What are you passionate about?

For Jim Capobianco, who has a Best Original Screenplay Oscar nomination from 'Ratatouille' to his credit, his new animated film "The Inventor" was a passion project.

The film was a passion project as well for composer Alex Mandel, who was able to include his daughter Sequoia on a track in the film.

Co-host Bruce Miller shares a story about his own passion projects and then dives into the new animated film about Leonardo da Vinci (not Leonardo DiCaprio), which utilizes both traditional 2-D hand drawn animation as well as brings to life stop motion puppets.

Miller has interviews with both Capobianco and Mandel, who discuss why the film was so personal. "The Inventor" opens Sept. 15 in the U.S. and stars Stephen Fry, Marion Cotillard and Daisy Ridley.

We also look ahead to next week, when we'll discuss the recent release "Grand Turismo" and have an interview with real-life driver Jann Mardenborough, who was the inspiration for the film. Miller and co-host Terry Lipshetz will discuss other movies that depict real people and how far they stray from reality.

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About the show

Streamed & Screened is a podcast about movies and TV hosted by Bruce Miller, a longtime entertainment reporter who is now the editor of the Sioux City Journal in Iowa and Terry Lipshetz, a senior producer for Lee Enterprises based in Madison, Wisconsin.

Episode transcript

Note: The following transcript was created by Adobe Premiere and may contain misspellings and other inaccuracies as it was generated automatically:

Welcome everyone to another episode of Streamed and Screened an entertainment podcast about movies and TV from Lee Enterprises. I'm Terry Lipshetz, a senior producer at Lee and co-host of the program, shall I say. The inventor of this program, Bruce Miller, editor of the Sioux City Journal and a longtime entertainment reporter. You're here. You're the inventor. You are truly an inventor of this podcast.

Yeah. Yeah. Right. And I don't want any credit for it. Okay. It's not it's not in my head. But, you know, that's it's funny how people have passion projects. Do you have a passion project? Is there anything in your mind that you say, This is something I really I want to be known for? I haven't quite gotten there yet.

I have things that I'm passionate in about in my lives, but I, I don't have a project per say that I'm sharing with the world. Okay. Okay. I, I have a couple of things in my life, okay? One is I have a movie idea in my mind that I think is going to be perfect. Perfect. But until I retire, he will not write that script because names are used.

But the other thing. There was a time when I was in, like, my mid-forties that I thought I was losing my hearing. I really I thought it's it's gone. And I had was tested and they said, yeah, you could lose your hearing. And I thought, as a journalist, I don't want to go through life without something that I could point to that would represent me, that would represent what I could do as a journalist.

And it just all came out about at a basketball game. I was sitting next to a friend at a basketball game and she said, You know, these aren't the same. High school just isn't the same anymore. I go to the games and the kids aren't here cheering. The band doesn't support the teams. It's not like we remember when we were kids.

And I thought, Well, let's just see what that was all about. And so I decided to do a look back at it. At the time, it was the class of 1977, and I decided to talk to the people who were in the class of 1977. And what was high school like back then? Was it really better? Was this something that we should have, you know, embraced and used as an example?

And so I thought, well, this'll be easy because I just go to the school and I ask them for those permanent records that they all seem to have. I went to the high school, and the high school said, We don't have anything like that. I said, You're kidding. My whole life has been built on your permanent record, and I wanted to make sure that my permanent record was was good.

She said, Oh, now we throw those out after the kids are gone, we're good. And I said, Well, do you have the graduation list? No, we don't have that either. I said, You don't have the graduation list. You've got to be kidding me. She said there might be a yearbook in the library. Go to the library if you find the yearbook there, you can take it out for a while and get some names out of that.

So I went to the library and the yearbook had been cut out of. I kid you not. People cut pictures out of it. So what I learned from this was there is no permanent record of your high school life. But I got enough names. It was a class of about three or 400, and I diligently put together this master list of all of these kids in one led to another, to another, to another, to another.

And I ended up with, I think it was more than 160 of the class of 1977 out of 300 or 400. And what I would do at night because I thought I was losing my hearing, is I would sit with a headset on and I would call members of the Class of 1977 and ask them about what was school like, What do you remember?

Was it better than. And I built this whole story about what was it really like and how does it compare to now? Because most of them were be poor would have been parents of kids in high school at the same time. And it was a fascinating thing. I was able to relive all of their high school years and find out how it affected people.

And there were people who said things like, Well, every time I drive by the school, even now, I feel this deep pit in my stomach. I hated that place. I didn't like the people there. As I learned from all of this research, people that I knew I needed to target. The valedictorian would easily be somebody the student body president was somebody.

The star basketball player. Star football player, star baseball player, star wrestler, the homecoming king and queen. I mean, I had all those ones who are like landmarks in a high school class. And I got to all of them. And then I had a group of them who were really close friends get together. And we just talked about high school.

And I'll tell you, it was a fascinating thing because I knew these people as old people and they were talking about their youth. And I learned that some people do not moved on beyond high school. High school is the be all the end all. It is the high point of their life. It was, I think, a 12 part series that I wrote.

Whatever happened to the class of 1977? And even to this day, I have people who will come to me and say, Are you going to do another class? No, I'm not. The good news is, is that my hearing came back, so I didn't feel like I needed to do anything anymore. But yet I think it represented me at my best.

And I look back on it now, and this has been quite a few years since, because I think we hit a milestone and they said, you should go back and revisit them. And I never did, but I was made an official member of the class of 1977, and I have been invited to class reunions. So there is my my chance of being able to do that.

But it was a fascinating thing. Well, in the movie business, there are those passion projects. There are things that people live to do and they don't always get the funding for it. You know, you might try something on a lower scale or a smaller scale, and then maybe somebody will say, Let's do it. Let's make that let's make the film out of this.

And that's what happened with a film that's coming out this week called The Inventor. It was a passion project of writer director Jim Capobianco, who had done a short subject about Leonardo da Vinci. He called Leonardo in 2009, I believe it was, and he wanted to expand this into something much bigger, make it a much bigger film than it ever was.

And so he got that funding, got the people, got everything behind it, and created this animated film that's a hybrid. It's part stop motion animation and it's part 2D or draw on animation. And it's him at his best, at least as he sees it. And it's a way for him to do those stories. And he says, you know, he grew up in the in the Disney what do you call it, the factory.

Disney Factory. Sure. He wrote Ratatouille in case you need to have a point of reference. And they always said, you know, do your passion projects, do the things that you most care about and you'll never go wrong because you're doing something that you have an interest in. And he is interested. Interest was in Leonardo da Vinci. He couldn't believe that this guy did all these things.

All of this kind of stuff. And yet in the later years of his life, what was it that drove him? What was the thing that kept him going? And so that's kind of the thrust of the inventor is those later years when he was in France and what he did with those things. And I mean, my God, go down the list of the stuff that Leonardo did.

Unbelievable. But then he also has to bring in others to share this kind of passion, if you will, and get those people excited about it. And so that's what he did. He had to try and build this thing like he is a Leonardo of an animated feature. This film isn't attached with Disney or one of the other big studios, right?

No, no. It's a very much independent film, which is cool to see, especially with an animated film, because animated films aren't necessarily cheap and it's takes a little bit of work to get them done. Well, and the idea that you're doing stop motion and draw an animation. When do you do which and I think I did an interview with him was hopefully a part of it here that you can listen to.

But he said that he used the stop motion, which are like, if you remember, a nightmare before Christmas. Tim Burton loves to do this using like little dolls, if you will, all of the Rudolph the Red-Nosed Reindeer, any of those kinds of films were done stop motion, and you'd move them very slightly. And then when you had men shoot the frame and then you keep going and eventually it looks like the character is moving around.

But he did reality or the the real part of it in stop motion. And then the flights of fantasy that he might have as the drawn stuff. So you could see drawings come to life and what they would mean for him. You know, he worked on a flying machine and you could see the flying machine come to life.

So it's a fascinating thing. But then he also had to draw others in. And one of the ones he drew in was Alex Mandel, who is a composer who worked with him at Disney on a number of things. But he had a sharper learning curve because he did not know the whole backstory of Leonardo. Let's be honest. Do we all study Leonardo?

You want to see a cartoon about Leonardo? You've probably don't, you know. And so he had to take a lot of the information that he was given by Jim and then work from that. The interesting thing is he also realized that he could take a shift and jump out of this and he wouldn't have to have period music.

It wouldn't have to sound like it was from Leonardo's time. He could be different with all of this. Well, one of the things he did is he recorded a kind of a test song to see how well this would work when they were pitching it and he needed a singer. And so he said to his daughter, who is a singer, ten years old, record this for me.

Her name is Sequoia Mandel. And Sequoia, you know, was and she was in for the money. She thought this was good. This is a good idea. So when they kept kind of adding good, we had the pandemic. We had all these things in there. She recorded another version at 12. She recorded songs at 15. She's throughout this whole thing.

And it helped him also understand the people that they were hiring for the parts. She knew more about the actors who were being hired than Dad did, and it helped him realize what kind of their range was for the music. So it's a fascinating kind of story, and I think this is not a movie that kids might just embrace.

It's this is not the latest for a frozen, you know what I mean? But yeah, tells another story. It is something that if you're an animation fan and you're older, it's something you will appreciate because you see how these people that we now view as just untouchable geniuses that have no, you know, no relationship to us and how the thought process went for them and what they had to do to put it together.

Stephen Sondheim wrote a song for Sunday in the Park with George called Putting It Together. And that's exactly what it is. It's like, what are the little elements that create genius? And that's what you get out of this, this film? Yeah, it sounds like an interesting film, and I agree. It seems like the type of film that it's not necessarily you're going to gather up your five year olds and shuffle off to the theater, but maybe a more mature age children, teenagers and people that can appreciate different types of animation and I love animation.

I've always been drawn to things like the Tim Burton stop motion. And even as a teenager, I was really fascinated by Gumby, which, you know, that was the stop motion television program from, I guess, what, the 1960s? Probably hokey claymation. Yeah, Yeah, exactly. So that's always been fun. So I think this is the type of film that would be really interesting to check out and see.

I'm trying to think like what kind of music would be of the time of Leonardo DiCaprio. Probably a lot of movie. See your make or allow. Well, the music of Leonardo DiCaprio would be very familiar to Taylor Swift. I think she's in the film. But yeah, with Vinci. Yeah, With Da Vinci, you would think, well, there's probably some lutes and liars and all that kind of stuff.

And you didn't write that. Is that what it is? I don't know. But if you can be a little more modern with some of it, it might be a little way of telegraphing what he is thinking or how he is thinking. You know, how do you how do you stay ahead of the curve and not below the curve?

Because most of us are B, below the curve, you know, So what do we want to do? First, we want to go to the interview with Jim Cappa Bianco, if you'd like. Yeah, that'd be a great one. And you'll hear him talk about, you know, his creative time and what he learned from all of this. You'll explain the process a little better than I could.

But if you will grab a snippet from that. And I think that should should give you a sense of of the film. How do you get obsessed with Leonardo DiCaprio? Leonardo DiCaprio now and I'm totally obsessed with, you know, Da Vinci. What is the deal? I think like a lot of artists, you know, you get to know about Leonardo da Vinci in some form.

But then I made the short film. I started researching him for that, and then I just started to see him more as a human being than just a genius. And that kind of aspect of him. I wanted to sort of explore further in the feature. So, you know, that's what kind of drew me to him more, you know, And obviously he's such an interesting character person, you know, with all his interests and everything.

So that just, you know, to be and bring him down to a kind of a more human level was really what's always driven me about him. But then don't people say, wait a minute here, people may not want to go to see something like this, you know? Well, I don't know. I guess I don't maybe the people trying you know, we were trying to get money from and to raise funds for a thought that way.

But I can I just want you know, I'm just going to try to tell the story I kind of want to tell. So I didn't worry about that too much. I mean, I was always in the back of my mind, Would people really want to see the sort of kids and stuff? So but, you know, as a film, as I developed it that I wanted to see, and that's how we always develop stuff at Pixar and Disney.

So it was always like, you know, what's the film that I as a kid inside of me and the adult would want to see in animation. So that's getting out the way you wanted it to, to be. Did it become the vision that you had way back when was beyond my vision? It's just, you know, I think the team we had to get it, we brought together just brought so much magic to the film and I couldn't ask for a better group of artists to work with.

And yeah, I don't think I ever, in addition to what we turned out, we created, it's just amazing. So how do you decide what's going to be stop motion animation and what's going to be drawn anime? I mean, to me that was very fascinating to see how it, you know, it would separate and then it would be this would be that.

How do you make those decisions? Well, as we did well, as I developed it, I started to see the stop motion as the kind of the reality, real world of the world, and then the drawn animation as sort of Leonardo's flights of fancy, or it was more free because the two techniques stop motion has you are rigid in the sense that you can only animate what you've planned because you have to build an armature and it can only do certain movements and you know it can walk.

And it's not like arms if it's going to do some sort of fantastic movement. That animation can do it. You'd have to plan for that. And they are usually built that way. You have gravity, you have a lot of things you have to worry about. But with 2D drawing animation, whatever you can draw, you can pretty much depict.

So it is a much more fluid form of animation. It's freer, it has this sort of sense of lightness to it. So to me that was like Leonardo, you go into Leonardo's brain, you go into his thoughts. That would be 2D animation. When we're in the real world, it would be stop motion animation. Okay, well, is it easier to do one or the other?

People think stop motion is much harder, but I think it's just where you have to put the planning for it or where it the difficulties lie. Like stop motion, you build a puppet. The a lot of the work is in the building of everything and assembling and like working out the costumes, working out how they armatures will be built.

And then once you have the puppets and you animated, that's what you have. I mean, you have it's like a live action shoot and you shoot it and you have that footage, right? It's done with 2D drawing animation. You have the difficulty. There's planning and designing it, but once you animate it, there's other follow on technique. Tasks that have to be done has to be colored, maybe cleaned up because the animators generally draw a rough.

And then there's another artist that cleans it up and stuff. But also you have to deal with each animator might draw the character slightly differently and you need to kind of reign that in and adjust. They're always a little off. I mean, I think if you really go through the film and really analyze it, you'll see the Leonardo's and the 2D change sizes.

Oh, I don't get, I don't get that that mean about it. That could really slow motion. You build this puppet that's it you cannot vary it. Each artist that touches it's going to be the same. So they have their you know, they're both it's animation. Animation is the nuttiest crazy anything going to happen. Right. Right. That anything can happen with animation.

That's right. That's true. Squish and squish. Come on. When you were doing using his his artwork, what did you see that he could have been an animator at some point. I mean, they always thought that actually, you know, you see how he studied motion. He did a lot of studies about how people move or animals move. And you see he does different.

There's these drawings he did of construction workers and you see them in different poses of working and they look like animators, you know, sketches that we would do. We study anatomy and we look at people walking around the street and we do fill our sketchbooks with these actions, you know, and obviously studied anatomy. So he's learning about how the body moves.

And and so, yeah, I've always thought if he if animation was a thing back then, he might have tried animation. I don't think it would be the only thing you do because the guy is always changing his ideas. Well, to me, that's so remarkable that there are all these things he had his hand in and it could you imagine yourself?

I mean. Sure. Yeah. You have a lot of interest in a lot of different things, but he was like at the top of his game with so many of those things. Yeah. No, I don't see myself that way, though. Where do you find the human element to Leonardo? Well, I find it in that he, you know, he had to have a patron.

He had to have somebody who paid him money, but he had these other dreams he wanted to do, which I think a lot of us do. You know, you have to make a living, but you also want to do other things that you find more enjoyable or explore, you know? And then also, he had a lot of fear of like how he would be except did in his world.

And I think that's true of most a lot of people today. He wanted you know, he wanted recognition for what he did and what he could do and that he didn't always receive that, you know. So I think there's a lot of humanity. And then ultimately the story is about legacy and what you leave behind. And I think that to me speaks to a lot of what I would imagine.

I hope people think about, you know, how we touch other people and affect their lives and stuff. So to me that those are the human elements that I really wanted to touch on, you know, and also the curiosity, I mean, the curiosity and all these other things. So how do we start casting the voices? I mean, you had the voices in your mind.

You said this would be perfect for so-and-so or is it just I mean, that to me it's it's an international cast. Yeah. And we really came about I developed the character first and was the story and then and now is still developing the story. But then I was like, okay, who could voice Leonardo? And then, I mean, the only person I could really think of was Stephen Fry, just because he's such a polymath himself and he didn't want the like we were being voice of a Gandalf.

I really wanted like this lighter voice with wit and intelligence. And to me, Stephen was that perfect casting. And even when recording him, he would correct my use of words and then give me ology and that word like, you know, so much fun. So and then Marguerite sing Daisy Ridley and the Disney are the Star Wars films at Disney.

But, uh, he, yeah, she, she just had a nice a power in her voice and also a kind of vulnerability in there as well. And I thought that was perfect for Marguerite. I didn't know I would ever be able to cast her, but I was like, okay, that's the character in some ways, that voice inside Marguerite. And then, you know, you go, Okay, who do you want?

You know, the producers. Like, okay, who should we cast for Marguerite? I'm like, Why is it Daisy? Ridley would be great? And we're like, Well, it's you. We can get these, really. And then you also make a list. You're like, Oh, and so on. So and so. But she was at the top. I really wanted Daisy and then, you know, and she accepted to do it too.

And Marion Cotillard was like suggested actually by the French studio. We're still looking for Louise's voice. And they said we might be able to get Marion Cotillard. And you're like, Well, you know, hey, I guess we could use her. Yeah, maybe. But, you know, the one interesting thing with her is, you know, we have these songs in the film and we actually that was the last song we made because that she sings because we didn't have one for her.

And then I told Alex, the composer, I said, Alex, we have Marion Cotillard in the film. She's the one person everyone knows can sing and we don't have a song for her. So we reworked the story a little bit to put in the UN Guard song on Guard L.A. and it just was like the perfect thing because it connected to the dueling in the earlier part, right?

And like that. And so that's how the film would work and evolve. It's like, Well, we need this here. And it's like, Oh, we have to check connected there and thanks, Bruce, for that interview. Real fascinating stuff. And now you do have one other interview and that would be Alex Mandel. And you'll hear him talk, too, about working with his daughter and you'll hear about those who can't sing because, you know, they don't always put singers in these animated films.

In fact, many of the Disney films, they would have a singing voice and then they would also have a speaking voice. So Aladdin, spoiler alert, The singing voice of Aladdin is not the talking voice of a that and that's that's not uncommon. It's often the practice. But you'll hear him talk about some of the actors who are in the film and their abilities with singing Fill Me In.

Where do you start with something like this? This seems like, Man, how do I a paid tribute to somebody like Leonardo? And then what? Where do I begin with the sound of it. Yeah, well, I mean, Jim Capobianco, the writer and director, has been studying Leonardo for years. He had done a film about narrative energy back in, I think, 2009.

And so I was trying to catch up, but really relied on Jim to say, this is the part of Leonardo da Vinci he was interested in, which is his last year, where he left Italy as a older man, went to France and never came back. And so this is him really dealing with the end of his life and the meaning of life and his mortality and what he can leave behind for future generations, which he did.

And so, yeah, that was the storyline. And so then the question is, well, how do we tell that story? But do you started researching music of the Times and saying it's got to sound authentic to that period? Or do you say, Well, now here's my chance to be an inventor and I can go off the tracks? Leonardo da Vinci was ahead of his time, right?

He was designing flying machines 500 years or 400 years before the Wright brothers created an airplane. So that gave us some leeway because I could have music that sounded more of the time for, say, the King's Court. But then from Leonardo, it was ahead of its time, you know, And so this the music becomes a kind of metaphor for the mindset of that character.

So Leonardo and Marguerite, some of their music sounds like it's 150 years ahead of its time. Some of it sounds like it's modern. Whenever their ideas jump forward to our way of thinking, the music becomes more modern to reflect their their thinking. Okay, so then when you're dealing with the voices and maybe a voice isn't that good at singing, and I'm not trying to name names now he's being called out here, but do you write for them or do you write the songs?

And then you say, okay, well, I guess you can talk through this one. Yeah. And it's there's interesting story there. Stephen Fry, who's a brilliant writer. Not that I'm naming names. Okay. Oh, no, I. And he would be the first to agree. He said, I'm really not comfortable singing. But Jim, Jim's idea was to have him speaking. But even so, there is I don't know if you've seen the film.

There's a scene where Leonardo arrives in France and he builds his workshop. The walls come up and as he names things, they magically appear in stop motion. And that was a very fast, almost like wrap that. Stephen Fry Right, right. It just took a while. He was very worried, but it turned. He did a great job. It turned out great.

Daisy Ridley You know, my daughter said, Dad, you know, here she is singing with Barbra Streisand. And I listened to her voice and I thought, okay, I think I get a feel for her range. She's got a great voice. I'll write the song to suit her voice. And same with Marion Cotillard, beautiful voice. She's recorded a lot. So I had a pretty good idea of what her range was, and I could keep that in mind as I composed songs for her.

So then how long do you have to write these songs? Because here's like nine songs you've got or something? It's nine songs. Yeah. It's it's funny because at the end there, I wrote a bunch pretty fast. The reason was I think Jim saw, Oh, these songs are helping to tell this story, so maybe Daisy needs a song, maybe Marguerite needs a song.

I pitched the idea. I said, We got to get Marion Cotillard to sing it song. She's a great singer. And also I want to learn more about the Queen. Like, what did she want? And because she's a secondary character, you know, you don't have that much time. So the song really summarizes a lot about her in a very quick way.

And that song was written quite quickly, and the fastest song was when Stephen said he really said, I cannot sing at all. So there's a scene where he's talking to Mona Lisa, and we had 45 minutes to rewrite the song, and I suggested Jim, What if Mona Lisa sings the chorus back to him? So he laments his situation, I'm finished and Mona Lisa sings to him.

Yeah, you are. We're out of time. You're done. So sometimes you've got years and sometimes you've got 45 minutes. Okay, there's. There's a credit. That is it. Sequoia. Is that a relative? Sequoia is my daughter. Okay, But then from 10 to 15 or something, what is the deal with that? So we've been working on this movie for a long time.

When Jim asked for that first song, I had my ten year old daughter Sequoia sing it, and then it was cute. She had a very cute voice and it's just adorable. We actually had a singer when she was 12. That's the version that's in the movie. But then Jim said, Oh, I want the girls all for girls to be sing for our harmonies.

So I recorded her when she was 15 too. So we have my daughter Sequoia, singing different songs. And I said, Yeah, and which is again, really fits the theme of the movie, which is about family, and it's about, you know, legacy and sharing ideas with each other through the generations. So it worked really nicely. So what does she think about this?

I think she's she's into it. I think know, she's an aspiring actress, so she wants to be judged on her own merits, which I appreciate. But as far as I'm concerned, she did me a huge favor. And it you know, she's singing a duet with Daisy Ridley. So that's pretty cool. I think she's does she get all these, like, chicks then for each age?

I'd be holding out for that. Can I be her agent? It'd be a cool thing. Thankfully not. No, I. We basically said we're going to put aside a fun for her. There's a certain amount of money that will be set aside for her, and we've handled that within the family. Why did you stick with this so long? What was it?

What was the pole for you? Well, I really believe in Jim Capobianco’s vision. I think he's a true artist. I think that this is it's a work of art. I mean, and, Jim, his passion is contagious. And also, I got to have a lot of creative input, you know? And so Jim would hear me out. He didn't always take my suggestions, but sometimes he did.

And so I felt like I was very much a part of the movie. And I, I wanted to see it succeed. So, you know, some some projects you do, you know, to pay the rent and some you do for passion. And this is a passion project. You must tell your daughter, I want to be your agent, because I think I think you've got a good partnership going on here, I think would be great.

And I would make sure we got more than one check. You know, I'll let you know. I'll get you the list. People keep asking me this and and but she will be she she's happy. She got a very good compensation package. But thank you, Bruce. Thanks for that other interview. And it just to kind of fill folks in on this film as well.

It does have some heavyweights of sorts in this isn't just like it's a smaller, no more independent film, but but we've got Daisy Ridley from the Star Wars Rebels. He's in it. Matt Berry is in it. Stephen Fry is Leonardo Da Vinci. I was going to say. DiCaprio You see, that is your ball. It is like it's not easy.

But yes, there's on demand. Yeah, yeah, yeah. So some pretty well-known actors in there. So it should be an interesting one to check out when you put it out there that this is a passion project. People come because they know you're not going to just blow it off and it's going to be a two second kind of thing.

It's going to be something that really gets the attention and the the care and the feeding of it that it needs. And, you know, when it's over, what's next? What's what exactly comes after that. Yeah. And you know, what's fun about this episode, Bruce, is our concerns were a little bit alleviated because we know you can't get actors right now to talk about it right during the strike.

They can't talk to promote their stuff, but you're able to get the composer the film in and the director. So they, you know, we're still we're still bringing them in. Dare to dream we could get a hairdresser. That's right. They could. You never know. It could happen. It could F and costume designer. Yes, Yes. Well, I love all of those big ones, you know, but that gives you a sense of what the other parts of the industry are and that it isn't just about an actor strike or a restaurant strike.

There's a lot more involved with all of this. So, yeah, it's fascinating. And I love hearing their stories because I don't know that I could be that passionate about it. Yeah, absolutely. So what do we have coming up? Anything of interest on your end? Here's the other thing. I this is another kind of spin off of all of that is movies based on people's lives.

And I think next week we're going to look at films that were based on Saw The Blind Side, where Michael was saying, you know, that wasn't true. They used me. How true are these based in truth films and how really can we trust them? And I did get a chance to talk to the real guy behind Gran Turismo, and you'll get a chance to meet Jann Mardenborough and find out his story.

But next week, we're going to look at we're going to look at that whole world of this is based on a true story or parts of this are based on a true story or some of this could be true, you know, but I think we'll look at that. So think of the films you've seen and you go, you know what?

I don't know how close that is. You know, it's an interesting one. And we'll probably talk a little bit more about this one next week. But I started watching the second season of Winning Time on HBO, the one that follows the lake, the rise of the L.A. Lakers. Right. And we talked a little bit about this a few episodes ago, but how there were some criticisms of it perhaps not necessarily being as truthful to reality in the first episode comes on and they put up a disclaimer saying that some of the some of the things here in this show may have been changed for dramatic purposes.

Some characters might have been fudged a little bit. So yeah, I kind of found that one interesting. It's amazing they use those lines well, they get them off the hook, but Right. How they reword that all the time, you know, based on a true story, based in fact, this is a factual ized version of true events. I mean, where did they come up with this crap to to identify it?

But I think it would be fun. And we talked to John and he tells you what it's like and how he thought the movie went awesome. All right. Well, that sounds good and it gives us something to look forward to next week. I know you sent me the interview already had that one kind of squirreled away that night?

Yes, in the bag. And I started I gave it a little bit of a sneak preview. I'll give give a final listen between now and when we speak again. But yeah, until next week. Thank you all for listening to this episode of Strangers Green. Remember your passion.

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