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BONUS | If you've ever been curious about the origin and history of The Studio Demands It, Dawn Joyal sits T.C. and Jim down to demand answers to some of the most pressing questions.
Two screenwriters attempt to recreate, reimagine, or flat out fix, existing film franchises when 'the studio' demands...MORE FILMS! It's an exercise in creative thinking where they will challenge themselves to conceptualize, pitch, and craft a film based on the stipulations of a hypothetical Hollywood overlord. | Sixfive Media
Hello. Welcome to the studio demands it, an exercise in creative thinking where TC and Jim conceptualize, pitch, and craft a film or series based on the demands of one of their listeners acting as hypothetical Hollywood overlord.
Jim:Overlord.
Dawn:Except that's not happening today. Oh. Today, TC and Jim, they're here with me. My name is Dawn Droil, and I am going to get to the bottom of the studio demand set. I'm trying to ask the questions you would like me to ask and learn some new information about the series.
T.C.:The bottom. The bottom. We we are an open screenplay.
Dawn:Okay. So let's hear about the origin story.
T.C.:The the origin of the studio
Dawn:Podcast. Yes.
T.C.:That's that's
Jim:Well, you see, one day a meteor fell to Earth, a strange meteor from a strange star. Mhmm.
T.C.:A far off galaxy.
Jim:And where it landed, a farmer noticed it was in his field and he went out to it and he he picked it up, it was very hot so it burnt right through his hand.
T.C.:Oh, my hand hurt and my hand fell off. Went right through it.
Jim:Yeah. And he sold it to a pawn shop. Never got his hand back. Mhmm. And we found it.
Jim:Mhmm. We we went to the pawn shop and we found it and the
T.C.:We were looking for brass knuckles.
Jim:Yeah. Because we had We've been in We were doing we had a plumbing project Yeah. At the house and we needed brass knuckles for them. Yeah. We will go no further into that.
T.C.:Yeah. But Not worth exploring.
Jim:Saw this meteor on the show and he's like, oh, look. What if I was Green Lantern? I was like, you're not Green Lantern. Stop saying that. And he bought it just to make me Despite him.
T.C.:I said, I'll prove to you.
Jim:On the way home, it whispered to us,
T.C.:you should do a movie podcast. Just like that. Yeah. Two voices at once.
Dawn:And your experience was exactly the same as Jim's?
T.C.:I I remember almost exactly the same way, except the the the farmer that lost his hand in picking up the meteor, I don't think he was a farmer. I I I not a traditional farmer.
Dawn:Somehow I knew you were gonna say that.
T.C.:Think he's some it it I think of like a windmill farmer. Like, I don't think he, like, dealt with animals or anything. That's the only difference that I had in my
Jim:You always shoot down my ideas.
T.C.:Pure nonsense.
Jim:I'm I'm making I'm making a mockery of the interview. I'm sorry.
Dawn:No. That was another one of my questions. So what do
T.C.:do the actual origin if you like, listen then to
Jim:Well, I think I figured we would. The thing is I I don't know. I'm I'm feeling cheeky. I'm feeling In
T.C.:Silly. In 2019, before the pandemic era Mhmm. Jim and I were just hanging out at my house, and I don't we had the TV on, and it was one of the movie stations. It wasn't even, like, pre streaming. It was a cable station probably, and it was
Jim:No. Actually, I came over Mhmm. And we were we were just hanging out and you put it on.
T.C.:I oh, I legitimately just was like, we're gonna watch Star Trek Into Darkness.
Jim:Yeah. We're gonna we're gonna watch it was to have something on while we hung out and just hung out. Yeah. Because at the time, we were hanging out with the hopeful intention of writing scripts.
T.C.:Mhmm. Mhmm.
Jim:We we had started doing that at that time. But I do remember it was DVD.
T.C.:Yeah. Okay. So I popped in the DVD and as it was playing, I complained. Like, man, this movie is such a disappointment because they so clearly were just trying to redo Wrath of Khan, which is Folly. Why would you do such a thing?
T.C.:It is arguably the best Star Trek movie. Why would you go back to that well? Especially because the 2009 Star Trek that JJ Abrams did left the door wide open for them to literally go any direction they wanted to, and yet they still chose to repeat what had already been done before. And so I was whinging about that, and Jim turns to me and goes, well, clearly, they were told they had to do that. Yeah.
T.C.:So if that is the case, what
Jim:would you do? The right. The studio says, okay, TC, do it. You get to direct this second Star Trek movie, but you have to include the con story.
T.C.:Right. And then what unfolded there over the next two and a half hours, two ish two ish hours of watching the movie in real time was like, well, I wouldn't do that, but I wouldn't do this. And I would tweak this to here and this to there. And, well, actually, that makes Uhura sort of like a damsel. So let's nix that, and then we bounced ideas back and forth through that whole movie.
T.C.:And when we got to the end of it, the credits are rolling, and we we're very proud of ourselves for obviously making a better movie.
Jim:We're so smart. We're so
T.C.:and Jim turns to me and goes, is this something? Is this a thing?
Jim:Yeah. Because, like, for the the year or two previous, probably almost going all the way back to when I had you do voices for miss at heights. Mhmm. Or maybe not that far, but you had been saying you've been suggesting doing a podcast, and I didn't wanna do anything. I was like, I don't have nothing
T.C.:to say. But you did have things to say.
Jim:Yeah. And and with that, this this was the perfect idea because that is what we do all the time. Is talk all the time. Is talk about movies. And it was like, oh, yeah.
Jim:We're never gonna stop that. We'll never get we'll never run out of stuff to talk about. Right? Because if we'd done a podcast about
T.C.:Right. Just about Star Trek.
Jim:Yeah. Just Star Trek. You'd be like, that that'll run dry. Right. I'll I'll I don't know about I won't speak for you, but I'll be done talking about that after like 10 episodes.
Jim:Yeah.
T.C.:And and and the timing on Studio Demands It as a pitch was pretty serendipitous because the rewatchman had pretty much run its course. Mhmm. Ben had moved on to other things. So
Jim:Tell tell Don what rewatchman
T.C.:Oh, the rewatchman was my previous podcast that I had done with Ben To. We did it for the Ghost Hat Network, Jeff Bell. And it was a we would watch movies that we that we or people had very strong opinions about that we had not watched in a long time. And so we'd rewatch the movies and rereview them. And Ben and I did that for quite a while until it sort of just ran its course and life went in different directions.
T.C.:And I had been doing the one minute rewatch for the BitLife channel.
Jim:Mhmm.
T.C.:And that was reaching the end because I got a little creative differences differences over content. Nothing nothing that was, like, I was mad about it. It's just sort of like, I think I wanna go a different direction creatively. And David, the godfather of six five media, had been trying to find an excuse to work with me on literally anything. So it sort of just all kinda coincided nicely where David was offering me a slot to do a show on the network, a show on the network if I wanted to.
T.C.:And Jim suggested this. Mhmm. The Watchmen had ended. And I was like, I think this is a thing. I think this could be a thing.
T.C.:And, and also, you had said you'd run out after ten. I said, a, let's do an episode zero, which ended up being episode one, which is Die Hard six, and let's commit to ten, that's it. If we get to ten, I'll tell people about it. And it's less Yeah.
Jim:I remember you saying that.
T.C.:Yeah. We get to ten, I'll tell people about it. Because rewatching it had been a thing where, like, I told everyone about it and no one listened to it. So it was a a sort of a protective like, we're gonna do this for us. Yeah.
T.C.:No matter what, we're doing this for us. We'll do 10 episodes. We'll see what happens. David made me commit to 13, but I was like, we can
Jim:we can do that. What's what's he gonna do? Come here and make us talk in the microphone? So
Dawn:after six seasons, what do you like best about doing it?
T.C.:Oh, what do we like best about doing doing the show, doing the show?
Dawn:Any aspect of it. You can whatever comes to mind when you're saying when I ask that question.
T.C.:Jim, anything pop to your head? This cat is being super
Jim:vocal today.
Dawn:It's okay.
Jim:Just My an natural state is to be lazy and So what it does is it allows me to be creative. Like, it it it forces me into the practice of being creative, which I would like to think I would do anyway, but I wouldn't do it to to quite the same level. And and the the the time the time parameters of of the show also are really nice for honing honing that knife of imagination. In case you were wondering, imagination is a knife.
Dawn:I can see
T.C.:it. Yeah. The Jim and I are gonna geek out and talk about stuff anyway. So I just like that we've been able to time capsule all these years together. The the thing I love most about it is it's never really the same thing twice.
T.C.:We kind of we have reoccurring themes that we'll play with. We know sort of the the the area we are most confident in. Challenging ourselves with very specifics, very specific, like, very specific IPs and that that creative exercise. I'm I'm a runner. I work out.
T.C.:I know that working out makes you a better runner, and that goes creatively as well. Doing this as regularly as we've done it for six years, is is a workout. Like, we are consistently challenging ourselves to create and entertain, perform for each other, and and create things that we that we genuinely like, and I love it.
Jim:And I think that that x factor of having audience suggestions, the the parameters of the studio help help that even more. Because a lot of people sit around and like their own ideas. Mhmm. But trying to craft an idea that you are still going to like with while also trying to please someone else is a particular Yeah. Path of of of that skill.
T.C.:I I do a lot of writing for clients, for a lot of producers and directors and actors and often oftentimes, often, frequently enough, their ideas are not fully baked. I don't I am not find them
Jim:You're the writer. You figure it out.
T.C.:Yeah. And and then it's a matter of, like, how do I write something I like that's also something they want and and can and more or less convince them that it was their idea. And so playing to the studio, the the the arbitrary powers that be that say, you guys have to do this. That's a fun aspect of the game of this as well. We've we've without putting too much pressure on ourselves Yeah.
T.C.:Hardly any, we've created this gamified challenge of creativity. And we have risen to the occasion multiple times, I'd to think.
Jim:Yes. Have. Pat, pat, pat, Well,
Dawn:this is a good segue. What is the timing in the six years where you started to see your subscribers increase?
T.C.:Oh, I I actually you probably had no clue. No. The first time we crossed over with David. So David's been doing another Zelda podcast longer than we have. I think he's coming up on ten years.
T.C.:I I probably should know that. But David has been doing AZP, which is the foundation of Six Five Media longer. The first time we crossed over with him, which is I guessed it on his show and then he guessed it on ours, we had a sudden bump in subscribers because he brought people over from his show that were like, oh, David Dave Dave guessed it over there. Let's go take a listen. And every time we get the AZP bump, we stay at that level.
T.C.:So it's not like we get a bump for just his episode and it goes away. It's we get a new bump of listeners and then we split more or less plateau or rise a little bit, and then the next season, that was the first time we we saw, like, a listenership bump, but it was Spider Man, Amazing Spider Man three, which is the end of season three that took us into season four, we got a bump beyond AZP where we actually produced something that people listen to in the thousands that then helped our show maintain. We always get a huge bump for the finale, which makes sense. It's a feature. But, when those numbers stick around, that's always really gratifying.
Dawn:Who specifically are you trying to entertain in each show?
T.C.:Him. I'm trying to entertain Jim.
Jim:Goody. I that's that's a lie. I'm trying to entertain me.
T.C.:I'll I'll say I lied too. I'm just trying to entertain myself. You agree. No. It it's that's a that's a very good question.
T.C.:Certainly hope that people are listening to this and are being entertained by us, but it has been part of our ethos from the beginning, and I've said it already even just in this. Yeah. Yeah. We're gonna do this anyway.
Jim:Yeah. The those the like, when you said the first 10 episodes, that's for us. And that's sort of what it it always has been. Because because what I just interrupted you saying, we are. Like like, if we weren't recording this, we would be sitting on that couch watching something, talking the same stuff we would be talking on the podcast.
T.C.:Yeah. Like, and maybe it wouldn't be like full structure every time, but there's often enough where we are watching stuff and
Jim:And it And it's not even always about that stuff. Sometimes, like, we could be watching name name a thing. And or. We we could be watching And or and I'd be like, why do you think Godzilla does does this and this?
T.C.:What do
Dawn:you don't
Jim:you think it'd be cool if Godzilla were to instead like like, eat a son or something?
T.C.:Yeah. My my favorite tangent of that is when I tell Jim a project I'm working on, I'll tell him the title of the project and he'll go, great title. And then I'll tell him what I'm writing. He goes, that's stupid. This is what I would do with that title, which is why we have an episode that is great title, bad movie.
T.C.:Yep. But then who are we trying to entertain? It's we obviously hope that the people listening are entertained entertained by by us. Us. But, yeah, I I'm entertaining myself, and I'm hoping Jim's entertained by me as well.
T.C.:And then anyone who chooses to listen and continue to listen, I'm so happy when we get that listener feedback.
Jim:Mhmm.
T.C.:We have a handful of, like, diehard fans who comment every time. That's pretty gratifying.
Jim:I think I think that actually does touch though on more more than just who are we trying to entertain with the podcast. It touches actually on I'll actually speak for you because I think we've had this discussion and and you are the same way. With everything we make, we're actually trying to we are the first audience because if we like it, if we make a thing that we genuinely like, there are people out in the world that will also like that. If we try to make something that other people are gonna like that we don't necessarily like, it's not gonna resonate as a, like, a genuine work.
T.C.:Mhmm. And,
Jim:yeah, we bring that to the podcast.
Dawn:Yeah. Well, this is the a good next question then coming off of that. Both being writers, what has SDI taught you about writing?
Jim:Now don't make me
T.C.:go first on this one. You go first. The how does it taught me taught me about writing? I love the I have even before we started doing this, you're right. When before we started episode one, we had been trying to write together.
T.C.:And I've written with countless people, but I had been looking for a writing partner. Someone that I could truly meet and collaborate with to the point of annoyance of other people I've written with or collaborated with. Like, well, it's not fair. You talk to Jim this way and he talks to you this. Was like, that's because the two of us can collaborate together without hurting each other's feelings most of the time and and and find a way to tell stories with, similar interests and where we differ, almost, I I will bow to your expertise on things.
T.C.:I will convince you of things I think I'm more expert on and that
Jim:I'm nodding. I'm nodding. Yeah.
T.C.:He's not audible nod. Audible nod. The collaboration of the studio demands it has been really wonderful. And it it this shows me as a writer where my passion is really are because I write for hundreds of people, and I'm writing for them. I'm doing my best to make me care.
T.C.:I care about my work. I do a good job, but I'm writing for someone else. When I'm writing for myself, that's what this show has shown me as a writer. It's like, this is what I love. I've been able to define even more than I've been able to in the past years of my life what I love about movies.
T.C.:This show proved to me, was like, oh, I can narrow down the specific thing I love about a film if a group of people all scream at the same time in peril. And everyone goes, sign me up. We just watched something. I even said that. I was
Jim:like You did. I can't
T.C.:remember was. Return to Oz.
Jim:I was
T.C.:like, Jim, look. That's why I love this movie.
Jim:It's a it's a TC movie if everyone if everyone knows that.
T.C.:So That's funny. Yeah. That it's sort of that's at least something I learned from this in terms of, like, writing.
Jim:I'm gonna be a little more selfish in my answer. It's taught me that I can write. So I I have a I'm I I have a lot of self doubt, like crippling self doubt.
T.C.:And you should. So thank you thank
Jim:you thank you for affirming my feelings.
T.C.:I that's not what I mean. And
Jim:and it's it it reassures me that that I that I still have some fire in there to to do this, to to to keep going. And that that that I have something. I I yeah. I'll just keep the analogy.
T.C.:It will
Jim:spark the fire.
T.C.:Yeah.
Jim:I got that.
T.C.:Some some of my favorite episodes are where I am on my back foot and, like, you take the lead on it because it's something that you just happen to, like, have a good read on that I don't. And, like, I almost get to step back and watch you tell the story. And I'm like, yeah. Not more of that. Well, I don't know, Jim.
T.C.:Is that a good whatever you say. I can't even like, I could pick, like, deadlands, obviously, you know about that. Like, when we go to, like, Western and I usually default to you on horror stuff, there there are those occasions of and that goes back to the collaboration of this where I I love learning new things and not knowing things and being able to use what I do know with someone who doesn't know it, like, that element of it. So yeah. You do yeah.
T.C.:You good. I'm glad the fire keeps burning.
Dawn:Yeah. So after six seasons, what are the challenges? Do you set new goals for yourself in the next season?
T.C.:Sort of. Yeah. Administratively, like, I I will I will make some decisions. Like, I'm the one who picks search engine optimization. So in season four, I said, no.
Jim:I proposed it.
T.C.:Yeah. Oh, okay.
Jim:But again, that whole lazy thing that it it was, you think this is a good idea? And you thought about it, and you decided.
T.C.:Okay. Well
Jim:You decided Yeah. Yeah. This is a thing.
T.C.:So so the question was what challenges do we have after six seasons? We I I was curious because when you brought it up, was like, there might be something to us picking demands just in topic that coincided with the release of of something. And so starting season four, we started doing that where we were like, okay. This movie comes out in July. Let's find a topic to pull from the demands or we'll pick, like, the we'll look for this word.
T.C.:We'll pick these demands and then at random pick the one that we're gonna do. The challenge in that, we actually discovered it this year, the end of the year is not great for IP. So it was like, oh, we got kind of, like, junk coming out at the end of the year.
Jim:Specifically our year, not not the not the movie release.
T.C.:Yeah. Where where our season ends because we we end in November, October, November so that we can just spend the next two months writing the feature.
Jim:Mhmm.
T.C.:But the fun of that then became, became, oh, we can we can actually take a step back and do the more outlandish or wild or weird, demands that we don't have a really a search engine optimization moment for elsewhere in the year. So so there is that. And then there's also the challenge of, again, writing for ourselves and the stuff that we like, but also challenging ourselves with demands we wouldn't necessarily default to.
Jim:Mhmm.
T.C.:There's some fun to be had in that.
Dawn:Talk about the ones you avoid.
T.C.:Oh, well, we just talked about this recently. Yeah. Which one? What what subject matters and demands we avoid?
Jim:Well, the the first thing that comes to mind, I don't know if I'm remembering the same conversation, but it's it's less like, it's it's less of it being a taboo topic, but more this this is where us trying to craft a show people will want to listen to, where it's not for us first, topics or or like niche ones. Right? Like, hey, Jim and TC remake
T.C.:Colchak, the Night Stalker.
Jim:Sure. Yeah. Colchak, I love You
T.C.:can say you love it. Yeah.
Jim:You know, who you
Dawn:I loved that.
Jim:I love Kolchak, the Night Stalker so much. But that episode is, like, the only people who who are gonna listen to it are the people who are going to listen to all episodes.
T.C.:Sure. Sure.
Jim:That was a that was a great pull. I I I I was, like, thinking I went to Alan Quatermaine is is where I went.
T.C.:Sure. Sure.
Jim:Yeah.
T.C.:The the we we kinda discussed recently. We I've been able to really determine my love of cinema. My love of film is is truthfully blockbuster cinema. I love going to the movies, and that's not to say I don't love me some indie film, quiet movies, like, really contemplated movies. I love, love, love those.
T.C.:But what brings me joy, Steven Spielberg and Robert Zemeckis and George Lucas and, like, those wonderful blockbuster movies that have all the fun and fancy and adventure in them. So because of that, I this show is sort of built to entertain first and foremost, if not ourselves, the listeners. And picking something like Alan Quartermaine or Kulczyk, we would have people going skipping that episode.
Jim:I don't
T.C.:know what that topic is, which is fair. We understand our show is sort of at random. But to that point, I'm not saying we couldn't do a a rom com or just a straight romance
Jim:Yeah. Demand Yeah. That's or better way to
T.C.:or a straight drama because we have. I think the only drama we truly can say we did aside from the biopic episode was we did a Typhoid Mary episode.
Jim:Mhmm.
T.C.:But we tend not to go towards dramas and romance movies and Jim hates love, but I I love Well,
Jim:I I'm just so the same way that that you have honed you've honed in on explicitly what you like and and and and what what drives you. I need that, like like, the the compliment of what the way what you inject into what I bring is dark and creepy and weird. I I love I adore independent cinema. I love weird weird, gross, cheap things like
T.C.:Give me a glorious.
Jim:Yes. Yeah. The things like that or or even cheaper. Like like like a good old trauma movie is is something I I'd be up for. And sometimes you need a little more than nuclear snot.
Dawn:Genres you return to often
Jim:Mhmm. Mhmm.
Dawn:And suggestions you'd be happy to put on a shelf for a year or three.
T.C.:Oh. The the we I have gone on my way and to appeal to Jim whether he wants it or not to do a western every year. I've started I always try to find a way for us to play with cowboys every year.
Jim:I like to believe that I'm really observant and I believe I am really not because I and he told me that, like, what, last week?
T.C.:Yeah. A couple of ago. Yeah.
Jim:Before. I'd I didn't notice. I I was like like, we do the seasons and one comes up and like, oh, okay. Cool. But but I never put it together like, hey, this is probably more often than they should come up.
Jim:Like, it
T.C.:We we try not to repeat intellectual property, like franchises. It's not to say we haven't done a couple Marvel episodes in a season.
Jim:Mhmm.
T.C.:But we haven't repeated a Star Wars. We haven't we we tend to feel like if we manage a big episode, a good great idea for a specific like, a Batman, we're not gonna do another Batman that season. Mhmm. However, we we have done, like, Marvel movies in the year or, I think that's probably, like, the best example is Marvel. But as far as, like, shelving well, actually, to that point of, like, avoiding things, even when we pick our nominees for the finale, we do take into consideration, well, we've done three superhero movies now.
T.C.:Maybe we shouldn't do another superhero movie this year or at least
Jim:not push for it.
T.C.:But we you know, we're we're a little selective on that. Like, Batman season four's finale was threshold of chaos, was mystery ink, and it literally tied with Batman. And so it came up to us to break the tie, and we chose mister Ink. Thank god. Yeah.
T.C.:My favorite one, because we had done Justice League two years earlier. So we're like, do we really wanna do another Batman? We just did Spider Man last year. Mhmm. Let's let's try something different and see what it does for us.
Dawn:Yeah. Okay. And I I
Jim:think that's the only thing where, like, shelving really is involved is is in the finale where we get Yeah. Really about it. Otherwise, I don't I don't know that there's anything where where we're, like, sick of it. Yeah. I don't wanna talk about this ever again, Eve.
Dawn:This next question's a little more specific. Any idea, character, plot that's living in your head that's never found a home?
T.C.:Jim does this great thing for me when I talk about the scripts I write for clients. From time to time, he'll say, don't give them that. That keep that line of dialogue for yourself. Yeah. Keep that plot point for yourself.
T.C.:It's too good to give away even if they're paying you for it. Yeah. And so every now and then, will, like, oh, that's that's what thank you. I will keep that for myself. With the show, you've talked about this in previous.
T.C.:There is that slight little bit of, like, do I really wanna put this on the air now? Because what if someone takes it?
Jim:Well, right. Because, actually, even before we called it the studio demands
T.C.:The original title of
Jim:the The original title of the show was steal this movie
T.C.:or steal this idea. Yeah.
Dawn:That's right. You told me that
T.C.:My Google doc is still called that.
Dawn:Okay.
Jim:And and so to that end, well, well, I don't want someone to steal this idea so I'm not gonna But say
T.C.:there goes to the point of we do mostly existing properties Right. Yeah. Which is fan fiction. We do that's mostly what this show is. There's there's very rare occasions where we get to come up with something wholly
Jim:Totally original. Yeah.
T.C.:And so therefore, the those ideas can stay protected or not protected, just to ourselves. Because we certainly have our legion of original ideas that aren't Star Wars Yeah. Superman, whatever.
Jim:Well, and technically, those fall outside of the parameters of the podcast, which is the studio demanding a thing. Mhmm. Our original characters wouldn't be demanded by the studios No. That's until we make them, and then the studios are like, more of that, please.
T.C.:Yeah. The the there was the demand season two. Our final main line episode of that season was pitch your big pitch. Like, we demand you pitch what you desperately wanna pitch. That's when you did Deadlands Yeah.
T.C.:And I did Superman Birthright.
Jim:Sounds that sounds right. Sounds right. Yeah.
T.C.:No. Secret identity. I did, Mark Wade's Secret identity.
Jim:Oh. Yeah.
T.C.:But it was those two. Yeah.
Dawn:Any areas in the podcast you disagree most often? Is
T.C.:there any area? Love. Oh, back. Today, I was like, hey. What if Bones and Beverly Crusher have a little like little like romantic interest in each other and you sort of went.
Jim:So well, okay. Alright. My reason for that though is it because there's a ship between Beverly and Jean Luc And I don't wanna undo that. I don't wanna
T.C.:That's true.
Jim:That's what I don't wanna undo.
T.C.:I I don't think it's truly that Jim bumps up against the love per se, but
Jim:I So the reason I bump up against is because I find it so often cliche.
Dawn:Yeah.
Jim:And it feels so often forced in.
T.C.:Yes. I agree.
Jim:Yeah. And I realize I might be more sensitive sensitive to that than other people. Mhmm. But that's that's really how and why and when I I don't like relationships
T.C.:in just stories. Use it as an opportunity to prove sexy lamp theory to see if we are capable of writing something that's not a sexy lamp. Is that the thing we disagree most on? I think the Maybe? The the one episode I can think of that we couldn't, like, agree until we finally found it was Alien Frontier because I was looking to do more of an Alien two, and you were more looking for an Alien one, and we couldn't.
T.C.:Because it was Sullivan, one of our listeners and friends, commented, I love listening to you guys fight that whole episode. And we both are like, didn't we fight? Didn't we fight that whole episode?
Jim:That'd fun.
T.C.:I thought we came up with something good by the end of it. And and it was just a disagreement on tone. Yeah. And I think probably that's where we might strip each other up a little bit of, like, not agreeing on tone. But I don't think we've had any, like, he our failures on this show have come, like, as as an effort between the two of us.
T.C.:Yeah. Like, oh, we failed there.
Dawn:Okay. An actual film that came scarily close to a pitch you did on.
T.C.:Oh, yeah. That have that has happened a couple of times where we've pitched something.
Jim:I felt like season one had a lot.
T.C.:Well, Terminator. Mhmm. Gosh. There's another one. Mario.
T.C.:Yep. Mario was like
Jim:Spider Man.
T.C.:Spider Man. Yep. So at least those three.
Jim:Yeah.
T.C.:And that was all season one. Yeah. It is so valid, and we've talked about this. When we go to see something, even Deadpool, like, when we saw Deadpool three, there's this little bit of pride that swells of, like, hell, yeah. We we got the finger on the pulse.
Jim:Yep. Yeah. Because yeah. Because even the the Deadpool was tone thematically. Yeah.
Jim:Thematically similar.
T.C.:It was it was near enough. So, like, when it or scarily might be the wrong word for it. When something comes out that's close to something we pitched, it's sort of satisfying.
Jim:I get scared.
T.C.:You get scared.
Jim:It's it's The
T.C.:the thing we did that that we were like I mean, I was like, woo hoo about and David literally texted us about it was in the show Star Wars acolyte. There's a moment where a lightsaber becomes a red lightsaber. Like, kyber crystal gets corrupted. And David, like, the day that episode aired, David, they they list they stole your idea. Like, we might not have been the first ones to think of that, but we'll take it.
T.C.:Yep.
Dawn:Did a brilliant idea for an episode that you just finished ever occur, like, after you're finished and it's yeah.
T.C.:Yes. Yeah. Terminator, the last five minutes of that episode, you're like, actually, what about this? And then you just rattle off in, like, a minute a better idea.
Jim:Yeah. And I think it was it was after you did the outro. Yeah. It it was like anything. It was like, what about this?
T.C.:She's like, goddamn it.
Jim:Yep. There we go. Two hours worth of
T.C.:Certainly, we actually, it's something we started doing when we moved the show to bonus territory and created the Patreon where people can hear extended episodes. The reason we knew we could do that was because after we'd finished episodes, we'd end the episode and then we'd keep talking for Yep. Twenty minutes.
Jim:Because again, we're gonna do this whether the mic's on or not.
T.C.:So then I was like, let's just end the episode but keep recording and then those extra ideas that come out. Really, it helps us for the finale to go like, oh, we did develop this further. In fact, I should go listen to the patron episode of Star Trek since as as recording this Yeah. Interview Yeah. That's where where we're about in in our timeline.
T.C.:So, yeah, that that does happen from time to time where we come up with a better earn more ideas after the fact.
Dawn:I didn't know you did that, by the way. That's interesting. Which of you is more apt to make a reference the other doesn't know?
T.C.:Jim. Me. Yeah. Jim.
Dawn:Give an example?
T.C.:Colchak, the Night Stalker.
Jim:The Night Stalker. Yeah. The only reason TC knows it is because I dropped the reference so many times. Do you know who plays Kolchak the Night Stalker? No.
Jim:Darren McGavin.
T.C.:Okay. I do now. Yeah. Jim's more likely to make the the reference. Honestly, the $5 word jar belongs to you as well because Jim uses has a great vocabulary that he will yeah.
Jim:That that sound was me shining my fingernail.
T.C.:Yeah. Jim's gonna make the reference. The I I'd like to think I have more encyclopedic knowledge for, like, mainline IPs.
Jim:Oh, absolutely. So, like,
T.C.:Marvel, DC, Star Wars, Star Trek, like, I'm
Jim:And and actual actual industry stuff. Like, I I I'm again, I'm a goober for all the weird gutter things, but I don't know who who directed or much less produced,
T.C.:like This film or another. Yeah. Yeah. So there's there's some give and take there. But the weird weird like the weird weird stuff, Jim is gonna Yeah.
Dawn:Do you try to stump your listeners sometimes with references?
Jim:No. No. I don't think so.
Dawn:So you expect that they get everything?
Jim:It's just the way my brain works is when I get to a reference that I would make to one of like my two or three friends back in the Midwest, I would just say it and then I'm also used to them making references at me and then you either get it or you don't and you say it or you like, I actually I'm gonna get I'm going on a tangent and I'm getting lost in an idea now. I think that's actually one of the reasons our dialogue works is because you communicate in that similar fashion. So if I drop a reference
T.C.:Mhmm.
Jim:You either pick it up and run with it or you you say you don't and and then I have to explain it. But I realize that's how everything and everyone works. But the way it's done specifically is organic Mhmm. In I I don't know how to
T.C.:It's it's conversational.
Jim:Yeah. Yeah. Yeah.
T.C.:If because if I get the reference, then I'm happy to get it. If I don't get it, I'm like, you need to explain that. And that goes to how we do the show. We don't edit the show. When we get our dead air, vamping became it was a season one thing.
T.C.:We're like, you need to vamp while I look something up because I neither of us know the answer
Jim:to that. It's still a thing. It's we're I'm better at this. I'm better at
T.C.:studying making gym vamp. Like, if I have to get up and leave the room, I'm
Jim:like my vamping is always talking about the vamping.
T.C.:I so the vamping is a starts with a v. It's a v word. Not many of those.
Jim:I forgot the question.
Dawn:Was about stumping your listeners with references. No.
Jim:I I don't do it on purpose. K.
T.C.:Yeah. And our listeners catch stuff that we don't necessarily realize we said or done.
Jim:Mhmm.
T.C.:It was somewhat one of our listeners for season six, which we just completed, pointed out how many horror episodes we did this year, it didn't even strike me that we had done as many as we had. So our listeners are catching things.
Dawn:That was my next question. Does it show up in the comments, or are listeners too shy?
T.C.:It seems to be that most listeners are too shy because we don't get Really? We don't get a substantial amount of interactions. Most of the interactions I get through monitoring the Patreon, what it used to be Twitter, Instagram, or private messages. It's there's must be a lot of introverted listeners who are happy to engage in one on one conversations.
Jim:I have a a small handful of listeners who partake in the the Discord. So we we have little little conversations going on there.
T.C.:Yeah. But we we that interaction is seeing the numbers of, like, when when we have big numbers on an episode, it's like, that many many people listened, but getting two or three comments from listeners to us, that's even more exciting. Yeah. Because it's because it creates a conversation, that we can just like, oh, yeah. Further development.
T.C.:And and I love it when listeners go, yeah. I like what you did here. It be cool if you done this and they pitch back, which is part of the creative fun of this if we were all sitting at the lunchroom table that after Jim and I talked for twenty minutes straight, one of our friends would go
Jim:You guys are dumb and it should have been
T.C.:like been this. Like, oh, yeah.
Dawn:Name a favorite film of yours.
T.C.:Just in general?
Dawn:Yep. Brazil.
T.C.:Back to the Future.
Dawn:Oh, okay. What do you think it says about you?
Jim:I'm a weirdo.
Dawn:I like Brazil.
T.C.:Yeah. I think it lends to the fantasy and adventure that I I wish to exist in. The the the safety of that sort of peril is probably what it says about me.
Dawn:Okay. This is not a question, but I want you to talk about crossovers and studio demands that you do them a lot. There's they're all over.
Jim:You mean, like, with other podcasts? When when you
Dawn:crossover genres in the films.
T.C.:Oh, okay. Yeah. Crossovers, we crossover with AZP. But you mean, like
Jim:Yeah. Yeah.
T.C.:Mashing genres together?
Dawn:I don't even know what to call it. So, yeah. That's fine. That. That's what I meant.
T.C.:I I like when we will like, for example, we did Blade. Mhmm. And Blade being a vampire meant it was gonna have some horror elements to it as much as action. And knowing how much stumbling they've had in trying to write the actual Blade movie, it's a disagreement on how much horror should go in this, how much adventure should how much superhero stuff should go into it, And finding a way to balance Blade's core character, which is is a vampire hunter in the Marvel universe, allowed us to play with some cross genre stuff in that. And and that just makes it a a more a more fun experience to write.
T.C.:Because if you're just writing a straight superhero movie, we could do that. If you're writing a straight horror movie, we could do that. But having a superhero vampire allowed us to to do that. Weird West is the other one I was gonna mention.
Jim:Oh, sure. Yeah. Horror and western. Yeah. They they go together so well.
Jim:Not necessarily like flavors you would expect, but oh, man.
T.C.:They pair well together.
Jim:Yeah. Like wine and cheese. Why does that go together? I I'm I'm just gonna talk about mixing genres in general, not about the the that particular pairing. I like it.
Jim:I I I think it it's it's almost like creative jet fuel because you you you get to marry two different genres or or disparate ideas. Like, how do you get these things to cross over? And what it reminds me of is two two things. It it reminds me a lot of comic books. I know comic books most people think of superheroes.
Jim:Comics are a lot more than that, although we're probably gonna end up talking about those more here. Mhmm. But, like, I'm thinking specifically of Dark Horse comics. Dark Horse still exists, but I'm thinking of back in the day, nineties era Dark Horse comics. They had a lot of IPs and they kind of did this where it wasn't necessarily that readers were like, yeah, cross Robocop with Terminator.
Jim:Figure it out. They were they were doing that in their in their offices and they were printing these books and I was a kid and picking these things up and reading them. It was amazing seeing these these movies and TV shows told in in reading these other stories that aren't on the big screen. And that's what a lot of what we do feels like. And even even more immature than that, it feels like playing with toys as a kid.
Jim:You would take your your Hot Wheels car and your G. Joe. G. I. Joe and have them fighting or or or whatever they're doing around your sister's Barbie kitchen.
T.C.:Yeah.
Jim:And and it it just even even in that, it's mashing together all of these different genres and crossing things over. And it being able to play in so many different tones and styles for so much of my life really lets you kind of see the the the the common story behind all of that. And it feels primal makes it feel like real like like caveman, but that's not the word I mean. It it feels essential. It feels skeletal to what the human experience is.
T.C.:Because and to go off of that, the stories as they are like, the structure, the skeleton of a story is the same in a horror movie as it is in a drama as it is in a comedy. Like, structure can change or structure doesn't need to change. It's it's how you add to the beats of the story. The best I challenge anyone, and it's gonna be an easy challenge. Think of the best movies of all time or, like, the the most beloved movies of all time.
T.C.:None of them are a single genre. Like, Jurassic Park, we talked to this I actually talked to both of you about this recently, is a horror movie. It's a it's a monster horror adventure family drama. Like, it's Spielberg didn't just make a one specific thing. He actually, Spielberg, the the peaks of his of his career, has always mashed genres really well.
T.C.:I I'd say, like, sure. Saving Private Ryan is a war drama. Mhmm. Not much more to it than that, but Indiana Jones and e t e t has horror elements to it. I would say Temple of Doom has horror elements to it.
T.C.:I don't know why I'm fixating on horror, but, the majority of the best movies ever are a multitude of things. It's sort of what people complain about with, like, Marvel always quips. It's an action adventure. Go watch a Shane Black movie from the eighties. Yeah.
T.C.:Okay? Quips says you cut, like, one liners.
Jim:Jones. It's not, it's Yeah. It's not the would not the say the line.
T.C.:It's the years, it's the miles.
Jim:Yeah. Yeah. Thank you.
T.C.:So, like, people when they tell everyone in Marvel clips, it's like it's because the genre asks for it to be a sci fi adventure superhero action drama. And, hey, keep it light, folks. Right?
Jim:Yeah.
T.C.:And, yeah. So I think I think melding genres is essential to storytelling because you can appeal to people in in their base sense. Like, oh, I don't like a horror movie. Well, let me hold on. You like Ghostbusters?
T.C.:Because technically, that's a horror movie and that's a mass genre film right there and one of the best of all time.
Dawn:You guys often set your timelines in a pre tech decade. Talk about the not so obvious reasons that serves your
T.C.:stories. Like, Darkar episode specifically. I always complain everything was easier before cell phones.
Jim:Yeah. Like I know a lot of people like it. I understand that plight. I don't agree with it. I think we can we can do stuff around the cell phones.
T.C.:I do too.
Jim:Sorry. I'm tangent. I apologize.
T.C.:It it but that you're not wrong. It just needs to be more than like, dang. I don't have a signal. Okay. Cool.
T.C.:Why did we have enough even have a cell phone in this movie to begin with?
Jim:So that we could not have a signal. Yeah. Like, because people are gonna say, why don't they just use their phone?
T.C.:There there's also the the advantage of of being in a a yesteryear era. Stranger Things is good for this. Stranger Things is the idealized version of what the eighties actually was. Yeah. And and there's two idealized eras.
T.C.:You know, we just mentioned Indiana Jones. Indiana Jones is the idealized version of the thirties
Jim:Mhmm.
T.C.:Seen through the lens of pulp cereals. And and the there the advantage of going to the pre tech pre like, the modern tech era just offers up more challenges to the characters. And Jim's right though. There is there is a I'm I'm deflecting from like, I don't wanna deal with cell phones,
Jim:so let's
T.C.:just set in the nineties.
Jim:I I I do do we do we artificially put things in those earlier areas? I actually always attributed it to because we play our our podcast is a a big part of it is nostalgia and remember what movie we loved? Let's talk about more about the movies we love. The movies we love are all movies in the past. They're so we're gonna talk about those movies from the past.
Jim:Like, Scream. Yeah. We didn't set it in the nineties, but that's when it started.
T.C.:Right.
Jim:Right? So
T.C.:We have we have three types of episodes. We have episodes that are the sequel that should be. We have the episodes that are fix what actually is, and we have the this should exist. Like, where a sequel that should be is like, hey. Do predator three.
T.C.:It was one of my favorite episodes of early seasons. If predator one came out in '89 and predator two came out in '92, then this one should have come out in '97. So set your movie in '97. Yeah. And the fix the sequel as is would be like, hey, Wonder Woman '84 was close but no cigar.
T.C.:Make the tweaks to make it better. Maintain what the studio assumptions were.
Jim:Yeah.
T.C.:And then the whole cloth is just like, hey, carte blanche, do this. And, they're like those three types of episodes. It's the mostly the ones of the sequel that should be that tend to be set in a different era because we our listeners are pretty savvy in saying you have to set this in 2012. We did one this season. That was that.
T.C.:Wait. I can't remember which one it was. So something in season six was, like, specifically, it had to be in 2012 or something like that. And it's
Jim:like,
T.C.:oh, okay. The best version of that was Justice League '95. It was. Because we got to write a nineties superhero movie. Yeah.
T.C.:So it was, like, sillier because in the nineties, we didn't take ourselves so seriously in cinema.
Dawn:Mhmm.
T.C.:The the pre Dark Knight era.
Jim:So I I guess then then my my answer to that is, I don't know why we do that.
T.C.:That's my answer
Jim:too. I would like to I would like to do more modern modern tech things, especially to prove that now is just as good of a time as as any, except the nineties. The nineties were the best.
T.C.:Peak peak. The robots in the matrix are right.
Dawn:Ever read a comment that truly surprised you?
T.C.:In a good way or a bad way?
Dawn:Oh, in good.
T.C.:A a comment that truly surprised us.
Jim:I'm never surprised.
T.C.:We did have a a more than one listener has actually taken a shot at making like, delving into filming things since we've done the show, and we've had a couple people who've delved into taking a shot at writing. I'm not saying we're gonna I'm not saying we're taking credit for that, but that we we gave them that little nudge of encouragement that felt necessary to get them to just try to write or to to, film something. So I I can't think of, like, a specific comment. I wouldn't wanna call anyone out, but we've had the occasion comment or a message sent that said, you know, hey. Thanks.
T.C.:You actually gave me the necessary tools or encouragement to I think the one that surprised me most was that yeah. Okay. Someone said that we're their favorite breakdown of how to write a story.
Dawn:That's a huge compliment.
T.C.:Yeah.
Jim:Yeah. Yeah. That one was actually really heartwarming. Yes. It was really flattering.
Dawn:I knew there'd be one.
T.C.:Yeah. Because I think and because our process isn't always identical. We we we sometimes use, like, whiteboard technique where you, like, everything out. We're doing it figuratively because we don't I sometimes take notes. Sometimes we shoot linear like, we write linearly linearly.
Jim:Linearly. And,
T.C.:yeah. Just knowing that we have offered up at least our techniques of crafting a story have helped and that that one specific person saying, you know, this is the best you could listen to how the process goes. And like, I can't say this how the process goes for everyone, but I'm glad that you enjoyed it. So
Jim:I think for me, I can't think of a particular comment but it probably came from I will call people. It either came from Eli or Plucky Plumber
T.C.:Yeah.
Jim:In the Discord.
T.C.:Just a comment.
Jim:Yeah. Can't I cannot I I can't think of one offhand. I apologize.
T.C.:My favorite demands are the ones that call Jim out. Like, da da da da da and for Jim, which is always why I will always state the best version that is happy death day three. That's the best one ever where someone their demand came with specific call out to Jim. There's another comment this season that was, like, for Jim. I remember who
Jim:it was. You But,
T.C.:happy death day three, specifically, the demand was written in such a way as, like, t c, do it this way. Note to t c from the top. Don't read this to Jim. Just read the demand this way. And I was like so I read the okay.
T.C.:Oh, note to me. Okay. Okay. Let's see what happens. And it's it's my favorite.
T.C.:I say it all people who've listened to every episode of show have heard me say it 50 times.
Dawn:Talk about compiling summary process at the end of each season and getting to your voting choices.
T.C.:Oh, the oh, like, not narrowing down our our nominees.
Dawn:Well, talk about any part of it. Yeah.
Jim:Well, right, because we narrowed it down to six. Mhmm. I think we didn't do that the first time we did it.
T.C.:First time we did, we did 10.
Jim:Yeah. 10 was it was it was just it was too many. The the votes were spread too thin. Yeah. And I think ever since then, we've done six.
Jim:Mhmm. So the process for that you talked about it a little earlier to tonight. Like, we we've done a lot of superhero movies. Let's let's maybe not include and and we go over them. But I think, oh, I think what we first do is we go over this this latest season first to see what in that season stood out most that we that we would want to do.
T.C.:We usually get to about 10 in that process where we go, like we just literally go through it, like, do you wanna write this or not? And we'd be happy to write any every everything we've ever come up with. All of them. Yep. But when it comes to do we want this to be the fan finale, which requires us to write the thing and produce the thing and entertain with the thing.
T.C.:Mhmm. So we'll go through and and discuss the whole season. Yes? No? Maybe?
T.C.:And get it down to about 10. And then we and this is before we get to the end of the season. Usually, as we're approaching the end of the season, it'll be like, okay. These 10, but keep in mind, we still have five episodes left. And then just looking at those and getting it down to that that's definitely where it comes in the part.
T.C.:Like, do we really want three superhero movies for the nominees this Let's get it to two. And sometimes it's tough because we know, like, our one of our most listened to our most listened to episode of season six and one of the most listened to episodes of the series is Captain Carter because of the haters. The fact that we would deem to give Peggy Carter her own Captain America movie brought the trolls out of the woodwork. Yeah. So there was a discussion of like Do we do we do this?
Jim:Do you wanna push those buttons?
T.C.:Not just because we love it.
Jim:Because well, because it's for the show. Yeah. We we we live in the Internet age where any conversation is is
T.C.:It's good. Good.
Jim:That's true. Is good publicity.
T.C.:Once Last we card. Oh, woah. Well, once we have our six, we then it goes to the listeners to just I like, hey. Like, what do you guys want? What let's let's let's have the votes begin.
Jim:Mhmm.
T.C.:And we vote there's three types of votes that come in are, like, devoted subscribers, our casual listeners, and the passersby, which has it elicits a lot of a lot of interaction with us about people. We get wonderful and not so wonderful comments of people. Best one this year was, like, all these sound mid. Yeah. Unnecessary.
Jim:Yeah. Thanks, guy. Thanks, dude.
T.C.:Hope
Jim:hope you listen to our show.
T.C.:And then and and I I get this. I'm I don't know if Jim gets this, but once it's to those six, I'll get asked, like, which one you want to win? I'm like, all six of these. I we picked these six we want. We will be happy.
T.C.:Which one? Yeah. But which one do you want? Which one would you be, like, most happy with? I'm like, I'm I'm not gonna pick one.
T.C.:Like, okay. All six. Mhmm. So and then yeah. The we we will have a moment, like, we'll finish an episode and go, that feels like a finale right there.
T.C.:Yeah. That one's making it all the way. Like, we'll be so so happy with ourselves, which, you know, plenty of pride in this show.
Jim:Mhmm.
T.C.:We'll finish something and go, that was that might be worth writing that one. We should just write that one anyway. Star Wars.
Jim:Yep. You
T.C.:know, that's on me. That's on me.
Dawn:Mhmm. Something I forgot to ask you. Anything you wanna talk about more? Anything you wish I'd asked you?
Jim:I said the wrong movie. I do love Brazil, but I should have said Dead Alive.
Dawn:So glad you fixed that.
T.C.:Okay. Yeah. Yeah.
Dawn:It's important. And what does that movie say about you?
Jim:That that movie says so much more truisms about me. That I'm I like dark, weird, creepy, gross things, but also they are hilarious in in and of themselves. I don't take myself too seriously, but I'm I have an internal consistency of seriousness, and I really want to go to New Zealand.
T.C.:He was a dairy farmer. He was. I'm sorry. He was not a wind farmer. Make sure we thought about it.
T.C.:That that farmer lost his the hole in his hand. No. I I think
Dawn:that I'll say we'll
Jim:From origins, Kim.
Dawn:I'll run it the
T.C.:way back to the beginning. To to actually truthfully answer your question is the the the notion of the one I got this question a couple times is, like, how long do we think we'll do this? And and and we've said it since the beginning. We'll do it as long as we can. Like, as long as we feel like we enjoy doing it Mhmm.
T.C.:If it ever reaches a point of truly stressing us out, we had we had one short season. I think season three is short for personal reasons. The season was cut short for personal reasons, and David was very kind to let us he he we the ship runs itself at this point, and he's happy. And he told us when he crossed over the series, like, I'm actually surprised when episodes come and go, oh, is that what this episode's about? He he doesn't even have to think about us anymore, and that's pretty great.
T.C.:But as far as, like, how long we'll do this, this show has evolved in small ways over the years and big ways over the years. And, yeah, I don't know. I don't know. As long as as long as Jim wants to keep doing this, I'm gonna keep doing it. And and as long as it stays fun.
T.C.:Yeah. I think if in the in the grand scheme of things, and I I I'll speak for Jim as well. If someone would just pay us to just do this, we'll we would write every movie. Yeah. We would we would no.
T.C.:I'm sorry. We'd produce every every one.
Jim:Yeah. So I'll
T.C.:just yeah.
Jim:Just pay us.
T.C.:Every other episode would be the finale. Yeah.
Dawn:Well, that's a good place to end. Alright. I think everyone learned more about you.
T.C.:Aw.
Dawn:Thanks for doing this. I know I did.
T.C.:Sure. Thank you. Thank you. You very much. We don't have to truly wrap up yet because Dawn's voice is familiar to people.
T.C.:We should say who you are because Dawn has voiced she was in Justice League '95. You were last year in Blade.
Dawn:Yes. Yes.
T.C.:I think those are the two
Dawn:A few voices in Blade.
T.C.:Yeah. So thank you for you suggested this. So Yeah. Yeah. For all of our ego.
T.C.:I just want for the record. This was Dawn's idea.
Dawn:I'm about to ask for big favors as soon as we go off.
T.C.:Thank you for putting this together. And for those who've who've listened and indulged in the the history of s of Studio Demandza here, if there's any questions you have for us, now is the time to ask them. So we'll just wait. Go ahead and ask. No.
T.C.:Yes. Yes. That one's a yes for me.
Jim:That it's a yes for you? Oh, we'll we'll discuss that.
T.C.:Yeah. Okay. But if you have any extra questions you want for if we do this again or when we do this again or we could just answer in the comment section, throw it down there. And Thank you, Dawn.
Dawn:You're welcome.
Jim:Thank you, Dawn. My pleasure. Thank you, TC.
T.C.:You all wanna shake hands? Don't touch me.
Jim:Three
T.C.:oh. Oh, wait. No.
Jim:I was gonna do a three way
T.C.:hand shake. Oh, you do that? Oh. Everyone sees that. Okay.
T.C.:There we go. Thanks, everyone. Bye.