One night every year a family transforms their home and yard into a haunted house and invites their neighbors to walk through it. What used to be a group effort has increasingly become the dad’s obsessive fantasy that his family is expected to enact.
‘The new film from legendary underground novelist Dennis Cooper and visual artist Zac Farley is a side-eyed, tonally unpredictable portrait of a family-run haunted house in the California desert, with an undercurrent of menace that evokes the early films of Bruno Dumont. In the lead-up to Halloween, a family transforms their home and yard into a haunted house and invites a local high schooler (Chris Olsen) to walk through it, but it appears the father’s (John Williams) increasingly obsessive fantasies are taking a toll on the family. Willfully eccentric, full of left turns but always controlled and precise, Room Temperature marks an exciting creative breakthrough for one of America’s living masters of regional transgression and surrealism.’ — LAFM
WORLD PREMIERE @ LOS ANGELES FESTIVAL OF MOVIES (LAFM)
– Date: Saturday, April 5th
– Time: 8pm
– Location: 2220 Arts + Archive
2220 Beverly Blvd, Los Angeles, California 90057
2ND SCREENING @ LAFM
– Date: Sunday, April 6th
– Time: 1pm
– Location: MUBI Micro Cinema @ Vidiots
4884 Eagle Rock Blvd Los Angeles 90041
Information & tickets: https://lafestivalofmovies.org/room-temperature
Credits
ROOM TEMPERATURE (2025)
Running time: 1:32:16
Written and Directed by Dennis Cooper and Zac Farley
Main cast: Charlie Nelson Jacobs, John Williams, Chris Olsen, Ange Dargent, Stanya Kahn, Virginia Adams
Supporting cast: Lili Tanner, Aiko Hachisuka, Atlas Mole James, Edwin Mohney, Benjamin Weissman, Mitchell Schlickenmayer, Lenny Dodge-Kahn, Sabbath Taylor, Desmond Cassidy, Lecia Dole-Recio, Karin Gulbran, John Tuite, Syd Wasif, Zyanya Ortiz-Thorson
Executive Producers: Stefan Kalmar & Raoul Klooker
Producers: Nicolas Breviere (Local Films), Luka Fisher, Charles De Meaux (Anna Sanders Films), Marcus Chang, Cara Braglia
Director of Photography: Yaroslav Golovkin
Assistant Director: Rob Rice
Score: Puce Mary
Additional music: Chris Olsen, 7038634357
Production Design: Kristen Dempsey
Wardrobe & Costumes: Edwin Mohney
Casting: Erin Cassidy
Make-up: Morgan Walsh
Color Correction: Julia Mingo
Sound Mix: Bruno Ehlinger
Trailer
Main Cast & Crew
(l. to r.) John Williams, Karin Gulbran, Stanya Kahn, Charlie Nelson Jacobs, Chris Olsen, Atlas Mole
CHARLIE NELSON JACOBS (Andre)
Charlie Nelson Jacobs is an actor and writer based in Los Angeles. He makes his feature debut in Dennis Cooper and Zac Farley’s latest film, Room Temperature, after starring in the short film Pee, directed by Sundance Fellow Paloma Lopez. Charlie studied acting at the University of Puget Sound, where he was awarded the Theatre Arts Scholarship. On the development side, Charlie has written a TV pilot optioned by Village Roadshow Entertainment Group.
STANYA KAHN (Beatrice)
Stanya Kahn is an interdisciplinary artist working in film/video, drawing, painting, sculpture/installation, sound and writing. Her most recent film No Go Backs shows in the upcoming California Biennial 2025. Select solo exhibitions include ICA/LA, Wexner Center, MoMA/PS1, New Museum/NY, British Film Institute/London Film Festival, Rotterdam International Film Festival, Vielmetter Los Angeles, Marlborough Chelsea/NY, Weiss Berlin, The Pit/LA, Cornerhouse/Manchester. Select group exhibitions include Yokohama Triennial (2024), Stoschek Foundation, Gwanju Biennial (’18), Hammer Museum, New Museum, MOCA/SD, Fernley Astrup/Norway, California Biennial (’10). Kahn’s collaborative work with Harry Dodge has shown at Elizabeth Dee Gallery/NY, the Whitney Biennial (08), Sundance Film Festival, MOCA/LA, MoMA/NY, ZKM/Karlsrüh, among others. Kahn was a 2012 Guggenheim Fellow in Film/Video and a contributing writer and actor in feature film By Hook or By Crook. Her work is in the collections of the Hammer Museum, MoMA/NY, LACMA, the Walker Art Museum among others.
JOHN WILLIAMS (Dad)
John Williams (b. 1975) is an artist who lives and works in Los Angeles. He received his Master of Fine Arts from California Institute of the Arts in 1999. Recent notable exhibitions include: High Anxiety, Rubell Family Collection, Miami, FL (2017) Richard Telles Fine Art, Los Angeles (2016), Halved and Quartered, Brennan & Griffin Red Hook, Brooklyn, NY (2015), They Might Well Have Been Remnants of a Boat organized by The Calder Foundation, New York (2013), Teenage Hallucination at the Pompidou Center, Paris (2012) The Mass Ornament at Barbara Gladstone, New York (2010), and Record Projection at The Hammer Museum, Los Angeles (2009).
CHRIS OLSEN (Paul)
Chris Olsen is a 23 year old musician and visual artist. His musical work includes the albums Dark Ride (2024) and Human! Sound! (2022), and one of his tracks is featured in Room Temperature’s soundtrack. Most recently, he was an artist-in-residence at Automata Arts in Los Angeles’ Chinatown. While in residence he presented an installation work entitled My Galveston. He works and resides in Los Angeles.
ANGE DARGENT (Extra)
Ange Dargent is a 24 year old actor and writer. His first acting experience was at the age of 14 as the star of Michel Gondry’s 2015 film Microbe and Gasoline. More recently, he played the lead role in Michael Salerno’s film The Masturbator’s Heart. A book of his poetry The Others Lived as Me was published by Kiddiepunk Press in 2023. He is based in Paris and is currently writing his first novel.
VIRGINIA ADAMS (Marguerite)
After appearing in a number of plays at The Sequoyah School in Pasadena, Virginia decided to take her acting further by studying at the Young Actor’s Studio in North Hollywood. Soon after, she was cast in Room Temperature, which is her film debut. She loved every day on set despite the cold and wind. And, inspired by Zac and Dennis, she co-directed her 8th grade play.
YAROSLAV GOLOVKIN (Director of Photography)
Yaroslav Golovkin is a cinematographer and filmmaker based in Los Angeles. Originally from Russia, he moved to the U.S. three years ago. He studied cinematography at the Moscow School of New Cinema and has collaborated extensively with artists working in moving image and contemporary visual arts. Among his credits as Director of Photography are Lika Nadir’s Captive (2023), The Struggle is Real by Ragnar Kjartansson and Curver Thoroddsen (2021), as well as numerous short films. Room Temperature is his first feature film in the United States.
LUKA FISHER (Producer)
Luka Fisher is a queer woman of the trans experience. She is an artist, composer and cultural producer known for her work with queer musicians and performance artists. She holds an MFA in photo/media and integrated media from CalArts. She served as an associate producer and actress in Lyle Kash’s majority trans cast and crew feature film Death and Bowling. Most recently she has been the producer and music supervisor for The Lovers a queer web series by Daviel Shy that explores intimacy and community during the early days of the pandemic. She is currently pursuing her MA in curatorial studies and a sex change from USC.
PUCE MARY (Score)
Puce Mary (Frederikke Hoffmeier) is a Danish experimental musician, composer and sound artist. Her albums include Success (2013), Persona (2014), The Spiral (2016), and The Drought (2018). She has collaborated with Yves Tumor, Drew McDowell of Coil, and Loke Rahbek (Croatian Armor). In 2020, she scored Jeanette Nordal’s film Kød & Blod, which premiered at the Berlinale. In 2024, she scored the Polish/Danish feature film The Girl With The Needle, which premiered at Cannes and was nominated for Best Foreign Film by the 2025 Academy Awards.
KRISTEN DEMPSEY (Production Design)
Kristen Dempsey is an artist working in painting, production design, sculpture, and costume. Based primarily in New York and London, she collaborated on over 30 opera and theater productions. Dempsey’s practice uses familiar stagecraft techniques and mundane materials to create a bridge between the commonplace and the otherworldly. Her feature films Playland (2023, Tribeca premiere) and Room Temperature are each built with surreal and tactile detail. Kristen was selected as a Berliniale Talent in Production Design in 2024, and is a proud member of Local 829. Her scenic painting has appeared in Vogue, W Mag, and A24’s Horror Caviar.
EDWIN MOHNEY (Wardrobe And Costumes)
Edwin Mohney is a multidisciplinary artist known for their contributions to fashion and costume design. Known for their inventive approach, Mohney explores the intersection of art, fashion, and everyday objects, reimagining traditional fashion collections as dynamic expressions of creativity. Mohney holds both a Bachelor’s and Master’s degrees from Central Saint Martins Fashion Program. With a passion for transforming fashion experiences, Mohney seeks to blur the lines between art and design, shaping the future of fashion with each creation.
ROB RICE (Assistant Director)
Rob Rice is a filmmaker from western Massachusetts, based in LA. He did an MFA at CalArts and, before changing careers, worked as a CRISPR engineer at the Broad Institute of MIT and Harvard. His feature debut, Way Out Ahead of Us, was produced by Matt Porterfield and premiered at the 2022 FIDMarseille before going on to screen at RIDM, UNDERDOX, Black Canvas, São Paulo and many others. His second feature is currently in post production.
Directors Statement
Our new film Room Temperature concerns and is set in a home haunt being constructed by a family, in an isolated area of the United States. The film begins with the initial building of the haunt attraction and concludes with its enactment for the public and the event’s immediate aftermath.
We’ve both been fascinated by home haunts for many years. As a young teenager, Dennis built and hosted haunts in the basement of his family home yearly on Halloween. We’ve made trips annually at Halloween to Southern California where the home haunt is most popular, visiting and studying hundreds of examples. With Room Temperature, we believe we have finally found a concept, form, and story to articulate the haunt’s unique appeal within a film in a complex and original way. Our intention is to not only represent a home haunt physically but also translate its physical limitations and strengths into our film’s forward motion. Just as a home’s simple layout and architecture necessitates that “haunt” makers employ ingenuity, unpredictability, and creativity to build suspense and interest. The unfolding of our film’s narrative and trajectory has a similarly wandering but very focused and riveting maze-like build.
One great appeal of the home haunt is how it moves people excitingly through a defined space without the use of a cogent storyline, calculatedly building tension, or the promise of a mystery being solved. Due to their ramshackle, handmade nature, visitors always know they are wandering through a private home whose rooms, hallways, kitchen, bathroom, and so on are decorated with intended scariness. The feeling of consensually invading someone’s privacy is always more present and affecting than the fantasies superimposed upon the building.
Our film uses that quality and trajectory as the informing structure for its narrative and build. Room Temperature is both about its characters, the world in which they live, and about the fantasy personas and world they are trying to replace their lives and selves with. The film is a kind of “walkthrough” attraction in and of itself, carefully constructed, full of tension based both in the characters’ real lives and in the theatrical context they intend. They are not mere tools or functionaries of the narrative as in, say, horror films. Rather, the film’s tensions and mysteries and meaning result from how closely the film follows and pays attention to them.
Stills
Interview
by Derek McCormack
Derek McCormack: I have to tell you that until I had Halloween with you one year in LA, I had never been to a home haunt. It’s the most American thing. I grew up in Canada and we had haunted houses, but they were more professionalized, or pretended to be—they were in the YMCA or at schools or church basements. I didn’t know that so many people turned their own homes into attractions.
Dennis Cooper: Zac and I both really love home haunts. And we love how they fail. They have these extremely high aspirations that they can’t realise and we love them for trying so hard. And we wanted to represent how sweet and sad they are, how empathetic they are.
Zac Farley: The people who actually make home haunts, they build those all year. So they get to live Halloween 24/7, and not just once a year, which is so lucky. And home haunts are like total works of art. They’re immersive and have a complex relationship to narrative : they often have an element of story which could be quoting a horror film or something more thematic like summer-camp, but the good ones also work the actual home and family members into the fabric of the story in more or less obvert ways. There are sets, actors in costumes and make-up, sound effects, music, architecture… and they’re really a group endeavor. They have to address a public that is a given and extremely local, their friends and neighbors, but they also try to appeal to a broader community of haunt builders and hardcore fans. In some of these ways home haunts are not so different from films.
Dennis Cooper: I’ve never seen a film represent a home haunt for what a home haunt is. It’s a very tender film in a way. It’s a very emotional and personal but also comedic film. So you feel how much the family, or at least the father, who’s kind of the home haunt’s evil mastermind, want it to be good. And you feel how not good it is and how disappointed by it everyone is.
Derek McCormack: So let’s talk about the making of the film. You two conceived it, co-directed it, shot it together. You also wrote it together?
Zac Farley: Dennis does the heavy writing. He’s a great writer and I’m not.
Dennis Cooper: Before I write, we sit down and we talk about, Okay, so what should we do with this? I’ll go home and do it and then show it to Zac and he’ll say, I like this, I don’t like this. Zac is an visual artist. I’m not. So he can say, This would be very difficult to film, maybe change it and make it easier to transfigure into visuals.
Zac Farley: Well, when we write them, we don’t know who’s going be in them or where we’re going shoot them. I think some people actually have that power to have a perfect planned picture of what it will be. And I’m not like that at all. I actually make an effort to not do that. I’m more interested in being surprised by the thing as we’re doing it. I mean, we work with people who aren’t actors or we don’t cast them based on the way they look or whatever. We’re more interested in finding collaborators who are going to be excited about the project and will bring something to it that might surprise us.
Derek McCormack: I admire that. I admire that you find the openness exciting, because I feel so controlling about my work.
Dennis Cooper: We’ve always worked with non-actors, and we’ve found that not specifying their appearance, age, or even gender is a more practical way to approach the characters. What we want is someone who has a particular kind of charisma and quality, you know? And you don’t know that till you see them. For instance, for the father in the film, we had this original idea to go in a certain direction and audition these guys who were a bit tougher. But then there’s this friend of mine who’s a visual artist and a sculptor, John Williams, who’s absolutely nothing like that. When we tried him, we were like, Holy shit, he’s perfect. That happened a lot.
Zac Farley: What’s really nice about working with people who are not actors is that they don’t have tricks or habits to fall back on and they’re not so self-conscious about the way they look when they’re emotional, so they have no choice but to be really sincere.
Dennis Cooper: What was nice with this film is that really the whole cast was made up of people who are artists or musicians. So they’re all thinking about the roles in the same way that we think about them, pretty much in these conceptual ways. Asking a group of like strange, smart, conceptually-minded people to embody extremely odd characters. What could go wrong?
Derek McCormack: It sounds like nothing could go wrong.
Zac Farley: All kinds of things did go wrong, but not the film.
Derek McCormack: Were there thoughts of filming it in France? Was it always something you wanted to do in the United States?
Dennis Cooper: We thought about filming it in France, which excited me because I like the idea that no one would understand what the hell these people are doing. In France, there are no home haunts, and I could imagine that the neighbors would think these people are insane. What are they doing?
Zac Farley: It was definitely the right decision to shoot in the United States. Our films are written in English, and while we made filming in French a feature of Permanent Green Light that really excited us and that we anticipated, it would have been different with Room Temperature.
Dennis Cooper: The way I write is very involved with the intricacies of how the English language works. I like to play with inarticulation and deflections in a way that only works fully in English so I could play with that kind of detailing in a way that is key to how my writing succeeds.
Derek McCormack: And there’s still so much strangeness. There’s still the sense of, Who are these people and what are they doing? I don’t know who’s in this house. I don’t know why they’re in this house together.
Zac Farley: They’re very much a family. They refer to each other that way. Except for Extra. Making it with a cast of native English speakers also had the effect of making the one French performer, Ange Dargent, who plays Extra, stand out even more through his accent.
Derek McCormack: Extra is extra. There’s a character called Extra which is the greatest thing. Extra is one of the oddest kids and one of the oddest things in the film. There are so many references to him getting hit.
Dennis Cooper: Yeah. It’s important that he gets hit all the time.
Derek McCormack: He’s like a little pocket of confusion—what he is, who he is, where he comes from, what people think of him. He strikes me as a ghost trapped in a kid’s body. Or he’s a ghost trapped in a ghost body as it turns out. A puzzling, puzzling character.
Dennis Cooper: He definitely comes off extremely odd. And he’s the character that really wants the haunt to work, he wants everything to be great. I totally relate to him. He’s the one that has these huge dreams and ambitions. He thinks this whole thing is stupid. And he gets punished for it. For his ambition. So, I mean, in that way he’s a very relatable character.
Derek McCormack: Extra is murdered because the family thinks that an actual murder will add to the haunted experience. But in the end, he does make it greater — he becomes a ghost.
Dennis Cooper: Actually, as a ghost Extra is very serene and observant, and he becomes very emotional at certain points, but he’s not scary. He doesn’t make the haunt scarier at all. He’s just like one of the haunt’s animated props that no one can see.
Derek McCormack: At the risk of getting out of my element, because I don’t know my Blanchot like you do, I’ll say that it reminded me of the passage where Blanchot says if you take a corpse to a funeral and bury it, it becomes something, something formal, something acceptable. But if you keep it at home, if you leave it in the home, it becomes something else. It changes, it changes the house and it changes the people who see it. I thought, well, that’s what that dead kid is doing. He’s a storm, a change of weather, like his corpse is a fog. When the movie ends, the camera follows these other characters home, the characters who came to the haunt. And the atmosphere follows them. I said horror before and I shouldn’t have, because it’s more affecting than horrific, but I don’t know which emotions it calls up, or if they’re something else costumed as emotions.
Dennis Cooper: I don’t even really know either. It’s hard to describe. It has to be seen.
Derek McCormack: Dennis, I pulled out a piece you wrote about home haunts for Nest magazine. It has a lovely line in it: “we long for the things that are familiar to scare us.” A home haunt means taking a home, the most familiar thing in the world, and making it scary to other people and maybe to the people living there? Although the other side of that is that homes are always scary in a way. Why do we want things that are familiar to scare us? Why?
Zac Farley: Yeah. I think that’s my way to think about it. Homes are actually completely terrifying. And so the home haunt is showing the thing that’s always there, but showing it in this completely inept way and, and building something else out of it.
Behind the scenes
1. Photos by Estelle Hanania
2. Photos by Brendan Lott
*
p.s. Hey. I thought I would leave you with a post dedicated to Zac Farley’s and my new film partly since it’s the reason the blog is going away for a while. So, you have a month to get a sense of what Room Temperature is all about. As I said the other day, the blog will now be on vacation for about a month. It will return live on April 17th when I will be freshly back in Paris. Feel more than free to leave comments here and/or talk with each other to your hearts’ content for the duration. I’ll respond to any comments directed towards me upon my return. I’ll miss you guys. Last and definitely not least, I’m very sad to tell you, and especially those of you who’ve been reading the blog for a long time, that the writer, critic, film scholar, bon vivant, very long term member of the blog’s commenting community and very great person David Ehrenstein died yesterday. I don’t know the cause. He was in an assisted living situation at the time. A great man, a great loss. ** Dominik, Hi!!! All cred to _B_A. Listening to Nancy Sinatra day and night was a bit of a test, I must say, yes. Gosh, have a great month, my friend. And there’ll be a new SCAB soon too, yes? Yippee! Bronski Beat. Goodness gracious. I’ve had the blues, The reds and the pinks, One thing for sure, (Love stinks), G. ** Misanthrope, Hi, G. I don’t know if you saw David Ehrenstein died. A kick in the head. He was here commenting until maybe a month ago. Sad world on so many fronts. I hope everything’s well sorted for you when I see you next. ** jay, Hi. I too was a ItaloSadDisco mostly virgin until Ben brought his wisdom and knowledge here. I think I’ve seen the ‘wings’ before, I mean in mainstream-y places and not just in Guro. No, no venues in mind, or, well, some ideas, I guess. We’ll see who wants to pony up for our film. Hopefully with help. I promise that you will kept fully abreast. Gosh, have a really good and heathy and fun and productive series of weeks, and I’ll see you on the other side. xo. ** _Black_Acrylic, Hi. It seems to have been quite a hit, pal, so thank you ever so much yet again. All the luck on the tooth extraction, and here’s hoping my prediction that it won’t be ultra-hampering comes true. And have a fine next weeks, my pal. ** James, Thank you for being Ben’s shimmying audience. Sunny here too, but cold sunny. But I’m off tomorrow to a place where the sun almost never doesn’t shine, for better or worse. Reading before writing definitely helps, and probably during if your brain runs on multitracks. Oh, you’re one of those kinds of bowlers. There’s always one in every group. Kind of like the group’s bowling mascot or something. No doubt you’ve made the games less boring and workmanlike. I carry a little notepad around with me in case of random muse strikes. I guess most people just type madly in their phones. When I do forget to pack something it’s usually toothpaste or deodorant, not so drastic. Elvis Costello rocks indeed, especially early on. Dude, big congratulations on the Edinburgh acceptance! That’s awesome! I was there a couple of times, and it seemed pretty and gloomy. Everyone, James has been accepted to university at both Durham and Edinburgh, and he’s feeling torn about the choice. Anyone around here have any helpful thoughts or advice about the dilemma to help him choose? Would be cool if you do and can share. I’m sure you’ll have an exciting month, you of all people, but do that and give me the highlights when I’m back in the saddle, please. ** Bill, Hi, B. I too am one on whom ‘Blue Velvet’ had to grow. Strange to try to remember. I am finally writing to you today. Sorry for the delay. Lots of pre-trip madness. I hope we both extremely enjoy our times away from this place. ** Steeqhen, That’s quite a long friends stint there. Nice, tiring, nice. I hope you heard back by the deadline. Jeez. People at the top can so utterly suck. And, sir, have a very good month ahead, and I suspect your month will be very momentous. ** Sypha, I would have bet a million dollars that you were very happily in a Gaga hole, and so you are!!! ** Steve, Happy that things seem less vexing as you head off, and I hope it all goes as well as possible. Everyone, Here’s Steve with some reading material for you: ‘For Gay City News, I wrote about the Maria Schneider biopic BEING MARIA and about the Museum of the Moving Image’s “First Look” festival. Virgil Vernier’s 100,100,100,100,100 was the highlight at “First Look.” I liked the Russell bio. See what you think. And ultra-best wishes for you for the month ahead, my friend. ** Tyler Ookami, Wouldn’t surprise me, yeah. I’m guessing the ‘Terrifiers’ get wackier and that it’s not just a matter of more funds = better cgi. Or that’s the hope. I don’t think I know Drowse, but I like what you’re making them sounds like, obviously. I’ll hunt them. Stay well and well-fed aesthetically and otherwise until I get to speak with you next. ** Jeff J, Hi, Jeff! It seems like the Cloudflare problem is waning, or I’m not hearing complaints much any more at least. Thanks, yeah very excited and nervous for the premiere. Let’s catch up afterward, yes, would be great. You finished the trilogy! Wow! Talk about a long journey’s end. That’s amazing. Huge congratulations. I hope the business part of it goes as smoothly as something like that can. Great too about the music and the film series. You’re manoeuvring through the horrible new USA very deftly, man. Take care, and, yeah, let’s sort a Zoom. ** Justin D, Hey, J. Thanks a lot, pal. You make the very best of your month too so we can brag and congratulate each other, what do you say? xo. ** politekid, You have the right attitude and gifts in combination. I have no worries whosoever about you, at least on those fronts if not even on them all. Good enough days there, more open to the forces than mine, which are only about tying up loose ends and putting things in a backpack. Um, you make something interesting happen by realising that everything is something inherently interesting that’s just waiting to happen? Thanks for the spare crossed finger. Ten never seems like enough. I will do whatever it takes to make the LA sojourn something worth talking about, and you will be the recipient either way. Take good care, O! ** HaRpEr, I’m extremely fond of this one melodramatic Italo Electrodisco song that Ben didn’t include in his array if you want to hear one more. Matia Bazar ‘Ti Sento’. I have to say your dad having Mark E Smith as a god does raise him up in my estimation to some degree. Sentimentality can be useful but is good to avoid, I think, and besides, it can’t be avoided but merely kept somewhat under control. I hope everything pans out for you lustrously while I’m off doing my film thing, and I do look forward greatly to catching up. Stay amazing. ** Darby𓃰, Hi, D. I did like the track, yes, good ear. You make your mission sound very rich and atmospheric, so that’s a good start. Anyone going to see our film expecting gore will be extremely disappointed. There’s some fake blood and some crappy gore Halloween props, and that’s about it. I am going to LA tomorrow in fact. For a month. And I will ask my roommate about the package as soon as I have some wake up coffee and walk in my front door. Have a really fine month, my dear friend, and stay tough and on top of things. xoxo. ** Joshua, Hi, Joshua. You might like the track i Linked to in HaRpEr’s comment if you don’t know it maybe. Yeah, licensing issues. They’re the bane. In our film we originally wanted to use this extremely unknown very early track by Fleetwood Mac before they turned into what everybody knows them as, but whoever owns Fleetwood Mac also owns every tiny little thing they ever did even before they were anybody and wanted $100k to use it in our film, so that got cut pretty fast. Ridiculous. Good about the job. Having those skills will obviously benefit you in your creative work and everything else. Classical piano, very interesting. Your musical work sounds very exciting. I’m very much on your side about contemporary composers’ work being undervalued and recorded/performed. There are, yes, so many extremely interesting composers alive and at work. It’s nuts, but I guess it always comes down to people’s unadventurousness which comes down to their lack of exposure and it’s such a vicious circle. Ugh. I hope the balance you seek is well in place by the next time I get to talk with you. Success to us both, and see you before too long, and take good care. ** HaRpEr, The newified site looks terrific. Kudos! Early spring allergy stuff? I hope you dry out asap. I’m going to make buying a box of Junior Mints a top priority upon finding my feet on Junior Mints-friendly ground aka the USA. Stay wild and happy. ** nat, Hey, nat! Your novel just sounds more and more enticing. Ah, ‘Mario 64’, can’t argue with that. You made it in time, obviously, and I’ll store up some stuff to tell you post-trip. You too? ** Okay. Be with ‘Room Temperature’ as much or little as you wish until I see you all next on April 17th. Have a really, really great month, everybody. See you in a bit.
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