043: Navigating AI in Filmmaking, ‘No Way Out’, & Sidney Lumet

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
I have declared or against my brain in order that
won't don't seem.

Speaker 2 (00:07):
Too So long as I know they will be.

Speaker 3 (00:13):
The start, I don't have to protect.

Speaker 2 (00:23):
Like you'll be talking or jim will be talking, and
it'll like it'll take like two to five seconds and
like smash it together. Do what It'll take like two
to five seconds, like this broadcaster and it'll like smash
your words together, and then it'll like yeah, and then
it'll like throw everything out of sync and I'll have

(00:45):
to like realign it.

Speaker 1 (00:46):
But why while you're doing the podcast?

Speaker 2 (00:48):
Yeah, but I can't tell when I'm recording it. It's
not until I go back into the recording and I
look at it and it's like because i'll a'll align it,
you know, so it matches up with the audio video
and then all of a sudd and you'll be out
of thinking what's going on and I'll have to go
back and for some reason, like it's not a huge deal,
but yeah, I got to figure out what's wrong with it. Yeah,
this thing is like ten years old.

Speaker 1 (01:08):
Yeah, it's a cost to reprice.

Speaker 2 (01:12):
I have another one, but even that one's like a
little if you too, Jimmy there.

Speaker 3 (01:17):
Yeah, ten year old base should be a handful, especially
when you just get them back from camp, like like
last Nut.

Speaker 1 (01:26):
Yeah, well we just got back from camp, and of
course he's spent just got back from camp, and of
course he spent all this time with other children and
had a great time at camp, it seems. And uh,
but he's come back with some sort of fever. This morning.

(01:48):
I went in and you know, I felled him and
and you know, he was not up and around doing
his usual ten year old thing, and yeah, the fever.
So uh so he's back from camp and had a
good time in camp, and uh he's he's ten, and

(02:11):
he's uh, he's going to be kind of laying low. Hopefully,
hopefully I don't pick it up. Knock Wood. Yeah, I've
never seen him. I never really seemed to get sick.
I might, like my mind like that goes and that'll
put me down for a few days. Oh.

Speaker 3 (02:27):
He was kind of a kind of a live wire
when he showed up in our conversation Breekly last night.

Speaker 1 (02:32):
So do you remember exactly what it was we were
talking about. We were talking about No Way Out and were.

Speaker 3 (02:39):
About a car chase in the movie, and he said
that would be hard to do.

Speaker 1 (02:45):
What it doesn't make me? That is that doesn't make
much sense to me? Is what that was kind of
like more thean vibe that whatever he said that.

Speaker 4 (02:54):
Didn't make any sense and he didn't even see the movie.

Speaker 1 (03:04):
Well that's what Gim and I were just talking about. Yeah,
well yeah, since we brought that up. I mean, I
you know, I had we had a couple of days
when Dasher wasn't around and Jennifer and I were looking, Hey,
let's watch a movie or whatever, and I just were
looking and all of a sudden, I see No Way

(03:26):
Out and I was like, oh, wow, you know what,
I've never seen. That movie got Gene Hackman and Kevin
Kostner and it was a pretty big hit, you know,
as I recalled, And so I put it on and
UH just was like thoroughly disappointed in it, and just

(03:49):
like I was really surprised that that helped catapult Kevin
Costner because it was and Gene Hackman looked, God, he
looked like he didn't want to be there. He didn't
get like, you know, like like when I when I'm
in a Western, it's bad, Like every day that we're shooting,

(04:13):
my hat gets a little lower covering my face. You know.
That's Gene Hackman. Seemed to have a paper, you know.

Speaker 3 (04:22):
Prop in the room that he can hide behind the
lamb power ball, right yeah, ye, even his hands he
put his hand up.

Speaker 1 (04:31):
He's just done the French connection and you know the Yeah,
what's the movie he did with al Pacino. That was
kind of good that the two of them were kind
of wandering around Scarecrow Scarecrow who directed Scarecrow.

Speaker 3 (04:42):
I think Jerry Schantzburg, I can't I can't be positive
about that, but.

Speaker 1 (04:49):
Yeah, yeah, yeah, uh it's it's it's an interesting movie.
But anyway, he looks like, yeah, I you know, I know,
I know the feeling of not wanting to be there,
and he'd really looked to me like he didn't want
to be there in that movie. And I was just

(05:12):
surprised that. I just thought it was clunky and and
maybe it just has an aged dwell. When I went
back and looked at the box office, it did okay,
but it wasn't like a monster hit, which is kind
of what I thought it was at the time. I
thought it had done very well and I thought it

(05:32):
was that, but I guess it was that in Bull Durham.

Speaker 3 (05:35):
But he made it around the same time in eighty
seven that he made Bull Durham and The Untouchables. So
he had, you know, like three movies in the theaters,
bang bang bang, and they all, you know, generate a
decent box office. They certainly generated good word of mouth
Bull Durham, especially.

Speaker 1 (05:57):
Bull Durham out.

Speaker 4 (05:58):
Yeah, yeah, yeah, kind of made him a star.

Speaker 3 (06:00):
But but he did Bull Durham and No Way Out
for Orion, and Untouchables for Paramount. But he made all
three of those in the same year, and he had
been kind of percolating around Hollywood. You know, he'd done
a couple of small movies before that, and he was
in he was in that movie, The Big Chill with
that that great ensemble cast, except he got cut out

(06:22):
of it. Only yeah, part of him that remains is
his corpse when they're dressing it for the funeral at
the beginning of the movie.

Speaker 1 (06:31):
The director made it up to him by putting him
in Silverado, right.

Speaker 3 (06:34):
Yeah, Lawrence Kavstan then cast him in Silverado. And so
he had made Silverado before, uh, No Way Out, but
he was he was again, he wasn't the star of Silverado.

Speaker 4 (06:44):
He was one of the.

Speaker 1 (06:45):
Casts Kevin Klein and Silver. I think Kevin. I think
Kevin Klein was not a very successful movie, was it.

Speaker 3 (06:53):
No, huh, I've seen really clunky and phony and I
don't know what the hell. I think Kasdan was more
in love with the genre of a Western than actually
making a good one, you know. I mean, I don't
remember a thing about it.

Speaker 4 (07:08):
But do you.

Speaker 1 (07:12):
I don't think I ever saw it, you know. Okay,
That's why I never saw no way out there certain
actors that were, you know, becoming movie stars because of
certain movies, and they were the people that were my age,
like Kevin Kostner, and I would be like, fucking want
to watch that fucking movie? Fucking you know, like, how

(07:34):
come how come him and that one? How come he's
turned into a movie star. I'm not gonna watch the movie.
I'm not gonna support the movie or either that or
I knew it would make me feel bad. Same with
Alec Baldwin. I told Alec Baldwin for the first time
I met Alec, I was like, you know, I haven't
liked to tell you I've seen all your movies, but
it was quite a few. My choice. Yeah, I was

(07:59):
too jealous at the time that you were turning into
a movie star, and I couldn't figure it out. But yeah, no,
way out. Wow, that really was and it's long too.
It's not a plot.

Speaker 3 (08:13):
I mean, I think I responded more favorably to it
back then than I did now because I found it
really clunky, like you said, clunky and stupid. Really, I
don't know that crazy subplot. This is no spoiler alert,
but the crazy subplot that Hey, at the end of
the day, he winds up being a Russian spy.

Speaker 1 (08:35):
Yeah, he's our.

Speaker 3 (08:36):
Heroes through the whole thing. He's the guy who're rooting
force through the whole thing. And it turns out that
he's actually a Russian spy. Well, that kind of undercuts
the whole point of the movie, doesn't it. We find
out in the last scene of the movie that he's
a Russian spy. What's the point of what we've just
been through.

Speaker 2 (08:53):
I haven't seen the movie, but that sure sounds like
a spoiler to me.

Speaker 1 (08:57):
Wow. Yeah, I mean, not giving anything away, I believe. Yeah,
it should have it should have been we should have
known more about that at the beginning of something to.

Speaker 3 (09:07):
Do with the movie, you know, I'm not giving anything
away truly. The ending has nothing to do with what
preceded it.

Speaker 1 (09:13):
Yeah yeah, yeah, yeah, yeah, Like the bad guy gets
his come up and send uh the good guy is
the good guy, and then they just kind of tack
this thing on the end that.

Speaker 3 (09:24):
Uh and then and then he he's it's an interesting
premise and that he's sort of like a he's assigned
to investigate a murder in which the more he investigates it,
the more he uncovers evidence points at him and at
his own self, even though he didn't commit the crime.
So that's an interesting kind of a hitchcocky and dilemma.

(09:44):
But but it gets undercut at almost every point in
the plot. The plot's really hard to follow. There are
a couple of bad guys who keep chasing Kevin Coffts.

Speaker 5 (09:53):
And were never really sure why whether they were described
this as the CIA and uh like like kind of
bad bad news from the Contra days.

Speaker 1 (10:03):
Wasn't that some men of like.

Speaker 3 (10:08):
All these guys are bad? Yeah yeah, And they chased
him all over the streets of Washington, and then they're
in the same office together.

Speaker 1 (10:14):
Yeah.

Speaker 3 (10:15):
Two minutes later they're standing next to each other in
the same office.

Speaker 1 (10:19):
Yeah, after they chasing him around with a gun in
the previous you know.

Speaker 3 (10:24):
Jumps off a bridge onto a tree, and you know
all kinds.

Speaker 1 (10:28):
Of Yeah, yeah, that was my ten year old dad.
That didn't make any sense. It was just sucking to
gim on the phone, dash and walk mind listen for
about about about ten seconds and just listen to me
describing Somethingshill said, that didn't make any sense.

Speaker 3 (10:48):
He jumped off a bridge onto a tree. That didn't
make any sense.

Speaker 1 (10:52):
You know, That's just what Jim and I were talking about.
I hate Jim. Did you chance to look at that
art that I said that I sent you?

Speaker 4 (11:03):
My God, that thing is long.

Speaker 1 (11:08):
Crime I did.

Speaker 4 (11:11):
I did finish it.

Speaker 3 (11:12):
Yeah, I did read all of it. And it's kind
of funny. It's it's it kind of argues on the
one hand, on the other hand, you know, on the
one hand, it can be a blessing, on the other hand,
it can be a detriment. And so there's a lot
of of of that sort of discussion in the article,

(11:33):
I thought, but I think it had some some interesting.

Speaker 4 (11:38):
Aspects.

Speaker 3 (11:38):
They talked a couple about a couple of you know, filmmakers,
Jim Cameron being one who seemed to be kind of
embracing AI and I know Cameron. Did you read the
part of the article where Cameron is quoted.

Speaker 1 (11:51):
Well, I didn't read the part of the article where
he is quoted. You know. I got it was this morning,
so I was, you know, dealing with with my son,
who was not, who was not? Who's sick? And you know,
I started reading it and I saw Jim Cameron's name
at the beginning, not the beginning, but like four or
five paragraphs in where they mentioned that Jim was messing

(12:14):
around with it. This is okay, just sorry that this
goes off. I don't care, like it's all right, all right,
my phone, my phone's going off with my phone. My
ring tone on my phone is Have we.

Speaker 2 (12:35):
Talked about David Bowie and extras?

Speaker 1 (12:37):
Yeah? Yeah, yeah, we talked about this.

Speaker 2 (12:39):
Yes, your phone goes off enough times that this conversation
has come up a couple of times.

Speaker 1 (12:46):
Uh uh So anyway, yeah, I saw this article today
and I thought like, uh, well, wonder what this is.
And I got, you know, a few paragraphs into it,
and I was dealing with dash Ll. Plus I started
kind of like not understanding when I was reading. So
that's when I turned stuff over the gym and say, hey,
can you like, like, you know, dummy this down, you

(13:09):
know for me, can you read this and then tell
me what, you know, what they're talking about? Was there
any when Jim was quoted? Is that later on in
the article? Because I just read that he was like
sort of Messinger And you know, it doesn't surprise me
if anybody was going to be using AI to help

(13:34):
make films the way that they want to make them.
I can't think of anybody that would be any any
more interested in that than Jim, you know, I mean
it just oh, he's probably been using AI, you know
since about nineteen ninety. You know, you know, we don't

(13:59):
know there's there's so much that that it can do.
Now it seems you know, I had an idea. Uh.

Speaker 3 (14:08):
He's quoted here as saying, if we want to continue
to see the movies, I've always loved big effects, heavy
CG heavy films. We've got to figure out how to
cut costs of that in half. He told the podcasts recently.
That's my short of vision for AI. That's Cameron talking.

(14:31):
So he's talking about using it to help you know,
reduce production costs for the kinds of you know, spectacular
movies that he likes to make right right, and so
you know, you certainly see a lot of that that
It's interesting. The article talks about how it puts studios
in the position of being attracted to AI because of

(14:54):
the fact that it can help reduce production costs. By
the same token, AI relies on material that they own.
They I mean, a studio like Warner Brothers has hundreds,
if not thousands of properties that it owns that AI
has trained on. So they're sort of using a they're
kind of cannibalizing themselves, and they're worried about that, you know. So, uh,

(15:16):
it really is something. It's a tool that we have
a quite figured out how to use.

Speaker 1 (15:21):
Get you know, is.

Speaker 3 (15:24):
It going to be a tool or is it gonna,
you know, kind of kind of put us all out
of existence at some point like like like this article
says that you know, at a certain point, AI is
just going to kind of generate off of itself.

Speaker 1 (15:38):
So yeah, I had the you know, I had the
impression just by what I had a chance to read
that they were talking about like AI films period, just
a film that is completely AI right, you know that

(15:58):
doesn't have any any people in it, or.

Speaker 3 (16:01):
We're seeing some we're seeing we're seeing some emerge already.
You know, we talked about the picture that yeah, yeah,
there was a.

Speaker 4 (16:08):
Darren Darren Aronofsky.

Speaker 2 (16:11):
It's not in movies. But recently a band came out,
started blowing up on Spotify and like SoundCloud, everyone started
listening to it. And then after a few months.

Speaker 4 (16:21):
Heard about that.

Speaker 1 (16:22):
I got you know, I gotta check this.

Speaker 2 (16:25):
Your phone's going all right, well, just check it and
we'll come back.

Speaker 4 (16:29):
Hi.

Speaker 1 (16:29):
I'm Dylan, and I'm Bat and I'm.

Speaker 2 (16:31):
Ruby and we host a podcast called bad TV. What
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Speaker 6 (16:43):
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That was fun.

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Speaker 2 (17:18):
We're back now.

Speaker 1 (17:18):
Okay.

Speaker 2 (17:19):
So yeah, we were talking about AI and I was
talking about how a band recently got very famous or
a lot of people started listening to it, and turns
out the whole thing was AI. None of those were the.

Speaker 1 (17:27):
Band the band, So what was the band?

Speaker 4 (17:30):
Let me look, do you know the song?

Speaker 2 (17:32):
I didn't hear any of the songs.

Speaker 3 (17:34):
There's a song reference. There's a song referenced in the
article in the article here, uh called dust on the Wind.

Speaker 1 (17:43):
Uh, well, I know that's what it sounds like, dust
in the wind.

Speaker 3 (17:49):
I know, bad song AI about it.

Speaker 1 (17:52):
They changed it down, you know. Yeah, but this is here.

Speaker 2 (17:55):
It was called the Velvet Sunday little bit.

Speaker 3 (17:59):
Yeah, the Velvet Sundown and the band Spotify hit Dust
on the Wind, and that they refer to that in
this article I'm reading. Bringing a hint of that new
map this summer is the AI provocation. The Velvet Sundown
and the band Spotify hit Dust on the Wind. The
song offers a glimpse of a coming world of creativity
where the risk Award for Human Centric Work rarely adds up.

Speaker 1 (18:22):
Well, basically, we are now talking about a song that
gets goes out there that's completely AI generated and goes
on and is a big hit on Spotify. Right, I
mean that this is like the first time that I've
heard of of an AI generated song that is, you know,

(18:46):
kind of dominating the the the music, you know business,
and that's you know, that's every it's like every day
something happened. Every day there's there's something like this that
happens that that it. So that's one song, but a

(19:09):
year from now, there'll be thirty of them, and the
song the songs I would think would be like, oh
the a I will know, Oh, this is what people
listen to. These are the catchy kind of things that
people have been listening to for the last hundred years
and this is what they like. So they'll you know,
put those things together and throw that back at us.

(19:32):
And that's what we're gonna like, right, I mean.

Speaker 3 (19:36):
And you can find tune it too. You can say, well, no,
a little bit more Steely Dan and a little bit
less Dowie Brothers and sow in some of this and
so and something you know, and you can you can
keep playing around with it.

Speaker 1 (19:48):
I mean, if you're a young musician right now, I mean, yeah,
here's the thing too, And I've talked to young filmmakers
and I've talk to Alex about being an actor, and
you know, everybody says, well, yeah, they'll be that. But
you know, there will always be a place for the creators,

(20:11):
the creators, and there will be, but it won't be
where all the money's going. All the money will be
will be going towards the AI hits or the companies
that make the AI hit uh uh, music wise, And

(20:32):
I just can't imagine that's not happening with film too,
because I've always said never, you know, never underestimate you know,
America's uh uh sense of like, oh this is a
great movie. I'm going to go see this movie. I mean,
look at what we're all watching now. And so you
don't think AI can like match you know, some of

(20:52):
these markets.

Speaker 2 (20:53):
Like the one thing that's probably just a counterpoint to
that is there is something to be said for like
the amount of time and energy and artistic artistic endeavors
that are put into films and music and whatnot. So
when something comes out that is either all AI or
mostly AI, and people go like, oh, this is good,
this is catchy tune, and then you realize, oh, this

(21:13):
is AI. I think a lot of people go like hmm,
like no, I'm not down anymore. Like once you discover like,
oh yeah it's catchy and it's good, oh but it's
all AI, then we go like yeah, okay, I'm well
and you make.

Speaker 1 (21:28):
A good point. But if I'm the company, then I go,
don't tell anybody it's AI.

Speaker 2 (21:33):
The Internet's going to figure it out eventually, like they'll
figure it out.

Speaker 1 (21:39):
Okay, Well you've already said that there was a band
that that everybody thought was a real band and and.

Speaker 2 (21:47):
And then they figured it out. And I don't think
anybody's gonna go listen to the Velvet Sundown anymore because
because of it.

Speaker 1 (21:53):
Okay, all right, well we'll see. I mean that's what
that's what? Uh you know? Uh? Jim, I I had
an idea. You've got like chat whatever it is, g
g GDP, Right, do you have that? Do you use
your you use the AI on your phone at all?
Because I don't know how to do it, Jim.

Speaker 3 (22:18):
I don't, No, No, I don't. I don't intentionally use
it for for anything. I have an iPhone sixteen now,
so that when I look up something, you know, on Safari,
usually the first response I get is AI generated. So
that might help to steer me toward maybe other sources

(22:39):
to look into, or it might just give me the
answer I'm looking for right than that. So in that respect,
I use AI quite often, but that's mainly just for
for searching topics and and for googling. In terms of
the work, I do very rarely. But but sometimes if
I'm asked to look at a script and give some notes,
I'll run it through an AI program and see what

(23:02):
the AI coverage looks at. And I don't really use
it much. I don't use it as a guide. I
certainly never take any passages or words from the AI coverage,
but I'll look at it and see what the AI
coverage says and you know, and then just kind of
go my own way with it, do my own thing.
What AI AI coverage can be pretty good, summarizing a screenplace.

Speaker 4 (23:25):
Rising a book.

Speaker 3 (23:25):
It can be really good and very thorough. What what
it's not is very creative.

Speaker 4 (23:31):
You never see the.

Speaker 1 (23:32):
Creative at all. Jim is, there's no creativity at all correct.

Speaker 4 (23:40):
No, not much as I can see.

Speaker 3 (23:42):
It's it's it's it really depends on who's prompting it,
you know, and what kind of training it what what
models it's been trained on, what input it's been trained on.

Speaker 4 (23:53):
But but no.

Speaker 3 (23:55):
I mean I don't see any I never see anything
coming from AI coverage of a book or a screenplay,
for example, but says, how about if we change him
to a her, or how about if they rob a
bank instead of a train.

Speaker 4 (24:09):
How about if they do this?

Speaker 3 (24:10):
You never see anything like that that might improve the
story or or you know, kick it forward or something.
You never see what would be your best what would
be your.

Speaker 1 (24:20):
Best guess, knowing as little about AI as you do,
and you're obviously not. Uh no, how long that will
last where it doesn't make suggestions for another? I mean
you think that.

Speaker 3 (24:39):
Will be that, you know, things advance, things advanced so rapidly,
you know, I think it's only a matter of maybe
months yet before we start seeing some of that. I
don't know how effective it's going to be, you know,
Ultimately it's really going to be up to the to
the artists and to the people who run the companies
to decide what AI output they're going to put out there,
they're going.

Speaker 4 (24:59):
To use, you know, and uh uh, you know, I.

Speaker 3 (25:03):
Sort of trust someone like a Jim Cameron to be
able to to figure out how he's going to use AI,
you know, and and how how it's going to work
for his how it can contribute to his broader vision.
But I don't think he's gonna, you know, look to
AI to come up with whole storylines for the next Avatar,
you know, I don't. I don't think he'll use it

(25:24):
in that respect. I think his his hope and expectation
is to is to cut production cars.

Speaker 1 (25:29):
But there are people like me that are not talent.

Speaker 3 (25:32):
It sounds like basically more c G I, you know.
But so I think it's still we're still in an
uncertain world about this. One of the other directors that
the article quotes is a fellow named Kimoor Bob Menbekov,
who I have done a couple of things for done
a little bit of work for uh development type work,

(25:56):
looking at a couple of books and screenplays of his.
And he's a proponent of a kind of filmmaking called
screen life.

Speaker 1 (26:03):
Are you aware of the screen life? Yeah?

Speaker 3 (26:05):
Screen life where he sort of making movies. He made
a movie called Friended and which I think cost about
a million bucks and returned about seventy million. Okay, but
most of it all takes place on a computer screen,
and it's a real clever kind of filmmaking technique. There

(26:26):
are a number of movies that have been made recently
that sort of follow that that model. And he talks
quite a bit about using AI and how how he
sees quite a bit of use for it in the
way he makes movies. So you know, we'll see, I'll
be very curious to see how he puts it to

(26:47):
you so well.

Speaker 1 (26:50):
You know, if it all seems to me that it's
all about AI developing better AI by putting more money
into it. By putting more money into it, you're developing
that also.

Speaker 3 (27:06):
By by just looking at more work, but just by
absorbing more material.

Speaker 4 (27:10):
I mean, when you.

Speaker 3 (27:11):
When you hear about AI AI models that that have
that have consumed one hundred and thirty five thousand screenplays,
you know, almost every screenplay written, almost every teleplay written,
and that's their their their model, that's their base. My goodness,
you know, yeah.

Speaker 2 (27:31):
Wow, I mean yeah, And you're not even talking about
I mean, at some point it's probably going to achieve sentience. Well, well, yeah,
it's just going on.

Speaker 1 (27:42):
That's the question I'd like to ask Jim. A few
feels that it's going to what's that word? I've got
to remember that word. I can't. I'll never be able
to say it sent like a sentence, sentence, sentence, sentience, yeah, centient, Okay, whatever,
I'm never going to be able to say. I'll just
say that word. You guys, you know that word. That word,

(28:03):
well that you know, if that ever happens, that's that's
the ball game. I mean, it seems to me, But
what do I know. I've got a question for you, Jim.
We'll talk about AI for a moment, Okay, because Jennifer
uses it, uh and I I've used it even recently

(28:29):
to write write a quick note to a director and
it kind of helped me fashion my note and it
got my thoughts the way that I it's basically, Jim,
it's taking your job. When I used to call you
up and say, hey, Jim, I want I want you know,

(28:50):
I want to write a letter to this director and
I want to see I want to say this and
I want to say that at my high school.

Speaker 4 (28:58):
What do I do?

Speaker 3 (28:59):
I right, thank you, yes to my high school for
putting me on their wall of fame.

Speaker 1 (29:04):
Yeah uh uh yeah. Anyway, uh yeah, this is this
was this was a note to somebody, to somebody else.
I got, I got. I got this question for you
about about Ai Jim. Okay, So you and I have talked.

(29:32):
I have talked a lot about it, and I've always
been uh consumed with a movie called Pretty Poison. And
Pretty Poison was a movie that was directed by Noel

(29:54):
Black and nol Black uh and I had a chance
to work together in a television movie very successful called
Deadly Intentions. And I think I've talked about it before
in the podcast the first time I got that crazy,
you know, the first time I got to do that

(30:15):
fucking crazy thing, and from you know, and so one
of the things that I've always felt about Pretty Poison
was that it was a great story that had great bones,

(30:37):
but that it was horribly miscast and Anthony Perkins was
way too old. Uh he was probably in his mid thirties,
where I yeah, yeah, I've always seen that that story
working better if you're talking about a fourteen year old

(30:58):
girl and a old gi Yeah, yeah, that to me. Yeah,
I mean he had gray hair in that in that movie.
In that movie, I mean almost almost like a pedophile away.

Speaker 3 (31:18):
You know.

Speaker 4 (31:19):
Well, I feel like it's interested in that young.

Speaker 1 (31:22):
Well was it Tuesday?

Speaker 2 (31:24):
Well?

Speaker 1 (31:24):
Is that who it was? Oh? My goodness, what a
beautiful I think it was? Yeah, yeah today will Yeah.
So here's my question, Jim. So I'm talking to my
AI chat g t P or whatever g t P.

(31:44):
I'll never get it right. Uh, And I'll say, you know,
give me a script like Pretty Poison and make it
as close to Pretty Poison as you can without infringing

(32:05):
on the right, without without plagiarizing overtly. Yes, and give
that to me. If I asked, I'd probably and make
it ninety pages, ninety pages long. I'd get something back, right,
you probably would.

Speaker 3 (32:26):
It wouldn't be very good.

Speaker 1 (32:27):
I don't expect it to be very good, but it
would be a an outline like a format. It would
be formatted where I could go in and then like
change things and rewrite and I do all that.

Speaker 4 (32:43):
I imagine you could.

Speaker 3 (32:44):
Yeah, I imagine you could have it put out something
in the screenplay format and editable screenplay format that you
can go in there and change this line or change
this scene heading or yeah, I imagine you could. It
could do something like that. Yeah, yeah, if you give
it some bones of a story, you know, give it
the bones of the I could just say, hey, give

(33:05):
me something like pretty Poison. I imagine you probably could.
I'm sure you could, you know, and then oncet moresication
about it than we do.

Speaker 1 (33:16):
And then once you get once it sends you its
idea of a ninety page story that's like pretty Poison,
then you can look at that and read that and say, okay,
well I like this, but I don't like that. Can
you change this? Can you give me different options for this?
Can you give me different options and just keep, you know,

(33:39):
reworking the script absolutely in a way that you will.

Speaker 3 (33:44):
Keep telling it, telling your AI program to do it.
You know, less of this and more of that. Right,
Like that article, that article that we were talking about
starts off by by the person they're interviewing looking at
images and saying more wrath.

Speaker 1 (34:02):
Co and that's an artist, Well that was.

Speaker 3 (34:06):
An artist, Mark Rothko, famous artist. Yeah, more more wrath
co Wes, Suzanne, more Rembrandt, more, you know whatever, just right,
or you know more Scort says, a little less Fieldberg
and more Francis Popeland and more Red darn. And you
can kind of throw these names out there, these references
out there, and see what, see what responses you get.

(34:27):
You can you know, find tune these things. I'm sure
seen by seeing mine by line if you wanted to.

Speaker 1 (34:33):
So you know, well, that's that's how I found. Like
when I wanted to write a letter to a director,
you know, I can't write that's something that did sounds
good and and and so I asked Jennifer, I said, well,
you know, I want to write a letter to the director,
and I want to say just every day. It was
a quick note and I want to say this, and

(34:56):
I want to say that, and I want to say this,
and it spat something back out and I'm like, okay,
well but I don't want that all that in there.
Tell them to remove that, okay, and I want this line.
Then I used my own imagination, to imagination or my intellect,
not that I have much, but to then say well

(35:18):
I want this line there, and I reshaped that letter
from what it originally spat out to something that I
was completely, like really happy with, and go like Okay,
Well that sounds like you know somebody who uh really uh,
that's really what I wanted to say. If I had
tried to come up with that, would it take me

(35:39):
like an hour and a half sitting there writing stuff down?
You know what I mean? Jim? You know what I mean?
You know what I mean. You understand. You wrather it
to me, you rather to me and no, no, no, no, no, no,
that's listen.

Speaker 4 (35:53):
And I didn't.

Speaker 3 (35:55):
I didn't write that for you, do I Well?

Speaker 1 (35:58):
You know what are you there? Yeah? This is a
uh Jim, can you hear us? Whoa Jim?

Speaker 2 (36:06):
Something's going on the gym?

Speaker 4 (36:09):
Have you guys lost me?

Speaker 1 (36:10):
No, Jim?

Speaker 2 (36:11):
Can you Jim? You can't hear us? I think he
probably muted us on his phone.

Speaker 4 (36:15):
No, I didn't.

Speaker 1 (36:20):
Now we can hear you. What happened?

Speaker 3 (36:22):
I think I might have lost Wi Fi and I
had to go off.

Speaker 1 (36:26):
You're not walking around?

Speaker 3 (36:29):
No, but but my WiFi extender is in a little
glitchy lately, and I have it might have clicked out
on me.

Speaker 4 (36:37):
So you guys can hear me, now, can't you?

Speaker 1 (36:39):
Yeah?

Speaker 3 (36:40):
Yeah, I don't need I really don't need Wi Fi
to do.

Speaker 1 (36:45):
What's the what's that canon. What's the name of the
new Aliens Romulus? Romulus and the director.

Speaker 4 (36:56):
Bettie Albarez.

Speaker 3 (36:58):
Yeah, for Federico, I think is his name, but that
he is what he goes by.

Speaker 1 (37:06):
Yeah, and he. I ran into Stephen Lane recently and cool.
Stephen Lange did a movie with him. It's called Get Out.

Speaker 2 (37:17):
Is that don't breathe?

Speaker 1 (37:18):
Don't breathe? I'm right, I know it's two words, don't breathe,
and I read I watched that movie and I thought, Wow,
this movie is like really really really good. And then
I thought, well, this is the guy who did the
New Aliens, and I hadn't seen it yet, just because

(37:40):
you know, I played figured like Jim Cameron's Nobody's ever
going to match Jim Cameron's Aliens. So I watched Aliens
the new movie romy List is Going and I watched
that and I was like, wow, this guy, this it's very,

(38:01):
very very good and there were some really really really
good performances in it, and I thought, like, you know what,
I'm just gonna write this guy a note saying, you know,
I love your movies and it's nice to see that
you've gotten the Aliens franchise back on its feet, you know,

(38:23):
congratulate whatever whatever it was. It was short and I
and then I signed it Stave Frosty, Michael Bean, and
I just you know, I just wanted him to know
that I like, I saw his movie and I'm an
old Aliens guy, you know, and I saw his Aliens movie.

(38:44):
I was like, that was really good. But I had
AI kind of help me make what would have been
a paragraph like two sentences or three sentences really what
I wanted to say. And so I mean, i find
myself being able to use that, and I'm really fascinated

(39:06):
with the idea that you can. You can you can
take a movie like Pretty Poison, give me something that's
like Pretty Poison, okay, and then look at it and go, okay,
I see what you've given me. Now do this to it. Okay.
And then when that comes back and say, okay, I
see what you're done with that, Now do this to it,

(39:28):
and just keep going over that process. And then you,
as an artist or as a writer, then you know
can interject, because you know, I've always been really very
very good at like dialogue, rewriting dialogue. Bullshit meter like

(39:49):
that doesn't make any sense. How do we what is
the author trying to say here? How do we say
that this in a way that's not so clunky? Maybe
use less words. Hey, I don't want uh I've already
got that exposition once. I don't need it again, So
let's not do it again. We're not making movies. All

(40:10):
those factors. Seems to me that if you if that,
and maybe I'll maybe I'll do it as as an
experiment and just see, you know, I mean, it just
seems to me that they'll just keep spitting stuff back
out because the way that I, uh, the way that
I've been using it just to write letters to uh

(40:30):
uh friends and like them. The director of Aliens was was,
you know, uh anyway, it's it's it's interesting to me.
I just don't see I just don't see any I
just don't see any stopping it. Man. I just am

(40:51):
really on that.

Speaker 3 (40:52):
Well, when you read that letter to me, I thought, Hey,
that's pretty good, Michael, I don't remember writing that for you.

Speaker 1 (40:59):
Well that was that that was not Yeah, that was
the only the only other time one of the only
other times I used it is when my high school
wanted to uh put my name on their wall of
fame of famous people that have come out of their

(41:20):
high school. And you know, forty years after my fucking graduated,
they finally got around her, going, hey, what about Michael Bean.
You know, even though my my, my older brother Steve
was a lawyer in towns on thereon his best friend
Brian Sweety, Brian Sweety did end up making a lot

(41:41):
of money and he's real, real, realte classy businessman. And uh,
I think there's some buildings at Asue that are named
after him. You Arizona State University where he went to
university but worked for Procter and Gamble. Uh But anyway,
there's there's a lot of people in that on that wall.
So when they contacted me, I said, yeah, go ahead,

(42:05):
just I don't want to Yeah, go ahead, put me
on there, but I don't want to be you know.
And of course it came back to like then me saying, well,
you know, I don't want to drive to Lake Havasu
and sit through a four hour graduation ceremony so I
could say, hey, thank you very much. And here's my
advice to you kids, was that for fucking Ai, you

(42:30):
got no future out there for you. Learn how to
be a plumber. Learn how to be a plumber, learn
how to be a roofer, you know. So anyway, Uh,
that's that's well.

Speaker 3 (42:52):
I sent you that Hollywood Reporter article about film schools
teaching AI to students who are up, who see no
future for them once they graduate, where they're going to
get jobs. It might be nice to learn about AI
and filmmaking, but if AI is taking over the.

Speaker 1 (43:09):
Tell me again, but say what you just said. Well,
I send you an article from a week or so
ago about AI being taught in film schools and yet
taught them. What's the teaching in film school how to
use it in film production? In film production? Not in writing?

Speaker 4 (43:30):
Well, no, not in writing?

Speaker 3 (43:32):
No, not like not that.

Speaker 1 (43:33):
That wasn't the focus of these okay, introduction.

Speaker 3 (43:36):
The point of the article was, it's you know, these
students in film schools are learning about using AI in
the filmmaking process, except AI is going to render them
no jobs, going to going to create increase, creating a
market where there's no jobs once they.

Speaker 1 (43:50):
Think about being an editor. I mean, how fast is
a I kind of find, you.

Speaker 3 (43:54):
Know, exactly exactly exactly so you know, we we we
really have no idea. I don't think how how how
what the future looks like? Really, you know, I'm sure
it will develop an unexpected way. Some ways we were
prepared for, in some that we are not. It's always

(44:15):
the case, it seems to be. But you know, like
Philip Teymour Hoffman says in Charlie Wilson's Door, we'll see,
we'll see.

Speaker 1 (44:24):
We speaking of Philip Seymour Hoffman. Uh, Caitlin said to me, hey, hey, Dad,
when you know, when you're doing the podcast, why don't
you have a like a like a something that you
want to talk about, because things really seem to go,
you know, all over the place very very quickly. And

(44:48):
I said, uh, okay, and we came up with the director.
Now I'm like.

Speaker 3 (45:01):
Sidney yeah, yeah, Hoffman's last movie.

Speaker 1 (45:05):
Yes, and uh, what was the name of that move?
I hope You're dead Before the Devil Knows You're dead,
Before the Devil You're dead. But that's the name of
the movie, before the Dead, Yeah, yeah, yeah, yeah. Yeah. Anyway,
So I I had done a little bit of a

(45:26):
deep not a deep dive, but I had started looking
at his movies And do you think, Jim, there are
any other filmmakers. I'll tell you I'll tell you what.
What What really surprised me also too, was when I

(45:47):
was doing The Rock, I you know, used to sit
around Sean Connery a lot, and we were for some reason,
we always seemed to be in makeup together and I
was was sitting to him next doing makeup with him,
and uh, one of the conversations I had with him,

(46:07):
I remember talking, Uh. He liked to talk about golf,
but I was asking him about uh because we were
kind of doing physical stuff. It wasn't real physical, but
it wasn't terminator like physical, but it was kind of physical,
especially for him. He was older, older than I was, obviously,

(46:30):
and I asked him what the most physical movie he
that he had ever done? What was the most physical
movie that you ever done? And he he said, well,
I did a movie called The Hill. And I thought, okay,
And then since that time, I've watched The Hill and I, uh,

(46:56):
I really liked, really liked the movie. I didn't know
it was Sidney Lila Matt who directed it, and yeah, right.

Speaker 3 (47:07):
Yeah, yeah, absolutely. I mean he was an extremely versatile director.
You could have him in, you know, directing comedies, directing suspense,
direct all kinds of things. You know he he made
uh Network Murder, Murder on the Orient Express and Doll
Day Afternoon, you know, like within a year of each other.

Speaker 2 (47:27):
Actually three and yeah, I was gonna say three in
a row, Murder on the Orient Express, Dog Day Afternoon
and then.

Speaker 3 (47:32):
Network, Yeah and network, you know what I mean, God
talk about covering the board, you know.

Speaker 2 (47:38):
And then yeah, Cerproca was just before Murder on the Orient.

Speaker 1 (47:41):
You know when we were when we did that thing
Jim where we uh uh we're gonna get to ned
Baby show, when we did a wrote something once and
then I think we ended up doing on the on
the podcast once and basically it was about uh, people

(48:01):
that really really performed one scene, one scene in a
movie and stole the movie. And when you think about
a network, I mean Warren Baby, Warren Baty, I mean
ned Baby, Ned Baty. Remember that that scene is well.

Speaker 3 (48:23):
There there are two two performers who have essentially one scene.
Uh the the we're very dynamic. The actress Beatrice Strait,
who plays William.

Speaker 1 (48:34):
Holden's wife, and she was nominal. We talked about her.
She was she got the oscar for one scene.

Speaker 3 (48:41):
For one scene right, one scene right right, and and
then ned Baby comes in at the end of the
movie for this wonderful you know Patty Chayevsky monologue, fifteen
page monologue that starts off you have meddled with the
fundamental purses of the universe. And they has that great,

(49:02):
you know, great monologue convincing Peter Finch to change his ways.

Speaker 2 (49:09):
And he was nominated for that too.

Speaker 1 (49:11):
He was, Patty, what what what have we just what
have we just been talking about recently?

Speaker 3 (49:17):
That he God, well, he wrote that movie Americanization of Emily.

Speaker 4 (49:22):
Oh, that's Garner.

Speaker 1 (49:24):
Yeah, that movie, that movie I had, I had, really
i'd heard of it before. I mean just like barely
heard of it. And I feel like we've talked about
this and maybe we haven't, but like I watched that
movie and it is a good ass movie. And James

(49:47):
Garner has never I've never seen James Garner so good before.
And Julie is it Julie Andrews Is that j Andrews? Yeah,
Julie Andrews is so young. And that is a really
good movie that wasn't directed by Sidney Lamant, was it?

Speaker 4 (50:07):
No Er?

Speaker 1 (50:09):
Arthur Hiller, Archer Hill and Archer Hiller.

Speaker 3 (50:13):
And when you think about it. That movie was made
in like nineteen sixty four or five, just twenty years
after World War Two, and it's a pretty cynical look
at the war, you know, it's a pretty cynical look
at the military. Yes, And Garner plays a what they
used to call in the military, a rent a rear

(50:34):
echelon motherfucker, a guy who loves.

Speaker 4 (50:37):
Being in the rear with the gear.

Speaker 3 (50:39):
His job is to make sure that his admiral gets
the best steaks and the prettiest women. And you know,
he's taking care of his admiral and he doesn't want
to be anywhere near the front, right, you know, no,
not for me, not for me. So and he's very
open and cynical about it, you know, how he uses
his position and his power to you know, to make
life comfortable while there getting killed right and left all

(51:01):
around him. And it's got some great dialogue in that.
I remember, I think I told you once that when
I was delivering stuff in ICM mail room, I delivered
a script to Garner and I got to ask him.
I told him, you know how much I loved that movie,
and his face kind of lit up, because I'm sure
he was expecting me to say, I really loved Maverick

(51:22):
when I was a kid.

Speaker 1 (51:25):
Rock, I really loved you in that.

Speaker 3 (51:27):
But when I told him that, you know, one of
my favorite movies of his was Americanization of Emily. He
he kind of smiled because not too many people would
say that to him, But he told he told me,
I said, why did you play such a self serving
cynical character? And he said, well, the chance to say
that Patty Tchaievsky dialogue every day was something you don't
pass up, right, So, and he wasn't originally.

Speaker 1 (51:50):
Cast for that.

Speaker 3 (51:51):
It was supposed to be William Holden, but and he
was cast for one of the other parts. But when
Holden dropped out, he was more than happy to step
in to the to the lead role. And I think
he was terrific of it.

Speaker 1 (52:02):
I've never seen.

Speaker 3 (52:05):
Wrote a great movie called The Hospital with George Scott.

Speaker 1 (52:08):
Which is a great Oh, George Scott is so wonderful
in that movie. George Scott is just absolutely priceless in
that movie. I've never seen him. That movie has a
tendency Jim to me. Towards the end, you know, it
gets you know, when they're the father, they're looking for

(52:31):
the taking the father out of the hospital.

Speaker 4 (52:34):
And Diana shows up and funny.

Speaker 1 (52:37):
And yeah it gets a little odd, but she's for
the first sixty or seventy eighty minutes of that movie.
And George Scott is just like, are you fucking are
you kidding me? I mean, he's not. I would compare.
I would say that performance is toy is as good

(53:00):
as the movie as the perform Yeah what what she
won the Academy Award for? And you know the answer
I was talking to I was talking to Timmy Cole
Serry about this the other day and uh uh A
lot of viewers listeners are I mean, or interviews, I

(53:21):
would not probably know about this, but you know, I
did this movie, a television movie with George Scott. And
George Scott was doing this movie for Robert Halmy because
Halmie had promised him that if he did this movie
called China something whatever, if he had done that, if

(53:47):
he does this movie, then he would do a like
a patent to That's that's what George Scott wanted to do,
was a patent too. And George we shot it in
Hong Kong and it was just back in the day
when Hong Kong you know, still had the little boats

(54:08):
and the little stuff, and and and and yeah, and
had Ali McGraw and Georgie Scott played my father and
he uh played a character whose son had disappeared in

(54:30):
what they called the Cultural Revolution what were they call.

Speaker 3 (54:34):
Yeah, the Culture of nineteen sixty seven.

Speaker 1 (54:36):
Yes, his son had gone over to China and then
sort of disappeared, and and and he plays a father
who's looking for his son a little bit like the
other movie he did, were remember the Schrader movie where
he yeah, yeah, my father looking for his daughter in

(54:57):
the porn industry. Hubley was that it.

Speaker 3 (55:02):
Was Yeah, it was hard for Michael Hubly, who married
Kurt Russell.

Speaker 1 (55:06):
Yeah. Uh, well, good for Kurt seems to do pretty well,
absolutely doll. But anyway, so I'm working with George Scott
and uh, for whatever reason, uh, you know, George Scott
and I seemed to get along pretty well and he

(55:29):
liked me, and he eventually uh ended up Hill while
we were making that, saying, well, you know, I'm doing
this thing. I'm doing this thing Patten. The reason I'm
doing this is because I want to do Patten and
I've got there's a role of young Patten. In this
and I want to know if you would do it,
and at that point and I was like, yeah, yeah,

(55:51):
well obviously of course play yeah to his older Patton, Yes, yes,
that's exactly what happened. And what happened Jim was right
around if you look at that movie that that he made,
the Patent two movie they did for Homie, it was
right around the time that I was doing the Terminator

(56:13):
and Deadly Intentions, and it was right and I fucking
he They actually called my agents and offered me that
role of the young Patent and I couldn't do it
because by that time things had like just kind of
blown up. What can you see The name of that

(56:34):
China went was the name of China Rose. Yeah, and uh,
but it was interesting because Tim and I were talking
about about acting and something came up about something he
was doing that he that he had to that he
needed to cry for, that he had to they needed tears,
needed tears for and I, Uh, basically at the end

(57:00):
that television movie that I did with George, George does
find me, but by the time he gets to me,
I've forgotten what happened. But I'm either dying or I'm dead.
In his arms. Okay, I'm lying and he's got his
arms wrapped around me, and he's grieving the fact that

(57:23):
I'm dead. And he had a makeup artist, and god,
he was a nice guy. Loved his makeup artist. We
got along really well too. I can't think of his name,
but really really great guy. But you know, right before
they called action, his makeup artist came up to him

(57:47):
and he had a sort of like a cylinder in
his hand, and he took that cylinder and he put
it like like like almost like you would blow through
a straw. And he took that cylinder and blue, blue,
blue through the straw. And what he was actually doing

(58:07):
was uh. And George's Scott's eyes started to tear up,
and and and and and and what he was actually
doing was there is a uh what's it called now?
I can't think of the name of it, but uh uh.

(58:30):
Actors and actresses used it all the time. Now, I
keep I keep wanting to say, Nitri what no, not glistener,
Glissan has put on your face. Glistan has put on
your face to make you look sweaty. This is a

(58:54):
I'll think about it. I'll think about what this was.

Speaker 2 (58:57):
I'm saying it's called a tearstick.

Speaker 1 (59:01):
Meant, yeah, that's what it was. You're right, all right,
And it's the very first time I'd ever seen that before.
And you know, it's interesting that it was, you know,
s Georgey's Scott and his and that those things are
called mental blowers and so, okay, what what they have
a tendency to do is, you know, they irritate your

(59:24):
eyes to the point where your eyes start watering water.
And what happens when you're an actor? What do you
think happens, Jim, when you're an actor and your eyes
become sort of irritated and your eyes start tearing up?
What you can't cards?

Speaker 4 (59:52):
What happens?

Speaker 1 (59:55):
That too? Okay, that too. But what happens is as
as a person, you're not the only time that happens
to you is when you're feeling.

Speaker 3 (01:00:11):
It tends to concentrate all your focus on that.

Speaker 1 (01:00:15):
Well, it makes you feel sad because it's like the
only time it ever happens to you is when you
are sad or I guess maybe really really happy or something.
But it usually happens when you're really sad and you're crying.
And so when you're when that does happen to your
eyes and they do blow the menthol into your eyes.

(01:00:42):
It it makes you, as a person and or as
an actor, feel sad. Just it's I don't know what
they call it, but it's just like you know, it's
like somebody steps on your toe and makes it. It
makes you say out same sort of deal. But anyway,

(01:01:05):
that's uh uh, we were talking. We were talking about
the hospital and and his performance in the hospital. Of
course he's playing a pretty heavy drinker and.

Speaker 3 (01:01:17):
Yeah, middle aged doctor who's frustrated his life is kind
of falling apart all around him and he's going through
a definite midwife crisis on that movie.

Speaker 1 (01:01:31):
Well, here's the thing about George and that I I've said, Uh,
George used to bring a bottle of vodka, uh every
day to this set. And I've said to you before, Jim,
you know, I don't know what it was, but it

(01:01:53):
had a handle on it, you know.

Speaker 3 (01:01:56):
I mean, you were telling me this once and you said,
my bottles don't have handle. I said, that should be
the name of your biography.

Speaker 1 (01:02:08):
Biography.

Speaker 3 (01:02:09):
My bottles don't have handles like my POSI don't do homework.
My bottles don't have handers, but he had what a
handle that he could put over this bottle of vodkas
so he could.

Speaker 4 (01:02:19):
Just hoist it in one hand.

Speaker 1 (01:02:21):
No, I mean it was That's just the way it came,
I guess, I mean, you know. And it wasn't like
I think it was like a quarter. I think it
was like a half gallon or something. I mean, it was,
it was a it was a By the way, if
I if, I if, I never like I said before,
this is me writing my book right now, But in

(01:02:43):
the past I always had I never had anything written,
but I had the title for my book, and the
title for my book was always going to be I'll
never do that again. And this time I really mean it.

(01:03:04):
So it's time, for real, It's time this time that
you know, you know so well.

Speaker 3 (01:03:13):
He has a great scene in hospital where he gets drunk.
Well he's a Diana, you know, and he's got that
bottle of vodcast sitting right there on the table, swinging
away at it, and I don't know, maybe.

Speaker 1 (01:03:25):
It was well, you know, speaking of that, I ran
into Stephen Lane two days ago when I was having
lunch with Adam, which, by the way, I had lunch
with Adam Winguard a couple of days ago. And you know,
there's not really much that I can say about Onslaught.

(01:03:47):
Everything is kind of if you look at if you
look at what A twenty four has got coming out
this year, Onslaught is not on that list, if you like,
if you just pull it up. I'm not talking about
Adam didn't tell me anything about it. Baby. If you
just pull that up and you uh google it and

(01:04:10):
it'll tell you everything that A twenty four is releasing.
And one of the movies they've got, I think they've
you know, they they're like they seem to be like
kind of like all over the place. Now they got
they've got a hundred million dollar movie with the rock Jim,
do you know the name of that movie?

Speaker 3 (01:04:32):
You It's I don't remember the name of it.

Speaker 4 (01:04:39):
It's it's a kind of a.

Speaker 3 (01:04:40):
Martial arts movie or mixed martial arts movie.

Speaker 2 (01:04:43):
It's called The Smashing Machine.

Speaker 1 (01:04:46):
Yeah, the Smashing Machine. Is there a date for when
that movie comes out?

Speaker 2 (01:04:51):
I'm seeing October third, Wikipedia.

Speaker 1 (01:04:54):
Okay, okay, have you heard anything about that? Jim?

Speaker 3 (01:05:00):
Was I think directed by the folks who did Uncut Gems. Yeah,
Benny said, yeah, and which I thought was a really
good movie. I liked it quite a bit, so, I
mean that gives me some hope. Generally, you know, a
movie about a mixed Marshall artist. I'm not going to
be real crazy about you, but I kind of like

(01:05:22):
to hear something about it. But that's what I know.
That's all I know about it.

Speaker 2 (01:05:27):
Both Uncut Gems, like the Safti brothers made Uncut Gems
with Adam Sandler, and then the movie that they made
before that is called Good Time with Robert Pattinson. And
I just say, those directors are very good at just
making like both those movies just give me so much anxiety.
Great movies. It's hard to watch they are.

Speaker 3 (01:05:47):
They really is hard to watch, that's for sure.

Speaker 2 (01:05:51):
Yeah, if you haven't seen the movie they made before
on Cut JEMs with a Good Time with Robert Pattinson.

Speaker 4 (01:05:55):
Who I love.

Speaker 2 (01:05:55):
That's fantastic.

Speaker 1 (01:05:56):
Cut Gems, Uncut Gems, Uncut Gems.

Speaker 2 (01:05:59):
Adam Sandler plays a gambling okay in New York City.

Speaker 1 (01:06:04):
Yeah, no, I've seen it. That's a great movie. That's
that's a really great movie. He can nominated for that.
That was that was incredible.

Speaker 3 (01:06:11):
Perform a departure for Sanders really admirable one time.

Speaker 1 (01:06:16):
Oh he was so good in that way in that movie.

Speaker 4 (01:06:19):
He's really good in that movie.

Speaker 1 (01:06:20):
Yeah, and that movie is really good. So okay, So
these these are the guys that are directing the rock
in uh Smashing Machine.

Speaker 4 (01:06:31):
That's what I was saying.

Speaker 3 (01:06:32):
I wouldn't be real ordinarily, I wouldn't be real curious
about the rock in a mixed martial arts movie. But
you know its directed by these guys.

Speaker 1 (01:06:41):
Yeah.

Speaker 2 (01:06:42):
I think it was just directed by one of them,
Yeah yeah, and written by yeah.

Speaker 1 (01:06:48):
So but.

Speaker 4 (01:06:54):
That's one of their upcoming movies, right.

Speaker 1 (01:06:56):
Uh yeah, Well that's a that's a big one. I mean,
you know, I've always thought of a twenty four as
you know, a company that is, you know, they used
to make these six seven, eight million dollar movies and
Academy of Art House. They used to get a lot
of Academy Awards and Academy Award nominations, but art house movies,

(01:07:17):
and they just seem to be like blowing up so big,
so fast. They've got like so many movies coming out
that uh, you know, I I would find it hard
to you know, sometimes I in my life, you know,

(01:07:39):
I'll get involved in something, and they just it blows up,
like almost so fast. It's hard to hard to control,
it's hard to hard to kind of keep what made
things great about it when it was when it was
a small company. I mean, you know, when you're releasing

(01:08:01):
half a dozen movies and you know a year and
and now you're doing like sixty a year, thirty a year.
But what do I I don't know anything about distribution.
I don't know anything about A twenty four. I don't
know anything about anything other than myself and the fact that,

(01:08:25):
like you know, we'll see what happens, uh with onslaught.

Speaker 3 (01:08:30):
If you look at if you look at the Wikipedia
article on A twenty four at their release schedule, it's
it's in the category on flaughtered, in the category of undated.
They have a number of pictures that they've completed that
they haven't got any.

Speaker 4 (01:08:47):
Release dates for.

Speaker 1 (01:08:50):
What was that word you use though unaided?

Speaker 3 (01:08:53):
The category is undated. Now, yeah, lists about got a
dozen at least a dozen movies here, right that they
have yet to that they are responsible for but have
yet to uh sign the lease dates too. So right,
it looks like it's in the in the queue, as
they say, all.

Speaker 1 (01:09:13):
Right, well Jim, why don't we wrap this up and
uh uh we'll come back and uh do another one
of these real soon.

Speaker 3 (01:09:26):
All right, stay tuned, same time, say same place, all right,
all right, thank.

Speaker 2 (01:09:31):
You, got it.

Speaker 6 (01:09:34):
Let a strange pig show, which hand would you choose?
The way you.

Speaker 2 (01:09:45):
Look someone

Speaker 3 (01:09:53):
Carry along without shoe, you know,

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