Goldblum Ep. 91 - They Shot the Piano Player (2024)

[00:00:00] Hello and welcome to episode 91 of The Complete Works.

[00:00:34] Season two, a deep dive into the career and films of actor Jeff Goldblum. My name is Mike Smith and

[00:00:40] joining me on this journey into the world according to Jeff Goldblum is my friend, cohost and fellow

[00:00:46] Goldblum maniac Mike Triccio. Hi, do you like I'm doing great? It feels it feels fun to be back

[00:00:52] in season two. Here we are. Yeah. Yeah. If you've been following the Complete Works feed,

[00:00:58] things have been a little radio silent for a little while, I would say. Right, Mike?

[00:01:02] Yes, that's right. I forgot that we haven't really posted any official Complete Works episodes in

[00:01:08] like a month or two or whatever. Yeah, I think the last one we did was The Tiger's Apprentice

[00:01:12] for Michelle Yeoh, which was early February that that one went down. But that's because

[00:01:17] we have been hard at work getting the Roy Scheider season of the podcast ready for season

[00:01:21] four. It's happening, baby. I was going to say the Goldblum maniac thing. I'm surprised

[00:01:27] that I'm not writing between the lines, but people don't know what that is yet.

[00:01:30] Yeah. So I maybe I shouldn't have said that. That's a call forward. That's something that's

[00:01:35] a you're going to you're going to have to listen back to this episode to get that joke

[00:01:39] like two months from now. That's right. I'm just like Babe Ruth. I'm calling my shot.

[00:01:44] This will be a great joke in a couple of weeks. Exactly. Yeah. So that's exactly what

[00:01:49] we're saying here. We have the Roy Scheider season almost ready to go. We've recorded a

[00:01:54] bunch of episodes. We have the artwork ready to go. Thank you to Mac for that. We have the

[00:01:58] theme song ready to go. Thank you to Kyle for that. So, yeah, now it's just a matter of

[00:02:02] setting a date to do it. And I think right before this episode, we kind of we figured one

[00:02:07] out. So that's happening soon. Yes. In a couple of weeks, it's scary to push publish

[00:02:12] on the episode one of a new season. It's right. Yeah, it's daunting. Yeah. The

[00:02:15] the Scheider stands are going to be out in full force judging us. I think judging by how

[00:02:21] many votes you got, there's going to be a lot of you. Yeah, that's that's the hope.

[00:02:25] And so, yeah, the Roy Scheider complete work season four will begin probably about a week

[00:02:30] after this episode gets published. So whenever this is, whenever you're listening to it now,

[00:02:34] just know that the Roy Scheider season is coming very, very soon. Plus we've talked

[00:02:38] about this on Mike McGota, the movies. We haven't really had the chance to talk

[00:02:41] about it on the complete works. But Mike McGota, the movies is now kind of being

[00:02:45] folded into the complete works umbrella. Yes, we're but we're crossing the streams.

[00:02:50] It's official now. And so there are no longer going to be episodes for Michael McGota,

[00:02:55] the movies that are published on that feed. They're all going to come out here

[00:02:58] as bonus episodes to the complete works probably about once every two weeks.

[00:03:03] And that's going to include Mike makes Mike watch and movie reviews and all kinds

[00:03:06] of just fun stuff discussions, you know, the usual stuff you would expect from there.

[00:03:09] But now it's over here. Exactly. Yeah. Some non Roy Scheider, non Michelle Yeo,

[00:03:15] Nicholas Cage, non Jeff Goldblum content coming for you soon. Yes. Sometimes the people just

[00:03:20] want to hear our thoughts on civil war. And that's that's what we aim to give them.

[00:03:24] I guess it's already been happening. We've already been publishing those episodes

[00:03:27] on both feeds for right now because I forgot how time works. Yes. That's been happening

[00:03:31] for a couple of weeks now and that will continue to happen for the foreseeable future.

[00:03:34] So stay stay tuned to hear what we think about civil war and some other stuff.

[00:03:39] Yes. Civil war, I guess. Yeah, I guess that we've weirdly talked about that movie a lot

[00:03:44] for not doing like a real review about it. Yeah. But yes, civil war will we will have

[00:03:50] talked about that. We're recording our discussions episode after this,

[00:03:53] but that episode will be out before this one comes out. So time podcast time travel is so

[00:03:59] hard. Yeah. And speaking of podcast time travel, Mike, it has been a long time

[00:04:03] since we have talked about Jeff Goldblum on this podcast. Wow. Professional radio man,

[00:04:07] Mike Smith. That was amazing. It has been so long. Yes. Unlike Nicholas Cage,

[00:04:13] who just kept coming out with movies in twenty twenty three, he just won't stop.

[00:04:17] He simply will not stop. It has been a while since we got to talk about Jeff Goldblum

[00:04:21] just under a year. In fact, our last Goldblum movie was Asteroid City back in June.

[00:04:28] And as great as that movie is, the amount of Goldblum in that movie is

[00:04:33] minimal to say the least. Smallest, smallest amount of time, largest impact.

[00:04:37] Yeah. Pivotal role, pivotal role in Asteroid City. But yeah, very like he has one line

[00:04:44] in the film. And that has largely been the case with Goldblum over the last couple of years.

[00:04:49] You know, his career as an actor outside of Apartments.com commercials

[00:04:53] has mostly consisted of cameos or brief supporting roles. You know,

[00:04:56] he's been more interested in kind of doing his jazz stuff. He had his,

[00:05:00] you know, TV show where he plays himself. But whenever he's in a movie, it's like,

[00:05:03] oh yeah, Jeff Goldblum's here in the background somewhere. He's 24th

[00:05:06] billed in a Wes Anderson ensemble. They bring him back for Jurassic World Dominion.

[00:05:11] But, you know, he's still like the seventh biggest character in that movie.

[00:05:14] You know, so it's kind of a refreshing change of pace to click play on today's

[00:05:19] movie to discover it was keeping you with Jeff Goldblum the whole time.

[00:05:22] He's he's the star, I guess. Yeah. If you could call it that.

[00:05:26] I would imagine his involvement is a big part of why this movie got made.

[00:05:29] Probably seems like it for sure. So today's film is a strange hybrid of animation,

[00:05:35] documentary and fictionalized journalism drama. And it's immediately clear what drew Goldblum to

[00:05:41] the material. It is heavily entrenched in a specific music scene, in this case, Brazilian

[00:05:47] music in the 1970s while honing in on one legendary subject who released one album before

[00:05:52] mysteriously disappearing. The film premiered at Telluride in 2023 and it played a few

[00:05:57] festivals before getting a quiet theatrical release earlier this year. And now that it's

[00:06:02] on video on demand, it's finally time to talk about They Shot the Piano Player.

[00:06:08] It was 1959. The bossa nova in Brazil changed the history of music.

[00:06:14] Ella Fitzgerald, Sarah Vaughn, Dizzy Gillespie, Stan Getz, even Frank Sinatra.

[00:06:20] The entire world began singing and dancing to Brazilian music.

[00:06:25] I read Jeff's article on the bossa nova rage of the 1950s. I asked Jeff to take things a

[00:06:31] step further. The story, however, became more complicated. One day I came across a name

[00:06:41] unknown to me. Who's Tenorio Jr.? Tenorio was one of the top figures of samba jazz

[00:06:47] during the bossa nova years. What happened to him? Very strange story. He disappeared just like this.

[00:06:57] I wouldn't know what Tenorio was. He appeared like a flash in Brazilian music here in Rio.

[00:07:06] His musical touch is also undoubtedly doubtful.

[00:07:09] They stopped a golden age right in its tracks.

[00:07:27] All that was left were the memories of a handful of people. I hope this will rescue him

[00:07:32] from falling into oblivion. Tenorio did not deserve to be forgotten.

[00:07:38] So They Shot the Piano Player features Jeff Goldblum as Jeff Harris, an American music

[00:07:52] journalist investigating the presumed murder of Brazilian musician Francisco Tenorio Jr.

[00:07:57] The film blends a couple of fictional characters aiding Goldblum on his quest with real-life

[00:08:01] interviews from other musicians and people from Tenorio's life like Juan Gilberto,

[00:08:06] Caetano Veloso, Gilberto Gil, Vinicius de Morey, and Paul Lamora, who also often contribute

[00:08:11] to the movie's soundtrack. I feel like I did okay with those names, but it's possible that

[00:08:16] I missed those. I think that was as good as we can expect. Thank you very much.

[00:08:21] The film was written by Fernando Troiba and directed by Troiba and Javier Mariscal,

[00:08:26] the team best known for directing the 2011 Spanish animated film Chico y Rita,

[00:08:31] which was nominated for the Oscar for Best Animated Feature. I've never seen Chico y Rita,

[00:08:35] but I remember it getting that nomination. It did lose to Rango that year. Just Rango,

[00:08:41] pretty good movie. That's a movie that I remember watching on HBO. Rango, I mean,

[00:08:46] like, oh, this garbage thing. And then within 20 minutes, I was like, is this the best movie

[00:08:50] of all time? It turns out kids movies just needed to be more like Chinatown. They needed

[00:08:56] that. Yeah. Now, who's the guy that made that movie? That's a Gore Verbinski joint.

[00:09:01] Gore Verbinski. Yeah, that's it might be. I mean, I haven't seen Rango since 2011.

[00:09:07] It might be Gore Verbinski's crowning achievement. And I'm a huge defender of his pirate sequels.

[00:09:13] So you're a pirate's guy. What are you talking about? I'm a big original pirate trilogy fan.

[00:09:18] And I will I will go to bat for most Verbinski joints. I mean, we've talked

[00:09:22] about him on this podcast in the past. He directed The Weatherman with Nicolas Cage,

[00:09:26] which is a movie we both really love. Yeah. I mean, Mouse Hunt is a Verbinski joint.

[00:09:31] Which is great. I've never seen the Mexican. I feel like that's probably the one that I

[00:09:35] probably not enjoy as much. But, you know, even, you know, The Lone Ranger bad movie,

[00:09:40] like, yeah, undoubtedly Lone Ranger pretty bad. But it's a couple of great action sequences

[00:09:46] in there. Like one of those things that you watch some of the sequences in The Lone Ranger

[00:09:49] and you're like, man, why isn't anybody doing it like this anymore? Yeah. There's just some

[00:09:53] really cool stuff. His last movie was A Cure for Wellness, which I liked. I don't think I ever

[00:10:01] actually saw that. I remember kind of just appreciating how weird it was that that was

[00:10:06] in that period of time where like, oh, Dane DeHaan, he's going to be our next big star.

[00:10:10] He's the new hotness. And then every Dane DeHaan movie is just like the skeviest movie

[00:10:14] you can possibly. Yeah, just so weird. It was it was stuff like A Cure for Wellness and

[00:10:20] Valerian and the City of a Thousand Planets. And yeah, I don't know. But I did enjoy A Cure

[00:10:25] for Wellness, which I think is where I first saw Mia Goth also. She's in that movie. I think so.

[00:10:30] Yeah. Yeah. And also a lot of eels. So I think it's mostly eels, right? It's yeah,

[00:10:35] the eels are third build in the movie. It's Dane DeHaan, Mia Goth, eels.

[00:10:41] Amazing. In any case, Gore Verbinski had no involvement with this film. They shot

[00:10:46] the piano player, got a very limited theatrical release on February 23rd, 2024, where it opened

[00:10:52] to number 53 at the box office. Yeah, pretty low down there. But again, very limited theatrical

[00:10:57] release. They played in a couple of theaters. If you weren't seeing it that weekend,

[00:11:01] you could have been seeing one of three major new releases at the box office opening to

[00:11:06] number two was Demon Slayer, Kometsu no Yaiba to the Hashira Training, which is

[00:11:13] an anime movie. Yeah. Yeah. Say no less. If you could not tell from that title,

[00:11:17] I've never seen the Demon Slayer anime. I'm not familiar. It's not a Dragon Ball. So

[00:11:22] it's tough for me to very popular though. It sure is. Yeah. And I feel like every once

[00:11:27] in a while I look at my theater showtimes and it's like, oh, there's some kind of new

[00:11:30] Demon Slayer movie. Yeah. Some new anime movie I've never heard of. Yeah. So that was opens

[00:11:35] number two that weekend opening at number three was Ordinary Angels, which is a faith based

[00:11:40] movie with Hillary Swank and opening at number eight was Ethan Coen's Drive Away Dolls,

[00:11:45] which I saw and thought was solid. Pretty fun. Also in the top 10 were Bob Marley,

[00:11:50] One Love at number one in its second week, Madame Web, Migration, Argyle, Wonka,

[00:11:56] The Beekeeper and The Chosen season four episodes four through six. And I feel like we've

[00:12:01] covered a few of these movies in our Tiger's Apprentice episode. Like a few of those were

[00:12:04] like kind of still in the rotation because that was early February, 2024. It's crazy

[00:12:09] that even two months ago feels like another lifetime. Yeah. Argyle and the Beekeeper

[00:12:15] was what everyone was talking about. Yeah. I mean, people, Argyle was all over Twitter

[00:12:20] despite nobody seeing it now. It's on video and demand. Argyle is like it's it's on

[00:12:25] video or I think it's on Apple TV. It's streaming for free right now for me because

[00:12:28] I have Apple TV. Haven't watched it yet. I've been meaning to never never got around

[00:12:32] to it. Probably won't realistically. Yeah. Let's be honest. There's too many other

[00:12:37] things to watch. You got Dragon Balls to watch. I got Dragon Balls to watch, man. By the way,

[00:12:41] finally got to Goku turning Super Saiyan for the first time in Dragon Ball Z.

[00:12:45] Shit. Very exciting, Mike. Very excited. I'm very happy for you. Thank you. It was

[00:12:50] a pretty big moment. I mean, I was five beers deep and it was two a.m., but it

[00:12:54] was a pretty big move. Did you stand up and cheer? I almost did. If my girlfriend wasn't

[00:13:00] asleep on the couch with like her feet over me, I probably would have cheered. Yeah. But

[00:13:06] it was it was pretty exciting. Anyway, the IMD plot stops is for They Shot the Piano Player

[00:13:12] reads New York 2010. Jeff Harris, a music journalist, sets out to uncover the truth

[00:13:18] about Francisco Tenorio Jr., a young Brazilian samba jazz pianist who disappeared

[00:13:22] in Buenos Aires on March 18th, 1976. So, Mike, going into They Shot the Piano Player,

[00:13:28] what were you expecting from this movie? What did you get out of it? What are your

[00:13:32] overall thoughts on this film? So I had known that They Shot the Piano Player was a animated

[00:13:39] feature. Yes. So I knew that going in and that Jeff Goldblum sort of plays some kind

[00:13:43] of like narrator. That's really all I knew. So I wasn't sure what to expect, what it was about

[00:13:48] or anything like that. So when it opens and it's him, his character at like a book reading

[00:13:54] talking about his journey to Buenos Aires to like write about bossa nova and samba jazz

[00:14:00] in the 70s in Brazil or something or Argentina, I guess. And then it like flashes back and it's

[00:14:06] like following him as he's telling this story. I was like, oh, this is kind of like,

[00:14:09] oh, that's framing device thing going on. Right. And I was like, OK, this actually

[00:14:14] seems like something I should be very interested in, you know, as a sort of

[00:14:17] jazzy, funky person myself that enjoys these things. I was like, oh, this is cool.

[00:14:21] It's like got obviously incredible music throughout almost the entire movie.

[00:14:25] I was like, wow, this is going to be fun. The animation style is really interesting and

[00:14:31] exciting and fun. It's like the sort of very hand drawn, sort of unpolished, not really about

[00:14:36] like the fluidity of the animation, you know, like comparing it to something like

[00:14:40] Spider-Verse or Pixar or anything like it's not about that kind of stuff.

[00:14:44] It's a lot more loose with its animation and the kind of like artistic interpretation

[00:14:48] of things. OK, this is fun. But there is just something that is kind of I don't know

[00:14:53] if missing is the right word overall with the film. You know, it's a fascinating story.

[00:14:58] You know, you get this kind of maybe first act is sort of just like an introduction

[00:15:02] in the history of bossa nova and some of the music and like how culture and art influences

[00:15:08] across all these countries and to America. And then they reflect back into the

[00:15:13] South America and like all this stuff and the way that is very interesting,

[00:15:16] like just music history wise. And then it gets to the story of Tenorio Junior,

[00:15:21] who was this incredible pianist that just disappeared one day. And it sort of turns into

[00:15:28] the story starts to focus in on that. And from there, bridges into the history of,

[00:15:33] you know, authoritarian regimes and dictators and this kind of right wing movement that

[00:15:39] happened in South America at the behest of the CIA. Like that all comes into it.

[00:15:45] And it and it kind of grinds to a halt in a weird way. Like, I don't know,

[00:15:49] this should be something that is very intense and and interesting and engaging.

[00:15:55] But it's a lot of interviews with people telling the exact same story 20 times in a row.

[00:16:01] Yeah, you know, which I get. And that's fascinating because it is all of these sort

[00:16:06] of luminaries of this music movement and these incredible musicians reflecting about

[00:16:12] the history of their real life friend. And it's the real life musicians. Right. That's

[00:16:15] the blend between documentary and this sort of like narrative nonfiction thing.

[00:16:19] Yeah, but it's sort of just lost me there for a while where it's like, OK,

[00:16:25] this is another person telling this very deeply personal and moving emotional story

[00:16:29] about how they're were their good friends that they that was like lit up the room and did

[00:16:33] the you know, all this stuff profound impact on all of them and how they just were

[00:16:36] disappeared by this regime. But it's like I said, it's like the 20th time we've heard

[00:16:40] this exact story. And it's just like, OK, well, I get it. You know, like and I feel sort

[00:16:43] of like a dick for feeling that way. But like maybe this would have been like a really great

[00:16:47] 45 minute documentary or something like that. I don't know. But over stretched out to an hour

[00:16:53] and a half, it kind of is just like a little repetitive. I sort of get lost in the threads

[00:16:56] of all the same versions and and who is who and all this stuff. And yeah, I mean,

[00:17:01] overall, it's fine. It's OK. Basically, is where I come down on it.

[00:17:05] Yeah. No, I think you and I are exactly on the same page with this movie, Mike.

[00:17:08] I think there's a lot of really interesting stuff about it. I like the animation style

[00:17:11] here. And I think it really comes alive during the musical sequences.

[00:17:14] There's a couple of moments where you're just watching the musicians perform

[00:17:18] and it's all animated and that animation kind of brings that to life in a really fun way.

[00:17:23] I think Jeff Goldblum is a fun center to kind of have in this movie, which is cool.

[00:17:28] And it does feel like because the movie is so repetitive and kind of hitting the same

[00:17:32] beats over and over again, like the fictionalized element of the American music

[00:17:37] journalist might have been added on to it later just to give like something else going on in the.

[00:17:41] Oh, for sure. And it's definitely not to cut you off, but it definitely has a

[00:17:48] feel of like those pandemic movies where like these are clearly all very separate,

[00:17:54] very different audio recording and literally down to varying audio qualities between some of that

[00:18:00] and some of the talking head interview stuff like, OK, of course that's going to happen.

[00:18:03] But like I think even a few times in Jeff Goldblum's dialogue,

[00:18:06] like sometimes there's an echo or like a weird reverb and right.

[00:18:10] Like, huh, this is strange. And yeah, he's very clearly not part of the interview,

[00:18:14] like the actual documentary interview process part of it.

[00:18:17] And so I just felt very disjointed between the two halves of the form.

[00:18:22] Yeah, but I did feel like this, you know, it's one of those things where it is a really

[00:18:25] fascinating story. I'm glad it's being told. Like I did not know the name of Tenorio.

[00:18:29] I wasn't familiar with him as musician or, you know, the story about how he disappeared

[00:18:33] and that it was likely the government that actually caused him to disappear and

[00:18:37] all that kind of stuff. I think but I think this would have been a great short.

[00:18:41] I think like a great documentary 30 minute short, whatever it is,

[00:18:44] because yeah, it is eventually just, yeah, like 20 people telling the same story over and

[00:18:49] over and over again. And yeah, you can cut some of that out. I think it's totally fine.

[00:18:54] And yeah, I it's it's a really interesting movie and an interesting story.

[00:18:59] I would be really curious to know, you know, and I wish we had the foresight to invite her on

[00:19:05] Laura Colanary, who is the whole time, who has been a frequent guest on my go to the movie.

[00:19:10] She's never been on the complete works before. I don't think so anyway. But you know,

[00:19:14] whenever she's on, she always gives us some kind of like cool Latin American horror movie

[00:19:18] to watch or something along those lines. And she always has such great insight into

[00:19:23] this specific time period that they're talking about in this movie.

[00:19:27] Yeah, yeah. I mean, like literally the one of our favorite discoveries for Mike and Mike,

[00:19:32] Cold Sweat is about the direct fallout of the Argentinian regime. Like it's

[00:19:38] those two old murder guys are people from this movie basically. Right.

[00:19:43] Yeah. And I was thinking that the whole time I was watching this, I was like, man, we

[00:19:45] should we should have had Laura should have invited Laura for this one. But we didn't know.

[00:19:49] We didn't know. We knew it was an animated movie with Jeff Goldblum and maybe somebody

[00:19:53] shot a piano play. Maybe. Yeah. But yeah, so I did enjoy the movie overall. I think I

[00:19:59] didn't have a bad time watching it, but it did feel very repetitive. It kind of hit the

[00:20:03] same beats over and over again. But I think the animation style and the music kind of brings

[00:20:07] it back for me. You know, if there's enough like visually interesting and sonically

[00:20:12] interesting stuff in the movie, it's a warrant of recommendation. I think it's worth watching.

[00:20:17] Yeah, I think so. Yeah, I guess so. Yeah. I don't know. The animation eventually sort

[00:20:21] of like wore on me a little bit. I don't know. It turned into maybe as I became

[00:20:27] less engaged with the movie overall and start you start like looking for like,

[00:20:32] well, this is annoying, you know, like kind of thing sort of things.

[00:20:36] As I sort of like disconnected a little bit from the story and then the kind of

[00:20:39] investigation part of it all to being like, well, this is I don't want to say cheap.

[00:20:44] That feels like mean. That's pretty mean spirited. But, you know,

[00:20:48] it has that kind of vibe to it. Like what started off as like, oh, this is an interesting

[00:20:52] stylistic choice sort of stopped working for me towards the end of the movie where

[00:20:57] you're like, OK, well, we could be done now. You know, fair enough.

[00:21:01] But Jeff Goldblum is in this movie as Jeff Harris, the American music journalist.

[00:21:07] What did you think of Jeff Goldblum in They Shot the Piano Player, Mike?

[00:21:10] I think he's perfectly fine. He's not bad, really. Yeah, I feel like you can tell

[00:21:16] that he is clearly not obviously, you know, Jeff Goldblum isn't the one going to

[00:21:22] Argentina and interviewing these people. And it's probably a significant reason why

[00:21:26] it was animated. Exactly that too. Yeah. But and all that. So every now and then there's

[00:21:32] like a like a moment in the in the interview where they'll be like a pause and they'll hear

[00:21:38] like a mm hmm or like whatever or something like that from Jeff Goldblum or like he'll

[00:21:42] he'll like ask a question in between in a pause and a sentence or whatever.

[00:21:46] It's like, OK, this feels weird now. You know, like I mean,

[00:21:51] I guess that's sort of like the kind of experiment of the film in general broadly,

[00:21:54] that kind of blending of the narrative and the documentary form and all.

[00:21:58] Yeah. And this is not the first film to do something like that, you know, but it is.

[00:22:03] I don't know. That's a device that is always like, I don't know, it's tricky to pull off.

[00:22:06] It's the idea of like you're telling a documentary, an actual real life story,

[00:22:12] interviewing real life subjects. It is a documentary about a certain specific subject.

[00:22:16] But you're adding on this fictional meta narrative kind of surrounding it as sort of

[00:22:20] a framing device. Yeah. And I don't know, it sort of blurs the line between fiction and

[00:22:25] reality. And I think that can work. I think one movie that really, really works

[00:22:30] that has whole things that are just completely made up in its is Rolling Thunder Review,

[00:22:35] a Bob Dylan story by Martin Scorsese, which is Scorsese's Bob Dylan documentary

[00:22:39] from years ago. It's on Netflix and people should watch it. It's great and has a lot

[00:22:43] of great footage of Bob Dylan and his band's performing in the 70s. It's really,

[00:22:47] really good. But there are like total like total fabrications of stories that are just like

[00:22:52] thrown in there as like kind of a bit or like it kind of keeps you on your toes. There's one

[00:22:57] person, there's a one talking head person that man I'm blanking on who it is, but it's an actor

[00:23:01] who is like playing a character that he has played before in other things. And so yeah,

[00:23:07] there's stuff like that in Rolling Thunder Review. But there was another movie I watched

[00:23:11] at the Sundance Film Festival this year that was also a documentary that had like a fictional

[00:23:16] framing device surrounding it much like this movie does. And I don't want to name the movie

[00:23:21] because I don't like the movie that much. And I don't want to like not that this podcast is

[00:23:25] like, you know, a bastion of influence in the film industry. But I don't want to like badmouth

[00:23:29] some kind of independent movie that like, you know, maybe has a chance of getting distributed

[00:23:32] or whatever. But it kind of did the same thing. And I was like, I don't know about

[00:23:37] this doesn't necessarily work. And I don't think it like I think the animation style

[00:23:41] maybe helps it kind of blur a little bit. But I don't know, I think it's a weird choice to

[00:23:46] you know, tell a very specific and tragic story and then also have, you know, animated Jeff

[00:23:54] Goldblum asking questions in the middle. Yeah, I don't know. And then like he's also attached

[00:23:59] to like a local reporter rate or something like that or local writer that is connecting

[00:24:04] him to all these people and stuff. And then like maybe that's the real person that was

[00:24:08] doing the actual like real life interviews or whatever. So I don't know. It's just a weird

[00:24:14] blend. But I think overall Goldblum himself is pretty fine. I think he does a pretty good

[00:24:19] job with all the Portuguese, you know, it's all things considered, I think. And yeah,

[00:24:25] it's it's mostly just fine. Like I said, there are weird moments where like he's got an echo

[00:24:30] or like just changes in the quality of like the literal just audio of his dialogue and

[00:24:35] stuff that makes me wonder like, where were they recording? And when were they recording this

[00:24:40] and things like that. But but I think overall, to the to your point you mentioned before,

[00:24:46] like likely Goldblum's attachment helps get this thing funded. So that's good. You know,

[00:24:52] I'm glad he did it. It's obviously something he's interested in jazz music and all this

[00:24:56] everything. So definitely as soon as the movie started, I'm like, yeah, this makes sense for

[00:24:59] as a Jeff Goldblum project. Like this sounds right. Absolutely. Yeah. By the way, I looked

[00:25:04] at that brilliant review about Dylan's story by Martin Swarcese. I was thinking of Michael

[00:25:08] Murphy, who reprises his role as Jack Tanner from the 88 from the 1988 miniseries Tanner 88.

[00:25:15] And he's like, but he's playing him as a character in the movie.

[00:25:18] And there's a couple of other people like in Rolling Thunder Review who are playing

[00:25:22] like fictional characters that are being interviewed. Martin Van Hasselberg plays

[00:25:26] the fictional filmmaker, Stefan Van Dorp. Sharon's documentary now episode. Yeah. Sharon

[00:25:31] Stone plays a fictionalized version of herself. Have you have you seen Rolling Thunder

[00:25:35] Review? I have not, but I know the yeah, I've heard about it a lot. Yeah, it's good stuff.

[00:25:40] The performances are out of this world. Really, really good. And yeah, it kind of

[00:25:44] does a thing where like, you know, even Bob Dylan's like referring to fictional characters

[00:25:48] in his interviews as if they're real people and stuff. It's like left up to the audience

[00:25:51] to figure out like what's real, what's not sort of thing. Yeah. You know, and that that

[00:25:56] feels very much like, I don't know, Bob Dylan playing a prank as opposed to like,

[00:26:00] yeah, you know, and I think that's a much lighter story than they shot. The piano player

[00:26:04] has like this is just taking you backstage about what it was like during the Rolling Thunder

[00:26:08] Review. And this movie has, you know, a more serious subject matter at hand.

[00:26:13] Very, very serious. And yeah, I mean, maybe it's one of those things that this

[00:26:16] is just the form that could get this story told right at that. You know,

[00:26:19] I don't know if they could have done like a regular talking head kind of interview

[00:26:25] documentary and maybe just people wouldn't have connected or heard about it or something.

[00:26:29] But having it be this kind of interesting artistic Jeff Goldblum connected animated

[00:26:34] thing gives it a little more of a widespread appeal. And I mean,

[00:26:38] it sort of made me think of like, what was it searching for Sugar Man or looking for

[00:26:41] Sugar Man? Right. Yeah. Searching Sugar Man, which I never actually saw. I haven't seen that

[00:26:45] movie. Me neither. But I remember that got a lot of a lot of Oscar. But did it win the Oscar

[00:26:49] that year? It was big. I remember that that movie was like really like one of the bigger

[00:26:53] documentaries of that year. I might have won the Oscar. I'm going to look at it right now.

[00:26:57] But about a similar thing about a musician that only had like one or two albums and

[00:27:01] just disappeared. Right. But I think they find him. That's the whole thing. Yeah. And yeah,

[00:27:08] this is as you know, they kind of discover in this movie that Tenorio just went out for

[00:27:13] cigarettes or candy or medicine or something and never came back. And then throughout the course

[00:27:18] of the movie, they discover that or reveal rather that he was captured, kidnapped by

[00:27:24] the right wing regime in Argentina at the time because he had a alleged air quotes communist

[00:27:30] ties because he was connected to all these artists people. Right. Yeah. And like all of

[00:27:34] his friends were like, yeah, he was not like a political person by any means. He really didn't

[00:27:37] have any ties to anything, but it was just, you know, they would kind of that was the

[00:27:41] smallest thing would set them off and somebody would you can get killed for basically nothing

[00:27:46] because the government's and that's something that comes up a lot in this movie. And yeah,

[00:27:50] I think that all of that is really fascinating. I just wish. Yeah. The movie itself felt

[00:27:55] tighter or whatever it is. There's something about the approach to the story that's kind

[00:27:59] of like keeps me at a distance, which is unfortunate because it is a really fascinating

[00:28:03] story. One that's worth being told shows of Sugarman did win the Oscar for best documentary

[00:28:08] that year. Mike got it. He did it. So yeah, but I do think Jeff Goldblum for what he's given.

[00:28:12] I think he's pretty good in the movie. I like him. I liked his segments. I liked his

[00:28:16] kind of relationship with that one guy who's kind of feeding him info or like telling him

[00:28:20] where to go next. Yeah. Connecting to everybody. Yeah. That kind of thing. You know,

[00:28:24] there's this one moment where he's like flirting with one of the subjects and like

[00:28:26] that's kind of fun. Yeah, yeah. I don't know. There's a, you know, just like it's

[00:28:32] the bulk of the documentary is like learning about scenario for like 90 percent of it.

[00:28:36] And the other 10 percent of the movie is like Jeff Goldblum's a journalist and he's

[00:28:40] like talking to his journalism friends. Yeah. Talking to his publisher and all that stuff.

[00:28:44] It's weird. Yeah. So there's that. But how do you think this fits into

[00:28:48] the Goldblum roles that we've seen so far, Mike? Well, we've seen him do

[00:28:51] a few voice roles, you know, of course, Isle of Dogs and Prince of Egypt. Right. That was

[00:28:58] Prince of Egypt. And of course, who could forget the boss baby family business?

[00:29:02] Right. Of course. You tie into your jazz's, you know, Milford Snitzer Orchestra. We got

[00:29:08] that going. Oh, yes. Yeah, of course. I mean, that's the biggest thing here. And I

[00:29:12] got to imagine that's the thing that really drew Goldblum into the movie is that it's

[00:29:15] about jazz and about this like big figure that is part of that specific Brazilian jazz movement.

[00:29:20] But yeah, you got you. Of course, Jeff Goldblum has his jazz albums and he's

[00:29:23] toured with the Milford Snitzer Orchestra before. I still regret not going to see him

[00:29:27] in Seattle like last year. He was playing and I could have gone and I should have

[00:29:30] almost made it. I mean, Seattle's like an eight hour drive for me. It would have

[00:29:33] been a whole weekend that I would have had to do just for the Jeff Goldblum show. But

[00:29:37] I should have done it. I have a Jeff Goldblum podcast. I feel like I should see Jeff

[00:29:41] Goldblum. Maybe you could have got him on the show. Who knows? That was your chance.

[00:29:46] Meet him backstage and be like, hey, I have a podcast about you. And he'd be like what?

[00:29:49] And then walk away and disappear. Yeah, that's the tree. That would have been great.

[00:29:54] Yeah, I do think I think we've talked about this before of the now four people who have

[00:29:58] been the subject of this of this podcast. I think Jeff Goldblum would be the most amenable

[00:30:02] to like being like being aware of the show and being like, oh, that's fun. And like maybe

[00:30:08] being a guest. Yeah, yeah. He'd give us a sound clip at least or something. I think he's

[00:30:12] saying to those people in Brooklyn. Remember? That's true. Yes. We have one message. Yeah.

[00:30:18] I think he would be the most like, you know, I don't know. I think he would be the most tickled

[00:30:22] by it. I guess like the one who would be like, oh, cool. I have a podcast about me.

[00:30:25] I think Nicolas Cage would be like, oh, cool. Like, you know, he would probably be

[00:30:29] like kind of aloof about it. You know, or like bear or I feel like Cage wouldn't know

[00:30:34] what a podcast is. He knows what Breaking Bad is now. He might be that's he might be on

[00:30:40] the cusp of discovering podcast. That's very true. Yeah. And then Michelle Yeoh,

[00:30:46] I think she wouldn't have time for it. We're just beneath her, like on a spiritual level,

[00:30:51] not not like a snooty look down her nose at us, just like just emotionally.

[00:30:56] I would not dare approach Michelle Yeoh about this podcast. Not a chance. Yes. If I don't know,

[00:31:03] I can't I can't really explain it. Like she's one of the great actors. Like I feel like

[00:31:07] she would beat me up for even suggesting. Remember when she threatened the guy at the

[00:31:11] Golden Globes, she'd beat the shit out of us. Yes, absolutely. But I think also Jeff Goldblum

[00:31:17] is just a weird, just a curious little guy. Here's tall guy. Yeah, exactly. And so yeah,

[00:31:22] I think via the jazz orchestra, obviously, but he's got had several jazz film roles too.

[00:31:27] I mean, you got lush life. Lush life. Who could forget lush life? Yes. He's he's jamming

[00:31:33] on that saxophones key, man. That's right, baby. I don't think that was the exact quote,

[00:31:38] but saxophones key was definitely in there. That was definitely in there. And yeah, you got

[00:31:42] lush life. You got the other jazz movies. I mean, Little Surprises was a short film that

[00:31:46] has an all jazz score to it. And yeah, I don't know. I feel like he's he's kind of

[00:31:52] dived further into those interests as like the years have gone on to where it's like,

[00:31:55] OK, this is what's interesting to me. I'm just going to do this. Yeah, it's also

[00:31:59] it's also not the first historical movie, right? Based on true events, air quotes.

[00:32:04] Oh, sure. Real life inspired thing, you know, right, Steph Race to the Double Hicks,

[00:32:09] which is a movie that I definitely remember existed. And then, oh, man, I had a oh,

[00:32:15] the Hollywood 10. Right. Was that the name of that movie? Oh, yeah. Yeah. One of the

[00:32:18] blacklist. Yeah. One of the Hollywood 10. Yeah. Which, yeah, that was an underrated

[00:32:23] movie. I thought that was pretty solid. And I think that's kind of close to what

[00:32:25] this sort of is. I mean, that's, you know, a fictionalized biopic of,

[00:32:30] right? You know, the of Herbert Biberman. Yeah, I don't know. I think I don't think

[00:32:34] we've seen him do a documentary like this before. And we and we usually try to stay

[00:32:39] like we don't really review a ton of documentaries on this podcast.

[00:32:42] You know, it's mostly fictional movies. You know, you know what?

[00:32:45] I think the closest one. And now that's it isn't close at all.

[00:32:49] I was going to say Pittsburgh. Yeah, it's like that's a blend of narrative.

[00:32:53] It's yeah, mockumentary. And it's like fictionalizing real people and

[00:32:57] all that kind of stuff. But yeah, there's not really anything quite like they shut

[00:33:00] the piano player in the Goldblum filmography. And we've mostly avoided

[00:33:04] other documentaries like Unity, for example, is a movie that where he is a narrator on.

[00:33:09] But that's that's a movie. I think we skipped that because there's like

[00:33:11] a hundred narrators in that movie. And isn't it like a day in the life

[00:33:15] kind of thing? Right. But it's like all over the world or something like that.

[00:33:18] Yeah, something like that. So I think I think the only other documentary we've

[00:33:22] talked about was Love Antosha for Nicolas Cage, which is the documentary about Anton Yelchin,

[00:33:29] where Nicolas Cage does voiceover for it as Anton Yelchin, where he's like reading

[00:33:34] letters that Anton Yelchin has written to people throughout the movie.

[00:33:39] And I think that's sort of been our approach documentaries is if it involves our person

[00:33:44] playing some kind of character in the documentary, that counts for complete works.

[00:33:50] And so this counts for the complete works. They shot the piano player.

[00:33:53] But if it was like somebody interviewing Jeff Goldblum,

[00:33:56] I mean, maybe if it was all about Jeff Goldblum, right?

[00:33:59] I know actually we did talk about one of the documentary for Cage,

[00:34:02] which he's not in. But we talked about it because it's The Death of Superman Lives.

[00:34:05] What happened? Oh, that's right.

[00:34:06] All about a Nicolas Cage movie felt appropriate.

[00:34:10] Yes. Yeah. I mean, I know we skipped a lot of there's a couple like Michelle Yeoh

[00:34:14] documentary or documentaries that like have archival footage from Michelle Yeoh movies in them,

[00:34:18] like a Hong Kong stunt action movies and stunt women and stuff like that.

[00:34:22] So things like that we usually avoid or skip over because it's like,

[00:34:27] we're going to be talking about the movie with that the clip is from.

[00:34:30] We didn't do Terror in the Isles, which I know.

[00:34:34] Yeah. Because like Into the Night is part of that or something, right? Or The Fly.

[00:34:37] Maybe The Fly, I think. But yeah, those kind of just sort of clip show type documentary

[00:34:42] things we have been avoiding. I mean, I guess World According to Jeff Goldblum sort of

[00:34:46] is closer to the it's like documentary. Yeah.

[00:34:49] Yeah. But even that was just like, OK, Goldblum's the center personality. Right.

[00:34:52] Yeah. You know all that. So I guess what I'm saying is it's a case by case basis with

[00:34:57] with documentaries and that's that's the end of that. That's right.

[00:35:02] Is there any other specific scenes or moments in this other piano player that

[00:35:05] you want to talk about? My game that you want to get off your chest?

[00:35:08] No, not particularly. I think it's there. There actually is a really disturbing sequence

[00:35:13] in the movie where Goblin's character, Jeff, goes to mechanical naval naval mechanics academy

[00:35:22] or whatever like the building they were using. The regime was using like as basically a death

[00:35:28] camp or whatever. Right. But he goes to it in like the modern day, like as a museum,

[00:35:32] it's a museum, I guess, kind of thing or memorial and is just explaining, you know,

[00:35:38] he's, you know, like going to one of these sites of an atrocity and the person is the

[00:35:42] tour guide is explaining like, and this is where they did this in this room.

[00:35:45] And then the hero is the wing for they kept all the pregnant women until they had their babies.

[00:35:49] And oh, God, that's very intense. Yeah.

[00:35:53] And then at the end of the movie, like, you know, they're sort of somebody's explaining

[00:35:56] like what happened to scenario who I think the person that's explaining it was one of

[00:36:01] the it's that like what's our forget the guy's name, Vallejo or something is like sort

[00:36:06] of like a whistleblower character. Right.

[00:36:09] Who's like explaining what happened to all the people in this building. And then like,

[00:36:12] you know, you see scenario go through that as he's explaining it in the animation,

[00:36:17] which sort of is, you know, what lens like what the power of the animation in this movie

[00:36:21] is, is that you can see these things that otherwise we would have no footage of or

[00:36:24] something. And yeah, so that whole back half sequence with that is pretty intense and,

[00:36:28] and it stands out because it's, you know, a different story, unfortunately. But,

[00:36:35] but yeah, it's powerful. Yeah, definitely. But yeah, otherwise I think we can start

[00:36:40] wrapping this episode up, Mike. That's it. Are there letterboxed reviews?

[00:36:43] There are a few. Yeah. And we're going to talk about a few of them here. So yeah,

[00:36:46] I got some letterboxed views for they shot the piano player here,

[00:36:50] first of which is a three star review from Drew genuinely fascinating story about

[00:36:54] the disappearance of a prominent pianist in the bossa nova scene in Brazil in the late

[00:36:58] 60s. I'm a bit baffled that the framing device they use, which uses a fictional book

[00:37:03] reading to tell the fictional story of a fictional author pursuing the mystery of

[00:37:06] the play, a pianist disappearance and turn it into a book. Also that they use animation

[00:37:10] style, which was nice to look at it first, but became somewhat tedious by the end. Jeff

[00:37:15] Gopin's voice, which was used for the protagonist, narrator role was a lovely

[00:37:18] addition to the experience despite making very little sense narratively. Also I fell

[00:37:23] asleep for like 20 minutes in the middle, but in like a super chill way that was just

[00:37:26] because I'm so sleepy and not because I wasn't enjoying the film. Okay. All right.

[00:37:30] Interesting detail. I mean, I get where that guy's coming from. That makes sense to me.

[00:37:38] Here's a two and a half star review from Noah Thompson. Two things I can say for sure. The

[00:37:43] piano is a lovely musical instrument and I also love listening to the voice of Jeff Goldblum.

[00:37:48] The screening of this film was sponsored by WTTW, which helped put it in my head

[00:37:52] that if this was like 45 minutes, I likely would have really enjoyed it and walked away

[00:37:56] from it simply thinking, what a fascinating story. That's wild. Yeah, that is wild. Actually,

[00:38:01] you didn't read the letterbox. Instead the film as is I think sadly overstates its welcome with

[00:38:10] an awkward structure and a visual style that has more time also started to feel too rough

[00:38:14] around the edges. Regardless, there are still bits and pieces of interest here for sure.

[00:38:18] Music and art as a whole has always been entangled with politics and a political artist

[00:38:22] can't really exist. And it's then important to immediately follow that up by saying that we

[00:38:26] should damn any country that threatens the wellbeing of artists to dare to make our world

[00:38:30] a little more lively. I can lastly say that later tonight, I will absolutely be listening to

[00:38:34] some bossa nova tunes to swing the night away. Yeah, that's, that's almost like beat for beat.

[00:38:38] What you said, I guess same. Yeah, agreed. Yeah, ditto. I got one more here. Mike is a three

[00:38:48] star review from Be Brave Morvern. Gorgeous pops and splashes of color tell a story of lush,

[00:38:53] slow grooves and violent political history. Sometimes piano keys are to scale and rough

[00:38:58] you and is it their rotoscoped parentheses? It's completely hand drawn at others. The black

[00:39:02] keys just parallel lines rocking to and fro in a river of white. It's a fascinating oral

[00:39:06] history of a great musician gone too soon. But the sum total of what's known isn't quite

[00:39:11] feature length, which is presumably why writer co director for Nanda Troiba

[00:39:15] has the script with a bland fictional journalist. We follow them as he hears multiple versions of

[00:39:19] the same story with only minor insignificant variations. Worse still, he's not identified

[00:39:24] as fictional until the closing credits after the needless distraction of wondering,

[00:39:29] is there really another person out there who sounds exactly like Jeff Goplin?

[00:39:35] No, just the one. And if the journalist is fictional, why are all the weird bits about

[00:39:39] him and his publisher flirting? True. That's a good point, honestly. Yeah. If only the

[00:39:44] narrative structure had been as imaginative as the visuals, this would have soared. And yeah,

[00:39:49] so I think most of Letterboxd is kind of in the same boat as we are, Mike. We think it's

[00:39:53] an interesting movie. It's a fascinating story. Really could have been a short

[00:39:58] and the framing device though. It's great to have Jeff Goldblum in here.

[00:40:01] It does feel kind of superfluous, but I think the animation is nice. The music's

[00:40:05] nice and yeah, and it is again a really interesting story. Yeah. I mean, it's wild,

[00:40:10] actually. We sort of are all beat for beat agreement on on that stuff. But yeah,

[00:40:15] overall it's it's interesting story. I mean, maybe I'd read a long article about this

[00:40:21] like 90 minute movie. Maybe not. Right. Yeah, I think that's pretty much where we're at,

[00:40:27] which is unfortunate. I was pretty excited about this one just because it sounded pretty

[00:40:31] cool and I think there is a lot of really interesting elements of it. But yeah,

[00:40:34] it doesn't quite come together the way that I had hoped. That said, Mike,

[00:40:39] I think we can wrap this episode up. We're done. We can. Yes. Until until next time,

[00:40:43] which there will be another Goldblum movie, at least one more golden episode this year,

[00:40:48] because of course, Wicked will be coming out in November, which is not just a golden episode.

[00:40:52] That'll be a Michelle Yeo episode. We have to do something like really special for Wicked.

[00:40:56] And I don't know what it is. Yeah, I don't know. It feels like we got to like do

[00:41:00] something right. You got to delete the podcast feed. It's too good. We can't handle

[00:41:04] it. Too much power. Just two of them in one movie together. Can't can't the whole thing implodes.

[00:41:10] Yes, does not compute. Yeah, I know Wicked is coming out. Wicked part one is coming out later

[00:41:15] this year because of course, part two will be the following year. And then I believe that show

[00:41:22] Chaos is supposed to come out sometime this year too, which is the Netflix show where Jeff

[00:41:26] Goldblum plays Zeus. That's right. Yeah, yeah, yeah. Yeah. So we'll have to talk about

[00:41:31] that at some point, too, whenever that happens. I can't wait. We can't. We miss Goldblum. I

[00:41:35] can't believe it's funny that that cage had so many movies in twenty twenty three and we sort

[00:41:42] of ended Michelle Yeo in the middle and then she had a couple more. So like it feels like

[00:41:46] Cajun cage and Yeo are just like ongoing seasons that are happening right now. But I forgot we

[00:41:51] haven't done a Goldblum in almost a year, like you said. So yeah, you know, we haven't

[00:41:55] done a Goldblum in almost a year, but Goldblum's movie a year ago, I think was better

[00:42:00] than all the Nicholas Cage movies that came out. Yeah, true. Technically. So there is that

[00:42:07] Goldblum movie is pretty strong. But yeah, for Astride City. But yes.

[00:42:14] But there it is. All right, Mike D. Where can we find you online this week?

[00:42:17] You can find me at MD Film Blog on Twitter and Letterboxd and Blue Sky. If you'd like

[00:42:22] to donate to support the show, you could do that on our Ko-fi page, which is Ko-fi.com

[00:42:26] slash Mike and Mike Pods. And if you want merch available or if you want merch, we have

[00:42:31] merch available on our Redbubble, which is Mike and Mike Pods dot Redbubble dot com,

[00:42:36] where I might have already uploaded the Roy Scheider art. If you want to get get a jump

[00:42:40] on that. Hey, there you go. I didn't even I didn't even know about that. That's exciting.

[00:42:44] I got to update the Twitter feed actually now that the arts are available too. Yes,

[00:42:49] that's right. So yeah, got to get on that. Yeah, you can find me online at M. Smith

[00:42:52] Film Blog on Twitter, Mike Smith, Film and Letterboxd, Radio Mike Sandwich, Instagram.

[00:42:56] Thanks so much for listening to Complete Works. I'm Mike Smith. That's my decree show.

[00:42:59] Don't forget to rate and review the show on Apple Podcasts or Spotify or any other podcast app

[00:43:04] that does rating and reviewing. And if you want to contact us, you can tweet at us at

[00:43:08] Complete Works Pods. W R K S no O in the word works. And you can find the rest of our

[00:43:12] podcast and Rapture Press alongside many other podcasts. The copy here is like I use my

[00:43:18] Goldblum template. The Goldblum copy. Yes, the Goldblum copy. So it still says the totally

[00:43:22] original Geek News podcast, which has not been a show in a long time. You can find the rest of

[00:43:28] our podcast and Rapture Press alongside many other podcasts, but kinds of comp books and

[00:43:32] movie news and all that good stuff. Our theme song was created by Kyle Cullen. You can reach

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[00:43:40] Goldblum season was designed by Jacob Honeycutt or at Jacob Honey on Twitter.

[00:43:45] And join us next week in the Complete Works. We are gearing up for the Roy Scheider

[00:43:49] season. So next week it's happening. The Curse of the Living Corpse, the very first movie

[00:43:55] starring Roy Scheider. Hell yeah. The Connecticut Ed Woods coming at you.

[00:43:59] Hot. Exactly. I forget that guy's name. Delteny Mike Delteny. How can I forget?

[00:44:04] Director of both I Drink Your Blood and I Eat Your Skin. Yeah. And the slumber party beach

[00:44:10] massacre or whatever the hell is that? Yes. Which I watched for that episode. So yeah,

[00:44:15] get ready for that. Yeah, it's a fun one. If people haven't seen the Curse of the Living

[00:44:19] Corpse, I'd recommend watching it. It's kind of fun. It's on YouTube. Yeah, it's on YouTube.

[00:44:23] You can watch the whole thing right there and it gives a pretty like meaty first role for

[00:44:26] Roy Scheider, which is fun to see. So yeah, next week that's going to be happening for

[00:44:31] the Complete Works, the very first episode of season four. And of course, Mike McGo to the

[00:44:35] movies will continue as bonus episodes on the Complete Works feed. So look out for those

[00:44:38] two. Thanks so much for listening, guys. And remember to go for the Gold Bloom.