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A Conversation with Kim Albright and Anna Maguire, talent behind 'With Love and a Major Organ' [Fantasia Fest]

[L-R]: Hamza Haq as GEORGE; Anna Maguire as ANABEL in WITH LOVE AND A MAJOR ORGAN

In this interview, I speak with Kim Albright and Anna Maguire, the director and star of With Love and a Major Organ, which debuted at SXSW 2023 and is now having its Canadian premier at Fantasia Fest 2023. In this interview, we talk about the movies that inspire them, the most challenging moments to film, the role of color in the story, and how they adapted the movie from a play. Lastly, we all share what objects our hearts would be made of if we lived in this algorithmic world. [Please note: A rough transcript of the interview is available at the end of this post. 

Description of the movie: Anabel lives in a world controlled by the algorithm, but her bold and bohemian lifestyle puts her at odds with her peers. After a series of devastating rejections, Anabel’s pain becomes unbearable. She decides to remove her heart and give it to George, the object of her affection. This unexpected gift turns George’s world upside down and sends him on a journey of discovery. George and Anabel’s lives join and diverge at different points, but like the web of red thread we see in the cold opening, their stories are intrinsically linked after their fateful meeting in the park.

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Read my review of the movie

About Kim Albright: Kim Albright is an award-winning Canadian-British-Filipina film director who has won many awards for her short films. With Love and a Major Organ is her feature length debut. She is an alumna of the Canadian Film Centre Directors Lab, the Canadian Academy Director's Program for Women, and Women In the Director's Chair (WIDC) Story & Leadership, and a recipient of the CBC Films WIDC Talent Development Award and the WIDC Feature Film Award.

About Anna Maguire: Anna Maguire is a British/Canadian writer, director and actress. Her directorial work has screened at festivals including TIFF, Palm Springs, PÖFF Black Nights and the BFI London Film Festival where she was nominated for Best Short with Your Mother and I in 2016. She has won awards at The London Short Film Festival, Thessaloniki, Rhode Island, and Underwire among others, was long listed for a BAFTA, and nominated for Best Short at the 2018 London Critics’ Circle Awards. As an actress, Anna recently performed in Kim Nguyen’s The Hummingbird Project alongside Salma Hayek, Jesse Eisenberg and Alexander Skarsgard and can be seen in the upcoming film Violation by Madeleine Sims-Fewer and Dusty Mancinelli. She is currently writing her first feature An Empty Space supported by BFI NETWORK.

About the interviewer: Lindsey Dunn aka @1ofmystories is a film critic with membership in both NC Film Critics and Southeastern Film Critics. She loves all things Cobra Kai, Netflix Dark, indie horror, and any stories about complicated relationships.

17:03:12 Hello everyone, I'm here for one of my stories. This is Lindsay Dunn. And today I'm speaking with Kim Albright, director of with love and a major organ and Anna McGuire who is the lead of that movie.
17:03:28 The movie is screening at Fantasia Fest, 2023 and also premiered at South by Southwest.
17:03:36 Which is where I saw it. So it's been making the rounds. If you aren't familiar with Kim, she's an award winning Canadian British Filipina film director who has won many awards for her short films with love in a major Oregon is her Feature length.
17:03:57 Directorial debut. Kim, welcome to one of my stories.
17:04:05 Yep, I'm also welcoming Anna McGuire who herself has directed many shorts and has starred in Many films one of them being one of my favorite horror movie films of all time now violation I'm totally nerding out that I get to talk to her welcome Anna.
17:04:23 Thank you so much.
17:04:26 Yeah. It was crazy like dirt was as I was watching with this movie. I have to say I kept going.
17:04:31 I know her, I know her, but it didn't dawn on me. It was violation.
17:04:36 I was like, oh yes, oh my gosh, she's the sister from violation and. I love that movie.
17:04:39 Yeah.
17:04:42 So. Before we talk about our main movie with love and a major organ that we'll be discussing, I just kind of wanted to hear what are some of the films being a creative in the filmmaking industry?
17:04:58 I'd like each of you just to like share. What are like a couple of the formative films that really inspired you?
17:05:07 My answer is always Jurassic Park. But that's sort of my like, I guess like childhood inspiration and that it's sort of this I think it was a film that made me
17:05:21 Really without sort of understanding it intellectually realize what cinema could do. From a very young age and then I was very lucky that well I'd worked with Steven Spielberg before I saw Jurassic Park, I think yes.
17:05:35 On, saving private Ryan and, I think there was something just I know I was joke, drastic, Paul, because like my old type very film, but I think actually it's pretty much pretty much the truth also.
17:05:52 And then I want to rewatch it over filmmaking, such great visual storytelling.
17:05:55 But I, that's, you know, I have so many other films I think. I feel like it really depends on the day that you ask.
17:06:02 Okay.
17:06:03 What, you know, I think what you've seen recently, but I think a film I've seen recently, which I can this year actually that I think was just an incredible piece of filmmaking is a film called The Settlers.
17:06:16 And so I would recommend everyone checking that out. If you haven't already, I think movie, it will be on movie, I believe.
17:06:24 So check out the Sellers.
17:06:26 Awesome. Okay, I've only been to the cinema to watch a film. Twice, 2 times.
17:06:35 I've only done that twice and they're both, it was both occasions I was a kid and so maybe these were 2 sort of films that really influenced my, I don't know, my taste.
17:06:47 But I went to see the labyrinth twice when I was like 6 years old and I went to see, twice when I was, I don't know, a couple of years older.
17:06:57 I don't know, I, maybe there's something to read into that. I don't really know, but when I was a kid, I, those were the sort of films I was hugely inspired by and loved and like anything that kind of pulls me into this whole other fantastical world.
17:07:12 Karate kids not really like that but labyrinth is. And the goonies and stand by me, like those of the films kind of of like I think my generation.
17:07:22 So those are the ones that like I remember like standout films from when I was a kid and now, yeah, it's totally changed now.
17:07:29 I kind of like depending on my mood and depending on what I'm working on, like I remember leading up to with love in a major organ, like years leading up to it.
17:07:37 I was super into your goes lanthemos and I still am I still love all this stuff and I remember like Steve and Queen like which is so serious and so like intense but I really like admired his filmmaking as well.
17:07:52 And it changes like I just watch like, Oh, what's, the, the, that did.
17:07:58 Hmm.
17:08:03 Try and go sadness.
17:08:00 Yeah, and what's the movie like something of sadness? Kind of sadness. I was like, oh, this is amazing.
17:08:08 So anyway, it kind of like is changing by the week, but, those are some of my favorites for sure.
17:08:14 Yeah. So I was just telling a friend about triangles, sadness, last weekend, and in fact, karate kid is one of my favorite all time movie so that makes me really happy and I'm hugely into Cobra Kai, right now, so II hope you watch that.
17:08:27 Yeah.
17:08:30 So, okay. In this in my review, I called the movie a rare science fiction gem. Probably because it's hopeful and also it's very relational.
17:08:47 Oh.
17:08:43 And it's already in my best of the year list. So the movie is this about this world ruled by the algorithm.
17:08:52 And you know that decides everything for you and there's this app lifestyle. And in addition, people's hearts are made of these material objects.
17:09:02 And into this cold world is interjected the character of Anabel who does weird things like eat lunch outside.
17:09:11 You know, have write poetry and talk to strangers in the park. So it's this, it's a wonderful.
17:09:18 It's a wonderful movie that I that I love. Let's start with Kim. So this is based on a play by Julie Letter.
17:09:29 How did you come across this material? And why did you wanna adapt it for the screen?
17:09:34 Yeah, so yeah, you're right. It was, it initially started its life as a theater play written by Julia Letterer who also wrote the script and interestingly So I'm at Julia through Anna and so Anna and I, we kind of go way back.
17:09:50 So I was living in London at the time, like we're talking like, you know, we probably met a good sort of like 10 years or 7, 8 years ago or so.
17:10:00 And Anna splits her time between Canada and the UK. So we met when we were both in London and worked on a short film together so we kind of got to work together as well.
17:10:09 And then when I had made the decision to move back to Canada, I had reached out to Anna and I kind of probably shared all my anxiety with her about starting afresh in the film industry in a new country and all this.
17:10:22 And then she said, you know, she sort of helped me kind of find my feet a little bit.
17:10:24 And introduce me to Julia, cause Anna and Julia were working on a project, a short film called It's Nothing Together at the Time and then she said, you know, I really think you and Julia would get on and here, why don't we just like set up a call and you can sort of feel each other out.
17:10:38 And then, So Julia and I had met and I learned about her her play which she was sort of in her mind too I think sort of thought there was potential to develop into a feature.
17:10:50 And so that's kind of how it started. Like I had read the play and kind of learned as much about it as I possibly could and met with Julia and talked to her and talked to Anna about about Julia and we all met together.
17:11:03 And then. I think the thing that attracted me, about the play and sort of thought, okay, we can, this there's material here to sort of develop it into this feature was there's so many things but first of all this notion that like hearts are objects and I love this as a concept and I think it kind of I'm sort of surprised like, you know, it's such a great idea and felt
17:11:24 surprised like, why is this not, why has no one thought of this before? Like it's such a original kind of idea and this notion that like You know, this object is a representation of who you are and So I thought that was like wildly original.
17:11:37 You can really kind of have fun with it on screen. And you know, the world of the film or that I could envisage in the film and that, you know, it's a world where like you could rip out your hearts, but it's still quite relatable.
17:11:51 It's still kind of grounded and down to earth. Yet there's these kind of weird things that are kind of up with this world.
17:11:58 And I kind of love that too and I I'm sort of drawn to anything where you know where we have to sort of Which feels kind of grounded yet, there's certain kind of things that are off kilter.
17:12:11 And so I think a lot of my shorts kind of tap into this and I'm still sort of drawn to other films that are like this that like, you know, we're feels like everything's normal, but So whatever.
17:12:20 Yeah.
17:12:22 So I love that about it too. And, and this sort of this idea that like, you know, what's it like to kind of give your heart whole your heart wholeheartedly to someone and like when we're living in such a world like dictated by technology and apps and like we're all glued to our phones like we're so into this kind of other world of like computers and
17:12:45 whatnot and, and you know, how does that kind of dictate, how does that kind of have an effect on who we are, how we connect with one another.
17:12:53 So I love that aspect too and like and what this means like to be grounded like Annabel and be down to earth and kind of not be interested in that and and anyhow so that yeah there's a ton of things I loved about and felt there was potential to explore yeah those are just a few
17:13:09 Yeah.
17:13:09 Well, this sort of goes nicely in the first question I wanted to ask you, Anna, which is about how you came, you know, got this opportunity to play it.
17:13:19 Well, obviously it's because you're the one that introduced Kim to Julie, Julia.
17:13:26 So. You know, but that doesn't mean you. Had to play character so why did what drew you to playing the character?
17:13:34 Of Annabel.
17:13:34 Yeah, I mean, I'm a big believer in creative community and fostering creative community and so it was kind of a dream.
17:13:43 Come true in that respect. And, you know, violation to come from the space of creative community and I think especially in Canada, there's a really big movement of of independent cinema, which is what drew me to Canada in the first place.
17:13:57 And And so that there's an element about making things with people that you love that feels very, very important nowadays more than anything, which I guess probably ties in to who Annabel is on some level.
17:14:13 Hmm.
17:14:13 It's, what drew me to her is that she has this, she feels very relatable.
17:14:19 She's really trying to make the most of a situation, a world community that that feels like it's moving at a different speed to how she moves or operates on a different level.
17:14:32 And so I think this is really interesting. Do II always find it interesting thinking about the duality and characters and I think that she has this very interesting duality where she's hopeful and has this sense of faith in the world but underneath there is a real deep well of sadness.
17:14:47 And see I guess as well fear that Maybe. Despite her best efforts, she's not gonna.
17:14:56 Be able to carve out a space for herself and I think we can all identify with that and.
17:15:02 And so yeah, it drew me, it drew me to that, that, of that, that, sort of.
17:15:08 That dual space. Really drew me to Annabel and. We were very much, I was partly involved in the development of the process of the script.
17:15:19 And so what was so lovely about that and having worked altogether previously in different forms was that we really trust each other so we could really start to delve into the reality of these.
17:15:31 Outside of, you know, we've got this, this quite sort of, heightened conceptual world, but it's like how do you ground your characters in a in reality so that that those 2 things can there's a nice tension between those 2 things.
17:15:52 Yeah.
17:15:46 And so I'm really drawn to to sort of collect the storytelling and so it's just such a dream come true to sort of be part of that film and to feel trusted by Kim and trusted by Julia and and then, you know, vice, of them being trusting of them.
17:16:02 So.
17:16:05 Absolutely. So I'm curious, you know, it's interesting to think about what it takes to develop a play.
17:16:13 Into a film and the adaptation process. So, are there notable ways that you feel like the film adaptation is different.
17:16:24 You know, like quite different from the way it was portrayed on stage and what would those be?
17:16:29 Yeah, it was quite different actually. So the stage play really only has 3 characters in it. So it's Annabel, George, and Mona.
17:16:39 And there's quite a bit more I'd say of Mona in the play than there is in the film.
17:16:43 So it's a 300 first off. And. And it's just sort of, you know, you see Anabel on the subway.
17:16:52 So they meet on the subway versus the park in the film. And we have time with her at home and then George at home.
17:16:58 So we really it was very kind of insular in that respect. So in the film, we really had to sort of open it up to the wider world and think about, okay, well, what does this world look and how does it look and feel and what are the other people in this world like and how do they act and look and and so yeah, we had to sort of dive into, it just, it just had to grow basically.
17:17:23 And we also really had to think about, the visuals like you know it's very different you know, having material up on stage where the, you know, the characters are really sort of speaking their thoughts and speaking their actions sometimes.
17:17:38 Whereas in film, you know, it's about showing and not telling. So we really had to think about like, okay, well, how can we, you know, visually portray this and, you know, you can see so much, can learn so much by just seeing an expression and there's no words and you know the camera can just do so much just you know coming in for a close-up you
17:17:55 don't need to you know so so we had we just had more tools at our fingertips, to, to work with and play with and so we had to, you know, development did take some time.
17:18:05 It wasn't, it didn't happen overnight, but we constantly constantly had to sort of think about, okay, well.
17:18:12 Is this seen as a visual as we can possibly make it? And if not, how can we make it more visual?
17:18:18 So, you know, we all had to, and Anna was hugely involved in the development as well.
17:18:24 So it was like myself, Julia, Anna and Madeline, our producer. So we all had to put our heads together and sort of reconvene every so often and think about, okay, well, what are we doing right? What are we doing wrong?
17:18:34 Julia, what what advice can we offer to kind of, you know, bring this onto onto a screen versus kind of like, you know, being something that's on stage but filmed.
17:18:44 So we had to sort of kind of readop it massively for the screen. Yeah.
17:18:51 Well, that really comes across. It's very visual, you know, very vibrant and colorful.
17:18:57 So that and that's one of the things I really liked about it.
17:18:59 Well, thank you.
17:19:01 So Anna, you played this. Pretty unique, quirky character. And you've mentioned how much you value collaboration in bringing your characters to life.
17:19:12 What is your working relationship like with Kim and what you need things do you think? You the 2 of you created together to create this performance.
17:19:28 Hello.
17:19:28 Yeah.
17:19:31 Yeah.
17:19:32 Yeah.
17:19:36 Okay, I got the, I got this.
17:19:25 I was gonna make a joke but I can't even. Save me, save me, Yeah, yeah, I think like trust is the biggest thing that you can have with a director and I direct is myself and I like not myself I have directed myself but I also direct it's what I'm trying to say and I you know I act in people's projects and I feel that so often.
17:20:01 Actors can can watch themselves out out of fear. They watch themselves not necessarily going to watch the monitor, but they kind of It can be a way of just making sure that you stay safe that you kind of you know that you're gonna walk very specific you know what your thing is you know you'll you know what you're kind of you're good at and so you just kind of stay in that space if the performance kind of
17:20:24 is Quite dead. And I think this can and I understand why it happens because you can't always trust your directors and and it can be scary to feel so vulnerable as well.
17:20:34 But I think what I really feel with Kim and have felt with him from beginning is how much She has a very strong perspective, but she also values my point of view and my questions.
17:21:06 Hmm.
17:20:47 And so I always feel heard and we're always trying to achieve the same things like well on the same side rather than feeling like one separate, sides of this kind of actor director dichotomy and and I think feeling free as an actor to trust your director has has your back and is watching you, has your back and is watching you, has your back and is watching you, especially when you're shooting out sequence and, you know, you can't always map your performance in that same
17:21:10 way, you know, you can't always map your performance in that same way and knowing that someone else is there.
17:21:13 Who really cares about the project who really knows what they're trying to achieve, you can trust them and go, okay, great, we've got it.
17:21:20 We got it at the end of the day and it means that you're not trying to second guess yourself and you're it allows you to take risks.
17:21:28 Emotional risks, which I think is what really good acting does. And I guess that's what I want to achieve as an actor and I'm sure I don't always but that I guess would be the ultimate goal is to is to sort of be free.
17:21:43 To sort of, I guess, yeah, as Beckett says, fail again, fail better, but you only achieve that through jumping and daring, I guess.
17:21:50 Doing it. I think one of the one of the key things as well was that Anna was involved right from the start.
17:21:59 So, you know, So I think the role was really written for you as well. You know, there's an Annabel kind of pre, you know, back from the stage play, but then over the years, you know, developing onto this for the screen, but it's also developed for you too.
17:22:14 Oh, thanks.
17:22:20 Yeah.
17:22:15 So. Yeah, but then we can lean into your strength and your interest and, you know, and that makes a huge difference.
17:22:27 Cause like, if you're behind it, or if the actors behind it wholeheartedly, then you're just it's just gonna be so much better.
17:22:34 So I think that was one thing that like we really, really benefited from. You're on this like since 2017 so you know it grew with you in a way a group to all of us in a way so that's really cool.
17:22:47 Sound like we just stepped in like a month before shooting. You know, it's it was part of our it was in our blood like well before so I think it yeah that's a huge asset.
17:22:57 So I've already mentioned the color at least once. That's for me that was an important part of the movie and creating the emotions and just the visual mapping on the screen.
17:23:09 So, how did you come up with the decisions about the colors, what the colors would mean and how you were going to use those.
17:23:16 And cause I feel like almost colors were a character in the movie so I just wondered if you could talk to us about your use of color.
17:23:21 Totally. It's so much fun. I love like the visual, those scenes where like we dive into Annabel's imagination and, and you know, and she's sort of these, these eloquent words, it's beautiful and poetic.
17:23:36 I remember right from the play, like reading the plane like, oh, that's money. That's so exciting and like we can really kind of.
17:23:43 Really heighten that on screen. And so I remember like so Vancouver itself, you know the outdoor scenes are treated in one way and it's kind of quite grim and gray and bleak and that's fine because that's like that's suited kind of the world that like the overall world of the film quite well.
17:24:03 But then, you know, the purple, so that's, you know, that's her color and I know Julia the writer is like she's in love with purple and so I feel it's like Yeah.
17:24:07 And the purple plad jacket was always like the key in the play as well. It was like a big, yeah, so the, yeah.
17:24:11 Yeah. And so like talking with the DP Leo when we're like, okay, now we're in her magic, like, you know, when she starts the tape recorder and starts, dearest stranger that I know, I'm like, okay, we're out of that, that grim world and into her world and it's like let's sort of you know that's that's where we can
17:24:31 now really have fun with the with like the purple and it goes into pinks and blues and all this sort of stuff and So that was like that.
17:24:40 You know, it really just stemmed from purple being her color and it just had to feel so different to like the rest of the world.
17:24:50 And, and so like those are her sequences. And I remember like, doing the small house of big fields and like all those rooms with Leo, I'm like, okay, each room has to have its own vibe.
17:25:04 Yeah.
17:25:01 You're like, this is a, sorry, if I can say that. It's like a really fucked up kind of institution.
17:25:06 And so, you know, you have like the joy room and you have like the meditation room and I wanted each one to have its own kind of color palette in a way.
17:25:15 So that was a really fun, like those, those are my favorite scenes where like you could just really, I knew I really wanted to kind of like, we're gonna, we're gonna invest the time and the resources into making this kind of venue as like unique and different as possible.
17:25:34 And the yarn, like the yarn was like orange and that was like specifically chosen and so yeah there's like key things that we felt it was like really important to like investor or time and energy into thinking about what what color is most suitable and really kind of enhancing that with like production.
17:25:50 Design or lighting and cinematography. Yeah, so I don't know if that answers your question, but.
17:25:59 Yeah, awesome.
17:25:56 Okay. No, that's great. So Anna, there's a pretty powerful scene where the The kind of the moment when I knew I was in for a ride was in.
17:26:10 Seen when you're recording on the tape recorder and there's paint just going everywhere and it's a very sensual scene and you're talking in voice over but it's all done through your actions and your facial expressions like your Hmm.
17:26:32 Oh It's done that during that same mood. Like, have you done stuff like that before where you had to be a you know you're a obviously your performer but in your performer performing inside of your performance.
17:26:49 So I just I'd love that scene so I wondered if you could talk to us through how you got through that.
17:26:55 Yeah, I mean, it was definitely a challenge. I think the whole film was a challenge to play that role because there's so many different versions of Annabel the whole way through really.
17:27:07 And this being one of them as well. This kind of, I guess, theatrical moment, but wanting to make it theatrical, yeah, also intimate and not feel like it's, you know, it's for one person.
17:27:17 It's for George. And I guess it's also for Annabel, but it's this kind of very intimate kind of performance that but yeah, as you say, it's kind of enacted, but solo.
17:27:30 So I guess there's also a kind of like lack there like a want and the lack. I mean, I did a little bit of work with with the voice coach who I really trust just before the before the shoot just to sort of go through some of this with her because I really wanted to just like speak out loud to another person.
17:27:49 And get some, so that was really useful and, I'm a big believer in sort of trying to Trying to find like different ways to sort of work on your work on character and and especially if there's something that is a bit scary, it's easy, it's better to just kind of go, hey, I need to sort of, I need to bounce this off you, find
17:28:08 a way, find a way into it. That was really useful, but I also think that, you know, the relationship that I had with Hamza, with, play George, was just so special.
17:28:22 Like we did, we did a like a chemistry read on zoom which obviously hard to tell on zoom but I think we sort of knew immediately that there was some really interesting creative chemistry there and then when we got to rehearse and so having that sort of rehearsed we had dance rehearsals and we had we send scenes together and then we actually spend quite a lot of time together during the shoe which was really lovely
17:28:44 and and we formed such a lovely friendship and and I think there was something, it was so easy actually to work with him and to imagine falling in love with George.
17:28:56 Hmm.
17:28:56 It was so easy actually to work with him and to imagine falling in love with George that I kind of was able to sort of open my heart to that and feel safe.
17:29:02 With with him and with in performance with him. And I think one of the unique things about the film is that we are never Well, very rally in the same space, even though it's a love story.
17:29:13 I think we sort of realized that we were sort of putting it together, which we thought was quite interesting.
17:29:17 We were like, okay, that's quite formally interesting because he actually has my heart. So we did a lot of work together in terms of figuring out how we.
17:29:28 Like how we could mirror each other in some way. So we had this lovely intimacy that allowed us the space to feel safe even if we weren't on the on set together.
17:29:38 So I could really sort of speak that love and and I think it sort of hopefully came across.
17:29:43 Yeah, it it was very well performed. And I think that can be one of the hardest things is how do you act in love on on the screen and you've also just introduced me to a new term like chemistry reading is that what you said?
17:29:58 Yeah.
17:29:59 So. Ken, what do, what do you feel like was your biggest challenge in making this movie come to be?
17:30:09 Yeah. So was my first feature. You know what? I think one of the hardest things for me in making it, at least the shoot, like I find I love post production.
17:30:25 I love the edit. I love, I love it when there's time, but on set.
17:30:25 I felt, so it was my first kind of production in Canada after having been in the UK for 17 years.
17:30:33 So I was coming here and I hadn't worked with anyone before apart from Anna. I hadn't worked with anyone before.
17:30:38 So all the cast, all the crew, obviously apart from Anna, everyone was new to me and I feel like You know, you can do your due diligence and do your homework and do your research and ask around about, you know, is so and so good to work with, you know, will we get on and all this but nothing quite kind of puts you to the test until you're actually working together.
17:30:57 So I think this was really hard like, you know, It's all these different navigating all these different personalities and then we're trying to kind of, you know, we have this common goal of making this film, but like, but you're also trying to like, you know, figure out how to best work with so this person and get the best out of them.
17:31:12 So I felt personally it was super hard not having these prior relationships and diving in working with like God knows how many people for the very first time.
17:31:23 That was that was a big, big challenge. Not to mention just having like 17 shooting days.
17:31:28 I don't know like I feel like that's pretty slim for a feature. And so like it was constantly bang, bang, bang, bang.
17:31:38 But you know, I think we managed it, but it was it was a real roller coaster like I was I was like pooped I think we managed it but it was it was a real roller coaster like I was I was like pooped I was I was wasted every day like getting home but then I was like wired when getting home and so like I have to try and calm down and get to sleep
17:31:51 but adrenaline really kept me going for sure but yeah I say that was the hardest thing just like navigating these new relationships trying to get the best set of people when you're just you don't even know them really and so Anyhow, yeah, it's super tough.
17:32:06 Yeah.
17:32:09 Well, we're coming up on our last question. So in this world, hearts are made of objects.
17:32:18 We've already talked about that. So if this world existed, what do you imagine your heart would be made of?
17:32:25 Have you guys thought about this?
17:32:27 Oh dear.
17:32:25 You know what we get asked is a lot. No, but like, but
17:32:29 And I never get the rounds. I never, I've literally, I've never landed on anything that I can commit to.
17:32:35 Maybe that's my problem. I don't know.
17:32:38 Okay, it's not the same today.
17:32:35 No, I really like your last one. Won't say it. Okay. Go ahead.
17:32:44 No, you guys, I have to think.
17:32:46 Okay, just because it's sitting right in front of me. I'm gonna say my heart is like one of those squishy balls in a bubbly tea.
17:32:54 Are they like tapioca balls? I don't know, but they're so, I don't know.
17:32:58 I don't even know what that says about my heart, but like, imagine a bigger version of that.
17:33:02 That's all kind of squishy and chewy and like. Sweet but sometimes sickly.
17:33:07 Like that's my heart. Today.
17:33:08 Yeah. Yeah, exactly. I'm like, gosh, what is my heart today? I think, well, I'm in Montreal for Fantasia and, I've lived here on and off and lived.
17:33:25 I think, well, I'm in Montreal for Fantasia and, I've lived here on and off a beautiful and emotional time here being back I think my heart is monthly all today
17:33:34 That's lovely.
17:33:33 So yeah, it's like so special to have the Canadian Premier of the film here at Fantasia.
17:33:42 And, yeah, it's been like, in Premier of the film here at Fantasia.
17:33:47 Yeah.
17:33:44 And yeah, it's been like big seeing around and going to all my favorite haunts and and feeling all the feels so I guess that's probably quite heart related.
17:33:50 I'm with you. So like I grew up here and I left when I was about 24 but and I haven't been back since so and I'm just like this city is amazing.
17:34:00 It truly is. It's like, it's like European and North American and everyone's so friendly and there's like so much going on and it's vibrant.
17:34:10 Anyhow, I decided I'm moving back to
17:34:12 We're all moving to Montreal.
17:34:14 Good.
17:34:15 You heard it here first everybody.
17:34:18 I know my family doesn't know yet but
17:34:20 Yeah.
17:34:21 They probably will maybe they won't ever watch that. I don't know. Maybe they will.
17:34:26 So.
17:34:26 Hello.
17:34:30 Sorry.
17:34:30 Sorry. Since you guys were such good sports, I'll tell you my I decided my heart will be an apple fritter because I love apple fritters and they're they're sweet but they're all still kind of crunchy.
17:34:44 You know, you get a go and you get to chew on it a little bit, you know, 5.
17:34:44 Totally. That's gonna get little chunks of Apple in there too, which are like squidgy in cinnamon.
17:34:51 That's a good one.
17:34:51 Yeah. It's just very wholesome and You know, I think this should be this should be like your.
17:34:58 You know your icebreaker question you ask everybody when you meet them because you can get to know somebody so well by knowing what is your heart made of.
17:35:03 Hopefully. Totally. It's a good, yeah, that's a good point.
17:35:10 Okay.
17:35:14 What is your heart? Yeah.
17:35:08 Okay, from now on in. Before we start our conversation. What does it? Yeah.
17:35:13 Okay. Or before I work with you, like, your gateway question to work with people.
17:35:18 That. Totally, totally. There we go. Okay, I'm gonna hang on to that one.
17:35:26 Forever.
17:35:25 Yeah. Well, I just want to thank you both for joining me for this.
17:35:33 With love in a major organ is showing at. At Fantasia Fest this year. Has it already screened at the festival?
17:35:42 No, Saturday, tomorrow.
17:35:45 Okay, okay.
17:35:42 No, Tomorrow at 10 PM. Yeah.
17:35:53 Yes.
17:35:48 Okay, wonderful. So that's, 7 29 July 20 ninth. Everybody. Is it going or is it going to more festivals?
17:36:01 Yeah.
17:36:03 Okay.
17:35:58 It is we have 3 lined up. But I feel like I can't say what they are until mid August, but, but it's on our website.
17:36:08 It'll be on our website. That's.
17:36:09 Okay, yeah, good point. What, where would you tell people how, will be the best way for people to keep up with the movie if they wanna know updates?
17:36:17 So our Instagram page, which is with love dot and a major organ and our website is with love and major organ.
17:36:25 Dot com. And yeah, that's where like all the all the news and stuff will be posted.
17:36:34 Okay.
17:36:32 Yeah, I think that's the best place. So yeah, festivals coming up, which is super exciting.
17:36:39 And yeah, they're in the fall, I think, yeah, anyhow.
17:36:42 More to come, I guess. So yeah.
17:36:44 Yeah, exciting.
17:36:43 Yeah, all right. Well, I will post all the links in the notes for the interview. And we are gonna sign off.
17:36:53 Folks, this is Lindsey for one of my stories. Kim, Anna, thank you so much and enjoy the rest of your weekend.
17:37:00 Thank you so much.
17:37:01 Thank you so much for having us. It's been great.