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[00:00:52] I'm sorry, I'm sorry. Take it outside. A Reel Nerd knows who shot in a Reel Nerd Can follow the plot in a Reel Nerd Welcome to a very special Reel Nerds Podcast. We are sitting down with director H Nelson Tracy, director of the movie Breakup Season.
[00:01:25] Welcome to the show my friend. Thank you. Thanks for having me. We're excited to have you and thank you for giving me the opportunity to see your film. It was lovely. Thanks. So let's start with a little bit about you. Because when I got your film,
[00:01:42] I deep dived into your IMDB page and it seems that you are mostly known as an editor. Nice. Yeah, that's fun. Oh wow, rarely does that happen to people actually do their homeworks. That's a good start. Well, you know. Yeah, I'm one of those people
[00:02:02] I've always wanted to make movies ever since I was a little kid and upon graduating college, you know, they don't really hire 23 year old directors in this day and age. You know, not that they ever really did, but they especially don't now.
[00:02:15] And so it was sort of a, yep, you know, land on the curb in Los Angeles. Like what can I do to make a living? And what did I know how to do? I knew how to edit. And so, you know, I started out
[00:02:26] as a post production assistant. Got my first job doing that when I was 24. And then that led into assistant editing and I built a career doing that, which has now led into more freelance editing on different projects of all scales. And then in terms of directing,
[00:02:43] it's sort of a tradeoff between big projects where I'm the small guy, you know, I have done some Netflix shows and a Hulu show and things like that as an assistant editor and then small stuff, independent stuff where I get to actually direct.
[00:02:55] And that's, I'm kind of running on two tracks at this moment and, you know, working towards more of the directing stuff, which is where my heart lies, but you got to pay the bills as we all know. So, yeah. But it's got to be cool
[00:03:08] because I think as an editor, it actually gives you a unique eye as a director because you're actually seeing rough dailies. And did that help you in formulating what you wanted to do for breakup season? Yeah, it's one of those things that I didn't really even think about,
[00:03:23] but my actors called it out on me because we only had three weeks to shoot this film, which is no time at all. 15 days of principal photography and then a little bit of extra time for B-roll and like the Christmas photography and all that. Holy cow.
[00:03:37] But days on set with actors, 15 days, no time at all. And so my first assistant director, Stephen, who's also the producer, was like, you need to be really concise with your shot choices. You don't have time to cover every scene the way Hollywood movie would.
[00:03:52] And so I had to edit the movie in my head ahead of time by choosing very selectively and certain scenes are one-shot scenes as a result. And then I would be talking through stuff and I'd be like, okay, now we're going to hard cut here
[00:04:06] and then go there. And so I definitely think it informed me and I don't think I could have done it at the scale or budget I'm on if I weren't equipped with that editing knowledge of knowing how to make my days really tight and then only shooting stuff
[00:04:21] that I actually was going to use not just shooting every single angle. And Chandler who has a long-standing career, he's released a TV where they have a big budget and the directors have nothing to do with the editing and he was quite impressed
[00:04:34] because he's used to it just being like, let's just shoot every angle we can and throw it to the editors. They'll figure it out. Whereas I was like, nope, okay, this is where we're gonna, you know, we're in the kitchen for this moment
[00:04:44] and then we're going to hard cut to Gordon on the couch and then we're going to go back here. You know, I knew all the different stuff that I wanted as best I could. And then for certain scenes like there's a dinner table scene
[00:04:55] I shot everything for that because I knew I was going to use a ton of angles but in a lot of scenes as an editor I knew I needed to be really precise and that did allow me to be a better director for sure.
[00:05:08] So you, because you also have an interesting role too because you also wrote the film. I did. Yes. So you wrote directed and edited do those clash constantly as a writer because writers are very precious of their words but as an editor sometimes they know
[00:05:24] that they can't stay there and as a director you're trying to get the shot. So how do you balance all three hats and everything you want in a specific scene or in the whole movie, I guess. That's also a really good question
[00:05:37] and I guess it's like phases of the project, right? So, you know, I spent about a year prior to shooting where it's just, you know, me and my, in the time I have alone with a screenplay software on my computer, you know, figuring it all out
[00:05:50] and then getting feedback from friends and all that and that's the stage where you can really throw anything up the wall because you're not spending any money yet, right? So, you know, you can figure all that out and rewrite and do drafts
[00:06:02] and I wrote six drafts of the screenplay in that amount of time and then it's sort of like take that hat off put on the next hat and now it's like, okay, let's analyze this as a director and close my eyes and figure out what,
[00:06:13] how to show the different stuff I wanted to do. And of course, in, you know, in the writing I wrote stuff that I knew somewhat how to direct. It wasn't like I was writing completely off of it. You know, there were some times you'd be like heart
[00:06:25] like jump to the next thing and I knew how I was going to do that. Editing interestingly, I thought was going to be the easiest part because I was like, oh, I'm an editor, you know, that's my safe space, right? Yeah. Quite the opposite.
[00:06:38] Editing was I think the hardest part of it all if you can believe it because on set, if it's not quite working, you have 20 other people you can be like, is this working? You know, you kind of weigh with each other.
[00:06:48] Editing is a lot of time alone in front of my computer or me and one other person in front of the computer. You know, and figuring out if it actually works that when you've seen it a hundred times and does it actually work?
[00:07:02] The original rough cut was two hours, two minutes long and the final cut is an hour 42. So we eliminated 20 full minutes of the film. What's crazy is and that's the script. You know, it just played out a lot longer. The script was 98 pages.
[00:07:20] Now this is the fun part. They say in screenwriting one page equals one minute of screen time. Somehow I cut, you know, like scenes by longer. So that started longer. However, if you pause the movie right when the credits start, it's 98 minutes long. It's wild. The thing works.
[00:07:39] So if you're writing trust that that number is pretty accurate because I did cut scenes. I had a few scenes that I had a scene with just Liz, the daughter and Mia, the mom, just the two of them. And it just was kind of a slow.
[00:07:54] It didn't really propel the story forward. And on paper, it was great character development, but the actors were doing enough of that without the scene. It wasn't either of their best work and it was everyone wanted to keep going with the breakup story.
[00:08:06] So I made, I figured that out in the edit that it was slowing the movie down. So I enjoy all three of those stages. I mean, they're all very different skill sets or whatever. And I think if I had to pick one, I would pick directing.
[00:08:19] I think that's the most satisfying, but definitely the writing and the editing are kind of of the same cloth and they inform that for sure. That's so cool. And you know, you mentioned Chandler Riggs. And I mean, we all know him from walking dead.
[00:08:32] And I remember meeting him at a Comic-Con years ago and he was still a little boy. Oh, wow. And how he transitioned to being like a young man actor is nothing short of astounding. Yeah. Because I mean, I don't want to reel too many spoilers of the movie,
[00:08:49] but I mean, it is called breakup season. So we know that's going to happen. Yeah. But he carries the film in a way that is so sympathetic. But at the same time as you watch it, you go, dude, what are you doing?
[00:09:02] Like it's, but I also think it's a tribute to the script you wrote because as I'm watching it, I don't know if I want them to work it out. I want them to stay not together. And the uncomfortableness of the film, I think is really cool. Thank you.
[00:09:24] Wow. Yeah. I mean, those are great. Those are really high praise marks. So I really appreciate that. And but speaking to Chandler, yeah, he is, he's a stellar guy and he came aboard very late in the process. We had Samantha in the film and she,
[00:09:42] her audition tape was just fire and it was so good that I was watching all these 23 year olds who just couldn't hang with her. And it was like, we can't put Samantha next to an amateur.
[00:09:55] It's just like, it's going to, the whole movie is not going to work. And so we were like, well, let's aim a little higher and let's go to the next rung up in terms of what we thought we could do casting. My casting ambitions were really modest.
[00:10:08] I thought I was going to be like a lot of local organ actors, you know, like your friends. Yeah. I mean, one stuff about my friends, but you know, just about honestly, I mean, it's an indie movie, but, you know, Chandler,
[00:10:19] we were able to send him the script and he really connected with it because he never gets offered just romantic movies. You know, he gets offered zombie sci-fi stuff all day long and he's done enough of that obviously, you know.
[00:10:33] And so for him, it was an exciting role and he liked the script and that's, I think the best advice I can give to anyone is just like write stuff that's interesting to actors and you'll be surprised, you know, and don't, it wasn't like I was like obsessed
[00:10:46] with Chandler for the role. It was like we have these dates set. We're making this movie February X to X. Are you interested? And he was available. If we had been one week off, he was busy like truly you have to believe in the film gods in miracles.
[00:11:01] So many things went right for this movie and Chandler, we booked him with a week to go and it was just like, okay, now we have a real cast like he was sort of the last piece of that great ensemble cast and you know, I couldn't imagine it
[00:11:14] any other way. Yeah, you know, and with Chandler real quick before we get to Samantha, you know, I love this scenes and I mean saying words is always great, but as an actor, there's a couple scenes in it where he's alone and the way you frame the shot
[00:11:29] whether it's far away from him and he's like in the four years or just at the bottom of the stairs. Yeah, it makes it makes it like I don't want to say uncomfortable in a bad way, but it's uncomfortable because he's in a no
[00:11:44] win situation with his you know, dealing with his mom or his brother and his dad and his girlfriend and I just I just thought it was beautiful how he would just sit there and you can feel the weight on him.
[00:11:59] And I think that's a tribute to a great actor is because your words are wonderful, but to be alone and you feel his pain. I think is a tribute to him. Definitely. I mean, a great actor. I cut a lot of dialogue because they were doing it with
[00:12:14] their eyes and their faces and that's that's great. You know, it's like less is more always and a good actor can be at all in their visage. You know, and I think there's a scene of him crying
[00:12:26] in a bathroom and that guy, you know, he would just I would say action. He would bring the heat and do it and I'd say cut and he would look at me completely straight face like do you need
[00:12:36] another one and just as casual as day, you know, he is someone who would spend a lot of time on set and honed in his dramatic acting skills. That's another difference to that. Like if I had cast someone with a sitcom background
[00:12:48] or something like that, I think it would have been hard for them to do, but you know, he's on a show with characters dying all the time and life and death stakes, you know. And so I think he has a dramatic capability that most
[00:13:00] young men of his don't necessarily have because there aren't that many people who grew up on a drama. Yeah. And it's, you know, it's his eyes or something about how he looks. I looks at, you know, looks at Cassie or something
[00:13:15] and it's this heartbreak and has not understanding yeah, and she's trying really hard to make him understand and I, you know, I like I said, it's not really a spoiler that it's a breakup but how it unfolded. Yeah, you know, it's so awkward and Samantha plays it
[00:13:35] so well in that scene where she's trying to make it work, but you can see the pain in her face and I, I, the actors are just incredible and I just, and I love those uncomfortable scenes because I want
[00:13:51] movies to make me feel something and this movie made me feel uncomfortable, but it also gave me hope and it's really great. You know, I don't want to spoil the scene with her, but she's on the phone in one scene and her dialogue is just is heart wrenching.
[00:14:11] Yes. Yeah. I know, I know she does another actor who does so much with so little, you know, and just she can do mannerisms with her eyes that say it all and that convey a weight and yeah, someone else said this
[00:14:25] and I really appreciate it that there are no villains in this movie, you know, and she's not like, yeah, she may instigate these things but we, I always talked about in the first 15, 20 minutes what I called cracks in the dam, right?
[00:14:39] Like we know the audience knows the title of the film so they're looking for that and we see her challenging and not necessarily sure about this decision and I've had multiple people, mostly women come up to me after screenings be like, I lived
[00:14:54] that like I went to my ex's family and I needed to go to a far distance or make a big, big decision to stress test my relationship, you know, and or like siblings of my, you know, like people in my life, my good friends and you know,
[00:15:10] it's not an autobiography, an autobiography, but they're certainly pulled obviously from experiences I had and so the combination of the melting pot of all these ideas really conveys in what we have. Yeah, you know, because you're working on a character
[00:15:26] piece and it's kind of takes place in one area, you, the actors have to be at the top of their game and I, you know, the two lead actors are incredible but I think Jacob as Gordon is one of the like,
[00:15:42] I'm guessing a lot of people love him because, you know, he comes, his dinner scene is great when he's calling her out for being a vegetarian but I particularly liked the dynamic of him fighting with Ben and but it's a brotherly fight. Yeah.
[00:16:02] And then throughout the run time of the film, you see the brothers kind of connect and for a person who you think is lost sometimes has the most profound things to say and where did you find him at? Because he is incredible in the film.
[00:16:19] Yeah, Jacob is a stellar actor and definitely, you know, a crowd favorite. I love sharing like he's just a dynamite comedic actor, you know, and what I like about him is he can really do comedy and drama very well and you know,
[00:16:34] he's and he's also kind of a rising star. He's got a really great, great TikTok thing going on right now and just building a great base. I didn't know Jacob prior to this but my producer actually did and so my producer suggested him for the park.
[00:16:49] Jacob has had a pretty cool career. You know, he had a breakout movie at Sundance when he was I think he was only like 20 years old a movie called Terry where he acted against John C. Riley and so he's built a really strong indeed acting
[00:17:03] career while also doing UCB comedy and having a more kind of traditional comedy improv route. So he's a really versatile person and you know, he didn't he read he was in a case where we sent him the script and he connected with it.
[00:17:17] It was not this type of stuff. He usually gets offered. It was a little more dramatic and had a little more weight to his character in terms of what he was caring about and not just like, you know, a punchline character and so I think that's where
[00:17:30] he connected with it. So I met with him over Zoom and he was just excited about it had interesting ideas to it and Gordon was a character on paper who could have got a lot of different ways. I looked at some like kind of scrawny like in cell
[00:17:44] type characters for that like actors for that and I looked at like kind of like ex jocks like you know, a kid who is like peaked in high school kind of look and all that and Jacob's these are those two things but I think it's
[00:17:58] an exciting it was an exciting element and once he was in as Gordon like it completely expanded the character and made it really interesting. And yeah, I love seeing him act and I love seeing people discover him into this movie because it is great because you know,
[00:18:15] the movie has a lot of tension in it and he sometimes is a source of it but he's also the relief of the tension because it's not just that he he's funny but he's also so profound at some points and then as you think
[00:18:29] back in my life, I mean, I've been married forever now but when I was younger and you did think when your girlfriend broke up with you as the end of the world and and what do you need to do
[00:18:39] and I think I don't know if he's a sign from wherever but you just feel like if I had that person in my life when I was going through stuff maybe I'd be okay. You know, Well, you say that but it's like I think
[00:18:51] that's what's fun about is like Ben is not listening to him at all. You know and Jacob, it almost isn't even listening to his own advice. You know, and it's like I think I knew I had a good structure when it's like he's older and he's
[00:19:03] been through this and so we're seeing a breakup at multiple stages and and by being years removed from it, I could put in some of the more wisdom that comes from you know time that you're you know five years out from
[00:19:16] a breakup versus a day out from a break up. You know, and so that I like that back and forth between the two of them, you know, and those struggles is great. You also mentioned that it isn't autobiographical but it seems such like a personal story when you
[00:19:31] watch it. Where did the idea come from then if it's not autobiographical? Yeah, I think over a decade ago my sister had some funny anecdote that a friend of hers had a brother who brought his girlfriend home for Christmas and then they broke up and was stuck
[00:19:49] with it and I don't even know who the person was and my sister doesn't even remember either but it was such a funny concept. I was like that could be a great movie and so I kicked it around in the back of my head for
[00:20:00] a long time especially as a great first feature right? This is my first feature and it's contained. It's not a movie that requires a cast of thousands or period piece, you know, and then I started writing it as kind of a more romp
[00:20:13] holiday movie like what we see fed to us every December and breakups are not very funny. I have had really difficult breakups in my 20s and I hadn't seen a movie do the early 20s breakup justice and I felt like that was something
[00:20:30] that my friends and I connected on a lot and it was something we talked about a lot as a really formative kind of coming of age moment in my life where you're out of college so is the person you're dating but neither of
[00:20:43] you is on steady ground and so you're trying to land on your own two feet while being with someone else who's trying to land on their own two feet and that combination is really hard to weather and make it through
[00:20:54] and so once I you know I have an aha moment of like okay I need to write this as a drama first comedy second then it started to cook and ironically the movie has some humor in it but I needed to frame it as a drama first
[00:21:08] you know a kind of movie like like Ladybird which I love or movies like that which are the characters it's funny to us but to the characters it's all drama you know and we find humor in it because life is funny
[00:21:20] but you know the dramatic framing really helped me get it to where it needed to be and it was everything that everyone connected with I would tell people about it and they would talk about it and that's what you want is a movie that
[00:21:31] people can relate to absolutely and that that's interesting so did the comedy come first or did the drama come first you said you framed it in a drama but then you wanted to do a romp first so I mean I think
[00:21:46] I mean it's fine because I think I'm like on paper I wrote it as a more like Hilarion Seuss of they're stuck together for Christmas you know and that was just getting nowhere I was just dead ending it I have a draft of
[00:21:59] that from like five years ago that's just like less than a page along you know like just an outline and just was getting nowhere because I was writing something that wasn't sincere to my experience you know and then I've reframed it like I was like well
[00:22:14] if I was in that situation it wouldn't be funny to me you know it'd be tragic and so it's like let's write it that way and let's take the breakup very seriously which we do and you know and there's a it's fun to see it
[00:22:26] in an audience because you feel the humor just go away for that long yeah it's a long scene and I knew I knew it was going to be a long scene from the get-go and you know the title is in the movie so it's like
[00:22:39] we know it's coming and we were going to take that scene seriously and not not wink at the camera in any way with that and the humor comes after it so I always with the actors in particular I wanted them
[00:22:50] to not even with a with Jacob and James and and live in Carly you know who are obviously they all do comedy in the movie but like we're taking the situation seriously you know and and that framed the choices 100% because you even have
[00:23:08] it's interesting too because even the characters in the family kind of discover themselves in a different way throughout the film whether it's Liz worth you know talking with Cassie and kind of this idealized version of her relationship and how they work through that and it's
[00:23:23] I think it makes it so relatable to everybody because everybody has you know a brother or a sister that's the goofy one or the one that's super serious and when you come together at holidays it's always the you know the fighting
[00:23:38] in but not in a mean way it's always really fun yes and then that's what I think is captured really well too yeah we talked a lot about that especially with Liz the younger sister and the kind of bickering that happens when you're
[00:23:51] with your family and how you kind of even though she's 19 like you kind of go back to your 12 year old self because you're with your brother and your child at home again and and they kind of you know the little bit of
[00:24:02] back and forth they have and the kind of how you know you're stuck between being an immature kid and worldly adult college you know co-ed you know and that combinations and so she gets have a lot of fun in between those two worlds
[00:24:18] yeah I'd be remiss if I didn't talk about the music choices oh cool yeah because the music is so cool it has a singer at the right point but also just the little guitar plucks and stuff throughout it. It just sets the mood perfectly
[00:24:37] and how did you decide did you help frame the music was that part of your overall vision as well or did someone come along and kind of help you guide you through that. Yeah, I'm so I love talking the music
[00:24:50] because I feel like I just get to like shout my enthusiasm for all the people who worked on the music. I will start by saying this LeGrand is a place with a great music world it has a venue called HQ which is halfway between Portland and Boise
[00:25:08] so it's a great stopover if you're on if you're on a road you know tour you can play in LeGrand and get three nights of shows instead of two nights and shows with the same amount of drive you know and so
[00:25:20] Chris Jennings who's a producer on the film also plays Leonard the driver at the beginning of the film. He is very he's from LeGrand he was like kind of our local lead is on essentially and he has a lot of relationships with artists so
[00:25:35] almost all of the songs in the movie are from bands from either Oregon or Idaho and so it's really there's a Pacific Northwest twang that I always talked about you know that's it's more string based and it's it's not as percussion or piano based and
[00:25:54] the musicians in this movie there are two original songs that they're both ones the credit song and ones toward the end of the film and that's from a band from LeGrand called Bag of Hammers and they rock and I heard them live and I was like
[00:26:09] whatever I can do I'd love to have you guys do you know do a song for the movie and then the Christmas Eve song is by an artist Katie Buxton who's from Sun Valley Idaho and I met her at a backyard music festival
[00:26:22] and she rocked and so you know I got to know her music so that the songs all came about with the goal of trying to showcase the geography and lean into the location and the music really does capture that for score the composers named David Stahl
[00:26:39] and he actually he has a lot of great credits as like an additional composer and was this was his first time doing leading composing on a feature film so like he worked on the Queen's Gambit for example but he was an additional composer and so
[00:26:54] you kind of just like Chandler and these other people like you find people who are want to take a leap in their careers and on an indie movie they're able to do so I framed it up with him there's a movie broke back mountain
[00:27:06] that captures Wyoming really well and it's almost all through the music and the the location or the photography of the location and so we talked about that movie a lot as a musical point of reference it won the Oscar that year for best original score
[00:27:20] it's perhaps my favorite music score in a movie because it tells so much of the story just by audio matched with great locations and I knew obviously this movie's location is really central to the story and the music complements that and so that was
[00:27:37] sort of how I guided it was you know using that way so when you edit though too because I feel I mean I could be wrong because I'm just a person watching the film and not like in the trenches but it seems like the
[00:27:50] the strings were also a break for you as a person watching the film because you would do those establishing shots of the town of the the home and then you could just hear the the guitar is plucking and it felt like it was almost a break from
[00:28:06] being uncomfortable with the breakup it was out on purpose or is it just something I felt when I was watching it no totally I mean I you'll notice there's very little music in the breakup scene for example because I think that the music is a relief
[00:28:20] when it comes in you know and it's a way to catch your breath and you need that in movies you know it's not I knew I wanted some of that so I was very aware of the rhythm of when it came in and what scenes
[00:28:30] didn't require music at all and so I definitely was mindful of that and that's the director composer conversations are some of the best they're really fun and we get to kind of look at that and shape it and like you know it's it's it's coming into early like
[00:28:45] cut cut out 8 8 beats there you know or whatever you need to do and so yeah do you are you musically inclined because it seems like the movies relies on it so much that it it seems like you would be
[00:28:59] and that's I mean that's very gracious of you to say but no I mean I can like play a couple of things on the piano but I barely you know it's like I would not call myself you know my mom is a is a piano
[00:29:10] she plays the piano and so I grew up hearing her play the piano and being exposed to a classical music but it would be generous to say I have any musical background you just know what sounds good and yeah and I love movies you know and yeah score
[00:29:25] and you know I love anything from you know John Williams to Trent Reznor to you know you name it and I can talk about the ways music if I think if you love movies you have to love music to and what it can do to shape a movie
[00:29:38] and or TV but let's talking movies you know so yeah I agree and that's why I think it's weaved in so beautifully in the film because it's never overbearing which I think to you know again just me talking but as I watched the film nothing seems overbearing
[00:29:54] it's you mentioned the breakups seen too and yeah it has to be long because I think you want to be in that moment and be the Ben character where you can escape and I think that's as an editor and a director
[00:30:11] I think that's where you come together perfectly because it works so well. Thank you thank you that's awesome yeah. So tell me how people will start seeing this film because I know it's coming up in some festivals and it's rolling out.
[00:30:28] Yes so the movies entirely independent meaning you know we reduced it without distribution set up you know it's kind of the old fashioned way of independent movies where you build the distribution based on the quality of the film. We have a built-in deadline right because it's a
[00:30:42] Christmas movie and so I can't say exactly the plans but I can guarantee by Christmas Day 2020 for you will be able to access this movie at home anywhere in the United States and so that we were confirming the exact details so I'm not able to announce
[00:30:58] what they are but in the meantime we are doing the film festival circuit and it's kind of like a traveling band you know so we were just in Denver which is how I came across or you guys came
[00:31:09] across it Denver is my hometown so we and we had some urgency to do it there because the Esquire theaters closure which is a topic for another day and not a pleasant one but otherwise I'm going to be in Tulsa next which is Samantha Isler's hometown
[00:31:26] so they're pulling out a lot of stops for her and then Waco Texas and just if you go to breakupseasonmovie.com we're really good about keeping up to date and you know we've got over a dozen film festivals lined up
[00:31:40] for the fall and then November December it will play and will have limited theater releases so I'm looking to come back to Denver in that window of time for a theatrical release ahead of the at-home release so that you know we did a lot of work to
[00:31:54] prepare it for theaters and so I want people to get to see it in theaters however they can but I'm also where it's an indie so you know I'm not going to be able to do 4,000 screens you know on December 25th or anything like that.
[00:32:05] Well Tulsa should be very proud of Samantha because she's wonderful in it. I want to thank you for giving me the opportunity to see it. It was a great film and I'm not just saying that because you're here it's because I truly believe it
[00:32:19] and I hope everybody sees it and takes something from it. You're very gracious with your time. Thank you so much for being here. Thank you I mean look I'm it goes right back at you know it's like I want people to see it who love
[00:32:32] movies you know I'm someone first and foremost I love movies and this you know talking about it with people who see the details and can notice the music and all that like that's how that's the people I want to see it and that's where
[00:32:44] like starting the fun festivals is great because you have people who already care about that stuff you know and then it'll trickle out and make it wider so yeah just keeping up with it and yeah to anyone listening I you know just keep up with us
[00:32:56] and we will be out soon enough it'll be here before we know it but yeah thank you for your time to really appreciate it. Oh no problem. Nelson thank you so much. Yes have a good day. Thanks and yeah again thank you so much. Yeah you too.
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