And I figured, how is it for you to, to be in between so many people again on tour?

Yeah.

It's, uh, it's just different.

I, I think it's a good balance.

Um, yeah, I haven't been living out in, in Coolgardie recently.

Uh, I recently, um, put a deposit down on my, my little humble little home, you know, that I've been-- I was previously renting.

Um, it's a tiny little, uh, gold mining town.

But, but can you elaborate a little bit on that process?

That's not like a small...

I mean, how much time do we have? But okay, here's the fast answer, because this is ridiculous.

So in college, I do an internship at the Cannes Film Festival, okay? Amazing.

They have this thing called the American Pavilion, and you work there, and again, this is pre-email times, the way people would need, they would have actual mailboxes there, because if you're at the hotels, and you needed to leave a message for a critic, right, you would have a mailbox, so I would help them with that.

so as i'm there i'm also reading variety again i'm still a kid from new mexico who doesn't know much about this business i see in variety they have because um ads for productions that are going to start shooting so i see that john carpenter is going to shoot a movie called vampires in new mexico that summer and i go i have to work on this movie because i'll be in new mexico i love john carpenter let me figure out how to do this in my own naivete, side note, if you're listening to this and you're intimidated by this business, just trust that your own naivete can be a real weapon.

Absolutely.

Because sometimes it will lead you to do things you never would do.

What did you learn that informs your subsequent work as a writer?

That was what happened.

"Uh, there's this skull on the screen, and we can't get into our computers.

Uh, tech support says it might be up in a little bit." I'm like, "That's fine.

I'm hand writing anyway." I then see a bunch of black SUVs go by.

Michael Lynton comes, who's, you know, head of Sony at the time.

He's running by.

I'm like, "Michael, what's going on?" And he says something like, "That's the FBI.

Mm-hmm.

I mean, was it a completed script? I mean, how clo-

Oh, yeah.

No, we were in prep.

We were in deep prep.

I had a whole art department.

My, Martin West was my production designer who did Cabin with me, who did Bad Times at the El Royale, who did Cloverfield.

Like, we had a whole operation there at the Sony lot, and it was a definitely a, it, it was a very Drew approach to a Spider-Man movie, I would say, in the sense of, like, I was swinging for the fences.

Yeah.

[laughs]

When they forced us to, to, to stop.

Like, it was this living, breathing organism.

I mean, I think my job, for starters, was to give us a skeleton that we could build around and play around.

But a lot of the skeleton was an emotional core of the...

Like, it's, it's, it's about the emotional core of, of Rocky and Grace, so that we could take that skeleton and then have fun within all of the things you're describing, and keep changing, keep making it better, keep going.

Like, that was part of the point of the movie, on screen and off.

[upbeat music]