← The Town with Matthew Belloni
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Hey, it's Danny Kelly. And it's officially fantasy football season, which means the Ringer Fantasy Football show is back with the latest news from around the NFL and everything you need to get ready for the fantasy football season. So join us at the Ringer Fantasy.
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Football show on Spotify or on our new YouTube channel. Adolescence has been nominated for 13 Emmy.
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Awards including outstanding Limited Series, Outstanding Lead.
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Actor Stephen Graham, outstanding Supporting Actor Owen Cooper and outstanding Supporting Actress Erin Doherty.
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You need to see Sit down, James. Tell me where to sit down.
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Forbes raves adolescence is an all time technical masterpiece. Deadline declares it a world changing phenomenon. For your Emmy consideration, Outstanding limited Series.
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Adolescence only on Netflix.
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This episode is brought to you by Lucasfilm. Presenting Andor Season 2 Andor has earned 14 Emmy nominations including writing, directing and outstanding drama series. Vanity Fair raves that andor is profoundly resonant. It's the best television of the year. All episodes of Andor are now streaming on Disney. It is Wednesday, August 27th. I'm sorry to say it, but summer is officially over. Tonight's the opening night of the Venice Film Festival, which marks the start of the fall film festival season. It's Venice, then Telluride, then Toronto. And over the course of two and a half weeks, we'll get a pretty good sense of this year's Oscar race. These festivals aren't just for awards, of course. There are also markets for independent films where producers and sales agents and lawyers take their movies without distribution, screen them, hopefully get good reviews and crowd reactions, and ultimately sell them to be released around the world. It's a pretty brutal business and the fail rate is extremely high. Even when the buyers bite these days, the margins usually aren't what they used to be. But when a film really hits, it can be an exciting time. So the festivals are a great place to assess the general state and health of the independent film market. And nobody is a better expert than my guest today, the consummate independent film producer, Christine Vachon. Christine has been making movies for decades now. She produced Todd Haynes first feature, Poison, which won the grand jury prize at Sundance back in 1991, all the way up to the materialist, Celine song's big hit. From this summer, she produced Oscar winners like Boys Don't Cry, Far From Heaven, Carol Past Lives. Her company, Killer Films, just celebrated its 30th anniversary and she's in Venice right now because of course she's got a movie premiering called Late Fame, starring Willem du Foe and Greta Lee. We taped this chat last week before she took off for Italy and we talked about the challenges of getting challenging films made these days, where money is coming from in the indie space. I asked her to power rank the festivals based on where she most wants to premiere one of her movies. Of course, I asked her about the wine selection at airport lounges. She's kind of an expert on that subject. So today it's Christine Vachon, the fall film festivals and inside the Indy salt mines with a top producer from the Ringer and Puck. I'm Matt Bellamy and this is the town. All right, we are here with Christine Vachon, proprietor of Killer Films and probably the consummate independent film producer working today. Welcome, Christine.
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C
Thank you so much.
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A
Congratulations. 30 years, same company. Not many people can say that.
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C
That is for sure. I kind of can't believe it. And sometimes we wonder if we should be telling everybody because maybe we should, you know, stay 29 forever.
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A
Oh, that's funny. Yeah. The 39 year old of movie producing.
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C
Exactly.
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A
No, it's a big badge of honor and you have a great reputation. And I want to talk about the state of the independent film and film festival landscape through your eyes because we are heading into the fall festival season. You are headed to Venice. We're taping this a little early, but when this airs, you will be in Venice. You've got a film there, Late Fame with Willem Dafoe, Greta Lee. That film is a pretty small film. It does not have a distributor yet for the US And I want to use that film as a window into the state of the system here. What is the best case scenario these days for a small movie like Late Fame? What are you trying to get out of Venice and just out of your distribution deal?
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C
You know, Late Fame, it is a good example because, you know, it's a very strong script by Sammy Birch, who wrote May December nominated for an Oscar for it.
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A
Which you produced.
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C
Exactly. And when she brought us this script, it's pure Sammy. You know, it's beautifully written, has that kind of Sammy wit. You know, it's terrific. So we put it together completely independently and, you know, these days, you know, character driven drama, even if it's sort of a dramedy, which I guess I would characterize Late Fame as. Those are the toughest nuts to crack in several ways. For one thing, they have to be executed perfectly right. They are execution dependent in the most brutal way. So there's that. And then they have to connect with an audience.
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A
And are the festival still the best curator of that audience? Does. Does Venice matter as much as it maybe once did?
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C
That's a hard question to answer. I would say that the fall festivals matter.
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A
Venice, Telluride, Toronto. The curators of the awards season, essentially.
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C
Exactly.
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A
And the New York Film Festival and New Yorkshire.
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C
You know, some movies go to one, some movies go to two, some movies go to three, some movies go to all four. So it's a kind of, I feel like as opposed to Cannes and Sundance, which are sort of standalone in a way, the fall festivals, how a movie sort of moves through them and you know, takes perhaps resonance from one festival to the next, I think that matters.
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A
And are the streamers still interested in smaller indie movies? Because there was a period where Amazon, you know, at its inception they built Prime Video's movie business on these independent style movies like Manchester by the Sea that could get awards attention. They have gone a completely different direction now. They are doing big, broad, big budget stuff if they can, theatrical plays now. And Netflix, I feel like if they smell any hint of awards, they may bite. But otherwise are they even interested in this stuff anymore?
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C
It's hard for me to know because I feel like the business is changing under our feet so constantly. And I feel that we get told more about what companies aren't interested in than what they are interested in.
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A
Well, that's the history of the movie business.
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C
Well, I suppose that's true, but you.
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A
Know, but Netflix picked up May December because they smelled awards chances for Julianne Moore and for Charles Mountain and all of them.
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C
Correct. And maybe that will happen with Late Fame and maybe it won't.
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A
But what if it doesn't? That's what I'm curious about. For the 99% of movies for which it doesn't hit that bullseye, what are the options now?
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C
I guess the options are there is a new smaller distribution companies that don't pay giant MGs.
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A
Sure. Minimum guarantees.
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C
Yes, sorry. That might see this as might see a movie like Late Fame, which that won't happen to. But let's you know, a movie say similar to Late Fame that that does happen to, they could see it as a real opportunity. And a lot of those smaller companies, the only way for that, the movie then to return to its investors, return on its investment, really in that kind of scenario is for that company to put some resources behind it which are probably resources that don't go towards a minimum guarantee.
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A
Sure. What's your take on Mubi? How do you feel about them? Because they got a lot of attention for the substance. They did a fundraising round that valued them at a billion dollars supposedly. And they are a streamer and a distributor. What's your take?
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C
Whenever somebody. There's a new company on the block, I'm thrilled.
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A
Yeah. Making and releasing the kind of movies you like to make.
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C
And Ariana Baco, who just took over, you know, the movie side, I guess, acquisitions. I'm not absolutely certain of her title.
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A
I'm not either.
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C
But she's got a great reputation, terrific taste. So I think the more distributors, the better. That is our mantra when it comes down to there's two distributors that could possibly buy your movie or one. I mean, we had a script that we are trying to get into production, that we had a terrific meeting with a potential financier and they ended up turning it down because they felt there was only one buyer for that finished film.
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A
Oh, wow. Interesting. Yeah. It's all about having a healthy ecosystem with buyers that are finding a business out of this. And if Mubi can find a business out of making and releasing the kinds of movies that you want to make, you are going to try to support them as much as you can. And it seems like to me the future here is smaller niche services that cater to what is essentially the art house crowd that has now migrated to streaming and can build enough subscribers around their business that they can pay decent money for these movies. Where are we in that happening?
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C
That's it in a nutshell. And the glass half full version of that is that there are a lot of new, young, interesting financiers out there. A lot of them were involved with late fame that are, you know, that seem to understand movies and are investing not to lose their money. Nobody invests to lose their money, you know, but are investing often because they really love the projects they love.
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A
They're patrons of the arts, as we.
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C
Like to say, but they're not patrons because money back.
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A
So they're. They're not. They want to make money, but they're okay if they don't. That's my point.
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C
Well, I suppose anybody who's investing in film has to be okay if they don't, right?
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A
Yes.
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C
Nature of the beast.
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A
Yes. It's not like putting your money into, you know, dairy futures or something like that. Like, it's. It's different. Where are the money sources these days that are different than what we may have thought about in the past?
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C
Well, I'm finding that there's. In terms of equity investment, there's kind of two. There's the kind I just described and then the other kind. And these folks have existed probably since the beginning of time. The other kind are folks who made their money doing something else.
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A
Sure. Rich guys.
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C
Yeah. But they made their own money. They didn't inherit, so they consider themselves true businessmen. And you're right, they're mostly men. So I don't know why I'm making it.
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A
I know I was going to not gender it. And I was like, you know what? They're men.
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C
They're men.
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A
There are. There are some that are not. Gigi Pritzker is a great example. She has a great company. She's an heir to the Hilton family, but she has made a great business in entertainment and stands on her own. But most of them are men.
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C
So those guys tend to approach the movie business like, hey, I'm a great businessman. And the way you make movies is so chaotic. I'm going to impose my business document on it.
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A
I figured it out.
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C
Possible. It's impossible, and it never works. And it ends up like, you know, tears all around, basically. So I'm also finding that there is a certain philanthropic factor that is starting to come in. I think, seeing that, you know, say, with the demise of a company like Participant, that there is a need if you feel that these stories should continue to be told. I mean, Participant obviously was often telling stories that were around an issue.
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A
Sure. And that was Jeff Skoll, who is an ebay guy who decided to create a company that would have dual goals of making money in the movie business, but also spreading positive messages about subjects he cared about.
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C
Right. And a good example of that was Todd Haynes Dark Waters, which was, you know, a terrific film starring Mark Ruffalo, but was also based on a really gripping story about a lawyer who finally was able to bring dupont down for, you know, poisoning people. But it was also a thriller.
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A
Yeah. Where are you on the Saudis? Do you think it's okay to raise money there? Do you find indie producers going there? Are the Saudis even interested in these kinds of films?
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C
I don't think they're interested in mine for kind of obvious reasons.
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A
Sure. On the other end of the spectrum is a movie like Materialist, which you also produced, and that was Celine's Song. And it was a 24 cost, from what I read, 20 million and made 65 million worldwide. That is big hit in the indie world so far.
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C
It's still just opening in the UK this weekend, so lots of other markets.
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A
Definitely. So a 24 here. A 24 has been interesting. They have been a company that has figured out how to make the kinds of movies you want to make and at least on paper, make money doing it. And Raise a lot of money. Now they seem to be moving more into commercial fare and higher budgets. Is that the messaging you're getting from them? And do you worry a little bit about that shift?
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C
It comes back to the more distributors, the better. We've had a long, really productive relationship with a 24. And I don't really know their inner workings that much. I mean, I. I have very good relationships with multiple executives there. And they all will, you know, they all have different things that they gravitate towards. I love that David Laub has now resurfaced at Neon, for example, because Laub has been a champion of the kinds of movies that Killer makes, but also just like terrific art house movies with that commercial bent.
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A
Who is David Laub? I don't know him.
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C
David laub was at a 24.
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A
What does he do?
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C
He was, you know, I don't remember his exact title, but he was the guy that kind of looked after the more independently minded films.
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A
Okay, Neon is maybe picking up a little bit of that slack from.
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C
Well, I guess that's a long winded way of saying that. But I also don't. I have no reason to believe that A24 is totally out of that game either because we still have very active conversations with them about the kinds of directors that we like to work with and the kind of stories they want to tell.
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A
Well, and you make up past lives and then you get materialists, right?
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C
Correct.
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A
And that seems to be the strategy. Just like the big studios will give a small director a bigger title, maybe out of his or her league, and then when that succeeds, you get him to do the blockbuster. This is like the indie version of that.
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C
That's right. Except that doesn't happen that much anymore.
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A
No, it happens less often. This episode is brought to you by Wayfair. Your home is more than a space. It's where you express yourself. Like, we've all got our movie night set up. I definitely do. I've got my chair, I've got my popcorn, I've got my nice drink area. Everything set up perfectly. Whatever your vibe, Wayfair has every style for every home. They've got all your home essentials, storage solutions, decor and more all in one place. I recently got some great stuff from Wayfair. Ordered some nice outdoor furniture. We got a rug that looks nice with the fire pit. We've got some flower stuff goes all around the outdoor barbecue. Very cool. Lots of entertaining this summer. Wayfair, big part of it. Get inspired with room ideas and easy to shop collections. All with Everyday ways to save Shop everything home@wayfair.com with free and easy delivery straight to your door. That's W-A-F-A-I-R.com Wayfair Every style, every home.
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C
This episode is brought to you by Seen on the Screen, a podcast presented by Make It Universal and Rotten Tomatoes. Join me, Jacqueline Coley, as I meet the filmmakers, actors and industry insiders influencing entertainment. Each episode is an intimate, fun conversation about the impact of film as guests share their journeys, inspirations, and answer. Trivia about the movies that shape them. Seen on the Screen is available now. To listen, simply search Seen on the screen wherever you listen to podcasts.
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A
So I want to get to the festivals here, and we love to do, like, power rankings on this show. I know it's reductive. I know you probably think it's silly, but let's do it. The power rankings of the film festivals right now, who's number one in terms of influence? Where you want your movie to be, where you think it is, the best chance of getting showcased, getting attention, getting a distribution deal, getting awards attention. You have your choice of all the festivals. Where do you go?
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C
All right, so that is. And I'm not trying to game the question, but you said some very different things. You said awards attention, distribution deal. Those can often be different from each other. So in terms of awards attention, I would say right now probably can and probably best if you win a prize there.
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A
Yes, I agree with you. And I think that's changed in recent years with the addition of so many international members of the Academy.
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C
Agreed.
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A
Because it used to feel like if you won something at Cannes or you got the critics there, it's like, okay, that's nice. But there's. That's Euro. That's their niche. They're artsy. That is not the mainstream Academy attention. But now with so many members there, it increasingly is. It can be foreign language. It can have hardcore sex in it, like anora. It can have all sorts of things in it and still be an Academy movie. And I think that's really benefited.
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C
Can absolutely agree. But in terms of making a North American sale, it's Sundance.
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A
You think so still for narrative and.
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C
Docs, docs aren't my.
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A
Sure. Okay.
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C
That's not my thing. So I can't really speak about that. I would say for docs, it may well be Berlin.
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A
Oh, interesting. I would have said Sundance for docs because I always love the docs at Sundance.
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C
Oh, the docs at Sundance are so amazing. I always think it's because, you know, the narrative filmmakers tend to be at the beginning of their careers, and the doc filmmakers tend to be much further along. So they're, you know, they just are a little bit more accomplished.
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A
Why is Sundance still so good for acquisitions? Is it just because their reputation, their curation, the beginning of the year thing?
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C
It's those things. But also everybody goes. I mean, that's the thing, you know, the issue sometimes, the reason why. Venice. You know, taking a movie to Venice, you sort of need to have a little bit of a bounce with another festival is not everybody goes to Venice. From North America.
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A
Sure. Yeah. How do you see the move of Sundance from Park City to Boulder impacting that festival? This is the last year in Park City. They're moving to Colorado. I've heard lots of mixed things about it. I think ultimately it's going to be a positive, but a lot of question marks there. How are you seeing it?
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C
Well, you know, I was very vocal about being Team Cincinnati.
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A
Oh, you were? Oh, I had no idea.
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C
Oh, yeah, man.
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A
I thought I was not. Come on. Are you going to get Hollywood people to go to Ohio in January?
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C
They want to see the movies, they'll go. And if you're inventing a festival, why not go someplace that is much more accessible to young filmmakers?
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A
Okay, well, College Town is a lot more accessible than Park City. I will say that Boulder has a lot more. I think. So it's going to be a little bit more accessible.
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C
But what I was going to say, that's water under the bridge, and I don't want to get into the Cincinnati pissing match. We should do that on our own. But I would say I agree with you. I think it's a way for the festival to reinvent itself. I'm very excited, obviously, by Eugene Hernandez's appointment there.
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A
He's great.
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C
He's terrific. And wherever Sunburst ended up, it was gonna be a time of change, but hopefully change for the future.
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A
It's a risk, though. Like, there is something about those venues and the salespeople know, the kind of crowds that go to the Echols, the kind of crowds that go to the library, what kind of movies to show in these venues when during the day to show them. There's a whole science to getting a reaction at a festival that you want to get. And we don't know what that alchemy is going to be like in Colorado.
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C
But that's exciting to me. I mean, I had. I have spent hours on the phone parsing the library versus the echoes versus 8pm versus 6pm versus the first Saturday versus the first Monday. I mean, I can recite those conversations in my sleep. I like the idea that you go someplace and it's all just like, roll of the dice, you know, here we are and we're going to have to figure it out. I think that will add an extraordinary energy to the festival. Look, what I really want is, you know, I can't tell you, you know, how many filmmakers have to like, you know, mortgage their homes to go to Park City. And what I really want is that it can become a more vital place in Boulder where, you know, that attracts the younger part of the industry.
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A
Yeah, there's a whole survivor ethos right now, I think, going through the film festivals. Like, what are we in an age where movies are largely accessible online and filmmakers can make anything they want, but they need us as a curation vehicle. That's a whole separate topic. So beyond Cannes and Sundance, what is your third on the hierarchy of film festivals right now? Of the fall festivals, which do you think is most impactful?
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C
I do think it's still Venice.
- [22:48]
A
They haven't leaned too far into the, for lack of a better word, star fucking, where they just want George Clooney on the red carpet.
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C
They all want George Clooney on the red carpet. And they would probably, if they were on this podcast, they would say, how do you think we get to do. Show the other movies?
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A
Sure, I get it. They need the fashion and jewelry sponsors in order to be able to do everything. I get it. That's always been an aspect of the festival business is the glamour pays for the investment in up and coming artists.
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C
Exactly. But that said, you know, a shot on that Venice red carpet with, you know, the canal behind you, et cetera, I still think that's very. That's impactful. And I think winning a prize at Venice can tee a movie up for fall success.
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A
Yeah. It's funny. Last year Toronto gave its audience award to the Mike Flanagan movie that I'm forgetting the name of. But it was not an awards style movie. It was the first time in a while that Toronto did not kind of curate a best Picture nominee.
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C
That's right. Cause the year before it was American fiction.
- [23:54]
A
Yes, exactly. And that really helped that movie get all the way to the Oscars. I still think Toronto, with its more populist audience, that audience award is the most impactful for the Oscars. I still think that last year notwithstanding.
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C
You could very well be right.
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A
I mean, remember Green Book? Green Book was not that long ago. And when it Won the audience award.
- [24:17]
C
I can't even talk about that movie.
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A
I mean, people were like, what? Okay, I guess this is an awards movie and it ends up winning.
- [24:24]
C
Yeah, let's put a shroud over that.
- [24:27]
A
Have you ever thought about producing a studio movie? Like a big budget? Like, let's just do it.
- [24:33]
C
I mean, we've produced a number of movies that have been backed by studios, like One Hour photo, which was Fox.
- [24:39]
A
Searchlight, but that's the indie division. That's specialty, right?
- [24:42]
C
You know, we made a movie with Orion, you know, with Billy Porter. I mean, so we've made. It starts to get confusing to try to parse out like that's a studio movie and that isn't like, isn't a 24A studio now?
- [24:56]
A
I would say yes. They're making movies with the Rock. They're making movies with a lot of big stars for mid budget movies. So like.
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C
Yeah, I mean, I guess if what you're really asking is, would you ever do a Marvel movie?
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A
Right.
- [25:12]
C
I'm like, if it was the right one and if I was right for it.
- [25:16]
A
They're hiring Chloe Zhao, they're hiring the Half Nelson, you know, Bowdoin and Fleck. They're hiring some indie directors. Maybe they'd want you on that.
- [25:24]
C
Look, one of the things that has kept killer alive for 30 years is we pivot easily and we're not afraid of change. To me, those are the things, you know, you gotta be nimble, you gotta be fast on your feet and you can't freak out. The rug gets pulled out from under you.
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A
Your low key secret favorite film festival. Something I wouldn't think of.
- [25:47]
C
Probably San Sebastian.
- [25:48]
A
Oh, really? Why?
- [25:50]
C
Well, first of all, it's in the most extraordinary place in the world with fantastic food and fantastic wine. And because of that, people really like to go. So it's one of those festivals where everyone that you couldn't actually get to from across the room at Cannes or at Venice shows up there.
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A
You might randomly see like Barry Jenkins or Willem Dafoe or someone like that. Yeah, that's fun. Okay, so you got quasi famous on social media back when Twitter was fun and we were all there.
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C
I'd remember when it was.
- [26:26]
A
Yes, you have very specific opinions about Airport Lounge wine. Give me your current state status on which Airport Lounge has the best wine selections on offer.
- [26:40]
C
Okay, so Delta Sky Club as opposed to the Delta Wine Lounge.
- [26:45]
A
Okay. And because that's not. That's the lesser exclusive.
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C
I'm get. Yes, I'm, I'm. They used to have Delta Sky Lounge used to have a really lovely Provencal Rose, a Minutti, which I'm sure you have, you know, tasted at Cannes.
- [27:01]
A
Sure, yes.
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C
And then they discontinued that for a really inferior.
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A
Oh, man.
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C
Sweeter. Not as. Just not as. Not as coifable.
- [27:13]
A
So clearly you changed your membership to another airline.
- [27:17]
C
No, I'm still pretty loyal to Delta because I think at the past lives year I hit that million. Million.
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A
Oh, good for you. Did they come out like up in the air and do a whole celebration?
- [27:28]
C
No, they send you to a website where you get to pick a gift.
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A
Oh, that's nice. That's nice. So has there been anything to replace that that impresses you?
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C
Well, Delta One now has a really lovely wine selections and even more importantly, the lounge itself has different wine stations where you can self serve, which is my favorite kind of serve. But Delta 1, you know, that's only when you're flying international business. So I hope the Sky Club ups its game.
- [28:01]
A
All right, Well, I hope so too, for your sake, for all of our sake. I appreciate you coming on. Good luck with the film at Venice.
- [28:08]
C
Thank you so much.
- [28:11]
A
We are back with the call sheet. Craig, you're into fitness. What do you think of these scrawny actor dudes getting super buffed up for random movie roles and then parading themselves through a months long press tour where they talk relentlessly about their fitness regimen?
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B
I would love to get one of those gigs. That's. That's what I would like. That sounds amazing.
- [28:31]
A
I know. We got to do an episode on the guys who turn Austin Butler from scrawny Disney Channel dude into like cover of Men's Health. Yeah.
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B
Honestly, if the listeners have a guest suggestion of who could come on to talk about how studios pay for it, who they pay for to kind of turn these actors into, you know, Chris.
- [28:52]
A
Evans turning into Captain America, preferably in unhealthy ways.
- [28:56]
B
Yeah, I'm sure they're not going to talk about all of the loads of steroids these guys have to take, but I would love to know the process and how that works.
- [29:02]
A
Zac Efron has talked about that. He talked about how for the Baywatch movie he was taking a dehydrating medication which like took the water out of his skin so that he appeared to be buffer on camera.
- [29:15]
B
Well, more vascular, you know, there's like, you can take beetroot pills which apparently improves like blood flow so you look more vascular.
- [29:22]
A
Yes. Amazing. Yeah, that would be a good episode. All right. But the reason we're talking about Austin Butler is caught Stealing is the big movie this weekend. Kind of the dregs of late August here. Labor Day weekend. Caught stealing. The Aronofsky movie tracking is only about 9 million for the weekend. Despite this pretty relentless press brigade they've been on. He and Butler and Zoe Kravitz have kind of been all over. They're treating this like a much bigger movie, but the tracking is only at about 9. I was surprised that the Whale, which was Aronofsky's last movie that did 57 million worldwide despite being a very tough watch.
- [30:02]
B
Yeah, that movie really caught the zeitgeist in a specific way.
- [30:06]
A
I think it rode the awards campaign. Only did 17 domestic. But because Fraser won, weirdly, he beat Austin Butler. Now Butler's in an Aronofsky movie.
- [30:13]
B
Look, Caught Ceiling is the type of movie that 20, 30 years ago would have been great. It probably would have turned into a rewatchables. It's Austin Butler in his prime. It's Zoe Kravitz. It's a 90s New York crime movie about an ex baseball player. It's such a weird time because August, this August has now featured a J A Jay roach movie, the Roses, which we'll talk about. A remake of War of the Roses.
- [30:33]
A
No, we don't need to talk about it. The less said about that, the better.
- [30:36]
B
We have a Coen Brothers movie, Honey Doe, that just came out. We have an Aronofsky movie and a Spike Lee movie and this is coming out in August when nobody's seeing any of these films.
- [30:44]
A
It's a very, these would have been spring and fall, like reliable 80, $100 million movies a generation ago. And now they're getting dumped in the late summer. It's, it's sad.
- [30:56]
B
I'm excited to see Cut Stealing. It looks good. I'm excited to see it.
- [30:58]
A
The reviews are pretty good. I'm going to take the over on 9 million. I got to think that that Aronofsky, this is a much more commercial offering from him. I, I, I gotta think the audience is there and there's really not much out there. No, no K Pop demon hunters this weekend. So I'm going to take the over on nine. It's a four day number too, but.
- [31:16]
B
We'Re going the four day. Four day for nine. All right, I'll join you then. I'll take the over on the four day. That's very depressing.
- [31:21]
A
It is, I know. Well, what do you think? People are going to flock to a Toxic Avenger remake? That's the other movie this weekend.
- [31:27]
B
Yeah. Well, this will be an interesting test for Austin Butler. He hasn't really ever, I guess, had the opportunity to open a movie. I guess maybe the Bike Riders.
- [31:35]
A
Yeah, Bike Riders was sort of on him, but that was a much more ensemble. Zoe Kravitz is a draw, too.
- [31:41]
C
She's.
- [31:41]
B
She's recently reported to be dating or stepped out with Harry Styles.
- [31:45]
A
Oh, is that true?
- [31:46]
B
In a very timely manner as this movie's coming out.
- [31:48]
A
So that's good. Good for her. Channing Tatum is at Burning man getting his yurt washed away.
- [31:53]
B
Harry Styles, man, he knows what he's doing. So does Zoe.
- [31:56]
A
He does. All right, so we're both taking the over on Caught Stealing. We'll see. All right, that's the show for today. I want to thank my guest, Christine Vachon, producer Craig Horlbeck, artist Jesse Lopez, and I want to thank you. We'll see you one more time this week.