Nominee Chat Session Transcript
(Thu Sept 1 2005)

TaniaBlanich: Hi - this is Tania Blanich, Director of the Program for Media Artists for those I haven't already met.

medartists: I'm Andy Waldschmidt... I'll be making sure everyone who wants to join can do so and maybe I'll add my 2 cents once in awhile

TaniaBlanich: Questions anyone?

rockgarden8: My question is if I am the sole director but I've worked with a co-writer on short films in the past and am working with the same co-writer on my feature film - is this a problem. Do I need to address it in the application?

TaniaBlanich: No problem at all being a co-writer.  You can address it in the application (i.e. you don't want to mislead the panel by stating you're the sole writer) but it's not a big deal.  (It's a much bigger deal if you are a co-director and have never directed something yourself).

rockgarden8: ok great - thanks.

greengolftea: if we want to work on an existing project - ie. create another version or update it - is this acceptable or does it all have to be unique projects?

TaniaBlanich: That's a tough one.  Generally the panel is not really excited about supporting work that already exists unless you're making it into something substantially different - bigger, longer, better.

greengolftea: right

babelsberg2222: I have a question about the categories-- are the different categories (exp., doc., narrative) judged by different people? And do you have advice for people who are doing exp. narratives or exp. docs-- how to deal with category?

TaniaBlanich: This may be a conversation to continue off-line as your case might be very particular.  Feel free to call me tomorrow.

winnipegiscold: my question is: can i propose a series of works, such as a couple of thematically-related installations - rather than a single film or installation?

TaniaBlanich: Categories - this is really, truly just an administrative organizational tool.  Frankly, so many of you are doing hybrid work (experimental docs, etc.) that they're almost useless.  (smile).  However, the entire panel looks at all of the work together and it's weighed first within broad category, then within the whole applicant pool.

TaniaBlanich: Further on categories (then back to the installation question) - we tend to re-classify you if we feel that your application/work would be better served by being seen within the narrative category rather than experimental, etc.

TaniaBlanich: Again, it's just an organizational tool - since we have no quotas as to how many docs, etc. are awarded each year, it's not relavent.

TaniaBlanich: First, back to the installation.  Yes, you can propose a series of works but too broad/big a proposal may not be intriguing to the panel.  Again, if you'd like to pursue this specifically, call me tomorrow.

Alixpearl: Can you adress if the different categories have different panels, and will entire 10 minutes be viewed, or at the panels discretion?

TaniaBlanich: Again, the entire panel views all of the categories - the panel is comprised of experts with specializations in various categories.  They do generally view up to 10 minutes of the work.

slugger415: Can you describe the different "weights" each component of the application might have, that is the artist statement, the proposal itself, past work, etc.?

TaniaBlanich: Each component of the application sort of has equal weight.  The panel is asked to recommend aritsts who have a good track record and/or great futures ahead of them and who have great projects.  Your sample work is one way of helping them decide that - an important way of helping them decide. 

rockgarden8: How important is it for us to discuss the people working with us on our projects: collaborators such as producers, DP's etc. Is it helpful for the panel to know you have a producer and who you are collaborating with or not?

TaniaBlanich: In most cases, collaborators are not of vital importance or interest to the panel.  You could mention briefly any collaborators in the proposal and attach additional information as supplemental materials.

TaniaBlanich: And FYI, we have both Film/Video and New Media Nominees here, so some of these questions may be very specific to their categories.

beaniefred: as a related question, I'm have been working with a consistent team of artists and designers, but for this proposal we might potentially have some work-for-hire participants

beaniefred: - sounds like it's a preference to propose the work as a single artists and the rest in supplemental.  is this true?

TaniaBlanich: Yes, this fellowship is going to you as an individual artist.  So we don't "care" so much about the collaborators in a way...

MayaSC: Can sample work be online or must we submit a CD-ROM or DVD?

TaniaBlanich: Web-based work can be submitted as on-line but we always suggest sending a back-up on CDRom or DVD in case the server's down, etc.

babelsberg2222: If one is working with producers or co-producers, do letters of intent/support help the proposal? I'm thinking of both producers & european and american funders who've expressed intent to fund based on first monies received.

TaniaBlanich: Letters of intent/support are fine as supplemental material but really not needed. 

TaniaBlanich: Again, regarding collaborators - it is of passing interest to the panel who you are collaborating with.  Meaning it can help them to know who's helping you if you don't personally have the technical expertise to do the project, etc.

spuriousmodes: New Media: Required are two full proposals. Are there any required or undesired relationships between the two?

TaniaBlanich: We require two copies of the same proposal, not two separate proposals.

slugger415: Regarding budget -- if my proposal is simple enough that it costs significantly less than $35K, say only $10K -- should I try and "pad" it with other expenses? would that work against me one way or another?

TaniaBlanich: Re budget - do NOT pad the budget to make $35K as the panel will not find that enticing at all.  However, you are allowed to pay yourself an artist's fee (the Fellowships funds can be used for a wide range of purposes) so that even if your hard costs are only $10K, you could pay yourself $25K to live and develop the project.

babelsberg2222: I asked about producers/funders and letters of intent/support, as a follow-up question to rockgarden8's question about how important are people we work with? I'm more concerned about taking a 900K or up budget in stride.

TaniaBlanich: Yes, it can be useful for the panel to know that you've got a producer interested but it would not necessarily be a pro or con.  It's just info they can use in their deliberations but we caution them against assuming someone will "get the money anyway".

rockgarden8: How big a project does the Rockefeller support? If (along those lines)

TaniaBlanich: Size doesn't matter....

Tenchou chikyuu: If you have been nominated as a team - with someone else - how should you present previous work if both artists have independent previous projects despite a history of collaboration?

TaniaBlanich: Teams should probably submit a sample or samples of work completed together and as supplemental work, submit work completed separately.

greengolftea: for new media - deliverables -- r they expecting a show or demo, report?  - what happens at the end of the fellowship?

TaniaBlanich: At the end of the Fellowship, you'd be required to submit a final report and an accounting of expenditures.  We don't assume that a project will be completed by the end of the grant.

TaniaBlanich: For new media projects, we do eventually expect that we might get a url or a demo.

babelsberg2222: sorry to nag on this-- my concern is if one has funders who've expressed intent to fund only based on the project's receiving other "first monies" (such as rockefeller). Also are 1-2 million budgets common? Known?

SUNYBEHAR: If the total budget of your project is $900,000 (feature film), should you still present only a $35,000 budget? If so, do you even need to mention or submit the $900,000 budget?

TaniaBlanich: Yes, we need to have a budget for the $35,000 in the proposal.  As the guidelines note, you may submit the full budget as supplemental material and you should also mention in your budget narrative in the proposal that your project is $900K.

JackGrosb: how important is the budget?

TaniaBlanich: Budgets of $1-2 million are perhaps not common but not unsurprising.

TaniaBlanich: The $35K is important in that we must know what you will spend the grant funds on.  We're required by IRS blah blah blah.

TaniaBlanich: In terms of your larger/full project budget, it is important to let the panel know that you have a sense of what it's going to cost to get the work completed.  For example, if you think you can make a feature-length film about the Civil War for $50K, the panel might think you don't know what you're doing.

cmakunst: What's your definition of New Media?

TaniaBlanich: THe guidelines include a general idea of what we consider New Media.  Since the New Media field changes daily, it's a bit hard to be more specific than we are in the guidelines.

medartists: Hi... in answer to "what's new media"--from the Overview: the fellowships go to artists who "investigate, experiment and apply new technologies towards creative expression and art, and whose work explores the intersection between art and technology. Interactive, dynamic media should be the centerpiece of the work created by such artists."

TaniaBlanich: Actually, the interactive part is a little misleading - some New Media work is definitely not interactive and yet we would fund it.

flavoredThunder: For the new media submissions do the judges have specific check-list of questions they look for the proposals to answer?

TaniaBlanich: Re: New Media submissions - no check-list.  Just looking for quality, artistry, innovation, etc.

francesnkara: If the overall project budget is significantly greater than $35, would you rather see a budget for the first part of the project, eg development, or for some other part of production which is more key to its overall completion?

TaniaBlanich: Re: budget - it doesn't matter what stage.  Whatever you will spend the money on is what we want to see.  If you are in pre-production, it's a little silly to apply it to post-production unless you've already gotten all your production funds, for example.

cmakunst: I'm concerned about the technology part. Mine is often interactive, dynamic experimental etc but pointedly not digital or technology-centric

TaniaBlanich: To cmakunst - perhaps we should have an off-line conversation tomorrow since you seem to have some doubts about where you would best fit...

TaniaBlanich: While we're waiting for other questions - does anyone want to provide feedback on the process?  Are the guidelines clear? FAQs helpful, etc.?

francesnkara: If the new, proposed work is going to have a very different look than past work, would you like to see samples in the style of the proposed work (film), and if so what form, as trailers are highly discouraged? Sample scene perhaps?

TaniaBlanich: Yes, it's probably a good idea to provide a sample in the style of the proposed work if you think that will support your proposal. 

TaniaBlanich: Trailers are REALLY discouraged - they don't provide the panel with a sense of the rythm of the proposed work, etc.  A sample scene is probably a better idea but certainly you needn't create something specially. 

winnipegiscold: that's tricky if the proposed style is installation and the previous work is, say, narrative

TaniaBlanich: If your previous work is in a different genre than what you're proposing, try to find a selection that best supports your move to the genre.  For example, if you've only made narrative films but want to make an experimental work, perhaps the dream sequence would support that jump.

DEELum: Thank you for having this chat. I spoke to Andy about this butwanted to verify with you regarding sample tape.  I am proposing a doc(Film/Video category) but my solo work thus far has been all narrative.

DEELum: Related question. I would really like to include excerpts from the current doc (though itis by no means complete) as I feel it would be the strongest. Hesuggested I send this as supplemental. Is that what you would alsosuggest?

TaniaBlanich: Yes, we tend to encourage you to send works-in-progress as supplemental.  Unless you have a fine cut, it can be misleading to the panel.  However, they will often go to the supplemental WIP just to see what kind of interviews you've got or if the footage is shot well, etc.

SUNYBEHAR: Is it best to provide a completed project of which the first 10 minutes will be watched, or is it better to edit a montage of 2 minute clips from various projects?

TaniaBlanich: Regarding sample work.  Editing a montage of short clips is like submitting a trailer or a director's reel.  It really doesn't give the panel a sense of your work.

TaniaBlanich: Therefore, either a single 10-min sample or two samples totaling 10-min are recommended.

babelsberg2222: About work sample-- are the full 10 min. watched by panel? can one submit a new media work (installation) AND a film excerpt for film/video category? Also, what's supplemental?

TaniaBlanich: Generally, the panel watches the 10-min and occasionally will go to supplemental work.  For example, if you've given us a sample from a narrative but are proposing a doc and have a doc sample as supplemental, then they'll go to that

TaniaBlanich: By the way, it would NOT be smart to submit a narrative sample for a doc proposal if you have a doc that you're proud of... :-)

TaniaBlanich: To further clarify - a supplemental work sample is really just a sample that the panel MAY go to if they feel that your original sample hasn't quite convinced them to fund you.

Gsummit7: For passed recipients in film/video It seems like there is an emphasis on making either a feature film or feature lenght documentary.  Do you think an application for a series of 3 short 16mm dance films would be competitive?

TaniaBlanich: I always recommend in choosing sample work that you show the clip(s) to someone who knows your work very well and someone who doesn't know your work at all.  That way you'll get good feedback about what's working or not - and a sense of how the panelists might react.

TaniaBlanich: No, there is no emphasis on feature-length films at all.  3 short dance films would certainly be competitive.

DEELum: What if you are submitting a doc, but your only doc sample was aseditor/co-producer? Can this be part of your sample or only supplemental

TaniaBlanich: Work that you have not directed yourself should be submitted as supplemental and on the sample work form, you should make it VERY clear about what your contribution was and how that impacts your ability to make the proposed project.

TaniaBlanich: Next question?

TaniaBlanich: Or have I missed one?

rockgarden8: If we have an ongoing big project but choose to apply with for ex. a smaller project that's not yet begun-  does that seem advisable or foolish or  unimportant in terms of choosing. (ongoing vs. just begun)

flavoredThunder: Regarding the past portfolio (for new media work) many of these projects tend to be ephemeral in nature so like site-specific performance don't exist anymore.

flavoredThunder: I know that you said demos are encouraged but does that mean those without "working" technologies in their portfolio will be at a disadvantage?

TaniaBlanich: demo for a F/V and a NM applicant might mean very different things...  so a demo for a NM applicant is probably a good idea.  Follow-up with me tomorrow by phone, ok?

flavoredThunder: ok thanks

TaniaBlanich: Re submitting an on-going project or a smaller project, that's tough to say.  It doesn't really matter to the panel.  But I'm a firm believer in a) submitting what you are most passionate about making, because that comes out in the  proposal and excites the panelists and b) considering which proposal might have a tougher time getting funding from other sources.  We tend to take risks in terms of funding - sometimes giving Fellowships to artists who just have the germ of an idea.  So if you think ITVS is definitely going to fund your doc but where will you get money for that experimental film you want to make, you may want to consider submitting the exp film to us.

TaniaBlanich: have I answered everything so far?

rockgarden8: yes thanks

Ms SA Burks: I'm a documentarian who wants to make narratives. Am I at a disavantage for wanting to submit a narrative idea when I only have docs?

TaniaBlanich: No, not at all.  I think you'll want to show with your samples that you're a good story-teller and frankly, that you cast well.  An interesting documentary character is a good sign that you know where the story is...

Ms SA Burks: Thank you :-)

TaniaBlanich: I also think that those of you switching genres need to address that in your proposal- it doesn't need to be belabored, but perhaps address why you're shifting genres and why you think you can do it...

JimmybCA: my screenplay if based on existing material and is an adaptation, where should i notate that

TaniaBlanich: I'd just note that in the project cover form and also say that in your proposal narrative.  You don't need to belabor the fact, but it's important for the panel to know that it's not original material and/or that you have the rights

TaniaBlanich: (or will be seeking the rights...)

TaniaBlanich: More questions?

winnipegiscold: I tend to use found footage (manipulated) in my video work. How will this be received.

TaniaBlanich: Just fine.  Some of our favoriate fellows use found footage.... ~_~

TaniaBlanich: favorite, just so you don't think I can't spell.

winnipegiscold: even if its from hollywood films

JimmybCA: i have an option on the rights

TaniaBlanich: yes re: hollywood films

winnipegiscold: great :-)

TaniaBlanich: fine on option on the rights... just mention that

TaniaBlanich: next?

JimmybCA: great. thanks

MayaSC: Yes..I have one.

MayaSC: My work past work was created for the web so as a sample if I submit a DVD...

TaniaBlanich: yes?

MayaSC: which is all I currently have (no CD-ROM avail) and the DVD is not interactive....

MayaSC: I am wondering if it would be bad to submit the non-interactive version as a sample?

TaniaBlanich: that's fine - it will probably give the panel enough of a sense - also use the sample work form to describe the interactivity.

MayaSC: Thanks.

flavoredThunder: Does the panel judge the financial need of the projects as part of the criteria for choosing an winner?

TaniaBlanich: re: financial need.  We really stress to the panel that they should NOT assume that someone will get the money they need nor should they make decisions based on financial need.  We don't require you to submit tax returns, so we (and: the panel) don't know who just inheirited money from their old aunt or who's got a second job that pays a lot or who won the lotto.

flavoredThunder: Specifically, if a net.artist used all open-source tools they may not have to spend any money for the development (other than man/women hours). Would the jury consider support for a project like that unnecessary?

TaniaBlanich: Not at all - artists deserve to be paid for their work.

TaniaBlanich: Period.

flavoredThunder: :-) great

TaniaBlanich: next?

JimmybCA: tania, can i ask another question?

TaniaBlanich: no.

TaniaBlanich: ust kidding

JimmybCA: lol

TaniaBlanich: go ahead

TaniaBlanich: laughing too hard to get the question out?

JimmybCA: okay, my project is based on existing material and i have adapted it ...i also have a project i'm working on that is original. i'm focusing now on the adaptation, but for the purposes of the fellowship, is an adaptation looked upon differently. for example, would an original screenplay/project be more desirable.

TaniaBlanich: go up to my previous comment about what YOU feel more passionate about.... we don't care about adaption vs. original material.  We care that the final product will be "original".

JimmybCA: got it. great. and thanks.

TaniaBlanich: next?

cmakunst: Does it reflect poorly if our past work is over a wide range of time due to whatever reason, but you can see that in recent years production has picked up? all original.

TaniaBlanich: nope.  doesn't matter at all.  I would suggest that you give us recent work as samples - the panel often wonders why someone's given us a 20-year-old work rather than current work (it seems suspect, you know?  like the new work isn't as strong).

greengolftea: does the project have to be completed within the year or could we extend the time if needed?

TaniaBlanich: That said, it can be useful for them to have as supplemental sample works some older works and/or a range of works.

cmakunst: ok great thanks

greengolftea: sorry thought you were done :-)

TaniaBlanich: No, the project does not have to be completed within the 18-mo grant period.  We do expect that you will have spent the funds during that period and accomplished what you said you would in the time period.  For example, if the $35K  is going to pre-production, the final report would say you finished research on the doc and lined up your interviews and have the archival footage.  We wouldn't expect you to produce the final doc.

TaniaBlanich: However, we do request that you give the program a credit when you do complete the work and that you send us copies of the completed work.

TaniaBlanich: we understand that can take years.  We also know that its worth the wait.:-)

TaniaBlanich: next?

spuriousmodes: Back to 'demo' for NM proposals  what level (if any) of technical functionality would be required? Would a website describing idea with text and graphics do?

TaniaBlanich: That may be the right approach - it's really hard, we know, for the NM artists, particularly at early stages of their proposals.  Again, it might be useful to have a phone conversation about this separately.  But basically, you need to give the panel whatever you can to support your idea and give them confidence in your abilities, past, present and future.

Alixpearl: Since VHS is strongly suggested for the work sample, is it suggested for supplemental work as well? Quality on DVD is so much better and simpler to scroll trhougha menu than fast - forward tape?

TaniaBlanich: Yeah, even for supplemental work VHS is better.  We know DVD quality is better, but until all DVDs play on all machines and until all of you learn how to author perfectly, then we really want VHS.  Scrolling through a menu is easier if you're submitting say a DVD with several works as supplemental.  However, once into a piece, it can be impossible to fast-forward a DVD to say 30 min in, which is something a panelist might want to do.

TaniaBlanich: REALLY, DVDs are not great for a panel process.  TRUST us on this.  We've been managing this program for 11 years now and DVD is NOT a great step forward in this context.

TaniaBlanich: Hey Courtney - just a little word to you separately to let you know we're glad you and yours are safe (Courtney's from New Orleans).

medartists: And we should mention Francis James as well, also from New Orleans.

courtneyegan: thanks - we are pretty shocked and it only gets worse with CNN

TaniaBlanich: For those of you who might have entered more recently, there will be a transcript posted on the web.

winnipegiscold: question?

TaniaBlanich: go ahead with the question.

TaniaBlanich: And are you from Winnipeg?  I'm originally from Fargo...

TaniaBlanich: Fargo's cold, too.  ~_~

winnipegiscold: juts to be clear, fine arts video installations will be seen by the same panel as short films

winnipegiscold: and yes, winnipeg shiver

TaniaBlanich: Yes, they will be.  You'd be surprised that it's often the panelist with the LEAST exposure to some kinds of work that ends up championing that work.

winnipegiscold: ok thanks

winnipegiscold: :-)

winnipegiscold: i wouldn't (be surprised) actually

Douging: I am proposing a documentary similar to a short film i made yet the style would be closer to my current work, should I submit the short work as supplemental or make a ten minute reel with both the short and the new work?

TaniaBlanich: I'd maybe include both...  again, go to my earlier comment and have two people look at your sample(s) and let you know how they're responding.  Frankly, the same holds true with the proposals.... have somebody from the media field read your proposal and someone NOT from the field read it.  If they both understand and love what you're proposing, then you've done a good job on your proposal.

Douging: thanks

TaniaBlanich: Another question?

rockgarden8:  It says they judge you on artistic accomplishment and promise. How do they judge promise. What do they look for - I know this is an abstract question - sorry.

Tenchou chikyuu: yes -

TaniaBlanich: That's too hard a question to answer right now.  (This is really hard work, you know... !)

TaniaBlanich: Let

rockgarden8: sorry!

TaniaBlanich: Let's see.  What the panel is looking for is...

TaniaBlanich: someone who shows that they have an artistic vision.  Someone who has artistic accomplishment, whether that's one short film or 2 dozen documentaries.  Someone who isn't "stuck" in a moment but who is obviously moving forward artistically (I think that's the promise..)  I mean, how do any of us tell who or what has promise?

rockgarden8: I know that's why I asked. Is it just subjective then? or is there a list of things they check off?

TaniaBlanich: But promise is based on the past - it's a sense that somebody who did "that" in the past can do something exciting in the future.

medartists: Sometimes a panelist will argue for moving a proposal forward based on past work, even if the current proposal is not particularly well-written etc.

TaniaBlanich: Yes, it's subjective to a certain extent.  I mean, without soldid past work, a panel would have a hard time imagining the promise of an artist. 

cmakunst: Even if you were 'stuck' for a few years, right? I mean, I'm still emerging, right? ha ha

rockgarden8: ok. It sounds like promise relates more to then art - then for ex. the fact that this project has promise to get made next month.

TaniaBlanich: That's true - the sample work can often convince a panel to take a chance on the new project.

TaniaBlanich: Absolutely - the promise is about the artist and the project in terms of it's artistry, not the practicality of whether it will get completed tomorrow.

TaniaBlanich: I'd remind you all that the Fellowships supports artists at any stage, from emerging to very accomplished.

TaniaBlanich: Next question?

Tenchou chikyuu: Regarding the DVD or VHS question - for New Media applicants - what is the preferred form of documentation - particularly if your works are not screen-based and if you work in a variety of media? Also, does same time limit ... (10 min viewing time) apply to NM applicants?

TaniaBlanich: First DVD vs VHS - sometimes DVD seems to work better for NM applicants - and NM applicants do get 15 min (before the FV applicants complain of unfairness, it's because interactive work often takes more time to view/play with.  (We let the panelists explore websites on their own, for example.)

Tenchou chikyuu: ok

greengolftea: right so a DVD would have documentaion of an Interactive process for a NM applicant for instance..

greengolftea: ?

TaniaBlanich: Greengolftea - right

Jphang: This may be obvious, or already asked, and answered, but i fell off the chatroom so i don't know:  If the sample work is _the_ actual work in progress, am I selecting only ten minutes of it?

TaniaBlanich: Any sample for FV applicants should be 10 min.  You can submit completed works (either by cueing the 10-min section) or as supplemental.  We do NOT recommend you send works-in-progress as your sample work but rather to send complete work as samples and the WIP as supplemental.  Again, trust us on this.

TaniaBlanich: did I miss any questions?

Jphang: thanks

courtneyegan: if a proposal is for a form different from the majority of one's reel, how much of a concern is that for the panel? most of my reel will be experimental; my proposal will have documentary elements.

TaniaBlanich: Again, see above for more discussion - but basically you should submit past work that supports your proposed work - in some cases, that just means the past work is very strong and the panel thinks you have tons of talent and they'll take a chance that you can switch genres.

TaniaBlanich: Any last questions?  We're getting ready to wrap this up 'cuz Tania's tired.:-)

courtneyegan: thanks

francesnkara: If a project and therefore its overall budgetary needs are very ambitious relative to previous work, will it be taken seriously?

TaniaBlanich: Yes, but again, you're going to have to make a case for why the panel should be supportive.

beaniefred: if we are proposing an installation work, would it be useful to describe potential exhibition spaces?  perhaps in supplemental info?

TaniaBlanich: Oh sure, now EVERYone has a question...

winnipegiscold: i have 20 (hah)

TaniaBlanich: Yes, it could be useful to get a sense of potential exhibition spaces - and yes, perhaps as supplemental.

rockgarden8: How old should or can the samples be? What's "too" old generally.

rockgarden8: sorry thought you were done.

TaniaBlanich: If you have work completed in the last 5 years, that's a good range.  Beyond that can seem a bit "funny" to the panel - particularly if you've made recent work.

rockgarden8: ok thanks! you've been so helpful.

greengolftea: y thanx for the chat.. very useful

cmakunst: Thanks for having this chat. Very helpful. Tania you rocked the e-facilitating! and andy.... l8r

TaniaBlanich: You're welcome.  Of course, if you have questions at a later date, by all means, e-mail Andy or Lucila (hee hee).

francesnkara: Thank you Tania

TaniaBlanich: Seriously, any of the three of us would be happy to have further conversations as necessary.

winnipegiscold: thanks

Tenchou chikyuu: thank you for this info session!

Gsummit7: thanks!

TaniaBlanich: Anything else someone wants to sneak in?

TaniaBlanich: If not, guess we'll say good-bye.

beaniefred: thanks!

DEELum: thanks indeed

TaniaBlanich: We'll hang until the last person leaves...

kellymonster@mac.com: thank you!

MayaSC: Thanks.

medartists: Good luck to everyone...

losangelesmarie: thanks a lot!

Rmanley52: Bye,  and thanks.

Douging: ok I'm gone thanks

Jphang: Thanks for having this. Have a great afternoon.

Alixpearl: thank you

TaniaBlanich: so what are you doing in winnipeg?

TaniaBlanich: besides shivering

winnipegiscold: i used to live there for some crazy reason

winnipegiscold: ;-)

TaniaBlanich: ah.

winnipegiscold: its a joke

winnipegiscold: thanks i see we are sayign good bye

TaniaBlanich: yup

TaniaBlanich: we feel like the hosts of a party when the last guests won't leave... smile

TaniaBlanich: do the rest of you have questions or can we close the door?

greengolftea: i think we're done.. thanks again

JimmybCA: thank you.

greengolftea: will email you seperately if anything elese comes up

TaniaBlanich: ok

TaniaBlanich: you're welcome