Matt Walsh and Justin Folk’s Am I Racist film, following the success of What Is a Woman?, satirizes anti-racist workshops like "white grief" sessions targeting figures such as Ibram X. Kendi and Robin DiAngelo, accused of plagiarism and financial misconduct. Walsh’s unshaven beard became a meta-joke about their perceived invincibility, while Folk praises his preparedness and humor in navigating live, no-second-take scenarios. Both credit Breitbart-era conservative media for shaping their approach, now amplified by the Daily Wire’s editing precision. The film, opening Friday, critiques how anti-racist ideology monetizes guilt, suggesting it’s less about justice than performative grievance. [Automatically generated summary]
They gonna say I'm racist, but they call everybody racist.
I guess that me nobody is racist.
Now it doesn't mean much when you say it, when you say it, they gon' say you're racist.
Hey everyone, it's Andrew Klavan with this week's interview with Matt Walsh and Justin Folks.
Justin Folk is the director of the new film Am I Racist.
I don't know what Walsh did.
He's just hanging around in the picture, wandering from place to place, bothering people like he did in What is a Woman.
I have to say, What is a Woman?
You know, because I work here, I watched What is a Woman as a favor, and then I was after five minutes, I was completely locked in.
Am I Racist looks absolutely terrific?
I cannot wait to watch it.
And I say that not really having any affection for Walsh whatsoever.
Matt, it's semi-good to see you.
How are you?
I appreciate the introduction.
And, you know, doing well.
And we're, you know, we're excited about this movie coming out.
We were talking off air just a second ago, but some some, you know, some nerves as well as this, as we get closer to their premiere.
It's like, it's a pretty big deal.
We're putting a movie in theaters.
But the response so far has been like overwhelmingly positive.
And we're really thrilled by that.
I have to say, we're taping this.
I'm going to see it on Monday, but so we're taping this before I get to see it.
The trailer and the clips I've seen are absolutely hilarious.
I mean, the minute I saw this, I thought, wow, maybe Walsh does have some talent.
I mean, this is like, I mean, it is really an amazing enterprise to have journeyed into this cesspit.
This, you know, you brought up What is a Woman, and it was a smash, and it was great.
There's got to be pressure when you start to do a second film.
Can I live up to that?
I mean, how did you kind of maneuver yourself from there to here?
Yeah, well, that was, that was a big part.
I mean, that was like the main subject of conversation when we decided to make a second movie.
And well, we knew that we wanted to like once you, especially when you're in the podcast game, as you well know, and you're kind of churning out content.
And one of the, you know, it's the nature of the business that the news cycle moves fast.
And so whatever your podcast is about today, nobody cares about it tomorrow.
And then you make a film and you see that it's like, it's possible to spend time creating one piece of content and it'll have an impact that lasts longer than five seconds.
And that's quite fulfilling, actually.
So I knew once you kind of get a taste of that, it's like you want to keep doing it.
So we wanted to make another movie.
And we knew that we wanted to talk about race because that's the other sort of big area of cultural controversy after you deal with gender and the LGBT gender ideology world.
But at least I discovered this is really the first time in my career that I had anything that would qualify as a smash success.
So I was never burdened by any successes prior to that.
But then you have a success and you realize, okay, it is a little bit of a gift and a curse here because it's great that it was a success, but now everything you do has to live up to that and measure up to it.
And we were very aware of that, very much cognizant of it the whole time.
And that's one of the reasons why we decided to not attempt to just do the same thing again, to not do, you know, What is a Woman Reloaded or whatever, a sequel, but to try a whole new approach, different subject, whole new approach, just going about it really kind of like radically different way.
And I think it paid off.
You kind of got lucky in the sense that when you see What is a woman, you think, well, they can never come up.
The problem for you is that they can never come up with any idea as stupid as the idea that a man can turn into a woman and then be an actual woman.
But in fact, they actually came up with a good one, which is that we can solve racism by racism, by hating people for the color of their skin.
And you sort of entered into that insane world.
I mean, where did you go to make this film?
We went all over.
We went all across the country.
We were filming for over a year and coast to coast.
We went wherever kind of the story took us.
And that was the thing going into it was that we were going to let these people sort of guide us on the journey because the premise, I suppose, of the film is that I'll start by asking questions, just like we did in What is a Woman.
But in What is a Woman, I remained sort of blank slate skeptical the whole way through until the end.
This one we thought, what happens if rather than being skeptical, I accept and believe everything that I'm told and then try to put it into practice and let them kind of guide us down the rabbit hole.
And that's what we decided to do.
Did they fall for it?
I mean, I don't want you to give anything away, but I mean, do you, you, you put on that wig, but other than that, you look just like yourself.
And by the way, the wig suited you.
I thought you should wear it all the time.
But thank you.
But you, you look just like you.
But did anybody recognize you?
Yeah, it looked just like me, sound just like me.
I didn't even, we didn't put on a new voice or anything.
It was a very, maybe Trump would call it a very low energy disguise in many ways, low energy and low effort.
But that was also that part of that was like necessity because I absolutely refuse to shave my beard.
And if I'm not going to shave my beard, that really limits the kind of disguises we can employ here because I'm always going to have the beard.
And that was a deal breaker for me.
But we also discovered that it ended up being kind of a meta, a joke within itself that I could put such little effort into disguising myself and it was enough to fool them.
And I think one of the reasons for that is that these people are so arrogant and so high on their own supply, I suppose, intellectually, that they just can't imagine that anybody would ever challenge them.
They can't fathom ever being in a room with someone who doesn't automatically agree with everything they say.
So I think going into it, it just never occurred to them that this could be anything other than an opportunity for us all to admire and celebrate their great intellect and their moral clarity.
Like they just, they never even thought that it could be anything but that.
And that's, that's, I think, worked to our advantage quite a bit.
What exactly are they trying to achieve?
When you say they, you mean like the DI grifters, the anti-racist experts?
I, you know, I think it's this might oversimplify it, but I think it's it they're getting they're getting paid, they're making money.
And we even put in the film, we put up on screen how much, how much money we paid them to appear in our film because we're not hiding from that.
So they're making money.
They have power and influence that they're getting out of it.
And also they are being looked to as these kind of gurus, these moral experts.
But we are going to them.
What do they say they're trying to achieve?
What are they telling you that you're going to get out of this?
Well, well, they say they're trying to achieve the deconstruction of whiteness in America, which means making America a less racist place.
But that's actually one of the problems because it's a good question.
Like, what do you ask them?
What are you trying to achieve?
We discovered they have trouble articulating that because you would think they would say, well, we want to help people not be racist anymore.
We want to have a country that isn't racist.
You'd think that'd be their answer.
But they don't exactly say that because part of the whole game here is that if you're white, you can never be not racist.
In fact, I asked Robin D'Angelo this and she says, well, in any given moment, you can be more racist or less racist, but you can never be not racist, which means that they can't even claim that they're going to help you not be racist anymore.
Instead, it's almost like they treat it like if you're white, then it's almost like a form, it's like a moral terminal cancer that you have.
And you can't be cured of it, but it can be managed.
And so they're going to manage that.
It's like a hospice care and they're going to manage you with your racism until you mercifully die, which they would like you to do sooner rather than later.
Now, I don't want to be too nice to you, but in case I need to borrow money from you later, I do want to say that you are a master of deadpan humor.
I mean, you have some of the best deadpan, you know, jokes I've ever seen.
Was it hard to keep a straight face while you're listening to this?
No, I mean, yeah, people ask me that.
And honestly, it's not because it's not because, well, Jeremy says I'm a sociopath.
And that's the reason.
Well, that's obviously true.
Yeah.
So there's that.
I mean, that helps.
But then also, in truth, in real time, making a film like this, you know, yeah, it's an hour and 40 minutes on screen.
But obviously, you know, when we're in the room and we're doing these interviews or at these events, we're talking an hour, two hours that I'm there in real time.
And actually being there, it's really quite depressing being in the room.
It's certainly uncomfortable and awkward.
And it's just depressing being around these people and hearing what they're saying and watching as these grifters are like breaking down these hapless white people that come for these sessions and race to dinner and all that kind of stuff.
And they're sitting there getting broken down and brainwashed and berated.
And it's not funny.
At the time, in the moment, it's actually not funny.
I think it's more of the problem is less keeping a straight face and more prevent stopping myself from yelling at them and lashing out.
So that's more the challenge.
You know, repeatedly, as we're speaking, you call them grifters.
They're literally grifters.
I mean, Ibram Excendi has been accused, spent all the millions of dollars that he's getting in donations.
And Robin D'Angelo, who's actually in the film and is basically the doyen of the entire movement, she has now been accused of plagiarizing authors of color, which is an amazing act.
If that's true, it's an amazing act of grift.
Do you get the feeling that they know this is what they are?
Or do you think that they feel justified within themselves?
I kind of think, I mean, I think psychologically, nobody can just look at themselves as a villain.
I think that at some level, I assume you have to convince yourself at some level that you're doing the right thing.
But I also don't think that they believe a lot of what they're saying.
They can't believe it because it's so obviously absurd.
It's almost as absurd as what the grifters and the gender ideology side of things, like what they say.
It's not quite as incoherent on that level, you know, that they literally can't define the word woman, but it's still totally ludicrous.
So I don't think that they totally, if I had to guess, I think that they know that a lot of what they're saying is not true.
They know that they're lying, but they've told themselves that it's for the greater good.
And this is what these people, this is how these people need to be treated so they can be less racist.
And so that's, I imagine that's how they justify it to themselves.
You go out on this thing and, you know, it's not written.
You don't know what you're going to see.
Was there anything that really shocked you, that surprised you, that you thought you did not think you were going to bump into it?
It's more the degree.
It's not the thing itself.
If I was surprised, it wasn't by a thing that happened.
It's the degree of it.
It's like how vicious these people are.
In so many cases, how despicable.
Again, you have the grifters and then you have the people that go to those grifters to be healed of their racism.
And those people to see how sucked into it they are.
I mean, to be in a room where you've got white people, as this happened multiple times filming the movie, white people kind of like going around in a circle confessing their racial sins and breaking down in tears as they talk about incidents of them being racist.
And none of those, and none of the stories are actual stories of racism.
It's just them being normal.
And they are broken up with just beating themselves up with this idea that they've been racist.
So I think maybe that part of it, it's like it's actually to see the grifters, they don't surprise me, but the people that buy into it, to see how much they've actually, I think, bought into it, that they really believe it.
They're true believers.
Maybe that's the most surprising thing.
And obviously they're all white people.
Did you get a sense of what their economic status was, where they were coming from?
Yeah, I think that these are mostly upper, middle class, middle to upper class, probably even mostly like upper class white people that get into this.
We also in the film, we went, we wanted to get a good cross-section of America.
And so we went to lower income.
We went to a biker bar in the South, you know, and these all white people, the Confederate flags hanging on the walls, certainly not, I don't think financially upper class people by any means.
We talked to them.
We went down to the poor black communities in New Orleans and talked to people there.
And in that case, we got a very different, it's a very different picture.
And these were people, both the white and black group, were people who are really very far outside of this bubble.
They don't know who Robin D'Angelo is.
They barely have even heard of DEI.
You talk about systemic racism and they don't even know what that word means because they've just never encountered it.
It's not part of their daily life.
And so I do think that this is, you know, this is an upper class thing.
And if you're in, you know, if you went to college, you're going to be exposed to it.
If you're in corporate America, you get exposed to it.
And so, yeah.
So I have to ask last question.
You go to these people and some of these people are big.
They're making big bucks.
Have you heard or has Josh from Legal heard any response from them?
I mean, are they after you to shut this down or do they, do you expect to get some lawsuits out of this?
Who knows?
I mean, who knows what the future holds?
Why We Talk About Lumen00:03:23
It's always an adventure.
As far as I know, we haven't heard anything.
They haven't been, you know, the trailer's been out and we put clips out and they haven't said anything.
In fact, it's been the opposite.
Robin D'Angelo took her Twitter down.
Cyra Rowell, who runs Race to Dinner, is in the movie.
She took her Twitter down.
So I think their strategy right now is to say nothing at all.
The truth is that I don't know if that will last.
I think they're probably going to have to say something, but there's not a lot that they can say because we didn't.
Now, if they could come out and claim, oh, I was deceptively edited.
I never said that.
They put words in my mouth.
Then they would certainly say that.
But they can't say that because we didn't do that.
And all we did was portray them as they are.
And we captured what they actually said and what they did.
We have it on screen.
There's not a lot they can say about it.
So I think that their strategy right now is to kind of hide under their beds and wait for this to go away.
I don't know if they're going to be able to do that for very long, though.
Yeah.
Well, listen, what does a woman really change the conversation in the country?
There's no question.
And I have no doubt this will do the same thing.
And it's only it's the only thing that's kind of amazing is that nobody else is doing this, you know, that no one else has the guts basically to go out and face these people in their dens and bring them out.
You are a sociopath.
I think that does help.
I mean, that's that's really it's your gift, I think, to the world is your sociopath.
It's my secret, it's my secret weapon, I admit.
Well, it's good to see you.
I know the picture is going to be a smash, and I hope you'll still talk to us.
You don't have to, but like, you know, if you think of it, it would be nice if you still talk to us after you become even bigger success.
Well, you can, you can talk to one of my assistants and they'll possibly be in the show.
Appreciate that.
It's good to see you, Walsh.
Soon.
Thank you.
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So, I also want to talk to the director of the film, Justin Folk.
And of course, when I say I want to talk to Justin Folk, it's a little bit of an exaggeration.
I've worked with Justin Folk, I know Justin Folk, and no one would say that he wants to work, you know, want to talk to him.
Justin, I think, got his start.
He can correct me if I'm wrong.
Getting Creative Ground00:09:59
When I was getting my start as a commentator doing my Claven on the Culture videos for PJ TV, what made those videos work as well as they did, and they really did work gangbusters, was that Justin was not only directing them, but also animating them.
And so I was working very closely with him.
And after years of rehab and psychotherapy, I've gotten over that experience so that I can almost face him.
You may notice I get a little twitch when I talk to him.
But aside from that, Justin, it's good to see you, pal.
I have to tell you, I am not surprised at all to see you turning out what looks like a great film.
Thanks, Andrew.
Thanks for having me on.
And I'm sorry for bringing up the PTSD and making you suffer through this all over again.
No, listen, I mean, we got into this.
We seemed to kind of get into this together.
And here we are years later looking back.
And I really actually look back fondly to what we did together on Claven on the Culture.
We, you know, really kind of got this political commentary stuff going.
Your monologues were always dead on.
I mean, they still are, but I just, I just really appreciated that time of being able to be creative in the war of ideas.
And, you know, we still are.
We still get to do that.
But that was, that was a really great experience and a growing experience for me.
And really, really value those years and kind of looked up to you as a creative mentor in a lot of ways.
So thanks for that.
That's, you know, ruins my reputation, but But it's kind of you to say, and you know, I don't think it is bragging at all to say that those videos changed the way people did commentary and really set a new tone on the right, which I was really proud of.
And, you know, when I was hired away from PJ by Glenn Beck, and I love Glenn to death, but he wouldn't bring you with him.
I said, you don't understand.
It's not me doing these videos.
It's me and Justin.
And those, they never worked again as like they did when you were doing them.
And it just, it was, it was great work.
It really was.
And you, you drove me insane, as you can see.
But I think I'm glad we could sail upwards together.
Exactly.
Exactly.
So let's talk about this.
This is really, I mean, first of all, you have Matt Walsh who walks into these situations.
He seems to be unflappable as he goes in to confront these people.
How do you feel about that?
Because you always had a strain of that yourself.
You used to tell me about some of the pranks you would pull on people.
And I won't say them because I know the police, there's still warrants out for you in several states.
But you really have no qualms about going into these situations.
It's just a lot of fun.
I mean, you're right.
I mean, I think the statute limitations have worn off on some of those things.
But I always enjoyed sort of challenging authority.
And in doing so, just sort of like getting into places and situations that maybe I shouldn't be and challenging authority.
And it's great to make a living at it now, honestly.
And really, when you look at it, it's the left that is the authority today.
I mean, they control all the major institutions.
They run academia and the media and everything else.
And so it's a real opportunity for me to sort of be that same guy I used to be, have some fun, have some laughs, but actually do maybe some good work and attack some bad ideas.
And Matt has just been a phenomenal partner and all that.
We basically share the same sense of humor.
And in a lot of ways, we encourage each other and embolden each other a bit, although he is a stone-cold killer in those moments.
And he needs treatment.
Nobody can.
Yeah, exactly.
But I just, I'm happy to provide the playground for him to play in.
And so far, it's turned out pretty well.
But yeah, there's a lot of stuff we can't talk about that I kind of wish we could, but it's just been a lot of fun.
It's been challenging, but it's been a lot of fun.
So you walk into these places where they're selling this idea that they're going to sort of cure your whiteness.
Or I still don't understand.
I asked Walsh about it.
He couldn't explain it either.
What exactly it is that they're offering as a service?
What are you looking at?
What are you seeing?
Were you stunned, shocked, surprised, or just you expected it?
Yeah, you hear about this stuff, but when you see it playing out in the real world, the way these people think, it does set you back a moment.
You're like, wow, these people are serious right now.
And the ideas they're pushing, the sort of pseudo kind of neo-racist ideas that they're essentially corporatizing these ideas and feeding them to people.
And the thing that surprises me the most is that there are people out there that are just willing to accept these ideas and go along with it for some kind of sense of virtue.
I don't know, because it's absolute nuttiness and madness and racism in a different form, truly.
And so getting Matt into, for example, a support group workshop where they're talking about white grief, how to grieve your white privilege, essentially.
You would think that like we made that up.
Like we conjured that, but it's a real thing.
And all we had to do is convince them to allow us to film it and then just sort of parachute Matt Walsh into the situation.
And so it was a lot of fun, but it is eye-opening once you meet these people in person, hear what they actually have to say.
And ultimately, that was our idea.
I mean, let's just show Americans and show the public what these people are preaching and what they're trying to force down all of our throats.
And in doing so, I think, you know, hopefully it basically sends a message to America.
This needs to stop.
Is it difficult to shoot something like this?
Because you're basically shooting it as a documentary.
How creative can you get?
And what are you thinking when you walk in to those scenes?
Well, we know there's no second takes.
And there's a lot that goes into these things, right?
There's sometimes months of preparation to get this all set up and just right and to have sort of the buy-in from them and the crew and everything just needs to really work and you're not going to get a second chance.
And so the thing I credit Matt for is he actually does prepare well.
He really does think this stuff through.
And so obviously my crew guys are all total pros and I can totally count and rely on them.
But we also need to know like what we're going to do when we get in there, what Matt is going to do.
And so it's almost like a choose your own adventure ahead of time.
We kind of lay out what might happen in these situations, how we're going to pivot if this happens versus this, and essentially have a plan where Matt can sort of navigate whatever comes up because we truly don't know what these people are going to do or if they're going to recognize Matt within the first minute, if they're not going to recognize him, you know, just all these different scenarios that we sort of we role play those ahead of time so that Matt's ready to go.
But yeah, just the clockwork between the technical team and then with Matt and our preparation.
It's not easy, but I think we have a great team and I think we pulled off some really great stuff in this case.
So, you know, when we started out, basically there was Andrew Breitbart and that was it.
You know, Breitbart kind of went around like the Pied Piper and sort of collected all of the conservative talent in California.
And then PJTV poached all the people that he found because they could pay us and Andrew couldn't.
And we went over there and we started doing this.
And there really wasn't anything else like us around at that moment.
Now, obviously, the left has gone insane and they're doing things that are unbelievable that even we could not have expected them to do.
But there's also a much, we have a much bigger voice.
That's my impression.
We have a much bigger voice than we did.
How do you feel about that?
Do you feel that we've in some ways made progress or do you feel it's all been a rear guard action?
No, I think there's a real path that's been cleared here.
And I think, you know, that path was forged with the stuff that was being done there at PJ TV and some of the other things going on.
I look back at that and I'm amazed still to this day who was coming in and out of those.
Yeah, it's really incredible.
And here we are, you know, we, some of us were kind of coming from the entertainment industry.
You were, I was.
Other people were just kind of getting started.
And it's really amazing to look back at kind of like there was there was really not we were starting from the ground level there.
And now we're no longer on the ground.
Conservatives are no longer on the ground level when it comes to this kind of thing.
And so if you're a newcomer to this, I think they will say, hey, they're going to look back in the shadow of Andrew Clavin and be like, yeah, you know, guys like that cleared the way, created this opening.
Of course, that all coincided with the technology and with what was going on with social media and this new media that had been created.
So in a lot of ways, we were kind of lucky.
I look at myself as kind of lucky for being at the right place, the right place at the right time.
But it also took a lot of talent and hard work.
And I'm thankful to be a part of it and really appreciate what everybody's sort of gone on to do.
Like you said, in the shadow of Breitbart.
You know, it is amazing, the I.
I look at my resume now and 80 of it is doing stuff that literally did not exist.
When I started my career, all I wanted to do was write books, and now they're.
You know, I look at these things that i've done and I just think wow, that's stuff I couldn't have imagined doing it, I couldn't have wanted to do it, it couldn't have been my ambition because it wasn't there.
Looking ahead, I mean now you've got so much more technical knowledge than I do because you're in the technical side of this and you know you're in the place where the technical side meets the creative side.
Amiracist Film Process00:05:21
What do you see going forward?
What do you think the opportunities are for the young Justin Folk?
He's, you know, he's waiting outside the door.
He's just thinking, that's what I want to do.
What would you tell him?
Uh, is the next big thing?
Well, I mean, the biggest thing is to get the craft to develop that craft.
Uh, because it doesn't matter what the technology is, it doesn't matter what what's out there.
You know, right now, or 10 years from now, or 10 years ago, you just have to be good at what you do.
You have to be a good storyteller, you got to be a good communicator and um, so I would say listen, you're going to find that right.
Uh, whatever that is, whatever that platform is, whether it's a film, whether it's a podcast, whether whatever it is, it's uh, there's going to be ways for you to get your message across, but your message, damn well, better be good.
And um, to do that, you just have to, you have to do, you have to make, you have to go out and make things and, and you know, not everything is going going to be a winner, but you have to develop that craft.
And so that's what I would tell them is, listen, the technology stuff is just a.
It's a very expensive recording device, but that's all it is.
So we need to go out and be good at what we do and um, almost the way the left has always been good at storytelling up until now, now they're humorless and insufferable, but uh no, but we could, we can take that baton and run with it, but we have to be good at storytelling and and doing what we do, technically speaking and in, you know, in the sense of uh, being good storytellers.
People don't know, realize how much of a movie is made in the editing room and how much of it is constructed.
Now, if you're doing a fiction piece, you tell the actor, i'm going to need this shot, i'm going to need that shot, please do it five more times.
Or if you're Jeremy, please do it 57 more times.
And then, and then you have stuff to cut because there's not going to come a point when you oh, I need him smiling, but I don't have him smiling.
You got all that.
You only have one take here.
As you said, what is the editing process like?
Harder or is it easier because you have less to work with?
Editing process is always difficult because you have to be willing to let let go of things.
Um so, whether you have one take or many takes it, it it sort of is the same process.
And uh, you know, we also have scenes that we shot that we didn't.
We didn't use, that didn't, that didn't uh, advance the story that we the way we needed it to.
Um, of course, we collaborated with Jeremy on this, but we, we sort of had a another take at this film and tweak some things, because some of the scenes that we had early on, even though they were highly entertaining.
They didn't uh, they didn't function in our story the way they needed to, and so you just have to have that discipline to be able to walk away uh, And you have something in the edit that just doesn't, that doesn't work, you know, for the greater good of the story.
So that is a discipline that you develop over time, you know, because when you start out and you probably realize this as a writer, you just are so in love with your work starting out.
Yeah.
And you need to be able to kind of step away from that and say, okay, you know, that was good, but it just doesn't, it's not working in this case.
And yeah, so I credit, you know, Jeremy for collaborating with us on that.
And I also, of course, I credit the Daily Wire for making a film like this, you know, being, you know, who else would make a movie like this?
Who else would pay money to let Matt Walsh and I go and have shenanigans and, you know, get a message across in a funny way.
So.
Yeah, but you know, it's funny because we've been successful because the Daily Wire has taken off.
We get a lot of flack from people, you know, who think that we only do it for money or we're in league with somebody or whatever they say, all this crazy stuff.
But it's just absolutely true, the courage that it has taken and the kind of vision that it's taken, which we all credit Jeremy with.
And everybody, look, book writers need editors and filmmakers need somebody to look on.
But it's just an amazing thing that has happened here when we think about where you and I started out doing this.
It's an amazing place.
I hate to say this.
And if you ever tell anybody I said this, I will tell you them.
It's a lie, but I'm proud of you, buddy.
I think you've done a great job.
And I think it's terrific wherever you've come.
Thanks, Andrew.
It's an honor to come back these many years later and be on your show and talk about this stuff and look back very fondly at the journey.
And, you know, that journey started with you.
And I really appreciate that.
And, you know, as much as I regret talking to you too, it's good to do it every so often.
You might do what you escaped.
Justin, it's great to see you.
I really believe this movie is going to be a smash.
And good luck.
Thanks, Andrew.
Appreciate it.
All right.
The film obviously is Amiracist.
It opens on Friday, this coming Friday.
I have not seen it as we're taping.
I will have seen it by then.
And I hope you will go out and get yourself some tickets.
Amiracist.com.
I can't tell you how much it helps the film for you to pre-order tickets.
It makes a huge, huge difference because it shows the theaters that people are interested, that people are coming.
It has meant already that we've gotten many more theaters to show this than we had at the beginning.
Your support is what makes it work.
The film just looks terrific.
Everything I've seen of it looks great.
I hope you will go to Amiracist, go to amiracist.com for tickets.
And on Friday, come to the Andrew Clavin Show after you've seen the picture or before, and I will be there waiting.