. Michael O’Keefe – We Are Movie Geeks

THINGS HEARD & SEEN – Review

With Spring in full bloom through most of the country, many cooped-up urbanites are longing for a sweet getaway, perhaps at a quaint old cottage. Even a century-old farmhouse would do for a nice rest. Ah, but what if someone was already there and refusing to rest. Or stay in the “underworld”? Oh yes, it’s haunted house time at the movies (or at least the number one movie streaming service). No, it’s not another mission for those 1970s paranormal “PIs”, the Warrens, though they’ll be back soon in another entry in the ever-expanding CONJURING series (what, they’ve got like four spin-offs, already). No, this time it’s pure fiction (yes, those other flicks are hotly debated certainly), and it springs ahead into the start of the next decade. Otherwise, it’s a new take on yet another attractive young family as they begin to unravel due to those unexplained, late at night (usually) THINGS HEARD & SEEN.

And those “things” are in full swing as the film begins in the winter of 1980. A young “thirtysomething” man encounters them as he pulls his car into the garage of his somewhat desolate farmhouse home. The story takes a fast rewind to the previous Spring in an NYC apartment where he, artist/historian George Claire (James Norton), and art-restorer wife Catherine (Amanda Seyfried) are hosting a fourth birthday party for their adorable daughter Franny (Ana Sophis Heger). But actually, it’s an excuse for them to drink with their city friends and family, and to announce that George has accepted a teaching internship at upstate Saginaw College. All a cause for celebration, but Amanda’s eating disorder hints at cracks in the happy union. But soon the relocation plans begin as an anxious local real estate agent in Chosen, NY, Mare (Karen Allen) takes the Claires to a 100-year-old four-bedroom former dairy farm known as the Snit (later Vayle) house. It’s a “fixer-upper”, but Catherine’s ready for the challenge as Michael meets with the head of the school’s art department, Floyd DeBeers (F. Murray Abraham). One morning Catherine is surprised when two local young men knock on the door and inquire about work. She hires them with post highschooler Eddie (Alex Neustaedter) as “fix-it man” and his pre-teen brother Cole (Jack Gore0 as a babysitter for Frannie. But something’s just “off”. The lights flicker at night, while intense gasoline exhaust smells waft through the home. Cate’s discovery of an old family Bible raises many questions, while George becomes distracted by a wispy young woman working at a nearby stable, Willis (Natalia Dyer). As Floyd helps to set up a seance (unknown to George) with Cate, the college weaving teacher Justine (Rhea Seehorn) becomes friends with Cate as she begins to question George’s motives and his past. Will these otherworld forces at the new home add to the tensions in the increasingly shaky marriage? And are these “entities” trying to help or harm Catherine?

With those intense expressive eyes, it seems that Seyfried was custom-made to headline ‘spook shows ‘ of this nature. Certainly, but she also carries the emotional weight of the story’s dramatic arc. Although she adores her child, Catherine tries to clamp down on her depressive thoughts and uncertainties, which rises to the surface with that early episode of closeted bulimia. Sure, Seyfried shows us a woman facing the unknown, the same forces that somehow liberate the repressed artist. Curiosity triumphs over terror as Catherine becomes a hidden sleuth, giving her the strength to stand up to the smothering arrogant George. Norton nails his villainous spouse role using his charming smile to get himself out of sticky situations while seducing every easily swayed young woman (the female students swoon at his lectures as though he was a certain Dr. Jones). His smugness and privilege mask his inner evil. Ah, but a few see thru his slick veneer, especially Dyer as the too wise for her years Willis. She knows what George is after, yet can’t stop herself from giving in, as Dyler’s sad dark eyes explain it all to us. Also seeing past the hair and gleaming teeth is Seehorn’s Justine who chooses not to be moved by his B.S. and becomes the crusader that will end his career climb and also rescue Cate from his vise-like grip. She’s “running the show” while the terrific James Urbanik scores a few needed laughs as her pot-growing failed-writer house-hubby. Neustaedter raises the temps as the smoldering long-haired teen dream right from the cover of a romance paperback (complete with Fabio-style hair). Oscar-winner Abraham brings the proper gravitas to his department boss role, while also becoming a kindly mentor/father-figure to the confused Catherine. And kudos to casting two 1980s screen icons as the non-college town couple. Allen, as the sympathetic realtor, and Michael O’Keefe (CADDYSHACK) as her stoic sheriff/ husband.

Venturing into the supernatural for the first time, directors Shari Springer Berman and Robert Pulcini (AMERICAN SPLENDOR) create a subtle, simmering atmosphere of dread, making this tale closer to classics like THE UNINVITED and the original THE HAUNTING rather than the current CGI-enhanced “found footage” flicks and more effects-heavy franchises. Yes, there are a few “jump scares”, but there’s little reliance on the jarring sound mix tricks that have almost become cliche. Thanks to their screenplay adaptation of Elizabeth Brundage’s novel, the unraveling of the Claire marriage has as much importance as the disembodied voices and the hovering crows (with the time frame, you may recall ORDINARY PEOPLE). The frenetic third act has some unexpected turns, that lead to a final denouncement that offers little in the way of a dramatic “pay-off’ while creating lots of questions involving logic and character motivations. But, as I mentioned, that 80s atmosphere really works (praise to those artists in costumes, hairstyles, and set decoration), and Seyfried is a sublime horror heroine. With her as our guide, it’s an engaging tour through THINGS HEARD AND SEEN.

3 Out of 4

THINGS HEARD & SEEN streams exclusively on Netflix beginning on Thursday, April 29, 2021.

INSTANT FAMILY – Review

So the family’s all together for the big holiday, well why not head over to the multiplex to enjoy a family film? And hey, “family” is even in the title. That’s what the studios are counting on, hoping audiences will go for a breezy all-ages comedy in between those somber awards contenders. Most of the time, the studios will go a couple of different ways with a “family” comedy/drama. Either it’s a multi-generational gathering of uncles and cousins like PARENTHOOD and more recently, the reviled LOVE THE COOPERS, or it’s about a family with lots and lots of kids like CHEAPER BY THE DOZEN (original and remake) along with blended families like YOURS, MINE, AND OURS (ditto), which begat that iconic TV show and its feature film THE BRADY BUNCH MOVIE. But this new flick has fewer kids and a message. The filmmakers want to give us a look at the foster parenting system (which often leads to adoption), and perhaps inspire viewers to get involved. The movies have tackled the subject, usually in “tearjerkers”, notably in 1941’s PENNY SERENADE. The kids here aren’t the typical movie kids looking for parents. They’re not plucky orphans like ANNIE, because, well, they’re not technically orphans. Lots of heart-tugging and comic complications occur when they join a couple and become an INSTANT FAMILY.

Pete (Mark Wahlberg) and Ellie (Rose Byrne) are a fun-loving married couple in their thirties (can we still call them “yuppies”) who work together as “house flippers” (buying run-down homes, fixing them up, and selling them for profit). As they’re showing off their newest property to Ellie’s pregnant sister and her hubby, a causal comment gets them pondering. Ellie and Pete think that maybe they should start a family. Or maybe not, as Pete wonders if he could keep up with a newborn. This prompts Ellie to consider fostering a child. After scanning and viewing countless adorable tykes online, they call the local fostering center. There the duo meets another duo, social workers Karen (Octavia Spenser) and Sharon (Tig Notaro), who welcome them into a class for prospective foster parents. After several sessions with the other couples, it’s time to meet the kids at a big foster parenting picnic, sort of a mix and match. Pete notices that the tots and pre-teens are getting all the attention while the teenagers are left to mingle amongst themselves (as Pete crudely comments, “People are avoiding them like they’re dipped in s#*t!”). One of the teens, Lizzy (Isabela Moner) overhears this and fires back with a snarky retort. That seals it for Ellie and Pete, they want to foster her. Ah, but there’s a hitch! Lizzy doesn’t want to be separated from her two younger siblings. A “package deal”. No problem as the couple takes in Lizzy, her twelve-year-old shy, insecure brother Juan (Gustavo Quiroz) and high-spirited six-year-old sister Lita (Julianna Gamiz). This “instant family” endures many highs and lows as Ellie and Pete hone their parenting skills. The main challenge is Lizzy who pushes back against the duo. Then things get really complicated when the kids’ birth mother is released from a court-ordered drug rehab program. Will the kids go back to live with her? And will Pete and Ellie be able to let go and do what’s best for the trio?

Wahlberg and Byrne have an effortless chemistry, making you wonder why these two talented actors haven’t been paired up before. As the energetic, firmly focused Pete, Wahlberg has smoothed out some of the rougher edges of his usual screen comedy persona, as in the often coarse TED and DADDY’S HOME, film to give us an affable everyman, a “good Joe” eager to accommodate though his enthusiasm often gets the better of him. The same can frequently be said for Byrne’s Ellie who’s just as smitten with these new additions to her life. And she can “go off the deep end” at times adding a little bit of zany spice to the couple’s partnership (they each know just when the other is losing focus). The duo has a formidable sparring partner in Moner as the strong-willed teen Lizzy. She’s not as easily won over as her siblings and rankles when the “pretend parents” doubt her method of dealing with the wee ones (Lizzy’s been their protector for seemingly quite a while). But Moner also shows us the vulnerable side of Lizzy, as she starts to let her guard down and embrace this home before “catching herself’ and “shutting that door”. It’s a complex role that this impressive young actress handles with great skill. There’s another great duo in addition to Pete and Ellie, and that’s Spenser and Notaro as the Oscar and Felix of social workers, Karen and Sharon. Spenser “shoots from the hip” with a boisterous “no B.S.” attitude while Notaro is the quieter, “by the books” guide to fostering challenges. Though their methods differ, both are committed to the same goal and provide some of the film’s best laughs. Speaking of inspired match-ups, kudos for casting the stars of the two biggest comedy hits of 1980 as Ellie’s parents, Julie (AIRPLANE!) Hagerty and Michael (CADDYSHACK) O’Keefe. Hagerty has an ethereal child-like, loopy air as Jan in stark contrast to Margo Martindale as Pete’s “steamroller” mother, Sandy. This “force of nature” provides another source of comic conflict as she tries to get everything and everyone back on track. Quiroz is endearing as the jittery Juan who over-apologizes as he frets over any misstep, while Gamiz is adorable and often exasperating as “I only eat chips” Lita. Aside from Notaro, several other stand-up comedy stars pop up in supporting roles, such as Tom Segura as trouble-maker Russ and particularly Iliza Shlesinger as the single parent foster candidate October, who has a very specific list of requirements for his desired child.

Comedy film veteran Sean Anders (HORRIBLE BOSSES 2 and the DADDY’S HOME flicks) gets the most of the slapstick situations and keeps the pacing fast and frantic for funny “throw-downs” and verbal fights. But he handles most of the dramatic scenes with equal ease. making a simple scene of Ellie gently brushing Lizzy’s hair very moving and warm. The film’s main flaws seem to come from the script he co-wrote with John Morris. As we many comedies, especially domestic life sagas, the story feels like several episodes of a TV situation comedy crammed together, though with the fostering classes and at home adjustments and problems, it could be two separate sitcoms thrown in a mixer. There are the wacky potential parents butting up against Ellie and Peters’ challenges and triumphs. Big conflicts are brought in (Lizzy is “sexting”), then quickly dismissed with a gag and forgotten. The birth mother is introduced for the climactic final act, but she has little to do other than acting uncomfortable and staring listlessly. The biggest misfire is the film’s big emotional finale. As the principals are pleading and pouring their hearts out, the wacky down-the-street neighbor wanders in, almost as if from another movie, to sabotage the pathos with some awkward (I really enjoy this comic actress, but her annoying role baffled me) asides. This scene is immediately followed by an uplifting epilogue that brings in almost the entire cast for a feel-good finale that would’ve seen cloying and contrived in a 60’s sitcom. I will give them points for discussing the “white savior” aspect of this and even name-checking THE BLIND SIDE, but this doesn’t excuse the many loopy bits of whimsy (who tries to douse a fire with ketchup when several glasses of water are within reach). This movie is full of good intentions as it encourages childless couples to consider the foster system, but it doesn’t make for a consistent comedy or drama. INSTANT FAMILY isn’t instantly forgettable, but it’s not the movie that the noble subject deserves.

2.5 Out of 5

WAMG Interview: Sean Anders – Director of INSTANT FAMILY

Sean Anders made a name for himself in Hollywood as a writer of rowdy raunchy comedies for the last dozen or so years. For the past decade, he’s become a double threat by directing several of his screenplays, such as THAT’S MY BOY, the two DADDY’S HOME flicks, and the second HORRIBLE BOSSES movie. With this Friday’s new release INSTANT FAMILY, Anders goes for the hat trick as co-writer, director, and producer. Plus he’s gotten a PG-13 rating rather than his usual R. As you’ll read here, this is in service of a story that’s close to his heart. Recently Mr. Anders visited St. Louis to promote the film. I was able to ask him a few questions, along with 590 the Fan and KSDK.com’s Dan Buffa, on October 30.

Jim Batts: This is one of the few comedies that could also be called a “message” movie. I believe Sam Goldwyn is credited as saying, “If you want to send a message, use Western Union” (if anyone remembers telegrams). But this film works. Was your original idea to do a comedy promoting foster parenting, or did this occur to you as you made your own “instant family”, thinking “Hey, this is funny. It should be in a movie.”?

Sean Anders: A little bit of both, really. After hearing several of the hilarious and sometimes heartbreaking stories, my writing partner John Morris pushed the idea of turning this into a film. I jumped at the chance to put the word out about the experience of taking these kids in, and how that can change your life because most people just don’t know about this. Fortunately, I’ve kept in contact with my old social worker who in turn put me in contact with several other families who shared their stories and situations, many of these found their way into the film.

JB: Much of the film cuts back and forth between Pete and Ellie’s (Mark Wahlberg and Rose Byrne) homelife and the parenting classes they attend with several hopeful parents. Was there ever a thought of doing an initial film just about the classes and saving the introduction of the kids for a sequel?

SA: Not really, because we wanted to show the entire scope of the fostering experience. Bringing the kids in was important because a lot of folks that might be thinking about getting involved were sometimes afraid of the kids who have sent so much time in the system. We want to show that many of these fears are unfounded. That’s why we cast several foster families in the big crowd sequences.

JB: The film has autobiographical elements, though Pete and Ellie are not in the entertainment business, but rather are “house flippers”. Did you go through several possible occupations, or was the thought that the couple was “flipping” their lives?

SA: The house flipping has been a hobby for my wife and I. Just like the movie couple, we like to relax at night and watch the cable “house renovation” shows that we’ve DVR’d. But yes, that part of the story lends itself to that metaphor! They’re having a great life together, but something seems to be missing.

JB: Wahlberg and Byrne have such terrific chemistry, you’d think they had played a couple onscreen before. Was the process of pairing them a long one, or was she in mind when you and John wrote the screenplay?

SA: Well, John and I had a long list of ideas for possible Ellies for Pete (Mark was on board from the onset). We needed someone who could handle the comedy and drama, plus an actress who would ask all the right questions about the story and the character. Rose fit the bill, and then some. I recall the first scene she shot with Mark was the one in which they look at the foster child website. After we cut, a couple of crew members remarked about their chemistry. They seemed like a couple who’ve been married several years.

JB: Isabela Moner (as the elder of the trio, Lizzy) delivers a powerful performance. Were you thinking of making the oldest child a male before meeting her, or was the dynamic always older girl, middle boy, and youngest girl?

SA: No, we always wanted that dynamic as it was very close to our own reality. Lizzy is a powerful force, trying to keep the kids together for the birth mother. She reflects many of the conflicts, showing that everything doesn’t “fall into place”. We were turned down by the teen foster child in own first attempt at adoption.

JB: Pete and Ellie aren’t the only terrific comedy team in the film. Karen (Octavia Spencer) and Sharon (Tig Notaro) are an inspired Oscar/ Felix pairing. And then there’s the casting of Ellie’s parents. Were you intending to reunite two of the stars of two comedy classics from 1980 as a gift to film fans of that era?

SA: That’s one of the great happy coincidences in movie making. Growing up, I was a big fan of both AIRPLANE! and CADDYSHACK, so I, and the rest of the cast and crew, were delighted to pair Julie Hagerty and Michael O’Keefe for the first time in a film. It’s not just nostalgia, as they are great together.

JB: Hagerty’s Jan is flighty and soft-spoken. Did you cast her to specifically as the opposite of Margo Martindale’s “steamroller”, Grandma’ Sandy?

SA: No, Jan and Sandy were always written that way. Julie saw and played Jan with almost a child-like quality, while we and Margo saw Pete’s mother as this bombastic “force of nature”.

JB: The Christmas “box” sequence is somehow both funny and tragic, something you’d usually associate with toddlers. Was this culled from a holiday at home, or did it come from interviews and research?

the interviewee earns a prize from the interviewer!

SA: This happened with my own son, Not only at the holidays but as we began to order more and more items from Amazon. He had to go grab those grinning boxes. And this came up in several stories from the families we talked to.

JB: Another remarkable scene that is unexpectantly moving is when Ellie brushes Lizzy’s tangled hair. The teen feels as though she’s about to bond with her foster parent, then fights the feelings, that she must remain loyal to her birth parent.

SA: Yes, this was a real human moment, where we wanted to go for the emotion rather than the “gag”. I was lucky to have a friendship with the late, much missed, filmmaker John Hughes. He gave me some great advice about screenwriting, “It’s not the size of the laugh, it’s how it feels”. Does it ring true? That’s more important. That’s one reason the message in the movie means more than getting laughs. I want people to come away from this movie with a better understanding of foster families and to erase the stigma around these kids. They aren’t weird misfits or monsters, they’re just good kids that deserve a chance. My hope is that more people will do the research and get involved. It’ll not only change their lives, but it’ll also bring joy to yours.

JB: Thank you for your time, Mr. Anders. And best of luck.

INSTANT FAMILY opens everywhere on November 16

WAMG Interview – Ron Judkins: Director of FINDING NEIGHBORS – SLIFF 2013

Ron Judkins is an Oscar-winning sound engineer. He has worked on over 50 films since 1976 including blockbusters for directors such as Steven Spielberg, Gus Van Sant, Paul Thomas Anderson, Richard Donner, and Barry Levinson. He won two Academy Awards for Best Sound for JURASSIC PARK and SAVING PRIVATE RYAN. He made his directorial debut in 1999 with the film THE HI LINE, which he also wrote. Now Ron Judkins is back in the director/writer chair for the new film FINDING NEIGHBORS, a comedic drama about three sets of Los Angeles neighbors who are searching for true connections.

FINDING NEIGHBORS is the story of a formerly acclaimed graphic novelist who goes looking for a true connection outside of his marriage – and just over his fence. Six months late on a book delivery, Sam (Michael O’Keefe) has succumbed to a full-on midlife and creative crisis. Sherrie (Julie Mond), the provocative girl-next-door, offers him an easy and willing distraction. But it is Sam’s budding friendship with another neighbor (Blake Bashoff), a gay man, that ultimately helps him reconnect with his creativity. Sam, however, reveals nothing of this to his wife (Catherine Dent), and as he begins to change, she becomes increasingly suspicious about what’s going on in the neighborhood. Understandably hurt that Sam has become emotionally intimate with someone other than herself, she’s doubly confused by the discovery that Sam’s “someone else” is a man. As Sam begins to recapture his creative fire, he finds he may be losing the one thing he has never doubted: his marriage.

FINDING NEIGHBORS will be screened at the St. Louis International Film Festival (SLIFF) on Saturday, November 16th at the Plaza Frontenac Theater. Ron Judkins will be in attendance to answer questions about the film after the screening.

For ticket information, visit Cinema St. Louis’ site HERE

http://www.cinemastlouis.org/finding-neighbors

Ron Judkins took the time to talk to We Are Movie Geeks about FINDING NEIGHBORS before his visit here for SLIFF.

Interview conducted by Tom Stockman November 14th, 2013

We Are Movie Geeks: FINDING NEIGHBORS is your second feature film as a director. Your first was THE HI LINE in 1999. Why the 14 year gap between films?

Ron Judkins: That’s the way Hollywood works. When I made THE HI LINE in 1999, it went to Sundance and and it was sold to Showtime and I thought that would sort of catapult me to more mainstream filmmaking where a studio would come and finance my project. I went down that route and had several films in development. We worked on casts and scripts, and the years were going by and I realized more years went by than I had realized and I was soon aware that I was right back where I was when I made THE HI LINE which was just wanting to make a movie and gather resources. It was something I wanted to green-light myself instead of asking someone else for permission to make a film. That took a while.

WAMG: I was looking at your credits on IMDB – you started on some low-budget horror and sci-fi genre stuff. What was it like working for Roger Corman on BATTLE BEYOND THE STARS?

RJ: I had just moved out to Los Angeles, that was in 1980. I thought I had hit the big time. There were real actors in that movie, and spaceships, and all kinds of really cool stuff going on. I was really excited. Even back then Roger Corman was such a legend I felt like I had finally entered the mainstream world of filmmaking. Roger Corman was certainly a character.

WAMG: As a sound mixer, are you on set much during a film’s production or is most of your work done after filming is completed?

RJ: No, I’m totally on the set. My job is to record the original dialog while the camera is rolling. I’m right there. Being on the set is really what I love. I have friend that are post-production mixers and they go to these dark studios and they spend the rest of their lives there and I just couldn’t do that. I like to be where the action is.

WAMG: You’ve been nominated for 11 Oscars and won two Oscars for Sound for Steven Spielberg films. How did you get involved with Steven Spielberg?

RJ: I had just gotten into the union and was working on a movie called DAD with Jack Lemmon. Amblin was a co-producer and Steven Spielberg had gone to watch some dailies. I think they had discussed the sound and thought the sound was quite good so Steven came to the set of DAD one day. Lo and behold, he walked over to me and said that he was getting ready to start filming his movie HOOK and asked me if I’d like to do the sound. It was my dream come true. HOOK was one of the hardest jobs I’d ever done. There was a lot of children on the set and a lot of improvisation every day. These kids would ride roughshod over the set. But we got through it and it was really nice and led to a good body of work with Steven.

WAMG: How did you come up with the idea for FINDING NEIGHBORS?

RJ: The original idea was based on our little neighborhood here in Los Angeles. We live in part called Atwater Village and on one side of us live a gay couple in their forties and on the other side live a married couple but the wife is awfully flirtatious and I just wanted to embrace that in a comedic drama. There were things that happened with them that made for good story materials, and I just ran with it. Much of the movie, especially stuff at the beginning, is based on true life.

WAMG: You wrote FINDING NEIGHBORS which is about a graphic novelist. Are graphic novels something that you have been interested in?

RJ: No, but I have a lot of friends that are in similar situations, friends that work in that sort of creative industry, whether it be the film industry or the publishing industry. We all live in this culture that focuses on youth. All the creative energy and attention goes to the twenty-somethings. I really just wanted to tell a story about an aging baby boomer guy and how he stays relevant in his own mind and in this culture and creatively. I think what happens to a lot of people is that they buy into that kind of thinking. One thing I wanted to convey in the movie is that no matter how old you are or where you find yourself, your voice is so important. We tried at a screening in Austen to target, not an older group, but an audience that wasn’t just made up of 20-years olds. The audience response was really overwhelming. I thought I’d really hit a bit of paydirt there.

WAMG: What was Michael O’keefe like to work with and were there other well-known actors you considered for that role?

RJ: There were a few others that we considered. We worked with a casting director named Susan Shopmaker out of New York and she was an avid advocate for Michael. He has this perfect combination of being likeable but also being a bit of a curmudgeon. I think that comes through on the screen and it came though on the set as well. You hear stories about how actors remain in character all the time and I think Michel remained in character all the time on the set as well. It made for interesting interplay creatively. There were times when he was grumpy and there were times when he was the character. I think it all worked out perfectly.

WAMG: Who are some of your favorite filmmakers that you have not had a chance to work with who you would like to?

RJ: Right off the bat, Steven Soderbergh. I hear really good things about his process on the set. I’ve done one film for Paul Thomas Anderson, PUNCH DRUNK LOVE. I met my wife on that film, actually. I’ve gotten close to working with Paul again since then but our schedules have never worked out, but I would love to work with Paul again. I think he’s very creative. I like directors who really share the process on the set. The rehearsing, the working with the crew and the actors. As a technician on the set, you really get to feel as if you’re part of the creative process.

WAMG: What can you tell me about your next project?

RJ: Right now I’m working with a filmmaker that I’ve always wanted to work with. A New Zealand filmmaker by the name of Niki Caro. She did the movie WHALE RIDER about eight years ago. I thought that was an incredible story, very visual and it had so much heart to it. I got a call a couple of months ago from a producer offering me the chance to work with Niki Caro and that was a no-brainer. We’re working on a movie called MCFARLAND and we’re about two thirds of the way through. It stars Kevin Costner and Maria Bello. It’s more or less a cross between THE GRAPES OF WRATH and COACH CARTER. It’s a great heartwarming story.

WAMG: Sounds good. Best of luck with that and with FINDING NEIGHBORS and I hope you enjoy your visit to St. Louis this weekend.

RJ: Thank you.

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