WEBVTT 1 00:00:05.040 --> 00:00:09.800 Old you is, folks. It should tie. People paid good money to 2 00:00:09.839 --> 00:00:13.039 see this movie. When they go out to a theater. They want cold 3 00:00:13.080 --> 00:00:17.679 sodas, hot popcorn, and no monsters. In the Projection Booth, everyone 4 00:00:17.719 --> 00:00:44.840 for tend podcasting isn't boring of I'm Cody Lightning a little Victor. As most 5 00:00:44.840 --> 00:00:50.560 people know me or should know me. Smoke signals big movie. I was 6 00:00:50.600 --> 00:01:03.520 in it. Don't Don't go, Hey, come on, dad, don't 7 00:01:03.520 --> 00:01:07.719 go. That was pretty good. If your dad was just leaving to the 8 00:01:07.719 --> 00:01:11.599 store to get you a fucking slutch, he's leaving your life forever. He's 9 00:01:11.680 --> 00:01:17.879 leaving you and your mother alone, and he's moving to Arizona. He's gonna 10 00:01:17.879 --> 00:01:21.079 be living in a little trailer next to his new girlfriend who is not sleeping 11 00:01:21.120 --> 00:01:23.879 with. I don't think so. There's gonna haunt you for the rest of 12 00:01:23.920 --> 00:01:30.920 your life. Okay again, Hey, folks, Well, I'm doing a 13 00:01:30.959 --> 00:01:33.879 special episode of The Projection Booth. I'm your host Mike White. On this 14 00:01:33.920 --> 00:01:38.519 episode, I'm talking with editor Sarah Taylor all about the new film Hey Victor, 15 00:01:40.120 --> 00:01:45.519 which she was the editor of. She has done a lot of great 16 00:01:45.560 --> 00:01:49.560 work over the years, and she also has a podcast. Definitely check that 17 00:01:49.599 --> 00:01:53.799 out and I hope you enjoy this interview. Can you tell me about your 18 00:01:53.840 --> 00:01:57.079 background? How did you even get into filmmaking. So, I've actually been 19 00:01:57.439 --> 00:02:02.719 a film and television editor for just over twenty years now. I started back. 20 00:02:04.120 --> 00:02:07.040 I went to a local community college here in Edmonton, Alberta, and 21 00:02:07.400 --> 00:02:09.560 we learned a little bit of everything in a program called Digital Arts and Media. 22 00:02:09.639 --> 00:02:14.280 And I took on editing one of the projects and then it was in 23 00:02:14.319 --> 00:02:16.560 the edit suite for ten hour straight and didn't realize that I was there for 24 00:02:16.599 --> 00:02:20.639 so long, so I thought, I think maybe I like this, So 25 00:02:20.680 --> 00:02:25.639 then I pursued an editing career. Yeah it worked out, Okay, yeah, 26 00:02:25.680 --> 00:02:30.599 I guess. So have you always been editing offline or did you ever 27 00:02:30.639 --> 00:02:36.280 do any like actual film editing. I did tape to tape editing my first 28 00:02:36.319 --> 00:02:40.560 gig, which was horse raceist. That's my first job in the industry was 29 00:02:40.599 --> 00:02:44.960 working in a horse race with somebody, which is a while to think about 30 00:02:45.000 --> 00:02:46.759 that. So I would do the replace tape to tape, but I didn't 31 00:02:46.800 --> 00:02:50.879 haven't gotten to cut on a Steinbeck yet. I've cut. I've used film, 32 00:02:50.960 --> 00:02:53.599 but it's been transferred, so I've cut with film footage, but not 33 00:02:53.800 --> 00:02:57.960 actual cutting of this film. So maybe one day it's on my list. 34 00:02:58.439 --> 00:03:00.919 Where were you that you were cutting in these races? We have a local 35 00:03:01.080 --> 00:03:07.560 Edmonton, Alberta north Lands horse racing yep, oh okay. And then you 36 00:03:07.599 --> 00:03:09.680 said that you do a podcast as well. Yeah, I actually I host 37 00:03:09.680 --> 00:03:13.240 two podcasts. I host a podcast called The Editor's Cut, which we all 38 00:03:13.240 --> 00:03:15.240 about editing. So that's my mate. So it's weird actually gonna be on 39 00:03:15.240 --> 00:03:19.759 the other side of somebody ask you weef questions about editing. And then I 40 00:03:19.800 --> 00:03:22.719 also host a co host a podcast with my sister Heather Taylor, who's a 41 00:03:22.800 --> 00:03:24.800 right a director, and we it's called Brains with Three A's, and we 42 00:03:24.840 --> 00:03:30.520 talk about how our minds are portrayed in film and television, things like anxiety 43 00:03:30.599 --> 00:03:32.479 or OCD and like how is it how do we see it on TV? 44 00:03:32.680 --> 00:03:36.560 So is it right? Is it wrong? And we break things down like 45 00:03:36.599 --> 00:03:40.520 that. Would there be like a typical episode of the Editing podcast or is 46 00:03:40.560 --> 00:03:44.560 it just different subjects every single week? Yeah, every week we have a 47 00:03:44.560 --> 00:03:47.360 different editor talking about their either their career or we have a topic like today, 48 00:03:47.400 --> 00:03:51.280 Actually we released an episode with the two editors from the last of Us, 49 00:03:51.319 --> 00:03:54.560 which takes very fun. Quite enjoyed talking to them. That's fantastic. 50 00:03:54.680 --> 00:03:59.680 That's great that you get to brainstorm and hear other people's opinions about your own 51 00:03:59.759 --> 00:04:01.560 end streight. Oh, it's amazing. Like I feel like I learned so 52 00:04:01.639 --> 00:04:05.319 much getting to just talk to editors. And sometimes when I'm looking for guests, 53 00:04:05.719 --> 00:04:08.960 I see a movie or a show that I really like and I'm like, 54 00:04:09.400 --> 00:04:11.240 go cut that. I'm going to talk to them. I want to 55 00:04:11.240 --> 00:04:13.879 know what they were thinking. And then I get to talk to them, 56 00:04:13.879 --> 00:04:16.480 and it's amazing. How did you get involved in Hey, Victory? Victor 57 00:04:16.600 --> 00:04:21.160 was shot in Edmonton, and so one of the executive producers reached out to 58 00:04:21.199 --> 00:04:25.240 me and I came on board after they're finished filming, and so I said, 59 00:04:25.319 --> 00:04:27.839 yeah, sure, I can fit it into my schedule, and then 60 00:04:27.920 --> 00:04:33.120 got a giant box of hard drives that I just started cutting. That was 61 00:04:33.360 --> 00:04:36.639 my I read the script prior to getting the footage, but I yeah, 62 00:04:36.639 --> 00:04:40.040 I read the script and I was like, this looks funny. And I 63 00:04:40.040 --> 00:04:42.079 looked at some of the footage and I was like, yeah, this will 64 00:04:42.079 --> 00:04:45.959 be fun. Now, when you meet with somebody who's offering you this job. 65 00:04:46.000 --> 00:04:48.519 Do you talk about we want it cutting this style, or do you 66 00:04:48.560 --> 00:04:55.639 say I picture that it'll be like this, or do you just dive in 67 00:04:55.720 --> 00:04:58.879 and do what you feel as best. Yeah, so I read the script 68 00:04:58.920 --> 00:05:03.399 they gave me the the rundown of its mockumentary style comedy. I have a 69 00:05:03.439 --> 00:05:06.600 background in documentary. A lot of my work in the last i'd say five 70 00:05:06.680 --> 00:05:10.800 years has been dock heavy, so I did a lot of doc experience and 71 00:05:10.839 --> 00:05:14.680 I used to cut sketch comedy shows, so I have both of the genres. 72 00:05:14.720 --> 00:05:16.319 So to me, I just read the script one in knowing that we're 73 00:05:16.319 --> 00:05:19.279 going to be doing this kind of as if it's a documentary, and just 74 00:05:19.279 --> 00:05:23.240 went with what the footage had. What the footage showed me. Yeah, 75 00:05:23.680 --> 00:05:28.720 it's your first step when you see all of these hard drives. I was 76 00:05:28.759 --> 00:05:30.639 like, oh my gosh, how am I gonna plug all these hard drives 77 00:05:30.680 --> 00:05:32.480 and inspection of futer at one time? So I got myself a little ad 78 00:05:32.480 --> 00:05:36.480 after. But that first step, the footage was already sinked and proxies were 79 00:05:36.480 --> 00:05:39.600 made, so that was like a big step that I didn't have to worry 80 00:05:39.600 --> 00:05:42.959 about. The sinking can be the most time consuming and because I wasn't there 81 00:05:43.040 --> 00:05:46.399 from the beginning, Luckily they were doing that as they were going. So 82 00:05:46.800 --> 00:05:49.160 then I brought on this lady, Janelle Nichol, and she came and she 83 00:05:49.199 --> 00:05:53.959 took the drives and she went in and labeled every shot as to what the 84 00:05:53.959 --> 00:05:57.639 slate was, organized it by scene, and then once I got the organized 85 00:05:58.079 --> 00:06:02.560 project file, I just started at scene one and slowly went through. What's 86 00:06:02.560 --> 00:06:06.800 your software that you prefer? I use Premiere prow that's might go to its 87 00:06:08.000 --> 00:06:11.680 like a second language now, so I don't have to think about the software. 88 00:06:11.720 --> 00:06:15.040 I just do what my brain wants to do. I just was messing 89 00:06:15.079 --> 00:06:20.600 around with Photoshop and the new AI stuff. Have they started to introduce that 90 00:06:20.639 --> 00:06:26.079 into Premiere as well. Yeah, so not with creating video or anything at 91 00:06:26.079 --> 00:06:30.879 this point, but definitely with transcriptions and being able to edit the transcription. 92 00:06:30.959 --> 00:06:33.560 And there's a few like third party plug ins, which as a podcast person, 93 00:06:33.560 --> 00:06:38.040 you might be interested in this where I can go in if you're doing 94 00:06:38.040 --> 00:06:41.480 like a video podcast, it'll cut between the two cameras of whoever's talking, 95 00:06:42.199 --> 00:06:46.120 or it'll take out pauses, long pauses, and so then now I do 96 00:06:46.160 --> 00:06:48.920 that when I cut my podcast I drop in that and then it truncates my 97 00:06:49.160 --> 00:06:51.839 edit. It just makes things bester. So it's great. Yeah yeah, 98 00:06:51.839 --> 00:06:56.240 I mentioned your is your podcast video as well as audio. No, but 99 00:06:56.240 --> 00:06:58.560 I but it's a capability if I want to, I do film, I 100 00:06:58.560 --> 00:07:01.360 do record the video and use it for like reels and just like social media 101 00:07:01.360 --> 00:07:04.959 content. But that's going to be amazing to just not even be involved in 102 00:07:05.000 --> 00:07:11.279 the production and just be given all of these raw building blocks for you to 103 00:07:11.639 --> 00:07:17.079 now craft something completely new out of it. It was wild because typically it's 104 00:07:17.120 --> 00:07:23.040 like you get this giant mountain of footage and if you're doing it from typically 105 00:07:23.040 --> 00:07:26.079 if you start when they start shooting, you would be cutting the next day. 106 00:07:26.079 --> 00:07:28.759 You get the footage and you just keep on keeping on. But then 107 00:07:28.839 --> 00:07:30.399 you have everything, and I was like, okay, okay, how many 108 00:07:30.399 --> 00:07:32.920 scenes can I do in the day. And it's almost like a competition with 109 00:07:32.959 --> 00:07:36.120 yourself to see how fast can I do? How many scenes can I do? 110 00:07:36.160 --> 00:07:39.480 Because you have all this, Like I think there was if I'm going 111 00:07:39.519 --> 00:07:43.240 to remember correctly, I could be completely wrong, ninety five scenes. Maybe 112 00:07:43.240 --> 00:07:46.120 I'm making that number of But it was just like very daunting at first to 113 00:07:46.160 --> 00:07:48.839 see wanting to get it done assembled as quick as possible so that you could 114 00:07:48.879 --> 00:07:55.000 just start really crafting the film. And I love the whole idea of using 115 00:07:55.160 --> 00:07:59.879 the original movie using smoke signals as a counterpoint to what's going on and just 116 00:08:00.720 --> 00:08:05.399 our main character and where he's come from there, and I just love the 117 00:08:05.680 --> 00:08:11.720 contrast of the simple, innocent times of that and versus where we're at now 118 00:08:11.759 --> 00:08:15.160 in his life. Yeah, it was fun. And there's really little things 119 00:08:15.160 --> 00:08:18.439 too, because I decided to rewatch the film because it's been a while since 120 00:08:18.519 --> 00:08:20.759 we finished, and now that now that it's completed with music and all the 121 00:08:20.759 --> 00:08:24.879 good stuff, it's like the icing on the cake, just like catching some 122 00:08:24.920 --> 00:08:26.720 of the things that when you're in the midst of editing, maybe you're not 123 00:08:26.959 --> 00:08:30.920 looking at some of the details is closely, but when you step back and 124 00:08:30.920 --> 00:08:33.399 watch the whole thing, the truck is the same Cody drives, and he 125 00:08:33.600 --> 00:08:37.039 Victor's the same color as the truck that is Dad drove. So there's these 126 00:08:37.039 --> 00:08:41.360 little elements that really tie us in, which is just yeah, it's extra 127 00:08:41.440 --> 00:08:46.679 special. What is your relationship with the folks that actually provide the soundtrack and 128 00:08:46.720 --> 00:08:50.279 the people that cut the audio and just all of the sound effects and all 129 00:08:50.320 --> 00:08:56.039 that. So typically it's interesting because in the States it's different than what it's 130 00:08:56.039 --> 00:08:58.879 like in Canada. If in Canada, like I'll picture a lock something, 131 00:09:00.080 --> 00:09:03.360 hand it off to the audio team like audio post, and then I say 132 00:09:03.360 --> 00:09:07.200 bye and let it go onto the next project, where I know in the 133 00:09:07.240 --> 00:09:11.200 States often an editor stays on till the end and they're in the on sound 134 00:09:11.279 --> 00:09:13.919 stage and they're really like getting to be part of that, and it's just 135 00:09:13.320 --> 00:09:16.039 for some reason i'd love to. I've done it a couple times where I've 136 00:09:16.080 --> 00:09:18.919 gotten to go into the sound mix and I've caught things that we're like, 137 00:09:20.080 --> 00:09:22.080 no, that needs to stay or whatever. So not this one, I 138 00:09:22.120 --> 00:09:26.440 didn't do that. But I am pretty good friends with sound team because I've 139 00:09:26.600 --> 00:09:31.720 in Edmonton. We have one guy, Johnny's the guy we always go to. 140 00:09:31.799 --> 00:09:35.440 Johnny, so I am always in the loop of what's happening and stuff. 141 00:09:35.879 --> 00:09:39.320 I can't say I'm that familiar with the Edmonton film scene. What is 142 00:09:39.360 --> 00:09:43.360 it like? It's small, but we create some really amazing stuff. And 143 00:09:43.879 --> 00:09:48.919 I think because it's a smaller market, the people like I often work with 144 00:09:48.960 --> 00:09:52.240 the same people, so you have this special working relationship where you know what 145 00:09:52.320 --> 00:09:56.919 kind of fouls they need, you know what their quirks are of like please 146 00:09:56.960 --> 00:09:58.440 never send me this, or please make sure you do it this way so 147 00:09:58.720 --> 00:10:03.320 you don't have to re teach each other. Every time you work with somebody, 148 00:10:03.320 --> 00:10:05.320 it's the same thing and you just here's a file and they're like, 149 00:10:05.320 --> 00:10:07.320 oh, it works great, and then you go all your way. So 150 00:10:07.360 --> 00:10:11.240 yeah, we have some really strong players here. And it's cool too because 151 00:10:11.240 --> 00:10:15.679 I feel because the market isn't as big. I find that from the editors 152 00:10:15.679 --> 00:10:18.559 I've talked to you on my podcast, you often get pigeonholed into a certain 153 00:10:18.679 --> 00:10:22.360 genre. So if you've last cut a reality show, like you're the reality 154 00:10:22.480 --> 00:10:26.159 editor now and so it's really hard to step out of your lane. Where 155 00:10:26.200 --> 00:10:28.679 for me, like I've gotten to do all sorts of stuff like right now, 156 00:10:28.679 --> 00:10:31.240 I'm a finishing up a web series, I'm on a future doc. 157 00:10:31.679 --> 00:10:37.519 I'm about to start season two of a CBC docuseries, So like I get 158 00:10:37.519 --> 00:10:41.200 to do all sorts of cool stuff, which is amazing. So I'm lucky. 159 00:10:41.679 --> 00:10:46.399 Do you find yourself changing the way that you edit stuff based upon the 160 00:10:46.480 --> 00:10:50.240 genre that it is, or is it just always this is a Sarah Taylor 161 00:10:50.360 --> 00:10:52.879 edit. This is what I feel as best. It is always what my 162 00:10:52.919 --> 00:10:56.679 gut is, Like I always go with my instinct, but instinct, but 163 00:10:56.120 --> 00:11:00.799 I don't have what I'd hope that if you watch something I cut, you 164 00:11:00.840 --> 00:11:03.000 would be like, oh, Sarah Taylor got that. Because it should be 165 00:11:03.159 --> 00:11:07.639 what the film needs and what the film is. So it is by the 166 00:11:07.679 --> 00:11:09.879 genre of the film or whenever it's written or how it shocked, like you 167 00:11:09.960 --> 00:11:13.679 shape the footage you have. Are there particular tricks where you're like, Okay, 168 00:11:13.679 --> 00:11:16.960 this is comic edit, so I'm going to do this versus a dramatic 169 00:11:18.120 --> 00:11:22.720 edit. Yeah, just like speed pacing when you get the reaction, Like 170 00:11:22.759 --> 00:11:26.240 I know in a Hay Victor Kate had the best reactions. So it's like 171 00:11:26.639 --> 00:11:31.120 when you go to Kate to like really emphasize maybe the joke or see the 172 00:11:31.159 --> 00:11:35.000 other side of the joke, like where it maybe didn't land because Kate's with 173 00:11:35.039 --> 00:11:39.639 the hell and so yeah, it's just going with the feel of the rhythm 174 00:11:39.679 --> 00:11:43.519 and the piecing. When it comes to dramatic versus comedy, is there any 175 00:11:43.600 --> 00:11:48.879 challenges when you've got somebody who's writing, directing, starring versus somebody who's just 176 00:11:48.960 --> 00:11:52.600 the director, just quote unquote, just the writer, quote unquote, just 177 00:11:54.000 --> 00:11:58.320 the star. It feels like stars probably don't get too much input on edits, 178 00:11:58.360 --> 00:12:03.919 but directors, especially directors do. Typically I wouldn't really connect with the 179 00:12:03.960 --> 00:12:07.600 writer or the stars when I'm in the edit suite. So this was a 180 00:12:07.720 --> 00:12:13.039 unique process. And because we were cutting in the height of I think I 181 00:12:13.039 --> 00:12:16.120 don't know was it Delta or armoricon one of the variants that was intense. 182 00:12:16.440 --> 00:12:20.799 So it was all virtual. And so there was days where we had Cody 183 00:12:20.159 --> 00:12:24.759 and who directed, and then Sam who was his co writer, and two 184 00:12:24.759 --> 00:12:28.480 of the producers. We would all be in the edit virtually together. Now 185 00:12:28.519 --> 00:12:31.600 we could never do that. We could try to do that in the edity, 186 00:12:31.639 --> 00:12:33.759 but like I cut out of my basement and I wouldn't be able to 187 00:12:33.799 --> 00:12:37.159 have four grown humans in my edit suit with me would be claustrophobic. I 188 00:12:37.200 --> 00:12:39.519 would be like, no, there's too many people. But it was great 189 00:12:39.559 --> 00:12:43.600 to have those people in the edit when we were doing it virtually. And 190 00:12:43.720 --> 00:12:46.639 maybe that was done on purpose, like maybe because Cody was really in it, 191 00:12:46.759 --> 00:12:50.039 like in it started in it, it's he wrote it, co wrote 192 00:12:50.039 --> 00:12:52.799 it with Sam, and he directed it. Like he's maybe we needed those 193 00:12:52.799 --> 00:12:56.000 extra voices, but I felt that they really helped. I know, when 194 00:12:56.000 --> 00:13:00.200 I write stuff, if I write it out, I put in a or 195 00:13:00.679 --> 00:13:05.200 I come back six months later, it feels like somebody else completely wrote it. 196 00:13:05.360 --> 00:13:09.320 I am much more able to criticize my own stuff. Do you find 197 00:13:09.360 --> 00:13:13.639 that one that comes to editing as well? Yeah, totally. Sometimes I'll 198 00:13:13.759 --> 00:13:18.000 rewatch something and be like, oh I changed that now. I would do 199 00:13:18.039 --> 00:13:20.440 that just now, But I have to try to turn that part off once 200 00:13:20.440 --> 00:13:24.279 it's locked and it's out and it's done, like I can't do anything about 201 00:13:24.320 --> 00:13:26.919 it. It's over. But there's always yeah, you watch it in a 202 00:13:26.919 --> 00:13:31.360 different situation, like I was just at a screening for a feature doc that 203 00:13:31.600 --> 00:13:35.360 screened at Hot Docs this year, and I'm watching it and it's there's lots 204 00:13:35.399 --> 00:13:39.679 of comedy elements to it. Oh man, I should have let more space 205 00:13:39.720 --> 00:13:43.440 for laughter because everybody's laughing, which is great, but they, you know, 206 00:13:43.480 --> 00:13:46.720 miss the next little step. But you won't always get that if you're 207 00:13:46.759 --> 00:13:48.480 not like I didn't. I couldn't screen it in a theater of four her 208 00:13:48.559 --> 00:13:52.879 people, but I when I screened it with ten people, it was okay. 209 00:13:54.159 --> 00:13:58.799 So Yeah, there's always room change, but you have to stop. 210 00:13:58.840 --> 00:14:01.200 You have to stop at some point. When did you lock he victory? 211 00:14:01.279 --> 00:14:05.240 Victor stopped? So we I finished because I actually had scheduling conflicts so I 212 00:14:05.240 --> 00:14:07.679 couldn't take it to the very very end, which was very unfortunate. But 213 00:14:07.960 --> 00:14:11.399 so I would have finished in June, so almost exactly a year, and 214 00:14:11.440 --> 00:14:13.759 then I think they got one to picture on maybe a month after that. 215 00:14:15.080 --> 00:14:18.799 But yeah, so it's been a year since I really was digging it and 216 00:14:18.879 --> 00:14:22.480 then watching it back, like there's still jokes that landed for me, Like 217 00:14:22.519 --> 00:14:26.519 there's one line that is in the film that just cracks me up every time 218 00:14:26.559 --> 00:14:30.000 I watch it, and I've probably watched it like one hundred million times. 219 00:14:31.240 --> 00:14:33.919 Did you get to see it with an audience? No, I haven't seen 220 00:14:33.919 --> 00:14:35.240 it with anybody yet. I want, yeah, because it has the world 221 00:14:35.240 --> 00:14:39.039 premiere is at Tribeca, so I haven't been able to let yeah, watch 222 00:14:39.080 --> 00:14:41.480 it with anybody yet. Are you getting to go to Tribeca? I wish 223 00:14:41.480 --> 00:14:45.919 I could, but I'm a busy editor and I have deadlines. I got 224 00:14:46.039 --> 00:14:48.360 some CBC deadlines going up, so I'm stuck in my edit. Sweave, 225 00:14:48.799 --> 00:14:52.399 Yeah, tell me about some of the other projects you're editing right now, 226 00:14:52.799 --> 00:14:56.480 working on a dock for a CBC called The Wilds of Canada, and it's 227 00:14:56.519 --> 00:15:00.360 not a comedy. It is compote reconciliation, so it's a heavier topic but 228 00:15:00.399 --> 00:15:03.639 it's really important work. So I'm really excited to see how we shape this 229 00:15:03.759 --> 00:15:07.600 and get this coin. So I have a rough cut coming up do coming 230 00:15:07.679 --> 00:15:11.080 up soon, So that's gonna that's on my list. I'm rapping close to 231 00:15:11.080 --> 00:15:13.960 picture lock on our website. It's called Scout about a group of friends that 232 00:15:13.039 --> 00:15:18.080 start an online news channel. They're quirky and fun. And then in the 233 00:15:18.080 --> 00:15:22.320 summer, I'm a starting season two of Push, which is series for CPC 234 00:15:22.440 --> 00:15:26.519 in Canada about a group of friends who are wheeltrair users and just about their 235 00:15:26.519 --> 00:15:31.000 life living with disability. Oh there, and there's there's another doc that's happening 236 00:15:31.080 --> 00:15:35.759 right now from the director of Lebanese Burger Mafia, which is the doc that's 237 00:15:35.759 --> 00:15:39.080 screened at Hot Talks, and it's also a comedy and it's gonna be really 238 00:15:39.080 --> 00:15:41.720 funny. But that I'm just starting that one. Anyway, I tried this. 239 00:15:41.799 --> 00:15:45.960 My goal this year was to do one project at a time, but 240 00:15:46.279 --> 00:15:50.039 I failed. So things always get delayed and push back and it is what 241 00:15:50.080 --> 00:15:54.159 it is, but I try. So. Is the best place for people 242 00:15:54.159 --> 00:15:56.519 to keep up with you and your work? Is that through your podcast? 243 00:15:56.639 --> 00:16:00.360 Or do you have a website? I do you have a website? Sweet 244 00:16:00.360 --> 00:16:03.799 one? Sweet one is Anne Productions dot com. Also, Sarah Teeler editor 245 00:16:03.840 --> 00:16:07.039 on Instagram is where I'm most up to date. I don't have time to 246 00:16:07.120 --> 00:16:11.279 update my website as much as I like to, but yeah, Sarah Teler 247 00:16:11.360 --> 00:16:14.919 editor on Instagram is the best piece. Sarah, if you ever want to 248 00:16:14.919 --> 00:16:18.960 come back on the show and be a guest co host and I'd love it. 249 00:16:19.039 --> 00:16:22.000 Awesome. Oh, I'd love to have you on. That sounds great. 250 00:16:22.639 --> 00:16:26.720 I am excited to see what's next. And a victor is fantastic. 251 00:16:26.759 --> 00:16:45.000 Oh, I'm so glad. I'm so glad. Thank you. Smokes is 252 00:16:45.320 --> 00:16:52.320 my message getting through. I hope you understand my smoke. So much in 253 00:16:52.399 --> 00:17:00.720 love with you, I'm so much in love with you. Sit on my 254 00:17:00.840 --> 00:17:03.720 big reservation. Watch them all, will pop them oil layer out and an 255 00:17:03.720 --> 00:17:08.920 empty wig wam never knew no work of farm. Need them small, spend 256 00:17:08.960 --> 00:17:12.599 them money, buy a food and pay the rent soon I'll be too old 257 00:17:12.599 --> 00:17:37.359 to marry. Then I'll be a buck. Will spend pay you pappy heap, 258 00:17:37.440 --> 00:17:41.640 big wampam, many horses and cannue, Buy a cat like an airplane. 259 00:17:41.680 --> 00:17:45.359 If you'll let me marry you, make you queen of a reservation, 260 00:17:45.559 --> 00:17:49.440 give you penny of food and drink, cover you with pretty first gainst that 261 00:17:49.480 --> 00:17:57.559 the white man call them me small signals. Small signals is my message getting 262 00:17:57.640 --> 00:18:04.759 through. I hope you understand my small signals. I'm so much in love 263 00:18:04.839 --> 00:18:22.839 with you. I'm so much in love with you. Now I sit and 264 00:18:22.920 --> 00:18:26.400 a longsome wig won't beat them Tom Tom, all that long beat him small 265 00:18:26.480 --> 00:18:30.200 to do, I'm cooking. Everything I do is wrong. Say you'll be 266 00:18:30.319 --> 00:18:34.319 my Koklaichi. Come and live with me today. Then this whole cat won't 267 00:18:34.359 --> 00:18:41.319 be long some when it's time to hear you the hey small signal. Smug 268 00:18:41.759 --> 00:18:48.480 signals is my message getting through. I hope you understand my smull signal. 269 00:18:49.200 --> 00:19:04.480 I'm so much in love with you. I'm so much in love with you. The Chris