Q&A with Director Joel Coen, Actor Denzen Washington, Actress Frances McDormand, Actor Harry Melling, Actor Bertie Carvel, Actress Moses Ingram\u00a0<\/strong><\/p>\n Q :\u00a0 <\/span>Frances, I know that you did an event on stage a few years ago at the Berkeley Repertory Theatre, also playing Lady Macbeth. Did the conversation about making a film \u201cMacbeth\u201d start for you and Joel around that time or did it predate that production?\u00a0<\/span><\/p>\n \u00a0<\/span>Frances McDormand : I think I had asked Joel a couple of times, if he was interested in doing it on stage and he said, \u201cabsolutely not\u201d, had no interested doing in theater. Tough I tried probably over about a 15 year period. And I gave up was very fortunate to do it\u00a0 <\/span>at Berkeley with Dan Sullivan who knows his way around Shakespeare and the theater.\u00a0 <\/span>I think that play did inspire Joel to think about as an screen adaptation.<\/p>\n Jole Coen : It\u2019s interesting because Dan very generously let me sit in on some of the rehearsals that they were doing when they were putting it up on stage at Berkeley Repertory Theatre which was really great for me actually and I really appreciate it and thank him for that. But Francis was saying, my feeling was always that I\u2019m not a stage director. I really wouldn\u2019t know what to do honestly. But I did say to her at certain point if you want to think about it as a movie, or if you let me think about it as a movie, I might get somewhere with it and maybe we could do something interesting.\u00a0<\/span><\/p>\n Q : What does that mean for you to think about Shakespeare as a movie?<\/p>\n Jole Coen : It means that unlike doing something on the stage, where there\u2019s one sort of visual metaphor for the whole thing which is essentially the sort of primary Stage set in terms of what you\u2019re looking at, it\u2019s just not the way my brain works. I mean movies are very much about where you\u2019re looking from where you\u2019re looking and how long you\u2019re looking at a very particular thing from a particular and\u00a0 <\/span>angle and that\u2019s really one of the things that distinguish it from theater in many ways. I mean that\u2019s one way of looking at it, but just going to how you think about something in terms of adapting it dramatically for somebody to look at.<\/p>\n Q : So Since we have so many of the amazing cast with us, I thought we could talk a little bit about, I think something that\u2019s always very important for Shakespeare wether on stage or screen is just putting your company together and staring of course with Denzel Washington, one of his great role. Early on, did you think of Denzel in this role and how did you fill out the rest of the cast.\u00a0<\/span><\/p>\n Joel Coen : What was great was, it was a pretty short conversation, you were like, \u201cYear, let\u2019s do it.\u201d\u00a0<\/span><\/p>\n \u00a0<\/span>Frances McDormand : Year, you don\u2019t make lists for the best for a generation\u2019s Macbeth, you one is born and then they play it from my point of view.\u00a0<\/span><\/p>\n Q : So, Denzel, you just said \u201cYes\u201d right away?<\/p>\n Denzel Washington : Yes, I did. This is a fascinating journey for me. I went to school a thousand feet from here and played \u201cOthello\u201d at 20, didn\u2019t know what I was doing, so just the long thousands feet. When you\u2019re working with two\u2026, not just two but elders and then witnessing these young masters\uff08pointing young actors sitting by his side) chasing us down. But the cool thing to go back to what you were saying was that we were a company, the way Joel and Francis led us, we sat around the table, people played different roles in reading, I think we became a company, my daughter had maybe one line in the film, and a wonderful actress and the first day of whatever day was a reading Joel was like, \u201cNo, you\u2019re going to read the king and he threw everybody under the bus, you had to sink or swim, that\u2019s why I live for, so I\u2019m honored and fortunate that they said, \u201cYes\u201d to me.\u00a0<\/span><\/p>\n Q : What was it like for you to return to Shakespeare on screen, throughout your career you\u2019ve done Shakespeare a several times some major productions, \u201cRichard III\u201d and \u201cJulius Caesar\u201d, of course. But you know come back to do this role on screen. Can you talk about what that was like for you?\u00a0<\/span><\/p>\n Denzel Washington : (He\u2019s quietly making gesture) That\u2019s how it was. You know that\u2019s the ultimate challenge and it\u2019s ultimate reward. You know it\u2019s where I started and where I want to finish.<\/p>\n Q : It\u2019s a very diverse group of actors in many ways, at least in terms of their background, I mean you have American actors, British Actors, you have people who have a lot of theater experience, some people with less, can you talk about harmonizing all of that?<\/p>\n Joel Coen : Yeah, it\u2019s really true, and we had Brandon who is Irish and Harry and Birdie, who are Aunt Alex Hassell who payed Ross, and Cathrine Hunter are all coming from England and pretty much the rest of the cast all Americans, so you had this you know it was very interesting because we were all working with Kate Wilson who\u2019s at Julliard here., one of the earliest discussion with Kate was accents. I think if I remembered right, didn\u2019t we in an early rehearsal we sort of experimented with taking the accents\u00a0 <\/span>down to a sort of more it wasn\u2019t\u2026<\/p>\n \u00a0<\/span>Frances McDormand : It wasn\u2019t an experiment you said to Kate ask them to do it all in American Tomorrow, and 201, they all did it perfectly, and next day Joel said, \u201cNo, Go Back\u201d, like oh that was fun\u2026<\/p>\n Joel Coen : I just thought I liked the mix of it, and I thought that it wasn\u2019t going to be a barrier to essentially, accepting the world that we were making, you know that\u2019s kind of how we are landed. But you are right. I mean beyond that it\u2019s the cast its diverse in other ways obviously. And I think that proceeded from a couple of place, the imperative for me at the beginning was who\u2019s playing Macbeth and that was easy and short thanks to Denzel. And everything else just sort of proceeded from there.\u00a0<\/span><\/p>\n Denzel Washington : You got Yale and Julliard Mafia\u2026<\/p>\n \u00a0<\/span>Frances McDormand : Yeah, the diversity in the the dialects and the background of theater and film, and training was kind of exciting in that room. And it was in by invitation only too for at least three of the weeks, anybody wanted to be in that room, made themselves available to be in that room. I don\u2019t think many people decided not to, almost everybody showed up. It was great.<\/p>\n Q : I loved to hear the other actors, maybe say a little bit about that?\u00a0<\/span><\/p>\n Bertie Carvel : It\u2019s extremely rare to rehearse in this medium, right and rehearse in a meaningful way. So I think that was an enormous privilege and one of the things I loved about the film was, I want to pay a huge compliment in every direction is that pays homage to both\u00a0 <\/span>the cinematic and the theatrical traditions that this play has sat in, it finds a kind of vocabulary that is, talking about the dialect, you want the play to be heard through whatever you are doing, you want to sort of put a layer in the way and I think that\u2019s what\u2019s so amazing , I remember Joel in rehearsal talking about the aesthetic and I was sort of drilling him trying to figure out what the thing was and he used the word sculptural, and very few other words which is his mode right, you know it\u2019s quite hard to get him to commit to saying what it was, and that was very useful, but what was clear that was about taking things away and getting out of the way of the play and when I watch the film, that\u2019s very much the impression that I have, The way everybody handles the language, everybody comes from their own different place whatever, you hear the play, and you see what\u2019s going on in these people\u2019s souls and I think that\u2019s extremely hard to accomplish. I\u2019m sure that having time in a room together to sort of marinated in the world of the play and is key in that it was a real privilege\u00a0<\/span><\/p>\n Harry Melling : It\u2019s just what Bertie said, the fact that we had 3 weeks together, setting the language of how it\u2019s going to work and everyone really pulling toward the same vision which is rare in films because everyone\u2019s sort of coming at it from a different angle but to have those three weeks where we sort of set out the mission of what we want to achieve was just..I think vital and why\u2019s it\u2019s such a striking piece.\u00a0<\/span><\/p>\n Moses Ingram : I think one of the biggest blessings for me in this process was just being in the room and watching..I think people wait there whole lives to be in rooms like this one and to be in rehearsal and it\u2019s like finding out everybody\u2019s poops\u2026LOL. You know watching them be in rehearsal and figuring it out right in front of me and me very much just not wanting to fuck it up, but then, so free and so graceful in it, it just was a privilege, a lot of days when I wasn\u2019t working just to watch like the archway scene, I was right there, outside the arch watching it happen. I feel so blessed that like 50 years from now when like class of students is like watching this movie, I get to be like I was in the room with those people, it\u2019s a beautiful thing.\u00a0<\/span><\/p>\n Q : Denzel and Francis, you refer to yourselves as elders, I think that\u2019s one change from what we usually see in the \u2018Macbeth\u201d productions in films, when Polanski made his \u201cMacbeth\u201d in the 70\u2019s, he co-wrote that with Kenneth Tynan. Tynan actually said in a piece that he didn\u2019t want the actors were in their 20s and he thought that was because he didn\u2019t want people who were quote too old to be ambitious. I think the interesting change that alters the dynamics of the story. I wonder if you and actors want to speak to that?<\/p>\n Denzel Washington : What was the question ? \u00a0 <\/span>Lol\u00a0<\/span><\/p>\n \u00a0<\/span>Frances McDormand : About being an older couple, you know the part of what Joel and I talked about really early because the first thing I\u2019ve ever did, the first thing that got me hooked on wanted\u00a0 <\/span>to be an actor for the rest of my life was the sleepwalking scene from \u201cThe Tragedy(of Macbeth)\u201d, I did when I was 14 and I pretty much been practicing and rehearsing for it 50 years. So I feel like it was it kind of faded inevitability to it that it ended up being this and sculpted in this way, it seems absolutely perfect. You know some point we have to talk about the ceremony that we had for our four elders that used the this film as their punctuation point on their film careers.\u00a0 <\/span>Remember when we had them kneel before us and we had four colleagues, they decided to make this film would be their last film, so we had a ceremony, we made these really beautiful medal and beautiful ribbon and we had sword out, we made them nights and ladies that was really symbolic, there is something perfectly punctuation point in so many ways. So being an older couple take it for a second because you know what, when our company talk, this is the other thing about being an elder, I just get choked up over and over again. I can\u2019t believe we did this, it\u2019s fabulous.\u00a0<\/span><\/p>\n Bertie Carvel : I think these plays get them done again and again, because they can take the weight of reinterpretation, so of course every actor brings themself to every part they play, but the great roles can take, they have that depth of field, I think there\u2019s something new is illuminated, I don\u2019t want to see the same version of\u2026you know that there\u2019s nothing as a definitive version of these great places I don\u2019t think. I think it\u2019s ravening to put any give lens on the play..<\/p>\n Denzel Washington : it\u2019s a built-in sense of urgency, this is the last go around and they\u2019ve been stepped over by the king, and they want it, you know we understand\u2026<\/p>\n \u00a0<\/span>Frances McDormand : And we understand, you might think, \u201cOh, they don\u2019t understand\u201d, but guess what, we understand because when we first talked on the phone, Denzel and I, I\u2019m not gonna getting into our own private conversation, but we both understand each other that there\u2019s always been a fight, we fought it as gracefully as possible, but the fight\u2019s never gonna be over. So you know, we brought that to it. We still knew how to fight, maybe we\u2019re limping a little bit, maybe it took us little longer to get there, but the fight was still there.<\/p>\n Denzel Washington : Still knew how to win..<\/p>\n Q : This question for Joel, obviously big part of the film, it\u2019s text, which is you know you are very faithful to, but it\u2019s also the question the staging and look of the film and there\u2019s a lot of choices that I think account for this very strong atmosphere of the film, I wonder if you could maybe talk about some of them, black and white, academy ratio. And just the staging, I mean Bertie was saying, you find a kind of middle ground between the cinematic and the theatrical, and I think that comes across in how it\u2019s staged as well. I think a lot of people would do a Shakespeare film and try to naturalize it by finding you know certain landscapes or whatever..<\/p>\n Joel Coen : Well, I sort of started from the place of..there are two ways of approaching this which are as you just said that sort of naturalistic way, you rent a castle somewhere and you go out in Scotland and ride around on horses, and for me, I think this proceeded a little bit from the first impulse that Francis asking me to do on stage, in a way I didn\u2019t want to abandon the notion of the play. It was taking a play and making a movie of it that was interesting to me, not trying to make a play into a movie.<\/p>\n I didn\u2019t want to hide the play. What Berdie said earlier on, is really kind of I hadn\u2019t actually believe it or not thought about it this way until he just said it, but a lot of the motivating impulse in terms of design was taking things away, it isn\u2019t just about\u2026the design was about stripping down in a strange kind of way. In that respect, I had you know probably the longest gestation process for any design that we\u2019ve ever done, because everything I\u2019ve done in the past has been, at least brushing up on naturalism, you know brushing it no matter how amped it may have been, but this was a seemed a totally different exercise and I had the privilege and the good fortune to be working with Bruno Del Binell and Steph and Dave both of them on this long process of figuring out what it was going to look like the idea of shooting in black and white in the aspect ratio were actually pretty much there from beginning.<\/p>\n But the thing about shooting in black and white which I\u2019ve always loved and I love black and white, I love in general, not just in terms of this film. Black and white is a way of instantly abstracting an image in a way that everybody understands. You\u2019re abstracting it by taking the color away, but it\u2019s not like people read it as being abstract in quotations marks and that kind of abstraction, seem particularly suited to the enterprise of sort of preserving this as a play in the theatrical experience.\u00a0<\/span><\/p>\n Q : The question about shooting in black and white, whether there\u2019s a connection with Orson Wells, Mel Brooks or Lawrence Olivier?\u00a0<\/span><\/p>\n Joel Coen : Orson Wells did a film of this play, \u201cChimes ay Midnight\u201d which is particularly a very beautiful movie, I think his adaptation of this play(Macbeth) is a very strange movie, but it\u2019s interesting to look at. So there was a little bit, but to be honest it was from a visual point of view and from what seemed like it would be interesting in connection with this play, we are looking more like Dreyer (Carl Theodor Dreyer) than we were with Orson Wells, because of the way he sort of strips everything down. I mean again going back to the same thing that Berdie was talking about.<\/p>\n Q : The lighting is also kind of like German expressionist or film noir.<\/p>\n Joel Coen : Yeah, Danish but also German expressionism and Murnau(Director F.W. Murnau), \u201cSunrise\u201d, how you do big outdoor spaces on sound stages which is this beautiful thing he could do which nobody else has ever come close to. That\u2019s was a bid inspiration and these sort of mind-boggling things that so simple and so beautiful and so theatrical, and the kind of enterprises of keeping it play.\u00a0<\/span><\/p>\n Q : The question is for Francis about having played Lady Macbeth before, and finding something new very time you approach this character?\u00a0<\/span><\/p>\n \u00a0<\/span>Frances McDormand : In fact, I haven\u2019t played it before, I only played it once at Berkeley Repertory Theatre, I think I was 56 and 14 the first time. I didn\u2019t really play then, I just memorized the lines, I\u2019m not kidding myself, but I feel like there\u2019s been a process towards the character for 50 years and I\u2019m really glad that my interpretation that I was to give the role has been captioned on film this way, because I\u2019m I fell really gratified that we are able to bring the idea not only that this was their last chance at ambition, but also maybe illuminate something about the female condition and the female power structure of what I think Macbeth was using from that period and especially in this couple, and like I kept saying Joel, nobody in 400 years everybody\u2019s done almost anything. It\u2019s not like we\u2019re inventing anything new, but I think the way our cellar structure mixed made it a little different and we certainly had that in mind when we were interpreting the character and for me that\u2019s really gratifying.\u00a0<\/span><\/p>\n Q : The Question for Joel. What was the greatest challenge in adapting the text into a screenplay?<\/p>\n Joel Coen : There were certain things that I saw in other movie adaptations of Shakespeare that I was trying not to do and trying to figure out how not to do them. For instance, its\u2019 common in movie adaptations of Shakespeare that when there\u2019s a soliloquy, you don\u2019t actually see the actor speaking the soliloquy, you hear it in\u00a0 <\/span>voice over while he\u2019s, I don\u2019t know thinking about his launch or something you never know what the connection between what the actor is saying is recorded a voice over and now he\u2019s wandering around or mooning around the set, it never really worked for me, so I thought how do you do that, and sort of preserve the language and the speeches and the soliloquies, but have them speak, but still have it be in a at least quasi-realistic context as opposed to go to the the edge of the stage or whatever the device maybe. So that was part of it. There are parts of the what Macbeth says in the plays are soliloquies that we incorporated into scenes, so that they\u2019re actually spoken, it was that kind of a thing I guess that\u2019s kind of getting close to what you\u2019re asking. There were problems or issues or challenges like that.\u00a0<\/span><\/p>\n \u00a0<\/span>Frances McDormand : One of the things that I thought was interesting Joel, the scenes that happen on the stage have a beginning, middle and end, they follow dramaturgically where as Joel intercut back and forth between scenes because in a film that just makes it more dynamic that was, I mean I don\u2019t think that was a challenge but I think that was something that for me was really exciting about his adaptation.\u00a0<\/span><\/p>\n Joel Coen : That in particular that\u2019s interesting because Macbeth is a play that at the end of the play Shakespeare himself..Shakespeare at the time in the play is doing something which is essentially parallel editing in film. He\u2019s going to from this scene to that scene, back to this scene to that scene that are all supposed to be happening essentially in the same time, right. He\u2019s doing it theatrically which is I found really interesting. When we made a movie, in the adaptation, we kind of exaggerated, I mean because you can in a movie, so that was another example of how the play got adapted into a movie and also how brilliant Shakespeare was is a dramatist to anticipate that kind of storytelling.\u00a0<\/span><\/p>\n \u00a0<\/span>Frances McDormand : Oh, I think he\u2019s be pleased, don\u2019t you? LOL<\/p>\n Q : This is the second time you are working with a streaming service, the film also be released theatrically and also on Apple TV, I guess. Your feeling about that?\u00a0<\/span><\/p>\n Joel Coen : You know as a filmmaker, you want an audience to see on the best and most sophisticated, and biggest platform possible. That\u2019s why you spent all this time. We\u2019re just talking to Denzel about the movies that he\u2019s finishing right now, tweaking every little detail and the sound mix and the color and whatever it happens to be. However, One of the nightmare, I think any film directors are when someone says I saw your film in airplane\u2026lol, here\u2019s the thing about streaming service from a personal point of view. When I first got into the movie business which was almost 40 years ago, the reason I was able to make movies with Ethan, the reason we were able to have a career is because the studio at the point had an ancillary market that was backstop for more risky films which were VHS cassette or you know all of these home video markets which is essentially television. So fact that those markets are sort of responsible for my career to make it, I\u2019m not gonna bust on them now, because they\u2019ve become very successful, and sort of overtaking the market. It\u2019s the reason I\u2019m here and able to do this stuff. I have mixed feeling about it. The first thing, you want people to see it on a big screen. But the other part of it is, that\u2019s been part of the history of our movies since the very beginning. That\u2019s the best answer I can give you that.<\/p>\n Q : You are asking everybody, if there was particular passage in screenplay that helped you unlock something in the process?\u00a0<\/span><\/p>\n Francis got a phone call\u2026in the middle of press conference.<\/p>\n Denzel Washington : Shakespeare now, is that willie on the phone? LOL<\/p>\n \u00a0<\/span>Frances McDormand : (She picks up the cell phone, not a smartphone) Will is calling, I\u2019ll call you later..<\/p>\n Denzel Washington : I loved that phone.\u00a0<\/span><\/p>\n Bertie Carvel : I think for me, I pitched Joel the idea that..you know what I was about to talk about my own performance which is always a bad idea, I\u2019m gonna stop right now. A part like the one I play can be played in so many different ways, for me the key was about a sense of foreboding that maybe Banquo sees very early on, almost in the instant that Macbeth receives the news from the witches the prophecy. He knows his friend well enough to worry about where that might go and that was a hook for me and so the line is something like \u201cThat trusted home might yet in kindle you under the crown besides the thing of corridor but to strange and often times to win us to our harms the instruments of darkness tell us truth win us honest trifles to betray us in deepest consequence\u201d which is just a great line and it\u2019s true isn\u2019t it. So the ambivalence of that warning, for me, I wanted it to be warning, but you can warn something of someone of something you don\u2019t know. It\u2019s like giving advice to someone isn\u2019t it. You have to careful with advice because you don\u2019t really know what the future holds, that was the key for me.<\/p>\n Harry Melling : Well, I can\u2019t remember speech like Bertie\u2019s done. So I can\u2019t quote anything, but I just remember thinking the most important thing about Malcom is how woefully unprepared he is for what happens to his dad, that was kind of I think the crux for Malcom and then, from that he is spurred onto having to grow up very quickly, so that was kind of thing that I held on to.\u00a0<\/span><\/p>\n \u00a0<\/span>Moses Ingram : I think often times, at least growing up, Shakespeare\u2019s words seemed like something very hard to understand, not very much for me, and I think what I appreciate about what happens here in this film is that the language doesn\u2019t feel unattainable in that way. I think a lot of times, it just put in a category all by itself, Shakespeare this massive thing, but in reality I think which kind of sounds pretentious that Shakespeare is really universal and it\u2019s for everybody and it does lend itself to beauty and magic. I think it\u2019s been captured really beautifully.\u00a0<\/span><\/p>\n \u00a0<\/span>Frances McDormand : One of the things that I found in working on the role, a dramaturg once said to me, I don\u2019t know if this is true, the meter and the words are in violet, but the punctuation you can mess with. So in the text that I originally memorized or worked with when we were rehearsing the play. Macbeth says to Lady Macbeth, \u201cwhat if we fail\u201d\u00a0 <\/span>and her reposes is \u201cWe Fail?\u201d Question mark, and the dramaturg suggested to me, try taking the question mark away. And when I put an exclamation point on it, then it became my Lady Macbeth, \u201cwhat of we fail\u201d, \u201cWe Fail?\u201d, but screw your courage to the sticking place and will not fail, because for us, it\u2019s not a question of whether we\u2019re gonna to fail, it\u2019s question of whether we\u2019re even going to attempt to fail which is all for my point of view.<\/p>\n Q : Joel, you created this sort of narrator messenger figure as a kind of counterpose witches perhaps in the film, you see him at the end with pleiades, I just want to some comment on that?\u00a0<\/span><\/p>\n Joel Coen : Well, there\u2019s tradition in production of Macbeth that use Ross in different way, and also movie adaptation, so for instance in the Polanski version that Dennis(moderator) was post it out was written by Ken Tynan, I have a feeling this was trying something in time and brought to it, he made Ross the third murderer that isn\u2019t something that there\u2019s a production history of that but he expanded that a little bit and I thought was really interesting and wondered how it could be expanded even further, I don\u2019t know what ways it has been in the past, but it was an interesting way to think about that character, that\u2019s kind of led to that ending, and the sort of ambiguous passage\u00a0 <\/span>with Fleonce when he finds him in the field, obviously I\u2019ve seen a lots of productions of Macbeth. There are only so many productions of Macbeth on screen, that\u2019s one of the more interesting ones. I attribute a lot of it to Tynan actually.\u00a0<\/span><\/p>\n Bertie Carvel : I love about it, I\u2019ve spoken about how I think Banquo maybe see the writing on the wall earlier than others. But I love the scene where Lady Macbeth faints and immediately afterwards Malcom and Donald Bain decide to flee and you can tell that from point onwards, nearly everybody\u2019s seeing the writing on the wall and the reason it\u2019s appetite to the Ross thing is that I think what makes the play so political is that there will always be murderous, tyrants, opportunist, and ambitious people led down the primrose path, but it\u2019s what everybody else does around them that makes it really dangerous and a figure like Ross who in Alex\u2019s performances, you know at times seems archly evil, but at other times just seems like somebody who is existing in a Tyrannous state trying to live on his wits and seeing which way the wind is blowing, feels very present and very kind of relevant and it\u2019s the reason that these plays get done again and again and don\u2019t lose their sting because you don\u2019t have to look very far to see that kind of stuff in the corridors of power anywhere in the world Today, so I think it\u2019s really smart gesture.\u00a0<\/span><\/p>\n Here’ the trailer of the film.<\/strong><\/p>\n![\"\"](\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2021\/10\/DenselWashington-and-Francis-Macdormand1-1024x733.png\")
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Director Joel Coen,\u00a0Psquared Photography<\/p>\n![\"\"](\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2021\/10\/Francis-mcdormand-and-denzel-washington3-1024x679.png\")
Actress Frances Mcdormand, Actor Denzel Washington, Psquared Photography<\/p>\n![\"\"](\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2021\/10\/Denzel-Washington3-1024x784.png\")
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Director Joel Coen, Psquared Photography<\/p>\n![\"\"](\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2021\/10\/Francis-Mcdormand1-1024x681.png\")
Actress Frances Mcdormand, Psquared Photography<\/p>\n