Netflix is at the top of the media foodchain, and that’s a good thing. Rather than rest on its laurels, the subscription streaming company that started by sending DVD’s in the mail years ago, still acts like it’s small, greenlighting daring stories, only this time told by stars like Will Smith. Such was the case at San Diego Comic Con 2017 with “Bright”.
According to Netflix PR, Bright is “set in an alternate present-day where humans, orcs, elves and fairies have been coexisting since the beginning of time, this action-thriller directed by David Ayer (Suicide Squad, End of Watch, writer of Training Day) follows two cops from very different backgrounds. Ward, a human (Will Smith), and Jakoby, an orc (Joel Edgerton), embark on a routine night patrol that will alter the future of their world as they know it. Battling both their own personal differences as well as an onslaught of enemies, they must work together to protect a young female elf and a thought-to-be-forgotten relic, which in the wrong hands could destroy everything.
“The Netflix original film stars Will Smith, Joel Edgerton, Noomi Rapace, Lucy Fry, Edgar Ramirez, Ike Barinholtz, Enrique Murciano, Jay Hernandez, Andrea Navedo, Veronica Ngo, Alex Meraz, Margaret Cho, Brad William Henke, Dawn Olivieri, and Kenneth Choi. The film is directed by David Ayer and written by Max Landis. David Ayer, Eric Newman, and Bryan Unkeless serve as producers. The film will be released December 22, 2017 on Netflix.”
Here’s the trailer for Bright:
And here’s the Netflix “Bright” Cast Panel at San Diego Comic Con, and I included the transcript from the press conference that was held afterward:
What followed the Bright Cast Panel was a press conference, and here’s the transcript from that:
Bright Press Conf
PANEL
EN – Eric Newman BU – Bryan Unkeless DA – David Ayer WS – Will Smith
JE – Joel Edgerton NR – Noomi Rapace LF – Lucy Fry
ER – Edgar Ramirez
[00:00:09] A. Leading.
[00:00:36] VOICE I know we don’t do that. Well OK.
EN: [00:00:42] I’m Eric Newman. I’m one of the producers.
BU: [00:00:43] I’m Brian Unkeless I’m another producer.
DA: [00:00:48] David Ayer, director.
WS: [00:00:50] Will Smith, Libra. I like long walks on the beach. I’m around if you’re around. JE: [00:01:00] Joel Edgerton and I’m an actor in this thing.
NR: [00:01:04] I’m Noomi Rapace I’m an actress in this.
LF: [00:01:08] I’m Lucy Fry and I am an actor.
ER: [00:01:08] I’m Edgar Ramirez and I’m an actor.
AUDIENCE: [00:01:08] From Fred, I have a question for Will. At Cannes you said something really beautiful about how this generation watches movies both on Netflix and in theaters and I think as much as there might be a kneed jerk reaction to something new, there can also be a tendency for people to be so obsessed with something new they abandon the old ways so how do you see watching movies on Netflix and in the theater evolving side by side?
WS: [00:01:45] Yeah. Well I just you. Edgar and I were talking about it earlier
WS: [00:01:48] And I were talking about it earlier and you know I’ve a 16 year old a 19 year old and a 25 year old at home. Their viewing habits are almost anthropological you know it’s a great study to be able to see how they still go to the movies on Friday and Saturday night and they watch Netflix all week. You know so it’s two completely different experiences. But it’s definitely a different experience. You know I don’t think anyone’s trying to say that it’s an identical experience. I was talking earlier. I was on The Fresh Prince of Bel Air. So people would see me on the street and I was like “Will! Will! Will!”
WS: [00:02:34] And then Independence Day came out and that Monday after Independence Day came out was the first time that anybody referred to me as Mr. Smith.
WS: [00:02:43] Right.
[00:02:43] So there’s definitely something about that big screen that penetrates people in a very different kind of way. But it’s a different medium that I think, Net net, you see what I’m saying, it’s almost like a pun right. It’s but not but not but not right like.
DA: [00:03:09] In the neighborhood of
WS: [00:03:15] In the neighborhood of like pun-ish. NR: [00:03:15] Is this thing on?
WS: [00:03:15] Thank you.
NR: [00:03:15] But it’s also like you think you know like my son invites his friends over and they watch films like on our projector on the wall Netflix, he watches Netflix, almost every day. There was like a friend of his, they didn’t have the money to go to the cinema and he was like oh we’re going to watch Netflix film instead. And he invited all his friends and then everyone can see it together. So it’s like as you say it opens up opportunities but it’s not the same.
WS: [00:03:43] It’s very different. I’m sure it was the same kind of vibe when the transition happened from theater acting where you went to go see a play and then someone decided they were going to film it and put it together and move it to a movie theater. You know I’m sure that you know the purists had that same kind of feeling but it’s different. It’s not the same thing it’s something different; it’s a new almost a new art form.
DA: [00:04:12] For me it’s pretty simple. This movie I got to make it in a way and at a level that otherwise I may not have been able to make.
DA: [00:04:20] This was shot you know with the Alexa 65 which is a state of the art large format camera. I mean they’re shooting Star Wars with these cameras. It was shot with you know you know the Lawrence of Arabia lense sets you know Cinemascope lenses just beautiful old school glass everything technological about this is as if we had done a major feature. For me the only real difference is just there is a lot more freedom of creativity and it’s less about how we’re going to see this and more about like just having another cool place as a filmmaker to go make movies.
AUDIENCE: [00:04:51] The question for any of you who want to take it, but specifically to Joel, you’re playing an orc in this story. This story is a real world story to some extent with very fantastical elements. Where does the real in the fantasy sit in relation to each other tonally and how do you either. Where does this fall on either side of the line. How do you navigate the line of playing it real but playing it in a real environment that obviously plays with some very fantastical story elements?
JE: [00:05:18] It was very interesting. This is a lot of sort of movies that deal with fantasy or mash up of reality and fantasy and a lot of them deal with like an alien invasion in the sense that the world of the film is like there’s been a sudden change.
JE: [00:05:39] And what’s interesting about this and I reference District 9 because it was a film where there was a different kind of dynamic society that had settled well before the movie the first time in the movie and that there’s something about this movie that is akin to that it’s like or it’s real world L.A. and you imagine that extends to the rest of the world too and that all the characters or a
lot of the character of Lord Of The Rings or the types of characters the elves the orcs they’re all living in society and society is settle just so. And it’s settled with a lot of cracks and the tectonic plates haven’t quite work itself and there’s a lot of racism. And there’s a lot of issues. Saudi isn’t exactly perfect and the orcs fall because they were the servants of the dark lord 2000 years ago they’re still paying for that.
JE: [00:06:37] And I’m the first orc that’s been allowed into the LAPD, under a diversity program and I’m really paying for that.
NR: [00:06:45] And the elves look down at the orcs like they are slaves that are supposed to work for us and then they break up the.
JE: [00:06:52] The elves are like.
ER: [00:06:52] Not all elves.
JE: [00:06:52] The ones that rule Beverly Hills. The elves are like the one percenters. NR: [00:06:52] Smart ones.
JE: [00:06:59] See this thing is leading into it playing and playing an orc, alright I’m gonna like some sort of beast, I should play it in some sort of animalistic way and then reading the script that Max had written and that diverted tricked up as well as that desperately wanted to be a human being. But his whole life going to humans school, cut his teeth so that he could look more human and was studying what it was like to be a human being. So I thought I was going in this direction to play some animalistic version of an animal and instead I looked like an animal and I was desperately trying to be the most conservative human being that I could be and it was a great challenge.
WS: [00:07:44] No no no no no please thank you.
[00:07:46] I think that the actors are talking about which speaks to a larger commitment to the movie, you know for authenticity. This is a drama that happens to be set in a world where there is a you know a huge difference but it is our world; it should feel like our world. David went to great pains to make it look like our world and we shot in Los Angeles always at night which was very difficult but for some of us because.
WS: [00:08:11] For those of us they were sitting behind the monitor. It was a riot.
EN: [00:08:16] When I worked there were restaurants nearby there was really good food and stuff, but no, the commitment to this is real and it really shows in these unbelievable performances by our cast.
WS: [00:08:28] What Joel was saying with the idea it was spectacular for me as an African- American playing a police officer, that was racist against the first orc on the force. It’s like the flip of those social concepts. As a black dude you just don’t get a lot of movies where you’re the racist. And it was really great man. “You man, I don’t want no orc in my car.” You know you; never get to say that.
AUDIENCE: [00:09:10] David you said that you might not have been able to get this movie made at a studio. Walk me through what the alternate version, the alternate universe version of Bright might have looked like had you done that would it have had to be compromised when it comes to
budget? Were are certain creative things that you could have only done at Netflix?
WS: [00:09:27] Objection your honor. I’m not going to have my client answer that question. [00:09:31] I believe that the three of them.
WS: [00:09:35] I’ll allow it.
DA: [00:09:38] Look look it’s hard to quantify because I think every movie is a journey movie always takes the form it’s going to take ultimately you know. So it’s a little hard to speak for what could have been. But I can say that this is a movie that should have been. You know I got all the resources I need I got to shoot in Los Angeles. We weren’t chasing a rebate, we weren’t shooting Atlanta for Los Angeles. We got you know the equipment we were able to shoot you know practical stunts you know ridiculously complex shots.
DA: [00:10:09] And as a filmmaker to spend more time working on the creative than working on the spreadsheet that supports the film is a true pleasure and I think that changes how you come at the movie and your energy and it also changes you know how the cast comes with the movie because they feel that freedom.
EN: [00:10:27] Rating probably would have been a different rating for sure.
EN: [00:10:31] And this a rate R movie and it wouldn’t have been at a studio likely.
JE: [00:10:36] Lot of orc nudity. A lot of time last year.
WS: [00:10:41] Once you go orc, you never go back.
NR: [00:10:44] And a lot of blood.
AUDIENCE: [00:10:50] You said during the panel, you were surprised by the freedom you have with Netflix.
WS: [00:10:57] I’m sorry, hold on, there’s music playing.
EN: [00:10:59] Is that a phone ringing or something? It’s like it’s nice. It’s kind of jazzy. It’s in here.
DA: [00:11:04] It’s Muzak.
WS: [00:11:06] Muzak! OK. OK. Well I can’t work like this.
AUDIENCE: [00:11:11] So you said he was surprised by the freedom you have with Netflix. Would you say you don’t have the same freedom with the other studios?
DA: [00:11:20] No I mean it’s just in this case I just had you know a real sense that I was making something different something special I mean I got I got to make a movie I wanted to make. And it’s nice to be a creative person and a trusting environment. So I mean Bright really is you know I think a unique film and that it’s such a specific voice and it’s such a new thing and yet it’s done at such a large scale. I think people are really going to be surprised to see a film of this magnitude in this format.
WS: [00:11:50] I think what the major difference is the Netflix business model is different in a way,
because it’s subscription base where what gets created is that their risk profile is different. So Netflix can make a hard rated R film for 170 million dollars. So the studios can’t do that. If the executive wants to be at work on Monday, but you know the risk profile if they’re going to spend 170 million dollars. I’m not saying what this one was.
EN: [00:12:28] No, no its not.
WS: [00:12:28] A number was just in my head. No no I’m just suggesting the next movie. But you know when you make a movie that expensive you have to broaden the audience which means that you have to be P.G. 13. Right. It is a huge decision where you make a film of that magnitude based on the risk profile. So at Netflix based on the subscription they can make anything for any number that they feel like they’re fan base is going to want to see. So as an artist it’s free in that way it’s just a lot of little ways that you get to be creative that gets slightly just confined when everybody’s jobs are on the line for the success of the three days.
NR: [00:13:24] And like less middle hands as well it feels like if Netflix says yes that is yes. And then you are, you can create in that. You have a space to create and less questions down the road.
BU: [00:13:35] And they have such a smart team too. I mean it’s Ted Sarandos and Scott Stuber and Bowen.
BU: [00:13:39] I mean they’re really top notch and they’re supportive and confident and allow you to do your job.
WS: [00:13:44] And because they work off of specific data they know ahead of time with the director of Suicide Squad and with me at this point in my career and you know they go through and they have numbers on everybody. They add the numbers up and they say ‘yes it works.’ They go and they know who’s going to buy the movie even before you shoot it. Right so it’s a completely different basis of how they work that the trickle down is that between action and cut we get to do whatever we want.
AUDIENCE: [00:14:23] My question is for Mr. Ayer. You’ve depicted Los Angeles a few times on film. I was wondering were there any parts of the city you finally got to explore and was there anything new you wanted to say about L.A.?
DA: [00:14:33] It’s interesting because I think the last time I shot in L.A., I don’t know if it was eight years ago, it’s hard to say, but the city has changed so much. It’s absolutely transformed and you take like the warehouse district downtown which used to be where you could shoot, you could do anything, do machine guns and what have you is now a very high end arts loft district.
DA: [00:14:57] Even Skid Row is developing. even you know the classic South L.A. neighborhoods have evolved because there’s been so much investment and so much development. So the old L.A. is really disappearing.
DA: [00:15:10] My joke with the production designer is how this film is actually going to become you know architectural reference of the city because there were locations where we were shooting and as we’re shooting they’re pulling buildings down, they’re pulling things down around our location and were like ‘OK we can shoot this scene up before that building is gone.’
DA: [00:15:29] So it’s you know L.A. is my city, I love L.A. I’m starting to have to rethink what is my city and what does it look like.
LF: [00:15:47] I mean for me being from Australia it was kind of the first time that I’d explored L.A. and downtown L.A. and it was so exciting because it was like at night time. We did night shoots the whole way through. It would be like all the magical creatures would kind of come out of the alleyways and then be like lizard people going through the garbage bins like these big heads and these sort of cloaks and it kind of turned downtown L.A. into this magical gritty world.
NR: [00:16:18] But also David is, I don’t know how you find those locations. Like I’ve never seen places like that. And it was just amazing.
EN: [00:16:26] And he was arrested because. ER: [00:16:30] Cause he knows them.
NR: [00:16:31] He knows them.
DA: [00:16:34] Everything’s sealed.
ER: [00:16:35] The things that he knows as any great artist and director and visionary he knows his subject very well, and he knows his world very well. He if I may say I think David you cannot as any great artist escape from your obsessions and clearly that’s a world that he knows very well. So when I first heard about David wanting to tell a story that was based in downtown L.A., in East L.A., but in a parallel universe in a world that was going to be unique, I knew this guy is going to pull it off because he knows that world very well.
NR: [00:17:12] I grew up in Iceland and they believe in elves and fairies and all that. So he’s kind of my world merged into your world. It’s like downtown L.A., hard and harsh.
WS: [00:17:23] That’s funny. I grew up in Iceland too. Where did you grow up at?
ER: [00:17:28] I grew up in Venezuela and we believe in everything so and David understands that world very well as well. You know he speaks flawless Spanish. I told during the panel that he used to direct me in Spanish just to you know also make the others uncomfortable.
JE: [00:17:47] And it did.
ER: [00:17:48] And it did it just.
ER: [00:17:51] That we will absorb to to to to just pull something out of ourselves. And that’s it’s great it’s like it’s a huge movie. It’s it’s a big movie, it’s a big action film, but honestly the way we speak about it, it’s just like we did an indie movie.
NR: [00:18:04] Yeah totally.
ER: [00:18:04] In a movie that would go to festivals and that’s how we shot it. So it’s a great, it’s a great experiment and I think that we thought Netflix and as you said the business model and also the vision that they have that we would have been able to do it and it’s great to be a witness of such a profound shift in culture right now.
NR: [00:18:30] I mean we’re like searching through the whole movie. We felt like we found a movie as we were going like the way David works he’s like exploring things every day and like constantly open and finding solutions on the spot which becomes very creative and very fun and playful even a big massive ship behind us, it feels very intimate.
DA: [00:18:50] I’d write scenes and hand them to them on the day.
WS: [00:18:54] Yeah. I mean you probably shouldn’t do that so much, no more. You did it a lot.
ER: [00:18:57] We love you David.
AUDIENCE: [00:19:06] Will, you mentioned the Fresh Prince and a lot of people are comparing your look in this movie to when you pretended to be Ashley’s dad on Fresh Prince. Also.
WS: [00:19:15] That damn mustache. David, this guy with the mustache. I hated that mustache. It was so bad.
AUDIENCE: [00:19:24] Also you posted the bungee jumping video and I don’t know if you saw but a lot of fans isolated like one moment where they said you look like Uncle Phil.
WS: [00:19:32] Uncle Phil. Yeah. I know.
AUDIENCE: [00:19:35] Yeah if you knew about those and what you think about fans making
those connections even today?
WS: [00:19:40] No as it is such a new world. I released my first record in ’86 you know I’m over 30 years in the business. I’ve seen you know, my first album. There were no CDs. So it wasn’t until my second album that they came out with these hot little discs called CDs you know so I’m seeing that transition. Essentially the fans being more and more involved in the creative process you know in terms of movie stardom it’s a huge difference. It’s like you almost can’t make new movie stars anymore. Right. It’s like because there’s a certain amount of privacy and there was a certain amount of distance that you had from the audience and only on July 4th, did you have access so that amount of access created is bigger than life kind of thing. But in the shift into this new world it’s almost like a friendship. Like with the fans the relationship is you know less like the time of Madonna, Michael Jackson. You know when you could make the you know Tom Cruise these gigantic figures because you can’t create that anymore. The shift is to we’re best friends. And then that’s like with the comments and with those pictures and I like that.
WS: [00:21:21] I love trying to make that shift and make that transition into the the new demands of the fans in this business.
AUDIENCE: [00:21:38] For Will and David: So Christopher Nolan recently said that Netflix’s film strategy was mindless. Said he would refuse to work with them. I wonder what your reaction is to that.
WS: [00:21:49] Well I think Mr. Nolan is a wonderful director and I will not say anything that will keep me from being in his next movie.
DA: [00:21:56] Me too, I’m dying to act in Nolan film so I’m not going to touch that. WS: [00:22:01] I just don’t like your attitude about Mr. Nolan.
AUDIENCE: [00:22:09] I was wondering because this is a universe I mean like what. It looks like it could have the potential to be a franchise. And I was wondering what would it take for it to become a franchise and how would you envisage a franchise on something like Netflix working? That may be different from.
DA: [00:22:24] Movie are movies. This is a movie and if we do a sequel, we’re going to tell more of the story and then maybe we will tell more of the story after that. I mean that’s what’s so great about this universe of Max Lanas created is it lends itself to so much and our discovery with the film and with audiences out there is that they’re very hungry to know more. What’s the mythology? What’s the history? How do these different races interplay with each other? What’s the history of the orcs? So it’s something that I think is eminently developable and you know I look for the opportunity.
WS: [00:22:59] Developable is a good word.
DA: [00:23:00] I made that up right now.
WS: [00:23:00] I like the two B’s in there. Developable. Developable.
WS: [00:23:06] I don’t want to ignore your question. But I think that you know there are certain things that you want to see on a big screen. You know it’s like I remember the Christmas that Avatar came out and our entire family you know rushed out on Christmas day to go with the glasses and all that. You know so there is an experience and you know specifically the type of films that Chris makes you want to see them in in that space. It’s like the venue is a part of the experience.
AUDIENCE: [00:23:51] Yeah this question is for Will as well as David. So you had mentioned earlier that it was a bit jarring for you playing a black officer that is sort of like you know depicting these racist attitudes towards orcs. Will we see any sort of like state sanction like violence that you see police officers doing right now in the current state of our politics? Will we see those kind of dynamics played between law enforcement and also the Orcs and the supernatural creatures on the show?
WS: [00:24:21] Yeah for sure. You know David David isn’t, let’s say he doesn’t find a necessity to be delicate with those issues. This is a film that is is about enjoyment and entertainment. And those under currents and undertones of the film are you know specifically for people to be able to think about it. Not to make any judgment about it.
WS: [00:25:01] It’s like we’re showing it, we’re displaying the look and the feel and you know there’s a great scene where we’re sitting with and we’re out looking out and the police are coming and that something has happened with an Orc and the police are trying to subdue the orc. And my character is sitting specifically with Joel’s character while the police are subduing the orc and I ask him, alright, I say I need to know are you a cop first or an orc first.
WS: [00:25:33] And the backdrop of the scene is the cops taken down this orc so it’s really rugged and it’s you know it’s powerful and it was really bizarre for me to be on the other side of that. And we you know we did we did ride along with LAPD and with the sheriffs and you know as an African-American it was really a different perspective for me to be in the back of the cars riding around with police officers in Los Angeles in you know predominantly black and Hispanic neighborhoods and seeing the complexities from the other side of it.
DA: [00:26:15] I mean for me it’s a movie and it’s a great story. It’s supposed to entertain some you know there’s people out there I think whose minds are closed and they don’t want to hear or see certain things. And my hope is that through you know the allegories and you know using these sort of metaphors about life that maybe somebody who wouldn’t be receptive or understand what’s going on in somebody else’s heart may open their eyes a little bit. And that’s I think the best we can hope.
AUDIENCE: [00:26:49] Actually this is going to follow up on the question that was asked. I mean obviously these issues are very relevant in the culture and you know kind of merging them with Sci- Fi’s is a great way to present it. But I think there’s also a certain amount of delicate balance that has to be made between bringing awareness and putting that in the forefront. And then still not having so much of it that it feels so heavy that you distract from the obvious. So what’s the thought process or was there even times throughout the film where you had to go back and say OK we need to take another look at this because this may not fly or this may be too much or maybe not enough?
DA: [00:27:28] Like I think every filmmaker needs a compass. You know I grew up in South L.A. I saw violence on both sides. I mean, I’ve lived. And it’s still out there our children are still being eaten. You know and there’s people you know we only have one heart. How do you live in this world with two hearts where on one side you know you belong with the group that you belong and you have the people that you belong to and you want to join society? And how do you change your heart to join a society that doesn’t want you to join? And I’ve seen all these things.
NR: [00:28:05] It feels like David your view on the world is like it’s not so black and white. Like what is good and what is bad what is evil and what is bright and what is dark. You know it feels like you have a very. Kind of open and for me your view on people in the world is very, very wide and wise. And we were talking about like he is I’m the villain and I’m you know you can say that my actions are very cruel and violent but in my head and my heart I’m doing something good. I want to create a better space a better world.
NR: [00:28:44] And he’s on the other side he’s a good elf but not so good. So it’s like everything is like we all have a lot of layers.
ER: [00:28:50] I have very pointy ears. Look out for my ears.
NR: [00:28:50] But that something like in all your films, like good and bad doesn’t really exist. It’s
way more complicated.
ER: [00:29:00] You’re too extreme to be true, to be valid.
DA: [00:29:02] You know it’s very complex and you know it’s issues of family and child rearing and substance abuse and family histories of violence and PTSD.
NR: [00:29:14] What’s this music? It’s like so surreal.
WS: [00:29:15] Kenny G is all over us right now..
ER: [00:29:17] I’m sure David’s behind it.
DA: [00:29:21] We’re complex. But at the end of the day like we’re all the same you know. Let’s just live together.
NR: [00:29:25] And one day we can do something really fucking bad. And the next day we do something really good.
AUDIENCE: [00:29:35] I just basically, Joel I want to know, what is the one thing we should know about an orc? And actually what’s the one thing we should know about being an elf?
NR: [00:29:48] They’re sexy as fuck.
NR: [00:29:48] Can you do the look without the
JE: [00:29:53] I can’t do the look right now. If you’re willing to sit around and be patient and deal
with three hours of makeup, I could give you the look.
JE: [00:30:00] Look there’s a couple of beautiful things about orcs like they don’t understand sarcasm or irony or humor and they very well my orc is very honest. And also if you lie or might not understand it in your inflection but I’ll smell it on you.
JE: [00:30:24] That’s what makes me qualified to be a cop I can’t like I can’t take you into an interrogation room and you’re like ‘I didn’t do it, I didn’t do it’ and the cop’s like, he’s lying. I smell it on you.
JE: [00:30:36] But I’m a right lovely honest person they can trust even though I don’t look so pretty and in makeup either.
LF: [00:30:44] One of my favorite things was when we were in rehearsals and we were sitting at the back of the dojo and Dave was kind of like talking us through what it was like to be you know. And he was like it’s kind of like you’re in a different state of mind, you’re in a different realm to everyone else and he was like look at that sword like what’s that sword telling you. If the sword was talking to you right now like what’s it saying. So it’s like they’re taking in the objects like they see through things and into things and things that people can’t normally see.
NR: [00:31:22] But they are also wide awake. It’s like they have like six senses like wide awake at the same time. So take in everything: the smell the eyes and they hear like they have everything. So they you know it’s hard to escape it’s hard to hide from.
ER: [00:31:36] Looking out from the never ending trip or tripping all the time. Our senses are completely heightened all the time. We are like working hard.
NR: [00:31:44] We couldn’t hear we could see, we had elf ears, contact lenses, teeth, high heels, a suit I couldn’t move.
JE: [00:31:51] But from an orc’s perspective the elves are very attractive. Very very well dressed. JE: [00:31:58] Yes. They’re the aspirational ones. They are the ones living in Beverly Hills. Well
you know better than that.
NR: [00:32:05] Totally on top of the world.
WS: [00:32:07] My character had a thing with an Elf once, and it didn’t work out you know, but it’s like, (whoosh sound), I’ll never forget Fluffy.
WS: [00:32:20] He’s like get him out of there.
PANEL: [00:32:21] Thank you all. Thank you. Very good. Thank.
Bill Carroll