Transcript: Episode 4 (pre breakdown)

Hi there, y'all. So we got another episode here as we're starting up our live stream discussions. Um, and so this is the recorded live stream. 
We are wanting to do this also for the, for our 1st round table episode. And I would love to, uh, hear from you. If you are wanting to participate in that. 
Um, I'm start, I'm sending out a scheduling meeting scheduler link kind of thing, uh, for us to like pick times that are available for as many people as possible. Uh, so that if people have to leave, then they absolutely can, and we still have enough folks left over. So that's, um, uh, very understandable. 
I mean, that could be, that could be work, that could be family life. That could be just like getting shy. And I understand all of them. 
So wanting to hear from like a diversity of horses when we get this started. So, um, link is going to be in the description here. And, uh, yeah, this, I, um... 
This may be a little awkward in the episode. So, my apologies for that, but I, um, yeah. I had a really good time talking with Cheyenne and sunrise at the end here. 
And Matt Barnes also showed up. and figured out how to use the emojis. So that's really cool. Um, I also want to apologize. 
This is two and half hours long. Um, and they take fair shot good time to get through, so, um, and I also want to apologize. I know this, we apologize, and that's pretty goofy, but I also want to apologize for any factual errors, our errors of emission, for any facts. 
I think it's well worth double checking my fact finding. So, yeah. And I really want to thank, uh, Cheyenne and Sunrise and Matt Bars for being a part of this episode, and, um, for all their work that they do, and they're all very, um... 
They make beautiful work. I want to say skilled artists. It's not just skilled artists. 
They're, like, very emotionally, um... warm people, and they make really great material. I guess I'm stumbling over it, 'cause it's kind of, like, each of them have made their own things, they've written things, or communicated things that have made me cry, or, or, or just felt like the opening of a portal to God, or something. There's, I just really love their voices, and I just, I'm so glad they're down to add their voices to the choir here. 
Um, so... Um, I also really want to thank you guys, uh, for taking the time to listen to this. And I'm really excited to hear your voices, too. 
I was really, really looking forward to connecting with you. And connecting with all of us, just enjoying this process, just getting to start to make worker cooperatives, a real thing for our community is super exciting, so... I'm looking forward to building this with you, and I'm looking forward to getting to that round table live stream, and, um, yeah, so here we go. 
Let's start, let's start this live stream. All right. Enjoy. 
So, hello. This is, uh, an episode of the Crew Coron podcast. And, um, we're just recording. 
Just the first time doing this, uh, streamed recording. So, um, I'm here with Cheyenne Scarborough, and it looks like Sunrise Tip Connie. Um, I'm Elizabeth Drew, and this is, uh, we're just gonna be talking about the syllabus today. 
Um, going through, uh, month by month, sort of, which it the months may have to shift up. I guess, um, should we start, um, Did any of you guys, did, just out of curiosity, did any of you guys get a chance to see any of the documentaries? Yeah, I actually, um, watched the, uh, The 2 documentaries, um, on the, The Mont Dragon. 
Uh, cooperatives. I didn't get a chance to watch the, It looks like talk, um, about their structures and stuff. I still really want to see those, but I haven't gotten a chance to see it yet. 
Yeah. Yeah, I want to see the people that are on that conversation, actually, in, like, a future update version. Like, I, I, yeah, I want to see a full cut documentary with them and that kind of thing, but, well, so that, that, um, is intended to kick off. 
Hey there, is that is that my bar? So, hey, Matt, in sunrise? I don't know if you guys are going to be driving or if you want to contribute to any of this conversation, please chime in as you like. 
So, thanks for your show. So we can just dive right into talking about what, what, what we're doing here month by month. I guess actually I started highlighting the wrong month. 
Um, so I have open, um, the, the syllabus. And actually, I have it kind of like in a weird setup, so I don't know if I'm, um, If I try and stream it. It might do some weird things, so, um, I can give that a whirl. 
Or potentially you guys just open it up aside your, um, beside your screen. I don't know, how do you guys want to do that? I don't think I can really do anything while I'm driving. 
Yeah, okay. Yeah. Oh, good, okay. 
Thanks for having on while you're talking. Um, uh, And yeah, if ever you need to hop off, just, uh, uh, no worries, please, please drive safely. Um, so, um, yeah, just starting out in, in, um, the, the 1st real month of screenings, um, Uh, getting into the, the documentaries, um, the Modragun experience and then, um, the VPro documentary. 
Um, those are, I'm sorry, I feel like I've talked about this stuff with you guys before, and it feels kind of like over, over talking things, but, um, but, uh, the, um, so those 2 documentaries are, like, um, supposed to be sort of a, uh, um, What just being able to see what um, worker cooperative, uh, systems can really achieve, uh, because it's so deeply embedded in that, that area, that, like, uh, there, there effectively able to utilize the structure in a way that, that does combat concentrations of wealth. Um, And I just, I, to for us to see those possibilities, I feel like is kind of a big important thing for us to start off with. Um, And we've also, like, there's other places in the world that are doing that, of course. 
Um, that's one um, that kind of that took off. Um, after Spanish Civil War and really like expanded from there. But, um, there's also, um, some of the, the screenings for later in the month are, um, communes of our Java, and, um, that's both, uh, current, or like as it was starting, and then 6 years later, which is more current. 
Um, and, uh, Then there's, there's other like links that I have for like other cooperatives, if we, if we wanted to screen more of that kind of stuff, there's like Italy and Jackson and Cleveland and, um, I think there's one in France too, that I was remembering, but, um, so, but I, in terms of what we really, I felt like we had time for. Those were, those were the ones I really wanted to focus on because they, um, It's so embedded in the community in both those, um, scenarios. Like, Cleveland and Jackson is still, it's still operating very much within, um, other parts of, of the city and stuff, so. 
Yeah, and you guys have any thoughts on that? Um, I... Well, after seeing the two, together, I thought it was so interesting to be able to see sort of the, the history and the foundation that the structure was built on. 
But then being able to like revisit it in, you know, so many decades later and see the ways that it's still thriving, the ways that it has, um, continued to evolve and the way that it's like, sort of insulated, that particular community. I mean, as much as it can from, you know, the economic crisis that is happening, like, well, the documentary was being filmed. And I just thought that that was so interesting. 
It's not often that you get to. kind of see the way something continues to evolve, um, like that. Yeah. Yeah. 
Yeah, they're modern stuff. They have like stuff that they've put out themselves, um, because they have their own videotape and stuff by now. But I really, I really appreciate documentaries that are kind of, like, have that remove of, like, I want to, I want to ask harder questions than you may want to ask yourself kind of thing if you're, you're on video team. 
So, really. Right. Yeah. 
I, you know, one of the main questions, and I know that we're not, like, really deep diving into these today, but something that after watching them, that I just haven't been able to get out of my mind is the way, they mentioned several times that if there weren't, um, multiple or a system of cooperatives. that they never would have been able to sustain this model. Um, because of issues like cash flow, um, because of like shifting economies and when one is doing really well, it can sort of step in and kind of like bridge the gap if and there's another industry that's in a slump or a downturn, um, in the way that they are able to like shift workers around, you know, in the most dire circumstances instead of having to lay them they can transfer them to a different cooperative. Um, And it just, it seems so vital to their existence, and it makes me wonder in the film space, um, you know, because it is, It isn't an isolated industry, but, you know, to have like a worker cooperative in the film space. 
Um, It's like what does a system of cooperatives look like? to be able to like add security. And I, you know, I, I don't know, I haven't figured that out, but that's what is like been turning over in my mind after watching those. 
Yeah, me too. I'm even, I, like, the, the amount of... Local industries, like, kind of needed for infrastructure. 
The thing is, like, they come to it, they come to it just with, like, a factory factory that they, they are making refrigerator, paraffin heaters and then refrigerator, they're doing something, they, they're concentrating one thing, and then they, then they take it from there. Um, But the, that is, that's, like, the only way it's working is this, it's so broad. So... 
Yeah. I mean, and I'm wondering if that maybe, and this is just kind of like spitballing, but like maybe if that looks like not so much diversifying, like industry wise, but like, diversifying as not just, um, like, principal photography crew, like not just the shooting, but also like distribution and exhibition and like creating a sort of system of cooperatives in that way, maybe, you know? Um, that, Maybe it's about more than just making projects, but also like, Eventually, like acquiring other projects, like distributing, you know, that, that kind of thing. 
I don't know. Yeah. Yeah. 
Actually getting older holdings and bringing it under that roof. Yeah, that's interesting. And the, the... 
Another, like, uh, there's, I, I'm afraid to spend too much time on this, but I don't, I also, um, the healthcare stuff. And they, they like completely create their own healthcare. Um, and how that feels like that, that is really, That's, That's actually kind of like. 
Something in me feels like that's like the way to do this. Healthcare system. I don't, that is like a whole different, like, can of worms for me. 
But, um, that starts to bring it, um, obviously starts to bring it around into more industries, but, um, the, The... I feel like that... getting into, like, some of the questions that I have for that, that next episode, we'll get into some of that about, like, um, how we bring what we have from union, um, into this and how to transition from that to worker owned healthcare. Um, is a thought that, I mean, it will be relevant for, like, all aspects of, of the, this industry and others. 
So um... Uh, so, moving on to, um, Leo season, um, and that, that being kind of, like, about self expression, and, um, authenticity. And, uh, so the previous one being about family is kind of a thing that's going on in, like, orienting it around Cancer Month. 
Um, And, um, The way this, the way this shakes down, I mean, it may not be able to play out that way. Maybe maybe we follow Mercury's trajectory rather than like solar trajectory. I dont know, but, um, the Leo season, whatever that comes. 
Um, being about, um, wanting to screen the dispossessed, and touching on, like, anarchism, and, um, resistance to systems. And also starting to touch on what, um, going into, do not expect too much from the end of the world. Uh, so... both of those being... 
Um... I'm sorry. My, my frame of mind, I'm, I'm, like, I'm, I'm kind of disjointed because I, like, what, what's happening right now in my brain, like, I'm mentally prepared for being able to talk with people for, like, an hour about, um, the, uh, Modragon experience, and, like, um, going into, like, month by month, I'm kind of, like, I'm, I, I'm, it's hard for me to, uh, totally. reorient how I'm speaking about this. 
So, I'm sorry. I'm sound really disjointed right now, but um, Uh, no, not at all. I'm also a tentative brain dead because we had our rat party for the lowdown last night. 
Oh, hell yeah. Yeah. So, how was it? 
Oh, it was so much fun. It was so much fun. It was great. 
Too much fun maybe, some might say. Um, But yeah. So I'm, I'm, I'm working at a few, uh, not slower than regular as well. 
So no worries about that. Um, The, uh, the disc. Can you tell me a little bit about that? 
Oh, the disposition. Um, so this is like Ursula Kayla Quinn's, um, I think that's her 1st Bigger, should I find out? I might be wrong about that. 
Um, but she, uh, so she's writing about this uh, planet of uh, people that have like, um, uh, Rocket away from the comparative earth. I mean, this is like years and years, generations down the line and their space travel is like a thing. So, uh, the, um, the dispossessed, built on the premise of that, that, that planet that they've all like gone to, um, operates on, um, anarchistic rules. 
They're not by which, like, they're really like resistant to rules, but they, um, Yeah, just a deep respect for each other's freedom of choice. And, uh, how, how does that look when he's, he's, so the person that they, that the main character is like, um, the book is built around, is a scientist, is a physicist, and he has, um, been working on a, uh, communication tool that is intended to, um, Cross space and time. And, um, that, uh, like huge amounts of space, like, so, like, quantum things. 
Um, but the, the, his like, His journey then takes him to, um, back to the planet that they all had left. And, and so he's, um, as he's developing this, this tool for communicating, and bringing, making, making thoughts accessible to anyone, anywhere in the universe at any time, basically, a complete democratization of communication, um, that is like uh, the, the, the framework that he's operating in is like the, the, The physicist that that in the universities down on this other planet, that, um, you know, have their capitalist systems have controlling all of all of that. And so, um, as he's like, As he's, like, he, there, his generation on that planet, like, that has, um, been so far removed from these, like, systems that are, like, curtailing so many things. 
Um, uh, the, that, He's, he's so, like, grown up in that, that, like, uh, like, actually, when, when you see the, when you see the Zoom call of the, um, uh, the, the people talking about Modragan is in 2022, um, there's, there's, um, a woman who's grown up in the, in the system in Modragan. And so, um, like her perception is is fascinating. Um, but, uh, That's somewhat where he comes from is like, he's grown up so much in the system that like, he's, there's a lot of, like, things that he, I don't want to say takes for granted, because it's not that he takes it for granted. that he's just grown up in such a way that that is like, that's what he knows, and that is what he would default to. 
He doesn't default to a lot of like, um, constricted sort of ways of existing that, um, that his, even, even like the people 2 generations prior to him had, had still, like, been, like, trying to move beyond. So. That was the fucking lot of words. 
The dispossessed is about that. And so I want to find a couple clips from there. And Lady of Heaven is her, his, um, uh, her, um, only, um, story that's been put onto screen. 
So, um, that is, um, yeah, it's a really cool story. Um, It doesn't have to do as much with, um, uh, anarchism and, um, examining how systems like that could work. But, um, but it is, it's, like, I, I feel like everything that comes from here is sort of ingrained in that. 
So, um, yeah. That's awesome. So, screening, lathe of heaven, and then, um, do not expect from the end of the world. 
Yes. Do you want to talk some about do not expecting that during the end of the world? Uh, it is... uh... 
Radia Jude, uh, movie. Um, it follows a, uh, who is driving all over Romania, um, and kind of like documents, like, her own working conditions, the sort of predatory, um, conditions that can is are often found in the film industry of like, overwork underpay, um, Uh, I think, you know, There is, Oklahoma is not quite as much the Wild West as a country like Romania is. Um, but I think that there are certain types of places that get these sort of reputations of, oh, you can go there and make, uh, movie, uh, you know, a $2000000 film look like a $10000000 film because you can stretch your money farther. 
You know, um, And a lot of that has to do with, uh, workforce not demanding, um, certain, uh, compensations and, like, you know, because Oklahoma being like a right to work state. Or the union just isn't as strong here. And so, um, I don't know. 
I saw a lot of parallels between, like, what he was portraying with the film industry in Romania and the things that he was critiquing, um, and like what we experienced here in Oklahoma. And I, I, I just, it's just visually a stunning film. I think it's absolutely gorgeous. 
And he, as a director and writer, is so, my my favorite thing about him is that he is so good at, sort of, forcing, the viewer to look at, things that they don't necessarily want to learn, and types of people and places that they don't necessarily want to look at. Um, does it in such a like visually like stunning and arresting way that it captivates you. Um, And I respect. 
Yeah. Oh, yeah. Yeah. 
Yeah, that that last part of the film, just like sit and watch, just sit and watch. I just love that so much. That, it's like, a big thing I want to get into actually. 
So, I'm excited to bring, to get that around. And the, the, the, I actually, so that, that also, that's where I want to do, um, some forgiveness exercise work. And, um, the, because of, because of how fucking ugly. 
It is to see that on others, on ourselves. Like, I really, I want us to take a minute. And it's not something that we'll be talking about in the podcast itself necessarily, unless people want to. 
But, um, those, but I have kind of like some questions around that for, um, for us to take our own time with, if we want to. Um... Yeah. 
So... um... And that... that... part actually gets into something I feel that's really important in this material, and something I'm trying to hold myself to every damn day, is the... the importance of forgiveness, and the value of forgiveness, and... eradicating our shame. Um, and allowing better systems to blossom. 
So... When we get to the space where we're in, like, a round table, this is, like, um, the idea is for people to just talk for a long chunk of time. and have that space. so that they... There's a lot that people may hold back. 
Within our community? I don't know, and that's, I don't, like... I don't want to... 
I don't want to extract something, but I want them to have the opportunity to be more themselves, more and more, I guess. So. That's, uh, just, uh, what I'm trying to do that a little bit there. 
So, in the old month. The, um... So, in Virgo Month, um... going into, um... 
I really want to start with the movie Strike. I've never seen strike. I'm really excited to see it. 
Um, and it's the Ed Hughes soundtrack, is the one that, that seemed like, I was most, like, oh, that feels right. I can't really tell you why at the moment, um, but, um, they're... uh... Virgo month being about labor and service and, um, workers' rights. 
So... um... some other material that I wanted us to, to... think about. Well, actually, so, yeah, have you seen strike? Have it. 
No. Cool. Hey. 
Yeah, I'm excited to... to... I guess that they showed it at OFX for one of the Colff meetings. Um, and and I wanted to go that day, but I, I, I wasn't available, but the, um, Yeah, I... 
The idea of bringing more, more people to the table also at this juncture is starting to kind of like be relevant for like bringing cold to the round table, like a member of cold or, um, Also, potentially, a member, if anyone from DSA wanted to come. Um, uh, because their socialism night school series was so fascinating. I just really loved it. 
Um, Um, some other stuff that we have coming up. There was so there was collision course. So it's an example. 
This is a company. The Eastern Airlines was one of like the 4 big airlines. And for a very brief period of time it was actually worker owned. 
Um, and 4 big, like, 4, like, the 4 initial airlines that started out kind of like in, in, early 20th century. Um, the, Airline Wentwork or cooperative. They were having such a hard time between the union and management. 
They just like were not going anywhere. So the management eventually was like, okay, well, what if you owned part of it? And that rent went really well for a period of time, and then it was sold out from under them, because they didn't have enough steak in, like, there was not any kind of, like, equality in the ownership. 
So, um, and actually, it went into, like, it went into holdings for, for some, the presidents we really don't like. So, the... But after that, after it went into their hands, it was completely, like, it disbanded, so... 
Um... Then there's, um... So that's a collective. 
California newsreel is a collective. Um, and so this is, I guess this is kind of like where we start doing stuff from collectives, um, which are, um, operating, trying to operate in, in, um, shared ownership ways. Um, they're not necessarily um, operating with a cooperative structure. the business entity structure. 
So, and this is something to talk about too. Um, is there's like, um, when we get into later months. Actually, I'll say that for later months, but, um, okay, so another another collective uh, cinema action. 
Um, they do, uh, UCS one is this Glasgow shipyard, um, as they're unionizing. And, um, so that's just like an interesting, like, the process of unionizing, documenting that. And then there's, um, ACTT is a union that was in, um, uh, Britain. 
Uh, for film and video. I think I think it was more broadcast or something, I think, but, um, So that, I was having a really hard time, actually. And if anyone, please chime in. 
Is, can anyone think of something, um, about Iatsi history? The one Iyazi history that I was finding was actually, it felt really like post-truac and like, um, uh, really, uh, just like pandering in a way. And I, I don't know. 
I, that it also, I mean, it was, it's Hollywood, and it was like, but it, it just, it felt like, It felt, like they were trying to be a non-confrontational union. So this is all like post-half tardly. And, um, like, they were, yeah, specifically with that video, trying to market themselves that way. 
Um, but that's, I mean, so that's why I think those ACTT interviews will be so interesting is because they are, um, from their, like, straight up, just interviews that like go for, like, 45 minutes or an hour or something with people that were part of the organizing at the beginning. Um, so they're not gonna censor things. So, um, Yeah. 
But if there's anyone that can think of other, um, other iOtsy history. Visual media. I like that, I'm very interested. 
Because, I mean, there's so much from like the electric unions. So, like, that, that's, Fascinating, IBW and how that, like, crosses into my Otsy, like, I want to know more. I want video about that. 
I don't know where it is. So, um... I guess the next month is September, October. 
September, October, Libra. Um, there's, So there's a Mergin City by Meerkat. Um, and that's a film co-op that's in New York City, that's active right now. 
And, um... Yeah, meerkat is so fascinating. I, like, in stumbling on them, like, when we like 1st initially started, kind of like talking about this. 
They were like one of the 1st things that I found, um, I don't know that I found them, but, uh, Oh, I think you did. You burned up. Yeah. 
Did I? Yeah. It was so long ago. 
Everything feels like such a blur. Um, But, uh, yeah, I, and they have some really good information available on like the way that they organize themselves. Um, I really like that they, um, kind of the way that they, I mean, there's a smaller organization, but the way that they kind of like, um, sort of move people through the different, um, positions so that there isn't to kind of like avoid that hierarchy, like there's, you know, it's not just like one person, that's always the director and one person that's always the editor and one person, like, everyone sort of like moves around and like contributes, um, and they do it in a very intentional way, um, of kind of saying, like, you know, like making sure that everyone gets a certain amount of time and every position. 
Um, and I thought that that was a really interesting way of doing things. And like, getting, like, giving people an opportunity outside of what might, like, necessarily be, like, their quote unquote lane. Um, But I think it's an interesting way of like developing talent and, you know, being able to see like, oh, this person actually like really took off in this role. 
And I think on a traditional film set. It might, you know, with like, you know, people have, like, entire lifetimes of like knowledge and everything dedicated to their craft, so not necessarily like, swapping out, like, a customer for a grip, but like within the particular department, like being able to cycle through. Um, and giving people the opportunity to take on like department head and leadership roles. um I think it's a really interesting way of doing things. 
I really liked that about how they structure them. Yeah, yeah, I agree. Yeah, I want to know more about their, um, how, like, I'm glad that you've looked into the information of how they've done that. 
So I want to know more about how they've done that. the rotational things. Yeah, and I mean, they're, they're a pretty small team, I think when I was looking at them, they were maybe like, 10 or 15 people. Um, mostly working in like the dock space. 
Um, But, you know, they have like projects on Netflix and they did a lot of work with, with PBS, um, but have, are still working with like some large streamers and so, um, Yeah. Yeah, I wonder actually also what they're thinking about for extended infrastructure, like what they, what kind of movements they've made towards, broadening into other industries, like into distribution and stuff like that. I don't know. 
Um, They seem pretty, like, they're very transparent. Um, Their website had a ton of information about, like I said, like the way that they like structure themselves and like their philosophy and kind of like the way that they're doing everything. So they seem like they would probably be open to, like, having a conversation. 
At least that's the vibe that I got from like looking over their stuff. Yeah. When I did. 
They're bringing down to the table. But yeah, they're pretty, like I said, they're pretty small. I, I do think that that's something kind of going back to the dog that we, um, uh, the mantra on, uh, docks, I thought, it was really interesting how they said they put a cap on. how many people, like, I think it was like 500, um, in a cooperative before things started to like go awry. 
Um, And something that I have noticed. kind of, and seeing that brought it back into my memories that a lot of the successful cooperatives or some that are like still around today, like something that they have, they all seem to have in common is that they are pretty, like, manpower. Yeah, how broad are they? Good question. 
And yeah, that was, that was, that's one of the questions that, um, from that first section, about... Like, I I actually, I get the impression that film cruise can very well get larger than 500 people with posts. Um, so I don't, um... 
I don't know that necessarily need to operate that way, but... that has been on my mind, within the context of this. Well, so the, the... It was some Dunbar's number theory of, like, uh, 150 people or something. that we actually, like, can kind of keep in our brains and feel familiar with. 
Um, and... So, this, like, the thinking about the locality of, um, Andragon, especially, how hyper local it is, um, is... really interesting. how necessary it is for, for, to, for that to spread in larger ways, I guess, to, to make this more viable. Um... 
I feel like is... is a huge part of that. And being hyper local is this other thing about it. So... 
I don't know what that means for, like, for, like, whatever the audience of this ends up being, like, how it, like, the real thing is, like, taking it into, into where you live, and your coworkers and bringing it into that space with your coworkers, I feel like, is, like, this real, need that we need to be talking about as, um, as people trying to make positive impacts in the world today. I don't know. Yeah, well, I think, I mean, the really exciting about the thing about this to me is, is supplying people with the information that it's possible, like to even start thinking about it. 
Um, You know, like just being able to like get the information in people's hands that like, it's been done before, it can be done. And then once you kind of like crack that open, then that allows them to kind of like, That's sort of like as, I feel like as much as, like, you can do for anyone, is like, kind of like, given the information and start them on their journey because really all of those conversations about what it ends up actually being, like in real world practicality, like, have to be like, rooted in the decisions that those communities make for themselves. Like, they have to decide what the structure is. like what that looks like. 
Um, There isn't like a magic formula for it, you know, like that's, That's the like beauty and the curse of the whole process that it takes. It takes communities doing their own, like, imaginative work for what is gonna make the most sense. for them in their lives and their circumstances. Yeah But it's cool to think about all the possibilities, all the different ways that it could go. 
Yeah, there's... Oh, I was just gonna say, like, this is another little tangent, but I thought that the, um, in the documentary is the, the primary school is also being cooperative. But that was so interesting. 
Um, And, you know, we have, like, there are so many kind of, like, predatory, uh, quote unquote schools that pop up around, like, the film industry, you know, that is just charging kids to, work on their movie, you know, um, but I thought that the film, or not the film, the, the educational aspect of the, their cooperative system was also really interesting. In the way that, like, the university that they have serves as, like, R and D, kind of for their, um, little system of cooperatives. I thought was really cool. 
Yeah. Yeah. In that Zoom cult, she starts to talk about how there's like, um, they're having, uh, I don't know, it's like, they've reached kind of, like, a threshold of, like, saturation of, like, co-ops. 
And so they're in that region or something. I'm, She's going to articulate that better. But uh, the, um, What they're, like, R and D stuff is, like, now focused on, like, taking it broader. 
Um, was really interesting. And actually, there was kind of like a, there was almost like a sadness from, from this, the, one of the other people in that Zoom call about like people taking their skills abroad, but that's also kind of like, they're probably taking good things abroad too, even, even if, yeah, so I don't know. I just was... 
Yeah. Um, their education, their education for, like, building up a cooperative. Um, from the ground up. 
Like, it seems like it's really, like, um, really gives it roots. Does everything it can to really give it roots, which was super cool. Um, okay, so another, another, uh, filmmaker, co op is, uh, truce media in Colorado, and one of the things that they have, uh, coming that they have out is, uh, home in paradise. 
Both emergency and home in paradise are sort of like, they're both docks and they're both sort of related to housing. Um, And I, I don't have a lot of information on either. But, um, they both felt like they, they're exhibiting some of, like, things that brought them together as filmmakers and, um, like why they're doing this for their community kind of thing. 
So, um, uh, Truce also puts out, like, a lot of, uh, comedy, and, um, they have, they have a Patreon going on, and you can, like, their, their systems of, like, um, using studio time and stuff like that are interesting. Um, so that I hope we get to talk to them too. Um, And then there's some other folks that month that are more local. 
Um, Uh, and Libra being kind of about relationships. So these are like other worker cooperatives that are active or like organizations. that are friendly for worker cooperatives. Uh, so fertile ground in Oklahoma City. 
Um, is uh, has been around a, quite a while, they're, um, I think they're one of the 1st worker co-ops here. If not the 1st record clock here. Um... 
I don't think the Oklahoma Foucault ever went work or co op. We did... It was just a consumer go up, I think. 
Though we had talked about doing work or cooperative, I don't think it ended up that way by the time it, um, finished, uh, being in business, but, um, the, out of that, um, fertile ground, um, and there's also, uh, there's also urban Commonwealth is kind of like sort of where fertile ground came out of, too. And they're kind of like a local farming community. Um, So, they'd be interesting people to talk to. 
And then there's Fleur Bodega and Gray Owl Coffee and Oklahoma Film Exchange are all worker corruptors that are active right now. Um, that are using the LCA entity type. Um, which was interesting, um, about... 
LCA versus LLC. And I think there was, so there was once upon a time that, that, um, Cheyenne, you and Dylan both were like, so why, why, LCA versus LLC? And I didn't really have a very clear answer for you at the time. 
And, um, it was, uh, it's basically because it could be deemed mutualized. And that's addressed in that Zoom call. Um, and The, like, it, it's just addressed in one clip, and then it goes kind of into it later too. 
Um, that, It really is all about the structure of the, um, taxation stuff and all of that that really is. It continues, even after people, certain people leave, or certain things happen with, like, concentrations in money, there's never, um, continuing the structure in a way that never, like, ends up gravitating into concentration. So. 
Um, Uh, there's also RMEOC, Rocky Mountain employee ownership. Something, C company, corporation, that's not it. It's coalition. don't know. 
Um, they're helping, um, Other, Co-ops take off the ground, um, in Colorado. Um, and there's, um, they, they, they're not related to specifically, but I feel like they're, like, sort of related to, um, Jason Weiner for Mountain Colorado because, uh, they are lots of Colorado people doing the LCA stuff. Colorado really took off with the LCA entity type, it seems like. 
This, I guess this entity type was developed in Wisconsin in 2008, if I'm remembering stuff correctly. And then, um, it's started to be used more heavily in Colorado because of the work of like that law firm and and the support and support organization. really getting the word out about it. Um, That's interesting to think of, too. 
What kind of organization we could have here for that, but? Yeah, it's also, there's a lot of questions, I have a lot of questions around the way that you structure something, like, because, you know, it's so, like, our industry is so, like, project based. Um, how do you create a cooperative, you know, it's not like having a factory floor, you know, we're consistently day in and day out. everyone is like clocking in and doing their thing. 
You know, it's, it's, Everybody is just kind of like going where the work is or onto the next project. And so how do you, um, create, um, cooperative in that kind of environment and how does something like, like reinvesting profits work, you know, as, that is where like, I think a lot of people get hung up on how this is going to work. Um, Yeah. to like have like sustainable. 
Um, Like growth and continuation. outside of just like one project. You know? Um, That'd be interesting to, like, talk. to some people about the ways that. 
That might, the, the, like, potential for structuring that, um, because again, going back to the, sorry, I, I, I just watched them this morning, so there's like on my mind. The documentaries, um, you know, the way that everyone pays in, um, invest in the cooperative, uh, and then is like paid out, you know, at retire, then that has to be taken out at retirement. Yeah. 
Um, but how something like that would work. in our industry, you know. Um. Like, is it something where you really do just do it project by project or is there a way to structure it where you have like a more. 
Like long term cohesive, like group of people to come together, but like, this is how we're gonna. Yeah. like Yeah. You know, I thought for LCA and project by project, using different LCAs for each project really has to do so much with like our, um, Arnie lifestyle. and really just like, uh, How to, like, there's, there's, I mean, we all kind of buy in on, on IOTZ, But to, um, buy in on like sort of a studio level, like that's not something that it's like sits super well. 
With a lot of us, I think. Oh, yeah, go on. Well, I was just, I mean, I was just gonna say, it does feel like risky. 
Because there is never guarantee that, you know, like, again, in a different kind of industry, like you make a refrigerator, you sell a refrigerator. Uh, you make a film, you might not sell a film. Like you might make a film that nobody wants to see and then people have invested there. 
Um, their actual, you know, money in it, like not just their time and their energy, but like, people are, depending on the way that it's structured. Um, and so, how do you kind of like, insulate, That risk. Um, I mean, I think that there are plenty of people. 
I think that, you know, we all, we all know when we're working on good. Yeah. And when we're working on something that's not good. 
And I think one of the more exciting things about a structure. Like we're kind of talking about dreaming of is the opportunity for the people that actually make the thing to get to decide what it is that they want to make. I think you'll see better and more interesting stories because of it, but, um, It is. 
I think the biggest thing for me that I have been turning over and over and have not been able to get my head around is how do you create outside of the, like one project to the next kind of thing. How do you create something outside of that, that is continuing to like build and grow and, um, You know, it isn't just about getting one film made or 5 films made. It about creating a structure. 
That, like you said, like has deep roots and it laughs. And that is thinking about more than just the next thing coming down the 5 point. They're thinking about the next, you know, 20 years. 
Instead of the next 6 months, you know. The entire distribution agency that needs to exist, the entire theatrical agencies that need to exist. Yeah. 
Yeah. The, so, you know, actually, when you, I, when, I remember when you brought out, uh, meerkat, and I, I looked at that and I was kind of like, well, damn, is that actually, is that intrusive? And like the way, is that going to be kind of the wave of things? 
Is it small studios of people that are like really like devoted to it? Um, um, or. Yeah, like, I, there, I may be, I may be inventing a solution for a problem that doesn't necessarily want the solution with, with LCA structure, LCA structure, LCA structure. 
There's something in there there that, like, it feels like there's, uh, being able to gather up more people within, um, the framework of, like, people that, that don't even know how much they want that. Um, and are afraid to take that kind of a leap. Like those, that those, those crew members. 
How to bring them into this project. or into this frame of mind of wanting to take ownership of their output. Um, That is... Yeah, I, the... what to do with... 
LCA in the context of all that? I don't, um, and show by show. Like, what, yeah, what, is there something that, um, is just a broader infrastructure that supports show by show so that it continues longer term? 
Is there? So that you've, you've. The real, like, Actually, when Sunrise was starting to talk about how, like, distribution, um, finances work and how, how, uh, money goes back and gets, um, parceled out, like, uh, that process, like, going through cooperative means for that and how, having, this is real, like, nitty gritty material. 
But, um, It may be teen nitty gritty, really. But it's, those are, yeah, things that are on my mind, I guess, also within the context of... how we're, um... trying to bring this to more people. I guess there's something in me that's kind of like, okay, if we we get 10 of us, and that's great. 
And we make some cool shit, that's lovely, but like, then there's like an entire industry of people that aren't like getting the benefit of this, um, in their lives and that, um, how to make it accessible to them is just this, um, really important. Thing I keep mulling over, I guess. I... 
Yeah. Well, and the, and, I think, accessibility is, that is, like, such a great way to put it, because the, like, another thing that I've kind of been hung up on is how, and that I was thinking about, again, like watching, watching the documentary, and, you know, saying, you know, I think they said it's like 15,000 to, like, buy into the cooperative, right? And that, like, the bank, that is also a cooperative, will do a loan in installments and at, like, favorable rates and all that kind of stuff. 
And that's, like, that's wonderful. Um, but thinking about accessibility for people to be able to participate in the system. you know, how, do you do that in a way that is, that, that people that don't have, you know, 5 grand or 2 grand or whatever, laying around, like also, are able to come in, you know, um, and I would be interested to see the ways that other, like, kind of coming back to, like, what we're originally talking about, which is the way that other cooperatives kind of have structured themselves, um, to be able to allow people to, like, come in, and gain ownership off of like what they're putting out without having, uh, you know, a sort of like costly buy in, up front, you know. Yeah. 
Yeah, there's there's certainly, like, takes percentages of a paychecks, um, like we do for union, but that's, like, how knowing how, how large that share has to be. Um, Knowing more about contingent promissory notes, contingent. Intentioned because it's such a risky industry. 
Um, that is also something, I feel like I, I, I... need a lot more education on. Um. And, uh... 
Yeah, well, I mean, that's what we're doing. Yeah. That's why we're, that's, that's why we are gonna have this awesome podcast so that we can learn all this stuff. 
Yeah. Yeah, I mean, I do. I think that there are. 
I think the, the, the broader conversation in the industry is starting to happen, though. I mean, there's been a lot of conversation around like obsession. And how well that film did. 
Um, and how, and you know, I've seen like several things on, on Instagram, um, like kind of breaking down. Like what it would look like if, uh, that windfall, the sort of distributed, like equitably, like I saw, like it was like a little slideshow that I came across that was like, you know, this is how much like the distributor. would have taken out of this, and this is how much, you know, This entity, you know, publicist lawyers, like whatever, all of the, you know, and then this is how much is actually left and if it was distributed amongst the group, you know. Oh. 
But I think it's a really necessary conversation. You know, it's, because we've all been on shows like that where you're working for, you're, you're not working a union rate. You're doing it for the love of the game, you know, and when you have something like that. 
And you took an actual hit to make it, like, get it made because you believed in it. And it's great that it does but it's like, I still can't pay my bills. Yeah. 
Yeah, it's still, yeah, the output. There is this. There is a dream I had a long time ago where people were kind of like, coming in a row and we were throwing money at them. 
It was like cash, cash, like dollar mills, and then it was like pennies, eventually. And I felt like it was related to this somehow. Yeah, yeah, it's not, it's not a lot. 
But that's kind of the point, actually, is that there's no concentration. So. But that's, and, yeah. 
But it's gotta be enough to pay to build. So. So speaking about other people's money. 
Scorpion one. Um, month of death, taxes, and other people's money, sexton, and taxes, and other groups, month. Um, uh, Malcolm and Marie, that's an, so that's another, um, another show where crew got one%. so I remember that happening during COVID. 
Um, Do you remember hearing about that? No, I don't think I did hear about that. Zendaya Zendaya. 
I'm sorry if I'm pronouncing your name wrong. Um, and her filming partner. I can't remember if that was a DP or what, but, uh, doing a, um, uh, show that, like, did give crew one%. 
Um, and it being kind of like one of the, as people were starting to talk more and more about profit sharing. markers of like, hey, they're doing it. So. Um, That was one. 
And it's, it's, it's a, like, an intense relationship between 2 people, so it felt pretty Scorpio. Um, I felt right. Um, and then there's a universal language, um, which is one of my favorite films. 
Um, and I put that one in there because... So, okay, that suitcase left untouched on the bench for 40 years, the monument to absolute interhuman solidarity. I just, I, I don't know if you guys have seen this one yet, but I just love it so fucking much. 
It's so, like, it's, it's some of the kindest humor I've maybe ever seen. I mean, there's, like, you know, Princess Pride and stuff too, but this is, like, it's so, it's better than that, even. I don't know. 
It also just like there's personal relevance to me in some of the thing, so I just really loved it, but, um, the, It's beautiful too. So. Um, oh, that's the, that's the, um, Farsi. 
It's Canadian. Uh, it's it's a, a version of Canada that's like Farsi 1980s or something. It's like, it's a really great. 
Great production design, like, really wonderful. Um, And, um... So that month, also starting to want to hear from, like, uh, CPAs and starting to answer some of these questions that get, because these questions are going to get more and more nitty-gritty. as we hopefully learn more. 
And, um, get more answers to what, the questions that we have to start, start to kind of like build up a roster of questions. That we just barrage some CPA with all at once. I don't know Um, And, um, We've also got, um, there's, it's, uh, I assume it's pretty light in like the context of our conversation, but it's probably a start. 
Um, uh, the, Jason Weiner for um, one of the, the zooms they put out was uh, how to raise values driven capital. Um, Because, like, that's going to be a major thing if we, how to find investors that are willing to, um, participate in this. obviously. And... 
Yeah, okay. So I guess then Sagittarius Smith, breaking into lawyers. Um, And that, and so that's where I put the rip for actors' equity. 
Um, And, uh, that's, That's the one where everyone's getting points. Is that right? Yeah. 
Mm-hmm. Yeah, it is, uh, I mean, it's kind of the 1st. Really big film. that I've seen. do something like that, you know, and I kind of, there was like, there was some conversation around it, but I kind of wish that there was more like, um, but they, yeah, they, I mean, you know, having the, The, like, cultural capital of being, like, Matt Damon and Ben Affleck, you know, they were able to negotiate a historic deal with Netflix. 
Um, that also was different than the traditional Netflix, um, model because they were also, um, actually getting, uh, residuals is the right word or maybe it is, but like, actually getting compensated by the amount of streams, which is like not information that the streamers have like ever really wanted to like let go of, you know? Um, and don't normally compensate in that way. It's just like, you know, Netflix's models, like, you get a lump sum, we own it. 
It doesn't matter how well it does. price, you know, kind of thing. Um, but they were actually able to negotiate for, um, residuals on that and and all of the crew, every single member of the crew has points on it. So. 
It was like a big deal. Yeah. Yeah. 
I'm really excited to see that. I had a bunch of other stuff by them, but I, like, as I was getting more and more films, I was like, man, I need to pare it down. I guess I guess let's just do the one where they're most up to date. 
So, For this, they've gone with it. Um. Oh, oh, is it, um, also. 
In this time, uh, talking with, um, The roomie translator. Um, Haliliza Gefori was, uh, something that, that I wanted to touch on. There's some stuff of hers online. 
Um, and, um, that felt really, um, I don't know, I felt really Sagittarius, and just kind of like a, um, this is all comes back to the heart in some sort of way. So, um, something that, that, that brings us back into that emotional space. And, um, Yeah. 
It was recent her a little bit of why we're, why we're doing it. And um, some of the lawyers, um... Oh, her, her. 
I'd never heard, like, I knew of roomie, but I hadn't really, like, um, dug into them, and then, I, yeah, just hearing her... read some of that, that poetry was really, really moving. So, I think... Yeah. 
Great reader. Um... Talking, so, lawyers also, I hope... 
I don't... There's lots of lawyer jokes out there, but I, like, there's, I think there's really something, like, important for some of the work that, um, the lawyers that are more interested in in worker cooperatives, like, folks that are doing that kind of work, I'm especially interested in hearing from them. So the Jason Water firm is like, basically centered around trying to do work for building cooperatives up. 
They, they, they, they came more into fruition, I guess, as like, um, building up legacy cooperatives. So, like, owners, tried to help owners who wanted to sell the company to their workers. And, um, But they've also, like, been really instrumental in, like, getting that LCA entity format out there, um, along with our MEOC in Colorado. 
And, um, and they've got a lot of good material up there. Um, they actually, actually, like, if you want to work with them, you have to, like, go through some educational material first. which is really helpful. So, um, then there's, uh, there's some local lawyers, um, that, that, like, helped for Bodega and OFX, and, um, had been, uh, helpful in the Black Lives Matter movement, and, um, there's also rise up is actually, uh, workers cooperative lawyer firm. 
They're organized as a cooperative. And they were at, um, a co op night with fertile ground a year or two ago. So, um, hearing from some of them. 
Oh, that's... Yeah, that's gonna be really interesting. Yeah. 
Yeah, just for that. Um, I also, there was thoughts about, like, uh, this is kind of a good opportunity to hear from some of the lights in, uh, what is it, lights in the darkness and going, but microcinemas. Um, so, um, talking about, talking with maybe, um, dreamland or with OFX, potentially about, um, how they've... how they've come together, and been doing good work, I guess. 
I don't know. I, you know, kind of orient the conversation in a more productive way, perhaps, but... Uh, the Capricorn Month. 
Um... So.. Climbing the mountain, reaching the top of the mountain. 
Um, so distribution work is really what it felt like should go here. Um, and distribution. It was kind of hard to find distribution, films that are about distribution. 
Um, but there were a couple of them that sounded really good. Actually, so searching for Mr. Rugoff sounded really cool. Uh, it's like uh, Cinema 5 story. 
Um, which is like, uh, distributed. They got a lot of art films seen in, like, you know, middle America. Um, and beyond just New York City. 
And, um, they, like they, they had their own franchise, cinema, cinema five. Um, and So there's also, there's on like, like, criterion, channel has, like, uh, is, like, 17 film collection from their holdings right now, which, um, That's, like, also would be really cool things to watch. I would love to see all of those, but searching for Mr. Rugoff is, um, the kind of about getting all of those, the person, Mr. Rugoff, who was instrumental in bringing about their distribution. 
So, um, then there's uh, new, introducing new day films, new day films being another, um, I think they're a collective distributor. And I think they distribute docs. I'm not sure, but there's, there's an interview with them on Criterion Channel. 
Um, It's just like a 20 minute interview or something. And then there's cheap movies was another small documentary about indie movie distribution from 1981 that was on some like weird weird website. I'm excited to see that. 
Um, and then, oh, um, so the, I real speaks, uh, her, the distribution advocates podcast, um, There's like a, there's an episode, that's like finished, right? But there's this episode of, uh, podcast from fairly recently, that is just like a conversation with her, and she's kind of like opening up about how that kind of came forward in her life, which I thought that was pretty interesting after having listened to distribution advocates with you. Cheyenne, so. 
Um, yeah. Yeah, it was that, uh, That podcast about, um, Angel Studios. I think I sent it to you. 
Um, If not, we definitely talked about it, but I was, I thought that their model was so interesting and then I, like, like, and hearing them talk about it. It was like not explicitly, sad, but then when I went and looked into them, seeing that they were like a, uh, Like, they make, like, fake based. films. Yeah, yeah, yeah. 
For the, for, for a particular type of community, I was like, Yeah, I was, I got so excited about you guys before I knew what you were. I mean, there's nothing there's nothing wrong. There's nothing like inherent. 
I just, but I do, I mean, I, I think that, um, their, that model is kind of interesting, the way that they, I don't know that I would necessarily want to do it, but interesting, and in the way that they have like developed a community. And the community, essentially, of a community of viewers, like it cultivated a viewership and the viewership, like votes on the stories that they want to see made. And, uh, And like, Like, pre, like, your vote is basically, like, I think, like, the price of a ticket. 
So they like pre-sell tickets and then are able to like approach theaters and say, like, we have, we already have like X amount of tickets sold. Like, this is the engagement that we've had on this project. Like, they already essentially, like, being able to secure, uh, theaters without having to go through, uh, like traditional distribution routes because of the audience that they've cultivated. 
And I thought that was really interesting. Yeah. Yeah. 
That was a good episode too. I, um, I'm trying to remember the things that she had to say about it. But I remember really enjoying... 
I heard her talking about it. Um... And, um... 
Uh... The... Yeah, there, I mean, there's also sorts of questions that come that, um, come to mind from that. 
But, um... What is sunrise gonna go? Hi. 
Hi. There's, um... the turkey. Uh, it's a Turkish movie, uh, is the next one up that I had. 
English version. Only blockbusters left alive was the name. It's on movie, or was on movie, no longer. 
Um, and that's 2016 on film distribution in Turkey, and the challenges they're facing then. So that sounded interesting. I'm sure a lot of that translates to now, so... 
You nod like you've seen it, so... that's encouraging. I haven't seen it, but it sounds really interesting. I... 
Distribution is something that I've, like, I don't know why, hyperfixated on for the last... Since we started these conversations, I don't know why they just, it feels like there's something there in my brain that's saying like, that somehow if I can like, they get my head around it or figure it out that maybe that's the key. So like, this whole thing, but I don't know. 
I haven't figured it out yet. Yeah, it seems like the area of our industry that is in, it's in such a flux right now, and everyone's kind of trying to scramble to figure out. Um, what the next period is gonna look like. 
Um, Which I think is incredibly exciting because that means that there's like opportunity to imagine something that is diff, you know, that's better than what we have had for the ecosystem as a whole for the, the, the people that work in the industry and um, But it is, it seems to be what everybody's kind of trying to figure out right now. Um, is, and there are all these different elements, you know, of social media and, you know, with a film like bathrooms that like started and grew its audience from this like very small, um, based on like YouTube and like cultivated something that has then turned into this massive hit. Um, So I think that there's, I think that, like, looking at historically, the way people have built networks, but also looking to the future of the ways that people are using, Social media and kind of, I think, I think a lot of people in the industry don't, like, kind of, like, turn up their nose at, like, using tools like YouTube or TikTok or, you know, like everybody's kind of like sneering at the verticals that are being made and um, I haven't really looked into that. 
Very much, but, um. I think that, I think that they're gonna, I think we're gonna have to figure that out, that balance out of how to, kind of like blend these 2 things. With the end goal being getting a group of people together to watch a beautiful film. 
How do you get them there? How do you get them excited about it? But, yeah. 
Yeah, it would be. I don't even have TikTok, so... Uh. 
I definitely know that demographic, but I do, I, I, I find it interesting, and I think, uh, Anything that the sort of like establishment wants to turn its nose up at immediately has my interest. Rightly or wrongly so, but like I just, I think it always is kind of like a signifier to me of something interesting might be going on. You know. 
Like, what's tacky? I want to see what that is. You know, there is, in Pisces month, there is. 
Is it easy to be young? Is the duck? Um, that's about, um, youth in communist Latvia. is made by, um, a person that's not specifically a collective, um, but it felt collective adjacent enough to include. 
Um, that I, Maybe that's a place where that, that's pretty late in the conversation though. I don't know Um, Oh, the the documentaries from 1986, it's called, Is it Easy to Be Young, um, by Juris Podniuks, um, in 19? Yeah, or 1986 or 1987. 
It made me think of Decline of Western Civilization and like, but in communist Latvia, as opposed to America. Um, So, I'm really curious what the tone of that will be. But, um... 
No, no. Largely, this is kind of, this experiences me wanting to see these movies. This is me, like, pulling stuff off the shelf and like, let's watch this, guys. 
Let's all watch this together because I want to see it. Do you want to see it? So, some of these, I'll be watching like right up to the line to be able to get the questions out. 
But, um, So it'll be a while before I see that probably, but, um... Yeah, I wonder... how to bring that in earlier. I don't know. 
Um... Maybe you can take a look at this with me at some point, and, uh, break down something. I don't know. 
I, um... I don't know how much time y'all have left, but... are we... I'm kind of, I think I'm going over in my library. time here, but, um, I don't know that they won't mind. 
Um, we're, I, if you want to get back into syllabus stuff. Uh, um, there's, uh, meshes in the afternoon for, so, Aquarius month for social consciousness and, like, um, weird approaches, unique approaches. And so this is really trying to lean hard into collectives. 
Um, and, uh, I put on there wanting to bring out more about, like, federated cooperatives. But, um, that may come out, like, way sooner. especially with, like, um, thinking about the structure. The LCA show by show. 
Um, I think that's a question that needs to be talked about pretty early on, but, um... So, a message in the afternoon is one of the shorts that I pulled up, and then there's, there's a feature length, uh, donkey in the Brahman village. Um, Zodessa Collective by John Abram. 
And I can't remember what part of India. I think that's India, rather than Pakistan. Um, There was something so there was a quote from this person, John Abram, that I was really interested in. 
And I have to like backtrack and pull up that webpage, but, um, that's what made me look at that. And, um, I... I also, there's something about, um, donkeys. 
I, um, There's, like, this painting, um, That is, uh, a pack train by Remington is, like, an important painting for me. And I think of the donkeys in that painting, and how they're just kind of like wandering at night. Um, and they're still working at night. 
And there's something in there about that. I don't know. It's a bit of a departure from logical conversation, but... 
Um... Then there's so that you can live, uh, cinema action in 1981. Uh... 
There, so there's, like, two, I've heard two takes on this, one that it's, like, left wing conservativism, and one that was, like, it's Cinema Actions masterpiece. So, um, I'm really curious about that one too. Um, I, like, if that, that is like more evolved work of theirs, 1981 versus like the UCS one is like the Glasgow, um, unionizing, Glasgow shipyard being unionized, and that's like, uh, 1971. 
So it's like 10 years later. Um, Uh, Then there's also Handsworth songs. Uh, Black Audio Film Collective is uh, an experimental art film, uh, material, and I think that's, I think that's about uh, a unionizing process too. 
I could be wrong there. Um, it's been a while since I looked at that listing, but, um, And then there's, um, need on paper. And this is the one, this was stuff going into government holdings. 
Um, uh, Sydney filmmakers cooperative. Uh, it's a, the, it's like a short about the, the distribution and successes and failures for them. Um, but right now it's like it's held by Australian government and you have to like apply to get viewing be able to view it. 
Um, so that's gonna be a whole thing. But I really want to see it because it's, how the, the, city filmmakers cooperative distributed their films. So, um, And, um, then the other, so along with this, is it easy to be young? 
In the Pisces month, there was man with a movie camera, the Ziga Vertov, um, which I still haven't seen, and I'm really excited to see. And, um, it's a Michael Nyman score. And, uh... which I really love Michael Lyman, too. 
There's musicals of an Andiru. Um... and... Um... 
It was Elders in the village talking, um... about how they live. Um, which was sounded really interesting, so... um... Then... 
Did you guys have anything you wanted to add about any of those? Okay. Um, then there's, uh, Aries month. 
I love boosters, um, and Miami connection. Um... Miami Connection being, uh, just, uh, movie that felt relevant from a conversation with Tristan Chisholm, about, uh, I was sort of distribution related too. 
Um, and Um, Felt very aries because it's like a martial arts instructor. So, um, And, um, I love boosters, being, um... Sorry, I put it, Boots Riley and Radigu being, like, the two directors out there doing the most for labor. 
So... I still haven't seen it either. But I'm... forward to seeing that. 
And then... It really good. Yeah, yeah, yeah. 
And then, Taurus? Yeah, I really enjoy. Go ahead. 
Go ahead. I was just, it was an aside. No, go on, please. 
Oh, I was, I was just gonna say, I really enjoyed, uh, you know, he came to Tulsa, the screen. I love boosters, and, uh, it was great to hear, um, someone just, like, get up and, you know, instead of, like, pontificating about their, like, personal, like, process, who's, like, I'm a communist. I want to talk about, like, workers, rights, and solidarity, and class struggle, and uh, it's like the only way out of this mess is, is gonna be like, with all of us, like, withholding our labor. 
It was cool. Oh, yeah. That sounds awesome. 
Yeah, the pictures, obviously, looked really good. Um... The last real... 
Oh, oh, so second last month. Taurus, um... I don't know about this one, but I wanted to put it on there, 'cause it's a, um... 
I think it's a porno, basically, as I put it, but they, but it's a collective. It's like a hive of mine. It's like 3 directors. 
Like we're, so that sounded pretty fascinating. Um, I don't really, like, it's called once in a full moon. I don't know that I really want to do that. 
But I, uh... Yeah, yeah, I don't know. I don't want to put that out there for other audiences or something. 
That's not, I'm not going there with that, but I, but the, Um, The idea of 3 directors at once was really interesting. So, um, Uh, then there's when the seedlings grow, uh, as, uh, from Rojava, commuter film on Rojava, is, uh, a film co-op out there in, um, throughout Java communes, and this is, so this month being about, like, seedlings growing and, like, taking root is kind of, it felt like, that would be a spot to put that. So, um, it's kind of about a family like struggling and farming, struggling to make a living, I think, but, um, And there's, um, uh, Gem 9 months, in the summers, is the meerkat media, um, feature. 
It's not a documentary. Um, and it won Grand Jury Prize for U.S. Dramatic Grand Jury Prize and Sundance, which was super exciting, so, on Hulu now. We need to watch that one. 
So, yeah. And that's... that is... all of the... material on this, uh, cinemas right now. Did that come, that meerkat film, did that come out this year? 
Or is it older? I didn't put the year down. Good question. 
I think that may have been 2025. Today? Yeah. 
What's the title of it? Do you, yeah, do you know in the summers? Yeah, 2024 was the Sundance play. 
That's interesting. I would be so interested to find out how they. structured that, like, a larger project like that. since all that I've seen from them were like the smaller, like smaller crews, um, like working in the dock space, how they transitioned their model from that to like a larger production of like a full feature. I'd be so interested to see here, see what they did. 
Yeah. Well, I think that probably, if does anyone have anything they want to add, or do you want to wrap up? The end here basically trails off, is I'm just summoning every ounce of my willpower not to bolt out the door like a horse with its tail on fire. 
I had every intention of asking way more fun, closing questions. Like, is there anything you ought to promote this week for yourself or others? And all of that, but my mind went a total blank. 
And so we don't do not get answers to those questions. Um, I'm sorry to say. I'm writing it down for myself to remember next time because that's super fun here, what the world is up to and all of that. 
So best to you out there. I hope to hear from you soon. Take care.