my immediate thought was that Ed Wood fills a niche that we've discussed before because he's in

many ways a bad director, a bad artist, but he's somebody who was so singularly committed to his

craft, his strange and, you know, uncannily weird craft that he ended up kind of ultimately

making art that one could argue is is interesting. I think he also

sits at another nexus that we all grapple within our lives constantly in which you and I have,

I think, you know, been discussing a lot of late. And that's kind of the nexus between, you know,

art and commerce. So, Will, I mean, was this your kind of motivation, is this where Ed Wood fits in for you,

the man and this film? Uh, yes, yes, entirely. This movie is an obvious creative touchstone for

James Franco's The Disaster Artist about, you know, our modern Ed Wood, Tommy Wiseau. And, you know,

I think the two movies are kind of an interesting compare and contrast exercise

because with regards to the disaster artist, I've had a very hard time shaking what Don Hughes,

the great Don Hughes wrote about it on Letterboxed, which is he called it the first real film

of the Trump era, a snide, bigoted joke between rich friends.

That's so good.

Yeah, and there are a lot of differences between Tommy Wiseau and Ed Wood, as well as how

I think James Franco and Tim Burton regard them, respectively.

A snide, bigoted joke between rich friends.

So like James Franco was handing out headshots and doing auditions around the time that Greg

Sestero was.

That movie is a kind of there but for the grace of God go-eye nightmare for him.

And he probably met people not unlike Tommy Wiseau on his path up. And Ed Wood was

Tim Burton's follow-up to Batman Returns. Okay. So he is already one of the most financially

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