World Channel

FULL EPISODE

#MyAPALife: A Filmmaker Conversation

"Why is it important for Asian Pacific American stories to be told?" caamedia.org's Exec. Dir. Stephen Gong explores this question and more with filmmakers James Q. Chan, Leo Chiang, Grace Lee and Keoni Lee in a conversation on their documentary work, representing Asian Pacific Americans & their stories with authenticity, and the drive & passion that it takes to being a filmmaker in today's world.

AIRED: May 30, 2017 | 0:35:49
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TRANSCRIPT

(music)

GRACE LEE:Asian Pacific American Heritage Month is

an interesting concept, because we live 12 months a year.

It's a 24/7 experience.

One of the reasons I got into filmmaking in the first place

was this lack of representation.

I have made a point of focusing on stories of Asian Americans,

because it not only reflects

who I am, but it reflects

what this country actually looks like.

There is a whole wealth of stories out there.

We haven't even scratched the surface.

Hello, everyone. I'm Stephen Gong,

Executive Director of the Center for Asian American Media,

and I'll be your moderator for this Facebook Live event,

presented by CAAM, Public Media's World Channel,

and its documentary series, America ReFramed.

In celebration of Asian Pacific American Heritage Month,

and PBS'sMy APA Life social media campaign.

With us for the next hour

are four independent media makers

whose projects have focused on APA stories.

Each of their latest projects were presented this month

as part of Asian American...

Asian Pacific American Heritage Month programming

on World Channel, and are now streaming

on worldchannel.org.

I'd like to introduce our filmmakers,

starting with Grace Lee.

Grace is an independent dir... uh, independent filmmaker,

director, producer and writer,

working in both narrative and nonfiction film.

Her films include the Peabody Award-winning

American Revolutionary,

The Evolution of Grace Lee Boggs,

The Grace Lee Project,

American Zombie,

andJaneane of Des Moines.

Grace's most recent work isK-Town '92,

an interactive Web project

examining the 1992 Los Angeles rebellion

in Koreatown and beyond.

This was one of the most exciting stories

that I have covered

in my more than three decades of journalism.

MAN:The most common question I heard from Korean Americans

is: Why us? Why Korean Americans?

Why are we being targeted?

We knew we had to fight to have our stories be told.

And next, I'd like to introduce Leo Chiang.

Leo is an award-winning

independent documentary filmmaker,

whose films include the Emmy-nominated film,

A Village Called Versailles,

andMr. Cao Goes to Washington.

His most recent documentary, Out Run,

profiles Bemz Benedito,

one of the leaders of Ladlad,

the only LGBT political party in the world.

She, who is a transgender woman,

is fighting for acceptance and equality

by running for a seat in the Philippine Congress.

Leo is also cochair of New Day Films,

the American social issue documentary

distribution cooperative.

Next, I'd like to introduce Keoni Lee.

In 2009, Keoni cofounded

the first native Hawaiian television station,

Oiwi TV, in Honolulu, Hawaii.

Oiwi has since produced the largest collection

of Hawaiian language television programming,

and has gained a reputation

for authentic and high-quality productions.

Keoni's most recent work, Mele Murals,

is a documentary on the transformative power

of modern graffiti art and ancient Hawaiian culture

for a new generation of native Hawaiians.

MAN:When I lived in California, it was me by myself.

I was missing a feeling of connectedness.

WOMAN:For me, being Hawaiian in this time,

it's kind of hard.

MAN:I think that's what's attracted them

to this project.

It's another way to express

who they are culturally

in a different way.

KEONI:Coming here, and then painting about our culture,

it's more of a sense of I don't want to let these people down.

Finally, I'd like to introduce James Q. Chan.

James is a San Francisco-based filmmaker

who has collaborated on Emmy- and Grammy-winning projects

with telling pictures.

Forever, Chinatown is James's directorial debut.

This short documentary is the story

of self-taught 81-year-old artist, Frank Wong,

whose breathtakingly realistic miniatures

capture half a century of memories

in San Francisco's Chinatown.

WONG: I want to capture my memories,

and the only way

for me to capture my memories

is to make them in three-dimension.

♪ Someday

♪ We'll build a home

♪ On a hilltop high

♪ You and I

♪ Shiny and new

♪ A cottage that two

♪ Can fill

♪ And we'll be pleased

♪ To be called

♪ The folks who live

♪ On the hill.

Thank you all for joining us.

So, I'd like to start, and I'll ask each of you

your thoughts about Asian American Heritage Month.

Your personal thoughts, if you'd like,

about being Asian American and a Pacific Islander filmmaker

in America today,

in a politically divided America.

Um, the films that we're showing this last month,

and your... positioning as an Asian American

and Pacific Islander maker, did they carry

unwanted and unfair burdens on your work as filmmakers,

or is this something that's important

to your approach to filmmaking overall?

So, shall we start, maybe, with Leo?

-Hi, Stephen. -Hi.

Well, that's a... that's a tough question.

I think that, like anything else,

um, it's sort of a little bit of both.

Uh, I've certainly, um, in my career,

very much focused on API stories,

uh, you know, immigrant stories,

stories from, uh, marginalized communities,

um, and those are the stories that I responded to,

that resonated with me.

And, um, you know, not necessarily by choice,

but by, uh, instinct,

those are the stories that I'm drawn to.

Um, at the same time, I do recognize

that-that, uh, for the most part,

the API stories are...

the stories themselves are marginalized

in the American media landscape.

People often will consider it to be sort of niche and regional

and not something that the larger community

can relate to.

Um...

so that's definitely something

in my career that I've come up against

and that I've had to, uh, struggle with,

um, but I think that at this point I'm realizing

that regardless of how people perceive the stories,

they just need to be told.

Um, and I, you know, I think that it's really wonderful

that we've got this month on Public Media

to really put the focus on APA stories.

But, you know, the hope is that the stories themselves

will also be featured and prominent

throughout the year, not just in this month.

Thank you, Leo.

Hey, Keoni, how about you?

InMele Murals, um, you know,

as part of this question, let me ask you, in a sense,

who was your audience?

Were you somehow making it more for young, you know,

native Hawaiian, uh, youth,

or are you seeking the broadest audience yourself

in your approach to filmmaking?

Yeah. Hi, Stephen.

I just want to say thank you for having this opportunity

for us to have this... this discussion.

Um, it's really good that we're having these kinds of talks,

and that diversity is on the forefront, you know.

Thank you to your organization, and also to the World Channel

for this opportunity.

Um, yeah, I think withMele Murals

specifically, um, as an example, uh, we went about it

with the intent for it to be a national audience.

Um, and we struggled with it

because, uh, telling a really powerful,

effective story through film in our community,

we could push a lot harder on some of the cultural aspects,

but we have to be very literal, um, in-in telling it

to a national audience and we knew that

there was gonna be compromises and gives and take,

um, give and take in the storytelling because of that.

But, you know, I think the reason why we wanted

to tell this story was that, you know, it may be Hawaiian...

it may be a Hawaiian-based story,

but there's a lot of universal themes in it.

You know, there's art.

There's, uh, education.

There's children. There's culture.

So, I mean, those four major themes, you know,

we felt that if we took it to a national audience

that other people from other communities could find

a little bit of themselves in that story

and therefore, you know,

kind of open up their world a little bit

because they found some relevance in the story,

then be able to see kind of our characters

and the arc that they were going through

and what we were trying to tell with the story.

Wonderful. Thank you, Keoni.

James, let me ask you.

InForever Chinatown, which, you know, I introduced, is this, uh,

uh, portrait of Frank Wong, but it's also about a community.

So, how do you parse this question about, you know,

your audience and your responsibility

as-as an Asian American filmmaker?

Sure. Thank you very much, Steven, for having me.

Um, the question that you proposed was

thoughts on-on being an APA filmmaker in today's America?

-Was that it, right? -Yes.

And tying into the film... um...

I-I think that, I think...

I know, actually, being-being a filmmaker

is-is not disconnected from being a citizen.

Um, and, to me, the emotions that come up

from-from being a citizen like with-with all-all

the-the struggles that's going on right now,

map back to being a filmmaker.

In that essence, being-being able to grieve,

um, what's going on.

Being able to organize then we resist, right?

Um, and then what's really powerful is that

we get to then create, um,

and we continue to move our stories and centralize them.

And for me, inForever Chinatown,

what was really important was that the artist

was one entry point into San Francisco Chinatown.

His story was one entry point.

And, uh, I wanted to pull focus back on the community.

And the community was important because, um, in this film

that is ultimately a love letter to San Francisco Chinatown,

it is also...

an issue in this film

to talk about the-the encroaching changes

that are coming into a beloved neighborhood.

And those changes are redevelopment,

uh, gentrification.

And, to me, I wanted to make a film that was a love letter,

but it was also a film that policy makers could-could

come to the table, watch it

and potentially be moved by what they see.

Um, and for them to potentially maybe come to a-a...

conclude with the idea that, um,

development can happen without the displacement of community.

So, in a way, an artist story, but it needs to be

about the broader perspective of the community.

And, to me, it's-it's, um, uh,

if you, if you think about just the community

as a statistical number or a profit, uh, number,

uh, you miss out on those personal stories.

And so when you know the personal stories,

you end up connecting with them.

Thank you very much, James.

That's really beautiful.

Um...

Grace, you know, of-of...

I can't think of another filmmaker whose work

is so central about this notion

of-of, um, putting a stake into,

you know, or-or staking out this territory,

what it means to be Asian American

and you've done that in so many interesting ways.

Your latest project,K-Town'92,

is a kind of deconstructed documentary

for-for our viewers who haven't sort of seen it yet.

Uh, and one of the-the sort of subtitle,

if I understand it correctly, to your approach

to the L.A. Riots was, um, who gets to tell the story?

So, I imagine for you this is something that...

it's not just central in-in this particular project,

but through all of your projects.

Um, h-how do you, how do you feel about this question

of your work and-and the-the time we're in today

in today's America?

Um, thanks, Steven. Thanks, everyone.

It's great to hear everyone's perspectives.

Um, I guess who gets to tell the story sort of is

a kind of running thread amongst all the work that I do

because the stories that I'm interested in telling

and also that sort of reflect this, uh,

the world that I live in, um, are, uh,

exclusively Asian American,

but oftentimes those are the stories that I'm drawn to.

Um, I think it's especially important at this moment, um,

in the United States

because of where we are and, um, you know,

the kinds of things that are happening, um, on a daily basis.

Uh, you know, L.A.... uh, K-Town'92 looks at this

kind of tumultuous event that happened in Los Angeles

that explores, you know,

kind of race and racial tension,

rebellion, um, police brutality, all kinds of issues.

But the story that has been,

um, sort of recycled over and over again

for the past 25 years overlooks a lot

of different perspectives and I think that that, you know,

sort of gets at the heart of what I'm interested in doing.

Um, and, you know, and it so happens

that a lot of these perspectives are Asian Pacific American.

And, you know, telling the story in a deconstructed way

in an interactive piece was the way that it came out

for-for this particular project.

Wonderful. Thank you

and thank you all for such thoughtful answers.

Um, Leo, I know you may have to leave us soon

for another appointment,

a screening that you need to go to.

So, uh, we thank you for being with us.

You take off, please, whenever you, uh, need to,

but I'll throw up one more question for you.

And, um, in a way, what I'd like to ask each of you

to maybe think about is, uh, is that the ac...

the passion that it takes, you know, the commitment

to be an independent filmmaker, to see a project through,

that takes, you know, usually takes years to pull together.

AlthoughK-Town'92 came together real quick.

Um, so anyway, um, Leo,

uh, forOut Run... maybe just...

or each of you, share one piece about this project

and what was the-the most important, passionate piece

that you wanted to make sure

your audiences received about your film?

What would you like them to-to take away?

Well, um, uh, this, the...

Out Run was, um, um,

a sort of a-a interesting project in the making of it.

We, uh, we-we set out to do a fairly ambitious project

that's, um, more global.

Um, that we actually had, um, done production work

in, uh, a couple other different countries

before we ended up in the Philippines.

Um, but, uh, you know, I-I think that once we got there,

we realized that that was the right story

and we had the-the-the fantastic access that allowed us

to-to tell the story the way we wanted to.

Um, if there is something to take away,

um, I-I guess...

uh, you know, I-I know that's a cliché

to talk about how some stories are universal,

but I really do believe

that-that some stories are universal.

Um, you know, that this is, this particular story

is about a transgendered woman in the Philippines

running for political office.

But I think that her struggle and the people around her,

you know, in order to achieve their dreams,

um, is the same that-that we all experience

when we're chasing after something

that-that seems unattainable, uh, but we believe, you know,

in-in, uh, every, uh, bone in our body

that this is the right thing to do,

which is not unlike, uh, documentary filmmaking.

Um, so, uh, at the same time,

I also would love people to walk away realizing that,

yes, there are, you know, universality, uh,

in all the stories,

but there are also unique complexities

in each particular story that we should not ignore

and-and dismiss, uh, as we are watching and learning

about all these different stories.

And even within the, uh, A.P.A. community,

and A.P.A. stories, they are different shades,

uh, different twist and turns and different directions

that we cannot just, you know, simply dismiss it

as one narrative.

Uh, that there are all these interesting nuances

and complexity to them.

And I do have to, to go,

so thank you for having me, even for a very brief time.

Bye-bye. Well, Leo, thank you for your time.

-Thank you, Leo. -Thank you.

Uh... okay.

Uh, we-- we've got about 15 more minutes.

Um, I'll-- let's carry on through.

Uh, Keoni, uh, for you, yeah, again,

you may have-- you've touched on this a little bit,

but, um, as I think aboutMele Murals, you know,

uh, we're-- we-- we're following two young guys

who don't-- who have a different, sort of, backgrounds

and what they bring to their art.

And, in a way, they're teaching us, you know,

some really important things about, uh, Hawaiian culture.

But, at the same time, they're needing to learn it

and reclaim it themselves.

So, tell us about, you know, what it means to be,

uh, you know, a Hawaiian

in-in a disrupted kind of cultural setting.

Yeah, I think you hit it right on the ne-- on the head.

Um, the-the irony of it is that these two artists

go to a school to teach kids how to paint,

but the reality of it is that

the kids are actually teaching them about being Hawaiian.

And the two artists, you know,

they are native Hawaiian by blood,

but they never grew up that way.

Um, you know, it's-it's the reality of a settler state,

colonial settler state, right?

Um, but these guys are on their path to reconnection.

And I think that's the story we wanted to get out there.

Um, one, you know, what James said earlier

about the entry point really resonates,

um, especially with our film,

that, you know, what we're giving people

is a very different look into the Hawaiian community.

It's not that tourist, um,

very, you know, tiki, tiki style, uh,

Hollywood-ized version of Hawaii.

This is real, rural Hawaiian community

that people are getting access into, right?

So, opening the veil to what

the modern Hawaiian existence looks like today,

and, you know, to show people that, you know,

we have had resiliency

in the face of the colonial settler state,

and that, you know, our language is coming back,

our cultural practices are coming back,

and by-- through this story of art, and teaching,

and cultural reconnection,

that, you know, people who aren't from Hawaii

get a very different view of what it's like here.

And, you know, if they find a way to relate to

a backstory of one of the characters,

or a teacher in the story,

then, you know, it-it allows them to put their guard down

to be able to take in more of the story.

You know, you guys are talking about the political climate

that we're faced with today, right?

And we all know about this, uh, psychological thing

called "cognitive bias," right?

And that people are only gonna accept information in

that, um, aligns with their view of reality.

I think we, as filmmakers, have to take that into account

and, and know that, you know,

through these stories and finding these universal themes

that kind of help to build bridges

between the audiences who may be different,

um, culturally, ethnically, um, politically,

that, if we can find ways for us to relate to each other,

through story, that that then starts to

bring the guard down a little bit,

and that starts to allow them to accept more information in

that may differ from their limited scope of reality,

and that, you know, there are these rich and diverse cultures

and people, and it's not an us versus them kind of thing,

it's a we.

And, the m-- I think, to me, that's the--

what I'm trying to get up with

with the different work that I'm doing in film

and thatMele Murals is.

It's really about finding ways to get people

to relate to each other a little bit better,

so, hope that answered your question.

Oh, that was wonderful.

Very, very, very, uh, very articulate.

So, makes me want-- I'll jump to, uh, to Grace on this

because Grace, um, I think it is implicit...

(echoes): implicit...

in, whoa,K-Town '92,

um, that you're wanting people to look at history

in a different light, right?

Uh, that, something that they may have thought

that they understood, but, but was--

but it was really filtered.

And, so, it's about media,

it's about how we gain information.

But, but don't let me put words in your mouth.

What is the takeaway that you would like,

and what was it like for you to, uh, create these elements

in this, in this amazing, interactive web series?

-Mm-hmm. -Web program.

Um, yeah, well, I think it's hard to explain in words,

but if people want to go to ktown92.com

they can see that the piece is an opportunity

for use-- participants to explore

different media, mediated, um, images

of 1992 Los Angeles rebellion.

And, um, for me, like, the two takeaways, I would say,

is our, um, number one, you know,

by providing both a disruption of the media,

that, sort of, news media that we saw back in 1992

with, um, interviews that I did with a wide,

you know, a very diverse range of Angelinos

talking about that event, from Koreatown and beyond,

I think it, you know, offers an opportunity

for stories that we haven't heard,

from perspectives we haven't heard from before

to, you know, become more uplifted.

Um,, the second thing, too, is, you know,

Koreatown itself is not a monolithic community.

Just like, you know, Los Angeles or the United States

is not one particular, you know, kind of community.

And, I think, that's what I'm really interested in

because I live in this neighborhood.

You know, it's majority Latino,

you know, there's a Bangladeshis community here,

there's a mosque, one of the oldest mosques in L.A.

is in Koreatown.

I think that there's a lot of different kinds of communities

intersecting and it's what makes it such an exciting place.

And then, number two, you know,

the way that 1992, um...

that event has been portrayed in media for the past 25 years,

it really is only one kind of story,

or similar stories keep coming out.

And, for me, um, K-Town '92, the site,

sort of, flattens the idea that there, um, is no one

spokesperson, you know?

I think that there are many different kinds of stories

that come out, and it's up to you, the user, to explore,

on your own, what this means for yourself.

Beautiful. Thank you.

Yes, and I commend...

I strongly urge everyone to go to this amazing site.

And it's a...

it points away to such an exciting way

to... to tell important stories.

So, overall, one of the things I'm hearing is that, um...

is that the artwork, your work, is in-- is...

um, bridging gaps, divides.

It's creating empathy in our audiences.

So, I want to return to James, uh, on this kind of issue.

And it's not just about different communities,

or ideologies, or political views,

uh, what strikes me, James, in your work

and-and the relationship you develop with Frank,

-it sits across generations. -Yeah.

Um, so I wonder, if you don't mind,

sort of, bringing in your own up--

your own background, growing up in San Francisco, Chinatown,

and the way that figured into wanting to tell Frank's story.

How much of it is Frank's alone

and how much of it is something that comes from you directly?

Thank you.

Um...

I-I didn't grow up in San Francisco, Chinatown,

I was, I was, uh...

my-my family and I came over as refugees,

Uh, we're ethnic Chinese, born in Vietnam.

Uh, we spent two years in a refugee camp in Indonesia.

And, uh, we sponsored over to Minnesota.

And in Minnesota, our-our house, where we were--

our apartment was, uh,

we were the only... Chinese family

living in that area,

so, our house, you would say, would be Chinatown.

Um, and so... my brothers and I assimilated,

but my dad had a hard time finding community,

um, so he would-- we would be the only ones

that he would-would have conversations with,

and that must've been incredibly hard.

Um, he was in his late 30s, early 40s,

and so he heard about this place in San Francisco

called Chinatown, and he heard about

this population and this community.

And so he saved some money, brought us over,

and San Francisco, Chinatown, was what he was missing.

And it became this community

that took him in, and he was able to flourish.

And for me, during the weekends

we would... he would drop me off

at the Portsmouth Square, and I would be

one of those kids running around--

the latch-key kids running around at the playground,

and then going through the alleyways alone.

And so my... my childhood was...

was on the streets of San Francisco, Chinatown,

as a... as a child.

In my teens, I went to a place called Donaldina Cameron House,

and it was an incredible, um, youth organization

that, um, empowered myself and friends.

And, um, as I became an adult,

I looked back at this community

that held, um, held and gave a foundation to my family.

And it just made sense that I'm telling stories

from the community that, in a way, I came from.

And so, moved back to... around Chinatown.

I'm based now in San Francisco, Chinatown,

and, um, it just makes more... makes sense that

my focus is on the community.

STEPHEN: Wonderful.

Okay, um, we just have five minutes left.

One more quick go-around with you.

I want to thank you, each of you,

for hanging in there with us.

Um, as... now, as veteran filmmakers

who have shared your vision with the world,

uh, do you have any words of advice

for young people seeking to, uh,

you know, maybe enter the field?

So maybe we'll... I'm gonna end with you, Grace,

because I know you have some particular advice.

But, um, starting with our two other guys,

Keoni, you want to... Any words of advice

to an aspiring filmmaker?

KEONI: Yeah, um...

make sure this is what you really want to do.

Find passion in it, because it's not easy.

To get to the highest levels of this industry,

it's a climb.

And... But I think if you're passionate about it,

and you really believe in yourself and you have the drive,

then anything is possible.

I think, you know, finding organizations

that can help provide mentorship and training for you,

take advantage of as many of those as you can.

Like, for us at Oiwi TV, we kind of see ourselves

as a proving ground for some of our young

Native Hawaiian filmmakers and storytellers

to come and, you know, cut their teeth

in the practice for a little while

so that, you know, they can be ready

one day to be able to step up to bigger projects,

you know.

My director of photography and assistant producer

onMele Murals started with me as

interns in college.

And, you know, six years in--

five or six years in, they're on a national

public television documentary.

So that's kind of how... the system that I've

put into place to kind of help these next-generation guys.

But, you know, if you're not passionate about it,

you're never gonna make it in this industry.

So, you know, this is not something

you just figure out, "Oh, that sounds great.

I want to do it."

I mean, you've really got to be passionate

about telling stories.

And if you have that, and you have the desire

to work hard and put your time in

and reach out to contacts, you know,

the sky's the limit, you know?

Thanks to Pacific Islanders Communication.

You know, they provide opportunities for us

through the Minority Media Consortium,

as CAAM does, too, right?

And so CAAM helped to fun our film in Hawaii.

And, you know, appreciate that

when you guys are helping to tell more diverse stories.

So, what we're trying to do here at Oiwi TV

is to bring in some of the Pacific Islanders,

and help Native Hawaiian storytellers.

Give them some training and some opportunities

so that they can step it up and make a lot of films

for you guys, and that'd be really awesome.

So thanks again for all of your guys' support,

and the opportunity to share today.

STEPHEN: Thank you, Keoni.

James, how about you?

Words of advice to a filmmaker.

JAMES: Sure. Keoni hit it on the nail...

uh, the head on the nail...

I mean, the nail on the head...

(laughter)

...uh, when he said this month's intern

will be next year's, like, producer and director.

And I fully believe in that, absolutely.

I think I would add to it where, uh, for me,

my storytelling sensibilities map back to, um,

my love for nature shows,

my mom's cooking, and backpacking trips

through Southeast Asia.

So bring that with you as you go into internships.

Don't forget about your own personalities.

STEPHEN: Wow. That was beautiful.

We have.. well, yes, you've done a great service

to interns all over the country.

That's great. Um, Grace, so,

I know that you and Leo have been the...

the driving force for helping to organize

the Asian-American Documentary Network,

so I don't want to saddle you with this.

You can give us your general advice

to aspiring filmmakers, but if you could also

maybe point, you know, if we've got any

young filmmakers out there that aren't connected--

how do they get connected into the network?

GRACE: Right, um, well, I mean,

I echo what Keoni and James say.

You know, know why you're doing it,

because if you have another reason to do something else...

This is really hard work, but for sure worth it

if you have a story you want to tell.

You know, this Asian-American Documentary Network is something

that came out of me and Leo and others

having conversations about how do we support each other?

You know, I mean, that's my other piece of advice

is just support each other on this journey,

because it's so difficult.

And, you know, if you're trying to tell stories

that are already kind of overlooked

in the, kind of, mainstream, um, landscape, you need help.

And I think that we can help each other in an incredible way.

We're a very powerful community.

We have, you know, a lot of history and tradition.

We have a lot of networks that exist,

if we would just sort of recognize them

and sort of band together.

So ADOC, which is our sort of shorthand

for this network, exists to do just that,

and we invite anybody who is interested in,

you know, sort of who's committed

to the documentary field and telling these kinds of stories

to, um, you know, reach out.

And, you know, as James said as well,

it's like I mentor people because I want them

to be my colleagues, and I want them to, you know,

produce and, like, make other projects that

maybe someday they'll hire me, you know,

in the same way that I can benefit from their talents now.

Um, we are in the midst of figuring out

how to have, like, a more public face.

We're sort of organizing internally now,

but I think, um...

This is embarrassing, I don't know

the actual gmail address,

but maybe we can... I'm sure we can add it

to this chat, right?

Like, I think it's aa.network@gmail.com,

but I need to clarify that, and so...

STEPHEN: Right. So we will post that

with our World Channel friends, and make sure

that on the Facebook site we'll have the proper connection.

So I apologize for not cluing you guys in earlier

to have the... the right...

GRACE: Leo would know it if he was here, but he left.

STEPHEN: Okay. Thank you, Grace.

Thank you, all the filmmakers.

I'd like to thank everyone online for joining us--

our host at World Channel, America ReFramed,

CAAM, for making this event possible.

Chris Hastings and Sharon Wong at World Channel.

Carmen Vicencio and Natalie Ruiz Tofano

at America ReFramed,

and Momo Chang and Ashlyn Perri at CAAM.

Of course, we thank all of our filmmakers.

For more information, you can go to our

respective web sites--

worldchannel.org,

americareframed.org--

one word, all of these one word--

and caamedia.org.

Thank you, everyone, and have a wonderful evening.

Bye-bye.

-JAMES: Thank you. -GRACE: Thanks.

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