1 00:00:15,280 --> 00:00:17,360 Speaker 1: Thank you everybody so much for joining us on our 2 00:00:17,400 --> 00:00:19,840 Speaker 1: Park Copper episode where we are going to be speaking 3 00:00:19,880 --> 00:00:24,319 Speaker 1: to Disney Royalty. And again, if you haven't heard this 4 00:00:24,560 --> 00:00:27,680 Speaker 1: name before, you're not familiar with the name of Stu Krieger, 5 00:00:27,720 --> 00:00:32,040 Speaker 1: you are absolutely familiar with the projects that this man 6 00:00:32,159 --> 00:00:36,040 Speaker 1: has been responsible for. We're talking Smart House, the Xenon Movies, 7 00:00:36,120 --> 00:00:41,080 Speaker 1: Phantom of the Megaplex, cow Bells, True Confessions, Land Before Time, 8 00:00:41,240 --> 00:00:44,360 Speaker 1: Gotta Kick It Up. I mean it's he's worked with 9 00:00:44,440 --> 00:00:48,240 Speaker 1: Polly Shore, He's worked with Steven Spielberg, Kathleen. It's one 10 00:00:48,560 --> 00:00:52,479 Speaker 1: name after another. So I don't think you'd be speaking 11 00:00:52,520 --> 00:00:55,400 Speaker 1: out of turn by saying d coms would not be 12 00:00:55,520 --> 00:00:57,480 Speaker 1: what they are without this man. 13 00:00:57,640 --> 00:01:00,680 Speaker 2: Absolutely, and we are so honored to have them here. 14 00:01:00,720 --> 00:01:08,880 Speaker 2: So absolute, please help us welcome Stu Kreeger. Hello, We're 15 00:01:08,959 --> 00:01:11,039 Speaker 2: so good. Thank you so much for joining us. 16 00:01:11,040 --> 00:01:15,920 Speaker 1: This is we say your name almost every week, so 17 00:01:16,800 --> 00:01:17,400 Speaker 1: is great. 18 00:01:18,720 --> 00:01:21,200 Speaker 3: It's incredibly exciting and very flattering. Thank you. 19 00:01:21,440 --> 00:01:24,119 Speaker 1: I imagine that when you heard that, if you heard 20 00:01:24,160 --> 00:01:27,040 Speaker 1: that there was a podcast re you know, going over 21 00:01:27,120 --> 00:01:29,920 Speaker 1: and rewatching all the d coms, you would be getting. 22 00:01:29,640 --> 00:01:32,200 Speaker 4: A call from us, hopefully to speak with you. 23 00:01:32,480 --> 00:01:34,280 Speaker 3: Yes, suspected, I might. 24 00:01:37,200 --> 00:01:39,080 Speaker 5: I think the biggest thing right now is you know, 25 00:01:39,520 --> 00:01:42,040 Speaker 5: for us, we love doing the interview part of this. 26 00:01:42,640 --> 00:01:44,640 Speaker 5: We've had a chance to talk to a lot of actors. 27 00:01:44,680 --> 00:01:48,280 Speaker 5: We haven't had a chance to have legends like you 28 00:01:48,600 --> 00:01:51,840 Speaker 5: that we're there from the start of these kinds of 29 00:01:51,880 --> 00:01:55,600 Speaker 5: franchises Xenon, I mean just all of the different franchises 30 00:01:55,600 --> 00:01:57,680 Speaker 5: that you've been a part of. To be at the 31 00:01:57,720 --> 00:02:01,680 Speaker 5: start of the process, so we have to hear what 32 00:02:01,800 --> 00:02:04,560 Speaker 5: you know, how is your process and how does that 33 00:02:04,640 --> 00:02:08,400 Speaker 5: make you feel as you look back at these projects find. 34 00:02:08,160 --> 00:02:10,760 Speaker 3: Of the most incredible thing. And it's so funny because 35 00:02:10,800 --> 00:02:13,799 Speaker 3: I've currently been a professor since two thousand and six 36 00:02:13,840 --> 00:02:17,280 Speaker 3: at U SEE Riverside, and in my class that i'm teaching, 37 00:02:17,360 --> 00:02:19,440 Speaker 3: one of the two classes I'm teaching this quarter is 38 00:02:19,520 --> 00:02:22,639 Speaker 3: called the Filmmaker's Life, and that class is designed to 39 00:02:22,680 --> 00:02:25,239 Speaker 3: bring in panels of industry guests each week talking about 40 00:02:25,280 --> 00:02:27,920 Speaker 3: their lives, their experiences, how they got their start, how 41 00:02:27,919 --> 00:02:30,480 Speaker 3: they got their first job. And one of the things 42 00:02:30,720 --> 00:02:33,800 Speaker 3: in the first session we had on Tuesday, Yeah, Tuesday, 43 00:02:34,360 --> 00:02:37,280 Speaker 3: was it's kind of me introducing myself in my life 44 00:02:37,280 --> 00:02:39,919 Speaker 3: and my career to them all, and I said, when 45 00:02:39,960 --> 00:02:42,160 Speaker 3: I was in the middle of it, show business is 46 00:02:42,200 --> 00:02:44,640 Speaker 3: designed and you can both attest to this. When you 47 00:02:44,680 --> 00:02:47,200 Speaker 3: are in it, you are never a success because it's 48 00:02:47,200 --> 00:02:49,680 Speaker 3: always about what's next, What happened to that thing you 49 00:02:49,720 --> 00:02:52,560 Speaker 3: were working on? Way did that fall apart? Whatever? You know, 50 00:02:52,600 --> 00:02:55,119 Speaker 3: you're always scrambling. And then when I started teaching full 51 00:02:55,160 --> 00:02:57,760 Speaker 3: time in two thousand and six, the kids I was 52 00:02:57,800 --> 00:03:00,320 Speaker 3: teaching were the generation that grew up on my mood movies. 53 00:03:00,800 --> 00:03:04,240 Speaker 3: And suddenly, not exaggerating, at least four or five times 54 00:03:04,240 --> 00:03:07,160 Speaker 3: a quarter some student would stick his or her head 55 00:03:07,200 --> 00:03:09,360 Speaker 3: into my office and go, hi, I just wanted to 56 00:03:09,360 --> 00:03:14,320 Speaker 3: tell you, dude, you wrote my childhood. Yes, And when 57 00:03:14,360 --> 00:03:17,040 Speaker 3: you're hearing that and suddenly like wow, really. And then 58 00:03:17,440 --> 00:03:20,000 Speaker 3: the other insane thing that's happened in the last year 59 00:03:20,639 --> 00:03:22,680 Speaker 3: is I had a book come out in May that's 60 00:03:23,360 --> 00:03:27,320 Speaker 3: a family comedy novel. And when the publishers first signed me, 61 00:03:27,400 --> 00:03:29,760 Speaker 3: they said, we really feel like the people that grew 62 00:03:29,840 --> 00:03:31,720 Speaker 3: up on your movies are now the audience for this 63 00:03:31,800 --> 00:03:34,960 Speaker 3: book because they're, you know, young adults raising their own family. 64 00:03:35,480 --> 00:03:37,520 Speaker 3: You need to be on social media, and I said 65 00:03:39,480 --> 00:03:43,840 Speaker 3: that will not happen. Ultimately, at their insistence, what I 66 00:03:43,920 --> 00:03:46,280 Speaker 3: ended up doing is hiring a former grad student to 67 00:03:46,440 --> 00:03:48,600 Speaker 3: run it, curate it, tell me what to do, what 68 00:03:48,720 --> 00:03:51,600 Speaker 3: I need to shoot, and suddenly we now have forty 69 00:03:51,640 --> 00:03:56,440 Speaker 3: seven thousand followers. She's easy again. Ninety nine percent of 70 00:03:56,480 --> 00:03:58,880 Speaker 3: the comments are about I can't believe how much these 71 00:03:58,880 --> 00:04:02,160 Speaker 3: movies have resonated, They've stayed with me now I'm sharing 72 00:04:02,200 --> 00:04:04,480 Speaker 3: them with my own children, and how much fun it is. 73 00:04:05,600 --> 00:04:07,440 Speaker 3: And then the other thing that that kind of forced 74 00:04:07,480 --> 00:04:10,120 Speaker 3: me to do after a couple of interviews was actually 75 00:04:10,200 --> 00:04:13,080 Speaker 3: go back and watch them. Because I was doing these 76 00:04:13,120 --> 00:04:15,880 Speaker 3: interviews where people would say so about this scene at Smarthause, 77 00:04:15,880 --> 00:04:17,760 Speaker 3: and I would go, I love you, but I haven't 78 00:04:17,800 --> 00:04:21,200 Speaker 3: watched it in twenty years. And I would make the 79 00:04:21,200 --> 00:04:23,440 Speaker 3: sun Set Boulevard analogy and say, you know, I'm not 80 00:04:23,520 --> 00:04:26,200 Speaker 3: Norma Desmond sitting home in a turban watching my movies 81 00:04:26,200 --> 00:04:29,720 Speaker 3: over and over again. But if you're going to be 82 00:04:29,760 --> 00:04:31,800 Speaker 3: asking me these questions, I got to watch them. So 83 00:04:31,960 --> 00:04:32,480 Speaker 3: I happened. 84 00:04:32,480 --> 00:04:34,960 Speaker 1: That's the thing We've noticed that we make sure we're 85 00:04:34,960 --> 00:04:36,080 Speaker 1: watching every movie twice. 86 00:04:36,120 --> 00:04:37,360 Speaker 4: We're looking at every kind of thing. 87 00:04:37,440 --> 00:04:40,359 Speaker 1: But so Sabrina said something interesting at the beginning, which is, 88 00:04:41,160 --> 00:04:43,400 Speaker 1: we do we get to speak to people who went 89 00:04:43,440 --> 00:04:46,480 Speaker 1: through the process of actually filming you know, the characters 90 00:04:46,520 --> 00:04:48,400 Speaker 1: and and you know what it was like to shoot 91 00:04:48,400 --> 00:04:49,720 Speaker 1: the movie, how much it meant to them, that kind 92 00:04:49,720 --> 00:04:51,960 Speaker 1: of thing, which is wonderful to talk about. But we've 93 00:04:52,040 --> 00:04:54,480 Speaker 1: yet to have the conversation of how did the movie 94 00:04:54,480 --> 00:04:58,120 Speaker 1: get made in the first place? So what we're the 95 00:04:58,440 --> 00:05:01,320 Speaker 1: I mean because again, the we did you're just a 96 00:05:01,360 --> 00:05:03,279 Speaker 1: few of your credits at the beginning when you're talking 97 00:05:03,279 --> 00:05:05,640 Speaker 1: about some of the biggest one Xenon, Smart House, going 98 00:05:05,680 --> 00:05:07,520 Speaker 1: to the Map, got to kick it up. All these 99 00:05:07,560 --> 00:05:11,040 Speaker 1: kind of movies were the majority of them? Were any 100 00:05:11,040 --> 00:05:13,560 Speaker 1: of them? Were these your ideas that you went in 101 00:05:13,880 --> 00:05:16,880 Speaker 1: and pitched? Was it Disney calling you saying we're doing 102 00:05:16,960 --> 00:05:18,600 Speaker 1: this new franchise, we'd like you to write it. 103 00:05:18,760 --> 00:05:20,520 Speaker 4: How did the entire process start? 104 00:05:21,440 --> 00:05:24,440 Speaker 3: Well, the humble brag I will start the answer with 105 00:05:25,080 --> 00:05:28,240 Speaker 3: was when they held a party celebrating the first fifty 106 00:05:28,360 --> 00:05:31,160 Speaker 3: d coms. Gary Marsha was at that point the head 107 00:05:31,160 --> 00:05:33,039 Speaker 3: of the network got up and he said, we have 108 00:05:33,120 --> 00:05:36,080 Speaker 3: to acknowledge the fact that ten of these fifty movies 109 00:05:36,080 --> 00:05:40,640 Speaker 3: were written by one guy. You know this guy. Wow. 110 00:05:40,880 --> 00:05:44,000 Speaker 3: So part of the relationship began because I had done 111 00:05:44,400 --> 00:05:47,320 Speaker 3: both Parent Trapped two with Haley Mills playing that character 112 00:05:47,400 --> 00:05:50,719 Speaker 3: grown up, and the iteration of Freaky Friday that was 113 00:05:50,839 --> 00:05:53,960 Speaker 3: Gabby Hoffman and Shelley Long. I had done those both 114 00:05:54,000 --> 00:05:56,880 Speaker 3: for the Wonderful World of Disney, so I was a 115 00:05:56,920 --> 00:06:00,279 Speaker 3: known entity there. And the first entree into the Dcome 116 00:06:00,360 --> 00:06:03,600 Speaker 3: world that I got is that they called and Xenon 117 00:06:03,800 --> 00:06:06,160 Speaker 3: was a very very thin little picture book, a kid's 118 00:06:06,200 --> 00:06:09,640 Speaker 3: picture book called Xenon Girl of the first twenty first Century. 119 00:06:10,080 --> 00:06:12,280 Speaker 3: And kind of the main elements that have remained from 120 00:06:12,279 --> 00:06:14,560 Speaker 3: that picture book to the franchise was she was a 121 00:06:14,640 --> 00:06:17,080 Speaker 3: kid living on the space station with a crush on 122 00:06:17,120 --> 00:06:20,040 Speaker 3: a rock star named Protozoa and a friend named Nebula. 123 00:06:20,120 --> 00:06:23,719 Speaker 3: That's kind of the point. And another story that I 124 00:06:23,800 --> 00:06:27,000 Speaker 3: just told in Glass on Tuesday, because it's exactly what 125 00:06:27,040 --> 00:06:30,680 Speaker 3: you're asking was I said to the students, when you 126 00:06:30,720 --> 00:06:33,680 Speaker 3: get these kinds of meetings, do your research, do your 127 00:06:33,760 --> 00:06:37,040 Speaker 3: due diligence. Know who you're going to meet with, know 128 00:06:37,120 --> 00:06:40,039 Speaker 3: what they do. And so when I got called into 129 00:06:40,080 --> 00:06:42,520 Speaker 3: that first meeting, is it was at the production company 130 00:06:42,520 --> 00:06:44,680 Speaker 3: of Suzanne to Pass and Suzanne Cooston, who were the 131 00:06:44,680 --> 00:06:48,600 Speaker 3: producers of Xenon, and their head of development said, I'm 132 00:06:48,640 --> 00:06:51,800 Speaker 3: going to be incredibly candid with you. We have had 133 00:06:51,839 --> 00:06:56,840 Speaker 3: eighteen writers come in before you. Nobody's nailed it yet. 134 00:06:57,000 --> 00:06:59,280 Speaker 3: What is it you know? What would be your approach 135 00:06:59,279 --> 00:07:01,840 Speaker 3: to adapting this book? And the other thing I had 136 00:07:01,880 --> 00:07:03,680 Speaker 3: done prior to the meeting is I said, if this 137 00:07:03,760 --> 00:07:06,479 Speaker 3: is a new franchise, are any of them done yet? 138 00:07:06,520 --> 00:07:08,159 Speaker 3: Is there anything I could take a look at to 139 00:07:08,160 --> 00:07:10,360 Speaker 3: get a sense of what it is you're going for? 140 00:07:10,880 --> 00:07:13,200 Speaker 3: And at that point Under Wraps was the only one 141 00:07:13,200 --> 00:07:16,040 Speaker 3: that had been shot and it was still in post production. 142 00:07:16,160 --> 00:07:17,880 Speaker 3: So they said, we can send you a rough cut, 143 00:07:18,160 --> 00:07:20,440 Speaker 3: not color corrected, not anything, just the rough cut, and 144 00:07:20,440 --> 00:07:22,240 Speaker 3: I go, cool, I just want to see, you know, 145 00:07:22,240 --> 00:07:25,320 Speaker 3: the wheelhouse of what you're trying to do. Watched that, 146 00:07:25,480 --> 00:07:28,080 Speaker 3: we read the book, went into them and I said, 147 00:07:28,960 --> 00:07:32,040 Speaker 3: Xenon is Eloise at the Plaza on the Space Station. 148 00:07:32,760 --> 00:07:35,640 Speaker 3: And if you know that emblematic kid's book from the fifties, 149 00:07:35,640 --> 00:07:37,520 Speaker 3: it was a kid living at the Plaza Hotel in 150 00:07:37,560 --> 00:07:40,560 Speaker 3: New York, creating mischief and wreaking havoc and getting into 151 00:07:40,560 --> 00:07:43,360 Speaker 3: places she shouldn't be. And I said, it's Eloise at 152 00:07:43,400 --> 00:07:45,880 Speaker 3: the plaza on the space station, and they went, you're hired. 153 00:07:46,640 --> 00:07:50,160 Speaker 3: And the reason you were hired is eighteen writers before 154 00:07:50,200 --> 00:07:53,240 Speaker 3: you came in and said it's They said it was 155 00:07:53,280 --> 00:07:55,640 Speaker 3: a variation over and over again of its nine O 156 00:07:55,760 --> 00:07:59,120 Speaker 3: two one Oho meet Star Trek. Disney Channel would not 157 00:07:59,160 --> 00:08:02,360 Speaker 3: do nine two Disney gentlemen, not do Star Trek. No, 158 00:08:02,440 --> 00:08:05,040 Speaker 3: thank you. And you came in and said, Eloi's at 159 00:08:05,080 --> 00:08:07,640 Speaker 3: applause of this on the space station. That's who we are, 160 00:08:07,680 --> 00:08:12,080 Speaker 3: that's what we do. Boom, let's go wow wow. That 161 00:08:12,200 --> 00:08:16,200 Speaker 3: was initial foot in the door. And then really it 162 00:08:16,320 --> 00:08:18,600 Speaker 3: was just a series of meetings to begin with a 163 00:08:18,680 --> 00:08:21,120 Speaker 3: pitching the story, fleshing out of the story, deciding the 164 00:08:21,240 --> 00:08:24,520 Speaker 3: arc of how we would expand it. The whole plot 165 00:08:24,560 --> 00:08:27,640 Speaker 3: of Lots and Windom and the missing earring being the 166 00:08:27,680 --> 00:08:31,880 Speaker 3: code to the meltdown, and all of those plot machinations 167 00:08:31,880 --> 00:08:34,240 Speaker 3: were stuff that I just kept evolving with them, and 168 00:08:34,240 --> 00:08:35,680 Speaker 3: how about if we do this and how about that 169 00:08:35,760 --> 00:08:41,000 Speaker 3: turn to passing. Houstin known as the Suzannes, were wonderful 170 00:08:41,040 --> 00:08:45,160 Speaker 3: to work with. They were really story savvy. Michael Healy, 171 00:08:45,200 --> 00:08:46,840 Speaker 3: who was the head of movies for most of my 172 00:08:46,960 --> 00:08:51,480 Speaker 3: tenure there, was also really really good at knowing their audience, 173 00:08:51,600 --> 00:08:53,600 Speaker 3: knowing what it was they were aiming for. And then 174 00:08:54,160 --> 00:08:55,560 Speaker 3: the thing that I will say, and I think it's 175 00:08:55,600 --> 00:08:58,160 Speaker 3: why I was able to ultimately do twelve movies with them, 176 00:08:58,800 --> 00:09:02,720 Speaker 3: was that they were really really good about allowing my 177 00:09:02,840 --> 00:09:06,960 Speaker 3: creative freedom. And one of my lines in the Sand 178 00:09:07,600 --> 00:09:11,280 Speaker 3: was I said, I am a father of two who 179 00:09:11,360 --> 00:09:13,600 Speaker 3: my wife can go away for the whole weekend and 180 00:09:13,640 --> 00:09:16,240 Speaker 3: when she comes home and the kids aren't dead, there's 181 00:09:16,360 --> 00:09:19,160 Speaker 3: nobody missing, the top is not off, the washing machine 182 00:09:19,160 --> 00:09:21,600 Speaker 3: with a tons across the floor, and the blender. So 183 00:09:21,679 --> 00:09:23,400 Speaker 3: I said, the only thing I will never do in 184 00:09:23,440 --> 00:09:25,520 Speaker 3: a movie for you is I will not portray a 185 00:09:25,600 --> 00:09:29,240 Speaker 3: stupid dad. I want to be showing that fathers are 186 00:09:29,280 --> 00:09:32,600 Speaker 3: as competent as moms, and so that is something you 187 00:09:32,640 --> 00:09:34,600 Speaker 3: cannot ever expect me to do in any of the 188 00:09:34,600 --> 00:09:37,400 Speaker 3: films I do with you. A couple of times I 189 00:09:37,400 --> 00:09:39,679 Speaker 3: had to fight for that. Wouldn't it be funny if 190 00:09:39,720 --> 00:09:42,839 Speaker 3: dad fell down the stairs? No, it wouldn't be fun 191 00:09:43,920 --> 00:09:45,720 Speaker 3: So that was kind of my line in the sand 192 00:09:45,760 --> 00:09:47,959 Speaker 3: and something that I was happy that I was able 193 00:09:47,960 --> 00:09:50,280 Speaker 3: to maintain the integrity of through all the films I 194 00:09:50,280 --> 00:09:51,600 Speaker 3: did with them. 195 00:09:52,240 --> 00:09:54,600 Speaker 1: Now, was it normally Disney coming to you and saying, 196 00:09:54,640 --> 00:09:56,760 Speaker 1: here's the idea we have, or were any of the 197 00:09:56,760 --> 00:09:58,040 Speaker 1: films your idea? 198 00:09:58,080 --> 00:09:58,720 Speaker 4: That you pitched? 199 00:10:00,040 --> 00:10:02,840 Speaker 3: Most of them? It was interesting because in the heyday, 200 00:10:02,840 --> 00:10:05,280 Speaker 3: they were doing a movie a month. Yeah, So I 201 00:10:05,320 --> 00:10:08,160 Speaker 3: also think part of the reason I was as employed 202 00:10:08,200 --> 00:10:10,840 Speaker 3: as I was was I was also somebody if they 203 00:10:10,840 --> 00:10:12,599 Speaker 3: said we need the script in three weeks, it's like, 204 00:10:12,640 --> 00:10:14,120 Speaker 3: you'll have it in three weeks. I can do that. 205 00:10:15,520 --> 00:10:19,360 Speaker 3: So my other point of pride is that of all 206 00:10:19,400 --> 00:10:21,320 Speaker 3: the movies I did with them, I was either the 207 00:10:21,400 --> 00:10:25,160 Speaker 3: last writer or the only writer. So you know, as 208 00:10:25,240 --> 00:10:27,120 Speaker 3: you guys will know, the last writer means you're the 209 00:10:27,120 --> 00:10:29,319 Speaker 3: one who got the draft Greenland to go into production. 210 00:10:30,040 --> 00:10:32,280 Speaker 3: And so some of them, like smart House, had already 211 00:10:32,320 --> 00:10:35,079 Speaker 3: been in development for more than a year. They were 212 00:10:35,120 --> 00:10:37,720 Speaker 3: at the point where like the basic structure of this, 213 00:10:37,880 --> 00:10:39,880 Speaker 3: the premise of it, the idea of what the smart 214 00:10:39,880 --> 00:10:43,800 Speaker 3: House is, we really like, we don't feel the humanity 215 00:10:43,920 --> 00:10:46,679 Speaker 3: is there yet. And they said to me, that's something 216 00:10:46,679 --> 00:10:50,080 Speaker 3: you do really well go back and kind of reinvent 217 00:10:50,160 --> 00:10:53,560 Speaker 3: the characters and reinvent the emotional plot of the movie. 218 00:10:54,160 --> 00:10:56,240 Speaker 3: And one of the things I was kind of struck 219 00:10:56,320 --> 00:10:58,480 Speaker 3: by and again when I went back to watch it 220 00:10:58,520 --> 00:11:00,560 Speaker 3: after not having seen it for a couple of decades, 221 00:11:01,280 --> 00:11:04,360 Speaker 3: was there's kind of a really hard emotional truth in 222 00:11:04,360 --> 00:11:07,880 Speaker 3: that movie that I had forgotten was there. And for example, 223 00:11:07,920 --> 00:11:10,320 Speaker 3: it's the scene when Ryan Merriman and Kevin Kilner end 224 00:11:10,400 --> 00:11:12,600 Speaker 3: up in his Ryan's being a brat in front of 225 00:11:12,600 --> 00:11:15,439 Speaker 3: the girl that the scientists that dad has a crush on, 226 00:11:15,880 --> 00:11:18,400 Speaker 3: and he storms out and the father comes up and 227 00:11:18,480 --> 00:11:20,160 Speaker 3: they have this hard to heart about you know, you're 228 00:11:20,160 --> 00:11:23,280 Speaker 3: going to replace mom. She's mom doesn't deserve to be replaced, 229 00:11:23,600 --> 00:11:25,800 Speaker 3: and the father yells at him, You're not the only 230 00:11:25,800 --> 00:11:28,760 Speaker 3: one who lost somebody, and it says like the real 231 00:11:28,800 --> 00:11:33,600 Speaker 3: talk moment between them when I went Dan Sun, you know, 232 00:11:34,080 --> 00:11:36,319 Speaker 3: and I was kind of I was proud of myself, 233 00:11:36,360 --> 00:11:38,320 Speaker 3: but I was even more proud of Disney that they 234 00:11:38,360 --> 00:11:41,319 Speaker 3: allowed us to go into some of these real spaces 235 00:11:41,320 --> 00:11:43,520 Speaker 3: that I think are a lot of the reason why 236 00:11:43,520 --> 00:11:47,720 Speaker 3: these movies have resonated and sustained over the decades. That 237 00:11:47,760 --> 00:11:50,400 Speaker 3: they have because those things, you know, the truth of 238 00:11:50,400 --> 00:11:52,720 Speaker 3: that resonates no matter what generation it is. 239 00:11:53,240 --> 00:11:53,720 Speaker 4: It does well. 240 00:11:53,760 --> 00:11:56,880 Speaker 1: Speaking of true moments, one of the last films that 241 00:11:56,920 --> 00:12:01,959 Speaker 1: we watched covered and absolutely love was Going to the mat. 242 00:12:03,000 --> 00:12:07,320 Speaker 6: He loved that movie. Either one of us had seen 243 00:12:07,360 --> 00:12:07,880 Speaker 6: it before. 244 00:12:08,040 --> 00:12:10,319 Speaker 4: Oh nice, and it was amazing. 245 00:12:11,040 --> 00:12:14,960 Speaker 1: It was incredible, And we got to talk to Andy 246 00:12:15,240 --> 00:12:18,440 Speaker 1: a little bit about what it was like to you know, 247 00:12:18,480 --> 00:12:20,600 Speaker 1: portray the character and to shoot the film. But what 248 00:12:20,800 --> 00:12:23,200 Speaker 1: was it like getting to write I mean, it was 249 00:12:23,240 --> 00:12:26,800 Speaker 1: such an interesting story because at its heart it's a 250 00:12:26,840 --> 00:12:29,800 Speaker 1: Disney sports story, but at the same time. 251 00:12:29,600 --> 00:12:32,320 Speaker 4: It's so much more than that. So can you talk 252 00:12:32,360 --> 00:12:34,720 Speaker 4: a little bit about how you approached writing that script. 253 00:12:35,240 --> 00:12:37,839 Speaker 3: Yeah, that was another script that was in process when 254 00:12:37,840 --> 00:12:41,000 Speaker 3: I came aboard, and I would say probably all of 255 00:12:41,040 --> 00:12:43,000 Speaker 3: the movies that I was brought into that were already 256 00:12:43,040 --> 00:12:46,440 Speaker 3: in process. It was about that emotional pass, you know, 257 00:12:46,559 --> 00:12:48,880 Speaker 3: kind of we're locked into the premise, we're locked into 258 00:12:48,920 --> 00:12:51,960 Speaker 3: some of these signposts of the movie, but here's what's missing. 259 00:12:52,480 --> 00:12:54,640 Speaker 3: And so the very first thing I did was Tom 260 00:12:54,679 --> 00:12:57,800 Speaker 3: Sullivan is a writer actor who is blind and did 261 00:12:57,840 --> 00:13:01,360 Speaker 3: wrestle as a young person. So the producer, and I 262 00:13:01,400 --> 00:13:03,520 Speaker 3: set up a meeting with Tom and spent the afternoon 263 00:13:03,520 --> 00:13:06,880 Speaker 3: with him, and that was so incredibly helpful to just 264 00:13:07,280 --> 00:13:08,920 Speaker 3: you know, I don't want to mess it up. I 265 00:13:08,920 --> 00:13:11,800 Speaker 3: don't want to fake it. And then the other thing 266 00:13:11,800 --> 00:13:14,000 Speaker 3: about doing due diligence is I had a nephew who 267 00:13:14,040 --> 00:13:17,480 Speaker 3: was a wrestler and both high school and college, and 268 00:13:17,480 --> 00:13:20,160 Speaker 3: I called him and I said, I got some technical questions, 269 00:13:20,200 --> 00:13:24,120 Speaker 3: how about this? How about that? Side note? To this day, 270 00:13:24,480 --> 00:13:26,320 Speaker 3: I thought I was doing him a big favorite. I 271 00:13:26,360 --> 00:13:29,240 Speaker 3: wrote a character with his name into it, who was 272 00:13:29,360 --> 00:13:33,120 Speaker 3: one of the ancillary wrestlers, and then when the movie aired, 273 00:13:33,120 --> 00:13:35,040 Speaker 3: he goes, dude, I knew my name was in it. 274 00:13:35,080 --> 00:13:37,160 Speaker 3: So I had all my friends gathered together to watch 275 00:13:37,200 --> 00:13:42,960 Speaker 3: the movie. My character got pinned. I couldn't want And 276 00:13:43,040 --> 00:13:47,040 Speaker 3: to this day, however, many years later, every time we're 277 00:13:47,080 --> 00:13:48,960 Speaker 3: together in person, at some point it hit me in 278 00:13:48,960 --> 00:13:50,800 Speaker 3: the shoulder and go, yeah, that, my god, get bimmed. 279 00:13:53,920 --> 00:13:54,120 Speaker 4: Now. 280 00:13:54,720 --> 00:13:56,679 Speaker 1: One of the other things we hear sometimes is that 281 00:13:56,720 --> 00:13:58,640 Speaker 1: sometimes the writers are on the set when things are 282 00:13:58,640 --> 00:13:59,080 Speaker 1: being shot. 283 00:13:59,120 --> 00:14:01,520 Speaker 4: Sometimes they aren't you there when most of these films 284 00:14:01,520 --> 00:14:02,240 Speaker 4: are being done. 285 00:14:03,400 --> 00:14:07,040 Speaker 3: I'm a really funny and somewhat you neque writer in 286 00:14:07,120 --> 00:14:11,520 Speaker 3: terms of I absolutely hate being on the set. I 287 00:14:11,559 --> 00:14:15,480 Speaker 3: think it's so intrusive, and then like, there's no way 288 00:14:15,520 --> 00:14:16,920 Speaker 3: not to be in the way when you are a 289 00:14:16,960 --> 00:14:19,600 Speaker 3: writer on set. And so the thing that I did 290 00:14:19,640 --> 00:14:24,480 Speaker 3: with almost all of them except Z three shot in 291 00:14:24,480 --> 00:14:27,720 Speaker 3: South Africa and Z two shot on New Zealand, and 292 00:14:27,760 --> 00:14:29,880 Speaker 3: they weren't about to fly me over for the those. 293 00:14:30,760 --> 00:14:33,760 Speaker 3: But other than that Toronto, Vancouver, La, Salt Lake City, 294 00:14:34,000 --> 00:14:35,520 Speaker 3: what I would do is I would go for the 295 00:14:35,560 --> 00:14:39,680 Speaker 3: week before when we did the table read rehearsals, hearing 296 00:14:39,720 --> 00:14:42,360 Speaker 3: it out loud, seeing if there was any problems, work 297 00:14:42,400 --> 00:14:44,400 Speaker 3: on the script while I was there with the actors, 298 00:14:44,400 --> 00:14:47,080 Speaker 3: with the director, with everybody, and then usually stay for 299 00:14:47,120 --> 00:14:48,960 Speaker 3: the first three or four days of shooting and then 300 00:14:49,040 --> 00:14:52,640 Speaker 3: peace out. If you need me, I'm at home. Yeah. 301 00:14:53,080 --> 00:14:54,960 Speaker 3: All of my writer friends would always say to me, 302 00:14:55,000 --> 00:14:56,640 Speaker 3: at some point, you're going to have to direct because 303 00:14:56,640 --> 00:14:59,680 Speaker 3: they're going to mangle your work, and they're like, no, 304 00:15:00,040 --> 00:15:02,560 Speaker 3: know what, I'm perfectly happy being home with my family. 305 00:15:04,040 --> 00:15:06,240 Speaker 3: Once upon a time, click click click here, you go 306 00:15:06,320 --> 00:15:08,960 Speaker 3: make it and call me when it's done. Oh wow, 307 00:15:10,240 --> 00:15:12,400 Speaker 3: one of the great stories. Does that point is when 308 00:15:12,400 --> 00:15:15,240 Speaker 3: we were doing poof Point that shot in Salt Lake City, 309 00:15:15,760 --> 00:15:18,280 Speaker 3: and Neil Israel, who directed it, was a friend of mine, 310 00:15:18,680 --> 00:15:20,720 Speaker 3: and I did exactly what I just described, you guys. 311 00:15:20,800 --> 00:15:22,520 Speaker 3: I was there for all the rehearsals at table Read, 312 00:15:22,560 --> 00:15:25,160 Speaker 3: and then the first or second day on set they 313 00:15:25,160 --> 00:15:27,960 Speaker 3: were shooting in a diner and the juke box was 314 00:15:28,000 --> 00:15:30,040 Speaker 3: pushed in the corner, and I again doing everything I 315 00:15:30,080 --> 00:15:31,720 Speaker 3: could to be out of the way. So I was 316 00:15:31,760 --> 00:15:34,160 Speaker 3: sitting up on the juke box with my legs crossed, 317 00:15:34,200 --> 00:15:37,240 Speaker 3: just observing, and I thought I was being so subtle. 318 00:15:37,640 --> 00:15:39,200 Speaker 3: And at one point Neil walks over to me and 319 00:15:39,240 --> 00:15:42,760 Speaker 3: he goes, you hate being here, don't you? And I 320 00:15:42,840 --> 00:15:44,360 Speaker 3: go why And he goes, I'm looking at your face 321 00:15:44,360 --> 00:15:46,560 Speaker 3: and You're like, look like you'd rather be anywhere else. 322 00:15:48,960 --> 00:15:51,120 Speaker 3: And I went, well, I'm you know, I'm basically what 323 00:15:51,200 --> 00:15:51,840 Speaker 3: am I here to do? 324 00:15:52,120 --> 00:15:52,960 Speaker 4: What am I here for? 325 00:15:53,760 --> 00:15:55,960 Speaker 3: Yeah? So I love you well. 326 00:15:56,040 --> 00:15:58,080 Speaker 5: Even though you didn't get a ton of time on 327 00:15:58,400 --> 00:16:00,080 Speaker 5: you know, it sounds like you really kind of have 328 00:16:00,400 --> 00:16:03,360 Speaker 5: allowed the directors and the actors to do their work 329 00:16:03,400 --> 00:16:07,040 Speaker 5: after your job, you know, felt good and done. Was 330 00:16:07,080 --> 00:16:08,880 Speaker 5: there any of the young actors that. I mean, you 331 00:16:08,960 --> 00:16:11,160 Speaker 5: have so many that have been in your d coms 332 00:16:11,240 --> 00:16:14,240 Speaker 5: or any of them, ones that when either you saw 333 00:16:14,240 --> 00:16:16,920 Speaker 5: the finished product or the part on set that you 334 00:16:17,000 --> 00:16:20,480 Speaker 5: did be a part of, where you walked away and said, wow, 335 00:16:20,560 --> 00:16:23,440 Speaker 5: that that little actor stood out so much. 336 00:16:23,480 --> 00:16:25,080 Speaker 6: Was there anyone that. 337 00:16:25,080 --> 00:16:27,400 Speaker 3: Realized Actually quite a few. I mean I thought Ryan 338 00:16:27,440 --> 00:16:31,240 Speaker 3: Merriman was an incredible actor always. You know, Raven was 339 00:16:31,280 --> 00:16:33,520 Speaker 3: either twelve or thirteen when we did the first zene 340 00:16:33,520 --> 00:16:36,000 Speaker 3: on and it was very clear where she was going. 341 00:16:36,840 --> 00:16:39,320 Speaker 3: One of the lovely things about the whole social media 342 00:16:40,080 --> 00:16:44,360 Speaker 3: happening was I did get sometime more than a year 343 00:16:44,360 --> 00:16:46,200 Speaker 3: ago now, I got to reach out with a DM 344 00:16:46,240 --> 00:16:49,280 Speaker 3: from Taylor Hanley, who was the star Phantom of the Megaplex. Yeah, 345 00:16:49,320 --> 00:16:50,760 Speaker 3: and he was like, hey, buddy, it's so great to 346 00:16:50,760 --> 00:16:53,160 Speaker 3: see on social media how you been. And we had 347 00:16:53,160 --> 00:16:55,200 Speaker 3: been in touch for several years after the movie, but 348 00:16:55,240 --> 00:16:57,680 Speaker 3: then lost touch, and so I got back in touch 349 00:16:57,720 --> 00:17:00,360 Speaker 3: with Taylor, and then one of the things we do is, 350 00:17:00,400 --> 00:17:03,360 Speaker 3: if you remember the movie Mason monologue that Mickey Rooney 351 00:17:03,400 --> 00:17:06,600 Speaker 3: delivers about the magic of the movies and Phantom of 352 00:17:06,640 --> 00:17:09,640 Speaker 3: the Megaplex, Taylor and I did a dramatic reading back 353 00:17:09,680 --> 00:17:12,600 Speaker 3: and forth of that. That's somewhere on the Instagram account. 354 00:17:12,960 --> 00:17:15,600 Speaker 6: Oh that's cool, My gosh, that's so great. 355 00:17:15,640 --> 00:17:16,560 Speaker 4: Cool, that's cool. 356 00:17:24,280 --> 00:17:27,000 Speaker 1: So you mentioned that you'd go a week before you'd 357 00:17:27,000 --> 00:17:29,400 Speaker 1: be there for some of the rehearsals and the table read. 358 00:17:29,920 --> 00:17:32,600 Speaker 1: Was there a project that after the table read or 359 00:17:32,680 --> 00:17:35,240 Speaker 1: rehearsals they were like, no, this needs this needs major 360 00:17:35,280 --> 00:17:37,400 Speaker 1: work and you had to go and kind of rewrite 361 00:17:38,000 --> 00:17:38,720 Speaker 1: before they shot. 362 00:17:39,240 --> 00:17:42,359 Speaker 3: No, it was part of the beauty of the machine 363 00:17:42,400 --> 00:17:44,160 Speaker 3: of you know, needing to do a movie a month 364 00:17:44,440 --> 00:17:46,240 Speaker 3: that by the time they green led it, they were 365 00:17:46,240 --> 00:17:49,199 Speaker 3: really committed to this is the movie we're making. And 366 00:17:49,240 --> 00:17:51,119 Speaker 3: then the other thing that was a benefit for me 367 00:17:51,119 --> 00:17:53,840 Speaker 3: as a writer who didn't want to direct, was because 368 00:17:53,880 --> 00:17:56,600 Speaker 3: of that, ninety nine percent of what was on the 369 00:17:56,640 --> 00:17:59,800 Speaker 3: page ended up on the screen. So there really was 370 00:18:00,000 --> 00:18:01,840 Speaker 3: I don't think among the dcoms, I don't think there 371 00:18:01,840 --> 00:18:04,600 Speaker 3: was any of them where were so radically different by 372 00:18:04,640 --> 00:18:06,479 Speaker 3: the time the movie was finished the way they end 373 00:18:06,520 --> 00:18:09,680 Speaker 3: up in feature films often being rewritten daily, and they 374 00:18:09,680 --> 00:18:11,720 Speaker 3: didn't really have the time or the budget to be 375 00:18:11,760 --> 00:18:15,080 Speaker 3: doing that. So I think the biggest thing was when 376 00:18:15,080 --> 00:18:21,480 Speaker 3: they were shooting the second scene on the Zequal, which 377 00:18:21,640 --> 00:18:24,080 Speaker 3: years later I was railing against the chipmunks when they 378 00:18:24,119 --> 00:18:26,359 Speaker 3: had the squeakwall. It was like, I want credit for that. 379 00:18:26,840 --> 00:18:27,320 Speaker 6: I did that? 380 00:18:27,480 --> 00:18:28,000 Speaker 4: I did that? 381 00:18:28,359 --> 00:18:31,879 Speaker 3: Yeah, totally. But when they were shooting the Zequel, I 382 00:18:31,920 --> 00:18:34,520 Speaker 3: got a call and whatever I forget it was, you know, 383 00:18:34,560 --> 00:18:36,879 Speaker 3: like eighteen hour time difference. And I got a call 384 00:18:37,600 --> 00:18:40,040 Speaker 3: very late in the afternoon saying we're about to shoot 385 00:18:40,040 --> 00:18:43,280 Speaker 3: the climactic song tomorrow. We just got it back from 386 00:18:43,280 --> 00:18:46,800 Speaker 3: the Disney songwriters. They don't get what these movies are 387 00:18:46,800 --> 00:18:50,040 Speaker 3: all about. The melody's great, the lyrics are terrible. Would 388 00:18:50,080 --> 00:18:52,600 Speaker 3: you want to take a crack at them? And I said, yeah, sure, 389 00:18:52,680 --> 00:18:57,200 Speaker 3: I'm a songwriter not but I could do that. And 390 00:18:57,240 --> 00:18:59,600 Speaker 3: they said, okay, the only problem is we needed back 391 00:18:59,600 --> 00:19:02,040 Speaker 3: at about six hours because we have to record it. 392 00:19:02,240 --> 00:19:05,479 Speaker 3: We're doing the playback shooting of it tomorrow afternoon. And 393 00:19:05,520 --> 00:19:07,240 Speaker 3: once again it was like, all right, that's what you need, 394 00:19:07,280 --> 00:19:09,919 Speaker 3: that's what you're yet and bing bing bing banged up 395 00:19:09,920 --> 00:19:12,200 Speaker 3: the Galaxy is ours said it back to them and 396 00:19:12,200 --> 00:19:14,439 Speaker 3: they said, everybody here loves it. We're recording it tonight. 397 00:19:14,680 --> 00:19:15,840 Speaker 4: Oh my gosh. 398 00:19:16,160 --> 00:19:18,880 Speaker 3: They shot day and I still get a roy when 399 00:19:18,880 --> 00:19:19,160 Speaker 3: the movie. 400 00:19:21,240 --> 00:19:21,960 Speaker 6: Wow. 401 00:19:23,920 --> 00:19:28,840 Speaker 1: Have you noticed now, just through the regular flow of 402 00:19:28,920 --> 00:19:33,879 Speaker 1: social media and of your students, have you we've we've 403 00:19:33,960 --> 00:19:37,080 Speaker 1: started to see a very big resurgence in all of 404 00:19:37,080 --> 00:19:37,960 Speaker 1: these d coms. 405 00:19:38,640 --> 00:19:40,280 Speaker 4: Have you started to feel that Have you noticed that 406 00:19:40,320 --> 00:19:41,520 Speaker 4: from the people you're talking to? 407 00:19:42,320 --> 00:19:44,280 Speaker 3: I've noticed it from by residuals. There. 408 00:19:46,280 --> 00:19:47,960 Speaker 4: There you go, that works too. 409 00:19:48,080 --> 00:19:51,879 Speaker 3: That's a great way to I do not say that factiously, 410 00:19:51,960 --> 00:19:55,479 Speaker 3: because there was many years between you know, the Disney 411 00:19:55,520 --> 00:19:58,160 Speaker 3: Channel heyday when they were on every minute, and then 412 00:19:58,200 --> 00:20:02,000 Speaker 3: the lull, and then as soon as Disney Plus happened. Yes, 413 00:20:02,200 --> 00:20:05,280 Speaker 3: I mean before I even knew all the machinations of 414 00:20:05,359 --> 00:20:07,560 Speaker 3: Disney Plus. One of my students called me and he said, 415 00:20:07,800 --> 00:20:09,960 Speaker 3: I'm going through the menu here, dude, and there's like 416 00:20:10,000 --> 00:20:12,200 Speaker 3: fifteen of your movies here, like your whole career is 417 00:20:12,200 --> 00:20:15,520 Speaker 3: here on Disney Plus. Yes, yes, that can be bad. 418 00:20:17,760 --> 00:20:20,200 Speaker 3: And then, like I said, the bump in residuals in 419 00:20:20,240 --> 00:20:22,880 Speaker 3: the last two or three years since that resurgence tells 420 00:20:22,960 --> 00:20:24,520 Speaker 3: me as much as the students tell me. 421 00:20:24,920 --> 00:20:28,760 Speaker 5: Well, what's amazing with Disney Plus is you know, like 422 00:20:28,800 --> 00:20:32,439 Speaker 5: we all know with the channel, was they pumped them 423 00:20:32,480 --> 00:20:36,240 Speaker 5: out and then they put it was Xenon, Xenon, zene On, Zenon. 424 00:20:36,320 --> 00:20:38,720 Speaker 5: You know, they just kept going, so the audience just 425 00:20:38,800 --> 00:20:41,919 Speaker 5: really kept falling in love with those kinds of movies 426 00:20:41,960 --> 00:20:45,840 Speaker 5: even more now with Disney Plus, it has this way 427 00:20:45,880 --> 00:20:48,919 Speaker 5: of bringing in shows that are somewhat like the shows 428 00:20:48,920 --> 00:20:51,880 Speaker 5: that you watch, and they just start, you know, suggesting them. 429 00:20:51,960 --> 00:20:54,639 Speaker 6: Yeah, right exactly, and so they start. You get to 430 00:20:54,720 --> 00:20:56,920 Speaker 6: go down memory lane. 431 00:20:56,960 --> 00:20:58,800 Speaker 5: If it's something you grew up with, which is what 432 00:20:58,880 --> 00:21:01,440 Speaker 5: I grew up with, you get to go down memory lane. 433 00:21:01,560 --> 00:21:04,120 Speaker 5: Or for the new generation, they get to find it 434 00:21:04,480 --> 00:21:07,920 Speaker 5: out of nowhere and it feels like, you know, so 435 00:21:08,080 --> 00:21:10,639 Speaker 5: that's so exciting that Disney Plus has done that. 436 00:21:10,800 --> 00:21:18,200 Speaker 1: Because my Disney Plus just suggests, Stu Kreeger, I suggest, 437 00:21:18,640 --> 00:21:21,560 Speaker 1: so before we get off of dcoms, because we have 438 00:21:21,600 --> 00:21:23,280 Speaker 1: other films that you've done that I want to talk about, 439 00:21:23,320 --> 00:21:25,200 Speaker 1: I have to do something that might be a little 440 00:21:25,200 --> 00:21:27,600 Speaker 1: bit mean, and I know that I shouldn't, but I 441 00:21:27,680 --> 00:21:30,600 Speaker 1: have to ask which one's your favorite? 442 00:21:30,840 --> 00:21:32,560 Speaker 6: Oh yeah, that's rough. 443 00:21:32,920 --> 00:21:35,080 Speaker 3: I think it is the original Xenon. For a couple 444 00:21:35,119 --> 00:21:39,560 Speaker 3: of different reasons. One is I had so much fun 445 00:21:39,680 --> 00:21:43,120 Speaker 3: inventing the language for that movie, and where it all 446 00:21:43,240 --> 00:21:46,800 Speaker 3: came from was I'm always a character driven writer, And 447 00:21:46,840 --> 00:21:49,879 Speaker 3: when you asked earlier about the process, I always start 448 00:21:49,920 --> 00:21:52,439 Speaker 3: from who's my hero, what do they want? What's in 449 00:21:52,440 --> 00:21:54,399 Speaker 3: the way of the wand what is their world? You know, 450 00:21:54,440 --> 00:21:56,960 Speaker 3: all of those questions for myself, and I usually do 451 00:21:57,080 --> 00:21:59,880 Speaker 3: character bios before I even begin to think about the plot. 452 00:22:00,119 --> 00:22:00,479 Speaker 4: Hmmm. 453 00:22:00,600 --> 00:22:03,760 Speaker 3: And so with Xenon, it was like, you know, I 454 00:22:03,920 --> 00:22:06,160 Speaker 3: want to do some kind of what would be her 455 00:22:06,240 --> 00:22:09,800 Speaker 3: modern slang? What would be the clueless equivalent for Xenon? 456 00:22:10,400 --> 00:22:12,920 Speaker 3: And my two things were, well, she grew up on 457 00:22:12,960 --> 00:22:15,000 Speaker 3: the space station, so she looks out of her window. 458 00:22:15,040 --> 00:22:18,040 Speaker 3: These are space terms, so things like it's a problem 459 00:22:18,080 --> 00:22:21,240 Speaker 3: major or problem minor, was you know, URSA major, ursa minor, 460 00:22:21,680 --> 00:22:24,640 Speaker 3: galaxies and all the rest of it. And she knows technology, 461 00:22:25,000 --> 00:22:27,760 Speaker 3: so all the macro and micro in any of those terms, 462 00:22:27,840 --> 00:22:30,480 Speaker 3: it was all her frame of reference would be technology 463 00:22:30,600 --> 00:22:34,200 Speaker 3: or space. And so you know, it's very funny watching 464 00:22:34,240 --> 00:22:38,520 Speaker 3: how everybody mangles seed this lapitas because online there's like 465 00:22:38,720 --> 00:22:41,520 Speaker 3: seven hundred and twenty seven spellings of it, and I'll 466 00:22:41,560 --> 00:22:44,520 Speaker 3: always respond back and go, see this c e t 467 00:22:44,720 --> 00:22:47,840 Speaker 3: Us as a constellation. That's where that came from. And 468 00:22:47,840 --> 00:22:49,720 Speaker 3: then I just made up a stupid word to rhyme 469 00:22:49,760 --> 00:22:54,200 Speaker 3: with it, so it's like her version of cheeper screepers 470 00:22:54,280 --> 00:22:54,920 Speaker 3: or holy cow? 471 00:22:55,080 --> 00:23:00,800 Speaker 1: Was we so literally we have as we're doing this, 472 00:23:00,880 --> 00:23:03,560 Speaker 1: we have our producers checking in on the side, writing 473 00:23:03,600 --> 00:23:04,040 Speaker 1: things like. 474 00:23:04,040 --> 00:23:10,000 Speaker 4: Seat us lapedius with exclamation over. This meant so much. 475 00:23:10,200 --> 00:23:12,800 Speaker 6: Are you into to techie things? 476 00:23:12,840 --> 00:23:15,399 Speaker 5: Because I noticed that obviously with Xenon, But then you 477 00:23:15,440 --> 00:23:18,600 Speaker 5: also have smart house. Is that something that you that's 478 00:23:18,640 --> 00:23:21,000 Speaker 5: an interest for you as well, and that's where you 479 00:23:21,080 --> 00:23:23,040 Speaker 5: draw from with those kinds of projects. 480 00:23:23,400 --> 00:23:25,040 Speaker 3: Nope, not at all. 481 00:23:26,040 --> 00:23:28,200 Speaker 6: That is so shocking. Are you mean serious? 482 00:23:28,400 --> 00:23:32,000 Speaker 3: I've been one hundred percent serious tech. I am very 483 00:23:32,040 --> 00:23:34,280 Speaker 3: happily and proudly refer to myself as a lud. 484 00:23:34,640 --> 00:23:36,200 Speaker 4: Very too nice me too. 485 00:23:36,800 --> 00:23:39,440 Speaker 3: If I did not have my student running the social media, 486 00:23:39,480 --> 00:23:41,960 Speaker 3: it would not exist. And he runs it to the 487 00:23:41,960 --> 00:23:44,320 Speaker 3: point where he will call me and to go. You know, dude, 488 00:23:44,320 --> 00:23:46,119 Speaker 3: when you did that video that I asked you for, 489 00:23:46,680 --> 00:23:49,520 Speaker 3: You're sitting and you look really kind of just frozen 490 00:23:49,560 --> 00:23:51,720 Speaker 3: and not interest, stand up and walk around while you're talking. 491 00:23:51,760 --> 00:23:54,000 Speaker 3: It's more interesting, and I just do what I'm told 492 00:23:56,440 --> 00:23:59,000 Speaker 3: the tech side of things. What I did was xenon Is. 493 00:23:59,160 --> 00:24:01,600 Speaker 3: I went to the Jet Propulsion Lab in Pasadena. 494 00:24:01,680 --> 00:24:02,920 Speaker 4: Oh cool, and I. 495 00:24:02,880 --> 00:24:05,840 Speaker 3: Got to meet the beautiful thing with all of those movies, 496 00:24:06,480 --> 00:24:08,800 Speaker 3: was you call and say I'm working on a movie 497 00:24:08,800 --> 00:24:11,000 Speaker 3: for Disney. Can I speak to someone? You get pretty 498 00:24:11,080 --> 00:24:13,720 Speaker 3: much you know, the access you want. And so I 499 00:24:13,760 --> 00:24:15,919 Speaker 3: went to JPL and I spent two days with the 500 00:24:15,920 --> 00:24:18,359 Speaker 3: guys and just like, what kind of future tech are 501 00:24:18,400 --> 00:24:20,840 Speaker 3: you working on? What kind of things could I extrapolate? 502 00:24:21,400 --> 00:24:23,440 Speaker 3: And I would say now that I've probably done it 503 00:24:23,440 --> 00:24:26,960 Speaker 3: at least somewhere around eight or ten interviews with either 504 00:24:27,000 --> 00:24:30,359 Speaker 3: tech podcasts or like Wired magazine has reached out to me. 505 00:24:30,400 --> 00:24:32,800 Speaker 3: I've done all these interviews and they're like, you know, dude, 506 00:24:32,800 --> 00:24:35,600 Speaker 3: you predicted the future and Zeno and they have I 507 00:24:35,760 --> 00:24:37,640 Speaker 3: pad like you know all this, and it's like, well, 508 00:24:37,680 --> 00:24:41,040 Speaker 3: I really didn't, because again, kind of like the language 509 00:24:41,440 --> 00:24:45,080 Speaker 3: my extrapolation was, computers started filling up an entire room, 510 00:24:45,640 --> 00:24:48,280 Speaker 3: then they went to desktops, then they got smaller. Soon 511 00:24:48,280 --> 00:24:51,160 Speaker 3: they'll be portable. You know, it didn't feel like you're 512 00:24:51,200 --> 00:24:54,840 Speaker 3: a genius. What hasn't jobs reached out, it was just, 513 00:24:55,680 --> 00:24:57,520 Speaker 3: you know, that's the next just. 514 00:24:57,760 --> 00:25:00,840 Speaker 4: The credits, take the genius credit. Just take that's what 515 00:25:00,840 --> 00:25:01,440 Speaker 4: you gotta do. 516 00:25:02,920 --> 00:25:06,399 Speaker 5: With the With smart House, it's a high and having 517 00:25:06,480 --> 00:25:10,760 Speaker 5: computer assistant, it's going a wire. Do you have a 518 00:25:10,800 --> 00:25:12,960 Speaker 5: feeling that that's gonna happen to society? Do you do 519 00:25:13,000 --> 00:25:16,439 Speaker 5: you worry for us? Because it would be something something 520 00:25:16,520 --> 00:25:19,040 Speaker 5: along the lines that you've predicted in Smart House? 521 00:25:19,400 --> 00:25:22,720 Speaker 3: Definitely, that's part of what that goes hand in hand 522 00:25:22,720 --> 00:25:24,639 Speaker 3: with the lot. I think it's like, why don't you 523 00:25:24,680 --> 00:25:27,840 Speaker 3: people understand these robots are gonna kill us all? What's 524 00:25:27,840 --> 00:25:28,520 Speaker 3: the matter with you? 525 00:25:30,400 --> 00:25:32,520 Speaker 1: It's good they're gonna be self aware at some point people, 526 00:25:32,600 --> 00:25:34,800 Speaker 1: is no one seen a movie we come on? 527 00:25:36,200 --> 00:25:38,960 Speaker 3: Exactly? And one of my favorite things since I've been 528 00:25:39,080 --> 00:25:42,280 Speaker 3: on social media One day, Katie Sigal reached out and 529 00:25:42,320 --> 00:25:45,280 Speaker 3: she said, I don't understand where my royalties are. I 530 00:25:45,400 --> 00:25:52,960 Speaker 3: was the original theory she was. She totally was Was. 531 00:25:52,960 --> 00:25:56,320 Speaker 1: There ever a project that you pitched for a d 532 00:25:56,440 --> 00:25:59,000 Speaker 1: com that didn't get made that you wish had? 533 00:26:00,240 --> 00:26:02,520 Speaker 3: Yeah, kind of late in the run, I had a 534 00:26:02,560 --> 00:26:06,080 Speaker 3: project that I took directly to Raven and she was 535 00:26:06,119 --> 00:26:08,320 Speaker 3: at a point in her career where she was wanting 536 00:26:08,320 --> 00:26:11,080 Speaker 3: to do more producing and wanting to more focus on 537 00:26:11,119 --> 00:26:14,440 Speaker 3: her music for a while. It was before the Raven reboot, 538 00:26:14,680 --> 00:26:16,840 Speaker 3: and it was a really fun caper thing that she 539 00:26:16,960 --> 00:26:19,320 Speaker 3: was going to executive produce, write music for, and do 540 00:26:19,400 --> 00:26:21,679 Speaker 3: a cameo in, but not starting. It was for a younger, 541 00:26:22,040 --> 00:26:24,000 Speaker 3: like twelve year old actor when she was about eighteen 542 00:26:24,080 --> 00:26:27,120 Speaker 3: or nineteen, and it was another one of those days 543 00:26:27,160 --> 00:26:29,600 Speaker 3: where she and I went together to the network. We 544 00:26:29,680 --> 00:26:32,119 Speaker 3: pitched it to the executives. They bought it in the room. 545 00:26:32,640 --> 00:26:34,680 Speaker 3: We did two drafts, and then one day they just 546 00:26:34,720 --> 00:26:36,439 Speaker 3: called and said, we've changed our mind and we're not 547 00:26:36,480 --> 00:26:37,119 Speaker 3: making the movie. 548 00:26:37,280 --> 00:26:37,760 Speaker 4: Oh no. 549 00:26:38,200 --> 00:26:40,600 Speaker 3: And we never got any explanation. We never got any 550 00:26:41,200 --> 00:26:43,359 Speaker 3: not like, you know, take one more pass it. It 551 00:26:43,440 --> 00:26:47,640 Speaker 3: just boomed and that one didn't happen. That was too bad, 552 00:26:47,640 --> 00:26:49,800 Speaker 3: because it was a really fun caper movie. It was 553 00:26:49,840 --> 00:26:51,840 Speaker 3: a little bit more They were starting to take a 554 00:26:51,840 --> 00:26:54,200 Speaker 3: little bit more risks in terms of, you know, they 555 00:26:54,200 --> 00:26:57,880 Speaker 3: were so romance a verse to begin with. They were 556 00:26:57,880 --> 00:27:00,520 Speaker 3: so chased in this kind of where you could push 557 00:27:00,560 --> 00:27:02,119 Speaker 3: the stories, and this had a little bit more of 558 00:27:02,119 --> 00:27:04,399 Speaker 3: an edge to it. That I was excited about, and 559 00:27:04,440 --> 00:27:05,760 Speaker 3: then they just went never mind. 560 00:27:06,880 --> 00:27:07,160 Speaker 4: Jeez. 561 00:27:07,760 --> 00:27:12,080 Speaker 1: Okay, So before we came on, one of our producers 562 00:27:12,080 --> 00:27:14,879 Speaker 1: popped on and said, do me a favor and please 563 00:27:14,920 --> 00:27:19,200 Speaker 1: tell mister Kreeger that I'm still scarred from the Land Before. 564 00:27:18,960 --> 00:27:23,879 Speaker 7: Time and I we talked a little bit about this 565 00:27:23,040 --> 00:27:27,760 Speaker 7: tho this film because I mean produced by Steven Spielberg, 566 00:27:27,920 --> 00:27:30,359 Speaker 7: Kathleen Kennedy, George Lucas, and Frank Marshall. 567 00:27:30,400 --> 00:27:33,600 Speaker 1: I mean, this is there is no aer team than this, 568 00:27:33,680 --> 00:27:37,359 Speaker 1: a team of filmmakers. How did this project come about? 569 00:27:37,440 --> 00:27:39,600 Speaker 1: How did you sign on? And how did you scar 570 00:27:39,680 --> 00:27:40,560 Speaker 1: an entire generation? 571 00:27:41,960 --> 00:27:44,920 Speaker 3: It was my pleasure, But I also I would get 572 00:27:44,960 --> 00:27:46,440 Speaker 3: back to the best part of the story because it's 573 00:27:46,440 --> 00:27:48,080 Speaker 3: a good part of the story that I also got 574 00:27:48,119 --> 00:27:52,040 Speaker 3: to relate to the students on Tuesday. But I was 575 00:27:52,200 --> 00:27:56,280 Speaker 3: one of the writers and story editors on Amazing Stories, 576 00:27:56,320 --> 00:27:58,600 Speaker 3: which was Spielberg's first four A into television. 577 00:27:58,760 --> 00:28:00,880 Speaker 4: Awesome that came. 578 00:28:00,720 --> 00:28:02,359 Speaker 3: About in a way that I'm going to take a 579 00:28:02,400 --> 00:28:05,000 Speaker 3: moment to talk about because it's really really instructive to 580 00:28:05,520 --> 00:28:10,320 Speaker 3: aspiring writers out there, which is a lot of people 581 00:28:10,320 --> 00:28:12,560 Speaker 3: do not know that writers get typecast as quickly, as 582 00:28:12,600 --> 00:28:15,800 Speaker 3: actors do. And so the first couple of things that 583 00:28:15,840 --> 00:28:18,440 Speaker 3: I had done were kind of young coming of age 584 00:28:18,480 --> 00:28:21,280 Speaker 3: stories of young people who filled with anxiety. And I 585 00:28:21,320 --> 00:28:24,000 Speaker 3: had two or three low budget movies made in that genre, 586 00:28:24,480 --> 00:28:26,480 Speaker 3: and that was the kind of stuff I was being offered. 587 00:28:26,920 --> 00:28:28,360 Speaker 3: And so it was like, I'm going to take three 588 00:28:28,400 --> 00:28:32,040 Speaker 3: months off. I'm going to write a very naked, autobiographical, 589 00:28:32,080 --> 00:28:34,760 Speaker 3: more adult script that I want to kind of represent 590 00:28:34,840 --> 00:28:36,919 Speaker 3: who I think I am as a writer. And I 591 00:28:36,960 --> 00:28:42,200 Speaker 3: wrote a very personal family comedy about three generations of 592 00:28:42,200 --> 00:28:44,800 Speaker 3: actually four generations of a family coming together for the 593 00:28:44,800 --> 00:28:49,240 Speaker 3: grandparents sixtieth anniversary, and all the family secrets, all the 594 00:28:49,240 --> 00:28:51,080 Speaker 3: stuff that have been tamped down for years, blows up 595 00:28:51,120 --> 00:28:54,200 Speaker 3: in the middle of this party. At the time, the 596 00:28:54,240 --> 00:28:58,080 Speaker 3: equivalent of Franklin Leonard's Blacklist in that day was American 597 00:28:58,160 --> 00:29:00,680 Speaker 3: Film Magazine would do the ten best done produced scripts 598 00:29:00,680 --> 00:29:03,760 Speaker 3: in Hollywood. And my script was called Kinfolk, and it 599 00:29:03,880 --> 00:29:07,440 Speaker 3: ended up on that list. Oh and first it got 600 00:29:07,440 --> 00:29:10,800 Speaker 3: to Josh Brandon John Folsey, who became the executive producers 601 00:29:10,800 --> 00:29:13,520 Speaker 3: of Amazing Stories. They read it and loved it. They 602 00:29:13,520 --> 00:29:15,520 Speaker 3: gave it to Steven to read. He really liked it, 603 00:29:16,000 --> 00:29:18,240 Speaker 3: and they ended up hiring me to write one episode 604 00:29:18,280 --> 00:29:21,720 Speaker 3: of Amazing Stories. I wrote that, I got a letter 605 00:29:21,720 --> 00:29:24,360 Speaker 3: that's still framed on my office wall from Steven Spielberg 606 00:29:25,080 --> 00:29:27,120 Speaker 3: saying you took my because it kind of the reason 607 00:29:27,160 --> 00:29:30,640 Speaker 3: Amazing Stories existed was because he had all these ideas 608 00:29:30,920 --> 00:29:33,760 Speaker 3: for things that he realized weren't quite feature film ideas 609 00:29:33,760 --> 00:29:37,120 Speaker 3: but could be more anthology, short story kind of films. 610 00:29:37,640 --> 00:29:40,720 Speaker 3: And so a lot of the episodes were just literally 611 00:29:40,720 --> 00:29:42,880 Speaker 3: a scribbled page of Steven with an idea on it, 612 00:29:42,960 --> 00:29:45,680 Speaker 3: and then take this idea and make it an episode. 613 00:29:46,000 --> 00:29:48,120 Speaker 3: And the letter I have from him, he said, you 614 00:29:48,200 --> 00:29:50,240 Speaker 3: took my little idea and made it one of my 615 00:29:50,280 --> 00:29:52,520 Speaker 3: favorite episodes of the season. Thank you very much, and 616 00:29:52,560 --> 00:29:55,800 Speaker 3: that's cool, signed Steven Spielberg. And so then out of 617 00:29:55,840 --> 00:29:58,360 Speaker 3: that he hired me to do two more episodes, and 618 00:29:58,360 --> 00:30:00,400 Speaker 3: then for season two, I was part of a panel 619 00:30:00,440 --> 00:30:03,080 Speaker 3: of story editors and we're in the middle of doing 620 00:30:03,120 --> 00:30:06,480 Speaker 3: that and as head of development, Deborah Newmeyer took me 621 00:30:06,520 --> 00:30:09,600 Speaker 3: to lunch since she said, Stephen and I were talking 622 00:30:09,640 --> 00:30:11,680 Speaker 3: the other day and we both feel like you've become 623 00:30:11,720 --> 00:30:15,040 Speaker 3: a better writer since you become a dad Steven and 624 00:30:15,080 --> 00:30:18,560 Speaker 3: George have for a long time have this idea for 625 00:30:18,600 --> 00:30:21,640 Speaker 3: an animated dinosaur movie they want to do. They had 626 00:30:21,720 --> 00:30:24,120 Speaker 3: another team of writers on it, weren't happy with what 627 00:30:24,160 --> 00:30:27,840 Speaker 3: they did. Do you want to write this movie? And 628 00:30:27,920 --> 00:30:30,600 Speaker 3: what I said to my students on Tuesday is when 629 00:30:30,640 --> 00:30:32,920 Speaker 3: somebody says, Steven Spielberg and George Lucas want you to 630 00:30:32,960 --> 00:30:36,080 Speaker 3: write this movie, you say yes, yes, yes, don't say 631 00:30:36,120 --> 00:30:38,520 Speaker 3: how much will I be paid? When is it due? 632 00:30:38,560 --> 00:30:41,320 Speaker 3: You say yes, yeah, and you figure everything out after that. 633 00:30:42,680 --> 00:30:45,520 Speaker 3: But that's what I did, and I said to them, 634 00:30:45,680 --> 00:30:48,440 Speaker 3: if you're not happy with the existing script, I'd rather 635 00:30:48,480 --> 00:30:50,479 Speaker 3: hear what you are happy with what it is you're 636 00:30:50,520 --> 00:30:52,640 Speaker 3: attached to what it is you want to do, and 637 00:30:52,680 --> 00:30:54,680 Speaker 3: not have to read the script and have pieces of 638 00:30:54,720 --> 00:30:56,479 Speaker 3: it stuck in my head that you don't, you know, 639 00:30:56,800 --> 00:30:59,880 Speaker 3: are drawn to. So they ultimately gave me a folder 640 00:31:00,000 --> 00:31:03,240 Speaker 3: filled with scraps of paper that said, like dinosaurs walked 641 00:31:03,280 --> 00:31:06,280 Speaker 3: by verning volcano, you know, just kind of sket and 642 00:31:06,320 --> 00:31:08,880 Speaker 3: there was already some preliminary character sketches that were done. 643 00:31:10,320 --> 00:31:13,400 Speaker 3: Littlefoot's name at the time was Thunderfoot. And then they 644 00:31:13,400 --> 00:31:15,480 Speaker 3: found out there was a series of kids books in 645 00:31:15,520 --> 00:31:19,600 Speaker 3: the UK with a dinosaur named Thunderfoot. Petrie's name was 646 00:31:19,640 --> 00:31:22,440 Speaker 3: originally Terry the pterodactyl, but that was pee Wee's playhouse, 647 00:31:22,520 --> 00:31:25,880 Speaker 3: as I had to tell them, and Dan Donald and 648 00:31:25,960 --> 00:31:28,280 Speaker 3: Dan Petrie soon Senior were all friends of mine, so 649 00:31:28,320 --> 00:31:31,840 Speaker 3: I said, how about we name him Petrie. So I 650 00:31:31,880 --> 00:31:34,640 Speaker 3: have been told the Petries claim him more than they 651 00:31:34,680 --> 00:31:36,560 Speaker 3: even claimed in their own films, which I really love. 652 00:31:36,800 --> 00:31:41,560 Speaker 3: Let's go, so that's how that happened. And then to 653 00:31:41,680 --> 00:31:45,200 Speaker 3: your question to begin it all, Uh, it's always my 654 00:31:45,280 --> 00:31:47,720 Speaker 3: pleasure to be very very happy to throw Stephen under 655 00:31:47,720 --> 00:31:50,360 Speaker 3: the bus because he was the one that first brought 656 00:31:50,440 --> 00:31:54,240 Speaker 3: up the idea of Littlefoot's mom died, and his justification 657 00:31:54,480 --> 00:31:57,800 Speaker 3: for it was I was fully traumatized by Bambi's mother 658 00:31:57,920 --> 00:32:00,720 Speaker 3: dying when I was a kid's to do it to 659 00:32:00,720 --> 00:32:01,600 Speaker 3: a new general. 660 00:32:03,360 --> 00:32:06,280 Speaker 1: Like the credits are still rolling when Baby's mom days, 661 00:32:07,480 --> 00:32:08,360 Speaker 1: Oh my god. 662 00:32:09,920 --> 00:32:13,400 Speaker 3: The beautiful part of my legacy has been that you 663 00:32:13,440 --> 00:32:16,440 Speaker 3: know that movie came out in nineteen eighty eight. When 664 00:32:16,480 --> 00:32:18,520 Speaker 3: my kids were in elementary and middle school, I would 665 00:32:18,560 --> 00:32:20,880 Speaker 3: often do career day and career day I would have 666 00:32:20,960 --> 00:32:23,680 Speaker 3: the DVDs or BHS tapes on the table and some 667 00:32:23,800 --> 00:32:26,200 Speaker 3: original artwork from Land Before Time to show the kids, 668 00:32:26,240 --> 00:32:28,640 Speaker 3: and the artist gave me a couple of cells from 669 00:32:28,640 --> 00:32:30,440 Speaker 3: the movie that I would take into my whole dog 670 00:32:30,440 --> 00:32:33,640 Speaker 3: and Pony show, and somebody's mother would always come. And yet, 671 00:32:33,640 --> 00:32:38,160 Speaker 3: so you're the reason my kids. And in those days 672 00:32:38,200 --> 00:32:40,760 Speaker 3: I was still prolific and active enough that I didn't 673 00:32:40,760 --> 00:32:43,000 Speaker 3: throw Stephen under the bus. In those days, I'd go, yeah, 674 00:32:43,560 --> 00:32:43,960 Speaker 3: that was me. 675 00:32:44,560 --> 00:32:50,160 Speaker 4: Now I'm perfectly happy. Okay we answered that question. 676 00:32:50,640 --> 00:32:52,840 Speaker 6: It's even worse because he did it on purpose. I 677 00:32:56,120 --> 00:32:57,000 Speaker 6: can't get over that. 678 00:33:05,840 --> 00:33:08,720 Speaker 5: Tell me you stay on set for like a couple 679 00:33:08,880 --> 00:33:11,320 Speaker 5: days and that you've enjoyed it a little bit more. 680 00:33:11,720 --> 00:33:14,600 Speaker 6: We're in the Army Now with Pollie Shore. Tell me 681 00:33:14,680 --> 00:33:16,680 Speaker 6: that he's the best thing in the world. 682 00:33:16,800 --> 00:33:19,960 Speaker 5: And it's so funny on an off camera because I 683 00:33:20,000 --> 00:33:22,080 Speaker 5: have him on this just giant pedical. 684 00:33:22,200 --> 00:33:26,200 Speaker 6: I love him in his movies. I was so excited 685 00:33:26,440 --> 00:33:28,200 Speaker 6: to hear that you are a part of in the 686 00:33:28,320 --> 00:33:28,760 Speaker 6: Army Now. 687 00:33:28,800 --> 00:33:33,240 Speaker 3: I mean, so, here's how small the world is. Who 688 00:33:33,280 --> 00:33:36,280 Speaker 3: is the director of In the Army Now, Dann Petrie Junior. 689 00:33:36,560 --> 00:33:41,160 Speaker 7: Oh jeez, okay, wow, right, Well that's La that's for 690 00:33:41,360 --> 00:33:42,440 Speaker 7: sure the industry. 691 00:33:42,840 --> 00:33:46,200 Speaker 3: So Petrick is back. The thing that was really really 692 00:33:46,240 --> 00:33:49,160 Speaker 3: impressive about Poullie because how I got involved in that movie. 693 00:33:50,200 --> 00:33:53,720 Speaker 3: I was working on a project at Disney at the 694 00:33:53,720 --> 00:33:56,320 Speaker 3: time on the feature side of things that was a 695 00:33:56,400 --> 00:33:59,320 Speaker 3: romantic comedy that Goldie Hawn was going to produce and 696 00:33:59,440 --> 00:34:02,360 Speaker 3: star in. So she had an overall deal with them, 697 00:34:02,960 --> 00:34:05,600 Speaker 3: a five picture deal. The beauty of show business is 698 00:34:05,600 --> 00:34:07,680 Speaker 3: what I'm saying about your number of success as long 699 00:34:07,720 --> 00:34:11,040 Speaker 3: as you're in it, multimillion dollar five picture deal. They 700 00:34:11,080 --> 00:34:13,319 Speaker 3: never made any of the movies that she took to them, 701 00:34:13,360 --> 00:34:17,440 Speaker 3: not what she got to collect her paycheck she needs. 702 00:34:17,480 --> 00:34:20,200 Speaker 3: Never made one of those movies. But the project we 703 00:34:20,360 --> 00:34:23,960 Speaker 3: did for them, hand to god people, we did twenty 704 00:34:24,000 --> 00:34:27,560 Speaker 3: one drafts of before they finally said, yeah, not so much. 705 00:34:27,560 --> 00:34:30,800 Speaker 3: We're not making your mom. But in the middle of it, 706 00:34:30,880 --> 00:34:33,400 Speaker 3: they came to me and they said, we have this 707 00:34:33,520 --> 00:34:37,160 Speaker 3: Polly Shore movie that's fairly well down the tracks, but 708 00:34:37,239 --> 00:34:39,520 Speaker 3: again not all the way there in terms of the script. 709 00:34:40,080 --> 00:34:42,600 Speaker 3: We want to lot Dan Petrie. I don't even think 710 00:34:42,640 --> 00:34:45,319 Speaker 3: Dan was attached to direct yet at that point, but 711 00:34:45,400 --> 00:34:47,919 Speaker 3: Dan was a friend of mine and then a third friend, 712 00:34:48,000 --> 00:34:50,239 Speaker 3: Ken Kaufman, and they said, we want to take you 713 00:34:50,320 --> 00:34:52,480 Speaker 3: Dan and Kenn and basically lock you in her room 714 00:34:52,520 --> 00:34:54,879 Speaker 3: for two weeks and have you finished this script because 715 00:34:54,880 --> 00:34:57,399 Speaker 3: we have a firm production day because Polly has other 716 00:34:57,400 --> 00:34:59,000 Speaker 3: commitments after that that we got to get him in 717 00:34:59,080 --> 00:35:01,719 Speaker 3: and out for this date. So I kind of like, 718 00:35:02,000 --> 00:35:03,359 Speaker 3: you know, is this the point in my life where 719 00:35:03,360 --> 00:35:06,040 Speaker 3: I want to do a poll Shore movie? Dad? And 720 00:35:06,080 --> 00:35:08,359 Speaker 3: then they were like, do you want your Godi Han 721 00:35:08,480 --> 00:35:09,120 Speaker 3: project made? 722 00:35:10,280 --> 00:35:10,840 Speaker 6: Rely? 723 00:35:12,640 --> 00:35:14,920 Speaker 3: I want to work on this and you know, so 724 00:35:15,280 --> 00:35:17,040 Speaker 3: it was like, you know, I love kenon Dan and 725 00:35:17,080 --> 00:35:18,799 Speaker 3: I was like, we'll have fun. It's fine, let's do it. 726 00:35:20,160 --> 00:35:22,520 Speaker 3: So we, you know, began with a couple of meetings 727 00:35:22,520 --> 00:35:24,920 Speaker 3: with Paulie and the thing that was so impressive was 728 00:35:25,480 --> 00:35:29,240 Speaker 3: he was so clean and clear on who that character 729 00:35:29,480 --> 00:35:32,040 Speaker 3: was and what it was about that character that his 730 00:35:32,120 --> 00:35:36,120 Speaker 3: audience loved. And so before we would go to writing 731 00:35:36,239 --> 00:35:38,479 Speaker 3: script pages, we would just pitch them, how about this idea, 732 00:35:38,560 --> 00:35:40,920 Speaker 3: how about this turn? What if the character did this? 733 00:35:41,000 --> 00:35:43,600 Speaker 3: So the plot took that twist, and he would say, 734 00:35:43,760 --> 00:35:46,280 Speaker 3: my audience isn't going to care about that? And another 735 00:35:46,320 --> 00:35:49,680 Speaker 3: movie that would probably work to spend there at one 736 00:35:49,680 --> 00:35:52,000 Speaker 3: point it was a love story angle that we were introducing, 737 00:35:52,000 --> 00:35:53,160 Speaker 3: and you go, they don't want to see me in 738 00:35:53,160 --> 00:35:55,640 Speaker 3: a love story. That's not what my audience cares about. 739 00:35:55,680 --> 00:35:58,799 Speaker 3: They want the weasel, they want mister if they want 740 00:35:58,960 --> 00:36:01,600 Speaker 3: all of those things. And he was right, you know, 741 00:36:01,640 --> 00:36:04,319 Speaker 3: and ultimately the movie succeeded in large part because he 742 00:36:04,360 --> 00:36:07,080 Speaker 3: was so good at steering us toward this is what 743 00:36:07,080 --> 00:36:09,440 Speaker 3: my audience expects and wants and needs to have in 744 00:36:09,480 --> 00:36:11,479 Speaker 3: the movie to make it work. And at some point 745 00:36:11,520 --> 00:36:14,799 Speaker 3: in that process they approached Dan about directing. So the 746 00:36:14,800 --> 00:36:17,239 Speaker 3: answer to your question was I was around quite a 747 00:36:17,239 --> 00:36:19,719 Speaker 3: bit for that because they shot locally and it was 748 00:36:19,760 --> 00:36:21,560 Speaker 3: the kind of thing where Dan would go, hey, we're 749 00:36:21,560 --> 00:36:23,480 Speaker 3: doing this scene today. It might be fun for you 750 00:36:23,520 --> 00:36:25,480 Speaker 3: to come out and watch and see what we're up to. 751 00:36:25,560 --> 00:36:29,960 Speaker 3: And so the other thing to learn is find out 752 00:36:29,960 --> 00:36:32,959 Speaker 3: what the lunch break is time your visit to either right. 753 00:36:32,880 --> 00:36:35,960 Speaker 6: Before get so good, catering nice. 754 00:36:38,280 --> 00:36:40,200 Speaker 4: That's brilliant, smart way to do it. 755 00:36:40,239 --> 00:36:40,839 Speaker 3: Absolutely. 756 00:36:41,560 --> 00:36:44,319 Speaker 1: So, you've mentioned that you're a professor, have been since 757 00:36:44,360 --> 00:36:48,239 Speaker 1: two thousand and six. Is there one you prefer? Do 758 00:36:48,280 --> 00:36:50,759 Speaker 1: you prefer screenwriting? Do you prefer teaching? Is it a 759 00:36:50,760 --> 00:36:51,640 Speaker 1: combination of the two. 760 00:36:52,760 --> 00:36:54,839 Speaker 3: Yeah. Part of the reason for the last several years, 761 00:36:54,880 --> 00:36:58,080 Speaker 3: I've been writing fiction. Like I said, the book that 762 00:36:58,160 --> 00:37:01,040 Speaker 3: came out in May called Raft, the story of a 763 00:37:01,120 --> 00:37:03,640 Speaker 3: children's book author who has a midlife crisis and wakes 764 00:37:03,719 --> 00:37:04,480 Speaker 3: up and he's a penguin. 765 00:37:05,560 --> 00:37:07,000 Speaker 4: Well that sounds awesome. 766 00:37:07,120 --> 00:37:09,120 Speaker 3: Yeah, the way I pitched it to the publisher, as 767 00:37:09,120 --> 00:37:12,360 Speaker 3: I said, some guys leave their wives for a younger woman, 768 00:37:12,480 --> 00:37:15,600 Speaker 3: some buy a sports car. Clark Whittaker turned into a penguin, 769 00:37:15,840 --> 00:37:21,200 Speaker 3: happens to deal with it. So it's the common adventure 770 00:37:21,239 --> 00:37:23,080 Speaker 3: of what happens to the family when dad becomes a 771 00:37:23,120 --> 00:37:27,240 Speaker 3: penguin and how do we undo whatever happened. So anyway, 772 00:37:27,320 --> 00:37:30,200 Speaker 3: part of the reason I turned to novel writing was 773 00:37:30,239 --> 00:37:31,920 Speaker 3: the first year and a half that I was at 774 00:37:32,040 --> 00:37:34,560 Speaker 3: UC Riverside. I was also the head writer and story 775 00:37:34,680 --> 00:37:38,120 Speaker 3: editor on Toot and Puddle for Nickelodeon, and suddenly I 776 00:37:38,160 --> 00:37:40,680 Speaker 3: was working ninety five hours a week. Yeah, you know. 777 00:37:40,719 --> 00:37:43,439 Speaker 3: I wrote nine episodes. I story edited the rest of them. 778 00:37:44,040 --> 00:37:47,480 Speaker 3: I was responsible for coordinating the writing staff, taking the 779 00:37:47,520 --> 00:37:50,280 Speaker 3: notes from the studio and filter room back to the writers. 780 00:37:50,360 --> 00:37:52,960 Speaker 3: Doing all that while teaching full time and I went, yeah, 781 00:37:53,280 --> 00:37:55,160 Speaker 3: not really what I'm inspiring to do at this point 782 00:37:55,160 --> 00:37:58,040 Speaker 3: in my life. And so again I believe in the 783 00:37:58,040 --> 00:38:01,000 Speaker 3: gods intervening. And I was at Paradigm at the time, 784 00:38:01,040 --> 00:38:03,359 Speaker 3: and my agent called and he said, I'm jumping out 785 00:38:03,360 --> 00:38:05,840 Speaker 3: of agenting to become a manager. Do you want me 786 00:38:05,880 --> 00:38:08,040 Speaker 3: to introduce you to some other agents here? And I said, no, 787 00:38:08,320 --> 00:38:11,399 Speaker 3: that's the universe. I'm good, I'm out, you know, very 788 00:38:11,400 --> 00:38:13,319 Speaker 3: happy with the career I have, very happy with the 789 00:38:13,320 --> 00:38:16,000 Speaker 3: resume I have. I'm going to focus on academia now, 790 00:38:16,560 --> 00:38:18,920 Speaker 3: but I'm a writer. I will always need to write. 791 00:38:19,520 --> 00:38:22,200 Speaker 3: And with the books, it really it's done. When it's 792 00:38:22,200 --> 00:38:25,120 Speaker 3: done is as long as it is. The first novel 793 00:38:25,239 --> 00:38:28,680 Speaker 3: was like a historical alternate fiction type of novel, and 794 00:38:28,760 --> 00:38:31,440 Speaker 3: so that was almost six years of research before I 795 00:38:31,480 --> 00:38:34,719 Speaker 3: even started writing, and then you know, another two years 796 00:38:34,719 --> 00:38:36,920 Speaker 3: before the book came out. And then with raft it 797 00:38:36,960 --> 00:38:39,279 Speaker 3: was about a two and a half year process to 798 00:38:39,320 --> 00:38:39,839 Speaker 3: get that out. 799 00:38:40,360 --> 00:38:42,120 Speaker 4: What was the first one called? What was the first 800 00:38:42,120 --> 00:38:43,399 Speaker 4: one called the historical fiction? 801 00:38:43,600 --> 00:38:44,799 Speaker 3: That one cigarette? 802 00:38:45,080 --> 00:38:47,200 Speaker 4: Okay, and what's that? What's that one about? 803 00:38:47,880 --> 00:38:50,719 Speaker 3: So what the jumping off point is, it's four families 804 00:38:50,719 --> 00:38:53,160 Speaker 3: and four different parts of the world that you don't 805 00:38:53,200 --> 00:38:55,920 Speaker 3: know what their common thread is until the very very 806 00:38:56,000 --> 00:38:59,000 Speaker 3: last chapter when they finally come together. But the jumping 807 00:38:59,000 --> 00:39:01,960 Speaker 3: off point, there's a guy in nineteen sixty three in 808 00:39:02,040 --> 00:39:05,319 Speaker 3: Dallas trying to quit smoking, and he works at the 809 00:39:05,320 --> 00:39:08,560 Speaker 3: Texas Book Depository and he goes up to the fourth 810 00:39:08,560 --> 00:39:11,680 Speaker 3: floor to have his last cigarette. I'm gonna done today, 811 00:39:11,920 --> 00:39:14,759 Speaker 3: cold turkey after this cigarette, and walks into the loft 812 00:39:14,840 --> 00:39:17,320 Speaker 3: just in time to see Oswald pick up the rifle, 813 00:39:17,920 --> 00:39:19,919 Speaker 3: tackles into the ground, knocks them out of the way. 814 00:39:20,440 --> 00:39:24,040 Speaker 3: JFK doesn't die, and then it's the ripple of what happened? Cool? 815 00:39:24,200 --> 00:39:27,200 Speaker 4: Okay, Wow, that's my Those are like my kind of stories. 816 00:39:27,200 --> 00:39:29,560 Speaker 4: So I'm gonna have to go check that out absolutely. 817 00:39:29,120 --> 00:39:32,239 Speaker 3: Because I'm very proud of it and pleased with it. 818 00:39:32,320 --> 00:39:35,120 Speaker 3: But like I said, it's the four different families that 819 00:39:35,160 --> 00:39:37,680 Speaker 3: you follow each of them through the decades and then 820 00:39:37,760 --> 00:39:42,120 Speaker 3: finally they all dovetail and an event on the last. 821 00:39:41,960 --> 00:39:43,680 Speaker 6: Chapter that's very wow. 822 00:39:45,880 --> 00:39:48,879 Speaker 1: Well I could talk to you with seriously, we could 823 00:39:48,920 --> 00:39:49,880 Speaker 1: this could just be the podcast. 824 00:39:49,920 --> 00:39:52,600 Speaker 4: We could just do this every week and just talk 825 00:39:52,640 --> 00:39:52,920 Speaker 4: to you. 826 00:39:52,880 --> 00:39:54,759 Speaker 1: The whole time. This has been so amazing. Thank you 827 00:39:54,800 --> 00:39:57,719 Speaker 1: for spending the time with us to take a. 828 00:39:57,680 --> 00:40:00,760 Speaker 3: Moment to say. Both of my children are huge Cheetah 829 00:40:00,800 --> 00:40:02,960 Speaker 3: Girl and boy Be's World fans, so they are so 830 00:40:03,120 --> 00:40:06,560 Speaker 3: tickled that we're doing this. Oh oh right, wow, ooh 831 00:40:06,680 --> 00:40:07,319 Speaker 3: you get to do what. 832 00:40:09,080 --> 00:40:09,719 Speaker 4: Oh I'm so. 833 00:40:09,719 --> 00:40:12,800 Speaker 5: Happy to hear that you said you're at UC Riverside. 834 00:40:12,880 --> 00:40:15,400 Speaker 5: Are you still living in LA and doing that drive? 835 00:40:16,160 --> 00:40:18,760 Speaker 3: Yeah? What I do and have done since two thousand 836 00:40:18,760 --> 00:40:22,360 Speaker 3: and six is I am able to set my schedule. 837 00:40:22,880 --> 00:40:26,839 Speaker 3: So usually, like this quarter, I teach on Tuesdays and Wednesdays, 838 00:40:27,160 --> 00:40:30,400 Speaker 3: but I always go there when traffick's coming this way. Okay, 839 00:40:30,560 --> 00:40:34,120 Speaker 3: I spend Tuesday night in Riverside. I teach Wednesday morning, 840 00:40:34,280 --> 00:40:36,640 Speaker 3: I leave after lunch and I'm home before traffic coming 841 00:40:36,680 --> 00:40:38,960 Speaker 3: the other way. There you go, smart, and yeah, so 842 00:40:39,000 --> 00:40:40,080 Speaker 3: I've got it wired. 843 00:40:40,280 --> 00:40:42,120 Speaker 5: I live in Orange County, so I'm in the middle. 844 00:40:42,120 --> 00:40:45,080 Speaker 5: So I know the traffic going that way could be madness, 845 00:40:45,120 --> 00:40:47,840 Speaker 5: and I know the traffic going towards LA could be madness. 846 00:40:47,840 --> 00:40:50,319 Speaker 5: I'm like, that would be oh mad. 847 00:40:52,080 --> 00:40:54,120 Speaker 1: Is there any chance we could we could ask you 848 00:40:54,160 --> 00:40:56,680 Speaker 1: to come back and you know, talk another movie with us, 849 00:40:56,680 --> 00:40:59,360 Speaker 1: But we haven't gotten a smart house yet. Xenon's next. 850 00:40:59,719 --> 00:41:01,759 Speaker 1: So maybe if we when we do another one of 851 00:41:01,800 --> 00:41:03,360 Speaker 1: your films, maybe you could come back and we could. 852 00:41:03,200 --> 00:41:06,360 Speaker 4: Talk a little more. Would that be possible? Oh heck yeah, ah, 853 00:41:06,440 --> 00:41:07,640 Speaker 4: so thank you so much. 854 00:41:07,880 --> 00:41:10,600 Speaker 3: One of the things I said in class on Tuesday 855 00:41:10,640 --> 00:41:13,200 Speaker 3: is the beautiful thing about being at this stage of 856 00:41:13,239 --> 00:41:16,040 Speaker 3: both my life and career is I'll have guests to 857 00:41:16,080 --> 00:41:18,400 Speaker 3: come to my filmmaker's life classes. Go I'm going to 858 00:41:18,440 --> 00:41:20,640 Speaker 3: tell you about this incident, but I really am not 859 00:41:20,680 --> 00:41:27,320 Speaker 3: comfortable naming names, and I'm like, I'll name names like, yeah, 860 00:41:27,760 --> 00:41:30,239 Speaker 3: all the bodies are buried in all the tea, because 861 00:41:30,239 --> 00:41:31,640 Speaker 3: what have I got to lose at this point? 862 00:41:31,840 --> 00:41:34,200 Speaker 1: So I think that's great. Well, thank you so much 863 00:41:34,280 --> 00:41:37,040 Speaker 1: for joining us. Everybody, go pick up both those books 864 00:41:37,080 --> 00:41:38,520 Speaker 1: because I want to. I'm going to be reading both 865 00:41:38,520 --> 00:41:40,359 Speaker 1: of those so I can't wait. 866 00:41:40,800 --> 00:41:42,800 Speaker 3: I think you will enjoy. I feel very comfortable. 867 00:41:43,040 --> 00:41:46,160 Speaker 1: Thank you for writing so many people's childhoods, and thank 868 00:41:46,200 --> 00:41:48,480 Speaker 1: you for scarring so many people with land before time. 869 00:41:48,520 --> 00:41:51,000 Speaker 3: It's true my pleasure, but. 870 00:41:51,040 --> 00:41:52,680 Speaker 6: It's still one of my favorite. 871 00:41:52,800 --> 00:41:53,120 Speaker 4: Course. 872 00:41:53,280 --> 00:41:55,160 Speaker 6: Of course, I do have a three year old. 873 00:41:55,160 --> 00:41:57,759 Speaker 5: She's not ready for that, yet she will not be 874 00:41:57,800 --> 00:41:58,919 Speaker 5: watching that any time. 875 00:41:59,320 --> 00:42:04,120 Speaker 3: Timing is every thing. One of the first insane things 876 00:42:04,120 --> 00:42:06,960 Speaker 3: that happened when we joined the social media world was 877 00:42:07,080 --> 00:42:11,000 Speaker 3: there was a video about Sarah. You know, people all 878 00:42:11,640 --> 00:42:14,719 Speaker 3: like I said, the suggests all came from my assistant 879 00:42:14,760 --> 00:42:17,480 Speaker 3: reading comments and saying somebody asked this question, respond directly 880 00:42:17,520 --> 00:42:19,600 Speaker 3: to that, or somebody asked that question. And there was 881 00:42:19,640 --> 00:42:22,279 Speaker 3: this whole thread of people going, how come the dinosaurs 882 00:42:22,280 --> 00:42:25,359 Speaker 3: were littlefoot and Spike and Sarah had a human name, 883 00:42:26,000 --> 00:42:29,200 Speaker 3: and so I did this really kind of snarky it 884 00:42:29,360 --> 00:42:31,800 Speaker 3: was ce r A because she's a try Sarah dats 885 00:42:32,440 --> 00:42:35,759 Speaker 3: And in two days that video had two point eight 886 00:42:35,800 --> 00:42:39,840 Speaker 3: million views, and the common thread was either, well, duh, 887 00:42:39,880 --> 00:42:42,880 Speaker 3: I knew that, or I had close captions so I 888 00:42:42,920 --> 00:42:45,440 Speaker 3: knew that, or dude, you just blew my mind. It 889 00:42:45,560 --> 00:42:48,800 Speaker 3: was it was either or. 890 00:42:49,320 --> 00:42:51,160 Speaker 1: Well, I'm glad your fans get to reach out to you, 891 00:42:51,160 --> 00:42:54,360 Speaker 1: because you've got tons of them out there and the 892 00:42:54,400 --> 00:42:56,480 Speaker 1: stories are great. I can't wait we were bringing you back. 893 00:42:56,520 --> 00:42:57,800 Speaker 1: So we'll just we'll have to figure out at the 894 00:42:57,880 --> 00:42:59,440 Speaker 1: time because there's too much to talk about. 895 00:43:00,000 --> 00:43:02,800 Speaker 3: I really really appreciate you guys, and appreciate the research 896 00:43:02,880 --> 00:43:05,080 Speaker 3: and the thoughtful questions, and it was a ton of fun. 897 00:43:05,320 --> 00:43:06,960 Speaker 4: Oh thank you so much for joining us. We'll see 898 00:43:06,960 --> 00:43:07,480 Speaker 4: you next time. 899 00:43:07,680 --> 00:43:09,280 Speaker 3: Are making right? 900 00:43:09,400 --> 00:43:15,239 Speaker 1: I I could do that all day. I could do 901 00:43:15,320 --> 00:43:18,120 Speaker 1: ten episodes of that right in a row, just hearing 902 00:43:18,200 --> 00:43:19,280 Speaker 1: all the cool stories. 903 00:43:20,080 --> 00:43:22,120 Speaker 5: I love it too, because I think the more he 904 00:43:22,440 --> 00:43:24,440 Speaker 5: like would get to know us, it'd be feeling a 905 00:43:24,520 --> 00:43:26,719 Speaker 5: little bit more like Disney after Dark, Like I think 906 00:43:26,760 --> 00:43:29,160 Speaker 5: you can give us some real good tea, you know, 907 00:43:29,320 --> 00:43:31,719 Speaker 5: like it would be so awesome to know some. 908 00:43:31,800 --> 00:43:34,879 Speaker 6: Of the fun, fun fun times and things like that. 909 00:43:34,960 --> 00:43:38,600 Speaker 5: And I love that he has reasons to like his 910 00:43:38,680 --> 00:43:41,200 Speaker 5: inside of he doesn't like to be on set. He 911 00:43:41,239 --> 00:43:44,680 Speaker 5: feels like it's intrusive to the actors. That that's so 912 00:43:44,840 --> 00:43:47,840 Speaker 5: cool because sometimes it's totally different. You know, you have 913 00:43:47,920 --> 00:43:50,640 Speaker 5: a writer that's it right over your shoulder if she 914 00:43:50,840 --> 00:43:54,520 Speaker 5: was like while you're while you're filming, And he. 915 00:43:54,600 --> 00:43:57,239 Speaker 1: Just seems amazing to hear the different processes that the 916 00:43:57,280 --> 00:43:59,960 Speaker 1: writers have, Like, you know, he does the character work 917 00:44:00,160 --> 00:44:02,359 Speaker 1: before even coming up with the story, So he's doing 918 00:44:02,719 --> 00:44:05,640 Speaker 1: character bios before even figuring out the story. I didn't 919 00:44:05,640 --> 00:44:07,000 Speaker 1: want to tell him that I hadn't seen most of 920 00:44:07,000 --> 00:44:09,959 Speaker 1: the films yet. I kept so like Xenon, Smart House, 921 00:44:10,000 --> 00:44:11,200 Speaker 1: I can't wait to watch these. 922 00:44:11,239 --> 00:44:12,520 Speaker 4: I'm very excited. 923 00:44:12,960 --> 00:44:16,360 Speaker 5: Well, Xenon, I've watched smart House, I watch, but I 924 00:44:16,400 --> 00:44:18,279 Speaker 5: don't remember a lot of it, so I'm excited to 925 00:44:18,320 --> 00:44:19,040 Speaker 5: see that again. 926 00:44:19,120 --> 00:44:21,520 Speaker 6: But he was just awesome. 927 00:44:21,560 --> 00:44:24,319 Speaker 5: It totally would have expected him to be this like 928 00:44:24,640 --> 00:44:27,640 Speaker 5: it total, you know, I. 929 00:44:27,480 --> 00:44:31,800 Speaker 6: Don't know, He's like, absolutely not. That is not me anyway. 930 00:44:32,040 --> 00:44:34,000 Speaker 6: He just was so much fun. 931 00:44:34,200 --> 00:44:34,520 Speaker 5: Wow. 932 00:44:34,719 --> 00:44:37,200 Speaker 1: Well, thank you again everybody for joining us for this 933 00:44:37,239 --> 00:44:40,560 Speaker 1: park Opper episode with the amazing Stu Krieger and those stories. 934 00:44:40,600 --> 00:44:41,640 Speaker 4: I can't wait to hear more of them. 935 00:44:41,640 --> 00:44:44,680 Speaker 1: We will have him back because he's just a font 936 00:44:44,680 --> 00:44:45,120 Speaker 1: of knowledge. 937 00:44:45,160 --> 00:44:48,440 Speaker 4: I cannot wait to hear more. And thank you for 938 00:44:48,520 --> 00:44:48,880 Speaker 4: joining us. 939 00:44:48,920 --> 00:44:54,480 Speaker 1: And don't forget our next movie is Xenon zhow Xenon 940 00:44:54,760 --> 00:44:55,720 Speaker 1: of the twenty first century? 941 00:44:55,920 --> 00:44:57,280 Speaker 6: Wait for you to know what that means. 942 00:44:57,640 --> 00:44:59,839 Speaker 1: I can't wait to see the entire thing. So thank 943 00:44:59,840 --> 00:45:04,520 Speaker 1: you again for joining us, and join us next time. Bye, everybody,