Clackjack with Rivet. She's awaiting your rescue. I'll be a guide. Perfect.
Never in doubt. And what I think is really great is how they cast Watto to do the English dub. Thank you. Do you know who they actually cast?
You were just listening to the trailer. Do you know who that was doing the voice? Well, that was so funny, I was watching the trailer and all these celebrity names come up and I'm like, which one? I have no idea.
Did I saw the movie before they cast the dub? Yeah. And I was like, DeVito's just sitting by the phone. I assume, right?
Sure. He played the Heron. Take a guess from that cast list. I'd just guess.
Just guess. A celebrity? A huge celebrity. A huge celebrity.
That would make more sense. He'd make more sense. He probably just said to be that. Any name you say.
He could have more sense. Someone who's got a real froggy voice. But listen to the dub trailer. He nails the voice, right?
He does. He nails the voice. The last guy you would think is capable of doing that. I haven't seen the dub, but from the trailer sounds like you.
From the trailer sounds like you don't know Chris Pratt. Oh, you don't know either. No. It's going to blow your mind.
Because on paper, you're like, it's kind of a Chris Pratt where you're like, why did you cast that guy? Right. But then of course the guy actually is not going to do it. That's.
That's good. Can you tell him? Robert Pattinson? No way.
That's he does it. Bob? Bobbbe, Bobbbe. Now, he's sat on ten tapes at once before every line.
You can hear it in the performance. You can hear it in the performance. It should. Most of his career decisions.
He's stuck with the first people. I'm just a little weird voice. That's cool. Everyone's like, here's another Chris Pratt situation.
He will show up and show it. Or he'll do a weird voice but won't be the right voice and he clearly was like, no, I'm going to copy the Lord's original. Yeah. I'll do that in English.
That's cool. Isn't that cool? Isn't that cool? I love this movie.
I love this movie. This movie has no quotes page. No. And has no tagline.
So the new film from Hyomi is actually right. The segment when I did The Waddle Voice Opening was just because David had been verging on a breakdown as Jadie and I scrubbed through the trailer with captions on trying to find any line work. Well, because we, me, Griffin and Ben. Yes.
We, Griffin, Ben and I. Well said. We saw the movie yesterday together. We saw it together.
Obviously we went sub not dubs. And it's such. I don't even know if you can see it with dubs. You can.
You can. Angelica has like two or one or two show times a day. Are dubs the rest or subs. Right.
But the dubs are just like the guy just comes to the front of the screen and just tells us the line. It's better than shows up. It's all the way through. Yeah.
You all saw it together. We saw it together. And I think it's an overwhelming movie experience personally. And so I there's lines that stick out, but we could not be sure that we had them verbatim.
Of course not. But Jadie and I were scrubbing through on our phones. The trailer playing at like five seconds apart in a cycle. And David truly, Jadie said, is this the moment the podcast breaks up?
You got a lot to do today. Yeah. I don't want to talk about your look easy. Light.
This is always the latest podcasting day of the year for us, a JD double header. If you're looking at the cast list, and you're ranking it by the American cast list. Sure. By fit.
Right fit for Heron. Oh, Hamil is top. Yeah. Who's doing the Heron?
Hamil plays Grand Encore. Correct. Correct. Makes a difference.
Willem Dafoe is second. He plays the Pelican. I would say Dafoe actually makes no one. But those two are at the top, right?
Then I would say it's Boston. Right. Who plays the Parrot King, which is perfect. That makes sense.
Great cast. But you could see him busting out of Heron. Yeah. And he was the visual inspiration for the guy.
Sure. Then Bail. Yeah, Bail. More known for her voices.
Now I'm going to throw something at you. I think Florence Pugh is core of a read for the Heron than Robert Pattinson. The woman sounds like she spoke to that cigarette. I love Pattinson.
I'm Pattinson. I'm Pattinson. He has tremendous range. But I've also never heard him do a voice that in any way approximates this.
Whereas Pugh makes vocal choices. Pugh basically played the Heron in Oppenheimer. She did. But I think that's something that's interesting.
I think, number one, I think that I've constantly been reminded of in my career is that people who love acting love to do interesting things. And then also, there's something that I really want to get into in talking about this movie, is that there is a certain Miyazaki bell rings, and people show up. Oh, yeah. It's hard to say no.
And this is final film. They're almost rude to me. You have big names. I was just looking at the, what was it?
They're big names in like one line parts in this dub because people are like last chance. Yes. And Steven's in Tony Revolori and Mamadoo. I think played the like random other parakeets.
The chorus of the parakeets. Right. Like he's a real actor. Yes.
I can talk a little bit more about this when we sort of get into things. But I did a lot of subtextual work to watch this movie. I wanted this to be the full experience. So I put in a lot of work.
It was happening sort of just anyways in my life. It's not really something you do from this podcast, not Mollie. But you show up sunglasses on, go what movie we're talking about today? What is this?
We're talking about what Billy and I are watching. That's for nerds. What are we re-rotribling today? I can't believe they let you ride the motorcycle into the building.
Into the building. Into the studio. What if I told you they didn't? Wow, you're such a rebel.
I don't follow rules. It's such a heron. The heron voice you've nailed it is closest to Defoe is Green Goblin. Yeah, sure.
In the realm of voices that exist. True. Just the hand. I think Hamil has to be top because he's actually the master of a thousand.
Sure. But to get what I was going to say is I did an entire Miyazaki re-watch before this film. And several books. And that was happening before you guys asked me to do this.
You read starting points and turning points. I cite a lot on those episodes. I also read Miyazaki World. And then it's like a dedicated get sucked into a weird other dimension.
Yeah, exactly. Oh, I've seen this cover. It's fine. I mostly read it for the first part, which is more biographical.
It's more than that. A lot of it is like thematic breakdowns of the films, which is interesting. But I was more interested in primary sourced biography stuff. And then I was reading already stuff about Japanese cinema and the history of Japanese cinema and story stuff.
I did that. I also want to talk about today. But that is all to say. This is the first time that I in this re-watched, I did all dubs.
Oh, interesting. I'd never seen any of the dubs. And so I did all the dubs in chronological order. Which do you think is the best of?
It's so interesting because they have a lot of recurring cast. The dub that I didn't like was Porca Rosso. Oh, see, I mean, I just think he didn't seem bleedable. I think it's such a weird.
I think it's so. I've definitely heard that dub. The movie has such an expressiveness and such a fancy. And Keaton's playing it so low that it creates a weird friction to me.
I will say I think how it was moving castle actually is a really good dub. The Cowls dub is surprisingly good. And the Crystal Cowl. The Crystal Cowl.
Bill is great, but also the Crystal Castinger. And then Crystal Niggles it. Crystal is so great. You're so great.
That's the first. That's the first. And then it works. I think all the dubs are very impressive.
I think they do a good job with those. Yeah, they really care. Yeah, exactly. I mean, obviously, excluding me now forgotten.
Modern early dubs. Right. I mean, I've listened to the Pawnee or Dubb a million times because I watch it almost every day. But you're talking to Disney era G-Kids now acquired.
Right. Yeah. The second wave dubs. They did them right.
And here's the thing I like about the Pattinson thing. It does kind of feel like, and she kids wants to get the best cast they can. I'm sure everyone's throwing themselves at this because it's the last chance to do Miyazaki Dubb. What have you?
It does feel a little like Pattinson being like, I'm a big enough star that they'll let me do this. And if I do it, I ensure that it sounds like the character rather than anyone else coming in and trying to put their own spin on it. I like that idea. I hope that that's where it came from.
I like the idea that he's in there protecting it. I also get to see a version of it where he's just like, yeah, I want to just like, I want to do it. I don't want to play a hair. I want to do it, like for real.
Yeah. But I like the idea that people are coming to protect this thing. Totally. I mean, I was going back and forth between subs and dubs when we were doing those episodes years ago.
And it is interesting to watch. And I'll do this sometimes too with the voiceover stuff I've done now with streaming. You can toggle between different countries. And it's interesting to see which people go, my job is to do that characterization in English.
And which people go, I was cast. I'm doing my take on this. Well, it's interesting. I was watching the wind rises dub.
And there's a wide variance of the type of performance that people are giving. Yes. That is the strangest dub to me. Yeah.
Well, that's also the one I think I set in Japan. It's the weirdest one in a way. Like these are Japanese characters. But then the Herzog performance is kind of astonishing.
Yes. But then there's like, what's his name from the office? Which one? Presentsies.
Presentsies. Yeah. Fuck. I forgot that.
He's doing a lot more of an animation. He's doing like a dreamworks voice. Yeah, where he's like, well, it's time for me to go to work today. And I love.
And then he'll be in scenes with Jessica and Levitt, who's doing a very realistic, empathetic performance. He's kind of an instructor. Yeah. Gordon Levitt's kind of doing the patents and thing of like, I place my stardom in this spot to preserve the way this character should be played.
That's also the dub where there was an article that was, I think we talked about this when we did the total episode. But like there was an article that was about it was louding how wonderful it was that they were able to adapt the script into English in a way that actually they adapted it to make it more appealing to an American audience. And they were saying it in a positive way. But then when they gave all the examples, they hurt my heart because it was taking these like very Miyazaki, very interesting lines and turning them into like, you know, I've always loved you.
And I'm like, no, the first thing, like even if it doesn't culturally translate, like let it be that so that there's some mystery of how this all connects and what the meanings are. So we can sort of glean the sort of cultural reverberations of it versus being like, nah, you know, they're just saying they love each other. Isn't there like a big 90s Disney Renaissance guy who oversaw all those adaptations for a while? I don't know.
Not on call, but someone like that. I can't remember. David, you seem so excited. I think we should introduce our podcast.
I'm worried that we're too locked into this. So in the weeds already. Yeah, I'm David. It's a podcast about filmography.
He's directors who have massive success early on in their careers and are given a series of blank checks to make whatever crazy passion projects they want. And sometimes those checks clear and sometimes they bounce. Baby, this is a miniseries on the films of Hayou Miyazaki that was done four years ago that we are now concluding with his final film. He says he's going to make a own.
Does he actually? Yeah, everyone says that he'll continue making films until he can't really die. But do we think that is possible? Anything is possible?
As Kevin Garnett once said, anything is possible? Anything is possible? He's been just kind of upfront about like, even though I've made this movie that I know is very much about a man's legacy and what he leaves behind and saying goodbye. Yeah, I'm fucking back in the studio.
I've got lots of ideas. Like, you know, I mean, Hayou Miyazaki. Yeah, he's already there. What am I supposed to do?
There was another project that was either going to be that or this. OK. And I think he read it. He's like, oh, now I'm going to start working on that one.
His Alita paddle. He's a ticker away. What was the other project? It's like, I think like the earwig in the witch or something.
No, that got me. Right. That was his son made. Oh.
That was the CGI ones that people did not like. It's not very good. Because he was debating whether to do that or this. And then he had his son.
That's a full Alita situation. It's an Alita situation. Where Cameron was developing Alita and Avatar. Right.
And was like, I don't know which one I'm going to do. It's one or the other. And I'll do one and then immediately do the other. And then he did Avatar.
And he was like, actually, whoever I was going to do Alita. Right. Someone else can. I'm trying to find the other title is then.
I apologize. It might be that though. But maybe he's just in there. And he's like, I've always wanted to do like a remake of fucking night moves that Gene Hacklin would do.
Exactly what I mean. Like, who knows what it is. I've really been looking to get in a live action. I'm done with animation.
I've been looking at the viewer. Introducing what your podcast. I'm going to do four or five. Finally, I'm putting my foot in my foot.
How is I done to do fucking internals too? Yeah. Put your feedback. You want the Thor movies to be less goofy.
Hyamu is making his live action to you. JDM motto is our guest. We're turning to the show. Thank you.
I'm very happy to be here. For what's basically become your annual slots. Yeah. In December, we tried to get a couple of records in.
Yeah. All at once. No, I'm really excited. And it was an honor you guys asked me to come back for this movie.
This was painted like six months ago. I want to say when we were like, oh, it's finally coming out. And I went, I agree. Oh, we should have JD should come on.
I do all of this says last year in doctor. All everything I'm finding. I think you're right that there was like a dog. I'm trying to remember who it is because it's a big figure in animation who had the attitude of what you're saying.
I'm just like, I'm really excited. I take the seriously. I want to do it well. Yeah.
But he put a little too much of his own spin on it. Yeah. But I do love the Ponyodub. I'm used to it now.
Very used to it. I've seen the Spirit of the way dub several times. I think because that was. Yeah.
That might be it though. I'm not very familiar with the other dubs. I see him. He keeps up.
I can't. We probably talked about this on the episode. Don't matter. I would like to see this dub.
I'm intrigued. I'm excited to be here. I'm excited to talk to Miyazaki. There's a lot to talk about this movie.
Nah, this movie's fucking inch deep. Nothing going on with this one. Also, I'll say it. I mean, I've heard that there that, you know, the total episode, maybe there was people thought there was too many bits.
I don't think so. We're going to make this a bit light episode. You yesterday said, perhaps on the record, this is bit free. No bits.
Packaged as bit free. No bit. Stamp the label on it. Well, maybe we'll squeeze it a little bit.
But there's a note for all or no. Truly, there's a series I want to talk about here. Right. OK.
We saw this yesterday, as you said, in the basement of Angelica. The Angelica trains whipping around us in all sides. Theater shaking. The Angelica, of course, the downtown theater in New York that is so committed to providing a mediocre viewing experience, they've done everything they can.
But I think it's a great way to watch a movie, because it's a very old theater. You just send escalators down and you see all of the, they have the little names of the movies above the theater number. It has that old fashioned quality that's nice. And it keeps the doors open until the film starts.
And even after it starts. Yes. But you can sort of see people watching. And you're like, this is a place of cinema.
And I will say, there was moments during the film where I was like, oh, there's a sort of ominous rumble happening in the middle. I had to remind myself. And you're like, and then you hear someone saying, like, this train is too. Sometimes it syncs up perfectly.
It's clear the Angelica theater in a basement that also features a BD F&M stops. Underneath Broadway La Fand station. Yeah. But it's, it feels like it's sandwiched in between two train tracks.
There's only 5.1. Yes. And Angelica has 5.1. 1.1.
I just see there is the train. 5.1.1. BD FM. Sometimes you're watching a movie and there is this rumble.
And you're like, yeah, you know, that's part of the movie. And they're like, right, no, that's the sub-life. The other thing is sometimes the train passes. And suddenly there's a stillness that feels profound.
Also profound. Look, this is kind of something that you probably want to be thinking about. Absolutely. The theater will briefly achieve a state of maw when the train has left the station.
There's two questions I want to start with. Yeah. To open this discussion. The first is I would like to know where everyone is at with Miyazaki in their life.
And David and Ben and I were talking about this before, is that I re- I re- listen to a couple episodes of- This one. I don't remember which ones. Of the rock. What is this?
Oh, good. David's energy is unbelievable. No, what episodes do you don't remember? I don't remember.
I think Emily's episode. OK, she was on Castle Sky. And then one or two others, I forget which one. Early.
Early. Was on one and OK. No, early. I was on House.
I sort of have them on the background. I sort of have them on the background. So it's like I sort of ephemeral in my mind a little bit. Sure.
But one of the things I picked up on. So famously, it's been long since recorded that David and early on our friendship referred to Griffin as I as dumb animation nerds. Of course. I believe as the- No, I did that on this podcast because you two were going on about whatever the fuck.
I'll tell you what I mean. I'll tell you what I mean. The use of 3D and Coraline. Oh my god.
David. No, no, no, no. OK, this is what it was. Wow, this is what you're going to have to release an apology.
No, I won't. Yes, you will. No, I won't. Yes, you will.
No, I won't. And we already did this fucking discussion the last time you were on for Coraline, right? Like, you don't have to defend anything. You don't have to defend anything.
But then on that episode, who's the California racist guy? I was like, well, then. Where you're like, Wilvin's not like, I don't know who that is. And then you're like, who is it?
And it's like, it's so hilarious. What's my dream of the fuck? It leads into you being an individual. I'm not the one.
What a disrespectful way to refer to Wilvin. Who's the fucking California racist guy? Get doing it again. Oh, my god.
Anyway, oh my god. Some fucking guy named Wilvin. But it's just so funny. You guys dared call us animation doors.
Anyway, I'm like, who's Wilvin? You guys are like, you're dumb animation. And then now in 2023, you're like, oh, no, the dumb raisin guy. I didn't call him dumb.
I'm called you dumb. He's obviously a major tablet. OK, but an interesting thing about our dumb animation nerd-um. He sure.
Griffin's a Disney boy. Yeah. He grew up on the Disney Pixar. Yeah.
That's his meat and potatoes. I'm less than Miyazaki guy than the two of you are. Yeah. You're not Miyazaki.
I don't think you are Miyazaki guy. No, I'm not. I'm not really not really seen hardly any of them before we did the pot. Before we did the pot, I'd only seen Spirit Away and Totoro.
And I don't feel like they touched your heart in quite the way. Well, clearly, they touched your heart. You would have gone to the other one. No, I mean, Totoro, I still struggle with it all the way over to another watch.
Spirit Away? I was wild because I think it's the greatest animated film of all time. I just rewatched it with my daughter. I can talk about me.
You talk about you. And then Spirit Away, I didn't like when I saw it the first time because I was dumb, unintelligent, not a dumb animation nerd, which would have helped me. I wasn't approaching from the right mind. Then when we rewatched it for the show, I loved it.
But I do think I still struggle with him in certain ways. And there are films of his I wholeheartedly love. And there are other films of his I do kind of fight to feel. I also think I had a big Japanese animation block for a long time, a lot of it was just sensibility and style.
And I do think doing that series help break that down a little bit. But I also feel like post that I have gotten more into some other filmmakers than perhaps Miyazaki speaks to me specifically. That's I think that's a fascinating place to be. And that's a really interesting place to come to this movie.
But I think there was no part of me to question him being one of the most important artists that you ever. I mean, I love Satoshi Kon. Sure. I'm going to butcher his name.
But the Suzume, your name, weathering with you guy I love. I mean, that's like a major run for me. I haven't been watching more shows and stuff. But I mean, it's not like I'm not.
It's not your. Yeah. No, but I think that's a really interesting place because this movie is, I think there's a lot of, I think this movie works best when viewed through all of the context around it that built up to this film. Well, this is why I wanted to say three of us all together, the two of you were crying.
Yes. The lights come up and both of you were like, I cried multiple times. Me AF when I saw it as well. Yes.
And I immediately was like, I'm still trying to puzzle this out. Not like I don't like this. But I do feel like I struggled to get my head around this movie, which I felt with certain Miyazaki films. Yeah.
And we were watching them. And some of them I've re-watched by the way since the series. Some of them I've not. And I owe them re-watches.
That series was also happening at a bad time in my life that I think was reflected somewhat in the episodes. Well, yeah, I mean, you as well. Yes. Yeah, that's the, I think I brought this up on the curse talking to Walk Last Year and it didn't make it to the cut, but I think it did make it to the cut.
I don't think it did. I think it's important. I think everyone listened to that. Yeah.
That was a scripted episode. And we just read what was on the picture. Exactly. But the total episode was when we recorded it, it was shortly after my sister had passed away unexpectedly.
Yes. And that movie means a lot to me. And I think it's such a pure depiction of family and especially siblinghood. Yes.
And so in retrospect, I'm like, oh, yeah, of course, I wanted to engage more in bits and all that because like, it was hard to, Miyazaki touches me in such a visceral way. Same. And what I think is beautiful about him and I think can be hard especially for this film. And this film, he's quoted as saying, like, I don't even really understand all of that.
Right. Which I think is a really beautiful thing is that this, a lot of this is just things that he's pulling from within himself. And if they touch you, I think they really can touch you. Yeah.
Which there were certainly moments that got to me. And I am not looking for like a metaphor codecs. You know, it's not like I was sitting there being like, I can crack this one on to the next. Yeah.
Right. And I also I've like come to understand the flow of his films being different than so much of what I watch and being to process them in a different way and open yourself up and engage with them in a different way. And some of them it does work for me and other ones. Without diminishing them, feel like I haven't gotten there yet on that one.
Right. And this definitely felt like one of those for me. I mean, two things I kept on thinking about a lot while watching it. I think it is weirdly similar to Wendell and Wilde in an approach of guys who were just like, do I make another movie ever again?
This process takes like seven years and it keeps on having these stops and starts. And Wendell and Wilde, similar to this, feels like a befeline movie where he just keeps on putting stuff on the plate. David, your letterbox blog was to this effect. That like the first half of the movie.
Right. Well, it was one while you're like, you don't want to just like maybe go back to the table, eat some of this and then maybe you can go back for seconds. Right. And it's like, no, we're putting this on, we're putting this on, putting this on, can you resolve all of this?
Right. Wendell, a movie that like overstimulates most people and they just tap out like 30 minutes in. And I think it's kind of a messy masterpiece, but it does ultimately work for me. I was watching this getting overwhelmed by like how much it was loading on.
But I think there's some really interesting context to when you understand how the film was made and what it was made that then answers some of the questions of that. And I understand immediately a small percentage of that and then talking after the movie, you filled in more of it. And I've been excited to talk about it now today. Yeah.
The other thing I was thinking about just in terms of my struggles with Miyazaki sometimes, I think in a certain way, philosophically, the filmmaker, I don't want to say philosophically, but in their relationship to their dialogue with like humanity and existence and the world, like the biggest concepts. He is weirdly similar to Werner Herzog for me, where it's like he's staring straight into the sun. Yeah. There is like a very sober, like this is what it is.
I'm not mincing words, right? And then Werner Herzog works on a much more literal level very often, although there are obviously zags from that. And Miyazaki translates that mostly into feeling then, right? But they are about this, like we cannot hide from this.
This is the conversation that we are in. And Herzog, I find him weirdly relaxing, even when he's directly staring at the things I find most upsetting in the world. There's something about Miyazaki filtering that through sort of like dream language. And obviously these films are very dreamlike, where I sometimes find them too painful to deal with.
And it's similar to like WindRises, which is an episode where I completely spiraled. It is a movie I think is great, but I was like, I cannot handle this. I cannot handle this. And this movie at times was like crystal clear to me on emotional level.
And I was like, this is hitting me really hard. Other times I was really locked into just the beauty of what was happening. And other times I was like, I understand what he's talking about here, and I like need to leave this conversation. I could just not handle it.
I'm too weak. It has the feeling of when I wake up in the morning and there's a dream that doesn't make sense to me, but it was clearly poking at a bruise that is very raw for me. And I'm like, I will get no resolution on this. This is now just conjured up feelings that cannot be resolved to my real life.
Do poke the bruise. Griffin, what have I told you? I will be your guy. Well, this is what I'm waiting for.
Now, David, what is your relationship with me as Aki? I love how my music is almost very deeply. I've seen them all many times. Did you watch where your supposed to be as a kid?
Or as an adult? No, not at all. I think it's almost certainly me seeing straight it away in theaters when I'm a 16 year old cineast and being like, this is my jam. Yeah, that was your first one.
Can't remember if it was that or I think it might have I might have seen one. Okay, but it like probably on TV, like, like, or whatever. And it didn't have quite the impact. But I just I someone who's not an anime fan, right?
But never never got into it. Apart from Pokemon, of course. Got to catch me down. I'll dig lit.
Got to catch me up. Well, I'll just shout out a different Pokemon every week. Right. Every week that we do the this episode.
Yeah. Like this is a new format of the film going into 24 by the way. Yeah, Pokemon recap and Miyazaki. You're a central crises.
Um, you just sound kind of like the hair and today. I had a cold and this is and I in the yesterday was talking so much because I was at the critic circle. I'm older. And I was yelling results to people because I'm the counter.
You're the counter? I am. I'm the counter. He gets results in the counter for I literally get results.
Do you wear like a barristers wig? I wear a barristers wig. No, I would wear a barristers wig. What are you talking about?
You have to count. Why would you? I don't know because you take your job seriously. Yeah, because you care about the sanctity of the process.
I imagine it's all of you in a an underground chasm around a marble circular table. You're an a barristers wig with an abacus. Yeah. And then people in clothes hand you like pieces of sharp metal that account for votes.
So you go one vote. It's that except for the part of a chasm. We're in and sort of meeting room at the film society link and center. And instead of metal objects, we have pieces of paper that people have scribbled things on.
But there is an abacus and you do wear a barrister. Jordan Hoffman brought an abacus one year as a joke and then two minutes in was like, yeah, get this out of here. You're surrounded with the skulls of past members of the orgy. Of course, Andrew.
Sarah looks at us from a shelf. His body's been stuffed and melted. And then you decide who wins the Oscars. Right.
And then we keep saying that. We're like, ha, ha, ha, they shall win. What was I saying? Oh, I love me as a kid, obviously.
But the big, I mean, I love him. You can listen to the past episode. The big thing for me. You don't think we should?
I don't know. I did. Well, they're filled with regret. I have a lot of me to self-care.
No regrets. Yeah. But I had a daughter and one of the first things I would watch was her when she was a little baby. Is there something on HBO Max or whatever it's called now?
Zazlav. Zazlav's house of fun. Max is the one to watch when you want to watch HBO. What do you mean?
Right. That's very easy to remember. It's called Zack's now. Zack's now.
Zack's now glasses. The logo is just that picture of him in Great and Greater Carter. Look like they're like two guys who just shot an elephant. You know, they're like these white suits.
At the clown party. What was for like, yeah. Yeah. Wait, why didn't anyone show up?
I'm sorry. We can cut that out if it's going to affect any future business for you me making fun of dance. I mean, it'll be OK. Yeah.
Thanks, man. Thanks, man. Oh, you guys, I haven't told you. I'm a manager now.
He's your manager and you guys are pitching Zazlav hard. Yeah. You're like, here's a great project for you to sink money in and then never air. Tax break.
You're pitching Zazlav to Zazlav, right? You're pitching Zazlav tonight. Exactly. People just haven't gotten to know you yet.
I feel like there's going to like you because they haven't heard you talk. Lanky's. Quick question and be honest. When was the last time you actually thought about how much fiber you were eating?
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Well, I'm more intentional about what I wear day to day. Oh, I want to leave into pieces that feel easy, comfortable and put together. I'm sure you could get those from anywhere, right? Oh, quince.
Look, I really am. Oh, he's showing tag. I'm really wearing quince right now. Listen, he's showing tag on me.
Um, it's been my go to because very clean fits, very nice fabrics. Yeah. I don't feel like cheap fabrics. I hate dirty fits.