What happens when Tulane film students Joey, Jack, and audio engineer Riley take over the NOLA Film Scene Podcast? Find out as these budding filmmakers join us to discuss their journey and motivations behind starting a podcast that highlights the vibrant film industry of New Orleans. We dive deep into our backgrounds in acting and voice acting, and discuss the unique cultural richness that sets the NOLA film scene apart from other markets. You’ll hear about the collaborative spirit within the local industry and the exciting opportunities for growth, such as the potential for building new sound stages and expanding the market. This heartfelt exchange is bound to inspire and resonate with filmmakers and film enthusiasts alike.
Follow us on IG @nolafilmscene, @kodaksbykojack, and @tjsebastianofficial. Check out our 48 Hour Film Project short film Waiting for Gateaux: https://www.youtube.com/watch?v=z5pFvn4cd1U
What happens when Tulane film students Joey, Jack, and audio engineer Riley take over the NOLA Film Scene Podcast? Find out as these budding filmmakers join us to discuss their journey and motivations behind starting a podcast that highlights the vibrant film industry of New Orleans. We dive deep into our backgrounds in acting and voice acting, and discuss the unique cultural richness that sets the NOLA film scene apart from other markets. You’ll hear about the collaborative spirit within the local industry and the exciting opportunities for growth, such as the potential for building new sound stages and expanding the market. This heartfelt exchange is bound to inspire and resonate with filmmakers and film enthusiasts alike.
Follow us on IG @nolafilmscene, @kodaksbykojack, and @tjsebastianofficial. Check out our 48 Hour Film Project short film Waiting for Gateaux: https://www.youtube.com/watch?v=z5pFvn4cd1U
Folks, I don't know what to say. We've been hacked, we've been taken over, we're hostages on our own podcast.
Speaker 3:We are Tulane Film Students and we have taken over the NOLA Film Scene Podcast. My name is Joey Kleiman, To my right is my friend Jack.
Speaker 4:Hello, how's it going?
Speaker 3:We are both film students at Tulane. I'm also joined by my awesome audio engineer, riley. We are part of a podcasting class at Tulane. Part of our class we're encouraged to seek out a real-world podcast and apply our skills that we've learned in class to collaborate with a real established New Orleans podcast. Obviously, we are big film students and big film fans. So the first thing I did was look up New Orleans film podcasts and I found the NOLA Film Scene Podcast. I listened to a bunch of episodes. I'm personally a big fan. I think they're great. So I reached out and we connected, which I'm super excited about, and my vision for our podcast, for our collaboration, was that we could get together and we could ask each other some questions from our perspective as students and then from your guys' perspective as actors in the industry.
Speaker 1:I guess we have no choice. I mean, we're hostages in your dorm room and you won't let us out until we answer the question.
Speaker 3:You don't have any choice at all.
Speaker 1:Go ahead, I guess.
Speaker 3:We want to ask some questions about your podcast, but we also want it to be a documentation and a celebration of your podcast. My first question is to someone who's never seen an episode what is your podcast and why did you guys start it?
Speaker 1:Well, tj and I are both actors and we've been studying. We met during a acting class called the Circle for Jim Gleason, which is, I call it, more like a lab dealing with the emotions instead of studying lines, and then, from there, improv voice acting, and TJ turned to me one day and said, would you like to do a podcast? And I was like, yeah, I really want to. I love talking to people. So then we decided we want to find out what makes people want to be actors around us the NOLA film scene and then, luckily enough, we met some celebrities along the way. We've had them come in kind of informative, kind of fun and searching for the acting truths.
Speaker 2:Awesome, yeah, for me it started on set. Last summer I was on set and before filming we had a media day and all the actors got interviewed. And I was in the interview room with the guy that was in the scene with me and he had a lot of experience. He was a YouTuber. He did commercials for a financial institution. That was how he supported himself while he was trying to come up in the industry. He was a lot better at answering the questions.
Speaker 2:They didn't give us any kind of idea beforehand what they were going to ask. I felt underprepared when we sat down and I got to thinking, well, how would be a good way to do that? Well, if we were talking to other people and doing interviews and networking, it might help improve public speaking, because as an actor, there are a lot of opportunities to be on panels, sit in at conventions and interviews on TV. And at first I was thinking, well, maybe if we did the audio drama, that would give us some experience. We're both also voice actors and we're interested in improving that skill.
Speaker 2:And one thing led to another started doing some research and it seemed like a good fit for what we wanted to achieve. I didn't find any other ones in the local area that were doing something similar, talking to not just actors but filmmakers of all different levels. We even got an interview lined up down the road with someone that's an intimacy coordinator. We wanted to learn more about the industry and, I don't know, maybe shine a light on it for other people in the industry that wanted to learn.
Speaker 3:Very cool. Something that I found particularly interesting about your guys' podcast is that it's about the New Orleans film industry, which is, you know it's a very specific. It's a newer part of the film industry. Something that we talk about a lot in our class is the NOLA podcast scene. I know that you, brian, were saying something about the NOLA film scene and wanting to kind of create a community and cultivate that. How would you find that your podcast contributes to a NOLA podcast scene? If you feel like there is one, and do you feel like you guys have a presence in New Orleans podcasting? Is there kind of a community that surrounds that?
Speaker 1:I have not personally encountered a NOLA podcast scene too much. There was a meeting of not only NOLA film scene NOLA podcasters, but just a convention of people were in town and then they had a meeting. I went to that one thing. So I can't say I felt connected that much to that kind of group. But what I have found is because we mostly interview our friends, like I said, celebrities we've met and reached out to that is kind of galvanizing something. You know there are guests who've been on with us before, who one and done. Hey, they don't even push it on the Instagram. Then there are others who are this is so great You're doing that, you're. You know they're more excited than we are.
Speaker 3:So it's building a community, but just my personal experience, not so much in a podcast community yet I find New Orleans film to be super interesting since it is newer, it's growing and you know they're building new sound stages and stuff every single day. There's a lot of new opportunity in New Orleans. My question is being a part of the New Orleans film industry. Specifically, what do you think is the most unique thing about the New Orleans film industry and the most like interesting thing about it in comparison to, you know, the older film scenes?
Speaker 2:The people and the culture of Louisiana is different. I've worked in a couple of other areas still. Kind of consider the Southeast market. I filmed in Georgia, I filmed in Texas, I filmed in Arizona. But here the people just have a different vibe. The food, the culture, it all kind of goes hand in hand. And one of our guests explained it one time the difference between here and LA. And my coach worked in LA for years. A lot of people I work with and are friends with have worked in LA. There it's transactional. If an actor wants help on a self-tape, a lot of them they have to pay another actor to read with them for a self-tape. And here it's not so transactional. We try to work together and lift each other up. It's more of a community than a transaction.
Speaker 1:And one of the advantages in New Orleans is the food. So it's gone now. But NCIS New Orleans was the best crafty for everyone, top to bottom. So the stars of the crew, the union, they will usually have a line of food and it's higher quality, while background would just have chicken and vegetables. Basically good food, but basic. Ncis New Orleans fed everybody the same. It was a local catering company. So you might have gumbo on, you know, tuesday. You had to have your red beans and rice on Monday and you ate good and it's. It's been in other productions too. But a local flavor gives you some local flavor.
Speaker 3:Fantastic. Okay, I'm now going to open the floor to Jack for his question.
Speaker 4:My question is a little bit more specific about y'all's experience as actors and doing different things on set, and I just wanted to know, as we're student filmmakers and having worked on a variety of sizes and types of projects, is there any advice that you would give to young filmmakers? From patterns that you've noticed on which projects are successful or not, maybe from the directors you've worked with? Just you know good bits of advice.
Speaker 1:I think one thing you're probably learning because you're in school is organization and planning. So we've been on a couple and it's been great sets, the product that's been gotten into the camera, wonderful. But, and especially something I just did where we were kind of rushed anyway to get it done, it showed our weakness. So we're trying to grow. So, planning your day, the shots, what people you need, and we, I'll confess, because we were staying in an Airbnb and then we'd go to set and we're like, oh, we forgot this prop, and we go get that and come back. Oh, we forgot. So we were flying by the seat of our pants, you know, made that mistake.
Speaker 1:So the best you can do for your actors is have a stable environment as much as possible, and it's never going to be perfect, so you have to be ready to roll with the punches. We had a plan for the one, a local production, and we were going to shoot a big scene right after lunch. Well, the morning setup did not get the shots they wanted. They had some problems, so that went past lunch, which pushed us back, and so TJ and I and some others were in holding for hours.
Speaker 1:Now it wasn't a big Hollywood production, you know what I mean, and we were doing this more for the love of the craft. It was still frustrating, but you have to man up, woman up, gear up and say, ok, I'm here, I'm going to do everything I can to make the production fly. So the more you can take care of your actors, get them good food, get them crafty, keep them happy, keep them cool in the summer, give them that, uh, the space If they're, if they're higher up in industry, they might need, like a room of their own where they can collect themselves or, you know, get the star treatment. Just remember that it is all about the film, but you have to take care of your people too.
Speaker 2:In addition to that communication delegation those are two really big ones. Make sure you're communicating with your people. Have your shot list ready. Have your call sheet ready. Have that stuff sent out so people know where to be and when. It doesn't matter what your job is on the set, there's always going to be a hurry up and wait element to it. So try to make the most of that and be as efficient as you can and delegate some of those responsibilities. It's a good idea to have enough production assistants and people that are runners, so that somebody that is in charge of things isn't having to do all that stuff too.
Speaker 4:Thank you so much, and then I do have like a slight follow up to that, so no, OK, go ahead.
Speaker 4:And I agree and I think that, even though I'm not an actor, if I'm like volunteering to crew on a set, if it's organized or disorganized, that kind of determines high quality experiences. From your experience, have you found that working on student films or lower budget independent films, have you found that actors are willing to make those sacrifices, whether it be getting paid less or volunteering their time to work with students and young filmmakers to make projects that are for learning and for development?
Speaker 2:Yes, and I would say more so than not. Everybody has to pay their dues. Sure, there are people that are lucky enough to hit the very first thing that they do. Sure, there are people that are lucky enough to hit the very first thing that they do and they've got a SAG contract out of the gate. And you know, you see young people coming out of LA all the time. But a lot of people start with free projects, student projects. It gives us experience, it gives the filmmakers experience. It's part of paying the dues.
Speaker 2:And if you're not that rare random person that's going to get a really big movie out of the gate or a big TV show out of the gate, yeah I would say people are willing to do that, but not to the point where it is taking advantage of anyone. You know, it's got to be a mutual thing. If everybody pitches in and does what they're supposed to do, then yeah I would say so. I mean, that's part of it, it's part of the industry and some of the most fun I've had has been on smaller independent projects. I don't know. It's usually a less formal setting and it gives you a really good chance to network and get to know people and you know have a good time between takes.
Speaker 1:I just did a student film on two last year, one with LSU and one with Tulane. I won't say which one was better, but it was totally. Yes, we have to do things for free as we're starting up to get the experience. For me, it was getting more footage from my reel and it was a great story that was presented. I've also heard like stars like Danny Trejo would get pay for himself at the drop of a hat when students reached out to him. Because we're at a certain level, we're just beginning.
Speaker 1:Here's someone who's and he's at the top of his game and he's volunteering because he wants to inspire the next generation. I talked to someone, jonathan Mangum. He gave us time during the pandemic to talk to my improv group in a selfish way, but not because, yeah, I'm going to help that college student, you might be the next big director and go. I remember Brian, I want him on my crew here. So it's networking and if it doesn't go anywhere, it's still a joy to do that and it's still fun.
Speaker 1:But there's always a way. There's going to be something you know for you whether it's inspiring, you know youngins like you, whether it's, you know, finding something. For myself it's. It's not about the money at that point and going from working background and then doing indie films or student films, I get to be creative. Hey, what if I do this? Well, in this scene my character wouldn't do that. Oh, so you're listened to more. So you, as the director, might say, oh yeah, that makes sense, let's try it your way. As a director, you might say let's shoot it as is and if we have time we'll throw that other one the other way. I rambled a little bit but Hope I answered your question.
Speaker 3:My final question is where's the best place for students to find good actors? Students like us looking for actors for our films.
Speaker 2:Actors access. You're going to hear backstage. And what's the other one? Not casting networks? Oh, not that one. The other one, new Orleans casting. It'll come to me in a minute. Actors access is the legitimate one. Once you start moving up into the business and doing producing, directing, writing, whatever paid projects, that's where you're going to have to advertise it. Now, bigger projects, cast and directors don't even list it on actors access. First they send it to agents and then, after the agents have had a chance and their people have had a chance to put in for it, if they still don't have somebody, then they'll list it on actors access. I don't check backstage anymore. I don't check. It's not casting networks, it's. I'll think of it.
Speaker 2:You can also look for Facebook groups there's I know UNO had one but it's like we would join it just to be ready for when you need an actor. You know what I mean. There's local filmmaking groups and social media is the second way to do it. You know what I mean? That's it. Check your social media. Yeah, it was casting networks. There's another one that I was trying to remember, but yeah, casting networks and backstage are probably less expensive. Casting networks is kind of not very user-friendly Backstage. I've read that there are some scammers on there and not as legitimate I have gotten work off of Backstage but ones that are. I don't want to say serious about it, but actors that are more serious about it are going to be looking for those postings on Actors Access.
Speaker 3:Now I think it's time where we want to turn the floor to you guys. If you have any questions for us aspiring filmmakers, film students we will be happy to answer.
Speaker 1:Let's go to our traditional question here on all the film scene. What inspired you to take this path? Whether it's? Jack said he wasn't as much of an actor. Joey, you said you have an acting background.
Speaker 3:I dabbled in acting when I was younger. I also did theater in high school, but I decided to be on the other side when I went on to college. I've always just loved movies my whole life, and nothing really excites me more than going and seeing a great movie. Being in a theater it's like a chapel, it's like a religious space. I love it and I just really want to contribute creatively and put out my own voice.
Speaker 4:So you've taken like two acting classes.
Speaker 3:Yeah, I've taken a couple acting classes in college and I plan on taking one or two more in my senior year. I think that understanding acting and actors can help with being on the other side of the screen, of the camera. And also, I do love acting and that's not something that I would completely write off in my life ever doing, honestly. I'm just, I'm inspired by the films I love and I've always just had a fascination with listening to podcasts of directors and actors explaining what it's like to be on a set and what it's like to work on these movies for months and months and years, and I just think it's fascinating. So I really, really want to be a part of it and put my voice out there.
Speaker 2:That's awesome. If you'd permit me to give you a little bit of encouragement and advice along that same vein. One of our guests from several episodes ago shout out to Rachel Jacob, an incredible, just an incredible human being, incredible director in New Orleans, just filmmaker's filmmaker. She suggested that it's a good idea if you're a filmmaker, do some acting, and not just you know childhood, but do a film and get directed, so you kind of feel what it's like. She encouraged it for actors direct a project.
Speaker 2:I have not directed a film project yet, but she suggested that that's a good idea because then it'll give you kind of an understanding of what we're going through on this side of the camera.
Speaker 2:It's a lot to stay in an emotional space for an extended period of time and if you're, you as a filmmaker are not getting the shot because mistakes are being made and the actors having to continue to stay in that over and over. It becomes very taxing. But if you understand it from our standpoint, okay, they're only going to be able to cry six or seven times, you know eight or nine, they're going to be dried up. It just gives you a little better feel for it and I eventually would like to direct a project, you know, just to understand it from the other side of the coin as well. And when I'm on set, I try to quietly watch and just see. Okay, what are they looking at there? Why are they positioning the camera there? And I'm trying to just soak in what they're doing and understand their standpoint, without interrupting them and asking them a lot of questions, you know.
Speaker 1:Right, and also it's learning the language of an actor to get to that emotion. Because before I started this, being on the other side of the camera, it's like, ok, that guy's crying, that guy's doing this, and it's so different, it seems so easy and some days it is. You know, someone says the right thing in your ear. I'll give you an example. We just did a movie called A Short Detective, somebody for the LA Film Prize, and it was set in the 1940s. Like film noir sidekick Ralph is grabbing the rope out of the trunk. So I had to kind of mime that the camera's facing towards my first take. Okay, I got to do this. And I went and set my line, did the thing, took the rope, okay, cut. And then people on the other side, okay, they didn't say in this bluntly, but like you're an actor doing actor things. So, oh, yeah, even though I knew it, I have to see the rope, I have to feel the rope, even though it's not in my hand, there's no trunk, but I have to actually do it. So, okay. So, and the boss the detective had said we don't need it. And so, okay, take two. Hey, boss, we need the rope. No, we don't need it Okay, and I watch him walk away, kind of think about it, get back to the trunk, open my jacket, lean forward and in my mind I'm feeling that rope, put it in here kind of push. So it looked like it was in my jacket and then walked away and that was. The difference is being able to see where your actor's at and what they need. You know what I mean. And that's just a tiny, tiny thing. If you were going for some emotional scene, to find their language with it, a different one. Also.
Speaker 1:Contingency was a short film we did, and I am a. There's a couple of hit men and I've been kidnapped. There's five of us and the gunman has a gun. It's it's a prop, it does not shoot and he's pushing it into my face so much so I have a bruise on my face later like pop, little blood vessels. And he's asking me a question and the director was I wasn't getting it, I wasn't able to give it what he needed. And so he goes okay, cut, when we're going to ask you a question and surprise you. Just think about it, okay. So he puts the gun to my face and they go what's your favorite Spider-Man movie? And you know I'm like okay In my head, okay, you got the cartoon one, you've got this one, and cut had nothing to do with the scene, but it got my wheels turning.
Speaker 1:So and he's an actor that, zach Sinto, was in my classes. So learning the language, learning how to draw that moment out of somebody, because not only do you have your struggles just to get it right on scene, you've also got your home life, you've got your struggles, you've got your bills to pay, and even when you're pushing that back, you might not be able to get to that moment. So that's a good learn both sides, and I need to do more films so that I can learn how to direct. I kind of know and I've helped out. So the best leaders are the ones who can follow, and that goes for both sides. Fantastic.
Speaker 2:That's yeah, that's a. That's a good explanation of it. The first rule of good leadership is good followership. Yep, that's a. That's a leadership tenant right there.
Speaker 1:Awesome. And then knowing when to when to chill your actors out when they're playing too much. You know, okay, we got to focus and that's we're having fun. But, all right, we're going to get this done, jack do you want to answer this?
Speaker 2:I was just getting ready to say same question for Jack. What inspired Jack to get into filmmaking?
Speaker 4:Yeah, thank you. I mean I've been making films with my friends for a lot of years now, like I did it a lot in high school and then when COVID came around, the lockdown started to ease up because, you know, people had started to get vaccinated. It was kind of like we can, I can hang out with my friends now. Our parents were like, oh, do something outside so you can stay kind of distance from each other. I'm from Kansas City and so not too far away from us we have a lot of open space in Kansas and Missouri. We had a buddy with a bunch of land that we could just go out there and drive around and mess around in creeks and lakes and stuff and fields. We decided to start making Western movies. We made multiple feature-length Western movies as high school students. We made a feature-length sci-fi movie. We made a bunch of shorts.
Speaker 4:And then going into college, I was always like a fine arts kid in middle and high school and also liked the math and science and whatnot and so I was pushed kind of into the engineering and architecture stuff, because that's what Lego kids are good at, I guess. I went pretty hardcore into the architecture stuff and was able to squeeze out like two years worth of extreme passion and creativity and hard work for it and then just realized that it wasn't going to be what was going to satisfy me for like a long, fruitful career and that I still really love movies and television and camera. I was obsessed with cameras so I was able to add it as a second major here at Tulane. And then Joey and I actually last semester were abroad, were studying abroad in Prague, czech Republic, which has an incredible film scene and a very good film school that we were studying at and we collaborated on a project which was a lot of fun. That was like some of the more intensive like writing. We had a small budget, so we were cast an actor and it was also it was a film about mimes, so we had to.
Speaker 4:I had to do like a bunch of research on what are mimes actually like, cause you know everything is stereotyped, so these are real people. So I mean I just remember like my first time going out with a group of mimes and like drinking and hanging out with them and they're actually like very loud people, like they're very funny and loud, which is kind of I always thought was ironic and I just think the that is such an awesome part of filmmaking is if you're making a movie about something niche or you're writing a story about something having to do like the research and actually become involved in it. It's like such an underrated part of it. I mean, I think about James Cameron being obsessed with submarines and making movies about that and that, leading to spaceships and the Titanic and like all of this stuff. I don't know. I'm just like obsessed with anything that I could make that could be in a movie. I bring my camera everywhere. I love movies. That's all it is.
Speaker 2:I think that's a good answer Excellent and today, from when I was a kid. Think about how good the camera and microphone quality is on a phone these days, compared to even five years ago. Technology is growing and it's becoming more and more accessible and a really good camera I don't know what you carry around with you, but a really good camera today is a lot more affordable and accessible than just a few. A short narrative that's like a two-day shoot this upcoming weekend.
Speaker 4:And then me and him made a movie last semester that we it's like a 10-minute short and that we just submitted to the Tulane Film Festival. So we're hoping we get in and get to compete for that Fingers crossed. And then also, like I'm always doing small documentary stuff just because I think it's easy and interesting and I don't know it's just like something to do.
Speaker 2:No, that's good. Anything to help improve your craft Better that than doing something that's not going to help you out down the road right, Absolutely.
Speaker 1:Right, right, and you're busy. This weekend I'm teaching a level zero free class for improv. So if you haven't taken improv whether it's with me or not, but I'm trying to get people in take a class or two. It's. The best thing about improv is that it frees you up from having to find the perfect thing to say or do you get to trust yourself and your response time becomes better, and it's just fun. So take your improv.
Speaker 4:I will do. Joey and I took an acting class last semester and that was. It was absurd, it was awesome.
Speaker 3:I love improv. I did improv when I was younger and also in high school, and I just saw an improv show recently at Tulane and it inspired me.
Speaker 3:I think I'm going to audition next year. It's so great to think on your feet and just like be funny and yes, and is such a good motto, not only for improv but just for the film industry in general. And when you're collaborating with so many people and in life, trusting someone's instincts is so important and I think improv is fantastic. Do you guys have another question for us? We could ask questions all afternoon One more question.
Speaker 1:Yeah, sure, kind of coming up on the time. So we'll hit you with another one of our favorites and I always give people the choice and, other than us, who is an actor that you really want to work with, that like a dream person to direct, or like a genre or type? Like I always say, mine is Star Wars. That's my goal. I don't care about anything else. I want to be an action figure. I want some money and be able to take care of myself, but I want to be an action figure on the shelf, especially if we start with so person or thing that you want to do.
Speaker 3:For me, my favorite types of films are animated. We don't call animation a genre anymore, we call it a medium, because animation can portray any genre. But I really, really want to make animated films. They just excite me a lot and I just think they're incredibly beautiful and interesting and can attack all ages and can also attack really thought-provoking and important subject matter. You were talking about working with actors. I always watch videos or read about when actors are in the booth recording voice lines for animation. To be a script supervisor or someone in the room watching, that would just be such a dream. Do you have a specific actor? The actress who plays Mabel in Gravity Falls? Her name is Kristen Schaal.
Speaker 3:Yeah, she has such an incredible voice. It sounds childlike. It's so natural. It's not like she's pretending to speak with a high voice or something, and it's not like she talks like a kid. It has a really specific gravity to it. I got to meet her Kind of.
Speaker 1:I was in Bill and Ted, the third movie, and I was going to be death's photo double, but I was waiting to find out. So I'm standing on set with my backpack, I'm all alone. They said wait here. I mean I could have walked over. There's no chairs, and what they do when your background is ingraining you not to bug the stars, you know, leave him alone, let him do the thing. I'm just standing there and I look over and there she is. The wardrobe lady is fixing her costume. Now it's kind of dark and it looks like the lady is shoulder deep in her thing and I'm just like what? And Kristen goes hi and I fanboyed out and I went hi and couldn't say another word. So that was my, my meeting, schaal. Hopefully next time will be better. Jack, your turn know.
Speaker 4:I've seen takes of him where it's, you know, a 10 minute long take, and he talks like the entire time and it's believable the whole time and it's just like I don't know.
Speaker 4:I just yeah, I'm thinking about the before trilogy. I can see that he is extremely talented and I also think, like what you guys were talking about earlier, about actors having to know what it's like to direct and vice versa. There's an interview clip of him I was watching earlier that he talks about. Not many great filmmakers come from the cinematography side, but a lot of great filmmakers come from actors who start directing and starring in their own stuff or just directing and producing. In general, I think that he would be awesome to work with and then kind of the spinoff on what I would like to do.
Speaker 4:I really enjoy storytelling in general. I love sci-fi drama, action. Psychological thriller is probably one of my favorite genres. I like being on set and working with people and I like every facet of making the movie. I think I've probably volunteered to do sound on more student films than I've actually worked on other departments, just because everyone always needs a sound guy and no one wants to do it. I love the art department because of my architecture, background and cameras and I just love all of it. I just want to eventually be in a position where I can tell bigger stories and reach more people.
Speaker 3:All right. Thank you so much for asking us some questions and thanks again for answering ours. Appreciate you guys collaborating with us students and I think finally we'll let you guys go. Just in time, just just.
Speaker 1:Sure, I mean, it was a great time you didn't have to do all that. You could have just asked, but we loved having you on. Hopefully we can inspire you. You've kind of touched our hearts. You've made these old men feel really important by you know.