Hello and welcome to Monet Cafe. I'm artist Susan Jenkins. We're gonna have some fun today And if you're new here, please subscribe and hit that little bell icon to be notified of future videos This is part two of this night owl painting complete with fireflies I will have part one in the description section of this video now if you saw the last video And I highly recommend going back and watching that one You are aware that I'm trying to do a new format with a lot of real time so I am breaking them up into smaller more manageable teaching sessions and I think I know actually you guys have given me some good feedback on keeping a lot of real time So I'm gonna do a little recap here I'm working actually on a piece of watercolor paper and I love the fact that pastels can be used on multiple surfaces and I have so many videos that give recipes and Suggestions for how to save money and make your own pastel surfaces So this is a piece of watercolor paper where I have used a recipe that I came up with recently with clear Gesso and marble dust and so that is what has given the Surface of the watercolor paper enough grit for the pastel to hang on to I did do a watercolor underpainting For this painting and then I applied the coating over it to start applying the pastels once again Go back and watch part one if you're interested in that process now this was an owl that I did and I it was kind of one of those spontaneous moments I just kind of wanted to paint something and my husband was watching TV and I I found a beautiful owl and the rest of It's from my imagination and I realized wow I really enjoyed doing this So I'm giving you that as a heads up the next owl painting I'll show you a little picture of that cute little guy at the end of this video I did a much more in-depth tutorial with lots of instruction and I'm really gonna break that one down so it will be more of a step-by-step video and Hopefully easier than this one So this was kind of a precursor to the next one But I just I like to share what I'm working on with you guys because I know some of you're interested So now let me talk a little bit about what I'm doing Notice that in some areas I've covered most of the surface with the pastel but down in this area I'm working on with this tree branch I had the idea to have the branch kind of going forward into the painting creating depth and have this little mouse on it So so notice how the pastels that I'm applying right now. It still looks very textural You notice all that white space or light space still showing Between the pastel strokes that I'm making but I'm not worried about that at this point because I know that I'm going to do a little technique that I did to blend the areas to the left of my hand those dark trees and So I'm it's actually just a little piece of chamois cloth You'll see me use it later where I get my basic colors and values in and then I go in and blend it And the reason I do that is One to I don't always do that sometimes I like the texture of the paper showing through in certain artwork But this was a very dark scene in general. It's nighttime So I know that the majority of my surface is going to be a darker value much darker than the light areas that you see to The right there now. I'm using the same brownish kind of Color of a pastel that I used on the main trunk there to get just a little bit of it on those trees That I'm working on right there The reason I'm doing that I don't want to overdo it is because I'm keeping the light source in mind The same thing happens with a night painting as you do with a day painting You consider the light source and it's really going to affect all the values and colors that the light source affects So I know that the moon is going to affect the areas kind of straight down from it and radiating out from it But it's not going to get so much down into the depths of those trees to the lower left So they're going to stay much darker now I also have to consider when it's nighttime and there's not a lot of sunlight We just have a moon glow things are going to blue out. They're not going to be as warm So that's why I don't want the tree trunk even though this is the one that's kind of in the direct path of the moon I don't want it to be so warm in color temperature Now if you've seen my video five ways to increase depth in your artwork That is a great one for Especially if you want to do things out of your imagination like I'm doing here I'm just basically using those rules. I know that it's a cooler type of light I know there's not a lot of sunlight So I've just got to cool the temperature off and even though I know Like I shared in the last video Typically color temperature is warmer in the foreground and gets cooler in the distance In this case, yes, it will be a little bit warmer on that closest tree trunk under the mouse But it's still going to be cooler overall because it's nighttime. So that's why I'm using this really Neutral pretty blue right here and my colors at this point If you saw the final at the final painting at the beginning of the video it did have much more vibrancy But right now I'm keeping it Very neutral and darker in value and once again, I'm working from my imagination. So I'm kind of like going Does this work? Is this what I want? And the way I'm doing the tree branches Again, if I don't have a source to work from which I didn't hear I'm using basically the When you when you paint a lot you kind of understand how trees work I'm not saying I'm an expert at it But I've I've done enough to know kind of how the branches Go and also if you're familiar with the Fibonacci sequence There is a pattern to how trees grow and branches Extend from the trees. There's a a mathematical sequence and while that might sound like oh math art I don't want to do math. I'm I'm I'm an artist It's not that hard once you learn the rules and I do have another video on that It's called the golden ratio and the grand design I believe and it really goes into a lot about the golden ratio and the Fibonacci sequence And how it's just so beautiful in nature and how as artists we can embrace it And use it to our advantage when we're painting and I know a lot of times we're not painting from imagination But uh, there are oftentimes when you may want to alter a reference image You don't like where this tree is leaning and you might want to remove it Or you might want to add a branch here or there And so learning these things is only going to make you a better artist plus I just think it's interesting. I think it's so cool this order and beauty that we have that just creates such Natural harmony in our world. All right. So once again, I am just kind of really wanting those trees down there I I even blend them even more and darken them even more because what I'm trying to do Oh, goodness. I have another video. I'm gonna solicit here. I think it's five ways Uh five techniques for focal point or something like that. What I'm trying to do is what would you say is the focal point to this painting? It's that owl, right? So if I give too much intricacy and detail to the trees that I'm working on now It's going to dramatically pull away the focus of the owl, which is what I I want the focus to be on is the owl So even though, you know, you see me working kind of strategically here I'm even going to dull this out even more and give just enough interest with color and value to suggest That there are trees receding into the distance We don't need all of the information there when we are Painting and I think early on I didn't realize this. I remember I was I had okay drawing skills I you know, I was doing all right, but I didn't really understand these strategies that you can use when painting in creating interests where you want it to be and dulling or neutralizing or Taking the focus away from other areas and I remember I did this one painting of a tree And I think I must have painted every single leaf on that tree And I I felt so proud of it when I was done And then it was later that I realized, you know, it's There's too much information here. What's that TMI expression that they used? And so don't let your painting suffer from TMI too much information We need to choose what it is that is the The thing that attracts you to what made you want to paint it and in this case it was this owl and and also the beautiful Backlighting behind his wings and if I was to paint so much detail in other areas It would distract or take away from the Main point of the painting, which is the owl. So that's why other things are very subdued nothing when it comes to the leaves and things You see me using now. I'm using a warmer Color, which is a green and I'm going a little darker in Those trees that I'm working on right there because they're they're in a darker area They're not directly under the moon. There's lots of other foliage back there So I'm limiting the warmth and keeping the value a little bit darker But in the part that I did like behind the mouse that those Greens are going to be a little bit warmer because of the moonlight Being more in a direct path to the moonlight. So you're going to get more warmth You're going to get lighter values Near your source of light and plus it worked in my favor because the mouse is also too kind of a focal point Now when it comes to like some of the things i'm doing now with the greens and making the leaves Once again, remember what I said before about just suggesting things And again, it's amazing what our brains will put together as believable without much information Now i'm adding a little bit of those greens back in there I don't need to really Spell out so to speak Every branch and tree back there because again your your brain's going to go to the owl and then it's going to play around And actually when we can learn to paint in a way That is actually the same way our eyes work our perception works Because typically if we're looking at something if this was a real life scene and you look at this owl Your peripheral vision isn't really focused on the things around it It's like a halo where things get gradually less focused as they extend out from your Your focus what your eyes are focused on so that's why the things gradually just get a little blurrier around the edges and I often say this photography It sounds like a strong statement photography lies And I don't want to say it lies it captures too much information It suffers from tmi because often unless you adjust your settings on your camera A lot of the automatic settings are set to make focus of everything That's not how we see we see the way I was mentioning before where we center in on a focal point And then a little bit of blurring for our peripheral vision So when we can learn to paint the way we actually see we're going to have More beautiful artwork and I think more painterly and interesting artwork. All right now I'm using some purples here because purples are great for Shadows and for cooling things off and once again, this is a night painting and things in the shadows are going to be cooler In color temperature. We don't have the warmth of the sunlight We've just got a little bit of a moon glow and thus we'll stay more on that cool side of the color wheel grains are going to lend themselves to be more teal And reds are going to lend more towards violets and purples. That's why in those trees To the lower left. I have I have purples and more violets for what would in the daytime Be browns, you know in reds and golds And so, you know, that's an interesting strategy You can take if especially again if you're working from imagination or if you're altering a photo You're taking a daytime photo and you want to change the color palette or the mood These rules just work so well and they're really not all that hard Once you learn some little tips and tricks of the color wheel and how things really work in nature You can get so exploratory and creative with your artwork the recent homework assignment I had for my patrons on my patreon page was every friday. I have a pe lesson It's called patron education pe lesson and I have them do a little Something to kind of hopefully give them some more education artistically and stretch them artistically And then they do the lesson and they submit it to a homework album that we have I love that. I love going and seeing their homework that they submit. Oh by the way, if you'd like to become a patron It's only five dollars a month. It supports this channel. So I can keep free videos coming Helps me have better equipment all kinds of things and also you get a little bit of extra instruction and kind of become Part of my patreon community. Um, but anyway back to the lesson last friday's lesson we did Where I I gave them a painting demonstration, but I Had them paint from black and white photos. I provided them So they didn't see the actual color photo and they had to use these rules Like I was saying with the color wheel and values how values work And I got such great feedback from that one lesson from my patrons They really liked it and they felt like they learned a lot and learned that they can Reinterpret photos if they want and it and some of them even said I'm going to do this more in the future Where you convert your photo to black and white and just work from the black and white photo So, uh, so that's really neat now I'm working on the little mouse here and I often get asked if I use pastel pencils much And I don't now I am going to use a pastel pencil for some parts of this mouse in a minute But I often find that even with these chunky pastels I can find a little edge or a little corner And when you to me when I do that I I like more impressionism And I think it lends itself to impressionistic artwork more When you use the pastels versus the pencils, but there are times when something is so teeny like when I had to kind of Reestablish those owls claws that was back in part one of this Um, but anyway, and I apologize The pastel's so big and the mouse is so little you can't really see as much of what I'm doing here But my strategy here is to get in the values. I know the mouse is going to be kind of a brownish Or grayish mouth mouse and I do gray him out a little after this But um, I'm just getting in the basics right now So I'm just using my little corners and I'm I know that because the moonlight is from behind And up high he's going to have lighter values on top and darker values underneath now. He did have a little white belly And While you may have you'll see me in a minute. What color would I use to paint a white belly on this mouse? So I'll leave that as um suspense until I get to it. Now. I was working on The little shadows in his ears And I think trying to establish his eye And in a minute I actually go to a pastel pencil to kind of reestablish that that was just his eye And so this was kind of painstaking tedious work um, I do make um A little bit of this uh darker kind of a brownish magenta color And what i'm having to do here once again working from imagination is just use the rules that I know That's how they work in nature And it's so neat as artists that we're we're not reinventing the wheel with a lot of things We're just using what laws of physics are really there in our world I skipped ahead just a bit because there's a lot that you can't really see in this Okay, so now see this color that I got the little lavender Now that's the color underneath his little belly that i'm going to use to represent the white Why would I use lavender instead of white? Well And now i'm using a darker purple to create a little bit more of a shadow underneath him and kind of ground him onto that tree He needs to have a little shadow a little darker area Um, so that purple really works well for shadow, but back to my question Why would I use a purple or lavender instead of white? In considering his environment, he's in a darker environment White's not going to show up great except for this owl with his wings because the moon is just shining right through his wings And the little white on his belly. It's on the underside of his belly So it wouldn't be natural or normal for that white to appear that way And I know our brains play tricks on us sometimes Often we can as a beginner artist we Our brains will tell us something is white and that's what we'll do We'll just go grab white and if we actually really analyze the photo or the subject matter Um, we'll discover that wow things are not the same color or value That our brains initially tell us I learned this from working in photoshop with my graphic design background And I realized when I had to do some adjustments to photographs I would use a tool. It's called a color picker and I would grab a color That I needed to use in another area and I would often be like wow I had no idea like people's teeth for example. Um, they You would think you would just paint them white But if you've done any portrait work, you know that usually even if someone's smiling Their upper lip is creating a shadow over their teeth and usually teeth. They're not Really all that white so we need to learn to analyze and pay attention to what we're painting rather than Making assumptions is probably the best way I can put it. I want to say don't let your brain get in the way but it's really our brain often tells us to assume something and Often it's not really the way it appears in nature. All right, so still working on this little mouse You can see I'm adding um his little feet I was just thinking of him having like a little pink nose and little pink feet and once again, this is kind of a warm color Which is not Really something in this scene that would have a lot of intensity But I'm I'm kind of using a little artistic license just to make him cuter here And here's where I'm using a pastel pencil. It's kind of a dark dark purple. It looks black but it's really like a dark purple and Just because he was so small and there were some areas that I just couldn't find the right corner of the pastel I wanted to give him a little bit more detail and darken up some areas underneath for shadows and um and just kind of Use it to get the values darker in certain areas I did work on the mouse a little bit more after this but not a lot like I said I just darken the values, but I wanted to show you another little blending tool That you can use pan pastels and unfortunately, I haven't done a lot of videos on pan pastels, but I do like them They have some neat tools their pan pastels are literally Little pans of pastels like they almost look like a makeup compact like you have powder in And you have all these neat little tools for blending and applying them actually really like a paintbrush application And again because this mouse was so little my chamois cloth I would have had a little bit of a hard time Getting kind of in those little areas in between his feet and under his tail But notice that I'm using it kind of to blend in some of the Take the white out or the lighter values and Give a more smooth application Once again, there wouldn't be a lot of this white showing even though sometimes I do like the texture showing like this So um, I'm also just kind of using it You see me mark on the side to the right there when I'm using a dark value And I don't want it to get onto a lighter value. I'll just it's almost like cleaning it off a little bit But I do add now that I'm still just kind of in this blending mode with this tree trying to create that sense of depth Obviously one of the things that creates depth as you know, it'd be larger in the foreground Which it is and it gradually recedes due to the laws of perspective But I'm uh I'm blending now, but I do go back and add a little bit more detail To that before the painting is done Now in this next part is where I'm doing my little technique for adding the fireflies and In this video once again, I apologize not as much of my filming took place as in The next owl video I'm going to share with the cute little owl with the big eyes So in that video, I am going to do real time zooming in showing you my little firefly technique And again, this was just kind of an overview and I didn't capture every single bit of footage here So you'll see this technique in the next owl tutorial And now I wanted to zoom in because I'm uh getting back to those background trees again I'm doing what's called negative painting and it's similar to a video. I did not too long ago on what's called sky holes It's really you're carving into your trees rather than drawing the limbs and branches Now I have sped this up at this last portion of the video, but thus far It's been about 20 plus minutes of real time So that's what I'm trying to give you guys more again breaking the videos up to make them more manageable for uploads And then I will combine them all together in a playlist so that you can see the whole series of painting videos in one session if you would like So once again, this is part two. I will combine it in a playlist with part one And now I'm using a new pastel spelled in you pastel not any w made by prismacolor These are great harder pastels and they're better for like linear work Now remember the areas I was saying that you don't have to focus on drawing every leaf just some shapes and values Now I'm just going in and giving a bit more suggestion With some purples that are showing more shadowy areas behind some of the the groupings of leaves adding some of that purple in the branch that the mouse is on and also in the mouse And giving a little bit more color where the light of the moon is shining because that's how it would really work in nature Another neat thing to do is start examining nature start I found that when I started painting seriously I started seeing the world with new eyes. Has that ever happened to any of you guys? You're you're like wow I'm observing things so much more. I just love the artist spirit of how we are Really appreciating our world and our earth and god's creation and nature so much more than Probably none artists do So anyway, that's I just think that's a neat thing about being an artist I do apologize that I get didn't get as much footage of the actual part of the owl painting I am adding a little bit of purples and blues once again his face and his Body underneath side are really on the away side from the moon So they're going to be cooler and have more shadows And I chose to use like some purples like even under his feet there And some cool like minty greens even though the bodies of the the body of the owl is white That part that's under his head if I painted it white it wouldn't be true to the laws of Color and value. That's just not how it works So that's why I gave him more of that minty greenish bluish color on his underside And once again, I apologize I didn't get as much owl footage on this one, but the next video I've got it from start to finish So and by the way, I'm finishing this one up here I'll show you the final and this painting is available in my etsy shop along with the next owl painting I'll do I'm trying to provide my paintings in my etsy shop as soon as I finish the video So here's the final. I hope you enjoyed this get ready for this next cute little owl tutorial coming soon And of course happy painting


Hello everyone and welcome back to Conversations with Tyler. Today I'm chatting with Brian Koppelman, who is a producer, director and screenwriter. He's the co-writer of the movie Oceans 13 and the movie Rounders, the producer for films including The Illusionist and the Lucky Ones, the director for films including Solitary Man with Michael Douglas, and the documentary This Is What They Want for ESPN, and the co-creator, showrunner and executive producer of Showtime's Billions and super pumped The Battle for Uber and his podcast is The Moment and my own daughter thinks this is one of the sagest sources of the life advice out there. Brian, welcome. That's awesome to hear because as you know, my son Sam certainly has a high opinion of you and your work and it's funny to me that you two know one another really before you and I knew each other. And she knows you, I think more as a podcaster than as a movie and TV person. Awesome. That's great. I love people, people who interact with me via podcast and who get on the wavelength that I'm on on the pod. I do feel very connected to and I understand why they're connected to me. So that's great. I have to meet your son. These people like us more somehow, right? Isn't that strange? It is, but they do, do you feel this way? I do think that someone who's listened to enough episodes of The Moment, they do have a sense of the things that animate me and the things that animate me are so much a part of who I am that in a sense they do really know me or they know a part of me or they know me when I'm trying to access the part of me that's most alive, the best of myself. And so when I meet someone and they're a person who spent a lot of time engaged in that way, it's not hard to find a way to connect. Do you feel that way too? Absolutely. And some of the people who think they don't know me, in fact, they do know me. They just can't believe that's what it means to know me. Like that's it. Yes. And well, I think also though, one, it's hard to believe that somebody has not only the catholicity of interest and knowledge that you have, but the depth of interest and knowledge that you have. So when, I'm sure when someone meets you, they're trying to understand how a human being has that entire range, you know. Thank you. I have some very simple questions for you about the history of television to start with. So I grew up in the 1970s, and I've long wondered, why was TV so bad for so long before the so-called golden age? Maybe you could date that to the 90s or the aughties, but why weren't shows in the 70s and 80s better than they were? Or would you challenge that premise? Well, you know, I also grew up in the 70s. I was born in 66. And I'm not sure that the hypothesis that it was bad is correct. It certainly wasn't in general as an art form operating on the level that cinema was operating on or the level that music in part was operating on during that time. But if we look at, say, children's television, I could argue that Jim Henson and Sesame Street, for what it was and aimed at what it was aimed at, was as important as any television that's on today. So I would say that Jim Henson moved the art form forward. He figured out a use case for TV that hadn't really been done before. And he created a way of thinking about the medium that was really different. And then, look, Hill Street Blues shows up in the 80s. And I think figures out how to use certain techniques of theater and cinema and novels to tell these TV stories. And like any other business, when that started to connect, then people in the business started to become aware of what was possible. So yeah, it was a function of three channels to answer questions. Yeah, in the main, of course, TV was worse. No doubt about it. But there were high points. And I think those high points pointed the way toward the high points that came later. Like for me, NYPD Blue is the network show that's fully on the level of any of these shows that came after. And David Milch cuts his teeth on Hill Street Blues. There's a wonderful book by Brett Martin called Difficult Men that's about showrunners. And it starts, in a way, with Bajko and Milch in that time period. And it's a great look into how this idea of showrunners created modern television. And HBO needing something, all these sort of business reasons underneath it. But how people who came up through originally Hill Street were able to kind of go on and start this revolution. And in your view, how good really was I Love Lucy? Is it just a few memorable moments like Vitamine of Edgermen? Or is it actually a show where it'd be good episode after good episode? Like this promise? Well, you know, I was going to say, like we could look at shows. So obviously, she was an incredible physical performer and incredible comedian. Her timing was amazing. But also when you asked the question, I started thinking about the 50s. And I started thinking about directors like Sidney Lamette and people who became world class directors of cinema and who started by directing those live television presentations, right? Those plays and all that stuff on TV in the 50s. And so look, it was the dawning of an industry. It was the dawning of this art form in a real way. I Love Lucy has incredible moments. I've certainly seen every single episode. And I think probably not just because making this stuff is my job. It was never ever a moment that it was my favorite show. But I Love Westerns. I grew up watching Westerns with my dad. And Chuck Connor, The Rifleman, it might not be a good show, but I think there are elements in that that are synchronous with movies and have similar iconography. And maybe we're able to deliver that in a digestible way that made you curious about what else was out there, like what that was inspired by or what that was inspiring. So if we move to the current day, there are many quite good TV shows, but why aren't there many more? What is the scarce factor? Is it directors? Is it money? Is it viewers caring? Is it screenwriting? All of the above? How should I think about that as an economist? Well, art, as you know, because you are such a dedicated consumer and thinker about great art. You care a lot about it.  And yes, like if we look at a music, if we look at, I like, like we look at Bidges Brew just for a second and how it was received in its time and how people think of it now. On one hand, we could say, well, music can be reduced to just frequencies. And so these frequencies, for whatever reason, that we don't yet understand are pleasing to us. And you may say, well, want us to come to Bidges Brew with an understanding of bebop, hardbop, this whole thing? Or I might say to you, I don't think so. I think you could put that record on. In fact, to somebody who doesn't come in expecting jazz to be something and they might be hit within in a way that suddenly it nails them, which is to say that the effect that storytelling art has is, in a sense, because we don't understand why it's magic. And so when you ask why there's not more that's better, it's like it always comes down, of course, as an economist, you might say, well, how are we incentivizing people to make this stuff? How are we drawing the best people into it? And I do think on the whole, television is a writer's medium and that you need to incentivize and reward writers to be willing to turn themselves inside out to create amazing stuff. But I might flip it and say, how much truly amazing stuff is there in any given art form at any given time, you might take a snapshot of it. And because so much stuff has to come together, the writing has to be incredible. First of all, the concept has to be one that nails the moment in time. I mean, you know, the way Fransen was talking about the duty you have to write the great American novel and it's one that takes in in some way processes the world that you're living in. That could be a science fiction novel, right? It could be a historical novel, but in some way it is hitting off the times in which you live. So a great piece of television, whether it's Mad Men. Whether it's the Larry Sanders show, whether it's NYPD Blue that I was talking about earlier, or if it's the Spranos, it needs to conceptually be something that the times want to engage with. It needs to have a writer or writers with an incredibly clear sense of purpose and they have to be talented enough and ready to give what it takes and then the magical alchemy of their words, the camera and that group of actors has to take flight. And so you can hire really talented people and sometimes it doesn't work. And sometimes suddenly, almost miraculously, it really does work. And so this is why someone like David Milch, and that's another book I would recommend as Milch's book, which is one of the best, maybe the best book ever written about television, the one that came out last year. When you think about a guy like that, it was able to write some of the best episodes of Hill Street and then NYPD Blue and then create Deadwood. That does feel to me as somebody who does this stuff miraculous. Why is Israeli TV been so good in the last 10 years? Srugeem Shatizel, prisoners of war. There's a lot more actually. There are great shows. You know, I don't know that that's I want to give you an answer. But what I really think is one thing I've learned. All right, if you're when your daughter says the stuff about that there are things that she hears me say, I would say one of the things that I really have felt the older I've gotten is just an incredible comfort in saying I don't know, like whatever that. Amalgam of things are that's created the ground to be fertile enough and then the artists to be ready to make the work that they're making and to have it connect? I don't know. I haven't studied it. And so I don't have a ready made answer for you. I think in a more global sense, we're pulling back from 30,000 feet. There was a moment when I thought South Korean cinema was just incredible. It's been for a long time. And I remember watching this series of eight or 10 or 12 movies. And I had a thought that it was a moment in time where the the movies from South Korea without ever mentioning what it feels like to have North Korea as your neighbor, as this bully, as this invasion of your psyche, they would never say that the movies weren't about that at all. Yet receiving those movies, I felt part of why they were so potent. Was that it had their move, they were suffused with that idea somewhere in the consciousness of the people making it. And so it had that kind of effect because you felt this need for freedom. You felt this this this sense of encroaching doom, this sense of wanting to define themselves, the people in the movies and the filmmakers. And so perhaps something similar is going on any time a certain area starts to produce work that's really good and important. But I haven't given the Israeli stuff the same amount of thought that I gave that South Korean stuff a few years back. I just watched Old Boy on a large screen for the first time. Do you like that one? Well, that's a great one. Yeah, for me, yeah, it's an incredible movie, the original. For me, a bad boy, sympathy for Lady Vengeance. Those are two that I think are great. But there are many, many movies from 10 years ago that and 12 years ago from Korea that are I'll text you a list that are just great. Mother is very good. Memories of a murder is the earliest one. I know I haven't seen that one. I know I haven't seen that one. Somehow I missed that one. No, I missed it. I'll watch it for sure. And when people watch TV shows, often these days they binge. So they'll watch many episodes in a row. I don't do that. I like to watch something like one a week. At the margin, do you want to have your viewers binging more or binging less? What do you prefer? How do you think about that trade-off? I love it. And do you binge? I loved the experience of watching Mad Men week to week. And I'm so glad that I got to watch it week to week. It was almost like a holy day in our house. Amy and I would start taping it so it would just get a little run up before you would start because Mad Men actually had commercials oddly enough. Even the later years, very few commercials and they would chunk it so that it was great. So there's something about the anticipation and then seeing something when it airs and having when Twitter was slightly different. I really loved having a conversation on Twitter during a show that was after a show that was meaningful. You would watch the second to last episode of Mad Men and then you could see what Sep and Wall was saying on Twitter and you could talk to him and you could talk to Mad Zoller Sights and you could sort of engage in that way and that was incredibly fun. But The Crown is probably my favorite show, The Bear and The Crown. And I'd say both The Bear and The Crown, Amy and I binge those shows. And the experience this year of watching The Bear was an extraordinary experience to binge it because I felt like I was immersed in Christopher Store's imagination in the way he saw the world. And it was like reading a novel and the kind of novel, even a big novel that you read in a weekend. And that's what we did. We watched on a Saturday and Sunday and it was an incredible experience. But I think to binge something like that, the show needs to be great. And we also picked moments to stop. We picked moments to stop and think about it and talk about it. And then picked a moment to stop and wait till the next day. I think both things have their, both things are rewarding. You know, I feel like The Crown is built to binge and the way that it accretes really works in a binge model. And I have a feeling that Mad Men, because there were so many quiet moments in Mad Men, because Mad Men was about visual images and about symbolism, I think because his business was about semiotics. And so when you would be able to walk away and think about what you saw, it was really rewarding. The Crown is rewarding too in those ways, but I think they're built slightly differently. David and I don't really think about it in making billions. I think we just want the whole thing to add up, to accrete as I say, but also we do want you to be able to watch it in discreet. Does combining food and television viewing, did that make American food worse? Because Europeans don't do that so much. Oh yeah, eating at the kitchen table, watching is absolutely, yes. I love the question. I love, well yeah, you should eat your food. Have a conversation with yourself or your family, depending on your situation. And then get ready and watch stuff. On the other hand, if you've worked really hard all day and you just want to sit down and eat and watch something, I mean, I feel like there are, for certain things, I do think there's, I'll use the word read to read them. I do think that there's a wrong and a right way to read certain pieces of material. On the other hand, it's entertainment. And so if people want to be entertained while eating a burger and watching the thing, I think that's all right. I think that people making stuff to a person, I would say, just to circle to your question earlier, man, people making this stuff are trying really hard to make it as well as they can. And the answer is never that they're not sort of working themselves to their greatest capacity given their level of exhaustion. But I don't think then they require you to watch it under certain circumstances. I think you want certain people watching it that way. Someone writing about the, you know, I would prefer that someone writing about the work is focused on it. But I would feel, you know, how do you feel about audiobooks? Like, do you feel that somebody ought to run listening to one of your books is having an experience similar to the experience of sitting down with a pen and underlining when they read it? Or is it not at all similar to that? If I was reading it, I would feel fine about it. I don't like to listen to audiobooks, but if my readers are listening, I think that's great. But the people who read them, they're somehow weird and corny, and I feel it ought to sound like me, and it doesn't. And I get that if it sounded like me, it might sell fewer copies, but I don't care about that.  You don't do it yourself now?  Then they got the book. They're like, well, we're going to have someone come in and do this. Again, it was probably an OK commercial decision. But it sounds like a Martian. Oh, I feel like it's really crucial. I couldn't agree with you more. I really want authors reading their own books, and I want to feel the intonation from the author, and particularly someone whose voice is so familiar to people now from the podcast. I feel like if I bought your book on audio, I'd want to hear you reading your book. Well, we will see. Is there a television purchase that you would be willing to recommend to our listeners? What you watch, why you think it's best? No, because things change and the truth is you're setting so many. I think there's such a high quality now in the televisions where people get screwed up as in the settings. Like you've got to go in there.  Ryan Johnson's talked about this online, the great director and writer. And like I asked Ryan when I got the last TV I got, I wrote. I asked Ryan to just tell me what to set my television up to. And I just set it up to exactly his specs so that now it looks great. And is that online somewhere? Oh yeah, you can find it. It's just turning off a bunch of the stuff that's set up for watching sports only. And it really fixes it and returns it to looking like you want it to look as close as it can. Now, let's say we put you in charge completely and you get to redesign multiplex movie theaters. You can't make them like the Hollywood palaces of the 20s. But within reason, what are the changes you would make to improve the movie watching experience? This is not about making more money. It's about making the movie better. What would you do? Well, you started like a good Dungeons and Dragons dungeon master. You started by taking away the first thing I would do, right? You made it more difficult. I mean, the first thing I would do is make sure you could have a zig field like screen because that big screen is immersive and you're lost in that and the sound quality. I mean, I think this stuff, I think it's basic like if Greta Gerwig or Chris Nolan are there setting up their movie to look a certain way. Whatever you need to do in the movie theater to recreate the experience that they last had when they approved it, sound and picture. Sometimes you'll walk into a theater and it won't be bright enough. Like it won't be two enough candles, right? So that stuff drives us nuts. Or they won't have it. It's just like, I would just want people to really care. The projection is to care the people setting the thing up, make sure that it's like lit properly, make sure that all the speakers are working properly. Make sure that the sound ratio is what the filmmakers wanted. Those are my modest sort of beginning things, right? And then I do love seeing a movie on a giant screen, like seeing Mission Impossible even at the IMAX, a proper 70 millimeter IMAX was a phenomenal movie going experience. I mean, there was only 13, I think, proper IMAX 70 millimeter theaters in the country. And it's, you know, there's one 10 blocks from me in New York City. And it's a thrill to go to that theater to see a movie every time I go see a movie there. For you as viewer, how crowded do you want the movie theater to be? I'd like two thirds to three quarters full or totally empty, depending on the film. Nothing in between. What's your view? My very favorite time to see a movie is the first screening of the day on a Saturday morning. And probably my second favorite would be a really full screening on a Friday night where I have the seat that I like, which is Dead Center but the Isle. And I love an early morning seeing a film like I remember seeing Trio Life, that great Terrence Malick film at the Old Lincoln Center Theater. You'd go downstairs the independent cinema. And I was a Saturday morning and I was alone. And I felt like I was alone with Malick's vision that theater cared a lot. The screens are small, but they cared a lot about the screens being accurate. And I felt lost for three plus hours. I was in a reality that I didn't normally live in and I didn't create. And I was experiencing the world the way Terrence Malick saw the world. And that is an experience that I wish everybody could have. It just rewards you. It rewards your time and effort. So that's my favorite. First thing in the morning on a Saturday morning. And when is it you prefer to see the movie alone? No companion, no partner, just you. You mean which movies do I prefer to see that way? Yes. So sometimes a sad movie I might prefer to see alone. But if the other person doesn't find it sad, it's a bit of a discord. I would say I'm lucky in that Amy is a great movie going partner because she's also a filmmaker and we tend to, if we don't receive them exactly the same way. And David Levine, my creative partner, same thing. But I love seeing movies alone. And I love seeing a movie for the second time alone. The answer is really when I go see something for the second time, whether it's the director, PTA's movie, the master. And then the other thing I love to do is... Why is that better the second time? Tell us that first. So being alone the second time, because the first time you're swept up in the film. You're swept up in everything. You're with somebody. You're like, can you believe this moment? Look at that shot of him going across the soft flats. Oh, look at the look on Philip Seymour Hoffman's face in this moment. You're kind of like in it together. And then the next time when I'm alone, I think I'm able to be... I've seen it, so it's not about just being swept away. And it's not about being analytic, but analytical, but it is about allowing myself in a very private way to notice things and then take my time noticing them and thinking about them. Thinking about them as it's going. It's like a story as I saw it the night before. And so there's something about the solitude of a second time. E2 Mamatambian, I remember seeing a second time. And because I had a question in my head, okay, how did he get to this... The voiceover is kind of reminiscent of the way Melville would sometimes do voiceover, like in Bob LaFlambeau or something. And so you're like, okay, what is this? How did he decide that that's the approach he's taking? Why? How is this used so well? How does this movie both feel so intimate in first person and yet have this omniscience? And I had some questions. And so the second time, I could alone kind of allow those questions to wash over me and try to see if I came up with answers to them. Why are so many movies today too long? And yours or not, I'm very happy to say. But how'd that happen? Well, I'll get to that, but I want to say one other thing about... The other thing I love is like... I remember the first time I saw She's Got a Habit and I didn't know who Spike Lee was. Where did I? It blew me away. Right. So I was thinking about movies that really like changed me and that was a movie that changed me and I remember going to see it. And in Boston, I was a sophomore in college and I went... Oh, I didn't say in Boston because I went to Harvard. I did not. I went to Tufts. So don't think I'm trying to be smart and subtly say that I didn't. But the Harvard people say Cambridge, right? Yeah, right. Well, sometimes they say New England. I went to a small... But so I remember going to see it and all I wanted to do was bring people to it and I went back. So I saw it, right? And then when he reveals that it's him at the end because you're watching it, you don't know he's Mars Blackman because it was so early in the thing. He wasn't famous yet. I remember the theater. I saw it on everything. And the next... I went back. I went three days in a row to see that movie and I brought groups of people. And that is... I love that with all forms of art. I love when you stumble upon something that has the thing about it that reminds you... Like for me, I wasn't yet somebody who was doing this. I wasn't a filmmaker. I didn't even know I could be a filmmaker. I didn't know I could be a writer. But there was something about the way Spike Lee used language and he used cinema that blew my mind. And I had to share it with people. And so that's the app. It's, in a way, it's a very personal experience but I wanted it to become communal. And that's like the gift of the movies. I wanted to... And I remember bringing groups of people both nights. It's like I'd say I saw it Friday, then I saw it Saturday night, and I saw it Sunday, Monday. And sharing it like that, Tyler was... I felt... It was like, this is why there are movies, you know? This is why this art form is so fantastic because... And I remember experiencing it with those people and loving it just as much. All three times that I saw it. And movies being too long. What happened there? Or are they not too long? I don't know why. All my friends say they're too long. I've never heard someone say, oh, I want more movies that are two hours, 49 minutes. I mean, is Citizen Kane too long? No, but that's Citizen Kane, right? Is Casablanca too long? No, that's Casablanca. Is the third man too long? There are so many movies. It's like the 13th best movie that came out this year. And it's almost three hours. And those are too long. I mean, it just depends on like... Look, that's that thing where for a long time people would slam an artist for making a double album. And yeah, a lot of double albums, there's like a lot of fat. But when I listened to The River, and then I listened to the... What would have been the single album of The River? The Doubles Better. I really... The Doubles Better. I love certain of the songs on Be True Is Great, and I wish that was on the bigger record. But the bigger record's there for a reason. And so for me... Look, I'm somebody who wants the artist. Like I love Tarantino's movies, and I want his movies to be long. I'm happy to sit there and see the full exorcism of his...  And I don't really think that the studios let most people make movies that are just too long. I remember once... I don't know Wes Anderson. I don't know him, but I met him once. And I love his movies, and I love that his movies are 90 minutes. And I asked him once, the one time I met him, we were screening a film. He invited some people who happened to be in town who he knew were film people, and so I got to watch a movie with him. And afterwards we were just talking about movies. And I said like, these movies of yours, they're 90 minutes. And he said, yeah, I found that the things I meant, the concepts I'm interested in don't really support a journey that lasts longer than that. And he's an incredibly disciplined filmmaker. And so I was like, that makes total sense. But can you imagine telling PT... Now, let's say Magnolia. Perhaps some people find aspects of Magnolia to be really about a filmmaker working some stuff out for the filmmaker's purposes. But there are other people who find those parts of the movie incredibly satisfying. And I think when somebody is a masterful artist like PTA, let's give them the room to do that. But I'm also someone who doesn't like baseball, games being shortened. And I don't like pulling pitchers who are pitching a perfect game in the eighth because the pitch count. So I'm a bit of a romantic when it comes to this stuff. And so I'm indulgent of the wishes of both filmmakers and pitchers. Speaking of Magnolia, what has happened to what you might call old-school movie stars? So this is 2023. There were major films with Harrison Ford at 80 and Tom Cruise at whatever age in the lead roles. Good for them, almost for that. But why is there no next generation of very top movie stars? Well, let's see if Margot Robbie is that. Why isn't she? She very well may be. If you look at how she's built her career, it's very possible that she will be. But who's the next Harrison Ford? It's a big gap, right? 30 years and it's not clear who you would put in that same post. Well, how old should... I'm not asking it rhetorically. In your mind, how old should that person be now? Where on the continuum? 53. And they've been doing it for 16 years and have at least three or four excellent movies under their belt. Perhaps Bradley Cooper. Let's see what happens with the Bernstein film because perhaps Bradley Cooper is that person. Perhaps Matt Damon is that person. I mean, it's a difficult question because you're really asking, I think, about what happened to the movie industry. And let's say also, let's adjust. I'll do a little bit of, like, let's adjust so life expectancy and how long one can do this. So is Tom Cruise at 60, Harrison Ford at 53? And if so, is Tom Cruise that person? I'd also, of course, there's the question of mystery and all that stuff, right? Like, we didn't know anything about Jack or we knew funny things about Jack or Pacino. Also, those guys are still doing it.  You know, the generation before those guys just died. William Holden and Bogey, like, they died off and kind of created room. But as you say, you still have Harrison, you know, doing this stuff. I'm sure that you, as is the case with myself, you know many very smart people who just don't understand movies very well. Like, if you showed them Tarkovsky's Solaris, they'd be bored, no matter how big the screen. If you had to explain in as few dimensions as possible, what differentiates the really smart people who get movies from the really smart people who do not get movies? What's going on there? Perhaps openness, perhaps the ability to not have to analyze in real time and to experience. And perhaps it's a gateway thing. I find Casablanca is a remarkable tool to solve this problem because cane is slow and cane, citizen cane is slow and citizen cane is very much a masterpiece with a capital M. Casablanca sneaks up on you. Casablanca is just fun. Like, it's fun from moment one. Like, citizen cane is portentous, not pretentious, but portentous, right? From the moment it starts, you understand you're supposed to take something very seriously. It's in everything that Wells does. Casablanca is a delight. And I find that I have found that no one, I have never met anyone immune to Casablanca's charms. And so it's a gateway into understanding what makes great cinema. Because if you get them, now a lot of people are resistant to sitting down and turning it on or sitting down and watching it. But if you get someone to watch 10 minutes of Casablanca in 10 minutes and you go, hey, all right, cool, you tried. They're like, no, no, no, what happens? And then you got them. And so I do find it to be an incredible thing to kind of hook people. I think all the president's men is another great example of a film that does that because right away you are in this mystery and it doesn't announce itself as like proper cinema, but it is proper cinema and it deploys all the tools of proper cinema and it's another kind of gateway film as is Raiders, the first one. And so I think that the answer is, and then I guess there are some people who can stand in front of a painting and it just doesn't move them. And then maybe they think, I don't like paintings and maybe they don't like Caravaggio but maybe they like Jasper Johns. But they don't know that they like Jasper Johns because they would never go look at a Jasper Johns or they don't like Jasper Johns but suddenly they see something else that speaks to them. I mean poetry functions the same way, right, Tyler? Why are people immune to poetry and other people that just speaks to them? But I see a kind of clumped distribution when it comes to cinema and Americans. Almost everyone I know quite likes Casablanca but they draw a line somewhere just as people will draw a line maybe with modern art or abstract art and they won't love Fellini or Bergman or whatever else you want to put on that list and who crosses that line and who doesn't? Oh, that's interesting. Well, okay, is it like this though? Like I don't understand atonal composition. I don't enjoy atonal composition. I understand what it is as an exercise but as a listener I'm not, I don't want to put in what I would have to put in to get out of it what some of my friends perhaps get out of it, right? And so it's like Bergman. I mean, I once was talking, I was once talking to an author who I admire a great deal, Mark Halperin. And Mark said, Mark Halperin wrote A Soldier of the Great War and Winter's Tale, not the political journalists, so they're different people, not Halperin, but Halperin. And he talked about the cost, the emotional cost of reading novels after 50 and that the way a novel can stir you up because the best novels are about death and essentially whether they are or they aren't, they are, right? And so the best movies, Bergman, is about death. Bergman is about impermanence, right? And so all the great works of art in some way or another are about impermanence and people often don't want to deal with impermanence and so you have to kind of decide how you're going to deal with that when engaging with art because when art can affect you that deeply in a way that it makes you think about impermanence, maybe you don't consider that a good time, maybe you can watch Michael Mann, a cinematic master, make heat because although there's death in it, it's not really about death. It's about consequences and that's entirely different. The other stuff's about impermanence regardless of deserve, regardless of consequence. And so I think that that might, perhaps, that gets to, in some way, gets to the answer to that. Speaking of death, what's your favorite Hitchcock movie?  I was watching him talk yesterday about the use of staircase imagery in films. It's a very boring answer but north by northwest. I watched it pretty recently and was just blown away by it. I would say the coldness of Hitchcock is not... The coldness of Hitchcock and the sort of... His style of directing performance, he's a master, he's the greatest, but it's not my personal favorite, right? There's a difference between what we understand and can fully appreciate and what we just love and I'm not just someone in love with his movies. Or Jerry Lewis movies, funny. Sometimes. Yeah.  Why does comedy seem to stand the test of time less well than drama? So if I watch silent movies that are supposed to be funny, there's some chaplain that quite speaks to me, but for the most part, I just think this isn't funny. A lot of movies from the 1950s, to me, they're just flat out not funny, bringing a baby I enjoy, but very few early comedies. What's happening there? And they don't cross borders as well either, as you know. Well, I think, you know, so a couple answers to that. I mean, comedy clearly is of its time because that applies to stand-up comedy too. Like, people our age, there's literally nothing in the world that seemed funnier than the first two Steve Martin albums. And you could try those albums on some younger people and they, because the world took a lot of what he did. No part of what he did seems stunning or surprising now. But on the other hand, man, maybe it's just about like truly great stuff is what lasts because thin man is still as entertaining. Have I put on thin man? I agree, even after the thin man, yeah. Right, the first two, yeah.  And maybe it's just that they were great and the other stuff wasn't great. But I've done the test, as I wonder if you have. I've done the test with, like, because it's a long time now from when Eddie Murphy and Bill Murray were in their prime making those movies back then. Those movies, and it's 40, 50 years later, 40 years later, certainly, they still really work. Stripes is still very, very funny. And Trading Places is still very funny. I agree. And so, you know, those things can last. But thin man, okay, that's another movie that I would say to people like, if you think you don't like old movies, watch thin man. What's the Steven Spielberg movie that you feel is quite deep in some underappreciated way if you had to pick one? Yeah, man, I'm somebody who, I don't join the people who condemn Spielberg for being populist. And I loved the movie about him that came out last year. I mean, I just loved it. Couldn't have loved it more, his, you know, film as memoir. I agree, yeah. I loved it. And some people really didn't like it, and I just have to say I was my favorite movie of the year. I mean, I just loved it so much. Well, I think Close Encounters is a great movie. You know, it's about alienation, right? And I think it's a great film. And E.T. is a great film. And I think either of those services are pretty good. I think Close Encounters is probably the one that's quite deep, even if on the surface it doesn't seem that way. Which is the more Rikami book that is especially deep and not sufficiently appreciated. I'm glad you asked. I saw that somebody wondered about Rikami. I'm glad you asked the question. For me, it's hard-boiled wonderland, but I love it. That would have been my number two choice. Ah, what's your number one choice? Well, I think Kafka on the Shore is like an astonishing. So to me, Kafka on the Shore is, it works so well. And it shouldn't work. It encompasses the entire experience of life and love and war. It just encompasses so much. And every page is entertaining. The thing about Haruki Murakami to me and why I think he's the living writer that captures my imagination the most is that he never forgets the reader. He's completely consumed with the personal. He's completely consumed with making these things live for himself and to be fully personal expressions of how he feels and sees the world. Yet, his incredible, magical, mysterious gift is that he makes every page entertaining for you, the reader. And I've read every single Murakami book more than once, except I've held out two to read for when he's no longer producing books. And because I want to have two that I can read later that I've never read. But I find him a marvel, a miraculous marvel. And I'll never forget reading Norwegian Wood for the first time. And just understanding that there was somebody out there working at the highest possible level that you could work at as a writer. What's your favorite book about poker and why? I know you've bought hundreds of them. I have. There's a little known book. So the books about poker that are the nonfiction, A. Alvarez's book is perfect. It's a perfect book. I highly recommend it. Anthony Holden's book is really entertaining. Peter Olson's book about the world series of poker. There are many, many great poker. I'm leaving so many out. There's a tiny little book called King of a Small World by Rick Bennett. I don't even know if it's in print. It's like 210 pages and it's about Maryland poker games. And I've read that book 10 times. It is a perfect encapsulation of a certain kind of poker life that existed a while back. And I'm leaving books out and I'm sorry, but I do have one of the biggest poker book collections. I've been collecting poker books for 35 years. How's Maryland's poker different? Well, back in Virginia. Those games were at these like fire stations. They had to be under fake charities. And it's this whole kind of Byzantine set of rules that allowed these couple hustlers to live in it. I never got to play in that scene, and I'm glad because I would have been fleeced. But this guy creates these incredible characters. It's really he really this guy wrote a really special book. Oh, but if I have to just mention, because it's not something maybe if the other writer who I think is the best writer in the world, and he also doubles in magic realism. And he wrote for me the best book ever about a person who's in the world of gambling. And that is William Kennedy's Billy Fallon's Greatest Game. Have you ever read that book? No, you've never read it. Tyler, it's as good as Kennedy to me is like, you know, another one of these people like Kennedy, I think should have won the Nobel. I think that that all many cycle is a stunning achievement. And I think that Billy Fallon's Greatest Game is his best book. And it's about everything that's been about gambling since I think in some way that this book is kind of like in the same way that David Moore is the big con as to where every single con artist movie came from. Billy Fallon's Greatest Game is like an ur-text of sorts. And I highly recommend it. What would be something you feel you've learned about the poker universe that a well-educated American is likely to simply not understand or not know about it? That would be surprising and not obvious. It's very, well, this is basic, but it's not obvious to most people, which is you probably can't win. When you say probably, where does the probably come from? Why not just you can't win? Well, like you may be one of those gifted freaks who can sit down and suddenly the math makes sense and reading people makes sense, but basically if you don't study, basically if you don't study and think about poker at least a little bit every day, like I think about poker every day and I am not a world-class poker player. I'm somebody who I track my results very closely and I'm flat. Like by the end of the, I'm usually flat and I play a lot of poker and being flat is a gigantic victory. Some years I win a little bit and some years I lose a little bit, but basically in competitive difficult poker games, I'm flat. I think about poker at least. I engage in some way with materials about how to be better at poker every day and that's where it's like chess. It's like required, I think. And people, so in your home game, oh, okay, I can tell you, in your home game that's your casual Monday night game. If you have a rotating group of 12 people to make your nine or seven who show up, what you don't know is that at least two of those people actually are taking it almost as seriously as a job. That's the thing that most people don't know. What's your greatest weakness as a poker player? I think you'll understand that I'd rather not say. Jalen Brunson, overrated or underrated? Underrated, let's go. He's properly rated now, that's what I think. He was underrated, it's one of the only times that Nick's got an asset. I think it's one of the only times that Nick's got an asset below what should have been the market price for that asset and I love him and I think he is... He over-delivered, which like has never happened, hasn't happened since Bernard King probably and for the Knicks where someone just over-delivered. Shohei Otani though, underrated. And are the Knicks going to get Joel Embiid? The Coase theorem says they should, right? So you think that he is going to force a trade? He is going to force a trade of some sort? Well, this is August of 2023, but it seems to me at this time not impossible that Hardin leaves Philly and Embiid wants out. I grew up that many teams can actually attract him and the Knicks are one of those. Tell me if I'm wrong. Well, it's about... New York market, right? Yeah, but what pieces would we... If he forces a trade, meaning if it's not when he's free-agent... As many draft picks as the CBA will allow. Yeah, but Daryl's going to want Brunson. Daryl's going to want Brunson. No, you can't do that. And you can't do that. Let me just say this. And Daryl, if you're listening, he's my friend with Daryl, as I know you know him too. Daryl, if you're listening, I think it'd be a great idea. Just take some draft picks and give us Joel Embiid. I think it solves all your problems. What is it you really think of New Jersey anyway? I... I loved Fred Armisen's version of David Patterson when he would just say New Jersey with so much contempt. My wife's from New Jersey, so the one thing I will say is I'm from Long Island originally and she's from New Jersey and I always figured no matter what, I would marry someone where they would be able to use as a kind of trump card on me. Well, what do you know you're from Long Island, but at least she's from Jersey? Let's say I'm in Manhattan and I'm looking for good food. What is it you think that you might know that I do not being a Northern Virginian, but ultimately from New Jersey? Well, David Chang is a Virginian, so he certainly figured it out. And I think you should look at the places he recommends in Virginia and just go to those places. But I would say, yeah, a lifetime of being in this city and eating in this city, I think I've developed relationships with chefs. And so I might know where chefs are eating and that might give me some insight. Also, like just knowing where some younger people who aren't able to spend a lot of money or finding great food is a valuable thing to know in the city because someone's always opening an amazing spot. And there are people here who really want to find out what that spot is before it becomes impossible to get into. So you just kind of learn to have an instinct for that. But also, where the place that's not hip or cool is, I'd say I really do know that. I know the place that like, if you want to go to Great Diner, go to Joe G's. And don't worry about where the internet is telling you to go. If you want to get a great steak au poivre, just go to Lucian, which was really hip 20 years ago but isn't hip now. And so those kinds of things, which is like I could take you to 25 uncool places, places that are not hip and not cool where we could just have something perfectly prepared and delicious and you would leave really happy and there would be nothing about it that felt like you were a part of a scene. And maybe that's something that only someone who lives here could put together. And what's the part of town that is most ripe for further exploration in these directions? Like I'm the Upper West Side. It can be tough going, I feel. There aren't that many good places. I mean, what's wrong with you people? If I'm in the East Village, I'll do better. But it's sort of everyone feels that way now. And then I start thinking, well, there's some trick here. This isn't going to last. Well, the Upper West Side does now have New York's best restaurant in Tatiana. But other than that, you're totally right. The Upper West Side's been a wasteland for food. But there's practical reasons because that's a neighborhood people move to to raise kids and they're not going out to eat as much. They're at home. Whereas the West Village or the Lower East Side or like Midtown East or over in Koreatown, there's just so much great stuff that's kind of unexplored. Let's say you could spend three days out of retreat and you get to choose two or three other people who will show up and talk with you for those three days. Now people in cinema, you can already do that, right? Maybe some other people too. Living people. Who are the two or three people you would choose? Well, can these be friends of mine or you don't want them to be friends? No, you can already do your friends, right? So no, they can't be your friends. I can't say Seth Godin, even though I would say Seth Godin. Oh, well, Mar... Haruki Murakami, that would be great. I would... Even though I'm not someone who has cats, I would supply them if he wanted to be there. I will tell you, I would love to be able to talk to Donald Hoffman for a few days because it would take a few days for him to be able to find where I could understand him well enough that we could really communicate, but I would want to take that time to really understand his theory about what reality is. I feel that would be an incredibly useful thing to be able to sit with him and get the building blocks so that I could begin to understand where he is. And then I think you have to say Bob Dylan because if you were able to be in a spot where Dylan was, and if Bob, assuming for this game that Bob was interested in sharing, not necessarily... You wouldn't have to share autobiographical details. We could all assume that, like, you know, I've read all of... I know all the sort of things, but if I assume that Dylan is perhaps the wisest person, he must be the smartest person, that he's an accident of nature and is, like, let's say the smartest human walking around, I would want to understand what it is that he understands in a way that if they're a way he could explain that to me. Well, you have a career. Dylan has a career. What do you think you can learn from his career? Well, I said this to Paul Schrader on the podcast, on my podcast once. You know, it's a great... I don't know. Bob Dylan's ability... Like, for instance, you know, he said that he wrote the Kennedy song. He's like... There was some interview that he gave where he's like, yeah, I wrote this song. You know, he said something about, like, where in temporal... Where in time he wrote it that was just not true because he didn't want to talk about the fact of when he'd actually come up with it, which was recently to comment about the world we were really living in. Like, I think he told some story about writing it seven years ago or something like that. I think he's great at taking pressure off himself throughout his career from any externality. And I think the clue is what he said when he won that award, when he said, you know, you can... My father said to me that a man can debase himself so much that even his own family will turn his back on them. But God never will. And I tie that to the thing he wrote in the book of lyrics about that poem he wrote about Woody, not song for Woody, but that poem he wrote about Woody when he talks about going to the hospital to visit Woody. And Woody got three for those who don't know you know, but just people don't know. When he goes to the hospital to visit Woody, and Woody let him clean his bedpans and stuff because Woody wanted to show Bob that no man should be a hero to another man, that he was just a person. And he produced this work because of what he was willing to do to himself to produce this work. And I think there's something about that moment and Bob saying the thing about debasing himself and all the shit he made up in Chronicles that the lesson is that none of the externalities matter. Yes, Bob wanted success and it's always confusing with Bob because he's a multi-headed hydra and all that stuff. But at core, he's this writer who always found a way to hear only his own voice and to have the confidence and comfort to then serve and produce that voice only for those people who were willing to try to hear it. And I think as any kind of an artist that's almost impossible to do, you tell yourself you can, but it's very difficult to do it because there's all sorts of other considerations that come into play. And it seems to me that only Dylan and Miles and Chuck Berry were able and willing to do that. Bruce had John Landau, but Bob really, you know, who he could bounce this stuff off to kind of make a third thing out of it. Whereas it seems to me, and like R.E.M. did that for five years, but Bob has done that for 60 years, right? So it's crazy. I mean, do you think that the read I have of Dylan and what he does is, does it line up with your read? Absolutely. Study the Past is another career lesson from Dylan, I think. And just keep on going. Yes. Be willing to reinvent yourself and choose your audiences wisely. The ones you care about. Yes, but be willing to reinvent yourself not in the David, David Bowie is a great artist too, but a different kind of artist. To me anyway, not reinvent yourself to fit the times, but be willing to reinvent yourself because it's what your inner voice is telling you you need to do to stay an artist, right? I think is what he's doing. Yes. Last few questions. How happy are people in the movie business? When the strike's over, thrilled. But in general, as a people, is this long standing cliche, someone wants to be a movie star, want to be a director, at the end of that pot of gold, are people happier than average, less happy? Vishy Anand, I interviewed him two weeks ago, he said he thinks the top chess players are really happy. Would you say the same about your line of work? When engaged in the work. So, on set, doing the work, that's the time that people are really, yes, taking flight. The rest of it, I think for people at times, can be hard because of a series of pressures and things. There are some people who seem to be able to be happy, but I don't know that it draws happy people to it. I don't know that if you're happy, you feel like this is the form of expression that you need to engage in. But I do think in the making of something that you care about, I think that's where there's a lot of joy. At the meta level, what did you learn from your dad? Obviously very particular things, but viewed largely. It's an enormous question, and he only died seven months ago, so it's a hard question. It's obviously a question I've been thinking about the answer to a lot. I would say there are the basic things of loyalty, which I mean. But I would suggest, I thought a lot about my dad with somebody who never felt intimidated to have any conversation with anybody. And this idea that no one is better than anyone else was important to him, even if it might not have seemed like that. That is, he had a really egalitarian idea about people's capacity, and that you had to keep your eyes open because greatness could show up at any given moment, and that is something I've carried with me. I think he probably wouldn't have expressed his curiosity in the way I expressed my curiosity, but he had a similar kind of curiosity and appreciation for greatness, and I think that I chased greatness in the same way that he did. At the meta level, what did you learn from your mom? How to love people with your whole heart and not hold back. Is there an unrealized dream or project you have, again, current conditions aside, but that somehow the world won't let you make it? I mean, yeah, we always wanted to make Billy Fallon's Greatest Game, and it's set in Albany in like 1910, and it's really very difficult kind of a thing. Just if you could, and it has got magic realism in it, but if you could somehow, I'll tell you, there are two things, and the other thing is American Tabloid, which is one of the greatest things ever written about what's at the heart of a certain kind of America. James Elroy's American Tabloid. Clearly, to me, is best the book that's going to live on of his. And I mean, Black Dahlia, Ken too, seemingly confidential, but for me, American Tabloid was this guy at the moment in his life as an artist when he was kind of firing in all cylinders but before what he did, before even to himself, they became tropes is the wrong word. I don't mean negatively, but he hadn't fallen into a groove yet. Even the Cold 6000, even Cold 6000 is like almost like in reaction to American Tabloid, whereas American Tabloid is its own thing. And to me, what's at the heart of American Tabloid could just be the most staggering and crushing television series. And it's been very hard to try to do that. And that would be an amazing thing to be able to do. I can see the problem with Albany in 1910, but American Tabloid sounds commercially viable to me at some point. Yeah, people have owned it and it's just challenging to put together. Final question, what is the next thing you will set your mind to learning about? I am... I really want to learn about... I want to take my knowledge of opera up, a huge amount. So opera would be one thing because I didn't like it until I was like 52 years old and I really like it now, but only some and I don't understand why yet. I have no idea why I put on one piece and I love it and I put on another and I don't dig it at all and I'm kind of curious about that. So that's like a simple little one. And then the bigger one for me is related to physical fitness and working out. I've been working out a lot and I kind of want to see if I can return myself at 60 to like... I'm 57 by 60 and I want to return myself back to the basketball player I was at 30. If you send me your Korean movie recommendations I'll send you my opera. Brian Koppelman, thank you very much. Thanks Tyler, this is great.