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Bless you Michael Bay. Armageddon is a masterpiece.

Tout à fait Nico, it's been a while since our last tête à tête, far too long... [wink]

Coming back quickly to Shyamalan, I didn't mean to criticize his "narrative style", but rather express a dubious feeling towards his way of expressing himself to the audience, if you know what I mean. What really strikes me with him is that for all the passion, and the thrill, all the magic he manages to blow into his stories, he seems to lack of self confidence with each new film, resulting in a way of overexplaning what he wants to tell us.
It's like he doesn't want us to not get his point. He seems to want to tell us "This is what I meant to show you, what I meant to say, from A to Z, did you get it ?". And that kind of leaves a strange feeling at the end of the film. He tends to do that more and more with each film. I'm hoping, with the big flop that was Lady in the Water, he will reexamine his storytelling tone for The Happening.

Jumping to the next subject, yes, it's also une tradition cinéphile française to consider Mr Soon-Yi an auteur of Carpenteresque proportions. I think France will always be the only country in the world where Woody Allen films make as much entries as Batman films [grin], and this is not a joke, it is true. It is especially true since his Match Point revival, and I can't see any reason why Cassandra's Dream, which adds to the name appeal of Allen those of McGregor and Farrell, wouldn't find the same kind of success.

As far as Jerry Lewis goes, I have to plead guilty again in the name of my country, even though I am not personally a big fan of the man (but I love his old films with the god of songs Dean Martin [wink]). I appreciate your effort to maintain the infamous French/American (and Texas particularly, yes)uneasy relationship, so I'll contribute to it myself by saying... by saying... (what the hell can I say ?)... by saying that american football is one boring and girly sport (if I don't get booed for saying that...[wink]).

One thing though Nico, you have to explain to me what you mean by "hors à déjeuner", because, don't take it bad vieux frère, it doesn't mean anything in French [lol].

So long live John Carpenter, Rio Bravo, Lost Highway, good ol' westerns, Kevin Costner and Terrence Malick, the greatest man that Texas ever brought to the world (now THAT is a God, not us Nico) [wink]

Chers amis, bonsoir

Chien: Oh, dude, it's sooo good to be back!

Regarding Night, yeah, I feel ya. I, too, have detected that Chester the Terrier-esque, "Ya got that? Didja get that, Spike? Huh? Huh? You got that now?" quality to some of his more recent films. I can't actually believe I'm about to say this, but I rather hope this unfortunate regression is more a function of his lack of respect for his audience's intellect, than some lack of confidence in his own filmmaking abilities.

He'd be better off throwing away the frying pan, instead of bludgeoning us to death with it, I agree.

Let's hope The Happening begins to pivot him in a new direction... He needs a new challenge, anyway, and will grow stale, then comical, and finally, unwatchable, if he fails to advance as an auteur.

"France will always be the only country in the world where Woody Allen films make as much entries as Batman films [grin], and this is not a joke, it is true." Fair enough, and, with the exception of Batman Begins, I might even agree with said preference. The Burton films were certainly entertaining, but -- blasphemy alert, here -- vastly overrated, depending far too much on overstylized excess, Prince songs, vacuous eye candy (sorry, Kim, sorry, Michelle, but that's you, my dears), and the rather outsize performances of Jack and his old friend from Neptune Township, New Jersey, Danny, to keep them interesting and appealing... and Schumacher's films, well, were complete pieces of crap. Put it another way: I won't be watching Batman Forever or Batman & Robin (suppressing urge to vomit, here), ever again, and if ever Woody is on against Batman or Batman Returns, I'd certainly pick him... just so long as he's featured alongside Buzz Lightyear of Star Command. [Grin]

"[A]merican football is one boring and girly sport..." Them thar's fightin' words, partner. I have just two words for you: TONY ROMO. (No, he's not from The Sopranos... Neither is he a great place for ribs. [Sigh] You're forgiven.) [Grin]

Erm, "hors à déjeuner" was supposed to translate to "out to lunch," or something. Remember, I'm a Texan... I's ignrint.

Terrence Malick may not be a God in my book, but he certainly is amazing. I even found things to admire about The New World, though I have to say, all in all, that film was profoundly disappointing.

I remain, as always...

Nico.

Two quick thoughts off of the recent and quite inaccurately titled Iron Man thread, although one is at least loosely attached.

First, if someone could explain to me what it is about Woody Allen films that make them so great, please help me on thiat one. It's not that I don't like his movies, because the only movies of his that I have even seen was a part of Sleeper by accident (the orgasmotron was funny). Mostly I have never had the desire.

Secondly, I mthink that Batman (1989) is an important and extremely valid film (the second had Catwoman, one of the sexiest roles I have ever seen in a move that I feel is half brilliant). The reason I will say this is that it reestblished that comics could be a legitimate source material for movies, not jst some lame afterthought. The Superman series had beat the comic inspired movie into a bloody and unrecognizable mess and Burton delivered a distinct, stylistacally strong, movie that nobody expected. Individually, it is a good movie with great moments. Effect to the movie industry it is bigger than most will admit.

Bless you Michael Bay. Armageddon is a masterpiece.

jameydunne:

"Batman (1989) is an important and extremely valid film... [I]t reestblished that comics could be a legitimate source material for movies... The Superman series had beat the comic inspired movie into a bloody and unrecognizable mess and Burton delivered a distinct, stylistacally strong, movie that nobody expected... Effect to the movie industry it is bigger than most will admit."

[Nodding] Excellent points, all. You are indeed correct, on all counts (though I maintain that Superman: The Movie is still one of the Top Five comic book films of all time, and that, for all its trend-setting influence you very persuasively catalogued here, Tim Burton's Batman is still overrated. But, that's just my oipinion.) Great stuff, jamey.

"[Batman Returns is] a move that I feel is half brilliant..." Oh, I couldn't agree more. In fact, I'd have to say that Batman Returns is my favorite of the two Burton films... Its subversiveness, its darkness, its gleeful chaos makes it a far more interesting film, and -- blasphemy alert, again -- DeVito's portrayal of the flawed, feral, yet unquantifiably sympathetic (human, even) Penguin is just SO much more interesting than Nicholson's one-note, obnoxious, anarchistic Joker.

P.S. I'm HUGELY interested to see Nolan's -- and Ledger's -- take on Joker...

I remain, as always...

Nico.

I think the biggest thing that works against Burton's Batman is not even related to the film itself. I think it became the template that all action/comic movies. Because that happened, many of the things that Burton did well became immediately integrated into every other film so much that Batman looks less special that it really is. I think it is an above average film, not a great film (one of my favorites), and it has picked clean of its really good ideas by other filmmakers that it is hard to critique it. It has become part of the language of American cinema, albiet a lesser letter, like 'V'.

Other movies I would put in the the same catagory as Burton's Batman (template movies, not necessarily style or genre), would be movies like The Bourne Identity, The Matrix, Smokey and The Bandit (old, old one I know, but try watching it if you get a chance), Jaws, and maybe even Star Wars.

jameydunne: You've sold me. Nicely done. It's true, Tim Burton's Batman has become so entrenched in the modern American action / adventure film -- so fundamental, so essential, so damnably cliched -- that sometimes old farts like me forget how groundbreaking and inventive and exciting it really was, way back in 1989. Truly, it was at the beginning of a trend, not merely the most obvious inheritor / exemplar of it. Again... good job.

That last comment of yours is so interesting, I'm thinking you might want to begin a new thread -- now that this one has about as much to do with the Iron Man trailer, as, say, celestial navigation has to do with the running of bistros (Douglas Adams fans, take note!)... Perhaps, something about Films that Inaugurated, or Resurrected, a Genre; or Titles that Broke the Mould, or Movies that Changed Everything, or something along those lines... Certainly, you've already got the beginnings of a killer list there.

Of course, I'll nominate Dances With Wolves for that thread, under Western, Historical Dramas and Hero/Quest Films, as I explained in my column of May 10, found here:

http://news.fantasymoguls.com/originalcontent/2007/05/one_month_out_w.html

...Others to consider: Die Hard (Action/Adventure); Body Heat (Modern Film Noir); Poltergeist (Modern Horror); and Back to the Future (Modern Action/Comedy). But it looks like you've got this well in hand without me. [Grin] Carry on.

I remain, as always...

Nico.

P.S. "It has become part of the language of American cinema, albiet a lesser letter, like 'V'." Ooh! OOOH! A digression of Nicodemian proportions, that! [Laughing] "Sesame Street is brought to you by..."

Nico, I'm sorry, but I have to say, Tony Who ???

Honestly, my humble texan friend, I have absolutely no idea who that is, I have never heard of him. In fact I wouldn't be able to name one single football player in the history of American Football. Really. The only thing I know about that sport that looks like rugby only with less panache, is what I've seen from it in the movies, and let's face the truth, films about football aren't the best...

As for Terrence Malick, he is a God of mine [grin]. I could even say that he is THE God filmmaker of mine. Malick is unique. The man is a film sculptor of beauty. A philosoph that expresses himself with a camera. An artist reflecting on everything that is, everything that were, and probably everything that ever will be. I remember in 1997 when I first read about his comeback at filmmaking, I was 16 and beginning to read a lot about cinema and going a lot to the movie theaters.

And there I read about this guy, about whom every one in the film loving milieu was extatic because he was going to make a film again, and there I was thinking "Who the heck is this Malick who's getting the best actors there is but who hasn't done a film in almost 20 years ???.

So a few months later, before The Thin Red Line was released, I found a theater that was playing Badlands and Days of Heaven. And boy, I wasn't prepared for such cinematic beauty. I think the first time I saw them, I didn't understand what I had just seen. A flash of light, of melancoly, of despair, of magnificence. But I wasn't expecting anything like it so I wasn't blown away. And then I saw The Thin Red Line, which is still as of today, in my memory, one of the most intense film experience I've ever lived. And then I saw again Days of Heaven on TV, and was left breathless by such artistic mastery.

I understand one may have trouble with The New World, because it definitly lacks perfection. But it was the film I most eagerly awaited of all 2005, I counted the minutes, counted the seconds when queueing in front of the theater. And what I saw once again blew me away, by its poetry of thoughts and images. And it's still the best film I've seen in the past 2 years, along with The Host.

Anyway [wink], all this to say (sorry for being so long) that Texas, no matter what I can think of that State, well I will never thank it enough for giving birth to the greatest poet of cinema there is.

Oh, and Nico, I just read your last post...

Dances with Wolves, you are sooooooo right about this one. I LOVe Martin Scorsese, but I am shocked everytime I read someone complaining that Goodfellas lost the Oscar to Dances With Wolves back in the day, like a cheap little insignificant western stole it from Marty.
NO !!! It is a groundbreaking western, a groundbreaking épopée, a groundbreaking tale of human courage, a groundbreaking film. I have seen it again recently on DVD, and I shivered down to my bones during 4 hours before such a piece of art.

Chien, as much as I adore the poetry that was the Thin Red Line, I really didn't think much of The New World. PErhaps it was Mallick's incessant cutting to shots of trees, which felt more like Mallick was distracted as opposed to saying anything profound about civilisation Vs Nature. Plus the casting was atrocious. John Smith is supposed to be the more raw, attraive bridge between the two cultures, but Bale outacted Farrell so much that the message was mixed. It's a film I definitely won't be seeing again.

Can't agree with you on The New World, 6.I think that leaving a mixed feeling concerning the message was definitly the intention of Malick, as he always does in his films. He plays with our expectations of the characters. You can't really predict Malick's characters, you can't really put them in a category, his sense of character development goes way beyond that.
As far as tree shots go, yeah, sure, but that's Malick's style, whether you like it or not, he did the same in Thin Red line, and kind of the same with Days of Heaven too.
And at the core of The New World are 20 minutes of pure cinematic perfection, when John Smith arrives in Pocahontas' village and stays with them. To me those 20 minutes are the best a director can ever dream of creating.

Chien, don't worry about not knowing who Tony Romo is. Fact is (and I am risking a severe throttling of the ears and face by saying this), only diehard football fans OUTSIDE the state of Texas would be able to immediately identify him by name. As for picking him out of a photo lineup? That's even more remote...

He is the current "quarterback" for the Dallas Cowboys, who are one of the more renowned teams in the NFL. They got the epithet "America's Team" some three decades ago, when they had legends like Roger Staubach, Tony Dorsett, Ed "Too Tall" Jones, President George Bush, Lee Majors, Liberace and Godzilla playing for them. Go figure. Plus, they won of couple of "Super Bowls", a concept woefully foreign to any football fan who has ever lived in Arizona. (Wink.)

And about The New World? If I had to describe it one syllable or less, it would be "Zzzzzzz...." Now, I'm no fan of Colin Farrell, but if I was forced at gunpoint to watch a movie he starred in, I would pick almost anything before that one. (Yes, even Alexander, provided I were allowed to thoroughly scrub myself before and afterwards.) There's no doubt that Malick is one of the best at depicting wide, sweeping panoramic stories with landscapes to match, but I find that sometimes the characters in his movies are only bit players, and it's the scenery that's the main character. But that's just me, the uncultured lout that I am.

Now, I think I hear Nico whipping up one of those Saw-type gadgets for my head, so I think I'll quietly slip out the back...

I remain, as always...

Abe Froman (the sausage king of Chicago)

Some random replies to and repartee for my fine, fidèle French friend, Chien:

"...I have to say, Tony Who ??? Honestly... I have absolutely no idea who that is, I have never heard of him." [Sigh] Tony Romo. Again, dude, I know. Hey, don't feel too bad about it. He's only, like, the quarterback for America's Team and all. (Who will probably get pasted Sunday evening against ...DA Bears!) And, anyway, it's not like I'm all that up on Djibril Cissé, either.

"In fact I wouldn't be able to name one single football player in the history of American Football. Really." Oh, come on, now, that's just exaggeration. You've heard of O.J. Simpson, I'm sure, who -- before his careers as a Brentwood teppan-yaki chef, "reality TV" celebrity, roving golf-course private eye and occasional sports memorabilia liberator -- was, in fact, a Hall of Fame NFL running back for the Buffalo Bills.

"...[R]ugby only with less panache..." Not bad; I'd also argue, less bollocks... (Love the old standy, btw: "Football [soccer] is a gentlemen's game played by hooligans... rugby is a hooligan's game played by gentlemen".)

"...[L]et's face the truth, films about football aren't the best..." We-ellll, you know, a lot of that's in the eye of the beholder, I think. I mean, it's not like what we call "soccer" has had all that many exciting spectacles played in cinemas, either -- Gracie was a fine film, sure, and deserved much more attention than it got, but it was much, much more social commentary than sports extravaganza... (Escape to) Victory was more Stalag 17 than soccer film... and Goal! The Dream Begins? Give me a friggin' break.

I would argue, however, that there have in fact been some very fine films about American-rules football: Rudy, of course, but also: Knute Rockne, All American; Brian's Song; Everybody's All-American; Jerry Maguire; Remember the Titans and its many, many clones, most especially We Are Marshall; Friday Night Lights (2004); ...even, going waaaay back, now, the Joan Crawford-William Haines drama, West Point. And there have been some decent films, from a technical standpoint, as well, most notably (in my opinion, at least) North Dallas Forty, Any Given Sunday, Varsity Blues, The Junction Boys and They Call Me Sirr (you just had to KNOW I'd find a way to slip my beloved Fightin' Texas Aggies in there, didn't ya? WHOOP!!); The Program, The Replacements, and also Invincible. (Why do I think I'm going to catch a lot of Hell for some of those last titles?) Hell, I even love Lucas. However, it's just possible I'm biased. [Grin]

(Hey, at least I had the good sense not to mention Wildcats, right?)

"Malick is unique... [A] film sculptor of beauty. A philosoph that expresses himself with a camera. An artist reflecting on everything that is, everything that were, and probably everything that ever will be." Well put. His camerawork, alone, evokes far more emotion, meaning, and substance than all the other elements of the medium -- narrative, plot, dialogue, music, etc. -- used by most other filmmakers, combined. He's still, however -- like any other auteur -- capable of screwing it up in the editing room, which is just what I believe happened to The New World. But, Hell, even Michael Mann craps out once in awhile (Miami Vice); John Sayles had his own near-miss (Eight Men Out); and even Kubrick had his Eyes Wide Shut. It happens.

"I remember in 1997 when I first read about his comeback at filmmaking, I was 16 and beginning to read a lot about cinema and going a lot to the movie theaters." Wow, you're a heckuva lot younger than me! I got to sit down with Mr. Malick in, oh, I think it was 1994 or '95, when I went to Austin to visit a friend who was interviewing him. At that time he (Malick) was living in a bucolic second-floor apartment right above a coffee shop / diner, and I remember him talking about how many years he'd spent trying to adapt James Jones's semi-autobiographical book, to be faithful to the spirit of the material, while excising certain of its, shall we say, unpalatable and non-commerically viable elements, to hammer it into a promising screenplay. It was a daunting, unforgiving, lonely task... At that time Malick had been all but retired for twenty years. He had, as far as Hollywood was concerned, dropped off the face of the world. He was a local celebrity, of course, but an entertainment nonentity. A lot of people thought he'd gone a bit mad, sort of like the Hal Weidmann character (played by Christopher Walken) in America's Sweethearts. I thought he was a genius. I remember, afterwards, remarking to my friend: "It's like I just sat down with Spielberg, or Kubrick." To which he replied: "Not Kubrick. Definitely not Spielberg. Welles." I don't think he (Malick) said six words to me over the course of two hours or so, but I remember it vividly, just the same... the sense of being in the presence of an infinitely superior mind, an incredibly rich imagination, an indescribable talent.

"...I was thinking 'Who the heck is this Malick who's getting the best actors there is but who hasn't done a film in almost 20 years ???." See, I'd (just) seen Days of Heaven (on VHS), so I had some sense of what I was getting into... But, yeah, I know what you mean. I was still thinking of him as an accidental success, a one-hit wonder, capable of a one-off stroke of brilliance, sure, but probably not able to really repeat his singular success. (Sort of like how I feel about George Lucas, truth be told; and exactly what I fear for Peter Jackson.) I was, to put it mildly, wrong. (I wouldn't see Badlands for another decade... I still haven't seen Lanton Mills.)

"...The Thin Red Line, which is still as of today, in my memory, one of the most intense film experience I've ever lived." [Nodding] I completely agree. It very nearly transcends the medium; it's literary in its eloquence. For all that, however, I understand criticisms that it's too vague, too cerebral, too contemplative... It's most definitely not everyone's cup of tea. But, then, there are people in the world who can't understand the lyrical majesty of Gabriel Garcia Marquez, either. Sometimes, when you give the public Michelangelo's David, Botticelli's Adoration of the Magi or Da Vinci's flying machine, they shrug their shoulders in unison and demand Thomas Kinkade coffee mugs, you know what I mean? (And, I mean, sure, I like Kinkade, too... But he's no Monet, you dig?)

"The New World... definitly lacks perfection. But it was the film I most eagerly awaited of all 2005..." Again, I completely agree. And I have found much to love in the film; watching it inspires me to imagine what might have been. It's brave, cutting-edge filmmaking, no doubt... I just hope Universal's Clark & Lewis can hit some of the same thematic notes. I had had similar fantasies, lamentably unfulfilled, about The Alamo, back when Ron Howard and Stephen Gaghan (writer of Traffic and Syriana) were adapting Stephen Harrigan's phenomenal Gates of the Alamo. (Another great perspective -- especially, culturally -- on Texas's most famous battle, btw, is William C. Davis' outstanding history, Three Roads to the Alamo. Had the filmmakers attempted seriously to adapt the Davis book, we might just have gotten that even-handed, unbiased, multifocal perspective on war that's been mentioned in The Kingdom thread... However, I digress.)

"I am shocked everytime I read someone complaining that Goodfellas lost the Oscar to Dances With Wolves... [as if] a cheap little insignificant western stole it from Marty. NO !!! It is a groundbreaking western... a groundbreaking tale of human courage, a groundbreaking film. I have seen it again recently on DVD, and I shivered down to my bones during 4 hours before such a piece of art." [Nodding] Goodfellas is a fine film, but it's far from the best of Scorcese's career (I could, and do, say the same about The Departed, btw) -- I think Taxi Driver, Raging Bull, The Color of Money, The Age of Innocence and, perhaps, even Cape Fear are superior titles. [Shaking head] No, that was one year, anyway, that Oscar got it right -- and I actually think Awakenings would have been the best runner-up in 1991, not Goodfellas.

...Scorcese, it seems to me, has had a number of almost-great films -- Casino, Gangs of New York, The Aviator -- but there always seems to be something... indefinable... that just doesn't add up to greatness in the end. Perhaps I'm too nitpicky, tho; they're all really, really, really good. (To quote The Sopranos' Christuhfuh (Michael Imperioli): "Kundun! Kundun! I get it!") He's (Marty, not Imperioli) also a helluvan actor -- if Dame Judi Dench could win a Best Supporting Actress Oscar for being onscreen for all of six and a half minutes in 1998's overblown Shakespeare in Love, Scorcese ought to have earned at least a nomination for his portrayal of pharmaceutical coporate executive Martin Rittenhome in 1994's sublime Quiz Show.

However, again, it's possible that I digress.

I think this thread ought to be re-titled, "Everything, and I mean, everything, BUT the Iron Man trailer," btw...

I remain, as always...

Nico.

ETA: Oh, yeah, Shryke? Piss off. [Grin] Of course Tony Romo is recognizeable -- he escorts Carrie Underwood everywhere! Sheesh... LOL...

"He is the current 'quarterback' for the Dallas Cowboys, who are one of the more renowned teams in the NFL. They got the epithet 'America's Team' some three decades ago, when they had legends like Roger Staubach, Tony Dorsett, Ed 'Too Tall' Jones, President George Bush, Lee Majors, Liberace and Godzilla playing for them. Go figure." ROTFLMAO!!! God, that reminds me of Mr. Garrison (Mr. Hat, if you want to get all technical about it) in the first South Park ep, "Cartman Gets An Anal Probe": "That's right, Mr. Garrison. Christopher Columbus discovered America, and was the Indians' best friend. He helped the Indians win their war against Frederick Douglass and freed the Hebrews from Napoleon... and discovered France." Now, THAT's a Terrence Malick film I'd like to see! LOL...

"...'Super Bowls', a concept woefully foreign to any football fan who has ever lived in Arizona. (Wink.)" Damn skippy. You couldn't even make the playoffs when you stole Emmitt Smith from us, dude. [Grin] "No, Kitty, that's MY pot pie! Bad Kitty!" [REEOWWWWWR!]

"...I'm no fan of Colin Farrell..." Me neither, not since Minority Report, anyway.

...Dude, F%@#!!! Alexander. ["Bad Kitty!"]

"...I find that sometimes the characters in his movies are only bit players, and it's the scenery that's the main character. But that's just me, the uncultured lout that I am." No, no, I think you've got it right, there, precisely. (And, let's face it, now... Who really does a better job of acting, whether it be in The New World, or, pretty much any film? ...That ficus over there, or Colin Farrell? You make the call!)

"Now, I think I hear Nico whipping up one of those Saw-type gadgets for my head, so I think I'll quietly slip out the back..." Nah, I'll just use that mail-order Predator drone (dude, Sharper Image ROCKS!!!), which drops a payload of narsty little, Phantasm-inspired Sentinel Spheres... And if that doesn't scare you, well, you must live somewhere in that hypothetical void between the seams that amalgamate the rest of the space-time continuum... like, Arizona, maybe, where no daylight is saved, ever. [Grin] (Don't you people have to buy, like, photon offest credits or something?)

"Rooney! ARRRRRGH!!! ROONEY!!!" Friggin' HILARIOUS, dude.

Dear Nico, don't even try converting me to the vertues of american football, whether in a real stadium or on screen. Sure there are a few watchable movies on the subject, Remember The Titans, Any Given Sunday and a few others... But don't take it personally towards your football, it's just sports movies in general that don't convince me, even (especially in fact !!!!) the ones about soccer [wink]
(although you're right, I know OJ Simpson, I forgot he was a football player)

Now wait a second there.... !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Nico !!!!!!!!!!!!!!
You actually F%*#ing met Terrence Malick !!!!!!!!!!!!!??????????????
I CAN'T BELIEVE THIS !!!!!!!!!!!!!!!!!!!!!!!!!!!!
Putain de bordel de dieu de merde de salope de con d'enfoiré plein de cul !!!!!!!
Excuse me for my french, I couldn't resist [grin]

Nico, that's extraordinary. Amazing. There is no word for it. You met Malick. Wow. Pfff... I'm so jealous. I just read this afternoon that he was leaving his secret hideaway to appear at the Rome Film Festival next month...

I'm sorry, I can't write any longer... I 'm too shocked by your announcement [wink]

Oh, I just need to protest one of your opinions Nico... Eyes Wide Shut ? In my humble opinion, it is one of the last masterpieces of the 20th century. A rich and fascinating exploration of the human desires. it's hypnotizing and terrifying.

Anyway, I must rest and digest your Malick meeting all those years ago [wink]

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