I watched Saving Banksy in my boxers at 4am. This Netflix feature is one of my favorites of this summer next to Rick & Moraty, Dumb and Casual on Hulu. I had just polished off some Ramen with peanut butter, siracha, just a hint of the garlic and random vegetables sauce. I call it “Pad Thai that doesn’t cost 10 dollars.”

After spilling some broth on my shirt, I watched Revok, Risk, Banksy’s bombing partner Ben Eine and various people discuss a Banksy painting that was procured from a rooftop, and raised issues of the commodification of art.

Once the film ended, I noticed Eva Boros was credited with executive producing and screenwriting, I kind of knew this from the Columbus musicians that sound tracked some of the film, and social network feeds that didn’t quite register in my brain prior.

I said, “Hey this women is from Columbus.” I hit her in the DM, and later we exchanged this email. The Free Press had a production deadline looming. If you’re from Columbus, and/or friends with Miss Boro, I apologizes for the brevity.

Where were you a Columbus “local” in Middle School?

Upper Arlington. I went to Jones middle school.

I don’t think I knew you in Middle School. How many times have you lived in Columbus. We interacted a couple years back? Where were you a “local?” What were the circumstances of moving to Nashville?

I have lived in Columbus two times. First time was when I came to the states from Hungary. Second time was from 2012 to 2017.

Why can’t I watch your Ted Talk?

Not sure...I’ll look into it.

How did you become involved with “Saving Banksy?”

I was pursuing writing in San Francisco back in 2010 when I met Brian Greif through Art Explosion - a warehouse dedicated to artists’ studios and exhibits. He asked me to help him produce and write Saving Banksy, a documentary film about the appropriation of graffiti in the art world.

What did Executive producing and screenwriter have you do for “Saving Banksy?”

I did a little bit of everything. I shot footage, transcribed, chose and organized sound bites, edited the footage, supervised the music, designed the poster, wrote Taglines, marketing...I’ve learned a lot. But it wasn’t just me. At the core of post production, it was just the three of us. Brian, Mike and me, and we were constantly editing and writing together.

What’s it like interacting with the myth of Banksy?

I don’t.

How did you choose the Columbus musicians who soundtracked “Saving Banksy?”

I had been scouring the Columbus underground music scene in search of a great intro song for the movie. One faithful evening, while hanging at Carabar, Bummers started playing. As soon as I heard Jeff start screaming into the microphone for “thighs,” I was like “this guy is fucking crazy. This song is IT.”

At first I only wanted to use “Thighs” in the movie, but after I showed Brian and Mike (producer and editor) the music, they loved it so much they wanted more tracks. Phillip from The Wind And The Sea (also a great band) mixed and mastered Saving Bansky. They also have some music in the film.

I know you’re involved with Nashville Walls Project. Utilizing the archetypes of people that would become involved with Public Murals. How do you navigate the different cultural ethics one finds in street artists like Banksy’s bombing partner Ben Eine, and graffiti writers Risk and Revok with muralists and everyday citizens who might not have the cultural history of people like Ben Eine or a member of MSK.

I don’t...I usually just sit back and watch egos explode. I’m not really here to babysit anyone’s feelings

Or simpler how do you navigates the letterists and anarchists with the general accessibility inherent in public art?

Maybe we should discuss via phone.