2026 Shorts Showcase: Creators & Cast Panel | New York, Night 1

First of all, congratulations to everyone on your films. It was a real pleasure seeing them all. I wanted to start off, maybe, why don't we start off with the actor here. I wanted to talk a little bit, and first of all, I'd say also with any questions, if people, if other people on the panel have things to chime in on. I know there's a number of overlapping themes between the different films, so feel free to hop in if you are so inspired. But yeah, starting with David, I wanted to talk a little bit about your performance. You play Owen in the film. First of all, could you tell us how you got involved in the project? Yeah, Brandon, the director, reached out and sent me the script. He had done this docu-short beforehand that I had seen that tackled using technology and AI in the grieving process, and I found it to be really kind of moving and a kind of very cool exploration of the human element in that. And his personality really shined through in it, and I was really excited at the prospect of working with him. So I met with him, and we chatted about it, and then I met with Sharon, the actress who plays my mother, who was really excellent. And yeah, and then we had a blast. I wondered a little bit in terms of preparing for this role. I think with a lot of short films, I think including some of the films here in the program tonight, often it's, there's not a lot of major changes in the characters. Usually it's sort of a slow burn or one continuous transition. Your character, however, is kind of jumping around through all these different stages of denial and resentment and various many other things. I wonder, trying to figure out a way as an actor to convey all those different emotions and stages of grief and such things in such a short period of time, what's that process like? Is that different from if you were making a comparable feature film or something longer? Well, I guess in terms of prepping, I had a long time. I had 30 years of living with my mother. But I feel like with doing the time of a short film, I think it's just like if in a feature you have a big event happening here and a big event there and there, and there's all the connective tissue, I think it's just sort of trimming a lot of the fat and just sort of getting to the meat of it pretty directly. And so I think it's like a great short film. I feel like it's one of those great short stories or something where it's like you're coming in kind of right at the climax sort of. And it just sort of gets right there. It gets you in and drops something on you and gets you out of there. In a circumstance like that where he is reacting in so many different ways, how do you keep a character grounded while going through multiple different reactions from the initial resentment to slowly coming around to two different performances essentially that he has to do and that sort of thing? Are there certain things that you try to latch on to to sort of ground you through a role like that? Well, Sharon was so giving and so generous and I was really moved by her performance. And also, the kid who, you know, the scene where we're in the room watching on the cam corridor the kid who's doing the little performance as me, that was the first time that I had seen that. I had met the kid earlier. And I was really just moved by that. And so I think, yeah, I mean like so much of it I think was just kind of trying to be present with it and just sort of taking it as it was. And Brandon, I think the director really wanted to not try and over-sensationalize it or over-sentimentalize it. And so, you know, it kind of encouraged sort of trying to keep it drier and just sort of minimal and internalize as much of it as I can. And yeah, and so I think it was just sort of trying to just kind of keep it inside. And when you, I know that the film itself was based on Brandon's dealing with his own loss and illness of a loved one. But of course, it's his own story. I imagine that's probably not the way things played out, I don't know, maybe, in his personal life. But in circumstances like that, obviously everyone has their own loss to deal with on that. But was that sort of thing where you guys were touching base on different losses that you had? Is there a lot of conversation that goes into that to relate to that? Or are you sort of more sticking to the script and the characters? Yeah, we had, I mean, the script didn't really change from when I entered the project. But we had a lot of really great conversations about personal experiences that we had had. And I think having that sort of intimacy and personal sort of relationship right off the bat, I think, allowed it to, there to be a very relaxed and safe environment for those things to come naturally. And, you know, and Sharon was so warm and inviting. And I spent some time with her beforehand, getting to know each other and just working through the scenes. And I think, like, very quickly, we kind of developed a good rapport. And she was able to drop by briefly at the top of this. And she's just, she's so funny. She's like, I'm, you know, kind of running, I know I'm gonna stop here. And then I am on a board over there. And so I'm gonna I have an event over there that I have to go to. And she's just, she keeps busy. And it was just right, immediately there was a real warmth to her that was, that made it very easy to, to have, to have that experience. Yeah. That's great. It shows. Heather, you were Intimacy Coordinator on Weight, a very powerful film. And I'm sure also you probably get a lot of similar questions. I'm probably gonna throw some questions that you've, that you've answered so many times. But of course, this is, this is a time where people are, there's added focus on the work that you do now. And of course, with a film like this, I think, you know, at least from my perspective, this is a film that might create even greater levels of, of sort of challenges that you might be facing in, in this sort of production. But could you talk a little bit about, first of all, how you came onto this project and, and some initial thoughts once you were joining the project? Okay. The thing that really struck me on the film, and I feel like Paige has mentioned this, Paige, the writer-director as well, is the kind of meta quality, the fact that intimacy coordination, intimacy directions really built on consent culture and tried to bring, open up consent and bring that more into what is really a pretty hierarchical process. And in the past, there wasn't as much consent or agency for actors available often. And really this, this movie about the aftermath of, and like seven years later, after a non-consensual, an assault, really has built both the film and the, the effect and the event are talking about consent and what does that mean and, and how that is not clear cut and how our, you know, our culture is still working towards a more consensual based society really. I got brought, I'm trying to remember exactly how I got brought on. I feel like there were a couple of different threads. I'm on a, to be honest, I can't remember exactly how they found me, but I, it was shot in the Bay Area and many of the filmmakers are either Bay Area based or LA based or both. I work in both areas and occasionally New York, but I know that I had known some of the filmmakers from the, from the Bay Area filmmaking community. Yeah, I'm sorry, did I answer? I feel, I'm not sure if I answered what was being asked of me. Absolutely, absolutely. I guess building upon a little bit of what you said at the beginning of that answer, I guess my question would be, are, what are some of the differences in your work when you're dealing with, it's one thing when you're, when the goal of the moment is to create, put everyone at ease for their loving, sexy, consensual moment that still is, you know, is, there's a potential for, you know, missteps in that process even then, but I feel like there's an extra level or maybe additional mechanics when you're dealing with something where you've got to put people at ease, but then to act out something that is extremely uncomfortable and, and, you know, a non, getting consent in a non-consensual moment, are there different processes that you go through to make that work? Yeah, I do feel like when the story is non, a scene of non-consent, there is an extra layer. And definitely more care, really, we need to encourage more care and more mindfulness for everyone involved in that scene, because as probably everyone in this room knows that this is a common experience that people have, have had. There are plenty of, I'm sure, survivors in this room. And for all of, all of the people here who potentially have not survived and who have not been involved in a, in some kind of assault like this are probably allies or friends or have had loved ones who've been in, have had a non-consensual situation in their past. So that being said, when you walk onto a set, you know that there are, as an intimacy coordinator or director or actor, even if you don't have that lived experience, there are plenty of people in that room who do have that lived experience and may or may not be prepared really for, for how they may respond to working on that scene that day. So when I work in those, in, for, on projects with those types of stories, I try to find out if we can have a rehearsal. I mean, we always love to have a rehearsal, of course, but especially for a scene like that. And also try to front load information, try to get information out before we're actually on the day so that everybody on the crew knows that we are telling this story, make sure they know what they're walking into, and make sure that they know that there, there is extra support for them that day. And if they, if it's a big enough crew that potentially there's somebody else in their department who might be able to be on set if, if it's not gonna work for them. And that everyone knows, like, they may be activated and not know that that was going to happen to them when we were, you know, potentially on the tenth take or the third set up of the same scene. Maybe something is gonna work for someone if we spend an hour on it, but if we're still working on the same scene three hours later, maybe that isn't something that they, you know, maybe it's better for them to have somebody else in their department take over. Yeah. Building upon that a little bit, is there, how involved are you in the process of, of working with the actors in terms of preparation on, on, for such things? I would imagine that channeling some of the emotions that they need to challenge in those moments could be conflicting and could be wrought with all sorts of complications potentially depending on their history or, or, or, or many other things. Are you usually involved just getting involved right towards the end or are you involved in conversations early on with a project as sensitive as this? It totally depends on the team, how early they bring the intimacy coordinator in, how collaborative they want to be for this particular project. I was not, I wasn't brought in super duper early, like it was cast, the script was, the script that I first saw was pretty much the script that was shot. So I was not involved super early, but I was involved early enough to discuss, like, can we have a rehearsal not on the day? Can we have a rehearsal ahead of time? And can we share some resources ahead of time? And that, we got to do all of that. And I keep talking about rehearsal, of course, I'm assuming there are plenty of actors here in the audience today and who probably love rehearsal as much as I love rehearsal because we get to work things out. But one thing with film versus theater is like being able to rehearse this not on the day made a big difference in this process, at least Paige has said this, and I believe that it made a big impact because we were able to really figure out choreography. It wasn't improvised. Everything that you saw on the screen, we had like really worked it out ahead of time, not on the day. Because on the day, it's not as consensual, right? It's so, everybody's semi-activated just being on a set. So being able to do this, to work those things out the day before so that hopefully the actors were a little more regulated when dealing with this material. And I guess one other question, part of a short showcase. I think for the longest time, intimacy coordination was something that was often overlooked to the importance or not even used at all sometimes, unfortunately, or maybe many, many, many, too many times. What's been your experience? Interesting thinking about it just in terms of short films where the budgets are usually tighter, the time for prep is usually shorter and such things. Do you see, do you work on a lot of shorts and is that something that's becoming increasingly common in the short film landscape? I feel like what is interesting, okay, so intimacy coordination, very, very new. Most people who are doing the work have been doing the work for a relatively short time. The first time a person was credited as an intimacy coordinator in TV was in 2017. I think first time on Broadway was maybe 2019. And before that really existed not as a singular job, like spread out amongst departments, right? Or it did exist in theater a little earlier, maybe in the early 2000s, primarily in educational settings. So it's super duper new and the people doing it are new at only doing it, right? So we're figuring out best practices all the time. As far as short films go, I actually feel like it's very common with short films because short films are where new filmmakers are starting. People fresh out of school might be making short films. Student filmmakers are making short films. I actually feel like it's, I mean, I don't know, I've never asked this question of my fellow intimacy coordinators, but I feel like we're almost more often going to be on a short film because on a, I mean, yes, a union feature, they're going to hire us an intimacy coordinator, but a new filmmaker might be like, oh, we have this scene where two people are making out. Let's bring the intimacy coordinator because I was trained. Young filmmakers are just so much more sensitive to it than veterans might be. Or they just start like, let's do it. Like, I feel awkward. Let me bring another person onto the team versus somebody who's been in the business for 20 years and is like, we've never needed someone. I know how to navigate that. My actors know how to navigate that for this makeout scene. We don't need to bring someone on, but for this other scene where people are naked, sure, let's do it. Right. Right. Makes sense. Makes sense. Okay. Well, moving on, Ellen Scott Neal, Do I Know You From Somewhere? Can you tell us a little bit about the origin from, of your work? Yeah. So Angela, who starred in the film, she also wrote it and the genesis was with her. She wrote this larger piece and I read an early draft and was like, oh, I love this. And Tribeca had done this incubator for stories that have like a health angle. And we submitted the project and we went through this whole process where, you know, it's about telling more honest stories about the, you know, different disease states. And this film naturally had Alzheimer's a part of it. And so we got selected. They funded the film and then that's kind of how we, they'd partnered with Eli Lilly as, you know, part of like a program. And so that's how this thing got made. Right. Right. Yeah. That's the genesis of it. And I understand that the process also was something that you were making as a standalone short film, but you were also looking to potentially expand to a longer project. Yeah. Could you talk a little bit about that and also that process of making something that can stand on its own, but also potentially be the seed for something that expands? Yeah. Yeah. So it's interesting. Like the larger piece is much more genre driven. And when we got the grant to make the film, we wanted to really, we wanted to have a standalone story with an emotional resolution. And it seemed the most natural was the mother daughter story. And so we kind of like honed in on that to kind of like tease the genre at the beginning, a little in the middle and a little at the end to kind of tease the larger thing. But I think it was important to me that it just had an emotional arc. Right. And so that's kind of what the focus was as we went through the paring down the feature down to the short. And are you still working on potentially trying to expand the project? Yeah. Yeah. We just partnered with a producer who's sending it out to financiers and we're playing that old game where you send it out into the world and you wait till somebody says, Hey, this is great. Here's some money. And you've directed a feature, which is more of a genre film than this short. Um, uh, like tell us maybe a little bit about that or is the process hopefully to be working more in that in the high stakes, um, uh, chicanery that's going on. You know, it's really interesting. I know you don't have to reveal all the secrets if you don't know, but no, it's, it's, but it's a great question because I, I tried to make my indie drama. I tried to make my coming of age story and, you know, no one ever bid it because, you know, took, took the bait because it's, it's hard to recoup. And then I partnered with my film school friend and I was like, let's try the genre thing. And then we, we worked on this genre script and then all of a sudden here's half a million dollars and we ended up selling it. And you know, that's, there's just a market for it. And then I was just like, okay, well maybe we can sneak in our drama film within the confines of a genre film. And so that's kind of like, that was like the impetus for the, the, do I know you from somewhere? It's like, it very much is like a mystery spy thriller, but there is that core drama. And so I think that's my, it's like, you gotta have the wolf in sheep's clothing to get stuff made to get stuff made right now. It's so hard. Yeah. No, it's a tricky landscape. I'm sure most of the people in this room are very familiar with, with, with the trials and tribulations. Could you talk a little bit about the, your relation, personal or any other relationship that you have with the Alzheimer's element? Was that something that you were drawing on personal experiences? Well, it was, so Angela, again, who wrote the film and started it in the movie, she based this around her family member that she, when she was growing up, her family was taking care of her, her aunt, who she was like, it was basically her grandmother. And so a lot of the pieces of the film are kind of taken directly from the experience that she had with her, with her family. Right. Yeah. And I, I think also, I was struck also that this doesn't shy away from, like I recently went through experience with my mother who was suffering from Alzheimer's as well. And I think one of the things that gets explored, not nearly as much as it should, but I feel like people are beginning to explore more in art, is how difficult it is. Like that, you know, there, there's many victims in this sort of circumstance because as people begin to lose it, they become disagreeable. They become very hard to manage in certain ways. And that, and that can be a real struggle to encounter. I appreciated that you were not shying away from that in this, you know, that it's not a matter of making, you know, obviously she's not in control of her, of what she's doing, but at the same time, those consequences are there. Can you talk a little bit about that process of, of integrating that into? Yeah. I mean, I think one of the things that we learned through the seminar that we, you know, the, the incubator, the bootcamp that we went through for, with, with Lily was that, you know, most caregivers for loved ones and are, are, are women. And they, the stories featuring women as caregivers for people who have disease, I think it's like 0.0001% of like, you know, what's on the screen. And so I think it was important to us and especially Angela to like, tell this story about like, the version of like this that she grew up with. And I think, you know, we just wanted to be truthful to the extent that we could within the confines of this larger genre film. Um, staying on themes of, of memory loss and Alzheimer's is the things of Kim. First of all, beautiful job with Gloria. It's such a lovely film, I guess. Well, why don't we expand a little bit on the subject? What drew you to, to this subject matter, I guess, specifically first, the element of like memory loss and those elements and with your project? Sure. Well, I first want to say that I'm a SAG-AFTRA member and I come from acting. This is my first film and I've been dreaming about directing a film for a very long time. And I had been caring for my mom through cancer treatment and, and through a dementia diagnosis. And we were in the San Francisco Bay Area where we shot the film and where I grew up. And really, I wanted to make a piece that I felt honored my mom and also honored this beautiful place that we live in. We actually shot a lot of it on the street where I lived. I was like, the Bougainvillea, like, we need that, like, it can be no other location. Luckily, it's a pretty city you can find. It was wonderful. Yeah. So yeah, I really, it's a fictional piece. It is about my mom, you know, it's inspired by my mom, who's an immigrant from Taiwan to the Bay Area. And so it's about her present moment and her present, I guess, state, but it's also about her past. Something that always really interested me as a kid was that when we first moved to the Bay, she enrolled in Spanish lessons, Spanish classes at the local community college, De Anza Community College on the peninsula. And she did the whole Spanish offering. Like, she has a certificate in the Spanish language. And I always thought that was so interesting. I had so many questions about that. Like, was she the only Chinese lady in the class? Or was she the, was she the oldest lady in the class? You know, so I wanted to kind of bring my curiosities about that and kind of meld these two eras of her life together into one story. That's great. I was curious a little bit about the aesthetics. It's a beautifully shot film and with some very strong choices in terms of color and grain and such things. It has a feeling more of sort of like, looks almost like a 1960s or 1970s like family photograph in terms of that. Wondering how you arrived at that aesthetic for this project in particular? Yeah. So it was, it started as a very passionate plea from my cinematographer, Caitlin Maychak. She was like, hear me out. I think we should shoot this on film. And I was like, what? I was like, this is my first film. I'm already, I don't know what's going on. I don't know how I can deal with shooting on film. But she was like, hear me out. So much of it is outside. So much of it is the sky and telling the story of the day and film is going to capture that so much more beautifully. Let me promise you. And so I was like, all right, well, as long as you think it's going to be beautiful. So we went forward with that. And as we started to talk about shooting on film, the more I started to love it almost like dramaturgically, like we're telling the story about this woman who's like trying to hold on to something. And here is this item that we all are caring for and holding and making our movie on this item. What was so special and what I didn't quite anticipate is that shooting on film requires so much, I mean, I don't know how else to say it. There's like so much care. Everyone knows that this is a limited resource. So when we were filming, I just, I felt everybody just like zoom in and we were all together. It felt very live. It felt like making theater. Oh, that's great. I was curious also about your choice of portraying this as an older woman who's on her own, but that's not necessarily, that's not like portrayed as a death sentence or something horrible, which I thought was a nice touch. Can you talk a little bit about that decision? Yeah. Sure. Yeah. I mean, it's inspired by my mom. My mom is a single lady and I, the, the, the son, the kind of distant son, that's, I guess, a fictionalization of me. He's like caring about her and a little worried, but he's clearly not in town. He lives far away. He's not going to visit the Thanksgiving. So yeah, I guess I wanted, I've always been so inspired by that kind of part of my mom's character, just very headstrong, really takes care of herself. And that's the story I wanted to tell with this woman who's really struggling and, and there's maybe no way out, but she's by, by God, she's going to try to, you know, cure herself, you know, in a way. And also wanted to mention, just ask about the casting. I know that you're an actor yourself, and obviously this is a role that has to carry the entire film from frame one to the final. How did you, how did you find your lead and what was that process like? Very simple. I really wrote it with Emily Crota in mind. I'm a huge fan of hers from Gilmore Girls and I just thought she is so funny and so intentional and very intense. Like I just, I loved that about her and we had one Facebook friend in common. And so I wrote to him. He's a Bay Area theater director named Jeffrey Lowe. And I was like, Hey, do you think you could send me Emily Crota's email address? And he was like, yeah. And so I just cold emailed her. I sent her the script. I said, I would love for you to play this role, fly you up to the Bay. And, and she wrote me back that night. Yeah. And then the other actor, the amazing Hernan, we, we cast locally. That was important to me. I really wanted to have, yeah, a local crew and, and have a local cast member. He is great too. It's just a casual warmth. It's like so, so likable instantaneously without, without it being forced. It's really nicely done. Congratulations. Angela, let's talk about, I got next. So how do you get involved with this project initially? How did you come on as a producer? So originally the writer director had wrote this as a feature film and reached out to Disability Belongs, which is an organization out of Los Angeles that provides educational and advocacy for filmmakers with disabilities. And he's like, I'm looking for some producers and they recommended me and I read the script and fell in love with it. And we started working on it and then the strikes happen. So we kind of pivot and did the short film or he pulled like what he felt was like a really good meaty part and did some, like we finagled it a little bit because everything that you see in the short, not all of those parts are in the feature. But once the strikes had once everything came to agreement, then we started moving forward with the short and filmed it last June. So that's how I got involved in that. Well, it comes together so beautifully. I know that they're the director had a very personal relationship with the story. Could you talk a little bit about that? So our director, Chris Baxter, he his brother has Williams syndrome and they had a huge bond with basketball. And when he wrote the film, his brother name is Taylor, which is the young girl's name in the film. So when he wrote it, he wrote it with his brother in mind. His brother's been part of Special Olympics pretty much all his life. His brother and Chris has actually been like a coach and a mentor with Special Olympics as well. So he pulled from a lot of his own experiences working with or mentoring young, not just young people, but even adults with intellectual and developmental disabilities. And we see at the end of the film that you had a mentorship program as part of that for people on on set. Could you talk a little bit about what inspired that and and how that ended up working on set? So one thing I will say about Chris is that he is very, very intentional with providing opportunities and advocacy for people with disabilities. And so he sat down with us and was like, hey, what if we did a job shadowing program and have young adults who want to and we actually had one kid on that was part of the job shadowing that love that want to know more about filmmaking. And I was like, I'm down for it. Let's do it. So he reached out to a lot of the local day programs in the in the L.A. area because we shot in Santa Clarita. And so they just sent us people. We also reached out to Williams Syndrome Association. One of the young women, Gianna, that was there, she spoke at the end. She's actually from New Jersey and her mom flew her out there to be part of it. So we we didn't just have people that was local. We had some other some other mentees that came from different parts. And we plan to do the same thing on the feature. That's so lovely. I would imagine that I guess some questions in terms of dealing like ways in which you prepare a set and and a production for working with a lead who has a disability. Is there what are some of the processes that go into preparing for that? So our biggest thing was we wanted to make sure we had a space that she felt comfortable and she has someone that she could connect with. We actually Chris had actually cast in me, I don't know, like two years ago. So she's pretty much been who we wanted for the lead of this for the feature. And so she when we were like, hey, we're going to do the short. Let us know if you're interested. And she was like, yes, yes. So we was excited that she wanted to do the short because we have pivot from the feature at the at that time. And so we kind of already had a relationship with her. We knew her likes things that she didn't want to, you know, people, you know, the type of people that she's like, these type of people will scare me or, you know, these just different things. So we kind of already had an inside track. But being that not only do I have a disability, but I have two children who have autism, I was very aware of what we would possibly need to make sure, you know, make sure all of her accommodations were met. And then, but I kind of do that across the board when I work on sets anyway, regardless if you have a disability or not, because I want everyone to feel safe, seen and heard. So that's kind of what we did, we just made sure she was comfortable. Anything we what we did have to do is get her to learn to advocate for herself a little bit. She's pretty good at it. But I think this was her first film. And she was scared that if she be like, hey, I really don't want this or I don't like this, that she would get fired. And he was like, we won't because we love you and we'll never let you go. So um, but yeah, so she did learn a lot about advocating and being able to speak up for herself and being comfortable with that. And I think by the like, end of it, our other producer, Keona, that's in the audience. That's like her BFF now. So Oh, that's great. And I guess another sort of logistical question, separate from disability issues. Having any sort of sports action in films is like notoriously difficult to pull off in any way or respect. I'm sure you've already done some work on it now. And I'm sure if you're preparing for a feature, you're thinking about that even more. What are some of those processes of just making sure that all works and making sure that the mechanics are convincing as she's learning these, this athletic process on camera? So I think the biggest once again, going back to our director, Chris grew up playing basketball all throughout, well, up until he went to college, because he went to film school. But also, he is very active with Special Olympics. He's done mentorships and, and coaching. And with his brother having Williams syndrome, he understands what that is like and how to do these things. And Emmy herself actually played a little bit of basketball. So she knew a little bit. So we kind of had a, we kind of had a leg up there, because she understood something she knew how to shoot. It was really funny, because we was just telling someone when she had to miss, we were having this issue where she never missed the shot. And we were like, Emmy, we need you to miss. And she's like, I'm trying, I'm trying. So we had a stunt coordinator as well, that was there to help, who played basketball as well. And he kind of helped. So the stunt coordinator and our director would like throw up shots that was being missed. So it would look like that. So when you see her missing the shots, she probably didn't miss it. Well, we're almost out of time here. Before we go, I want to love to hear what everyone is up to at the moment or coming up next. So why don't we start with you, Angela, since you've already told us a little bit about what's going on. So with I Got Next, we are in development of the feature. We have a quarter of the budget. We have our main two actors, our leads. And we are currently doing community screenings. We're coordinating to do community screenings to bring out more Special Olympic athletes and Best Buddy participants. We're kind of like giving the disability community an opportunity to see the film. We'll see the short if they haven't. Because what we have been doing is whatever festival we're at, we're purchasing tickets for Special Olympic athletes and participants of Best Buddies to come out and view with us at the festivals. So we're doing that. We're still raising money. We only have a quarter of it raised. And so we're doing investors and we're doing donors and sponsors. So we're chugging along. We have pretty much all of our heads of department locked in as well, too. So the goal is to film in March of 2027 in New Jersey, which is where Emmy lives. So actually, quite a few of our people that's on the feature live in New Jersey or New York. So that's where we are with I Got Next. Ellen, what do you have next? Trying to make the larger version of this. I also have a feature that I'm supposed to direct in March or March, April, if everything goes well. So fingers crossed we have our cast in place that I think will be announced soon. And so we're hopefully be on set in the new year. Fingers crossed. Kim, what are you up to? One month from tomorrow, I'm going to production for a short that I've been developing for a long time. It's an adaptation of my friend Jenna's autobiographical play about her experience with breast cancer at 27. We're going to shoot it in Brooklyn and in Manhattan, and it's called Nipples for Christmas. David, what do you have coming down the chute? Currently, I'm producing a film, which I've never done before, up in Toronto right now. So that's been a lot of drinking coffee and eating cookies and going for walks and reading. So that's going, that's having a lot of fun there. And Heather, what are you up to? Actually, Wait is both on the festival circuit, but also doing an impact campaign and is going to be screened at campuses and hopefully sparking conversation. Wonderful. Thank you all for coming. One last hand for the filmmakers.