Reservation Dogs | Tazbah Rose Chavez, Sterlin Harjo

evening are you ready for some television in a movie [Applause] theater welcome to the Billy Wilder theater home of the public programs for the UCLA film and television archive my name is mayom haong and I'm the director of the archive thank you for joining us for this special edition of our ongoing making wave series centering bipo filmmakers and their work through conversation and screenings tonight we honor the landmark indigenous American television series reservation dogs and the show's gifted filmmakers and the show's gifted makers sterlin Haro and tasa Rose Chavez before we begin we're joined by Dr Shannon speed here to welcome and open the screening Dr speed is a citizen of the chick Shaw Nation at UCLA Dr speed serves as the Director of the American Indian study center and is a professor of gender studies in anthropology she has worked for the last two decades on issues of indigenous autonomy social justice and activist research this essential work is reflected in her most recent publication incarcerated stories indigenous women migrants in the settler capitalist State Dr speed thank you for joining [Applause] us chma thank you hash lukma greetings welcome everyone on behalf of the American Indian studies Center we're very excited about this evening's program Gabrielino Tanga yag Mak aanii manol that's my personal um land acknowledgement as a guest on these lands I will now give the institutional one UCLA as a land grant institution acknowledges the Gabrielino tongva peoples as the traditional land caretakers of toang that's what we're currently calling Los Angeles we pay our respects to the huk vuam ancestors aam elders and aim our relations past present and emerging those word translations were from the tongva but I'll say goodbye in chikasa ay Al Yak enjoy the show we have more hang on one sec um thank you so much Dr speed um we'd like to also thank all of those who's made tonight's event possible archive screenings in the Wilder are free thanks to a gift from an anonymous donor and we're grateful for their support and to the Hammer Museum for our ongoing partnership underwriting for tonight's screening was provided by the Golden Globes Foundation the John H Mitchell television programming endowment and UCLA's American Indian study center extra special thanks are due to our essential collaborators programmatic partners for the evening the American Indian study center at UCLA we'd specifically like to thank the center's event specialist Pamela J Peters for co-organizing tonight's [Applause] program two years ago pamel emailed and said to the archive wouldn't it be great if we did this and I said yes let's do it and then uh just this past June while in the lobby here at at the Billy Wilder theater um for the imagining indigenous Cinema series that we did um in June um I turned to her and said hey let's do that thing we talked about so here we are um for the archives contributors there are too many to mention by name but I'd like to call out our wonderful program film programmer Amanda Salazar for her crucial efforts in shaping tonight's program and our John H Mitchell television curator Mark Quigley for his creative input and support we'd also so we'd also like to thank the generous team at FX for their invaluable assistance all three seasons for fx's reservation dogs are now available on Hulu and we implore you to take them all in I also want to thank you our audiences for making it out here tonight when we envisioned the making wave series to Center by Pac filmmakers the idea was really that we wanted to make a space where within the archive We can question the dominant paradigms narratives and stories that we've been told um throughout our lives and so tonight this is part of that series and with everything going on I just really appreciate that you are present here to hold space for questioning those narratives that we've been told and for enjoying some really wonderful Artistry so we're here to screen two indelible episodes of reservation dogs that illuminate the Brilliance of the groundbreaking peab award winning Series so tonight as part of the celebration we're incredibly fortunate and honored to be joined by two esteemed award-winning guests series co-creator and executive producer Stan Haro as I mentioned and series executive producer Taza Rose Chavez so I'll just talk very briefly about the episodes that we're watching and then we'll um welcome them on stage for a brief hello um our first screening uh first episode screening tonight um why Denette was directed and written by tasba Rose Chavez variety held the standout episode as a game changer for audiences in terms of how it spotlights its female cast after widenet we will screen dear lady written by sterland Haro and directed by danis goulette of the episode which examines the horror of native boarding schools Salon noted dear lady exemplifies the enriching cultural potential that can be achieved on TV when underrepresented voices are given space to tell their stories their way following the screening sterlin and tasa will be joined by our esteemed moderator this evening Dr David shorter for conversation Dr shorter is a tenear professor at UCLA and director of archive of healing having been raised by a kuranda and learn learning with healers in indigenous communities as well as in Japan he serves as Editor in Chief of for the American Indian culture and research Journal a leading scholarly journal in the field of indigenous studies thank you Dr shorter for joining us and without further Ado please join me in welcoming our special guests tasa and Sterling to share a little what you'll see tonight thank [Applause] you steal another water over here uh hi I'm sterlin hardio Manu Taz Chavez uh hope you enjoy the episodes before we go I would like to say that um love you [ __ ] was something that she and I said lovingly to each other along with tyen bird and that's where that came from so that's how close we all are making the show would you like to add oh I don't know a lot of pressure um no I just yeah we should take a picture get get me behind like yeah um would you like a lens flare yeah lens flare light's a little lower no um I just want to say thank you everybody for coming out it's so cool to be here to see all of you I'm an alumni of UCLA so this is very special for me um I used to stand at the top of Han step and look out and be like what am I going to do with my life like how am I going to make a difference like this college makes you believe that you can and so it's very exciting to be here and to be screening these episodes with you please join me and welcoming tonight's moderator Dr David Delgado shorter and our special guests Sterling harjo and tsba Rose Chavez to the [Applause] stage thank you thank [Applause] you this is your school you're Alma Moder you have to be in the center see how he centers [Laughter] women I mean both these episodes were directed by women just centering thank you so much for being here I have spent weeks throwing myself into the show and recognizing just episode after episode after episode that all I wanted to do here is say let's just give a stand inovation for like 40 minutes how good this series is and what a benchmark it [Applause] is all right now you all have to stand up and collap because he asked you to do a standing ovation and I have to have a photo of it one two three [Music] [Applause] [Music] [Applause] [Music] [Applause] go tell tell no one that was planned he didn't direct you to do that we'll cut that from the Youtube video um well really because she's a bruin we're going to just forget out Sterling for the next 30 minutes and focus on that episode was unbelievable for those of us who've watched native representation on film but particularly native representation of women on film that episode stands out was it a story you've been dying to tell for a while had you already known that when you had the chance you were going to show native women having fun yeah um yeah absolutely I I think when the this episode came together in the writer's room it was one of those things that was such a joy to be able to pitch on Joy for native women agency of native women sexiness for native women fulfilling our 90s dance dreams for women um and um yeah I I think that that's kind of what I aim in terms of my storytelling is the the fun that we're able to have The Sisterhood that we have the joy that we have um and I think it's so important because it's it's one of our greatest strengths as native women you know you contrast that with the dear lady episode it's like that dear lady episode is all of our histories and yet those women are able to have the strength Generations later to do IHS conference you know I think that's a testament to the to the power of humor and Native comedy thank you so much for that and you used a word there that I actually was going to follow up on you use this like notion of generation a lot of people particularly who want to help you know issues of decolonization we'd think about intergenerational trauma and that can be such a heavy word was there literally something taking place on set with the actresses and actors thinking that it's so nice to be able to do this instead of put on feathers and animal skin to play roles you can feel the joy like in the episode and it's like the actors the crew directing everything and everyone's so happy to be doing it was such a relief yeah I mean it it was a very good vibe and I think you know in terms of the the actresses um you know the dance uh I'm going to call it regalia even those costumes um you know they had a heavy hand in choosing how they wanted to be seen you know when I talk to costumes they're like what what should each person have and I told our costume designer I want you to talk to Sarah and to Jana and to Natalie and Tamara and what how do they feel best what do they feel like their best selves and and I think one of the greatest compliments I've ever had on this episode is from Sarah pmy who's in this audience and she's it's like who's who so you spot her she's not really here though because she oh wait [ __ ] take the she's not here she's lying she's not here she's her spirit is anyways I I just want to say she's here with us in spirit and um one of the greatest compliments I think for this episode is that she told me that this is one of the few things that she's watched and not seen herself in in terms of like she doesn't feel like she's that actress like she doesn't feel like she's watching herself and I think that's like a huge Testament to having the freedom to really just play a person who's complex and real and having fun um I mean even when they were choosing their swimsuits at the pool I only had one request it's that the res keini was in there somewhere and that was Natalie but everybody else like got to wear what they wanted to that was really important making this is I felt like it was more important that all of them feel their best and and like most vivacious selves in in making this amazing I couldn't help but think how many times and and previous native authors have said this that you really have to be the spiritual wise Indian for popular audiences to like you and you went like uh marble dildo like did you write that in orally was there any like on the set like let's just do oh no that was in the script that was pitched in the writer room you wanted that too yeah we wanted a crystal dildo yeah that it's funny cuz I was when I I didn't remember this but I when I was watching it the idea for that episode like before it was the IHS episode this kind of how the writers room works is like before that I'd been thinking about a um kind of like a hangover type thing and then I had the idea of Bobby Lee which ended up being Bobby Lee running down the hall uh and couldn't get in the doors but originally it was him uh just crawling out of a window window in the on the res and like running and like trying and he's like in his underwear oh he was going to be naked I think in that one and um and then just you you see how like and then we in the writer room and it just like evolves into like what it became you know yeah I I I'm going to stick with this in terms of like commonplace representation so a lot of times I've had either native artists or native writers tell me that they're almost expected to portray something from within their tribal culture in order to get popular audience and that's almost always been spirituality so Sterling for some of the you might want to say larger all three um seasons did you wrestle with how much to give of authentic song authentic mostly the I'm thinking of the funeral scenes but also when you have ancestors come in and you do a slow Fade with their presence did that feel to you like you were responsible for representing cultural Secrets a perfect way no uh I think that it was such a like blow up of all the horeshit that we've seen for so long and it was such a like easy thing to do all you had to do is tell the truth and all you had to do was not be afraid to tell the truth and that was it and like literally that was The Guiding line and like also you know whenever we were first introduced here it was like showing a TV show in a film movie well the whole time I would say like we're not making a TV show we are not making a TV show like we are making films you know we were making Cinema you know and um but that was like the easiest thing because it's from my community I'm not going to show a funeral without showing the truth of how that funeral works and the songs that are sung at that funeral I always kind of felt like before reservation dogs it was always like I was really hoping to have a chance to do this but it felt like this race and it felt like some jackass was going to get the opportunity and we're going to [ __ ] it up for the next 10 years for us all because they're afraid to tell the truth and all we had to do was show exactly how life hey show exactly how life is and and like yes we wear slides with socks and basketball shorts sometimes you know like it's not insane just tell the truth and that's such I think for any filmmakers and like and we would talk about that in the writer's room for any filmmakers or storytellers or writers that's such a like freeing thing like you don't have to be magic you just tell the truth you know you have to be good at writing but tell the truth you know I would like to hear your take on that too like do you feel like you're constantly put upon either by yourself or some view you have to the audience to portray indigenous culture a certain way like is it there for you I think it's I agree with you know Sterling that all it comes down to is telling the truth and if you're not doing that then that's how we're getting poor representation but the truth also means that we're not perfect and the truth means that we don't overcorrect also um I think that sometimes there's like um a quest to correct the narrative in a way that sometimes can go like over correcting to where we like think about trying to portray each other as like perfect and no issues and we like pray under trees all day and like some of us but some of us don't and some of us like you know and so I think what's beautiful about this show is that we're depicting the truth because every character you see in the show we all have in our lives you know back in our communities on our res like these are people that we really know and I think that involves being messy it involves being imperfect it involves being flawed and so I think that's also one of the things the keys to being able to tell truthful representation is like you got to do it all um and and not not like um get too rigid around like the representation thing yeah I last one about representation it's the flip side of the joy one which is that I when in my classes on colonialism I sort of struggle how much of the violence to show because I feel like it's almost a different type of violence that I'm now perpetrating through like I don't know voyerism or something do you have that do you wrestle with that sometimes particularly in that episode which kind of kills me I think that it comes back to truth you know it's like you can tell if someone's not being truthful with violence you can feel if it's gratuitous you can feel if it shouldn't be there but if you're telling the truth it feels like it should be there and we you know there were times where I whenever she stabbing the guy at the end I wanted everyone to feel some relief that like whoa she's she's doing it you know um but I didn't want to show the violence on the children you know there you know you have to like be responsible and like decide how you're going to tell that story um but I think always it's just like to be truthful you know we get wild I mean like I never met the actual dear lady you know like I've never that's because you're a good man I know she's never asked me if I wanted to touch her Hooves you know um so truth is weird right like it's not I'm not saying you can't do Fantastical things and fantasy and go insane and we're great storytellers and we we have magic in our stories you know like don't kill that but there's truth within that you know it's like are you telling the truth like are you are you portraying them even dear lady a truth you know and if you were to not feel her truth in this you would know um she has a truth as a character you know so it's about telling the truth in all ways and I think that um you know especially violence you know you have to be responsible with that I think and I now that you say it I actually see it in your episode too like they were they were truthfully feeling sexy and great on that dance floor and they were truly stoned off their asses both things are true so um often times we don't get a lot of insights into the the other side the film making side and the casting was just unbelievable for this series I mean can you talk a little bit about what what you think made that happen I I can't I can't recall her name your Angelique mid Thunder did she do all three seasons yeah um I hired her I had worked with her before on a show that went away um but and and you know she's uh married to David mid Thunder she's mother of Amber mid Thunder who's the star of prey uh just a longtime friend member of the community and I knew that she would like get down and dirty with me and we'd go find people and you know we went to Oklahoma and different reservations and got tapes in and and the whole thing is like you know we don't have a lot of people in Hollywood acting because we've not had opportunities to do that so you have to go to the community and that's where you find people and um you know that's what we did and we just went and like so many people came and it was crazy you know and there's like um just an amazing cast of people that I I'd worked with before or known obviously some of the legends that are in it but then the kids you know it was like they were all not had worked much before I mean Lane who plays cheese um literally like his mom bribed him with McDonald's when he was 14 to take an acting class and so he did it no and bribed him to go to the audition so he he was in an acting class cuz he had been playing video games and she was trying to get him out of the house then she bribed him with like a Happy Meal or something to go audition and then like he get you know and he and he's amazing and he doesn't even know he's amazing he's just like he is cheese you know and like and same with Wily Jack she is willly Jack like that is Paulina so I met them she was auditioning for Laura Dannon and then she auditioned for cheese cuz I was just like we got to put her somewhere and then like in the end it was like I'll just mold those two characters to fit them like that's how amazing their personality is you know so those two characters were just kind of like little Wise Guys you know just kind of Sidekicks and but then they brought this like thunder to those roles that was like yeah I had to like give them more you know and then everyone that almost got the part of the kids they were in line they it was like kind of one big group that was like the finals you know and we did an audition here the ones that didn't get it became the bad guy gang like Jackie like like for instance like Jackie wasn't um Jackie's charact Jackie didn't exist but she had auditioned for Aura and she was so good and like almost got it that I wrote Jackie as the leader of this gang who's blonde and she came in blonde and so that whole thing was just based on her you know so we were really lucky a lot of ways I mean Lane goes on to being like the fabl men's you know like um really lucky but like also I think I'd worked with non-actors a lot and mixed them with trained actors so I'm good at that and I'm not afraid to do that and I think you have to not be afraid with a project like this to put people together my family's in it you know like like friends of ours are in it um tsbo was in it but she got cut no that's how you know you're good at your job that you cut yourself when you suck um but even um the the woman from um Thea newest who was the Elder what's that is it the dildos yeah um she's a respected Elder in Indian country you know she and she's like um a wellness Advocate and you know I thought about her for casting she's a first person I told St obviously ster we have to we have to get a tape from this woman she's never acted before so I'm not sure what's going to come in but part of um that scene came from an inspiration of her in real life of a sex talk she gave to some of my girlfriends that she was at a conference with and so I was like who better to deliver this information than the woman who inspired this scene and so so you know angelique's great because I could tell Angelique like I I wanted I want Thea to read for this and so she goes and she goes on her Instagram or Facebook or however she gets held to people and she gets these tapes in so it it also happens in those ways really organically also amazing I I feel like there's such a generational difference or I'm feeling really old some of the great native actors that you had on this series was blowing me away when they'd walk in do the younger kids even know what they're doing when they're in a scene with this person are they familiar with history I remember one day Z or CH L Lane was doing a scene with um West study and Zan and his mom was freak Kelly was freaking out and and she's and L just like you know he's like just talk hey what' you eat for lunch you know like that's and um uh he was like yeah my mom's really freaked out right or she's like really like she's like beside herself I was like what do what do you mean he's like cuz I'm acting with West studi and on I didn't even know who they were but like she showed me like had no clue you know but then of course some of them know like amazing you know but also like Lane doesn't get too surprised here's a really funny story we were at the there was a w show and Lane was there and Jeff Bridges was across the room and all of a sudden Jeff you just hear Jeff Bridges go cheese and like went and hugged him and he's just like and he also at award shows goes around taking photos with all of the celebrities well and then you have a person like defero who very much does know who these people are because he just respects the craft so much that um you know when he was doing the Maximus episode in season 3 with graham green he knew who Graham was and he stepped up like he showed up to rehearsals he didn't even have a script on him when they were doing rehearsals because he really wanted to bring his aame because he knew what it meant to work with someone like Graham yeah incredible I mean congratulations on just who you got and I think there's something else going on there's more than Kismet there's something mythical and magical about how perfect the whole thing ended up um now on the opposite side of magical let's talk about the industry just for a couple like I remember I had Gary farmer out to Indiana University after dead man the Jim jarmo film and I was like oh this is incredible you mean you're in this major film and he was like yeah it'll be seven years before I get another moment because Indians only are popular every seven years and so he was he literally counted down he's like yeah dance with wols and then you pow Highway then you and I was like wow oh wow shoot you're going to have to wait a while um has anything changed on that I think so I think it's a different generation of people that you know if you look back at some of those older films no one was like opening doors for anyone and pulling people up to do stuff and like if you um and that's not anyone's fault it's just you know um you had to wait for the next western or whatever but like with this show it's like every one of our writers every one of the writers in the writers room has their own show that is like in development right now you know that's going to be r B when it comes out and that's part of like ending it I mean also I thought it was a perfect ending but it's also like well we got we don't have a lot of us like let's get out of the way and let's keep making other shows you know and so I could have like kept this going for a couple of more years like FX would have been totally down with that but like it felt like it's time like it's time it feels like a good ending let's not drag it out other shows are being made um like I don't know like how many different how many new TV directors were created on the show like almost all of us you know are all of a sudden TV directors now or TV writers or whatever and everyone has a show and every I think it's going to be um I think we've killed that and I think it's because we've done this we were raised right and we were we've done this we're doing this industry in a way that we were taught we should which is bringing other people along and having it be Community instead of like hierarchical and me saying like [ __ ] all y'all like I'm going to do this and then I'm going to do my own show and I'm G drag the [ __ ] out till I die you know like that's not what I'm wanting to do and I think it's changed I think it will change yeah it's changed um I'll give you an example of how I also think it has changed from you know even the writers room I know that you know you see the the face of it changing in the actors but behind the scenes I mean even like you know four years ago I was a staff writer and Resident alien I was the only native person in that room who was responsible with building out the native characters in that show the next show I went to R Falls half the room was native which I was like wow I never had native co-workers before um and then to go to reservation dogs and have an entirely indigenous riters room you know it's like each show that I went to became more indigenous and um I think that that is also happening behind the camera in the writing um there's so many Native writers in the wga and television writers in comparison to like four or five years ago and now that allows us to also go right on non-native shows even and sort of infiltrate from within and be able to place ourselves in other narratives so it just is this really amazing thing from even the the starting point of writing has changed a lot thank you I I want to come back at the very end here to go personal in this city I'm used to people not saying what project they're working on because you have no idea if the deals set or if they want to like talk about it so instead of like what's next though I'm super interested what's what you you want what's next what do you want yeah so instead of that what is next no start with Sterling because I love the whole First full circle of coming back toar alumni for the last question so what what would you love to do you tell how we hung out here we have a story before we're done so when we're done we'll tell you story but um what is next what do I want to do I don't know I'm doing it you know like um we made a show in the pandemic like literally we were about to shoot this pilot and the world came to a stop and then we had to stop we got shut shut down and then a few months later made the pilot and then I assembled The Writer's room and then we made the show and that's all we've done is made it in this pandemic so right now there's a little bit of like a Victory lap of like I'm going to say yes to every screening and every like you know cuz like I mean like if you think about like I was telling this some dinner but like I've never I never had a lot I mean in Oklahoma I did but like not like and which is wonderful but like I didn't go and and get like a lot of like hey good job in person it was a lot of messages that were sent to me because it was a pandemic so it's been nice to kind of just say I'm done with the show and I'm going to do some other things I have other show that is hopefully happening in at FX and then another show that I'm doing with danis gou that um is based on a podcast called stolen surviving St Michaels and so the director of uh the dear lady episode she and I are developing the sold a show to FX and we're making it there and then there's other shows and there's other features and so you know I just keep doing what I can what do I want to see question I don't want to make you like tell everyone what you're doing next if it's some sort of like studio secret so I sort of want to frame it like what do you want to do like it feels like you're at this perfect moment with this platform with this phenomenal Artistry you just showed the world people must be wanting you for a lot what do you want to do uh I want to do everything um and I you know I I would love to see us existing in various genres you know I would love to see us in romcoms I'd love to see us in horror um that's something I can't tell you what I'm doing but I am dipping into that realm um and I I just my thing is I really want to tell female native narratives that are messy and complex and funny and I I really have a desire to focus on our joy um but you know with everything that comes with that um and I'm also recently very interested interested in like the inner world of young Native men like I'm really interested in exploring like what that looks like um but yeah I just I just want to see us in in any genre we want to be in and I want to see us a part of other people's narratives as well um so yeah yeah that was one of the things with the show is like each episode was meant to be a different genre you know you have broad comedy you have uh horror you have like you know sort of a link later walk and talk you know you have a 70s episode you have um all like almost every episode is its kind of unique genre and the idea kind of behind that not just that that's cool to do but also shows that we can do everything like like there's like there's like in this industry in Hollywood they always love to find a yeah but we're not doing that these days I literally have heard in the last month yeah we're not doing shows like Atlanta and and um uh reservation dogs anymore and I didn't hear that from Executives but I've heard that from producers saying they're not doing that anymore no one's buying shows like that yeah it's just shifting you know because if the rider strike we're not doing Atlanta and reservation dogs type stuff like so [ __ ] like everything is always disproven in this town everything gets [ __ ] disproven every time you turn around I don't even know why they say anything and so part of it is like you know CU they're going to say once reservation talk dogs comes out people will start The Narrative of like oh but they can do that that like just the one thing like only only the one thing they can do but no we can do everything and we showed it with the show and that was part of the point of it you know yeah and I think that you know just to add to that I think it's really incredible for the directors that you had on this show because what it also does is because each episode was its own genre it pushes out a bunch of us who were able to direct on this show showing that you can go from a wide net to a Maximus episode to a California Dream and to to a dear lady that and and then when you come out your your portfolio as a director is pretty diverse because oftentimes what they also want to do in the industry is they want to say like the best question you probably ask this so what kind of stories do you want to tell or do you want to be a writer or a director more and do you want to do drama or do you want comedy I'm like I do it all like and and that's how I want we would hire you for this but you don't really do comedy do you and it's like I do I do do comedy you do do comedy you're freaking hilarious I'm not saying me I'm just in general I know I'm funny top 50 comedians of last year variety or whatever it was all right so the most popular question any person in the industry gets in the city and I can understand why the city attracts a lot of people who want to make things happen so sterlin like what's your advice young Native writers young Native creative types young Native maybe perhaps directors storytellers I mean always the same make stuff you know just make it like if you're waiting for permission from this funky town industry or anything you're never going to get it you have to just make stuff and I think that um you know if you that's what I did I just made stuff and I kept making it until one day they're like wow you made stuff like wow you could maybe handle this because you've made a lot of stuff um and I made it for nothing you know um and I think that's always the best way to do it is just make stuff um I would say stay curious and never stop learning always look at sort of what you already skills you already have and then look at the ones you need to fill in you know it's like it's you're never fully arrived and I think there's like always learn there's always growing there's always a new skill in in this medium to be mastering so one time I was here to speak at UCLA years ago and TSO was a student here and we had been friends the first time I met her I asked her we were in Park City at Sundance and I was in a grocery aisle with each other I mean we were shopping for a party because they don't sell alcohol on Sundays and I said what he said can you make fry bread like my first question and I said yes and then I nodded and we were just friends after that but um I was coming to UCLA to speak and TS and I were friends and so we were like oh well let's do something together and neither one of us were like doing anything in the industry very well and we didn't have a lot of money and we were like but let's go have a fancy dinner we were trying to feel fancy you know and so we went to laub Bell like on Franklin or whatever which we were nervous to even walk inside I was like do we have Indian syndrome like we don't think we're allowed in this establishment are we dressed good enough like what's happening you know um and we went we ordered wine and sat down and we ordered paninis and I don't know if you've ordered a la pupel Panini which is a good place but this one dish is insane it came out it's a panini that looks like every other Panini you've ever got at a at a convenience store and then just a bag of La chips like not even like poured into the plate not even like sliced and fried nothing it was just a bag of laay which I thought was crazy that they put on the plate it wasn't like next to the plate it was like this is part of your plating and we were kind of like disappointed you know and just kind of like ah this isn't as fancy as we thought so then I was like Sterling do you want to just get 40s listen to Tupac and we went and got 40s and listen and listened to Tupac the rest of the night and then read each other my bad poetry and her good poetry together that night on the UCLA Guest House room wherever I don't even know where that is on this campus but yeah at some point it was like very late and we were buzzed and we were reading poems and short stories to each other and we're like we're going to remember this someday when we're on stage at UCLA [Laughter] [Applause] well like you like you did with the show it's good to know when to end and to end it on your own terms um so one of the things one of the things I'm going to do is I'm going to ask you to please do not like do a surfing of the audience or anything right now just stay for a second because we have something else but I do want to ask everyone to just appreciate these two for the most amazing show they've thank you thank you you didn't even have to tell him to do that it's a real one hold [Applause] on wow that was satisfying we want to thank you very much for coming out tonight um we have a little gift from you for you guys from the UCLA American Indian study centure Killers killers of the flower Moon