So, I would like to welcome all of you here. You know, this is part of the programming for the Elizabeth Sackler Center for Feminist Art. I am Elizabeth Sackler. And instead of having this afternoon in the forum, we're having it here because obviously there are many, many people. Here is my son, Michael. Michael, this is Kathleen Turner. And Kathleen wants us to be informal. We are all here. And part of what this is about is an opportunity really for dialogue with all of you. And before we begin, I just would like to say that we're going to ask everybody, the two beautiful women who just arrived to come down forward so that you can dialogue here. We're going to be celebrating, the center is going to be celebrating our third anniversary in March, which feels like it's right around the corner. And we've had such a fantastic two and a half years. It's been more than two and a half, obviously. And it's been delightful. And I am so thrilled that Kathleen Turner is here today. Part of our mission at the center is to raise awareness of feminism's contributions to the art and to culture. And part of what I think you might have an opportunity perhaps to dialogue about today with Kathleen Turner is that aspect of Kathleen's life. She wrote in her book, Sending Yourself Roses, is Kathleen's book, Send Yourself Roses. We'll have a book signing and sales outside when we're finished here. In it, Kathleen wrote, and I have to get to that part and put on my glasses. She wrote, actor and activist come from the same route. I consider myself both. Finally on, I was influenced by a saying of Margaret Mead that we should never doubt that we should never doubt that a small group of committed individuals can make a difference. And indeed, it is the only thing that ever has. It always breaks down to someone doing something, taking action. And I was very excited when I read that. I think both of us, I'm not an actor, but I am an activist.  I have a long, very beautiful biography, and I feel like it's just almost redundant because I think everybody here knows, and I'd like to welcome Kathleen Turner. They've given me this microphone, I think, more for their own records than my need, because obviously, I don't actually need one. Just a little explanation. This is a full knee replacement that I just had to have done. So I'm not actually faking it. Oh, and the tape is a skin biopsy that I had a very enthusiastic doctor who grabbed me for. Okay, that's over. A little history about myself. What I'd love to do very much today and how I have the most fun, which is of course of paramount importance, is to talk to an answer. What I get from you all is we'll find the topics and the stories and hopefully the jokes and things that will come from what your interest is in being here. Okay? So we'll try and you'll have to be brave also and all that good stuff. So overview background, I'm 55. I grew up mostly overseas at least until I was 18. My father was with the Foreign Service Department, a Foreign Service Officer. So I grew up mostly outside of the United States except for Washington, D.C. So until I was 18, my last four years, high school, was spent in London, at the American School in London. So then I suddenly found myself, when my father died suddenly, in Springfield, Missouri, where my mother's parents lived and started college, started university at the Southwest Missouri State University. You have a dog. Okay, anyway, where I learned a great deal, I mean, because quite honestly, I think had this not happened, I would have become a kind of fake British actress rather than an American actress. And so although the circumstances were sad, it was very valuable to me to come back and end up in the West of our country and work my way through college to New York, where I have always lived, I have never enjoyed living on the other side of the country. It just, in some ways, I always sort of say that movies happened to me rather than my actively pursuing them. I always thought of myself as a stage actress, and I still do. But what I hadn't realized in the early days was that it would take me years to grow into a great many of the great roles that are available on stage that, of course, in the meantime, I thought I'd fill them up in film. Yeah, right. I had a ball. I still have a ball. Well, actually, I enjoy everything I do, otherwise I don't think I'd do it. Ah, let's see. I am active. I'm on the board of Advocates for Planned Parenthood in the United States of America. I am on the board of People for the American Way. I work with City Meals on Wheels here in New York City. I work with Child Help USA, primarily a lot of the activism that I am focused on is women and children's health and rights. So those are my strongest. I figure cancer can do without me. It's got enough people there. So I try and work really with organizations that I think offer practical and immediate help in many ways. Okay, let's see. Honestly, the best way for me to do it is not to talk at you, but to talk with you. Okay. Does anybody want to start off with a question or comment or something that will get my juices going? Oh, no. Actually, oh, yes. Okay. I'll repeat that so everybody can hear me. Did you become active in the organizations before you became quote, unquote famous or was it afterwards so that you could use your fame to help? Well, it's certainly a real, one of the best aspects of fame that you can focus attention and interest on anyone, cause or organization. But no, I started working with Planned Parenthood when I was in college because they were the people I went to when I needed reproductive help. You know, when I started deciding to get sexually active, I thought, let's do something about that. And that just so I just continued with them throughout. And when I moved from Missouri to Baltimore for a year, and I worked in the clinic there, and then when I moved from there to New York, I continued.  But I've always been involved with them, my guys, let's get lively. Yes. Well, I teach at NYU also. I teach acting to juniors and seniors. Basically when I do master classes, but I'll teach a full semester when I have that, when I know I'm going to be in New York, you know, for that amount of time, and I can make that commitment. To read, honestly, God, I mean, read, there is so much that is the acquisition of words, the acquisition of the ability to be able to name things, to conceive of things. I'm not even speaking of any one kind of book or any one kind of material. I think that the exercise of using and discovering and tasting and applying words is illuminating. There are the same fights now that we had in our time, very, very much. In fact, now it may be some of them are more difficult, but more accessible, there's more we can do. For example, we were on the front very much, maybe not, I wasn't on the front line, okay, I was on the second line, of women's rights, of fighting for women's equality and parity. Well, it's slipping again, guys. You lovely young women.  This battle is very, very far from having been won. There is the same kind of activism needed now as there was then in terms of our economy, in terms of what we can do ourselves. And please don't think I just set myself as any up as any kind of expert or anything. But the need, the social need to be aware and help out in terms of people with so much less. I always tell people in my classes and stuff, schedule yourself as an hour a week, say, every Thursday at three o'clock, you will give an hour to city meals, or you will give an hour to another organization that needs you, write it in your schedule like you would a class, or a weekly appointment at the gym, or something, give yourself, set aside at least one hour a week, where that's simply what you have promised to do that day. Don't make it an extraordinary event that you're going to suddenly have this burst of, God, I'm going to do something good today. And that's it. You know, get yourself into the habit of giving. I don't even want to say giving. I just want to say being involved with something. And a habit will lead on.  You mean students in particular are very often have a very limited range of exposure. You know, you mostly interact with other students, and perhaps your parents still, whatever, your teachers, but not much of the greater world. I mean, sometimes when I go below 14th Street, when I'm going down to NYU, it's like a home of the New York, you know, or if I go up to Columbia. But in between it's like adult world. And then there are these student worlds, you know. So I think advise them to find an activity that takes them outside of their, the student little world for a bit. When did you become sure that you were going to be an actress, and was there a person who inspired that in you, or was it always there? Secondly, everybody asking questions, please ask them to the mic so it goes into the recordings. Otherwise, it doesn't make sense that she's just speaking. Ah. You're right. Which means we have to wait for the mic. I was 12, actually. And it makes no sense whatsoever. I was living at that time in Caracas, Venezuela. My father was posted to the embassy there. No one in my family has ever been involved in the arts in any way. They are all scholars, they are all, we have four doctors in my family, my siblings and myself. You know, and my mother, I must confess, takes great delight when we're all together and saying, and this is Dr. Turner and Dr. Turner and Dr. Turner and Dr. Turner. All right. Mine is honorable, okay? They gave it to me. But I did ask my siblings if it was okay. You know, if I accepted it and they said, yes, they thought I'd earned it. So we're cool. But anyway, no one had ever been involved in the arts. I had no exposure. And living in Caracas, Venezuela was not exactly the center of the arts.  So I don't know why exactly I decided that that was my life's work, was to be an actor. But shortly after that, as I turned 13, we moved to London. And I started the America School in London. But the first thing I did, the first night I was in London, was go to see a play, you know. And we didn't have any money or anything like that. So I was sitting in the English theater. There are four tiers of, and the fourth one, all the way up, is called the Gods because you're so close to him up there. So, but that was very cheap, you know. So I was up in the Gods looking down at the stage. And for the first time it hit me that I could actually earn a living as an actor. Because we all knew whatever we did, we'd have to earn our own living. There was no question about that. But I think I was helped also by the fact that in England, it is considered a profession. It is an honorable profession to be an actor. In this country, it is still considered like, oh, it just happened to you. Or somebody happened to see you sitting somewhere. Or, I mean, as if there weren't the years of training and intention and scholarship that really that good acting takes. So the respect for acting as a profession, I think made it more possible for me to believe that I could be, that I could earn a living with it. Needless to say, this absolutely horrified my family. My father grew up in China. And his grandfather, my great, no, his, yeah, his grandfather, my great, great grandfather was a missionary, Methodist missionary to China. So my father was brought up in Shanghai by two maiden aunts and this missionary grandfather.  So I was fighting a lot of disapproval there. But then, as I say, when I, just before I turned 18, he died very suddenly. So the support was taken away and so was the barrier, you know? I mean, as much as it sounds awful to say it, it released me, you know, in some ways that I wouldn't have, I would have had to fight longer and harder against him to be allowed to continue on the path I chosen. I just always knew. I swear to God, I always knew that this was something that I had to do. And I'm one of those extraordinarily lucky people who has the talent to match the desire. You know, very often it's one or two other. I think the saddest thing is not to have the desire, not to wake up in the morning and say, oh, I must do this. Oh, I really want to do this. I have to confess, I see a lot of people, many times young people, who go to the right schools, who maybe live in the right neighborhood or join the right firm or whatever, and keep waiting for these things to give meaning to them, their lives. It does not work this way. You know, you have to decide what your life means, what your work means to you, and through that, find the avenues to do it. But it's not going to come from somebody else, you know, saying, you will feel great, you know, about yourself if you follow this path. So I'm lucky. I'm just extraordinarily lucky that I have always been given this conviction that this is what I have to do. Can't explain it. We've got to get a mic over there. We've got one on this side, don't we? Well, let's start here, we'll get over to you. You mean in terms of our women's rights and protections? Oh, I guess I'm sorry the mic wasn't on. Yeah, go ahead, see you again. I was just wondering why you think we're going a little bit backwards now. What you see happening in our culture and society right now? Well, because, for example, I have a 22-year-old daughter. She turned 22, two weeks ago. Wow, I really have to learn to let her go. Anyway, really do. Not really joking, I promised, I promised. But I mean, I have this impulse whenever I see you to say, wait, have you done this? And did you call so-and-so and, ah, I'm learning, though. I'm learning to let go, I swear to God. She and many of the young women I've met of her age and circle, seem to feel that there's no threat to their reproductive rights, for example. And yet, in the first passage of the Congress's health care reform, there is a specific clause against the use of these monies toward a medical abortion. Now, we're talking about women who probably, you know, I have never, I do not believe that any woman chooses abortion as a matter of birth control. I just don't. Yes, there may have been carelessness or lack of forethought. And we certainly have the after pill or whatever. That is fairly accessible. But even so, and in catastrophic birth instances, it is a medical necessity. And to say to a member of our society, you need this medical procedure. You can have everything but that. It is a kind of exclusionary thinking that I think opens the door to great many dangers for us. Now, I would love to see a comprehensive health care reform bill passed, and I will happily pay more taxes. I honestly would. I mean, instead of thinking that some of my fellow citizens will be without any care that they need, you bet I would. And the fact that our country pays less than almost any other country in the world, any civilized country, we should say, perhaps, or industrialized, I think that we have a very narrow understanding of our role as citizens within a greater society, which leads me to another topic which really burns my ass. Why don't they teach civics in school again? I mean, it was like half of the arts programs. It's been tossed out, right? As an unnecessary, you know, you've got to hire another teacher, you've got to schedule another class. The truth is we have people growing up who have absolutely no idea what their responsibilities or their rights are in this country. And I think that is completely wrong. How can you participate as a citizen unless you have an idea of what you can do? Okay, that's a real bug of mine.  Yes. Oh, wait a minute, that's ended up there. Wait, we missed him. Okay, remember him in the, all right, fine. No, no. Yes, you're on. Classes at a local community. You just have to speak into it. I have to speak like this. Okay, I take classes at a local community college. And what I see is that many of the young people are so used to the advantages that we fought for that they don't realize that they have to continue to fight for it. As an example, and it's not women's rights, about a year ago, I attended a conference in which there was a member of the clergy who was speaking about his experiences marching with Dr. King. And there were African-American students in the audience that really got antsy and said, why do I have to listen to this garbage? This doesn't pertain to us. And it certainly did because he didn't march with Dr. King or Dr. King didn't march. They wouldn't have what they have today. And it's the same with women's rights as well. Well, it's the same with many, many issues, but I think we're probably every generation of us has said this, that you guys don't realize the work that we did to get you here. It's true. Now, I'm not saying it's false. I was saying that it is, that's part of our job, is to say, wait, don't you understand what was accomplished? I think that in the fullness, I would trust, in the fullness of time and a little context, especially as they gather more experience in their own lives, they will see how the changes have happened, even within their own working lifespan or even within 10 years span. And they were probably back gonna say, well, now you can do what we, it's a little too simplistic to my mind to say that the young people don't appreciate it. No, they, I think that they have their own battles in many ways, their own struggles and their own barriers. They're very different from some of the ones we faced. In some ways, I think ours was simpler because the input now and the global confrontation, the global interaction that people, my daughters, the young 20s have to deal with now the impact across the world, our issues were really a little smaller in a lot of ways. It is a shame that the boys or the people that age haven't, don't seem to show true respect. They're wrong, they're just wrong. But they'll probably learn it as they go along a ways and find out what, how difficult it is for them and what they have to overcome. And they'll say to their kids, if you know, no, what it was in my time, I say to my daughter, you know, first of all, I threaten that she will have absolutely no inheritance whatsoever unless she becomes very active in several organizations. But, because I really do believe in putting yourself where your mouth is, you know. But I do say to her, you know, be careful, be very careful. You're not aware of when the Supreme Court, before Sotomayor, when it was a serious 5-4 bias with the possibility with Bush still in office of another appointment, you know, the damage that that could have done. I asked President Obama, he wasn't president then he was a candidate, you know, what would he do to protect women's rights even when he was elected? And he was very, very straightforward. He said, well, I obviously, I can nominate for the Supreme Court, but I cannot ensure that any one judge is elected. But the first line of defense for the presidency is the first circuit court that those judges are appointed by the president. And that is where he would have the greatest impact and influence. That plus the fact that you must understand or underestimate the influence of the White House and the atmosphere in the White House on the country. I mean, look at the change from when Bush was in office even within a year toward women and women's issues. And the issues that are paramount now in on the social conscious level that were quite, quite ignored or certainly, certainly less important, shall we say, under the previous presidency. Oh heavens, now I've wandered astray. How am I? I just started going on. Ah, let's move on. Good afternoon. To echo what you were speaking of before activism, I'm really proud to say that the number of years ago, one of the things I did was put aside a career and begin working in public schools as an aide for special ed kids. And I look forward to waking up every morning. You alluded to that. I also look forward every day to interacting with the kids. I also go out of my way to encourage the younger women in the class to feel empowered, which is nice, but that's not why I'm here. I have to admit. Well, I'm glad you're all those things. Well, exactly, all those things. But the reason I'm here is serendipity. Throughout much of the early 80s, I was dating a wonderful young woman. And every time there was a wedding or a bar mitzvah, she was related to you, a cousin. I would always sit at your table. And you were never there. But I did want to thank you for one thing. Oh my God, I only have a couple of cousins. Well, I don't want to say names. Huh? I don't say names, but the Elkins. Oh, they're in New Jersey? I'm sorry? Are they in New Jersey? One is, one was Brooklyn. They're all over the place. That's neither here nor there. I want to thank you for all. Our fathers didn't like each other at all. I want to thank for all the wonderful desserts that I ate in your name. I think I had an entree or two. I do recall the desserts. It was serendipity we were walking in. I saw you. I had to say thank you. Oh, that's fun. And all the early 80s. I would say there have been some very embarrassing times. Not necessarily for me, although Luke, when once I was in between airplanes, you know, in St. Louis. Staying, I'm in the club, right? Waiting for the other flight to get ready. And this woman came up to me and she said, I work with your first cousin in the bank. And I said, I'm sorry. I really don't have any. I have a couple of cousins in New Jersey, but I don't think I've talked to them for 30, 40 years. Anyway, anyway, this woman said, no, no, no. Her name is Debbie, Debbie Turner. And she works in the bank with me in St. Louis. I said, I'm sorry. I don't have any relatives in Missouri other than my mother or my grandmother. And I don't have anybody in my family named Debbie. And she went, oh, that's great.  So wait till I get back and tell, she has been telling everybody she's your cousin.  No, my fault. I don't actually have a cousin named Debbie. Yo. Have you enjoyed playing your role in California Cation recently? And is it a big stretch for you compared to the other roles? I mean, body heat was very good too. Yeah. I'm cool.  And while I was, I'm the kind of actor that when I'm doing it, I don't think about, you know, what somebody else thinks, which protects me from all kinds of things. But everybody in the studio used to come and gather at the table readings because I'm actually so innocent. We would get across a line and I would say, what does that mean? What does it mean? Rusty trombone. And I had the whole cast and crew on the floor laughing to see what Turner didn't know that week. Of course, I did make a point of learning it. And in fact, at times, I learned up the medical, the medical term for some of these things and suggested we could say per and em as opposed to taint, say. But they did nothing that was as amusing. Any case. No, she was quite, I had a ball.  I haven't done that kind of thing.  It was like when I did the friends thing and they came to me, I was doing a show and I was doing a play of Tallulah based on Tallulah Bankett in San Francisco. And the writers came up and they said, listen, we want you to play, you know, Chandler's father.  I said, so, let me get this way.  And they said, yeah, basically, I haven't done that.  There were a couple times in the shooting of the series when I just said to them, look, I can't do that. I can't say it and they would say fine, you know, no worries. But on the whole, I think I kind of had a ball being so awful and I watched the first show, the first episode with my daughter and a bunch of her friends. And at one point my daughter turned to me and she said, never do that again. Let's get over it, get 22, come on. What's been your favorite role as an actress and what's been your most challenging role as an actress and why? I think that would be both of one, actually, because I think challenging is something I love very much. I believe that you'll have to take, you have to push yourself to the point of possible failure of possibly falling flat on your face because if you don't, then you're playing it safe and then you don't know how good or how extraordinary you might have been. And that might have been, I don't wanna live with, you know, what might have been or what I might have done or what that is unacceptable to me. That would make it Martha in Who's Afraid of Virginia Woolf. Now that's a role that I was, we were speaking, Elizabeth and I earlier, I literally read that play when I was 20 in college and said, when I'm 50, I'm doing that role. How bizarre. Why, as a 20 year old, I thought I must do it. It's probably something for deep analytical study. However, although we couldn't talk about that a lot of you but so when I was 49, I thought I better get on the stick, and I found Albie's producer and took her out to dinner and said, you know, it's really, this hasn't been done on Broadway since 1975. Colleen Dewhurst was the last actress to play Martha and before her, Uda Hagen. So it's only been twice in the history of the play in New York and she said, oh, I don't think Edward is interested in a revival. He's, you know, he's doing new work. He's not, he doesn't really want to be known only for. And I said, no, it needs to be done. It really does. And finally, talked her into grabbing Edward for a lunch. So the three of us had lunch and at the end of the lunch, he said, so what do you want? And I said, I want a chance to read it for you. That's all. Just let me put together a reading and you listen. And he agreed. So I found, I got Bill Irwin and a couple of other actors who did not end up in the play. Anyway, but they were nice young people. But anyway, not right, but not nice young people. It was a reading, you know. And we put together in the director, Anthony Page's loft. We put together a reading and at the end of the first act, we took a break, you know, five minute break. And Edward came over and he said, I have not heard anything like this since Uta Hagan. And I, after my heart started again, I said, oh, and there are two more acts to go. Where do I get it? I don't know, man. I mean, talking back there, would I be like that? Jesus. However, there was something and he is something about Martha that I am most, most satisfied that I achieved her, you know. I mean, she for some reason has been a real goal for me at that point, you know, for 30 years. So much to do with the woman's being caged, really, truly. I think it is because in 1962, imagine this woman, the daughter of the university president and the wife of many years of who is still an associate professor. In 1962, a woman, there were no women presidents of the universities. There were very, very, very few women with tenure of any kind. There was no career for women in academia as it were in those days. There were very few careers in many areas. So they lived, she lived through her father and her husband. Her father looked down upon her, did not care for her, and her husband had none of the ambition that was essential. And here's the woman of intelligence, of power, of energy with absolutely nothing to do.  She goes to a committee of the wives, of the teachers of the history department to put together a tea. Whoopee. So the anger inherent in this character and the restlessness and the, has always just grabbed me and has never let me go. I mean, I don't know why, but I do, although it has lessened that little over the years, I hope I have an empress, have this reservoir of anger in me that is just when something is wrong or I'm one with you, or it's just the frustration, not being able to do something about something just drives me up a wall. And Martha just encapsulated all of some of my best and my worst aspects of my personality, I think found release in Martha. Now, what we found in the production and I think gave to people who had not had it before was extraordinary humor that's inherent there. It's not a play about two people, two drunks screaming at each other all night. And if any of you got to see it, there are huge laughs throughout the entire show. And ultimately it's about two people who love each other, who cannot live without each other. So whatever, you know, all the pain and all the anger and all the humor and, oh God, the energy, it just seems to me, and maybe I'm basing this too much on myself that we try so hard to make our mark on the world. Not necessarily toward anything, just to make a difference, yes. I mean, you may choose to make a difference by giving up a career and going into public school accent in my mind. You may choose to make a difference simply by being terrific at your job and how that job serves the community. I'm not even saying that every job must serve. What I am saying is that you need to know that you can do something really well and that you do and that you don't cop out and you don't chicken out. And Martha, to me, is that person that's trapped and kicking against the walls. I don't mind you, but I think a lot of us are that way. Do you know? And I'm just lucky, because a lot of the walls I kick go down. Is that a good answer? Okay. Hi, Kathleen. My question was about your new book. I was wondering what it was about and how that all came about for you. My book is an autobiography and it basically is, it kinda, I suppose like anyone does, it sort of skims over my thoughts and experiences. Little history, cause you gotta have a little history to figure out where I'm coming from. But it's not my fault. It's this woman's fault right here. Her name is Gloria Felt and we grew to be great friends because she was the president of Planned Parenthood, Ergo. We had a close association which grew into a very good strong friendship. And she came to me one day and she said you have a lot of stories and you should put them in a book. And I said, oh no, no, no, no, no.  God, a book about me. I mean, why should I have a book about stuff? No. Anyway, she wore me down and she took me to, and she got me drunk. Magalitas, very good ones. Anyway, so I thought, okay, we'll go for it. What we did basically was, she had all the work. I swear to God, I just talk. So we have 40 some, what is it, 60? 40 some hours of me on tape. And we would talk about issues that would come up, things that were happening that day.  And then, so see, it was her job to make some sense out of this, to give it some structure. So we did agree upon the structure of kind of going job by job. And so to take the jobs and relate that to some of the things I learned in that time, both because of that job and around the time of that job. And that would lead to a kind of overall philosophy, I suppose would be a good term. So she had, I mean, really honestly, God, she had to do much more work. I just had to go back and say, yes, no, yes. Oh, you don't want that story. And wait, wait, what happened to this one? But on the whole, all this structure and everything was done by Gloria, who made sense of it. So yes, every word is mine, but it would not be coherent in any form without Ms. Felt. So you know, all true. Elizabeth. In your book, which I love by the way, and I really encourage everybody to buy it, we'll have a book signing afterwards. I really enjoyed reading it. Kathleen, I thank you because it is hard. You will laugh. There are so many books in the world that one thinks, why does one need another book? But I can assure you, your book is needed, and I thank you for it. In it, you do mention about how you did not want to be tight cast as an ingenue after body heat. And as I was thinking to myself, even a really, really sexy ingenue, which you were, at what point when body heat really hit the cinema and it made the waves that it did, did you know before it came out that you didn't want to be tight cast? Did you realize that you could potentially be, did you know that you had the potential for that kind of, you know, of front? And what did you want to do? Well, I think then, first of all, I don't believe that I had any real understanding of the impact of body heat. I don't, again, as I say, I have a blissful sort of blindness when I'm working, that I don't think about how the work is going to be received or what it's gonna, of the effect it's gonna have when I'm doing it. I mean, I may finish a day of shooting or finish a performance and go, oh crap, what are they gonna think of that? But that never occurs to me when I'm acting. So I'm blissfully unaware, I'm protected in that way. But I had no idea that body heat would have this sort of historical impact that it seems to have had. First of all, because I didn't believe it myself. I never thought of myself as a very sexy woman. I was a tomboy.   I said, why? Why? But because they were a boy, doesn't make any sense to me at all. Anyway, but it did occur to me when I saw the impact of body heat, the first time I saw it with an audience, that I was in deep shit, that this could potentially really trap me. And sure enough, in the months that followed, all I got were body heat one, body heat two, body heat three, body heat four, script after script after script of essentially the same character with the same sort of woman drives man mad and therefore he does anything for her crap. And so in any case, so no, it was apparent to me right away that that was a real trap, that that was really dangerous. And so I refused to do any of them. And then I wanted, I've always the lesson that I learned then and have continued since any time I do one kind of character or one kind of show, I will follow it with a contrasting or even opposite. For example, after body heat came the man with two brains. Yes, a femme fatale, but an outrageous comedy. And I always thought I was making fun of the femme fatale.  And that was followed by romancing the stone, naive, adventurous. And that was followed by crimes of passion.  Each choice is truly determined by the choice made before. So that I do not, first of all, I don't wanna repeat myself. It's not interesting. What am I gonna explore? I already did that. I've been there, I've done that. It's not interesting to do it again. I want to look for something I haven't done before and explore that.  Whereas if you say no, actually now I intend to do a very broad comedy, they'll say, well, what are you talking about? No one knows you as funny. You'll say, yes, but they will. No, no, no, no, no, no, no, no, no, no. We know you can do this. So we wanna keep you doing this. No, absolutely not. That is a direct and path of decision making in my career, is to say, just did that have to do something else? It's funny, the result in some ways, it's kind of finally catching up now that the whole sort of body of work is becoming more clear in a way over the years. But I cannot tell you how many conversations I've had over the years where I'll say, yeah, well, that was like in Prince Zezana, oh, God, that was a good film. Yeah, I really, oh, that's right, you did Prince Zezana. Say, yeah, well, Accidental Tourist. I loved that film, Accidental Tourist, but nobody ever put together all the work that I've done. It's as though I'm just one thing to every person because of the one film that they love. So, yeah, well, the price of that is that the whole body of my work often gets overlooked. Okay, it'll catch up one day. How many people with disabilities have you worked with? How many of you have trained, roles have they played? I did a film called House of Cards. Don't know if you've seen that. It was a friend of mine named Michael Lesak who wrote it and directed it. And in fact, it took us almost seven years to get the financing together, to get it done. Ended up doing it with Tommy Lee Jones. And it was about a child with autism and we worked in a school with down syndrome children and autistic children. And I learned, whoa, I learned so much. We were doing this shot one day while I'm walking down the school corridor just passing from point A to point B. And one of the young men with down syndrome was standing at the locker. And as I passed by, thank God the camera was wide, he turned and he went, you're hot! And I looked back and I went, thank you! It was such an extraordinary thing. Took a lot of patience. You know, it's not as though you can say, all right, I'd like you to do it again exactly the same way. Can't work that way, can't think that way. And no need to, you know. What you get is always gonna be pretty special. That was my one experience of really being concentrated in terms, when you speak of disabilities, do you mean more physical? I have not done a film about that other than, as I say, this film, House of Cards, which does, that is a central issue of it in many ways. So that's my one real experience with people of disability. Yeah. Based on your speech before, I assume you won't be doing any more Michael Douglas movies? Well, no, that's not, no, no, no, no, no, no, no. We didn't war the roses. That wasn't my real question, but... We didn't war the roses. That wasn't taxing, that wasn't exactly the same. True, no, it's true. Actually, what I was gonna ask was, now that you've done the role of Martha, is there a next great role that you're looking into? Well, luckily, one of the good things, believe it or not, about getting older as an actress, is so many of the roles on stage are for older women, for women my age now. And yeah, I'm looking forward to a couple of really interesting ones. I'm talking to one of my favorite producers in London about doing Sweeper of Youth with Tennessee Williams.  There's a new play that has been written by Larry Gelbhart, who unfortunately just passed away about, essentially, it comes down to a marriage of many, many, many years. And, oh, they're in their 50s or early 60s. Do they choose to stay together because they're afraid that they might then spend the rest of their life alone if they were to separate or go, you know, dissolve the marriage, which is very, very pertinent. I got a divorce after 22 years, just three years ago. And it crossed my mind. Wait a minute, you know, does this mean that I may be spending the rest of my life alone or will I find companionship again? Haven't yet, you know, the position is open. But he was a thought, you know, that crossed my mind. So I find this, that character very interesting. We'll see if we can put that production together in the next year or so. Theater takes a long lead time, you know, to get things done. Yeah, yeah, I'm actually at a really great time for women's roles on stage. And stage is my heart. So I'm kind of glad you've gotten here. There's terrific talent out there. I mean, I come from a generation of amazing talent, Meryl Streepin, Jessica Lange. You know, I mean, I'm a generation of women that have really have done extraordinary and continue to do terrific work. So it's, I don't like naming people. I have enjoyed working with all the actors. Well, no, two I didn't like. Nicholas Cage and Bert Reynolds. Assholes. But everybody else has been pretty great. This is a truth. Going back briefly to Californication, I was just curious how that character, you know, when you're picking a character like that and you have these ideals about feminism and that character is so out there and can be, some people could say, well, it's like a super feminist character and other people are gonna say, oh, this is like the worst thing somebody could do. So how do you, and you said you're in that little space where you have these blinders on, but you don't have the blinders on when you're picking the role. No, no, I do not blind myself when I'm picking out the roles. I do not believe it is my job as an actor to preach. As I believe in this separation of church and state, I believe in the separation of my work as an actor. And it's my job to give a message to people, to tell people how to think or what they should be thinking or what is right or wrong. That's not my job. What I will and how I do exercise my choice in terms of characters is I will not participate in anything that involves what I call kid-jab, the use of children as terror or I just can't stomach it. I can't stomach any kind of project that uses a child fear to further itself. Can't, won't touch it, won't have it.  However, I doubt that you could look at almost any character I have ever chosen to play that one would end up calling a victim. Think about it. Can you? I don't think I can. So that is a bottom line for me. I don't play a woman who doesn't make, she may fail. She may try and fail. But I will never and have never played a woman who will not try to improve herself or save herself or get herself out of whatever situation she must get from. I don't do victims, period. Right on. We're summing up in the back. What happened to the other microphone? Oh, well, never mind, not my business. Hi. I was just wondering if you could talk a little bit about serial mom and just working with John orders and if you were scared and... Oh, I laughed every day. I laughed every single day on serial mom until, I mean, there were days when we just cried. Just would laugh her. What amazed me in many ways, again, now this is a woman who seems perfectly reasonable.  Now, I understand this is a mother in sync taken a little far, but John Waters has the ability to take these extraordinarily unattractive people in many ways. I mean, think of some of the characters that he's used in the past and make you care for them. And I thought that was an extraordinary talent. And John, even though he'll make fun either within a script or in person, he'll make fun of someone. But if he sees that they're getting hurt, he'll stop. There is not any maliciousness whatsoever in that man. And I think that comes through in the work that all of these people, however awful, some of them are and some of them are really awful, are good-hearted. What can I say? As is John, you know, we've stayed good friends over the years, which is one of the blessings of this industry is because you get so close to people when you're shooting or when you're doing a play, you spend so many hours or so many days for so long with people you become your own little sort of camp, I call it, kind of like summer camp, you know, as long as the production lasts. And if you stay friends after that, you probably have a friend for your life, do you know? But Serial Mom was just funny, although I will tell you the story. Okay, Sam Waterston, who I love, and we have stayed friends, takes things very seriously. And he said to me one day, now Kathleen, aren't you really concerned that we might be glorifying Serial Kelly? I said no, Sam, no. I'm not actually thinking that we're gonna glorify, make people want to become a serial killer. No, that's not on my mind. I think it's just a movie. Filly man, he's that serious. You've worked the gamut of different genres, and is there a particular genre that you prefer to do than another, do you prefer comedy or drama or thrill life? And also, you've done The Voice of Jessica Rabbit and Miss Liz on King of the Hill, and is there a different process in doing a voiceover for an animation as opposed to doing something live action? It's very interesting. Each, well, I mean, each discipline, say you do film or theater or something, has its own demands, its own needs. And something you love in one medium may not work whatsoever in another. It's fascinating that on camera with film, you can be so, my new, so specific. You can use a lens. Do you remember in War of the Roses, the shot where she gives him pate and he gives her a glass of wine and they raise it to their lips. And they stop to see which one will go first. Well, that shot narrowed down to just the eyes. So when you choose to blink is an entire sentence. Now, you would never see that on stage. In fact, after the 10th or 12th row, they can't see your face that well. So there you're talking about your entire body and your energy and yourself. In many ways, I gravitate more towards stage because they keep telling me on film that I'm too loud, that I'm too big.  Got to put it in a little, put it in, yeah. Kind of thing. So on stage, nobody can say that to me. You know, there I get to be as big and as loud as I want, which I like. I must say I lean toward comedies, definitely.  And I think there's a great deal of truth and pathos in a laugh, you know, where and why one laughs can be a great lesson. It's also a challenge. Again, back with the challenges, but I'm a challenge junkie. When you do most of your basic dramatic sort of roles, you're talking about really gut instinctive reactions. Anger or shame or fear or pity, all these things are just communicated and felt by the audience instinctively, immediately. When you are making them laugh, you are conveying a thought. Now, how do you do that? That's a whole different process. When I hear somebody laugh, I know they got the idea, not just the feeling. And when you have a two or three or four level theater, and you hear the laugh in the gods the same time that you hear it in the orchestra, which is physically impossible because sound doesn't travel that way, then you know what's happened is that the audience has in fact become an entity of its own. When people leave the theater, they should have felt part of something. They should have, they're sitting closer to complete strangers than they would sit in their own living room. They know nothing about the person. They're sitting next to you. Their beliefs, you know, or anything.   Or you'll laugh at the same time. There's a wonderful, I'll tell you a trick. Gotta give all my tricks. Okay, I was doing the play Camille up at the Long Wharf Theater. Now almost everybody knows that Camille dies at the end of the play of consumption. You know, Greta Gargo. Anyway, so my challenge is to find a way to make her death moving and new, you know, not to do just a copycat sort of thing. So the last scene, Camille comes out on stage, lies on this day bed and she's just trying to breathe. So there's complete silence and she's just 20 seconds later, the audience goes.  What I'm saying is that the extraordinary sense of that we share, particularly in theater, but it can happen in film, in film theaters as well, is that communion, that people become part of something more than just an individual sitting there. That I think is one of the great opportunities of my job. Did I answer you sufficiently? Okay. All right, one last question, please. What was it like working with John Huston towards the end of his career? Good question. Well, Pritzky's Honor was really John's last major film. I mean, he did do the Dance of Death after with Angelica and stuff in Ireland, but you know, it was a much smaller production. Pritzky's Honor was his last studio film. And he was pretty sick, you know, he had emphysema toward the end and everywhere he went, he carried, he had an oxygen tank and was on oxygen the whole time. And you could see when he was standing, you know, sitting there, he would see like where he had to go and he would see him sort of count the steps in his head before he would get up and get himself over there. Didn't change his mind in a lot of ways. You know, I don't think it affected his thinking or his creativity.  So that we got to block a lot of the film, which, somebody tells me Houston wasn't always, you know, didn't always let people do, but he was still a tremendous manipulator. He was not a great respecter of women. He came from a generation that was quite misorganistic. He would not let me play poker with him. Women don't play poker, in case you didn't know. He was just afraid I'd beat him. Anyway, but for example, it was one scene. It was rather integral, rather crucial. When she comes to the house, when Charlie's discovered, you know, that she's married and he's waiting for her in the house and his assignment being to kill her.  Well, we were shooting in this house out in LA and it was a fairly small room which makes it extremely difficult. You know, you've got a very large camera and the three people you need to operate the camera, as well as the first AD, as well as who else, you know, within this room, along with the actors, and it gets very tight and very, anyway. And this was not a set in a studio where you could move walls and things like you usually could. This was in a house. So we blocked and we tried it and he'd say no, no, no, no, no. That's not it, that's not it. Let's put the camera over there and we'll try it this way. So then we would work another couple of hours to try and get the lights and the angle and everything right with it going this way. And then he came back and said, no, I don't like it. I don't like it, it doesn't work for me. All right, we're gonna try it with the camera over there. And he'd go, oh, Jesus, God. So like nine, 10 hours into the day and into the scene, I am literally on the floor ready to sob with frustration and he comes into me and he goes, are you ready? And I looked up and he was like, what? Are you kidding? And he goes, she's ready. I know we did. Kathleen, I would like very much to thank you for your generosity. For your, thank you for your spirit. Thank you for all of the wonderful work that you have given all of us and all of our children. And I appreciate it very much that you came here to participate with the Center for Feminist Art. We have a sign-in sheet in the back if you'd like to be on our email blasts. We have a what's happening so that you can see what's going on in the museum and also in the center. And December 5th, in conjunction with the Whitney Museum, we're having a screening of Alice Guy Blanchet's Le Vie du Christe, which was inspired by the Tissot watercolors, The Life of Christ, which are on exhibition now here in the museum. So that will be very good. On November 19th, Kiki Smith is going to be honored at the Women in the Arts Luncheon, sponsored by the Brooklyn Museum's Community Committee. And that will support educational programming as well as the Elizabeth A. Sackler Center for Feminist Art. And I'm very grateful always to the Community Committee for their work. And on December 13th, my wild card day is a screening of the award-winning documentary, Pray the Devil Back to Hell, which was produced by Abigail Disney. She's gonna have some really good karma for the Disney family after this one. It's a fabulous, fabulous movie. It's directed by Jeanne Rettiger. And we will be doing that in conjunction with UNIFEM, and we're hoping we're gonna have also a reception afterwards. And it's about the Women of Liberia's Peace Initiative and Protests, which actually overturned, and they took back their country, talk about taking back the night. They took back their country, ending the horrors of civil war in Liberia where women and children really were the primary targets and victims. So that will certainly be a wonderful screening. Gloria Felt, thank you for joining us. And we will have a book signing and an opportunity if you'd like to ask any more questions. If Kathleen gives us a few more minutes, it would be wonderful. We can do that at the book signing. So thank you so much. It was just wonderful.


Hello Leo. Hello Christian. How are you today? I'm good. Okay so today you will show me how you can try to swim the butterfly and we will try to teach you butterfly from there. You tell me then you don't know about the butterfly right? I don't know. You have seen it somewhere on TV or you have a little bit an idea how it looks like? Yeah. Can you show me what you believe it is and then we'll try to do a class on this. Yeah sure take your time. Five hours later. Okay are you ready? Yeah. Ali show me this super butterfly. Wow that's beautiful. Try a bit longer so I have a better idea huh? Okay. I think you mastered the butterfly. There is nothing else to teach here. Thank you.  I try to first do the kicks like this when you do your double pulling with your hands it's actually not so bad you know I want to say it's like it's a double pull is fine but change your legs to a dolphin legs. I don't know how to do that at all. Okay you show me and you try and then after I show you some exercise. Do I have to put my head in the water? Of course.  All right so yes that's the dolphin. The dolphin is like this. I have seen many dolphins like this. Okay so come let's try over there for your legs. Okay I will give you a tip it's very simple it's not exactly like this but at least he helps beginner so be on horizontal position.  So I got your legs all right bend your knees a little bit put your feet outside the water bend your knees put your feet outside here you keep your feet together you put your knees together close your knees. Okay kick the water like a dolphin boom again do it again kick one again two bend and kick three and four okay so look that's the first tips try to do the kicks with your both legs together and your knees together now you do it don't you in the water you don't use your hands just do kick kick kick non-stop with your legs you have to put your head in the water it would not work if you look up so put your head below your arms and do the kicks only.


I've always been fascinated by Formula One pitcruise. They can stop a car, lift a car, take off four wheels, put back on four new wheels, pump it with gas, set it down, and let it go in just two seconds. I'm not studying Formula One pitcruise though. I'm a physician studying how we can improve the recitation from cardiac arrest in hospitals. Because each year, more than 3,000 people suffer from a cardiac arrest in Danish hospitals, and only one in three will survive. And I will tell you that if we want to resuscitate more patients from cardiac arrest, we need to learn from the Formula One pitcruise. And what is it that we can learn from the Formula One pitcruise? Well, if you look at the Formula One pitcruise, they will always have the same amount of people for each task. They all know each other, they all have the same training, the same experience, and they know when this is being said, this is being done. In contrast, if we take a look on the picture in the bottom here, we see a resuscitation team trying to resuscitate a patient. These teams are not standardized, and they do not know each other on the team. So if you look at two resuscitation teams in two hospitals, they'll be very different. In one hospital, there might be twice as many people as in the other. And in yet another hospital, they will be twice as experienced as in the first. But the interesting thing is that it's not only the teams that differ in hospitals. It's also the quality of the resuscitation and the chance of surviving a cardiac arrest. So in my PhD, we are combining data from observational studies, clinical registries, randomized studies, and also simulated resuscitation attempts. By doing that, we hope to find out not only how big should the team be, but also how experienced do they need to be, and how is it that we communicate in the best possible way when we resuscitate the patients. So by the end of my PhD, we will know how we can get the resuscitation teams to work a bit more like a Formula One pit crew and save more patients' lives. Thank you.


okay so it does open clockwise and it does open I don't know if I'll even bother posting that but I'm gonna trouble with this guy and the girl Bogota did the job it's a frame pin tumbler lock brass appears to be made into halves that are welded or brazed or whatever together or to core DA so I'm assuming that's army or something equivalent it's got a code stamped on it which may well be a direct bidding code I'm not sure and not key retaining so possibly shimble but probably not so there we go so anyway this Alex thanks for watching I'll try SPPing this see we'll do it too for but as always have fun keep it legal cheers


I am from RMK Engineering College. I have heard about this course from our college. Which course are you studying? About C Programming. It's very useful. I hope so. It develops her knowledge in C. About the exam? It's quite difficult. You want to say something? Yes. It was a really useful course. We had a quick workshop of what we did in the particular semester for the entire C Programming. Regarding the exams, it was okay. It wasn't really good. But we were able to manage. Thanks a lot for that. Any improvements on our part? You want to suggest? Yes. The lectures can be a little bit more louder. I don't know. Do you have any intentions of studying? Yes, studying was really short. Thank you.


to the victors' valiant hail, to the com-bring-year girls, hail, hail to Michigan, the leader. Com-bring-year. We cheer and cheer again. We cheer for Michigan. Thanks, everyone. Hello and good morning. My name is Sam Heiderprimm. I'm a co-president of the Grad Tones. And on behalf of the group, I'd like to say welcome to the university. Ann Arbor is a great place to study and work. So we, the Grad Tones, are the only interdisciplinary singing group that is welcome to all Rackham graduate students. Right now, the group comprises people studying chemistry, ecology, biostatistics, chemical biology, computer science, poetry, all kinds of engineering. I do German. All over the place. And very diverse. And it's a lot of fun to get to know people from other programs because it can be sort of easy to get locked into your own little world with your own research. Anyway, the group is about two-thirds of its normal size right now. We recently lost a lot of members and we are in a big recruiting push. So if you'd like to sing, please come check us out. We're having a big informational meeting in a couple of Tuesdays. It's Tuesday, the 9th of September, 7.30 p.m. in the Welker Room over in the Michigan League, which is building across the street and by the fountain. You can find more information on our website, GradTones.com. But again, we encourage you to come at least learn about the group if you do like to sing. Again, September 9th, 7.30 p.m. in the Welker Room of the Michigan League. So what we're just saying is a song called Hail to the Victors. It's the school fight song.  It was written by a very enthusiastic Michigan undergraduate named Louis Elbell all the way back in 1898 after a big football victory. The next song that we'll sing and what we'll leave you with is a song written exactly 100 years later by a duo of Swedish songwriters for an American boy band named the Backstreet Boys. Hope you like it. You are desired Thanks, everybody. September 9th, 7.30 p.m. Be there.


This is Keena Nisley with team K squared of Keller Williams, and we're bringing you the life of the land is in its real estate. Today's guest is Colette Cheen. She is the regional director of Inland Empire and the operating principal of KW Mallee, Brentwood, California, and Honolulu. Hi, Colette. How are you? Hi, Keena. I'm doing great. Thanks for having me. Thanks for coming. So just go ahead and tell us about yourself, who you are, your company, and what exactly is the regional director of the Inland Empire do? I'd love to. First of all, I want everyone to know that we are practicing safe distancing. I'm in California and of course, Keena's in Hawaii, which I wish I was there. It's beautiful. So I'm originally born and raised in Hawaii, and I moved to California in 1990. I've had 25 years plus of real estate experience. I'm the regional director of 21 offices in the Inland Empire in California. I also own three of my own franchise Keller Williams offices, KW Honolulu, Keller Williams and Multimawee, and new soon to be launched also Big Island and KW Brentwood. So yeah, I've been in real estate quite some time. I've seen a lot of cycles. Wow. Okay, so great. So where exactly is the market now? California started this lockdown a couple weeks before Honolulu did. So what are you seeing in California's market versus Honolulu market? What maybe can we expect? Okay, so when we talk about the overall market, we were at Safer and Home Shelter on March 17th. So we were two weeks behind you and then other states and Hawaii soon to fall. And I think what you can expect is I do have some bad news and then I have some good news. So you pick which one you want me to start first at a very macro level and then I'll bring it down locally. Oh, let's hear the bad first. Okay, perfect. So here's the thing internationally, they're saying the IMF which is International Monetary Fund that follows economies globally. And in the United States, they're saying, which I've heard already before that this will be one of the worst financial crisis you've ever seen. And it's not just a financial crisis. It's a global crisis, right? Health, political, economics. And so think about 2008 when we were hard hit with the financial crisis that was Wall Street, that was also a banking, right? This is a little bit different. So they're saying it's going to look more like the depression era. So imagine that, you know, where prices dropped in real estate in California, in 2008, 2009, like 40 to 50%. Hawaii didn't feel that hit. You guys didn't experience that. So the good news is that while we're experiencing this in the mainland, and I'm a local so I can call it the mainland, and we're experiencing this internationally, the good news is they feel that the US and global will hit a depression because of unemployment. Unemployment will go up as high as 30%. In 2008, it was 12%. What does this mean for the market? This is what it means. People are taking their money, some of it out of the stock market, and they're investing it into assets. And what's an asset? Real estate. So the good news is we're going to have a bumpy ride. So imagine like a roller coaster ride, stocks, real estate investing in California alone. I recently heard that in the last 10 days, 216 homes were taken off the market because of cancellations or on hold. We're saying time that year with 71 listings, low inventory and everything sold in the first day. So again, you're not experiencing that in Hawaii. So the good news is, and I'm sure you're getting these calls, Keena, if you're dealing with investors and you have liquidity, people are buying. They're going to come off of this, stay at home, they're going to be cooped up, and one of the first things they're going to do is shop. Consumerism is going to come back. They're going to look at real estate, something a little bit more solid. So even though we feel we're going to have a decline in California, maybe 25%, 30%, I don't believe that's going to happen in Hawaii, especially with the low interest rates right now. And maybe you're going to be longer to get that hit. Maybe your hit is 160 days out versus we're seeing that hit right now for us. So yeah, because we're still seeing activity. We are still, and as it mentioned to Colette earlier, I got two calls today from buyers in California that are offering on properties here. So they're ready to get out and start using some of those. And here's the good news, right? Here's the good news. If people are really liquid and they have cash right now, they're going to control the market. So in every shifting market, there's a buyer or a seller that will buy and sell. We just got to figure out who they are. And so for investors right now or those buyers sitting on the sidelines that couldn't buy that really nice property with interest rates coming down and property values coming down a little bit and an abundance of inventory, my guess is buyers are going to get some good value and sellers can trade up. Yes. So okay, so we do still have buyers and sellers. So what are your agents doing differently to get these properties sold? Okay, so we have to pivot, right? So this happened. We can't go into homes. We can't show home. So a lot of virtual marketing is happening. A lot of Zoom conversations. I don't know about you, Kena, but I'm on Zoom every hour. I feel very connected. You know, and this is what's so great about this next wave of how real estate is going to happen at least over the next six months, because everything is going to have to be safer at home, virtual. Things are going to have to be clean. Sellers are going to have to make sure that they need to make sure that the buyers before entering their property, whether they're there or not, they sign a disclosure and that buyers the same thing that they extend their contingency periods until they can actually have an inspector go in. So we just have to pivot and adjust. But if you have a buyer out there that's been looking and they're willing to buy virtually, they're going to get some amazing deals right now, right? You're going to get some amazing deals. Side-end scene or see-through virtually, it's the same thing. Yes, we're doing a lot of this differently. Yeah, a lot of FaceTime showings, a lot of virtual open houses, and we're still seeing activity. The listing agent has to go through the property and now present it in a way that was different, right? Really connecting with the consumer. So what's really great about our company is that we have this consumer app. And so the consumer now, like think about banking. Mobile banking deposits change the way we do business. Do we really need to go to the banks and deposit? No. So with this consumer app, a client like yourself could actually look at property online and put it in offer online. And an agent and the consumer can be connected. That's the way, that's where we're headed. So and it is working.  In 2008, is this reminiscent of what you saw in 2008 or no? No. And I'll tell you why, because 2008, as I said, was when we had a bear market, stock market crashing, which is what you're seeing. But if you're watching the stock market now, it's going like this. It's like bouncing. In 2008, it just went like this, right? Steady decline for like four or five years. Same with real estate. You saw the decline in California, not so much Hawaii. But what I do see that's similar, similar is that the interest rates are the same. So 3.5, anything under 3.5, it's unbelievable. That's the same. That's, you know, agents after being through that, they understand short sales for closures, defaults. That's coming back, Kena. That's, so agents that were those agents in that market, they're jumping in and they're already pivoting and fast and connecting with banks. There's all this ghost inventory. It's going to come out. So yeah, it's same in that way, very different in health.  We weren't, we were able to show actual property, even if it had a lockbox on it, right? Yeah. Yeah. Times are different. Yeah. It is very different. Now we show with a mask and a bucket of white. So if you can make a prediction, where do you think we're going to be in six months? Where do you, where do you see the market going?  With closing down tourism for two months, two whole months, it's going to take a minute for you guys to get back up. And even though you're seeing offers and you're seeing people invest, these are people that have been liquid and have been saving, right? So my guess is in the next six months, you guys will see a steady upward movement with investors. More investors are going to buy, right? So that's going to be good. But your economy and the age of the people that are working the day to day, they're going to have a hard time adjusting and getting back in California. We're in it till the end of the year. It's going to be for us because again, you're on an island, you have beautiful ocean around you. And if I was living in, you know, I was living in Northern California and I was paying a million dollars. I'd rather come to Hawaii and pay a million dollars and go, you know, it's time for me to go to my next level of life. So you guys are going to be great. However, I would say to you that there are going to be defaults, there are going to be, you know, short sales. So you might want to get familiar with that market again. And in California, we're in this for probably this ride for the end of the year because they may pull us back in again and stay at home another two months. So we have to be prepared. So do you have any advice for people who would like to sell or buy a home now? So what's your advice for sellers right now? So my advice for sellers is if you have a lot of equity in your property and you've lost your job or you're not quite sure where your income is going to come in, you might want to think about refining, refining, taking a little bit of money out if you don't have any reserves, right? Or if you're a seller and you always wanted to buy that nicer property, but that nicer property was so expensive, I might consider looking at my equity and going, wow, maybe the prices have come down on that nicer property. Or if I want to reduce my expenses because I'm going to retire and now I'm like, you know, I'm not working, then I might want to downgrade, but I have enough equity in my home to put some money aside. So just a couple of ways of thinking about it. There's always opportunity within the opportunity. My favorite thing. Yes. So yeah, so for sellers, refinance, maybe sell and buy something new. Right, right. Whatever you get to do, if you're really a seller, be a real seller. You know, don't just test the market out. Yeah. So what advice would you have for buyers if somebody was waiting to buy? Well, you know, there's no time like now because you can never forecast or predict when the bottom is. I mean, look, we've got the COVID-19 tourism has stopped for two months. You've got 3.5 interest rates. Do you realize, Pina, that if interest rates were 4.5 that a buyer would lose 10% purchasing power? Oh, yeah. Right. So if I'm looking at a million dollars and a couple of six months ago was at 4.5 and now it's 3.5, I now can afford a million one. So what might I get at that, right? Or a condo, a better condo. So it's a great time for buyers right now, especially if they have cash sitting and they qualify and they have great credit. Yes. Yes. Get the short sales. Great time to look at the values right now. Yes, definitely. So what can people do to maybe educate themselves during this time? We're all home. People are getting bored. What could they do to educate themselves to maybe prepare themselves to sell or to buy? Well, I think first and foremost, get with a professional agent. That's really important. I mean, how you can prepare is the way we're going to list a home now is going to be very different the way we listed it three weeks ago. Right? Yes. So how you prepare is if you already decided, hey, I'm going to sell, get yourself a professional agent and Keyna's on the call. So there's an agent right there. And I would want to have inspections and everything done prior. I want a tour of the home. I want to make sure anything that's going on with the house that we prepare the home. So when it's on the market, it's clean stage ready to go. Right? If you want to figure out refinancing, we've got amazing mortgage opportunities. Our company has a zero plus cost loan. There are local banks that are doing some great deals right now. So look into what your property can appraise for. And you don't have to pay for an appraisal. Again, be prepared, call your professional agent and get a value read on your property. Again, if you don't have any reserves or you want to do a heat lock and put some money aside. So there are many ways and many things you can follow right now for sellers. So yes. And when she says inspection, she means a pre-listening home inspection. And we connect you with a lot of different inspectors that will come in. And they're doing it differently now as of COVID. They're doing all their feedback via the phone or FaceTime. But I definitely recommend those pre-listening. The thing is, you want to bulletproof these transactions, right? When a seller finally commits the selling, they don't want to be in the middle of an escrow. And all of a sudden, things happen. So right now, more than ever, we have to prepare on the front end. That's why the pre-physical inspection, the pre, you know, anything that can be done prior to so that when the property is on the market, it's ready to go. And you can disclose whatever you have to disclose. So that's for the sellers. Yes. So how would a buyer educate themselves to get ready to buy in this market? Okay. So if I was a buyer today and I've been looking, I would first go to a lender and want to know, okay, what do I qualify for? Right. And get an idea and pick the areas that I really like and find a local expert in those areas. And just, you can window shop now. Isn't that great? You don't have to actually go and get in a property. But I would start looking at the areas and communities you like on the island and work with an agent and they can email you all this and you can do this in your leisure time. And just understand and watch in the next 30 days pricing what's happening and get the best value. You don't want the most expensive property. You want the best value property in a good neighborhood. Right? Yes. Something I learned a long time ago, Kita, I love this. It's a saying, sell at the wedding, buy at the funeral. So right now with COVID-19, I don't mean to be morbid, but with everything going on, this is a great time as a buyer to look at the values. Yes. What's the values that are out there? Yeah, because there are some deals out there. People are much more willing to negotiate than ever before. Still seeing new properties come on every day. I think I checked yesterday we'd had 140 new listings last week and 89 went into escrow. So we're still seeing movement, but you definitely still want to get out there. And if it's a good property, it still goes fast. Yeah. And you can be, you as a buyer can be your own expert now. You can peruse shop online and just like I said, window shop and be a voyeur and start looking at the properties as they come up and then make your move once you're ready. You have the financing and you're qualified. So what resources are out there? What does Keller Williams, what do you guys provide? Like I said, we have Keller mortgage, zero cost loan. What that means is exactly what I said. It doesn't cost you anything to get a loan or refi. No points. Yeah, you heard me right. Refi, no points. And they give you a thousand dollars towards appraisal closing. It's unbelievable. I personally just closed today on a refi and I got a 2.6% loan, 2.6 zero cost. So that only comes to Keller Williams. And then the second thing is we have Keller covered, which is an insurance, which is a great insurance to match your insurance locally. So car insurance, health insurance, property insurance, right now sellers and buyers have to look at ways to save money. And these are ways for us to reduce it, reduce our expenses. So those are just two or three things that we have. Okay, so now anything else? You mentioned the app. Do you want to? Oh yeah. So we've got two rounds. Awesome. So I don't know if you can see this or I can show it to you, but I just want to show this to you. It's so much fun. So do you see that? Oh yeah. Okay. Okay. Do you see all those squares or things? Those are all the properties right here in my neighborhood. Wow. So the people are sitting home bored. They can just kind of float. Yeah, I could go 1.5, 900,000. Oh, I want to look at 7.99. That never happens in my neighborhood. So this is what's so great. So your agent at Keller Williams can give you access to this consumer app and I can apply for mortgage on the consumer app. I can do many things. I can navigate, I can put in my area. If I was a seller, I could put in my address and find out what my competitors and neighbors are listing their homes for. So this is how a seller and buyer can be prepared in this market. All right. So are you hearing of any issues? I know with everything that's going on, it may be harder for people to do, you know, appraisers to get into the homes, inspectors. So what kind of issues are we seeing right now and we have to avoid those? So okay, we call it bullet proofing the transaction. We can't avoid these new things that are happening. This is new to all of us. So they're going to be glitches. So what we're hearing is appraisals, right? If they don't come in at the appraisal price. So what you can prepare for is the listing agent maybe provides all the comps to the appraiser beforehand to prove the eligibility of that home and that value, right? So inspectors, you know, making sure we have a pre-inspection. Things are falling out because maybe the inspection came back and it wasn't as good as they thought it would be, you know. So bullet proof it all the way up front so that you don't enter into an escrow where you have challenges all the way through. So this is all new to everyone the way we have to handle this. So the signing of docs title, I mean this can all be done, you know, we can do wires, we can do traveling notary, we can do online signing, you know. It's amazing what we can do now with Zoom and, you know, the emails. So we were meant to be in this next generation. Yes. So and we're still seeing the Bureau of Conveyance is still open, still closing. We're so lucky, right? Even though title has stepped in and said we'll cover it if something happens but right now I mean knock on wood. You know what's really great about what's happening, Kena? There's so much collaboration, community and connection. Do you tell that? Oh, I yeah, so much more negotiation easier to negotiate. Everybody wants to help each other. You know, you're definitely a team now. Everyone is working together to close the transaction. Everyone's working together to show the property. Everyone's working together to do the inspection. Yes, it's a very different line. I've had escrow step in. We were $3,000 apart. Escrow stepped in and said we'll give both sides a credit. There you go. Everybody's making it work and I wish it was like this all the time but definitely we're seeing a lot more cooperation. So is there anything else you want to share or kind of just to motivate people and let us, I really truly feel like we're going to be okay through this. Anything you'd like to share? Well, here's the thing I'd like to share. First you have to survive this and then on the other side is you're going to thrive. So the biggest challenge is if you don't take action. If you're taking action every day and you're connecting with people every day, you're in forward moving. Things are going to happen. That's what the universe does, right? There's a quote that Paulo Coelho says, he wrote a great book I love called The Alchemist and he says, the universe is conspiring in your favor. So you just have to keep moving and helping people. Right now it's more important than ever to be of service. It's not about the sale. It's about how can you serve and help. So that's what I would leave you with. It's all about community connections and conversations right now. Yeah, just coming from giving. So during these times, like in 2008, we lost a lot of agents. So I have listened to the shift book four times now and we lose a lot of agents and they're telling you how it's a great time to go out and build your sphere because you lost agents. But what kind of motivation or what would you tell agents that are in that rough spot and are thinking of maybe I shouldn't be doing this anymore? So here's what I'll say. If you thought you were in the business of selling real estate, you're wrong. You're in the business of connecting people to real estate.   It's all about connections right now. So there are going to be people, Keena, that aren't going to make it. That's just the way it is. Just like right now, there are going to be businesses that aren't going to make it. The strong survive. I actually like a shift because it makes me forge forward and I'm always looking at other opportunities and right now there are opportunities out there for the right agents who are looking for it. So it's connection time, people. It's connection time. Yes, it's definitely pulled out the creativity. I will say, every day I wake up and think of something new. What can I do today? New. So all right, well thank you so much for coming with us. I appreciate being on this. I hope I helped you in some way. Yes, it was great information. And if anybody has any more questions, they can always leave a comment or they can reach out. I always answer my questions that come up. We're here. Like I said, we're still moving forward. We still have some great listings. We have a great investment property down in Waikiki that has two rentals. You buy one, you get two. Yes. And it's a great little property right between the L.Y. and Waikiki. So if you'd like more information on that, you can reach out. And our next guest in two weeks will be Johnny from, I don't remember who he's from, probably he's a lender. Sorry, he is a lender and he is going to come talk to us about the effects of the, where the interest rate is, where it might go, and what we can expect to see in the future with that. So thanks for being with us. Thank you again, Colette. You're welcome. Awesome. Thank you for having me. Take care. All right. Bye-bye.