The 10 Best Movies at the Telluride and Venice Film Festivals. Plus: Nathan Fielder’s Stunning Elizabeth Holmes Doc.

The Big Picture

Sean Fennessey and Amanda Dobbins dive into their experiences at the Telluride and Venice Film Festivals, highlighting standout films, festi

Key takeaways

• The Telluride Film Festival was defined by a mysterious 'TBA' (to-be-announced) screening that generated intense speculation and excitement among attendees.
• Nathan Fielder's Elizabeth Holmes documentary received widespread acclaim for its unique, unsettling approach to the Theranos story.

Main topics

• Fall film festival highlights
• Secret screening at Telluride

Notable quotes

'It became the talking point in every line at every movie over two and a half days. What is it? What is it? What is it?'

Conclusion

The fall film festivals delivered a mix of high-stakes buzz, intimate

Transcript preview

Speaker 1 (0:15) I'm Sean Fennessey. I'm Speaker 2 (0:17) Amanda Dobbins. Speaker 1 (0:17) And this is The Big Picture, a conversation show about the fall film festivals. On today's show, I am back in LA and ready to report on my annual sojourn to the Telluride Film Festival. Amanda is still in Venice, Italy, and ready to report on the proceedings there. We've seen all the major movies that played, and we'll give you our favorites and not-so-favorites on today's episode. But first, some movie news right after this. This episode is presented by State Farm. You know the feeling. Long day, good meal, you finally sit down, and now you're just staring at your screen. Slasher, rom-com, period drama, psychological thriller. But some decisions don't have to be that hard. State Farm is here to help. Like when you choose to bundle and save with the personal price plan. Bundling, just another way to save with the personal price plan. Like a good neighbor, State Farm is there. Prices are based on rating plans that vary by state. Coverage options are selected by the customer. Availability, amount of discounts and savings, and eligibility vary by state. Speaker 1 (1:13) Okay, Dobbins, what time is it where you are? Speaker 2 (1:15) Ciao, big guy. It's 6pm. Wow. It's Speaker 1 (1:18) cocktail Speaker 2 (1:18) hour. Wow. Good for you. This Negroni was purchased. It was sold pre-mixed in a plastic bag. And then in a little paper envelope. And then I poured it into this glass. It's pretty good. Speaker 1 (1:32) That sounds horrible. But okay, I'm happy for you. I'm happy you've got some social lubrication for this conversation show. Hopefully things will go great. Have you been having a nice time in Italy? Speaker 2 (1:43) Yeah, it's been great. I'm very pro-Italy. This has been a very fun experience of a festival. And this is my third time here. I would say that the crowd control is the best that it's been. The logistics are the best that it's been this weekend. had a fun party atmosphere to it. There were people around. I was seeing people I know. I've run into friends. And, you know, maybe some of that is just that I've been coming long enough that I have festival friends and know the route. But it hasn't rained here, which is great. Last year, Yossi and I had to wade through a lot of light flooding. I almost got stuck on the Lido after J. Kelly. Speaker 1 (2:26) And Speaker 2 (2:27) I've navigated the regatta with no problems. You know about the regatta? Speaker 1 (2:32) I do because I've seen the film The Social Network. Speaker 2 (2:35) Didn't you know about the Venice Regatta? Well, no. Speaker 1 (2:37) I mean, yes. That one's Speaker 2 (2:38) not in Venice. Every year, smack dab in the middle of the Venice Film Festival, they hold a historical regatta and they close the main waterway, Speaker 1 (2:49) the Speaker 2 (2:49) Grand Canal in Venice, which is also like, you know, closing Fifth Avenue in New York or something. Like they close the main street. They also close many of the shuttles to and from the island where all of the films are. But I was not stopped. And I got a shuttle that worked. And I saw the films. And that's what I do. We Speaker 1 (3:09) will talk about those films. Every year when you go to this festival, you come on the pod and you start describing it. And you give me more and more reasons to never go. It's just amazing. There are so many things that make no sense about the Venice Film Festival. We'll get into all that. Before we talk about the rest of our experiences at the festival. One of the things that you were hoping would be at the festival that you're at is the Luca Guadagnino film Artificial, which is the since dispensed with by Amazon portrait of Sam Altman, founder of OpenAI, co-founder, I should say. And we have a new trailer or teaser trailer for the film. This movie has been a subject of much discussion, I think, in the world of... movie nerds, but I'm not totally sure if this film has quite reached the public at large. And so we got the first look at it now. It's coming out later this year from Neon. There's going to be a screening of the film at the New York Film Festival in one month. You've just watched it. I'm very curious for your thoughts on it, given that you're a Luca, I don't know, completist, defender? Speaker 2 (4:10) Well, I'm not a Luca completist because I did not make it to his seven. or eight hour documentary about Bertolucci here at the festival. I saw a four hour documentary. So, you know, I'm doing my best, but seven was a bridge too far. So nor do I have any of Luca Guadagnino's Zara home collection, which I don't know if it's for sale yet, but the images were released. So I'm an aspiring completist. I thought it was a good teaser. I mean, it's a minute. It's just, I mean, it's, you know, pure editing and you just, you get kind of. one-shot flashes of everything except for Andrew Garfield doing his best, Jesse Eisenberg walking through the square of Harvard and the opening of Social Network. You know, they are leaning into the homage and trying to draw a line from that film to this film. I'm okay with that because that's one of my favorite films of my lifetime. I would really like to see this movie. I think it would have fit in at the Venice Film Festival this year and some of the movies that I've seen. But, you know, you get what you get and you don't get upset. Speaker 1 (5:20) I love when you speak to me like I'm a toddler. I Speaker 2 (5:23) mean, that's what they teach us in the Montessori way. Speaker 1 (5:25) I'm aware. I have heard such wildly different reactions to the movie from people who have seen it. I have been told that this is going to be one of the funniest movies of the year. I've been told this is one of the bleakest movies of the year. I totally agree with what you're saying about its clear connectivity to the social network and the idea that open AI and the AI rush feels like a kind of two decades later. extension of what Mark Zuckerberg helped to launch in the world of social media in the 2000s. I hope this is good. I don't really know what to say. Garfield, you're Borisov. You mentioned that you saw a four-hour documentary, which I know was about Elon Musk. He is portrayed here in this movie by Ike Barinholtz. Monica Barbaro is in the film. Pretty excited. It sounds like it's going to come at the end of the year and then go wide to the public at the beginning of 2027. So it's still a long ways away. But so far, so good. Okay. Where would you like to start? Would you like me to start? Speaker 2 (6:25) Yeah, I did. I taught you about the regatta so you can teach me about, you know, how one gets into a secret screening. Oh, Speaker 1 (6:34) sure. Maybe we should probably just talk about that. Okay, yeah. Well, we're going to do a whole conversation about the summer at the movies on Friday. So from here on out, it's all Fall Film Festival stuff. If you don't want any of it spoiled for you, I understand. I won't be spoiling any of the movies. Amanda won't be spoiling any of the movies. We'll just be talking about what we liked and why and what the atmosphere was like. And, you know, Telluride, it's pretty safe to say, was defined this year by a secret screening. Doing some press beforehand, the director of the festival, Julie Hunsinger, in an interview with Variety, noted that there was a true TBA on the calendar, a to-be-announced film, which is something that happens every year. There are always TBAs on the calendar. Sometimes it's a, you know, a smaller film. an independent film that hadn't been previously announced. Sometimes it's just a repeat of a movie that had been playing really well across the festival. One of the great things about Telluride is that the films play three, four, five times. So in this case, this was a true TBA. Nobody knew what the movie was. And it became the talking point in every line at every movie over two and a half days. What is it? What is it? What is it? Many guesses, many wrong guesses, lots of anticipation and speculation. I think it created a little bit of a sense of anxiety at the festival because everyone was starting to get worried if they could get in to the screening, which, you know, the Werner Herzog Theater, which is one of the primary theaters at the festival. It's fairly big. I want to say it has maybe a 600-person capacity, maybe more than that. But it's not huge. And there are thousands of people at the festival in this tiny town in Colorado. And I did know what it was, which was very strange. Because every single conversation that you have with people, they're like, do you know, do you know, do you know? And I knew it was going to be a big deal, but I don't think I anticipated quite how big a deal it was going to turn out to be. Speaker 2 (8:26) Did you, what was your strategy when people asked you? Speaker 1 (8:29) I know, and I'm sorry, but I can't say. And I was so lock and key with it the entire time. And I was, honestly, I'm proud of myself. I felt like, I feel like I could work for the government now. Speaker 2 (8:41) Um, I, if you want to, I guess, um, I think you did a great job. I question at some point, I think that you should have just started lying and just be like, I don't know. And I understand that, you know, knowledge is, you know, currency and it's, it's very cool. And I actually got angry text messages from friends of ours asking if I knew, Speaker 1 (9:03) uh, Speaker 2 (9:04) so that because you wouldn't tell them. And I also kept a secret just so everybody knows. But it's kind of annoying. It's sort of like the extended version of, yeah, well, I've seen this movie six months ago, but we can't talk about it Speaker 1 (9:18) for Speaker 2 (9:18) a while. Of course. Speaker 1 (9:19) You know what? Annoying is just a part of life for me. There's not really anything I can do about that. The problem is, is if you tell one person you know, then it gets out pretty quickly that, oh, well, Sean knows. And so accounting for that was, it was fine. It was honestly fun to hear people guessing. And the guesses were myriad. They were... Is it the new Terrence Malick film? Is it Frank Ocean's A24 movie? Is it Zac Efron's movie Famous? There were movies that haven't even been shot yet that were being guessed about. It became clear that it was a documentary at a certain point because of the way that the information had spread. And then it ultimately was revealed that it was a Nathan Fielder project. And then it was a Nathan Fielder project about Elizabeth Holmes. Now, to some people, I think that that would be really, really exciting. Somebody like me who loves Nathan and has been kind of, you know, venerating all the projects he's been doing since Nathan4U. I mean, I think other people are like, a documentary? And it's three hours long? And about Elizabeth Holmes who like has already gone through the content meat grinder in so many ways, books and television shows and podcasts. And, you know, her story has been told so many times. So anyway, by the time we were in line to get into the movie, which was on Sunday night, which is not quite the end of the festival, but more or less is kind of the closing evening. Speaker 1 (10:37) I would say about 50 % of the people in the line that I was in felt like they had a handle on what the movie was. And so then it became this question of, well, this better be good. You know? Because when you get in line at Telluride, you do have to sometimes wait an hour, two hours. I saw a film at the theater where you can see everything that Nathan Fielder and Lance Oppenheim's film played at 12.45 p.m. And so I arrived at that theater at 12, and there were people who were already in line. for a 6.15 showing of the secret screening. That's really early. Speaker 2 (11:09) I think you saying that you arrived 30 minutes early for the first screening of this is the most obnoxious thing that you've said on this podcast. No, no, no. Speaker 1 (11:19) That's not what I said. I said to the 12.45 screening earlier in the day. I showed up 30 minutes early. Speaker 2 (11:24) of, oh, a movie that was not that movie. Okay. Because I was going to be like, that's, listen. No, I showed up two Speaker 1 (11:29) hours early. Speaker 2 (11:29) I've never been to Telluride. Okay, all right. I showed up two hours early. Yeah, yeah, Speaker 1 (11:32) yeah. And I'm, you know, I'm very fortunate as a member of the press and somebody who, you know, knows a lot of the people that were trying to get people into the screening that, like, I didn't have a hard time getting in. It did become a fairly exclusive line, though, because the way that Telluride works, as I've talked about many times over the years, is there's a group of people who are called patrons. They have very special passes. They pay a lot of money for those passes. They get... first rights into the door. So because of their passes, they are the supreme leaders of Telluride. The press gets treated very well at Telluride. I love my experience there. We're not quite at that high tier, but in the right circumstances, you can get in somewhat early into screenings. Speaker 2 (12:08) Then Speaker 1 (12:09) there are people who, of course, are celebrities and work in the movie business. And I've not seen so many people from so many studios that didn't make the movie. at a screening like this. On top of the fact that, you know, all the stars, like, you know, Jordan Firstman and the Cassive Club Kid were all there. You know, like a whole raft of famous people were also in the screening room. So I don't know how many regular festival goers got in. Maybe a hundred? Maybe less? Not a lot. So this was a fairly exclusive room. And the film only played once. And it was three hours. And so you effectively had to give the entire seven hours. of the last night of the festival over to this movie. So a lot of people were like, this better be good. And it was fucking amazing. And, you know, it's so rare that something that everybody is like, oh my God, I hope this is good. I hope this is good for it to be good. It's such a rare feeling, Amanda. Speaker 2 (13:05) Yeah, I am. I'm quite jealous. I... we were texting because many, much of the A24 team and, and Lance Oppenheim, who also directed primetime, which debuted here on, at Venice on Saturday night, the 5.00 PM slot. And it was like the big sceney premiere of the week and, and the big party of the week. And it was really fun. But so I met Lance, I met his entire family, congratulated them on primetime. And they were in Venice, like at midnight, local time, Venice, and then made it. to, and like all traveled and made it to Telluride in time for this premiere. So like I had an inkling and was just incredibly jealous. And remain incredibly jealous. And everyone working on the team now knows when I land in Los Angeles so that I can then see it in Los Angeles. And I'm going to send some more follow-up texts as soon as we're done recording. Hi, guys. I love you. That said, I didn't even read your entire newsletter because I don't want to know anything else. All I know, like I've watched the teaser and I know that I know what Nathan Fielder said as soon as he walked on the stage, which you can share with people. And I kind of don't want to know anymore. Speaker 1 (14:17) And I'll try to respect that and be careful in this conversation because I think it's fascinating to me how... quickly the teaser went viral. And I think it kind of indicates the curiosity that drives so much of the movie. And I think the teaser is, in some ways, an accurate reflection of the film, and in other ways, a little bit of a wrong footing of what the movie is. And is a really great draw into the story. But it does start out as what it looks like, which is Nathan Fielder shooting a sort of a hybrid of a lot of the work that he's done on the rehearsal and on The Curse and on Nathan For You. Speaker 1 (14:54) And as a sort of like snapshot of Elizabeth Holmes in the final days before she goes to federal prison. And then the film goes in many, many other directions from there. I thought it was like a fascinatingly form-breaking approach to telling a story. It's three hours for a reason. It's sort of a bifurcated story. The first half is what it looks like. The second half, it goes in wild directions. You know, before the film started, Nathan and Lance... came out after Julie introduced them. And Julie was like giddy and ecstatic introducing the movie, which is also dangerous to kind of set people up that you're like so excited to have something. And then they came out and, you know, they're both very low-key, downbeat, you know, Nathan doing his kind of like, hey, hope you guys like this, you know, even though you've all been waiting, you know, 72 hours to see this movie. Right. Speaker 2 (15:41) Lance jet-lagged. Yes. Although Speaker 1 (15:44) I also spoke with him after the film and he seemed more awake than I was. So I was impressed. And the movie played like gangbusters. And it became pretty much the only thing that anybody wanted to talk about in the ensuing 24 hours of the festival. And I think there are a lot of reasons for that. I do think that some of this is, of course, the natural festival high of you make a big trip to go somewhere and you want it to be worth it. Like you were describing your experience in Venice and how it's been like a good Venice and you've had like a good slate of films and you see friends that you like. Well, Speaker 2 (16:15) films, eh. Oh, interesting. Okay. Speaker 1 (16:17) And that's part of it too. Yeah. The films sometimes matter. just as much as the experience. And this was kind of a fusion of those two things. This was an event and it was a movie. And those two things colliding in this way, I think were really exciting and gratifying. To me, as somebody who really loves documentary and is fascinated by the form of documentary, the fact that this is something that felt part of a lineage and also very new, I really enjoyed. I love portraits of complex people who we don't know whether we should trust or not. And what is the true self, I think is kind of the... Speaker 1 (16:50) overarching concept of the movie. I'm trying to be very careful here. Now, when the movie ended, Lance and Nathan came out for an interview which was moderated by Emma Stone, which is just some, like, classic Telluride shit. You know, like, Emma Stone's here. She's going to do the Q &A. Speaker 1 (17:04) And she was a very good moderator and asked five very simple and straightforward and good questions. And when the film ended, I watched a bunch of people leave the screening and not sit for the Q &A, which I found baffling because I've never wanted to hear a Q &A more after a movie. However, one thing I should mention is they did bag our phones at this screening, which has never happened to me in film festival history. So no one had access to their cell phone for almost five hours. So I guess some people were desperate to just race out and tweet about what they had just seen or something. Or Speaker 2 (17:35) like check in with their family. Speaker 1 (17:37) Sure. Yeah. Okay. That's generous. Speaker 2 (17:40) Whatever. These Speaker 1 (17:41) people don't give a fuck about their family. They went to Telluride to watch movies. I Speaker 2 (17:44) guess it's true. I don't know. I still remember bartering with the Spider-Man press people about like, I'm really pregnant and I need my phone in case something happens. Speaker 1 (17:52) I remember that. I remember that. So anyway, you know, we didn't have our phones. We were a truly captive audience. And in the conversation afterwards, they talked about how they still don't really know what to make of what they made. And how they made it. And to see them so unguarded about that. And especially Nathan, who as much as he is a filmmaker and a TV show impresario and a documentarian, is also like, he's a character. You know, he's a performer. Sure, that's part Speaker 2 (18:21) of his art. That's part of his art and his work and his however you want to define. I mean, it is art, but it's also journalism and also... you know. I Speaker 1 (18:31) always think of it as anthropology. Speaker 2 (18:32) Cultural criticism. Yeah. Speaker 1 (18:33) Yeah. I always think of it as him trying to kind of understand human relationships and interactions and reactions. And this movie is a huge part of that project. But they both were, and Nathan even more so than Lance, were still a little bit just about gobsmacked about what they had done. And this project, I think it started in 2023. It's been going on for a number of years. And they stopped after a period of time and then came back to it. And you can see that it was In the making of it, it was something that they were figuring out in real time, especially the second half of the film. They kind of got to the end of the moment when Elizabeth Holmes goes to prison and had to think about where they wanted to go next. And it's an extraordinary thing. And I'm really happy to have been in the room. I feel very lucky to have been in the room. The cool thing is, in addition to this kind of simultaneous release of that teaser that you mentioned, the movie's coming out soon, which I think is great. It's coming out in October. And thank goodness. I think kind of like lording this over people would not only be obnoxious for me, but even from the studio and the people who made it. There's this kind of urgency to want to see this thing, which is really cool. And now it immediately falls into the category of like, well, now it's been overhyped. But I just have to give you like an honest reaction to how I felt in the room, which was we were buzzing. Speaker 2 (19:47) Yeah, no, I was watching from afar and until with with some envy and until Sunday, it had seemed like the festivals were kind of we had many of the same films. Many went from Venice to Telluride. You know, we had the we had Liam and Noel Gallagher and Oasis on Saturday night. And, you know, I'll talk about that. And so I'm Speaker 1 (20:09) jealous of that. Speaker 2 (20:10) They were it was like it was even. And we were having different experiences, but like you were in the mountains and I was having a tremendous number of spritzes and like life was good. And, you know, and then it was like the whole primetime crew like left. And the energy shifted and I was like, I really want to be seeing this. And also somehow I'm like still in Venice. So I can't see it yet. I can't believe this happens every year. Why am I still in Venice? I don't know. It's okay. You Speaker 1 (20:39) extended again this year. You're like, I think one more day I have to see something. I was like, good lord. Well, honestly, Speaker 2 (20:43) I extended at this point so that we could record. And we didn't have to record so late because it takes like a full day to get back home. But I should have come home. on Monday, but that's okay. I really want to see it. Let's talk about Oscars. Speaker 1 (21:00) Yeah, you know, people have been bringing this up. I saw Clayton Davis of Variety immediately after the movie, and invariably that conversation just started right away, and Clayton and I were sort of talking about, there's one component of the movie that I do not want to spoil for people that I think kind of shatters this conversation in a really interesting way. So I'm not going to do it. I'm not going to talk about that. Speaker 2 (21:17) Okay. Speaker 1 (21:18) Is it going to be eligible for Best Documentary? It will be. Speaker 1 (21:22) The documentary branch is a little... Yeah, they're a little tricky when it comes to celebrity-focused stories, which this sort of is. They're a little tricky when it comes to true crime. They're a little tricky when it comes to celebrity filmmakers. So, and because this is so form-breaking, maybe they'll embrace it, maybe they won't. It's a little hard to say. I heard people talking about Best Picture. That seems like a reach to me. Okay. I would campaign for it. It's right near the top of my favorite movies that I've seen this year. Like, we'll be talking about it quite a bit. I've already had to, like, look at the October schedule and be like, oh, fuck, I got to break this and start all over again because we're going to do at least one conversation about the movie itself. Okay. It is, but it is unique. I mean, it's Speaker 2 (21:59) a Speaker 1 (21:59) Nathan Fielder project. Like, it's not inherently mega commercial, but what it is is it's something new in the mix and something that I had texted you and that you and I have been talking about for months is that... It's so weird how it seems like, for the most part, the awards calendar and our expectations of what's coming feels hugely settled right now with the exception of like two or three movies. Like I said to you, Digger and Dune are two movies that nobody has seen. Speaker 2 (22:28) Maybe Speaker 1 (22:29) Werewolf, but probably not. But everything else, we kind of know what it is. I guess you could put Artificial on that list. A handful of movies are yet to be seen. This was the first thing in a while where I was like, oh, this could upend some of our expectations of what's happening this season. I don't know. I mean, from afar, do you have any thoughts on it? Speaker 2 (22:49) I mean, I think we were also hungry for that, right? Is that we even, we went into the festivals and we identified, you know, okay, this premiere, this premiere, this will get this slot, this slot. And for the most part, we'll talk about them individually, but the films met our expectations. Speaker 1 (23:05) And Speaker 2 (23:06) so you're... you're kind of assigning everything, doing your little draft board. And it's clear, but I think it's been confusing and also just a little narratively frustrating to us. Like we have six months of a show to do and we already know everything. Like what, you got to give us something else. Like give me a fall, give me a fall thing. So that's very, that was, that's the genius of a surprise drop. Speaker 1 (23:29) It is. And you know, that actually kind of speaks to a little bit of the vibe for me personally at Telluride, which I think is quite different from other people. So because we had the chance to go to the Cannes Film Festival this year, roughly 40 % of the slate at Telluride I had already seen. And so it created a different kind of experience for me where I didn't see as many movies as I usually do. The timing didn't work for as many things. And there were frequently times when I would look at the calendar and be like, seen that, seen that, seen that, seen that, and then not really have anything to do. What did you do? I hung out with friends, had a meal. I don't usually eat a lot of meals, so I had some meals. Thank you. I'm so Speaker 2 (24:02) proud of you. Thank you. Speaker 1 (24:04) I also was sick the entire weekend, which was not ideal, but I powered through. I kept my head up. Anyhow, because of that, I think that it was a very, very good telluride. Like, if you came into the festival, like almost everyone there, not having seen Club Kid or Fjord or La Bola Negra or Minotaur or the... huge number of Cannes titles that came over. I mean, I would say specifically Club Kid and La Bola Negra played huge at the festival. People loved both of them. And I'm not super surprised by that, but it was clear that those movies are going to have a life after this. Speaker 2 (24:40) Yeah, it's Club Kid season. I'm ready. Speaker 1 (24:42) Yeah, Speaker 2 (24:42) and Speaker 1 (24:42) I saw Jordan Firstman and Alex Coco in the airport before we got on the plane to go. And we were talking and they were like, Oh, I feel like people are forgetting about the movie. And I was like, you're going to be fine. Nope. You're going to be fine. Don't worry. People are going to see the movie. They're going to love the movie. They had Reggie, the young actor who plays the kid in the movie. I know. He was there. He was doing great. Speaker 2 (25:02) So his Instagram account is still managed by his parents, but they did a reel of like his highlights at Telluride. It's great. Great stuff. He was Speaker 1 (25:11) charming everybody. So the vibe there was good. I mean, you know, we can get into the new movies. Like you said, we have a lot of crossover for some of the films that played at the festival. But in general, I thought the vibe was good. The weather was very good. Everyone seemed happy. It's my happiest place on earth. I thought it was this at the end of this year, despite being really sick. I was like, I will I will come here until I die. Like this is a thing that I just want to be a part of my life. Speaker 2 (25:33) I know. Remember like a week ago when you suggested that we switch places at some point? No, no, no. You're never going to do that. I also, I mean, listen, I have this on lock now and I'm really proud of myself, but I've thought about just how much you would be weeping and bitching like everywhere I've gone. Speaker 1 (25:51) this festival. Well, you're stronger than I am. Speaker 2 (25:53) Yeah, I am. And you know, you don't, the lines are not a thing here. Instead, you have spritzes. So that's really nice. Or go on a boat. But you would hate the boat. Do you get seasick? Speaker 1 (26:04) No, no. I grew up on Long Island. Seasick, what are you talking about? I grew up on boats. It's an island. Speaker 2 (26:10) It is an island, but you don't really take the boat to go anywhere else. Speaker 1 (26:14) I