At present, we’re speaking with two of the editors behind F9: The Quick Saga, the most recent installment of the $6B Quick & Livid franchise. Is that this the ultimate story within the record-setting collection? You’ll know by the tip of the interview!
Becoming a member of me are “Livid” regulars Dylan Highsmith and Greg D’Auria. Sadly, lacking from the dialog is Kelly Matsumoto, ACE, who was unavailable for this interview.
Dylan has edited a few billion {dollars}’ price of films together with, Pacific Rim: Rebellion, Star Trek Past, and Quick & Livid 6 and 7. He’s additionally lower for TV collection together with Magnum, PI and SWAT.
Greg’s credit embrace Star Trek Past, Quick and Livid 6 and his work with S. Craig Zahler on Bone Tomahawk, Brawl in Cell Block 99 and Dragged Throughout Concrete. Going again a methods, he has assistant editor credit on some epic initiatives like Kill Invoice, Django Unchained and Battlestar Galactica.
Try the Artwork of the Lower podcast to listen to this interview, and keep updated on all the most recent episodes. Warning: minor plot spoilers under.
HULLFISH: This has been a long-term venture for each of you. Dylan, you began out as a VFX editor on this franchise.
HIGHSMITH: I began on Quick 5 as a VFX editor after which got here on as a movie editor on Quick & Livid 6. I stayed on for Livid 7, then I helped out three or 4 instances on Destiny of the Livid as an extra editor.
HULLFISH: What do you’re feeling you probably did as a VFX editor on that first movie that acquired you employed as an editor on the subsequent one?
HIGHSMITH: It will in all probability come up a number of instances on this interview as a result of it’s very tied to the Quick and Livid movies, however the franchise is about household. It doesn’t shrink back from being about that. There’s a lot to being an editor that’s about belief, particularly for the director to belief within the individuals who have the film of their palms.
Plenty of that got here from simply being with the crew. Getting the expertise to chop, at the same time as a visible results editor, provides you some quantity of belief.
“There’s a lot to being an editor that’s about belief, particularly for the director to belief within the individuals who have the film of their palms.”
D’AURIA: Justin (Lin) is an extremely loyal man. In case you earn his belief, then that may result in actually good issues. On the finish of Quick 5, Justin introduced me into his workplace as a result of a pal of his was doing an ultra-low-budget movie and wanted assistance on it. Justin requested me if I’d be prepared to assist him do the recut on that.
After that have, Justin noticed that I had some functionality within the chopping room. I believe that led to the chance to work on Quick & Livid 6.
HULLFISH: It’s actually fascinating how essential it’s for the films’ success to be centered in caring in regards to the characters. Are you able to speak to me about the way you guys both protected these moments or constructed them in editorial so that you just cared about these characters all through the film?
D’AURIA: Steve, I’m so joyful that you just pointed that out, as a result of the physics-defying stunts and the incredible visible results work that’s performed on these photos are clearly a part of what makes the large display screen expertise so nice. However ultimately, it’s the work that’s being performed with these characters that basically grounds individuals and makes them wish to return and see extra.
HIGHSMITH: That’s at all times the place Justin begins with any of this.
Even right down to after we’re enjoying with Matchbox automobiles throughout pre-production and designing out the motion sequences. It could possibly get ignored at instances, however he received’t strategy any beat in your entire movie if it doesn’t come from character. Even after we’re speaking in regards to the motion sequences, which is what lots of people come to those films to see.
Each loopy set piece—even simply an motion beat of a automotive doing a loopy physics-defying leap to catch one other character within the air or one thing—Justin received’t put that within the film if it doesn’t have character motivations.
We’ve talked in regards to the automobiles being the avatars for the characters. When the automotive guys are designing the automobiles, they’re at all times presupposed to replicate the characters driving and their psychological state at that time within the film. Justin thinks about character arcs, and that continues by means of the motion.
It was essential to him within the final runway scene in Quick & Livid 6 that each character arc within the movie he had arrange would get resolved by means of motion. He wished it to really feel like an motion opera. It was one thing that was at all times essential as we have been chopping to say, “What was this character’s arc, and the way are the actions and the way in which they’re approaching the motion on this scene reflecting the place their arc is at this level within the movie versus the place they began within the first act?”
D’AURIA: Early on in Quick 9, Justin actually wished to make sure that we monitor what was occurring with Letty. Among the earlier chopping of the scenes was actually working to make sure that we had some sense of the place she was at first of the movie and why she decides that she makes at a sure level.
That was all by design. There was a variety of time spent among the many three of us making sure that we tracked her arc.
HIGHSMITH: We have been cut up by location at the moment. That was in all probability one of many first main collaborative duties that Greg, Kelly, and I encountered. We talked loads forwards and backwards throughout the pond, ensuring everyone was approaching it in the identical manner in our scenes.
We have been one another’s scenes to make it possible for it was all monitoring. These are big ensemble casts. Each installment makes it tougher and tougher to make sure that you’re monitoring each single character that has been launched within the final film. The forged retains getting larger.
D’AURIA: It could possibly even be so simple as including in a single additional shot, which I recall that we did. Early within the movie when Dom and Letty are on the farm, there was a glance that she provides at a sure second that we discovered helped you understand, “There’s one thing occurring along with her and the place she feels at this level in her life.”
It’s one thing so simple as discovering that shot and making sure that you just don’t linger too lengthy on it, since you’ve acquired the freight practice of the narrative to think about. There’s a selected scene with Dom and Mia that we went forwards and backwards on a few instances earlier than we finally determined that it simply wasn’t working.
HULLFISH: Then what’s the answer?
D’AURIA: Finally, we determined that there was a momentum that was taking place at that time within the movie that this scene stopped. That will have been the primary level within the movie the place Mia got here in.
Within the script stage, it was designed in order that she may both enter at that second, or within the completed state the place she is available in now. That’s how we have been in a position to resolve it.
HULLFISH: Discuss to me about any scenes that needed to be intercut.
HIGHSMITH: The largest one is within the climax. There’s a definitive intercut that was not scripted, that was by no means deliberate out. Tyrese’s Roman , who has been going alongside a bit extra of a comedic thread for lots of the film, will get very critical in probably the most dire a part of the motion and has a speech that basically modifications the tone of his character. It was one thing that initially was at all times deliberate to simply be on him.
There was a variety of shoe-leather motion stuff on the bottom in Tbilisi, logistically, you needed to get Dom from his Charger to satisfy up with Ramsey and into the huge car we dubbed ‘The Armadillo’. It’s “action-exposition,” if you’ll. The geography and the logistics of the place items need to be moved round. We have been simply combating and combating it each time. We stored saying, “We are able to’t lower this as a result of you might want to see the place this individual is, so that you’re not confused the place they go, and many others.”
“The geography and the logistics of the place items need to be moved round. We have been simply combating and combating it each time.”
It acquired to that time the place Roman is giving us a extremely nice speech and we realized that we had all these items taking place on the bottom that are good photographs and glimpses, however they’re not doing loads for the characters. We determined we may mix them.
We did this intercut the place the speech goes over the motion of what the remainder of the crew does. He’s speaking in regards to the crew at massive and their state of affairs, and in addition just a little bit in regards to the franchise and its place inside the local weather in the present day. It was at all times highly effective by itself, however the second we put these pictures over it and began displaying what everyone else was doing by way of teamwork for one another, it gave these photographs extra character moments than they’d on their very own.
As soon as we figured that out, we mentioned, “That is how this second has to go.” Anytime we tried so as to add extra to it or take extra out of it, it simply didn’t really feel true to what he was saying.
It’s at all times intuition to, once you discover one thing good, push it to see if it might get higher. It’s a greater intuition to know when it’s working and also you don’t wish to break it. That was one thing we discovered with that second particularly.
That’s at all times an amazing train, as a result of even when you break the movie, you accomplish that a lot good work alongside the way in which.
D’AURIA: This brings up one thing that was fairly distinctive for this movie. By no means earlier than have been we shut down. We realized on this occasion that the break served us effectively, as a result of it gave us time away from the image. That distance allowed us to reevaluate and re-strategize methods to construction the movie.
HIGHSMITH: We had restructured the movie proper earlier than we shut down for the pandemic. I don’t know if we might’ve had the time to comprehend that, whereas there have been some actually good issues in that restructure, there have been some issues that have been in all probability hurting the movie at massive. I don’t know if we might have had the attitude again then that we did after we got here again.
D’AURIA: We didn’t have a tough launch date at that time after we reconvened.
We acquired again collectively in August, 2020, and the image is simply now popping out in June, 2021. Whereas, after we shut down, we have been going to previews and have been virtually prepared to enter the pre-dub section. On this image, we had two totally different storylines. The narrative is extra sophisticated than your typical Quick films. So in a wierd manner, we caught a break due to that.
I believe we must always construct into the put up schedule a two-week break. Flush the film out of your brains for only a small little time frame, then come again and ask, “Are we heading in the right direction?” Sure films would profit from one thing like that. It’s by no means going to occur, however I actually want all the individuals on the market would give it some thought.
HULLFISH: Are you able to speak to me about what acquired restructured within the movie?
HIGHSMITH: There are two narratives all through the movie. There’s a present-day narrative, after which there’s a story that takes place earlier than the primary Quick and the Livid film.
They interweave by means of the film. This was probably the most tough a part of this complete movie. In case you’ve seen the franchise, you’ll know that it has advanced and altered loads with every installment from the place it began. One of many largest issues that Justin wished to discover from the start was to not shrink back from that reality however to embrace it.
“It was at all times a wrestle to seek out the place these items tonally match as a result of the film makes an attempt to do much more than any of the earlier ones did.”
That makes it a really tough movie to juggle as a result of you may have two threads and, whereas they’re tied by characters and what’s occurring within the current versus the previous, they do exist in very totally different tones. It was at all times a wrestle to seek out the place these items tonally match as a result of the film makes an attempt to do much more than any of the earlier ones did by way of the scope of how a lot tone it covers. There have been a variety of instances the place we mentioned, “This scene can be nice proper right here by way of the construction and the stream of the film, however tonally, it’s such a whiplash from what got here earlier than that it’s by no means going to work.”
You’re at all times restricted in the place scenes can go due to exposition or plot. It actually does tie your palms collectively by way of the place issues may be put. We tried a variety of totally different restructures on this.
We now have a thread previously, which is a couple of youthful Dom and his brother, Jacob, who grows as much as be John Cena’s character. Then, we’ve got a thread within the current day. There was a flashback to younger Dom and Jacob that we have been placing later within the movie, proper after present-day Dom and Jacob come face to face for the primary time in years. There was loads that cerebrally made sense about it.
As soon as we did it and interrupted the momentum of the place the current day was, we rapidly realized, “This scene was buzzing and flowing within the current day, and we don’t have time to take you out of that momentum. We constructed a variety of actually good momentum, and we don’t wish to leap again into the previous.”
HULLFISH: What have been a few of the options to these tonal shifts when transitions occurred from the previous to the current, or vice versa?
D’AURIA: We have been at all times wrestling with the second act. There are a variety of totally different locations that it’s important to go. After we would construction it, we might get a way fairly rapidly as as to if or not a tonal shift labored, or if we wanted to discover a totally different place for it.
HIGHSMITH: Justin had designed a variety of transitions for methods to get from one time interval to the opposite whereas they have been taking pictures.
That’s one other issue with having modular narrative threads in a movie. In case you transfer one thing round that has a really designed transition for the place it was within the script, then now it doesn’t essentially work as shot in that place.
Not solely are you breaking a stream of the film as you had conceived it, however you’re generally additionally breaking these very nice, designed transitions like going into a personality’s eyes previously after which popping out of their eyes within the current.
These are issues it’s important to wrestle with. You say, “I do know after we watched this film as an entire, this scene works higher earlier, however I really like that transition.” We needed to lose some transitions.
There’s one transition we beloved a lot that, on one of many pickup days, we discovered time to reshoot it.
It went the identical manner, from a close-up of a watch to a different close-up of a watch, simply from a unique scene to a unique scene. Each with the identical character. There was no manner that the scene was going to work the place it was within the script as a result of it was simply within the improper place.
We couldn’t hand over on how a lot we preferred what these photographs did. We needed to a minimum of avoid wasting semblance of that. Good scene transitions, particularly from very disparate issues, can clean tonal shifts.
D’AURIA: We found that we simply wanted to test again in these characters at an earlier level within the movie. The place it was beforehand, there was a superb visible transition, so we acquired fortunate and have been in a position to recreate that.
HULLFISH: Once you’re enjoying again a few of these scenes to resolve whether or not or not they work, you’ll be able to’t simply roll again 20 seconds. You’ve acquired to return to the opening credit and watch it till the tip credit.
HIGHSMITH: There have been many instances the place we’d watch one thing, rolling again even to the reel earlier than to resolve if it really works. Then, the subsequent time we strung the entire film collectively, we realized that it’s so exhausting to make that judgment with out seeing it in your entire stream.
You understand a film in a different way once you’re watching it piecemeal, even when it’s a big chunk versus seeing it from body one to border finish.
We had this financial institution vault scene, which was an exquisite scene with two of the extra enjoyable characters. It was at all times a pleasure to observe, nevertheless it was one thing that we by no means really put in as a result of after we first lower the film, we knew we have been going to be lengthy. We knew that this scene, as enjoyable because it was going to be, didn’t actually transfer something ahead.
It didn’t cowl something character-wise that we hadn’t already seen. We simply got here from those self same characters within the scene earlier than. It was a kind of issues that simply places a smile in your face in a few locations. It has some levity early on earlier than we go to a darker place for just a little bit.
We at all times knew it wasn’t ever going to slot in, so we lower it and put it off to the aspect in case we wanted it. Then, in one of many final weeks of the film earlier than we locked, we simply felt we didn’t give the scene it’s due.
We have been trying on the deleted scenes for ending up the prolonged cuts and determined the scene can be on the prolonged lower each time that comes out. I’m glad it can dwell someplace.
HULLFISH: What was the worth of getting a number of individuals on-line watching the film?
HIGHSMITH: A part of the worth is that we have been making an attempt to recreate how we usually collaborate with one another in individual. We spent a variety of time on Evercast through the pandemic. Usually, it’s one thing that we might have all gotten in a room and watched collectively.
You watch a film in a different way once you’re seeing it with different individuals. Even when it’s different individuals who’ve seen the film a thousand instances similar to you. I don’t suppose there was even a query of us all watching it on our personal. We knew that that is what we do in individual, so we’re going to do that nearly. We have been shocked at how effectively Evercast works to recreate the sense of all of us being in the identical room, seeing the identical factor on the identical time and reacting to it on the identical time.
D’AURIA: We had three separate Evercast classes earlier than the pandemic. We had gotten very used to speaking by means of it. The very first Evercast session that we did went remarkably effectively, each technically and from a artistic standpoint. It ended and the three of us referred to as to have a joint autopsy. We mentioned, “Did that simply go in addition to we expect it did?”
“You watch a film in a different way once you’re seeing it with different individuals. Even when it’s different individuals who’ve seen the film a thousand instances similar to you.”
When it got here right down to having to make use of that as our major chopping room, we had already established a reasonably good rhythm and groove among the many three of us.
HULLFISH: Are you able to break down for me when the film was shot, when issues occurred, the place individuals have been? How did this film get put collectively?
HIGHSMITH: I used to be on this film for 3 and a half years. I wasn’t on it continuously for the primary yr, however I used to be on this film in some capability for 3 and a half years from the primary day I met with Justin and a few producers and writers.
It was a future over a pair continents. I began early, even earlier than previs after we have been within the define stage on the script, outlining motion beats. Then Greg and Kelly got here on in L.A. proper when the taking pictures began.
Many of the major unit shot in did I say L.A.? I meant London!. They shot for per week up in Edinburgh. Second unit shot in Thailand and in Tbilisi, Georgia. Additionally they shot some again in LA.
I really feel like I’m lacking international locations. At one level, we had seven separate models going on the identical time. Someday we acquired seven totally different models price of dailies.
D’AURIA: We have to pause for a second right here and provides an enormous shout out to our crew, as a result of they navigated all of that seamlessly with nice humor and nice work ethic, they usually made it straightforward for us to cope with this deluge of fabric coming from all over.
HIGHSMITH: Our crew wrangled footage from seven separate models to 2 major chopping rooms, and generally a chopping room in Thailand or Tbilisi. I at all times maintained my major chopping room in London, and I at all times maintained a separate distant chopping room wherever they have been taking pictures. Generally I maintained a fair smaller distant chopping room, which was simply my laptop computer.
If I wanted to expire the door with a large RAID that was a mirror of our venture to go lower on location someplace that we weren’t planning on, my first assistant Dillon up in London needed to make it possible for was prepared on the identical time.
Laura, Jeff, and our assistants again in L.A. needed to make it possible for Greg and Kelly had the identical materials that I did, and vice versa. The sheer quantity of juggling duties on high of the quantity of fabric that was coming in from all over the place was tough, however the crew by no means missed a beat.
D’AURIA: Once more, a giant thanks to Laura Yanovich, L. Dillon Thomas, to Jeffrey Steinkamp and Delaney Del Vecchio. Dom Evans was over in London throughout manufacturing. Mike Azevedo joined us after we went digital. We had 4 nice VFX editors, Corbin Mehl, Steve Ngo, Meghan Noble, and JP Husky. This circles again to what we have been speaking about relating to household, as a result of—I’ve to inform you, Steve— we’ve got a WhatsApp thread, and we nonetheless chime in. I’ve by no means skilled that earlier than.
It’s a pleasure. They make it extremely straightforward for us to do what we do due to what they do.
HULLFISH: Once you’ve acquired these wild stunts, how do you strategy a clean timeline in an enormous motion scene?
HIGHSMITH: Plenty of it begins with previs because the script. Often on a giant motion sequence, you a minimum of have the idea of the previs lower that has been developed for months throughout prep that serves as a placeholder till you begin populating the whole lot out.
I watch dailies day-after-day of no matter second unit shot once I’m pulling for the stunt aspect of issues, and I pull selects out. I believe Kelly does the identical factor as a result of we’ll share one another’s selects bins.
I’ll normally undergo after which begin chopping into the previs sequence to a minimum of give some sense of spatial orientation inside these large scenes.
D’AURIA: After we get footage, there’s at all times some kind of reference to the previs shot. You may inform when these dailies are available, “That is being shot for this specific beat inside the previs.” It helps you with organizing and wrapping your mind round it.
HIGHSMITH: Justin additionally makes use of previs in a different way than a variety of different administrators that I’ve labored with. It modifications the way you consider it in pre-production and the way you consider it within the lower.
The previs for him is just about a bible to the opposite models. He says, “That is the script. That is what I need.” He’ll lay the whole lot out in each shot of previs, right down to what lens they’re going to make use of, how far-off they’re going to be, what the digital camera transfer is. He’ll sit and speak with Spiro Razatos, who has performed a variety of these movies and is simply wonderful so far as second-unit administrators go.
They’ll at all times sit down and break down the previs, simply as you’d break down a script earlier than taking pictures. Justin’s edict is: the previs is the photographs they need to get, however at all times be certain to schedule extra time to allow them to get additional stuff alongside the way in which. The previs is the naked minimal, however anything is nice.
The previs is at all times an amazing beginning instrument. Everyone will get a giant thumbnail printout of the entire sequence. Alex, our previs supervisor who additionally shot some models on this, will generally run the previs on a monitor. Spiro and his crew can have Matchbox automobiles, they usually’ll plan out the place they suppose they will put the digital camera crew. They’ll go over if there’s a priority like, “There’s no manner you may get this digital camera automotive going that pace round for this transfer.” That shot will get kicked again to previs, who will regulate it, after which it’ll get kicked again to me.
We’ll have a look at the brand new shot and say, “It’s not that quick, It’s not nearly as good, we’d have to re-envision how we’re chopping collectively that scene or re-envision some new photographs.” The method of chopping these motion scenes begins months earlier than there’s even a pixel of previs. It continues all over post-production, and it by no means stops till you ship the film.
HULLFISH: Discuss to me about altering from the previs to one thing new?
HIGHSMITH: Justin is fairly hands-on by means of this dialog all over.
Once I’m on location in London, I’ll be displaying him cuts each evening. Often, the second unit shoots earlier than the primary unit by way of the most important motion items. They’re establishing the whole lot continuity-wise, then the primary unit will shoot with the principal forged after that. Plenty of instances after we discover these thrilling issues that Spiro acquired on a day that we weren’t planning on, Justin must see that as quickly as potential.
There are such a lot of instances the place we’ll change how we’re going to construction the remainder of the scene, how Justin’s going to shoot one thing on major unit, and the way we’re going to chop the remainder of the scene. In case you can manage taking pictures it in that order, and when you can hold that dialogue going between all these totally different models, then it runs easily.
Kelly may discover one thing on the motion sequence In L.A. that isn’t essentially what Justin’s previs reveals, however she says, “We have to arrange a time the place I can present this to Justin as a result of he’s going to be taking pictures it subsequent week, and he may wish to react to this.” Each division must have a plan, after which be prepared to vary that plan at a second’s discover as we’re going by means of the shoot.
There have been a couple of instances the place we might be planning on second-unit taking pictures a transfer that we might then monitor and switch over to visible results. Then the primary unit would run a MoCo rig with the actors in that automotive in the identical lighting, after which match that transfer primarily based off of one thing that second unit caught.
The higher all of us may be speaking to one another on the identical time, and every division can speak to one another on the identical time throughout taking pictures, the additional alongside we are able to get.
D’AURIA: I’ll at all times keep in mind: there was a overview of Star Trek Past—one of many few that really talked about the editors—and the quote was one thing alongside the traces of, “Often when a movie has 4 editors, it means it’s in bother. For Star Trek, it’s remarkably seamless.”
That may be a testomony to how Justin is hands-on with the whole lot. The explanation these movies work so effectively from an editorial standpoint is that Justin is so hands-on all through your entire course of.
HULLFISH: Because you introduced up the very fact that there have been three editors, how did you all collaborate?
HIGHSMITH: Often, the large motion set items will come from Justin. He decides who will get what by way of these. There are a couple of that we swapped round as a result of one wanted extra work or there was an excessive amount of on any individual’s plate and another person had much less on theirs.
It made extra sense to shuffle, however normally, we’ll every have our personal huge motion sequence or huge visible results sequence. As we get down into visible results in put up, there’s some extent individual for them to go and to speak to in editorial. They know that the primary act is Kelly’s sequence, the third act is Dylan’s sequence.
Each evening, we might speak on the cellphone and never simply go over what we lower that day, however we might additionally go over what was going to come back up tomorrow, who was engaged on what, and what would make sense if any individual was slammed engaged on one thing.
“Kelly’s nonetheless slammed engaged on that scene, so I believe it’s going to make sense for Greg to hop on what the primary unit goes to shoot. I’m going to be busy on set chopping one thing, so Kelly, possibly you are taking the second act footage that’s coming in.”
“I don’t suppose there was an hour that glided by that one among us wasn’t speaking to both of the opposite two by means of the 2 years we have been all on collectively.”
We simply made positive that we have been at all times involved day-after-day, as a lot as potential. I don’t suppose there was an hour that glided by that one among us wasn’t speaking to both of the opposite two by means of the 2 years we have been all on collectively.
D’AURIA: We actually labored effectively collectively. I might go into Kelly’s room to observe and provides notes, or she’d come into my room to observe and provides notes. As soon as we felt just like the lower felt good, we might ship it to London, and Dylan would give notes. Then, we might work on these notes. From the very starting, we have been all reacting, responding and giving notes.
Earlier than we needed to display screen the director’s lower for the studio, there have been two or three days the place the three of us sat in Dylan’s room and watched from the start of the film all over the tip.
We dissected every particular person scene and finessed them to a level that I had by no means seen previous to displaying the movie to the studio. There was simply such an amazing collaborative spirit that began from the start and continued all the way in which.
HIGHSMITH: We did that continuously all through the method, normally with Justin as effectively. Generally Justin would invite another individuals over, generally we’d invite the crew in. We did a variety of screening with out stopping.
For the few screenings that Greg was referring to particularly, simply the three of us would sit on the Avid and say, “I can voice into this room one thing I’ve been fascinated about that’s so small, and it’s not essentially price citing after we’re having these huge notes conferences with Justin or different executives. I by no means say this, however may you strive taking two frames off? Do you want that shot?”
Editors have a look at that. Different individuals don’t have a look at that till you get into the effective lower. It was actually refreshing.
D’AURIA: It was all minutia. We’re not speaking about huge image points. It was extremely worthwhile as a result of I get tunnel imaginative and prescient at a sure level. You reside with a scene and also you get just a little bit inflexible in what you suppose the scene is.
And I felt like that director’s lower screening of the movie was in a extremely elevated state for that time limit. It was due to the collaborative spirit and having these days to essentially work collectively.
HULLFISH: Guys, it was nice having you on Artwork of the Lower. There received’t be a Quick and Livid 10, appropriate?
HIGHSMITH: There’ll be a ten and 11. They only introduced just lately that they’re gonna end it up in two.
HULLFISH: I actually wish to thanks for the time that you just spent and for a extremely fascinating dialogue about this film.
D’AURIA: You’re welcome. Thanks!
