AI on the Lot and The Crazy Box Office Weekend

14:01Addy:It's powerful because C-Dense, as you know, already has multi-shot capability within it from one single generation. And if you tie that with an agentic front end, you can potentially have like a very fast velocity output to have entire sequences done in one go.

14:20Joey:So, yeah, that launched. I spoke with we talked about this when they announced it, the Luma agents. And we were like, what is it? Right. What is this? Exactly. So I spoke to them a bit. And the thing that was interesting about Agents was, and it wasn't clear at first, was it is model agnostic. So it is a separate platform. And it seems similar-ish to Octo, but same idea where you have a chatbot, you can talk to it, tell it what you need. But then it is supposed to figure out what the best model is for what you're trying to do. And it'll call up and use that model. So I thought it was just entirely working on Luma's platform or Luma's different models.

15:03You think it's like some elaborate just cloud skill or something? I think at the core, a lot of these things are.

15:11Joey:I mean, it's just a chatbot. Like a Gemini gem. A lot of like pre-baked stuff of like how to write based on the model, how to structure the prompt or how to choose the prompt. I think it's a lot of like instructions under the hood that's just calling up different things. Yeah. It's like a giant context window. Yeah. I just wasn't aware that Luma's agents also worked with other models. I thought it was kind of keeping you on their platform.

15:30Addy:Well, that's smart. That's smart of them to do, right? They see the agentic product as something that could sell outside their own ecosystem, right, if it's good enough. So, you know, it's a smart move.

15:42Joey:Yeah, yeah. So, I mean, we've been seeing this kind of coming to every tool, like some sort of agentic sidekick thing. So we've got Dreaming Opto, we've got Luma agents, we've got Flow agents.

15:54Addy:But it's also like kind of built in. Like if you look at Google Omni, like it has some of this agentic reasoning behavior built in. So, you know, you say something really vague, like make me a commercial about a water bottle from France and it'll make you like a 10 shot, 30 second commercial. And it's going through it, devising what each of the shots are, what the initial frame of those shots should be, and then generating each shot as a video and then editing it all together, then generating sound. And like some of them are baked into it and this is sort of separated out. I'm not sure which is better.

16:29Addy:I don't know.

16:30Joey:yeah i mean i still think if you're just going directly to the model and giving it a prompt versus this sort of orchestration which i think if you kind of have been in this for a while and know what you're doing like you can piece the things together but if you don't know but also if you're just trying to do like things quicker it will like i gave that example with flow where it's like okay create like 10 shots of a dude in a field but from different angles and so it made it knew that it needed the consistency so then it made reference images of the person reference images of the field first, and then put those two together to make the shots.

17:00Joey:And so it deconstructed the process that it needed, where if I just typed that into Gemini, it would just give me 10 different images. If that, it might just give me one image of a guy in a field, but it would give me 10 completely different images of a different person, different fields. And so these agents help guide that with all of the elements that you need to do the thing that you're trying to do. Yeah.

17:21Addy:The proof will be in the pudding. How useful it actually is, I think will come down to how capable they are. It doesn't understand.

17:27Joey:I have messed with a little bit of Luba agents and some things worked kind of cool and other things I was like. Right. It's just like any other, like you put an LLM up against the real world problem.

17:38Addy:I think it is really good at being a knowledge base, right? Like if you want to look up, I don't know, the GDP of Brazil from 2014 versus what it is today, just for inflation, like it's good at doing that thing. But when you ask it to come up with the emotional tone for Act 2, that's uncharted territory.

17:57Joey:Yeah. And I think these things are good at, you know, like if you're trying to create a lot of options quickly, batch options. Yeah. Very good at that. Yes. You can understand that. Yeah. But if you're like, give me this character arc. Yeah. I think it is actually useful.

18:15Addy:So, you know, obviously not a writer, not a developer. But if you have a core idea and you want variations of it, like 10 different variations on like the 10 shots and just see how each one of them flow. This is a way to get quantity up, like volume of stuff up real quickly. But to actually ideate and like turn a spark into a fully fleshed out script. I don't know if that will ever be AI, to be honest, or should it be AI, right?

18:43Joey:Or you're just going to get, I mean, if you do use AI, you're just getting the average of everything. And it's like, sure, whatever. If you're trying to churn it out, you're doing the millionth vertical short, then maybe it doesn't matter as much. But yeah, if you're trying to do something obsession or back rooms.

18:59Addy:I have a friend who just started as a creative director at a micro drama startup. And I think he'll take offense to that because he puts a lot of thought and energy into each micro drama he makes. Like it's not automated by any means.

19:14Joey:No, and I mean, those things take a lot of gaming design to just structure the stories and keep you, hook you, and then like, give you enough and then like, get you on the hook enough to then turn out money to find out what happens. So yeah, I'm not trying to diss the verticals. But if they start scaling up, because there was a lot of talk of just fully AI-generated verticals. And so if they're like, OK, we want to scale that up to making a bunch of different verticals and different genres, probably going to have generated scripts in that realm. Yeah.

19:47Addy:The more I look into this territory, this is a really interesting stuff like Dreamina and Luma Agent and, you know, like even Google Omni to some extent. The more I look into the pre-generation part of the pipeline, the more I'm convinced that we're not going to lose our jobs. You absolutely need people.

20:07Joey:Yeah, at the core of all these, you still need people that have taste and know what they're doing to control this stuff. Anything else with AI on the watch?

20:13Addy:Yeah, just a quick shout out to a couple of our fans who I met in person. It was such a pleasant experience. And of course, I told them the most cliche thing. I was like, thank you, but like and subscribe. okay and i i even draw i was like joey would like that too so do it

20:30Joey:but i have never told someone that in the real world so that's all i use yeah and then uh met

20:37Addy:up with matt workman shout out to matt um finally met him in person uh man met so many people that i i have not seen in like five years sometimes 10 years and now they're boomeranging back into ai so So when I left the studio world about, you know, almost 10 years ago, a lot of them were in like diverting into what I would call like consumer technology, like, you know, Instagram and Meta and TikTok and like those companies. And now they're fully boomeranging back into AI startups within big studios. So, for example, the Amazon one and there's others. Right. So like there's all these incubations happening at the same time.

21:20Addy:And a lot of those people were at AI on the lot. Yeah, people just coming back.

21:24Joey:Yeah. Were they out of the industry entirely or were they just sort of like on the fence? I think, yeah. Pause period because there just wasn't a lot happening. But now there's like stuff happening again. Well, this predates streaming, right, 10 years ago.

21:37Addy:But like the shift away from box office revenue into non-streaming revenue or cable revenue and all this other stuff. Like this started to erode away our business a long time ago. And I think a lot of people back then saw this as a sign to kind of just take their M &E knowledge and take it to other industries. So like there's people at Apple who are doing 3D renderings of their pods right there from their modelers and riggers from animation studios. Now that there's so much energy and investment back into M &E, they're kind of a couple of them are like coming back. So I thought that was really interesting.

22:16Joey:Yeah, good. I mean, I think that was a trend or, you know, like talking to people are kind of most of the common trend by 80 percent of people. It was like no one wants to spend less money. It was more like we want to spend the same money, but we want to get more out of it. So it was like, yeah, we want to spend 100 million, but we want to get 10 films out of that instead of one film as an example. But like that was the general trend. And like, OK, maybe the cruise will be smaller, but there'll be more stuff happening. So there's more, there's still like equalish amounts of work. That's the optimistic view and hopefully, and that's, but I mean, in general, that's what even like just kind of studio people were like, we just want more stuff with the same money, not less stuff.

22:57Addy:Yes, I agree with you. I'll take it a step further. I don't think it's about saving money because the studios just want to hit and they know that spending a hundred million dollars is not going to get them a hit. So the way to kind of, it's a big gamble. Right. It's a big game. And that kind of segues into our next segment. Yeah, we'll talk about next. You know, it's like, okay, if$100 million is not going to guarantee me a return on my investment, then can I do 10,$10 million things? And then one of those will hit to$200 million, and it pays for everything, and it makes me revenue. Right? So they're like at a blackjack table, and they're doubling down and tripling down, you know?

23:36Addy:That's what it feels like. Oh, you like that? Yeah, and the other ones too. Yeah, it's a good gambling. That week you were in Vegas, Joey. Yeah, and the other ones, they don't have... Yeah.

23:47Joey:You mean the two weeks I was in Vegas. Two weeks too long. Yeah, and the other ones, lower bar to be, you know, at least just break even. And then if they take off, cool, great, awesome. Then you get another obsession with backwards.

24:00Addy:And the other, I think the far more valuable thing for a studio is not sort of day-to-day profit and loss. Like, they can sustain the hits. Obviously, we see this with Disney's and Warner Brothers. They take$100 million loss, no problem. The reason they can do that is because they have the IP library, which is recurring revenue for them in the form of toys or licensing, what have you, right? So if their chances of hitting gold with new IP with$10 million shows increases by 10x, they want that. And if AI gives them that, they'll invest in AI.

24:37Joey:Yeah, completely. Yeah. And I think that's that was the common vibe. There are a couple other vibes that were all commercials are going to be generated and we're not going to have any production for commercials. I heard that. That was that was the buzz around the lot.

24:50Addy:Yeah. Well, I think a lot of commercials will be automated for sure. And then there will be this this snooze fest that will happen with the public where we're just going to be nundiated with automated content that we're just going to kind of snooze on that stuff. and what we're going to seek out are the special handmade stuff. Like think of the Super Bowl commercials. Like how much, like I don't even watch football, but I tune in for the Super Bowl commercials, right? Because those are works of art sometimes.

25:20Joey:Yeah, I think if it might stand out, then it'll be like some bespoke.

25:22Addy:So our appetite for handmade content and sort of curated, artsy stuff will only go up as we get more and more inundated with automated content.

25:32Joey:Yeah, it'll stand out from all the noise. There's just going to be a lot more noise coming out. OK, we keep hinting about completing this. So let's talk about this. This is usually not our foray, but let's talk about box office this weekend, because I think there are things to extract from this that also tie into AI and hybrid production and just the future of content and media creation. Crazy box office weekend started last Wednesday when Obsession on Wednesday, I think it was, beat out that day in the box office Mandalorian. And then it just kept going. And by the end of this weekend, box office totals, Backrooms, which came out, was a$10 million budget.

26:09Joey:It made$81 million domestic in the U.S. Obsession, third week out, has increased every single week. It did$26 million this weekend. And then Mandalorian and Grogu came in number three,$25 million. Yeah, and the Obsession budget is ridiculous. It was$750 ,000. Obsession was$750 ,000. That's just nuts. Factor in. Look, I'm sure everyone did. I think everyone was paid minimum rates and like favors and stuff. So like, I always want to like, when you hear those numbers, I always, you don't want to take them as like a model of like, we can make everything for seven 50 that was, you know, calling in favors and one offs, but still very low.

26:47Joey:And it's going to make at the end of the day, probably 200,$300 million in the box office.

26:51Addy:It's like the Blair witch moment from 20 years ago again. Yeah. And it's funny that the horror genre is winning right now. And we all know why it's because of the current climate, you know, You know, you can't like horror has the highest rate of return on a small investment, more so than comedy movies, which, you know, which have historically declined to the point now where we hardly see a comedy opening anymore. Horror has a built in fan base and it just it just kind of returns on investment in a very predictable way. So unless you're making a hundred million dollar movie, your second best option is to make.

27:28Joey:But these are still like outlier hits. like big outlier hits even for the horror genre yes yeah you're absolutely right but in general

27:36Addy:like looking back uh over the past five years since the pandemic uh some of the biggest horror movies like you know there's talk to me from those two australian brothers um i mean you can even roll stranger things into a horror genre right like these this genre is just successful since

27:53Joey:the last five or six years i think the takes out of this i mean the kind of general takes has been I'm like, OK, these two low-ish budget indie horror films or indie-ish horror films have beat out a Star Wars movie. The world is really upside down, isn't it? You talked about Blair Witch. We have Paranormal Activity. It's not unusual. There have been horror hit breakout films. I think it's crazier that a Star Wars film, just on its own, has not done so hot. And that's more a sign of people are tired of the franchise, just kind of rehashed of stuff that we've had before. and are craving something more original and unique.

28:30Addy:Yeah, I mean, putting, you know, Pedro Pascal and, like, these big names and then Jon Favreau at the helm, like, 10 years ago, that would have been an automatic recipe for tons of money to be made at the box. Now, it's like, eh, we'll see about that.

28:45Joey:I mean, Star Wars used to be, you know, I mean, it was rare and, you know, limited to get it, and I think we were just oversaturated. We just got way too much stuff that it's not, doesn't feel as special anymore.

28:56Addy:And it's not just Disney, right? Like, I just saw the poster release for Supergirl from DC Studios. And my first thought was like, do I really want to go see that? Like, we just got Superman, the new one, what, like a year or two ago? It was last summer.

29:12Joey:Yeah, I mean, because they've kind of had this whole DC reboot to kind of build out this DC universe that, you know, tied into Peacemaker, which the second season also was like, okay-ish.

29:22Addy:Yeah, I mean, I think Disney should put the Star Wars franchise into like the hands of somebody who's like a complete like a complete opposite of what you think of as a big franchise director and just let them reboot it from episode one and then release one every two years or three years. Like have you need to give it to like an Alfonso Codon or something. I'm thinking even younger than that. Like, you know, there's so many creative filmmakers now that are backrooms. Yeah, this guy's 20. But maybe they're not maybe mature enough to helm like a hundred million dollar movie, you know, with that sort of budget.

30:01Addy:But there are a lot of guys in the middle. I'm blanking on some director names. But yeah, I think take it like from Dave Filoni and Jon Favreau, like let those guys have a happy retirement and then just just go to town on somebody new and fresh.

30:16Joey:Yeah, I don't know. I mean, we'll see what happens with Star Wars. I think, you know, maybe just give it a break. Well, they have got another movie, that Ryan Gosling movie coming out next year. Hopefully that'll be fun.

30:26Addy:Oh, and the Disney execs should be watching the Star Wars stories and Star Wars Untold and all the AI YouTube channels. Because the reason they're so successful is because they get the lore right from like the 60 book series of the Star Wars universe.

30:42Joey:I was going to say, I know there are tons of books that people love, too, that were like, why don't you just adapt these books? Like, everyone already loves them. They kind of had. There were some theories or ideas were just like, just scrap 7 to 9 and just say it's another ultimate thing and, like, redo the 7 to 9 based on the books.

31:00Addy:Yeah, and it's not just about maybe taking one book and turning that one book into a movie, but take, like, yeah, take that timeline. And then just take bits and pieces that actually correspond back to the lore. And that is what's going to keep the fans happy. I think all of the Disney output over the last few years has all been very predictable, except with the exception of Andor. I think Andor is just like a standout in the way it doesn't feel anything like the rest of them. Yeah. Which reportedly Dave Filoni did not enjoy Andor.

31:31Joey:And there was no virtual production. Like it was all physically shot. Yeah. Yeah, that was what people, yeah, that was a comment too, where it's just like, man, I'm more upset about Star Wars because I saw how good it could be with Andor, and then it's like, not that. The Star Wars thing, I think that's like, sure, a Disney existential crisis-ish, but it's like, okay, they'll be fine. Maybe just put it on ice for a few years and figure something out and come out again and reboot it. The thing that's been most more interesting is the success of the smaller films and the two directors, which I also want to talk about because it's been this headline thing of like, OK, it's the YouTube generation of like directors is here.

32:08Joey:We went from like the Sundance generation in the 90s and 2000s and the launch of those directors. And then now it's this like YouTube generation. I like it. I think there is like some distinction there though, when we think about this, because YouTube's also so massive and the creator economy is so massive. And what do we mean by that? And what could take away from that? Because there were two, there was the sort of like online chatter of like, okay, well now you build out your thing on YouTube, you know, validate the audience. And then, you know, you can make the film or you can get funding to make the thing.

32:42Joey:And then I think there's this other bucket, which is more where these two directors came from, which is making stuff, posting it on YouTube, cutting your teeth there, and then getting signed and doing a deal, which feels a little bit more lightning in a bottle. But just for background, like so Kane Parson, who did Backrooms, he did the Blender animated Backrooms film that like kind of went viral and in 2022. And then kind of had this whole like world built out. And then I would say this is lightning in a bottle because he was like 16 and then he got signed to make this movie. He's, like, shooting it.

33:15Joey:I think he was signed when he was 18. He makes the movie when he's 19. He's 20 now when it comes out. This is just a crazy, like, this feels like very crazy one-off kind of thing. Yeah. But he made the film. It got attention on YouTube. But there was no The Backroom's channel. There was no The Backroom audience. There was no, like, I'm going to keep making content while we're making the film. And I'm going to take my audience. And that audience is going to, like, translate to, like, watching the movie. People are watching this movie because it looks like a cool movie and they're watching it. It's different than the, like, Mr.

33:48Joey:Beast YouTube world, where it's like, I'm Mr. Beast. I made a channel. I built up an audience. And then I signed a deal with Amazon that is bringing the Mr. Beast brand and making Amazon content. Which feels that's more in the bucket of, like, build out your channel, validate the content, and then try to get bigger deals with traditional media. Yeah. Same, even less so with a Curry Barker, a Curry Barker who did Obsession. He did like a bunch of sketch videos and kind of just made stuff on YouTube, but there was no like Curry Barker YouTube channel. And now, you know, different than the Markiplier where he like did the content and then got the funding, made his movie, but then brought his audience to like watch the movie.

34:32Addy:Yeah, I don't think this is like a one to one with how the music industry operates, because like the music industry is exactly what the Mr. Beast thing you just said is, which is that, you know, you build a following online, whether it's a SoundCloud or wherever, you know, and then you just basically basically sign the record deal. And now you have a built in audience and it's very sort of linear. It's like a square peg in a square hole. The movie executives want to see creative output right away. And this is where like pitchfizz has been extremely difficult, right? Just to get your project in a state where it's pitchable to the execs who's going to fund it.

35:12Addy:And I think YouTube has helped these guys accomplish that regardless of how big their fan base is. Just the fact that an exec can watch a video and then gauge how how quality it is.

35:24Joey:I mean, if you're also starting out, it's like, well, now with this overlap of AI, it's like if you can create a sci fi series, you create the world, you world build, you start actually making it as shorts or as YouTube series, and then it builds an audience and validates. It's like, okay, well, then maybe you can get the funding or pitch it or develop that into an actual series or movie. And you have this world already built and audience somewhat validated. Yeah, it's these two. But with the two director guys, it's like I feel like they're more, it feels more like YouTube as the replacement of Sundance.

35:57Joey:Nice. Of a, yeah, Steven Soderbergh. uh yeah those guys came up on the film festival right yeah they had a hit phil they had a film robert rodriguez mariochi and that like watch so on yeah that walks their career yeah yeah and this feels like youtube has replaced that aspect of film festivals that that is so true and the

36:20Addy:best part about youtube is a film festival is only for the 500 or so people that attended it. YouTube's for everybody. So anybody can see it. It's a democracy, right?

36:29Joey:Now to slightly contradict my point, Obsession was purchased at Toronto Film Fest for 14 mil. So it played at Toronto Film Fest, got acquired by, uh, did A24 acquire it there, I think. And then, then, you know, got its marketing and, and, and really, I'm sorry, not A24, um, yeah. Blumhouse, uh, and then got its, you know, well, this is crazy.

36:52Addy:Like, this doesn't make any sense. It's the same thing what anora uh went through it's like you gotta basically make the movie and then take a gamble on trying to sell it that's crazy to me yeah yeah that's the indie film biz yeah i mean like just for uh you know a young director even coming up with 750 000 in funding is such a big risk right like that's obviously not his own i don't think that's his own money no it had funding from a smaller production company but even for them that's still a big risk on a i guess like oh and And the reason I think a lot of films get bought and sold in film festivals is because there is an attached distribution and sales element to – like Cannes is famous for having Marche du Cannes, which is their distribution site of the film festival.

37:42Addy:So that's where you're buying and selling your projects.

37:45Joey:Yeah. I know. Yeah. I mean, there's a handful of festivals where it's like, yes, there's still – you get your film in there. it gets in front of buyers and hopefully there's a you know your best case is there's a bidding war and someone buys it and that's how your film gets acquired and how your financial backers make their money back but yeah it's like if you don't get into you know there's probably 10 fests where that's still viable and then every other fest is uh you know more just like fun and let's do a studio a festival circuit you can get your film acquired there but none of these directors launched there like they did like we like you would see in the past yes a yeah the director just mentioned yeah to get like official selection at sundance was such a big deal

38:28Addy:back in the 90s or early 2000s you know it's like oh wait who is that person oh like and now we hear about the director after the box office right like the whole thing's shifted to go make the thing yeah or i mean the fact that these got theatrical releases is like impressive as well i'm just impressed that gen z is got feature film on lock right like i'm just so happy that they are going to the movies more than millennials look also this other fact that came out this just

39:01Joey:came out today amc entertainment saw the highest attendance for may since 2019 i mean three movies

39:07Addy:at the same time, you know, regardless of how well Mandalorian Grogu did, it still drew people to the theaters, right?

39:14Joey:Yeah, it did. It did. It did. But, I mean, I don't know if you, like, I was looking at theater maps and stuff, because I did see Obsession this weekend, and it was harder to get a ticket for that. And then I would check out the Mandalorian seatings, and it was like, eh, you know, splotchy, pretty, like, if I wanted to get a good seat, I could. Obsession, I had to see it at 10.30 a.m. because there were, like, no seats anywhere else for, like, any of the other screenings. You saw Obsession? What did you think? I saw Obsession. It was good. It's worth the hype. It's fine.

39:39Addy:Yeah, it's good. I want to see it so bad. The trailer freaked me out. I was like, oh, God. Yeah, it's freaky. Yeah, man.

39:51Joey:So I think, A, with Bigger Picture, this feels like it validates, A, the theatrical experience, B, smaller movies still got a good shot.

40:00Addy:I wonder if these guys used any AI at all in their sort of early concepting. you know obviously not final pixel or anything uh for previous yeah just to kind of even just using nano banana for some shot like storyboarding and things like that i would be curious my guess

40:15Joey:is they probably have probably have now i think previous for these films was two years ago i mean things were pretty usable two years ago nano banana didn't exist did it you could get what's his name it's pretty good at blender i mean i'm sure he built a lot of blender yeah yeah

40:31Addy:Like all of the success needless to say at this budget level is without AI. Now, a couple of years from now, what, what would list landscape look like with this sort of young creative energy initiative to fund it yourself and then build it yourself. Plus having the capability that AI gives you, like if you combine those three things, I think that's a trifecta for Hollywood to have energy. Yeah. Indie budget fantasy,

40:59Joey:the indie budget like the genre is like obsession you know i mean you could tell it's a low budget ish because it's in a handful of locations it's really well made but you're the most of the films in a handful of locations and it's a you know product of being low budget you know backrooms is i haven't seen it yet but uh 10 million you know but and they built i know they built a lot of those sets but still not high crazy fantasy vfx you don't need it you don't need it yeah yeah i mean you do you make that low budget star wars i think we have appetite for both as

41:27Addy:viewers of movies like yeah we enjoy big vfx heavy movies right and at the same time we also enjoy thought-provoking very unique takes on familiar ideas why is it that it's only like a24 neon blumhouse and some of these like alt studios that are funding these cool things and then the big studios are sort of just doing the same thing they've been doing the big studios used to have

41:53Joey:their independent arms that did they even shut down or they just don't do as much like there was focus features right focus is still around i think that's part of nbcu i'm not mistaken blankie yeah and then sony pictures classic has is is still around right merrimax when it existed was disney yeah yeah yeah they used to have these things and do them and have these kind of smaller arms i know water brothers did launch one a new independent arm that's supposed to focus on this but yeah i think these were these smaller studios that were part of arms of the bigger studios they used to exist to do this kind of stuff and they just don't as much anymore and also just maybe this will be a comeback for it maybe they'll be like oh crap hey we gotta start we could actually make some good money if we just you know start funding some five ten million dollar projects and

42:43Addy:make more bets we also need a comeback for the different genres like like i was telling you it's just become so horror heavy over the last few years because that financially those those have been working but then uh comedies need to come back um zombie movies need to come i don't know i'm just saying like there's there's so many other genres i had fun watching uh naked gun last year

43:04Joey:and it was like we felt fresh because it was just like oh cool we just don't really get these types of comedies anymore and uh scary movie six is coming out like in a week or two and i'm excited about that where it's like you know before i don't think i ever saw any of the original ones but now it feels so it feels new and fresh i'm just like i would i definitely want to go to a

43:22Addy:like a theater with an audience to like you know one thing in the uh the early 2000s that we took for granted was we just thought movies would get better and better so we didn't really appreciate it as much looking back at it some of the movies from the 2000s early 2000s are now absolute gold And I think Scary Movie 1 is one of them. But we just thought it was a throwaway movie in the same way that Scream and I Know What You Did Last Summer and all those things were. And now they're bringing them back because they're valuable IP and they were executed a certain way. Yeah, we just took things for granted, man.

43:58Joey:I want Scary Movie 6 to succeed because they said if it succeeds, they will most likely green light White Chicks 2. Which I really want.

44:11Okay. On that note, let's wrap it up.

44:14Addy:I was like, can you just AI the white faces and stuff? I guess you could, yeah.

44:21Thanks for everything you talked about at denoisepodcast.com. Thank you for your continued love. It was really nice to meet some of you at AI on the Lot. For those of you who we didn't get to meet, we're here in the comment section. So chime in. Thanks, everyone. We'll catch you in the next episode.