Lost Weekend

Sibling Cinema

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Listen to Lost Weekend by Sibling Cinema MP3 song. Lost Weekend song from Sibling Cinema is available on Audio.com. The duration of song is 54:18. This high-quality MP3 track has 104.984 kbps bitrate and was uploaded on 24 Jun 2023. Stream and download Lost Weekend by Sibling Cinema for free on Audio.com – your ultimate destination for MP3 music.

TitleLost Weekend

AuthorSibling Cinema

CategoryPodcast

Duration54:18

FormatAUDIO/MPEG

Bitrate104.984 kbps

Size42.76MB

Uploaded24 Jun 2023

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Hi, welcome to Sydney Cinema, I'm Janus, I'm Bonnie, and I have a question. Okay. What is this music from? This is Mozart. Oh, is it? Symphony 25, yeah. Okay. It's in the public domain, and that sounds good. It does. It sounds very movie-like. Why is that? Well, maybe we'll find out when we get to a movie about Mozart. Oh, Abadaius? No spoilers, but yeah, it's a little bit about him. Okay. Oh, okay. But it's a Mozart tune that I like. Okay. Yeah. Okay. Well, sorry I interrupted you. No problem. So we are counting down the Oscar winners for Best Picture of the Year. From worst to best. From worst to best, based on... It doesn't matter. Okay. Well, there's... Yeah. Based on a list I put together that's kind of an aggregate of different resources from the internet. Mostly for fun, but we are up to number 37. A 37th best movie, best picture winner of all time. All time. So what are we talking about today? We're talking about The Lost Weekend from 1945. Yes. Which last week I guess said it was about crossing the dateline and having a big party. But it's not at all like that. Very different. Yeah. Yeah, I didn't know how serious you were about that. I mean, I didn't think it would actually be about that, but... Right. So this is your first time seeing it? Yeah, I'd never heard of it. Oh, okay. I've seen it a couple times. It's not about the dateline at all. No, it has nothing to do with the dateline. We'll get into it as we are... Well, did you say what year it is? 1945. I think we did. Yeah. So interesting year. So let's set the tone for the year. War's over. War is over? Yeah. I mean, late? Was it late in the year? I mean, this is a jam-packed year. I mean, EOG moment this year. When did this movie come out? It was released on November 29th, 1945. Okay, so... Yeah, war was definitely over. Okay. Yeah. Obviously, Franklin Roosevelt died of a serial hemorrhage. You have the famous meeting in Malta with Churchill, FDR, and Stalin. Yeah. The war ends in Europe. The war ends in Japan. It has the first and only time the nuclear bomb... Yeah. ...the last time the nuclear bomb was set off. That's so crazy. Crazy. Yeah. I remember that. I know. Truman became president, and the last weekend was released. Wow. Wow. Okay, so people were in a mood. Yeah, it was a really... Yeah, this was an eventful year. So, let's look at what was going on in the world of movies... Okay. ...by looking at some of the losers this year. Yeah. There were five nominees. Okay. I'll start off with The Buzz. Oh! That's Kate Mary. Oh, that's another movie? I don't know that I've ever seen it, but... Yeah. ...I should see it. Okay, yeah. This is a sequel to the previous year's Best Picture winner, Going My Way. Have we seen that one yet? No, that came... Well, we talked about it briefly in our Worst of the Best. It came in at number 82. Really? Yeah. It couldn't be worse than The Hurt Locker. Yes, it is. Well, I talked... What was it called again? Going My Way. Going My Way, okay. Yeah, so that was a movie where... Jane Crosby is the young priest who comes into a parish run by an older Irish priest who's kind of set in his ways, and they kind of butt heads a little bit. So that was a huge hit, won seven Oscars. It was the biggest hit of 1944, and then comes out with a sequel the next year. It's also the biggest hit of 1945. In what way is it a sequel? Is it the younger priest? Almost, yeah. Okay. I believe the older priest is still... Mary Fitzgerald is in it, I think. Okay. I haven't seen it in a couple years. But I should watch, really, then Going My Way and then The Belt and Street Mary. Yeah, I mean, if you watch one of the... Okay. I mean, if it's a sequel. No, it's a sequel. It would help to have watched the first one first, but then we're going to have to watch it again. We'll have to do a bonus episode. Now I want to do it just to annoy you. No, that's fine. I'll watch it again. I think they're both kind of forgettable movies, honestly. Okay. This brings in a nun played by Ingrid Bergman. Probably the best part of the movie is this is now his foil. Okay. They kind of butt heads. There's a great scene where she teaches one of the students to box. The parish has his school. Okay. Ingrid Bergman is just terrific. Okay. She had a huge year in 1945. Oh. She was also in another big hit and best picture nominee with Spellbound. Well, I see that she gets top billing over Gregory Peck in this. Yeah, she was a big star. She was coming off an Oscar win the previous year where she had won for Gaslight, Best Actress, in 1944. And the year before that, Casablanca. Yeah. I mean, she's really at the top of her game. Yeah. Gaslight's a terrific movie. Gaslight is a terrific movie. Yeah. Spellbound. Have you ever seen Spellbound? No. It looks like a Dali painting. Yeah. Salvador Dali. It's actually famous for it includes a dream sequence that was storyboarded and designed by Salvador Dali. What? Yeah. No wonder it looks like a Dali painting. Yeah. Really kind of an eerie. It's a Hitchcock movie about Freudian psychoanalysts. So that picture in the bottom left is from the movie? Or the middle left? Bottom middle? Yes. Our listeners can't see it. I know, but I'm asking. No, I have a couple pictures from that dream sequence. Okay. Yeah. I've had pictures from the movie. Yeah, because that bottom one is like... Yeah. Well, these are both from the dream sequence. Yeah. Okay. That's definitely a Dali. Yeah. I mean, if you just do a Google search for Spellbound dream sequence or Spellbound Dali, you'll see some of this imagery. Or watch the movie. Or watch the movie. Yeah. It's a little suspense movie. I recall Gregory Peck has amnesia and doesn't remember whether or not he committed murder. Okay. So this is worth seeing then. Spellbound. Yeah. I'm surprised your daughter hasn't made you see it. I know. Hitchcock and Gregory Peck. I know. Laura? She loves both of them, right? Yeah. I've got to make a note of this. Mildred Pierce. Oh. This is... Have you ever seen Mildred Pierce? No. This is a film noir with Joan Crawford. It's one of the relatively few film noirs from a woman's point of view. She has a daughter who's like the center of her life, who grows up as a really spoiled, rotten person. But she has trouble seeing that. And there's a central murder plot that kind of unfolds in very creative ways as the movie progresses. Directed by Michael Curtiz. Oh yeah. We talked about him before. My son. Yes. I think this is the second best movie. Okay. So Mildred Pierce is the first best? I love it. Casablanca. Oh. Which we'll talk about. Yeah. He directed Casablanca. He's one of the great Hollywood directors, kind of in that William Wyler mode, workhorse studio director. But this is headlined by a terrific performance by Joan Crawford, probably her most famous role. Oh, okay. Yeah. And finally, Anchors Away. I have... Have I seen this? It's very similar to On the Town. Okay. Because it's the same... Wait. Is Gene Kelly in On the Town? Yeah. Gene Kelly and Frank Sinatra. Frank Sinatra. Okay. Both in On the Town. They still play Navy guys who are on shore leave. I've seen in the museum. From On the Town. Oh, there's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. 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There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. There's so many. One of the things I really appreciated this time was kind of the themes of identity. And this Helen character is very simple. She's kind of an open book. There's nothing defective about her. And there's a couple instances where he knows her before even being introduced to her because he has her coat. And so he at least knows her initials. So it's almost like she's... And then you get later on in the movie where the landlady comes up and she's like, oh, I know you're Helen St. John. We've never met, but I know who you are. And so there's just this sense of she is who she is. And she's kind of an open book. And there's nothing defective about her. Whereas Dawn lies the whole time. It's this thing where he says there's two of him, two different personalities who are kind of at war with each other. But then you also see that from the Gloria character, who is kind of harder to grasp. And you have the scene that seems to be only there to say, in him, she is a prostitute. The guy comes, like, has an appointment with her. The guy's from Albany. But she lies about who she is. She's the roommate of her. So I think that's an interesting contrast with Helen. That there's this kind of underworld of people who just can't be at one with who they are. And yet both women make themselves vulnerable to this guy, who's Dawn. I thought she was great, Gloria. Gloria gives up this client because she thought she was going on a date, a real date. A real date with this kind of high-class guy. And both of them see him as he's this high-class guy. And his only problem is he's an alcoholic. But other than that, he's great. Other than that, he's great, which is this, yeah. Other than that, Mrs. Lincoln, how is the client? The other thing that this sets up really well at the beginning is, and it does it through the character of Dawn's brother, who is the one who is the stable influence and pays for his apartment and all of that, sort of keeps up his living and all that, is that this, how do you treat somebody who you love, who is an alcoholic or enslaved to whatever, and they give to, you know, he's like, hey. He doesn't want help. There's nothing more we can do for him. I'm shaking my hands of him. And he's felt for years of probably being where she is at. Yes, right. As a matter of fact, they show him in the flashbacks from the beginning, he was lying to cover up for his brother. Oh, yeah. You know, to her, to Helen. That's another part of the identity issue, where it was like the one time Dawn really stands up for the truth is where he sees his brother or overhears him falling down to his level. Yeah, and it's like, you know, you've got to let, you know. And basically for the people who haven't seen it in a while or haven't seen the movie yet, this is a scene where Helen comes looking for Dawn. I think this is in a flashback where they had been dating, but he's hit with alcoholism. He stands her up when he's going to meet her parents. And she comes over, can tell that a bender had happened here. And the brother says, oh, yeah, I have a drinking problem, and Dawn's been dealing with it. Yeah. And that's when Dawn comes in and says, pass them that. Yeah. Yeah, because they had been dating, and she hadn't known any of this. Right. It's almost, it reminds me of some fever pitch. Yeah. This is a bizarre analogy. But where you've got the, what's his name, Jimmy? Fallon. Jimmy Fallon, this Red Sox fan who's completely obsessed and deranged but in the off-season, he's like a normal guy. And Drew Barrymore plays his love interest, and they meet during the off-season, and he's all stable and she can count on him and all this kind of stuff. Then the season starts again, and then they've got a problem because now he's so focused on each one of these games, and his emotions ride high and low. He's almost enslaved by his fandom of this. Right. Down to the Yankee toilet paper. But anyway, so she talks about how the Drew Barrymore character is like, but I love the winter, whatever that was. But that's sort of like how it is here. They had had a relationship for this period of time that he was able to have hope, and this relationship had really buoyed him to the point where he was off the alcohol for a while. And then what triggered it was that meeting with the parents because before she came down, they were all meeting in this hotel lobby, or before she came in, wherever the parents were staying. And so he was sitting, they had it set up so they're really sitting back-to-back to each other on this thing, and they were talking about, clearly him, about this guy they're about to meet that's their daughter, and they're like, the father's talking about, I don't know about him being a writer. He got self-conscious. He went to somewhere big, but he had dropped out. The dad was talking about how, I don't know about that. And so it was like the dad hit every insecurity that this guy has about himself, and he's like, I can't deal with it. And so he goes and he pretends that he's not there, and he has her pay. Yeah, at first he stalls because he just wants to get a drink, like, with good courage. Oh, that's right. Yeah, but then it leads to... Right. But it is the alcoholism that really brought them together because the reason they meet is because he's hiding whiskey in his overcoat, and they get mixed up. So he sits through the entire second half of an opera just to get the coat back. Right. The opera was all about drinking. Yeah. And the only reason they end up... He's really rude to her at first. He's extremely rude to her. But the only reason they actually end up hitting it off is because the bottle of whiskey breaks, and so he follows to her cocktail party just because he needs to pour the alcohol. Yeah. I hadn't thought of that. Yeah. Right. So he's following that, not her. Oh, wow. But as he narrates to us, he was so taken with her that he actually didn't drink that night. Okay. Yeah. Yeah. I see what you're saying. Her character is a little interesting, too, because you're like, why does she keep going back to him? Yeah. But then we do get a little glimpse of her father, and he seems very domineering. Oh. And so it's like I think maybe she doesn't have a good image of what she should be looking for in a man, and she's got a little bit of insecurity. She does. Yeah, she's got some insecurity issues that, you know, I don't know. She's certainly a rescuer. She sees herself as a rescuer. That's a good way to put it, yeah. Yeah. So I don't know what from her. I do want to go back to that scene where he hides the bottle. That's so interesting because I think that shows a really good, it's a good example of cinematic storytelling that is kind of based on what Billy Wilder showed us because he shows us him hiding the bottle. Is that? If you would imagine just that shot of him hiding the bottle is taken out and everything else plays exactly as it's shot, it would play entirely differently in terms of how the audience interacts with Don because now we're kind of in on the suspense, right? We know he probably shouldn't binge, but audiences, you know, we can't resist a mystery, so it's like we're kind of on the same page with him. Where could it be? You know, kind of his hiding places. Yeah. And so then when you finally see it, we're like, oh, that's where it is, and so we're kind of on the page with him. But just having that scene of managing that, the differences between what the audience knows and what the character knows, he's pathetic the whole time. Yeah, and we're like, oh, I hope he doesn't find it. We know exactly where he is, and it's so ridiculous that he doesn't remember. Right. What's so obvious. Yeah. And so I like how that just kind of pulls us, separates us from it and shows that we're not supposed to be. Empathetic with it. Empathetic, and it shows him as a really sick man. Right, yeah. Yeah. And he also does great, you know, when he's looking for the bottle that he had forgotten he even did. It was the bartender that reminded him. The bartender did this. He's like, whoa, you went through both of those? And he's like, wait a minute, I don't remember. That's true. Yeah, that's very interesting. So he goes back and really ransacks his place. Yeah. Then the next time he goes in to the apartment, remember he gives Billy Wilder does the shot from behind this tipped over lamp. Yeah. So it's like we're the disheveled room. Exactly, yeah. As he comes back in on, you know, and he's not at all concerned about just things are completely out of place. You know, his life is a mess. It's so interesting how they did that. Yes. And this is going to be our last best picture by Billy Wilder about the single guy in his apartment. Oh, the apartment? Yeah. I'm so happy to watch that. Yeah, probably not for a while, but we will. Yeah, that's more of a sardonic comedy style. Another great scene is the ring. Oh, yeah. The passage of time and how many shots. Yeah. And he waxes on about just the beauty of a circle, right? Yeah. That the shot glass makes on there. Yeah. So he has his first shot and the bartender takes his rag and he's going to wipe it out. And Bob says no and talks about how perfect a circle is. Yeah. And then you can see they use that, not only there, but also up in the apartment to show you how much he's had and, like you said, the passage of time. Yeah. Yeah. So I thought that was all very interesting. Yeah. And how you deal with these people and the weird sort of drunk ward. Really strange. Really. That nurse was not a good nurse. Well, yes. Very creepy. The nurse was creepy, but also was like, this is so different from what you hear about the 12-step program. Yeah. Which I have to say the most I know about that is through watching West Wing. But you've got a sponsor who's been through it, who watched you through it. That's what makes that successful and keeps people coming back is you've got a relationship with somebody who is bringing you back and helping you through it. Yeah. Whereas this, you've got a nurse who is completely cynical because he's like, look, you're all going to fail. I've watched you over and over again. You're all just terrible, filthy drunks. You're never going to get cured. And you just keep coming back. And this happens to be your first time, but guess what? You're going to be back. And here's going to be your progression. And he's probably right. But as a matter of fact, he's very creepy. He is very creepy. Yeah. I think we should touch on the scene where he steals a purse. Yes. It's really interesting. It is interesting. The part that I found fascinating about that was how he puts the woman he's stealing from on a pedestal. Even before he has any interaction with her, he gets a carnation from the restroom. I'm taking it for your generosity. Even though he doesn't have the dignity or the courage, I guess, to ask her for help. Right. But he's stealing from her, but treating it like she... And she is very sympathetic to him. That's why he doesn't go to jail then. It's because she's like, okay, I got the purse back. Yeah. So he goes... To like a cocktail bar. Yeah, a cocktail bar that he gets off of Matchbox. Yeah. And he's drinking and then gets the bell, realized he doesn't have the money for it. Yeah. There's a... I think it's kind of a wealthy bar. Yeah. So there's a couple. There's a couple laid next to him where she... And he's kind of at the booth. Right. So she has her purse next to him and she's in conversation with a guy. She's with probably her husband. And he clandestinely takes her purse, puts it in his overcoat. Yeah. Which is where we've also seen him hide his liquor and his... Yeah. Kind of this motif of personal property, of stealing jackets and coats and hats and purses and stuff. Right. So he sneaks off into the bathroom and takes money out of her purse and then goes to put the purse back. Yeah. But includes like a carnation. A token of his appreciation. A token, yeah. Which he stole from the bathroom attendant. Yeah. Exactly. Yeah. Well, I mean, it's kind of a gift. You don't have attendants like that anymore. Maybe at swanky places they do. I don't know. Yeah, but then when he comes back, they've noticed the purse is gone and they're gathered there and he's immediately fingered. Yeah. She pleads for mercy for him. He kind of fesses up right away, gives the purse back, and then he gives the money back. Uh-huh. And then like the whole place just mocks him. Yeah. The piano player says, he stole... Yeah. The guy stole the purse. Yeah. And he's just humiliated. Yeah. Yeah, if he was smart, he would just have kept the purse there and taken the money. That would have been hard to do without being noticed. Yeah, well, that's the person in the bathroom. Yeah. So... But he doesn't... It's part of what's so interesting about him is he's not a good criminal. Yeah. No, he's terrible. Yeah, he just is, again, so enslaved by this. And he steals because he knows he owes money to the place, right? Right. So he's... Yeah. Yeah. He steals from her rather than just ditching, buying a dash. Yeah. It's really fascinating. I mean, one of the things I think is fascinating in going through all these movies is because so many of them are set and even filmed in New York City, that we've kind of seen it through the years. Marty and Kramer vs. Kramer and Birdman. It's the same city, but just in different times and places. And we'll see it a few more times down the line. Yeah. So, interesting movie. Yeah, interesting movie. I think it does maybe get some... Some of the complaints are mostly for that ending and just that it's just kind of a litany of worst case scenarios such that one could... The complaint is that people might say, oh, well, I don't need to get help because I don't see mice coming out of the walls. You know? Alcoholism isn't always that extreme. That was a terrifying scene, by the way. Yeah. From 1945. Yeah. It was a delusion that a mouse was coming through the wall and a bat comes in and there's blood dripping down after. Yeah. Pretty vivid. But I think that what makes this is just... It is very beautifully... It's very beautifully shot. Yeah. And it's a beautiful movie. Yeah. And it's very intriguing and interesting. You know, there's lots of things that have storylines that are... It pushes the limits of reality, but that's maybe how it's a movie. Right. Yeah. Yeah, it's a good movie. Yeah. In terms of 40s movies, I'm a little surprised how high it's ranked. Not so much because of its quality, just because I never hear people talk about it anymore. Yeah. Exactly. As far as the 40s go, I think How Great Is My Valley is better. Certainly better. So great. And Mrs. Miniver and Hamlet, too, I bet. Yeah. I would agree. It's surprising it's 30 spots higher than those two. Yeah, well, let's see whose fault that is. We don't get to see whose fault that is yet. To rank it so high. I mean, I don't have a problem with it. Yeah, I don't really have a... I wouldn't rank it in the 30s, but... 40 seems a good place for it. Yeah, it's a fine movie. It's definitely better than Hurt Locker. No, I thought it was better than Hurt Locker. Oh, you had ranked it 66. 66 is too low. It is too low. That's about where Mrs. Miniver was. Yeah, 21 seems way too high. Yeah, 16, 20. Rotten Tomatoes is way too high. It's all over the place, really. Yeah, Letterhead and IMDb. Letterbox. Letterbox. You know what that says? Letterbox. And IMDb has it in the 40s, and I think that's... That's kind of... Yeah. That's not right. 75 is way too high. That's like the bottom. Yeah. And 20. Yeah, 66 is too low, too, but... Well, that's where I had it. But we'll see. There's a lot of good movies on here. Yeah. But let's see. Oh, okay. Are we going to chat GPT? Yeah. We're going to go with that. We'll work. Sure. In The Lost Weekend, A Tale So Grey, A writer lost in his disarray. From bottle to bottle, he's led astray. In darkness and chaos, he starts to sway. A harrowing journey, he must find his way. Wow, that is really good. It is really good. That's one of the best ones we've had. Yeah. It's very good, of course. Lines have too many syllables, but... Uh-huh. Yeah. It's well done. Well written. So, The Lost Weekend got seven nominations. Okay. Average. Average. I think Belle de Saint Mary's got just as many. You're supposed to be impressed that I know that that's about average. Oh, I'm so impressed. Three would be low. Yeah. Twelve is definitely high. Only one acting nomination. Okay. From the main character? Yeah. Okay. Yeah, Ray Malone won. Okay. Yeah. He beat out Steve McCallion, his only nomination, for Acres Away. That's the only time he was nominated. Okay. So, Lost Weekend won for Picture, Billy Wilder's first Best Director Oscar. Yeah, that was definitely... Definitely earned, and adapted screenplay. Okay, yeah. Yeah. Then the other acting winners, Mildred Pierce and Joan Crawford won for Best Actress. Okay. James Dunn won for Treat Rose in Brooklyn and Ann Revere in National Velvet for the Supporting Roles. Okay. National Velvet was another big movie from the charity, the first movie with Elizabeth Taylor. Yeah. And it was also nominated for Cinematography, Original Score, and Film Editing. Yes. Which seems right, but they lost, too. Yeah. Well, Luis Rosas, who did the score, lost to himself. He also did the score for Spellbound. Wow! That's interesting. Yeah. So, he won for Spellbound, which also has a nice score. Yeah. That is the Lost Weekend. Are we ready to see what's... See what we're going to watch next? Yeah. I have no idea what it is. Let's see. It's November 36th. Yeah. All right. Well, I think it's not going to be any... Oh, it might be Amadeus. I don't think it was. Well, I've been wrong before. I think that's highly regarded. Okay. So, no country... I have on my list, because I don't really know what I'm talking about. You're doing fine. No, I'm not. No Country for Old Men. It's been in the news lately. It has? The author of the original novel died this week. Oh, who died? Cormac McCarthy. Oh, this is Cormac McCarthy? He annoys me. Use punctuation, man. Why do I have to do all the work? Isn't he going to be coming? No. Cormac McCarthy. He doesn't like to use punctuation. Capital M, stuff like that. What other things has he done? Yeah. Cormac McCarthy. He's the one who doesn't use... E.E. Cummings? No, not E.E. Cummings. Okay. Cormac McCarthy doesn't use... Anyways, that's not going to be relevant to the movie, because you can't hear the punctuation. Okay. Anyway, so you're predicting Amadeus or no Country for Old Men. Parasite, Spotlight, and Moonlight. Okay. Probably not going to be any of them, but... I think Spotlight could be coming up. I like Spotlight. I like it, too. I like it, too. I think it should be coming up soon. I mean, it was good, but not that great. Yeah. Yeah, that's fair. It's kind of hard to pick with the more recent ones. Hard to know where they rank. Yeah. So, my list is The Sting, from 1973. Uh-huh. The Times Connection, which is also been in the news lately. Really? Yeah. It'll be a good thing to get into when we get to the movie, but there's a censorship controversy. Oh. As far as the versions that are on streaming, and... Okay. We'll dig into it. Okay. When the time comes. When the time comes. Forrest Gump. Forrest Gump I think will be coming up, and The Departed. I think Forrest Gump is better than Spotlight. Well, we'll talk about both of them. I'll watch them again with an open mind. Okay. The Departed. The Departed. And then, I had The Last Weekend, so I'm going to pick another one. Uh-huh. And... I really don't... Still on the theory that I... Hard time knowing exactly how the more recent ones fit into that consensus. Yeah. I'm going to add Twelve Years a Slave to my list. Oh. I didn't read that book. You should. It's a short book. I know. Written by this... Yeah. It's a great book. Yeah. I have... I've started it. Okay. Well, you should. It's great. Yeah. Okay. So, we're going to find out now. Okay. The Thing. Yeah. Okay. You were right. Alright. So, we'll be back with The Thing. Next week. You haven't seen it? No. I haven't. So, what would you guess that The Thing is about? Hmm. Okay. Probably just because isn't The Thing Paul Newman? Yeah. Paul Newman, Robert Redford. Okay. Okay. So, your challenge for this week... Okay. So, Paul Newman, Robert Redford, Lindy. Okay. But one of the supporting players we've seen before in a movie that you actually liked quite a bit. Okay. So, I was going to see if, before you look it up, if you recognize who you've seen before in another movie. Alright. That we've watched and you liked a lot. Yeah. Okay. So, we'll be back next week with The Thing. Great. Our first touch-and-harmonica player experience.