‘Tony’ and the Top 5 Coming-of-Age Movies, With Matt Johnson!

The Big Picture - The Ringer

In this episode of The Big Picture, host Sean Fennessey is joined by Chris Ryan to discuss the new biopic 'Tony,' a film about the early life of Anthony Bourdain directed by

Key takeaways

The biopic 'Tony' successfully captures Anthony Bourdain's complex mix of romanticism and cynicism, even if it takes creative liberties with his early life.
Chris Ryan expresses initial hesitation about a Bourdain biopic due to grief over his passing, but ultimately praises the film's soulful tone and authenticity.

Main topics

The biopic 'Tony' and its portrayal of young Anthony Bourdain
Chris Ryan's personal connection to Bourdain's legacy

Notable quotes

'This movie captures his combination of romanticism and cynicism so perfectly. And it has such a great soul to it.'

'I don't know if I want to participate in the great sport of memorializing this guy because the thing that I responded to so much in his work was it was so alive.'

Conclusion

The episode concludes with a reflective discussion on how art endures beyond its creator,

Transcript preview

Speaker 3 (0:15) I'm Sean Fennessey and this is The Big Picture, a conversation show about Tony. On today's episode, I'll be joined by Chris Ryan to discuss a new movie about a subject near and dear to his heart. Tony, it's the new docudrama about the early days of chef, author, and TV trailblazer Anthony Bourdain. The new film is co-written and directed by show favorite Matt Johnson. Matt returns to the show to talk about the task of taking on Bourdain's story in life after the success of his film Nirvana, the band, the show, the movie. Matt is one of the greatest guests in the history of the show. Love hanging out with him, learning from him. You'll want to listen to our conversation. But first, let's talk to CR about Tony and the state of the world right now. Speaker 3 (0:54) Okay, CR. We're going to talk about Tony and our favorite coming-of-age films in this discussion. You've been thinking about The Oval Office recently, and you have some thoughts you wanted to share. Fire away. Speaker 1 (1:04) I'm starting to measure the drapes for myself. I don't know if you've noticed, but there's a lot of talk out there. Are you stepping in? How I could bring this country together. No kidding. I don't know why I'm doing that. Were you born in this nation? Yes, I was. I was born in Philadelphia. First generation in some ways, because my dad is from England. So what generation was your mom? Third? Okay. Speaker 3 (1:24) Yeah. Speaker 1 (1:24) Second. Second. Speaker 3 (1:26) Better get this right if you're gonna be grilled at the podium. I Speaker 1 (1:28) think by the time I run all this stuff is gonna be moved. What's your platform? What do you stand for? Paramount Plus for everyone. Is Speaker 3 (1:38) this gonna be a Landman-centric platform? Every year Speaker 1 (1:40) we get two Michael Mann sequels or remakes. You know what I mean? No kidding. Even Speaker 3 (1:45) if the man is no longer with us, we just keep cranking him out? Keep Speaker 1 (1:48) thieving. Keep Speaker 3 (1:49) hunting men. You said you wanted to consider conjuring some news, even though we're recording a few days early here. Is there anything that's been going on in the movie world that you can foresee? Speaker 1 (1:59) Well, I know that I'm on Monday's episode of The Big Picture talking with you about the end of Oak Street with Mallory Rubin and that we spoke extensively about X-Men casting. We did. Do you think that it's weird that Miami Vice 85 casting is as important to me as X-Men casting? No, Speaker 3 (2:13) but you know what? We've not had cause to discuss it on the show. In fact, I think that news hit while I was on vacation. Do you want to get into Miami Vice 85? How you're feeling about the idea of this? Thing existing? Speaker 1 (2:23) First of all, Warren Buffett, as we know, has retired. As we know? But there's another Oracle of Omaha. Uh-huh. And it's me. Because the Alden Ehrenreich stock, it never wavered. You're not from Omaha. We never blink. When we commit, we commit. Speaker 3 (2:42) Yeah, I was there with you on this one. I don't, you know. I was there when Rules Don't Apply was released. I paid American currency to see that film. Did you watch Speaker 1 (2:50) Ironheart, though? Speaker 3 (2:51) I did watch it. Was he in Ironheart? Only Speaker 1 (2:53) the Alden Ehrenreich. I know he's Speaker 3 (2:54) Obadiah Stane's son. Yes. Okay. Although Speaker 1 (2:57) his lineage is kind of obscured for some of that series. Was Speaker 3 (3:00) he introduced in Ironheart as Stane's son? Speaker 1 (3:03) No, I think he's just like a guy and then it kind of emerges. But yeah, he's in, it's only Ironheart only. And will he, will he Speaker 3 (3:09) be in the Avengers film? Speaker 1 (3:11) Somehow, Alden Ehrenreich has returned in Doomsday. Is Speaker 3 (3:15) he Speaker 1 (3:15) going to be a part of the MCU going forward? If they know it's good for them. If they want to catch a comet by the tail, yeah. Speaker 3 (3:21) I mean, Ehrenreich, I think, is elite, obviously. Oppenheimer into weapons. You can't do better. Speaker 1 (3:26) I know. Speaker 3 (3:27) So now he's going to be the villain in Miami Vice City 5? No, Speaker 1 (3:31) he's just a DEA agent. So we don't know what side he's Speaker 3 (3:32) on. Is that Speaker 1 (3:32) the name of his character? It's DEA agent Mike something, I think. Or Scott something. Speaker 3 (3:38) The amount of information you have is so poor in these updates. Speaker 1 (3:42) This is what having 75 % of a story looks like. I know he plays a DAJ. I'm pretty sure it's Mike or Scott. Speaker 3 (3:50) This is an extremely well-respected film podcast. I'd appreciate it if you could come prepared with these news updates. Speaker 1 (3:56) I happen to know firsthand that the only version of this film podcast that people respect is what I'm on. Wow. No, not the only one. Speaker 3 (4:03) Well, it is probably the most respected. I'll give you that. So the cast right now as it stands, it's Michael B. Jordan. It's Austin Butler. Yeah. It's, who's our female lead? Is it, is it, who is the female lead of this film? Speaker 1 (4:16) Well, there's a lot of rumors. The Tubbs girlfriend has been cast. Is it Whitney Peek? Yeah. Okay. And there's also talk that in the Daniel Murray script that Joseph Kaczynski is directing, that the importance of Crockett and Tubbs historically is going to be reversed. Obviously, we discussed this. Is this Speaker 3 (4:35) actually happening? Speaker 1 (4:36) I know with interest that they have cast his live interest first. Okay. Speaker 3 (4:40) You know? Well, I mean, Michael B. Jordan is the bigger star. He's a Speaker 1 (4:45) bigger star than Austin Butler. There's no doubt about it. Oscar winner. It's a big tent. Yeah. Speaker 3 (4:48) You think it's okay for Austin Butler to get in there too? Speaker 1 (4:51) Okay. Speaker 3 (4:52) Yeah. Are you okay with this movie and Heat 2 existing in the same year? Speaker 1 (4:58) This is, we were chatting about this a little bit last weekend about the power of 28 and what's going to happen to this pod, what's going to happen to America, what's going to happen to the film-going populace when we have like a relatively lazy river of a 27, right? Like we're going to be floating along. A Speaker 3 (5:14) lot of franchise stuff. Very kid-centric, I would say. You were talking Speaker 1 (5:16) sabbaticals already. Yeah. Maybe Speaker 3 (5:18) I'll Speaker 1 (5:19) take 27 off. 26 for 26. 27 for 27, maybe. Yeah, maybe. And that'll be my Speaker 3 (5:24) 27 favorite episodes of the big picture. That's right. And I'll be recapping them by myself. Speaker 1 (5:29) But 28 is so rich and so heavy with big titles. It is very strange that the Michael Mann cult has turned into a legitimate fandom. and is now on the precipice of being a franchise. Speaker 3 (5:44) Obviously, you've been driving a lot of that over the years, and we appreciate the work that you and Bill have been doing in that respect. Is there any chance that this is, if not an illusion, a bubble amongst men aged 37 to 59? Speaker 1 (5:58) We have to go higher than that because we have to include Jerry Bruckheimer in that cohort. Yeah, well, he Speaker 3 (6:03) represents roughly 20 million Americans. No, seriously, like, I wonder if all this zest... Well, I think that's the reason why he Speaker 1 (6:11) became such a big deal is because of a younger generation of fans discovering things like Miami Vice and Collateral and Insider and Manhunter. And, you know, you go to the screenings of these movies, albeit a small sample size in Los Angeles, and they're packed. They're packed. Yeah. Speaker 3 (6:26) Yeah. So both movies will make well over $500 million. I think so. Speaker 1 (6:30) This is the new obsession in back rooms. Okay, cool. Speaker 3 (6:33) Would you like to speak about Tony? I would love to. Okay, so I needed you to be on this episode. Because you and Andy both are the biggest Anthony Bourdain fans, allegiance that I have in my life. And this movie on paper, I think is a little concerning. Biopics in general, challenging. Matt Johnson, a very exciting but daring filmmaker, I'll say. Someone taking risks. And it's tricky to take a risk with someone that people hold very close to their heart. This movie... is not just co-written by Johnson, also Matthew Miller, his producing partner, Todd Bartles and Lou Howe, who I think wrote an original version of Speaker 1 (7:14) the Speaker 3 (7:14) screenplay. Speaker 1 (7:15) It's like a Blacklist Speaker 3 (7:15) script, right? And it is kind of sort of based on Kitchen Confidential, the early chapters, though not really, and you can talk a little bit about that too. It stars Dominic Sessa as Bourdain, Emilia Jones, Dagmara Dominczyk, Rich Sommer, Stavros Halkias, Leo Woodall, and Antonio Banderas. It is about... A man in 1975, a 19-year-old Anthony Bourdain, who wants to be a writer but takes a summer job at a Cape Cod restaurant, learning under the tutelage of a Brazilian-born restaurateur. So maybe you could talk a little bit about not necessarily your feelings on Bourdain because there's an amazing episode of The Watch that you and Andy just released two weeks ago about your relationships to him and kind of what he represents to the culture at large. Speaker 3 (7:58) When you heard they were making a biopic, I'll tell you what. I remember when the documentary was announced. You seemed even a little tight when that happened. Speaker 1 (8:05) Yeah, Speaker 3 (8:05) I Speaker 1 (8:05) think when that happened, I was still sort of in, for lack of a better term, like a period of grieving about his death. So I have... you know, with Bourdain, with Tom Petty, with like artists that mean a lot to me, I think when they pass, and especially when they pass tragically like those guys did, it takes a little while for me to get back into the art just for the art's sake rather than constantly thinking about how it echoes. they're passing. And I think when the documentary came out, I was like, I don't know. I just don't know if I want to participate in the great sport of memorializing this guy because the thing that I responded to so much in his work was it was so alive. You know, even if it was cynical and even if it was looking at, you know, great injustices of the world or talking about how we needed to be better as people, like, it still was so deeply romantic with a capital R. And I'll tell you what, you can say whatever you want about the accuracy of this movie, the historical period detail, whether or not it feels like a Bourdain movie per se, but this movie captures his combination of romanticism and cynicism so perfectly. And it has such a great soul to it. And I really, really loved Tony. Yeah, Speaker 3 (9:29) I did too. And I found it to be... Shockingly and warmly old-fashioned. In talking to Matt, I told him this feels like a movie that Touchstone could have released in 1997, non-pejorative. That there is something traditional about pitching a story this way about a very successful person's earliest days. But there's a tonality to it. It is very warm, very funny, but not... I wouldn't say it sugarcoats some of the uglier components of... this version of this person's persona. You know, Bourdain famously struggled quite a bit, very straight talking, at times quite acidic person. Behind the scenes, you could tell, sometimes a little tough to work with. Yeah. Challenging, but also very, very true to what he believed in. And it's interesting to try to craft a movie that represents that when he is playing, he's portrayed as a person who doesn't really know what he believes in. Who's kind of, this is like an amazing portrait of a, of a... person bullshitting, you know, who doesn't, who thinks he wants to be something and has no way of knowing how to get there. And in failing to get there, figures out who he's going to become. Dominic Sessa, what did you think of him? Speaker 1 (10:38) I thought he was remarkable, you know, and doesn't do a pantomime of Anthony Bourdain. In fact, I don't really know outside of like some of the sort of fashion choices. There's a, there's, you know, a moment where he's wearing like a leather jacket that feels like very. Anthony Borda encoded, but like for the most part, I think, uh, excuse doing mimicry for capturing kind of a idea about a guy. I mean, this is the interesting thing about this movie is that I, I think it works just fine having nothing to do with Anthony Borda. There are a couple of echoes in some lines of dialogue or some images that obviously project forward to the person he would become and the figure he would become. But for the most part, If this is just Matt Johnson wanted to make a Richard Linklater Hollywood movie about a period of time that he was interested in and a job he was interested in, I think there probably would be like 100 % less interest in it, but it would be a good movie. Speaker 3 (11:40) I totally agree. There's a theory going around, and I didn't ask Matt about this, and I regret it. Speaker 3 (11:46) that they didn't want to reveal that this was an Anthony Bourdain movie. Right. That there was this idea that in very Matt Johnsonian fashion, they might try to promote and release this movie without marketing it. And in the Speaker 1 (12:00) last scene, he says his name. And in the final scene of the Speaker 3 (12:02) movie, he says his full name for the first time, and we see who he is. He's not Tony. He's Anthony Bourdain. And... That's an interesting idea, like probably too clever by half, but I think that what you're describing sort of goes into the making the conception of the movie is you're probably not bringing too much of the Bourdain experience. You don't feel too haunted by the Bourdain experience as you're watching the movie. It's really just, it is a coming of age movie. It's Speaker 1 (12:26) a Speaker 3 (12:26) guy figuring out how he should be in the act of chasing a girl. Movies set in kitchens in restaurants are pretty hard. Most of them are quite bad. I was surprised by how... graceful and easy this one was just in terms of the energy and camaraderie amongst the cooks in this kitchen. Even the sense of visual space, how we know where everyone belongs at any given time, where their stations are. It's a very modest space, the Banderas' characters' restaurant. But to me, the movie is most alive, most fun, most 1997, when it's all of those chefs in the room and Sessa is the butt of every joke and they're giving each other shit. And it's interesting because Bourdain did make hay of that a little bit in his writing. But the movie's just very, very, very funny in a way that you expect a Matt Johnson movie to be funny. There are other times where the movie's not very funny, where it's very reflective and sad. What did you think about some of the kitchen aspects of it? Speaker 1 (13:22) I love the fact that this place, the flagship, where the Bourdain character is cooking. You never really have to wonder whether or not like they're ever going to make the Michelin star meal. I mean, the whole point of this place is it does four things and it's supposed to turn them over quickly. And we've all been in like beachside bar and grills like this where, you know, you just get the burger and keep it moving. So when you take out the tweezer, can we make the perfect foie gras thing out of it? Then it just entirely becomes, this is an. action for actors to perform in order to communicate and, you know, communicate emotion, communicate character. So I love the fact that all of these guys cook in different ways that say so much about them, like especially the Leo Woodall character and the confidence with which he's shucking oysters and the fact that he really only has to do this one thing, which is make six and six or make, you know, mixed dozens in, it allows him to kind of just be the cool guy in the kitchen because nothing is going wrong for him. He doesn't have a broiler. He doesn't have to wash a bunch of stuff. He doesn't have to do tickets. He's just doing his thing. On the other hand, Stavi's character is always kicking a giant flaming broiler and screaming at lobsters and has got the really hard job in this kitchen. So for me, it was almost less of a food movie and more of a workplace movie. Speaker 1 (14:53) And it really, really knows the workplace. And it really knows the geography of where these guys are standing. I know that Matt shot this basically handheld with all these incredible little fixes for how they were going to shoot some of this stuff. Yeah, I mean, to me, it was way more of a summer movie and way more of a workplace comedy or workplace dramedy than it was about, like, this is the thing. Proustian Madeline moment that made him realize he wanted to be a chef. Speaker 3 (15:20) Yeah, I think the food looks pretty good, but it's not food porn at all. You know, it is very much like, and you even have these moments where, I was wondering what you thought about this. Cess's Bourdain at times slips into a kind of Bourdainian romance when he's describing things. It's like he's lunging for a kind of literary credibility and communicating about the experience of food. And... It seems a little try hard. And there's something very interesting to me about being so comfortable doing that in a movie that is in theory kind of venerating this person, but actually makes him seem, it seemed like it took Tony Bourdain 20, 30 years to figure out how to be poetic about food. Speaker 1 (16:00) Yeah, and I don't think he ever became that way about his own food. So he goes from this restaurant in Provincetown, he winds up going to the CIA in New York City, there's a very funny bit in the movie about... Whether the CIA is the Central Intelligence Agency or the Culinary Institute of America. He winds up working at Le Havre for a long time, up to being executive chef at that steakhouse in Midtown. And I was watching all these old episodes for the episode that me and Andy did of The Watch. And he's still in his 40s and 50s going to other places. And he can't control himself. He's like, oh, I wish I was from San Sebastian and I would work in a tapas restaurant and I would pour this sparkling light chacalina and we would just stand here in the greatest seafood in the world. And everybody's just kind of like, well, yeah, I mean, this is the neighborhood bar, you know? Or he's like, I wish that we would have a boucherie every Wednesday with all my friends in Cajun country. And they're like, yeah, this is kind of how it is. And I think he had this incredible passion and way of describing and communicate. communicating his excitement about food, Speaker 3 (17:10) but Speaker 1 (17:10) not necessarily his own food. You know what I mean? Like he is good at cooking, obviously, and was like an amazing, amazingly important figure in America's culinary awakening, I think. I Speaker 3 (17:23) agree. But I don't know necessarily that Speaker 1 (17:26) Anthony Bourdain would be like, this is my signature dish or that this is a kind of food that I introduced that no one had eaten like the way that. Red Zeppi or whoever has. It's like Speaker 3 (17:36) you. You're a cultural ambassador. You don't make the stuff, but you make the stuff. That's Speaker 1 (17:39) right, man. Those who can't do teach. Speaker 3 (17:43) Very true. The movie is, first of all, it's an hour and 45 minutes. It flies by. And it is a series of incidents in the best way. The long arc of the movie is around Bourdain chasing a girl to Provincetown over the summer, played by Amelia Jones. And in doing so, also... you know, lying about getting a fellowship. Yes, exactly. He's building up this idea of himself and who he is and trying to figure out how to seduce this girl that he really likes. And... Speaker 1 (18:13) It's worth mentioning that Amelia plays Nancy Pekowski, is that her name? I think so, yeah. Which was Bourdain's first wife. Right. Speaker 3 (18:21) And... Most of that doesn't really matter. I think most of what matters in the heart of the story is... seeing moments of revelation for him. And some of them are sort of like very announced. For example, there's a sequence where Leo Woodall, who is on fucking fire in this movie. That's my Speaker 1 (18:38) Wolverine. Speaker 3 (18:38) I mean, he would be incredible. He can do anything he wants as far as I'm concerned. Between Tuner and this, which is two completely different performance styles, two completely different shades of charisma, I'm all in on that guy. But in this movie, he plays, you know, the ghost of... future present basically like he's he's like what could happen if you zag the wrong way he Speaker 1 (18:59) plays a guy that every single man in america either knows or is Speaker 1 (19:04) Yeah. And you gotta hope it's the former. Speaker 3 (19:07) Yeah. But it's like... But nobody looks like that guy. It's just a lot of guys think they look like him. Like he is the dashing chowder head. Speaker 1 (19:17) Yeah. Speaker 3 (19:17) Which is like maybe not even a real person. Like maybe no one is that person. Right. But everyone thinks that they are when they're at a certain stage of their life. But for Bourdain's character, he's like an act of cautionary tale. He observes him. you know, not just picking up girls quite easily, not just shucking those oysters in the way that you described, but doing coke, scoring heroin, like getting high beachside, and kind of like watching Cess's character examine whether or not this would be a worthwhile path. Yes. Is a fascinating, like emotional dynamic of the movie because it's very clear that... Well, he's Speaker 1 (19:49) being an anthropologist, which Bourdain really was. And he's like, this is me in my Stooges t-shirt and my... beer drinking and my nunchucks. But this is the real thing. This is what it looks like if you go down that road and this is what happens when you're however old that guy is supposed to be 25, 26 and he's like, what my life is going to wind up being is I'm going to be the next guy hauling lobster cages and dealing smack on a dock somewhere in Cape Cod. Yeah. Speaker 3 (20:18) It's a fascinating counterpoint to Banderas who I mean, maybe he was the Leo Woodall of his day, but like just one of my favorite screen presences of all time. And this is him so in the pocket of a thing that he's so great at where he's so warm, so grounded. His voice is like fucking poetry to me. I love listening to him, just listening to him read dialogue. And this part. I think would be a shitty part if not for a great actor because it's such a base, the nice mentor guy, and he brings so much world experience, our relationship to him as an actor. I loved him and I loved the two of them together in this movie. Speaker 1 (20:56) So there's basically a baton pass that happens midway through the film. The first half of it, once he gets from Provincetown, Speaker 1 (21:05) Sal takes him under his wing, the Leo Woodall character. They go out. They start bar fights. They get into trouble. It's all this like, and then we do this and then we do that. The movie has such an incredible like punk rock energy at that point. What an amazing Speaker 2 (21:18) music supervision Speaker 1 (21:20) job. Needle drops are insane. Sal at some point gets fired from the restaurant where they all work at for being late, but also for starting a fight with Chef. And it's essentially a choice of you know, is Tony going to follow Sal into oblivion or is he going to stick at the restaurant? He kind of sticks at the restaurant. And there's this moment about midway through the movie, a chef starts to, you know, educate Tony in the ways of not only a kitchen, but a relationship to craft and service and... Speaker 1 (21:55) doing something well, which is something that often comes up in Bourdain's writing and television, where he's like doing a simple thing really well. And so there's this, my favorite moment of the movie is when he gets Tony off the hammock that he's been staying in. They go into the kitchen and he, I guess, dilutes salt water down to its sea salt crystals and strains tomatoes down to liquid and they refill salt shakers with seawater salt. and refill ketchup bottles with homemade ketchup. And it's like a two or three minute scene that could have been one to ten seconds. And it just is supposed to reset the cardiac rhythm of the movie. Yes. And it becomes about grace almost for about 40 minutes. Speaker 3 (22:44) Quite literally, there's a strain of spirituality running through the movie where Chef takes Tony to church and simultaneously when he has this... severe break with Sal and they pick the fight. He says, you're the sin eater and it is the sin eater and the shepherd and they're kind of these two, this angel and the devil portrayal that like, it's a very kind of linear, clear. structural device in the movie that is very simple but very, very effective. And it's actually, it does a good job of like distracting you away from the Bourdainishness of the movie where it's like, it's actually also about these people. It's about the people that impact you, not just the person that you are, especially when what you are isn't really anything yet. I like movies like that that are not about people and we'll talk about that with some of the coming of age stuff. Like these kind of portraits of people in progress as opposed to completed and the version of the movie that's like Bourdain. at Lael, like, making steak. That would just be boring to me. Yeah, Speaker 1 (23:38) I mean, there are all sorts of periods of his life that I think would be fun to evoke, like Lower East Side, 1980s, or, yeah, like, rough-and-tumble, 90s restaurant life. But I think that there was something about... This is the first point where Bourdain starts to really self-mythologize. And even in the book, in the quote card that's in the beginning of the film, he's like, I was just basically a snotty-nosed, loud-mouthed brat who needed to get his ass kicked. And I did. And that's what the movie is about. But it winds up becoming a little bit more about... To what extent we all kind of shape our own character and to what extent people around us influence that. I mean, we could probably trade boring stories of throughout our lives. Like it's not, it doesn't have to be like do heroin or become a world renowned chef. It could be like my college roommate really liked fish and he asked me if I wanted to go to a fish show and I said, no thanks. And if I had gone to that fish show, like am I sitting here? No, Speaker 3 (24:42) I think about that all the time. I have so many formative experiences in high school of people that I met. And looked up to in one direction or another. And if I had tried to more specifically mimic their lives, some things would have gone well and some things would have gone not so well. But it is a really great snapshot of a person, like you said, anthropologically figuring out which road to go down. Now, it's interesting that like so much happens to Bourdain in the intervening 15, 20 years before he becomes. this well-known figure. And so it does, it is a little tidy at times, the movie. I found the ending a little tidy. Yes. Yeah. Where something, you know, very dramatic happens in the kitchen that shows that he's not ready for prime time effectively. And that despite all of his kind of yearnings for creativity and to show off for this girl and to show Chef that he is, you know, evolving as a man because of all the things that Chef has shown him, that he's not ready to do it. And then the film has this kind of like... encomium final seven or eight minute sequence with a big fish bake near the end that felt also very touchstone 1997 to me where there needed to be like a degree of warmth to the way we went out which I understand and I think is very gratifying for audiences it did feel it felt a little studio notish to me Speaker 1 (25:54) perhaps all the characters gather together and fist bump and and the flagship is saved yeah Speaker 3 (26:00) I mean it's not so far afield from the way that you know Nirvana the band ends where there's like restitution at the end you know like we're gonna be okay but that was that's the one thing in the movie that I felt a little soft on I was amazed by the music choices I was like I feel like my dad who was alive in 1975 picked the music you know like there's a very level of that like tasteful rock critic plus normie sure yeah Speaker 1 (26:32) Like the music Speaker 3 (26:32) supervision here that is very, very good. Speaker 1 (26:34) It's hard