Ahoy, squirts! Quint here with a decent sized interview for your reading pleasure that I conducted with Arie Posin and Bonnie Curtis, the director and producer, respectively, of THE CHUMSCRUBBER, a low budget flick that I am quite taken with. The film opened in 9 cities earlier this month and will be going wider on Friday, the 26th of August.
Posin and Curtis presented a screening of this film here in Austin shortly before it was released in those initial 9 cities and this interview was done that next morning. We go over a lot of the film, but I don't think we hit too many huge spoilers, thanks mainly to my friend Kraken (responsible for the pics below) who missed the screening the night before. It seems every time we started talking about spoilers we would all start to self-censor to keep Kraken innocent and free of heavy spoilers.
That's about all the set up you need. I began the interview asking about the fictional video game and comic book character that is the titular CHUMSCRUBBER and we go on from there! Here is the interview! Enjoy!
QUINT: Let's start with the whole Chumscrubber mythos, this character and story that you guys came up with... the decapitated, radiated super-hero guy. Funnily enough, I think that character could actually play as a real life video game series...
ARIE POSIN: That would be great.
QUINT: What was the evolution of that idea and character?
ARIE POSIN: The idea was to sort of scrub the movie clean of pop culture as we know it in our world, so the movie has this sort of surreal feel to it, like it's not meant to be the real world. You know, you see those movies that are, like, gritty and handheld. That's its own kind of lie, pretending to be the real world. That's one type of movie. Ours is a different thing. It's a fantasy, it's like it's the world through the main character's eyes and we don't want it to feel like the real world. We want you to watch it and say, "Well, it looks real, but there's something tweaked about it. My favorite movies kinda have that feeling, like "Is this real? Am I supposed to be laughing at this? Am I allowed to think this is funny?" You know? I love that feeling.
So we took all pop culture out and made up our own pop culture, which is this Chumscrubber character. The idea was just... he's a teenager and he's a hero to the teenagers in our story because he's one of them. He survived the apocalypse brought on by the adults and even though he's literally lost his head, he picks it up and he keeps going and he uses his head to fight off the bad guys. He hasn't lost his sense of irony and his sense of humor. The idea is that if he can survive that world, then maybe they can survive their world. And if they can survive their world, maybe we can survive our world. So, it's sort of like everything trying to reflect in on itself.
And then, also, the actual pictures of it are meant to parallel the world we shot in. The houses are based on the houses where we shot and the streets are based on... you know, everything's kinda the same. There's even little things hidden in there, like... (turns to Bonnie Curtis) should I give one away?
BONNIE CURTIS: Yeah, yeah! Definitely! I gave one away at the (screening) last night... so you have to give another one.
ARIE POSIN: In the opening shot, when the houses are popping up, one of the first houses that pops up... it's not the first... I think it's three or four in... it pops up with Billy's (Justin Chatwin) green Bronco in the driveway. There's all kinds of things... it's kind of meant to reflect in on the world of the movie. That's why the voices in the video game, for instance, are voices from the movie. Voices to come.
So, the very first scene you hear the kid playing the game and you hear a computerized voice saying, "Kill him! Stab him! Get him again!" and they're literally the takes that are in the movie at the end where Billy is urging Lee to stab... him... So, everything kinda starts to reflect in on itself, which is sort of the interesting idea for me.
QUINT: I think you've gathered one of the best casts I've seen in a film in a long, long time...
ARIE POSIN: Thank you.
QUINT: ... And not just because you got some of my favorite character actors, like Jason Isaacs and Ralph Fiennes and everybody, but you also have the next generation of actors that are primed and ready to explode...
ARIE POSIN: I'm so proud of that...
QUINT: Was there a moment... and I'm thinking specifically (looking to Kraken), without giving anything away, of the big scene at the end with Glenn (Close) and Jamie (Bell)... To me, if it was my movie and I had somebody like Glenn Close and it was my first movie and I saw that scene happen in front of me, I'd be knocked back going, "Holy shit, this is in my movie!" Did you ever a moment like that?
ARIE POSIN: Oh, absolutely. But it happened a few different times. It happened early one when all of a sudden I'm having breakfast with Ralph Fiennes. You know, 'cause when I was sitting in my little apartment and Zac (Stanford)'s writing the script and I'm going through it, you know, for shots and how I want to visualize it... And I was saying, "You know who'd be really good for this character is like a Ralph Fiennes type, you know..." Because you'd never think... I mean, it's just me with a script. I've never made a feature. I'm never going to get Ralph Fiennes to be in my first movie. So, it's like a Ralph Fiennes type is what you're thinking.
And then to suddenly be at breakfast with him and he's going, "I find the role very interesting..." and he's starting things and all of a sudden I'm talking to him going, "Yeah, yeah! This is what I want to do and this is how he sees the world! All of a sudden he's like a child and it's like he's being born into the world anew!" And then he's like, "Yes, he is looking upon the world with a child's eyes. That's what I was thinking." It's totally surreal.
So, there's that moment and then on the set... you know. My first day directing was Ralph, Rita Wilson and Lauren Holly and about 7 pages of dialogue. So, you're walking toward the set and there's, like, 20 trailer parked there and you're like, "Is someone else shooting a movie?" (laughs) You know! Like, there's a 100 people that I've never met. All the drivers and all the union guys and the craft service people... I'd never met them before that day.
So, I'm walking onset and someone comes up to me and goes, "Can I help you?" "Oh, yeah... I'm working on this movie." They go, "Oh, okay... well, what department?" "I'm directing it." And they go, "Oh... Okay. You need to go to the set."
Then you get into the editing room and that, for me, is where I can't sit still. I'm watching and that scene with Jamie and Glenn... I'll tell you how we shot that...
At some point I knew I wanted a tight shot on Jamie, so he comes in and he stands in place and we do the wide... And, for me, my thing was I try to never sit with the monitor, I try to be next to the camera as much as I could because like Elia Kazan always said, "The actor needs to feel an audience and the audience is not a piece of glass. It's another human being." So, I always tried to be as close to the camera as I could.
The one thing that I did there that I knew I wanted to do was I shot all of Glenn Close's stuff first because I wanted Jamie to see her go through the emotions. What was a sort of lucky accident, a happy accident, was Jamie saw Glenn Close give this incredible performance and when we were turning the set around to shoot in his direction he was, like, out back, pacing. I had made a CD for him of the music I thought Dean would be listening to. So, he's out there listening to this CD and he's like, "Holy shit! I better be good in this scene!" You know, because he's opposite Glenn Close and she knocks it out of the park.
So, we turn around and we do the close-up of him...
BONNIE CURTIS: And Glenn was off camera...
ARIE POSIN: And Glenn was off camera doing the performance. I mean giving it! Tears and everything.
BONNIE CURTIS: Uh! That made me cry!
ARIE POSIN: So, we shot it once and it was great. I wanted him to try a little something different, so I gave him that and I lean over to Larry, the camera man, and I say, "Go in a little closer." And he's handheld and I've a tiny little monitor, a little handheld, that I can cheat on just to see the framing, and so I see him lean in a little closer.
We do the scene again. That was great, too. I mean, it's not better, it's a little bit different, but it's great. Then Jamie and I talk a little bit and "let's try a little something like this." (Jamie) goes "Okay." I go to Larry and I go, "Go in a little closer." And Larry's like, "Closer?" And I go, "Yeah." So now we're like this (He places his hands like top and bottom of a frame, the top being the top of his head and the bottom being just below the chin), you know, like barely his head.
And then the take after that I go, "Closer, closer!" So the last take is like this (his hands frame his forehead to just below his lower lip). And all of the takes are in the movie because each one, as we come back to Jamie, we're (moving in closer) until we're right there. It's part of what kind of makes that performance, is that he was good in all the takes and we keep getting drawn in. There's not a lot of people that can hold a close-up like that.
The same thing with Camilla Belle. Where that scene in the bedroom when they're... (looks to Kraken) not to give anything away (laughs), but there's a shot there that there's literally... I think there's, like, four actresses in the world that could hold a close-up that tight.
QUINT: She's got some eyes on her, that's for sure.
BONNIE CURTIS: She's beautiful. A movie star.
ARIE POSIN: She's extraordinary.
QUINT: Could you talk a little bit about the visual style of the movie?
BONNIE CURTIS: Oh... I wanna hear this!
ARIE POSIN: I grew up... My dad was a director in Russia. You know, Russian directors take cinema very seriously. Russians take everything seriously, but film... they take it very, very seriously. And part of the byproduct of that is that we weren't allowed to have TV growing up because... Just like there is good food and there is junk food, my dad thought there were good images and there were junk images and he didn't want us growing up on junk images.
Whatever it is... if it's like a 3 camera show or something, you fill your head with certain types of images. They felt so strongly that if you're going to see filmed images then they should have purpose behind them, you know, like a vision. Which is harder to get in TV, particularly like serial TV where they're doing an hour a week or a sitcom.
So, with that in mind, when I was doing this it's like I kept hearing his voice saying, "You better have a reason for everything you do." You know, if you put a camera here (mid-level) or, like, a foot higher, that's a different shot and that's gonna feel a little different. Or if I'm shooting this scene and this scene is a director and a producer is talking to a journalist and they're hoping an audience comes to see their movie, right? That's the subtext. But, you know, those lamps are lit. That's a choice. We could turn those off. We could close the light so you're a little bit in darkness or we could shoot over this shoulder and see outside that it's Austin or we could shoot over that shoulder and see the wall. All of those things have an affect on how the movie comes into you.
So, I tried to think through every shot in the movie and part of that is the idea that the theme of the movie is that adults and kids live in two separate worlds, parallel, but separate worlds, they should experience the world differently. The parents think they're living in paradise and the kids think the opposite a lot of the time... they should be shot differently.
The other big theme for me was that the adults in this world tend to be immature or childish and the kids tend to be very mature and adult and sophisticated for their age.
QUINT: I noticed in the film you have a great scene with the "spiked" casserole (the food is spiked the Ritalin-like drugs the kids are taking)... Where the drug does wonders for the adults, but seems to be ruining the kids.
ARIE POSIN: That's right. It's all backwards. It's this topsy-turvy backwards world. So, the idea is like... with the adults they live in a two-dimensional world, so all the scenes with the adults there's no moving camera. It's all stationary and if there's any movement it would be a zoom, which only kind of makes you feel two dimensional even more because everything's zooming.
Whereas with the kids the camera is kind of flying around and there's a depth because they live in this three dimensional world. So, even though they may be in the same room, in the same house, the same neighborhood, the way they experience the world is very different.
Then there's a third way which is when they're in a room together which is like the camera's zooming with the adults and moving with the kids. That's at the beginning of the movie and what begins to happen is, as things are breaking down, those rules begin to break and they begin to cross-over.
Like, with all the kids, I shot them slightly below eye-level, so we're looking up at them the way we look up at adults when we're kids. Then with the (adults) we shot them slightly above eye-level looking down, the way you'd look down at a child.
BONNIE CURTIS: Except with Allison Janney.
ARIE POSIN: Well, yeah. There are times when the camera, like in the Allison Janney scene in the garden where she actually puts words to this theme and she says, "What would it be like if we switched roles? You would be the parent and I would be the child..." The camera starts with an adult point of view on her, but as she's talking about what it'd be like if she was the child, it dips down below eye level and suddenly we're looking at her the way we look at the kids in the movie, so the cinematography added a lot to do with that, too.
Then the other thing is, too, is that I hate movies that telegraph what you're supposed to be feeling or how you're supposed to take it. I love movies that allow me to bring me to it, you know, and if I see it in a different mood or at different times in my life, this year and next year, I'm gonna take it a little bit differently each time, ideally.
With this movie, part of it was it's dealing with some dark themes, but we shoot it in this bright, beautiful sunlight and it's a little confusing. It doesn't tell you how you're supposed to react. Different people react differently. As we're doing this tour we're finding that audiences we're finding that audiences are taking it differently. To teenagers it tends to be very real. To a lot of the adults it plays more as a comedy. Then you get them talking to each other...
That literally happened at a screening two nights ago in Dallas where this guy said, "I really liked your movie, but..."
BONNIE CURTIS: "But I had one big problem with it."
ARIE POSIN: "... My problem was I thought the adults just seemed kinda stupid and out of it." And his 18 year old daughter standing next to him, she goes, "What're you talking about? That's you!"
BONNIE CURTIS: Arie and I were both like... "Our work is done. Discuss!"
QUINT: "Thank you, dear."
ARIE POSIN: Exactly! (laughs) That should be our ad! It shouldn't be footage from the movie, it should just be that.
QUINT: Now you just gotta shoot a new commercial.
ARIE POSIN: If only we had a commercial! (laughs) You know, the movie doesn't come from a cynical place. No one who worked on this movie did it for the money because no one made any money! People worked for scale or for free. Everyone worked for less than what they're worth, that's for sure.
There's stuff that we should be talking about that we're not. That was really the motivation to make the movie. Here's the funny thing. Originally the idea was, "We're never gonna sell this, no one's ever going to make it, so let's not even try. Let's just come up with a script that's exactly the movie we want to make and I'm going to go out and direct it." I was going to put it on credit cards and shoot it on video with my friends and just make it. Because we though, "Who's going to give us the money to make a movie about everything that nobody wants to talk about?" You know? But hopefully we do it in an entertaining way.
QUINT: Well, what all fell into place specifically at the end that got you your budget?
ARIE POSIN: The first thing was Lawrence (Bender) and Bonnie. That was, honestly, the first thing because until then we were just a couple guys with a script and a dream.
QUINT: So, you just sent the script out to a bunch of producers in Hollywood then?
ARIE POSIN: No. I was going to make it. I had been writing scripts... I graduated from film school in '93, so I had been writing scripts for 10 years and trying to break in. I literally reached a point where it was like, "What am I doing? I keep writing scripts and I don't even want to be a writer. I want to direct and I keep writing scripts hoping someone will buy a couple scripts of mine and then some day maybe let me direct a movie."
I just reached a point where I was like, "I don't want to do that anymore. I need to direct. I need to be on a set. That's what I do. That's where I feel my skills are." And I met Zach and he and I really hit it off and the same kind of themes were really boiling inside us. We said, "Okay, you'll be the writer, I'll be the director... Let's make a project and we'll go make it ourselves." So, the idea was not to give it to anyone, not to send it out to everyone.
Just before I was about to throw it on the credit cards my girlfriend said, "You know... just before you do that why don't you just pick 5 people, 5 producers that you think are right for it and just send it to them. Don't send it to everybody. Send it to 5 and if all of them pass, then go make it." I was like, "Okay."
So, I sat down, I started thinking through the movies that I love and the things that I know about different producers. I didn't know Bonnie at the time, but I knew of Lawrence. I knew that he was very filmmaker friendly because Quentin (Tarantino) has been with him from the very beginning and to go through PULP FICTION and all that stuff and stick with the guy was, like... This is the kind of producer a filmmaker really loves. And that meant a lot to me 'cause this is not aimed at the blockbuster market, CHUMSCRUBBER. It's really a filmmaker driven movie. I thought I really love that about Lawrence.
The other thing is if you look at what he's done, movies like CRASH and WHITE MAN'S BURDEN and he's got a new one coming out called INNOCENT VOICES and they're movies that kind of have a conscience and a social consciousness that I think was where CHUMSCRUBBER came from, so we sent it to him.
It worked its way up. His assistant read it, his director of development read it... you know different people in his company and finally, it landed on his desk. Three weeks later I got from him literally saying, "I read the script. I love this project. Who are you?"
BONNIE CURTIS: "Who the hell are you?"
ARIE POSIN: "Who the hell are you?"
BONNIE CURTIS: That was the direct quote.
ARIE POSIN: (laughs) Me, I'm like, "Oh, my God! Lawrence Bender's calling me!" But he watched the short that I had done the year before that had done the festival circuit and won a bunch of awards. I met with him and he said, "You know what? I love it. I want to do this, but I want a partner. If you're cool with that, let's go out and find that person." I said, "Great."
One of the first calls he made was to his agent, a guy named Mike Simpson at William Morris. He said, "I'm going to this movie CHUMSCRUBBER" and Mike said, "Whaaat?" And he said, "CHUMSCRUBBER. It's a great script." And he told me about it and he told him about me. Mike had actually seen my short and was like, "Oh! I love that guy's short! It's great!" So, he was excited about it and Lawrence said, "I want a partner" and Mike said, "A friend of mine, Bonnie Curtis, she's the best producer in town and she's looking for something. Something like this."
BONNIE CURTIS: I had just gone and visited Mike, like, two months prior. I was getting the message out in LA that, yeah... I've been with Steven Spielberg for 15 years, but I've sat with Steven and I've not got my own deal at Dreamworks and I really wanted to make lower-budget... I just... There was something that I was missing. Steven's experience was incredible, but I have learned in hindsight that there was so much about filmmaking that I hadn't learned yet. So much just happens around him, but the real skeleton and meat and bones of how things are put together that I happen to be the kind of person that needs to know. "I gots to know! Is there another bullet in the gun! I gots to know!" I do!
ARIE POSIN: This was the skeleton!
BONNIE CURTIS: But I said to Mike that I really want to do independent film. I want to make the films that I grew up loving, that really got me addicted to movies. And so, he said go meet Lawrence Bender. He said, "Don't tell him that I told you, but he's got a script that I think you're going to love. Go over there on a general meeting and if you guys hit it off..." and I was a huge fan of Lawrence. I feel about Lawrence the way Arie did. That was a definite common thing at the beginning. It was like, "Yeah, Bender? Let's do it!"
So, I found Lawrence to be really straight-forward, really honest... Nice. Just a no bullshit guy. I just really loved that. I'm from Texas! I love that! At the end of the meeting he goes, "I got a script I want you to read," and I was like, "Yeah! Score!" (To Arie) See, I had to try out, too. (laughs)
And so, I read the script that night and I called Lawrence the next day and I said, "I want to do it." I met Arie that day. The reason I liked Arie... I mean, I'm very spoiled. I've only worked with Steven Spielberg. And I had met, probably, 50 directors in about a six month period and the reason Arie stood out for me... Not only had I read this incredible piece of material, but the reason he stood out to me is he came in the room talking about movies he loves and why he loves them. He talked about it in the way that I feel. It reminded me of Steven. It wasn't walking in going, "What can you do for me?" He was very humble.
When it really hit for me was months into us going around to film festivals trying to get money, he happens to drop the comment to me that he hung out with Billy Wilder for 10 years. Now, wouldn't that have been your lead? And we're sitting in Toronto in this bar...
QUINT: And you went, "You're lying your ass off. You would have mentioned this before!"
ARIE POSIN: (laughs)
BONNIE CURTIS: Sixty people had told us, "No, you'll never make this movie."
ARIE POSIN: Sixty financing companies...
BONNIE CURTIS: Financing companies said, "You realize this is never going to happen." And then he was like, "Well, yeah... Billy Wilder used to say the greatest thing to me..." And I'm like, "Wait a minute. I do want to hear what Billy Wilder said to you, but what the fuck are you talking about?!?" And the quote was, and I know you'll love this, "Every great film is a bitter pill covered in a lot of sugar." You know, the audience has to enjoy themselves, but then hopefully a couple of weeks later as the digestion occurs they get to the message.
I love that. Those are the movies I love and I love Wilder. But that, I remember going back to my hotel room that night and saying, "I really like this guy." Because that wasn't the lead. That's not what was important to him. He was honored by his relationship with Billy Wilder. He would never whore that out... Notice he didn't mention it and he's being very quiet right now! (laughs)
But that was very important to me. He and I share almost a reverence of film and what film is. And a passion for the theater experience to not leave this country. So that's really been exciting for me.
QUINT: So you have it opening in 9 cities this weekend and then it's opening wider later? What needs to fall into place for it to go really wide?
ARIE POSIN: Enough people have to show up (in those 9 cities) to give them a sense that there's a demand for this movie out there, that there's an audience for it. If they get a sense based on the numbers that come back to them... you know, numbers are black and white. Tickets sold, that there's an interest in this movie. Then they'll unroll it a little bit more, then they'll see how that goes.
QUINT: Do you have any guarantees beyond what's already scheduled?
ARIE POSIN: There's no guarantee in the independent world.
BONNIE CURTIS: Yeah, we've verbally been made some promise, but I've been verbalized...
ARIE POSIN: But they are benchmarks. It's like, if this then this. You know, we're supposed to open in LA, New York, Chicago and San Francisco on the 26th of August, but that's not written in stone. That's written on the wind. If it makes sense, based on how it does this weekend, next weekend, then that'll happen. There's a path that leads there that we can see, but to get on the path, we've got to go through the gate and the gate is this weekend.
BONNIE CURTIS: I feel extremely optimistic and passionate about what we're doing because even if we're not as successful as we'd like to be on this venture, I think it's going to start a process that is very important for the film business, speaking with my producer hat on. The thought of opening not in LA and New York with a little movie is a bit rebellious in a way and I like that. Not having LA & New York tell the rest of the country what they should see or make your mind up for you, but much in the way you guys are on Ain't It Cool, everybody should have their own opinions.
ARIE POSIN: It comes from the fans in the audience.
BONNIE CURTIS: I mean, we're in Seattle, Portland, Sacramento, Phoenix, Austin, Dallas, Orlando, Milwaukee and Minneapolis. We're in 25 screens. We've broken it down. If a thousand people per screen show up for the weekend. This weekend! Per screen. Per day. From Spielberg to that! (laughs) But that's exciting to me, because at the end of the day... You know, they spend $100 million to market a film and nobody shows up? What does that say? You're really out of touch.
So, it's exciting to me and I hope that the rest of the country will show up and the film fans will show up and if they love the movie will embrace it, email everyone they know. Like what happened with NAPOLEON DYNAMITE and what happened to GARDEN STATE. I mean, that is so important so these films keep getting made.
ARIE POSIN: Although, both of those had a much larger marketing push than we have right now for this movie.
BONNIE CURTIS: Yeah, absolutely. Well, NAPOLEON built over a long period of time. GARDEN STATE had a pretty big marketing budget initially. But it frustrates me because I don't think there's any reason a film with this calibre of cast and this good of a heart at its center shouldn't be made and be this hard of a battle.
ARIE POSIN: But the audience will decide now. That's were it comes down to.
BONNIE CURTIS: We have become The Chumscrubber! Is my head still attached!
QUINT: What are your favorite dirty jokes?
BONNIE CURTIS: It's a bit juvenile, but it's my favorite dirty joke. My favorite dirty joke is this little kid is standing in his mom's restroom one day and she's naked. He says, "Mommy! Mommy! What is that?" She goes, "Those are headlights." He says, "What's that down there?" She goes, "That's my garage."
Time goes on and he's hanging out with his dad in the bathroom. His dad is taking a shower and he goes, "Daddy, what's that down there?" He goes, "That's my car."
So, the little kid can't sleep one night. He wakes up and stumbles into his parents bedroom and turns on the light... "Mommy, Daddy... (Gasp)... Mommy! Mommy! Turn on your headlights! Daddy's car is parked in your garage!"
[Everybody laughs]
ARIE POSIN: Mommy's headlights weren't on?
[Everybody laughs harder]
ARIE POSIN: I'll tell you my favorite, but I haven't told it in a long time, so I'm gonna get it wrong.
So, Alberto Ferrari goes up to Heaven and... Is that his name? Ferrari, the guy that invented the car... He dies and he goes up to heaven and God is up there. Ferrari gets up to the gates and says his name. St. Peter says, "Oh! He's been waiting for you! He's been waiting for you!" And they usher him straight into God's palace.
He comes to see God and God says, "Oh, my God! Mr. Ferrari, I'm so glad you're here. I have to tell you... I'm a big, big fan." Ferrari says, "Oh! You are a big fan of mine? I am so honored! God, you are a fan! I can't believe it!"
And God says, "Absolutely, I'm a fan, but I have to ask you. The chrome that you had around the side of the 1973 Ferrari... I didn't think that was great."
"Oh, you no like the the chrome! God, you know we take the chrome off. I never liked the chrome, either. I'm so sorry!"
And God says, "Well, I just wanted to let you know."
And he says, "You know, God, I have to tell you... You know the woman?"
God says, "Yeah..."
He says, "You know, she is beautiful. The breasts and the body! It's all very beautiful and I love the woman!"
God says, "Well, thank you very much."
He says, "But I have one little problem."
God says, "Oh, you have a problem with my creation. What's the problem?"
And Ferrari says, "Well, I think you put the accelerator too close to the exhaust!"
And there you have it, squirts. It took me a second to get the joke, too. Just think about it for a tad and it really is very good.
I hope you enjoyed the interview. The flick opens wider on the 26th and I hope you guys go out and see it. My understanding is that New York isn't getting it until mid-September, but I think the rest of the cities mentioned are still on track for the 26th. There have been some criticisms of the film (some I don't believe it has earned), but love it or hate it you won't think it's a cookie cutter Hollywood flick, that's for damn sure.
Anyway, I've got even more interviews and review to pound out, so keep an eye out for those. They'll be hitting very soon. Until then, this is Quint bidding you all a fond farewell and adieu!
-Quint
