THIS WIND Recognized By Film And Video Arts Society – Alberta

Last week was FAVA FEST, the annual celebration of  independent media art in Edmonton put on by The Film And Video Arts Society – Alberta. As part of the celebration, FAVA hands out Awards Of Excellence. I submitted the video Doug and I made last summer for consideration as Outstanding Music Video, and  an early cut of This Wind to be considered for Outstanding Short Narrative Film Or Video. To my great delight, the jury selected This Wind as their choice for the Short Narrative award. I was thrilled to accept it on behalf of everyone who put their time and work into making a terrific little movie. And now, as we start submitting to festivals, I’m hoping that this means people will want to see this movie in other places, that perhaps this is just the beginning for this film. I have a good feeling that’s the case.

Outstanding Music Video went to my friend Christina Ienna for this Shred Kelly music video in which I star as the leader of a band of hooligans known as “The Cheatahs.” Outstanding Short Documentary went to this amazing segment of an upcoming longer work by my friend Lindsay McIntyre about the death of film, made on handmade film! Eva Colmers’ beautiful film, Autumn, shot and edited on 16mm, was named Outstanding Experimental Film, and my friend Parker was honoured with an award the jury basically made up just for him because his movie didn’t fit in any particular category: The Spirit Of FAVA Award. It was inspiring to see these great movies over the course of the week, and I’m honoured to call these fine filmmakers my peers.

FAVA FEST was amazing all week long. I wish I could have been there for every second. In addition to showcasing great local work, two A-list shorts programs were screened: The Cinema Eye Honors Shorts Program, which showcases some of the best in creative non-fiction from around the world, and we were also able to bring in the Sundance Shorts Program from 2013. Both of these programs reminded me of the power of short film, and got me excited to make something new. Soon.

Onward and upward. Please check out the page we’ve made for This Wind and watch for any updates. We hope to have something to share on the festival front soon, but we probably won’t until the big Canadian festivals announce their lineups in the fall. Lots to do in the meantime – working on a new music video for Scenic Route To Alaska among other things! Stay tuned.

Until next time.

Dylan – Edmonton, AB


And the award goes to...
And the award goes to…


THIS WIND Grows Up, Gets Its Own Website

This Wind, the short film we shot back in the summer, is now done done done and we’re starting to submit to festivals around the world (well, mostly Canada for starters). I’ve started a tumblr page dedicated exclusively to this little movie; you can check it out here.

One of the greatest challenges in filmmaking, I find, is gathering the resolve to continue to promote what you’ve just made when all you want to do is jump right into the next thing and the next thing and the next thing. Especially as a young person who’s growing and changing all the time. But then again maybe it’ll always be that way. In any case, my resolve is firm with this movie: I want people to see, and it deserves to be seen. And it’s been fun going back and gathering the memories of making the movie. Post-production has been a long and sometimes tedious haul, but I’m sure thrilled we made this picture.

If you’re in Edmonton, you can see This Wind at the Film And Video Arts Society on Friday March 29th at 7PM at the Ortona Armoury, which is sort of hidden in the river valley.

Until next time.

Dylan – Edmonton, AB

Dance On Film, Film On Dance

Growing up going to a performing arts school, I always loved watching dance. There’s a real beauty to any kind of expression that utilizes only the tools we were given at birth: our bodies, our voices. I don’t think I’ve ever met a dancer who isn’t the most beautiful person I’ve ever seen.

Over the past year I’ve had the pleasure of getting to produce videos for a student-run dance company at the University of Alberta. This little film is intended to promote a show they have coming up at the end of March, but it’s also intended as a little nod to Maya Deren’s beautiful short film A Study In Choreography For Camera, which is something I love very much. You can watch that film here.

Until next time.

Dylan – Edmonton, AB






Unsafe, Unsure

Via Facebook – January 8th, 2014:

Marlaena: “Hey. Wanna do a music video when you’re free?”

Me: “Boy do I ever. For what song?” [sic -ugh]

Marlaena: “Not sure. Give me your email, I’ll send you the album and you can pick. The one that inspires you.”

When Marlaena sent me the album, I listened to every track dutifully, trying to dream up ideas. But I knew the song I had to do long before I sat down. “Unsafe, Unsure” absolutely destroys me every time I hear it. The power of Marlaena’s voice as the song builds and builds consistently hits me psychosomatically in the solar plexus. I think it’s incredible. It’s one of my favourite things. I had to a video for it. But what should it be? I was terrified of fucking up the song with a shitty video. That would be a travesty – like going to an art gallery and throwing red paint on someone else’s finished canvas.

I knew that I could never come up with an idea that would do the song justice myself, so I mined my favourite films for inspiration. I listened to the song over one of my favourite scenes from Faces, where two business men compete for the attention of their “hostess,” and it seemed to work so well. I thought: maybe I can do a cover scene, like a cover song. So I asked my friend Blake if I could borrow his condo for a few hours and asked some actors I’d been hoping to play with for a while if they’d come down, dress up, and hang out with me for three hours. The result is (I think) a pretty nice little film that (I think) plays well with the song and showcases some pretty terrific performances from some impressive young actors.

I hope you enjoy this little film. Or at the very least that it doesn’t ruin the song for you. This is my first music video that was conceived and directed by me alone, and I’m proud of it, for better or worse.

Until next time.

Dylan – Edmonton, AB

My Favourite Movies Of 2013

I’ve never done anything like this before, but my friend Erin convinced me to make a “list” after she showed me hers. It was good to sit down and think about what movies stuck with me. There were some good ones this year! I certainly don’t have a tremendous amount of insight or anything to offer – you could probably write books on all of these pictures. But here are some movies I liked, and some basic reasons why I liked them:


The consensus on this movie seems to be that it’s “over-rated,” which I guess I agree with in that I don’t think it’s at all the “best movie of the year” as its Oscar nominations would suggest. But I like the way David O. Russell is making movies these days, focusing on character and by proxy the actors playing them. Russell is clearly now in the camp (like so many of my favourite filmmakers) of directors who unapologetically fall in love with their actors, which is terrific for those of us who love getting to watch great actors work. I was deeply compelled by all of the characters and their corresponding motivations in this movie. The funny hairdos and low cut shirts and pop music were entertaining too, but for me it came down to getting to watch some of the best in the business play with each other for two hours. It seems like all Hollywood movies should be like that, but it’s just not the case, unfortunately. The process of making the movie and the way it’s put together always seems to always get in the way.


I just saw this last week and I couldn’t believe (like I was still talking about it the day after…) that I didn’t know going into it that Dallas Buyers Club is directed by French-Canadian Jean-Marc Vallee, the man behind terrific films I’ve really enjoyed in the past like C.R.A.Z.Y. and Cafe De Flore. I don’t know how this pinko commie Frenchie Canadain weirdo managed to put himself in the position of directing a picture that could in many ways be considered “Oscar bait,” but I’m sure glad he did. I liked this movie way more than I thought I would – I was so intrigued by the characters, and the movie is shot in a way that really lets them work. As an extension of that: there were clearly almost no lights if any, and the result is a movie that looks pretty ugly. But hey, it’s a movie that takes place almost exclusively in hospital rooms and trailer parks and cheap motels – would you really want it to look pretty? That would be pretty dishonest.


When I was watching this movie, I was having an internal conversation the entire time: “Am I enjoying this?” I went back and forth. Then the movie ended and I couldn’t stop thinking about it for days and days. It’s such a delightful, subversive examination of youth and excess, and the dreamlike music video quality of the filmmaking is a visceral ride that will stay with you. There’s a real punk rock element to taking Disney starlets like Selena Gomez and Vanessa Hudgens and putting them in these intense, deviant situations. I’ve had quite a few conversations about this movie with friends and we all agree that it will be remembered for sort of encapsulating a particular generation’s vanity. Consensus: yes, I enjoyed it.

#7 – HER

I was excited to see this movie because of the concept. It could have been so cheesy and horrible, but instead it’s really endearing and wonderful, and that’s a real testament to the writer/director Spike Jonze and his actors, particularly Joaquin Phoenix and Scarlett Johansson, who do an amazing job under really unconventional acting circumstances (i.e. not getting to be in the same physical space making eye contact). The movie paints a really vivid and interesting portrait of the near future, too, a real subtle marvel of production design. I really delighted in the way the movie “predicts” fashion trends and the future of video gaming, to name a few examples. Her also does a great job of expanding on the “do androids dream of electric sheep” sort of philosophical conundrum of whether a machine can have a soul. The film takes that idea and makes it intensely personal, provoking us as an audience to really consider what comprises a relationship and whether those criteria, perhaps different for everyone, could indeed ever be fulfilled by a machine…or perhaps fulfilled better by a machine. Really enjoyed this picture.


This is another movie I wasn’t really sure I was enjoying until it was over and I thought about for days and days. Park Chan-wook, famous for Oldboy, directs this odd film about a family with a healthy dose of criminal psychosis. I really dug Mia Wasikowska’s character: this teenager coming of age, coached into embracing her most primal instincts by her creepy and fresh-out-of-the-loony-bin uncle, played skin-crawlingly by Matthew Goode. I also loved the look of the picture, especially the production design and the costumes; it was a very interesting world to inhabit for ninety minutes: so inviting and earthy in some ways and so creepy and alienating in others, sort of like a good cult. This movie is no Oldboy to be sure, but it’s very interesting and absolutely worth seeing.

#5 – MUD

While I was watching Mud, I thought “this is the best American coming-of-age story since Catcher In The Rye.” Then the ending got a little ridiculous with this grandiose shoot-out and everything, but hey, Americans like that shit. It wasn’t the worst ending. Just a little silly. Catcher In The Rye’s is better, anyway.

This movie had probably my favourite protagonist of the year in Ellis. In the world of this movie, kids don’t go to school, because everything they need to know they learn on the river – they teach themselves. Ellis is so capable and “grown up” in so many ways, but then so much of the plot ultimately revolves around how he really believes in love in a way that’s irrepressibly childish and unjaded and wonderful. Mud is romantic and mythological and simple and quirky all at the same time  Tye Sheridan, who had his screen debut in Malick’s The Tree Of Life, has incredible presence and maturity, and I’m excited to see what he has in store over the next few years. And Matthew McConaughey has been on fire since Killer Joe. Mud is the kind of movie that really feels American, in a good way…like The Last Picture Show or Diner (not that it’s at all like either of those movies…). Anyway, there’s a lot more to be said about this picture, but there are more movies to get to.


Gravity was and is unlike anything I’ve ever seen in a movie theatre. I was spellbound for 90 minutes, and I, like everyone else in the theatre, was not in a movie theatre for those 90 minutes -I was in space. I actually saw Gravity in 3D and everything, and while 3D filmmaking is usually about as exciting to me as a four-year-old throwing Cheerios at your face to try and get your attention, if you put that additional tool in the hands of a director like Scorsese with Hugo or Cuaron with Gravity they’ll not only use it tastefully and thoughtfully – they’ll show you something you’ve never seen before.

It’s rare that Hollywood blockbusters have themes these days, but Gravity is a movie about rebirth more than it is a thriller about escaping a doomed spacestation. Combine that with artfully constructed long takes as Cuaron’s camera floats seemingly autonomously through space and what you have is an art film that made over $500 000 000 at the box office. I’m really glad this movie exists, and I’m so glad I got to see it in the movie theatre. I know they had to invent all kinds of amazing technology in order to get this movie to look and feel the way it does, but after it came out I intentionally avoided reading anything about its production. I want to believe they simply made this movie in space, because that’s what it looks like to me.


Even more rare than a movie with themes these days is a movie that involves people talking to each other like adults. And that’s all Before Midnight is. I’m admittedly a big fan of the first two films, Before Sunrise and Before Sunset, because of their tasteful simplicity and delightful characters, so charmingly portrayed by Ethan Hawke and Julie Delpy. But Before Midnight quickly became my favourite of the three just because it’s so great to see a mature couple in their 40s talking patiently, articulately, and (usually) respectfully about their problems. They get petty and horrible to each other of course, as we all do, but they realize when they’re being petty and horrible. It’s fascinating to watch, or at least it was for me, and I found myself wishing that everyone could be so honest and articulate all the time. We should all be so capable.


The Hunt is one of the most difficult films I’ve ever seen. I’ll probably never watch it again, in all honesty, because I think my circulatory system is still recovering from my blood pressure being through the roof for the two-hour runtime of this movie (and I saw it months ago). I’ve never had such a powerful, visceral reaction to injustice as I did with this film, which is of course a testament to how well Mads Mikkelson gets you on his side early. Even just thinking about this movie again, I’m starting to get tense. An amazing piece of acting and storytelling and I never want to see it again. But you totally should.


Surprise! Bet you didn’t see THAT coming. But I have to go with the movie that gave me the absolute best time I had at the movies in 2013. I loved everything about it, but mostly the fact that Joss Whedon, fresh off of directing a mega-blockbuster comic book movie, made a tiny little Shakespeare adaptation in his own house in black and white with his friends. And of course, my enjoyment is somewhat biased on account of one of Joss’s friends being Edmontonian Nathan Fillion, who cracked me up BIG TIME in this movie. But everyone’s sort of great – it’s hard to misfire with this play, I think. Everyone’s having a great time in this movie, and that energy radiates out from the actors on the screen and permeates the room. I can’t wait to watch this movie again, I can’t wait to show it to my kids someday. My favourite movie of the year! Crazy.


Beyond The Hills

Short Term 12

Blue Is The Warmest Colour (we have it at Metro Cinema this month!)

Get at me on twitter with your agreement/disagreement! I like movies and the conversations they provoke!

Until next time!

Dylan – Edmonton, AB

WINGS OF DESIRE And What Truthful Looks Like In 2014

And so it’s a new year and all that.

Spent basically every moment I wasn’t with my family over the holidays preparing a pitch package for Telefilm. There are a great many things that have to go right in order for everything to come together, but if this grant goes through, we’ll make our first feature this year, set in the world of This Wind. Even if the grant doesn’t go through, I’ll find a way to make a feature this year. It’s time to get to it. Time to make a bigger film. I have ideas.

Also spent some time over the holidays revisiting one of my favourite films: Wim Wender’s Wings Of Desire (1987). I love the film because it manages to be a city symphony, a meditation on existential philosophy, and a simple love story about two people who meet at a Nick Cave concert all at the same time. It’s always seemed so meticulous to me, the way it’s put together, and I was amazed to learn from the commentary track that Wings was more or less thrown together in two months because Wim’s production company was in danger of going under if they didn’t make a movie. They had basically no script except for ten scenes of dialogue with no scene descriptions written by Peter Handke. Often they wouldn’t know exactly what it was they were going to shoot when they arrived on set. And they made one of the most amazing pictures I’ve ever seen. These stories always inspire and delight me. They enforce the notion that sometimes the most important thing is just to make a movie – even if you don’t know what you’re doing. In order to do that, you have to be free of the fear of making a catastrophe, and this is hard. No one wants to make an awful movie. But if your intentions and interests lie in trying to learn about people, and you approach your subject with honesty and integrity, I think it’s nearly impossible to make a terrible picture. I think the worst you can do is make an inconsequential picture, and that’s a drag, but it’s not such a drag that it’s not worth everything you’ll learn making the movie. 

And so that’s why I say I’ll make a feature film in 2014. I’ve thought about it long enough. It’s time to take the plunge, so to speak. One way or another.

We’re still making some final tweaks to the This Wind short film we shot in the summer, but it’s done. We can’t release it online until we’ve taken a crack at some festivals, but if you’d like to see it, send me an email at and I’ll be happy to send you a link.

Until next time.

Dylan – Edmonton, AB

The Dead

Jim Cuming has introduced me to almost everyone I know and love. He is one of my absolute favourite musicians in the whole world, and one of my best friends. I love everything he has ever put out unconditionally, but his new record puts the rest of his catalogue to shame. It’s a tremendous achievement, one I think even someone as humble as Jim can be unwaveringly proud of.

Jim asked me to make this small film to accompany one of the songs on his new album (which you can pre-order here) and I was thrilled to have anything to do with it. We cruised up and down Edmonton’s Whyte Avenue in Jim’s Corolla as the bars let out, hoping to capture the tragic antics of the inebriated masses. Another night, after wrapping my shift at The Metro Cinema around 1 AM, I wandered home down Whyte holding my camera as discretely as possible, slightly terrified that some drunken meathead would realize I was filming and take issue with it. I made it home safely and stitched the two nights together into what is hopefully an equally critical and loving portrait of the animalistic ritual called “nightlife.”

Hope you enjoy the song and the video. If all goes well, Jim and I will make a few more before it’s all said and done. Look forward to sharing more later.

Until next time.

Dylan – Edmonton, AB



Last summer, in late July, I called my partner Trina and asked her if she wanted to make a movie with me. I had been out of film school for almost two years and hadn’t tackled anything narrative in that time, and I was getting pretty sick of not making movies. The night before I had watched Joe Swanberg’s Nights And Weekends, a movie made for basically nothing on a digital camera about three generations worse than the one sitting in my bedroom. And I thought: look, we could do that, doing that would be so much better than doing nothing. As I said to Trina: even if it ends up being horrible, we’ll at least have a nice record of our summer. Six months later, our little movie, Cities And Plains, was named the year’s Outstanding Short Narrative Film by the Film And Video Arts Society – Alberta.

For me, this movie was about unlearning everything I learned at film school about the process of filmmaking. We would only ever have one crew member, the camera operator, Aerlan. I would hit record on the sound recorder and then go act in the scene. Sometimes Aerlan wasn’t even there and I would hit record on the sound recorder, then hit record on the camera, and then go act in the scene. We didn’t have a script at all, beyond general outlines of the action – the scenes were improvised.

We are by no means the first people to make a movie this way. But for me, it was a very necessary step and helped me get over a pretty serious hump of not making movies. I’m really, really glad we made it, and in a way I’m also glad it didn’t get into any of the festivals I applied to (more on that later, maybe). I feel like the best way to share this movie, this milestone, is by putting it here on the web for everyone to enjoy at their own discretion. Every movie I ever make will owe something to this little slice-of-life, made for almost nothing, in late summer, 2012.

I hope you enjoy our little movie. We sure like it.

Until next time.

Dylan – Edmonton, AB

On Cassavetes

Before my friend and now frequent collaborator Aerlan Barrett waxed poetic to me about the merits of John Cassavetes one day in the murky, wonderful equipment room at the Film And Video Arts Society – Alberta, I’d only seen two Cassavetes films. I’d seen Shadows in an experimental film class at university and sort of dug it, and watched  Faces in my East Van basement suite during film school and sort of hated it. I remember thinking that Faces was so self-indulgent, that Cassavetes was too in love with actors and didn’t know when to cut them off. It seemed to me that far too much time was spent holding on actors just laughing hysterically or singing for no reason, and I had no idea what this was supposed to convey. Aerlan suggested I watch A Woman Under The Influence, one of his favourite pictures and easily his favourite Cassavetes. I rented it that week, and really disliked it as well. Again I felt it was self-indulgent, and I couldn’t wrap my head around how I was supposed to feel about the characters. They were so interesting, and yet they could be so AWFUL to one another. Every time I started to fall in love with one of them they would do something that made me uncomfortable. I didn’t know how to accept them. I didn’t really know how to love, I think.

People can be pretty judgemental. I think, like most personality traits that hurt others, this judgement comes from the ego; people want to feel like they’re better than others because it makes them feel good. And I think when looking at people on a screen, it’s even easier to sit in judgement of them; they’re there to be examined by you, after all, literally brought into tight focus by a lens for closer inspection. I think people generally want to see characters who look and behave like they do, except in a funnier, smarter, sexier way. There’s absolutely nothing wrong with this kind of indulgence, I think, so long as we remember that that is not all movies are. On the making of A Woman Under The Influence, Cassavetes said:

“Films today show only a dream world and have lost touch with the way people really are… Idealized screen families generally don’t interest me because they have nothing to say to me about my own life. Usually we put film in such simple terms while being endlessly involved in talking about our personal experience. We admit how complex it is. But it’s as though we never look into a mirror and see what we are. So the films I make really are trying to mirror that emotion, so we can understand what our impulses are why we do things that get us into trouble, when to worry about it, when to let them go. And maybe we can find something in ourselves that is worthwhile.” (From Cassavetes On Cassavetes)

Learning to accept people who are in pain, confused, lost, angry, alone,  or at times cruel means accepting the potential within yourself to be in pain or confused or angry or cruel to someone else. This is a very difficult thing. No one really wants to admit that they have the potential to be horrible to someone else. But we all do, of course, and we all are, sometimes. We hurt other people and we don’t know why. We hurt people we love more than anything. Why? I don’t think anyone really knows. Maybe it just comes down to whether you’re interested in asking yourself over and over again. Maybe that’s the only way to find out.

Cassavetes was also a pioneer in the logistics and aesthetics of independent filmmaking. He made Faces in his own house over a number of years, financing the movie with his personal funds  and those of a few friends who were also involved in producing the film. Sometimes they couldn’t afford to get their processed film out of the lab.To raise the funds to make  A Woman Under The Influence, Cassavetes and his wife, the incomparable Gena Rowlands, mortgaged their house. It took that level of commitment to preserve absolute authorship and final cut. The materials were still very expensive. The lack of resources, along with the way that Cassavetes worked: favouring more general, open lighting set-ups to give actors complete freedom in their blocking, gave the films a pretty unique aesthetic, and really set them apart from their Hollywood-produced contemporaries.

I think about Cassavetes a lot now, about his commitment to trying to understand people above all else, certainly above the conventions or aesthetics of filmmkaing (and in so doing, of course, defining a whole new series of conventions and aesthetics). Cassavetes is consistently my biggest inspiration to grab a camera and go make a movie, and not get bogged down in paralyzing self-conversations about whether it’ll look or sound good enough. We are so spoiled in this day-and-age; for a fraction of the cost, filmmakers today have access to resources that can produce stunning images and sounds. I like to think that if John were still alive today, he’d be chasing Gena around the streets of New York with a 7D, yelling at her over the traffic, cigarette hanging out of his mouth, his hair a mess, his eyes with that crazed, passionate look he seemed to hold all the time. And I now count Cassavetes’ films as some of my favourites, especially Faces and Opening Night. I no longer see them as indulgent – they feel too true now to be indulgent. Nothing’s changed about the movies of course. Just had to live a few more years, make a few more mistakes, and ask myself a few more tough questions before I could watch them and actually see what’s there.

Until next time.

Dylan – Edmonton, AB

PS Back in Edmonton now, of course. This Wind is nearly finished!


Return To Paradise

The people who built Vancouver, when confronted with the shimmering Pacific Ocean to the west, a beautiful mountain range to the north, and a dark and luscious forest in between, seem to have asked themselves a series of wonderfully thought-out questions in response. Questions like: what if we don’t cut down all the trees? And what if we construct the exteriors of our buildings out of glass instead of concrete, so that they might reflect the beauty around them? What might happen then? The result is undisputedly one of the most beautiful cities ever devised by mankind. You don’t have to take my word for it; all sorts of well-respected people have written about it in all sorts of well-respected magazines. It’s not exactly rocket science, devising a beautiful city. The trick is to simply have your creation not look so much like destruction.

Vancouver is a real city. Its downtown core squirms with life at all hours as people from all over the world trudge and slosh through the inexhaustible puddles supplied by the coastal climate. Money in this place is generated not from the toils of grease-covered hands or from byproducts of the towering smoke stacks of industry, but from the heated exchanging of ideas in coffee shops and restaurants. Everyone here seems on the verge of closing another deal. Forever closing deals.

I lived in this bustling and beautiful place for over a year. When I left, I never wanted to come back. I dismissed the place as being overly concerned with its appearance, and panned the lifestyle of the people as being equally vain and dishonest. What I now realize I saw when I looked at Vancouver through such an unfair and judgemental lens was a reflection of my fear, anxiety, and lack of confidence in my own identity. I was afraid of being swallowed up and drowned by the noise of the city, afraid I could never hope to stand out in a place so exceptional. These are very real fears for many people, I’m sure. I find them ridiculous now, but I forgive myself for having had them. The ego is such a charming nemesis.

What keeps me away from Vancouver now, and why I might never live here again, or at least not until much later, is that I find its beauty utterly uninspiring. To step outside on to the front porch and be assaulted with what seems to be the absolute best effort put forth by both God and humanity, it seems easy to question what one could ever hope to create that could possibly compare on any level. Why not simply dust your sterile hands off and say “well, my work HERE is done!” and set about deciding what to have for dinner? Further: it seems almost presumptuous to say that anything you might create could be seen as beautiful or worthy in the face of such perfection.

I prefer to stay where the buildings are ugly and brutal and the land is flat and bare, because I think these things have their own honest beauty about them. Perhaps it’s a cop-out. If so, I humbly and graciously accept and delight in any teasing that may come my way.

Regardless, it feels good to be back in this dark, dreary, shimmering jewel of a city. I’m proud to know this place like the good neighbour it is. But I’ll have no trouble leaving again once my work here is done.

Editing This Wind with Aerlan is going exceedingly well. It’s going to be a nice movie. I really think so.

Until next time.

Dylan – North Vancouver, BC