EP81: How Do You Measure Time As A Father?

Interview with Jay Rosenblatt / Filmmaker and Father

HOSTED BY PAUL SULLIVAN

How do our kids change as they age? All fathers observe it in real time but Jay Rosenblatt recorded it. Starting when his daughter was 2, he interviewed her on camera every year on her birthday until she was 18. The result is a beautiful record of a father-daughter bond. Listen to what we can all learn from his endeavor.

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Transcript

00;00;05;19 - 00;00;26;04
Paul Sullivan
Welcome to the Company Dad podcast, where we explore the sweet, silly, strange and sublime aspects of being a lead dad in a world where men with a go to parent aren't always accepted at work, among their friends, or in the community for what they're doing. I'm your host, Paul Sullivan. Our podcast is just one of the many things we produced each week at the Company of Dads.

00;00;26;05 - 00;00;48;23
Paul Sullivan
We have various features, including the Dad of the Week. We have our community both online and in person. We have a new resource library for all fathers. The one stop shop for all of this is our newsletter, The Dad. So sign up today at the company dads.com, backslash the dad. Today my guest is Jay Rosenblatt, filmmaker and dad.

00;00;48;25 - 00;01;17;13
Paul Sullivan
We're going to talk about his new documentary, “How Do You Measure A Year”. Each year on his daughter Ella's birthday from age two until 80. He interviewed her and pretty much asked the same questions. What's more remarkable is he didn't look at any of the footage for 17 years. I watched it shortly before this, and it's honestly the best 28 minutes you can spend as a father.

00;01;17;13 - 00;01;40;10
Paul Sullivan
And if you have daughters like me, mine are six, 11 and 14. Watch it with them because I don't want to give much of it away. But there are moments, the sort of ebb and flow of childhood and parenthood. And we've all been there. And, the good part, the happy ending comes out well at the end. Jake, welcome to the company, dads podcast.

00;01;40;13 - 00;01;44;03
Jay Rosenblatt
I'm glad to be here. Thanks, Paul.

00;01;44;06 - 00;02;11;01
Paul Sullivan
As I said, three daughters and I watch your daughter, and I feel like I know her because I know I know almost all of those stages. I know up to age 14. And then, you know, the I don't know the end of the movie, these personally. But it is so touching the, the cute little kid phase, the, the, you know, the challenging tween teen phase and then, you know, comes at the end, but, you know, it literally ends, when she's 18.

00;02;11;01 - 00;02;20;17
Paul Sullivan
So you tell us, you know what? We're the past. You know, you told me at 22. What are the past four years been like? What what what is she what is she doing now?

00;02;20;19 - 00;03;02;14
Jay Rosenblatt
She, graduated college. So she's in that phase where she's trying to figure out her life. We did stop filming when she was 18 at home because she went off to college. I actually did film aged 19. By this time, and I thought I might use that in the film, at some point, maybe during the end credits and, it was really sweet, but I decided it was it felt like the right thing to end at 18 because she left the house to go on her, into the world.

00;03;02;17 - 00;03;21;15
Paul Sullivan
You follow her for 17 years. As I said in the intro, you don't look at the footage until it's all done. But how did you come up with this idea? What was it that you thought as she was on the cusp of turning two, that this is going to be something you would do together?

00;03;21;17 - 00;03;59;20
Jay Rosenblatt
Yeah. Well, you know, Paul, I've actually made four films before, this one with her and I did, the first one was called I Used to Be a filmmaker and covered her being born up until 14 months old and, and very sweet film. And actually, you know, HBO showed you they got shortlisted for the Oscars, and, I decided to just, film her on her birthdays after that film was done.

00;03;59;22 - 00;04;27;19
Jay Rosenblatt
I didn't know if it would turn into a film. I just, but at the very least, there would be an archive for her. Is showing her different stages, different ages. The other three films that I made all before she turned five. And then I just stopped doing that with her. She kind of, was really. It was very clear she was developing a personality, and I felt like I needed to protect her privacy.

00;04;27;21 - 00;04;50;08
Jay Rosenblatt
Do you want kids coming up to her and saying, oh, I saw you on this thing. That thing. Do you want anything really affecting her life in any kind of, adverse way? So I stopped, and but I did the only thing I did continue was filming her on her birthday, which is what this film turned out to be.

00;04;50;10 - 00;05;17;21
Jay Rosenblatt
But I, like you said, I didn't look at any of the footage the whole time I was filming. Partially because I was using old equipment, and I felt like at certain moments and the equipment was cutting out, the sound would cut out, and I thought, I just I was superstitious, and I just didn't want to look and see, that maybe something didn't come out.

00;05;17;21 - 00;05;23;10
Jay Rosenblatt
And then the whole project, you know, wouldn't have been anything that I could turn into a film.

00;05;23;12 - 00;05;27;15
Paul Sullivan
So use the same old equipment throughout the entire making.

00;05;27;18 - 00;05;55;27
Jay Rosenblatt
Except for 18. At age 18, I kind of justified using. I had a new camera probably when she was 13 or 14, but I wanted the film to look the same each year, and I was afraid it might switch to a more modern camera. The, the, format, the aspect ratio would be different. And it would look maybe look more, higher definition.

00;05;55;27 - 00;06;19;21
Jay Rosenblatt
I just was a little concerned about that. And I kind of gave that up for age 18. I thought, last year maybe I could justify having a better image. And it turned out to be a good decision. Because when I was editing, I don't know if you remember this in the film, it's kind of subtle, but at one point she addresses the camera without me in the room.

00;06;19;21 - 00;06;40;29
Jay Rosenblatt
Yeah, yeah. And the frame opens up and we kind of, experience this. I don't know, I just feel like it has a subtle feeling of her having more say and more agency, and I could only do that because the new camera had a different aspect ratio, if that makes sense.

00;06;41;01 - 00;06;41;17
Paul Sullivan
Yeah.

00;06;41;19 - 00;06;45;10
Jay Rosenblatt
Yeah. I was, you know, just in frame,

00;06;45;12 - 00;06;57;27
Paul Sullivan
You know, as a dad, like two things. It struck me like at one point, it's like, it looks like the golden retriever is in there. And then at the end, you know, I've had labs that they only go so long. And then at the end, it it looks like a little terrier. Is.

00;06;58;00 - 00;06;59;05
Jay Rosenblatt
It's a name dog. Bo.

00;06;59;10 - 00;07;01;02
Paul Sullivan
No, no it's not.

00;07;01;04 - 00;07;04;09
Jay Rosenblatt
Just kidding. No, it's, actually, you.

00;07;04;09 - 00;07;11;14
Paul Sullivan
Don't do movie magic on something so sweet and touching. Come on. All right. This isn't, you know, Star Wars. What are we doing here? Right.

00;07;11;16 - 00;07;15;09
Jay Rosenblatt
It was a it was a chocolate lab, not a golden retriever.

00;07;15;11 - 00;07;17;21
Paul Sullivan
It just. It was fat man. It was. You had to pick that up.

00;07;17;29 - 00;07;36;04
Jay Rosenblatt
Was it. She was. She had she had some pounds. But, yeah, we, we got, a second dog while she was still alive, actually. Who we still have is getting getting on with years. But, yeah, buddy is, a terrier mix.

00;07;36;06 - 00;07;51;00
Paul Sullivan
But it look like. Did you, did you have the same like, so for the entire time it looked like. Or did that same color? It looked like the almost like it was filmed. Like. Yeah. Well, in your house, your apartment, whatever. For all of it. Yeah.

00;07;51;03 - 00;08;14;05
Jay Rosenblatt
It it is the same spot. And it was the same sofa up until I think age 14, maybe 16 actually. And then, my, my, my wife just said we got to get it itself. You know, I was trying to hold out because I really wanted to keep everything the same except her. Yeah. That's why the framing is kind of the same.

00;08;14;05 - 00;08;25;21
Jay Rosenblatt
The spot is the same. A lot of the questions are the same, but. So I had to give in to that. But it does if you look carefully. So for instance, change which is teenager.

00;08;25;23 - 00;08;51;18
Paul Sullivan
You know again I'm not a the filmmaker. So I may go over this. But you know I felt like the style was was very spare. We get the questions, we get her answers. And through that alone, you watch her, mature, from a little girl to, a young woman. Were there other options that you thought or did that all come out in, in the editing?

00;08;51;18 - 00;08;57;00
Paul Sullivan
That that's how you were going to tell, you know, your story with her?

00;08;57;02 - 00;09;27;26
Jay Rosenblatt
No. I think the the concept from the beginning was to, to keep everything very similar from year to year. I didn't want to go to a different environment, take her outside or anything like that. Some of the other films we did together, you know, we're different places, but, yeah, but the basic concept was, she'd be in the same spot and we would see her really focus on her growing up, especially most, most of the film is pretty much a close up of her.

00;09;27;28 - 00;09;49;05
Jay Rosenblatt
Yeah. So I really get to see her face change. And, you know, you can almost think it's a different person from year to year. Is. The change is pretty dramatic. And I wanted that to be the focus of the audience if it turned into a film, which it did.

00;09;49;08 - 00;10;15;26
Paul Sullivan
I mean, there are so many moments. One moment, I don't know, maybe she's 3 or 4 and she's annoying the shit out of you because she's playing, with the lavalier mic that you've you buttoned her and yes, there you are. It's like, you know, filmmaker dad human. And you're like, just don't touch it. Don't touch it. And of course you won't, because you know, you tell a kid not to do something like that, that, of course, they only want to do it, you know, more.

00;10;15;29 - 00;10;30;09
Paul Sullivan
One of the things that struck me, were the questions and one in particular. But how, you know, for for the listener who hasn't seen the film yet, what were the core questions and how did you come up with them?

00;10;30;11 - 00;11;02;06
Jay Rosenblatt
Well, you know, since it started when she was two, most of the initial questions were things that I felt like she could answer, like, what's your favorite food? What's your favorite movie? What was the highlight of your, year? It's a low point there kind of thing. There is one question that was kind of beyond her, comprehension that I asked early on, which was, what is power?

00;11;02;06 - 00;11;04;27
Paul Sullivan
Yeah, that's a cool idea.

00;11;05;00 - 00;11;37;18
Jay Rosenblatt
And the reason I asked that, actually, and again, I think this because it has been, 20 years since I started that project, this project. But I think I asked that because she was a girl, and I think I felt like, in many ways, girls, I feel need to feel empowered. And, I just felt if I approached the, the notion of power, that would be an interesting thing for her to at first grapple with.

00;11;37;18 - 00;12;10;13
Jay Rosenblatt
And then maybe, I don't know, be able to take on. And and she does. I mean, one of the most, satisfying answers she gives at one point, I said, can you use the word power in a sentence? And she says, I'm powerful. And I just loved hearing that the questions did change. And as she got older, I added some things like,

00;12;10;16 - 00;12;34;02
Jay Rosenblatt
There's a question I added when she was, maybe ten or something. What do you want to say to your older self, to your 25 year old self? Yeah. Now, that was a question, that I felt like even when she was ten, she had to wrap your mind around that. I felt like if she was younger, she wouldn't even know what I was saying.

00;12;34;04 - 00;12;49;24
Jay Rosenblatt
So there were two that changed as we as she got older. But that's for the most part. And some that I dropped. Like I stopped asking her what her saving suit was, as those were not as interesting when she get older.

00;12;49;27 - 00;13;04;19
Paul Sullivan
What's also you, I think I think at a certain point you also stopped asking, or at least you edited out, her response to what is a nightmare? So, yeah, it would have been pretty fascinating for like, an 18 year old to say this is because a nightmare could have been, yeah, a lot more. But I think it always is.

00;13;04;19 - 00;13;06;14
Paul Sullivan
Alligators chasing me or something like that.

00;13;06;20 - 00;13;29;25
Jay Rosenblatt
Yeah. Yeah, yeah. Biting you. Yeah. Yeah. I don't know if I stopped asking the question or just didn't add or edit it out. You know, I didn't want the film to be just, a series of hearing the same answer to the same questions that would get kind of old and boring. And, you know, to be honest, I didn't think my questions were great.

00;13;29;26 - 00;13;55;25
Jay Rosenblatt
And I even say that in the film at some point, it's more her answers, but it's also, in a way, I think, I personally, I think the most interesting thing about the film is watching time in 28 minutes. You just see time go by and, I'm sure, you know, as a parent, day to day can be very long and slow.

00;13;55;28 - 00;14;06;28
Jay Rosenblatt
But year to year is really fast. It just goes by so fast. They grow very quickly in a general sense.

00;14;07;01 - 00;14;31;10
Paul Sullivan
So as you for me, like as a father of three daughters, what I loved the most was the part of the, of the film, that I don't know, because I will always say that, I've seen the film, to age 14 and to therefore, as they're repeating it, the one who's 11, the one who's six, I have some sort of sense as to what's coming.

00;14;31;10 - 00;14;54;20
Paul Sullivan
And sometimes I'm, really happy, about what's coming next. And sometimes I'm. I'm really sad. And, you know, my my youngest, who just turned six, I tell people that age five, and it's in this film, age five is maximum cuteness like that, kids, but they love their dad or their mom. They both, you know, and they're they're self-sufficient, but they're not so self-sufficient that they won't still snuggle in with you.

00;14;54;20 - 00;15;20;01
Paul Sullivan
And then, you know, age 11, my daughter just turned 11, and she's the sweetest girl. But I'm afraid that she's about to descend into tween them, which becomes teenage innocence. So, you know, which I'm full on, you know, teen girl dad right now and and to see, you know, as it really sort of picks up 15, 16, 17 and 18 is, is heartening.

00;15;20;03 - 00;15;40;14
Paul Sullivan
When you went back after all these years and edited the, the footage into the amazing documentary that you created, how much of it did you remember? And, you know, were there any particular things that were, a surprise when you, you watched the the footage?

00;15;40;16 - 00;16;13;29
Jay Rosenblatt
Oh, yeah. There were a lot of surprises because I, I totally forgotten how she was at different ages. And, one of the most surprising things was, when she was 18, I say to her the I think we I'd like to go deeper. I'd like to get a little bit more intimate. And I decided that maybe a way of doing that would be for me to leave the room so she could just talk to the camera on her own and not feel inhibited with me being there.

00;16;14;02 - 00;16;37;08
Jay Rosenblatt
So, when I started editing the film during Covid, when I got to that stage, I had never I mean, the other ages I saw everything for some reason when I watched it and I remembered it, but this I had never seen. And what she said was very beautiful, and it was like a gift she gave me.

00;16;37;10 - 00;16;40;02
Paul Sullivan
You would never seen it to that point. You'd never seen it to edit out?

00;16;40;02 - 00;16;54;16
Jay Rosenblatt
No, I had no idea what she said. I when I came back into the room, we we just kind of continue talking. And then at the end we, we hugged each other. But I didn't know what she'd said to the camera. I have no idea.

00;16;54;19 - 00;17;14;00
Paul Sullivan
That's why there's another part, early on where she goes from, you know, age five and, you know, you asked this question. So I just love you, daddy. I just love you, dad. Love. And then 86 and you said, like, you know, what are you most afraid of? You daddy? And why? And you think, why don't you ever like every parent you know has been there?

00;17;14;00 - 00;17;32;29
Paul Sullivan
And I can only imagine in we talked to you before you would you trained as a, a therapist you like you were there moments when you were recording her where you thought, like, am I doing something wrong? Am I, you know, missing the boat here? I mean, did you have those moments, you know, in the course of a film industry, I think you.

00;17;33;02 - 00;17;54;00
Jay Rosenblatt
Yeah, absolutely. When when I said, what are you most afraid of? And she says, you know, it's. I was kind of shocked and, you know, in the film, I do pry a little bit and I say, well, how come like. And she doesn't want to say and I, I kind of respected that. I didn't want to push her.

00;17;54;00 - 00;18;10;13
Jay Rosenblatt
But, to this day, I wonder what what that was about. And I've asked her, you know, since when I finished the film, I said, do you remember why you said that? And she doesn't remember, but, yeah, I was I was taken aback by that.

00;18;10;16 - 00;18;39;27
Paul Sullivan
You know, one thing that's remarkably consistent. You know, once she gets to an age of the sort of cognition is, you know, what she wants in life and what she defines in life and, you know, there's a certain beauty to that. I don't want to give it all away. But have you, you know, tell me what it was like when you viewed this film in its entirety for the first time, with with your daughter, maybe your wife, your mother maybe was there as well.

00;18;39;27 - 00;18;49;28
Paul Sullivan
But what was that feeling like as you viewed it? You know, as a as a family unit, you know, 20 years after the project began.

00;18;50;00 - 00;19;21;12
Jay Rosenblatt
Well, it was very satisfying. I had to show it to tell, not only because I wanted to show it to her, but I wanted to get her consent again. And make sure that she was okay with this possibly going out into the world, and who knows where would go. And, and I was just wanted to make sure that, you know, there wouldn't be any kind of, negative effect.

00;19;21;14 - 00;19;52;29
Jay Rosenblatt
So one thing she assured me was that her social media was private, which I was concerned about because people can get really nasty on social media. You know, you would think with a film like this, but I other experiences. So I, I wanted to make sure that she was okay, with that and, and if there's anything she didn't want in there, I wanted to ask her about that.

00;19;53;02 - 00;20;19;18
Jay Rosenblatt
My wife had when I showed it to her, she had similar concerns. That idea that she was looking to make sure was okay with, that was our main concern. We didn't actually watch it, the three of us together until we saw, at a screening. We were together, locally. I had a screening at a theater called the Roxy, and, I think that was the first time we we were sitting together watching him and, with an audience.

00;20;19;23 - 00;20;56;03
Jay Rosenblatt
So that was that was very interesting. And she actually came up, on stage with me to the Q&A, which was very sweet. But I think it's been like a, a bonding thing. I think, I think throughout the whole process, one of the things that I think a lot of parents that see it, have experienced is and one of the things that I hope people think about in their own lives is just, just to check in with your kids, how they're doing and how your relationship is with them.

00;20;56;05 - 00;21;22;24
Jay Rosenblatt
That's one question I asked right from the start, which is, how are we doing? Well, anything you want to tell me about our relationship and, you know, as you, astutely said, as she gets older, that changes. You know, she talks about us fighting. She's very honest in the, in the film, and she talks about, and sometimes she just rolls her eyes and doesn't want to answer that question.

00;21;22;27 - 00;22;09;21
Paul Sullivan
Essentially, because I would not want to discourage anyone from watching a film because it's it's it's magical. It's it's pure magic. But, I think to myself, like. Would I have enjoyed it? Would my that Paul Sullivan 15 years ago before I had kids? Would I have enjoyed the film and I don't know, but like as a parent it is so deeply moving because there are moments where, you know, kids at a certain age, catastrophize things or, you know, it's we, we use the always and never and, you know, and she's you ask you about the fighting part and like we always fight and of course, like if I was not a parent, I'd

00;22;09;21 - 00;22;23;17
Paul Sullivan
be like, shit, I'm not having kids. You always fight. But of course that's not true. You for all I you know, we don't know this because of the wonderfully beautiful, spare style. You could have just had a knockdown, drag out brawl. Or she. You could have. She had too much cake because it to birthday or not enough cake or whatever.

00;22;23;17 - 00;22;45;02
Paul Sullivan
And you know, you've captured this snapshot, but then when it's all stitched together, and again but it as a parent who's, you know, in the process of doing this three times with three girls, I see, you know, I get to kind of rewind at times. I never get to fast forward, but I get to rewind and it's so, you know, wonderful.

00;22;45;02 - 00;23;06;11
Paul Sullivan
And when you were editing it, editing this to turn it into a story and not, as you said, just, you know, here are the same ten questions again, again, again, which would be tedious. How do you think about the narrative of this and how did you think about, you know, it is much of the things that you you took out, as is the things that you, you left in.

00;23;06;13 - 00;23;48;14
Jay Rosenblatt
Yeah, that's a great question. You know, I didn't really I didn't really impose a narrative on it. I think the, her responses, dictated what I left in and what I found interesting. Also, I think the main question with any film like this, which is a personal documentary, is how do you make the personal universal and how do you keep it from being too personal, where an audience gets kind of turned off where, you know, so I usually cut things out that only the family would be interested in, references to, you know, other people, things like that are things that I think sometimes distance an audience.

00;23;48;17 - 00;24;22;05
Jay Rosenblatt
So since I've done several personal documentaries, I kind of have a sense of what works with a general audience as opposed to, just the family itself. So it kind of like, you know, it was very enjoyable film to edit because I loved even the outtakes were great. And it went very smoothly, to be honest. Not all the films I did with her were as easy to edit as this one.

00;24;22;07 - 00;24;44;13
Jay Rosenblatt
And maybe the struck, maybe parse part of it is the structure was there. I mean, it was a birthday film. Each year, so I knew that. And the structure is usually a very hard thing to figure out with documentaries, because you're shooting all this footage and, you know, it's exactly how you put it together. This was very easy structurally.

00;24;44;16 - 00;25;07;08
Jay Rosenblatt
I think the challenge to me was the in and out points of each year. I wanted each each in an outpoint to propel the film forward. So the audience is really excited to see the next year, you know, yeah. So I think I think that answers your question.

00;25;07;08 - 00;25;42;23
Paul Sullivan
Yeah. No, it, it it's very compelling because as a parent, you know, you sort of relive those moments early on when kids are just so cute and, and charming and then it takes you through, you know, the ups and downs of becoming, a young adult. Yeah. When you talk about, you know, the outtakes are are there any scenes or anything that were that you edited out that you wished you had kept in or any that it didn't make sense for the film, but but you'd like to share that because they were so, you know, funny or resonant or universal.

00;25;42;25 - 00;26;10;28
Jay Rosenblatt
You know, I actually don't I haven't looked at the outtakes since I edited, which was about 3 or 4 years ago. No. Yeah, about two years ago is when I. But, no, I don't remember anything, to be honest, that I could share. It was really it was, you know, it was so clear what was really potent and interesting and funny.

00;26;11;01 - 00;26;36;23
Jay Rosenblatt
And she's very funny to, you know, to the there's especially when she's young. I mean, I'm sure most kids are, but, you know, she is. And, and she's very thoughtful and, you know, she does. There are through lines like her, her care for animals is throughout the film, and it's still a big part of her life.

00;26;36;26 - 00;27;15;16
Jay Rosenblatt
And, so things like that, I, you know, I kind of left in because I did want there to be some sort of through line. So that was conscious, I guess. And so on some level, you know, it's interesting because you have three daughters and, is an only child. And, I'm wondering if having sisters will affect the transitions in your daughters because they kind of see each other, what they're going through, and they do.

00;27;15;18 - 00;27;38;04
Paul Sullivan
But also this J they are, you know, everything in their their lives have has been exactly that the same. You know, my, my wife and I have been in similar professions. Yeah. We moved houses once, but it's still we move like three miles away. And I just look at them and they are hard wired. They've been hard wired from birth to be right who they are.

00;27;38;05 - 00;27;55;03
Paul Sullivan
And that's, you know, both good and bad. But there's just the moment, you know, my kids go to a day camp, and it's wonderful that the bus actually picks them up at the top of our driveway. So for two working parents, that's pretty, pretty pretty great. And in the morning, you know, one of us will wait up there with them.

00;27;55;03 - 00;28;11;06
Paul Sullivan
And a couple of years ago, I, you know, first day camp, whatever, shooting a video of them. And they're all excited. And I looked at my middle daughter, who is the same age as my oldest daughter, when she just decided that she was too old for camp. She wasn't going to do camp anymore. This is for little kids.

00;28;11;06 - 00;28;28;28
Paul Sullivan
And I thought to myself, I'm like, oh my goodness, is this when it's going to happen? Is she is my daughter going to be all done the camp? Of course she's not, because they're just completely different kids. And I look back and we see, like the personality traits that they had, when they were younger had, carried through.

00;28;28;28 - 00;28;53;15
Paul Sullivan
And, you know, my oldest daughter has said that she, she wants to be a professor of English literature. That makes perfect sense. You know, my my middle daughter has said she wants to be a pediatrician or a kindergarten teacher, you know, that didn't quite understand the difference in years in college. But but it also makes sense because of her aptitude, young kids, even then, we joke that the youngest one keeps all of her cards really close to her chest, so we think she's probably going to work for the CIA.

00;28;53;18 - 00;29;13;02
Paul Sullivan
So. But we're not we're not entirely sure. And so she would have, you know, my favorite question. You documented that, you know, what is power? She would have, you know, they would all have three very different, answers to it. But, you know, at the same time, like watching your film, there is a great universality to it because your daughter Ella's personality is there, you know, obviously.

00;29;13;02 - 00;29;28;28
Paul Sullivan
But it's like things that she's going through as she matured or things that, you know, I don't know what boys do because I don't have a boy. But is the thing that I've watched, you know, my own girls, you know, go through, which is why it's I think it's so gripping, but also ultimately, really heartening at the end.

00;29;29;01 - 00;29;31;22
Jay Rosenblatt
Yeah. Into millions of parents, for sure.

00;29;31;24 - 00;29;32;11
Paul Sullivan
Yeah.

00;29;32;13 - 00;29;55;08
Jay Rosenblatt
You know, a lot of people, even though I agree with you that, I think parents in particular resonate with the film, but people without kids, have to because they've been kids and they remember their childhood. And so there is a real universality to what's going on in front of you. Yeah.

00;29;55;10 - 00;30;02;10
Paul Sullivan
Jay Rosenblatt, thank you so much for being my guest on the Company of Dads podcast today. I've thoroughly enjoyed talking to you.

00;30;02;12 - 00;30;05;17
Jay Rosenblatt
My pleasure. Thank you for.

00;30;05;19 - 00;30;30;28
Paul Sullivan
Thank you for listening to the Company Dad podcast. I also want to thank the people who make this podcast and everything else that we do. The company of dads, possible, Helder, Mira, who is our audio producer Lindsay Decker hand is all of our social media. Terry Brennan, who's helping us with the newsletter and audience acquisition, Emily Servin, who is our web maestro, and of course, Evan Roosevelt, who is working side by side with me.

00;30;30;28 - 00;30;48;18
Paul Sullivan
And many of the things that we do here at the Company of Dads. It's a great team. And we're, we're just trying to bring you the best in fatherhood. Remember, the one stop shop for everything is our newsletter, the dad sign up at the Company of dads.com backslash. The dad. Thank you again for listening.