November 27th, 2011 § 0 comments § permalink

Zach here. Just wanted to give everyone a quick heads up. Within ten days, the blog is about to launch back into full blown, awesome-still-posting production mode FOR THE FIFTH TIME. Newhard is an unstoppable force of creative uncertainty and nervous artistic experimentation. Lest y’all forget.

Just because it’s more fun this way I’m going to withhold details until everything is really underway. But I will drop three clues. First of all, and this goes almost without saying…

Secondly, the instigator/man behind the wheel:

And finally, a little information about the setting:

Please check back soon. Updates are inevitable. And remember…

…between love and madness lies obsession.

Newhard Does Vienna

November 2nd, 2011 § 0 comments § permalink

Zach here. Before I get into any of what I’m about to say just click play on the video below to set the mood for the rest of the post.

Alright, so I just got back from the Viennale last night and am happy to say that I think I am finally comfortable spelling viennale.

I knew that this festival would be special from the moment I arrived. The hangover was only just beginning to set in (I’d spent the earlier hours of that same morning researching the role of Parisian wino) as I checked into the Vienna Hilton and, en route to the elevator, was suddenly surrounded by the cast of a fever dream: a group of about four or five weathered old Austrian faces extending glossy prints of my own photograph and calmly repeating “öttograph. öttograph.” The only explanation that occurs to me is that these characters were hired by the festival as an ego-boosting measure for incoming guests.

That same night was my first screening. Fresh from my first taste of typical smoke-and-piano-music-filled Viennese cafe, I rolled up to the Urania – a beautiful riverfront theater and former site of the emperor’s private observatory. Not joking.

Inside the Urania I was greeted not only by the throng of lobby loiterers responsible for the sold-out house and formidable standby list, but also by the delightfully British critic and moderator Neil Young. Everyone took their seats and I stumbled nervously through an introduction, noting that I hadn’t faced such a large audience since about eighteen months ago. Ducking out of the theater as the lights went down, a local drunk appeared out of nowhere and shouted at me in German with several dashes of “fuck you” thrown in for flavor. He was escorted outside by an employee and I was given a conciliatory bottle of sparkling water. Eighty minutes later I re-entered the theater as the credits rolled and was surprised to find that almost the entire audience was staying seated for the Q&A. This of course turned out to be standard for every movie that screened at the festival, but that first night it gave me the confidence that, alongside Mr. Young’s insightful moderation, was ultimately responsible for what was, in my opinion, the best Q&A I’ve ever done.

And that was all just the first night. The next few days were a lovely autumnal tapestry of awesome movies, intelligent company, and lavish meals…including one that was maybe a bit too lavish in that it left me dangerously close to too-drunk-to-Q&A territory. I did my best regardless and am sure that only a small handful of Viennese locals now consider me a clown.

Anyway, it was a great time. I got rid of a bunch of screeners for both new Newhard joints and, most importantly, I made a shitload of facebook friends.

And now this is gonna be me tomorrow.

Kill me!


September 10th, 2011 § 0 comments § permalink

Zach here. Long time. My bad.

Anyway, I wanted to share a photograph.

That’s Perry. He has an impressive body of work as a sound editor (including, hilariously, our arch-nemesis) and in the above photograph he can be seen working as a sound editor on our movie.

I don’t know what these strings are that Brad pulls but it seems that he sure can pull them.

But like I was saying, Perry was working on the sound for The International Sign for Choking, which, as the more a/v-savvy of you will already know, cannot be done until the editing is complete. Which it is. And the sound too, now.

What I’m saying is that the movie is very close to finished. More news soon, including some late-game heroics from old Bummer Summer.

Thanks for reading, let’s talk soon.


July 4th, 2011 § 0 comments § permalink

Zach here. It’s July 4th.

Today, many of my friends are several hours away. They’re celebrating our nation’s independence in a remote Northwestrian paradise. I’m here at home because I had to work today. Honest livings are frequently sad ones.

And so to cheer myself up, I thought I’d look to the internet in order to reflect upon some of the amazing things that my hard work affords me the opportunity to take part in.

First off, our friends OLGA in Buenos Aires released the first new single from their forthcoming second album today. It’s really lovely. Let’s take a listen.

Secondly, I’ve at long last decided to publicly upload the trailer for The International Sign for Choking that we first unleashed at reRun in Brooklyn almost three months ago. Enjoy.

And until next time, stay independent.

The Waiting Room

June 24th, 2011 § 0 comments § permalink

Nandan here. I hate this game. About a month ago I submitted The Men of Dodge City to a festival. About a couple days ago we submitted that film as well as The International Sign For Choking to another festival.

If there is anything I feel confident that I’ve learned from our festival running-around with Bummer Summer, it’s that you should submit slowly, to good (i.e. “important”) festivals, and preferably ones whose programmer you can contact directly. As soon as we got into this game I know we have both been extremely frustrated with how political the festival game is. It’s incredibly frustrating. Frustrating. But the only thing I hate more than playing dumb political games, is trying to push a film. And if you play the festival game right, your film gets seen without you needing to hustle it.

Both of these festivals to which we submitted are in August. They’re good festivals. Chances of actually getting in are crazy slim. But if you do get in, you want to attend. And if you do get in, you need to get the film ready in time. This means printing tapes (expensive, time-consuming, and the only place I know that we can do it ourselves is by sneaking in to NYU), as well as getting the actual movie finished. And festivals usually seem to announce their program about a month before the actual festival.

So what this all means is that literally, in addition to psychologically, your life is just on hold. Not that I know that I actually COULD attend the festival if a film got in, but I’m still hesitant to make plans that would stop me from being able to go. And I guess what’s crazy is how it affects you, or me at least, on a basis of just feeling confused. Because one moment I’m thinking, yeah, I made something, these “important” people are willing to look at it, that justifies me. But the next moment I realize that it means nothing, because if the film doesn’t get in I have to keep going to the next festival, and the next festival, until it does get it. And every time there is a waiting period, and every time, despite my knowledge that I just need to forget it and pretend it doesn’t exist and get on with my life, I have some stupid, inextinguishable hope that maybe it will get in, and wouldn’t that be great, wouldn’t that mean I’m important.

I’m making this out to be some sort of negative experience. Forgive me. I’m hyped actually at the possibility of both of these films getting into festivals, getting played in theaters in front of audiences. It’s crazy. And the fact that it is, despite the complete mystery about what the chances are, actually a possibility is sick.

Anyways. In other news, I saw Judy Moody and the NOT Bummer Summer a few nights ago and wrote an essay that compares some formal techniques of that film and Bummer Summer. You can read the first draft HERE .

Seen It (2011 Edition)

May 31st, 2011 § 0 comments § permalink

Zach here. I’ve been trying to steer clear of the bloglight for a couple of weeks now following a shameful morning-after second reading of my FSFSP liveblog. Still, I have no regrets.

If you’re a regular reader you’ll already know that almost an entire month has passed since I finished my first cut of The International Sign for Choking. At that point, I was too afraid to watch it. My activities since then are anybody’s guess. Some might speculate that I abandoned the project and disappeared into a cloud of smoke.

But I didn’t.

Not long after completing cut one I grew a pair and watched it. Since then I’ve been making a steady stream of changes based on my own thoughts as well as the feedback of a trusted inner circle of advisors. And Brad.

I think we all agree that it’s almost there.

But anyway, in the fine tradition of this blog I am obligated to record a summary of my thoughts upon now having seen what was once just a messy Word document and a sweet sketch of my face.

These tend to be woeful, introspective entries (see exhibit a and exhibit b). Depressing stuff. But this time not so much. Sure, my viewing included the all-too-familiar moments of cringing, disappointment, and helplessness. In general, however, I was not totally devastated. A welcome surprise.

One thing that I’ve found with all of our movies thus far is that a lot of the awesome, interesting ideas that are present upon conception are nowhere to be found once the edit is underway. It’s something that I’m learning to accept. That being said, this new movie seems to be less devoid of my initial intentions than my first movie was. Maybe I’m growing? Maybe a good filmmaker is just one who manages to not completely ruin concepts.

I’m not quite sure what I’m saying other than the fact that I don’t hate The International Sign for Choking and can even imagine people liking it. Maybe the past year has inflated my ego to a point where I can no longer recognize my own failures/shortcomings and am delusional. It’s also possible that I’m so afraid of this happening that I’ve begun to invent failures/shortcomings that don’t exist and am delusional. For me, this is always the most difficult period in the whole process because I don’t trust my own opinion and am anxious/terrified of knowing the opinions of others.

But the bottom line is that for whatever reason I’m feeling good.

Finally, miscellaneous news items related to the Newhard family: Nandan has at last gone public with the trailer for his new movie The Men of Dodge City. Check it out.

Also, Sophia’s excellent Green will be screening twice in New York this month, once on June 11 and again on June 22. If you’re in the area and respect yourself, please don’t miss this opportunity.


May 16th, 2011 § 0 comments § permalink

Zach here. I received a real treat today via e-mail: a brand new 76 minute cut of Fresh Starts for Stale People. For those of you relative blog-rookies out there, the movie in question is one that I co-directed with Robert Malone alongside close collaborators Nandan Rao and Dusty Wickham in January 2010.

Since then, the project has been shrouded in mystery. Rob and I began the edit together at an undisclosed warehouse location here in the Pacific Northwest. Following a week or two of disappointingly feeble progress, Rob threw his hands in the air and retreated back to New York City. A short time later, facing even poorer luck on my own, I packed up the hard drive and shipped it to Rob. He’s been wrestling with it ever since then. While many are familiar with the existence of the movie and its fabled seven-city shoot, very few have actually laid eyes on any completed version of it.

Why such difficulty? Why such delays? To accurately define the problem would require me to accurately define the movie, which – if this past year and a half has taught me anything – cannot be done. It was an unconventional project and the results were a mixed bag. Some of the footage is inspiring. It’s a flaming white-hot meteorite of mindblow. But then there’s some of it that sucks. And then there’s also some of it that is just completely baffling. Understanding the nature of this movie and then channeling that understanding into an editing plan has proven beyond challenging, but today I have the privilege of judging for myself whether Rob has accomplished just that.

But I don’t feel right just ranting and raving about all of this while at the same time providing such little insight. It was with this sentiment in mind that I came up with the idea for what you’re about to read: THE FRESH STARTS FOR STALE PEOPLE LIVEBLOG.

Before we get started I’d just like to thank the sponsors of this liveblog, whose websites can be found here and here.

0:00 – Alright, so before I press play I’m going to give you guys a little context for this particular viewing. My roommates are in the basement rehearsing with their band. This is how the ambience of my room sounds right now: Bedroom Ambience – 5/16/11

0:30 – Begins with a media-poem using abstract colors and tones. Very intriguing. The sound crescendos. I am immersed.

1:00 – I’m making out with a Brooke Bundy now. In the movie, but still pretty stoked. This is the last remotely romantic/sexual moment in the entire movie.

Maybe that’s why it’s in black and white?

In any case, the audience had better enjoy this because it’s going to be pure dickwaving testosterone from this moment forth.

0:05:00 – This opening morning scene is very tense. The dramatic lighting, the prolonged silences. Rob delivers one of the classic on the phone with dead air performances of recent memory.

0:06:30 – Dusty’s entrance is loud and abrasive, much like the man himself. This domestic violence scene is so upsetting that I turn the volume down to avoid a panic attack.

0:07:40 – Hello! This extreme close-up of my penis always comes as a surprise now matter how many times I watch the movie.

0:11:00 – David Ferino is a trooper. It’s really inspiring how he put his life in our hands when we duct-taped him to a chair and threw him into his own Hollywood swimming pool.

0:12:00 – TV’s Zander Eckhouse has potentially the movie’s greatest entrance. And there are a lot of characters. And they all have great entrances.

0:12:30 – Finally, the opening titles! These are looking really polished. Oh, and there’s a little bit of weirdness that I’m liking. Wow, these titles are really indie. The homegrown ukulele tune performed by Rob and I could be to blame.

0:14:50 – Out of New York and into Yardley, PA. Rob’s real-life father confronts him about financial issues. This was the most raw, chilling duo-performance I’ve ever had the privilege of seeing live before my own two eyes. And I saw Moon for the Misbegotten with Kevin Spacey.

0:16:00 – Superbowl party. I don’t remember what teams were playing, but I’ll never forget those tasty little colby jack cheese cubes.

I pause the movie to go get cheese from the kitchen.

0:17:00 – It may have been crawling around in the snow at midnight with very little clothes on that caused me to get sick right as shooting started.

0:17:45 – Shakiest shot of the movie. Rob admits that seeing the Captain EO 3D movie at DisneyLand was the last time he felt happy. Almost positive he’s not acting.

0:18:50 – “I know you feel trapped right now, and I know you feel like we need to stay in New York, but I promise there’s good things for us in California and if you decide to come with me you won’t regret it.”

0:20:00 – Car heist. The movie’s first true action sequence and in my opinion one of its finest.

0:23:00 – And, it’s now officially a road movie. Delightful music cue. We set off to the soothing sounds of Ernesto Carcamo’s imaginative score.

0:24:30 – Pittsburgh. Enter Ben Rickles, a completely un-tamable wild stallion of an actor. Met him gallivanting around South America back in 2008. “Take a deep breath or some shit.” He instructs Rob on how to use a stethoscope.

0:26:40 – Dusty’s first interaction with our characters. He delivers one of most oft-quoted lines of the shoot: “I have to poop.”

0:28:15 – “Can I offer anyone…some…marijuana?”

“I don’t think that’s a good idea.”

0:29:00 – These intense flashbacks are new. An effective and concise way to convey Dusty’s frame of mind. I’m impressed.

And about a minute later – excellent use of the freeze frame/digital zoom-in technique!

Using computers to fill in the gaps we couldn’t fill ourselves. I love it!

0:30:00 – I remember not seeing any point in shooting this bizarre fever-dream of an impromptu jazz session. Now whenever I see it I wonder what I was thinking because it came out great. That’s right, I wasn’t thinking.

Now Rob is actually peeing on camera, just angled slightly away. Unfortunately, this is as close as we will come to seeing his penis.

0:32:00 – Rickles is now using an actual power tool to trim his new bar of soap so that it will fit in his soap travel companion case. You cannot write these things, so you’d better be ready to shoot them when they happen.

0:33:00 – Rob throws a ball of ice that actually hits me off-screen. My arm was bruised for two weeks.

0:34:50 – “You can try to dig your way out of this, you know, like, feeble shovelful of dirt by shovelful…”

0:36:30 – Pure filmmaking. A simple yet perfectly executed scene aboard a Greyhound bus that transpires without a single line of dialogue. The soundtrack is doing weird things here. It sounds as though the roar of the bus engine were on some sort of strange, pulsating loop. The cut to Dusty finishing up an implausibly large fast food meal is sublime. What is that audio playing in the background? Sounds like an 80’s workout tape.

37:00 – Many of the moments in this movie are not only documentary-style, they’re straight up documentary. The Greyhound’s arrival in New Orleans strikes me as an example of skilled documentary filmmaking.

0:40:00 – Nandan’s mustachioed open-Hawaiian-shirt cameo is a cameo for the ages. Really baffling use of a bible quotation in a movie.

0:41:00 – More documentary work is bringing back memories of Mardi Gras. What a wild experience I had with my bros.

0:43:00 – Another welcome break from the action comes in the form of a relaxing road montage guest-starring Jason Lee (talk about great entrances). The strangely silent laundromat interlude strikes me as puzzlingly beautiful.

0:45:35 – I’m glad that Dusty manned up and shot this excellent insert of a security guard at the Alamo. And suddenly we’re in Austin. Jason delivers a truly arresting monologue. Rob is convincing as a man teetering on the brink of insanity. I call Rob “such a damned loose cannon.”

0:50:00 – With this dark alleyway sequence as well as the music-free road montage before it, Rob has really harnessed the tools of editing to create an ominous sense of imminence.

Ben McCain! A true performer does not disappoint here as Burt Kringle, the Texan life insurance salesman. The ambient country music and underlying soundtrack tones make this scene feel polished.

A beautiful interlude. We are swooped up into heaven and offered an eternity in paradise by a guardian angel. We choose to return to realm of the living.

0:55:25 – We have arrived at the mansion that Chaplin built, now inhabited by schlubs. This night’s shoot was tough. An altercation with a resident put a damper on morale.

Breaking convention with a strangely tender, naturalistic moment in the midst of plot-drivenness. It is here that we can finally grasp the true level of friendship between Rob and I.

1:00:00 – TV’s Zander Eckhouse returns! As does David Ferino (in a way). Things are coming full circle. Dusty arrives on the scene and I am excited to watch this climax unfold.

1:03:00 – Shots fired. Chekhov was right.

1:05:00 – Eckhouse delivers a textbook “get some.” There is blood. Classic rock bottom point between two leads. For all of its unconventionality this movie is extremely conventional.


Rob has added something here. He’s attempting to fill in a plot hole, to solve one of the movie’s longest-perplexing problems. What we have here is an incredible information-age photo montage chronicling the entire history of Rob and Zach as friends. I am thrilled. It is a heartrending real-life tribute as well as a staggeringly effective cinematic device. I am moved to shoot a reaction video of myself as I watch:

1:07:00 – Enter my then-ten-year-old cousin Ben Rosen. This sequence plays out in absolute silence, recalling some sort of silent film classic on blow and acid. No sound, this is pure editing. Juxtaposition of motion picture images.

1:10:00 – We’re in an interesting place. The plot of the film seems to have ended but we’re still following these guys and we don’t yet know why. This delightful musical buddy-montage on the Santa Monica boardwalk makes me not mind it being a mystery for at least a short while longer.

1:11:40 – Traces of a 90’s screwball comedy.

1:12:30 – Speaking of the 90’s, we just referenced the most beloved Sears air conditioner commercial of all time.

1:13:15 – Traces of plot return. We’re beginning to understand what’s happening.

1:14:30 – And just like that it’s all over, as signaled by this brilliant musical cue that’s somehow both somber and uplifting at the same time. It is the words “The End” in musical form.

A little bit of text to wrap up the loose ends. And…


The movie ends. I’m left in silence. I think that we are very close to completing this labor.Bedroom Ambience – 5/16/11Bedroom Ambience – 5/16/11


May 9th, 2011 § 0 comments § permalink

Zach here.

Still too afraid to watch it. More updates soon once I grow a pair, and hopefully nothing in the vein of what Nandan and myself have written under similar circumstances in the past.

“Blog Nut”

April 30th, 2011 § 0 comments § permalink

Zach here. I got an interesting email from Brad the other day:

Although I still haven’t responded to Brad, I agree with him. So here I am, getting my blog nut. It’s been almost an entire month. When you last heard from us, things were grim. I was barfing. Within a day, Nandan was barfing too. Sophia even barfed once, although the reason remains unclear. My best guess is that it was sympathy barf. Brad never barfed. He just did push-ups.

Yes, things were grim. It felt like the god damned Oregon Trail. I thought it was all over. A year of planning, thousands of dollars, and countless hours of labor…all for nothing. I was depressed.

But it wasn’t all over. We pulled through and shot everything, including the ever-daunting bar scene. It was something I’d been concerned about since I first wrote it into the movie. Things started to look up when Manuel connected us with his friend Emiliano, who owns a bar called AlterEgo. We took a meeting with him back in February at which he bought us beer, food, and invited us to shoot anything we’d like at his bar. Unfortunately, just days before the shoot date we’d arranged, Emiliano called me with some bad news. The bar had been shut down by the city. We did some massive schedule shuffling and planned to shoot it one week later, when the bar would hopefully be back in business. And it was!

The night we shot there was an outrageous thunderstorm. Things were high stress. Brad and I had to make a literal run for cash and on our way back Brad fell in the street – full on Funniest Home Videos style – and took the skin right off of his knee. He couldn’t stop the blood running down his leg so he tied some cloth scraps around the wound and we left for the shoot. Bonus for blog readers, if you ever get to see this movie you’ll know to look for a super rare Nandan cameo in the background of this shot:

Anyway, all went extremely well and my eternal thanks go out to Kevin, Kenneth, Cait, and Kendall for coming out to appear as extras at 3:00am on a Sunday night. And perhaps the most eternal thanks of all go to our buddy Germán, who recorded sound that night despite a bum shoulder and work at 9:00am (we wrapped at 6:30am). I felt bad suckering an innocent guy like Germán into the job, but it was all worth it to see Brad make his long-awaited appearance as a highly patriotic drinking enthusiast.

But moving on. Brad and Sophia left. Nandan and I took all of the cloth wallpaper down and arranged to meet the landlord at night so that she wouldn’t see the marks that it left everywhere. She didn’t. Shhh…

Nandan and I faced a predicament. We were out of our apartment on the 8th but not flying until the 15th. In classic form, we decided not to address the issue too seriously until just a few days shy of homelessness. Enter Vero. A mutual friend of OLGA‘s, we’d met her only once at the Bummer Summer premiere in March. But despite our lack of really knowing each other, Vero stepped in and offered to share her lovely apartment with us for the entire remainder of our stay. We gratefully accepted and made ourselves quite at home. Vero is awesome and I look forward to returning the favor at some future date in some other hemisphere.

Aside from three simple re-shoots, our last week in Buenos Aires was pure vacation. It also happened to coincide with my favorite film festival, BAFICI, where I was all warm and fuzzy feeling right at home as a threepeat attendee. We really couldn’t have spent our last week any better than we did: with new friends, new films, and a lot (I mean a lot) of Fernet.

Next was New York, and it was kind of a blur seeing as I was only there for five days. We did a lot of homecoming partying. The highlight was definitely our Bummer Summer screening at reRun, a cool new theater in Brooklyn, where we unveiled two brand new trailers to a packed house: one for The International Sign for Choking and another for Nandan’s Detroit movie The Men of Dodge City. Sophia threw us an after-party that was so intensely enjoyable that I felt just the slightest twinge of regret for fleeing the city. Thanks to Nick Feitel for taking this, the only photo of the night:

About ten days ago I flew to Seattle where Bummer Summer was screening yet again, this time for an entire week (two screenings a night!) at the Northwest Film Forum. They’re a really great organization and they even set me up with editing facilities during my stay. Many thanks to them for a great time.

And now here I am, back in Olympia, my dear sweet hometown whom I haven’t seen for six months and where this whole thing started over two years ago. I’m hard at work editing the movie, so expect more updates and less interesting photographs.

Good Weather

March 31st, 2011 § 0 comments § permalink

Nandan here.

We’ve got a weak of filming left. Every day for the next 7 days is full with scenes we need to shoot. Brad flies on the 5th. On the 8th our lease is up and we leave our apartment, preferably as we found it, sin wallpaper. Gabi on the Roof in July (you know this by now, if you don’t go see it. Sophia produced and stars in it) is playing on the 7th in BAFICI. You should go if you’re here. On the 9th Sophia flies.

This is a scene that was schedule to be shot yesterday. It’s the first scene in a tri-fecta of what might be called the climax of the movie, and also the first scene we were scheduled to shoot. We began at 2pm and knew that we had to leave the house at 5:45. At 5pm the scene was not working, and Zach deduced that the problem was in the whole trifecta and that it needed to be re-worked. We rescheduled for tomorrow afternoon, because on Saturday we need to shoot the second trifect with an outsider actor (Roger, you might’ve heard of him).

It helps me personally a lot to have a rhythm, to feel a pacing that is quick enough to allow one to spend most of one’s time and energy thinking about the project, but slow enough to allow that time and energy to feel controlled. It’s a tall order, especially when making films that rely on a lot of external factors. Zach knows how to write a film that, relatively, relies very little on external factors. But inherently there are still quite a few. Other characters/people we need to work with, locations, weather, time. The last two suck. But to be fair, the weather’s been really gentle with us here. Extremely gentle actually. I remember being nervous when zach first pitched me the timeline for making this film. I was afraid that two months to prepare and shoot wouldn’t be enough.

I was in the shower this morning when I heard a knock on the door, followed by an extremely muffled voice. For some reason I thought the voice said “it’s okay”. I didn’t think this made sense. Then the knock came again followed by “open up, I’m puking”.

There was a string of pink liquid coming from zach’s mouth to his hand when I opened the door. I asked him how bad it was. He said he woke up three hours ago feeling feverish. He’s back in bed now.

In an hour and a half we have to leave to go shoot a scene at a skate park with some kids that we’ve had a small amount of trouble nailing down to a day to shoot, it’s been pushed back at least twice now. The scene as written involves Zach eating Empanadas and skating.

Up to now things have been really paced and have made me feel really good. Things are getting crossed off the list steadily, and as far as I can tell, I’m pretty sure I like what we’ve been getting. When I was nervous about the time frame I never imagined how many amazing people would come out of nowhere to help us make this project happen. A really really dumb amount of people have been incredible to us and this project. Ximena and Ezequial, who you might remember from the previous post, just finished 3 days of shooting with us in the city, to which they drove hundreds of miles just to help us and be in the film. And they slayed it. I don’t know why they did it, or why they’re so good, but they did.

Here’s some stills of their scenes: