Welcome to Kibby on Liberty. Jordan, how's it going?

So good. So good to see you.

Yeah, this is a big week for you. The first week, results are in for Cabrini. But I want to warn everybody, I don't know exactly where we're going to go with this conversation, but there may be spoilers, and you should go see the film for yourself. I don't feel so guilty about spoiling some of the plot since it is, in fact, a historical event.

I think it's this place called Google, where you can find some of the information, but definitely.

We were talking about this last night, and I don't think I'm unusual because I had never heard of her before. It's not a small feat to finally bring this story to the big screen. But tell me, you're the President of Angel Studios, and you guys acquired the distribution rights to this film. How did this come about? Because this happened before your tremendous success with Sound of Freedom. So it's something you guys have been working on for quite some time.

Yeah. So we met the producer quite a while ago. I want to say this is back in 2022. And Justus Wolfington and Leo Serino and Jonathan Sanger, the guys who produce this, they're incredible people. And we connected with them. We connected really, really well. But we were just launching our Theatical Division. We hadn't even launched His Only Son, which is the first movie we put in the theater. It got top three in the box office, the pride of everybody. But it was just a small little film. And then between that film and Sound of Freedom, we started having more deep conversations with them about, Hey, what would it look like if we took this to distribution around the world? The first thing we needed to know is, does the Angel Guild love it? That's always our first question. We We want to know, does the Angel Guild love it? Because as founders and executives, no matter how much I love a project, if the Angel Guild, the 250,000 members around the world, don't say, Yes, this is something we want that it amplifies light, we can't take it on. It went sailing through the Angel Guild.

They absolutely loved it. It was one of our highest schools there were seeing. So we were like, Okay, we really want this. When the Angel Guild gets excited about something, we get really excited about it because that means there's something really powerful here. We started talking a little more deeply, but the reality was it was an uphill battle because this isn't a film unlike Sound of Freedom, which was rejected by Hollywood. This is a film that actually multiple major studios want. It's so beautiful and it's so well done. Alejandro did such an incredible job. Not all the studios, but there were some major studios that were in the contending for it. I remember Justus, we went out to... Jeff and I went out to his offices in Philadelphia, and we spent an entire day with him walking through what our strategy be, how we'd handle this, and what we think the potential of this film is. It was such an incredible day because we connected so deeply both on an emotional and a spiritual level. Before Sound of Freedom came out, we ended up inking the deal with the Cabrini team for acquiring the worldwide rights.

I remember in a conversation with Justus where someone was basically saying, Hey, so why did you go with Angel? And he said, I was looking for the people who would have the most passion for what this film is, who truly believed in the film more than just as a money-making thing. They believed deeply in what it was. And he's like, And I found that in Angel. And that was touching because we had another producer one time say, The difference... He said, The reason I think Angel hits at such a high rate in terms of the project after project after project. He says, I've never seen a distribution studio studio put their entire heart and soul behind anything. Everything that you guys take on with your entire heart and soul on. And it's not wrong. We literally collapse across the finish line for these theatrical releases and the launches of our TV shows. We're honored that the filmmakers can see that, that they can feel our passion for what we're doing, and we could not be more grateful for partners in the Cabrini team.

I met I met Justice Wolfington last night, the executive producer, at a screening on Capitol Hill, and he told a little bit about this story. I think it's interesting that Cabrini, she represents, in my mind, just radical entrepreneurship and not taking no for an answer and pushing through bureaucracies and fighting big government and all of that stuff. And he was inspired by her as a young man to become a successful entrepreneur himself. But I would suggest that going with you guys is an act of risk-taking, particularly back when this deal was signed, because you're going outside of the system and hoping that there's a better way to distribute your passion project.

Yeah, there was no sound of freedom. There was no sound of freedom, no shit to shift. None of those releases had happened. We had one success in the theatrical space, his only son. And so it was absolutely a leap of fakes for them.

Yeah, but it seems to be paying off. You guys had a pretty good week. I thought you were going to overtake kung fu Panda 4, but...

That was never our expectation. This film, we picked this weekend very intentionally because all through the month of March, there's not a lot of other huge films that are coming out and coming in April. And so we very intentionally went after International Women's Day for a couple of reasons, but one of them being that this film we knew to get people to go see the film about a, quote, unquote, none is very, very difficult. But we knew that if we could get the locations and that we could fill up the first weekend seats in a meaningful way, that the word of mouth would start spreading on this because it's so beautiful and so powerful. If you look at the ratings from the audiences, this is the highest rated film from audiences on a wide release this entire year. It's 98% from audiences. We were shocked and surprised to see that it's even 91% from critics because they usually hate what we do. But that being said, this film is bridging the gap across the entire world and across the culture. And so we feel strongly that not only did we have a really exciting opening week coming in at number four with over $7 million, which, again, most faith-based films don't do that in their this entire life cycle.

We believe this is going to go on a long run inside the theater system that's going to shock everybody.

So like this phrase, faith-based film, is that a positive or a negative? Because I would argue that this isn't really a faith-based film. This is a more universal film about one tough, unstable lady who just happens to be a nun, but it's not really about that? What's the positives and negatives in terms of just reaching a broad audience? Because I can see where faith-based film draws in the faithful, but does it turn off other people?

That's one of the beautiful things about this film, is it's one of the first films in a very, very long time that is attracting both the faith audience and the secular audience. This film, like you said, is a very universal story, and it's been awesome to watch that because I think the one thing that is really awe-inspiring about this film is that Alejandro Montevedere, he didn't just create a story in a movie, he created a cinematic masterpiece. Every single frame, every shot, every scene is like a painting. There was one of the reviews that I really, really loved that was just super powerful that said, This gives Martin Scorsese a run for his money because it's just so beautiful. And so that's really, really resonating with people. But on top of that, what's really resonating with people is I think that this is a true woman hero. Last year, Barbie was all the rave. Everybody was excited about Barbi for whatever reason. And I think that Kabrini is showing us a true hero who live that's real. And she did it through a powerful mentality. One of those things that's really happening now in our culture is this victim mentality, and it's not healthy.

Everybody lists there. They want to see what minorities or victimhoods they can fall into. It's the quote in the movie that I love where she said, You can't choose how you're brought into this world, but you can choose how you live in it. I was shocked when I saw a review from the observer who's very hard on these type of films, generally speaking. But like you said, this is a more universal film. He said, You can keep your Barbie I'll take your breake. And it's because this film resonates. There's so much truth interwoven through a beautiful cinematic narrative that people are just being blown away by it. Angel Studios has never had so many reviews on a film and said, This is not just a great film, this is one of the best films I've ever seen.

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So Terry, my wife and I had an argument after the film last night that we have all the time. We have this all the time, and we give speeches about this and all sorts of things. But she considers herself an antifeminist, and I consider myself a radical feminist, and we mean exactly the same thing. Exactly. It's a question of semantics. A lot of my heroes are women who were just tough and tenacious and insistent that they could, in fact, achieve what they wanted to achieve in their lives. That's my definition of feminism. Terry, as a very strong, successful woman, is very triggered by modern feminism that frames it as some victimhood thing. There's a line towards the end of the movie where Cabrini says, Well, the corrupt fictional mayor of New York says, You'd make a good man. She says something to the effect of, this is a spoiler, by the way, she says something to the effect of, men can't do what women do. She was triggered by that, but I'm like, yes, this is awesome because she's not accepting this paradigm where men are somehow more capable than women. To me, again, that's a universal theme.

But I assume this is why you guys decided to release on National Women's Day, and everyone's going to have this debate about, Is this a feminist movie? Is this not a feminist movie? What is this thing?

Yeah, it's interesting you say that because I saw a comment on Twitter where it was like, Is Tabrini Woke? What is this? To me, the definition of Woke, at least in its current incarnation, is victimhood. This is the exact opposite of that. This is someone taking over their own life, doing it in a way that's so powerful. That line is so, so powerful when you understand the story behind that line, because Alejandro Mantevedo, he truly wanted the world to understand that there is a distinct difference and complementary difference between men and women. He built that line, and a lot of the movie around that line, to make sure people understood that There is this idea that men have to pretend to be or women have to pretend to be men, and vice versa. He wanted the world to understand that men and women are both so powerful, but they're distinctly different. They are different and complementary. And the moment we forget that as a society, we start to fall apart and crumble. And we're both needed it. So one of the things I love about this film is that didn't do any hating on men.

There was obviously the mayor who was the villain, but the majority of the men are nuanced, complicated people. They're not just one-dimensional men who don't have any person. There's nuance there as to why they made their decisions they did. It's such a powerful, powerful movie and a powerful, powerful theme. I'm probably more in the camp of your wife, to be honest, where I have been so turned off by the hijacking of the feminist movement and what it's become. That word to me, feminism, it's almost like a yuck word because it's just so victim mentality. And this movie does so much to help people realize that that's not what this life is about. One of the things I love about Kabri is she literally goes in and says to everybody around her, she doesn't wait for the government to come solve her problems. She doesn't wait for people that come solve her problems for her. She goes and instigates and figures out how to solve those problems in a really, really powerful way. And it's such an incredible book.

I like to filter everything through my weird libertarian brain.

I'm the same way.

The themes that I heard in this movie, and I wasn't necessarily expecting to hear these stories. I actually thought I was going to see a faith-based film about a Catholic nun that pursues her faith and her beliefs and does all this stuff. It is absolutely that, but it's something more profound for me, which is a stubborn act of entrepreneurship You have someone that has this vision for changing the world, and she wants to essentially start all these businesses. Every step of the way, first she runs into Catholic Church bureaucracy, but eventually gets the ear of the Pope, and then she runs into just endless government bureaucracy, people that not only don't care if she succeeds, but actively work against her success for all sorts of evil reasons. To me, that's a story, that's a very American story of people rising up against this. It's also a story about personal responsibility and not waiting for the government to solve the problems of poverty and other social things. She did it for herself. So again, in a lot of ways, this is a very libertarian movie.

Yes, it is. It really resonated with me because as an entrepreneur and libertarian myself, I felt this deep connection with what she went through. Then watching her, without giving away too much, there's a scene where she literally she's told by the leadership of the church that she cannot go raise money from Americans. She has to only raise money from Italian immigrants. She was just like, Okay, well, instead of going and raising money directly for them, she goes and has the newspaper write a story about the plight of what's happening to the the impoverished Italians. It tugs at the hard streams. Then she starts these private enterprises through orphanages and hospitals. Again, the government, just every turn is trying to shut her down. I'm cheering for her as an entrepreneur. I'm like, Just don't stop. You have to get to the end of this. It's amazing. It is absolutely amazing because she truly built an empire of hoe around the world that as big as any empire built by even people like the Rockefellers, which is incredible.

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Yeah, it maps it out at the end of the movie, the global enterprise that she said she was going to create. I think the Pope, a little bit patronizingly, said, Good luck with that. Yeah, exactly. Because the vision was too big, and it was implausible in the world that she was living in, but then she did it anyway. Let's talk about production values, because I'm just spitballing here, but I have an idea for... If you want to rebrand this film slightly, I think a better name than Cabrini would be The Nuns of New York.

That's a great name.

Invoking the great Martin Scorsese film, The Gangs of New York, because when I'm watching it, it more than a little bit invokes that Five Points vibe, very subsistence, dirty, dangerous world that she arrived in. It looked like Gangs of New York, which is an impeccably... The film itself.

You feel like you're in the 19th century. You feel like you're in the 1880s in New York every moment.

And this film had a big budget. I think it was like a $50 million budget, but I don't know what Gangs of New York or Godfather, which also invoked some of that imagery for me. It still a budget film compared to some of the big boys. Is that right? Or is $50 million like a real deal? Yeah.

So this film, it was a little less than that, but the film itself looks like a $100 or $200 million dollar budget film today, which is incredible. They made every dollar count and hit that screen as best they possibly could because this film, you walk into it, and it's from the moment that you start. Anybody who's seen this film, if you haven't, get to the theater, buy your tickets. But the moment that first scene runs with the boy, you're just like, Whoa, what is going on? And you are hooked. It's It absolutely has that feeling of a Scorsese-type film and production value. My brother Neil said, This isn't like a motion picture. This is a motion painting. Part of the reason that's really, really powerful and the reason that the visuals look so stunning is when Alejandro Montevedo took on this project, he said, I don't want to do a story about a nun. I have no desire to do this, but he felt called to do it. He said, If I'm going to do this, I want to do it in black and white. And he built the sets. When you shoot in black and white and you do the lighting in black and white, you have to do it differently.

You have to put more texture and layers because color can hide stuff in the production value. Whereas with black and white, you have to have a lot of layers, a lot of different type of distinct colors and textures in the background so that they pop onto the screen. He wanted to do black and white because he didn't want the Caprini to stand out from the rest of the film. He wanted people to forget that she was a nun. And so they did all their pre-production that way, and they got up to the week before the game. And Justus Wolfington comes in to the room and says, Guys, I feel like this needs to be in color. And they're like, Whoa, you can't just change this on this last minute. We're shooting this in black and white. We built the sets this way, the lighting, everything was built this way. And he's like, No, I really feel like this needs to be in color. And they didn't have time to read to build the sets or to do any of the changes. They had to shoot it all with the new lens in color, but with all that texture and all that rich production value that was built specifically for black and white.

It ended up becoming a gorgeous cinematic masterpiece. This isn't just me saying this. The audience is scoring this at 98% across the board. It's close to being one of the top-rated films in history on the IMDb list. It's hitting up on that top 100 list because it's so beautiful. And it was a last minute strategy change where they went from black and white. We're going to shoot this in black and white, too. This needs to be in color, and it ended up creating something so unique that has never been done before.

Perhaps they accidentally discovered a new technique for creating... Yeah. Yes. Yeah. You talked about this, and I know the last time we had a conversation a couple of years ago at Freedom Fest, I think we talked a lot about the Angel Studios Guild. Talk about that. Talk about that model, because I think the broader conversation that we haven't touched on here is how you're disrupting the industry by engaging both consumers and essentially crowd-sourced investors to work on projects that break the Hollywood model. Explain to people in more depth, because I think the guild has evolved quite a bit. It's since the last time we talked anyway.

Yeah, it has. The guild is such a unique thing because we believe that the problem in Hollywood isn't a problem with actually the productions. The productions are incredible. They're the greatest storytellers that the world has ever comprised in the history of the world. The problem is in the gatekeepers. There's a gatekeeper problem that they're picking stuff that is not what can be made or needs to be made. It's very nihilistic. And so what we decided to do is instead of us just becoming like... I remember when the Chosen blew up, everybody started to say, Well, now you guys can just go fund all your own stuff and pick all your own shows and stuff. We said, No, our goal is not to become Hollywood Hollywood, like Hollywood is today. We want to create a company that's going to last for 100 years. The way we're going to do that is you create the Angel Guild. The Angel Guild is 250,000 members in growing, where people can join the Angel Guild. They pay $20 a month. As they join the angel guild, they get a bunch of perks, like early access to our content. They get to screen movies like Cabrini when we're doing test screenings.

They get to be the first to vet the movies. Before an executive or founder like myself can even green light a project for distribution, it first has to pass the angel guild. And then on top of that, they get two free tickets, complimentary tickets to every angel to actual release. They get discounts on merch. So there's all these perks that come with being an angel guild member. But the most important one is They are the alternative gatekeepers to the Hollywood system. It is when people understand that the reason Hollywood spends so much money, resources, energy on the entertainment space is because that is will literally craft the culture that we see in 20 years, they will realize that the mechanism by which they can influence culture most is by becoming a member of the Angel guild and helping us find the next sound of freedom or the next Cabrini or the next shift or whatever it is, because these films are so great, not just from a principle standpoint, but they're so entertaining and so magnificent. This guild is such a pivotal part of what we do at Angel. We also believe it's a pivotal part of changing the culture for the next 20, 30 years.

You go to Times Square, 80% of the advertisements are film and TV. Why? It's because there's lots of other business out there. Why are most of the entertainment? It's because that is what really crafts our culture. We believe that the Angel Guild is the mechanism for us bringing the culture back to a place where we feel it's more sustainable and on and love it.

When Sound of Freedom came out, I had your brother Jeffrey on, and we were talking about this revelation, and maybe it comes from the director who directed both of these films, and I'll let you repeat his name because it's a mouthful.

Yeah, Alejandro Monteverde.

Thank you. You've enrolled your R's correctly. But is he the one... Remind me, but is he the one that realized that being in a theater with other people to experience these films as a community with a sense of belonging was so profound? Because I think I am guilty of predicting that that theaters had been killed by lockdowns and technology and shifting markets and everything else. Somebody in your orbit discovered or insisted that these are things that need to be watched together, and that has shifted your strategy back towards a theater-based distribution model.

Yes. Well, there's multiple people. Alejandro is one of them for sure. Another one is Andrew Peterson. He wrote an article, a blog post, quite a while ago called The Sacrament of the Cinema. And he basically talks about how, like As a culture, we thrive off of communal experiences where we do them together. That's why religious behavior happens. If people go and they go and worship together. When you go into these sacraments, you usually give up all your distractions, all your devices. You give up your personal will and you go in and you learn what is being taught, not only in your mind, but in your heart. He says that the cinema has a similar effect in that you're going in, you're You're silencing your cell phones, you're getting rid of all your distractions. And as a community, you are connecting with the art at the deepest and most intimate level. And at home, you have your distractions, your phone, your computer, your kid, you name it. People have all these different distractions. And so there's something powerful about how the cinema can truly change the hearts and minds of a culture. And I think that a lot of people in Hollywood know this.

When you look at Scorsese, he said, I think two or three years ago, he said, You want to really influence culture, you do it through the cinema. And he was doing it in the context of people saying, Well, Netflix and Apple TV Plus. And he said, Yeah, those are all great. I love telling stories on some of those mediums. But the real way to influence culture. The real way to impact the world is through the cinema. There's something powerful about that. We at Angel, obviously, we still are totally focused on delivering incredible TV shows that will help provide meaningful content on a on a regular basis. But the cinema is going to be a huge part of Angel's strategy because we do believe that that is the mechanism by which we can actually help change the culture to a better way for the next 20 years for our children and our grandchildren.

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So that gets to the distribution question because you guys now You managed to get this film into, I think it was 2,800 theaters, and the first week gross was, I think, seven and a half million bucks, which is not small potatoes. What is What's the theater strategy to the extent that you can reveal this top secret business thing?

Yeah, so we've been really fortunate to have incredible partners at Cinemart, Regal, AMC. They've been so supportive. It's been really fun because they love our stories, and they love that we're driving people into cinemas again. That's such an important part of our model. One of the articles that was actually just posted recently is there's a conference called Cinemacon, which is where all the theaters congregate and show up. We are the title sponsor of Cinemacon this year. As a matter of fact, anywhere I posted an article said, while Apple and Amazon talk about supporting theaters, it is angel studios that will present at Cinemart. We are leaning into this and into this relationship because we do believe strongly that this is so powerful about getting our stories out there. Then It is our tendency to zig when others zag. While everybody's pivoting away from the theatrical model, we understand the power of cinema, and we look at it as an incredible opportunity for us to access a massive audience The Angel Guild approved Sound of Freedom, for example, and Kabrini. It approves Sound of Freedom. Only a thousand people randomly were sampled around the nation, and they said, Yes, this has to come out.

Because of those thousand guild members, there are over 30 million people that in cinemas around the world. On our best estimates, there are tens of millions that saw it on Amazon Prime when it hit Amazon Prime. This was the top 10 and number one would be on Amazon Prime for a while. This is impacting culture around the world. Although the industry of entertainment is a $750 billion industry, and only $50 billion of that is from the cinema. Cinema of $50 billion is the tip of the spirit that influences all the rest. It is the mechanism for which culture is influenced in me.

So do you almost wish that Cabrini was trashed by establishment media the same way that that sound of freedom was? Because it generated so much buzz. And I'm sure some people are like, Well, they don't want me to see this, so I'm going to go see it. It cuts both ways, right? For sure.

It does. And we're totally fine with the movie just resting on its own laurels. Like I said, Sound of Freedom in its own, invent that just blew up in the zeitgeist, and Cabrini is going to have its own path to being a box office success and IP to successful in downstream windows. We're really excited about it. There's lots of ways to carve that out. But I will be honest, I have been surprised by the positive reviews from critics. It has blown me away. I remember when the first one came in, it was from The Hollywood Reporter, and they were This is a great movie. I was just like, What? They haven't been the most critical about Angel and what we're doing out of almost anybody. I was like, All these reporters saying this is a great movie. We've been blown away by the response from both the audience and critics. But that's not a bad thing. This is going to have a long, long life cycle in the theaters, and it's going to be seen by millions and millions of people around the world. We're fine with it going this way or the other way.

But you definitely get that angry about controversy, especially when it's totally, man, it's actually ridiculous.

Yeah. I saw a couple of reviews of Cabrini that said, I thought I was going to hate this because it's being distributed by those angel guys. But you know what? It was a good film.

Yeah, exactly.

So one other story before we get into how people can get involved. I don't know the story, but at the end of the movie, have a beautiful song from Andrea Barcelli and his daughter, Virginia, and she plays a small part in the film. Apparently, you guys were involved in making that a realization. Yes. Is there a cool story there?

There is a really cool story there. They had actually Andrea Barcelli, Virginia Barcelli, she's in the movie. They had a good relationship with her, and they tried and tried and tried for months and months and months to get them to do a song. It just, for whatever reason, wasn't working out and wasn't working out. We said, Hey, if we can make this happen, it's got to happen because it's such an important song. And it's like, Andrea is such an icon in the world. We put all of our resources behind it. Our head of music, his name, Brian, says that he helps with the La La Land and many other incredible soundtracks around the and he's coming as our head of music, and he and our team put together an incredible deal that allowed Andre Baccelli to do that song, and it's now in the credits of his film. But it is a song that... I mean, my kids have it on repeat. It is so beautiful and so touching and so inspiring. But it was amazing because we made up our mind that we were going to go get the song with Andrea and his team about three weeks before we had to deliver the files to the theaters, the DCP.

And that is not enough time to pull that together. And by a miracle, Ryan was able to get not only connected with their team, get a deal in place, help them shoot the music video. We edited the music video and got the entire thing launched in a matter of weeks. And that just doesn't happen. It's incredible. Yeah.

I would assume that in and of itself is a form of guerrilla marketing, where people are going to hear this song over time and follow the breadcrumbs back to find the movie after they find the song.

Yep, it's going to be a beautiful day.

By the way, I'm quite resentful as someone that can't sing at all.

I feel the same way.

Apparently, it's cool to be born a Barricelli because she, and I think she's 11. And listening to this song, she has a huge voice, and that's amazing to me. But I I feel like you and I probably can't do what she can do.

No, we cannot. Not even close.

Yeah. Let's start with the guild, but then let's talk about how people can find this film, and if they really love this film, how they can pay it for it.

To answer your question about the Angel guild, it's such a powerful thing that the audience can come into and they can experience and enjoy. Not only do they get to screen things early and get exclusive perks, but they are influencing culture for the world for the better. You can actually join the Angel guild and buy tickets for Kabri right now by using that URL angel. Com/kibi. That will allow you to come in and enjoy these incredible opportunities. It's one of the coolest things to see comments come in where someone's like, I green-lit Kabrini. I was one of the first people to watch it, and now it's going and being seen by millions of people around the world. That's such a powerful, powerful thing. We're so grateful. It's growing very, very fast. We're at a quarter million people, and we want millions of people in that guild to help influence and nurture the culture to where we feel like it should go. We also think this is going to be more sustainable because, again, we're humans. As much as I wish I could say that I'm going to pick all the best content for the rest of my life, that would be me having the hubris of anybody in Hollywood.

The reality is, is we believe that you, the audience, can pick better than any executive. As an aggregate, you're making better decisions than anybody in Hollywood, showing time and time and time again.

So explain Pay It Forward, because this is a model you use so successfully during Sound of Freedom. I've seen the ads, but tell people, once they see this and they decide this is I want to help other people reach, what is the Pay It Forward function?

Yeah, the whole idea behind Pay It Forward was the idea that if you are touched or love something, just like you're in a Starbucks line and you go, Man, I'm going to pay for the person behind me there drink. This is that opportunity where when you're in the theater and you love the film, you can at the end of the film scan the QR code that pops up, pay it for it so someone else who wouldn't otherwise see this can see it. And then if you're someone who can afford to go to the theater, like me as a child when I was growing up, you can go to angel. Com/freetickets and get your own free ticket. There are literally thousands upon thousands upon tens of thousands of tickets that I've paid for by other people, and we want you to use them. That is what they are there for. And so please, if you can afford it or wouldn't otherwise go see this film, go get a free ticket. But if for some reason you're so inclined and you feel like you were inspired and touched by this movie, pay it for it so other people can experience this.

It is a very powerful model that allows for us to spread these messages to all corner of the Earth.

Okay, Jordan, congratulations on a good first week. I'm not going to hold it against you that you didn't beat kung fu Panda 4. Honestly, I'll get a lot of haters for this, but I couldn't even get through kung fu panda one. I'm not the target audience for kung fu panda four.

Our guerrilla marketing is totally different. We'll spend $100 billion on marketing a film, and we spend fractions of that and get the results we do. So we're really, really grateful.

Okay, we'll talk again when the next blockbuster comes up.

It's awesome. Appreciate it, guys. Thank you.

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