iTunes presents Meet the Filmmaker at the Apple Store. What'd they say? You have to listen twice. Larry crowned at the common break area? It's employee of the month day. How many will this be? Oh, I'm not saying. Nine. Harry Crown on deck. Crown, we've done to a parting of the ways. This sounds like you're firing me.
They said it's because I didn't go to college. Get you some knowledge and you'll be fireproof. You're never too old to learn. Can you get this hunk of junk working? How fast does it go? It's got power. Didn't see you in the scooter pit last term. You're an ex-cop. Why would you think that? Tucking in a polo shirt makes you look like one. This is it. Excuse me, the state requires a minimum of 10 students, so this class is canceled. Thanks. Does this be 217?
Each of you will tell us how to do something you already know how to do. How to prepare French toast. Next. I gotta take this. Brain freeze. I wonder if I make any difference to anyone sitting in my classroom. Look up at your audience. Find three different focal points. Start on one side, looking into the eyes of whoever's there. Hello. Hi.
You are way cooler than you appear. I can't really afford all these new threads. It tastes gratis. Take off your pants. My boyfriend's here. Put your pants back on. Look who's waiting for a bus. Do you need a ride? Fine, but I will not wear that bucket on my head. In the Navy, I went around the world five times, but I would never be able to communicate it to you unless I had taken a class like this. You work here. It's my secret identity. Spectacular. Would you like to kiss me?
You are so cute. I can see you. Ladies and gentlemen, please welcome this evening's guest moderator, Donna Freakin of USA Today, and tonight's guest, Tom Hanks. Hey, hi, how are you? They're all excited to see me, so I don't know why. Hey, who saw the movie? Who enjoyed it? Nobody saw the movie. It's not open yet, but let's end it. Man, have I dumped a lot of money in this store. I have pumped a lot of money into the Apple economy in this very store. Going back.
To that first iPod that only held a thousand songs. Remember when that was a big deal? Holds a thousand songs. You know what I'm doing with that iPod right now? It's holding up some stereo speakers. Just jammed underneath the thing. Thank you for coming, everybody.
You guys, Tom just finished a harrowing global press tour to support this movie. How are you so peppy and upbeat after this? If I were you, I'd be crawling under a couch. You only really work half a day. You get up about 5.45 in the morning and you do all the talk shows and stuff.
and then you're done about your lunchtime and then you get on a plane and you go to another city. It's not that bad. Coal mining and being a cop, that's tough work. This is not so hard. All right. Well, this movie is incredibly sweet and uplifting and funny. What inspired the story for you? I don't know. I mean, we're just always pondering a type of idea. It's really about the theme of the movie.
has to be a theme that you think can withstand the attention of having a movie made about it. And in this case... It was all about the American concept of self-determination and reinvention. A lot is made out about the American dream being owning a home or raising a family, but I think really the American... Dream in actuality is about our ability to remake who we are if we want to and if we have to.
And in that regard, six years ago, I was chatting around the office with Nia Vardalos, who wrote My Big Fat Greek Wedding. She's a friend. And I said, you know, what if I was a guy and I lost my job for kind of reasons and I never went to college, and so I go to college? college and say Julia Roberts is my teacher, what would happen? She was actually my teacher in college. It's funny that you say that. What did she teach for you? Sex ed. Oh, very good.
So that was how, that was, so what do you say? It's not like you start off with this thing that you must, must, must, must cover. It was just an idea that I thought if we could develop this and this could actually be. a two-hour, three-act structured movie that could actually be about something without having all the weight of the world upon it. How did you and Nia develop the story as writers?
First, we talked at length for about a month about possibilities. Then she went off for a few months and wrote a full draft. Then I read that and pondered it. Then we got back again and spoke at length about that draft and its strengths and weaknesses and how it was experimenting with the theme. And that went on for about three years and three drafts.
out of... I mean, that's just the way it works. First of all, we weren't getting paid for doing this, so this was all written on spec. So it's not like a... Money, cash flow is actually going on. And then, quite frankly, it had to lay fallow because it wasn't there. It wasn't in our heads, and we all went off and did some other things. Then about two years later, I guess, not long after...
I had finished making Angels and Demons with Ron Howard, the second Robert Langdon movie. I picked it up again and said, what really is here? And then I did all the drafts that remained of that until we made the film. As a writer how do you know when something works? I don't know. I don't think you do.
I think you wait and you have to hear it. I mean, we had two very important read-throughs of various versions of the screenplay that are very different from the final film. Because you're waiting to hear not only what...
are the lines that resonate and might be funny, that might get laughs. But you're also hearing whether or not it's really about the thing you wanted it to be about, whether or not the scenes are actually... to the performers and impacting the air of the read-through in a way that makes you think, oh, you actually did say something important and knew about what that very theme was.
Go ahead. Well, like, for example, this is like the process is. We had a read-through of the film, I'm guessing, two years ago. Yeah, a long time ago. In which... Chai McBride, who I worked with on The Terminal. played this part by Cedric the Entertainer and a few others. And we had a whole panoply of actors who were a friend of mine who had worked for us just to come in just to read through it and see what it sounded like. And from that...
There were drastic changes to what happens to Larry in the third act of the motion picture. One of them being, we had engineered it. I did, in which Larry was able to still keep his house and still get the girl. And it was a huge gap. And right afterwards, Nia Vardalis said, Larry has to lose his house. And I said, well, that's going to completely go deeper in examining.
the theme that we thought of. And it's actually a hideous process to have written it and then hear it, and it just does not work. It's disastrous. You want to upchuck. You want to throw up. You want to apologize to everybody. Two years of your life. Two years, yeah, gone. But that's what the whole process is, and you feel bad for about seven minutes, and then you start pulling out the note.
book and you get to work. And in terms of the subject matter, it's obviously very prescient given what... Are they drinking downstairs or just the noise is like this? No, they're just that excited to hear you. This is as noisy as the Golden Globes.
And the Golden Globes are all hitting the booze in the back of the hotel. I guess they're just shopping downstairs. I know Paris Hilton here that we know of. But the subject matter is obviously very prescient given our great economy at the moment. Was that what triggered this?
Well, that caught up with this because I wanted just to go to the idea of a guy who got out of high school, joined the Navy, did almost 20 years, and because of that, he loses his job. That was the dichotomy that I thought was fascinating to deal with. And it's got nothing to do. Literally nothing to do with his day. So that's why he goes back to college. And we kept feeding on that. As the economy tanked by way of, what were they called? Bundled...
What is it? Derivatives. Yeah, bundle of derivatives, credit swaps, whatever. Well, we said, well, let's never mind that. Let's just make it totally personal to Larry. And personal, it's your house and whether or not you put gas in your car and whether or not you can even afford to go to college in the first place.
So the headlines sort of caught up with this right up until we were actually shooting the movie. I want to apologize if you've heard any of these stories so far. I have been around the world and I've told some of this. to journalists in, like, Singapore and Korea. So if you've heard it, if you're from Singapore or Korea, if you've heard this, I apologize.
A couple of weeks, actually a few days before we shot the scenes in the bank with Rita Wilson, my wife. Oh, you haven't seen the movie. Anyway, okay. Let me go back. Let me go back. On 60 Minutes, I saw a report on strategic foreclosures, which is a way in order, what you essentially do is you hand your house back to the bank and say, screw you. I'm not in debt to you anymore. You own my house. I have no credit.
it, but bye-bye, it's your problem, not mine. And that now is something that Larry learns to do in his economics class that is taught by Dr. Matsutani, who is portrayed by George Takei. Takei. Takei, sorry. That's all right. And I have to ask you, speaking of the initial bank scene, your wife looks smoking in that wig. Good blonde wig. I'm sorry, don't mean to give it away, but how...
I find that a wig and high heels usually just raise the attention span of almost every man in the room. Especially a wig like that. Am I wrong, ladies? I don't think so. This movie is such... It's a really nice addition to this normal summer slate of... movies of the Transformers ilk? Was this always meant as a summer release? Well, there's no such thing as
a time when big blockbusters don't come out anymore. It used to be that the big kind of like special effects-laden movies started coming out on the anniversary of Star Wars in 1970, you know, the memorial. And now I think everybody knows that
Pretty much every week, there's some big, massive movie that's coming out with a lot of CGI. So when it came time, when you've got to go off and have meetings with the executives and the marketing people, and they start thinking about the strategy of when do you think we should really...
I said, look, I don't fucking care. Just put the movie. Hey, now. Sorry. Drop the F-bomb. I apologize to any kids out there. But when they said, well, how about, I said, what's wrong with July 1st? Go ahead. There's no difference. Because big movies come out. out all the time. I mean, if you just add it up, what's been out since May 1st?
You know, you got Thor and, you know, and the thing with Adil and the guy and the rocket head. Yeah, yeah, yeah. We could go on and on. You're right, you're right. Yeah, and now the monsters with the robots and smash it up. And the dogs or something, yeah. Yeah, so it's... every week. So the only way you could compete, honestly, in the marketplace is if you have a movie that might be unique.
And I can guarantee you, there's no movies like Larry Crown that are out there. None whatsoever. I have to see movies for a living, I promise you. And we go against the grain over so many things. For example, Larry's helmet. We shot it in California, okay? These are the battles you fight. We had huge, big, massive production meetings about whether or not Larry and the scooter squad, the people who ride the scooters, are going to wear helmets or not.
Oh, but that's a safety. It is a safety issue, and it's the law. But then you talk to the people, like the hair people come in and say, Tom, you just have to know that every time you put on that helmet, it's going to mess up your hair, and we'll need 10 minutes in order to fix the hair before you go on. the next shot so you cannot pull up in a shot take off your helmet and stop talking you know you can't do that
And then you talked to the prop department. He said, we don't know if we can get clearance on the certain helmets. So he just said, well, just wear the helmets. And my hair is bad. My hair is bad. We're not going to worry about how anybody. And if you see any. movie or TV show with people on motorcycles I guarantee you either they don't wear helmets was against the law because the stars don't want their hair messed up
Or they always pull up with their helmets on and there's always a cut away so that they come back and they don't actually have the helmet on. They're just lifting it off the top of their head because lo and behold, their hair is perfect underneath the helmet. So that's the...
logic of how that happened. It's kind of like everybody who comes back from the grocery store in a movie always has some celery sticking out of the bag because how would you know where they've been? Or a container of milk. Or a container of milk, yeah. Or a loaf of French bread.
The things you learned. I'm giving up all the secrets here. All the secrets. Where did you guys find that moped or scooter? Is it a moped? We shot this on location at Cal State Dominguez Hills. And we went and scouted the actual, well, where do they park the scooters? And they parked them right.
right here, and this blue Yamaha from, what year was it, 1990-something? It was held together by gaffer's tape, and I said, this is Larry Crown's scooter. So we left a note on it. It said, Dear Scooter Owner. I'm Tom Hanks and I'm making a movie. Please call this number and you will earn big bucks because we want to buy your scooter. This is not a joke. No lie. Please call.
We are not pulling your leg. And eventually the guy did call, and lo and behold, he's a former serviceman, much like Larry. He was going back to school. much like Larry, and he made $60,000 off of us. I'm joking! I'm so joking! We paid him handsomely for a scooter that needed a lot of work.
Call me if you ever need one. I'll buy a scooter and sell it to you, you know? Who rides a scooter here? Anybody? There you go. Hipsters. Full on hipsters. And let's talk about directing a little bit before we turn this over to the audience. Did you always plan to direct?
No, I did not. We worked on the screenplay for a long time, and before I took it over and actually started writing the screenplay myself, I went to a number of directors who shall remain nameless. And here's what you must understand. The worst thing a director can hear from an actor is, hey, I've got this idea for a movie I'd like to star in.
Directors will run away from you faster than The Flash or Green Lantern. They don't want to have anything to do with an actor who has an idea about a movie they want to make. Directors want to make their own ideas. movies. They don't want to have to appease an actor or listen to an actor or say, you know, maybe in the third act Larry can lose his house. They don't want to hear any of that. They want to make their own movie and the directors want to boss you around.
They don't want to be an employee. So all the directors that I talked to said, yeah, that, you know, that might, yeah, that could be, why don't you send me what you have? And then you never hear from them again. Because nobody, nobody wants to do this. So it evolved into a place where selfishly as an actor...
I didn't want to let Larry Crown go or just dissolve into nothing. And it got to a place where it was so much in my head from writing it that you really do have to declare, all right, if possible, I would like to direct this movie. And if possible, it's a big deal. have to raise the financing based on an unproven quantity, which is, can this guy direct a movie? There's a lot of people who don't want to give that money up.
Well, I directed once before, and it was a fine movie, but it's a long time ago, and the returns now in the motion picture industry are brutal. It's a much harder game. And then also it's like, will I have the stamina in order to do it? And quite frankly, 18 months of preparation, it was okay. Well, great. I'm sure you guys have some questions.
How do we do this? They have microphones that they're going to pass around. Okay. I have one right over here to your right. All right. Does everybody who works in a computer store wear a blue shirt, or is it... I mean, is it every possible computer outlet has blue-shirted people? Do you guys, like, have fistfights with the Geek Squad guys when you see each other on the subway on the way home from work because they're PC and you're Apple? I'm just asking.
I would. Well, it's obviously when. Because I think PC's a piece of shit. That's what I think they are. I dropped the S-bomb now. I apologize. Yes, your question. Hi, my name is Jasmine and I just wanted to know how much you take past criticisms into account when you're writing a screenplay. Well, none. I mean, there's no such thing as criticism, I think, when you're writing a screenplay. There is just reaction, and all reaction is valid.
You're talking about a piece of creative output that is in flux. And the question is, do you get it? Does it resonate? Did it make sense to you? Is there something ephemeral that comes out of it? Did anybody ever read the book by William Goldman called, I think it's called, Nobody Knows Anything?
Okay, you have. So you know what I'm talking about. He gave this one particular idea of an adaption to a bunch of different screenwriters, and they all came in with different takes on what it is. And they're all valid. So when you're in the process of getting... giving your script over and you're saying, okay, I've written on this enough. I don't know what to do now. I need input from somebody else.
It's not criticism that you're getting. It's literally just reaction. And you can take it. You can forget it. You can believe it. You can follow it. You can choose to let it hurt your feelings or not. But what it really is, it's not an assault on your ego, on your output. It's they've read the...
movie. They've seen the movie in their heads and maybe it doesn't resonate the way you quite think it is. I've talked to a lot of people that have said A lot of times in Mr. Hanks, I have written this really great screenplay, and I always say, how do you know?
You think it's great, but if it can't withstand the scrutiny of somebody else reading it, you've got a problem. So there is no such thing as criticism. You listen to everything, and you take everything into account. Whether or not you follow or not, it's got to be your own. your own ideal for what the story is going to be. Well, do you have someone...
like a reader in your life that you always, that looks at something first and that you really trust? No, no. I have plenty of people that do that at the Playtone World Headquarters, which is a 17-story building in Santa Monica, California, which, if you... Press the right button, unfolds into a robot and attacks...
other buildings. There is a constant flurry of activity and there's always people who have read stuff that is interesting and even also read source material that can or cannot be turned into something that's great. For example... A long time ago, somebody had read this great article in, I think, I want to say the Miami Herald or the Boston Globe, maybe in the New York Times. And it was about this...
taxi cab company in Miami that was being forced out of business. And it was the only taxi cab that served this really rough part of Dade County. And I thought, that's a great... That's a great story. That came out of a newspaper article. And then we go ahead and pursue that. There's a lot of people that read scripts and say, hey, here's a pretty good script. But by and large, reading scripts is homework. It really is homework. It has to be...
You have to sit down and not read it as a piece of literature, but read it as this visual blueprint. And if it doesn't work, there's nothing you can do for it. We have a question to your left. How you doing, Mr. Hanks? My question was kind of on the same line as the script. What do you find personally paramount in a screenplay? Like, personally to you.
the story or the characters or how it flows. I get what you're saying because there's some that are really crackerjack. I mean, there's a lot of people out there who are very, very fast while they're writing screenplays. And you read them really quick. You can read them in 40 minutes and say, wow.
I saw the movie in my head. It was great. It's the theme that it's examining more than anything else. And there's been times that I thought, this is a great script because it's examining the theme of blank. And it turns out it didn't. I thought it did.
It wasn't the theme that the director was examining or really what the movie had deep inside its bones. There are always going to be funny lines. There's always going to be cool stuff that you get to see. And there's going to be screenplays that... As of page 7, you don't want to read anymore. And if it gets past page 7, you'll take it up to page 30. And you might not want to read it anymore. But if you get to page 30...
Because there's always... Who here are screenwriters, more or less? Everybody knows that there has to be that page 30 incident, you know, that then propels the rest of it. So screenplays sometimes fall apart just in that they are... written in this kind of form that does not translate to your own visual skills. Whether or not it has a theme in there that is truly being examined is sometimes lost in literally the mechanics of writing a screenplay. But I will look all the time...
really to, well, what's this thing talking about? What is it about? Because not only do you have to then go through the work of making the movie as a creative artist, but then you have to go off and talk about it around the world and embrace it. And that's no easy chore. And then also it's going to last forever whether it's good or bad. And I've made some really bad movies that are still out there that are still being seen by people.
And I want to kill all the people. Oh, and the guy is holding up a copy of one right now. The Burbs? Is that The Burbs? What is it? The Green Mile. No, that's a good movie. That's a fine movie there. I got no complaints about that. We have one right over here to your right.
Hey, Mr. Hanks. First of all, I saw you once in Sun Valley, Idaho, and I didn't want to bother you with this question, but I figured I'd bother you now. Where were we? Were we at the Chateau Drugs, Java on 4th? I was at the Warm Springs Lodge. Warm Springs Lodge. Yeah, it's a beautiful place. So you ate lunch right next to me.
to me. And so I've always... Did I have the Caesar salad or was I going for like the fish tacos? I'm feeling chicken Caesar salad. Chicken Caesar salad. It's a fine lunch? Yeah, you seemed really satisfied with your meal, I'm sure. So I've always wanted to ask you, out of all the films you've done, I love you as an actor, out of all the films you've done, which one are you most proud of? What do you consider your masterpiece at this point?
Well, okay, that's an easy question to ask, and God bless you. But, you know, I made a lot of movies, and they're all intense personal experiences that make me lose sleep and take a really long time and sometimes are absolutely heartbreaking in their final analysis. times are so good that I can't even believe that I'm in such a thing. And I guess in order to give you a bona fide answer, which isn't fair question, you little prick, in order to ask me in a public place.
But I will nonetheless answer the question because they have all been magnificent labors of love. And I won't say Larry Crown because it would just be too... too friggin' cheesy. But Cast Away took eight years for us to figure out how to do. Thank you. Thank you very much. No, no, no, no, no. Don't waste time. Don't waste time. And it was a perfect example of the three...
people that are necessary in order to make the movie come to life. I had this idea about a guy who goes down on an island when he's working for FedEx. Bill Broyles was the only writer I ever mentioned this to. who understood that there was really drama to be found in a guy having to suss out the necessities of life, which is shelter, fire, food and water.
And company. So the two of us were able to come up with a fabulous idea and a really good draft of a screenplay right up about to page 66. And then we were lost. We didn't know how to get off the island. We started doing things like, hey, pirates come. And, hey, Al McPherson and the swimsuit models from Sports Illustrated show up. And we were just trying to figure out anything. And it wasn't until Bob Zemeckis, the director, came in. And we talked to him at one point.
came back a year later and said, yeah, I've been thinking about that Island movie of yours. You know what you got to do is, and he had the solution in order to go. So I would have to say that I think I've been very lucky. I made, you know, my, I made about 30 movies.
I think seven of them are pretty good, and I think that's one. That's my joke. I'm being self-deprecating, which is part of my charm. So sit down, you little prick, and next time, you pay for the Caesar salad. We have a question straight back. Yes, yes. Mr. Hanks, in your movie... Oh, okay, sorry. There you go.
Something like that, I could hear almost every word you're saying. Okay, okay. In your wonderful movie in Philadelphia, you had the scene after your party when Denzel Washington was sitting over here watching you. onto your IV, and I think it was Maria Callas' music, perhaps? Yes, from Andrea Chenier, if I'm pronouncing that correctly. It was exquisite. But I've never seen a scene... where I thought the character you was so lost.
in the beauty of the music and in what you were going through as an individual and your suffering. So if I could... I think I would always want to see that scene again because it was so... I can tell you an interesting thing about the subject that you're actually bringing up. Usually making a movie like that in which music is playing that people are hearing, they are not able...
to play while you're shooting the scene. They start it up and then they stop it. And you have to imagine what's going on because it gets on the track, the audio track. And in order to cut that together... they have to not only cut to picture, but they have to cut to sound, which is almost an impossible thing to do. It's very hard. So we shot that scene about 3 o'clock in the morning in Philadelphia. And...
I was familiar with the piece, and we were talking with Jonathan Demme, and Chris... Hey, who did the sound on... Chris Jenkins? No, was that his name? Chris Jenkins, the sound mixer. Thank you. Chris Jenkins, the sound mixer. And we were down, we were trying to figure, well, how do we do this? This is an incredibly evocative piece of music. Are we actually going to do that thing where we start it and then stop it? And I have to, oh, because I have dialogue in it.
And if you have dialogue in it, that really limits what you can do with that footage. And we were thinking about, well, maybe we could start it a little bit. And Chris said, I have a thing called a miracle ear. It's a little earwig speaker that... Maybe I can broadcast it into your ear, but it's going to be weird because I'm going to be coming in one. And Jonathan Demity, to his credit, said, how about we just turn the music up and shoot it? And that's how we did it. So the music was blaring.
Throughout all of that scene, so... It was not that difficult to become lost in Maria Callas' aria because we were listening to Maria Callas' aria. And that is completely, rarely the way that you make movies. The only other time that I know of... John Candy told me a long time ago that in trains, planes, and automobiles, John Hughes... threw all those rules away and just played the music really loud and let him go to it with the music in it. So usually the filmmakers would not have the...
The courage to do that. So thank you very much. It was exquisite, though. Thank you. Thank you. We have enough time for two more questions. The first question is right here in the center in the back. All the way in the back right here. There you go. I see it. Hi, Mr. Hanks. My name is Leah. I was wondering, what kind of advice would you give to future hopeful actors or filmmakers? Well, I think we live a very interesting time because you're actually in a store.
that sells products to make it possible for you to do anything you want to as a filmmaker, a screenwriter, an animator, or also an actor. The only advice I can give anybody is to do it all the time. Do not wait for someone to invite you into the creative process. If you want to be a screenwriter, don't wait for somebody to say, hey, you know that idea you had? I'll give you $10. Sit down and write it. If you want to make a movie, you know how to work MacBook.
Pro, and I don't know. I don't know how to do it, but my crack staff knows how to do it. You can edit it yourself. You can make it all happen. There are people right now that are sitting on the edge of their bed making movies. on their MacBooks, and they're going to be seen by somebody.
They'll be on YouTube, or they'll be on iTunes, or they'll just send it out as friends. And those, believe it or not, we've all seen viral videos that have gone all around, like that girl that sang about Friday. You know, what is her name? No, we've all seen that, right? Okay. And there's plenty of others that you get to do anything you want to now, and it will actually exist. Let me just tell you a quick story. I'm going to drop names now. Do you mind?
Steven Spielberg. Who? Steven Spielberg. Is that a friend of yours? Steven Spielberg. Wait, is he like a director? Actually, he's a buddy that I mow his lawn every other week, and he comes back around. In the old days, of course, he's inundated with movies, right? He would get stacks and stacks and stacks of, Dear Mr. Spielberg, I've written this screenplay. And he would throw them all away because at the end of the day...
With enough acumen or time, you can write a screenplay. But if someone sent him as much as a seven-minute, eight-millimeter film that they made, that they cut together... He would watch all of them. He saw every short film that ever came through his office because those people did everything. They made the movie. They got the friends to do it. They shot it. They cut it. They did the due diligence. Now, that was hard to do in 1978 or 1985. But if you've got a creative bone in your body now...
You can make almost any movie that you want to somehow. If you have a theme you want to examine or a beat you want to show or even a talent you want to expose, you can do it. The other example of this is a great one is Moby, who is a Grammy Award winning musician. His first album, I heard him interview, and he said, I never thought anybody would listen to a record that I made sitting on the edge of my bed late at night on his computer. So my advice to anybody is...
Just do it. Just do it every chance you get. Do it everywhere you can. And you'd be amazed what can happen when somebody sees your work. Last question, second row. Hi, Mr. Hanks. My name is Emily. I wanted to ask you if you could revisit any of your wonderful roles in a sequel, which would you choose and why? Well...
The only ones that we've done kind of like made sense. I mean, Woody and the Toy Stories, those are actually completely independent movies. Odd to call them sequels, but they are. And that's because it just makes sense. Toys never die. And they never cease to have adventures and the people at Pixar are kind of geniuses. The Da Vinci Code movie and Angels and Demons, that's almost like a Sherlock Holmes film. It's the same guy and he's got a different kind of case.
I've made other movies that have been quote-unquote successful, and they would like to have sequels to them, but they don't warrant it, quite frankly. The character would just be in the same circumstance. Again, you wouldn't be able to examine the theme unless you did it. it all again. I heard this thing about studio executives. No executive has ever been fired for green lighting a sequel.
Which is true, because it's easy. Hey, that one made money. Make another one. I'll do it again. It'll be fine. And sometimes they work and sometimes they don't. I have not done any... film beyond the ones that were it was sort of like built into the DNA of the character in the movie that I think warranted having a sequel made there was a lot of pressure in order like you know what do you want to make remake Forrest Gump or League of Their Own or something like that I don't know how to do it
I don't know why to do it. It would probably just be some version of the same movie you just made. And so, honestly, what's the point? I've got better things to do. But they figure there's a built-in audience, so it'll make money. Well, I mean, everybody knows now. And some sequels are great and some sequels aren't. But, you know, it's okay. It's the way it works. Well, thank you guys so much. Thank you very much. And thank you, Tom Hanks. Thank you. Thank you.
Thank you, guys. And thank you again so much to Tom Hanks for being here. Thank you. The film Larry Crown everywhere, July 1st. That's this Friday, guys. This Friday, Larry Crown comes out. So thank you very much again. Have a wonderful, wonderful afternoon and evening. and we'll see you next time.