The casting items come from the internet with uncertain accuracy; Schrader reportedly wrote Travis with Jeff Bridges in mind, which seems possible. — Bill Simmons
Keitel was definitely offered the campaign worker role Albert Brooks played and wanted the pimp instead; the studio had the pimp changed to a white character over riot and liability fears, and Keitel ended up in the part. — Bill Simmons
Reports conflict on whether Melanie Griffith was first offered Iris; a Linda Blair possibility and a Tatum O'Neal / Bad News Bears swap are also mentioned with doubt. — Bill Simmons
John Hinkley became anchored to the film: five years later he tried to kill President Reagan to impress Foster after seeing the movie many times, and it postponed the 1981 Oscars, where De Niro was about to win for Raging Bull, by a day.
The idea of blaming culture for horrible events has not faded; Schrader and Scorsese argue that blaming the movie evacuates everyone else's responsibility. — Sean Fennessey
An uncomfortable Matt Lauer interview around an anniversary had Foster decline to talk about Hinkley; it messed her up and she stepped back for a couple of years; Hinkley is called maybe the best example ever of aged worst.
The Palantine 'We Are the People' posters are almost intentionally bad and maybe go too far, answered with a 'make America great' joke. — Bill Simmons
Asked what happened when he took his future wife to the porn film on a date, the reply jokes that they got married that night. — Sean Fennessey
The porn-theater date scene has aged worse and is skin-crawling; one participant goes to the bathroom whenever it plays in a theater. — Bill Hader
The camera dollying away down the hallway during Travis's call to Betsy felt like the movie could not bear to watch, and seeing it in sixth grade turned one participant into a full movie fanatic. — Bill Hader
Porn theaters where strangers watched together in the 70s and 80s are impossible to explain to people under 25. — Bill Hader
Foster playing a 12-and-a-half-year-old prostitute is handled well, but the Keitel dance scene is uncomfortable from a parent's view; the next year's Pretty Baby with Brooke Shields raised the same question.
The girl who grabs Iris near the cab was the real teenage prostitute who served as her technical advisor, part of the film's honesty. — Bill Hader
Taxis may not exist in 10 years; Schrader recalled a New York audience cheering the title, but with ride-sharing taxi drivers no longer hold the same place, like making a movie about a samurai. — Sean Fennessey
The film made another taxi-driver movie nearly impossible, likened to how The Shining ruled out a hotel-caretaker story. — Bill Simmons
Mid-70s New York City; Joe Spinell's job interview; God's lonely man line; Harvey Keitel's pimp look; Travis and Wizard scene; De Niro's preparation; Bernard Herrmann's score; cinematography; Jodie Foster's career
The mid-70s New York setting holds up, as does the opening job interview in which Joe Spinell sizes Travis up as a lunatic. — Bill Simmons
Spinell's 1970s run, including Godfather 2, Taxi Driver, Rocky, Sorcerer and Big Wednesday, is compared to De Niro's. — Bill Simmons
The 'loneliness has followed me my whole life... God's lonely man' line is Schrader writing about loneliness after almost losing his mind. — Bill Simmons
Keitel's sleeveless-shirt, hat, hair and muscles look is floated as something that should have become a Saturday Night Live character. — Bill Hader
Keitel reportedly based the pimp on a real pimp he worked with at the Actors Studio; the pimp originally had five lines and Keitel added more, and the 'I'm hip / You don't look hip' exchange is loved. — Bill Hader
Travis telling Wizard he has bad ideas in his head is short but pivotal; Peter Boyle is great as a man who knows he doesn't know what he's saying yet is weirdly right. — Bill Hader
'You talking to me' was an omnipresent catchphrase for 15 or 20 years, though probably not as big a deal in 2021. — Bill Simmons
De Niro's preparation, including 15-hour days driving cabs, studying mental illness, recording Midwestern soldiers for the accent and losing 35 pounds, felt like the first time an actor's commitment was almost part of the marketing. — Bill Simmons
The method line runs from Brando to Dustin Hoffman in the same era, as in Marathon Man, and on to later method actors; De Niro's work is honed into behavior where others' choices show. — Bill Hader
Asked about riding with cops for eight months for a Superbad cop role, the reply says they did have to ride with a cop in South Central and calls it the dumbest thing of all time. — Bill Hader
Bernard Herman, arguably the most important film composer and known for Psycho, Vertigo and Citizen Kane, wrote his last score here; Scorsese, who mostly uses needle drops, begged him to do it, and the composer said 'all I hear is brass'. — Sean Fennessey
An editor on Barry dislikes the score and the bluesy saxophone gets a reservation, but it works and the opening music hits like a giant wave; hearing it reportedly made Scorsese feel Travis's doom and fate. — Bill Hader
The composer died right after recording the score, at 64.
The cinematography is composed, natural-light and beautiful in a style rarely seen now. — Bill Hader
The shoot came during a hot summer and the garbage strike with wet streets, and according to the cinematographer a lack of time and money forced them to let New York light itself, which turned out right. — Bill Simmons
In most versions of her life Foster might not have become one of the most celebrated actors of a generation and an accomplished filmmaker; a reply praises her acting and directing.
Most Rewatchable Scene feels odd for this film, which is rewatchable because it is great and important rather than for one scene watched 120 times, so the segment becomes a run through the best scenes. — Bill Simmons
First up is Travis driving around and describing decrepit New York City at night; the drive is only about two minutes but grim. — Bill Simmons
Producer Michael Phillips is quoted that the whole West Side was bombed out with condemned buildings, Times Square was disgusting, and they did not know they were documenting the dying gasp of New York. — Bill Simmons
Travis asking Betsy out after going into the office is a really good scene that hinges on believing she might go out with him, which seems ridiculous given where the movie goes, though she kind of buys him. — Bill Simmons
Travis comes in with confidence and reads Betsy well only because he has been stalking her; a high shot of his hand passing over her desk, amid traditional coverage, makes the scene unsettling. — Bill Hader
That overhead 'priest's view' shot returns when he buys the guns and in the long overhead pullback after the shootout, signalling something deeper, insane and spiritual in Travis. — Sean Fennessey
The actor who played Palantine made only two movies and was a culture critic brought in because the filmmakers wanted someone who did not seem like an actor rather than a Hal Holbrook type; this prompts a joke about a critic getting pulled into a Scorsese movie. — Bill Simmons
In the Palantine cab ride the actor waits a beat to find the right politician response to Travis, and Travis knows he is being condescended to and blew it.
Scorsese as the crazy cab passenger is a fun, weird five minutes, not politically correct in 2021; it is judged to work because it feels honest and nothing about it is gratuitous. — Bill Hader
Travis mastering his gun-and-knife routine shows weeks of De Niro's practice; it was filmed in one shot, ran too long in a rough cut and was cut in half around the rally scene, and the 'You talking to me' portion originally ran about 10 minutes, a smart edit followed by the name Marshall Lucas. — Bill Simmons
In the breakfast scene with Iris, her putting sugar on the jam and toast is the lasting detail, read as a callback to Travis pouring brandy and sugar on his cereal, as if they were souls meant for each other in a messed-up way.
The botched assassination is short but gripping because first-time viewers assume it will be the climax; the boom and dolly shots are impressive given how big the equipment was then. — Bill Hader
When directing, he photo-boards all the coverage on an iPhone because a 30-minute TV show lacks time and money; as an actor he can bristle at storyboards and likes that Scorsese told actors to speak up if something did not work for them. — Bill Hader
A joke says the podcast is storyboarded over Zoom with pictures sent to the producer but not shared with the co-host. — Bill Simmons
The final shootout is really cool filmmaking: the X rating forced changes, some color was taken out to make it more palatable, and the wide overhead shot goes on for about two minutes. — Bill Simmons
The shootout has no music telling viewers it is an action scene; the wide shot down the hall as Travis finishes off Keitel's character feels like security-camera footage from someone trapped in the hallway. — Bill Hader
A better example is Travis first shooting Keitel's character, seen from the point of view of someone on a stoop who is left alone with the gunman after he sits down. — Bill Hader
The suicide attempt with no bullets left is played straight, with no music and no cut and crying heard off camera, compared to films by a director transcribed as Rainer Fast Thunder, where what is off camera matters as much. — Bill Hader
The film was an unexpected hit, likely because of its cathartic violent ending, which some read as Travis devolving and others celebrated as a Death Wish-style revenge; it is contrasted with Schrader-written Rolling Thunder as a more complex, sad picture of what a gunfight would look like. — Bill Hader
No most rewatchable scene is picked because that would be weird for this movie. — Bill Simmons
Three different answers come back at once, Leo, McConaughey and Scorsese; the Scorsese case is that the director is the author of the whole project and that this was a reminder he was not done yet, which gets mocked as auteur theory delivered like John Wayne.
Hugo, the film before this, is probably the host's least favorite Scorsese, him trying something different late in life, whereas this is him being who he is and firing the shotgun at the biggest caliber, every move in his book purposefully overdone to show people pushing limits without realizing it; McConaughey and Leo are nonetheless called incredible.
A closing joke asks whether the Malaysian financier won the movie, with a shout-out to Red Granite; the firm answer is that they did not.
Is it Leo's: Django is a hell of a lot darker than being a shithead on Wall Street and arguably more impressive; The Revenant was a make-good after people were angry he had no Oscar, great for its natural-light shooting as much as for him; there is not enough separation between the roles to call this his peak, and Titanic is arguably the apex since he was the most popular person in the world, though one host has still never seen it.
The Aviator is incredible, but apex is also about what he can do in the business; the run is listed, Body of Lies, Catch Me If You Can, Gangs of New York, which one host would fight for every day while wishing for a version without Cameron Diaz, a take judged too hot, then The Departed, Blood Diamond, Revolutionary Road, Shutter Island, Inception, J. Edgar as the only true dud in an old-man suit, Django and Gatsby, with every performance preferable to The Revenant, the classic Oscar thing.
So it is not Leo's and not Scorsese's; Bernthal gets a personal yes from one host, and it only might be Jonah's, which stops short of a yes.
Asked for nits, nothing is written down, and the producer Craig had been asked for help on the shared document; the music complaint has already been made and will not be beaten further.
The earlier nit: the way the movie is scored is one host's biggest beef, way too much music, blues into an eighties song into Foo Fighters with the years not adding up, Scorsese putting in every CD he loves with nobody able to tell him no, from the same guy who thought The Wire should have been all hip-hop instead of the Tom Waits open; the others defend it as the arc of pop music and a conscious statement about excess.
A little nitpick: Bernthal's mugshot lists him over six feet, but he is listed at 5'11' and a host who stood next to him doubts it, with a joke about NBA.com roster heights versus combine measurements in shoes or flats.
The list: Bo Dietl, Ethan Supley (as transcribed), Stephanie Kurtzuba as Kimmy Belzer, Christine Ebersole as Leah Belfort with little screen time, Kenneth Choi as Chester Ming, who is great, PJ Byrne as Rugrat, Shea Wiggum (as transcribed) as the captain, Aya Cash as Janet, close to being known but still in contention, Thomas Middleditch as the Stratton broker with the fishbowl, Fran Leibovitz (as transcribed) as the judge, the real Jordan Belfort introducing Jordan Belfort, and Stephen Kunkin (as transcribed), Ari from Billions, as the man under Mark Hanna.
Belfort had a weird time with his cameo: unique energy, like someone off the street trying to act or an emcee at a bad comedy club, while Leo is weird with the pen; maybe all the drugs changed his brain chemistry or he was just nervous with Marty, Leo and possibly Spielberg; it is choppy and takes you out of it at the end, though he acted every day of his life for his telephone terrorists.
Selections: one host goes Middleditch, from the very beginning of Silicon Valley; another was going to go Belfort, a pick retracted shortly after, and adds that Ethan Supley (as transcribed) is doing good work.
A Kevin Smith tangent: not a big Kevin Smith guy, liked Clerks and Mallrats but Dogma bummed him out, which gets him thrown off the Dogma rewatchables.
The Joey Pants award is clarified as more of a list of people who wound up in lots of other stuff, so the Belfort pick, a man in nothing else, is conceded as wrong and withdrawn; still, the guy in the back is Belfort, who has spent ten years getting rich training salespeople, prompting a life-coaching joke.
McConaughey's scenes were shot in the second week and his chest-beating was his warm-up; the film was financed with money allegedly stolen from Malaysia's 1MDB fund and Red Granite paid $60 million to settle; 400 to 450 VFX shots, shot digitally; a Guinness record 506 F-words; the actors snorted crushed B vitamins; Christina McDowell's open letter about the victims; Robbie's paper cuts on the bed of cash; Spielberg spent a day on set during the Steve Madden speech; Belfort coached DiCaprio on quaaludes; 27 takes for the Joanna Lumley kiss; the drug scenes are edited oddly on purpose
McConaughey's scenes were shot in the second week of filming; the chest-beating and humming were improvised from his pre-acting warm-up; the brief shot of Leo looking uneasily away from the camera was him looking to Scorsese for approval, and DiCaprio pushed to keep it in and later said it set the tone for the film, a pretty good sliding-doors moment.
The Malaysian Anti-Corruption Commission alleged the film was financed with money stolen from the One Malaysia Development Berhad sovereign wealth fund by producer Riza Aziz, who pled not guilty to charges in July 2019; 2016 Department of Justice civil complaints named it as having provided a trust account through which hundreds of millions were siphoned; Red Granite Pictures paid $60 million to settle with no admission of wrongdoing.
The story is part of Billion Dollar Whale by Bradley Hope and Tom Right (as transcribed): Joe Low (as transcribed), a well-off Malaysian kid at Pen among generational wealth, became a networker who threw parties without paying, went home to start a fund with Aziz, the prime minister's stepson, pulled in Middle East money and Goldman Sachs, took Paris Hilton on ski trips, bought Lindsay Lohan 23 bottles of champagne, bought part of EMI, sent Marlon Brando's Oscar to DiCaprio, who gave it back, and made a $43 million art purchase.
DiCaprio and Scorsese saw guys offering total control and endless money after Scorsese had wasted half a year in development; in a poetic twist the financing is a testament to the reality the film depicts, money at your fingertips making you throw away principles; the money is still being chased, Low is thought to be under Chinese protection, DiCaprio and others gave back everything gifted, and whether anyone actually liked the guy is an open question; the movie is a lot different without a kid from Malaysia stealing money.
The budget was needed partly for 400 to 450 VFX shots, uncommon for Scorsese outside Hugo; the film was shot digitally after he had been one of the last bastions of film, and without it there is probably no Irishman.
The film set a Guinness World Record with 506 uses of the F word, 2.81 per minute, beating Casino at 422 and the 1997 British film Null by Mouth (as transcribed) at 428; CinemaScore audiences gave it a C, the lowest of anything in theaters that week, which is why America is not to be trusted.
The actors snorted crushed B vitamins for the cocaine scenes and Jonah Hill ended up hospitalized with bronchitis; the film also commits the consistent Scorsese error of a character throwing the head back after a line as if hooked by the neck, which nobody does in real life.
Christina McDowell, daughter of Tom Prusalis, who worked with Belfort at Stratton Oakmont, wrote an open letter criticizing the film for not portraying the victims; the response is that Boiler Room did have the family-guy victim, that this is like replying to a tweet with the seven things it left out, and that nobody would have seen a movie about the victims, which they made as 99 Homes with Andrew Garfield; the popularity of a movie like this is itself the point, which is where the final shot out into the audience lands: you thought this was fun, think about it.
Margot Robbie reported the sex scene on a bed of fake cash was uncomfortable because the sharp paper bills gave her multiple paper cuts on her back.
Asked for takes on the sex scenes, the addressed host declines to vamp for twenty minutes about them. — Chris Ryan
The last sex scene is disturbing and awesome, such a fuck you and the ultimate turn; she deserves exactly what he has done to everyone else, and it should be an awful heartbreaking moment for him, the rock-bottom guy finally seeing the woman who had his back and not deserving to get her back; the sequence up to the freak-out and the kidnapping is the Scorsese of Raging Bull and Taxi Driver, dread, fear and violence, the eggs out of her hands.
On a routine visit Steven Spielberg spent a day on set watching the Steve Madden speech and, per Scorsese, essentially co-directed it, advising actors and suggesting angles; that shows Scorsese's confidence, where anyone a tier below would say scram, like a host in the background wanting quicker questions when Simmons had Damon in studio; two cinematic geniuses might just agree there is a right way to tell a scene.
Belfort coached DiCaprio's behavior, especially how he reacted to quaaludes and the dope-induced confrontation with Danny Porish (as transcribed), the character Jonah plays; a weird conversation that nonetheless makes sense since we are out of ludes and cannot know, something like trying to stay up on Ambien but much harder.
DiCaprio was so nervous about the kissing scene with Joanna Lumley that it took a reported 27 takes; Scorsese has confirmed the editing is odd on purpose, with continuity issues after every scene where Jordan takes drugs; DiCaprio's dance was done on the spot but learned over decades, a real bar mitzvah robot he presumably did after a few sarsaparillas, in another smashed-up sequence with three songs in a minute and a half.
Possibly the hardest one ever done, ranked least to greatest: Bo Dietl as Bo Dietl, with an 'are you fucking high' impression; he was a recurring in-studio character on a New York radio show, New York's top cop turned PI turned conservative pundit praising Rudy, an object of obsession for Scorsese and Spike Lee as a New York institution, like Curtis Sola (as transcribed) commenting on crime; a New York One regular; he is good in it and has a prominent mob-boss role in The Irishman.
Kristen Milioti (as transcribed) as the first wife may be the most likable and only innocent character; Jake Hoffman as Steve Madden is a purposeful cold check, like Mikhail Bridges (as transcribed); Shea Wiggum (as transcribed) as Captain Ted Beecham making a little chop; Joanna Lumley as Aunt Emma, with nobody admitting to being an AbFab guy.
Rob Reiner as Max Belfort is amazing: the Equalizer phone tirade, the weird British accent he affects as soon as he answers, and the seemingly improvised 'sides cure cancer' exchange with Jonah while explaining marriage to his son.
Jon Bernthal as Brad, the Quaalude King of Bayside, has not been discussed enough: the diner performance, asking for the ketchup, 'tell your sister I was asking about her'; visually incongruous with these guys, he is the one animal every crew of normal guys had, the one with the Adderall; a guy still in his hometown asking younger dudes to hang out is a red flag, yet Belfort likes him most as the guy who gets it; a human wrecking ball who is a classically trained, thoughtful actor kept getting cast as violent meatheads after The Walking Dead and The Punisher, and is now a jacked Lee Ayacocca (as transcribed) in Ford versus Fari (as transcribed).
A tangent on Craig Kilbourne (as transcribed): his 'old man Ferrari' Instagram videos, made with his old writing crew, are ten times funnier than expected, awaited like Christmas morning, and he is floated as the new Robert Evans.
Spike Jonze as Dwayne the investment center leader, blotchy skin, bad shirt, uneven mustache; Spike Jonze is only ever great in movies, Three Kings, Moneyball and this; a host's wife found him cute, prompting a re-evaluation.
Jean Dujardin as Jean-Jacques Sorrel is doing a lot; for anyone not alive in 2013, he starred in The Artist, which won best picture and won him best actor during the Benigni run of handing Europeans best actor, compared to the late-nineties NBA draft and Jan Vesely; a host has still not watched or returned the DVD; he is in a different movie and takes one host's overacting award.
Number one is McConaughey with one scene; the only other name to throw in is PJ Byrne as Rugrat, who is in much of the movie but whom one host did not like, preferring Cuthbert and Sea Otter, who sold meat and weed; those guys go in the That Guy award.
In 2007 Leonardo DiCaprio and Warner Brothers won a bidding war against Brad Pitt and Paramount for the rights to Belfort's memoir, and Belfort made a million dollars on the rights.
Does it work with Pitt: absolutely for some, since Pitt is better at the darker thing and a less attractive, rougher guy might let you hate Jordan more, there being moments when DiCaprio looks too great on screen; the counter is that DiCaprio uses his handsomeness as a tool to push further, as in Django, while Damon plays relatable, and Jordan's looks explain why anyone would let him sell them anything; the telephone-terrorists speech, banging the microphone on his head, is a place Pitt may not be able to go.
Many Pitt and DiCaprio roles would be interchangeable, though The Aviator is hard to see with Pitt for one host while another could see Pitt there more than in this; both were circling The Departed at the same time; Pitt in California, twenty years earlier, and Fight Club show a weird dark gear.
Chris Evans and Joseph Gordon-Levitt auditioned for an unspecified role, presumably Donnie, which does not seem right for Evans; Jonah took about sixty grand per his Howard Stern interview, while Leo had box-office points; he was already Moneyball-nominated and in Superbad, flew to see DiCaprio, joked that Leo should kill anyone else cast, and practiced with the capped teeth and phone calls.
Moneyball was essentially playing Paul De Podesta (as transcribed), so it is hard to believe he was nominated for that and did not win for this, strong, unique and weird even if some scenes are too much; the cousin exchange, she grew up hot and if anyone is going to fuck my cousin it's going to be me out of respect, and the 'you're free' scene are things only Jonah could have done.
Asked for his Blake Lively thoughts, the addressed host would have been fine with her as Naomi. — Ryen Russillo
Blake Lively and Rosie Huntington-Whitley were considered and Teresa Palmer and Amber Heard auditioned for Naomi before Robbie; her being unknown helped, and Lively at the height of her post-Town moment could have nailed it but could not have reached the Robbie phenomenon; Robbie is doing Marissa Tomei in My Cousin Vinny, the voice and Buick Skylock (as transcribed), and the daughter is even named Skylar.
Olivia Wilde auditioned for Naomi but was deemed too old to play DiCaprio's wife even though he is ten years older, a tough beat; Julie Andrews was considered for Aunt Emma before Joanna Lumley but was convalescing from a titanium ankle implant, probably for the best given the Mary Poppins crowd; the Emma scene is sneaky extra evidence that Belfort is a bad guy.
People wanted Ridley Scott to direct for a time: his version is forty minutes shorter with a four-and-a-half-hour director's cut and less chaotic; Scorsese related to the addiction and throwing-your-life-away-for-cocaine material, which he discussed on the promo circuit, whereas Scott would bring less dialogue, longer driving scenes and a lude scene more like Kingdom of Heaven.
The theme of wealth as an incurable pox; the narrated asides; the idea that not having wealth is also unacceptable; the soundtrack (disputed); the unreliable narration and fourth-wall breaking; Margot Robbie
The serious opener: the theme of wealth as an incurable pox that destroys life from the inside out, or at least that being motivated only by money is aging well.
The asides age best: the man who married the girl they had all had their way with and then killed himself; Brad's heart attack at 35, just like Mozart; the financial explanations Jordan yada-yadas because you don't give a shit, which recalls the way Trump talks, with a bragging flourish at the end telling you that you are too stupid to need to know, an attitude that has clearly resonated.
Related is the idea that not having wealth is also unacceptable, seen when Kyle Chandler sits on the subway at the end after getting his man; Scorsese and DiCaprio are wealthy and know life is easier with money, so the theme is how you get it and whether you are happy with what you chose, more nuanced than these guys suck.
The film feeds the appetite for lots of characters and actors; Favreau is good at these side roles; the investigation took ten years and Belfort could have just paid a fine and stepped down from Stratton Oakmont, the Favreau and Reiner scene where he tells them what they want to hear while clearly not caring, and when a rich man goes to prison he does not really go to prison.
The last scenes with Robbie's character are played starker to show how evil he is, he beats up his wife, and he still gets white-collar jail, tennis and speaking fees; there is an amazing dissonance between Belfort being all about this movie, even cropping up in the cameo, and the conclusion portraying him as an awful violent person.
What is real is debated since he has denied things; Belfort and the ex-wife both live in Manhattan Beach, where a host jogged past his house; the fines he was supposed to pay are debatable; the ending may be a way to remind you this guy did awful shit, whereas the international flight where he wakes up seatbelted is played as a carnival montage; the end is the crash, with a stock metaphor about risk, bad decisions and hurting people, precise while feeling loose.
The soundtrack is written down as aging best but the dissenter, named on air, holds that it never aged for him; the unreliable narrator and talking-to-camera device, usually considered a crutch, is essential here to be inside his brain, like Rounders without Matt Damon; The Office comparison is floated and doubted; the Lamborghini and the head-on-the-Expressway sell of the rule-breaking early is impressive writing.
'Did you guys see that?' after the plane crash brings the audience in and questions his perception without making a show of it, and the film moves on immediately.
Margot Robbie's discovery and where she now sits in the Hollywood firmament; the 'we're not going to be friends' line puts her in control of the courtship; she handles emotional desperation and goes toe to toe, 'who are you, a fucking owl'; the Venice fight with the water thrown in his face while he shimmies about his body is forgotten for the scene category, and the 'stop flexing your muscles' clip is played.
The tryout story: an unknown reading with DiCaprio, told to kiss him after the screaming, she slapped him and screamed fuck you instead, and Scorsese's reaction was that's the one; she wanted to take a risk, though the story may not be true.
