The End of Oak Street

[00:00:02] What you want, when you want it, where you want it. This is The MESH. Footcandle Films. Film news and reviews from two guys who really like movies. This episode is brought to you by the Footcandle Film Society. For a schedule of upcoming screenings and membership information, visit the Society's website at www.footcandle.org.

[00:00:35] Hello everyone and welcome to Footcandle Films here on The MESH.TV Podcast Network. Alan Jackson and Chris Fry here with you from the Footcandle Film Society and the annual Footcandle Film Festival. Chris, how's it going? Long time no see. Yes. Hope you're doing well. I am doing well. You joke because we actually did record this episode yesterday. It was amazing.

[00:01:01] We came actually fresh out of a screening directly over the podcast studio, recorded it. Best episode ever. It really was. I don't know if I, maybe not best, top three for sure. Fair enough. But you will never hear that episode because we had a little technical difficulties in getting it finalized and recorded.

[00:01:25] Our apologies because I don't know if we'll be able to match the same level of expertise and quality that we did in yesterday's recording. But you're left with the do-over version. Hopefully we'll be able to match some level of it. Some people say practice makes perfect, so. I don't know. I just felt like, like you said, we came out of the actual movie screening that we were reviewing right beforehand. So our opinions were pretty fresh and pretty.

[00:01:53] However, I will say the movie that we're going to review, I've actually had in this 24-hour time that we've had been waiting to re-record the episode. I've actually seen the film a second time. That's a rarity. So I'm able to give even more depth into my thoughts. Maybe we'll see if my same level of energy towards this film is higher or lower. Okay. The film we're kind of teasing about is the film The End of Oak Street, the one that we're going to be reviewing here shortly. The one I have now seen twice in a 24-hour period of time.

[00:02:23] The End of Oak Street, that is with Anne Hathaway, Ewan McGregor. And it's written and directed by David Robert Mitchell. We'll be discussing that film with our reviews in just a moment, as well as we have a couple of trailers to play for some independent films that we're kind of excited to see coming out in the coming months. And then we also got a bit of a little movie news item, really kind of a quick thing to throw out there I just found to be really interesting and curious about.

[00:02:53] I want to see if you've got some thoughts on it, Chris. And then we're going to wrap up the episode, like we always do, with Chris giving a recommendation of a film he thinks is worth checking out. I think I know what your recommendation is, Chris. I mean, I could pull a change, but I'm not going to. We're just going to go right in line. We are doing beat for beat what we had planned, what we tried to do yesterday. Correct. We're just going to do it better. That's all we're going to do. We're going to do it better. All right. So with that, we've got a lot to get to.

[00:03:21] But first and foremost, we have our review, our featured review for this week, and it is to film The End of Oak Street. Anybody else see that weird light last night? What weird light? The wind was blowing all crazy. Starbuck was freaked out and barking. Could have been lights from a helicopter. Or a UFO. Aliens. Shut up, Dad.

[00:03:59] Water's not working. Looks like the whole neighborhood's lost power. The hell was that? I can't leave. I think that our neighborhood, our house, our whole street has moved.

[00:04:28] How the hell is that even possible? A family of four is trapped inside their house with no way out and must work together to survive against their dwindling resources and the mysterious threat that is keeping them trapped. That's not the description for End of Oak Street.

[00:04:58] That's actually the description for the movie we reviewed last week, The Last House. But similar themes kind of run throughout End of Oak Street, the film that we're going to review by David Robert Mitchell starring Ewan McGregor and Anne Hathaway. This film, it's the Platt family. They band together to navigate their new surroundings after a cosmic event to transport their suburban neighborhood to someplace unknown. So weird stuff's going on here.

[00:05:24] David Robert Mitchell, in my opinion, since he is the writer and the director, has put The Fablemans and Jurassic Park into a cinematic blender, creating an homage to Spielberg that's in memory of David Robert Mitchell's father, as we learn at the end of the film. Alan, what was your take on this film? David Robert Mitchell, in my opinion, during my first viewing or my second viewing? No. Review both. I'm going to average them together. Okay.

[00:05:50] So I continue to really enjoy this film. I had a really great time with this film. This is fun. This is kind of what I was wanting and needing out of a film at kind of this time of year. You know, we had some good popcorn entertainment with Spider-Man two weeks ago. I think we reviewed that film. And we both really liked it. Yeah, it's a great big budget, big action movie, big superhero movie.

[00:06:19] And I really enjoyed it. Then to kind of come two to three weeks later and get a pulpy dinosaur movie, kind of family trapped in a chase by dinosaurs and fighting dinosaurs. I'm like, yeah, that sounds awesome. And it's got a great cast. And I do think the writer director, David Robert Mitchell adds some things to this film to make it a little step above what you would get from just a good actiony genre movie.

[00:06:48] Just enough to make it a little interesting. I think the fact that it's a time period piece, kind of set in 1982, helps because it showcases the role of the family in a different – I don't know, something about that time period. I think you kind of have some different feelings towards the way a prototypical family looked and acted and worked together. And I think it tapped into that really nice in that time period. So I really had a good time with it.

[00:07:18] I mean, I'm like I'm a sucker for monsters chasing people, people fighting giant monsters. So dinosaurs are kind of a vein of that. So I was already kind of in the bag for this movie even like hearing about it. But to actually see it be successful and work with surprises, with some interesting concepts, but also being a film that didn't feel like it had to tackle bigger global issues.

[00:07:43] I mean, you know, my biggest fear was that we were going to learn that this whole thing had to do something with global warming or something like that. They kind of throw out something, but then they just pass it right by. Yeah, they don't hammer it or whatever. Right. I mean, they touch on things just enough to say, hey, look, we're at least going to give you a bone on what this might be. But really, that's not the point of the film. Like you don't need to worry about that after this little blip of commentary. Let's just go on and have some fun with it. And that's really what the film was. So no, I had a really good time with it.

[00:08:12] I did greatly enjoy this film, even seeing it twice in a short period of time. I enjoyed it just as much the second time. So Chris, I do want to hear from you your thoughts on The End of Oak Street. Which I know what they are, by the way. He does. I liked it, and I liked it more than I was expecting to. Because the preview, you know, dinosaur movies, not really my thing.

[00:08:38] You know, I had read the book of Jurassic Park, and then when I finally saw the movie, I saw it way after everybody else had already seen it. And I'm like, this is it. This is what we're all excited about. You know, and did the typical snob thing. Well, the book was better. So with this, you know, it's like, okay, are there scenes of dinosaurs jumping out and eating people? Yep. Are there scenes of like rustling bushes and people are wondering what's back there and the suspense? Yeah, and then like the big eyes and the teeth.

[00:09:06] And all that's there, but he just manages. And I think it's a little bit of what you're saying, like having it be in 1982s. That's kind of a time period that you're looking back on, but then have this weird thing going on. It just kind of, it sets it apart from any other dinosaur movie I think I've seen. And that was a good thing. And the cinematography, the look of the film for me felt very much David Robert Mitchell because I just recently rewatched It Follows.

[00:09:36] And that film is a little bit of a period piece too, kind of nonspecific when that happens. They do have cell phones, but it's still like early, early cell phone time. So, but you know, the people's dress and just the look, the saturation of the film and everything just looks very, it's not 1982, but you could almost think it was. It was the cars and everything used are very like dated too.

[00:09:56] So it felt, you know, very David Robert Mitchell, the pans that he uses in this film, just like the stuff he does in It Follows, just can slowly reveal stuff. And then also a lot of times just provide momentum, just like, you know, dolly shots that keep going down the street as they're like running, whatever. And just the momentum of this film just kept moving. And I was never bored. And I mean, granted, this is, this is a bonus of the film.

[00:10:24] It was only an hour and 39 minutes, but it, I mean, I, it felt like it was only 60 minutes. Like I just felt it really, really moved fast. Yeah. So I, uh, I did have to kind of point out some of the performances in the film because I do think they're worth commenting on. Yeah. I think everybody's good. Um, I think the family, all four members of the family are solid. I do think Anne Hathaway for me was a bit of a standout. I think she was really strong in this, in this performance.

[00:10:54] And, uh, I also want to call out Maisie Stella who played Audrey, the daughter. I mean, again, all four are good, but something about the two of them, both the Anne Hathaway as Denise, the mother and Maisie Stella as the daughter, Audrey. I just felt really, I don't know. I, I, I, I felt very, uh, authentic performances. It just seemed like they worked and felt like they knew, they knew the people they were, they were meaning to play.

[00:11:19] Ewan McGregor as Greg, he's, it's interesting performance. Um, the wardrobe does no favors. And I love Ewan McGregor, but it's like, they're kind of making him kind of like the sad dad, you know, and they, I mean, a little on the frumpy, a little on the frumpy, kind of, you know, doofy, doofy kind of thing. And he, I think, you know, enjoys role, leans into it. But yeah, it's like, you know, and yeah, the Anne Hathaway is the standout. I think that's fair.

[00:11:47] And the daughter actually, and something I'm kind of thinking about now that I've had more than, you know, 30 minutes to process it walking, walking from the theater over here. Um, since I've had a day, I think in a way it's kind of a, it's like if it's the whole mentality behind Ripley in the alien franchise, like the strong female lead. But imagine Ripley in suburbia with the family. It's like, so that's kind of the Anne Hathaway.

[00:12:13] She's not, you know, throwing around guns and stuff and like blowing up aliens, but it's like that kind of like take charge. I'm going to kind of figure out what's going on. And, and then her daughter is kind of like a junior version of that in a way. Um, the Maisie's, the daughter played by Maisie Stella. So I thought that was, it's kind of a, it's not something you normally see. So that was, that was refreshing.

[00:12:34] And I think with maybe just one exception, uh, I do think, you know, a big beef in a lot of these, um, uh, people or especially young people in peril, uh, or, or, uh, horror films. A lot of times it's like, you know, the choices characters make, it's like, Oh, why, why did you go to the, why did you go back in the haunted house? Why did you go into that room type of thing? And yes. Why did you guys split up? Yeah. Right. There's one, one decision about halfway through the film.

[00:13:03] I'm like, uh, yeah, it falls into that trap and it's a little, it's a little grading. It graded on me even more the second time. Oh no. I know. But overall it, but it's also kind of expected in that. Yes. Of course the kids are going to. It's not like it comes out of nowhere. You kind of see, you can kind of see it coming. Yeah. There's some foreshadowing to it happening, but the kids make a decision to go, uh, go off somewhere for a reason. And it's just why, why, why that makes me know. Yeah. I get it.

[00:13:30] And we are so accustomed in these films that the kids are going to make these dumb decisions. And yeah, they did it here in this movie too. So that one in one regard, it did kind of fall into the stereotype pattern, but it also was needed to happen because it did lead to, I thought, kind of interesting, uh, reunion moments. I'll just say between family and just, it did build to something good. So overall I was fine with it at the end of the day.

[00:13:58] But, um, uh, outside of that, you know, I think, uh, the only thing that had bothered me in the first viewing of this film, Chris, and, um, it's a very personal thing. It turns out I was wrong about it. I'm actually having to come clean and say, yes, I was distracted from, for half the movie thinking that the filmmakers had made a horrible, horrible decision or, um, choice in this, in including a song, uh, to be played by one of the characters, by Audrey.

[00:14:28] And kind of a nice quiet moment that she has to sing along with, uh, Steve Winwood's song, Valerie. Okay. And when I'm hearing this song being played, she's playing it in a car kind of as a moment of just a little bit of a moment of peace that she has in the midst of all this chaos going on. And she's singing along to it.

[00:14:48] And right away I'm out of the movie because in my mind, this song, Valerie, I remembered from when I was older, like more like 86, 87, 88, not 1982. So I'm like, how in the world? Which they've stated several times. You kind of know the time period. We knew it was 1982. So again, I'm pulled out of the film. I'm like, okay, well, this is, this is crap. I'm like, I'm, I cannot do your research. I cannot watch this movie. So I was so upset about this. Fair enough.

[00:15:15] And then, uh, I still enjoyed the film immensely, but I said that one thing is just going to really just gnawing at me. Come to find afterwards, I'm completely wrong. The song Valerie by Steve Winwood was actually released in 1982. Originally. Okay. The version I remembered being a big hit and being on the charts and all that was one called Valerie 87, a remix that Steve Winwood released five years later in 1987. And that was that.

[00:15:45] So I'm, I'm incorrect. David Robert Mitchell. I apologize. You were right. You obviously know better about the, the music releases in the early eighties than I do. So I'm sorry. And Audrey is a big Steve Winwood fan. If she was onto this song in 1982. Well, I don't know if it was, she was a big fan, but the cassette was already sitting in the car. So all she did is she got in the car and she popped the cassette in whatever the cassette may be. I'm pretty sure it was, uh, her father's car or something like that.

[00:16:14] So, you know, that's, uh, uh, maybe the father was a big Steve Winwood fan. That would fit. That would clock. I think. The character. Um, I, I kind of joke about that, but it did bug me the first time. Sure. So just, you know, you liked the scene. Oh yeah. Like the scene, but I was pulled out of it because of my erroneous, uh, knowledge at the time. So you kind of mentioning that scene and how you liked the scene and how it was kind of a, not a typical scene you see in like a, you know, action movie type thing.

[00:16:43] It was very kind of David Robert Mitchell touch where it's like a music scene, but it's kind of a quiet scene. Yeah. No jump scare. It's just kind of like a moment establishing tone mood and maybe a little insight. Mm-hmm. Into the, the daughter. Um, that kind of brings to mind for me, they were like, I mean, lots of scenes in this. That's when we included, but there were three that I can think of that were kind of surprises for me that were very pleasant surprises that I was not expecting. Um, I mentioned, does this movie have dinosaurs?

[00:17:13] Yes. You know that if you saw the trailer. Um, but I, you know, I was wondering if anything like unique was going to happen or something that I didn't expect. And yes, um, two things with the dinosaurs I didn't expect. One, it seems like they tried to take the notes that we have learned about dinosaurs since the Jurassic park movies came out and basically the look of the dinosaurs, they kind of like added feathers or whatever. They're not trying to sell toys. I guess that's a really good way of putting it. Yes.

[00:17:41] These are not things that would fly off the shelves in a toy store versions. They are very ugly. They are, I'm sure much, much more authentic based on what we now know about dinosaurs. So that, that was kind of a surprise. And yeah, you know, you immediately when they come on screen, you're like, huh, interesting. They're not trying to make you say, oh yeah, these are the dinosaurs you've seen before or not just make them bigger. No, it's like, no, these are, we're trying to be more authentic. Um, second thing I mentioned dinosaurs eating people. Yes, that happened.

[00:18:09] And, but there was a diner lunch that took me by surprise when, you know, it's happening all over the place. But then there was one I was like, oh, wow. And it was, and I consider that, you know, to be able to surprise me with when it, you know, I was like, okay, that hand, you know, hats off to you, Mr. Mitchell. That, that was actually surprising for me. Yes. Didn't see it coming. So, uh, getting to watch the film a second time with a small crowd, not big, but a small crowd. Uh, yes.

[00:18:37] That, that, uh, that particular choice, that particular, uh, uh, what would you call it? Dino snack? Yeah. Yeah. That particular one, uh, was shocking to the crowd. The crowd responded very, yes. It kind of made me sit up and take notes and say, okay. Yeah. So like stakes that you assume in any film like this, and then suddenly that particular dinosaur happens. You're like, oh, certain rules you thought were established. So now like, well, there goes that. So that was interesting.

[00:19:07] Um, there's also a scene of dinosaur behavior that I've never seen depicted on screen before true was not expecting. Yes. And has a nice callback towards the end of the film, kind of a button at the end of the film. Interesting. I kind of used for a little bit of humor, but, um, I, I was not expecting that. So there again, hats off. I'm making something really original. It was, it was obviously humor, but also it did speak to some other things going on the film with the relationship of the, the mother and the father.

[00:19:35] And I think, uh, it commented nicely on that status of their relationship. It was some callbacks. There's actually two callbacks to it. There's a moment with the photograph that's taken of that thing. Uh, and then there's the, uh, coda. Uh, kind of, uh, with it as well. So yes, it is definitely, uh, it's commenting a lot more other than just being, Hey, it's a funny scene, which is a funny scene. But when you really look back on, you're like, Oh yeah, that was actually some nice commentary

[00:20:05] on the relationship. Something unique. It was a funny scene, but then there's also like another layer there of like, yeah, there's some commentary being made. Yeah. And then, uh, there's a, you know, the family, like I mentioned, they do get out of the house. They're not completely trapped like in the light last house, but they do spend time in the house. At one point they discover, cause they were going to run down there to try to be safer that the basement is flooded. And when you first hear that, you're like, okay.

[00:20:34] And they look at it and you're like, Oh, are they going to try to come down, go down there or some, you know, giant creature are going to come out. You think it's going to be a jump. Yeah. That doesn't happen. Um, but a sinking feeling of a different kind happens because of realization of, uh, Denise and Hathaway's character. She has some ties to the basement and she's like, Oh, and like that there again, just kind

[00:20:58] of a surprise, a level of character development that you typically don't expect in an actual spectacle. Right. I think that's, I think that's, that's, that's saying a lot there and that you're right. There are so many elements of this film where they're taking the things that you would expect to see in a disaster monster horror film typically, and just adding a layer to it.

[00:21:24] Every direction you go a layer about the family, the family relationships, the family drama. So like you said, the basement, yes. Initially you're just like, Oh, this is going to be a set piece for some other creature event going on or something like that. No, it's not. And it actually turns out it's more horrific because of an impact it has on one of the characters and what they've lost in the, in the process. And that's, there's little examples of that all throughout the film where yes, there's maybe

[00:21:53] being chased by a dinosaur, but there's something else going on about the family dynamics that you're kind of seeing in action during that time as well. So I think it was a really good, you know, Spielberg was always really famous kind of early in his career. I'm thinking around the close encounters or third kind time where it's like blending this sci-fi high concept with a very realistic human family.

[00:22:20] And it's like, I still look back in close encounters and some of the scenes of family turmoil that are happening are absolutely the scariest thing in the film because they're so real and they're just so brutal to kind of see this family, this husband and wife at odds of the other, the kids seeing this happening. Between the adults. All of that. There's there. It never gets that severe with this film, but this is also the kids are older.

[00:22:49] It's not quite the traumatic events. It was in close encounters, but it's still pretty upsetting situations for the older children to be involved in or see that their parents are going through. And that's, I think, you know, obviously you could see a lot of things, influences in this film. I mean, obviously early Spielberg was a heavy influence on, on, on Mitchell here and making the film.

[00:23:15] So I like the fact that again, they've take kind of taking a very high concept genre film, blending it with some really good family drama, family dynamic drama and made something really entertaining out of it. So, yeah. I think too. I was impressed. You know, I mentioned the film, you know, is shorter than your typical, you know, summer blockbuster that's trying to be an action. Maybe it's now in 39 minutes.

[00:23:41] I don't know the first time we get to see a dinosaur, but I was kind of surprised in the first, it felt like 15 minutes, 20 minutes. It was all just period establishing stuff. Actually the first 20 minutes. 20 minutes. Okay. I think it's like 25 minutes or so before we get really a hint of. And that to me was really surprising, but it was interesting. Like I liked what was going on, but I was just like, okay, just establishing the neighborhood,

[00:24:08] establishing some of the people in the neighborhood, just really well done. I mean, there's, I'll just rattle off some characters who it's admirable because they're there, but then they all, they don't just, they're there mentioned and then completely disappear. There are some threads that kind of run. There's, there's a librarian. There is a obnoxious, you know, next door neighbor. There is a new girl to the neighborhood and these all, you know, we, and there's also

[00:24:35] mentioned, and then you see, so he has a young boy in the family has a group of friends, but then they're talking about this bully and that kind of coming, you know, all these things are still used. They're not just kind of tossed in to add like, Oh, these are, you know, some color for the time. I don't know they're, they're woven in better than I would have thought they would be. Um, and also I'll say the end of Oak street, the neighborhood goes and suddenly they're like have dinosaurs everywhere. So, you know, they're going to do one of two things.

[00:25:03] They're either just not going to say like, Oh, yep, this just happened. Wonder how it did. Or they're going to try to have like, this is what happened and this is an explanation. And then you have to buy it or not buy it. I got a little worried because, uh, Audrey is a big fan of Carl Sagan and she starts talking about like theories and wormholes and all this stuff. I'm like, okay. And I was worried the exposition was going to get a little too, but it was just touched on and then moved on.

[00:25:32] But the way there's actually kind of a twist on what she thinks is going on and stuff. So it, it worked for me. I could see how some people could be, but you know, anytime you go into a movie that science fiction, you kind of have to, I mean, sometimes you're like, no, it's just too crazy for me. But this one, this one worked for me. And even the, what they decide is kind of their, uh, objective in the film that they think will fix their situation.

[00:26:01] They're not exactly hitting it. Correct. It's a, it's a, it's a leap of faith because I mean, there's no understanding of what's really happening. And, you know, uh, you kind of have to go along for the ride. And I think at one point, even the family members are even saying, what are we doing? Why are we doing this? It's like, this might be it. This is the way we do it. I don't know. And it's like, I kind of, I kind of appreciate the fact that they weren't just like, no, this is what we figured it out.

[00:26:31] We have done all the math and we've calculated things on a chalkboard. We know what's going on. So we have to go fix it this way. It's like, no, it's like, uh, this seems like it might be an answer and it's the only thing we got. So let's try it. You know? And that's kind of the, the idea. Um, even the fact that I'm going to get as little spoiler as possible, even when confronted with this final thing they're going to try to do kind of in our building final to get back home. Yeah. Right.

[00:27:00] To get back to normalcy. To get back to normal. Yeah. Um, even then there's a lot of hesitancy on like, well, what are we doing? Like what? This doesn't make sense. It's like, I don't understand if this even is working or not. And everybody's like, yeah, we don't either, but we're just going to try it. And it's like, I kind of just appreciate it. It's like, yeah, we're, we're just trying to figure it out too. We don't really know the deal, but this sounds like the best option we got. So let's try it out. And as opposed to just making it that all of a sudden they all become astrophysicists

[00:27:29] and they figured it all out and, you know, and they know what to do. So, right. Right. I would say, um, any movie that has dinosaurs, you know, eating people, you're going to say, okay, yes, they're going to be scenes with gore violence. But some of the stuff in here, I was a little, I mean, I was like, wow, this is, this is kind of intense. Yeah. Um, and it actually wasn't, it was somebody attacking a dinosaur with a kitchen knife. And I was like, it was like very psycho to me. Um, you know, from the film psycho, like how they were stabbing, stabbing. It was like, yikes. That is, that is very intense.

[00:27:59] No, it's an intense film. Like it's a hard PG 13. Like it earns every little, every little morsel of that PG 13. And, uh, it, it's, it's, it's, yeah, it's got a lot going on, but it is, it is a dinosaur eating and attacking people movie. Yes, absolutely. You mentioned that the thing you appreciated kind of like early Spielberg does is how it focuses on the family and specifically in this family that's having struggles. Uh, the mother and father are having struggles relating to one another.

[00:28:28] There's allusions to maybe there's a divorce imminent or on the horizon, you know? Um, but I admire the way touched on woven in, but also kind of the, what we know, the father's employment situation and the mother has is likes to be, wants to be a writer as an aspiring writer, how those are woven in that I just, yeah. And they, they're not touched on dropped. No, they, they have important resonances through the film.

[00:28:55] And I was just like, man, it's for a summer blockbuster. This was so much better than it had to be in my opinion. Like, you know, it's just, it could have been, you know, you could trim all this stuff off and then I guess it would have been an hour and two minutes, but you know, it was just so much more satisfying because it could have given you a big Mac, but instead it gave you a hamburger, but a hamburger from like a local place that just tastes a lot better. And it was a lot, a lot more effort put into it, I guess.

[00:29:22] I think to me, this is a good sign to me that, you know, if studios can just embrace the idea that it's okay to let a, uh, quote, independent filmmaker or smaller film filmmaker, somebody who's shown some really great vision and craft in their work, like David Robert Mitchell has done in his films. I mean, yes, it follows was his big, bigger film and well-regarded. Yes. Under is it under the silver lake? Didn't do as well.

[00:29:52] It kind of had mixed reaction, but at least it was something creative and interesting going on to me. This is kind of a good sign of like, Hey, look, it's okay to let some of these artists take on some more bigger projects, bigger, bigger dollar projects, ones that could bring in a crowd for you. So it's okay to take those chances and risks because they're going to bring something to the table that elevates what could have been. I mean, this could have been pretty pedestrian. Sure. Yeah.

[00:30:21] I could very easily see a version of this written and directed by somebody else taking the same core concept and it'd just be exactly what you expect. And here we got just a little better. We got better, much better, actually better than it needed to be. Will David Robert Mitchell be able to turn down money from the Jurassic Park franchise to do a film? Well, but here's the only problem. He's going to be, he's supposedly, he's on track to do, uh, they follow. Is that the name of that? Yeah.

[00:30:49] So I'm interested to see what he'd do with the sequel to that movie. Cause he doesn't seem like a sequel type person, but yeah. Would he, would he be willing to take a big sack of a dump truck of money to do? The only shame of it is, and just to get on the, the economic side of the things here, the movie is not doing great. So we think it's great. We think it's great, but I, unfortunately this isn't going to be studio saying, Oh, that guy, we got to get him. Let's, let's sign him up for a star Wars movie or whatever.

[00:31:16] You know, it's not, I don't think that's quite, quite there yet. Although hopefully studios kind of recognize that, Hey, box office returns don't always equal the quality that we got out of this. So no, no, I, I still really enjoy this movie. Had a really great time with it. Even second time through. Even second time through. 24 hours. Yeah. It was good. It was a fun movie right up my alley and added just enough interesting, unique elements

[00:31:41] to it, to make it stand out more than it needed to and had to for, for such a, a quote genre standard movie. Look forward to seeing it a second time. Cause I think, you know, it would be, it would be fun to, to see a second time. See it with a crowd. You know, you and I watched it together just like, you know, private screening, no other audience around. It's a fun one to watch with an audience.

[00:32:09] So yeah, I would like to see the audience reaction to the dino snack that I was not expecting. Yeah. That would be fun. It was. Yeah. All right. That was our review of the end of Oak street. Both of us very positive on that film, having a good time with it. We're going to take a quick break. And when we come back, we will have a couple of trailers to play for some films coming out. Both of them coming out this November. So we'll kind of take a sneak peek at those two films and a quick news item I've got to share

[00:32:38] and Chris's recommendation for the week. All coming up here in just a moment here on foot candle films. Want to discover great podcasts or maybe even start one of your own? Welcome to the mesh Western North Carolina's podcast network built for creators and listeners alike from local sports and business to comedy and culture. The mesh is home to unique voices and fresh perspectives. Do you have something you want to say?

[00:33:04] The mesh can help you bring your podcast to life with the tools, support and platform you need to be heard. Check us out at the mesh dot TV where great podcasts live and new ones are born. Welcome back to foot candle films here on the mesh dot TV podcast network. Alan and Chris here after our review of the end of Oak street, we're going to turn our attention

[00:33:30] now to upcoming movies trailers for upcoming movies. Before we do though, Chris, I just have one small piece of news items, one news item to share. And it's more of a curiosity and a big question for me. You are familiar. I think we have talked about it on the show that coming up soon, there were going to be movies about the Beatles. Yes. Four movies, in fact, because they're four Beatle members.

[00:34:00] One film per member of the Beatles. Would there be an independent fifth film like Paul Best or whatever the guy who was like fifth Beatle? That will be a straight to streaming video version. Okay. Fair enough. Yeah. No. Four biographical films based on the lives and careers of the Beatles. Okay. This has been talked about for a while. Sure. A photograph was posted online on the various social media avenues of them, kind of a behind

[00:34:29] the scenes of the four actors playing the four Beatles, dressed appropriately, recreating the Abbey Road photo shoot. Right. Got you. So that got a lot of buzz. And then there was a couple more behind the scenes shots that they put up that are just, I think, just trying to keep enthusiasm for this project going. Because I'm sure it ain't cheap. Right. There you go. Trying to make sure it's going to be successful. But something was on the tagline of those photos that kind of made me do a double take.

[00:34:59] And it was different than what I was led to believe about this project. Okay. I had always believed and understood, and I think we even reported when we talked about this months ago as a news item, that when these films were released, and it's going to be in the year 2020, the year after, that the four films were going to be released kind of in a staggered sequence, like, scheduled throughout the year. So that way- We were actually talking about, like, which one's going to be first?

[00:35:26] We commented on what we thought should be the order, if there's some order to it and all that. Should be John, Paul, George, and Ringo, because that's how everybody always says the four Beatles. Yeah, I don't know. I mean, you feel bad for Ringo because he's the fourth. I think you got to get Ringo the middle. Okay. So he kind of can ride the enthusiasm from the first and build up to the last. Yeah. All this we talked about. Yeah. Well, the byline I saw in this photograph yesterday said, these four films are going

[00:35:52] to be released simultaneously on April 7th, 2028, which I literally had to go like research to make sure that wasn't a typo or a joke or speculation. Like, really? They're going to release all four of these movies on the same day. Right. So that just started me thinking, look, I can add a little bit of thoughts to this as

[00:36:18] being a theater programmer, theater owner, programmer myself. It's like, I have a three screen movie theater. What do I do? You're not going to program Ringo. I know what you're going to do. You're going to give him the boot. No, Ringo. I want to see the Ringo. Actually, the Ringo movie, I think might be the best way to the floor. Yeah, his perspective. Yeah, yeah, yeah. But then it's like, I got to cut somebody out or do some sort of split programming with mixed schedules. Oh, it's like, but I know that's a little bit of a personal thing, but I'm serious.

[00:36:47] Like the idea of rolling out all four on the same day is like, does that really make sense from a viewer consumer standpoint? I don't see how, because it's like, it's kind of like for me, how Netflix and other, some other streaming services will dump their entire season of a show on one day. Yeah, it's great for binging. And I think there's the same idea with these movies. Like if you're somebody who's like, I'm just going to go all weekend and I'm going to go watch all four movies. Turn it to like a Barbenheimer. Sure. Make an event.

[00:37:17] You get a nice little, you're going to get a great box office return for that first bit. But then I can't imagine most people willing to do that. So it's like, then you got the people saying, well, I really only want to go to one movie a week or every week or two. I don't want to go every day. Right. So it's like, all right, so I got to now pick and choose which ones I want to make sure I see and how long are they going to be in the movie theater for me to be able to see all four? Am I willing to go to the movie theater four times in like a two to three week period?

[00:37:47] I just don't know. I think it's a bad move. But well, yeah, and the enthusiasm that you build up over it. Think about how great it would have been to have an entire year of promotion about this. It's like, oh, we just released John and everybody's talking about how great John's movie is. I'll just know in like 60 days, Paul's movie is coming out and everybody can get built up for that. And then you get some buzz around that. And it's like you get to stretch it out for a good part of a year here.

[00:38:17] Uh, you get a couple of weeks, three weeks of promotion around it, you know, when they're released and kind of a window of time, assuming they do well and they stay in the theaters for a long time. Yeah. I don't know. It, it, it, from the get go, when it was announced for films using the same actors told from different perspective, you're like, wow, that's pretty ambitious. And then now they're kind of doubling down, tripling down on really making ambitious because you look at it. Okay.

[00:38:44] You talked about it from the theater owner perspective and like programmer perspective. And then from a theater goer, somebody who wants to see the movies get like, it's one thing to do Barbenheimer where you're like, okay, two, two hour movies. That's like, you know, the majority of a day for movies like that. You just, well, and there's a little difference. The whole Barbenheimer, like it was taking two movies that you did not have to see together. Right. You were just kind of encouraged to have fun with it.

[00:39:12] And it was a nice counter programming because one's a comedy, one's like, you know, very serious drama. But like, you know, again, you're kind of counting on people watching all four in this situation. It's like, I just don't think many people are going to say, I only want to see George. That's the only movie I want to see. Right. I don't care to see the others. So I'm just going to go see George and then I'm walking away from the theater and I will not be going back to the theater until some other movie down the road I want to see. I just, I don't see it. This is a movie.

[00:39:42] This is a series where people who are going to watch one. I guarantee you vast, vast majority of them will want to see all four. So now you're basically forcing them in to go to the theater four times in a possibly two to three week period of time. That's assuming that the movies do really well and they're staying at the theaters for more than just a couple of weeks. Which there again makes you wonder, are they concerned that if they did the staggered release,

[00:40:12] they're not sure like it's the whole fight. Well, which one is the strongest and what if it drops off? Then we have these other things that will sit on the shelf and everything. So it's like, I don't know. It's kind of a double-edged sword. Well, I know even with me in a theater situation, like when the studios, when we agree to book a film that a studio is wanting to release, it's like we kind of have an understanding of how long we're going to at least keep the films there. And then if we want to keep it beyond that, that's kind of a based on how it's doing. And if our crowd wants to see it, continue to see that film.

[00:40:42] So yeah, are we going to have to commit to all four and be like, well, we're going to show all four films for like the next three weeks, no matter what. Right. And, you know, what if, yeah. What if George, nobody comes out to see George? I'm still stuck with programming George for another week or two while we've got, because we got the other three we got to do. It's like, ah, that's just, it's just a weird, weird setup. And maybe, you know, 2028 will get here and we'll say like, man, that was such a smart decision. So genius.

[00:41:12] So well, you brought up, you brought up a point. I'm sorry. You brought up a point in yesterday's recording that no one will ever hear. I thought that was, I want to bring back up to remind you of. You brought up the idea of maybe, maybe the films are being structured or, or made in a way that it's basically the same movie just from four different perspectives. It's a slightly different, slightly different version. So in other words, you're not maybe as obligated to feel like you've got to see all four.

[00:41:39] Only the obsessives, the big fans would want to see all four. If that is the case, if that is the way they're making these films, okay, that, that allays my fears about a single day release a little bit. But now the problem becomes, man, you better make sure you help consumers understand that. Because if I'm somebody who goes and buys four tickets to watch these over a weekend, and I'm basically watching the same movie just with some altered scenes and different perspectives, I think I'd be pretty ticked. So we got to make sure that's clear.

[00:42:08] But anyway, huh? Yeah, I'm just, I'm confused. But, um, you know, I, I am not a huge fan of dump releases of anything. Well, and I, I get it. I get it from the streaming perspective. I get how they could make more money, but like, kind of like it's the Netflix model, just dumping stuff. But even they started spreading stuff out at some point. Yeah. Because again, they, they realized that you get a bomb one week of heavy buzz when something

[00:42:35] is dumped the whole season at one time versus doing the HBO or Apple TV model of a different episode coming out every week. You're building enthusiasm for like an entire whole half a year. Right. Um, think about the, um, I'm kind of going into the TV mode a little bit, but you know, I compare the latest season of stranger things on Netflix, which was a, all at once release. They did break it into two parts.

[00:43:02] They kind of learned a little bit that maybe they need to stagger it out. But I guarantee you once that second part of that final season hit, yeah, there was buzz online for a few days and then I didn't see anything because it's like, yeah, everybody who wanted to see it, they watched it that weekend. And they're done. There's no more buzz about it. But you take a TV show like the pit or, um, well, some other, any other show that's got the weekly release schedule and it was getting buzz talked about it all throughout the year

[00:43:32] because it's like, yeah, everybody's talking about one episode a week and all. So that's the way I feel about that. I think, yeah, there's a lot of consumers who say, I want to see binge it all at one time. Okay, great. You can still do that when all the episodes have come out, then you can just binge the whole thing. I think from a awareness and publicity standpoint, the staggered release just always makes the most sense. So that's the thing.

[00:43:58] They're trading out what could be months of Beatle propaganda and publicity and all this stuff for what could be a couple, maybe a couple weekends. I don't know. That's, that's how I'm seeing it. And that's, that's what worries me with it. So, all right. We'll see. Soup box slid out of the way. I have stepped down. We're ready to get back to our normal programming. So we talked about this more this time around than I did yesterday's recording.

[00:44:26] So I'm probably more emotional about it this time too. You've had more time for it to see more time to like, just kind of subtle with it. Got you. Anyway, Chris. All right. Let's move on to our normal programming, which is trailers. We like to talk about trailers. We like to watch trailers. We don't like to be spoiled by trailers. We don't like to be given too much information in trailers, but we like to get little taste of what the films may be like, and we can evaluate whether something we're interested in watching or not. I've got two for us, Chris.

[00:44:57] The first one, they're both from, they're both smaller films, although they have some big name stars in them. The first one we're going to take a look at is a film called Josephine. This is one that won some awards at Sundance just recently. It is going to be coming out this November. It stars Channing Tatum and Gemma Chan. And a new young actor named Mason Reeves.

[00:45:22] And I'll just say that the film is from filmmaker Beth Dargio. She did a film called Soft and Quiet that I'm not familiar with. I don't believe you are either. I am not. But this being her second film, according to IndieWire, when they wrote up about this film, they said that she remains compelled to tell unnerving stories that are ripped from real life events. In the case of Josephine, the film we're going to watch the trailer for, that also means real

[00:45:49] life events that actually happened to the filmmaker when she was a child. So we're seeing a true real life depiction of a story from the filmmaker's perspective. Gotcha. So with that, the film synopsis, it follows the psychological fallout after eight-year-old Josephine witnesses a crime in Golden Gate Park as she acts out her parents, played by Channing Tatum and Gemma Chan, or Gemma Chan, sorry, struggle with helping their daughter cope while facing

[00:46:17] their own fears around the topic and how to address it with their child. All right. So with that, let's watch the trailer for Josephine. Dad. Dad. Ready? Hospital suspect detained.

[00:46:44] Joe, look at me. She's looking. Bring him out. Josephine, can you tell me what you saw?

[00:47:18] Joe, look me in the eye. I swear to me that you're telling the truth. You can look just at me. The day you saw was so bad. Why did you just watch from behind a tree?

[00:47:57] So that was the teaser trailer for Josephine coming out this November. Chris, any initial quick thoughts on this? All right. Channing Tatum, you know, his last role where he was playing like a slightly true to life character, the roof man movie. I enjoyed it, but much more of a comedy and it was drama, but a comedy. This, you know, playing something based on true life events looks very, very, very, heavy. Yeah, it does look very heavy. Something very different for him.

[00:48:28] Right. Yeah. Probably pretty much a one timer for me. It does look tough. Yeah. It looks very tough. I mean, children in peril, children in difficult situations is always kind of tough to watch anyway. Anyway, I do think the film looks really good. I mean, just some of the shots we see here. Yeah. And I think even the editing of the trailer that we've talked about was really, really strong as well. Built up a real foreboding sense for us.

[00:48:56] So I'm interested to see it, but I also am cautious because it does look a heavy, a heavy, heavy subject matter. The trailer calls out that the child actor who's playing Josephine is a real, real standout. Yeah. Which probably will make it that much of a tougher watch because they're going to focus a lot on her. So it's not just like, here's a situation. It's like, no, we see a lot of things through her eyes and her expressions and, oh yeah,

[00:49:25] it looks, it does look good, but it looks like it's going to be a tough watch. So that, as I said, is coming out in November. It again is getting a lot of heavy acclaim already in the Sundance world. And I'm sure it's going to be playing at other, other high profile festivals in the coming months as well. It is being released by, oh, who was it? I had a tip of my tongue.

[00:49:54] I thought it was neon, maybe. Maybe putting that out. I don't recall offhand. Anyway, that doesn't really matter to the consumers. I mean, you don't really care what studio is putting it out. It's just, yeah, the film's coming out. It is November coming out, November 20th. So gotcha. All right, Chris, let's take a look at our second one. This is also reported on by Indie wire, just like the first story was.

[00:50:20] This is a teaser trailer for a film called Paper Tiger. And it is directed by James Gray. James Gray, we have talked about several of his films over the years in the past. Two Lovers, I know with Joaquin Phoenix and Gwyneth Paltrow from many years ago. Ad Astro was one, a sci-fi film with Brad Pitt that James Gray did. We also had The Lost City of Z. Yes. I think was one he did. The Immigrant.

[00:50:49] The Immigrant. That's right. Also a film he did. So I've been kind of mixed on his films. I mean, I like some, have some issues with others. But at least it sounds like he's, he's, he's a filmmaker that likes to try different genres and try to play with different formats of film. So with this, with Paper Teaser, a Paper Tiger, we have Adam Driver, Miles Teller, and Scarlett Johansson

[00:51:16] starring in what IndieWire is titling a gutting Greek tragedy that also shimmers with some of the most precisely calibrated sequences of violence in an American movie since No Country for Old Men. So with that, uh, yeah, this is James Gray's ninth feature film. Okay. Returns him to his New York roots, uh, the boroughs of Queens in Brooklyn in the 1980s. So with that, let's take a look at the teaser for Paper Tiger.

[00:51:49] It's your brother. We had a problem and it's led to some things. We'll settle this whole thing. It's New York. Everyone's on the take all the time. They're not going to touch me. What about me? They can touch me.

[00:52:19] It's Russians. We've seen him say things like, we'll go after your whole family. What about us? If your brother can't protect us. I can protect us. So that was the teaser trailer for Paper Tiger from director James Gray.

[00:52:49] Chris, any initial thoughts? You'd mentioned how Gray has kind of, you know, it's his ninth film. He's kind of investigated different genres, usually with a family, you know, relationship bent to them. But you have like Lost Sea of Z was like adventures in jungles. You have Ad Astra, which is like adventures in space. This one looks like he's decided maybe, hey, I'm going to make a mob Scorsese picture. Not that that's, I mean, I get it.

[00:53:16] And it looks like from what I can tell from the trailer, it's going to be, as promised, pretty intense. It's always interested to see Adam Driver in anything. Him playing this role will be, yeah, it'll be interesting to see. And the performances from what you can tell from the trailer look interesting, look strong. I'll be, I'm curious to see if it can, because we've seen so many mob movies.

[00:53:45] This one is unique because it's like brothers and so they have a great tragedy with, you know, like the wife caught in the middle and stuff. So I don't know, it'll be interesting to see, is it just going to be, yeah, it's okay. Or is it somehow going to be elevated because of the themes of family or something? The brother relationships. I think that's the thing with James Gray's movies. Like I can say is that I admire the films as a whole, but there's nothing, there hasn't

[00:54:12] been any, anything for me, the films that's really stood out to me or been memorable or something that really just kind of makes the film elevated to something that kind of resonates with me. You know, I look back and I think about the films I've seen of his, I'm like, I mean, they're, they're, they're fine. They're good. There's, there's, there's, they're good movies. It's just, I can't say, oh my gosh, yes, this film captured this perfectly or did this on a, so such a high level.

[00:54:41] It just, there was nothing, there's nothing brag worthy coming out of his films for me that I felt I can feel. So I kind of need a standout James Gray film to kind of like be elevated. And this might be it. Maybe. I mean, Hey, we always have hope. We want films to be successful. Sure. Absolutely. Always do. So yeah, it looks like he's dipping into the Scorsese playbook a little bit and trying to make his crime, crime mafia like type movie.

[00:55:10] And again, setting in the eighties, that's always a fun time to play with as well. So yeah, you can almost hear the sound or guess some of the songs that might be in the soundtrack. That's true. Yeah. You can play a game. It's like, all right, what songs are going to be playing in the background? Are there going to be any Rolling Stone songs? Oh man, if he does a Rolling Stone song, it's like, yeah, he's basically doing Scorsese. It's almost like obligatory. Now, if you play give me shelter or you play sympathy with the devil or anything, it's like, nah, you're, yeah, you're doing Scorsese. Sure. Yeah.

[00:55:40] No one can use Rolling Stone songs other than Scorsese and it not be like bitingly obvious. I think that's like an amendment on our constitution. Might be. I think it is. Yeah. Fair enough. All right. Our trailer tapas and we got two, two coming out in November that, you know, could be interesting. Could be both of them coming out right in the prime time for awards recognition.

[00:56:05] So yes, that mid November to mid December timeframe is kind of like, yep, that is what we're trying to gun for there. So that is what we're trying to do. All right, Chris, we have moved on to the final section of our show, which is the recommendation period. This is when Chris gives a recommendation of a film he thinks is worth checking out that he either recently caught it back up with, or just happened to be entering his brain with a pleasant memory that he wants to share with others.

[00:56:32] Chris, I know what your, I know what your recommendation is, but I'm still going to go ahead and let you just kind of surprise me and tell us what are you recommending for us this week? So the premise of end of Oak street where like, you know, wormholes somehow travel this neighborhood back in time to dinosaurs. Um, got me thinking of other high concept science fiction films that you have to buy into the premise and enjoy it. Um, this one from another started out as independent filmmaker. Now he's made, he's made a star Wars movie.

[00:57:02] Um, he's made three knives out movies. The filmmaker I'm talking about is Ryan Johnson. This is his 2012 film looper. I'll read you the description in the year 2044. Time travel has not been invented, but in 30 years, it will have been when the mob wants to get rid of someone. They will send their target into the past where a looper, a hired gun, like Joe is waiting to mop up. Joe is getting rich and life is getting good until the day the mob decides to close the

[00:57:28] loop, sending back Joe's future self for assassination. So the actors in this are Joseph Gordon-Levitt and Bruce Willis. He, Bruce Willis plays the older, obviously version of Joe, Joseph Gordon-Levitt plays the younger, uh, Emily Blunt is also in this, which I'd forgotten. And, uh, Paul, Paul Dano, which had also forgotten he was in this. Um, I'd only seen it once back in 2012 when it came out in the theater, loved it, but then hadn't revisited and saw it was on a Apple TV.

[00:57:58] And it's also on to be, which is a free service. Um, and caught up with it again. I was like, wow. Yeah, I remember. I like this. Um, one of the things that did was unique at the time. And now I guess it's done a lot. They altered the facial features of Joseph Gordon-Levitt so that he would look like a young Bruce Willis. Really? That was one things that I really liked the movie, but I was like, yeah, that I think I would have just left his face alone, but it was an interesting choice to do this time going in.

[00:58:27] I knew they had done that or like, you know, I experienced the film still kind of irked me, but not as bothersome. Um, and maybe it's just because this was 2012. Obviously stuff has come a long way since then, but, um, yeah, I still really liked the film. There's more than just time travel. It's a lot more about repercussions of decisions you make and, um, yeah, trying to be a good person.

[00:58:51] Um, so there's, there's some things there and it was really fun to see all these people a lot younger, like Emily Blunt seeing her like back in 2012. I was like, wow, you know, and she, she's, she's great. So that is Looper. I remember as much as I love Rian Johnson's films and I've even grown to love over time, the, the Knives Out series. And I feel like they've gotten better each one. Sure. Personally.

[00:59:18] Um, I do remember Looper was one I walked away from a bit disappointed when I saw it. I've only seen it the once. Okay. It came out in the theater. Sure. And, uh, but it's also one of the ones I've got high on my list to rewatch at some point because I feel like, I feel like it, it should have worked better for me and maybe it was me. Maybe I was missing something. Maybe I wasn't watching it with the right frame of mind, but the concept, the performers, everything, it should work. So I need to see it again.

[00:59:45] I will say just like with any doctor who episode, when you're talking about jumping back and forth in time and then you can't, I mean, you can, if you focus too much on the specifics, it probably doesn't hold up. Okay. Um, which, you know, I think you have to, unfortunately you kind of have to let that go and just have fun with it because I think if you dissected it too much, it wouldn't hold together. Um, it does hold together enough for me. It's really good.

[01:00:11] Um, and I think what it's trying to say is maybe more important than the science. So that might've held you back or the face, the face stuff may have held you back. I think that did maybe affect me a little bit. Right. Cause there are other people in the film. Like you see Paul Dano's older looper and like they didn't bother doing it. So you're like, well, what, what made you decide? And it's just, I don't know if they did for whatever reason, maybe because they felt like Joseph Gordon-Levitt was so different.

[01:00:38] Well, but was somebody else playing the older adult Paul Dano, for example, or was Paul Dano playing the older version of himself just with like beard and stuff? I think somebody completely did. That's a good question. I think it was somebody completely different. Um, but I'm, but I'm not sure. Totally forgot to mention, um, somebody else who's fun in this film doesn't, he's a minor role, but, um, Jeff Daniels is in this and he plays, he plays kind of, uh, Joe

[01:01:05] supervisor back in the year and just a very unusual role for, uh, Jeff Daniels. And he's, he's great. So just a lot of, a lot of people in this film, uh, more so than I remember, like a lot of big names. So, all right. That has elevated on my rewatch list. I have a watch list and I have a rewatch list and they're independent of each other and they both compete for attention. And neither of them get touched like on a regular basis. Like they grow and grow and grow and never diminish in size.

[01:01:35] Well, I remember, um, we, you know, we've reviewed all the knives out films and trepidation going into the most recent one. Wake up dead man was like, Ryan Johnson, I love you, but I wish you'd spend a lot of your talent on original works rather than like, you know, grand it's original, but it's like making a series. But then after that third night, I was like, Nope, if you want to just make these for the rest of your time. I don't, but now after revisiting Looper, I'm kind of torn because I'm like, well, your

[01:02:03] original stuff that standalone is also really good. So I think you should go to a tick tock schedule of like, all right, do a knives out murder mystery film, then do something else original, then come back and do another knives out film. It's like, go back and forth. Like just give us ping ponging. I think that's the way to do it. So I think that's what you do. All right. So with that, we're going to go ahead and wrap up our show. Thanks for the recommendation, Chris. If anybody had any comments, questions, or things to get back to us on, what should they do?

[01:02:32] If you'd like to contact us, you can send an email to info at footcandle.org or leave us a voicemail at the mesh.tv website where you can also check out past footcandle film episodes as well as other podcasts on various subjects from barbecue to comedy to mental health. We're also on Facebook at footcandlefilmsociety and other social platforms as just footcandlefilm. If you'd like to help us out, which we'd appreciate it, consider giving us a review on whatever platform you receive your favorite podcasts on because it'll help us reach new listeners.

[01:03:01] We'd appreciate it. Last but not least, the 2026 footcandlefilmfestival is happening September 18th through the 27th. You can get more information about that at footcandlefilmfestival.com and come join us. All right. That is going to wrap us up for today. Thanks, everybody, for listening. We appreciate it, and we will look forward to talking to you next time we get together here on Footcandle Films. See you in the ticket line.

[01:04:03] Special thanks to Carpal Tuller for the show theme music. For more about Carpal Tuller, visit www.carpaltuller.com. You've been listening to The Mesh, an online media network of shows and programs ranging from business to arts, sports to entertainment, music to community. All programs are available on the website as well as through iTunes and YouTube.

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