♪ O Canada, we stay at home for thee ♪
- Hey everybody, welcome
to Stay-at-Home Cinema.
I'm Cameron Bailey. I'm the
Artistic Director at TIFF,
and the Co-Head, and I
want to welcome you all.
We're doing it again: we're
going all across Canada
with Crave and around the
world on Instagram Live.
Tonight we're watching the
movie "Captain Fantastic,"
starring Viggo Mortensen,
and he'll be joining us
in a minute. But I want to begin
by just giving some shoutouts,
first to all Indigenous storytellers across this land.
To all of the people who
help keep TIFF going,
beginning with our lead sponsor Bell.
Bell is the people who
are responsible for Crave,
so they've been great partners on this.
Also, RBC, L'Oréal Paris, and VISA.
All of the donors, all
of the public supporters,
at all levels of government.
Members of TIFF as well.
All of you are helping us
keep going during this wild time as well.
So thank you all for that.
And a shoutout to my wife, Carolynne Hew.
This is her office — welcome to it.
I'm gonna be doing this
from here for a while.
You will know the star
of "Captain Fantastic"
from movies like "A History of
Violence" and "Eastern Promises" —
both directed by David
Cronenberg, Canada's own —
from "Green Book," where he was
nominated for an Academy Award
for Best Actor, "Portrait of a Lady,"
and, of course, the 
Lord of the Rings trilogy.
For his work in "Captain Fantastic,"
he was nominated for a Golden Globe,
an Independent Spirit Award,
and an Oscar for Best Actor.
The film was premiered in 2016
at the Sundance Film Festival,
went on to play the
Cannes Film Festival as well.
Did really well around the
world, won tons of awards,
and we are gonna try to
find Viggo right now.
Let's see if we can call
him up on the @cravecanada —
I am looking for @cravecanada.
I'm gonna have to search it up,
'cause Viggo is not an Instagram dude,
so this is how we're gonna do it.
All right, this looks like
this is going to take a moment.
And I will get to it as soon as we can.
In the meantime, I want to let you know
that we also have some members' questions,
and we're gonna try to
get to those as well.
And let's see if we can
find Viggo.
Where are ya?
Welcome to the internet.
[Laughs]
Waiting, waiting...
I think we're making progress...
And Mr. Viggo Mortensen, how you doing?
- I'm coming to you now.
- Right, all right, good.
- I've been watching you.
Just so you know.
- How are you?
- I'm going to a quiet room —
the others are watching a movie right now,
different movie, and I've been watching you
for the past 20 minutes and—
- [Laughs] Making a fool of myself, right?
- And so, whatever, I don't know.
- How are you?
- I'm good.
- Good, and you're
staying at home, are you?
- Yes, I am.
- What?
I knew it! I knew you would.
[Both laughing]
For some reason I still can't fathom,
Viggo Mortensen remains a
fan of the Montreal Canadiens.
[Laughs]
I don't know what's going
on. We're in Toronto,
did you know that?
- I know you are, that's why I did it.
[Laughing]
Here's one of our treasures,
here's the Shepard Fairey poster.
- Oh, yeah!
- Collector's item.
- That's fantastic.
He made that specially for the movie.
- Yeah, he did.
- That's beautiful.
- He was nice enough to give
me one. He gave Matt Ross one.
Anyway, how are you doing?
I'm sorry for the stressfulness of this.
- We're good, we're good,
we're just trying to keep going
and try to share something
with people across Canada
as well, so I'm glad that you're
able to do this. Thank you.
I want to ask you a little
bit about how you came
to this film and the role
of Ben in Captain Fantastic.
It's about a family that's
chosen to live in isolation
of a sort, in the woods, and
I know you live a little bit
off the grid for your
typical actor as well.
Tell us a little bit about
what was interesting to you
about the character and the story.
- Well, I used to actually
live in Northern Idaho.
Throughout my life at different times
I've lived either in the woods
or out in the countryside,
and I do like that, but no,
what drew me to the script
was Matt Ross's script,
the writer-director of "Captain Fantastic."
It was a great story, very well structured
and a big challenge, as I said to Matt.
And he obviously knew
better than I did — I said,
"If you don't find some great kids,
six amazing young people,
it's gonna be hard to make a
movie as good as your script."
Jeanne McCarthy was the casting director.
Casting directors don't
always get acknowledged,
but she's a great casting director
and she helped us find these kids,
and we did auditions with
all the final candidates,
and anyway, it was the script really.
I just thought it had a
lot of potential, the story.
And I also liked Matt Ross's —
he's a very intelligent
actor-director-writer
and his ideas about how he
wanted to execute it.
He had a very limited time
frame in which to shoot this,
and we changed locations almost every day.
And as you can see in the
movie, it's outdoors, a lot of it,
and very tricky — especially
in the Pacific Northwest,
rain, all kinds of things happening.
And you have kids with
limited working hours
and so forth. But it worked.
What I saw him do as a director
was what I've seen directors like...
David Cronenberg and others do,
is that they prepare early.
I mean, you can't over-prepare
for a shoot,
because once the shoot
starts it's like a train
leaving the station or a
boat leaving the harbour.
There's not much you can do about it.
If storms are ahead, you have
to be ready to deal with it
and you have to be in sync as a team.
You have to prepare for as
many unforeseen obstacles
as you can, and that's what Matt did.
He really prepared thoroughly beforehand,
which I like to do as an actor,
so it's nice to see a director doing that,
and I think that's really
why he pulled it off.
- How did you prepare for the role?
I understand there were
some physical objects
that you brought along with you.
- Yeah, we had — part of the
preparation not just for me,
but for everybody, was individually
people had to do things,
had to be— get in shape.
The kids all had to
promise to not use things
like what I'm holding in my hand now,
[cut off by audio issues]
- [Laughs] Yes.
- They were banned from the set.
There was no candy on
the set, there was no...
It wasn't like some "do-or..."
like, overly strict situation,
but everybody was into it. It was like,
"This is the way it's gonna be."
And then they learned how to make fires,
and in some cases the kids
learned how to do taxidermy.
- Really?
- How to butcher deer, how
to do all kinds of things.
How to be in the outdoors.
Even had some camping situations
where they were left on their own
pretty much in the middle of the night,
and they did all kinds of training.
Rock climbing... I dunno.
You name it. We learned
all kinds of things together,
martial arts, and it was a lot of fun.
And did a lot of reading. There was a—
Matt Ross had a reading list:
all kinds of philosophy,
social, political books, novels...
Science...
I mean, all kinds of things.
Tracking in the woods...
I mean, you know, it was
like this big boot camp
before we started, which
helped us bond too, you know?
Because there was a
can-do feeling about it,
and Matt Ross had a good
sense of humour about it.
He expected a lot from us, but
he knew how to create a set
where there was a friendly
atmosphere, where it was fun.
- That idea of retreating from the world,
which the family in the film does...
A lot of us have had
that forced upon us now,
and I wonder if you have any thoughts on
just what that does to you
as a person or as a family?
If you have to depend just on yourselves.
- Well, it's true. I think it's possible
that once the coronavirus
settles down a little bit
and we eventually get a...
a real cure, a real vaccine
for the virus and people decide
what they're gonna do next,
I think some people, maybe
a lot of people, will decide
they want to live in a
slightly less hurried way,
in a more self-sufficient way.
Maybe some people will
even want to leave cities,
you know, like the family
does in "Captain Fantastic."
You don't have to do that —
I mean, you can live in a simpler way
and in a way more conscious
of your surroundings
and of nature, more connected,
if you want to, even living
in a city like Toronto
or any other city in the world.
And I just think being more mindful
is something that, I think,
maybe a lot of people
are coming to those
conclusions on their own.
When you're shut in for week after week,
you have to be a little more resourceful.
You have a plumbing problem,
you might not be able
to get someone to come fix it.
You might have to learn how to fix it.
I mean, I've always thought
in life, when people say,
"I'm bored" —
I sound a little probably
like the character
in "Captain Fantastic" — but my
whole life I've always thought,
"There's no excuse to be bored."
Afraid, nervous,
afraid to die,
afraid that something's gonna happen...
There's a lot of people are thinking that
they're gonna get sick, that
someone they love is gonna be...
that it's gonna touch them.
And I think that almost
every single one of us
that are in our community
at this moment, on this
phone or through our phones —
we're all gonna be touched directly,
somebody very close to us, by this virus.
It's a reality, so to be 
afraid, to be worried,
to be frustrated, to be angry, sure.
But to be bored?
Life is too short, and 
I think at a time like this,
people realize how
short life really can be
and how short it always was.
So, you learn to make
something of each day.
You learn that there
are simpler pleasures.
You don't have to have every gadget,
you don't have to constantly
have your mind reeling
with all kinds of things
to keep yourself busy,
to keep yourself from getting bored.
There are simple ways, and
just... I think a lot of people
have found that they're
communicating with other people,
maybe people that they've
neglected to communicate with
for a long time, people they
no longer [cut off by audio issues]
long time ago.
I mean, it's wonderful, this thing
that we're looking at each other through.
The advances, the wild advances
in global mass communication
are wonderful, but so far,
I don't think we've taken
that much advantage of it.
A lot of people use these things,
this ability to communicate
instantly and so thoroughly,
to reinforce their pre-existing prejudices
and likes and dislikes
rather than to reach out,
and I think this is what the
movie "Captain Fantastic" does.
I saw that in the script,
I feel that when...
I felt that when I watched the movie:
the idea that you can
make a conscious effort
to find some kind of two-way conversation,
communication, with people that
you don't necessarily agree with,
maybe even with people that you
don't like at all, instinctively.
And you may not end up becoming friends,
but at least you can—
- You can learn something.
- Yeah, you can learn
something from everybody
and everything, and I think
people are learning a lot
during this kind of scary period —
for some people, very
scary. And, you know, to say,
you're bored...
Look, if you're sitting
there with this in your hand,
if you have a roof over your head,
if you have some food,
you have some company —
whether you do or not have company,
but the fact that you
have a roof over your head
and some food and that you can
actually practice
social distancing...
you're very fortunate.
There are hundreds of thousands,
millions of people who can't even—
- Who don't get to do that.
- do it.
I'm not talking just about refugee camps,
I'm not talking about that.
Homeless people
and people in very crowded
cities in the world
where they don't have the
health care they have in Canada
or the United States or other
parts of Western society
or the, say, "first tier" of nations
in terms of civilization
and technological advances.
You're fortunate, so don't
tell me, "You're bored."
Know what I mean?
So, I think that that's kind of the spirit
of the Cash family in "Captain Fantastic."
I don't think you'd ever
hear any of them say that
they were bored.
If they're bored, then
they'll find something—
- Yeah, they can actually
make their own entertainment,
they can find things to be
curious about, and they stay curious.
- And I think as much as they're isolated,
what I felt was interesting
about the story was
that they're not isolated in this—
in a sort of paranoid,
wilfully ignorant way.
They're not extremist...
deniers of scientific truths.
You do have cases, pockets of people
in different parts of the world,
different parts of
North America, certainly,
that are averse to science,
that don't want to know anything about it.
Sometimes these pockets
of small populations are—
it's religious-based, but
whether it's religious or not,
it's an ideological approach that says,
"I don't wanna know."
And that's... that seems sad to me.
- Yeah, that's really a
remarkable family in the film
and I think a good model for a lot of us
who might not stop to think
through the way this family does
in terms of just how to live your life
and how to make the most
of every single moment.
I think we need that now more than ever.
- Absolutely.
- In the next couple of
minutes that we have left,
I want to just go to one of
our TIFF members, Susan Murer,
who was asking about
your career as a whole,
directors you've worked with.
And this is probably hard to do,
but which director in your career
have you been most in tune
with creatively, and why?
- And by the way, I don't
know what your time limit is,
but I'm game to go as long as you want.
- Okay, cool.
- I've been — Really! I know
there may be more people
than we'll get a chance to answer,
I'd like to answer as many as possible —
I've been fortunate as an actor.
I mean, part of it has to do with the fact
that I'm picky in terms of—
I like to do a movie—
I try to say yes to movies,
if I have the choice,
that I'd like to see,
that I'm gonna learn something from.
And yes to directors that I feel,
I know they're gonna teach me something.
And I've been fortunate.
Obviously David Cronenberg
I've worked with three times
and would love to work with again,
and it's beyond having worked
with him as a director.
We're also friends and we
have a good connection.
And I did like the way he
prepares, I like the way
he treats his crew and his cast,
and he's just very intelligent.
He's unusually intelligent,
maybe the most intelligent
director I've ever worked with,
and just is an intelligent person,
a curious person about life and people
and what makes them tick.
Matt Ross, I couldn't imagine
anyone doing a better job
than what he did with making
this movie, "Captain Fantastic,"
but especially the way he—
the atmosphere he created on set.
The way he worked with people.
There's a director named David
Oelhoffen, a French director.
He made a movie that was
actually shown at TIFF,
called "Far From Men."
It was a French movie he
set in the 1950s in Algeria
in French and Arabic,
and he also had a very
good way of preparing
and working with crews.
I don't know, I can't pick one.
I mean, David Cronenberg
maybe, because I've worked
with him more than anyone else
and I've gotten to know
him probably better
than anyone else that
I've worked with as in—
- Do you think we'll see another film
from David Cronenberg any time?
- I think so. He's trying to get one
made right now,
so I can talk about that when he's ready,
but he's trying to get it together,
and I would participate in
that — I already said I would.
And I don't understand,
I never understood,
I've said this before —
Each time he's tried to make a movie,
no matter how good his track record —
His track record has
always been that he comes in
on budget, or under budget,
on time or before time.
He doesn't waste people's money,
he always makes a good
product, a really good movie,
thought-provoking movie, and
then he has all this trouble
raising money to make the next one.
- That's crazy.
- It's exhausting.
- People just need to give
David Cronenberg his money.
He's been doing this for
decades now, come on.
- Any of you that are listening,
[audio cuts out]
- [Laughs] If you have money
to give to David Cronenberg
to get this next film made,
let's just do it, okay?
- I mean, you see Woody Allen
make a movie every year.
Why doesn't Cronenberg get
to make a movie every year,
if he feels like it?
I don't know if he'd want to do that now,
but in the past I'm
sure he would have liked
to work more regularly.
But I think part of it is that he
challenges viewers and critics
because he's always trying something new.
It's hard to say,
"Well, that's a David
Cronenberg movie, I can tell."
I guess there's certain things about it.
Yes, he has usually the
same cinematographer,
production designer, people
that work with him, score.
He uses Howard Shore in
recent years and all that.
But there's something
different about each movie.
He tackles different kinds of stories
and he shoots the movies
in slightly different ways.
So maybe it's because people don't know
what to expect from him,
- What to expect, exactly.
- and in the market they want to say,
"Okay, I know what you're
gonna do, that's reliable,
that's how it's gonna look,
credit is gonna look like this,
it'll have this beginning,
middle and end and so forth
and I can take that to the bank."
And David will say, "Yeah, but
I want to make this story."
And they go, "Why do you want to do that?"
"Because that's what I want to do."
Instead of stopping and thinking,
"Has he ever let you down?"
- [Laughs] Yes.
- Rarely, rarely.
- That is a good question.
I want to go to another—
- There's one—
- couple of questions,
if you don't mind, from—
one from a member. This is
going back to "Captain Fantastic."
It's from Ben White, who asks,
"Did you come up with your
own ideas of the character
of Ben Cash for the film, or did Matt Ross
have a very clear idea of what
he wanted for the character?"
- Matt was very generous.
I think we were on pretty
much the same wavelength,
but I remember an interview
he gave where he said
that his initial idea of the character
might have been slightly...
I don't know what the word is.
Ironic, or just more...
like a teasing kind of
presence with his kids.
And maybe I went in a
more serious direction
in some aspects, but I
thought it was funny.
The earnestness of the
character was, to me,
what was at times funny and touching.
- Yeah, there is sincerity to him.
- Right.
- It's really moving.
He believes what he is
doing with his family.
- Yeah, maybe that layer
was a little different,
I don't know, but we were
pretty much in sync.
Yeah, there's something
that comes to mind
that was said, by the way.
We're speaking about the world,
the state of the world, and of course
we're speaking of this movie,
but there's something that
always bears remembering,
and it's one of the kids
in the movie that says it.
Now, I don't remember it
exactly, so I'll paraphrase.
But it's something — Noam
Chomsky is one of their heroes,
so if you've kind of seen the movie,
celebrate Noam Chomsky's
birthday in December.
- They celebrate his birthday, yeah.
- Instead of Christmas and all that.
[Laughs]
It's not Christmases anymore,
near his birthday.
But that's when they decide that
that's what they're gonna
do instead of Christmas,
they have a cake and that's
what they do every year,
celebrate Noam's birthday —
Uncle Noam as they call Noam Chomsky.
And one of the kids — and they've read him,
even the six- and seven-year-olds —
and one of the little kids,
the middle kid, says —
I think it's Rellian, and says —
quotes Chomsky, and he says,
"If you assume that there is no hope,
then you guarantee that
there will be no hope.
If you assume that there...
that there's an instinct for freedom,
that there are opportunities
to change things,
then you can be part of
making a better world."
I mean, it's that simple.
You can sit there and go,
"Nah, I'm not interested," or
"Things aren't turning out
the way I thought they
would when I was younger,"
or, now, with the coronavirus,
"All bets are off."
You can be negative if you
want. It's a state of mind.
Or you can say,
"Okay, every situation, no
matter how bad it might be,
is an opportunity for change."
I mean, I just look out
the window every day,
and I've never seen a spring in the city
where the air was so clean, day after day,
night after night.
Where you're seeing stars
or actually hearing birds
because there's no traffic,
there's no pollution, really —
there's no aural pollution,
there's no air pollution.
And... I like it.
- [Laughs] Yeah, that part of it is good.
- It's great.
A year from now, we'll go
back to having smog and things,
but maybe a little less.
Maybe people will be
a little more conscious about,
"Do I always need to jump in the 
car and drive down the street?
Can I walk?
Do I actually need to go buy stuff?"
Now, you don't go out
as much, so you think,
"What do I need? I'll get what I need,
and then why don't we just—"
- Get the essentials.
- Yeah, and you'll have
your leftovers. Again —
I talk about leftovers and
I'm conscious of people
who don't have anything — so again,
you can't really complain
if you have a place to sleep
and you have some food.
But anyway, just, whatever, I'll
try to give shorter answers
so you can get the most.
- [Laughs] No, it was good.
- Okay.
- Listen, we usually — we
go until 7:20pm
with this conversation,
then we start the movie at 7:30pm,
but I started late due to
my own technical nonsense
and we got you with us,
so if you don't mind,
we'll go for another couple of minutes
and then we'll start the film
at 7:40pm with everyone.
We try to watch it in sync,
so we can respond to it in real time.
This is from Eric on
Facebook, and he said that
"I heard you were cast as Aragorn
days before filming Lord of the Rings.
Is it easier just to
jump into a character
and discover it as you go,
or to have months of
prep for a character?"
- Well, one of the most
important things you can learn,
any of you who are thinking
of getting into acting,
if you're very young
and thinking about trying,
or if you're older and you
decide you want to try it,
is to be flexible.
So you work with all kinds of
different actors, directors,
cameramen, scripts... You
have to be able to adapt
to the situation.
That's just the way it happened,
and I had not read the
Lord of the Rings book,
and I started reading it on the plane
to New Zealand basically.
Read and read and read as much as I could,
and read it as fast as I could
and tried to find connections
that I enacted. In the
case of Lord of the Rings
I recognized certain
elements in Tolkien's work
that was connected to stories
that I knew from my childhood,
the Nordic sagas, some
Celtic stuff as well, but—
- Which Tolkien knew well.
He knew the Nordic sagas
quite well, as I understand it.
- He did, yeah, and so there
were certain archetypes
that I recognized.
Aragorn I recognized
in some of the sagas,
Völsunga saga, whatever.
But sometimes when you're
thrown into something
and somebody just has faith
in you, you can do it.
Sometimes there's something
good about that shock.
I don't think it's good
to make it a habit,
'cause then you start finding
a certain kind of crutch,
that you go, "Well, that's
how I deal with shock."
I prefer preparation. I love rehearsing.
But most directors, film directors,
A. don't have the time
and the budget to rehearse people,
and a lot of 'em don't like it.
Cronenberg doesn't care,
he never rehearses,
but you can talk to him about anything.
You can ask him whatever you want
before we start shooting
and while it's shooting.
Again, I think it's communication.
But in the case of "Lord of the Rings,"
I didn't really have much choice,
I had to just get with it.
I was fortunate in that the first things
I had to shoot were mostly non-verbal
sword-fighting scenes, so
it was just physical work.
So I got comfortable with
the character's clothes
and weapons and how he walked
before I had to start speaking.
And the character as
written by Peter Jackson
and Fran Walsh and
Philippa Boyens...
In their adaptation,
Aragorn is less voluble
than he is in Tolkien's books,
so I had a break for a little while
until I had to start speaking.
- [Laughs] That's good.
It's really one of those
iconic roles, and you've done
so many of those in your career.
And I know you've directed
a film called "Falling,"
which premiered at the
Sundance Film Festival,
a beautiful film, and I hope people
will get more chances to see that soon.
- Thank you.
- The last thing I want to ask you, though,
is not about movies at
all, it's got to be about—
- [Cut off by audio issues]
- I'm sorry, I just missed
that — yeah, go ahead.
- Sorry, a lot of the stuff
I have been talking about
that I learned from people
like David Cronenberg
and Matt Ross, directors like that,
the way they prepare their shoots —
That helped me a lot with "Falling,"
which was also the movie I shot,
which was a very... A relatively
fast shoot, kids involved
and prepared very thoroughly
thanks to what I learned
from them. But anyway, just on the side.
- That's great.
How did you become a fan
of the Montreal Canadiens?
It's my last question. [Laughs]
- Well, I was born in New York City,
but then as an infant, my dad got work in —
my dad's from Denmark, my
mother's from the United States,
her dad was from Nova Scotia,
so I have a little bit of Canada
in our family. [Chuckles]
And, um...
My dad got work in South America,
so I was raised most of
the first decade of my life
in Argentina, where football, "soccer," football,
is the number-one sport,
like hockey is in Canada.
And when I left there, it was 1970.
There was no internet.
There was no cable TV — you know,
it was a couple of channels.
I moved up to the Canadian
border on the St. Lawrence River
in northern New York State.
And there was, you know,
I don't know, a local NBC,
CBS affiliate, and there was CBC.
And there was radio...
and there was hockey.
And I'd lost touch with all the Spanish,
Argentine background, and my soccer team,
which had the colours red
and blue, San Lorenzo.
And suddenly I'm watching the TV
and I'm watching the Montreal
Canadiens play this game,
I don't know what the
hell they were playing,
kind of like football but it
was faster and with sticks,
and I was trying to figure out how—
and then I would listen to it on the radio
when it wasn't on TV and so I
was listening to it in French,
and I wanted to learn that
so I started to learn a
little bit about that.
But I was fascinated by
the fans, the Habs fans.
You know, it helps when your
team is great. At that time,
in the '70s, they were unbeatable,
and a lot of great players, legends.
And they had red and blue in their colours,
they had red, white, and blue.
And so I liked the passion of the fans.
They reminded me of the
Argentine soccer fans.
- Uh-huh, okay, yeah.
- The colours, and I don't know, I
just learned about the game.
I got to be obsessive about it
and they became my team.
They replaced — until years
later when I could find out
what was going on in Argentina.
It'd be different now: kid leaves Argentina
when they're 11 years old,
they can use an iPhone,
they can follow the games, they
can probably watch the games
on their iPhone from down there.
But I lost complete touch, so
the Montreal Canadiens replaced that,
at the time, very important
part of my childhood,
and probably kept me kind
of like a child ever since.
[Both laughing]
- Well, I love that you've
remained a fan, though, Viggo.
This is amazing, you showed up
at the Toronto Film Festival
wearing a full-on Habs
jersey on stage [laughs]
which I absolutely loved.
- I have it.
- In the meantime.
- Yeah, and very brave of
you in a Leafs town, as well.
Viggo, thank you so much for doing this.
We're gonna watch "Captain Fantastic."
I'm gonna say let's start
it at 7:45pm Eastern.
We're watching across Canada on Crave.
If you can, join us, we're
gonna livetweet it as well,
anyone who wants to join us for that.
Just — we want to get your
reactions to the film.
Viggo's fantastic in it. Viggo, thank you —
you got one more thing, go ahead.
- I'll just throw a quote
out there, take it with you
for whatever it might be,
and that's maybe watching
"Captain Fantastic" where you
see different family models
and different points of view,
and people in the end —
I won't give it away, but —
finding a way to communicate
to a degree.
And it's a quote from — honour my father,
my late father, who's from Denmark.
Søren Kierkegaard, a philosopher, he said,
"There are two ways to be fooled.
One is to believe what isn't true
and the other is to refuse
to believe what is true."
So, that goes for the
coronavirus, "Captain Fantastic,"
and your daily life, and I
hope you enjoy the movie
as much as we enjoyed making it,
and I thank you, Cameron,
for facilitating this.
I'm sorry we got off to a rough start.
- Hey, it's my pleasure,
thank you for doing this,
and yeah, I think this was
a fantastic opportunity
to just get your thoughts on the film,
and I look forward to watching it again.
Thank you, hope to see
you soon, Viggo. Stay safe.
- Go Habs.
[Both laughing]
