‘The Mandalorian and Grogu’ Is the End of 'Star Wars' As We Know It. Plus: The Winners and Losers at Cannes.

[MUSIC] Toronto Movie Lovers, we are coming for you. This summer for the first time ever, the big picture is going to Canada. The kind folks at TIFF invited us to participate in this summer's TIFF Lightbox series, Christopher Nolan, Colin, Grand Designs. We can't wait to join their slate of programming. On July 8th, you can join us for a live recording of a very special draft episode with some friends of the pod, Canadian and not Canadian. And then we'll run it back on July 9th with a screening and discussion of one of our Nolan favorites, Tenet. Now pay attention. There will be special limited pre-sales for big picture listeners and TIFF members for both of these events. The pre-sale, I'm still pointing. The pre-sale for the July 8th live show will be on June 3rd at Noon Eastern, and the link will be available at theringer.com/events. If tickets remain after that, there will be a general on sale on June 5th at Noon Eastern. Then the pre-sale for the July 9th Tenet screening will go live on June 11th at Noon Eastern, and the link will also be at theringer.com/events. If tickets remain, there will be a general on sale on June 12th at Noon Eastern. Further ticketing information will be available at theringer.com/events soon and more programming details are TIFF.net/nolyn. See you in Canada. [Music] I'm Sean Fennasy. I'm Amanda Davin. And this is the Big Picture 8 Conversation Show about Mando! And the end of Star Wars, as we know it, Van Lathen will join us today to break down the Mandalorian and Grogu. Later in this episode, I'll be joined by Daniel Rohr, the writer-director of the incredibly tight and entertaining new thriller Tuner, about a piano tuner who finds himself entrenched in a criminal underworld. I had a chance to see this movie back at Telluride. I've been eager for the rest of you to see it ever since. If you know Daniel's name, it's because he's an Academy Award-winning documentarian, best known for Navalny. And this year's AI doc, I had fun talking with Daniel, about pivoting descriptive features from Docs, how he pulled Tuner off and where he's going from here, see his movie, stick around for that conversation. But before we dig into the Mandalorian and Grogu, we need to circle back to the Cannes Film Festival and everything that happened since we left that darn country right after this. Okay, Dobbins, you want to talk can first or movie news that we missed over the 10 days we were gone. Let's do movies first. Okay, movies. I'm following what you have here in the doc. I'm Doc Loyal. Lucas Kavanaugh put all this information in the doc. Shout it to you, Lucas. Let's start with obsession. Yes. So CR and I recorded an episode about horror and obsession well before we went on our vacation. Right. And let's not say vacation, but well before we went to Europe to see movies and represent this great institution in the big picture on the international stage. That's true. It honestly wasn't a vacation. A lot of work. It was a lot of work. But you know what, it was fun work. And while we were gone, America got obsession fever. They did. And this very small film, $750,000 budget has earned $68 million and in roughly 12 days. And Curry Barker, the writer director, was on the show and talked about his experience. I never in a million years would have guessed that the movie would have become what it is becoming when he and I spoke. You haven't seen it yet. You're going to see it very soon, I think. Tomorrow, I believe, yeah. But the box office went up. It literally went up weekend over weekend. Yes, which almost never happens and virtually never happens in a non-holiday period, like a non-Christmas period. Right. And with a non-IP story or a non-sequel. So this is like very rare that the movie is in right now and it has kind of caught fire on social media. It's got a very young audience thus far. I'm very interested for your take on it because it is kind of a rom-com. Okay, great. Not in any way that you would hope for it to be one. But it's a fascinating testimony to the thing that we've been talking about about finding younger audiences, what they want, why they want it, the sustainability of horror storytelling at the box office right now. We're on the verge of backrooms. This Thursday Friday weekend and the fervor for that is in all time now. We just had a chance to see the movie and we'll talk about it on Friday. So this is just delightful as a film fan. You shared with me that some of the internet culture that is already developing around it, like people within the movie are breaking out and it seems to be a whole thing which I'm excited about. I hope you didn't spoil anything for me. I don't think so either. But I do think that we can have an indie never-ready conversation, the female star, once you've seen the movie. Other news, David Fincher's Cliff Booth will premiere in IMAX before debuting on Netflix in November, which is going into the slot that Greta Gerwig's Narnia film previously occupied. Right, so it gets two weeks in IMAX over Thanksgiving, and then we'll be on streaming services December 23rd. So roughly a thousand screens in North America? Here is my question for you. Why does no one else want the Thanksgiving date? Because as soon as the Narnia movie vacated that, we thought, "Oh, okay, well, Avengers, whatever, will now move up," and it can dump Infinity Vision or whatever. And they're not moving off December 18th. It's fascinating. There's, it does seem I'm excited for Cliff Booth. You know, we're, we like Quentin Tarantino, we like David Fincher. We like, once upon a time in Hollywood. But it does seem like they just took the screens because no one else wanted it. And I don't really understand what's going on with the Thanksgiving date. I wonder if there was a tacit agreement when they made the Narnia move for IMAX to hold that space for Netflix. That this was always the intention. I think I did speculate that this could happen. You did it. And it does seem very logical. I wish it was a month or six weeks and not two weeks. Sure. But I don't know, Disney and Warner Bros seem very set on having the, having the, the, the, the Dune stay showdown. That's Dune with a three with a three TTM, the big picture. Dune stay showdown and they're not moving. So this is the spot. December 11th also still wide open. There's not a single. There's not no major release on December 11th right now. What's going on? Pretty weird. It's, it is strange. And I feel like there's something that they know that we don't feel that way. This, I mean, this is nice. It's good that Netflix is putting the movie on bigger screens as opposed to smaller screens. We are, we are pro that. It doesn't, it's not that different from a traditional prestige release for a Netflix movie which gets a more limited usually two to three week run in theaters to qualify for awards. And then gets, it's streaming date. I don't know. I'm curious if they're going to have to report box office numbers for any reason, if being on iMacs informs that because they don't have to report any box office numbers in the, in the other forms of distribution that they do. Even though the companies tend to speculate like how much kpop demon hunters generated, I just, I want this to be at a minimum the new normal that these movies that are of this scope and size that they're making are going in this way. And we talked a lot about when they were doing their Warner Brothers analysis whether or not this would create a new opportunity for Netflix theatrical. I don't know what the downside is. Like I, it just feels like they're screaming into the ocean at this point. So I'm hopeful that this means we're moving in the right direction. Yes, sure. Okay, I hope so too. But also maybe not. I mean, I hope a lot of things until they don't happen. I like that this is the third thing on this list. Thank you, Lucas. So I'm seeing here Paul Schrader had quote an AI girlfriend who quote terminated our conversation. Okay, quote what a disappointment. I don't have much to add beyond that. Have you explored AI partnership? No, I followed the zack breath. Does not have an AI girlfriend, despite what comedian said on a podcast, right? Okay, and then was sent an article about how that actually works in real life when you have an AI girlfriend, but I didn't read the article. Okay, so that is kind of where my my knowledge ends. Okay, tough to be dumped by the AI girlfriend. Yeah, I don't have a lot of comments about this story. I do think it's funny to say those words out loud. It's it's a great headline. The Batman part two confirms its cast and production has begun. How are you feeling? Are you ready? I'm excited for everyone. I'm team Robert Pattinson. Okay, maybe I'll watch the first one again before it comes out. It seems like I still have a little while. Is this 28, 29? Will we still be podcasting? It depends on if it comes before after the Beatles films. I, in Batman News, watched the trailer, I suppose, for the new Lego Batman video game with my daughter. Okay. Yesterday. And now I'm a little worried that she wants that game. That game featured every single Batman villain. And also it was soundtracked by Seale's Kiss from a Rose. And my wife and I were rocking out. We were just like, remember being 13? That was very fun. While we were traveling, I saw a friend. And I saw two friends, one who has a son who is five. He's also my friend. And he was telling me about movies. And he said that he only likes one movie and it's the Lego Batman movie. And then he tried to watch the Lego movie. But he didn't like it because it was the Lego Batman. It was not Lego Batman. Understandable. So this is great news for him. And I'm excited. More news. Adam Sandler's grownups three is in the works. I'm writing and directing this film. I'm just going to let you know it's going to be on Netflix. But what will my part be? You're going to be grown up number 12. Which is going to be a breakthrough performance. Deon Waiters ask. Matt Damon is in talks to stars. on the Daniel's new movie? - Well, sure. So everybody's in talks until they're not in talks. Like, we've learned this, okay? Let me know when something signs. - Yeah, I'm in talks to have a conversation with Jessica Chastain. Image from Mel Gibson's "The Resurrection of the Christ" part one sequel to his 2004 film "The Passion of the Christ" has been released. - Okay, clicking through right now, skip ad. - What is it a picture of? - Right now. - How's Christ doing in the picture? - I don't see the picture. Why isn't it in this post? I see an ad for food. What? Where can I see this photo, Lucas? - It's in tremendous podcasting. - Oh, I'm sorry. - You'll be seeing these movies? - No. - I had actually an interesting thought about them because the timing of them is kind of strange. So part one is coming out May 6th, 2027, which is the same weekend as the legend of Zelda, which is one of the most anticipated movies of all time. - Yes. - And then the second one is coming out the same day as Star Wars Starfighter. - Okay. - I was like, wow. - Counter program. - Mel is really betting on counter program. - I guess so. - I guess I'll watch them, I don't know. I have no respect for myself. Next news item, "Sam Remy to direct modern update "of Ventriloquist dummy horror movie magic for Lionsgate." Are you familiar with magic? - The concept of the movie. - The original film? - No. - The original film from the 1970 stars Anthony Hopkins as a Ventriloquist whose dummy comes to life. It is based on a novel written by William Goldman. The screenplay is by William Goldman. Pretty cool little movie. Interesting that Sam Remy's going back to it. I don't know much to say about this. - Okay. - I think that's all the news we need to recap. Let's talk about Cannes. - Okay. - That's news in its own. - There was a lot of news. - Yeah. - The biggest news, of course, was the winner of the Palm Door, which was my favorite. And I don't know if it was your favorite. I don't know if you actually did your proper rankings, but Fjord, Christian Monjou's film, starring Sebastian Stan and Renata Rines, but one. - It was top two. - It was top two for you. - And it was top one of the film's in competition, eligible. - Yes. And you were greatly relieved because you saw it. - I did see it. - And there were a couple others that were attention to you. - It was a late-breaking Cannes, huh? We had to spend the first week, pontificating about Europeans and their existence. - I didn't worry about this. - Listen, it was when I was available. So you couldn't be there. So someone had to go and see what Les Adua was up to. - Well, I just meant, when a Nora premiered, I think on the Wednesday, two years ago, I was like, I will not be getting a Nora at it, that my first can. - Okay. - Well, I didn't either. - That's really neither of us did. Speaking of, the film that you were nearly a Nora at the eye, which was Minotauri, which premiered while you were still on the ground, but you were not able to attend. - I had other work obligations. - Yes. You were getting drunk, right? Is that what you're doing? - Regarding James, I should. That film won the Grand Prix, and I think we had talked about how it felt like that was, that and all of a sudden, that was really the race amongst the three of those films. The Dreamed Adventure, which is a film that I was not able to stay for. Valeska Greaseback's new film, her first film in like 10 years, since the West, since Western, won the jury prize. Other winners included Los Javis. - Yes. - Which won in a tie for Best Director for their work on La Bola Negra, and Pavel Pavel Kowski for his work on Fatherland, when I ask you about ties momentarily. Best actor went to Emanuel Machia and Valentin Campaign from Coward, which you also were not able to stick around for. Good performances, not my favorite movie, the new Lucas Dont film. Best actress went to a Virginia Fira and Tau Okamoto, which we may have suggested might have been a possibility for all of a sudden. - I think we picked it for a Grand Prix, or we thought it would be in the top three, and then you sent me some speculation after the fact that identified this as a possible best actress. - Smart way to honor that movie. - Yeah. - And it would be very good performances. And then Emanuel, mayor won for a Man of His Time, AKA Nautra Salute, a film I saw and did not really enjoy at all. - Right. - And was deeply French about the rise of the French bureaucracy during the occupation of World, during World War II. - Yeah. - Just any, what's your quick glance on the way that they gave these prizes out? - Yes, they were also bored in the first week. - Against a lot of late-breaking prizes. Lovell and Negra premiered very late, coward premiered very late, the dream adventure premiered late, Ford and Minotaur were midweek. - Right, nothing really from the first week. - Yeah, others in Fatherland. - Yeah, so I left because I went to Paris, it's a tough life being me. And I saw a friend there who was asking about Canada, was asking about the awards in particular. And he was like, so is it just a lot less bullshit than the Oscars and is it a lot fairer and more, you know? - No. - And I say, no, not at all. I think it's a very different system, you know, and because it's a jury and it's closed deliberations, they're gonna make different types of decisions. But I explained that it usually did feel as though they were trying to spread the wealth, that you don't see a film, you know, gather 14 prizes as you do with the Oscars, that, you know, like as like at the Oscars, you know, the filmmakers history, like previous performances at Cannes, et cetera, can come into consideration. Certainly like the jurors relationship to the filmmakers or the previous work can also be part of the deciding process, or at least as much as we can glean from the press conferences and from rumors. So, you know, in a lot of ways, this seems pretty, pretty can like. - It does. I think the case for Minotaur would have just been that Andre, Steve Gannetzov, had not won the Palm Door before in the Christian Monju, had won before. - Sure. - And so while there had been 10 previous two-time winners of the Palm that, you know, it would have been reasonable in that wealth-spreading idea to give Minotaur the Palm. It's always a little bit of a surprise. I think also Minotaur, I would say is very definitive in its political and social point of view. - Right. - Whereas Fjord is a little bit of a little bit of like a political football. - I see everybody's getting a little itchy since it got released. - And like some definitely been some hard, you know, takes against it. I think it's going to be much discussed over the next six or so months. - Some of you have never worked for a Scandinavian company at these shows. - Yeah, I think what you think Fjord is, which has a lot about you, and I liked it. - Yeah, I liked it as well. - Yeah, but this outcome is kind of fascinating and that they did not lean in that very clear direction. And you know, Park Chenwook and Demi Moore and Paul Laverty, the screenwriter, and there's a lot of different interesting figures from different experiences in the film business who are making this decision. Stella Scarsgard, of course, who we know is close with Renata Ryan's from their work on sentimental value. But then you with Minotaur-- - Miss Alex, you wore his suit for the same suit. Yeah, you caught up with that. - I'm having an amazing week with Renata Ryan's, but just in general. So to your point, who's what the Jury's comprised of and what their experiences are and what they like and what they bring to it versus what the experiences of the filmmakers who've been here before is notable. You know, for something like the Dream did Venture, I have no opinion. I didn't see. - Yeah. - Jury Prize is usually like a recognition of something special and unique, but isn't most people think of the best director prize as I understand it as really more like third prize. And so in this case, there was a tie for third prize. You're not a big fan of ties as I understand it. - That's true, but in this case, when you're doing it to spread the wealth, it's not like a, it's not a democratic system or not a voting system where you could just do a runoff. And it's not a sporting competition where you could just have another overtime or whatever, like play to the death. This seems fine to me. - Yeah. - I'm not mad. - It's so easy. - I didn't see La Bola Negra. And this is the other thing I texted you is I want to be very clear. We will be calling it La Bola Negra and not the black ball, even though it was acquired by Netflix and will become one of their award season centerpieces and has like a very fun cast who will definitely hit award season hard. I'm looking forward to that. We will stick to La Bola Negra. We will have self-respect and we will use the original language. We can say it. I'm really comfortable with that. For those of you who have not heard about La Bola Negra, it is a story of gay men in three different phases of Spanish history in the early 30s, the mid 30s, and the 2010s and the ways in which their lives intersect in surprising ways through the Spanish Civil War and a number of other events. There's a lot of kind of literary history baked into it. There's a lot of social history baked into the film. It is a big, bold, chest-out, audacious piece of filmmaking. I think very flawed, but very fun to watch. It'll be a rich conversation, I think, on the show as well. I really look forward to you seeing 'cause there's a lot about it that I really admired. - But I got one of those texts from me. You walked out of it and you were like, I was kind of blown away by this. And then, you know, that you start thinking through it and not everything totally wicks through. But your instant reaction was very much like, this is a big deal. - And 100% is a big deal. And not surprising and probably very smart for Netflix to pick it up being the worldwide distributor that it is so that people around the world can enjoy the film. The thing about it is, it is so different from every other movie they played at the festival, which was a fairly restrained series of chamber pieces. And one of the reasons why it popped so much for me was 'cause it was a breath of fresh air. It was a big sweeping war film. And so, you know, I wrote in the newsletter that it reminded me of Atoneman, you know, it had that kind of like the character drama, but then against this huge canvas. of battle and history and struggle. And that's a timeless thing in the Oscar race. So I'm excited. - It'll be interesting to talk about as we go along. Fatherland is the opposite. Fatherland is a post-war film and has a very restrained, very meditative work about what's in our past and what's unspoken. - Right. - And also a very beautiful movie in a lot of ways, but literally almost the emotional opposite of what LeBel and Negros doing. So it's funny to pair them up. - Well, I mean, it's a showy filmmaking in its own way in terms of it is incredibly beautifully photographed as like the Pablo Pavlikowski trilogy at this point, like all are. And for all its moments of restraint, it has several very memorable or funny or the ending is like very beautiful. So it is, even though we kind of were like, okay, this is a more minor work from Pavlikowski, it's really, it's showing off in a lot of different ways, just different ways. - So let's talk about some winners and some losers from the festival writ large. Neon, clearly the biggest winner of the festival, they are their streak of seven consecutive palm door winners is intact and I doubted them. And we can talk about that momentarily. I doubted that they were gonna have the one. And I thought that that instinct to spread the wealth would have extended to Minotaur, but they got it again. - Yeah. - We're not a reins for the star of Fjord and now the new queen of can. I mean, she really is at the center of so many films that have premiered there over the last five or six years. We just saw her this morning in back rooms and kind of amazing the way that her star has risen in a very short period of time as a non-native English speaker and someone who's kind of bouncing between countries in terms of her productions and primarily working with otors on like honestly more challenging material. - Sure. - Doing it right, I really appreciate what she's doing. - But you know, she's also, she's been lingering like she's in presumed innocent. - That's true. - I forgot about that. - She's one worse person in the world, which was also a can film happen. She kind of very quickly became everyone's like, "Oh, I'm interested. "I wanna know more about her." She also just has a huge fashion following already. So it kind of seems, did you see that she recreated the famous Justine Trier smoking holding the palm door? Several people were doing that over the course. - No, I didn't, because I held the palm door before. - No, because that's the only reason that I have it. I didn't get to do it. This can, I wasn't there for the actual handing of the palm door. But yeah, she's kind of entering meme to, you know, or not internet girlfriend territory is the way to do it. In addition to, she's been in that position for some time for me. - Cinema. - Very big fan of hers is so happy to see that. Her performance in Fjord also is very different, I think from what you, from the girl from the worst person in the world. It's a very different character and she transforms pretty ably. Jordan first been clearly one of the big winners of the festival. - Absolutely. - His movie was acquired for $17 million club kid. And I think to most of the, not even most of the North American critics, most of the critics I met during the entire 10 days I can were like, that's my favorite movie there. - People have been asking me what was the best thing you saw. And I said, club kid, and you will hear a lot about it in the next six months and you'll enjoy it. - I agree. So great for him. - Yeah. - And then Los Javi's, like I mentioned, Javier Ambrosia and Javier Calvo, who are these incredibly beautiful and charismatic men who directed LeBole and Egra, who you know are celebrities in their own right and have worked primarily in TV, have made a couple of films as well. And were judges on Spanish drag race. - Yes, and I believe also international drag race. - Okay. - I think they at least hear-- - I'm not up on all the iterations of drag race. - At some point I think so, forgive me if I'm wrong. - But brace yourself for nine months of them as well. - Also interesting for Los Javi's, who were romantically paired for many years, including I think during at least part of making of LeBole and Egra, and then they have since split up, but then they won best direct or together. And now they're on a rocket ship for the next nine months. - Should be interesting. - I'm, listen, it's gonna be great content. And I'm happy for that. - Everyone always says, work with your ex. That's something you hear all the time. - Everyone also says, work with your ex in front of cameras yourself because what's, you know. - And promote stories about the complicated, fratcious relationships between people at times of great struggle. - Yeah. - Okay, losers. - Yeah. - So, we both lost. - Yeah. - Here's the way you lost. - Yeah, that's true. - You missed five of the seven main competition winners. - Well, that is main competition, yes. But I did see the winner of the queer palm. - You did. - She made sex and death. It came out as best. So, I, that's one for me. - I'm seeing you next week. So it's gonna be okay. - We both missed the uncertain regard winner, even though I had tickets for it because it was about a family going to Tenerife. - Is it a lot than I even? - Every time. - No, that's uncertain regard. - Oh, Lagradiva. - No. - No. I think your uncertain regard is every time, Sandra Walner. - Oh, the Sandra Walner. - Yeah, yeah, yeah, yeah, yeah. - Tenerife. - This is the thing that you learn when you go to camp. - Yeah. - You think it's really important to see every competition. - Yeah. - Or like I thought it was. And then through the first three days, you're like, why did I skip all of these films and directors for night and in an uncertain regard? Those are the movies. This year at least, there were more good movies in those categories and there were in competition. And I'm glad I saw all the competition movies that I did, but I'm regretful about missing a bunch of stuff. - Right. I mean, the reason why is because we were terrified of having that missing Anora moment, you know? Like in any way, where it was there and you just didn't go see it and then it went as the palm, you feel like an idiot. Which I definitely would have felt like, you can't imagine how happy I was when I checked my phone at dinner Saturday night and I was like, oh my God. - That's a few or one. - I made it. - You can't imagine what an idiot I felt like when I saw the fjord one. - Yeah, because the other loser is you who on this podcast and I told you in real time as you were picking Minotaur, I was like, don't do this. You are f-monning it and you f-moned it. - I did. - I mean, it's okay. How can we correct this in the future? Like what is, what do I just say, f-1 to you? - This is just a true thing about me. I am so smart and so stupid. And I think it is the absolute, and I think it is like part of my appeal as a human that is sometimes you'll be talking to me and I think you'll be like, well, okay. He's really got some ideas. And then other times you'll be like, people are talking to me and they're like, why is this guy fucking such a moron? And there is something kind of charming about that. And this is a case where I was like, in my bones before the festival, I was like, this is right. And then after we saw the movie, I was like, this is it. This is exactly what-- - And we had to stop in the middle of the press center so you could get the tweets off. - You did? - And then-- - Yes, I did. - Yes, you did, yeah. It was kind of the trade show where they're like, come filmin' and like, you know, Ireland. And then, in the last moment, you got yourself a little bit talked out by other people. - I did, I did, you know? - Well, I bought into the narrative of the filmmaker who had not won. And that was grown. - That's your own narrative. - I was, you're right. I got to believe in myself more. I got to be comfortable with my own strengths and my own weaknesses. I'm happy for Khrusha Manju, you know? Like, I think people should, I hope people will go back now and look at his movies. Obviously, most people have seen four months, three days. Like, that's a legendary film from 2007, but graduation and beyond the hills and R.M.N., these are really, really, really good movies. And he was on the show in 2022 talking about R.M.N., so I hope that people will dig into his work ahead of, what will probably be like a long run of talking about Fjord. - Yeah. - Let's say, do, did not win Best Actress. We suggested she might. - Yeah. - She had two different movies up. You saw both of them. - I saw both. - And you're a better woman for it, sorry to her. - And now we have some good bits. I do believe that Gentle Monster was also acquired by Netflix. - It was. - Which makes sense. - Oh, hilarious choice. - Well, but-- - Oh, 'cause he said it was trashy. - It is trashy and Netflix, you know, has the whole sideline of like, you know. - Right, right. Sorry, I killed my boyfriend. - You know what? He'd be her real story, right? And all these sorts of things. And it is just European that. - Right. - I think my boyfriend's liver with some five of beans in a nice key on tea. - So it makes sense. - Yeah. - And, you know, I'm happy for Leia Saydu. She put in the work at both films. - Oh, no, I ran over my stepdad with a snow plow. - Have you ever watched any of those? - No. (laughing) - I haven't either, but many people have. So I guess it makes sense. - Okay, Final Can, no. James Gray, no prizes. - Yeah. - Oh for seven in Can Competition history. - Yeah. - What? - I don't know. It's really, it's, - What are we doing? - First of all, we were, you know, we were so excited about it that everyone was so hot and we were like, what's going on? And then no prizes. And we're also just like very confused. I don't know why we can't reach a happy middle with James Gray, but you're just giving him some awards. - Yeah, I mean, they gave a man in his time, the screenplay prize. And I'm like, really? - I don't know. - I know it's a French film festival, but like. - I will say that Le Figaro, the French paper posted that they were very angry or the headline was they were very angry about the Palm Pick and that their personal Palm Pick was James Gray's paper tiger. - So at least he still has the French. - I noticed that he had a very high score in the French grid critics, which is historically the case. But that festival has not been very good to him. Paper tiger, very good movie. Look forward to talking about that. That'll probably, so now all of these movies enter the atmosphere where they are all gonna be at the festivals over the next few months. And then most of them will probably have October, November, December, January releases. - Right. - And also probably 40% of them will never come to the United States. And the ones that we missed, we may never see. - Well, people get to see the unknown. I need them too. 'Cause we gotta be able to reference it, you know? - I know. I hope so. - It's really. - I hope so. - I need that. I mean, the whiteboard ticket out there, okay? - Some people hated it and some people loved it. I've seen some people. say like it is their favorite film with the festival in the masterpiece. I'm really right in the middle. I think it has like a lot of cool ideas and I'm glad I watched it, but there's some absurdity and dullness to it. But I do think it would be good for the culture of this show to have fans about the unknown. We need that and we need the whiteboard released. Please put the whiteboard in the trailer when you release all of a sudden, which I do also think we could have called Sudan, like we can say, but you know, that's yeah, but I guess it's being translated several. There are so many things that are going to alienate normal movie watchers from all of a sudden, you know, hey, Ken, we did it. You feel good? A plus. A plus. I thought it was so much fun. You didn't think it was. You're just absolutely awesome. I mean, I think it's my life in A plus. Okay, and A, for A minus if you want. Okay. Because we didn't get to the cap. We did not get to the cap. And I did not go on a yacht. So there's always no regrets about the yacht. Yeah, but I would have like to go swimming, you know, going on the yacht is like, that's the first act in a take-in sequel, you know, it's like I've got to get Amanda back because she's with some Bulgarians who took her to some foreign island anyway. So yeah, A minus, but I thought it was a great time. And I also thought it was really lovely to just be in it watching in a different part of the world watching like very different movies than we normally see. Like obviously I got a little over and next on Europeans and their problems here and then and now. But when I was sitting watching Mandalorian Grogo, I was like, well, you know, for two weeks, I was doing something different. I had the same exact feelings. And I'm glad you put it that way because there is something about being captured by a festival. It'd be really fun. And when things started to get good, kind of in the middle of the festival there, where we saw three or four films over two or three days and we were like, this is okay. Finally, we've come around on something here. That's a great feeling. So I'm glad we did it too. All right, while speaking of Mandalorian Grogo, let's now bring in Van Lathen to talk about that film. Boom. Van Lathen is here. Hello. What's up, guys? Thank you for being here. You asked on, and I love when you asked on this show because it's Mandalorian and Grogo time. Now Amanda and I have seen the film. We took our respective children who are Star Wars fans to this movie. Yes. I'm going to give some brief details of the movie and then we're going to dig right into it because I've got some feelings and I bet you guys do too. So it is directed by John Favreau, who is the, I guess the official creator of the television series upon which this is based. It's written by Favreau Dave Faloni, who is the new overlord of the Star Wars universe and Noah Chlor. It stars Pedro Pascal, sort of Jeremy Allen White and Sigourney Weaver. The story is as follows. The evil empire has fallen but imperial warlords remain scattered throughout the galaxy. Hate when that happens as the fledgling new republic works to protect everything. The republic and the rebellion fought for. They enlist the help of legendary Mandalorian bounty hunter Dinda Jarn and his young apprentice Grogo. Amanda, I'm going to start with you. Oh yeah. What are your thoughts on the Mandalorian and Grogo? This was incredibly boring for both me and the four-year-old sitting next to me. So and obviously they are trying to, if not grab everyone, then grab as much money as possible and then in the consequence of that was grabbing no one and not as much money as they would like. So I have honestly no judgment on whether it's quote good or bad. I knew that I didn't care at all at any point. And I was interested to the extent that my four-year-old who was vibrating with excitement when I told him we were going to see this movie. And he brought his toy, Grogo, with him that Sean gave him. And anytime that Grogo was on the screen, he was very excited. But the rest of the time, he was just not engaged. And I was a little worried after seeing the footage at Sinmokhan that he would be scared because, you know, there was gun violence as opposed to lightsaber violence. And people like punching each other as opposed to, you know, lightsabers are fun. He's never scared about lightsabers. But I, and then, and then I didn't even know about the monsters, but they were monsters. Couldn't have cared less. Just absolutely wiped over his head. And his review was, there was a lot of fighting, but not in a way that was upsetting to him or that has caused nightmares. So this seemed like a big nothing to me. And because Star Wars is not as essential to my childhood and as because my child was fine with it, I'm not that upset about it. But I'm here to support anyone else who has any feelings that they want to go through positive or negative. Okay. Well, what were your feelings? I told you, I haven't listened to your other podcast about this film. So we're coming in fresh. Yes. The podcast is the midnight boys. By the way, one of the very best here at the ringer. Thank you. Thank you. Yeah. Nice little, cute you there. Um, so look, uh, so there's no way to look at the movie and say that it's like a coherent piece of cinematic art. You can't. Yeah. You guys, it's boring. When I talk about this stuff, I'm in the back for Star Wars. I'm in the back for it. Yeah. It is a part of my makeup, my creative and film watching makeup is Star Wars. It helped me form and understand story. So whenever I'm in the world, I am having a good time. Whenever I'm in the world, I'm having a good time. But you can't cape for the movie and act like the movie takes itself seriously. The movie doesn't take itself seriously. The movie doesn't try to advance the story of Star Wars, the individual character story of Denjaren or of Grogu. In any way, it gives you a slice of their adventure. And it hopes that you will be happy with that. Right. That's a description of what it is. Yeah. Um, did you like, did you like, I mean, I'll share my thoughts at length, I promise. But like, did you like that? Well, so when you ask me if I like it, the question is going to be, for me, is how could I not? And so that's, that's what I'm trying to say. It's like, I just any Star Wars movie you would enjoy, just anything that they served to you, you would say, it's good. I like it. Interesting when you say they served because I think that's the difference between me and a lot of other people. I think they did not serve as I understand. So that's the difference between me and a lot of people. Like, okay, you can watch boxing and I'm a huge boxing fan. You can watch a bad fight. A, a cynical fight, a stupid fight, a mismatch fight or whatever. But if you are enough of a boxing fan, then the fact that the fights are on is why you're there. Right. And so like, for me, that is the thing about Star Wars. So I don't want to come on you guys as very serious movie podcast. Listen, and like, and bullshit the audience. The fact that the matter is, I, for the most part, liked the Mandalorian and Grogu, but I know that you won't. Well, okay. I think I've been trying to sort through my feelings because this is a defensive pose that you're taking. No, no, not necessarily defensive pose. It's like, I've, I've accepted something. Yeah. What I've accepted is that it, for some reason, the things that I watched first, the things that I watched first have this cynical control over me. Like, I go, people talk about like, how are the duckers one of the worst movies ever made? Not to me. I know what you mean, but not to me, the things. And so, coyote ugly two thumbs up. There's a lot of reasons to love that movie. But what I'm saying is the, for me, Star Wars is an experience. And so being inside of the world, they're varying degrees of disappointment that you can have. But this movie is at least from a story standpoint, it's a nothing burger, right? But it's competently made enough that I enjoyed it. And the Star Wars that I've not liked is the Star Wars that actually isn't at all well made. That's not well acted. That seems a little stale or wooden. This movie at points seems like unnecessary and unfocused. But I'm never sitting there going, I'm watching a scene and not having a good time with that scene. So that's kind of the conundrum, I mean, when I'm talking about the movie, because I had fun watching him fight. I had fun watching a brolic hunt with shoulders. Like, I had fun doing it. But leaving the movie, you didn't really take anything with you, which is to me, the mark of a good film. The mark of a good film is not the experience you even had in the theater so much. It's what you take with you when you leave it. You said something interesting that I leapt to when I was writing down some thoughts about the movie over the weekend, which is that this story doesn't really advance anything. It doesn't reveal any additional mythos about Grogu, or where he comes from, or even Dindajaran, or who he is, really as a person, and why he's a part of the Mandalore way. It doesn't really reveal anything about that religion. A lot of this stuff was in the show, which I know you didn't see, but a lot of the directions that the show sort of pushed some of these characters is not really a part of the movie. And then I was stopped myself as I was thinking about these things. And I tend to go down these rabbit holes, and I'm thinking about why was this movie valuable or not valuable? How did it get us closer to where we're supposed to be going with the story? And I was like, well, that's not the only thing that matters to a movie. It's not just pushing the mythology forward. But it is about how connected you are to characters and what their actions reveal about their humanity or their alien knitness in this case. And this movie doesn't have anything like that. It is just a series of adventures, and in fact, just feels like four distinct episodes of the TV show. And I know many people have said that, but it is what it feels like. It feels like there are act breaks it throughout the movie. movie. And so if you just receive it in the way that you're describing, which is like, I'm going to turn my brain off. To go chill in this place with these people and to watch this kind of level of craftsmanship, then it's fine. It's like perfectly okay. I didn't think it was above average. I didn't think it was below average. I thought it was average. You use the word nothing, I agree. There's a kind of nothingness to the entire thing because it doesn't even really change anything about the Mandalorian or Grogu. Like if this movie never happened, you could just pick up the next season. And we would not really have like felt a dramatic change aside from the fact that, you know, one of the characters is his life is threatened so dearly. But like maybe that won't ever come up again. We don't even really know. There's only one part of it that I think is useful and was emotionally resonating in a real way. Which is, and this is this is a legit gauge on how much you care about these characters. And your connection to the Lord, Grogu will live to be 800 years old. His father will die. His father, he will outlive his father, not like we will outlive our fathers, but he'll outlive his father by hundreds and hundreds of years. By his father, you mean, Dennis is dead basically right now. No, I mean, I, I saw the movie, you know, parents come in many forms, right? Okay. Well, like we honor the caregivers. So that's fine. I just wanted to make sure I knew I was stuck. There wasn't like another. Yeah. How do Yoda's, which is what we've named the species in my home just to keep kids to bring you in? Yeah. How are Yoda's born? I mean, I don't we don't know anything. Stop it, don't make that face it. Okay. Sorry for asking questions. No, it's a fair question, but we don't know anything like whale fall face. Okay. It's just I'm just asking. There's just they're willing to know about three of these. We don't really know the name, all of this. But this is this raises the point, which is like in this movie, I'm not sure that I thought I was going to learn about like what's truly in the heart of Grogo, but I thought I would learn a little something else about this world in some ways. And and shit, I love an adventure movie. I'm not against an adventure movie, but we don't learn anything. You don't, but what I was saying was that there's a whole portion of this movie where then it's incapacitated and then Grogo gets a little solo journey and we get to see Grogo slightly in a little way grow up, like live in a world where his dad is not there, where he has to save then where he has to use his own resourcefulness where he and that to me, obviously, because Grogo was so cute and also because you know that eventually these characters are going to say goodbye to each other. There's a final goodbye coming and that goodbye is going to be like heart-wrenching and who knows like when that's going to happen. That to me was important for that character, but also for the audience. That was priming the audience for a version of Grogo in the future where Dennis not around. Um, and I mean, yes, but you have to bring all of that information to the movie. The film itself is not telling you giving you any of that, either texturally explaining where Grogo came from or how Yoda's are born, but also emotionally, even in the moments where he's like taking care of what's Din. Din. That's what we're calling him. We can call him Mando. Okay. Yeah, well, I noticed that he is he is a Mandalorian, but they call him Mando. That seems confusing. Anyway, when he's like burying him effectively or creating shelter for him, there's also a joke, you know, embedded in that of like he doesn't make it quite large enough. And so let's go on back and forth, which undercuts the seriousness of this situation. Yeah. To a man is point about the taking your children to the movie and who the movie is for. There's a lot of confusing messages being sent because that segment in particular, I think really shows off the kind of puppetry and animatronics that this franchise is very acclaimed for. Yeah, he's really cute. And a lot of that stuff is is done by hand. In fact, the sort of Deus Ex Machina, like alligator swamp lord, who creates some sort of healing medication for the Mandalorian. When he hands him that paste in the little green leaf, that's real. That's puppetry, right? And so there's something like kind of nice and nostalgic about watching a sequence that is made by hand in this movie that is full of all of this digital effects. And that stuff feels like it is, even though it's potentially about death, like marketed to kids. It's like a sweet cute Grogu sequence where he is getting some agency and has to figure out how to grow up. And then there are a whole other chunks of the movie that are full of blaster battles and explosions and really high-toned action and crazy monster effects work that is extremely violent. And my daughter thought scary and my daughter doesn't really get scared of stuff and thought it was very intense. And so I couldn't really figure out was I think back on the movie. It seemed like it was marketed to like five to nine-year-olds, but it was made for like 25 to 45-year-olds. But then it also doesn't full-gratify the 45-year-olds who are like, I need my Star Wars to have a certain kind of a feeling. And then you look at the movie in full and you're like, what was this? Like who was this designed? It's not who was it made for, but it's like, what was it meant to be designed as? Because Star Wars is obviously the biggest tent possible, right? It's the biggest franchise that we've ever had. And I'm a little confused about how a movie full of puppets and cute little guys, but is also overflowing with guns, gangsters, monster showdowns, old school puppetry, but modern VFX shot on the volume. Martin Scorsese voice work. Yes. Oh yeah. Which I was like, okay, I mean, I guess this is for me and I'm here in the theater, but I was like, what? I thought about trying to explain this to my date. And then I was like, I don't really know how to even communicate what's going on here. This is an octogenarian Italian-American filmmaker who is providing this voice. This is funny because you know, he made an enemy of Van Leathen when he talked about these films becoming theme park rides. Tough Marty. So you know what is the most interesting thing about this question? Is this a question that Star Wars can't answer this for kids, for adults, thing, whatever it can't answer? But it's also a question that wasn't being asked when Star Wars was created, which is the reason why it can't answer it. See, when Star Wars was first created and the movie comes out, Leia doesn't have a brawn. Mm-hmm. Okay. No bras in space. No bras in space. So if you're looking back on that, huge. Formative. Not huge, but perfect. Yeah. Well, yes, I wasn't being descriptive. I was like, space, wait less. It's like the moment of time. If they're perfect. Wasn't there a tape scenario going on? So all kinds of stuff is happening, right? We all know they make the movie. The movie is not cutting-edge cinema. It's actually bleeding-edge cinema, right? So a lot of Star Wars now feels like a very safe, contained story. But at that time, it was incredibly ambitious. So the story itself had to be something that you could come to. But I mean, you have a guy and solo murdering somebody because he's a scoundrel, right? The first thing you see, the boom, kills a guy, right? It's right. Then you have a really scary villain with a red laser. And all of this stuff is very serious. However, it was more accessible to kids. It became for kids. It was more accessible to kids. Now our expectations for that stuff is a little different. And so always doesn't really know how to reconcile that. So the way that they've actually done it is to make stuff that's so cynical. It can only be consumed by adults, which would be Rogue One or Andor. And then in other places to try to split the baby. Yes. It's not a question that Star Wars can answer. It's not also not a question that used to be asked as robustly as it is now. So to me, because you have a generation of pundits such as ourselves who grew up on this stuff who were reckoning with it in real time. But also because I think that media has changed in this time to where we've had stuff like was saved by the bell for kids. I certainly watched that as a kid. Jesse was doing dope. That is the same to me as Star Wars, which is it is sort of behaviorally aspirational, but baked in a kind of child like wonder. That is the intention of a lot of media that is made for kids that are basically like nine. I would say that seems like the ripest age for Star Wars. So ripest age for that sort of a TV show too. The problem is that now wonder isn't enough to make it for children because it can't be too scary. It can't be too violent. Like it can't be too anything wonder isn't enough anymore. Like an animated space is that's an easier thing to do. What you can do in an animated space is you can have some stuff on it as four kids. Then you can make a couple of adult jokes that the kids won't get. And if we laugh, we feel like the movie was for us. Star Wars cannot do this. It has not shown the ability to do this. The sequel trilogy was not for kids. It was complicated and it was this and it was that. And so we go can't do that. So they come back. They don't really know how to do this anymore. And the reason why is because we kind of are in a space right now where we don't know what is for children and what is not for children. You guys just said that you went to the movies. Your kids thought that it was perfectly okay. And it was too scary for yours. I'll get I'll read Alice's review. Okay. Give her a bath yesterday. We sat down broke out the laptop. And I was like, just tell me what you thought. I want to know specifically what you thought. I've never done this exercise with her before. And she said, I said, what was your favorite part? She said, my favorite part was when the ship crashed into the Hutt's tree home. We should talk about Hutt's momentarily. She asked then a follow up. What was it that the Hutt's were trying to do? Which then had me explore the idea of them playing both sides, both the new republic, not the magazine, but the actual republic being formed and the empire. And then she said, "Rata wasn't trying to be like her aunt and uncle, right? He was trying to be on the good side. I did like how whenever they bumped into the villain, they fought, but did not talk. And I liked that Grogu was healing the Mandalorian." Okay. Now, the fought, but did not talk. Talking is fascinating. It was so interesting to me, because that is what the movie accomplishes. The movie is actually not a series of human interactions. So you can compare this movie to the first movies or to the most recent sequel trilogy, but those movies, even if they did have violence in them and adult themes in them, they were about human behavior and character using their actions to tell us more about who those people are. This movie doesn't do anything to show us who these people are. It shows us that the Mandalorian is heroic and that Grogu loves him, but we knew that already. That's not new. That's incredibly different from watching Luke turn literally from boy to man over the course of a new hope. So I think it's fair to say, like this movie is very unsuccessful in that very specific way, because even though it does accomplish like a two-hour adventure in the world of Star Wars, which might be more than enough for some people, it's not a good movie, because it doesn't really give you anything that shows you look growth, development, and arc of progression in any direction dramatically. So that's to your point, that's the nothing. Yeah, there are no characters and no emotion at all. Except for Rada. I guess, yeah. Rada is there in the traditional Jeremy Allen white role of being completely pulverized by the men who came before him and trying to break free of their expectations, whether it's in chef form or swole, Java form or sprucy form, I'm sorry, yeah, or Bruce Springsteen, which my husband watched on the plane back and that is still not a very good movie. I have been trying to think about why my son was not scared of this, but he's had bad dreams in the past week from Ratatouille and Frozen, which are two animated movies where things not merely as quote unquote "scary" as what we saw in Mandalorian Grogoo happens, and he keeps bringing them up and he wants to talk about and impact what it is. And I think it is because much like his mother emotions and sadness are the real scary part, and people being in mortal peril, he doesn't even know what that is. And or if he does, he just knows that it's going to be okay. I guess once or twice when the fighting really started during this, he turned to me and he said, "Grogoo's okay. Grogoo's okay." And he just thought by like, willing it that it would be so, but I thought it was notable that he only cared about Grogoo and that otherwise, because there wasn't any, like there weren't any feelings, he doesn't really know these characters because he hasn't watched the TV show. And there were like no emotional stakes whatsoever for him. And so, and there's just nothing to grab on to here, especially if you haven't watched the TV show. Well, yeah, if you haven't watched the TV show, there's probably nothing for you. All of that stuff is, I acquiesce to it. I guess. It's difficult to connect with it then sometimes because his helmet's on the whole time. So it's a character that has a helmet on the entire time, you can't see him. Actually, some of the most emotional moments of the television show is him having to remove that helmet and then break the oath of his sect of Mandalorians and all of that stuff. All of these things are built in limits that a story like this has, which is why when this movie was announced, a lot of people were like, there's just not enough meat on the bone to tell a Star Wars story about the Mandalorian and Grogoo. I get all of that. For me, there's no real defense of the movie as a story. There's nothing there, right? As a piece of Star Wars and as the existence of a contemporary piece of the, a piece of the contemporary existence of Star Wars, I have to defend the movie because I believe in the world of Star Wars. I believe in the imagination that can go into that world. I believe in everything that the world can be and is and I've just devoted so many hours to it in comic book novel and YouTube and all of that stuff. I think that's kind of the larger question that people are asking. You guys, there's no way to say that the Mandalorian and Grogoo is a fully formed movie. I'm actually surprised at the movie being as on the nose as what it was because of John Favreau's involvement and if nothing over the course of his filmmaking career, he's shown how to make you care about a character and then put that character in a different place than like how it was when you found a huge fan of his movies in general. I mean, he's made a few duds here and there, but I think he's not just a skilled crafts person, but going back to swingers. Like, I have always thought he has a real ability to capture human, human behavior. Like that's something. And whether it's in a big world or in a small world, I like it. I think this just kind of, it feels like Moana too, which was intended for Disney Plus. And they kind of upscaled it a little bit and added a few more dynamic elements to make it more theatrical and to leverage a moment, maybe a week open space and a calendar to create something a little bit more theatrical. And I, I groused about this when Solo came out in 2018. I was like, Star Wars movies are special and Solo is not special and this movie is not special. And so it kind of undermines the entire premise of the Star Wars exercise. I think you could make a case that the streaming series in general, I think kind of violated a lot of that. We could probably look back at a lot of different things over the last five years that were undermined by making them streaming TV series. But this one, I think, would work really well if you were just moving from season three of the show. And then you were just like, you're on a binge and you just binge the movie immediately after watching season three and then maybe you go right into season four. And in that way, it's a totally viable thing if you like these characters in this world. But for the big Memorial Day weekend Star Wars movie, this ain't good enough, man. That's just straight up what it is to me. It's just not good enough. Hmm. I mean, I agree. But I also don't have the standards of it there. I don't think there was anything. I mean, I guess if it were really good, I'd be like, hey, that was really good. And I was exciting, but I'm not bringing to it any sort of like fan expectations or anything other than I went to see a movie and it wasn't really a movie. And I won't think about it again. And with the remove, it just also, you know, becomes increasingly clear, the generous version as Van put it, which is that Star Wars, the Star Wars world is at such a disadvantage because they have to, like, please everyone. And they also have to please every individual age group fan base all at once. And they have to be both niche and broad. And that's impossible. The ungenerous version is that they've just backed themselves into a corner. And there's like no way to do anything interesting anymore at the scale that they have to do it for financial reasons. So what do you, what, what is Star Wars now then with that in mind? You know, like this is, it was a seven year gap, theatrically. We have obviously a very big movie coming one year from now Starfighter, the Ryan Gosling, Sean Levy movie. I do think that this augurs the end of an era of Star Wars. Like we were in, there were, there were four phases to this point. There's the original trilogy. There's the sequel, or the prequel trilogy, there's the sequel trilogy, and then there's the streaming era. This to me feels like an end cap on the streaming era, and it's underperformance of the box office relatively speaking, feels like a clear signal to Disney like reset. You got a reset. Now next year probably is a reset on what, how are you feeling about it? So I think what this signals for Star Wars, where Star Wars is right now is where a lot of these things are, which is a monocultural institution trying to wrestle with the death of contemporary monoculture. And what Star Wars has to do, or anything has to do is segment itself, and it's very difficult to do when you want to make a movie and you want everyone to talk about you want everyone to go see it. This is best explained or expressed, or the best example of this, I say, is the last Jedi. The last Jedi is a Star Wars movie that did everything that serious high-brow film goers want to see. They subverted your expectations of what was going on. They went in new places, they established new lore, they did all of that stuff, and for the fans that are looking at Luke Skywalker as this father figure Jedi God who at his height would be able to overcome any problem and do whatever they went, that's not what we want. And then as a film project, you had a whole bunch of people that were saying that's exactly what we want. That's exactly where you have to go. And then Star Wars splintered and didn't know how to do it. And they made a really dark space opera in Andor and they went, yeah, that's what we want. But then people couldn't really connect with that that wasn't for every Star Wars phase. So I think what Star Wars has to do is realize that there are pockets of their audience that will watch anything that they put out. Like I will watch LSU versus Western Tennessee tech on 3PM on Saturday and be up for every down. And you're tailgate and you're tailgate because I love LSU football so much that I'm interested in seeing what the third string walk on quarterback does when he gets the opportunity to come in the game. So that's you, you have a low bar for me, but not everybody's going to tune in for that college football game. So if you want everybody to tune in, you might have to expand the law or do some different things. I say all it is to say that as a huge blockbuster $2 billion entity, there are questions to answer. But if you're not a Star Wars fan right now, if you're out on Star Wars right now, then you were certainly out in 1993 or 1994 or 1996 where there was no stuff coming out, where there was nothing that you could turn on your television and see where you had to go to your bookstore and buy books and go seek this stuff out. And for me, my fear is actually going back to that. My fear is actually not having people bring new ideas, even if those ideas are poorly executed or under executed. My fear of Star Wars is not overabundance. My fear of Star Wars is the wilderness because I live through the wilderness as a Star Wars fan where Star Wars. So that's the dividing line that I think I am on with a lot of people. It's a very interesting way to frame this and I would argue Amanda didn't care because she was not fully invested in the original trilogy, even as a young person, but I would assume as much as you up to a point and then I never really got into the novels. That was something that was like beyond what I was interested in, but I vividly remember being 11 years old sitting on the floor of the Barnes and Noble in my hometown, reading the Star Wars encyclopedia for two hours, like just obsessed with every component of the lore. And the absence of new movies actually I think might have helped. I think having fewer things as I got older to pick apart helped it grow in my estimation. And then when the prequels came along, which I actually always kind of liked and always kind of defended, you can check with Chris Ryan on this because I knew him back then. I could see their flaws and the way that they were received, especially critically, made me feel like we were going again into a wilderness because it was like, all right, maybe we didn't need to go back to this. Now what we've had since 2016, 2015, when it was Force Awakens 15. 15, something like that, yeah. So in this 11 year period, we have 10 times the amount of Star Wars hours than we ever had for the first 40 years of my life. And as too much, we're not going to the wilderness. That's never going to happen again. It's corporately held. They're never going to stop. There makes no sense for them to stop. So there's no reason to be worried about the wilderness. What we should be worried about is this is the like the watering down the degradation. I mean, this is the essential tension or conflict of fan culture, right? Which is like, do you actually want to get what you want? Is fan service actually fan service? And I think there are many people who watch it and who get new movies and new iterations and the Easter eggs and everything and receive it as like that actually is why I'm going to the movies. And then I think there is a different type of people who watch movies in a very different way, who understand fan service to just kind of be spooning things out to you to try it. Are those people in the room with us to try to get your money, but that's always the risk, right? I mean, that's the, you know, it's just like, I'm not inherently a cynical movie watcher. So like not, not at all, right? So I just, it doesn't bother me. We're not going back to the wilderness, but this is the first Star Wars movie in like 70 years. Yeah. Right. So like as far as a big screened Star Wars experience, we are in the wilderness, right? We were. Yeah, we were. We were. Look, I would rather with any of this stuff, any of the stuff that we're talking about, I would rather say, Hey, do as much as it as a dude, I don't want to limit on it because I don't necessarily believe that scarcity, like breeds greatness, right? What I would say for everyone, and this is despite my criticisms of the last Jedi, what I would say to everyone is like, tell a story that you feel like is important. Like tell a story that like is meaningful to you. If fan service, once there's a lightsaber on the screen, I'm serviced. Okay. Yeah. Like I'm serviced. Interestingly, no lightsabers in this film. Right. And this is kind of not that story. Once there's a lightsaber on it, I'm serviced by being there in the world that doesn't mean that like me as a Star Wars fan is going to look at a movie and agree or necessarily think that every decision that was made was right. It also doesn't mean that I can't be glamored. The Force Awakens is a glimmering of Star Wars fans. It is a retread of so many things that we had already seen to where it took two weeks after the movie, to where we went, huh, wasn't very much in that film that we hadn't been a custom of seen before. That's kind of a remake of the first one. I will say, though, one thing that that film accomplished, that I don't think this film accomplishes to the point about our own children is that movie activates young imaginations for people coming into Star Wars for the first time. And it makes you think about the fact that the Force Awakens wasn't just made so that you or I or you could have an exciting new Star Wars experience in our 30s. It was made to create a new generation of fans. And I really question whether or not a movie like this can create a new generation of fans. Starfighter does seem like the kind of thing that could do that because it sounds like it's wholly original in this world. It sounds like it is outside the realm of the Skywalker saga and all this other stuff. But that's sort of why I question the intent of this movie a little bit, is it just like a mile marker? Is it just like, well, we just got to get back in theaters? And so let's do the best we can because we've had so many stops and starts throughout the Kathy Kennedy, you know, seven year corridor where nothing really was being made. And that actually, it's hard to not see a movie cynically through that lens. I agree with you. People listening to the show in the last three or four years might be surprised to hear this. But if you listen to the show before that, I was very excited about a lot of the things that were happening in this kind of storytelling. And it's hard to not see this to me as like, this is like the death bilge of like an entire era of movies and TV making where like, this is kind of like the best they could do. This is like, they ate a big meal and this is like kind of what's coming up. And it's not, it just doesn't, it doesn't sit right with me. It's not a fiasco. It's not the sky is falling. It's just like, they just needed to put $600 million on the board this year. And this was the best way they could do it. Yeah. And Fabro was willing. Yeah. And they had enough pieces in place. Yeah. And it's like, but you're not excited. But you're absolutely correct. Everything that you're saying is right. Like everything that you're saying, there's no way to push back on anything that you're saying. It's all right. This was the most film ready adaptation that they could put on the screen and make some money and say, Hey, Star Wars is back movie this. That's absolutely. Do you agree then that audiences are smart enough to feed to know that? No. I think that like, I think that like true film connoisseurs are smart enough to know that, right? I think audiences just will have a visual response to whether or not they had a good time with it. And it's difficult to have a good time with something that doesn't have like a really thrilling story, right? It's like the Super Mario Brothers movie, which is what I compared Mando to Super Mario Brothers movie. Very similar. Yeah. So to a place, you're like, Okay, this is where the story of the movie is going to get started. And then somebody that makes a call and they go, Mario, we're on this planet. Then they leave. Yes. And then you're like, wait a minute. This movie doesn't care. They give you Star Fox. They give you all of this stuff. And then they go, Hey, if you liked it enough when you were a kid, or if your brain isn't developed enough, you'll have a good time. A billion dollars. See you next time, right? Yeah. And so that has to be looked at as a, in a certain cynicism, just like this does. But I will say this though, like, take the film biopic, like the biopic movie. So we've gotten Michael, we've gotten Bruce Springsteen, we've gotten a complete unknown. We've gotten a bunch of different versions of this in the last, they've joked about it. We've gotten, and almost always with what's happening right now, these movies are bad. Almost always. Some of them are laughably bad, right? And to me, when I look at them, they have almost no excuse to be bad, because you could literally make a movie just about Michael Jackson during the thriller period. And all everything that happened, and that would be a kick ass, unbelievable movie. This was my, this was my pitch, which is if you had called it thriller instead of Michael. Right. And it were, and you took this Springsteen approach, but to this material. Yeah. Right. Yeah. But these types of, these types of films are important for two reasons. Number one, they have built-in audiences because people are really interested in these people. Number two, they're big, showy performance pieces for the leads in these movies. So they're never going to stop making them despite the fact that they're almost always bad. So when I see them, I go like even sometimes in the, the pictures, like the poster, I'm signing up for a two hour ride, that's about to be some bullshit. I'm comparing them to Star Wars only to say that it's not that I necessarily think that they should stop making that type of film. What I think that they should do is when they are taking a consideration to story and the stuff that they are doing, make that film with some actual artistic inspiration and ingenuity. Yes. Because there is a good Bruce Springsteen movie in there. There is a great Bob Dylan movie in there. So I don't need less Star Wars, I need Star Wars to remember the face of its father. Its father is George Lucas and George Lucas was concerned with new worlds, new ideas, and consistent storytelling. And that can't exist in Star Wars. But then he sold the Disney and then, you know, and the problem with Michael. the problem with Springsteen is that if you want the music and the like artistry that inspires everything else, there are a bunch of people who own all the rights to that and they have to you don't get to do it artistically if all of these other lawyers are involved. Well, I mean, well then, here's the deal then. I agree with you. Make good things. Right, like, let A plus make good things not bad. And once again, according to my standards of them, I'm available. Once again, answer the phone. Once again, I say it all the time. I've read stories about Darth Vader trying to get his lightsaber and having to decide he's not going to the Emperor says you're not going to bleed a crystal of Get your lightsaber. You got to go take it from a Jedi, which means he didn't have to find a Jedi that's taking the bearish vow. The bear's vow is when the Jedi swears off being the Jedi. So he has to get a list of every Jedi that's ever taken the bearish. He has to find out where they are. He picks the wrong fucking guy because that guy legitimately his only job in the Jedi was to fight. And then he has to go and fight up to the top of a mountain and get this. I have seen exhilarating new interesting Star Wars characters and stories that are based on existing lore. I know that it can be done. Of course. I'm going to have a good time watching Star Wars movies, but I haven't lost faith in the entire world because there's so much imagination that can be put to it. If in fact, these types of movies can defeat the same thing that I'm saying other genres of films have to defeat, which is all the stuff that Amanda just mentioned. I think one of the reasons why the last Jedi resonated with a certain sector of the fandom and of film goers in general is the very famous Kylo Ren. Let the past die line. And that spoke to the Star Wars mythology, but you could also apply it to this kind of broader component of culture. And what you just described, there's a part of me. There's an 11 year old part of me. There really wants to see the Darth Vader wrecking shit, you know, mid story movie where he's like having battles and figuring out how to be the real true dark overlord of the Empire. Then there's a part of me that's like, I already know what happened to Darth Vader. I know how he died. And I know how he saved the rebellion. And I know what he means to Luke and Leia. And I saw the return of the Jedi. You know, it's not that it can't be done and it shouldn't be done. And I'm not telling people like, don't tell another Darth Vader story, but it's never going to be as special as that's very specific feeling when something big and new arrives. And it can take over for a while. And part of what I've been trying to talk through on the show for the last few years is like, something is dying and something new is happening. We might not always like what the new thing is. In fact, Super Mario is one of the new things. It's something from our childhood, but in movie form, it's one of the new things. But as we have gone through and credit to a man if we're sitting in that chair for like five plus years of pretty bad fandom stuff. And 10 years now, I mean, going back to solo. But more of that stuff was to the tolerable or interesting. I thought from 2015 to 2020, then what we have had in the in the five years since. That's my perspective. The same rise of Skywalker was 19. So I think it's 2018 is when it starts. Maybe it's been seven years of not great stuff. Nevertheless, it's something's changing. Like movies like this don't happen if they're not like afraid. This is like a scared move. This is a scared move. Well, no, we know it's changed. What's changed is that you you make a movie now. It's for all films. You make a movie now and you have it. I was just talking to somebody about this. The amount of times I went to the movies and saw what's considered now to be a bad movie. We would talk about how bad the movie was for a day, two days. It's talking about movie called ride that my boy, Derrick Danesburg went to see a Derrick Danesburg. I said, man, how was rye? It's like a hip-hop type movie from the mid to late 90s, right? And he goes, man, that shit was an hour and 20 minutes long. It just didn't feel like it was an actual film. We went and saw it ride sucks. And then we got over it. Now every time a movie comes out and that movie is bad. First of all, we hyped these movies like, I mean, not the Star Wars, we hyped these movies like tomorrow. Every film is going to be this deep exploration. This is brand new, breathtaking new filmmaker that's going to change everything, right? We hyped this and then we ripped them to shreds, which we should have conversations about movie. Any prestige in any art form is to me oriented around criticism. If you have a low critique to art form, it can have no prestige. Prestige is oriented around criticism. But now, like, we take the qualities of these movies, the quality of these movies a little bit more personally than we used to. And there is one or two places where people are allowed to direct all their vitriol and they sing very loud. And then the people who are creating them and be marketing them and financing them, get the shit scared out of them. The actors get fucking harassed. The directors get to say, I knew that they would make a movie like this because they have this political belief. I knew that they would get clipped on Instagram. She's capturing some poor young actress who's just doing her best, you know, trying to be a slave girl in a Star Wars film, you know? So there's like, there is different. How do you make it? You don't. What you do is you say, I have this and I think the next group of Star Wars, the next batch of Star Wars stuff that we're getting is a lot more original. It's got some characters that we recognize, but we'll see like how the story is told. You go, Hey, I have a take on this world. Characters to be damned. World aside, how can I get this original take out? And you let the people who are fans, a part of the fandom, you let them go out. And then people who don't want to fuck with it, don't watch it. Like it, like, like, don't like, don't watch it. Don't go to it because I am. I'm just like, you know, preach like if we could get to that place, unfortunately, we have two young boys. Yeah, no, no, no, you're in for a penny and for a pound. Yeah, this is it. Yeah, so to me, there is both the ability to be critical and be honest about the fact that we are in the dirt in terms of Star Wars content. That's because we're in the dirt. We're in the dirt. We in the dirt with Star Wars, we in the dirt with Marvel, we in the dirt. Let me ask you something. We're in a dirt. Yeah. In the series, there's a couple of things that are that were kind of Easter Aggie fan service. He that you were describing, you know, Luke obviously appears in the series at a certain point. So in Mandalorian. In Mandalorian are in the Mandalorian series. So katano. We get the dark saber. We get things. The dark saber is a is a is a light saber. But it's dark, but it's dark. Some of that stuff in the single when you were talking about how and you get in, you rule the Mandalorans. I had to stuff down so many questions about where you get a lightsaber when you were describing the fan fiction or whatever it was about Darth Vader going to find his lightsaber. I mean, I just I don't there's, but I would watch that. I used to remind me because I my daughter and I built a lightsaber. There's been three weeks ago at Galaxy's Edge at Disneyland and I will say to do. Well, it was it was promised and it was delivered. That's what I'll say is we've been discussing it for a long period of time. And she chose the white lightsaber because she loves so katano not because she's a young light girl van leafin. How dare you know, she loves it. She loves a soka. And so but that was very special and then I saw you tweeting yesterday about being at Disneyland and ranking your favorite rides and and rise of the resistance was at the top of your ranking. And it was your first time going on it. No, no, that was my third time. Okay, I was I went on it for the first time with my family three weeks ago. And for the first time in a while, I was like, there's nothing like Star Wars. Star Wars is the best thing that's ever existed. There's a part of rise of the resistance that people that haven't ridden it before don't think it's coming. And one lady cried. So like, she cried when because they pretty cool. They put you inside of the world. There's a part that adore opens and you're like, shit. Are there are there people in costume running around? Yes, yes, yes. I'll never do it. Yes, yes. It's so cool. You know, I hate that so much though. When they I really am afraid of audience participation and like character interaction. Yeah. So this would be tough for me. But I'm glad you guys loved it. It was a it was an interesting remark. It just it transported me. It brought me back in a way that the movies and TV shows in the last seven years just never could. And it reminded me that like this does have a real power. And that there's something really handmade about this world. And the idea of making a theme park ride that has that level of detail and um, tactility, you know, yeah. You felt like you were on the ship in a way that no other ride has ever given me before. Even though I was a Star Tours freak when I was five years old. I love Star Tours. Which is not and it's great now too. They've updated everything but nothing is like this ride. And so it's got I kind of got to jog my memory sometimes too where it's like don't just be burned out, you know, podcast guy who's like, I hate everything from when I was a kid. It is still special and it can be special again. But just not this way. This is what you're right. This is what I'll say. Okay. So all of the things that you talked about in Mandalorian in the the the the the the the early Mandalorian series. Skywalker comes into that. That is fan service without a hundred percent. But what? But it's also story. Meaning Grogu is a force being. He calls out to the force for assistance. If he did that at that time, who is the guy that would show up, crush everybody and save the day and then tell Grogu about the way of the Jedi, the thousands year old tradition that he has the opportunity to be a part of. Then when he has a chance to be a part of that tradition, Grogu actually making the decision not to be a part of that tradition, both because of the shortcomings of what has happened to that order. And because of his connection to his father, it is actually a real choice. Yeah. So you use Skywalker and it was so great to see Luke. As soon as the X-Wing, I was like, oh, shit. I was like, what's wrong with you? I'm like, I know what's about to go down. So yes, that is fencer. That is something to hold on to when Grogu in the Mandalorian Grogu is using the force. I'm like, leaning over. It wasn't the force. It was the force. Yeah. I leaning over to my foil and being like, hey, that's the force. And that's what Luke Skywalker does. And I, Star Wars, idiot, mommy, am having to explicate this to a four-year-old during the movie because the movie can't do the work for itself. The movie assumes that you know about the force. They assume that you're an interesting and weird choice. But you can't. But you can't. So this is why I will say about that. And I'll finish off that point by just saying, yeah, you're right. The early Mandalorian stuff was new. It was a new way to tell the Star Wars story. But they also incorporated things about Star Wars that we already knew. And it worked until it got cynical as a part of itself. Because there was people at Disney, respect to everybody that wanted to sell toys surrounding Grogu more than they wanted to tell stories. That's how you lose. Yeah. You lose when you put the toy first and the story second. But I'm telling you in Star Wars, story can still win. Now, as far as rise of resistance, rise of the resistance has to play to people who are not massive Star Wars fans. I was at rise of resistance with two people yesterday, one of them, Coleca, who knows about Star Wars. The other one, our friend Alexis, who is not in any way initiated with Star Wars, right? When we left, she had a million questions. I don't want to ruin the ride for anyone. Why did they stop us? Why did they do this? Why did this happen? She was exhilarated because the Imagineers at Disneyland, they know that they cannot make a ride that is just specifically forced Star Wars fans. They have to put you in the middle of the world, make you feel stakes, make you feel overwhelmed, and then make you win at the end. That is still possible for Star Wars. And I believe that it will be done. We just in the dirt right now. But out of that dirt, I'm telling you something's going to grow. Rise of the resistance is one of the first things, forget about Star Wars, forget about Disney. It's one of the first experiences I've had where I had been hearing about it for years, and they opened it and I was like, wow, this is really fucking cool. And I just encourage people to check it out if they find themselves at Disneyland. We got to wrap it up. Before we go, I have to say one thing. There's something that the streets are really involved in. And I'll know if you guys know all of the big, big heads like myself and shout out to the big picture ready. I know how much I fucked up. We're obsessed with the latest beef on this show. What's the latest beef? The race with third chair. Oh, sure. Yeah. Did you raise your hand for this episode because you really want that? Are you? No, no, no, no, no, no, no, no, no, I'm the black chair. Not the third chair. No, no, no, no, no, no, no, no, no, no, no, no. I don't want to be the third chair. This is a clear, this is a clear. These chairs don't see race. This is a clear two horse race. Uh-huh, between Tracy. Yes. And Chris. Now, I'm of the belief that is a one horse race because there's only one true third chair, which is the incomparable Chris Ryan. Okay. Okay. However, there are those who believe that with the single-minded focus and dedication that he has when he's on his podcast, this guy has a great fucking life. Yeah, this guy was a great fucking life by the way, right? Yes. The married, beautiful, talented lady has a fantastic career also as a, as on the screen and on the stage. Yeah. But yeah, he is. This man is a father. He is a family. He is a family. However, being third chair matters to him. Yeah. Yeah. I would caution Chris Ryan. Not to take him for granted in this. Yeah. So maybe what? I think he's coming. I think he's hearing some footsteps. I mean, you saw it when he closed the computer, you know, at the end of the, at the end of the draft, he knows. And that's the beauty of Chris Ryan is that, you know, he's waiting, you know, for his moment. Tracy was on a heater in the month of May. I appreciate the work that he did watching 85 million rubber devolves. And, you know, giving us some travel time. Yeah. But we are living in like the Tracy Afterglow right now, you know, and he's also. This was like rewatchables after C.R. month too, you know, where it was like, oh, okay. Well, I would just that was then. And this is now, you know, let's, let's talk in a few months. Well, you know, well, how long would Tracy have to deliver this current level of performance? I'm a CR hit CR is the third chair. Here's a real challenge. And this is, this is the absolute truth in this question. One, the third chair will always be the friends we made along the way. That's just how I've always thought about it. And we've made so many friends just doing this show. Two, if there is, in fact, a true race for third chair, the thing that Chris does and will continue to do that Tracy has not yet shown himself willing to do is that Chris will join us at 10 15 AM on a Tuesday after a holiday weekend to go see back rooms in Beverly Hills. That is the work of this making this show. In addition to hanging out, talking, making our little documents, having our strongly held opinions, you got to go see the new movies at the annoying times in places where they're being held. And then come to the episode and record with us on a regular basis. You can't just say, I raised my hand for this episode and that say, you got to do the work. And CR pre-big picture, been doing the work with me for 20 years. So he will have an inherent advantage as long as he continues to do that. That's just a fact. That's a goal. Tracy's also shopping for third chairs on some other podcasts. I'll just put that out there. Okay. A little third chair curious. Yeah. There's a little bit of a loyalty question. Tracy, a third chair, that? You know what I'm talking about? You trying to see? Let's not slush it. Let's just say. The other thing is I just don't I don't want to discount the Van Leathens and the Joanna Robinsons and all the people, the Rob Mahoney, the people here to Rob is great. It's a clear two horse race. Okay. And Chris's way ahead, like us big pick heads, no, Chris was way ahead. But what I liked more than anything is the last of my rabble rousing that I'll do. What I liked more than anything is Tracy Toe Chris his face. Yo, what is he on? He told Chris to his face. I'm coming for you. You know, it's like a movie. You know, it's like it's like a movie. Like I watch John Wick, not too long ago. John Wick is all bound and all the like that. And he's looking at Vigo and he's going, I'm going to kill you. Like how are you going to kill him? Shouldn't you? You're dead, don't. You're caught. Didn't does it in man. When he tied up in front of like whenever somebody's you can't wait, can't wait to like hear you die screaming alongside. That's what Tracy did. Tracy was like in his face. Look at him. Chris has got the power. He goes, yo, I'm coming for you, dog. I appreciate it. I did too. Yeah. I did too. Van Leathen, tailgate midnight boys, higher learning, rewatchable watchables. What else you've been doing everywhere? I'm everywhere. I'm doing a lot of stuff. It's fun. I'm having a great time here at the ringer. And so I'm like a hostage video. No problem. Okay, let's go to my conversation now with Daniel Rohr. I'm here with my East Side of Los Angeles compatriot, Daniel Rohr. Welcome back. Hey man. Nice to see you on the show. So cool to be here. So you co-wrote and directed a feature film. I did. Last time we spoke, that wasn't what you were doing. Right. You were doing something mysterious when we last spoke. You had directed Navalny, which then went on to become an extraordinary sensation and won you many prizes. Congratulations. Thank you. But I don't know that I saw this trajectory. What's what's been happening for the last three years? Well, look, when we last talked, I was in my my clandestine spy days. Everyone has to go through it. It's just a phase. I was in Kiev, I think. Uh-huh. It was a couple of weeks. It would have been that would have been in January or February 22. Yep. So just before the war started and I was doing my clandestine. And did you know you went because you knew that things were on the press episode? I didn't know the war was going to start. I was with Bellincat Christo, the guy in Navalny. It was like, I got, we're doing this big expose in Kiev and we want to make a movie about it. And I was like, oh, gee, okay, great. I'm looking for something to do. That's why I was in Kiev when we last connected. And I was on a film set, a documentary set interviewing like whistleblowers from the department of defense who wanted to blow the whistle on this clandestine operation that had gone belly up. And they were, they were accusing Zelensky and his government of sabotaging this mission. And and I was making a documentary about that. And, uh, you know, it didn't, we didn't end up making that movie, but yeah, a lot of water under the bridge since that conversation. I'm no longer doing, I'm sort of like moved out of the spy genre, the non-fiction spy genre. And to your point of like, whoa, didn't see this like fun, high-steeed crime movie coming down the pike. That was kind of the point. I did Navalny, that film was a sensation. But, you know, when you're 29, you win an Oscar. It's really cool. Like, not going to lie. It's pretty sick. I imagine. But also it's really daunting. And it very much had this sense of like, oh, what do I do now? And people would come up and be like, wow, you just made like the ultimate movie of your life. You should just retire. But that made me anxious. And so for me, it was very much like, okay, how do I cope with the feeling of like, what the fuck do I do now? And the way I chose to do with that was by, you know, doing something completely different. And the world knew me as a documentarian. You know, my first film was about the band, Robbie Robertson in the band. It was a music doc that sort of takes place in the extended Bob Dylan cinematic universe. And we saw this in the "Shallamay" movie last year. Bob Dylan was a folk musician. People loved his folk music. He did really well, accolades. He was lauded for his folk music. And then he was like, you know what? I think I want to play rock and roll. And so he plugged in and he went electric. And in my own little tiny way, tuner is me proving to myself that I can play electric. But I can do that too. Was that always on the menu for you? Did you know you, like, did you see yourself as being a lifetime documentarian? Or did you know you always want to make scripted films? No, I can point to, so like anyone who knows me is used to seeing me with a book, like a little blue book like this. I carry my sketchbook wherever I go. It's sort of an important part of my creative process and how I co-op and navigate life. And I've been doing it since I was 14. And I can go back to being 15 or 16. And passages like Dear Future Daniel, if you're not a Hollywood director, you will have failed me. You will have discussed it. You will have like really intense. A burden, yeah. Like 15-year-old me was dialed in. And so no, I always wanted to be making movies. Documentary was a tributary. The most amazing tributary. I love document. I love nonfiction. I will always be doing both. I'm always making documentaries. I just premiered a documentary of Sundance. And I hope to always be making fiction films. Different skill sets. Some of the fundamentals are the same, but really not so much the same. You know, I had Robbie who has since passed away on the show actually four once were brothers. Right. I didn't talk to you for that. I was mad that they sent him and not me. Yeah, well, I was happy to talk to Robbie. But I didn't know you then. And I'm glad I got to have that conversation. But you know, we didn't actually, I don't know how much we spoke when we spoke about Navalny, about kind of how you ended up at like 26 years old, making a movie about the band. So maybe before we did, I was 24 when I got that job. How did that even happen? Okay. So I was in Toronto. I dropped out of college when I was 18 or 19. I started making documentaries. So the technological revolution that I kind of clung onto was that in like 2010, 2011, 2012 DSLRs became a thing. So for the first time, you could like put some stuff in a backpack, some equipment in a backpack, go make a movie that looked like cinema with a shallow depth of field and kind of that sort of cinematic air and and and feeling. And before then, documentary was like, you know, like like Panasonic GH2s where you're running around with like mini DV. And it kind of looks good, but kind of like shit. But you know, I'm talking about doesn't look like cinema handheld. And so here I was sort of coming of age when this technological shift's taking place and it's like, oh, I can just go make movies. And for me, that was very empowering. So I'd like film abarmance from Toronto where I was from and make a couple thousand bucks. And then I would go make a movie. And I'd fly somewhere in the world that was of interest to me. I did one of those on the border between Israel and the Gaza Strip. I did one in a slum in Uganda. I did one in the high, high Arctic in northern Canada. And I would just tell stories and make movies and like make a documentary. And I did probably four or five of those films. I'd send them to film festivals. They mostly got rejected, but I just keep making stuff. And that was sort of my film school. And so by the time I was 23, I had made enough of those movies in Toronto, people kind of was like, oh, it's that kid who keeps showing up to the documentary film festivals. And the other thing about documentaries, I could just go do it. I found that very empowering. If I was doing a fiction film, I'd need like my mom to like do craft services. I'd need my friends to come act in them. I did like my dad to like let me use his car or whatever it is. And I did that in high school. But by the time I was like 19 or 20, it's like, I just want to be out in the world making stuff. And I was very motivated by that. And so I just did enough of those shorts that they knew me a little bit in Toronto. I knew that I want to find a film that was sort of bigger that would put me into a bigger stage of first feature film. Robbie Robertson had written his book, his memoir called Testimony came out in 2015. I read this thing and I just sort of like lapped it up. It was like so he's such a great storyteller. It's an amazing musical Odyssey. And I identified it as something that is Canadian. So I could get this thing financed in Toronto. But it'd have a global like certainly an outside of Canada scale and scope. And so I went on a campaign to get that job. It took me like six or seven or eight months to get in front of Robbie. And I went to me with Robbie Robertson. It's my first time in Los Angeles. I went to the village studio. I'm that with Robbie. And I kind of just like put up a mirror. I was like, dude, I am you. I will fucking die to make this movie. Like you can hire some like bigwig documentarian. It'll be one of five projects that that person's doing. But if you like hire me, I will like literally leave it all on the ice. Like come on. Like I got to do this. And he was like, you're hired. So that is shocking though. It was he agreed to that. Irresponsible perhaps from his perspective. Like if you think about normally who he his guys are, who he's best friends of mine. I know. So I was like, whoa, that wasn't lost on me. But you know, Robbie to his credit, he just saw something in me. Yeah. And and when someone's like sitting across from you and it's like, look on paper, I may not look like the obvious candidate to do this job. But like I am telling you, look into my eyes. I will like die to do this. Like I won't eat until the job is done. Like that is compelling. And so I gave him that sort of pitch. He hired me that job took two years to make. Um, um, you know, I made it in a broom closet in Toronto, a couple of my buddies, which was a fun experience. And it turned out well. And it was the opening night film with Tiff and Robbie was pleased with it. And and Marty came to the premiere, which for me was, you know, he was the executive for him in Ron Howard with the executive producers of that film, which is wild for me. And, uh, you know, that sort of set me on the path, which, you know, COVID hit just as that film was premiering. I think that film was in theaters, but I normally released it February 20th. He was one of the very last people I spoke to before locked up. Is that right? That makes sense. Yeah. Maybe the second or last person I spoke to could be. So that film premiered in theaters. I think we did a week, you know, like 800 theaters, art house theaters, and then everything shut down. And so I was like, okay, my life is over. Like, many of us thought like any momentum, I had no momentum. It all stopped. You know, I didn't have a career at that point. I had just done this one movie and I was looking for the next thing. And, you know, by contortions of fluke and destiny and whatever you call it, I went out in the world. I flew to Vienna, Austria on a hunch. I met someone who introduced me to someone and I met, and then I eventually met this guy, Christo Grosev. And that meeting that person, meeting Christo was what led me to Navalny and the experience of making that movie, which was its own fever dream. Crazy. Like, there's still the cognitive dissidence that I went and did that movie. And, you know, that film was pure Hutzpah. It was just like, you know, courage and bravery. And I wouldn't have been able to do it now. You know, I'm at a different point in my life. It was just your 26, you have nothing that's holding you down. And like, the leader of the Russian opposition is like, okay, come make a movie about me. And I'm like, okay, you know, again, I'll leave, I'm going to leave it all in the ice here. Like, this is one of those things. I'm just going to give it my all. We put together an amazing team. We made that movie. And that film was kind of like the rocket sauce that really propelled my life. And I, it's that film is the original miracle of like, it's extraordinary that that film happened. It's extraordinary that I met Navalny. It's extraordinary that he was as amazing a subject as he was that we were able to make that movie. In the rolling out of that movie, I met my wife. You know, we're, we have a family now. Like, so it's like everything good that's manifested was because of the original sort of fluke of getting to do that film. And, you know, to the original question of like, you follow up Navalny with a film like Tuner, it was, I was thinking about being 15 years old, being in Toronto, making movies, like running around on the subways with our cameras, shooting stuff in the alleyways, you know, getting our friends to be acting in it. Like, that's what I was doing in high school. And I came to documentary, not through journalism, like many of my colleagues, but through like Tarantino and the Column Brothers. And, and Scorsese and Christopher Nolan and movies you liked movie. Yeah, yeah. Like my cinematic heroes. And, and I always had it in my head. And it was also Robbie. After I did Robbie's doc, before I found Navalny, Robbie was like, Hey, you got to go find a script. Go find a script you can sink your teeth into. That's what Marty would do. Not for this documentary stuff. He was a big signifier too, Robbie. He was. Yeah. And we talked a lot about that. And, and, you know, one of the, you know, something that I think about that's, you know, as we're here talking about, that's sad, is that Robbie never got to see me do that. Because he kind of saw that I could. And he sort of had that belief in me when I didn't always have it in myself. And, but he inspired me in that. way. And Robbie's life is a testament to doing the impossible. Like this vision that you have for your life, it's like it can be ginormous. You can do, it's like the only thing that stops you from achieving something amazing is your own self perception of what it could be. And that's what Robbie's life was. This kid from Toronto who grew up and became this this this Brock star. And you know, so Robbie saying to me like go find yourself a script. Then after this documentary, go do fiction, go do a go to a real a movie movie that you can sink your fangs into. He probably would have said something like that. And, and you know, that would have made me think, oh, maybe I could do that. You know, well, okay, let's talk about it because I was going to ask you all these questions, like, you know, Errol Morris did this, Steve James did this. They've all they've all had their try at a scripted film and they worked out or they didn't work out, you know, Asif Kapadi, like all great, all great documentarians, legendary documentarians, people who kind of like I love this guy. Yeah, but you're you're describing yourself as somebody who always wanted to be making scripted films. And I'm curious like what if you had to learn anything or relearn anything, having made these movies the way that you did as you prepared to make this one. Well, look, on on my first day of shooting tuner, I got on set and I and I said to everybody, you know, spirit of transparency, transparency like every single person here has more experience making movies than I do. You've all been on sets more. This was like I've only been on set a couple times when I stepped on my own set. But the button on that was, but I have more experience making this specific movie because I've been making this movie in my head and on paper and in drawings and writing for two, two and a half years. And I and I really just tried to summon both the humility and the chutzpah required to like get the job done. But it's a like I had never worked with actors before. Leo Woodall, who is wonderful in the film, he really taught me a lot about, he probably, Leo's probably taught me more about working with actors than anybody else and not, not, not, not necessarily overtly. Like this is how you direct actors, but more just like in process. But yeah, it's a different skill set, but as I look to like, as I understand who I am and where I come from, like I started out drawing comic books. Like I was 12 years old, 13 years old, going to comic book conventions with a portfolio under my arm, talking to big artists, be like, "Hey, what are you looking at my drawings?" And I was always been a visual artist. And so the idea of of making a fiction film always seemed like a very natural extension of what I've always wanted to do. The documentary, my documentary career was almost like a tributary that is a reflection of my love of politics and history and current events and geopolitics and all of these things where documentaries and amazing lens to explore those issues. But cinema has always been my first love and making movies has always been my, my number one passion. So after and of only one, the Oscar, you know, for a second, I'm like, "Oh my God, what do I do now? This is amazing, but scary." And the answer was like, "Okay, doors are, a door might open that doesn't open for a lot of people." And so I wanted to go make a movie. And I wanted to make a movie that you know, was like the films I loved watching that was propulsive and fun and engaging and like musical and and romantic, like a movie movie. And that's what I, that was my mission for this film. That's where I set out to do. I was trying to describe the movie to someone just outside earlier. And I was like, you know, it's like, it's like Rainman meets the shine meets heat, you know, like it's not, it's a very, it's tough. It's a very odd collection of different kinds of stories like, where did the conceit come from? Like obviously you get this opportunity. Yeah. And you got to run through it, but like, did you have a drawer full of scripts and things that you knew that you wanted to do? No, not at all. It was very much like, you know, I sat down. I really tried to like drop a game plan and quarterback it. Like, I had this dream that like, you know, maybe with the success of Navalny, I could get to a point where I could make a real movie. And, and so, you know, it was about designing a movie that I would want to watch. And I wanted to be a crime story. I had this idea of doing something auditory. Like that was just so interesting for me. But the sort of linchpin was that I had just met my wife. I had just become her boyfriend. And she was sort of taking me around to meet her friends. And one of her friends that I went to say, have dinner with, was this couple called Michelle and Peter and Caroline and Michelle were like, kibbutzing and hanging out. And I'm chatting with Peter. And I was like, what do you do? Pete, nice to meet you. What do you do? And he's like, I'm a piano tuner. I'm like, huh. Tell me about that. Like, that's interesting. And he took me into his like, little garage, which is like a piano exploded. And it's guts are on the walls. And he's like, well, piano tuning, you know, I go and make sure the instruments are in good shape. And I keep them. And I'm like, no, I know I get that. But like, what is like, what's your day to day like? And he's like, well, I'm in my van. And I sort of bop around. And I have some clients who are like real musical people. And I have some clients who are just like rich people. And I, you know, prefer obviously like the conservatories. He started describing his work. And in no time, he was talking about like philosophy and spirituality and talking about like entropy and atrophy and the forces of the universe that want to pull these things out of tune. And the natural order is chaos. And it's my job to restore order where there wants to be chaos. And I was like, this is amazing. It's like, and it's auditory. And it's lonely. And he's by himself. And some people treat him like he's the plumber. And some people revere him. Like he's like, oh my God, thank God, you're here. And I loved all of that. And I thought it was like a really interesting job. I like the itinerant quality of it. I liked how it kind of like defied modernity in a way. Like, like, you know, there's no way to kind of like, there's no like smart piano tuner, no apps. It's really just like a guy. And like, you know, I really appreciated that. And I followed him around. I went to work with him for a day and sure enough, you know, within 10 minutes, he's we're in this like ballroom. But what did he say when you asked him, can I follow you around? Oh, is that weirdo? Yeah, basically, I was like, can I come to work with you? Can I just like do a ride along? He's like, uh, I don't think he got Peter at that point hadn't seen Navalny. He didn't really, you know, I don't think he had a full understanding of who I was or what I was about or what I did. I just he knew I made documentaries. So he thought it was odd. Um, but he was also like probably not because my clients like would not be into that. And I was like, well, maybe just ask because I'd love to if it's okay. And so I ended up doing a ride along with them. And we went to this, you know, the guy had a ballroom and Brentwood or something with this giant Yamaha, like, you know, a really expensive, big, beautiful piano. And I was just sort of sitting there and taking pictures and doing some drawings and being in the space. And, you know, they were like doing construction next door. And Pete was like a little like, oh, fuck, they're making a lot of noise. And then within 15 minutes, like the cleaning lady or the housekeeper was like, hey, can you take a look at the toilet downstairs when you're done like, and Pete was like, no, it's not I'm the piano guy like that whole. I just thought the job was so interesting. And like, okay, this is a really interesting world. And and moving around and montage and itinerant and we're meeting different people in going different places. And, um, and so that was sort of the genesis and the nucleus of the piano tuner. And then I was like, how can I make this a crime story? Like, what, where, where is the crime part? And then I kind of had this epiphany that like, what's tactile and hearing? Safe cracking. And then I was like, a safe cracking or real thing? Or is that just a movie thing? So then I went down that rabbit hole and I started doing all the research and safe cracking. And I called LAs like top safe cracking guy. And, and you know, the, the reality is it's like kind of somewhere in the middle. It's like, the way you see the movies is sort of fictionalized, but it definitely is a real thing that it is. There's something to it. Yeah. And like, and there are people who can go in there with the stethoscope and, and do the thing and, you know, open a door. And I was like, okay, well, that's all I need. Yeah. So I was just sort of off. And I sort of developed from that. And I wanted to make something that was musical that was propulsive, that was auditory where the sound design really helped, you know, elevate the production design because I didn't know how much money a movie costs to get made. I figured someone would would finance maybe cost a couple million dollars. That's what I understood. But I wanted to make something that punched above its weight class that, that, you know, when you'd watch it, you'd be like, oh, that feels both refreshing and familiar at the same time. That's sort of what I was going for. And, you know, once black bear got involved, the whole thing sort of came into focus. I was able to go, you know, do this impossible dream of making this movie. Do you play music? A little bit of, I learned a little bit of guitar when I was doing Robbie Roberts since movie. So I do play a little guitar enough that if like a real guitar player was next to me for like 15 seconds or 20 seconds, they'd be like, oh, hey, like, but that's it. So that's really interesting because the movie obviously, in addition to having this incredible sound design is very musical the way it's cut. Sure. And obviously the music is a huge part. There's a lot of jazz needle drops, especially in the beginning of the film. So very, very, it feels like a movie made by a musician. Well, thank you. I really appreciate that. You know, there's this old convention of like right what you know. I heard that a lot when I was trying to, you know, come up with a screenplay idea. And, and, you know, what I understood is like, yeah, right what you know, but also maybe like right what you're interested in, right what you'd like to know more about and explore. And, you know, the idea of a conservatory and this woman who, who, you know, met this guy, but they seem great for each other. But maybe it's not the right time. All of these things in a way were metaphors for things happening in my own life. I met my wife, just as she was embarking on her first feature film. And so it was like, hey, you're wonderful. Like, this is really cool, but like don't get in the way of this big dream I have. And I was like, I totally get it. I'm only here to support. You know, all of these sorts of things. But yeah, I wanted it to have the authenticity and lived in this. And I think that's what drives me to documentary in the first place. And, and I overlap between fiction and documentary is just an [BLANK_AUDIO] Exploration of something fascinating, like I'm really interested in music. I'm really interested in classical music and jazz and learning more about the history of jazz and through this film and literally getting, you know, one of the great luminaries of jazz to do a cameo in the movie was really exciting for me. And, you know, while it's an unfamiliar world to me that I had to learn about the sort of themes and emotionality of the film felt very real to me and everything else was like stuff I could learn. Tell me about hopscotching in the kind of subgenres and tones and making sure that that was all working because you it is like it's a romance. Yeah, and it's a crime movie and it's a movie about a person with a special gift. Yeah, I mean, that's that that was the scariest part of the movie. It's like, you know, it sort of starts off and it's like kind of like kind of a not comedy, but almost a comedy. It's kind of like a comedy in the first 20 minutes and then like in the same movie like the guys head gets blown off and like you know carnage and death and like those films have to be in the same movie. And the sort of miracle of that of that whole thing is that we were able to like get the tones and the frequencies right and thread those genres into one another. You know, I worked with Greg O'Brien, my extraordinary editor, who really helped us find that frequency and we we that was the biggest the biggest challenge. But at the script stage, I sort of just understood how everything had to bleed into one another and sort of like the elements that would adhere everything like the music in a film like tuner is like the adhesive that just brings everything together, right? And if you and if you can sort of figure out those elements figure out how you're going to shoot it, sort of propulsiveness of it. We were able to get it all working when we were cutting the film, but but those those sorts of like tonal shifts were certainly tricky and the thing going into it that I was like, I hope this will work. Like if we don't figure this out, we're fucked, but I think we will be okay. And notice the very interesting name in the credits of this film. Joanne Sellers listed as a producer, who is Paul Thompson Anderson's long time producer produced many of his films. And I think this is her first film that is not a PTA movie that she's produced in some time like, oh, I have them mighty have fallen. Yeah. Well, so how did she get involved? What did you learn? So Joanne, Joanne, a seller who was a producer of the film with Lyle Gacoube and Mike and Teddy from Black Bear. You know, she is this sort of like epic producer who's produced like some of the greatest films ever. And you know, she was had this sort of professional, I don't know, this like thing with PTA for 25 years, almost feels like a professional marriage of sorts. And her husband Daniel Lupi, who's an amazing producer as well. And you know, I never really litigated the details, but you know, as it happens sometimes with people, you work with someone for a long time. And you know, you wake up one morning, you're like, maybe this isn't right anymore or something like this. And that's just life and that happens. I came to Joanne, I was fortunate enough to meet Joanne via Rob Ramsey who I co-wrote the script with and Rob and Joanne knew each other, their kids went to school together. And that's how I came to meet Joanne and Joanne, you know, was sort of looking for projects to do and reading scripts and she read Tuner and she really saw something in the script. And she and I really hit it off and, you know, her experience is kind of like, you know, those movies come on. They're just like, you know, it's pretty intimidating when you look at the filmography. But I was so lucky because with Joanne and Lila, I had a first film that was kind of a smooth endeavor. Yeah. And, you know, a lot of first-time filmmakers, it's like, you're up shits Creek and you don't really have the support. But what Joanne and Lila, a problem never got to me before it was solved. And that's sort of the mastery of an amazing producer. It's like, I'm focusing on the creative. And if something happens, if someone falls out, if there's an issue, when it's brought to my attention, it's like, hey, this thing happened, kind of a bummer. But here's our working contingency, here's our plan, here's our overcome. And that was very meaningful for me and something that I really appreciated in working with the two of them. I think the movie is really accomplished and I really like to thank you. And I hope you make more movies like this. I am really interested in your perspective on putting a movie like this out into the world in which it's a little bit more challenging to release effectively an independent feature. Yeah, commercially, especially because you in your 20s had such an amazing experience releasing what is usually not considered very commercially viable in docs, but you got attention for them. And now, like, what are your expectations with putting a movie like this out in the world? You had festival premiere and all that went seemingly went well. But like, now you're going to be in the marketplace. Sure. And market don't lie. Those numbers don't lie. And that's just what it is. And I accept that and understand it. But at the end of the day, you know, I look at some of my film heroes and and I just read that amazing Stanley Kubrick biography. Oh, yeah, sure. And Stanley Kubrick was like obsessed with every morsel of the process, right? Like making the movie through to promoting the movie through to the key are through to the trailer through to he was across all of it. And, you know, my perspective is I really know what I love to do and I love to make movies. The marketing and selling of a movie is kind of a different job. And so as I look to like the type of career I want to cultivate in my sort of film heroes, I look to like a soda book or a link later, these guys who are just sort of like movie a year, love to work, love to stay busy. They'll go do a $2 million indie movie and then a $75 million studio movie and then a doc and just sort of flirt between the two like that to me is really exciting. The prize of the Oscar and the attention that comes with it is that I get to work. That's the prize. And I understand that about myself. So look, my expectations, what I hope is that everyone in the world sees the movie. That's my dream for it. Of course, that's why we do this. But I'm sort of clear right and I understand that it's a tough market and there are overcomes and everything like this. But at the end of the day, I also believe like if something's good and cool and like original, like people will seek it out or find it. I do believe that too. And maybe it's not like, you know, the film doesn't grow 150 million dollars globally. But maybe like, you know, some people see in theaters and then it finds a home on streaming and we'll see it there. Like I just, I just try and be optimistic about people wanting original stuff, especially in a moment when like, you know, everything is turning into computer goop. I think that to me really matters. But I really just try and be like fully committed and fully detached. Like I want this to do well. I work my hardest to make the best possible movie. But there are so many forces that are outside of my agency. So I'm kind of like, I hope it works. The guys who are in charge of marketing are doing a great job. And meanwhile, I'm going to go go off and make my next one because that's really what drives me what I'm so passionate about. Yeah. So you're about to go make the next one. I want to make it smart to do it before the movie comes out. Well, very savvy strategy on your part. Because if it bombs, I won't get a job. I'm not saying that. Yeah, look, I more than anything again, I just love to do this. Like for 20 years, I was just like, for 15 years, I was like, what a dream it would be to make movies. And I have books of like every, every film I saw off and I saved the ticket and I'd write a review and I'd give it a star system. I had a whole thing before letterbox is the thing my books were letter box for me. And and so the fact that now I can have this career is extraordinary and I and I feel very, very, very lucky to be able to do this. And it's what I love to do. I'm so driven by the work and being a film director is this all encompassing job where you never have a second off. I love that and it's just like my work in my family. So the next film is if you if you read the script for the next one, after watching Turner, you'd be like, that makes sense. That makes a lot of sense. Like that's a natural, let's say evolution. So it's this sort of like heist con man story that's almost like a to catch a thief. But if you took Kerry Grant and Grace Kelly and swap them with so we sold on a Matthew McConaughey, that's the movie. And it's sort of this like X-pat in Pozotano and in the Malfi Coast. So there's this little restaurant who moonlights is this prolific thief and he's really good at it. But in one particular job, he crosses past with somebody else and gets them into all kinds of trouble. And that is sort of the premise of the movie. So sort of jazzy and propulsive, much like tuner, but with a much bigger canvas, which takes me outside of my comfort zone. And so that's something that I'm really excited about. It's like, you know, the tone and the sort of like genre work I know that I can do, never done a car chase before though, you know, never done all this big location work, never work with these big movie stars. And so all that's just exciting. And these are just, you know, motivated by being outside of my comfort zone. But knowing in my heart that I got this and that's a very empowering place to be sort of operating from. So we're shooting the film this year and it's been really, really exciting for me, just in the preliminary stages of getting it set up. We just got a green lit of scouting the film, working with McConaughey, working with Zoe and just getting the thing off the ground has been a like wonderful, wonderful opportunity. Good luck. Thanks, man. We end of the episode of the show by asking filmmakers, what is the last great thing they have seen? What have you seen? You must be you got to be doing some Oscar cramming, right? I'm not a Academy member. Get out of here. I swear. I swear. No kidding. Yeah, I'm not. I'm you one and you've not been. What's going on there? The doc branch is a little. Oh, I see. I see. Well, maybe now that you're a feature filmmaker as well. I don't know. I'm just, you may be well, I'm God, the last. That's fast. Isn't that funny? Like literally daily, I'll get an email for someone and be like, "Hey, can you watch our short film?" It's like, we're going and I'm like, "I'm not an Academy member." And they're like, "Okay, thanks, goodbye." Like they don't, you know. - You should just automatically be inducted if you win. And if you lost, that's how it worked. But at the end of the day, it's like, trust me, I'll take the award over the membership to their club. Maybe one day I'll get in, but in the meantime, God, what's the last great thing I watch? I've been watching the classics of Italian cinema. - Mm-hmm. - And so I, yeah, so really like, like, just learning the fundamentals before I go make a film in Italy. And I rewatch Cinema Paradiso. - Yeah, sure. - And it probably has the best ending of any movie ever in the history of movies. (laughs) And if I was ever became an actor and I had to do a crying scene, it's like, okay, cry, I would think of the ending of that movie and just, it would get me like that. And then, you know, more contemporary, what's out now, I like everybody, watch Marty's Supreme. And I felt, it was such a complicated movie for me. I recognized myself in Marty, but that's challenging 'cause he's kind of a sociopath. - Yep. - And then a bunch of people were like, - Yeah, but you're on the other side, you got a kid now. - I know. - And hopefully you're being a good guy. - I'm after the hero's journey. - That's right. - I was never a bad guy like Marty, but you know, there's this sort of like fast-talking Jewish trope that- - Striver. - Enough people were like, you were, he reminded us of you. And I was like, I don't know how I feel about that, but I love the propulseness. I love the cadence. I love, you know, how Josh Safty just pulls you into that movie and doesn't let you go. And that's something that I'm very inspired by. Those are always my favorite kind of films. So I think those are two safe bets. And then I just saw Sarah Dose's new film, Time and Water. - I just thought as well. - Yeah, very good. - And that is a film that I had to see in a theater that was, you know, meditative and patient and thoughtful and just like a, just like all Sarah's films. - Tell people what it's about 'cause it just premiered at Sundance. - Yeah, so Sarah Dose's new film, Time and Water, is a water and time or time and water. - Time and water. - Time and water is about this, three generations of this Icelandic family, who they're sort of like identity as a family is almost moored around their love and appreciation for the natural beauty of Iceland where they're from. And in this case, the glacial fields that Iceland's famous for. And it's about how the family shifts over time and the sort of pain and challenge of these glaciers, which do not shift over time. That's the whole conceit. They last thousands and thousands, thousands of years. And they're sort of living breathing things, these giant ice sheets, but except in this changing climate of ours, the glaciers are dying. And so it's about this family coming to terms with this thing that doesn't change, but it's changing now. And how do you mourn? How do you mourn the, almost like the death in a family of, when your family's a glacier. Like that's your family member who's dying. It's like, how do you mourn that? So it was like beautiful and thoughtful. And I just did a documentary that premiered Sundance, and I was struck by how similar it was to Sarah's movie and so far as it's like big thing in the world, big issue that's moored around like a personal story. And in my case, it's about AI and entering fatherhood, which is how we approach our AI documentary. And so the Andreas, I think, is the name of the protagonist in Sarah's movie. And he and I kind of had a hug after both of our films premiere. And I was like, how are you feeling? He's like, pretty good. How are you feeling? I was like, dude, we did it. We did it. So those are some, that was a long answer, but those are some films that I saw that have stuck with me. - Great recommendation, Daniel. Thanks for coming back. - Thank you so much. So cool to be here. (upbeat music) Okay, thanks to Daniel, thanks to Van, thanks to Jack Sanders for his production work on this episode. Thanks to Lucas Kavanaugh for getting all that info about Paul Schrader in the document, appreciate that. I mentioned we saw back rooms, and that's coming later this week. - Yeah. - Pre-sales or through the roof? - I've seen that. - Gen Z is extremely fired up. - You know, I go where Gen Z goes. - Do you think so? - There might have to be some sort of like Gen Z horror mommy thing that we develop as well here. - For me or just in general. - Yeah, I was just watching both you and Sierra a little startled in a movie. Just a lot of fun. - Honestly, it was really mostly Chris. He jumped a lot. - He did. - He had a couple of jumps. - And I was like, well, I won't spoil it, but I do what was. - Okay, yeah. - We will get into the back rooms very soon. And until then. See you. (upbeat music) (upbeat music)