The Studio 2025 S01E03 The Note

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Transcript

00:00I am so excited about watching this film.

00:27It's so weird that the first time we're actually seeing the movie it's essentially already finished.

00:30Yeah, I mean that's what happens when you're a final cut director like Ron Howard, you know.

00:34You win two Oscars, you make some movies that make billions of dollars, you can kind of do whatever

00:38you want. Oh god, I love final cut screenings. I don't have to give notes. We're not gonna need

00:41to give notes, this shit's gonna be perfect. I love Ron Howard. Yeah. A beautiful mind. Oh yeah.

00:47When you realized that Paul Bettany's imaginary, my head exploded. That is a plot twist. Fuck M.

00:52Yeah, it's such a good plot twist. All right, let's roll this shit. So effing pumped.

01:00Ronald Howard movies are a fucking mood. And then a fucking action movie. Oh,

01:06it's got Anthony Mackie. It's gonna bring in that young, hip audience. I'm obsessed with Anthony

01:11Mackie. Then you got Dave Franco. He's gonna line up those ladies moister than an oyster.

01:16Please do not say that. Okay, can we dim the fucking lights, please? I got a meeting with

01:20the D'Amelio's after this. Let's do this thing. These happy days are ours, bitches. Let's go.

01:50So your responsibility is, you gotta get out to work and face reality.

02:03Drive. Hey, cool. Take it easy, all right? Hey, drive! Hey, I don't know where you're going,

02:07all right? Just fucking go, man! All right, there's no need to yell, all right? Just fucking drive!

02:11Motherfucker! Oh, shit! Ah, fucking drive, man!

02:20Oh, shit! Oh, shit! Oh, shit!

02:31Find me that fucking cab. Yeah! Are you kidding me? That is how you start a movie.

02:39Pretty fucking good. Okay, shh, shh, shh. Just pull the bullet out of my gut. I'm not doing

02:44that. I'll give you ten thousand dollars. For a dumbass, I could wait for you to die and take

02:48the whole thing. I'd fucking kill you if you did that! Ah, please, help! All right, fine! All right,

02:54let me go across the street to the dim sum spot, get some chopsticks. Oh, yeah, get me some shrimps,

02:59I'm starving! Go off and get the fortune cookies! This is playing a lot funnier than I thought it

03:05was going to. As this shit slaps. You and me, we're not so different. We got people we loved,

03:13people we let down,

03:15people we lost. But it ain't over for us.

03:21Okay, just because we did bad, doesn't mean we can't still do some good.

03:45Get out of the car! No way out!

03:53Don't even think about it!

04:01Fuck it.

04:15Oh, my God! What a fucking ending! That was unreal! That was incredible! Honestly,

04:30one of the best endings I've ever seen in a film. Wait, there's more, there's more.

04:35Yeah, this is a little motel tag.

04:51Oh, my God, it's a kid from a picture.

05:06If you could read my mind, love, what a tale my thoughts could tell.

05:13Just like an old time movie about a ghost from a wishing well. In a castle dark,

05:24or a fortress strong, with chains upon my feet, you know that ghost is me.

05:33And I will never be set free, as long as I'm a ghost you can't see.

05:46If I could read your mind, love, what a tale your thoughts could tell. Just like a page...

05:56Oh, fuck, it's finally over. What the fuck was that, huh?

05:59Okay, definitely long, but a lot of movies are long these days, you know? Like,

06:03the last Marvel movie I saw was three fucking hours. This was not a three-hour fucking superhero

06:08movie, okay? That motel sequence, what the fuck was that, man? There were no, like, monsters,

06:13or fights, or deadpools. It was just people fucking staring at each other. Yeah, it's too long. You

06:18gotta be Delulu if you think people are gonna watch that. It's gonna make my job fucking impossible,

06:22because it's gonna destroy word of mouth. Wait, is this the final cut? No, Ron's still tweaking

06:27with a few little things. Great, so you can give him that note to cut that fucking interminable

06:32motel sequence. Uh-huh, yeah, yeah, yeah. Wait, what? Why are you acting so weird? What? Are you

06:38Delulu? No, I'm not Delulu. Hey, I think that motel sequence sucks, okay? Okay. Yeah. Okay,

06:44well, Ron is coming by at one o'clock for a marketing meeting. He's gonna show him some

06:48early poster concepts. Just pop by and give him a note then. Okay, well, you know, before we start

06:53giving legendary directors notes willy-nilly, we should drill down, you know, make sure it's

06:57actually like a very valid note. I mean, now I think about it, you know, maybe that motel sequence,

07:01you know, maybe it's not that bad, right? It's bad. It's bad. Dude, it's terrible, and if you cut it,

07:06the movie is perfect. Okay, well, maybe we're just not getting it. You know, Ron is a very thoughtful

07:10filmmaker, so the kid is Anthony Mackie's character's dead son, so it's like a visual

07:16metaphor for his dead son? No, no, it's obviously a dream sequence. He was a ghost. A ghost?

07:22We can't even agree on what the fuck it means. That is the clear sign that this movie is whack

07:27as fuck. You actually seem to have like a very good handle on this whole thing, so maybe you should

07:30just give Ron the note in the marketing meeting, you know? Oh, hell no, bitch. No, a director is not

07:37gonna fucking take a note from a marketing match. I'm sorry, what is the problem? Isn't Ron Howard

07:41famously the nicest man in Hollywood? Well, that's the thing is, you know, he actually has a reputation

07:45for being very nice and humble, but I have heard from, you know, sources that he is actually like a

07:50mean, vindictive asshole. Ron Howard. Yes, that's what I heard. That's what I heard, okay? Oh, okay,

07:57bitch, you get mean sometimes. I don't get mean. He gets mean, okay? Wait, why are you acting weird

08:02about this? I'm not acting weird about anything. You give brutal studio notes all the time, and it's

08:06usually to people who hate you, but Ron Howard actually seems to fucking like you. Yeah, I'd

08:10like to keep it that way, huh? Look, I'll give him the note, okay? Fine, I'll just give him the note.

08:15He's coming at one. Okay, give him the note at one.

08:34Ron Howard is in the lobby? Oh, shit, he's 15 minutes early. Should I tell him to leave?

08:41No, that's okay. I'll come down and say hi in a minute.

08:54Ron. Oh, hey. Hey, great to see you. Yeah, likewise. Just wanted to tell you in person how much we

09:00adored the film. It's so good, man, and we're so lucky to have you on our team. Well, thank you.

09:04That's so kind. Yeah, no, my pleasure. Well, you know, I've been showing it to people

09:09and stuff, and I've been getting some very encouraging feedback. That's great. Hey,

09:13I love feedback. Well, as long as it's good. Exactly, good feedback. That's the best feedback.

09:18Hell yeah. Hell yeah. So, do you got any feedback? Yeah, actually, I do.

09:31Um, and that is, you rule, man. There's my feedback. You rule. I'll take that all day.

09:42I'll give it all day. Yeah, great. Awesome. There you go. All right. So, I just got to run back

09:46upstairs real quick. I'll see you in the meeting. I gotta make a call anyway. Great, you do that.

09:50I'll see you in a sec. Oh, fuck. Sorry. Sorry. Sorry about that. How'd it go? Really good.

09:59Really good? Uh-huh. What happened? Uh, we talked it went well. Hey, what's the D? The D is, uh,

10:05all gravy. It's all gravy? Uh-huh, yeah. What does that mean? It means we talked, and it was,

10:10it was very, very nice. Uh, you didn't tell him, did you? Matt, did you give him the note? You

10:15told him, right? No, look at his pussy-ass face. He didn't say shit. I opted out of delivering the

10:21note. Oh, there you go. I decided it was not prudent of me to do it. What, why? Because I

10:27am known as being the most talent-friendly studio head in all of Hollywood, and I decided

10:32strategically it was not worth risking my reputation. What are you talking about? It

10:37is literally your job to do this. We need this movie to work. I can't sell this never-ending

10:45snory. Nailed it. Here's what you don't understand that I have now grown to as a reader. You know,

10:54you, you do not send your general out to the front lines to die. The strategically smart

10:59thing to do is you send in expendable cannon fodder. Sal, you fucking do it. I'm not cannon

11:04fodder. Yes, you, fuck you, you are. I'm not doing it. Why not? You can't do it. You gotta.

11:07I was sleeping during the motel. That's not true. You were fucking texting. Hell, I was,

11:11yes, I do. I sleep, I sleep like that. Oh, you don't. I will do it. I will do it, okay? Because

11:17unlike you guys, I'm not a bitch. I don't care if Ron Howard likes me. I care about making good,

11:22entertaining movies. We're not out to ruin this guy's life. We're trying to save him from

11:27himself. Yeah, pop off, girl. I love what you were saying. It's very validating to me as a

11:33mentor. So know that. Very proud of you right now. Here's what's gonna happen. I'll introduce

11:37you to Ron, and you just tell him this whole motel shit is fucking whack. This is your time

11:43to shine, okay? I'm excited to see this. Okay, thanks. Oh, fuck. What is he doing here? It's

11:48fine. This changes nothing. No, you can do this. You can do this. This is good. You got this. Use

11:52my favorite actor ever. Hey, how's it going? Hey, Matt, how's it going? Hey, Mackie, I wasn't

11:56expecting you here. Well, I'm a producer on a movie, so I came by to see what the post art's

12:01looking like. Great. Yeah, well, you're so good in the film, by the way. Yeah, it's not me. Ron

12:05Howard is a bad motherfucker. There's your poster, right? How rude of me. I'm sorry. This is one of

12:11our young up-and-coming executives. She's a real cinephile. This is Quinn Hackett. Hi. Hi. Hi,

12:17Mr. Mackie. I'm such a big fan of yours. I'm in the cinephilia, too. Oh, my god, wow. Quinn

12:27actually saw the film. Oh, amazing. Yeah. What'd you think? Oh, you, you're acting so good.

12:37Thanks. Yeah, just, man, when you act, it's like, so good. Again, thanks. Of course, yeah.

12:47You're welcome, of course. Is that it? Yeah. Wasn't there one more thought you had upstairs

12:55you wanted to share with the team? Yeah, well, just as small. It's not anything big. It's just

13:06the Hurt Locker was so good. It's an amazing piece of cinema.

13:09Yeah, well, it did. Well, it certainly was great. It's tremendous. Second best movie I ever did.

13:18There is, there's actually, there's one more thing, actually, we wanted to say

13:22about the film. Oh, sure. Yeah, well, what is it?

13:30Well. Warning, warning, warning, genius alert. Hey, congrats on your new deal. Yeah. Now,

13:37where are you set up? I'm redoing the production offices in the old Lieberman bungalow. Best on

13:42the lot. That's wonderful. Now, did you get my flowers? Purple Alliums. I remember. Good memory

13:48there. Yeah. Thank you, Ronnie. Thank you for sending me your cut. Well, are you kidding? Thank

13:52you for green lighting the movie. Well, the movie is sublime. And you, sir, your deepest and most

13:59complex performance to date. I'm just happy to be a part of this man's vision. That's all.

14:04In the motel sequence. Yeah, actually, we should talk about that. So startlingly original and bold.

14:09I get it now. Thank you. Well, thank you. I'm glad. So brave to share something so personal.

14:16Oh, my Lord. If there were medals for cinematic courage, you would have a chest full of gold.

14:21Well, thank you. Look, I thought about it and I just decided it was time to put it out there.

14:28Hey, you gave it time. You opened it up and gave it breath. Yeah. Then you took mine away.

14:34Thank you for that. Sorry to interrupt. Marketing's ready to bring you all into the conference room.

14:38Oh, carry on. You're in good hands with Maddie. Not as soft as mine. Okay, then. Oh, I can

14:45practically smell your Oscars. Get those tuxedos ready, gentlemen. I'm just going to run something

14:51by Patty real fast. Bring these guys some snacks. Bring them the whole cart. Patty, I got to talk

14:59to you about the motel sequence and Ron Howard's movie. Oh, beautiful movie. Sublime. Yeah, yeah.

15:03Way too long, though, right? Oh, I almost drilled a hole into my brain to kill the part of me that

15:09senses time. When was it never going to end? Yeah, yeah. Why did you tell him you liked it so much?

15:14Well, I'm on my own now, Maddie. I have to suck up to talent like every other schmuck producer

15:18in town. I got this job as a daily kick in the ovaries. Yeah, look, look, look. I got to tell

15:23him that I want him to cut it from the movie. Don't you even try. Oh, it's so personal. Yeah,

15:26I heard you say that. What's so personal? He didn't tell me that it was personal. It's so

15:30personal he doesn't even want to talk about it. Well, what does it mean? What is it?

15:35The kid at the motel who represents a cousin Ron had who died when they were both young.

15:40No, really? No, that whole sequence is about Ron letting go of the cousin's death and

15:44moving on. God, that's like worst case scenario. No, a sibling would be worse. Hey, I got a script

15:50about an Australian chess team that cheats. Will you read it tonight? Will you talk to Ron about

15:54cutting the sequence from the movie? Are you kidding? No, I'm not working on this movie.

15:59That's a problem for you to solve, boss. I just don't get it. If it's so personal to him,

16:04why do you make it so fucking boring? It's literally insane. He's insane. He's an artist.

16:09Eddie, you know this. They put themselves into things. They project meaning onto their work,

16:15even if it's imperceivable to anyone else other than them. Sly Stallone thought the demolition

16:21man was an allegory about masculinity and modernism in a battle. Was it? Oh, no, no, no.

16:28It was 115-minute commercial for Taco Bell. But did his delusion get him up every morning and

16:34into that ridiculous futuristic cop uniform? My script is called Cheek Meat. It's in your inbox.

16:44Thank you, Patty.

16:46Hi, yeah. One sec. Hey, yo, yo. Come with me. Come on. On me. On me.

16:56So, apparently, the entire motel sequence is based on Ron Howard's dead cousin. It's like

17:02a metaphor for letting go or some shit like that. But we can't cut it. We're fucked.

17:06With his actual dead cousin, IRL. Yes, an actual dead cousin.

17:10Oh, my God. I mean, this whole backstory kind of makes this whole sequence amazing.

17:13No, this is not helpful. Not helpful at all. He should not be burdening audiences with his

17:17catharsis. Go to therapy. Save us 45 minutes of fucking run time.

17:21Okay, okay, okay, okay. Remember when we were making prenup and there was that long,

17:25boring divorce speech? And I got Jay Roach to cut it because I was going through a breakup.

17:30And I was able to cut it because I was going through a breakup.

17:32And I was able to cut it because I was going through a breakup.

17:34And I was able to cut it because I was going through a breakup.

17:37And I was able to cut it because I was going through a breakup.

17:39And I was able to break through to him emotionally. If one of us had a dead cousin,

17:43we could break through to Ron and make him see this is not the way to honor your dead cousin.

17:48So please tell me one of you has a dead cousin. No, no, not me.

17:52Yeah, no. Sal, you sure you don't have a dead cousin?

17:56Yeah, no, I have a cousin who's in prison in Japan.

18:00But Sal, are you sure you don't have a dead cousin?

18:06Oh, fuck you, man.

18:09I'm not going to pretend to have a dead cousin to give Ron Howard a note that you should give him.

18:13Oh, are you stricken by the morality of this situation?

18:15Yeah, I'm a moral person.

18:16Oh, you're very moral. Yeah, let's talk about Albuquerque.

18:20Let's talk about why you can't go to Albuquerque.

18:21Let's talk about New Orleans.

18:22No, we don't talk about that.

18:24Okay, there is saliva. Saliva is flying.

18:27God, what is wrong with you? Why can't you just give him the note?

18:31I don't want it.

18:32Okay, now look at you.

18:33You look just like my son did when I caught him watching porn on my iPhone.

18:38Yep, that face.

18:40Okay, look, there's a reason I don't want to give Ron the note,

18:42and I don't want to tell you, but I'll...

18:44Fine, I'll tell you.

18:45Look, in 2001, I was brand new,

18:51and I got invited to a friends and family screening of A Beautiful Mind, you know?

18:55And after the screening, everyone's, you know,

18:57they're sitting around, and they're giving notes.

18:59They're pitching ideas, and so I raise my hand,

19:01and I share a thought with Ron.

19:04What was that thought?

19:06Well, I suggested that, you know, perhaps it would be fun

19:13if the audience knew that Paul Bettany's character was imaginary the whole movie.

19:20That, you thought that was fun?

19:23That's the whole twist.

19:24That's the twist of the movie.

19:24I get it, it was not a great idea.

19:26Shut up, you nerd.

19:28Okay?

19:28It was innocent enough.

19:29And honestly, Ron, he fucking roasts me afterwards, okay?

19:33He lights my ass up in front of the whole fucking screening.

19:36He's like, what a dumb fucking note, you fucking clown.

19:38How dare you suggest something so stupid, you dumb motherfucker.

19:41Ron Howard called you a motherfucker?

19:42Ron Howard called me a motherfucker!

19:44Do my face, man!

19:46And all my favorite filmmakers are there,

19:48and they're just fucking eating this shit up.

19:49They're dying.

19:50Ron is crushing with this shit.

19:52Steven Soderbergh slapping his leg, guffawing.

19:55Joel Cohen's chuckling his fucking titties off.

19:58It was honestly the worst moment of my professional life.

20:01And since I have no, you know, real personal life,

20:04it makes it just the worst moment of my life.

20:07Okay, okay, okay.

20:09Does he right now know that you are that guy?

20:12No, see, that's the thing.

20:13Is Ron has not like pieced together that I am that person.

20:17He seems to actually really like and respect

20:19the person that he currently thinks I am,

20:21and I would like to keep it that way.

20:22And so I'm just not going to give him the note.

20:24I simply can't do it.

20:25Not happening.

20:26End of story.

20:27I'm sorry, Sal.

20:32No.

20:35I'm sorry.

20:36I refuse.

20:38But they seem excited.

20:39Hey, Ron.

20:40Anthony.

20:40Sal Saperstein, ZP Production.

20:42How you doing?

20:44Guys, I just wanted to say congrats on the film.

20:46It's so great.

20:47Oh, thank you.

20:48Thank you. Appreciate that.

20:50Really uplifted my spirits because it has been a rough month.

20:55Really?

20:56I'm sorry to hear that.

20:57Oh, thank you.

20:58Yeah, it's been rough.

21:02Nah, well, that's too bad.

21:07It's been rough, mostly to the untimely passing of my cousin,

21:14Ron-ald-o Rinaldo Saperstein.

21:20Well, you know, sometimes a cousin can feel like a sibling.

21:26Yeah, I hear that.

21:29And that's what the deal was with Rinaldo and I.

21:32You know, he was my brother from another mother who was my mom's sister.

21:39Man, that's awful.

21:40And I'm sorry he had to go through that.

21:44But, you know, honestly, the sequence in the movie that is set in the motel.

21:51Well, that is kind of an ode to my dead cousin.

21:58Yeah.

21:59So anyway, thanks for stopping by.

22:01Yeah.

22:05You know, because we both have dead cousins and for that reason only,

22:10I feel comfortable saying to you, Ron, that maybe the whole motel sequence is too...

22:16Intense.

22:17It's too intense.

22:19And that's kind of the point.

22:21Well, because I want the audience to feel uncomfortable in that sequence.

22:25You know, I want it to fucking hit hard.

22:28Oh, it's hitting hard.

22:30Yeah, it really sticks out amongst the rest of the film.

22:33I mean, stylistically.

22:34Well, and again, that's the point.

22:36Yeah, is it?

22:37Well, obviously.

22:38Yeah.

22:38Because I want people to really think about that sequence.

22:42No, I want people to question it.

22:45We are.

22:46Well, because my cousin, my cousin meant everything to me.

22:53I mean, he taught me how to be a man.

22:58Come on, Ron.

22:59The man I am today.

23:00Beautiful man.

23:01And if this movie honors him in even the smallest way,

23:08then maybe I can finally put that part of my life to bed.

23:16And just move on.

23:21Come on, man.

23:22Come here.

23:23Big man.

23:25I'm so proud of you.

23:29Can I get one of those?

23:31Bring it in, Saul.

23:37I'm so fucking sorry, Ron.

23:40We are not cutting the motel sequence.

23:42Are you crying?

23:43No.

23:43What happened?

23:44Matt, when your cousin dies, you have to honor them any way you can.

23:47Totally get that.

23:48You don't have a dead cousin, you fucking psycho.

23:50I know.

23:50But for a minute, I thought I did.

23:52And I knew what it felt like.

23:53And I get it now.

23:54God, we are all so weak in the face of celebrity.

23:57You two are fucking weak in the face of this.

24:00Mr. Mackey, hi.

24:01How are you?

24:02Sorry for the interruption.

24:03You have a second?

24:03Of course.

24:05Look, I'm sorry, Sam.

24:08Yeah, whatever.

24:09I know that the motel sequence touched you personally.

24:12And I know you guys got a lot of love for it.

24:14You know, you're so good at it.

24:15We love it.

24:16I know.

24:16Sorry.

24:16Shut up.

24:17It fucking sucks.

24:18That's what we think.

24:19We think it fucking sucks, man.

24:21What are you talking about?

24:22You can't say that.

24:23You were just in there crying about your dead cousin.

24:25I don't have a dead cousin.

24:26So why did you say you had one?

24:27Because he told me to.

24:28What the fuck?

24:30Look, here's the thing.

24:31We love the film, OK?

24:33We think this could be like an all-time classic.

24:36And yes, we think the motel sequence derails the entire film.

24:39Honestly, I thought you liked it.

24:41No, I never liked it.

24:42I didn't like it in a script.

24:44I didn't like it when we shot it.

24:45I didn't like it in the movie.

24:46That's why I was waiting for you as the head of the studio

24:49to say he had to fucking cut it.

24:51So go in there and tell him to cut it.

24:54I don't want to do that.

24:55That's your only job.

24:56It's not my only job.

24:57I have a lot of jobs around here.

24:59Just grab your balls and go in there and do it.

25:01You're the producer of the movie.

25:02You can fucking do it if you don't like it.

25:03That's not a producer's job.

25:04I do my job as a producer.

25:05Oh, that is a producer's job.

25:06Head of the studio.

25:07That's what you do.

25:08Look, you make shitty movies.

25:10I'm here to save your career.

25:11Help me help you win.

25:12OK.

25:13You don't want to do it?

25:15I don't want to do it?

25:16These two fucking geniuses are incapable of doing it.

25:20Thank you very much.

25:21Good job on that.

25:22I'm sorry.

25:22So what if we just don't give them the note?

25:25You know what I mean?

25:26Ron loves this sequence.

25:28It seems to mean a lot for him.

25:29Sure, it makes the movie a little bit shaggy.

25:32It'll be a little longer and a little more

25:34boring than we would prefer.

25:36But that doesn't mean we're fucked.

25:37There are plenty of very long, very boring movies

25:40that fucking crush it at the box office.

25:42All right, y'all.

25:43Got some piping hot tea about this shit show of a, oh my god.

25:47Anthony Mackie, the movie is a masterpiece.

25:50I wouldn't change a fucking thing.

25:52He also hates the motel sequence.

25:53Yeah, this shit sucks.

25:54Oh, mad respect, man.

25:57Thank fucking god.

25:58Okay, Exhibitor Relations just saw the runtime.

26:03They're saying it's going to cut show times by two screenings a day.

26:08Theater owners do not want movies that long

26:10unless they've got capes or aliens.

26:12That's a minimum 15% cut to our revenue.

26:14Fuck.

26:14Griffin's going to murder all of us.

26:16I'm going to murder somebody.

26:17I got back end on this shit.

26:19You have to give them the note.

26:20You have to.

26:23The meeting is right now.

26:25Oh, shit.

26:27Look, I love Ron Howard.

26:29You know what I mean?

26:30He's one of the reasons I wanted to make movies in the first place.

26:33Like Parenthood, you know, Splash, Apollo 13.

26:36I just don't want him to hate me.

26:38I can't go through that again.

26:39It's very triggering.

26:40My fucking god, who gives a shit if Ron Howard hates you?

26:45He is going to be high key kissing your fucking ballsack

26:49if this thing is a hit.

26:50That's all that matters to these people.

26:51No offense.

26:52None taken.

26:53That shit's real.

26:54Just give him the fucking note.

26:57Yeah, you got to do it.

26:58Yeah, you got to do it.

26:59OK.

27:00OK.

27:00I'll do it.

27:01I'll just ask him to stay after the meeting and I'll tell him.

27:04But you, you got to back me up, OK?

27:06He respects you.

27:06You got to be right there with me, all right?

27:08I'm with you, man.

27:0810 toes down.

27:09Slim pimping, whole slamming cadillac doors.

27:11I don't give a fuck.

27:12I'm doing it with you.

27:13OK, great.

27:16All right, everyone.

27:16This meeting is going to be a vibe.

27:19Alphabet City has really got our engines revving.

27:22Pun very much intended.

27:23And we think we can have a really dope run in theaters

27:26and really break through the clutter.

27:28And we are mad hyped to show you our early concepts.

27:31That's what we're here for, so let's get to it.

27:32Oh, love the enthusiasm.

27:34All right, here's the first up.

27:35OK, this one, we really love the beauty of his eyes.

27:40Look at those, mesmerizing.

27:41With all of the beautiful light flickering in the background,

27:43this is very classic, right?

27:46Shows off the cinematography.

27:48Yeah, it's pretty good.

27:49Yeah, I know.

27:49It's nice.

27:50OK, now this one, dead ass lit.

27:54New York City, the big apple back in the day.

27:57It's got grit.

27:58It's got a skyline.

28:00We've got lady libs.

28:01And also, never forget.

28:04OK, what do we think?

28:06Well, they're both totally viable.

28:09But if I may, I have an idea that I think could be very, very cool.

28:15Let's hear it.

28:16OK, I mean, the motel sequence.

28:21You know, it's special.

28:24We keep hearing how much it stands out to people.

28:26So what if the poster is Anthony and the kid in front of the motel?

28:32Anthony?

28:39I fucking love it.

28:40Yes!

28:41Oh, man, that is great.

28:44You see, that's why it's fantastic having actors who are also producers.

28:47Yeah, yeah.

28:48They really get the material.

28:49Yeah, exactly.

28:50They really do.

28:50All right.

28:51So, I mean, we like it, right?

28:54Any thoughts?

28:56Um, um, oh, Matt, you had some thoughts about this, right?

29:04Oh, really?

29:04Yeah.

29:05You know, Matt, you have thoughts?

29:10Uh, I don't have thoughts.

29:11So I had one little tiny little thoughtlet of an idea that did pertain to that.

29:17I was going to ask you to stay after and share it, yeah.

29:19You, uh, you got a note for me?

29:25A note, so much as an idea, yeah.

29:28You got a note for me like you had on Beautiful Mind?

29:34You remember that?

29:35Oh, yeah, I sure do.

29:37How could I ever forget?

29:39It's like, it's like seared into my brain.

29:42Oh, man, it's a great story.

29:44All right, look, I know we're in a meeting, but who wants to hear a really funny story?

29:50I mean, come on.

29:51Everybody loves a story about their boss.

29:53I don't know about that.

29:54We got stuff to do here, you know.

29:55So now I'm going way back, okay?

29:58I just finished shooting a Beautiful Mind, so it's like 2001.

30:02And we're having a friends and family screening.

30:05It plays great, through the roof.

30:08Everybody loves it.

30:09Oh, except one guy.

30:14A young, tiny, little Matt Remick.

30:18Okay, well, so Matt raises his hand, and he actually suggests, in front of everybody,

30:24you know, Soderbergh, the Coen brothers, he suggests that throughout the movie,

30:30we should tell the audience that the Paul Fetney character is imaginary.

30:38Are you serious?

30:39I mean, he literally wants me to take the entire twist of the movie.

30:44No, no, no, no.

30:46The entire concept of the movie, and just lay it out there.

30:50Just, just spoil the living shit out of it.

30:55So stupid.

30:57I mean, hands down, it was the single worst note I've ever had in my entire life.

31:05So, let me ask you, Matt.

31:12Did you see Usual Suspects, and tell them they should keep cutting to Kaiser Soze on

31:18the phone, laughing at the way he's fooling the police?

31:22Or, or, or, or, or, or did you bounce your way over to M. Night Shyamalan, and, you know,

31:28tell him that what he really ought to do is have one of the ghosts say,

31:32when's Bruce gonna realize he's dead?

31:37Oh, I got one.

31:39He watches Fight Club, and he said, wouldn't it be fun if everybody knew that Tyler Durden

31:43was imaginary from the start?

31:46What the fuck is wrong with you, man?

31:47I'm sorry, dude, this is good shit.

31:49I mean, what the hell were you thinking?

31:52It's a classic, right?

31:56You want a note, Ron?

31:59I'll give you a note.

32:00You made a great film that you are ruining with this self-indulgent motel bullshit.

32:06Fuck you.

32:08My cousin died.

32:10You fucking suit piece of shit.

32:13Your dead cousin deserves much better than to be honored in the form of a boring fucking

32:18movie, man.

32:20You, listen to me, because I will never, ever.

32:26You lame ass idiot.

32:28Fuck you, you fucking ball crack.

32:30Fuck you.

32:30You want to talk to me, you know, get fucking Patty.

32:33Patty's got a brain.

32:34You got nothing.

32:35I don't even know why you're in this room.

32:37You're looking at.

32:49If you could read my mind, love, what a tale my thoughts could tell.

32:57Just like an old time movie about a ghost from a wishing well.

33:04In a castle dark or a fortress strong with chains upon my feet.

33:13You know that ghost is me.

33:24Hello?

33:25Hey, man.

33:26It's Ron Howard.

33:27Yeah, hey.

33:28Look, I want to apologize.

33:30I shouldn't have ruthlessly mocked you like that.

33:34You know, I think I was so mad because I knew you were right.

33:37Not about a beautiful mind.

33:39That was epically stupid.

33:41Yeah, of course.

33:41Yeah.

33:42But about the motel sequence.

33:44He does not belong in this movie.

33:46So I just called Anthony and told him.

33:48Yeah.

33:49He was devastated.

33:50Yeah, I bet.

33:50Yeah.

33:51But he gets it.

33:52Okay.

33:52Well, thank you.

33:53Thank you so much for calling, Ron.

33:54I couldn't appreciate this more, man.

33:57You know, it's all some emotional bullshit that I just need to get over.

34:00But I can't let it affect my work.

34:02Dude, a hundred percent the same thing goes for me.

34:05I should have just given you the note when I saw you this morning.

34:07Instead, I let my own shit get in the way.

34:09I shouldn't have done that.

34:10I should not have said anything about your cousin.

34:13And I definitely shouldn't have called you a bald fuck or whatever I said.

34:18I'm really sorry, man.

34:19Okay.

34:20So you accept my apology for the insults and the hat throwing.

34:23Yes.

34:23I'll accept yours.

34:24Great.

34:25Perfect.

34:25Fantastic.

34:26Oh, and Matt, cross me again.

34:28Yeah.

34:28I'll fucking destroy you.

34:30A movie queen to play the scene of bringing all the good things out in me.

34:40But for now, love, let's be real.

34:44If you read between the lines, you'll know that I'm just trying to understand

34:54the feelings that you have.

34:57I never thought I could feel this way and I've got to say that I just don't get it.

35:06I don't know where we went wrong, but the feeling's gone and I just can't get it back.

35:27Bye.

35:28Bye.

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