Audio transcription

For more interviews and talks, visit the Harvard Film Archive Visiting Artists Collection page.

Purge This Land with introduction and post-screening discussion with Haden Guest and Lee Anne Schmitt. Saturday March 31, 2018.

Haden Guest  0:21 

Good evening, ladies and gentlemen. My name is Haden Guest. I'm Director of the Harvard Film Archive. And I want to thank you all for coming tonight, which is part of our ongoing monthly series entitled Cinema of Resistance. This is a series that was invented by my late colleague, David Pendleton, who left us, all too early, last November. And this was, in fact, one of the last films I discussed with David. Sadly, he was never able to see it. But it was a subject, and it was a filmmaker, who he very much wanted to support by including in this series. So David's spirit is very much with us tonight, as it is with all of the films in the Cinema of Resistance series. And so I'm especially honored and happy to welcome tonight Lee Anne Schmitt to the Harvard Film Archive. Lee Anne Schmitt is a filmmaker and artist who's been active since the early 2000s, and who works in an essayistic mode of avant-garde nonfiction film. And she patiently and, yet insistently, meditates, in her films, upon history, upon landscape, and upon politics. Ms. Schmitt is also a Professor in one of the most renowned and influential programs today, in this country, and that's the Film and Video School at Cal Arts. The shared setting and subject of Schmitt’s best-known work is this country, the United, but all too often bitterly divided, States of America, whose complex and contradictory history Schmitt chooses to examine by turning back to less-chronicled local histories, who, that she reveals as crystallizations of larger conditions and temperaments across this country, geographically and historically. The first film I saw of Lee Anne Schmitt’s was arguably her breakthrough film, and this is California Company Town, which maybe some of you have seen, from 2008, which returns to the desiccated ruins of abandoned factory towns, whose utopian promises of prosperity and a better society continue to haunt those sites, as well as the popular imagination of California as still a wild last frontier, an Edenic place where dreams of fame and fortune, of real estate and wild invention still somehow take wing. A melancholy ghost story, California Company Town is guided by Schmitt's own steady voice, calm, even soothing in tone, even as it recounts tragic facts, vainglorious and extinguished stories of failure and frustration and shattered dreams. Stories of dark injustice, and social malaise. We will hear Schmitt's voice again tonight, not only in conversation with me, and with all of you, after the screening, but also in tonight's film, Purge This Land, which is certainly, I would say, her most personal work to date. This is a film that offers another alternate history lesson, now a history of racism in the United States, centered around the figure of the radical abolitionary, John Brown. Schmitt's deep investment in this topic is self-explanatory in the film, and in its dedication. But this is something I look forward to discussing with her, and with you, afterwards. I want to thank the Film Study Center here at Harvard for sponsoring, for, for co-presenting Lee Anne Schmitt's visit and the screening tonight. I want to thank Lucien Castaing-Taylor and Cozette Russell, at the Film Study Center. I also want to thank the Office of the Provost, here at Harvard, who also gave us support. I want to ask everybody to please turn off any cell phones, any electronic devices that you have. Please refrain from using them during this film. And now, with no further ado, please join me in welcoming to the podium, and to the theater, Lee Anne Schmitt.

[APPLAUSE]

Lee Anne Schmitt  4:23 

Thank you. That was a great introduction. Thanks very much. I'm very happy to be here. It's a huge honor. As Haden said, I talk a fair amount during the film, so I won't talk much beforehand. But please stay to ask questions after. This is the third in what I now, I didn't know I was making a trilogy, but what I now consider a trilogy of films about American thought. I think film is kind of a unique medium to look at how thought and ideology work on a place, thought processes, political processes. And this one, in some ways, is the most overtly personal. Although the whole trilogy has a lot of autobiography in it, which I can talk about later. Thank you very much for coming. It’s, I know it was a beautiful day, so…[LAUGHS]. And I'll see you after the film.

[APPLAUSE]

Haden Guest  5:23 

We could begin the conversation here. And first of all, thank you. Thank you again for being here. Thank you again for this really powerful film.

Lee Anne Schmitt  5:30

Thanks for inviting me.

Haden Guest  5:31

I wanted to begin, maybe take a step back just a little bit, and talk about landscape, and your particular approach to landscape, again something that I signaled is shared by many of your films. You bring us to these charged sites that are often marked as such by, by signs, but they’re also sites that at times are unmarked, or ambiguously marked. They’re sites that speak to us in different ways, and I'm thinking, I'm wondering if we could talk a little bit about the role of landscape, because it also [POPPING SOUND], whoops,! We lost a light bulb, but we're still here [LAUGHS]. It also reminds us that we are very much in the present, right? Reflecting on a past that is quite far away. And yet, right, you’re reminding us how urgent and real its, its presence, its ghosts, still remain. So I was wondering if we could talk a bit about the ways in which you work with landscape, you work with these sites that oftentimes speak to us differently than, than one might expect.

Lee Anne Schmitt  6:40 

Yeah, a lot of times, the films begin with a lot of research. And then the landscapes are part of me going and sort of experiencing what's there in the present, out of that research. And also, they're very much documents of the process of making the film. So, some of the footages along the way. And then obviously, in this film, there's a fair level of sort of domestic landscape, too. But in terms of landscape, I mean, one of the things, and this was probably most overt in the Company Town film, the first film, I made a long film about landscape. And that while I'm talking about specific histories, I'm also sort of trying to acknowledge how fractional it is, and how incomplete, and that if we were to look around, kind of, almost any place in America, you could kind of come up with a palimpsest of racial histories, and decisions that have been played out. And so John Brown was kind of a spine, and where he passed, to sort of begin to look at these places. But we can, almost anywhere we stand has these layers of history, and layers of kind of human experience. And then the film, the landscape in the film, is trying to give you a space, often to contemplate the contemporary and the historical together, and just literally that kind of space, that kind of meditative space. To do that in this film image that's not still, but still kind of moving. So a lot of it's also a way, like I, I like going to these places, and then sort of seeing what are these traces that have been left, where, what does it look like, where, what does it mean to stand here? And how do I get here, you know, from, and connect it? And kind of opening a framing that lets other people sort of be there, as well. Yeah.

Haden Guest  8:31 

Well, something else I think, you know, you speak about this meditative space, this time. I think something that really distinguishes this film, and other of your work, is the pace, is the tone, is, you know, I alluded earlier to the calm of your voice. I feel like part of this comes from you yourself, but it's also, it's a very distinct way to deal with such an urgent topic. One that upsets us deeply. And yet, you have this calm, the way in which you recite these facts, oftentimes, you know, deeply disturbing and violent. I was wondering if you could speak about this decision to really keep this very even tone and pace, as you lead us through this, at times very difficult, journey.

Lee Anne Schmitt  9:22 

Yeah, I worked really hard to have the language and the writing, the writing took a long time, it always takes a long time, and be as simple as possible, and sort of not tilt. I'm trying to lay these moments next to each other in a way that people can experience for themselves, and come at text in all these different ways. So text you’re reading, what I'm telling you, the sort of text of the space, the historical text. And I'm trying to give them all kind of equivalent power. And I think my voice is there, in all the work, to say, I made this, you know, this is me, this is putting it together, but I don't want my voice to kind of dictate the experience of it, in a lot of ways. The tone of this was really hard. Because this is some particularly difficult history. And there's moments, I actually think there's moments I sort of fail at that. I think there's like a few. And I re-did the voiceover a number of times, to try and take out those– when I settle too much on a moment. Because in some ways, because that would settle on one moment of the history over others. And what I'm trying to talk about is this ongoing process, that it's, I think a lot of film, a lot of work around race, wants to sort of talk about a linear progression, in some way. And what I really want to talk about was cycles, and sort of lay them against each other, not that this was a particularly bad time, or this is a particularly bad moment, but that those moments actually all exist kind of in context of each other. This voiceover was really hard. I did it, the way I work on voiceovers a lot is I have this very, I have this, like, ten-dollar Radio Shack microphone. And I just kind of, I edit the images first, I start to lay in sound, and then I sort of speak into it, and then I transcribe that, and then I speak again. And that voiceover was the best, but obviously, because of the ten-dollarness of the microphone, and, and, I'm always doing it at night, because, well, at the time, I had a two-, and a three-, and a four-year-old. So, I sound exhausted, and sick, and you can hear the birds, and the washing machine, and the other things in the background. So trying to go into the studio, ’cause we have a studio at school, I could never do it. I could never perform it where I wasn't sort of becoming an authoritarian in it. So I ended up bringing a better microphone home, and doing it that way. And you can still sort of, but it was in one day, so at least it was one kind of consistent domestic space, you know, to cut in. And a friend told me, I mean, in many ways, ’cause the, you know, dedicating it so directly to my son came very late in the film. But in doing the voiceover, I was also speaking to him. Not directly, but I imagined him taking this information in, and this context in, and so that also dictated the tone, a fair amount, in terms of just wanting him to understand the, the context of 2016-17, as it was kind of coming together. Yeah, so all these kind of factors come in. But I'm not trying to, again, there's these moments that are hard, because they're, you know, and the film was hard to finish in 2017, and not kind of land too much in that particular moment of, I don't know, panic or something. But sort of keep going back to what I knew what I was doing, that it was this consistent kind of perpetual history, you know. So.

Haden Guest  12:58 

I like what you say about reminding us this idea of equivalency, right, across the different images, across the texts. And I feel like the landscape is also the texture, right, of the ways in which the sort of residue, the aura, and you're asking us to read this deeper history into places, oftentimes instructing us, for instance, Altadena and its relationship to, you know, reading race into place, in ways that I think is really powerful, and, something we must think about, you're asking us to think about. And I'm wondering if we could speak, then, how this trip that you took, this trip through time, through space, how it began, where it came from, how you settled on the figure of John Brown, for instance, who’s so important here, and was this a project that was long percolating?

Lee Anne Schmitt  13:53 

Yeah, I’ve wanted to make this film, in some ways, for maybe 10 or 12 years. I mean, it's a long process.

Haden Guest  13:59

Even before the birth of your son, right?

Lee Anne Schmitt  14:01

Oh, long! I mean, the birth of, the idea of my son came deep into the film. [LAUGHS]

Haden Guest  14:08

Right, right.

Lee Anne Schmitt  14:09

Like he was a surprise, not to get too personal. But anyway, I didn't expect to have him, and he sort of popped up. And the, yeah, I wanted to make John Brown. And partly, I just have been interested in John Brown, probably since I read Cloudsplitter, that Russell Banks novel about John Brown, and then sort of did a lot more research. I had read about him in high school, and Howard Zinn, and a few, you know, but didn't have a deep knowledge. And actually, every, almost every filmmaker I know wants to make a John Brown film. Like [LAUGHS], like at some point, Thom Andersen told me he wanted to make a John Brown film with professional wrestlers. [LAUGHTER] Like, there's a bunch of like, different…. Anyway, but I made mine, and I did it first. And, then as I was working, particularly the three films that kind of fit this trilogy, or this, you know, trilogy I made by mistake. So there's California Company Town, which is about land use, and kind of the use and abandonment of American thought process, or capitalism, I guess you would call it. And then there's The Last Buffalo Hunt. And in making the Last Buffalo Hunt, it's really about cowboyism and American exceptionalism, and violence. And I followed these hunting guides, who guided on this buffalo hunt for, you would get a tag, and you could hunt out of this herd of buffalo that's in Utah. And in making that film, it became really, it was very, very, I mean, obviously, it was very white. And it was a really interesting experience to be very much in a really particular thought process that had totally bought into a kind of cowboyist version of history. And I knew, as I was making that film, for a number of reasons, that I kind of had to make a film about race, not from another side and speak about race.

Haden Guest  15:57

They speak about race, often in the film, cowboys do.

Lee Anne Schmitt  16:01 

The Cowboys are often, yeah, in the middle of the cowboy– Well, at the very end of that process, Obama was elected.

Haden Guest  16:07

Right.

Lee Anne Schmitt  16:08

And we had actually been going with the cowboy, the hunting guides, for a long time. And it absolutely flipped them. They became virulently racist, overtly, they would speak of it in a way they didn't speak about it before. And I knew, as that happened, that I had to sort of address race in a different way other than, you know. And so John Brown always seemed like a really good way for me to enter into that. But I wasn't sure how. So the first thing I did was research him, and follow places he'd been, and sort of see what that was. And then that research led me to think about race riot sites, particularly kind of white race riot sites, housing riots, and kind of cycles of history around that. And then, that led me predominantly into, you know, kind of a selection of American cities, the inner city. And those kind of layers laid on top of each other. And that became the film. So John Brown was kind of an entry point. And he was actually the hardest part of the film, at the end. It was like, what I do with John Brown, now that's, he's opened up all these other things, and how do I get his spine sort of in there. I’m like, yeah, he was still there. But I was also you know, John Brown was really interesting to me, because I've always been interested in the domestic, like, the cost of political action to your family, to your life, to the sort of day to day, how that  feeds in, and John Brown is a great example of that. I mean, he put himself out there, but he put his family out there. I mean, he lost a number of his sons, but even those who didn't die, were deeply affected by it, so sort of mentally unbalanced by having been involved in the violence in Kansas, and it really affected them. And it took a toll, in a way that I think racial history does. I mean, in this really everyday way. So that was another thing I was really interested in.

Haden Guest  18:18 

Let's take some questions or comments from the audience, if we have some. We have microphones. Now this side, yes, right here. If you just wait for the microphone, and then we can all hear. Thank you.

Audience  18:28 

­­I was really interested in the relationship ­­­between Douglass and John Brown. But it was, I was wondering what, what you think about that relationship, and Douglass in relation to John Brown.

Lee Anne Schmitt  18:44 

Yeah. I mean, you know, in the research, it just, it's there. They had this really profound kind of back-and-forth. And that fascinated me, and in so many ways, Douglass was right. I mean, he was often like, the plan you have is, it's not gonna work right now, you know? Or he was advising caution, and it's interesting to watch him, after Brown dies, sort of acknowledge, like yeah, maybe logic and coherence isn't what can go against this. So that's what I, you know, someone once, I don't know, in a review someone said I had made Douglass seem like a coward, which is not my intention, because I actually think his logic holds up. I mean, there's many points where what Brown didn't really make a lot of sense, you know, in terms of, he kept diverging from this one plan he had. But I do think it's a really interesting dialogue, and one I struggle with a lot, between violent action and political action that’s trying to work within a system. Work with a system, and dialogue with a system. And they were interesting to me on that point, as well. And I just think it's a really interesting personal relationship of these, this kind of touchstone, dialogue they had, you know.

Haden Guest  20:06 

Other questions or comments for Lee Anne Schmitt? Yes, right here. Benjamin has a question. No, because then, we actually have it recorded too, so that we can all listen to it afterwards.

Audience  20:18 

Well, it’s maybe a silly question but, but is there a particular reason why you shot in film? Because many of, some of the cases you mentioned, well, maybe the later ones, have so many video footage attached to them in the imaginary of the people, yet you choose to always shoot in film, and I'm just wondering.

Lee Anne Schmitt  20:38 

Yeah, I mean, the simplest answer is I like to shoot film, to be honest. That I, there's something about the action of it that I actually, personally, is satisfying to me. It's  a big part of my filmmaking. But there's also something about the document of it, the sort of material of it, that you can sort of deal with. And honestly, I spent, you know, every film lately, ’cause I don't, these aren't expensive films, you know, they don't have large budgets. So I shot for about a year on video, or on, you know, digital cinema. And then went out, and I had on one of the trips, one of the research trips, my Bolex, and shot four or five rolls. And when the roll, that footage came back, I don't know, it just seemed like it should be on film. There was something about the way that it could capture light, and kind of diffuse the idea of when the footage was from, there was something about the cities that’s sort of unmoored, in terms of its time, and whether it was contemporary, or whether it was historical, that just seemed really appropriate. But the simplest answer is, I mean, it's what I, guess it's just what I do. I mean, I really like shooting on film. I like the interaction of film and photography. And yeah, there's no reason for me, really, to be honest.

Haden Guest  22:04 

I mean, does shooting on film give you a different discipline, or, in terms of like–

Lee Anne Schmitt  22:10 

For me it does. I mean, for me, when I try and replicate what I do on film, on video, it feels a little bit like play-acting, I don't know. I mean, I've shot other projects on, on video, on, on digital cinema, and it's been appropriate for those projects. But for these, there really is something about being in the space, being with the camera, taking the reading, dealing really directly with light, that makes sense. And you know, I wanted the, I don't know, you know, Company Town I shot not only on film, but in 4:3, I shot it on standard 16. And that was really intentional. Like I, that film I really wanted to speak directly to this history of kind of, political, 16 millimeter films that kind of had predated me, almost all of which were made by men, this kind of way of dealing with landscape, and politics, and voice. And I was like, I want to understand these, I'm drawn to them, so I'm going to make one. And I wanted it to have this kind of square format, that 16, standard 16 has, because it, it sort of lifts it out of the world. And I think the film is part of that, too. I want to lift these images out of the world, so that they're not just representation, there's something else happening in the way you respond to them. And the way I know how to do that is to shoot on film.

Haden Guest  23:32

Yes, ma’am.

Audience  23:35 

Hi. I have two questions. The first is about the title of the film. And then, about midway through, we get that quote from John Brown, “will only be purged in terms of, by means of blood,” I think? And so I'm wondering if the, if the film is attempting to not do that, there's a kind of ritual purpose to the film. My second question is about your collaboration with your partner around sound, and how that worked.

Lee Anne Schmitt  24:11 

Oh, right, yeah. I feel bad I haven’t mentioned that before. Yeah, “purge this land.” I mean, it is a direct quote from John Brown, and it seemed in finishing the film, when I was finishing it, for a long time I called it the John Brown Project  because I didn't know. And then, Purge This Land, I think just making it, when I finished it, I just was like, it's a stopping point to sort of assess a history in a moment and it matched where I was at, in terms of the material. You know, I aim for this kind of, you know, another reason for the kind of flatness or neutrality of the voice is that I like to make films where they have kind of an ooze. Like you start in one place, and you end up in another place, and you're not quite sure how you got there. You know, a lot of films, I think you can, you're like, oh, I got here by going up these steps, or progressing in this way. And I like having it as text in the beginning. And then appearing later and having the context. I do that a few times in the film, where something's introduced and then kind of recontextualized. But also, I just like those words. Like, it's how I often felt, you know, in the 2017, finishing the edit and releasing the film, you know. Is that where we're at? Is that what's needed? Is there some, a violent moment that’s needed? I don't know. Those are good questions.

Haden Guest  25:42 

Well, we could almost read it as an imperative, as a command.

Lee Anne Schmitt  25:45 

Yeah. Exactly. And the collaboration with Jeff. Jeff is a really, relatively well known jazz composer and musician. He lived in Chicago for a long time. He actually went to school here. He went to Berklee School of Music. But as soon as he left there, he's been in Chicago like thirty years, and then just came to Los Angeles a few years ago. He's really steeped, he's a member of the AACM, he's really steeped in that music. And I knew, I don't usually use soundtrack music in my films. I usually use kind of, things you overhear on the radio, or in the ambience or landscape. But I knew that there was something, particularly as I started to introduce my son, and Jeff's in one shot, like kind of carrying-

Haden Guest  26:28

[INAUDIBLE]

Lee Anne Schmitt  26:30

Yeah, he's, he brings Ezra out of the bath. And, he's in there in so many other ways. Like I said, you know, he's in there with the Sun Ra footage, and the Jackie McLean text, and things like that. I mean, there's so much in there from him. But I wanted him in there, in this really overt way. But I knew he wouldn't be comfortable about me talking about him more than the little, bare minimum that I did. He's just a great, I mean, he knows the history of that music so much, and I wanted that music. You know, this is very much a film made by, like a white maker, trying to talk about race. But in, the music and some of the quotes, is also a way to sort of acknowledge, like, there's all this stuff that I am not, but is part of the context. You know, I was really, really influenced by, I listened to She Loves Him Madly this Miles Davis kind of like, composition, that's quite complicated and collaged, it's kind of an electric, and that was really influential as well. And he knew that, and I was also listening to, I don't know, I was listening to a lot of Archie Shepp. And so he knew the context of kind of what I was listening to, and thinking about, as I was filming. And yeah, he made the music, you know? We have a little studio in my garage, and I cut him little sections, and he'd watch them, and he'd bring stuff in, and I cut it. And then, you know, some of the, like, Ezra, my son's in one of the pieces, kind of like, “Ur-rur-rur.” But yeah, it felt important to, especially, once the family part came in, for him to be a big part of the film.

Haden Guest  28:06 

There are these sounds that at times we're not sure what they are. They sound almost like human cries, or mostly sirens, and things like this. I was wondering, so these, this was in dialogue with you? Or you were…

Lee Anne Schmitt  28:18 

Yeah, I mean, what I did first was to lay out– This one was really fascinating, is that I did a visual edit of it. Almost first thing, which I don't always do. And it kind of stayed. I mean, it trimmed, and found rhythm around the voice, but the images came early, and then I started setting ambient sounds to them, that I'd recorded. And so when he would watch that, he would hear some things, and then he took some stuff from background of some of the sound clips, and processed. And then he created a lot. His music right now is really about playing live, and sampling, looping it. Like playing live, and sampling what he's playing live, and sort of layering it live. So there's a fair amount of that in there too. But you know, a lot of it's also lifted from some of these kind of, you know, there's some Sun Ra stuff that's lifted in there, and processed in, and there's some, I don’t know, and I know there's some Archie Shepp, there's some Attica in there, and stuff like that, too. So.

Haden Guest  29:23 

Any other questions or comments for Lee Anne Schmitt?

Yes, right there, in the back.

Audience  29:30 

Just want to thank you for the film, I think it was very complex. And it seemed like you had a lot of work that you were working with, specially with the text, and juxtaposing it with the landscape, so that was really impressive. The question I had was, the, there's like a religious theme, that sort of, like, it jumps out here and there. And you talk a lot about John's religious background as a seminarian. And I was just curious about how that played into the film. And also, there wasn't too much about how that informed his sort of martyr mentality, and also his sort of views on violence and purging.

Lee Anne Schmitt  30:10 

Yeah, it's interesting. It's part of the film, like, I do wish, maybe, I had been able to tease out a little bit more, because, you know, I mentioned, he did carry around this book of Foxe, Book of Martyrs, with him, he was really interested in this idea of martyrdom. And he comes from this very religious family. The other thing I like about the few moments of religion and spiritual music, is this idea of, there's a little bit, if you look at the text as much as I have, about, is this the world we must live in? Is this the only world? There's a real material question, like, do we have to live in this world? And I think if you read a lot of Black radicals, that's a big question they ask. Like, is this the only world? And there's other ideas around that, that I tried to spin out a little, about do we live in this land? Do we, the kind of colonization effort, the spiritual idea of another world that we would ascend to, these ideas of faith. So there's traces of that in the film. I do wish I'd had a little bit more of it. And John Brown's interesting, because he, you know, I mean, he talks about his religion a fair amount, but his family was religious, but they were also just such dedicated abolitionists, that that was also kind of the organizing principle behind their church, in many ways. Like they lived in Hudson, Ohio. And, you know, he stored some of the weapons with his family. It wasn't that he was an extremist in his family, but he wasn't an anomaly at all. So that was interesting.

Haden Guest  31:58 

Yeah, Patrick.

Audience  32:00 

Yeah, I was curious, could you talk a little bit about the voiceover, just in the sense of, you know, the spoken word is much different from the written word, and how you were able to negotiate between the language of the text you were quoting, versus your own text you were creating.

Lee Anne Schmitt  32:19 

Yeah, it was hard, in this film, to sort of figure out. At one point, I mean, every film I make, I’m sort of like, I'm not gonna have a voiceover, and then I, you know... So at some point, this was supposed to be all supertitles of historical texts. Anyway, that's not what I ended up doing. [LAUGHS] But some remnant of that exists, where the historical texts I wanted to have written as much as possible. And when I'm quoting them, I want the words to be heard in this way, that there's some language that I'm trying to echo, mostly around boys, or children, or bodies of boys. Like there's words I want to hear, "son," you know. So mostly, what I'm speaking is kind of John Brown's history. And what I'm trying to put on screen is historical quotations, or historical texts. But in the last third of the film, I kind of start to flip that. I start to merge them, to sort of  dissolve the difference between them. Where, suddenly, things that are not anecdotal. They're kind of suppositions, like, maybe John Brown didn't say this. This is what he might have said when he died, or not. To move out of, like, there's an authority of what's written on screen, and anecdotal, sort of make them all kind of unreliable. Or reliable, depending how you look at it. So, I don't know, I had rules, and then I started to break them, I guess. And you know, my friend Matt Lax, who was a student of mine, he was really great. And he helped me sort of figure out some design. There are all these rules that I don't expect anyone to see. But if it's kind of an anecdote, it's left, you know, justified, if it's, you know, a quotation, it’s center-justified, there's different kind of graphic rules that he invented. Yeah.

Haden Guest  34:26 

Well, I want to ask you to join me in thanking Lee Anne Schmitt for being here tonight, and for a marvelous film.

[APPLAUSE]

Lee Anne Schmitt  34:31 

Thank you so much!

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