This week hosts Koji Steven Sakai and M. Martin Mapoma did something different. They invited filmmaker Hisonni Johnson to zoom to discuss his newest film, Take Out Film. They asked him the best or worst moment of making the movie.
(Please excuse the sound it was wonky at points)
Voice Over Host 0:02
NThis is the best or worst podcast. And now here are your hosts Koji Steven Sakai and M Martin Mapoma.
Koji Steven Sakai 0:15
Welcome, welcome. Welcome. This is the best or the worst. I’m Koji.
Martin Mapoma 0:19
And I’m Martin.
Koji Steven Sakai 0:20
And this is Episode 28. And we are here still zooming. So if the quality of sound isn’t up to the normal standard, then you understand that but the differences you can see the whole video, you can see all of us. At least we all look good, Martin, how are you?
Martin Mapoma 0:37
Running ragged. I’m in the middle of taking a test a three day test. So I’ve been like stressed out about that.
Koji Steven Sakai 0:43
What kind of tests you taking?
Martin Mapoma 0:45
Um, my speed, I’m a speed and agility specialist. So
Koji Steven Sakai 0:49
I think I think you said you’re taking a speed test. I thought that’s funny.
Martin Mapoma 0:53
Yeah, but I’ve been trying out different, you know, qualities of speed to see which one’s good or which was not good. But that’s it. I’ve sorted by speed and agility specialist so
Koji Steven Sakai 1:02
Well, as you guys can see, we have we do have a guest today. And this is a little bit different than normal. Hisonni Johnson from Guyanese father and Afro Polish mother,
Martin Mapoma 1:14
Afro polish. Wow, that’s cool. I’m from Zambia, Africa.
Guest: Hisonni Johhnson 1:19
Yes, sir. Yes, sir. I’m going to throw on a dashiki, man.
Martin Mapoma 1:28
Guest: Hisonni Johhnson 1:33
My, my 23andme so I’m all about it. Really? Yeah.
Martin Mapoma 1:39
That’s cool. That’s cool.
Koji Steven Sakai 1:41
And usually, you know, when people send me movies, most of the time, the movies are terrible, and I don’t want to do anything to do with it. But this is this is different, you know, right away when I first I watched a little bit of it before I responded, just to see if it was good. And it was awesome. That’s why I responded because usually it’s like I can’t even respond to these things because most of them are really Really bad. And I watched that I watched the whole thing. Your whole movie and it was it was amazing. So that’s why I’m really excited. But, uh, but we should, we should talk a little bit about it. You know first first first let’s get to know you tell me it tell us a little bit about your story.
Guest: Hisonni Johhnson 2:18
My story? Well, I’ve been a filmmakers for about 12 years old. And the way me and my, my player bonded and our team, like so many filmmakers, you know, we were football players and gymnast so we knew we could take bumps and do flips. So all of our movies just revolved around doing flips and beating each other up. So we just had a ball man, and we would, we would make the movies and we rent out we would pool our money and run in theaters to show our movies. And they kind of went viral. In the 90s, because they would put the name one of our, one of our like demands as filmmakers where we would put the name of our film on the actual marquee, even though we were like 14 15 16 years old, and people would think it was just a movie that we’re in. So they would buy tickets to come see our movie, thinking it was like a real movie and then see 16 year olds playing the president and like, being FBI agents, and they would like laugh their butts off. And, and eventually, somehow the local news caught caught word of it, and would do a story on us and and, and they would do testimonials. And people would be like, it looks funniest movie you’ve ever seen even though where they were dramas, and it would like bring so many people in like so many people would just flood in so we didn’t even have to have jobs all year long, because our Movies would make that much money.
Martin Mapoma 3:55
Wow, when was this?
Guest: Hisonni Johhnson 3:58
This was the truth. 1995 2002
Martin Mapoma 4:04
I mean, but where
Guest: Hisonni Johhnson 4:06
Martin Mapoma 4:07
Guest: Hisonni Johhnson 4:10
Yeah. from Milwaukee man.
Martin Mapoma 4:12
No way. Yeah. Wow. I did work at the Miklwaukee rep.
Guest: Hisonni Johhnson 4:19
Oh yeah, you know the theater it’s a big theater town. I actually did the BFA program at the University of Wisconsin Milwaukee.
Martin Mapoma 4:27
Guest: Hisonni Johhnson 4:27
So, yeah. Got my I am. I’m actually now in Las Vegas. I lived in LA, about three years ago, for 13 years in LA. And I left because I found myself writing a script about writing a script. And I was like, I am completely out of stories to tell. And I need to go to a place where I’m actually going to wait a little bit. So me and my girlfriend are here in Vegas. We met so many wonderful people. We’re having a blast. Oh, yeah.
Martin Mapoma 4:56
Then when did you leave Wisconsin Milwaukee.
Guest: Hisonni Johhnson 5:00
Left Milwaukee in 2005 2006.
Martin Mapoma 5:05
okay cuz I actually did I did Moby Dick at the Milwaukee Rep.
Guest: Hisonni Johhnson 5:08
Martin Mapoma 5:09
2002 you were definitely there while I wouldn’t. Yeah. I always tell people that it was the last play I did. I live in Chicago for eight years. And, you know, mill when I did that show Milwaukee, it was a I always thought it was the best three months of my life. It was pretty amazing for me. Yeah. I met a girl in rock bottom brewery, you know, the rock bottom?
Guest: Hisonni Johhnson 5:34
Yes, I do. Yeah, it’s
Martin Mapoma 5:36
a little tragic, but I don’t know if you’ve heard any of our episodes. earlier ones but uh, I had to talk to we actually talked about, you know, the best the worst. It was my worst. My worst moments there because I went to my girlfriend at the time, was a bartender at a at rock bottom brewery and she was you know, killed It was actually big news in Milwaukee when it happened was really big news there. But uh, anyway,
Guest: Hisonni Johhnson 6:07
I’m, I’m lucky to have gotten out of Milwaukee because I grew up in a five, three to six.
You know, that area. I was dead center by three to six Koji by three, tool six is an area code where more black men are arrested and incarcerated per capita, per capita than any other zip code in the country.
Martin Mapoma 6:30
Yeah, it was no joke, I got I got pulled over three times in that area. And because I was doing a play at the rep, they just let me go. And they were like, you know, what do you do that Chicago plates, you know, local, but at the time, you know, I was kind of driving a nice car so that I was like buying drugs and stuff.
Guest: Hisonni Johhnson 6:47
Martin Mapoma 6:49
Yeah. It was crazy. Because I went there. I drove there twice. And last night, I went there when one of the guys who was um, he was on the crew for the play. He was African American was like, bro, he goes Do not go back over there because you’re pressing your luck. It’s so Wow,
Guest: Hisonni Johhnson 7:05
You’re pressing your luck in so many different ways because you can get messed up by some of the kids there who are.
Martin Mapoma 7:09
Yeah, because I was driving a SAAB. And you know,
Guest: Hisonni Johhnson 7:12
Yep, that’s a pretty nice car. That was my first car too, but mine was a 1980 SAAB.
Martin Mapoma 7:18
Guest: Hisonni Johhnson 7:19
Anywho Milwaukee was voted the worst place to grow up black two years in a row by Forbes magazine It is the most segregated city in America for over 40 years. I know it’s segreated, but I wouldn’t say racist because i think i think you know, it’s not racist.
Martin Mapoma 7:37
No, dude you no, what I had, you know, my girlfriend was white. And it was, you know, she took me up to meet her family and Managua up way up there. No Miklwaukee. It was great to me. I had no problem. I mean, there are a few or a few idiots But no, like I said, it was the best three months of my life because Milwaukee was nothing like nothing like Chicago. Chicago was way worse to me.
Guest: Hisonni Johhnson 8:00
Yeah that’s a really Milwaukee will beat you up but Chicago will to .
Martin Mapoma 8:05
Anyway I digress.
Guest: Hisonni Johhnson 8:06
So sorry about that Koji. we lost you you muted
Koji Steven Sakai 8:14
we lost Koji
Sorry I just wanted to make sure we talked about the movie you know, I want to make sure that we get movie time… a movie so what’s the movie called?
Guest: Hisonni Johhnson 8:27
The movie is called take out girl
Koji Steven Sakai 8:28
Take out yeah. take out girl and let me let me read the description you had just so that everyone knows because I think it’s awesome. Tara Wong delivers Chinese food for her mother’s struggling restaurant located in the low bottoms an infamous LA project and everyone around her including her unpredictable brother are financially trapped in the crime and violence rate in a neighborhood. That is until Tara takes a job from the local drug kingpin moving his product inside her takeout food boxes with the cash rolling in Tara and Ted’s booth, a family restaurant to the suburbs and go clean. But after a series of tragic events, the Gina tears built on a foundation of lies may crumble. So like, like I said this, you know, when I first watched the movie, when I first get approach of any movie, my first instinct, this is gonna be terrible. But uh, but two things were great about this is one it was actually awesome. And second is it featured Asian Asian Americans and I see your notes that you know that the film has an Asian American female, female an African American writer. And that is it’s very diverse in the cast and crew are very diverse, obviously. Which which I really, really like. That’s, you know, and I was just, I was just a really, really amazing movie. Where did you get the idea from?
Guest: Hisonni Johhnson 9:34
The lead actress came to me with the premise. She actually had a first draft written, her name is Heddy Wong, she’s Chinese American ancestry. And she is the most unique human being I’ve ever met. And she’s probably my favorite collaborator. I mean, this is her first time acting, and this is her first time ever writing anything, and she’s by far my favorite person, ever. I’ve worked with like, she just has a raw ability to connect with people and to to be collaborative. You know, and with joy in her heart, you know, there’s people who kind of, they can eat. They don’t really collaborate, they can eat the other end of that, like she does it with joy in her heart. She wants things to be done, right? I can’t say enough about it. But the premise was hers
Koji Steven Sakai 10:27
and her Is this her life? Did she actually do this? Or did she just come up with the idea?
Guest: Hisonni Johhnson 10:32
There’s a lot of it that is loosely based on her life. And then pieces of it loosely based on mine.
Koji Steven Sakai 10:38
Guest: Hisonni Johhnson 10:39
Koji Steven Sakai 10:39
Because you know, because one of the first things I ever heard of Richard Aoki? Have you ever heard of that story?
Guest: Hisonni Johhnson 10:45
Koji Steven Sakai 10:46
So he’s…. in the 1960s. He worked with the Panthers in Oakland, And he was the he was the gun runner for them. Because the same thing
Guest: Hisonni Johhnson 10:55
I would need to know that story.
Martin Mapoma 10:57
Please wait, what?
Koji Steven Sakai 10:59
It was the same as this is why it’s funny cuz he even said you know like he’s a Japanese American guy and nobody’s gonna stop him even with a car full of guns whereas any of the Panthers got in a car try to drive anywhere across the city right the first thing is gonna happen is he’s gonna get pulled over.
Guest: Hisonni Johhnson 11:17
Yeah, I mean absolutely the premise of our film
Koji Steven Sakai 11:20
yeah the Aoki though it’s a little shady though cuz books came out later saying that he was the he was the informant, but I don’t buy I don’t I still don’t. I don’t believe it. But, but somebody in that crew was an informant. But to me, it’s like, why would you put the guy who looks the most different as the informant? You know, I mean, it’s like he’s like the worst guy, but
Guest: Hisonni Johhnson 11:42
Koji Steven Sakai 11:44
I loved it. It was really, really awesome. And you know, one of the things I really really loved was the stupid young. How did you guys get stupid young to be involved in it?
Guest: Hisonni Johhnson 11:53
That was our lead actress. She hustled. She hustled like she she has had a connection to him because I believe she was in one of his music videos or worked with him on something. And essentially, it was it was her asking and it was young, putting his money where his mouth is in terms of supporting the arts, in Asian Americans in positions, you know, being in the forefront of media. Yeah, he was down to help in any way he could, because he knew what was at stake. And he wanted to be a part of moving that agenda forward. And he he was easy to work with his mind the line of communication was open and still is open. He’s trying to help us with promotional stuff he gave two songs without like, not except once for it. And that’s a Mando and cold nights.
Koji Steven Sakai 12:51
Oh mando. I love Mando
Guest: Hisonni Johhnson 12:54
Mando is kind of the title track of this thing. And he it as a mall role, but I, I think he thought it was funny that I was liking what you should play. And so he was like what? And I was like a cop. And he was like, Well, you know, considering probably one of the worst things that’s ever happened to him is going to jail.
Koji Steven Sakai 13:15
Guest: Hisonni Johhnson 13:16
So, but it’s almost like a rite of passage for rappers to play law enforcement officers in in in major movies to make their transition.
Koji Steven Sakai 13:26
Exactly, exactly. Well,
Guest: Hisonni Johhnson 13:28
He did great though, didn’t he?
Koji Steven Sakai 13:30
No he was he was awesome. I mean, I’m a huge, huge fan. I’ve been wanting to figure out a way to work with him. So maybe you and I could talk later about that. Um,
Guest: Hisonni Johhnson 13:38
Koji Steven Sakai 13:39
But let’s let’s get let’s get into it. So, Martin, what do you feel like? Would you rather hear the best moment of making this movie or the worst moment to make this movie? What’s your instinct on that?
Martin Mapoma 13:50
You know what, as an actor, there’s tons of bad moments and making movies I gotta go with the best.
Koji Steven Sakai 13:55
Okay, you want to hear the best. Okay, let’s go with the best?
Martin Mapoma 13:57
You know, this Hisonni is an independent filmmaker. Am I wrong when I say that?
Guest: Hisonni Johhnson 14:03
You were absolutely right. You were more right than you know, sir.
Martin Mapoma 14:06
Oh, believe me yeah i used to have a film company a long time ago anyway, I want to hit the best moment because you know, I’m sure you can come up with a plethora of bad moments. But you know best moments are so you know, there’s so drive. This is a driving force in independent filmmaking that, you know, I would love to hear about catalysts that are a great step forward in movie making. So I want to hear the best coaching.
Koji Steven Sakai 14:30
Yeah, I mean, I’m good. I mean, yeah, terrible about every moment on a film set, I believe is terrible. I’m just kidding. I always say there’s two kinds of people right on a set there’s two words, there’s two kinds of creators. One is a creator who loves to be on set, and they just like that’s what they live and die for. And then there’s other kind of creator that wants to be nowhere near set. And I’m the second I don’t want to be anywhere near the set. Like, it will also like as a producer, I mean, my my role is different, right. So my role as a producer is my general. My mentor taught me that If I’m on set, it’s going to get more expensive. So, cuz filmmakers, I mean, the crew will somehow make it happen if I’m not there. But if I’m there, they’re like, we need this. We need that we need to go get more equipment, we need to get more food. Somehow, if my office is a block away, and they can’t get ahold of me, they’ll make it work somehow, somehow, some way they’ll, I mean, on the low budgets, I’m not talking about the big big budget stuff but on the low budget stuff it’s like yeah, like we’ll make it work somehow pusher, you know. So I that’s why I think I want to I’d love to hear the best, the best moment. So what is your best moment of making this movie?
Guest: Hisonni Johhnson 15:35
Well, first, there were way more best moments than then horror stories on this film, like we were. Time passed really fast because we laughed a lot. We laughed through pre production. And we laughed through production and really laughed a lot through post. So like, I have so many wonderful moments in the moment. stand out to me the most is that I got to get to because they’re similar. It was, it was Heddy Wong coming to me with a little bit of not just the script and a premise. But she actually helped produce the film with her family’s money to like she helps. Like we went kind of in together on this. And she sacrificed so much. And then she saw the first cut of the film, and she kept crying, because she was so happy. filmmaking is very much about trust. And to see that, at one point, she didn’t know me at all. And she really was so collaborative and so trusting of me, and then to see that circle kind of connect at the end where it was like I did right by her. So right by her that she had a film that was way better than what she had. anticipated, you know, creating to see that I’ve done the job so thoroughly that she was overwhelmed by happiness. That was probably the happy one of the happiest moments. And then recently, when we premiered the film at Cinequest I had a similar moment where I’ve been working with Heddy Wong for three years to make this project work now, and you think you know a person, but then you get onto the red carpet. And I saw her smile in ways I didn’t know her face could move that fucking way. Sorry. I mean, I mean, I shouldn’t curse but like, I didn’t know she can look, I didn’t. I saw smiles and expressions from her. That articulated happiness again in such a way where like, how much more rewarding can that be? You know what I mean to a person went out on a limb trusted you not just with their hopes and dreams but like a piece of savings from like her mom and You know what I mean? Like, and you made good on that you may be on good on that like, and I was able to take that particular picture of that moment and immortalize it and show her because I don’t think she knew her face could make that expression either. And I just had that moment forever. And it set a benchmark for me, with every project I make. If I strive to make my crew and my casts, and my producers and my writers Koji, as happy as she is in that photo, I think I’m going to do okay. Does that count?
Koji Steven Sakai 18:37
That was awesome. That was really awesome.
Martin Mapoma 18:38
It really was.
Koji Steven Sakai 18:40
So she, She’s never acted before this moment, or she’s never been in a feature for this moment.
Guest: Hisonni Johhnson 18:45
She’s never acted really
Koji Steven Sakai 18:46
Guest: Hisonni Johhnson 18:47
Because she has that. I mean, in Asians in media. She’s only she’s been in a lot of music videos and sketches. But she’s always been like background, people don’t realize what they Have when she’s on set, because she, you saw the film. She She couldn’t be her natural personality shifts way more toward Tara than what her beautiful face and body would give you the impression she’s capable of. And that was the juxtaposition when I met her. She She looked gorgeous, and she has the face of a model and a body of like, a pinup girl from like, you know what I mean? Like a golden age pinup girl. Yet, when I met her, the first the what’s up bra, like y’all wanna wanna wanna wanna go and talk with you about this movie, better voice lower register. So like, I’m sitting there like, why don’t you don’t drop this shit and like, talk to me and like this, the higher the real deal, and and as it as that facade. Well wasn’t a facade as I realized it wasn’t a facade. I was like, Oh, I can definitely make a movie about her. She’s, I can make a movie about playing horseshoes with her. And it will be entertaining because no one’s ever seen her before.
Koji Steven Sakai 20:11
Yeah, she was she was very natural. It felt I that’s why I thought for a long time that this is literally her life and but you know, but as you know, like a person playing themselves, it’s actually hard to make it look real natural. And the fact that you’re able to pull that out from her I mean, I think that that’s that’s really really amazing. And, and so you know, she so you said she was really happy when she saw the first cut. What did she think of the like, as it kept going along? Did she like it better? Or what was her?
Guest: Hisonni Johhnson 20:37
Yes, um, we talk. We talk regularly I’m I’m a bit of an over thinker when it comes to because I want to make sure I do my job well, and I want to make sure people know that. I’m not just going to go AWOL and stuff. So we talk quite a bit and we’re really great friends. I realized that I had over delivered with our You know, cuz we had like a no budget. This is very, very, very low closer to like the budget you spoke about earlier Koji and she hadn’t anticipated us being at she thought we were just going to make a movie. The goal was to get a movie done. She didn’t realize I was like No, I’m gonna make them a real like watchable borderline limited theatrical release type of film that was my goal. And she watching her watching it register that we had exceeded that goal and we were making something special was really really cool. Because she was also realizing Holy shit, I’m in front of like my face is making this work. And again, just that feeling of having done your job really well. That was the majority of of this process is realizing that over delivered and that you know, it’s just a lot of fun.
Koji Steven Sakai 21:56
Great Martin, do you have any you have any questions or thoughts?
Martin Mapoma 22:00
Well, I know I’m just I really have to see this movie now. The way you describe her and she sounds like she sounds like a, you know, total ajenu like she can really, she has that like it factor, you know? And when you talk about her, huh?
Guest: Hisonni Johhnson 22:18
I agree. Yeah,
Martin Mapoma 22:20
that’s pretty cool. And and the one thing for me is, uh you know, Koji did send me the movie, um, when Koji likes something because he’s right he hates everything. So that says a lot, you know, about the movie. Yeah, and I apologize that I didn’t watch it in advance but I really got to watch it now. I’ve been like stressed out for the last week and a half. I sounds it sounds fascinating. It really really does.
Koji Steven Sakai 22:47
And you know, one of the one of the things that that I could I could tell from your conversations and just from watching the movie itself, you know, that everyone was on the right on the same path and I could feel the energy from the movie, you know, you know, like you as a filmmaker, you know that when Like even the makeup person being giving a bad attitude about things could ruin the whole movie, you know, and as a director’s job, your job is to make sure everyone’s on the same page. And it sounds like everyone’s having fun. And you could really feel that that energy and even though obviously, stories aren’t fun story, like a comedy or something, but it’s, but but you could feel that like that everyone’s pulling in the same direction. And I think that that’s a that’s a testament to, to your talent and, and, and, and the quality of the movie to, frankly, and that, you know, and kind of that the fact that you chose that those two moments as your best moment is a real indicator, I think of this kind of movie and the kind of filmmaker you are. So you know, congratulations, I think yeah, I think this is a really,
Martin Mapoma 23:40
really good point. Because you know, a lot of you know, is you know, as an actor, you very rarely hear filmmakers and directors talk about keeping their people happy. You know, they keep their star happy, they keep their you know, their their co stars happy but that’s usually where the buck stops with the fact that you wanted everyone to be happy and content on the set. You know, it’s very rare to see you know, In a director or producer, and so that just makes it even much more fascinating. You know, because that’s not that’s one thing with Hollywood that people always will always tell you, being on the same page is one thing, keep everybody else happy. That’s not really a high priority. They don’t really care about that. And that’s usually where I feel that a lot of movies falter in this industry,
Guest: Hisonni Johhnson 24:19
it’s my policy. It’s it’s kind of a hardline policy. I I’ve set it I have my, my, my dp, Alberto Triana, and I worked very, very closely on that it was mostly him and I on we shot 15 days with a seven man crew and 25 more days, just Alberto Alberto I, and my producer engine, and of course, the actors. But the, the mantra was people over product, people over process and when it when it comes to Hollywood, that I can see why that would scare producers. So what they don’t realize is that that concept is that concept is kind of, it’s like a snake eating its tail and in a sense. Because over product, the product is amazing. Because they put, they put everything they can into the product because they, they love you. They work for you, you know, and they don’t want to let you down because you care about them. It’s one of those things that’s just like almost like self perpetuating. You know it. It’s movement that’ll never stop. And if you guys will afford me a minute I want to thank I want to thank the both of you. This project is, in my, in my opinion, it’s the most amazing experience of my life thus far and 98% positive. And getting this film out there getting the word of mouth out there has been strange because I’m black, and she’s Asian, and with the Coronavirus coming up, everything in the film was kind of amplified, not just the story itself, but like the narrative around it and how important it is. whatnot but you would be shocked at how not supportive blacks and Asians have been immediately toward like eating hearing out and then dependent because you know, I I didn’t get chosen by for South by Southwest you know I don’t hit a lot of the buzzwords that are really important for businesses right now like I’m not female I’m not a woman of color I’m not trans I’m not you know what I mean I’m not by and those things are becoming a priority and then the film itself at first glance like even with niche festivals I can we submit it to black, black, you know black Nish festivals when it has a primarily Asian cast. Can we submit it to Asian American film festivals when you may have to give an award to a black director in one of the few events that are set aside for Asian Americans to thrive. Our road has been incredibly difficult and it takes Forward Thinking and, and very, very strong stance on true diversity, to take a step forward and put this film on the forefront and I can’t thank you enough.
Koji Steven Sakai 27:11
And to that point, you know, one of the things my mentor taught me a lot about was people of color like us. We, when we, when we want to make independent movies, or stories, the kinds of stories we usually tell our people and white people, because because diversity usually means we want to be included in the white world. So we tend to forget, like all the other groups of color, you know, so I think that that’s what’s awesome about this, too, is that it’s not just like, African Americans are white and trying to African Americans trying to be with white people. Only because there’s, you know, there’s a whole world of color outside of that just like you know, when I tried to make an Asian American movie, I there has to be other people that just try to knock on the door and white people be like, let us and let us say it’s no it’s like, we’re all the same. They’re all the same boat. Yeah, we need to we need to be you know, like, it’s okay to have like an African American and like, even if it’s not a big part of the story, at least, there’s diversity and color are outside of just Asians in my, in my movies or my stories, right?
Guest: Hisonni Johhnson 28:04
That was one of the coolest things is that a black man and an Asian woman could no just meld their stories together so seamlessly, like it’s based on Heddy’s life. But there are moments between me and my mother that are both verbatim in this moment. And you can’t tell. As a matter of fact, I think true originality nowadays because there’s no stories that haven’t been you know, every story has been told. The only original spin we’re going to put on that story on those stories is going to be when we when we put members of each tribe in a room and make them combine their perspectives. And I think that’s why the film is so unique. And in the end, it catches people off guard. And you’re right. The I really loved walking on lead character Tarah, through everybody else’s world a little bit and meeting so many other people. It’s a truly, truly unique cinematic experience
Koji Steven Sakai 29:13
So how can people how can people find out more about the movie? And how can people stay in touch with you and get to know what you’re working on?
Guest: Hisonni Johhnson 29:21
You can follow me on Instagram, at Hisonni and on Twitter. It’s just Hisonni J. And that’s spelled h i s o n n i you can follow our lead actress Heddy Wong on Instagram at Julia Juliet must die as her handle. The film itself is screening at the Ashland Independent Film Festival and I couldn’t be more proud of that. Pretty soon here. I can’t remember the exact dates but if you go to their they’re doing a virtual Film Festival and we have gotten into almost 10 Film Festivals now. Well, what 10 more film festivals you should get into Canada Because they weren’t by me, what’d yous ay?
Martin Mapoma 30:03
you should get into more. What I mean, every everything I’m hearing you should be getting you should be getting into a lot more.
Guest: Hisonni Johhnson 30:08
Martin Mapoma 30:10
Yeah, it’s cool. Yeah, it’s interesting.
Koji Steven Sakai 30:12
You should get I mean, ultimately
Guest: Hisonni Johhnson 30:14
We got into two really big ones. Okay. So, one is in LA Koji. So pretty soon in August, we’re going to be in LA we got Cinequest again because we got we sprint one time and then it got postponed. So we have the Bay Area at least once once more in August la end of la. I can’t say what Film Festival what but at the end of August, New York at a major film festival in New York in October, and yeah, so it’s starting to do that tour. I’m hoping I’m going to get into the Milwaukee Film Festival too. But who knows,
Martin Mapoma 30:48
go back home prodigal son.
Guest: Hisonni Johhnson 30:50
I would love so much of this film, even though it takes place in LA. It’s the inner city Milwaukee. I’m hoping they give me a shot. No,
Koji Steven Sakai 31:01
Awesome. And definitely, I’m confident you’ll get distribution. But you know, obviously, if you need any help up, I offered this before, but I also offer any kind of help you need and distribution or any kind of thing I’d be happy to, to help in any way I can. Because I do believe in this movie. I thank you so much for coming on. Thank you very much for the time.
Martin Mapoma 31:21
Thank you so much.
Koji Steven Sakai 31:22
And definitely, you know, everyone watch this movie. If you get a chance to watch this movie, I can highly recommend it more. And I mean that a lot. I try not to be effusive with movies, unless it’s actually something I really enjoyed. All right, thank you guys. Please rate review, subscribe to our podcast.
Martin Mapoma 31:36
Yes, please, please, please.
Koji Steven Sakai 31:38
This is a labor of love for us. So this is something that we do on our own. So please, you know, for us to talk to great people like this. I think it’s important for you guys to support us. So thank you find us on all the social media platform. We are best or worst pod and thank you guys.
Transcribed by https://otter.ai