The Odyssey: Nolan Makes the Ancient Epic His Own

23:23Adam Kempenaar:But you cannot control this.

23:26Josh Larsen:That world is gone.

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24:13Adam Kempenaar:It is The Invite with Seth Rogen, Olivia Wilde, Penelope Cruz, and Edward Norton. I want to see it. And I want to see it for free. Something I can do with my Regal Unlimited membership. membership, the all you can watch movie subscription pass that pays for itself in just two visits. All you have to do is sign up using the code film spot to six film spot 26 to get 15 % off. It's the only truly limitless movie subscription pass because you can see any standard 2d movie anytime with no blackout dates or restrictions. And you save 10 % off on all non-alcoholic concessions. All you have to do is sign up now in the regal app or at the link in our podcast description and again that code is film spot 26 to get your discount real quickly i'll just add

25:06Josh Larsen:that after that and i won't give the details away nolan does end this differently than the poem ends and distinctly to address that i feel also and i think it works in the context of this movie Again, I'm not criticizing. I think that there's a choice made by Odysseus there that is closer to the man. Right. But you're right. The killing happens beforehand. I will also say, and the reason I think I'm saying like, okay, it works is related to what you referenced, this notion of Zeus's law, which is, you know, I thought you were going to mention that when you talked about this movie being too talky, because I think Zeus's law is invoked about once every 20 minutes.

25:53Josh Larsen:Okay. but this is praise for me. I'm going to get to. Well, let me just quickly say in regard to the slaughter of the suitors, my sense is that is how the distinction the movie wants to make between Troy is that Odysseus's shame about Troy is that they used subterfuge in the Trojan horse to sneak inside and take the city. And that is in his mind, a breaking of Zeus's law, which is in the movie is this strange combination of like, um, the golden rule that is in the poem, hospitality and generosity and welcoming strangers into your palace. And, and, and that's all in the poem. Um, and, and you root it, I'm sure in like in ancient actual tradition, the movie puts a spin on it.

26:40Josh Larsen:Penelope says something that it's like treating others how you want to be treated, which is jumping out ahead a little bit to pull from the Bible. Um, but we've got, we've got this Zeus's law that is held up as a governing principle, right? And now going back to the suitors and the slaughter that Odysseus engages in, they violate Zeus's law, right? By invading essentially his palace while he's gone, disrespecting his wife and his son. And so I think in the world, In the line this movie is trying to straddle, you could say, if not justification, that is why Odysseus, even though he was a quote-unquote new man, still chose that path of vengeance in that context.

27:29Josh Larsen:It's an out that I see whether or not it's enough for most audiences is definitely out for debate. Yeah.

27:38Adam Kempenaar:It's not an out that is satisfying for me. And without, we probably, to some listeners, it probably seems like we've spoiled too much, but it's the Odyssey. I don't know how much we can spoil of this ancient story.

27:53Josh Larsen:And I didn't give away the end, the ultimate end.

27:55Adam Kempenaar:But this coda, which I won't get into the details of, I will agree with you that it seems like there is a coda there that is Nolan's acknowledgement that we need something maybe a little bit more melancholy. That is our reconciliation of this tension that we're describing at the same time. I will also tell you that I I thought it felt abrupt and I thought it felt to quote you from our last show, the top five films of 2026. I thought it felt unconvincingly optimistic as well. Okay. Nothing about the writing there worked. And I thought it felt shoehorned in to, to actually send me, unless I misinterpreted it, Josh, I felt like it, it sent me out of the theater with a sense of hope for humanity that, that the movie at that point really hadn't earned.

28:50Adam Kempenaar:And I and so that was another that was another tension point for me, certainly, as I as I was leaving and thinking about the movie. But I want to say about Zeus's law. Yeah. And the Trojan horse. This is this is an aspect I like because it fits. It fits into my read of the movie and it being fundamentally about his regret and his trauma and how he's processing that. First, I will say that I do. I do give Nolan and his entire crew a lot of credit because the Trojan horse. Incredible. It should not work on any level. This is this is magical realism. It should be anyway. It should be like Jonah in the whale.

29:39Adam Kempenaar:This isn't something we actually believe happened in any universe. Did this army get inside a wooden horse and it got dragged inside the gates? And yet, maybe we have to suspend disbelief a little bit as we always do with movies, but not that much. The way it's filmed, the practical nature of it, the the grittiness of it and and also the the horror of it that that speaks to it. The the the way we understand that people are suffering from Odysseus's point of view, it it does feel real in a way that you kind of can't believe they they pulled off so that that's part of it. But then what I do like about whether whether it's said too many times or not isn't really the point for me.

30:34Adam Kempenaar:But I love this idea that it's it's making that whole thing. This idea of you have to treat strangers a certain way. It makes that concrete tying it to the Trojan horse, which then helps explain why the fracture is so significant for Odysseus. What I'm saying, Josh, is it's not just, of course, that he did something sneaky or sort of dishonorable. It's it's it's really I wouldn't even say that it was dishonorable. And I'm not suggesting that that you are either, but I wouldn't use that term. It's that. If you've been operating. Your entire life, according to Zeus's law, you've been living according to a certain rule about how to treat people.

31:24Adam Kempenaar:And then you commit atrocities that scar you and change you so much that you're not sure you can even return home. And the trigger for that, the trigger for those atrocities was you coming up with something. and that thing you came up with actually is rooted in the law that you've been living by previously it it's because it's a gift it's because it's it's it's something that when you're welcomed in the door right that the fact that the fact that what he did wasn't just horrifying it's that he was able to do it by offering a gift and so that whether or not that matters to the universe to the gods it's more that it's like personally scarring in a way that he may not even fully be able to process it yeah it's on a subconscious level that that drove his entire life and then and then he did something awful and the way he did it violated his previous principle that that to me the way that nolan from a script standpoint tied that together I thought was brilliant.

32:40Yeah, that's helpful to me because there's a gap in this movie in terms of the role of the gods and Odysseus's relationship to them.

32:50Josh Larsen:That I think is one of the things, despite it being almost three hours, that the movie misses out on. But if it's more that Zeus's law represents a personal moral code for Odysseus in the way you describe that he violates, that does make sense to me. And we see in flashback flashbacks to his time before Troy, where he is very much depicted as a benevolent warrior king to his subjects. He cares about them. He's in conversation with them. So that tracks with what you're saying in that the actions he takes at Troy are in violation of that. Because otherwise, obviously he's talking to Calypso. It's not that he doesn't believe in the gods, but he seems somewhat annoyed by them or disinterested in them.

33:39Josh Larsen:And the gods are somewhat set aside in this movie, even though we do meet a lot of them. Athena, we'll get to the performances, but Zendaya as Athena is almost an afterthought. which I think is a mistake both because you cast Zendaya and Athena, you know, is, is a central figure in this tale. So at any rate, maybe we'll return to that in the, in discussing. Let me just say, Josh, I think,

34:07Adam Kempenaar:I think that he, my read of it is, is that he believes in the gods. Yeah. Previously. And then post Troy, he is someone who understands that the gods, seem to still govern this that that they're they exist in the sense that capricious sure yes they're capricious they exist but he is willing to challenge them and is in is in fact constantly seeking to challenge them in a way he wasn't before and that is driven by this trauma it's driven by yeah what what previously what previously occurred and and in fact what he did and and for me josh it's not only that it's not just that he's scarred and so he's behaving differently i do think he's actually subconsciously looking for reasons to not go home and that means challenging the gods even if it means going way off course and potentially dying in the process

35:07Josh Larsen:To your earlier point, I think he talks about this more than we actually see those encounters or those challenges or sense the presence of the gods. But we sense enough in this movie because this is such a sensory movie. I love what you said about the Trojan horse. It should not work on any level. So much of this tale, Adam, should not work on any level. I think if you had made this primarily with CGI imagery, it may have quote unquote worked, but in the way that nothing digital often means anything works, you know, yes, it's, it's there on the screen, but we don't believe it at all. I believed everything save maybe one shot that I, that I won't maybe get into.

35:52Josh Larsen:Cause I want to praise the filmmaking here. I believe everything else I see on the screen wholeheartedly. And I believe it with my whole body. I don't just believe it with my eyes. I believe it with my ears do this sound design and the score. And yeah, even more tactile-y than that. And that is what you're describing the Trojan horse is absolutely one of those elements, just that it's introduced. That is, it is something we know we could be on that beach and touch ourselves. And it's giant, right? And that works because when we see the horrifying shots of the men squeezed in the interior, we believe, I mean, here's where we're like in Dunkirk.

36:29Josh Larsen:We're in a sinking, one of the sinking boats, right? Again. And we believe that those men fit in there like that. It helps the way Hoytman Hoytman, he's working with a cinematographer. Again, the way they just establish at once a mythical and a rooted in reality sensibility. So the deep blue of the seas here, and then they offer these red sails on Odysseus' ship to punctuate the blue. that just sets the stage where it's, it's something, it's a boat, it's a historical boat, ancient boat. Um, that's familiar even to us, but there's something about the colors and the framing of it that makes it feel mythical.

37:12Josh Larsen:I think an opening title describes this as a time of apparent magic, right? And maybe they don't very effective.

37:19Adam Kempenaar:Yeah.

37:19Josh Larsen:I love that. Maybe they don't push that for me enough with the gods, but they do in every frame, You feel the apparent magic. I'm very eager to hear what your favorite sequence in terms of this quality, the it should not work on any level you describe. And maybe it is the Trojan horse. For me, it was actually Cyclops, which because it's the degree of difficulty, Adam, it's the same thing you were describing. We've heard about the Trojan horse our whole lives. We've heard about Cyclops our whole lives. We've seen how many iterations of each. How in the world are we going to be convinced of these things again in 2026?

38:01Josh Larsen:I tried to find out how they did the Cyclops. I have a few details that I'll share, but still nothing that explained exactly how I fully believed this giant creature with a single eye is in the same frame with Matt damon's odysseus and his men i know they filmed it in an actual cave and um that certainly helps i know that bill irwin who provided the voice and i think some of the movements for the robots and interstellar bill irwin is actually performing as cyclops so to me that added this incredibly creepy again i know there's a body there i know it's not really that big i and i you know i know its face doesn't look like that.

38:49Josh Larsen:I almost don't want to describe what they do with Cyclops's face because it's a simple choice that maybe another iteration has done before, but I've never seen it like this. And it made it so ghoulish and, um, like a different abomination than I'd seen before. But I think it's, to me, it's a lot about Irwin's performance, the physicality of that. Um, and the managing of the scale, whether it's, you know, camera fakery positions, however they did it. I just thought that was to me is like, oh my gosh, like he's, he's actually figured out a way to do this. And I think it's those sorts of that sort of artistry that makes this movie just feel like one, it's a world you've never seen.

39:41Josh Larsen:That's never existed to your point yet. But it's there, but it's there. Somehow it's there. And that's like the incredible achievement of the Odyssey for me. Yeah.

39:51Adam Kempenaar:Just like with the Trojan horse, there's a tactility to it. And I do mean the hand of the Cyclops, you feel in the theater like there is no doubt that hand is going to reach down and potentially grab Odysseus. The way that hand is dangling and he's trying to get underneath it. You in the theater almost want, at least I almost wanted to duck myself. It was that scary and it felt that real. I also think the way you described why that sequence is so effective, I think on a much smaller scale, I think it all applies to the Circe sequence with Samantha Morton. Oh, yeah. So fleshy. And the fleshy exactly transforming the men into pigs.

40:37Adam Kempenaar:And that that will allow me to transition back to when I said there are so many Nolan themes here that it it feels like like this amalgamation. Of course, how many of Nolan's movies are about deception? Characters who lie to others and most importantly themselves. I've already articulated Odysseus' self-deception or tried to and his self-awareness being the primary character arc. But look at all the other characters. Of course, all of Pattinson's Atenus, right, is just duplicity personified. But Penelope, Anne Hathaway, that little touch of her undoing her work each night, I love. Calypso playing her part in keeping Odysseus there with her.

41:25Adam Kempenaar:Mia Goth's maid, we learn about. Of course, Samantha Morton Circe is also doing some shady business. Agamemnon's justification. I want to talk about Agamemnon too. Agamemnon's justification for war with Troy, Clyde of Anestra's betrayal. And then with, with the, the Elliot page character, Simon, right? The, the way that is described that, that sequence, which I think is really effective in Hades reminded me, Josh, of a lot of the conversations we get in the Batman trilogy, where the conversation revolves around this idea of needing to believe that that you you have to actually with your whole heart believe in something yeah and and and it and it will only work whatever it is and it's very different in this film from the batman films but it will only work if you if you buy into whatever the myth is of course time we've talked about non-linear the non-linear approach and the flashbacks here but of course the Greeks losing 10 years away from their families on the, on the beach before they even have the battle.

42:41Adam Kempenaar:And then the seven years with, with Calypso and not having really any sense of how much time he's really losing. But those are, those are the very, very obvious ones. I want to throw this one at you. It's, it's not something it may be there. Now I want to retrofit and I, we need another overview and I'm sure we can find it in all of his movies but it's not something i would have connected until we saw tenet and you think about the john david washington character and how he's not given a proper name you know how he's only referred to including in the credits as the protagonist yep odysseus is is the the first major Greek literary hero.

43:28Adam Kempenaar:And is there any character in any story, book or movie, where you feel like the entire world revolves around them more than Odysseus? And certainly the way Nolan frames this movie, it seems that way. They lead, he leads everything. He communicates with the gods. He seems to determine. He seems to, through his own will, determine his own fate. And I think that's really the key point is Nolan is very interested in this idea, this meta aspect of being the protagonist. Are you able to write your own narrative? This idea of free will versus fate. Have the gods determined the path that you're going to take?

44:23Adam Kempenaar:Has your story already been written or can you determine it? And Odysseus' hubris on screen certainly is that he always believes that he's in control. That he's writing his story. And it does not matter what what else is occurring around him. And that that that made me think of Tenet, certainly, as I watched this film.

44:48Josh Larsen:Tenet is I mean, we both said we need to rewatch Tenet, but that is the one coming out of the Odyssey. I really want to take a look at and connect some of those threads because it's a puzzling film purposely in so many ways, disappointing for both of us. But I do think, you know, the more films we get from him since may help unlock that one more. And of course, the second viewing would just do the same. So saying all that about Odysseus, what did you think of Damon? No one could stand between me and home. Now these are the gods. Keep us free!

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48:28Adam Kempenaar:exclusions and details at t-mobile.com i have always been happy with damon performances i think it's a very good damon performance it's not one of the performances josh that i that i had notes about let's put it that way yeah there are there are supporting performances that stood out for their for their strengths they're supporting performances that stood out for weaknesses i do think damon does exactly what he has to do i think he anchors this film and i think he anchors it very well i i think that's probably a very boring take he's a very good actor and he's very good in this role of odysseus do you have a better take than i do um i i mean i think anchor is the

49:10Josh Larsen:right word there's you know at this stage in his life and his career he has let's say a grizzled stoutness that fits for this part um i think damon damon is interesting to me because he can have and often does this unforced integrity to him and um i think that's the quality not that nolan only wants so do you see us to be that but i think he wants that to be who this man is at heart and has, despite that, made terrible decisions, right? What's interesting about Damon and surprised me about the performance is that the Odysseus of the poem is, you mentioned his self-deception. He's much more of a conniving deceiver, troublemaker beyond how he's deceiving himself.

50:03Josh Larsen:And again, I'm not pointing that out to say that that's exactly who Nolan's Odysseus had to be. What's interesting to me is my favorite Damon performances, The Departed, The Informant, are when, like Leonardo DiCaprio, he embraces his inner weasel. And just knowing that in literary tradition, there's a weaseliness to Odysseus, I feel like that's been extinguished from him largely here. For sure. even though there is that self introspection you've mentioned, there's definitely that. And so it's just a trade-off where for me, it doesn't, you know, I've already seen some early heralding about Damon's career performance.

50:44Josh Larsen:Um, and I just think he's done more interesting work, even though he's very good as the Odysseus, this movie wants him to be the, I would agree. I think the two parts that I really enjoyed the most and one, uh, surprised me, but I did not this one, you know, Anne Hathaway, I think is, is quite good in most things she does. And I do, I did appreciate the ferocity she brings to this Penelope, how she, you know, she lets Tom Holland's, you know, her son have it a couple of times and reams him out. Um, she brings a passionate ferocity to the flashback scenes with Odysseus, which I think help provide that foundation for their relationship.

51:25Josh Larsen:I thought she was quite good. And I got to say, I don't think it was until his third scene. I realized that was John Leguizamo as Eumaeus, Odysseus's loyal servant. And he's got white hair here and one of his eyes is cloudy. He's plating older than his age. And finally, I was like, you know what? Actually, I'm going to stop there because for our family members, FilmSpotting family members, we are about to record a bonus show for July. our favorite performances of 2026 so far. And spoiler, Leguizamo's on my list. I will talk more about him there. But those were two standouts for me, actually, Hathaway and Leguizamo.

52:10Adam Kempenaar:Okay. Yeah. Let's keep it there because I'm definitely with you. I do always appreciate Hathaway as well. She leans into some of those scenes. There's no doubt about it when she's taking it works when she's taking tom holland to task and i think it works because i can accept this penelope at her wits end at this point and also being a a queen who feels very much like she is a ruler and and can be the ruler and she has a line at one point where where she acknowledges that that she only can't lead because of whatever laws dictate that she she needs a king of course agamemnon i want to say this before i i talk about performances that are not going to make the bonus show for favorite performances of the year the way van hoitama and nolan decide to shoot agamemnon never showing him that armor that dark armor the way he looks so gigantic yeah that air as everyone else that air of mystery about him that makes him seem like a ruler like that needs to especially when he is because of his whims all of this is occurring he needs to seem divine but he also essentially commanded odysseus for those unfamiliar with the poem to go on this campaign that's right yeah but he also needs it it almost needs to feel josh like the armor is a bit too much like that he's too regal because it's it's overcompensating for the fact that of course he's just a mortal man and and not only that he's he may not even be that much of a man and that's why i like i'm not even going to reveal who the actor is because i had to look it up later you you don't know i won't reveal it i i like though when we finally get a glimpse of his face i certainly didn't recognize who the actor was just from we don't really glimpse his face it's just through the helmet it's not until later that we we see any part of his face and hear his voice, but you can tell that there is a, there is a certain boyishness about him that comes through.

54:40Adam Kempenaar:That's in contrast to someone like Damon's Odysseus in this film. And it is in contrast to this armor and the way he presents himself. And every time he walked on screen, I, I was in awe of him the way you understood that every one of those men needed to be in awe of him. And it's also there. These are flashbacks from from Odysseus's point of view. Right. So it makes sense that he would see him that way. And also when when Agamemnon's telling stories. You can understand, perhaps I'd have to go back and watch them to see if this is totally consistent, but that we would get these shots where everything he's seeing.

55:19Adam Kempenaar:We don't see his face because it's what he's seeing coming at him.

55:23Josh Larsen:so his presence is incredible and again very tactile the costuming um they way overshot that dynamic you're describing because when that actor is revealed and this is in haiti so this is you know a sequence where agamemnon and his men they're dead and they're in haiti's incredible production design these soldiers emerge from the black soil right again everything is that you can you could pick that soil up and let it run through your own hands you know it and then we get this squeaky weenie agamemnon and it's so good they overshot it way too far you need a hint a hint

56:10Adam Kempenaar:of the gravitas it's funny hint is what i felt josh i got to be honest oh gosh no it was maybe

56:16Josh Larsen:the worst moment because it took me so out of the scene as like, who, who is this person? And I understood intellectually what they were trying to do. He's been, he's been ultimately humiliated. I just felt like they overshot how to depict that in, or maybe the performance did.

56:35Adam Kempenaar:Yeah. Well, so incredible actress, but Lupita Nyong 'o as, as Helen, and then also her twin sister in flashbacks, Clyde of Manestra is just lost here among the throng of characters and does not get to do any real acting work, which is sad. Similarly, you already said it. Zendaya is just back to being what she is in the Dune movies, which is, and I don't appreciate her performances there, which is, I mean, it's worse than that. But honestly, it is worse than that. But it's it's similar, which is an Oracle presence. Yeah. Who who mostly not even mostly who just all the time scrunches up her face and looks on disapprovingly there.

57:26Adam Kempenaar:There is no performance going on there. She is so much better in a film like the drama where she actually gets to be a person. I understand that she's a God here, but I still need something more substantial to hold on to than that scrunched up face looking on disapprovingly. It just, it, it, it's, it's a waste of her talents.

57:46Josh Larsen:I'm going to add a third. I'm going to add a third and then ask you a question about this. I have a third. Um, let's say the name three, two, two, one Robert Pattinson.

57:56Adam Kempenaar:No, Tom Holland. Okay. Mr. Zendaya. Okay. Go ahead. You go first. I mean, I'm never going to besmirch Robert Pattinson, even if this is very much a variation on a lot of on a lot of weasels. He he seems to have played recently, but I still saw shades in him that I felt like I haven't seen in some of those other weasels. I'm I hate to say this because it it sounds. I just fear that it may come off like I've got some issue with him as an actor. And I can see the talent in him. He's obviously so clearly a talented performer, but I'm not. And I've seen other movies. I've given him a chance. I'm just not sold on Holland in anything other than Spider-Man.

58:45Adam Kempenaar:And I think his stature here and his sensitivity, his innate sensitivity should work more or less for Telemachus. someone who's striving so hard and and failing really to to lead and to be his his father and he and damon do have a nice moment together but but overall i do think he's he is too sensitive he's emoting too hard and when he's he's in a scene with a with a force like john bernthal he shrinks.

59:23Josh Larsen:Yeah, I think that's fair. For me, two things. I actually have only seen him as Spider-Man. So I have no other context where I think we both have said he's pretty much perfect for that part. And I think it's a close enough part to hear that he's supposed to shrink. It's kind of the whole point of this character until we get to the end. I don't think he stands out. I understand that sort of eager boyishness is why he was cast. And from what I've seen of him, he can do that quite well. Pattinson, I'm not saying he's bad. I think you're right. You know, he's done more interesting variations on this.

59:59Josh Larsen:I think there's a repetition to his scenes that are bad. Well, that's the redundancy. Yeah. Every time we see him, he's doing the same thing. Yeah. Especially in the slaughter of the suitors where it almost became comical where a series of weapons are provided to the suitors. And every time we have to cut to him and he has to yell, get the blank. Go get it. At one point I was like, don't cut that first two times. Don't say it. And we did. So, but here's my question. I do think in the case of Pattinson, Nyong 'o and Zendaya, is there such a thing as overcasting? Because I think our issues, in other words, if it was an unknown in each of those parts who had delivered something slightly differently, might we be sitting here saying, you know who I can't wait to see more of?

1:00:52Josh Larsen:So-and-so as Athena. Right. Now, obviously, the writing is a part of this too, what is being provided. But I do think in this case, it's not going to work against you. You're going to get so many more people to see this movie because Zendaya's in it, right? They may be quite angry that she's not in it more, And there may be a backlash. So obviously I get the strategic reasons for casting them beyond the fact that they have the talent. But I almost feel like if the part is this small. In terms of the movie as a whole, do you think you could be doing yourself a disservice by bringing in a talent like that?

1:01:27Adam Kempenaar:It's an interesting thought because you're right. The cast is so filled out with these faces and maybe part of the fun would be discovering new faces and then wanting to see more of them like Haimash Patel, right? Or Corey Hawkins. No, that's a good example.

1:01:48Josh Larsen:And they're good.

1:01:48Adam Kempenaar:And we've seen them in other movies, but we're not so familiar with them. And when they pop up on screen, we go, oh, I really like those performers. And they're really good in their parts. Sadly, Charlize Theron is another woman, we can say, who does not get enough to do and who seems to simply through her presence. Her presence has to just carry the weight of her character, Calypso.

1:02:17Josh Larsen:As written, she's only there for Odysseus, and it didn't have to be that way.

1:02:21Adam Kempenaar:Right. Now, the one exception in terms of female cast members, I really did like that Cersei sequence a lot. And I think Morton gets to dig into something in that scene that works. She really does.

1:02:39Josh Larsen:Because it's almost its own short film within the entire movie that she takes command of. And is an instance that contradicts what I said earlier about the gods not getting a lot of attention. Well, you could point to that and say, well, they gave Cersei her own short film. So you do get that in that sequence for sure.

1:03:03Adam Kempenaar:Any closing thoughts, Josh? Or did we do the Odyssey justice?

1:03:07Josh Larsen:I mean, you know, I mentioned the score in passing Ludwig Gornson. The one thing I, if, when I see it again, I want to pay more attention to this. It seemed to me, and this speaks to the short film quality I was talking about. There probably is a recurring motif throughout, but it almost seemed to me that each section, he came up with something new so that we got a score for like this 20 minutes or something. And it was also at once both. again if I was more of a musician I could point to some instrumentation or something but different it somehow it seemed to be using sounds or instruments that we associate with being ancient but also modern techniques or rhythms that's well said there's a combination of eras to this that is obviously entirely appropriate so I think that's worth highlighting and yeah I mean I think we've I think for a somewhat processing review for you and it's only been a couple days for me I think we covered we covered a lot of good stuff it's probably one I will hope to see again at some point and and see what more might be there and maybe I'll squeeze in a tenant revisit before that to help me out yeah that that sounds ambitious I'd like to join

1:04:24Adam Kempenaar:you. I definitely would like to see The Odyssey again. If you've seen The Odyssey once or twice, we would love to hear your thoughts about it. You can email us, feedback at filmspotting.net. This conversation can serve no purpose anymore. Goodbye.

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