[Colman]: Hello friends. My name is Colman Domingo. And for those who need to know what I look like visually, what's happening here is I'm a 51 year old African-American man. I'm wearing a black turtleneck. I have short cropped haircut, and I have a backdrop that is very much, teak wood. So I'm like, I look like I'm in a little box of wood, which is a mid-century modern house. That's me. And, I'd like to introduce our panelists today and they will introduce themselves as well. We have a writer, director, and producer Mr. Doug Roland. Great. And we also have executive producer, Marlee Matlin. We have the two leads, the two stars of the short film. We have Robert Tarango. He is one of the first DeafBlind actors to star in a film. Which is, I think tremendous. And we also have Steven Prescod. All right. Wonderful. I had the pleasure of, witnessing this short film just a couple of days ago and I watched it again this morning to make sure what I saw was true. And what was true about it was that, it was so simple and it got to the heart of two people that just has this wonderful interaction. And it changes, I think both of their lives. It says that it changes one of their lives, but I think it changes both of them in some way. I think it's about goodness and caring and reaching out to others in the world, especially right now when those messages are even more profound. We want that moment. I think maybe there's something in it and I'll just hold off on my thoughts because I want to get into this great panel, but there was something that stood out to me and it was the moment when, Steven's character put his, started writing on Robert's hand. And I don't know why it affected me so much, but I'm actually processing it now. It's the idea of touch. That we have not been allowed to touch each other for the past year. And then you look at how important it is to touch and connect with someone. The idea. It's very intimate to put your finger on someone else's palm and have that trust. And that was the most profound moment in this short film to me, and there are many profound moments. And so I would like to start with you, Doug, if you wouldn't mind giving an intro to yourself visually, and also telling me the genesis of this short film.
[Doug]: Well, thank you Coleman so much for leading the show today and, for those kind words really appreciate it. I'm Doug Roland, I'm a white male in my mid-thirties. I've got a dark beard and a short, short, dark hair in a white, plain backdrop. And I'm also wearing a dark button up shirt and, you know, Coleman before I answer that. I love how the touch element stood out for you so much. I mean, this film was made before the pandemic, but we couldn't have imagined how much more relevant the theme of touch is, in the time that we've been showing it, which is primarily during a pandemic where touch is prohibited. And I think it's, as you said, it's something that we've all missed. Just the intimacy of being able to just freely touch someone else. And, that's something that certainly has kind of been, a silver lining of obviously a very challenging time, but to be able to express that kind of connection, is something that has been even better than we could have imagined. Given the context that we've been showing it in, but just real quick. The origin story of this, it was. It was inspired by a real, encounter that I had, going back 10 years ago, when I was still living in New York City, where I'm from. Similar to what you see in the film, I was coming home late one night and I saw a man standing on a street corner, holding a sign that said I'm deaf and blind and need help crossing the street. And again, just like the film, I took him to a bus stop that he wrote, he took out a note pad and wrote a bus stop that he needed. Which I took him there and, a bus wasn't coming for a very long time. So I sat. I wanted to let him know I'd sit and wait with him. I didn't know how to communicate with him, but fortunately just instinctively, again, similar as you see in the film. I took his palm, started tracing one letter at a time on it, to let them know I'd sit and wait with him. And he understood what I was writing to him. And we were able to have a whole conversation that way. Me, writing one letter at a time on his palm, him writing back in a notepad. You know what had first started very basic. Me introducing myself, him letting me know his name was. He referred to himself as Artz, A R T Z. I would later find out his name was Artemio, his full name. But then we got into a much more personal conversation and it was one of those occurrences where I just knew as it was happening, that it was such a, so impactful and such a. Every molecule in me was firing. But I think it's been this many year process to bring it to the screen and share it with people where I've really kind of learned what was being gained in that moment, but simply put it was.
[Colman]: What was inspiring you in that moment, what was being gained for you in that moment?
[Doug]: You know, it's interesting because how I would first describe it is that I just had the great fortune to connect with someone from a community I'd never met before. In the DeafBlind community and got to know him in this one encounter. Just this beautiful, charismatic, funny guy, which I think is the most resonant thing. I think any time. I know for me. Coming from the environment I came from, where I didn't have anyone in my personal life, who was from the disability community, let alone the DeafBlind community. That I did. The first time I laid eyes on this man, Artemio. The most notable thing was that he was DeafBlind and that by the end of the interaction, I really just saw him as like my new friend, Artemio. I was tearing up as his bus pulled away 'cause I'm like, "Oh, there goes my new friend. I'm never going to see again." So I think that's kind of like the most resonant thing, but you know, for me, it comes back to this more universal takeaway of just. Whether it's. Whatever the difference is that someone might be across from you, that there's this more resonant, connective place. And just finding that connection point, regardless of whatever our differences might be is the thing that comes up for me over and over again. And I think has application to anything, to any circumstance with two people.
[Colman]: That's what I've found to be so beautiful. I really thought this is exactly, it's part of the conversation, I think that we're all having as a culture in our communities about how do we reach across and learn something new about someone else. So that's why I think it's really effective. I think it's beautiful. So I'm glad you're sharing it with us. And I want to talk to Marlee about the casting because we have, there's truly authentic casting in process here. It is a, BlindDeaf actor being played by a blind and deaf actor. And that's, I think it's unique, but also, could you talk to me about that? Could you tell us about that and why it was so important?
[Marlee]: Thank you. I'm Marlee and I'm a white woman with blonde hair and I'm wearing a gray blazer and a black shirt with a little, "I Love You" pendant. And my background is a bookcase with different plates for my kitchen, items like that. And maybe there's an Academy Award behind me as well. Okay. What can I say? Anyway. I am four years older than you Coleman. So anyway, you do the math and figure it out. I won't say it, but you know how old I am. Anyway. When I first saw the film, the film had been produced already. It was the best 18 minutes I'd ever spent in front of a screen. It was because it was authentic. The whole package, was, you know, not only an authentic casting, as you mentioned. And, putting the two. The African-American homeless guy, the DeafBlind guy. Bringing the story together, just spoke of authenticity because, we look at not only what they were saying, but we could see the humanness of them and, the fact that they're meeting and then, you know, what happened to Doug and the fact that it's expressed on the screen. And when we say authentic, I say with a capital A, because in terms of casting. There was, it was so thrilling for me to see that a deaf, I mean, I'd never seen Robert before this film, I didn't know of him. And when I found out that he was DeafBlind, I was like, how better to tell this story than to have this cast authentically. And we've come a long way from when I was in this industry, having been in it for 35 years. We've come a long way to try to convince this industry, powerful people who make films happen. Producers, writers, directors, studios. That they need to understand the importance of authenticity when it comes to acting, particularly when it comes to deaf and now with DeafBlind individuals. Diversity is very important as well. I've been using this word "diversity", for the longest time. And I know, Colman. You're aware of what we're talking about. When we talk about diversity, Steven understands. Everyone understands that it, I'm just thrilled to be a part of a film that includes all of these elements and it needs to be seen by everyone. People will have a much better understanding as a result of seeing the film, that authenticity tells real stories. As opposed to someone putting on, I like to say that, in the past, that disability is not a costume. You don't put it on like a costume and you take it off. It has to be authentic.
[Colman]: Well said. Thank you. And I would love to talk about the casting process. Robert, you are the first DeafBlind actor in a film. I'm sure you understand the significance of that. Will you tell us about how you got cast? Tell us about where were you, when this project came to you, tell us about that.
[Robert]: This is Robert speaking. I am wearing a green t-shirt. I am in a 55 year old man with salt and pepper hair, and I am tan skinned. So how I first met Doug, I was at work. I was a kitchen worker where I had been working for over 21 years. And my boss, Stan came over to me and said, "Hey, can you come here a second?" And I was like, "sure, what's up?" He said, "you need to go over to the other building." But they didn't tell me why. And I'm like, "oh, okay." So I was like, "well, what's going on?" He didn't have any information. So I took a walk over to the other building, which we refer to as the training building. And I had to give my eyes a couple of minutes to adjust, coming out from the light into a darkened room. And when I sat down, I started looking around and Doug started talking to me. And started explaining the project and what this could be. And if I would be interested in being in a movie and as he kept talking, I just started getting more and more and more excited. It lit a fire in me. And you know, as I know that he had interviewed seven candidates up until that point. And again, I was just at work. And so when my boss came to me and said, "Hey, why don't you go over to the training building and do this?" I was like, "what?" So I really had no preconceived knowledge of what was going on. Ultimately. I got the call that I was selected. And after which I found out I was the first DeafBlind person in a film, that feeling was indescribable. Amazing. I just thought I'm like, I did it. And, you know, Doug cast me in Feeling Through, and here we are.
[Colman]: That's beautiful. What do you want to do next?
[Robert]: Well, I think that one of the things that I would like to do, is when I was in New York. When we went for the first time to actually film the film was kind of unique. And I sat down and I started doing my makeup and I was like, "what are we doing?". I was like, "okay, so this is what this looks like, huh." But again, that feeling that inspiration, that success. I don't even know how to describe it. It's really, again, indescribable that I feel like I was a part of this and it was my own.
[Colman]: Beautiful, beautiful. Thank you. Tareek, the other lead of this film. Steven who plays Tareek. See, you're so convincing, I just thought of you as Tareek, 'cause you were just so authentic. And I cared for this guy very quickly. I cared for you. And I knew that your sense of pride, you trying to find your way. You're trying to find a place to sleep for that night. And then the universe takes on its own purpose with you to lead you somewhere else. I thought you were very effecting, a very, very beautiful actor. Is there, where did you draw your inspiration from, to create a character like Tareek.
[Steven]: A great question Coleman, thank you. And I am a black, I'm an African-American male in my late-twenties. I have box braids pulled back in to a ponytail and I have a gray background. Where I pulled my inspiration from actually it was from a young man. His name is Norickson. He was walking on the street as I was walking, my pup. Ginger, who's 10 years old now. I was walking her on a sidewalk and then this young man, he was across the street watching me. And then he just came walking towards me. And like, I was a bit quick to be on the fence, but I was like, okay. This is like. It has to be a reason why he's just walking towards me. So he walks up to me and he's like, "Hey man, do you have like two dollars you could spare for some coffee." And he was like younger than I was. I was like, "yo dude, like, how old are you?" He said he was 18. And I said like, "where are your parents." Asked him, "where are your parents?" Things like that. And he said that he don't have any parents. His mother passed away. He hasn't been in communication with his dad. So he didn't have any place to stay that night. And I said, "you know what? Yo, you can chill. I'm going to find out with my aunt if you could spend a night by me." And then I went upstairs and I spoke to my aunt and my cousins and I said, it's this young man outside. I told him, I'll let him stay here tonight. I think, like my spirit gets to him. I think he's a cool guy and my family, I think they, they trusted my judgment. So they're like, okay. And he came in, I gave him some new clothes and things like that. So that really resonated with me. That actually this role, that we found each other. That this role, that I found this role and this role found me because it made me think of him so much. Even after that interaction with him, I will see him like, peppered throughout the years and months. So it was really him where I drew my energy and consciously from going into that character.
[Colman]: Stephen, that's beautiful. I think there's always a great, I think, alchemy between actor and character. And I think that there's a lot of that character that lived in you. That empathy, and you could see it coming through your eyes, truly. Beautiful work.
[Steven]: Thank you Mr. Colman. Thank you.
[Colman]: Doug. I want to know your process. Because you've taken this film from a real life experience and then theatricalized it, in some way. You know, created another character, things like that. And also I'm wanting to know. Did you immerse yourself in the DeafBlind community as well? How did you make it so authentic? You know?
[Doug]: Yeah, well. To start with the writing process, you know, I think, anytime you're drawing upon inspiration of something that's happened to you. It can be a real gift and a curse, depending on how you use it. You know, for me, I quickly found that there were certain details that had happened that needed to be in there and kind of help guide some of the plot points in the narrative. But that ultimately, as I was working through it, the story that was demanding to be told was something that was very different than, beat for beat what happened to me. And through various drafts, it took on a different form. And, you know, is definitely something that I still say is heavily inspired by the encounter I had with Artemio, but a fictional story that's not meant to express, you know, it's not meant to represent that one to one in any way. And that was really just that organic process of just, draft after draft and kind of figuring out what. Because a lot of times, like, in my first response talking about this whole process has been really me understanding what it was I was trying to say in the first place. The first step of that is the writing process of where you have that lightning bolt of inspiration. In this case, a real life occurrence. But you don't really know what you're trying to say until you get in there and really play with it. But as far as the process, you know, on set. Again, I had the real privilege to partner with Helen Keller Services and the Helen Keller National Center, same entity, different branches of it. To make this film, and really, you know. Really so fortunate for that, because at the time that I started this process of making the film, I'd still only met Artemio many years prior and still did not know the DeafBlind community. So what transpired was a lengthy eight-month plus process of really getting to know the local DeafBlind community here in Los Angeles. Going into the Braille Institute, meeting everyone there. Sitting in on the DeafBlind classes there. Meeting people who are DeafBlind that go there. Going to a DeafBlind living facility out in Eagle Rock near where I live here in Los Angeles. Getting to meet everyone there and then flying back to New York regularly, to go up to the Helen Keller National Center in Long Island and getting to, not just meet all the staff and the. So basically just to explain real quick, what HK&C is, is that people who are DeafBlind from all around the country, go there for up to a year to learn independent living skills. And so I got to meet a lot of the students there, all the staff, but also really had this time to really form meaningful relationships with the community. You know. Chris Woodfill, who's the Associate Executive Director there, he's DeafBlind himself. He was the one who I worked with most closely during the casting process. So, got to collaborate with him to find Robert in the fateful way that he described, and make a number of meaningful relationships along the way. And now three years into this process and working with, and for Helen Keller Services for the last couple of those years. The community is a daily part of my life as far as: collaborators, colleagues, friends. But again, having that good long period of time to really get to know the community in an intimate way, and then having the great interpreting team, some of which is here today to facilitate communication between, Robert and myself, and have a really smooth process on set. Figure out whatever we had time to figure out what we needed to on set, to facilitate the most efficient and best communication. And, again, it's that collaboration that really made it happen.
[Colman]: And as, someone leading the charge in that way. I think this is going to eventually fall over into a producorial question as well, 'cause I think it can help our communities. I see it as, it's a great, it's a wonderful challenge that you can meet. And it sounds like you met the challenge where there's some challenges that you did not foresee and you were able to figure that stuff out and sort of like, hopefully give us a template and give people more tools to work with. Did you figure some things out?
[Doug]: Yeah. You know, Coleman, that's a really great question. I'll answer that more specifically in a second, but overarching, and you well know this having been on many sets. Filmmaking's always hard, right? There's always unforeseen things that happen. So I think first and foremost, I'd urge people who maybe haven't had experiences, where they'd need to consider accessing. Where there maybe, having had to consider accessibility components on previous sets and are maybe intimidated by that. It's something that you can very easily figure out like any other element of filmmaking.
[Colman]: Right. Yes, yes!
[Doug]: It's just part of, and there's so many people, so many entities and individuals who you could easily just bring on to consult all the way through. So you wouldn't even have to figure it out on your own. But really it's a mindset thing more than anything, in that, it's something that, there are so many things that just need to be accounted for when you're going to shoot a film. And that's just one of many, and it's not, it's nothing that's too hard or too difficult to figure out. Particularly if you have people who know what they're doing. And the thing that I would add onto that, and I think it's really, really important. And it's something that I like to embrace as a filmmaker in any film that I've been able to make, but it is those things that could easily be labeled as challenges or obstacles that are the very thing that make the final product, what it is. So it's like, we wouldn't, Feeling Through isn't what it is. And it hasn't, it wouldn't have moved as many people as we've been fortunate to bring it to and move, had it not been, not just Robert on the screen, but the way in which we, myself and everyone else on that crew who was working with a DeafBlind actor for the first time, learned a lot more about humanity in themselves through the process and the way that creates an environment and an energy that comes through in everything you do. So for me, it's like. People get so much and I get it right. It's a business, too. People get so much in the mindset of like the X's and O's and the bottom line and how much something costs and how much time something is and, how much that costs. But also at the end of the day, we're making something, for the purpose of moving people, of engaging people of hopefully opening people's minds to new things. And you do that by, it starts with what your team looks like and how you go about what you're doing. That, those things, it's a one-to-one connection to what ends up on the screen. But beyond that, we did, you know, cut this, long-winded answer a little shorter, just with the last part to add onto that. One thing that we did learn a lot about was doing these fully accessible screening events. Fortunately, prior to the pandemic, I collaborated with Helen Keller National Center to create these accessible screening events that would have as many as 50 interpreters and support staff in an individual screening to provide one-to-one accessibility, because we knew before showing it to anyone, we knew that it was important that the DeafBlind community who was at the heart of this film was able to experience it alongside everyone else. And that we may be cracked a little bit more of the code there. That felt like maybe treading new water in a certain way, but again. Things that are, we've freely pass along what we've learned to anyone who's approached us and things that are not hard to figure out if you just have the right team and the willingness to do so.
[Colman]: That's a beautiful, beautiful. Marlee. I'd like to ask you a question, please. How can the film industry steer clear of tokenism and avoid using disability as a storytelling prop?
[Marlee]: That's a good question. I mean, tokenism is obviously, I mean people, a lot of people don't understand or realize that tokenism is rampant and has in terms of the community been used quite a bit. I can probably say that it's just a fact that they don't know. And it's up to us to educate them, to those who aren't clued in, who aren't necessarily as knowledgeable as we are when it has to do with representation on screen. Especially if you're talking about deaf and DeafBlind individuals, or whatever. Gender, race, whatever you're talking about. Right now, as we speak, we need to combat all the "isms" in general, in Hollywood. All the "isms". And how we do that is we educate, is we have conversations, is that we, I mean, it's basically collaborate, collaborate. And that's why I'm so thrilled with Doug, followed that process. He collaborated with the Helen Keller National Services at Helen Keller Center. And what Doug said earlier about using authentic characters, actors. Using, whether we're talking about the process, on the set of using interpreters. And thinking about it strictly from a numbers point of view, and a schedule point of view, and a crew point of view. And the fact it's not rocket science, it's doable. If you keep in mind the same way you do with everything else that you work on a set. And at the end of the day, it comes down to collaboration and working with people who know how it goes. It may be new, but at the end of the day, everyone needs to understand and needs to listen to one another, because you're talking about making a movie here and at the end of the day, the movie, as we shot here, is beautiful.
[Colman]: Truly is thank you.
[Marlee]: And you know what? When I have a new job, for example, and I'm offered a script and I take a look at it. If I feel there is something there, it's something that I want to do. Play this character for example. I first of all, have to feel good about the character. I have to be excited. It has to excite me, but I also, and they think, well, okay, it's fine. You have to go to the set. It's the same thing. Yes, it is. The environment pretty much is standard. When it comes to sets, it's fairly typical. There's the crew, everyone has their job to do, but they don't, we don't know each other. So it's a learning experience, whether you're talking about with an actor who's disabled or not disabled, we all have to learn about each other. So why not just incorporate this into the process? I always am the one who breaks the ice. I'm always the one to...
[Colman]: Same here.
[Marlee]: And that's how we work. That's how we work. That's how we do it. So if you want a good, smooth relationship, because we're doing something that's different, but we're doing something together and we're creating together and we're creating a beautiful product. So you have to work as a team. And it's just a matter of making sure it's two ways. Bottom line is we just have to remove, again, all the "isms" that take place in Hollywood. That's all we have to do.
[Colman]: Thank you. That's wonderful. Robert and Steven, how was it working with each other? How did you, it's a very intimate, it's a two hander. And so you had to, you can just tell that there's a lot of trust and faith in each other. How did you, how'd you figure out how to work with each other, just generally? Let's start with Steven.
[Steven]: Well, with the help of the Helen Keller and Doug already prepping me before going into it, 'cause I did have my ideas on how would it be working with Robert. But all the, preconceptions that I had about working with a DeafBlind actor went out the window when I met Robert and this man is talented. And we did have a chance to bond and I fell that Robert is very talented and we were able to communicate through our interpreters. And I just felt that the trust was important with anyone that I've worked with. I feel that it's always important to just build a certain type of connection to the extent that the other person wants to build with. And Robert was very open to that. So it was very helpful to work with him on and off camera.
[Colman]: Steven, this is a testament to not only you, but also to Doug. That I think that there's something else going on in this film that I realized, as we're speaking about it, that you don't see often, which is tenderness between men, which is care. It's actually like it's really smashing tropes over the head. What you may came in thinking about a DeafBlind person, what you came in thinking about an African-American male. Suddenly you have to rethink that. You know, that's what I think is so powerful because suddenly you're like, "Oh my gosh, look at the tenderness and care." And this is a young homeless kid who doesn't have anything and look at all this. You're humanizing these men, which is so beautiful. And I wanted to say that's testament to, your heart Doug and your performance as well Steven.
[Steven]: It was something that, sorry, before Robert answers. It was something that you said about human touch. And that was something that Robert actually mentioned before going into this film. That something that frustrates him is like the human connection. And like that, that was something that resonated with me when he spoke about it, 'cause he was very passionate about how he felt with, just humans, helping each other and being there for one another. So that was something that really stuck with me with Robert.
[Colman]: Beautiful, beautiful. Robert, how was it working with Steven?
[Robert]: I think before I get to that, generally speaking, seeing this film for people who are not in the know, so hearing people who have never met a DeafBlind person or even a deaf person. When you think about communication and forming a relationship, I think seeing this film makes people go, "Oh, it's not that difficult." Or, "Oh, I could touch their hand." Or, "Oh, there's this place called Helen Keller National Center where people go to actually learn to prepare for their futures so they can regain their independence." And it doesn't have to be frightening and people don't have to think that I can't, you know, it gives you the opportunity to look at alternatives when you're talking to people of different abilities or different ways of communicating. And I think that's what the whole point of this is now it's just generalizing and going, "wow, I can do this and I can communicate with somebody that I never thought I could." And it doesn't have to be difficult or something that causes fear or angst. I think it's just the willingness. And that's what happened with Steven. It's that willingness to go up and to meet somebody and go, "Oh, I can, and we can do this print on palm thing, writing on somebody's hand." And I think that those that have had exposure to the Helen Keller National Center. The consumers that go there learn how to make this, fluid and it's basic training so that we can meet other people and make it easy and make it commonplace so that people like, "Oh." And now the film, it actualizes it so that people aren't afraid of us and that people see how easy it could happen and it makes us connected.
[Colman]: Beautiful. There's also a wonderful moment when Steven's going through the pages. When he's, when Robert's asleep. And I think it's a beautiful touch, Doug, because it humanizes him even more. You see that he wants touch or a kiss. That he knows about, "can you close the door, please, when you leave?" That he's a full, fully human, fully realized human being. And that's something you should be, I thought it was very, it was beautiful. It's all these beautiful touches. I'm just going to keep, you know, fanning the flames of supporting how beautiful this film is. But it was beautiful. That, that's another moment that stood out to me.
[Marlee]: This whole movie, this whole movie is a win-win for everyone involved. For the actors and for the viewers.
[Colman]: I agree. Doug, what has been the most rewarding part of this journey for you?
[Doug]: I'm going to get to that in a second. It's kind of related, but I want to just touch on what you were just saying Coleman and also what Robert was noting. And thank you for those kind words in that, the moment that you just picked out and connecting to what Robert was saying about, like telling people to not be afraid, just because you've never met someone who's DeafBlind, it's not scary we're people just like anyone else. Just understand that even if you've never met us, you know, another thing that stands out to me so much about exhibiting this film during the time that we're doing it right now is not only the element, it's related to the element of touch during a pandemic, but also, not looking at people who are different from us, in being fearful of people who are different from us during a time where it's been such a divisive time and there's been such a hard split between "I'm on this side, you're on that side." And just this, a lot of fear of what those other people are doing or what those other people think. And for me, that's such a thing that really is hitting me hard in this conversation today and something that comes up a lot in showing it during the time we're showing it is just this understanding of what's more resonant than whatever differences we might have. It's the fact that we all want to kiss and we all want to hug. We all have these basic human needs that connect us so much deeper than whatever differences we might have. And as cliche as that may sound, it's something that's so needed to feel and experience and see now more than ever when there's not only so much divisiveness, but such barriers, between us to be able to foster those connections. And, it's something that really resonates with me when Robert says, "Hey look, don't be afraid of us. You know, I'm just like you." And that's something we hope people take away from this film. And, to just answer your question Coleman, as far as the most rewarding part of this? It's really been able to, it's been the universal takeaways for this. There's people from the DeafBlind community have seen this and are, moved by it and are so happy to know of this representation for their community in a film. And also on the other end of the spectrum, people who have never, not only ever met anyone who was DeafBlind, but they maybe never even thought about the community who come away feeling having gained some sort of curiosity and understanding and connection to a community that they previously maybe had never even thought about. But one really quick anecdote that I think drives it home more than anything else is that our very first screening, in Cary, North Carolina. We had a lot of the local DeafBlind community there. And we would screen it as the "Feeling Through Experience" during these screenings, which is Feeling Through. A supporting documentary called Connecting the Dots, which is available at feelingthrough.com for anyone to see more of the process of how we made the film and worked with Robert and Helen Keller Services, and then a panel discussion and Q&A. One of the very first people to stand up at our very first screening was a man who's DeafBlind, who had had the entire experience tactilely signed to him. And he said that he loved the film and really appreciated the representation. And he said, moreover, "you know, people might assume that because I'm deaf and blind, I wouldn't care to go to the movies, but I love this. I love coming out and having this collective experience with other people. I just never have the opportunity because it's never made accessible for me." And I think those kinds of being able to share it in that way and, and have people express, like, especially someone from the DeafBlind community express that level of gratitude for what we've done, how we've done it, and also be able to break down assumptions that other people might have, has been is a real example of some of the more rewarding elements of this experience.
[Colman]: Beautiful Doug. I have one more follow up question with that, because in this short there's a lot of questions. It's a short, it's a moment you're capturing this beautiful moment, but their lives go on. Have you thought about expanding it into a feature or a series? I just think, you know, that there's more there.
[Doug]: Yeah. Well, in the short answer is yes, absolutely. We're gonna, tell a longer form version of this story a hundred percent. Not because, first and foremost, I think it's because I've always had that instinct. It's not, it wasn't, before we even ever showed it to anyone, I knew there's more to explore here. It's not just because we've had the great fortune to be able to share it with a lot of people who are enthusiastic about it. It's because more than anything, there's more of a story in there that demands to be told. And we just want to uncover that and share more with people.
[Colman]: Beautiful. Marlee, what do you want audiences to take away with this film?
[Marlee]: I want audiences to understand that we need to be able to stop taking life and people for granted. I think that, we need to open our eyes and our ears and our hearts and our minds. When you meet somebody that you can't judge, just by strictly looking at them, that you, that we all live on this earth together, and we all have our own lives to lead. And of course we do come from different backgrounds. We all have different stories to tell. We all have, whatever it may be it, but it's really important. And it's time to be yourself and to let people know who you are, let yourself know them and stop judging. I'm so over it, I'm so over this, constant judging people. Some don't. Some do, some don't, but I think it's time that we, I just appreciate what we have and to be able to share that. And that's what this film does. It shows how we can do that. It's simple as that.
[Colman]: Thank you, Marlee. Steven. It's important for audiences to get up there and see this film and find this film. Are there people that you feel like, "I really want these people to see this film. This is important for them." Besides your family and loved ones who want to see a wonderful performance, but who do you think should really see this film right now?
[Steven]: Well, because the story is so universal. I just felt like everyone should see. Literally when it was available on YouTube, I just started sending it out to like everyone. I was just like, it was just like a mass send out, just sending out to everyone. And then a few people were getting back to me. They were like, "yo, I really needed to see this." Some people were saying like, especially everything that's going on, like, "I really needed to see it." Like some of my companions. Some of my friends. And like their take on it, made me had to go back and watch the film. Like, "oh, like I didn't even, I probably didn't catch some of these things." Because sometimes when you create something, you don't really sometimes know what it is. Like I heard Erica Badu said that to never explain your art, to just let the other people to interpret it themselves. Because if like Tupac explained his music, you'd feel like, "oh I thought I allready knew Tupac." Something like that. So like for me to go back and see what everyone took from it. It was just, wow. And to see the conversation that's happening from it. That I felt is the most rewarding part to see how it is affecting everyone and seeing that everyone's saying that, "I took a lot of things for granted." And, you know, life can, you will be okay. Those are the things that really stood out to a lot of people. Robert's line saying that you'll be okay. Alot of people do need to hear that, especially in the time that we're living in now.
[Colman]: About to get emotional, just thinking about it, because I think that line in particular is so significant because sometimes that's all you want is for someone to see you literally and figuratively, literally to see you and see through the idea that he is in the DeafBlind community, but he sees you. He can feel you.
[Steven]: To piggyback, sorry to piggyback on what you're saying there. Doug. Yes, Doug, you know, helping me out, coaching me through like scenes, the bus scene, when I'm talking to the bus driver, Doug mentioned to me, that dialogue, think about like, it's also speaking for myself as well. So like, I felt like
[Colman]: Hear me.
[Steven]: Yes. Hear me. Yeah. Right. So I felt like that the relation of our characters is
[Colman]: A double on that.
[Steven]: Yeah. Right. Exactly. We both felt unseen, unheard, and that that was something that I felt stood out.
[Colman]: Beautiful. Thank you.
[Marlee]: It can be important. I think it's important to add. Steven that, when. For those of you who see this, I want, and I hope that people of the young generation have an opportunity to see this and understand how his character helps someone. For example, in this situation, the Robert's character is older. I mean, we're talking about all kinds of levels here. We're talking about, disabilities, non-disabled young, old. It's just an important message on all levels here.
[Steven]: Yeah. The, compassion I feel like is one of the things that's important. Compassionate and kindness.
[Marlee]: Exactly!
[Steven]: These are things that I feel is, needs to be shown that it's okay to be compassionate and kind you know. It can be easily taken away by things you can hear, especially for me as an African-American male. Things that you hear coming up, in the environment that some will be raised in. That It's probably not okay to always show that side of you and that there's strength in it actually.
[Colman]: Hmm. That's beautiful. My God. That's, thank you. Robert. I think I'm going to wind this down by asking you a question. This is a question, that I think, that I'm asking you, because I know this as well. As an actor, you seek out things that will change you and hopefully change the world a little bit. I want to know how has this process changed you?
[Robert]: Well, when you think about my life before the film. You know, I have bumps in the road just like everybody else. You know. I, wasn't really very happy with myself. I'll be honest. I was struggling. And having this experience and being able to do this with Doug really changed my whole life. My outlook. I feel like I can change the world's understanding, our collective consciousness of being kind, of being friendly, regardless of whether you call yourself hearing, or sighted, or blind, or DeafBlind. Whatever it is, we, the world, every single living person on earth, we are one. And regardless of whether you have a disability or not, regardless of how you see yourself regardless. Go on and live your life and that we can of do it together and don't be afraid of each other. I think that, you know, I'm just happy with the connection, the togetherness and that we are all brothers and sisters of one god, of one universe, of one blessing. And that's what I want people to see and not to put on airs. This is real life you're right. There are people out there that don't know anything about me, my community, or who I am, and have never met a DeafBlind person. Sure, great. But here I am and we can help each other regardless. So my end game, I think is, don't be afraid. We are one world.
[Marlee]: Amen to that! Amen to that.
[Colman]: Doug, Marlee, Robert, Steven. What you have given us feels like a sermon for 2021. Kindness, and reaching out to others, touch. All those things to go deeper, because sometimes it's not about what you may know here, it's about what you feel. And so I think that's exactly what's the whole point of your short is wanting us to feel a bit more in reach out to each other. I'm a little emotional, because I think this panel was really beautiful. And I think these are words we all need to hear right now. We need to hear more words about kindness and reaching out to each other. And we can all do that with film. So I thank you for what you put into the world and thank you for letting me be a part of this panel. Outstanding work by you all. And I hope that this gets into many people's hands and you do the thing that you set out to do, which is change the world and bring us together. So thank you.
[Steven]: Thank you Colman.
[Doug]: Thank you so much!
[Marlee]: Thank you Colman, thank you very much.
[Colman]: Without further ado. Thank you. Go on with your afternoons.