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SMC Pod #210: Frederick Wiseman-Master Documentarian · Secret Movie Club Podcast

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Hello, Secret Movie Clubbers. Welcome to Secret Movie Club Podcast 210,
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Frederick Weissman Master Documentary.
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I'm the founder programmer of Secret Movie Club. It is wonderful to have you here as always.
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As some of you listening know, Secret Movie Club podcast 210 was supposed to be movies and AI.
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But between when I announced that and the recording of this,
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documentary filmmaker Frederick Weissman died at 95.
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I read a comment that I thought was spot on. Someone wrote, I thought he would never die.
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I thought he'd be with us forever. Because Frederick Weissman made documentaries
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from 1967 to his last doc came out in 2023, just a few years ago.
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So he was making docs for almost 60 years.
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And he didn't even start making documentaries until he was in his 30s.
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His movies have had a profound impact on me, and I would absolutely consider
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him one of the top filmmakers who's had a personal effect on me,
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who I shorthand as if I need to get into a certain vibe or feel that resonates
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with me, I watch his movies.
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And other people on that short list, I've said them many times,
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but would be Akira Kurosawa, Jean Renoir, John Ford, Rainer Werner Fassbender, F.W.
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Murnau, Louis Bunuel, Federico Fellini, Igmar Bergman, Alfred Hitchcock, just to name a few.
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If you've never seen the movies of Frederick Weissman, I wanted to do this pod
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today because I think these movies will change your life and we are going to
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get into them in a moment.
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I am still working on the programming, but I will tell you that I believe,
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knock wood, that we have our program basically from March through July already, more or less.
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Now, I don't know that we're going to announce it all at once,
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but my goal here is to start announcing ASAP and basically never stop ever again.
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Please stay tuned for that. I will make announcements when I can.
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Secret Movie Club Podcast 211 will be Movies and AI.
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So we are going to take a break next week. We do three podcasts and then we
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take one week off, kind of like the Saturday Night Live schedule.
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I found it works for me. So we are going to keep doing that.
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We will be back March 6th with Secret Movie Club podcast 211,
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and that'll be the podcast on movies and AI.
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It also gives me a week or two to research a little more, think a little more on it.
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Stay tuned for that. As always, go to secretmovieclub.com. Our socials are at secretmovieclub.
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We have our biggest presence probably on Instagram and Facebook, but
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We have a YouTube. We have a TikTok. You can get on our newsletter by going
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to secretmovieclub.com, waiting a few moments, and entering in your email.
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And then we will be emailing you. I am hoping to resume that newsletter.
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We've been quiet for a month.
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I'm hoping to resume that in the next week or two.
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So stay tuned for that. And you
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can always email us at community at secretmovieclub.com. Okay, here we go.
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So frederick weissman is an incredible documentarian who has made dozens and
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dozens of documentaries his his genre what he's known for are his documentaries
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he did actually direct two features.
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Fascinatingly at the end of his career, not at the beginning,
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both in the 2020s, right before he passed away this year in 2020 and I think 2022.
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I haven't seen either of them. I've only seen the docs.
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First off, in case I say something so offensive that you hit off,
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you'd be like, F this podcast. I'm never listening to it again.
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Let me start by saying you can see most of Weissman's work on Canopy.
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If you don't know about Canopy, it's basically your library's streamer. So get a library card.
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I'm here in Los Angeles, so I have my Los Angeles public library card.
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You can go to any Los Angeles public library and get it today.
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And then go to Canopy. I think it's canopy.com or canopy.org.
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You use your library card. And at least the way it works for me is I get around
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12 to 14 rentals a month for free, and I need to watch them within 72 hours.
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So you have to really pick and choose, but they have an incredible,
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at least our canopy here in LA has incredible breadth of work that you can see
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from feature films to docs,
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to TV shows, to great stuff.
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And Frederick Weissman has like 30 movies up there. So go to it.
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And watch him there. So there you go. That's really the most important thing
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I can tell you from the start.
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Weissman is a fascinating character. He is Jewish, born in Massachusetts.
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He actually started as a lawyer and a law professor.
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He went to law school and he never really liked law. I did a little research ahead of this pod,
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and I heard him say that he spent most of law school,
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he actually found a hack for the tests that if he showed that he was really
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thinking about the alternatives and could find counter arguments that wouldn't
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be as obvious and just showed he was inverting whatever the legal issue was,
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he would get good grades on the final.
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So he actually spent most of his time going to a local library and just reading
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about great works of art and watching great movies.
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And this led him. Ultimately, he was a law professor and he didn't he didn't
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like being a law professor, but he was paying the bills.
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But he had taken his students to a.
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Prison for people who were deemed criminally insane.
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And he wanted them, he felt that it made them better advocates if they saw where
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their defend, if they were defense attorneys,
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where those clients would go if they didn't do the job right,
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because he felt that it would be very sobering to see what it was like to be
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in one of these institutions.
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Well, basically, he knew the administrators at the institution so well that
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he asked them if he can make a movie and they okayed it.
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And this movie became Titty Cut Follies.
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Now, I'm really alighting over his biography, but he also spent a few years in Paris in the 50s.
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And he said it was like the perfect time to be in Paris because he was with his wife.
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And he said you could just see every single kind of movie you wanted to see in Paris.
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He was basically going to movies with Francois Truffaut and Jean-Luc Godard in the French New Wave.
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And I think, weirdly, you can see that film-lover, cinephile background,
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movie culture background in his work.
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I don't think a stretch to pair him or equate him a bit with the French New
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Wave and some of those things that were happening at that time. Yeah.
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Nevertheless, he got the permission and he shot this movie and edited it and
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it became Titty Cut Follies.
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Now, Titty Cut Follies, I'm trying to think, it's a jump ball for me between
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Titty Cut Follies and Welfare as my two favorite Weissmans.
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And again, bear in mind, I've only seen seven. There are like 40 plus.
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Titty Cut Follies is unlike anything you've ever seen.
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What's really interesting about that movie was it came out in 1967,
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but almost immediately was pulled.
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When the state of Massachusetts saw what Weissman had cut, it's ultimately a
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very scathing film, and we'll get into why, about that institution.
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It was a source, I think, of tremendous embarrassment. So they basically used,
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ironically, since Weissman was a lawyer,
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they used defensible legal arguments about why actually the movie couldn't be
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shown, that there was invasion of privacy, that Weissman had never gotten, you know, the releases.
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Now Weissman ultimately was able to
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argue against that there was those statutes and
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things didn't exist when he made the movie and because
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the movie was about a public institution a taxpayer funded public institution
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there were certain protections on the part of the filmmaker that he was able
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to present in court but that argument took 25 years Titty Cut Follies was not
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re-released to the public until 1991 or 92 and I think.
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The irony for me is that's when I saw it. Weissman's movies played on PBS and I turned on this movie.
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It was on, you know, I wish I could remember this memory a little better than
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I can, but I just know that I came into Titty Cut Follies maybe 10 minutes into the movie.
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There's what he does is one of the structuring things.
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The administrators and wardens of the prison put on a like talent show every year.
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And it's called Titty Cut Follies
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because Titty Cut was the name the indigenous folks of that area gave.
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But they put on this show, this talent show called Titty Cut Follies,
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and he intercut that show, which is very sort of silly and amateurish and light
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and people dancing and singing.
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Horrific day-to-day things that are going on at
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the institution at the prison and i immediately like
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stopped on this and saw this
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editing and i was a teenager at the time and i
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was i was hooked i was like what something's going on here this is this is really
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unsettling but brilliant you knew it was brilliant right away and so titty cut
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established a weissman style that he essentially kept his whole life that never gets old.
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There's like endless variation within it. I find that there are certain filmmakers
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who get a little wrapped up in their own style a little too much for me until
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it becomes hermetic or they're just repeating themselves.
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And that's, you know, it's hard to constantly be challenging yourself and pushing
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your boundaries and succeeding.
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Somehow Weissman was one of the rare few, which is why I equate him.
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I really do put him up there with the greats
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you can watch his movies and uh
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they're never they're just always amazing and
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his style was very different from most
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documentaries you've seen there is no voiceover there are no talking heads there's
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no uh jazzy or sexy animation or fun animation or title cards or What he does is Weissman will go.
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This is his process. I did a little research on this.
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He doesn't like to actually spend too much time. He decides what he wants to do.
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He might spend a day at the location just so that he knows where he's going to go.
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But he doesn't want to miss out on filming something brilliant.
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He just wants to be filming. So he's.
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After that day, he shows up with a very small crew.
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He was often the boom operator, interestingly, at least at the beginning,
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not the camera operator.
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And he shoots for six to 12 weeks, so about a month and a half to three months.
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And then really, for him, it's in the editing.
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He often has up to 150 hours. and I was fascinated to find that he has a system
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that I use that must just be a system that comes to people naturally.
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I mean, it makes sense to me now that I think about it. He calls it a three-star Michelin system.
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I was weirded out when I heard him say that because I use a three-star system
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too, and I think I use it in the same way he does, which is why I think it must
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become a thing if you're going through tons of footage that becomes intuitive.
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But he'll watch all the footage, log all the footage, which you have to do for
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anything, but especially for docs.
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And then he'll give the footage a one, two or three star rating,
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depending on how gripping he thinks it is.
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And then he'll start cutting the individual scenes because he often will have
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a scene where they filmed it for an hour, but he knows it's got to,
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you know, cut down to six minutes or five minutes at most.
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And then he'll try to find a way of connecting them. And then he'll try to find
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an overall story or structure in what he does.
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Now, Weissman says that he doesn't come to a thing with a preconceived notion. And I believe him.
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I take him at his word because the final works feel like that.
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And that he tries to let his experience of the shooting and then what the material
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and the editing tells him determine what the point of view is going to be and
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what the story is going to be. I also believe that.
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But it's also true that Weissman, like many great filmmakers. He has a point of view.
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I think you'd have to call it wry and humanist.
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Bit satirical and ironic, a bit biting, biting in the way that Fassbender,
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Rainer Werner Fassbender is biting and also humanist.
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And you have to imagine his politics are roughly center left.
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It's not as if you see different docs and the politics are totally different in each one.
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I don't really get that vibe. But I do also feel like he is a documentarian
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and I think he's open to feeling he's wrong about something.
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And he's, you know, I have no idea if he's religious, to give you an example.
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I don't think he is. I think he's probably secular and Jewish,
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which often you find with Jewish filmmakers in America, not always, but often.
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And there is a secular Jewish feeling. And I say this as somebody who half my
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family is secular and Jewish,
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that's just fascinated with systems and institutions and how things work and
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has an inside-out feel, but in a movie like Essene, which is about Benedictine monks in Michigan.
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All respect is given to their spiritual beliefs and their spiritual journey.
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And the movie even ends on a very profoundly, I think you can,
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I think what's great about it is it ends on a sermon that one of the Benedictine
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monks gives during a mass or service, but it's just as meaningful if you're
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secular as if you're spiritual,
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which is probably why Weissman chose it, sort of on the importance of listening.
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But what I'm trying to say is that I know that that material could have been edited.
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You can even see it within the material he used in Essene. He could have made
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a very anti-religion, oh, this is a cult, this is weird.
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Some of the material is a little culty and weird.
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But instead, he gives full humanity, full respect to his subjects.
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And at the end, whether or not you're a spiritual person, you definitely feel
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as if the people involved were not made fun of.
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Although I will say that sometimes they're looked at a little ironically,
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but Weissman toes that line pretty amazingly.
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So coming back to end with his process.
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So, you know, he edits and edits and edits and edits and edits.
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And then he said the last part, which he really enjoys, which I don't do,
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but maybe I should start doing.
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You can find this article on editing by Frederick Weissman.
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That's great. It's only like three pages, but he says, then,
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once he thinks he's done, he goes through every decision he made and asks himself
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why he made that decision.
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And he finds that really fun in the process.
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That kind of thorough approach, you feel in the movies, because I've never felt,
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why is this here, or that's indulgent, or that, I mean, I feel the rigor.
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I feel the rigor of that process in the best possible way in Weissman movies.
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The along with that structure I talked about, which which grabbed me as a teenager,
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I mean, it's a bracing structure.
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There are scenes in there where he captures things that you've never seen that
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make you go, oh, oh, all right, that's that that that's real mental illness.
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There's a very famous scene of a guy who is probably a racist and probably I
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think he's delusional and he thinks he's a saint or something.
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And he is preaching to other inmates in the jail during their free time.
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And he preaches. And then at a certain point, it just becomes gibberish.
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He's like, and the Lord said to me, gotta, gotta, gotta, gotta,
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gotta, gotta, gotta, gotta, gotta.
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And then he just does that. And Weissman films him for a few minutes and he
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says some crazy racist things.
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And so you see his mental illness and how it expresses itself.
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And you see things you just don't see in performance often.
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The nonsense word thing is amazing.
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One of the sequences in the movie one of the other things
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that weissman often does in the best of his
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work is there he he captures
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something that becomes the sequence the the standout sequence in the movie now
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the whole movie is great but there's one that people will often always talk
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about and i find that interesting because that's like uh movies you know even
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the best movies will even the seven samurai people will talk about the final
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battle in the rain kind of thing and.
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Wiseman often has a final battle in the rain kind of sequence,
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no matter what the topic is.
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And in Titty Cut Follies, he returns to intercutting at the end.
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But this time he shows the war. And this is a bit disturbing and unsettling.
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So just fair warning for everyone who's listening. He shows an inmate who refuses to eat and they,
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for some reason, the warden and some of the other employees decide to force
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feed this guy and they stick a tube down his mouth into his stomach and just
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pour paste into a funnel.
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And then he intercuts it with this guy dead. The guy died from it.
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And, you know, they intercut the final autopsy, I think, and sort of like dealing
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with the body with them force-feeding him.
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And, you know, what I think you get is that people who aren't documentary editors,
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or just think a lot about movies, you might say, yeah, come and film us,
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you know, that we're honored, we want to show what we do.
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But if you're not aware of how
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material can be cut, like that kind of cross-cutting to make a comment.
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You know, it's at your risk, at your peril.
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So it's really a movie that inspired a lot of rethink about that and reform.
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And it's an incredible film.
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There's not an ounce of maudlin-ness or sentimentality. That's something I love.
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In Hospital, there is a hilarious and heartbreaking sequence of somebody who
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comes in. he's just like drug experience high, high off his gourd and he's freaking
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out in a room and then he projectile vomits.
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And it's like one uninterrupted sequence.
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Weissman's obviously editing to condense however long he was with this guy and
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that this guy allowed him to put this in the movie is incredible,
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but it is, it is like nothing you'll ever see in a movie and narrative feature.
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I mean, now, obviously they have their own pleasures, but you know,
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you're what, you know, immediately you're like, this happens all the time in a hospital.
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Someone comes in freaking out from some bad drug experience.
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And this poor guy, I think it's acid. He just like starts projectile bombing.
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You have to see it. It's crazy. Now, if you don't like that kind of thing,
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or you don't have a stomach for that kind of thing, I get it.
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But if you're somebody who just, when you see cinema, you're like,
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whoa, I cannot recommend it enough.
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As seen, I've already talked about a little bit.
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One of the things that's interesting, though, about the way that,
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uh, Weissman structures films is he's a lot like Lubitsch Ernst Lubitsch and that Lubitsch would.
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Give you one plus one, but he wanted you to add that up to two when he was making
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his comedies and his feature films.
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And Weissman is the same. You, you do need to lock in and pay attention because
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it's really in how he cuts the material that the material comments and relates
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on each other. And he talked about this as well.
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So in Essene, there's an early scene where this older monk, Benedictine monk,
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talks about how he doesn't like the younger monks calling him by name or being
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friendly with him and him just saying that he's only in his life had four or
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five people who call him in a familiar way by his name.
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And those were his childhood chums and that he really prefers respect in his
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last name and with everybody else.
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And then a few scenes later, it cuts to this same monk who talks about not liking
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to be called by his first name, going in regular clothes to a hardware store
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and looking for a potato peeler.
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And he talks to the salesman there, who he knows, and they're just calling each
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other by their first name.
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So you see, and it's not, you know, it's some indictment of the monk that he's
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not aware of this inconsistency or double standard, But that is very much part of what Weissman does,
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which is he does point out, and this is just life.
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This is all of us. We're all these sort of condensations of inconsistencies
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that somehow add up to an identity, that add up to a uniqueness.
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Weissman points these things out. But the great thing about him not narrating
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or hammering at home or, you know, just letting you add up one plus one is you make that.
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Connection and then you decide what what that means
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and you get thinking about it welfare along with
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titty-cut follies is probably those are my two favorites welfare is a much longer
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movie i think it's about two and a half hours weissman made a few movies that
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were three four hours near death the one about people dying in the hospital
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is i think five hours six hours so.
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Welfare is like a two and a half hour three hour movie and it's almost entirely
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people going to a welfare office in New York.
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And it's a very, it's a huge welfare office. It's, you know,
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I feel if I'm remembering it right, you get the feeling like there are at any
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given time, 50 people minimum to 100 people waiting, and then 10 to 20 people
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behind the desk servicing them.
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And this is a movie in 1974, or it was released in 1974, that really captures
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New York during its rough patch.
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You know, this was roughly the same time that Scorsese made Taxi Driver and
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Mean Streets and when, you know, or Serpico, Lumet Serpico.
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When you see these movies in New York in the early to mid 70s network,
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you know, you can see the cities struggling.
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And the 70s, too, you got Watergate and Nixon and inflation and yada, yada. So what is...
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Fascinating about welfare to me is you see this system, you see this institution,
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you see when it works, you see when it doesn't work, you see that it's people,
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which is really important.
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It's not this nameless, faceless bureaucracy, as you might think.
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It might be inefficient. It might be wildly eclectic.
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It might be wild in its moments that it's successful and helpful in moments that it's not.
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But you see the people coming into the office, you see the people administering
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the welfare, and it becomes this beautiful portrait of a slice of America.
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Just the incredible melting pot and diversity of people and personalities in America.
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And what I love about these docs as well, is that somehow people.
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You're seeing how people really are. It's, you know, and now something I haven't
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talked about that I do think about, I thought about a lot with the Benedictine monk doc Essane.
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And, you know, you probably have to think about it with a lot of these docs
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is these people know they're being filmed.
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I mean, there's a camera right there. It's not like now documentary filmmaking in 1974.
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That office had to have been lit. It was shot on film.
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The film cameras might have been easier and smaller, but they weren't phones
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like they are now. And they weren't totally unobtrusive.
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So there is an element where people know that they are being filmed.
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But at a certain point, they forget about the camera.
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And there really is where they get used to the camera. Maybe that's more accurate.
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There really is this incredible truth, beautiful truth and welfare.
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Welfare you just you'd study welfare and you
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can make a feature studying welfare just on maybe how
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to approach character and performance and acting and it's amazing multi-handicapped
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is a movie from the 80s and it's actually part of a series i only saw multi-handicapped
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but there's also deaf and blind but multi-handicapped deals with people who
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are both i think deaf and blind or have multiple issues and.
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Again, about an institution, I think a school that helps the kids, educates kids,
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just very humane, very nonjudgmental in an interesting way,
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maybe a little more forgiving in its approach than titty cut follies or even
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hospital to a certain extent.
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And it may be true now that I'm talking out loud that maybe the institutions
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that Weissman ultimately admires, and you get the feeling like he admires these
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people who've devoted their lives to people with multi-disabilities,
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that even if the footage, who knows, if the footage would have suggested incompetence
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or pettiness or could have been cut another way.
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They're multi-handicapped is just very warm and humane.
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In Jackson Heights was a movie he just made a few years ago and is often cited as one of his best ones.
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And I love it. And it just follows a community in New York City in one of the boroughs.
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And you just see all the different aspects of that community or as many as Weissman
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could film that make up this bustling,
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who knows, four to eight to 12 blocks in just the overall bustling metropolis that is New York.
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The mayor de Blasio of the time makes an appearance, which is really interesting.
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Later in the movie, you see the political, you see people, you come back to
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certain people, he cuts back and forth.
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But you do get a feel, you get a vibe for the community, and it's incredible.
27:39
Everybody has, if you're into documentaries, different people like different kinds of styles.
27:45
You know, certainly there's that incredible, there's American movie,
27:50
which was made about 20 years ago now, one of the great documentaries there.
27:55
It's really character based on the two main characters, the filmmakers,
27:59
the best friends, and they talk to the camera.
28:02
You don't really get in a Weissman film people talking to the camera.
28:07
At the time that Weissman was making movies, when he started,
28:11
he was part of or grouped.
28:13
And he really, and I think it's right, he doesn't really belong in this grouping.
28:16
But there were also the very famous movie makers D.A. Pennebaker and then the Maisels brothers.
28:23
Pennebaker made, like, Bob Dylan's Don't Look Back.
28:26
Pennebaker made the company recording of, or the recording of Stephen Sondheim's
28:31
company, which I love. that talk. And,
28:35
The Maisels are very famous for Salesman, Grey Gardens, Gimme Shelter.
28:42
And people would call Weissman style cinema verite, but it's not.
28:47
And Weissman would say it's not really cinema verite.
28:50
And, you know, the only thing I can determine there is Weissman often talks
28:54
about how he views his movies the same way that a writer writes a novel,
28:59
that he takes this material he's made and he really wants to tell a story.
29:03
And I do think that there is that novelistic aspect to Weissman's work,
29:08
which I love, that when you see like a Maisel's movie, like Grey Gardens or
29:12
Salesman, which are dynamite films,
29:14
they might really be focusing on a group or they might be focusing on characters.
29:19
And it's not really massaging the material, so to speak, to tell a idea-based story.
29:29
It's more, how can we really reveal fully these characters or this lifestyle
29:35
or this event? And and but with Weissman, it's different.
29:40
He's he's both going deeper and broader.
29:44
And so there's something Tolstoy ask about what he does. There's something like
29:50
a Russian novel about what he does.
29:52
And and that is something that I love. And then again, to compare maybe just
29:55
to a few other filmmakers, people like Errol Morris, who made The Thin Blue
29:59
Line, Gates of Heaven, Doctor, I think Doctor Death or Mr. Death, The Fog of War.
30:06
You know, Errol Morris will really go cinema and he'll have people look directly
30:12
in the camera and their interviews.
30:14
And he's interrogating people and trying to get people to things.
30:17
And you don't get that with Weissman as well.
30:21
He's not he's not interviewing people. He just gets people to okay him to come
30:25
and film whatever goes on.
30:31
We'll end this on just saying to you that when I saw Titty Cut Follies as a
30:38
high schooler or a teenager, it was revelatory to me.
30:44
I've had that experience only a few
30:46
times in my life where I came across something no one had told me about.
30:51
And I stopped and I was like, I have to watch this.
30:54
And I don't know if you've had that experience. I think it's even harder to
30:57
have now in streaming because there's at least one point of agency you have
31:02
to have in selecting the thing.
31:04
And it's not the way it was. And I'm not, again, I'm not some,
31:08
I hate, I'm not a nostalgia person. So I'm not saying back in my day.
31:12
Although I guess I am kind of saying back in my day. What I am saying,
31:17
though, is there was a time when you just turn on the TV and whatever was on
31:20
was on and you would just flip through the channels.
31:23
And even when there was cable, you know, if Turner Classic Movies was showing
31:26
San Francisco, then if you wanted to watch Turner Classic Movies,
31:31
you had to watch San Francisco. And that was great. And I love that.
31:34
That actually happened to me in Prague.
31:36
And the same thing happened here. I got on PBS and I saw Titty Cut Follies and
31:42
I just I knew I was watching something amazing.
31:45
That happened to me with Aki Karasmaki's Leningrad Cowboys Go America,
31:49
which I've talked about.
31:50
I just stumbled on it on Bravo. And I was like, what is this?
31:54
This Finnish comedy where the band takes a road trip in America?
31:59
That happened to me with a movie called 20th Century.
32:02
That happened to me with Louis Bunuel's Viridiana, maybe the most essential
32:10
of these kinds of things.
32:11
Again, I think being shown on PBS or Bravo or something, and I came into it,
32:15
thankfully, only about five minutes in, 10 minutes in.
32:19
But something immediately, and it was just Viridiana was at the train station.
32:23
But I was just like, wow, oh, I was in love. I was in love.
32:27
And with Titty Cut Follies, I saw it. And Frederick Weissman is just a master.
32:34
And I really hope you will see his movies.
32:39
All right, Secret Movie Clubbers. Next week we are off, but I will see you or hear you or speak to you.
32:46
Or we will commune. Friday, March 6th, that'll be Secret Movie Club Podcast
32:51
211, which will be movies and AI.
32:55
I really, I want to give it some thought, you know, Lao Tzu says and thought
33:00
it is depth that matters.
33:01
So I just want to talk about all the obvious stuff, all the chicken little stuff
33:05
that people are talking about.
33:06
I'd rather think it through. And, you know, this is going to be something we're
33:10
going to all have to deal with and talk about. It's here.
33:12
So I want to do that. I want to start that. I want to be part of just engaging with it.
33:17
I really don't think the fighting it thing is, I don't see the value in that.
33:22
I think, you know, if you look at the history of cinema, the people who stayed
33:28
making movies, you know, when movies, sound came and people were like,
33:33
no, silent films, those people did not work too much.
33:36
And when color came and people were like, no, black and white, you know?
33:41
And so when people in digital came, no, film, you know, I hate saying that,
33:45
but it just so now that AI is here, it's like, no, AI, you know, it's here.
33:50
So let's figure it out and let's just treat it as a tool and let's try to fold
33:57
it in, make it productive, but keep cinema going. So that's where I'm coming from.
34:03
All right. All right. All right. Have a great week, everybody.
34:07
Thank you. Please watch some Frederick Weissman movies.
34:11
You know, run the race, fight the good fight, keep the faith,
34:16
make movies, find a way to really do it. Don't just phone it in.
34:22
Try it for your own sake, you know, go for it, push yourself forward.
34:27
And I'm going to try to do the same. And I wish you guys all the best.
34:32
I will see you in a few weeks, hopefully with some movie announcements.