Wesley Morris

Well, I don't know.

I mean, well, first of all, there's a few things.

There's the public's,

like gathering interest once again and going back to the movies.

I think that there is... It's still not... I don't know what to do with the stories that get told about what a hit now is.

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.