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Short filmTranscript
00:00I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry
00:30Come on, die for me, that's it, die for me, baby!
01:00So it's you, huh?
01:20You think you got what it takes to be the boss?
01:25Shit, that crown's so fucking heavy, it'll break your neck.
01:29I'm the only one keeping us from being a thing of the past.
01:39You're gonna do good, kid.
01:41You know how I know why?
01:46You're the best teacher there is.
01:49And bang!
01:52Cut!
01:53Tail slate!
01:54Yes!
01:55Yep, yep, yep, yep!
01:57Excellent work.
01:58Excellent work, man.
01:59Good job.
02:00I don't know, man.
02:01Am I spitting too much?
02:02Is it too spitty?
02:03No, hell no.
02:04It's just, like, excellent spit.
02:05What about a horrible look of regret?
02:07I did a little something different with my eyebrows there.
02:08Is that reading?
02:09Yeah, yeah.
02:10I completely saw it.
02:11I mean, hell yes, I saw it.
02:12It's excellent.
02:14We're gonna go again.
02:15Maybe try just a little bit of resignation.
02:17Ooh, I like that.
02:18We're going again.
02:19So, regret.
02:20All right, stand by to go again, guys.
02:21Lock it up.
02:22Yeah.
02:23You got it?
02:24Nice, all right.
02:25Let's do it.
02:26Hey, guys, I may need a few extra minutes.
02:27The fake blood is fully in my underpants now, so...
02:31Bloody underpants.
02:32Don't let HR hear about that one.
02:34Tommy, how you doing, man?
02:35Matt.
02:36Hey, great to see you.
02:37Oh, Matt.
02:38This is Matt.
02:39He's our studio guy.
02:40Yeah, the exec on the film, Matt Remick.
02:41All right.
02:42I'm such a big fan of yours, Paul.
02:43Thanks.
02:44I love your directing, actually.
02:45You should do that more, you know?
02:46You saw my film?
02:47I saw it.
02:48I love wildlife.
02:49It's incredible.
02:50The way you shot it, it's beautiful.
02:51Sorry, one sec.
02:52What if I went from regret to resignation to acceptance?
02:55Acceptance.
02:56I love it.
02:57Show me.
02:59Yes.
03:00Yes.
03:01Yeah.
03:02Okay.
03:03You good?
03:04Let's go.
03:05All right.
03:06Let's go.
03:07Again, I love it.
03:08All right, buddy.
03:09Thanks for coming by.
03:10Yeah, no problem.
03:11I had an idea, actually, that I was going to run by for the scene.
03:12Buddy, we're good on ideas.
03:13Thanks.
03:14But I'll see you at Charlize's party, right?
03:15Yeah, of course.
03:16I'll see you there.
03:17Why wouldn't I be there?
03:18Great, great, great to see you, Paul.
03:19Keep it up.
03:20All right.
03:21Hey, quit.
03:22Was I invited to some Charlize Theron party this weekend?
03:25What?
03:26No.
03:27Why would Charlize Theron invite you to her party?
03:28You're always asking if you're invited to some celebrity's party, and the answer's always
03:32no.
03:33Great.
03:35What do I have now?
03:36A meeting with the Jenga people.
03:37Fuck, that's right.
03:38Yesterday it was Rubik's Cube, and now Jenga?
03:39Patty's the head of the studio.
03:40Her corporate overlords want us to make more movies based on known brands, so I got to
03:44take these fucking meetings.
03:45So now what do you do?
03:46You make a Jenga movie?
03:47No.
03:49You take the meeting, and then you don't make the fucking movie, and you focus on making
03:51an actual good movie.
03:52Oh, my God.
03:53This is so depressing.
03:54I'm like 30 years too late to this fucking industry.
03:56I know.
03:57Trust me.
03:58If it was up to me, we'd be focusing on making the next Rosemary's Baby, or Annie Hall, or,
04:01you know, some great film that wasn't directed by a fucking pervert.
04:04Turns out perverts make great movies.
04:06They really do.
04:07Designed by Frank Lloyd Wright in 1927 in his signature Mayan revival style.
04:13It was built to literally be a temple of cinema.
04:17Temple of cinema.
04:18Temple of cinema.
04:19And they want me to make movies out of fucking wooden blocks.
04:21Yo.
04:22Hey, what up?
04:23Hey, do I smell?
04:24I didn't go home last night.
04:25Yes, you.
04:26You really smell like vodka.
04:27Oh, just vodka?
04:28That's fine.
04:29Got shit-faced with Pedro Pascal.
04:30I got him to sign off on the reshoots for Mom's Party, but gotta focus.
04:34Griffin Mill is here, and Patty's MIA.
04:37CEO showing up unannounced.
04:39Shit is going down, Matt.
04:40It's going down.
04:42Wait, wait, wait, wait.
04:44Griffin Mill is here, and no one knows where Patty is?
04:46Yes, yes.
04:47I mean, I think it's happening.
04:48Patty's gonzo.
04:49She's gotta be.
04:50Ten straight bombs.
04:51She gave all of her dumbass friends overalls.
04:53She spent $30 million restoring this building.
04:56She's done.
04:57And I kind of feel like I'm gonna replace her.
05:00I mean, I kind of also feel as though I could replace her.
05:06Oh, yeah, no.
05:07Yeah, of course.
05:08You never know.
05:09No matter what, our friendship cannot be affected.
05:11Of course, yeah.
05:12When it happens, I got you, dog.
05:14I love you.
05:15Esther Chang, right now.
05:20Quinn.
05:21Quinn.
05:22You will never believe what Sal just said.
05:23Patty's fired.
05:24I just talked to her assistant.
05:25She's out.
05:26Oh, my God.
05:27Story is about to break on deadline.
05:28Oh, my God.
05:29Apparently, she came to the office a mess
05:30and then just spit off the lot.
05:31Yes.
05:32Yes.
05:33I knew this was gonna happen.
05:34I mean, it's very sad, and I love Patty,
05:36but this could be my time.
05:39Does Griffin Mill like you?
05:41Honestly, I don't know.
05:42I've only met him like a couple times
05:43since he's been in charge,
05:44and he's very hard to read.
05:47Matt Remitz's office?
05:49Yes.
05:50Yes.
05:51Of course.
05:53Griffin Mill wants to see you right now.
05:54He's set up in scenic paintings.
05:59I'm about to get promoted or fired,
06:01but if I get this job,
06:03I'm bumping you up to creative executive.
06:05Holy shit.
06:06I thought you only ever said that so I wouldn't quit.
06:08I did, but I also meant it.
06:15Ah.
06:21Would you like a green juice or anything?
06:23Oh, I'm okay, thank you.
06:28You can go right in.
06:42Welcome.
06:44Sorry about the strange surroundings.
06:48I just had some business I needed to take care of,
06:51and I thought a discreet environment might be thoughtful.
06:54Of course, yeah, discretion is key.
06:56Yes, exactly, because nobody wants to hear somebody else
06:59crying and losing their shit while being fired.
07:02Here, have a seat.
07:04Um, Matthew, out of respect,
07:07I'm gonna get right down to business.
07:10Ah.
07:14Patty's time has come and gone,
07:17and I'm seriously considering you to replace her.
07:20Oh, my God, yes, yes.
07:22I'm the guy. I'm the guy for the job.
07:24Why are... Tell me that. Why are you the guy?
07:26Well, um, I've worked at Continental for 22 years.
07:30I bought the original spec script for MKUltra,
07:32which, as I'm sure you know, spawned a franchise
07:34that's made us over $3 billion for the...
07:36Hey, Renee, where the fuck's my green juice?
07:38You want a green juice?
07:40Uh, yeah, I'd love one.
07:42Two green juices. Now!
07:44Yes, sir.
07:46Sorry. Continue.
07:48Film is my life.
07:50Ever since I came to the studio as a kid and went on the tour,
07:53being the head of Continental is the only job I've ever wanted.
07:57That is adorable.
07:59All right, well, listen,
08:01I honestly just have one strong reservation about you.
08:04Oh?
08:06When you get into artsy, fartsy filmmaking bullshit,
08:10you're obsessed with actors and directors liking you
08:14rather than being obsessed
08:16with making this studio as much money as possible.
08:20Me? Yeah.
08:22That could not be further from the truth.
08:24I am as bottom-line oriented as anyone in this town.
08:29I believe you. Great.
08:31Good. Good.
08:33Because at Continental, we don't make films.
08:36We make movies.
08:38Movies that people want to pay to see.
08:42Yes.
08:44I got a little secret for you.
08:46Not for anyone else to hear this,
08:49but I am very close to closing on the deal
08:52to get the rights to Kool-Aid.
08:55And I'm talking a huge, four-quadrant version of it.
08:59Kool-Aid? Kool-Aid.
09:01The red drink? Yeah.
09:03Someone says, oh, yeah? Yes.
09:05That is fucking perfect.
09:09That's exactly what we should be doing, Mr. Ville.
09:12Finally, someone who gets it.
09:14Oh, I get it. Oh, my God, that's great.
09:16Yes. I mean, because, look,
09:18if Warner Brothers can make a billion fucking dollars
09:21off the plastic tits of a pussy-less doll,
09:25we should be able to make $2 billion
09:28off the legacy brand of Kool-Aid.
09:32Can you make that happen?
09:35Oh, yeah.
09:37You get it. Yeah, you get it.
09:39And you get it.
09:41Now let's go get it.
09:43Let's get it.
09:45All right. All right.
09:47Did I get the job?
09:49Oh, yeah!
10:02Matt?
10:04Everyone's gathering in the conference room.
10:06Oh, great. Thank you, Petra.
10:08Um, question.
10:10Has Patty returned any of my phone calls?
10:12Patty?
10:14Patty Lee, the lady whose job I just took?
10:17Patty, former head of the studio?
10:19Patty, yes. Yes?
10:21No, no, no, she hasn't called back.
10:23Sorry, so many new names. It's really hard.
10:25It's a lot to process. They get it.
10:27Quinn! Hey.
10:29You ready? Your first big meeting as creative executive?
10:31Yes, I'm so fucking ready.
10:33You got your little notebook and everything.
10:35Big dog.
10:37What's up? Congrats, man.
10:39Thank you. Yo, like we talked about,
10:41this cannot get in the way of our friendship.
10:43Now that I'm the big dog, I got your back, man.
10:45I like the sound of that. Oh, fuck, John Cena.
10:47I'm gonna take it. I'll beat me up.
10:51Come on, man.
10:53Fuck this shit.
10:56Ah.
10:58Whew.
11:00He says hi.
11:02Oh, cool. Thanks.
11:04Hey! Maya, Tyler.
11:06Next time that Variety wants to interview you,
11:08why don't you check in with marketing first
11:10so we can get a decent picture of the stuff?
11:12I actually quite like the photo they used.
11:14Oh, really? The lighting, too?
11:16Yeah, look, thank you, everyone, for assembling.
11:18You know, I just kind of want to get the core team together
11:21for what I guess is the first official meeting
11:24of the Remicurs.
11:28Now, I know Patty was, like, a mentor to all of us,
11:30but that doesn't mean I'm not gonna do things,
11:32you know, a little bit differently for,
11:34as I very eloquently said in my interview with Variety,
11:37you know, prestige films and box office hits,
11:40those are not mutually exclusive.
11:42We can do both, and we will do both,
11:44and that is why I am excited to announce
11:47that we are fast-tracking a Kool-Aid movie.
11:51A Kool-Aid movie.
11:55Wait, what?
11:56Let's fucking go!
11:58I was hammering Patty to make moves like this for, like, months.
12:01Oh, my God, we can get Mr. Beast
12:03to put a bunch of people in a giant picture of Kool-Aid,
12:05see how long they can hold their breath for money.
12:07Ooh, actually, that would crush, right?
12:09I could sell the fuck out of this.
12:11That is amazing, Mayim, I'm glad you like it,
12:13and you'll like it even more when you hear my take.
12:15So, what made Barbie stand out so much in the marketplace?
12:19Famous white people.
12:20Kinda.
12:21It was actually one quasi-famous white lady.
12:24Ooh.
12:25Greta Gerwig.
12:26That's the reason Barbie worked.
12:27It had a writer-director behind it.
12:29It was a filmmaker's vision,
12:31so that's what we're going to do with Kool-Aid.
12:33We are going to make the auteur-driven,
12:35Oscar-winning Kool-Aid film.
12:37Oh, fuck me.
12:39You want to make a fucking fancy Kool-Aid movie?
12:41Why? Why?
12:43Nobody even fucking watches the Oscars anymore.
12:45Did Mario Brothers win an Oscar?
12:47No, it did not.
12:48No, no, it didn't, but you know what it did win?
12:52$1.3 billion.
12:54So this could be our then.
12:56Yeah, I'm going to make $1.3 billion,
12:59but I'm also going to make a great film, all right?
13:01Hey, Petra!
13:03Set some meetings!
13:05Only the finest of auteurs for Kool-Aid.
13:07Oh, yeah.
13:09You got to accent
13:12Two-eighths of positive and eleven
13:16Beneath the negative and light show
13:19To the affirmative
13:22I'm confused. Why are we making the Kool-Aid movie?
13:24You hate this stupid IP shit.
13:26You just gave this jerk-off interview
13:28about how you want to make cinematic works of art.
13:30I know. Look, Griffin Mill would only give me this job
13:32if I agreed to make the Kool-Aid movie.
13:34Oh. Okay, that makes a lot more sense.
13:36Yeah.
13:37Because when this shit's announced, you're going to look...
13:39Like a fucking hypocrite?
13:40I was going to say fucking idiot, but yeah.
13:42Yeah, unless we make the fancy version of Kool-Aid.
13:44Genius, you know?
13:45See what the agent's got for us.
13:46Hey, Mitch White!
13:47Hey! And they say there's no more Jews
13:49working in Hollywood, huh?
13:50Look at this. We're almost to a minion.
13:52Yeah. Hilarious.
13:53You guys need some Manischewitz, huh?
13:54Shake a fucking lula?
13:55Yeah, we're all Jewish.
13:56It's very, very funny.
13:57Look, uh...
13:58We're fast-tracking the Kool-Aid movie,
14:00and we're really interested in meeting with some of your clients.
14:02Yeah, so I gave him a heads-up.
14:03I spoke to Nick Stoller,
14:05and he, uh...
14:06It took him a second to wrap his head around it,
14:08but yeah, he's got a pitch.
14:09I really like Nick Stoller for this.
14:11Storks, Captain Underpants, the Muppets.
14:13That's not the direction we want to go with this, okay?
14:15Don't you represent Wes Anderson?
14:17You want Wes Anderson to direct the fucking Kool-Aid movie?
14:21He's gonna think I'm fucking crazy, man.
14:23He's gonna fire me over Zoom from Lichtenstein,
14:26or wherever the fuck he is.
14:27Okay, what about Guillermo del Toro?
14:29Go fuck your mother.
14:31Have you lost your...
14:33He's an Academy Award winner.
14:35He's not gonna stoop to the fucking Kool-Aid movie.
14:37Why not? It's like the Barbie movie.
14:39You know what I mean?
14:41Barbie is...
14:4310,000 million times better IP
14:46than fucking Kool-Aid, okay?
14:47Why? Because people love Barbie.
14:49Barbie's hot.
14:50People want to fuck Barbie.
14:51I want to fuck, uh...
14:53You know, anybody trying to fuck the Kool-Aid man, dude.
14:56Okay? He doesn't even have an asshole.
14:58I'm pretty sure there's no way to fuck the Kool-Aid man.
15:01Am I wrong?
15:02How would you fuck him?
15:03I don't fuck... What are we talking about?
15:05This has nothing to do with anything.
15:06This is an actual opportunity for a director
15:09to get a huge budget and make, like, a real film, you know?
15:12No.
15:13Okay, listen to me.
15:15I get it. You're a new studio head.
15:17You want to make great art and make a billion dollars doing it.
15:20Well, guess what?
15:21That never fucking happens,
15:23and you're gonna fuck everything up trying to make it happen.
15:25You understand?
15:26Hey, man, he's right.
15:28Make one for them, make one for you.
15:30Martin Scorsese is pitching you a movie this week.
15:32Make that shit.
15:34Take the easy W here.
15:35Listen to your Jew and your exec.
15:37No, seriously, you've got Stoller.
15:39Stoller's fucking great.
15:40He's really good.
15:41He's really good.
15:42Oh, shit.
15:43Can you say...
15:44Can you say what you want?
15:46Hey, listen.
15:47Hello, Mr. Mill.
15:48Matthew, just checking in on Kool-Aid.
15:51Listen, I have a board meeting this Friday,
15:53so I'm gonna need you to pull the trigger on a director by then.
15:57You can do that, right?
15:59Yeah, uh, totally.
16:01Shouldn't be a problem.
16:02Uh, yep, I can do that.
16:04All right.
16:08Yeah, uh, set the meeting with Nick Stoller.
16:12Mazel tov.
16:16Kool-Aid Man is a logo in a world of logos.
16:20He's friends with Jell-O and Chef Boyardee.
16:22They go to the bar to, like, hang with Velveeta.
16:25And the Kool-Aid Man, you know, he was famous in the 80s,
16:28but it's time for him to retire
16:29because he's, you know, he's too old to break through walls
16:32and do his job anymore.
16:33He wants his son to replace him.
16:35There's a whole family of Kool-Aid people,
16:37so we get to incorporate the other flavors,
16:39you know, yellow, green.
16:40But his daughter, she really wants to break through walls.
16:44But Kool-Aid, he doesn't think she's strong enough.
16:48When the whole Kool-Aid family goes missing,
16:51Kool-Aid Girl becomes their only hope.
16:56I hope this doesn't sound crass,
16:58but I feel like I just got double-stuffed
17:00by Walt Disney and Aaron Sorkin, all right?
17:03Walt's up in my mouth.
17:04The Sork has absolutely destroyed my ass.
17:07Oh.
17:08Well, thanks. Thank you.
17:10No, thank you. So good.
17:12And that family shit as a father of daughters,
17:14it really resonates with me.
17:16Yeah, sure it does.
17:17It was a great pitch, Nick.
17:18Thank you so much for coming in,
17:19especially on such short notice.
17:20We really appreciate it.
17:21Let us just, you know, rally on our end,
17:23and, yeah, we'll let you know ASAP.
17:25Thanks, man.
17:26And have you talked to Patty recently?
17:29I mean, she gave me my first break as a writer,
17:31and I, you know, love her.
17:32Yeah, she's the best.
17:33And is she doing okay?
17:35She's doing great, yeah.
17:36I was just talking to her this morning, actually, yeah.
17:39And she's, you know, transitioning very well.
17:41She's overall very optimistic about the future.
17:44So, yeah, I'll let her know you said hi.
17:46That would be awesome.
17:47Yes, great job.
17:48And I love Kool-Aid. I really do.
17:49Cool, great. Thanks, man.
17:50I'm thirsty for Kool-Aid.
17:52Did you really talk to Patty?
17:54No, I've called her a thousand times.
17:56She would not call me back at all, man.
17:58Me too.
17:59Hey, that pitch was really good.
18:00This movie can work, man.
18:01He's the doctor.
18:03Yeah, you know, I got to say,
18:04it's for sure the best version of the very, very, very,
18:07very middle-of-the-road version of this,
18:09and it's not what I want to be, you know,
18:12coming out of the gate with.
18:13But Griffin Mill will love it, and more importantly,
18:15he will have it by the end of the week.
18:16So thank you, Sal.
18:17I got your back.
18:18Okay.
18:19It's Wednesday, March 27th.
18:21I'm Matt Bellany, and this is The Town,
18:23the podcast that takes you inside Hollywood.
18:25The big news in town today,
18:26I've heard from multiple sources,
18:28is that Matt Remick, head of Continental Studios,
18:30he's been taking meetings trying to find a director
18:32for a Kool-Aid movie.
18:34Days after telling Variety he wants to revive cinema
18:36and make bold choices,
18:38Remick has instantly become a punchline on social media,
18:41now that he's making what sounds like a dumb movie
18:43based on a bad drink.
18:45Fuck.
18:46I can't believe Patty's out.
18:48You know, she was the head of Continental
18:49for as long as I can remember.
18:51It's like since before the flood.
18:52Yeah.
18:54And now you're here.
18:55Yes.
18:56Congratulations.
18:57Very exciting.
18:58All the best.
18:59Yes, I seem stressed out, honestly.
19:01I've had quite the day.
19:03Oh, yeah, was it bad?
19:04Bad?
19:05No, not really.
19:06Just got a lot going on.
19:07So what do you got?
19:08I can't wait to hear it.
19:09Well, I know you're busy,
19:10so I'm just going to jump right into it, okay?
19:12This is a project that I've been really wanting to make
19:15for a very, very long time.
19:17Only thing is, the budget's a little bit up there.
19:19Some may say extreme.
19:21The scope is huge.
19:22The themes are heavy.
19:24But I want the film to be entertaining.
19:26Cool, yeah.
19:27Entertainment, okay?
19:29Now, it's a story we all know about,
19:32but not one that we really know about, you know?
19:39Oh, I know.
19:41What is it?
19:43Jonestown.
19:45Huh?
19:47Jonestown, Jonestown.
19:49Like the cult massacre?
19:51Yes, exactly.
19:53Exactly, the Jonestown cult massacre.
19:55It's about Jim Jones, United States Senate, America.
19:58It's sprawling, it's big, it's fun, it's fucked up.
20:02Granted, it's fucked up,
20:03but I see it as a meditation on cults,
20:06hero worship, mass murder, suicide, everything.
20:09It's life.
20:11Jonestown.
20:13Jonestown.
20:16Now, correct me if I'm wrong.
20:21Is that...
20:22The massacre where everybody committed suicide
20:25by drinking Kool-Aid?
20:28Exactly.
20:29That's the phrase.
20:30They drank the Kool-Aid,
20:31drink the Kool-Aid, whatever it is.
20:33That's the phrase.
20:34That's the climax of the picture.
20:35It's a big, big sequence.
20:37That's great.
20:38In a sense, I guess you could say
20:41that your film is about Kool-Aid.
20:46Well, I mean, yeah, in a sense, I guess.
20:49In a sense.
20:50In a sense.
20:51Great.
20:52So what are you thinking in terms of budget?
20:54Well, I mean, budget...
20:59200.
21:02I'm going to tell you what, Mr. Scorsese.
21:05I will green-light your film right now
21:07with a budget of $250 million,
21:10and I'm going to buy your screenplay for $10 million.
21:13Whoa.
21:14Matt.
21:15Jesus.
21:16You move fast.
21:18Oh, I love that.
21:19I love it.
21:20Decisive, huh?
21:21Decisive and good taste.
21:23I don't mean that in a bad way.
21:25No, of course.
21:26Now, there's one little tiny catch.
21:30All right.
21:31I know.
21:32You know, I've been around,
21:33everyone with a catch, what is it?
21:34Trust me here.
21:35This in no way affects you making the exact film
21:38that you want to make.
21:39Yeah, because the whole thing is about freedom.
21:41Exactly.
21:42You will have all that.
21:43It does, however, it sort of affects
21:45what we call the film.
21:48Okay, so what do you want to call the movie?
21:54Kool-Aid.
22:00Kool-Aid?
22:01I did it!
22:02I did it, I did it, I did it!
22:04I got Martin Scorsese to write and direct the Kool-Aid movie!
22:07Scorsese?
22:08Kool-Aid?
22:09Are you shitting me?
22:10I'm not.
22:11I did it.
22:12I did it.
22:13Oh, what about Stoler?
22:14I'm making a deal with him.
22:15Yeah, tell him to get fucked.
22:16I got a real filmmaker.
22:17Consider him fucked!
22:18Scorsese, are you kidding me?
22:21No, I did it.
22:22When this breaks on deadline,
22:24I'm gonna look like a genius.
22:26All those people who wrote posts and articles
22:28about what a dumb schmuck I am,
22:30they're gonna have to write new posts and new articles
22:32about what a genius I am.
22:34That's the dream!
22:35Matt, look.
22:36Oh, my God.
22:38What?
22:39Charlize Theron invited me to her party.
22:41No fucking way can I come with.
22:42No!
22:43This is the best day of my life.
22:45This is it!
22:48Marty Scorsese.
22:50On God.
22:51No fucking way!
22:53Yeah.
22:54What's the idea?
22:55Is there a document?
22:56Let's go.
22:57There's a whole script.
22:58Wait a minute.
22:59Martin Scorsese just happened to be writing a script
23:02about Kool-Aid.
23:03Even better.
23:04Martin Scorsese just happened to be writing a script
23:06that he is enthusiastic about turning into our Kool-Aid film.
23:09Great!
23:10What the fuck is it?
23:12Just know, it's one of those ideas
23:15that when you first hear it, you're gonna be like,
23:17huh?
23:18But then once you really process it and wrap your head around it,
23:20you're gonna be like, wow!
23:22What the fuck is it?
23:24It is an exploration of Kool-Aid
23:28through the events that centered around the place
23:33that is most commonly known as Jonestown.
23:41Jonestown?
23:43Jonestown?
23:48Fuck, yo!
23:49What the fuck is wrong with you?
23:51You want to bring down this fucking studio?
23:53Oh, my God!
23:54Ow!
23:55Everyone's watching!
23:56I need a fucking Xanax right now.
23:58You're all good.
23:59Look, okay.
24:00It's not a line drive down the middle take.
24:02This is even better.
24:03This version can actually be cool.
24:06Cool?
24:07Who are you, the fucking Fonz?
24:09Look, okay, okay.
24:10This is A Lot of Time in Hollywood by Quentin Tarantino,
24:13a fun, cool movie about a real cult massacre
24:17that wins Oscars and makes $377 million,
24:20or can Sony market a movie better than you?
24:23You know what Sony had?
24:25The Holy Trinity.
24:27Leo, Brad, and Marco.
24:29Who do you have?
24:32It's funny you should ask.
24:34I was just talking to Marty,
24:37and he actually has really strong feelings
24:40that the lead role of, you know, Jim Jones
24:44should be portrayed by none other than...
24:48Steve Buscemi.
24:53Okay, Stephen Buscemi is absolutely the worst-case scenario.
24:58Either people know his name, but they can't recognize his face,
25:01or they know his face, but they have no idea what his name is.
25:04He is not good for minutes.
25:05He's quite literally one of the greatest actors who's currently alive.
25:08Hey, if he walked in this room,
25:10I would splay him on this table and fuck him to death.
25:14He does not have the clout to carry a franchise like Kool-Aid.
25:17Wait, hold on. Is it Buscemi or Buscemi?
25:19It's Steve Buscemi.
25:20Buscemi?
25:21No, it's Buscemi like bruschetta.
25:22We've been talking about this guy for an hour,
25:24and no one here can pronounce his name correctly.
25:26What does that tell you, Matt?
25:27Okay, so here's the deal.
25:29Griffin is gonna ask me what marketing thinks of your take,
25:32and I'm gonna have to be honest with him
25:34and tell him that your take is gonna bomb.
25:36That movie is going to bomb, okay?
25:39But I also know you need to show him something,
25:41so I have marketing with a little something-up
25:43to bail your ass out.
25:45Ah.
25:49I love wine.
25:54The fuck is this?
25:55It's a teaser, asshole.
25:56A teaser for what, asshole?
25:58The fuck do I know? That's your fucking job.
26:00Can we please just do the Stoller idea, okay?
26:02It was not that bad.
26:03Guess what?
26:04This fucking dumbass killed the deal yesterday.
26:06Hey, I know you love Martin Scorsese.
26:08His vision for this movie is going to bankrupt us.
26:10You need to show Griffin this teaser right now.
26:12I can't show Griffin this.
26:13This is nothing.
26:14This has no fucking story.
26:15It's nothing.
26:16Who gives a shit if it has a story?
26:18He's gonna be delighted by the Kool-Aid man
26:20doing the Zae Zae Shuffle.
26:21What the fuck is the Zae Zae Shuffle?
26:22It is the number-one dance trend on TikTok.
26:24Matt, as our boss, you should know more.
26:26Look, guys,
26:28we got Martin Scorsese
26:31to agree to write and direct
26:33a fucking Kool-Aid movie for us.
26:35So it's not the most commercial cast
26:37and it's not the most marketable take.
26:39It's one of the greatest directors of all time
26:41wanting to make a film for us.
26:43If this isn't the type of thing
26:45we're fucking saying yes to,
26:47what are we doing with our lives?
26:49We're going with Scorsese's version of Kool-Aid.
26:52End of story.
26:55Griffin Mills ready for you all?
26:58Oh, my God.
27:00What?
27:01It says here it was actually flavor aid
27:03that they drank at Jonestown.
27:04Shh. Not helpful.
27:06Just let me do it. It's okay. It's fine.
27:08Hello.
27:10Whoa, looky here.
27:12All marching in like good schoolchildren.
27:15Yeah. Good to see you, sir.
27:17All right.
27:18So, Kool-Aid me.
27:23What's happening?
27:26I'll tell you what's happening.
27:52Seriously?
27:56That is fucking fantastic.
28:00Yes, it is.
28:01I mean, that's huge.
28:03It's fun, right?
28:05It's so amazing.
28:07And he's doing the Zae Zae, right?
28:09I love the show.
28:13So, Matt, what's the story?
28:16The story?
28:17Yeah, what's the story?
28:19What's it about?
28:21Oh, um...
28:23The story's actually the best part.
28:25Good.
28:26So, um, yeah.
28:28Well, Kool-Aid Man exists in a world of corporate logos.
28:33He's friends with Velveeta.
28:35He goes and hangs out at the bar with Chef Boyardee.
28:38And he's got a whole family of Kool-Aid people,
28:40so you get the other flavors in there.
28:42You know, you've got yellow, green, red.
28:44I love all this.
28:46Very, very impressive.
28:48Very diverse.
28:49Yes.
28:50Right? You've got red, yellow, green.
28:52It ain't white, am I right?
28:55Right?
28:56Very diverse.
28:57We got you, brother.
28:59You too, sister.
29:02So, who's going to be directing?
29:04Nick Stoller.
29:05Guy's a real pro.
29:06We got him locked down.
29:07You loved him.
29:08Very funny.
29:09All right, lock it up.
29:10I will.
29:11Thank you so much.
29:12Good work.
29:13Pleasure.
29:14Matt, good to see you, Griffin.
29:15Oh, um...
29:17One more question.
29:19This Martin Scorsese Jonestown movie,
29:23what's all that about?
29:27You spent $10 million
29:29on a Martin Scorsese Jonestown script.
29:33But we can't be making a movie
29:36about Kool-Aid and its lovable mascot,
29:39and also be making a movie
29:42about how Kool-Aid
29:44is associated with one of the most infamous
29:48mass murders of all fucking time.
29:53Of course not.
29:54Thank God.
29:55Yeah.
29:56I knew you'd have a good reason.
29:58So, tell me,
29:59why did you spend the $10 million on it?
30:05Well, you know,
30:08I got wind that Scorsese was making this Jonestown movie,
30:11and I had the exact same concern as you.
30:13You know, we can't let this arthouse bullshit
30:16get in the way of our billion-dollar franchise,
30:18so I bought the Jonestown script
30:22specifically to kill it.
30:28So, we'll own the project.
30:32Mm-hmm.
30:33But nobody will ever get to make it.
30:36Mm-hmm.
30:38Oh, Matt.
30:40That is so fucked up.
30:42Yeah.
30:43I love it.
30:44Great.
30:45Boop.
30:47Good work.
30:48Yes, obviously I know that we are the ones who blew up the deal,
30:51but we've had second thoughts,
30:52and we would love to have Nick Stoller on Kool-Aid.
30:55I'll double his quote.
30:56Oh, you're gonna be dumping shekels on Stoller,
30:58but the problem now is that he came up under Patty
31:00and he talked to her.
31:01He did?
31:02Yeah, she's pissed off at you, the studio,
31:03and she convinced Nick not to work with you on this.
31:06I need that idea!
31:07I don't know what to tell you, you fuck yourself!
31:09Patty's the only issue?
31:11Yep.
31:12Well, then you will be absolutely thrilled to hear
31:14that we're actually bringing Patty on board Kool-Aid as a producer.
31:17That's the first smart thing you've done.
31:19Great.
31:20Keep it under wraps for now,
31:21but we are gonna get this deal done.
31:23Good paycheck!
31:24Why do you keep lying?
31:25I don't know!
31:26You can't even get her on the phone!
31:27I know that!
31:29I'm just gonna go to her house and confront her in person.
31:32Yo, you're coming with me to Charlize's tonight.
31:34If we pull this off, we're gonna celebrate.
31:36Oh, yeah!
31:44♪
31:49♪
31:54♪
31:59♪
32:04♪
32:09♪
32:13How dare you show your face at my door?
32:16You of all people.
32:17Hi, Patty.
32:20Oh, God, it's so humiliating!
32:24Well, don't you stand there like a fucking doordasher!
32:27Come in!
32:28Fuck!
32:29You know I quit swearing,
32:31and you're making me do it, motherfucker!
32:33Fuck!
32:34I'm sorry. Shit.
32:35Look, I just wanted to come by, you know,
32:37see how you're doing, you know, make sure everything was okay.
32:40How I'm doing?
32:41Oh, well, I, you know,
32:43I gave 40 years of my life to the studio,
32:46and then this Griffin Mill,
32:48some dime store Bob Evans comes in
32:50and wants to put his stamp on the place,
32:53like he's urinating on a hydrant.
32:55I know. He's so brutal.
32:57Yeah, he is.
32:59But guess what?
33:01You're even worse.
33:02Me?
33:03You broke my heart, darling.
33:05What did I do?
33:06You stole my job!
33:08I did not steal your job, okay?
33:11I had absolutely nothing to do with that.
33:14I barely even got hired, you know?
33:16I raise you like a son,
33:18and the moment my back is turned,
33:20you stab it.
33:22I did not stab you in the back.
33:24If anything, I'm here trying to carry your torch, Patty.
33:27Well, you may not have thrust the knife,
33:29but you sure seem happy working with people who do.
33:33I'm not happy about any of this.
33:35You believe me on that one,
33:37and I love our working relationship,
33:39and that's why I'm here.
33:41I want to keep it going.
33:43I'm offering you a producerial role
33:46on our biggest and best new franchise.
33:50Kool-Aid?
33:51Yeah.
33:52Is that your offer?
33:53It is.
33:54Oh, shit.
33:55You're like a cat bringing in a mutilated pigeon.
33:59You're awful.
34:00Oh, I know. I talked to Stoler.
34:02You just want me to pull your ass out of the fire
34:04to get him to sign on.
34:05Well, you need me to pull your ass out of the fire, too.
34:07You know, you're on your own, Patty.
34:09You need a gig, okay?
34:10So you offer me Kool-Aid
34:12like I want my name on that monstrosity?
34:14Ew! Ew!
34:15That thing should have been smothered in the crib.
34:17No, if I wanted to make that trash,
34:19I'd still have my job!
34:25Okay, here's my counter.
34:26Okay.
34:27I will call Stoler and get him on board on your movie.
34:30Great.
34:31But I will need a three-year overall,
34:33$10 million overhead,
34:35two put pictures a year.
34:37First look, non-exclusive.
34:40No!
34:41Patty!
34:42Ugh!
34:43Oh, look, Patty, look!
34:44I'm sorry, I just can't do it!
34:46That's too good.
34:47Nobody in all of Hollywood has a deal that lucrative!
34:50I don't care!
34:51You owe me everything!
34:52I don't owe you anything.
34:53Look, I owe you a lot.
34:54I will give you that.
34:55I don't think I owe you everything.
34:56I just can't do it.
34:57Patty, that job was my life,
35:00just like it is yours.
35:02And without it...
35:06Without it, I'm afraid.
35:08I don't...
35:09I don't like it.
35:11I'm afraid, yeah.
35:12I'm afraid, yeah.
35:14I'll give you $7 million a year,
35:17no put pictures, fully exclusive.
35:19$8 million, one put picture,
35:22and the budget's under $5 million.
35:25Fine, but you gotta be exclusive.
35:27No exclusivity!
35:29Those people railed me raw!
35:31They railed me raw, Patty!
35:34Please.
35:35Okay, I'll do it.
35:37Deal.
35:40Patty, thank you.
35:45Oh, thank you.
35:47Okay, let's call Meg Stoler.
35:52Oh, you poor thing.
35:53You have to kill Martin Scorsese's movie.
35:56I killed one of Warren's movies in 88,
35:59and he never slept with me again.
36:01I have the same fear with Marty.
36:04So, how do you feel in all this?
36:07You know, I've worked, obviously, a long time to get here.
36:11My parents are very thrilled, very proud.
36:14I think Griffin is, you know, optimistic with the plan.
36:19Matty, not one of those words is about how you feel.
36:23Yeah, I feel miserable, honestly.
36:27I'm anxious, I'm stressed out,
36:29panicking pretty much all the time.
36:31I was so much happier two weeks ago
36:33when I was just angry and resentful
36:35that I didn't have this job.
36:36I would give anything to be angry and resentful
36:38compared to how I feel right now.
36:40You know, I walk past the tour guide every morning,
36:43and they say that the office was built as a temple to cinema,
36:47but it feels much more like a tomb.
36:50Heavy as a head, Matty.
36:52Yeah, I'm honored, obviously, to be one of the people
36:55that gets to choose, you know,
36:56which movies get made and which ones don't.
36:59That's huge, and I got into all this
37:02because, you know, I love movies,
37:05but now I have this fear that my job is to ruin them.
37:13The job is a meat grinder.
37:15It makes you stressed and panicked and miserable.
37:19One week you're looking, you're idle,
37:21and the eye breaking is hard,
37:22and the next week you're writing a blank check
37:25for some entitled nipple baby in a beanie.
37:29But when it all comes together,
37:32and you make a good movie,
37:36it's good forever.
37:40You'll make a great studio hit.
37:42You know why?
37:44Because you had the best teacher.
37:51I still do.
37:59Goodbye, baby.
38:01Oh, I'm so glad I'm not the guy
38:02who has to tell Marty his movie's dead.
38:05What do you even say to him?
38:06I'm not gonna say shit to Marty.
38:07I talk to his agent on Monday,
38:08and then I avoid him for the rest of my life.
38:10Hopefully I just never see him again.
38:12Hey, Matt.
38:13Oh, fuck me.
38:14Hey.
38:15Marty!
38:16Matt.
38:17Yay.
38:18Hey.
38:19Great to see you.
38:20Hi, hi.
38:21This is Sal.
38:22Hi.
38:23Hi, Matt.
38:24Yes.
38:25Matt, I have been thinking nonstop about Kool-Aid.
38:27Oh, great.
38:28That's great.
38:29I mean, Kool-Aid.
38:30I mean, I've some...
38:31By the way, I've got some great ideas
38:32for actors to put around Bershami.
38:33Perfect, great, yeah.
38:34Okay?
38:35And honestly, I couldn't have come to the title
38:36Kool-Aid on my own.
38:37I mean, I can't believe that title.
38:38It's fantastic.
38:39I'm gonna take credit for it.
38:40Yeah, it's all yours.
38:41I love how your brain doesn't stop working, Marty.
38:43But, you know, we don't have to talk shop at a party.
38:45Let's talk about something else.
38:47You into sports, cars?
38:51What's going on?
38:53Nothing.
38:54I mean, you're acting weird.
38:55There's something funny.
38:56There's something funny going on here.
38:57I'm pretty sure this is how I always act.
38:59I know this guy like the back of my own dick.
39:01Yeah.
39:02This is classic Matt Redman.
39:03Totally, yeah.
39:04No, no, no, no, no, no.
39:05This performance, it's inauthentic.
39:07I promise.
39:08It's nothing, yeah.
39:09I saw that look.
39:10What look?
39:11I saw that look.
39:12Nope.
39:13It's a furtive look.
39:14It was furtive.
39:15We are not being furtive.
39:16Never been furtive in my life.
39:17No.
39:18Oh, no, no.
39:19That's furtive.
39:20I know furtive.
39:21There's one thing I know.
39:22It's furtive.
39:23Okay?
39:25There's something you should know, and Sal is actually going to take the lead on this
39:30and tell you.
39:31Sal?
39:32Yeah.
39:33Now I don't.
39:34Now you talk.
39:37Marty, first of all, can I say, you're the reason I'm in this business.
39:42Who the fuck are you, and what are you trying to say?
39:46We're going in a different direction, and we're not doing the Jonestown version of Kool-Aid.
39:55You know what?
39:57I'm fine.
39:59Fine.
40:01All right?
40:02I mean, it's fucked up, but I gotta tell you, Matt, honestly, it's not surprising, because
40:07you're just another run-of-the-mill, faceless, talentless, spineless suit.
40:16I have a face?
40:17Just give me back my movie, and let me go sell it to fucking Apple the way I should
40:20have done it in the first place.
40:23I can't do that.
40:26Let me get this straight.
40:28You bought my movie just to kill it?
40:35I did.
40:36He did.
40:45We'll leave you alone, Mr. Scorsese.
40:46I love the department.
40:47Shut up.
40:48Oh, God, oh, God.
40:49That was so much worse than I thought it was going to be.
40:52Oh, God, he's crying.
40:53He's sobbing.
40:54You made him fucking sob.
40:55You made him sob.
40:57Fuck, Charlize is talking to him.
40:58Shit.
40:59Dammit, I was telling her what happened.
41:01The rat.
41:02Keep your fucking mouth shut, dick.
41:04Fuck, she's looking at us.
41:05Okay.
41:06Just be cool.
41:07Let me kick her.
41:08You're the head of the studio.
41:09Stop kicking me about fucking show.
41:10Hi, Charlize.
41:11Hi.
41:12Get the fuck out of here.
41:13Okay.
41:14Sorry.
41:15Thank you for having us.
41:16Sorry, Marty.
41:17Fuck.
41:18Jesus Christ.
41:19Hey, Matt Remick, right?
41:21Steve Buscemi.
41:22Hey.
41:23Buscemi, but, yeah.
41:24Oh, sorry.
41:25That's okay.
41:26I hear we're making a film together.
41:27Yeah, we are.
41:28Yeah, I can't wait.
41:29Yeah.
41:30How about Marty's script?
41:31Yeah.
41:32Did it just, like, blow your mind?
41:34Yeah, it was amazing.
41:35Just give him the Oscar now.
41:36I know.
41:37It was really great stuff, yeah.
41:38I have to think.
41:39We're going to be making Martin Scorsese's last movie.
41:42His what?
41:44Oh, he didn't tell you?
41:45No.
41:46Oh, yeah.
41:47No.
41:48This is his swan song.
41:49He's done after this.
41:50Wow.
41:51I mean, what a true honor.
41:53Yeah.
41:54How lucky are we?
41:55So lucky.
41:56Amazing, right?
41:57Yeah, man.
41:58Thank you for making it happen.
42:00Seriously.
42:01I'll see you on set.
42:02Can't wait.
42:03All right.
42:04Bye.
42:05Hey, Marty.
42:06Are you crying?
42:07What happened?
42:20Two martinis coming up.
42:21Here you go, dude.
42:22Thank you, sir.
42:23Cheers.
42:24Cheers.
42:25Cheers.
42:26Cheers.
42:27Cheers.
42:28Cheers.
42:29Cheers.
42:30Cheers.
42:31Cheers.
42:32Cheers.
42:33Cheers.
42:34Cheers.
42:35Cheers.
42:36Cheers.
42:37Cheers.
42:38Cheers.
42:39Cheers.
42:40Cheers.
42:41Cheers.
42:42Cheers.
42:43Cheers.
42:44Cheers.
42:45Cheers.
42:46Cheers.
42:47Cheers.
42:48Cheers.
42:49Cheers.
42:50Cheers.
42:51Cheers.
42:52Cheers.
42:53Cheers.
42:56Cheers.
43:04Even after what happened tonight,
43:05I still love watching this film.
43:08Oh, my God, yes.
43:10Marty's a goat.
43:12I don't think we can call him Marty anymore.
43:14No, no, no.
43:15It's Mr. Scorsese.
43:16Yes.
43:17Very much so.
43:21Ray Bracco's so fucking hot.
43:23I heard he has a huge deck.
43:24Oh, I believe that.
43:26Rest in peace, King.
43:28Rest in penis, King.
43:29Ha.
43:30And one day, he took me home to meet his mom and his dad.
43:41Then he asked me to be his bride and always be right by his side.
43:47I felt so happy I almost cried.
43:50And then he kissed me.
44:01And then he asked me to be his bride and always be right by his side.
44:09I felt so happy I almost cried.
44:12And then he kissed me.
44:13And then he kissed me.