SPEAKER_01 0:00

I wanted to ask you, dude, do you have do you have a nickname?

SPEAKER_00 0:04

No.

SPEAKER_01 0:05

No?

SPEAKER_00 0:06

No? I mean, everybody just calls me Marco or I mean in football I was called Rosas. Like usually just yeah, like in football, they would just call me by my last name. But other than that, I don't I don't really have any nicknames. Um not even, you know, like the classic, like mom when she gets mad, calls you by the middle name, but like other than that, not really.

SPEAKER_01 0:28

It's your middle name.

SPEAKER_00 0:30

Well, I'll take a guess. If it's Marco.

SPEAKER_01 0:34

I don't know. Marco José Rosas?

SPEAKER_00 0:37

No. The other famous Marco that a lot of Latinos know. Marco Antonio? There you go.

SPEAKER_01 0:42

Marco Antonio Solis. That's hilarious. So you're not like Marco Toni, you know? Instead of like Marco Polo, you're Marco Toni.

SPEAKER_02 0:52

Yeah, just Marco.

SPEAKER_01 0:59

I met today's guest at South by Southwest earlier this year. He grew up in Chicago and moved to LA. And look, I'm not here to throw shade, but I do have questions. And we're gonna find out where his allegiances actually lie. Welcome back to Ilse Will Say, the place where you come for good conversation, questionable decisions, and the occasional existential spiral. Welcome to my brain. I'm Ilse, your host, who once watched the same scene transition in Sherlock Holmes multiple times because it was so beautiful, it almost brought a tear to my eye. That's how much I love good editing. And today's guest, boy, does he know good editing. Today's guest has spent over a decade in the edit bay, shaping everything from HBO television to Sundance and Trebeka Short films. Most recently, Cutting Sunder, a psychological thriller produced by Jamie Lee Curtis. You know, whatever. Just a small little name that premiered at South by Southwest this year to some seriously glowing reviews. He's a Mexican-American story creator from the Chicagoland area who traded the Midwest for LA. And we will be addressing that. Please welcome Marco.

SPEAKER_00 2:20

Thank you. Thank you. Thank you. Thank you.

SPEAKER_01 2:25

And the crowd goes wild.

SPEAKER_00 2:29

Oh wow. That was that was beautiful. Thank you. That was a lot, too.

SPEAKER_01 2:34

Yeah.

SPEAKER_00 2:35

During it, I'm like, wow, what a journey.

SPEAKER_01 2:37

You've done all that. Yeah. I love uh like reading a bio because I'm like, man, this is some serious stuff. Like that, you have a lot of accomplishments.

SPEAKER_00 2:48

Thank you. It's hard to keep that bio short, too.

SPEAKER_01 2:52

How did you kind of um like make your way to where you are right now?

SPEAKER_00 2:57

Oh man. Um, well, yes, I'm from the Chicago land area. Um from East Chicago, Indiana. Um so I'm from northwest Indiana, like born and raised. Um, but you know, being so close to Chicago, like it's there. My father to this day, after like 30 plus 40, actually 40 years, he still travels in and out of Chicago, works in Chicago.

SPEAKER_01 3:24

Um because it's so close.

SPEAKER_00 3:26

It's so close, like literally like 26 miles, which a half hour on a good day. Half hour.

SPEAKER_01 3:35

You're definitely from the Midwest because you're like miles. If you're from Texas, you're like, oh, it's about 30 minutes away. Like that's how we gauge distance.

SPEAKER_00 3:44

Well, true. And then like even Los Angeles, you could say, like, oh, it's four miles, but that four miles could be an hour long just because of traffic.

SPEAKER_01 3:52

Yeah.

SPEAKER_00 3:53

So in the Midwest, things do move faster.

SPEAKER_01 3:56

Yeah, yeah. Um, so yeah, so like what brought you to where you are now? Like, you know, you have such a rich resume. What what was that like?

SPEAKER_00 4:08

Yeah, I mean, um I kind of just followed the path that was kind of laid in front of me, the opportunities. And so as mentioned, I started in, you know, born and raised in Indiana, went to school in Calaria College, Chicago. Um, honestly, a professor there told me once was like right before I was gonna graduate, was like, you stay in Chicago for commercials, you go to Los Angeles for the movies. And I wanted to stay in Chicago for the commercials. Um I stood in Chicago and I worked at a post-production house right after I interned, and then I got a job like a month after graduation, kind of doing yeah, kind of doing like what we call their quality control. I was making like deliverable files for like the finishing of commercials. Like back then we were using tape and we had to like call a cyclist to come pick it up, and they'd run it to they'd run it to Comcast or Extreme Reach to get it on air. Um, so yeah, I started there and just kind of like worked my way up to uh online assistant editing, which is a lot of like versioning and conforming and kind of adding all the like final elements once once it's picture locked. Then I got laid off. Like uh I was there for like four years, three to four years, and then I got laid off. Um, and that was kind of like a very like mind-blowing moment, but also a very eye-opening moment for me to figure out like, well, what's next for me? Where am I gonna go? Um, things were changing in Chicago very much at that time. There's a lot of big companies coming from New York and Los Angeles and kind of shutting down uh post houses in Chicago. Oh yeah, yeah. And so I had to figure out like where do I stand? Like the pool is so small. The pool is getting smaller in Chicago, and it was like, well, if I'm gonna be jumping around trying to fight my way to keep a position getting laid off, like it didn't seem fun at the time.

SPEAKER_02 6:09

Yeah.

SPEAKER_00 6:09

Um, so some very close friends of mine were like moved to Los Angeles. Like, you go to LA, like LA, there's more work. There's a bigger, it's a bigger, it's a bigger pond. Um, and you'll figure, you know, there'll be a lot more work for you to figure out. Um, so I did. So me and a friend like jumped on a plane, came to Los Angeles, he had a cousin here. He's like, let's do it.

SPEAKER_01 6:32

Um there's always a primo involved.

SPEAKER_00 6:34

Yeah, there's a there's yeah, yeah, there's always a yeah, primo best friend. Like he came through, and um it's funny because we just drove around Los Angeles. We're like, what's traffic? What are you guys talking about? This ain't nothing, and it was kind of like a seven-day bender of just us like bar hopping, which is not a thing, very much a thing in Los Angeles. Yeah, um, so we're like going from place to place, drinking. Um, and then my last day before I left, an editor from a post production company uh in Santa Monica reached out. He reached out to me and was like, hey, come, I'm my assistant's leaving. You should come interview with the producer and talk. So shoot. Yeah, so then I did that and then I left, and then a few weeks later, they like offered me a position here in Santa Monica. Um, so I was like, That's awesome.

SPEAKER_01 7:32

Yeah. Um and when was that? How many years ago?

SPEAKER_00 7:36

I was 10 years ago now.

SPEAKER_01 7:38

Wow, congratulations! And since then, like I'm guessing it was one thing after another where like you just got to work on bigger and bigger projects.

SPEAKER_00 7:47

Um, well, it was mostly commercials, it stayed in commercials, so yeah, it was pretty big projects like um high-end, like Toyota commercials you'd see on there. I was working on like Super Bowl commercial, like assisting. This is all more mostly assisting, but working on Taco Bell, um Biofreeze, a lot of like high-end commercials, and um and then seven months, it's funny, six months later, I got laid off again. Because then they closed the office down. Um and I was like, all right, cool.

SPEAKER_01 8:23

I moved to LA.

SPEAKER_00 8:25

Yeah, I'm here. Well, at that point, like I like established myself. I found like I got my roommate, I found an apartment, like I was set, and and at that point I kind of knew the lay of the land and kind of knew who the other competitors were. And so, and so luckily the people at the post office, post sorry, not post office, post house, yeah, yeah. At the post house, they uh vouched for me to other post houses, commercial ones, and like they brought me in as freelance. And so ever since then I've been like freelancing.

SPEAKER_01 8:58

Um for nine and a half years, yeah, yeah, yeah.

SPEAKER_00 9:02

I mean, I've been jumping from like commercial to commercial, agency to agency, and then I did get burned out. I did get a burnout because it's very tough when you're a freelancer to really kind of like get promoted into the editing position, um, because you're not staff, and so of course a lot of post houses will look will try to like promote within. Uh, and so I kind of was burnt out, didn't really find any mentorship um during my time as well while I was freelancing, because I was kind of looking for uh an editor or editors to kind of like take me under their wing and be like, hey, like let me help you find your way to the chair, or just kind of teach me, you know, the ways of commercial editing. So I never really found that, which is why I never went staff to any place. And then you know, right around COVID is when I was burnt out and I was like, I don't want to do commercials anymore. I'm gonna, I'm in Los Angeles, like I guess I'm here. I should do movies and television. Like, I'm I'm in the place where it happens. So it's funny, that's when COVID happened, and everyone was telling me, like, this is the worst time for you to make a switch over to narrative television.

SPEAKER_01 10:26

And you're like, thank you so much. Right.

SPEAKER_00 10:29

So everyone's like, and I'm like, okay, well, I'm still gonna try, you know, like I don't want to do that anymore. I want to do this now. Um, so again, everyone was like some of the so I just started like reaching out towards that community, like who are people working in television and film. So I just started like navigating that world of like having Zoom calls, and I really took advantage of that during COVID of like having these Zoom calls and and talking with people to kind of get insight of how to break into television and film, and most of those are union show, like union projects.

SPEAKER_01 11:09

Oh, yeah, yeah, yeah.

SPEAKER_00 11:11

And so good thing with all my years of experience in commercials, I qualified for the union, but I had to like get a union job, like I had to be offered a union job. It's kind of how it works, and so again, that was kind of like six months. But everyone told me that if I wanted to join a show or television, most likely I would have to take a step down and become a production assistant, like a PA. And so yeah, yeah, yeah. Because a lot of people believe that there's this stigma where, like, oh, just because you come from commercials, you don't really know.

SPEAKER_01 11:47

Doesn't mean you can do TV film.

SPEAKER_00 11:50

Like, you only do 30 seconds, you only don't know 30 seconds, and you don't know an hour, or like 30 minutes, or an hour two hours. So it was kind of very uh it kind of sucks. It was kind of a blow, it's it was a blow to the to the gut hearing that stuff because for me, post-production workflow is awesome, no matter the length, yeah, the format from A to B, from when you get out of the camera to whatever screen, big or small, it's still kind of the same format.

SPEAKER_01 12:19

Sure. Yeah, yeah.

SPEAKER_00 12:20

And so yeah, I just uh I found some great supporters who championed for me who were looking around for to help me, and there was a post-production, uh uh, a post PA position for winning time, the HBO series.

SPEAKER_02 12:38

Oh, yeah, yeah, yeah, yeah.

SPEAKER_00 12:40

And so that was season one. And so it was actually a VFX post PA, which is kind of rare, but they needed one. I don't know really sure why, but I took it. Um, so yeah, I took a chance on that, got to be on set, got to experience what it was like to be on a big union HBO series set during the basketball scenes, and the scene. Yeah, it was it was great, it was a great experience. And then afterwards I would get to go, our office was with the editors, so I would get to like connect with the editors. Um, and then a good friend of mine, Jeremy Weinstein, was one of the editors and knew my purpose, knew that I wanted to be an assistant. And so when his assistant got bumped up to editor for a couple weeks, um, the post producer's like, hey, well, we need someone to fill their spot. He was like, Well, Marco could do it. And so the post producer called me in and was like, Hey, can you do are you in the union? And I was like, I was like, Yeah, I just gotta make a phone call and I'll be in the union because I had all my qualifications. And so, yeah, that's kind of like how I got bumped up to assisting. Um that was kind of my first in into the union world, TV film world. Um, yeah, yeah. And then from then on, I season one, I did VFX assistant editing, assistant editing. I think I had like three or four changes in positions. Um, and then say season two, I came back as an assistant editor for Jeremy. Um, and then there was he had to take a leave of absence, and then I actually stepped into his role as an editor at the end of season two. Got additional credit, yeah, yeah, got additional crediting uh editing and co-editing credit on the two episodes we worked on, and then um the strikes happened, and then things kind of went back towards.

SPEAKER_01 14:35

Yeah, yeah, yeah. But then you started working on uh on like short films, and correct me if I'm wrong, Sender was your first feature, correct?

SPEAKER_00 14:44

So editing, right? Sender is my first yeah, sender is my first feature, and it went to South by. It did, it did.

SPEAKER_01 14:52

Like, that is incredible, that is awesome, thank you, dude. Well deserved.

SPEAKER_00 14:56

Thank you, thank you. I mean, Sender, I mean, so I told you kind of like my path of the union, kind of break it into union shows. Well, that paid the bills, you know, those are paying the bills, and I always continue to want it to edit. So I'm always looking for ways to continue to like uh sharpen my tools or keep collaborating with other people. But on the side of during my day job, I was always editing like short films. And I got into short films through Film Independence Project Involve, which is a fellowship that they have every year. They like they invite 30 filmmakers, like five directors, writers, producers, cinematographers, editors, and I was one of the editors. And what they do is uh they kind of do like the studio style from writing to pre-production production all the way to post. And so at the end of the fellowship, we create, we are put in teams and we create uh a short film. Yeah, so that was kind of like the start of me working in independent um filmmaking. Because after that, I made some really, really good friends, went on to collaborate and make more short films, which led to meeting other producers, which led to meeting other directors, hence Russell Goldman, um, which I edited Return to Sender, the short film of Sender.

SPEAKER_01 16:23

Oh, okay.

SPEAKER_00 16:25

And that was five years ago or six years ago.

SPEAKER_01 16:28

Oh wow, yeah, and so and then that led to the feature.

SPEAKER_00 16:32

Yes. So like during that time, Russell, once he did it, he worked on the script, was like really pushing hard for people to see the short. Again, it was a proof of concept as well. It had a really good festival run. Um, and so yeah, he's he was developing it all this time looking for financing, trying to get talent on on board with it.

SPEAKER_01 17:01

Chicago's best kept secret? It's not deep dish. It's Joel MySonette Photography. He's legitimately the best, and it's about time everybody knew. Actors, execs, LinkedIn Lurkers, book at my sonetphotography.com. And thank me later. On that note, I would like to read you something. From from Variety. Editor Marco Rosa's montage and abrupt cuts give the proceedings an electric energy and deliberate discomfort. Dude, that's freaking awesome.

SPEAKER_00 17:51

Thank you. Thank you. Um, yeah, it was discomforting editing it too.

SPEAKER_01 17:56

But like you got a shout out on variety, and it wasn't the only quote that was out there. Like several publications gave you specifically a shout-out. What do you think the editing kind of produced for the audience for it to be recognized so much? Because sometimes we don't we see the movie and we're like, oh, the director did a great job, or the actors were great. But not everybody like pays attention to the editing. What do you think you know was a little different from Sent for Sender?

SPEAKER_00 18:27

Because it's a psychological thriller. For those who don't know, it's about a woman who's in a recovery who's who recently started her recovery journey. Um, she starts to go into paranoia as she starts receiving a bunch of boxes, like a bunch of boxes that she didn't order. Like she ordered a bunch, she's moved into this new apartment. Of course, she does order a few packages, but then all these other packages start coming and they feel very targeted, and she's just like, who's doing this? And so, as well as you know, starting recovery, being off of you know, uh a re recovering alcoholic, her brain's just kind of like very scattered brain.

SPEAKER_01 19:09

And you made so I watched it. Um I was there, I was there, yeah, of course. Um, and like what you're explaining about like that feeling, you edited that feeling, like you made the audience feel the same thing that the actor was feeling, and I think that that was it's like immersive, you know, immersive theater. It was like an immersive film in that way, right?

SPEAKER_00 19:33

It it's kind of crazy that it came to be like that because we were me and the Russell were just like behind this wall, we had all these post-its and we had all the scenes lined up, but we kind of were just like looking at each scene and how they like connected with each other. And what was uh Julia who's played by Brit Lauer? Um, what was her emotional arc? And some of them had the same emotions to them, and some of them supported each other, so we started like blending them together, and we would see like A to B arcs and be from scenes, like three to four scenes meshed together. So it kind of became this like how do we just like combine all these like three or four scenes together, and what what um what visuals connect as well, and so uh, and then of course we had some music that would help inspire us for it, and that's kind of like what really um influenced like the editing style of it, and and and and it works uh surprisingly. I mean, I was surprised by it as well.

SPEAKER_01 20:46

Man, give it up for post-its. I think uh I I live with post-its, uh, I have like several around right now. Yeah, um yeah, they definitely helped the process. Um I also color code the post-its. Oh I like that, right? I know. Yeah, you change you change up the color.

SPEAKER_00 21:03

Do you do the neon the neon or the pastel colors?

SPEAKER_01 21:08

I do the neon. Okay. Yeah, I like a neon. How about you?

SPEAKER_00 21:11

Are you uh um whatever I have. It's kind of like the personal one.

SPEAKER_01 21:17

Fair, fair. I like stationary for some reason. Like I'm I'm really big on stationary and always been like I have like a a blue pen and now I'm just getting into different colors. I digress though. And speaking of digressing, we're gonna do some hot cakes. They're like hot takes, but they stack up. All right. All right, you ready?

SPEAKER_00 21:38

Yep.

SPEAKER_01 21:39

What's the best Chicago pizza spot?

SPEAKER_00 21:42

I'll say pequately.

SPEAKER_01 21:45

LA or Chicago teams? Sports.

SPEAKER_00 21:48

Uh Chicago.

SPEAKER_01 21:50

One city forever, LA or Chicago. Um you gotta go, you gotta go, you gotta go.

SPEAKER_02 21:58

I'll say one second.

SPEAKER_01 22:00

Woo! Tea or coffee on a late night edit.

SPEAKER_00 22:03

Oh, tea every day.

SPEAKER_01 22:05

Best movie snack.

SPEAKER_00 22:07

Popcorn.

SPEAKER_01 22:09

LA has better food than Chicago, yes or no?

SPEAKER_00 22:11

Uh no.

SPEAKER_01 22:13

Favorite film festival?

SPEAKER_00 22:16

I would say soft pie. Yeah, soft pie.

SPEAKER_01 22:19

Yeah. Biggest actor pet peeve on screen.

SPEAKER_00 22:23

I mean, an editor pet peeve would be they just constantly moving and bouncing around. Like they're just don't stay still. Like stay still. Stay still.

SPEAKER_01 22:33

Don't move. Football over film on a Sunday?

SPEAKER_00 22:37

Ooh. Depends on the season, but football.

SPEAKER_01 22:41

Favorite paranormal creature. Go.

unknown 22:44

Oh.

SPEAKER_00 22:46

I don't know why alien just popped in my head though, but that's like my favorite.

SPEAKER_01 22:49

Well, then we'll go with that.

SPEAKER_00 22:52

Some some would say it's paranormal, someone would say that.

SPEAKER_01 22:56

Yeah. Yeah. Yeah. Or adjacent, you know. Yeah. Yeah. Um, what is your favorite tea?

SPEAKER_00 23:04

Tea? Green tea.

SPEAKER_01 23:05

Green tea? Yeah. Just straight up? Uh yeah.

SPEAKER_00 23:08

Well, uh, it depends. It depends on the season. Senchas are really good. I mean, they all come from the same, but it depends how they're brewed, like how much sunlight they get, how much they don't. Oh, you're like a connoisseur. I I love tea. Like I drink maybe about like three to four cups of tea a day. Um, green tea is really good.

SPEAKER_01 23:29

That's a lot of caffeine. Um, right?

SPEAKER_00 23:32

Not as much as green tea?

SPEAKER_01 23:33

I mean, it does coffee.

SPEAKER_00 23:35

Right. Green tea only has like maybe it's very, it's like not even 30 milligrams of caffeine, where it's just like okay. Like coffee definitely has like 10 times more caffeine in one cup as one cup of tea.

SPEAKER_01 23:52

So did you ever were you ever in into coffee?

SPEAKER_00 23:55

No. No. Never a coffee drinker.

SPEAKER_01 23:59

Wow.

SPEAKER_00 23:59

I don't I never really liked the taste of it growing up. Like my father used to drink it all the time, but I didn't. Um, and the only reason why I got into funny reason why I got into tea is because I used to, when I lived in Chicago, uh, we just go out all the time, have a great time, lots of beers, and then during the week, I think I read an article and was like, green tea helps, has a bunch of antioxidants and helps with the liver. And I was like, I should probably drink this during the week to prepare me for the weekend.

SPEAKER_01 24:32

Yeah. That's my hey, that's like adulting, right?

SPEAKER_00 24:36

That was that was probably like my first adulting decision I started making.

SPEAKER_01 24:41

And it stuck. That's awesome.

SPEAKER_00 24:43

Yes.

SPEAKER_01 24:44

Um, and we do like to get weird on this podcast, but I don't know how weird you're gonna get because you were like paranormal, alien. Um but like are you like are you Googling anything right now that's like paranormal, paranormal, adjacent, any rabbit holes? Do you believe in anything? It's a little weird, any conspiracy, paranormal stuff? Have you ever seen a ghost?

SPEAKER_00 25:10

Never seen okay, funny enough. It's not that I don't believe in this, but nothing's ever personally happened to me. Or maybe I just don't notice it and I'm very naive to it. But I was staying at the Stanley Hotel in Colorado, which is uh the the Stanley Hotels where Stephen King was influenced for the shiny.

SPEAKER_01 25:32

Oh, so I was there. What were you doing? Were you on a job or something?

SPEAKER_00 25:37

Um, yeah, I was on a like a uh a filmmaking retreat, basically.

SPEAKER_01 25:42

Oh, that's fun.

SPEAKER_00 25:43

Yeah, yeah. And so it's it's funny because there's all these like ghost tours and magic shows, and even like one time at like 1 a.m. there's like people walking around the hotel and a tour guy. I mean, the only cool things that it wasn't paranormal things was the nature because it's in Colorado in the Rockies, but there's the only thing I was watching out for were elk and black bears.

SPEAKER_01 26:09

Oh, yeah. No, that's real. That's that's real.

SPEAKER_00 26:12

That's real.

SPEAKER_01 26:12

It's a real fear. Yeah, yeah, yeah. It count, it counts. Right, right.

SPEAKER_00 26:17

So, yeah, I don't want to say I'm not gonna disregard paranormal activity, but uh, it hasn't happened to me to me.

SPEAKER_01 26:25

Have you worked on anything, any films that were uh scary, horror?

SPEAKER_00 26:31

Yeah, I worked on some short films. Um, one is by a friend named Juan Gill, he it's called Dead End.

SPEAKER_01 26:38

Um and it's how did you feel editing that? Yeah, it was fun.

SPEAKER_00 26:42

Like it was fun doing some jump scares and stuff. Like that editing, I'll specify this. Like, editing um horror films is doesn't like freak me out or anything. It's great. I actually like it and I like building like the tension with it and the suspense. But I will say, gore, like blood and stuff, kind of freaks me out a little bit. Uh and one thing in Cender, there is some blood spillage in it. And when I saw the dailies, I like I almost fainted.

SPEAKER_01 27:19

Did you?

SPEAKER_00 27:20

Yeah, yeah, yeah. So I was like watching the footage, and then I saw the blood like spilling, and then I got like I felt like my my sugar level was dropped.

SPEAKER_01 27:28

You're like, I'm going down.

SPEAKER_00 27:30

I'm like, oh my gosh, what's happening? And I got really cold and chills, and then I like ran to the livery near and like lay down for a second. I was like, whoa, what's happening? Like, why did I have that effect?

SPEAKER_02 27:40

Yeah.

SPEAKER_00 27:41

And then I shook it off, shook it off, shook it off, went back to it, pushed play on the daily again, and then it happened to me again. Uh, and I was like, oh, I've never felt this, like seeing blood like that. Um, and I laid down. Uh, I think I had like a granola bar afterwards, and I was like, I really gotta push through this because I have to edit this scene. You have to edit, I have to edit this. So I kind of like stared at it and like scrubbed, scrubbed through the footage and watch it go and like watch the blood spill. And then I felt better after that. But that was the first time I've ever gotten queasy like that, like editing something.

SPEAKER_01 28:18

That's funny, it's really funny. Uh, and before we go, I did want to talk about Strange but perfect.

SPEAKER_00 28:25

So Strange but Perfect is a is a comedy drama that I'm currently editing, which is totally opposite of Sender, which is the psychological thriller. Um, but yeah, Strange but perfect is is a is a really sweet film about uh uh which could be a thriller. Telling somebody this, they told me it could be a thriller when I told them what it was about. And it's about a man who comes who goes to visit his grandmother, but finds out his grandmother passed away and left all her things, like left the home and everything to a stranger he doesn't know.

SPEAKER_01 29:02

And so yeah, that could be the beginnings of a thriller.

SPEAKER_00 29:05

Yeah, it could be, but it's actually a very hard mom come instead. It's a very comedy drama, like good film movie about somebody like really you know having the same connection with their grandmother, and um yeah, it's it's got a lot of good feel-good moments.

SPEAKER_01 29:23

That's amazing. Well, thank you so much for being on the podcast. This has been very, very fun.

SPEAKER_00 29:28

Yeah, thank you so much. This is great. Big fan.

SPEAKER_01 29:33

Thank you. Anyone else find his voice so soothing? I was just like lulled into a trance. Uh, he should make some meditation music. Like, and now I am editing another film. I love it. It's like nothing like mine where I'm like um thank you so much, Marco, for being on the podcast. It's so, so fun. Uh, I learned a lot. I don't know about y'all. Um, please follow Marco at MRosas88 on Instagram. He's going places, people. If you liked, laughed, learned something on this podcast, please like, subscribe, send me a DM. Uh, tell me your deepest darkest secret. Um maybe don't do that. Uh, but thank you for listening. It really means a lot to uh me and Jacob and everybody else who works on the podcast. Thank you, thank you, thank you. Okay, bye. Ilse Will Say is an Intrepid entertainment podcast produced and edited by Jacob Kagel, music by Eric Facus, and photography by Joel MySonet. And I am your host, Ilse Sacharya Rivera. The views and opinions expressed on Ilse Will Say are entirely those of the host and guests, and do not reflect the views of any employers, sponsors, or innocent bystanders. This podcast is for entertainment purposes only. Nothing said here should be taken as professional advice, expert opinion, legal guidance, or a reason to DMS you conspiracy theories. We're here for the laps, y'all. Carry on