Ep36 - David Lowery / “A Ghost Story”

Mahaiak have already hit. Others like Landline with Jenny Slate and To the Bone with Keanu Reeves are rolling around this month, and we have stuff like Patty Cakes, Ingrid Goes West and Crown Heights coming up in August. My guest today premiered his latest A Ghost Story, at the fest, and to my mind, it's the single greatest film of the year so far. His name is David Lowry, and we're very happy to have him on the show today. Thanks for coming on, David, Thank you very much for

having me. Uh So start there with Sundance. You've been there a few times yet, Yeah, this was my third time there. So what was the experience like this time compared to other trips. I'm sure completely different. It's completely different. But at the same time, it never doesn't feel like the first time. I mean, there's no time like the first time. The first time you go to the Sundance.

It's it's one of the best will be one of the best experiences of any filmmaker's life, undoubtedly, But it you know, it always presents itself a new as a as a place of great joy and fear and frustration and and uh and yeah, it always manages to reinvent itself in exactly the same way every time you go

with new movies. So with this movie, it was very close to the first, very similar to when I went with my first short film, probably because you know, this was a movie that we've made on you know, micro budget, on our own terms, and we just had no idea what the world would make of it, and it felt like we were just bringing something very small and handmade to a giant industrial complex in the snow. So it was it was a very intense experience, but ultimately a

very like a very beautiful one. And it was a wonderful, wonderful festival for me this year. You know, I find this film uh difficult to talk about because like, once you start explaining it, it it feels like it kind of starts to unravel and you stop doing it justice, you know, just the more you try to detail it. Um, you know, and and that goes for more than just like the outer like ghost under issue kind of vibe. I mean,

just the metaphysical kind of ideas you're dealing with. The ideas are so big, and yet the movie is so modest, The production is so modest. As you said, it was micro budgeted. Um. And you know, I feel like only the only relatively recent film that put me in this kind of headspace was The Fountain by Daran Aronovsky, which I which is not at all like this movie, by

the way. It's it's obviously a completely different movie, but it's another movie that was dealing with these huge ideas and trying to drill them down into an intimate fashion. So I've come to kind of explaining it is like it's it's a movie about a spirit, meaning a soul more than a specter, and the the space it inhabits in the universe. Hopefully that's not a hatchet job. That's

pretty much how I describe it. I describe it as a ghost haunting one space for a long long time, and um, I love that you bring up the Fountain because that movie was very meaningful to me. I love that movie and I remember, you know, following along with it from the first hinse of his existence all the way through the aborted Brad Pitt version, and then being so happy to finally see it come to fruition in the form that it took. And it really it's a movie that does deal with very big ideas but in

a very simple fashion, and it's very embraceable. It doesn't like it's not hitting you over the head with philosophy, but it just it's a very big, embraceable and very human idea that it is at its concept, at its core. And uh and so I like that you see it parallel there because you know, being that I like that movie, I'm sure that there's something of that in a ghost story. So where does an idea like this begin for you? What's the germ of it? Where did it first grab

you and start to snowball? I in addition, if I can jump in. In In addition to that, I'm also curious, like how did you explain it to people to get them interested, to get them on board? Like how do you how do you kind of convey your idea once you kind of you give birth to it, you know, when it's something this difficult to pin down. Yeah, I

wrote it very quickly. But the idea of a haunted house movie with a ghost represented by someone wearing a bedsheet was something I've been wanting to do for a while. I didn't know if it would be a scary movie, like a high concept horror film that just had a goofy element in the middle of it, or a weird art film, or maybe just like a video installation. It

was just something I liked. It was an image that I really responded to, and I've seen it utilized elsewhere, and I just wanted to have my version of it because I just love that image. And around the time that, you know, we were finishing up my last movie, I had gotten an argument with my wife about where we're going to live, and so the idea of home was very present on my mind. And how you know, one's attachment to one's home can be both a wonderful thing

but also hold you back. And so I just sat down one night and wrote the script and the first draft was ten pages. The second draft was about thirty pages, and you know, I was written within the space of a week and didn't change that much before we shot it, and I sent it to my partners in crime, James and Johnson Tobey Hobbrooks, who produced all my movies, and

and just said let's make this this summer. And then I didn't have to explain much to them because they we just always make things together, so it's sort of like there's a trust there. But in terms of getting other folks on board, whether it be that my cinematographer or Casey and Rooney, I found the most important thing

to do was to show like provided usual. So I just took some Greg recruits and photographs and uh, without permission photoshop to ghost into a lot of them, and that was sort of the visual representation of what I wanted this movie to be, and and it was very clear that was that was exactly everyone saw those I was like, okay, we get this, and it was you know, there was some question about running time, like whether or not it would be a shorter future, like Rooney read

the script and loved it but wasn't sure if it could sustain itself for future length, and I was like, well, just let's not worry about that it'll be as long as it needs to be, and let's not put the pressure on ourselves to you know, I feel like this is a movie that has to be a film that will hit theaters and sell for a certain number of amount of money. Like, let's just make this be what it needs to be and make it. Let let it

feel right to us. I'm glad you mentioned that about Home because I that hit me in the moment, and I actually had not thought about that slice of it since, but that really resonated me with me when I was watching it, because just to be a little personal, you know, I'm in a time where I've lost grandparents, those homes that we went to for so many years are in the process of being sold or whatever. So you start to feel that slip away, and uh that, I don't know,

that just really hit me. Was there some was there something going on other than you know, you guys talking about where you wanted to live beyond that, uh, you know,

personally speaking, just this idea of losing not in something. Yeah, not in the in the immediate sense, but I was certainly aware of exactly what you're talking about occurring in the future, you know, like the idea that the house that my grandparents uh live in is currently unoccupied and my parents keep talking about like the fact that we're gonna have to sell it, and I kind of like desperately wanted to just go buy it just so we can preserve it, because I want to have that space

to go back to. Would I ever go back there? I don't know. It's in Wisconsin, Like I have to fly back to Wisconsin just to go steep myself in the nostalgia of being in a space. But that is important to me, Like I want to have that, you know, I don't want to shut the door on that opportunity or that possibility. I want to have the always have the possibility to go back to those places in my life where so much joy and comforts had at one point or another. And that is something that is wonderful

to me. It's meaningful to me. But also, you know, in certain instances can hold me back, and that can be as simple as like having too much crap from my childhood that I heart from one apartment to you know, from apartment to house to wherever I'm living, Like I'm just dragging boxes of detritus from my childhood with me, it's not really holding it back, but it's a little bit. You know, you have to think about closet space in

the bigger scheme of things. When my wife and now were having an argument where to live, she really wanted to live one place, I really wanted to live in another, and we both kind of drew a lie in the sand, and for a moment, I could see a point where our relationship put end over this one issue, which would have been ridiculous because we love each other very much and we are very happy together and we never really fight.

But this was the first time like where I just saw like some difference of opinion that was so strong that it I could see a way in which it

could end things. And that was unsettling to me, and I wanted to unpack that a little bit, and I realized, you know, I've got this very strong sense of home because my parents created that for me when I was growing up, and I've tried to find that wherever I go, and wherever I go, I just lay down roots and they run fast and thick, and I don't want to leave when it's time to leave, and that's fine, like that's who I am. But I also need to be able to adjust to the circumstances I find myself in

and to be able to let go. So that's a big part of what this movie is about. Interesting who won the argument? Um, and we both did because we compromised. Because we we did, we stayed in l A. Then we moved back to Texas to after this movie was made, um, and then we're, you know, eventually gonna wind up back here again. So we kind of like feel like being a b coastal, even though Texas doesn't kind of a

coast as is the answer. Austin is exploded by the way in the last like seven years, I just saw that you thought as I thought was I just saw the pictures recently of like the downtown area in two thousand ten, like the skyline versus now. I thought someone was just playing, look looks like Miami, A little bit like Miami. Grew up in middle of Texas, and I

love Austin to death. Um. But because I grew up, because I'm a nostalgic person, grew up in Dallas, I decided to just stay there because it was getting so expensive to live in Austin. You can probably blame it on l A. People coming out, It's okay, I understand, it's beautiful there. Uh so this is your second Is this the second time you've gone out with the Rooney and Casey on a movie? After Anthingbody Saints? Um? What is it about their chemistry that brought you back? I

mean they just like each other. It's like crazy like they they really changed. What Ain't the Body of Saints was just by doing a scene together we shot you know, what was originally meant to be not a love story turned into a love story because they just had so much chemistry and you can't want tofy that or you know, put you know, cause behind other than they just get along and just it's kids met and uh and so

on ain't the Body saying? You know? We just ended up adding a lot more material for the two of them because I wanted more with them. And originally it was going to be very like just a little bit the beginning, a little bit the end, and that was it.

We we added a bunch more. Um and then with so with this film, because there's so little on the page for these characters, and then particularly so little with the two of them together, I wanted to ground the film in that chemistry from the get go, so you would feel that something was lost when Casey's character dies. I wanted you to feel that something had been torn asunder.

And I knew that if I brought the two of them together that within the me within the space of one or two scenes, they would ground this relationship in a very real and emotional and wonderful and tactile way, and the people would just understand that they care for one another. So it was a way to achieve a certain shorthand given the amount of running time the movie was gonna have, an amount of time would have together

and uh and also just the characters. There wasn't much to them on the page, and they didn't have names, and they still don't in the finished film, because I didn't want to assign too much to them. I didn't want to pretend to the audience that we're gonna have the story of these two characters and then pull the rug out from under them. I wanted it to be pretty you know, pretty quick that we get into what

the movie is actually about. You know, he dies within the first five or ten minutes, so um, but those five or ten minutes are crucial in terms of establishing where the movie goes. Did you have them in mind when you were writing? Not when I was writing, but as soon as it was done. I mean, I didn't have anything in mind when I was writing because it was just so fast. It's so it's so funny to think about the writing process in this because how fast did you write it? So I can get upset about it.

I mean, the first draft wasn't it was one evening, but it was only ten pages, so it's like you can't, don't know, need to get upset because it wasn't much to it. You know, it's probably like probably two thousand words total and that in that document, and then I expanded it to the thirty pages as the as it started to take, you know, a stronger shape. But that

even that only took probably a week. So I'm a slow right, it takes me forever to write things, And this was a rare instance where I just you know, partially there's no dialogue, and dialogues I usually spend the most time on. It just kind of just went very quickly and then it was done. And then I started, you know, assigning names to things in the script, whether it be actors or cinematographers, or my production designer. I was like, Okay, here's what we're gonna do to make

this movie happen. And one of those things was to just call Casey and Running or text them because I'm a Texter, and see if they were interested in making a weird movie in Texas over the summer. Uh, you're coming off of I want to venture out a little bit. You're coming off of Disney's Pete Dragon, which I thought was fascinating when you were called on to do the movie, because that seems like something Disney, that machine that could

be like a wood chipper for a filmmaker. And uh, you know, first of all, how did you like working with I mean, obviously enough that you're coming back for Peter Pan, but what was it like working with this giant conglomerate on something like that. I mean, it was great. I loved it. Like the folks at the studio, like Sean Bailey is just a wonderful connoisseur of cinema and

a wonderful producer in his own right. So they want to make good movies there, and I want to make good movies too, So we were we were in agreement from the beginning, but um, I was certainly worried every step of the way that because it is a conglomerate and there is you know, the board of directors and so many not cooks in the kitchen kitchen, but so many voices that you have to acknowledge and listen to, that the movie would become something I didn't want it

to be, you know, every step of the process. I was waiting for someone to tell me that I had to make the Dragon talk or something like that, you know, and that never happened. So I was on edge for a large portion of the entire three years we spent in that movie, but unnecessarily so, because ultimately they were in full support of the movie I wanted to make. I wanted to make this movie for them, and we just were able to make a movie that made us

all very happy. And because it was such a great relationship, I'm being very careful with our next collaboration because I to keep on that train. I want to keep making them happy. I want to make a movie that I like again and make something that's personal for me while also satisfying the needs of a big studio like that. Um. But it was a great experience. I didn't you know I started off. You know, that project began right before and The Body Is Saying is premiered at Sundance, So

it was sort of ancillary to that. It wasn't it wasn't a result of that movie, but you know the um but certainly that played a part of it. Like people took me a little more seriously because they knew this movie was coming out. But it was a short film that I had made called Pioneer, which was was about a father telling a son and bedtime story, and I think that's what really got the producers of Pete

Dragon excited about what I could bring to that. And at that point, I was just a screenwriter with my partner Toby Hobrooks. We were just writing it and we didn't embark upon the process of uh making it with

me as a director for another year. We spent a year on the script before that, even into the equation and speaking of Peter Pan, I mean, I don't I don't know where you're at on it now, but I am very curious just because that's the story we've seen many many times from many angles, So like, what are your ideas in terms of coming at it differently and

presenting something fresh. I've got those ideas. I don't want to reveal them here, but I do want I do acknowledge that there are a lot of versions of this material, Like there's there that is a big question, like why do we need another Peter Pan movie. Um. At the same time, it is an evergreen property to a certain extent, and I do believe that if you can do it right, it kind of like makes that question irrelevant. You can kind of you can kind of make people feel like

they're seeing it for the first time. That would be the challenge I have set for myself. Um, And you know it's tough though. I love the Pja Hogan version. I think that is the perfect version of Peter Pants. So, like, what else can I bring to the table? I have some ideas. I'm working on it with Toby. Again, we're in the screenwriting phase still, and if it feels right, we'll make it. And I am excited about that possibility,

but I also wanted to feel right. So we're just gonna see see where that process takes us on the page before we before we embark on the great journey of you know, the great thing is it will take long enough to make the by time it comes out, it will have been at least five years since the last version, So that's good. So that's good. You got a little distance. Well, just broadly speaking, I mean, you know, you look at something like Pete Dragon and there there's

something about the tone and scale there. I mean, with with Peter Pan, do you expect it to be big? Do you expected to be a little bit bigger than Pete Dragon just by nature of what it is. But it's important to me to not fall victim to just bloat and scope, because a movie feels a need to be big, Like if you could make a giant summer blockbuster feel intimate, which can't happen. I mean, I feel Fury Road manage that pretty expectively. Even that was NonStop,

you know, thrills from start to finish. I think Planet of the Apes achieves that this can't wait to see it. I'm very excited to see that, So that would be my goal. Like, I don't want to just like rehash the final battle from any one of the Pie to the Caribbean movies at the end of this film, except throwing some flying kids. You know, that's not my intention,

nor would I be personally interested in seeing that. So it's always like trying to find that balance, like, yes, this is a movie that will probably cost a certain amount of money. It has to have spectacle to it to justify that cost um. And at the same time, I want to make myself happy as in a movie goer, and the last thing I want to see is just another pointless battle, just because it feels like it's the third act of the movie and they need to have

a battle. So finding that balance will be tricky. I do feel up to the challenge, but it's definitely like that's one of the things that's on my mind. And again, like I had such a great relationship with Disney on Pete Dragon, I want to make sure we keep that going in in a good fashion and if we ever feel like this isn't the right fit or anything like that, then we'll find something else. Because again, big fans of them over there, good look with that. I'm very interested

in that. Uh. I want to talk about film editing. You edited your your film this time, Go Story. You've edited other films like Upstring Color. If if anyone hasn't seen Upstring Color, highly recommend go check out. You've never seen anything like it. Um, But how does your work as an editor, you think, impact your work as a director, Like, how does it make you a better director? It really

plays a huge part in it, you know. It's still my favorite part of the process, and to a certain extent, when I'm on set, all I'm doing is just building a library of material that I can then rek havoc on within the editing room and re havoc on the editing room with um. I begin the editing process with

the script, I'm always thinking about transitions. I'm always thinking about how one scene is going to cut to the next, and the impact that's gonna happen, what the shot will be that cuts from you know, that brings us from one scene to the next. And then when you're on set, you're constantly thinking in terms of efficiency, like is this the right way to tell this part of the story? Is this shot the best shot for this moment? How

I utilize this shot? How might I utilize this shot in a way that I didn't initially anticipate when I first conceived it. A bit, all those things are constantly running to my head because I am just shooting the movie for the edit, and when I get to the edit,

it feels like I'm starting over from scratch. All that preparation, all of that work, all those all those connections I was trying to build in kind of go out the window, because at that point I'm just working with what I've got to work with and going to make the movie is gonna become. When it becomes, it usually goes through a long process of you know, kind of like the

thing in the John Carpet movie. It just turns into all these weird monsters and mutations and and and becomes unrecognizable for a little while, and then ultimately it works its way back to what it was supposed to be. And the in product, by and large is always really close to what the script was. But for some reason, I can't just do that from the outs that I have to go through this long process of creating all sorts of mutant versions of the movie before I can

actually get back to what I intended to do. And so I'm in that right now with the movie I just finished, and it's really interesting, like I know that six months from now I'll have a movie that is very close to what I wrote, probably where right now I'm just feeling the need to just move scenes around and try out different things and just you know, punch the footage in the face a little bit and see what happens, because doing that does yield interesting results and

sometimes the points it does give you great ideas of where you can take the footage that you hadn't expected. But it also just helps you familiarize yourself with it and get used to the movie you made. And a huge part of the editorial process is just getting used to that movie you made, which is very existential and very alarming. At first. You first you're like, what have I done? What have I wrought upon the world with

this stuff? This footage is bizarre and doesn't mean anything, And then you realize that it does and it all settles down. You're talking about old man in the gun there? Yeah, how did that go? Would you learn on that movie? It's a I think you're working with searchlight on that. Yeah, search lights me putting it out and uh, they're you know Casey again, case He's in it. Robert Redford starts space, Tom Waite standing Glover, Tika Sumter. Really a great cast.

H J. D. Washington, bunch of cool kids, a bunch of folks who have never been in a movie before some reoccurring characters from Ain't Them Bodies Saints? We just bring them. We brought everybody along for this one, um. And it was my first attempt to make something fun. Well, and that's not true because Pete Dragon was meant to be fun, but it was also just really sad. And this movie is meant to be. The first scene in Pete Dragon killed me. Man, it's like a really sad movie.

Even the ending is happy but also kind of sad. This one is supposed to be lighthearted. It's supposed to be you know. Robert Redford hired me to make this movie four years ago, and over the course of those four years and made Pete Dragon, and I got to know him a little bit, and ultimately this is sort of a tribute to him and his legacy. It plays into some of the iconography that he's known for. It also is like harkens back to my favorite film of his,

which is Downhill Racer by Michael Ritchie. And it's got just a fun, loose, you know, vibrant quality to it. I don't know if it ain't gonna work. I mean, all that's that's, that's all stuff I'm trying to do. Yeah, that's the aim. It's very loose. I mean, we shot in sixteen millimiure. We tried to make it feel as like as as rough around the edges as we possibly could. You know that we were embracing the idea that the camera would bump sometimes when I was on a dolly

and moving quickly. We tried to just always delight ourselves every step of the way. And uh, and there's not much plot to it, so I don't know, we'll see what happens. It's based on a true story, so there's a lot going into it. But in the making of it, we just sort of tried to have fun and tried to have fun with him because he's such a wonderful actor, a wonderful presence, and and he just he wanted to have fun. That was his goal was every step of the way and make it fun. So we'll see how

it turns out. I I know I'm pushing my own personal boundaries as to what I'm good at, and I'm trying out new things. But I feel like if I'm not trying out new things, I'm failing in some way. So we'll find out when when it comes out next year. Cool and then also I was just poking around beforehand doing some research. I didn't realize this. You directed an episode of Rectify, Oh yeah, which I think is one of the best shows of the really great show number

of however many years. Uh, you know, were you a fan of that series in general, just like where it went and everything, because you did one episode. I didn't know if that was just like you came on to do some work or you know, I'm I've been I've known Ray McKinnon for a little while, the creator of the show, and then Scott Teams, who was a writer and producer on the film, was a was a friend of mine because he had a film called That Evening Sun that was on the festival circuit with my first

feature of Satan Next. So we know each other for a long time and when and I also know Mark Johnson and Melissa Bernstein over at Grand Villa. We've been uh friends and then you know, looking for something to do together for years at this point, almost a decade at this point. So it was just the right fit. Like we all, it was like a bunch of folks that I knew and that they needed to fill out the roster of directors and I had uh time in my schedule to do it, and it was a really

great experience. I don't I I had never done television before. I didn't know what to expect, and I remember going up to one of the producers and apologizing. So I felt like I wasn't doing enough. I felt like I felt goes like I should. I feel like I need to be doing more. But there's not that much to do because Ray is such a strong creative visionary and this was his baby, and he knew what it needed and and the actors were there working with him every day.

So it was a really interesting process because not only was that directing, but I was also getting to just kind of sit on the sidelines to a certain extent and watch how Ray worked. And that was a really a very educational experience and also one that is benefited me as a director, like watching how he directs actors. You know, all the performances he got out of that show.

It's such an amazing series in terms of just what the actors are doing, and that's all him, Like I, you know, I would never take credit for and I outa that in the episode that I directed, because he had built that so thoroughly and developed it so thoroughly, and uh, I had learned I had read going into it that if on an episodic television show, if you're not the director of the pilot, you know, if you can get one or two ideas across of your own

and every episode while also supporting the vision of the creator, then you've succeeded. And so I feel like I did that. I got two shots in there that I feel we're mine, and I lay claim to them. And the rest of it was me doing my best to help Ray make a really great series. That's a great show, and it ended well, which is like increasingly rare. It seems like, you know, they ended they knew it was gonna end,

and and it was. I'm sure he knew. It's so much of that show he was like just coming up with not as he went, but just like you know, he was just pushing him, pulling and trying to find the right way to get to where it needed to go. And I he would never tell anyone, you know, he was He would always tell like make up answers, like he's like, this is the episode where reveal that Daniel did it, And then he would come up with like

like he would constantly be just joking about that. But I'm sure I know he knew the whole way through what where it was going to go. And then the last thing here, just to bring it back to ghost story, Uh, just tell me about working with this is such a unique company. Um, they are coming off this miraculous best picture when last year, and uh, you know just what the environment like there for an artist, it's phenomenal. Not

that you would say anything bad if it was. It's like, it's like, guys, just let me let me play out the truth about is exactly as cool a company as you could as you would hope based on the movies that they distribute. I think they make their taste very clear with the movies they choose to distribute. I think they make their creative bones very clear with the ways in which they market them. And they just have fun with it. They have good taste and they have fun

with that good taste. And when we were first developing this project, in the two weeks that we had to develop it before we started shooting it, that was sort of the pipe dream, you know, we knew we had this concept that was, for lack of a better term, high concept. It was someone wearing a bedsheet. We knew that that could be a great marketing hook. We knew that it could go horribly awry in the wrong hands.

But we knew that if things worked out, if it's turned out to be a feature film, it was a feature film that was worth watching, that maybe there's a chance and how would be interested in putting it out because who would do a better job with such a high concept idea than them? So the fact that that worked out is just you know, makes me very happy. It's a dream come true. Literally, and they have not disappointed me. I just am in awe every day of like the ideas they're coming up with to get the

movie out there. They support it fully. They know what it is. They're not pretending it's something it's not. And I mean, if you heard about the ghost store that they opened up in New York, just heard at the unbelievable, Like it's like a it's just a goofy idea to open up a ghost store. It's like a pun, you know, it's like a pun on the title. And yet going to it is the most remarkably complimentary experience to watching the movie. You could imagine I should bring it here.

I wish they would think it's going to be open to the end of July. In New York. If you go to a ghost Dot store you can also. I think they give away four or five sheets a day, bed sheets like ghost costumes a day, and they're all based on their like a stripped down version of the ghost costume used in the movie. And but if you are in New York, by the way down version of it. So it was it was a to do. It wasn't but I've heard about that. But it's amazing and you

go there. The closest coralier I can find is it going to Harry Potter World and going to Olive Ander's wand shop and having the land shoose you. It's very similar to that. It's like a it's a brief, thirty minute immersive experience that prepares you for the movie. It compliments the movie, but also there's no branding there, so you could just wandering off the street and not have any idea that it has anything to do with the movie.

You just have this very strange, personal, somewhat meaningful experience that is all of them. They came up with it, and they understood the movie to such a great extent that they could take what seems like a gag, seems like a stunt, and make something rather beautiful out of it. Yeah, it kind of reminds me of when they put together the room from Room here, and it really drove home, like the emotions of the movie, just that tight space. Speaking of the sheet, I did ask Casey right after

I saw the movie. I was like, how much is that you under the sheet? He was like, I got some sheet time in. How much was is that Casey underneath that sheet? I will never define it by personages, but I will say we had to do some reshoots and pickups and he was unavailable. But to his credit, he was very begrudging in his unavailability. He wanted to be under it for the entire film, and he bequeathed it to our art director who is the same height

and size and did a wonderful job. But but Casey is definitely under it, and uh, he defined that role for us, So I don't want to That's why I'll never say, like I mean, there are times in the movie where it cuts like shot reverse shot where it's him then or not him, But you don't need to know that keeps move the movies cohesive. You never know, and uh, and it's a it's a you know, a wonderful thing that he was willing to just embrace that concept so thoroughly he wanted to wear it at all.

And the fact that he came to Texas put that ridiculous costume on in a hundred and ten degree weather is a testament to his devotion to the art form. Well, the movie is a ghost story. It opens July seven, Go see it. Like I said, I think it's the best movie that I've seen this year. So are so I hope everybody enjoys it. And thank you David come on the show. Having it really means a lot. And I was a little and we used to move all the time. I write these notes and I'm fult really small.

I don't hide them well, and just like things, I wanted to turn them, perhaps that if I ever wanted to go back, there'd be a piece of me. They're reading, m M, did you say dream? Did you know she would'n? Did she die in the night? Yeah? You want what is it you like about this house? So much history? Well? Basically cool. The writer writes a novel a songwriter writes

a song. We do what we can to endure and build our legacy, piece by a piece, and maybe the whole world will remember you, or maybe just a couple of people. But you do what you can to make sure you're still around after you're gone. For Foy,