Full Transcript
First woman:
The files is- I can’t edit. How am I supposed to format it for me?
Jeff:
Cut to guide dog girl.
Second woman:
It keeps saying image, image…
Jeff:
Cut to tech guru.
Third woman:
No worries, I’m on it. Hey, I don’t have time to talk. I need help with editing.
Juan:
I can help.
Third woman:
I appreciate it, but it’s super visual.
Juan:
It’s fine. I can edit. I can totally help you.
Third woman:
You did this?
Spencer:
I like to think of myself as a dog decipher. Because I can decipher what dogs are saying, doing, and feeling all through their barks. There are all kinds of barks – loud barks, soft barks, small barks, short barks tall barks sports barks happy barks mad barks funny barks sad barks, all kinds of barks.
Bree:
Why can’t I marry my cat? He services me better than any man did! Yes, you do! Who loves mommy?
Jeff:
Welcome to Blind Abilities, I’m Jeff Thompson. Today in the studio, we have members of two teams of blind and low vision actors, creators, directors that put together films for the Easterseal Disability Film Challenge. And these two teams were sponsored by Access Acting Academy, and that’s accessacting.org on the web. So, representing team one, we have Spencer and Bree, Bree Klauser returning to the Blind Abilities studio, how you doing?
Bree:
Good. I’m glad to be back on your podcast. Jeff, how are you doing?
Jeff:
Well, I’m doing great, thank you. And yes, welcome back. Bree, why don’t you tell the listeners a little bit about Bree Klauser?
Bree:
I’m glad to be back. For those who don’t know me, my name is Bree Klauser. I am a New York-based actress, singer, voiceover artist. And I also happen to be low vision, legally blind, visually impaired. I was born with a condition called achromatopsia. And this year, I have participated in the Easterseal Disability Film Challenge for the very first time, I’m actually on two films, but the film that we’ll be talking about today is Service: A Dogumentary, which I made with six other low vision and blind creatives, actors, directors, and I’m also joined here by one of them, Spencer Frankeberger.
Spencer:
Hey, yeah, I’m Spencer Frankeberger. I am an actor, director and improviser based out of Los Angeles, and I have Coats Disease, so I have monovision and am blind completely in my other eye. So, thanks for having me on this, and I guess I’ll pass it over to Juan.
Juan:
Hey, everybody. My name is Juan Alcazar, I’m a legally blind filmmaker/YouTuber. Thanks for having me on here once again, Jeff. And yeah, it was an interesting experience being on the Easterseal Disability
Film Challenge. It was a pretty interesting experience, I’ll say that. And yes, I was actually teammates with somebody else on here, you may know him very well. His name is Jeff, Something? Yeah? Am I right, Jeff?
Bree:
Thomp-son?
Jeff:
Ah, yes, the son of Thom. I’m Jeff Thompson. And this was a really great experience. I’ve done podcasting and stuff, but not with the camera, and got to work with six other people on this project, and it was really cool to experience, you know, people in this field, people in the space, it was really enjoyable. I really liked it. And I did some audio description, some narration, I thought I was just going to be in this little spot in the corner or something like that, or my voice or something. But they actually took all the footage, and I was in there, so it really turned out really neat. I think everyone should try an experience like this. It was a lot of fun. So, thank you Marilee Talkington Access Acting Academy, thank you very much for the opportunity.
Bree:
Yeah, I really enjoyed- I got a chance to see your film, which is called A Scene– what is it?
Juan:
I told you, it was hard to remember!
Jeff:
A Scene of Possibilities: A Tribute to Accessibility.
Bree:
It was a very meta scene and possibilities, I have to say. And I really enjoyed that, and I really thought that the audio describer, played by Jeff Thompson, was a real cool framing device that tied the story together. And I really liked how like theatrical it was. It was- it was really cute.
Juan:
Yeah.
Jeff:
It was fun.
Juan:
It was Jeff’s idea to incorporate audio description at first, because I guess it was you who mentioned that like wouldn’t be a good idea to have an AD written before the script was? Well, that wasn’t the case, we did our best, but we incorporated the audio description in a way that wouldn’t just be like a voice of God narrating everything. It was more going to be like, hey, let’s make it a bit of a comical element, so the AD narrator can also react to some of the scenes as well. So, we wanted to have a little bit of fun with it, because I mean, it’d be a little bland if it was just a regular AD track.
Bree:
Yes, I know what was certainly really fun about the genre of this year’s challenge was mockumentary, which I think was the thing that really drove me to be like okay, this is the year I’m going to do the challenge because I love mockumentaries. I love all the Christopher Guest movies like Best in Show and Waiting for Guffman. So, I was talking to Juan earlier, and I feel like a lot of persons with disabilities are so often seen in the world of drama, but like comedy and improv and all that, that is where my roots are. And so rarely do I get a chance to show that off. So, when I saw that it was going to be a mockumentary, I knew we’re gonna do something ala sketch comedy, and I was all down for it. Spencer, do you want to give a little synopsis of our film?
Spencer:
Yeah, sure. So, we had Service: A Dogumentary, yes, a dog as in D-O-G, because our movie was a tribute to service animals, and also has a bunch of little wacky characters thrown in. But the overall idea was taking the idea of how animals have been faring in quarantine and seeing kind of where they are now, but in a comedic, fun way.
Bree:
I really loved being on the writing roundtable, we had a button, pretty much almost everyone was involved in the writing at some point, and it was great that we were all able to bounce off ideas. And this idea that it was pushed- the challenge was either supposed to be a tribute or a discovery. And we had come up with this idea of doing a mockumentary about, you know, service animals before the challenge. And then we’re able to tailor-make it to be a service dog, a service animal tribute. And I really love that Spencer and I, who are both trained in improv, we were kind of bringing that into the writing, in that we played a game of good, bad, worse with the service animal owners we meet, as well as some experts we meet in the film who are really wild, who- Spencer had to play one of them.
Spencer:
And it was so fun, because I love the collaborative effort, especially when it’s like such a short amount of time to make a film, that if I’m like sitting there, like I’m gonna be the writer, it’s hard for me to just crank out material. So having other people’s ideas, they’re like, Oh, this would be fun. This will be fun. It’s like yes, yes, yes, yes, yes. And then having someone who can kind of put all the ideas together but allowing everyone’s creativity to kind of flow was really helpful, because it took a lot of pressure off of like one specific writer, in general to come up with all the ideas and all of the content. So that was really helpful.
Bree:
Yeah, absolutely. And I feel as an actor in the film, that it gave us so much creative freedom, for when it came time to film, it was just like, we created these characters together. So, we would just put on the costume and go, and I know particularly when we shot my scene, Spencer was there as well as the other producers, Shay and Shashank, and Shashank wasn’t there when we were filming my thing, but we had so much fun. Spencer took the helm on directing that scene, and my boyfriend was the DP. And he was- he laughed, and he was like, I’m a director of photography? I’m like, yeah, you move the camera! But talking about Shashank, we had a real international team, Shashank lives in India. So, he would be joining us from a 14 to 12-hour time difference for writing meetings and shooting, and he was just up all hours of the day, so talk about dedication.
Spencer
Yeah, not to mention the fact, like that was probably our widest span, but even within that we had international- we had Canada, we also had all within the US too. We had west coast, mountain time and eastern time.
Bree:
Yeah.
Spencer:
I don’t know if we had central time, but just having so many time zones was also something to kind of figure out how to organize and how to get everyone in there without it being like, you know, one in the morning, or like 11:30 at night, or you know, five in the morning and trying to figure it all out. And eventually, we all realize that if we’re going to get the movie done, we had to kind of either like meet early or meet late or whatever to make it work, and so that was another fun thing to juggle, is trying to figure out everyone’s schedules.
Bree:
Yeah, there was a lot of math involved.
Spencer:
I love math.
Bree:
How about you guys? What was it like trying to coordinate your team together, write together? What was the experience like?
Juan:
For the writing on our end, we had two writers meetings, and the thing is, we had members on all timezones. So, we had a, you know, eastern, central, mountain and pacific. And the thing is, we had to coordinate like when we were going to have a writers meeting, because there were five writers on my team, and the thing is the best time to coordinate this was I mean, it was 7am in the morning for me, so I had to make sure I was like up and at ‘em, you know, by seven in the morning, and oh, yeah, our first reading session was, I think like it went from like, 7am to like 4pm my time both days. Yeah, we were just brainstorming two days in a row like that. And I’m like, okay, well, you better make sure you get a good night’s sleep before that, because you gotta recharge here and then, yeah, so that’s some of the nitty gritty that happened. With- as far as the writing sessions go in comparison, the shooting days were a lot easier in comparison.
Bree:
I feel like it got more difficult for us on the other end with shooting and then the home stretch with editing, I know that Spencer and Shay basically didn’t sleep those last two days.
Spencer:
And then Shashank, Shashank and I think Phoenix were also both in their kind of working, because it’s always great to have more people taking a look at the cut to see if there’s something that I like missed or that wasn’t working so we could go back and adjust. That wire really got down to that wire, I’ll tell you.
Bree:
Yeah.
Jeff:
I didn’t get involved in the editing at all, I wanted to stay out of it. This is the first time I got involved in a project of this nature, so I kind of took a low key role. And I saw everybody raising their hands to do this and that, and I just wanted to observe. So, I learned a lot from this, and next time I’ll take- I’m usually one that raises my hand for projects and doing this and doing that. But I just wanted to observe and it was really neat to see these writers, I didn’t know that you guys spent that much time doing all the brainstorming and all that but I’m glad you guys got it organized and got it down to something. And then when they went to the editing, I’m sitting here waiting because I got to do the audio description part of it. I remembered that I said we should do it first, you know, however, I had to wait for the rough edit to come out. And now the day goes by and then morning comes and then that afternoon comes and finally it comes and it’s like we gotta go now, that time crunch, we only had five days.
Bree:
It’s just, editing is such, I don’t even have the patience for it. I can edit sound and like, I can copy and paste things in Audacity for voiceover, that’s where I draw the line. But really it is where it makes or breaks the film.
Spencer:
Oh, yeah, for sure.
Bree:
And I really feel like in both films, the editing really keeps that tight comedy pace, and really ties things together. And I know we had so much footage that Spencer, you’re thinking about doing an extended cut eventually.
Spencer:
Yeah, I’d like to.
Bree:
I can’t wait to see that.
Spencer:
That time limit was not conducive to how much good stuff that we got. And so, I think there’s definitely stuff that was on the cutting room floor that I definitely want to put back in when we have the opportunity.
Bree:
So right now, we’re recording this in the past, but now we are in- the film has been released on March 27th. And there is a portion of the competition which is an awareness campaign where you share the film and you try to see who can get the most views, and obviously you want people to watch your film. Hopefully there will be links provided on Blind Abilities. We’ll be posting stuff on social media, I know for certain I’m going to be sharing some of those lovely things that didn’t make the film, because I just loved the character work that we did on this film. Look out, Lorne Michaels! I’m putting my package together.
Spencer:
Yeah, if I could have given everyone two minutes in the cut, that would have been great. But that would have put us at 14, 15 minutes-
Bree:
I know, we had so much fun. There’s so many good, good jokes and so many good bits.
Jeff:
Yeah, this is so different with the camera rolling and talking to you guys, directors and YouTubers and actors, and this is the first time that I was just gonna come on and say yeah, we’ll put them in the show notes, and I pointed down and I go, I never did that over all these years, because I’m a podcaster, I never have to think that I’m on film. So down below, we’ll put all the links to where you can go and view these films that we created. And Bree, I like how you use the word creatives. I like that.
Bree:
Yeah, no one was just an anything. Even you Jeff, you weren’t just an audio describer, you were part of the glue of the film. So, I feel like everyone was really integral in it and I don’t think anyone ever just like showed up and went home. As much as I tried to take a backseat role, I couldn’t! Spencer’s laughing at me, I’m like-
Jeff:
I think we’re all laughing!
Bree:
I tried so hard, but I was like, I just got sucked in. And I’m like, I just care too much. I just care-
Spencer:
But I think it’s- on that note though, it’s like there are types like you, Bree, who want to do everything and really invest yourself and there’s other people who kind of want to take a little bit more of like, I don’t know what I’m doing, I’m not sure, I just want to kind of do a little bit of input, so kind of piecing it all together works because if everyone wants to take a backseat it doesn’t really help move the movie forward.
Bree:
Absolutely. Absolutely. I think next year I might be brave and be a producer but I need a talented director like one of y’all with me, ‘cause I don’t know sh- I won’t curse on your podcast. I don’t know schnoodle about camera angles, and this and that. And I think that’s so amazing, especially when we consider yes, everyone on these teams are blind and low vision, but what I really really love seeing in these films is that it’s so fun to watch on camera, that this blindness or visual impairment doesn’t look the same on anyone, and it really shows the diversity of the community. And I love seeing that, I can’t wait for the world to see that, because as an actor who is low vision, who doesn’t even like to use the label legally blind even though I was born legally blind, because of the stereotypes that come along with it, because there’s an assumption that I’m going to move in a certain way and appear in a certain way. And no one is alike in this film, everyone has their own body language and their own way of viewing things. And I think that’s going to be eye-opening for the audiences that tune into both of these films.
Jeff:
I think when you talk about body language, Buddy, the cat in your scene, y’all had some-
Bree:
He’s literally chewing the scenery!
Jeff:
But usually, when you turn on a camera or something, you got a pet, oh, I want to get a clip of this, the cat or the dog or whatever takes off, but you had this cat weaving all around just perfectly, it was like that cat is a star.
Spencer:
It was the treats.
Bree:
It was the treats. He was literally eating my hand, especially the take they used, I can see him, he’s like eating my hand. But he did some like really nice things. And I got some production stills of him like looking at the camera, I’m like, oh, buddy, Mama’s gonna be your stage mommy. You can follow him @uncleirathecat on Instagram.
Spencer:
And the beauty though about stage parents for animals is that the animals don’t need the money that you make off of them, so you get to keep the money.
Bree:
They just get to eat well, I guess. They get the fancy cat food.
Spencer:
Yeah, exactly.
Bree:
[singing] Give me off a piece of that Fancy Feast.
Jeff:
There you go. Juan, what was the greatest takeaway that you had from- you wore a lot of hats in this one.
Juan:
Yeah-
Jeff:
All said and done, what’s your biggest takeaway?
Juan:
I was actually gonna joke that because it’s funny how Bree was saying like, it might be good for her to like, try and to wear another hat for next year. If I happen to do this again next year, I’m gonna have to wear less hats because I took on the producer, director, actor, editor and writers hats. And I’m like, okay, don’t wear so many hats next time, because-
Bree:
Less hats!
Juan:
It’s gonna look like it’s a one man show if you do that.
Bree:
But you prove to yourself that you could do it. It might have been hard, but you did it.
Juan:
I mean, I do it all the time with YouTube and with my own films, but not in this compressed amount of time. So even though I still do projects like that, it was still an experience, it was still quite a learning experience for me, so- what was the question, Jeff?
Jeff:
Perfect. How about you, Spencer, what’s your biggest takeaway?
Spencer:
Well, so it’s interesting, because I have a master’s in film production. So, I’ve gotten through, like, you know, the ropes of producing, writing, directing all of that. But I think my biggest takeaway is ultimately adjusting for the time, and also knowing that things can and will change, and to kind of have a backup plan in case things don’t go the way you planned, but also using that as a gift, as opposed to it being a hindrance, if that makes any sense? That seems very philosophical, and then I realized I was just saying, like, a bunch of words. But yeah, I think it was like taking the things that are thrown your way that may not be what you intended to be as a gift as opposed to an obstacle. And that’s what I really loved is, you know, okay, this didn’t work, this didn’t work, this didn’t work, but instead of being bogged down on what didn’t work, what does work, and how can I make that shine? And so that’s what I think I took away for that specifically.
Bree:
And I think you did a fantastic job in the editing in doing that, because I felt like each section of the film, it was integral in the way that like, you took the best parts of everyone, in a way that it really felt like an ensemble piece, in a way where there were no strong or weak or whatever, like it felt- everything felt strong and was unique in its own way. You put those puzzle pieces together.
Spencer:
Oh, shucks, don’t make my head bigger than it is already.
Bree:
Yeah? Well, I wanted to ask you, because Juan was talking about how he’s used to doing everything for creating his own content. I know you create a lot of your own content; you have your own production company.
Spencer:
Yeah, I mean, it’s hard to explain it, because I just gave it a name and then kind of just like put everything under there. I call it Jingle Productions, which is a logo that I created using Photoshop and a- what’s that called? ClipArt, a ClipArt. The day I was editing, I was like, let me put-
Bree:
Clippy’s here!
Spencer:
But you know, I use it for like, I’ve written a couple musicals. I’ve got a new musical that I’m writing, some YouTube channels and some like online Zoom stuff that I’ve been putting up. So, I’m just kind of putting it all under that label, including the podcast that I co-host about theme parks, it’s kind of, sort of co-produced under that label as well. So, it hasn’t been like an official label ], but at this point, I’m like I can change the name if I want, I can change the logo if I want, but to have something that I can kind of put everything under is great.
Bree:
The thing about theme parks, is that like the- have you ever seen like the Purger Productions, it talks about all the disaster theme parks and defunct- Defunctland? That’s what it’s called, Defunctland?
Unknown Speaker
Yeah, Defunctland’s great. No, it’s- we take theme park rides and we pitch them to different theme park industry guests and they pick their favorite in like a fantasy football bracket style rounds, and then at the end the loser has to do something silly.
Bree:
So, what was it like doing this type of creative process versus any of your other- your solo endeavors?
Unknown Speaker
I think this one, I’m very much like, I feel like I’m a very- I feel like I’m a very organized person. I’ve noticed quarantine has kind of thrown that out the window a little bit, but I’m very much a planner. I’m a Capricorn, I’m like I have to plan things. And with this film challenge, I couldn’t plan ahead of time because I didn’t know what the topic was going to be, I didn’t know what the props were going to be, I didn’t know what the edit was going to look like, I didn’t know who was going to be on the team, you know, who wanted to do what, like any of this stuff until like, a few days before. And so, it was like one of those things where, for me, as someone who’s like, I’m going to plan this movie, I’ve got, you know, three months to plan my five-minute short film, and then it becomes a day before I have to start writing and planning everything. So that was a big thing for me, I think that’s what’s different is a lot of times like I can get up and be like, oh, let’s do an improv recording real quick or whatever. But a lot of stuff, I like to really plan or like give people time to plan for things, and like I knew this was going to happen for a while, but the content itself I couldn’t plan. So, I think that that was one of the biggest- that was another big takeaway is just not planning, but I think for me, that was one of the big differences is the idea of planning versus not planning.
Juan:
That’s the exact same problem I was having as well. I’m so used to just planning things out ahead of time, and it’s such a mental barrier to get past because it’s like, you know that the rulebook is different with a challenge. And it’s just something that you just have to accept and it’s like, okay, we’re gonna toss, you know, the regular rulebook that we have out the window, and we’re just gonna go with this. So, it was really just an interesting change of pace. So yeah, I think both me and Spencer were having some, little bit of difficulty here and there, but we got, you know, we got adjusted.
Bree:
It’s so funny you say that ‘cause like, I liked that, because, well, I have ADHD, I only found out this year I had ADHD. I don’t know what they were smoking that they didn’t realize I did. But I don’t like planning. I like doing everything the seat of my pants, when I plan any kind of speech or anything, that’s when I get really, like that’s when I start to overthink things. So, I did enjoy that aspect of that, it’s one of the reasons why I love improv. But something we haven’t brought up is yes, we didn’t get to choose our teams. Because both of these teams were kind of, we were kind of all brought in the fold because Access Acting Academy, run by Marilee Talkington, who I had the pleasure of acting with on Apple TV’s See, she was the one who kind of put out the feelers and said, hey, who wants to make an all-Blind film team? And I’m like, hell yeah. And, you know, in the past, one of the reasons why I haven’t done challenges, you know, folks might not know this, but the disability arts community can be really damn clique-y. And I just hadn’t been picked for a sports team yet, and I didn’t want- I was too afraid to be a producer. And this year just worked out that not only did Marilee put out a feeler but another friend of mine from UCB put out a feeler for her film, Social Fitness. And we were going to work with each other last year, but then the pandemic hit, and I think they only did a documentary-style, so it was very, very less actor-heavy, but this year, she called me again, but I, that was really exciting for me to go from like, maybe next year, to like, oh, cool. Two teams let’s do it.
Jeff:
Bree, you asked Spencer a question about what the experience was different- like you, Apple TV+, the TV series See, you did acting in that. And that’s huge, that’s huge. But this here, with this short time of, you know, what do you compare, how do you compare that with that?
Bree:
You can’t, it’s a completely different thing. Because this is, first of all, we have to say what it is, it’s a film challenge. We’re not making a big budget TV show or blockbuster. And on top of that, we are filming this in our homes. So, there’s a certain level of expectation that you have to go in with, realizing, you know, yeah, not everyone’s gonna have the same equipment. It’s gonna be hard to make everything sound the same. And personally, I kind of don’t like the fact that it becomes so imposed on crew, actors, voice actors, creatives now that they have all this high tech equipment, because I think it’s kind of elitist and is, you know, for those who are economically disadvantaged, I think it kind of puts them out of the running. You see commercials now, commercials asking you to shoot in your home and say, oh, do you have access to the outdoors? Do you have access to- like no, I live in a box in New York City!
Spencer:
Two-story mansion!
Bree:
Exactly. It’s a little easier in LA, you guys have the space but you know, before the pandemic, you could be a star on Broadway and you could live in a postage stamp and no one would know or care. Now your home is being exposed. But going back to comparing the scope, it’s very different. And I would say this style of film, I would compare it more to like indie sketch comedy and things like that, as opposed to something that you would see on traditional, like network television or in a movie theater. I mean, I don’t know, I haven’t seen all the films, someone might have put something together that looks like it’s a Steven Spielberg blockbuster. But I think it’s more about the challenge and the collaborative effort and what you can do with limited tools. And I found that once I was able to accept that- I don’t mean like, lower my expectations, but like accept the parameters, I was able to be very satisfied by the end product and the work itself.
Juan:
I guess you can kind of say we’re doing like a short film equivalent of vaudeville or something like that, I don’t know, just something along those lines. I don’t know if that’s a good comparison or not. But that’s something I also realized that, you know, not to lower my expectations, like Bree said, but just to realize that the end product is going to be different than, you know, what you usually put out. But because of that uniqueness, it could be, you know, it could turn to our advantage as well. So, I just, that’s how I came into it as well, just realizing that, okay, this might be different, but it could be different in a good way.
Jeff:
I have nothing to compare it to, so to me, it was an experience. And I just got to sit back and watch a little bit of this developing. And the pressure is, you know, as I’m waiting for the first edit to come back to me, so I can start mine, and the days are clicking along, and then I get this text message that says, I don’t think we have room for any audio description, and I’m thinking oh, I’m done. I just got fired, I just might- I’m cut, but you could just tell that Juan was getting like, pressure was building and stuff like that. So, it’s really neat to see the different players all come together, and if anybody else that’s listening to this wants to get involved in something like the Easterseal Disability Film challenge, I think it’s fun to put something together and you got the time crunch, and you don’t know what it’s really going to be about, and then whoever you want to do with.
Bree:
Yes, some people are like teams of 20, some people are solo films, I think Marilee Talkington put out a solo film, which you should also check out. I think another thing that- what’s great about this and the opportunity that we get to do the awareness campaign, when you do a film or a TV show with a studio, unless you get something, and I learned this the hard way in my career, I wanted to use my platform when I was in See and when I was in Audible to speak out more about the disabled experience, the low vision experience, but because I didn’t put it in a rider, it was not part of their press narrative. I had to do that on my own. But now we can take something that we made and we can put our own narrative on it. I think that is really powerful to make art and then be able to drive the story that you want to tell with it. Because you know, I can say that’s different. That’s certainly different than my experience would see.
Jeff:
That’s great. So, check out the show notes, we’ll have the links in the notes down below.
Bree:
Yeah, we’re going to link to the YouTube page below where you can watch, share, like, comment-
Spencer:
Subscribe.
Bree:
Subscribe. Subscribe. Oh, I don’t know if you- yeah, you can certainly subscribe to the Easterseal channel but if we- yeah, as much as you, if you’re in the low vision community or if you know someone who is blind, visually impaired, if you really like animals, if you really like meta comedy, I think you’ll like these films. It’s really helpful for us if you, you know, spread the word. And you guys want to go around and say where we can be followed on the interwebs?
Jeff:
Spencer?
Spencer:
Well, you can follow me @spencer101f on Instagram and Tiktok and also my podcast at Theoretical Thrills also on Instagram or www.theoreticalthrills.com.
Juan:
And you can find me on Instagram and Twitter @jc12209 and on YouTube, my YouTube channel is called JC5Productions, nothing special, just the letters J-C and the number 5 productions, so yeah, if you want to check out some of the short films I have on there, and I talk about the-
Bree:
I heard you made a video recently with you know, talking about stuff on your channel.
Jeff:
Bree someone, something.
Juan:
I know her, so yeah, go check that out.
Bree:
Maybe, maybe.
Jeff:
And you can find me at blindabilities.com, @BlindAbilities on Twitter, Instagram, and Jeff Thompson on Instagram as well. Thank you all for joining in on the podcast so you can bring out some awareness, be sure to click on the links down below, go check it out and give us some likes if you like or if you don’t just like it, come on.
Bree:
Like, like, vote, vote, do it, do it!
Spencer:
Comment, subscribe!
Juan:
The editors for both films will likely approve of the likes.
Spencer:
Oh, yeah, we could.
Jeff:
There you go.
Bree:
Filmmaking is all about problem solving but what these guys showed me even took me by surprise. I had no clue there were so many different ways to get things done. What a unique experience!
Bree:
[with an accent] This is Buddy the cat, Buddy service cat. Oh, you remember me? Best part of film? Yeah. Yeah, dog? Too much dog. Nah, nah, cat.
Jeff:
The sharply dressed narrator sits proudly surrounded by his microphones. I knew she could do it. I knew she could. Narrator pulls out his white cane. And that’s a wrap.
[Music] [Transition noise] -When we share
-What we see
-Through each other’s eyes…
[Multiple voices overlapping, in unison, to form a single sentence]
…We can then begin to bridge the gap between the limited expectations, and the realities of Blind Abilities.
Contact Your State Services
If you reside in Minnesota, and you would like to know more about Transition Services from State Services contact Transition Coordinator Sheila Koenig by email or contact her via phone at 651-539-2361.
Contact:
You can follow us on Twitter @BlindAbilities
On the web at www.BlindAbilities.com
Send us an email
Get the Free Blind Abilities App on the App Storeand Google Play Store.
Check out the Blind Abilities Communityon Facebook, the Blind Abilities Page, and the Career Resources for the Blind and Visually Impaired group