Speaker 1: Oh he is Bote. It's show tied.
Speaker 2: People say, good money to see this movie.
Speaker 3: When they go out to a theater, they want cold sodas,
Speaker 3: hot popcorn, and no monsters.
Speaker 4: In the Protection Booth, everyone pretend podcasting isn't boring.
Speaker 1: Got it off?
Speaker 2: Hey, folks, welcome to a special episode of The Projection Booth.
Speaker 2: I'm your host, Mike White. On this episode, I'm talking
Speaker 2: with Jackson Cooper. He is the executive director of AGFA
Speaker 2: and is the American Genre Film Archive. If you are
Speaker 2: a film fan, I am sure you are very familiar
Speaker 2: with a lot of their titles. They had quite a
Speaker 2: few playing at the Fantastic Fest in Austin this year.
Speaker 2: Sat down with Jackson while he was down at the festival.
Speaker 2: Talked a little bit about AGFA, what they've done, and
Speaker 2: what they're going to do. Got some exciting news ahead.
Speaker 2: Thank you so much for listening, and I hope you
Speaker 2: enjoyed the interview. Jackson Cooper, tell me a little bit
Speaker 2: more about yourself before you mentioned that you were a
Speaker 2: theater kid, and it looks like you've been involved in
Speaker 2: the theater for a long time, quite a while.
Speaker 4: I would say film specifically, genre cinema, horror movies and such.
Speaker 4: I was a kid discovering musicals with watching The Nightmare
Speaker 4: before Christmas when I was four years old, and just
Speaker 4: completely falling in love with this gothic imagery and this
Speaker 4: sort of really scary but lovable characters and having some
Speaker 4: pretty kick ass songs by Danny Elfman. So that's truly
Speaker 4: where it started. And so throughout my entire career it
Speaker 4: was always like working in the arts in specifically nonprofit spaces,
Speaker 4: while also being a huge film buff, film programmer, film writer.
Speaker 4: And when I came to this role as executive director
Speaker 4: of AGMA, it felt like such a perfect fit. It's
Speaker 4: an incredible organization and I'm just really honored to be
Speaker 4: in this position.
Speaker 2: For people who might not be familiar with it, what
Speaker 2: is AGFA and what's your mission?
Speaker 4: So AGUA stands for the American Genre Film Archive. We're
Speaker 4: founded fifteen years ago this year by Tim Leek, who
Speaker 4: is the founder of Almo Drafthouse Cinemas and a sort
Speaker 4: of merry band of genre film lovers in Almo Drafthouse.
Speaker 4: The mission is to promote and protect the legacies of
Speaker 4: the greatest genre films and their filmmakers. So we preserve
Speaker 4: physical film thirty five sixteen and VHS and svhs in
Speaker 4: our archive which is located in Austin, Texas. We do
Speaker 4: in house restorations and protect the legacies of these films
Speaker 4: through restoration efforts and then putting those out on our
Speaker 4: Blu Ray label which is distributed by Ocean Vinegar Syndrome.
Speaker 4: And then we promote the greatest genre film through theatrical
Speaker 4: distribution arm so we gain a lot of theatrical rights
Speaker 4: from our partner labels that Arrow, Severin Vinegar Syndrome, and
Speaker 4: we work directly with art houses and film festivals all
Speaker 4: across the globe to just bring genre and repertory cinema
Speaker 4: to a whole new generation. So it's really cool. We're
Speaker 4: very unique because we're nonprofit, so all of our work
Speaker 4: is really rooted within mission and sort of the mission
Speaker 4: of using how genre has been used by specifically underrepresented
Speaker 4: filmmakers of bipoc Asian, feminist queer filmmakers to express themselves,
Speaker 4: and our work is there to make sure that their
Speaker 4: legacies are protected and that more people know about them.
Speaker 2: How do you choose which films you're going to restore
Speaker 2: and put out on Blu Ray.
Speaker 4: We have an incredible, small but mighty team that between
Speaker 4: all of us we have such an insane amount of
Speaker 4: film knowledge and film history, and not just those of
Speaker 4: us who know the name of the Ford's gaffer from
Speaker 4: the right in a paramount film, but also why Poverty
Speaker 4: Row horror films are as important to the history of
Speaker 4: film as Jaws.
Speaker 5: Right.
Speaker 4: That's how our team operates, So we can name the
Speaker 4: fourth gaffer from the left, but we also can go
Speaker 4: on and on about the impact of a movie like
Speaker 4: Mom and Dad, for instance, or Batpussy or Zodiac Killer.
Speaker 4: We have acquired over the years quite a number of
Speaker 4: films and their respected licensing and rights that we just
Speaker 4: have in our archive that has not been scanned or
Speaker 4: restored quite yet. So we usually go from that list
Speaker 4: of what is available, and then we all have a
Speaker 4: conversation over the course of probably two to three months
Speaker 4: at the beginning of the year planned for the following year,
Speaker 4: of what our home video schedule is. And we've take
Speaker 4: into account everybody's opinion in every department, so Restoration has
Speaker 4: to say what is available our creative scheme, you know,
Speaker 4: we go in and say what could appeal to audiences
Speaker 4: theatrical or incredible head of theatrical Brett always knows what
Speaker 4: art houses and audiences are looking for and trying to
Speaker 4: get ahead of it. So we spend a lot of
Speaker 4: time just puzzle piecing these and based on all of
Speaker 4: those different factors, and then we emerge with a full
Speaker 4: calendar of what we're going to restore, which is about
Speaker 4: I would say we used to do about twelve to
Speaker 4: fifteen if I'm not mistaken, and now we do pretty
Speaker 4: much one a month now, so about ten to twelve.
Speaker 2: Yeah, that's pretty remarkable. That's got to be quite a
Speaker 2: pipeline of work you have going.
Speaker 4: It is, and I think it's very fulfilling because we
Speaker 4: all work together on curating the lineup. I should also
Speaker 4: mention it's all through our mission lens. We all do
Speaker 4: get it and say is this reflecting our mission and
Speaker 4: is it also something we want to work on. I
Speaker 4: think there's a significant personal investment from the team in
Speaker 4: the work, because yes, while it is a lot, it's
Speaker 4: also exciting after that because we've curated a lineup that
Speaker 4: all of the departments would go, oh this gets me excited,
Speaker 4: or this title is exciting, and so we get to
Speaker 4: do that, and it's really unique and also really exciting.
Speaker 2: Now, I don't want to ask you what some of
Speaker 2: your favorite restorations are, because I'm sure that, like, you know,
Speaker 2: who are your favorite children, but all my children equally, Yeah,
Speaker 2: but what are some of the ones where you're just like, Oh,
Speaker 2: my gosh, I'm so glad we brought this out. I'm
Speaker 2: so glad more people have access to this.
Speaker 4: It's incredible the work we do because with our work,
Speaker 4: we are carving out this sort of new film history
Speaker 4: of sorts, saving these films, and we are but a
Speaker 4: microcosm among other great labels like Severin and Arrow and
Speaker 4: Vinegar Syndrome, which are also doing the great work. I
Speaker 4: will say the things personally I'm most proud of are
Speaker 4: our collaboration with Something Weird Video, which has been a
Speaker 4: long time partnership with Mike Rainey and now Mike's widow,
Speaker 4: a Lisa Patrucky. That's been such a fulfilling partnership and
Speaker 4: something that every single year, every time we work on
Speaker 4: Something Weird release it is one of the most fruitful
Speaker 4: and fulfilling partnerships because Lisa is just a wonderful partner
Speaker 4: and the films are just so great because most of
Speaker 4: those films are why we all got into what we
Speaker 4: got into, and so we just put out restoration and
Speaker 4: mixtape of the Hey Folks Intermission Time VHS that many
Speaker 4: people were big fans of and it did Gangbusters and
Speaker 4: we got to the team did a mixtape of it,
Speaker 4: namely our creative director Josie Emba and Brett Berg are
Speaker 4: head of theatrical. It just that was such a really
Speaker 4: incredible release because of the reaction to it. It sold
Speaker 4: out within the first two hours. Two thousand copies just gone.
Speaker 4: We love stuff like that because it's a fulfilling partnership
Speaker 4: and then also we get to be surprised. I'll also
Speaker 4: say personally, I'm really proud of the box sets we've done.
Speaker 4: A filmmaker's word, so the Doris Wishman box sets are
Speaker 4: pretty remarkable. Our work with John Mowort Sugo and putting
Speaker 4: out his box set, including one of my favorite movies
Speaker 4: that we have, Terminal USA, the greatest film no one's
Speaker 4: ever seen or people haven't seen yet. I should say
Speaker 4: I think our filmmaker box sets are ones I'm really
Speaker 4: proud of. And I can talk about this because it's
Speaker 4: going to happen. But we're about to restore the films
Speaker 4: of George and Mike Kuchar and we're working directly with
Speaker 4: the Kuchar Trust to restore those. So I'm very excited
Speaker 4: and looking forward to to that work. Yeah.
Speaker 2: Is everything that you restore, is that all part of
Speaker 2: your archive already or do you actually reach out and
Speaker 2: bring in other prints.
Speaker 4: There's a combination of both. It's primarily things that we
Speaker 4: already own. But in the sense of like the Coup
Speaker 4: Chars or if I remember correctly, the Wishmen too, it
Speaker 4: was that we work directly whether either the filmmakers themselves
Speaker 4: or whoever owns the materials and the rights to send
Speaker 4: us the elements to scan to restore. So in the
Speaker 4: case of the Coup Chars, will be loaning those elements
Speaker 4: from them to work on the restoration. But primarily things
Speaker 4: like the Something Weird collaborations, some of our vhs and
Speaker 4: other restorations, those are things that we own in the
Speaker 4: archive already.
Speaker 2: And then not only do you do both the Blu
Speaker 2: ray releases also theatrical runs of things. But then from
Speaker 2: what I understand, people can hire you to do restorations themselves.
Speaker 4: Yeah, we just paid off for a four K scanner,
Speaker 4: So we now own a great, beautiful, wonderful scanner which
Speaker 4: is here in the act Ball offices where I'm at.
Speaker 4: And yes, we do lap work for folks. Yeah, if
Speaker 4: they need a print scanned or just like a two
Speaker 4: K scan or four K scan, we can do that.
Speaker 4: We work closely with people like draft House Films and
Speaker 4: other Kino and a few other partners to scan prints
Speaker 4: and things like that, which has been great.
Speaker 2: If you're talking about this being your fifteenth anniversary and
Speaker 2: the screenings that you're doing a Fantastic Fest and must
Speaker 2: be a little bit of like a homecoming with the
Speaker 2: ties between Alamo and Fantastic and then Eggfa.
Speaker 4: Yeah, yeah, absolutely, Alamo and Fantastic Best have always been partners,
Speaker 4: still are incredible partners and talk about to filling partnerships
Speaker 4: and relationships. We all have some connection to Draft House,
Speaker 4: whether we worked for them. I used to program a
Speaker 4: monthly film series with them when I was in Raleigh,
Speaker 4: North Carolina. I like to say that all of us
Speaker 4: were all on the same team, right, and so it's
Speaker 4: been really great.
Speaker 5: Yeah.
Speaker 4: I think for Fantastic Fest this year, it was very
Speaker 4: fun to curate because not only is there this circus
Speaker 4: carnival theme which brings out the weirdest and wildest movies.
Speaker 4: Often if anything said in a carnival that if there's
Speaker 4: a fucking clown, it's just like a crazy film already.
Speaker 4: And we also use this as a way of showcasing
Speaker 4: our new restorations. And so we just acquired a film
Speaker 4: and restored it which will be premiering called Saint War,
Speaker 4: which is this very diy Amityville satanic panic spin off
Speaker 4: by Bart LaRue, and it's going to be a lot
Speaker 4: of fun screening these things. And yeah, for our fifteenth
Speaker 4: we wanted to showcase sort of the breath of what
Speaker 4: we do, so working with partners like Severn that's the
Speaker 4: Ray Dentis Steckler film and their beautiful restoration Carnival Blood,
Speaker 4: which was our own restoration Gorgeous that premiered a fantastic
Speaker 4: best few years ago, and archival thirty five of Johnny
Speaker 4: Toas's The Mission, a largely underseen but highly incredible and
Speaker 4: underrated action film like that showcases our archive work and
Speaker 4: then you see upcoming restoration and Sain War. So it
Speaker 4: was really fun to be very thoughtful with how he
Speaker 4: curated this year's lineup.
Speaker 2: Yeah, do you have a wish list of things that
Speaker 2: you wish you could get your hands on restore? Oh?
Speaker 4: My god, so many. But the beauty of what we
Speaker 4: do and working with people like Benniger, Syndrome and Severn
Speaker 4: is if we don't get it, then someone else gets it.
Speaker 4: So either way, we're all on the same team. It's
Speaker 4: not of competition. We're all communicating and it's a beautiful
Speaker 4: community that way. For me personally, I would love us
Speaker 4: to put out Michael mants to keep the uncut version,
Speaker 4: the lost version. It's not particularly genre, but I think
Speaker 4: I could convince Elain May to give us her three
Speaker 4: hour cut of a new lead to at least scan.
Speaker 4: I would love I shot Ady Warhol a lost film.
Speaker 4: There's quite a bit of lost fifties films as well
Speaker 4: that I'd like to get and Janis did a beautiful
Speaker 4: restoration many years ago of my favorite films of all time, Equinox,
Speaker 4: so I would love for us to put out a
Speaker 4: four K of that at some point. And there's quite
Speaker 4: a few something weird titles that we have that I'm
Speaker 4: excited about when we get the opportunity to put those out.
Speaker 4: It'll be a good day to do. And I will say,
Speaker 4: like the Kupchar project is going to be huge, and
Speaker 4: that that's been a dream come true, especially as the
Speaker 4: queer person, a queer weirdo myself. George and Mike were
Speaker 4: very formidable in my early days of learning about genre
Speaker 4: and the history of experimental film, the history of outsider art.
Speaker 4: So that's the dream come true doing that box set.
Speaker 2: Yeah, early queer films like Jack Smith and some of those,
Speaker 2: even like getting your hands on like a Scarecrow in
Speaker 2: a Garden of Cucumbers or something that would be such
Speaker 2: a huge coup. We're putting out Scarecrowner Garden of Cucumbers. Fantastic.
Speaker 4: Yeah, we're putting out Scarecrown Garden Cucumbers on Blu.
Speaker 2: Ray next year. Oh that's wonderful. I'm so glad to
Speaker 2: hear that.
Speaker 4: Yeah. We actually we worked directly with the Academy Film
Speaker 4: Archive on that restoration. We have it in our theatrical
Speaker 4: now we're putting it out on Blu Ray next year.
Speaker 2: It's going to be tough for you guys. I mean,
Speaker 2: you talked about how you have a new four K scanner,
Speaker 2: but it's like technology is constantly evolving. I mean, what's
Speaker 2: going to be next after that.
Speaker 4: We've chatted a little bit about this as a staff,
Speaker 4: more so as a board, and I've been to conferences
Speaker 4: and on panels talking about restoration preservation, where the very
Speaker 4: obvious question everybody is asking us like how is AI
Speaker 4: going to integrate in restoration and the thing that we
Speaker 4: really are proud of. And I won't speak for our
Speaker 4: partner labels, but I know we all probably share this
Speaker 4: sentiment and value, which is that for restoration and preservation work,
Speaker 4: it is all personal. So a machine will not be
Speaker 4: able to replace a person physically going in and restoring.
Speaker 4: I think AI and there will be tools that will
Speaker 4: help streamline the process. One of my board members, who
Speaker 4: is an archivist, did talk about that it's not going
Speaker 4: to be for a while, and at any rate, we
Speaker 4: do see it being beneficial for things like dirt and
Speaker 4: scratch removal, things that do take up quite a bit
Speaker 4: of time before you actually get to the meati work
Speaker 4: of color grading and sound and things like that. There
Speaker 4: could be some tools with that, but nothing has been
Speaker 4: on the market or the vault fleet yet. Everything's still
Speaker 4: up in the air. And just thought an idea at
Speaker 4: this point, but it'll be interesting to see how things evolve.
Speaker 2: Tell me a little bit more about the theatrical arm.
Speaker 2: I'm very curious how people are able to rent the
Speaker 2: prints and actually get these things out there.
Speaker 4: Yeah, so we have ant and Digital available. If he's
Speaker 4: not available, we have Blu Ray of course for theatrical.
Speaker 4: We have quite a bit of prints in our archives.
Speaker 4: We have a lot of prints that were donated to
Speaker 4: us over the years, are deposited from film libraries and
Speaker 4: from collectors and such, so there are opportunities for people
Speaker 4: to book those prints. I will say that it goes
Speaker 4: without saying that thirty five millimeter sadly is becoming less
Speaker 4: and less prominent in the exhibition world. We're starting to
Speaker 4: do some work on the back end as a nonprofit
Speaker 4: just encourage a bit more thirty five, including increasing our
Speaker 4: thirty five millimeter traffic and striking new prints and doing
Speaker 4: things like that to just encourage venues to show it
Speaker 4: more because it is part of the experience. I was
Speaker 4: a projectionist when I was in high school of thirty
Speaker 4: five right before the digital turnover. There's still nothing like
Speaker 4: seeing a movie on film, and then we have our
Speaker 4: theatrical We have a bunch of prints that people can
Speaker 4: book and rent, and if they want to, they have
Speaker 4: to reach out to us directly because we have a
Speaker 4: whole super list. Then on our website you can find
Speaker 4: our catalog which is AGVA plus many other film libraries,
Speaker 4: including our partner labels sever and Arrow Benniker Syndrome Factory.
Speaker 4: We do theatrical distribution on their behalf, which is why
Speaker 4: AGVA maintains the theatrical distribution of Arrows Beautiful Restoration of
Speaker 4: Donnie Darko. So anytime Donnie Darko wants the screen, it
Speaker 4: goes through us. And I think our unique positioning as
Speaker 4: a nonprofit allows us creating so many partnerships, not just
Speaker 4: with libraries and collections, but also the art houses themselves.
Speaker 4: We have an incredible head of theatrical distribution, Brett Burke,
Speaker 4: who is literally the person booking all of the films
Speaker 4: and communicating with the venues and Brett's programmer as well
Speaker 4: of film programmers, so he not only books it and
Speaker 4: processes the rental, but he also is managing all of
Speaker 4: these relationships and working with microcinemas who are just emerging
Speaker 4: or very established organizations with big membership bases like American
Speaker 4: Cinema at the Academy Museum and not just saying here's
Speaker 4: the film that we have, but hey, you showed this film,
Speaker 4: check out this other film in our archives, so really
Speaker 4: helping to curate it and that's very important to us
Speaker 4: also as a nonprofit being that sort of connector and
Speaker 4: the partner for theaters that are reaching a moment now
Speaker 4: where repertory is coming back and theaters are trying to
Speaker 4: figure out how to bring audiences back off their couch
Speaker 4: and into the movie theater. And I think it does
Speaker 4: a really good job helping to provide films that are
Speaker 4: unique and interesting to get people into the theaters. How
Speaker 4: many people are part of eg vote staff is there's
Speaker 4: six of us right now and we're growing for literally
Speaker 4: everything for restoration, marketing, fundraising, theatrical finance. There's six of us,
Speaker 4: so we are a small but mighty team and it's
Speaker 4: great but we're growing, so it's exciting. And also we're
Speaker 4: never without something to do. I like to say, yeah,
Speaker 4: we have our nonprofit board of directors, which oversees the
Speaker 4: strategy and the financial health of the organization. So they're
Speaker 4: my boss as the executive director, and yeah, we're in
Speaker 4: a growth period, so we'll be growing and adding more
Speaker 4: people over the next few years, which is exciting and
Speaker 4: also I think is good for us sustainability wise for
Speaker 4: the long term. I got to tell you, I'm looking
Speaker 4: forward to all things ACTA coming out. This is great
Speaker 4: hearing about some of these new titles and just the
Speaker 4: work that you guys have been doing is just so
Speaker 4: mind blowing and such an important part of our community.
Speaker 4: Thank you.
Speaker 2: We're really grateful.
Speaker 4: And we have so many things in our collection and
Speaker 4: archive that have yet to be restored, have yet to
Speaker 4: be put out. So we joked the other day in
Speaker 4: a staff media we'll have enough stuff to get us
Speaker 4: through this lifetime and many others afterwards. So the act
Speaker 4: But will continue from now to the end of eternity,
Speaker 4: and that's something that's really incredible. I pinch myself when
Speaker 4: I think about that. Yeah, you mentioned that you're also
Speaker 4: a writer. Do you have any writing projects coming up? Yeah,
Speaker 4: I'm working on a book on the history of midnight
Speaker 4: movies and this idea of outsider art and how merry
Speaker 4: bands of misfits and outsiders created the midnight movie craze,
Speaker 4: and then working on a book on Rocky Horror Picture Show,
Speaker 4: and on our fiftieth anniversary next year, and then in
Speaker 4: early stages of a book on Danny Elfman. So yeah, again,
Speaker 4: I like to stay busy, So we're busy at AGVA,
Speaker 4: and then I go home and busy with my own projects.
Speaker 4: So it's great, that's fun.
Speaker 2: We mentioned Scarecrow in a Garden of Cucumbers, and there's
Speaker 2: that whole Middler tie in, and that Ben Miller Tomlin too,
Speaker 2: and then with being married to one of the Pipper
Speaker 2: kids and then them being in the Forbidden Zone. Just
Speaker 2: it feels like all of that art was all coming
Speaker 2: together during the seventies and just I can't wait for
Speaker 2: you to unravel that. When it comes to Danny Elfman
Speaker 2: the interview.
Speaker 4: I've been a fan since I was four, and I
Speaker 4: also just think for Danny, he's probably one of the
Speaker 4: most talented film composers working today, next to people like
Speaker 4: Thomas Newman and Hans Zimmer of course, but also yeah,
Speaker 4: Danny just was in the middle of everything, and not
Speaker 4: just with the underground scene but in Hollywood too. The
Speaker 4: evolution of Hollywood and also the sound of Hollywood, like
Speaker 4: soundtracks really changed from by the time he was writing
Speaker 4: Peewee's Big Adventure all the way through like Batman was
Speaker 4: a game changer, but then he wrote something like Edward
Speaker 4: Scissorhands and then Nightmre before Christmas and it completely changed
Speaker 4: a game. All of the stuff he did, but even
Speaker 4: his lesser known things like Dolores Claiborne and night Breed
Speaker 4: are just so fucking good and just he deserves a
Speaker 4: lot more credit than I think he gets, and he
Speaker 4: gets a lot of credit. People love him, but I
Speaker 4: think he needs to be Harold did as a genius.
Speaker 4: I don't use that term lightly. So I was really
Speaker 4: excited to dive into starting some early research on that book.
Speaker 4: He'll be Bunderwight. I'm excited like you.
Speaker 2: I worked at a movie theater as well when I
Speaker 2: was coming up, and we used to play soundtracks all
Speaker 2: the time in the lobby, including that I can't remember
Speaker 2: the name of it, something about Darken Theater. The greatest
Speaker 2: hits of Dann music for a dark in Theater.
Speaker 5: He was one and two.
Speaker 2: Yes, the best, the best. I recognize this, but oh
Speaker 2: he also did Midnight Run. This is crazy and it's
Speaker 2: such a different style run. Yeah, Summers be black beauty.
Speaker 4: He did so much stuff. And yeah, Music for a
Speaker 4: Dark in Theater that's a pretty remarkable two volume set,
Speaker 4: just because you hear the familiar, but then you also
Speaker 4: hear these not so well known Elpman works that are
Speaker 4: just as good, maybe a little bit better than some
Speaker 4: of his more popular things. Like I said, Summersby has
Speaker 4: this one track that I was just like, this is
Speaker 4: one of the most beautiful things I've ever heard. And Yeah,
Speaker 4: you also see the range of filmography throughout Hollywood history
Speaker 4: that it's he's doing these big budget the Batman's and
Speaker 4: the Edward Sensor Hands, but then he's also doing the
Speaker 4: Gus Van Sant films, He's doing To Die for a
Speaker 4: Goodwill Hunt Team, and then venturing into television with Tales
Speaker 4: from the Crypt. There's just such a good history with
Speaker 4: his filmography. It's pretty remarkable.
Speaker 2: Yeah, which I had one percent of the royalties he's
Speaker 2: probably made off of The Simpsons.
Speaker 4: He went on Mark Marin's podcast and he said the
Speaker 4: reason he gets the royalties, and I hope I'm remembering
Speaker 4: this correctly, was he sang the Simpsons that he's one
Speaker 4: of the three who sing that, and so that's how
Speaker 4: he gets much of the royalties is from that. Yeah,
Speaker 4: because he sang on it. I know, so I was
Speaker 4: in and yeah it's yeah, it's pretty incredible. But yeah,
Speaker 4: people don't know that he wrote it. When they learned
Speaker 4: that the guy who wrote Edward Scissorhands wrote The Simpsons
Speaker 4: an Tails from the Crypt, it's pretty remarkable. Yeah, a long,
Speaker 4: incredible career.
Speaker 2: Is there a good place online for people to keep
Speaker 2: up with you in your work?
Speaker 4: You can follow American Genre Film dot com sign up
Speaker 4: for our email list. You can follow us on Instagram
Speaker 4: at AGBA AGFA on Facebook as well. My social is
Speaker 4: the dot Jackson Cooper on Instagram, so you can see
Speaker 4: my other lives that I live. But I would just
Speaker 4: point people to following actvosts so that can keep up
Speaker 4: with the work.
Speaker 5: That we do.
Speaker 2: Fantastic Jackson, thank you so much and I hope you
Speaker 2: have a great festival.
Speaker 5: Yeah, thanks, Mike, appreciate it.
Speaker 3: I put that stout as book. But Bo