 Greetings from the National Archives. I'm David Ferriero, Archivist of the United States, and it's my pleasure to welcome you to tonight's film screening and discussion about Memphis Bell, The Restoration. Before I turn you over to our special guest filmmakers, Katherine Weiler and Eric Nelson, and our moderator in National Archives Motion Picture Preservation Specialist, Chris Austin, I want to tell you about two upcoming programs you can watch on the National Archives YouTube channel. On Tuesday, November 17th at 7 p.m., we welcome Mary Beth Norton, who will talk about her new book, 1774, The Long Year of Revolution, which chronicles the revolutionary change that occurred in the American colonies between December 1773 and April 1776. Tom Putnam, director of the Concord Museum, will join Professor Norton in conversation. Then on Wednesday, November 18th at 3 p.m., we'll present a panel discussion on Supreme Court Justice Louis D. Brandeis and Social Justice. Presented in partnership with the Capitol Jewish Museum, the discussion will feature Brett Snyder, our constitutional law professor at Georgetown University, and Jennifer M. Lowe, director of programs in strategic planning at the Supreme Court Historical Society. On May 17th, 1943, the crew of the Boeing B-17 flying fortress, Memphis Bell, successfully completed their 25th and final mission. Famed Hollywood director William Weiler, then a major in the United States Army Air Force, and his crew shot over 15 hours of footage that would become the documentary the Memphis Bell, Story of a Flying Fortress. In 2018, in commemoration of the 75th anniversary of the final flight, the National Archives partnered with Vulcan Productions and Creative Differences to digitally preserve the film and outtakes. Tonight, we screen the restored version of Memphis Bell. Following the screening, narrow supervisory motion picture preservation specialist, Chris Austin, will moderate a discussion with Katherine Weiler, film producer and daughter of William Weiler, and filmmaker, Eric Nelson, who collaborated on the restoration and used the outtake footage in his 2018 documentary, The Cold Blue. And now it's my pleasure to turn the program over to Chris Austin. Chris is the supervisor of the Motion Picture Preservation Lab at the National Archives and Records Administration. Over the course of her career, she's overseen preservation and digital restoration projects, including the films nine from Little Rock with the Marines at Tarawa, the Negro soldier and the March. In addition, she conducted forensic scanning of the Iwo Jima flag, providing footage to assist in determining the identity of the Marines and completed digital restoration of Ava Braun's home movies. Thank you for joining us today. Good evening. It's a welcome you to our screening of the restoration of William Weiler's Memphis Bell story of a flying fortress. It's also my honor to be here this evening with Katherine Weiler and Eric Nelson, who worked together to complete the restoration by piecing together more than 500 individual shots from the original outtakes. While William Weiler may be best known for his Academy Award-winning movies, he also made documentaries for the US Army Air Forces as a major during World War II, Memphis Bell and Thunderbolt. Weiler began his military career in London and started filming in winter of 1943, suffering through minus 30 degree temperatures on the B-17 bomber and braving enemy flak. Weiler flew on five missions with the crew of the Memphis Bell, the last two in direct defiance of orders not to do so. He was lucky to return to base. His cinematographer, Harold Tannenbaum, was not so fortunate. The statistics were overwhelmingly against the bombing crews with a million German troops and 40,000 anti-aircraft guns waiting. The odds were roughly 50-50, they'd make it home alive. Completing 25 bombing runs as the crew of the Memphis Bell did, lowered those odds to less than 25%. But Weiler and the Memphis Bell crew made it. In June 1943, he came back to the States with over 15 hours of film documenting the plane and her crew. The ear-splitting engine noise and gunfire made it impossible to capture audio on the plane. So back in Hollywood, Weiler brought in the crew to record their voices. It took another 10 months to script, narrate, and compose a score to complete the film. Excuse me. And with the full support of President Roosevelt, it was released to the public on April 14th, 1944. It was the first film in history to be reviewed on the front page of the New York Times. The film was a resounding success and the Memphis Bell was one of the first films to bring the air war to America in color. And the color was brilliant as you are about to see. The original footage and outtakes were later deposited with the National Archives, but a faithful copy of the film never made it. Beginning in 2001, the archives spent years trying to track down a better print, but none were to be found stateside or internationally. It wasn't until 2018 when NARA was able to partner with Vulcan Productions and Creative Differences to digitally preserve the outtakes for the production of the cold blue that Eric Nelson discovered that he could restore the entire Memphis Bell from those outtakes. The original Kodachrome was scanned by NARA staff in 4K resolution, along with the best surviving copy of the completed film to capture the title and animation sequences. Throughout the process, Mr. Nelson collaborated with Katherine Weiler to ensure that the finished restoration remained faithful to her father's documentary. Prior to showing you the before and after clips, I'd like to give a brief overview of the initial project. And as we start this Q&A session, I encourage you to participate by adding your questions or comments into the YouTube chat box, which we will be monitoring. In 2017, we were contacted by Eric regarding a partnership to preserve the original Kodachrome outtakes shot by William Weiler in 1943. The outtakes were to be used to tell the story of the Eighth Army Airmen in Eric's production of the cold blue, which I'll ask Eric to talk about momentarily. But first, I wanna explain why these outtakes are so special. William Weiler used 16 millimeter Kodachrome to capture his images and then blew it up to 35 millimeter technicolor for public release. There was no other color film stop capable of holding the saturation or color spectrum to match with technicolor. Manufactured by Kodach, Kodachrome holds its color brilliantly, but with age the film can become brittle and begins to shrink, curl, and warp. And true to form, Weiler's original outtakes were in such a shrunken state that the archives was no longer willing to make them available to protect them from further damage. However, the copies of the outtakes made in the past were subpar as they exhibited optical deficiencies introduced during the copying process. The deficiencies were due to the Kodachrome shrunken condition and as a result were not faithful representations of the originals. The partnership that we embarked upon with Eric allowed us to scan the original reels in 4K and preserve them as DPX sequences for the cold blue. In all, we scanned 36 reels of outtakes which took over 80 hours and generated 80 terabytes of data. So with that little bit of background, Eric, could you give a brief overview of how the outtakes were used in the cold blue? Well, the cold blue was the genesis of this project. I had been pursuing color footage of World War II airplanes and brought in Lisa Harchins, a terrific researcher who works closely with the archives. And I sent her on a mission, find color footage of World War II airplanes because both Paul Allen and I shared a passion for World War II aviation. And within a couple of days, Lisa came back and started to run through the catalog. There wasn't much, but at one point she said, and there's 35 reels of William Wyler's outtakes for the Memphis spell, is it, excuse me? And she said, well, there's 35 reels of William Wyler's footage. And the moment she said that, I think this whole project crystallized in my mind and I had the idea of doing a brand new film with William Wyler's outtakes, which turned into the cold blue. And as we started to put that film together, I reached out to Catherine Wyler to get her family's blessings for what I was doing. And in that first discussion Catherine mentioned, well, she wasn't quite sure what I was up to and knew she couldn't really stop me because this is all owned by us, the taxpayer. She sure would love to see the William Wyler, father's film restored, which point I said, well, there's only one way you could do that, and I don't know if we can do it, but we'd have to recut the entire film from the outtakes and as soon as re-edit the entire film from scratch. So that was kind of the overview and genesis of this project. With that in light of that, Booth staff, could you please roll the restoration clips? And Eric, while we're watching, could you talk about how you discovered that the outtakes made up 95% of the original film? Well, that was a very scientific process known as trial and error. We didn't know. We had cut the cold blues, so we were familiar with the footage, but we didn't know whether the entire Memphis Bell laid there and it turned out it did. But if you take a look now, you can see that this was the best available print. So the before is readily apparent. The Memphis Bell in of itself, Catherine will attest, looked terrible. There just weren't any good copies of it. So frame by frame, we were able to do what we were seeing here. Note the yellow of the prop tip. Look at this. The colors completely came to life. We were not in competition, but we were coming, we were both producing Peter Jackson's, They Shelt Not Grow Old and the cold blue were both being produced simultaneously. And Peter Jackson had to go from black and white and colorize it. We were fortunate enough to be able to go from color to color. So there's not a frame of colorization in what we were doing. But as you can see, the details that we were able to bring out. And Chris, you were quite modest. If unless I'm mistaken, the 80 hours hunched over the movieola or whatever device you used, you Chris Austin did that work. You're the one with the white gloves who painstakingly enabled us to do it. And we were in very close touch the entire process. So give yourself, anyone watching should credit Chris Austin for her dexterity and commitment to the project. But look at the details. If you look closely, you can see things that just never existed before. Look over to the lower right. There's, you see the instruments there. Watch the glove pop out. It's like taking Windex and scrubbing the past. It's creating a time portal if you will to allow people to go back into the past. Watch the aluminum in the tail. You really can see the aluminum. And you can also see how thin the shell was. Look closely, you can see the guy's name on the flap of his helmet in the left frame. The battle damage. There's the iconic Memphis spell. Yes, it's really very stunning, especially given what we had prior to that. So the Memphis spell was named the national film registry in 2001. It's when we went out searching for prints that were in better shape. But what you see as the before was the best that was actually available to us. We checked with the Imperial War Museum in England, the Library of Congress, some of the different studios. And for decades, the best we have was kind of that brownie washed out looking. Well, I have to say my entire life, it was kind of a sea of mud. And it was so sad. You really couldn't understand the film or tell what was happening. And so when Eric mentioned to me that he was using the outtakes, and then I said, well, how about my father's film? I mean, what he did to me was absolutely extraordinary, magnificent. It's amazing. I just so love watching it this way. I mean, the way it was meant to be seen. Well, I think it's safe to say it never looked better. It, when your dad, when your dad screened it to Roosevelt at the White House, it was a step down print. It was from several generations of 16 millimeter blown up to 35 millimeter. We cut about five layers in what we did. And because we had access to 4K and digital technology, there were scratches in the film that your father risked his life to capture this footage. And then in a film lab, a technician scratched a lot of the raw footage. So in every version of the Memphis spell, you see what we refer to as the blue lines of death. So we had to frame by frame, put it out. And when I say we, it wasn't me. It was Ernest Savage and Paul Morango, a team of two, a dedicated team of two people who spent three months crawling over this footage to bring it to life. It was completely on them. And one thing to point out the animation and the titles, the animation we took from the print and Ernest did an incredible job to restore the animation. At one point I thought I was gonna have to reanimate the film from scratch to get it up to snuff, but Ernest somehow magically found a way to restore it. The only thing that we faked, quote unquote faked, was the graphic at the end. The end, we redid the artwork and caught a frame of the back plate and reassembled the end title. So Catherine, I hate to give this away, but the end... The end titles, thank you. The rest of it was so great. Yeah, well, in title there's a pun, but the end title was definitely fabricated. But everything else, and you were quite adamant that we not change a frame. You were very clear. You didn't want the aspect ratio changed. You didn't want anything changed. Well, one of the things I found so nice and thoughtful about working with you was that when I said no, the aspect ratio that my father shot it in is what should remain. Let's not have lots of film historians yelling at us. And you said, okay. Well, as I said, I still would argue with you as we did, and it was never an argument, it was a discussion. Well, you may well be right. Knowing your father, if you had said to him, look, Bill, this is gonna be seen on giant screen televisions everywhere. Do you want it to fill the screen or be in the three by four? Trust us on this. He probably would have let us do the 16 by nine. I'm sure you would. If you'd called him willy, not Bill. Bill, there you go. I would have called him, Catherine, I would have called him sir respectfully. No, you didn't need that. But I would like to say now that I've seen the film, so often, so many times recently, I have to make a shout out to Lester Koenig, the guy who wrote the narration, because that narration is so brilliant. It just moves you along and it's quiet and thoughtful and dramatic and heartfelt and I just think it's a wonderful narration. Like something out of a dream. No, I agree. And the quality, when I made the cold blue, I made a point of not watching the Memphis Bell because I didn't want it in my head and I wanted to come up with a completely fresh approach to the footage. I was more taking the guidance of the cinematographers who then gave the footage to your father to try to put together in the edit room. But when we got to our takeoff sequence in the cold blue, we had the raw footage and I had no idea how to cut this. So I did cheat and I went back to see what your father did and was astounded as one would be in the presence of a genius at how brilliantly he put it together. So I'd say that footage of the takeoff is the closest thing to the original Memphis Bell. Everything else has a very, we deliberately tried not to use any material that was in the Memphis Bell unless it was just so overwhelmingly a shot you had to use. And did you also restore the soundtrack? Very subtly and Catherine and I discussed this. David Hughes, our sound designer who did such an extraordinary job with a cold blue, went in and we equalized the original soundtrack which sounded very tinny and he added another layer of flak noises over the real, the flak noises your dad did. No new sound effects just augmented what was already there and put them in the back channel. So again, I wasn't sneaking around. I checked with Catherine to see if that was okay and it does make the film punch better. So the audio frankly is, I won't say it's quite as dramatic as the feature but it's entirely, it's been augmented subtly to give a level playing field. I want William Weiler's Memphis Bell to be seen on a level playing field with my cold blue. It would not be right for me to have the advantage of all modern day technology and do a wide screen surround sound, immersive documentary and then have people look at the crappy, badly deteriorated Memphis Bell and somebody for in any instance to say, well, I like the new one better. No, the original Memphis Bell is a masterpiece and deserves to be seen as a masterpiece. And I thought he was quite right, sure. We do have a couple of questions that came in on the chat. The first was, was William Weiler involved with documentaries and independent filmmaking before he broke into Hollywood? Well, you know, he came to Hollywood because he had a distant cousin who was named Carl Lemley who had started Universal Studios and Carl Lemley paid for his way from France to New York and then Hollywood and gave him his first jobs. So I think, you know, he always, he didn't have this in mind until this kind of terrific thing happened that he had a cousin in the right place to get him started. 12 years till the first major. Well, and also during the war. Yeah, he worked, apparently, my husband is reminding me that it took him 12 years of, you know, crawling up the ladder until he finally got his first feature film. Right. And he turned out to be good at it. Went back to France. Kind of surreptitiously while. Well, exactly, but that's why the Memphis Bell, he was 40 when the war started, when we got into the war and he was desperate to get in and use his talents for some something, but it was really hard because he was 40 years old and he finally found a general who apparently thought it was a good idea to have a guy with a camera following him around. That's how, you know, but he really, he wanted to get to Europe and be part of it and help the war effort, which is what he did. Well, one of the other stories I heard was that he was very disheartened when he got to London because all of his 35 millimeter film equipment had been sunk by the Germans on the way over. He had a terrible time with the bureaucracy at getting his materials. And Tom, I think Ford was there already and knew how to do everything and helped him along, which leads me, just serendipitously, if you wanna know more about some of these Hollywood directors in the war, I just noticed that Five Came Back, which was a wonderful book by Mark Harris and then made into a film, is now on Netflix. So more than five directors, mid-career directors who dropped everything and went off to help the war effort. And in Five Came Back, the film, it's Steven Spielberg, who takes the Memphis Bell and says that the footage of the plane spiraling down is one of the most amazing things he's seen in all of cinema. And if Steven Spielberg says that, you can pretty much go to the bank on it, Spielberg is. And when I was making the cold blue, we did the final audio mix in the Lucasfilm Skywalker Ranch screening room. And Walt Ben Burt, Lucas's sound designer, who did, created the sounds of Star Wars, the beeping of R2D2, all of that, watched the cold blue and said, quite frankly, I don't know if I told you this, Catherine, that when George Lucas was doing Star Wars, they would run the Memphis Bell over and over to get the battle sequences down. In fact, they spliced some of your father's footage in Star War, in the work print of Star Wars to get the special effects timing right. Wow. Very cool. That's amazing. I wonder what such a good film. And one of the other questions we got in on the chat was, have any children or grandchildren of the Memphis Bell crew been in touch with you? More with Catherine. When Catherine, you did the 1990 film, The Memphis Bell, I know you were very close to a lot of the crew of the Memphis Bell have all passed on, but I know that you were, Catherine. Well, at the time that we made the feature film, based on the Memphis Bell, which I was very happy to be involved with the great producer, David Putnam. And the film was made in England and eight, I believe eight of the 10 crew members of the Memphis Bell, this is 1989, who were still alive, and we brought them all over and had, they participated in a sequence that we did about a Saturday night dance at the base, but also Harry Connick Jr. was in our film, Memphis Bell, the Warner Brothers film, and he got all of the other actors together to serenade the original Memphis Bell guys. I mean, it was really something. I know that one of the things that I had, I think read somewhere was that your father was quite close with the crew throughout all of their lives, which I think is just fabulous. And one of the other stories that I heard about is when they came back to do the audio capture of the tracks and whatnot is that your dad threw a party and invited all of the Hollywood elite ladies to come and keep them company for the evening. Right, well, what I heard was he asked each of them to say, what movie star would each one of them like to meet and he tried to get those women there. And I do remember when I was a kid, we always had a kind of a big family Sunday lunch and I remember Vince Evans, the bombardier, definitely was there a lot. His family was well known because they had an important pea soup company in sort of mid California. Anyway, and he was very gorgeous. I had a big crush on him. Well, those guys, when you think about it, here they're pulled off the front lines, they're brought home and they're sent on a national promotional tour all around the country, treated like royalty. There's footage we didn't use in any of the films of the boys in a Jeep ride through Las Vegas, 1943, which is amazing just as archive footage of what Main Street, The Strip looked like in 1943. And it's a true story that the Memphis Belle was named for Bob Morgan's girlfriend and she called him one night at his hotel and a woman answered the phone. And that ended the relationship and the love affair, but for the good of the country, she agreed to keep the facade on until at least the morale tour was done. So these guys were 1920 year old guys and having done the cold blue and met nine gentlemen who were in their mid 90s, who were all fly boys in 44, 45, I can only imagine what these guys were like at 1920, 21. I mean, Lord, what was Hitler thinking? What was Hitler thinking declaring war on the United States with those guys coming at him? There are a couple of moments in the Memphis Belle, one at the beginning and one toward the end, where you see the wheel of the plane, they're coming up or coming down at the end. And I remember hearing that that was a, you could only get that shot if you were sitting in the belly turret, belly gunner turret, whatever it was called underneath the plane, which was absolutely forbidden because if anything happened to the plane, you would be squashed. But my father being the daredevil that he was, I know that he was the guy behind the camera and those two shots, Joey's, he's the kind of guy who wouldn't have asked anyone else to do the job. You know, he would have, he would have, it's much like Jim Cameron, no matter what insane thing he wants his actors to do, he's the first guy to do it to show it can be done. And I think that your dad had differences. Your dad was a no offense to your dad, a portly 40 year old guy who was not made for this, but absolutely put himself. And I've often said what would have happened had he been shot down over Germany, just won an Academy Award, he's Jewish, and he's now been captured by the Nazis. You know, there's arguments that a fate worse than death and he did it voluntarily mission after mission. And after he was told specifically don't do it anymore, he went out again. That's right. Chris mentioned that he was not supposed to go and he just, he couldn't resist, pretended he hadn't gotten that order that he shouldn't go. But I also want to mention though that if you're interested, it's so amazing to me that it's 80 years on and we're still watching The Memphis Bell and the movie still is so affecting. We just saw a terrific film called Memphis Bell, The Final Mission that was made by the United States Air Force Museum in Dayton, Ohio and the local PBS station there. And Memphis Bell, The Final Mission is about saving the plane and rehabilitating it and putting it on display and inviting the, I guess the families of the crew members, which was a great event that happened, I guess, last year. Well, we were all there. We showed, we rushed the restoration of the Memphis Bell and the weekend that they restored the actual unveils, literally unveiled, dropped a curtain with a huge invited audience to show the original Memphis Bell airplane. The next morning we screened the original Memphis Bell restoration. So it all kind of came together. And if you get a chance, if you're a World War II or aviation buff, get to write Pat in Dayton, Ohio. It's, it's incredible. Well, and I think also not long after the cold blue came out, the Smithsonian, it also put out a film called The Memphis Bell in Color, which is, I think interesting because the Memphis Bell is in color anyway. But it was also, it had it sort of a different take also, but it used some of the footage as well. Well, the footage is part of, you know, part of the deal is the footage belongs to everyone. And Spielberg, our good friend Steven Spielberg is executive producing Masters of the Air for Apple TV, which is going to be the band of brothers of the war in the air. And the 80 terabyte, our 80 terabytes of video is sitting in their workshop right now. We've donated it to them. We said, look, get it right. Here's all the raw footage. And if you want to use it in any way shape or form in your project, there are no strings attached. We just want you to get it right. Katherine, were you aware that all these outtakes were at the archives? No, no, I really wasn't. And I have to say, I was absolutely thrilled to learn it. And not only that, but may I say, when I saw the cold, you know, this guy calls me out of the blue. He's making a movie. He's using my father's footage. So I think, well, OK, that's nice. But you know, how about The Memphis Bell? So we have a nice conversation. A few weeks later, he calls me back. He's hard at work restoring The Memphis Bell. And then on top of it all, he makes this movie called The Cold Blue, which also turns out to be terrific. Now, people in the movie business know how rare that is. So I just really lucked out with this guy, Eric Nelson. Yeah, and we got to party at film festivals too, Katherine. So we got to hang out with Jane Fonda at Traverse City. So it's been a great run and will continue to be a good run. And I want to thank, obviously, Chris, I've already shouted out to you, but Dan Rooney, who absolutely pulled a lot of, not say pulled a lot of strings, but was beneficent in allowing us to do what we did and supported every step of the way this project. I've never been more happy to see my taxpayer dollars spent than whatever pitifully small fragment goes to supporting the National Archives. So if I have elective tax deferment, you're going to get all of my tax money for the next 20 years, I promise. That would be wonderful, but we're also really thankful to you for approaching us about this project because it's one of those things where we know we have all of these gems in the collection, but we don't necessarily have the means to, you know, present them in the way that you did. And I've been at the archives for a while now. And when I first started, I would see the outtakes come through the lab for requests. And it was one of those things where, I mean, at that point in time, I had no idea. I just knew the item number, which is 342 USAF 19510. And I would see these reels keep coming through, but I didn't know what they were attached to. I just knew from a preservation perspective that these beautiful films from 1943 were having some preservation problems and shouldn't go out anymore. And so, you know, that's when we put the hold on sending out the originals any longer. But, you know, as we all know, looking at the film and the copies of those outtakes, you know, nothing could compare to those originals until you approached us with this project. So we really thank you for, you know, making them available in, you know, all of the brilliance that they have. Well, all of us share, Catherine, you, Chris, Dan, and, you know, we all, and Paul Allen, the late Paul Allen, share a passion for history, you wanna get it right. And it's a fading thing. And to have the voices and the cold blue of the last surviving guys, we collaborated last. This is a plug, but there's a reason I'm going here. We did Apocalypse 45 with the Discovery Channel, a brand new film, working closely with you and Dan Rooney on a film about the Pacific War, where we preserved footage from the Pacific Theater of Combat in 24 interviews with guys who were there. And there was this confluence of restoration technology and will and fire, fiscal firepower, thanks to Paul Allen and Vulcan, and the guys who were there. And of the nine guys I spoke to in the cold blue, five have flown on, if you will. And of the 24 guys I spoke to just last year, ending in February of the Apocalypse 45, five have flown on. So it was vital at this point, the sort of nexus of technology and the last surviving guys to bring them all together for these projects. I'm certain there'll be restoration wizardry that will work closely with the National Archives to create 3D versions, to do more what Peter Jackson did, but they're not gonna have the benefit of being able to actually say, hey, look at that footage of the contrails. What did those contrails look like to you? That was something I had when I did the cold blue, and it all goes back to William Weiler, who risk, literally risk his life, and Harold Tannenbaum, who gave his life to preserve this history for us. We've got one last question on the chat and that is, where is the Memphis Bell now? Catherine? Well, that's where the Memphis Bell now, the Memphis Bell was first taken to Memphis and spent a few years being very well taken by the people of Memphis, but at a certain point they couldn't do it anymore and the plane needed a lot of restoration. So they sent it to the US Air Force Museum in Dayton, Ohio, also known as Wright Patterson. And that's where this film I mentioned earlier, Memphis Bell, the final mission was just made and it talks about all the work that they did over, I think, something like 13 years. 13 years and the actual Memphis Bell was sitting in a park on a pedestal, I believe, to the elements for maybe 30, 40 years deteriorating and they packed it up, they shipped it to Wright Pat, they took up donations and volunteers went in to- It was all volunteer labor. All volunteer and they put it back together and finished probably four hours before you and I saw it unveiled in May of, I think, 2018 on the 75th anniversary. And if you go to the museum, there's a huge, it's like it has its own corner of the museum and there are pictures and explanations of all the crew members and my father. And but this film that they recently made, Memphis Bell, the final mission is also terribly good. And I'm hoping that the local PBS station that made it will be able to get it on national PBS hopefully sometime soon. And again, I wanna say that the film that we just saw is available and yes, I wanna sell DVDs, I'll be available in the lobby on the way out, but just go to Amazon and the cold blue features on the cold blue, the entire Memphis Bell that you've just seen, but in blu-ray quality. So if you own a blu-ray player, trust me, your mind will be blown how good this looks on a big screen, as big a screen as you can get and turn up the 5.1 sound. And there's a supplement on the making of process that actually has footage of the unveiling of the actual Memphis Bell. So you buy the cold blue and you get the Memphis Bell with it. It's a supplement, yes. And then the film, the documentary, I made a second film on the restoration process which Catherine, you're featured in and we actually show the moment the real plane was unveiled and we talk about it. But it is something to behold on, we spent a lot of time and Chris, you know what blu-ray quality on a good projector can look like. YouTube's great in that we bless you and thank you for showing it, but you ain't seen nothing yet. Yeah, it's definitely true. The colors are just stunning. And I mean, even watch, I've seen this film, I don't know, probably a couple dozen times and every single time I get goosebumps that like, you know, sneak up my backbone just because it's, like you feel the color and you feel the color. Well, coda chrome is something else, isn't it? I mean, you know better than anybody. Yes, yeah. I'm just looking at my video. I look like Prince here. Everything's in purple. It's really not like that. I'm not speaking to you from Minneapolis. So. Gee, I thought you planned it that way. Oh, go ahead, Catherine. I know, I just said, Gee, I thought he planned it that way. Well, yeah, I'll do my rendition of, nothing compares to you in just a moment to see this presentation off. Well, with that, we don't have any more questions in the chat. Are there any sort of parting remarks that you might have for us? Well, I'll go first because I want to leave Catherine with a burden of signing us off, but it's, I've made, I've done a lot of projects, but this was blessed. And one of the primary blessings was Catherine being able to work with you. And I know to your right stage, right is Richard getting to meet Richard and just my association with your wonderful family. And it's a true honor to be able to get this Memphis bell thing handled properly to push it forward into another millennium. Well, and I would just say, I've found myself to be very lucky to have met Eric and have, you know, have the terrific work that he did on this. And thank you to the National Archives for this lovely event. Yes, well, thank you to everyone, both here and out there for joining us. Thank you, Catherine and Eric for being here this evening. And of course, we want to extend our gratitude to our veterans and active duty service members. It really is a privilege to be an employee at the archives where we preserve your records and your stories. So good night and thank you everyone. Thank you. Thank you.