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Speaker 1: Hello, and welcome back to movie Mike's movie podcast. I

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Speaker 1: am your host Movie Mike. Today I am talking to

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Speaker 1: director David Silverman. He directed movies like The Simpsons Movie, Monsters, Inc.

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Speaker 1: But we're gonna talk all about the Simpsons and the

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Speaker 1: fifteenth anniversary of the Simpsons movie. In the movie review,

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Speaker 1: I want to talk about Weird, the Al Yankovic Story,

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Speaker 1: which is available now to watch for free on Roku

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Speaker 1: and in the trailer Park. It is Christmas time like

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Speaker 1: Halloween's over. We're gonna talk about a Christmas story, Christmas

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Speaker 1: the Continuation, one of the most beloved Christmas movies of

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Speaker 1: all time. We have a lot to cover here we go.

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Speaker 1: Let's talk movies. In a world where everyone and their

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Speaker 1: mother has a podcast. One man stands to infiltrate the

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Speaker 1: ears of listeners like never before in a movie podcast.

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Speaker 1: A man with so much movie knowledge, he's basically like

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Speaker 1: a walking aud mtvt with glasses From the Nashville podcast Networking.

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Speaker 1: Is Movie mis Movie podcast about to get into my

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Speaker 1: converse station with director David Silverman. He is most known

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Speaker 1: for his work on the Simpsons and directing the Simpsons movie,

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Speaker 1: which came out fifteen years ago in two thousand and seven,

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Speaker 1: And you may think, well, what does the director do

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Speaker 1: on an animated movie, because normally the director is the

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Speaker 1: one working with the actors on their performances. They're working

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Speaker 1: with the director of photography to get the look in

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Speaker 1: the field of the movie. Well, he essentially does the

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Speaker 1: same thing, but with these animated characters. So if you

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Speaker 1: think of the Simpsons, what his job is to do

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Speaker 1: is to make sure they look correct, all the movements

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Speaker 1: make sense, and since they have a lot of different

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Speaker 1: people drawing and animating the characters, he has to make

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Speaker 1: sure as director that it all looks like one cohesive

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Speaker 1: piece of material and like there was only one person

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Speaker 1: doing the entire thing. So you can imagine how it

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Speaker 1: goes from doing one episode to doing an entire movie

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Speaker 1: like this. And that's what I want to talk to

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Speaker 1: him about today. So let's talk to David Silverman, director

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Speaker 1: of the Simpsons movie. David Silverman, how are you. I'm great.

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Speaker 1: How are you doing today? I'm doing pretty good. It's

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Speaker 1: an honor to get to talk to you. You're just

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Speaker 1: know much of an influence on the Simpsons and the

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Speaker 1: design and the look, and I'm a huge Simpsons fan,

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Speaker 1: and we want to get into talking about the fifteenth

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Speaker 1: anniversary of the Simpsons movie fifteen years right, But as

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Speaker 1: a kid, when did you fall in love with animation? Oh?

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Speaker 1: I think when I was very young. I think by

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Speaker 1: the time I was five, I knew what I wanted

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Speaker 1: to do, and that was animation. Believe it or not,

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Speaker 1: I had been drawing ever since I can remember. I

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Speaker 1: think most of us our memories start around four and

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Speaker 1: I just remember drawing around that time and continue to

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Speaker 1: draw and being influenced by everything I was seeing on TV.

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Speaker 1: But you see that the comics page was also a

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Speaker 1: big influence. By the way, this is leading up to

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Speaker 1: final really big influence was Mad Magazine. I got older

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Speaker 1: and older. I mean by the time I was seven,

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Speaker 1: you know, my dad had introduced me to Mad Magazine,

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Speaker 1: but that was very good at introducing me to things

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Speaker 1: like that. So you fall in love with that at

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Speaker 1: a very young age. When do you realize that you

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Speaker 1: have the talent to go on turn this into a career.

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Speaker 1: I think around the time I was doing cartoons. I

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Speaker 1: was about nine years old and I was doing drawings

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Speaker 1: and my parents were showing it to their adult friends

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Speaker 1: who were laughing uproariously what I was drawing, and I thought, well,

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Speaker 1: maybe I could do this professional if I if I'm

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Speaker 1: nine and I'm making my adult parents friends laugh, maybe

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Speaker 1: there's there's something to this very young age, I guess. So,

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Speaker 1: I mean, I don't know. I look, I wasn't a

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Speaker 1: drawing prodigy, per se. I mean I drew funny I

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Speaker 1: don't know about incredibly. And then I think it all

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Speaker 1: goes back to you just knowing how to draw funny

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Speaker 1: at a very early age, because I think that's what

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Speaker 1: they were looking for when they were starting The Simpsons

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Speaker 1: back in the eighties. They needed just something that looked

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Speaker 1: completely different on TV. The original drawings were just so unique.

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Speaker 1: So how did you get that first job being the

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Speaker 1: first one hired onto the Simpsons? Oh well, the first

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Speaker 1: one real, really, the first one hired on in terms

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Speaker 1: of the animation will be West Archer and West Brilliant

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Speaker 1: Animation cartoon. This animator director, he worked for this small company,

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Speaker 1: I mean really small company called class Key Chupo, which

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Speaker 1: is that he may ring a bell, but at the

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Speaker 1: time was very small and they did occasional character commercials,

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Speaker 1: character animation, personal but he mostly did what was called

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Speaker 1: most motion graphics. West had worked, I guess occasionally for

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Speaker 1: them to do character animation. Wes and I met on

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Speaker 1: one Crazy Summer directed by savvy Steve Holland animation direction

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Speaker 1: by Bill Copp who I had met and I was

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Speaker 1: he had me brought me on as an animator on

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Speaker 1: that live action film with about ten minutes of animation,

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Speaker 1: and I met West from there. Anyhow, after one Crazy

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Speaker 1: Summer rap we worked from eighty six and I was

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Speaker 1: thinking actually of focusing on illustration and putting the brakes

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Speaker 1: on animation for a while because I just wanted to

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Speaker 1: focus on my own personal style. But West got first

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Speaker 1: Bill cop involved with the Tracy Allman Show in the

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Speaker 1: beginning of eight seven because class Key Chupa had gotten

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Speaker 1: the contract to do the animation for The Simpsons. For

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Speaker 1: mc ranning's where we just didn't know what's called The

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Speaker 1: Simpsons were just like working with mc graning, and we

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Speaker 1: love mcgrany's work. Life in Hell was one of our

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Speaker 1: favorite underground comics, and just a style and the humor,

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Speaker 1: and we thought, oh, that'd be fun to animate, and

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Speaker 1: that's how the whole thing started. It was started in

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Speaker 1: March of eighty seven, and it was Wes and Bill

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Speaker 1: Copp and myself as the three animators animators starting on

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Speaker 1: the Tracy Olman shorts. We animated all forty eight Tracey

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Speaker 1: Holman shorts between eighty seven and the beginning of eighty nine,

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Speaker 1: and it was around that time we heard about the

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Speaker 1: show becoming a series. Apparently, James L. Brooks says that

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Speaker 1: I helped the Grease of the Skids to go into

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Speaker 1: a series by approaching him and a rather, I had

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Speaker 1: a few drinks under on my battles. I remember saying

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Speaker 1: something about, I'm glad that you're giving us an opportunity

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Speaker 1: to do really adult animation on a P time show,

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Speaker 1: because it was really kind of cool. That was our animation.

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Speaker 1: There was no connection overseas, just me and Wes and

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Speaker 1: Build animating and cleaning it up and time me and

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Speaker 1: doing everything. And it was you know, painted by Georgie

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Speaker 1: Pellucy who gave them the distinctive yellow color. And uh,

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Speaker 1: by the way, you see how Bart doesn't have a hairline,

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Speaker 1: It's just a shape. That's why she made yellow because

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Speaker 1: yellow worked at the skin and hair color for characters

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Speaker 1: that had no hair line, like Bartleasa and Maggie, and uh,

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Speaker 1: you know, you don't want to destroy the graphic integrity

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Speaker 1: or the shape by adding a hairline. So her solution was, well,

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Speaker 1: I can't make them the cartoon flash color, so I'll

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Speaker 1: make them yellow. So that's I think that's That is

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Speaker 1: to my mind, the primary reason I never acted asked

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Speaker 1: her directly, But it makes the most sense because otherwise

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Speaker 1: you'd have to do some I mean, as I say,

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Speaker 1: the traditional cartoon flesh color would not work for Bartleasa

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Speaker 1: and Maggie that well, they'd have flesh color skin and

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Speaker 1: hair yellow. You kind of buy them as you know,

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Speaker 1: light skin blunds or something, regardless of case. In the

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Speaker 1: beginning of May of eighty nine, we started working on

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Speaker 1: The Simpsons as a series. The first thing I did

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Speaker 1: was I designed the main title sequence. Later I went

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Speaker 1: in and I started devising ways of how to draw

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Speaker 1: the characters for new animators. Because we're the things were

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Speaker 1: going like way off the rails. We only had like

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Speaker 1: a turnaround model sheet, and I thought, I gotta do

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Speaker 1: some construction type drawings to demonstrate how to sort of

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Speaker 1: analyze the character and break it down and to draw it.

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Speaker 1: And then you know, other people followed followed through with

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Speaker 1: that respect. So in that way, I think that I've

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Speaker 1: got credit for, like, you know, helping to you know,

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Speaker 1: really solidify the designs down because I guess while I

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Speaker 1: was directing the first season with a lot of you know,

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Speaker 1: young animators and even experience once who weren't used to

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Speaker 1: drawing in this kind of style, this was a new

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Speaker 1: type of style. I would say, the more shall we say, season,

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Speaker 1: the animators um that we worked at. They there's the

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Speaker 1: hannibur Barra style and the Disney style and the Warner

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Speaker 1: Brothers style, but this was a Matt Graaning style as

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Speaker 1: interpreted by me and West Archer, and it was a

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Speaker 1: different approach. Now it's very common that, you know, even

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Speaker 1: after this happened, it became the norm that you'd have

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Speaker 1: a creator driven project where you know, specific style to

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Speaker 1: the the creator artist, if you will. But back then

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Speaker 1: it was it was totally new and you know, and

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Speaker 1: so that's when we we realized we've got to start

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Speaker 1: coming up with devise ways for the people to analyze

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Speaker 1: the characters so that can draw them properly, and I

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Speaker 1: properly the way that West and I were drawing. So

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Speaker 1: looking at the show, now, how long is a single

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Speaker 1: episode of The Simpsons take from when it's written to

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Speaker 1: when it comes to you? Like, how did it come

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Speaker 1: to you? Well, it comes to us as a generally,

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Speaker 1: it comes to us on the table read. That's the

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Speaker 1: first time we get it. And I remember in the

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Speaker 1: very beginning to that was my first experience. There was

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Speaker 1: a table read for Bart the Genius. That was the

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Speaker 1: first show I direct, and I remember, this is the

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Speaker 1: funniest thing ever written for animation. At the time, I

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Speaker 1: just thought this was this is genius. So table read,

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Speaker 1: it's about it's about nine months episode. There are a

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Speaker 1: lot but what you have you have we we it's meticulous.

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Speaker 1: You have the table read, and then you have the

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Speaker 1: storyboard process and then notes on storyboard, and then we

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Speaker 1: do an antimatic process. And that's a number of weeks

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Speaker 1: of doing all the drawings for the auntmatic. We should

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Speaker 1: lay out the entire show basically before you decided to

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Speaker 1: story real the entire show. Save a lot of time

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Speaker 1: and money that way, and then comes you know, the

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Speaker 1: finished animation and timing it and then going out to

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Speaker 1: our Korean studio either a coome or rough draft Korea,

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Speaker 1: and they take like ten weeks to animate, finish, fill

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Speaker 1: in the mostly and we we actually do a lot

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Speaker 1: of animation. We do all those key posing, heavily key

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Speaker 1: posed our shows. Uh and um uh to take some

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Speaker 1: ten weeks to finish it up and paint. It used

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Speaker 1: to be painted on cells, you know, and uh, but

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Speaker 1: now it's digitally painted, but still takes the same way.

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Speaker 1: At the time, it's still time consuming. You're saying nine

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Speaker 1: months from one episode, but you're working on several different episodes,

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Speaker 1: I mean, the whole season. How in the world do

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Speaker 1: you get an entire season done like that? All I

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Speaker 1: can tell you it takes a chunk of time. And

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Speaker 1: it is is like, okay, here's this timeline for let's

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Speaker 1: say the first episode of the season, right, and then

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Speaker 1: here's the next episode, and here's the next episode. Here's

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Speaker 1: the next episode. So they're staggered, right, So one director

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Speaker 1: is working on this, and our second director is working

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Speaker 1: on this with his you know, animation team and so forth.

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Speaker 1: And then we have you know, we have designers that

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Speaker 1: work on all the shows basically at all the times.

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Speaker 1: So there's imagine that it's like it with different moving trains,

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Speaker 1: you know, but they're all a week apart and they

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Speaker 1: leave the station and then the film arrives here and

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Speaker 1: then they come back on a weekly basis. Oh, that's

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Speaker 1: why we start in March. So we start the process

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Speaker 1: of store reboarding in March to make our times for

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Speaker 1: the next you know, for for the fall season. And

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Speaker 1: we have like seven episodes, six seven episodes for the

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Speaker 1: previous schedule to sort of give us a head start

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Speaker 1: onto the next season as as we went through in

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Speaker 1: a season after season we started building up. Oh, we

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Speaker 1: have two additional episodes, so that gives more of a

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Speaker 1: a a break to get to you know, to allow

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Speaker 1: the process to continue. And then it then somehow, and

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Speaker 1: I can't remember how we got it up to, but

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Speaker 1: we had like like six what we called hold over episodes.

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Speaker 1: So we do twenty two episodes a year, and like

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Speaker 1: seventeen is usually the last show that will be broadcast

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Speaker 1: that year in May, and the following you know, uh,

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Speaker 1: six or seven episodes will be for the following season

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Speaker 1: and they'll hit the beginning of the season then, you know,

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Speaker 1: so forth and zone. It keeps rolling on. Man. So

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Speaker 1: looking now back at the movie, it's been fifteen years

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Speaker 1: since the Simpsons movie, which you directed the movie. How

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Speaker 1: does that process begin of going from justin all right,

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Speaker 1: we're gonna make this one episode to making this full

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Speaker 1: feature that's never been done before. People often asked us,

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Speaker 1: why didn't you do another one? Well, the Simpson movie,

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Speaker 1: Damniel damn near killed us because we had another team

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Speaker 1: of people. We didn't expand to some extent, you know,

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Speaker 1: for the do the movie. But we had a lot

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Speaker 1: of the people that work on the show also working

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Speaker 1: on the movie simultaneously. Now some some kind of like

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Speaker 1: I had I had four um sequence directors too, were

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Speaker 1: not on the show over that had been on the show,

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Speaker 1: Rich Moore, Lauren McMullen had been on the show previously.

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Speaker 1: Rich had been working on Futurama at the time. I think, yeah,

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Speaker 1: it's it's hard to like put everything together. But in

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Speaker 1: any event, and then we had two other who were

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Speaker 1: working on the show, Mike Anderson and Steve Bore and

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Speaker 1: there was there were my four uh sequence directors because

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Speaker 1: we were That was one raised way we got it

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Speaker 1: done so fast. Is I had I had you know,

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Speaker 1: I had field generals because it was we had to

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Speaker 1: do everything and once all in a great big box.

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Speaker 1: So I had to delegate quite a bit in that respect,

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Speaker 1: but h and still look and still make it look

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Speaker 1: like it was dealt from one hand, because you know,

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Speaker 1: it's a movie. But we started the writing started. I

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Speaker 1: think they really got started in like two thousand and three,

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Speaker 1: and by two thousand five, there was a table read

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Speaker 1: in the summer of two thousand five, and we really

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Speaker 1: got it started story boarding in two thousand six. We

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Speaker 1: did it rather fast when you think about it, because

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Speaker 1: we started in the production in January of two thousand

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Speaker 1: and six and we basically got it done under like

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Speaker 1: fifteen months, you know, which is pretty fast considering into

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Speaker 1: the feature and pretty fast because a lot of stuff

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Speaker 1: we did was thrown out the window. We had to

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Speaker 1: start over a lot of Act one. But um, I

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Speaker 1: don't know, I guess we all had you know, um

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Speaker 1: they're all pretty season people and we got other people

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Speaker 1: uh involved to uh uh. It's got a Steve Marksky

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Speaker 1: who did a great job. He was almost like a

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Speaker 1: like a fifth uh sequence director. He did a lot

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Speaker 1: of great board work for me. I mean that's how

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Speaker 1: we got things done. We just kind of plowed through

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Speaker 1: it and uh we were still drawing on paper at

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Speaker 1: the time. We hadn't gone digital, although I started um

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Speaker 1: working on cintique tablet, you know the Wacom centique tablet

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Speaker 1: where you take a stylists and you draw directly onto

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Speaker 1: the screen, and that kind of got the attention of

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Speaker 1: our US president Gracie Films. Richard skais like, oh, this

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Speaker 1: is the way to go, and I say, absolutely, this

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Speaker 1: is where this is the whey to go. We started

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Speaker 1: boarding when she started buying cintiques for the board artists,

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Speaker 1: which made things very much go faster because the story

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Speaker 1: was mercurial and many respects of these things kept changing,

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Speaker 1: particularly uh, the character of Cargo. Originally he was like

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Speaker 1: this kind of kind of like a sad sack, you know, uh,

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Speaker 1: head of the e p A who was like, you know,

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Speaker 1: miserable because he was so it was not respected. And

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Speaker 1: then this thing happened in Springfield and he's given all

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Speaker 1: this power and resources. That storyline wasn't working because you know,

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Speaker 1: we were like, we're doing Simpsons movie, it should be

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Speaker 1: about the Simpsons, and we're concerning this character. We've never

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Speaker 1: heard it before. Voiced by Albert Brooks, who's like kind

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Speaker 1: of a semi regular in the Simpsons, but still not

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Speaker 1: very entertaining. So that's when we kind of pitched that

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Speaker 1: all out and said, okay, for a hot second, we

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Speaker 1: actually thought Hank Scorpion would be the head of the

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Speaker 1: E p A. And that was that tost out rather quickly. Uh.

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Speaker 1: And Albert Brooks actually he was. He was one of

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Speaker 1: people said that doesn't work for me. And you know,

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Speaker 1: Albert Brooks, though doing the voice, is also you know,

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Speaker 1: a very accomplished comic uh director, so his his instincts

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Speaker 1: are worth listening to. But he basically did a Scorpio

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Speaker 1: type of character, you know, and aggressive. It says if

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Speaker 1: Donald Rumsfeld ran the e p A, you know, and

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Speaker 1: that was sort of like the the the the idea

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Speaker 1: behind it. So you're saying, the first movie almost killed

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Speaker 1: you guys. So should we not expect a sequel anytime?

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Speaker 1: I'm like ever in our lifetime? Oh, I think that.

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Speaker 1: I never say never. You know. It's like one of

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Speaker 1: these things that that will that will, that will happen. Possibly.

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Speaker 1: I can't go work and saying it's gonna happen and

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Speaker 1: it's not. I can't go where I'm saying it's not

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Speaker 1: gonna happen because I can't go and record saying anything.

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Speaker 1: I can't give you no scoop because you know what,

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Speaker 1: I don't know. So I was rewatching the movie, and

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Speaker 1: obviously you're able to do now in this movie things

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Speaker 1: you couldn't do on TV. But I wonder, was there

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Speaker 1: a meeting about how to draw Bart Simpson's wiener. Yeah.

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Speaker 1: I don't think there was a meaning of meeting about that,

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Speaker 1: but I sort of did it. I went forward tastefully

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Speaker 1: enough so we would get away with it, you know,

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Speaker 1: let's put it that way. And we were really, really

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Speaker 1: really worried that that was going to be a problem

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Speaker 1: from the sensors. I mean, we didn't know what we're

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Speaker 1: gonna do. We figured we could get away with it

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Speaker 1: with the European audiences, but we just did not know

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Speaker 1: how it was going to react. And to this day

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Speaker 1: I rateful for the Ratings Board for apparently actually their

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Speaker 1: rating was I think it was it was a PG

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Speaker 1: or PG thirteen. I think rating PG thirteen for adult

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Speaker 1: humor throughout. I think that was their rating, which was

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Speaker 1: like almost a mini review, which was very flattering to us. Yeah,

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Speaker 1: it was. It was a lot of work, let's put

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Speaker 1: it that way. It was. It was a lot of work.

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Speaker 1: But I remember at one point it's like, this is

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Speaker 1: a lot of work, but hey, you wanted to do this,

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Speaker 1: Let's let's enjoy it. So I did. Throughout all the

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Speaker 1: work and the and stressful times, I did enjoy myself,

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Speaker 1: I think, and I think at the end of the day,

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Speaker 1: everybody else, even though it was a lot of work,

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Speaker 1: enjoying themselves to Certainly we enjoyed the way it came out,

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Speaker 1: and certainly enjoyed the way it was responded to. I

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Speaker 1: think you worked on one of my favorite Simpsons episodes

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Speaker 1: of all times, Summer or four ft two. Yes, well

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Speaker 1: I was. I was supervising director at the time, so

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Speaker 1: I didn't have as strong of a voice in it

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Speaker 1: as you may think. But but do go on. There's

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Speaker 1: a scene wherever Homer is talking to Ned Flanders, and

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Speaker 1: he's like leaning up against the fence and his hand

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Speaker 1: is doing like this weird intricate motion. I wonder, how, like,

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Speaker 1: when you think of a like an animation like that,

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Speaker 1: is it just so painful to do even though it

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Speaker 1: looks so simple. It depends. I mean, I think when

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Speaker 1: we're doing something really um inventive and interesting, uh, you

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Speaker 1: just kind of get into it, you know, no matter

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Speaker 1: how never mind how difficult it may be, but you know,

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Speaker 1: that's what it reminds me of. You know, one of

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Speaker 1: my favorite bits of animation is this one. This is

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Speaker 1: of course Homer's skipping through the land of Chocolate. This

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Speaker 1: is something I did do and um and this is

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Speaker 1: a cycle uh from Fortunately I was smart enough to

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Speaker 1: xeroxyes drawings, so I would always have because I was

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Speaker 1: happy the way this came out and when I will God,

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Speaker 1: when about this um. Mark Kirkland was directing it and

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Speaker 1: I was supervising director at this point a third season.

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Speaker 1: They made me supervising to Rector and Mark said, well,

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Speaker 1: we're having trouble with the layout is not coming out

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Speaker 1: as funny as your storyboard. I actually boarded the sequence

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Speaker 1: because when I read the script, I fell out of

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Speaker 1: my chair laughing. I think it's because just what I

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Speaker 1: imagined in my head, because it wasn't really on the page.

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Speaker 1: It says Homer skips after chocolate bunnies. That's all it said.

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Speaker 1: And I guess this is opted into my head. Which

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Speaker 1: made me laugh was it says that delirious. So I

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Speaker 1: started like doing the extremes of the you know, the

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Speaker 1: poses that I wanted to do, and then I thought, well,

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Speaker 1: I think I'll do a breakdown. I think I do

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Speaker 1: a breakdown with the breakdown and a break you know,

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Speaker 1: I'm just gonna animate the whole thing. So so I did.

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Speaker 1: So I decided to animate the entire cycle just because

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Speaker 1: I wanted to have this certain sort of like I

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Speaker 1: didn't know how to just do the extreme drawings and

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Speaker 1: explain to the animator in Korea how to in between

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Speaker 1: it without doing it, you know, and I figured I

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Speaker 1: just had time, like I would like tinker on it

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Speaker 1: every now and then when I had a free moment.

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Speaker 1: So looking at that animation, now, how does that work

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Speaker 1: into the entire episode? Do you just draw that and

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Speaker 1: then somebody else that's that's what gets chipped off? The

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Speaker 1: other got chipped off and also the bunny who's who

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Speaker 1: was skipping after I also had admitted, So those segments,

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Speaker 1: those two pieces of animation with the scene were entirely

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Speaker 1: uh animated basically here uh and uh. Then of course

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Speaker 1: the backgrounds were done, and then we were timing. Basically

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Speaker 1: what we would do is that in the exposure sheets,

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Speaker 1: we would time put the drawings in where they go.

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Speaker 1: How they go and you know, one after the other

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Speaker 1: and how the background pans behind it. So there you go.

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Speaker 1: That was it. Well, this has a been incredible to

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Speaker 1: get an insight on how this animation stuff works and

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Speaker 1: much it went into making the movie. Did you keep

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Speaker 1: anything from the movie, Like I know there were so

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Speaker 1: many like promo things that came out. There was maybe

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Speaker 1: like a cell or something that you kept from the movie.

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Speaker 1: So no, I do not do not have a lot

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Speaker 1: of art from the movie per se, And a lot

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Speaker 1: of the art that I do have would actually be

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Speaker 1: drawn digitally because at that point, at least for me,

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Speaker 1: on the movie, it was more efficient to draw on

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Speaker 1: the cintique than to draw on the paper. Well, David,

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Speaker 1: I really appreciate the time. I think if anybody wants

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Speaker 1: to see more of your work, definitely follow you on

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Speaker 1: on Twitter at tubatron And I love all the little

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Speaker 1: sketches you put up there in the behind the scenes stuff. Yes,

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Speaker 1: and I think people know this and some people who

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Speaker 1: know my my stuff. I've seen that this was a

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Speaker 1: going to be the ending of the Christmas Special, but

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Speaker 1: we decided not to. We decided to have this as

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Speaker 1: an off screen sort of thing as opposed to showing it.

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Speaker 1: I think I think Jim Brooks said, ah, it's funny,

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Speaker 1: but let's let's go quite to that excreen. But we're

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Speaker 1: hidging our bets back in nine, you know exactly. Well,

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Speaker 1: thank you so much, hope we have a great rest

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Speaker 1: of your day. Thank you, Thanks very much. I have

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Speaker 1: a good one. By Let's get into a movie review now.

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Speaker 1: I want to talk about Weird the Al Yankovic Story.

429
00:21:56,320 --> 00:21:59,399
Speaker 1: It's the new movie streaming on the Roku app, which

430
00:21:59,440 --> 00:22:00,840
Speaker 1: if you don't know where that is, all you have

431
00:22:00,880 --> 00:22:03,720
Speaker 1: to do is google Weird the Al Yankovic Story, and

432
00:22:03,720 --> 00:22:06,320
Speaker 1: that first thing that comes up in Google is the

433
00:22:06,440 --> 00:22:10,080
Speaker 1: Roka website. So it's for free, which is great. And

434
00:22:10,400 --> 00:22:15,160
Speaker 1: I am a fan of Weird Al Yankovic's music. I

435
00:22:15,160 --> 00:22:17,760
Speaker 1: I didn't know what to expect while watching this movie

436
00:22:17,760 --> 00:22:21,760
Speaker 1: going into it, and maybe I was completely blindsided. And

437
00:22:21,880 --> 00:22:26,000
Speaker 1: why would I think that a movie about the greatest

438
00:22:26,040 --> 00:22:30,000
Speaker 1: parody songwriter who has ever lived wouldn't be a parody

439
00:22:30,160 --> 00:22:33,679
Speaker 1: movie about the music biopic genre. So I thought that

440
00:22:33,760 --> 00:22:36,040
Speaker 1: was genius. This movie was so well written. I want

441
00:22:36,040 --> 00:22:38,560
Speaker 1: to get into more about this movie, but before I do,

442
00:22:38,800 --> 00:22:41,760
Speaker 1: here is just a little bit of the weird The

443
00:22:41,880 --> 00:22:48,399
Speaker 1: Al Yankovic story trailer, Hungry Wan up a package of

444
00:22:48,680 --> 00:22:56,480
Speaker 1: five Dude, I've got chills. Every once in a great while,

445
00:22:58,240 --> 00:23:01,000
Speaker 1: I can spot a talent that I know is the

446
00:23:01,040 --> 00:23:05,440
Speaker 1: future of music. The first We've got to find you

447
00:23:05,520 --> 00:23:08,800
Speaker 1: a stage name, Al Yankovic. It's long, it's hard to pronounce.

448
00:23:09,000 --> 00:23:13,159
Speaker 1: I'm just gonna throw this out there, Weird Al Yankovic.

449
00:23:13,920 --> 00:23:18,200
Speaker 1: I love it. So the movie stars Daniel Radcliffe, who

450
00:23:18,240 --> 00:23:21,720
Speaker 1: is most famous for playing Harry Potter, but he's done

451
00:23:21,800 --> 00:23:24,600
Speaker 1: so many great movies since. One of my favorites of

452
00:23:24,720 --> 00:23:28,240
Speaker 1: his Swiss Army Man. So I really feel like in

453
00:23:28,280 --> 00:23:31,959
Speaker 1: the last decades since Harry Potter, he has reinvented himself.

454
00:23:32,000 --> 00:23:34,120
Speaker 1: But I just think when you go into a movie

455
00:23:34,119 --> 00:23:35,720
Speaker 1: like this, people are always like, oh, it's the Harry

456
00:23:35,720 --> 00:23:38,200
Speaker 1: Potter guy. But I think he was a perfect person

457
00:23:38,320 --> 00:23:41,400
Speaker 1: to play weird Al Yankovic because with the costume, he

458
00:23:41,920 --> 00:23:44,639
Speaker 1: resembles him a lot, and he's just a great actor.

459
00:23:44,800 --> 00:23:46,639
Speaker 1: So why not get one of the best actors to

460
00:23:46,680 --> 00:23:49,800
Speaker 1: play weird out. But the funny thing about this movie

461
00:23:49,920 --> 00:23:53,160
Speaker 1: is that it pokes fun at all of the tropes

462
00:23:53,200 --> 00:23:55,840
Speaker 1: that come along with music. Biopics, the tropes that I

463
00:23:55,960 --> 00:23:58,200
Speaker 1: often point out when I go see a movie like

464
00:23:58,680 --> 00:24:02,959
Speaker 1: Elvis Well Heemian Rhapsody, and all those little things they

465
00:24:02,960 --> 00:24:04,560
Speaker 1: put in to make those movies seem a little bit

466
00:24:04,600 --> 00:24:07,840
Speaker 1: more flashy and a little bit more extra than maybe

467
00:24:07,840 --> 00:24:11,200
Speaker 1: their actual life actually was. You have to make a movie,

468
00:24:11,240 --> 00:24:13,920
Speaker 1: you have to make it more cinematics. So there's always

469
00:24:13,920 --> 00:24:17,160
Speaker 1: these little embellishments they do, whether it's like their quick

470
00:24:17,240 --> 00:24:21,040
Speaker 1: rise to fame, how big a certain song was, and

471
00:24:21,119 --> 00:24:24,679
Speaker 1: how much an artist took the world by storm. And

472
00:24:24,720 --> 00:24:28,160
Speaker 1: this movie pokes fun at that. It pokes fun at

473
00:24:28,160 --> 00:24:31,560
Speaker 1: the quick rise to fame, it pokes fun at the

474
00:24:31,680 --> 00:24:34,800
Speaker 1: record executives telling weird how that he would never make it,

475
00:24:35,280 --> 00:24:39,160
Speaker 1: and it does a funny job at rewriting history when

476
00:24:39,200 --> 00:24:42,680
Speaker 1: it comes to the life of Weirdow. So I don't

477
00:24:42,680 --> 00:24:46,560
Speaker 1: know why I didn't expect that one of the most

478
00:24:46,640 --> 00:24:50,120
Speaker 1: famous parody writers of all time, if not the most famous,

479
00:24:50,520 --> 00:24:55,600
Speaker 1: wouldn't do a music biopic parody, which I think historically,

480
00:24:55,680 --> 00:24:59,480
Speaker 1: now even most recently talking about different genres of movies,

481
00:24:59,760 --> 00:25:02,600
Speaker 1: i've felt like the parody movie was kind of dead.

482
00:25:03,000 --> 00:25:05,240
Speaker 1: I think historically, when you look back at some of

483
00:25:05,240 --> 00:25:08,879
Speaker 1: the greats like Airplane and Spaceballs. For me personally, I

484
00:25:08,920 --> 00:25:11,600
Speaker 1: think because of when I grew up, Scary Movie one

485
00:25:11,640 --> 00:25:15,359
Speaker 1: and Scary Movie two are my favorite parody movies. But

486
00:25:15,440 --> 00:25:17,840
Speaker 1: it's a really hard thing to do. But I think

487
00:25:17,840 --> 00:25:21,639
Speaker 1: this movie was so well written and it all actually

488
00:25:21,760 --> 00:25:24,240
Speaker 1: works together. But you have to go into it knowing

489
00:25:24,280 --> 00:25:28,000
Speaker 1: that that the movie is poking fun at the music

490
00:25:28,040 --> 00:25:31,000
Speaker 1: biopic genre. So if like me, you are a fan

491
00:25:31,480 --> 00:25:35,280
Speaker 1: of movies like The Dewey Cock Story or pop Star

492
00:25:35,520 --> 00:25:39,399
Speaker 1: Never Stopped, Never Stopping, those are probably the most recent

493
00:25:39,480 --> 00:25:41,239
Speaker 1: ones that have done it well, and I think this

494
00:25:41,280 --> 00:25:44,120
Speaker 1: one's right up there with that. And I actually may

495
00:25:44,240 --> 00:25:46,920
Speaker 1: even like this one more than both of those combined,

496
00:25:47,680 --> 00:25:50,879
Speaker 1: because there was actually a really solid story at the

497
00:25:50,920 --> 00:25:54,000
Speaker 1: foundation of this entire movie, because what this movie is

498
00:25:54,040 --> 00:25:58,080
Speaker 1: about is weird Out and his relationship with his father.

499
00:25:58,200 --> 00:26:01,160
Speaker 1: His father did not want him to do music, and

500
00:26:01,200 --> 00:26:04,080
Speaker 1: they put fun out of it a lot, because you know,

501
00:26:04,160 --> 00:26:07,520
Speaker 1: he starts out playing the accordion and listening to polka

502
00:26:07,640 --> 00:26:10,320
Speaker 1: music and that's what his dad is not wanting him

503
00:26:10,320 --> 00:26:12,920
Speaker 1: to do, and then he goes on to a chief

504
00:26:13,000 --> 00:26:16,560
Speaker 1: success sell a bunch of albums, but it all kind

505
00:26:16,560 --> 00:26:19,639
Speaker 1: of comes back to that relationship with his father and

506
00:26:19,680 --> 00:26:22,439
Speaker 1: going back to him just trying to make his parents proud.

507
00:26:22,920 --> 00:26:25,600
Speaker 1: So at the core of it, even though as ridiculous

508
00:26:25,640 --> 00:26:29,080
Speaker 1: as this movie goes on to become, it is telling

509
00:26:29,119 --> 00:26:32,080
Speaker 1: that relationship, and maybe it's the only thing that's actually

510
00:26:32,119 --> 00:26:34,760
Speaker 1: true out of this entire movie. I guess I was

511
00:26:34,880 --> 00:26:37,439
Speaker 1: kind of expecting to learn a little bit more about

512
00:26:37,480 --> 00:26:39,639
Speaker 1: his life, but at the end of it, I just

513
00:26:39,680 --> 00:26:42,560
Speaker 1: wanted to watch a funny, entertaining movie, and that's what

514
00:26:42,680 --> 00:26:46,600
Speaker 1: I got. I really enjoyed the whole plot line that

515
00:26:46,720 --> 00:26:50,359
Speaker 1: came with him meeting Madonna and their relationship in this movie,

516
00:26:50,920 --> 00:26:54,400
Speaker 1: I thought that whole thing was pretty funny. Doesn't look

517
00:26:54,440 --> 00:26:56,960
Speaker 1: like there's any truth to that, So I think on

518
00:26:57,040 --> 00:26:59,399
Speaker 1: service level, you could watch this and think this is

519
00:26:59,400 --> 00:27:02,160
Speaker 1: a pretty a movie. But it's also just a lot

520
00:27:02,240 --> 00:27:05,119
Speaker 1: of fun and enjoyable, especially if you're a fan of

521
00:27:05,200 --> 00:27:08,040
Speaker 1: weird al Yanko Bigs music and want to see a

522
00:27:08,200 --> 00:27:11,879
Speaker 1: different side of Daniel Radcliffe. And there's also just a

523
00:27:11,920 --> 00:27:16,240
Speaker 1: lot of fun cameos. Rain Wilson, Jack Black, just a

524
00:27:16,280 --> 00:27:18,960
Speaker 1: bunch of funny people that also make this movie work.

525
00:27:19,320 --> 00:27:22,879
Speaker 1: And it's available for free. So I know when they

526
00:27:22,880 --> 00:27:25,160
Speaker 1: came out saying that it's on Roku channel, you think,

527
00:27:25,200 --> 00:27:26,919
Speaker 1: where do I even find this movie? If you just

528
00:27:27,000 --> 00:27:31,200
Speaker 1: google weird the Al Yankovic story, the first thing that

529
00:27:31,320 --> 00:27:34,240
Speaker 1: comes up in Google is the Roku website, So you

530
00:27:34,280 --> 00:27:35,760
Speaker 1: just click it and you can watch it there on

531
00:27:35,800 --> 00:27:39,560
Speaker 1: your computer. If you have the Roku app on your

532
00:27:39,680 --> 00:27:43,560
Speaker 1: Amazon fire Stick, or if you have the actual Roku device,

533
00:27:43,640 --> 00:27:45,560
Speaker 1: you can watch it there for free to I kind

534
00:27:45,600 --> 00:27:48,639
Speaker 1: of like that, just being able to watch it on

535
00:27:48,680 --> 00:27:51,439
Speaker 1: an apps website and not have to subscribe to a

536
00:27:51,440 --> 00:27:53,960
Speaker 1: different kind of streaming service. So I think this is

537
00:27:54,000 --> 00:27:56,399
Speaker 1: a pretty big get for them to go over to

538
00:27:56,480 --> 00:27:59,040
Speaker 1: Roku channel. I don't think I've ever went over there

539
00:27:59,040 --> 00:28:01,360
Speaker 1: to watch a movie. So if I had to rate

540
00:28:01,440 --> 00:28:03,960
Speaker 1: this movie, I would give it four out of five

541
00:28:04,080 --> 00:28:07,399
Speaker 1: Hawaiian shirts. It's exactly what I needed right now, something fun,

542
00:28:07,800 --> 00:28:10,240
Speaker 1: something mindless, and something to remind me that you can

543
00:28:10,280 --> 00:28:18,080
Speaker 1: still make a good parody movie. It's time to head

544
00:28:18,119 --> 00:28:22,760
Speaker 1: down to movie Mike La Paul. As soon as November hits,

545
00:28:22,800 --> 00:28:25,880
Speaker 1: I think we all went full blown Christmas, so we're

546
00:28:25,920 --> 00:28:29,520
Speaker 1: all getting ready for Christmas movies, Christmas music, and the

547
00:28:29,640 --> 00:28:33,240
Speaker 1: Christmas movie I am most excited about just put out

548
00:28:33,280 --> 00:28:36,119
Speaker 1: their trailer. It is A Christmas Story Christmas, which is

549
00:28:36,160 --> 00:28:42,000
Speaker 1: a continuation of the original Christmas Story, and I think

550
00:28:42,480 --> 00:28:46,600
Speaker 1: this one may actually do the film justice. And just

551
00:28:46,640 --> 00:28:49,200
Speaker 1: by watching this trailer it gave me that warm feeling

552
00:28:49,280 --> 00:28:52,080
Speaker 1: seeing all of at least most of the original cast

553
00:28:52,200 --> 00:28:55,040
Speaker 1: come back. I'm excited for this one. So before we

554
00:28:55,080 --> 00:28:57,720
Speaker 1: talk about A Christmas Story Christmas, here's just a little

555
00:28:57,720 --> 00:28:59,840
Speaker 1: bit of the trailer from the movie that's coming out

556
00:28:59,880 --> 00:29:04,720
Speaker 1: on November sevente on HBO Max Live Moves Fast. One

557
00:29:04,800 --> 00:29:07,280
Speaker 1: day you're playing kick the can with kids name Flick

558
00:29:07,320 --> 00:29:11,440
Speaker 1: and Schwartz, and the next thing you know, you're a

559
00:29:11,440 --> 00:29:20,560
Speaker 1: certified adult. Ralph dear old man Frodge, he was the best. Ruff.

560
00:29:21,040 --> 00:29:24,560
Speaker 1: Promise me you're going to make this a wonderful Christmas

561
00:29:24,640 --> 00:29:30,160
Speaker 1: pill and make your father so happy. I promise what

562
00:29:30,280 --> 00:29:32,640
Speaker 1: had I done? And that was all up to me.

563
00:29:33,880 --> 00:29:36,320
Speaker 1: I suggest you start drinking and don't stop the New

564
00:29:36,360 --> 00:29:41,400
Speaker 1: Year's So, A Christmas Story Christmas takes place about thirty

565
00:29:41,520 --> 00:29:44,240
Speaker 1: years after the original. The original one took place in

566
00:29:44,400 --> 00:29:47,440
Speaker 1: nineteen forties, so this one is set around the nineteen

567
00:29:47,680 --> 00:29:51,440
Speaker 1: seventies and now Ralphie is older, he has kids of

568
00:29:51,480 --> 00:29:53,600
Speaker 1: his own, and as you heard in that trailer, his

569
00:29:53,680 --> 00:29:56,520
Speaker 1: father has passed away. So he goes home to his

570
00:29:56,600 --> 00:29:59,880
Speaker 1: childhood home in Cleveland to try to give his kids

571
00:30:00,040 --> 00:30:03,040
Speaker 1: that same kind of magical Christmas that he had growing up.

572
00:30:03,440 --> 00:30:06,360
Speaker 1: And a lot of the original cast is back. Ralphie,

573
00:30:06,400 --> 00:30:11,000
Speaker 1: his brother, Randy flick Schwartz, his mom, the Bully, they

574
00:30:11,000 --> 00:30:13,480
Speaker 1: are all back in this movie, and I think that

575
00:30:13,600 --> 00:30:16,080
Speaker 1: is a big deal when it comes to making a sequel,

576
00:30:16,520 --> 00:30:20,040
Speaker 1: especially when you're banking on nostalgia. Now, this isn't a

577
00:30:20,080 --> 00:30:22,360
Speaker 1: direct sequel because they did come out with A Christmas

578
00:30:22,400 --> 00:30:25,800
Speaker 1: Story two back in twelve, but didn't have any of

579
00:30:25,840 --> 00:30:28,920
Speaker 1: the original cast, and that movie took place five years

580
00:30:28,960 --> 00:30:31,920
Speaker 1: after the original one, so it really wasn't very good.

581
00:30:31,960 --> 00:30:34,760
Speaker 1: So let's all forget about a Christmas Story too and

582
00:30:34,800 --> 00:30:37,760
Speaker 1: look to a Christmas Story. Christmas and what I like

583
00:30:37,840 --> 00:30:40,600
Speaker 1: about what I'm seeing in this movie is it looks

584
00:30:40,680 --> 00:30:44,479
Speaker 1: and feels very warm. This movie feels like Christmas, and

585
00:30:44,480 --> 00:30:46,640
Speaker 1: I think that's what the original movie did. It's a

586
00:30:46,640 --> 00:30:49,360
Speaker 1: movie that just lives embedded in my head. We know

587
00:30:49,480 --> 00:30:53,040
Speaker 1: all the scenes, we know all the lines, and it really,

588
00:30:53,080 --> 00:30:56,000
Speaker 1: to me doesn't feel like Christmas unless I watch a

589
00:30:56,080 --> 00:30:59,240
Speaker 1: Christmas story. I would probably rank it as my second

590
00:30:59,320 --> 00:31:02,520
Speaker 1: Christmas movie of all time. I still think Elf is

591
00:31:02,640 --> 00:31:05,480
Speaker 1: right up there at number one, but you can't deny

592
00:31:05,600 --> 00:31:08,480
Speaker 1: a Christmas story. And why I'm excited about this movie

593
00:31:08,480 --> 00:31:11,120
Speaker 1: and looking forward to seeing it is I want to

594
00:31:11,120 --> 00:31:14,200
Speaker 1: see all of the original cast come back. And even

595
00:31:14,200 --> 00:31:16,640
Speaker 1: though they are probably doing a lot of the same

596
00:31:16,680 --> 00:31:19,520
Speaker 1: things that they did in the original one, but now

597
00:31:19,600 --> 00:31:22,160
Speaker 1: with Ralphie's kids, I'm okay with it. When it comes

598
00:31:22,160 --> 00:31:24,680
Speaker 1: to a Christmas movie. I like a little cheesiness in

599
00:31:24,760 --> 00:31:26,760
Speaker 1: my Christmas movie. I just want something that's going to

600
00:31:26,840 --> 00:31:29,560
Speaker 1: make me feel warm and fuzzy, and I think that's

601
00:31:29,600 --> 00:31:32,000
Speaker 1: what this movie is going to do. In the trailer,

602
00:31:32,040 --> 00:31:35,520
Speaker 1: there are references to him being shoved down the slide

603
00:31:35,520 --> 00:31:39,280
Speaker 1: by Santa the Triple Dog dare. I'm sure they'll bring

604
00:31:39,320 --> 00:31:41,360
Speaker 1: back the licking of the pole, so it might be

605
00:31:41,480 --> 00:31:44,240
Speaker 1: all of the old tricks again, And normally I get

606
00:31:44,360 --> 00:31:48,600
Speaker 1: too overcritical and analytical about that, but it's a Christmas movie,

607
00:31:48,840 --> 00:31:50,480
Speaker 1: and I also think it kind of hits you on

608
00:31:50,480 --> 00:31:53,920
Speaker 1: that emotional level knowing that it's taking place after his

609
00:31:54,000 --> 00:31:56,920
Speaker 1: father has passed away, and how big of a character

610
00:31:57,040 --> 00:31:59,480
Speaker 1: he was in the original movie, So maybe there's a

611
00:31:59,480 --> 00:32:01,840
Speaker 1: little bit of an emotional level that the first one

612
00:32:01,880 --> 00:32:04,400
Speaker 1: didn't get to that you can achieve now. So I

613
00:32:04,400 --> 00:32:06,280
Speaker 1: think this movie looks like a lot of fun. And

614
00:32:06,320 --> 00:32:10,000
Speaker 1: it's coming out on HBO Max streaming for free on

615
00:32:10,120 --> 00:32:13,800
Speaker 1: November seventeen. Interesting thing that they wouldn't put this movie

616
00:32:13,880 --> 00:32:17,320
Speaker 1: out in theaters. I feel like bringing back a Christmas

617
00:32:17,320 --> 00:32:20,720
Speaker 1: story would crush at the box office, because I think

618
00:32:20,760 --> 00:32:22,320
Speaker 1: this is one that would be fun to take the

619
00:32:22,320 --> 00:32:25,520
Speaker 1: whole family too. I think one of the best feelings

620
00:32:25,760 --> 00:32:29,120
Speaker 1: is going to the movies around Christmas time. There's just

621
00:32:29,160 --> 00:32:33,400
Speaker 1: something special about the entire world slowing down, especially in

622
00:32:33,440 --> 00:32:35,840
Speaker 1: those days leading up to Christmas where we're not really

623
00:32:35,840 --> 00:32:38,520
Speaker 1: getting a whole lot of work done. The entire country

624
00:32:38,600 --> 00:32:40,960
Speaker 1: feels like it's kind of slowed down. I think that

625
00:32:41,080 --> 00:32:43,160
Speaker 1: is the perfect time to go to the theater and

626
00:32:43,200 --> 00:32:45,360
Speaker 1: watch a movie like this, So I think we will

627
00:32:45,400 --> 00:32:47,560
Speaker 1: miss out on that a little bit this holiday season,

628
00:32:47,640 --> 00:32:50,360
Speaker 1: but has more movies just moved to the streaming only,

629
00:32:50,840 --> 00:32:52,840
Speaker 1: That is the world we live in. And again that's

630
00:32:52,880 --> 00:32:57,640
Speaker 1: coming out on November seventeen on HBO Max. This links

631
00:32:57,640 --> 00:33:01,520
Speaker 1: a dish of parting bar and that's going to do

632
00:33:01,560 --> 00:33:04,760
Speaker 1: it for another episode here of the podcast. Before I go,

633
00:33:04,880 --> 00:33:07,160
Speaker 1: I gotta give my listeners shout out of the week.

634
00:33:07,600 --> 00:33:09,680
Speaker 1: How do you get a listeners shout out on the podcast?

635
00:33:09,760 --> 00:33:12,040
Speaker 1: All you have to do is tweet me at Mike Destro,

636
00:33:12,200 --> 00:33:15,200
Speaker 1: send me an email movie Mike d at gmail dot com,

637
00:33:15,640 --> 00:33:18,920
Speaker 1: or comment over on my Facebook page Facebook dot com

638
00:33:19,160 --> 00:33:22,720
Speaker 1: slash Mike Destro. And this week it is from at

639
00:33:22,760 --> 00:33:25,640
Speaker 1: Craig Wig on Twitter, who tweeted me about my Black

640
00:33:25,640 --> 00:33:27,920
Speaker 1: Adam review and said, one of the few times I

641
00:33:27,920 --> 00:33:29,960
Speaker 1: got to disagree with you. We thought it wasn't that

642
00:33:30,000 --> 00:33:32,240
Speaker 1: bad of a movie. The action kept up pretty much

643
00:33:32,240 --> 00:33:34,320
Speaker 1: throughout the entire thing, and I would rate it a

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Speaker 1: three point five or maybe a four. Appreciate the feedback there,

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Speaker 1: Craig and I love that we don't have to agree

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00:33:40,920 --> 00:33:44,800
Speaker 1: on our interpretations and our feelings about a movie. Anything

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00:33:44,840 --> 00:33:47,040
Speaker 1: when it comes to art is subjective. So I like

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00:33:47,200 --> 00:33:50,000
Speaker 1: to create this open discussion of a few things. I

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00:33:50,080 --> 00:33:52,480
Speaker 1: rated something a little bit too high, or think I

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00:33:52,560 --> 00:33:54,680
Speaker 1: rated something a little bit too low. Let me know

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00:33:54,760 --> 00:33:56,840
Speaker 1: your true feelings on the movies. I just like to

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Speaker 1: know what you guys think about this stuff too, so

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Speaker 1: I appreciate that egg. And thanks to everybody for listening

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Speaker 1: to this week's episode. I hope you enjoyed the interview

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Speaker 1: as much as I did doing it. And I'm a

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00:34:06,840 --> 00:34:09,600
Speaker 1: huge Simpsons fan, so I found that stuff fascinating. I

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00:34:09,600 --> 00:34:11,760
Speaker 1: hope you did too. And if you want to comment

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00:34:11,840 --> 00:34:15,839
Speaker 1: with the secret emoji on TikTok or Instagram or Facebook.

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00:34:15,960 --> 00:34:17,759
Speaker 1: I do this every time I do an interview to

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00:34:18,120 --> 00:34:20,560
Speaker 1: let me know if you enjoyed it. The secret emoji

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00:34:20,640 --> 00:34:23,960
Speaker 1: for the David Silverman interview will be the pencil emoji,

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00:34:24,280 --> 00:34:26,880
Speaker 1: So comment with the pencil emoji on the video and

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Speaker 1: I'll pick one of those to shout out on next

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Speaker 1: week's listeners. Shout out, and until next time, go out

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00:34:31,960 --> 00:34:33,959
Speaker 1: and watch good movies and I will talk to you

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Speaker 1: later