Andrew Hyatt, director of The Blind and Full of Grace, argues Christian films often shy from sin, suffering, or sex—like his $10M-opening-day prequel to Duck Dynasty, which rawly depicts Phil Robertson’s addiction and family chaos. He critiques sanitized faith-based cinema, comparing it to Catholic art’s lost symbolism, and praises secular filmmakers like Scorsese for tackling human darkness. Hyatt’s career—built on passion over education—proves great Christian films demand authenticity, not just moral messages, as audiences crave stories that reflect real redemption amid struggle. [Automatically generated summary]
Welcome to this week's interview with Hollywood director Andrew Hyatt, who is an extraordinarily talented guy.
I met him a long time ago when his, I believe it was his wife, asked me to attend one of his films.
And I'm always being asked to read books and attend films.
I never do it, but Andrew's wife is incredibly good looking.
So, you know, and I'm a sucker for a pretty face.
So I went and I thought like, wow, this is a guy of genuine talent and real ability behind a camera.
And his career subsequently has borne that out.
On the all-access I did last week, I guess it was, you know, people come on who have all access subscriptions to the Daily Wire and they can ask questions, any question they want.
And somebody asked me why Christian films are so bad.
And I said one of the reasons that they're at least mediocre, we should say, is that they don't tell the truth.
And the great Christian art tells the truth.
It tells about suffering.
It tells about the things that people do that are fun but sinful.
It tells the fact that they talk about sex.
They talk about murder.
The great Christian works like Dostoevsky's Crime and Punishment was one of the key things that turned my heart toward Christ is a story about an axe murderer and his basic love affair with a prostitute.
And I always joke that if you went into some of these Christian bookstores and said, could I have that Russian book about the axe murderer and the prostitute, they would look at you like you were out of your mind.
Andrew Hyatt has made films about Paul, the apostle of Christ, and full of grace, that it is about Mary, the mother of God.
And his films are incredibly beautiful to look at and really, and he often writes them.
But his newest film is called The Blind.
It's out in theaters now, and it was a surprise hit.
I think it was number one on his first day of release.
It's made over 10 million bucks as an independent release.
It's a small film.
And I have to say, I think it's some of his best work.
It's a prequel to Duck Dynasty.
It's about how the guy who runs the Duck Dynasty became the guy who runs the Duck Dynasty.
And it's a very, it's a disturbing story, a story of sin and redemption.
But the fact that it's so honest in its depiction of what this guy did and what he was like is what gives it its energy.
And it's just got Andrew Hyatt's eye, which is an amazing eye to have behind the camera.
Andrew, it is great to see you.
How are you doing?
I'm doing great.
It's great to see you.
It's been a bit.
It has been a bit.
Every time I see you, you have like another tattoo.
I don't know.
I'd like to summarize.
So how do I stop you from doing this?
It's how I count the days and the months and the weeks with all my children running around driving me nuts.
Yeah, you only have like 15 now, right?
Yeah, it's about there.
It's about there.
So yeah, five little ones.
And yeah, just it's, I'm happy to be here.
It's great.
Yeah, no, it's great to see you.
It has been way too long.
You know, I was watching The Blind, and I do think it's some of your best work, which surprised me.
I'm not a Duck Dynasty fan, just to be honest with you.
And if you weren't connected with the film, I just wouldn't have been that interested in seeing it.
But from the first shot, from the first shot, it's a visually captivating film.
It is a film of tremendous humanity.
And your eye is always great.
I mean, I just think you're an enormously talented guy.
How do you, when you heard that this is what they wanted you to do, did you have a moment?
You've made these films that are of such serious subjects.
When you make a film about the Virgin Mary, you know, you're really on the dime.
Because if you get it wrong, you're in big trouble.
But, you know, you've dealt with these serious, heavy subjects.
And this is, it's a serious film, but it is a film about a TV star.
Were you worried about that?
It's a great point because when they first came to me with the script, it actually was a bit more anecdotal, a bit more of the humor, a bit more maybe of what the show kind of was about.
But I had seen Phil Robertson's testimony that he gave at some, you know, mega church or something.
I'm sure he goes around and does it all the time.
But I was shocked.
I didn't know any of that stuff.
I didn't know about his addictions.
His his just yeah, it's absolute sin and kind of the grittiness of that particular story because, you know, maybe in the books they talk a little bit about it but there's not.
There's not much that you would glean from the show, right as far as wow, this is where this family came from, and this kind of the, the darkness that they walked through with with Phil's journey, and then the redemptive nature which, without you know, none of the Duck Dynasty stuff would have happened.
Right, there'd be no uh, there'd probably be no family to, to be totally honest uh, with you.
So uh, once I saw Phil's uh testimony and his story uh, maybe it's always my fault, maybe I make these things so serious, because I was the one that said hey, we should probably tell tell, you know air, Phil's dirty laundry here, uh.
But the family was supportive right from the beginning, which is amazing right, I mean, that's amazing to to share with the world.
Here's the worst parts of me um, here's the worst part of my life uh, but there was always this spirit of, look, if it's going to help people that are struggling, that are wrestling with their own demons then um let's, let's go for it.
So uh, so you're right, it kind of does fit into the canon of of everything I deal with, somehow ends up with deaths and and drugs and I don't know.
There's some something repressed in there somewhere.
But uh yeah no, it was a journey, but but one of the things that makes the film work so well interestingly, one of my big complaints about all Hollywood films is that all women now have to be strong and when they say strong, what they mean is manly.
They don't mean strong like women are strong.
They always have their hands on their hips like men and they're punching people and all this stuff.
It's just, it's just nuts.
I mean it has nothing.
It's not that there is not a woman like that is that women are not like that.
And one of the things that grabbed me I think it's in, it's got to be in the first 15 minutes of the film is the.
The lady who is going to become his wife goes and visits his mother who is mentally ill and she's violently mentally ill, frighteningly.
Scenes about that are very frightening and very realistic and she does something that only a woman would do and she, she just walks into it.
She just walks into it and she kind of takes control of it and she takes control of it in a way that only a woman would do, and I I actually teared up because I was just sitting there going that that is is what I know about women.
That's, when somebody says to me, a strong woman, that's the kind of thing that I think of, because it was so real, so feminine and so well acted and and shot, and all that stuff.
I that that though, really informs it.
I mean, were you thinking about that, or is that just something that grows naturally out of the story?
No, I think one of the things that really drew me to the story was, you know, the Miss K character the, the real life character um, as you put it, she really is the hero of the story.
I mean, Phil's redemption and his struggles and coming out of it is incredible.
That's an incredible story to tell.
But then you have this, you know, as you say, this unbelievably strong, quiet woman who really is the one that carries the whole family through.
You know, she gets kicked out at one point and she's taking care of the three boys all on her own, but never complaining, right?
Always just, okay, I have to make the best of this situation and I'm going to do it.
I'm going to take care of my family.
And like you say, early in the film, when it's, how can I help Phil?
I'm falling in love with Phil, but there's a bigger issue going on with his mother.
So how can I step in and support him in that?
I'm just blown away by that.
Why We Tell Redemption Stories00:05:23
You're totally right.
We just don't get those stories that are about here's a couple that one's struggling, one stepping in, one struggling, one stepping in.
And they really have supported each other in their marriage for what's been 50 some years, which is incredible.
Yeah, no, it's really remarkable.
It's really an interesting, refreshing, refreshing character to see.
I'm sure that most women will be able to look at that and see more of themselves than you see when Gal Gado is beating people up or whatever it is.
I want to pause for a minute and just let people take a look at a trailer for the film so you can see at least some of the visuals that are amazing if you're watching, if you're watching this, but at least you can hear, get a taste of it.
Hear these rare stories.
Well, how the impossible happened.
This guy carried.
I feel.
Well, promise to love.
And be with you forever.
This is one of those stories.
Do you just about anything you set your mind to, Phil Robertson?
Help me.
It is to drink.
He becomes the devil's son.
You know that ain't your brother.
Fine thing to preach a man around here.
I heard you might be needing one.
We're fine.
I don't think we are failing.
I ain't the problem.
You're the problem.
Yeah.
So let's, I want to come back to this question that was asked of me the other day about Christian movie making, because I know you and I have talked about this over the years from time to time, but it is a difficult thing to do.
The audience to some degree, insofar as there's a big Christian audience, sort of demands that Christian films partake of what Schopenhauer called banal optimism, you know, that like every, it's got to be family friendly.
It's got to be kind of happy.
It's got to have a happy ending that this is all going to turn out okay.
When a movie came out called The Revenant, which I thought was a really good Christian film, but it was filled with violence and murder and all kinds of things.
And I said, this is a terrific Christian film.
Christians screamed at me.
I mean, really, for weeks, I got mail about that.
When you're in the industry, when you're in there working with people and you're working with faith-based parts of the studios and such like that, what is your approach?
How are you trying to get to the film you want to make?
I'm going to get in trouble for saying this probably.
I think that a lot of faith-based filmmaking is just reflective of where the American church is at.
I think we try to constantly sweep these things under the rug every Sunday.
But we know there's people wrestling with addictions and sex and drugs, you know, all the things, all the sinful things.
But we just don't want to, we pretend it's not there.
And I think it leaks into our art.
It leaks into our films, our stories, our books, our novels, if we're not careful.
Even our inspirational devotional guides that are just such, as you say, they're just such vanilla.
you know, banal stuff.
And, you know, Andrei Tarkovsky is my favorite filmmaker.
I think we've talked about Tarkovsky a bit, Russian filmmaker.
And he had such a specific purpose of what he felt film could do, the medium of film could do.
And that was not only to hold a mirror up to ourselves and sort of reflect our own humanity so that we have to look deeper in ourselves and sort of really figure these things out.
But he really had an even deeper purpose of filmmaking.
And as a Christian, you know, he's a Catholic guy.
And it was, he really believed that it was to be there to prepare people for death, which sounds so dramatic.
But if that's where we're all going, you know, how do we use a tool like film?
How do we use a tool like art and beauty and truth to prepare people for that, to get them to a place where they can look at their life and say, yeah, maybe I've been through it all.
Maybe I've struggled, but I'm ready.
I'm ready.
I've changed.
I'm become a better human, a better, you know, my humanity is revealing itself finally.
So those seem like heavy themes, but it always pains me a little to see, you know, it takes so much work to make a film.
It takes so much work, as you know.
And when it never really dives into the grittiness or the mud of life and really teaches you something or helps you process something, I want to say it's a waste of time.
I'm going to use that phrase.
It's probably not fair, but it feels like a waste of time.
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You know, I took a friend once to a museum in Pasadena.
Really, there's a nice little museum there that I've always loved.
And without thinking, with no religious thought in my mind at all, I took him to see a painting that I just absolutely love, which is a painting of Joseph with the baby Jesus.
It's a great painting if you're ever in Pasadena.
And it's this old man holding this baby and the man's face is just irradiated with joy and the baby is playing with his beard.
And my friend is an evangelical and he turned to me and he said, why is he so old?
And I said, well, it's a Catholic painting and Catholics believe in the perpetual virginity of Mary.
And one of the ways they explain it is that she married an older man.
And he was so put off by that that he thought he just, like the painting just wasn't accurate to him.
This is not a depiction of.
Now, I don't mean to get into a religious war because we have enough of that at the Daily Wire and trying to keep people from killing each other.
But at the same time, the commitment to beauty as beauty in the Catholic tradition seems to me deeper than the commitment in the Protestant community, which started after all by basically rejecting all icons and all idols and saying, no, we have to wear black and we shouldn't be celebratory at all.
What do you think it is in Catholicism that searches, that understands beauty as part of worship?
I think, you know, I think of myself, you know, if you put yourself back hundreds of years and imagine yourself, you know, you're a medieval peasant, you can't, you most likely cannot read, cannot write.
And, you know, if you would, if you were to go on your yearly pilgrimage, you know, which would have taken days or weeks or however long, I just imagine, I constantly put in my headspace, even when I'm writing or filming something, imagining that first time you walked into a cathedral and you looked up and for the first time you saw beauty probably around you.
You know, you saw this incredible architecture.
You saw stained glass.
You saw paintings.
I just imagine how that would have uplifted you to really feel like, whoa, this is incredible.
Like what I believe in is this.
This is sending me kind of to look upwards and look to heaven.
I don't think it's much different today.
I think, you know, we're just constantly down doing this all the time on our phones.
We're not out in the fields working the land.
But it's got to be the same emotional drive of how art and beauty can lift us upwards and point to something bigger than us.
So I never really understood that let's remove it.
Even the denominations of that's evil, let's take it out of the churches.
We just want to we want basically what feels like an auditorium in college.
I don't get that because I think it's there to be, to just make us feel like this, there's something beyond me and it's beautiful.
And maybe I can't explain it because it's a bit of a mystery.
And maybe that's the word I stumbled on there is I think the Catholic sort of symbolism and mystery really is to get something stirring in you rather than as you say, well, he's not old.
So this painting doesn't matter to me.
But I do think just that importance of, you know, even as filmmakers or storytellers like yourself, you know, are we always pointing to something bigger and more beautiful than what's going on around us?
Because as you know, and I'm sure the audience is very aware, you know, if we just look around us, the world's pretty dark.
It's a pretty dark, scary place.
Yeah.
And it is, God is the God of this world.
He's not the God of Disneyland.
He's the God of the world we're actually living in.
And, you know, your picture about Mary full of grace is very beautiful.
We're talking to Andrew Hyatt, the director of the new Duck Dynasty prequel called The Blind and a really, a really gripping film and a beautiful film.
But your picture about Mary Full of Grace, first of all, you must have made it for 10 bucks.
I remember visiting the set, but it looks so good.
But I was wondering, you were very careful not to get doctrinal in it.
You were very careful to, it was a very human film.
But I'm wondering, do you get hit by people who say, because every time I mention anything religious, somebody will write to me and say, no, that's not that, that's the wrong interpretation.
That's not it.
Do you get that?
All the time.
So You just kind of have to grin and bury it, I guess.
You know, I got, I have, I have letters in my inbox and on my desk from people that saw the blind.
And, you know, this is a film about real addiction, real stumbling, a real journey.
I have letters that said, I can't believe you would have Phil Robertson drink in this film.
One of my favorite stories about Christian filmmaking is they made that terrible film about Noah in which God destroys the world because we weren't ecological enough.
You know, like no sin, there's not none of that sin stuff.
It was the Green New Deal just to get God's version of the Green New Deal.
And they told me, one of the makers of the film told me the biggest complaint they got from Christians was it showed Noah getting drunk.
And I thought, that's actually in the Bible.
I mean, if people actually read the Bible, they'd be shocked at the things that are in it.
Now, what about this?
There seem to be because of films like Noah and when they brought out the film about Moses with Christian Baal, Baal said, oh, Moses was a terrorist or something like this.
There seems to be a genuine disdain and hatred of believing Christians.
They want the stories because the stories are the greatest stories ever told, but they want to just let you know that the story is not the way it was told in the Bible.
It's really about the fact that we need to be more environmental.
And do you run into this?
Do you run into the hostility?
I know you work for mostly Christian divisions, I think.
Yeah, you know, I have a project with Universal Television at the moment that is biblical based.
And, you know, I think the only things you run up, or I've run up against is the ignorance of, I don't know the story.
So it must be about this, because how could it possibly be truly about faith or miracles or sacrifice or these sort of, you know, things that we've lost maybe in our culture?
As you say, suffering, you know, how can a story be just about suffering?
You say, well, it's a bigger story.
It's from the Old Testament all the way to the new.
It's the complete story.
So I've only run into maybe, you know, just as especially Americans, they just struggle with some of these themes that we're so used to because we're so familiar with the biblical story and the redemption and Christ's redemption of it all.
But so it is a tough balance to, you know, I always try to come at it from character, right?
As I know you do.
You just say, look, you know, if I'm going to tell a story about Mary or I'm going to tell a story about Paul or even Phil Robertson, I need to know what's going on internally with these with these characters, because once I understand them as individuals, and again, that was always missing.
You know, I grew up Catholic, but very cradle Catholic and didn't come to my faith till very late after that.
But I always struggled sitting in a church seeing these statues of these amazing heroes of the faith and saying, well, that guy, he's got nothing in common with me, you know, nothing in common.
And it's then, but the further you get in your faith and the deeper you go, you realize, wait a minute, Peter was a total screw up.
You know, what Paul was murdering people before he got saved.
What is going on here?
Why has nobody told me about this stuff?
And so I think a lot of where I come from comes from that element of, okay, I can understand now this character.
And I feel like I've had good responses from Hollywood, from the industry, when I've come at it from that angle rather than, hey, this is a story about Jesus.
We got to get Jesus in the manger and that's it.
Come on.
You know, it's, well, you know, who was Joseph?
Who was Mary?
What was going on before Jesus came along?
You know, those kind of things have opened a lot of doors.
And I just hope Christian filmmakers continue to travel the world, see art beauty.
They continue to dive deeper in their faith.
They continue to have interesting dialogue and conversations.
And I don't know, maybe we can move a little bit away from just this idea of let's all we need to do is add the sermon and the altar call in a two-hour piece, and we've done it.
We did it.
Well, I mean, you've now kind of come into a niche.
I mean, you now have a thing that people turn to you for.
I've talked to people in Hollywood.
They know, you know, oh, yeah, you know, they know who you are and they know what they want to go, what they want from you.
Is that going to be restrictive?
I mean, do you think that there are pathways?
Are there pathways forward that you want to take that you think you might not be able to take?
Or do you like where you are?
I would love to, I love, you know, what you do in your stories.
I love sort of taking these deep, heavy themes of humanity and our faith, but putting them into, I really do enjoy films.
Children of Men comes to mind.
You know, I think that's one of the most pro-life films ever made.
And yet you'd never think, you know, the way it's done and that it ever came from sort of a faith perspective, if you will, but it's got so many beautiful themes.
And I would love to do stories like that.
You know, I'd love to take real gritty stories that do deal with some tough stuff, but it's uplifting and inspiring in the end because ultimately we have the truth, right?
We know where this ends.
And I think people are desperate for it.
So, but it doesn't mean every time it's got to be about a pastor and he's losing his church or a college classroom and nobody knows Jesus.
It can take on these, you know, like you said, Doisoevsky or Tarkovsky films that, you know, are rarely, I mean, I guess with the exception of Andrei Rublev, are rarely about priests and pastors and actual Christians, but they're just so embedded in the themes and the stories that I would just love to keep pushing that boundary and kind of keep raising the bar each time, you know, as far as what we can do as faith filmmakers,
even though I really don't like using that term on myself.
But yeah.
One of the interesting filmmakers, I think, in this regard is Scorsese, because he makes these films.
I think Goodfellows is his best film and by far and really a classic film.
And one of the things that I think Goodfellows is about is how much fun it is to beat people up and kill people.
It's just fun, you know, and it really ends his punishment as he just becomes a normal person and he hates it.
And that's a remarkable thing to say.
And Scorsese is the only person who could have made a film like Wolf of Wall Street, which is all nudity and sex and all this stuff.
And at the end, you just think, oh, that's like the most joyless film ever made.
Hilarious, but joyless.
Is that something that you would like to explore?
Or is that just too raw?
Is that something that's just going to cost you too much?
No, I don't.
Or maybe not interested.
Yeah, no, I love stories like that.
You know, I love finding these stories that, because that's part of the faith too, isn't it?
Is just what you said, to lead people to realize, you know what, all this kind of sex and drugs and violence and all these things, at the end of the day, it's just empty.
It's just an empty, soulless place.
So I think there is a place for those stories in our sort of canon of filmmaking.
And I think that sometimes, and I'm sure you could say the same, as you just said, sometimes those are more impactful to me than something that maybe is just about edifying our faith or, you know, like I do love Terence Malik's films.
A little heady at times for some audience members, but I think there's a beauty and a grace to them and they almost are like poetry, right?
But sometimes I need somebody kind of kick me in the face in life and say, hey, you know, you might be sliding a little bit this way.
I just want to remind you, you know, this is where that ends over here.
And so I'm with you.
I think that those do have a place.
And again, we're going to get a lot of letters and get in trouble, but yeah.
What we didn't say was go see Wolf of Wall Street today.
We didn't have.
No, no, go see the blind.
I said you'll actually love.
Let's just talk about a bit about career because I know a lot of people are interested in this.
You know, when I, when I get asked, how can I break into novel writing?
My first reaction is don't, you know, just do something worthwhile.
But, but I know how to do that.
But I was, I was dragged into the movie business because people like my novels and thought I could bring some of that to screenwriting.
But I have no idea how to get into the movie business.
Now, you are doing something that, so not only are you, as a, as a working and successful director, you're not only doing something that very few people do it, but you're doing it from a Christian perspective, which now makes your odds about 1%.
So I'm a talented director.
I can see things with the camera like nobody else can.
What do I do?
Navigating Film Pathways00:04:56
I just think of, you know, so many moments in my career, and I'm sure it's the same for you, where whether you want to say it's divine providence or whether you want to say it's luck, I'd say the former, but you're right.
It's impossible because it just, these things start happening.
You know, I do say, hey, you want to be a screenwriter, you want to be a writer, you got to write.
I mean, that's sort of, if you're not doing that, you're not doing anything.
If you want to be a filmmaker, you need to be making something and see if you're any good at it.
See if it's something that inspires and you love and you have a passion for.
But you're right.
There's no, I mean, I even hesitate these days to tell people to go to film school because I don't even know if that's helpful anymore.
You know, but it is exciting because there are more opportunities happening.
And I think it's a young part of the industry, this whole faith.
How does faith in Hollywood mix?
There's obviously a massive audience, especially in this country, that doesn't feel like they're getting the content that speaks to them, that doesn't reflect their values.
And now you have these distributors start popping up, you know, Angel Studios or Fathom Events or, you know, even some of the studios, you know, Sonia Furman have kind of tried to find a niche in this.
And I just think we're going to see more and more of it.
I mean, ultimately, yes, there are agendas, but Hollywood loves money.
Everybody loves money.
So, you know, the more these succeed and that and the more filmmakers that kind of get that, okay, I think there's a deeper way to tell these stories.
You know, I always tell, you know, one of the basic things I tell anybody that's interested in telling stories for a living, you need to travel.
You need to go see the world because you probably don't have, as a 20-something, you probably don't have much to say.
You probably don't have anything interesting to say.
And that's the first step.
So go travel, go meet other cultures, go talk to people.
You know, I'm not advocating drinking, but go to the pub and start listening to old people and their stories.
You know, you're going to find, whoa, the world is a lot bigger than I thought.
And maybe I do have something to say, but I think it comes out of experience, right?
As you know, it comes out of living places as you did, that you just, you get a whole new perspective of life and it really informs the way you do your job.
But is there a path?
I mean, I think all of that is absolutely true and well said.
But is there a path in Hollywood?
You know, again, if I come with my carpet bag, I know what to tell a writer.
I know what doors he should knock on.
I know how he should write his letters.
I know to whom he should write them.
I have no idea.
You know, if you come with your carpet bag, when I saw the film that Joe invited me to that I came and saw, there was a one shot at the opening.
The minute I saw it, because I tried to describe it to how to do it to people, I couldn't do it, but I knew what I wanted to see.
The minute I saw it, I thought, oh, there's this guy.
There's this guy who knows how to do this thing.
I only have to see one shot to understand that you were somebody I wanted to know.
I wanted to watch your film.
How do you get to that place?
Loving films, old films, studying them.
You know, now there's, you know, you're right.
I would suggest that to young filmmakers.
There's so much resource and information now.
You know, you watch, you watch a four-hour documentary on how they did the Lord of the Rings costumes.
You know, there is so much out there to kind of glean and study.
But I would just say, yeah, you're right.
There is no path because the path is knocking on the doors and telling people you want to be a director or writer and them laughing you out of town because nobody's standing at the airport handing out cards of like, oh, you want to be a director.
Here you go.
Give me a ring.
I went and made a couple of tiny, tiny little movies, as you said.
And you figure out real quick, do I, A, do I have a passion for this?
Do I even enjoy this?
Or has this become a miserable experience?
Because it's tough stuff, right?
You're, you're freezing cold.
It's the middle of the night and people are, you know, complaining.
And you got to get a performance out of an actor that's getting paid, you know, five bucks in free soup.
You know, it's like, okay, how do I do this?
And so I was blessed and grateful that I had those opportunities on some really small things to kind of figure it out and not feel the pressure of, oh my goodness, I'm on a $10 million movie.
I've never done this.
I don't even know how to talk to the DP.
I don't know how to talk to the sound guy.
I don't know how to, you know, is this VFX or not?
I don't even know if you can do this in VFX.
You know, there's so many things that you just have to start doing.
And you just learn, you almost have to just learn on the spot.
Like, okay, I'm going to log that away for the next one.
Oh, you know, that didn't go well with this actor because I treated it like this.
I need to flip that and do this on the next one.
You know, there's just so many things.
Learning On the Spot00:01:13
So, oh, you're right.
I wish there was.
I wish there was, hey, you know, like becoming a doctor, you know, okay, you need to go take this test.
You need to go to this school.
Then you're going to get a residency and then this.
And then by the time you're ready, you're going to be a doctor.
It's just, it's so chaotic and there's just no path, which can be intimidating.
But I think also you and I talked about this even years ago.
So it's even gotten better of the technology is there that if you want to just step outside and go make something, there's really no barriers to it.
You should be able to figure it out.
Yep.
Yep.
You're right.
You're right.
All right.
I got to stop there.
The movie is the blind.
You want to see it.
It's still in theaters, right?
Still in theaters.
Yeah.
Yeah.
We're up against Taylor Swift and, you know, counter, maybe it's counter programming.
I don't know.
And you just got to wear those silver suits with the spangles on.
The director is Andrew Hyatt.
Andrew, it's great to see you and congratulations on all the stuff.
It really is looking good.
I look forward to seeing the next one.
Awesome.
Appreciate you.
Thanks for having me on.
All right.
Again, the director is Andrew Hyatt.
The film is the blind.
You can see it now.
And on Friday, you can see or listen to the Andrew Clavin Show wherever you get your podcast.