Speaker 1: Oh g is, folks, it sho'll die.
Speaker 2: People say good money to see this movie.
Speaker 3: When they go out to a theater, they want clothed sodas,
Speaker 3: hot popcorn, and no monsters in the protection booths.
Speaker 2: Everyone pretend podcasting isn't boring.
Speaker 1: Got it off.
Speaker 4: My dad always kind of filled me in on certain
Speaker 4: things that happened to us in our past, but.
Speaker 5: I never realized how bad it was.
Speaker 4: It's just kind of a realization moment that not everybody
Speaker 4: is taught that because it's not their history, and it
Speaker 4: is their history. Native Americans were sent to boarding schools
Speaker 4: to die. If you didn't die physically, you would come
Speaker 4: out of the school broken. My great grandfather, Frank Quinn,
Speaker 4: he ran away from this boarding school three times.
Speaker 5: He was eight years old.
Speaker 3: And it's like, how.
Speaker 4: How could an eight year old cross over mountains fifty
Speaker 4: miles a couple of days. It's that it's just unthinkable.
Speaker 5: Some of us start this race in life way farther
Speaker 5: ahead than other people when they're born, but at the
Speaker 5: end of the day, it's up to us to really
Speaker 5: make that kind of comeback.
Speaker 2: Who was a fun little kid.
Speaker 3: He liked to run, and there was a kid's half
Speaker 3: mile he sprinted it. It was just fast.
Speaker 1: Now.
Speaker 4: They always told me you are going to take you places.
Speaker 4: I just wish it could have happened sooner because I
Speaker 4: knew I had the skill, but we just didn't have resources.
Speaker 5: College recruiters don't think about looking on the reds for
Speaker 5: their next runner.
Speaker 4: It's not just trying to get to college. It's just
Speaker 4: not that simple. It's a lot deeper than there. I'm
Speaker 4: trying to run away to better things. It's easy to
Speaker 4: internalize trauma and let it define who you are.
Speaker 5: Don't let yourself feel sorry for yourself.
Speaker 1: Ever, the truth never never has start. The truth can
Speaker 1: empower you.
Speaker 6: Know.
Speaker 4: This is not a protest, it's a remembrance.
Speaker 5: It's something that we're acknowledging in the past.
Speaker 4: That it is finally coming to light. I haven't accomplished
Speaker 4: what I want to accomplish, but I'm getting theretovin Stephens.
Speaker 2: I'm better than well.
Speaker 3: Everything I got.
Speaker 5: And remember why I'm.
Speaker 3: Here because of all the different Native Americans who gave
Speaker 3: their lives down the line just to be whittled down
Speaker 3: through different bloodlines to me.
Speaker 2: Hey, folks, welcome to a special episode of the Projection
Speaker 2: Booth I'm your host, Mike White. On this episode, I
Speaker 2: am talking with Paige Bethman and Stephanie Corey. Paige is
Speaker 2: the director and Stephanie is the editor of the twenty
Speaker 2: twenty five film called Remaining Native. Thank you so much
Speaker 2: for listening, and I hope you enjoyed the interview. Paige,
Speaker 2: I think I'll start with you. Can you tell me
Speaker 2: a little bit about how you got involved in filmmaking.
Speaker 7: My grandmother was a christianal Mohawks storyteller, and growing up
Speaker 7: I would hear her tell a lot of stories about
Speaker 7: where maple Syrup.
Speaker 8: Was made and who Skywoman was, and.
Speaker 7: She just had such a gift of being able to
Speaker 7: share stories from the heart and with so much detail
Speaker 7: and excitement, and so I was really drawn to storytelling,
Speaker 7: and throughout being a teenager, I would just always gravitate
Speaker 7: towards videos, whether that was to get out of making
Speaker 7: a essay at school and offer a video project instead,
Speaker 7: or just putting my stuff animals around my house and pretending.
Speaker 9: To be Stee Merwin.
Speaker 7: I just always loved storytelling, and I ended up going
Speaker 7: to college where I met Steph at Ithaca College and
Speaker 7: studied TV and film there and moved to New York
Speaker 7: City and pursued The Big Dream and the Big Apple.
Speaker 7: But yeah, I think I really got into more nonfiction
Speaker 7: storytelling through Vox. I worked on the Current Affairs show.
Speaker 7: I was doing a lot of work in short form
Speaker 7: and long form documentary, and then when this project came
Speaker 7: about is when I first started doing independent filmmaking.
Speaker 2: How often have you guys worked together.
Speaker 9: We've had a kind of quite a bit.
Speaker 7: I think a couple like two or three times throughout
Speaker 7: after college.
Speaker 9: I think Seff.
Speaker 7: Worked for Vox for a while on two different shows
Speaker 7: and then some other side projects. So we worked together
Speaker 7: with each other over the years.
Speaker 2: And Stephanie, what brought you to editing? What attracted you
Speaker 2: about that?
Speaker 6: I always liked. I think I fell into like film accidentally.
Speaker 9: Like in high.
Speaker 6: School, I had an advanced art class that I signed
Speaker 6: up for and it got canceled because there was only
Speaker 6: two students signed up and me and some other person,
Speaker 6: and the only thing that filled my schedule was video
Speaker 6: production that.
Speaker 9: Wouldn't mess anything else up.
Speaker 6: So I got placed in there and then I just
Speaker 6: started falling in love with editing in that process, and
Speaker 6: it would edit like highlight reels for sports teams. And
Speaker 6: then and then that's the first time it really occurags
Speaker 6: me that people do this, and I went to look
Speaker 6: for editing programs specifically, but I couldn't find any.
Speaker 9: In college. There was like no degree for editing.
Speaker 6: But at Ithaca they had a degree for documentary film,
Speaker 6: and I was like, that works because I basically figured.
Speaker 6: I was like, I can't make a fiction film if
Speaker 6: my life depended on it. But real life was always
Speaker 6: like so interesting, and I always have this natural curiosity
Speaker 6: that I was like, I can make films or work
Speaker 6: on films about any.
Speaker 9: Subject matter and continue to learn. And then when I.
Speaker 6: Was at Ithaca, I always gravitated to the editing process
Speaker 6: because even when I was filming, especially part of our program,
Speaker 6: you have to do every stage of the process so
Speaker 6: that way you understand what it is to make a.
Speaker 9: Doc, especially because the crews are typically so small.
Speaker 6: But every time I would always gravitate for the editing
Speaker 6: process and I would think about, like, how is this
Speaker 6: going to be put together in the end. And one
Speaker 6: of my professors, Tom Nicholson, was like, that's a mindset
Speaker 6: of an editor.
Speaker 2: What's that relationship like and how do you two work together.
Speaker 7: When I first wanted to make this film, I immediately
Speaker 7: thought of Steph. She was one of the first people
Speaker 7: I told, just as a friend but also someone who
Speaker 7: I've worked with in the past and who I admired
Speaker 7: per work and to be able to then to two
Speaker 7: and a half years later be looking for an editor.
Speaker 7: In the process of it, I felt like trust was
Speaker 7: like a major component. So someone who understood, you know,
Speaker 7: what I was going for with the story, someone who
Speaker 7: cared about the story, who saw the potential and the story.
Speaker 7: And I think ninety percent of making the film is
Speaker 7: based on conversations, and I think we took a lot
Speaker 7: of time to have a lot of conversations to figure
Speaker 7: out different ways to approach the story, whether that's through
Speaker 7: crazy whiteboard online Miro. You were a Miro with like
Speaker 7: different shapes since I I was trying to articulate an
Speaker 7: emotional arc, character arc, all these different things. But really
Speaker 7: it goes down to the footage, and Steph took a
Speaker 7: lot of time watching the footage and marking the footage
Speaker 7: and being able to tell me this is what's here,
Speaker 7: and trusting in that process. And I think, yeah, there's
Speaker 7: a level of just like curiosity that Seth brings too
Speaker 7: of I have this idea, but what if it was
Speaker 7: approached this way, or let's try this out, or let
Speaker 7: me show you two or three versions of the same
Speaker 7: scene in different different approaches, and just being able to
Speaker 7: have an experimental mindset to be able to break the
Speaker 7: scenes that ended up making it in the film. So yeah,
Speaker 7: it's a long process, but I definitely think being able
Speaker 7: to have like open conversations and taking space too was
Speaker 7: definitely what was able to foster such a good human environment.
Speaker 9: But Seth, please weigh in.
Speaker 6: I think it's really important to understand that the director,
Speaker 6: like they're there from the exception, and they've been working
Speaker 6: on it for so long that there's such a dedication.
Speaker 6: Typically in the product that I worked on, they've been
Speaker 6: working on it for so along, and there's obviously some
Speaker 6: passion that they feel so strongly about it.
Speaker 9: And I think as an editor when.
Speaker 6: You come in, it's really you get excited by their
Speaker 6: passion for the story, for the project, and especially by
Speaker 6: their approach and what they want to pursue, and that becomes,
Speaker 6: like Page said, the guiding kind of conversations that go
Speaker 6: into it. And then as an editor it's also understanding
Speaker 6: that you're going in there, you're seeing the media and
Speaker 6: you're working with them to problem solve. Some of the
Speaker 6: approaches are how we can go about it, and I
Speaker 6: think that there are also some steps too, like outside
Speaker 6: of the edit, watching references or coming in reading other materials,
Speaker 6: reading other books.
Speaker 9: Doing the research too outside of the film. That was
Speaker 9: a part of the process.
Speaker 6: And I think something that was really great with working
Speaker 6: with Page is just the openness of being able to
Speaker 6: be so vulnerable and sharing along with the process, like
Speaker 6: this history is especially for this film, the history is heavy,
Speaker 6: and Page has our only ties to the story, and
Speaker 6: she has her own experience visit her own family history
Speaker 6: that brings it in and her vulnerability is both inspiring
Speaker 6: but also so powerful to be able to have that
Speaker 6: as an editor, to have those conversations with One thing
Speaker 6: with working with Page that was really exciting is being
Speaker 6: able to like have those conversations, but the way she
Speaker 6: added to it too, and that collaboration of how they
Speaker 6: like evolved over time, which is really nice to see
Speaker 6: and also be a part of seeing the thought process
Speaker 6: come in.
Speaker 2: Age mentioned the mirror boards that you guys were working on.
Speaker 2: I'm curious when it comes to the end of itself,
Speaker 2: what are you logging this footage and what are you
Speaker 2: actually cutting on now?
Speaker 6: Cutting on premiere and logging the footage kind of looks
Speaker 6: like a marker system. So basically like we use markers
Speaker 6: in terms of specific soundbites or even like specific shots
Speaker 6: or moments, or sometimes we'd even have markers that were like,
Speaker 6: this is a really cool, like wacky kind of like
Speaker 6: lens flare or kind of crazy camera footag'd shake, but
Speaker 6: it might be useful at some other point. So it's
Speaker 6: like finding those little gems, and that's what.
Speaker 9: Our marker sys do look like.
Speaker 6: And then also taking notes after the fact of sitting
Speaker 6: with the scene, sitting with the material and being like,
Speaker 6: what is the scene communicating and how is it relating
Speaker 6: to the larger story? And so we'd have plenty of
Speaker 6: those conversations. So even when we had our note cards,
Speaker 6: we're like, what's the best way we can represent, Like,
Speaker 6: we know we have these sort of themes that are
Speaker 6: coming through, and what are the best representations that we
Speaker 6: have of those themes? And those note cards we would
Speaker 6: move around on mirrors. Sometimes when we were a person,
Speaker 6: we would move post it notes because it'd just be faster,
Speaker 6: and then we'd have a layer two of just scripts
Speaker 6: that we would i would say script, but it was
Speaker 6: just like a transcript of the cut that would really
Speaker 6: help us get a sense of everything that was there
Speaker 6: and be able to see those beats kind of like
Speaker 6: read it through, because they're dealing with a story that
Speaker 6: it multi layer and and it's the whole process was
Speaker 6: figuring out how to interweave the storylines of past and
Speaker 6: present and future. For what KU's ambitions were as a runner,
Speaker 6: we had to make.
Speaker 9: Our edit reflect that.
Speaker 7: So our organization of the edit was breaking down all
Speaker 7: the footage that has to deal with Ku as a teenager,
Speaker 7: his present day life, going to school, hanging out with
Speaker 7: this family, the time spent on the Reds, and then
Speaker 7: the other storylines of his running journey, so all the
Speaker 7: footage of him running for cross country and track, and
Speaker 7: then the Stewart side of the project, which is all
Speaker 7: the boarding school archival, and then the remembrance runs. So
Speaker 7: there was a lot of different project breakdowns and they
Speaker 7: were all afined different colors.
Speaker 8: And then when we're.
Speaker 7: Looking at the mirror board and looking at it, we're
Speaker 7: seeing like when those things are coming up, where are
Speaker 7: they actually intersecting, and how we're able to keep the
Speaker 7: pace of the film going without being in one section
Speaker 7: for too long.
Speaker 2: When it comes to the subjects of your films, how
Speaker 2: do they usually come to you.
Speaker 7: This is my first feature film, and I think the
Speaker 7: other work that I've done, I think it just reflects
Speaker 7: my personal experiences. Was able to direct an episode for
Speaker 7: PBS called Native America, which followed Indigenous women in different
Speaker 7: sections of government, fashion, environmental preservation, and even comedy and music,
Speaker 7: and my experience being someone who's Indigenous being a filmmaker
Speaker 7: is just reflected in how.
Speaker 9: I approach it.
Speaker 7: I think this story in particular came about because of
Speaker 7: the news that broke in twenty twenty one about the
Speaker 7: Kamloops boarding school where remains of Indigenous children were found
Speaker 7: on mark Graves, And for me, it was those stories
Speaker 7: that I heard growing up of my great grandmother going
Speaker 7: to a boarding school, the reactions of community members sharing
Speaker 7: more of these stories, and then people sharing that they
Speaker 7: had no idea about this history, and I think that's
Speaker 7: what frustrated me the most, was the absence of people
Speaker 7: understanding and knowing that this happened. And then to see
Speaker 7: a story come out about a teenager who was run
Speaker 7: fifty miles across the desert to honor his great grandfather
Speaker 7: being seventeen. I thought, Wow, what an amazing way into
Speaker 7: this history with a modern young person, a story that
Speaker 7: can really be like an anger to be able to
Speaker 7: share this history without necessarily turning it into an explainer
Speaker 7: or like a handholding experience of walking through our digitous
Speaker 7: and not even indigenous history, because it's all history, right,
Speaker 7: not starting from sixteen forty two.
Speaker 2: What was his reaction when you approached him and hey,
Speaker 2: do you want to be the subject of the stock
Speaker 2: He's just.
Speaker 7: A funny person. I think his parents have been so supportive.
Speaker 7: They're so loving anything that he does. They clap for
Speaker 7: him or everything's amazing that he does. So I think
Speaker 7: when we were going to I approached his mom first
Speaker 7: to ask if I could come out to do the
Speaker 7: remembrance run and film it, and then getting to know Ku,
Speaker 7: It's almost like he's been prepared for this moment his
Speaker 7: whole life. I think there was a lot of trust building.
Speaker 7: I moved from New York City to Reno. I've been
Speaker 7: here for three and a half years now working on
Speaker 7: this film and being a part of the community, whether
Speaker 7: that's finishing with his family and a lot of time
Speaker 7: spent without the camera when we were making the film,
Speaker 7: but really developing a relationship with him as a teenager.
Speaker 7: He's not going to tell me what he's doing. He's
Speaker 7: going to show up at my house and eat the
Speaker 7: food out of my fridge and take a nap and
Speaker 7: move on with his day. And so I think by
Speaker 7: being able to build that relationship really reflected in what
Speaker 7: we were able to shoot because we were family at
Speaker 7: that point. And I just wanted to add one other
Speaker 7: thing as well, which was that came out to do
Speaker 7: the Remembrance Run Steph and our composer Quino Banale, they
Speaker 7: both came and participated in twenty twenty three, ran and
Speaker 7: walked you know, miles and was able to meet Ku
Speaker 7: and his family, was able to really understand and get
Speaker 7: to know the landscape here, And I think that brought
Speaker 7: a really cool perspective into the edit by being able
Speaker 7: to be there and to bring back the ethos of
Speaker 7: the run having.
Speaker 8: Experienced it so and that was really exciting.
Speaker 2: Yeah, let's see Michael khn try to run a marathon, right,
Speaker 2: what kind of challenges was it to have a subject
Speaker 2: who is running. I think of so many documentaries as
Speaker 2: quote unquote talking heads. He's out running through so much
Speaker 2: of this footage. How is that? To shoot all of that?
Speaker 7: Shooting it was really challenging and even editing it. I'm
Speaker 7: sure Step can share about editing the footage because you
Speaker 7: have a cinematographer chasing after a subject. His breathing, his
Speaker 7: footsteps go along with trying to capture Ku as a runner.
Speaker 7: But I think our cinematographer, Chai, he was a runner,
Speaker 7: and it takes a runner to film a runner. And
Speaker 7: I think by being able to have him be up close,
Speaker 7: to not be afraid to use like the shaky camera
Speaker 7: shop to feel the actual like viscual motion of running
Speaker 7: was really important because when you watch Ku run from
Speaker 7: a distance, he just looks so effortless, and so it
Speaker 7: looks like he's not even.
Speaker 9: Working very hard.
Speaker 7: So to communicate that like he's training and working really
Speaker 7: really hard towards his dream, it was really hard to
Speaker 7: figure out how to shoot that and shoot how much
Speaker 7: effort it does take, And so we shot a couple
Speaker 7: of different ways. We shot on electric skateboard, shy our
Speaker 7: cinematographer around the track was on an electric skateboard, being
Speaker 7: able to control it and get really close up and
Speaker 7: shoot shadows and shoot coo like his feet and to
Speaker 7: be able to be in the motion. We also shot
Speaker 7: on tripods on one hundred to four hundred lens like
Speaker 7: in the middle of the track to be able to
Speaker 7: track him going around and around, so when he saw
Speaker 7: in the montage in the film, we're able to match
Speaker 7: cut like a lot of different angles of the track
Speaker 7: to get that experience of that repetition that has to
Speaker 7: go into it. And then a lot of it was
Speaker 7: just like chasing him in the desert hoping that we
Speaker 7: get the shot. We use obviously the drone to track him,
Speaker 7: but yeah, it was challenging, and I think the sound
Speaker 7: design was most important. So I think working with Kup,
Speaker 7: we had him on I brought him on my peloton
Speaker 7: at home to record like isolated breath at different paces
Speaker 7: so that way we can get his breath by itself
Speaker 7: in a container, so that way we can be able
Speaker 7: to use it to make it more of a muscle
Speaker 7: memory effect throughout the film. And then working with our
Speaker 7: sound designer Tom Paul, who really went in and follied
Speaker 7: a lot of the footsteps and the brush and really
Speaker 7: making the whole experience be super immersive.
Speaker 6: We actually we had three runs to pull from materials.
Speaker 6: There was the first run that page went too, and
Speaker 6: then the second run which is the bulk of the
Speaker 6: end of the film that you'll see. And then in
Speaker 6: terms of his race is it was such a gift
Speaker 6: to have all those races because it really added to
Speaker 6: just like that suit of training, that journey for Coup
Speaker 6: and I think it's the same thing with the remembrantruments.
Speaker 6: To be able to articulate the journey, you need that
Speaker 6: amount of content and even though it may look repetitive
Speaker 6: at times, that reinforces like the feel of the journey
Speaker 6: that who was taking in terms of approaching his dreams.
Speaker 9: And I joke because, like when I was looking at.
Speaker 6: The footage the first time, I'm also like a former
Speaker 6: distance runner and I used to run the similar races
Speaker 6: to Coo, and I was like, he's so fast that
Speaker 6: if you don't depending on how you cut this, he's
Speaker 6: either in dead last because you can't tell how fast
Speaker 6: he is in some of these things without the contact,
Speaker 6: or he's in obviously the answer is Keith first, but
Speaker 6: it was just really funny because no one's near him,
Speaker 6: like for most of his races, Like he goes to
Speaker 6: start and he is basically out so far ahead in
Speaker 6: terms of just blowing a lot of his competition out
Speaker 6: of the water. We really had to find those moments
Speaker 6: where he might have been lapping somebody so you have
Speaker 6: that comparison to be like, wow, this kid is really fast,
Speaker 6: or saying the times so you have that reference so
Speaker 6: you can keep up to that. Like, those little details
Speaker 6: became really important to put the context of how talented
Speaker 6: this kid is.
Speaker 2: Pige When was the first time that you got to
Speaker 2: sit down and watch us with an audience.
Speaker 7: Throughout the process, we did a couple of work in
Speaker 7: progress streamings. Steph and I participated in the sun Dan's
Speaker 7: edit lab when it was like assembly and that was
Speaker 7: terrifying to show anybody Bembley type of cut. I think
Speaker 7: the first real audience was held by Southwest to have
Speaker 7: the actual finished product. There there was a two hundred
Speaker 7: person theater and it was almost filled, and so it
Speaker 7: was really nerve racking to see it in that way.
Speaker 7: But previously I had shown the film to Coop and
Speaker 7: his family. I actually went up to Oregon a couple
Speaker 7: of cuts earlier to show the film just the Coup,
Speaker 7: because this is his story. I wanted to make sure
Speaker 7: that he felt like it was representative of him and
Speaker 7: that he felt good about the film and where it
Speaker 7: was going at south By.
Speaker 9: It was just tremendous.
Speaker 7: Like the reception and the people who came out to
Speaker 7: the screening, we did a lot of outreach to the community.
Speaker 7: We wanted to make sure that Indigenous communities and Austin
Speaker 7: knew we were going to be there. We wanted to
Speaker 7: bring them in and invite them in. We wanted to
Speaker 7: connect with the running community in Austin, and so to
Speaker 7: have the runners in the audience who are laughing at
Speaker 7: some of.
Speaker 9: The running humor in the movie.
Speaker 7: Or reacting to the times or the splits that Coup
Speaker 7: is running, and then to have Indigenous folks afterwards come
Speaker 7: up to me and start sharing their own family stories
Speaker 7: and connection.
Speaker 9: It was really powerful. And I was sitting next to
Speaker 9: Kup the whole time.
Speaker 7: During the screening and we were just both really really emotional.
Speaker 2: What does he think about being a movie star?
Speaker 7: Now he's been ready for it, He's kind of expense
Speaker 7: his clothing to our production. But you know, he's always
Speaker 7: wanted to have a platform to share about his own
Speaker 7: family and his community. Even before we were filming with him,
Speaker 7: he was getting recognized for his talent and ability as
Speaker 7: a runner, and every interview that he did, he made
Speaker 7: sure to talk about his people and their needs and
Speaker 7: wanting to advocate and bring awareness. So I think he's
Speaker 7: in this position now where he has a platform with
Speaker 7: the film, but also the film is his own way
Speaker 7: of advocating for his people through his story, So I
Speaker 7: think he likes it.
Speaker 9: I think there was.
Speaker 7: Times when you know, he was looking back and he's like, oh,
Speaker 7: I'm so embarrassing, which I don't know how you need
Speaker 7: to feel that way that watching the film, But there
Speaker 7: are things that didn't make it in the film that
Speaker 7: he's Okay, don't film my prom or this. I messed
Speaker 7: up chopping this wood well, I.
Speaker 8: Didn't want us to show.
Speaker 7: But I think overall we have a good relationship and
Speaker 7: he's excited for the opportunities to come.
Speaker 2: Can you tell me a little bit more about the
Speaker 2: workshop when showing that assembly cut and like how you
Speaker 2: guys work together to fine tune everything in that editing.
Speaker 6: Process with the edit lab, bro, you basically arrived with
Speaker 6: like a rough cut or your assembli at like where
Speaker 6: you're at for the full film, and then you show
Speaker 6: that and you spend.
Speaker 9: The week working on like a section of that film.
Speaker 6: And so for us, we really like dove into figuring
Speaker 6: out the themes we figure. We basically re edited the
Speaker 6: beginning of the film, and then that's where we came
Speaker 6: up with the imagine sequences and leaning into that whole
Speaker 6: idea in that week of the edit lab. So it
Speaker 6: was really great for us to be a part of
Speaker 6: that and then also take the time to bit more
Speaker 6: talk largely about some of those things that we were
Speaker 6: honing into, because at that point we had started to
Speaker 6: carve things together and then we continued to carve that
Speaker 6: post into things, you know, like Paige had mentioned, the.
Speaker 9: Interweaving of the story.
Speaker 6: A breakthrough in terms of our process with editing, I
Speaker 6: think is one we did actually focus in on the storylines,
Speaker 6: and so we looked at the individual storylines, which was
Speaker 6: like Kho's running journey, and then there was another like
Speaker 6: Kho's personal life, and then it would be Togo's story.
Speaker 6: And seeing those storylines individually helped us hone in on
Speaker 6: what the repetitions were, what wasn't hitting, where the emotional
Speaker 6: beats that we really needed to land, and then also
Speaker 6: draw connections in the moments where we could find those interreadings.
Speaker 6: It also highlighted to us to the way that the
Speaker 6: imagines when you go into those archival sequences, they really
Speaker 6: immerse you into a specific kind of like space in
Speaker 6: the film, and we had to keep certain things in
Speaker 6: I would say like chunks for lack of a better word,
Speaker 6: but like informational pieces, so that.
Speaker 9: Way you weren't getting lost when you came out of
Speaker 9: the other side of the story page.
Speaker 2: What's next for the film? Where is it going to
Speaker 2: show at? And where can people keep up with the
Speaker 2: movie and the.
Speaker 7: Screenings WWI quw dot remaining nativedocumentary dot com. We have
Speaker 7: been listing the next festivals and screenings as they come
Speaker 7: in and as they are allowed to be publicly announced,
Speaker 7: and so right now our next festival is going to
Speaker 7: be at the Salem Film Festival in Massachusetts, and then
Speaker 7: we are going to be at the River Run Festival
Speaker 7: in North Carolina. We're doing two community screenings here in
Speaker 7: Nevada in April, and so That's about all I can
Speaker 7: say right now, but it will definitely be populating our
Speaker 7: web page as more gates come in for the festival screenings.
Speaker 7: And we're still seeking distribution and we're hoping that the
Speaker 7: film will get an opportunity to reach a really wide audience.
Speaker 2: Page and Stephanie, thank you so much for your time.
Speaker 2: It was great talking with you.
Speaker 8: Thank you so much, appreciate it
Speaker 1: Most