Hey, this is the moment. I'm Brian Koppelman. Thanks for listening. This is a rarity. I have a guest on, I've never even spoken to before. We have someone that Allison works with a lot is somebody I've

worked with and I asked him to connect us, the great Alex Givney, because I've been watching Allison's films for a long time,

and I think that they're brilliant. I think she's among the very best documentarians,

narrative storytellers working today. So our guest is Allison Elwood, whose work you know.

She made the Eagles documentary, the Gogos documentary, the just phenomenal woman of Troy, American Jihad, and a number more.

Her career arc is also fascinating, I think,

because Allison, you started as an editor.

And like I started making movies at a bit of a late age,

I think you've got your start as a director

at a bit of a late age which is always inspiring to people.

So Alton Elwood, thanks for being here.

Thank you for having me.

I'm excited to be here.

Also, I love the Laurel Canyon thing and I have questions about that and I wanted to tell you that my dad was a music publisher and his first or second hit was happy together.

That was his song, he'd get a song to the turtles.

Wow, that's amazing.

And so hearing the way you used it really blew my mind and because that that's a song that I I knew those

songwriters Alan Gordon and Gary Bonner growing up and and and that song's tricky you, that lyric is not what it purports to be and you seem to choose everything for very specific reasons as a filmmaker and happy together is a song that sounds happy but isn't really and

as Laurel Canyon was a place that seemed like that and I wonder how consciously or I know so I want you to talk about how

consciously each one of those choices in terms of the way you frame a shot, the mesoncen, the, even in a documentary, the music you choose,

sort of how it's available to be unpacked by the viewer.

Yeah, absolutely.

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