Griffin Newman

I imagine you go, this is a good piece of writing, you know, and this is a good vehicle for a good actor.

And Jeff Bridges is certainly a star at this period of time, but he's not Harrison Ford.

He's not Mel Gibson.

He's not Robin Williams.

He's not the talk about it.

The studio was a box office.

Right.

He's like one of the best actors working in the studio system.

in the 90s, the studio system, in Hollywood, in the 90s.

But he's a guy who kind of has a little bit of a box office ceiling while having, like, ultimate credibility.

And you look at the poster for this movie, this isn't a blank check movie, but the top thing of the poster is from the director of Witness and Dead Poets Society.

Say more stuff.

You pitched him sugar tits.

I was like, it's going to be like a little harsh, but they'll find it funny.

You passed them a list of alts, dog fucker.

They learned he was like, no, no, no, Jeff Bridges.

We're talking about this a lot in this series, but because Weir was so much a guy who worked with the top A-list stars and was a guy that these stars trusted, either brought on to develop their projects or would sign on to the project because he was directing it.

This is still a time where if you have one of the 10 guys above the title, you can basically sell the audience on whatever they're doing.

Yeah.

You can take something that seems a little challenging or a little uncommercial, and a studio will give it tens of millions of dollars and full promotional support, and the audience will, like, go along for the ride.