Call Me By Your Name conversation w/ Timothee Chalamet and Zane Lowe

Thanks to the good people at American Cinematheque and Cinesphere for putting on this Valentine's Day special for all of y'all. So this has been, what is it, eight nights celebrating some amazing films. And incredible people who put their heart and souls into making these films. Everybody touched them and brought them to life. But there's one through line in all these films. This actor and producer, shapeshifter, student of the craft. This guy is unbelievable. Let's just think about the last eight days and some of the roles he's inhabited. Young King. Abandoned son left on a dying planet to try to make the most of family fun. What about inhabiting or flight of one of the world's greatest songwriters, Bob Dylan. Taken and embattled people into interplanetary revolution. And what about what you just saw? A teenage boy who has to try to make sense of the complexity and confusion of an identity shaping secret summer romance. All of that. Already. And so much more to come. Timothee Chalamet. When they call it Timothee Chalamet, we're joking. It's like my dream, man. Congratulations on what's been an incredible eight days, bro. Celebrating film, all of this, bringing people together to experience it just like you did as a kid. It must mean a lot to you, not just for people to see these films, but to see them like this. No, it means the world, man. And just thank you everyone for being here, taking the time to be here. I'm still new-ish. Los Angeles, I didn't know this theater existed. It's stunning. Incredible to be here. Thank you to Zane for being here. You know, the interview we did together two years ago, I feel like it kick-started kind of a new chapter in my career. So it feels like a nice, you know, tying the ribbon here to be here with you. I love it, man. It's our first Valentine's Day together. Caritha, let's talk about... I'm going to make the most of every second of it. So, let's start with what everyone just saw. Call me by your name. That movie changed your life. Absolutely, yeah. It's just amazing to see the enthusiasm here for the movie tonight. I can't believe they were able to sell this theater out. Because when we made this, it was really, as I've said a million times, it was sort of a humble task. I think we had like 23 producers on this, like 23 financiers. Because Luca would get a little bit away from this person, a little bit away from this person. Then when he got a bunch of award love, then they all tried to jump in and claim credit. What was the budget? I think it was something like that, yeah. But it was spread thin, you know. There's this fancy thing called escrow you get when you're an actor. You're supposed to only travel once you get paid. And they didn't pay me until we were shooting, you know. I had a lawyer that was like, you've got to get out of Italy, man. I was like, I'm getting free Italian lessons. I was enjoying it. I want to start at the end of the beginning. If that movie was the beginning of a whole change of your life, I want to start with the scene that everyone just saw. The last scene. In a tight frame. For the duration really of the credits. Up until that point, I'd only seen one other actor occupy a frame like that for the credits. It was Bob Hoskins in Longer Friday. Which is pretty amazing. He just spends five minutes just going, I'm fucked. There's 85 different ways of going, I'm so fucked. This was such an amazing scene, mate. Because you really went through the process that everyone had been building up to through that film of letting go. And at the end, also acknowledging a bit of scenes with some gratitude of the experience that you had. At the time, in Mrs. Lofty, was it the proudest you'd been of any scene you'd done? Or do you remember feeling at the end of that scene when you were doing it? This whole thing felt transcendent. It's so hard to, as a young actor, come across any role and get a good opportunity. That scene we shot, I want to say, in the middle or sort of early on. Luca pulled me into the editing suite on a weekend and he showed it to me. I felt like I was circling something that was going to be worthwhile. But I didn't want to jinx it while we were shooting it. I risked repeating myself. The whole thing was like a fever dream the whole summer there. It was short shooting days. Eight hour, nine hour shooting days. Luca's energy was relaxed. I remember Luca being on production calls for Suspiria. While we were shooting, calling by her name, point being, it wasn't like, this is the ultimate thing. By the end, though, I felt like I went through a thing. I don't know how else to describe it. It's like, bop, bop, bop. I love it. In the car, he says, I feel like I just went through a thing. I love that. That's how I felt at the end of this. I felt emotionally tired. The last scene we shot, it's sort of that shot that goes out of focus. By the fountain towards the end of the movie, you're kind of drunkenly stumbling down the steps. I think I've said this story before, but I punched the wall in frustration in the takes. Luca goes, that's not your character at all. We're on the last day of shooting. You don't know your character. I was just grateful for the opportunity, and then also emotionally fried by the end. I don't want to say grateful to get out of there, but I felt like I went through a thing. We all do watching a film. It's really immersive. Okay, let's play catch-up to Mighty Supreme, your most recent film. It's not dissimilar. It's again you facing the camera in a tight shot, going through something, some real emotional resonance, and again letting go of something. If you think about it, is that the most simple pathway to figuring out the journey you've been on since Call Me By Your Name right up to Mighty Supreme? The two actors that played those two scenes, one is a younger man and one is most recently. Absolutely. They represent different things in both movies, but I feel like in Mighty Supreme, the ending is like coming to grips with adulthood. I'm playing younger in that movie. He's 23 years old, but he's coming of age in the sense of becoming a father. I think Call Me By Your Name is more a youthful heartbreak, coming to terms with first love for the first time, but also being let down for the first time in life, not love, not being what it seems. Definitely in the years since, I'm so proud of Marty. I'm so proud of him. That's why I said that in the interview. I feel like I was a launchpad of sorts because a movie like this, without which my career wouldn't exist, not to the degree it does, I feel like there could be, in the movies sometimes, you get green letters when they capture a naturalistic performance of someone in their youth. I had this in the back of my head even when I was shooting this. Then this sort of case study, the litmus test becomes, okay, can you push yourself outside of that comfort zone? That's why I'm so proud of the program this week. I feel like it started with The King. I was sort of like a toe dabble. Then Dude and Walk are these big movies that pushed my career. There weren't necessarily as much character pieces as this. I feel like a Caprino Domino Marty Supreme back-to-back. I'm not trying to just toot my own horn. Thank you. They said toot it, all right. What does that look like? I never actually thought about that toot your own horn. You know, I felt like, oh my God, I got that individually. Listen, man, this was like the fruition, fruitionification of a lot of hard work. Particularly these last two roles, man, I'm super, super stoked and proud. I risk a rambling but I'll just say one more thing. I shot, I shot Complete Unknown and Marty Supreme in the span of four months or something. I finished Complete Unknown and had a little break and went right back to Marty Supreme. At risk of citing attributes too much or whatever, I felt like it was that locked-in mentality. I was in Texas today talking to Matthew McConaughey and his students and I felt like, today, literally today, what's great about being with McConaughey, man, he enables me. Like you guys were saying too, he wasn't, he didn't say talk your ----. He said it in a Texan way. In a Texan way, he said talk your ----, basically. And I feel like I'm 30 years old, I'm right in the pocket, man. I'm so grateful everyone was here tonight and also what's great about doing this kind of thing is it's a great way to remind people I'm trying to be subtle about it. Maybe not so subtle. But like, it's like, hey man, it's been a number of years, you know, and these things aren't effortless. That's not to go, this is as tough as being, you know, working at, like my dad worked his job, he will work 10 times harder than I ever will but in the domain of what I'm doing in Los Angeles, this is like, anyway, this is the kind of thing that gets clickbaited in a negative way, so. It hasn't been without its disappointments though. If you think about what happened before this breakout role, we spoke a little bit about this when we talked about Complete Unknown, how stellar that felt like a big break and the end result as much as it's your favorite film, we had a little disappointment to you as a younger man because you're like, I didn't show up on screen as much as I thought I would because scenes that got cut, you know, and when you think about that experience and coming out of, by the way, did you get to like pop off at Christopher Nolan about that? It must have been a little experience with Nolan, I was like, I felt totally like 17 again and I went home and it was shocking. I don't know, anybody here was at the Interstellar this morning? That was a crazy car ride home for me because I was like, holy ----, I feel like the, you know, 13 years that elapsed, having elapsed, the way he was cracking jokes backstage, we were taking pictures together and I didn't post it yet, I'm gonna post it tonight or tomorrow and then he throws me in a headlock and starts hitting me with a noogie and I'm like, holy ----, there's Nolan hitting me with a noogie right now. And I said to him, I said, I said to him, I said, Chris, I'm a 30-year-old man, he said, not to me, you're not a 30-year-old whatever. From that experience you get your first real taste of disappointment up the back, what should be an incredible experience, how did you approach your journey and did it impact your decision to do Call Me By Your Name, that experience looking back on it? You know, I wouldn't say there's so much disappointment, that was 10 production days that gave me fuel for three years. The disappointment were the number of movies that I've cited before that I didn't get, the rejection, especially being in L.A. that you get and you feel like every door is getting closed and you feel like time's evaporating. There was a director named Yann Demange, I think I should name drop him, but I wanted to be in his movie so badly, White Boy Rick, and I would see him at these parties, it's just the truth man, and I'd see him at these parties and I'd be like man, I wish I did White Boy Rick, man, and at some point he's like you're doing great, shut the **** up, stop throwing this in my face, but I was in the movie so badly, because I could tell I just goofed it, but I felt terrible, I remember filming myself weeping, I was weeping so much, I was like I've got to chronicle this, because I was so fucked up about it, and I just had a friend that was going up for a big TV show, I want to say more specifically because he was so bummed, but I, exhaustion of spirit, auditioning is a massively challenging thing, it's a horrible thing, that's why the Screen Actors Guild, the last contract they did with the studios, they tried to introduce language where you get paid for how much you prepped an audition, from what I hear, no one's followed that, but it was meant to protect the time you put in, otherwise the disappointment was only ensured, I can't say I chose it, it just fell into my lap. I'll turn to your perspective of what a big career in movies might be, or how much longer it might take, when you look back at that film, I think you said in our conversation there was a moment where Matthew McConaughey was crying down the barrel of the camera and calling him, it was you he was talking to, it wasn't you and the end result, it's going to be hard to swallow even at the time, this is a kid. Absolutely, they cut to another actor and Nolan at the Q&A and he was talking about McConaughey today too, your work is only as good as how seriously you take it and sometimes your peaks are only as high as your lows. I remember not getting roles in A Back to Black and being a movie in the back of a car hard to play in and out at the time. And I should be more sophisticated to you but anyway. I wanted to bring it back to the timeline and talk about the chemistry you have with You know, it feels really spontaneous, as you're getting to know each other, as you're falling for each other, as you become physically connected, it feels very spontaneous and playful. It doesn't feel reversed, it doesn't feel like you went through that. Is that fair to say? And how did you get to a place where you could trust each other in those kind of environments to just play with it and be spontaneous in those things? I don't think there's much, you know, practice or chemistry mixing or whatever, mixology or whatever. I think it's either comfortable or it's not. And the point being, like, if something's going to go awry or you're not comfortable with your scene partner or without sighting in other movies or whatever, there's fallouts and stuff. You know, if people don't like each other, it's clear. You know, I'm talking about it. That does bring up an interesting point that you said to us. One clickbait thing, I gave another clickbait thing back. But by the way, I didn't even break my click. You said you love to approach acting playfully and not mechanically. But not everybody is like that. Some people are more mechanical or do approach it in a different way. So when you do find yourself on set wanting to be true to your own approach, wanting to try it the way that makes you feel comfortable and inspired, and you have to work opposite somebody who doesn't, how do you sort of manage your way through that? What tools do you use in order to adapt to other people's methods? I think I've been lucky where… I don't think it's as regimented as that as far as… I think based on this movie, I think people were pretty motivated since this to a fault maybe to work around. I would say the challenge that I face in that regard were more between Marty Supreme as far as, you know, feeling like once you're on a bigger set or a bigger studio, feeling like you've got to be more controlled or something. I feel like Marty and Complete Unknown are kind of breaking free of that. I think Wonka has a lot of moments of that too. Who was absent this last eight days? Well, you know, we were supposed to do this last year and then unfortunately the fires broke out. That was definitely on the program last year. I think Kayla Lane, who plays Noodle beautifully in Wonka, I think she did an intro last year. So Wonka and Little Women and Bones, I wanted to do a whole… Oh yeah, we would have done one and two. We would have done… Anyway, that's just this section. No one else got a hand for this. This is a ******* riot. It's the fact that he's created such a vicarious experience for us and yet it gets so close and so intimate to the experience that you all had as characters in the film. It's really, really… It's like a magic act. Do you remember being on set how he did that? How he was able to get so close to the relationships, multiple relationships in this film, without it feeling like we were spying on him? No, I think that's Lucas' superpower. I think he does it in all of his movies. I think you saw that in Challengers as well. I think he just kind of puts it out there. I wouldn't say he creates the presumption of intimacy in as much as if you were having a non-vulnerable moment or something. That would be glaring and stand out. It's not like all of a sudden he takes an invasive or voyeuristic attitude or anything. The setup is very intimate and vulnerable. I think that's why this movie functions so well. As it relates to an organic discussion of career, I think that's why it functions in a healthy way within it. It's because I was so hungry. I was so hungry. It'd be like a musician or a rapper or something who's meeting at the record label or something and comes over really prepared. I wanted to give it all. That's why that last scene, I don't have a crazy memory of that last scene. I think my buddy Will was in town. He went home and it was like, it was another day. Whereas on Marnie Supreme or something last day, I do have a memory of that last scene. That felt like a heavy lift. How many takes did you do on that last scene for Marnie Supreme? Marnie Supreme was two. Yeah. Marnie Supreme was two in the... He just used the first take. Do you have to... Did you say humble, Brad? Two takes is a fact. Incredible. Do you remember... I'm not going to go into what you were thinking about during this kind of scene. I do want to ask a couple more questions about Call Me By Your Name. I want to focus a little bit on the relationship with father and father. The scene where the father talks to you and reveals something about himself in order to assure you and reassure you that you're on the right path in life and you should experience these things in order to feel shame is all ******* time. It's incredible. The writing in that scene is incredible. That's like, it's amazing to watch that come to life on screen. What was it like to shoot that particular scene, if I can read that? I mean, you know, there's scenes in your circle as an actor that intimidate you or are the ones that stand out to you in the script. That obviously wasn't the heavy lift for me. It was for Michael Stuhlbar. I think as I've grown older, that scene stands out to me more and more. It's like the perfect... Advice isn't even the right word. The perfect guidepost for a young person in life. But I just want to say, for what it's worth, that you didn't say anything. That's not the point. I love it. Instrumental ambient music, it moves me as much as music with lyrics, if not more at times. So in not saying anything in that scene, you still had to carry your part in it. What is that experience like when you don't actually have dialogue and you're just going to play somebody in the middle? Well, Michael, truthfully, was totally effortless, man, because he was phenomenal. I think we did two takes, and on the third take, he turned to me and said, don't look at me this time, when it was on his side. And I really respected it. I could tell he needed to do something where I was more passively listening, you know? And this is going to sound cheesy, but he was so easy to receive what he was saying when they did my side of the scene. I think coming by her name and Beautiful Boy had me spoiled, in a sense, after those projects, where it was so natural, the themes were so close to my heart and naturalistic. I think something like The King or Martin Supreme, I don't take more pride in them, but I go, okay, these were stretches, in a sense. You know, I'm enthusiastic about table tennis. I'm not even, you know, yet. But both these films that we showed the last two nights, they were things that felt so universal to me, you know? And that's what I mean by spoiled. It's, like, very rare to get one on one, two movies when you're young, especially there's not much of a stretch going on. When you released The King, and people who got to see The King in the cinema this last eight days, that's probably the first time you, and certainly most people would have seen it in a cinema. It had a limited theatrical release. And it was probably in the first wave, the first few years of films that, you know, $28 million budget film going straight to Netflix pretty much after limited theatrical release. So as someone who grew up wanting this experience, wanting to see your films in a theater and understanding this is progress, this is the direction it's going, what did that feel like when the film went to Netflix? Did it affect your sense of completion? Did you have to adapt to that, the idea of job done, and it didn't get a full? I think if I answer that totally truthfully, they kind of hit things in a zeitgeist in different ways because the reach of Netflix is unparalleled. And something like Squid Game, that's a poor example, because it was so massive, so it's not like I'm making a big stretch there by citing that. But that show, because I was traveling at the time, whenever that show was everywhere, interviews in every household, including me, I was watching it. If you put out a movie theatrically, what I've felt, based on my experience with The King or Don't Look Up, is that it's just more of a moment, it sounds like cheesy marketing talk, but it's more a ceremony, it's more a drum roll. And I think it's hard when something goes directly to streaming, this is more a technical conversation, it's hard to do that, I've found, with streaming. And I wasn't always in that mentality, because I like things having a big reach and a big believer in, you know, I've gone on a million talk shows too and say support theaters, and I do believe in supporting theaters. I was going to contrast my prior point there, but then people supported it with an applause, so I'm afraid to contrast it. I don't think it's one or the other anymore in anything. You know, in my opinion, I'm a vinyl collector and I work with a streaming service. You know, it's contradictory times. But the work, to your point, you want it to be seen by as many people as possible. And that's always been a driving factor for you to some degree, right, is to inspire as many people with your films as you can. Yeah, that's the dream. That's why, I mean, Marguerite Supreme doing the numbers, it's still doing it, it's going to open in France today when Magnanimous is wearing the jacket. I'm going to post that in a second. But, you know, this is the dream dream, and it's across the board. I feel like I've been able to shift my perspective in that way too. Like when Frankenstein was booming, or Hamlet was booming, or all these movies, I get stoked because I know these things are working. I think I used to have more of an immature mentality. Now I know, like, you know, our film industry, L.A. being a capital culture in America, or in the Western world, everyone says that stuff is not guaranteed at all. At all. So these things need to thrive. What I was going to say before is, for as much as it should be, and that should be, for as much as there's like a civil effort to keep theaters alive and stuff, when you get a Barbie or an Iron Man movie, that's enough civil effort. That's like people wanting to see those ******* movies. So, um, that would be my dream, you know, to continue, hopefully, walking that line between, you know, something like Marguerite, and then, yeah, stuff like that. It's crazy though, because it is, like if I look at what you've done, even with the bigger films, obviously doing gigantic film, complete unknown, big films, you know, Mighty Supreme, there's still this sense of you, of you not necessarily falling, or trying to sink into the big studio mentality. I never get a feeling when I'm watching these films like you're being consumed by that. how hard is it to not be consumed by that when you start to have success? I think my perspective is strong, being from New York, and being doing this for like 10 years now, or something, or 8 years, 10 years, so, uh, and the examples are there. There's tons of examples that are like mine fields, too, but then, you know, it's going to be very easy. Say an example, if you look at DiCaprio's career, if you look at Titanic, that he did very young, obviously, and every choice since has been intentionally director-based, character-based. That's not rocket science, me saying that at all, you know, and the path is right there, so, you know, those are my two favorite words of this year, perspective and authorship, you know, and, uh, it's just bouncing around in my head all the time, and what the limits of that are, what the limits of that are as an actor, you know, or otherwise, you can lock points given to you. I feel like I've flipped all that, and, um, and, uh, yeah, I just want to keep pushing it in. That's what I was talking about with Kanye today, too. It's like, I want to push it as far as it can go, and then whoever the next guy or gal is, they'll be able to push it even further. You know, you're working, and you're, you know, what you did with the Bob Dylan role, we spoke before the film, but we haven't really spoken after the film, um, just text, but not like I've had a chance to say, you know, face-to-face how remarkable that was. Um, it, you may not know this, and I don't really care at this point, but I hadn't actually seen the film before we spoke about it. I wasn't allowed to see a screen, so, so I was, I just literally was kind of, we were riffing on, on the concept more than anything. Um, absolutely incredible. How, how was it to let that role go in the end, because when I saw you even performing on Saturday Night Live, you were, Timothy, if I close my eyes, you were Bob. Yeah, man. No, I was, that was, finishing that, that was like the most transcendent experience I've ever had. I love Marty, I love playing by her name, but finishing in Complete Unknown, it just felt like, uh, I couldn't even put words to it, and to study that man's brain, and his career, and the place I'm at now, it's like, uh, just gemstones, you know, that are, that are guiding me, and, I wouldn't, I wouldn't know what else to say, you know, I don't have much more to say on that, like, you know, it was just a dream. You said that your, his relationship with destiny is fragile, and Bob Dylan's relationship with destiny is fragile, and I love the way you put that. You know, I feel like your relationship with destiny is purposeful, you know, that you do have a grasp on what you want to achieve, but do you have moments without waivers? Do you have moments when you have to, like, I feel like there's moments, there's moments where it waivers to me, in the sense that I feel like, but my intermission, uh, is, no, it's a change or something, that's why I use that word perspective again, that's why I cite New York, because, you know, I make this joke, like, at Columbia University, I went to for a year, I was, like, the most lost person, and couldn't keep up academically, I don't know how I got in, but then, in the, you know, in this, like, cream, or whatever you want to call it, I, my perspective, all of a sudden, is, like, crystal clear, and, like I said, there's the minefield examples, of people before me, that, are, like, warning signs, or something, you know, Bob Dylan, Hank Williams, they didn't, you know, Hank Williams, kind of like the first rock star, OD, you know, they didn't have the examples before them, now we really have the examples, you know, so, I feel like the, the missteps are clear, project wise, character wise, public life wise, you know, so I, so I can be academic about my, career, you know, and I hope you guys hold me to it, you know, this age as well, I hope in five years, I'm able to do it again, with a couple of, great things, in 10 years, you know, same thing, in 15 years, you're, you know, pulling me out of whatever cult I'm in, and then in 20 years, you know, do it again, you know, my age too, you never know, it's crazy, I mean, you think about like, what we, the film we just saw is nine years old, and I feel like there's, there's as much sort of, no more for that film, as it grows, as it did before, you know, one of the things, I really, like about the way, you've been, approaching, amplifying your work, and the work of the people, that you make the films with, I'm just kind of, straight to the chase here, like, people get a little obsessed, over this whole marketing thing, I, I see it very differently, I, the way I feel, is that you look at your films, like an artist, looks at an album, like, like a great artist, like how many people, love music in this, so you know what it's like, when like, Tyler the creator, now Tyler's not just, putting out to sleep, right, he's finding, interesting, and unique ways, to tell us, that his music is out, all the time, and, and I've got nothing, against the system, and how it works, because time is, is important, but most, things I've ever seen, from films, are like junkets, two day junkets, of like, and that's cool, right, you've got limited time with people, you don't do that, you go around the junket, and beyond the junket, and do all that ----, and I just wanted to say, first of all, for a question, I really respect that, mine is, it's not that, but, it is that, but it's more than that, what is it, that, does that really excite you, does it, it seems like it really inspires you, that once the work is done, and said, that you do look at it, as just all creative, absolutely, and I like that you mentioned Tyler, because he was somebody in my ear, throughout Marty's Supreme, obviously he's a huge part in it, but just always encouraging me, to go, and, you need people like that, even, I keep bringing up McConaughey, but, I hadn't seen him in a long time, and today, these people that, are really comfortable operating, out of bounds, you know, and, not too much to say on that, you know, this stuff just feels inevitable, all the times that are changing, as Bob would say, and, you know, those days, doing a, these movies are not guaranteed, like, you need to reach people, blah, so, I don't think we did a single junket on Marie, I think the one junket we did, I stuck my foot in my mouth, because I was like, you know, I haven't been in a setting like that, in a while, I'm missing some stupid, or whatever, but, yeah, you know, I relish it, because some people don't relish it at all, like, oh ****, I got this press tour, I'm not going to be here, or whatever, I hear that, and I salivate, because I'm like, okay, you don't relish it, I ******* relish this ----, I relish this, because what a dream, you know, this is the, this is, this is like the aspirational hip hop part of me now, but what a dream, what a dream, man, are you kidding me, I'm at this theater, I came here five minutes before the movie ends, this theater sold out, you know, they put a rocket ship up there, because that's how I ******* feel, it was like that rocket ship, you know what I mean, and, what a dream. I mean, what's it feel like, speaking of deserving it, what's it felt like, given, you know, the last ten years or so, or more, to, and I know you're a humble guy, but **** it, right, like, what's it, what's it feel like to be honored this season, how's it felt to get out there, and know that this is, I mean, it's a genuine question, you know, I would have loved you to be honored more last, last year, to be honest with you. Alright, alright, we've all been, we've all been to prize givings, right, who ******* knows, you know, but this year, you've had a really good run, and I'm kind of pulling forward from what comes next, I'm just asking you how it feels so far. It feels great, man, it's not the cheesy response, it's the authentic one, because I look at Jesse Buckley, and him, and I look at Leo, and, and I get stoked, because I go, you know, Jacob and Frankenstein, I get stoked, because I go, man, these guys are, everyone's killing it, so I feel, lucky to be part of that community, they had that Oscars luncheon the other day, and, it was moving, you know, especially because they honor so many people at the luncheon, that are in front of the camera, you know, the honor, the sound people, and the cinematographers, people that don't always get their shine, so I feel honored to be a part of that community, and honestly, my, my live, day-to-day tension, it's my day-to-day tension, I'm not saying it's the end, whatever the end, it's not the end of the world, but what I, what I, my intention is, that November, December, that's what I really live for, my November, December, that is what I live for, the thing you just asked me about before, I don't want to talk about it too much, and then this part, I'm just saying, putting out the movie, whatever part, you know, like, I'm going to go to Japan, and China, and March, I'm stoked to do that, because I love, reaching people through film, or something, I wanted to be a basketball player, a soccer player, I don't want to be, you know, in elitist circles, I want to be like, doing real ----, you know, I want people, you know, that's what I love about Marnie Supreme, was I felt like, it was, this prestigious H.W. Ford movie, but more than anything, when I was walking in the street, I felt like, it wasn't necessarily, they said, I don't know if this is true, but they said, it was like, the movie this year, was the least frequent, movie going audience, or something, that's music to my ears, the least frequent, movie going audience, that's awesome, and, these tickets are only, Cinematheque members, that's a very, movie going audience, but, I know what you mean, I mean, that's rare, yes, that's the dream, and, so, yeah, anyway, it's, this is all thrilling, to do this last couple months, and, you know, these institutions get to, you know, sustain themselves, so, it's really moving, when you see PTA, you see Spielberg, you see Leo, you see Jesse Buckley, you see Chloe Javis, I mean, everyone's terrified, and thrilled, you know, when I speak to my friends, who tour, they go on the road a lot, and I speak to them, when they're on the road, often they just want to talk, about normal life, they don't want to talk about, what's been going on, on those, or any stuff, they're like, what's happening in your world, how is such and such, a mutual friend, and I'm always reminded that, you know, for all of the, the excitement of doing that, and the dream come true, that, life is going on around them, whilst they're on the road, and, I always try to point that out too, because every time we buy tickets, to a show, and we go see a concert, we go on to normal life, but we go to it, night after night, after night, yeah, I feel the same way, it must feel the same way, sometimes when you're all set, like, I don't know what you're on, you're off to go work on next, I'm sure you won't tell us, but, you know, how do you manage, the away of it all, you know, you obviously have friends, and family, and everything else, that's your tour, how do you, find a balance? I love the use of music metaphor, that's why I was so, stoked to do that interview, two years ago, because we think the same way, I think it's much more grounded, and, I feel like I, I work in the humanities, in a sense, I feel like, these rocks, you know, if you're a rockstar or something, you're constantly, your nervous system's firing, and, I thought about this at length, you know, you're constantly in hotels, whatever, something like Dune, for instance, this past summer, I'm in the same apartment, in Budapest, two months at a time, and, I mean, engaging in grounded, human exercises, even playing someone like Paul Atreides, the mistakes are still, you know, behavioral almost, to put it, so I think it's quite different, I think, in pop culture, I think musicians have it the hardest, as far as, like, keeping their feet on the ground, also, the state's out now, and, I've thought about this so much too, it's so hard, as a musician, if your album kind of goes like this, critically, financially, whatever, to then go up, you know, I think, movies flop all the time, you know, and, and the guys, and the biggest hit the next year, and, so, yeah, that answers your musician question. You know, I have one more musician question, needless to say, you want me touring with S.D. Kidney's home soon? I'm sure I'd be the one to get it out of you. So, if that is you, thank you, man, I appreciate you. It's been really, really nice to see you again, man, and, um, I think what you've been, what you've put on here for, for everybody over the last eight days, um, apart from being a great opportunity for everyone to honor your work, the work of all the thousands of people who've made these films, and, um, you've also given everybody this experience, which, I mean, you know, we all love sitting on our couch, it's great, but it's nice to be together, right? Like this? Thank you for being here, I like that you framed the last question in a musician setting, I feel like something like this week is the closest I can get to, um, you know, to, to that feeling. Thank you all, I've seen a lot of your faces consistently the whole week, and I'm glad we got to revisit Beats, because when I see my favorite artists in concert, and they play that early ----, I'm like, I'm the only person here that knows that ******* song, baby. I appreciate you guys, thank you. Yeah, have a safe week.