 Adam does movies live Tuesday again, as always. We go live on Tuesdays. That's a thing that's been happening. It's been reoccurring, so it's consistent. And I like to think it'll stay that way. I cannot believe that in just a couple of days Ghostbusters Afterlife comes out, that's honestly bizarre because there's pretty much no hype that I've heard or seen anywhere about this movie, but I'll be there. I'll be there day fun. I'll be reviewing that along with that new Sydney Sweeney horror film. I can't actually remember what it's called even. One word. It doesn't matter. I'm sure it's gonna be generic as all hell, but we'll be there. We'll be there with the review. And if you haven't caught up, there's been a ton of stuff on my channel. I reviewed Irish Wish for some reason because I hate myself. That's a new Netflix movie with Lindsay Lohan. She's back. She's back and she's the same as ever, so something to maybe think about watching. If you hate yourself as much as I do, there's a lot of movie reviews over there from Netflix and other things. I have rants. I have a new one coming out tomorrow on Strong Female Leads and that whole buzzword and everything about that. That's hilarious. A lot of fun stuff. And I will implore you before we jump into the conversation today to head over to patreon.com slash adamdosmovies. Seriously, I'm putting in work over there now. If you're a Gold member, you get a vlog every single month. If you're a Mithril member, you get several blogs. It just keeps going up. The more that you give, the more that you receive. That sounded sexual. This is Adamdosmovies, after all. Okay, I'm not gonna panhandle any longer. I have a buddy who reached out to me, I consider us buddies. We've only talked for like a week or two, but there was a connection. There was a spark there and I said, Josh, booby, why didn't you come on my show and we'll talk about the film industry? He knows it better than I do. He's been in the mix for 13 or so years working as an actor, doing some other things. I will let him introduce himself further though, give you a lay of his land and then we'll just have an open discussion and I would just only ask that if you have anything you wanna ask him or myself about the Hollywood industry, about movies in general, please throw a super chat out there. I only look at super chats. That's just the level of, I would say God-like hubris I have. I need a super chat and I will feature you and then we will talk about it. Okay, let's bring him on. Let's bring him on. Josh, how are you? Good, I was like, did we just become best friends? Oh, yes, yes we did. Josh is doing a car side review, which is what I used to do on my channel when you just pull over and you just chat. Are you in LA right now? It's the mobile studio. Yeah, yeah, I'm gonna try my best not to get accosted or panhandled, but. So, I mean, as sad as it would be, it would make for some really live, great programming if a guy came up and like car jammed you. It can only add to the production value, you know? And if I see anybody practicing monologues, I'm gonna switch it over to them. Oh, that would be fantastic. It's pretty awesome. All right, why don't you tell us about yourself really quick? Well, it was a lot of the same things that brought me to your channel, like I think an authentic love for movies and storytelling always felt that draw. You know, it used to be really prevalent, used to be one of those things like, oh man, I just, I can't wait to see the new fill-in-the-blank movie. And there was action superstars and there was romance movies and it seemed like there was a really wide variety of movies. And that's what really drew me to it is the storytelling aspect of it. And I thought, that's not for me. I'll just be a viewer, not ever a participant. And then eventually it was just kind of like, you know what, I'm gonna give it a shot. Just see what happens. And moved out here about 2010. Got your teeth kicked in for about eight months straight. Nobody tells you what's going on. Nobody tells you where to go. I was absolutely blown away at how fast-paced everything is. So you get off the bus in California, you don't really have a penny to your name and you're just like, I'm here. I'm ready, world, embrace me. And you see a line of people to go to so-and-so's acting studio and you're like, wow, that must be a great place to learn acting. And then you look over there and it's someone else's acting studio. And then you're like, you go over there and there's someone else's acting studio and they do headshots and they do demo reels. And you're like, wow, this is where it all happens, man. This is so cool. All the things that you've ever seen on TV, like every donut shop that you've ever seen in, you know, Friends or NYPD Blue or anything, you see it and there's just some guy sitting out in front of it typing on a laptop, you know, jaded and drinking a cup of coffee and I'm so much better than they give me credit for. And it's just so funny to see it in real life because on TV, everything's scaled. You see the lights, you see the dramatic music and the camera sweeps in. And what you don't ever see is the guy that is about six feet to the left of where the camera is. And he's just some crew guy and he's just about half a sleep eating red vines in cargo shorts. And he's just waiting. He's like, man, I've been here for nine and a half hours. We haven't eaten lunch yet. I don't know what's going on. Here I was with the stars in my eyes and I'm like, wow, you know, that's the Hollywood Walk of Fame. Oh, there's John Wayne's boots. Oh, man, that's crazy. You don't know if they're his or not. You have no idea. They're just in behind glass. You're kind of like, wow, that's it. Oh, wow, that's William Shackner. They're actually, they're Gil Wayne's boots, John's long lost brother. Right, right. Yeah, he would never give them up, you know? But it's just, it's so funny to come out and see it all in real life. And it demystifies the process almost instantaneously. And you'll see it year after year after year of the new people who come out. And they're like, yeah, man, I know. I was a real big thing in Little Rock. I sold out one man shows all day long. I'm so good. And the first thing they'll say is, oh, that's great, getting that line over there. Next, come on over here. And it's just, it's not harsh. It's just the way that the business is. Like they deal in such huge volumes of people that there's very little that you can do that they haven't already seen over and over and over again. And go ahead. So you've done some acting. How did you like start that? Did you have to go to a casting agent? Did you just start going out for auditions? I mean, what was the process like there? Typically you'll come out with a lot of confidence because you're coming from some other place. And the first thing that'll happen is they'll start shooting holes in your confidence. And you'll say, oh, I've done this, this and this from my home state. And they're like, well, what have you done here? I don't know, I just got here. Okay, so you haven't done anything? No, no, no, I've done a lot of stuff. Well, you haven't done anything here, so it doesn't count. You got to start doing something here. And typically the easiest way to start if you don't have a parent who's already laid the foundation for you is you'll start in short films or student films or something where you're not gonna get paid. You're just trying to get experience. You're just trying to figure out where all the streets are and where the parking is and where to not get a parking ticket, what the terminology is, there's so many different terms. So I just did student films to start out with. And there's so many different, wonderful acting programs out here that the colleges, they're always kind of grooming the next generation of filmmakers. And you never know the kid that you work for free is gonna be the next hot director five years down the road. So you always wanna do your best. You wanna give a good impression. You wanna try and keep in touch with everybody, but it's so hard because you're trying to make ends meet day in and day out. And you've got to try and figure out a way to make ends meet, to fully devote yourself to the craft, to be networking, to be, you know, keeping up to date with all the new projects. And it's just, that's why everything is so fast. You step off the bus and it's just like, whoa, whoa, whoa, whoa, whoa. I'm here to be an actor. Is this, is this where- You know we're gonna make it in this town, kid. Yeah, yeah, you know. And they're like, oh yeah, you came to the right place, man. Lucky I found you first. So did you fall into the trap? Did you get the headshots and the hair done and the, okay, you did all of it. They know what they're doing. Oh yeah, absolutely. And to be fair, there is a certain set of steps that you have to go through. You wouldn't know not to do it. Right, right, right. It's kind of a required scam at this point. Exactly. It falls into paying your dues, you know. And then as you talk to more people, they're kind of like, oh yeah. No, I worked with that guy too. And did you get anything? And you're like, no. Okay, well that's still the same. We joked about that in our private conversation how the actors that were scammed long ago are now being the scammers online. Oh, they're the coaches, yeah. Yeah, they set up their acting coach seminars. They're like, hey, for $30 a month, we'll make you an actor. We got Robert De Niro over here. Yeah, yeah. Results not guaranteed. Results not guaranteed, but. But it's come full circle at this point. They're recouping that loss from years and years ago. And it's such a deep hole. It's funny, it's sad, it's entertaining. It's just, it's kind of its own entity. And it's one of the greatest shows I've ever seen. It's just each and every day out here, you know. It's crazy. Would you say then you definitely have an upper hand if you're from California to begin with? In the fact that you already know your way around and most people are one or two degrees from the entertainment industry, no matter where they're at, you know. Everybody has some association with it. And if you've kind of grown up with those people, you can network with those people specifically and have a hand in it, but. Yeah, much like every business that's gonna be about who you know. I imagine in Hollywood it's probably like 95% of the time who you know, who's your relative, and 5% of the time it's this kid that came off the bus who knows no one, but he just blew someone away. Yup, and it's always funny because everyone justifies it. They're like, oh, well, I just, I had a little help getting through the front door, but now I've made it on my own. You know, and I'm like 95% of it is getting through the front door. You know, that's the hardest part. That's the whole game is getting through the front door. Yeah, yeah. Once you're through the front door, it's a lot easier. But again, it's just, it's this wave of people that come at the few decision makers and they're inundated with, you know, there's all different kinds of ways to approach it. The best way to approach it is not typically as an actor to someone who can make a decision, it's meeting on some other grounds, like talking about football or talking about cars or talking about some other mutual interests, not just like, well, you know, I took this acting class and I got these headshots and I've been doing monologue training and I, you know, I've just been working on the craft day in and day out. Right. That's the first way to shoot yourself in the foot when you come out here, just be a real person. And every acting coach, scam or not, that's one of the first things that they tell you. Just be yourself and you're like, really? Okay. But be myself with glasses or be myself with longer hair or, you know, myself isn't really that interesting, you know, and it really is like, you'll go through a full cycle where you come out and you're super excited and you're super confident and you just get defeated and then you're super down and you're like, ah, I don't know if I should do this and then you don't really care and then something good happens and then you're right back on cloud nine again and you go through that cycle enough, you kind of learn to moderate how high the highs are and how low the lows are. And that's where the sweet spot is. That's where you can find a lot of success is it, you can go in and fully give yourself away and go have a sandwich, you know, you don't really care. You're not like dwelling on it. You're not depressed about it. You're not, you know, and that's so much of it is how you can handle rejection and rebound to the next thing. Because sometimes you'll have three different auditions in the same day. All three of them are gonna be something completely weird. Commercial auditions, you never know what they're gonna say. Like they won't even tell you what the product is. They're like, oh, you're in a hotel and you're eating donuts, go for it. And you're like, man, what a mess, you know? And loses the phone, that like timed out perfectly with what a mess. Dramatic pause. What is this for? This is for a diarrhea medication. Go ahead and eat those donuts. Yeah, exactly. It's funny you say, it's actually interesting you say that people are looking for authenticity in Hollywood because oftentimes you think of Hollywood as like the most fake place on earth. But when you say that it makes sense because oftentimes you look at the actors or actresses that are up and coming or big stars now and they really do have a unique look to them. And Anna Chiller Joy or Sydney Sweeney, they all look great, but they have a uniqueness or a Megan Fox back in the day with Transformers had that very down to earth kind of like you could see her going to your school. She would be the hot one, but you could see her. And we often see the actresses that are maybe starting to phase out of their looks and even the actors, they get the hair plugs, they get the facelifts. And now the trend is to kind of get the big puffy lips and look like a Kardashian. But I'm sure there's a lot of new actresses and actors in Hollywood that think that that's the right way to do it. So they start faking themselves up before they even catch that break. And from what I'm hearing from you, that's like the wrong thing to do is get away from your authenticity and you're kind of down to earth looks. Because that, you know, obviously you have to have something that is compelling and charismatic about you or nobody's really gonna be interested in what it is. And that's, there's a lot of those people too, you know, who are, you know, they're really, they're fit, you know, and they got neck tattoos or whatever and they're really cool, but there's just nothing there. You know, it's a bang, bang, bang, bang. But you're- And you're not gonna watch a movie where the woman's got like the, you know, the bite in cheeks, you know, looks like that and the jaw shaving and everything, it's like, I can't relate to this person on any level. They're looking for someone that's wholesome and relatable. And there's no, you, as the viewer, you have to find that connection to somebody. And that's why they typically have all kinds of different characters in the movie. No matter what, you're gonna relate to, you know, oh man, that guy's a, you know, old retired football coach, just like me, you know. Oh, that guy, he bags groceries and he's got a secret. Oh, that's just like me, you know. But it's sad now to see these just like stamped out rolls that have to be in every single movie. And it's kind of a crying shame because that's why I think a lot of people are like you've said too, you feel kind of left wanting after most movies, there isn't that element of authenticity anymore. It's like, we have to hit this goal, we have to hit this trope, we have to hit this thing because that's a movie. It's almost like an auto-generated mad live movie. Yeah, it's a checklist, it's a punch card of items that you gotta get on your grocery list. And that kind of brings me to, I guess, a main topic, which would be when you started in the industry, what were the pros and cons and how has that changed for better or worse? Or how have those pros become cons and vice versa? If any, maybe it hasn't changed at all. But I imagine there's been a big shift. Yeah, yeah, it's definitely changed. And I think the pros were the system in place at the time when I first got here was the same system it had been for 40 years. It was very consistent. Everybody kind of knew, you know, you go in here, you do this thing, you either get the part or you don't. It's not anything personal. Sometimes it's because you don't have curly hair. Sometimes your hair is too curly. And it just, it'll drive you mad, but that's the system. And if you hit the right box, off you go. And you get to do two or three, four things and everything's great. The Harvey Weinstein box, right? Yeah, yeah, exactly. Yeah, you want guaranteed results, you're going to have to. You know, you're going to go through that door right there and we'll find out if you have a partner or not. They're not a long line for this one, but. This is, this is the number one stop shop for a guaranteed result. Yeah, exactly. Yeah, you're not going to want the first floor. You're going to want, yeah. But the pros were that everybody kind of knew what was going on. The cons were, if you weren't part of the club, if you didn't know how to get into the club, that was pretty much a closed door. You know, very, very few exceptions. You'd see the same people in movies over and over and over again, because they're just, they're guaranteed, you know, Matt Damon's a samurai, Matt Damon's a soldier, Matt Damon's an astronaut, Matt Damon's a doctor, you know? And it's, it's just the same. He's very versatile. Incredibly versatile. And, you know, but it was a guarantee, you know, he's going to, he's going to get it. And maybe you get to be the guy that beams down onto the planet and gets eaten by the Wookie or whatever it is, but, you know, you can only hope. The cons definitely, when you're starting out, you are so hungry for anything good and you don't have a frame of reference. You think everything is the one. Oh, you know, and you're telling all your friends, like, oh man, you know, I did this thing. It's going to be incredible. I was on, you know, Star Trek and I did this fight scene with a Klingon and they threw me off this thing. It was so crazy. Red shirt on. It's great. Yeah, you go, you go see the movie and they fly past the planet and they move on to the next thing. And you're like, what? That was like three days, you know? Like I had this real, I was crying. Everything was good. You know, it was so solid. And it just, you know, you can't ever get the footage. You can't prove it. And so, you know, that's just the way it goes. And as an actor, that's your resume. Whatever you've got on film, whatever you've got on TV, that's all anybody can vouch for. So yeah, that would suck. So if you're, if you're say a Star Wars character, maybe you're like, you know, pit crew member number three or whatever and you had two lines of dialogue and they cut that off from the movie, do you even, you don't even get a credit in the credits, I imagine, cause you're not on the film. You'll get the credit, but it'll, it'll sometimes it'll say footage deleted or uncredited or whatever. Like that is, so I say that and it's secondary in the fact that the relationship that you built with the casting director or assistant casting director that got you in that movie is more important than the credit itself. The credit is what your representation is going to use to pitch you to people who don't know you yet. But the typical way to get anywhere is getting in front of the same people over and over and being consistent over and over. Right, that's why you see like Christopher Nolan use the same actors in a lot of his movies because he's got that relationship, they're reliable, they have a good friendship, you know, behind the scenes. So yeah, it makes sense that you, you gotta find that in. They know the drill and the other thing I didn't know when we first started was how much time you spend with these people. Like it's 10 and 12 hour days, that's industry standard. And you're spending 12 hours a day with these people. Well, if somebody's a loose cannon, it can get uncomfortable after about six hours, you know, and that's typically what you'll see on these viral videos is hour number eight, this guy finally just loses his mind and starts throwing stuff. And, you know, again, we had talked about the same thing. I'm not defending that behavior because you're an adult, like you should be able to separate reality from fiction. But I can say that when you are doing it right, you believe it, you know, and it is really, really hard. It's too bad Christian Bale, like out of all the times to fly off the handle, did it during Terminator Salvation, like that's the movie we're gonna use as the example of when he loses it. It could have been like, it could have been like American Psycho or something. Right, right. Just like, oh, he just, he was feeling it. He really cut somebody's head off, you know? Like, it happens, you know? Right, yeah. And you don't wanna ever wish it will on anybody, but it absolutely happens. Like, because of how much money goes into these productions and how much pressure is trickled down from the shareholders to the studio heads to the director, to the assistant directors, by the time it gets to the actors, it's compounded and pressure is that, that tight. And, you know, it needs to be heartfelt and it has to be right now because we're moving on to the next one where the dog dies and your daughter's gonna have to do it, you know? And you're like, oh, okay, okay. I feel sad, it's a lot more sad than that. Oh no, oh no, I don't know if I can get any more sad. And so it is, it's really tense and you don't ever see the six hours leading up to the fallout, all you ever see is the fallout. And it's typically taken out of context and that's, you know, that's what everybody likes to see. That's Jerry Springer. This just sounds, I mean, wow. You gotta have like a thousand percent passion and be all in to do this. I mean, it sounds terrible. You go out there, you have, so you, I assume have to work while you're also doing these because you don't have any money, right? And you don't get paid for any of this stuff until. Not a thing. Until the movie probably comes out. I mean, I don't even know if I can get a paycheck for a role like that. A lot of times it'll be, it'll be whatever you can negotiate. Some people, you know, the big guys will get their salary and then they'll get a percentage of the box office. I don't know if that's a big thing anymore. I don't know if anybody wants to cut of the box office anymore. Yeah. They probably all want their money up front in case the check bounces. But yeah, it's really tough. And that's the cliche of the bartender, of the waiter, you know, of whatever job you can have and leave for 40 minutes to go do the audition that's going to be the one or not, you know? And it's- Yeah, I always thought that was so silly when, because I defended the writer strike and the actor strike because so many people, they hear this stuff and they think, they think of like the Matt Damon's with the Ben Afflecks or, you know, like the multi millionaires and the billionaires. It's like, you know, a massive amount of these actors are not making much money and they don't have, I mean, they have to do like the, you're a SAG member, I assume, and that costs money and like, I don't know how much health insurance is for that even, but I imagine you're still paying a lot out of pocket for quite a bit of that and you're in LA, which is insanely expensive. So yeah, it's just the fact that people don't have any sympathy at all for some of this stuff is just mind boggling because it sounds exhausting just hearing you talk about what goes into trying to get started. I mean, I don't even imagine going out there in my 20s and being like, okay, what do I do? Where do I go? And you have all these people that are just hungry for your money, right? And they're like, all right, come through here and the next thing you know, you have a second student loan that you have to pay off for headshots and oh, yeah. But you're gonna make it because there's nobody like you, you know? There's nobody like you mid-western white guy. Yeah, yeah. Six foot guy with brown hair and brown eyes. Yeah. You're like one in a billion. Yeah. Wow, all right. No, and it is like it was the rush wears off and then it just becomes kind of like, this is a business and you have to approach it kind of like a business and that's when it, you can start kind of compartmentalizing the depression and you disassociate yourself and you're just kind of like, well, that guy doesn't know real talent, you know, whatever, forget him. Well, you have to. I mean, Danny DeVito like notoriously went out on a thousand auditions before he got his first gig. I mean, my God, imagine getting rejected a thousand times. That's insane. I can. I can clearly see what exactly it feels like. No, I'm kidding. Wow. It sucks. Well, yeah, I suppose if you're doing three or four a day and you're just hungry, trying to find anything and there's how many, what's the, what is the record amount of auditions you've gone out on in a day? Three, just because you can't, I couldn't get across town any faster than that. You know, they're never three auditions in the same building. And it probably takes a long time to just go a mile in a lot of LA. And that'll be when the AC goes out in the car and you're just pouring sweat and you're like trying to vent just a little bit, like, oh man, you're walking in, you gotta be a lawyer and you're like, I'm covered in ketchup. I didn't mean to be. I don't even know where it came from. Oh my God, use it. Use it in the performance. And that's it. Sorry, I was stabbed on the way coming over here. Right, exactly. I just wanted to let you know how serious I am. Sir, this isn't a role for Batman. We already cast Christian Bale. That's incredible. Okay, so that was then. How have things changed now? Is it still the same process? You're still going out to casting calls and is that still a thing or is it completely different? I would say 95% is self-tapes. That's what I figured. So COVID probably really shook that up a lot. Everybody was working from home, filming from home and the next 10 days. And I think it just, I don't know if it streamlined it or it made it cheaper or what, but it was so much easier for everyone but the actor. Because it used to be, you would go in and that was kind of a cool thing. Like the phrase is, book the room. Even if you don't get the job, you book the room and you can kind of win over the casting director and now they're looking out for you on the next time. Well, if they don't meet you in 3D, they just see your tape and you're kind of like, hi, my name is Josh and I really want to be a lawyer, whatever it is. Yeah, they don't even get a sense of like your height or your demeanor really or how you move around the room. There's no timing. There's no personal connection. There's no interaction. And it used to be, you could kind of feel, we always call it electricity. Like you can feel whenever it's working, wherever the time it's working. Yeah, and it's so like, it's so cool. Cause you'll feel it, you'll get goosebumps and it's like, wow, that was really, I believed it too. You know, that was really great. And on this is how, how do they do? So I know Spielberg was kind of one of the earlier directors to do kind of the group casting where they would, they would have multiple actors going to room together and bounce dialogue off of each other. Is that still even a thing anymore? Yeah, thank you. Is that a thing that still happens? I don't think it's quite as prevalent because everybody's schedule is all over the place. And once, once you start kind of commandeering a block of time for a group of people, everybody gets a little jittery. It's, it's so much easier to do something like this where you can have nine different windows on at the same time. And by and large, I mean, they're still working the kinks out of the technology, but by and large, you can still interact with people pretty, pretty seamlessly. The timing's always weird because you're kind of like, and then what I was doing was, you know, and you're like, I have to imagine, I have to imagine there's a lot of actors who are not like the most wealthy. So they're probably filming this in some, like back alley somewhere I couldn't even imagine. Well, that was, that was the thing that really hurt actors about this. And the thing is whenever you went to a casting office, that was the designated casting space. It was quiet, you had a cameraman, you had a reader, you had a casting director who would give you direction, whereas now it's all on you. You've got to figure out how you're going to have someone read a script for you. And, and, you know, there's a lot of people that'll do it. Yeah, you're at a complete disadvantage. You're going into a, you're going into a battle arena with hands only and someone else has a bazooka that's just, just not fair. Like this person has good lighting. They have good audio. They have a nice room. You're, you're behind a garbage can of a JCPase. And that's the natural evolution is now the level of self tapes. It used to be, you'd go into a casting office. You wanted to have the script in your hand when you did the audition. So it, it mentally showed them like, Hey, this is an audition. He can only get better and better and better from here. You know, this is not, this is not the performance level. This is just the, the first read. This, this is just kind of the introduction. But now with self tapes, it is, it is almost like production quality level. You've got to be delivering the final performance right out of the gate. And you can take a few takes, but if you're, if you're not a hundred percent in it, and, you know, lighting and the sound and everything works just great. You're, you're just going to get glazed over because nine other people went to some professional self tape studio and they, they got it all done for them. And that used to be a space that was provided for you already. Yeah. And maybe I don't know this much, but it is a possible that some of these self tape places or whatever have maybe an in with someone that works at the studio and they might have a benefit there as well. Like, Hey, this is my guy from this place. He's coming over here. Okay. Yeah. And oops, I sent them all. I only sent that one. I'll send the other ones tomorrow. You know, and it's, but it's, it's, it's natural. You know, like it, it's in the end, only one person gets the job. And you have to kind of rest in the fact that you did the best that you could and you gave everything you could. And then you'd have no idea what happens. You have to just kind of let it go and see what happens. And when you get something, oh man, you defy the odds. Well, yeah. Cause you didn't only impress the casting director. You impressed probably 14 other people that had to, yeah, make, make approval, a check mark to get you to that next phase. Yep. And so it's, it's a, I think it's that rush that keeps people kind of coming back to it. It's almost like that gamblers, you know, like, oh man, this is going to be the one. I know this is going to be the one. One more, one more role. I got this. Yeah. And then I'm out. And then I'm done. I'm quitting after that. I mean, that really is an apt analogy cause I feel like getting cast really in anything at this point would be like winning the lottery, regardless of the size of the project. If you don't have an already established relationship with casting, it's very difficult to establish one now because there's just, there's, there's no interpersonal reactions. There's no, unless you know where they hang out or something like that, you're not meeting up with them. And it's, it's very difficult to break in if you don't have a solid relationships with the decision makers. You know, and then you always see like, oh, this is the producer's cousin, Terry. You know, he's, he's, he's the new Han Solo. You know, and you're like, wow, okay, great. You know, he's real good. Yeah, he's real good. He's the new Han Solo. No big deal. Yeah. No big deal. He's, he's young Han Solo. He's old Han Solo. Whatever. But no, it's, and it's, it is, it's, it's really neat, but you can't, you can't let it affect how you feel about yourself inevitably. It will, but you, you have to kind of let that go and move on to the, the good stuff, you know? And there is man. There's like, there's so many neat artists in so many different mediums. And that's been the, the thing that I've really cherished out of everything out here is meeting people that you would never, ever, ever run across anywhere else. They couldn't survive anywhere else. Somehow they've found a way to make a living here. And, but they're, they're just very, very unique people. And there's, you know, there's people who are very unique way off on the other side too. But, I mean, you have to be unique in order to even survive in that industry. It just, it just sounds like you have to have a true passion and dedication or, I don't know, something completely broken in your brain. Be a little nuts, like you got to be a little nuts. Yeah. You got to be a little crazy in the best, in the best way. You know, you, you got. Jack Nicholson. You know, he was, he was a little out there, but that was, that was that lightning that you, you don't, you're genuinely afraid of what he might do. And that's what's exciting. You know, I was looking at, you know, old videos of Robin Williams and just smiling the dumb big grin, because he was such a wild card in every single thing he did. Even, even tapings of shows, you just didn't know what Robin Williams was gonna show up. And I watched some clip of him on Martha Stewart from back in the nineties. And he just completely steamrolled her. She looked like she wanted to kill him, but he was freaking hilarious all the way through. And I mean, what a, what a wild card. I watched hours of him on different talk shows with different talk show hosts. And he was in any room, he was the guy that everybody wanted to talk to in any room. He was actually one of the dudes that I got a chance to work with out here, bucket list. Yeah. On a show called The Crazy Ones with Sarah Michelle Gellert. Nice. Oh, she did. Did you meet her too? No, she was, she was okay. Not mean or anything like that. A lot of them are just kind of like, this is my space, that's your space. Okay. Great. Okay, cool. You know. Oh dude, I understand it. Just a side panel for one second. I saw the saddest photo on the artist formerly known as Twitter. This was at a nineties con. Did you see this where fans were taking photos with Gina Davis and Susan Sarandon? Oh, wow. Did you see this though? No, huh? Okay, they were there and they were recently at mega con which is what I was at doing some panels. But at nineties con, the photos were the two actresses sitting down. And then there was this, these three stacked blocks or four stacked blocks that said nineties con. And then the person that paid the hundreds of dollars standing on the other side of it. So they had like a wall between them and the person that paid good money to be with them. I've never seen that before at a con. That's like, that's insulting and kind of, I thought beneath these two, but maybe not. I don't know. The fact that they couldn't even stand up either, it just looks so bad. And then eventually they got rid of the divider because people complained and they allowed the person to get like five feet from them and they just had to do the sad kind of lean over. And they still kept sitting though. So it's like these two ladies on a park bench and then a weirdo like, hey, I'm with them. Oh man. Oh my gosh. It is so awkward because you, so all these people, that's the weird disconnect with people on TV is like you've seen your favorite actor go through the worst things, the best things. You know, you felt their loss. You felt their successes. You've like endured them swimming from a pirate ship onto a desert island and you're just, oh, you know, I hope, I'm so glad that you made it. I'm so happy and you, you know, they're not wandering around the streets, but if you run across them in a grocery store or something like that, you meet them and you're just like, oh man, I'm so, and you can't help but come on strong because you've got about 18 seconds before they size you up and realize that you don't mean anything and they walk away. You know, like, but you're kind of like, oh, you got a bunch of bananas in your hand. You're like, oh man, I just wanted to let you know that I really, really loved, you know, super pup nine. I know that wasn't some of your, your favorite work, but I really did. Like you embody that Labrador so, so well. And they're just like, who are you? Oh, and don't worry, this is a banana in my pocket. I'm not happy. I mean, I am happy to see you, but it is a banana. I was going to steal it. I'm going to pay for it now because I'm sure that we're, we're making a connection here. And I don't want you to think that I'm a criminal, you know. I gave you a deep cut movie that you were in. You weren't expecting it. Yeah, yeah, like I know you. And they're like, I have no idea who you are. Thank you though, great. And most of the time, like I would say 99% of the time they're very polite. They're very, you know, it's two fold. Nobody wants to end up on the bad side of publicity, but they're also, you know, you have to realize that your sole business is based on the customers, the consumers, and which seems like a underserved market now, like a bad business model that they haven't figured out. They forgot. But the movie stars, if that is a term anymore, the actors are solely dependent on people who like them. And it creates this weird, like separation, and dependency coinciding, you know, you're kind of like, well, thank you so much, but stop talking and... But you're weird and leave me alone. Right, yeah. And I'm weird, but not here in the grocery store, you know. Like it's, but it's really, I don't want to say that it's a bad thing because it's not, it's just weird when people, meet some actors, regardless of what level or tier they're in, nobody knows what common ground you have. Because you and I bonded over movies. It's kind of a Pandora's Box. Oh, my favorite movie is, you know, whatever it is. It's easy to make common ground on that. You meet these people, you don't have any common ground, but you feel like you do. Right. And so nobody knows how to bridge that gap. Yeah, it's like, hey, you're in that movie and I love that movie, so we have that connection. And they're probably like, I don't even like this fucking movie, dude. I just got paid for it, this movie sucks, yeah. To be honest, I was on Sleeping Mads. I don't know what I did through most of that. I'm glad it was a cartoon because you would not want to see me in real life, you know. Who was it recently? Gary Oldman, he didn't knock. He didn't knock Harry Potter, but it was a funny quote from him. It was something like, yeah, I love the Harry Potter movies. They put my kids through college and they paid my bill. Like he had some great lying about it. Or the notorious one from, oh God, what's his nuts from Jaws, The Revenge? What the hell's his name? Mr. Wayne, he's Alfred and the Batman Begins. Oh, Michael Cain. Michael Cain. He's in Jaws Revenge. I think he only shot, he was only on set for like four days or four weeks, something really short. And he said, I never saw the movie, but it paid for my second house or whatever. That's it. And it's, it's that disconnect because people, I was going to talk to you about this too. Like the, I remember the midnight showings. Like going, going at midnight. It's so good. 12-01 to be, 12-01 to be specific. Yeah. Because you couldn't, you couldn't get it out of there. You couldn't technically show the movie until Friday or was it Saturday night, Saturday morning. Back when they care. Thursday. Now you can see it like fucking Thursday at three in the afternoon. I'm going to Ghostbusters. Yeah. But dressed like Gandalf and you're waiting in line with all the other people dressed like Gandalf. And you're like, oh man, this is it, man. This is living. This is so cool. It's going to be sold out for the next six weeks. We're seeing it, you know? So good. And they don't even care. Like it's, it to them, because they already got Lord of the Rings two and three and four that they're going to film, you know? Like it, it just such a weird disconnect to be on the outside of it. And I think that's what lends itself to a lot of those awkward moments between actors and people who are big fans of the actors. I'm sure there's been a million cases where the actors like, hey, so, you know, when Gandalf does this to this and the actor's like, uh-huh, yeah, yeah, yeah, right. Okay, good, good seeing you. Goodbye. What was he talking about? Yeah, there's a great scene. If you haven't seen the show extras with Ricky Gervais. Ricky Gervais, yes, great show. Where, where he's trying to do the play with Ian McKellen. I know what you're talking about. And he's, he like, it's, I watch it and I still laugh. Like I've watched it a hundred times and he goes, he goes, Peter Jackson approached me and he said, Sir Ian, I would like you to play Gandalf the wizard. Peter, you do know that I am not actually a wizard. So good. You will use your acting skill and your imagination to become the wizard and the words will be in the script. We'll show you where to stand. And then he's like, this is my process. Sir Ian, sir Ian, sir Ian, sir Ian, sir Ian. Action. You shall not pass. Cut. Sir Ian, sir Ian, sir Ian. They should honestly bring extras back because I used to love that show. The Liam Neeson one was great. I heard Liam Neeson is gonna be, kills me a little bit inside because I just hate remakes, but I heard he's gonna be Fletch in a new show. Oh really? Oh no, I'm sorry. That was wrong. He's gonna be Drebben in Naked Gun. They're gonna apparently redo Naked Gun, which is one of my favorite comedies of all time. But I can honestly see that working because Liam Neeson has such a good deadpan delivery. He is so, so straight. I was gonna ask you about Leslie Nielsen. Like he was one, he started out as a serious actor and he couldn't do it. Oh my God, he was so funny. Well, that's kind of like Walter Mathau and John Lennon, or John Lennon, John Lennon, John Lennon. Lennon, yeah. I think they had pretty successful careers as serious actors first, but their turn to comedy was just as good and I think more memorable to most people. Yeah. But Leslie Nielsen to your point, he was the king of deadpan. I just, I loved everything he was in. Yeah, Jason Bateman is the closest one I can come up with. Yes, Bateman is great. Oh, he is so, like he can say anything, deadpan. And it's so ridiculous. You seen Arrested Development? Well, it's my favorite. I have the first three seasons, the only three good seasons. But Netflix ruined that show, but it's terrible. But yeah, season one and two are just front to back, brilliant. Season three, the Charlize Theron stuff, not great, but it kind of comes around in the middle. Yeah. Yeah, it's still hilarious. I died. The one where the Charlize Theron where they're trying to sell the development to the Asian investors. And the Godzilla costume in the back. Oh, my Lord. And the mole comes out of the ground and smashes it and then the rocket comes in. He's got the jetpack. Oh, my God. I couldn't catch my breath. The rating of that show, the only one that's come close, I think, recently, and this is older too now, was Veep, which I've tried to put more people on to because Veep was absolutely the sharpest writing I've heard in many, many years. And it's, if you don't, and it makes me sad to see the attention span dwindling in the audience because shows like that, if you aren't paying attention, you're going to miss 60% of the jokes because it's layered and it's stacked. And it's one after the other after the other after the other. It was so, so entertaining. Yeah. I've watched it through now like four times and I'm still catching new little nuanced jokes and references to previous jokes, kind of the same old used to do. Yeah, absolutely. The callback jokes are hilarious. Yeah, yeah, absolutely. No, I'm such a huge fan of writing that makes you think while you're watching the show, which is so contrary to the white noise that's just, like you're talking about, you play it while you're washing dishes. And then you play to you. Yeah, and we're going to get to that now. That's going to be the next topic is, we talked about how things were 15 years ago and what things are today are quite a contrast and that's actually how you and I met. Before we jump into that guys, please throw super chats. I'm going to read them at the end, but I'll take a break and read a few of them right now. But, you know, when we start winding down, we'll take a Q and A from people. So I got three, two of them are kind of smarmy. So I'll just throw them out. Brian Davis for $5 says, does your wife like your haircut this time? Yeah, Brian, I don't know, to be honest. I got my hair cut this afternoon. I think it looks pretty nice. It's sharp. I think it looks good. She didn't say anything when I walked in and then we had to have the awkward like, so, you know, like my haircut. You see anything different? Yeah, it's not like a woman's hair where sometimes they just take off an inch and guys don't really notice. It's not like she got the strong female lead buzz and then the long hair. That would be noticeable. But I had really like, my hair was really getting long and gross. And so she noticed. And so I'm like, do you like my haircut? And she's like, yeah, I noticed it. It looks good, which means she doesn't really like it. So no, Brian, I think it's a loss again. I don't think she likes it. Thank you for, thank you for bringing it up. Bringing that up though. Yeah, thanks. Perm, love it. Yeah, what? Do you like the haircut? Do you love the haircut? Do you love the haircut? Okay, she's saying she likes it more this time. So maybe, maybe we're okay. She apparently didn't get to see the back of the hair. Oh, that's it, yeah. Yeah, sometimes that can be a deal breaker. I don't know. Perm for 4.99 says, what do you call it when Batman skips out in church? Christian Bale. I like that. Thank you. There we go. We like dad jokes here. We live by them. We started doing them last time. I'm glad he's keeping it alive. One more quick. The blind mask, this is a real question for $5. As a 21 year old in Texas, how can I get my feet into the business as someone who wants to write and direct and is currently a college student? You can't give up on your dreams. That's it. I would say don't. One of the first, no, I mean, I hope you make it. Man, I really do. Like I love seeing success stories, but there's an actual acting coach who's worth their money named Leslie Kahn who's, she kind of wrote the book on multi-cam comedy. Like all the new, now network's dead, but at the time, if you didn't take Leslie Kahn's comedy intensive, you had no hope. She has this little dog and if the dog doesn't like your performance, that's it. Like she's gonna throw something at you. But the first class, she will say, if anyone in this class wants to quit acting, I'll throw you a pizza party. And you're just like, oh my God. What's happening here? The dog's name is Khaleesi. That's what it was. I almost forgot. I liked that little game of thrones rough. Yeah, if you want to get started in it, I would say just write as much as you can because that's really where, whether it is you acting in your own stuff or getting your name out there as a writer, I think that's probably the best way to make a splash anywhere. You see so many of these renowned names now that nobody would give them the time of day until they wrote their own piece that they knew they were very qualified to play. And then they played it and everyone's like, oh, you're great. You're great. Yeah, we believed in you for years. We knew that you were gonna make it. You had that star factor. You had that power. I would say, don't make it your bread and butter until you really get a solid foundation in it. I would say keep writing on your spare time. Think of new ideas. Everybody needs new ideas, man. There is so much redundant content right now. They need an influx of new ideas. And I'm really hoping that that's what's gonna happen is we're gonna hit like a maximum saturation of this type of content. And it's going to revert back to the old kind of indie movies where production may or may not be as high a quality, but the story is gonna be what drives everybody to go see it, like big fat Greek wedding. Those types of movies where it was just such an original feeling. It allowed you as a viewer to be transported into somebody else's life. I really hope that that is where things will eventually get to because it just seems like it's this boomerang of content. You know, they just changed the backdrop. They changed the people, but the story and the interactions and the relationships are all kind of exactly the same. It's plug and play. I mean, the good news is Caleb, I just sent you a script earlier today. I think it's gonna be, you're gonna be like, wow, this is it. This is gonna change everything. You're gonna make it. You got that star factor. This is it. I just came off the bus. I'm ready, world. Here I am. I've got a script. I've got a script in my hand. I know that I'm gonna do it. I did it. I did it, everyone. I wrote the only script that Hollywood's gonna see today. Yeah, I spelled all the words right. Well, well, let's not go that far. It's not three-hole punched. I told you, I didn't dot the i's and cross all the t's yet. That meant I didn't run it through a spell checker. This is really... I had a good friend, like we were talking about with the student films. This guy was a script reader for Sony. And he goes, there is stacks. Like it looked funny on old movies where they'd go into the old agents. He had the little glasses and everything like that. And there's just stacks of scripts everywhere. That's absolutely it. He goes, you'll read four or five. He said, I read page one, page 10, page 35, and page 71. And if any of those aren't good, the rest of it just goes. And that's it. And it's onto the next script. And it's... Because they want to see development. And you can get a real good feeling if somebody knows how to write or not pretty quick. There's a pacing. There's a tone. There's development. And there's a lot of people who have great ideas. And that's the crux of so much of this is there's great, great, great ideas in there, but they just don't convey them right. And then they get lost. And it's... How does one get a job writing scripts for Hallmark? Because I feel like I could knock those out of the park pretty quick, those Hallmark movies. I guarantee you could. You talk about the plug-and-play. Yeah. The baker's depressed. The horse trainer's depressed. The guy is going to get his car washed or closed on. And, you know, who knows? There are so many people. Another good friend of mine is our manager also. And he's in talks with a lot of those, like the lifetime, the Hallmark. And it's... Once you're in that circle, they just crank them out. And to get in, that's what we're still trying to figure out how to do. But once you're in, man, they go by 20 strips. They're probably all written by like two guys. And they're just... That's just what they're doing with their time. It's like, I have a full-time job. I'm a web designer and developer. And I have a lot of plug-and-play stuff where I'm designing these kind of templated emails. And I churn them out. And it's just kind of like mindless shit at this point. But they make a ton of money for the company. And I'm sure that's what these screenwriters are doing. It's like, okay, we have a movie called like Santa Baby. And it's about Santa's literal baby who grows up on earth. And now he's a guy and he falls in love with the baker down the road. And the next thing you know, he wants to become human. It's all about efficiency. It's all about, you know, sadly, we've talked about it over and over and over. It's just about this wave of content that they have to get out. And their hopes are, if they give 22 movies out this season, two of them, everyone's gonna be like, oh my gosh, did you see Santa Baby? Oh, it was the darling. It was the darling this season, you know? I cannot believe it. And then they start attaching all these like weird underlying meanings that the writer never had. No, no, of course not. But they evoke these meanings to them that they never had in the first place. You know, like, oh, well, that's such a social commentary. I can just correct it. Right, right. Santa Baby coming into his own is just like our, you know, generation. It's obviously, it's far left propaganda or it's far right propaganda. It's a conservative message. Or it's a, yeah, it's, it's, which brings me- He should have had a 44 Magnum. Santa Baby should have had a 44 Magnum. There's no way. There's no way he would have defended those reindeer if he would have had a 44 Magnum. He would have defended those reindeer. Yeah, he's gonna let somebody just come in and steal his gingerbread cookies? No way. Not my Santa, not my Santa, baby. Yeah, this is North America, man. Ben Shapiro does a three hour rant on the video of Hallmark Classic. I just wanna let you know about Santa Baby, you know? That's it. This is a big thing that people have been throwing out in my comments the last few months. And honestly, naivety, naivety, whatever you wanna say. Yeah, yeah. I just really didn't know about it, but what is it called? DEI, diversity, something inclusion. Diversity, equality, inclusion. That's been the buzz term flavor that's been going around lately. And I believe it has to do with Hollywood movies, cast. I mean, it's across the board for workplace. Basically, it's to get people jobs that aren't just white folks because there's not a lot of white doctors, if you look. And then I actually thought of, I'm like, I don't think I know a single black doctor. They're like all white. They're all white people. So it's just a way for other people that haven't really had that opportunity to get their foot in the door, but it's kind of been used as a boogeyman or a bad word from people I noticed on YouTube. And it's not necessarily maybe incorrect. There's always a little bit of truth behind some of this stuff. Have you noticed DEI in the Hollywood space used in both a bad way and a way, or do you see it as just all good, all bad? Is there nuance? I think it always is gonna be based on who you talk to. If somebody is a beneficiary, they're gonna say, you know, it's great. I've been, you know, beating the pavement for years. I finally got a chance, and now I'm excelling into the space. The other guy is like, well, I've been doing this for 20 years and now I can't get a job because, you know, so-and-so they just hire them, you know, right out of the factory. And I feel like the truth is always gonna be in the middle. It is neat to see new, new fresh blood come in. New, fresh blood come in. And when it's used to bring new stories to life that nobody would ever have thought of otherwise, because I mean, you do have to cycle things through. Like you can't just stick with the same old, you know, we're built in Model T's, this is the way to go. You gotta shake it up a little. Even like as a movie critic, hobbyist, whatever you want to call me, going through the acting, like the IMDb page, even six years ago, it'd be like John, Brian, Lindsay, Tina, and now it's like Lupita, Nweigan. I don't know how to say the names because there's actual, like different people behind the lens now and there's some culture to it. It's not just like white people everywhere. And I feel like when it's used to highlight something that wouldn't have had the opportunity otherwise, great. When it's forced onto people, that's where the rub is gonna come. And that's gonna be- And there's definitely a good amount to that going on. And you can see it in a lot of these movies where it seems like it's more focused on that side of things and less on making a good movie. Oh, sure. Because of the people they cast, I've honestly, I've never seen a movie where it's been a black person, Asian person, a trans, whatever that was just terrible at acting. They were all perfectly fine. Right, they fit. It's just the movie itself was not, yeah, it just wasn't well-written. It was kind of like pandering and just lame. It wasn't a good film. It's just a vessel to get whatever it is out in front and then they can get onto the next thing. And I feel like that was one of the things, I mean, you're seeing it a lot more showcased now, but there's been things like that for years, you know, like everybody, once they make it, they bring their friends. And whether they're necessarily qualified or not, that's kind of a side note. And then, but the thing that used to be is if you couldn't produce, if you couldn't, we always say, if you can't do the thing, you can't do the thing. You know, like when it comes down to it, when they say action, can you deliver? Can you do exactly what it is that you were hired to do? If you can, great, you get to do it again. If you can, uh-oh, everything stops. And it's like, when you're on it, a lot of it is like a dance. You'll feel a timing, you'll hear cues, you'll hear notes, you'll feel this rhythm that everything is working, everything's working. And then when it doesn't, it's like this record skip. And then once the record skips, everybody looks to see who skipped the record, you know, who messed up. And that's, sometimes it's great bloopers, you know, like I love the outtakes. And a lot of times that's what it is. It's just, you know, it's hard with great guys. It's hard to not get caught up in it. And you forget that you're, oh, uh-oh, I'm the janitor. Oh no, that was my cue, you know? Because everybody's waiting. It's like a play. Everybody's waiting for you to do your thing so they can do their thing. And I feel like if somebody is hired and they are able to deliver on their job, great. If they're hired and they're not able to deliver, it should naturally work its course where you can't just keep getting freebies. You can't keep getting chances. No, no business can operate like that. You, I mean, maybe airlines, like they don't deliver and they still get to stay in business, but you have to be able to provide the service that you're hired for. I guess that's the crux of it. And the, on the other side of that is the, and we talked about this off camera last week, but basically the fact that this whole system, the house of cards, when it comes to making a movie and that you have to have everything lined up. And if one thing starts to wobble or falter or just fall down, the whole thing is gonna crumble to pieces. So Hollywood, studios need to find ways to invest and get investors and get budgets. So one of the ways they do this is there's a lot of financing that comes from DEI, which is hiring a person that's disabled in some way or they're a person of color or whatever. They get money for that from what? An investor or a fund or something that's put together, you know where that money comes from? I know that. Yeah. As far as I can tell, it's, I know that they've made a big push, whether it's to kind of change the public perception of movies, like, oh, look at us. You know, we're not the boogeyman, we're not, yeah, you know, like we're thinking of others. We're trying to open up opportunities for everybody. And to be honest, I have no idea where the money comes from. I just know that it takes, you watch the beginning of the movie and it's like nine different production companies before the title of the movie comes on, you know? And all those production companies have some sort of vested interest and some sort of stake in there, but before they would invest in this movie, they had to get it. Yeah, that might be their mission statement altogether. It's like the studio is, Tyler Perry has that huge studio, that's for black voices, it's for black directors and actors, and that's the mission statement. It's to get that type of, that type of person in a position where they can get their voice heard and that's fantastic. So you would imagine that some of these production companies or studios, their mission is diversity, getting people out there. So if your movie is presented to them and it's look, we have this in here, we have this in here, we have this in here, they're gonna say, yep, we will fund that film. And I think that what's going on now is some of these screenwriters or scriptwriters, whatever you call them, they're purposely kind of making movies that pander to a lot of different studios so they can get that money and not necessarily make a story first. They just showed the story around that pool of money they can get. Everybody wants to cast the widest net that they can. And then I think the motivation is always that you're gonna write Citizen Kane down the road. I just gotta build my resume first. Like I'm gonna have this haymaker movie back to the future six and nobody's gonna see it coming and it's gonna be incredible. But before I can do that, I gotta write Santa Baby one, two, three, five, you know. Everything is paying its dues. Like we were talking about earlier, there's so much money and so much pressure at play that nobody wants to risk all of that money on something that isn't going to either save face for the studio or make money. And whenever it comes down to it, nobody wants to get aired out on Instagram or Twitter or YouTube or anything like that. But if they're gonna get aired out, they can say, hey, man, we did what we said we were gonna do. We gave you this product and this product and this product and then now they're like accusing the viewers of being bad viewers. You aren't watching the movie right if you don't like our movie. We made a movie for you and you didn't go out and see it. We made it exactly for you. Your fault. Yeah, yeah. How dare you not like Santa Baby? But it's, I think the biggest thing is money. Like it always comes down to you. It always comes down to money. Yeah, that production company has a set of criteria that they need the studio or the movie to meet before they will invest in it. And then once they invest in it, now you got to uphold your side of the bargain. And I think that's, it's not exclusive to movies. I think business is being conducted that way now more and more often. Oh yeah, for sure. Do you find it disheartening that movies seem to be or at least this is just my perspective. Do you see movies as being more products now than they were maybe 10 years ago? Cause to me it feels like everything is just so superficial and this is, again, this is everywhere across the board. People are desperate to just make money and they don't really seem to have a low as far as what they're willing to do for it. You see the streamers that are in their swimming pool playing Twitch, naked, fine, you know, whatever. My body, my choice, I'll make a bunch of money. I'm laughing all my way to the bank, do it while I'm young. And I'm not necessarily even knocking that because whatever, but it does take away from maybe some of the art that used to go into some of this stuff. You know, when everybody has a camera now like me and I can just come out here and make a bunch of dumb shit and people will pay for it, it really kind of, you know, it kind of desensitizes people and it ruins the good things that we used to have when they would spend a ton of money to make a sitcom that was firing on all cylinders in front of a live studio audience. And now they just remake that same sitcom or do a sequel to it 20 years later with the same cast who doesn't have the energy anymore. They're all like out of shape and they look like shit. Frasier. Like, yeah. Right, right. And the budget's clearly half of what it used to be. The studio audience is canned now. It doesn't sound like it's real. Nothing feels real anymore. I don't know. Have you noticed that change living out there too? Yeah, well, and it's, again, it kind of comes back to meet them in the grocery store and you meet them as a real person. Yeah. It used to be there was such a huge level of separation between movie stars and regular people and then television stars and movie stars were too, like it was oil and water. Like, if you were a movie star and you did TV, everyone's like, oh man, that's some gambling debts or something like that. I remember what happened. There was a lot of jokes about that on 30 Rock when Alec Baldwin signed on because Alec Baldwin was an A-list star. He did a ton of movies and they constantly reference like, yeah, you want to kill your career or do television, you know, weekend themself. Right. It's not like that anymore. And it was, well, I think what happened was like you're talking about with the budget. They used to spend so much money to create this incredible work and hit or miss, they were willing to kind of take that risk and stand behind it. Well, they started seeing like, hey man, if we spend half of that and we put like one or two people in there and we kind of make two or three different movies, we can still make our money back and not lose as much. You know, if we get three movies out for the price of one, one of them hits, we're in the green, we're in the black with all three. You know what I mean? Well, and now it's maybe we don't even need to build sets. Maybe we can just use a green screen, shoot it in-house in the studio. We don't have to pay for on location fees. We don't have to travel anywhere. It's all right here. We strap them up to wires. We shoot the thing in a couple months instead of the eight months it typically used to take. And man, I mean, think of the money they're saving. Oh, and yet somehow these things still cost like $150 million. You're like, red notice was like $200 million or something. Yeah. What? I know there's got to be an adjustment for inflation, but I don't know exactly how it comes from. It was, red notice was $200 million. That whole thing looked like it was shot in a week in front of a green screen. Yeah, and it may have been. They may have been eight months behind in production. And they're like, look, we got to wrap this up in two weeks. Or they're going to pull the funding. All right, we're working 18 day straight, 24 hours today. Bring in whatever we need, and let's get it shot. I said a joke on one of my videos that Dwayne Johnson just filmed hundreds of hours of footage in front of a green screen in three different safari-type shirts. In different outfits, yeah. They just use that for everything. I mean, I think he's in the same exact outfit and in a rampage that he is in, like jungle cruise. Jumanji and jungle cruise. It's like the same thing. Yeah, yeah. And it's like the same dialogue. He just like lean the other direction. Just everything. It looks the same in every movie. So it's fine. No, it really does feel like the motivation behind making movies is merchandising first. It's kind of like, well, what's going to sell? At least it used to be lunch boxes. Now I don't know if they even do that anymore. But it used to be like, oh, well, you would see Star Wars. And then you would go get the Star Wars toy and the Star Wars lunch box and the Star Wars monopoly and all that other stuff. And now they're kind of like, I don't know. What do we got? Frogs? Like is there a singing frog or something like that? We do like a dune sex popcorn bucket. That'll get the kids to the theaters. Exactly. Yeah, let's just do that. And we'll do sandy sandwiches. And we'll do get your worm fries. And I saw they just did a Ghostbusters Afterlife. You can get the trap container bucket popcorn. That's what they're doing. This is where we're at now. We can't think of anything else. We're doing another popcorn bucket theme. Yeah, yeah. And good on them for trying something. But at some point, you don't want to be the guy who's like, hey, hey, I got a great idea. Let's do the ghost trap popcorn. And they're like, oh, Randall, what are you doing, man? Don't do that. Wait. Yeah, let's do that. Good job, Randall. Yeah, you're a real smart guy. Yeah. Oh, someone said you should turn on your interior lights if you can. Because now it's pitch black in there. And oh, there you go. That's better. That's my camouflage that the freaks are going to come out. I was going to say, as we wind down, you're like a mysterious man telling all the secrets of Hollywood that they don't want to hear. And we'll mask your voice. He's got the unabomber hat. Yeah. But yeah, it's always going to be nostalgic to see the older shows, because that was a formative time in our life. We're going to have a deeper emotional connection to those than the new stuff. It's always the joke about new music. None of the music's great, everybody. But the new generation loves the new music. And they love the new movies. And it's hard to be part of the demographic that nobody really cares about anymore. They're kind of like, oh, yeah. Yeah, you had your fun movies and stuff like that. Now you're going to get these movies. Man, and as a, I'll say that I love movies. I absolutely love movies. That's what brought me to this. And it's not the same level of involvement. Like, I don't feel that connection. And there are some good new movies. But I just don't feel that level of connection. And that leads me to believe that it feels like they're not trying as hard. It feels a lot more like a sales pitch. And there's part of you that's like, am I just getting older? And maybe things just aren't that exciting anymore. But then I have kids. I have an 11-year-old, almost 12, and a 15-year-old, just turned 15. And they do not. I'm going to put a video on this as well. But they don't look at movies like you and I used to look at movies. They don't, because they have everything all the time. They have a phone. They have a tablet. They have video games that have cinematic quality cutscenes. So they don't care that much. And I try to get them excited. But I couldn't tell you the last time my kids even went with me to a movie, because for one, it's spendy as shit. If I want to go to a movie with my two kids, Lindsay doesn't go, because she hates the theater now, because then that's a lot of stories. 100 bucks, yeah. You take yourself two kids. You get a couple drinks and two popcorns, $80 to $100 easy, it's ridiculous. And the movie typically isn't very good, especially if the kids are at home. Yeah, and they're kind of looking around like, how much longer is the movie? I'm like, I don't know, we're watching it. It'll tell us when it's over, I promise. We'll know. And I think a lot of it has to do with the fact that it's just movies are either playing off nostalgia, which is usually our generation, their targeting, or even a little older than us. So our kids are already losing that connection unless they sell those movies, because we showed them, which to be fair, I've showed them a good amount of them. Or they're superhero things, which now the burn is officially out on that candle. Everybody's kind of checked out of superhero movies. We'll see if James Gunn can do something to revive it. Who the fuck knows? All right. Or they're just not anything really new or interesting that's compelling kids, younger generations to go out. Unless it's a freaking Taylor Swift concert movie, which point, that was $22 a ticket because it was a concert movie. Yeah, yeah. Now you're a participant, you know? Yeah, exactly. Now it's not a movie anymore, because I'm listening to a bunch of 14-year-old girls singing all the Taylor Swift songs. With the glow sticks and everything. With their phones out. Yeah, yeah, yeah. Like, you're trying to keep. I mean, to be fair, I was doing it, I was doing it too, to be fair. But, you know, that's beyond the point. I just don't know all the words. That's why I'm trying to keep pace with it. Like, oh, yeah, I hate him too. Yeah, no, it's, yeah. I will say, I showed my kids, I do try to do these experiences with them at home. We don't have an amazing theater set up, believe it or not. I hate our house, but it's very late in the main area. But we have a big TV. Yeah, yeah. And so, you know, we darken it as much as we can. No phones allowed. We make popcorn. We have a bunch of finger foods. And we watch a movie. And that's still fun. So we just watched 300, which I think is easily, I think, exact center peaked at 300 by a country mile. And man, it was fun watching that movie again and seeing just a creative film back on the big TV, instead of going to like the thousandth remake or rehash or sequel, it's just, it's so boring and tedious. And then people see all my reviews and they're like, do you like any movie? Do you like anything? You're so negative. It's like, no, no, no. The problem is I fucking love movies, but I'm so sick of this crap. Like when something new and original comes along, typically I'm very for it. Poor things I thought was fantastic. Not for everyone, of course. But I appreciate when they're different and they have a voice and they feel like there's art and it wasn't committee and it wasn't designed to draw in a bunch of investors. You felt like it was just a guy with a vision. Bo was afraid, completely weird ass movie. I still don't know if I liked it or not, but it was an experience to be had for sure. And I don't know who you get to fund that thing even, but I'm so amazed that it got done. And that used to be more prevalent. I feel like there used to be a lot more of those where they're just like, you know what? Like it or not, this is it. And like it or not, this is it. And they would make them for cheap. And then all of a sudden, they would just come out of note. You know, Dallas Buyers Club. Right. It would just come out of nowhere and everyone's like, oh man, what an incredible story. Oh, how did you do it? And like I shot it on the weekends because we couldn't afford a location during the week. You know, like it was, there is so much heart to those movies they won you over. And I feel like that's something that you can't artificially generate and they're trying to now. They're trying to desperately, yes. Yeah. And they're trying. And they're afraid of their own product. That's the most insulting part. That new Twisters movie coming out. Twisters with the S at the end. No one can tell you if it's a sequel, if it's a prequel, if it's a remake, if it's a reboot. No one knows. They interviewed the actor and he's like, you know, it's, I'm proud to say it's its own thing. It's completely, you know, its own thing. You see the trailer and the fucking Dorothy goes up in the tornado again and the little ball has come out. It looks like a shot-for-shot remake again. Why are we using Dorothy technology still? We don't have phones? I know. And it's because they're so afraid that if they don't make it shot-for-shot, all the purists will get mad. You know, and they'll be like, well, that's not how you do it. You know, that's this and this and this. Because it just feels like, I know that you've been front and center on a lot of this stuff. No matter what side you take a stand on, the other side is all against you. Right. And then the other side is, and then if you're in the middle, both sides are like, well, why don't you take a stand on anything? It's like the worst place you can be on the internet is like a more centrist approach to really criticism. Or anything, really. That's, I gotta respect you, man. As you go out there and you give it your honest opinion, you know, this is me, take it or leave it. It's always funny. It's always entertaining. Like that's what's really in. Yeah. The day that I come out and I start praising Godzilla minus one and apologizing for having a bad opinion on it, that's the day that I officially lost my real job and I have to like make a stand on YouTube and like chill out. Yeah, exactly. We all like Godzilla, right? Yeah. It was actually the best Godzilla movie ever. I love it. I have my hands down. Hands down. The new stuff is the only way. And Barbarian was great too. It turns out I actually really like Barbarian. What a twist. Yeah. What a twist. Yeah. I wish there was more movies with an evil twin sister. And all that. I think that helps though, is just when you don't have, when you're not a slave to the machine YouTube or the algorithm or whatever and you have that freedom to kind of do what you want and say what you want. Yeah. That's the best place to be in. Well, it'll help you sleep at night too. You know, there's so many of these people that regardless of what the music is, you got to start tap dancing and you're like, oh man, no, I love it. Yeah, that's great. Oh my God, I hate myself. I know. It's the double-edged sword. You know, if you don't like it, don't do the business. If you do like it, that's probably to some degree, that's going to be the part you have to play for a while until you can come out and you can be like, you know what? I'm big enough that I'm taking a stand on this. This is the way it is. Exactly, yeah. I was going to ask you, we could probably wrap up on this unless you had anything else that you want to go over. But so we met because you reached out to me from my imaginary review. Yeah. I loved it. I appreciate that. I just, so it was cool that you did. I noticed a couple other, like smaller directors and actors follow my channel. Do you think this is a prevalent thing? Do you think there's a lot of guys like you and women that are actually listening and looking at movie critics on YouTube and influencers on TikTok and wherever? Or are you more of a rare breed where you're more fascinated by this stuff? Well, this is a fairly new realm for me. I definitely enjoy the movie critic space on here because you can go, and it's almost like a grocery store where you can pick your different flavors. And to see the same movie reviewed by five different people, you get bits and pieces from every single one that are pretty consistent, by and large. I like that one. I like that one. I'll get some more of that. And it was like, dude, that one's gross. Yeah, and I'm like, is that the same movie as this guy saw? Like I, you know, and that's when you run into those people who are like, I feel like you have a vested interest in the success of this. And that may have compromised your vision of this movie, you know? Oh man, I saw a review. God damn. What was it? It was a movie that I just thought was atrocious. And then I went on YouTube and I just searched to see there was some other reviewers and there was this cute young, I don't know how she was, 30 something year old woman reviewing the movie. Yeah. 7,000 views or something. And right in the thumbnail, it's like amazing film and that contrasts my like hot garbage. Right. Yeah. So I go, okay, let's see what the pretty lady has to say. So I click on it. What did you like about it? And the first minute or so of the video is her getting ready, getting dolled up to go on the red carpet premiere of the movie that she's about to review. Oh, it was Ricky Stenicki or whatever the hell that thing was called. Ricky Stenicki or something. Yeah, so she was at the premiere for that movie and then she comes back and talks about how great it was and she got to meet some of the actors. And now she's going to review this movie. Like kind of a conflict. With a very objective point of view. Yeah, what a very nuanced vantage point she has to talk about this film as opposed to middle-aged dad who just got done working a nine to five, hung out with his kids and then just wanted to unwind. So he put on Ricky Stenicki. I've got two hours that I'm going to give to this. And that's it, you know, like I'm going to, oh man, you know. And that's the thing, you know. Your time is the one thing you can never get back. It's so, so, so valuable. And that's what I love about your critiques on these things is they're, you're right out of the gate. You're, these are my talking points. Bang, bang, bang, bang, bang. You know, two hours, don't waste your time. Hour and 43 minutes, it's pretty good. You know, this is what, if you like this, you're going to like this movie. If you don't like this, you're not going to like this movie. Don't, don't bother. And when you don't have that much spare time, it's a pretty big investment to watch a two hour movie. A three hour movie. A three and a half hour movie. I mean, it's a big investment to do anything these days, which is why, and I, that's what I go for is I will tell you exactly how I feel about the movie within the first 30 seconds. Typically in my opener, I'm like, hey, this movie sucks or hey, this is okay. So if people want a quick glimpse and they have any respect for my opinion, they'll be like, okay, you didn't like it. I'm good here. And then they can continue to listen to the rest of my 20 minute bitch fest. Or they can walk. How much did you not like it? Right. Yeah. Go on. Go on. It's okay. I don't want to waste other people's time with the movie as much as I don't want to waste my own time with the movie. But I was asking you whether or not you thought other actors like listened into this because I don't want to get like an email from Lindsay Lohan tomorrow and like, how dare you, sir? All right. And I would venture to say to a point, I'm sure people do. There's like a morbid curiosity to see once you throw something out there, you're kind of like, I know that one wasn't my best work, but was it really like toxic waste? Like, oh man. This guy wants to jump off the top of the umpire state building rather than watch me act again. Yeah. Is that like a literal thing? Like people died because they'd rather not see another movie with my name on it. Like, I, yeah, no, I'm sure. I'm sure they do. But most would probably just be on the sidelines and kind of just watch it all go by, you know? And tune in. And then you get to- That's the healthiest thing you could do probably. Yeah. And because once you engage, now- You picked a side. Uh-oh, you know, which side are you on? Now you're in it. Now you're in it. And so it's, I'm sure they do. I would, if there's downtime, you're always kind of, especially if you love movies. It's just, it's a very natural progression to see other people talking about it. Because that's what you, that's your fuel, you know? Like, that's what makes you excited. That's what gets you fired up. What I had noticed is a lot of established actors love plays. And they talk about playwrights. Like, and I, I don't, obviously, I don't know that many. Like, I'm not necessarily that cultured, but they would talk about performances they'd seen on Broadway. And they're like, you know, so-and-so gave a performance. They don't have a false bone in their body. They perform the truth. And you're just like, oh, I do. I'm not good at it. I am a bad person. I lie through my teeth like this is. I didn't believe that from the instant I said it. Like, that's just really bad. Yeah. And so no, I'm sure they do. But they probably, they probably see all the thumbnails and they're like, oh, they like my movie. No, no, no, no, no, no. But they didn't say anything about my outfit. So forget them, you know? And then on the next thing, oh, well, yeah, I did, I did really like that part. And that's kind of funny. Or they, they, they tune into the people who are, they just nuke it and they, they kind of get a laugh because again, they got paid. They did the job. They're on to the next thing. Yeah. Yeah. Yeah. Right. Right. The rest of us, the rest of us are cleaning up the peanuts. But it's, it's, I think there's probably both sides of that coin. Mm-hmm. Okay. Couple, let's do just a couple of quick rapid fire questions for you. And guys, if you have any more super chats, throw them in now or forever hold your peace. We're going to wrap up here in just a few minutes. Josh, who, who is the, your favorite celebrity that you've run across and where was it? Favorite. Um, I don't know, well, one of the, one of the nicest dudes I ran across was LL Cool J. In NCIS LA, it was one of the, one of the first things I got, I got to play a bartender. And that dude is so genuinely nice and cool, like very, very good dude in real life. Nice. There's, there's been. Oh, go on, go on, please. There's been, you know, you run across people a lot, but that, that was very early on. So that, that one was kind of like, man, that's cool. That you're kind of like, oh, that's the guy. Have you, have you ran into anybody randomly on the streets in Hollywood? Like at a grocery store or at a movie theater or anything? Yes. Oh my God. Yeah, this is kind of funny. So my wife and I, I guess it's not really funny. My wife and I went to- I'll be the judge of whether or not it's funny, Joe. Exactly. I'm not going to take a stand on whether this is funny or not. We, we went to Contagion at like 1030 at night or whatever in, in a theater in Century City. It was packed, you know. Sigh oats? Yeah. This is the second time fucking Contagion's been brought up this month. I haven't heard about this movie for like eight years, 10 years and now twice in a month. I couldn't even tell you what the movie was about. I can't even remember. It was like outbreak kind of, a bunch of people died. It was basically the precursor to COVID. It was kind of like a more, way more intense version, but that was the idea. Go on anyway, that was funny to me. The Phantom Menace, the Phantom Menace version of COVID. Yeah. Right, exactly. We were sitting there and it was packed, you know, which is ironic given the content of the movie. You know, you're kind of squeezed in there. Yeah. And you're sitting in a dark theater and you don't really notice anybody who's around you. And anyway, we all get up, go to the bathroom. I go to the bathroom and it's Keanu Reeves that I've been sitting next to at the theater. The entire time. Didn't have no idea. The myth, the legend, Keanu Reeves. Yeah. Had no idea. I'm glad I didn't, because I would have been like, oh, no, I can't watch the movie like a normal person. You would have been like, whoa. Yeah. Do you like this movie? Do you like movies? Do you eat food? Do you ride motorcycles? Do you dodge bullets? Yeah. Do you dodge bullets in real life? Sorry, go ahead and watch. But we came out of the bathroom. I came out of the bathroom first and my wife was sitting there and I was like, Keanu Reeves in the bathroom. He comes out and is walking off. And you see it, every single person is going and they double take like, wait, oh, oh. And you just see, like this dude is just trying to get to his car. That's all he's trying to do. He's just trying to get to a park bench where he can be sad. Yeah, like I just, it's just crazy to see it kind of all pan out in real life. He was like, oh, man, that's his. It's like a Thursday night. I remember the first celebrity that I ever saw was way before I came out here. I saw him in the airport at LAX. I saw Billy Crystal. And he had an assistant with him and he's like this tall. And they're walking like that. I told every single person for the next maybe three weeks that I met that I saw Billy Crystal at the airport. Billy Crystal had no idea. I would still probably be telling people, yeah. Yeah, he had no idea I even existed in the world. And that was just, it was kind of like this weird realization like, yeah, I mean, that dude, he's very recognizable. But you don't mean anything to any of these people. No, well, no, but they're kind of like a good omen to you. If you see a Billy Crystal in the wild, you're in the right place. Yeah, yay, I did it. I did it. Okay, I found the Billy Crystal. We got that checked off. It's like a Pokemon search. It's Miracle Max. It's Miracle Max. It's one of the city slickers. Yeah, yeah, that's him. That's the guy. I can't remember his name. I think it's Danira. No, that's not Danira. That's Mr. Slicker. The other one's Mr. City. And then I came up with the guy that gets scored by the bull. Yeah, Jack Collins. Mar from Home Alone. Yeah. Yeah, Mar from Home Alone. What was his name again? I always forget his name. Daniel Stern or David Stern. Daniel Stern. I think it's Daniel Stern. Yeah. Yeah. Okay. So that's fantastic. Keanu Reeves. That would make probably my lifetime if I was even near him. Yeah. John Wick, Neo. Yeah. He's a legend. And apparently he's just a super nice dude, which is remarkable. I can't say anything to the contrary. You know, I met him that one time and he washed his hands, so I was like, you're pretty cool in my book. I'd say you're keeping clean. You're hygienic. You're just watch contagion. And now you're everything people say they are. Yeah. Have you seen Ben Affleck stumble out of a Dunkin' Donuts at any time? Never stumble, but he is a big dude in real life, a lot bigger than you'd think. Yeah. Is he six, four, six, three? Yeah. And he's like, shoulders are just like, he's got that Batman weight on him. Yeah, he's a big dude. That was one I was just like, whoa, my God, he's big. Okay, I would just say, is there anything you have upcoming that you want to plug? Do you have anything you want to shout out? Do you have anything you want to leave me with? Or are you just chilling? Just you, man. Like you're making it happen every day. I appreciate your work and I appreciate your opinion. Well, I sent you a script. I'm very proud of it, but if it's garbage, I expect you to tell me it's garbage. And then I will cry myself. Side unseen, it's great. I think you cracked the code. Get out the Sharpie, see some notes. I'm going to be like, you did not get any diverse characters in this. Yeah, exactly. I'm looking for a sumo wrestler somewhere in here because that's what we're going to get our funding. And I don't see it. Why are there no black gay characters? That's female black gay characters. Have you noticed that's always the thing? It's like they killed two birds with one stone. Hey, we got the lame black men. Let's make her gay because now we got two things done. Score every time. Every time. It's so funny. Yeah, you got to cast a big net. That's what you got to do, man. You're going to get the funding. You got to cast the big net. You make two for them, one for you. Isn't that what they say? Right. Maybe it's like six for them now, one for you. I think it's double digits for them now, at least. Yeah, OK, I'm going to start sending you hallmark scripts. Yeah, oh, the babysitters a little off. Yeah, Santa, Santa, baby one through 10 will be coming your way. And then you can do the reverse horror side of Santa, baby. Yeah. Yeah, yeah, yeah, that would be good. Baby Santa, which is like an evil baby that Santa got rid of and it it's going to kill everyone. Yeah, it's coming back for revenge. Guess what? It becomes Krampus. Yeah, turns out turns out Krampus was Santa's baby that he didn't want all along. It's like the prequel to the prequel to the prequel. Well, yeah, yeah, it's going to it's going to. Did you see that they're doing a pooverse now? The dark Winnie the Pooverse. Yeah, I'm sure. And all you have to do is have one character come in with some exposition for about three minutes and explain it. And then you can just run with your script idea, whatever you want to do. Well, no, so they have that terrible real movie Winnie the Pooh, Blood and Honey. Yeah, you're familiar with that. And now they have my title. Yeah. And now they have well, they have the sequel, Winnie the Pooh, Blood and Honey 2, which is like the movies are so lazy that they couldn't even like come up with a fun because Winnie the Pooh, Blood and Honey, that's a great title. Oh, yeah, the movie is horrible, but that title is hilarious. Yeah, don't destroy it, too. Yeah. Yeah. Why not do like Winnie the Pooh, Blood, Guts and Honey or Winnie the Pooh, Blood, Sex and Honey, Blood, Drugs and Honey? Like yours revenge. Yours revenge. Yeah, yeah, yeah. Piglet, the rise of Piglet. The rise of Piglet, dude. I think. Yeah. Anything would have been better than Winnie the Pooh, Blood and Honey 2. But that's how lazy this is. Anyway, these movies cost nothing to make. They're terrible. But the studio has the rights to like Peter Pan, I think, and Bambi and some of these trademark things that, you know, we're in limbo. So now they're like legitimately doing the Winnie the Pooh universe, the Dark, Winnie the Pooh verse. Yeah. Yeah. And they're all going to like come together in 2025. So all these things are getting shit out in the next six, 12 months. It's like an Avengers. No, they have a poster and the Pooh verse is in the Avengers font. That's legit what they're doing. It's it's such a. And they're calling it the Pooh verse. I think it's which is great if it is. But I can't remember what it's. Please. Yeah. Called the Pooh verse or something like that. I mean, that would sell as well as anything anymore. You know, they're I mean, it made a lot of money. The first movie costs like only like 50,000 or something. Something ridiculous. Yeah, it's called Pooh verse Monsters Assemble 2025. Fantastic. It's going to. So it's going to. We have Winnie the Pooh, Blood and Honey, Blood and Honey 2. Then we have Bambi, the Reckoning. Peter Pan, Neverland Nightmare, Pinocchio Unstrung. I like that one. Yeah, I mean, it's all it's all going to lead. It's all going to culminate to the Pooh verse. So all of these. So Pooh to Bambi, Neverland and Pinocchio all come out before 2025. Wow. We have four ambitious movies. Four shitty movies coming out this year. And then, yeah, and then we suit up. Yeah, we suit up for the ride of a lifetime. Monsters Assemble, man. That's that's that's what I'm dressing up for at 1201 on Thursday, Thursday night. You know, I guess what, Josh? Yeah, this Jackass is going to be there reviewing every one of these terrible movies. It's your cross the bear, dude. I appreciate it. It's my cross. It's my self-inflicted womb. Alrighty, man. Josh, it was awesome talking to you. We'll do this again. Please. Yeah. Yeah, I was a little worried at one point because there was a car that kind of pulled up by you. So I was a little on the fence. Like, what's going to happen? I threw some neutral gang signs at him real quick to know that I'm just here on a call. Like, this is this is business. It's never see a night at the Roxbury when they each other and they do that. So good. No, in the movie, in the movie, they they turn to each other. They do this like weird. The Vogue. Yeah. So good. And I was like, Emilio. And there he was, the duck man himself. Yeah. The hat. I need to watch that again. That movie was great. Oh, solid. And a little feral. Molly Shannon. They don't make him like that. No, I saw my son last night was watching dodgeball on his computer, which we'd already seen as a family, but he just went back to it, which is fantastic. You've got to. You've got to. When all else fails, you know, it's almost it's almost like the eating the ginger in between the different bites of sushi. Like you got to cleanse the palate from what you just had. And then you're like, oh, OK, now I can I can progress forward. Which brings it full circle, because Bateman's in that in a small cameo. And I think it's legitimately the only time Jason Bateman's playing a character that's not Jason Bateman. He's he's one of the judges in dodgeball. He has that great line. Like it's a bold strategy, Cotton. Yeah, he's got the spider. And he's always he's always just kind of re re shifting and stuff like that. And like, he's got a sweat man. He's got a sweat man to see this. It's both strategy, Cotton. Yeah, let's see how it works out for him. Every other time there was like deadpan serious, funny. But I wish you would play it. I wish you would play more roles like the one in dodgeball, because that was great. Did you ever see Smoke and Aces? Yes, I did with Jeremy Piven. He was like, yeah, that well, that's where they had. That was like what, late 90s. Yeah, I want to say everybody. Yeah, well, they were doing these ensemble kind of Oceans 11 Esk movies, but like B versions where you have like Rihanna thrown in. And then it would be Vinnie Jones. Vinnie Jones was in there for no reason. Right, right, of course. Jason Statham's in all of them. So the Italian job, whatever. Yeah, yeah, Smoke and Aces and he's the valet, the valet guy that knows kung fu. And he always knows kung fu. He's a beekeeper. He's a marine biologist. Every every role he plays, he for some reason knows kung fu. He's like, oh, yeah. Statham screams neurobiologist. You know, he's a transporter. Yeah, you see that guy. You're like, that's the guy I want operating on my brain. That's like when they cast Tara Reid as a scientist, one of those terrible. Alone in the dark, she was a scientist. Like, yeah, I'm buying this. I'm buying this performance. Yeah, the script writers like Tara Reid type and they're like, actually we could get Tara Reid. I'm like, she's doing cool. Yeah, nothing else. Yeah, great. I think, yeah, let's go for it. Let's do it. It's fantastic. All right, on that note on Tara Reid, which is where we're all conversations, conversations to that, Josh, a pleasure. We'll we'll talk again soon. This was great, man. Absolutely. Take care. Thank you so much. Take care. Thanks for watching, everyone. See you next Tuesday.