#241 Emilio Palame is Crossing the Streams with the Knights of Swing (Bonus Ep63) – Celebrity edition!

CTS Announcer 0:01

Looking for your next TV show or movie to binge? Well buckle up, grab the remote and settle into your couch for this special edition of crossing the streams. We're here to help you tune in and get the most out of those 50 monthly streaming channels you're currently paying for. So without any further ado, here's your host of crossing the streams. Jeff Dwoskin.

Jeff Dwoskin 0:29

Hey, oh, it is I Jeff Dwoskin, your host of classic conversations and your guide through this celebrity edition of crossing the streams. I'm excited to introduce you to Emilio Palame, a writer, director and one of the stars of nights of swing a delightful independent film that we're going to dive deep into in this episode needs of swing takes place in the 1940s about a swing and big band. Amazing story set post World War Two, you're gonna love it. Emilio and I are gonna dive deep into that. We're gonna dive into Emilio's career and everything that led up to his work with knights of sway. supporting independent films is a great thing that we can all do. So I'm excited to share my conversation with Emilio with you. And I'm excited for you to check out the film. I can't wait to hear what you think links to the movie are in the show notes. But let's get right to it. Enjoy my conversation with Emilio Palame. A as we discuss nights of swing, enjoy. All right, everyone, I'm excited to introduce you to my next guest, director, writer, composer, actor and star and director of the feel good movie nights of swing. Welcome to the show. Emilio Palame. A excited to hang out with you. You've got an amazing background music actor, director, boom, there's so much goodness, there. I want to talk all about night swing, which is your movie, which is awesome. I want to hear a little bit about your background first touring with Peggy Lee. I mean, I listened on another podcast you talked about you were doing you did music for cheers and Frasier. I played

EMILIO PALAME 2:11

in a band that was on the set for 11 years with shares at 10 years with Frasier and we got to hang out with the cast. We played in between the set changes for the audience. And it was really a lot of fun. Got to really hang out with Ted Danson and the people from the cast and got to know them and Kelsey Grammer and every year at Christmas time and at the end of the year, they gave us these amazing gifts. I have like jukeboxes of leather jackets, robes, binoculars, umbrellas, things that all have the year that was of that particular season and which show it was from so it was a lot of fun.

Jeff Dwoskin 2:48

That's awesome. So it was the music we would hear on the show or was it just No,

EMILIO PALAME 2:52

it was just for the audience. We kept the audience with the warm up guy. We kept them entertained. It was kind of like a letterman band back in the day when Paul Shaffer was doing it whether it's just they played like pop tunes as instrumentals with like a four or five piece group. All right, it was it was also a lot of fun. And we actually played a game with the audience where the warm up guy would ask people beforehand, like where are you from? And he'd send us a list of like cities that were so if somebody was from New York, we play New York, New York, we do that kind of thing. And then we couldn't think of a song to play for them. We would play the theme for Motel Six.

Jeff Dwoskin 3:27

That's awesome. That's so you got to watch for 11 years. 10 years on Frasier. Like, I'm just shooting every one of these episodes.

EMILIO PALAME 3:35

Exactly. It was such a great learning experience, Jeff,

Jeff Dwoskin 3:39

so you're sitting there watching Emilio, future director of watching James burrows to his man exactly.

EMILIO PALAME 3:44

I got to hang out with them and talk with them in the breaks and stuff. It was always really friendly to me. The whole cast was both for both shows. And it's like 21 years altogether with between the two shows were back to back and it was the same crew same people and a lot of the same directors a lot of same gaffers and lighting people so cameraman so it kind of got to be like a family after a while so and what you're saying for me, like some of the other guys in the band didn't care like watching James burrows worked, but I was like, really into like, I was this guy working with the ads business. It was my dream at that point to really get my acting career going, which I started to do when I was younger, but had to choose between music and acting because I was raising my family.

Jeff Dwoskin 4:25

Got it. So it must have been a masterclass on both those levels watching those actors. Right. And James burrows. Oh my god.

EMILIO PALAME 4:34

It was really cool. You know, especially when like the guest stars would come in. I got to hang out with Harry Connick Jr. I got to hang out with John Cleese really great people up. One of the nicest ones was Costas from the sports announcer. Oh Bobcat says Bob Costas was a guest on the show once and he happened to be just sitting backstage and I sat down next to him and we started just shooting the baloney and I told him I was from Buffalo, New York and he apologized for the Buffalo Bills and How we go into four Super Bowls that haven't won any of them. But he acknowledged what a great sports town buffalo is and was always his experience was great. So moments like that are just really special when you get a chance to hang out with, with people that you hope that they're going to be the people that you think they are when you see them on television, because sometimes it's not like that. You're like, wow, this guy's uh, you know what, you know, and you find out that art, you know, but for most of the time, people are the celebrities that you meet are engaging in as well meaning as you would hope and you see them to be your perception of them.

Jeff Dwoskin 5:31

Yeah, you mentioned Ted Danson. I've never I've never heard anyone say a bad word about him. That's just how I'm not. Very cool. Very gracious. So you were there from coach to Woody and from Diane to? Yep. Okay. All right. Wow.

EMILIO PALAME 5:45

You know, Danny DeVito would hang around because of his wife, you know, being the waitress,

Jeff Dwoskin 5:50

right? Rhea Perlman. Yeah. Rio Pro Mongo. That's,

EMILIO PALAME 5:54

there's some great insight. Let's start, you know, another time we can get into. There's a lot of little inside stories that I can tell you about how the inner workings of the cast. There are things between the writers and then that was pretty interesting.

Jeff Dwoskin 6:05

And then he toured with Peggy Lee, which is the queen of American pop music that was pretty awesome for 11 years. All right, you want to talk about knife this way?

EMILIO PALAME 6:14

Sure. It was the culmination of so many different from different facets of my career that came together at once because I grew up as a musician started playing in bands when I was in sixth grade back in the day and picked up piano by ear. My parents were very supportive of me to get piano lessons. And I had a piano teacher came to the house and he was pretty engaging guy named Tony mantel, and he did a really cool thing. At the end of every lesson, he would sit down and play some piece and it would sound like sort of a cross between Chopin and Debussy or whatever. And then he would say, Well, you know, I just made that all up. It was just all improvised. And I thought, well, I want to learn how to do that. And so I started studying chord structure and, and that and I, you know, I got to be pretty good on my own. And I took a few classical lessons before I audition for Fredonia State University. And then that's where my background in big band began. Because ferony State University had a fantastic Jazz Ensemble program. It was all student run. So I got to be a part of that for the five years that I was there, my undergraduate and my one I actually taught at the college as a graduate assistant. I taught jazz arranging and improvisation and theory for non majors. But all of that time in school was really great for me to develop my skills as a big band arranger and composer and we had the great bands over a year came to do artists in residence at Fredonia, we had Stan Kenton, his band, Maynard Ferguson, Woody Herman, count bases band and and the great Thad Jones Mel Lewis band, which was one of my favorites. And I modeled some of my arranging after his work with sort of cross between his work and what do you do with Count Basie. So that sort of served as the basis of me to be able to understand how to do this whole big band thing. So it was a real natural for me, when our executive producer rollin Jack's, who wrote all the songs for the nights of swing, and he kind of describes it, that I take his gems, and I polish them because his lyrics and melody are somewhat more simple. And I do this more sophisticated jazz harmonies with them. So that marriage of our CO composing, arranging things is what the sound of the music of the Knights of swing is, that's very close to my heart, because I had my own big band and played in upstate New York with my band. So that combined with the fact that I had started an acting career in 2010, started really studying acting and working. And it had been a dream of mine, something I couldn't do in my early 30s. Because as I mentioned, I was raising my family and I had to choose whether I was going to take a recording session that would pay good money or go to an audition and hope I would get a job and my agents and managers said, Look, we can't keep doing this, you have to pick one. So of course, I'm raising my family and wanting to stay above water I kept boy, it's kind of ironic, because some people say your music is what had, you know, be sustainable to for your careers, like some people says, like, well, you usually have to give up your music. So you have a sustainable career, but I was very fortunate to meet people that, you know, helped my career and got me some great gigs.

Jeff Dwoskin 9:07

Sorry to interrupt, we have to take a quick break. And we're back with Amelia salami. And we're gonna talk a little bit about Peggy Lee, remember when I brought that up earlier? And as you

EMILIO PALAME 9:17

mentioned, the Peggy Lee thing was a big jumping off point for my career.

Jeff Dwoskin 9:21

That must have been amazing. I mean, Peggy Lee is is incredible. I mean, that must have been an amazing 11 years touring.

EMILIO PALAME 9:29

It was a fantastic time for me, I learned a great deal playing with some of the greatest musicians. Grady Tate play drums was John Q Dini, guitarist and Monty Budwig God rest his soul. I mean, these these people were top notch jazz musicians and they had been working with her for years and several different players that came through during that 11 years that I was there got to meet and work with them. And she was a wonderful person to to learn from also because her just her she didn't have to say much her sensibilities about music were pretty amazing. I learned a great deal just by listening to her. Her phrasing the way she did things the way she approached the song. She knew everything about all of her arrangements. She was a definitely a taskmaster, I got along really well with her because I was sensitive to what she wanted her accompanist pianists to do. But I saw her be really tough on people. Effects. You fired three piano players for three consecutive nights before I worked. I got the gig with her. She was at the Westwood Playhouse here in Los Angeles. And my friend John called me I was actually at a gig at one o'clock in the morning at Herbie Hancock's club and said, Hey, would you like to play with Peggy Lee tomorrow night and I said, But and so he has been a great friend, John Q. Dini brought me the guitar book, he didn't even get the piano book. And we stayed up all night. And he went through all the 27 songs with me. So these are the tuples is that always goes like your charts are gonna look different than mine. These are just the guitar parts. But the next day, I went to the theater, and I went through some of the songs with the drummer, and we went through tempos and very little preparation. And then at four o'clock in the afternoon, and I had been up like art now already for like, almost 24 hours was pretty crazy. Pay Miss Miss Lee, Peggy came in. And she said, I just want to go over a couple of things with you. I sing wind beneath my wings as a rosette of teeth. So just play a chord and I'll sing, and I just played a chord. And then she sang, like maybe the first eight bars which, okay, that's when she said, and then there's this bridge in folks who live on the hill where it's Roboto. And you have to follow me and she's saying that part. I played it. And then she said, Okay, I'll see you tonight. And that was it. I was so nervous. I mean, I My hands were actually shaking, first plug in, unfortunately, I came through and I worked with her for 11 years from that night on. That was pretty amazing.

Jeff Dwoskin 11:42

Love. She had just burned through three people and then you stuck around for 11 years. Yeah, that's a really like you.

EMILIO PALAME 11:49

I guess. So you know, I think I think for her, it wasn't just the music. It was personality, temperament, attitude, she really wanted to feel and you know, really take the drummer 20s You know what, when you play with her, it's kind of like a marriage. She it's romance for her. She wants to feel that feeling that that symmetry between the two of you. And I was able to do that with her. And she really appreciated that for me because I came from a very honest place. The not part of the reason why I think the other piano players got fired, is because they were more about like what they were doing, rather than what she was doing. And so I just made it because I had been I've worked with some really good singers and have been taught well, you know, to listen and respond and so that I think that was the reason why I got the gig and kept it for so long.

Jeff Dwoskin 12:33

I was doing a little reading on her. She's a noted musical influence on Paul McCartney, Madonna, Beyonce, Billy Eilish, I just see Springfield, Rita Moreno. I mean, you, you get to hang out with the chairs, folks, and Peggy Lee been around a lot of royalty.

EMILIO PALAME 12:50

It's been it's been really amazing. I feel so blessed. One of the things that Peggy did is that at the end of every gig almost every night, she would invite the whole band up to her suite. And she'd order fruit and we hang out to like two o'clock in the morning. Like one of the things that was really great about doing her gag and working with her is is that we hardly ever did one nighters, we would play like at the Drury Lane Theatre in Chicago for four weeks. And you'd say stay across the street at the at the Ritz Hotel, where we've actually played at that Ritz. And you'd go up to your room and you'd come down and you'd play the show. And they do that for two weeks at a time you sort of set up residence, you could go around the city and during the day and it was wonderful that way. It wasn't just ruling on the road thing as other gigs that I've done have been one nighters and that really wears you out. And I certainly couldn't do that anyone.

Jeff Dwoskin 13:36

So everything in your life acting music, directing, all culminates with nights of swaying, it's the perfect combination. It is really anything. Yeah,

EMILIO PALAME 13:47

in a way, because it's my big band background. It's my background in jazz, the things I've done studying acting, and then writing co writing the script with David Butel, and Rolland Jax, our executive producer. And then I went into this, I hadn't directed a film before, I felt confident because of my acting ability. And all the studies that I had done as an actor and doing Groundlings for a couple years improv all of these things plus my background in music. There's so many similarities between playing an instrument and acting because you source a lot of the same parts of your psyche to do it, that you have your mind that's overseeing this yet you have your heart and soul that you pour into what you're doing is is is very similar. So yeah, putting all that together into the Knights swing was really a it's kind of like it was kind of built for it in a way.

Jeff Dwoskin 14:33

Sounds like there's a lot of similarities between music and improv as well, the way you described how you worked with Peggy Lee.

EMILIO PALAME 14:39

Yeah, I mean, you had to be ready to follow her she would sing something faster or slower. It's all about listening because acting is the same thing as acting is reacting. Like if you're not listening to what the other person is really saying to then what you say is not going to ring true. Sandy Meisner said is Acting is living truthfully under imaginary circumstances. So that's, that's really what, how I've learned. It's all about being in the moment and being just being present. And the difference between being self conscious and being self aware. Because when you're self conscious, you can see it and when somebody's like, that's that old saying I, you know, I know good acting by sure no bad acting. You can see it was not happening, you know. So and hopefully when you're doing good acting, it's transparent.

Jeff Dwoskin 15:26

Alright, so knights is swaying, which everyone listening can get on to be an Apple TV. We'll mention that again. But I just wanted to drop out fast. So let me I'm going to throw out some things and you do a proper kind of displaced two nights of swing if you love big band music, great twist and movies 1940s Karen's people dealing with issues of racism, evil trickery, Battle of the Bands, the power of music, then this two and a half hour feel good movie is for you. You do not want to miss nights of swing. Those are kind of the things after watching it like all the little pieces, but do a kind of a proper description. I know Roland Jack's a lot of this was based on on his background, right?

EMILIO PALAME 16:10

Yeah, he was actually in a band called The Knights of swing. In Lynwood, California when he was growing up, the character different is kind of him because he sang and played alto sax. But in a nutshell, that story of the nights was swinging is about the six guys who have a band in their garage called the jam and pajama man. And they want to be more than that. They want to start a big band. And so they know that the science and math teacher at the school, Mr. Miller, had some background in big band jazz, and they tried to convince him at first, he's reluctant that he does take on the duties of being their director and does some arrangements for them. Because they have a couple of black guys in the band. This is 1947 When people of color had to use separate drinking fountains summer separate bathrooms over tables, or counters at the store is like embarrassing aspects of American culture that you know, that unfortunately existed, and so that there's people in the community that take offense to the fact that we're starting to integrate, even though integration was already beginning. At this time, in Southern California in 1947, Westminster School started integrating with people of color. And one of the other things that we show in the movies is that there's girls in the band, and that is factually correct, because during World War Two, there were actually all girl big bands, because a lot of the musicians were away at the war. So between the aspects of the racism that the ban encounters as it as their opposition, and we see it through difference, older brother Westlake who's come back from World War Two, as they didn't call it PTSD back then they call it shell shock. But you can tell that he's, you know, he's not all there because of what he saw. And he relates that to him, he says, You have no idea what I saw on what I went through in the war. So we've got those aspects of cultural America at that time, in the late 40s. And of course, this music was a sense of freedom and expression, swing dancing was, it was the release from the all the pressure of World War Two, and people wanted to just have a good time and swing and sway. And so with a romance in the movie, there's those aspects that I just talked about. And I think the sense that how the kids grow, and how they come together, all of these issues that I'm talking about, are in some way, solid because of their camaraderie through music. That's one of the things that Mr. Miller says, when I'm playing the principal of the school, when we're talking he said, This band is more than just a band. It's it's almost a refuge. It's like a home for them. Because they feel the camaraderie and they it's a place where all of that things that I've just been talking about go away, then they dive into the music and express themselves through that in a very joyful way. Because that music is joyful.

Jeff Dwoskin 18:39

The power of music is, I think, the overarching theme of bringing everything together, for sure. What was the process of bringing this movie to life and being able to secure it and get it out? And you've won numerous awards with us and describe that?

EMILIO PALAME 18:56

Yeah, you know, it starts with Mr. Rolland Jax, and we've been friends for about 21 years. And Rollins is 89 years old. I've done a lot of different projects for him. Started off I started orchestrating and arranging a musical that he was working on. And I actually met him because we were homeschooling our children. And my son was in a youth group band. And the drummer's father was working for Rolland and he couldn't finish the project. So he recommended me and I that started a really long time, obviously, long term relationship, but as far as starting working on the nights of swing in 2018, rollin brought me a song called schoolroom blues, which was the first one I saw this, it sounded really cool as a big man too. He said, we'll go ahead and arrange it. So I did. And he really liked it. And I started bringing me some of the other songs that ended up being in the nicest way. He said, Well, I wrote the story around the songs and maybe we can put it together and make up something. So a year passed between me doing more of the songs. And then he decided, you know, because series were really popular on on all the streaming services, so he wrote what would have been 10 Episodes of the nights of swing, it was going to become quite daunting to get that done. So we decided to pare it down of my co director David Hotel and myself took those 10 episodes. And we pared it down to this, two and a half minutes. I mean two and a half hours of movie. And most people who've watched it said they don't, they didn't even realize it was that long, because it just went by so, so quickly because it's a fast moving, very uplifting movie, putting it together was one thing doing it during COVID was another we filmed good three quarters of this movie during COVID. And it was not fun. You know, wearing a mask, having makeup dripping down your face, we're outside for some of those things was 104 degrees, you have to wear a mask until it's time to act. And then they have to fix up your makeup. And then, you know, just sitting there and then the other people in had to have not only masks but had have face shields. We had a deep COVID tested every 372 hours. We had an epidemiologist, nurse on set. We had a sanitisation crew. I mean, it was it was daunting, and it made it a lot more difficult plus, to edit a great deal of more expense to the project project to have to have to have all that stuff in place. But you know, rollin believed in the story of lived in this, what we were doing, I started off, I was going to direct the movie I started allude to this earlier. And David Butel was the first assistant director for state D. And he was doing so much. And I realized that I couldn't do without him. Because we had already written you know, most of the script together, you know, co wrote based on what Roland had originally written. We wrote the screenplay. And it just became obvious that for us to divide and conquer as CO directors was the best way to do this. And now we're on our second feature film that we're doing right now, we just finished two and a half weeks of filming up north for a faith based film that David and I have co written this script and work with CO directing that one.

Jeff Dwoskin 21:44

Sorry, I didn't interrupt last time, I promise have to take a quick break. And we're back with Amelia who is about to talk about his collaboration process.

EMILIO PALAME 21:53

Because I've always been a person to collaborate with other people. And I know my strengths. And I know my weaknesses. And it's really great because I as a director, I work more with the actors. And David works more on the technical side. But when I'm acting David works as as my director, and I've learned a great deal. And I have a lot of input into the technical side of things, but certainly not what David's experience is. So that's we kind of get the best of both worlds because we divide and conquer our tasks,

Jeff Dwoskin 22:18

and did just say what you said about thinking about it as a 10 episode and then bringing it down to two and a half hours. It is quick, two and a half hours goes by relatively quick, it's a great, it's a great story is well paced, but it makes sense. You took the best of of that of that expanded thing. Yes. I love the music. I'll admit, I don't normally listen to big band, but I really enjoyed it. I mean, it's so good. And just watching everyone play. It's like mesmerizing, just even like, you gotta have a dream. Like it's, yeah, it's it's a really enjoyable really, really enjoyed. Thank you

EMILIO PALAME 22:54

for that. Yeah, I feel really good about the music. I think it is very uplifting. And it's fun. And it's very well played really great musicians. That was one of the things that was going to be important to me, Jeff, is is that filming those sequences with the band and getting in tight in there. That was where my directorial sense, was the really important of knowing, okay, the Saxons are going to play here, we're gonna go to the trumpets, and now there's a drum fill. And that it's like, it reminded me of how they used to do it on The Tonight Show back in the day when Johnny Carson had the big band with Doc Severinsen. And that they would be calling cameras, the guys would know in the booth, there would be a music music guy that you say, okay, the sanctions are coming up. And so they'd be calling that live. And I was kind of doing that while we were filming with the Steadicam operator, and with the crane and that, okay, we're going to catch this on this part of the song, the sexes are going to take over the Breathless, let's see the brass, I want to see that drum fill right there, a little piano thing so that your ear is guided by your eye, I think it makes it a lot more interesting for people who don't, because some people don't know the difference between the sound of a saxophone and a trombone. They couldn't tell you what it is a lot of people can and and the fact that we're sort of directing you in and around these instruments, it gives you a more a greater sense of appreciation of how the music is actually put together and how its arranged and like, what instruments are playing what and when I decided to do this, I thought well, that's gonna be one of the things that I can bring to the table is my sensibilities about, about how you know what people are going to want to hear and see. Yeah, well,

Jeff Dwoskin 24:21

you nailed it. So it's thanks. Yeah, it was, it's really good. Because a lot of times when you like, hear the same songs over, you know, over and over again, it just but it's so it's so it was really captivating and tying it in with the story and everything that's happening and little twists.

EMILIO PALAME 24:39

I'm so glad you enjoyed it. We've gotten great reviews, we want awards, as you said, things are starting to really pick up now with our promotion now that we're on to B and Apple TV is giving us much more visibility than when we first started. And there's some promotional campaigns that we're going to be enacting because we're going to actually release if you don't mind, I'd like to talk about the next movie that we're doing. Yep. He's a little bit, it's called 47 days. And it's a faith based film. It's the story of the last 47 days of Jesus's life on Earth from when he arrives in Jerusalem, to when through His death and death, resurrection and ascension. But that part of the story is told as a musical, kind of like Jesus Christ Superstar is contemporary rock funk. But it also has that sort of grandiose Andrew Lloyd Webber thing, because there's orchestra along with a rhythm section, but that part of the story is told, and we call that the inner story. The outer story is my family, I play the grandfather, and in the movie, my son and daughter in law's marriage is falling apart. And they come to visit every Easter, and they hadn't been able to come because of the pandemic. And they, you know, they come after these, and they have two children, a young teenage boy and a seven year old girl. And then my daughter and my son in law are also at the house. During this Easter time, and I tell the story of the 47 days, every time I start to tell a different part of the story, it goes into the past, and goes and we hear the songs and then it comes back into the present day. And what ends up happening is is that the message of the Jesus story helps to heal and reconcile my son and daughter in law's marriage. And so it's a practical application. It's not just telling the story of what happened, you know, that we've people have heard over and over and over, it's taking what that story means and applying it to today's culture in today's world. And I want to make sure that people understand this movie is not a preachy movie. And it's not a fire and brimstone, like if you don't believe this, you're, you're going to hell kind of thing. This is like our way of saying, This is the story. What does it mean to you, and we show what it means to our two characters, Joseph and Juliana, whose marriage is healed by the lessons that are taught in the biblical aspects of the story. And I think that I just for me, I don't like this whole Christian nationalism thing that's happening in our country where I think the Christian faith has been hijacked politically. And I don't want to have any part of that. But I do believe that there's a great message in what Jesus said and his story. And I think that people can get a lot out of it without having it shoved down their throats, so to speak.

Jeff Dwoskin 27:16

It sounds great. I had Ted Neely on on the show, I talked to Jesus Christ from Jesus Christ Superstar. He mentioned that movie. So yeah, no, I totally understand where you're coming from, with approaching spirituality as just sort of the guide for the story in terms of telling the story you want to tell I, it sounds really good, when when is that set to come out

EMILIO PALAME 27:37

like, well, we just finished filming all of the outer story part, all the part of it, my place, and all of that with the kids and everything. And now we're gonna go into the biblical part of the story, we're going to be going through another state, I will be doing that at the end of August, and the movie should be ready for next Easter, we already have interest from several distributors, because of the nature of the story and what we're doing, and the people that we have in it, because we have a couple of the stars from the chosen that are in the in the movie. So that show is very, very, very popular in the Christian faith based community. And we have a couple of other people that are coming on board as we speak. And so it's pretty exciting. The movies funny, like with the kids, and the way the family dynamic is there's like some very funny and touching moments. And yet, you know, it shows what the power of love and forgiveness and healing can be kind of like the Knights of swing does in a way to we're going to try to have actually, these two movies are going to sort of dovetail off of each other because there's a sort of a family faith based aspect to the Knights of swing, although it's not nearly as prominent as 47 days. But we feel that there's very little family entertainment out there, that where you don't have to, like cover your kid's eyes when you're watching a show. And both of these movies are going to be of that ilk. And I think it's an area in which the entertainment industry needs some bolstering. Because, and I'm not against any type of style of movie. Like I don't think all movies should be family movies. No, but there should be family movies that you can watch with your kids. I mean, I have I have four grandkids and I I know what I would want them to see and what I wouldn't want them to see.

Jeff Dwoskin 29:09

I totally understand that 100% Where can people follow you on social to keep up with everything happening with knights a swing and your new movie?

EMILIO PALAME 29:20

Well, we have a nicer swing Facebook page, we have a publicity firm that's now taking over that aspect of it. We're gonna start seeing a lot more publicity and presence in social media within the next month or so, now that we're on to B, and we're on Apple TV. It was a long road to get to that. And if people who are making independent films, I'm sure understand how difficult it is to break through to that, you know, to get on these services. So now that we have that the promotion is going to be commensurate to that

Jeff Dwoskin 29:52

awesome. Well, I'll put links in the show notes to every oh good to everything. And so people can find it. Thanks for hanging out with me and Sharon all Stories and given us some inside scoop on the nights of swing and your new movie exciting.

EMILIO PALAME 30:06

I appreciate that. You've been great. Thanks for just letting me ramble on.

Jeff Dwoskin 30:10

My pleasure. All right. Well, you've

EMILIO PALAME 30:11

been very gracious Jeff. Thank you very much.

Jeff Dwoskin 30:14

All right, everyone, Emilio Palame. Definitely check that out. The links to the movie are in the show notes, carve out some time in your day for a great movie. And also, you'll be supporting an independent filmmaker that will give you all the fields right there. All right, well, thanks to Emilio Palame for hanging out with me. Thanks to all of you for hanging out with me during this celebrity edition of crossing the streams. So I'm gonna let you go hop on the couch, cross your own streams, and I'll see you next time.

CTS Announcer 30:47

Thanks for listening to this special edition of crossing the streams. Visit us on YouTube for full episodes and catch us live every Wednesday at 9:30pm Eastern time. Now turn this off and go watch some TV. And don't forget to tell your family. I'll be busy for a while.

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