Wesley Morris

That part is confusing to me.

You know, the narratives that get spun around the budgets of these things, whether they're going to become profitable.

But what I'm really focused on, I mean, I didn't ask for like something like The Fall Guy to cost $200 million.

But I know that enough people went under ordinary circumstances to see that movie to make it a hit in some other age.

But I mean, so it isn't that, I mean, what we're talking about, there are a few things we're talking about.

Actual movie going attendance.

We're talking about the quality of the movies we're going to see and having a diversity of options when we go.

You hope there's no weapons 12.

Right.

And I think that there is, I think that in a weird way, I don't know what's happening at these studios.

I think we're getting, we're going to have fewer and fewer of them.

But I think there's something about the A24s and Neons of the world that

being the interesting places where movies that even if people don't want to see them necessarily, they're not getting huge audiences.

They're doing, something is going on there culturally, right?

These are the movies that have their finger on something and sometimes they're hits.

And I think the studios, I think there are people at these movie studios who want to be a little bit conversant in the weird energy of this moment, right?

I think Weapons is also Warner Brothers.

I think that... I'm sort of curious about what the state of the horror movie is.

You should have Jason Blum come on at some point and think this through a little.

Because...