Minute 109: “Gotcha!”

Transcript

Transcribed automatically from the audio, and imperfect for it — names and punchlines suffer worst. Useful for finding a moment, not for quoting one.

0:00Welcome back to the Matrix Minute. I am Phil. You may call me Philip, but I'm also Phil. You can call me Philip or Phil. My name is Philip, but that's my real name. It has two L's. The Phil has one L, because if it was Phil with two L's, it sounds like filling something, you know, the verb. And that's gross. So Phil is better, but Philip is my name. I'm not Philip. You must be Tim. There are some who call me Tim. Yes. Oh, great Tim. Some call me Timinko. Some call me...

0:42Timote, Timote. The logic, no, the song. But there's a logic choir that calls me Timo. Oh, yeah, yeah, yeah. It's amazing, right? Timo. I wonder what that means. Or it's just like a, you know, sound or it's actually mean something. There's a hair product line called Timote. Yeah, that's my name. Timote, Timote. You know I'm going to put the music for that. Yeah, you got to put it in there. The magical song. All right.

1:22Welcome to Minute 109. We're almost at Minute 110. And after 110, we have 18 minutes left. And then we're done. Show's over. Craziness, right? Wow. Too bad Jacob's not here to talk to us about this. But hey, we all have things to do. And sometimes some people can't join. Well, let's show on the meds later on and see what he thinks. Yeah, let's hope so. Unlike Tim, who doesn't listen to the things he's not on. Anyway, we're back. We're continuing our big action scene, which is relentless. And I think it's... Would you consider this whole sequence part of the same...

2:05Like... What? Like sequence? Like this whole... Okay, the whole last third of the Matrix is a big, huge fight sequence. It's a big action sequence. And would you put all of them in the same sequence? You know what I mean? Like the lobby, the rooftop, the bomb, the helicopter rescue. No, you wouldn't. I mean, here's the thing. The difference is... Because they all connect to each other, though. They're all like... That's what I'm saying. That this is the movie where it kicks into real time. And it doesn't kick out until the very end. Like it is...

2:46Ever since Morpheus gets... Well, no. Okay, every since... They go into... Not actually. There's a few cuts. But generally, it's kind of real time. Like it happens right after it. So that's why... I kind of like in my head, I have the freedom of Morpheus. And then I have... You have the freedom of Morpheus. And then I have the adventures of Neo and the agents. But it does. Because they're visually very different to me. Because this is Mary Green. And then it goes into all city stuff and everything. But I understand what you're saying. It's one sequence of events that just kind of kicks off. And it doesn't stop until... Until everyone's dead.

3:26That's the ending of this movie. Everyone is dead. It's a sad movie. Yeah, it's a sad movie. And then Philip went away. Sorry, I'm scrolling. I'm scrolling wrong spots. Spons? No, I'm scrolling wrong. I'm scrolling on the... I'm scrolling wrong. It is not going the direction I want it to be. So, we are in minute 109. Yes, yes, this is true. And Phil, the 1L Phil, as he proclaims to be... The gatekeeper. The gatekeeper of 1Ls will now describe this minute to you. Mm-hmm. Mm-hmm. Describe away.

4:07I am the key master. Are you the gatekeeper? Yes. Put the key in me. That was the joke. Ha ha. Okay, um, Morpheus is... What? Nothing. Morpheus is free, but the agents reappear and start shooting him. Morpheus runs across the agent's office as Smith shoots through the walls, and he gets him in the leg. Neo jumps up to rescue a wounded Morpheus, and they both catch each other mid-air. Neo takes him by the hand as they're suspended by the helicopter, piloted by Trinity, but it's immediately shot by Agent Smith. And they continue going... The minute kind of ends when they're still, you know, just being dragged by the helicopter

4:53around the city. There you go. Agents! They're just... They walk in, right? They just burst open the doors. Now, it seems like they're in the same room, but when we see them shooting, he's shooting through the walls. What does this mean, Tim? Do you know what this means? It means that they have laser vision. X-ray vision men, they're called. Yeah. So they can... So if that's the case, why would it take them so long to find them through the walls when just one of the cops found them? No, I don't know. I think they're just deadly killers. They will stop at nothing. You know, just like... They saw him, and they just tried it. I don't think they're actually, you know... They can see his legs through X-ray vision.

5:33I think they're just really precise mathematics. You think they can smell them? Because they see him. I can smell them through the walls. Smell them through the walls. Smell them through the walls. They have like dolphins. I can taste his stink. They're so not. They can detect by radio waves. No, fucks. And as he starts firing, Morpheus is running. I think Neo goes, he's not going to make it. He's not going to make it. And thus comes the second... The friendship hug. The second last bullet-time shot. That is right. No, I think the... He's not going to make it. It's after the bullet-time. But yes, the bullet-time happens. Oh yeah, that's right. And then he gets shot in the leg. He gets shot somewhere around his ankle.

6:14Yeah. But the bullet-time, let's just... I know we talked about bullet-time. We talked about the process. But in this case, there's a lot more stuff going on as opposed to the blank, empty rooftop that we had with Neo doing his... And this is very different bullet-time because there's a lot going on. There's water. There's little bullet things. Time to slow down. So break this one down for us, Philip. Take us. Take my hand and the audience's hand and take us to the sequence of these events and how they could have been filmed like this. Not like this.

6:55Yeah. Do it now. Take my hand and guide me. I'm just watching it on loop now. Okay. I got it on loop now so I can see it. We can look at it. Ah, yeah. Now, here is what we see. We see this complicated shot that I honestly don't know how they did that other than the shots of Neo. The shots of Neo. Neo. They were on a green screen. And I don't think they put the rotating cameras on that specifically. So they just use that for just slightly because you don't really see the rotation as much as

7:42you do with the Morpheus. So Morpheus is obviously shot in the green screen. Let me just take a look at the water. Tim, do you think? Is this any use of the David Guetta? John Guetta. David Guetta's magical rig of cameras. Oh, yeah, yeah, yeah. The bullet. Because this is the whole gimmick, isn't it? I mean, they wanted to use it. Yeah. And then the water is part of that as well. They ramaged through the water as well. How is that possible? Because we move forward. They'd have to. They'd have to put the water. CG water is crap in 1998. But look, look, look at this. Because we move.

8:22So that means all the backgrounds are not real. Because what happens is we pan forward. And you can't do that without actual movement. Because the cameras that would be ahead of you would be blocking your views. As you can see, we move forward and slightly pan to the left. So this is actually an impossible shot to do with the old camera trick. If you ask me. What do you think, Philip? What's the old camera trick? Sorry. Well, the David Guetta, I mean, John Guetta. Set up. You know what I mean? Hold on, Tim. Just a second. I have the behind the scenes footage. And I just want to see because I have no idea how they did that. I'm going to look it right out. Oh, that's what you mean.

9:03Because if there's a hundred cameras, the cameras in front of you would be in your way. Right. Okay, so we have this rig. But this is just them being good friends. I don't get it. It's just them being good friends. All right, so we know nothing, right? See, look at that. Look at this explosion. Death explosion. The death explosion! Yeah, so we know nothing about this scene, unfortunately, from behind the scenes. We learn nothing. Yeah, it's the stop show. Oh, look at them. Lovely duo. Okay. Okay.

9:44I gotta look at these. Okay, let's continue talking. So yeah, like you said. Get to the mic, you dumbass. I know, I know. I know. I know. I'm just trying to... Okay. So yeah, like you said, we looked at the footage, we analyzed it, like the professionals that we are. And we discovered nothing that will help us in thinking, in, you know, revealing to us if this was green screen or if it was the... Because Tim says it was an impossible shot because the cameras in front would be blocking... Yeah, if you did the John Gator technique. Yeah, so let's just presume that they've done the exact same thing that they've done for Neo,

10:24for Trinity, for all the other bullet-time effects, which is just put them on a green screen. And even if the cameras were in front and, you know, blocking a certain portion of the shot, as long as you got Morpheus there, you can cut them out and put them in a CG background, which this is. I'm just impressed at the water because it looks really good. It looks very convincing. And that's all I can say about this shot. It's another bullet-time and it doesn't distract, does it? I mean, it's just part of the scene, right? Because if you go to... I'm not going to talk too much about it. I know Jacob doesn't like when I talk about it, and I know you probably don't like when I talk about it, but I'm just going to mention Matrix Reloaded has a bunch of, you know,

11:04undercranks, overcranks, faux bullet-time shots, and they don't complement the structure. How do you feel personally about, you know, sort of slow motion that, you know, kind of cranks and, you know, goes faster and slower? I personally... I don't know. I'm not a big fan. I like slow motion shots. The start, same speed, and the end, same speed. Especially I hate the ones when they go into super fast motion afterwards. Oh, yeah. It was just the worst. I mean, I don't know who popularized this. Zack Snyder's 300 was one of the big ones. Yeah. I don't know how I feel about that one, but definitely, maybe that one fits because if it's surreal, like, you know, the visuals.

11:53But I don't know. I still, I'm just like, you know, that's just my personal. I'm very vanilla about these things. How about you, Philip? I just think it depends on what you want the shot to convey. Like, the action shots, the kung fu was like... Yeah, like, I can imagine. I'm just thinking... It's overused these days. Really? Because I haven't, maybe I haven't seen many recent action movies. I mean, I'm sure movies like The Raid don't have that. I've watched that recently. I don't think they do. I don't think they do. Like, but then again, like, I think it would be cool seeing, like, these guys doing these moves and then you have a little slowdown.

12:34Like, when someone gets punched really hard. Like, maybe that's just for impact. You know what I mean? Just... Yeah. And the way you would use it would probably be to, like, see, I'm just giving context to the shot. Like, it shows that it's so powerful that this would be in your mind if you get hit by, like, a blow like that. Things would slow down for you. And so it kind of makes it feel like it has impact. But in general, I don't because it does get distracting. Yeah, especially if it's used over and over again. Just like... Like, we talked... Yeah, like, we talked about how the agents keeps... You know, you see the transformation effects. And you don't need that, you know? Like, Jaws. Jaws is effective because the shark keeps breaking down.

13:15They couldn't film it. I love this. It's like the shortest... I think this is the shortest use of that trivia ever. It's just, like, fact. Like, Jaws. They couldn't use the shark because it was breaking down. That's it. You're done. That's it. They made a better movie. No context. Nothing. The shark was breaking down. I know. I know. I just assume that everybody knows about the legendary story. I know. I know. They do. They do. But it's pretty funny. I think I'm going to even shorten it, like, in an argument. It's like, Jaws, shark broke down, movie better. That's going to be my argument from now on. Okay. So this sequence, as Morpheus is running, it was one of, if not, it was the first storyboard

13:58panels that Steve Skroosh did for The Matrix. And he didn't finish the whole sequence until a year or two years later. And if you look at the Art of the Matrix book, you can see how amazingly his art evolved and got better since then. And it's just so funny. When you look at his first storyboard panels for The Matrix, they look like, you know, deviant art, kind of. Oh, really? Like, just, like, really disproportionate? I mean, it's okay, but it looks like, it just doesn't look as good as it did, you know, later on when he was finished with it. That's good. It just shows you kids that just working at something makes you better. It does. It does. That's it.

14:38That's it. That's the way it is. You may have talent. You may have predisposition. But sadly, you just got to work on that stuff. You know? You got to work. Maybe you won't get better. Maybe you won't get better, sadly, you know? But the only way to get better is to work on that. But you'll get it incrementally better. Yeah, yeah, yeah, definitely. You know, maybe you won't get where you want it to be, but to get to where you want to be, you have to work. It's just a risk you have to take. But it's not just this. You can't be like Marty McFly, or no, his dad, and be like, It's a risk you have to take. Your life depends on it. Yep. But not too much, because you don't want to listen to Needles. Because Needles is a stinky butt. What? He abuses you. You know, he's like, The Jits will never find out.

15:21Yeah. Anyway. It's illegal. I can't. All right. Nobody calls me Chicken Needles. Nobody. He puts it in. He's like, I'll see you at the plant tomorrow. And then Mr. Fuji comes in. He's like, You are fine. You are terminated. Read my facts. It's just a joke at the office. It's an office joke. It's a joke. It was a setup. It was a setup. And you cooperate. What are we doing? I don't know. I don't know why we're talking about Back to the Future. Okay. Let's get back into this.

16:02Okay. So Morpheus decides to... Okay. No, no. Let's talk about the agent shooting him. Did we solve this? Yeah, we do solve the mystery and it's like they are basically gods. But this power never kind of shows up. No, it's not. It's not. We're joking. There's no power. It's just like... It's really important to Agent Smith that this asset known as Morpheus, as asset number 2M, doesn't run away. So he uses all the possibilities he has. Even means shooting through a wall. So how come the agents never did an ant farm kind of maneuver? But no, but this is not like he can see where he is.

16:43He just shoots. I mean, he misses most of the time. He just gets lucky in the last shot. Okay. So he just knows. He just knows. Okay. Well, like he sees Morpheus as he's running. Yeah, he sees him in the corner and then he just... So he kind of like... Makes a guess. Yeah, makes a guess. And he actively aims lower at the legs, which means he's not trying to kill him. And maybe this is why their success is so strong is that in no time they go like, oh, you know, like make a hostage situation. So let's say, you know, Neo comes down with this chopper, right? If this was in a classic action movie, Agent Smith would take a gun, put it in Morpheus' head and go like, stop, you know? If you shoot, I kill him. This never happens because it's very important, the Zion Keys.

17:28So they just immediately starts going after Neo. At no point they're like, you know. Yeah, yeah. So that's why they're even shooting at Morpheus. They shoot at his legs immediately. Yeah. Just to stop him. Lanky legs. So Neo says, this can't be happening. I mean, no, he says he won't make it. So he just decides to jump up Morpheus. This can't be happening. What is this? They're shooting at him. Trinity, look at him. Through the walls. Trinity, can you believe it? Can you believe it? What are we going to do? I don't know, Neo. Just jump or something. I have no bullets. I'm out of bullets. Hey, speaking of which, if you watch some of the behind the scenes, it's great to see. Like, Keanu does this.

18:08And I don't know if this is a good thing or a bad thing. But he usually, like, when his take is over, he's always like, that sucked! Really? I hate it! I don't remember. This is amazing. So he's, like, frustrated by his performance. Yes. And he always wants it to be good. That's great. I'm glad that he's a perfectionist. That's really nice. That shows a lot about his work ethic and character. But it's funny. It's interesting that it's, like, a professional set that, like, you would think, you know, everyone's, like, you know, knows what they're doing. That someone's... I would assume that, like, on, like, an amateur set where someone's a first actor, they don't know how to control their emotions. That's amazing. That's amazing. I can... I'll post the clip if I can remember.

18:50You do it. So he jumps. He jumps. Morpheus jumps. But there's a nice little screenshot I took. It was wonderful. Morpheus looks so funny in that one. Nice little facial expression. They jump. And then there's that shot. That shot from below looking up. Both of them reaching to each other. The power hug. Yeah, of course. That is the storyboard. It's, like, 100% what it is. And the funniest... No, no. The funniest thing I'm going to talk about. Well, it's a very, you know, just a position. I can't speak. Words. Beer. Must control my tongue. Is that the contrast of the beautiful scene from below, which looks 100% convincing.

19:34It does. Symmetrical. It looks like a Renaissance painting. It's, you know, the hug, the reaching out for hope. One has a rope. The other doesn't. It's about hope. It's about saving. You know, the savior of Jesus Neo. Yeah, yeah, yeah. Coming to get you from this evil comporation. Yeah. And then you go to the other shot, which is a nasty-ass green screen from, you know, yesterday. Oh, yeah, yeah, yeah. You can really tell. Of them hugging. You can tell the green screen is there. You know, just, like, their chests, like, bumping into each other. It's just, like, if they just left it and not showed us this shot, ugh, it would have been a bit better. Just the street down. I'll tell you, that shot is storyboarded, of course, from below and from above.

20:15Oh, really? Okay. And the Wachowskis called it, they all called it the I Love You Man shot. It is. It is. It's love all around. You know how long I've been waiting to talk about that? Well, talk about it. No, no, that's it. I just wanted to mention that trivia because I've had it since we started. Since I started reading the Art of the Matrix book. Since I started looking for information. You had this down? Wow. I had this in my head. And, Jacob, no, you already witnessed this. It's monumental. No, Jacob. Occasion. Jacob, where are you? Jacob. We need you. Jacob. Jacob. You see what happens when you leave, Jacob? Yeah. You see what happens. We devolve into monkeys.

20:55Well, it's not true. Tim, that's not necessarily true. It's usually you and Jake who derail and I always come back to get you guys. But for some reason now that there's no third person. I started with... Limited power. We start talking about Back to the Future 2. Yes. Anyway. Here's the thing. In storyboards, and this is... Tim, you... I am Tim, yes. Yes. You mentioned this a couple of episodes ago. And what you mentioned was that when you're filmmaking, when you're making movies, you don't

21:37really know what you can take out and people understand from one cut to another. And in this case, in the storyboard, this is a very small detail, but it's interesting to see that in the storyboard, Steve Scrooge drew a picture of Neo fastening his belt onto the helicopter in a close-up. So you see the belt buckle. So when he jumps to get Morpheus, the audience is okay because they know he's on a belt, you know? Yes. And when they shot it, I don't know if they actually shot that little insert, but when they edited it... Edited-edited-edited-edited-edit.

22:18It is gone. It's gone and it's not necessary because it's stuff that you know is not needed and the audience will understand. And Tim, you were talking about how that's just the process of when you're filming or making movies is that you don't know what's good. No idea. Well, I mean, if you're more experienced and you know what is better to be emphasized than not, but most of the time you just try to cover everything, cover all your bases. And like you said, like you said, like some of our early movies was just having to show opening the door and then the close-up of the hand and then the... Without reason at all. It's just a cool shot.

22:59Yeah. To what end? No end whatsoever. But this is interesting what you brought up because a lot of times when a movie is bad and you're lost, usually they don't overcompensate on the establishing stuff. They miss a lot of stuff because, you know, whatever production is in a hurry or whatever, they don't think things through. So, you know, it's usually like you're lost and then we're like, oh, wait, how did he get... What's happening? Usually like in B movies, this is a classic thing. You're just watching and you're like, wait, where did he get this gun? What? What is this happening? But in this case, it's beautiful because you don't need it because the exact next shot as he jumps, you can see the rope clearly because of how the shot is angled because the

23:40sky is behind him so you can see that he has the umbilical cord while Morpheus doesn't. So, you know, so there's just no need and it kind of breaks up the action. Wonderful. Wonderful thought you brought to me. There you go. That's the sort of stuff. That's the stuff. Yes. Now, the green screen shot. You want to talk about that or are you done? Because it's pretty hideous. It's embarrassing. It's freaking Hans Gruber falling from, you know, Nakatomi Plaza. That's what that is. Every stupid guy falling down from a tall building, green screen. It never looks convincing. Audience, give me a shot of a movie where somebody falls down from a building that looks convincing.

24:20I haven't seen one yet. It always looks like poo-poo. Well, this is nine years after The Matrix, but the Dark Knight had a pretty good one. What? Where Joker? No, no. Where Batman, he's in China and he's on that building. And the building itself, like when, because I just recently bought the Dark Knight movies on Blu-ray, so I was just watching behind the scenes. And so, yes, Christopher, no, no, no. So, Christian Bale was actually on top of that tower for the establishing shot. You know, this is where Batman was going to get the squealer. Oh, when he was like doing the weird... In Hong Kong. Bickety.

25:00Yeah, yeah, yeah. Yeah. This is in the beginning of the movie. Shout out to Dark Knight Minute, by the way. If they want to get on, they can, if you're listening. He, they were going to, they actually made a test with the Stuntys in Chicago to drop down from a building like that, you know, to film it real and do it live. But it didn't work out for, for not only because the trajectory is hard to control when he's falling, but also because it was fairly dangerous. Okay. So, they decided to just do it on green screen. And, you know, I think it looked pretty good. Okay. I'll, I'll, some of the, oh wait, actually, I think I have this movie.

25:41So, I'll have a look and I'll see it. Yeah, yeah, yeah. Yeah, I think, I think it's pretty good. But then again, you're looking at this shot, but then there's another shot where, you know, Neo gets him. He's like, gotcha. And then they start flying away. And there's little inserts of Morpheus and Neo holding onto each other. And they're, you know, that looks pretty, that looks okay. But the side, the stuff from the side, right? That looks good. Oh, you mean when they're like flying away through space? Yeah, no, no, no. The stuff from the side where they fall down in front of the building. That's, that's good. That's the building set. That's the green screen, yeah. Yeah. And you have a bunch of stuntees, like holding onto a rope as a, as, as, as. No, that is good. That is good stuff. They actually got these stuntmen to do that. Yeah. And, uh, they, they filmed that all around Sydney and it was, according to Phil Osterhaus,

26:24again, it was, uh, on the news and the same, like front page. Oh, that is magical shot. I love that because, you know, it's a, but then you have the cut-ins, but you have the cut-ins on the green screen of, of, of them, which is, you know, very. So you, you don't think the green screen is effective here? I mean, it was back then, I guess, but like, uh, it's just, I don't know. Maybe, maybe it's just too visible. I don't think, uh, it's hard to tell. It's hard to tell. Maybe if I saw a cut when that was removed, if, you know, if that, those establishing sort of medium shots of seeing the characters' faces helps or not, you know, from, from the audience to go, oh no, these are stuntees. These are not actual them, but who knows?

27:05Who knows? Okay. And now when, when you see, you know, green screen, that's more, I guess, you know, maybe, maybe it's more obvious now. Who knows? Who knows these things? When the Agent Smith, um, approaches as the, uh, helicopters flying away, uh, still a studio shot. Um, yeah. I love it because it's silhouette. I mean, I'm just, that's just me. Um, there's that one shot where the helicopter is escaping the building and did they actually film? I'm, I'm curious, genuinely, did they actually film that on location on the, on an actual building because they had to put, but because they had to put that whole damaged. Wait, you can't see the damage thing though.

27:45Yes, you can. No, you can't. Look, look, look, look, look, look. The helicopter moving is on the rig, right? No, no, no. Oh, I see what you mean. The one where it's like, kind of like, just looking, ah, that could be just a composite, honestly. Yeah. Yeah. That could be a composite or a toy. Who knows? A toy helicopter. That's what I'm going to say. It's a Bobby helicopter. Let's reveal these secrets. I want to see. We lost Phil. He's gone. He's in the toilet. I'm just fascinated. I'm fascinated. Looking at comic books. I'm not looking at comic books.

28:28He is sitting on the toilet. Okay, well, the only other information I have to say is all the nice shots of the stuntmen doing their thing is real. And they took Carrie Ann Moss one day to actually film some of her shots in the helicopter. Ah, it's like on the passenger seat? Yeah. I mean, look at it. I think. Could be flipped. But they did, yeah, it flipped, but they did film it on the helicopter, so it's real, so it's not green screened. Oh, it's definitely convincing, yeah. It's definitely real. If this was Tom Cruise, you would be hanging from those ropes. Yeah, he would. It's amazing. You know what? I have to say the trailer for Rogue Nation, what's the newest one called?

29:11Fallout, Fallout, Fallout. The Governance Against Me. Fallout, yes. I used to be a naysayer of Tom Cruise and his Mission Impossibles until the Brad Bird one. I liked that one. Yeah, yeah, yeah, me too. And I would kind of like watch them. Yeah, yeah. But... You like watching them? You like watching them? Ah, I guess they're more fun. I don't know. I must go and re-watch these old ones. I don't know why I didn't like them back then. You know, the face swapping masks. Yeah, you like watching them, don't you? I like watching them. Don't be too ridiculous. We're gonna kill them, you know that? Yes. All right. Well, I think we're done here, my friend. I think we are. Hopefully on Friday when Jacob comes back.

29:52Yeah, yeah, yeah. And this is much better. I don't know. I kind of like this format better. Just kidding. I'll cut that part out, Jacob. You didn't hear that. No, no. No, we do not. Wait, the logo there where Trinity's on the helicopter and she's looking down. Over the Eiffel Tower? Yes, the Eiffel Tower, the AWA. That's the same company that made the TV. Oh, you're right. You are right. Yes. That's amazing. Now, that's proper trivia there, my boys and girls. Thank you. That is proper trivia right there. Thank you. Thank you very much. Be beautiful. I'll see you on Friday. This is Philip. And this is not Philip. See you on the Freitag.

30:37Freedom Day, as they call it. That's right. We are free from the shackles of corporate life. Well, Morphus is free. Definitely. He's saved. Pick up your drink and put on your fancy clothes. Tim, Tim, Tim. Can you believe this actually took, like, this whole thing is the same day as when they went to the Oracle? Yes. That's what I was saying. The last time that this is a series event. They just want to see the Oracle. And ba-da-boom. All this happened. It's amazing. It doesn't feel like that to me, does it? Yeah. They must have gone in the morning, I guess. Early in the morning. It's true. Yeah. Just like making the cookies. 9 a.m. The kids come to the Oracle.

31:18Yeah. Look at this. Still daylight. Still. It looks like it's been evening. It's not going to be night. There's no more night in this movie. There's no more night. All right. Well, we'll see you later. Oh, hello, Emma. What's up? I need my phone. All right. Okay, Emma. I need my phone. And we're finishing up here. Y'all have a nice day. Yep. I agree. Goodbye. Good. Bye. Bye. All right. Good. Not done. Done, done, done, done. Done.