Curry Café: From Script to Screen with Independent Filmmaker Robert Mann

In this episode of Curry Café, hosts Ray Gary and Rick McNamer sit down with guests Sue Wright and Bev Juday of the Wild Rivers Film Festival and independent filmmaker Robert Mann to explore the world of independent filmmaking. The discussion covers the unique challenges and freedoms of indie film, including creative control, funding, and […]

Episode Transcript

(00:04):
Well, hello again, KCIW
listeners, and welcome to Curry Cafe.
I'm volunteer and producer Rick McNamer. Every Sunday
from three to four, Your host, Ray Gary,
also our famous radio personality here at KCIW,
puts together a panel of guests to discuss
various topics of interest.

(00:24):
Listeners can participate
by texting questions or comments to (541)
661-4098.
Again, that's (541)
661-4098.
Now here's Ray. Tell us about today's show.
Okay. Before I get into today's show, I
wanna just drop a little word about what

(00:45):
I did last night. I went to the
haunted house
that I'm sure everybody in the community is
familiar with. Every year, Claire
puts on this haunted house and does a
great job. It's the
major funder of the Pelican Players. I didn't
say that correctly, but that's the story. And
it's a lot of fun. It's $15.

(01:07):
You're supposed to be at least 10 years
old, but I was
informed of a nine year old that was
in front of us. It's pretty it's it's
a lot of fun.
If you think haunted houses are silly things
for little kids, that's not what this is.
Just go do it.
Okay. And now we can go around the
table and,

(01:28):
have everybody that's here introduce themselves and why
they're here.
Well, hi, Bray. It's always good to be
back on the show. Thank you. Always good
to have you here. I'm Sue Wright, and
I'm one of the founders of the Wild
Rivers Film Festival. So we just finished our
third year, and we're back with Robert Mann,
who
was part of our first year back in

(01:50):
2023.
Good afternoon, and I'm Bev Juday. I'm the
current president of the Wild Rivers Film Festival,
and I'm here supporting Sue and our two
wonderful hosts and Robert.
Great. And I'm Robert Mann, and, I'm an
independent filmmaker, and what those two said.

(02:14):
We have an hour to fill. If you're
gonna if that's all you're gonna say, then
you're deferring. A long hour. Deferring.
Well, from what from, watching and listening, Robert,
and the ladies on the other shows,
he's got a lot more stuff to talk
about than just independent films. But
Absolutely. Interesting character. I I really enjoyed all
of all the shows that I've watched and

(02:36):
heard. Really have. Oh, good. Thank you.
So
so So So Phil Bettens. No. No. Maybe
maybe maybe there's somebody out there that doesn't
know what an independent film is, and
one of you can explain that.
Well, independent filmmaking
is basically you're on your own. It's not
a studio film. So studio films have studio

(02:58):
financing. They have
the help of a studio
distribution is kinda locked in. Independence
go independently. We look for financing, we look
for
the material first off, you secure the rights
to the material.
Once you do that, then as an independent
producer, you will get funding and then it
goes to casting, you find a director

(03:20):
to, to helm the film. And then after
all that's done, you are looking for distribution,
film festivals, that type of stuff.
I assume when you're looking for funding, you
probably have a lot of relatives that are
staying out of your way, like like you're
selling life insurance.
Damn it. He's trying to get money for
another film. Right. Yeah. They,
you knock on the door.

(03:43):
Hey. It's me. Remember? Your son? Your son,
remember? You're the guy that hasn't paid me
for the last one. Right. Right. Yeah. But
everything on that, I assume you think you're
gonna
get noticed or picked up or something.
Do the independent films, as you're
dealing with them now, do they make money?
Some do, yeah. Some do. Most don't.

(04:05):
It's the nature of the beast.
A lot of independent filmmakers,
there's a lot of different ways of going
about it philosophically.
If you're looking to make money, then
you have to
do the things that will make you money.
One of them is you,
and I talked to Sue about this and
Bev, and we talked about it at the
Wild Rivers Film Festival and the workshops,

(04:27):
a lot of times I'll work backwards.
I'll find
a genre or I'll know exactly how much
money I have, etcetera, etcetera, or locations,
and I write the script based around that.
And there's still a creative process to it,
but what you're saying
is, okay, right now

(04:47):
the main genre of films is action adventure.
I was talking to my distributor
and he said, Rob, if you really wanna
make some money, action adventure is the number
one. So you've increased your odds that way.
Horror and thriller is a drop below that.
And there is a big drop. And then
it goes horror, thriller,
probably family

(05:07):
comedy,
drama is
the least
marketable.
I would think that would be the most
difficult to pull off as an independent
film. It is, because action adventure, you're dealing
with a lot of
explosions and things like that and and etcetera.
But people do it on a lower budget

(05:28):
scale.
Now this is excluding, let's say, the star
factor. Once you put a star into it,
then
all bets are off because let's say you
get Jeff Bridges for a drama, which is
the least in terms of a genre.
But you put Jeff Bridges and now all
of a sudden that goes
up to the top. But you can't

(05:48):
pay him his full studio price. It's impossible
to make money. So you hedge your bed
and you work other deals.
Did anybody see
Copeland?
I did not. It
was with Stallone, Harvey Keitel, Robert De Niro,
a couple other people. That film was It
was stars. Yeah, big stars. And this was

(06:08):
at the height
of De Niro and
Stallone. So they were $20,000,000 players, dollars 15,000,000
players. Harvey Keitel was probably around 10 at
that time.
Well, they shot that film on a $7,000,000
budget.
And you're saying, Oh, well, how did that
happen when they- Yeah, let me get all
those guys. Yeah. So they made a deal.
They all loved the script so much, they

(06:29):
brought
their prices down so they could make the
movie.
They mitigate the risk now, but you've got
all these people. It was a success, and
it was a financial success and a
critical success.
But they shot it for about 7,000,000.
Stallone did it for scale, SAG scale, because
that's the minimum he could do it for.
But they got back end deals and, you

(06:51):
know, they got a percentage of the film
and things like that. So So as an
independent producer, you can work different ways
around certain challenges that you may have.
Actors,
if they have a really good meaty piece
and a great script and a great role,
they'll come down, especially those that have made
money and they're making money in a big

(07:12):
studio. They'll make your money on the big
studio of things like Iron Man. Yeah. But
then The dinner room does not need another
money from another big movie.
Probably not. No. I think he Oh, yeah.
Probably put food on the table without that.
So that's kind of,
independent.
It's kinda it's kinda nice to know that
there's there are people out there who are

(07:35):
doing something, creating some kind of an an
an art
without necessarily the idea of making big money
from it.
Yeah. Now you can you can go into
it saying, Okay, artistically, Woody Allen is a
great example of somebody.
He's been backed for years and years and
years. He has a very low budget,

(07:57):
and his people
understand
what a Woody Allen film is all about.
Now,
his demographics
are very limited. He's that New York-
New York tour comedy album. Yeah.
But he's
made a career out of that and he
has the budget low and everybody knows a

(08:18):
Woody Allen film.
But he,
nobody really sees the script. Nobody does anything.
Nobody tells him what to do or anything.
He's on his own, and they give him
that creative right. And he's not really looking
to
make money on it. If he does, it's
wonderful. But he's looking at the artistic
storytelling.

(08:40):
And his backers are willing to allow that.
Sometimes they make money, sometimes they don't. But
critically, I think he's got the most screenplay
nominations, and I think his actresses have won
the most
Academy Awards for
The casting in his movies are incredible. Right.
Because the because the stories are so good.

(09:02):
The the material is really, really good. So
these people will flock to work with Woody
on pennies on the dollar because they know
they're getting great material.
I'm trying to think who who Annie Hall
was.
Diane Keaton. Diane Keaton. I might have We're
just past two years. Mhmm. Ever since Annie
Hall, she's been my main squeeze, but Well

(09:22):
not too late now, I guess.
And not notwithstanding, Woody's,
got some odd background, but I think
he's one of the most brilliant
ever
filmmakers for me. I mean and I'm not
a New York guy. I don't know much
about New York, but the Manhattan and Annie
Hall, anything that had some it made me

(09:43):
want to be in New York.
Oh, don't don't don't take it that seriously.
Trust me. You you don't wanna be in
New York? Just watch it on on on
on Well, yeah. I'd probably
fall down when I was there. But, anyway
I lived my first thirty years there, so
I know
what I speak.
Yeah. So y'all out there, you can text
in,

(10:04):
(541)
661-4098.
Robert, now I heard Sue and Bev talk
about cinephiles. I don't know if I would
qualify myself as a I love movies. But
what about you? You started pretty young, didn't
you, as far as getting interested in movies?
I got,
seduced.
That's the best way to put it. Okay.

(10:24):
Okay. And
my mother was an actress and she brought
me on set,
and I've told this story to Sue and
Bev a few times, but I was brought
on set,
and
so I was intrigued by the magic of
movie making. And what happened was
this director,
they were doing what's called pick up shots.

(10:45):
So the principal photography was all done, so
the actors that they actually paid
were all completed, and they were doing other
projects. Well, they had to do a few
pick up shots, and one of the actors,
the lead actors,
who was probably
in his early 20s or whatever now is
just maybe 13 or so,

(11:06):
12 even,
he said, Well, listen, Robert, I want you
to go ahead and put on the character's
pants
and you're gonna walk here and your mother
is gonna put on the other character's
dress
and costume and you're gonna walk to the
door, etcetera, etcetera.
And I'm just thinking to myself, What
are you talking about? They know it's me.

(11:27):
They're not gonna know it's this other guy.
How are you?
So we shoot that. Okay, fine. And then
he has me do another thing where I
had to throw a beer can
at a sign,
left handed. He goes, Can you throw left
handed? And I was pretty much into sports,
but I'm not a lefty. But I said,
Yeah, I could probably do a sign. Throw
it, hit the You feel like a girl

(11:47):
from what you just Yeah, I know it.
Don't say that. I don't know. You can
still say that, can't you? I don't know.
No. Yeah. But,
so I did that and I'm still thinking
there these I'm not fooling anybody here. I'm
thinking, what are you what do you think?
And then we saw,

(12:07):
a screening of it. They showed for cast
and crew. They showed a screen.
And so
my parts come in, but they had cropped
it. They had shot it so tight. You
didn't see the faces. You only saw an
image. Yeah. And on the feet, they just
showed the feet when I was walking.
And, I went, oh, wow. That's that's amazing.
It looked just like the guy.

(12:29):
I've I've always wondered when I when you
watch a movie,
a a western would be a good example,
the hero or somebody is walking off into
the sunset to be the classic.
Is that really him, or is that just
an extra,
and he's a nineteenth person? Quite a few
body doubles. Yeah. Well, I'll tell you that
so you can bet if it was a
Tom Cruise movie. It was Tom doing that.

(12:50):
Yeah.
Yeah. Yeah.
I mean, some actors This is a body
double then. Yeah. Some actors just, that's my
part. I'm gonna do that. And you can
make it just a crappy ass movie and
use that publicity and it'll sell anyway. Probably.
You wanna see him fall off the plane
or something. Yeah.
Yeah, exactly. Well, you got the acting bug

(13:10):
early, apparently. Yes, I did get the acting
bug early. And you delved into all
acting, directing, script writing.
You've helped out the kids at the Right.
Rob was part of our instructional team for
the workshop at the workshop. Workshop. I don't
know why that word escaped me, but it
did. Yeah. Yeah. And it was a lot
of fun doing the workshop,
and the kids are so receptive.

(13:31):
You kinda have to entice them a little
bit. A lot of them are very shy,
you know, and acting,
this is why
doing an acting class, and I think next
year we're gonna do more of that,
because it takes a little bit of time
for them to get out of that shell.
And the more that you can play games
and the more you can do that, the
easier it is for them to get out

(13:52):
of their way when they're actually trying to
act and do something. I saw a little
bit of that when
we did that Wild Rivers promo thing. Yes.
And when you
which I love the last little progressive commercial.
That was active. Pregressive.
I'm sorry, pre aggressive. I wanna get sued.
But you were kinda coaching the kids. You
just got sued because she just grouted you.

(14:14):
I just got sued by Sue. Right. That's
right. But anyway, that was really cool. Yeah.
You were, you know, trying to get them
to, I guess, come out of their shell
a little bit, but the end result was
just hilarious. Rob actually ran them through an
audition. So they had they're all lined up
like they were at an audition, and they
went in one at a time in front

(14:35):
of a panel to
audition.
That was kind of nerve wracking for some
of those kids. It's nerve wracking for anybody
who goes. Even a seasoned actor will tell
you it's nerve wracking going in through an
audition. So, what I try to do is
when I'm teaching younger people or anybody about
an audition, I say, Don't go in thinking
it's an audition. Don't go

(14:56):
in thinking that you're trying to get this
job. You're trying to get the part. Go
in. You're an actor. Go in there and
perform. Just have it as a performance.
That's the mindset you need to do. I'm
gonna come in here. Don't worry about what
you think they may want.
You've got the material.
Do your own thing and go out there
and just nail it and just perform.

(15:18):
That's what they love doing. Actors love performing.
So just perform it. Don't worry about it.
Then it it takes away the nerves.
Well, speaking of nerves, I'm a I bounced
around a little bit because I but you're
Piper and Tupper. Mhmm. Stand up comedy.
I've always been a fan.
My wife and I used to go to
Sacramento in the early eighties. They had a
little downtown, Laughs Unlimited, I think. Young comic

(15:40):
guy I saw I I think it was
Elaine Boozler before she was
hot and heavy and,
Bob Saget, rest in peace, he's gone. But
anyway, fun stuff. But
going up on stage Mhmm. And performing like
that, I don't know. There's a what did
they say? Never let them see you sweat.
But if I was ever up there, I'd
just be like, Niagara Falls, man. I don't

(16:02):
think I could do it. You guys that
was fun stuff that you did. A lot
of fun stuff. And that had to be
a little nerve wracking the first couple times.
I would think it'd be easier to be
a heavyweight boxer than to do that when
your first couple of jokes bomb or somebody
starts yelling at them. Right.
Bombing. And I have I have been at
that. I've been to comedy shows where they've
been bad. Oh, well, it was tough. Well,

(16:23):
Jim Jim Carey, I see all Jim Carey
bomb many times at The Comedy Store, but
it it's
in a lot of comics, Mitzi sure encouraged
that. They actually encouraged you to go out
there and try new stuff, and she didn't
mind if you bombed. It's a different
time now. You really have to deliver.
But Jim never would have been able to

(16:43):
do what he did if he didn't try
to reach for the stars. And when you
do that,
there's a small percentage of the material that's
going to work. But when you do work,
it's like a golden nugget you find.
So you have to bomb in order to
be really great, like he has. And the
ones that really put it all out on
the line are the ones that are very

(17:04):
creative
and very
individual and original. You can always And almost
anybody can do comedy that has some sort
of sense of humor and be right in
this middle area here all day long and
never bomb and just be in here. But
if you want to achieve this way up
here,
you're going to go all the way down
to the ground a few times. To find

(17:24):
out where the line is, you have to
go to the line. Yeah, exactly. And even
maybe beyond the line. Well, yeah, you see
people like Colbert going beyond the line once
in a while, and
not not necessarily well, it can be in
his content, but
it's pushing the envelope. And a lot of,
comedians do that. Yeah. A good example of
what what you're talking about there is, I

(17:46):
guess, because one of my comic heroes right
there at the top is Richard Pryor. Mhmm.
And I saw some old videos of him
at times, and it was hard to watch
for me because he was kinda bombing because,
boy, that guy was just one of the
greatest in my opinion. Right. And, yeah, it's
kinda hard to watch that. I don't understand
why these these comedians have these very long

(18:07):
monologues. I mean, they're on stage for an
hour or more,
and they they just click right along.
Chris Rock. It was a it was a
show about Chris Rock several years ago
where they were just showing his monologue and
without missing a beat
or a word in a sentence, they would
switch from one to another location, different part

(18:29):
of the movie, different clothes, different
so somehow or other, he's doing his monologue
with exactly the same words in exactly the
same place every time. Yeah. How do you
memorize something like that? Well, you do. I
could see if you're telling jokes, remember the
general general gist of it and get that
correct, but to do it exactly the same
each time. Well, you do it's like a

(18:49):
stage play. If you've ever done a a
stage play and you've and you've
and you open
the play and it's playing for two months
or something like that,
it's ingrained in you. Now you can vary
it a little bit, and especially for different
audiences,
the cadence may be a tad different.
But you know those jokes work for the
most part. You know 99% of the time

(19:11):
when you have established X amount, it takes
years and years and years. When people When
you first start out, you know, Mitzi would
give you three minutes. She wants to see
you do a tight three minutes. Yeah. And
then it goes to five minutes. And then,
you know, ten minutes, eight minutes, twelve minutes.
Now eventually, you get to a headline when
you've got an hour, forty five minutes to

(19:32):
an hour of material,
but it
takes some time to get to that point.
You gotta throw out a lot of trash.
You
gotta And you gotta be Chris Rock. And
you gotta be Chris Rock. But there's other
guys that are, I mean, there's so much
talent out there we talked about. In Terms
of actors, writers, directors, comics,
there's so much talent out there.

(19:54):
Whether somebody is famous or not famous, some
people are just as funny as Chris Rock
and just as funny as Jim Carrey. And
they're great. I know a guy we used
to
watch them all the time, John Campanera,
and I still see him. He's in Vegas
now.
And we just love his stuff and he's
just so funny. Dom Herrera was another guy

(20:15):
that we used to love to watch.
Josh Johnson, have you ever seen him on
Wednesday? No. No. He was one of the
correspondents on The Daily Show, and may still
be.
And he,
he is incredibly funny. Look him up on
YouTube. But the interesting thing about him is
his
humor is so simple.
He just points out things

(20:35):
as as the way they are without making
a big deal out of it, and it's
it's and then he just kinda stands back
and gives you the opportunity to think about
what he just said, and it's just amazing.
Yeah. We were different. We can number one,
we were a team, and we played characters,
and we had musical. We were like
musical rock and roll comedy. We were a
cross between
Spinal Tap and Steve Martin

(20:58):
and Simon and Garfunkel. I mean, you know,
we we That's a good good
that's right there. Yeah. So you brought up
Simon or more Garfunkel?
Pardon me? Was it more Simon or more
Garfunkel? I was probably more Simon. He was
probably more Garfunkel.
You brought up Steve Martin. I actually saw
him many years ago at Tahoe. But there
was one thing it might have even been
an album title, but one time it was

(21:18):
on Saturday Night Live, too. He said, Comedy,
it isn't pretty. Correct. Yeah. It's a deadpan
serious face. And I think there was a
lot to that. Right. Yeah, no. Hard. He
was good. Now, he was a very original
in his standup. He would do all sorts
of fun things.
Tell you the truth, I was never all
that interested in standup monology kind of thing,

(21:38):
but I loved
comedy.
And
when an agent said
to myself and my partner, You guys work
really well together. You should be a stand
up comedy team. That's how that all came
about. Wow. Because we were active. We were
trained actors at ACT
and, you know,
film schools, UCSD,
and everywhere else that we went.

(21:59):
But, yeah. Well, let's jump to another it
says Genre. Is that how it's pronounced? I
think of Alex Trebek, genre.
Sure. You can pronounce it however you want.
Okay. But Halloween horror, let's talk about what's
coming up,
this weekend. Correct? Let's talk about that. Pumpkin
well, Robert, a couple of good flicks that

(22:20):
we're gonna be able to enjoy. Yeah. Absolutely.
I'm gonna let Sue and Bev tell about
what we're doing, and then I'll jump in.
Okay. With that. So we have,
Airbnb and Pumpkin Carver
playing as a double feature at the Redwood
Theatre here in Brookings on Thursday, October 30,

(22:40):
with the costume contest
prior. So the costume contest will start
at five,
next to the Redwood Theatre. We'll have the
red carpet out there, and,
Rob will be judging
costumes, and he has some prizes set up.
You wanna tell us a little bit about

(23:02):
prizes that might be in the Prizes? Works.
Yeah. You will win
$5,000,000.
Yeah. I bet it's
Sign this. Everybody come come on out to
try and get that $5,000,000.
So we can we can put a new
wing then on the studio. Doctor. Oh, yeah.
Probably a little bit less than 5,000,000.
But we're doing

(23:24):
DVDs.
We're doing autographed
scripts, original shooting scripts of the pumpkin carver,
DVD of the Airbnb,
posters.
The posters that we'll sign and things like
that. And? And?
A free entry to some Ducks tickets
coming up.
This is like a $600

(23:47):
gift, and you can get a free raffle
ticket
Wow. By attending
the Airbnb or Pumpkin Carver or both of
them
and,
fill out your raffle.
You can also get a free ticket if
you go on our website
and indicate that you're interested in receiving our
newsletter,

(24:07):
or just maybe you wanna volunteer with us.
We're
happy to have our audience,
whoever you are and wherever you are, let
us know that you're out there. So we
will give you a free entry, and you're
welcome, of course, to purchase as many more
as you like at $10
a ticket.
And then we'll do that drawing on Monday.
Not this coming Monday, but Monday, November

(24:31):
I think. First.
I think it was in it. Third. Third.
Right. Yeah. Monday, November 3. And so Thursday
is is the Redwood, Double Feature, red carpet,
and all that. 05:00
starts
the red carpet,
and then 06:00 starts RB and B, and
then right after that, probably a little bit
of a break, clean out the theater, and

(24:52):
then The Pumpkin Carver,
starts after that.
And, you can get one ticket if you
want, one film for $9. If you wanna
do the double feature, it's 13.
And then Halloween night, ladies, we're at Porta
Pints.
Yes. You're at Porta Pints,
South Beach
down in Crescent City.

(25:12):
And our host there,
plans to have,
of course, Robert and his showing of Pumpkin
Carver.
That's gonna start at 06:00, but you're welcome
to get there early.
Get your tickets. Come on in. Have a
drink or two,
and then we'll start the show at six.
At the end of the show, which is
ninety minutes, you'll have a chance to interact

(25:34):
with Robert,
get to know him a little better, and
hang out even a little bit. And then
there's three bands playing.
I'm not sure of their start time, but
it should be a really rocking night.
And, of course, again, just a reminder that
just for showing up down there, we're gonna
give you a free entry
into that raffle.
So here's what I'm gonna do right now.

(25:55):
I just thought of this for the month.
Oh, right. For for Porta Pints,
if the hundredth person comes in and pays
that ticket,
I personally
will will stand and and be the person
that they throw the axe around on the
axe throwing
contest. So if you're that one hundredth

(26:16):
So if so if you have a beef
with Robert Right. On anything. Or just a
beef with anybody and you're trying
to air out some frustration. And
And if you would like to interact with
Robert or any of the members of the
on the table here today, You can send
us a text,
(541)
661-4098.

(26:39):
(541)
661-4098,
and you can send a text to anybody
here.
Operator standing by? Outstanding by. Yes. They always
are. Fantastic.
And, gosh, we're about halfway through the show.
I just want to, I've been neglecting this
little part, but I want everybody to,
know that you are listening to KCIWLP

(27:01):
one hundred point seven FM here in beautiful
Brookings, Oregon.
So jumping all around, again, going back to
the
the shows that I've already heard you guys
have seen, All these movies, I was interested
that you were talking about some of all
of our favorite movies, and I think,
Wizard of Oz was brought up a few

(27:22):
times.
And I thought that was kinda cool because
one of my favorites still. Look. My favorites.
There was I worked for the railroad my
career and a lot of blue collar guys,
lunch packing, go hunting,
and there was only two of us that
we could we could both sing the Scarecrow
song without anybody. Excellent.
So we were fans of The Wizard of
Oz. I still am. Yeah. What can I

(27:43):
say?
It's a great fan of It's a good
show. I call it a perfect film. What
about King Kong? Oh, that's on my list
too. King Kong is the best movie ever.
Wait. Are you talking about the one in
1930 Yes. Of course. Isn't that the other
one? And the last one.
Not the Jessica Lange one is what you're
saying. What? Not the Jessica Lange one.
No. That was not only a bad movie,

(28:04):
but, you know, when when I watch remakes
of movies, I I always
like there to be a reprise in the
in the
in the
remake.
So at the end,
King Kong has fallen off the damn,
whatever building. Empire State Park. Yeah. And he's
he's lying there dead on the ground,
and

(28:24):
the
filmmaker
has
he has the obligation of saying it wasn't
the planes. It was beauty killed the beast,
which they did in the last one, but
he didn't say it. Yeah. That ruined the
whole movie. Or or that and it ruined
a pretty bad movie. So that was,
it's kind of the way I am. Yeah.

(28:45):
Then we probably shouldn't even go to the
remake of Psycho with Vince Vaughn.
I didn't do I have a shot that
was? I really would know it. Yeah. It
was a shot for shot too. Not only
did they remake it,
which I don't know why you would wanna
remake a classic,
but they did it
shot for shot. Wow. It was like, okay.
Oh. Why? Yeah. Why? I don't know. That's

(29:06):
the big question of the universe.
And what what makes Spielberg think he he
could,
remake,
what's that story?
How do you take an absolutely perfect movie
and remake it by screwing it up? Because
I watched ten minutes of it. It wasn't
very good. But anyway No. Oh. Well, then
we mentioned the cycleistic with the horror thing.

(29:27):
You guys also had one talked about your
favorite old horror films.
And, Robert, I I can't think of the
exact comment, but it it hit me home.
Like,
I'm not into the slash and the all
of that other stuff.
I have some
old movies
that were,
from The Haunting, one called The Haunting with
Julie Harris and Russ Tamplin. You guys remember

(29:48):
Russ Tamplin, the fantastic dancer? He was in
West Side Story also.
But it wasn't
you never really saw a ghost, but it
was all,
oh gosh,
character driven and just story driven. And it
was freaky.
Like The Shining.
Oh gosh. The Shining. Yes. Yes. I don't
like that movie. That movie is kinda creepy.

(30:09):
It's creepy. It's supposed to be creepy. Stephen
King. I don't like that kinda creepy, though.
Oh. But if we're gonna talk about all
horror movies, you have to talk about Bela
Lugosi's Dracula.
I'm not a fan. I hate the Bela
Lugosi's Dracula showing up on Thursday night. Yeah.
He is. Yes. He's been Oh, well, then
I better not say that. They're he's been
channeled. He's channeled. Okay. Okay.

(30:33):
So what what don't you like about Bela
Lugosi? Yeah.
I I guess he just wasn't a big
Dracula fan. Oh, the Dracula plan. So you
didn't care for the children in the night,
No. Never thought. Sweet music never thought. But
the another one I want to bring up
was called these are kind of obscure, but
I love them. The
Uninvited
with Ray Milland.

(30:53):
Has anybody ever seen I never saw that
one. Okay. I guess I'm going down the
wrong road. I should What about that one?
Ray Milland. Ray Milland. Yeah.
And,
well, it also okay. I'll stop there because
What about that one? The only one that's
on it. Where the beautiful girl is needs
to get away from the city.
So she goes to the cabin out in

(31:14):
the woods so she can get away from
a cell phone and write that book. And
on her way to the cabin, she runs
into somebody, gas station, and asks direction.
And the guy is kinda weird,
and it goes on from there.
I never heard 350
movies with that plot, at least. Oh, okay.

(31:34):
Or they get lost driving through the woods.
Okay. Well and another one that maybe everybody
is probably familiar with was House of Wax
with, Vincent Price.
Really, you know, not a lot of gore
and and crazy Mhmm. A not AI, but,
whatever they call that other stuff.
Just, just a good story, of course, with
Vincent Price. How could you how could you

(31:55):
Did anybody see the, The Others with Nicole
Kidman?
I haven't, no. They consider it a horror
film. I'm not sure if it's that, but
it's a really wonderful film.
And, it's with her and her two children,
and they're in this house, and they have
to black out all the the lights of
the house because children have this disease that
they're light sensitive and they could die from
it.

(32:16):
But anyway,
it's a very ghost oriented type of Yeah.
Thing. But,
I think that she has a monologue at
the end that's really wonderful. It's one of
her best performances on the show. I'll have
to put that one down in my to
do list. Yeah, and the children are wonderful
too. They're just so, so good. Okay. So
well done film.

(32:38):
Like I said, I don't think it's a
a horror they consider it a horror film,
but it's I think it's more of a,
I don't know, a thriller
going going into Like a ghost
ghostly kind of Yeah. There's a lot of
elements, a lot of scares to it, doors
opening and slamming.
This time of year Netflix
list fills up with that kind of film.

(33:00):
Tons of them.
I noticed the original Dracula, Frankenstein,
The Wolf Man are all play.
And I think the all time best one
with the
the confused a little bit of horror with
some comedy is, Mel Brooks' Young Frankenstein. Yes.
I'll have you seen it 25 times You're
talking to be in. Yeah. You're talking top

(33:22):
of the hell. Well, I mean, I just
thought that. Don't get no better than that
one. Alright. That's that's with Abby Normal. Yes.
And stay stay close to the candles. The
stairs commit to the tourists.
All good stuff. Well, it's that time of
year. Like I said, that's why we're focusing
a little bit on horror. That's why we're
here for the Halloween Halloween horror.
Yeah. Ghosts and goblins. Okay. Maybe we can

(33:44):
back out of this subject for just a
minute. Oh, no. Why? Oh, okay. Never mind.
No. No. No. No. I'm just using Somebody
mentioned the word volunteers before.
I did. Suppose we have somebody who don't
know nothing
and is not very talented,
but would like to come and hang hang
out and help.
We would love it. We would love for
you to come and hang out. Oh, well,

(34:06):
I'm kind of proud about me. I shouldn't
have been talented. Don't know nothing. There There's
no prerequisite
that you have to have any experience
doing any of this. What what what
suppose it was me I was talking about.
Just let's just suppose. Okay. Suppose And I
showed up someday and said you need some
help. We would say come on in. And
they wouldn't tell me to sweep up.

(34:27):
No. We would ask what he would like.
To KCIW,
like, with the person I just described, I
literally volunteered to be like the maintenance man
and sweep up. And
within a year, I was the president. So
it shows how hard up they work for
volunteers.
And I have yet I have yet to
sweep the studio even once.
There's so much to do Okay.

(34:49):
That what we try to do is ask
volunteers
what they're interested in and sort of point
them in the direction of opportunities
that match up with what their desires are.
And it works out well. And if you
try something and you just feel like, well,
that didn't work out. I thought I was
gonna have fun taking tickets, and I'm not.
Yeah.

(35:09):
Again, we have so many different things that
you can do.
It doesn't matter what time of day or
evening that you're available.
We can be flexible with all of that.
And you can work all four days of
the festival. You can work fewer than four
days. You could work two or one
or just afternoons.
Again, you know, don't limit yourself because you

(35:31):
imagine that it has to be
four hard, long Mhmm. Twelve or fourteen hour
days because it doesn't.
I've I've done those kind of things, and
they're actually turned out to be fun. The
fourteen hours goes by very quickly, and you've
made some new,
acquaintances, a few enemies, and you've, you know,
you had you had some

(35:53):
epiphanies, life changing episodes.
So we That's life changing. We actually have
a paid crew of about eight
for the film festival, and they they're the
ones that are there from
eight in the morning till after midnight.
And then our volunteers
typically work four hour shifts. Oh.
They might be

(36:14):
seating at one of the
four venues. They might be helping set up
the happy hours. They might be working the
after parties.
You know? So
whatever
whatever kinda
you like to do. Lots to do and
you can do as little and as little
as possible. To do where, actually,
we interview the filmmakers who are here

(36:36):
during the film festival for our podcast.
So
if you
like sitting in the sound studio or you
like interviewing people,
we need
photographers,
we need videographers,
so That's right.
We really do pull from the community and
it's a community event, the film festival.

(36:56):
Mhmm.
Oh, god. Yeah. It's a big help for
businesses around here and it's just the We
gather in the streets and gather in the
streets in between films and run into people
you know and at the
little
what did you call them? Parties or The
happy hours. Happy hours. Yes. Yes. Happy hours
and after parties. So I think we had

(37:18):
11 different parties last year. And you're after
after parties? Seems to be the big focus.
Let's get there in the party.
We we might get a reputation as the
party people. Hey. That's that's good. But we
did our our happy hours. We did them
in local art galleries. Mhmm. Right. And that
was really fun. It was much of the
art gallery folks, and it was fun

(37:40):
for a lot of the
the citizens of Brookings, and not counting our
filmmakers,
because many people here who are local hadn't
even been in some of those galleries.
Oh, there was one Including Lisa and I
had ever been First time I was in
the Brian Scott, and it was great. Mhmm.
Just so fun. Yeah. Yeah. Yeah. And they
had great
hors d'oeuvres and drinks. Mhmm. And many drinks.

(38:03):
Yes. So every single day was a different
art gallery. Yeah. And then in the evening,
we had
after parties.
And for those who like
to party long and hard,
hey, you had places to go and you
could run into filmmakers there. Our filmmakers
tend to like to party after the end.

(38:23):
They were the night owls. A lot of
parties. So for people By night owl, you
you Yes. By night owl, you're talking about
08:00? Or
Well, for me,
I know. When I when I saw the
the hours of the last one, I said,
oh, I'd like to have been on that
way. Yeah. I did a couple of 12:00
nights, and that was But for volunteers who
were interested in some aspect of filmmaking, including

(38:45):
our the students from our workshop, it was
a chance to get to talk to filmmakers.
Mhmm. Some of the filmmakers that are here
are student filmmakers.
They're in film school. And some of them
are new in their careers.
And so they got to talk to
lots of different filmmakers
here and there. It was

(39:07):
really great conversations
that occur during
the film festival among
community members. I think I think that's one
of the most fantastic things about it,
is that given where our location is,
how likely is it that some of our
kids in this town will interact with filmmakers
on a one on one?

(39:28):
Before the film festival?
Probably not too likely. No.
I mean, it's just such a great opportunity.
Yeah. And one thing that the film festival
people were talking about a lot was
we live in such a fantastically
beautiful area
that Yes. It's becoming more popular with
people wanting to make films here. Mhmm. Yeah.

(39:50):
Dan Springen, our executive director,
has been saying it's kind of a joke,
but he's been saying you can put a
camera on a tripod and spin it, and
it doesn't matter where it stops. It's gonna
be a beautiful setting. Right. When I moved
here seven years ago, that's exactly what I
was thinking. I I it's magnificent here. Mhmm.
Just the scenery alone. Sure. So and real

(40:10):
quick, back to you, the independent films. And,
Robert, you had mentioned, yeah, people can make
money in independent films. What about some independent,
maybe,
actors or actresses
that has gone on?
Do
any records of that, you know, some somebody
that started in independent films and
Well,

(40:30):
the independent
film
really began with John Cassavetes.
I don't know if you remember John. Remember
that? Right. And even even to tell you
the truth on some level of
a lot of people don't realize this, but
Jerry Lewis
used to make little movies, little home movies
and stuff like that. He would actually screen
them

(40:51):
to invited
industry people and this was even during when
he was with Martin and Lewis and making
all these big films. But Jerry, because he
wanted I had no idea. Yeah, when he
wanted to learn films, and he had Dean
on a couple of the
films that he did and he just shoot
them at his house, but
that independent
spirit that he had and that was kind
of his learning ground for for independent filmmakers.

(41:14):
But all of that, John Cassavetes, and it
just keeps going
on and on and on.
And who's the big guy for independent?
The producer,
Ron Howard got his break from him too.
The guy would back
all these really low budget indie films. I
forgot his name now, but he did it.
Oh, I just had it. Uh-oh. But anyway,

(41:36):
but yeah, you know, Rodriguez did independent films.
There's all these guys
that started, Quentin Tarantino,
in a way. Tarantino
did Richard Linklater comes to mind. Yeah. He's
out of Austin.
He did School of Rock and he just
didn't like being in this, you know, that
was his entree into

(41:58):
Hollywood and he didn't like it. He went
back to Austin.
Yeah, the Film, boyhood, the
The The Independent filmmaking
gives the
artist, the filmmaker,
a lot of freedom artistically.
And especially if you're
in your contracts with the producers
that you have your final say and everything

(42:20):
else, they let you be.
And that's the beauty
of it. More artistic license, maybe? Much more
artistic license
and artistic freedoms
to really express what you want to do
as opposed to having a studio on your
back and
executives
on you and telling you what to do
and what not to do

(42:42):
artistically.
And it's really frustrating sometimes.
Who you should cast, who you shouldn't cast.
There's all sorts of, there's a famous love
thing, line in The Godfather
where the studio didn't want Al Pacino
to play
Michael Corleone,
and
Coppola was insistent. So the studio forced

(43:06):
Coppola to keep auditioning
all these different acts. So he brought in
everybody.
But what he would do is,
he would
like for and this is for days.
So every day, he'd bring Al Pacino back.
So they saw him doing another audition. They
saw him doing
and Al was even saying, he's saying, Look,

(43:27):
look, Francis,
they don't want me. It's fine. We'll do
another movie. And as an actor,
if you're not wanted, it's really difficult for
you to perform if you know that you're
not wanted. And he was expecting any time
to be fired. Once they
started rolling,
the studios, the executives would see the dailies

(43:48):
and they were just not pleased and he
was expected to be fired at any time.
Wow. Until the scene
where it was the restaurant scene where he
shoots the
restaurant?
Yeah. In this restaurant scene where he shoots
him in the head and he walks out.
Then all of a sudden they go, Oh,
okay. We see it now. I'll be gone.
We find it. How can you expect to

(44:08):
find a more perfect person to play that
role? Well, I know. He's just
brilliant in it. Yeah.
Well, a lot of people, don't forget,
in Rocky,
they all wanted, they loved his script, but
they wanted
all these other actors to play Rocky. They
never saw
Stallone in it. He was a nobody and
they wanted Redford or they wanted

(44:30):
James Caan. I can't even imagine that. I
can't.
He's too pretty to play Rocky. Yeah.
Ryan O'Neal, they had all these guys. They
were all the pretty boys. Yeah. They had
all these people,
and he just said no. No. No. And
held out. And it's just I mean, you
it's hard to picture anybody but Stallone in
that. Yeah. I wanted to Ronald Reagan was

(44:51):
one of the people that was
chosen to play Rick in Casablanca.
Can you imagine Ronald Reagan doing that? No.
That was a that was an incredibly
accidental movie. It was a low budget B
movie. It was. Casablanca.
Right? Yes. Yeah. And didn't I mention that?
I guess Yes. I did. No. No. No.
You did. Okay.

(45:12):
And I I just bought another copy of
it a couple of weeks ago, and I
I cry every time I watch it. Right.
Yeah. It's great. Not so much even that
it's such a sad thing. It's just it's
just so beautifully put together. Oh, yeah. So
do do you know the story about the
the writing of that and Ingrid Bergman? You
know? Because she was
she was the lead in it. Mhmm.

(45:33):
But they were writing as they were shooting.
Yeah.
And when they
went to the airport saying they weren't exactly
sure how it was gonna end, at least
that's some of the hype. I know what
it was. Well, they weren't sure
how it was going through the whole film.
So she comes up to the director,
who was it,
oh, with the C, I forgot the same.

(45:53):
Anyway,
but she comes up and she goes, Okay,
so am I in love with Rick
or
am I in love with
Laszlo?
Victor Laszlo, right? Yeah, yeah. So who and
he goes, You know what?
We haven't figured that out yet. Play it
cool with both of them.

(46:13):
And if you haven't seen the
Saturday Night Live alternate ending
to that movie. Go to your computer right
now. Bring it up on YouTube. Keep the
Kennen.
Yeah. That's unbelievably
funny. Okay. Yeah. Really good. Good take off.
Well, play it against Sam was the take
off of that. Woody Allen's played against Sam.
Yeah. God. Yeah. Really funny. But this is

(46:35):
just the Saint at the end where she's
deciding whether or not,
she should go with Rick or or Right.
And then and then Rick says, well, if
you, you know, if you stay here with
me, you'll find probably wind up
in a concentration
ramp.
And then she starts to change her mind.
Katnissen and Tristan camp? Is that the plane
I'm supposed to you you yeah. Obviously, I

(46:56):
don't do it as well as either, but
you really have to watch that. Everybody out
there, write it down.
Write it. We'll wait for you to watch
it. In fact, it's not very long. Do
we have any
text?
No. We do not. Nobody's but here it
is. Yep. Y'all down to oh, gosh. A
little more of a ticket. You're gonna have
to hurry now. (541)
661-4098.

(47:18):
Yeah, please.
And that $5,000,000,000
goes for the texting too. Oh,
so hurry up. That will get a flood.
No, man. That's
I was trying to now my memory was
triggered then, of course, it it left me
right away. But,
well, oh, I was thinking black and white.

(47:39):
Does anybody are there any I've always
just an old fan of black and white.
I don't know what it is. And,
do any independent
films now
think about doing any black and white
for effect or for mood or
All the time. Really? Yeah. People do it
all the time. I was actually thinking for
my next film, Kissing Raindrops,

(48:00):
I might do
a black and white
on a throwback version
of one of the scenes. So we're talking
about that. My cinematographer and I are discussing
that. Or maybe even doing some desaturation
color effect, and then at the end, it
will get more count. Okay. But I had
a film that I was doing with

(48:20):
Brian Austin Green,
and this is an interesting story, but it
was called Shades of Love. And I had
written it and there was about four different
relationships.
And I was shooting that on a color
palette
with every relationship with it. If it was
a hot relationship, I had kind of like
a reddish palette. And a cool relationship, I
had a blue. And

(48:41):
Brian Austin Green's relationship
was basically black and white with people. So
I was shooting all that black and white
and at the end, all these
interesting
relationships,
them being so tumultuous and everything, at the
end, all these relationships, but then it would
gradually come to the end and it would
be in color. It would be

(49:03):
in perfect
color.
Well, that's kinda like Dorothy getting to Oz.
Kind of. I like that. Yeah. Too bad.
First part was black and white and then
went to color. Right. Well, so Robert, how
many movies have you done
roughly?
You can count them. Yeah. We've done, I'd
say, three and a half features because that
one Shades of Love, we only got to

(49:23):
shoot half of it. That's another story. Okay.
Okay. But that one, producers ran out of
money and SAG shut us down. Oh. Yeah.
Wow. So
that, and I've done about four or five
shorts
that, and these are the ones that have
been produced and I've written about 40 scripts.
So Okay. So you still have the remnants
of that film? Could you pick it up

(49:43):
someday? I do. I have I have, you
know, the the scenes that we shot, you
know, and some
really good
scenes. You know, it's a really good Or
you could just put it together in scenes
like,
plant plant nine from from
Outer Space that was put together with
bits and pieces that were from other films.

(50:05):
Right. Yeah. I don't I don't own the
rights to it, though. I I was I
was a gun for hire on that one.
It's a right direction. I don't think anybody
claimed the rights to the plan nine. Yeah.
No.
Now can you talk I heard you also
talk about that. Is it kiss I'm sorry.
Kissing Kissing raindrops. Raindrops. I was gonna say
rainbows.
So that one is still in

(50:26):
production or looking? As soon as I get
done with this, I'm in preproduction right now.
This is my book. I've got my shot
list right here, and I've been working on
that while I've been here.
And we shoot the first part of that
in November,
and then
we shoot the second part of it in
March. Okay.
Location
areas?

(50:47):
It's in Las Vegas. Las Vegas. I'm gonna
shoot it at my house so I can
save money. Okay. Yeah. So most of the
And right off your house? And right off
my house
and into the sunset.
That is the western. And there's another location,
a cemetery,
So I've got that worked out with the
people in Las Vegas.
And I just finished casting it, right before

(51:07):
I came here.
And so, yeah, we're gonna we're gonna shoot
and it's a short. It's about 23 pages.
So we're gonna shoot
the seventeenth, eighteenth, November 19, and then there's
a hiatus because I'm playing the lead character,
and I have to drop about 20 pounds
Oh. From the first part of the shoot
to the second part of the shoot. Oh,
not from what you are now?

(51:29):
20 basically from what I am right about
now.
Where are you gonna I'll be very skinny
and jaunt and Yeah. Yeah.
Speaking of scary movies, which are not anymore,
but I just thought to fit now with
Night of the Living Dead, I think, is
the scariest movie ever made. No. Didn't see
it, so can't comment. No. The the director
was that was that George,

(51:50):
was he that George,
who is it?
Can't remember.
When I was doing The Pumpkin Carver,
we actually took this to
Joe Wolfe and Joe Wolfe is the one
who produced Halloween.
And so we were, my producer had taken
it to him and his daughter was running
the company and we were trying to get
them involved in it. And he said, and

(52:12):
he showed me all these Mike Meyer dolls
all along. He had them all laying all
over the veil, all these different ones. And
he says, we want the pumpkin cover to
be you know, have all these little pumpkin
cover dolls. That's what we need,
ancillary rights and da da da da. And
his daughter,
they read the script, they liked it,
and they didn't want me as a director.

(52:33):
There was a couple of reasons. One of
them was they had made some suggestions and
they said, You know what? It's your script.
You don't have to do it. But we
think instead of
the protagonist
being a,
no, the antagonist being
a fencer,
carving Pumpkin's face, I had him

(52:53):
as a red herring because he's a fencer.
I'll make him a football player
or a baseball player.
Oh, fits right in.
I have no idea why you didn't think
of that. I didn't. That's
that's why you have to have stuff approved
by people. Right. It went right over my
head. I said, Oh, the obvious, the baseball
player. He was bludgeoned. But if you had
somebody at home, you could have done this
stuff, Bob. Yeah. Maybe a five year old.

(53:15):
Yeah. So anyway, needless to say,
that didn't work out. She didn't,
How am I supposed to hire you as
a director if you can't even take some
advice when you're writing it? And by the
way, I did a whole rewrite for them
for free. Oh, my God. So they didn't
even pay me for the rewrite and I
did it to appease them on some of
the things. They also wanted it to be

(53:38):
mostly all white characters. I had a lot
of different, I had some other
African Americans in it. I had different
nationalities and stuff.
And they thought it should just be, it's
gotta play to Middle America. It's gotta play
it's gotta have all these white characters. Good
heavens. Yeah, so needless to say, This is
why you remain an independent character.

(54:00):
For wonderful reasons like that. Willie Nelson has
a song where he, I don't remember exactly
how it goes, but
he's telling all you record producers and people,
you you know, you you go to hell.
I'll write the songs. I'll do that. Yeah.
Then they try to change his songs around.
Mhmm.
Yeah. It gets crazy. Yeah.
Before we go, I have a shout out

(54:20):
because we're doing all this Halloween stuff. But
then Halloween
is over,
and we actually have a film screening
on November 1
at the afternoon indie series at the library.
And it is actually film related because it's
Eve
Annenberg's
The Work, a Conversation,

(54:40):
and it's a documentary
about the three women who launched
the film school at Julliard.
And so that first
cohort included Robin Williams.
And because these women were in their eighties
when Eve begins the documentary and one of
them is not well,
She expanded the documentary to talk to a

(55:01):
lot of these
people who were at Julliard in this first
cohort
and have gone on to be big names,
but not all of them got through the
film program.
So
it's it's a really fascinating film. And, again,
that's November 1 at Chetco Library. At two.
At 02:00.
Okay.
That's great. Yeah. Yeah. Yeah. We are kinda

(55:23):
getting short on time. Three and a half
minutes left. So
first, I wanna thank you all for being
here. This has been fantastic. And Yes. Very
interesting discussion. It's always good for Ray and
I to just sit back and let the
guest talk. Yes. Their thing.
Thank you for having us. Oh, appreciate it.
No. This has been great.
Yeah. So like I said,

(55:44):
pumpkin carver,
RB and B Mhmm. Coming up
the October 30, Thursday, this Thursday. Okay. Okay.
At the Redwood. And then And then Uh-huh.
Porta pints on Halloween
evening
with axes and beer. Yep. Okay. You you
always wanna have on Halloween axes, beer, and
a horror movie.

(56:05):
So that sounds great about the fact.
Okay. It doesn't get better than that. Let
me tell you. You know? Oh, and don't
forget that $5,000,000
that that one hundredth person. I I think
there's gonna be people out there expecting some
$5,000,000
I think you can have a lot of
a lot of people standing by the door
counting who's coming in. Yeah. Yeah. And then
right at the end, you're gonna have

(56:27):
15 people join a diner. Raffle tickets. Yes.
Oh, yeah. Yeah. Yeah. It's called modeling. Folks,
it's called movie money. Okay?
Oh, okay. Movie money. Come on.
Sort of like monopoly money. Well, we we
like to call it God. Movie money.
That's nice.
A nicer spin to it. Yeah. But above
5,000,000, nonetheless.

(56:48):
Hey.
You know? It'll look good anyway. It's probably
better than radio money,
Yeah. Yeah. Did we get that? No.
No. This has been great, man. I like
I said, this was my first foray into
the Wild Rivers
Film Festival this year, and I just had
a wonderful time.
And,
I I will try to double up my

(57:10):
caffeine intake to make both feature films this
November I'm sorry, October 30 because I do
my day. Yeah. Thursday night. Not a party
night. But
But Friday will be. So you can join
us again on Friday. Down to the Crescent
City and the Port Of Christ. Look. No.
Look. Look. You're just gonna wanna start partnering
a little earlier. That's on Thursday.

(57:33):
It's a long weekend. Come on. Oh, when
you're retired, every weekend is a long weekend.
That's right. People ask me what day it
is, and they think I'm getting seen now
because I don't know.
I don't I don't care. It's the only
only thing, one thing that I have to
do during the week. It's all Saturday night,
isn't it? Yes. It is. Every day I
think the people at the stores are getting

(57:54):
tired of hearing me saying it. Yeah. Well,
it's me every day Saturday.
Get out of there.
And people think that the film festival is
just four days in August and the third
weekend, but we're actually hosting events every month
more than once a month. Oh, yeah. For
sure. So the
afternoon indie series on the first Saturday at
two
and the art walk movie talks on the

(58:16):
second Saturday between three and six at Compass
Rose with the short film we talk about.
Oh.
So and then our special events, like having
Robert Mann here. Yeah.
Thank you. So be sure to check out
our website,
wildriversfilmfestival.com.
Okay. And our Facebook page, the verified page.

(58:37):
Wild Rivers Film Festival verified page. Alright, y'all.
The music's here. It was a great show.
Show. Thank you. You've been listening to KCIW
LP one hundred point seven
FM in beautiful Brookings, Oregon.