 Very good. Good to see the film festival back and back properly in all its forms. This is not online. This is back physically. Back in a physical event which is ultimately where these things tend to excel. They're not really built for an online space John. People want to be sitting in an audience. They want to be in a dark room. They want to be hearing other audience members and how they're reacting to it. Filmmakers particularly want to see their work screened in front of an audience to see what's working, to see what's not working, to see what they might possibly adapt the next time they make a film. And so that live aspect is hugely important in cinema. And obviously we're delighted that after two years of online, you know, has to be said we were happy that we were able to do something online, that we didn't have to stop the festival completely, we were able to continue to go into this sixth year, you know, taking our audience with us, I suppose, across those two years of COVID. But to be back in our home screen one at the Balleliffen Hotel on Friday week will be amazing. And the fact that it's in person as well, that means that afterwards then you can talk to some of the people, or some of the people behind the camera I should say can talk to the audience, or the audience can talk to them without a question and answer something that's well established at the festival. Absolutely. That's part of the, I suppose that's just part of the remit for any festival that they allow the filmmaker to talk directly to the audience and vice versa that the audience can ask the filmmaker or the cast or the crew, you know, the editor, the cinematographer, some of the actors about what the process was like bringing that idea to the screen. What was the theory behind it? What was the thinking? What was the inspiration? And maybe some of the difficulties that they faced in pulling that together to bring it from what was ultimately an idea at the beginning to a fully fledged film on screen for audience viewing. You have a great selection, a very interesting selection of films again and it opens with the new Sinead O'Connor biopic. Yes it does and nothing compares which for any fan of Sinead O'Connor or anyone who's interested in Sinead O'Connor at all and who in Ireland is not a fan of Sinead O'Connor and I mean, this is a personal highlight for me because I've been a huge fan of her from day one. I've seen her live twice. I follow her career, you know, closely and when I hear her music comes up, music coming on, it lifts my heart. I think she is, you know, she's an incredible singer, she's an incredible asset to the country and to be able to use this as our first film is a personal highlight for me. She charts her career really from the, I suppose, the early 80s right through to present day. The challenges that she faced as a human being but really just her meteoric rise to fame over those years, you know. Sometimes you underestimate just how famous she is and just how well known she is around the world. Absolutely and you go to any corner of the globe but sometimes you say Ireland and they're like Ireland, Ireland and you can say Sinead O'Connor or U2 and they're like Sinead O'Connor, Ireland, yeah U2 I know, you know, because it's through music or, you know, those are the things that bond us ultimately at an international level. So yeah, she's known on every corner of the globe. In fact, music is a recurring theme across the weekend. Yes it is and that kind of happened by accident rather than by, you know, forcing it or trying to put a particular theme on the weekend. We just, when you throw out this thing at the start of the year you just look at what people are submitting and then I suppose that the festival forms itself around those particular subject matters. So for instance, yes, we have Sinead O'Connor launching and then we have a number of other musical themes. Short films, short documentaries, one about a Danish violin player who's still, who's 83 and continued to teach students in Denmark, beautiful violin player. We have a sort of a partnership with the Any Show and Traditional Singing Circle. We're showing their new film which really is looking at a documentary about that whole community that is here in Any Show and in the Greater Donegal area. And we are also showing a song of Granite which is a film about Shanno singing. So Shanno's been an element of it as well. We're going to have a talk about the resurgence of Shanno singing and a talk about maybe the resurgence of Irish speaking in the county and in the greater country as well. And how does it work for shorter films? Do you show them like side by side? Are they part of a maybe together in an evening event? Exactly that. So we have actually, and this is why I suppose we are beginning to get a name for someone who's supporting an event that is really supporting independent Irish fellow makers particularly. We have six different programs of shorts. So each of those programs running for about 90 minutes will have maybe six to ten short films ranging from two minutes in length to 25 minutes probably being the top end of it. But so you could have six or eight or ten films sometimes then depending on the length. So people come in and what I like, I love short films. I'm a huge lover of short films in general because you can sit in to watch it and it has start, middle and end. The narrative all comes together or doesn't in that short space of time. And I love that idea. And for the smaller, for the kind of population now that requires them to be, what's the word I'm looking for? This instant gratification generation let's say who are like a one minute piece on TikTok or a one minute piece on Facebook. This short movies really fit into that kind of that new idea worldwide. And it's, I mean, the length vary and the themes vary too. We mentioned just a lot of films on the theme of music but also Micah Crisis for instance is featured. Yeah, the Micah Crisis has come up in a number of short films only. I don't think we have a feature on it but we have one 25 minute piece and we have another couple of short five and ten minute pieces. Yeah, I mean, obviously, you know, content kind of reflects the world that we live in. So whatever the issues of the day, you mentioned at the start of this when you were introducing that, you know, there's a lot more documentaries. And yes, there's a lot more documentaries because there's a lot more things happening in the world. And I think, you know, that document, filmmakers tend to reflect the world that we live in and whether that's through some of the issues of the day, you know, around the cost of living or, you know, Micah or whatever that is, we find that reflected in the stuff that's submitted. So, yeah, we have a couple of really excellent, really excellent work on the Micah Crisis alone and then other issues that are affecting the county and the country at large as well. And how does it work? Do you just put the word out there that, you know, you're open for submissions and then you take the, all the work that is submitted and you sit down and go through it and see what makes it cut or what might be interesting or what's topical? Exactly that. So we put out a call through a website called Film Freeway, which is the internationally renowned main access point for filmmakers to submit their work. So basically once Friday, once Sunday, once the last showing is over on Sunday, we'll open that up again for 2023 and the films will just start coming in. People are beginning to know what we're about now in terms of what our remit is and what kind of films we show and that we are interested in more sort of documentary and socio-political documentary around that stuff, you know, that has a meaning and has, you know, asks questions and creates discussions around the film screened. So people will look at those and go, you know, if they've got something that's in that kind of realm, then they think we would be a good fit for that. So we go through them. We obviously have a limited time. It's two and a half days. It's one film on the Friday night, which is our launch, which is the Chanel Conner film. And then it's just all day Saturday, all day Sunday. But, you know, there's a limited capacity in terms of how many films you can show there. It's not running for a week. It's not like the Galway film that runs for a week. So we have to be kind of selective, but it also means that the audience is getting the very best quality of stuff to watch and that we curate for them. But it doesn't end with the film festival because you have a monthly film club now as well. Yes, we do. That's been going well. Yeah, it's going really well, actually. It's in conjunction with Changemakers, Donegal and Concern Worldwide. And actually Concern are coming up to the documentary screening on the Saturday, which will be run in sponsorship with Concern Worldwide and Donegal Changemakers. It's been hugely successful, again, showing films that ask questions, that create discussions around the environment, around, you know, domestic violence, around what was the last one we did, around life on the border, actually, between Donegal Derry and Tarone. So that has proved to be a really beneficial thing. You know what it is? Bringing the arts into rural areas at Donegal that maybe don't see them on a monthly basis. And people will know that on the first Friday of every month, you know, I can be in Balleliffen or I can be in Climany, and we're going to watch some film and have a discussion around it. Brilliant. Well, it's on weekend after this. Friday, a week to open on the two weeks. Yeah. And more information can be got, I presume, on the website. The website is disappearherefilmfest.com. All right, brilliant. Well, this is the best look with it. Hope it all goes to plan. Michael, appreciate you taking time. Thank you, Tom. Thank you, sir.