 Hi everyone, it's Sean Farback with another Virtual Classic Tuesday from the Bedford Playhouse. Tonight we're discussing a classic comedy from 1949, one of my favorites, Adam's Rib, starring Spencer Tracy and Catherine Hepburn, and directed by George Cucor. And I'll tell you straight off, the backstory is very rich on this film. And we start with the writers. The writers were Garson, Kanan, and Ruth Gordon, a married couple who also collaborated on screenplays. Ruth Gordon, of course, was also an actress. And by 1940 she'd already conquered Broadway. Then she ventured out to Hollywood to play Mary Lincoln in a film called Abe Lincoln in Illinois. Canadian actor Raymond Massey took the title role. He'd win an Oscar nomination for his portrayal of Honest Abe. Now remember the name Raymond Massey because it's going to come up again. This time Garson Kanan was a young up-and-coming Hollywood director. That same year 1940 he directed Cary Grant and Irene Dunn in My Favorite Wife, Charming Comedy. Well Kanan and Gordon met and a romance blossomed, which was somewhat unexpected in that Ruth was 16 years older than he was, but no matter in 1942 they tied the knot. And one other thing happened. This rising director and this established actress decided to become writing partners. Well, turned out they were a winning combination. 1947 they received their first best screenplay Oscar nomination for a great film called A Double Life, starring Ronald Coleman who actually won the Oscar for that film. Adam's Rib was their very next project. So how did they come up with the idea? Well remember Ruth's past co-star Raymond Massey. Back in the late 30s Massey and his then-wife actress Adrienne Allen decided to divorce and they hired the husband and wife legal team of William and Dorothy Whitney to represent them. Well in a case of fact being much stranger than fiction, as a result of this case the Whitney's also divorced and then married their former clients. So Bill Whitney ended up with Adrienne Allen and Dorothy Whitney married Raymond Massey. And talk about happy endings, both these new marriages would endure. Adam's Rib is of course tamer stuff as married lawyers take opposing sides in the case of a wife injuring her adulterous husband. But the core idea definitely came from the Massey-Whitney affair. Now by the late 40s Garson, Canaan and Ruth Gordon were also very close friends of Spencer Tracy and Catherine Hepburn. Now this was quite a distinction, a real private club here as these two major stars had to work really hard to keep their private life really private. They were basically living in sin which was a big no-no in those days. Tracy was a staunch Catholic still married to his first wife Louise. He was also severely alcoholic and Hepburn was always fiercely protective of him. Tracy and Hepburn first met in early 1942 on the set of their first film Woman of the Year. Hepburn had always admired Tracy's work from afar, judging him the finest actor in Hollywood by the way I tend to agree with her. When producer Joe Mankiewicz first introduced them Kate was so nervous she blurted out you're rather short aren't you? Taking it back Tracy just stared at her incredulously and Mankiewicz then broke the silence with this comeback. Don't worry Kate, he'll cut you down to size. Of course he did. In all the films they make together that powerful Tracy-Hepburn chemistry is so unusual and that superficially these two people seem so different. Here's this calm strong stolid every man from Wisconsin matched up with a high-strung super-achieving uppercrust wasp from Connecticut but somehow they clicked. He softened her jacket edges and she mellowed him as well. They were fabulous apart but when together it was truly something special and Adam's Rib was their sixth film and they were excited. They loved the script and they valued the chance to work with their close pals Garson Canaan and Ruth Gordon. And completing the family atmosphere was George Cukor one of the most talented and influential directors of Hollywood's Golden Age. Among his credits, dinner date, Camille, the Philadelphia Story, 1954's A Star is Born and 1964's My Fair Lady. Cukor was actually responsible for launching Adam's Rib's film career back in 1932. Adam's Rib would be the seventh of 10 collaborations between Cukor and Hepburn. Tracy also knew and trusted the director. Cukor had directed Tracy and Hepburn in their second film 1942's Keeper of the Flame and he'd literally just finished working with Tracy alone on a film called Edward My Son. And as it happened in the small world of Hollywood, Cukor had also directed A Double Life and so had worked with writers Canaan and Gordon as well. However there were a few fresh faces involved in Adam's Rib most notably Judy Holliday who plays wronged wife Doris Attinger. Well she was a veteran of the New York stage totally new to Hollywood but she did know Garson Canaan and Ruth Gordon. The reason? She'd starred in a wildly successful play of Canaan's on Broadway called Born Yesterday. She originated the part of Billy Dawn, a show girl who's mistress to a rich junk dealer and the rich junk dealer decides she's too uncouth to be seen in public and hires a handsome journalist to instruct her and give her more class and culture. And as she learns more and gets closer to her tutor, Billy begins to question her loyalties and priorities. The play had run nearly four years and over that period Holliday appeared in the role over 1200 times. Canaan and Gordon loved her and valued her talent so did Hepburn and Tracy. And now just as Adam's Rib was getting underway, Columbia was turning its attention to doing the film version of Born Yesterday. Harry Cohn, the wildly unpopular head of production, had paid Canaan a million dollars for the film rights, an insane amount of money at the time. And he only agreed to it after he heard that Canaan had said, I'll never sell it to Harry Cohn, not even if he gives me a million dollars. However, there was a hitch. Cohn was dead set against cast in the Unknown Judy Holliday. He wanted Rita Hayworth instead. Well, that wasn't in the cards, thank God, as Hayworth had just married Prince Ali Khan and had other things on her mind. But still Cohn resisted using Holliday, who he thought was too fat and unattractive for the part. Thus, a quiet plan was hatched involving Cucor, the Canans, and Kate Hepburn. The goal was to give Judy Holliday as much screen time as possible on Adam's Rib and also spread the word that her performance was stealing the picture from its stars. This was particularly generous of Kate Hepburn, as most of Holliday's scenes were with her. The older actress took Holliday under her wing, encouraging her and making her feel more comfortable in front of the camera. Years later, Hepburn was asked by interviewer Dick Cavett about why she'd been so selfless towards Holliday. And Kate said, you do something like that because somewhere along the way, someone else did it for you. Well, ultimately, the plan worked. Holliday finally got the part, and at 1951, she won Best Actress at the Oscars for Born Yesterday. Oh, incidentally, George Cucor was her director on that film as well. And they'd also do two more movies together. Most memorably 1954s, It Should Happen to You with a Young Jack Lemon. Sadly, Judy Holliday did not have a long career. After making Bells a Ring with Dean Martin in 1960, she began having serious health problems. She died of cancer in 1965, aged just 43. Now, three other supporting actors in Adam's Rib deserve special mention. First, cheating husband Warren Attinger played by Tom Mule. Six years later, he'd co-star opposite Marilyn Monroe and Billy Wilder's The Seven-Year Itch. Then there's Gene Hagen as his girlfriend. This was Hagen's first film. Notably, she'd co-star the following year in John Houston's superb noir entry, The Asphalt Jungle. But of course, the role that ensured her immortality was Lena Lamont, the ditzy silent film star and singing in the rain. Finally, there's David Wayne, who plays the Bonner's amorous neighbor, Kip. He'd made his film debut the year before in Portrait of Jenny, starring Jennifer Jones. And he'd go on to have a long career as a character actor, appearing in movies as varied as 1953's How to Marry a Millionaire, also starring Marilyn Monroe, and 1971's The Andromeda Strain. In November 1949, Adam's Rib was released to great acclaim. And at Oscar time, Garson Kanan and Ruth Gordon received their second best screenplay nomination. Three years later, George Cukor, Tracy and Hepburn, and Kanan and Gordon were reunite for a comedy about a female golfer and her manager called Pat and Mike. And for this, Kanan and Gordon got their third screenplay Oscar nod in just five years. Tracy and Hepburn made two more movies together after Pat and Mike for a grand total of nine. 1957's Charming Desk Set, and Tracy's Swan Song Guess Who's Coming to Dinner. Spencer Tracy died in June of 1967 before that film's release. Hepburn's career continued after the death of her beloved partner. She'd win two more Oscars for 1968's Align and Winner and 1982's On Golden Pond. She still holds the record for most best actress Oscar wins, having won four. In the mid-60s, Ruth Gordon went back to acting and made quite a splash. She was nominated for Best Supporting Actress in 1966 at the Oscars for a Natalie Wood film called Inside David Clover. And she went on to win the Oscar in that category for Rosemary's Baby in 1969. Today she's best remembered probably for her indelible performance in Hal Ashby's 1971 black comedy, Herald and Maude. She and Garson Kanan stayed happily married until her death in 1985. However, in 1971 Kanan came out with a memoir about their special friendship with Tracy and Hepburn, and Kate was furious and refused to speak to him for several years. Sadly, it was never quite the same again. But oh, what magic they made back in 1949 with Adam's Rip. Two weeks from now, on June 9th, we are fast-forwarding to the swing in 60s to celebrate a landmark film that helped transform the Hollywood landscape. From 1967 it's Bonnie and Clyde starring Warren Beatty and Faye Dunaway directed by Arthur Penn. See you all on June 9th. Until then, stay safe. It's John Farr. Okay, now we're going to ask John to join us. Hey John. Yeah, I'm here. All right. So we've had a couple of questions submitted in advance. Two of them kind of have a similar theme, so I'm going to ask them together. Okay. So the first one is that there seems to be a lot of, I guess, what we would now call sexual tension between Tracy and Hepburn. And the question is, was that given the time frame, did it get either positive or negative attention for that? And then the second question, somewhat in a similar vein, is that it seems obvious from some of the dialogue that Kip, the character of Kip, is gay, yet he's always chasing Amanda. And was this sort of a way to get around the production code? Can you hear me okay? Yep. I'm a little confused about the sexual tension between Tracy. I mean, the Tracy and Hepburn had a tremendous amount of chemistry because they were very devoted to each other and they had this mysterious electricity. There was nothing in the film that was, in any way, objectionable. So am I missing that part of the question, Dan? Well, I think just, you know, I mean, I guess that's what people loved about Tracy and Hepburn, but did anybody ever feel like it was too much for the time? No. No. I think people loved it. I think they thought, again, that mysterious connection between these two very different characters, you know, he always said, oh, I look like a potato. He was, he just was this blocky, stolid guy from the middle of the country, Irish Catholic. And then he meets, you know, Catherine Hepburn, who was not as tight at all. This high strung Uber wasp from Connecticut, who was very difficult. And somehow they just had that mysterious connection. And then that's why they made nine movies together. It wasn't just because they loved each other or, you know, live together. It's because they were terrific on screen together. So there was never anything about, oh, this is inappropriate or weird about it at all. You sense that these were two very different people who had this intense connection. As to David Wayne, he is like a mosquito in this movie. He's not, the thing about his performance is he's not supposed to be taken seriously as a rival to Spencer Tracy. So people who say he seems almost gay, if that's the case, it wasn't intended that way. It wasn't like, well, let's play him gay. Because you're playing him gay and yet you're having him chase after Catherine Hepburn. Well, there's a line, John. There's a line of dialogue, something about how they say he's almost, their line is something like he's almost a woman. He's like on his way to becoming a woman or something to that effect. I mean, I guess that's where that's coming from. I get it. Well, David Wayne, first of all, David Wayne was married to the same woman for 50 years. So he was not gay. And I think he was so emotive in that film. He's a bit of an artist. He has an artistic temperament in that film. Which in that character. And I think that the temptation is to say, oh, well, he is an artistic temperament. Therefore, you know, maybe he's that way. In those days, before becoming gay or pronouncing yourself gay was accepted. There was a very subtle line where people who are a little too flamboyant or expressive could be considered that way. That's the only way I can read it. The way I've always thought of it is that, you know, his character is not supposed to be taken seriously as a threat. He's just a mosquito in that. He's a charming or delightful and potentially annoying mosquito chasing after a man of honor. And that Adam Bonner, Tracy's character just barely tolerates. Okay. Here's another one that was submitted beforehand. And again, anybody listening in wants to post a question, please do so with the Q&A button on your screen. Since women professionals were something of a rare breed at the time the film was made, making it perhaps 20 years ahead of its time, was that more, what was the notoriety about it? Because Catherine Hepburn is playing an attorney. And then there's a second follow-up question to that, which is, do you think anybody other than Catherine Hepburn could have pulled that off? Yes. Well, let me start by saying, yes, it was much rarer for there to be female professionals who were lawyers and doctors, etc. It was much rarer. Having said that, you look at Catherine Hepburn, or you look at a Betty Davis, these were people who played very strong characters. And you go back to the first movie that Tracy and Hepburn made, Woman of the Year. Kate Hepburn plays this world-famous international columnist. And indeed, several of the Tracy Hepburn films, she is a professional in some form or fashion. So Kate Hepburn was a trailblazer in that way because she was so strong that Hollywood knew that they couldn't just have her playing a wife and mother time after time. It would not be using the power that was in Kate Hepburn. So you would have her often playing people in careers. It wasn't unusual. It was more unusual in the public for it to happen. Although again, you think about the fact there was William and Dorothy Whitney. This is all based on a true story. So there was, even in the late 30s, there was a husband and wife legal team. It was out there. It just wasn't the way it is today at all. But the idea of a strong actress like Catherine Hepburn playing a professional, that was not at all odd. It was almost expected because she was so strong. I won't say she was managed, because I think that's not accurate. But she was a woman who could stand up to any man. And that was part of what made her who she was. Let's see. George Cukor is known for being, I guess rightly, you're wrongly as a woman's director. Is there any record of how Tracy felt about that? Tracy didn't care. Tracy was a pro. He was a fabulous actor. He came on the set. He knew his lines. He knew his blocking. He knew what he had to do. And Cukor understood him. And he was also a total pro. So they got on just fine. There have been rumors that there were certain actors over the years, including Clark Gable, who were uncomfortable with the fact that George Cukor was gay and pretty much openly gay at that time. Or as open as you could be. But Spencer Tracy was all about the work. He knew how good Cukor was. He also knew how Kate Hepburn felt about him. And he really did respect what Kate Hepburn had to say. And, you know, they were thrown together. You know, they make Woman of the Year, which was George Stevens directing. And then they go right in to Keeper of the Flame. And there's George Cukor, who actually discovered Kate Hepburn and made her career happen. Because David O. Selznick, back in 1932 on a movie called Bill of Divorcement, Selznick was like, I think she's weird. I don't I don't think that she's going to work in film. And Cukor said, No, I like her. Let's do it. She had that first part. And, you know, the rest of history. So, you know, Tracy was going to go along with it as long as he was a professional. And Cukor was a superb director. And ultimately, the actors like Tracy, they want to do their thing. And then they want to go home. And Cukor made it easy for him. And he respected him. Here's one that's been submitted back in the day. Adultery could ruin your career. So they took an apparent tremendous risk. Why were they never exposed? Or I guess, why didn't anybody care? It wasn't really public knowledge, what was going on between the two of them? The reason that they didn't the reason that it wasn't exposed or talked about was the respect that people had for Tracy. This was a guy who had a lot of demons. He is his first child son John Tracy had been born deaf. And his wife Louise would spend the rest of her life advocating for deaf causes, deafness, advocacy, treatments and everything else. And he deeply respected that. And, you know, he was a firm Catholic. Catholics do not divorce. And Kate Hepburn was enough of a maverick and independent that she didn't care. She didn't need the ring. She didn't want to have kids. Didn't really care about having kids. I don't think everything I've read. I'm never kind of, oh, I wish I'd had kids. I don't think that was the case. So they managed to have an arrangement that was discrete. And there were times, you know, they would, when they were on a set, they would each have their own house. So they would do that. But that didn't bother them anyway, because she'd stay over and not stay over. And he'd be like, you know, he called her Kathy or Kathy. He'd say, that's enough. You can go now, go home. Or she'd say, I want to go home. I don't want to be here tonight, whatever. They didn't have to be with each other every minute. But they were very much together. And I think that the press had a tremendous amount of respect for his talent and for her talent. And for the fact that they were trying to have a private relationship that was quiet and loving, but that they weren't gonna, you know, there weren't a lot of other options at that point. But I think it was the regard people had for him and for her. And in those days, if the press felt that way, they shut up. They wouldn't say anything. But it was an open secret. Everybody knew. You know, a lot of people knew. Here's another one. How do you feel that the Tracy Hepburn films, I guess, meaning all of them, or those from the particular, laid the groundwork for later films that saw a reversal of gender roles? And the example this person uses is Kramer versus Kramer. But I guess you could talk about anything else that comes to your mind. Well, that's a very interesting question. I mean, I have, that was a call coming in. I just looked at it that, you know, you saw there, you see in Adam's Red, you see in Woman of the Year, you see in Gezi's coming to dinner, two equals, two very strong people who happen to love each other, who can differ and who can fight and battle or whatever else. But there is a core respect there. And it's funny because we get hung up on the fact that she has a career in this film and everything else. But when you look at the Betty Davises and the Barbara Stanwicks and some of the other actors, actresses of that day, of the day, they didn't, they weren't always playing shrinking violets. I mean, think of Joan Crawford and Mildred Pierce. This is a woman who it takes up, you know, has to basically do it all on her own and create a business, successful business, all on her own, and raise her daughter and all of that. So it's funny because I almost feel like the movies in those days were a little bit ahead of the reality of what society was like, where too many women were held back and not encouraged and not told they could go and achieve. And in the movies, you have these very strong female actresses like Betty Davises and like Catherine Hepburn, who if they didn't have careers, still held their own with any man. And that was part of the dramatic tension the movies they were in. But I imagine that that would have been somewhat empowering to the women of the day. Something of a smaller question. The image that each of them has on their own. So Tracy has sort of like this every man image and Hepburn has sort of this, I guess this person uses the word elite, for lack of a better one. Why do you think they clicked so well together? Is it really just because opposites attract? No, it isn't. And the fact, it's the very fact that I can't explain it to you. It makes it so powerful. Humphrey Bogart and Lauren Bacall, that was completely out of line. I mean, he was 44 years old and she's 19. I mean, that was nuts. Why would they, I mean, she was beautiful. But it wasn't just that Humphrey Bogart lusted after her, he loved her. It was more than that. And it was the same with Tracy and Hepburn. It's the mystery of attraction. And, you know, oh, well, we'll marry someone who has our interests and kind of looks like us. And that's the way it works. And that's how people are attracted to each other. Well, that's not necessarily fairly true. It's very mysterious. There was just something about Tracy and Hepburn together that seemed, to me, unexpected. And yet it was glorious. Because, you know, when he says in Adam's Ribbon, oh, here we go. Now you're giving me the Bryn Mawr accent. I'll tell you something, no one, no one could tease Catherine Hepburn. You did not. If you were in Hollywood or you were working with her and any, you know, she was tough. She was tough. And the only one who could get away with it was Spencer Tracy. He didn't care. And he would be merciless with her. And she took it. Because, you know, he was the one who had permission. Nobody else did. And you almost sense that in these movies that, you know, she's this very principle strong, you know, really strong woman. And he just has this way of, he doesn't brush her off, but he he can knock her down a peg when he feels it's the right thing to do. And she will often accept that. Whereas with anybody else, she was not going to accept it, I can tell you. She was tough, really tough and scary. And Judy Holiday was terrified of her in the beginning. There's a scene early on where I think it's the scene where, you know, she's first meeting with her client and Judy Holiday is shaking. Judy Holiday was shaking because she was doing a scene with Catherine Eppler, not because her character was supposed to be shaking. So it's that sort of mystery of how that dynamic happens where this guy from Wisconsin can just sort of look at her and kind of tell her off and she accepts it. And there's this love and respect there that isn't spoken, but that literally is transmitted through our observing them, looking at each other and interacting together. And that's, that's, that is, you can't manufacture that. That's just very, very unusual. All right. This is an interesting one. I googled George Q-Core after watching the movie and saw that he's directed a lot of really great famous movies. How come he does not have the same name recognition as Alfred Hitchcock or Howard Hawks or others of his peers? I would challenge that. I think Alfred Hitchcock has more name recognition than anybody. And that's because he made one kind of film very, very well. And the kind of film that he made has transferred very successfully to present day. Hitchcock's movies were well. If you're comparing Q-Core to Hawks, I would, I find it hard to make the argument that Howard Hawks is that much better known. Maybe because there was a bit of a mystique and he did some John Wayne movies and, and he kind of had a macho thing going and, but in truth, anybody who knows about the Hollywood's golden age and you list the greatest directors of that period, there's no way that George Q-Core would not be on that list. His whole thing was he was a woman's director, but oh my God, the movies that he made and they were all aid productions. And he was, and he was again, he was in a position where he was the director in 1932 and he was young. He was as old as the century. I have to look it up, but I think he was at 32 or 33 and he was already an important director when he discovered Hepburn and he never stopped. I mean, he kept going all the way through. I just saw him, there's a charming film, TV, made for TV film called Love Among the Ruins that he did with, that was the second to last thing he did with Hepburn, from 1975 with Laurence Olivier. That was the first time Laurence Olivier and Kate Hepburn had worked together, even though they'd been friends for decades. And so Q-Core directed that at age 75 or 76 and, you know, by that time he wasn't doing feature films as much. I think his last film was Rich and Famous from 81, but he was huge, I mean, Star is Born. I mean, it's funny. I think there's Hitchcock and then there's everybody else in terms of people's recognition of these older directors. But you've got John Houston, you've got Howard Hawks, you've got George Stevens, and you've got George Q-Core. They're all in that same group and they all know each other, obviously. Okay, this is, you mentioned this during the clip. With Spencer Tracy's problems with alcohol, how did they manage him off the set? I guess the gist of this is he was professional enough not to let it interfere with his work, but what happened when work was over? Well, I mean, you know, there were times when he, particularly earlier on and before Hepburn, it happened less frequently when Hepburn came into the picture, but he disappeared. He, you know, he'd rent a motel room by a case of bourbon, get in the bath, oh, first bottle and keep drinking until he passed out. He had a real problem, but he didn't go out and socialize and get into fights. He was the kind of alcoholic who just sat in a room by himself and drank himself into a stupor. He was a complicated guy and he would have relapses, but he did not do it when he was on set because he was working and he had the discipline to not do that. Plus, look, anybody who was anybody out there in those days thought Spencer Tracy was the best actor in Hollywood. He was, no one was better than he was and he was known for it. He was an actor's actor. So he knew that and he wasn't going to blow it by ruining a performance or ruining a production through his drinking. He'd wait till it was a wrap and then he'd go off and no one would see him for 10 days or a week and he disappeared and then he had to be brought back and detoxed and he went into detox plenty of times and his health suffered and you can see, I mean there, he looks pretty good in Adam's rib, but within a few years, maybe by the time he does Bad Day of Black Rock, which is one of my favorite movies, it's six years later, he's 55, he looks 65. By the time he did Judgment in Nuremberg, he's 60 and he looks 70. So he always looked, he looked 10 years older than he was because he'd been ravaged by alcohol and all Kate could do was to try to do the best she could to watch over him and discourage it. But there were times even when she was left and wears pants and how do we find him and blah blah blah and then he would turn up. But it was a very, it was a very sad thing that the fact that he was able to have enough discipline and respect for his craft to be able to do those performances and not have it affect his career because he was widely respected as being just the best in his day. Okay, so this is the last question that's been submitted. So if anybody else has any more questions, please feel free to send them over. Can you talk, it's a little off topic, can you talk about George Kukor's relationship with David O. Selznick? Well, all I can tell you is that David O. Selznick was very hard for directors to deal with. Why? Because David O. Selznick thought he was a director. David O. Selznick thought he was a picture maker. What is a picture maker? Picture maker makes pictures. That means every aspect, not just production, but directing, script, everything else. If you work with David O. Selznick as a director, he was in your hair all the time. And that was just the fact. And it wasn't about letting you do your job. That was not, no, no, no. Sorry. He was also addicted to pep pills. He was doing uppers a lot. So he'd be doing, all the directors, Kukor and everybody else would talk about how you'd be getting memos from David O. Selznick on some aspect of the production. You'd get three a day. I mean, they'd be showing, you wouldn't have time to read them all. So he was very, he was brilliant. And don't get me wrong, he was brilliant. And he had a lot of good ideas. It wasn't that he didn't have good ideas. But this idea, today, producers, and even over the last few decades, producers tend to be producers. Even studio heads are heads of production like Robert Evans. Robert Evans on Chinatown. It's like, okay, Roman, I don't get it necessarily. I don't get everything you're doing or every decision you're making. But I'm so go and do it. And unless I see something that's a real problem for me, I'm going to get out of the way. Not David O. Selznick. He was, he was right in there. And he was the bane of any director's existence. Didn't mean to trash him. He was also very talented. We owe a lot of great movies to him, but he was tough on directors. All right. That's all the questions we've got. We've blown through them really fast. So if anyone else wants to chime in, now's the time. We'll give it a second or two to see if anybody wants to ask one more. And if not, then thank you, John, as always. And I guess we'll see you back for Bonnie and Clyde in two weeks. Last chat. Anybody want to ask one more time? Feel free. All right. I guess that's it. I think you covered everything in your talk. Well, I really hope you guys make Bonnie and Clyde. And, you know, I know it's a movie that a lot of people have seen already, but, you know, it's better to see a great movie again than an average one the first time. That's sort of my mantra. So if it's been a few years since you've seen Bonnie and Clyde, see it again. The backstory on it is incredible. It really was a landmark film that I'm going to try to capture. It's been written about before, but I'm going to try to tell a good story. So hope to see you in another couple of weeks. Oh, and before that, we should also mention on June 1st, we actually have a talk that John is moderating with an author, Sam Watson, who's written a great book about Chinatown called The Big Goodbye. And if you've seen Chinatown, you're a fan of that, you're going to want to tune into that. You don't necessarily have to have read the book in advance to enjoy the talk, but it's great if you're interested in picking it up. But we'll be back on June 1st for that one. So John will be... That's why I was talking about Robert Evans and Roman because I'm reading about it right now. I'm about halfway through the book and really, really enjoying it. It's an amazing story how that movie got made. I'm really looking forward to chatting with Sam Watson about that. So I hope you can make that as well. All right, thank you everybody for coming. Have a good night. Stay safe. Thank you everybody.