Welcome to Alumni Live: The Podcast.

These are conversations with Grand Valley State University film and video

graduates about the industry, the film video major, and alumni profiles.

I'm your host, Randy Strobl today, and we have a great conversation coming up.

Ashley Bunge is here, who's gonna talk to us about being a Location Manager.

Hey, Ashley.

Hi, how are you?

I am doing great, I'm really looking forward to this conversation,

when your email came through and I clicked that little IMDB link.

I couldn't believe some of these shows that are in your oevre, here.

So if you don't mind me just kind of ripping through some of these real quick.

I got a choice list here.

We've got Abraham Lincoln: Vampire Hunter, G.I. Joe: Retaliation, Bonnie and Clyde,

Fantastic Four, Deep Water Horizon, A Jack Reacher Movie, Geostorm, Cloak and Dagger.

The Jay and Silent Bob Reboot, Five Nights at Freddy's and Spinal Tap II.

You have a wild resume.

Thanks, i'ts been a fun ride!

So getting into it, what is location managing?

Just kind of like the brass tacks of your job?

So location managing, you get a script from a producer or director.

Everything's broken down by locations.

. It's really the backdrop of movies.

Our job as a location scout and manager is to find locations to

film at, that are viable for the filming in a multitude of ways.

That's kind of the scouting part.

Managing is once they pick the locations, facilitating everything from top

to bottom of filming in that space.

You get the contract with the, owner of the property, then you have to

work with the city for permitting, parking of trucks, arranging police.

It's a lot of logistics.

And on our shoot day, just rolling with all the issues that come up then as well.

So it's, a multifaceted job for sure.

It sounds like the main, skill that you have is just problem solving.

Is that pretty accurate?

Yes.

It's Very similar to an event planner.

Sometimes you have a different wedding every day of the week and sometimes

you have multiple, locations in a day.

So it's a lot of problem solving.

And sometimes the wedding you're planning for is the end of the world,

like in something like Geostorm.

I actually got to do second unit on that, and that was a blast.

You never think pretending that there's, a tornado, in Mumbai you're

in the lower ninth ward of New Orleans.

Right.

'cause the location for that movie in particular was just Earth, right?

It was just the entire planet?

yeah.

We had Rio de Janeiro, we had, Mumbai.

We were all over the place- in quotations.

So tell me about those quotations.

How much of it is the place that we're seeing on screen?

Studios in particular, they're trying to do this, as affordably as possible.

You're trying to shoot as much as possible and you fake a lot.

They'll go and do a B unit in another country, or a smaller shoot in another.

You have to get really creative sometimes, and say, "Well, how can

we mimic New York and New Orleans?"

" What part of town are you looking at?" How can we be Russia?"

When I got into location managing, it was because I love traveling.

I'm from a, military family.

And I thought, they would be sending me all over the world.

Ideally, someday they will, but, you really want to find somebody

to work in locations that knows where they are pretty well.

I got lucky.

I didn't know anyone here, and I started working in locations

and learned along the way.

But you have to know the city.

Part of your job is going out and constantly finding out what's new.

Everything is shifting all the time.

So you have to see what's out there.

I'm always looking for locations, but even just seeing a big

parking lot will peak my interest.

As you're going around town, just doing whatever you need to do,

you're keeping these things in mind:

for, "Oh, that might be something that could be used in the future."

Or, "Oh, we were just looking for a convenience store, that

this would've been great."

Spinal Tap II in particular was, a really fascinating one because I'm

lucky to have worked on a lot of movies.

That was the first one that, the script was ten pages.

It was not a script, it was just a description of each location because

it was all improv It would say " New Orleans Home" and it would say "A place

that looks like it could be haunted by the spirit of Louis Armstrong."

"Great" gestures broadly at the entire city.

There's so many types of architecture here.

There's traditional looks in the French Quarter and in the Garden

District, it's all wildly different.

So no matter how much you prepare it's always something new.

"Well, all right. We're gonna try and for 10 days in a hotel now, in the

dead of summer, and do it on a dime."

There's certain similarities, but for the most part, keep an open mind.

You build these relationships and it's great once you do.

Ashé Cultural Arts Center is one that I go back to every couple of years and

go, "How you doing? We got another one."

Oftentimes You always have this battle between actor availability

and location availability.

Trying to piece that together in a schedule can be difficult.

For example, on Jay and Silent Bob, the reboot, Rosario Dawson was gonna

fly in from her other show in Atlanta.

So you have to think strategically sometimes.

if you can find three locations in one and you don't have to move three times.

That's always a win if you can get more than one location.

Let's talk about Grand Valley.

Did you grow up in New Orleans or is this a, a new place you're living?

No I'm an Air Force sprout so I've been all over, born in Texas,

moved to England, moved to Alabama.

When my dad retired, we moved to Michigan and I lived in Hastings,

South of Grand Rapids for five years.

I went up to Grand Valley when I graduated.

I started there in 2004, graduated in 2008.

Right after graduation the company I was interning for started

pushing for incentives in Michigan.

So I was able to work on a couple of shows

. Then the incentives got cut pretty quickly after.

We only had 'em for about two years in Michigan, and I came

down to New Orleans in 2011.

It sounds like travel has been a part of your life.

What do you keep in your bag when you're traveling?

Do you have a go bag?

No, it was very strange how this one happened.

New Orleans.

I've never lived anywhere as long as I've lived here.

I've been here 15 years now.

I was planning distantly to move down here.

I came down from Mardi Gras went to , the union office, and ended

up moving a week later and starting work Abraham Lincoln Vampire Hunters.

I packed the cap and, some clothes and what I could fit

in my little, Ford Escort.

Thank God I have a great family.

I said, " Can you guys pack up my apartment and bring it down

later?" And they ended up packing up everything that I left.

We were on, a futon and an air mattress for three months until they could

pack my apartment up and move it down.

So I guess, come for the party, stay for the industry.

Exactly.

Did you have like network out there or, like some, sometimes, when, alumni

go to Los Angeles, they're finding other, people in their industry.

Did you know anybody, to help you ease that transition?

Or

Sure didn't, I didn't know anyone.

I came down in 2010 for Mardi Gras after finishing a really rough

show in Michigan and fell in love.

Came down 2011 with some friends and like I said, I went to the IOC office.

I was a Teamster in Michigan and just said, "Hey, I'm interested

in moving to New Orleans."

The guy said "Well, you're the first person who's ever showed up in person." So

he printed out all the location managers in town and it was their email addresses.

And I drove back to Michigan and I emailed them all.

I actually still work with the first manager that hired me here Elston Howard,

and he said "Come do an interview."

So I had, Mardi Gras on Tuesday, drove back up on Wednesday, emailed on

Thursday, got told to come interview on Friday, drove back down on Sunday.

Interviewed on Monday and then went and found an apartment.

At that point I knew there was one other person from Michigan that had moved down.

A lot of other GVSU alumni started coming to New Orleans,

and Atlanta, LA, and New York.

obviously, A lot of movement down here in the South.

But when I first came, I didn't know anyone.

What were those first jobs like?

Your first day on Abraham Lincoln, Vampire Hunter, did you feel ready for it?

Not at all.

The biggest show I did in Michigan was 30 minutes or less.

I think that was right about $30 million.

I was an assistant manager on that.

I came down and I was just a location assistant and it was bigger than

anything I had ever worked on.

My first day was at Lafitte's Blacksmith Shop in the French Quarter at one of

the most famous bars in New Orleans.

It was the 1860s, so they, had a company that would come and lay dirt and cover

all of the concrete, all the sidewalks.

You had to find staging for horses.

I had been in an assistant manager capacity, which is more of the planning

and logistics When you get to that level, as a location assistant, it was being on

set for the day as it's already set up by people and just facilitating things.

I ended up helping with a lockup and like a donkey walked by.

Things you just can't make up that happened in the French Quarter.

I think my eyes were just really wide for a long time and you

just learn and roll with it.

I said yes a lot ended up helping with the office, paperwork side

once I knew I could do that as well.

If I didn't know, I would ask and they would tell me.

There was one location where we had this giant blue screen that went across an

entire street in the warehouse district.

It was, 40, 50 feet high covered completely.

You had disclosure that was there for two weeks that we just

closed this road in downtown.

So I got pulled into one of the biggest productions right away.

You had come straight from Michigan, from Grand Valley.

What were some, skills that you feel like Grand Valley prepared you for?

Probably the thing that was the most helpful was the summer, feature film.

It was a more realistic timeline and timeframe of what a film shoot looks like.

I'd never seen a call sheet.

There's lingo on set.

It's a foreign language when I bring people in.

And one of the things that kind of led to this whole domino effect of where

my career has gone- I think I was in an editing class it was Jim Schaub.

Oh yeah.

Yeah.

And he was just spunky and fun.

There was one time in class where he said, "If you hear of opportunities,

at this age, say yes, just take it."

And it was through my Grand Valley email that this opportunity for

being a screener for a film festival came up and it was an internship.

I worked at Blockbuster at the time.

A lot of times at the store people would ask "What should I watch?" And

I'd ask what kind of movies they like.

So I was used to going, "Okay, well this kind of audience will like this."

I interned as a screener for Waterfront Film Festival

The first year I did that, they said, "Hey, we're opening up TikTok

Studios do you wanna come work there?"

So I said, yeah.

I was still interning.

I wasn't making anything doing script reviews.

And then within the year they were like, "Okay, we're doing

our first feature film."

I had told them I was interested in location scouting, and

they said, "Congratulations, you're the location manager."

I was still in college.

I was 21 I had to look up what it was.

There was about a paragraph.

But you had that textbook.

Yeah, it was great.

That first, $600,000 feature film called "Tug" led me to the

connections that led to my next job.

It just rolls from there.

So it's all about who you meet, and it all started with Jim Schaub saying, Make

sure you're taking these opportunities."

And here I am.

It's interesting actually.

My first class was American Cinema "Alright, we're gonna

go around the room and say what we want to do in the, industry"

Naturally it was a lot of director, cinematographer, producers.

But I had watched King Arthur, and I loved that movie.

And I was watching a lot of making-ofs, at the time.

On one of the making-ofs it was talking about how they had gone

to the Alps, location scouting.

I was really intrigued because that felt like the combination of, travel and work,

exploring and fulfilling my curiosity.

So I knew young and, I've never done anything other than

locations, which is very rare.

Usually people bop around a little bit.

It's worked for me.

I feel like, a lot of times, these interviews, we've heard people

who thought they wanted to do one thing in the industry, did it for

a little bit, and then found a completely different department.

But it sounds like, you'd pick that from, right up from that, behind the

scenes and, carried you through today.

That's amazing.

What's funny about it is now, years later in the industry, the people

that went scouted, the Alps on that movie were visual effects.

Visual effects you can get sent around the world.

There was a guy I've worked with before, he said that one time they

sent him to the Bahamas to look at the sunset so he could build the sunset.

What a job.

Yeah, missed opportunity, but I ended up still loving this job.

What is collaboration like in your position?

It's incredibly important.

For locations, you have to talk to everyone.

The producer or the unit production manager reaches out and says,

"Hey, here's a script. Do some file pulls or I'll give you some initial

weeks to get a site together."

Then the director comes in, production designer, cinematographer.

You start with a small group going and looking at options for locations

and the group just keeps growing.

Once you have your core people- cinematographer, production designer,

director, on board with the locations, you're working with all of them.

Once you get to actual production, you're working with wardrobe, hair

and makeup and making sure that they have the things that they need to do.

What's one of your biggest collaboration lessons?

I was lucky on my first show there was another alumni Megan Waldrop,

who was my assistant manager

I was pretty clueless, living on blue monsters, not sleeping

and tensions were high.

And I snapped at her and it was on day two or three of this 27 day shoot.

And she just got quiet and shut down.

She told me, a couple days later "That doesn't work for

me. That kind of interaction."

And I remember her saying that, and I said, "Heard, okay, I won't"

I learned early.

Honey versus vinegar is a very important, just simple thing.

The way you talk to people is incredibly important.

Being authentic and not being fake.

If you're real with the fact that you might not know something.

That was a big lesson I learned in my years because I think we were trained

with the "Fake it till you make it."

And I got a lot better responses when I said, " I don't know how to build a

concert arena stage for Spinal Tap II."

They were like, "No, you figure it out."

So I started talking to vendors I had never talked to before

saying, " How do you do this?

Because I need to, you tell me what you need and I will put it together."

Being honest, being authentic, and just talking well to

people makes it a lot easier.

We're taking a short break to tell you about the Chuck

Peterson Memorial Fellowship.

The fellowship was established by Chuck Peterson's family and friends to assist

the upper level students in the film and video program at GVSU, who are working

on creative projects that support the nonprofit sector in their community.

Kyle Macciome, the 2020 recipient of that fellowship describes the

benefits of the support he received.

When going through this fellowship, there are three separate parts

of yourself that I think get to experience a lot of development.

The first is as a student, because this is a learning process.

You get to learn how to work with a client on your own independently,

out in the world, away from the classroom, like you would in

something like Producing for Clients.

And the second one would be as a video maker, as a video producer, as someone

who has respect for the work that they're doing and wants to improve on

themselves and produce a final product that can be used out in the real world.

And then the third one would be as a citizen.

You know, you're not making video for an entertainment value or for some

kind of commercial purpose, it's for a non-profit it's for a direct benefit

in your community and being a citizen of that community, understanding how

you can directly impact and improve it, is a really valuable experience

that I think the fellowship teaches you to be as a student, as a filmmaker

and as a citizen, all three of those things are directly a part of this

process that you get to learn and ask yourself, how do I want to be seen?

And how do I want to act as these three roles?

For more information and to donate to the scholarship, visit the link in

the description now back to the show.

How did you find that venue?

The

climax of Spinal Tap II it's huge.

There's fire everywhere.

Like how did you figure that out?

That is one of my best absolute favorite experiences on movies.

Bar none.

Finding the venue easy peasy.

We've got lakefront arena, we've got the Smoothie King arena.

There's only so many spaces that you really can pull this off.

It took until, it was down to the wire.

They knew they wanted Elton John popping on the stage like a gopher.

You had the rigging grips involved.

They do stage decking.

Vendors that do a lot of this work for live events versus filming a movie.

They're completely different worlds.

I had to lean a lot on grip & electric who knew a little more.

'Cause they can dabble in both worlds

Our line producer, Brian Johnston, he had done some live event work.

He sent me a spreadsheet that he had built to show how load-in happens.

We had to make sure that the venue had enough weight capacity.

Our department was making these huge renderings that the

lakefront arena couldn't support.

We're talking giant Stonehenge and everything, right?

Yeah.

All of that rigging.

The scope of what they were doing would've been like Madison Square Garden size.

So they kept having to scale it down, but they wanted it to look really epic.

It was working with a company that builds a lot of these setups

for live events, doing a bunch of calculations of how much weight had

to be distributed in the ceiling.

Then it was scheduling.

You had to figure out who came in first?

Did the stage come in first?

You had to, put the rig points up and then they could build the lighting.

Special effects is gonna come in with Stonehenge.

And they had to rig it so it could fall.

Just epic.

But the whole time we were in prep, the band, were practicing and rehearsing.

And they actually put on a live concert for three days.

That was an actual concert then, huh?

Yes.

It had to be very strategic planning of where they were.

If you're shooting.

To the left of the stage, you'd have to shuffle people over there.

The closer ones, you'd move them down on the floor.

It was two full days I think that they got to see this concert.

And it was a bunch of people that loved the first Spinal Tap.

Anybody I've talked to said that was some of their favorite days on set.

When I read critical articles of movies I, see the phrase

"The setting was a character".

What does that phrase mean to you and your work?

People say that a lot.

Especially here in New Orleans.

A city of so much culture, so much history.

If I go to another country to travel and visit people know New Orleans.

So having it as a backdrop and having it as a character is common.

You definitely can have locations build, its own character.

It's in the background, but it's pivotal to make the look right for the movie.

I think it's pretty important and really fun.

You've just mentioned, working on a small movie we certainly

mentioned working on big movies.

What are the different, challenges?

Is there anything easier, between the two different size movies?

I mean,

budget makes a huge impact.

For example, Last Hand was a low budget independent feature.

And the only reason I think it worked is because we shot

it in June, July, and August.

You're not getting as many tourists here because it is hot and it is humid.

That is a way that you can accommodate things is the time of year.

You might need to look in different areas.

I'm not gonna necessarily show the Roosevelt Hotel as an option for a

smaller feature, knowing that it's a very upscale very popular hotel.

The worst thing that you can do is show an option that your director falls in

love with and then you can't get it.

So you check and recheck before you show options.

We say it's a "champagne taste with a beer budget."

Some directors and the producers realize it and they go, okay.

And they're very understanding.

And we found happy mediums where they were happy.

But you also have shows where it's almost in the opposite direction, when they have

so much money, they don't wanna hear no.

You can go, "This is gonna be really disruptive. we're in a

neighborhood and you wanna shut down these roads for two weeks"

And they're like, "Yes."

So you can throw a little money and make sure that you keep people happy.

'Cause that's gonna, that's what makes or breaks the industry.

In a city, if you are abusive to the community.

That movie company might leave, but you have to still be

there with that relationship.

Exactly.

So it's not impossible, but they're all challenging in different ways.

Do you have a, hero moment you wanna tell us about or something you're

really proud of where, you see the movie or show and you say " I did that.

We made that happen."

Let me think.

You know, the Spinal Tap one, that was probably like my proudest just

'cause it was such a fun experience.

When I'm referencing a bigger project, there's one I think it's available now

on Tubi, originally it was supposed to be on a different platform.

It was called # FreeRayshawn.

We had to shut down parts of Central City.

It ended up blowing up into about eight blocks of closures over two weeks, and

four blocks for two weeks completely.

That was very residential.

And then we had to repeatedly do media blasts.

We hired somebody specifically to go and flyer basically all of Central City.

We had to notify the police because we had a shootout.

If you hear gunfire here in New Orleans, all the different neighborhood groups

communicate and ask what's going on.

Obviously it's a concern.

We had to facilitate that.

I think we only had one call to the police department which,

was right around the corner.

I really love any of the second unit work.

I think it was "Your Honor" season one, the biggest struggle finding the perfect

shotgun that they wanted for this house.

Finally found one.

Had to hunt down the owner because it had been abandoned since Hurricane Katrina.

They still owned it, but the family had moved to Texas.

Did some detective work, found the owner, got a phone number.

This woman didn't believe me as far as she could throw me.

We randomly wanted to rent her house for four months and pay her, it just seemed

like too good of a deal to be true.

And I sent her my Facebook page, my IMDB page, and luckily she knew Elston

Howard, was born and raised here.

His mother was a teacher at her school.

So that connection led her to go, okay, this is real.

So then I had to call her and say, "Hey so we wanna blow up your house."

Wow.

By then, we're a couple of months in and it's movie magic explosions.

You're not actually blowing the thing up.

Again, we had to shut down several blocks and plan it out very strategically.

Special effects, fake debris inside the windows that would

explode out, that looked like pieces of the house, but were foam.

Then, yeah, you do the countdown and boom, up it goes.

We did have to replace the siding 'cause it got dinged, and we had to

have a company come and sweep off the rooftops of the fake debris.

And when you can sit and you've got these closures, everyone's safe,

and you see something really cool.

It's just a really fulfilling moment.

So that was one I was pretty proud of.

Let's get back in that time machine.

This time we're not going all the way to 1860

I do wanna take you back to 2006 to go talk to your younger self at Grand Valley.

Do you have any words of encouragement?

Advice?

do

Oh man, calm down.

I was so high strung.

I was so stressed and scared of failure.

As you get older, you realize you have to mess up.

You've gotta do things wrong sometimes to learn from them.

If you're doing everything perfectly, you're not learning anything.

That fear , has gone away a lot.

It was full on panic attacks, especially when I first started in the industry.

If anything went wrong.

It would not necessarily even be my fault.

And I'd go hide in a corner and cry and be like, "I can't believe this.

I'll never work in the industry again."

And it's not that big of a deal.

The nature of working on movies is there's always an issue that's gonna come up.

I've never worked on a show where it was like "We can't finish our day."

So now when people get stressed out, I would say, "Did anyone

get hurt? Did we finish our day?"

Then we're fine.

That's one of the biggest lessons I think It's gonna be okay.

Some of my favorite advice that I've heard and I feel like it's that's

important to say is "It's just another show", like we've done this before.

What does it feel like to be in the industry at this moment?

Not gonna lie it's not for the faint of heart.

There's always waves.

This is very much an industry where it's feast or famine.

You might work on a gig for months and then you don't know what's coming next.

So you have to prepare for it.

And as you progress in the industry, you get better at that,

but it's been blow after blow.

We had COVID.

It went from new restrictions but still surging to two

years later, it was booming.

Then you had the strikes the WGA and screen actors and that

really collided with the studio systems breaking a little bit.

They produced so much, they realized they weren't making that much money.

So they started getting a lot more reserved with how much they were

making and going out of the country.

I've seen a lot of people have to shift.

On top of just streaming there's also now this AI boom that, just keeps going faster

I don't think the industry is dying, but I definitely think it's shifting as

a whole with what it's gonna look like.

Some of my stories might not resonate in 10 years with people

that are getting into the industry.

It's starting to come back a little bit.

A lot of smaller shows have started coming.

The only thing I could recommend is staying flexible.

I started doing a little more commercial work and much smaller shows.

And I think that's it's gonna be more of a split with more

independent films being made.

That's good and, difficult in ways, but I think for young up-and-coming filmmakers,

it can be an opportunity that might've been more difficult to break in before.

It's just a bit of a tough time, but I don't necessarily

think it's fully doom and gloom.

I think there's, There's a silver lining that people could have

opportunities a little more easily on smaller shoots as well.

So looking at your future, Ashley where do you see yourself?

Are you gonna stay as a locations manager?

Do you feel like you're navigating to any other positions?

If I stayed in locations, my goal is I would love to work internationally

and be able to work in other countries doing locations and learning.

Position wise I would be interested in becoming a unit production

manager or a line producer.

It's, such a pivotal job.

It is a really difficult job.

I don't know why I want to do this, because it's one that some people

would say "I would never wanna do."

Just real quickly describe what a unit production manager is.

Unit production managers hire me.

They usually get hired by the studio.

They deal with both above the line and below the line.

Above the line is producers, the studio, directors, actors.

Below the line is all the crew that makes it happen.

It's locations, grip and electric, costumes.

It is everybody.

You are juggling the wants of the studio side, and the producers, what the

director wants, with the below-the-line people saying, "Okay, this is what

it's gonna take to make that happen."

Your job is to find a happy medium.

"Look, we can't afford this goal in this way, but what about this?"

So it's constant, creative problem solving, figuring out solutions.

I think it would be a huge achievement because I respect the, production

managers and line producers

and very difficult job.

And I like a challenge.

Sounds great.

Hope you get it.

We've got some students listening to this.

Let's say one of those students wants to be a location manager.

Maybe they're doing their fiction project right now and

they need to find a location.

What skills should they be exercising?

What advice do you have to that student who is location

scouting on their project today?

One that I have to keep in mind often.. You don't really think about it at

first, when they say "location is everything", use all of your senses.

You might find a place that looks amazing, you're gonna have a terrible

time shooting if it is next to train tracks that are very active.

so

You need to keep in mind the sound of where you are.

If you're trying to go for a more open expansive, sound, you're not gonna

wanna shoot in like a bustling downtown.

I think sound is really key and something that can get forgotten very easily.

It's really important to keep in mind for your shoots because with

good sound recording and good sound.

Just ambiance really make a difference.

When you're going to locations, do you have a standard list of things

that, you're filling out every time?

Or are you really just going in with your senses and you'll

know the feel when you're there?

Internally, yes, there's a checklist that you just build up over time.

For example, the shoot I was just on, it's called "Goodbye Girl."

Cute little romantic comedy.

Had a property that is an estate feel, great location, beautiful location.

It dead in the center of a neighborhood.

It was logistically so difficult.

Smaller ones, might not be as difficult.

Just knowing what you can get away with gorilla-style and what you really can't.

People have their cameras out so much nowadays.

I don't think it's as big of a deal, but you also do want to keep in mind if you

are in a public place, it might seem just completely fine to film at a park, but

they might have a permitting process.

You might get somebody that flares up about being photographed.

There's a lot to keep in mind.

But sound site, that's the best I can probably say.

And knowing, the people that are gonna be around there make sure

everybody knows what's happening.

The permits are there.

It sounds like it is a relationship as much as anything and, managing

people's expectations for how long you're gonna be there.

Yes.

If you can keep to your timeframes when you're shooting, that's important because

you can ruffle some feathers there.

Some people that are very much, they do not wanna be photographed.

If you're filming in a public space, make sure you have some

permission that you can lean on.

Or at least somebody knows that it's going on.

Very much respect that.

Very helpful advice.

Your passion comes through and the whole time you're smiling, so I'm

very glad that we got to talk to you.

I'm glad.

I love talking about my job.

It's just an adventure every day.

I hope it helps some young filmmakers.

A young Ashley out there.

I believe in them.

Thanks much for having me.

It was fun.

Thank you for all the rich stories that you've given us.

This has been a great episode of Alumni Live: The Podcast, and thank you so

much for listening and keep tuned to our podcast feed and you'll find plenty of

more great interviews just like this one.

Thank you for joining us for this episode of Alumni Live: The Podcast.

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you, and we're glad that you're here.

Thank you for listening.