The Extras
The Extras
The Mask of Fu Manchu, Two of Coppola's Early Works, and Scooby-Doo Zombie Island Double Feature
Join us as we review four new May Blu-ray releases with George Feltenstein of the Warner Archive.
Ever wondered how a 92-year-old horror film could still send chills down your spine? Discover the turbulent production and masterful restoration of "The Mask of Fu Manchu," featuring Boris Karloff in his first major horror role with dialogue and Myrna Loy as his chilling yet captivating daughter. Learn about the meticulous process that brought this pre-code gem to life on Blu-ray, using a stunning 4K scan of the original nitrate camera negative.
As we shift our focus to the 1960s, we explore Francis Ford Coppola's early works, including "You're a Big Boy Now" and "The Rain People." Hear how Coppola's vibrant depiction of New York City and his exploration of feminist themes mark the beginning of his illustrious directorial journey. George also provides background on working with American Zoetrope on the new 4K restoration.
To wrap up, we touch on the highly requested Blu-ray release of "Scooby-Doo on Zombie Island" and its sequel, celebrating their timeless appeal and continued fan adoration.
Purchase links:
THE MASK OF FU MANCHU (1932)
SCOOBY-DOO ON ZOMBIE ISLAND (1998) and SCOOBY-DOO RETURN TO ZOMBIE ISLAND (2019)
YOU'RE A BIG BOY NOW (1966)
THE RAIN PEOPLE (1969)
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Warner Archive & Warner Bros Catalog Group
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Hello and welcome to the Extras, where we take you behind the scenes of your favorite TV shows, movies and animation and their release on digital DVD, blu-ray and 4K or your favorite streaming site. I'm Tim Millard, your host and joining me today is George Feltenstein. This is part two of our discussion on the April and May Blu-ray releases from the Warner Archive. In the first part we talked about three films from the 1950s the Devil's Doorway, the Nun Story and Friendly Persuasion and today we're going to talk about the rest of the films that came out in May and that includes a pre-code horror and two early films from director Francis Ford Coppola, and then we'll end up with a Scooby-Doo release.
Speaker 1:But I thought we'd start with the oldest film and partly because I thought it was so, so fun to start with that one and I suspect it was probably one of the, you know, most anticipated films as well by many people, and that's the Mask of Fu Manchu and it was just a. I mean, I personally I thought it was a treat to watch this film. It looks terrific for being 92 years old and it just plays as it's intended a fun pre-code horror film pre-code horror film.
Speaker 2:And you've got carla finally getting a chance, not in frankenstein garb, but, uh, really this is his first major starring role as a horror icon uh, with dialogue, and he chews up the scenery. But in this case the chewing is welcome because the film is so extremely absurd that it is fun and funny and I think they probably had a great deal of fun making it. It has had an enormous following for years and years and years and of course, the Fu Manchu character was used in other motion pictures over the years. As late as I think Peter Sellers' last film was a Fu Manchu comedy.
Speaker 2:But this particular film and Karloff's portrayal and the trappings of MGM all come together for magnificence and the fact that the quality on the Blu-ray is so great. We're very, very pleased with that and I knew the fans were going to be really happy about it. They're like where is the Mask of Fu Manchu? And it took us a long time to finish it because we needed to do so much work on it. But and it took us a long time to finish it because we needed to do so much work on it, but the reality is that we now have a gorgeous Blu-ray disc and we're very happy about the fact that it's been so well received.
Speaker 1:Yeah, I was doing a little, you know, researching into it, you know reading how it was an MGM release where Karloff did the monster movies over there at Universal and that this kind of came on the heels of Freaks, which we talked about, you know not too far back, and how that film hadn't really done that well at the box office and they were looking for another one and pulled this. Mgm pulled this one together because it was based off of the books but it was a little chaotic, it sounded like scripts weren't necessarily finished and for Karloff right at the beginning. But it comes out when I'm watching it now, as a terrifically fun romp, so to speak. You know, through that time period and this kind of adventure story, but I have to say I was kind of amazed at just how good it looks. Can you talk about that a little bit? Oh, absolutely.
Speaker 2:I mean, this is one of the rare situations where the original nitrate camera negative on an MGM black and white film didn't burn in the George Eastman house fire in 1978. In the George Eastman House fire in 1978. This original negative remained intact and unsinged and is the source of almost all of what you see on the disc. And the reason I say almost all this is very important is MGM got the idea in the early 70s I think it could have been as early as 1970, may have been as late as 72, but sometime in there they got the idea to re-release theatrically for children a few horror films, including the Mask of Fu Manchu, and they edited out about two or three minutes of scenes that they thought were not appropriate for children because they wanted to get their G rating. It boggles my mind that this would have happened as recently as the early 70s, but MGM actually cut the original negative and cut those scenes out of the original negative. It boggles the mind to think that somebody didn't say well, let's make a Duke negative to make prints and we don't want to touch the original. But they did and that footage was gone. So, as we did years ago for the DVD, we had to go to 16 millimeter material because that was the only surviving source available to us that had the missing moments, cause it's literally just, uh, maybe two minutes of film at best. But the reason it looks so great now is a 4K scan off the camera negative and the little bits that were cut back in to restore the full running time are very obvious visually, but not as dramatically bad as the way it looked on DVD.
Speaker 2:This looks and sounds terrific and I think that's so important and the response we've gotten has been so enthusiastic, and I just think not only does Karloff give a spectacularly over the top performance, but we have to be grateful for Myrna Loy as his daughter, because this is not the woman that would play Nora Charles less than two years later. You know she was always typecast in these exotic you know femme fatale roles that were completely antithetical to what worked best for her, and meanwhile the whole thing is a pre-code hoot and it's great for horror fans, it's great for fans of pre-code, it just has something for everyone. It isn't like MGM to make a film that has such a risk pace and running time. That's more the Warner brand of bring it in under 70 minutes. But they did a terrific job, and that's why, 92 years later, the film remains so very, very popular.
Speaker 1:Yeah, and I think when people have the chance to see this new HD version, hopefully we'll bring a whole new fan base again. You know to these we've talked about this so many times how, seeing them, um, with the restored HD you you just lose track of how old they are. You just get caught up in the storyline and how great the performances are and you also get a great look at uh kind of production value with the costumes and the sets and everything. So you get a really good look at that here in the in the HD. So, yeah, I think it was a great release and I've been, uh, you know, telling people about how uh highly I recommend this uh lately on Facebook and everywhere, because I just think it's a lot of fun. And you have uh a really good commentary on here with film historian Greg Mank, which I listened to, and he just has so much great kind of background information about the film, the period Karloff, what's going on?
Speaker 2:His commentary is sensational. Any commentary he ever did for us was sensational. This was done for the DVD about 20 years ago, but we ported it over because nothing has happened since then that would warrant anything new. Greg already did the job, but his knowledge is so in-depth His insight is really quite remarkable. It's an example of when a commentary by a real film historian creates a whole parallel entertainment experience watching the film with the commentary. You know what we have nowadays are many commentaries from film historians, but where did they earn that name? You know what makes them a film historian, that name. You know what makes them a film historian. Greg Mank is the real deal and he really has proven it in not only commentaries he did for us but also for other companies as well. He's brilliant and I think we're so fortunate to be able to have carried that commentary over for the Blu-ray, and fans are certainly excited about that too yeah, yeah it is.
Speaker 1:It's really good. And then I watched the two uh classic cartoons and they look terrific. Uh. Were they both remastered in hd as well?
Speaker 2:yes, yes, they are both remasters, uh 4k scans off the camera, negatives and they're black and white and not seen very often. You know I like to put MGM cartoons with MGM features and so forth and so on. But MGM was not making their own cartoons in 1932. They were distributing cartoons produced by other people which then the rights reverted to the other people. So I'm being kind of studio agnostic in finding what would be good, appropriate, fair to recreate going to the movies in 1932. And you can have a lot of fun with them, absolutely.
Speaker 1:Yeah, they're terrific. This is just a great release, highly recommended, and you know we don't have to talk about the plot or anything because we don't want to give away any spoilers, but it's so entertaining and I think fans of the film will, of course, love seeing it here in the HD, and anybody who hasn't seen the film. It's really worth checking out and adding to your collection. You know, if you like Karloff, you're going to enjoy him in this film as well.
Speaker 1:So well, we're going to jump into the sixties now and the next two films we're going to talk about George are by the same director, another icon of of directing, and that's Francis Ford Coppola. But these are two of his earlier films, very early in his career, and he's been in the news just this week you know that we're talking here for his latest film, megalopolis, which is premiered at Cannes. So it's kind of fun, with all that in the news, to be watching. I was watching, you know, these films which are so early in his career, and the first film is You're a Big Boy Now, from 1966. And I did not realize that I think what this was his UCLA thesis project. I mean, we're talking very early on like maybe his second film, but he's still a student.
Speaker 2:His first film was for the late Roger Corman I would assume Roger Corman was involved. It was an American international horror film, dimension 13, in 1963. And then he went for his master's. Coppola did at UCLA and this ended up being his master thesis film and it was independently produced and released by a company called Seven Arts. Seven Arts was just about to buy out Jack Warner and buy out Jack Warner's shares so that Warner Brothers became Warner Brothers Seven Arts. But that happened a few months after this film was released.
Speaker 2:When the film was released, it was released as a Seven Arts production and you'll notice there's no Warner Brothers logo on it. So it's been part of our company's library for 58 years. But it was not a Warner Brothers release. It became so by marriage, if you will. But Coppola made such an impression on people here that he was engaged to make Finian's Rainbow, which is available on Blu-ray from Warner Archive and is a film. I think that's a little bit underappreciated. It was very different for Coppola A film. I think it's a little bit underappreciated. It was very different for Coppola. But then again, the next film we're going to talk about was his follow-up to that and it was as different as Night and Day from a big color musical based on a Broadway show, and that's 1969's the Rain People. But before we talk about the Rain People, I wanted to ask you what you thought of your Big Boy Now. Had you seen it before?
Speaker 1:No, I had not seen it before and I'm watching it. And a few things just to pop out. I'll just mention them randomly, but it's such a time capsule of 1966. And for a guy who was born in Michigan, I mean Coppola really has this kind of great feel for New York. And the shots on the, you know, just downtown, as this young man, bernard, played by Peter Kastner, as he's going out on his own for the first time, you know, living in the city, and everything.
Speaker 1:And I loved it. I loved seeing all of those New York City street scenes, the life of the streets. And then it has that, I mean it has so many of those like madcap elements, like with the chase through the department store and even the different I guess it was the whole landlord with Julie Harris as the landlord. I loved her as that landlord, this rooster, I mean it's just kind of madcap in that sense, which I think you know film was moving toward some of that during that era. And you know, this is all me, not even thinking about the fact that he's so young. When he's directing this you can see somebody who's really both experimenting but pretty in control of their storytelling as well. And then you, you know. Then I see how young he was. I'm like, wow, this is an amazing early film.
Speaker 2:He was 26 when he started working on the film. Yeah, and yeah, you know he was. I mean to be given a million dollars by Seven Arts, which is like $10 million now, to make a feature that would not only serve as his master thesis in school but would also be something that they saw as something commercial because it was adapted. The story was adapted from a novel, uh, by coppola, and what you say is so true, uh, this was filmed entirely on location in new york city and it when I look at it, you know I was incredibly tiny when this movie came out. I have vague memories of when my family would take us into Manhattan and driving around somewhere around this era, but I love the way it captures Manhattan at that period of time Because there were still very, very few films shot on location in New York and there isn't a lot of, you know, Hollywood slash commercial filmmaking that was done on location in New York. You started to see more of it in the 60s and, of course, by the end of the decade you had movies like Midnight Cowboy, which you know the city is a major character in the feature Right and people were abandoning studio lots and shooting on location. This film is a very early representation of that and Seven Arts was so behind it that it was sent to Cannes in competition.
Speaker 2:Yeah, yeah, and Geraldine Page's husband, Rip Torn they're all in this movie.
Speaker 2:I have to think they worked for scale and, you know, their performances really help give the film buoyancy and credibility and also have to note a lovely performance wacky, appropriately from Elizabeth Hartman, who we've talked about before as the leading lady in A Patch of Blue. She's terrific in this movie and it was very enthusiastically received at the time that it came out of representing a new kind of filmmaking, of representing a new kind of filmmaking. And, you know, within a few years you started to see the first film directed by Peter Bogdanovich, you know, yeah, and working with Coppola on the next film we're going to talk about, as an assistant and I think he may have worked on this as well was George Lucas. You know it was a very special time and the film captures that time and captures the angst of Peter Kastner's character trying to, you know, deal with becoming an adult around the largest and greatest city in the world, which was already starting to take a turn down the tubes, and it is a great timepiece and it's also great entertainment.
Speaker 1:Yeah, and this is one of those stories where the main character, bernard, he's not an active character, he he's not a man of action, he's a young man and the world is kind of happening to him and he's being bounced here, there, he's trying to figure things out, and so having that great supporting cast that you just mentioned is so important and they do a terrific job. Elizabeth Hartman was, she was fantastic. You know she's playing this actress model that at one moment is tender and another moment is just, you know, so harsh on him. But these, these are terrific performances and it is, it's a. You know, you look and you say it's from a master director and you've got these great performances. How did he, how did this young guy who was not yet a master director, get so many of these fine actors? But he knew what to do with them. You know that shows already that he knew how to work with people of this, actors of this caliber.
Speaker 2:Exactly. He commanded the respect and was so smart about going about what he wanted to do that he was able to get these artists to contribute to their performances to this film that probably someone else, in his position of being a novice filmmaker to some degree, would not be able to do. It was because he had those names attached to the film that it brought more people into the film. They did open it at the end of 1966 in Los Angeles so it could qualify for the Academy Awards, and it was really in the spring of 67 that it started to be shown around the country. And it also has a soundtrack by the Lovin' Spoonful, which was a band at the time of you know they had some popularity for sure. The lead singer, I should say, was John Sebastian, who later became very famous for singing the theme song to Welcome Back Cotter. But it just it's so much a timepiece and it's so very, very enjoyable.
Speaker 1:And we should just jump right into the Rain People. Which is what, just a few years later, in 1969. Right it hadness of the feminism of this lead character. Who is this woman? Who she doesn't want. She's feeling the weight of the domestic life, of being a mother and wife and all that, and she's she's not sure that's what she wants and she's pushing back and she needs to to take a minute, and and so she leaves and she goes on the road and, um, you know, that was so topical for that, for that time period, and she goes in her search for meaning and identity and all of these things, and then the story of all the interesting people she meets along the way is very entertaining.
Speaker 2:Well, she was a magnificent actress, you know, right up until recently. She just passed away not that long ago, but even as an elderly woman she was still acting and giving remarkable performances on television. She would do guest shots on things and I think she might have even been doing some stage work in her later years. But she got an Oscar nomination for Best Supporting Actress for Sweet Bird of Youth and that just got her on a trajectory. She never became a household name but she was so respected as one of the great actresses of the era.
Speaker 2:And this is exactly what you say. It is a feminist film. This is before, quote unquote, women's lib. But we were on the cusp of it. But the country was changing so much and this film represents that kind of change. Represents that kind of change Because You're a Big Boy Now was so successful. Seven Arts signed Coppola to a multi-picture deal and this was planned to happen once he was done with Finian's Rainbow. And, you know, eventually they began shooting in the spring of 1968. And it didn't come out until 1969. But it was really really impactful in making an impression on the filmmaking community and what Coppola's differential voice was already so obvious genius was, you know, obviously a mitigating factor in people committing to backing his work.
Speaker 1:Yeah, Well, both of these talk about the restoration. For a second, Both of these look terrific. What can you tell us about the restoration elements?
Speaker 2:Well, what's really cool about this is the original camera negative was scanned at 4K and then sent off to Zoetrope production company, and his own archivist oversaw these new masters in, of course, cooperation with us. It was a mutual benefit, as Mr Coppola wanted all of his films to be, you know, looking and sounding the best that they could be, and so we very happily entered into a partnership to get these two done, and here they are now on Blu-ray, and so it was a big collaboration. You'll notice at the end of both this and your big boy. Now there is a restoration credit from Zoetrope which we thought was very important to keep on the film because this is really their work. We provide them with the raw scan, but all the work was done up in san francisco in the zoetrope uh, you know headquarters and uh, it's it.
Speaker 2:I was just so thrilled that we were able to bring these about because, uh, they really hadn't been getting the attention that they warrant from coming from such a great one of the great directors of our time, and I'm just so proud that their additions to the Warner Archive collection on Blu-ray because their initial DVD releases were through Warner Archive collection on DVD and the quantum leap of quality growth between the DVDs we released 14, 15 years ago and these Blu-rays now is mighty and we're very, very proud of that. And I should also mention that James Caan is the leading man in this film, and this is James Caan before he reached incredible heights of fame because of another work of Mr Coppola's film about a mafia family you may have heard it?
Speaker 2:Yes, godfather a film about a mafia family. You may have heard it, godfather, but there were two things that propelled James Caan to becoming a big name. The first was a TV movie he did in 1971 called Brian's Song. Yes, and that was also one of the first TV movies to be so good that people said, oh, this should have been in theaters, you know, yeah, but it was a beautiful film and he made that just as he was about to start shooting the Godfather. So the one-two punch of Bryan's song and the Godfather.
Speaker 2:After that, james Caan was established as a major star and continued in that kind of high position until we lost him recently and his film work lives on. He's remarkably multifaceted and tender in this film. I think he's just terrific and there's a lot of great acting in this movie. It's not a big cast, but we're talking about another graduate of the Corleone's you know the extended Corleone family, because he was, you know, tom Hayden. Robert Duvall, of course, is phenomenal in this film and you know, obviously Mr Coppola had great fondness for him and found that role for him in the Godfather and he's one of our great actors even today. So you've got a first class cast and a first class film. The film was not a big success when it was released because I think it was very much ahead of its time in 1969, confronting the conventional choices of life versus what she wanted to do with her life.
Speaker 1:Yeah.
Speaker 2:And I think that's what's so striking about it.
Speaker 1:Yep. Well, it's fantastic that these two films now look so good that they've come out on Blu-ray. For you know, I think that fans of Mr Coppola's work will obviously want to have them in their home library. But for people who just enjoy these films and the work of these actors and a master filmmaker like this, these are terrific. And to know that you guys worked in conjunction with American Zoetrope, I think I know that they do fabulous work. I talked to them a few years back about the Godfather work that they did, and I know how important every frame of film is for them in that restoration process. So these look terrific, so it's great.
Speaker 2:We held back the release of these films so that it would be around the same time of Megalopolis, because we knew that was going to be putting Coppola's name at the forefront of people talking about film and so forth and so on. So that is attributable to the timing, because we really thought it would be important for people to see his other work. So many of his other films are so famous and renowned. You know, besides the Godfather, the Conversation and Apocalypse Now, and you know, these small films helped to build his career, leading up to some of the most spectacular successes that he had. And he seems to be making a lot of noise now with his new film and that's exactly what we hoped for him and it's just. We're happy to have been a part of it and working with the fine people at Zoetrope to make it happen. So I hope people will enjoy the Blu-ray.
Speaker 1:What's so important about that is in terms In general, his filmography is not that large.
Speaker 2:Right.
Speaker 1:For how well known he is. You look, and he's taken his time with many films. That's part of it, of course, but it's not a large number of films, but there's so many in there that are just considered, you know, classics, of course.
Speaker 2:Well, it really is not. Unlike Mr Kubrick, he made very few films over his career. He sometimes went, you know, seven, nine years in between movies. You know he only moved forward when he felt it was right. And I think Mr Coppola has taken a similar tact with, you know, making a film that he has a fire inside him about. Yeah, and the results are always of great interest to the film community and to people who love cinema.
Speaker 1:Yeah, yeah. Well, the last film we're going to talk about today that was released in May is a double feature, george, and it's a Scooby-Doo double feature, and I think in our previous conversation you know, you said this was a highly requested Blu-ray. Oh, yeah, yeah, for all of the vast numbers of Scooby-Doo fans out there. But Scooby-Doo on Zombie Island from 1998 and then the sequel from 2019, scooby-doo Return to Zombie Island I'll just give you my first impression of it. Is that Scooby-Doo Return to Zombie Island? I'll just give you my first impression of it.
Speaker 1:Is that Scooby-Doo on Zombie Island? I mean, it's terrific, it's probably it might be my favorite Scooby-Doo film. It's definitely right there in the top three. I just think it hits all of the right notes. It just tells the story of the gang Scooby-Doo gang in a wonderful way and it has the things that you want out of Scooby-Doo movie um, the scares, the, the villains, the ghosts, all those things. But it's uh, it's just has a great pacing, great tone, and the characterizations in this are fantastic. The setting and then when you look at this, I'm not the only one who thinks this, people are already commenting. The image is fantastic.
Speaker 2:It looks terrific it does and I mean that's the major attraction here is sco-Doo on Zombie Island. The follow-up film, return to Zombie Island, is almost there as an extra because there had been almost 20 years that had passed between the two and different creative people were involved and I don't think the core Scooby-Doo fans have the same affection for the follow-up film that they do for the original. But we wanted to be able to. We were able to put both on the same BD-50 disc with an outstanding bit rate and high quality. So it's basically it's there if you want it. I've learned more about the Scooby-Doo fan community and they are all different people with different likes and dislikes, but there are a few of these Scooby-Doo films which were made for video and or made for video and television and it really resuscitated new interest in Scooby-Doo. Uh, and it was a byproduct of Hanna-Barbera had been purchased by Turner. Turner was purchased by Time Warner Once Hanna-Barbera and Scooby and everybody else in the Hanna-Barbera universe were part of the Warner Brothers universe.
Speaker 2:People here got very excited about the continued popularity of Scooby-Doo. If you look back, the character of Scooby-Doo is now 55 years old, has gotten so many different iterations and series and movies and changes and live action movies and animated movies and made for TV, animated and various series. There seems to always have been new Scooby and you've got, I would say, three or four generations of people that grew up with various forms of Scooby Doo. But here they hit on a formula of really good storytelling. With Zombie Island they were able to go beyond.
Speaker 2:Scooby-doo on Zombie Island came out. Bill Hanna and Joe Barbera were coming to work every day with Hanna-Barbera Productions, now under the umbrella of Warner Brothers Animation. But Mr Hanna came in every day until he died and a few years later Mr Barbera died. But until they passed away they were coming to work every day and they had direct oversight and involvement in the creation of all these different Scooby iterations. And I think there was a great deal of support for Zombie Island because the movies that came afterwards were very similar in tone and I think you might call this the golden age of Scooby-Doo telefilms. You know, for lack of a better way of putting it all together, they just had all the right ingredients to make something that people are passionate in their love for it.
Speaker 1:Yeah, it's uh, I'm sure you've already had so many great reviews from the Scooby-Doo fans because of how good it looks and it's just great to have it out on Blu-ray for the fans. So I just can't recommend it highly enough for Scooby-Doo fans. I've seen a lot of them because, as you know, I worked when I was there. I worked in all of these that was under my. Scooby-doo was one of the. You know if there was a Scooby-Doo project going on that I worked on. So I I worked on a lot of the newer ones not not the one from 98, but these newer ones and the newer ones have a different tone because they're in a different decade.
Speaker 1:There's different style of writing, there's different style of storytelling, but when you go back and you watch this one from 98, to your point, it's the classic. It's just that right era. It's still got the touch of the masters, so to speak, on it and that voice cast that we all love. So you know, things change over time in each generation and the beauty of this Scooby-Doo gang is that kids of all generations, who then become adults, seem to enjoy the characters, the storylines, the scares. You know you get scared as a kid. It sticks in your mind. You enjoy it as you grow older and you can still find enjoyment there. So it's great, it's fun. Kind of saved this one for last because it's the most recent and it's the only animation we're talking about this month, but it's a terrific release and just rounds out what is a terrific April and May release schedule for the Warner Archive.
Speaker 2:Indeed, indeed, we're very proud of it, and we've already announced we've talked about it here on the extras what we have coming up for June and we're putting the last finishing touches on those, and it's going to be another exciting month of releases when we next go over them individually.
Speaker 1:Well, as always, george, it's always a lot of fun to talk to these movies, and I've told you just how much I enjoy watching movies and then reviewing them with you, so thanks for coming on. It's always a lot of fun.
Speaker 2:Well, my pleasure. It's always something I look forward to and, once again, thank you to our fans. Once again, thank you to our fans, our consumers, who support our releases.
Speaker 1:We couldn't stay in business if it wasn't for their support and the fact that we're running a nice, profitable little business is directly a result of their sharing our passion to bring out all sorts of different kinds of entertainment with the best possible quality.
Speaker 1:As I mentioned earlier, I did break up my discussion with George about the April-May Blu-ray releases from the Warner Archive into two different episodes, so look for that if you haven't had a chance to listen to the other reviews for this month. Well, it's always great to have George on the podcast to talk about and review these releases from the Warner Archive, and in April and May there were seven terrific Blu-rays that I think everybody out there will enjoy. I'm sure you can find one or two that you might want to add to your home collection and if you would like to do that, there are purchase links in the show notes and on our website so that you can buy those and add them to your home library. If you aren't yet subscribed or following the show, please do that. It helps support the show and it also keeps you informed for everything that's coming up Until next time. You've been listening to Tim Millard. Stay slightly obsessed.