrave: Yes we did!
Erin/TFPN: You were talking about Georgy Girl and how you feel that people appreciate the message more now than they did at the time. Can you elaborate on that?
Redgrave: Actually, I don't remember saying that. But for some of you who weren't alive at the time, I think it's one of the sixties films that have survived--it has a really good story. A woman who feels completely out of place in society and in life. Charlotte Rampling played an incredible bitch who abandons her child. [Rampling] was nothing like that in real life. My character is willing to marry a man she doesn't love and take on a child. Every once in awhile, they'll show a movie from that period, and it'll be like, "That's interesting, but it doesn't stand up to today." Somehow, I think the movie has a very modern story.
Special Thanks to Ruth Cowing for identifying Davina Belling for TFPN.
A Conversation With Lesley Stahl @ The High Falls International Film Festival, 5/16/09
A Conversation With Lesley Stahl Saturday, May 16th, 2009 at 9:30 am Memorial Art Gallery, Rochester, New YorkFeaturing: Catherine Wyler, Artistic Director, High Falls International Film Festival Lesley Stahl, Correspondent, CBS News, 60 Minutes
Lesley Stahl (Right) with Catherine Wyler
The friendship of High Falls' Artistic Director Catherine Wyler and Lesley Stahl stretches back decades. Wyler and Stahl were part of a group that met once a month for lunch while living in Washington, DC; the group fell apart after Stahl moved to New York. Over the years, Wyler and Stahl stayed in touch, with Wyler attending the wedding of Stahl's daughter, Taylor, and Stahl being a member of High Falls' Board of Directors. Stahl was scheduled to be at last year's festival until Stahl had to be whisked away to Iran at the last minute.
Catherine Wyler read the opening line of Stahl's 1999 autobiography, Reporting Live: "I was born on my 30th Birthday." Stahl elaborated on that statement, stating, "My career didn't really start until I was 30. The thing with young people is that sometimes they don't know what they want out of life, and I didn't find out until I was 30. [Turning 30] really changed me."
Pushed by her mother to "have a career, not a job", Stahl attended Wheaton College. "A lot of mothers in the 1950s became housewives--it was sort of the ethic then. Betty Friedan wrote about it in The Feminine Mystique. My mother was very frustrated at home. Even before Betty Friedan's book, my mother, when I was in college, told me that I needed to have a career, and that she 'wasn't going to stand for a job'. She wanted a profession out of me." Stahl's mother was willing to support her in whatever field she wanted, so as long as it was something she wasn't going to quit.
Still, journalism wasn't necessarily on young Lesley's agenda; she says that she never worked for any school newspaper. It wasn't until she was working as an assistant to the speechwriter in the Mayor of New York City's office that she decided to become a reporter. One day, she approached a reporter and asked him, "What do you do all day? You wake up, and what happens? " He described his duties, and according to Stahl, "It was like a lightbulb had gone off in my head. I thought, 'I have to do that.'
A few years later, Stahl was working at a TV station in Boston when she heard from CBS News: a memo stated that the next three correspondents hired by the network would be either women or minorities. She said to her fellow producer, "Can you make me a reporter really fast?" Lesley and the producer set about putting together an hour and a half long demo reel, only to be told that most demo reels were only about 20 minutes. In 1972, she was hired along with Connie Chung and Bernard Shaw to be a correspondent for CBS News. Stahl considers herself to be a direct beneficiary of Affirmative Action.
"The first White House I corresponded for were Democrats. They were pro-ERA, and they didn't treat women very well. In comes the Reagan Administration, against the Equal Rights Amendment. All of Reagan's people treated [women] professionally. In the Reagan White House, I was treated like a professional, not a woman."
Wyler brought up a passage from Reporting Live that discussed speculation that Reagan may have already been afflicted with Alzheimer's Disease when he ran for re-election in 1984.
"When a President begins to fail, there a couple of things that come into play," Stahl said. The Wall Street Journal published a piece that noted that Reagan, while debating with Walter Mondale, was "wandering all over the place". While Stahl doesn't insist that Reagan had Alzheimer's then, she spoke with an Alzheimer's specialist, who told her that Alzheimer's "Is a gradual disease. When it starts, there are periods of great lucidity, and then all of a sudden, in the middle of the day, in the middle of the week, something's wrong, something's not there, then it hits. People who are having problems try to hide it."
During Reagan's second term, Stahl believes that Nancy Reagan's had more influence and support, and suggested that if Reagan did indeed have an illness, Nancy may have even guarded that secret from the staff. "We'll never know, because she'll never tell." Stahl recently interviewed Nancy Reagan for WowOWow (more about that later), and CBS' Sunday Morning in promotion for a new book by their daughter, Patti:
Stahl emphasized the continuing importance of the media as part of maintaining a democracy. She noted that in countries where press is not free, the Governments have corruption. "When we have corruption, the press calls corruption out." Stahl lamented the current problems Newspapers are facing, but added that this is all part of the system "cleansing itself".
Last year, Stahl added "entrepreneur" to her resume, launching WowOWow.com with Joni Evans, Liz Smith, Mary Wells Lawrence, and Peggy Noonan. WowOWow is targeted at women over 40 with an emphasis on Politics, Fashion, Foreign Policy, and Gossip, among other things.
"I always wanted to own something," Stahl stated, and added that "like Newspapers, we're struggling with ad revenue, and I hope we find a good model, whatever that's going to be."
Q: In what way do First Ladies put their stamp on the White House?
Stahl: I think we would be surprised to find out how important First Ladies are. Presidents become skeptical during their time in the White House of who they can trust. They have to create inner circles that allow them to say what they think, and let their hair down. Today, with blogging and the internet, they have become even more aware. As their circle shrinks, who's left? They go home at night, and probably discuss everything in their lives. Of course, their wives have been partners in their public life.
Most Presidential Marriages get better in the White House. Up until then, the Public isn't around all the time. They travel a lot, they have wives greet people [at the White House]. The wife, 24 hours a day, is a confidante. So the marriage gets stronger, they are together as the President comes home at night.
Q: How do you think Hilary Clinton is doing as Secretary of State?
Stahl: I interviewed her as well [for the Joe Biden interview]. She and Joe Biden have breakfast together every Tuesday. It's part of the Team of Rivals, to make sure that they all get along. My sense from what I got from interviewing her that day was that she was really liking this job. And that was the big question: "Would she really enjoy this?" She wasn't the most powerful senator, but she was certainly the most famous one. I get the sense that the job is another challenge for her. Her specialty as a Senator wasn't Foreign Policy, but she finds the work challenging, and she's really enjoying it.
Q: I'm curious. Do you consider yourself a Feminist?
Stahl: I was working when the Women's movement was really, really powerful. When Gloria Steinem, Betty Friedan, Bella Azbug, were marching, I knew that they were helping me. I knew that I'd gotten to CBS News through Affirmative Action, and I knew that I would be getting equal pay because of them. I was not a feminist in the political sense, because I wanted to achieve that through my abilities. But in my heart, I was a feminist.
(Addressing the questioner, a young woman) Women your age don't like the word feminist, don't want to be called feminist. My daughter doesn't like the word, but when you sit down and talk with them about the struggles and the changes that happened in the '70s, what they were fighting for, and they admire that. Somewhere along the way, the word "feminist" got a negative reputation.
Q: I was watching a TV show several years ago that was a roundtable of women journalists, and they were all talking about their experiences in the business. They were going around the table, and going on and on about, "Oh, it was so terrible, they way me treated us," and it came to you and you said, "Gee, I didn't have those problems. It wasn't that way for me." And they all looked at you like they didn't know what to say. What made your experience different from theirs?
Stahl: Well, for one thing, the attitude. When I was hired, and as Connie was saying [in the roundtable]--we were hired together--I knew the man who hired me wanted me to succeed. He was invested in me coming up. And all the men who were my colleagues also wanted me to succeed. I didn't feel that anyone was trying to sabotage me, unlike my peers. The cameramen were really hard for me to work with, but my eye wasn't there. My eye was on my boss, and doing my job as a reporter. And if I didn't do well, I never allowed myself to fail, never blamed on being a woman. I just felt in my heart that they system would help me as long as I did well. And if I heard someone say something a little off color, I ignored it, and moved on.
A Conversation With Pat Carroll at the High Falls Film Festival, May 14, 2009
A Conversation With Pat Carroll May 14th, 5:30pm, Memorial Art Gallery, Rochester, New YorkFeaturing: Pat Carroll, Actress Fred Armstrong, Animatus Studio Pat Carroll (left) with Fred Armstrong
Pat Carroll first gained recognition in the early days of television, appearing as a regular on Make Room For Daddy, as well as appearances on The Red Buttons Show, The Danny Kaye Show, Password, and To Tell The Truth. In 1956, Carroll won an Emmy for her work on Caesar's Hour. Here's a video from her appearance on Password with Johnny Carson:
Her television work continued with appearances in the 1965 TV version of Rodgers & Hammerstein's Cinderella, The Carol Burnett Show, Too Close For Comfort, She's The Sheriff, and ER. For the last 20 years, concentration of much of her work has been doing voice overs for animated shows, including Pound Puppies, A Pup Named Scooby-Doo, Chip 'n' Dale's Rescue Rangers, as well as the movies A Goofy Movie and My Neighbor Totoro. Carroll's best known voice-over role, however, has been as Ursula in The Little Mermaid, which she has reprised for its sequel, the Kingdom Hearts game series, and several episodes of House of Mouse.
A member of The Actors Studio, Carroll has appeared in stage productions of Our Town, Electra, The Merry Wives of Windsor, as well as Gertrude Stein, Gertrude Stein, Gertrude Stein, for which she won a Grammy Award for its recording in 1981. Her career extends to motion pictures, with live-action appearances in With Six You Get Eggroll, Songcatcher, Freedom Writers (as Miep Gies), and Nancy Drew.
The conversation began with Fred Armstrong introducing Carroll with her extensive list of credits on stage, in movies, and in television, followed by a ten-minute montage of her screen work. Armstrong asked Carroll how she got into show business. At age 5, while living in El Paso, Texas, her family's Mexican maid, Maria took Pat to a play in Mexico, which mesmerized the young girl. At age 12, now living in Los Angeles, Pat looked up a theater company in the Yellow Pages and was soon cast as Emily in their production of Our Town. She commented, "Whenever people ask how I got started, I always say "The Yellow Pages!"
Our Town is Carroll's favorite American play, and Thornton Wilder is Carroll's favorite American playwright. She may have been cast as Emily, but her favorite role was as the Stage Manager. At the time, the role was played by a man, but in 2002, Carroll got her chance to play the role in a Bethesda, Maryland production. When a friend of her daughter's saw Carroll play the role, she remarked to someone, "Isn't it wonderful that Pat Carroll is playing that role?" and the other person responded, "That isn't a male role! That was written for a woman!"
Carroll went to college and taught drama at a Catholic High School. She wanted to go to New York right after high school, but her parents refused. At age 20, she finally did go to New York, made the casting rounds, getting cast in Summer Stock productions. This led her to getting cast on television on The Red Buttons Show (her first TV appearance), and Make Room For Daddy (now known as The Danny Thomas Show). Carroll believes she owes much of her recognition on stage by the audience to her TV work.
Segueing into the voice-over work, Carroll talked extensively about her work in The Little Mermaid. The Little Mermaid was Disney's first big hit in years, following a long slump that included The Fox and the Hound. Carroll doesn't believe it was any accident, though.
"The quality control on that film was superb." She said.
One day, while she was working on the film, she was speaking to her daughter. Carroll was very cranky and felt exhausted by the work when her daughter pointed out to her, "It seems to me that you were raised on quality Disney Films, you raised your children on quality Disney Films, and even after all the theater and television you have done, 50 years from now, this is what you'll be remembered for." Carroll realized her daughter was right.
She also spoke of collaborating with animators, saying, "Many times, you people who animate are artists. You are creative. We who are voice actors, are not. We are interpretive." As she was doing voice work, she noticed that they had video cameras on her and she wondered why. After asking, she found out that they tape the voice over sessions to help the animators with drawing the character.
She talked about preparing for her roles as Gertrude Stein and Miep Gies. Dialect work has long been out of fashion, as Carroll remarked, but decided to take the role of Miep Gies anyway. To prepare for her role in Freedom Writers, Carroll watched and listened to Gies everyday for three months to pick up her dialect.
Q: What did you do to win the Emmy for Caesar's Hour?
Carroll: I did hard work! Actually, I played a waitress who is about to get fired for being truthful, and my character goes up to Sid Ceasar and asks, "Is there anything I can do to help you? I'd be happy to do anything!"
Jack Garner: When you're doing your voice work, what is your reaction to doing it? On one hand, I'd think you'd have a lot of creative freedom, because you only have your voice to worry about--you don't have to worry about what you look like. On the other hand, your body is limited so you can't use all of it.
Carroll: When you're concentrating on your voice-over work, you're not thinking about your body. Unbeknownst to you, you might say something, and your hand will come up, and that's why the bloody camera is there!
The Disney Studio, for the first time in their history, had a reading of The Little Mermaid at a recording studio in Hollywood. They flew in all the New York actors, I was there, and all of our people were there. We started our show. It was a 2 1/2, 3 hour session, and I had to get to another studio after it was recorded. After it was done, they found out that nothing had recorded. I was so disappointed. It was the first time in the history of the studio that they had even attempted to do that, and it was blown technically, and I can't tell you why.
Interesting that as you get accustomed [to voice-over work], you become part of the loneliness. It's always good to be surrounded by other actors. When you're doing voice-overs, it's just you and the folks in the booth.
Armstrong: Who was your favorite comedian to work with, and your least favorite comedian to work with, and why?
Carroll:My favorite was Jimmy Durante. I was doing a series of revues. He spotted me, and hired me for a special. As a little girl, I adored him. During rehearsals, I was so nervous. After a week of rehearsals, he asked me to [come out to Hollywood] and do his show. I called my parents, who also adored him, that I was coming out to do his show, and at the time, they didn't own a television, so they went out and bought one. Then they decided to come to the taping and see me live.
When it was time to introduce me on his show, Jimmy announced, "Now, folks, I found this little girl, and her name is Pat Crowley!" The director looked at me and he said, "He does that." I came onstage and said, "Jimmy, I thank you for the introduction, but my name is Pat Carroll, not Pat Crowley" and he says, "Who's Pat Crowley?" He was the kindest human being who could walk with presidents and kings--that's the kind of man he was.
My least favorite comedian to work with? Danny Kaye. He used to say he liked children, but in reality, he hated them. If you don't like kids, just come out and say so! I don't like that type of phoniness in a person, never have, whether it's a star, or a human being. He was wonderful to work with, until he found out that I was pregnant with my third child.
Q&A for "Saint Misbehavin" at High Falls Film Festival, May 13, 2009
Q & A Session for Saint Misbehavin' High Falls Film Festival Little Theatre, Rochester, New York May 13, 2009
L-R: David Becker, Michele Estrick, Wavy Gravy, and ???? (name inaudible)*
Q: To the producer and the director, how did you start, how long did it take--
????: The genesis of the film--
Estrick: I met Wavy in '92, we did some benefit work in '96 for a couple of years, and I've never met anyone like him in my entire life. I thought that everyone who got the privilege to be around him felt like going out and helping somebody. I saw a light around him, a good light. So I thought, "I've got to introduce him, the real Wavy Gravy, not what a lot of people think of him as." But also, I really wanted to put him in front of as many people as possible around the world to see how fun it is to make world a better place.
Q: Just to follow up, I read that you worked on the film for a decade. How did that happen?
Estrick: How did the decade happen?
Q: Did you literally start ten years ago?
Estrick: Yes. The first shoot was at Woodstock '99, which didn't end up in the film at all. We ended up with about 350 hours of footage, and the movie is 87 minutes long, so we have lots of Gravy! We were in the editing room for two years. Wavy has about ten films, at least. I could've made a film about anything. I didn't want to make a biography, I wanted the film to be his message. You really have to figure out which story you want to tell, and picking the right story to tell. And if you're ever with Wavy, he'll tell a story about right now, and then he'll go back to the past, and then come back to the present, and so that's what it's like to be with him.
Q (to Wavy Gravy): What are the major differences between the '60s and now?
Wavy: I've always believed that we're the same person trying to shake hands with ourselves. These are the good old days. Everyone says, "Oh, God! I miss the sixties! I loved it!" Well, Eternity Now!
Q (from ????): How did you get through the past eight years?
Wavy: One breath at a time! As I say, I prefer to smoke bush rather than pay attention to him.
Q: I'd like to know how you learned about clowning.
Wavy: My own training came about through an improvisational group called The Committee. The type of clowning I employ is called intuitive clowning, rather than classical clowning. There's the Ringling College in Sarasota if you want to learn that type of clowning. The kind of stuff that I do comes from within.
Q: Can Grown-Ups come to the camp?
Wavy: We have nine weeks for the children, and one week for the grown-ups. You can come for one day, or one week.
I would also like to say one thing. This film was made before the last election. For many years, I supported Nobody for President, and a lot of anarchists got steamed because I defected to Barack Obama. So I told them, "Nobody made me do it!"
Q: How long did you work with Tiny Tim, and what was he really like?
Wavy: For many years. Tiny Tim would have these old time Philco players come inside him and he would channel them. I remember one time we were doing a show and he came off the stage upset, and I asked, "What's wrong, Tiny Tim?" and he said, "Rudy Vallee came inside, and he wouldn't leave."
Q: Did you ever write with Robert Hunter, and if so, what was that relationship like?
Wavy: I haven't seen Dylan much lately, he tends to be pretty reclusive. But he put out another damn fine album this year, I don't know if you have checked it out.
Q: There's a controversy about what kind of lunch box you used to sell weed out of. Was it a [inaudible], or a Donald Duck lunch box?
Wavy: I would stand on the corner of Haight and Ashbury and sell a lid, but they were just the tops of my Ben & Jerry's Ice Cream Flavor.
Wavy: Jerry was on his way. He'd started a big vitamin company and was jaywalking when he was terminated.
Q: Mr. Gravy, this is a serious question. I think you're a sage and a visionary. What do you believe will happen with aging flower children? I mean, what's going to happen to all of us?
Wavy: I am nostalgic for the future.
Q: With all the things you've done in your life, is there anything else you would sort of like to accomplish?
Wavy: First of all, you gotta know that 501 (c) 3's are really taking it in the gut, and the Seva Foundation is an organization that is near and dear to me, and is in desperate, dire straits. And if you want to, check us out at seva.org. Seva is a sanskrit word that means "to service of humankind". We not only work with blindness, but we're also taking on diabetes in the Indian Reservations. With talking circles and elders, and their campaign to bring back the Buffalo, and actually have made a Winnebago reservation made for it. So I'm more than just another pretty face!
Estrick: I like it when Wavy says when we're at a restaurant, and the waiter says, "Can I get you anything else, sir?", and he says, "a side order of humankind while you're at it!"
Q: What are you planning on doing with the movie now?
Becker: One of the things that we're going to do is do a college tour with the film. We're going to bring Wavy and some of his friends, and some musicians along with us. We really want to reach the younger generation at colleges and at public schools--those are great places to take the message. So it's going to be a big part of the outreach program that we do to get the film in front of young people. We think that now is a great time to tap into young people, with all the hope and inspiration that's going on in the country. To show that you really can change the world, and have a good time doing it. That's one of the goals for the film.
Q: Can you talk about the distribution of this wonderful film?
Estrick: We would love for you to go to our website, and sign up to be on our e-mail list so that we can let you know where we'll be next, and what's happening. We're talking to distributors now. We're not sure what's going to happen, we just know that we want to pour some Gravy on the world.
