The Studio (2025) - Season 1 Episode 3 -
The Note
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The Note
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00:00I am so excited about watching this film.
00:27It's so weird that the first time we're actually seeing the movie, it's essentially already finished.
00:30Yeah, I mean, that's what happens when you're a Final Cut director like Ron Howard, you know?
00:34You win two Oscars, you make some movies that make billions of dollars, you can kind of do whatever you want.
00:38God, I love Final Cut screenings. I don't have to give notes.
00:41We're not going to need to give notes. This shit's going to be perfect.
00:44I love Ron Howard.
00:45Yeah.
00:46Beautiful mind.
00:46Oh, yeah.
00:47When you realized that Paul Bettany's imaginary, my head exploded.
00:49That is a plot twist.
00:51Fuck M. Night Shyamalan.
00:52Yeah, it's such a good plot twist.
00:55All right, fam, let's roll this shit.
00:58So effing pumped.
01:00Ronald Howard movies are a fucking mood.
01:04And then a fucking action movie.
01:06Oh, got Anthony Mackie.
01:08It's going to bring in that young, hip audience.
01:10I'm obsessed with Anthony Mackie.
01:12Then you got Dave Franco.
01:14He's going to line up those ladies moister than an oyster.
01:16Please do not say that.
01:17Okay, can we dim the fucking lights, please?
01:19I got a meeting with the D'Amelios after this.
01:21Let's do this thing.
01:22These happy days are ours, bitches.
01:24Let's go.
01:54You got to get out to work and face reality.
02:00You got to get up and look into your life.
02:03Drive.
02:04Hey, cool.
02:04Take it easy, all right?
02:05Hey, drive.
02:06Hey, I don't know where you're going, all right?
02:07Fuck it, anywhere, just fucking go, man.
02:09All right, there's no need to yell, all right?
02:10Just fucking drive.
02:11Motherfucker.
02:12Oh, shit.
02:14Oh, fucking drive, man.
02:15Look out, look out.
02:16Oh, shit.
02:17Oh, shit.
02:18Oh, bleep.
02:20Oh, shit.
02:21Oh, shit.
02:25Oh, shit.
02:30Find me that fucking cab.
02:32Yeah.
02:33Yeah.
02:34You kidding me?
02:35Awesome.
02:36That is how you start a movie.
02:38Oh, my God.
02:39Pretty fucking good.
02:40Okay, shh, shh, shh.
02:42Just pull the bullet out of my gut.
02:43I'm not doing that.
02:44I'll give you $10,000.
02:46For a dumbass, I could wait for you to die and take the whole thing.
02:48I'd fucking kill you if you did that.
02:51God, please, help.
02:52All right, fine.
02:53All right, let me go across the street to the dim sum spa.
02:56Get some chopsticks.
02:57Oh, yeah, get me some shrimps.
02:58I'm starving.
03:01Don't forget the fortune cookies.
03:03This is playing a lot funnier than I thought it was going to.
03:06As this shit slaps.
03:08You and me, we're not so different.
03:10We got people we loved,
03:13people we let down,
03:17people we lost.
03:20But it ain't over for us.
03:24Okay, just because we did bad,
03:27doesn't mean we can't still do some good.
03:45Get out of the car!
03:48There's no way out.
03:53Don't even think about it.
04:01Fuck it.
04:16Fuck yeah!
04:21Oh, my God.
04:22Oh, my God, what a fucking ending.
04:25What just happened?
04:26That was unreal.
04:27That was incredible.
04:28That's honestly one of the best endings I've ever seen in a film.
04:32I am stunned.
04:33I'm stunned.
04:34Wait, there's more, there's more.
04:35Okay, what is it?
04:36What is it?
04:39Yeah, this is a little, uh, a little motel tag.
04:43Postscript, yeah.
04:51Oh, my God, it's the kid from the picture.
05:06You could read my mind, love
05:09What a tale my thoughts could tell
05:13Just like an old-time movie
05:17About a ghost from a wishing well
05:21In a castle dark
05:24Or a fortress strong
05:26With chains upon my feet
05:30You know that ghost is me
05:34And I will never be set free
05:38As long as I'm a ghost you can't see
05:47If I could read your mind, love
05:50What a tale your thoughts could tell
05:54Just like a page...
05:56Oh, fuck, it's finally over.
05:58What the fuck was that, huh?
05:59Okay, definitely long.
06:00Yeah.
06:01But a lot of movies are long these days, you know?
06:03Like, the last Marvel movie I saw was three fucking hours.
06:06Hey, this was not a three-hour fucking superhero movie, okay?
06:09That motel sequence, what the fuck was that, man?
06:12There were no, like, monsters or fights or deadpools.
06:14It was just people fucking staring at each other.
06:17Yeah, it's too long.
06:18You gotta be Delulu if you think people are gonna watch that.
06:20It's gonna make my job fucking impossible
06:22because it's gonna destroy word of mouth.
06:25Wait, is this the final cut?
06:26No, Ron's still tweaking with a few little things.
06:28Great, so you can give him that note
06:30to cut that fucking interminable motel sequence.
06:33Uh-huh.
06:34Yeah, uh-huh.
06:35Yeah, yeah.
06:36Wait, what?
06:37Why are you acting so weird?
06:38What?
06:39Are you Delulu?
06:40No, I'm not Delulu.
06:41Hey, I think that motel sequence sucks, okay?
06:43Okay.
06:44Yeah.
06:45Okay.
06:46Well, Ron is coming by at 1 o'clock for a marketing meeting.
06:48He's gonna show him some early poster concepts.
06:49Just pop by and give him a note then.
06:52Okay, well, you know,
06:53before we start giving legendary directors notes willy-nilly,
06:55we should drill down, you know,
06:56make sure it's actually, like, a very valid note.
06:59I mean, now that I think about it,
07:00you know, maybe that motel sequence,
07:01you know, maybe it's not that bad, right?
07:03It's bad.
07:04It's bad.
07:05Dude, it's terrible, and if you cut it,
07:06the movie is perfect.
07:07Okay, well, maybe we're just not getting it.
07:09You know, Ron is a very thoughtful filmmaker,
07:11so-so-so the kid is Anthony Mackie's character's dead son,
07:15so it's like a visual metaphor for his dead son?
07:18No, no, it's obviously a dream sequence.
07:20He was a ghost.
07:21A ghost?
07:22We don't even know.
07:23We can't even agree on what the fuck it means.
07:25That is the clear sign that this movie is whack as fuck.
07:27It's true.
07:28I've never heard of it.
07:29You actually seem to have, like,
07:30a very good handle on this whole thing.
07:31Yeah, I do.
07:33Oh, hell no, bitch!
07:35No, you-you-a director is not gonna fucking take a note
07:38from a marketing match.
07:39I'm sorry, what is the problem?
07:40Isn't Ron Howard famously the nicest man in Hollywood?
07:43Well, that's the thing, is, you know,
07:44he actually has a reputation for being very nice and humble,
07:46but I have heard from, you know, sources
07:49that he is actually, like, a mean, vindictive asshole.
07:52Ron Howard.
07:53Yes, that's what I've heard.
07:54Name your source.
07:55That's what I heard, okay?
07:56Oh, okay, bitch, you get mean sometimes.
07:59Don't be getting mean.
08:00He gets mean, okay?
08:01Why are you acting weird about this?
08:02I'm not acting weird about anything.
08:03Okay, you give brutal studio notes all the time,
08:06and it's usually to people who hate you,
08:08but Ron Howard actually seems to fucking like you.
08:10Yeah, I'd like to keep it that way, huh?
08:12Look, I'll give him the note, okay?
08:14It's fine, I'll-I'll just give him the note.
08:16It's coming at 1.
08:17Okay, give him the note at 1.
08:32Ron Howard is in the lobby?
08:34Oh, shit, he's-he's 15 minutes early.
08:37Should I tell him to leave?
08:39No, that's okay.
08:40I'll-I'll come down and say hi in a minute.
08:52Ron!
08:53Oh, hey.
08:54Hey!
08:55Great to see you.
08:56Yeah, likewise.
08:57Just wanted to tell you in person
08:58how much we adored the film.
08:59It's so good, man,
09:00and we're so lucky to have you on our team here.
09:02Well, thank you.
09:03That's-that's so kind.
09:04Yeah, no, my pleasure.
09:05Well, you know, I've, uh,
09:06I've been showing it to people and stuff,
09:08and, uh, I've been getting
09:09some very encouraging feedback.
09:11That's great.
09:12Hey, I love feedback, you know?
09:13Well, as long as it's good.
09:14Exactly, good feedback.
09:15That's-that's the best feedback.
09:16Hell yeah.
09:17Hell yeah.
09:18So, uh...
09:21Wait.
09:22You-you got any feedback?
09:26Yeah.
09:28Yeah.
09:29Uh, actually, I do.
09:32Um...
09:34And that is...
09:37You rule, man.
09:38There's my feedback.
09:39You rule.
09:40I'll take that all day long.
09:41I'll give it all day.
09:42Yeah, great.
09:43Awesome.
09:44There you go.
09:45All right, so, uh,
09:46I just gotta run back upstairs real quick.
09:47Uh, I'll see you in the meeting.
09:48I-I gotta make a call anyway.
09:49Great, you do that.
09:50I'll-I'll see you in a sec.
09:54Oh, fuck.
09:55Sorry.
09:56Sorry.
09:57Sorry about that.
09:58How'd it go?
09:59Really good.
10:00Really good?
10:01Uh-huh.
10:02What happened?
10:03Uh, it-we talked and went well.
10:04Hey, what's the D?
10:05The D is, uh, all gravy.
10:06It's all gravy?
10:07Uh-huh, yeah.
10:08What does that mean?
10:09It means we talked and it was-it was very, very nice.
10:12Uh, you didn't tell him, did you?
10:13Matt, can you give him the note?
10:14You told him, right?
10:15No, look at his pussy-ass face.
10:16He didn't say shit.
10:17I opted out of delivering the note.
10:18Uh-huh.
10:19There you go.
10:20I decided it was not prudent of me to do that.
10:21There you go.
10:22What?
10:23Why?
10:24Because I am known as being the-the most talent-friendly studio head in all of Hollywood,
10:25and I decided strategically it was not worth risking that reputation.
10:26What are you talking about?
10:27What are you talking about?
10:28It is literally your job to do this.
10:29We need this movie to work.
10:30I can't sell this never-ending snory.
10:31Nailed it.
10:32Here's what you don't understand.
10:33That I have now grown to love you.
10:34I love you.
10:35I love you.
10:36I love you.
10:37I love you.
10:38I love you.
10:39I love you.
10:40I love you.
10:41I love you.
10:42I love you.
10:43I love you.
10:44I love you.
10:45I love you.
10:46I love you.
10:47I love you.
10:48I love you.
10:49I love you.
10:50I love you.
10:51I love you.
10:52I love you.
10:53I love you.
10:54I love you.
10:55I love you.
10:56I love you.
10:57I love you.
10:58I love you.
10:59I love you.
11:00I love you.
11:01I love you.
11:02I love you.
11:03I love you.
11:04I love you.
11:05I love you.
11:06I love you.
11:07I love you.
11:08I love you.
11:09I love you.
11:10I love you.
11:11I love you.
11:12I love you.
11:13I love you.
11:14I love you.
11:15I love you.
11:16I love you.
11:17I love you.
11:18I love you.
11:19I don't care if Ron Howard likes me.
11:20I care about making good, entertaining movies.
11:23We're not out to ruin this guy's life.
11:25We are trying to save him from himself.
11:27Yeah, pop off girl.
11:29Bam, banm, bam.
11:30Coy Malone.
11:31I love what you were saying.
11:32It's very validating to me as a mentor, so know that.
11:34Very proud of you right now.
11:35Here's what's going to happen.
11:36I'll introduce you to Ron,
11:38and you just tell him this whole motel shit is fucking wack.
11:41Got this.
11:42It's just your turn to shine.
11:43Okay?
11:44I'm excited to see this.
11:45Okay, thanks.
11:46Oh, fuck.
11:47What is he doing?
11:47It's fine.
11:48It's fine. This changes nothing.
11:49No, you can do this. You can do this.
11:51This is good. You got this.
11:52He's my favorite actor ever.
11:53Hey! How's it going?
11:55Hey, Matt. How's it going?
11:56Oh, hey, Mackie. I wasn't expecting you here.
11:57Well, I'm a producer on a movie,
11:59so I came by to see what the post art's looking like.
12:01Great. Yeah, well, you're so good in the film, by the way.
12:04Yeah, it's not me.
12:05Ron Howard is a bad motherfucker.
12:07There's your poster, right?
12:09How rude of me. I'm sorry.
12:10This is one of our young up-and-coming executives.
12:13She's a real cinephile.
12:15This is Quinn Hackett.
12:16Hi. Hi. Hi, Mr. Mackie.
12:18I'm such a big fan of yours, so...
12:21I'm in the cinephilia, too.
12:23Oh, my God! Cinephilia!
12:25Oh, my God. Wow.
12:27Quinn actually saw the film.
12:28Oh, amazing. Yeah, yeah.
12:30So, what did you think?
12:31Oh. Yeah.
12:33You, uh, you're acting so good.
12:37Thanks.
12:38Yeah, just, man, when you act, it's like...
12:43so good.
12:45Again, thanks.
12:46Of course, yeah. You're welcome, of course.
12:49Hmm.
12:50Is that it?
12:51Yeah.
12:52Wasn't there one more thought you had upstairs
12:54you wanted to share with the team?
12:57Yeah, well, just as small.
12:59It's not, um, anything big.
13:01It's just, uh, um...
13:05The Hurt Locker was so good.
13:07It's an amazing piece of cinema.
13:09Yeah, well, it certainly was great.
13:12Yes. It was tremendous.
13:14Second best movie I ever did.
13:16Yes, sir.
13:18There is, there's actually, there's one more thing,
13:20actually, we wanted to say about the film.
13:23Oh, sure.
13:26Yeah, well, what is it?
13:29Well...
13:30Warning! Warning! Warning! Genius alert!
13:33Hey, hey, congrats on your new deal.
13:36Yeah.
13:37Now, where are you set up?
13:38I'm redoing the production offices
13:40in the old Lieberman bungalow.
13:42Best on the lot.
13:43That's wonderful.
13:44Now, did you get my flowers?
13:45Purple alliums.
13:46I remember.
13:47Good memory there, yeah.
13:49Thank you, Ronnie.
13:50Thank you for sending me your cut.
13:51Well, are you kidding?
13:52Thank you for green-lighting the movie.
13:54Well, the movie is sublime.
13:56And you, sir,
13:57your deepest and most complex performance to date.
14:00I'm just happy to be a part of this man's vision.
14:02That's all.
14:03Oh, Amber, you were great.
14:04And the motel sequence.
14:05Yeah, actually, we should talk about that.
14:07So startlingly original and bold.
14:09I get it now. Thank you.
14:10Well, thank you. I'm glad.
14:12So brave to share something so personal.
14:16Oh, my Lord.
14:17If there were medals for cinematic courage,
14:19you would have a chest full of gold.
14:21Well, thank you.
14:22Look, I thought about it.
14:24And I just decided it was time to put it out there.
14:28Hey, you gave it time.
14:29You opened it up and gave it breath.
14:32Yeah, then you took mine away.
14:34Thank you for that.
14:35Sorry to interrupt.
14:36Marketing's ready to bring you all into the conference room.
14:39Oh, carry on.
14:40You're in good hands with Maddie.
14:41Not as soft as mine.
14:43Okay, then.
14:44Oh, I can practically smell your Oscars.
14:47Get those tuxedos ready, gentlemen.
14:50I'm just going to run something by Patty real fast.
14:52Bring these guys some snacks.
14:54Bring them the whole cart.
14:57Patty, I got to talk to you about the motel sequence
15:00in Ron Howard's movie.
15:01Oh, beautiful movie. Sublime.
15:03Yeah, yeah, way too long, though, right?
15:05Oh, I almost drilled a hole into my brain
15:07to kill the part of me that senses time.
15:10What? When was it never gonna end?
15:12Yeah, yeah, why did you tell him you liked it so much?
15:14Well, on my own now, Maddie.
15:16I have to suck up to talent
15:17like every other schmuck producer in town.
15:19Good God, this job is a daily kick in the ovaries.
15:21Yeah, look, look, look.
15:22I got to tell him that I want him to cut it from the movie.
15:24Don't you even try.
15:25Oh, it's so personal.
15:26Yeah, I heard you say that.
15:27What's so personal?
15:28He didn't tell me that it was personal.
15:29It's so personal, he doesn't even want to talk about it.
15:32Well, what does it mean?
15:33What is it?
15:35The kid at the motel who represents a cousin
15:37Ron had who died when they were both young.
15:40No, really?
15:41No, that whole sequence is about Ron
15:42letting go of the cousin's death and moving on.
15:45God, that's like worst-case scenario.
15:48No, a sibling would be worse.
15:49Hey, I got a script about an Australian chess team
15:51that cheats. Will you read it tonight?
15:53Will you talk to Ron about cutting the sequence
15:54from the movie?
15:55You're kidding?
15:56No, I'm not working on this movie.
15:59That's a problem for you to solve, boss.
16:02I just don't get it.
16:03If it's so personal to him,
16:04why did he make it so fucking boring?
16:06It's literally insane.
16:08He's insane. He's an artist.
16:09Eddie, you know this.
16:11They put themselves into things.
16:13They project meaning onto their work
16:15even if it's imperceivable to anyone else other than them.
16:18Sly Stallone thought that Demolition Man
16:21was an allegory about masculinity
16:23and modernism in a battle.
16:25Was it?
16:27Oh, no. No, no.
16:28It was a 115-minute commercial for Taco Bell.
16:31But did his delusion get him up every morning
16:34into that ridiculous futuristic cop uniform?
16:38My script is called Cheek Mate.
16:40It's in your inbox.
16:44Thank you, Patty.
16:53Hi! Yeah! One sec.
16:55Hey, yo! Yo!
16:57Come with me. Come on.
16:59On me. On me.
17:02So, uh, apparently,
17:05the entire motel sequence is based on Ron Howard's dead cousin.
17:08It's like a metaphor for letting go or some shit like that.
17:11But we can't cut it. We're fucked.
17:13With his actual dead cousin, IRL.
17:15Yes, an actual real-life dead Howard family member.
17:18Fuck. Oh, my God. I mean, this whole backstory
17:20kind of makes this whole sequence amazing.
17:22No, this is not helpful. Not helpful at all.
17:24He should not be burdening audiences with his catharsis.
17:27Go to therapy.
17:28Save us 45 minutes of fucking runtime.
17:30Okay, okay, okay, okay.
17:32Remember when we were making prenup
17:34and there was that long, boring divorce speech?
17:36And I got Jay Roach to cut it
17:38because I was going through a breakup.
17:40And I was able to, like, break through to him emotionally.
17:42If one of us had a dead cousin,
17:44we could break through to Ron and make him see
17:46this is not the way to honor your dead cousin.
17:48So please tell me one of you has a dead cousin.
17:51No. No, not me.
17:53Yeah, no.
17:54Sal, you sure you don't have a dead cousin?
17:56Yeah, no, I have a cousin who's in prison in Japan, but...
17:59But, Sal, are you sure you don't have a dead cousin?
18:05Oh, fuck you, Matt.
18:07No, no, no, no, no, no, no, no, no.
18:09I'm not gonna pretend to have a dead cousin
18:11to give Ron Howard a note that you should give him.
18:13Oh, are you stricken by the morality of this situation?
18:15Yeah, I'm moral.
18:16Oh, you're very moral.
18:17Yeah, let's talk about Albuquerque.
18:18Oh, no, no, no, no, no, okay.
18:19Let's talk about why you can't go to...
18:21Let's talk about New Orleans.
18:22No, we don't talk about that.
18:23Let's talk about New Orleans.
18:24Okay, there is saliva.
18:25Saliva is flying.
18:27God, what is wrong with you?
18:29Nothing's wrong.
18:30Why can't you just give him the note?
18:31I don't want him.
18:32Okay, now look at you.
18:33You look just like my son did
18:35when I caught him watching porn on my iPhone.
18:38Yep, that face.
18:39Okay, look, there's a reason I don't want to give Ron the note,
18:42and I don't want to tell you, but I'll...
18:44Fine, I'll tell you.
18:45Look, in...
18:48In 2001, I was brand new,
18:50and I got invited to a friends and family screening
18:53of A Beautiful Mind, you know?
18:55And after the screening, everyone's, you know,
18:57they're sitting around, and they're giving notes,
18:59they're pitching ideas, and so I raise my hand,
19:01and I share a thought with Ron.
19:04What was that thought?
19:06Well, I...
19:09I suggested that, you know, perhaps it would be fun
19:13if the audience knew that Paul Bettany's character
19:18was imaginary the whole movie.
19:20Spelling it out to them like that, idiots?
19:22That was fun, yes.
19:23That's the whole twist.
19:24That's the twist.
19:25I get it, it was not a great idea.
19:27It was not a bad note, okay?
19:29It was innocent enough, and honestly,
19:31Ron, he fucking roasts me afterwards, okay?
19:34He lights my ass up in front of the whole fucking screening.
19:36He's like, what a dumb fucking note, you fucking clown.
19:38How dare you suggest something so stupid,
19:40you dumb motherfucker.
19:41Ron Howard called you a motherfucker?
19:43Ron Howard called me a motherfucker!
19:44To my face, man!
19:46And all my favorite filmmakers are there,
19:48and they're just fucking eating this shit up.
19:50They're dying.
19:51Ron is crushing with this shit.
19:53Justin Soderbergh's slapping his leg, guffawing.
19:55Joel Cohen's chuckling his fucking titties off.
19:58It was honestly the worst moment of my professional life,
20:01and since I have no, you know, real personal life,
20:04it makes it just the worst moment of my life.
20:07Okay, okay, okay.
20:09Does he right now know that you are that guy?
20:12No, see?
20:13That's the thing, is Ron has not, like,
20:15pieced together that I am that person.
20:17He seems to actually really like and respect
20:19the person that he currently thinks I am,
20:21and I would like to keep it that way,
20:22and so I'm just not gonna give him the note.
20:24I simply can't do it.
20:25Not happening. End of story.
20:27I'm sorry, Sal.
20:32No.
20:35I'm sorry.
20:36I refuse.
20:38I mean, but they seem excited.
20:39Hey, Ron, Anthony.
20:40Sal Saperstein.
20:41Sal.
20:42ZP Production. How you doing?
20:43How you doing?
20:44Guys, I just wanted to say congrats on the film.
20:46It's so great.
20:47Oh, thank you. Thank you.
20:48Appreciate that.
20:49Really uplifted my spirits
20:51because it has been a rough month.
20:54Really?
20:55I'm sorry to hear that.
20:56Oh, thank you.
20:57Yeah, it's, uh...
20:59It's been rough.
21:01Ah, well, that's...
21:03That's too bad.
21:06It has been rough,
21:08mostly to the untimely passing of my cousin,
21:14Ron-nold-o.
21:18Ron-nold-o Saperstein.
21:21Well, you know, sometimes a cousin can feel like a sibling.
21:27Yeah, I hear that.
21:29And that's what the deal was with Ron-nold-o and I.
21:33You know, he was my brother from another mother
21:37who was my mom's sister.
21:39Man, that's awful,
21:41and I'm sorry you had to go through that.
21:45You know, honestly,
21:46the sequence in the movie that is set in the motel,
21:51well, that is kind of an ode to my dead cousin.
21:57Oh.
21:58Yeah.
21:59Oh, my God.
22:00Anyway, thanks for stopping by.
22:02Yeah.
22:05You know, because we both have dead cousins,
22:08and for that reason only,
22:10I feel comfortable saying to you, Ron,
22:12that maybe the whole motel sequence is too...
22:16Intense. It's too intense.
22:18And that's kind of the point.
22:20Well, because I want the audience
22:23to feel uncomfortable in that sequence, you know?
22:26I want it to fucking hit hard.
22:28Oh, it's hitting hard.
22:29Yeah, it really sticks out amongst the rest of the film.
22:33I mean, stylistically.
22:34Well, and again, that's the point.
22:36Yeah, is it?
22:37Well, obviously.
22:38Yeah.
22:39Because I want people to really think about that sequence.
22:42Mm-hmm.
22:43No, I want people to question it.
22:45We are.
22:46Well, because my cousin,
22:49my cousin meant everything to me.
22:53I mean, he...
22:56He taught me how to be a man.
22:58Come on, Ron.
22:59The man I am today.
23:01Beautiful man.
23:02And if this movie honors him,
23:05in even the smallest way,
23:08then maybe I can finally put that part of my life to bed.
23:16And just...
23:18move on.
23:21Come on, man. Come here. Come here.
23:24Big man.
23:25I'm so proud of you.
23:29Can I get one of those?
23:31Bring it in, Saul.
23:33Saul.
23:36I'm so fucking sorry, Ron.
23:39We are not cutting the motel sequence.
23:41Are you crying?
23:42No.
23:43What happened?
23:44Matt, when your cousin dies,
23:45you have to honor them any way you can.
23:47Totally get that.
23:48You don't have a dead cousin, you fucking psycho.
23:50I know, but for a minute, I thought I did,
23:52and I knew what it felt like, and I get it now.
23:54God, we are all so weak in the face of celebrity.
23:56No, you two are fucking weak in the face of the...
23:58No, that was all just...
23:59Shh, shh.
24:00Mr. Mackey, hi.
24:01Hey, guys.
24:02How are you?
24:03Sorry for the interruption.
24:04Yes, not at all.
24:05Look, I'm sorry, Sam.
24:07Saul.
24:08Yeah, whatever.
24:09I know that the motel sequence touched you personally,
24:12and I know you guys got a lot of love for it.
24:14You know, you're so good at it.
24:15We love it.
24:16I know, thanks.
24:17Shut up.
24:18It fucking sucks.
24:19That's what we think.
24:20We think it fucking sucks, man.
24:21What are you talking about?
24:22You can't say that.
24:23You were just in there crying about your dead cousin.
24:25I don't have a dead cousin.
24:26So why did you say you had one?
24:27Because he told me to.
24:28What the fuck?
24:30Look, here's the thing.
24:31We love the film, okay?
24:33We think this could be, like, an all-time classic.
24:36And yes, we think the motel sequence derails the entire film.
24:39Honestly, I thought you liked it.
24:41No, I never liked it.
24:42I didn't like it in a script.
24:43I didn't like it when we shot it.
24:45I didn't like it in the movie.
24:46That's why I was waiting for you as the head of the studio
24:49to say he had to fucking cut it.
24:51So go in there and tell him to cut it.
24:54I don't want to do that.
24:55That's your only job.
24:56It's not my only job.
24:57I have a lot of jobs around here.
24:58No, you don't.
24:59Yes, I do.
25:00Just grab your balls and go in there and do it.
25:01You're the producer of the movie.
25:02You can fucking do it if you don't like it.
25:03That's not a producer's job.
25:04That's my job as a producer.
25:05Oh, that is a producer's job.
25:06You head up the studio.
25:07That's what you do.
25:08Look, you make shitty movies.
25:10I'm here to save your career.
25:11Help me help you win.
25:12Okay.
25:13You don't want to do it?
25:14I don't want to do it?
25:16These two fucking geniuses are incapable of doing it.
25:20Thank you very much.
25:21Good job on that.
25:22I'm sorry.
25:23So what if we just don't give him the note?
25:25You know what I mean?
25:26Ron loves this sequence.
25:28It seems to mean a lot for him.
25:29Sure, it makes the movie a little bit shaggy.
25:31It'll be a little longer and a little more boring than we would prefer,
25:35but that doesn't mean we're fucked.
25:37There are plenty of very long, very boring movies
25:40that fucking crush it at the box office.
25:42All right, y'all.
25:43Got some piping hot tea about this shit show of a...
25:45Oh, my God.
25:47Anthony Mackie.
25:48The movie is a masterpiece.
25:50I wouldn't change a fucking thing.
25:52He also hates the motel sequence.
25:53Yeah, this shit sucks.
25:54Oh, mad respect, man.
25:56Thank fucking God.
25:58Okay.
26:00Exhibitor Relations just saw the runtime.
26:03They're saying it's going to cut showtimes by two screenings a day.
26:08Theater owners do not want movies that long
26:10unless they've got capes or aliens.
26:12That's a minimum 15% cut to our revenue.
26:14Fuck!
26:15Griffin's going to murder all of us.
26:16I'm going to murder somebody.
26:17I got back end on this shit.
26:19You have to give him the note.
26:20You have to.
26:23The meeting is right now.
26:27Look, I love Ron Howard.
26:29You know what I mean?
26:30He's one of the reasons I wanted to make movies in the first place.
26:33Like, Parenthood.
26:34You know, Splash.
26:35Apollo 13.
26:36I just don't want him to hate me.
26:38I can't go through that again.
26:39It's very triggering.
26:40My fucking God.
26:41Who gives a shit if Ron Howard hates you?
26:45He is going to be high key kissing your fucking ballsack
26:48if this thing is a hit.
26:50That's all that matters to these people.
26:51No offense.
26:52None taken.
26:53That shit is real.
26:55Just give him the fucking note.
26:57Yeah, you got to do it.
26:58Yeah.
26:59You got to do it.
27:00Okay.
27:01Okay.
27:02I'll do it.
27:03I'll just ask him to stay after the meeting and I'll tell him.
27:04But you, you got to back me up, okay?
27:06He respects you.
27:07You got to be right there with me, all right?
27:08I'm with you, man.
27:09Ten toes down.
27:10Slam, pimp, and ho.
27:11Slam a Cadillac doors.
27:12I don't give a fuck.
27:13I'm doing it with you.
27:14Okay, great.
27:16All right, everyone.
27:17This meeting is going to be a vibe.
27:19Alphabet City has really got our engines revving.
27:22Pun very much intended.
27:24And we think we can have a really dope run in theaters
27:26and really break through the clutter.
27:28And we are mad hyped to show you our early concepts.
27:31That's what we're here for, so let's get to it.
27:33Ooh, love the enthusiasm.
27:34All right, here's the first up.
27:36Okay, this one, we really love the beauty of his eyes.
27:40Look at those, mesmerizing.
27:41With all of the beautiful light flickering in the background,
27:44this is very classic, right?
27:46Shows off the cinematography.
27:48It's pretty good.
27:49Yeah, I know.
27:50It's nice.
27:51Okay.
27:52Deadass lit.
27:54New York City, the Big Apple, back in the day.
27:58It's got grit.
27:59It's got a skyline.
28:00We've got lady libs.
28:02And also, never forget.
28:04Okay, what do we think?
28:06Well, they're both totally viable.
28:09But if I may, I have an idea that I think could be very, very cool.
28:15Let's hear it.
28:16Okay.
28:17I mean, the motel sequence.
28:22You know, it's special.
28:24We keep hearing how much it stands out to people.
28:27So what if the poster is Anthony and the kid in front of the motel?
28:33Anthony?
28:34♪♪
28:40I fucking love it.
28:41Yes!
28:42Oh, man, that is great.
28:44You see, that's why it's fantastic having actors who are also producers.
28:48They really get the material.
28:50They really do.
28:51All right.
28:52So, I mean, we like it, right?
28:54Any thoughts?
28:56Um, um, oh.
29:01Matt, you had some thoughts about this, right?
29:04Oh, really?
29:05Yeah.
29:06Now, Matt, you have thoughts?
29:10I don't have thoughts.
29:12I had one little tiny little thoughtlet of an idea that did pertain to that.
29:17I was going to ask you to stay after and share it, yeah.
29:19You, uh, you got a note for me?
29:25A note so much as an idea, yeah.
29:28You got a note for me like you had on Beautiful Mind?
29:34You remember that?
29:35Oh, yeah, I sure do.
29:38How could I ever forget?
29:39It's like, it's like seared into my brain.
29:42Oh, man, it's a great story.
29:44All right, look, I know we're in a meeting,
29:46but who wants to hear a really funny story?
29:50I mean, come on.
29:51Everybody loves a story about their boss.
29:53I don't know about that.
29:54We got stuff to do here.
29:55So now I'm going way back, okay?
29:58I just finished shooting a Beautiful Mind, so it's like 2001,
30:02and we're having a friends and family screening.
30:05It plays great, through the roof.
30:08Everybody loves it.
30:09Oh, except one guy.
30:14A young, tiny, little Matt Remick.
30:19Well, so Matt raises his hand,
30:22and he actually suggests in front of everybody,
30:25you know, Soderbergh, the Coen brothers,
30:28he suggests that throughout the movie
30:31we should tell the audience that the Paul Bettany character
30:35is imaginary.
30:38Are you serious?
30:40I mean, he literally wants me to take the entire twist of the movie.
30:45No, no, no, no, the entire concept of the movie
30:49and just lay it out there.
30:51Just spoil the living shit out of it.
30:56So stupid.
30:58I mean, hands down, it was the single worst note
31:02I've ever had in my entire life.
31:07Let me ask you, Matt.
31:11Did you see usual suspects
31:13and tell them they should keep cutting to Kaiser Soze on the phone,
31:17laughing at the way he's fooling the police?
31:21Or did you bounce your way over to M. Night Shyamalan
31:25and tell him that what he really ought to do
31:28is have one of the ghosts say,
31:30when's Bruce going to realize he's dead?
31:34Oh, I got one.
31:36He watches Fight Club and he said,
31:38wouldn't it be fun if everybody knew
31:40that Tyler Durden was imaginary from the start?
31:43What the fuck is wrong with you?
31:45I'm sorry, dude, this is good shit.
31:47I mean, what the hell were you thinking?
31:50It's a classic, right?
31:54You want a note, Ron?
31:56I'll give you a note.
31:58You made a great film that you are ruining
32:00with this self-indulgent motel.
32:02Ruining with this self-indulgent motel bullshit.
32:06Fuck you!
32:08My cousin died.
32:10You fucking suit piece of shit!
32:13Your dead cousin deserves much better
32:16than to be honored in the form of a boring fucking movie, man.
32:20You listen to me,
32:22because I will never, ever...
32:26You lame-ass idiot!
32:28Fuck you, you fucking ball crack!
32:30You want to talk to me? You want to talk to me?
32:32You know, get fucking Patty! Patty's got a brain!
32:34You got nothing!
32:36I don't even know what you're thinking!
32:38You don't look at me!
32:50If you could read my mind, love
32:53What a tale my thoughts could tell
32:57Just like an old-time movie
33:00About a ghost from a wishing well
33:04In a castle dark
33:07Or a fortress strong
33:09With chains upon my feet
33:13You know that ghost is me
33:17And I will never be set free
33:21As long as I'm a ghost...
33:24Hello?
33:25Hey, man, it's Ron Howard.
33:27Yeah, hey.
33:28Look, I want to apologize.
33:30I shouldn't have ruthlessly mocked you like that.
33:33You know, I think I was so mad
33:35because I knew you were right.
33:37Not about a beautiful mind.
33:39That was epically stupid.
33:41Yeah, of course, yeah.
33:42But about the motel sequence.
33:44It does not belong in this movie.
33:46So I just called Anthony and told him.
33:48Yeah.
33:49He was devastated.
33:50Yeah, I bet, yeah.
33:51But he gets it.
33:52Okay, well, thank you so much for calling.
33:54Ron, I couldn't appreciate this more, man.
33:56You know, it's all some emotional bullshit
33:58that I just need to get over.
34:00But I can't let it affect my work.
34:02Dude, 100%, the same thing goes for me.
34:04I should have just given you the note
34:06when I saw you this morning.
34:07Instead, I let my own shit get in the way.
34:09I shouldn't have done that.
34:10I should not have said anything about your cousin.
34:13And I definitely shouldn't have called you a bald fuck
34:16or whatever I said.
34:18I'm really sorry, man.
34:19Okay, so you accept my apology
34:21for the insults and the hat-throwing?
34:23Yes.
34:24I'll accept yours.
34:25Great, perfect, fantastic.
34:26Oh, and Matt, cross me again?
34:28Yeah.
34:29I'll fucking destroy you.
34:30A movie queen to play the scene
34:34Of bringing all the good things out in me
34:40But for now, love, let's be real
34:44If you read between the lines
34:48You'll know that I'm just trying to understand
34:54The feeling that you left
34:58I never thought I could feel this way
35:01And I've got to say that I just don't get it
35:06I don't know where we went wrong
35:09But the feeling's gone
35:11And I just can't get it back
35:18I just can't get it back