Kyle Risdell

And thus, those screens are something of a hot commodity in Hollywood.

Ben Fritz wrote about the big appeal of the very big screen in The Wall Street Journal the other day.

Ben, thanks for being here.

Thanks for having me.

Tell me, would you, first of all, what it is that makes IMAX so special, such a big deal?

And yet they are a vanishingly small fraction of the movie theater screens in this country, right?

Which makes it treasured real estate that directors like Christopher Nolan, who we'll get to in a second, really want.

The company, though, is really interesting because it didn't used to be this way for IMAX.

Interesting.

So speaking of going to Hollywood, Christopher Nolan, Dark Knight, right, was a biggie for him.

They shot some of that in IMAX.

And then most recently, people will, of course, remember Oppenheimer shot in IMAX and there were, you know, fights over screen time for that.

It's, as I said, a rare piece of real estate that directors really want.

So how do they do it?

I mean, not everybody is Christopher Nolan.

So how do you do you call IMAX and say, hey, can we have a screen?

How does that work?

You know, it's interesting in this piece, you quote him as saying, basically, once we make a deal, we're not going to break it.

So, you know, studios and directors can do all the finagling they want.

But once he's put it in the calendar, it's that's what's going to happen.