1 00:00:01,033 --> 00:00:02,566 - What's your next movie gonna be? 2 00:00:02,566 --> 00:00:04,600 - It's a great question, and I don't know. 3 00:00:06,166 --> 00:00:08,700 It's the first time for me, frankly, that I don't know. 4 00:00:08,700 --> 00:00:10,033 I'm always writing my next thing, 5 00:00:10,033 --> 00:00:12,666 but right now I'm working on "Ghostbusters." 6 00:00:12,666 --> 00:00:15,200 And I also, you know, I spoke earlier 7 00:00:15,200 --> 00:00:18,366 about how important movie theaters are to me, 8 00:00:18,366 --> 00:00:20,533 and I bought a movie theater in Los Angeles. 9 00:00:20,533 --> 00:00:21,966 - Say more about that. 10 00:00:21,966 --> 00:00:25,533 - Yeah, this is a, it's a gem, it's a palace. 11 00:00:25,533 --> 00:00:28,066 It's similar to the Paramount Theater here in Austin. 12 00:00:28,066 --> 00:00:31,100 It's something, you know, it was built 100 years ago 13 00:00:31,100 --> 00:00:33,100 which, for Los Angeles, is ancient. 14 00:00:33,100 --> 00:00:37,433 And it's the home of more movie premieres 15 00:00:37,433 --> 00:00:39,566 than any other theater in Los Angeles. 16 00:00:39,566 --> 00:00:42,066 And I put together a group of 30 directors. 17 00:00:42,066 --> 00:00:44,500 - Oh wow. You all went in together on this? 18 00:00:44,500 --> 00:00:47,033 - Christopher Nolan, Steven Spielberg, Guillermo Del Toro, 19 00:00:47,033 --> 00:00:49,366 Alfonso Cuaron, some of the greatest directors alive. 20 00:00:49,366 --> 00:00:50,866 We all bought it together 21 00:00:50,866 --> 00:00:52,700 and we're gonna reopen it hopefully in about a year. 22 00:00:52,700 --> 00:00:54,466 - What's the name of it? - It's called The Village 23 00:00:54,466 --> 00:00:55,900 in Westwood. 24 00:00:55,900 --> 00:00:56,866 There used to be 10 movie theaters in Westwood, 25 00:00:56,866 --> 00:00:58,133 there's three now. 26 00:00:58,133 --> 00:00:59,733 - This is the one near UCLA. - Exactly. 27 00:00:59,733 --> 00:01:01,200 - I know that theater extremely well. 28 00:01:01,200 --> 00:01:03,600 - It's an iconic theater. - That's such a great, 29 00:01:03,600 --> 00:01:06,166 and it was up until my daughter went to UCLA, 30 00:01:06,166 --> 00:01:09,100 so I actually have been to the movies at that theater. 31 00:01:09,100 --> 00:01:12,000 - It's a stunner. - It's a stunning theater. 32 00:01:12,000 --> 00:01:13,733 - Yeah. - Oh my gosh. 33 00:01:13,733 --> 00:01:15,266 - It went for sale 34 00:01:15,266 --> 00:01:18,966 and I had this nightmare of them tearing it down, you know? 35 00:01:18,966 --> 00:01:20,966 Or that the next time I would show up it'd be a Target, 36 00:01:20,966 --> 00:01:22,366 or a Zak's. - Or a Chipotle, right? 37 00:01:22,366 --> 00:01:24,900 - Yeah, I mean the movie theater I saw "Pulp Fiction" at 38 00:01:24,900 --> 00:01:26,233 is now a CVS, you know? 39 00:01:26,233 --> 00:01:30,000 And the National, which was down the street, 40 00:01:30,000 --> 00:01:31,333 is now an apartment complex. 41 00:01:31,333 --> 00:01:32,533 And I just couldn't bear it 42 00:01:32,533 --> 00:01:34,433 if that happened. - Good for y'all. 43 00:01:34,433 --> 00:01:35,766 So you said it opens in a year? 44 00:01:35,766 --> 00:01:37,000 - Yeah. - That's amazing. Thank you. 45 00:01:37,000 --> 00:01:38,400 - Thank you. - Sir. 46 00:01:39,633 --> 00:01:41,533 Well, I'm happy to kind of go back and forth. 47 00:01:41,533 --> 00:01:43,066 So we'll get to you next. Sir? 48 00:01:43,066 --> 00:01:44,733 - Hi there. I wanted to ask you about "Up in the Air." 49 00:01:44,733 --> 00:01:47,966 It made a huge impression on me and it felt so sincere. 50 00:01:47,966 --> 00:01:50,433 And my question to you is, 51 00:01:50,433 --> 00:01:52,833 how did you approach working with specific actors? 52 00:01:52,833 --> 00:01:54,100 'Cause I think Anna Kendrick, 53 00:01:54,100 --> 00:01:55,633 that was one of her first major roles, 54 00:01:55,633 --> 00:01:58,233 and so how did you approach directing her 55 00:01:58,233 --> 00:02:00,866 as opposed to Vera Farmiga and George Clooney, 56 00:02:00,866 --> 00:02:03,200 and how do you look back on that project? 57 00:02:03,200 --> 00:02:04,500 - Oh, I mean, well, "Up in the Air" 58 00:02:04,500 --> 00:02:05,733 was extraordinarily meaningful to me. 59 00:02:05,733 --> 00:02:07,133 It was really personal project. 60 00:02:07,133 --> 00:02:08,966 I was trying to answer questions that, you know, 61 00:02:08,966 --> 00:02:10,066 were haunting me. 62 00:02:10,066 --> 00:02:11,333 I think that's the best work comes 63 00:02:11,333 --> 00:02:12,466 when you're trying to answer something 64 00:02:12,466 --> 00:02:14,400 you really don't know the answer to. 65 00:02:14,400 --> 00:02:18,333 And on that film, on any film, you know, 66 00:02:20,633 --> 00:02:23,333 you brought up that idea that Lorne Michaels is dad. 67 00:02:23,333 --> 00:02:24,600 And I think as a director 68 00:02:24,600 --> 00:02:27,233 you always feel like everybody's dad on set. 69 00:02:27,233 --> 00:02:30,600 And like anyone who has, you know, more than one child, 70 00:02:30,600 --> 00:02:33,466 you're trying to understand each child's personality 71 00:02:33,466 --> 00:02:35,766 and what will inspire them. 72 00:02:35,766 --> 00:02:37,666 One person needs a monologue, 73 00:02:37,666 --> 00:02:40,166 another person just needs one word or just a look. 74 00:02:40,166 --> 00:02:43,100 And one person needs physicality 75 00:02:43,100 --> 00:02:44,233 to understand what they're doing, 76 00:02:44,233 --> 00:02:46,700 another person needs to be inspired. 77 00:02:46,700 --> 00:02:49,100 And I find often 78 00:02:49,100 --> 00:02:53,033 you want two actors in a scene together, dance partners, 79 00:02:53,033 --> 00:02:55,366 and George and Vera are very good examples of this, 80 00:02:55,366 --> 00:03:00,100 where George, George is almost like a puppeteer of himself. 81 00:03:00,100 --> 00:03:03,366 He so understands where his body is 82 00:03:03,366 --> 00:03:04,600 in three dimensional space 83 00:03:04,600 --> 00:03:06,900 and understands exactly what he's doing 84 00:03:06,900 --> 00:03:08,700 and how it will appear on camera. 85 00:03:08,700 --> 00:03:10,300 Vera is the opposite. 86 00:03:10,300 --> 00:03:12,033 Vera has no sense of how she's gonna 87 00:03:12,033 --> 00:03:12,866 appear on camera. - That was one 88 00:03:12,866 --> 00:03:13,800 of her first films. 89 00:03:13,800 --> 00:03:14,900 Was "The Departed" before that? 90 00:03:14,900 --> 00:03:16,100 - "Departed" was before that, yeah. 91 00:03:16,100 --> 00:03:17,466 - But still, this is a fairly 92 00:03:17,466 --> 00:03:18,200 early film for her. - Yeah, it's pretty early 93 00:03:18,200 --> 00:03:19,733 for her. - Yeah. 94 00:03:19,733 --> 00:03:21,300 - And the best thing is to have two people in the scene, 95 00:03:21,300 --> 00:03:23,100 one is wild, one is controlled 96 00:03:23,100 --> 00:03:24,500 and to let them be dance partners 97 00:03:24,500 --> 00:03:26,300 and kind of pull each other in different directions. 98 00:03:26,300 --> 00:03:27,933 - Yeah. Great. - Thank you so much. 99 00:03:27,933 --> 00:03:29,600 - Thank you. Yeah, I mean I was wondering that's, 100 00:03:29,600 --> 00:03:30,900 I think it's an excellent question 101 00:03:30,900 --> 00:03:32,566 'cause George Clooney seems to direct himself, 102 00:03:32,566 --> 00:03:34,000 but of course he doesn't. 103 00:03:34,000 --> 00:03:36,900 - Yeah, but he knows. He knows exactly what he's doing. 104 00:03:36,900 --> 00:03:40,233 He knows once he's in frame, what angle the lens. 105 00:03:40,233 --> 00:03:41,400 - Right. - But then 106 00:03:41,400 --> 00:03:42,833 I've worked with actors who don't know 107 00:03:42,833 --> 00:03:44,133 when they're standing right in front of the camera 108 00:03:44,133 --> 00:03:46,133 and say, "You can't stand there, that's." 109 00:03:46,133 --> 00:03:47,400 - Sir. Hi. 110 00:03:47,400 --> 00:03:49,800 - I really enjoyed that Nicholas Braun 111 00:03:49,800 --> 00:03:53,233 played both Jim Henson and Andy Kaufman in "Saturday Night." 112 00:03:53,233 --> 00:03:56,066 I was wondering if you could talk about how that came about. 113 00:03:56,066 --> 00:03:58,100 - Didn't, Benny Safdie. 114 00:03:58,100 --> 00:04:01,433 I've read that he was supposed to play Andy Kaufman. 115 00:04:01,433 --> 00:04:03,200 - Benny Safdie was originally gonna play Andy Kaufman. 116 00:04:03,200 --> 00:04:04,733 He's a huge Andy Kaufman fan. 117 00:04:04,733 --> 00:04:06,200 Benny Safdie, if you know, was one of the Safdie brothers 118 00:04:06,200 --> 00:04:07,600 who made a film called "Uncut Gems." 119 00:04:07,600 --> 00:04:08,666 - "Uncut Gems" yeah. - If you haven't seen it, 120 00:04:08,666 --> 00:04:10,866 it's fantastic. - Adam Sandler. 121 00:04:10,866 --> 00:04:12,000 Is that the Adam Sandler? - Adam Sandler. Exactly. 122 00:04:12,000 --> 00:04:13,766 - Adam Sandler movie. Yeah. 123 00:04:13,766 --> 00:04:16,200 - And Benny became unavailable 124 00:04:16,200 --> 00:04:17,766 'cause he went off to direct another movie, 125 00:04:17,766 --> 00:04:19,733 and we already had Nicholas Braun, 126 00:04:19,733 --> 00:04:20,933 who you know from "Succession." 127 00:04:20,933 --> 00:04:23,100 He's cousin Greg. 128 00:04:23,100 --> 00:04:25,033 He was already gonna play Jim Henson, 129 00:04:25,033 --> 00:04:26,933 which I thought that's gonna be great. 130 00:04:26,933 --> 00:04:30,133 And when we started looking for an Andy Kaufman, 131 00:04:30,133 --> 00:04:31,600 we kept on thinking, 132 00:04:31,600 --> 00:04:33,133 you know who'd be great is cousin Greg. 133 00:04:33,133 --> 00:04:35,700 You know, I mean Nicholas Braun would be fantastic. 134 00:04:35,700 --> 00:04:37,366 And then we thought, 135 00:04:37,366 --> 00:04:39,033 you can play more than one character on SNL. 136 00:04:39,033 --> 00:04:40,766 Why can't you play more than one character in the movie? 137 00:04:40,766 --> 00:04:41,900 And that was it. 138 00:04:41,900 --> 00:04:43,000 - Right. - I love that you're wearing 139 00:04:43,000 --> 00:04:44,700 a "Puffy Chair" shirt, by the way. 140 00:04:44,700 --> 00:04:46,500 Love that movie. Love the Duplass Brothers. 141 00:04:46,500 --> 00:04:47,766 I got to actually make a movie 142 00:04:47,766 --> 00:04:48,900 with the Duplass Brothers. - Yeah, I love 143 00:04:48,900 --> 00:04:50,233 "Jeff Who Live at Home." - Yeah, exactly. 144 00:04:50,233 --> 00:04:51,266 All right, cool. Thank you. 145 00:04:51,266 --> 00:04:52,766 - Thank you. - Thank you. Hi. 146 00:04:54,233 --> 00:04:57,600 - Hi. I'm a stand in for my 15-year-old son 147 00:04:57,600 --> 00:04:59,166 who's a playwright in his home 148 00:04:59,166 --> 00:05:01,733 filming his documentary project that's due on Monday. 149 00:05:01,733 --> 00:05:03,233 - Oh, no kidding. - But he really wanted 150 00:05:03,233 --> 00:05:04,766 to be here, but he's busy. - Oh, amazing. 151 00:05:04,766 --> 00:05:06,033 - So he sent me with a question. 152 00:05:06,033 --> 00:05:07,866 - Okay. - He is also a Canadian 153 00:05:09,066 --> 00:05:11,900 and he is approaching. - A proud Canadian 154 00:05:11,900 --> 00:05:12,900 probably, right? - He's so proud. 155 00:05:12,900 --> 00:05:14,166 - Really proud. - So proud. 156 00:05:14,166 --> 00:05:15,733 Especially in Texas, very proud Canadian. 157 00:05:17,000 --> 00:05:18,633 And he is approaching the point in his life 158 00:05:18,633 --> 00:05:22,333 where he is making decisions about college or just going 159 00:05:22,333 --> 00:05:23,433 and making movies. - Yeah. 160 00:05:23,433 --> 00:05:24,900 - Yeah. - Great. 161 00:05:24,900 --> 00:05:28,166 - And I wonder what advice you have for young people 162 00:05:28,166 --> 00:05:30,700 who wanna work in this industry 163 00:05:30,700 --> 00:05:34,033 but don't wanna spend $300,000 on a college education 164 00:05:34,033 --> 00:05:36,033 to go learn something 165 00:05:36,033 --> 00:05:39,933 that you can't carry that kind of debt into a career 166 00:05:39,933 --> 00:05:41,333 to learn it. - Do you need a degree? 167 00:05:41,333 --> 00:05:42,800 - So what would you tell him? - Or a film degree 168 00:05:42,800 --> 00:05:44,600 specifically, you think these days? 169 00:05:44,600 --> 00:05:47,500 - It's a great question. - I'll tell him you said that. 170 00:05:47,500 --> 00:05:49,033 - And more now than ever. 171 00:05:49,033 --> 00:05:51,500 And I think a lot of young people are facing that decision 172 00:05:51,500 --> 00:05:54,300 of whether they should invest in college 173 00:05:54,300 --> 00:05:55,733 and what do you really get 174 00:05:55,733 --> 00:05:58,700 for that $300,000, you know, anymore. 175 00:05:58,700 --> 00:06:00,233 This is what I'll say about film. 176 00:06:00,233 --> 00:06:03,033 I can't make that, you know, decision for him 177 00:06:03,033 --> 00:06:04,000 or for your family. 178 00:06:05,466 --> 00:06:07,000 I'll say this, I think this is the most important thing 179 00:06:07,000 --> 00:06:09,300 that he needs to do over the next five, 10 years, 180 00:06:09,300 --> 00:06:12,300 whether he's on his own or whether he's in school. 181 00:06:12,300 --> 00:06:14,433 The most important thing you do as a storyteller 182 00:06:14,433 --> 00:06:16,900 and maybe in life is find your own voice. 183 00:06:17,966 --> 00:06:20,233 And I mean that in a very real way. 184 00:06:20,233 --> 00:06:22,733 When we all attempt to do something for the first time, 185 00:06:22,733 --> 00:06:26,100 whether that's write a movie or play a guitar, 186 00:06:26,100 --> 00:06:30,333 you at first try to emulate the people that you love. 187 00:06:30,333 --> 00:06:31,866 You pick up a guitar 'cause you wanna sound 188 00:06:31,866 --> 00:06:33,800 like Jimi Hendrix or Stevie Ray Vaughan, whoever it is. 189 00:06:33,800 --> 00:06:35,000 And you learn one of their songs 190 00:06:35,000 --> 00:06:36,566 and you start playing like them. 191 00:06:36,566 --> 00:06:38,500 You start to write, you write like the people you admire. 192 00:06:38,500 --> 00:06:42,500 If you read my early stuff, you'd go, I get it. 193 00:06:42,500 --> 00:06:44,233 You really like Quentin Tarantino. 194 00:06:44,233 --> 00:06:46,233 Like, you like him a lot. - Yes, I'm raising that child 195 00:06:46,233 --> 00:06:47,466 right now. - Exactly. 196 00:06:48,433 --> 00:06:49,700 And what happens is, 197 00:06:49,700 --> 00:06:51,300 as you're doing that, as you're writing, 198 00:06:51,300 --> 00:06:53,666 there's a nagging voice in the back of your head 199 00:06:53,666 --> 00:06:57,000 that wants to write like you, but you're embarrassed of it. 200 00:06:57,000 --> 00:06:59,133 Because we're all embarrassed of our own voice. 201 00:06:59,133 --> 00:07:00,500 And in the same way 202 00:07:00,500 --> 00:07:01,800 that it's very hard to look in the mirror 203 00:07:01,800 --> 00:07:03,066 and look at the person across from yourself 204 00:07:03,066 --> 00:07:04,400 and say, I love you. 205 00:07:05,533 --> 00:07:06,433 It's very hard to look in the mirror 206 00:07:06,433 --> 00:07:07,600 and go, you're beautiful. 207 00:07:07,600 --> 00:07:11,700 It's almost impossible but you have to. 208 00:07:11,700 --> 00:07:13,533 You spend your lifetime trying to say, I love you 209 00:07:13,533 --> 00:07:14,933 to the person in the mirror. 210 00:07:14,933 --> 00:07:16,866 And you have to do the same thing for your voice. 211 00:07:16,866 --> 00:07:19,233 You have to learn that that voice 212 00:07:19,233 --> 00:07:20,700 nagging in the back of your head 213 00:07:20,700 --> 00:07:22,166 that wants to be on the page. 214 00:07:22,166 --> 00:07:24,166 It's not something to be ashamed of. 215 00:07:24,166 --> 00:07:26,900 And you have to start practicing writing in that voice 216 00:07:26,900 --> 00:07:29,100 and come to say, I love you to your voice 217 00:07:29,100 --> 00:07:30,600 the way that you need to say, I love you 218 00:07:30,600 --> 00:07:32,466 to the person in the mirror. 219 00:07:32,466 --> 00:07:33,766 Because the truth is 220 00:07:33,766 --> 00:07:35,333 that's what the rest of us are waiting for. 221 00:07:35,333 --> 00:07:36,800 We don't need another Quentin Tarantino. 222 00:07:36,800 --> 00:07:40,566 We already have him. What we need is your son. 223 00:07:40,566 --> 00:07:42,266 - Oh, thanks, I'll tell him. - Yeah. 224 00:07:42,266 --> 00:07:43,133 - Thank you. 225 00:07:43,133 --> 00:07:44,133 - Yeah. - That's great. 226 00:07:44,133 --> 00:07:47,433 (audience applauds) 227 00:07:47,433 --> 00:07:49,600 All right, you're gonna, this is our last one. 228 00:07:49,600 --> 00:07:52,466 You're gonna have to top that answer, just saying, 229 00:07:52,466 --> 00:07:53,433 'cause that was a pretty. - Good night. 230 00:07:53,433 --> 00:07:54,900 - That was like, 231 00:07:54,900 --> 00:07:57,433 that was literally like a roll to credit moment, so. 232 00:07:57,433 --> 00:07:58,400 Okay. Yes sir. 233 00:07:58,400 --> 00:07:59,500 - Yeah, as a young film student, 234 00:07:59,500 --> 00:08:00,800 that was really inspiring to hear. 235 00:08:00,800 --> 00:08:02,200 So thank you for saying that. 236 00:08:02,200 --> 00:08:05,700 But when, before you had made "Afterlife" 237 00:08:05,700 --> 00:08:07,166 the third "Ghostbusters" movie, 238 00:08:07,166 --> 00:08:09,600 you had said that you thought it would be too boring 239 00:08:09,600 --> 00:08:10,866 if you had made a "Ghostbusters" movie 240 00:08:10,866 --> 00:08:12,533 by looking at your first two films. 241 00:08:12,533 --> 00:08:14,966 Are you happy with the outcome of the third movie? 242 00:08:14,966 --> 00:08:17,033 Do you think that you did it justice? 243 00:08:17,033 --> 00:08:18,800 - I'm really proud of it. 244 00:08:18,800 --> 00:08:23,800 You know, I had a moment I was in editing on another movie 245 00:08:24,666 --> 00:08:25,966 and my editor said, 246 00:08:25,966 --> 00:08:27,600 "You really gotta make a 'Ghostbusters' movie." 247 00:08:27,600 --> 00:08:30,333 And I was screwing around joking with him. 248 00:08:30,333 --> 00:08:32,466 And he goes, "No, you're almost running out of time." 249 00:08:32,466 --> 00:08:33,733 And I said, "What do you mean?" 250 00:08:33,733 --> 00:08:35,600 And he goes, "Well, your daughter's 12, 251 00:08:35,600 --> 00:08:38,566 if you keep on waiting, she's not gonna care anymore." 252 00:08:38,566 --> 00:08:40,200 - Make it for her. 253 00:08:40,200 --> 00:08:41,500 - And he was right. 254 00:08:41,500 --> 00:08:44,466 That was the last age for her to be on set 255 00:08:44,466 --> 00:08:48,166 and really love the process of that film. 256 00:08:49,633 --> 00:08:51,600 And it was in that moment that I realized 257 00:08:51,600 --> 00:08:53,666 I'd been running away from it my entire life. 258 00:08:53,666 --> 00:08:55,500 It was just something that scared me. 259 00:08:56,966 --> 00:09:00,500 And I had always had this idea of, you know, 260 00:09:01,933 --> 00:09:05,433 a 12-year-old girl who finds a proton pack in a barn. 261 00:09:05,433 --> 00:09:06,833 And I didn't even know who she was 262 00:09:06,833 --> 00:09:08,600 or why I thought that was a good idea, 263 00:09:08,600 --> 00:09:10,533 but she had always been there. 264 00:09:10,533 --> 00:09:13,200 And eventually I learned who she was. 265 00:09:13,200 --> 00:09:15,466 This was gonna be Egon Spengler's granddaughter, 266 00:09:15,466 --> 00:09:18,266 and she had to pick up the proton pack. 267 00:09:20,400 --> 00:09:23,566 And I realized, oh, the person who's been scared 268 00:09:23,566 --> 00:09:26,100 to pick up the proton pack the whole time has been me. 269 00:09:26,100 --> 00:09:28,100 And so that's what I wrote a movie about. 270 00:09:28,100 --> 00:09:30,933 I wrote about three generations of a ghostbusting family 271 00:09:31,866 --> 00:09:33,766 who live out in Oklahoma. 272 00:09:33,766 --> 00:09:35,300 You know, not the place you expect 273 00:09:35,300 --> 00:09:37,533 a "Ghostbusters" move to take place. 274 00:09:37,533 --> 00:09:40,800 And we wrote this, my writing partner and I 275 00:09:40,800 --> 00:09:42,966 wrote this movie about a family on a farm 276 00:09:42,966 --> 00:09:45,500 who find Ecto-1 in a barn and find a proton pack, 277 00:09:45,500 --> 00:09:46,633 you know, underground. 278 00:09:49,700 --> 00:09:51,100 And, you know, it's like anything, 279 00:09:51,100 --> 00:09:52,666 it's only once you get deep inside it, you realize, 280 00:09:52,666 --> 00:09:54,933 oh, you're just telling your own story. 281 00:09:54,933 --> 00:09:57,366 And as a result, I'm really proud of it. 282 00:09:57,366 --> 00:09:58,900 I'm really proud that I got to sit with my father 283 00:09:58,900 --> 00:10:00,166 every single day on set. 284 00:10:01,433 --> 00:10:04,600 I'm proud that I got to watch that film 285 00:10:04,600 --> 00:10:05,933 around the world with him 286 00:10:05,933 --> 00:10:07,800 and experience that thing together. 287 00:10:07,800 --> 00:10:08,933 Because what I also didn't know 288 00:10:08,933 --> 00:10:10,100 while I was making that movie, 289 00:10:10,100 --> 00:10:12,066 was that I was about to lose him. 290 00:10:12,066 --> 00:10:14,000 'Cause we never know when that's gonna happen. 291 00:10:14,000 --> 00:10:16,533 And it was only after that I lost him, 292 00:10:16,533 --> 00:10:20,100 that I realized had I waited, it would've been too late. 293 00:10:20,100 --> 00:10:22,100 - Right. - And so 294 00:10:24,266 --> 00:10:26,266 that movie happened at the perfect time. 295 00:10:27,333 --> 00:10:29,900 - Good. You did give a better answer. 296 00:10:29,900 --> 00:10:33,000 (Jason laughing) (audience applauds) 297 00:10:33,000 --> 00:10:34,233 It turned out. 298 00:10:34,233 --> 00:10:35,766 Give Jason Reitman a big hand. 299 00:10:35,766 --> 00:10:37,300 Thank you all very much for coming. 300 00:10:37,300 --> 00:10:39,400 Thank you. - Thank you very much.