A/V Geeks 16mm Lunch 3-20-2026

Hello everybody. This is Skip Elshiemer. Welcome to the AV Geeks Lunchtime Streaming Show where I still have horrible neck and arm pain from a pinched nerve. But yeah. I have no choice but to watch 16 mm films. What am I going to do? I can't sleep cuz it hurts. So, we're going to watch films and I'm going to enjoy your comments and uh it will brighten my day. So. Here's a This is a Coronet film, but I really think it's probably a Japanese film uh even though it's a story from India. Um but there is definitely some uh Japanese characters in the film. This is The Golden Deer. Enjoy. >> [music] [music] >> The royal princess of India is asleep and having a beautiful dream. Oh, I wish I could go on forever just flying through this lovely forest. Someone is singing. Such a sweet voice. I feel so happy just listening to it. I wish I could find out who is singing. A golden deer. Sing for me again, golden deer. It's gone. Princess, it's time to awaken. Where are you, golden deer? Oh, come back. Please come back, golden deer. Where are you? Where are you? Good morning, princess. I want the golden deer to sing for me again. Oh, your highness, you've just been dreaming. Please find the golden deer for me. I will speak to the chamberlains who wait upon your father, the king. But I'm sure there's no such thing as a singing golden deer. A golden deer that sings? Where would we find such a thing? >> We'd search forever and never find it. It's impossible. Quite impossible. Princess, come here, my daughter. Where do you expect us to find a singing golden deer? There must be someone who can find it, father. Someone brave and clever in the palace or down in the city. Was there someone in the bustling city who was brave enough and clever enough to find [music] the golden deer? There were many people going about their business with big elephants to help them. And there was also a little elephant and riding him a certain small boy. They had come to the city just to look around and perhaps to find an adventure. >> [music] >> What is this? It seems to be a proclamation from the king. Yes, I can see the royal emblem in the corner. To anyone who can find and bring to the palace a singing golden deer, the king will bestow great riches. Hmm. I believe I could catch that golden deer if only I knew where to look. Perhaps perhaps grandfather can help me. >> [music] [music] >> The golden deer. Uh Yes, my grandson. It was long ago when I was a hunter. Far away across the seven mountains there is a forest. And in the forest on the shores of a quiet lake there is a linden tree. And under that linden tree was the golden deer singing such a lovely song that I could not move from the spot until the song was ended. I shall find him, grandfather. I shall go there and catch the golden deer. Be careful. The mountain roads are very dangerous. Yes, grandfather, I will. Goodbye. >> [music] [music] [music] >> What is that? The deer. After him. Faster. Faster. Oh. It's only a fox. Now, what did grandfather say? Across the seven mountains and into the forest. But soon I'll have to stop searching and find a place to spend the night. A lake. And on the shore, a linden tree. I wonder. Could this be the spot where grandfather saw the golden deer? >> [music] [music] [singing] [singing] [singing] [singing] [music] >> Just a few more steps and the golden deer will be captured. And I can claim the king's reward. >> [music] [music] [music] >> They're afraid. They must think there are hunters around. >> [crying] >> But I don't want to harm them. I just want to capture the golden deer and claim the king's reward. Wait. Two of them are coming back. They're still afraid of hunters, and yet they came back. >> [music] >> I'm sorry, golden deer. I don't want to harm you or even frighten anyone. And I no longer care about the king's reward. >> [music] >> What is this? I cannot understand what they are doing. It's pulling out a tuft of its golden hair and putting it on a leaf. A gift for me? >> [music] >> Thank you. Goodbye, golden deer. Goodbye, everyone. Thank you for your gift. >> [music] >> If so, your majesty, this is the gift the golden deer gave me. I brought it here for the princess. My son, you have proved that you are brave and also kind. There's magic in this tuft of golden hair. You shall keep it as a reward for your kind deed. Oh, can you hear it? The voice of the golden deer carried on the rays of light from the tuft of golden hair. Now all of us can hear the song just as I heard it in my dream. And it will bring happiness to everyone who hears it. >> [singing] [music] [music] >> Um yeah. >> [laughter] >> The most mediocre. I mean, the animation maybe, but wow, the voice is just nothing. I mean, and voice is so important. It's so important in communication. Um case in point, here's a Centron film. Uh communication by voice and action. Enjoy. And so I said to him, I said, "You can't possibly understand the problem until you you've actually experienced it yourself. It's just one of those things that that you Man is a social animal, always more or less in proximity one to another. He has ideas and attitudes. And willingly or unwillingly, he communicates something. I understand what you The disagreement, though, isn't over what these needs are, but rather over how they can be satisfied. I agree. And how far the society should go in that. situation in our office. And uh well, it it wasn't really quite so bad, but uh all of us got you can somehow involved. Well, well, I don't know quite exactly how to tell you. Man is a social animal. And he communicates. Why? Because he wants to be understood and he wants to understand. Sometimes he communicates actively. Sometimes silently. Sometimes unintentionally even. But as long as he is seen, he sends out messages. The act of communication is a two-way street between the speaker and the listener, the actor and the interpreter. Mark Johnson, for instance, at this moment is communicating. Four persons see him do it. Each interprets. He's tired. He's bored. He has to go meet someone. It's late. He has to go. It's time for me to take my pill. And always the speaker or actor leaves some kind of impression on the audience. John Gordon is about to speak to high school students. While he sits, the audience forms a visual impression. His dress, his physical deportment, how he looks when he walks to the lectern. >> [applause] >> When I was a bit younger, my father, probably like all other fathers past and future, gave me some advice. "Johnny," he said, "don't drink, don't smoke, and don't squander your money." Like every other son past and future, I followed almost all of it. John Gordon at this moment is very much the center of attention. He knows he has something to say. He wants to say it. And he wants to be understood. Most often the best advice we can get is the advice we give ourselves because well, we know ourselves. Okay, George, lights. Well, here's the crux of the matter. The communicative spirit. John Gordon wants to communicate. He wants to be understood. So he expresses not only his ideas, but in the way he delivers it, his attitude about it. The what and the how can't be separated because the how something is said reinforces the meaning, the attitude, the whole point of view of the speech. Let's take a simple sentence such as "I like it." Joanne, your version of an animated "I like it." I like it. Good. Doubtful. I like it. Irritated. I like it. Angry. I like it. A matter of fact, Bob. I like it. Amused. I like it. Right. We say something and how we say it, how we deliver it, indicates the mood, the attitude. This is particularly true in formal communication where there's just no time for this what I really meant to say backtracking technique. We say it and how we say it either carries it or not. To appear indifferent, to be totally uncommitted to the message we're trying to bring across, doesn't make for a good speech. But when we allow our delivery to express something of ourselves, something of our own personalities, then, all things being equal, we will reach our audience. And the what we have to say becomes meaningful. Let's watch another speech making situation. George. Good afternoon. As you know, this afternoon The audience consists of people the speaker knows. It is an informal group of friends, acquaintances, fellow club members. Without further ado, I introduce to you Mr. Jim Mason. >> [applause] >> My topic for tonight is Thank you. Uh I I was asked to speak here tonight. I was asked to speak to you tonight. And my topic is the swimming pool in Glensville. Do we need a swimming pool in Glensville? >> [clears throat] >> We on the committee have done a lot of uh investigating on this matter. >> [clears throat] >> As you know, the summers here are hot. The summers here are hot and >> The audience, too, may get hot and uncomfortable. There is communication, to be sure, but it does not please. Why? Because the speaker's delivery lacks energy and vitality. He does not allow his meaning to penetrate. He says words, but he doesn't give vent to his personality and his own attitude about his topic. So he gives the impression of being uninterested and uninteresting. Who who didn't show up Monday and Tuesday be- because of July 4th weekend. Okay, George. Lights. So, we communicate by voice and by action. And it's possible to set up certain guidelines for each. But let's talk about voice for a moment. Certainly we we must be heard. We must be understood. We must be pleasing. There's no point in even speaking if we're not heard. One must be instantly intelligible. Sloppy, indistinct diction can be annoying. And it can lead the audience to feel that the speaker is a fuzzy, unclear thinker. And he must allow his voice to indicate something of himself. His own mood, his own attitude. It must be animated, flexible, and colorful enough so that the audience feels the speaker really cares about what he's saying. Let's listen to John Gordon once more. George. It wasn't so very many years ago that I sat in the same seats that you're sitting in right now. Griping about SAMs and instructors and courses and convinced that getting an education was not all that it's cracked up to be. And to a certain extent, you're right, you know. Those good old school days that everybody looks back on with so much fondness. Well, they're not really so good at all. They're They're hard, frustrating, often highly competitive, sometimes really frightening. John Gordon has a desire to communicate something to his audience. In his delivery, he uses his voice, of course, and his body. And indeed so. "Let go of my hands," an Italian once said, "I want to talk." We have a body, feet, hands, shoulders, head, eyes, and they all have something to say. Ron, stand up for a minute, will you, please? Demonstrate good posture. Good. Thank you. A funny thing about the word posture. Say it, and the reaction of most people is to stand at attention. Well, that's great for cadets, but it's not very good for dancing, eating, playing, or making a good speech. Let's look at a speaker who is too afraid to allow himself bodily movement. To illustrate the effectiveness of swimming pools in other cities [clears throat] and towns. We have gathered some >> tense posture or a sagging, drooping one affects our delivery because when the body is rigid, often so is the mind. And when the body is too relaxed, the delivery becomes too casual. I I guess you can't see. I mean, they're they're small, you know. But this I don't mean the figures just What we mean by good posture is an attitude of bodily alertness, bodily freedom, which allows body and mind to operate as a unified whole rather than as separate entities, disconnected one from the other. Sensitive facial expressions, especially the eyes, give an extra dimension of meaning to what we're saying. They reflect our thoughts, attitudes, emotions, as well as our personalities and character. And of course, the effective use of gestures, head, shoulders, hands. You here and now are facing a challenge because this is a young world. You're fast moving into a majority position. More than any group of young people before you, you're you're engaged, you're aware, you're perceptive. And this is good because you will be given responsibilities of a far greater magnitude and at a much earlier age than any generation of young people before you. It's possible to communicate by voice or by action. But effective communication, where we really want to understand and be understood, can best be achieved when voice and action complement one another. Because attitude and content go hand in hand. Offstage, of course, we communicate with our bodies and our voices quite unconsciously. Let's watch Jim Mason as he communicates in this situation. What the heck are you doing? Why don't you watch where you're going? Listen, I was going 25 mph just like the speed limit says. What are you doing stopping right here in the middle of the street? Yeah, right. Except it doesn't happen to be open SEASON ON PEDESTRIANS. >> OH, WHAT PEDESTRIANS? SHE'S RIGHT over there. >> Yes, man is a social animal with ideas and attitudes. And willingly or unwillingly, he sends out cues and signals communicating >> [music] >> something. Effective communication is to send out those cues and signals which most accurately reflect what [music] we think and feel. But we understand and are understood >> [music] >> by what we say and do and how we say and do it. Content and [music] attitude, voice and action. >> [music] >> Finally, there was some yelling at the end. That's what I wanted. Some yelling. Uh okay. Um Here's a film made for secretaries, I believe. Maybe business managers, I'm not sure. This is uh about typing from 8:00 to 5:00. Enjoy. >> [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] >> The best secretary we've ever had, and now her letter of resignation. It's no wonder I had that nightmare. >> [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] [music] >> She's quite a contrast [music] to that bad dream. In fact, she's just about everything a university secretary should be. Her appearance speaks for itself. More than that, it speaks for me, our department, and the university. She realizes the importance of looking her best [music] at all times, and this is noticed by everyone who walks into the office. Visitors, as well as those within the department. Her appearance makes a good first impression, and she follows up with a gracious manner. Regardless of her workload, she finds time [music] to be pleasant, cordial, and helpful. A good university secretary realizes that not everyone on the outside understands many of the [music] things we of the academic world take as routine. Things like setting up an appointment with [music] a professor whose schedule of classes and labs may seem out of the ordinary. >> [music] [music] [bell] >> Chemistry Department, Jean Beasley speaking. Yes. Dr. Saunders is in conference now. May [music] I take a message? Yes. Contact [music] Professor Fredericks concerning the petition of James A. Coonwalt. C U N W A L T for readmission. Yes. Thank you for calling. Her telephone manner is friendly, warm, yet always business-like. She expresses her regrets that a professor can't be reached, offers to take the message, then rereads [music] it to check for accuracy. Little things like this make for efficiency in any office, make this particular university [music] office a pleasure to reach by phone. Daily contact with students is another part of [music] her job. She has made it her business to know departmental and university regulations. By interpreting [music] them, she is able to save valuable time for both faculty and students. Professors' time can be given to more essential tasks, and students are spared the long wait for an appointment with a faculty member. >> [music] [music] [bell] [music] >> Filing is another one of her responsibilities, >> [music] >> and varies according to departmental practices. Consistency should be the watchword. Before filing anything other than routine papers, [music] our secretary makes certain that the material has been reviewed, necessary action taken, and is now ready to be filed. >> [music] >> A university secretary is usually a departmental secretary. In other words, she is an actual practice secretary to many. This calls for large amounts of tact and diplomacy. Every person in the department [music] justifiably feels that his work is most important, but she must be the judge of priorities in her work. She generally completes first [music] those tasks which have a direct bearing on the operation of the department as a whole. After that, her consideration is directed by the order in which the work is submitted to her. Regardless of what decision is made, it must be understood by all members of the department. In this respect, her job may differ from the role of a secretary in other fields. When shorthand has been properly taken, the secretary has little difficulty transcribing it into typed copy. A good secretary carefully edits each item of dictation. This can usually be done while the person dictating pauses to collect his thoughts or is interrupted by a telephone call. Our secretary [music] has found that she has three indispensable friends at her disposal for finding just [music] the right word, properly spelled. The desk dictionary, a thesaurus, [music] or a dictionary of synonyms. A good secretary like ours knows that the final typed letter speaks only too clearly for our department and for the university as a whole. As the textbooks say, a secretary spends [music] 1/3 of her time at a typewriter. And our secretary is no exception. Her typewriter is her almost [music] constant office companion. And like any other machine, it works best when given proper care and maintenance. >> [music] [music] [music] [music] [music] >> The university secretary has every opportunity to reveal her initiative at work, perhaps more so than others in like positions in business and industry, because frequently her work is less regimented. Spare time [music] in the office can and should be put to practical use. She resists that urge to read the who [music] done it tucked away at the back of her desk drawer. A mental hazard for many university secretaries is the realization that [music] their jobs are really temporary expedients, lasting only until their husbands earn that coveted degree. It's easy [music] for their work to reflect an attitude of marking time. The secretary who is not marking time starts the day attending to housekeeping [music] duties. Taken by themselves, none of these details is important, but regular attention to such details marks the difference between an adequate secretary and a competent one in a university. Things like or or even And this can lead to a bit of housekeeping, too. Thoughtful things that in themselves [music] don't take long, but add immeasurably to the department's opinion of a good secretary. For example, pens go dry, calendars need changing, or even an ashtray emptied may catch an approving [music] eye. There's always need for practice, shorthand, or typing, too. Yes, a moment of thought will find plenty for her to do. Attention to these details of the [music] job makes good sense. And [music] may even pay off with an offer from the boss to help her carry those heavy supplies. While she's at this business of thinking, [music] it's a good idea to check herself in relation to her job. For certainly other people will. I know that I've subconsciously checked [music] every secretary we've had against these top 10 traits. How do you stand up? First, accuracy. Exactness [music] in each detail of the job. It requires only time, patience, and concentration on the work at hand. Next is good judgment. For the university secretary, this means to think, to see the need for action, and then to [music] act accordingly. Then comes follow-through. Following through to completion of tasks both specified and implied. For example, [music] the notation which says enclosed is always an implied instruction in a dictated letter. Or follow-through may mean filling out a slip for every call that comes for a professor when he's away from a telephone. A good secretary isn't satisfied [music] to merely tell him of the calls when he comes in. Another checkpoint is resourcefulness. To a university secretary, [music] this means trying different solutions, thinking of new ways to expedite work. An example, one that cuts down office expense, running ditto copies [music] through on both sides of the paper with the professor's approval. Initiative is another mark of the superior secretary. I mean doing something helpful without being told, like attaching [music] previous correspondence to an incoming letter, or stapling pages [music] of mimeographed copy. Posting an article of interest on [music] the office bulletin board. Initiative can be applied to all areas of secretarial work, assigned routine or tasks above the call of duty. Some of the top 10 traits of the good secretary have [music] to do with her handling of human relations, and in most any office on campus, one comes in contact with many people. [music] Consideration for others is a basic ingredient. [music] Thinking of others first, their ease and comfort. >> [music] >> Tact is indispensable. A tactful secretary can be instrumental in helping to establish and maintain good working relations within the department. And in so doing, she gains others' thanks for her use of tact. [music] She always talks and acts in ways that keep embarrassment and annoyance to a minimum. Discretion has been called the better part of valor. A secretary on campus has access to confidential material about which she must be discreet. Such things as budgets, salaries, letters of recommendation, examination papers. If for any reason she must leave such material in her typewriter, she takes care to cover it up before leaving. Any office would rate loyalty near the top of the list of secretarial qualifications. Interdepartmental relations can [music] be strained by a casual remark, even when it isn't intended to do harm. Loyalty is [music] allegiance expressed verbally or just implied. The last of the [music] top 10 traits of the superior university secretary is objectivity. This means [music] analyzing a situation impersonally before reacting. Sometimes her work is criticized or rejected as [music] unsuitable, which means she will have to type it again. She could show hurt, annoyance, or hostility, but a good secretary will react not personally, not emotionally, but with complete objectivity. No doubt about it. Replacing that secretary is going to be tough. I'd rather not think about it, but here's her letter of resignation, beautifully typed like [music] all her work. It's enough to bring back that nightmare. >> [music] [music] [music] >> Bob, my husband has been offered a promotion if we stay on here. So, that means we won't be leaving after all. And since we won't, I was wondering Yes. Uh well, I was wondering if well, if you haven't found a replacement for me yet, maybe we could just forget [music] about that little matter of my resignation. I'd love to stay on here. That is, if it's agreeable with everyone in the department. Does that answer your question? >> [music] >> Welcome back. We're glad to have you stay. >> [music] >> Such a weird film. Holy cow. And you know, I I really just scrubbed through it to see what I thought the film was about cuz I didn't have a description, but man, I was way off the mark. So odd. Anyways, that's why we uh love showing these films. It's like, who was this film made for? What's the point? All right. Uh this next film is a Coronet film. No, I'm sorry. It's a Centron film when it was owned by Coronet. And it's off the rails and has clowns in it, so get ready. This is Characters in Conflict. Enjoy. >> [music] [music] [music] >> STEP RIGHT UP. STEP RIGHT UP. COME ONE, COME ALL. YOU, SIR, you look like a writer to me. Go right inside. Here they are, folks, the beginner's all-time FAVORITE CHARACTERS, ROCKY AND DEBBIE BLOB. THE BLOBS ARE JUST SO TALL. Have this color eyes and that color hair. SEE HOW THEY MOVE JUST LIKE REAL PEOPLE. When they are lonely, sad, or happy, they sigh, cry, OR GRIN. THE BLOBS WOULDN'T DO ANYTHING you wouldn't do, folks. They're the world's easiest characters. THE BLOBS HAVE EVERYTHING. Blobs have everything, except life. And the reason blobs [music] cannot live is that they are born in the writer's mind fully grown. The writer who wants to create believable characters must know them thoroughly. What forms a fictional character is what forms a real person, his past. Each individual grows up in a world that is infinitely complex. Ideas, urges, [music] threats, and rewards come to him from all directions. Sweetie, girls don't behave like that. Mama loves you. Let's see your report card. Beauty is truth. God made the world in 7 days. Don't be like your father. The square of the hypotenuse is equal to good fellows. Sam's a dirty communist. That's bad, son. Eating meat builds muscles. Do that, and I'll punch you in the nose. >> doctor, so he knows. Don't act like a Early to bed and early to rise You'll never make friends that way. That's a shame, troublemaker. Be quiet. Only by reflecting on a character's past [music] can a writer get to know that character from the inside and begin to see the world from his viewpoint. I believe this, I don't believe that. I like this, I don't like that. That's beautiful, that's ugly. This is good, that's bad. I'm handsomer than him, he's tougher than me. They're going to love me for this, they're going to laugh at me if I do that. I'm all right. What's wrong with me anyway? >> [music] >> The writer must be able to see the world from the character's viewpoint. Like any individual, this character [music] does not see the world as it is, but as he is. His concepts of himself and the world are all he has to go on, so they are vitally important to him. Therefore, anything that agrees with his concepts, he welcomes. I had to feel that way, too. So few people really see the truth about those matters. >> But anything his concepts, he tends to resist. Women's lib is for the birds. They're tired. >> People do not see the world as it is, but as they are. This new building represents only one tiny aspect of the world. But listen to the way three different people regard it. I must say it's a great-looking building. Even if I was the architect. Oh, there's that dreadful place. I hope that dentist doesn't say the tooth has to come out. I'm glad Grandma and Granddad can't see that commercial monstrosity. The corner looked better when their old house stood there. Each person sees the building and life itself in a highly personal way. Stories are about people trying to cope with life as they see it. Life often presents a conflict [music] between the way a person imagines himself and the world and what he actually encounters in the world. Most dramatic stories ask the same question. How does a particular character deal with a conflict? For a simple example, take the uncomplicated character, the action cowboy. He has a fairly rigid point of view. He believes that fighting is manly, that losing is disgraceful, and that quickness is next to godliness. Then he meets an opponent reputed to be stronger and faster than he is. He faces an external conflict. Not only his life, but his entire value structure is [music] threatened as the conflict tests his character. But happy day, he proves to be faster than his opponent, thus passing an external test of character and pleasing all of his like-minded readers. A serious writer might give the Westerner [music] an internal conflict. He could have a personal sense of justice and human dignity, but an equally strong desire to get along with others and avoid trouble. Suppose such a man found himself in a lynching party that was about to hang two men without trial. The situation puts two elements of his [music] nature in conflict. Does he speak out for justice? Or does he remain quiet and avoid trouble? This is somewhat the situation in Walter [music] Van Tilburg Clark's novel, The Ox-Bow Incident. Characters in conflict tend to express [music] their attitudes and emotions to reveal their strengths and weaknesses. So the real value of conflict [music] or dramatic situation is the opportunity it presents for revealing character. Will this Westerner let the hanging proceed? [music] Or will he oppose the crowd and try to stop it? By his actions, we will learn to know him. We will not solve his dilemma here. For further study [music] of how conflict tests and reveals character, you may read The Ox-Bow Incident. Make characters interestingly different and plausibly similar. How does one go about presenting a character? Let's imagine a come-as-a-character costume party. Present are guests representing such known characters as Huckleberry Finn, Scarlett O'Hara, and Captain Ahab. Others, like the man in white, are new and unknown. We might think of the writer as a host with the duty of presenting new characters to the reader. >> [music] >> The reader, however, arrives on the scene a total stranger and just a bit apprehensive. A glimpse of the setting may suggest something of the nature of the party, but it's the character she wants to know about. The writer has to make the introduction. But if he puts himself between them and simply talks about a character, the reader and character will never really meet. What the writer has to do is stand back and let the character make his own impression by what he does and says. 500 yd dash. 100 yd dash. You know, so. >> really like track too much. What first stirs the curiosity of the reader may be a difference in the character's outlook. You wouldn't even go across the street to see a track meet, but you would probably read books about the Olympic Games and think that they were great. Well, yes, but that's a little bit different, don't you think? >> But eventually, what will hold the reader's attention is the discovery of similarities, of things they have in common. >> Yes, but I really didn't think too much about it. Oh, you know, I felt the same way that it was a big put-on or something. You know, so you Yes, I had that feeling exactly. Differences make a character unique. Human weaknesses or similarities to us make him universal. The original Huckleberry Finn had that difference in his undisciplined free spirit. Yet underneath, he was similar to our concepts of all children in his gullible, superstitious innocence. The selfish and flirtatious Scarlett O'Hara dominated Gone with the Wind by the difference in her character. We could easily dismiss another person with her self-centeredness, but Scarlett revealed the human girl underneath in the way she faced every difficulty with, "I'll think about that tomorrow." Captain Ahab, hunter of the white whale Moby Dick, was certainly different, so uniquely obsessed that to some of us he seemed not quite human. But author Herman Melville wisely told Ahab's story through the eyes of Ishmael, whose fears were more similar to what we might feel in Ishmael's place. Meetings between characters with similar behavior are friendly but undramatic, while differences in behavior lead to comedy or conflict. What else is gained by making a character different? Gentlemen. We'll put it to vote. Yes. Yes. Yes. No. Well, whose opinion shall we hear first? Interest is attracted by a distinguishing difference. This has been our greatest year ever. We've accomplished everything we ever set out to accomplish this year. And so, in conclusion, I'd like to say, and I think I speak for all the senior players of this team, thank you, Coach Smith, for your dedication to the game and your inspiring leadership. >> [applause] >> The next to speak will be Bob Benson. It is my personal opinion that Coach Smith and his win-at-any-cost attitude leave much to be desired. He attracts our interest by a distinguishing difference. But we need to find the universal humanness in him, too. It's it's not easy for me to stand here and say this in front of you. In fact, I'm trembling. For sympathy and rapport, a character needs that touch of humanness. We have not yet made the man in white a fully developed character. [music] What do you think? Is he the person he pretends to be? If you were to write about him, could you develop his Hold it. I want to say something. I don't want you to write about me because you don't know me. Actually, I can be talking about one thing and thinking about something else. I can be pretending to have a good time when I'm not at all. What I'm saying is, I've been thinking all my life, and most of what I think, I keep to myself. I don't completely understand myself yet, so how could you understand me? As the man said, you got to know a person's past. You got to show what he is by what he does. And you got to see that he's like everybody else. Yet [music] yet, you got to know him well enough to see how and why he is different. So don't write about me. Write about [music] people you know. Anything else to say? Just period. >> [music] >> Wow. So, that was a change of pace. >> [laughter] >> Um and thank you uh Kevin and thank you Kame uh Bride 1954 for the kind donations. Um is it because I showed footage that had clowns in it? Is it because I warned you that there were clowns in the footage? Like, what was it? But uh that is a wonderful way to support us. And so, thank you for that. Uh so, um >> [clears throat] >> some news uh first. Uh next week I'm going to bring out some potential candidates for the uh toe-tapping tournament that we're doing versus the Found Footage Festival. Uh so, look back the last couple of years and see if there's any ones that you recommend. And why don't you email me at skip@avgeeks.com? Um I have a my own short list. We're not going to do the whole crazy bracket thing, but we will vote. We'll do some voting. Um also uh at South by Southwest there is a documentary about newly discovered Bigfoot footage. Maybe. Maybe Bigfoot footage. So, uh that is of interest to us because we scanned that footage a couple of years ago. And uh we're working with the documentary filmmaker about it. We didn't know what it was. Uh my assistant Keshon I I said, "Here, scan this." I didn't say what it was. And he was like, "What the hell is this?" Um that's the thing is like so, when we scan stuff for clients, we don't share it unless we get permission. And um he was the filmmaker was wanting to make a documentary, so we didn't share it. But we've been sitting on it like ooh. So, anyways, that documentary's coming out soon. And what I'm seeing in social media is all the Bigfoot fans hate this documentary. They absolutely hate it. Um so anyways, there you go. And they haven't even seen it cuz they had I don't even think it's aired it's premiered yet. But that's a weird kind of overlap with AV Geeks. Um we see a lot of stuff and we don't always share and talk about it. So um just so you know, and sometimes it shows up. But thanks everybody for tuning in. Uh hit the thumbs up, hit the like button. Uh if you happen to be in the Triangle area, I'm showing I'm introducing Gremlins 2 tonight. And also uh we're going to be doing trivia and have a host uh maybe a paleontologist uh an expert from the museum. And somehow we're going to talk about Gremlins 2. So uh I can't remember how much it cost, but it's relatively cheap. And it starts 7:00 tonight at the Raleigh Natural Science Museum. But thanks everybody. We will see you on Monday. Take care. Bye-bye.