{"id":6638,"date":"2021-11-28T22:00:14","date_gmt":"2021-11-29T03:00:14","guid":{"rendered":"https:\/\/cinemadailyus.com\/?p=6638"},"modified":"2021-11-28T22:00:14","modified_gmt":"2021-11-29T03:00:14","slug":"tick-tick-boom-qa-with-director-director-lin-manuel-miranda-and-actors-andrew-garfield-alexandra-shipp-robin-de-jesus-vanessa-hudgens-joshua-henry","status":"publish","type":"post","link":"https:\/\/cinemadailyus.com\/?p=6638","title":{"rendered":"tick, tick…BOOM! : Q&A with Director\u00a0Director Lin-Manuel Miranda, and Actors\u00a0Andrew Garfield,\u00a0Alexandra Shipp, Robin de Jesus, Vanessa Hudgens,\u00a0Joshua Henry"},"content":{"rendered":"

Synopsis<\/strong> : Pulitzer Prize and Tony Award winner Lin-Manuel Miranda makes his feature directorial debut with tick, tick…BOOM!, an adaptation of the autobiographical musical by Jonathan Larson, who revolutionized theater as the creator of Rent. The film follows Jon (Academy Award nominee and Tony Award winner Andrew Garfield), a young theater composer who’s waiting tables at a New York City diner in 1990 while writing what he hopes will be the next great American musical. Days before he’s due to showcase his work in a make-or-break performance, Jon is feeling the pressure from everywhere: from his girlfriend Susan, who dreams of an artistic life beyond New York City; from his friend Michael, who has moved on from his dream to a life of financial security; amidst an artistic community being ravaged by the AIDS epidemic. With the clock ticking, Jon is at a crossroads and faces the question everyone must reckon with: What are we meant to do with the time we have? tick, tick…BOOM!<\/p>\n

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Q&A with Director\u00a0Director Lin-Manuel Miranda, and Actors\u00a0<\/span>Andrew Garfield,\u00a0Alexandra Shipp, Robin de Jesus, Vanessa Hudgens,\u00a0Joshua Henry<\/strong><\/p>\n

Q: Could you walk us through your journey with this movie and what does it mean to be telling this story?<\/strong><\/p>\n

Lin-Manuel Miranda : I\u2019m so happy to see people gathering in the dark to watch a movie. There are things in this movie that I really wanted you to experience in a crowd, and I am so glad. I feel like I\u2019m keeping a promise to \u2013 you know, you\u2019re always trying to keep promises to younger versions of yourself. And I feel like I\u2019m keeping a promise to seventeen-year-old Lin, whose wig was blown back by winds in the back row of the mezzanine of the Nederlander Theatre. I saw the brilliant role in the Jonathan Larson play \u201cRent\u201d, three times<\/i>, and the first time I saw it, it hit me with such a force that I ditched my girlfriend and wandered off, I got her a cab first, I\u2019m not a total monster. But I definitely felt, I can\u2019t go home, I have to think about my whole life, and walked off into the night and on 14th Street, I don\u2019t know where I ended up. I don\u2019t remember the end of that night.\u00a0 <\/span><\/p>\n

So this show has been sitting in my head and in my heart for a long time. All the credit really goes to my producer Julie Oh, who thought it would be a great movie. She saw me in it in 2014, when I was at a total crossroads in my life. I was post-\u201cIn the Heights\u201d, pre-\u201cHamilton\u201d. I was starring with my co-star from \u201cIn the Heights\u201d, and my future co-star from \u201cHamilton\u201d with Karen Olivo and Leslie Odom Jr.\u00a0 <\/span>I was super-pregnant with \u201cHamilton\u201d, and my wife was super-pregnant with our first child, and everything was just like in limbo. I was in the limbo\u2019s limbo. That\u2019s where Jonathan is, and it was like I was just dumb enough to be able to play it once. I was very capable of that. So Julie got the rights, she emailed me, I said \u201cI\u2019m the only person who can direct this.\u201d<\/p>\n

Q: I know that you have said that you knew right away that Andrew was the right person to play Jonathan Larson. Andrew, what did you think the first time you were approached about this movie, as somebody who had not sung on film before?<\/strong><\/p>\n

Andrew Garfield : Well, before I even knew what it was, the hope I had was if Lin would talk to me about something, I immediately said yeah, sure, whatever that thing is, I will do it. Like anyone in this room would. And then he introduced me to my long-lost brother that I didn\u2019t know existed: Jonathan Larson, someone that I look up to so much, and it now occupies a pretty active chamber in my heart forevermore.\u00a0<\/span><\/p>\n

I\u2019m indebted to this man for introducing me to an ancestor that I didn\u2019t know I had: Someone who is a revolutionary artist, someone who saw the heartbreak and pain of the world, and took his own heart and made beauty and art and community out of this. Someone who was massively representational for his entire community: all colors, all creeds. Someone who wanted to flip this city on its head and to remind us of our connectedness, to remind us that you are the other me and I am the other you. Someone who\u2019s a warrior for art. These are all things that I long to live into, and especially now, having lived with Jonathan and allowed Jonathan to live through me in this experience.\u00a0<\/span><\/p>\n

So it was an immediate \u201cYes\u201d \u2013 with a caveat: when did you want to shoot, because I\u2019ve never sung before in my life. Lin said maybe you would like a year, and I said \u201cYeah, I can sing, I\u2019m fine, I\u2019m fine.\u201d Because I knew that he was going to provide me with the space and the resources. But also, I think he saw something in me that I couldn\u2019t see in myself. That\u2019s what a great director is, and a great friend is, and I\u2019m forever indebted to you for that.\u00a0<\/span><\/p>\n

I think maybe the most special person I felt I\u2019ve been in awe of this and \u201cAngels in America\u201d. This is a film for Prior Walter, this is a film for all of the souls lost during the pandemic. So there are multiple layers of spirit happening with this. And it\u2019s for us, it\u2019s for artists, it\u2019s for actors, it\u2019s for SAG card members. So it\u2019s all of us, for us to share with you guys so these are the best moments of this world.\u00a0<\/span><\/p>\n

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Q: Alexandra, I saw a clip of you thinking about your audition tape for this film on James Corden. I was wondering for those who maybe didn\u2019t get a chance to see it. You said that you really went for it, and I was wondering if you could tell us a little more about that?\u00a0<\/span><\/strong><\/p>\n

Alexandra Shipp : Oh, it is nerve-wracking to see or even thinking about it. When I got the call for this audition, I said yes, everything. What do I need to do? Sure, I\u2019ll throw it on the table, throw my hat in the ring.\u00a0 <\/span>But Lin-Manuel Miranda . . . okay, I don\u2019t want to mess up the song, do you know what I mean? But at the same time, knowing that Lin appreciates all different types of singers and celebrates those singers, I was like okay, I\u2019m going to send in a tape where I\u2019m doing too many songs. So much sauce on this performance, so he can try and see what else I got. That was initially my goal, and, it kinda worked. I learned. My mom was like, \u201cWill you send me your tape?\u201d and then I watched it\u00a0 <\/span>and thought \u201cNo one is going to see this ever.\u201d\u00a0<\/span><\/p>\n

Q: And Robin, I wanted to ask about your audition process, too. I interviewed you previously, and we talked your approach to Michael and how you played the part differently than a lot of actors would and if you could speak to that?<\/strong><\/p>\n

Robin de Jesus : The audition process was really fun, mostly because I have a healthy case of the \u201cFuck-Its\u201d. This is only dealing with some major singer who wants to make a transition into acting, so I\u2019m going to just do me. And I also thought \u201cLin\u2019s my boy, but it\u2019s his first time directing. He\u2019s got to navigate a system.\u201d And I\u2019m making up all this shit, right?\u00a0<\/span><\/p>\n

So okay, I saw Michael \u2013 I was fascinated by the fact that most productions I see Michael he\u2019s always in a suit, and he\u2019s a businessman. I was like, \u201cTop hat.\u201d What I felt was really interesting was like, \u201cOh, we\u2019re friends and we\u2019re cut from the same cloth even though we project in a very different way.\u201d So I wanted to focus on that guy who was hanging out in the Village, dating and living in SoHo. He had swag too, you know? So he was more interested in that and more interested in the friendship, and that love story there. And then I auditioned, and the beauty of Lin is that my Boriqua<\/i>(A native of Puerto Rico) brother here saw me, and has a platform in the Village to lift his people, and he chose to give me that moment after twenty years. We all gotta uplift one another and make sure we\u2018re okay.\u00a0<\/span><\/p>\n

Q: Vanessa and Joshua, I feel that the two of you are almost in your own movie, mostly. So if you could speak a little bit about that. Did you feel like you were doing a play within a movie about the play within a musical?\u00a0<\/span><\/strong><\/p>\n

Vanessa Hudgens : We\u2019re just there to support our guys. And I think what made it so fun and so mellow was that we were playing these characters who were actors who were performers who loved performing, supporting their friends in his show. We didn\u2019t have to do too much. We love performing, we love being on the stage. Us singing together is my favorite thing ever, because I love singing to you all as well.<\/p>\n

Lin-Manuel Miranda : You can see why I have a singular attachment for her.\u00a0<\/span><\/p>\n

Joshua Henry : We had so much fun and I have to say that singing with you and just goofing off and acting, in support of Jonathan Larson, was the medicine that I needed at the time. Because as everyone knows, it was the year of these things being shut down. So we\u2019re very aware of the fact that ninety-nine percent of artists were not working. Anywhere. Especially here in the New York stage. So we got to use our gift and have so much fun together, and we are aware of the fact that we were doing this for our artists\u2019 community because this is our story. So doing that in support of Andrew at a time when he was learning and growing so much as a theatre artist was so natural, and fun at the same time. So yeah, it was a blast and there were moments when we looked at each other and just teared up. After singing some amazing harmonies.\u00a0<\/span><\/p>\n

Vanessa Hudgens : Yeah. When we were singing \u201cLouder Than Words\u201d, the lyrics are so powerful, even though it was written thirty years ago. I looked at Josh and I was like \u201cI\u2019m gonna get tattoos on myself.\u201d Yeah, I took myself to the tattoo shop.\u00a0<\/span><\/p>\n

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Q: Andrew, was there a song where you felt like the first time \u2013 what does the first time singing that you felt like you nailed this, like \u201cThis is what I want to sound like\u201d?\u00a0<\/span><\/strong><\/p>\n

Andrew Garfield : Still waiting for that. No, but isn\u2019t that the beauty of that divine dissatisfaction, that no matter how close you get to it, you don\u2019t get there? It\u2019s always at least five percent that you can\u2019t quite reach to, and that\u2019s what keeps us coming back for more. It keeps us more alive. That\u2019s why I keep doing what I\u2019m doing.\u00a0<\/span><\/p>\n

I rarely like anything I\u2019ve ever done. This is the closest I\u2019ve ever been to it. And I hate this movie \u2013 no, no, I love this movie. No, it\u2019s vulnerable to say that. It\u2019s vulnerable to own that you love something that you\u2019re a part of, and this is one of the very rare things. It\u2019s easy for me to say because it is a collective. It\u2019s like I get to love all these people on the stage and all the people behind the scenes when I say I love this. And I get to love Jonathan.\u00a0<\/span><\/p>\n

It\u2019s a lot bigger than me, which is ultimately why we do what we do. It this case, it\u2019s what it means to be an artist, and Jon specifically. And all the people in our lives who left too soon with a half-written song. That was it for me.\u00a0<\/span><\/p>\n

But there was a moment in the end of the first week, and it was scheduled for the end of the first week, and it was singing \u201cWhy is the Devil Born in Central Park and it was scheduled for the end of the first week. I said \u201cWhat\u2019s this?\u201d And Lin said, \u201cYeah, it\u2019s gonna be very good. You\u2019re going to jump in, to dive in, you\u2019re gonna feel great, and it\u2019s out of the way, and you\u2019ll just be clear for the rest of the shoot.\u201d And I go, \u201cNo no no no no, why is this here<\/i>?\u201d And you said, \u201cBecause we\u2019re going to lose the Delacorte Theatre if we don\u2019t do it.\u201d . . .\u00a0<\/span><\/p>\n

So that was the buildup to that moment. And then when we got to the set, Julie Larson was there that night.<\/p>\n

Lin-Manuel Miranda : All that night shoot. We were shooting from sundown to sunup in the Delacorte.\u00a0<\/span><\/p>\n

Andrew Garfield : So when we got there, it was a really important thing for both of us that we got at least one great take live vocally. Because it\u2019s an improvised song. He\u2019s figuring out this is very impossible emotional moment that he has to move through with the potential of his heart, his best friend \u2013 his heart in this music. It was like, how do I go through this? Obviously, he figures it out through his song. So it was really important that it was live, cracked, raw, and real and honest.\u00a0<\/span><\/p>\n

I think we did the second take, we worked with each other and that was a really nice feeling. I suddenly thought \u201cWell, that is the hardest thing, actually. You weren\u2019t lying the first time.\u00a0<\/span><\/p>\n

Lin-Manuel Miranda : I was stating the fact that we were going to lose the Delacorte. But it was also true because I have had experience on\u00a0 \u00a0 <\/span>\u201cMary Poppins Returns.\u201d The hardest sequence was the first day of shooting, and I was like I wanted to murder everybody . . . As soon as I was done, I had brain space.\u00a0<\/span><\/p>\n

Q: I\u2019m glad you brought up that you were shooting this when Broadway was shut down, so many theatre artists were out of work., which I think was one of the reasons why the Sunday sequence was so fun.\u00a0<\/span><\/strong><\/p>\n

Joshua Henry : All of us remember the day that Lin went \u201cI got something I want to show you.\u201d And he described what you just saw. Everything in me was just bursting. That\u2019s what I love about this. We honor people that inspire us to choose this line of work. There\u2019s the most ingenious sequence in the entire movie, and it\u2019s one that I remember when I watched it in L.A. in the Chinese Theater. I always felt like I was on a roller coaster. On that Sunday, it stopped playing.\u00a0<\/span><\/p>\n

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Q: The biggest thing that comes across, watching this movie, is Jonathan\u2019s art, which sometimes comes at the expense of his personal life and his relationships. I guess this is a question for everybody: Do you agree with the choices that he\u2019s making, do you relate to him, do you think that as an artist? How can he balance making life and making art?\u00a0<\/span><\/strong><\/p>\n

Robin de Jesus : I would say that I do think that, the movement you really look into, there\u2019s several different things happening. Because he chooses to stay in it with the art and I think our characters go, \u201cYou know what? We signed this contract and now we see the fine print, and I think I\u2019m gonna renegotiate and I\u2019m gonna find my creativity elsewhere.\u201d\u00a0<\/span><\/p>\n

Because if you do stay creative, just not following the theatre world, and you buy your thing, I do think that sometimes the intensity that Jonathan had and that passion is also justified by the fact that he knows that that \u201ctick tick\u201d is like ancestors, information coming from the divine, saying \u201cNo, actually, this is very, very real.\u201d\u00a0<\/span><\/p>\n

Alexandra Shipp\u00a0 <\/span>: Yeah, and I think that with Jonathan and Susan, there were times where I found myself judging Susan when I was like \u201cGirl, give him 48 hours.\u201d\u00a0<\/span><\/p>\n

What I love about Susan is why I fell in love with her as a character is that when you\u2019re an artist your art comes first. And Jonathan\u2019s art was coming first to him but her art became first for her. Because you see at the end of the film, she chooses herself. And I am so grateful that I was given the opportunity to play a woman who chooses herself. So as artists, they\u2019re going to be up in the morning with their keyboards or stroking that paint on that canvas. Because that\u2019s their love, that\u2019s their art.\u00a0<\/span><\/p>\n

Andrew Garfield : I\u2019m personally a believer in destiny. I do believe in the idea of destiny. I think for me, that\u2019s what the idea of his taking is that Jonathan is experiencing. There\u2019s a destiny thing happening, and I think it\u2019s very, very hard to interpret and he\u2019s trying to interpret it. Is it 10:30? Is it the biological clock? Is it my friends who are literally getting sick and dying at the age of twenty-one, twenty-two?\u00a0 <\/span>What is this thinking that I literally keep hearing?\u00a0<\/span><\/p>\n

But for me, it was this unconscious knowing \u2013 what Robin touched on \u2013 that Jon \u2013 I — only had until I was thirty-five to write my opus. To leave the world a richer place and know that my destiny was to leave the world a richer place as an artist. And that\u2019s through \u201cRent\u201d.\u00a0<\/span><\/p>\n

And I think as well, that\u2019s the thing about our relationship which is something that is very subterranean and very kindof unsaid, which is \u201cI don\u2019t want to leave the love of my life a widow with a bunch of kids to raise on her own.\u201d That\u2019s some weird known, and that\u2019s a little mystical, but we\u2019re all actors so we get it.\u00a0<\/span><\/p>\n

But I really do believe that there was something bigger than he was to happen with his own personal pleasure, his own personal joy, and it was to do with being this mouthpiece for a generation of young men who were being mistreated, young men who had their dignity stripped by the Reagan administration. Young men who were dying and it could have been avoided. Young men who were disrespected and abused.<\/p>\n

And I think he knew that he had this bigger destiny, and therefore he had no choice. It was like it was keeping him up at night. He was only able to sleep an hour a night because the Muses were trying to work through and he was touched in that way. That\u2019s my interpretation.\u00a0<\/span><\/p>\n

Robin de Jesus : Everything you said about all those folks that get diseases. You look at me: when was the last time you see a Puerto Rican young man in a beard because he\u2019s talking about inheriting HIV\u00a0<\/span><\/p>\n

At least we\u2019re over the AIDS epidemic, we\u2019re now back to the ground rules pushing us aside, the women as well. And so it\u2019s so cool to come in now and Jonathan is, like, still the coolest white ally we\u2019ve had in awhile. He gave background material to such great characters that were meaty. We were allowed to have characters that were messy, we were allowed to have feelings freely. These background actors taking over that space, know now, after all those years of \u201cRent\u201d running, they think \u201cAll the people who own homes, now have to have kids, who have insurance . . . .<\/p>\n

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Q: For each of you, which is your favorite song in the film, and what\u2019s your favorite scene in the film?\u00a0<\/span><\/strong><\/p>\n

Joshua Henry : My favorite is definitely \u201cLouder Than Words\u201d, the last one. Because Jonathan poses these incredible questions: cages or wings, right? Fear or love? You see him throughout the film, with these questions right on his thoughts. But he was so mindful, you know what I mean? There was no answer to these questions. He actually said \u201cDon\u2019t say the answer.\u201d But I love that, because it makes you as a person, whether you are an artist or not, examine moment to moment what you\u2019re doing, how you\u2019re thinking, with the time that you have being with the people in front of you. So definitely \u201cLouder Than Words\u201d.\u00a0<\/span><\/p>\n

Vanessa Hudgens : I don\u2019t want to say \u201cTherapy\u201d because I\u2019m in it, but \u2013 but I really love it with what Lin did with it. The way he chose to tell the story through this song and through this scene. The intercutting between the two was with a very deep, real, difficult conversation to then a performance that is so put on and all those things almost puppet-like. It just feels so frosty and so stylized and beautiful. I think it\u2019s a really special piece of work.\u00a0<\/span><\/p>\n

Robin de Jesus : Actually, I do love that baby-making version of \u201cGreen Green Dress\u201d\u00a0<\/span><\/p>\n

Alexsandra Shipp : My favorite number was \u201cNo More\u201d. You all hated that. It was hot.\u00a0<\/span><\/p>\n

Lin-Manuel Miranda : I\u2019m having fun with that on Film Docs, because there was a slight slow motion to it. So the first one aired singing at point-two-five [.25] speed. So then it went to regular speed, then a dance-like motion. Then the second chorus is one point five [1.5], then it went a little faster. Then the final volley is one-point-seven-five [1.75] and then they really had at that. But it was so good!\u00a0<\/span><\/p>\n

Andrew Garfield : Didn\u2019t we do 23 takes, and two of them were usable?\u00a0<\/span><\/p>\n

Lin-Manuel Miranda : Takes 7 and 12 were fakes.\u00a0<\/span><\/p>\n

Andrew Garfield : For me, it\u2019s “Come to Your Senses” because I love these voices together and how they merge and they were singing from the same heart, and to one collective heart. It\u2019s movie magic, it\u2019s musical magic, and I just want to sit there in front of both these goddesses with their voices, with this chorus coming out of their mouths. I\u2019ve got to sit down each day.\u00a0<\/span><\/p>\n

Each day my feeling with each person is so different, and it was front row best seat in the house and two of the highlight days of the whole filming. And it kills, like Yeah! It kills, right? You can\u2019t help standing up and going \u201cThat is musical theatre heaven!\u201d \u00a0<\/span><\/p>\n

Lin-Manuel Miranda : Yeah. It was the result of a lot of experimentation to figure out the best way to do \u201cCome to Your Senses\u201d. I always knew I wanted Susan ultimately to sing it. The secret movie inside the movie is that I felt that I could bring through with what it actually feels like to be a writer and to put yourself up. It only exists when other people sing it and make it better. I write books, I write songs, and it doesn\u2019t exist until someone else elevates it.\u00a0<\/span><\/p>\n

So that moment \u2013 and I\u2019ve had this moment so many times as a writer where I\u2019m watching someone sing something and the audience is experiencing the things inside the play. I remember where I was when I wrote it, I remember what my life was and what I was going through when that came out.\u00a0<\/span><\/p>\n

I think of \u201cHamilton\u201d, I always think that would be enough, which you won\u2019t find in a history book. That was a rare moment of inspiration where Eliza has some shit she has to say to Hamilton, and I had to write it down. It\u2019s weirdly the most personal thing, and I think about everything I think about my partner when I wrote that song. Everyone is experiencing Eliza Hamilton, I\u2019m experiencing a totally different thing.\u00a0<\/span><\/p>\n

So I wanted to capture that, and so you\u2019ve got Karessa just burning down the reading with an eleven o\u2019clock number and wailings to the rafter, and that is happening in real life. But also this thing that poured out of Jonathan at the last minute, and so it happened in me, as well.<\/p>\n

There\u2019s a scene where Karessa goes to Jonathan and is like, \u201cAre you hearing my song?\u201d and he\u2019s like, \u201cAny day now. You\u2019re killing me.\u201d I literally grabbed just that scene\u00a0<\/span><\/p>\n

So there\u2019s a number that is the missing piece of \u201cSuperbia\u201d, and then there\u2019s also Jonathan and Susan and all of this stuff that got left unsaid in the last encounter, and all of the things that \u2013 how much they love each other, how much they both realize this is not going to happen because the trains aren\u2019t lined up in the right way this time. So his writing the closure doesn\u2019t think it\u2019s going to end. So it gets to work on two levels. If you go down one more key word, inception, and it\u2019s a whole different movie.\u00a0<\/span><\/p>\n

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Q: Do you feel you really conquered it?<\/strong><\/p>\n

\u00a0<\/span>Lin-Manuel Miranda : I\u2019m really proud of it. Also, another thing I\u2019m proud of is the harmonies in the end. These really came out, because we were workshopping this like we were workshopping the stage musical. I\u2019m going, \u201cOh really? Because I have two singers. What happens if you do this? [gestures] So that came out as a result of workshopping this the way you\u2019d do workshopping a musical.\u00a0<\/span><\/p>\n

But my favorite is \u2013 it\u2019s hard to say because it\u2019s \u201cSunday\u201d. And again, I think about the ways in which we\u2019re links in a change and the way that Stephen Sondheim has mentored generations of artists, because his mentor was Oscar Hammerstein II. Oscar Hammerstein was so gentle, he was so generous with his time, and such a good mentor and father figure, and mentored Jonathan.\u00a0<\/span><\/p>\n

Jonathan writes him a love film in the form of his total homage-slash-parody of the greatest end of Act 1 in the history of musical theatre. I realized Jon only ever sang this alone. He only ever sang this at a piano; he never heard a chorus sing it. So I was like, I\u2019m building Jonathan\u2019s dream chorus. The goal was that I make this [special] moment and make this chorus so loud that wherever Jonathan is, he can hear it. That was the mission. \u00a0<\/span><\/p>\n

Q: Anything else?\u00a0<\/span><\/strong><\/p>\n

\u00a0<\/span>Lin-Manuel Miranda : This thing hit me as a ton of bricks when I was an aspiring artist and wondering whether to continue in this. All I really want it to do for folks is take it in wherever they\u2019re at in their journey. Because it was like a homing beacon for me. It was like, \u201cHey, buddy, this is getting to be a lot harder than you think. Are you sure? Are you sure? Are you sure?\u201d I was twenty\u2014one years old, it was a sneak preview of my twenties, and I was. And I was willing to do whatever to make what I was supposed to make to do the jobs no one else wanted to do, to make the thing.\u00a0<\/span><\/p>\n

And the other thing I wanted to do \u2013 and you touched on this \u2013 Susan\u2019s right: you can dance whenever you want. You can still be a dancer. You can make your art forever. And Michael\u2019s right: you deserve to be safe. You deserve to live in a place and have health insurance and you deserve to have security.\u00a0<\/span><\/p>\n

I need to make choices and I know that. We want us to make choices \u2013 not like I\u2019m \u201cselling out\u201d, but viable paths for us.\u00a0 <\/span>Those are viable paths for any of us.\u00a0<\/span><\/p>\n

Here’s the trailer of the film.<\/strong><\/p>\n