Speaker 1: Welcome to Playback, a Variety podcast. On today's show, we
Speaker 1: talked about this year's OSCAR Nominees luncheon, as well as
Speaker 1: some new releases like the Lego Batman Movie and John
Speaker 1: Wick Chapter two. A little bit later, I'll be talking
Speaker 1: to a rival director, dune Ville Noeuve. So stick around. Okay,
Speaker 1: we're back. I guess we're getting into the home stretch here,
Speaker 1: Joannelle ready to de claric part runners. Like two weeks
Speaker 1: out before the Oscars, I'm ready to say spoken. I
Speaker 1: think she's gonna be all right. D g a U
Speaker 1: the a S c American Society of Cinematographers. That was
Speaker 1: a throw loop there, Yeah, a little bit um, you know.
Speaker 1: I Greg Fraser Lion DP, he won Camerone Mage, so
Speaker 1: I kind of thought there was gonna be a surprise.
Speaker 1: I just didn't know what. I didn't know, maybe Bradford
Speaker 1: Young would win for Arrival or if uh, you know.
Speaker 1: I didn't know that La La Land was gonna win
Speaker 1: that and it didn't. But I talked to Gregg Fraser
Speaker 1: at the Nomineese lunch and he said his money was
Speaker 1: on Lena's. What are we supposed to say, though, Like, oh, no,
Speaker 1: I'm totally gonna win this thing, right. Like, I don't
Speaker 1: know if you saw the little snappy of me and
Speaker 1: Emmistone at the Oscars luncheon, but she was talking about
Speaker 1: premiering La La Land in Venice, and I said, well,
Speaker 1: you're being modest, but you also won Best Actress there,
Speaker 1: and she does, that's not being modest, Like am I
Speaker 1: supposed to just announce that? Like, oh, and by the way,
Speaker 1: I won Best Actress And I was like, yes, you
Speaker 1: should talk on your forehead put resume forward every time.
Speaker 1: Uh so, you know, what can you really say? D
Speaker 1: g A went to Damien obviously. Yeah. I mean it's
Speaker 1: like except in those boring below the line categories. Oh whoops, sorry,
Speaker 1: I fell asleep for a second there. What were you saying? Yeah,
Speaker 1: so I hear the words below the and it's like
Speaker 1: a you know, a trigger, I just fall asleep. This
Speaker 1: is a joke. By the way, Chris seems to think
Speaker 1: that I am not impressed by which is hilarious, because
Speaker 1: you know, I have a thing for editors. Really why,
Speaker 1: I don't know. I just dated a lot of editors
Speaker 1: in a row. I also went through a magician phase
Speaker 1: because they spend time in dark rooms by themselves growing
Speaker 1: their facial hair, and that could pretty much describe any
Speaker 1: living on um. You know, so I was just like,
Speaker 1: let's talk about some other stuff, Like what else can
Speaker 1: we talk about? You've seen Lego Batman movie. Yeah, I
Speaker 1: was really pleasantly surprised. And let's you know, when um
Speaker 1: is it Chris Miller and Phil Lord did the first
Speaker 1: Lego movie. I was like, I'm not going to see
Speaker 1: that. That That looks terrible. What a dumb idea? Then it's amazing,
Speaker 1: which was sort of how I felt about their twenty
Speaker 1: one Jump Street movie and also how I felt about
Speaker 1: their series Last Man on Earth. And I realized these
Speaker 1: guys just take terrible ideas and make wonderful things from them.
Speaker 1: That seems to be their brand. Let's see how Han
Speaker 1: Solo Han Sologo. Yeah, I'm very excited, but uh so
Speaker 1: I didn't. I thought that, you know, Lego Batman Batman
Speaker 1: is very funny in the Lego movie. You know, he's
Speaker 1: an eggsty orphan. But I was like, are they going
Speaker 1: to sustain that joke for a full movie. It turns
Speaker 1: out they did. It's in the music there and this
Speaker 1: isn't there like a song and the songs about me
Speaker 1: being an orphan. No, no, there's like there's some there's
Speaker 1: some like death metal thing that happens there where they're
Speaker 1: like no parents anyway, who's the guy Will Who's like
Speaker 1: might be one of the best Batman's ever, I'll say
Speaker 1: him in Christian Bale are my favorite Batman's or Batman Batman?
Speaker 1: I don't know if I'm going to be into that
Speaker 1: or not. I like the Lego movie. I thought that
Speaker 1: the call to worship on that movie was a little overblown, though.
Speaker 1: I was like, come on, I don't disagree with that,
Speaker 1: and I think I had such low expectations that I
Speaker 1: was like, oh my gosh, this is actually clever um
Speaker 1: like how Batman was really everyone. Yeah, for the most part,
Speaker 1: it's really really well done. I saw John Wick Chapter two.
Speaker 1: Did you see the first one? I did? But we
Speaker 1: have discussed my triggers before, and this is an entire
Speaker 1: movie built around my trigger. Oh well, the second one
Speaker 1: is not okay. Can you say that twenty dogs die
Speaker 1: in this one? New dogs die? I'm in In fact,
Speaker 1: I think I would say that there's something in this
Speaker 1: movie that specifically for the people they triggered as an apology.
Speaker 1: That's fantastic. Then I am. I am all in on
Speaker 1: John Wick too. Hear great things about I loved it.
Speaker 1: I mean I told I mean, look, I'm turning my
Speaker 1: brain off when I go into these things. But like
Speaker 1: I saw it like two nights ago or something. Uh,
Speaker 1: they're just yeah, it's ultra violent and I'm desensitized as hell,
Speaker 1: but like it's awesome. There's a place for that. I
Speaker 1: think our critic Bruges was writing about it like it
Speaker 1: was like it's like a dance the way that just
Speaker 1: choreography of the action, And yeah, it totally is. And
Speaker 1: but there's there's funny character elements, and there's this whole
Speaker 1: built in mythology that they've expanded further in this movie,
Speaker 1: just this underworld of Hitman essentially, and and and just
Speaker 1: it's it's really fascinating. And I walked out of there.
Speaker 1: I was like, I could do John Wick movies forever.
Speaker 1: I totally could just do one every other year or something.
Speaker 1: I want to get Kanu in here to talk about
Speaker 1: that who, by the way, everyone says, the nicest person
Speaker 1: alive and I would never talk too. No. I don't
Speaker 1: know if you know this, but he looks exactly like
Speaker 1: my brother, because my brother is also actually from the
Speaker 1: same town that I believe. I don't know if he
Speaker 1: grew up in or he was born in, but his
Speaker 1: half Hawaiian, and my brother gets stopped all the time
Speaker 1: and given that, like, you know, you look like and
Speaker 1: it's kind of ery. And I've actually been told that
Speaker 1: I look a little bit like a sister, but I've
Speaker 1: never seen a picture of her that's true or not.
Speaker 1: But I saw him out I think it was outside
Speaker 1: of like Alien three years ago, and there was this
Speaker 1: weird moment when I was like walking down the street
Speaker 1: and I locked eyes with Kanda Reeves, and you do
Speaker 1: sometimes you're just like, oh, hey, there's that person I
Speaker 1: know and then you realize, oh my god, I don't
Speaker 1: know you at all. You're you're a celebrity, and I
Speaker 1: just recognized you. But he was looking at me like
Speaker 1: we were kind of kind of like this weird, quizzical look,
Speaker 1: and I was like, maybe I really, like, do look
Speaker 1: like someone from his family? Well, he's he is one
Speaker 1: of the nicest guys I've ever talked to. But amazing stories,
Speaker 1: Like a couple of pieces a few years ago on
Speaker 1: the twentieth anniversary of Speed, which is unequivocally one of
Speaker 1: my favorite movies of all time. You know, one of
Speaker 1: my best friends is in that movie, that Grant because
Speaker 1: I talked to all of the passengers on the bus. Yeah,
Speaker 1: I think two of them had passed away, but that
Speaker 1: was a fun story. And she just sings canons praises. Yeah,
Speaker 1: they all do. Because he had there was somebody on
Speaker 1: that bus, one of the we're on a tangent now,
Speaker 1: one of the one of the passengers, one of the
Speaker 1: actors that played one of the passengers like taught him
Speaker 1: Shakespeare and can it really? So it was like his
Speaker 1: Shakespearean teaching was that when he then went and did Hamlet.
Speaker 1: Oh interesting. I remember there was a review of his Hamlet,
Speaker 1: um and it was mints a compliment, I believe. But
Speaker 1: the poll quote was funny because it was something like
Speaker 1: he gets all the words in the right places. Okay,
Speaker 1: what else? So? Um, can I ask a questions? At
Speaker 1: the end of John Wick, he adopts, well, he steals
Speaker 1: actually a sweet little baby kit Bull. Is that dog
Speaker 1: in this movie? That dog is in this movie? I'm
Speaker 1: so in Okay, Uh, we've got a Tony Erdman remake
Speaker 1: on the Way that I'd love to talk about kind
Speaker 1: of amazing casting. I'm looking at the story now and Variety.
Speaker 1: It's got a hundred and thirty six comments. Like, I
Speaker 1: don't think any story about Tony Erdman has a hundred
Speaker 1: thirty six comments, But the fact that there's a remake
Speaker 1: with Jack Nicholson finally back in the saddle is a
Speaker 1: big deal. I was excited about that. Then I was
Speaker 1: really excited that it looks like Kristin Wig Christian Lady's daughter. Yeah,
Speaker 1: I'm not a huge fan of Tony Ordman, but I'm
Speaker 1: there for this. I liked it. I think you should
Speaker 1: have been about three hours shorter. I'm sorry it was
Speaker 1: six hours long, right, Yeah, it felt like it. It
Speaker 1: wasn't necessarily long. I feel like, yeah, there's like a
Speaker 1: rhythm you can get into watching it, but like it's
Speaker 1: a little arbitrary, like you don't you don't need that.
Speaker 1: But he's he's back. I think everyone thought he was
Speaker 1: just done. Yeah, I mean it's not like he needs
Speaker 1: the money, like just go hang out at Lakers games.
Speaker 1: This feels like an Oscar nomination. Like, I mean, I
Speaker 1: find retily, but come on, come on, He's perfect depending
Speaker 1: on where they take, like what direction they take the movie.
Speaker 1: If it's if it's like you know, like they go
Speaker 1: to uh glossy comedy with it, then know. But like
Speaker 1: I suggested somebody like Kelly Fremont Craig to direct it,
Speaker 1: some somebody like that's the name, right, I don't know.
Speaker 1: You're looking at me. Oh gosh, that would be amazing. Yeah,
Speaker 1: like you seen I haven't seen it. I suggesting they
Speaker 1: need to have a female direct this film because if
Speaker 1: they if Paramount remakes a film, a foreign film from
Speaker 1: a female director and then just swaps like Alexander Payin
Speaker 1: on it or something. I was gonna say, Alexander Payne,
Speaker 1: it would be so great. That would be a great movie.
Speaker 1: But like, come on, they would probably get hit with
Speaker 1: some bad press for that, I think. And this day
Speaker 1: hadn't even occurred to me, which is funny because I
Speaker 1: don't know if you know this, but I'm a woman.
Speaker 1: I noticed. I just think, you know, like Kelly would
Speaker 1: be great because there's the James Brooks connection there too
Speaker 1: that I'm sure that you know Brooks would have a
Speaker 1: great recommendation for Jack about that. But anyway, I was
Speaker 1: trying to think of directors who are mainstream but quirky enough.
Speaker 1: You know what, let's let's let's do h Phil Lord
Speaker 1: and Chris Miller. It does seem to be able. They
Speaker 1: were a little busy though. Right now we were talking
Speaker 1: briefly about the luncheon. You were backstage talking to the peeps.
Speaker 1: I was not backstage. I was in a hotel room.
Speaker 1: It's the weirdest set up. UH. Publications and media basically
Speaker 1: get hotel rooms at the hotel where the luncheon is held,
Speaker 1: and then you wrangle all the nominees who are there
Speaker 1: twitting the luncheon to come into your hotel room. And
Speaker 1: it's um sounds kind of peculiar. They just basically popped
Speaker 1: from where you're in an aquarium or something. What do
Speaker 1: you say that? Oh? I know everyone, I'm curious what
Speaker 1: was going on like it was and we were trying
Speaker 1: to be atmospheric and different everyone else. I'm making fun
Speaker 1: of a creative choice. I didn't mean to do that.
Speaker 1: I'm sorry again, No, I mean it does look odd
Speaker 1: when you watch the video, but I have to say
Speaker 1: the photos look amazing. There's this photo of Mel Gibson
Speaker 1: that it's just you look at that and you're like, yeah,
Speaker 1: that's that's a star. Yeah. Mel was really wonderful. You know.
Speaker 1: He came by and talked about working with Vince Vaughn
Speaker 1: and how some people thought it was a little strange
Speaker 1: to cast Vince Vaughn in such a serious role in
Speaker 1: Hacksaw Ridge, and he's like, it didn't even occur to me.
Speaker 1: You know, he's just a great actor. He is. But
Speaker 1: it threw me out of it. I know, I think
Speaker 1: Vine is fantastic in the movie, and you that that's
Speaker 1: one of your problems. I don't think he's bad in
Speaker 1: the movie. I just think it it just takes me
Speaker 1: out of the movie. And that's all Like It's it's like,
Speaker 1: like he's clearly committed to the part and playing a
Speaker 1: serious role. But I'm looking at dude from Swingers playing
Speaker 1: a drill sergeant and it's you know, it just takes
Speaker 1: me out a little bit. Also, Sean Levy dropped by,
Speaker 1: you know, because he's the producer on Arrival, and uh
Speaker 1: keeps insisting he's also an EP on Stranger Things, keeps
Speaker 1: insisting Barb is not alive. People, you need to let go.
Speaker 1: Barb is dad. I hate to be the want want
Speaker 1: guy here, But I'm not feeling Stranger Things either. You
Speaker 1: didn't like the Prost season like stranger? Did you make
Speaker 1: it through it? I did, and it just felt like
Speaker 1: the same kind of nostalgia that the entire community that
Speaker 1: embraced that show usually just dumps all over. So I
Speaker 1: didn't know what. I couldn't figure out what this had
Speaker 1: did other things don't have, you know. But I felt
Speaker 1: the same way about Super eight. I could not. I
Speaker 1: didn't like Super eight at all. I thought this this
Speaker 1: succeeded were Super eight failed? Um? You know. One of
Speaker 1: the things I really liked about it was that it
Speaker 1: gave answers, and even though those answers might be kind
Speaker 1: of crazy, it committed to them. Like on The o A,
Speaker 1: which just was announced for a new season today. Um
Speaker 1: we we we get some answers, you know. And again
Speaker 1: I admire that they went with like crazy answers, um,
Speaker 1: but they also leave a lot open ended and Stranger
Speaker 1: Things just felt very satisfying because they answered pretty much
Speaker 1: all my questions. Did you see I'm gonna watch it again.
Speaker 1: I'll check it out again with Ryan Reynolds. Do you
Speaker 1: ever see what we call the Nines with Ryan Reynolds.
Speaker 1: I remember that movie not And I freaking love this
Speaker 1: movie because and I don't want to give any spoilers,
Speaker 1: because I think it's on Netflix. A different one should
Speaker 1: watch it because all these crazy things happen, and it
Speaker 1: tells you why, and you almost kind of have to
Speaker 1: laugh at how absurd the explanation is, and you also
Speaker 1: have to admire that they committed to this batschick crazy premise. Yeah, well,
Speaker 1: I'll go back and watch again, I promise. Okay, we're
Speaker 1: talking about I was at a table with Rich Moore,
Speaker 1: director of Utopia, one of the makeup guys on Suicide Squad,
Speaker 1: Andy Nelson, sound mixer for La La Land, and Just Goneta,
Speaker 1: the production designer for He's Awesome. Yeah, he did her.
Speaker 1: I think he might have been that. That was KK Barrett.
Speaker 1: You're right, just does uh. I don't know if he
Speaker 1: has he done this bite movie. He does been at
Speaker 1: Miller's movies, He does Coen Brothers movies. He did Live
Speaker 1: by Night this year. He built an entire town. The
Speaker 1: production design't Live by Night was fantastic. Yeah. Yeah, I'm
Speaker 1: glad he at least had Hail Caesar for like a
Speaker 1: backup this year to get nominated. But he's fun. Um,
Speaker 1: what is it like in there? Like do they have
Speaker 1: I hear that they tell the nominees like keep your
Speaker 1: speech is short, and you know, well this year they
Speaker 1: did that really fun in a really fun way. They
Speaker 1: had this short film that they made with Kate McKennon
Speaker 1: as like a Golden age starlet. Oh is it the
Speaker 1: character she plays in? Said night Live? So what he
Speaker 1: was like, I was addicted to pills? Is that is
Speaker 1: that the I couldn't tell if it was because it
Speaker 1: was ringing a bell, Yeah, but I don't. I don't
Speaker 1: know if it was an actual would you recognize the
Speaker 1: name was like Olivia Concave or something like that. I
Speaker 1: know Concave was the last name, so it was it's
Speaker 1: hilarious last name. But anyway, the idea was she it
Speaker 1: was a short film that was made for the nominees
Speaker 1: of the eleventh Annual Academy Awards, and it's like tips
Speaker 1: for for your speech and stuff, and it was they
Speaker 1: kind of put this online. It was hilarious. I hope
Speaker 1: they do. There's no reason not to, but they do that.
Speaker 1: They have you know, the producers come out and Goldry
Speaker 1: is the name of the character she plays on Somebody
Speaker 1: Wasn't different Hollywood Golden Age Starlett. But the producers come
Speaker 1: out and talk about like the same thing, like no
Speaker 1: one wants to hear about your agent, and you're what's
Speaker 1: kind of annoys me? Did they come out and tell
Speaker 1: people what they should say? Well? And also like every
Speaker 1: year we have like six tributes to shoes and then
Speaker 1: they give the speakers what is it seconds to give
Speaker 1: a speech, like they should be able to say what
Speaker 1: the hell they want. If I want an oscar, I'm
Speaker 1: gonna if and I don't want to get there and
Speaker 1: chew gum and stare at the camera forty seconds and
Speaker 1: I'm gonna do that. Oh my god, I would pay money.
Speaker 1: I hope herschel Ali. If you're listening, just chew gum
Speaker 1: and stare at the camera to gom like Melissa McCarthy
Speaker 1: did on Saturday Night. Great Sketch. But yeah, it's just
Speaker 1: you know, everyone sits, everyone eats every you mill around
Speaker 1: because you random, right, Yeah, there's like a little lottery
Speaker 1: bol do they do it their live like they call
Speaker 1: it Chris Tapley. It's a little more low key. You
Speaker 1: go over to the corner of the press table and
Speaker 1: you you spend the wheel and thank you, here's your table.
Speaker 1: Because I think I saw Denzel in Viola were sitting
Speaker 1: together and was that coincidence or people they placed the nominees,
Speaker 1: but the press actually is the whole thing. Was that? Okay? Um,
Speaker 1: so you know, and then everyone gets up yet for
Speaker 1: the big class photo, which is I'm sitting there listening
Speaker 1: to two or fifty names be called by Laura Dern
Speaker 1: and she does it well. And then ever you have
Speaker 1: to applaud for people, and some people getting such a
Speaker 1: plod and yeah, you biggest applause and not this ever
Speaker 1: means anything. The biggest applause I could tell was Viola
Speaker 1: bridges naturally like you know, everybody loves him. Yeah. I
Speaker 1: thought the Law all End team early on got some
Speaker 1: some nice pops, but then by theminators were like, okay,
Speaker 1: we get it. Oh, by the way, I dropped her
Speaker 1: name to the Cubo um VFX team and Travis Knight
Speaker 1: and was telling him, you know how much you loved
Speaker 1: the movie and how you predicted the nominations after the
Speaker 1: bake off, and um they were they instantly were like, oh,
Speaker 1: Chris has been so great they took it was funny.
Speaker 1: They were one of those people who like, they're coming
Speaker 1: down the hall, They're coming down the hall, and like
Speaker 1: five minutes would go by and they're like, no, I
Speaker 1: swear they're coming down the hall now. And I was like,
Speaker 1: is it because they have to come down the hall
Speaker 1: one frame at a time? Yeah, well that is such
Speaker 1: a nerdy, obscure joke. And if anybody out there got
Speaker 1: it to marry me, they got it. If they're listening
Speaker 1: to this, they got it. We have a smart audience.
Speaker 1: Well I agree, but a very intelligent Let me rephrase that.
Speaker 1: If anybody out there got it and found it amusing, okay,
Speaker 1: marry me. Uh yeah. I wrote this thing last week
Speaker 1: that just you know, I'm not being overly passionate here.
Speaker 1: I love Utopia too, but I think like has been
Speaker 1: in the mix for a couple of years and it's
Speaker 1: probably time at some point to give them an Oscar.
Speaker 1: And a lot of people weirdly threatened by that post.
Speaker 1: I don't know. I don't I wouldn't be so threatened
Speaker 1: on behalf of a movie that made a billion dollars
Speaker 1: and is guaranteed to win the Oscar for animated feature.
Speaker 1: That's all I'm saying, isn't that funny? Two fans and
Speaker 1: to studio people. I find like the most innocuous things
Speaker 1: I write sometimes cause the biggest blow ups. It's it's
Speaker 1: it's it's like, just let it go people. Anyway, Well,
Speaker 1: what do we have this week? Denive Llaneuva. Oh so
Speaker 1: wonderful he was, you know, he is just so upset
Speaker 1: about and stay upset because these are champagne problems, but
Speaker 1: like really really bumps about Mami Adams was not known.
Speaker 1: We talked about. Yeah, I'm sure we dive into uh
Speaker 1: she is, I'm pretty sure, and uh we'll talk about
Speaker 1: Dune a little bit and a little bit of Blade Runner,
Speaker 1: you know, try to get him to talk about it. Yeah.
Speaker 1: I did the same, and he told me the most
Speaker 1: I think I've ever heard him say, which is basically
Speaker 1: like I was a big fan of the original and
Speaker 1: Ryan's great to work with. And I was like, that's
Speaker 1: a scoop because because he won't talk about oh you
Speaker 1: know what he did tell me that I found fascinating.
Speaker 1: You might already know this. He's never seen a rival
Speaker 1: with an audience because he's been working and traveling he
Speaker 1: couldn't go to any of the premiers or the festival showing.
Speaker 1: They re expanded it, so he's got his opportunity if
Speaker 1: he wants that. Just being stuck in post on runner
Speaker 1: right now though, so he's in a room somewhere. Does
Speaker 1: that just mean re expanded? Does that mean it's back
Speaker 1: in theaters or they've added stuff. I think they've added
Speaker 1: get out. Yeah, that was the plan. I think, like,
Speaker 1: you know, try to get it closer to a hundred
Speaker 1: million or over a hundred million domestic. It's close to
Speaker 1: two hundred worldwide. So they've added like scenes, no, no, no,
Speaker 1: added screens, screens, I said, added stuff that would be weird. Well,
Speaker 1: I didn't know what the hell that, man. I'm sorry anyway,
Speaker 1: it's better to just agree than yeah. Basically all right,
Speaker 1: so that I'll be talking to me right after this
Speaker 1: stick around for that. This is the day they arrived,
Speaker 1: the object touchdown forty minutes ago. It's going to happen.
Speaker 1: I don't know, Dr Banks. You're at the top of
Speaker 1: everyone's list when it comes to translations. Do you hear
Speaker 1: any words? Is that? Am I the only one having
Speaker 1: trouble thing aliens? That's what it look, you'll see soon enough.
Speaker 1: You need to see me. Dr Brake. That's a proper introduction.
Speaker 1: Jets have landed around the world. It's fair language God
Speaker 1: twenty one hours four based mark moment more. They're not
Speaker 1: our enemy. We need to talk to them. It's more
Speaker 1: complicated than how is it more complicated? Are you dreaming
Speaker 1: in their language? What does this say? How do we
Speaker 1: clarify their intentions? I go back in. What's he doing?
Speaker 1: You are committing an active pretty talk me? Welcome back everyone,
Speaker 1: I'm here with the director of Arrival, Dnievil Nuve. Did
Speaker 1: I say that correctly? Awesome? Okay, because I I do
Speaker 1: wonder if I'm saying it correctly all the time. But
Speaker 1: thanks for coming on, man, I really appreciate it. They're
Speaker 1: happy to be here. Congratulations on your Oscar nomination for
Speaker 1: Best Director for the film. Had that feel that is uh,
Speaker 1: I must say, I must stop to see that. I'm
Speaker 1: digesting this news because it's been a while already. But
Speaker 1: it's just that being very you know. It's it's strange
Speaker 1: because I'm living in parallel to parallel universe as the
Speaker 1: award seasons, and I'm the same time, I'm I'm working
Speaker 1: on my next project. So I'm like always one feet
Speaker 1: and both realities, and and it makes the award seasons
Speaker 1: seems more unreal, like a dream. And and so I
Speaker 1: think that I will feel the impact of this nomination
Speaker 1: in the future. But the way I feel about it
Speaker 1: is that when I think about it is that I'm
Speaker 1: feeling that there's a lot of directors that for who
Speaker 1: I have, for whom I have a lot of respect,
Speaker 1: that never got a nomination, or or that that nominated
Speaker 1: very late in their career. So to have to be nominated,
Speaker 1: I feel it's it's a it's a massive honor, but
Speaker 1: at some time it's a pressure because it means that
Speaker 1: I have to earn it in the future. Now seriously,
Speaker 1: I can not. Yeah, that's the way I feel. I
Speaker 1: hear you in regarding being being involved in your next project.
Speaker 1: I mean I I I've always found in talking to
Speaker 1: people and doing this for a number of years now,
Speaker 1: it's good to be working when you're involved in the
Speaker 1: award season. Actually, otherwise you kind of just you can
Speaker 1: get really two swept up and all of that makes sense,
Speaker 1: that makes sense, And so maybe it's a salutary is
Speaker 1: just that I'm lacking our sleep. But besides that, yeah, no,
Speaker 1: it's true. It to me, it's a good way to
Speaker 1: to to embrace that little madness. It's as people problem.
Speaker 1: But I'm just yeah, yeah, well, uh, I want to
Speaker 1: let's let's talk about screenplays, because just your last couple
Speaker 1: of films, Prisoners was there were a lot of strong characters, obviously,
Speaker 1: but it was pretty plot driven. But beyond that, I
Speaker 1: feel like Enemy and Arrival and Cicario, these are screenplays
Speaker 1: that really allow room for you as a director to
Speaker 1: come in and put your own stamp on it, to
Speaker 1: really inject it with the atmosphere that I think you're
Speaker 1: so great at. So it just kind of made me
Speaker 1: wonder what you look for out of screenplays, particularly since
Speaker 1: you haven't written in your own work in a number
Speaker 1: of years now, So what are you looking for out
Speaker 1: of screenplays? But the thing is that it's it's always
Speaker 1: I think you're you just put your finger and it's
Speaker 1: just that it's like, there's like I choose screen screenplays
Speaker 1: in the past, in my past movies that were not
Speaker 1: necessarily perfect screenplays, but that had a strong potential to
Speaker 1: create strong cinematic moments, and that that I was I
Speaker 1: will be inspired, deeply inspired by as a filmmaker. Uh,
Speaker 1: there's always an element of where I feel in a screenplay. Exactly,
Speaker 1: a screenplay that as some elements of a very strong
Speaker 1: poetry in it, a fresh voice. But I like when
Speaker 1: it's it's a bit raw and I have space to
Speaker 1: evolve as as a filmmaker in it, which means that
Speaker 1: I will and I said that always to the screenwriter,
Speaker 1: that I will be his best friend because I will
Speaker 1: give everything to protect his poetry, and and at the
Speaker 1: same time that I will be his worst enemy because
Speaker 1: as I will, I would be a traitor. I will
Speaker 1: deform scenes. I will I will, I will cut dialogues,
Speaker 1: I will make it my own. I will be a
Speaker 1: bit of a barbaric asshole with the material because I
Speaker 1: need to invade the screenplay. I need to make it.
Speaker 1: It's a bit like when I was adapting a play,
Speaker 1: a stage player, or or a book. I have this
Speaker 1: relationship with the screenplay. I mean through the specifically through
Speaker 1: the storyboarding process. When a storyboarder, it's a way for
Speaker 1: me almost to rewrite the material the screenplay. I'm trying
Speaker 1: to be as faithful as possible. I mean, uh say
Speaker 1: is still tear teller certain screenplay. I mean, I'm trying
Speaker 1: to be faithful, but still I make it my own. Yeah, Arrival.
Speaker 1: It comes from this really kind of brainy short story
Speaker 1: that isn't something that immediately you would think would make
Speaker 1: an easy film adaptation. Certainly, so, whenever I'm curious if
Speaker 1: there was anything, any element of the script that I
Speaker 1: felt like you and Eric really needed to work on
Speaker 1: to get it, there was there any specific thing that
Speaker 1: comes to mind? The thing is that when I read
Speaker 1: the short story Story of your Life written by Tenchion Tenching, I,
Speaker 1: I You're right, it doesn't pop out as as something
Speaker 1: that could be an easy cinematic adaptation. It's a it's
Speaker 1: an intellectual, a little short story that describes a process,
Speaker 1: and there was not really a cinematic dramatic structure, obvious
Speaker 1: cinematic dramatic structure that pops out out of it. And
Speaker 1: I think that Eric I had the genius to find
Speaker 1: an arc, to create an arc out of it, and
Speaker 1: to to something that I would had not been able
Speaker 1: to do myself. But once that was done, I worked
Speaker 1: with Eric uh specifically, I will see in on two things. First,
Speaker 1: I wanted the language to be really at the center
Speaker 1: of the story. And we worked together to to make
Speaker 1: sure that the ending will even if it was different
Speaker 1: then much different than the short story. To make sure
Speaker 1: that the geopolitical resolution of the of the conflict of
Speaker 1: the story will be a link with the language. And
Speaker 1: that was very important for me, and that we work
Speaker 1: hard too two achieve that together and here get the
Speaker 1: great ideas. Um. Also I U there was something about
Speaker 1: the two I tried to in phase UM, the intimacy
Speaker 1: of Louis experience being in relationship with that this civilization
Speaker 1: coming coming out of out of space. I tried to
Speaker 1: uh train face that by changing the geography where that
Speaker 1: the spaceship was landing at the beginning, it was like
Speaker 1: very close by to the you. It was like a
Speaker 1: little walking distance to to the camp. And I decided
Speaker 1: to create space to to make make sure that for
Speaker 1: the logic of it, because I felt that the military
Speaker 1: will never put their their camp nearby the space ship,
Speaker 1: but also to have time to create tension, to to
Speaker 1: to make sure that I will be with her to
Speaker 1: see the evolution of our tensure or fear apprehension. Um.
Speaker 1: The wish, if to the wish will feel as a
Speaker 1: as a school teacher being in a relationship with this
Speaker 1: object coming out of space and our journey. Basically, I
Speaker 1: we worked hard to make sure that we will the
Speaker 1: story will be seen from the intimacy of Louis point
Speaker 1: of view, that I worked hard on that. Yeah, and
Speaker 1: that speaking of that's another tricky element here. I mean
Speaker 1: Amy's performance is a bit of a tire rope because
Speaker 1: so much of her journey is is in her head.
Speaker 1: So it's really inwardly driven as opposed to outwardly driven,
Speaker 1: which is difficult to pull off. So when you guys
Speaker 1: started to you and Amy started to build this character,
Speaker 1: what what kind of things did you talk about? The
Speaker 1: thing is that in that regard Eric Screenpley was pretty
Speaker 1: precise about where she was or she would have felt.
Speaker 1: What were the the specific elements of our journey if
Speaker 1: I can say, I don't know what makes sense in English?
Speaker 1: And and so that for me, that the main point
Speaker 1: with Amy was to make sure that, um, no, no
Speaker 1: matter where we were in the in the story, we
Speaker 1: will make sure that if someone was seeing the movie
Speaker 1: at first, a second or third time, it will always
Speaker 1: make sense. You know, when you experience the movie first
Speaker 1: time you you it's I think intellectual challenge. When you
Speaker 1: sit the second time and you knew the resolution, you
Speaker 1: know what what is the movie is about, and you
Speaker 1: know the plot points. Uh, then you can enjoy embrace
Speaker 1: the genius of Emmy Adams because she was able to
Speaker 1: act uh, and all those layers in the same time
Speaker 1: to make sure that it will be logically so it
Speaker 1: would be emotionally logic from from one viewing from the other.
Speaker 1: It's it's what we talked about. So it was really
Speaker 1: we made sure in each shot we were making that
Speaker 1: where was she emotionally very precisely. That was like it's
Speaker 1: a maybe of a borrowing answer, but it was not
Speaker 1: easy to make for Amy, and and the movie owes
Speaker 1: her everything. Yeah, yeah, absolutely and uh, but I must
Speaker 1: say that from a emotional point view, the I would
Speaker 1: say the mother's part was not easy. If you know,
Speaker 1: it's not difficult for earth to imagine, you know, um,
Speaker 1: the grief of a child is the most rrefecting and
Speaker 1: and for her to relate to that was not It
Speaker 1: was maybe difficult from an emotional point of view, but
Speaker 1: not difficulty imagine. Um. The the challenge of the being
Speaker 1: in contact with a civilization coming out of space that
Speaker 1: was more playful for her. Yeah. Amy was one of
Speaker 1: the first guests on my podcast. Actually we recorded and
Speaker 1: I Tell You Right one of your favorite places that
Speaker 1: you weren't able to attend this year, though, I'm sure
Speaker 1: you were bummed out by that. Huh yes, because tell
Speaker 1: Right from me is a devout that it's goes straight
Speaker 1: to my heart because it's the only place almost where
Speaker 1: you can actually be in relationships with other filmmakers. There's
Speaker 1: no protocol, there's no praise praise edge, and there's no autourage.
Speaker 1: There's no pressure, there's no it's it's just human beings,
Speaker 1: artists together in reltionship with the audience. I honestly it's
Speaker 1: my wo cinematic and unfortunately I was shooting in Europe,
Speaker 1: so I was I wasn't able to be there with
Speaker 1: you guys jealous. I think listeners probably get tired of
Speaker 1: me hearing talking about tell You're Right, But it's it's true,
Speaker 1: it's amazing. Last week I had Barry Jenkins on the
Speaker 1: show the same thing, just you know, talking about tell
Speaker 1: You Right for about five minutes. It's a great event.
Speaker 1: Every year I want to talk about Bradford Young, your cinematographer,
Speaker 1: who's amazing, and uh, but what's interesting is, you know,
Speaker 1: I love Brad's work, but I don't think he was
Speaker 1: necessarily obvious for this material. And I'm wondering. You know,
Speaker 1: you've been working with Roger Deakins for a number of years,
Speaker 1: so you know, whoever was going to be able to
Speaker 1: tackle this had some big shoes to fill. I guess
Speaker 1: it's the best way to put it. But why did
Speaker 1: Brad seems so perfect for you? I think as Uh.
Speaker 1: The truth is at the beginning that the Roger was
Speaker 1: supposed to be part of the project, and for several reasons,
Speaker 1: he was not avidly Bill at that moment, and so
Speaker 1: I found myself an orphan without reference. And we all
Speaker 1: know for a film directors, the reference the closest partner.
Speaker 1: I mean, so I was looking for his specific qualities
Speaker 1: and I looked at the animus, synographer, synographer reels that
Speaker 1: I was. I started to to see who was around
Speaker 1: and to say, okay, well, I was saying to myself
Speaker 1: that not being able to to work with Roger, I
Speaker 1: said to myself, it's an opportunity to to try to
Speaker 1: to be in total different waters to try with some
Speaker 1: an artist that has a total different sensibility and just
Speaker 1: to inspire myself and to challenge myself. And I I
Speaker 1: I saw and them Body Saint and The Most Violent Year,
Speaker 1: and I was very impressed by his skills as a
Speaker 1: as a camera operator, but also or that we more
Speaker 1: more important that we was using natural light and that's
Speaker 1: the strain that he was able to and the personality
Speaker 1: and the sensuality that we was able to develop with
Speaker 1: natural light. And we had a few conversations and I
Speaker 1: just felt in love with the guy. Is humility is
Speaker 1: that the weez listening is. And I was looking for
Speaker 1: someone that would have the patient, the warmth that the
Speaker 1: to be someone that would be very open to work
Speaker 1: with kids that because I was trying to capture My
Speaker 1: goal was to capture some something very delicate and specific
Speaker 1: with the child, the children and and and UH and
Speaker 1: instance and the Reford that will be very flexible also.
Speaker 1: And I was also very excited by the idea of
Speaker 1: working with someone that I had never had one sci
Speaker 1: fi before and that will approach the movie that our
Speaker 1: goal was to approach a movie not like a sci
Speaker 1: fi movie, but more like UH intimate drama about a
Speaker 1: woman who was dealing with the that of of of
Speaker 1: our daughter, and to shoot it this way, as naturalistic
Speaker 1: as possible, with a very specific atmospheric condition, to develop
Speaker 1: exactly the light we were wanted to do. And and
Speaker 1: I felt also that the Bradford is a very creative,
Speaker 1: very it's a very very fresh voice. I love artists
Speaker 1: that that are singular, that that are are There's nobody
Speaker 1: like Bradford, And that's just that I was already for me.
Speaker 1: It's a big quality. I like them to reform that
Speaker 1: strong personalities and and and then are flexible in the
Speaker 1: same time, so that that's why I mean, I would
Speaker 1: say what I worked with him? Did you guys? Uh? Like,
Speaker 1: do you put together look books? I'm just like the
Speaker 1: look of the film? What what inspired you was their photography?
Speaker 1: Was their artwork and not you know, I know filmmakers
Speaker 1: hate to talk in those terms because it makes it
Speaker 1: sound like what you've done is derivative, but that's not true.
Speaker 1: I mean, I'm just curious what inspired you visually? Me?
Speaker 1: It was like really uh for me, it was that
Speaker 1: light of August, that summer August, the humidity in the atmosphere.
Speaker 1: I was saying to Bradford, human, remember school rights when
Speaker 1: you were young, and it was like a bad Tuesday
Speaker 1: morning rainy borrowing. Everybody was bored to death. But there's
Speaker 1: a kind of joint and happiness and that beauty of
Speaker 1: the rain. I'm gonna it's like today. Yeah, I like
Speaker 1: today exactly, but me it's it's it's I know it.
Speaker 1: It's a it's a without being too much going to
Speaker 1: watch personally. Maybe it's it's coming from the fact that
Speaker 1: those were my favorite daste when I was young, because
Speaker 1: the day I was allowed to to to read that
Speaker 1: I'm going to work outside or to go to school,
Speaker 1: I mean just to read read, read and and reading
Speaker 1: sci fi and so no more seriously that this this
Speaker 1: um kind of light I was looking for. That meme
Speaker 1: was really something very specific that that Bradford was able
Speaker 1: to capture. Um had the references Bradford, I will I
Speaker 1: will sound stupid because there's I just don't remember the
Speaker 1: name of that photographer that Bradford was came with at
Speaker 1: that moment. I will remember it later, but I will
Speaker 1: send you that. Sure, he's often inspired by by photographer
Speaker 1: stuff imagined that when I don't SuperStor something like that.
Speaker 1: I apologize, I will remember, um, but um. It was
Speaker 1: very often my projects are inspired so inspired by a
Speaker 1: painter or by a specific photographer. For this one, it
Speaker 1: was very inspired by, as I said, by personal references,
Speaker 1: personally personal nostalgia. Yeah, personal nostalgia and and and and
Speaker 1: personal references that we were sharing together Bradford and I.
Speaker 1: So I must say, strangely, it's a project that I
Speaker 1: did without a visual reference. From the start. Bradford did
Speaker 1: a lot of tests took I never saw us an
Speaker 1: refer doing that amount of test, testing lenses, testing different
Speaker 1: ways of lighting too, so we were exploring before in prep.
Speaker 1: We we did tons of those tests to find the
Speaker 1: right look for the film. So there was no real
Speaker 1: reference for me. But usually my when I'm doing a movie,
Speaker 1: and I always love to create a kind of as
Speaker 1: you said, the look books as I put on my walls,
Speaker 1: photographs are of artists or references that will be a
Speaker 1: guideline for arrival. It was totally intuitive we started it.
Speaker 1: It was that in in in that regard, it was
Speaker 1: very singular for me to work like that. I ever
Speaker 1: worked like that before, just to go with pure intuition
Speaker 1: without any references interesting. Um, are you committed? Are you
Speaker 1: like fully committed to digital and the Alexa cameras? And
Speaker 1: I'm sure part of that had to do with Roger
Speaker 1: and his preferences. Why are you saying yes, no, no, no, no, no,
Speaker 1: not at all? I I, UM, I don't see that
Speaker 1: the digital world obviously as an enemy. I'm I really
Speaker 1: loved before the Alex. I didn't like the digital cameras,
Speaker 1: but when I started to work with Alex, I felt
Speaker 1: you need a strong silo refer beyond the camera. But
Speaker 1: there's are images that are possible to do with the
Speaker 1: Alexa that are quite stunning and and impressive, and that
Speaker 1: all the sense so as soity required. It is not
Speaker 1: thirty five millimeters for me. It's a different kind of medium.
Speaker 1: I love both. Hirty five is thirty five. I mean,
Speaker 1: I have I hope I will work with thirty five
Speaker 1: again one day, But I'm feeling that there's like sometimes
Speaker 1: a strong advantage to work on with the Alexa. Well.
Speaker 1: I mean, you see the images coming back from certainly
Speaker 1: from Arrival and in your other films, but Blade Runner Man,
Speaker 1: that trailer looked amazing. Some of Roger's best work. I
Speaker 1: think that I've been witnessing what he'd done for a
Speaker 1: month of work. I think it's will be Roger Deakins's
Speaker 1: best work. It was very impressive. I think he was
Speaker 1: deeply inspired by the project and uh, yeah, it's quite impressive. Yeah.
Speaker 1: I think one one of the exciting things for me
Speaker 1: when I heard that you were attached to that project
Speaker 1: was I knew that meant that Roger would becoming all
Speaker 1: you know, so I was just like, oh, this could
Speaker 1: be good. Uh and you know, speaking of filling big shoes,
Speaker 1: I mean, I guess take some balls to take on project, right,
Speaker 1: I mean, did you feel that kind of daunting thing?
Speaker 1: I feel it every day still. Yeah. Yeah, in the
Speaker 1: same time, I never had I was never I've never
Speaker 1: had been that inspired and excited. And it's difficult to
Speaker 1: talk about it because obviously I'm still I'm just in
Speaker 1: the middle of it and the editing room right now.
Speaker 1: So it's I don't talk about projects where they are
Speaker 1: not finished, but I can say, yes, yes, it's a
Speaker 1: it's a big pressure. But I love risk. I all
Speaker 1: my projects in my life, specifically the last ones I
Speaker 1: had been related with a certain amount of artistic risk
Speaker 1: or sometimes some risk regarding how your portrait reality. You know,
Speaker 1: like I did want a movie about a school massacre,
Speaker 1: I had a huge responsibility ah with the regarding the
Speaker 1: victims of those events. That that was a huge responsibility.
Speaker 1: I did a movie about conflicting in Lebanon, so it's
Speaker 1: like that again, you have a strong responsibility with reality.
Speaker 1: When I did Secario, I felt I was responsible. How
Speaker 1: I will partray the Mexican society there and say so
Speaker 1: that I'm used to have pressure for bul runners, artistic
Speaker 1: pressure and by far the biggest ever amen and that
Speaker 1: will be by far the It's the most risky project
Speaker 1: of my life and it will be the most I
Speaker 1: think coming out of it. There is also it created
Speaker 1: a lot of, honestly a deep excitement to work in that.
Speaker 1: I'm sure that fuels you as well. And I respect
Speaker 1: you don't talk about projects, but I do have one question,
Speaker 1: and you can talk generally if it's easier. But I
Speaker 1: tried to get Johanna to speak to this, but your
Speaker 1: your composer, Johann Johansen, what what kind of ideas do
Speaker 1: you have for music and that world? Because simply I asked,
Speaker 1: simply because the evangelous stuff is so iconic I don't
Speaker 1: of itself, so any any comment you can, but that's
Speaker 1: really because we are right now that But definitely I
Speaker 1: will say that one of the elements, one of the
Speaker 1: elements that is so iconic and the runners a sound
Speaker 1: design and of course Vangelist music, and it's something that
Speaker 1: I think, like the movie we are doing, we will
Speaker 1: need to find our own identity and territory and in
Speaker 1: the same time being faithful and and linked to the
Speaker 1: first project. It's like that equibrium that we are trying
Speaker 1: to find on all the So it would be the
Speaker 1: same with the music. Yeah, and a movie like that
Speaker 1: kind of makes me think about practical effects versus c
Speaker 1: g I, And I'm just curious just in general what
Speaker 1: your philosophy is when it comes to that. Me, I'm
Speaker 1: very old school. Yeah, I mean, I wish I have
Speaker 1: had a chance to do my aliens as animatronics. That
Speaker 1: was my dream at the beginning with Bradford, we were
Speaker 1: dreaming to put them in a gigantic aquarium with gigantic
Speaker 1: bees that will be moved by puppeteers. But sadly it
Speaker 1: would have been too expensive. And so I hate green screens.
Speaker 1: I hate pre screens. It's just it's colors that suck
Speaker 1: out all my energy. I get me depressed when I'm
Speaker 1: a relationship with It's like I have I don't know.
Speaker 1: I have an admiration for directors that can work with
Speaker 1: that and the they they bases me. I tried to
Speaker 1: avoid it as much as possible, to do as much
Speaker 1: practical effects as possible, like for instance, and on the
Speaker 1: arrival we had we did build the whold room, the road,
Speaker 1: the old chamber of the spaceship with the corridor we
Speaker 1: we there was like that gigantic screen with shadows behind h.
Speaker 1: I really and why because it's I think it's ten
Speaker 1: thousand times easier for actors, specifically when they have to
Speaker 1: deal with something that is linked with imaginary, that has
Speaker 1: no relationship with reality. And it also was much more
Speaker 1: easier for Bradford Young because he had he knew what
Speaker 1: he was lifting and out lit it and where it
Speaker 1: was coming from and then pact on the walls. And
Speaker 1: and for me too because we found tons of shots
Speaker 1: because we were um in a real room, you know.
Speaker 1: And it was the same for a blade Runner. We
Speaker 1: try our best to do as much as possible on camera,
Speaker 1: building everything, uh and Roger was insane impressive and and
Speaker 1: how he was able to recreate landscape with tricks I
Speaker 1: was for me, it was beautiful because yeah, a lot,
Speaker 1: I think I can come to the finger of my
Speaker 1: on my fingers on my end. How many times I
Speaker 1: saw a green screen on all those months of shoot
Speaker 1: thing and almost most of that time there was no
Speaker 1: It was all done on camera. They will be c
Speaker 1: g and smens, of course, because I think, but as
Speaker 1: much as possible, and I think that will make a
Speaker 1: lot of people happy. Uh. Last question here, and if
Speaker 1: if you are reticent to talk about projects you're working on,
Speaker 1: I imagine projects that are in the future even more so.
Speaker 1: But regarding the news that you will be directing Dune,
Speaker 1: the thing is that I was able to do Blade
Speaker 1: Runner thinking that I would do nothing after because I
Speaker 1: was out of a secary arrival and and there was
Speaker 1: like a rhythm in the past years that was like
Speaker 1: very exciting. I learned a lot as a filmmaker, but
Speaker 1: I I got slowly a bit a bit more and
Speaker 1: more tired physically. And as I was doing Blade, which
Speaker 1: was like a very very long shoot, ah, I knew
Speaker 1: that I remember thinking that that might be my last
Speaker 1: movie that that after I'm going to bed for three
Speaker 1: years after I'm like, now that i'm editing, I'm finding
Speaker 1: back my energy. And the thing is that since I'm
Speaker 1: twelve years old, there's a book that I read twelve
Speaker 1: or thirteen members not important, but which is like June
Speaker 1: that it's my my favorite book. I think it's um
Speaker 1: and I am after Prisoners. The producer asked of ALcom,
Speaker 1: asked me what you would like to do next? And
Speaker 1: I said June spontaneously, if ever someone can get me
Speaker 1: the rights for June. And I was and I knew
Speaker 1: that it was very difficult to get those rights, and
Speaker 1: it for me, it was just a dream. That's something
Speaker 1: that I like. I I guess I'm lucky because it
Speaker 1: happened that the right Maria from legendericat the right and
Speaker 1: offer me, and I can't know to it's my and
Speaker 1: and I have images that are haunted by it's a
Speaker 1: thirty five years or something like that. I will not
Speaker 1: say not to that. No, Yeah, that's awesome. Is that
Speaker 1: the kind of thing? I mean? Do you perceive that
Speaker 1: world as one that reaches beyond one movie? And you're
Speaker 1: getting pressure maybe too franchise something like that, or it's
Speaker 1: far too early to talk about it. It's very early
Speaker 1: to talk to give you an easier no, no no,
Speaker 1: because it's it's a it's an honestly, there's it's we
Speaker 1: are at ground zero right now. There's nothing done. There's
Speaker 1: like it's just the birth of the talk. But that's
Speaker 1: going to be again a massive challenge, but the project
Speaker 1: of my life. Definitely awesome. Good luck with it and
Speaker 1: congratulations again on arrival. Eight nominations. I think, uh, sad
Speaker 1: that Amy could not be one of them. Very sad
Speaker 1: because if I grant, I took progranted that this one
Speaker 1: would be a given because everybody was we're so impressed
Speaker 1: by what she did and I she was my music
Speaker 1: or everything. She she's arrival, She's done one that made
Speaker 1: it happen. So I was very sad. Yes I be
Speaker 1: for my crew, but sade for you. Indeed. Well, congratulations
Speaker 1: again and then good luck on the circuit and just
Speaker 1: soak it all in, man keep working, but soak it
Speaker 1: all in. Right. Thanks for listening everyone, Remember to subscribe
Speaker 1: and check back next week when I'll be talking to
Speaker 1: Manchester by the Sea writer and director Kenneth Lonergan you've
Speaker 1: been listening to playback at right