A/V Geeks Bonus Early Lunch Streaming Show 2-18-2026

[music] Um, this is a quick tour. Can you hear me? um let me know um in the comments. We're using some new technology and um yeah, this is um I'm Skip Alzheimer from the AB Geeks Educational Film Archive and I'm using Streamyard uh today because I'm going to have a special guest. And so traditionally I do a lunchtime show and um I show films from my collection. So we're watching a video here that is old. Um this is where the films used to be and we renovated that space and now we have a film vault in our basement that's climate controlled and we still have a lot of films offsite. But these are all educational films that I acquired over the years. I would say it's a hobby that went a little bit crazy. Um, but uh the reason why we're doing this bonus show is because uh I'm presenting this not only to my regular viewers, but also to the folks at Bridgemond Images. Bridgemond Images um is representing a lot of the stock footage that I have. And so I wanted to do kind of a meet and greet. Uh and I'll have someone from Bridgemond on very soon. Um and so as I said, the vast majority of my collection is is educational films that I got from school auctions where the schools were basically saying that these films are no longer relevant. um they're obsolete and um basically um I picked them up and I realized that okay they were a little corny uh which is great and fun to watch but also they kind of capture um a cultural artifact of the time. They capture how we looked, how we talked, um what was important to us, what we were afraid of, what our aspirations were. And I find them in interesting places. I find information. Uh and so we're going to start off with a a film uh which is from Centron Films, which is based in Kansas, that is about school lunchroom manners. Enjoy. How good is your imagination? Let's pretend that you've just moved to a new neighborhood and you're going to go to this school for the first time. What would you expect it to be like? You probably have a pretty good idea of what the other kids will be like >> and you know what to expect from the teachers. are different. >> The classes might be very much the same as those in your old school. >> You would probably expect to sing in the music room, >> read in the reading circle, >> which looked out onto the river. But the night was >> and of course you know that you'll play games at recess. But when it's time for lunch, what do you think the school cafeteria will be like? Would you expect this or [music] do you think it will be more like this? If you expect the lunchroom to be more like a noisy barnyard, maybe it's because some children don't behave very well in the cafeteria in your school. Well, it's probably not this bad, but sometimes it may seem like it to your lunchroom workers, teachers, and principal, and maybe even to you. It's no fun to eat in a pig pen or a battleground. Your lunch periods can be relaxing and enjoyable if you and your classmates will just do your part by using good manners. Do you have the idea that anyone who has good lunchroom manners is a >> These are football players. Do they look like sissies? You don't see them yelling or throwing food, do you? What do you suppose they would say to someone who acted that way in their dining room? Your lunchroom manners can be just as good as those of grown-ups. It isn't hard. You just need to use some common sense and to treat others the way you would like to be treated. Being thoughtful and considerate of others begins before you ever get to the cafeteria. When it's time for lunch, leave your pencils, scissors, and other items you won't need on your desk in the classroom. >> Okay, boys and girls, let's go. Quietly move right along to the cafeteria without goofing off, but avoid running. If you make a lot of noise, you might bother classes that are still working. It's important that you get to the lunchroom on time. If you're late, you may delay other children, and that would not be thoughtful. Once you're in line, remain quiet and calm. This is no place for a wrestling match or a shouting contest. And we all know what we think of anyone who would be so rude and childish as to try to crowd ahead of others in the line. Make certain that the line doesn't block the way of the children who are trying to carry their trays from the serving line to the tables. Let the kids carrying the trays have the right of way. As you're standing quietly in line, it's a good time to get out your lunch money or lunch card. If you carry money, try to have just the right change ready to pay for your meal. Place your lunch card, lunch coupon book, or money on the corner of your tray nearest the person who will collect it. No one likes to wait in line while one person tries to find his or her lunch money. Before you get to the serving line, you may have a chance to read the menu. In some schools, the children are offered a choice of different lunches. If you have a choice, try to make up your mind what you want before it's your turn to be served. Just think how many kids would have to wait if just one slowpoke can't make up his or her mind. It's rude to keep a whole line waiting for you. Here's where you get your silverware, straw, and napkin. Make sure that you get everything you need before you leave the serving area. If you forget your spoon or straw, you'll have to disturb the whole line to get them later. Do you think that's being kind to your classmates? Unless your school has a separate line for children who only want milk, go through the hot lunch line. Even if you bring your own lunch from home, you can get a tray to carry your lunch, your milk, and the other items you'll need. When it's your turn to be served, you should accept your portion without arguing, even if it's your big brother or sister serving you. >> Can I have two pieces of cake? >> You can only have one. >> It wouldn't be fair for them to give you two desserts because then someone else might not get any. Being polite in the cafeteria includes being pleasant and courteous to those who work there. >> Thank you. >> You don't need to be stingy about saying please and thank you. As you leave the serving line, hold on to your tray with both hands. What does that have to do with good manners? Well, you wouldn't even have to ask that if a tray had ever slipped out of someone's hand and spilled hot food all over you or someone else's good school clothes. Always watch where you're going as you carry a tray because someone else might not be watching. That was a close one. >> Sometimes you have an accident and spill things even though you're trying to be careful. The important thing is to make sure that it's cleaned up right away. In some schools, you can clean up your own spills. In others, you should report it to the lunchroom workers immediately so they can clean it up. Find out from your teacher how you are supposed to handle spills in your school. There are two good reasons for cleaning up spills right away. Do you know what they are? First, think what a mess it would make of someone's shoes if they were to step into this. Even worse, a child might fall and be hurt by stepping into a slippery pool of gelatin or pudding. Here's another dangerous thing to have on the floor. Pick it up even if you didn't drop it. When you reach your table, make sure the tray is resting solidly on the table top before you let go of it. If it were left hanging over the edge, what might happen? If you have benches in your cafeteria, sit far enough apart that you can eat comfortably without bumping other people's arms or brushing your sleeves and their food. Huh. Is that what you should do with straw wrappers? Yes, that's much better. >> Oh boy. Should he do that? Is that being thoughtful of others? No, of course not. Thank you. Uhhuh. You never throw food in the cafeteria. If talking is permitted in your school cafeteria, speak softly to your neighbors. Is it polite to talk with your mouth full? No. Wait until it's empty. You probably know that some things are just not fit to talk about while you're eating. Put yourself in the place of your listeners. If some subject would make you uncomfortable or take away your eating enjoyment, don't make others listen to it while they're eating. Being polite also means being pleasant to your classmates. Picking on them, teasing them, or insulting them is always poor manners in the lunchroom or anywhere else. So, keep the conversation friendly. >> If anyone offers to share part of their lunch with you, wait for them to pass it. Don't grab it off their plate. When lunch is over, pick up everything that's been dropped on the table or the floor. That's a way of showing that you're thoughtful of the next group that will be eating at your table. Then, carefully put your dishes, lunch sacks, and milk cartons on your tray. It's better not to stack up your dishes. A wiggly pile of dishes might slide off your tray and crash to the floor. Stay seated at your table until it's your turn to take the trays to the dish window. In carrying your empty dishes to the dish window, use the same care that you used in bringing the full trays to your table. Use both hands, watch where you're going, and always carry just one tray at a time. At the dish window, move patiently in line until it's your turn. Remember your manners. This is no place for shoving or tripping. Be polite to all the people who work in the lunchroom. If you thought the food was good, be sure to mention it to them. >> That was a good lunch, Mrs. Black. >> I'm glad you enjoyed it. We'll try to have it more often. >> Thank you. >> You're welcome. >> Good manners can make your lunchroom a more pleasant and enjoyable place. Try being especially thoughtful of others at your very next lunch period, and see if it isn't fun to be polite and to have your classmates be polite to you. So, the only time, this is a re revelation here, the only time that I ever got called to the principal's office was because I was roughousing in the cafeteria. There was um it was a long time ago. It was in Ohio. I must have been in the third or fourth grade. And um we had a cafeterium. So part auditorium, part cafeteria, also gymnasium. Um and uh yeah, so anyways, so that film on, you know, on its surface is just an educational film made for kids about cafeteria manners, but there's so much more there. Uh culturally, that's late 70s, early 80s. Uh this is an opportunity to to look at at at films about nutrition, uh films about school lunch programs, uh which are many are under attack now. Um look at you know kids and you know being juvenile delinquents. There's so many opportunities there as far as stock footage goes. Uh and that's why I like these films is because um and why I also do stock footage. Stock footage helps pay the bills, but it also helps put new eyeballs on some of this older footage that nobody would potentially see. Okay, so special guest time. Uh, I have Sarah Beex Rice in the green room and we're going to bring her out and uh she has some questions. She's going to interview me. Um, and so here's Sarah. >> Hi. >> Hello, Sarah. >> Can you hear me? I can. >> Nice. >> And so what we're going to do is I'm also going to show some silent footage behind us. Um and uh while we talk. >> Nice. Being in green room felt very fancy. >> Oh, was it nice? The snacks were good. >> Yeah. Yummy. Um I love the free coffee. And >> is that okay? Cool. >> No, I added the wrong thing. Hold on. There we go. That's what I wanted. >> Oh, lovely. [laughter] That's what I want to see. Thank you, Skip. Um, that the lunch film, um, so enlightening. Um, but also like an exemplary exemplary clip like you mentioned that kind of shows the very I think eccentricities of your collection and what can be made from them and a kind of second life. Um, but again, uh, as Skip said, I'm Sarah Beex Rice. Uh, I'm from Bridgemond Images. I'm the footage manager there. Uh just to say a little bit about Bridgemond before we get into the uh interview uh segment. Um so Bridgemond Images work um is really basically all about getting together incredible visual material art, archival footage, uh photography, imagery of cultural objects um from in from like within collections like Age Geeks and into the world. So we work with everyone from major museums and archives to private collectors and artists. Like I said, AV geeks [laughter] and help that material uh find new life in documentaries, TV, publishing, advertising, design, etc. Um, wherever people are telling stories with images, both still and moving. Bridgemond's been doing this for over 50 years now across the UK, US, I'm located in New York office um in France, Italy, Germany, where we have offices and of course throughout the entire world. Um so yeah this afternoon is really about those raw that raw imagery and what happens when um in this particular case footage um starts circulating again how we can shape new narratives shift perspectives spark conversations and public spaces on screen and in our everyday life and here on YouTube. Um but again this thank you for collaborating with us. This is such a fun way to kind of spend a lunch hour or early lunch hour hour. Um, and I learned that a fork on the ground is quite dangerous. So, um, yeah, let me take that knowledge with me into the rest of my life. Um, >> and so we're watching just to give, uh, because people are probably like, what's going on? So, this is raw footage that was shot maybe for a infomercial uh, commercial um, for a sauna suit, exercise sauna suit. So, this is raw material uh from that. >> Is this a new recent scan or? >> Uh, no. I've I've had Well, I I Yes, I scanned this recently, but I've had this film for a while and it's just so odd. And you can see that there's like this is raw, so there's like the camera is not completely threaded, right? Um, but things get weird very soon. So, >> I hope I don't get too distracted. [laughter] Well, with that said, um Skip, you know, you've made um AV Geeks into this very big like personality archival entity. Um you've got these recognizable collections of classroom ephemeral films. Um what was the moment where things shifted from collecting to kind of like your life's work and what keeps you excited about it today? Um, well, it's it's really like Christmas every day. Um, because uh I am constantly finding new films um including ones in my collection. I have 37,000 films and I haven't seen all of them. So, every day we try to scan three or four films. I try to share them online and so I'm always discovering new stuff. Um, and that for me is super exciting. Um, and then, you know, realizing like, oh, I'm going to share this with the world in some way or another, like on YouTube, but also, you know, potentially not everything I have is something that I can license for stock footage, but there's a lot of really great stuff in there that I just think it's like, whoa, that one is socially relevant now. Oh, whoa, that one is socially relevant now. So, for example, robots, intelligent machines serving mankind. So this film is about robots but boy it doesn't take much to extrapolate and talk about AI with this. So uh this is a uh educational film that was sponsored by I think uh South Carolina uh Power and um talks about uh robots in general. So visually there's great stuff in here. There's great animations and also there's early robot footage. >> What year is this one from? Uh, I want to say that this is like 78, but I could be wrong. I have that information in a database somewhere that I don't have up, but >> I want to I really love the animations that are inserted into a lot of these films. Um, there's I feel like there's a lot of like kind of understated value um to reuse on those as well. Um you mentioned um kind of collecting from going into schools like assessioning the collections there that they're deassessioning um finding collections that were going to be thrown out. I it's in talking about recontextual recontextualization. It's almost like some of these films were created with like a DNA to almost not survive because they're >> so time and placey. Um, >> yeah. I mean, that's the thing is that they were made for a very niche audience at a very specific time in a very specific place. And so, they weren't meant to exist. And and that says a lot about when we find films that are color faded. It's because they they put it on the cheapest color film stock that they they could find. Like, they could spend more money, but it's like, what's the point? because this film will be outdated and we'll do a new revision in like eight years or 10 years or five years. So, uh, yeah, these are very ephemeral, uh, and when they were made and why they were made, but the fun part is looking at that ephemererality and realizing like, whoa, even though this was meant for this niche audience, this has a bigger impact and and and actually reaches out to lots of different uh, eyeballs for different reasons. So, um, that's what I like doing is taking something that was meant for a very specific audience and then showing it to a general audience and then you get a sense of of cultural history. Um, and I I love that. >> When you um, have you kind of seen any change in the way you source material these days? I think like possibly people are reaching out to you directly now to save collections. Um >> yeah, I mean I get uh inquiries a couple of well several a year and uh some of them I've taken on like I took on two big collections a couple years ago like,200 films and I'm still going through those. Um I try to be a little bit better about it because I'm running out of space. Um also >> can you talk about your space? Yeah. So, I have um what I call the archive, which is a a boarding house um that has eight bedrooms and that's where I lived and I had the films for a while. Then I got married and my wife was like, "Nope, we're not living here." So, I moved out and kept the equipment there. And then recently, over the last year and a half, we renovated this space. Uh and so now we have a dedicated film bolt, which is climate controlled. It wasn't climate controlled before. Uh, and so but I'm still moving films back from seven storage units that I moved everything out to um, you know, a year ago. So I'm slowly bringing things back into the collection. But yeah, one of the big collections that we got is we made a deal with uh, the people that own Coronet Films. Coronet Films is a giant educational film company. um probably the the largest and um so they sent us a bunch of outs, they sent us a bunch of raw footage, they sent us a bunch of prints and we're slowly going through those. We've gone through about half of the 9,000 cams they've sent us. And [clears throat] so that's a lot of awesome stuff. And oh my gosh, look at assembly line footage making a baby doll. I love assembly line foot. Sorry. [laughter] I was like, "Oh, >> yeah. They're making um Farmer Says uh toys, Mattel." Uh anyways, um yeah. So, I'm still actively discovering new stuff and stuff that nobody's ever seen before. So, a lot of that raw material that was shot by um for Coronet was all raw camera original material. Uh and so it's beautiful chrome footage um that nobody's ever seen. Do you have to be um I don't know a better word like really precious um at some point about what you decide to keep or if with every collection you're kind of bringing in you're making sure to bring in as close to like 100% of it as possible. >> Um I mean I'm getting to the point because of the space considerations. Um because you know I'm paying like two grand for storage units every every month. Um, yes, I have to start thinking about like what is important and you know I used to take on anything and uh I had I got some wonderful films that way but I also got some real dogs like I my least favorite is probably management films where somebody is just sitting there and just talking to the camera. Occasionally there's a graph but it is most tedious. Oh my gosh. Oh strip. We might see those uh that storage unit on like storage wars. [laughter] >> Yeah, exactly. Yeah, I'm just going to put them in a storage unit and then just stop paying rent on it and then some Porsche schmuck is going to end up with a bunch of those management films. Um yeah, so yeah, I try I I have to be a little bit more judicious about stuff, especially taking on collection big collections. I try to get a list just to get a sense of how much duplication I have because over the years I've acquired, you know, scores of of school films and library film collections. And so there is a lot of stuff that that kind of repeats. Uh and you know, do I need another five copies of that Fat Albert episode? No, I don't think I do. Um because I already got five. Um so that those are the things that I have to consider. um you know and if there is a little bit of overlap that's fine um but um yeah I try to be pretty good about it. >> Just to kind of take a step back a little bit um this YouTube kind of concept um you're mentioning like being able to scan, watch new films, share them. How long have you been doing this? And I I know there might be new audience members, live viewers. Yeah. So I uh I started this right when COVID hit. So it was like Mar mid-Marchch 2020. Uh I was freaking out as we all were and I was like you know what I I do like four live shows a month and like in person and I'm not going to be able to do that. So what can I do? And also like how can I occupy my time instead of looking at headlines? So I came up with this idea of doing a lunchtime show where I showed a bunch of stuff I had already digitized and then I brought in a film uh telesc and I did that live and then a film scanner. Uh so yeah it's been happening since 2020. So we're almost at six years. >> Uh and if for anyone who wants to watch all they need to do is subscribe and pretty much every day right? >> Every weekday yeah I try to do something. I might not be live um but I will at least pre-record something and try to show new stuff whenever I can. >> Awesome. So like and subscribe guys. Um you mentioned your um live shows and you you've done screenings, you've done the live shows as you mentioned, conferences, talks. Um I know you've been doing this for a while. I won't I won't age shame [laughter] anyone but um you know >> been doing this for more than 30 years. >> Yeah. you so you've done this long long enough to kind of see what the meaning of the word access is. And >> yeah, I mean I started collecting long before YouTube existed and was some of the people who watch my shows actually followed me on other proto YouTube things. Like I was uploading stuff to the internet archive before you could watch stuff on the internet archive live. Like you had to download it and watch it because internet was very slow. So um yeah this has been a long time and I have seen this wonderful blossoming. Uh a lot of archives used to keep stuff very close to their chest and myself and my mentor Rick Pringer were like no you have to give access you have to give life to this collection otherwise you're just going to um people are just not going to pay attention anymore. And so this has been um a longtime goal and so sharing on YouTube has been wonderful because I get to share with people around the world 24 hours a day, seven days a week. >> Nice. So you definitely um and being around for a while, I I remember um learning about you when I started out on kind of the film archive space and we're both like Carolina adjacent. So >> it's a real bonus for me to get to work with your material at Bridge. >> Oh yeah, that's nice. Yeah, you were at uh University of South Carolina where we got uh many films uh two years ago, three years ago. Uh and also the the Orphans film symposium used to be held there. >> Um were you ever part of orphans? >> I just uh I just went to the conference but I was uh I I started working at the archive um kind of a few years after >> Okay. moved to New York, but um yeah, shout out Moving Image Research Collections. >> Yeah. I know it's they're they're awesome people down there. So, I enjoy um visiting with them whenever I can. >> Yeah. Getting to tell us any um nitrate film when I was like 20 years old, which is >> Yeah, we used to have the same telesc >> FDL60. Yeah. And so I often talked with the tech about the problems we had with that giant It was almost It was a half a ton. It was 1,000 pounds and it was constantly having weird problems and it would heat up a room like that. Like you would turn it on and it'd be like whoa, turn on the air conditioning or something. It's like really hot in here. >> Yeah, I remember the room had no windows and good but you know h having kind of getting to start in this career like very hands-on and um like I mentioned your your collection is a real gem at Bridgemond. I feel like anytime I could come up with any term and you know go on your website and find something um if not fully relevant semi-relevant. So it's for anyone who hasn't just like dug around. Um how many clips do you have on the archival footage.com right now? Uh, so archivalfootage.com is where yeah, like a lot of my clips live and there's probably close to 240,000 clips. And so these are some of them are full-length films, but some most of them are clips that we've clipped up and I uh paid people to go in and and write shot lists for each clip and come up with keywords. So, it's very searchable. Uh, and we're adding new stuff all the time to that site. So, it's it's a pretty handy uh resource. Even for me, I use it because I'm like, "Wait a minute." I remember having something about banana slugs. What film had banana slugs in it? And it's like, "Oh, yeah. >> It's you should add up the running time and then see how long it would take to like watch everything." >> Oh, yeah. >> Years. >> No, it would take a long. >> Well, with that said, in terms of um the licensing side, I was looking at the um sales stats from the Bridgeman side with AV Geeks. shared um some of that with you and I was really surprised to see kind of like the real um variety of like what like our higher selling clips are. You've got a VW bus in the 1970s used for commercial reasons. You've got a time lapse of a rose and then of course the evergreen, you know, war material. Um, have you had a sale within like any um, kind of outlet you use that's like really surprised you or been kind of your favorite? [snorts] Well, so when I first started doing this whole shot list with shots, uh the biggest sellers were Hitler and sperm footage [laughter] >> and then a little bit of Gandhi started getting in there and then uh I think the most popular uh clip is uh women at a phone switchboard. So um but surprising stuff. Oh, that's a good question. I don't know. Like I think uh yeah that's a that's a great question and you asked me that before and I didn't really think about it. Um >> I'm redundant. What can I say? [laughter] >> Um I mean yeah so what was the most interesting I mean like stuff of mine shows up in in uh documentaries all the time. So there is Yeah, I don't know. >> May maybe the best is yet to come. >> No, it's true. There's so many opportunities there and it's just they don't stick out in my head. Uh because it's like, oh yeah, there's a shot of Detroit. Oh yeah, there's a shot of teenagers playing in the street. Oh yeah, there's a shot of immigrant orchids uh you know, picking picking crops. Oh yeah, there's you know, so there's a lot of that stuff. Um, I think the most surprising for me was that somebody licensed some black and white slow motion footage of ducks taking off from a lake. >> And if I had picked like a film that I would not have included, that would have been it because I'm like, this was shot in the 30s. Like, nobody's going to be interested in this. It's like super grainy, but somebody used it. And I was like, wow, okay, maybe I don't know. I mean, this is so this happens with YouTube all the time. Like one of the the more popular uh clips on my or films on my channel is this raw 1970s footage of John Deere tractors going up and down a field. It's silent. It's not edited. Uh and I got so many views on that and I was like, I don't understand. And it's because there are John Deere tractor enthusiasts who love and they watched it all the way through. They watched 20 minutes of silent footage of a tractor going up and down and they made notes. They talked about the the different attachments. They talked it was really phenomenal to see that, you know, here was this thing that was made for a niche audience that was not edited. It was raw footage and it again is appealing to a niche audience. >> The enthusiasts on YouTube are it's such an enlightening group. I feel like I've learned so much from comments, but uh I'll have to grab that. Uh >> they're a wonderful horrible group of people. So yes, they can also be um >> challenging >> opinions. What are we watching here? >> So this is uh I've shown this film a couple of times, but it visually is so great. This is uh this Austrian scientist who talked about basically how we perceive oursel in space. And so what he does is he uh convinces a student to put on glasses that reverse from left to right to right to left uh and sees how quickly it takes someone to get adjusted to them. It it takes a while, but the human brain's pretty good. And this is very much related to people who have had eye surgery and their brains have to start processing how their eyes are different and how it takes a little while. It's the same with ears. like when people get uh colear implants their brain has to reconcern. So I like this film because it's kind of a practical joke too because they get the they get this student to go and he's looking at there's a beer and there's a cactus. It's like one why don't you grab the >> the beer and he's like ow grabs the cactus. So I uh yeah uh I love this film and so but visually it's it's really pretty pretty great. >> I think there is a game um I think we have it possibly with my family has it where it comes with goggles like this and you're supposed to draw something um on you get a card and I think you're supposed to draw it but you're it's changing your vision I think upside down. >> That's brilliant. >> I'll have to watch this and then play the game and kind of >> Yeah. Yeah. Wow. [laughter] So, this important science experiment, they made a film about it that's kind of a practical joke film, and now they made a game. I love it. >> Grab it at uh your local Target. know. Um, so I I guess like I guess the big question is um in a kind of I know it could go like optimistic pessimistic route with AI and stuff, but what do you think the next phase is for AV geeks and kind of like the licensing industry in general? Well, so I'm being approached about licensing my using my material to train AI and I feel like at some point um I might be slating my throat as far as like just feeding the beast for that. But I also know that the the people uh who license my material who want authentic material will continue to do so. So the challenge for AV Geeks is going to be being able to provide provenence to say that yes, this film is not AI. This is actually and I'm kind of doing that right now on YouTube. People are like that can't be real. That must be AI. And I'm like no, it's real. Uh and in fact, this came up uh long before AI was really being used to generate videos. Uh, I have this film called Year 1999 AD, which is a film that was made in the mid60s that shows what the 1999 is going to be like. And it shows all these technological advances in the home. And people thought it was fake. They thought that I added fake scratches. They thought it was all made up because it was too on the nose like, and so it was actually a Snopes article. So, I'm proud I had a Snopes article, [laughter] something I put online. Uh, and uh, I got approached by a TV station in LA that was like, "Is this real?" And I said, "Well, why don't you interview the person who's in the film, Wink Martindale?" And so they interviewed Wink Martindale and he's like, "No, I made that back in the 60s. It's crazy." And so already I was being challenged. Uh, AI is going to make it a little bit more challenging, but I think uh, keeping on to holding on to the film and saying like, "Well, no, this is an actual film. Here it is right here. Like, let's look at it." uh and creating that provenence is going to be the next phase. I think >> I think the world will understand like the textural difference and understand the value and integrity of like real texture. I thought you would appreciate this. I actually have a stuffed film roll. [laughter] >> Where did you get that? Oh my god. All right. There's going to there's going to be a conversation after this about that game that you play and about where you got that stuff. Look, the world's inspired by uh [laughter] films AI, but uh CVS, you know, CVS. >> Are you serious? [laughter] >> Down in hilarious. Because you let me tell you why I like that. That is soft and it is comfortable, which is the antithesis of what 16 millimeter film reels are. >> Uh having dropped uh a reel on my foot and broken my toe, I know uh that that little soft plushy would not do that to me. So, >> so you have a Snopes article and a broken toe from [laughter] the film. It's not it's not a safe uh industry, you know. >> No, no, it's not. And that's what draws me is the danger. [laughter] >> It's flammable and toebreaking. Um I mean I I've this has been amazing, Skip. Um thank you so much. >> Yeah, thank you for the questions and for the opportunity to kind of um I mean my regular fans are watching. They get another show at one o'clock. Well, lucky. >> But um we got to go delve into some things that I don't normally talk about. So, they get to learn something as well. So, thank you for that opportunity. >> Of course. Thank you. This has been a great collaboration. Um and being able to watch these live lunches and what you're doing with them and just keep making things accessible beyond like the licensing and reuse of all of it. It's just being able to see it and know it's there and know it's real and uh what's possible. So, thank you so much. >> Yeah. And so do you want to tell everybody who uh how to find Bridgemond uh and on the web and how to look and see what materials beyond Age Geeks uh you guys represent? >> Definitely. I appreciate that. You can find us at bridgemanim images.com. B R I D Mages like the word images uh.com. Um, I mentioned at the beginning we have offices in uh, we're in London. Um, we're in New York and we're also in France, Germany, and Italy. Um, so I'm available. Um, I don't know. Should I like put my uh, email in the chat? >> Yeah, if you want to. I mean, it depends. You might get a lot of crazy questions. >> That's okay. I had to like open the YouTube uh mute it on another Yeah, I mean I'm available anytime for any questions um with research with um collections you might want to have representation. Um we're also on YouTube as well. We're trying to grow our YouTube presence. So we'll be um adding clips from our various collections. And you know, while Bridgemond Images kind of bread and butter the first few decades was art representation, artist estates and um museum collections and such, we've been focusing on expanding our footage um partnership kind of collections over the last few years. And um I think it's a fun, quirky, unique um variety of films um in part thanks to you, Skip, but also many of our other collections um especially of home movies, regional films, and other u amazing collectors we have doing similar work and bringing um easier access to these potentially forgotten or thrown out films. So, um, said reach out any time and yeah, thank you. >> Awesome. Thank you so much, Sarah. >> Right. Bye. >> All right. Take care. Bye, everybody. Bye.