Timothy Simons

And says, like, I think I need you to save me or something like that.

That moment is so incredibly brilliant.

on a performance level but also in this way that it was and I and I just want to like this is I think like a Peter Weir thing it was like it was like there were just puzzle pieces spread out over the table and in that moment

he just shoved them all together and they all locked into place like it was like i kind of didn't really get the movie that moment happens and now everything has been perfectly clear and i loved that part about it how like it kept me guessing and then all of a sudden he just fucking locked it in so hard and then was like here are the fucking credits it is a really brilliant incredible and

There is one particular shot that I want to call out which I feel like is I don't want to say it's a lost art but it feels like Peter Weir in this sort of like studio system gets this script and

You know, I didn't know about the history of it, but I was like, I didn't know exactly its developmental process, or its development process.

But when he first sees Rosie Perez, the entire frame is filled with the shadow of Rosie.

of Jeff Bridges standing in the doorway, and it is slightly overtaking her.

And I love that moment of, like, visual storytelling of her being consumed by shadow.

Like, it basically is like a black stain that takes up and almost engulfs her in the frame, and it's a really incredible shot.

And I just love that level of artistry in what is essentially studio fare.

You know what I mean?

Right.

The plane wouldn't have crashed if you were on it?

Are you anti-U2?

Yeah.

You know what, man?

I'm going to throw a little mega music take.

I'm with you.

Here we go.