Noshing With Richard Bakewell – February 1, 2024

Ira's Everything Bagel

Writer/Director, Roswell Delirium

This week on Ira’s Everything Bagel Podcast, host Ira Sternberg sits down with Richard Bakewell, the writer-director of Roswell Delirium, a character-driven science fiction drama that transports audiences back to the 1980s. The film explores a post-apocalyptic scenario where the United States is devastated by nuclear attacks, and survivors, suffering from radiation poisoning, pretend everything is normal. In this alien-themed episode, Richard shares his inspirations, the creative process behind the film, and his journey in the entertainment industry.

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Inspiration and Creation of Roswell Delirium

Starting During COVID

Richard Bakewell began writing Roswell Delirium during the COVID-19 pandemic, finding solace and creativity in the midst of global uncertainty. He describes how the boredom of quarantine spurred his imagination, leading him to create a unique blend of 80s nostalgia and science fiction. This period of isolation allowed him to delve deeply into the story, combining his love for the 80s with a fresh, dystopian twist.

A Trip to the Salton Sea

The eerie and desolate landscape of the Salton Sea in California provided Richard with the perfect backdrop for his film. During a trip to this haunting location, he was struck by its post-apocalyptic appearance, which perfectly matched the setting he envisioned for Roswell Delirium. The Salton Sea’s unique atmosphere and stark beauty heavily influenced the film’s visual style and thematic elements.

Combining Aliens and the 80s

Richard Bakewell’s love for the 80s, the era he grew up in, is evident throughout Roswell Delirium. He wanted to capture the essence of that decade, blending it seamlessly with a gripping science fiction narrative involving aliens. The film is peppered with “Easter eggs,” movie quotes, and song lyrics from the 80s, making it a nostalgic trip for viewers while delivering a fresh and thrilling storyline.

Casting and Selling the Sci-Fi Theme

Recruiting Known Actors from the 80s

One of the challenges Richard faced was convincing well-known actors from the 80s to join the cast of Roswell Delirium. He shares how he had to pitch the sci-fi concept passionately to attract these talents, highlighting the film’s unique blend of nostalgia and innovation. The cast of Roswell Delirium includes familiar faces from the era, adding authenticity and depth to the film.

Easter Eggs and References

For fans of the 80s, Roswell Delirium is a treasure trove of references and Easter eggs. Richard Bakewell meticulously included subtle nods to popular culture from the decade, enriching the viewing experience. These elements not only serve as a homage to the 80s but also enhance the film’s immersive quality, drawing viewers deeper into its world.

Richard Bakewell’s Journey in Entertainment

Early Life and Passion for Film

Growing up in northeastern Ohio, Richard Bakewell was the neighborhood kid obsessed with movies, television, and pop culture. Inspired by the storytelling traditions of the 1980s, he dreamed of becoming the next Steven Spielberg. His passion for cinema led him to pursue studies in directing at Columbia College in Chicago, where he soon realized his true calling lay in cinematography.

Career Shifts and Success

An internship opportunity with the iconic show “Cops” led Richard to relocate to Los Angeles in the 1990s. This move marked the beginning of a prolific career in the entertainment industry. Richard transitioned from directing to working behind the camera, where he found his niche as a cinematographer. His talent and dedication quickly earned him recognition, leading to opportunities to work on high-profile projects.

Commercial and Television Work

Richard Bakewell’s career expanded into corporate commercials and major promotional efforts. With his company and team, he produced numerous commercial, promotional, and industrial projects, collaborating with celebrities like Oprah Winfrey, Gordon Ramsay, Tyra Banks, Prince Harry, Mark Wahlberg, and Ringo Starr. His camera work has also been featured on popular television programs such as “Beat Shazam,” “Last Chance U,” “Cheer,” “World of Dance,” and Gordon Ramsay’s “The F Word.”

Exploring Roswell Delirium

Release Date and Availability

Roswell Delirium has garnered significant attention and anticipation. Fans are eager to know the roswell delirium release date and where to watch roswell delirium. The film’s release date and streaming options will be announced on Lightforce Pictures and Roswell Delirium’s Instagram.

Streaming Platforms

For those wondering how to watch Roswell Delirium, the movie will be available on various streaming platforms. Stay updated on the latest information about Roswell Delirium streaming by following the official social media channels and visiting the film’s page on Facebook.

Reviews and Reception

As the release date approaches, fans and critics alike are looking forward to Roswell Delirium reviews. Richard Bakewell’s unique blend of 80s nostalgia and science fiction is expected to captivate audiences. Early reviews and insights will be crucial in shaping the film’s reception and ongoing success.

Behind the Scenes and Production Insights

Camera Work and Cinematography

Richard Bakewell’s background in cinematography is evident in the stunning visuals of Roswell Delirium. His experience working on various television programs and commercials has honed his ability to create compelling imagery. The film’s aesthetic is a testament to his skill and creativity, providing a visually rich experience that complements its narrative depth.

Collaborative Efforts and Challenges

Bringing Roswell Delirium to life was a collaborative effort involving a dedicated team of professionals. Richard shares the challenges and triumphs of the production process, from securing locations to managing a diverse cast and crew. His leadership and vision were crucial in overcoming obstacles and ensuring the film’s successful completion.

Connecting with Richard Bakewell

Stay Updated and Engaged

For fans and followers who wish to stay updated on Richard Bakewell’s latest projects and insights, you can connect with him through various platforms. Follow Richard on Lightforce Pictures, Instagram, and Facebook for updates and behind-the-scenes content.

Personal Life and Interests

Balancing Work and Hobbies

Outside of his professional life, Richard Bakewell enjoys a range of hobbies and interests. His passion for storytelling extends beyond film and television, influencing various aspects of his life. Richard’s personal anecdotes provide a glimpse into the life of a director who balances intense professional responsibilities with rich personal experiences.

Richard Bakewell Podcast Episode Conclusion

This episode of Ira’s Everything Bagel Podcast provides an in-depth look at the life and career of Richard Bakewell, a creative force in the entertainment industry. From his early inspirations and career shifts to the creation of Roswell Delirium, Richard’s journey is marked by passion, resilience, and innovation. Tune in to hear Richard Bakewell discuss his experiences, the making of Roswell Delirium, and his vision for the future of storytelling.

For more engaging and insightful conversations, don’t forget to subscribe to Ira’s Everything Bagel Podcast. Stay connected with Richard Bakewell and explore his work through the links provided.

🔗 Useful Links:

• Watch the Roswell Delirium trailer.
• Visit Lightforce Pictures for more information on Richard Bakewell’s career and latest projects.
• Follow Roswell Delirium on Instagram for updates and behind-the-scenes content.
• Check out Roswell Delirium on Facebook.

FAQs About Richard Bakewell and Roswell Delirium

Who is Richard Bakewell?

Richard Bakewell is an award-winning director, producer, and director of photography known for his work in film and television. He graduated from Columbia College Chicago in 2003 and founded the production company Lightforce Pictures in 2004. His notable works include the feature film “Roswell Delirium,” as well as contributions to series like “Last Chance U” and “Wahl Street”​.

How old is Richard Bakewell?

As of 2024, Richard Bakewell’s age is not publicly specified in the sources available. He graduated from college in 2003, which suggests he is likely in his early to mid-40s, assuming he completed his undergraduate studies around the typical age range.

Where to watch Roswell Delirium?

“Roswell Delirium” can be watched on various streaming platforms. As of now, it is available on Amazon Prime Video, Apple TV, and Google Play Movies. You can also check for availability on other popular streaming services or the official website of the film for any updates on new platforms.

When does Roswell Delirium come out?

“Roswell Delirium” was released on July 7, 2023. Make sure to check the official release schedules or film announcements for any regional release date variations.

Is Roswell Delirium on Netflix?

As of now, “Roswell Delirium” is not available on Netflix. It is recommended to check Netflix’s catalog periodically as they frequently update their content. Alternatively, it is available on other streaming platforms like Amazon Prime Video and Google Play Movies.

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Richard Bakewell Podcast Epsiode Full Transcript
Ira Sternberg: Welcome to Ira’s Everything Bagel, where I talk with intriguing people about everything—their passions, pursuits, and points of view. My guest has a passion for storytelling and in this case, a story from the ’80s. Writer-director Richard Bakewell is a veteran cinematographer and television camera operator whose new film “Roswell Delirium” takes us back to the 1980s when the U.S. is hit by a wave of nuclear attacks. After the fallout, those who remain pretend like everything is normal even though they are all experiencing radiation poisoning. For everything about “Roswell Delirium,” go to lightforcepictures.com and you can follow the film on Facebook and Instagram. And Richard, welcome to the show.
Richard Bakewell: Thank you for having me. Good morning.
Ira Sternberg: Good morning. What got into you to write a book about the ’80s and radiation? You have some interesting elements to it, so I’m going to shut up and let you explain how you ended up making this film, and it’s making the rounds of all the festivals these days, the film festivals.
Richard Bakewell: Yeah, yeah, it really is. We have a screening in two weeks in Chandler, and then we’re back in LA in February, and we’ve won like 19 awards so far, so people are really embracing the film, which is great to hear. The film really took place for me during the pandemic because I was bored and I wrote a short film, you know, with kind of a small concept of aliens. Then I went to the Salton Sea for a day and it was like 113 degrees, and I was like, oh my God, this is terrible here and smells so bad, but there’s all these beautiful artifacts left behind and broken down buildings, and there’s like a swing set in the water. People left all this artsy stuff behind, and it just made it look really artistic and it gave me a lot of ideas for my story. As I was writing the film, I did like 17 drafts. I’m like, you know, I really want to do something with the ’80s—that was my time. The film is really a love letter to the ’80s. There’s a lot of Easter eggs, movie quotes, song lyrics, you know, it’s kind of tied in there. The film really just took on a whole new life. You know, with COVID, I kind of used it as a parallel for my story where, you know, this big thing happened, the world shut down for a while, and that’s kind of what happens in this film. These nuclear attacks happen, everything gets destroyed, half of the world is blown up in the U.S., and then all of a sudden, people go back to normal like it never happened and they don’t want to talk about it. It’s like, remember we had to wear masks, we couldn’t get groceries, it’s very similar to the pandemic. So all these little things kind of inspired the story. The more I wrote it, the more I was like, God, I really want to put this Easter egg in there, but I’ve got to pull back a little bit. It was really just a love letter to the ’80s and it’s something that I’m really proud of.
Ira Sternberg: You, of course, slipped into that jargon about Easter eggs. Do you want to explain to our audience what that means actually for those who are not film connoisseurs when they’re watching your film?
Richard Bakewell: Sure. An Easter egg is kind of like when you make reference to another movie or another song. In the first, I think, third shot of the film, there’s a shot of a ham radio and on the ham radio, it’s a very old school way of communicating in case something happens. There’s a number on there that says 8675309, which if anyone knows the ’80s song “Jenny,” it’s a song called “8675309.” It’s kind of like a little Easter egg to show the world and the audience like this is what you’re going to be embarking on the journey. There are things they say in the movie like there’s a moment where one girl, Kylie LaVine, plays Mayday and she’s like, “Don’t call me Shirley,” and that’s from “Airplane.” It’s a little movie reference back to that era. So there’s all these little things and a lot of nostalgia, but it plays as real dialogue as well, so it’s just kind of hidden in there.
Ira Sternberg: Now, in defense of ham operators, ham radios are still going strong.
Richard Bakewell: Oh, they are. It’s funny because when we posted the trailer, I had all of these ham radio people start reposting the trailer and breaking it down, and being like, “You can never talk to anyone out in space on this frequency,” and I’m like, it’s a movie, you know, it’s not a documentary. People, there’s liberties you got to take, you can’t just keep everything factual. It’s a movie, and the numbers are important for a reason if you look at it, not because of what you think.
Ira Sternberg: Well, they’re probably going to see the film because they are ham operators, they want to see the equipment.
Richard Bakewell: Exactly. I had one guy, I think his name was Stephen King, and he helped—Scott King, he helped me with a couple of things with ham radios because there’s a lot to it, even to make them work and do certain things. A lot of them were just like kind of like props. We had to do visual effects to even get them to do certain things, you know, they just didn’t work anymore.
Ira Sternberg: That’s funny. Here, I was just thinking it’d be funny if you had, in addition to radiation poisoning, you also incorporated COVID, so that way it’d be contemporary but at the same time the ’80s. So you’re mixing metaphors and mixing generations. Maybe that’s your next film; we can talk about that later.
Richard Bakewell: Sure. People are always asking me for a sequel already, like all the kids want to do a sequel, and I’m like, let this one go out to the world first and then we’ll start writing something and see what comes of it.
Ira Sternberg: The trick too is that in terms of your casting, because you not only were doing a film about the ’80s, but you were casting icons from the ’80s.
Richard Bakewell: Oh yeah. I kind of took the “Force Awakens” Star Wars approach. We have all these new characters kind of like leading the way of the story, the ’80s journey, and then I really wanted to sprinkle all of these ’80s stars in the film to make you feel like you’re back in the ’80s. We had the first time you see anybody is Lisa Whelchel from “The Facts of Life.” She plays a schoolteacher, and every character from the ’80s is kind of a reveal. It’s like we don’t know who it is at first, then we kind of reveal, oh, there’s Dee Wallace in the restaurant, and there’s Sam Jones, and then there’s Anthony Michael Hall, and Reggie V. Johnson. It was very important to have that feeling because when you watch an ’80s movie, there’s a certain tone, there’s a certain feel about it. I really wanted these people to be—they’re very strong actors, so it’s not like a B movie where there’s a lot of bad acting. It’s all very taken seriously and they deliver some great performances. A lot of them have already won—like Dee Wallace has won four awards, and Lisa won awards at some film festivals for their acting. It’s really just like an ’80s love letter with these ’80s stars. No one has done that before. Usually, you see a movie, it’s one ’80s star with all these new people and new action stars, but here I wanted to have five people to really say this is an ’80s film and this is what it’s all about.
Ira Sternberg: Going back to the ’80s, usually people, when they do a different generation, it gets too campy and it’s not played straight. Did the actors know that you were serious about this and did they get the concept right away?
Richard Bakewell: I think everyone knew about a year and a half ago when we did the table read. We got most of the people together—all the kids and some of the adults. The script is very serious. It’s about the ’80s and there’s nostalgia, but the second half of the film is really about the decay and the heartache of these things that are happening. There’s a lot of loss that happens. At the table read, it was read without much humor happening. Towards the end, we get to the final scene and everyone’s looking for the last scene in their script and they can’t find it except for the two main actors in the film. They’re like, “I can’t find this, the last pages aren’t here.” I said, “I want you just to watch the performance because they’re going to act part of it out in the table read and you’re going to see what it’s about.” It gets very serious at the end. Everyone knew this isn’t campy. Even during the making of, there’s a lot of humor that happens during the making of a movie, and in the edit, we had to really dial back a lot of the comedy because then it starts to feel campy. I wanted it to feel very natural, with light humor where you kind of chuckle but you’re not in tears laughing. Everyone knew it was a very serious movie.
Ira Sternberg: When you did the table read, was the table from the ’80s too?
Richard Bakewell: Oh no, we rented this place and it was not from the ’80s, but we had everyone there and they were just so excited to talk about the wardrobe. “What am I going to be wearing from the ’80s? I can’t wait to have my outfits. What are they going to be like?” And I said, “Well, you talk to the costumer. You talk to her and she’ll take care of you, and we’ll figure it out.”
Ira Sternberg: Were you optimistic that you could get these actors because of your vision? You wanted to create a partly nostalgic but also a story in and of itself with strong acting. Were you optimistic that you would get these actors from that era?
Richard Bakewell: I was always optimistic in the beginning. In the beginning, it came with a lot of rejections. No one really wanted to be the first person to say yes. When you have a movie with an unknown director who the world doesn’t know that well, and you have a sci-fi film, the word sci-fi seems to scare a lot of people. They just don’t want to get on board with sci-fi. They feel like it’s going to be like the Sci-Fi Channel and kind of cheesy with bad effects and, you know, whatever, Sharknado. That’s what people think of nowadays. So, I really had to sell people on the concept. Myself and Lissa, another producer on the film, worked daily to talk to people—the agents, the managers—to even consider the film. Once we got Sam Jones and Dee Wallace on board, it all just came together. Then we got Reggie and Lisa and Anthony Michael Hall. But it was not an easy task right away. It took months of getting people to say yes to it.
Ira Sternberg: It’s almost like starting instead of at A, you went to L and then worked your way backwards because when you signed L, you could get A, B, C, D, E, etc.
Richard Bakewell: Oh yeah, because nobody wanted to be first. Everyone was scared, like, “Well, who else is involved in the project?” And I’m like, “Oh, these people,” and they’re like, “Well, I don’t know who they are.” The cast was so new, and so once we could say Sam Jones and Dee Wallace, it was like, “Oh, you have some credibility now. You don’t just have run-of-the-mill actors; you have some people who have been around for a while.” Then everybody else just, you know, we talked to Lisa’s manager and within like 36 hours, we had a contract signed, ready to go. It was that quick.
Ira Sternberg: That is quick. You mentioned something earlier I couldn’t let go. You said something that I haven’t heard in three years or maybe more, which was the Salton Sea. I know it exists, but I haven’t heard that word or those words in probably 30 years. So it’s interesting you were out there when you decided to put the film together. How much was on location? How much was on a set?
Richard Bakewell: Well, we only shot at two sets. The first four days of filming were at a classroom—like two days were at a classroom set, and the second was at a hospital set. There’s this place out in Canoga Park called Remmet Studios, and they have all these sets. It was really helpful because we had a high school we were going to film at, but because of all the security and all the school shootings that were happening, people were just like, “We can’t have any filming right now. We need to worry about our security measures.” So we found this place that had everything we needed, and then our production designer, Molly Thomas, did an amazing job bringing the classroom to life. It had a chalkboard, desks, and windows, but it didn’t feel like what I remembered as a school. Then her team came in, and I remember on day one, I was like, “This is not the location we signed up for,” which meant they brought this class to the ’80s. It felt like we were back in the ’80s. I felt okay; now it feels believable. It feels like we’re really in a classroom, and that’s how it was for the hospital too. But the rest of the film was all on location. We filmed at a bunker, the Salton Sea, an airplane crash site. We turned my producer’s house—Glen and Lissa’s house—into the ’80s house. Molly came in and put brown wallpaper on the walls to give it that wood texture, put in a giant TV from the ’80s, a tube TV, and really took their house over. The garage became the home base for the ham radio stations. So it was a lot of moving parts. We were at a diner one day, at this kind of makeshift space rock area until we could actually film out in New Mexico. So there were a lot of locations, but only two sets; the rest were all real.
Ira Sternberg: The movie is “Roswell Delirium,” so were you out at Roswell at all?
Richard Bakewell: I was not there for this, but I had someone go out there and film a little bit for a day just to get a sense of what we could really use for the movie that would make sense. After they came back and talked about it, they got some shots of diners, but I felt like all the Roswell signs in town were too modern. It felt like this wouldn’t have been made back in the ’80s, so I think we’re just going to skip showing signage. But we did have a couple of drone teams go out to New Mexico and film Ship Rock, which is what we call Space Rock in the movie. They got some amazing footage.
Ira Sternberg: How long did the film take to produce or to film?
Richard Bakewell: We shot the film over 23 days. We filmed for three weeks in August and then took three months down because in the film, a lot of the actors, like Ashton Arri and Kylie, have all these prosthetics because of the radiation burns they get in the movie. We couldn’t have them out at the Salton Sea or the desert with all these prosthetics because it would just melt off their faces. So we filmed three weeks in August and then filmed the last week in December when it was colder. But then it got really cold, and now it’s raining. But the beauty was when we filmed at the Salton Sea, it was the perfect day. The weather was perfect, the sun was out, and we got the most magical stuff. We filmed for six hours, and everything was like, this has to be in the movie. There’s stuff that’s not in the trailer because it’s so important, but it’s so visually breathtaking. I can’t wait for people to see it on screen; it’s so powerful.
Ira Sternberg: You were the writer and director. Who was your cinematographer?
Richard Bakewell: My cinematographer was this wonderful DP named Carter Ross. I met him about a year and a half ago and loved his work. I saw a lot of his reel and his website. Immediately, he just got it. We talked briefly through emails, then met in person. He had this whole lookbook put together based on everything I told him, how I wanted it to feel like it had the warmth of E.T. and that orange kind of warmth in the movie. Then how the second half should have more of a bluer tint to represent the decay and desaturation of color. He did a fantastic job, and the camera and lighting team were amazing. I’m just so happy. We talked about the look of the film, and he also suggested we use these old Russian lenses for the ’80s feel. In the ’80s, we filmed with these LOMO super speeds, and everything in the present day was shot with Cooke S4s to give it a vintage look. He did a fantastic job, and that’s all I hear from everybody—the cinematography is so great. Everything had to be great because I come from that background, so I know how things should look. A lot of independent movies you see are filmed on the shoulder handheld, and it’s very shaky. But we had a dolly with a boom, a jib, and Steadicam for five days. The film has to look a certain way; it’s sci-fi and has to feel professional. We didn’t have a big budget, but we saved money where we needed to make these things happen. Carter killed it, and he’s up for a bunch of awards right now in the festivals.
Ira Sternberg: I want to talk about the festivals, but before we do, tell us a little bit about your background. How do you come to this film with a great background in terms of your work?
Richard Bakewell: I came from Chicago. I went to Columbia College film school. I did three internships, and on my third internship, it took me to this daytime soap opera that eventually brought me to L.A. It’s called “Starting Over.” It was about women in a house trying to change their lives, and it went for three seasons. I stayed here and started working on a bunch of different projects. I kind of fell into the reality base for a while because there was much more work back then, and it was kind of real. Now it’s a little more staged. I did a lot of great shows like “Driving Force,” “Intervention,” “Cops,” and those shows helped pave the way and teach me storytelling. On “Cops,” I had to be the camera operator, producer, choose the cops to work with, get releases from all the bad guys, and put together a package of the story we shot. It helped me develop my storytelling skills. From there, I did more projects like “Welcome to Sweetie Pie’s” and other shows. One day, I decided I wasn’t going to do that stuff anymore. I moved to commercials, corporates, and documentaries, like the Linda Perry documentary and the Mark Wahlberg “Wahl Street” documentary for HBO Max. I’ve done a bunch of stuff, including films, Doritos commercials, projects for Netflix and Google, and a James Brown documentary. At one point, I decided I wanted to do the self-creator route, like Stallone did with “Rocky,” where he wrote something and pitched it. That’s kind of what I did with this. I wrote it and said, “I’m going to direct it,” and we made it happen.
Ira Sternberg: Do you think with technology where it is now, where we have advanced from Celluloid to digital, and the equipment is getting smaller, lighter, and more flexible, do you find that as a creator, it’s easier for you to make your own films and projects?
Richard Bakewell: You can do smaller stuff very cheaply. I helped my friend Patrick Duprée do a music video with a band for $1,000. I brought all the equipment, lights, camera, lenses, and we just had to pay for food and location. You can do things for cheap, but when you’re doing something with a certain level of actors, there are extra costs. You have to pay SAG actors, higher fees, and locations. Standard location costs in LA are $2,000 a day. For something at a higher level with a lot of production value, it costs money. There’s always going to be that spectrum, from the YouTube feel to the high-end feel.
Ira Sternberg: How do you convince the bad guys to sign a release form on “Cops”?
Richard Bakewell: There’s no training on how to get a release. You’re told after a couple of weeks, “Now you get the release.” There are ways to do it. You talk to them as a person, don’t judge them. You can tell them you work for the show or not. Sometimes you talk to the cops and ask what can be done because they don’t want to go to jail. You might say, “Sign the release, you’re not going to jail tonight.” Sometimes you just talk to them and empathize. One time in Sacramento, I was almost like a grief counselor to a woman whose boyfriend had beaten her and her child. I talked to her for 45 minutes, and she was willing to sign the release because she felt it would help others in her situation.
Ira Sternberg: I think you bring that sensibility to your filmmaking now. What do you see as the future for “Roswell Delirium”? It’s making the rounds of festivals and getting great reviews. Are you going to release it on streaming or in theaters? Where do you see the film going?
Richard Bakewell: Right now, we have three screenings happening. One in Chandler in two weeks on January 21st, one in LA on the 24th at the TLC Chinese Theater 6, and one in Chicago in March. I’m talking to a couple of companies about shopping it to Amazon, Netflix, Paramount, HBO, Hulu, and other streaming services. It’s going to take a few months, but I think it will have a home base by May or June. We’ve gotten into 15 festivals so far in just a two-month span, and we’ve been invited to more. It’s really got a lot of attention, and people want to bring this movie to the world. I think we’ll have a home base in a few months for “Roswell Delirium.”
Ira Sternberg: That’s a great way to leave it. My guest has been writer-director Richard Bakewell, whose new film “Roswell Delirium” takes us back to the 1980s when the U.S. is hit by a wave of nuclear attacks. After the fallout, those who remain pretend as if everything is normal, even though they’re all experiencing radiation poisoning. There’s much more to the film. For everything about “Roswell Delirium,” go to lightforcepictures.com, and you can follow the film on Facebook and Instagram. Richard, thanks for being on the show.
Richard Bakewell: Thank you for having me. It’s been a great time. Thank you so much.
Ira Sternberg: And join us every Thursday for our new schmear on Ira’s Everything Bagel.