Archive Treasures: Miracle Mile | Steve De Jarnatt

[KJ Relth] Good evening. [Audience clapping]. [Relth] Welcome to the Billy Wilder theatre. This is the home of public programs for UCLA Film and Television Archive. My name is KJ Relth. I am one of the Programmers with the Archive and it is my pleasure to welcome you to tonight's 30th anniversary screening of "Miracle Mile." [Audience clapping]. So this print is...this screening, I guess, is part of our Archive Treasures program which is a quarterly program that we...that we... do and usually we're showing a nitrate film but...or sometimes we show nitrate prints but uhm... this particular film came about for a very specific reason which I'll get into in just a second. But because we are the largest university-based archive in the world sometimes my job feels a bit like being a kid in the candy store. It's really hard to narrow down what we're going to do for this program but "Miracle Mile" kind of emerged rather naturally actually because of a Facebook post. So...uhm... actually the person who posted about the website that Steve De Jarnatt, the filmmaker, was building for to celebrate the 30th anniversary of... of this film, the person who posted about this website and this crowd funding campaign that he was doing was Kayla Jenice (?), who's here tonight. And she and I are Facebook friends. She's an incredible programmer in her own right. She runs the Miskatonic Institute...and here in L.A. Oh right, sorry, and in New York and she posted about this, this website and, and Steve was saying, you know, "I'm still looking for a venue to do a 30th anniversary screening" and I was basically like, "Me, me, me." And then we started Facebook messaging and... here we are tonight. So the power of the internet bringing people together, I guess. [Audience clapping]. So, of course we wouldn't be able to do this screening without Steve here in person. So before we watch this incredible film together I would love to welcome to the stage to say a few words- the visionary Steve De Jarnatt. [Audience clapping]. [Steve De Jarnatt] Thank you so much for arranging this. What a wonderful venue and it's gonna be amazing. How many people have seen the film before? Okay. Wow. And for those who haven't don't spoil it for 'em. I like to preface it that it's just sort of a fluffy, '80s, John Hughes romantic comedy. [Audience laughing]. That gets a little less fluffy as it goes along. That's all I'll say about it. But uhm...anyway, thank you for coming and we'll do a Q&A afterwards and there'll be a table out there. I have posters and cards and I'll sign anything you have and, you know, whatever. We'll do all that. Thank you for coming. [Audience clapping]. [Relth] So that was such a...this is my first time seeing it in the theater. That was such a special experience and there's so many details in this movie that only a true Angeleno would add to a movie. I don't know if anyone noticed...it's, it's toward the end so it's not in a funny scene but there's a dead body holding a "Variety." [Relth laughs]. Sorry "Hollywood Reporter." [Relth laughs]. And I also, you know, had never really thought about this film as being pre- L.A. riots too. [De Jarnatt] A lot of people thought it was over-the-top when, when it came out and then I must have gotten 20 calls during the riots going, "You know...it's happening." [Relth] Yeah. [De Jarnatt] I mean it did look like that to, you know. [Relth] Yeah. Uhm...there are a couple people here tonight who we should probably call out before we get started. [De Jarnatt] Yes, Paul Haslinger from Tangerine Dream. [Audience cheers and claps]. [De Jarnatt] Where is Paul? He was here. Okay. [Audience clapping]. Raphael Sbarge, the voice of "Chip." [Relth laughs]. [Audience clapping]. He...he saved the movie in post. Danny De La Paz...over there..."Roger." [Audience clapping]. [De Jarnatt] And I know Don from the crew and Leo... Don's here... and... Leo, yeah...who all that, that action on the street...the AD's, we couldn't have done it without them. You know, the great camera crew. Anybody else... who worked on the movie is here? I don't know. [Audience member] Sammy's here. [De Jarnatt] Sammy? Oh Mort! Mort...Morteza. [Audience clapping]. [Relth] Well, yeah, I mean talk...talking about, you know, all of that location shooting. Obviously you're shooting at night. How long is your shoot schedule for all those night shots? [De Jarnatt] It was seven weeks... mainly at night. So seven weeks total. I looked at the budget recently. It was four four all-in but after contingency and insurance it was three million dollars to make...to put that stuff on screen. You know, not a lot of money. [Relth] Yeah and the stunts alone and the...uh... you know that one shot where Anthony Edwards gets up on the car and you see the scope of what is happening around him and you...there's another shot immediately following that where you're looking down Wilshire and it's just all cars the entire way, all the way down. [De Jarnatt] That was a cheap matte shot but we blocked off Wilshire for a night and a half and Gary Jensen the stunt guy and you know... just a few extras. Leo, you know, coordinated all that. So... [Relth] That's really incredible. Yeah. [Audience clapping]. [Relth] And you know the, the other great thing about a movie that's thirty years old is the dissemination of information- moves a bit slower in the '80s obviously but that's kind of what makes this movie exactly what it is. And so we get you know, there's multiple forms of communication. There's phones, there's TVs there's... but it would...it would play out so differently now. [De Jarnatt] Yeah, it's just...you know, the word of mouth. It's essentially a "Chicken Little" story. [Relth] The sky is falling. ]De Jarnatt] That was a pay phone for Millennials. [Audience laughter]. From, from "Bill and Ted" you may, you know... [Audience laughter]. Or a..."Doctor Who", you know. There are a couple left. Yeah, today...and that was a cell phone that she had. It was the state of the art. [Relth laughs]. [Relth] And is all...the graffiti inside the phone booth, was that staged graffiti or...? [De Jarnatt] I think we put that on there. Yeah, yeah...and there, there is a cockroach in there. [Relth] in the phone? [De Jarnatt] Somewhere a cockroach crawls, crawls on him in there. [De Jarnatt] Yeah...yeah. [Relth] I did not notice that. [De Jarnatt] Stunt, stunt roach. [Audience laughter]. [Relth] And stunt rats. [De Jarnatt] Stunt rats, yes. It was a family of rats that...and I had read somewhere that there was a million rats in the palm trees of L.A. And so it's a nice foreboding image. [Relth] You know, I hadn't heard that until my housemate actually pointed that out. That her dad like makes that joke all the time but he doesn't live here. I just...I didn't know that. [De Jarnatt] I don't know who did the census, you know. [Audience laughter]. [De Jarnatt] Knocking on... [Relth] The rat census. [De Jarnatt] ...each palm tree and like how many do you have in there? [Relth] Asking citizenship questions. [De Jarnatt] Exactly. [Relth] So I also know that this film is included in Los...the great "Los Angeles Plays Itself" by Thom Anderson, very briefly in the film. It should be an entire half-hour of that movie. [De Jarnatt] I, I sat through...I mean, I love that movie. Everyone should see that "LA Plays Itself" and it's now on...on...DVD. For a while you just had to go to a screening because they didn't clear the rights. So I went and sat and, I don't know, like after two hours or something to see if it was mentioned. And, you know, he's pretty snarky. He's like cutting down "Blade Runner" and stuff like that. So all of a sudden I see the hamburger things and he, I think, it's something like, "All Hollywood films lie." [Relth and audience laugh]. "This sign never existed...but it should have." So that was pretty good. He didn't slam it. But he did point out the lie that it never existed. [Relth] How much of the, how much of Johnny's...which is still standing. If you drive it's Wilshire and Fairfax, corner of Wilshire and Fairfax. And across the street is no longer the May Company building. It's the upcoming Academy Museum whenever that's done. [De Jarnatt] John, Johnnie's...if you listen to the...the... Chris Horner, the production designer, and Theo and I do a commentary on the the blu-ray and the DVD, I, I had forgotten something...Johnny's is the way we left it. We...uh... you know, we are art directed the inside- that blue and orange, that wasn't original. That's the way we left it. There were no bulbs in the sign. Theo told me he had the gaffer dip 5,000 bulbs three times in blue paint... just for, the for the color temperature and they're still going. 30 years later, a lot of them. And of course the burger sign never existed. The Johnny's replica sign...there used to be one on a stand. The wind blew it down so we made a... duplicate, which I just had stolen out of storage about a year ago. [Relth] You mean like the...the...the Bob's Big Boy guy. [De Jarnatt] The fat boy sign. [De Jarnatt] And the burgers, what's left of 'em, sort of the tire...you know, the fake thing? It's out at Valley Relics. They're gonna try to restore it. [Relth] Oh, that's cool. Yeah. But Johnny's is still standing but it's not operational. [De Jarnatt] It's a movie set and, and Bernie's I guess...that... [Relth] Now it's Bernie's. uh... and... I... we got in there, we got the supporting cast in, you know. Most...all the supporting casts, at least twelve people. Also on the Blu-ray extras, for six hours... they let us in. They usually, you know, charge $30,000 or so. I think I had to drive a...through rush hour traffic with the cashier's check for $2,500 or something. We got in there and and it it was a great reunion love fest. [Relth] Yeah, it's such a great moment that's caught, that you catch on tape and I do want to talk about the cast. Everybody is working so well together and it's it's kind of an intro, not an introduction necessarily for a lot of these actors, but we know so many of them now for the roles that they've played since then and it's just such a great assembly of people [De Jarnatt] Yeah and we did that like a one act play. We rehearsed, you know, and blocked out all the shots and, you know...we had to really be prepared on this. It was very tough to get it on screen for the budget and, yeah, couldn't have done it without the amazing cast. [Relth] Yeah, the cast is great and the way that this film looks too, does anybody have it on Blu-ray? The Blu-ray looks amazing. If you don't have it you should probably get it now. And all the special features are incredible. All the audio commentaries are great but... the way that this film looks, again I had never seen it on film in a theater before, so I didn't know that how authentic all the colors on the Blu-ray are really, like, it looks pretty similar. [De Jarnatt] Yeah, I mean, the original VHS and DVD version and the version that's on Amazon currently look terrible. They're all washed out and it's not even in the right, you know, format. I don't think so. Yeah the new version it was 2K off the inter-positive. I would love to do a 4K off the negative and put short films and a lot more extras on a special, special edition... someday. [Relth] Yeah, and Theo...but Theo, had you worked with him before this? [De Jarnatt] Uh, no. I, I brought Theo over here and he's never left...Theo van de Sande. I think I tried to bring him over for my other feature just before this, "Cherry 2000", and couldn't get him over from Holland. But. yeah, it was his first film here. [Relth] I did not realize it was his first film here. He's gone on to make...to shoot so many... [De Jarnatt] He's never stopped shooting. A lot of the crew people... I think... Bruce...Bruce Hamme, you know, it's like Roger Deakins dolly grip and, you know, a lot of the crew... Don's always working, everybody you know. The art department went on to big, big things. [Relth] Theo shot "Crossing Delancey" which is one of my favorite movies of all time. [Relth laughs]. [Relth] Uhm, so I, I would love to open it up to the audience for questions because this is such a big packed house and this is such a special occasion. And we have some microphones that'll be going around. And, yeah, let's start here in the, in the middle. If you could wait for the microphone to come to you [Room noise, waiting for question from audience]. [Audience question 1] Who is Dr. Bio Brand? [De Jarnatt] Good question. I always get that one. That was my cat. Dedicated to my cat. Cat mayor of Los Angeles- two terms. First cat to organize the feral's and the alley cats into a political bloc and wrest control away from the prissy breeds. That it controlled cat politics and the Southland for...anyways, it's a long story. [Relth and audience laugh]. [Relth] Excellent. [De Jarnatt] Thank you for noticing. [Relth] Yeah, right here. [Room noise, waiting for question from audience]. [Audience question 2] Hey, thank you so much. I was born in 1985 and grew up, like, three blocks away from the Tar Pits and all of that. So thank you so much for memorializing in cinematic history The Miracle Mile of my youth growing up. [De Jarnatt] You're a child of methane. [Audience member asking question responds] Yes, exactly. [Audience laughter]. I guess my question is, is that... L.A. as a city is just not at all known for its public spaces and its civic spaces and all of that and the slice of L.A. that you captured is the exception to that rule, right? With the parks and museums and Johnny's and all of that. So I just I was wondering if you could speak to that for a second and how that played into your film making? [De Jarnatt] Well, it was written for all those locations and it was amazing that we were able to get 'em. Kristi Frankenheimer was location person and I don't know how we, we pulled it off. We got the locations we needed. There is no heliport on the 5900 building. I don't know what it's called today. They change the name every once in awhile so we shot downtown., And the gas station, the taxi thing was downtown. Otherwise everything, location is... geographically accurate for the most part. It was...that was important to me to know the lay of the land and not cheat it. [Relth] Is it the Equity Building now or no? [De Jarnatt] It was Mutual Benefit Life. I didn't make that up. That was the name of it which is pretty, you know. Mutual Assured Destruction might have been a better title. [Relth] And it's on Wilshire, like, near Normandy? [De Jarnatt] No, that's the...the 5900 building? [Relth] Oh, okay. Sorry...yeah. [De Jarnatt] That's right there across from the museum. [Relth] Not the Equity Building. Yeah, I have one more question that I just remembered I didn't ask before- the ending that we saw is... [De Jarnatt] That's the ending [Relth] The ending. [De Jarnatt] There, there is a happy ending. It's two seconds long. We've run it a couple times and... it's, it's on the...it's on the extras. It's just the white light coalesces into two diamonds that with some twinkling music and they float away. [Audience laughter]. And I must say John Daly, the Head of Hemdale, you know, God bless him. If you wanted your money, you're never gonna get it but he, you know, he won Best Oscar two years in a row for "Platoon", "Last Emperor." He made "River's Edge", "Hoosiers"... [Relth] Which we just showed here. ..."Terminator"... and, you know, a lot of battles but at the end he let me make the movie. He actually...said, "Let's take that ending out." I was on the fence. I commissioned it. I had a friend of mine, Alissa Bello (?)... make that diamond effect and he said, "That's too upbeat. Let's rip their hearts out." [Audience laughs]. And that's a studio head. That's the head of the company. You don't see that today. So... [Relth] Definitely not. [De Jarnatt] We went bleak. [Relth] I saw a hand go up in the aisle earlier...yeah? [Room noise, waiting for question from audience]. [Audience question 3] Hey Steve. I remember that you'd said that this took years to make prior to it. And then I also just curious if you could talk about how it got received when it landed. [De Jarnatt] Oh. Well, yeah, I wrote the script in this...turned it in to Warner Brothers. I pitched the idea earlier in the year in 1979... when I was seven years old. [Audience laughs]. Uh...and uh... turned it in. So it was written in the '70s. Warner Brothers liked it. They wanted to do it. They wanted to put more writers on it. They said, "What it needs is a $150,000 writer." I said, "I'll...pay me $18,000 I'll write 10 more drafts." And I was...somehow I was savvy enough to ask for it back, you know. They nobody else came on to rewrite it and they let me have it back. Mark Rosenberg was the Head of Production. Alan Rosenberg, his brother, you know plays the young street sweeper "Mike" and he's sort of playing his brother. Mark Rosenberg was in the SDS. And so Alan's kind of doing that...with that list of Stokely Carmichael or whoever, you know. He sort of evoke, evoking it and, you know, they'd liked it but they let me have it back. I optioned it for a couple years and then I had to buy it outright. And I gave all all the money I made on writing "Strange Brew" to Warner Brothers and I owned it outright. Warner Brothers then offered me a fortune to sell it back. To not direct. Like $400,000 in 1982 or three, like, you know. Jim Berkus, the founder of UTA, was my agent. He said, "I'm getting you what William Goldman and Robert Towne get." And I said, "No." And I spent the rest of the decade willing it into existence with a lot of incarnations that almost went before... but, you know, I'm glad I turned the money down and did it. Otherwise you wouldn't be here. [Audience clapping]. [Relth] There were also supposed to be a couple of other... I heard in at least in the audio commentary that maybe Carl Sagan was gonna be doing the introduction? And maybe Walter Cronkite was gonna be involved? [De Jarnatt] Well, yes actually in the original script... Walter Cronkite did come on television and started to do it and then he went, "Aww...fuck it." And... [Relth laughs]. [De Jarnatt]...was crying. So that's in the script. As well as, like, the first missile that came over landed right, you know, six blocks away and was a dud and didn't go off and uh... because, I think, I read somewhere that half of the Soviet missiles would probably be duds. Uh...Carl Sagan...it was obviously kind of written for him, you know, billions of stars stuff, all that... and he chickened out and so did Walter, you know. Walter had retired. So it was still...it was a little weird but, you know. [Relth] Other audience questions? Yeah, right here. [Room noise, waiting for question from audience]. [Audience question 4] Yeah, it's worth mentioning that uh... the script was...uh...one of the ten best...uh... un-produced script. I believe it was the list of...what was it American Film, I believe? [De Jarnatt] It was the very...Steve, Stephen Rubello who did the very first lists, I guess it's the blacklists...sort of the same thing but Stephen Rubello started that. So the American Film and Movie...Tone? Or Movie Line, later. So it was on the first list with a lot of great scripts, some of which have been made. That certainly helped get it made. That it was, you know, at that...that... [Audience member asking question responds] Right, I...I remember. I was a sound mixer as you.... [De Jarnatt] Exactly...yeah...yeah. [Audience member asking question responds] I remember when I read the script, first, I was really so impressed with it. It really reads like a beautiful play. It really reads like that and I think your uh... the scene in Johnnie's with all the characters and all that, it really indicates that. All the characters are so... [De Jarnatt] Double dialogue in the place. [Audience member asking question responds] Right and... and just wanted also add another thing is... I remember clearly... uh... the scene on the rooftop. When we're shooting that...uhm... the script lady, I looked around, and she was crying. [Relth] Awh. I ask her what happened and she said, "Yeah, it's the dialogue." She was so touched by it that she was crying actually. So I mean like I just want to commend you for such a great script. [De Jarnatt] Thank you for great sound... [Audience clapping]. Mort. [Audience clapping]. [De Jarnatt] It's...it's tough, you know. Out...outdoors, you know, all that. Uhm... yeah, so that...anyway. Yep, yep. The original script was an older "Harry" going back to get his ex after 15 years, sort of the grandparents story, it was transposed onto that. So it wasn't two people meeting...cute...in the museum. And if somebody, you know, if somebody is ever going to reboot it or redo it, I hope they'll use that. There are some caveats that I...they have to hire me as the first writer and director. I don't control the rights but there's, you know... MGM has it. We'll see. There's...people talk about it every once in a while, doing something with it. Maybe a six hour... you know, thing from midnight to dawn and for net, you know, Netflix or Amazon but still real-time I would hope and no cell phones. [Relth] Yes, naturally. The cell network would be down and you know... but I'll start it. I'll pass the baton. You know, it can be a woman... protagonist, a woman director, you know they can go do something with it. [Relth] Yes. Uhm...right here. [Audience question 5] I was just wanted to ask, if anybody caught your cameo? [Relth] Oh yeah, his cameo. [De Jarnatt] On the grate. [Audience laughs]. [Relth] In, like, the panic scene. [De Jarnatt] My, my Hitchcockian...thing. [Relth] Other questions? Yeah, down here in the front. [Room noise, waiting for question from audience]. [Audience question 6] I saw this twice in the theater when it came out because the first time I couldn't quite believe what I had seen uhm... because at the time, you'll remember, this really was the unthinkable. It was like you, you couldn't show this... in a movie. I mean "The Day After" and there have been a number of, like, serious movies about this. [Relth] "Testament." Yeah. But I was just curious, at what point in the writing process did you say, "No, I'm going to end the world." [De Jarnatt] From the beginning and that's why it took ten years. I would not...alter that. Warner Brothers, you know, when they wanted to buy it back I didn't actually know at the time but later it's been pretty well established they wanted it for "Twilight Zone: The Movie." Not a four part thing, just as a stand alone thing. I don't think that would please anybody. And all they wanted to change was, "It all happened and then he woke up at the end...and then it started happening again." And it's really like And it's really like, "Well, you could just cut that off and still have your movie and have half a million dollars in 1982." [Audience member asking question responds] Right, because in the department store it begins to look like, "Oh it was all just about people panicking and making mistakes and everything" and in the theater I was like, "Oh, thank God. It's all going to be okay." And then... [De Jarnatt] That's an important moment. I don't...I hate all those guru books, you know, of like the inciting incident or whatever. I don't even know if that...what act that's in but that's an important moment where... "Great, I'm in a lot of trouble...but at least the world's not ending. Oh shit. I'm not in trouble. We're all in trouble." We predicted it, you know, when you go out in the SWAT teams going away and you and then you don't know. You don't know till something... goes off. [Relth] Yeah, right here in the hat? [Room noise, waiting for question from audience]. [Audience question 7] Hi, I just wanted to say I happen to see it when it was first released as well right here in Westwood. [De Jarnatt] Wow. And it was a very formative experience for me. And I was wondering if you can talk a little bit about the score with Tangerine Dream and how that experience worked. [De Jarnatt] Paul is sitting right behind you. It was the thrill of my life. I mean...I wrote it to "The Sorcerer" soundtrack, you know. Only wrote it in middle a night playing "The Sorcerer" soundtrack...non-stop. So, you know, we're low-budget movie. You do a rough cut and you put temp music in there. So it was 90% "Sorcerer," another Tangerine Dream, and I think maybe a couple of Peter Gabriel "Birdie" cues or something... just sort of low things and we sent it over there and they loved it and John Daly and Hemdale stepped up and paid whatever the price which was not, I'm sure not, what was in our budget and I got to go over to Vienna and work with Paul and Edgar and it was wonderful and, you know, it was I mean, you know... Paul why don't you...you want to talk about this? Say, say something. Because it was a different experience. There's a great interview with Paul too on the... Turbine, German one, in the French Blu-ray, in the UK Blu-ray too. Wasn't on the Kino. We filmed it later. [Paul Haslinger of Tangerine Dream speaking] I mean it was a...was a long time ago. [Audience laughs]. [Haslinger] You know, it's funny...uhm...to watch it after that long of a period. And...uh... "A"- it's holding up well, you know, it's...it's... as a movie experience I can really enjoy it and still, when I look at the music, at least for a third of it I'm going, "Ahh... that could have been different." [Audience laughs]. It's just never, you can never turn it off, you know. So in a way... and, you know, knowing you over the years also. So you start a conversation and you just continue the conversation and this is just part of our conversation in a way, you know, and like a good part of the conversation. DeJarnatt and Haslinger laugh]. But...uh...but, you know, I was always curious for you to come in because we didn't work in Vienna, we worked outside... [De Jarnatt] Right, yeah. [Haslinger] an hour outside of Vienna. So you fly into Vienna...you you, you drive an hour outside Vienna... and you put into this creative environment, studio and you're basically in another world, right? How strange or different was that for you? I think it was one of my first times to Europe or something and it was great. Yeah, yeah. It was...it was, you know, that really, you know, working everyday eating there. Finally, we went into Vienna and I had sushi and flew home. That's my first European experience but it was, it was incredible because you guys had... had it all laid out and we tweaked some stuff but it was, it was more...it was nothing major. And I remember how, you know, you... you know, you put in the "Risky Business" cue in the temp music. you know, where the bird and the cigarette... and rather than be offended or going, "You can't use that," it's like, "No, we did it but we changed enough of it so it's different." And yeah, it was just everything was... cute, exactly the way we all wanted it rather than sending it to a sound... I think, the sound...the music editor just had to like, you know, cut it. There was nothing for them to do. [Haslinger] Well, actually Rick Kline was the music mixer on it who I worked with later on various movies. So, there's always a through line which is kind of interesting. But, you know, I remember watching the film for the first time with Edgar and basically going, "Yeah...you know, that's a great movie." And when that effect happens and that's been...I've been now working in films for quite awhile... it, it sort of enables whatever then follows, you know. You...you generally like the film, you respond to the film, you have a resonance with the film. The score kind of comes naturally. You know, you don't need to...just let the...need to let it flow. And that's what happened on this project. Doesn't happen on many projects, you know. You're just lucky, you know, when one of those strikes. [De Jarnatt] I think it was meant to be because it was conceived with you know, a certain amount of Tangerine Dream music and then yeah, it was just a perfect thing that worked out and I think it's amazing and I don't think the film would work. I think it would be at, like, 65% without the score. I really do. I mean I like...I love my movie but it's without that...that's, that's a major character. It's a clock. [Audience clapping]. And it's...it's...it's amazing. Thank you, Paul. [Audience clapping]. [De Jarnatt] And Edgar. [Audience clapping]. [Relth] I think this is our last question here. [De Jarnatt] I will be outside signing posters and answering any questions and stuff like that too. [Relth] Yeah, right here. [Audience question 8] I just want to say that the score is the most listened to album I own. [De Jarnatt and Relth and audience laughs]. So thank you very much Paul. Not just the most listened to Tangerine Dream album...which I own thirty of... uhm... could you, could you keep talking about the feeling... of... you did not live in the United States at that time, is that right? And so this story is...was...just coalesce's the entire '80s... uhm...paranoia about... uhm... The Cold War and what was the feeling outside the United States looking at the Russians and the Americans? Uh...how did the...what was your [unintelligible]? [Paul Haslinger] Well, it was an interesting time in Europe because it was the Reagan years here and you know many people don't... Reagan was generally liked and appreciated here. He was the exact opposite in Europe and it sort of strengthened fears about the Cold War and about possible nuclear disaster. So, you know, we were... very receptive to the... to the theme and the theme of the story. However, you know, what's really trippy for me is that at the time... even though I had toured in the U.S., L.A. was still foreign territory and it was sort of this strange, wonderful...and especially how its portrayed in this film, you know. It's a...it's, it's a strangely surreal, beautiful landscape at least through my European eyes it was. Now as a resident of Los Angeles, 30 years later, I know all the points, you know. I know all the different landmarks and all the...I know the angles that your taking for them. I feel like in a weird way I'm connected to it now but I wasn't when we made the movie...when I wrote the music. So...it's a, it's a strange double loop. That's...that happens when I watch it now and go like now, "Oh yeah, the [unintelligible] I know that." It's, it's my home turf, now. It's become my home turf. So its a... it's an interesting loop for sure. [Relth] I think that's a really beautiful place to end actually. So...uh... thank you so much for being here Steve. For letting us show this movie and for wanting this to be the home of the 30th.. [Audience clapping].