(soft techno music) – Hey there, welcome to this
episode of Cinema Crunch. My name is Rose Donahue
and we are filming at the Quantum Arc Media
Studio in Las Vegas, Nevada. With independent film making, it’s typical for people
to take on a lot of roles. Today I’ll be speaking
with writer, producer, and director, MJ Del Rosario. – MJ, thanks for joining me. – Hi, thanks for having me. – And your proper name’s- – Melissa. – Okay, is MJ cool for n- – MJ’s cool for you. – Oh, okay. Okay, thank you. – My friends call me MJ. – Okay perfect, noted. So, everyone else, it’s Melissa. (MJ laughing) – Thank you for joining me today. So, I would like to hop
in with a question that I ask a lot of producers. – [MJ] Okay. – If you could do a short job description of what it means to be a producer, what would it be? (Rose laughing) – Oh gosh, short job description. So I would say producers
are basically the people that if there’s something wrong, you talk to them, and they fix it. – [Rose] Mmm. – So, I’m there from beginning to end, like pre-production, production, and then post production all the way until your project is finished. – Yeah, problem solver. – Problem solver. (laughing) – Yeah, yeah. What’s your favorite aspect
of being a problem solver? What do you like about it? – The challenge. – [Rose] Mm-hmm. I’ve gotten various questions or various challenges to overcome like, “Oh, so my short is
located in a hospital.” “I want to shoot in a hospital.” Okay, um…
(Rose laughing) – Sure when do you want
to do that? “Next month.” Okay. – Uh-huh. – Got a hospital, shot
it in there, that was- Okay, what’s next? – Yeah. Just cross it off the list. – I recently had for my feature, “Oh, so I want to shoot with a lowrider.” Okay, when do you want to shoot with that? “Tomorrow.” Okay! (Rose laughing) – 10:00 a.m. is call time? Sure, we’ll have that there. That wasn’t in the script.
– Wow. – But it looks so great
in the opening sequence, – Right. – so it was worth it. – Oh, good. I feel like that’s kinda
part of the game of like, “Aw man, this is a little
stressful right now.” But, the payoff of doing things right- – Oh, the pay off is incredible. – And planning ahead,
and just getting all of the right things in the
right places, it’s just, yeah, incredible. – It’s something when
you actually get to see the final product and show
it and like people are like, “Where was that location?” “Oh, it was an actual hospital.” Or it wasn’t. – Right, right. – There was one location, a lot of primarily ask me for locations. – Mmm. – I know of quite a few in town. – Mm-hmm. Someone was like telling me, “I need a banquet hall.”
– Mmm. Okay. What’s your budget? “We don’t really have
too much of a budget.” Okay, so, banquet hall,
no budget, let me see. And we ended up shooting in a very not-banquet hall location, but it turned out great, like you would never know the difference. – Right.
– So… (giggling) – That’s such a fun thing
about the film industry, of making something into
something it is not. – Yes. – But it passes, passes off,
and looks good on screen. – You would never know.
– So, it’s a success. Yeah, that’s very cool. So, as a producer, you’ve
also submitted some of your projects to film festivals. That’s kind of a role you-
– Yes. – Took on as well. And you went to Cannes last summer, which I think, I mean, it’s
just such a hugely familiar festival for anyone in the film community. – Yeah. – So I’d love to talk about
your experience there. – Definitely. I love, love, love Cannes
and I recommend it, and I plan to hopefully
go sometime soon again, so anything you want to talk about? – Okay, so let’s see. Do you have to bring fancy clothes? – Yes. (both laughing) – Really?
– So… – Everyone has to have fancy clothes? – Everyone has to bring
fancy clothes depending on the time of the screening.
– Okay. – Most screenings after 7:00, I believe it’s after 7:00 or 8:00 p.m., are red-carpet only. – Wow.
– And it was to the point where there was like a day, ’cause it’s a three-week
long film festival, and- – It’s long.
– It’s a lot. – Yeah.
– So every day, like waking up early,
making your meetings, going to the market.
– Uh-huh. – And then going to the red carpet event at the evening and the afterparty, you have to have the heels
on when you’re walking. – Wow. – And you have to have the dress. – You have to have- If you’re a man, you have to have a suit, and you have to have a specific bow tie. You have to have like the French bow tie. If you have the regular tie, they will not let you in. – That’s strict. (laughing) – It’s a very strict dress code. – [Rose] Okay. – Super strict. There was
one time I tried to cheat, and I had my heels in my
purse and my flip flops on. – Uh-huh. – ‘Cause it’s a long line, you know. – Yeah, yeah. (laughing together) They were like, “Nope.”
– They were like, “We’re not going to let
you past this point.” And I’m like, “Wait, I have my heels.” So I had to switch-
– Switch ’em on. – Switch really quick.
– Yeah, yeah, yeah. – It was getting pretty crazy, but definitely, definitely, plan ahead, as many red carpet screenings
as you plan to attend, you need an outfit. – Wow.
– You need a different outfit for every one so- – Wow.
– It’s fun. And it’s super fun to get dressed up. – Yeah!
– You know? – It’s kind of exciting, too. – It’s different.
– Right, yeah. – It’s not like screenings here. – Yeah, sure, sure. So what’s something that you
learned while you were there, that you maybe didn’t expect? – Something that I
learned while I was there is like how large of- It made me feel so small, almost? – Mmm.
– But, it was interesting to see how large of a
market there really is. Because it was- It’s, I believe, the biggest international film market and film festival
at the same time in France. – Right. – And like right next
to the film festival, you’re seeing all the films,
you’re seeing all the programs, and then you go in and
you just see like floors. Like imagine the convention
center in Las Vegas times like two.
– [Rose] Mmm, wow. – And it just, floors and floors
of different distributors, different like, I’m selling films here, I’m buying films here. – Uh-huh.
– Floors of it. – Wow. – Just different marketing
brands, different distributions, different like, everything
from Vegas to like China to- – Global.
– All over the world. – [Both] Global.
– Yeah. – You can walk right up to
a distributor and meet them, and try to pitch them your film. But it depends, are
they in for inquisition? Are they not in for inquisition right now? Are they only exhibiting and selling? – [Rose] Mm-hmm. – And it turned into a
lot of questions that now I know how to ask,
that I didn’t know before. – Oh okay, that’s great. What’s a good question? What’s a good start-off question
when speaking to someone? – First, you need to figure
out who you’re speaking to. So like are you speaking to
someone who owns the company? Are you speaking to
someone who’s a manager? But, specifically in
distribution, like my goal was, okay pick up a distributor,
make a few contacts there. I ended up making three
different distribution contacts. I love keeping in touch
with them and seeing what they’re doing. – Mm-hmm.
– And I worked under a distribution firm while I was there, like I just helped out
and saw what they did. Like, “Are you buying films
or are you selling films?” – Yeah. – First point.
– That’s a good- Good question.
– First point. – The first question. Okay, yeah. – Especially keeping in
mind, I’m selling a film. – Right.
– So- – Right.
– I need to know if you’re- – Right.
– Buying them. – You’re not trying to buy a film. – Yeah, I’m not trying to buy a film. I’m making the films, I would
like to sell you my film. – [Rose] Yeah. – And hopefully, next is,
“Where are you distributing?” – Right. – Because certain companies only, “I only distribute here and China.” And it’s by territory. So when you walk in, this
is American distribution. – [Rose] Ahh. – This is Chinese distribution. Some companies, I mean
they cover all of them. – [Rose] Mm-hmm. – But, like, other companies, “No, I only work in Turkey.” – [Rose] Mm-hmm. – “Do you want your film
screened in Turkey?” – Yeah, yeah.
– Like- – Sure.
– I would love that. – Yeah, why not?
– How much- Like, “Let me see.” – Yeah.
– And then, “What is your contract?” – Uh-huh.
– “What is your process?” I mean the first question
leads to so many- – Right, right.
– Other questions. And, “Are you available
for a meeting this week?” – Right.
– “Are you booked already?” – Right. – “I would love to talk to you more about my project, or projects.” – That’s excellent. I think that so many people get into the film industry because of their passion for the art and storytelling. – [MJ] Mm-hmm. – But, it’s an industry. It’s a business.
– [MJ] Yes. – Right? That distribution
element cannot be ignored if you’re trying to make a
career within the industry. – Right.
– So- – What’s the point of a good- Like you could have the best film ever and then if it’s like
on a shelf somewhere, it’s never seen. – [Rose] Right, right. – What’s the point of making it? – Right, you make a DVD,
you put it in your basement, you forget about it. – Right.
– It’s very sad. Very sad for that story.
– It’s super, super sad. – Yeah, yeah. So what is something that you wish you had prepared for before going, now that you’ve been once? – Well, I wish I would have prepared- Hmm. – Or, what would you come
ready with next time? To try to reword, rephrase the question. – I would definitely come
ready with more business cards. – [Rose] Oh?
– I ran out of business cards. – [Rose] Okay.
– So definitely like- With any film festival,
I would say that you should plan ahead as much as possible. – [Rose] Mm-hmm.
– Do your research. Figure out where you’re going
to get the most out of it. Will you get the most out of the market? Will you get the most
out of the screening? Does your film festival
do a question and answer? Is it worth, like, bringing
in marketing materials? Will they even allow you to
bring in marketing materials? – [Rose] Mm-hmm. – Because if I would have
known, there were a lot of other films that had
postcards and posters. – [Rose] Oh, sure. – [MJ] We didn’t bring- We had a, like, digital
file of our poster. Our poster was published in the catalog. – [Rose] Mm-hmm. – But like, they had it out on display. – Sure. – So I wish I would have had a little bit more marketing materials with me. – Okay, good note. Just ship ’em over, pack ’em very neatly- – Don’t ship- Don’t ship them.
– Pack them neatly. Okay. – Bring them carry on.
(laughing) – Don’t lose them. (laughing)
– Don’t even chance it. It’s a three-week long film festival. – Mmm. – You want to make the most out of it. – [Rose] Mm-hmm. And one of our other, one of my friends who was traveling with us, she was the production
designer on our film. – [Rose] Mm-hmm. – She had sent the company
the address to the hotel, to send us the business cards. – [Rose] Okay. – They never shipped. – No.
– They never made it. – Oh no.
– So she was like, she’s like, oh don’t worry,
I sent an order for it. And it never made it. – And I was so upset for her.
– Okay, yeah. – I was like, oh no. – That’s a bummer.
– What do you do? – Yeah, what do you do? Right, you just move on. – You just collect,
collect business cards. – [Rose] Right, right. And then email.
– [MJ] Email. – Call, follow up. – [MJ] Mm-hmm. – Yeah, in a way that’s
better, ’cause then you definitely get that touch with them after meeting them.
– Definitely. – Whereas, you never
know if someone’s going to reach out to you with
a business card or not. Hopefully, obviously, and it’s
always good to be prepared. – Yes. – But, always good to collect, for sure. – And also on the note of like
calling and texting people, don’t forget to like,
get your plan, so like, we’re here in America-
– Oh, like your phone plan. – Your phone plan,
because then if you’re in- – Mmm. – France, either work out a phone plan or get a prepaid phone there
and change your number. – Yeah, yeah. – So that, you know,
you can contact people, ’cause that was a hassle
and a half coming back. – I- oh, yeah. – International fees are not fun. – No no no no no, not fun at all. Yeah and while wifi is great
and highly accessible today, it’s not as reliable as
you might think sometimes. – No, definitely not.
– Yeah, yeah. – And don’t go to another
country without access, to like, calling someone. – Right, especially for
a business-related event. – [MJ] Mm-hmm. – So you mentioned that
with, at Cannes, they don’t, it’s not a pay-to-play festival,
for some elements of it. – Yeah, the best thing I
think about Cannes is like, there’s so many elements to it, so like, when you think of Cannes,
oh it’s a big film festival. It’s a film festival and a film market. – [Rose] Mm-hmm.
– So just like AF- AFM? – Yep, American Film Market. Mm-hmm. – But it’s international,
it’s, I mean like, it’s one of the biggest ones in the world. – Mm-hmm, right. – So you’re there at the same time, you can literally screen your film and potentially sell your
film, at the same time, because they’re right next to each other. – Right. – And it’s invitation-only.
– [Rose] Hmm. – So like, Sundance or Toronto,
like you can buy a pass and just attend and
network and meet people. – Sure.
– Cannes is not like that. You can not buy a pass.
– Mmm. – You must have your film screening or you must have like a market pass, like as a distributor
or a buyer, basically. – Right.
– So yeah, it’s intense. – Yeah, and you, you made
your film that you submitted- – [MJ] Mm-hmm. – Through the 48-hour
film festival, and then, for it anyway, and then
you submitted on your own? Is that correct? – So actually we made it with
the UNLV 48-hour film project. – Oh, okay. Sorry, okay yeah. – Same, same concept,
make a film, 48-hours. You have your own specified
prompts and things. It was funny because I
never said it was a 48 when I was submitting it to anywhere. – Mmm. – ‘Cause we got into a few things, we got into a few LA festivals, we got into local film festivals and then when we got into Cannes, the first question was,
“Oh like how-“, at the Q&A, “How long did it take
for you guys to make it?” And everyone’s like, “Six months.” “One year.”
– Oh my goodness. – “Two months.” And we come up, 48 hours. And everyone’s like, “48 hours?” – Wow. – So it was pretty awesome to say that we did it in 48 hours. Now with the 48-hour film project, I just produced it this year. – Yes, congratulations!
– Thank you. – And thank you, yeah.
– Thank you. But like with that, if you’re
the top film in the city, it goes for competition wherever
Filmapalooza is being held, so every year they switch
it up, it’s international. – [Rose] Mm-hmm. – This year, it’s gonna
be held in Rotterdam. – [Rose] Mm-hmm.
– So the Netherlands. – [Rose] Cool. – But if your film places in the top 15 in that film festival,
then it goes to Cannes. – That’s exciting. – But there’s other methods to doing it, just like you were saying, so like, I submitted through American Pavilion. – Mm-hmm. – They have an emerging filmmaker showcase that is displayed at Cannes. – Mmm. – Super friendly, I love them. Definitely wanna come back with them. They have a college-level
and they have a like, regular filmmaker- – Professional, yeah.
– Professional-level. – And the level that we
submitted into, the coordinator was actually telling me
Ryan Coogler had just, well not just, five years
prior, he was a nomination. – Uh-huh. – So he was a nomination
for the exact same category that we were a nomination
for, he didn’t win that year. Five years later, he is also now screening Black Panther on the beach, in Cannes. – Amazing, that’s so wild. – It’s really interesting how you do that, and I really urge, like people, if you make your film, send it out. Figure out what, like,
your film’s niche is, – [Rose] Right. – Figure out what makes
it special or unique. And like, send it out. Send it out to Cannes, send it out to wherever
you think it would do well. But only send it out, in my opinion, if you’re gonna go to the festival. – Mmm. – ‘Cause if I would have
sent it, and it got in, and I wasn’t even there.
– Right. – It wouldn’t have made any sense. It was- – Mmm ’cause that, that
networking element, that like- – You lose it.
– Yeah, right. If you’re not there, it’s, it doesn’t- No one’s gonna meet ‘cha,
if you’re not there. (laughing)
– No one’s gonna meet you, no one’s gonna hear about
what you’re doing, and like- – [Rose] Mm-hmm. – We got into two categories,
so the American Pavilion, they represent America at
Cannes, which is super cool. – [Rose] Mm-hmm. – And they have their own like, audience. – [Rose] Mmm. – But outside of that, we were in the official short film corner. So both of those, I
believe, were like 120, maybe 200 euros to submit. – Mmm, yeah.
– Worth it. – Yeah.
– Super, super worth it. – Together, they were about 200 euros? – I wanna say, yeah.
– Yeah, okay. – Together, they were about 200 euros. – Yeah. – Like, little bit over 200 dollars. – Right. – And then for the official selection, you can always submit to that for free. – That’s, that’s awesome. – They, they definitely, it
isn’t a pay-for-play at all. – Right, and a lot of festivals,
there’s the monetary part of the submission, so-
– Yeah. – You can submit as many times
to the official selection, as you want, for short films,
and I believe it’s free, and when it comes down to the
other specific categories- – Mm-hmm. – There’s five other specific categories, just go on to the website. – Just check it out.
– Check it out. – See what fits for your project. – Switch it to English. (laughing) – ‘Cause it’s originally,
it’s originally in French, and sometimes they won’t do it for you, so my friend will be like, “Oh so I went onto the Cannes website. I don’t understand
anything that it’s saying.” (chuckling) – In the top right corner-
– Yeah. – They do English.
– Right, yes. That’s where it pops up. – Mm-hmm.
– Yup, okay. Good note.
(laughing) – I’m appreciating these little details that you’re including-
– [MJ] Yeah. – ’cause I feel like, a lot of times, within the film industry
and just generally, people will be like, “Yeah
you need to do this, like, you need to go online
and look at something.” And it’s like, okay that’s
a very general direction. – Right. – But to have the details is very useful. So thank you for the details,
which makes a lot of sense, because you’re a producer.
(laughing) – Yeah.
(laughing) – What are some, are there some key dates
we should keep in mind, for anyone interested in submitting? – If you’re interested
in submitting to Cannes, submissions typically open in
January, keep that in mind. You’ll know between January
and March if you made it, and then the film festival is in May. – Okay, very cool. – So it’s very quick turnaround. – Mm-hmm. – Three months to book your
plane, book your tickets, book where you’re staying.
– Yeah. – And like, don’t forget your dress. – Dresses. – Or your shoes and suits.
(laughing) – Yeah. – Yeah so like, and it’s three weeks, it’s one of the longest film festivals. – It’s a long festival, yeah.
– And it’s worth it. I remember I had no sleep.
– Yeah. (laughing) – I would wake up at
8, go to like a brunch, go to a meeting, go to
breakfast, go to see some films. – [Rose] Mm-hmm. – And then like now it’s the red carpet. – [Rose] Mmm. – Then there’s the yacht party. I went to a yacht party,
which was super fun. – Ooh!
– Super fun. – I have mixed feelings
about boat parties, just because sometimes I want
to leave, and I’m not able to. But-
– Oh no! (laughing)
– Just make sure- Well like, someone actually
told us, they’re like, “Okay don’t go on the boat if
the boat is leaving the dock.” So we made-
– Ohh. – We did not leave the dock.
– Oh so, it stayed. – It stayed. – Oh, so that’s the
perfect boat party for me. – It was a perfect boat party. – I get the boat experience-
– Yeah! (laughing) – But when I’m ready to part, I can. That’s never actually
happened, it’s just like, a slight concern, you know? But, non-issue. (laughing)
– Most of them don’t, most of them don’t leave,
’cause then I don’t know where we’re going next. – Where are we going? Right, like that’s, you’re you’re there. – Still have my 8:00.
– Yeah, yeah. – So still have the boat
party, then the afterparty, – Wow.
– And then like, there’s parties on the beach.
– Yeah. – There’s like, you’re
meeting cool people. – I mean, it’s such a beautiful place, so. – It’s industry-only, too.
– Yeah. – So it’s really nice,
it’s really inclusive. – Mmm.
– And like, it’s, it was cool, ’cause I was at a Nic Cage afterparty. – Mm-hmm. – He showed up, that was a
whole ‘nother story and a half. – Okay. (laughing) – I met Spike Lee, I went to a
rendezvous with Ryan Coogler. – Amazing. – Like, like people that
you would recognize. – Right. – And also, a lot of
people that you wouldn’t. – Right, who are doing fantastic things. – Who have just as many credits
and just as much experience. – Mm-hmm. – And it’s really about who
you meet and what you say. – Mm-hmm. – And these things like,
lead on to other things. – Right, right, right. That’s what I, is so
great about festivals, is the opportunity to connect
with other people who are, have the same passions, have
the same, same experiences. – [MJ] Mm-hmm. – Have more experience or less experience, but can come together and collaborate potentially in the future, so. – It was super incredible,
and I have to say like, while I was there, I
was like, on the beach, just hanging out, like it was super fun. – [Rose] Yeah.
– And then I get a call like, “Oh, I want you to produce
my next feature film.” – Fantastic. – And, “I see you’re at Cannes, I want you to produce my feature film, when do you come back?” And now, the film is
done and I’m on my way to the festival circuit again, hoping- – Amazing. – To go back to Cannes with this one, so. – That’s so exciting. So in terms of the like,
writer, director, producer- – [MJ] Mm-hmm.
– roles that you fill, how do you find balance between the three? – It’s weird, ’cause I don’t really ever feel like there’s a balance. (laughing)
– Yeah. – So I just try to make it
work, but it’s mostly just like, what projects am I working on now? Can I take on another one?
– [Rose] Mmm. And if I’m in pre-production on something, I normally like to- Okay, I’m in pre-production,
I’ll stay focused on this. And now, production happened,
I’m in post production. I need to be in pre-production
on another thing. – Mmm, mm-hmm. – So if I’m wearing a writer hat, if I’m wearing a director hat, if I’m wearing a producer hat, it’s just, what’s next
and what do I enjoy doing? – Yeah. What are some skills that you’ve learned since you’ve come into the industry, and how have you seen
them, kind of, progress? Have you like, noticed
elements to how you work that have changed from when you began? – I would say to be open,
like I’ve noticed that when I started, I didn’t
have, I mean like obviously when everyone first starts,
you don’t know as much. – [Rose] Mmm. – Then you go to your first
set, you go to your second set, and then you’re like, “Oh!
‘Kay, for my first set, I know never to do this.”
– Yeah. (laughing) – “And always do that,” on my second set, and it’s just kind of like,
just adapt, everything you do. There’s always something I can
take out of a set experience, like even if it’s like, the
fiftieth time I’m on set, or if it’s like a feature
film and you’re on production for two months, three months,
you can always take something from that particular set day.
– [Rose] Mm-hmm. – Or that particular meeting,
pre-production meeting, or that post meeting.
– Right. – ‘Cause there’s always
something new like, I know what ADR is-
– Right. – You know, like so, but
when I went to my first ADR meeting, I was like, “Oh,
this is how the actor feels!” (laughing)
– Yeah. – “This is exactly what it’s like!” – Right. – And it’s, I feel like with film, it’s great because you can
always learn something. – [Rose] Mm-hmm. – You’re never gonna not learn something. – Totally. Yeah, yeah, there’s so
many elements of it. I mean, that’s part of
why we have this podcast. – [MJ] Mm-hmm.
(laughing) – We talk to different people
every time, because there’s, that list of people rolls
on the credits, right? – [MJ] Oh, yeah. – And everyone’s doing something. – Mm-hmm. – They’re not just hanging out. (laughing) – Everyone is doing something, so. – And they all have their
own unique perspective, which is amazing.
– Absolutely. If you were to take on, or learn about, another element of film
production, what would you wanna, what would you wanna learn? What skill would you wanna learn? – Well recently I started
learning script supervising. – [Rose] Mmm. – And I think that’s really, really essential and really important, and I definitely wanna continue
to learn how to do that, because during our shoot,
I helped out with that. – [Rose] Uh-huh. – And it was something
I’d never done before, and I realized the super
importance of it, so. – Yeah, the continuity.
– Continuity, and everything. – ‘Cause then the actor would
come up to me one day, like, “So what pants did I wear last week?” (laughing)
– Hmm… – And that last week was like, scenes 23 and now we’re back on 24.
– Uh-huh. – ‘Cause you know, you never
shoot all at the same time. – Oh yeah, the locations. – And I’m just like, oh I
didn’t write that in my notes! – [Rose] Yeah.
– But I have a picture, so. – [Rose] Right, right, right, right. Yeah, it’s good to have those safeguards. – Mm-hmm. – Right like, maybe you
didn’t write it down, but at least you have a picture, and then in the future, you’ll have both. But, um yeah.
– Oh yes. So now in the future, I always write down- – [Rose] Write it down.
(laughing) – What did they wear,
when did they wear it, did they change at some point?
– [Rose] Mmm, mm-hmm. – And it’s something new and exciting. – Yeah, what props are on set,
okay we’re in a new location, what props need to move. – [MJ] Right, do we need
move that? (laughing) – Yeah, yeah the, yeah being
the like, problem-solver and just the “keeping everything
moving in the right direction”, I feel like is what you
fall into as a producer. – Definitely.
– Yeah. What are some things that
you think will change about filmmaking moving forward in the future? – Moving forward, there’s
always new technology. – [Rose] Yeah. – There’s always cool
things to look out for, but I’ve been seeing a lot of like, VR, maybe that’s gonna hit,
maybe that’s not gonna hit. – [Rose] Mmm, sure. – But also, specifically with
like producing, distribution. – Oh yeah?
– So distribution has clearly expanded to streaming services. – Sure.
– So now it’s like, okay so are you going to go for the limited theatrical release? Are you going to go for
the straight distribution? Are you gonna go distribution like, DVD? – [Rose] Yeah. – Are you gonna go online? Are you gonna go streaming? And there’s so many options.
– [Rose] Sure. – And it just keeps growing, so I would definitely
keep an eye out for that. – Very cool!
– Mm-hmm. – I appreciate that. Anything
else you’d like to share? We’re at the end of
our interview, already. There’s always, it’s always so fun. I’m sad when it ends.
(laughing) – But before we go, can you
let us know where our audience can find out more about you and your work? – You could definitely find me on Facebook at MJ Del Rosario, or you could find me on
Instagram @_mj.rose_. It would also be posted later.
– Okay! – So, thank you. (laughing)
– Perfect, yep! I will be sharing that in the description, so that everyone can find your info. – Perfect.
– Perfect. Well thank you so much
for joining me today. – Of course, thank you for having me. – Absolutely!
(laughing) – And thank you all for tuning in to this episode of Cinema Crunch. Again, my name is Rose Donahue, and we’re filming at the
Quantum Arc Media Studio in Las Vegas, Nevada. If you’re watching on
YouTube, we would love a like and if you’re listening on iTunes, please give us a few sparkly stars, so that other people can find us too. Have an awesome day, and
I’ll catch you later.