What Makes a Great Director?

0:00 Hey everybody. Welcome into the film and whiskey podcast. I'm Bob book, I'm Brad G and we are back with another special bonus. Episode and bonus episode Brad. How you doing, man? Dude, I'm killer, bro. I'm just, I'm just doing so good. We are recording this on a Sunday evening and it is the day before. My oldest goes to kindergarten for the first time and I am, like, I am in a very tenuous emotional state right now. I still remember sitting outside the where we lived for five years ago in Kentucky, at man plan on the ground, right? My brand new puppy. Yeah, just like go on being around man, that feels like forever ago, doesn't it?

0:47 Yeah, it really does. And yet like two days ago Dude. How good is it to be a parrot? It's the best really enjoying this like thoroughly. It is an absolute glass today. A, my daughter has been in the big like wants to be a mama type of type of mode. And so she was taking this massive stuffed moose. That's like pretty heavy and she's running around the house with it. Like turning on her her sound machine, trying to put it in a sleep sack and like, trying to burp, it and do all of the things to get it ready to go to bed, but while she's doing it, she just keeps yelling the word mousse.

1:31 She's just like patting it on the back going moose. Moose It's the best thing in the world cheerleader, man. I get it. Yeah, she loves it man. Yeah, so this this episode is not going to come out for a few weeks so we will be well into the school year but I'm I'm in that like almost first day of school mode, man with my youngest today. We were I've been trying to get him to eat more things and he's just refusing lately and he loves tater tots but he wouldn't need as tots today. So I had to do that thing what you do with babies and he's not a baby anymore. But like I was I wasn't taking a tater tot and pretending it was an airplane. Trying to fly it into his mouth. Hmm and we got to the point where it got so elaborate that we were calling what we were doing. I was like I was calling it Top Gun and then we developed Top Gun and it was and it got to the point where I was flying the tater tot to his mouth and I was singing highway to the taters own.

2:27 Yep. Yes obviously I am. I am fully embracing dad mode at this point. Call it call, you Bob Cruz? Yeah, that's right, man. Well, hey, we are not here to just wax poetic about fatherhood, although it is wonderful. We're here to drink some whiskey and to talk movies today and Brad. You had a really great idea for how to frame today's episode, why don't you break it down for us? Yeah, so for our patrons this season, we are going to be doing a bonus Series where we rate the directors that we've been watching. So if you've been listening to the podcast this season, you know, That we are going directed by director doing three to four movies from each director, just as a bunch of little mini series. And as we conclude those series, we're going to be releasing bonus content for our patrons, which you can become one. If you'd like, patreon.com slash film whiskey, where we rank the directors on out of 50, just like we do our whiskey, there's going to be five.

3:30 Categories will give them scores out of 10. And then at the end of the season, we're Going to have a final big bonus episode, where we draft the directors and try to decide who has the better team of directors. I love out. I'm like really excited for it man. So today's episode is going to be us, breaking down the categories talking about why? We think they represent what it means to be a great director and drink some whiskey while we're doing it. Yeah, and we're going to be trying three whiskeys today. One is from the Coors company that has gotten Two whiskey. Now they're making it was he called five Trail blended whiskey. We're also revisiting a brand we've done before Lucky 7 with their six year version of the proprietor expression. And we're trying one from Nelson's Greenbrier down in Tennessee and it's their new Nelson Brothers, classic bourbon.

4:23 I'm excited to try all three of these Brad I think before we jump into this director thing, why don't we just get one of these? Whiskey's out of the way now, because they're sitting here in front of me and I really want to drink. So, Let's look at this. This five trail from korres. What do you say? I'm excited for it. Man, this is unique. I remember a few years back. Hearing that Pabst. Blue Ribbon was going to make a whiskey. Yeah. I think they made like a white whiskey. Like an unaged. Whiskey. Oh yeah. So it's not good. I would assume. I've only had one white dog where I was like, oh, that's like really, really good. And other than that, it's never good. Bobby I agree.

5:06 But it's interesting to see the the bigger names in the Brewing World. Beginning to take notice of this this little fad that that is whiskey and thinking that they might be able to cut out for themselves, a little bit of the pie, so they're doing something really interesting. They're blending for different whiskeys together to make a new whiskey. So the mash bill is broken down online pretty in a pretty detailed way, 15% of this is a single malt. So lots of barley in this 35% is a for grain bourbon. 45% of this is a weeded Bourbon and then the last five percent is a 13 year-old Kentucky bourbon.

5:46 I have not had a chance mathematically to go through and figure out what percentage of the final match bill is like corn, Rye barley but I'm really intrigued Brad by this. 15% barley like single malt in here and I I'm interested to see what comes of it. So let's try this together. There, Brad. What are you picking up on the nose of this 95 proof whiskey? Honestly, the the single malt kind of comes through somewhat quickly, I get almost like a little bit of an oatmeal flavor coming through on my nose. It's got some vanilla and brown sugar and finishes with a little hint of caramel, it's not incredibly complex, but those oatmeal notes are really nice to start with.

6:31 Yeah, I definitely think this has some youth. To it, which is surprising because the youngest thing in here is 4 years old. So, like I'm trying to figure out where that hint of Youth is coming from again. It may just be the way that the barley is kind of playing around in here, because sometimes we get those notes on single malts, especially American single malts. I'm, I like it but it has like very subtle bourbon notes, plus malt. Like that's it doesn't see. It doesn't seem like married together. It just seems like Like The Malt kind of tamper down any really really complex bourbon denotes, and just made it smell like kind of caramely plus malt. Yeah.

7:15 And I think on the pallet you get a little more of that for me there was some vanilla you could definitely taste that that barley coming through but then it was almost like there is like this cream cheese frosting. It got a little bit rich near the back of my tongue and throughout the entire Palette and into the finish. It felt like there's a little bit of rice spice going on. Yeah, I thought this was really interesting and you're right there was like a sort of dramatic change towards the back of the palette for me though it almost took on like a hoppy character. And it may just be because I was thinking about korres as I was drinking this but the way The Malt in this was, you know, messing with my palette. I think it really came out at on the back end of the tasting experience here and it came out in a way that reminded me of Year.

8:04 So, it just kind of tasted like, young malt and corn with some hoppiness on the end for me. I wasn't getting a lot of that creaminess or the sweetness that you were. In fact, I think this is kind of like a pretty muted, Whiskey on the nose and on the palate. Yeah, I think that's the, the biggest issue I have is that even as I hit some of those creamy notes, they just all felt like they were watered down a little bit. Like there wasn't anything that like popped on my tongue and really made me like sit back and go. Oh man, I could sit with this. Yeah, and even as I got to the finish, it was kind of more of the same there. There was a little bit of Oak, the rice by sitting through the vanilla was coming through again. Bob, I think that this is a pretty decent whiskey. It's not quite hitting that 35 out of 50 for me though. I probably give it like, I don't know. 33, maybe a 34 out of 50. I think I'd be right around to the 30 Mark. I've got my nose taste finish and balance at like a six to a And a half across the board.

9:05 And then this also retails for $60 Brad. So that I mean it's not cheap. So I think I'd be coming out right around a 30, it's a good whiskey but there's just something about the way that that single malt is playing with the other Bourbons here. That it doesn't seem like a match made in heaven. When it comes to the marrying of all these things. Yeah, well I mean the good news is chorus. Probably has enough money to keep throwing at the issues that they might have. They will stay afloat despite this. Yeah, Yeah, I think they'll do. All right and I honestly I can see them. They are onto something here. I could see this moving in a really interesting and unique Direction. It just needs a little more time and you know they have mastered the art of Brewing.

9:49 So just take a little longer with just doing, right? All right man, let's get into talking directors here. So what we're going to do today is we're going to set these metrics, like we're going to set the five categories by which we will score out all of our directors come season's end and You texted me and told me that you have five categories in mind. So if you don't mind, you know, making yourself the guinea pig here and we can kind of go off of what you're proposing and come out with our final five categories. What do you think insofar? Yeah I think that the first three categories are a little more on how the director is working with others and then the last to feel like they're much more reliant on the director alone. Do you want me to?

10:34 List out the five or just give you one and we'll talk about that. Let's go one by one. Okay, let's start with performances. Hmm. Okay. So when you watch a movie and I guess before we get into the performances part, the the reason I chose these five categories was simply put. These are the things that we see on the screen and we would say, you know, as an audience, this is what I see, you know, obviously, being a director is making every single Decision about a movie. It's making costuming decisions. And do they wear, blue, or, or Cerulean blue, and this, this picture, you know, so on so forth, we're not here to talk about all of that because there's a lot of stuff there that goes into making great director. We're talking about what we see on the screen. So when you are watching a movie Bob and you see the performances, we've talked to many times over that there are certain directors that know what they're doing with actors and seemingly can unlock a particular actors talents. And then there's other directors, like, George Lucas who are just known for being a little less great at drawing out, great performances.

11:49 Yeah, I'm with you, man. I think that they're definitely directors and this is what makes this hard. Because like, if you're going to do, like the nerdy, push my glasses up the bridge of my nose film student guy. Obviously, Bob, we're doing that this whole, right, this whole episode People like, you know, there are directors who never worked with very good actors and they're still considered great directors because they get it such big Ideas. This is like especially true in a lot of like European Cinema like after World War 2, the Italian Cinema used a lot of real life. People who weren't actors there's directors doing that in America. Now the director Shaun Baker who made the Florida project and a movie from last year that you loved red rocket but that's what I'm saying like I wouldn't call him a Add filmmaker, you know what I mean? Just because he's not necessarily getting like professional actors, but he's getting really good performances out of the people that he uses and I think that's the key here is like are you maximizing?

12:47 What you have? Whether it's professional. Actors are not. Yeah, I mean, I think about let's use a basketball analogy here. When you look at LeBron James, one of the reason he would be considered the greatest ever is not just the fact that he is a Freight train down the lane. It's also just the fact that he makes everybody better around him, right? Like we joke about it a lot but go back and look at the roster of the 2007 Cleveland Cavaliers. It like LeBron was barely like 23, 24 years old and he was dragging a garbage roster to the NBA finals and I think that a good director can do similar things. They can draw out really beautiful performances from people who aren't necessarily, you know, the greatest actors in the world.

13:36 I think about Paul Thomas Anderson with, I can't think of their names right now because they're not really big name actors and licorice, pizza. Hmm. You know, they're not exactly famous A-list actors that he's working with here. And yet he just gets really, really phenomenal performances. Out of them. Totally agree. Yeah, I like it, man. So there's our first category performances. Yeah. And then moving on from performances, we are going to get Into cinematography. Now, this one, I was, I was reading a little bit about, and I think the what I am going to say here is not the technical definition of cinematography because, which seems to refer more to, like, how a shot is being shot.

14:24 And I'm just going to talk more about like the visual aesthetic of a movie. Yeah, I like that. Like, like the assassination of Jesse James by the coward, Robert Ford has, A very different scenery Outlook, whatever you want to call it, then something like Scott Pilgrim vs. The World. And yet the cinematography I would say in both movies is really well done. Hmm. I guess I'd be curious about how would you you define cinematography? I think this is one of those areas that like over the course of our podcast, I've been really interested to see your kind of growth in how you differentiate these two things. Because like I would say towards the beginning, there were a lot of Things I remember times where you would kind of ask me, like, what is a director's job?

15:07 Because like, we would be attributing, all these things to the director that technically weren't there. Like, they weren't the editor, they weren't the cinematographer, but then we would always give the director credit for when a movie was, well, edited or while shot. Right. Yeah and I think like it is really hard sometimes to parse those things out. Like when you have somebody like a Roger deakins who is working on Coen brothers, movies, and shooting, No Country for Old Men. And then a few years later, he's Working with Sam Mendes and doing Skyfall. And there's something about the way that he shoots films that you can tell immediately, like, oh, sicario, that looks like a Roger deakins movie. And it is a Roger deakins movie. But the way the camera moves in a Coen Brothers, movie versus a Sam Mendes movie versus a Denis Villeneuve, movie is totally different. And and those are the things where you have to look at like, what is the director telling Roger deakins to do. Why is it important that Alfonso cuaron? Shoots so much.

16:04 Children of Men In really, really long takes. He don't I'm saying like there's just there's something about the director's vision and I love how you phrased it as Aesthetics. Like in film studies. They call it Maison Saint. It's like what's in the scene like everything in its place in the scene. It's a taken from French culinary. Like mise en place but like we're not going to we're not going to call it that. Let's just be honest here. But now no man, I think that has a ring to it. The place. Amount of things in the frame, everything you see on screen has decision-making behind it, and the good director has accounted for every single thing you will see on that screen.

16:45 And I think it takes us back like way back in. This might have been season one or two when we had Josh Larson on the show and we were asking him like what's just some of the basics of becoming better at watching movies? And he just flat out said, like just pause the movie at any random point and think about stuff you like, on the screen. Talk about stuff you dislike on the screen. Like, what is attractive about the picture? What is something where you go? I don't know if I really like that. And like that's one of the most basic ways to get better, watching movies. And I think that's kind of the goal we're shooting for here, with with the category of cinematography. All right? You tease that, there were three big categories that you felt pretty confident on. So why don't you hit us with that?

17:25 Third one? And then we'll break for our second whiskey honestly. Bob, I think it might be one of the most important ones, if not just my Edit category, I we're talking sound design. Now, I know that, I know that Spielberg is not composing music because John Williams is obviously doing it. However, I still think that when you, when you take into account, all of the little decisions about how to draw an audience's attention to different parts of the seen, it all comes down to sound design. Like if you see a busy street and then you hear the sound, Sound of footsteps coming really strongly from the left side of the screen. You're naturally going to be drawn to somebody who is walking on the left side of the screen.

18:15 So I think that sound design isn't just the orchestral scores that were talking about. Although, those are part of it, I think it's also just like how well does this movie sound? It really makes me think about how tenant came out a few years ago and a lot of people were like, man. I had no idea what was happening in that movie because it was just so loud and it felt like it was a Of noise. I do remember that I do I do I had the same experience watching tenant. That's I mean, that's and that's kind of become like a parody of Christopher Nolan and I feel like he's almost leaning into it now. Like it started with the Dark Knight Rises and how no one could understand Bane. And ever since then, he's just like watch this, you won't hear a thing.

18:58 And so I think I'll push back a little bit Brad on sound design as the category. Because, you know, there may come a day where we watch a movie for this. Podcast that's like a Charlie Chaplin movie, or like something that has no sound outside of the score. That is accompanying the silent movie and I would never in a million years. Call the masters of Silent Cinema like bad directors because they're not using sound design. You and I mean, but I think what we could do is we can kind of combine the sound editing and the sound design with the editing of the movie itself. Like, if you're Scorsese, and you're working with Thelma Schoonmaker, what she's doing to cut pictures together. And what your sound editors are doing to cut sounds together the way that in the ring with Jake LaMotta, the sound completely drains out. The way that on the beaches of Normandy in Spielberg's Saving Private Ryan.

19:50 You get that muffled sound effect. As Tom Hanks is disoriented like sound design, totally plays into that. But so does the editing of the pictures. And I think maybe the way to talk about this is like, what is the structure of the movie? I think maybe structure is a, is a more kind of broad term. We could use, but, but meaning, like how are they putting their movies together? And why is it important that they're putting them together that way? Would you say that the overall category would be structure? Or would it be sound structure? Because I think the key of what I'm trying to get at here, is that the three categories I've suggested so far? Our who am I watching on screen?

20:31 What am I seeing on screen? And what am I hearing coming out of the speakers? Like and that's kind of the the gist of what I'm going for. Do you feel like structure is accounting for plots? Structure and and dialogue and everything? Or is it focused on? Well then maybe I think the way we should say it is editing and we can imply Visual and audio editing in that because like that's what I'm trying to get at is, is there a great directors who never had to deal with sound ever? Dude, I mean, like, I don't know if you can make a sound a criteria for what makes you great, but like I'm with you in that the way that images and sounds are cut together is what is part of what makes a master director in.

21:15 Master director. So like yeah, would you be willing to just call it editing and make it like all-encompassing? I will with the caveat. I just want it to be known that. I think that appealing to directors from the 1920s is reaching a little bit. I'm going to make you watch so many Charlie, Chaplin movies? No dude, I'm in man. I would love to watch Charlie Chaplin but I feel like it's reaching a little bit to be like, what we, we can't leave out all those great. Silent film directors, your pet. Your impression of me is getting better and better by the day and it is. All right, I'm practicing let's take a break. Let's try the second whiskey. I say, we go for this Nelson.

21:57 Brothers. Classic bourbon. What do you say? Yeah, I'm excited for it, man. All right, so this whiskey is, this is a blend of straight bourbon, whiskey zit clocks in, at 93.3 proof it is corn, Rye, barley Mash bill, it comes from Nelson's, Greenbrier out of Tennessee. I'm really excited to try their name, like their Flagship product, one of these days. Brad, but this is a new expression that they just launched, they've got one called the classic bourbon, and one called The Reserve bourbon. This is this one is more of an entry-level more affordable. They sent us a bottle to try And so this is the first thing from this Distillery that we are ever reviewing on this podcast. Brad, what are you picking up on the nose here? This one has a really dusty toffee. Kind of feel to it.

22:46 There's just this not it's not a funk there. There's just kind of a very unique quality to it that I'm going to call Dusty for now. And on the back end of the nose I almost got a tiny bit of like an earthy kind of clove feel. It's a pretty unique knows. I'm really interested to hear. I got almost completely different notes on the nose. As you did Brad. Like I got lots of classic bourbon notes and then there was this fruity thing going on that. I couldn't quite place and it wasn't Apple. It wasn't stoned fruit. I knew it was an orange, but it had kind of a citrusy thing. Then I realized it reminded me a lot of like when you get a really good like glass of lemon lime soda like Sprite or 7Up, or whatever your preferred one is.

23:32 And you get that, like, the bubbles that come off of a Sprite. And I really got that. Here was lemon, lime soda on top of bourbon? I was really digging it man. Like, if I had to score it out, I would say that's like an 8 out of 10 on the nose for me. Yeah. I like the nose a lot and I really liked the pallet for me. That's where the fruitiness started to come out. I got like a little bit of a peach, like, a vanilla Peach feel along with a little bit of nuttiness. I think that that that Dusty nose turned into A bit of a peanut feel for me, it's definitely unique. The the movement from fruitiness into a nuttiness that I really like so far. Yeah, for me, this was a little bit thin on the very front of the palate and kind of watery but once it hit the mid palate it really opened up it's a nice round bourbon denotes.

24:23 This one was kind of spicy like it had a lot of black pepper on it and then towards the back of the palate, lots of cinnamon for me like it really developed into baking spices. Totally different from the nose but still really good. You know, again, if we're scouring this, I'd say I'd give it about a seven on the taste. Yeah. And the, The Finnish man, there's some vanilla there was some Oak and I almost got like, like a toasted a little bit too much marshmallow. Mmm, like a little bit crispy. Honestly, man, this is like a really impressive offering from the Nelson Burrows. Yeah, I'm gonna be honest, man. Like of the three whiskeys, we are trying today. This was probably my favorite finish because it was really long. Long-lasting and it came in waves. Like you'd think that it was dying down, and then you'd get another wave of flavor on the back of your palate. I'm really digging this man and I think it's very, very well balanced.

25:13 Like I said, the nose is a little bit different from the flavors you get on the palate and finish. But other than that man I'm a big fan of this and I'm a fan of the price point that it's at Brad. How much does it cost Bob? So I'm not seeing it for sale in the state of Ohio. Did you look it up in Ohio? I did not so Brad. Online the cheapest. I'm seeing this sold It looks like $26 and the most expensive emceeing, it sold for is $50 but it looks like 36 to 39. Seems to be the average here and again for, you know, a company that has pretty substantial distribution. But is still not, you know, a major player in the world of Bourbons. I actually think that like $39 is pretty good value for this Brad.

25:56 Yeah, I would definitely say so, I am really liking this lot. I think I'd probably come out. To like a 37 38 out of 50 and, and would definitely recommend people try. Yeah, this is this is like seven and a half to eight and a half across the board for me, really, really digging this one. Thank you so much to Nelson Brothers for this Brad. Let's finish out your categories for what, makes a great director. What do you say? Let's get to a bob. All right, Brad hit us with your remaining two categories for what? Makes a great director. Yes, of the fourth category that I want to go. We're here. I'm gonna call cohesion and the the thought behind that is like, how well does the movie work within itself?

26:44 Like, does the story makes sense, does the character Arc makes sense? You know, there's certain movies where all of a sudden you're like 75% of the way through the movie and your main character makes a very big Capital, C choice and you're like, that doesn't feel like the person I've been watching for the last The hour and a half you know and so like it's stuff like that. I'm talking about, cohesion. I think it would also be like cohesion of vision. Cohesion of, you know, is it stylistically the same throughout? Yeah, I don't know. What do you think? Yeah, I like it, it's like cohesiveness. But also consistency. You know what I mean? Yes.

27:24 Yeah. So here's the thing in like, there's certain types of directors that I've never been on board for it. It's usually the ones that are like, way out there. Are surrealists or people like David Lynch, who really does make surrealistic movies where it's like, the point of the movie is to be off the wall and have weird surprising things happen that don't make sense. And I'm like, I don't know how to evaluate this, like how do I know what is good and what is not. And that's part of that's part of what brought up our discussion of Stanley Kubrick when we did 2001. I think sometimes people just never entertain the idea that people who are certifiable genius, has can also Just make a bad movie, you know what I mean? Like, we give people past, yeah.

28:07 When they, when their Vision doesn't have cohesion, and I really like having this as a criteria Brad, it's not to say that your movie is predictable. It's not to say that that we're not going to hold the writer accountable because I think you could give Scorsese or Spielberg a dog turd of a script and they can still direct the hell out of it. And you'll know that the faults with that movie are with the script and not with the director. So I like the idea. Of like a uniformity or consistency of vision. And I really in the end, if you want to call it cohesion, let's go for it. I really like that. Yeah, and I think that cohesion, kind of takes into account what I mentioned earlier as far as like the director is the one who has final say on everything, and I think that cohesion kind of gathers up that category into one. All right, so that's four and I think we're in pretty good agreement.

28:58 So far what would you say is the fifth criteria? Leah. Yeah, our final category that we will score directors on I think I'd like to just call originality like you know obviously the person who writes the script has a large piece in this but like the vision of a director can just be wholly original you know like when I think about Jaws that for its time was just absolutely crazy different than anything you were seeing in the summer. When movies were coming out. And so, I think the originality there is huge and you can look back on it and be like, oh, yeah, well, every horror movie has been based off at since, and that doesn't take away from originality.

29:44 If anything, it probably knocks the score up a few points because everyone has copied it. And so I think originality is just basically like, will this director take risks, will they take on a movie that doesn't line up with, you know, all every other movie that's coming out of the time, like I would call The Iron Man a more original film because there had not been a ton of superhero movies like it made before that other than Spider-Man. So, you know, but as we move later in the MCU, becomes less and less original. So yeah, I think originality is a really huge part of being a great director. Totally agree.

30:26 And like I watched the most recent Doctor Strange movie. The other day that Sam Raimi directed like Got Sam Raimi to come out of superhero retirement to make this MCU movie. And people did not like that movie. And I'll be honest, like it wasn't a great movie. But it's because the script was awful and like it everything has in the MCU, has just become a commercial for what's coming next but he directed the hell out of that thing. It is like so much fun. It is a throwback to those, like funny. And also gory 90s horror movies that he used to make that he hinted at with the Spider-Man films. Like Like, you can see the originality there, and that's what I love about. A good director is like, whether or not they actually have a hand in writing the movie. Do they have a unique visual style? Do they have a unique Visual Voice? You know, when we watched a movie, like, if Beale, Street could talk, you had never seen a Barry Jenkins movie before. But like, it's obvious that the person behind the camera has a very unique style and knows exactly what they're doing with how they put those images on the screen. And I think it's like, You know, we just got done with Spielberg. He had a hand in writing so many of those movies and that's why they're so heavily.

31:39 The the father-son dynamic are the divorced, parents Dynamic, but he also finds a way to communicate those themes of visually that even if those things weren't there on the page there in the final film, because Spielberg put them there, you know what I mean? Yeah, and you're totally right. Like, a really great director whether or not they wrote the movie finds a way to get their, their own voice and their own experiences. Is on to that screen. Ya Baba I think that kind of wraps up our five categories here which means we need to jump into this lucky, 76-year Proprietors blend. Yeah man. So this is our second time having Lucky Seven on the show. It's been probably two years since the last time we had them on, this is a sourced whiskey. That is, you know produced by Lucky seven spirits, it clocks in at 120 .6 proof, it is six years old, it retails for 85 Dollars.

32:33 Now again, if you listen to our first episode about Lucky Seven, we go in much greater detail, this is intended as a high-end whiskey, kind of in a similar vein, as we tried blue run around that time as well. I really love what Lucky 7 is doing. They've got the best packaging in the game as far as I'm concerned. Like they're really, really killing it over there. They also made the coin of Destiny. I'll they did. I forgot about that. That is the coin that I flip every single time partially because it is Whiskey company and their logo has an old-style real get here on it. Yeah. All their packaging. Like the label on the front of the bottle is shaped, like an old movie ticket.

33:14 If you peel the label offers a QR code to scan, and they have like a promotional movie that they made about each expression. There, they're just a really cool company and I have to say this is the best whiskey we've had from them yet. And we had like, I think a 12-year last time, but this six-year dude is like, it's so Oh, good. It like mind-blowingly good. I like to pretend like I'm drinking it as we go but we all know I drink in advance. This Lucky 7 is Bonkers. Delicious. Bob hmm. Yeah. Totally agree. Man on the nose really, really beautiful. I got a ton of Red Apple. I got a lot of cola and then that those baking spices really come through. It's just like it is a solid bourbon that you can tell they've extracted.

33:58 Like every last bit of flavor out of that Barrel. It's just like, super concentrated super potent. I love it. Yeah, yeah, for me, it was vanilla. And then like you said, it was almost like a Cherry Cola and then a little bit of almond, kind of underlaying it with with some spices that I just, I was like, man, this nose is amazing when I got into the palette shoot, man. It was creamy, it was almost like a cherry cordial. Yeah. There were like candied chestnuts. I dude, I can't say enough about this with Ski. I'm sorry. Was that candied chestnuts? Yeah dude. All right. You never had a candy Chestnut. I have never even heard of a candied chestnuts before. Oh dude.

34:42 Come on man. Alright so for me I got lots of cherry like a black cherry, lots of Oak. The black pepper was definitely there on the back end for me. The sweetness came out and it wasn't quite a caramel as much as it was almost like a like a creme brulee like that, you have to tap into to break up all that that on the top, the crust on top. Super duper good, man. I really love that you were 100% right calling it creamy. I think that's the word for it on the finish. This is where if I'm going to ding it it dropped off on the Finish because the more tannic and bitter notes took over for me the Cherry was still there but I actually it tasted from to me more like cheery Robitussin then than a cherry cordial.

35:26 And so like, if there was a bit of a downer in the experience, it was the finished for me. Yeah, I Yeah, I wrote it down as dark cherry it. Definitely kind of came down a few notches from the sweetness. I didn't mind that though. I enjoyed it. It got Okie on the finish, some of the caramel, and vanilla stuck around. But man Bob this is an incredible whiskey and there's just so much to love here. If I was scoring it out, I'd probably come to like a 42 43 out of 50. Yeah, I think I'd be right in line with that, man. I can't wait to have more Lucky Seven on the show because What they've sent us so far. Has just been insanely good but those are our categories. We're really excited to be doing this for each director, like I said before, if you want to hear our breakdown of each director, as we go throughout the season, good check out our patreon. You can find it at patreon.com slash film whiskey. There are three different levels of support that you can give us. I don't know if we've decided, it'll probably be the second and third highest tears.

36:30 That will receive this, this bonus content. Tent. But anyways jump on there and check it out because I think it's some it's some great content coming your way. Yeah Brad and before we get out of here today, I do want to draw our listeners attention to the end of this season. We mentioned it, a few episodes back in our season 6 preview that we're going to be doing a listener pick for our last series of a director and we're giving you four options. It could be Michael Mann, it could be Kathryn Bigelow, William Wyler or Akira Kurosawa you know, Michael Mann. Talking about doing heat and Last of the Mohicans for a while here. Kathryn Bigelow, I love Zero Dark Thirty. William Wyler, one of the most famous Hollywood directors ever and then you got Kurosawa who would be our first Venture into foreign language film. And you know what, as of today, Brad, let's just go ahead and open up the voting.

37:21 I'll keep tabs on what people say, but we want to hear, which of these directors people really want us to review, so you can find us on our social medias and let us know there which of these Directors, you would want to vote for. Are we going to put a limit on the voting Brad? I say unlimited voting. Yeah, vote away spam every one of our posts just just with William Wyler over and over. Yes. That that obviously will be the choice. I'm sure. I'm sure. Alright, we will be back next Monday with another regularly scheduled episode but until then I'm Bob book I'm Reggie and we'll see you next time.