Marcel the Shell with Shoes On (2021)

Hi there. I'm Dean Fleischer-Kamp, writer, director, editor of the film with the people sitting beside me. Hi, I'm Jenny Slate. I play Marcel the Shell, and I'm also a writer on this movie. And I guess I'm a producer too, huh? Oh, yeah. Yeah. Yeah, you are. I was in there. Oh, there's my beautiful little girl. Oh, that's gorgeous. Thank you. And my name's Nick Paley. I'm a writer on the film and also an editor. And here's our beautiful sunbeam. It's so nice. It is really nice. I love it. This is the first shot of the film. We're supposed to say it at each shot? This is shot number one. Shot number one. Shot number two is coming up next. All right.

we're just going to watch it. I've never talked through a movie before. I know, it's so not allowed. Well, I can start by talking about how difficult it turned out to be to invent a remote control tennis ball, which I thought was going to be a sort of easy task. But it involved, I think, two MIT post graduates and a former BattleBots champion. to figure out how to do this. The first prototype was a $20 toy that we bought on Amazon. Oh, yeah, it was a Sphero. A Sphero. Controlled by an iPhone app. So it turns out that those things are balanced very delicately, and if you wrap a tennis ball wool around them, then they won't move. Do you guys know tennis balls are wool? No. No, I didn't know that. Oh, I got it. Is it hard for you? Has it been hard for you since... This location felt like a big win. Definitely. It's pretty much common knowledge that... Early when we were talking about the movie and we were starting to dress that first house that we were going to shoot in, you had mentioned Chris Van Allsburg as an influence for the look of this. And I feel like this living room really has a Chris Van Allsburg look. Yeah. Jumanji vibes. Mm-hmm. But sometimes you just have to disregard those rules and think, well, actually the rule is that I want to be having a good life and stay alive. Marcel's waddle is, I think, one of my favorite things about how he's different from the shorts. Because the shorts, he was one chunk. Right. He's such a cute little git now. Yeah, it's really nice. Here's our risky business. Risky business homage with the blowing leaves. But... Have you guys watched Risky Business lately? It rules. I would imagine it would be problematic. Is this the actual kitchen or a scale? It's the actual kitchen, but it's very differently dressed from when you were there. It just looks so clean and beautiful. I was wondering if it were an actual toy. One thing that's nice is all of the different textures that you get to see up close that you would probably pass over or not notice as a person in real life. Yes, totally. It's a nice little extra. I think that's what sold us on the house. It just looked perfectly, beautifully lived in. Nothing was gross. It just was textured. Wow. I love these spiders. I do, too. Yeah. They're great. I remember getting a photo from you, like, four years ago of a jumping spider and being like, this is so cute. Yeah. That being the origin of that. Yeah, totally. I think that was, like, six years ago now. Okay. These are all, these little tree houses, or many of them, are either built by or based on the art of an artist named Jed Volz. Jedediah Volz. And he makes, he's a really tall guy, and he makes teeny tiny little sculptures like that. They're perfect. This is one of my favorite shots in the movie. Yeah. I think it's so beautiful. When I was giving notes, I was like, please just make that be like a lot longer. Just hold on it. This whole sequence of the ginkgo berry, I remember. being so important to us in the sense that it's going to lead to the Nana Connie reveal that she has memory issues. Like the whole idea with the ginkgo berry was that she was going to need it. That he was collecting them for her to ingest. But then we just didn't pay that off ever, and it's sort of a nice mystery to the action. I think there's so much of that because of the way that we made this movie. That's like... Part of what feels doc about it, in a way I'm proud of, is that it feels like the end of the frame isn't the end of the world. Yeah, that's such a nice way to put it. Outside of it. Because usually, like even that shot that we were just watching, there's like a weird string coming off of the couch. And it's like, I just feel like usually in a filmmaking process, like somebody's coming through and just making sure that everything is within its own lines. That is so true. That's one of the hardest things about making anything. Yeah. And there's just so much. Are you recording? There's so much extra. Yeah. all the time in this just well don't do anything just do whatever you'd normally be doing like if i weren't here yeah that's you're stating like the main challenge of something in this format which is like how do you how do you structure it and control it in a way that a feature requires but not get rid of all the docky stray hairs on the couch i mean the one thing in this movie that is that really... It's like, he would have had to find a lot of pubes. But it was such a good joke that I'm glad we didn't get rid of it. And again, that's like, I think sometimes you do have to break the rules a little bit. Nobody cares. Yeah, ultimately no one cares. As long as there's something funnier and more enjoyable going on. Yeah. It contributes to a greater whole that doesn't let you down and a whole that cares about whether or not you enjoy it. Mm-hmm. Generous hole. So are we recording this, or is this what we're going to want? God, I love this music so much. Yeah, yeah. Rich Vreeland is the composer, and he is such a genius, and he's like... He's incredible at everything that he's made that I've heard, but none of it sounds anything like this, and none of his other work sounds anything like anything previous. For example, he made the music for It Follows, and then I think got a call from the people that were making Stranger Things, and were like, we want you to do the score, because we want it to sound like It Follows. He's like, no thanks. Wow. I know. That's an artist. Cool.

Yeah, this is one of my favorite tracks. Yeah, this is great. I remember on our board when we were working in the studio downtown, there was something that said, everything should take forever, like for Marcel to do. Yeah. And I remember thinking, this is not going to be a commercial film, if that's the case. But I feel like this sequence really captures the idea of that, but still making it fun. But it's so exciting, yeah. Yeah. I mean, this music just really connects me to a time when Dean and I took mushrooms and watched paprika. Oh, yeah, totally. And I could not believe the parade of different things in the parade. There's, like, a refrigerator, I feel like, with, like, a frog jumping around. And I just remember being like, I don't want to be a part of or watch anything again unless it has this much stuff in it. You're talking about your stomach and the mushrooms. Yeah. Oh, I love how he walks backwards. It's so funny. It's so tour guide-y. It's such a genius part of the animation strategy in this. The movement is so thought about. It's so cute. Like campus tour guide. This is one of my favorite pieces of improv in the whole movie. Krazen sits to the side because it is a treat. If you were to write that down, you wouldn't understand why it's so funny, but the way you performed it, it's like a song that I can hear in my head and it makes me laugh every time I hear it. I feel like there are so many lines like that where there's something just really appealing and charming about the musicality of your improv. Sometimes it would get stuck in my head for days. I'd be like... And I still hear it when I'm in those situations. Yeah, it's beautiful. This is my favorite directing moment. Maybe in the whole movie when she looks at the camera and the camera turns away. Yeah, it's so human. You just feel like any documentary filmmaker has a million shots like that. Yeah. I think that was between takes and she didn't know where it was. Oh, really? Yeah. Oh, that's great. I love when things are defined correctly, but in a different way, and I love when Marcel says that Airbnb is a computer hotel, which I think is just my definition of what Airbnb is. This was one of our earliest test shots. This was on that test day. We did this shot with the glasses, and we saw how it was going to look, and it was very exciting. I don't like care care about this car because I can't Arthur There's a real Arthur in real life who is a dog And Well, we tried to get the real Arthur to be in the movie, but... He's bad at acting? No, it's actually his voice. But he's more of a voiceover actor. Yeah, the dog trainer was like, he's not going to cut it. There's another wonderful joke that we just passed by that I want to flag that sometimes is so low in the mix that some people don't hear it, but he's got hair and all the teeth. I know. That is so funny. That was all you, Jenny. It was so funny. I'm glad. You know, I... It is low in the mix, but I guess people who really like the movie will watch it enough that they see it. I think it's like, yeah, it's a movie that rewards, like, really paying attention or watching it more than once. And, like, I've been in audiences where that gets a laugh, and I've been in audiences where it completely flies past people. But I love... All the things that you catch when you're watching this. I never noticed that little jalapeno in the basket. Me neither. I just noticed it. Is this a real strawberry? Not a... Okay. That's a fake-ass strawberry. I was wondering. The two in the back are real. This garden stuff really feels... I just love it so much. It reminds me of my grandmother grew up on the Washington Square Park as an upper crusty Jewish elite in the early 1900s. And then she got into gardening late in life. And I love this idea that Connie would have ever gardened if she hadn't had to. Is that why that's here? I don't remember, to be honest. Yeah. I mean, I certainly know it's not my grandmother's. we were trying to build a character and we were like what feels true to our experience i remember talking about my grandmother's garden and her garden journal it's so lovely yeah i mean i think we were i don't remember when it became clear that the movie was sort of about like Or when we became resolved about, like, oh, it's about cycles and it's about how death is required for life, and it felt, like, garden-oriented. Yeah, the garden is always, like, it's just, like, such a nice way to... tell a story it's nice to have it and it's also like one of those metaphors that really helps you understand what you're supposed to do in whatever situation you're in if you sort of compare it to like time in a garden but I also just like how Nana Connie is she's a combination of things that I think all of us knew or remembered or know about our own grandmothers or like you know there's a lot of of what I remember of Dean, your grandmother, Dina. Mm-hmm. You know. I was going to say, you said your grandmother's never gardened or never farmed or gardened, but... Well, Rochelle did. That's right. And she has an accent because she's from the garage was definitely about my grandmother. That was definitely inspired by Rochelle, yeah. But that's right. My grandmother Rochelle, when they were in hiding during the Holocaust... They went from being city people to hiding on a farm, and they didn't know how to farm at all. And then my grandmother's first cousin said that by the time they left the farm, it was like a booming farm, but that they had gone out there like in their high heels and stuff. The image of them in their high heels and soil is so... So great. Because that's actually really good for the soil. It aerates it. That's right. That's why. Punch those holes. Is it bad for her to be in here? Yeah, it's not the safest place to be. I was going to say there's also a lot of Connie that is built around what we found so charming and great about Isabella as well. Like some of the... Because sometimes it doesn't. I mean, certainly the farming stuff. I think that was already there. We didn't know that she literally lived on a farm, but when we found out, we made it a bigger part of it. And then also sort of like the way that she... I think her life perspective a little bit led into the character. Definitely. I remember she said, not as part of the role, but happiness is a discipline. Nick and I talked about that for like a week. Yeah, it was a big debate between us. A big debate about whether happiness is a discipline. Yeah. She also doesn't romanticize nature. She has a real brutal but also beautiful take on it. That's a great way to put it. Yeah, she kind of doesn't suffer fools. She definitely doesn't. Like that picture of the goat in the duck outfit or whatever that we showed her. She didn't like that? Remember, she was like, it is terrified. Yeah. I mean, I can't do her voice. We all thought it was, that's more Count Dracula than anything. We all thought it was so cute, and she called it out as, that goat's terrified. That goat is clearly being forced into a duck suit, and he's terrified. I just remember her saying, like talking about being a parent, and she said, first baby, scary baby. None of us can do an Isabella accent after all this time. What's that? Just take the adventure. Yeah. I can't do it. You're right. First baby scary baby, yeah. Okay, so do you just want me to start at the beginning? There's a whole section of this thing that we had to cut out that was another wonderful moment. I believe fully improvised about the pizza delivery guy. Yeah. Oh, yeah. And how she was wearing the clothes that she sleeps in, ordering pizza. Mm-hmm. After she'd ordered, she would just throw the pizza away. Yeah, just to hang out with the delivery guy. I just thought it was so dear that when Thomas leaves, he brings his violin. And that was like, you know, a really beautiful surprise. It just makes him into a really... You don't know him at all, but he also has specificity. So you do feel like you saw into someone's life, like if you were looking through a window, just so different than being told. Yeah. Yeah, we love it. We just call it the show. That's how much we love it. This is where 60 Minutes is introduced. I feel like this turn in the story really captures the entire process because that was just an improv joke, I believe, that then suddenly was turned into a structural element. The Leslie thing? The 60 Minutes. Oh, the idea that they watched 60 Minutes. Yeah. I think it was that we knew we wanted them to watch TV across the way, but then we had not previously written anything about 60 Minutes being in there. And then we, yeah, yeah, that's true. And then it was like, mech suit. And we just said 60 Minutes, or? I don't. To be honest, I don't fully remember, but I remember it being like. There's a lot of that. My favorite part of this process. Yeah. I mean, there are some things that really, really stick in my mind of like, oh, I remember when that happened, especially in the recording of this. This is you playing. Yeah, I mean, I just, it's so crazy how I like improvised that violin piece, but then it turned out to be like exactly a really, you know, famous violin. Yeah, I know. One of my favorite things about the process is that I don't think any of us could possibly tell you, well, not with any reliability, what parts were fully written, what was improv, what was written based on improv. And, you know, it's cool. I think we did a great job of blending that. All of that. And also then supporting the fragile. I just remember the feeling of being like, wow, we're going to get Leslie Stahl. We're going to make the end of the movie all about 60 minutes. And it came from this very ephemeral moment. It was almost like we were getting away with something in our own process. Yeah, I like it though. Here's what I love about it is when things that you really do feel are transcendent or elevated in terms of what you think is beautiful or what you think is like you're like, oh, this feels really pure to me. When they're not stuck up and they include things that some people would say that doesn't belong there, that's not part of it, that doesn't have that sort of placement. In the beginning of... Lincoln and the Bardo the George Saunders book he says the word poop like almost right away and you're like this is still like one of the most intelligent beautiful like mind bending tapestries I will ever read and also the word poop is here and it's like just I don't know it's just so inclusive that makes it better this process like also is very friendly to what you're talking about which is which is like, I was just looking at the moment where Franny, the bee, bonks into the window in that moment of reverie. And you can always sort of, because we're doing so much editing and revising and iteration, tell when the movie's taking itself too seriously or something. When there's an opportunity to undercut it, then you still can do it. The movie's not in the can. Yeah, there's a lot of risk, I feel like, in taking yourself too seriously if you also have... belief that you're living within that you're making something really really important to you and like what you think is a true like finally you're getting to represent your style preferences and like the extent of your Like your talent and everything and like you can get I mean I know I can and and I feel this way when I'm writing to like you can just, like, feel really precious and clingy about stuff and really can become, like, really rigid, or I can. And I think it's a natural inclination. And, like, what I like that we did here is that we did, I think a lot of us, most of us did feel, like, that pride in our, in what we were making, but that... Oh, favorite job. I love it so much. We did often have to challenge ourselves to let go. Mm-hmm. Yeah. Yeah. I don't know who said this, but there's a thing about you can't be true for very... Or you can't be correct in any strong opinion for very long. Like, you might be right about it for, like, one minute in the world. You might be actually... But then it's going to change. And I feel like this movie and this process, you can be right about a tone or a truth for, like, one minute, but then you have to shift it and create a subversion of it. I love this scene. Yeah, this is one of those things that you would never write that... could only work on the screen. I feel like we had it in the animatic, and I feel like among us there's a little bit of like, I don't know, is that really? I remember coming up, we were like, how do we create a character for Dean? And you were so resistant to that. And this felt like, okay, here's a way to show him without it feeling like plot. Yeah, eventually we realized it has to be motivated by Marcel, because... My goal, which is at odds with my, you know, emotional health in the movie, my character's goal, is to make a movie about Marcel. Right. And not about myself. Right. Yeah, hidden in that scene is a little piece of information about how he's looking for places. Yeah, totally. He's looking for places, and Marcel is dragging him out into the spotlight with him. Yeah. I didn't even know there were that many people. Okay, now jump really hard. You guys have seen Marcel's show. It's a YouTube video. I spent a lot of time sourcing. videos from youtube for this sequence and finding like not just fan stuff but also coming up moments for them to replicate like hanging a banner or popping oh yeah yeah yeah right that was a great great day of like oh we get to take a break from writing just look at videos of people hanging out the shell with shoes on i feel like that's mostly what we're doing when we're writing

Also, we have to thank, of course, Liz Holm for... Is this real? This is one of my assistant editors, Riley. So, no. We did have a real one in there. So funny. This is one of my favorite parts of the physical... Boink. Yeah, you kind of... You rarely see that side of Marcel. But it's always so funny when... when it comes out. He's a little bit rude. Here's this banner. Oh yeah, hang the banner. I felt like a wind. Yeah. Yeah, I can remember someone at one of our screenings, I think it was Isaiah, said like, we've just seen the viral fame montage a thousand times. How can you make it better physical, visual? So we can eat this? You can eat this stuff? Yeah, dude. I think these spiders were inspired by the crabs in the Red Turtle. Oh, yeah, they were. Which came out in 2016. Red Turtle is this animated movie. I forget what it's about, honestly. I just remember the crabs. I always thought they were like the spirited away... Is that? Yeah, the dust mites. I think the crabs are descended from the spirited away dust mites, and then our spiders are descended from the crabs, but they definitely are, yeah. The other part of it is I think I find my mind... A chorus. It's really a feat of producing that we got to use all these videos that we just randomly pulled from YouTube without ever checking with anyone. Yeah. I mean, we did license them. No, no, no. I mean, we didn't pre... We just pulled them and then we gave our timeline to our wonderful producers and they were like, yeah, okay. Liz tracked down, I think, I mean, all of them. I remember she was like, we can use all, but like this, I think it's one of the group shots. You're like, we can't use that girl's face because she's not friends with the other girls anymore. Oh, really? Oh, that's sorry. That's sad. Maybe she likes it. Yeah. Maybe I shouldn't include that. Love this. Yeah. I like. Beautiful. There must be so many others like me. When he says that, it is really hard to hear. There must be so many others like me. Yeah. It's just so hard to hear. What is that? It's like such a sensitive thing. Every time I do this, that dog goes totally crazy. And then it is lightened by his ornery comments on the dog. He's really elegant in the sky, and this is his reaction?

What a sad type of idiot. And then there's a lot of that stuff, too, where it's like, you know, I think a dog did bark during, while we were shooting. You started riffing about the dog. Then we found a, like, place for it to undercut something and made it about the lantern. No, right. But, you know, do you think they could be out there? I mean, maybe. This is something we talked about so much, trying to make sure that Dean wasn't going to burst his bubble, because he would also not be... Yeah, give him false hope. Yeah, yeah. And I think we figured it out, but it took a long time. It took a long time. It is balanced really well, though. I actually was just going to say that. Like, it is... It is kind because of its honesty, but it has some hope in it because he... Yeah, and we also took so long to figure out, well, how do we make Dean not seem like a dick for not just... helping him by any means you know and that was also a delicate but it's like sometimes the things in writing something that take the most effort the only solution that you can finally find for that problem is someone seems totally effortless and like yeah no one would even notice but the fact that they're not noticing what a jerk my character is is a success well You know, like, the Maisels aren't jerks just because they're not like, wait, don't eat that cat food, Big Edie or whatever. Like, there is, I mean, that is, like, the discussion. There's a lot of times where I just don't get stuff. Right here. You are here. That's actually what the truth of it is. Yeah, but I don't want to be in it. That, like, defeats the whole point of it. And there's a lot of discussion now in the documentary space now that docs sometimes make a lot of money. Mm-hmm. about whether your subjects should profit from their success. Because it obviously changes the quote-unquote performance of themselves if they know, hey, if I crash my car right now or if I do heroin, this movie's gonna be more dramatic. Yeah. And lastly, this picture here shows the car that Mark drove away in. It is a teal Missy Bippy. Missy Bippy. That's also one of my favorite jokes that I'm like a... Sometimes kids laugh. This kid's great. He's really good. Is he a friend or family? He's a friend. His friend's son. And that's his sister. Wow. They're very convictive. Thank you. Oh, someone's coming. Gotta go. Follow for more celebrity homes. Kid improvised that. Wow. I know. It's great. Are they... Are they here to help? Don't... This game is so funny. I like that I think we really got a handle on, you know, a new observer, outside observer's perspective on, like, what is now just normal behavior. Like, people just being in their weird, tiny bubbles and doing stuff in public. Have you seen that account, Influencers in the Wild? No. It's just recording people who are recording themselves for TikTok. This is, I think, by far the best improvised thing in any movie that I've ever seen. Yeah, it's great. You know, there's nothing in here about finding them.

It's still a group of people, but it's an audience. It's not a community. There's... Oh, man. Oh, what about the car? What do you mean? Mark drove away in a T.O. car. So we can't go look for it. Like, if we find the car. Yeah, duh. Yeah, like, you lodged a small complaint there, but he just, like, blasts by it. And then we're like, oh, well, we want to obviously follow his energy and do this. I love how this map looks. Yeah, shout out to our production designers. They were incredible. I love rummaging. That was actually, that was something we haven't talked about, which was a unique part of this process. It's like you were building, you guys were building an audio world describing what you were doing. And the first cut of this, had so much of that. And then as we got closer to actually drawing storyboards and then shooting it, we were like, oh, right, there's going to be an image. We don't need a lot of that. But then some of the best stuff of those little movements of like, oh, yep, here, is from that period when we were actually trying to lay out in audio what was happening on screen. You know, I was...

I was sort of struck by how much we... Do you want Alan in there with you? How much we... Sorry. Because we were dealing with just audio when we were doing that first big chunk of writing and recording, that we were maybe even more influenced by podcasts and radio pieces than other movies. And I still love the... aesthetic of it where because it gives you a freedom to detach the image from what you're hearing yes yeah and then and then you can kind of be more dreamlike and you know uh looser or something yeah yeah it was a editor's paradise but also nightmare because there was so much control i think i'm gonna cry How many cameras were in this car when you guys were actually shooting it? Was that a four, I think? I don't remember. One, two. No, no, just three. There's a lot of places to get tattoos. Psychic love expert. Wow. I bet. Wow. What do you want her to say? I don't know. There's more fish in the sea. Yeah. Gosh, Los Angeles is so hot. this part of it anyways yeah there was something that we It was so important early on when we thought this was going to take place over different seasons, like there was going to be fall, spring, summer. And then I think at some point we were like, we're going to shoot this in L.A. Yeah. We weren't going to at first. No, it was going to be in New York. Can I just point out real quick that every shadow, because of the way that we filmed this thing, we shot the live action, then we shot the stop motion on stages. So, like, for example, every shadow that interacts with Marcel on that map is faithfully recreated by our animation cinematography team and Eric Adkins, our animation DP, so that, you know, every one of those shadows is timed to a tree passing or whatever, but it's then programmed on the animation stage with a flag or a kookalurus to be, you know, enhanced frame by frame. That is insane. And perfectly matched with the background. I've watched this movie so many times and that has not occurred to me. There's a lot of that stuff that just looks so natural, including Marcel's eye movements, posture, the way that his body goes around. You forget you're not watching an actor. Kirsten and everybody had to really make those choices. You guys had to make those choices. It's such detail. Yeah, I mean, every time his eye, just to give you a sense, every time his eye looks a different direction, our art team on the animation stage just went through and de-Googled the googly eyes so that they're all pointing in different directions. So each time he looks in a different direction, you're actually seeing a different eye. Wow. Swapped out. But yes, they did an incredible job, and all of the animators deserve an insane amount of credit for his physical performance.

Occasionally you can see the tacky stuff that connects the shoes. I love that that's kept in too. Me too. It seems like it would be something you would remove in post, but it actually offers a magic or a texture to him that's so unexpected. Yeah. And it's another thing that it's not in the zone of it's none of your business, but it's like there are a lot of things about Marcel that don't have answers. Like, we don't have an answer for his age. Somebody recently asked me, like, in an interview, like, what's inside of his shell? And I was like, nothing. And they were like, but how? But how? Like, he eats and he this and that. And, like, I was like, yeah, I don't know. You know, like, I like that. Mm-hmm. I also have a body that, like, I don't know exactly how everything, like, goes around inside. Like, I know, like, the general gist of it, but, like, I'm doing fine. I don't know. You don't need to know. Yeah. What color the goo is. It's all just different types of goos. That reminds me of that. That problem we had early in writing when the producers were asking us how to explain why certain guests had never seen them before. Yeah. We spent so much time trying to figure that out. And then we just didn't. Or we did, or what? We narrowed it down to this one line. It was like... Oh, they never notice us. Yeah, they don't really notice us. But it was months of back and forth and discussion about how to get rid of that question. And it was just like this one line that did everything. That's so true.

Yeah, it says something about how, like, you know, you either do want to believe someone or you don't. Yeah. You know, like, if someone is like, I didn't tell your secret, like, you either want to believe them or you don't. You know, like, you're either going to keep being like, you're really telling me that, like, you didn't tell, you know, my cousin that I said that or whatever. Or you can just be like, yeah, okay, like, I'd rather... I'd rather just enjoy the rest. You know, like I just, that answer is enough. It feels okay. Yeah. Yeah, we figured out like if we lose them on this, then they're not really watching the movie. Right. Yeah, if they're paying attention to that. If they're trying to like bust us. Yeah, exactly. But there is a certain person that does, that is so, there can be like so, it's sad, but like reluctance to be totally taken into delight by something outside of themselves and have and be like really close with that as they watch it that they'll just be like yeah but how yeah but you know I don't have that at all I have like very few questions about almost anything I'm like look good let's roll I was gonna say I think that's our you just described our entire creative dynamic what do you mean which is you're all yeses I'm all no's oh my god it is combined it's uh it works Yeah, but I don't think we're all no's at all. No, no, I just mean it at least is in this movie, Marcel and Dean's sort of dynamic. Yeah. Well, yeah, I mean, you and I have, like, different ways that we try to protect ourselves. And I'm not, you know, like, I'd rather, like, totally floor it than hesitate. And you're, like, more thoughtful. I think a lot of the times you really go over the details and I, I just eat the details, I just eat everything. This is the part of the movie that is just the saddest for me. And I honestly, as a person I almost never shut my shades. I really don't like it. And Yeah, it's like a real sign of something being really, really wrong. And I can feel it. When I watch it, it's like I'm not one of the people that made the movie, but I'm just watching it. I love that shot. Yeah. Branzino. Branzino, yeah. She's just not able to do. a lot of the things that she used to be able to do. Sorry, did you shut the window? Yes, I shut the window. This was something we fought for so hard to keep in The Squirrel. Yeah, totally. Because we were feeling like it was getting to be a very heavy moment in the movie, and there needed to be some life added to it. Yeah. Yeah. And there actually is so much chaos to those moments when, like, you're... Your anchor or your parent or someone is like breaking down a little bit. There is total chaos Yeah Yeah, the squirrel is a good externalization of that right this is one of my my proudest things the mechanics of the skating rink Mm-hmm was so fun to figure out And so beautifully executed. That's so well lit. To see the dark trails under his feet. So beautiful. This is the best shot of her shoes, I think, in the movie. I love those little stripes on the side. For her, it's special. She's not from here. She's from the garage. I'm sad we cut out. When we had that line where... I'm like, that's my wallet. Oh, okay. She sits on it. Oh, right. Yeah. And so, I think it reminds me of home. I can't believe we got Shakira. Yeah, I know. It's crazy. I found out from the credits, learned from the credits of our own film that this was co-written by Gloria Estefan. Yeah, I know. There was a long time when Marcel, it's a storyline that just never made it in, but he had... his favorite pop star in the shell community was a female singer named Dion there's just like so much material about Dion and she sang move it groove it I feel like that was a remnant of yeah I mean yeah that was in probably the first cut of the movie a huge part of it I remember being about Dion the maestro Yeah. Academy of Tunes. Academy of Tunes. Hopefully, you know, one day we'll make more Marcel something or other. I mean, the Academy of Tunes, generally an environment where, like, a lot of different people are learning one discipline is so interesting to me. I just love that so much. What's your short film? First. First? What's your short about lessons? Oh, yeah, first lesson. Yeah, that was a wonderful experience of rules. It's all these people taking their very first lesson of different disciplines. Cool. God, a first lesson. You're like, oh, I remember my first violin lesson. Can I ask them how many people would come in? No. What? I'm not. It's a good performance moment right there from Dean. What? Yeah, it is. I love how we made it so she just immediately finds the email. I love that, too. I think that was inspired by Peter and the Farm. Oh, yeah. Because there's something, I think it's probably much darker about his alcoholism or something. Yeah. I'm stopping drinking today. And then it cuts to him drinking. Yeah. Yeah, that's great. That was another improv moment we just, like, went by that I love that's very musical. It's like, don't say that. Don't tell her that. Oh, yeah. Not doing it. Yeah. Not doing it. You know what else is, like, I love? It's hard vocally, like, in the performance to call out as Marcel. Like, that volume is, like, hard. But the other thing that's not in this movie that I like. Love so much was Marcel's friend named Bev. Oh, yeah. Bev. Whoa. Bev! Remember? Yes. And she was, like, not... Wasn't she a hummingbird? She was a... I thought she was a ladybug. Yeah, I thought she was, too. Oh, okay. It was because it broke the... There were a lot of things like that where it was like, we love this joke, but the rules of the world have to have priority or whatever, but... That one was, I think, because we found more value in him hating the bugs. Yeah. Yeah, yeah, yeah. That's right. And Connie having a relationship with them. What's the deal with this tree? It's a fake tree. I love how cartoonishly it's shaking, though. Like, that's a great touch. Yep. That sort of breaks the world, but also feels, like, very appropriate. Yeah, it's nice to know what you're allowed in terms of... like it's not breaking the world but it's like it's like defining a new dimension where almost everything is the same as this dimension but there are these like differences for example that Marcel even exists but it's so weird how if you can if you're lucky you can know the rules like I feel that way also about Catherine that we made which I really hope that after this movie a lot of people will go back and watch Catherine but that that also had a really specific game in a way like that that Dean, that you and I knew the rules of and we would know when it was too much. Yeah. In terms of writing it. I was also going to say, going back to what you were saying a second ago, Jenny, I've had multiple really, like, great musicians tell me that they're impressed that you have perfect pitch in Marcel's character. I know, it's weird. Or not perfect pitch, but you're singing... But it is, yeah. Or whatever that is. I don't know. I wonder what it is about, because it's definitely like a, you know, it doesn't hurt to do the voice at all. When I'm tired, it's harder to do it. But to sing in it feels like really easy. But it is like a constriction that I wonder if it makes like more precise. Like I don't sing off key in my normal voice. I don't think I think I sing generally on key. But I do feel like. You know what I mean. I like Marcel's singing voice the most of all the singing voices that I do. That moment when they're sitting on the hot dog bun looking at each other is one of my favorite audience moments to watch with an audience because people are feeling the emotion of what's being talked about, but then people are also like, it's a hot dog bun. Yeah, yeah, totally. I mean, it's the same for when the family finally arrives. You're like, yay, oh, my God, it's a tampon. Yeah, right. Like, the tampon is so cute. Yeah, Tampon Ghost needs a spinoff. Oh my gosh. It's weird because I did think I heard her out. My favorite community member is the pencil mouse. I know. Pencil mouse is great. Yeah, I love the Cheeto mother and baby. Yeah, me too. I like how she's lying down. She kind of reminds me of a hippo or something else that lies in the mud. You know what else is a rules thing that nobody cares about because it's fun? She has no hands. How is she pulling that thing? How are they doing anything? You just cover it. Like Marcel lifts a match earlier. It's okay. This is one of Isabella's wonderful improv moments. Yeah. Talking about sports. They throw the ball through the net, but it goes right through. Yeah. They play that before the sports. There's so many scenes in this that I feel like I just wish I could be in that. Like, just the temperature of that. Like, your feet are warm from the steam, but the steel's probably kind of cool. Sure. Seems so nice. When they're sitting before on the cotton balls, watching the computer. There. The pee just rotates a tiny bit. And I think it's, like, one of the most impressive scenes animation physics moments in the whole movie. And I'm pretty sure that shot was animated by Lee, who is a total prodigy. She's so good. Like, I don't think very many people understand the fact that for anything to move or to align with, like, real physics and seem convincing, someone has studied physics and gravity and how things fall and how things roll. and the delicate interplay of weight, and then is able to recreate that frame by frame. These shots are so beautiful, too, the way that it drifts over to show the crayon, and that they're not, like, accusatory shots. Like, they're almost like, wow, I really hate to break it to you. Like, the way that they're showing it is so, it's just, it's like, it has no attitude. there's a little bit of sorrow, but not heavy foreshadow. I just love the camera moves there. All right, for you. I love any time the focus is a little off. Because in animation, everything's so intentional. This is one of the first things we recorded, right? This call with Sherry. Was it? I believe so. Because I remember it actually, we were having a real conversation with her, and she was the one who was like, Dean, are you going to be on camera too? Yeah. And that led to that whole plot line that we wrote. That reaction with Marcel saying, I don't know, something doesn't look right, was all just us responding naturally. Sherry, this is Marcel. This is Dean. Hi, nice to speak with you guys. And Sherry is a real producer on 60 Minutes. Oh, I'm sorry. I just said it, but that it's also nice. I love when Marcel talks on the phone. I knew he was like the front, Mr. Serious Face, Mr. Cucumber. Mr. Serious Face, Mr. Cucumber. That was a proud moment of writing, actually. We figured out how Isabella would speak, and then when we needed to write something, we would often use... sort of things that sounded improvised and put them into the dialogue. That's incredible. Yeah. Yeah, the real, like, wonderful thing about our weird process of making the movie is that we were able to get to know the... I mean, obviously, Marcel and Jenny and I know Marcel super well, but, like, the other characters were able to write around who was playing them. Right, we had so much source material to then replicate the way that people spoke. Yeah.

That Z joke just kills every time. It's the best. Yeah, that's an old joke. That was from the second one. Yeah. What's the deal with that butterfly? Is that a real butterfly? It's a real butterfly. Wow. The animal wrangler will freeze. You can do it, I think, with any insect, but will, like, refrigerate them so they're sort of, like, slow. And then they thaw when they're out in the open, and then they take off. Wow. This is one of those jokes that, I wish landed better, but I think it's just that people are really concerned for Nanakani. I think so too. Yeah, if you knew everything was okay, that would hit. So many weird examples of when a joke would really, really work in the animatic, and then once there's picture involved, it suddenly goes away. Those things are so... Alchemical. Yeah. Or we would record a line and it would be amazing, but then we would need to add something to it. We'd go back to re-record it and it just wouldn't work for some reason. Totally. Wouldn't be a joke anymore. Yep. Thank you, Marcello. What's the water made out of in the animation? There's a couple of different materials you can use for it. One holds its shape better than the other, but is a little cloudier, I think. I feel like Kirsten could tell you what they are. Do I seem nervous? It's okay to be nervous. Yeah, I guess. I... Is that... That's a shisha bomb from the other night. Shisha bomb. I can't believe you lied. You lied to me. I did not write you off. You asked me? No, you didn't. You just said no to 60 minutes and a story. I loved acting out these argument scenes with Isabella because... It's just, like, really fun. Like, literally, to just be like, I can't believe I'm doing this with this fellow. It's weird. I don't want to lose everything in the hope of something that's already gone. You break my heart if you don't. You can tell them when you need to cancel if you want to do that. I can hear you come. Yeah. Can you shut up? Mr. Adler. Yeah, Isabella was so game. Yeah. We got very lucky. I think that she's just a true artist who wants to do art projects that she's never done or work in different ways she hasn't worked on before. Yeah, do you remember during the shoot she was like, do you know anybody who can make me a circus outfit? We were like, what? She really wanted a circus outfit, remember? It was for her one-woman show. Yeah. This was a line that really relied on a wonderful performance from her, Isabella, and she just nailed it. Yeah. It will. The brutal but freeing truth. That is such a delicate moment. By the way, Nick... Nick wrote that It Will line. I remember we were, like, you know, trying to write and rewrite the climax of the scene. The night before we recorded it. The night before we recorded it. It all just felt, like, way too much. I think we probably had, like, a long monologue at one point. And It Will just delivered happily as... That's it, man. You're Sherry. You're Sherry. Yeah. Is that okay? Can I film while you guys are shooting? Whoa, those gentlemen were not wearing feodorants. Ha, ha, ha. Also, that It Will line is such a delicate moment of performance that I was sure we'd have to do multiple passes in the animation to get a good performance at that moment, but they just nailed it. Yeah, it's very subtle. Tiny eye movement, just that tiny, you know. This is a great run of improv that became a great part of the scene. It's like people passing by. Ponytail. Yeah, Ponytail, Mr. Headphones. We got a real makeup artist to do this. He is so great. I love when he says, close your mouth. These two. Butt crack never made it in. Butt crack. We had to lose butt crack. Trying to keep that G rating. Yeah. No, I don't think that's why. I think we felt like it was too mean. Yeah. Mm-hmm. I love it when we're watching. There she is. I love when we're with an audience and you hear people gasp. Oh, yeah. Yeah. I think that's how we felt, too. Yeah. Yeah. Oh, yeah. And she was such a pro. She was great. I think it's the proudest my mom has ever been. My mom, like, loves journalists. Oh, yeah, right. She's just obsessed with the fact that we were shooting with Leslie Stahl. Oh. I'm real life.

On TV. Wow, I think, yeah, I think that's the brightest thing I've ever seen. On this tiny mark. I know. I'm pretty sure that was the animation art department. Like, I didn't, I didn't say it. It just showed up and I was like, oh, yep. That's great. Gotta have that. Gotta have a mark. I feel like this was a big win in the edit when we were doing the animatic. figuring on how to not show this interview right away, because that's completely the expectation when you're setting up a interview scene that you're gonna see cameras roll, then it's gonna start. And cutting to this poem felt like such a success. There's a funny story about this poem, right? Sure. Well, I don't know which one you're talking about, but the one that... pops in my mind is that when we found this house which I loved but which was not like it was not a I think an easy house to secure and it wasn't like even in the right location and whatever and I was like I feel like this is it and I was like taking photos and found a a poetry book on the bedside table and it was that Philip Larkin book and the the trees poem was dog-eared and that was already in the script yeah it was already in the movie yeah relax and spread I love that. Look to the side. Let's reset. Let's go to one, please. Is it that they're born again and we grow old? No. They die, too. Oh, hello. Hello. You are beautiful. It feels profane to talk during this moment. Yeah, it does. You're all feeling it. Of looking you... How'd you do that leaf? That leaf trick. Talk about the leaf trick. Who played the leaf? Who played the leaf? How many people did you audition for the leaf? It's funny, actually, because I feel like Jenny, you and I had talked a lot about Stanley Kunitz being sort of inspiring for parts of this, but... Begin afresh. Afresh. That's how I want to go. Oh, yeah. Into a beam of light. Riding in a slipper. Falling a ladybug. Gentle, gentle, gentle. Gentle tap. But it is. I think they had to get to the outlet. Yeah, but if something moved and nobody noticed Nana Connie, she could be behind something. Nan! Tonight she goes to the toilet, sits on the rim. Nan! You checked her room, man. No. Oh, yeah, yeah. Do you remember way back when we had... This is in the animatic, I think. I think it was only in the animatic. We had subtitles at this moment that said, like, Nanakani died. Yeah, that was... That's one of those moments where you are gripping too hard. I just want to make sure they know. Right. She's not sleeping. She's totally dead. Yeah. I'm glad I got to meet her. Everyone was like, you don't need that. Yeah. I love how big this tear is that he's standing in. Yeah. It feels representative of how a lot of people feel when they're that sad. I love it. I know I feel like that. I love the... Just to give the animators credit again, like the physics on that trip. Every time he cries, it ripples through and then overflows. Yeah. It's not easy to do that. You feel safe knowing that so many people are around. Yeah. I love this part about the party. I remember that so well when I was a kid, being able to fall asleep. I remember it from Passover Seders. And now this one. Also mine. 30th birthday party. It's like a nap in a breakfast nook. It's not always during Passover, is it? No, no. She was exactly what you would want a grandmother to be. She had a vibrant past. I love the peas. That's an inspiring choice. She didn't get sanded down by life. Also, for stop motion, all of these organic objects have to be created out of... you know, materials that won't wilt on a set. Is it weed or is it lavender? The purple flowers? Are there little buds of weed? I don't think there's any weed in that. There is some lavender. I don't care. I heard someone else asking that. I wanted to deliver the question. Now I'll deliver back the answer. this is nick paley's only cameo in the film i love it that's the angry neighbor well do you mind if i stay up here for a minute i'm just short i don't have insurance for whatever you're doing up there i don't have insurance for whatever we're doing i actually thought this just happened this actually is inspired by a podcast um to uh what's that carrier carriers Land of the brave, land of the free. Yeah, he did a story about just his neighborhood and somebody yelled at him. Okay, and I made her look like an everything bagel. That's a great joke. Oh, John Madden. I made her look like John Madden.

It doesn't seem to... No, no. No. Nope. It's hard for me. I love this. Yeah, the bug sounds are so good. Where did those come from? Did we have those in the edit, or did you do that in sound design? I don't remember. I think we might have replaced them in sound design. I think I did the bug sounds. I was just going to say, it sounds like a noise you would make. I mean, real. I love the shelter of the leaf. In the sound mix, I remember it was, I love this moment. In the sound mix, it was hard not to just, like, listen, just, like, relax. I'm like, what? Because the sound of that would be like, I have this rain sound. And it's like, pitter-patter, pitter-patter. We're all just like, oh. You just wake up 30 years from now. The deepest sleep of your life. How you doing? This also, I think, might have been one of the earliest things we recorded. This linger. Yeah, this is super old. This might have been 2016. Well, it was definitely... This is in Liz's apartment, but I think it was based on a whiff we'd done earlier. Because I remember Caroline congratulating me, being like, wow, you know it's really hard to sing flat. And I was like, that's the best I can do. Well, you're really not singing a note at all. You can't sing any notes. I can hear myself trying not to laugh. Is this song from Summer Camp? Yeah. Yeah. Camp Tapalingo. Shout out. I want to linger. No. Yeah, this felt like such a structural building block of the first cut, putting this early when they were becoming friends, and then we were trying to find a way to shift the tone after the death, and being like, oh, we have the best thing. Yeah. Because it wasn't really serving the story back where it was before. Yeah. And it felt like we loved it so much, but... It wasn't crucial. Yeah. But here it's so crucial. I think the hardest thing about making a movie a feature with this character and the way that we make it is, like, we realize this eventually, like, everything has to be... After the story starts, everything has to be doing double duty as both storytelling and being funny or being charming or whatever it is. Yeah. It can't just... Once you introduce... An inciting incident. Yeah. No one gives a shit about. Texture. Texture. Yeah, that was a real heartbreak for us because we had so much texture early on. This scene came from a wonderful note from Phil Englehorn, who believed in this movie from the beginning. He was like, I feel like we need a moment where Dean and Marcel reconnect after this and shore up their relationship. It really makes it. Yeah, he was the, I forget, I want to say the entire post-Nanakani dying, I remember him saying like, oh, it just feels like it gets glossed over, like this is such a huge loss. And I felt like, oh, we're sort of, we're like maybe being cowards a little bit because who wants to be in that moment? You know, it's so sad. But he was absolutely right that that was missing. Yeah, can't shortchange it.

Is that our only subtitle? I think so. Yeah, I think it is. An old idea, but one you'll see tonight in a new light. In the only interview... I made sure that I got to write this monologue for the sake of my mom. So I could tell my mom I wrote a monologue for sure. Or for Leslie Stahl. But she actually tweaked it and made it a lot better. Marcel, a one-inch tall shell... reminds us of the true value of community, the transformative power of friendship, and the most ingenious use for a tennis ball. But you do want to make sure that your parking space is like perfectly flat, because otherwise it's not going to be where you left it. And I don't have the model. For years, Marcel and his grandmother Connie shared this old house with their pet lint, Alan, in an ever-changing array. I love how that sounds coming out of her mouth. Her pet lint, Alan. Alan. Alan. Yep. But all that changed when an amateur filmmaker moved in. Look at her smile. She just jumped in there with us. Yeah, she's great. I guess I was impressed with his pizzazz. Wow. Jenny's sitting just below frame in that. With like the puffiest hair. Like I remember being like, my hair is huge. I think it's in frame. I love this part. Okay. The blossoms that have fallen. There's just the slightest bit of impatience in her face right there. So I couldn't tell you, but the space in my heart gets bigger and louder every day. Dean, do you know how long? That's two years. Yeah, Dean. That is the best. I also love that it's like, that's just her journalistic, like, instinct. It's like, I'm not getting a straight answer. Dean, do you know? Yeah. She blew that story wide open. She did. She got it. We found her here in the highlands of Guatemala working for an environmental NGO. That dog is so cute. Every time I see it, I just want to get that dog. This man, her former boyfriend, Mark Booth. All right, I'll see you soon. Okay, bye. Thomas and Rose are also two people who, you know, completely jumped into a very unfamiliar situation. Right, just have to show up and just start yelling at each other. Yeah, I love that Thomas is barefoot. No, he really didn't clean his house and his plants are dead. His plants are all dead. Carpet stained. I love when Marcel says he doesn't know that. I will say. The shells need to come up with a new shelter plan. Yeah, I remember when we came up with this way to reveal the family, we were like, why would they do this again? But, you know, all I have is die hard. All I have is die hard. But it totally works. Oh, I love that. All the people helping. Oh my god, is it a chocolate chip on a sugar cube? Oh my god, it's a feast for the eyes. I love the peanut hoodie guys. Yeah, those are great. But you're right, the pencil mouse is really... Yeah, it's very special. The Cheeto baby. Cheeto babies are great. There's so much activity in that shot. I could watch it over and over, and I'm sure I still haven't caught it all. Have you ever seen that poster of the supermarket? Oh, yeah. They make a poster of just that, of Marcel's whole clan. That's a note for the merch department.

Again, another incredibly random thing. Yeah. That, like, I initially recorded this song, if I remember correctly. I was in Seattle. I was at the film festival for the last movie I made with Liz, Landline. And I couldn't sleep, and I had this song stuck in my head. And I was singing a lot of different covers as Marcel, and I decided to record it because I thought it sounded good, and I sent it to Dean at, like, 2.30 in the morning. Mm-hmm. Yeah. And it was like... This is a re-record of it. This is a re-record, yeah. And when we re-recorded it, it was like so hot, remember? Yes, in that backyard. Oh, my God. And I remember we had to cut out the verse that's all about them having tender sex. Sure. But it is. It's beautiful. And also that we got... That they let us use that song. I know. That was so cool. The Eagles are like famously. I didn't know that. Yeah. That they're like, they're not really letting a lot of people. No. I didn't know. Yeah. I'm sorry. I was thinking about something else. Andy Richter. Yep. Andy Richter. Andy Richter.

I remember having a sort of one-upsmanship trying to figure out what the grave of Nanakani should be, what object it should be. And it was like, it should be a Sacagawea coin. I wish I could find that thread because there's so many different ideas about it. But the chess piece feels like the best. It's so wonderful. The queen chess piece.

Chicken doorstop. I know, it's moving around this house. I love it. It's in three different places in the movie. Well, there's a couple of them, but I feel like that one is one that actually I bought on Etsy. Yeah, I still have it in my house. I gave it to you as a present many years ago. On the ground. Oh, that's another moment where people are sad but noticing something funny, which is that's the first moment that they notice the tampon. And the tail going around somebody else's shoulder. Yeah, I love it. Oh, God.

This shot is amazing. Yeah, this shot's insane. Is this a miniature? Or is this a... Of the couch? Yeah. No. They took that couch, they gutted it, stuffed it full of like... Oh, right, I remember you saying that. It's like clay, kind of. So that it could... And then installed these little rods in the bottom so that they could be... The tampon just blinked. Yeah. Justin, brother, there's another Nathan Fielder. Yeah. I mean, these two need their own road trip film. There's something about Jenny and Nathan's energy that is at total odds with one another. It's my favorite, favorite thing. Like how hot and cold air make thunder or whatever. here with me and shake that little tush come on i really promise i will take a turn around the rink i'm just kind of dean dean dean dean please i love she grabs the mic here dean i know your friend marcel i'm not going to wait forever please wow nice to see you back with everyone yeah you know you're welcome back here anytime you want thanks You're welcome to my house anytime you want. You don't have a house. I will soon. I signed a lease. Oh. Well, then, I accept. That exchange made me cry outside of the animation studio. I love these. It never occurred to me until just now that the shells all have, like, kind of weird butts because they have the... You know, the back looks kind of like a butt. Yeah, totally. Yeah, you're right. I guess that's kind of a butt. It's not a chicken. Yep. The floor here is great. It's so good. It's so nice. Such a lovely smell from the dryer sheets. And I like it because there's a window that has always opened a little closer. I love how this was a scene of chaos on the first time we were in a laundry room, and it was scary, it was dangerous. Yeah, Connie had just been injured. Yeah, and this is where he goes for... peace and respite yeah and the wind blew in and it blew just over the top of my head in such a way and the wind blew over and it made a beautiful whistling sound what kind of noise is this can you hear it that's that's going through my shell It felt just like her. Jen, you said you were reading something that inspired some of us, right? I can remember we started... Oh, sorry. No, go ahead. Like a Buddhist text or something? Yeah, I mean, this is sort of like, and it also matches up with, you know, your thing that you wrote for, you know, Isabella saying, like, you know, that it will change. But, yeah, right around when we recorded this, I was, like, trying to find a way out of just, or a way to deal with my, you know, with anxiety, I guess. I don't know. I mean, everyone uses that word all the time now, but. I started to read more easy to access Buddhist teachers, and this one teacher, Sylvia Borstein, is really with me in this moment. I was just going to say, I feel like it was, we recorded a version of it for like years ago, and then found a way to incorporate it, and I think you re-recorded it. Or we pivoted it to make it more in conversation with Nana Connie. And then, I don't know. Again, it's one of those. But yeah, very beautiful idea. I love the postman coming down the steps. Wait, did I make that up? Okay, there it is. Sure, Nick. Hi, guys. Oh, boo-boo. Come here, bubba. Come on. That guy's name is Ruckus. I switched into wet food and it's made his breath go crazy. It is a very dense, very rich aroma. Wow. So you guys got wet dog food. Yeah. We got a balcony. Yeah, we got the cool view. I see you have some flowers here. Oh, yeah. They're from... Is that apartment just one that you found? He gave me these flowers. Yeah, it was a production. Really? It's really nice. Oh, right. We had a garden at our place. I never saw you picking any flowers. I wanted to make a place I remember we used to have a line there where you said, Jenny, you said, and is she a woman now? So we decided to lose this. Did you haul chaos? I'm going to guess not. They paid me. Oh. Yeah. Yeah, they paid me $200 million, you guys. What are you saying? What happened? They're wonderful producers. Yeah. we did not talk enough about on this. No, I know. I felt bad. They were amazing. They're the reason the movie is as good as it is, honestly. They pushed us so hard to sharpen every scene. And Phil Englehorn and all of them. Yeah. We are the luckiest people. We are the luckiest people that we got to make this movie, but specifically make it in this way that required, you know, an incredible faith in us as storytellers and in the project and... let us mess up and learn from our mistakes. Yeah, it's unbelievable. The generosity that we were on the receiving end of. And of course, Liz Holm. And Liz Holm. Oh yeah. I always tell people I know Liz Holm's a great producer because I've lost count of the number of times that I've been on a phone call with her, then hung up, and then I have multiple emails from her. That she was writing while we were on the phone. Yeah. Really incredible. When a name repeats, is the name the same? Or did you redo all of them? I redid it. Wow. So Joe Rudge was talking to the eagles? I guess so. I don't know.

the best team and the best group of people. Just totally lucked out, you guys. Should we go somewhere else now? Yeah. Sure. Do we have to sleep in this room? Is there anything in the credits that's unusual that you'd want to talk about? I wasn't part of putting the credits together. I mean, my favorite, I think the biggest compliment is when people tell me that they're surprised at how many people were in the credits because we it means that we successfully made it look like it was just Dean and his camera or whatever when really it's like a huge massive undertaking with hundreds of people and artists and craftsmen and the fact that it looks in any way casual or spontaneous is an incredible trick yeah that's that's some contrast that's built into it that that idea of animation and documentary, that's sort of the foundational contradiction. Yeah, totally. Love this track, too. Yeah, this is a great one. Yeah. Maybe we should just say thank you. Yeah. Yeah. Thank you, everyone, for watching this film. Thank you, Dean and Nick, for making it. And also for caring about it enough to listen to this DVD commentary. Yeah, that's true. It's so nice.