Hello and. Welcome to Big Gay Energy.
I'm Bree. I'm Theora.
And I'm Caitlin. Come along with us while we dive
into the fun and nuances of queer media.
Representation matters, and we're here to talk about it.
Cheers queers. Today on The Big Age.
I know we are talking with Sanaz, Tim, GD&SP Batchelder
about their short film to be The Color House.
Welcome to the podcast. Thank you for having us.
Hello, everyone. Yeah.
It's really exciting to see you guys.
We're really glad we get to do this and I guess we're going to
get right into it. So can you tell us what the
Color House is about and what inspired the project?
Yeah, I well, I actually, first I was writing the script in my
class and because I'm I'm an MFA candidate right now at Antioch
University and it was my very first view writing class didn't
really know anything about it because I usually write in
fiction. And my mentor who is now the
executive producer on the project, Colette Friedman, she's
amazing and she said OK, like make a short film about anything
you want. And I was really trying to drop
my head around what I want to write about.
And I love writing, you know, psychological thrillers.
That's what I'm used to. And I do write love stories, but
I haven't really focused on it yet.
And I was first thinking, oh, let's do it.
You know, a story about cults and, you know, freaky rituals.
And I really wanted to get into that.
But it wasn't until recently when I noticed so much.
Of these staff at representation and different shows being
cancelled on so many streaming services that I'm like, OK,
something's up. We need more representation.
We need to have a different picture and how to view these
women. And it was something that I
really wanted to tackle on like head on in the project.
So the color house, it's basically these group of girls
and they're kidnapped when they were very young by this man who
calls himself white. And this guy is really sadistic,
right? He wants to have like all their
autonomy and he takes away all their identity in the sense.
Then he names them after colors, hence color, house.
And so we have red, we have silver, we have green.
And they really do have like 1 voice, which is really creaky,
you know. So you kind of get this idea
that. They really don't have their
identity. But then you start to see like
glimpses of like different moments when they're their own
person, especially Red, where we like follow her story more.
And it's not until they get older and they kind of break
free from like this seclusion and like this prison in a way
that the she falls, like Red falls in love with another girl
on the the ranch house they live in.
So it's basically them trying to.
You know have their own humanity in a way and they're trying to
defeat the bad guy at the end, right.
So it's it's a little bit of everything.
There's a there's a love story in it.
It's a you know very culty and it's very evocative you know.
So I it just there's just so much about it that I'm shocked
myself that I came to like it was very out of the blue.
I never really had this vision and like in mind to do it so.
Yeah. So it's a very light hearted
film. Yeah.
Yeah, just. Comedic gold.
I mean, truly, it's relevant to like what's going on in the
world with like focusing on like cult behaviors and stuff.
So it sounds fascinating. Honestly, I love it.
Thank you. Yeah.
Yeah.
But it seems like it's a it's a big undertaking from like script
writing to like the production and all that.
So we were curious what is the, what is the process like for
getting to like the production part like of a short film I?
Think SP is better on that. So yeah, so I've been doing film
production for a long time now, 15 years or so.
So yeah, so Colette. I met Colette many years ago at
a Film Festival. In Louisiana and we hit it off
right away, who's now the producer on this project and she
reached out to me and connected me.
And I mean, I read a lot of scripts and this script was
absolutely amazing. I mean she, Sanaz, takes really
big swings with the script, which you don't, honestly, you
don't see that very much. And I in my younger years, I
was, I would read scripts for development offices, you know,
at Universal and all around the city.
And it's like you just see people don't take swings, they
don't take risks in these scripts.
As and then I read this and I was very impressed with Sanaz
just going there you know and that's that's the interesting
thing about the script to me for sure.
So the way that production works of course, right right now we're
raising money on seed and spark which I know Sanaz probably
already sent you the link for that she's she's quite the
producer as well very good job producing already.
All it really takes him to be a really good producer is to be
committed. To the project.
That's it. Because you produce something
out of thin air, right? So yeah, So for physical
production, we'll once, once we're funded, we'll go through
casting and we'll go through location scouting and choose
what those things are going to be.
And then we'll choose all of our crew and then we'll schedule it.
We'll go out there. We'll make really good decisions
on set, hopefully. And then we go into.
Post. They always say, you know, it's
three different movies. The one you wrote, the one you
filmed and the one you edit, right?
So we'll get into post and make some magic there.
So your goal is, according to CJ Spark, 35,000 for the film.
Is that just for preproduction or it will it allow you to
complete the film fully? That'll be the whole film, yeah,
that'll be the whole film. Yeah.
Many people are out.
How much? Yeah, a lot of people can't do
it for that much. But I've spent 15 years getting
better and better at making things for less money.
Yeah. I because you.
Well, it's just not sustainable. You can't say.
I mean, I just was involved with a film, a short film, and they
did it for 75. I wasn't involved in the in the
ways, you know, but. I just came on to help them but
I'm like you know that would be normal, right.
That's normal. So we can do it for 35 because
I've spent 15 years not buying a new car and instead buying
cameras and lights. I mean I could have bought 4
cars over right. So and and that stuff you know
it it lasts the lights especially last.
So we're and I've made you know I worked in casting for a few
years and. Have worked in development and
all these different things. So, you know, I I feel like
filmmaking is a lifestyle. It's your whole, it's your whole
life. It's not a thing you do for a
few years. It's a thing you're committed
to. Because if you spend as much
time as I have trying to make things for less money, but still
at a super high level, you can identify the things that cost
the most amount of money, right? And you can be like, Oh well, if
we could just take that down a peg.
Then we'd be in a better situation.
We could get a better location, maybe.
Maybe we could afford a costume designer, things like that.
So. Yeah.
What do you think is most important in a film?
Ooh. I have most thoughts on this
one, but I'd love to. Hear someone I.
Was so curious about what SP said, but I think for me.
The most. I mean, I think I'm so biased
because I'm a writer and I feel like I'm gonna obviously say
like the plot in the story. But no, I feel like for me, like
whenever I could read like any genre and if I'm not even, you
know, I don't know anything about that genre specifically.
If I dive into it for the first time and if I love the writing,
if I love the story, then I'm hooked.
And you know, despite you know different things about it, but.
Yeah, for me it's just like do I connect with it?
And I think it also then goes along from like the characters
as well and if I see myself in any of the characters.
But I would say that, and I and my my answer has changed over
the many, many years. I used to probably say, oh, the
camera or the lighting or whatever.
I think the most important thing in a film, the final film, is
its ability. To connect to the audience.
I like that. Because I've now made 8-9 short
films or something like that. And after doing festival runs
and sitting through 2030 screenings in a festival with
100 people in the audience, and you'll go to a festival and
you'll hear whether something landed right and then you.
You can cut it, you can edit stuff between the next one,
right? You just send them, you'll be
like, oh, hey, we did a screening and we know festivals
don't like festivals like to pretend like they're like, oh,
you can't change it, but like you, you totally can.
So you'll cut it between the next one and then the next one.
It it lands. And you're like very addictive
to make something that you're passionate about, right?
You were passionate about the story of the story you write.
And then the story we we shoot which is where you are like
cameras, lights, talent, performance etcetera and then to
to scoosh that into the the film that we edit for the audience is
is a really fun thing to do. I think for story my this is
this is subjective. Now everyone has a different
story but my personal requirement in a story is that
you need an aspirational character.
So you always need a character that's better than you somehow,
whatever that is. Because I think and and I'm not
everybody agrees with this, there's, you know, we've got
antiheroes and I enjoy Breaking Bad as much the next person.
But also he's aspirational and he's way smarter than all of us
could have. So it's like to have an
aspirational element like you you want to watch something
with. About a person that's different
than you in a better, bigger something way.
It doesn't have to be 100. They don't have to be an Angel,
you know, But it's just something like, yeah, where he's
smarter or, you know, in what was that?
What's the TV show about? The house, The guy.
Oh yeah, yeah. Where it's like he's an asshole,
but he's so good at his job and he's so brilliant.
They were like, that's fine. That's fine, yeah.
I don't think you could have a main character or that you
couldn't at least have some redeemable quality, but you
couldn't base a whole film around a character that
everyone's going to automatically hate, so.
But you'd be surprised how many scripts you read.
And there's no aspirational characters.
It's fascinating. I don't.
Know. Yeah.
No, I I love watching things that.
Like the characters I connect to a lot.
And I just, I love to get inspired by so many things and I
think, you know, just just being inspired by the story.
But also like the characters just so many times I go to my
friends. So I'm just like running on and
talking about, oh, this is what happened and This is why I like
this person. And I think that's why I like
whenever I write stories, I'm like, OK, I really need to like,
understand this character. Like how am I going to make this
person likable? But I don't like perfect
characters, right? Like, I love the imperfect, the
flawed protagonist. So I think they're very nitty
gritty. Yeah, you gotta have.
Yeah. Relate to the character too.
So makes sense. So what goals do you guys have
for this film? I think, well, the main goal is
to from you know, obviously pre production.
Standpoint is to get enough funding so we can have the
vision come on to like come into life and see how it plays out.
But you know for long run for me is I would love people to watch
this and really do feel something that maybe they
weren't expecting and I want them to be able to be like wait
like I wasn't expecting this churn or this is such a.
You know, interesting way to put a love story.
Like it's very different environment and I want them to
be entertained for sure, but I do wanna touch on so many
things, right? And you know, it's loss itself
finding yourself. There's so much to even, you
know, sometimes even if my own writing, I don't like to always
like directly say what the problem is in the story but like
kind of infer it. And it's just you get that sense
of idea even with the script, right?
You're while you're watching, you're gonna watch the story.
You're gonna understand what's the main issue here, even though
it's never addressed right. And it's it's so.
And I think that's why it also brings the audience into the
story even more because you're kind of like one of the girls
too, right in the story where you're watching this all play
out, but it's. It's like kind of addicting to
see how it it turns out as well. But yeah, then I just want
people to connect with it and and be entertained, honestly.
And go to a bunch. Of festivals and go to a bunch
of festivals and. Get a bunch of festivals.
Now. My goal, Practical goal.
Oh yeah, and and get into. Festival, Well, it's a wonderful
festival film, right? Because it's not, it's not super
long. It's a really fun, active story
and it's, you know, ultimately the theme is finding love in an
unexpected place, right? So it's a beautiful play.
It's a beautiful thing to to program into a festival.
I think festivals will see that as well.
All right, pivoting off the film just for a second.
Sanaz, we noticed that you have a BA in psychology or Curious
what? What inspired you to transition
from like into a writing career? And did that degree influence
this film? For sure, yeah.
I my whole life I was into science and I still am right.
I'm very fascinated with science and.
Psychology is one of those I was really wanting to like dive into
because I'd love to know why people act the way they do and
thoughts and I just want to be in people's brains sometimes,
which is so weird. But yeah, I I mean, yeah, my
whole life like I was an EMT and I, you know, I've seen I was
trying to go to Med school and my brother's in Med school.
So I was like really like on that route.
And I've been in like research labs and even like the job
before this I was. Also doing mental health
research, which completely I loved.
But I think at the end of the day I kind of understood.
I was very self aware that I wasn't really, really happy with
what I was doing and it wasn't like I respected you know,
psychology and the whole job. But I felt like I always, when I
was little girl, I always wrote, I started in poetry, I always
wanted to write stories and I had so many ideas.
I just never had the time to do it.
And it wasn't until my mom, she like such a role model for me
and she because she ended up doing a career change.
And so she was really telling me, like, don't do what I did.
And I changed my career late in life.
She said, like, do it now. Like, I know you love to write.
I know this is what you want to do.
And when I kind of, like took that step and that's when I
applied to different schools, right.
And I'm so happy that I'm with Antioch right now because
they're so. Supportive of my dream and they
knew where I was coming from. They knew I was like very
hesitant in the beginning and once I came into it, Oh no, it
was like, you know, just going uphill from there.
I was like on Sky high. I just want to write in so many
different genres and it was just, I feel like the, the best
leap in the world. And the nice thing is I used so
much like of my psychology background into my writing.
So even in my fictional, like, you know, novels and all that,
like, I love to. You know dive into like
different, like nitty gritty, like thrillers and like
different love stories. That's like very complicated as
well. So yeah, I I'm so, so in a way
it worked out perfectly because I wouldn't have known how to
have written these stories if it wasn't for my psychology
background, but I love how it all played out.
That's amazing. A.
Little off topic, but I know theore is wondering this too.
Have you ever seen? Yellow jackets.
No. But you know what?
So many people have told me to watch it, and I feel like I need
to know. And you definitely do.
You definitely do. You need to watch it and then
come back and talk to them about.
I was getting there. I was getting.
In a break. That's where we're going with
this. We want to talk to.
Somebody. Who knows psychology because,
like, it's very it's clear somebody what psychology was
writing these characters. Oh, that's amazing.
Yeah. So, like, how many people have
been telling you that? So I need to get on it.
Yeah, so I'm like super excited for your film because like it
just, it adds this other element to it when it's just explaining
the behavior of characters is like something I just love to do
for fun. So like, I'm very excited to see
somebody with a psychology background writing characters
like this. It just sounds so fascinating.
Amazing. Yeah.
No, don't worry. I'll watch it and I'm gonna get
back to you guys. Awesome.
So another slightly off topic question for NFP.
This was started out as a joke question and then I didn't
understand that it was joke. So now it's just in here and
we're going to ask it. What is your take on lens flares
and crossfades? We have a history of Cassie.
Caitlin has a history of just going off.
What's the answer? Yeah.
Caitlyn has opinions. We want to get your opinion,
yeah? So what's your opinion?
And then we'll let. Caitlyn Tell.
Hers crossfades are OK as a joke, I guess.
That's the right answer. Crossfade is like the equivalent
of like a star coming in at the end, right?
Like that's like how I see that And then lens flares, you have
to be careful they're they can be great.
On the kind of lenses you're shooting on, if you are on
something, there's a lot of there's we could go for hours
about lenses, but if you were on, well, hey girl, let's go
like if you're on something like what you would call like a JJ
Abrams anamorphic, right. That's got a really aggressive
flare across all the way, right? Because the anamorphics are the
ones that flare with the the line across.
I see. And I'm not going to say the
exact films, but it's been happening more recently where
there people are not careful where that happens, then they'll
be like right across someone's face, which is.
Less than ideal. Don't love that journey for us,
but I do love a good lens flare depending on the vibe, right?
So if like you're in a romantic scene or.
Or a night scene or something and you can get a nice bloom
across. I think moving through light
pools is really fun, and a flare can be a good way to do that.
I I am not. I am not a flare or lens purist.
I like dirty stuff. So I like it when it's, you
know, a little messed up, like you know, a little something on
the lens. Something catches something, you
know what I mean? It feels more like you're in a
scene, like you're actually doing something versus.
No, I'm not. All flare, all flares, all the
time. You're not even.
You can't even see. It's like you're looking through
plastic or something. But OK, So what are your
thoughts on flares and dissolves?
Dissolved transitions? Dissolved transitions?
First, lens flares we. We've watched a few shows
recently and it just seems to be such a big thing coming back
recently, like there was one show on Netflix that every
single scene has, Oh my God, 12 lens flares in it.
It's everything that I just try to figure out why that's
relevant and like why that's needed.
Okay. Well, I can.
I can shed a little light. So there's some.
Silly, stupid stuff that happens sometimes in in DP stuff in the
DP land. Which is that so Most D P's are
super scientific people. It's very tacky, very purist in
a way. Like you know or at least you
know the rules to break right? But sometimes things get sexy
like people. I call them cheats.
Right. Like for a while shooting in
black and white was a cheat, right?
Like you would get into more festivals if you shot in black
and white. Terrible choice.
I don't know why you would do that, but it was a thing.
So it's like there's there's these little things sometimes
these little, I don't know what you would call it like a trend
cinema cinematographer where if a DP hat like if a director's
like, I like flares or I like only shooting wide open so that
everything's like blurry in the background.
Then they'll the director will go look for a DP who has that.
So then if a DP already has all of those and they're like I want
this be flary and like that's the only thing they say, then
you. Can't even up with some.
Guy only just flares, so that's why flares.
All the time. Might have been the only
direction that DP was given. Listen, I just want flares.
And they're. Like, definitely.
What's happening? So I So you love dissolved
transitions? Is that what I'm hearing?
No. So I had.
Editing classes in college and one of the first things that was
drilled into us that crossfades are lazy editing and that
there's like specific times where it would make sense, but
then you start noticing that everybody does them.
They don't make sense. No, it's lazy.
It's lazy. It's uneducated editors, so you
should be getting in there and editing.
Kaitlyn. Yeah.
Right. So look at this hot tip.
To know that my education is correct.
And knowledge is. And does all formations are no
no good? Or what is it called in cross
Fades, Yes. Yeah, cross fade.
Basically the only time that it's plausible is if to show the
passage of time. Interesting.
That's what I was taught. Yeah, you could.
Sometimes if you're coming out like a dream sequence, you could
do it. But yeah, no, generally, I mean,
it's like. Oh man, I don't even know.
Yeah, it it's like, yeah, it's lazy.
It means you didn't do your job on a real transition or like you
didn't think about how you were going to shoot the thing and
you're trying to ease the visualization for your audience.
Basically. There was some film.
Bree, do you? Remember what it.
Was. Listen, I don't remember the
name. Of it, but I.
Remember every single scene, it was like Crossfade City and.
Oh my God, the dream. There were dream.
There was like a dream sequence in it or at the start, I don't
remember. It was interesting movie.
We'll just put it that way. I think someone was drunk when
they shot it and edited it. Oh wow.
Well, if you remember, just shoot us an e-mail I.
Will, because we watched it together.
Like on that whole little like prime you can watch with
somebody else. And then because we were like,
oh, it's a queer film, let's watch it.
And there was rage to be had. There was.
We were raging for days. Anyway, we should probably get
back to the actual film now. Thank you for valuating Caitlin.
Thank you for that. So, Sanaz, why do you think that
this is the best time to produce this film?
I mean dirt. I mean, almost every day if you
go on social media or anything, you're just gonna see another
cancelled show. And if you go into that
cancelled show, you end up saying that, well, it's not your
cookie cutter relationships and characters in that show.
It's very, you know, very diverse like for starts and I
and especially, I mean this be a friend, like there's a lot of
staffing shows being. Cancelled.
I mean one of them, one of my really like, favorite shows of
warring on. I mean you guys know, I talked
about it you guys. But I'm so happy that it was not
revived and saved, which is, I mean so amazing.
And I think also just seeing how dedicated fans are on trying to
fight for something they really love.
And just I think like this is the first time I've seen like a
movement of just fans being like, no, like we love this
show. Like we need to fight for the
show. And I think that and I remember
I was also like. My mom like every day like, oh,
this is what's happening now if it And you know, I got to the
point to like where I was so excited to create a story that
there's going to be people that really love the story and really
want to watch it because they're passionate about it.
And I knew I had to write a story that is going to relate to
so many people but has such a unique perspective of
representation, especially for women.
And I just loved the idea that I put a love story in there.
It wasn't. This story wasn't supposed to be
love story in the beginning. It was just, I mean the long
line there was a girl has to escape from a cult leader.
Like that was it. That's what I told Colette at
the time. And Colette was like, OK, great
diamond board. Yeah, I know.
And she was. And I was like, oh, the Lord,
like, I have to think about it now.
But it was so easy for me to then just.
Go on my phone, look outside and see what I had to do.
And I knew I had to write a story where 2 girls are falling
in love and they're trying to beat a battle that is, you know,
maybe not the easiest battle to be, but it it's it happens
because at the end of the day, it's it's it's what you are and
what your identity is. And it's just going to show how
love really like, prevails. So yeah, you know.
I'll also jump in and just say like as far as the time of.
That we're in. It's an amazing time to be
supporting independent film right now, considering the large
streamers have steamrolled all independent thought and the
independent creation and are trying to suck the lifeblood out
of creators and make them a widget in a machine.
So now is really great time to be supporting independent, true
independent film with independent thought.
Because we're in the fight for our labs right now.
It's an uphill battle, for sure. Very much so.
Well, art is, anyway. But you know, especially right
now. Yeah, sorry.
We're trying to figure something out.
Why hold on? Why is LGBTQ Plus representation
important to you? I I personally, I love to write
from different perspectives and backgrounds and I think like you
know I come from a place where I love to.
I'm very I love to be so diverse and open and especially my
culture. I'm Persian, so.
It's also like breaking boundaries on writing stories.
That is not really typical in my culture, but I love just the
idea of being so welcoming and I think the algebraic community is
so open and I love that and I love to just be a part of a time
where we're so not concentrated on.
This is like how life is supposed to be, right?
There's it's, it's no black and white and I think everyone can
relate to. The idea that you can, you can
love whoever you want. And I'm so passionate about
that. I love to, you know, even
connect with people, even if it's platonic love or romantic
love. I love the idea that, you know,
being in a community, LGBT community is so opening to
different, you know, types of people and it's just something
that I always wanted to support and just have.
Creative voice. And I knew when I was wanting to
become a writer that I wanted to be also that vessel as well.
And it's it's just, yeah, it's just it's just so much love that
goes into it too. Like, I feel like a lot of times
like, yeah, like there's so much representation, but I think it's
just the idea that the whole love is love.
That whole theme in itself is just amazing to even understand
and talk about. That's awesome.
We definitely couldn't agree more.
I mean, I know I'll jump in on that as well.
Like, so for me, I mean, I've been involved in a lot of LGBTQ
projects. I'm not.
I I don't think labels are cool, honestly.
I think that everybody's story needs to be told.
I get annoyed that there's not enough.
L GB TQ stories about people just being people.
And like, this is weird. People in a cult and there's
like violence and stuff. So like, this is just people
being people finding love where you love.
And I think that it's really important to tell stories like
that, not stories that are centered on, like, I don't want
the story to be about the fact that these two women love each
other. Like, that's the story, right?
But that's incidental. They just happen to be gay.
That's just part of what the story is, not the story.
The story is not becoming out part of it, right?
That they just are gay. That's it.
And I think that it's so, so, so important to tell stories like
that because that's how we don't make that the center of
attention, right? That's how we make it be a part
of the great quilt of the world. It's just these are all,
everybody is who they are in the world, right?
So I think it's super, super important.
And I mean, I'm involved in a feature right now that's also
not to go off, but it's a Christmas feature with two women
that love each other at the center.
Really fun. We're trying to get that made
too. But you know, but like these,
these are stories that need to be, these are stories that need
to be told, right. So I think that Sanaz has done
an amazing job of writing a story.
Where these two women who are badasses just also happen to?
Get. I mean, yeah.
No, that's thank you. Can you see that as he's my
cheerleader. I mean yes, yes.
I'm just saying. Yeah, yeah, you're.
Going to have to come back and talk to us about this Christmas
movie though. I know I I.
Agree. Y'all, it's.
It was almost made. It was all it was this close to
being made right before, like the economy tanked and then
everybody, you know, we almost had a really, really good gay
Christmas movie. Damn it you.
Know it'll come anyway, but yeah, we're really excited.
Yeah. Thank you guys for sharing all
about this project and and your your take on it.
It sounds truly, truly amazing. So we know a little bit, but for
the listeners out there, how can people support the Color House
at this stage? Yeah, honestly, it's a it's
about getting our name out there, getting the project out
there, which means spraying the word right you.
We would love, you know, we have different social media outlets,
so we're on Twitter, we're on Instagram.
And you can find everything also like in the link in the campaign
site on season Spark which is great and just being able to
press that follow button right on both the campaign different
social medias and then just keep spreading the word sharing with
your friends and family post about it.
I mean obviously don't. Right.
And we have pretty cool incentives right now on the
Stevens Park fundraising. So if people want to get more
involved, even if the project, they can check it out and, you
know there's different tiers and we even have a really cool one
that's you can visit the set. So yeah, it's a it's very we
want to be very immersive of it as well and the more people we
have involved it's it's the we're gonna like have a pretty
nice community that's going to love the story as well but.
And then ask me if you have like sure you have better ways.
Thinking you're doing such a good job.
Yeah, I think you know the biggest thing.
I know that we're going to be doing some special initiatives
coming forward like we just finished our first week.
Traditionally, the middle two weeks are the difficult part of
the race. So if anybody is really excited,
reach out to us about how we can do like matching for fundraising
and things like that or if there's anything special you
would like. To see in the film or your name
or anything like that, these are all things that we can have
conversations about. So just really excited.
We're at 10% I think right now rights and Oz.
We're at 16 now. OK.
Yeah. I checked last night, so but
we're 16%, so we're really excited.
And yeah, we can't wait to connect with our audience.
That's awesome. I'm also very excited about
this. Let's get this funded because we
need to see it. Yes.
Yeah, definitely. I think Caitlin said it.
So before we before we let you go, we want to ask you if you
have any final words for our listeners at home.
Honestly, I I feel like I just want to like thank everyone and
because this is obvious, this is my first short film, right?
And it this is actually the first script I've ever written
and which is so like I feel so many emotions all the time,
especially in these past few weeks because you know I wrote a
story that is I'm really passionate about and I'm so
happy that and I'm so privileged to have.
My first script be a movie now and I think just being able to
have that is so humbling, but I just want people to also connect
with me as well as a writer and I love to write more stories
that people can be inspired by. So I'm really approachable
person as well as what I'm saying and I love to spark
conversation with so many different people so.
I love to talk about anything. Doesn't it just have to be my
movie as well? But I would love to be that
person in the street that people have a story that's on their
mind and or you know, a theme and they maybe don't have the
voice to put it out there. But I like to be a vessel.
A vessel is what I'm trying to say from.
You can. You can tell Sanaz is a writer.
You ask her for final words. Final paragraphs.
My final words are follow us on Instagram and Twitter The Collar
House. I was just about to say that, so
good deal. But.
We want to thank you guys for coming on and letting us get to
know you better and get to know your project better.
We're really excited to. You know, talk about it and see
if we can help in any way get the word out.
But to everyone listening at home or watching whatever,
follow the Color house on Twitter.
It's the under score Color House, so you can get more
information there on how to support the project.
And until next time, hydrate for lesbian, Jesus and gay it up all
over the place. Sigh.
Bye. Bye, yeah.
And with that, we've been big gay energy.
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