How to Get Your Film into Sundance Film Festival & on HBO Max 🎞️ Patricia Vidal Delgado

📽️ Portuguese international multi-award-winning filmmaker and director Patricia Vidal Delgado discusses how she got her University of California, Los Angeles (UCLA) Master of Fine Arts (MFA) in Productionfeature thesis film, “La leyenda negra,” into the Sundance Film Festival, how she strategized once she was in the festival, and how she got her film distributed through HBO Max after her movie screened at Sundance.

ABOUT Patricia Vidal Delgado 🎬

Patricia Vidal Delgado was born in the culturally robust metropolis of Lisbon, Portugal. In addition to her graduate studies at UCLA, in the United Kingdom, Delgado previously studied Fine Art Media at the Central St. Martins University of the Arts and the Slade School of Fine, University in London. Through video, sound, and performance, her artistic practice explores the intimate and the feminine has been featured internationally in art galleries and festivals in London, Rio de Janeiro, Lisbon, Marrakesh, Luanda, Zürich, Stuttgart, and Budapest.

Patricia’s first feature film, “La Leyenda negra,” which premiered in 2020 Sundance Film festival, was also a Top 20 Finalist for the Roy W. Dean Grant and was awarded the Frameline Completion Fund in February of 2020, after which HBO Max acquired the streaming rights for the film. In addition, “La Leyenda negra” was nominated for the Film Independent Spirit John Cassavetes Award. The GLAAD Media Awards also nominated the film for Outstanding TV Movie.

“La Leyenda negra,” written and directed by Delgado, tells the story of a soon-to-be undocumented teenager who fights for her right to stay in America while risking her family, friendships, and first love.

As a filmmaker, Delgado has accumulated 23 wins and 75 nominations for her work. Patricia was awarded a Calouste Gulbenkian Foundation scholarship. In addition, she is also a Sundance Institute Film Two Fellow, a cohort member of the MTV First Time Directors Initiative, and currently represented by Randy Kiyan of Luber Roklin Entertainment.

🎯 CLICK HERE to submit your film to the next "Our Vision Caribbean and Latino Film Festival" to share your work, reach your audience, and turn your dreams into reality.

Transcript

0:00

welcome to the r Vision Caribbean and Latino filmmaker podcast hosted by Charles Aline and Dr Christopher C Odom on this episode we speak with Portuguese filmmaker director and artist Patricia Vidal Delgado about how she got her feature film la la Inda Negra into the Sundance Film Festival and how she got it distributed through HBO Max this episode is sponsored by the r Vision Caribbean and Latino Film Festival which is dedicated to ensuring that Caribbean and Latino filmmakers have a voice that's heard and a wide audience to Showcase their work the r-vision Caribbean and Latino Film Festival is the only combined Caribbean and Latino Film Festival that is Oscar qualifying for short films each year our vision will scream the winners of the short film categories live in theaters on both coasts for one week as part of the requirements for Oscar consideration click the link in our profile now to submit your film to the next our vision Caribbean and Latino Film Festival to share your work reach your audience and turn your dreams into reality what's welcome you guys to another podcast we have a couple on of our belts so far it's been really good and today we have a really great incredible uh filmmaker I'm gonna let her introduce herself and she's going to tell us a little bit about yourself go ahead Patricia tell us a little introduce yourself San Patricia Vidal Delgado um I'm from Portugal originally uh I came to LA in the summer of 2015 to start my master's program at UCLA in production slash directing and uh and that program you're allowed to make a feature film for your thesis and that is how I became connected to uh Charles through the incredible Juan Reynoso who apart from being a fantastic teacher at Compton High at the time is also a sag actor and an incredibly talented filmmaker himself oh nice nice nice so you want to tell us let's start how what led you to become a filmmaker what was the initial spark and what made you want to become a filmmaker I think essentially it's a desire to tell stories especially from a female perspective which is one that historically has been somewhat overlooked in the in the history of Cinema and I actually started out as a camera assistant nice so I mean I went to Art School in London uh and then when I graduated because you know I had been kind of making my own experimental films with my little video camera and I I knew my way around that kind of equipment uh that's how I started to to get into camera assisting and I really saw that it was true that there weren't really that many female writer directors it was a it was a perspective that was you know somewhat marginal or marginalized and I kind of wanted to to be the difference that I wanted to see you know so you wanted to fill a gap that's a need that wasn't there that I felt it was was lacking absolutely okay cool cool cool so let's talk about when you get to America you get to UCLA what was that whole experience like and what was the did you do a uh like a short film before you did your feature film and what was that experience like already made a couple of short films in Lisbon before I applied to to the master's program um at UCLA so really I used those films to apply to to the Masters program but what was interesting is that when I when I started I thought oh everyone's going to be at the same at the same level everyone's gonna have um made a couple of films but it was interesting that even at that Masters level there were quite a few students who hadn't even made anything at all wow um and so the the level of experience like differed greatly uh amongst us and we weren't that big a pool of uh writer directors we were maybe like 30. in my year and that included cinematographers as well we had about um five or six cinematographers uh that were in the same program as us and really at that first year at UCLA's boot camp you know we were we were at school almost like 12 hours a day uh making films writing films crewing on each other's films and that would extend into the weekend so we were lucky if we got like one day off just to like sleep and catch up with homework because it was very uh intensive and in that way I think the program is very much designed for people that if you're coming in and you've never made your own films um they they want you to catch up in that first year because we have to make at least two short films in our first year one of them is very very short it's like they call it the two minute film and then the other one is it is the six minute film but we do have to make two in our first years like straight away out the gate okay so let me ask the question that six minute film was that the one you guys should um was that the one that introduced you to um Mr Reynoso at Compton yes he I I was introduced to Mr reyno so really through Dallas King who was the head of the Bruin Network because he had done a lot of Outreach with um high schools in South Central because he was very interested in teaching so he knew about all sorts of like film workshops that were going on and he was the one who said Oh Mr Reynoso is is running like one of the best programs Out of Compton High and so you know if you're interested in like you know Finding young actors like young Talent he might be able to point you in the right direction and so when I met sirios when he I mean he was fantastic he was so welcoming um his students were so enthusiastic like such like smart uh cool kids uh and so some of his students were already in that short film which is called uh the hood that um also Mr Reynoso plays a cop in so yeah he had a little what was that about I mean what was the what was this what was the story about so it's about um a struggling actor who is in call backs for a role as a as a rapper but he's like not even from LA and so he's like you know this director really um really wants to see authenticity and really wants to see that I've put in some some research and that I've gone out and I've actually like met like real actual Compton rappers and so he comes to to meet uh Omar who is an actual real Compton born and bred rapper to kind of you know ask him like how do you go about like writing your songs like what inspires you what are you into um but he gets he gets the full experience which is also unfortunately you know one of the the great things about Compton is like all the culture all the art but then also one of the Very Bad Things is all the racial profiling then that that sort of stuff which is also um something that Omar um talked to me about as a female uh uh hold on a second Charles as a female director uh what sort of vision did you try and voice did you try to bring to your short the hood well I think it was it was seeing that you know at least something that interests me is very much like where um art meets life like that in oh sorry just gonna reject a couple here since I am doing this on my phone very sorry um so like the intersection between art and real life and maybe that's not specifically you know a a woman's perspective but it is it is at least a perspective that I feel is particular to me and my sensibility because you know I went I went to art school for my undergraduate and something that has always you know inspired me is finding you know the truth like that is art for me is is about seeking the truth representing the truth and whether that's through a work of fiction or non-fiction to me what that's interesting is the the intersection like where does art rub up against real life and what does that friction produce that I saw on your website that some of your earlier work as you mentioned you went to the school of the art was like uh experimental installations how would you compare and contrast the uh the experimental filmmaking and the installation work to traditional narrative filmmaking I think the good thing about um art school is that there isn't like a right or wrong you're very much encouraged to you know pursue your creative Journey make mistakes you know is there really anything that you could call a mistake if you learned from it I and I think there's also an emphasis on learning how to do everything yourself and I do think that that's Advantage especially going into film school that you end up knowing a little bit about everything about you know production about cameras about sound about post-production because especially in art school like if you were making your own film you were doing that from start to finish as a general rule uh and I just think that that gives you a technical uh know-how that maybe I would not have had if I had not been making my own films already um at Art School okay so let me ask you this question since you've been in America do you feel like you're following your vision like you're do you find like are there like obstacles people say no you can't do it that way no I think you need to approach it that way because if you want to be like similar commercial you know you have to maybe tone it down or maybe go in a different direction have you find any sort of barriers like that way um I mean I think that in many ways I've been allowed to forge my own creative path I mean I guess I you know I'm lucky enough to have a manager and I mean he's never really pressured me to take any work that I don't want you know often he will like send me a script because really I'm more in the The Narrative space and I'm allowed you know I I'm allowed to read it and kind of express my own um opinions and and really you know I mean I think it's a compromise that I think every every creative has to make that you can work on your own projects you can work on your own scripts but you have to find some other way to like keep the lights on and that's where I've been doing a lot of dubbing work for for Netflix that's really where I've been how I've been supporting myself while I'm still writing my my own scripts have you been directing dub work or exactly yes okay primarily um interesting so what has that experience been like for you just doing that to keep the the lights on so to speak I mean it's I mean it's I love working with actors I really do I genuinely do and I mean getting to you know cast your own projects and work with the um the actors that you want to work with is is a blessing it's it's lovely to have you know actors that you adore and uh think are super talented um to have them in the booth is is a wonderful thing I mean the the the the converse of that is when you get pressure from the studio to cast direct um to cast actors that maybe you don't think are the the best actors or even the really right for the role that's maybe been the most challenging to be honest but even that is important to to learn how to navigate that because you know if you if you end up directing an episode of TV you're almost certainly going to have to work with difficult actors and you have to learn how to do that how to keep it professional and how to keep the job how to get the job done so um have you had all right let me let me put it this way have you run up to any situations where you feel okay I can't work with this person though this act has been difficult and you know how how do I go about not hurting somebody's feelings but yet getting the job done I mean what's how do you maneuver that that that that that um that feels so to speak well I think that you always have to try and find the the common goal and maybe remind the the actor who might be being a bit difficult of the common goal which is essentially we both want to record this and get it done so we can finish at the end of the day and everyone can go home like we both want that right that's our mutual goal so let's work together to achieve this Mutual goal I think that when you break it down to just that basic needs most actors as difficult as they're women like okay you know what yeah yeah you're right like I just I just wanna you know finish dubbing this film so I can you know uh hang up my hat and go home yeah yeah so we can get out of here [Laughter] in this case we're on the same page there's no argument there you know what I find right as a director like when I first um ventured into being a director and working with actors you know you have to create some sort of relationship with them where they trust your vision right because a lot of actors feel oh what does this guy know I'm just gonna do it my way even if you give them directions they're like in the back of the hell I'm in the back of their head they're gonna say well you know I'm gonna still do it my way right so I find that um communication and uh talking with them and then getting to know me and I get into knowing them so I can create a trust a bond there where they can actually you know trust my vision and realize I know what I'm doing all right I'm not going to jeopardize you you know because most actors they're Brandon Brothers their performance right I'll put you in a situation where you're not gonna shine right so I try to uh convey that to most of my actors that I work with and I find not always but majority of the time I tend to get the performance that I want once I have that that that um that trust right I tend to get the performance that I want and I think trust is the big is a is a main important thing when it comes to acting when you come into Community directed actors they need to trust you they need to know that you know what you're doing and you can explain to them okay this is what I want from you this is what right I think that I tend to think that that makes a huge difference so Patricia since we're talking about directing actors what's your approach when you're working with an actor who isn't necessarily trying to be difficult but already passionately has their own vision for the part that might be very different from the vision that you had for that part and performance well I think it's always important to listen to them because they might have an Insight that you you might never have considered and especially if it's a script that you have written you can sometimes get so close to it that you you you're not even objective about what you've written anymore you can't really yeah it's it's like a kid you know it's like your child it's your baby and there are there are certain angles and perspectives that you might not really see anymore so I think it's always good to to listen because they might tell you something that it's like oh my God I never really thought about that but that's actually really really good and and I think especially very talented actors like they will bring a wealth to your project they will bring riches to your film but you have to let them yeah I mean this is this has been a really amazing conversation too right I just love talking about directing that actually because I'm at heart I love directing you know that's one of my favorites what I want to do but let me just um ask your question getting back to Compton so now when you arrive at Compton and you're doing your short what was the you know getting the content and seeing Compton what was that experience like for you the the like the culture of it I think that you know it's it's uh there's so much obviously there's so much you know negative press and I think you you speak to you know anyone in LA and they'll be like oh my God don't go there are you like crazy are you nuts that's insane but what I think often gets uh overlooked about Compton is just the the kindness and the warmth of people at least that has been my experience you know the and I'm sure that you know Mr Reynoso made a big difference because he was the one who was introducing me to people like uh Omar Miller who then introduced me to the other members of Salam nation which is his rap group um Dorian who who is also part of the group um introducing me to people like Sammy Flores who was part of the the crew um who then introduced me to Justin Avila who I work with all the time now on on dubbing uh he's a fantastic actor and is now sag um introducing and you know Mr Jesus introducing to Midland but to Kaylee like to Aaron like all these kids that were just you know the sweetest kindest people that I've met in a very very long time and I think that if you know if I had just listened to what every you know every local uh Angelino was telling me of like oh my God don't go there you're insane I would have completely missed out on all these absolutely incredible people that I love like I honest to God I I love them and I wouldn't want to imagine my life without them realida[Music][Music][Music] from Portugal to London to Los Angeles to Compton Cal has uh culture influenced you as an artist I mean I think that uh so at least in Portugal I'm from Lisbon which is like a big it's our big dirty City it's obviously you know it's not as big as London it's not as big as LA but we still have very much you know that that Urban environment and that cultural Melting Pot you know I'm sure you know a Portugal we have a lot of like um former colonies and so we have people from Angola we have people from Mozambique we have people from um we have people from Brazil and it just makes for such a unique uh cultural Melting Pot that is something that I grew up surrounded by and was also really inspired by and it's something that I have seen kind of replicated in these in these major capitals is that a Melting Pot of cultures which I just I love I absolutely love and you know especially in Compton you know you have the Latino community so you've got people from El Salvador you have people from Mexico obviously I'm from Guatemala um and that also makes for a very unique cultural environment and that was something that in my future I definitely wanted to portray because I think you know East L.A you know there are a lot of films that have been shot in East L.A so that's a Latino community that um has has been has been beautifully represented in in film but very few people know about the Latino community in Compton and so I wanted to Showcase that as well okay so let's talk about your I think it's your thesis project now that you got which is your future length film that you did how did that came about what what's the idea behind that give us the name start off with the name first and then we talk about how you came about writing it and putting it together the the title is Negra and I started writing it at the end of 2017 uh in in a screenwriting class at UCLA and while I was writing the film I was also you know talking to Mr Reynoso and saying you know the I loved shooting that that short film here I'm thinking about making a feature and you know maybe I could speak to some of your students who are interested in in acting and maybe trying kind of write a script that they could star in um and it was through conversations with some of his students and some of them were undocumented and that was something that you know listening to those stories really inspired me because especially like under the Trump Administration Administration those those kids were definitely under attack like all those kids who had DACA or TPS had just very um were very vulnerable uh under the politics of of trump and that's definitely something I was like we you know that this is what I want to write about this is what I want to focus on yeah great great great and so you get to that point you you did the casting how did that go I mean how did you get everybody to agree and start casting who did you decide which which road how did you put that whole part of it together well what I did what I would do um is you know there were the kids that Mr Reynolds who were like oh you know for example like um Kaylee I think she would be great so you should definitely speak to Kaylee and what I did wasn't so much um an audition it was maybe more of an interview I just kind of like sat her down with a camera and just like asked her questions about you know her life her upbringing you know her her dreams her aspirations and then from from there it's like I kind of started to craft a character that was not exactly like her but had elements of her and then I our first group audition which was with Kaylee um was with Sammy and was with islamba that's where I was that I started to see like the chemistry of of the group uh and started to see you know what that it could work and I think it also helped that they knew each other like Haley and Sammy already knew each other they they wanted to come to hide together um Atlanta was in the year below them so maybe it wasn't exactly part of their friend group but they knew they knew of her and I think that organic familiarity that they already had like it it created Magic on on screen for me yeah I really love that you were flexible with your vision and as an artist to be able to capitalize on Magic that you might not have been able to think of before you got there and met the cast cool so um you finished the film now it's in the can you but I from the guy behind the scenes I know a little bit about the film so you get you finish it you know you you go to Sundance right how did we get from Compton to sentence getting better so I don't know if you want to share that part of course so we finished edit 2019 I want to say because we we finished shooting in in the summer of 2018 so it was basically a year in post-production um and I actually sent the uh the link to a friend of mine who is a Brazilian sales agent uh because you know a lot of I have a a group of like Indie filmmakers and they were all like look you know um sales agents no film festivals and Distributors better than anyone like it's it's their job you know they know they know who's coming up um they know you know what they're looking for so if you have a connection to a sales agent send them the film and just ask him his his honest opinion and that's what I did um and because he really I mean he really really specializes in Portuguese language or Spanish language films it has a lot of Spanish in it but it's still a you know majority English spoken film um he was he was the one who said to me um I think that you should send this to Sundance I think that this is the kind of stuff that they that they look for it's the kind of stuff that they program I really think that you you should send it um and I don't know if maybe maybe he put in a good word I didn't I mean I didn't ask him to I really just asked him for his like honest opinion um but I sent it and then I got a phone call in November from a programmer saying oh you we we picked your film what was that when you share your you know yeah except you know getting into Sundance with your immediate family well the thing is is that they they swear you to secrecy you're not allowed to tell anyone January which is like I think it is January that they um not even your family well the thing is is that my my mother would probably have told everything everyone yeah so I told my sister because my sister's more um great how early did Sundance notify you that you were selected I think it was November if my memory serves me okay yeah that's pretty far out yeah and then and then maybe yeah I do I do think and that's the thing it's like they they want to keep it under wraps so you have to be selective in terms of who you do tell and obviously I told my editor because I knew that we were going to have to like explore a bunch of stuff um but I I yeah I tried to like keep it to myself as much as I could because I was so scared that if I tell too many people they'll change their minds and Paul Paul were found yeah okay so now what's he accepted in this updates January and you can tell everyone what was that like no no the the the cat is under the back so to speak at this point the cat is out of the bag you can tell everyone that you and Sundance what was the experience like no at that point well it was it was really fantastic because um Monica who who plays the the lead role was able to come um Mr Ray knows so very kindly brought um Sammy as well and elanda and Kaylee came with her mother and her boyfriend like it was really so great that so many of the cast members were able to like come and represent and be present for the the premiere like that that was really super special and then also seeing Monica who I think had been very shy like really coming out of her shell and like doing interviews and being like super engaging and charismatic and you know showing off like all her her intelligence and maturity like it was I feel that it really gave the kids like a confidence boost you know because I don't I don't think any of them really thought that they were any good I don't think any of them really thought that they were like good or decent actors and I was the one who's always like no because you are like believe me you are sometimes thinks you are too look you know I think that made a big difference once you got into Sundance did you put together a formal strategy of what you were going to do each day at Sundance did you get a publicist did you get a producer's rep what what was your whole strategy for the festival I mean Sundance is definitely put a uh I mean I don't want to say that they put a lot of pressure on us but at least from from day one they were like you you have to have a publicist like you need to get one go get one and we we got Rob Fleming from Prodigy um a PR and he was fantastic um he he's a gay man himself and I think he was really um he was very uh he was connected to to the film which is in an lgbtq Love Story um and it and uh he did a fantastic job and then I think it's essentially what a publicist does is they are the ones who determine your schedule for you because every single day they'll they'll line up um interviews uh with all the different um uh news outlets or websites uh he did an excellent job and so for me and Monica like our our day was a search essentially determined by Rob Rob Fleming and he did he did a brilliant job I couldn't recommend him um more more highly I'm taking notes I mean that experience sounded like it was a fantastic experience do you have one particular experience at Sundance that you stood out for you more than others uh I think I think it's definitely got to be the premiere like having the film like for the first time you know being born really because that's what it feels like the film is now born and it's like out in the world you know and hearing people you know laugh at the jokes um applaud at the at the end I would like come up to you at the end and say like you know I was really moved by that story or I didn't even know that that this was an issue in America that there are these these kids that were like brought here when they were like two years old and now they're being kicked out and sent back to countries where they have no one and they barely speak the language like you know that's that's such an injustice like just having people come up to you and tell you that it's like that's exactly what we made the film for it served its purpose that's great uh so now Sundance is over how did how did Sundance like um what's the word like jump off give you that push did it give you a push where everybody's like open-handed now like you figure like have you feel like you arrived now you can take Hollywood by storm what's the points that when you leave um Sundance well I mean I think that we we probably you you feel that like buzz and you feel that like oh things are gonna happen but then you have to remember that that was 2020 so then the world went into um your pandemic yeah and so you know we could have probably we probably could have screened a lot more festivals than we ended up screening at because you know 2020 a lot of festivals just didn't have an Edition that year uh and so I think a lot of the momentum that we could have had was unfortunately lost due to circumstances somewhat beyond our control so your film eventually Finds Its way to Distribution on HBO I now they call it Max or Max uh how did you get from Sundance to HBO so even before Sundance publishes its official selection um we already had sales agents contacting our our producers um saying oh you know do you do you guys have a distributor yet you know and if you don't maybe we could talk about securing distribution for you so we had several uh sales agents contact us and you know me and my producers I met with them spoke with them and in the end we we picked the one who I felt uh understood the film the best and understood the audience for the film uh and he was the one who had the the contact at HBO um who he knew was looking for um films that were essentially uh geared towards a Latino audience and the film did then stream on cable on for HBO Latino which is an actual channel that that they have sometimes filmmakers are apprehensive to sign a contract with a sales agent because of what happens on the business side uh how did you approach whether or not you you know you were comfortable working with a sales agent and did you seek out sales agents or you only work with the sales agents who sought you out after the Sundance premiere um I we only worked because I mean we we had so many sales sales agents contact us that really we were like we're just we're just gonna go with the ones that are pursuing us because I feel sometimes if you're the one pursuing them it's like you're already approaching them at a disadvantage it's almost like well you want something from me I don't want anything from you which is not great you have the sales agent has to be hungry the sales agent has to be like you know I want this film I want this film more than all the other people who are speaking to you um and we definitely felt that with the with the sales agent that we ended up uh going with and the fact that my sister is a lawyer meant that you know she was like don't sign anything that you haven't had an attorney look at like that's for her it's like don't you know get a trusted attorney to look over the contract and if you're happy and if the attorney says like this is all kosher or if it's not Kosher we need to change this this and that um but don't sign anything so you get a trusted attorney to look at it and um essentially that's what that's what I did oh I actually forgot the traditional questions for feature what was your budget and uh what did you shoot on um so our budget was um 50K and we shot on my DP uh at the time he had a red Scarlet oh nice which was his like that was his um actual camera and then I think we also used one of the school's cameras which was a Canon I want to say a c500 but I'm not a hundred percent so it's probably a c500 yeah all right uh Patricia so what you got you got the film under your belt it did the premiere you got an HBO Max you did the whole thing um do you have anything that you're working on like now and how do you what what's what's next with yourself so um the great thing is like I do feel that Sundance you know once you've had a Premiere there they do recognize that it's it's uh very hard to get that second feature going after you've had your first so I was lucky enough to get into a lab which is called um the film to Fellowship where essentially they help you uh write script write the script for your for your second feature and they pair you with creative advisors um and I was lucky enough to have Anish giganti uh who's fantastic he did um I think searching and run and my next feature it's it's a horror and I think that's why they paired me with him because he's done a lot in the in the Thriller uh in the Thriller space so he understands like tension um and all of that uh and so that script and that I'm working on now uh my executive producer is going to be the producer on that one and so what we're really trying to do now is attach talent because at least that's kind of um the way that we have seen it works is that often you won't be able to get a studio to even read your script until they know what talent is attached and so that and since it's a film where the lead has to be a Portuguese woman there are only really a couple of Portuguese actresses that Hollywood even recognizes so that really kind of Narrows the pool but if we do manage to get them on board then I think my producer strategy is then to approach uh Studios or production companies and that way secure financing to start pre-production so on the surface horror feels like it's very different from the Negros but uh as an artist what themes are you really drawn towards uh exploring that doesn't matter what genre it is that you can still explore those themes in your work well I think it's still very much espousing the the female perspective and the themes it's it's talking about are uh maternity um Womanhood uh familial trauma so it's still it's it's um a horror lens but it's still talking very much about the female experience uh and I think that's that's my way in uh to that film um and it's essentially about uh the the lead characters relationship with her mother which is very troubled uh and then how that kind of feeds into uh Legacy and and um generational trauma between mother and daughter wow that that sounds like I mean heavy very hairy very heavy for like um for that particular type of genre uh is it set in the U.S or is it set in Portugal so we would have um a couple of scenes shot in La then I would say a 60 shot in in Portugal and then actually uh another 40 shot in Costa Rica because the lead character is half Portuguese half cost three I have Costa Rican that sounds exciting a very visual all right so I want to thank you Patricia for coming on this podcast I mean it's been an exciting really fun I learned a lot you had me as a student you know you know it was really incredible it was really incredible uh podcast and I wish the best for you as you continue your your journey you know and when you get your Oscars don't forget to give me a shout out well I mean no I mean thank you thank you thank you you know giving me and thank you so much for for doing this for putting in like the time and the effort and for shining a light on uh on filmmakers who you know who kind of believe in the power of stories as much as you do as well appreciate that I appreciate that okay Patricia thank you for coming on and have a beautiful day beautiful wrestling here all right thank you Patricia thank you so much this episode is sponsored by the r Vision Caribbean and Latino Film Festival which is dedicated to ensuring that Caribbean and Latino filmmakers have a voice that's heard and a wide audience to Showcase their work the r Vision Caribbean and Latino Film Festival is the only combined Caribbean and Latino Film Festival that is Oscar qualifying for short films each year our vision will screen the winners of the short film categories live in theaters on both coasts for one week as part of the requirements for Oscar consideration click the link in our profile now to submit your film to the next our vision Caribbean and Latino Film Festival to share your work reach your audience and turn your dreams into reality