Christi Dodge 0:00
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Brennan 0:30
you’re listening to dodgemovie podcast. Your hosts are Christy and Mike dodge. The founders of dodge Media Productions, we produce films and podcasts. So this is a podcast about films. Join them as they share their passion for filmmaking.

Christi Dodge 0:46
Welcome back, everybody to the Dodge movie podcast. This is episode 179 and we are going to be talking about the 1985 A Chorus Line directed by Richard Attenborough. The DP is Ronnie Taylor. It stars Michael Douglas, Terence, Mann, Michael Blevins, Janet Jones and Audrey Landers. For you 80s babies, you would recognize that name as very prominent. Her and her sister, I believe her name was, Judy. Were Playboy Bunnies and in a lot of like chips episodes, and

Mike Dodge 1:21
they were Playboy Bunnies before they were in television. I

Christi Dodge 1:25
believe so. Wow,

Mike Dodge 1:26
I didn’t know that. I only knew them as the pretty blonde girls that were in every chips episode, or whatever they were, yeah,

Christi Dodge 1:35
yeah. I think I’ll have to fact check, but I’m almost positive either they were before or after, but I have a,

Mike Dodge 1:42
well, a memory, either both of the sisters can call into the show to correct us, if they like. There you go,

Christi Dodge 1:48
the writer of this film, or at least the screenplay that it was based on, because I think it was a musical. Yes, it was a musical. First, it plays like a play or a musical. Is Arnold Schulman, Michael Bennett and James Kirkwood Jr. The synopsis is hopefuls try out before a demanding director before a part in a new musical. It is a, I don’t know if there’s a specific word for this, but it takes place over the course of basically a few hours, but within one day, kind of like a la Ferris Bueller, correct? Yes,

Mike Dodge 2:22
it is. And a name for that, and one location, save the flashbacks, it’s almost like a bottle app, it

Christi Dodge 2:29
is. So the tagline is, I have two for you, the movie event of 1986

Mike Dodge 2:37
I don’t think that’s accurate, but not a good tagline, right?

Christi Dodge 2:39
I like this one better, one singular sensation.

Mike Dodge 2:43
Everyone sings that when you when you bring up a chorus line. We all know that chorus. So here’s the thing, I don’t think I learned that song from the movie. I think I learned it from the traveling Broadway production, because where I was growing up, they played that commercial incessantly.

Christi Dodge 3:02
Ah, okay, so why don’t you kick us off with your pickup line for A Chorus Line?

Mike Dodge 3:09
Well, there’s kind of two at first, there’s indistinct Wallah, which I think is to capture the people auditioning, and then the dance coordinator, person, Larry, says, Okay, a little bit quicker, a little bit quicker, which kind of works, a little bit

Christi Dodge 3:25
yeah, a little bit to your to your theory.

Mike Dodge 3:28
But his first, like actual visual dialog from Larry, the dance director, is, Okay, step push, step kick, which is maybe a little bit more accurate, because it’s all about dancing.

Christi Dodge 3:40
Yes. And so pretty much the movie we go through and each of the songs is basically giving more exposition about a different dancer,

Mike Dodge 3:54
right? This is very interesting. Not they didn’t invent this, but the part where they’re all in a line, I guess it’d be a chorus line, hey. Oh, and the director, and I literally almost said Roy Scheider, because I always mix up all that jazz in A Chorus Line. But as Michael Douglas plays Zach, I think it’s his name, he asks each of them some biographical information. I’m not a dancer, professional or amateur. So I don’t know if that is actually normally part of the audition process, but it’s great for the play or the movie, because it gives an opportunity for each character to give exposition to the audience. But then, as you mentioned, some, if not all, of the characters, there’s a song which tells us a bit more about them. Not

Christi Dodge 4:38
all, not all. I didn’t think all. I

Mike Dodge 4:39
didn’t think there’s quite because there’s like 16 or so people on stage. There’s quite a few.

Christi Dodge 4:44
Oh yeah, there’s a lot. Well,

Mike Dodge 4:45
the initial dance number. So divvying a little bit. Speaking of the cinematography, how do you make a person stand out when there’s like dozens of people on stage? Do. We talked about this when we saw a movie in theaters recently called twisters, where a very common technique that we use is you put all the extras in dark colors, and you put your hero in a light color, because the human eye is drawn to the lighter colors you also that’s where I use a spotlight to increase exposure all those things in this one.

I didn’t feel like in that cattle call edition, any of those tricks were used in that. So that was an interesting thing. And then as we talked about, we start to see some recognizable faces in the cattle call, people that we know for their work after the film so you can, like the human eye, can do that, but just as a filmmaker, let’s say you wanted to highlight a particular character that’s a little bit challenging.

How you do that, and I would love to talk to the costumer about what they did for the different people, because they had a lot of very different costumes on the people, which I think is probably accurate for dancers. I assume everybody has their like, power outfit, you know, the Tiger Woods, red shirt, whatever they feel comfortable in. Maybe that day they’re a little chilly, but from a filmmaking perspective, that can be distracting. So I’d love to talk to the costume department about what their plan was, right?

Christi Dodge 6:19
Very 80s, lots of leg warmers. Yeah,

Mike Dodge 6:21
I did have a note, lots of what I called French cut, where the side of the ladies leotard was very high over the hip bone. Very 80s. Yes,

Christi Dodge 6:33
definitely. So universal. Had the original rights to the production, and Mike Nichols worked on the film for about six months in 1978 the powers that be didn’t like the screenplay and wouldn’t agree to the $16 million budget, so Mike quit.

Mike Dodge 6:48
16 mil and 86 is no chump change.

Christi Dodge 6:52
Sydney Lumet was then hired, but only lasted a few months, and then Sir Richard Attenborough was eventually hired, and filming started in October of 84 which I find it interesting, because I think he did this later, but I always see, well, first of all, is it Attenborough, the older gentleman, the scientist in Jurassic Park, I thought so and so I and then didn’t he go on to dirt like

Mike Dodge 7:20
I thought he did like a nature documentary series for

Christi Dodge 7:24
many so I thought many of them because it was like Richard Attenborough presents. It was like a thing. So Okay, again, I’m gonna have to look

Mike Dodge 7:32
this misremembering the guy, or this is totally outside his Uber so

Christi Dodge 7:36
when I think of who can we get to direct a musical about dancing the old guy from Jurassic Park doesn’t leap to mind. No, no disrespect to Mr. Attenborough or no, no. Attenborough, I

Mike Dodge 7:50
believe it’s like, if you saw that this was a Merchant Ivory production, you would be like, Wait, What? What? Yeah, that, when you said that the director, that was my first reaction was a mental Record scratch, really? Yeah, that’s fascinating. Well, okay, but leaning into that, right? Spielberg did a movie production of West Side Story, yes, but yeah, I don’t know that I would have landed there, right? Mike Nichols, maybe, but

Christi Dodge 8:16
the fact that he was, you know, three directors deep, I think kind of, yeah, they were trying to get the project off the ground. And so this is curious. Let’s take a moment, because we so first of all, what you were talking about, Michael Douglas and being the director. I want to know, was this a thing before, or was this a thing because of this movie?

Is, I feel like any time you are doing a TV show or movie about a stage production, the director is always like a silhouetted figure at first in the audience with one single desk lamp. He’s kind of like an enigma, like you can’t see him, and there’s kind of like this sense of, like, the Great Oz, like, there’s a little bit of fear from this, you know, from the cast and crew. I guess, in a sense, there is because he decides your fate, especially during auditions. So there is a little bit of, like, fear, trepidation, kind of, when you’re dealing with that. But I just, is that a trope because of this movie, or was it a trope and they just used it? And is it a trope, or is it just reality?

Mike Dodge 9:26
So I’m gonna push back and push forward both on this one, I’m gonna push back in that. I think the desk lamp is very much Hollywood because, and my example is there are other people in a dark theater who need to see a piece of paper the orchestra, and they have a small lamp so that it doesn’t distract so I think that little desk area would have lighting, but it would be one tiny little that horizontal bulb with a little brass cylinder backing on it.

However. Would the director want to be back farther so they could kind of see all of the dancers all at once, so they wouldn’t have to move their eyes as much in the cattle call? Would you be at the very back so you get you could kind of see who stood out? But I’m going to push back again. I think when you’re talking about when you get down to the 16 you would be, if not, on the stage, right up to the stage, because you would want to see them as best as you possibly could. But I don’t know. Again, that’s a really good question. I don’t think I know anybody who’s directed dancers. I don’t know how, who I’d ask? Well, I guess we could ask Sir Richard Attenborough.

Christi Dodge 10:43
So this film has a very, I would say, realistic style to cinematography. But was there anything that you made note of as we were watching it?

Mike Dodge 10:51
Well, we did just talk a little bit about the director being in silhouette, and that was probably to communicate that he was like the Great and Powerful Oz, right? But from a technical standpoint, I was curious how they got some of the shots in the space, because the stage is an important setting, right, a location, but also, in some sense, a prop and a character. And by its very nature, those stages have a lot of verticality, and so they did have some shots for some different angles, which I think helps make it feel more like a film than a than a stage play. But then, how do you do that?

Because, I mean, obviously, you know, if you have enough time, money, etc, you could hoist everything, but then just thinking, Are you going to hoist your camera crew onto one of those catwalks. And it’s my understanding, whenever I’ve seen that it’s not, there’s not a lot of structure to that up there. So imagine putting a camera up there and get it safely, you know, tied off, and then all the crew. So I think, from a technical standpoint, that, to me, was interesting. Or do you just bring in a crane and use the crane indoors, well, and then,

Christi Dodge 12:00
I don’t know if you remember, but there were almost like they were, they were full length mirrors. They were about three or four feet wide, but there were like five or six of them along the back wall. So how do you shoot with that many mirrors on the stage and not capture one of them in,

Mike Dodge 12:20
you know, in the reflection the shot, so technically, but then also, it’s very interesting from a visual communication standpoint. The reason that stages are black is to prevent distraction, to make the characters stand out. And that works here, because there’s no real background. They don’t bring out any Canvas painted as, like, you know, a pastoral scene. So I thought that was an interesting thing, similar like Kabuki or mime or whatever is to to really have no color except for these characters.

And so in a sense, they’re floating in space, which is maybe what they’re trying to communicate, that these dancers are kind of like floating, and they’re not, you know, tied down, because they’re just bouncing hoping to get different jobs. And so I thought that was interesting, compared to Zach, who’s out in the audience, who’s sitting and he’s grounded and he’s lit. So I thought that was an interesting kind of way to show the dancers versus the director.

Christi Dodge 13:21
So it’s interesting, because in addition to learning about the different dancers throughout the musical with the different songs, we are introduced to a woman, and she’s obviously very nervous. She’s there to try out, but not like the others. We through her interaction with the stage manager, we can tell that he knows her right, very familiarly, like I believe they embrace, and he’s like, I’m so happy to see you. But there’s some animosity we pick up between her and Michael Douglas’s character, and we don’t know what it is an unrequited love, is it? We don’t know, but we’re learning throughout the film, we get little hints, I guess, as to what their relationship was. Yeah, I

Mike Dodge 14:19
actually I liked that because it was the progressive disclosure. I think it depends on a more intelligent viewer to be able to kind of go with the premise and then see where this is going to unfold. And, yeah, I think it was well written, because we do see this stage manager, the dance director, whoever that guy is, it shows, yeah, that she’s no stranger, but she is, in a sense, because she’s not with the others, and then that’s partly her. She doesn’t push her way out to be part of the cattle call. You can tell she feels like she’s just going to be included. And so I thought that was an interesting way to introduce that. Character, and for a long time, I had no clue what her relationship with Zach was. So that was I thought, good. It slowly evolved over time.

Christi Dodge 15:08
I thought in exposition, either through the cab driver or her, we do figure out that she’s late, so I don’t think she intended on being late and then therefore expecting to be seen. But I do remember, since she was late and she has this relationship with not only Zach and the stage manager, she just thought, Oh, well, they’ll just see me at the end, like, I’m here. They won’t, you know, like, I think if you were a dancer and you didn’t have that relationship, you would just go, like, Oh, I’m late. I better just, yeah, just

Mike Dodge 15:46
go home, go back to work. Yeah, yeah. I very much felt that way. It’s interesting, because the credit to the writer for getting the details accurate in that she gives her dials a number that is two and three area code, which was New York. That’s Los Angeles at the time. Oh, those angles, and we find out later that she had gone there.

But I thought that was very interesting, because that reference is lost now, because people don’t remember phone numbers and area codes are geographically bound, like they were right at one point in time, your area code defined a geographic reason region, and that’s no longer true so and that was a brief blip in human history, because in let’s say it happened one night. It was Klondike, 51234, there were no area codes, there were no numbering plans. So it’s just this. I find it fascinating that for a certain point in time, that was a critical detail, and it’s lost on everyone past them.

Christi Dodge 16:56
Yep, the stage musical was one of the early productions to address the subject of gay actors within the theater. However, the film version opted instead to make a more family friendly film by dealing less with the experience of gay actors. That’s

Mike Dodge 17:16
interesting, because when I was growing up, it was just assumed that people in the theater, gentlemen were gay. And I think, in fact, Nathan Lane had a funny joke about that on a late night show, when that became the thing, when people started to come out, and he was asked a question, and he said something like, Well, I’m an unmarried, 40 year old in the theater. What do you think? I forget what it was jokeless, but it was very funny, but it alluded to the fact that this was not surprising at the time, but maybe it was for your you know Kansas farmers, they weren’t as familiar with the gay men in the theater, right? They couldn’t handle it. Yeah, it’s too much. Okay. How

Christi Dodge 18:00
about writing? Well, I

Mike Dodge 18:03
thought the character of Cassie, who, by the way, she rocks a lady mullet like nobody else, right? That was That was great. She has a lot of funny, snarky lines. Apparently, the person who wrote it hates buffalo because it says to commit suicide in Buffalo is redundant, um, but she has, she has some snark there, right? That we saw that. And you really, for the most part, though, don’t, don’t see that much from any of the other characters.

And I felt like the dialog wasn’t so much the thing where, I think they relied on on the actor’s delivery than than the lines necessarily to communicate. So in particular, I felt that the Zach character, played by Michael Douglas, I didn’t really get a lot out of his dialog that was explaining kind of, I think it was more we saw the flashbacks that helped a bit, and then his delivery, Douglas’s performance, gave us that that history between the two. So I thought that was an interesting choice.

Christi Dodge 19:09
I let me start off by saying I really enjoy Michael Douglas. I throughout the 80s. He was in a lot of you know, like Romancing the Stone and Wall Street, you know, maybe that was more 90s. But no, I think it was 80s. I and I was a kid of streets of San Francisco, so I adored Michael Douglas. Nice callback. I felt like he was in this movie only for the name. His part was very small relative to, like, if you looked at the amount of time, like, you know, kind of like on a dialog and screen time, yeah?

And I just, I felt like, I don’t know it felt like a muted Michael Douglas, or, I don’t know how to describe it, but I just thought anybody could have done this, yeah, and I don’t, I’m not saying that tinsel. Him. No, no. It just felt like in and around everyone else in this film, whom I didn’t, except for Audrey landers, ironically, who was like such a small part, I didn’t really recognize anybody else, nobody was of note, at least through my limited I will admit, you know, but 1985 I mean, this was my, you know, as we did our Bratz episode last week, this was, like prime, you know, I was aware of of who is in pop culture, and I just didn’t recognize anybody. And I just felt like it felt like a waste of use of a big star like Michael Douglas, yeah,

Mike Dodge 20:39
I think they may have actually cast some not very well known talent for that reason, to make them seem like unknowns on the stage, true. But then yeah, you bring in a Douglas and yeah, I don’t really feel like it was a star driven vehicle. So like I would have said what you said too, which is, it could have been another actor,

Christi Dodge 21:01
and maybe this is how it was written. But I just felt like, here, I’ll say this. It felt very one note, just like you’re mad, you’re annoyed, right? Just be that that stereotypical never satisfied director, yeah, and that just that’s not fair to a director. They’re just this angry, OneNote person. I don’t think you could be in the business that long. Maybe I’m wrong, but so just I don’t know, it didn’t ring true to me that he was just this angry, hard ass.

Mike Dodge 21:39
I think I figured out why. For me it was he’s not Martin Short’s character from only murders in the building. I think that’s who I was hoping for. So Mr. Short, if you would ever like to be on the podcast, you’re welcome anytime. Yeah, I think you’re right. I think in some sense, maybe is that coming from the fact that it’s a musical kind of that was turned into film, like when it plays in the theater.

I’m just trying to think of because it’s different, because you don’t go to these different locations, and you can’t really do the scene where he stands on the balcony and stares poignantly at the, you know, the Brooklyn Bridge or whatever, because you can’t do that. Do you get a different kind of storytelling, a different kind of performance? And nothing against Michael Douglas. He might be a fantastic stage actor as well, but just, you know, the kind of story does is that where it landed?

Christi Dodge 22:41
I think for me, I needed a reason for him to be a dick, yes, like, and I don’t think we got it. Like the the money backers, you know, are have high expectations, and they’ve or the opening night got moved up by two weeks. Or, you know, some reason for him to have tension, because he was acting like Debbie Allen’s character from fame, where he had such high expectations. And you understood it from her character, because she’s their teacher, and she has to, kind of, she can’t coddle them.

She’s got to prepare them for all the negative, you know, all the no’s the rejection, yeah, that they’re going to encounter. She needs them to be at their best. So throughout the course of that show, we see that she had a heart, and she would show that at times when she thought that they were ready to kind of see it, and they wouldn’t back, you know, pull off the throttle, but I never got why he was so angry. I don’t know, I just saw him as just a

Mike Dodge 23:47
dick, right? I and I’m gonna lean into that a bit and say, as you were talking, I thought of Monica from cheer. She was hard nosed and wanted to win and but she wasn’t that way all the time. She didn’t yell at them all the time. And I think that was kind of when you said one note. I think that’s what it was, is, is we didn’t see kind of the justification for that. Because

Christi Dodge 24:14
once we realize, Oh, do you remember her name, Cassie, once we find out that him and Cassie were in a relationship, you kind of go, Oh, I see why she’s no longer with him, right?

Mike Dodge 24:31
Okay, well, and costume department also gave us a hint, because he doesn’t wear socks, and people who don’t wear socks are untrustworthy.

Christi Dodge 24:39
No, come on. It was the 80s that was classic. Don Johnson,

Mike Dodge 24:44
not trustworthy. Oh, socks.

Christi Dodge 24:49
Was there any head trauma in A Chorus Line? Well,

Mike Dodge 24:51
Cassie slips and falls when trying to catch a cab in the rain pins up her knee. Yeah, Paul’s knee goes out. Out and he falls, perhaps hitting his head. But we didn’t see for sure. Those are the only two possible head traumas that we saw, which I guess is good since dancers probably shouldn’t punch each other very much. Now, there were some in the category of couldn’t be made today, though. Yeah, the joke always Wong, never white.

Christi Dodge 25:19
Oh dear,

Mike Dodge 25:19
yeah, I’m Puerto Rican. We jump around a lot. We were doing this oriental number. And then lastly, Zach grabs Cassie and spins her around roughly, like back then I felt like 86 was passed when you could toss dames around. I

Christi Dodge 25:39
know what were we watching? Oh, I think it may have been. It’s a Wonderful Life that we’re gonna talk about next week. Or there was something else. And the Yeah, the guy grabbed the girl and just laid one on her, really, like, hard. And I was like, dude,

Mike Dodge 25:53
yeah, I can’t even imagine, in 1946 that that was acceptable. Maybe it was, maybe like women just walked around low at any point in time a man will grab me and force a kiss on me. That’s just life, I don’t know, but that was, and especially when they have history, I just it kind of above me. So

Christi Dodge 26:14
as we’ve expressed, this was almost a bottle up. So not much of a driving review,

Mike Dodge 26:19
nope. Um, we see a 1974 Checker Cab, which those cabs say New York City like almost nothing else, right? But that was it. We just saw a cab. No real driving. Those

Christi Dodge 26:32
they’re like, they’re almost bulbous, those older cabs, yeah, for

Mike Dodge 26:37
years, I thought they were actually like, 5557 Chevy, because they had a very similar styling. But no, the checker company made them all from scratch. They made their own. They just had that, that very rounded 50s look, which I think became so distinctive,

Christi Dodge 26:53
and it’s fascinating then, wasn’t there like a Crown Vic phase? I mean, it just seems like cabs kind of had that very Yeah. And now you know what they are, Priuses,

Mike Dodge 27:01
yep. Well, they were, they may be something different now, like

Christi Dodge 27:06
the the traditional yellow cab is a Prius, and then, but with Uber and Lyft, like,

Mike Dodge 27:12
oh yeah, all bets are off, yeah. But in, I think in London, there is a company that makes specific. Theirs are black, not yellow, but makes a specific cab, kind of like the postal service trucks are specifically built from scratch. So I’m curious if, um, if Uber would put that out of business, or maybe checker could come back with their own custom design.

Christi Dodge 27:34
I remember in high school, didn’t postal carriers used to be in like, jeeps, right? Yeah. And I remember somebody told me that you could sometimes get like, a retired male Jeep, yep. And I always thought that would be cool, because you would be driving on the opposite side, yeah, right side drive, yeah. But now as an adult, I’m like, you probably don’t want a car that the government is like, Oh, we no longer want this. It’s probably not in great running condition. Yeah,

Mike Dodge 28:09
the miles on those things was outrageous. So the jeeps are actually a good choice for that, because they were real Jeeps. They weren’t. They were just real jeeps, but they were low frill, right? And they had tons and tons of miles. But the good thing is, because they were real jeeps, you could find replacement parts when they went to the next series of vehicles. Those were custom made. And I have heard that they were really cheap, crappy. They said they were super hot in the summer, super cold in the winter, loud, uncomfortable. Apparently the postal workers hated them. So I don’t know if you’d want to get one of those, but yeah, the old Jeep was fun. And I think deep people often would get them and it’s kind of cool, and they paint them up and everything, just like the good old days. Yeah,

Christi Dodge 28:55
that’d be fun. All right, so we go to the numbers. Let’s go to the numbers. So in his review in the New York Times. Vincent can be observed though it was generally agreed that hair would not work as a film. Milo’s Foreman transformed it into one of the most original pieces in musical cinema of the last 20 years. Then they said A Chorus Line couldn’t be done. And this time, they were right. Mr. Attenborough is elected to make a more or less straightforward film version that is fatally half hearted.

So needless to say, I don’t believe this one did so well right away. Roger Ebert also said of the Chicago Sun Times, The result may not, please purists who want a film record of what they saw on stage, but this is one of the most intelligent and compelling movie musicals in a long time. So Ebert liked it and the most grown up since it isn’t limited as so many contemporary musicals are, to the celebration of the survival qualities of Jerry. Actresses, because there it wasn’t Cassie, but there was another actress in the film who was dealing with kind of that am I getting passed up by the pretty young things?

Mike Dodge 30:15
Yeah, and she was 31

Christi Dodge 30:18
Universal Pictures acquired the rights for 5.5 million, in addition to agreeing to pay royalties of 20% of the distributors gross rentals above 30 million. And then they sold the rights to Polygram for 7.8 in 1982 and 83 embassy pictures joined as CO producer, co producers investing 20% in Embassy film associates, which finance the picture. So that’s where they got their money. Now, let’s it had a budget of 25 million. It made domestically 14 point 2 million, which adjusted for today would be like 42 point 5 million. So kind of you know, pretty much a flop. I mean, did not make its money back. And, you know, I wonder when was the next time Hollywood tried to do a musical, a film version of a famous musical based on this? That’s pretty

Mike Dodge 31:11
good question, because I feel like then you get to rhinestone and that probably put the kibosh on movie musicals.

Christi Dodge 31:20
No, I mean, a musical made from, oh,

Mike Dodge 31:24
a stage a film made of a stage musical. Oh, okay, yeah, yeah.

Christi Dodge 31:30
I mean, now it’s, that’s kind of the rage, you know, wicked. And I was thinking, dear Evan Hansen of late

Mike Dodge 31:37
Chicago Moulin Rouge cabaret back in that era? That’s a great question, because, yeah, this performance, you would think Hollywood would steer clear of musicals, and then there’s custom musicals, like greatest showman and La La Land and Pitch Perfect. And I wonder if rent was the first one. That’s a good guess. Yeah, yeah, yeah. Because I’m just going

Christi Dodge 31:59
back quickly, just my memory. IMDB gives this one a 6.2 out of 10. Critics give it a 48% audiences are a little more favorable, but not quite at 61% it is just under two hours. At one hour, 57 minutes. It’s rated PG 13, and like we’ve been discussing, it is listed as a drama musical. Columbia Pictures was the studio, as I said, and it got eight nominations for Best Sound Oscar nominations for film editing, for best music, because the music is from Marvin Hamlisch, who is very successful. Let’s see what we’re going to watch, or what we’re going to watch this week, and talk about next Sunday.

Mike Dodge 32:47
Ooh, a very famous film. It’s a Wonderful Life, all right.

Christi Dodge 32:51
Well, so take a look at it. It’s a Wonderful Life, if you’re not familiar with it. And join us next Sunday. Enjoy the rest of this Sunday, or whenever you are listening to this and never forget

Mike Dodge 33:03
dodges. Never stop, and neither do the movies. Thanks

Brennan 33:05
for listening to dodge movie podcast with Christi and Mike Dodge of Dodge Media Productions to find out more about this podcast and what we do, go to dodgemediaproductions.com Subscribe, share, leave a comment and tell us what we should watch next. Dodges never stop, and neither do the movies you.