All language subtitles for The.Studio.2025.S01E03.The.Note.720p.ATVP.WEB-DL.DDP5.1.Atmos.H.264-FLUX

I am so excited about
watching this film.

It's so weird that the first
time we're seeing the movie

it's essentially
already finished.

Yeah, that's what happens when
you're a final-cut director

like Ron Howard, you know?

You win two Oscars, you make some
movie that made billions of dollars,

- you can kinda do whatever you want.
- Oh, God. I love final-cut screenings.

I don't have to give notes.

We're not gonna need to give notes.
This shit's gonna be perfect.

- I love Ron Howard.
- Yeah.

- A Beautiful Mind.
- Yeah.

When you realize that Paul Bettany
is imaginary, my head exploded.

That is a plot twist!
Fuck M. Night Shyamalan.

Yeah. It's such a
good plot twist.

All right, fam!
Let's roll this shit!

So effin' pumped. Ronald Howard
movies are a fucking mood.

And then a fucking action movie.

We've got Anthony Mackie.

He's gonna bring in that
young, hip audience.

I'm obsessed with
Anthony Mackie.

Then you've got Dave Franco.

He's gonna line up those
ladies moister than an oyster.

Please do not say that.

Okay, can we dim the
fucking lights, please?

I got a meeting with the
D'Amelios after this.

- Let's do this thing!
- These happy days are ours, bitches!

Let's go.

- Drive! Hey! Drive!
- Hey. Take it easy.

- Hey, I don't know where you're going.
- Fucking anywhere! Just fucking go, man!

- All right. There's no need to yell.
- Just fucking drive!

- Mother... Oh, shit!
- Fuck!

- Fucking drive, man!
- Look, I don't...

Oh, shit!

Go!

Oh, shit!

- Oh, shit!
- Oh, shit!

Find me that fucking cab.

- Yeah! Are you kidding me!
- Okay, Ron! Okay!

- That is how you start a movie.
- Wow.

- Yes.
- Pretty fucking good.

Okay.

- Just pull the bullet out of my gut.
- I'm not doing that.

I'll give you $10,000!

You're a dumbass! I could wait for
you to die and take the whole thing.

I'd fucking kill
you if you did that!

- Please, help!
- All right, fine.

All right. Let me go across
the street to the dim sum spot,

- get some chopsticks.
- Yeah. Get me some shrimps. I'm starving.

Don't forget the
fortune cookies!

This is playing a lot funnier
than I thought it was going to.

Yeah. This shit slaps.

You and me, we're
not so different.

Got people we loved.

People we let down.

People we lost.

But it ain't over for us.

Okay, just because we did bad

doesn't mean we can't
still do some good.

Get out of the car!

There's no way out!

Don't even think about it!

Fuck it.

Fuck yeah!

- No way!
- No.

- What a fucking ending! That was unreal.
- What just happened? What?

- That was incredible.
- Oscars!

- That's Ron Howard's best movie.
- One of the best endings I've ever seen.

- I am stunned.
- Wait. There's more.

- Okay, let me sit.
- Amazing.

Yeah, this is a little...

- Just a little PS.
- ...a little motel tag. Postscript.

- Yeah.
- Yeah.

Oh, my God. It's the
kid from the picture.

Oh, fuck. It's finally over.

- What the fuck was that, huh?
- I don't know.

- Okay, it's definitely long.
- Yeah!

But a lot of movies are
long these days, you know?

Like, the last Marvel movie I
saw was three fucking hours...

Marvel movie? This was not a three-hour
fucking superhero movie. Okay?

That motel sequence? What
the fuck was that, man?

There were no, like, monsters
or fights or Deadpools.

It was just people fucking
staring at each other.

Yeah, it's too long.

You gotta be delulu if you think
people are gonna watch that.

This is gonna make my
job fucking impossible

'cause it's gonna
destroy word of mouth.

Wait, is this the final cut?

No, Ron's still tweaking
with a few little things.

Great. So you can give
him that note to cut

that fucking interminable
motel sequence.

Uh-huh. Yeah, uh-huh. Yeah.

- Wait, what? Why are you acting so weird?
- What?

- Are you delulu?
- No, I'm not delulu.

Hey, I think that motel
sequence sucks, okay?

- Okay.
- Yeah.

Well, Ron is coming by at one
o'clock for a marketing meeting.

Just gonna show him some
early poster concepts.

Just pop by and give
him the note then.

Okay, well, before we start giving
legendary directors notes willy-nilly,

we should drill down. You know, make sure
it's actually like a very valid note.

I mean, now that I think about
it, maybe that motel sequence,

maybe it's not that bad, right?

- It's bad.
- What? Dude, it's terrible.

- And if you cut it, the movie is perfect.
- It's bad.

Well, maybe we're
just not getting it.

Ron is a very
thoughtful filmmaker.

So the kid is Anthony
Mackie's character's dead son,

so it's like a visual metaphor
for... for his dead son?

No. It's obviously
a dream sequence.

- He was a ghost.
- A ghost?

The kid was a ghost.

We can't even agree on
what the fuck it means.

That is the clear sign that
this movie is wack as fuck.

It's true.

You seem to have a good
handle on this thing...

Yeah, I do.

...so maybe you should give Ron
the note in the meeting. You know?

Hell no, bitch.

No, you... A director is not gonna fucking
take a note from marketing. Matt...

I'm sorry. What is the problem?

Isn't Ron Howard famously
the nicest man in Hollywood?

Well, that's the
thing... is... you know.

He actually has a reputation
for being very nice and humble.

But I've heard from,
you know, sources,

that he is actually, like,
a mean, vindictive asshole.

- Ron Howard? Name your source.
- What?

That's what I've heard. That's
wh... I don't wanna... I...

That's what I heard, okay?

Okay. Does he get
mean sometimes?

- Does Opie get mean?
- He gets mean.

- Why are you acting weird about this?
- I'm not acting weird about it.

You give brutal studio
notes all the time.

And it's usually to
people who hate you.

But Ron Howard actually
seems to fucking like you.

- Yeah, I'd like to keep it that way.
- Dude.

Look, I'll give him
the note, okay? Fine.

- I'll just give him the note.
- He's coming at 1:00.

Okay, I'll give him
the note at 1:00.

Ron Howard is in the lobby.

Oh, shit. He's 15 minutes early.

Should I tell him to leave?

No, that's okay. I'll come
down and say hi in a minute.

Ron.

- Oh, hey.
- Hey.

- Great to see you.
- Likewise.

Just wanted to tell you in person
how much we adored the film.

It's so good, man. And we're so
lucky to have you on our team here.

- Well, thank you. That's so kind.
- Yeah, no, my pleasure.

Well, you know, I've been
showing it to people and stuff,

and been getting some
very encouraging feedback.

That's great. Hey, I
love feedback. Yeah.

- Well, as long as it's good, right?
- Exactly. Good feedback.

- That's the best feedback.
- Hell, yeah.

- Hell, yeah.
- Yeah.

So what, you got any feedback?

Yeah, actually I do.

And that is...

you rule, man.

There's my feedback. You rule.

- I'll take that all day long.
- I'll give it all day.

Yeah, great. Awesome.
There you go. All right.

I just gotta run back upstairs real
quick. I'll see you in the meeting.

- I gotta make a call anyway.
- Great. You do that.

I'll see you in a sec.

Oh, fuck. Sorry!
Sorry about that.

- How'd it go?
- Really good.

- Really good?
- Uh-huh.

- What happened?
- We talked. It went well.

- Hey, what's the D?
- The D is all gravy.

- It's all gravy?
- Uh-huh.

- Yeah.
- What does that mean?

It means we talked and
it was very, very nice.

You didn't tell him, did you?

- Did you give him the note?
- You told him, right?

No, look at his pussy-ass
face. He didn't say shit.

I opted out of
delivering the note.

- There you go.
- Jesus Christ.

I decided it was not
prudent of me to do it.

- What? Why?
- Because I'm known as being

the most talent-friendly studio
head in all of Hollywood.

And I decided, strategically, it was
not worth risking that reputation.

- I don't think you have that reputation.
- What are you talking about?

It is literally your job to do
this. We need this movie to work.

I can't sell this
never-ending snory. Nailed it.

Here's what you don't understand, that
I have now grown, too, as a leader.

You know, you do not send your
general out to the front lines to die.

The strategically smart thing to do is
you send in expendable cannon fodder.

Sal, you fucking do it.

- I'm not cannon fodder. Fuck you!
- Fuck you. You are!

- I'm not doing it. I can't do it.
- I think he should. You got to.

I was sleeping during
the motel sequence.

You were fucking texting. You text
and sleep at the same fucking time?

- Yes, I do. I sleep like that.
- ...absolute bullshit.

I will fucking do it.
I will do it, okay?

Because, unlike you
guys, I'm not a bitch.

I don't care if Ron
Howard likes me.

I care about making good,
entertaining movies.

We're not out to
ruin this guy's life.

We're trying to save
him from himself.

Yeah. Pop off, girl.

Quinn, I love what you are saying.
It's very validating to me as a mentor.

- I'm very proud of you right now.
- Feels good.

Here's what's gonna happen.
I'll introduce you to Ron,

and you just tell him this whole
motel shit is fucking wack!

- Yeah. All right. Okay.
- You got this.

- This is your time to shine. Okay?
- Yeah.

- I'm excited to see this.
- Yep. Okay. Thanks.

Oh, fuck.

- What is he doing here? No, no.
- It's fine. This changes nothing.

- I can't.
- No, you can do this.

- This is good. You got this.
- He's my favorite actor.

- You got two moments that you put...
- Hey. How's it going?

- Hey, Matt. How's it going?
- Mackie, I wasn't expecting you here.

Well, I'm a producer
on the movie,

so I came by to see what the
poster art's looking like.

- Absolutely.
- Great. Well,

- you're so good in the film.
- So good.

It's not me. Ron Howard
is a bad motherfucker.

There's your poster, right?

How rude of me. I'm sorry. This is one
of our young up-and-coming executives.

She's a real cinephile.
This is Quinn Hackett.

Hi. Hi, Mr. Mackie.

I'm such a big fan
of yours, so...

I'm into cinephilia too.

Oh, my God. I like cinephilia.

Oh, my God. Wow.

Quinn actually saw the film.

- Amazing. Yeah.
- Yes.

What did you think?

- Yeah.
- You...

Your acting's so good.

- Thanks.
- Yeah, I just...

Man, when you act, it's
like... It's so good.

- Again, thanks.
- Of course, yeah.

You're welcome, of course.

- Is that it?
- Yeah.

Wasn't there one more thought you
had upstairs you wanted to share

- with the team?
- Well... I...

- Yeah.
- Yeah. Well, just... It's small.

- It's not anything big.
- Yeah.

It's just...

The Hurt Locker was so good.
It's an amazing piece of cinema.

- Yeah, well, it certainly was great.
- Yes.

It's tremendous.

Second-best movie I ever did.

There is... There's actually... There's
one more thing actually, we wanted to say

about the film.

Sure. Yeah. Well, what is it?

- Well...
- Warning, warning, warning.

- Genius alert.
- Patty, hey.

- Congrats on your new deal.
- Yeah. Thanks.

Now where are you set up?

I'm redoing the production offices
in the old Lieberman bungalow.

- Nice.
- Best on the lot.

That's wonderful. Now did you
get my flowers? Purple alliums.

- I remembered. I remember these things.
- Good memory there. Yeah.

Thank you, Ronnie. Thank
you for sending me your cut.

Well, are you kidding? Thank you
for green-lighting the movie.

Well, the movie is sublime.

And you, sir.

Your deepest and most
complex performance to date.

I'm just happy to be a
part of this man's vision,

- that's all.
- Oh, Anthony. You're great.

- And the motel sequence.
- Yeah. Actually, we should talk...

So startlingly
original and bold.

I get it now. Thank you.

Well, thank you. I'm glad.

So brave to share
something so personal.

Oh, my Lord. If there were
medals for cinematic courage

you would have a
chest full of gold.

Well, thank you. Look, I
thought about it and I...

I just decided it was
time to put it out there.

- And you gave it time.
- Yes.

- You opened it up and gave it breath.
- You did.

Yeah. And you took mine away.

So, thank you for that.

Sorry to interrupt.

Marketing's ready to bring you
all into the conference room.

- Carry on then.
- Beautiful.

You're in good hands with Matty.

Not as soft as mine.

Okay, then. I can practically
smell your Oscars.

Get those tuxedos
ready, gentlemen.

I'm just gonna run something
by Patty real fast.

Bring these guys some snacks.

Bring 'em the whole cart.

Yo, Patty. I gotta talk to you about the
motel sequence in Ron Howard's movie.

Beautiful. Moving. Sublime.

Yeah. Way too long
though, right?

I almost drilled a
hole into my brain

to kill the part of
me that senses time.

What... When was
it ever gonna end?

Yeah. Why did you tell
him you liked it so much?

I'm on my own now, Matty.

I have to suck up to talent like
every other schmuck producer in town.

My God, this job is a
daily kick in the ovaries.

Yeah. Look, I gotta tell him that I
want him to cut it from the movie.

- Don't you even try. It's so personal.
- Yeah, I heard you say that.

What's so pers... He didn't
tell me that it was personal.

It's so personal he doesn't
even want to talk about it.

Well, what does it
mean? What is it?

The kid at the motel, he
represents a cousin Ron had

- who died when they were both young.
- No, really?

Now, that whole sequence is about
Ron letting go of the cousin's death

and moving on.

God. That's like
worst-case scenario.

No, a sibling would be worse.

Hey, I got a script about an
Australian chess team that cheats.

- Will you read it tonight?
- Will you talk to Ron

about cutting the
sequence from the movie?

Are you kidding? No.

I'm not working on this movie. That's
a problem for you to solve, boss.

I just don't get it. If
it's so personal to him,

why did he make it
so fucking boring?

It's literally insane.

He is insane. He's an
artist. Matty, you know this.

They put themselves into things.
They project meaning onto their work,

even if it's imperceivable to
anyone else other than them.

Sly Stallone thought that
Demolition Man was an allegory

about masculinity and
modernism in a battle.

Was it?

Oh, no. No, no.

It was a 150-minute
commercial for Taco Bell.

But did his delusion
get him up every morning

and into that ridiculous
futuristic cop uniform?

It did.

My script is called Check
Mate. It's in your inbox.

Thank you, Patty.

Hi. Yeah. One sec.

Hey. Yo. Yo.

- Come with me. Come on. On me. On me!
- We... Okay. All right.

So, apparently, the entire motel sequence
is based on Ron Howard's dead cousin.

It's like a metaphor for letting
go or some shit like that,

but we can't cut
it. We're fucked.

Wait, his actual
dead cousin IRL?

Yes, an actual real-life

- dead Howard family member. Yeah.
- Fuck!

Oh, my Go... I mean, this whole backstory
kind of makes this whole sequence amazing.

This is not helpful.
Not helpful at all.

He should not be burdening
audiences with his catharsis.

Go to therapy. Save us 45
minutes of fucking runtime.

Okay, okay, okay.

Remember when we
were making Pre-Nup

and there was that long,
boring divorce speech?

And I got Jay Roach to cut it

- 'cause I was going through a breakup...
- Yeah.

...and I was able to, like,
break through to him emotionally.

If one of us had a dead cousin,

we could break through
to Ron and make him see

this is not the way to
honor your dead cousin.

So, please tell me one
of you has a dead cousin.

No. Not me.

Yeah, no.

Sal? You sure you don't
have a dead cousin?

Yeah, no. I have a cousin who's
in prison in Japan, but...

But Sal...

are you sure you don't
have a dead cousin?

- Fuck you, Matt.
- Fuck you.

- No.
- What's the big deal? Who cares.

I'm not gonna pretend
to have a dead cousin

to give Ron Howard a note
that you should give him.

Are you stricken by the
morality of the situation?

- Yeah. I'm a moral person.
- You're very moral.

- Let's talk about Albuquerque.
- Okay.

- Why you can't go to Ten Thousand Waves.
- Let's talk about New Orleans.

- No! We don't talk about that.
- Let's talk about New Orleans.

- There is saliva! Saliva is flying. God.
- Easy. Fine!

- What is wrong with you?
- Nothing's wrong.

- Why can't you just give him the note?
- I don't want to!

Okay. Now look at you.

You look just like my son did

when I caught him watching
porn on my iPhone.

Yep, that face.

Okay, look.

There's a reason I don't wanna give Ron
the note, and I didn't wanna tell you,

but I'll... Fine,
I'll tell you. Look.

In 2001, I was brand
new and I got invited

to a friends and family
screening of A Beautiful Mind.

And after the screening, everyone's
sitting around and giving notes.

They're pitching ideas.
And so I raise my hand

and I share a thought with Ron.

- Okay. And?
- What was that thought?

Well, I...

I suggested that, you know,
perhaps it would be fun

if the audience knew that Paul Bettany's
character was imaginary the whole movie.

- Spelling it out like they're idiots?
- You thought that was fun?

That's the whole twist.

I get it. It was
not a great idea.

- You should've been fired!
- It was not a bad note. Okay.

It was innocent enough.

And honestly, Ron, he fucking
roasts me afterwards, okay?

He lights my ass up in front
of the whole fucking screening.

He's like, "What a dumb fucking
note, you fucking clown.

How dare you suggest something so
stupid, you dumb motherfucker."

- Ron Howard called you a motherfucker?
- Ron Howard called me a motherfucker!

To my face, man.

And all my favorite filmmakers are there
and they're fucking eating this shit up.

They're dying. Ron is
crushing with this shit.

Steven Soderbergh slapping
his leg, guffawing.

Joel Coen's chuckling
his fucking titties off.

It was honestly the worst
moment of my professional life.

And since I have no, you
know, real personal life,

it makes it just the
worst moment of my life.

Okay, okay, okay.

Does he right now know
that you are that guy?

No. See, that's
the thing... is...

Ron has not, like, pieced
together that I am that person.

He seems to actually
really like and respect

the person that he currently thinks I
am. And I would like to keep it that way.

And so,

I'm just not gonna give him the note.
I simply can't do it. Not happening.

End of story. I'm sorry, Sal.

No.

I'm sorry. I refuse.

- Yeah, but they seem excited.
- Hey, Ron, Anthony. Sal Saperstein.

- Sal. How are ya?
- VP Production, how you doing?

How's it going?

Guys, I just wanted to
say congrats on the film.

- It's so great.
- Well, thank you.

Thank you. Appreciate that.

Really uplifted my spirits
because it has been a rough month.

Really? I'm sorry to hear that.

Thank you. Yeah, it's...

Yeah, it's been rough.

No... Well, yeah...
That's too bad.

Thank you.

Yeah, it's been rough.

Mostly to the untimely
passing of my cousin.

Ron-ald-o.

Ronaldo Saperstein.

Well, you know,
sometimes a cousin can...

- can feel like a sibling.
- Yeah.

I hear that.

And that's what it... the
deal was with Ronaldo and I.

You know, he was my brother
from another mother.

Who was my mom's sister.

Man, that's just awful.

And I'm sorry you had
to go through that.

- Thanks, Ron.
- You know, honestly,

the sequence in the movie
that is set in the motel...

Oh, yeah.

Well, that is kind of an ode

to my dead cousin.

- No.
- Yeah.

- So...
- Oh, my God.

- Anyway, thanks for stopping by.
- Yeah.

You know, because we both have dead
cousins and for that reason only,

I feel comfortable
saying to you, Ron,

that maybe the whole
motel sequence is too...

Intense. It's too intense.

And that's kind of the point.

Well, because I want the audience to feel
uncomfortable in that sequence, you know.

I want it to fucking hit hard.

It's hitting hard.

Yeah. It really sticks out
amongst the rest of the film.

- I mean stylistically.
- Well, and again, that's...

- that's the point.
- Is it?

- Well, obviously.
- Yeah.

Because I want people to really
think about that sequence.

No, I want people
to question it.

We are.

Well, because my cousin...

my cousin meant
everything to me.

I mean, he...

he taught me how to be a man.

- Come on, Ron.
- The man I am today.

Beautiful, man.

And if this movie honors him,
in even the smallest way...

then maybe I can finally put
that part of my life to bed.

And just move on.

Come on, man. Come here.

- Thank you. Thank you, Anthony.
- Big man.

I'm so proud of you.

Can I get one of those?

Bring it in, Saul.

It's Sal.

I'm so fucking sorry, Ron.

We are not cutting
the motel sequence.

- Are you crying? What happened in there?
- No.

Matt, when your cousin dies you
have to honor them any way you can.

Totally get that.

You don't have a dead
cousin, you fucking psycho.

I know, but for a minute
I thought I did. And I...

I knew what it felt
like and I get it now.

God! We are all so weak
in the face of celebrity.

- No, you two are fucking weak...
- No. That was all...

Mr. Mackie, hi.

- How are you?
- Hey.

Sorry for the interruption.
Do you have a second?

- Yeah. What do you need?
- Yeah, not at all.

Look, I'm sorry, Sam.

- Sal.
- Yeah, whatever.

I know that the motel sequence
touched you personally.

And I know you guys got
a lot of love for it...

- Your performance.
- You're so good at it.

I know, thanks. Shut up.

It fucking sucks.

- That's what we think. Fucking sucks.
- Dog shit.

What are you talking
about? You can't say that.

You were just in there crying
about your dead cousin.

- I don't have a dead cousin.
- So, why did you say you had one?

Because he told me to.

What the fuck?

Look, here's the thing.

We love the film, okay.

We think this could be,
like, an all-time classic.

And yes, we think the motel
sequence derails the entire film.

Honestly, I thought
you liked it.

No. I never liked it.

I didn't like it in the script.
I didn't like it when we shot it.

I didn't like it in the movie.

That's why I was waiting for
you as the head of the studio

to say he had to fucking cut it.

So go in there and
tell him to cut it.

- I don't want to do that.
- That's your only job.

It's not my only... I have
a lot of jobs around here.

- No, you don't.
- Yes, I do.

Just grab your balls and
go in there and do it.

You're the producer of the movie.
You do it if you don't like it.

That's not a producer's job.
I did my job as a producer.

- That is a producer's job.
- You, head of the studio...

- That is your job.
- ...that's what you do.

Look, you make shitty movies.
I'm here to save your career.

- Help me help you win.
- Okay.

You don't want to do it.

I don't want to do it.

These two fucking geniuses
are incapable of doing it.

- Thank you very much.
- Yes.

- Good job on that.
- So sorry.

So, what if we just
don't give him the note?

You know what I mean?

Ron loves the sequence. It
seems to mean a lot for him.

Sure, it makes the movie
a little bit shaggy.

It'll be a little longer,

and a little more boring
than we would prefer,

but that doesn't
mean we're fucked.

There are plenty of very long,

very boring movies that fucking
crush it at the box office.

All right, y'all. I got some piping
hot tea about this shit show of a...

Oh, my God. Anthony Mackie.

The movie is a masterpiece. I
wouldn't change a fucking thing.

He also hates the
motel sequence.

Yeah. This shit sucks.

Mad respect, man.

Thank fucking God.

Okay.

Exhibitor relations
just saw the runtime.

They're saying it's gonna cut show
times by two screenings a day.

Theater owners do not want movies that
long unless they've got capes or aliens.

That's a minimum 15%
cut to our revenue.

- Fuck.
- Fifteen.

- Griffin's gonna murder all of us.
- I'ma murder somebody.

I've got back-end on this shit.

You have to give him
the note. You have to!

The meeting is right now.

- Oh, shit. It's just...
- You've got to.

- Look, I love Ron Howard.
- Oh, my God.

You know what I mean?

He's one of the reasons I wanted
to make movies in the first place.

Like Parenthood, you
know, Splash, Apollo 13.

I just... I don't
want him to hate me.

I can't go through that
again. It's very triggering.

My fucking God.

Who gives a shit if
Ron Howard hates you?

He is going to be high-key kissing your
fucking ball sack if this thing is a hit.

That's all that matters
to these people.

- No offense.
- No, none taken. That shit's real.

Just give him the fucking note.

- Matt, you've got to do it.
- Just do it.

- Gotta do it.
- Okay.

- Okay.
- I'll do it.

I'll just ask him to stay after
the meeting and I'll tell him.

But you, you've got to back
me up, okay? He respects you.

- You've got to be right there with me.
- I'm with you, man.

Ten toes down, slim pimping
hoes slamming Cadillac doors.

I don't give a fuck.
I'm doing it with you.

Okay, great. Thank you.

All right, everyone. This
meeting is gonna be a vibe.

Alphabet City has really
got our engines revving.

Pun very much intended.

And we think we can have a
really dope run in theaters

and really break
through the clutter.

And we are mad-hyped to
show you our early concepts.

Well, that's what we're here
for. So let's get to it.

Love the enthusiasm. All
right, here's the first up.

Okay.

This one, we really love the
beauty of his eyes. Look at those.

Mesmerizing with all of the beautiful
light flickering in the background.

This is very classic.

Right? Shows off
the cinematography.

- It's pretty good.
- Yeah.

- It's nice.
- Okay.

Now this one, deadass lit.

New York City. The Big
Apple back in the day.

It's got grit.
It's got a skyline.

We've got Lady Libs.

And also,

never forget.

Okay, what do we think?

Well, they're both
totally viable.

Thank you.

But if I may...

I have an idea that I think
could be very, very cool.

Let's hear it.

Okay. I mean...

The motel sequence.

You know, it's special.

We keep hearing how much
it stands out to people.

So, what if the poster is Anthony
and the kid in front of the motel?

Anthony?

I fucking love it.

Yes! Ah, man.

That is great.

You see, that's why it's fantastic
having actors who are also producers.

- Yeah.
- They really get the material.

Yeah. Exactly. They really do.

All right. So, I mean,
we like it, right?

Any thoughts?

Matt, you had some
thoughts about this, right?

- Oh, really?
- Yeah.

So, Matt, you have thoughts?

I don't have thoughts.

I had one little, tiny little thoughtlet
of an idea that did pertain to that.

I was gonna ask you to stay
after and share it, yeah.

You...

you got a note for me?

Not a note, so much
as an idea. Yeah.

You got a note for me like
you had on A Beautiful Mind?

You remember that?

Yeah.

I sure do. How
could I ever forget?

It's, like, seared
into my brain.

Oh, man. It's a great story.

All right. Look, I know
we're in a meeting,

but who wants to hear
a really funny story?

Yeah. I mean, come on.

Everybody loves a
story about their boss.

I don't know about that.
We've got stuff to do here.

- You know what I mean?
- So now I'm going way back, okay?

I had just finished
shooting A Beautiful Mind,

so it was like, 2001.

And we're having a friends
and family screening.

It plays great,
through the roof.

Everybody loves it.

Except one guy.

A young, tiny,
little Matt Remick.

Well, so, Matt raises his
hand and he actually suggests,

in front of everybody,

you know, Soderbergh,
the Coen brothers...

he suggests that throughout the
movie we should tell the audience

that the Paul Bettany
character is imaginary.

Why, Matt?

- What?
- Are you serious?

I mean, he literally wants me to
take the entire twist of the movie...

No, no, no.

The entire concept of the movie
and just lay it out there.

Just spoil the living
shit out of it.

So stupid.

I mean, hands down, it
was the single worst note

I've ever had in my entire life.

So...

Oh, wow.

Let me ask you, Matt,

did you see Usual Suspects

and tell them they should keep
cutting to Keyser Söze on the phone,

laughing at the way he's
fooling the police, huh?

Or, or, or,

or did you bounce your way
over to M. Night Shyamalan,

and, you know, tell him that

what he really ought to do is
have one of the ghosts say,

"When's Bruce gonna
realize he's dead?"

No!

I got one.

He watches Fight Club and
he said, "Wouldn't it be fun

if everybody knew that Tyler Durden
was imaginary from the start?"

- What the fuck is wrong with you, man?
- I'm sorry, dude. This is good shit.

I mean, what the hell
were you thinking?

It's a classic, right?

You want a note, Ron?

I'll give you a note.

You made a great film that you are ruining
with this self-indulgent motel bullshit.

Fuck you.

My cousin died.

You fucking suit piece of shit!

Your dead cousin
deserves much better

than to be honored in the form
of a boring fucking movie, man.

- Now you listen to me...
- Oh, shit.

...because I will never, ever...

- You lame-ass idiot.
- Ron.

- You don't talk to me!
- Fuck you, you fucking bald prick.

I don't talk to you.

You want to talk to me?
You go get fucking Patty.

Patty's got a brain.
You got nothing.

I don't even know why you're in
this room. You don't look at me.

Holy shit.

- Hello?
- Hey, man.

- It's Ron Howard.
- Hey. Yeah. Hey.

Look, I want to apologize.

I shouldn't have ruthlessly
mocked you like that.

You know, I think I was so mad
because I knew you were right.

Not about A Beautiful Mind.
That was epically stupid.

- Yeah, of course. Yeah.
- But about the motel sequence,

It does not belong
in this movie.

So I just called
Anthony and told him.

- Yeah. Yeah, I bet. Yeah.
- He was devastated.

- But he gets it.
- Okay. Well, thank you.

Thank you so much for calling, Ron.
I couldn't appreciate this more, man.

You know, it's all some emotional
bullshit that I just need to get over,

but I can't let
it affect my work.

Dude, a hundred percent
the same thing goes for me.

I should've just given you the
note when I saw you this morning.

Instead, I let my own
shit get in the way.

I shouldn't have done that.

I should not have said
anything about your cousin,

and I definitely shouldn't
have called you a bald fuck,

or whatever I said.

I'm really sorry, man.

Okay, so you accept my apology for
the insults and the hat throwing...

- Yes. Great. Perfect. Fantastic.
- ...and I'll accept yours.

And Matt, cross me again...

- Yeah.
- ...I'll fucking destroy you.