Beetlejuice Beetlejuice

Today on Art of the Cut we are discussing Tim Burton’s Beetlejuice Beetlejuice with editor Jay Prychidny, CCE. 

This is Jay’s fourth time on Art of the Cut. He previously joined us to talk about Snowpiercer, Wednesday, Scream VI, and now, Beetlejuice Beetlejuice.

Jay won a BAFTA and has been nominated for — and won — numerous Canadian Cinema Editor’s Awards for his work on Orphan Black, The Alienist, The Amazing Race Canada, and many others.

Jay, thank you so much for joining us on Art of the Cut. It’s great to talk to you again.

Yes. Third time, I think.

This might be four.

It might be four?

Yes. No, Snowpiercer, Scream VI, Wednesday, and Beetlejuice Beetlejuice. 

So now are you the official Jenna Ortega editor?

It’s certainly, seems that way. I’ve only been editing Jenna for the past three years now - since 2021 - so if it’s not my official title, maybe it should be.

I think that’s a great title to have. Did you watch the original Beetlejuice recently?

I’ve seen it so many times in my life. It was my favorite movie when I was seven years old. I saw it hundreds of times, I’m sure. Have I seen it recently? I don’t think I’ve watched it all the way through recently.

I’m assuming, ‘cause you worked with Tim Burton on Wednesday that that’s how he chose you as an editor for this…

Yeah, exactly. I edited all of Tim’s episodes for Wednesday, season one. I had heard that this was in the air - that Beetlejuice Beetlejuice was kind of happening - and the original was my favorite film, so I was very excited about the idea. I had really no idea if I would be invited to do it or not. I did go have a meeting with Tim.

I was working on Scream in LA and he was in Malibu, so I called to go over and talk to him about Beetlejuice. I got there and we talked about other stuff and I brought up, “Oh, so there’s this Beetlejuice movie happening maybe?” And he said, “Oh, I don’t know. Maybe there’s a script. I don’t know. I’ve read it, but I don’t know.

People say they like it, but no one’s really committed to anything, so who knows? These things don’t always happen. People say they want something and it never happens.” So that seemed like the end of that conversation. It’s hard to pitch yourself if the director’s not even admitting it’s a real project. Luckily, when it did come time, they invited me to do it, which was amazing. I was completely thrilled.

Jay Prychidny, CCE

Is editing some of the absurd humor - especially with the Beetlejuice character itself - is it different than editing anything else?

I think so. With both Wednesday and Beetlejuice, for whatever reason I kind of got into the head of those characters in a way. It just seemed like the right approach for those projects. For Beetlejuice, it’s kind of like: how would Beetlejuice edit it in a way? What are Beetlejuice qualities? What’s his style? What’s his vibe?

Then bringing that into the editing somewhat. Not in the whole movie. I just mean in the afterlife segments. The afterlife segments have more of a Beetlejuician editing vibe to them, ‘cause Beetlejuice just like snaps his fingers in a puff of smoke and something abruptly changes.

That was definitely something I brought into the editing. These kind of abrupt editing sound transitions. You just go right from here to there. It’s not smooth. Always making a real point and a real show about just a scene changing.

So that was part of the editing language that developed. Also, I’m really interested in trying to keep audiences awake and alert. Maybe ‘cause I have a tendency to fall asleep in movies, so I just like things to be kind of be abrupt and jolting and: “Hey! Pay attention! Something’s happening!”

Keaton’s performance is very kinetic. He’s always moving … almost pulling himself physically out of a shot. You would have a shot, then cut to the reaction and then all of a sudden he’d be in the reaction shot. 

Exactly. Yeah. Tim is involved in the editing all the way through. I feel like that’s something that developed as he saw the edits because he wasn’t kind of fully happy with how Beetlejuice was coming off in the beginning - in the early scenes he shot.

So as he went on shooting, he kind of did make it more kinetic. He’s jumping here, he’s jumping there and he doesn’t move around like a human.

Jay’s room

Were you on set or near set?

Yeah, whenever I’m editing one of Tim’s projects I’m located at the studio - the main studio where they’re shooting, nearby set or nearby his office. Whenever he has a break, if they’re doing a lighting set up or whatever and he has some time he can just pop over to editing, and he’ll say, “Show me some dailies. Show me some scenes.”

He works really fast so you really just kinda like scroll through stuff really fast. He’d say, “Yeah. Show me that. Oh yeah, that looks good.” You’re going at this breakneck pace. He’d say, “Oh, try this and try that. Okay, I’m off.” Then you do the edit notes and you show ’em the next time.

Chris Lebenzon edited Dumbo for Tim and he actually talked about how he was feeding the camera signal - the videotap - live back to the edit suite.

We did get live proxies from set a few days towards the end of the shooting for some of the pickup days where it was more critical to see things quickly. For the most part, Tim and I are just in kind of a regular rhythm of me cutting the dailies the day after he shot them and showing them to him. I cut like pretty quickly.

So pretty much I show him everything he shot the day before with music and sound and kind of a polished edit. Sometimes I wait till the next day, if something’s really complicated. So he sees things in a pretty timely fashion that allows him to respond to the edit, but also let him think about how he’s shooting things and make changes if he wants.

Jay at Abbey Road Studios

Is there an approach to your editing that allows you to edit that fast? Is it the way you watch dailies or the way that you cut things in dailies that allows you to work that fast?

I think a big part of it is that I watch dailies as I cut, as opposed to a lot of people watch everything ahead of time. I do watch every take ‘cause that’s important to Tim too. In Tim’s mind he has no feeling that the later takes are necessarily what he wants to get.

He definitely is thinking more in pieces. He just has the feeling, “I think I have all the pieces somewhere.” As opposed to getting one perfect take at the end. So I watch every take as I cut. I just watch a bit of every setup at the beginning and then select from there.

I just start editing. So I watch a bit of the footage and I cut it and then I watch some more of the footage and cut, so by the time I’ve cut the whole scene, I will have seen everything. But when I start cutting, I haven’t seen anything.

You’re working chronologically through the scene. Yeah, that’s an interesting way to work. And, and as you, you said kind of like you have a tendency to, to fall asleep. That’s one of those problems with watching all the dailies that if you sit down to watch the dailies for a scene, you’re watching dailies for four hours or something.

Jay with Director Tim Burton

That’s a great way to work. I think we’ve talked about that before.

What kind of animation editing did you have to do for the stop motion stuff?

From what I understand, it was just like the regular process of editing animation. You start with storyboards, you cut those together with music and sound effects and dialogue and then you kind of get that approved and then you start getting animatics made.

We did have kind of a animated previs made for this segments and then we cut that together and then that’s what we give to the animators to animate in terms of timing and length and all, all that kind of thing.

So then theoretically they’re supposed to, as far as I understand, animated to those lengths. And sometimes they do, but then sometimes they don’t. People have told me that stop motion animators are kind of their own breed, so sometimes they kind of just are doing their own thing.

So you’d get back sometimes things that were too short or too long, and you just try to figure it out from there. It was actually really fun. This was my first time editing stop motion. What was really fun about it is there’s so much more freedom than editing live action because things like abrupt starts and slowdowns and freeze frames and cutting out frames.

You don’t see it with animation in the same way with live action, so you have so much more freedom to just kind of do crazy speed changes and just get it to fit at the speed that you think it should be running, and it just looks completely natural. It doesn’t look artificial in any way.

When - in the process of cutting the entire film - did you have to do the stop motion animation storyboard stuff?

It was very early on. The stop motion stuff developed over a pretty long period. I think I started doing that at the beginning of production and then getting the storyboards and the previs production was quite short. It was only about two months I think. Then another month or so after that that they started animating and then the slow process of that. Luckily there wasn’t a lot of animation in the film.

Jay, Danny Salas (1st asst), Lara Channon, Sam Bailey (2nd assts) and Alex Stuart (trainee) at Crew Screening

You’ve worked with Tim on TV series and feature films. Is there a difference to your approach to the material or the schedule or anything like that?

There wasn’t really any difference at all. Beetlejuice was a relatively low budget compared to Tim’s other films. The schedule of Beetlejuice was very similar to the shooting schedule of Wednesday. The amount of time he had to shoot those episodes was pretty comparable. Wednesday and Beetlejuice were shot much faster than Tim is ordinarily accustomed to shooting.

That actually helped a lot of time because it kind of lended to a kind of manic energy on the set, which was kind of helpful. That scene with Lydia and Beetlejuice in the attic when she calls him for help, there is such an insane energy to that scene between the two of them, and part of that is just trying to get the scene shot.

We had more compressed time to be creative, come up with ideas and I think that kind of just lent to the whole atmosphere on the set. There’s visual effects and all that for various reasons. You have rig removals and all that kind of boring stuff.

The vibe of it just looks very like there aren’t any visual effects because that sequence where he pops out of the table, he comes out and he comes to his full height and he says, “The Juice is loose!” and then you cut and he just stands up behind her. It’s like the most low tech kind of thing.

In the script there was some notion that he’s going to fly across the room and so visual effects had shot all this blue screen and a Beetlejuice stand-in on the table and then he flies up and over… and this was all shot AFTER I’d already cut the scene and where he just pops up in the most low tech way and I’m asked, “Why are we shooting this?” It’s good! He just pops up.

I asked Tim: “I don’t even wanna cut this. I don’t wanna even look at this footage. Do I have to use this?” He said, “Oh, forget about that. No we don’t need that.”

Jay with Sound Team

I’ve had that discussion with a couple of editors where there’s a bunch of stuff shot and the editor kinda looks at it and says, “I don’t know why we need this.” And they talk to the director and he says, “Just ‘cause I shot it doesn’t mean you gotta use it.” 

Yeah. It’s written in the script that something happens, so production says, “We’ve gotta get this!” We were fighting the natural impulses towards a more polished visual effects shot. It was a real effort to fight against that and say, “No. it’s okay. We wanted to embrace the kind of ropey quality of things a lot of the time.

When you moved from the production studio at the end of shooting itself, were you still working with Tim directly in person?

The whole film was done in London, England. It was all shot there and all the post and editing and sound happened in London. So I was in London for about 10 months for that whole process. It’s also where Tim lives most of the time.

So there was a month period for his director’s cut. We did work in France just ‘cause he has a place in France that he wanted to work from in the summer. Tim is a very analog, very in-person kind of collaborator. He’s just most comfortable having actual real people in front of him.

I get that vibe from him. How long from the end of production to a locked cut?

I guess we never really thought about locking the film.

Jay and his partner Daniel Sommer at Premiere

Did I see a locked cut?  (Laughs) I watched it yesterday in my local theater.

We were making editing changes deep into sound mixing. He was inventing new shots. In the MacArthur Park sequence at the end of the film there were two shots he wanted to add, which have live action elements but were largely just created out of visual effects wizardry.

So there are two wide shots that he wanted to add where the cake was in the foreground and Lydia and Beetlejuice were lifting up off the ground in the background.

He just didn’t have that angle and it was a very late inspiration. And he drew the shot he wanted. He draws things a lot. There were two of them ‘cause there’s one shot of them coming up and then one shot of ’em coming down.

That made everyone almost wanna pull their hair out. That MacArthur Park sequence, the music of it is so tightly constructed. It is such a complex sequence musically. For him to insert shots at that late stage after everything’s been recorded, everything’s done, it really made the music guys on the film a little scared.

It wasn’t just replacing a shot? It was opening up the music to ADD the new shots?

Yeah. There was nothing to cut out. The nature of the shot he designed, it needed to have enough length to it to make it worthwhile. That was a crazy process because the music editors were trying to find ways to just slow down the music to lengthen it; to artificially slow down the music without messing it up too much. We were negotiating over “how many frames can you get me?”

Like, “I need 13 more frames!” And they’re saying, “We can give you eight frames!” It was just a crazy process to be happening right at the end of the film. The MacArthur Park sequence in general is just one of those things that was just very, very complex and a change like that was difficult to accommodate, but we did it.

Jay and Lara Channon (2nd asst)

Were there discussions of the length of the MacArthur Park segment?

There was definitely that question about it. This is going on a long time. There were definitely ways to cut it down eventually. Tim just came to a point where he said, “Cutting a minute out of this isn’t going to make the people who don’t like it suddenly like it.”

We were pitching areas that we could remove. There’s a much slower section where it’s just Beetlejuice and Lydia singing to each other. It’s more intimate and the camera is just swirling around them and it was a part of the music that could just easily lift out even after it was recorded.

You’d lose about 45 seconds and the whole thing would just move along a lot faster. We did consider that, but in the end he just said, “It’s my movie. It’s my vision. I love that sequence. I love this song. I love this more intimate moment.” 

The one thing we did was add that gag of the floating heads behind them, when he is singing about the past loves in his life. You see Monica behind him and you see Lydia behind him and then you see a dog behind them, which is Tim’s dog.

One of the major loves of Tim’s life is his dog, so we did add that to kind of just punch it up and make a little gag there so hopefully people don’t get too bored.

Another scene that I was thinking about, which I loved was, there’s a flashback at one point where Beetlejuice is drinking from a water cooler and he says, “My ex-wife’s back” then it goes to a flashback of how they met. It’s just a simple cut to the flashback. Talk to me about doing flashbacks and was that the way that it was scripted? 

A lot of the movie is not really as scripted…

Jay, Danny Salas (1st asst) and Lara Channon (2nd ast) at Harry Potter Leavesden

Really? Okay…

I forget exactly how it was in the script, but there was the notion of it looking like an old film. But this whole kind of notion of Beetlejuice standing up in front of his employees and bringing out a microphone and having a spotlight come on was something they just developed on the set. Then the whole idea of the Italian voiceover? That that was a very late change.

Really? So he originally did the whole thing in English?

Yeah. So it was Beetlejuice just narrating the whole sequence and it kind of worked. I’m not sure exactly how Tim felt about it, but for me there’s just something weird about Beetlejuice giving this kind of expositional backstory in that voice.

There’s just something about it that just didn’t feel quite right. Maybe it’s me projecting, but just from listening to Michael do it, it didn’t seem like he was fully into doing it either. It just didn’t click, you know? I don’t know if that’s one of the reasons why Tim wanted to change it, but the main reason was just that he loves those types of films.

He loves subtitled Italian films and so much of this Beetlejuice sequel is about playing with these kinds of things that Tim just loves in his life.

So I think it was just more to a be able to get more narration and be able to tell more of a story and what felt more natural … it’s funny to say it’s natural but you know… but to be able to like get that exposition out in kind of a fun way to make the style of these Italian films.

The part that I just love about it is that because we ended up dubbing Michael on camera doing the Italian voice, obviously it was never intended. He’s just speaking English. I just love watching the lip sync. The performer actually who did the Italian narration was actually a sound designer, but they did a really good job just fitting the Italian voice to Michael’s lips. I just really enjoy watching that.

It’s just such a crazy visual that worked so well that then Tim also wanted to dub Beetlejuice at the end of the movie in Spanish when the sand worm comes out, so one idea begets another.

It’s a crazy way to work and I love that it was originally performed in English because the Italian was completely absurd, but it seemed absurd AND part of the movie. Completely natural as you, as you said. Weirdly natural. Were there any structural changes?

Yeah. Tim was very concerned, when he was shooting, about how these stories will fit together. There’s just a lot of different stories going on. And definitely when I started assembling it, I definitely felt that very early on.

Probably about 15 minutes into the assembly I started feeling like, “Okay, things aren’t flowing off of each other. It’s just feeling like you’re just randomly cutting from this group of characters to this group of characters without any motivation to it.”

Each scene was completely disconnected from the previous scene and it just lost any kind of sense of momentum and drive. 

After shooting ended, the main goal over the next few weeks, was just figuring out how to make these stories naturally try to drive into each other so it’s not just like a scene ends and you start a new scene.

Some element in the previous scene needs to propel forward into the next scene. So that was a lot of restructuring, just trying to find connections. What are some connections that could make it seem like this was designed to follow off of each other?

Sometimes that would be about creating new shots. One thing we restructured was there’s a scene with Astrid and Lydia in the graveyard and they’re talking about their history and their past.

It wasn’t intended to be the next scene, but I felt that the next scene we should see was Charles Deetz in the afterlife going to the laundry for the first time, because to me, there’s a connection there. It’s like they’re talking at the funeral and then you see Charles Deetz for the first time in the afterlife.

I just said to Tim, “This would be great if we could do this, but we just need some kind of transition to get between these two things.” So we shot this new shot of Charles Dietz’s gravestone, then the camera tilts down to the ground, then we fade into the afterlife.

So those kinds of transitions were usually discovered in editing or pitched in editing because a lot of the time in the script you just cut to the afterlife. It just seemed wrong. It just seemed like it needed to be handled with more weight and you don’t just cut there. You have to have a reason to go there.

Another one of those shots was like Astrid and Jeremy in the tree house. It was planned, but in visual effects the camera would tilt down and go under the ground, then we would follow these roots that become pipes and then we land on Monica Bellucci’s character in the underworld to try to connect these things as much as possible.

Those were all transitions that were created after we had restructured the entire film. Then we asked, “Well, what are we missing? How do we get from one scene to the other in this new structure?”

One of the things that I noticed was that there was almost always a transitional shot to the underworld, which makes sense, but to know that they were shot afterward is really, really interesting.

Some of them were shot in production because if Tim had concerns about the structure, I could flag those transitions ahead of time. Like, “Maybe we could use a shot like this that would transition.” But a lot of them were shot after the main main unit of production.

That’s one of those things that I could see from a script point of view that you think you can cut straight to the underworld but then when you do it, it feels wrong.

Yeah. It made it feel very banal. It made the underworld feel just like the real world to treat it the same way: like it didn’t matter if you were above or below. It’s all the same. That was something I was very passionate about. We have to somehow transition ‘cause otherwise it lost its specialness.

Were there any scenes that were particularly challenging or particularly fun?

There were a lot that were challenging. Mainly that whole wedding sequence was probably the most difficult for a lot of reasons. Tim just had this notion from the beginning that he wanted to use this MacArthur Park song. 

I guess his feeling about it was he just wanted to shoot what he wanted to shoot and not really think about how it’ll go together. And he said this very blatantly to me! “Don’t worry about how this goes together with the music.” I thought, “What?!”

What a crazy thing to say to an editor whose instinct is, “How does this fit with the music?” But he was very insistent. “The music doesn’t matter. You can just cut to whatever part you want to use.”

Which is crazy ‘cause there’s a lot of lip sync stuff in there!

Exactly! He kept saying, “It’s like a mashup. We’re gonna do a mashup of the song so you don’t have to worry about the structure of the song. You don’t have to worry about any of this. You just cut to whatever you want to use.” Then I said, “Okay. Great.” But in my head I thought, “Well, you can’t just cut to anything.”

I’ve talked to a lot of people about the fact that restrictions are actually one of the best things for creativity that you have. Limits help you.

It was just this kind of crazy process. First of all, that scene used to all be a dialogue scene! All the stuff in the wedding was never even a musical sequence to begin with. In the script it was all just dialogue. We got this script revision one day that was literally just the lyrics of the song.

I think it was five pages and it’s just all of the lyrics of MacArthur Park transcribed. So, when he shot it - because his notion was it would just be a mashup - he would just kind of shoot all of these different lip sync segments, not really clear how that would go together.

Jay, Mike Higham (Music consultant), Jimmy Simpson (Sound Designer) and Buster Flaws (Diagloue Editor)

So it was a little bit more like a music video where you could choose?

No. It would be in segments. So they would shoot the first 30 seconds of the song and then the next 30 seconds of the song. But they would shoot all of the lyrics. It’s a seven and a half minute song. It was just this real mind-bender because the other real specific idea he had - because the song changes in pace and key and tone, through all these wildly different sections, which makes it impossible to edit, ‘cause every section of the song is a different style of a song.

So Tim was very specific about when Willem Defoe and the police officers come out of the crypt. “It has to be this part of the song,” which is this fast-action-paced part. “Just cut to that whenever you’re with the ghouls.” 

It sounds good in concept but if you actually sit down and try to cut that, it doesn’t work. You can’t just cut to any part of a song wherever you want, whenever you want. So it was this  very belabored process. I worked with the music producer Michael Higham really closely because you can’t just cut, you have to find some ways to transition between these parts of the song.

So that was just an incredibly strange sequence to try to work out musically. Now when you watch it, it just looks completely natural. It just looks totally like there doesn’t seem anything unusual about it at all.

The structure of the music is actually changed? You couldn’t place the actual song against that entire sequence? 

No.

You had to edit for the story you were trying to tell, then figure out, “Can I get the music to work?”

Yeah. That was a challenging thing because Tim would just say, “Oh well. Just go to this or go to that.” And he wasn’t sympathetic all the time to a comment like, “But the music!” ‘cause then he’d just say, “Well who cares about the music?

Just cut to it!” So it was trying to balance those desires. You had to just make the cut with the images primary because that’s really what Tim is paying attention to. But then in the background you just have to think with the other part of your brain: “Can I get this to work musically?” ‘cause you can’t just do anything, you know?

So it’s trying to achieve what Tim wants while at the same time trying to figure out how to make the music work.

Astrid goes on a little bike trip through the town and I thought that was just lovely. But I got the sense that it was scripted and probably shot kind of unstructured, more like a montage of a bunch of beautiful shots. Then of course it ends in a big action sequence. And the action sequence was cut more like a comedy sequence than the way it would have been done if the same sequence was in an action movie, right?

Yeah. Right.

Can you talk about that sequence, the bike sequence going through to the crash?

We got shut down by the actor strike right towards the end of production. So that was actually one sequence that was interrupted by the strike because a bunch of that is shot in Vermont where Lydia’s house is, then the other part of that is shot in Boston where Jeremy’s house is. So the actor’s strike interrupted that transition when the unit was going to move from Vermont to Boston.

So all the stuff we were missing was all the Boston footage. The first part of the sequence is shot in summer and then the second part of the sequence is shot literally the day before all of the leaves dropped off the trees in Boston.

The strike resolved just fast enough for us to shoot everything before all the leaves dropped. Literally the next day after we shot that stuff, all the leaves were gone in Boston.

I was such a fan of the original movie and had such a childhood memory of it that all those locations for me - as a fan - are meaningful to me. It was really easy to cut that  because I did have a lot of emotional reactions to her riding the bike and driving past these areas. I just picked the shots that made me feel something.

And a lot of them did. It is kind of an unusual thing to have a girl riding a bike for a long period in the film, but it is nice that the film can operate in these different modes. It kind of has this wistful, nostalgic feeling to it.

And to me also just these feelings of ghosts. Just this notion of her riding past the red bridge where Gina Davis and Alec Baldwin died in the previous film. Obviously Astrid’s character is unaware of that. But for an audience, I think you do have this sense of ghosts that are living there.

If you’re familiar with the original, you have this memory of these people who died on this bridge and how things have moved on. That was kind of the emotion I was tapping into with where to focus my attention during all of this. ‘cause you’re right,  there’s just tons and tons of footage of riding a bike in Boston and in Vermont.

I love that section. And because the bicycle ride takes her from a point of not believing her mother and being kind of angry about where she is. Then after the bike ride she’s kind of happy about where she is. So you need that transition time. And it is a lovely nostalgic moment.

What I loved about the action kind of ending of it is I kept thinking all the ways she could die. You figure she’s gotta make it through the rest of the movie. She’s gonna survive this, but Beetlejuice is this movie where you see all the ways people can die: “Oh, there’s a guy with a saw blade through his head. There’s a guy that’s been eaten by a shark.” Every shot at the end of the bike ride seemed to present a new way she could die.

Some people who have watched the film did have a theory that she did die. She hits the tree with her head so hard that some people - when they’re watching the movie - think maybe she died, and maybe now this is some afterlife vision.

It’s like The Sixth Sense.

The bike ride has this nice song that’s playing and then during the whole action sequence, the music just keeps going. I guess my thought was to just not try to make it seem like such a big action moment. That was just something that instinctually felt right. Tim never questioned it, but it was something that some people questioned. 

The other example is in the Soul Train sequence. After Lydia rescues Astrid off of the train, then they’re pursued by cops and the guards, the Soul Train music just keeps playing. I guess the natural impulse is maybe, “Well we should switch to action music here.”

That didn’t seem right to me. It seemed like it should just be continuing the song that’s playing and edit the song, ‘cause it’s not like the song ignores the action on screen. The song is edited to fit to the scene changing and becoming an action sequence, but it’s still just the song. There isn’t score support there.

I love the fact that the Soul train music kept going. Did you ever consider switching to score?

I never tried it because Tim didn’t have a problem with it. I’m sure if I brought it up to Tim, he wouldn’t have wanted to do that. I never tried it ‘cause it just felt like the obvious thing to do, and because I just love how that music kicks in, in the Soul Train sequence when the guards and everyone are coming onto them and it kicks into this higher gear fast-paced moment and it just feels fresh to me. It just feels fresh.

I didn’t even want to try cutting to action music. I felt like I would’ve become so bored by it, so I didn’t even want to try.

Jay, thank you so much for a great discussion about Beetlejuice Beetlejuice. I enjoyed the movie. I hope people get a chance to get out there and see it.

Great. Thank you.

I can’t wait for Wednesday season two.

I can’t wait for it either. Long way to go before we have it…