Keith wanders LA's Atwater Village with acclaimed producer Megan Gilbride—a co-conspirator on TOWER, A SONG FOR YOU, and DEAR MR. BRODY. We stroll the neighborhood, two old friends and frequent collaborators, outlining just how Megan's the "producer kind of crazy" and not the "director kind of crazy." Megan's got theories and she has opinions—and she's got the experience to back them all up. This wide-ranging talk covers a whole lot, like… the ethics of authenticity, how the budget tells a story, community building in the doc-making space, and the difference between journalism and cinema.  Plus: creeping on a stranger's house to smell juniper trees, the Princess Bride theory of medium-specific storytelling, and why Megan won't shoot 70mm "if there's no wide shots in the fucking movie." The producer of WHERE SOLDIERS COME FROM, LOVERS OF HATE, and FATHOM makes a case for JAWS, THE LIFE AND TIMES OF HARVEY MILK, ALL THAT JAZZ and the NY EXPORT: OPUS JAZZ—or as she puts it: going to church… watching movies… making fucking cinema. Discussion Links: TOWER (2016) | DEAR MR. BRODY (2021) | FATHOM (2021) | LOVERS OF HATE (2010) | WHERE SOLDIERS COME FROM (2011) | THE REASON I JUMP (2020) | THE PLEA (2024) | JAWS (1975) | ALL THAT JAZZ (1979) | THE LIFE AND TIMES OF HARVEY MILK (1984) | THE PRINCESS BRIDE (1987) | NY EXPORT: OPUS JAZZ (2010) | 32 SOUNDS (2022)   Timestamps: