Talking to Brimstone, you can see how important his personal brand has been to his success and what it takes to make it as a diverse entertainer. Brimstone is an actor, pro wrestler and Long Island radio personality that has been responsible for his own success as an entertainer for over three decades. He’s been called a Renaissance man by many, but is more accurately described as a well-seasoned entertainer and entertainment entrepreneur. We had some laughs discussing his roots dating back to an appearance on Sesame Street and relived some memories as a musician right here on Long Island.
Brimstone is the co-founder, President, and CEO of Hound Comics, Inc. (Hound Entertainment Group), that launched a comic book series, Brimstone and The Borderhounds that went worldwide via Barnes & Noble, B.Dalton, BN.com, and Amazon.
You can listen to Brimstone on The Grindhouse Radio, a pop culture talk-based podcast and series that is currently syndicated on eighteen digital & terrestrial radio networks (including iHeartRadio & Google Play Radio) with a listenership of between 3.5 – 4 million weekly worldwide.
Quote: “You have to be in the industry touring for a couple of years. After a couple of years you know if you really have the heart to be in entertainment. Even though you need the money, you know its not about the money.”
Little Brim Lands on Sesame Street (7m )
Brimstone discusses his appearance on Sesame Street and his personal story about being traumatized by Big Bird and Snuffleupagus.
Family Entertainment (10m)
We debate whether there is entertainment worth watching as a family anymore.
His love of beating the drums may have had something to do with his career as a wrestler.
While working for the Long Island Voice, Brimstone meets the Iron Sheik and Bret the Hitman Heart and the rest is history
Quote: “It doesn’t matter how many people you’re getting up in front of, you’re always going to have those butterflies.”
Radio Personality on Grindhouse Radio (20m30s)
It was always something I wanted to do but wasn’t sure how I was going to do it.
Catch Grindhouse Radio on iHeartRadio every Thursday night at 7pm EST.
Brimstone talks about how his audience crossed over from his days in music, wrestling and more
Quote: “I’m not into people that disrespect others. I’m an open book, I wear my heart on my sleeve, I’m a good guy and I help people. If you can’t help yourself and don’t want to help yourself, I don’t have time for you.”
Sales, Marketing, Personal Branding & Entrepreneurship (28m20s)
Brim talks about how growing up in not so great neighborhood on Long Island motivated him to be successful.
Quote: “Back then you had to sell yourself because you didn’t have the internet to sell you.”
Check out his mobile game Forza Infernis on iOS & Android
This week’s guest is Bill Ostroff, the First Glance Film Festival Director who tells us how indie film festivals have evolved in the past 20 years. Bill shares his insights on festival submission trends, storytelling, camera technology and most importantly marketing. First Glance Films is the creator of the hashtag #SupportIndieFilm that has engaged and united thousands of indie film makers around the world.
William Ostroff, the FirstGlance Film Festival’s creator and director, is a Producer, Independent Media Consultant and DGA Assistant Director who has worked on over 100 film and television productions. He graduated from Temple University in 1993 with a degree in film and video and has since worked with major studios such as Disney, Warner Bros, Universal, Dreamworks, and Paramount on feature films and television series.
As the FirstGlance Film Festival Director, he has produced 37 film festivals to date, has watched over 20,000 indie films and is hands on with programming and decision making of all aspects of the Film Festivals. In 2013, he created the World’s Largest Traveling Comic Con Film Festival, which has screened genre indie films to over 5 million attendees over the 1st fours year in 2 countries, with plans of taking this concept global.
When did you start the First Glance Film Festival?
This is our 20th in Philadelphia. We’ve been doing this since 1996. I wanted to work in movies and I had started the film festival right out of college. When I moved to Los Angeles to make movies I said I’d try to keep the Philly thing going and I did and then I was in LA and said we may as well do one here too.
How has the film festival evolved since you started the First Glance Film Festival?
When we first started it, we would screen on projectors that would run reels of celluloid. Having to mail those back and forth would be very expensive. We would cut and paste our program, literally, cut and paste with Elmers glue and tape. We actually advertised in newspaper and when we started we were pretty much the only independent film festival in Philadelphia. There was no one else here. At the time there was the Festival of World cinema which turned into the Philadephia Film Festival. It’s funny to me because the Philadelphia Film Festival says its 25 years old but it’s not. It’s only 5 years old because it used to be the Festival of World Cinema which forced us to change our name.
I don’t think people really get confused between us and them. We are the Slamdance to Sundance. We are the separate indie arm and don’t get mistaken. It would be nice if a big sponsor would.
Where has the First Glance Film Festival progressed to?
It used to be interesting because every year I’d have to go to IKEA to add to the shelves for the VHS collection. Then the VHS collection turned into the DVD collection. Now almost the entire screening is on a thumb drive. Between DCP’s and thumb drives I figure in the next couple of years we will figure out to stream directly to the projectors. The problem is because we’re an indie film festival we don’t always use state of the art venues. We try to use venues that have great screens and sound but may not be up to snuff with major corporations.
How did you come up with the idea for First Glance Film Festival?
When I was at Temple University I started a theater company with three friends of mine and I was kinda the behind the scenes guy saying we should do something film. I started brainstorming and looking at the film festivals that were around. Sundance was always one that I wanted to go to or have my film in and then Slamdance came. I said to myself I need to come up with something that has a feel like Slamdance or Sundance so we don’t just call ourselves the Philadelphia International Independent Film Festival of America. In my mind and most filmmakers know, the longer the title of the film festival, probably the smaller the venue or they don’t actually exist.
I had a couple of films in school and tended to make things more commercial than the professor wanted. I always seemed to lose out to the slow motion opening of the petal of a flower. You know I’d really like to show my stuff to people instead of classmates. The venue we were showing musical theater in was an underground space. I just decided I have 3 short films I’d like to show and put ads in the newspaper and made flyers and we ended up with about 30 films. This way I didn’t feel like it was my film festival it was their film festival. We screened for 3 nights and I thought that was going to be it.
People started calling and emailing and asking and we continued. I’ve kept continuing now 20 years later. As of next week I’ll have produced 37 film festivals and watched 18,000+ films. As a festival director I have and will always watch every single entry. I also have a screening committee I pull together. If it gets by me then I drop it into their boxes and have them watch a percentage of the films and grade them.
One of the things we do different. I want my screeners to take their jobs seriously. I don’t drop 100s of hours of film on them. They may watch 15 to 20 hours of film over 2 months. It’s not their job. The pre-screening committee and myself do nominations in a whole bunch of categories and we actually do them. Speaking of Film Freeway there are lots of scam festivals that will take your money. It may only be a $5 entry fee but they aren’t really watching your film and then you get an award for Best Costume Design and you’re like huh?
How has marketing the First Glance Film Festival changed?
One of the things I’ve always realized was we are not a huge film festival. We are a weekend independent film festival. Social media has been huge for us. I’ve learned how to use social media quite well including Twitter and Facebook. It’s not only how we cultivate filmmakers but we also teach them how to market. If you ask any of our alumni filmmakers, from the time of acceptance we will get to them and say here’s some of the things you need to do to market your film. People aren’t going to come to your film if they don’t know it exists. I want to educate people. A lot of filmmakers aren’t very good at marketing.
My goal when I was a filmmaker was I yes I want to have a film festival, I want to show my film but I want as many people to see it as possible. How do I make that happen? Before the internet the only way you could do that was call or invite people, make flyers or postcards. What I did was as I was learning Facebook and Twitter I would create a Facebook event and invite everyone. It was us working really hard doing it ourselves.
As we started to grow I knew if I could educate the filmmakers to use Twitter 1/10th as well as I do then they’ll be able to promote. Even if they can’t get people to First Glance if that’s their first showing, by the time they finish their festival circuit they’ll have full rooms and will have their audience. It’s one of the few ways you can build an audience without really spending. You have to spend time but you can build an audience.
When I came up with the idea #SupportIndieFilm hashtag this is when I noticed hashtags were sort of came into being. I noticed big companies like Pepsi using it. I need something to bring the community together to understand indie film is not the kind of indie film Hollywood is talking about made for $25 million and distributed by Sony Classics. LaLa Land is not an independent film.
We threw the hashtag out there and used it every single day. We have thousands of followers that have tagged #SupportIndieFilm in their profiles that use it every day. On average #SupportIndieFilm reaches 15 to 25 million people a day. In the last couple of years I’ve noticed big names starting to use it and companies starting to notice. I think we are on the cusp of something happening. There’s a lot of true indie filmmakers that are making them for $100k to $200k that would sell it to break even. These big giant 20 screen multiplexes and walk in any day and only find 5 people. If these megaplexes would open up one of their screens to someone like me I could put a new project on their screen every day.
What do you look for when screening independent film submissions?
Look at our alumni films on YouTube and watch the trailers. You’ll see a wide variety of content across genres. I’ve always been someone that enjoys all types of entertainment. I look at things for the production value, acting, sound, cinematography. A lot of people will ask if only accept film shot in a certain medium and it’s not about that. It’s about the storytelling. It could be shot on an iPhone and if the story is good and the acting is good and the sound is decent then there is no real criteria other than will an audience enjoy this film in some way. Will you laugh, will you cry, is this a great short film or cutest animation I’ve seen. Is this web series different or original?
When you have a finite amount of time to program it’s hard. I don’t think a lot of people have the knowledge I have. Watching the amount of film I have, I have an eye for it now. I get it, every filmmaker wants to be in a film festival. That’s why film festivals keep popping up left and right. Eventually your film will end up somewhere. Will it end up in First Glance? I don’t know. It depends on the other entries that come in and do we have the time? If it’s a 7 minute short film, it may be a better opportunity. If it’s a 109 minute feature film, it better be good. When we screen, we never screen just one film. We screen a program.
Do you see any trends in film festival submissions?
It’s cyclical. Because technology has made things easier and affordable, I think we are seeing more SciFi and Horror. We are seeing things that are extraordinarily topical. Back in the day when you would shoot on film and edit, if it’s an indie film it could be 2 to 3 years old before it went to festival. We are finding a lot of interesting voices and filmmaking. People are using all types of instruments to shoot.
We even get people who say they’d like to show their Virtual Reality film at the festival and we don’t have the capability to make that happen yet. The theater we are in isn’t going to be able to provide 200 headsets. We tried to do 3D a few years ago and it just didn’t pan out. It’s a hard process and I think VR is in that same position. I couldn’t even watch that Hardcore Henry that came out a few years ago.
Every year it changes depending on the mood of the country. It’s interesting to me. The genre stuff is great and the production value seems amazing and they’ll go after the production value and special fx but the acting is subpar. As a filmmaker and festival director, one of the main things they should look at is getting the right actors before they shoot. If you have to postpone a bit, unless your grandmother is Jane Fonda don’t cast your grandmother in your movie. I understand with time and money but with the magic of editing, you don’t have to shoot grandma at the same time.
I think the trend is also people want to use the most high tech cameras and that doesn’t matter either. I’m looking at the story and I don’t mind if it’s gritty when it calls for it. I’m not dead set on a certain criteria for anything. I can pretty much enjoy anything. If it gets by me it goes to the screeners for the nominations and we go from there. As a backup we usually do a short online contest that runs for 30 days to give the opportunity to other filmmakers and the winner premiers at the next First Glance Film Festival.
Cinematographer, Valentina Caniglia has worked on over 60 film productions, documentaries, music videos commercial work and more. She is known for her work on the film “The Stand” where her astonishing lighting and camera work caught the attention of American Cinematographer magazine which featured an exclusive article in March 2017 issue.
As a DP (Director of Photography). Valentina is the real deal and brings her positive attitude to her work and life. We discussed the challenges of shooting on location in Palestine to being snowed in in New Jersey. Her eye for coloring and lighting are what makes Valentina’s work unique and why she’s won so many awards. As a female cinematographer her journey to success has not be so easy.
“Pomegranates and Myrrh” winner of the Golden Dagger for Best Cinematography, premiered in USA at Sundance film Festival and received the Audience Award at Doha Tribeca Film Festival handed out by Robert De Niro. “Madeline’s Oil” was the winner of the Best Cinematography award at the Louisiana International Film festival.
“I always adapt at filming each project with versatile visual style that best translates each story’s unique concept into breathtaking moving images that unravel the characters’ state of mind throughout the progression of the storytelling. Cinematography represents a concept of beauty that stands beyond the aesthetic aspects, something more intense that supports, follows and enhances the story where the camera can capture and show the transparency and the awareness of visuals drawn by the emotions.” – Valentina Caniglia
Where did you catch the filmmaking bug?
In reality, my father wanted to be a Director so I took a lot of inspiration from him. Then I realized his dream became mine.
Is film school in Italy difficult to get accepted to?
I didn’t go to film school in Italy. I came to New York after London and majored in film at New York University.
What filmmakers inspire you?
I think it was mostly paintings coming from a country where art is important. There was a lot of influence when I saw these paintings in Italy and all over Europe. I realized I wanted to be a cinematography because I wanted to work with lighting. I wanted to recreate what these artists were doing on the canvas.
How did the film Blindness include your love of art?
Blindness was interesting because it was about a woman who was losing her sight. We had to tell the story with visuals and not many words. The camera was capturing what she was seeing but not very well. It was a long journey because I had to see beyond what we see normally. What I said to the director was sometimes what you don’t see is more powerful than what you do.
I like European film because isn’t a lot of dialogue and there’s more visuals. It’s also nice to see how independent films are being done in the United States as well.
What is your relationship with the lighting crew?
When I decided I wanted to be a DP (director of photography) I made a point to meet all the lighting rental businesses and owners. I knew I really cared about lighting so I wanted to explore how I could get them to give me what I needed and also new equipment that’s becoming available.
It’s also important to say you don’t need a lot of light, you just need the right light to make it work.
How much interaction do you have with the director on set?
We do a lot in pre-production where the director will tell me what he or she wants in terms of mood and movements. I anticipate and interpret what they want while reading the script and translate the words into visuals. I write my notes and compare each scene and character. Sometimes I give each character a color to identify them because I see their personality.
It’s a visual way to tell the story and the director how I see it. During pre-production they have the final say and that’s when they’ll let me know if they like my idea or maybe need to go another way. It’s important to listen to what the director wants.
How important is still photography for setting up your film shoot?
It’s actually very important because I like to capture the moment. Things may look very well lit but sometimes I just observe what’s around me and I just snap it. It depends on the situation as well. If I shoot a documentary I like go and explore right in the moment. To be honest, I’m coming from a culture where everything can be done in the moment and I’m not afraid of that. Basically we live day by day and I like to take this approach to film as well.
Maybe in that moment even though you do a lot of pre-production, it may not work the way you and the director thought. You have to be ready to have a plan B, plan C, and plan D as well. Maybe the actor doesn’t want to do certain things so you just have to come up with an idea.
I shot a movie in Palenstine behind the wall. In a place like that where theres a lot of bombing, I realized to get the story out there you have to think in the moment.
What was the most challenging shoot you had to film?
Every shoot you do is not really difficult because you love what you do. One of the most challenging was definitely another Palestinian film. Not because of the crew but because of the situation. I shot a movie in Italy that was complicated because we shot in Sicily and difficult to get to the location. I shot another movie all in New York called Without Grace that just opened. It was a small crew with an emmy nominated actress Ann Dowd. We shot in Jersey during the winter and it snowed like crazy and couldn’t move it so we were blocked in the apartment we were shooting in. We had to just stop and go home and come back in two days because we couldn’t put up lights or do anything
I always translate the worst into the best. It’s survival. You have a lot of support and never give up because you want to make something good. Even if you have a big budget, it’s not going to be any easier. The producer may be afraid to take more risks.
What award did Madeline’s Oil win at the Louisiana Film Festival?
Madeline’s Oil was a period piece about slavery and racial discrimination. I loved it because we shot all over the fields and in the mud and every swamp in Louisiana after the hurricane. In that moment you will see people were all united including the actors. It’s challenging because you really have to deal with what you have at that time even though we had a bigger budget. The film won Best Cinematography at the Louisiana Film Festival. I’m very happy about it and love Louisiana.
I actually shot another film in Louisiana called The Stand. It was interesting because it was all shot on a bus and there was a terrorist attack with Christians and Muslims all together. They had to make it look like they were all the same people. We shot in Louisiana where it was supposed to look like West Africa. Big fields with dirt roads. I really relied on natural light and worked a lot with mirrors.
I say it was easy but it really was not. Buses are wider in the United States so I thought I could put up a light but I didn’t count on every seat being occupied. I couldn’t put up any light whatsoever and the windows were small. I actually put the mirror on the ceiling creating triangles of light using what I had.
You have to worry when you see the faces of your Gapher, your Key Grip and First AC go pale and they don’t actually know how to tell you the problem. When you see that you start to see there is a problem.
What challenges did you face breaking into the industry?
As a woman cinematographer it’s difficult to break in because especially when I started in 1998, I was one of the few DP’s around. Every time I was on set I was the only woman on set. I had discrimination but I didn’t have much because I also had a lot of people that believed in me and supported me. I’m bothered by women who don’t support each other as men do.
I used to have a big shirt over my shoulder but I’m a boxer and they didn’t know. A lot of women would start to panic wondering if I could do it. If you train it’s not about the strength it’s about the power you have from your legs as well.
What is your go to camera?
I think it really depends on the project. I can’t always say I want to use a particular camera. I do prefer the Alexa. My work is not all the same. Every story calls for a different cinematography style. You have to go with the story. You can use any camera really, it’s about the story.
I shot a TV pilot with Joseph Sikora. I thought I wanted to shoot with an Alexa but I did some tests and showed the director how it looked with a Red anamorphic lense and we just liked that much better.
What is your new film Amytal Therapy about?
The short film I just directed and DP called The Amytal Therapy. It’s about a woman who has a double identity looking for the murderer of a companion.
She’s a psychiatrist, living in New York that spies on her own patients, though the security cameras she’s personally installed in their homes. She knows what they do. She knows what they want. She knows how to stop them.
The good thing is if I wanted to put someone in the darkness I didn’t have to turn around and ask someone. The bad thing is I didn’t have a companion. I really did miss the collaboration between directory and cinematographer though. It’s amazing because you have someone who covers your back. I think my next move I want to continue to be a DP (Director of Photography).
Director, writer, producer, cinematographer this week’s guest has done it all. Dimi Nakov is a filmmaker’s filmmaker. This New Zealander is making a big splash in the indie film community. Dimi is a multi award winning filmmaker with a diverse body of work.
Talking to Dimi couldn’t have been a better way to kick off our next season of interviews. He runs a popular Facebook group called the FilmMakers Generation Next. He’s filled with tons of inspiration. We talked about mental health and film making and his body of work that started in music videos. We hope you enjoy the interview with Dimi as much as we did and learn more about seizing your opportunities for yourself. Listen for free or read the show notes below.
Where did your passion for filmmaking come from?
I didn’t realize it until later but I got involved with photographer when I was young. My grandfather was a mathematics teacher but also conducted photography workshops for his older students. I studied with him for 1 or 2 years sneaking into his workshops during the early 1990’s. Photography was still manual and gave me a Zenit camera that belonged to my dad.
I used to take photos of my sister and brother and process them in the dark room. What was amazing that you don’t see with digital, just like animation the photo paper starts changing color and becomes this picture I took months ago. It’s unreal. Those experiences stuck with me.
Photograhy didn’t stick and I went on to appreciate movies with Bruce Lee and Chuck Norris and when I moved to New Zealand I studied film and television at the University of Auckland. 2 years I didn’t even finish the undergrad degree. I was a B student and to graduate with a degree you have to have better marks. I have trouble reading big passages and was much more prone to read things like comics.
After that I decided to go to South Seas Film & Television School where I had to choose between documentaries and drama. I chose documentary because it fit with my personality and I’m able to get my subjects to relax and open up with conversation.
How did you transition to music videos?
Before I moved to Czech Republic I was a DJ in Bulgaria for years. I love music. I’m not a musician but I love rhythm and music. When I was in New Zealand and finished school doing odd jobs as a production assistant or cable operator I decided to do music videos because they are fun and quick to produce. If the rhythm of the music grabs me most times I’ll be willing to do it for free. Plus it helped build my portfolio with diverse work.
Where did the idea for FilmMakers Generartion Next (FGN Inc.) Come From?
I finished film school in late 2008 and I didn’t know anybody except my classmates so I created a group to keep in touch. My idea was that there was always going to be a next generation of filmmakers. Almost a decade later it’s probably one of the top 5 independent film making groups on Facebook with almost 40k members.
FGN Inc Mission Statement: We Support EQUALITY, DIVERSITY & MENTAL HEALTH in Film/TV Industry & Beyond. ?#SupportIndieFilm FOR A POSITIVE FUTURE. Changing The World One Message At a Time.
How did you develop your mission statement for FGN Inc?
That wasn’t the idea from the start. It only happened only in the last year and a half. I was going through a rough patch personally, some projects were just stuck and I know that I’m capable of more and nothing was happening. Some people may think this message is overstated but it’s very important, especially for mental health.
Mental health is the first thing that will determine your level of creativity and productivity. If your mental health declines, creativity and productivity declines. It’s equation doesn’t break or lie. It’s something that determines our quality of life personally and professionally. Originally I started collecting quotes to motivate myself, to not get into the dangerous wheel of self-doubt and fear which is suffocating and difficult to get out of.
The quotes started piling up after a year and a half I decided to create an Instagram account to only post quotes. That was the kickstart to creating the blog that’s for a positive future. Only quotes was good but it’s not enough.
I wasn’t a prolific writer and reader so I always had that fear that my writing wasn’t good enough. In my early stages I only directed and produced. Even if the story was by me, somebody else wrote because I thought it just wouldn’t be good enough, or laughable. I decided to find somebody and get together to start writing because there are so many ideas I have especially in the topic of SciFi where I want to explore the human condition , the technology that surrounds us. The good and the bad side of the interactions with that technology and artificial intelligence.
I’m a director and want to pursue directing first and foremost. I teamed up with another passionate storyteller and actress Jean M. Who also felt she wanted to develop her screenwriting skills while pursuing acting. So together we started pushing each other forward. Like anything in life there is no straight path. We want to master the writing in a genre that we feel passionate about which will ensure our longevity in producing when we are not getting paid for it.
What is the system of writing you developed?
As an exercise we take existing intellectual property, Spiderman for example, where you take the main characters and what they do, the genre and a brief synopsis. Then you take it all and flip it upside down. If it’s a male character you make them female. If the character is younger you make them older. If it’s SciFi you make it a horror or a comedy. When we are turning projects upside down like we try to choose project we can turn into a SciFi. We generate ideas this way and determine which ones we want to make and work on it for a few months without even chasing a page count.
To make it even more interesting, I go on my cell phone on IMDB and pick a list of movies. I scroll down and just push my finger and choose where it stops just like Wheel of Fortune. We have over 20 ideas at the moment. Ideas are everywhere around us and you just have to seize the opportunity.
That’s another reason I created FGN, because I was asking for opportunities from others and I wasn’t creating them myself. I decided to create opportunities for myself and stop asking for permission or waiting for somebody else to see the potential in me. It doesn’t mean we shouldn’t ask or be shy about. There’s so many talented people out there willing to help but you shouldn’t be waiting for it.
What was your experience at the Cannes Film Festival like?
Blind Side was a short film that depicts mental and physical abuse that happens behind closed doors in middle class environments. A young girl and her mom who is divorced finds a new man in her life that is sinister and bad. That’s where things start to go wrong and there’s nothing anyone can do unless the victim finds a way to speak out. Mental and physical abuse victims think they will be able to fix the problem before they may speak because they fear embarrassment or worse.
We created the film that was accepted to Cannes Film Festival. I was lucky enough to have friends and family that helped me get there for the duration of the festival. I know there wouldn’t be many options at that stage of my career. It was surreal seeing all the filmmakers and
I came home with many business cards and pamphlets and attended all the workshops. A few months before, you need to start communicating with people setting up meetings and workshops. I was busy every day from morning until night. I didn’t have time to party at all.
What is your movie ARA about ?
ARA is a very interesting project. Actually I started writing in 2012 and shooting some footage in 2013 with no budget. I tried to finish it in post-production but there are a lot of VFX. We are now looking for ways to get it finished. I encourage film makers not to listen to the little fears in the back of their mind.
I really believe in the story. A smart film maker would not make a feature with so many VFX as their first feature. Obviously I’m not one of those smart film makers so that’s why I’m stuck with it?
How do you feel about AR in film making?
You can imagine how I feel what I was thinking to be in the movie is actually happening 4 years later. We can feel these things and are very lucky. Imagination is one of the perks we have as a species. All of us have the talent of creativity and storytelling. It’s just nurturing it.
The Imperfect Podcast kicked off of its new season with a Facebook Live event that recaps the show’s most memorable moments and behind the scenes from Seymour the Unfortunate Vampire.
September 11th & Hurricane Irma Relief
We take a moment to remember September 11th and those who bravely gave their lives as well as the friends and famlies that were effected. We will also donate $1 to Hurricane Irma Relief for every new YouTube subscriber until Sunday September 17, 2017. Subscribe at http://youtube.com/hecklerkanecreations.
We’ve Moved to Blog Talk Radio
The other piece of news to share is our new home. The Imperfect Podcast is excited to announce its move Blog Talk Radio as a Prime host. Be sure to get over there and subscribe!
Top 10 Episodes
Interviewing over 40 guests the past year, made for great memories. We discuss our most memorable moments in this episode. Here’s a list of the 10 that made the cut!
Behind the Scenes of Seymour the Unfortunate Vampire
For more about Seymour the Unfortunate Vampire and behind the scenes access, listen to our episode. We discuss working with Marshall Teague as Chester the Werewolf, Ethan Marten doing what he does best in front and behind the camera and the camaraderie formed shooting an entire series on a micro budget.
Inbeon Con is Long Island’s Comic Con for Artists! We were inspired by anime, comics, cosplay & gaming and met some amazing local artists, costume designers, animators & game developers. Featuring creator Eric Hutchison, we had the chance to learn what it takes for independent artists to make it. In it’s 4th year, Eric has done a great job of assembling artists with passion and talent to create a community that’s supporting each other. Watch the video for a special light sabre fight with the Sabre Guild Endor Temple.
Interviews include:
Eric Hutchison – Inbeon Con Creator
Experience Unknown – LiveHorrorShow.com 5D Horror Show Friday September 30th 2017 at The Cradle of Aviation
Things have been moving along quite nicely thanks to all the amazing contributions! We are so happy to see everyone embracing the indie spirit. Seymour the Unfortunate Vampire is now 40% funded which means we are halfway to getting the green light from Seed & Spark.
Every $1 counts with only 14 days to go!
Earlier today, Marshall Teague and Tonya Kay joined Sal and Joe on The Jimmy Star Show with Ron Russell for an interview about our streaming series Seymour the Unfortunate Vampire. Listen to the playback here and tune in at the 1h 19m mark.
Surprise Casting!
Coming up in our next update we will be announcing some surprise cast members and cameos.
Help us spread the word and to reach 500 followers by sharing our Seed & Spark link on social media. Tag it with #SeymourTheVamp
Subscribe to Our YouTube Channel for more video updates from Seymour!
This past year has been a really cool run for Heckler Kane Creations and the Imperfect Podcast. We’ve been committed to bring you weekly interviews with indie film makers, actors and creative talent that helps support the indie film community. In this episode we have some really cool announcements we can’t wait to share about our new home for the podcast at Blog Talk Radio, crowdfunding our web series Seymour the Unfortunate Vampire and shout outs to our supporters and guests who made all of this possible!
We are Moving to Blog Talk Radio
First things first. The Imperfect Podcast is moving! We will have a new home at Blog Talk Radio very soon. This summer we will be re-releasing our best podcasts from the past year. In the meantime follow us on twitter @hecklerkaneinc or sign up for our mailing list to become an Imperfect Podcast Insider.
If you’d like to be considered as a guest for the next round of interviews coming in September 2017 fill out the form on our contact page.
Seymour the Unfortunate Vampire
This summer we are taking on our biggest film making challenge yet. We will be filming an 8 episode web series called Seymour the Unfortunate Vampire. A supernatural comedy that follows the story of Seymour, who is trying to put the pieces of his life back together after being turned into a vampire. Visit http://hecklerkane.com/seymour for updates about the crowdfunding campaign that will be launching this summer.
Lookout for More Summer Releases
We’ve been filming a ton of content over the past few years and now is the time to release it! We have a number of titles coming your way that we know you’ll enjoy. Please like, comment and share to #SupportIndieFilm. Here’s the releases with dates to follow soon.
Foley – A short film that pays homage to foley artists in our own twisted way.
Jump – A short film about a man transported after encountering the ancient traveler’s stone.
Fight Reel – Watch Joe show off his Taekwondo skills and the rest of our fight scenes from the films we’ve made.
Hollywood Know How – More film making tips, how to videos and film gear.
Shoutouts and Many Thanks!
We’ve made some amazing friends, colleagues, fans and more this past year. We’d like to take a moment and say thanks to as many as we can.
#PodernFamily – An amazing network of podcasters that’s been so supportive. Go to twitter and use hashtag #PodernFamily to find new podcasts to listen to, retweet other podcasts and join in the conversation
David & Juliette – Juliette is the host of the Unwritable Rant podcast with her producer David. They’ve both been supportive since the beginning and generous with their time. We can’t thank them enough.
Wendy Shepherd – Wendy is the founder of Studio Matrix and has been instrumental in helping us secure many interviews this year, such as Tony Germinario, the award winning film maker and writer of Bad Frank.
October Coast Publicity – A great PR firm who’s helped us secure some fabulous interviews with film makers and in particular actress Tami Stronach who played the Childlike Empress in the Neverending Story.
Carolyn Sames – An indie film supporter and effortlessly donates her time and resources to film makers and actors and was kind of enough to setup an interview with actor Rich Graff. Connect with Carolyn Sames on twitter at https://twitter.com/SamesCarolyn.
Ethan Marten – Ethan has become a good friend since his interview with us and the Eyes of the Roshi cast. We even had the chance to meet up at the Soho International Film Festival for a screening of the film here in New York.
Download, Listen or Watch Women in Film Telling Stories with a Purpose
This week’s guests on the Imperfect Podcast are the women from REAL Pictures and founder Jacqueline Real. The REAL Brand NYC is a brand built on humanitarian, forward-thinking ideals. Their first company launch will be REAL Pictures, a production house helmed by #TheREALSisters that produces provocative, female-driven films. Its premiere film will be ‘The Drive,’ written by Jacqueline Real & shot by Diana Matos.
Jacqueline Real is a native New Yorker as well as a working SAG-AFTRA/EQUITY actress. After a year of activism and volunteer work, she has finally focused her passions and launched the company The REAL Brand NYC. The REAL Brand NYC combines her love of activism, volunteering, and film making. The most recent film she produced, ‘How Far’ (2016), was featured at the New York Short Film Festival. For more info on Jacqueline’s multiple skills go to follow her on IG @JacquelineReal!</
Jacqueline’s sister, Nicole Real has worked in the film & television industry for almost 15 years, where she started as an intern on “The FBI Files” for the Discovery Channel and then later at Tribeca Productions; Robert De Niro’s production company. She graduated from The School of VISUAL ARTS in 2004 with a bachelor’s degree in cinematography and later met a group of filmmakers who led her to work with Glass Eye Pix “one of the indie scene’s most productive and longest-running companies.” – Filmmaker Magazine.
Also feature in this weeks interview is Diana Matos, who is a New York based Director of Photography working regularly in LA and Miami. Once a Local 600 camera assistant, her credits include: The Amazing Spider Man, The Bourne Legacy, R.I.P.D., Winter’s Tale, The Other Woman, Annie and Ricki and the Flash. Prior to working on set, she was a technician at Panavision NY and is a graduate of the University of Miami. Talking to Diana about film gear was a real treat. Hell she even owns owns an Arri Alexa Classic with High Speed License!
Diana has shot with an Arri Alexa, Super 35mm film, S16mm, RED Weapon, Dragon, Epic, Scarlet, Canon C300/C500, HDCAM, and HDV on several webisodes and short films, including the award winning Latin-American film, A Dual Citizen. Of Nicaraguan and Puerto Rican decent, Diana is on the road to being a lead female cinematographer. Her most notable works include: A New York Love Affair, The Silence, Bait: or Trapped by the Truth, The Groundskeeper, and Ghost Ride.
Watch the Full Interview About Women in Film Telling Stories With A Purpose
Highlights: Women in Film Telling Stories with a Purpose
How did you all meet prior to Real Pictures?
We met on a small project. It was a TV pilot the second episode and we met Nicki through that and Nicki was directing. Jacqueline was acting in one of the scenes and fell in love with Diana. I’ve been on a mission to find all the fierce females right now and Diana was definitely one of them…. I sent the script to her to get some feedback and Diana was like we should shoot this. That’s literally how we met and that project was only 8 months ago.
When did you create the REAL Brand company?
So I was in LA feeling Jaded because of the business there and how women get treated especially actresses. The first film that Nicki and Jacqueline did together was “How Far” and it was really just Jacqueline’s own expression of getting a project completed. The people in my life were heavy hitters and I wanted to see a completion from A to Z. Now that I found a very particular voice in writing, now we would like to take Real Pictures to the actual level of a female driven production company. With Jacqueline’s year of activism work it’s going to be a production company that focuses on certain social injustices that we feel need to be highlighted.
Now that we want to take that to the next level is was not even a question when Diana said we should shoot this. Diana thinks it was a year or two ago Jacqueline came to her working on separate projects. Nicole went to film school and was working with Robert Deniro at Tribeca Productions and Tribeca Film Festival seeing people do all these things and being like I wont have the money for this and Jacqueline said listen lets just try it and see what happens. Producing with Jacqueline it just worked.
Tell us about REAL Pictures first film ‘The Drive’
I hate to say that it is a film on police violence because it’s not at least for Jacqueline. It’s exposing another side Jacqueline feels people are not talking about. Where are all the good cops, where are the ones sticking their necks out to make sure that they are doing what they’re supposed to do, which is protect and serve the people. The way that we’ve seen this topic is through very heavy images and peoples cell phone footage on Facebook and it’s all in our face. So that’s been all a part of the research and Diana trying to come away from it to say, “Alright, cinematically how are we going to do this justice?” Diana has brought lots of questions and suggestions to the table for Jacqueline. Diana thinks “our limitations turn into opportunity for creativity”. We always keep talking about how are we going to do this justice? How are we going to make this something that moves people because we’ve gotten detached from our humility and that’s the biggest thing that we are focused on, At the end of the day we are all just people and we could all get on that level and have heart felt discussions on these issues. In this script everybody has a voice and everyone has a reason why they function the way they function.
Diana, what medium do you enjoy working in?
I love working on films that have something to say. Diana has worked on big features and TV shows but it was all about experience because if she hadn’t she wouldn’t have worked with and learned from the greats. Diana says it’s not about the money it’s about what you’re going to say, it’s finding who you are and finding those film makers that support that. At this point in my career it’s about moving forward with the stories that reflect who I am and I can support, enhance and tell the world about these things because people need to know.
Why do you like shooting on the Alexa EV?
I come from the film days and felt that the Alexa was the first camera that really convinced me to come off of film into digital. I had some money saved and said to myself “okay, it’s either a house or a camera and that was the decision that I made. I still think it was worth it.”
What are your plans for distribution?
We are going to stay strictly festival. This is really going to put us out there as a female driven company. This is really going to be our launching point to show people who we really are. We want the film ‘The Drive’ to be our business card.
Today’s guest on the Imperfect Podcast is actor Robert Palmer Watkins who plays Dillon Quartermaine on NBC’s daytime series General Hospital. We talked to him about everything from his struggles as an actor to how landing the role on General Hospital changed his life. I think Robert is a really humble guy. His roots are on the east coast from the Carolinas and it just seems like he’s really dedicated to the work. He really understands what the fans want and what the commitment is to being a daytime actor on a soap opera like General Hospital.
He appreciates everything from the struggles he’s had and doesn’t take it for granted. It was interesting to talk to somebody about soap operas because honestly we weren’t fans but watching his work and watching how it’s done you can see how people are literally addicted to soap operas. They’ve been around for decades. There’s only 4 left, General Hospital being one of them.
The character that he’s playing and the shoes he has to fill is no joke. We also talk a lot about the pressures he faced in taking on this role. Hope you enjoy the podcast and learn more about what it takes to be a soap opera actor.
Special thanks to Wendy Shepherd at Studio Matrix for making this interview possible.
Actor Robert Palmer Watkins Interview Highlights:
I know you’re out in Hollywood but you’re originally an east coast guy. What’s your background like? Where did you grow up?
I was born in Salsbury, NC and we moved to Winston Salem when I was 8 years old. When I was 12 years old my dad got a job with AMF Bowling and their corporate office is in Richmond, VA. That was good for me because Richmond is more like a city and the arts are appreciated. There’s a lot going on in the city with theater and art. I kinda got involved and did my first play in high school and before that did sports and when I did my first play I loved it. That was when I transitioned into thinking maybe I’ll be an actor.
I’ve been out in LA for 9 years which is pretty crazy. Time flies.
What was the first gig you landed out in Hollywood?
I think the first, this is so funny. The first thing I booked out of college. When I moved here I went to AMDA which is the American Music and Dramatic Academy because my parents were like you can move to LA, we get it, but we’d feel a lot better about it if you went and started at a school or some type of conservatory just to get your bearings, meet some people. The first two years I was out here I didn’t audition at all but when I finally got out I started auditioning right away.
The first job that I booked was a show called 1000 Ways to Die. I don’t know if you’ve seen it but it’s basically ridiculous reenactments of ways that people have died. The way that my character died was I slipped on a chard of glass while I was taking a shit. I’m using the bathroom and stand up and flush and the toilet explodes, the lid on the back of the toilet explodes, shatters on the ground and I slip and I fall on a shard of glass and it goes into my asshole and I bleed out. That was my start to Hollywood and my mom was super proud obviously.
I’ve done so many random, random jobs as an actor. That one may take the cake though, I gotta say. I think I got like $100 for the day. It was non-union. I was definitely not SAG at the time. You start doing different things, you meet different people and each project gets a little bigger, a little bit more legit. A lot of little roles like that when I first started out.
You were also at a conservatory. You’re a musician. What do you play or do you sing or write?
Write and sing and do a little bit of guitar and producing type stuff. I live with four of my best friends and we all collaborate on different projects. Actually two of my buddies I live with are probably going to get signed very soon. They have a band and I’ll jump in and do a song with them and then I’ll mix it with some of the other friends I know. It’s nice having a platform on a show where we have an audience that will actually watch some of the stuff that I put out there. You know what I mean?
I don’t have any official band or anything for myself right now. I’m collaborating with people as I see fit and I’m starting to work on some original music as well.
I’m sure the day job at General Hospital takes up a ton of time.
I was going to say yeah it does, that’s obviously my main focus but it’s actually a really nice schedule as an actor. Like today, I went in and my call time was 12pm. I went in and everything moves so fast so that once you’re called in you do your blocking, wardrobe, makeup and have a couple hours before you shoot. Then you shoot the scene, you get one rehearsal and then you shoot it. It could be five scenes or ten scenes but usually you’re out of there within 5 hours.
Today my work day was 12 and I got home around 4:45 or something. I mean, that’s not how it always is. Some days you’re there super early until 6pm or 7pm but most days you’re only there for your scenes and you’re not necessarily working every day. It depends on your story line. Like this week I actually worked every day but this coming week I don’t work at all because my character in the show is away.
So it’s nice. Yes I’m busy with it but I actually have more time now than I did when I was a broke struggling actor working four part time jobs.
What was the casting process like to get the role on General Hospital?
Mark Teschner is the casting director for General Hospital, really well know casting director here in Hollywood. He’s really really good at what he does because he remembers people who he meets and keeps them in the back of his head and when a role comes up he just has that eye and mind set where he remembers there’s something about that person that may be right and it could be years later. I think that takes a special type of person to see that in people and remember them down the road.
I went in for Mark when I first got out of college and I was doing all those random acting jobs like I told you guys. I was super excited to go in. It was for a contract role. It went okay, I don’t think I was right for the role and I was a little young and I don’t think I was as trained as I needed to be yet. I was still green but it went well and I could tell he liked me.
Then he called me back in a couple years later for a different role and went decent again but nothing. And then a year or so went by and I saw he was doing a class at a studio here in Hollywood and I was like maybe I should just take that class and get back in front of him because I know he liked me and I think it’d be cool to develop a more personal relationship with this guy. So I actually took his class and remembered me right away.
We had a really good rapport and I got his email, we stayed in touch and I guess this role came up for Dillon. I play Dillon Quartermaine on General Hospital. This role came up and he remembered me. He called me in and then I didn’t hear anything for 3 months and then I got another call back and I had to go see the producers. After the producers we had to do a screen test. And the screen test, that’s the final thing you do when you’re getting cast for a role. There was myself and five other guys screen testing. Even at that point there’s still six of us. You’ve gone through the ringer for this many call backs and met the producers and there’s still six of us! Really?! It’s kind of disheartening when you get there. But I got it so it worked out.
Mark told me, I knew when this role came up I had to get you in for it. I guess he knew and kept me in mind. It was a process to answer your question. It is a long process most of the time. Then sometimes they change their mind or they rewrite the role or they decide not to bring that character on the show yet so they hold off for a year. I think that’s what happened with my character because I was called back and there was several months where I didn’t hear anything. There’s so many variables that go into it, into booking something. A lot of it doesn’t even have anything to do with your talent. You’re too tall next to the girl or you’re too short, or too white, or not white enough. There’s just so many things.
How much research did you do and how much did you know about General Hospital before going in to audition?
The funny thing is they are very secretive about who they’re casting, when they’re casting, what they’re casting. I play Dillon Quartermaine who is a legacy. The Quartermaines are one of the main legacies on the show and Dillon was on the show ten years ago, played by Scott Clifton who is now on The Bold and the Beautiful. Dillon’s return to General was a big deal and they definitely did not want it leaked. I didn’t even know until I booked it that it was for Dillon Quartermaine. They had a fake name I think it was Dustin or something. My manager called me when I booked and he said you got it and you’re playing Dillon Quartermaine which is cool to hear as actor because you know that name has some weight to it. It’s been amazing. It’s very secretive. I thought I was auditioning for a brand new character named Dustin.
Is it a lot of pressure playing a role with such history?
You know there definitely is because you want to honor what the character means to the show. I wanted to honor what Scott brought to the character because he’s a great actor and he originated the role. I definitely wanted to keep some of the stuff and quirks and sarcasm that he brought to the character but I also wanted to make it my own. It’s been 10 years since he’s been on the show so I think he would be a different person now. The character, the reason he left the show, storyline wise is he went away to LA to pursue a directing and acting career, which is cool. So when I come back 9 years later I think he would have grown up a lot.
There’s definitely pressure though because these Soap fans, they are very passionate and if they don’t like something they let you know. Nowadays with twitter and Instagram and facebook and everything, snapchat, periscope, they have access to letting us know when they like or don’t like something. You hear from them. I definitely was aware of that. I definitely researched the show. I definitely looked at his work on YouTube but I also tried to compartmentalize it and throw it out the window also because I wanted to make it my own and make personal for me.
What’s the most challenging part of working on General Hospital?
The speed. It shoots unlike anything, any other type of medium. Film, prime time tv, anything other than soap you have multiple takes. A wide shot of both actors, then they do a one shot of one actor then the other actor, the same scene over and over to get different angles. There’s more rehearsal time, more discussion with the director, there’s just more time in general. A soap, especially nowadays, because they’ve really cut down on budgeting, time is money to the extreme on a Soap. There’s only four of us left.
Every day we could shoot between 2 and 3 episodes. It’s the amount of material that we’re filming in a day and the rate at which we are shooting it is just insane. People come on the show that are guest starring or playing a recurring and their mind is blown. They’re like this is how much you guys do in a day? I mean, that’s how I felt when I came on. I was freaking out. The whole first week I was shooting I had a packet this thick for every day of the week. When I would finally get the first packet down I’m like okay good but then wait the next day I have another packet that looks like that? It’s crazy.
It’s just the best training as an actor because your brain just learns how to do it. Your brain learns how to memorize things quickly and that was always a huge struggle that I had was learning material. Memorizing stuff. That was probably my biggest issue as an actor. I gotta say this job has completely changed that for me.
I shot today and I did not have my script from last night. We just moved and my script got misplaced. I was just hoping I didn’t have a lot of material today so I could learn it when I got on set. I got on set I had a ton of material. It was terrifying. The director was like really dude you didn’t have this? Are you gonna be okay? They were worried for me because it was a lot. I had about an hour, I went down to my dressing room and I just learned it. It stuck.
It’s crazy your brain has that capability. It’s like a muscle and I didn’t believe that shit when I got on. I was like I think you either can memorize or you cant memorize. No. You can train your brain to get better at that which is pretty cool.
Is there any improv working on soap operas or do you strictly stick to the script?
They do allow you to improv a little bit especially as you get to know your character. When I first got to the show I tried to stick pretty much word for word with what the writers did because that’s just how I was trained. Respect the writing. They wrote it this way for a reason, every word is important. As I’ve gotten more comfortable playing Dillon and making him my own, I am allowing myself to be a little more free with the dialogue. As I’ve gotten to know my character I feel like I embody how he talks and things now. Sometimes we’ll get a scene and I’ll say is there any way we can change this to this to sound a little more natural or younger or hipper.
Sometimes if you’re in a scene and you forget your lines you have to improv. They would rather you improv a little if you mess up than start over because that’s money. To answer your question there’s a little embellishing and a little improv but most writers and producers want us to stick with what’s on the page.
What is the biggest change in your life since landing the role as Dillon Quartermaine?
Oh gosh, literally everything. Like I said I was working every job I could, barely paying my rent. A month before I got this my car blew up on the highway because I didn’t have money to change the oil. I had a melt down with my parents on the phone. I don’t know what I’m doing. When is this gonna happen? It’s crazy because it hadn’t even been that long. It felt like an eternity but really I had only been struggling and auditioning for five years. There’s actors that go 30 years and don’t book anything.
I don’t mean to sound like a diva by saying I was auditioning for five years and didn’t get anything. Really in the grand scheme of things that’s not that long but when you can’t afford to eat it feels a lot longer than five years. So there were some struggles but honestly I’m really grateful I went through the hardships of it because I appreciate it. I see some actors book something so fast out the gate and I don’t know if there’s the same respect for the job when you get lucky like that. I’m glad I had to work really hard to get something. It taught me a lot about being an adult and a responsible actor.
My life changed financially. I’m not a millionaire or anything like that but I’m way more comfortable than I was. I don’t have work other jobs that I don’t want to work. I have that freedom to just focus on my acting and my music. I’ve changed because I feel good about my time is being spent growing as an artist rather than working a 9 to 5 job that has nothing to do with what I want in life.
Like you said I get to be on camera several times a week and just play around, experiment and try stuff and get paid for that. That’s every actors dream. I still have to pinch myself. I’ll be walking off set and I cannot believe this is so awesome. I had no idea being on a soap would be this great. I wanted to be an actor but I wasn’t targeting being on a soap. Now that I’m on one I can see why people end up having a full career on soap. The schedule is amazing, the money is great, the flexibility and just getting to work. So many actors don’t get the chance to work. The fan base is amazing and its allowed me to do other projects like my music or other independent films and now there’s an audience automatically built in and they’ll help me promote it and get it out there and blast it out to the world.
Outside of General Hospital what other work do you have coming up?
Yes I did an independent movie that I had a small part in called Theater 9. It’s going to be coming out soon. I just did Season 2 of a web series called Last Life which is a supernatural kind of web series that actually just aired in the past few months. That did really well. They have a pretty big built in fan base with the sci-fi genre. Let’s see what else have I done recently.
Im actually in the process of reading a bunch of scripts because I would like to fund my own project and produce my own movie and play something that’s different from anything I’ve played before to grow as an actor and experiment and be in charge of something. I’ve been working on my music which is great. I got to sing in the opening of the Day Time Emmy’s which was exciting. I just the episode of the nurses ball which is once a year on General Hospital. They have this talent show where characters get to perform. I actually got to sing and I’m really excited for that to air because it was all choreographed. It reminded me of being back in theater.
I’ve been staying busy with these fan events. They’ve been flying me all over the country. I’m hosting he fan events now with Laura Wright who plays Carly on the show. Her and I are hosting these events where we go to different cities and the fans in the area of General Hospital can take pictures and we sign autographs and do a Q&A from the stage. I walk around with the mic and people ask questions. That’s been fun too because I’ve gotten better at talking in front of people. Hosting is something that’s always been interesting to me as well. I’d like to maybe dabble in that as well.
Where is the next General Hospital fan event taking place? Is there one scheduled?
Yeah, you can all of the events on my web page at www.robertpalmerwatkins.com under the events section. I’m doing one in Marco Island actually in two weeks. Raising awareness and raising money for autism, kids with autism and other special needs. You can buy tickets for that as well if you to the events page on my website.
The last thing I wanted to mention was something really cool that I’m really excited about that we are doing in July 5th – 9th. I’m doing a retreat in Costa Rica. We are allowing 30 people to sign up. Anybody over the age of 13. Families, singles, friends, whatever. It’s going to be really cool because I’m partnering with my fitness trainer who’s a celebrity trainer Jordan Rude. He’s also my brother in law and Jennifer Grace who’s my life coach and mentor. We came together to do this retreat in Costa Rica.
Everything’s included once you buy your ticket. We’re going to be doing different activities. I’m going to be doing acting and music. She’s going to be doing life coaching, yoga, meditation with everybody and then Jordan is going to be having workouts. It’s called a digital detox. Basically when you check in you have to put your phone and your laptop, you have to check it in, we lock it away and you are free from all of that shit for four days.
I know that I need that very badly right now. I feel like everyday I’m just looking at a screen all day long. It’s just to be able to reconnect with who you are and I think it’s going to be life changing. Everybody please, if you’re interested in that spread the word.
