Steve Ahlman

That part was terrible.

Yeah, and it was weird because of all the things that a Spielberg movie has ever been,

it's never been technically poor meaning that like I've never seen one to where I've seen one where it hasn't worked for me or whatever but for every reason but it's never been poor scene craft yeah and a couple of times in this movie it's like legitimately poor scene craft poor like this like you're watching something and you're thinking that this is made by somebody who is not as good as Steven Spielberg now don't get me wrong

When you go and you see the movie, the lens flares are there.

The ridiculous crafting of- Where he puts the camera.

How he moves it.

How he moves it.

The motherfucker is the baddest motherfucker with shooting that type of shit that we've had, right?

Great set pieces.

Great set pieces.

All of that stuff is there.

But in terms of like-

We're in a scene.

The scene has meaning.

You feel something in it.

You get out of it.

There's not as much of that here as there should be.

the roswell incident and aliens it is something that fascinates him the conspiracy what are people hiding how would unite us and in 2026 we just don't care right and i think we we can i'm saying to honestly i disagree i think we do care i think we're more obsessed with the disclosure of uh alien material than we've ever been i think we believe in it more than we've ever been sure than we ever have

I think that there's actual real-world evidence to point to the fact that an actual disclosure day would be something that would be a gigantic incident right now.

And what I'm saying is I thought this movie would be not only commentary on that, but—