"WANDERLUST" – a film by SABI

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Zak Forsman said:
...IFHY was mis-programmed in sacramento with a block of films about how hilarious rape is, and women really want to be treated like dirt and branded like cattle. you'll see. we're putting a doc up about it soon.
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Seriously? That's bad humor if someone was putting that on as a joke. I want to see that doc.
 
That's a shame.

Is IFHY going to shown again on a big screen? I saw it at the dvxuser event last month and would love to see it again.
 
Thanks for posting those emails. I always really enjoy watching your process. I'll follow this one.

Just curious, how many projects do you usually have running concurrently?
 
dougspice said:
Thanks for posting those emails. I always really enjoy watching your process. I'll follow this one.

Just curious, how many projects do you usually have running concurrently?
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here's what's going on right now...

FESTIVALS, SCREENINGS & DISTRIBUTION
IFHY (short)
WHITE KNUCKLES (feature)

IN POST
HEART OF NOW (feature)
MOMENTS (short)

IN DEVELOPMENT, APPROACHING PRE-PRO
A HAPPY MEDIUM (feature)
WANDERLUST (feature)

IN DEVELOPMENT, SCRIPTING
FINGERBANG MY HEART (zak)
MACROSTAR (zak)
FALLING ROCK (kevin)
PRODUKT (kevin)
ME & ME (kevin)

DOCUMENTARIES
MOUNTAIN OF GOD (financing)
HARDBAT & BALL (in post)
BRIDGE BUILDERS (completed)
PODCASTS AND MICRODOCS FOR IFHY, WHITE KNUCKLES AND HEART OF NOW
 
Zak Forsman said:
so understand that my tolerance for this sh*t is pretty low. and making this film is in many ways a response to this experience.
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hm. Why would you make a film in response to something? Just curious.

I like making films I want to see, a story I feel needs to be told, something that truly entertains me. Yes, my worldview comes into play when it is a finished product, but I don't do a film in response to something that bothered me, unless it's a prevalent issue I see in the world... which in this case I assume you mean a response to being Sexist. Am I right?
 
Brandon Rice said:
hm. Why would you make a film in response to something? Just curious.

I like making films I want to see, a story I feel needs to be told, something that truly entertains me. Yes, my worldview comes into play when it is a finished product, but I don't do a film in response to something that bothered me, unless it's a prevalent issue I see in the world... which in this case I assume you mean a response to being Sexist. Am I right?
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everything i do is a response to something i'm feeling at the moment. HEART OF NOW sprung from losing my dad when i was 19 and how the lack of a father-figure in my life affected my relationships. at the time i was writing it, it was at the forefront of my being and I was clinically depressed. IFHY was in response to my plans to get married soon and the way my past relationships with other women have informed this decision. and this film is in response to the way i've seen women in my life endure an accepted level of sexism in movies and real life, that frankly I was not entirely sensitive to until now. so the response is to be very aware of how the female character is being portrayed. and keeping the tendency, as a male filmmaker, to sexualize or objectify the character, or to impose a male fantasy of the ideal woman on her in a unrealistic way.

this is just my own thing, but this IS what I consider entertainment. AND it's personal which keeps me from getting board with it :). honestly, if I was directing a story that I didn't have a personal connection to, it would suck. hard.
 
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I think a great number of films are responses of one form or another. Any political film, for instance. Any film that subverts "the way films must be made". Any film that is dedicated to a lost or current love.

I'm guessing that by "response" Zak means that the comment served as a sort of intellectual trigger that got him thinking about this topic, and then realizing that he had counterpoints to make. A worldview to express that would combat the notions these other people have expressed. And that's more than valid. In fact it's how most meaningful works of art get their start.

edit: and then he responded 20 seconds before I posted this!
 
Oh, on this topic, by the way, I've recently become pretty horrified with the hot new slang on the internet: "rape" as an adjective for something totally awesome. Ex: Steve's new car is looking totally rape.

I know that dumbfucks abound in unimaginable numbers all across the internet, and that this is just this year's "gay", uttered by pimply teens who haven't spent one moment thinking about what it actually means, but it still makes me pretty ****ing sad.
 
Zak Forsman said:
everything i do is a response to something i'm feeling at the moment. HEART OF NOW sprung from losing my dad when i was 19 and how the lack of a father-figure in my life affected my relationships. at the time i was writing it, it was at the forefront of my being and I was clinically depressed. IFHY was in response to my plans to get married soon and the way my past relationships with other women have informed this decision. and this film is in response to the way i've seen women in my life endure an accepted level of sexism in movies and real life, that frankly I was not entirely sensitive to until now. so the response is to be very aware of how the female character is being portrayed. and keeping the tendency, as a male filmmaker, to sexualize or objectify the character, or to impose a male fantasy of the ideal woman on her in a unrealistic way.

this is just my own thing, but this IS what I consider entertainment. AND it's personal which keeps me from getting board with it :). honestly, if I was directing a story that I didn't have a personal connection to, it would suck. hard.
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Ok, much clearer to me now... and yeah I guess everything we come up with is stemmed from a life experience, I totally can understand that.
 
Brandon Rice said:
Ok, much clearer to me now... and yeah I guess everything we come up with is stemmed from a life experience, I totally can understand that.
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I didn't mean to give the impression that I planned to wipe out sexism with this film. It was simply the catalyst that got us talking about doing another project. we will be meeting in person tomorrow afternoon (most likely) and I will broadcast it live via web cam after clearing it with John and Marion.
 
email transcript con'td...

On Tue, 8/19/08, Zak Forsman wrote:

john, i liked what we talked about on the steps at the film fest -- one person picking up the other at a location that hints at their character -- you gave a hospital as an example. really, i think we should focus on what characters you two want to play, what kind of relationship you want to play, what the history is, what the big question to be answered out there at the end of our journey will be (not that it necessarily has to be answered before we go) and thematically something we are all interested in exploring. i've struggled with depression ever since my dad died and (if not in this film) it's definitely something i'd like to explore in an honest, realistic way – youre not mopey all the time, like you always see in movies (little miss sunshine). one moment you're up, the next your way down. and not for no reason, just for small, seemingly insignificant reasons. anyway, i'd love to know if there are (for lack of a better word) "themes" you two are personally interested in exploring through your characters.

on the topic of structure... i was thinking, and i know this is (conventionally) the wrong way to think about structuring a piece, but what if the film were simply made up of 9 compelling scenes just under 10 minutes each. 3 scenes in the 1st act, 3 in the 2nd and 3 in the 3rd. that seems doable to me and we could probably shoot it in a week, maybe less if we really hit our stride... considering IFHY was 9 and a half minutes from 4 hours of shooting.

first act could be in the city and the drive out of it. second, on the road. third, arriving at and set in the actual destination. up the pch to big sur? or south thru the desert to mexico?

secretly, the reason i'm thinking like this is we could try some unorthodox releasing. like putting it up on youtube in 8-10 minute chunks with some kind of sponsorship to make a little dough. or some serious dough. but mainly because minimizing the location changes makes it all the more doable for a "no budget" endeavor.

end transmission.

zak
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On Aug 19, 2008, at 11:16 AM, John T. Woods wrote:

I think the things you are bringing up lend themselves to a conversation marion and i had last night about the project, characters, story, and otherwise. she's going to formulate an email about it to the group later today. and i think the depression aspect plays into it. and i like the idea of doing depression correctly... not quirky, not overly done, but realistic, how it plays into the regular lives us regular people. people like you, people like me. life goes on, but in these other films, when the "depression" hits, everything stops for two hours, and nothing else seems to happen in the film other than them "dealing" with the depression. and that's just not how it happens.

i'm all about trying new things, so the structure idea doesn't bother me a bit. it seems like if we do it right, it can be 9 scenes that can be shown seperately, but could seemlessly be cut together as a feature.

marion will shoot an email a little later.
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On Aug 19, 2008, at 11:41 AM, Marion Kerr wrote:

Hey Guys,

Yeah, basically the upshot was that John and I were talking about playing two characters that were childhood friends from like the ages of 5-10. We were best friends we played together every day after school at this woman's house who watched us until our parents got home from work (this whole story comes sort of from my own life). but then I moved and went to a new school and I haven't seen him in like 15 years. Then either he or I looks up the other one and we reconnect because the woman who used to watch us, who was like our second mom and her house was like this magical place where we had fun and had all these amazing times together, is dying or not well. And I'm calling him just to tell him about it (or visa versa) and then we decide to drive up together to visit her. And maybe it's a little weird because we haven't seen each other in so long but we still have this connection from being best friends when we were kids. We then discussed how when we got there, maybe we would peruse old stomping grounds or maybe go to see her house and it's now an empty lot. Or like a housing complex, like my mom's street. And basically we discussed how maybe we were too nervous to go to the hospital and see her and so we're just like biding our time until we get the courage to go. Or maybe we never see her.

Anyway, the later part of this story actually happened to me and I was discussing it with John last night and we thought it might play well into this story. But obviously we're not stuck on any one thing.

But I think we both liked the idea of playing old childhood friends who reconnect as adults. Like how you interact differently with this person and how they' re almost like a brother/sister to you, but you really don't know them now because you haven't seen them in so long.

I think a lot of the depression elements that you were talking about, Zak could factor into this? I mean, maybe even this woman who used to watch us did something to herself that got her in the hospital. I mean, how weird would that be for the kids that used to be under her care. Or maybe just the idea of her being gone20would be like a parent. Maybe one of us doesn't have their mom anymore. Anyway, possibilities abound and this was one that John and I were talking last night.

Questions? Comments?

-Marion
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On Tue, 8/19/08, Zak Forsman wrote:

this is great stuff. so maybe we open and one is driving into los angeles at night (maybe lives in san diego) and picks up the other in a location that hints at something about where they are coming from (hospital?). and the trip is to sacramento by way of the PCH (out of the way but more cinematic). LA > morrow bay > big sur (on open mic night) > sacramento. i put a link below to the charted course.

http://tinyurl.com/6jkzov

if depression is to become part of this, i worry that it won't hold up as a theme in and of itself. because its really a symptom of something else. as in Heart of Now where each character is dealing with their own issues surrounding "abandonment", but their symptoms differ, to some extent. a unified theme that ties our two main characters together as well as their ultimate destination, would go a long way. maybe its isolation, despite living in a city full of people. being essentially alone. maybe this woman, a friendly old neighbor, that took care of them had never married, and had no family to care for her as she got older. maybe one of our characters is struggling with defining their sexuality and has had a sort of self-imposed isolation because of that. and perhaps the other has a mental illness in the ballpark of social anxiety that keeps them from engaging with people.

and i know that you know and i dont really need to say it, but i don't mean one is flip-out crazy and the other plays into gay stereotypes. its subtle and realistic.

i don't know what the scene is but i can see the potential for the film culminating in the smallest gesture between two lonely people that says they are there for each other. and not in a romantic way, in a way that illustrates that we are all essentially alone, and thus we NEED each other. it could be a shot of the two on a bench together, ignored by the passers-by, but there for each other. the minimalist equivalent of "us against the world". i'm getting too sentimental, maybe. putting it into words kind of ruins it. but visually, i think a moment like that could be very powerful. maybe its just taking the other persons hand in theirs and sharing something unspoken in a public place where it goes unnoticed by everyone around them.

last, tell me what you think about this. but what if they knew each other into their teens. my thought was that the friendship would have a more substantial history considering how defining our teen years are for us as people.

thoughts, yo?

z
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On Aug 19, 2008, at 3:56 PM, John T. Woods wrote:

isolation is a good one i think. i think something like depression ties in very easily to that major theme. also, some people feed differently off of isolation... looking at it as not necessarily a negative thing. some people do better alone, mentally and otherwise. like the social anxiety aspect you had mentioned Zak.

i can see your idea with the teen issue; i think our thought, and i'm speaking for marion here too, is that if we keep it as a relationship that existed in the formidable years before one enters the hormonal area of teenage angst, we don't fall into the trap of the romantic issue. if we can hint at the relationship through the teen years but not make it like a "oh my god, i haven't seen you in forever, you look.....great..." sexual tension kind of thing, that would be a good choice.

but at the same time, we are looking for a sort of familiarity that exists between the two characters, a familiarity that usually exists between two people who've known each other forever and are really comfortable in their own skin around one another but at the same time have spent way more years apart than in each others life. so they connect over this one piece of time in their life, over this certain time and place, as small as it may seem now, back then was their whole world.

i like also, Zak, the visuals you discussed. i think these things are going to be important, very important, because if we do this the way we think we're going to do this, there isn't going to be a lot of "saying" how we feel out loud. it's going to be shown, in very subtle ways, but very poignant ways at the same time.
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On Tue, 8/19/08, Zak Forsman wrote:

yeah, i guess it was a familiarity i was looking for. but maybe that would kill the arc of their interactions going from very awkward and a bit standoff-ish, to forming a bond, or actually, rediscovering their friendship as adults over the course of this trip.

thinking of props, if one character does have a degree of social anxiety, but in their longing to connect, is heavily into social networks on the internet (which is probably how thee two found each other in the first place) he or she could be tapping away on their cell phone on facebook/myspace/twitter/etc as a way to occupy themself instead of engaging with the other person. just at the beginning. because at some point, that cell phone will be out of range. zero bars.

and we could learn the tiniest bit about them when its revealed non-chalantly that he or she never met these "e-friends" in person. hmm.

but back to the idea of familiarity... i'm beginning to think we don't need it right at the start of the story. all we need is a compelling reason for them to agree to a road trip together. the "familiarity" could be saved for that thing we see develop over the course of the trip.

but then again, is two people with very little invested in each other going to be as interesting to watch as people who have known each other longer? want to play brother and sister? something like that would solve it but its also the easy way out of doing a male/female relationship that isn't sexually charged. if that is the ultimate thing we are aspiring to.

zak
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and more....

On Aug 19, 2008, at 5:09 PM, John T. Woods wrote:

i think the non-sexual thing is what we are 'half' aspiring to. how we get there is very important. i think making them bro and sis just gives the audience an out... let's them say "oh, ok, well it's not a sexual thing because they are related, of course." i just want them to be friends, a guy and a girl, without it being sexual. i guess it does lead to the old thing about when harry met sally and what you really think about that, but my argument, and marions as well, since she has lived it too, is that it is not only possible to be friends with the opposite sex and connect on a deeper level than that of a romantic relationship, but it actually does happen in real life and should be portrayed as such.

we could play bro and sis, and i think it would definitely be interesting, adds a new dynamic to the relationship, but then if we haven't talked in 15 years or whatever, we have to cover that, because why else but a negative reason would a brother and sister not talk for 15 years and i like the idea of the two people meeting up being a happy thing for the most part, glad to see each other.

i like the idea of the cellphone prop. the zero bars, and then being forced to confront their fears. same with the other character, but different fears.

it's strange the relationship, it kind of reminds me a bit of those stories you see on TLC about people who have the mental capabilities of a 5 year old, but they are adults. not in terms of "mental retardation" but sincerely, it's like you're watching a regular 5 year in an adult body... not that this would be the character, what i mean is, what i find interesting is that these two people only have an understanding of each other through their interactions at a very young age. which they really remember very well, so it's funny because these days, you talk to someone from high school that you were friends with when you were a teenager and it's like, 'so, where did you go to college and where were you when sept 11th happened?' or whatever... but if you have a young relationship that still remember like it was yesterday, then you have a feeling of what this person was like when you were EXTREMEMLY close as kids. it's like a REALLY strong familiar ity, yet a complete sense of "i have no idea who this person is." i like that dynamic, "i know you very well, in a way no one else does, but i have no idea who you are." keeping in mind, it doesn't mean that either character wants to kiss the other. those feelings just aren't there and frankly are unimportant in this world we've created i think.

one character is socially inept, communicates well, but only at arms length, is the kind of person who maybe says the wrong thing during conversations, like spouts out facts, that while interesting, don't really pertain to the conversation.

and the other person is more normal, at least by outward appearances, but really there's a lot going on underneath... maybe they themselves have been comtemplating suicide a lot these days and perhaps considers the idea of doing it on this trip... not in a way where it's said, but implied by the way they interact with nature or in the melancholic way they talk about the days when they were kids.

to go to see the woman, when they finally show up in sacramento, it's getting late, sunset time, so they decide that they'll go in the morning, which gives them a time to go check out the ol' haunts (and truly avoid going to the hospital which they both don't really want to do.)

perhaps the trip is cathartic and just what both characters needed, but the ending isn't necessarily "happy" or "sad" just open a bit to either way...

jesus this was long.
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On Aug 19, 2008, at 11:29 PM, Marion Kerr wrote:

I agree about just keeping their friendship a simple friendship and not brother/sister. I, too, feel like it's a bit of a cop out. These relationships do exist and I don't think we need to overthink the exact intricacies of how they work. Sometimes your friends with people and you have no idea why. There's just a connection there. My college roommate and I are great friends. She's probably one of my best friends...and we have absolutely nothing in common. Truly nothing. We like different movies, music, clothes, guys, everything...but for whatever reason, we've always had this connection where we just know the other one. We know what they're thinking and when they're happy or sad. You just know. And it's really lovely. So I think sometimes if you have a friendship like that, it sort of defies reason.

I like the idea of both of them being flawed and having their "things". The lack of bars thing sounded cool to me, too.

And I love the map for the trip. Sounds awesome.

I don't know if we need to specify the exact time when they were seperated, but I think childhood can be just as formative as teen years. In a Stand By Me kind of way, you know?

Obviously, I think we should chat about all this soon. Probably a better flow of ideas that way.

-Marion
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On Aug 20, 2008, at 4:22 AM, Zak Forsman wrote:

jeez, that working title, WANDERLUST, is growing more and more inappropriate with each passing email, isn't it? i'm sure a better one will present itself.

first, thanks for keeping this dialogue going. it's really inspiring to be collaborating in this way. my mentor used to have a phrase for what we're doing right now. he called them "blue sky sessions"... meaning it's all blue skies at this point, no ideas are bad, no concrete choice are being made yet, no one's being judged, just artists bouncing ideas off one another in an effort to stir up something great. and i think we'll know it when it really clicks.

okay, more "blue sky"...

i think this is all good stuff. i have a concern I want to share – that once we get past the exposition of how they know each other, they are still essentially strangers, right? in my own experience (and maybe this speaks to my own issues, haha!) but as a kid my best friend from kindergarten to 3rd grade was Maggie. she had blonde hair and was missing her front teeth and lived next door. we were on the same soccer team and played in the neighborhood together every day. in 4th grade, she moved halfway across pennsylvania and i remember being very sad for a very long time. i don't remember the circumstances but the next time i saw her, I was in high school. she was back visiting her grandma who still lived nearby and for some reason my mom brought me over there to see her. i was probably 15 so roughly 6 years had passed. i think we just about said "hi" to each other and that was it. the rest of the time was spent staring down at the sidewalk while my mom talked to her grandma. i remember my mom saying, "what's wrong with you two? you used to be best friends". but I didn't feel like I knew her anymore. five or six years ago, my mom told me Maggie had moved to Orange, CA and was a teacher there and gave me her phone number. i never called her and that probably says a lot more about me than I intended to share here, but it's the perspective that's coloring my understanding of the potential characters we're discussing.

okay!!! *deep breath* anyway... that aside, if we're saying these characters were massively close, super close, and glad to see each other, the question i'm left with is how do we put that in the telling of this story without falling back on exposition? how do we show it as oppose to tell it? just my humble opinion, but having two characters who haven't seen each other in 15 years deciding to go on a trip together, despite being based on something that happened in real life, feels like a forced situation to me when you try to put it into a cinematic form.

anyway, just to keep shaking things up... here are some ideas in the spirit of stripping things down to the most simple of elements.

i think no matter what, the audience is going to have an expectation for these two to get together. and i'm fine with that because we know we aren't going there. it's actually an advantage knowing they will not be able to anticipate or predict the turns this story will take. they'll be anticipating the "spontaneous hook-up" and the "regretting it" and for the two of them to fall in true love by the end of the picture.

okay, tossing more ideas into the ring for everyone to chew on... what if the scenario were even simpler. what if they are total strangers. and this is a rideshare. one of them posted an ad on the los angeles craigslist site saying they're seeking a ride north to sacramento. and the other character is leaving the city, moving on to better things in the pacific northwest. or maybe just a struggling musician going off to play a show. we could open with one picking up the other. and maybe one is a little cautious about doing this and right after shaking hands and introducing themselves, they ask to see ID before putting their stuff in the car. either way, continuing on well beyond sacramento. by starting as blank slates, we can go thru some really wonderful human detail, bouncing between moments where they are feeling each other out, awkward silences, discovering boundaries, to scenes where their friendship emerges develops in a beautiful way. does this film need to culminate in a moment that typically would be where the two character fall in love? but in our film it goes deeper than that? and it's not romantic or sexual, just a human connection. where the characters could just as well be two women or two men?

I was thinking about john's idea regarding suicide. and maybe this character's intent to commit suicide isn't ever mentioned on screen, but it's there for we the filmmakers to consider (what walter murch calls a meta-strategy) as the private choice this character will make at the end of the trip. like how we kept Amber's decision on whether or not to keep the baby open to see where the moment took it at the end of the shoot.

or, on the flipside, could we start with two established long-time friends. without a long hiatus in the friendship. they just are friends on a road trip. and we get to take each character's brokenness (or flaws) and have these two interact in compelling, inspiring, gentle, sad, hurtful, goofy and truthful ways, ultimately making for a deeper friendship. or who knows, maybe the issue between them is a drifting apart, due in part to the influence of people's expectations and teasing that they MUST be into each other romantically. i could see that being the case – even if they defend it with their words, their actions could be such that they just don't spend as much time together to (subconsciously) avoid all the bullshi* people give them about it. and so they are driving north on a trip. maybe we (the audience) don't know the destination and never see it. maybe the film ends and they are still driving. maybe one has to face something in sacramento with the intention being that they'd do it alone, but the friend opts to go with them. i don't know. there's endless possibilities that will affirm this friendship as true and real given our choice of ending. you know?

okay. tired. we'll talk more tomorrow. i'm free to get together whenever. we can set up chairs out on the outdoor roof/patio at sabi and talk out there.

thanks again! i'm loving this!!!!!


zak
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and con'td even further...

On Aug 20, 2008, at 11:08 AM, Marion Kerr wrote:

Yeah, I'm liking these blue sky sessions, too. :)

I guess what I like about the situation is the potential to show a very real and deep male/female friendship where two people love each other but are not "in love" with each other. To show how sometimes a guy and girl can help each other in ways in which they really need help as great friends often do. I think if we show this couple is really much better/stronger as great friends than they ever could have been as a couple than we won't have any disappointment from the audience that they didn't get together in the end.

So for that reason, I still like the idea of them already knowing each other and not being strangers. Because to me that is very "cinema", to have two strangers become best friends over the course of a few days. I think two people that already have a strong foundation could understand each other even deeper and help each other even more because they already have a little foundation for each other and know each other on an emotional level.

I guess all our different experiences are probably shading these sessions a bit. For me, I'm really thinking of my friend who did re-connect recently with her best friend who lived across the street til she was 11. She said he gave her a big bear hug and they would look at each other and laugh sometimes just out of nervousness or something. But that she realized how close she felt to him without really knowing who he was now. She was like, "He could have people chopped up in his basement for all I know and here I am drinking 7-UPs with him". I guess I was sort of basing a bit of this on that which is obviously different from your experience, Zak. But I think that if people re-meet when they are in their twenties as opposed to teenage-dom, sometimes people feel a bit more confident in how they handle themselves and maybe they are able to deal a bit better with the inherent awkwardness in the situation. And maybe even they over idolize these friendships because they were so pure and good and true. I guess, personally, I do still like the idea of portraying a strong male/female relationship that is even better than love. However, I do think the awkward silence, etc that you talked about earlier, Zak, is still possible in a scenario where you are getting re-acquainted with someone because there is so much inherent awkwardness in that situation.

I like the suicide idea too in way in which you discussed it. Potentially, maybe John and I would both have things like that and maybe we wouldn't even know what the other one's was? I think especially it would be interesting if we were going to see about the death/illness of someone who maybe didn't want to give up their life and one of the characters is so ready to give up theirs willingly. It could be an interesting contradiction.

Ok, enough rambling for now.

-Marion
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On Aug 20, 2008, at 12:20 PM, Zak Forsman wrote:

nice! thanks for expanding on that. i'm definitely coming around to the idea. i understand the nuance that this gives the characters. my concerns mostly stem from the fact that i'm very sensitive to dialogue and scenes that are only there for backstory. almost makes my skin crawl. i know it can be solved -- HEART OF NOW had scenes like this that drove me nuts until we found ways to make it work -- but I imagine we need to do more character development to figure out their wants and needs before we structure the events of this story and chart the intellectual, emotional and spiritual dimension of their trajectory. whew, mouthful right here.

anyway i'm digging it, i'm much more interested in a story about people who already have something invested in each other when we meet them. as an audience member, i instantly have questions about their dynamic. that makes me want to learn about them.

rad,

zak
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On Aug 20, 2008, at 1:58 PM, Marion Kerr wrote:

And I totally agree with all of this. I hate characters explaining themselves as well. But I think we can find a way to make it work. I was thinking I might have time tomorrow during the day to meet up. How's that for you guys?

-marion
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