Sean Fennessey

Yeah.

The thing that you just said, the advice that he gave you, that's so resonant because I feel like it took me a long time to really actually –

Achieve that, like get comfortable with my own taste and talk about what I thought was good and why I thought it was good.

And I feel like I've read you talk about this a little bit around this film and in general this like anxiety of wanting to have like the right opinion and then getting comfortable with what you feel like is the real opinion.

And I feel like Barbie's character in the film too does a really good job of sort of like –

knowing when it's time to try to fit in, but then also having this, like, voice inside of her of, like, here's what I really like and here's who I really am.

I want to hear you talk about that a little bit.

Yeah, it's like a secret society a little bit where you want to feel like you're – Of weird guys in fedoras.

And why did we look up to them so much?

I don't know.

Some of them are people that I really care about.

But some of them too, I was like, why was I interested in that person's opinion in any way?

We actually didn't have that much in common even though we were pursuing theoretically the same thing.

And it seems like you were kind of like writing through that idea too.

It's not always the most lucrative line of work.

Which I love, just as I love being paid in film screenings now.

But so can you just tell me like how you made the pivot out, like how you decided to

pursue filmmaking and maybe not spend your time as a cultural critic?

So how do you go beyond that into like writing?

I love movies and I like movies and I, you know, want to make movies professionally.