The Bride Movie Review: 3 Lessons on Character Choices and Story Structure | Kinolime Podcast Ep 42
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Show Notes
The Kinolime podcast episode featured a discussion between hosts John Schramm and Danny Murray about the film The Bride! and why it struggled both critically and commercially despite its ambitious creative vision and high-profile cast. The hosts reviewed the disappointing box office numbers, weak audience reception, and mixed critic scores while acknowledging the film’s impressive production design, performances, and willingness to take creative risks. They framed the movie as an example of Hollywood attempting an original, large-scale artistic swing that ultimately failed to fully connect with audiences.
The hosts then analyzed the screenplay structure itself, emphasizing that the film’s biggest weakness was the absence of strong character goals and plot momentum. They argued that Frankenstein’s desire for a bride never felt emotionally convincing and that, after the bride is revived, the characters mostly wander and react to situations rather than actively pursuing meaningful objectives. This led into several screenwriting lessons for viewers, including the importance of giving characters a strong “want,” ensuring that scenes connect through cause and effect, and making sure characters actively make choices that drive the narrative forward.
Another major criticism involved the film’s overabundance of side characters and subplots. The hosts felt that many supporting characters—including detectives, scientists, and criminal figures—added confusion without meaningfully contributing to the story. They argued that the screenplay would have been stronger if it focused more tightly on the evolving relationship between Frankenstein and the Bride, particularly themes of loneliness, objectification, identity, and emotional transformation. Despite their frustrations, they repeatedly acknowledged that many individual scenes and performances were visually compelling and emotionally effective.
The episode concluded with a broader discussion about original filmmaking in Hollywood and the difficulty of balancing artistic vision with studio expectations and audience feedback. The hosts praised the movie for attempting something original instead of relying entirely on sequels or franchises, while also speculating that excessive test-screening notes and competing creative ideas may have diluted the film’s original vision. They encouraged aspiring writers to study both the film’s successes and failures as valuable screenwriting lessons and invited viewers to share their own ideas for how they would “fix” The Bride!.
Key Takeaways:
- major focus of the conversation centered on the film’s tonal inconsistency and lack of narrative cohesion. The hosts described the movie as a “mosaic of madness” filled with interesting scenes and striking visuals that never fully came together into a coherent story. They compared it to films like *Megalopolis* and discussed how the movie seemed unsure whether it wanted to be a feminist Frankenstein story, a horror film, a romance, or an experimental art piece. While they appreciated the ambition, they argued that the screenplay lacked a clear identity and emotional throughline.
Full Transcript
[00:00]
So I think the big thing that we can say to y'all watching right now is from the screenplay
[00:04]
perspective, give your main character a want. That's the plot engine and I felt where this started
[00:10]
to peter out for me. It's always so awkward when we always get to start a camera too but hey
[00:24]
welcome to the Kino Line podcast. I'm John Schram here at Kino Line. Bring me in. Jack, I'm
[00:31]
pointing. Go ahead do it. Say it. Now, are you doing it? Say your name. I'm not doing it man.
[00:35]
Jack, I'm pointing. Go ahead do it. Say it. Now, are you doing it? Say your name. I'm not doing it
[00:39]
man. It's Deemory. Deemory here at Kino Line. Welcome. We have an amazing show today. We're here to
[00:44]
talk about the bride exclamation point. The bride had the streak of warners. I think was it nine
[00:51]
in a row, ten in a row? Almost everything since what Mickey 17 maybe probably had been a number one
[00:58]
number one hit for WB making big money. Yeah, everything had been great. Pretty bleak numbers though.
[01:06]
It's against the number. I think I was 18.9 maybe worldwide. I think domestically it was
[01:13]
seven or eight. It was quite low. Super low. Yeah. So that doesn't, I mean again,
[01:20]
Christian Bale, Jesse Buckley is going to maybe when they ask her, is it this Sunday? Yeah, man,
[01:24]
it's coming up. All right. So we're next whenever it is. It's coming up soon, but she may win. I mean,
[01:30]
Jake, Jill and Hall, you have Finelpy Cruz. Jill and Hall's husband Peter Sarsgard is in it.
[01:37]
So great casts, but it didn't really hit the mark and then we went through the IMDB numbers,
[01:43]
which was I think it's a 6.0 as we stand now. The Metacritic scores, 55, the cinema exit scores,
[01:52]
C plus. I mean, just overall, besides the high art of it, audiences were not really loving it,
[01:58]
nor really critics. No, it's the type of movie that I, in a lot of ways, while I was watching it,
[02:05]
a part of me, it felt like I was watching Megalopolis again, where I'm like, I just love that every
[02:11]
single big, you know, maximalist attempt that can be made in a movie is being made. Yeah. And none of
[02:17]
it's really working. I don't really know what it's trying to, it seems like it really has something
[02:22]
to say. I am unsure what that is, which we'll kind of get into, but we'll talk. So Warner Brothers
[02:27]
Street has ended with this now. I mean, talk, let's talk about the Warner Brothers side of it all.
[02:32]
Well, you know, in a lot of ways, I hope this is not with, you know, Paramount taking over,
[02:38]
the Ellison's taking over. I hope this is not like the last tarot of like a massive swing,
[02:44]
because if you really contextualize what this is, this movie, it's the exact type of movie that Hollywood
[02:50]
doesn't want to make and is a textbook for why, but it's a type of movie that really should be made.
[02:55]
Should be made and we should celebrate why it got made. It's here in New York, 500 businesses,
[03:00]
I was read that were involved, like tax credits, it was, you know, filmed here in the state. Yeah.
[03:05]
I mean, this is a original film. Right? Like, come on. Yeah. This is like what we should be doing.
[03:10]
Exactly. And it's not even just like the great, the great surplus of all that, but just,
[03:14]
just creatively as well as, again, this is why, uh, uh, at Pam Abdeon, Mike Deluca almost got fired,
[03:22]
at least that was like the rumblings and like Zazlov's camp before centers, because this is the type
[03:27]
of stuff they were doing. They were giving a filmmaker who, you know, it's a great actor,
[03:31]
a smag of Joan Hall, but she had made one movie that was like really critically claimed during
[03:35]
COVID made for a few million bucks. Let's give you 80 million to make your feminist rendition of like
[03:42]
Mary Shelley in a crazy original take on Frankenstein with big musical numbers and just really do
[03:50]
whatever you want and let's see if it works. We see this all the time though. It's like the ideas
[03:56]
are there. Yeah. Right? But it's like, it's so hard to wrap them together to a cohesive story
[04:03]
or a film that works. Right? Like, we love like, I'm sure I didn't see the second Joker. Right? But
[04:09]
sure. Huge swing, right? Like a musical like, yeah. Folly of the, it's just totally didn't work.
[04:14]
Didn't work. So the big ideas, you know, big ideas here and we'll kind of get into the story of
[04:20]
why it didn't work. But D, what stood out to you as like the main issue in the bride?
[04:28]
That's the issue. At least to me, I kept watching, trying to figure out like, what's really the tone
[04:34]
of this? What is it trying to say? And like, where does any one scene really connect to the next?
[04:42]
I couldn't tell if it was trying to be natural born killers. If it was trying to be Bonnie and Clyde,
[04:48]
if it was trying to be like a Frankenstein movie I've seen before, it just kind of felt
[04:57]
so all over the place. And like, I truly, like, did not know what was ever going to come out of
[05:03]
anyone's mouth. What the next scene would be. And that sounds like really exciting. But, you know,
[05:10]
I think that's good for two hours of that. If there's really, again, kind of like what happened in
[05:15]
Megalopolis. Like, if there's two hours of just how can I explode every idea I have without
[05:20]
really grounding it in characters, it does after a while just feel like you are watching a mosaic
[05:28]
of madness. Yeah. And what was that? A mosaic of madness. That's like a mosaic of madness. Yeah,
[05:34]
maybe a man named. Yeah, it's worth watching. I think this movie's worth watching just for
[05:43]
not just like the name mosaic of madness. Yeah, that could be a band. Yeah, that should have been
[05:50]
the name of the moon. That's very shallow. He's mosaic of madness. I'm gonna write that down. Mosaic of
[05:55]
madness. Look at you. Look at that, man. What a fantastic. Was there like while you're watching it,
[06:00]
like any sort of kind of thread? Well, I'm gonna talk macro for a second. So I think the problem
[06:07]
with the bride on a larger scale is you're doing period horror. Yeah. Which is incredibly tough,
[06:13]
but also incredibly awesome. Yeah. Right. So like Nostra too comes to an example of a film that
[06:18]
does it well, right? Sans a star. There's no real big Hollywood actor or actress. It's like, you know,
[06:26]
gonna people are gonna love rush to see, but it just did it well and you deliver on that expectation.
[06:31]
I think with the bride, when I first saw the original trailer, I somebody was telling me in LA,
[06:36]
like, oh my god, I can't wait for the bride. I'm just like, I saw the trailer. Again, I just like,
[06:41]
hmm, nothing really like grabbed me. So I'm like, obviously seeing the film,
[06:46]
they doesn't deliver really on the premise or not. That should say the premise of like,
[06:50]
you're thinking it's maybe period horror, but is it a unique spin on Frankenstein? But we're kind
[06:55]
of Frankenstein down. And so I think from the outside looking in, that is the biggest issue with
[07:02]
the bride. It's like, you're going like, who are you making this movie for? Yeah. Is it like young,
[07:08]
feminist, you know, liberal moviegoers? Is it the like hardcore horror fans? Like, I don't know. And
[07:14]
you shouldn't make a movie for an audience space. But I think if you're like, why so low in the box
[07:20]
office? You look, I mean, it's Christian Bell star fading. And he just, spuckly, is like, just
[07:25]
starting her career, right? In terms of being like a name in the household. Yeah. So that was my
[07:31]
biggest issue from the get goes like, well, what is this thing? This mosaic. Yeah. Which is fine. But
[07:38]
it like didn't, if you're going to have many things, like period horror, like do one of them well,
[07:45]
like punch through one of them. And I don't think it did that at all. And I think it also kind of
[07:50]
highlighted as I was watching kind of what you're saying, like, how hard it can actually be to
[07:55]
execute like whatever elevated horror means. I know like I and most people hate saying that. And
[08:02]
it's not really horror. But just like elevated peat like what again, what is this? Like, I don't
[08:08]
know what this thing is. It's a Frankenstein monster of ideas. Oh my god. Look at that. That's your
[08:13]
mosaic of madness right there, man. Yeah. But you're right. And I think this is the problem I have
[08:19]
with with current Hollywood is that you have the set production designer, I think from
[08:27]
some big movie that I'm not remembering. Anyway, the production designer is like Oscar nominate.
[08:32]
You have the DP from Joker. You have Maggie had every, you know, head of department that you
[08:39]
could imagine, like the dream team of, you know, costume design, maybe it's costume design I'm thinking
[08:44]
of, but regardless, like you had the best of the best. And if you don't have a story,
[08:50]
yeah, your movie comes out to be the bride. Like I'm sorry to say, like I'm not trying to poop on
[08:55]
Maggie. You're amazing. But that's the issue. There's no story here. And like we're going to get
[09:01]
into this right now because I think that's to me the issue. You had every, every ingredient to make
[09:06]
a fantastic film. Like, you know, and what happened? Just there's nothing on the page. Like,
[09:12]
from the get go. But let's talk about let's talk about the story part of it. What from a screenplay
[09:17]
perspective? Did you find this either like did well, didn't do well? Yeah, I guess for me the the
[09:25]
thing that was the most frustrating for me was like this. There was maybe like five or six of them.
[09:32]
They were concentrated in the kind of like two or three separate B stories. But this kind of
[09:38]
supporting cast that is just following a step behind R2 heroes. Bumbling cops. It was like the
[09:46]
Bumbling cops, the mad scientist, the other Bumbling cop that like I'm kind of still unsure. Like
[09:54]
he gave like this kind of a lot of. Yeah, it slept with her and the crime family.
[10:05]
Like there's a whole thing. I mean, he's the guy in the head and then that's it. Jake
[10:10]
Jill and Hall that there's like this Rags tag group of guys. The problem. Well, yeah, exactly.
[10:15]
There's Rags tag group of guys behind them that essentially for the most part are just serving to
[10:21]
kind of tell us what we just saw. Yeah. I never really felt like even up to the climax without
[10:27]
any spoilers here. Like I never really felt like the conflict for many of those characters really
[10:32]
reared to a head or really impacted the story of these characters in any meaningful way. And
[10:38]
you mentioned before about the guys. Like that's another thing. Like were there any good guys like
[10:43]
males in the film? I found that to be another dig which will kind of get into the sort of the
[10:48]
messaging of it all. Like in terms of male characters, they all seem to be like shady or this or that.
[10:53]
But well, everyone's shady. Is there a single character that's not shady in this movie?
[10:58]
Well, I think the female scientist was pretty, was it an upending? She was great.
[11:03]
She was really shady. What do you mean? You thought she was, what was she doing? She, she dug up a
[11:08]
dead lady's corpse to revive her to be a sex slave for Frankenstein. But do you think he,
[11:12]
well, but did she, did she believe he wanted to be as she was someone low-man? Yeah, he said, he said,
[11:17]
I need someone that would be my brother. No, yeah, everyone was horrible. Okay, so I'll take that
[11:22]
everybody was shady. Yeah, everyone was shady and I think that's fine, but like, again, like
[11:28]
there didn't really feel like any except maybe Penelope Cruz's character. She was shady. Yeah.
[11:34]
But again, like that character again, it was like, it almost felt like she was a sleeper
[11:39]
cell waiting to be activated where like everyone's discrediting her because it's 1930s Chicago and she's
[11:45]
a female detective. And then this guy's like, I can't do it anymore. Take my blood. So, and that's
[11:50]
another yeah, exactly, exactly. I know, which is then she's like, I'm the detective, but yeah, I'm
[11:54]
the detective now. Check out my badge. It's interesting too because like, who is the main character also,
[11:59]
right? Like it is the bride, but yeah, it's through Frankenstein's POV early on. And then he kind of
[12:04]
like, so I think the big thing that we can say to y'all watching right now is from the screenplay
[12:09]
perspective, give your main character a want. That's the plot engine. And I felt where this started to
[12:15]
peter out for me was, want to really buy Frankenstein's want to have a bride in because he was lonely.
[12:25]
Like I didn't buy it. And I think like I didn't have the I didn't buy that in early on. So like,
[12:30]
Fon, you can tell me you're lonely, but you're watching movies by yourself, but like I didn't really buy
[12:35]
that. But besides that, after we can get past and she's revived, like what is the want? What are we,
[12:40]
what are we going for? What is the plot engine of your movie? Like, and it doesn't have to be like,
[12:45]
we got to save the day or we got to rob the bank, but like they need to be moving towards something,
[12:48]
right? Bonnie and Clyde or we're moving towards something in, you know, the Warren Beatty film.
[12:53]
This they were just kind of like, I were just going to go to the club and dance and then we're
[12:58]
going to like smash some skulls and then we go on the wrong. It just felt like there wasn't a
[13:02]
drive. Like what did the bride really want? Yeah, I felt like, I guess to answer that,
[13:09]
the parts of the movie that really stuck with me and I found pretty striking. What were the scenes
[13:15]
where it was, you know, the bride and Frankie, Frank and Sin, you know, trying to kind of figure out
[13:22]
like who they are now. And that was okay. I found all of that stuff really great. And then again,
[13:28]
like for the most part, I think all of those great scenes, the conflict would arise from, you know,
[13:36]
like a man trying to sexually, for the most part, like sexually assault the bride, right? And the
[13:43]
entire movie is her being essentially objectified and thrown away. Sure. And then, you know, like
[13:51]
that is what this character, like this Christian Bale Frank and Sin character, that's what he wanted
[13:56]
from her. And I do think that there's a really kind of love to met the end. Well, there's a really
[14:01]
fascinating story in there. And I feel like without the Mary Shelley kind of flashbacks, kind of
[14:07]
knots and without all these side characters, I think you could have a really amazing story about
[14:12]
like this monster who like, again, wanted to make another one to use kind of seeing, like a horrible
[14:20]
conflict that comes from people using her. And then actually kind of by the end, like their
[14:28]
their relationship together was like really complex and beautiful. And then we just kept cutting
[14:32]
all these people I didn't care about talking about these things I already saw. Screenwriting tip
[14:38]
number to this. Screenwriting tip number two for the show being cut back your unnecessary subplotting
[14:43]
characters, right? Like that we can agree on. If you were to strip back this to its core, like what
[14:49]
are you trying to say? Like Maggie, what are you trying to say in the screenplay? You know, and then
[14:53]
you can build that out, but that comes from a drive in a one of the characters, like put the two
[14:57]
characters together and then let the magic happen. But having all these extra things, you know,
[15:02]
happen, like again, we bring up the Jake Gyllenhaal of it all, right? Like this Fred Astaire
[15:08]
character that Bale's kind of in love with or, but like for what? Like they go see him and then he
[15:14]
like has a little freak out dance and then it's it. They like shoot up the place and then they
[15:19]
kind of bounce and that's it. There's like, he's done. That to me was actually like the only
[15:24]
side character I found gripping, which is like that guy, at least to me, it was like that's what
[15:30]
Frank, you know, Frankie, like that, like watching this kind of screen allows him to feel human.
[15:37]
It's like that's me. I guess, but then like it doesn't go anywhere. Like it's that's why my point is
[15:41]
like, you can put it in, but like follow it through, you know, because it kind of like you dips out,
[15:47]
like I think halfway through the movie. Yeah, it was also extraordinarily convenient in so many ways.
[15:54]
But yeah, I agree. Again, like what you were saying, I feel like there was a big lack of
[16:00]
you know, like what is our actual want in goals and what journey are we do we want to go on? Yeah.
[16:05]
And if you had that and maybe if it was leading towards I want to be in a movie, I want to meet him.
[16:12]
Something. Yeah, like it was obsessive. Like I just, I don't know why there's a movie that'll come
[16:18]
to me about it's like, you know, it's a road trip movie. At the end of the day, they want to get
[16:22]
somewhere and do get to the thing that eventually like maybe disheartens them. But with this, you know,
[16:29]
I've a test that I do is I'll take a screenplay, right? For example, and if I'm,
[16:34]
I'll flip to any random page and I'll stop it like 71. And I like, after reading it, if I don't
[16:40]
care about the character, not just care about like having a question resolved, like will they get
[16:45]
to the thing? Will they find the thing? Will they accomplish a thing? Will they solve the answer
[16:50]
of the thing? If I don't see that on any like random page, then if I don't feel it, then like I
[16:55]
know the script's not working. And I did that for the bride. Like there was a minute mark. I'm like,
[17:00]
do I care here? I really, I just didn't care. I don't know what she was really going after
[17:05]
towards the third act. Like what was it? Do you know what I'm trying to say? Like, I didn't care.
[17:09]
It was like all these characters. She was dope. Just like, just like, it was great.
[17:12]
I was like, routine like the costume design, amazing performance. I just didn't give a shit.
[17:19]
Like at all. And I wanted to. Yeah. It felt like we were waiting to find out what
[17:26]
what this story was about. Yeah. Like then it ended. Yeah. Yeah. Yeah. I just didn't like your
[17:32]
third act, right? Should be with the culmination of everything that you're a character from an
[17:37]
external and an internal come to a head, right? What their growth has been throughout the film is
[17:43]
going to be tested. I don't know why. Like that's coming to me is sent of a woman. For some reasons,
[17:50]
keep popping in my head for this talk. It's because probably because it's a two-hander. And the
[17:54]
Crystal Donald character who has the boarding school back story. And then it culminates at the end
[18:02]
and everything that he's learned from Al Pacino has been tested in this great like courtroom drama
[18:07]
and how Pacino's growth is tested. And he sticks up for him. Just wonderful. It's like a wonderful
[18:12]
climax. And different tone I get up here. Like I don't know what we're building towards. Like what
[18:17]
are we saying? Like again, your third act should mirror what are you trying to say? Right? In
[18:21]
sent of a woman, he's trying to be like about ethics and morals and blah, blah, blah, blah. What is
[18:26]
Maggie Jellin-Holst saying at the end of this when she gets spoiled or shot in the laboratory?
[18:31]
Like what is it about? We went on the journey for what? She's like, I love Frankie and that's it.
[18:37]
Not really. What does she say? Yeah, I mean, I'm like, that's a tough thing for me. And like that's
[18:44]
again, it just suffers from Megalopolis Syndrome. We're like, if you just showed me an individual scene
[18:50]
from this movie, if you just put every scene in like you shoveled every scene and threw me one,
[18:55]
I'd probably like, that's awesome. Beautifully shot, framed. Maggie took great detail for every
[19:01]
shot was pristine. And everything. There are really cool, again, there's what this is and it's why
[19:08]
I, a big part of me kind of loves it, even though I don't like it as a movie, is it is by all accounts
[19:15]
a big swing, a big swing in terms of budget. It's crazy performances. It is just, it's madness that
[19:23]
doesn't really work. And like, in a lot of ways, it's why Hollywood's suffering with original films
[19:30]
is like, we actually need more of these. Like, we need more big swings that don't work so that we can
[19:36]
get these like, you know, more leeway to get these big swings that do. Like, if every big, awesome
[19:42]
original swing worked, then that's all we'd be getting. Yeah, but I agree with you, but again,
[19:50]
I don't know why now. I don't want to be like the guy that's like, well, in yesterday or things
[19:54]
were different because they weren't, but you have, it's just gluttonous to me. It totally is.
[20:00]
Yeah. You get every perfect head of department that you want, which is fine, unlimited, you have
[20:08]
a budget, but it's still quite a high number budget for this type of film. And you don't like,
[20:13]
there's just the stories, just like, what do you, you can't tell me you read the script, you're like,
[20:17]
oh my god, totally get it. She's just like, she just goes apeshit for the whole movie for a
[20:23]
parent reason. Yeah, I get you the views and I appreciate that, but there it's just, it doesn't
[20:27]
go anywhere. It stalls. Yeah, I mean, I like, like, Marty Supreme, I don't, again, coming to my
[20:32]
head for some reason, liked it. I didn't love it, but it's saying something, right? Like, his
[20:38]
third act was saying something. I mean, you, you, you understood Timothy Shalamet's ambition to
[20:43]
want to play and beat the guy, right? And there was a drive, the whole movie's about that drive.
[20:49]
100%. Right? So yeah, I don't know. And that movie work, people want to go see that. I just
[20:53]
feel like with this, it was too high art, probably too much Frankenstein we've had because Del Tor was
[20:59]
so much Frankenstein. Awesome. That movie, that movie so good. Del Tor was the Frankenstein so good.
[21:03]
They probably put this in production and then they like, look, they're like, oh man, really,
[21:06]
like, you know, you're screwed. Is there anything screen running tip wise that you want to give to
[21:13]
the audience? Yeah. I think for me too, like, probably what makes kind of identifying
[21:20]
what this movie about is about so difficult is, again, after Frankie pretty much decides
[21:28]
to, you know, find a bride and find someone in, you know, Jesse Buckley comes back to life.
[21:35]
Again, the rest of the movie is for the most part them running and reacting.
[21:40]
Yes. To the world around them. There's very few choices being made. It's why this film's climax,
[21:46]
I kind of couldn't believe when the movie ended just because like, again, the after essentially
[21:53]
there together, they are just reading and reacting to the world. I would have loved to kind of see
[22:00]
like a real world view kind of come together for these people. And like, again, a real goal
[22:06]
that they strive and maybe they fail and they find themselves to do that. They find themselves,
[22:11]
but it's mostly just through running. And I think again, the film that it's trying to emulate
[22:17]
is by one of the films it's trying to emulate is Bonnie and Clyde, the warm,
[22:21]
deity version. And you just, they're all they have goals. There's also real loss of the Jim Hackman
[22:27]
character, I remember dying, right? And it was like trying to push it and do one more heist and one
[22:32]
more thing. There's always like some sort of character choice of progression and showing how deep
[22:39]
the warm, baby character was going. And I think it was fade down away, right? She got wrapped up in it.
[22:43]
So it's like a fish out of water story. So here it just was just like two monsters, you know,
[22:49]
roaming around like kind of like you said, not making choices. That's screen running tip number three
[22:53]
for today's have your characters make choices because that's going to make it interesting for us to
[22:59]
see what will be the outcome of that. But your characters need to make choices. So therefore the
[23:06]
audience, right? Well, not even the audience. The story can like pivot. And we talk about this a
[23:10]
lot with the butt, therefore rule right the South Park. It's just brilliant. Instead of and this
[23:15]
felt like an end then film. And then this happened and then that happened. And then there wasn't like,
[23:21]
well, they go here, they're butt therefore this and therefore that happened. It didn't happen.
[23:26]
And we're going to maybe we're going to post a link to that, you know, South Park.
[23:30]
Like when they're up there. Yeah, I think it's fantastic. I want everyone to go,
[23:33]
why if you're watching this podcast, we're going to put a link in the description for the the butt
[23:37]
therefore rule from South Park. It's fantastic when they went to N. It was at NYU, right?
[23:42]
I don't know. Yeah, it's probably one of those either way. I'm just going to say, maybe chat with
[23:46]
that they work out of there. But that's a that is a reason why this stutters and, you know, just
[23:52]
Peters out to me. Like it just was like one of the whimper. Yeah. And then they revive them at the
[23:56]
end. And I'm just like, oh God, if you do watch it or you have, I think, especially if it's a movie
[24:03]
that that doesn't inherently work, I think that a great thing to kind of do as you watch when you
[24:09]
think back on it is think back to the moments where you really did feel something. Because there are
[24:16]
some just amazing strong scenes in this where at least for me, like I really did feel for these too.
[24:23]
Try to hone in on like what is working in this because I do think there's a lot that does.
[24:28]
And the reason why I was so frustrated by the end of this movie is again, like I think this movie
[24:34]
went through reshoots. I think there was like a few different cuts of this. Well, she I am sure
[24:40]
there's a great movie in there. So I think what I heard was that Maggie, she didn't do this on
[24:46]
her first film when she had test audience feedback. I think she had a lot of test audience feedback
[24:51]
here implemented the notes. And this could be another again, very apropos Frankenstein monster.
[24:56]
I again, I wasn't in the room. I don't know what was said the notes. But if you're taking all the
[25:03]
notes from too many from everyone, you're implementing all the notes, then you're going to have like
[25:07]
your original vision is going to get lost, right? And I think that's what I struggle with a lot
[25:12]
to be very honest with you as a writer is when to take a note, right? And I think you just got
[25:19]
a feeling in your gut. I've learned to like listen to know what's good, what's not good in terms of
[25:23]
notes. That's why I love getting my screenplay out to like I have like five, seven friends that I
[25:29]
really respect. And I'll get all their notes. I'll listen every note, but I just might my inner gut
[25:34]
like can sift through and like and I think I know what I want to say. But I don't know if you're
[25:40]
hearing test audience reactions like pull back on this, put more of that and you do that then you get
[25:43]
sort of this this Frank and Sonish monster, right? And yeah, I don't know. It's just it's like
[25:50]
again, I love the originality. I love the visuals. I love the swing. It's nepotism at its finest.
[25:56]
Oh my god. It's like her husband and her brother. Her parents though producing. They were
[26:03]
big producers. That would be hilarious. Yeah. I mean, this is just a blank check. No, but it's okay.
[26:08]
We're nepotism is fine. If you know, not if nepotism is fine. Everyone's got to get their shot,
[26:14]
right? I guess. Yeah. As long as you have someone that's already successful in a business,
[26:18]
everyone. Yeah, everyone's a bit legally up, but they're fine filmmakers. Her first movie was
[26:23]
fantastic. Ghosty the bride. We want to hear from you. I personally want to hear how would you fix
[26:29]
the bride? You know, and maybe we'll do a little contest. We'll give away something like I want it.
[26:34]
Let's everyone go into comments. Hit us up with your fixes for the bride. What would you do?
[26:38]
Give me three things you would do to fix the bride. And if we find the best one, we'll throw you
[26:43]
guys something, whether it's shout out or we'll give you something here. There's a great movie in
[26:47]
here. Yeah, they're definitely fine. That's the great movie of the bride. Let's I don't know
[26:50]
why I did like the bride. Like I was going to tell me, but like go find us the bride. Find
[26:54]
that's how to fix us. We want to hear from you. But those are our like three, four. I think we
[26:59]
had three and a plus a bonus screen writing tip. Hopefully learn something today and go support
[27:04]
original movies. Please do again. Hopefully you really like it. I think there's something here.
[27:10]
Yeah, I also went up against hoppers too. I know. A great Pixar movie. They're back.
[27:15]
My girlfriend's seen it twice. Pixar's back. She's seen it. I didn't love the trailer, but like
[27:19]
the concept is great. Which we'll get it. I want to see hoppers, but now that my girlfriends are,
[27:23]
I'm a grown man. I can't go to hoppers by myself. I'm going to mean. Is that even worse?
[27:29]
Two grown men. We can't show. We can't show. We can't show. Pixar movie together.
[27:32]
But the midnight screening of hoppers. I love it. I love it. But John Tramp here from
[27:37]
KinoLine. Danny from the same company actually. We'll speak to you soon.
