Speaker 1: Oh ye is both it shull die.
Speaker 2: People say good money to see this movie. When they
Speaker 2: go out to a theater, they want cold sodas with
Speaker 2: a pop popcorn and no monsters.
Speaker 3: In the Protection Booth, everyone pretend podcasting isn't boring.
Speaker 4: Urn it off.
Speaker 5: July ninth, nineteen twenty nine. I chose coming away because here,
Speaker 5: at least I feel good, and it makes me feel
Speaker 5: I am growing very tall and straight inside and very still.
Speaker 5: I have not wanted to be anything but kind to you,
Speaker 5: but there is nothing to be kind to you if
Speaker 5: I cannot be me. And me is something that reaches
Speaker 5: very far out into the world and all around and
Speaker 5: kisses you a very warm, cool, loving kiss.
Speaker 6: The degree of vitality and the energy that she captures
Speaker 6: in her work, which makes us aware of ourselves and
Speaker 6: of the fluids that run through us and of the
Speaker 6: forces that keep us alive. I think that will always
Speaker 6: be appealing. I don't think she ever imagined that she
Speaker 6: would have achieved what she has achieved, and how important
Speaker 6: she is right now, very important.
Speaker 3: Right now, Hey, folks, We're going to do a special
Speaker 3: episode of the Projection Booth.
Speaker 7: I'm your host, Mike White. On this episode, I'm talking
Speaker 7: with Paul Wagner and Alan Casey Wagner all about their
Speaker 7: latest documentary, Georgia O'Keefe. The Brightness of Light came out
Speaker 7: in twenty twenty four. It is a portrait of Georgia O'Keefe,
Speaker 7: the famous artist. Fascinating story of her, fascinating story of
Speaker 7: how this documentary got made. Had a wonderful time talking
Speaker 7: with the Wagners, and I hope you have a great
Speaker 7: time listening to it. Enjoy the interview. Tell me a
Speaker 7: little bit about yourselves. I want to know how you
Speaker 7: know each other and how you decided to get into filmmaking,
Speaker 7: if you could.
Speaker 1: We go way back. We met in Washington, d C.
Speaker 1: In the eighties. We were both living there and I
Speaker 1: was working in public television and then for an independent filmmaker,
Speaker 1: and Paul had been an independent filmmaker for some time.
Speaker 1: And we met at a reception actually at the National
Speaker 1: Museum of American Art, which we kind of love. Now.
Speaker 1: Then a few years later we got together and got
Speaker 1: married and started having kids and started working together all
Speaker 1: at the same time. Now we let's see, we were
Speaker 1: married for about four years and then we moved to Charlottesville, Virginia,
Speaker 1: which is where we still live, and it's how actually
Speaker 1: we got involved with the film.
Speaker 8: Ohkeif lived in Charlottesville, did that? We didn't realize it
Speaker 8: was so important in her life and in her art.
Speaker 1: We have been there for many years and we were
Speaker 1: always aware that there's a house with a historic marker.
Speaker 1: Georgia O'Keeffe lived here. It's because her mother ran a
Speaker 1: boarding house there for UVA students back in the early
Speaker 1: twentieth century. But she came here to spend some summers
Speaker 1: and took an art class at the university because at
Speaker 1: that time women were only allowed to take classes at
Speaker 1: the University of Virginia in the summertime, a summer school.
Speaker 1: She at that point had not painted in four years.
Speaker 1: She'd just given up on art, and taking that class
Speaker 1: changed her life. Got her excited. I did all over
Speaker 1: again about doing art. She never looked back. By the
Speaker 1: next summer, she was a teaching assistant in the class
Speaker 1: and did that for the next few summers. So it
Speaker 1: was a really important time for her. So we originally
Speaker 1: thought we found out all about this at an exhibit
Speaker 1: at the Frailin Art Museum at the University of Virginia,
Speaker 1: and thought, we'll make a short film about this. No
Speaker 1: one really knows about this part of O'Keefe's life. But
Speaker 1: then realized that there hadn't been a major film done
Speaker 1: on her in many years, and decided to go big,
Speaker 1: and that's what we did her whole life.
Speaker 4: Hey, I was.
Speaker 7: Curious what the origin of the movie was. It sounds
Speaker 7: like the short just blew up, huh exactly exactly.
Speaker 8: The other thing that we realized when we started looking
Speaker 8: at sort of what films had been made about O'Keefe
Speaker 8: is that there was a really terrific film made in
Speaker 8: nineteen seventy seven with when she was alive, with her
Speaker 8: on camera, and it's a great film and if you
Speaker 8: go on YouTube, that's sort of those are the clips
Speaker 8: of okeef. There hadn't been a lot of films made
Speaker 8: about her whole life after that. And what had happened
Speaker 8: was after she died, she had put into her will
Speaker 8: that twenty years after her death, all of her correspondence
Speaker 8: between her and Alfred Stieglitz was to be released to
Speaker 8: the public, and a few more years it was edited
Speaker 8: and compiled and published and in reading it, it's just
Speaker 8: this incredible document that provides sort of this intimate, very
Speaker 8: personal narrative about her life because they were together for
Speaker 8: most of their adult lives. So that became then in
Speaker 8: a way you're thinking, oh, as a filmmaker, I wish
Speaker 8: we had Georgio keep on camera, But in fact these
Speaker 8: letters provided a kind of an entry into what she
Speaker 8: was thinking and feeling that actually is more honest and
Speaker 8: open than you would get from her in the film.
Speaker 8: And of course we use clips from that seventy seventh
Speaker 8: film in our film, so it's kind of a mix
Speaker 8: of her on camera but also these letters which are
Speaker 8: read in the film by Claire Danes, These letters that
Speaker 8: are just really intimate and they allow us to kind
Speaker 8: of track her whole life in her own voice.
Speaker 7: Was that always the plan or when did that come
Speaker 7: into the play to say, oh, we're going to use
Speaker 7: these letters as this kind of narration device.
Speaker 8: Yeah, no, as soon as we conceived them that we
Speaker 8: were going to do the whole life and do a
Speaker 8: feature film biography. That was in the plan because in
Speaker 8: seeing that book, in doing our research, we had read
Speaker 8: that book and it's just incredible and it had no
Speaker 8: other filmmakers, no other films. Battle Keith had used it also,
Speaker 8: so it was it kind of gave us a perspective
Speaker 8: and a power to telling her story.
Speaker 7: When you're doing a documentary about a person, how much
Speaker 7: do you have to work with the state in order
Speaker 7: to get clearance for the artwork, the narration, all these
Speaker 7: kind of things.
Speaker 1: Yeah, no, it's a great question. We had not done
Speaker 1: a film before on one individual artist, and we were
Speaker 1: really fortunate that we had a cooperation of the Georgia
Speaker 1: O'Keefe Museum in Santa Fe. They've been very supportive of
Speaker 1: the project and allowed us not only access to all
Speaker 1: of her works because they hold the copyright on almost
Speaker 1: all of her work, but also they allowed us to
Speaker 1: film in both of her houses. So it was extraordinary
Speaker 1: and we are forever grateful to them because it just
Speaker 1: wouldn't have been possible without that.
Speaker 7: And then the artwork itself has got to be such
Speaker 7: a major concern when it comes to presenting it and
Speaker 7: making sure that it looks good and that the estate
Speaker 7: is approving everything too, I'm sure, and.
Speaker 8: There are hundreds of her paintings in the film. It's
Speaker 8: interesting now that we're showing it in theaters and to
Speaker 8: the public. So many people know about O'Keefe, and when
Speaker 8: they think of O'Keefe, they think about the flowers or
Speaker 8: the bones in the desert landscape, and those are important
Speaker 8: images for O'Keefe, but she was much more vary than that,
Speaker 8: and a lot of people don't realize, for example, that
Speaker 8: she painted the skyscrapers in New York, lots of scores
Speaker 8: of paintings of New York skyscrapers, which is very almost
Speaker 8: the opposite of what you think of when you think
Speaker 8: of O'Keefe. Some of my favorite artworks in the film
Speaker 8: are charcoals that she did as a young woman that
Speaker 8: are very abstract, but they're just black charcoal on kind
Speaker 8: of beige or white paper, and they are incredibly beautiful
Speaker 8: and kind of really evoke her personality. And when you
Speaker 8: look at him, you go, this is O'Keefe. You can
Speaker 8: see that it fits into her ouvera of her work
Speaker 8: and fits into her psychology who she was as a
Speaker 8: person and as an artist, But hardly anybody's ever seen them, really.
Speaker 7: How aware of those things?
Speaker 1: For you?
Speaker 7: Before you even started the project.
Speaker 8: I didn't know anything about the charcoals, Oh wow. And
Speaker 8: number of different kind of motifs is the word that
Speaker 8: you hear a lot kind of different clusters of subject matter,
Speaker 8: some that are not considered as important. But she did
Speaker 8: twenty eight paintings of apples because she was living at
Speaker 8: Lake George and New York and they had all these
Speaker 8: apple trees, and she always painted what was at hand.
Speaker 1: She painted.
Speaker 8: It was out of her imagination in many ways, but
Speaker 8: it was more like her imagination's take on what was
Speaker 8: the objects that were at hand, whether that was a
Speaker 8: mountain in New Mexico or when apple fallen on the
Speaker 8: ground in Lake George.
Speaker 7: One of the things I always find fascinating about documentaries
Speaker 7: is just it's such a a process of discovery. It's
Speaker 7: a process of discovery for me as a viewer watching
Speaker 7: what you put together. But then as you being filmmakers,
Speaker 7: what was that process of discovery for you? What were
Speaker 7: some of the most surprising things that you found while
Speaker 7: you were doing all your research and putting this project together.
Speaker 1: Well, I think for me, I had a very limited
Speaker 1: view of her and her life. I knew some of
Speaker 1: the paintings, mostly flowers, some landscapes, and I was astonished
Speaker 1: at how many places she lived. And we were very
Speaker 1: fortunate to be able to film in nearly all of
Speaker 1: them along the way, and that far from being this
Speaker 1: sort of recluse in the desert and the Southwest, she
Speaker 1: had a huge number of friends and she traveled widely,
Speaker 1: especially in her later years. She traveled all over the world,
Speaker 1: and I really had no idea that she had done that.
Speaker 1: It was all fascinating filmed. Yeah, So we filmed the
Speaker 1: course in New Mexico, but also in Lake George in
Speaker 1: New York City. We went to sun Prairie, Wisconsin, where
Speaker 1: she was born, and her grandfather's house is still standing
Speaker 1: and the farmland is there. Her house that her family
Speaker 1: lived in is unfortunately not there any longer, but you
Speaker 1: could really get a sense of it, not that far
Speaker 1: outside of Madison, Wisconsin, as a sun prairie land where
Speaker 1: she grew up and they were very formative years. She
Speaker 1: early on was taking art and music classes. It was
Speaker 1: really important to her and it was amazing really to
Speaker 1: see that land and realized that it shaped her very
Speaker 1: early on.
Speaker 6: Yeah.
Speaker 1: That where else did we go to beach?
Speaker 7: Oh?
Speaker 1: Right, York Beach Main She had gone there several times
Speaker 1: to paint, and we took ourselves up there and it
Speaker 1: was just and could just really sense why she loved
Speaker 1: it so much. There where else? Oh, Texas? Of course
Speaker 1: that's Paloduro, Yeah, Paladuo Canyon and that canyon area, and
Speaker 1: Marillo she also taught, and that was her first real
Speaker 1: experience and of falling in love with that western landscape
Speaker 1: was when she went out there to teach, and that
Speaker 1: was fascinating to me. I really didn't know much about
Speaker 1: that aspect of her life either, and to get out there,
Speaker 1: there's nothing like that landscape and just incredible, the flatness
Speaker 1: and the vastness of it. And then this canyon, it
Speaker 1: just seems to come out of nowhere. And so she
Speaker 1: spent a lot of time hiking there. Yeah, and of
Speaker 1: course here in Virginia. She actually hiked here in Virginia.
Speaker 8: And not Blueverige rountains.
Speaker 1: Yeah.
Speaker 7: How long did it take you to put this project together?
Speaker 7: That sounds like so much travel of.
Speaker 1: It was a long project. We first saw that little
Speaker 1: exhibit that inspired us in the fall of twenty eighteen,
Speaker 1: and we developed the project through twenty nineteen. Early twenty twenty,
Speaker 1: we went out to do our first research in New
Speaker 1: Mexico and that was the week COVID hit the country
Speaker 1: and just turned everybody's lives upside down. We went to
Speaker 1: the museum a couple of times that week, but we
Speaker 1: went on the friday that we were leaving. The next
Speaker 1: day we closed the museum. They closed their doors I
Speaker 1: think at seven pm, and they didn't open them again
Speaker 1: for two years. That's how bizarre the timing was. But
Speaker 1: in any case, we were able to continue developing the
Speaker 1: project and raising our funds through the worst of COVID,
Speaker 1: and then when we got vaccinated and people felt comfortable
Speaker 1: going out again, we were able to schedule our filming.
Speaker 1: We filmed our interviews and went on location to the
Speaker 1: places that she lived.
Speaker 8: One thing about her with that first bit of information
Speaker 8: about her life here in Charlesville, which was that she
Speaker 8: had stopped painting. Ellen mentioned had stopped painting for four years.
Speaker 8: She had stopped when she was twenty years old. So
Speaker 8: about that. Georgia O'Keefe this brilliant painter, and she had
Speaker 8: been kind of a rock star as a teenager in
Speaker 8: Chicago and art school and New York and art school.
Speaker 8: She won awards for her art. She had a ton
Speaker 8: of promise and people recognized her being really talented, and
Speaker 8: so there was every expectation that she was going to
Speaker 8: be the next great artist. But here in nineteen oh eight,
Speaker 8: she get disillusioned with her art, which was kind of
Speaker 8: like a still life and painting of a bowl of flowers,
Speaker 8: not the close ups, but just the regular flowers on
Speaker 8: a tabletop, and she got disillusioned with that kind of
Speaker 8: Western European approach to art making, and for four years
Speaker 8: she didn't pick up a brush until she took that
Speaker 8: class that Ellen was talking about at Uva, and that
Speaker 8: brought her back to life. But it also indicated to
Speaker 8: us that she was a very intense person that she
Speaker 8: would just with all of her success, that she would
Speaker 8: walk away from art because she was personally dissatisfied with it,
Speaker 8: and we saw that she had kind of a tumultuous
Speaker 8: life in many ways. She stopped painting for a year
Speaker 8: in nineteen teen thirty three. She didn't pick up a
Speaker 8: brush for the whole of nineteen thirty three because she
Speaker 8: was kind of in a crisis of confidence. Might even
Speaker 8: say it was the nervous breakdown. It's hard to say
Speaker 8: because we don't have any kind of medical diagnosis of it,
Speaker 8: but she was troubled a lot of it around her
Speaker 8: very challenging and difficult relationship with Alfred Stieglis. That was
Speaker 8: clearly a big part of it. So in a lot
Speaker 8: of ways, you know, all of us who are not
Speaker 8: great artists, think, oh, Georgia O'Keefe, Picasso, all the great
Speaker 8: painters masters. Every time they sit down and paint something,
Speaker 8: it's going to be a masterpiece. But you realize in
Speaker 8: looking at Georgia O'Keefe's life that she was very vulnerable,
Speaker 8: very insecure about her work. Even at one point she
Speaker 8: burned forty of her paintings because she wasn't sure that
Speaker 8: they were up to snuff, that they were good enough,
Speaker 8: and she had kind of a crisis of confidence about them.
Speaker 8: So you realize, no, she's not even though she's a
Speaker 8: brilliant painter, she's not an all powerful artist person. She's
Speaker 8: a human being just like us. And in some ways,
Speaker 8: Georgia O'Keeffe especially, she's such an iconic figure that we
Speaker 8: all look up to and idolize and put her on
Speaker 8: a pedestal. But one thing the film does is it
Speaker 8: tries to de mythologize O'Keefe and remind you that, no,
Speaker 8: she's a human being, and we think that's a good
Speaker 8: thing because then as viewers, even though we're not the
Speaker 8: greatest artist in the world, are the most talented person,
Speaker 8: you can look at her and realize she's a human being. Also,
Speaker 8: just like I am.
Speaker 7: Going back to the length of the shooting and everything,
Speaker 7: when did you finally complete this and what was that
Speaker 7: process like and did you do test screenings? I mean,
Speaker 7: how many people have you seen this with so far?
Speaker 1: We've filmed over a year or more, and then the
Speaker 1: editing took a couple of years, and we premiered the
Speaker 1: film late in the twenty twenty four at the Santa
Speaker 1: Fe International Film Festival, which was really exciting. And then
Speaker 1: a few weeks later here in our hometown of Charlottesville, Virginia,
Speaker 1: the Virginia Film Festival showed it. The Actually, the screening
Speaker 1: here sold out immediately, so they the Film Festival, asked
Speaker 1: if they could add one a few months later, and
Speaker 1: it sold out immediately at Viola Crown Theater here in Charlottsville.
Speaker 1: And then Viola Crown Theaters approached us and said could
Speaker 1: we show the film in all four of our cities.
Speaker 1: We thought, sure, that came out of the blue. So
Speaker 1: therefore cities at the time, where Charlottesville, Santa Fe, Dallas,
Speaker 1: and Austin, and they had runs there starting in March
Speaker 1: of twenty twenty five, and then we started reaching out
Speaker 1: to other theaters. Theaters started reaching out to us, and
Speaker 1: so it's been playing in theaters all over the country
Speaker 1: for the past year plus.
Speaker 8: I think we're up to one hundred and thirty theaters
Speaker 8: it's played in, which is amazing. We hitn't I can't
Speaker 8: say that we even thought that was going to happen.
Speaker 8: We didn't even think about that when we were making
Speaker 8: the film. So that's been really encouraging and very exciting.
Speaker 8: It's really fun. I have to say. It's available now
Speaker 8: on iTunes and we're thrilled that is out there for
Speaker 8: people to see. But it's especially exciting, you have to say,
Speaker 8: for people to see it in theaters, and we are
Speaker 8: going to continue to show it in theaters even though
Speaker 8: it's available for home video. Also, we've gone through a
Speaker 8: lot of the screens.
Speaker 1: That's been exciting. Yeah, And when we've been able to,
Speaker 1: we've gone out and done some Q and a's and
Speaker 1: we love love talking to the audience afterward and getting
Speaker 1: their impressions and We've heard some wonderful personal stories from
Speaker 1: people who feel so connected to O'Keefe. So it's been
Speaker 1: really an honor for us to get out there and
Speaker 1: be able to have those conversations and show the film
Speaker 1: for all this time sees.
Speaker 8: The comment we get most is because she has such
Speaker 8: a fan base, people who love her. People come in,
Speaker 8: they say after the film, they say, I've always loved
Speaker 8: Georgie O'Keefe, and I thought I knew everything about her
Speaker 8: until I saw your film. So really great because you
Speaker 8: realize even somebody that famous and iconic, and we kind
Speaker 8: of laugh. People actually joke, oh, I had a poster
Speaker 8: of O'Keefe's painting of a flower in my dorm room
Speaker 8: in college, or we always have a calendar of O'Keefe painting.
Speaker 8: She's kind of famous for that. Some people kind of
Speaker 8: dismiss her. It's like, oh, it's like not real art,
Speaker 8: it's like commercial, too popular. But you realize not just
Speaker 8: her art that's popular, she's popular as a human being.
Speaker 8: People really relate your especially women, really connect with O'Keefe,
Speaker 8: and the film actually kind of looks at that appeal
Speaker 8: that she has and kind of investigates why is she's
Speaker 8: such a compelling figure as an artist, and especially for women.
Speaker 7: Yeah, it's got to be tough one to get recognized
Speaker 7: as an artist, much less too, being a woman artist
Speaker 7: in the twentieth century and being able to compete against
Speaker 7: the rest of the art world.
Speaker 4: Yeah.
Speaker 8: Yeah, No, it's very inspiring for women. It has been
Speaker 8: for the whole twentieth century. One thing that I hadn't
Speaker 8: quite focused on when we started the film. I was
Speaker 8: thinking of Okeef in terms of modernism, the mother of
Speaker 8: American modernism, and so when you think of modernism, you
Speaker 8: think mid twentieth century. She was huge in the early
Speaker 8: nineteen twenties. She exploded in New York. Her artwork was
Speaker 8: immediately when it was exhibited by Stieglitz. People were just
Speaker 8: all over it, and women, especially even at that time,
Speaker 8: were all over it. And it was a great moment
Speaker 8: for women.
Speaker 4: Then.
Speaker 8: American women had just gotten the vote in nineteen twenty
Speaker 8: and there was a whole notion of like the modern
Speaker 8: American woman emerging, especially a place like New York, and
Speaker 8: here O'Keefe just explodes on the scene and becomes identified
Speaker 8: not just as a great artist, but as a great
Speaker 8: woman artist.
Speaker 7: You mentioned Claire Danes. How did you get her involved
Speaker 7: in the project?
Speaker 1: She was at the top of our list when we
Speaker 1: were considering who might be a great voice for O'Keefe,
Speaker 1: And we really don't think this had anything to do
Speaker 1: with it, but we had happened to meet her several
Speaker 1: years ago when she was in Virginia filming a season
Speaker 1: of Homeland and we had been invited to a reception
Speaker 1: and met her and her husband, Hugh Nancy and I
Speaker 1: don't know. We felt maybe they would remember that or
Speaker 1: have fond feelings of Virginia, and they did. We approached them,
Speaker 1: and we also thought maybe they'd find it appealing to
Speaker 1: both be involved in the same project, And for whatever
Speaker 1: reason they did say they both said yes. So worked
Speaker 1: out really well. We really love how both of them.
Speaker 8: Yeah, they both give great performances. And I don't know why,
Speaker 8: but it's kind of cool to have a husband and
Speaker 8: wife be the public face of the film.
Speaker 7: What have you worked on since then? I'm curious what
Speaker 7: you're working on these days.
Speaker 1: Well, this has taken a lot of my ethernly just
Speaker 1: showing very very long rollout and getting it out into
Speaker 1: the world. And Paul's been working on a script for
Speaker 1: a feature film. It's a little early to talk about.
Speaker 8: Say, we mostly do documentaries, but we have done fiction films.
Speaker 8: We did a film that came out in nineteen ninety
Speaker 8: nine called Windhorse, and it was based on documentary material
Speaker 8: but was a fictional version of it. And this new
Speaker 8: project is also a dramatic film that has a documentary basis.
Speaker 8: So much in the preliminary stage. And like with O'Keefe,
Speaker 8: we saw that exhibit here in town in twenty eighteen
Speaker 8: and here we are talking to you in twenty six
Speaker 8: So well, I think that's so. It takes us a
Speaker 8: while on these projects. So we're a little bit shy
Speaker 8: about bragging about our new film. I'm back in eight years, Mike.
Speaker 8: We'd love to tell you about it.
Speaker 7: It's a date. Where's the best please, for people to
Speaker 7: keep up with these screenings and buying the.
Speaker 1: Film, The best thing to do is go to the
Speaker 1: film's website. It's Georgia o'keefefilm dot com.
Speaker 8: Yeah, Georgia O'Keeffe film and all the information is there.
Speaker 2: Yeah.
Speaker 8: They can purchase the film there from iTunes and also
Speaker 8: learn about screenings that are still going on in theaters.
Speaker 7: Across the country. I can't even imagine how good it
Speaker 7: must feel to have these screenings still going on, and
Speaker 7: to have such a reception for this, to have theaters
Speaker 7: asking can we play this more? That's got to just
Speaker 7: be such a feather in your cap. So great job, Thank.
Speaker 1: You so much. It's been a real thrill, and we
Speaker 1: really need to think. Also we were able to have
Speaker 1: Cargo Film and Releasing sign on to.
Speaker 8: The film now, that's really appreciate a wonderful boost too.
Speaker 7: Yeah, Paul and Ellen, thank you so much for your time.
Speaker 7: This was so wonderful talking with your.
Speaker 1: Great to meet you.
Speaker 8: Mike, thanks so much.
Speaker 2: No one can see the world through your rise. No
Speaker 2: one can see this world?
Speaker 4: Do you rise? Look at the poppy fee and the
Speaker 4: desert sky. Let's your pain persnswer all the whats and
Speaker 4: wise see the things that of its just pass on by?
Speaker 4: Who puts your paint to canvas? Make the mountains rise?
Speaker 2: Do and can see world through your ries?
Speaker 4: No one can see the swirl through your rise.
Speaker 2: Do one can see this world through your rifes?
Speaker 4: No one can see the world through your ride. Paint
Speaker 4: your bonus color, oh your brightest idea A small it's
Speaker 4: passing hot in your longest passing the petals on a flower,
Speaker 4: any instance in crossity, Go to live your dream.
Speaker 2: Georgia Stone can see the world through your rise.
Speaker 4: No one can see the swirl through your ride.
Speaker 2: No one can see the world through your rise.
Speaker 4: No one can see the swirl through your ride. Though
Speaker 4: we see the power of flower, the lights of New
Speaker 4: York City, the sky in the days, last hour, see
Speaker 4: the things that are these, just pass on by. Puts
Speaker 4: your pain on cannabis gearge made.
Speaker 2: The mountain to ride as because no one can see
Speaker 2: the world through your rise.
Speaker 4: No one can see the swerl through No one can see.
Speaker 2: The world through your rieses.
Speaker 4: No one can see Swarm through your rise unless you
Speaker 4: painted him, unless you're right, unless you can't take a shell,
Speaker 4: and so no one can see the world through your eyes.
Speaker 4: No one can see the world through your ride. No
Speaker 4: one can see the world.
Speaker 2: Through your eyes as.
Speaker 4: No one can see Swarm through your rise. Through your rise,