"Wuthering Heights" Buzz & 40 Years Covering Sundance in Park City

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Welcome to Screen Talk, Indiewire's weekly podcast, bringing you up to speed on the latest goings on in Hollywood. I'm Ann Thompson in Los Angeles.

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And I'm Ryan Lattanzio in New York. And this week we are each going to pick our five favorite Sundance movies that aren't Josephine. Since we've covered that one, we did.

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That one last week, that, that is.

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Coming out of the festival as the resounding favorite of Everybody, including on IndieWire's Critics Survey, by a large margin. So meanwhile, the other news is that while we'd love nothing better than to properly review in depth Emerald Fennell's take on Wuthering Heights, it is still under review embargo till next week. So we're going to take a superficial stab at it and then next week we will really get into it.

0:46

Yeah, I'm looking forward to that, Ryan. So I put up, I have to say, I put up a little tweet about Wuthering Heights and it was like it exploded and everybody has picked it up. And I think that's because I used the word. I called it a rip roaring bodice ripping crowd pleaser, which it is. I mean, I have no doubt that this movie will be very big at the box office. And my basic review of this movie is that it is very big. Everything about it is big, even Jacob Elordi. And, you know, if she has a choice, right, Emerald Fennell, you know, if she's, if it's going to be, if one house, if Wuthering Heights is going to be, you know, mired in degradation and really gross looking, she's going to go all the way with that. And if the other house, the one Catherine marries into, played by Margot Robbie, is luxurious and fabulous, she's going to go all the way there as well. And there's even a giant strawberry. So anyway, I know it's going to do well at the box office. I know it's going to do well. You know, people are going to eat it up. I have many reservations, which I will share next week.

1:11

It's funny, in the elevator on the way up to the screening, a colleague suggested that I tweet about it and then read the tweet on the podcast as a way to circumvent the review embargo. Because.

2:46

Which is what I just did.

2:58

Yeah. Which to me, what is the review embargo. The review embargo is for any criticisms of the movie. Right.

2:59

Because that's basically what it amounts to. Yeah.

3:07

Yeah. It's like you can.

3:10

And so I wrote something in the middle. I wrote something that said, okay, box office good, you know, going to play with audiences. It's going to do well for the careers of the movie stars. But in between the lines, I'm saying garish visuals and I'm saying unrestrained direction. And that's also there.

3:11

Yeah. You're allowed to break the embargo if it's positive, basically because film Twitter reaction core is on overdrive with this movie is kind of unbelievable. Some of the outsized reactions to it so far. And Warners has been pretty similar to Weapons, actually before eventually that became an Oscar contender. Warner's has been pretty strategic about who they're letting into screenings and that includes people that they know are going to give a positive reaction. So we've seen a lot of those. It's funny, a few months last year there was a leak of a test, like some reactions to a test screening to the movie that described these like almost Pasolini, Marquis de Sade moments that I thought, there's no way that that's happening in this movie, especially at the beginning. And indeed that sort of turns out to be true. I have not read this book since high school, but I remember it well enough to know that this movie is really only adapting a slice of the book. And of course, obviously it's playing out the relationship between Catherine and Heathcliff, but there's a lot else going on in this book. But Emerald Fennell's fealty to the book and its plot, it becomes irrelevant. Right. This is not your mother's Wuthering Heights, as they would say, or a high school Cliff Notes version of it. What I will say is that a main character doing a lot of work in this movie is Jacob Elordi's tongue. There is a lot of tongue action in this movie. And obviously the fervor around whatever sex scenes that the trailers and marketing have proposed are going to be in it is definitely going to bring a lot of people to see this movie. It's obviously going to make dump trucks of money and Warner's could have released it at any time and I think it would have been really successful. But, you know, in February, is that a lost opportunity to cash in on awards momentum later? I don't know.

3:35

I know that it's not an Awards movie. It's not, it's not an awards movie. It could be for costumes, for production design. Yes, okay, I'll go there. I'll go that far. But this is not. Let's wait and see, as you say, Ryan, let's see what the critics have to say.

5:23

Yeah, it's. There's going to be a disparity between.

5:40

That and what as there often is.

5:43

The junket people are saying on Twitter. Right. Obviously we know these actors are both global stars. I think this is really. You would argue that it's Elordi's first chance to really prove that he can open a movie. I mean, we certainly know he can open a TV series like Euphoria or a streaming movie like, like Frank.

5:45

Well, let's look at Euphoria a different way. Euphoria built him. Euphoria turned him into a name. And then he has slowly but surely and I think rather effectively picked projects and earned his keep. Jacob Elordi has been paying his dues. He's been going, you know, and he's a lovely guy if you meet him. I mean he's very smart, he's very well educated at erudite and you know, he's one of those actors who actually knows something. So. So I, I give him all due credit for making himself into. Into a movie star. Even on, on Frankenstein, you know, he made himself a more marketable figure and.

6:03

An Oscar nominee, obviously. But I guess, yeah, what I'm saying about Euphoria is it's. There's been such a chasm between season two and the season three coming this spring that it has opened up this gulf of scrutiny around Sam Levinson and the quality of the series itself. But the now sustained interest in people, obviously Z, Sydney Sweeney among them. Among them. Jacob Elordi now also is obviously going to bring people back to that show despite the long time since we last saw it.

6:45

How do you know that this new season is going to be bad?

7:13

I don't know that it's going to be bad, but what worries me is how much money HBO has put into it that there is a lot of excess on the screen and well, we're talking about Wuthering Heights. That doesn't always a good successful movie on its those terms make.

7:17

Okay. All right, I gotcha. So, Brian, you were in Park City for the first half. I came at the end to sort of chronicle the last few days in Park City. What were some of your feelings as Parks as Park City? Sundance came to a close.

7:32

I haven't been going for decades. I've been six times, I think, in my career. So I don't feel the same surge of melancholy maybe that other people do. Also the fact that my father bought a house in Park City. So everyone is like, oh, we're never coming back here. Meanwhile, I'm like, I'll probably be here every year for the rest of my life.

7:50

Are you a skier, Ryan?

8:09

I am. I hadn't skied in a while, but I recently recharged that muscle and found that even with 15 years between now and the last time I skied, I got right back on the slopes.

8:11

That means you were like 15 years old. No, I'm kidding. You were 20 when you skied last.

8:22

Right.

8:27

There you go.

8:27

But it is like getting on a bike. Yeah. Obviously there is an elegiac atmosphere hanging over the whole thing, you know, whether at parties that people knew would be the last of their kind, like John Sloss's Big Sinitic Bash or last screenings in these legacy theaters. My last screening was Chasing Summer in the Eccles. I wasn't misty eyed over it, but I did wonder if I would be back in there, you know, of all places. The other thing is, is that these theaters aren't operational when Sundance isn't going on. I went to Park City last summer. Holiday Village completely closed. The Egyptian is now an event space. I heard that they're demolishing the Holiday Village. So that even adds more kind of grimness to this whole farewell. I do hope that Boulder addresses issues with centralization. This last time I found it to be exhausting. It's. It's a hassle getting around there and, and Boulder sort of promises to rectify that with, you know, also the fact that it's close to a university. So there, you know, there's more going on in terms of, you know, things to walk to and places to hang. It's really hard to find somewhere to just hang out with someone and get your work done other than going to your condo and Sundance, wouldn't you say? That's true.

8:28

I was very lucky because I was staying at the Sheraton, which is sort of the festival hub. So when I went to my last screenings, back to back at the Eccles, I took my shortcut and I showed my friends the shortcut to the Echols from the Sheraton. You know, I mean, I remembered all these things. I know I know how to get around. And. And it was. It seemed there was no weather, so there was no snow, there was no ice, there was no slippy slidey. You Know, slushy stuff to worry about. So I was sort of overdressed. I had my, my bean duck boots and, and my heavy coat. And it was only in the 30s, so I, I, I, I would work up a sweat, you know, walking, walking around. But yeah, I mean, I'd been going since 87 or something, you know, so every year I could get there, I would go and, you know, have fond memories of sitting in the back of the Holiday Cinema with Bingham Ray, my festival buddy, the late, great indie distributor, you know, and everybody just was discovering movies they didn't. Nobody knew anything about anything in advance. You couldn't look anything up. So it was really fun to be in that discovery mode and, you know, see Ashley Judd, you know, in her first movie, or Kerry Washington in the lift. I mean, you would know that these people were moving on to great things. Sam Rockwell. Yeah. Jennifer Lawrence in Winter's Bone. Yeah. So this was, you know, I remember, you know, crawling to the front of the Holiday Inn and Holiday Cinema and sitting with Janet Maslin on the floor for Nicole Holliff Centers. Walking and talking, you know. Anyway, so there was some of these comments, I'm telling you now, I ended up making at the closing event, the culmination, which Eugene Hernandez and John Nyne brought all these people up on the stage one at a time to talk about their Sundance experience. And it was very, I was very honored that they included me. And it's true, I've been covering it for 40 years. What are you going to say, you know, because I was covering the rise of the independent movement. That was my thing back in, that's what made my name, if you like, back in the day when I was at LA Weekly and Risky Business and all that, all that stuff. So, yes, I took a bus. I took a city bus down Park Avenue and I drove by the library, and there are all these different condos where we stayed over the years, where we gave our Indiewire chili party, you know, back when we did it ourselves, when Dana Harris made the chili herself, which was, you know, delicious. You know, I have very fond memories of, you know, schlepping over to the 711 to get food or whatever, you know, so Albertsons, which is no longer there, you know, the Yarrow. So the Yarrow is where I did this very cool thing with Richard Linklater. It was a commentary live on Nouvelle Vague. And we had little earpieces, little mics on our ears, and we. I was basically jogging him. I was giving him prompts, but he was commenting on it. Was like sitting next to. It was really. It was shoulder to shoulder. One of my favorite filmmakers, a movie I loved. And it was really cool to be almost inside his brain while he talked about how he made that movie. It was really something I'll never forget.

9:44

You know, it would be remiss of. Well, I'm assuming that Nouvelle Vogue is going to be on Criterion Collection because that tends to be where these prestigious Netflix titles end up. They should put that as the audio commentary on the Blu Ray.

13:17

I don't know what Sundance did in terms of recording it. They told me to turn off my phone, so I didn't record it, but I hope they did. That's a great idea, Ryan. It's a great idea. But we were aware that a lot of the people in the audience were watching that movie for the first time. So it was like a subtitled French movie and we're talking over it, right? And so a lot of people. I felt like we were interrupting them in some ways. You know, they laughed, they would respond. You know, it was an interesting. It was a weird thing where we would say something and this whole audience at the Arrow would laugh or whatever. It was interesting.

13:30

And the sound from the movie was running also.

14:10

Yeah, yeah, yeah. He was toggling the volume. He was playing with the volume. I let him be in charge, in charge of that. But anyway, that was. That was a cool thing. And. And then it was, you know, I. I realized, like you did that that was the last time I was going to be at the Echols and the last time I was going to take the shortcut, and that was that. That was the end of it.

14:12

Yes. It won't be for me on some level, though. I don't know where I'll be going if I take that shortcut. It was nice to have the Yarrow back for this year. I mean, there were other theaters that were lost, like the Prospector, the Temple. And what sort of happened there is that the second screening of a buzzy movie is like all the way at the Redstone, which is quite. Which is quite a bit of a bus ride or a drive. And so I had a situation where if I missed the first screening of something, it was hard for me to catch up.

14:34

Well, luckily we did have the Portal, which worked at least for the competition films. So I actually managed to rack up a good number of movies over the course of. Of the whole thing. I saw quite more than you would think for me only being there like three days. And the other thing I noticed with the Indiew Our poll, by the way, is that the films that showed at the end, the ones I saw, weren't.

15:02

On the poll because I didn't see the only living pickpocket in New York because that showed after I left.

15:25

And the wait. The wait and Wicker, those three were at the end, which I saw.

15:31

I saw the wait early and I reviewed that one. Well, what we're going to do is we're going to share our top five movies from Sundance that aren't Josephine. Is the weight. Is that on your list?

15:37

No, and I'll tell you why. Because I found five that I liked more and I left off some movies I liked a lot, by the way. I mean, five isn't that many. But the weight to me doesn't rise because it is. So I love Ethan Hawke and he carries it really well. I think he's a movie star. I think he really is. He reminds me of sort of late era Jimmy Stewart. Did you put the weight on yours?

15:48

No.

16:16

Okay. It doesn't rise to the level of Seurat or the. Or Sorcerer. It doesn't have the action bona fides. They're walking. They're walking in the woods and talking. It's sort of a low budget version of what it should have been. It should have been a rip roaring adventure and it wasn't.

16:16

It's definitely constrained by budget. It's also shot in Germany, so there is that. I mean, it didn't. It doesn't have that sense of Americana necessarily that I think it was going for. I don't know. But I only learned that in retrospect. So maybe now, now it's coloring my point of view. I like the energy that ethanol brings to the movie. But now the. There was some coherence and editorial issues I felt with it, where they need to go back in there and make some trims. Because there were a lot of things that kind of didn't make sense to me. Suddenly people would be in places where I didn't know how they got there. I mean, the basic idea of the movie is that Ethan Hawke is arrested and then put in a labor camp.

16:36

And this is the Depression. This is the 30s.

17:15

Yeah, depression era. And Russell Crowe offers him the chance to get out of prison and reunite with his daughter before she's shifted off into the adoption circuit. But his task is to smuggle gold with some fellow prisoners and then a Native American woman that also joins with them. But some of these people are shadier than others and they bring a kind of deliverance vibe into the movie as well.

17:17

That's a good comparison also. Yeah, yeah, maybe I just wanted more, more, more thrills and chills than it actually delivered. I mean, it's more like Treasure of the Sierra Madre where you don't trust anyone and you know that they're carrying these big packs full of gold bars and that, that gold is what everybody's looking to end up with.

17:43

It's a bit of a slog. And that's, I suppose that's apropos for a movie about people walking with gold bars.

18:07

So what's your number five, Ryan?

18:14

My number five is a movie called Harapeo directed by Efrain Mojica and Rebecca Zweig. And this is a documentary set in Mexico about queer rodeo cowboys. And there is verite celluloid footage mixed with sort of not quite reenactments, but moments where these guys are being more directed. And it's 70 minutes. I don't know what the future is for this movie, but it's very tenderly told and directed. And it was on the platform. It was in the next section. There were not that many queer movies at Sundance this year, to be honest. At least that I saw. But this was a standout.

18:17

All right. My number five. I saw a lot of documentaries. I saw more documentaries than, than anything else. My number five is called the Oldest Person in the World from Sam Green, who is a favorite of mine. What was the name of that movie that he did about sound?

18:57

32 sounds.

19:16

Thank you. 32 sounds was one of my favorite movies of that year. And he turns them into events. And what he does is he edits together what might be very disparate footage that he's shot. He's also a very good filmmaker, so it's all quite beautiful. In this case, it's a very personal. He's tracking the eldest people in the world and each one of them dies. And then he moves on to the one who's the next oldest person in the world. But he's also tracking his own child and his own cancer diagnosis. And it's a very beautiful movie and I loved it. And the other movie that it compares to is the History of Concrete, which I'm not including from John Wilson, a first time filmmaker who has been on tv, has a TV series. This movie does a similar thing. Very similar. But he does, he doesn't do it as well as Sam Green.

19:17

Sorry, I did not see that one. I hope to. Whenever it comes around when someone buys it at some point in the year.

20:12

I wouldn't, I wouldn't Count on that.

20:22

I'm not counting on it. I'm not counting on a lot of these to be bought. So as we've. We've learned we've been scorned before. My number four is. I turn. I came around on this one after finding it kind of annoying when I was watching it. Wicker.

20:24

That's my number four.

20:40

Yeah. This is a body folk tale in the kind of Jeffrey Chaucer, Edmund Spencer Vane, even though it's not quite clear where in space and time we are. But it's a fantasy village somewhere where Olivia Colman is a fisher woman who tasks Peter Dinklage with weaving her a husband out of a basket. And he's played by Alexander Skarsgard, who I think gives a really charming performance.

20:41

He's.

21:03

Yeah, he's great in this. And he was also in the moment at the festival, which I think was less successful, but he was great in that kind of riffing on his succession character a bit.

21:05

He can do no wrong with me right now, Mr. Skarsgard.

21:15

I agree. I agree. I love everything he's doing. So this is your number four also.

21:17

Yeah. So I would just say that Olivia Colman is great in it, and so is Dinklage, and so is. So is Skarsgrd. But what's great about this movie is that what. What they model is what a good relationship might be. He's devoted to her and he gives her great sex and they break the bed. And. And everyone in the village, these other women who have horrible relationships with their husbands, everybody's thrown off, everybody's out of whack. They don't have this. They. They. They don't even understand it. And I love that. It's a satire. It's a. It's. It's very effective, I think. Very well written.

21:21

My next one is going to be the Friends House is Here, which was in us, dramatic. And that's directed by Hossein Keshavarz and Mariam Atay. Hope I got those right. And this is another of those made in secret Iranian dramas where, you know, it's about women who. We see them not wearing the veil. And so there's a bit of resistance there. But I think when you think. You think Seed of Sacred Fig, you think it was just an accident, though. Obviously there are so many Iranian movies. But before that, this one is more in conversation with Abbas Kirstami and it ends up being more also in conversation with Jacques Rivet. I would say it's a kind of droll slice of life about two Female artist friends that are together sort of plotting to emigrate out of the country, ultimately with varying success. And David Ehrlich, our critic, compared it to Francis Ha. And I think that's, that's accurate. I think the barrier to entry for this movie might be challenging, but it's a really lovely.

21:59

You make me want to see it. You definitely make me want to see it. My number three is Time and Water from Saradosa. I think we talked about this already, which we remember her from Fire of Love. And she uses a similar technique where she has a narrator who is in this case a local Iceland activist, eco activist. And he's lovely. And it all goes to the last little glacier. This is about the first little glacier to die. And we go inside other glaciers. They have a very talented cinematographer and we see them dying, we see them melting and we realize that this is going on across the world, that the glaciers are not going to be with us forever. And it's a beautiful movie. It really brings you up against what we're looking at, which is a lot of extinction.

22:57

Her last film, Fire of Love, was more engaging on a narrative level. But I think this is visually a very beautiful movie and I think it'll be an awards contender. We talked about.

23:56

I agree with that. It's a Nat Geo has it. What's your number two?

24:06

My number two would be the History of Concrete, directed by John Wilson. I come into the show already as a baked. I'm sorry, this film already.

24:09

Did you not say earlier that you didn't see it? Oh, you didn't see the Sam Green?

24:17

I didn't see the Sam Green.

24:23

Oh, I don't know if that's clear. Okay, go ahead. Go ahead. Sorry, I misunderstood you. Go ahead.

24:24

Yeah, yeah. Well, we'll, we'll, we'll look back at that part of it. Yeah. My number two is the History of Concrete, directed by John Wilson, which is very much like his HBO show that ended after three seasons not too long ago. And I wouldn't say that the show, the film is. It's not him picking up the scraps of what he didn't, you know, wasn't able to achieve, which, which he ended his show on his own terms. But it does feel like a feature length version of one of these episodes that really takes you on a wending path from him starting with the ambition to make a documentary about concrete to then it becoming this very kind of this sort of sad, melancholy commentary on death and impermanence, which we learned for the movie that this material really only lasts about 40 years until it starts crumbling. So that. That lends itself to some poetic asides. And he has this great collection of archival footage that he uses for all these visual puns. It's just very.

24:29

Well, he's very clever. He is very clever. I laughed out loud a few times at some of. But he also seems to revel in. In how foolish and. And stupid a lot of people are. He just. He interviews people with. With. Of sincerity, and they reveal themselves. It's a little disturbing, but there's one guy who's a musician who I was very moved by. I was moved by that guy.

25:27

Yeah. There's a twist about him that is totally kind of shocking that I won't talk about here. But you're right, John Wilson is not laughing at these people, but he gets them to. I don't want to say embarrass themselves, but they do a little bit.

25:53

They do. I'm afraid they do. All right, so my next one is the only living pickpocket in New York, which is from director and screenwriter Noah Segan. And let's be honest, I'm the target audience for this movie in the sense that I grew up in New York. This movie has a really 70s flavor to it. It has a jazzy soundtrack that you would see from a movie like across 110th street or something. And it's. John Turturro plays this aging pickpocket who, at the wrong place and the wrong time, lifts the wrong thing, and he gets into serious, serious trouble, and he has to figure his way out of it without hurting his family or getting, you know, or himself. And it's a very beautiful, very sad movie, but he's very clever. And so we get a kick out of that. We get a kick out of his ability to wrangle himself in these situations and turn the tables on people. So, John, the other people in it are Steve Buscemi. He's wonderful in it. And there's even a cameo from Jamie Lee Curtis, who's fantastic in that last scene in the movie.

26:07

There's often a cameo from Jamie Lee Curtis. I feel like these days I'm dying to see this one. It played after I left. Maybe I'm not the target audience, but I love all these actors, and John Turturro is one of my favorites. The other day, I was on the 4 train in New York, and he was on it next to me. I was very, very touched by that. That he's riding the subway. He would, though.

27:22

He would. He would. New Yorkers do that New Yorkers do. It's easier than taking a cab. Taking cabs or Ubers is just a frustrating experience in New York. If you're smart, you know that you don't. You don't do that. What's your number one, Ryan?

27:41

Well, I think I know what your number one is going to be. And so, and I'm.

27:55

I think it's the same movie.

27:59

Well, I'm going to just go in a different direction so that you can talk about that one. But the one I wanted to point out that Neon bought, it was like the first buy to actually happen. On the ground in the festival is literally Leviticus, directed by Adrian Karela, a queer horror movie in the vein of It Follows that features Joe Bird, Stacy Clousen, who I'm not as familiar with, and then Mia Vasikovska, who is back on screens. And it's. It has flaws. Certainly the lore is a little confusing. It's about a conversion therapy camp where the. You are sort of possessed by being haunted by a specter of the person that you desire the most. And so these teenage boys desire each other the most and both go through this therapy camp. And so they are very confused about if the person they are being intimate with is the actual one or not. And most of the time it isn't. And it's a very creepy and moving film. And like I said, there was kind of a dearth of queer movies at the festival, and this was certainly the standout. What's your number one?

28:01

You tipped me to this one. So I watched it on the Portal and I ended up liking it the best. That's. It's called Closure and it's a Polish movie from Michal Marzak and he hasn't directed for a long time. And he. There's a good story that Chris o' Fault did on Indiewire about how this movie got made and everything, but I will tell you in all honesty, I wasn't paying that close attention to which section it was in or whatever. And I was watching this movie thinking it was a fiction film. That's how beautiful it is. That's how well shot it is. That's how good it is. And we're following this man who's a father whose son has died, who probably jumped off a bridge into. Into water. And we follow him doing all of these obsessive things, trying to track where the body ended up or where he could find the body. And he, he needs to get closure. He needs to. To end his questioning about how could his son have Done this. And what did he do wrong as a father? And it's. And then there's this mom. He's sitting by a campfire, and he's talking to someone. And I went, oh. And I looked it up, and it's a documentary. It's a documentary. So this filmmaker is in the boat with him and on these. All these different, you know, missions with him and. And camping with him and shooting him. And it's. It's extraordinary. It's an extraordinary movie. And. And I was very moved by it, but it's also a very skilled filmmaker.

29:04

Yeah, this is a beautiful movie. And, you know, this director, Marshak, had a movie 10 years ago that I also love that was also at Sundance called All these Sleepless Nights, which was about sort of reveling teenagers on the cusp of adulthood in Warsaw. And it was the same situation where it could pass for a fiction feature. So much so that he was primed to do a fiction movie afterwards. But then he realized, you know, he found this story and realized that his heart was in documentary. Yeah. I really hope that someone buys this movie. Does it have a theatrical future? No, but I could see this being in the conversation as definitely among the year's best documentaries.

30:41

I would like to see Poland submit this for best documentary. And there's another. I mean, or excuse me, for foreign language international feature. But there's also another one that I saw in the world cinema dramatic competition called hold on to Me, which was from Cyprus and was very good. A father daughter story. I could see that being submitted also. You know, it's sort of a question of, you know, Ken tends to be the big. The big kahuna when it comes to. But any, you know, any movie that. That gets this gets into Sundance or Cannes has a leg up in terms of getting some attention from their home country. So, Ryan, what movie is opening this weekend that we should see?

31:18

Well, the funny thing is that we are in the February moment where all the movies opening are movies that opened previously in limited release to qualify for awards. It's funny, I got asked. I got invited to the Seurat premiere this week, and I said, we're still really mirroring Seurat. I feel like I saw that a year ago. I didn't go. And I felt like I've been to many premieres of Seurat since then, but I guess the one. So that's opening also. Finally, Pillion is opening in a wider release at a. You know, I. I was hoping this would be a Christmas or a Valentine's Day movie, so it'll settle for Valentine's Day. We've talked about it many times. Alexander Skarsgard, whom we just Professor Love for, and Harry Melling, who we also adore, are in a BDSM relationship. But it is not one of. Founded upon degradation, as the other one that we discussed potentially was today.

32:12

It's a lovely movie. And. And I got to talk to Harry Melling. You spoke to the director and to Skarsgard.

33:07

Yeah, I gotta file that.

33:14

I. I ended up filing mine first. Ryan.

33:15

Yeah. Good. You did good. You did good. I've got one more take.

33:19

All right. Talk to you next week.

33:24

Okay, bye.

33:26