Putting together the production design and then whoever you had doing your... set dress for everything, to have all the little tchotchke things that come into play here that are touchstones to the past 50 years.

Yeah, she had a blast.

I think for all of us, it was equal parts stress and tons of fun.

But going back to the color palette, you can always tweak things in post, but so much of your color palette is what you record.

And so I think those references, even the cartoons...

We all had in mind, including Vanessa.

And so I think we kind of knew going into it what our costuming and production design palette would be.

How lucky were you to pull that off?

So did you ever think of trying to contact George Clooney to see if he would do a cameo or anything?

Yeah, of course.

I mean, it was one of the first things I said.

I was like, we got to get Clooney a cameo.

And we tried.

I mean, one of the first phone calls I made was to a friend of mine who works for his production company.

And she was pretty honest in saying like, you could shoot your shot, but just don't expect much.

It's just like ingrained in people.

[laughs]

I, I think the other thing that I was gonna say, and I, I'm, I'm kind of, you know, uh, digging my own grave here by, by prolonging the AI conversation.

But the other thing I wanna say, since I've already, you know, uh, unsealed that, is, um, the, the, the thought a- about using AI was also, the original was made as cheaply as possible, and we're still kinda keeping that tradition alive.

And, you know, and I think again, the whole movie is not AI.

As you can see, there's plenty of CG tomatoes and, and puppets and plenty of practical slop.

A- actual slop, tomato slop, not AI slop.

... yeah, director's cut thing.

I mean, the other thing, to, to, to Costa's credit, is that it's...