Joanna Robinson

And what I loved in them and what he did so well.

Like, why was this so much more effective?

Yeah.

These various themes.

And there's so much in here.

Like, one of my professors in college when we were studying Shakespeare, she said, I remember this because we made fun of it forever.

She's like,

In his last play, not that this is not Spielberg's last movie necessarily, but she's like, in his last play, The Tempest, Shakespeare put in everything, including the kitchen sink.

And we were just like, what are you talking about?

What you want to say is that he put a little piece of all the things that have been interesting to him, storytelling-wise, over his playwriting career into The Tempest.

Including the kitchen sink was a really weird thing to say because there's no kitchen sink in this play.

Anyway, regardless.

That's how I felt here.

You know, we'll talk, you know, we can get into the deep dive, but like the UFOs, the religiosity, the like, you know.

The role of the filmmaker and the storyteller and how we understand.

The shadowy organizations, the way it's a chase movie, the way it's a journalism movie, like all this sort of stuff.

I'm like, here are, you know, little Patrick appreciations.

When I was talking to our pal Eric Voss outside, we were talking about the train sequence.

And I was like, it was kicking Last Crusade for me.

And he was like, oh, with the