Taylor Sheridan is the actor and director who has probably become best know as the co-creator of the epic Paramount Network series "Yellowstone" and its prequels "1883" and "1923."
His newest project is serving as executive producer for "Lawmen: Bass Reeves," a Paramount+ anthology series that launches Nov. 5 that feels like it should be part of the "Yellowstone" arc but is separate entity. "Lawmen: Bass Reeves" is a passion project of star David Oyelowo, who takes on the title role, and tells the story of the first Black U.S. Marshal, Bass Reeves.
The show also stars Donald Sutherland, Dennis Quaid, Lauren E. Banks and Demi Singleton.
In this week's episode, co-host Bruce Miller has interviews with showrunner Chad Feehan and Damian Marcano, one of the directors.
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About the show
Streamed & Screened is a podcast about movies and TV hosted by Bruce Miller, a longtime entertainment reporter who is now the editor of the Sioux City Journal in Iowa and Terry Lipshetz, a senior producer for Lee Enterprises based in Madison, Wisconsin.
Note: The following transcript was created by Headliner and may contain misspellings and other inaccuracies as it was generated automatically:
Terry Lipshetz: Welcome, everyone, to another episode of Streamed & Screened, an entertainment podcasts about movies and TV from Lee Enterprises, I'm Terry Lipshetz, a senior producer at Lee and co-host of the program. Bruce Miller, editor of the Sioux City Journal and a longtime entertainment reporter. Well, howdy, partner. I reckon we have a show set in the wild, Wild West we're going to be talking about this week.
Bruce Miller: I'm, fixing to come in here anytime now. And can you put me two fingers of whiskey on the counter? And we should be fine.
Terry Lipshetz: I got my can of beans heating.
Bruce Miller: Up over the open flame now. It sounds like Blazing Saddles. I think we've done.
Terry Lipshetz: We have, yeah. All right.
Bruce Miller: Yeah.
'Lawmen: Bass Reeves' is an epic miniseries
Bruce Miller: It's Western week because there's this huge miniseries, and I'm not kidding you, it is, a grand effort called Lawmen, M-E-N Bass Reeves. So you go lawmen. There's only one. What's the deal? And what this is hopefully going to be is a series of profiles of various and sundry law men over the course of time. But Bass Reeves was a kind of a passion of David O. Yellowo, the star of the limited series. And he had always wanted to do this story because he thought it was so rare. He's the first black deputy US. Marshal west of the you, know, is there one east of the Mississippi? I have no. But it's a fascinating look at this man and his standards. It really is a lot know, what he does is what he thinks is right, and right becomes the driving force behind all of this. And you see Bass in a lot of situations. It is epic. An epic, epic limited, series. There are huge battle scenes. There are huge kind of roundups. There's a lot of violence. I'm giving you that right away. There's a lot of violence in this thing. And there's a lot of intimate moments where you see him one on one with his family, with others, with people that used to be in charge of his life. And it's a fascinating look at a period that I really didn't realize I needed to know more of. I thought most of these stories were already told, but Bass Reeves story is one that's been out there for years that people have wanted to do, but nobody has gotten the ability to do it. And what we learned is that it took, you know, when you've got somebody behind Yellowstone, saying, yeah, I think we should do this, they suddenly pop too, and decide that they're going to do it, too.
People were wrongly saying that this was another 'Yellowstone' series
Terry Lipshetz: Yeah. Now, I have a question for you about that, because I saw Taylor Sheridan is an executive producer, and I saw this show. It is coming to Paramount Plus. But this is not part of the Yellowstone universe. Correct.
Bruce Miller: No, there was talk, and I think you'll see when we play the interviews, that there is a connection or was a connection and they couldn't make it, the time frame was wrong. And so people were wrongly saying that this was another Yellowstone series. It's not okay. It has a vague time reference, kind of lap over with 1883, but that's as close as it comes. It's a standalone thing that just happens to come from that factory known as Taylor Sheridan, but his name is on it. He isn't necessarily the writer of this, he isn't necessarily the director of this, but he is an executive producer. So he's kind of a mentor that helps get this done.
Terry Lipshetz: So he's a cog in the wheels here. He's helping getting this thing going.
Bruce Miller: You know, he looked at all the scripts and, you know, he saw the film and he says, yeah, we should do this or we should do that. I think the most telling thing was they would throw out ideas and there was money for it. a lot of times when you do these big westerns, they're not cheap to do because there are so many other things that progress has gotten in the way of shooting a good Western these days. And so you either have to build the community or you have to find towns that were relatively untouched, so you could just cover up some of the things that are there. But, yeah, it was expensive film to make, and I think it shows when you look at it on the screen, you go, wow, this isn't just we're not closing in on two people and looking very tightly at what's going on.
Terry Lipshetz: And there's some big names attached to this also. I saw this.
Bruce Miller: Yeah, there are big names that are kind of like, Sam Elliott. They're kind of the bait that'll get you in to look at this. But there's another story there that's much bigger than what their stories are.
Terry Lipshetz: Sure. But it's also, with all of these, even though it's not a Yellowstone project, the one piece that all of those Yellowstone programs had or know, because they're still on is they have like, your Kevin Costner or Harrison Ford or somebody that has a name and is pulling you in. So there's definitely this isn't some no name project of people.
Bruce Miller: David Oyelowo, you may remember him from Selma. He played Martin Luther Jr. And, I put him in the same league as Chadwick Boseman, where he is somebody who can play just about everything, but doesn't always get the opportunity. And you can see why he would spend eight years trying to get this thing made, because it does tell a story that we, don't know, we haven't heard, and he gets a great acting part. Now, some of the things I would have protested, I would have said, do we need to do this? Do I need to be dragged through fire? And do I need to have somebody beat me up? And should we really have to mess with all those animals, but he wanted it to be as realistic as it could be. So he was willing to do just about anything to make sure that it came through to the audience. Because he doesn't think that it's a story about it isn't a historic story, necessarily, as much as it is story about a person's inner self and what they're really like.
Terry Lipshetz: Got it. I, saw the trailer even before you had mentioned that this was coming up and you had some interviews tied to just I was watching something and the trailer popped up for the show and I was like, whoa, I need to subscribe to Paramount Plus. Because, first of all, I've never seen any of the Yellowstone programs because it's just again, and we've talked about this with like Apple TV Plus and a few others where I'll just kind of come and go and pick my battles because I just can't have 35 different subscriptions. But I feel like between this program and then maybe going back and watching some of those Yellowstone programs, this is what's going to push me over the edge to finally subscribe.
Bruce Miller: Yellowstone is being run or rerun on CBS now, so you will be able to see those without having to pay extra. But this is definitely a Paramount Plus project and so I don't think we're going to see that slip over. So spend the bucks. Go for it.
Terry Lipshetz: Have you been able to watch any, did you get any screeners?
Bruce Miller: The first three of it? I saw the first three, yeah. And it sets up the story and you see how he gets his freedom and what he does with it and where he goes from there. And then they offer him this job, this job of being a deputy marshal. And then you see how he interacts with the Native Americans or the natives and how he can speak their languages. And, he becomes a very valuable asset to be able to find out what's going on in this part of the world.
Terry Lipshetz: How does this stack up with other kind of recent Westerns, either movies or TV shows that you've seen? Because I'm always fascinated by Westerns as a genre, especially. I'm not even talking about the old ones with John Wayne, but I'm m even talking about just the new ones because I feel like this planet, it's expanding so much that it's so hard now to film anything because you make a left, you make a right, and you're running into civilization. So does it feel like you're back out in the west?
Bruce Miller: Oh, most definitely, because it looks so great. The visuals are just spot on in all these places. You sense what they valued at that time. And what, matters is there's a scene in there where this one woman I don't want to detail too much of it for you because I don't want to spoil it, but she really wants a piano. and you can see how we've changed. And we don't realize what something which seems simple becomes this huge deal for them. So, yeah, there are many kind of flashpoint moments where you go, okay, I get it. What happened was Star Wars came in to play and started doing westerns. Basically, they're Westerns, right?
Terry Lipshetz: Space westerns.
Bruce Miller: So that's where they think we got to spend all of our time and our money is making more space epics. But really, do we need more of those? And I know you love them, so forgive me, but this is just a way of telling those same kinds of stories but in a different period. And maybe we're able to, approach some of their lessons a little better because we see that it's removed from us, but then you realize we're not that far away from what they're talking about.
Terry Lipshetz: I really feel like I'm definitely going to go ahead and watch this, because the genre, just in general, I love it. Deadwood on HBO was one of my favorite series of all time. and I did like that movie that came out a couple of years ago. It was about ten years after the TV series, and it sort of tied up the loose ends that they couldn't quite get to before the show went off the air. But this past summer, we made a trip out to the Badlands, and I did insist that we do a day trip to we were we went to downtown Deadwood, and we're checking out all the modernized old timey places that were named after characters on the show because griswold yeah.
Bruce Miller: Did you go to the graves and.
Terry Lipshetz: Look at all that or we went, and it was kind of interesting. the grave for Wild Bill Hickok and Calamity Jane, they're right next to each other, not too far into the main cemetery in town, which is up on a hill. So we had to drive up this really tall hill. But then I also want to see the grave for Seth Bullock, who is kind of the marshal of the town and kind of the first lawmen. And they're like, well, it's up around the corner. So we all start walking up the hill and it's like, not part of the cemetery, so it's like part of the old cemetery. So we're walking, walking, walking. And then this family is coming down and they're like, you going up to see Seth Bullock? And we're like, yeah, how bad is it? And they're laughing, it's not that bad. So my wife and one of my daughters kind of just sat down there and then my other daughter and we we trekked up to the top and saw it and caught our breath.
Bruce Miller: So the Von, traps worked up the mountain. Is that the deal you were I.
Terry Lipshetz: Did make it up to the top. It was a spectacular view of Deadwood from the top of that hill. But yeah, it was a bit of a hike to the top.
Bruce Miller: Did you go down then and gamble at Morningstar?
Terry Lipshetz: No, we had the kids and those places are all 18 plus. But it was fascinating. There was one place in town which did, a brothel tour, and you had to be 16 to go in.
Bruce Miller: So we sound like, I know this.
Terry Lipshetz: We didn't go in because my daughters are under 16 and just didn't feel as appropriate anyway. But, I found it fascinating because they had a sign outside the place. And the brothel was formed in 1870 something. And it didn't get shut down until 1980. 1980? Wow.
Bruce Miller: This is like the Bunny Ranch outside of Vegas.
Terry Lipshetz: Yes, exactly. Yeah.
Bruce Miller: It's amazing how they really are good at capturing a piece of time. When you go out to the Badlands, it's really OOH. Is this really what it was like? And yes, it was. And it's, the land that Time forgot. You can just go there and feel like you're back in the Old West.
Terry Lipshetz: It was fun. It was fun. It was a good time.
Chad Feehan is the showrunner behind ‘Bass Reeves’
Terry Lipshetz: So you had a couple interviews here. the first one up was, Chad Feehan. Right?
Bruce Miller: Chad is the writer, the showrunner, and the executive producer behind Bass Reeves. And he was the one who sat down with David and kind of picked his brain. And then they did the research on how are we going to tell this story? Is it going to be a movie? That was initially the thought is it be a movie, a standalone movie. And he is there throughout the whole run of this. And he got a chance to do things that maybe he has never done before. It's so big. He said he has never had a project that sweeping. Yeah. So, he's the showrunner, the person behind every episode of the film. And he was the one who helped David get this off the ground and find the point of all of it.
Bruce Miller: Well, what is it like not having David around during this kind of the selling of the show when it's his passion project, for God's sakes?
Chad Feehan: I am, the reluctant spokesman, because this is his show, and he's been pursuing it for eight years. And it truthfully breaks my heart that he's not here, with me, leading the charge, to communicate all of his passion for the story.
Bruce Miller: How did he involve you in that? Mean, I'm sure that Bass reads was not one that you would I've got to, I've got to write this. Until somebody sparked it in you right.
Chad Feehan: Yeah. I mean, I grew up in Texas. I grew up in Fort Worth, Texas. And I heard stories about Bass as a kid. but they were sort of this mythical Glenn Sling and lawman. And it did embed itself in my consciousness, so I was aware of it. and then Taylor, who I've orbited around for years, recommended me to David. And David invited me to dinner. And I anticipated that dinner lasting an hour, an hour and a half, and it lasted 4 hours. and first and foremost, we developed sort of an immediate kinship, that has developed into a very special friendship that I think will last for the rest of our lives. But we also gravitated toward the same things that we wanted to communicate to an audience the triumph of the human spirit, the universality of the human condition. and then he was able to educate me on where fact and fiction converged with separated from the reality of who Bass Reeves was as a man.
Bruce Miller: How much of it is factual? Is it 90%, 75%?
Chad Feehan: It's hard to answer with a percentage. what I would say is that there are these similar moments we know about Bass's life that we use as pillars for the foundation of our story. but it's impossible to know, for example, what he experienced right before or right after the moment he was sworn in as a Deputy US. Marshal. We have the transcript of him being sworn in, but we don't know what happened before and we don't know what happened after. So our job as storytellers, was to imagine and create the most compelling narrative that we could.
Bruce Miller: How difficult was it to conjure this world? Is it difficult? Or do you just get outside and you start thinking, this must be what it's like? Or how do you handle that?
Chad Feehan: I had, the benefit of having grown up where I grew up, so the language was easier for me to wrap my head around. we had this great source material that provided an, excellent launching pad. And then I had amazing collaborators, wide array of voices, from a wide array of backgrounds, writers, to, I mean, Wyn Thomas, our production designer, that really educated me on the things I didn't know and didn't understand and helped guide me through that process.
Bruce Miller: So does David ever say no, I'm not doing that. Does he have that kind, of I can put up a barrier here because I know more about this. This is mine.
Chad Feehan: That is, antithetical to who David Oyelowo is. if I could use one word to embody him, it would be grace. so he's incredibly giving, graceful, compassionate. If there was something that he was unsure about, it would always be a conversation. And he would never say, no, I can't do that.
Bruce Miller: He would say, you put him through a lot of stuff.
Chad Feehan: Yeah. His commitment to his craft is incredible.
Bruce Miller: Yeah. then, ah, being as broad as this is, I did not believe that you could have all those animals, truthfully, the buffalo, all that stuff. Do you say, I want this, and then it just happens? Or how do you make sure that it's that big that kind of lavish.
Chad Feehan: I was shocked. This is by far the biggest thing I've ever done and the hardest production I've ever been through. But I would ask the opening Civil War battle, I'd be like, Are you sure I can write this? And to Paramount and 100 and one's credit, the answer was always yes. we'll find a way, we'll figure it out. Write the best story you can write. and I've shied away from that earlier on in my career, and I'm glad that I asked the questions and was given the authority to chase those epic.
Bruce Miller: As a writer, that must be really, a, disconnect, because you're used to them having somebody saying, rein it in a little bit. We can't be spending this much money, and this looks like the sky's the limit.
Chad Feehan: Yeah. Paramount 101. Very gracious, Taylor. That's the power of Taylor Sheridan. As, know, we didn't get every single thing. We know nothing in life works that way. but we got the majority of what we wanted, and the support that we had, was incredible.
Bruce Miller: When it's labeled lawmen, that suggests that there are more have you already started thinking about the more and what that would be?
Chad Feehan: I have a few different, historical figures that I'm interested in that I think are worthy of following in the footsteps of Bass Reeves. I don't know who it will be, and I'm not, going to speculate on who it will be, because we have to talk to the studio and the network. but I'm excited about the prospect of doing another, because this does fall.
Bruce Miller: During the same time period as 1883, would there ever have been any kind of crossover or connection or not?
Chad Feehan: Yeah, we briefly talked about it, and then when I sort of figured out that our story took place from roughly 1862 to 1877, and then also with the knowledge that Bass Reeves operated primarily in Indian territory, it didn't seem, organic to try to make that connection. But we had those conversations, and I was given the opportunity to make that connection if it serviced the story.
Bruce Miller: So how does Bass change you personally as a writer?
Chad Feehan: I was just talking about, know, the thing about the universality of the human condition was the thing that I wanted to really, really communicate to our audience. And it's something that I've intellectualized for a very long time, but now I feel like it's become part of my DNA based on the experience of I've made this show, and I hope to continue that in future, endeavors that I pursue.
Bruce Miller: Ah, that's so great. Well, thank you so much, and thank you. Congratulations. And when you see David, tell him congratulations.
Chad Feehan: I will. Thank you so much.
Damian Marcano directs three episodes of ‘Bass Reeves’
Terry Lipshetz: All right, Bruce, thanks for that interview. And then you had one other with, Damian Marcano, and here's the deal with that.
Bruce Miller: Is that they had to have more than one director for these because they were shooting and you'll hear this, they were shooting episodes simultaneously. So in the morning they would do one episode, in the afternoon they'd do another. So the first three episodes are directed by one person. And then Damian took over four, five, and, there are eight altogether. And, you'll see that it was just a lot of work. And he was not familiar with the Western world either. He calls himself a Rasta director because he's not from Texas. He doesn't have that shorthand that the others might have. But he also know everything is just so fast paced. And so who knows what based on the weather. You have to be willing to adapt very quickly.
Bruce Miller: What is this like to be part of somebody's passion project? Is that hard to kind of fit in there, or how do you view it?
Damian Marcano: No, man. Easy for me to fit in everywhere. I'm a roster man. So, we always find our beat in the whole thing, man.
Bruce Miller: Do you talk with David? And now what do you want to do with this? What are you looking to do? And what do you want people to learn from this?
Damian Marcano: well, my style of directing is let's go do it and get it wrong. So I never ask questions ahead of time. I just say, let's just go. and then some way and somewhere through because even the actor who is so well rehearsed at this point, it is something when you're actually doing it against your scene partner. And then your scene partner might give you a new little ingredient. And then that's when the discussions happen on set. So we may have locked into a master or a way that we like this set, or a way that we're finding our way into this part of the story. and then once we do that, we say, well, okay, now it's time to sort of make the music right? And for know, the music is the silence in between the notes. and when you work with someone as far as David, and you also put the supporting cast around David, as they have brilliantly done in this show, it just gets scene after scene that you're like, can it get better?
Bruce Miller: But you're also dealing with some, real variables, like animals. How do you plan for that?
Damian Marcano: You don't. yeah, animals are easy. The weather is the tough part.
Bruce Miller: Weather.
Damian Marcano: Yeah. We have probably some of the best animal handlers that I haven't had to work with this many animals in my career. Right. So I think this definitely makes them the best. I remember seeing everything from a camel, to a lynx cat that was brought in for one of my episodes. yeah, if the script called for it, we went out, we found it. but like I said, there was the Texas of it. So being there for my portion of this show, which was five and a half to six months, just to film three episodes, that's to tell you the detail, that we went in multiple visits to every location. I mean, we rebuilt a city at one point, and still Texas would still say, not today. I'm going to give you some golf ball sized hail today. Tomorrow there's going to be an actual tornado. and maybe you can shoot that on Thursday. So, you had to lean into your optimistic side on this shoot to figure out on days, and that's with very much respect to our Ad department, they would sort of have to go on the fly. Like, call sheet would be sent out the night before, this is what we're shooting. Not anymore. and that was sort of the only way we got through this. The nice thing about it, however, through it all, you get to watch these brilliant dailies that you work on from time to time, and you say, you know what? I got it. Because if this all comes and cuts together, well, we got something, because we have some pretty special people here, and we have done a great job of capturing it.
Bruce Miller: When you get three episodes in a row, it must be like doing a, large film, right?
Damian Marcano: It is.
Bruce Miller: So then what do you do with the first three? Do you talk to Christina and say, okay, what are you planning here?
Damian Marcano: So that I well, we were shooting them simultaneously. so it's really hard on our talent, because in the morning, David is playing one version of Bass, and in the afternoon, it might be twelve years later. All right? So that is the difficulty of it. That is why so much credit has to be given to the Ad department, because those are our eyes and ears, right? They tell us what we can, and they have way much more of a finger on what each department is prepared for and what they can actually do that meets the level of quality that we've been mailing in. So this was a six month affair of just non stop shooting. and we would shoot what we could, when we could. sometimes it was based on the location being ready. Had we built the location, if this called for, the bywater store out in the middle of nowhere, had we built the bywater store in the middle of nowhere, and Wynn Thomas, our production designer, there were just so many talented people that I could look around and see that we had on this project.
Bruce Miller: The sets look like actual buildings. They look like ones that you would see in a historic setting.
Damian Marcano: They were this was not the example of going over to one of our large studios, that we have in town and saying, oh, you see that backdrop, sort of like the older version of the Western, right, where just the front of the facade was sort of painted. No. There was a set that we had in Strawn, Texas, in which we obviously could not get rid of Strawn's Bank, and the actual bank was there. So we built our set on their main intersection. I remember a day I was there location scouting and just talking with my DPS to how we do something. And an actual person from Strawn, Texas, had just walked out from cashing her check. And she stopped and looked at us, and then we stopped and looked at her, and we're here's. And it was just everything. It was everything colliding. It was, here she is in this small town, and Hollywood's coming town, but on top of that, here we are, making this thing back to its glory. Know?
Bruce Miller: Wow. Were you familiar with Bass Reeves?
Damian Marcano: Not before doing the project. I couldn't tell you who Bass Reeves was before I did this. I fell in love with a script about a man that was one of the only black men with a gun and a badge at the time. And just the oddities of doing that job while following some type of creed, some kind of mantra, whatever you will, as to how he just wouldn't stop doing that job, and his faith, what he thought, how it would affect his family. All of those things for me, were just like, okay, history is usually depicted from this wide lens way back. We say something happened to a group of people, something happened to another group, and this group was bad. This group, this was like 4D history. So this was like, this actually happened and this is how it happened. And there's no definite answer. So you, as, the viewer in 2023, can make your own mind up.
Bruce Miller: That's a great way of viewing it then. Are there more after this run? How far do we get his life?
Damian Marcano: well, I do know this first season of Lawmen is anthology series, so I think the other iterations will cover other, does. I'm not sure I couldn't tell you the specificity of how many years this is in Bass's life, but I do know Chad and the team tried to encompass as much of the story as you could know. Essentially, we've made, ah, eight hour film here that we're just cutting up, into episodics.
Bruce Miller: Well, it looks like a million bucks, so Westerns must be you. I think they're your thing.
Damian Marcano: I would have never thought that growing up, man. But they have become pretty special to me. And I am seriously I don't know, I'm having like this weird missing feeling of Texas, man, because as a creative, it was just really nice to be able we do so much stage work and all the stuff's great, and all our production designers are great, but it was just something to see your entire film. Crew kind of be like childlike again. And we were just all with our boots on out in those fields and Random Cow was doing something over there. And I don't know, it was just a bunch of kids that came together to play.
Bruce Miller: Again, thank you so much. It's great.
Damian Marcano: Thank you.
Bruce Miller: Have a good one.
Chad Feehan: You too.
Damian Marcano: Thanks for the time.
Terry Lipshetz: All right, Bruce, thank you for those two great interviews. As I said, it sounds like a real fascinating program and something that is going to probably push me over the edge to get Paramount.
Bruce Miller: Plus now, November 5, mark it on your calendar that's when they start. You'll get episodes the first night and then it will spill out beyond that.
Terry Lipshetz: Excellent. Excellent.
Movies need two weeks of theater exposure before they're considered Oscar potential
Terry Lipshetz: So what do we have on tap next week?
Bruce Miller: Oh, we're starting to get into that Oscar season now. All those kind of films that you start kicking yourself and saying, how come they have them all, all those good ones right at once. Well, they're starting you're going to start seeing the Oscar beta, as I like to refer to it. The Holdovers had a sneak last night or this last weekend, and it'll be coming out in November. And that's the one with Paul Giamatti, directed by Alexander Payne and set in the 1970s. And we'll talk about that. NIAD is the story of Diana Nayad and how she tried to swim 100 and some miles off Florida from Cuba, right?
Terry Lipshetz: It was Cuba to Florida.
Bruce Miller: And that's coming up. So there are a whole bunch of these ones that are just lining up, waiting to get into theaters. They have to have two weeks of theater exposure before they can be considered an Oscar potential film. They changed the rules this year so that it wasn't just that's on streaming. It's okay. They need to have this window of opportunity that they're in theaters before they can be officially considered, a candidate for the Academy Awards. So, as a result, they're getting a little better at showcasing them in theaters before the end of the year. in years past, it was usually Los Angeles and New York, and they had a week there or something. Now the rest of the world is actually getting to see these films before January, February, March, whatever it might be.
Terry Lipshetz: Yeah, I was going to say because there was a period of time where it was almost like you would come out and it would be, as you said, New York, La. And you might get a couple of these art house theaters around that might get it over a course of a weekend, a long weekend, and then they'd be gone until you maybe caught it on, a red box or streaming or something.
Bruce Miller: Now everybody gets a chance to kind of play the Oscar game where we all can see those films that you always go, what was that one? And now we get an opportunity to.
Terry Lipshetz: See know, I feel like if you want to be considered for an Oscar, you have to be in a movie theater for the masses for at least a period of time, as you said. Is it two weeks? If that's the bare minimum, I think that's fine. You got to be able to get out there. You got to go into theaters. You got to allow for people to go in and see you on that giant screen with the giant bucket of popcorn just because it doesn't feel right otherwise.
Bruce Miller: Well, I think when you watch it on TV, it does diminish it right. As big as your screen might be at home, it's not the same. And if you can hold an audience on a theater, screen, then that must say something about your film. But when it's reduced to the size of a TV set, I don't know if it's there, but did you get to Killers of the Flower Moon?
Terry Lipshetz: Not Harry.
Bruce Miller: That's one of the ones we've got to see, because I know it's figuring in the, I've already started to make lists of who could possibly be nominated for each of the categories.
Terry Lipshetz: Okay.
Bruce Miller: That figures in a lot.
Terry Lipshetz: Okay. Yeah, I got to get there. It's gotten a lot tougher of late just because the kids activities ah. Have increased. I'm coaching basketball again.
Bruce Miller: Don't blame the kids for this. This is not their problem. This is your problem.
Terry Lipshetz: It is. I'm just deflecting you put that down.
Bruce Miller: On your list that you're going to go see the, Killers to the Flower Moon, and you're going to subscribe to Paramount plus I am.
Bruce: How big exactly is your TV?Bruce: 60 inches
Terry Lipshetz: Bruce, one other thing before we depart here. We've never had this conversation before, and it is a little bit personal, but how big exactly is your TV?
Bruce Miller: It's not that big. No, it's not big. It's 60 inches.
Terry Lipshetz: 60? That's it? Yeah, I'm 65.
Bruce Miller: Oh, well, see, I'm used to watching most things on a laptop. That's how they send it. You can't always transfer, it to your TV set.
Terry Lipshetz: All you need is that HTM. I need to be your technical support. Bruce, I will come to your house because I can get it from your computer on your laptop onto running on you. Okay.
Bruce Miller: The door is open. I will bring snacks. We'll be good. You can watch anything you want to see because I think I probably have it around the house somewhere.
Terry Lipshetz: On that note, thank you again for listening to this week's episode, and we will see you again next week on another episode of streamed and screened.
Bruce Miller: So long, partner. Bye.