Friends on Film
A podcast from Arthouse Houston—formerly known as Friends of River Oaks Theatre—a community non-profit, shining a new light on the world of film, the theatres that show them, and the artists and individuals who make it all possible. Each episode features lively discussions spanning the many areas of film, rooted in its history, present state, and future, and highlighting local programming and festivals in Houston and across the greater state of Texas.
Friends on Film
Take Two! Two Women, Second Take, Second Life!
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To learn more about the Friends of River Oaks Theatre programs and efforts to preserve this historic landmark. visit the website at saveriveroakstheatre.org, like, follow and share on instagram to be sure not to miss a thing at @friendsofriveroakstheatre
Howdy folks, welcome to Friends on Film and Other Creative Mischief, brought to you by Art House Houston, formerly known as Friends of River Oaks Theater. I'm your host, Rachel Valentina Costa, Houston-based filmmaker and programmer.
SPEAKER_02And I'm Justice Terrapelli Jamail, writer, filmmaker, and board member of Art House Houston, a local nonprofit from Houston, Texas. Every episode will bring you engaging interviews with filmmakers, historians, experts, and enthusiasts, as well as people who keep arthouse theaters alive across the globe.
SPEAKER_03And welcome to this segment of Arthouse Houston's Friends on Film. I'm Robin Jones, and I'm really excited to have with us today Catherine Leger, the playwright, the screenwriter, who decided to co-adapt or remake an early 70s French-Canadian sex farce, I guess, Two Women in Gold, which has now been renamed for the 21st century Two Women, which is the English translation of uh Dufme en or. Am I saying that right, Katherine?
SPEAKER_00It was perfect.
SPEAKER_03Thank you. Katrine has heard me say the caveat several times of I speak terrible French. So she's being very kind. Thank you so much for being here, Katrine.
SPEAKER_00I'm so happy to be here. Thank you.
SPEAKER_03I got to watch the film last night. I loved it growing up and going to uh art houses in America, especially in the 80s and and 90s. We were blessed with a plethora of uh independent filmmaking, not just from America, but from around the world that seemed to duplicate uh the wonderful renaissance of films that occurred in Hollywood in the early 70s, these more people-focused films, kind of humanistic films in a way. I just thought it was fascinating that this particular early 70s film was something that was how did it come to your attention to even see or remake? What was the process in that?
SPEAKER_00Well, when I was doing my previous movie, which was called Slut in a Good Way, which is a comedy also, but about young women's sexuality, we were looking for movies that would be either comedy or like feel-good movies about women's sexuality, and we realized there was not that many. It seems like uh women's sexuality is more about the dangers. You know, it was like if you have sexuality, you're gonna be eaten by a shark, or you're you know, you're gonna have uh an undesired uh pregnancy, and then so there was a big lack of films that would address women's sexuality but without the drama. And then that's when I watched Two Women in Gold, the original film again, and it was so unapologetic for a 70s movie. And I was like, how is it that in 50 years we haven't like this movie where like women it's not like edgy is feminist in a way, but it's not about the message, it's just about the human and the comedy and life, and it seemed we were scared to redo that movie, so I'm like, let's do it, let's do it again.
SPEAKER_03You embrace that which you fear in terms of uh creativity.
SPEAKER_00Well, yeah, I was just surprised, and it's weird because often people would be like, Well, aren't women sexually liberated? Haven't this happened yet? And then I'm like, Okay, well, give me examples of movie comedy, mainstream movies that like present women who are free and they don't have to be punished at the end, and there's not that many, so I'm like, let's do it.
SPEAKER_03That's terrific. And you had worked with Chloe Robich, the director, before in other projects?
SPEAKER_00No, we had been like trying to find the right project for us because uh, you know, we need to both fall in love with the project, and she also liked that movie. It's a really well-known movie in Quebec, that has to be said, but she also saw the feminist angle, which for a long time people forgot about it. They were more like about the male gaze, but she saw the potential just like I did, and that was uh when we decided to go for it together.
SPEAKER_03That's uh such a great story. You guys didn't even know each other, and yet the film that I saw last night was very much it seemed like everybody was engaged and everybody was on the same page, and it felt truly like a team effort to uh create this world of the story. And I'm sorry we don't have uh Corine today. I know she apologized for not making it, but that was something I kept thinking about was what about it did everybody lock into as their North Star? What would you say was kind of the thing that everybody could kind of focus on while creating within that structure? What do you think?
SPEAKER_00First of all, this idea that we were doing a remake of a cult movie was really exciting. We came with like a really strong branding that at the same time we know we're getting people excited about the branding, but we're doing something else. We had this little um guilty and fun excitement uh of like we were doing something maybe we weren't supposed to do. And uh I think we all like that feeling, but also the idea to make a movie that felt real but funny at the same time, and you know, there's some scene in the movies that they could have done it differently and it wouldn't have been pretty dramatic. We have all these discussions about antidepressant, and in a relationship, like when the husband wants the wife to maybe keep taking her antidepressant, it's a really serious matter. Like the main character wants to stop, and the husband is like, maybe you shouldn't. And for me, it was a really it's touchy, you know. It's like, is he being nice or is he trying to control her? And so we all knew that we needed to be on the same page and do this find this tone where it feels real, but it's also funny, because that was the point. We didn't want to make uh drama out of it. I think that's where we all really worked well together. And Karine and Laurence, they're like amazing actresses that have huge range, and they right away at the audition, we could hear it. They had it, it was perfect.
SPEAKER_03The chemistry with Karine and Laurence was the other actress, right?
SPEAKER_04Yeah.
SPEAKER_03And then the actor who played David and Corinne, and then Laurence and the actor who played her husband. I just thought it was very lived in, and that's really hard to do effectively in film these days. You always feel some sort of insincerity, I guess, or a lot of the time, and and the fact that you guys were able to get that I thought was uh just terrific. I did want to ask you this podcast is part of a non-profit called Art House Houston, and we love putting up film that's foreign language or artistic or independent or documentaries or restored classics, and we love doing that to sort of grow the community and the culture in the community. I was wondering what was your formative movie going experiences like? Can you remember a movie that really sparked you as a young storyteller?
SPEAKER_00Well, it's funny because like I find like the Durfamana was released in 1970, the original movie, and I love all the movies from that area because I find they are like so jazzy. Like it seems like the structure is not as important. It's like we're focusing on the characters. Sometimes we're going like in a scene where like the scene could totally not be in the movie, and the movie would still work, but the scene is still there, which like as a writer now, like I feel like we're so structure and obsessed. We want everything to be related to the main character, to the main story, and there's not these little gems of like jazzy moments in a film that you're like, I don't know why I'm watching this, but this is lovely and I'm enjoying it. So there was a lot of Quebec movies, and I don't know if they were released in the States or in the that there was like OK La Liberté, Lo Chaud, l'eau fret, all these movies that for me were capturing the magic. And sometimes like we're so obsessed with structure that like we forget the magic.
SPEAKER_03100%, yeah. The first time I ever watched, I think, a Quebec film was probably Denise Archand's uh destruction of the American Empire. I'm probably messing that up. And then um Jesus of Montreal, which was just this mind-blowing experience. I think though, going back to the early 70s, you know, when the original French Canadian film came out, it was a a time of great upheaval, kind of worldwide storytelling. People had been influenced by seeing, you know, the French New Wave and Kirosawa and Italian films and things like that. And so you had this original kind of cult classic in Canada, as well as, you know, Cassavetti's A Woman Under the Influence or Alice Doesn't Live Here Anymore, Diary of a Mad Housewife. All of these films are coming out at about the same time. And I was wondering if any of those were kind of touchstones for you guys, as much as the original film provided a structure that then you could either follow or not follow.
SPEAKER_00Hmm. I think it was more based on like how we allow ourselves to go into the dialogues. As like you were mentioning Denis Arcan, and I keep forgetting to mention him, but he's like genius, you know, he's so important, but there's so many dialogues in Denis Arcan's movie. Like people talk for a long time, and it's amazing. And then you have after that like Xavier Dolan. He went to Cannes with all his movies. Maybe I'm not saying it right anyway, but he also uses a lot of dialogue. And these two come out where, like, for many years in Quebec, people were doing like movies with people who don't know what to say to each other, movies with less and less dialogue. And so, like, I come from theater, right? So I love dialogue. But it's not because I'm lazy that I put a lot of dialogues in my movies, it's because I love it. But like, it seemed like people were like, maybe there's too many dialogues. Like, I would hear that a lot often, and I would be, but what about Denis Arcan? What about Xavier Deland? Like, are we allowed to use dialogues even in movies? It's not because I come from theater and I didn't take enough movie lessons, you know? And so I think we fought for those dialogues using examples like Denis Arcan and Xavier Deland, which is for me, comedy comes from dialogues. We needed those.
SPEAKER_03I was gonna mention Corrine's character, Florence. You have equal dialogue, right? But you also have her physically just kind of very loose and almost prat falling, or doing these funny dances when she's by herself, and you know, that kind of physicality. Like later on, she's playing soccer poorly, you know.
SPEAKER_00Yeah.
SPEAKER_03And so I would say the concern of too much dialogue is in this case, organically it happens when it happens, and when it doesn't happen, it's fine, it's part of the storytelling.
SPEAKER_00Exactly. Katin is brilliant and funny like that. Like she had a lot of improv, and like I there's this scene at the bar, I'm not gonna tell, but like there was so much improv in that, and the scene at the bar is one of my favorite because she's just like when she gets in the zone, she's so free.
SPEAKER_03Yes.
SPEAKER_00And like there was nothing that would stop her, you know. And I remember we shot that scene at the bar, and the beginning she was like, I cannot drink too much beer because like I'm gluten intolerant. And then in the end, like she just went for it. As she was getting in the zone, she goes and she drinks the entire picture, you know, and we're all on set. We're just like it's an easy example, but like she's like that. At one some point, she's going in and like nothing will stop her.
SPEAKER_03Well, I love talking about this movie, but I also want to talk to you briefly. You're a playwright, you say you come from theater before film. And I was wondering, people think they're the same discipline, but they're actually different disciplines. And I was wondering, is there at this point one you prefer, or do you just like jumping back and forth between film and theater?
SPEAKER_00Um, it's interesting. I think there's a reason why I write a play first, and then I love adapting it to the movie. When I'm writing theater, I'm a bit more creative. Like I have less voices in my head telling me how a screenplay should be written. It's funny that like for novels or play, there's no books about how to write the perfect play. But there is so many about movies, and I'm like, wow, why is that? So if I write the play first, all the creativity and the freedom helps me find the characters. But then I'm happy to bring the characters into the movies because there's so many more possibilities of like intimacy, uh more like, you know, you can guess more information just on the acting. So I love both. I need both. Because I feel like it's not finished after a play if I didn't do the script after. But this comes from necessity too, you know, because we're really small in Quebec. So if I was just a playwright, it's hard to make a living.
SPEAKER_03Right. I just wanted briefly, your credits include the film and play Babysitter. I think Two Women was also a play, but you adapted it from the early 70s into a play and then adapted it into a film, right? Is that correct?
SPEAKER_00Exactly, yeah.
SPEAKER_03So film, play, film, right?
SPEAKER_00Yep. Crazy like that. But it was good because like the theater will really help you find the characters. You really have to dig to write those dialogues, and like you have nothing on set, you know, you have just the actors. So you really need to find the character's identity, let them talk, hear them out, and then when you go back to the movie, it was a real adaptation. I think if I would have done a direct remake, the movie would have been like way more like the first one, and maybe that would have been less interesting.
SPEAKER_03Well, thank you so much. This has been such a great talk. I wish we could talk for 20 billion more minutes, but we've got maybe a few seconds. For all of our uh listeners who still struggle with what I think it was the director of Parasite called the one-inch high barrier of uh subtitles. I think you would agree with me that it's important to witness and see cinematic storytelling from all over the world. I just want to thank you for uh being a part of that for us in Houston, in America.
SPEAKER_00Thank you.
SPEAKER_03And congratulations on winning the Sundance Award. That was so terrific and certainly well deserved.
SPEAKER_00Thank you. I was gonna say at Sundance, people laughed all the way through, even with the subtitles. It was amazing.
SPEAKER_03Right. It just takes a little more effort of reading, but besides that, you'd be stunned how much you catch going back and forth that way. Thank you so much, Katrine Leger.
SPEAKER_00Thank you.
SPEAKER_04Now, our friend Marg with Art House Revival.
SPEAKER_05Hello, my name is Margo Gerber, and I'm here today with Maureen McNamara, who's going to tell us a bit about Arthouse Houston's quest to save the Garden Oaks Theater in Houston and the property, which is 2.3 acres, that surrounds it. So, Maureen, it's exciting that you're here with us today to talk about a second theater that your organization is attempting to preserve for the people of Houston. We know that your group, which is now called Art House Houston, originally formed as Friends of the River Oaks Theater, and that you were successful in seeing a second life or maybe even a third life for that beautiful Art Deco theater in the River Oaks neighborhood. And now you, with very little time, are attempting to save the Garden Oaks property, which is 2.3 acres, which includes a historic movie theater. So can you tell us a bit about the history of this theater before it became a church?
SPEAKER_01Thank you, first of all, Margot for interviewing me. The history of the theater is that it was built in 1947, and it is an Art Deco theater that was designed by the same architects who designed the River Oaks Theater. So that's Pettigrew and Worley. But it was built a little bit later, so it's post-war, so there's a little bit more money in the market. So the theater is a little bit more grand, but still a neighborhood theater in Art Deco style.
SPEAKER_05So this property had become a church about 20 years ago, and then what happened since then? The church left and the property went up for sale, and you guys became aware of it. So can you talk a little bit about what you're trying to do in terms of raising the money to buy the property?
SPEAKER_01So that's actually the crazy part is that the theater didn't go up for sale. So what happened was the church that was operating it was part of a megachurch group. So they had six other locations. And this area of Houston is the fastest growing part of town right now. It's in a very dynamic location. So there was a land developer who was going, I guess he was going door to door and asking people if they would sell him their property. And what he does is he takes down existing building, scrapes the land, and then sells it to strip center developers. So it was a private sale. It was never listed, it was very quiet. And we found out because two things. One was that a friend who's the curator of film at the Museum of Fine Arts called me and said, Maureen, I know you care, and it looks like the church is moving out. So even though the church was very, you know, full every Sunday, thriving, they were like, well, this is an older property. We can move our congregation to another location. And it's a really nice offer. So I tried to reach out to the church. They told me very little except that they'd sold to an investor who worked with strip centers, and they couldn't tell me who they sold it to. And then I started watching the city and county tax records to see if we could figure out who had purchased it. We learned what was happening. The church moved out at the basically later part of last year. So it was very recent. And we learned who the potential buyer was when we saw some stuff in the tax record, but also there was a family who operated the theater last 20 years before they had sold to the church. And they were the Czarzanna family. And the Zarzanna family reached out to the church and said, Can you tell us what's happening with the theater? They said it's being torn down. They said our grandparents' handprints are pressed into the concrete in front of the theater, and we would like to remove that slab of concrete. Is that possible? And they said yes. And by the way, if you want to see the theater one last time, you can do a walkthrough tonight. So it was Friday night, and they said the theater's being torn down on Monday. So the grandson of the Czarzanas couple who operated the theater called me and said, Maureen, I know you care. And we've been given the opportunity to walk through one last time. Would you like to join us? So I was there with flashlights on that Friday night a handful of weeks ago, and walking through with four generations of the family, and it was like so emotional and so beautiful, and had so much possibility in life and memories. And I was just realized that at that point that there was no way that I could not try to do everything in my power to help save the theater. So trying to reach out to the person who we thought the owner was and the church was not bearing much fruit. So we that weekend staged a protest, called all the news stations, and got a lot of media attention. Because we had gotten help from the city during the River Oaks effort, I was able to connect with city council. And Councilwoman at Large Alcorn called me back, and she realized that she actually knew the person who we thought the owner was. So she tried to reach out to him and he did respond to her. So through her, he agreed to have a conversation with a few people from the community, and that included us and Preservation Houston and a few other passionate people in our group and neighbors. And so when we got on the Zoom call and we spoke at city council and got in front of the mayor and told the story. And so when we got on the Zoom call with the owner, he did say basically, you know what it says on the county tax record that I paid for it. If the community cares so much, you can buy it from me for what I paid for it. And we said, Well, is there any way you would just keep the theater as part of this larger development? He said, No, that's not what I do. I do this other kind of business. So we said, Well, can you tell us what it would take to press pause? And with that, he said, Well, let me get back to you tomorrow. And so tomorrow came and we hadn't heard, and I nudged him, and he said, You'll get something from my lawyer tomorrow. And so the next day we received a contract to purchase the theater for 7.1 million. And in the meantime, the blade sign part of the marquee came down, the city permit was posted on the front door, the sewer was disconnected, there was an excavator on site. It was very actively being demolished. Somebody came in and stripped a bunch of the metal, including the copper, out of the building. And I called him and I was like, whoa, whoa, whoa, wait a minute. I thought we were pushing pause for 30 days. Why is all this stuff happening? So it was a very tense moment. We were able to get that part of the marquee back, and it's being held at a sign company. The company that did the exterior renovation at the River Oaks is holding the sign and evaluating it to be reinstalled. But just that act of taking down the blade sign is like just that little piece of the recovery budget is going to be over $100,000. So we got the 30 days to close on $7.1 million sale, and he offered two 30-day extensions for an additional deposit. So if we don't manage to pull it together and to close, then in the contract, we had to agree not to protest, not to cry, and to understand that he would have the excavators back on site on, I mean, what he said was the next day, which is very possible.
SPEAKER_05When is your deadline now to raise this $7.1 million? And where are you in the fundraising?
SPEAKER_01Well, we think that the whole project is going to be closer to $14 million because for the restoration and renovation and reopening the theater as a cultural, arts, and film center is the goal. Right now, the place that we're at is we're coming close to the end of the second 30-day extension. And we asked for an additional 30 days option. And so if we decide to exercise that last 30-day extension, we would have to exercise that next week. And we would have to close on the sale by the 30th of June. Basically, we're in a place where we've paid the deposits and we've raised some funds, but we're having a definite issue with which came first, the chicken or the egg situation with fundraising. We've got several people who are like, oh, we're willing to help, but we don't do emergency funding. We would help once we know for sure that you're able to close with a capital campaign. However, that's not really going to help us in the our hair is on fire moment. I mean, it'll be very helpful after if we can get there. So we've been working on could we get to a capital campaign bridge loan? So that bridge loan would be a loan to be able to close on the property, and then we would start a full capital traditional capital campaign. And to do that, we're at the point where we would need to tell a traditional lender what kinds of pledges and donations we have. I'm not sure that at this point we have enough for a traditional lender to take us to closing. So really, I think to make this work, what we need is an angel or three to jump in and help make that happen.
SPEAKER_05Well, it sounds like the property itself lends to some leasing opportunities if it remains intact. With you mentioned that there was originally, in addition to the theater, it was the whole block that included a pharmacy and a soda fountain and post office, a five and dime store. So in theory, some of these would be revenue-producing spaces as well for the organization.
SPEAKER_01That is absolutely correct. And our pro forma for the property really includes that. It includes having the exhibition space, which is the main auditorium, which is beautifully intact and was well loved and taken care of. It includes some, you know, maybe a sidewalk bistro and soda fountain kind of retro soda fountain cafe on the other side of the theater, as well as co-working space for nonprofit arts organizations, more likely smaller film organizations. We're talking about in the space that was the post office space, doing a maker space and education space where we could have things happening with film productions. So we're talking to a production company who has uh LED soundstage. There's space there, according to them, to do that in one of the spaces. There are spaces to do some editing labs and sound studios. There is space to do classrooms, there's space to do some residency co-working spaces for artists, filmmakers who might be doing some residencies with one of the nonprofit organizations that we're talking about partnering with. There's space to do a filmmaker summer camp, which Southwest Alternate Media Project does regularly, and there's space to potentially do a second or maybe even third exhibition space, smaller auditoriums. I think that the really dynamic and exciting thing about this is that it could really be a true arts and film center that could have a really exciting life and be an exciting part of the city. Houston and Texas just recently passed incentives for filmmakers that are very exciting for the next 10 years. But then Houston amped that up and added additional incentives for the projects within the city. So looking at how we can help incubate that growing and exciting part of the film community would be offer space for some of that to happen would be phenomenal.
SPEAKER_05Is there anything else besides where can people go to pledge their support of this project with a donation?
SPEAKER_01Well, anybody can send an email to info at arthousehtx.org and request a pledge form, and a docu sign will be sent to you with the ability to make a pledge. If you'd like to make an actual donation to the organization toward the efforts, their expenses related to the efforts, obviously, we have with the help of people making donations, we've been able to cover the first three deposits. And we do have one more deposit to go of $25,000 if we're going to close. But the people who are making those donations are real angels because they understand that those are funds that are part of an earnest money deposit that, you know, they do apply to closing if the deal closes, but if it doesn't close, then they're non-refundable donations. So yeah, we really appreciate the angels that have stepped up with donations. I think it's a space that really has the ability to be healthy and self-sustaining and dynamic and interesting and amazing for the city, a feather in the cap. It's not another River Oaks theater, it's really so much more. There are other cities that are doing arthouse programming, film programming, live theater programming, live music in these wonderful historic theaters, but the theater still, you know, has capacity for over 700 seats, which there's not another exhibition space in Houston that is quite at that sweet spot. The possibilities for looking at benchmarks of other great cities that are doing exciting, great things like this for the arts. Like I said, there are some that are doing some of this all under one roof, but not all of it. And I think that pulling together the community, pulling together Houston Cinema Arts Society, pulling together Southwest Alternate Media Project, pulling together Performing Arts Houston, pulling together film production companies, pulling together artists and gallery spaces, arts education. These are all things that people coming together in a way that it's kind of an alliance of arts and the seventh art of cinema pulling it together.
SPEAKER_05I sincerely hope that this project comes through. It would be a great model for a lot of the empty real estate that is all over the country. So many of our historic theaters have already been torn down. And sometimes nothing even goes into that spot for years and years. So if this theater could be transformed into a viable and exciting place after you advocate for it in this compressed period of time, it would be an amazing accomplishment. So I hope that angels do come through and help to make this a reality.
SPEAKER_01Power of positive thinking, that's what I say.
SPEAKER_04Next up, our friend Robin Pops Jones.
SPEAKER_03One of the things I love about watching foreign language films is the journey the audience takes to get to the inevitable discovery that besides the language and some local customs and references, we're not that different at all. A simple, obvious idea that humans still have trouble grasping about other humans. Which is why I love the transformative power of cinematic storytelling. It was because of arthouses and their unique programming that a kid that grew up on Spielberg, Lucas, and classic Hollywood movies was opened up to new ideas and stories on the big screen that didn't necessarily involve lasers, spaceships, superheroes, or ratatat song and dance performers from the thirties, forties, and fifties. When I was a kid growing up in the deep south of the nineteen seventies, I uh didn't think much of films in foreign languages. There were Godzilla movies, but they were dubbed and kind of silly, even for children. Italian and French sex comedies were on early cable, but they were dubbed. And at thirteen I was not uh watching them for the most sophisticated of reasons. But then in my late teens, I started working for art houses, and I had already started marveling at more serious films like Sidney Lamette's The Verdict and more adventurous storytelling like Terry Gilliam's Brazil. It was only a matter of time before I got to the French foreign language comedies of Pierre Richard, and artistic cinematic experiences like Godfrey Reggio's Goyanascotzi. Because you need to walk through a Le Compare before you can run with a blue velvet, or a re-release of Jules and Jem. Or a stop making sense. Which I believe I just did. It's funny how much I still gravitate to French language films. When I took French in high school, I ended up with what I laughingly refer to as a gentleman's D minus. I think it was because I had a really good accent, which I attributed to a love of Hercule Poirot, particularly the Albert Fenny performance, and a somewhat musical ear. Verb conjugation was a problem that no amount of Dittoes could solve. But I recall with fondness the phrases that our teacher would use Equite which means listen. Or my favorite repite avec moi, which to my D-brain meant repeat after me, which is not exactly correct. Repite avec moi means say it with me or rehearse with me. I think that the storytellers who make films in their native languages are saying something similar. We all yearn to be heard, understood, seen, empathized with. I don't think it's a stretch when you watch something like Chloe Robichau's new French Canadian film, Defemme en Or, aka Two Women, that you're seeing a request, let's say. In this humanistic, feministic 21st century sex positive comedy by playwright Catherine Leger, taking on an early 70s French Canadian sex farce, the creatives seem to be inviting us to come along with them, to join them in this story or this world, and see how universal that world, that story, truly is. Repete avec moi, they seem to be saying. Why not?
SPEAKER_04Friends on Film is funded in part by the City of Houston through the Houston Arts Alliance and Mid-America Arts Alliance, sponsored by Plains Capital Bank. Plains Capital Bank's true legacy is the positive effect they have on the greater Houston community. And this sponsorship is a great example of how they give back. To learn more, visit Plainscapital.com.
SPEAKER_02Friends on Film was created by Justice Dierpelli Jamail, Rachel Valentin Acosta, Maureen McNamara, and Mario Rodriguez. Friends on Film's theme was composed for the podcast by Jeff Walton. The episode was scored by artist and musician Hesher. You can buy and stream his music at www.hesher.bandcamp.com. Thanks to our friends Ronda Cook, Ian Drook, Grace Posey, Pedro Salazar, Taylor Smith, Johnny Sow, Stephen Wells, and Zach Dockle. Thanks so much for listening. We'll see you at the movies.
