2026 Shorts Showcase: Creators & Cast Panel | Los Angeles, Night 1

You know, showcases like these are so important because we're talking about the scrappiness of indie film in general, but short film especially always kind of has new challenges and, you know, new ways to try and figure out how to spend that last dollar and then how to get another dollar. So we are going to start with you, Chris. Tell us what made you want to create this short film. Yeah, I think I came out to Los Angeles and when you come out to LA right away, it's so hard just to survive in this town. You're trying to make your art, but you're also trying to pay the bills and keep the lights on. And you're like, how do I do this? Everybody else is so connected. They're so knowledgeable. I don't know anybody. I'm terrible at this. And then I finally started, after a couple of years, getting asked to write some films for others. And I was really excited. I was thrilled to be able to do this, but I found myself not connecting in any meaningful emotional way with the work I was being asked to write. So I really just very selfishly said, I'm going to write the film that I want to see. And I've played basketball my whole life and I'm very interested in this idea of the soul of the game and all the lessons that it teaches you beyond just being out there and staying in shape and staying out of trouble. And then in my work, oftentimes my own family tends to manifest themselves in the characters. And so naturally, I just started writing about this character with Williams syndrome, which is a disability my brother has. And I found myself more and more connected with it and really enjoying what I was writing. And it very much came from a place of, this is just the movie that I want to see. Well, you know, you have a history of advocacy for disabled actors and the motto for this film that I loved at the end, they said, I got next, no, I got now. And that was from the four mentees that you had shadowing on set. What else about putting that program together and basically being able to kind of sell it as this is necessary? Yeah, they all basically told me that they were going to be in the film no matter what. And I was like, oh, OK, we don't have extra. So we had to figure out something. But yeah, I mean, it is very much, very much what we were trying to do. It felt weird to me to not have representation behind the camera as well, because this isn't just some story or character that I'm trying to exploit to make a movie like this is my life. I've lived these moments with my brother, with my friends. And so it just really from day one, it was like, hey, this is what we're going to do. We're going to make it happen. And so we really just we found people that were interested through friends, through connections, people that had children who were interested, who had developmental disabilities, who were interested in filmmaking and a possible career in that. And then we had three mentees. And then our makeup artist on the second day was like, how do I sign up my son for this program? He has autism. And I was like, well, you just tell me he wants to come and he can come tomorrow. And so we printed him out a binder and everything that all the other mentees got. And he came the final day. And so then we had four mentees. That's awesome. I love that. Grace, I want to talk with you about Do I Know You From Somewhere? You know, with the success of Rental Family, I think a lot of people are becoming more aware of kind of the practice of, you know, renting a person to come and do a thing. And a lot of times the stories about the disillusionment of that person. But this one kind of switches it up a little bit. We see that Kimmy is almost a rented person to her own mother, you know, and kind of grappling with that. It's very layered, very deep. How did you become involved? And what was it that drew you to that story? Well, thanks for saying all that. I worked with Angela Wong-Karbon, our lead actress, who wrote the script. And we actually knew each other from far, far in the past at NYU Tisch. And she approached me with this story about Alzheimer's and how, you know, it was a very personal story for Angela. She grew up in a household, caregiving a family member with Alzheimer's, and that experience really drew her into this world and drew her into this idea of who are you if the person who knows you best starts to forget who you are. And I love that. You know, I think almost everyone on our team has a personal experience with Alzheimer's and their family and their close friends. So we were really eager to tell this story in a way that was authentic and nuanced. And we also had the support of Tribeca and Lilly to make the film. We couldn't have done it without them. And so we were really driven to make this as authentic as possible. Can you talk a little bit about the partnership with Eli Lilly? Yeah, of course. So we were part of this inaugural year of the Vital Stories program at Tribeca. It's a partnership, sort of like their Untold Stories program, where Lilly is trying to bring awareness to authentic stories about diseases. So we were really in consultation with them about representation. And you know, we learned a lot about how one in four Americans expects to be a caregiver at some point in their life. And so that was a really productive partnership. And we couldn't have made the film without them. Emily and Gloria, you have this wonderful kind of joie de vivre, but then there's also this fear in there, and not necessarily of getting older, but kind of losing what you already have. Alice, what made you want to even audition for this role? And what was your process like getting into the character? It's like where I'm at now, with my friends, you know? So you could either like, just sit there and wait to die, or just get up off your butt and do something. And so that's what attracted me about this movie. Well, you know, I like the idea of, they say a lot of times music and dancing help with memory care. And there's something very musical about languages and the way that they're kind of spoken. I know, you said you don't necessarily speak Spanish, but were you able to kind of learn something? Well, I'm from Fresno. So you kind of have to, you know, I was familiar with it. Yeah. There we go. I love it. Selene. Yes. I loved this film. I loved especially just Katie Segal showing up and being like, just the agent from hell. Just like, oh my god. And I really hope you got to keep those shoes at the end. They're fantastic. I did! Wonderful! I kept the shoes! End of show. So tell us about what made you want to make this. And then what was behind the idea of approaching it with a more comedic kind of tone? Well, there's a long story behind it. And my co-writer, John T. Stapleton, incredibly talented screenwriter, he and I wrote the feature length version of this about 25 years ago. And it was inspired by my experience in showbiz. But ultimately, telling it as a short film is the way we've been able to do it. But the point of all of this, it was inspired by my career. And it's really to point out the fact that in about 130 years of cinema, rarely have audiences been allowed to see a little person as a human being. We're always behind masks and costumes. It's always something really dehumanizing. I mean, to the actors in the audience, could you imagine if the only roles you had access to required putting a bag over your face? I mean, it's so insulting. So John and I were just determined to get the story told. And that's really been our journey. And we have an incredible director. He's in the audience, Brett Dos Santos. He did an amazing job. Brett really believed in our story. And he helped us put together an incredible dream team. Well, you know, you and I talked a little bit outside about the idea of there can only be one. And it's kind of this ongoing fallacy in Hollywood that you can only have one type of person. And we kind of say, you know, Peter Dinklage, end of list. And it's like, no, there's so many other actors and so many other stories that need to get told. In what ways do you feel like things can get better for little people, little people who are actors? Well, I got to tell you, I got to be honest, it's a little scary, because Hollywood's response to degrading dehumanizing roles of little people has been to not offer us human roles, but to replace us with AI. So now we're just being completely erased. So I don't have, I really don't know, I, all I all I can do is hope that our film reaches people and encourages other little people to write their own stories. And, and just anybody really tell your story, because if you don't, someone else is going to do it for you. Exactly. Yeah, it's, it's, there are a lot of stories of people starting to just make their own projects. And even with stories that are really personal, there are things that can be gleamed from like a universal audience. And that kind of leaves us to you, Brandon. This story is about, you know, kind of the diva mother who is nearing the end of her life, but she wants to end on her terms. And she has a son that's kind of estranged that still loves her, but really doesn't know how to be a son to her as a mother, you know, tell us about what brought along this idea and what your process was like getting into it. Yeah. So I, along with many people my age are starting to encounter that our parents are mortal human beings that, you know, will and have started to get sick. And that despite wanting their best, they are also autonomous. And you know, it can be frustrating if they do not maybe want to take care of what they're going through in the way that you prescribe that you say is this is what I want you to be doing. So that was the sort of genesis of this project was going through that in a personal way. And I make a lot of documentary film, I do documentary, I do narrative. So my first reaction was, okay, I need to start documenting my mom, like, you know, this needs to be preserved. And she is not a diva, she is a diva, but she is not a performance artist. She's not a performance artist. She is definitely a diva. And the process of trying to document her was her telling me, why do you want to know about this? This is boring. I don't want to do this after about an hour. So then the result was having to turn to fiction and then kind of trying to, yeah, like, as you were saying, you know, my personal experiences, I like to draw from them emotionally. But being able to detach, assign new people who, you know, the Owen character is very similar to me, but the mom character is not very similar to, allows me to get space and to be able to talk about themes like death, autonomy, grief, you know, these very complicated feelings with safety. And to be able to also explore, I think, both things that I find ugly in myself, and things that I hope the better judge would also do. So I think that's sort of my process is like, just exploring, you know, many different ways that what I'm feeling, I guess, can be illustrated through the story. So that's it. And, you know, like these characters, a story, I've been sitting with them for a while thinking about the story and to be able to bring them to life through a short film was also just really amazing. And, you know, I hope to keep the story going. We hope to see more of it. It was really beautifully told. Ian, you kind of have the unfortunate thing of being the bad guy in this film and that did that, you know, who I don't know that we want his redemption. And I think a big part of weight for me, especially was there was a point where he's like, you know, thank you for allowing me to apologize. And there's that idea of like apology being for the person who's apologizing, not necessarily to the person who needs the apology, because what can you really do or say? Tell us, how did this come across your desk? What made you want to audition? And then when you were building kind of his character, what was the one thing that you wanted to make sure was clear in your performance? Yeah, well, I mean, when I when I read the script, I guess I'm attracted to the fullness of a human being and all of their flaws. So it was important to me internally, at least to communicate that in the audition process. And then when during my callback with Paige, the director, I found that she was aligned with that. Her moral vision for the film was to to, I guess, fulfill the realness of the situation and sort of slanting a character into just a sliver of a human being signifies a falseness. And that falseness would detract from the power of the story. And so Paige being an actor herself, we were able to kind of investigate how to bring a vulnerability to the character, which, as an actor, made it more interesting. And I think also for the film as a whole, made it a bit more interesting, even though his selfishness is evident. Yeah, so I think I think for the for the vision of a story, that's important. And then for me as an actor, it's important and Paige was fantastic in, you know, welcoming that. Wonderful. I have to ask, did you were on SWAT? I was. Lexi was also on SWAT. Who was? Lexi. Oh, Lexi was on SWAT. I was gonna ask if you had any war stories, if you're able to. Lexi played Evie. Yes. The lead actress. I thought that was. I didn't know that. Yeah. I'm going to call her. Chris, I want to talk to you about and I'm going to kind of parse this to all of our producers and filmmakers. If we have a production that we want to make sure that we hire disabled actors or, you know, people are going to be representative in that way. Are there any additional loopholes or anything extra that you need to facilitate that? So yes and no. No being that there's this misconception that if you hire a disabled actor, that it's going to be more expensive. It's going to be more strenuous and difficult and it prevents these stories, at least in my experience, from getting made because there is this fear based attitude of it's different. It's going to be there's just more challenges and there's already plenty of challenges in indie film. You don't need more. But it's really it's just one big misconception. So in that standpoint, no. On the other side, I think it's best to always just ask somebody if they need accommodations. Where I come from and make sure people feel that they are in a space where they can do their best work and for them to be in that space, they need to feel comfortable and need to feel OK being vulnerable, especially if you're an actor. So always just making sure people are accommodated the way they they should be. Wonderful. Grace, I want to ask you one of my favorite things to ask producers, because a lot of times people come to you and say, hey, I need the moon. Can you get me the moon? You have to be like, let me go find my lasso. Tell me what is something within the production that maybe became like an issue that you were able to then solve? Oh, what a what a question. You know, as with producing on almost anything, there's sort of this herding cats situation where you just get one in place and then something else falls apart. But we really didn't have much of that on this. It was a challenge to find a space that would allow us to film an MRI facility. So that became a really interesting conversation, actually, with a an MRI facility that I had used in the past. And I called them up and we were able to fit in that scene just at the end of the day with just a few hours to set it up and get everything that we needed. But they were very, very supportive. But that's the kind of magic of filmmaking is you always have to find a way to make it work without bankrupting yourself. In lies the hope. Yeah. And I want to talk with you. We talked a little outside about the importance of community and having your friends. And I know you said this was it started as a feature that, you know, just kind of went through hoops and hurdles. And then we got it down to, you know, the short film. What was it that got it over that finish line? Oh, man, it's tough to pinpoint it because it took a village. Every creator knows it just I really think it came down to finding our director, who was a really great match. We all just clicked. And really, once Brett joined us, things started to fall into place because then he was able to make phone calls, you know, to for, you know, resources that he had. And then we made phone calls to our resources. Resources come together. I feel like I'm rambling on this answer, because it's just there are just so many moving parts. It's overwhelming. And it's hard to say, really. I mean, I think ultimately what put the final button on like, yes, we got this was Katie Segal confirming. Once we got Katie, I mean, we courted several incredible actresses. And I'm dying to name drop, but it's probably not cool. And and Katie came through. And that was like, I mean, days before, I think, I don't know, we weren't far from filming. And it was just close to the finish line of pre production. I'd have to say Katie confirming, then we were just like, good to go. We got our agent, we got our Coral Lewis. Brennan, I want you to kind of Yes, area. I want you to kind of expand on that a little bit in terms of the importance of casting to the production of the film, knowing that if you have a certain person, it will be able to kind of open a few more doors. Did you have to deal with that with this film? That answer is kind of no. So casting for this, I mean, the importance of casting is, of course, like, top concern for any film. Your cast is, you know, you're, they are your partners in crime that you are working with them with the story. I worked with my actors, like when we started for production to make the script better. And you know, they are, they built they build the world like they build believability, they build everything. So getting my cast together, we my producer and I first we started with, you know, we did some open auditions. And we were happy with a lot of the submissions we were getting. But I don't know, we were kind of just like, let's just go for it. You know, like, if we're gonna do this, let's really just like, let's go for who we think we really want to see in this film. And I got very, very lucky. We first person we reached out to for Owen, David Thompson, he said yes, queried him wrote to his management. And then same with Sharon. She said yes. Well, first, she wanted to meet me, we met on video call. And she, I think, sussed out that I was not a weirdo. And but you know, like, also, like, someone like Sharon wants to make sure that you're serious that, you know, she's going to invest her time, that it is a good investment of her time. So I think that was the main consideration. She already liked the script. And that was the big thing is like, all right, will this be legit? Or am I going to walk into a fire? So yeah, you know, it's, it's hugely important. We got really lucky. I think with our cast, they were so amazing. And I, in terms of doors opening, I mean, I self funded, so there were no doors being opened. I was just built the door, I was opening a door that was at the bottom of my bank, actually. And sort of just a black hole that made art. So it was, it was okay. Well, any means necessary, Chris, I want you to talk about casting, of course, but then also kind of the, as Brennan was talking about the renegade aspect of not only ending indie filmmaking, but also short filmmaking and the different kind of power that that can grant you. Do you feel like you have a little more control or say so over the narrative with a production that's a little smaller? Well, I felt very similar to Brennan that there was also a trap door at in my bank account as well. Yeah, I mean, my experience was somewhat similar when it came to casting certain roles for Bailey. We wrote to her. I think she had to suss out that I also wasn't a weirdo. We jury still out on that, but the way we casted her was very traditional. The way we cast Jason, our coach, was very traditional. The way we cast it, Emmy, the young girl was very unique. We went to a couple of different agencies who are known for repping actors with disabilities, especially developmental disabilities. They all thought the project was amazing, you're going to have no problem casting, it's going to be great, but we have nobody for you, nobody. So we very quickly realized that we were going to go outside the traditional Hollywood casting process and so we partnered with Disability Belongs and the Williams Syndrome Association and did a nationwide search for an actress with Williams Syndrome. We didn't even really know if this actress existed and we got about 40 responses, about 20 self-tapes, and then we kind of narrowed it down and I did some scene work with a couple of the actresses and they were all amazing and it was so hard to choose. I didn't want to choose, but you have to make those tough decisions. They were all amazing, but Emmy was the right fit for the role. I was going to ask, what was it about her that kind of pushed her over that edge for you? Yeah, I think it's kind of hard to explain. You just kind of know it when you're watching them. There's certain things in the scene work that we did where she took direction well. I liked her instinct on what she came in with and kind of understanding where the emotion was in the scene and whose scene is this, what are they trying to accomplish, and what is stopping them consciously and subconsciously from that. She had a very good kind of natural grasp on that, which I felt was very important and she loved to improv. And also, when it comes to child actors, a lot depends on what their parents are like. Her mom was super down-to-earth, so I was like, bonus, so it was perfect. I want to talk with our actors, Ian and Emily, we'll start with you, Emily. Tell us, do you find that there's more freedom for you as an actor on a set like this? Are you able to kind of add more to your character or do you just kind of stick to the script? Oh no, no, it's a two-way street. We had the best time working together and I love it, that's why I like doing independent films, because you have that freedom and you don't have the clock ticking and you have to say every word exactly right, so I just loved it. How long was your shoot? No, I don't remember, maybe it was three days, it was quick, yeah. Great in and out, love it. How about you, Ian? Sorry, I'm trying to remember the question. The freedom of independent film. The freedom. I mean, I like the, I'll use intimacy, I like the intimacy of a small set. You get to meet everyone, you get to build relationships and engage with them in ways that you might not otherwise have the opportunity to and so we were fortunate to be able to rehearse and yeah, Paige had us over to her house and we had crackers and cheese, I had too many crackers and cheese, but there's freedom in crackers and cheese. So anyway, yeah, I mean, I think there's a beauty to it, because yeah, I feel it's more like friends hanging out, right, yeah, and yeah, it's cool. Doing something cool, making some fun, love it. Grace, in Do I Know You From Somewhere, there is a phrase that Kimi says as she's hanging up with Brandon, and this phrase was the bane of my existence, because I was trying to figure out what it was, but it ended up being a la quod, stad, pro, inequo, and it's seek other things in favorable forums for this one is unfair, basically, I'm taking my business somewhere else, because you are against me. Tell me what that motto means in terms of the rest of the film. Yeah, absolutely. So she is a part of this kind of covert rental family style black market operation. And that is sort of their motto, that they sign off with their boss. But it's all, you know, that in the adaptation that we're working on now, that character, Roger, is very much the ringleader of this organization. And he is sort of this sinister, questionable figure, but he has a mission in mind. And I'll tell you more about it when it's made into a movie. All right. We're serious. We'll see what happens. Excited. So are you thinking about actually going forward with the feature or trying to turn it into a series? Because I feel like there's so much more story that can be told. Yes, there's definitely a lot of story to be told. And I mean, we will go the direction that presents itself. Really, film or TV, whatevs, you know, it's all it's all good. But my dream, my own personal dream is really I see this as a TV series. I see the series because there's some there are so many layers, so much story to tell that we just, you know, have not been able to get to. And but but indie film, you know, if we got the opportunity to make this a feature length indie, I mean, that would be great, too. I mean, the bottom line is I just want to get the story out and on a wide, you know, in wide reach. And I'd like to just say this very quickly. The passion behind this story that I have to tell is that, you know, the media sets the tone for pop culture. And and and so because of the way people with dwarfism have been represented historically, we're always seen as a sight gag. So that gives people in the general public liberty to treat us in a demeaning, dehumanizing ways because all they've only seen us as a butt of the joke. And so little people do face a lot of hostility out in the real world. And so that is why I would love for this to be a series because of the wide reach and, you know, the eyes it can open. Chris, I know that you have a lot of partnerships with like Make-A-Wish and buddies and just different organizations. How did you create those collaborations? What was the process of getting them involved in your productions? Well, it depends. We kind of just emailed them. And for the festivals that we're in, we're doing free tickets for Special Olympic Athletes, free tickets for Best Buddies members, free tickets for other members of organizations that are disability empowering organizations. So yeah, we kind of just messaged them and said, hey, we want to give all your members free tickets to these to these screenings. We didn't really know how that was going to look like. Are we going to have to pay for this? We don't have any money. We're not going to have to spend it all. But we had some really generous donors that wanted to see that come to fruition and donate it specifically where we could purchase tickets for Special Olympic Athletes to the screenings. And we had a lot of festivals that were really cool about it and gave us subsidized tickets for that. Yeah. So it was really just, it's very indie film. It was kind of just cold outreach. You know, it's funny because it's something, you know, you're like, oh, we just kind of messaged them. But I know there are a lot of filmmakers who hadn't even considered that possibility. There's so many resources out there that people just don't have access to. Grace, I know we were talking about the partnership with Lilly. Tell us about how you even knew that that was a thing. You know, what is it about the production that you knew kind of where to go, where to look? Well, it's interesting you ask. Our writer had some relationships with the Tribeca community, and they were looking to do this program where they workshopped their scripts with people, with Lilly and these writers to tell these stories. And out of that collection, three were selected to be a part of the Vital Stories program. But it was really all about understanding representation for these issues. And it was really jarring, some of the statistics that they shared. So yeah, I'm sorry, the rest of your question. That's fine. Yeah. I mean, it was really an interesting experience from a writing perspective. And it was also just a really supportive community throughout the whole process. And any notes that we workshopped with Lilly, you know, there's a part of the story that's a little bit negative about the cost of health care for these issues. And they didn't want to hide that. They weren't trying to censor any of that. And so we really appreciated that sort of freedom to be honest. That's actually really nice. Unusual. I love that. Brandon, I know you said that you were self-funded, but I know you also do films where you are required to get funding. What is kind of, with the productions that you've done that with, what is the biggest expenditure? And then how do you kind of mitigate that? Um, biggest expenditure, I mean, I work, I mainly work in commercials and branded content. Um, so I don't really actually have that much experience with finding money or trying to get money. Um, but you know, the biggest expenditure is usually talent or not talent cast, but it's just people just paying for, you know, it's a, you have a big crew and you have to every time that, or, and then I'm also the biggest cause of the cost going up because every time I want something, you know, it's like, well, I actually really want this camera. I was like, well, you need two camera people to use that camera, but I want it. So, uh, yeah, I mean, I, it's all so expensive, but, um, you know, shoot days, of course, like we actually shot ours in two days. Uh, we did nine pages in one day and it was a beast. And, um, we, you know, my producer was like yelling at me at midnight being like, it needs to get shut down or we're going into OT and, uh, are you willing to do more? Yes. I feel like that's not the answer you were looking for, but, uh, it's great. I love it. So Lene, talk to us about your, your adventures in funding. Um, well, we were also self-funded, uh, 100% self-funded. And, uh, and a lot of favors. I mean, we phoned in so many favors. It was crazy. Um, that was really it. Favors and self-funding. Um, I mean, you know, the great thing about being in the business 27 years is that by this point I've met just about everybody and so, and my teammates as well. And so everybody just got on the phone and it was amazing. The, uh, community that came together for us, um, we shared our feature script, um, and our short film script with a lot of, uh, you know, trusted individuals and a lot of people really, um, were inspired by it and moved and they wanted to just be a part of it. A lot of the feedback we got from people that we reached out to, it's like, you know what? I love the script. How can I help? People, before we even asked them for help, came back to us with, how can I help? And it was really an incredible, uh, sense of community and that's what really got us through. It kind of builds on the adage of, uh, closed mouths don't get fed. Yeah. Sometimes you just got to ask for what you need. Ian, I know that, um, you're an actor this go round, but you also dabble in writing and et cetera, et cetera. Do you have any projects coming up that you're excited about? Um, well, yeah, I, I'm working on a, on a, on a feature screenplay myself and it is, um, yeah, um, it's, uh, it's doozy. Yeah. Um, uh, yes, I can't speak a whole lot about it, um, but, uh, but I wrote about it, so, you know, maybe some point we'll see it all together. Who knows? All right. I want to know then from our filmmakers and our producers, do you have, what is one thing during the filmmaking process that you learned that you're like, if I had known this one thing six months ago, I could have saved a couple of headaches at least. We'll start with you, Chris. Oh, starting with me. Um, yeah, I mean, I think you always learn something. I always learn a lot when I make any kind of content. Um, there's small things you learn, like small logistical stuff that, you know, you can do better on the next one. Um, I think the biggest thing you learn is if this film actually works. Um, because I think, uh, there's always this big question of, I think this works, but I don't really know. Um, and it's really scary. Um, and I write from a very personal space, so I know it works for me, but I don't know if it's gonna permeate to all the other aspects of what you see on screen. So I think that's, that's the very scary, especially our film started out as a feature and then we pivoted to shooting the proof of concept, um, to help get funds for the feature. So I think the biggest thing I learned was this, this actually works like what you're seeing the relationship between these two characters work. And we would hear from a lot of, um, people who had the power to green light movies, um, questioning whether this could actually work, having a character with a disability, especially developmental disability in a lead role, having it be from her gaze, her perspective, um, not a story prop used to build empathy for another character. Um, and so a lot of people questioned if, if that was going to work and I kinda believed it would work, but I didn't know. Um, so that was probably the biggest thing that I realized is like, Hey, this works, we should keep doing this and make it a feature. How about you, Grace? Something that I wish that I had known, um, this was my first time as a post production supervisor on a project. And for those of you who don't know, that's the person who makes sure everything doesn't go wrong. Um, I'm not very tech savvy, so I had to learn a lot on the job. And I think one of the things that I underestimated was just how many hard drives you can burn through. Um, so for the next project, I would definitely over account for the amount of storage space that I was going to need. Um, because it's a Murphy's law situation. You think you have enough. You never have enough. Never enough. You need more. And those hard drives. Yes. A lot. Right. And how about you, Brandon? Um, I'm so many things. Uh, I think the biggest true thing is working with, well, easy one is bald caps are not easy. I now know that. I thought they were, and I learned that they're very not easy. Uh, and two, uh, another very like practical thing was just working with, you know, we had 30 extras and that day we shot nine pages. Um, extras are, uh, it takes a lot of time to work with extras. It is difficult to make all this coordination choreography happen with extras. So I think that that, not that I would have done it, I would have saved myself a headache and not had done it, but I think I maybe would have approached it differently. That was definitely the most extras I've ever worked with. Um, and then three I would say is don't shoot a one-er and not have a plan B if it doesn't work out in post. Uh, my editor Lynn is here who, uh, there's what we call scene two when no one is at the party and there's like a million cuts to a lot of people. That was supposed to be a one-er and Lynn saved it and made it work very, very well. But, uh, that was probably the biggest headache that was actually encountered was not having a second, second way to represent that scene, but it worked. So all in all, it takes a village and it's so important. Thank you all so much for taking time to talk with us tonight. Thank you. Thank you. Thank you.