206. Keone & Mari: Space & Time

[00:00:01] Speaker A: Oh, my goodness. Are you a pug? She is a pug. Oh, my gosh. Hello, baby. [00:00:14] Speaker B: Wow. Holy smokes, you guys. I really do say it every week. I'm really excited you're here. Thanks for that. I'm Dana. This is words that move me. My guests today are the one and only's plural, because there are two of them. Keone and Mari Madrid. Long time friends and big, big heroes of mine. I am thrilled to have them as guests and so thrilled to share this conversation. But first, let's celebrate some wins. Today, I am celebrating a future win. I'm going to Vegas to work on a show. I leave on Wednesday. Get back soon. Can't wait to tell you everything that I have learned about this, including, but not limited to, a really sexy way to take off pants. More where that came from. All right. That's my win. That's what's going well in my world. Now you go. What are you celebrating? What's. What's great in your world? Say it out loud. It matters. Yay. Wow. Okay, great. All right, we're back. Yay. Congratulations. I'm so glad you're winning. Now let's do it. Let's all win collectively, because Keoni and Mari are a gift to the world, and so is their work. Today, we're talking about their latest feature film, no big deal, called Space and Time. We get into the nitty gritty of it, my friends. We talk technical, we talk big, big heart feels. We talk strategy and process. I think we should just get right into it. Enjoy the two and only Keone and Mari Madrid. When I'm excited, I shimmy. Leave me alone. So, first question. Are you or are you not Wayne's world fans? Oh, my God. [00:02:17] Speaker A: Yes, of course. Come on. [00:02:21] Speaker B: Who was? Not that. The silent countdown cracks me up so freaking hard, and I forgot that Riverside does that. So welcome, Keonny and Mari, to the podcast. Thank you so much for being here. Oh, my God. [00:02:35] Speaker C: Thank you. Thank you for having us. [00:02:38] Speaker B: It's just funny because it feels like we're looking down on Wayne's basement, but only that's not Wayne's basement. How could it be that I would start this podcast, of all things, talking about Wayne's world? [00:02:52] Speaker C: It seems proper. [00:02:53] Speaker A: Yeah. [00:02:54] Speaker B: It left a huge imprint on me. And we are here today to talk about movies, so I guess it's, like, it's pretty appropriate. [00:03:01] Speaker C: We are millennials. [00:03:02] Speaker A: We are millennials. [00:03:03] Speaker C: That is sort of our jazz. [00:03:05] Speaker A: Yeah. And Tia Carrera is in that, and she was, like, one of the few Filipinos on screen. [00:03:10] Speaker C: This is true. This is true. [00:03:11] Speaker B: So back in those days, super hot bombshell. Smoking hot. But who's Anthony? Who's Anthony? I'm sorry, I'll stop now in case anyone out there is not a millennial obsessed with Wayne's world. So this might segue rough right now. It might feel rough, but it is tradition on the podcast for my guests to introduce themselves, and I thought it might be fun for you guys to cross introduce each other. So Keone introduced Mari. Mari introduced Keone on your market set. Go. [00:03:45] Speaker C: This is Mari Madrid. [00:03:48] Speaker A: And this is Keone Madrid. [00:03:51] Speaker C: And we are Mari and Keone Madrid. [00:03:55] Speaker A: Or Keone and Mari Madrid. [00:03:58] Speaker C: And or Mary and Keon Madrid, depending if you've read our names that way. [00:04:05] Speaker B: Which some people may. And also, if you maybe japanese, you would also call you keon. [00:04:11] Speaker A: Hi. [00:04:12] Speaker B: Hi. Which was how I think. I think Keone. We met at the same time I met the shit kings. And so that was how I heard your name pronounced. Often. Maybe not the most often, but quite often. [00:04:27] Speaker C: And I'm sure it made you question, like, is that. Is it pronounced that way? And so, you know, if you did have that hesitation. [00:04:36] Speaker B: I had a tiny hesitation. Not much, though, because Sean and everyone else who speaks English, so. Okay, anything else about each other that you want our listeners to know that they might not already know? [00:04:47] Speaker C: Yeah, I mean, I don't like to assume that people know who we are. So, like, we've been dancers first and then grew into choreography and did our stuff online and the early, early YouTube 480 p days, and then somehow transitioned into the. The dance industry through that medium. And I've been choreographing for a long time and are now starting to transition a little bit more into directing things. And we've been known for that, for our partner work, our stage work, and things like that. Yeah. And we are married, not brother and sister, just to clarify. [00:05:25] Speaker B: Oh, my gosh. That's. Thank you for clarifying. I didn't need that. But somebody else may have needed that, like my brother, who may be listening, maybe needed that. [00:05:36] Speaker C: Well, I mean, there's been a couple times where we performed quite intimate pieces on stage, and someone still asks, oh, are you siblings? And so we, you know, we've just. Just made sure to clarify every single time and use it as a joke. [00:05:54] Speaker B: Nice. [00:05:54] Speaker C: But mostly clarify. [00:05:55] Speaker B: Always be reintroducing yourself as a married couple all the time. And bring your kid everywhere you go. It just says evidence. [00:06:02] Speaker C: Yes. [00:06:02] Speaker B: Okay, you guys just released a feature film. First of all, not intentional. Didn't think you were gonna release a feature film turned into a feature film. Can you talk a little bit about space and time, how you thought it was gonna be and what it actually is? [00:06:17] Speaker A: Yeah. Space and time. It came out of a season of grief that we had in our lives. We just kinda got hit for a month with, like, loss after loss, and after taking some time to process and just be human beings and be with our family, we got to a point, as I believe, creative people, where you just, like, have a need to express something through your art or the way that you love to express. And so we got to that point. An idea was thrown out by Keone one day while we were walking the dog. And, you know, it was suggested that we just kind of make something out of all of the feelings that we had, and we didn't know it was going to be. I mean, the proposal was just, like, maybe it'll be, like, episodic, like, we just make some dance stuff, but maybe it'll be a short or something. I don't know. But just let's call our homies, like, our people that we usually dance with and work with, and we just need to kind of heal through dancing, you know? I knew when he brought that up, I was like, oh, this isn't gonna be a small thing. Cause I know him, and I know when things are suggested, I'm like, hmm, yeah. Presented, like, this, this little side project, but it's not. It's gonna snowball and turn into something that will take over. [00:07:57] Speaker C: It truly wasn't intentional, I swear. There's no strategy there. But it wasn't until, like, we got all the way to, like, day one of shooting and looking at the dailies and us and our producer and our dp just being like, this is gonna be something maybe we should think about as we're going, what it can be. If the film is saying that, like, usually when it comes to passion projects like this, like, we allow the piece to dictate where it wants to go based off of, you know, what it's becoming. And so with that luxury, right, like, usually when you're hired onto a project, knowing it's a feature film, there's a different mentality and approach behind it. So for this, I think because it was just so honest and everyone, a part of it, too, was going through something. That collision of energy, I think, manifested into images that just felt, like, needed to be experienced rather than shared. Normal means, if that makes any sense. [00:09:08] Speaker A: So, yeah, that's a good way to put it. But, yeah, we didn't know it was gonna be what it was until we did the assembly edit. [00:09:16] Speaker B: Okay. [00:09:16] Speaker A: And we're like, oh, my gosh, this is 40 plus minutes long. What is this? [00:09:23] Speaker B: Yeah, what is that? What is that? So did you, were you looking to submit to festivals and things? And they were like, sorry, no can do. That's not a short. This is a feature. Is that. Or did you just look? Can you google that? What is a video that's 48 minutes in length considered? [00:09:40] Speaker C: Exactly. We literally googled, what is a film that is 45 minutes long? Because we were like, this is too long to be a short and too short to be a feature. What is that? And then it still is. It's like the academy clarifies a feature to be over 40 minutes long, but sag clarifies it to be over 60 minutes long. So it's like, we're literally in the space of, like, it's just, it is what it is. But we definitely knew, like, okay, well, let's just ride the wave of, like, whatever this thing is. Yeah. [00:10:09] Speaker B: Fantastic. [00:10:10] Speaker A: And so we went with feature because it's longer. And then if somebody sits down to, like, watch a short film, like, you don't want to be sitting there for 45 minutes, at least with the feature, it's like, okay, I know, I'm sit and digest this whole thing. [00:10:23] Speaker B: Expectations are managed. [00:10:25] Speaker A: Yes. And then when it's over. Oh, oh, that went by fast. [00:10:28] Speaker B: Okay, okay. So speaking of expectations. Hysterical. I went to the, what do we call it in the industry. Why am I screening screening debut. It was the opening day premiere. There it is. Wow. And I showed up. I'll just use this word. Cause this first comes to mind, sparkling. I was sparkling because my friends made a feature and their names were on the marquee and there were dancers in it. And I was sparkling for that. And I was wondering a little bit why I wasn't met with the same sparkle when I saw my dance friends who were there and in it, and they all received me with love and said, you know, I'm so glad you're here. Buckle up. You know, like a very sincere tone difference there. Like, this was not like a bunch of people were like, watch me slay. You're gonna love it. And so I was like, oh, okay, this is something serious. And I think the trailer, which, by the way, is gorgeous, leaves a lot to be imagined and discovered. And those are my favorite kind of trailers. First of all, thank you for that, because it's so, it's kind of a hobby of mine. Sometimes for a feature length of time, I will just watch trailers because I love them. So for the same amount of time, some people would sit and watch a movie together. I will just watch two and a half minute bits. And so I love a trailer. I love the trailer for space and time. It's gorgeous. And I had no idea what I was walking into. Zero. I was just wondering why the tone was so. I don't want to say heavy or gravitas, but it really was real. It was grounded. It was like the core of the earth when I walked in there and I got to sit, I got to meet Zach Parrish, who directed us again, and he was my seatmate, and neither of us really knew what was going to happen other than that it was going to be fantastic. And so that's how I entered. Sparkling, chatty, excited, and I left you guys drenched, fully saturated in feelings. Big, wet, heavy, real feelings. And if that is not the objective of art, I don't know what is. To change an experience by simply offering other thoughts and. And visuals. And my experience of that day was changed because of what you put in front of my eyeballs on a big, big, big screen. So thank you for that. Not that I don't love to sparkle, but I love to feel feelings. And that project, that art thing that you made, really drenched me in them. I was fully saturated, couldn't really move for several minutes. So, round of applause to you for being feeling influencers. I know that wasn't the desired result, though. I don't think you made this with audiences in mind. Am I wrong? [00:13:45] Speaker A: No, you're not wrong. [00:13:47] Speaker C: No. I think yes and no. Yes in the sense that, of course, we didn't imagine it being on a big screen in that way. But of course we knew that we had an objective of how we hoped the audience would. Would walk away from watching this thing that we wrote out. But it's exceeding everything we could have imagined at this point. So we're just along for the ride. [00:14:13] Speaker B: I'm so glad. I'm so glad to hear that. That's fantastic. It taught me something important as a choreographer and as a person who loves to lead also. I love just a project. Let's make a thing. Let's make a thing. And I have never saw myself as much of a leader growing up. Like, I was not the front of the pyramid in the formation. I was like, you know, support staff in most of my come up roles, but I do love leading. I'm very interested in different types of ways to do it, and I find that my personality type or my way has evolved into leading with charisma and positivity and sparkle, that thing that I was talking about. And when I watched space and time, it was so clear that with this project, that way of leading would have been a disservice to the project itself, because it's not what the project is about. Yeah, it taught me that, like, charisma isn't the way. Like, it isn't or necessarily shouldn't be the default way to lead all the gigs all the time. And so my question is, how much do you think you had healed before other people were involved? And I'm guessing you led with just honesty. Whatever was showing up on that day, which, because you were still grieving throughout the process, was probably something different every day. So how much do you. How much, if, like, zero is totally raw, like, I am spilling over, can't be consoled. I am not. Okay. If that's that. And ten is, like, a normal daily life. Without thinking about the grief, where do you think you were at in the process when you started work with others? [00:16:11] Speaker A: Yeah, I know what you mean. I feel like, in my brain, I was like, yeah, I'm like an 8th. Yeah, I'm good. Until you start unpacking, like a five or a six. [00:16:28] Speaker B: Okay. Okay. Okay. [00:16:31] Speaker A: I think making it really helped. The whole process of making that film really helped and helped me understand how deep things were, how deep love penetrates you, and how much things need to come out and how also, like, there was no other way for me to let some of those things out than through dancing them out and performing them out. And that came out on set sometimes where I would be at a zero, just, like, pouring myself out in front of everybody and being okay but exhausted afterwards. So I think that's what the experience was. And then after making it maybe was actually more close to innate. And then in post production, after watching it over and over and over and over and over again, we're slowly getting there. But I know grief is grief, and it just will. [00:17:36] Speaker B: It will just continue sidewinder. Grief is not predictable, and it will show up whenever it wants, and it will wait to be let in. Very patient grief, I think. How about you, Cuny? Do you feel similarly? [00:17:53] Speaker C: Yeah, similarly. I think that there was a definite hesitation and, of course, anxieties around even just doing this. I think it was funny. It was like. I think it was my therapist who actually encouraged, like, when you feel ready, like, respond to it. Don't. Don't feel like you have to get to a point, because then you'll never get there. Like, feel like, when you're ready, of course, when you feel like you've given yourself some time. And we were very prudent about, like, okay, we're, like, shutting everything down. The house is shut down, and we are not going to do much. We're just going to focus on family and focus on what this is. And I think being prudent about that allowed us to, like, expedite the process, but in some ways, just, like, lean into it, as some people will just, like, try to go about their day, you know? And I think we really leaned into. Yeah, just healing. It was encouraged that, like, this is part of a. Creating as part of our humanity. So to shut that part of it down would be a disservice to the healing. So. Absolutely, you know, our therapist was just encouraging, encouraging that and so to go, like, day one, we definitely had nerves day one, sharing even what the project was with the dancers, with producers and our DP, and just everyone involved, like, our collaborators. I mean, like, yeah, so we have this project. Here's the deck. And we didn't really, like, prompt it with, like, hey, we went through this thing. It was just, like, read this story for what it is. And I think, you know, then we had the responses from people and reactions, but it was just, like, we wanted to prompt everyone with, like, hey, just know that we've gone through our. Our healing up until this point, so let's not, like, feel uncomfortable around each other. We're gonna lead with our honesty, and then, like, let's let the chips fall where they may. We're not expecting for you to give us a hug after we, you know, walk through the deck. Our expectations are just for us to create something and let that be. You being here is enough for us. So that was our process. [00:20:03] Speaker A: Yeah. But I have to say that I think because we allowed ourselves to be very honest and vulnerable right off the bat, we found that people who had come to the project, there were a lot of other people who were also grieving other things or going through other things. And since the door had been open, they felt comfortable to be able to put their own pain and their own experiences into what they were contributing and what they were bringing forth. So I think, yeah, I mean, that first rehearsal, and I think I've mentioned before, it's like, the initial idea was like, we'll just ask the homies. And then everyone was busy or out of town, and nobody was around, you know, which is great, because everyone's working and doing their thing, but we're like, okay, well, if we need dancers, we're gonna have to, like, open it up. [00:20:56] Speaker B: Yeah. Cast a wider net. [00:20:58] Speaker A: Yes, we did. We, like, met a lot of new people and brought in a lot of people we hadn't worked with before. So that first rehearsal is just like, hey. [00:21:10] Speaker B: All right, nice to meet you. Nice to meet you. [00:21:16] Speaker A: Don't be awkward around me after this. [00:21:19] Speaker B: This is like, these are my innards. This is what I'm actually made of. Wow. Can I tell you guys my favorite part, speaking of meeting new people? My favorite part was the opening credits being dancers. [00:21:38] Speaker C: Yeah. [00:21:39] Speaker B: I have never seen a film where dancers, like, I will cry talking about that. Which will tell you, which should tell you how much I cried in the actual. Watching the actual work. But to see that many names in pre roll credits, I was so inspired and rocked, and it felt so right. I was like, yes, more of that, please. How many dancers did you hire, or did you use, like, what was. How did that look on paper? And was everyone involved? Certainly not everybody was involved in all of the chapters of the thing, but. [00:22:17] Speaker C: Yeah, I think in total ended up being over 60. We had folks come in from South Africa, Vancouver, the east coast, Texas. And it was really just an open cast, as you said, casting the wider net, and it was submission based. And we just. We watched over, I think it was, like, 500 videos of people, and it ended up winding down to 60. I think we had asked a bunch, thinking it would. It would get even smaller, but most people just stuck on. And as you said, we use different people for different things, but ended up being in total, like, 60. And we would just like. Because it was a passion project. We were just like, all right, if you want to come, just come. And we wouldn't know until sometimes, like, the day of the shoot, like, oh, we have more people than we thought. Okay, let's respond to that. You know, that's an awesome challenge. Yeah, yeah. [00:23:13] Speaker B: Okay. Love this quick technical aside, because I've got some big, big, juicy type questions, and then I have some small, funny technicals. This one probably is directly in between. So it was asked in the Q and A after the premiere that the aspect ratio you guys chose was four, three, or 1133, which is like old time, looks like 35 millimeter. Like before. Before movies had synchronized sound, before talkies. I know that was deliberate. Because you are deliberate. What was your core reasoning for choosing the aspect ratio? Because it is not a natural choice for dance. [00:23:55] Speaker C: No, no. Far. [00:23:56] Speaker B: Because it's almost square format. [00:23:59] Speaker C: Putting us in a box. Yeah, exactly. We're meant to be seen on a wide stage. It was something about one knowing our camera and the open gate nature of the sensor and just wanting as much information out of that sensor as possible. And then looking at that at a toolset and asking ourselves, do we really want to crop down in an open gate while it's a square? Closer to a square, when you go 16 by nine, you're actually leaving a lot of shaving. [00:24:38] Speaker B: Yeah. You shave off the top and the bottom, you don't get more on the sides. You actually lose. Yeah, yeah. Top and toe. [00:24:45] Speaker C: So we wanted to shoot longer lenses because we wanted to feel the sense of immersion versus, like, always staying in wide. So we knew that, like, if we want open gate, we went with wider lenses, we'd still get more information. So that's a technical decision, but from an emotional decision, there's also this sense of nostalgia. And we have this opening little poem at the top that talks about where the ineffable, where memory and reality blur. And so we wanted the audience to feel that sense of, like, oh, this feels nostalgic, like, the framing, and it all goes away at a certain point. Right. Like, you end up just watching a movie, but when you're emotional, like, as a viewer, when you're like this, you have to focus into the center of the frame. It somehow brings you in closer to the action, even though you're cropped. I don't know. There's a weird psychological thing behind it, but that's something that we wanted out of the picture. [00:25:45] Speaker B: Mission accomplished. I felt so inside of it. It was wild. And I would recognize every now and then. Oh, where is square format? Has it always been that way? Was the last one. Was the last one like this? Did it switch? Because I. Yep. I didn't notice. It never felt like there was less to look at. It just felt like I was very, very close to it. [00:26:09] Speaker A: Yeah. [00:26:10] Speaker C: Yeah. I think sometimes when it's on a white screen like that, you find yourself, like, looking left and right. [00:26:17] Speaker B: Totally. [00:26:18] Speaker C: Looking right down the center and so. Yeah. [00:26:22] Speaker B: Wow. Okay, love this. One more technical question. Then we'll side swipe back. Marty, did you camera test that gold dress wet? Because it looked amazing. I was like, she's painted. She's not painted. She's wearing mercury. She's wearing liquid gold. What in the fuck is that? It's gorgeous. Everyone stopped and pause and marvel at it. Was. Did you just, like, find something on a rack and, like, that would probably look good wet? It was sorry. I know I'm like, tiny, tiny. I'm gonna really try not to spoil, but. What? How did you know it was a. [00:27:06] Speaker A: Shot in the dark? Everything was just run and gun for every aspect of making this film. And so, no, that was a happy accident. [00:27:17] Speaker B: But we love those. Love them. [00:27:20] Speaker A: It was a very iridescent fabric, and I was happy that it still caught light when it was wet. [00:27:27] Speaker C: But I would like. I think you discredit yourself here, because you did make a whole board of colors of costumes for every section. So. [00:27:38] Speaker A: There was a plan. But as far as camera testing and the water. [00:27:43] Speaker C: No, we didn't test it. No, for sure. [00:27:45] Speaker A: We didn't test. [00:27:46] Speaker B: Were you. [00:27:46] Speaker C: We assumed it would work. [00:27:48] Speaker B: Were you so delighted when you saw that the playback. [00:27:52] Speaker A: Yes. [00:27:53] Speaker C: Yeah. [00:27:54] Speaker B: Okay, so, actually, let's jump back. So picture opens. Big, big shock to everyone. Keone is a movie star. You are giving, and I don't mean to cheapen this at all. It's powerful movement, even more powerful story. But I was affirmed in what I have always believed about you, Keoni, and that is that you are a movie star. I think you're like Bruce Lee caliber dancer person. Like, that's how and where I hold you. And then Mari has her. I won't call it feature moment. I'm doing a bad job with words today. Forgive me, people, but I'm like, I'm reliving this as we're sitting and talking together right now. And so I'm not in my word brain. I'm in my eyes brain, and my eyes brain. As soon as I saw Yamari, I was like, that is a goddess. That's an actual goddess. And I was trying to figure out of what. And I love mythology. And it was like, is she the goddess of beauty? Well, she's very beautiful, but no. And I found eventually, after sifting through that you must be the goddess of feelings, because you really brought them powerfully, my friend. And it was such a treat to watch. I am telling everyone I know about how powerful you are in this film. It is truly remarkable. It's so good. And we got to watch you be a warrior as well. There's some sword fighting. I don't want to give anything away, but I wasn't going to ask you this. Do you have any experience in martial arts? Is this, like, a part of you that I never knew about, or did you train for this? For this moment? [00:29:37] Speaker A: We've not trained, but we have a friend who is an Olympic karate kata athlete, and we worked with her before, and she trained? Yeah, she trained the same coach as usual. She helped us, teach us, like, some basic stuff for some other work that we did. [00:30:05] Speaker C: Well, context. Like, we were doing the karate kid musical, like, so tangible to try to keep this really tight, because that's a whole separate thing in itself. Oh, but we ended up doing. Ving was on the choreography team, so it was the three of us. And Ving and I have martial arts background, and we're such, like, little boys that we used to do this, you know, in our living rooms and fighting each other. So we assumed that we'd be able to put it in choreo form because it was more musical versus, like, literal fight choreo. So we trained with Sakura for a little bit, and so that, like, six months of working on fight choreography for the stage, we thought we could bring it to this port. And, I mean, mare can do, like, literally anything. So we just assumed that, like, well. [00:30:48] Speaker A: Ving and Chione choreographed all the fight. [00:30:50] Speaker B: Choreography, but, okay, that was my next question. [00:30:53] Speaker A: I got to do it, which was the most fun in the world. [00:30:56] Speaker B: Full blown kill bill. So cool. So cool. I loved it and was shocked by it 100%. Didn't expect it. That's another thing I wanted to say, and I think this is a compliment to both of you. I feel like the film was simultaneously exactly what I expected and also blew my mind. And how cool is that to have a signature at so young in your creative lives? I do still see us as young in our creative lives to have a thumbprint, but also to be wowing people. What a fucking awesome mile marker to be at. I think it's so cool. I'm very impressed. Big fan. If you couldn't tell me. Okay, so another thing that came up in the Q and a that I really want to talk about is this idea that shit goes wrong. Right. Especially when you are, in your words, Keone, like, finding out what it is while you're making it. Like, we don't know if this is a lot. Maybe it's an episode. Like, you're kind of keeping your finger on the pulse of this thing. You had a plan. You had a deck, you had a shot list. But you're also, like, it's changing, and you're okay to change. You know, it was becoming in any situation, whether you're on a tight, tight budget, big master budget, super big feature film where we're just shooting an Instagram video today. Things will go wrong. And, Keoni, your mindset around problems and what to do when things go wrong. You spoke a little bit about that at the premiere. I would love for you to rehash that, like, how you view problems showing up on set. It's solid gold. Go. [00:32:40] Speaker C: Yeah, no, it's. I feel like sometimes as creatives, we fall into this fantasy of, like, we're gonna do all this work and imagine what it's gonna be, and that's exactly what it's gonna be. But over the years, I think we've learned that it's. You know, it's like Murphy's law. Everything that can go wrong will go wrong. And it's not like you're preparing for it to go wrong. You're preparing for it to go right, but you're also preparing yourself to adapt when things don't go right. And I think we've flipped our minds. Cause those moments used to be crushing. Right? Like, you have this idea that you're obsessing about, and then you're like, oh, all my dreams are crushed, and the idea is not working. You can either, like, sulk and sit there and worry about it, or our mindset has changed, too. How do you make those disadvantages your advantage? How is this moment? This moment is telling me something's not working, and it's not fitting. So the moment is telling me there's something better. [00:33:44] Speaker B: Yeah. [00:33:45] Speaker C: So, yeah, I think there was a lot of those moments on set, and I think we're just encouraging that to our crew, from even our gaffer to our key grips. Like, yo, that shot isn't working, or, this isn't working. We gotta think quickly on our feet, gotta adapt. We had that huge opening shot where, like, cameras flying over the heads of people, and that we had to, like, that shot took an eternity to get. We had an idea of how it was gonna be accomplished, but it was. It required Mari, like, thinking. Like, it was, like, hours of trying to get the shot to work. We hadn't. We were, like, hours behind on the day. [00:34:25] Speaker A: Well, and it was the second time we were trying to get that shot because we had a technical malfunction the first day we were shooting, so we had to reshoot. [00:34:34] Speaker B: So on our first day, it was. [00:34:36] Speaker A: Giving us trouble again. And it's all technical stuff like, this isn't working. This isn't working. [00:34:41] Speaker C: This isn't connecting. This wire's not working. The scissor lift isn't responding. Things like that out of your hands. Right. And so just get your hands dirty and figure out a better solution. [00:34:55] Speaker B: Yeah, that's a good example of one. There was also a locations one. Can you share about that. Yeah. [00:35:02] Speaker A: So on this is towards. We're getting towards the end of our shoot, and like, like Keone said, it was like the Murphy's law of all shoots. All our shoot is felt like Murphy's law in action. And we had a location booked and we. We had rain, just like rain the whole week. And it was an outdoor location. And we're just looking at this. Looking at our weather app, just like, okay, this isn't going to happen. Like, we have to just accept that it's not going to happen. We need to reschedule this shoot day, and we need to think of something else. We had some spot out, out in the desert, out east. I'm not sure exactly where it was, but we had, in December, been to moab for a wedding, and we had gone on a hike, and it was just absolutely gorgeous. There was nobody else around. It wasn't in Arches National park. It was kind of off to the side and not part of any government land. So we could. Didn't have to get permitting to be there for small. So we just happened to, you know, you know, go and have this beautiful experience there with Numa, actually. And Keone happened to bring his camera and got some shots, gorgeous shots of her that ended up being part of the film unplanned. [00:36:38] Speaker B: Oh, I see. [00:36:39] Speaker C: Okay. [00:36:40] Speaker B: Okay. [00:36:40] Speaker A: Putting it together. And so we're like, you know what? We're gonna go to moab. So we packed up a van with us with Issa, our other lead, our DP Steve. And then Issa's boyfriend, Brandon volunteered himself. [00:36:55] Speaker B: To just, like, be hands on the day. Yeah. [00:37:01] Speaker A: And we just carried all the equipment up this trail and shot along the. [00:37:07] Speaker C: Way, hiked with, you know, 100 camera with $100,000 lenses. [00:37:12] Speaker B: And, you know, and every step, every step, you're just like, oh, my God. Oh, my God. And also. So worth it. So worth it. Yeah. Okay. This is. It's very interesting. I had a more recent experience working on a music video earlier this year, or late, late last, like, Christmas time of last year, Justin Timberlake music video, which we had, you know, storyboarded and shotless. And we're gonna do that part here. We're gonna do that part here. And on the day, it's pouring rain. We didn't change location, but we did just dial up drama. It was like the greatest gift to have this emotional unzipping of a person happening simultaneously with the sky, crying. Like, couldn't have been written better, couldn't have been storyboarded better. So sometimes it's about saying yes to the problem that's presented, and sometimes it's about saying no. We have to find a different place and enter the job of a director, which is nonstop decision making, always you making the decisions. So I have questions about you, too, and how you work together, because I'm very lucky to be a part of the triad that is the seaweed sisters. And we always have a tiebreaker. If we disagree, we have the third. So I'm so curious about how you two deal with decisions when you are opposed. [00:38:40] Speaker A: We were just talking about this with somebody. [00:38:42] Speaker C: Yeah. There's never a formula, right? Case by case, case by case, case by case. And what we've like over the years, we've grown to think that it's never a compromise, we're never meeting in the middle. Whatever we're disagreeing about is requiring us to meet at a higher idea that's better than what we're both thinking about. It's the art of collaboration. Collaboration is so understated in our industry, and so we get to practice it every day. And I think there are some times where I'm like, yeah, she's right. After I step away or after we step away, she says the opposite. So it just depends. And usually, I like to think, lean into the person's passion. So if someone's ultra passionate about it, if she's ultra passionate about something, she really believes it's more passionate than how I feel about it. Then I feel like maybe we should lean into that person's energy because they feel it in their gut, they feel it in their heart. [00:39:41] Speaker B: Nice, right? So it's a volume reader more than a correctness reader. It's like whoever feels the most passionate gets their way in some cases. In some cases, I mean, that's one way to do it. I think that shows up for the seaweed sisters sometimes. If ever there's one of the three of us, that's like, no, no, no. I feel really strongly. It's a yes. Okay. Absolutely. Then it should be that way. Yeah, that's a good one. I love this. Okay, I want to ask you guys the same question that I ask myself after every project and that I ask my students often. And it's big, so get ready. Well, it's going to feel big because I think the work is big. What went well? Very simple. And what would you do differently? This is that self review moment. I think as a recovering perfectionist myself, my brain always offers me what I would do differently first. So I want you to answer that one first. What went well, about this. [00:40:50] Speaker C: Yeah, I think there is so much to say about what went well, because we've exceeded what we thought it was going to be, and I think that, more than anything, it became something. When a project can become bigger than yourself, I think that's the ultimate, like, feeling of success, because how people react is always gonna change, and that's fleeting. So that I will take that. The impacts that we gave to people and the impact that the film might have on some people so far, I think, and the fact that we're watching on a big screen, victory in itself, like, huge. There's nothing that can take that away. And so, yeah, I think that went well. I'll let you answer. [00:41:40] Speaker A: I think. Yeah, what went well? Just. I don't know. There was a really great synergy between everyone, between, you know, like, our core team and all of the folks who showed up to contribute. Like, everyone was there pouring themselves in and had each other's back, and that feeling on a project is always. Feels so good and feels so special and feels like, why can't everything be like this? So I feel very happy about the making of it and the synergy between the people who made it. [00:42:19] Speaker B: Gorgeous. Gorgeous. [00:42:21] Speaker A: But what could have been better? [00:42:23] Speaker C: I mean, there's lots of things that could have been better in terms of, like, things going, you know, the Murphy's law thing that we keep talking about, but, you know, like, I think those things are so. I love those moments because you just. You learn so much about, like, what you're made of, you know, and they teach you for the next project, and so I can't say I can't take those away, but maybe if there's one thing, it's like, I wish we had the expectation for ourselves from the beginning. Maybe, like, to stop. Like, to stop thinking that it's small, like, for me to stop thinking that what I want to do is, like, this is tiny thing, you know? And maybe I need to just start from the beginning being like, no. Like, this is not to say that's gonna be the biggest thing. Whatever. Like, whatever the heck all that stuff means. Just having, like, a higher expectation for myself and what we're making from here on out. [00:43:18] Speaker A: Whoa. [00:43:20] Speaker B: That's awesome. That's awesome. That reminds me of something I'll say in a second. How about you, Mari? What do you think? [00:43:25] Speaker A: I don't know. I mean, like, he only said there were, like, lots of little things that were, like, a pain in the ass that we had to deal with, where it's like, oh, yeah, that would have been great if that didn't happen, like, lots of those, but it ultimately, like, brought us together as a team and pushed us. But I do think that differently would be. I know, as a cop out, but, like, what I will do in the future. [00:43:58] Speaker B: There you go. [00:43:59] Speaker A: From this of knowing it's a big thing that we want to do. Garnering the resources to be able to do it and being able to. Yeah. Properly take care of everybody, obviously, to be able to bring in more collaborators into certain departments so that we're not doing every job. That's the different lead that we're aspiring to. But this is also, like, part of the step to get to that. [00:44:32] Speaker B: Cool. Okay. I want to go in two directions. I'll try to do economically. Number one. Keone, what you said reminded me of some really good advice I got from our friend Anthony Lee. I lived in the Bay area for a short time. My husband at the time was working at Apple, and I decided to start a company. And I decided that this company would be a fake government agency called the Bureau of Nonverbal Communication. And I didn't know you remembered the bonk. I didn't know the first thing about having a company, starting a team. And so I reached out to Anthony, and I was like, what do you wish you had done differently? Like, what do you wish you'd done with kinjas from the outset? And he said, I would have done it. I would have done every step of the way, knowing that it would be huge. Like, a small example is merch. Like, why were we not wearing our t shirts in the very, very beginning? We're awesome. This is awesome. Our logo is awesome. Put it on a shirt, and it inspired me, actually. I'll give you guys. I have. This was not part of my plan. Oh, that might backfire. I have a disco ball plant back there that almost fell over because of Anthony Lee. I ordered everyone laboratory notebooks. [00:45:59] Speaker A: Oh, my. [00:46:00] Speaker B: The Bureau of nonverbal communication. I spent a disproportionate amount of money doing that. And why did I get so many? Also, I was a small team. I think there was, like, eight of us. I ordered, like, 300 notebooks, and now I just give them to all my friends, and there's an issued to date issued project program department. I fill this first page out for everyone that I give it to, and it's full of. I'm just bullshitting. But, like, you know, so good. So good. So I think I know I'm not the only one that needed to hear that. Any listener, viewer who's watching right now. If you're beginning something, why not assume it's gonna be huge? And I'll answer my own question? And this speaks hugely to, I think will speak hugely to the event that you two were unpacking with this project, which is that it hurts to get excited about something and then be disappointed when it doesn't work out the way you thought it would go. That's why people don't go big from the beginning, because disappointment sucks. So maybe we'll end on kind of a more serious question of, how do you two manage disappointment versus excitement? How will you do that moving forward in your personal and professional lives? And or what would you recommend people do or don't do? Because, you know, I always say I might have a unique take on this. I think you should get excited all the time, no matter what, because rehearsing for the disaster that might not come is just as painful as there being a disaster after you've been excited. It's just in one version, at least, you got to be excited for a while. I encourage people to get really excited about things that might not happen, because I think the momentum in that can take you in different directions for things that even if the thing you were excited about doesn't happen, the momentum from being excited might bring you exciting things. So I'll say that's my perspective. But how do you two view excitement versus disappointment? [00:48:24] Speaker A: I mean, I think at some point along the way, I realized, like, okay, careers are built job by job, project by project, piece by piece. It's all laying bricks. It's not. You get discovered, and then suddenly everything changes. That is not how things work. That's right, sister. Create relationships, you make work, you get better, you fail, you disappoint yourself and other people, but you also have victories. You learn things, you strengthen. All of it is part of it. And I am now at the point where it's like, okay, I have excitement. I have to have excitement about a project, because every project deserves that. It deserves my attention. It deserves my love and my focus. And if I put that love and my focus into a thing, and I know that I did that, then I can walk away from whatever the result is without regret, because I entered it and I gave it all of my creative bean and fiber and whatever it needed. And whether or not it's received is out of my hands. It's like you have no. You have way less control than you think. You have control over the making, but the receiving of what you make, you have to let go of the thing that you create and let it be what it is, because then it has its own life away from you. It's kind of like having, like, a kid, like, all these little children running around, but, like, you just. You don't know. You don't know how culture will receive something. You don't know how a person will receive something. You don't know how your own family will receive something. And as long as, you know, you put yourself into it, you have peace. And there's also, like, so many other factors. Like, Keoni touched on this. Like, I think people also don't realize, like, how much collaboration happens and has to happen. [00:50:25] Speaker B: It's all collaboration. [00:50:29] Speaker A: Yeah, all of it. And so, like, you know, you do your best. You just do your best. You meet lots of people, you have wonderful experiences, you have hard experiences, you create friendships, or you meet people and you're like, oh, okay, cool. And that was that. And we'll be on our way. Like, all of that is part of it. And so I think that's my view. It's kind of like an acceptance of what it is, of how everything unfolds. [00:51:02] Speaker B: Yeah, I like that a lot. [00:51:03] Speaker A: But as long as I wasn't a lazy ass on the way, then that's what I'm saying. [00:51:07] Speaker B: I think, like, really visualizing your desired result, you're, like 3.0, not like you're 1.0 or, like, really allowing yourself to get visual with the big. Big gives you momentum. And no matter where you land, I think it's better than not dreaming big because it might hurt if. If you don't hit your mark. Yeah, yeah, it's. Yeah, I feel it in my guts. That's. And listen, I've had some big professional heartbreaks and some big personal heartbreaks, too, but it's not because I had high hopes that I'm hurt. I'll hurt no matter what because that's our human contract as a being in this world. You're gonna hurt. So you. Yeah. Might as well get excited about shit. That's my philosophy. [00:51:57] Speaker C: Yeah, no, yeah, 100%. Like that. The. We have to enjoy, like, what we're doing because otherwise, why are we doing it? Of course. [00:52:07] Speaker B: Why are we doing it? [00:52:09] Speaker C: And if you're living, if you're creating to, like, not get disappointed, then you're gonna get disappointed, you know? [00:52:14] Speaker B: Like, it's a perpetual state of it. Like, yeah, how disappointing to never get excited about something. [00:52:22] Speaker C: Right. Right. In and of itself. And I find that, like, I mean, I agree with what both of you are saying. You know, like, in separating the quote, unquote, success of a project in the way that public or critics might view a piece, allowing that to dictate the way you feel about a project. I think we've learned over time to separate those things and that those are, are separate and to keep the main thing. The main thing. And I think, like, when you, when you go through a project, I always feel like, oh, this is, this is so fun, because I'm getting better for the next one, or I'm getting, you know, or as opposed to thinking, like, this is going to be the best thing in the world, or this is going to be the most disappointing thing in the world. And even then, when you are making something and it's, like, successful and all the things, there's still always a natural human sense of, like, disappointment or whatever, because whatever comes next is going to feel, not feel the same. So you have to, like, live, eating, healed. Because I remember a couple years ago being on a dream, dream, dream project. Couldn't have asked for something dreamier than this and feeling so depressed because, like, literally depressed because I felt all the things. Like, didn't feel all the things I thought I would feel. And then, like, that was a moment for me to just readjust my thinking. On project, they're all just projects. At the end of the day, we're doing what we love to do. We're making entertainment. It's silly kind of what we're doing. So let me. Yes. Take the job seriously, but don't take ourselves seriously. [00:54:11] Speaker B: They're all projects. It's all projects. And also it's all. This is such a great example, candy. It's all our thinking. And for people out there who really think that happiness, fulfillment, success, whatever we want to call it, will come with a resume, bullet is such a great example that that's not how it works. You can feel fulfilled. You can feel successful. You can feel happy right now. And I know that you can, because I know people who have all the bullets who don't feel that way, and I know people with no bullets who feel that way. The project won't bring the feeling. The thinking brings the feeling, and you can feel it at any time during the course of the project, before the project, after the project's completion. It's all projects and it's all thinking. That's all that we know now. We know that. Yeah, that's wild. And thank you for sharing that, because I think it's important for people to hear that even at the level that you're operating on. On your dream gig, you could look at yourself in the mirror and be like, oh, nope, still a human. Still a human. [00:55:24] Speaker C: Yeah. And it's really. There's a, like, we've been doing this so much in the last couple years of. With our coach and who's like a mentor to us, too, like, the manifestation and, like, what, like, what you visualize in your head and all these things. It's okay to visualize these successful things, as you say, but, like, to not to find the gratitude in the now allows those things, allows yourself to reach for those things without you depending on those things. Like, it's not a necessity. It's a desire, but it's not a necessity. Whereas, like, your family, like, what, you being alive, you having the sun, like, the simple gratitude, things that mean a lot to you have been, honestly, a compass for us to be able to, like, to manage these massive projects that receive whatever, you know, critical response that we get and even to stay even keeled with, like, the projects that are deemed successful, to not allow that also to change the way we operate. [00:56:33] Speaker B: So, yeah, thank you for that. These two sides of the teeter totter less about, like, work life balance and more about future. And now balance. Like, am I excited enough about my future? Am I. What's it. What am I? How am I hoping for myself? And how am I sitting with my present? Am I taking stock of all the things I'm grateful for? Am I. Yeah. Do I have this gratitude and do I have this excitement for the future? I love that way of, like, checking in with yourself. I'm gonna. I'm gonna borrow that. Okay. My friends, we're gonna close out. Although I could talk to you forever and ever and just throw all the flowers at you all day long. We are gonna end with a rapid fire burnout round. I call it wrist roll with it. I don't. You guys haven't met my dog, by the way. Her name is rist Roll. She's sleeping. She's on the couch over there. I know it's a lot. Wait, do you want to see her? I will wake her up for this right now. [00:57:34] Speaker C: Hold on 1 second. [00:57:34] Speaker B: Yes. [00:57:36] Speaker A: Oh, my goodness. Are you a pug? She is a pug. Oh, my gosh. Hello, baby. Oh, my gosh. Look at no pug. [00:57:51] Speaker C: Wrist roll. [00:57:52] Speaker A: Wait, how old? [00:57:53] Speaker C: That's the best name. Oh, my God. [00:57:55] Speaker B: Four. And her name is wrist Roll. Cause her tail is a perfect wrist roll. [00:57:59] Speaker A: Yeah. [00:58:00] Speaker C: So good. [00:58:01] Speaker B: It's so good. We call her Riz for short, which is also good. [00:58:06] Speaker A: Oh, my gosh, that's great. [00:58:08] Speaker B: Okay, Riz, I'm glad you're here. So we can do wrist roll with it. So, this is actually my first video format interview where I've had two guests. I've only ever had one before, so I decided maybe we will also take a cross interview approach. Instead of answering your rapid fire question, answer for the other one. [00:58:28] Speaker A: Oh, my gosh. [00:58:31] Speaker B: Maybe we'll feel a little lame, like one of those engagement parties. Or when you test how well people know each other. Exactly. That's what I meant. But just give it a shot. I'm so curious. We'll start light, and then we'll get a little more into it. Also, I don't have these written down, so we'll see what happens. Okay. Mari, is Keone a coffee or tea? [00:58:56] Speaker A: Coffee. [00:58:57] Speaker B: Excellent. Keone, is Mari salty or sweet? [00:59:02] Speaker C: Salty. [00:59:05] Speaker B: Are we on track so far? Yeah. What's Mari's favorite move? [00:59:10] Speaker C: Move? Like dance move? Uh, it might be a wrist roll. [00:59:20] Speaker A: A wrist roll? [00:59:21] Speaker C: I have to think. What? Something unlocking? [00:59:23] Speaker A: No, a wrist roll or a deep lunge. [00:59:26] Speaker C: I would say a deep lunge. Well, there's things that like to do, and there's things that you say you like to do, and there are things that you like, you actually like to do. [00:59:35] Speaker B: That's brilliant. What's Keone's favorite move? [00:59:38] Speaker A: Keoni's favorite move. Fast feet with hands. [00:59:42] Speaker B: Shake it. Ticket. Ticket. Ticket. [00:59:43] Speaker C: Ticket. I could see several moves, not one move. [00:59:45] Speaker B: It's combination. Yes. How about least favorite moves for each of you? Oh, my gosh. The way you are looking at each other right now. I love this. [00:59:57] Speaker A: Floor work that requires flexibility. [01:00:03] Speaker C: Really fast feet with arm moving. [01:00:07] Speaker A: Kiara's favorites. [01:00:09] Speaker B: Oh, that's so funny. And, Mari, you really are known for some flexiflor shit. And I might add your forward fold. Like you have the ability to really sandwich in half pike wise. I marvel. I truly marvel. Okay. Love that. If you had to choreograph something by the end of the day and got to choose what song it is, what would it be. [01:00:41] Speaker C: For you? It'd be like Lormavulla. Or. I'm gonna say Lormavulla for now. [01:00:47] Speaker A: Yeah, I think keone, we're in Omar Apollo land right now, so I would say Omar Apollo or Masego. Masego is always the Masegos. [01:01:00] Speaker B: Safe bet. Yeah, safe bet. This is good. If. If one or the other was stranded on a desert island with only one album, what would they want that album to be? [01:01:10] Speaker A: Ooh, yeah. Oh, no. One. Only one. [01:01:15] Speaker B: Yeah. You know, I know. [01:01:16] Speaker C: Oh, my gosh. I don't know. [01:01:18] Speaker A: I don't know. [01:01:19] Speaker C: What would it be for you? [01:01:20] Speaker A: I don't even. [01:01:21] Speaker C: I don't even know what it'd be for me. [01:01:22] Speaker B: Okay, well, that makes sense why you don't know. I. I really think mine would be purple rain by Prince because it has a little bit of everything. There's, like. There's good. Cry your heart out drama. There's good funky shit. There's sexy shit. It's the one. [01:01:39] Speaker C: Do greatest hits albums count? [01:01:41] Speaker B: Oh, yeah, I'll let you have a greatest hits. Yeah. [01:01:46] Speaker C: Cause I always go back to. I'm gonna answer for myself in stressful times. And when you need to turn off. Cause it's one thing for us as dancers, when you listen to music, your work brain activates 100%. A lot of times I have to, like, not listen to music in order to relax. But relaxing music for me can be the Beatles. Like, I just. Both. Greatest hits. [01:02:11] Speaker B: I was gonna say that for you. That's crazy. I don't even know you that deep. But I was like, I bet he's gonna say the Beatles 100%. Okay, what about you, Mari? Album? [01:02:21] Speaker A: No, I don't know. [01:02:23] Speaker B: It's two. It's like. Okay, well, you can. You can trigger that out. Give me two. Give me two. Give me two. [01:02:31] Speaker A: I had a mix in high school. [01:02:33] Speaker B: Yes, you did. Yes, you did. [01:02:35] Speaker A: From either Napster or Limewire. And one of them was eighties music. [01:02:38] Speaker B: Yes. [01:02:39] Speaker A: All eighties music. And one was just, like, all nineties hip hop, early two thousands. Late nineties. Like hip hop, r and b. I'd be good. [01:02:49] Speaker B: Yeah, great. Yes. 100%. Yes, I do. Well, if you got a greatest hits album, then she's allowed to mix tape. [01:02:58] Speaker C: That's true. [01:03:00] Speaker B: Okay, last question for the rivers. Keone. What is Mari's favorite word? [01:03:06] Speaker C: Fantastic. [01:03:08] Speaker B: I also love fantastic. Okay, what about Keonis. [01:03:17] Speaker A: Your favorite word? I'm thinking of something that's really inappropriate. [01:03:21] Speaker B: Okay. [01:03:25] Speaker C: I don't know what you're thinking. [01:03:26] Speaker B: It's not. [01:03:27] Speaker A: It's a. It's just a dirty word in Tagalog that he likes to say all the time to break the tension. [01:03:35] Speaker B: Nice. You're definitely allowed to say that on this podcast. [01:03:40] Speaker A: He just says, titi Pek back all the time to break. [01:03:46] Speaker C: Basically, it's penis vagina. [01:03:47] Speaker A: That's what it is. And then it gets uttered. [01:03:52] Speaker C: If it's really quiet in the house, I'll just say. [01:03:58] Speaker A: And then we'll laugh, and then our day moves on. [01:04:01] Speaker B: Thank you so much for that. [01:04:04] Speaker C: It's like, the consonants for me, you know, the t's, the p's and the k's, they just, like, hit differently than, like, vagina and penis. [01:04:11] Speaker B: They do. [01:04:12] Speaker A: It's just nice. [01:04:12] Speaker C: It just, like. It brings an innocence and a reminder that these are just body parts. [01:04:18] Speaker B: Just TTP. I'm going to borrow that as well. Okay. This is how we close it out, my friends. The words that move you can be a quote, a short story, a guiding principle, a mantra, a proverb. What are the words that move you? [01:04:36] Speaker C: Oh, tt. Peckpack. Of course. [01:04:37] Speaker B: Titi peckpack. [01:04:41] Speaker C: You know, lately, I'm a person that loves to, like, float through monsters and, like, because I feel like they're a representation of, like, who you are in a point of time. [01:04:52] Speaker B: Oh, yeah. [01:04:53] Speaker C: Lately I feel like it's an oversimplified word, but just, like, this has been so key for me, being a new dad. Like, I still feel like I'm a new dad even though my daughter's gonna turn five and I'm still forever, like, learning this thing. But just, like, I've been telling people that, like, in my twenties, this is. This is the mantra. It's not really a mantra, but it's a thing I've been saying to people a lot. In my twenties, I used to think about how I can impact the world as much as possible. And now, in my thirties, as a father, my world has become my daughter. And so while my mission hasn't changed, my world has changed, and my perspective has completely shifted and been rocked. Everything that I do now is different, but the same. [01:05:50] Speaker B: I love that so much. That's beautiful. That's beautiful. Thank you for sharing. How about you, Mari? [01:05:58] Speaker A: I think it might sound silly, but we have a thing. We say a phrase to Numa when we're saying good night. And I added. Keone started it. And then I added my own thing. [01:06:17] Speaker B: Work. Yes. And. [01:06:23] Speaker C: Very yes and very yes. [01:06:25] Speaker B: And household. I can tell. I could tell. [01:06:28] Speaker A: We say good night, and then Numa and I hold each other's faces and we look into each other's eyes and we say, I'm a brave girl. I'm a strong girl. I'm an amazing girl. And it's a really easy, simple, childlike thing. But doing that every night, it helps remind me to have confidence, because I want. I see how much confidence she has at four, and I am going to do my darndest to protect that for her in this world. So I'm trying to bolster that in herself. But also I'll remind myself that at the same time, so. [01:07:12] Speaker B: Oh, Mari. Oh, my God. I teared up real strong just there. Thank you for that. Brave girl. Strong girl. What was the last one? [01:07:20] Speaker A: Amazing girl. [01:07:22] Speaker B: Amazing girl. Thank you for that. And thank you for your both. You're both brave and amazing and strong, and so is your work. Thank you. Thank you for making. I cannot emphasize that enough. Thank you for being examples of people who create from their lives and help other people endure their own as a result. It's really remarkable. Thank you. Thank you. [01:07:47] Speaker C: Thank you, Dana. Thank you, Dana. [01:07:48] Speaker B: I love you big time. This is a big, important question. How do people go watch the film? Like, is it, is it in theaters still? Is it on? Where do people find it? [01:08:02] Speaker C: So right now people can watch the film? Well, depending on when they're watching this podcast or listening to this podcast would be in LA or in April and then in Chicago in May and New York in May. But they're getting close to selling out by this point. But we do hope to do more screenings. The whole intention of doing screenings is to, in turn, feed itself to do more screenings. [01:08:34] Speaker B: Yeah, yeah, yeah. [01:08:35] Speaker C: And eventually the festival circuit. So. [01:08:37] Speaker A: So that's. That's the hope right now. So we have April 18 in LA, we have May 2 screenings in Chicago, and May 6 we have screenings in New York. But we'll keep updating. We have a ticket link. It's spaceandtime dot ticketspice.com film, and people can find information about screenings there. [01:08:59] Speaker B: Okay. Kick ass. I hope we get to cross paths again soon. That had been way too long. Way too long. Not okay. Yeah, yeah. Okay. More soon. Big love. Big love. And for everyone listening, watching, go out there into the world. Make brave, amazing art. Strong and strong art. And also bravely, amazingly and strongly subscribe to this channel. Smash those likes so bravely and get out into the world and keep it very funky. Thanks, guys. This podcast was produced by me with the help of many big, big love to our executive assistant and editor, Riley Higgins. Our communications manager is Ori Vajadares. Our music is by Max Winnie, logo and brand design by Bree Reets, thumbnails and marketing by Fiona Small. You can make your tax deductible donations towards that. Move me. Thanks to our fiscal sponsor, the dance resource center, and also many thanks to you. I'm so glad you're here. And if you're digging the pod, please share it. Leave a review and rating. And if you want to coach with me and the many marvelous members of the words that move me community, visit wordsthatmoveme.com. If you're simply curious to know more about me and the work I do outside of this podcast, visit thedanawilson.com dot.