Nicholas And Derek talked to Gilbert in Pt. 2 of the interview and how actors can prepare themselves to thrive.

This is Film Center, your number one show for real entertainment

industry news, no fluff, all facts.

Now, here are your anchors, Derrick Johnson II and Nicholas Killian.

Hey everyone, welcome to Film Center News.

I'm Derrick Johnson II.

I'm Nicholas Killian.

And we're back again with the great Gilbert.

How you doing?

I'm doing great.

So this is going to be part two.

Two.

If you would please be so gracious as to continue your story.

Absolutely.

Absolutely.

So my dad sees a show and he's he didn't see me like after the first five seconds,

he was just like, he was totally in love.

And I'm, my father's not an emotionally expressive person, but

it was telling me that he left.

Because of how the play how it ends.

I know I understood why he left, but then he came back and then he

took he shared would be like, Oh, he was around for Martin Luther King.

Yeah.

Yeah, he was.

Yeah.

He wasn't.

He left.

He Yes.

And this is something that my father hasn't had.

He lets things slip out every once in a while.

So he was allowed a lot more active in certain things that

I've that I'm to this day.

I'm still not completely aware of.

I'm talking about social movements and things like that.

But he might have known Martin.

No, he did that.

He didn't because he didn't get to the States until right after.

Until a few years after Martin was already gone.

Had already passed.

Yeah.

Yeah.

But I think just how the piece ends and the state of the world.

'cause we were doing the show and there was someone else in office.

I'm gonna say, I'll say that it was in 2018.

So that gives you an idea.

Oh, okay.

It was happening in the country at the time.

. Yeah.

And so he, him, but with him saying that to me.

And him saying that to me was just like, okay.

Okay, cool.

I think I, that was the biggest comp he gets it now.

And it was the biggest compliment he could pay, even though he didn't give

me a comp, he didn't verbally directly give me a job, but it's the same time.

It's like he left huge.

He had to, he had huge deep because he had to get back.

He had to, I'm doing air quotes.

You can't see it, but he had to get back.

To Georgia, which I understood, but I was just like, no, that's

still a super deep compliment.

Like for him to be like, that's better than anything he could say,

you're up there doing your craft.

And he says, essentially you're doing it to a level to where you're my own son.

And yet you transcended that.

And I see the craft of what you're doing.

That's a huge compliment for an actor, especially from your parents.

I imagine that's my dad too.

So I imagine my dad say something like that.

Crazy.

Yeah.

And and it was like it even now I was like, wow.

Yeah.

He, at that point he, I think he got it.

And then he stopped asking those questions.

Again, are you going back to school?

Are you going to do that?

I'm like, no, I'm not gonna not right now.

Everything.

I'm saying you were at what age, whenever he stopped being like,

you're going to be a lawyer, you said 20, 18, 20, it was 20, 18.

Oh, no, what I'll say, what I will say.

Is that he stopped.

It was maybe a couple of years, but a few years before that, because he started

seeing the movement that was happening.

And I didn't talk about it a lot.

He would just see things and he would, then it became, why aren't

you telling me that you see?

When did you come to Los Angeles?

Because you spent a lot of my, I say most of your time

in New York, if I'm incorrect.

Yes and no.

I got out of school in 99.

And I came to LA right after right after that.

Oh, was there a reason that you came to LA instead of staying in New York?

Because New York is grounds for a lot of stuff.

Oh yeah.

No, I'm and I and the thing was, it's like I had, I love theater.

I've done a lot of theater in New York.

I've done some independent films in New York while in

school and, and it was great.

And I love New York.

You'll never hear me say I don't.

One of the things that happened was a professor of mine from from NYU we were

doing a theater history class, but she also taught, I'm trying to remember

because she also taught dialects and things like that, but it was a professor

Professor Bynum, that's her name, and she said to me, we were having a

conversation in class, and she's you, he said, you have to push yourself, you

have to challenge yourself, and he's put, set, put, set yourself up to, to win.

And Where do you need to be to do what you want to do?

And that can be literally or figuratively.

And then I saw, I think I said, what do I want to do?

I want to do film and television.

And while there's a lot of film and television, New York, there's more in LA.

Yeah, it's definitely more in LA.

I remember whenever I was deciding to be an actor and I was in new Orleans, right?

This was around 2000.

11, maybe 12, something like that.

And I was going around, it was getting a little bit bigger cause

it's New Orleans, stuff like that.

And I remember meeting with some agents

and I remember one guy, I don't remember his name, but he was like, listen, man,

I'm going to be real honest with you.

He said, you need, if this is where you're headed, you need to go to Los Angeles.

He said, Now, don't get me wrong, you can day play, you can do

whatever you want in New Orleans.

He said, but there is no reputable institution that is going to cast

anybody in here in New Orleans or Baton Rouge or anything like that.

He said, if anything, you're going to win.

Go to Los Angeles, get cast as a local hire in New Orleans and then fly back.

He said, but you got to go, you got to go to Los Angeles, correct me if

I'm wrong, but wasn't there supposed to already be some Hollywood Mecca

like a while back in Louisiana?

Yes, but what ended up happening was, is the mayor at the time.

I forgot, I forget her name or his name was vetoed the taxes.

That's how everything went to Georgia.

Yeah.

Yeah.

Because we, that's how Atlanta got big.

Yeah.

That's how Atlanta got big because it correct.

This is, 10, 12 years ago.

But what it, what, if I remember correctly, was it was supposed

to be New Orleans because they call it the Hollywood South.

And what ended up happening is one of the mayors vetoed the taxes and tax breaks.

And they moved to Georgia and Atlanta.

Georgia's tax breaks for film productions are a lot higher than Louisiana.

And a lot higher than Albany's in the South.

I think it was, it might've been better a couple of years ago, especially

like after the the previous erasure.

Because he's talking about 10 years ago.

Yeah.

Because the thing was, is people loved.

Coming to the south, especially Louisiana because the food is really great.

Everything is really cheap and Nobody cares who you are like, oh, yeah nobody

in Baton Rouge in New Orleans cares like nobody cares if Tom Cruise is in line.

Nobody Brad Pitt is doing nobody cares.

They're like, okay cool, man Like I gotta get my food if you could just get

out the way they like my dad I'm like my grandparents like when I first worked with

Bill Duke You Yeah, I worked with Bill Duke on one of his upcoming documentaries.

I was like, yeah, I showed him a picture and I was like, yeah, this is me on set.

They're like, that's cool.

This is like a, he's like a, he's a, movie star guy.

I'm like, yes.

And they're like, yep.

So what else happened today?

I'm like, seriously?

This is what's going on.

Parents could be, parents are amazing.

Yeah.

I was just, you can, you Fill, color that in however you want

But yeah, it's so you came out then in 99?

Yeah.

So then this, what were you talking about that took place in 2018 with your father?

Was that out here then, or was that in, that was no, that

was in that was in Nashville.

Oh, that was, yeah.

You said that I was doing the tour.

I was actually doing a tour.

Do you guys do go to TPAC to do that or No.

Man, I'm not even gonna lie to you, I don't remember exactly,

because we did about 60 shows.

Let me ask you this thing, if it was in, was it In like the city?

It was in the city I do remember that it was, I think we were at a If

there was any stadiums around or like any bars or The only reason I ask is

cause TPAC is part of the Broadway tour they do before they hit New York.

Maybe it was that.

And it was that everywhere that I've seen, like really great plays or like

awesome plays have always been at TPAC.

That's they're like big place performance.

So that's what I'm assuming it probably was.

If you did it in Nashville, I'm, I'd have to look back and see, and I can confirm

that for you, but it's possible because it was like, it was, it felt like it was,

we were, Near the water it was we were able to walk to the water or a little more

not, To see the water right and then there were a lot of bars restaurants around

I can't there's a probably it probably was teabag now as you're describing

you're probably us cuz I'll tell you what, especially was a 2018 I'm from

actually Murfreesboro, the outskirts of Nashville, but just that area, it's city.

And then there's a hard line and just straight rule.

Okay.

It was probably a TPEC and that's where that is.

Cause the city is, it's very funny.

I always say that Nashville was made for the tourists.

And everyone else, like no one there actually does any

of the rest of that stuff.

Exactly.

It's like New York, It's have you been to the, Have you

been to the Statue of Liberty?

No, I haven't, I was like, I'll go someday, have you, but it's

it's just, it's a tourist thing.

So it's that's like back home.

Not a lot of people go to bourbon street.

It's it's all the tourists, it's all the tour, but also that's

absolutely incredible 20 years.

To get that compliment from your dad.

Yeah.

To be fair, yeah.

Cause I'm imagining, Jamaican parents, they're immigrants coming

over to America for a different life.

Yeah.

And that type of, hardworking background.

My father he's.

Not Jamaican.

He came from a C Pleasant, Maryland.

My grandmother working three jobs to raise him and his other

siblings and stuff like that.

People who come from that type of hardworking background, sometimes it's

hard for them to really like, except like creativity or understanding, but and

here's a fun, not funny, like high flame.

My dad.

And anyone who just asked me to talk about my dad, I'll say that I said, yeah,

he's, yes, he's all of these things.

And quite as is, as it's kept, he's also an artist.

And it was like, I was like no, really.

It's I like, even now I remember a sketch that he did of us when we were like

little kids in the first car he had here.

In the States, it was it was like a VW beetle or something.

And he would, he did, and it was in this leisure book notebook that he

would just had around and I would always, and I love looking at it

and he he's a master welder as well.

And so he what literally all of the ironwork that was around the

house, chances are he did that.

There was something that, and he would also like orange sculptures, like

he, like The railings, any ornate things, iron at all, any iron at all.

And he actually, and there was this one and I know I got still have it somewhere.

He create, he made this this like tree, it was it was like, probably about, the

base was probably about maybe two and a half, three inches, but it was heavy.

It was solid steel.

And then he had melted Metal or iron or whatever to form like a tree

without leaves on just like a tree.

Wow.

And I loved that piece.

I was like, I, and he gave it to me, but it was just like, no, he's an artist.

But again, coming from that background.

You don't see a lot of people doing that.

And you don't see it as a possibility of a way to, to earn to to build

a career to, to earn, right?

Because the risks are so high.

There's nothing to fall back.

It's not it's not safe.

It's not a, and you have a family.

Exactly.

And especially as you coming over as a grant, you need the safe path to,

to ensure that there's no safety net.

And I think like the, he, they he, they, my parents, I feel like my parents

instilled that me and not just my parents, because it's like, they also, I had a

whole bunch of other people around me that mentors that I never seen where

there were teachers and specifically Really really just had a real impact, a

heavy impact on my life was when I went to that, to the, when I made that journey

to the Bronx we had they were, they, we, they were with us rolling around the

Florida is The direct the I'm just, I'll just run down their names real quick.

And then you won't may not know them, but I just want to

do it because out of respect.

So it's like the first was a Harry Poe and he was the direct, he was

the artistic director at the time.

And then.

Amin Hattep, who he was the the composer slash vocal coach slash everything he,

and he became my godfather actually.

And he passed away last year.

I'm sorry.

Yeah thank you.

Thank you.

And he had a major impact on my life.

And there's also my theater godmother as well.

Hilda Willis, who became the director because Harry Os, he passed away wow.

While I was still in high school, actually, if I remember correctly.

And then Mel Beda Hughes was who was the choreographer.

And then it was Byron Johns who ran the department.

They all like to this day, there is, I have a connection to those

who are still with us physically.

I have a connection to and.

And still a connection to the organization.

They had such a huge impact.

And and my parents, Allowed the space for them to become a part of their life

foster parents to a certain degree, right?

and They were there and I think they appreciated it And I know that there

were points where they questioned it because it's like you're giving you're

giving your child It sounds like you just had an amazing formation of people.

Oh, it was a village.

It was a village.

Oh, absolutely.

Absolutely.

Yeah, absolutely.

And then what, one of the things I would ask you is that you've already, you had

played Martin Luther King in the play.

Yeah.

How did that come about?

In your process as an actor lead you into playing Martin Luther King in the movie.

Cause I'm sure it was very different.

Yeah, it was.

And then I feel like a special connection now that you did you feel like he prepared

you at least that was prepared to no.

What else?

And I'll preface it with this.

So there is an independence, Kansas, there's a theater festival that

happens called the William Inge.

theater festival happens every year.

Really wonderful.

I got invited down because there's a piece that I did a musical show that did

that was Paula Vogel amazing playwright.

I still, and she just hasn't, she has a new play on Broadway right now

which is great, but she's that she's been in the game for a long time,

but she's a really wonderful person.

Anyway, it was called civil war Christmas.

And so I She was being honored with an award at the Inch Festival, and so she had

a curated list of artists that she wanted to come to be a part of that presentation.

So I was one of the people on the list, and the person who was organizing the

list contacted me, about it, and was like, I just have one question, shot

in the dark, would you be interested in Reading a role of doing stage

reading of a new piece that's going to Broadway that written by Katori Hall.

And I was like, Oh what is it?

I was like it's called the mountaintop.

You'd be playing Martin Luther King.

I was like as a black man, it's a, that's a, that's an intense figure.

Martin.

That's a weight of responsibility.

Yeah.

And I was like I was like, Peter, I don't.

No, I was like, let me read the script first and then I'll give you an answer.

And so and then I had already like at that point I had done like I'd

had done some historical roles.

I did a one man musical about Malcolm X.

That's a whole that was a whole other thing.

Yeah, that was an amazing experience for me.

And I was like, Okay, I read it.

And I was just like, Oh, some things that he that's being said that he

says, the things that in the piece itself, if you haven't seen it.

Is that Martin?

The thing is, when did Martin ever saw himself as anything other than a man

and that and it's clear even in Katori's writing of and so it's surprised a lot

of people because he's been deified.

In such a way in society, in, and in culture, it becomes almost mystical.

And it's and he never saw it that way.

And the people who were living during that time never saw it that way.

And even being a preacher, he would have never have wanted

it to be viewed in that way.

No, not at all.

Not at all.

And so the piece itself plants him on the ground, makes it tangible

because the idea is that if a man.

Who's, I'm just, he's a man can make these can do what he did

accomplish what he accomplished.

And don't forget he was on, he was 36 when he was assassinated.

You don't, people don't think about that.

It's they thought he was like, what's quite interesting is that for

some reasons and this is my mom's a psych, my mom's a psychologist.

So anytime I talk to her, she's always talking about something with the brains.

I will say this, it was quite interesting having a mom as a psychologist.

You can't trick her with anything.

No, even until this day, like if I start talking to her about

something, she's Oh, cool.

So actually this other thing's going on.

I'm like, how do you know that?

I'm like, what is going on?

The mother intuition and she's a psychologist.

I lose every time.

But anyway, something that she once told me was that basically when people have

a really positive view of someone, they always age them significantly higher.

And it's just like something that people just do in general.

It's quite interesting.

And it's I guess it's like, it means it's not to take, they live life.

And the assumption is because they live the life that they live, they

must have lived for a long time.

And it's no, he just, he was activated at an earlier age.

He was knew what he wanted to do.

And he saw the need.

And that's what's his trajectory had a beeline for exactly.

We can go into things about, the issues he might've had with his parents

and things like, but that's a whole.

That your, it's a whole nother ball.

Mom, your mom could talk about that part.

Yeah.

. But it's like he, he would, when you're clear and you're, and you know

what it is that you're, your, what your purpose is and you go for it.

The, wherever, whatever whatever area, whatever career it is, as

long as you your desire is to be the best and to do the best and to

affect the world in a positive way.

Do that.

Like my tool is I'm an artist.

I'm an actor.

I sing, I write, I do all the things that is my tool.

That is my, that is the blessing that I have that I can share with the world.

So that's what I do.

But with him in particular so going back to that, I read the script.

And I was just hi, this is a lot.

I don't know.

I don't know.

It's a lot.

It's a two hander and it's a lot of stuff.

And I was like, and there are things in there that I learned

that I wasn't aware of also.

And so that made me do some research.

So when I got there, I said, okay, I told him I'll do it.

I said, I'll do it.

But I have some questions for Katori.

Just about just how the piece was received and, and she was very honest

and she's Yeah, a lot of people were offended because of some of the he's

cursing he smokes He does drink and he's but those things but you're

making him more you're grounding him.

Exactly And making him a person exactly and then I got okay god

and then once when she said that I was like And then the director his

Che Yu was his name, is his name.

We had a conversation about it and he was just like, he's a man and

just go from, I was like, yeah, he's got thoughts, feelings, desires.

Exactly.

And so that was the first time.

And I got, we got I was opposite Anika Noni Rose, which I don't understand why

she didn't do the Broadway version, but that's She had some reason, I'm sure.

Exactly.

And from there, after doing that, I said, okay, this is possible.

And then, fast forward a couple years later, I get an opportunity

to, first to audition for it.

And, but the director, I had worked with her before, and she was like, I know who

I want for this, and this is who I want.

And I was like, okay.

She's she passed away last year.

Unfortunately, but she made Shirley Joe Finney's her name and a brilliant

creative mind and human being.

She.

But the producing entity was like, eh, we don't really, we don't know him, so let's

just bring, let's bring everybody in.

So they brought everybody in.

And then she said this to me afterwards.

She said that, she said, Gilbert, after you left the room, I was like, she

said, I wasn't, she did not sit down.

And normally when there's an audition process, she sits down and she's connect.

But she said, I didn't sit down because I wanted, I didn't want them to look at me.

, I, she was stayed.

She walked to the back and stayed in the back and let them watch.

And then after I left, all she did was walk down and just looked at

them and they were like, and she was like, and they, and she was like, and

she's and they were like, yeah yes.

Yeah, absolutely.

What we gotta, she said, but we still have other people.

We got it.

We still have to, we gotta convince, we know we, but they knew at that point.

I think they knew.

Yeah.

So long story short.

Did the tour with Karen Molina White and who's brilliant and amazing

human being and artists as well.

And we toured all, we toured internationally with it.

We got as far as where did we go?

Bermuda.

We went to Bermuda as well.

And we did, it was like, I think we did 50 shows over the

course of three or four months.

That's some back to backs.

You know what's very interesting is that It's funny that you say that.

We used to have to go look at the other people.

I know exactly how that feels.

Especially when you're you're casting a project and stuff like that.

And then you see the person that you want, you're just like, Oh man,

I gotta go see these other people.

And I know they ain't gonna get it.

I know they're not gonna do it.

It's it's where you're it's where you're weird feeling.

Cause you're like especially cause that person leaves like you see the person

that you're like, okay, there's them.

I want them.

Awesome.

This is what we're going with.

Everyone's yeah, everyone's, you managed to agree with it.

That person leaves.

Then the next person comes in, they do what they got to do.

And then as soon as they leave, you look back at the cast directors and you're

like, Again, we're still thinking about that person from a while ago, right?

Yeah.

Alright, cool.

Can we go home?

But you can't.

But you can't.

You can't do that.

No offense to these other actors, but we already found the one.

And then at the same time, what's really what I always find very interesting,

especially with the casting process, cause a lot of, a lot of, and we've

said this, me and Nicholas have said this on the show before, a lot

of young actors don't understand is that, We want you guys to win.

Yeah.

This is not the doctor's office.

Yeah, I think, I'm not really, It's not the dentist's office.

I have no idea where this sentiment came from that like actors are

like, Oh, they're going to hate me because they're a caster.

Because, Insecurities.

And I think the Unfortunately We're, I think that we're preconditioned

to think the worst before the best out of situations and people.

And so to actually walk in with, I'm right.

And it's not we were talking about this off, off mic, just the the

having that self, that confidence in what you bring to the table.

And if you.

If there's an, and it's not about arrogance, it's not about that at all.

It's just that I know what I bring to the table and I'm going to bring that.

And so if you do that and that works for this project or this

particular situation, then it's yours.

Yes.

There are politics and things that are at that play.

And I can tell you other stories about situations that I was in

where they eventually realized, Oh wait a minute, we made a mistake.

And, but I'll tell you that off mic.

Yeah.

What?

But we're in a situation here as actors where we're going to hear a

no a lot more times than we hear yes.

Yeah.

And you, and what I will say is that I think my family in particular may

have instilled in me a sense of stick to itiveness of in the spite of, in

spite of any of the obstacles in my fall in your path that you got to

keep where you got to keep going.

I think like even even when I think about my childhood, just that being

instilled in me, there's certain, and it has a, it's a double edged sword because

there's certain things that you're like, that you I'm going to hold this because

I got to keep going, but you have so much, you have so much background and

experience and then it also feels and you got to correct me if I'm wrong, but.

And it was like this way for me, eventually when you're, you don't

even hear the nose anymore, it's more like you just keep going forward.

You feel like if you let a single no be super devastating to you

and hold you back, you're not going to be able to get anywhere.

Facts.

Yeah.

As a professional actor like yourself, what advice would you give to possibly

someone who's coming up for them to keep pushing forward past those notes?

Because I'll be honest, just like any other creative, those first

couple of notes, they hurt, but then eventually, you build a skin.

Yeah.

Because it's okay, I'm going to answer that, but I'm also going

to give you a little thing.

The organization I was talking about, I went, I would write for them, chose

for them, and then I was asked to come back and basically take over

the department, and I jumped at the chance, because I happened to be in

New York, and I was like, I'll do it.

And it was great, and one of the things that I would say, and one

of the things that would happen is that, you drop a line, or you forget

you're blocking or something happens.

And I would watch kids completely fall apart and not know what to do.

And I'm like, okay, it's not.

It's it's not about, I'm not preparing you to for perfection.

I'm preparing for you for projection.

I'm preparing you to keep moving.

Not perfection, projection.

Exactly.

Okay, so it's the situation where It's not about when you get the lines, right?

And I think we had a conversation about this and it brings you back

to something that Mike Tyson said.

Everyone has a plan until they get punched in the face.

Yes.

It's all it's all about recovery.

Exactly.

I think that's what people care about more.

Yes.

'cause I remember when I was in theater school , I was in my

second semester final performance.

In front of the whole school.

. . And what ended up happening was I, there was a point it was Neil

Simon's Brighton Beach Memoirs.

Yeah.

Yeah.

Or.

No, that was First Men's, but the second one, I forget what it was,

but anyway, I had dropped some papers during the scene and completely

blank in front of everybody.

And now my classmates told me I was only, I had only blank for five seconds,

but I thought it was two hours cause I'm sitting here just completely blank.

And so I then.

I don't know if I'm going to get it back.

Obviously, long story short, I finished the scene.

And this is then the next semester going in is one X to get cast in one X.

And I'm like there's no chance.

And there's no chance anybody cast me for anything.

Cause you thought that you messed up.

I just.

completely messed up so gigantically.

And what ended up happening was that I got cast in all of the one acts.

And I went to ask my friends in the upper years, I was like, I don't

understand why you guys cast me because I just messed up so massively.

And they were like, We didn't care that you messed up.

The thing that we cared about was the fact that you did mess

up, but you were able to recover.

'cause that's going to happen Exactly.

To getting back on divorce.

Yeah.

We need to know that you can recover.

Yeah.

And it's and not only recover, but also deliver.

Yes.

And it's we're human beings.

We have our insecurities, we have all of those.

And so we, all of that stuff, plus the, whatever our families contributed to our.

I don't know.

Environment contributes to it.

Exactly.

Everything contributes to it.

So it's it's more so about, okay, so what do, but what do you do?

What do you do if some, if what you plan to happen does not

happen, what are you going to do?

Are you going to stop?

And a lot of times in, that's what would happen.

They would stop.

And I was like, no, do not stop.

You have to keep going.

The audience doesn't know.

They don't, they don't even know.

I've had situations on stage where literally.

Doing fight choreography and it was a knife fight and there's a point

and there's a point where I don't know if it was me or if it was

my my my, one of my best friend.

We were playing opposite each other, which is always fun.

Yeah.

And.

We leaned in and then something happened and we actually hit heads.

We bumped heads.

All right.

I'm not even like a tap.

It was like, bang, hit by each other.

We both fell out.

And it was the, it was like the client, the end, the last

climax and like the finale of the show was this big fight scene.

And we both fall out, but.

And the everyone in the cast was like, oh.

And then 'cause they saw, they could see what happened.

The audience doesn't know.

But then we, it felt like you were saying, and it like, it felt like it

was like 10 minutes that we were out.

And it wasn't, it was like literally a couple seconds and then we got back up

and then we went right back into it.

. And it was a great show, but it was just like, we at the end,

we were like, yo, you all right?

Are you all?

He said yeah.

I'm good.

You good?

Yes, I'm good.

Okay.

It's not really about what happens to you.

It's really about, yeah.

What you choose to do with those responsive times.

Gilbert, it's been so great to have you on the show, man, in the the

first part and the second part is it where we're and we can follow you?

Oh, yes.

You still use Facebook.

It's under my name, Gilbert Glenn Brown, Gilbert G I L B E R T G L E N B R O W N.

And also same on Instagram, same on Twitter, same on my website.

All the handles are the same.

All the handles are the same.

Yeah.

Keep it simple.

Dope.

It's been so great to have you.

so much for coming on.

so much.

It's been a lot of fun.

I'm bummed it's, we're done, but.

But yeah, but no but thank you so much for having me.

There'll definitely be more great stuff soon.

And we'll have you back on the show.

I'd love to.

I would absolutely love to.

Yeah.

Guys, this is Film Center News.

My name's Derek Johnson II.

I'm Nicholas Killian.

And we're here with the great Gilbert Glenn Brown.

And we'll see you next time.

See ya.

This has been Film Center on Comic Con Radio.

Check out our previous episodes at Comic ConRadio.

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Tune in next Wednesday for a fresh update.

Until next time, this has been Film Center.