Marcus Parks

Yeah, I haven't met them.

There's it's actually it's a small group of people when the DJ occasionally puts on these events and all the co-directors end up sitting at the same table.

And it's a small it's a small.

It's the kids table.

It's the outcast table.

And we're all looked down on by the rest of the DGA.

And it's like Phil and, you know, Phil Lord and Chris Miller.

I mean, like good, like great people, great directors.

But we're all we're all the stepkids.

That's how it works.

It's always pretty loose.

I mean, I think you have to have a, you know, somewhat of a blueprint.

There has to be some specificity so you can design the set and, you know, get every all of the ingredients for the sequence have to sort of show up.

And so that that has to be present in the script.

But with Ready or Not 2, I mean, we were...

we were moving so fast and flying so by the seat of our pants with the sequel that we knew, you know, the sort of broad strokes of how the thing was going to start and like what, how it had to conclude and what that had to sort of mean emotionally for the characters.

But within that, if you've got a great stunt team that is really good at improvising, I mean, it's like watching any sort of great, you know,

performer improvise.

They, you sort of look at the set and what you have and, oh, we've got these things are all breakaway and, and the brainstorm in the, you know, in the moment of, well, shit, let's throw this person through this.

And it's, it's one of the most fun things because it is, it is so alive.