“I will forever make movies for theaters,” says writer/director/producer Todd Phillips of Joker: Folie À Deux, the much-anticipated follow-up to the Academy Award-winning Joker. “I really believe that the theatrical experience is such a huge part of the experience of watching a film. Not just in the shared common space with 400 strangers, but in just the sheer size and sound and feeling you get, and that the film evokes.”
“In 2018, when we were first making Joker, we could have never imagined it would strike such a chord with audiences worldwide. Joaquin and I had talked about a sequel, but never seriously—that changed when we saw audiences’ reaction to Arthur’s story,” says writer/director/producer Todd Phillips. “But if we were going to do it, we knew we had to swing for the fences, we wanted to make something as crazy and fearless as Joker himself. So, Scott Silver and I wrote a script that delved further into the idea of identity. Who is Arthur Fleck? And where does the music that’s inside of him come from?”
Joker: Folie À Deux stars Joaquin Phoenix once again in his Oscar-winning dual role as Arthur Fleck/Joker, opposite Oscar winner Lady Gaga. The film finds Arthur Fleck institutionalized at Arkham awaiting trial for his crimes as Joker. While struggling with his dual identity, Arthur not only stumbles upon true love, but also finds the music that’s always been inside him.
Todd Phillips directed Joker: Folie À Deux from a screenplay by Scott Silver & Phillips, based on characters from DC.
Joker – An original vision of the infamous DC villain
A conversation with writer/director/producer Todd Phillips
On how the term “folie à deux” came about for this film…
“In research that Scott and I would do about mental illness in general and different kinds of conditions, ‘folie à deux’ is an actual term used in—I think it was in DSM IV, one of those books—where it’s this idea of shared madness. In the movie, you can take it many ways. You can say, ‘Oh, well, obviously, it’s a shared madness between the two of them.’ Or is it between Arthur and Joker, his own internal folie à deux? It really depends, to me, on the lens that you’re watching the film through, you know?”
On why Arthur Fleck resonated with audiences in “Joker,” and how the process of starting on the new film began after the success of the first…
“Movies tend to hold a mirror up to society, or where we’re at, at that moment in the culture at least. I think that’s where we were on the first movie, for sure. The first one was really such a huge success for us, it was a whirlwind. It was a lot to go through, so it took a long time to kind of get over that. Scott [Silver] and I would talk on the phone about what would we do if we were going to do a sequel, and it just sort of slowly evolved.”
On what he and co-writer Scott Silver were thinking of, in terms of themes, as they began to explore the story…
“I thought that the themes in the first film were rather timely. And we started talking the way you talk about any movie, thematically. You’re not talking about structure, and even in a sequel, you’re not talking as much character, because we know Arthur, so you’re talking more themes, what would resonate, or where would we at least hope we’re headed.
“In the first film, Arthur says, ‘Is it just me or is it getting crazier out there?,’ which kind of was the beginning of the first film. And I think, if you’re watching it, you’re going, ‘No, it’s not just you.’ And in this film, well, I know that a character doesn’t say it out loud, but we were thinking, ‘What the world needs now is love.’ And that was the jumping-off point for writing the screenplay.”
On how they built on the first film to create something so new for this one…
“We went back to the things we liked a lot about the first film, and one of those things is Arthur’s fantasies, Arthur’s fantasy life. So, having that tool available to us helped us feel like we could do anything in this one.
“When you have the opportunity, coming off of something like ‘Joker,’ you go, ‘Well, we could kind of do anything, we could do something that challenges us’—I’m talking about Scott and I as writers, me as a filmmaker, Larry [Sher] as a cinematographer. How can we challenge ourselves in a way that’s something we’ve never done before?
On the story and themes, generally, of the film…
“It’s hard to explain what the movie is without getting into the specifics of what it is, but essentially, it’s the story of identity. It’s the story of who is Arthur Fleck and who is Joker, at least through his own eyes. And what does it mean to have to embrace your true self and who you are? Which is what he has to ultimately do at the end. I think this movie is infinitely more hopeful than the first film for Arthur. The first film, weirdly, was kind of similar thematically, as far as the struggle between Arthur and Arthur’s shadow self, which was this idea that we all walk around wearing masks in life, and what happens when you take that mask off and be your true self? In Arthur’s case, it was putting on a mask—which really confuses it all—that made his true self come out.
On where Arthur is when we meet him in “Joker: Folie À Deux”…
We’re catching up with Arthur, he’s obviously been heavily medicated by the institution. We wanted to feel him totally disconnected and not really connecting again until he sees [Lady Gaga’s character] Lee. So, it felt right for him not to talk. In fact, the first line in the movie from him is, “Can I have a cigarette?” Which also seemed appropriate.
On how long Arthur has been at Arkham when we meet him again…
“We didn’t really think about it that much, but we think it’s kind of unspoken that he’s been in this institution/prison for a couple of years. That was something we didn’t really talk about, even with Joaquin, because we kind of just like to begin where we begin, if you know what I mean? So it’s not so much about, ‘Let’s fill in these two years and figure out where he’s at,’ it’s more like, ‘This is where he is now.’ Arthur is just absolutely disconnected, he’s lost whatever spark he had at the end of the first film, whatever life he had in him at the end of the first film, and we’re kind of meeting a beaten-down, broken Arthur.

On early conversations with Joaquin Phoenix about preparing himself to be in Arthur’s frame of mind and physical state again…
“It wasn’t like I was first seeing him when that door opened, obviously, because I’d spent months with him before getting there. But he’s the most dedicated actor you can ever work with, so we talked early on in the process about losing the weight again. And I said, ‘Well, there’s a version where Arthur doesn’t have to be as skinny as he was in the first movie, you know, there’s medication and they don’t exercise there, he doesn’t walk up the stairs any more, he’s been locked up.’ I can make an argument that he’s not as skinny. And Joaquin’s like, ‘No, no, no, absolutely’; in fact, he wanted to be skinnier.”
On Joaquin Phoenix infusing Arthur with grace as in the first film, but taking it to the next level—including tap dancing…
“It goes back to this idea that I have, that he won’t admit to, but Joaquin can do anything. So, when you challenge him with something as absurd as, ‘Oh, and it turns out Arthur can really dance, not like just that beautiful bathroom dance, but he can tap dance,’ he has it in him. And Joaquin just goes, ‘Okay, let me figure that out,’ and you put him together with Michael Arnold, who’s a phenomenal choreographer, and they work on that tap for months… and then you watch him do it.
“And nowadays, people go and see movies and they think everything’s CG, everything’s fake. So, I had this thought like, ‘Are people going to think we just put Joaquin’s head on some dancer’s body?’ But he’s doing everything, and he doesn’t miss a tap. It’s just crazy. I mean, Jeff and I sometimes sat in the editing room and just watched other takes looking for a mistake. And it’s like, it’s always just, he just gets it, top to bottom, every time.”
On the moment that Arthur meets Lee and the transformation that’s going on in him…
“Well, it’s a tricky scene because, if you notice in the movie, we go into Slo-mo for a second when he sees her. We liked the idea of it being a bit of a mislead, because fool me once, right? In the first film, his relationship with Sophie wasn’t really real. So we kind of leaned into that idea, is this even real? And particularly when she puts the gun to her head, if you’re watching the movie for the first time, you’re going, ‘Oh, I get it. She’s made up, this isn’t real.’ It turns out, she is real, and she’s doing that because they made a TV movie about Arthur, and that was part of it.
“But yeah, when he gets into that building, and he hears her voice in that song, when she’s singing with the class, kind of cutting through, you can feel it in Arthur, that something’s changing, or that something’s awakening.”
On Lady Gaga’s character, Lee Quinzel…
“Lee believes in what Arthur did and what he spoke about on ‘The Murray Franklin Show.’ She’s watched the movie they’ve made about Joker ten times.”

On what Lady Gaga brings to this film as Lee who, with Arthur, goes between the reality and fantasy parts…
“What she brings, in her own way, is a reality to the character. And she really got the first movie. Our first conversations were very much about the first film. And she, I think, rather easily slipped into that world. So, it’s not like she’s trying to be Harley Quinn from another movie, or Harley Quinn from the comic books. She’s being Lee in this world. Again, like both these characters, as well as Harvey Dent, Gotham, all these things have been created before and actors have inhabited those roles before. So, all we’re doing differently is trying to ground them in a real world. And again, they’ve been grounded in real worlds in other films. It’s just through the lens of our world, I should say.”
On the importance of bringing the audience up to speed on how the world has reacted to Joker in the aftermath of the events of the first film, via his interview with Paddy Myers, played by Steve Coogan…
“I thought it was important for a few reasons. I think a lot of people had questions at the end of the first movie, because we end with Arthur in an institution. I remember people asking me all the time, ‘Did any of it happen? Was it all just a fantasy?’ So, we thought it’d be fun and engaging, I suppose, to answer some of those questions, in really broad strokes, and explain why here he is, paying the price for it.”
On running an open set, being willing to try things on the day, and the philosophy behind that…
“We always have a plan, of course, but we just like the ability to veer from that whenever possible. And I think it helps actors, feeling loose and feeling like anything can happen. It feels like… the day feels more alive. It’s not so much that I prefer it, but if they want to try three different ways of doing something, I would never go, “No, no, this is what Jackie’s like, so I just want to see his three gears or five gears,” or in Joaquin’s case, 19 gears, right? So it’s like, “Yeah, show it all to me,” because a movie gets written three times. A movie gets written by Scott and I, then Larry and I kind of rewrite it, and then Jeff [Groth], the editor, and I do the third draft, the final draft.
“So, we don’t really know if the Jackie that I wrote a year-and-a-half ago with Scott is gonna be the same Jackie that ends up in the movie. But if Brendan’s willing to do three versions, or play this scene that way, and then try it totally different, it’s only helpful to the last writing assignment, which is the editing, right?”
On shooting the music performances live, and how that informed the music coming from a more emotional place…
“That is exactly a great illustration of what I mean, in that you can’t pre-record it in a studio a month-and-a-half before you shoot the film and expect the actors to have the emotion that they’re supposed to have behind the song. So really, the only way to solve that is to sing it live, on the day, in the space. Clearly, she could do that, she’s a professional singer. For Joaquin, I thought it would be a harder thing to convince him, or to get him to do, or for him to be able to do it. But, like he frequently does, he blew my mind. Always. I mean, he’s just… he can do anything.”
On the music in the film becoming a key element to this story…
“That was something we had been talking about from even before we were talking about a sequel. This idea was something I talked to Joaquin about really early on, that Arthur has music in him, that there’s some panache to Arthur and a romance to Arthur, even in the first film. And I think that really informed—I hate speaking for Joaquin—but I think that really informed Joaquin, that idea that Arthur has music in him, informed a lot of the first film. Most obviously when he dances in the bathroom, but even his movements throughout the movie. So, we just thought that was a logical, leaping-off point.”
On the type of music chosen for the film, what he was inspired by…
“Well, music choice in something like this is a huge thing. I always wanted the music to feel like stuff that Arthur knew, stuff that maybe his mom played in the apartment when he was growing up. So, a lot of it came from that. I mean, if you remember in the first film, he’s listening to Lawrence Welk with his mother on the radio. So we always kind of wanted to embrace the kind of old-school vibe of music.
“So, for this film, it was very consciously not original songs, because we wanted it to be things that Arthur knew. We didn’t think it would make sense to have some great songwriter come in and write original music, because you’re not going to get near to what we were at with the standards we used, but also it didn’t feel very ‘Arthur’ to create original songs. The songs that exist in the world are the songs in his mind.”
On the realistic look and feel of the space…
“I think for every movie—this is not unique to this film—you want it to feel as grounded in reality as possible. That goes with wardrobe and costume and set design, background players. You want it to feel authentic.”
On the set builds being 360 and why that level of immersion was so important…
“Well, the 360 set speaks to [production designer] Mark Friedberg, the way [DP] Larry [Sher] and I shoot, but also Joaquin, putting him in a place where there are four walls and where he could go over there, even though we’re set up over here. You don’t want to necessarily dictate with an actor like Joaquin, you want to give yourself the freedom for him to come and feel the space.”
On the transformative scene with the umbrellas, where color is first introduced, and everything begins to change for Arthur…
“Well, for me, it really represents that there’s still magic left in Arthur. And so, when they come out of those doors and it’s dreary and it’s raining and they’re putting their umbrellas up, what Arthur sees is the colors. So, the idea being that he’s been here for two years and what’s it been like? In those first 10 or 12 minutes, he’s beaten down. But when he steps outside and he looks up and you realize, ‘Oh, there’s still some magic. There is still a little light. It hasn’t all been extinguished.’ That’s kind of what that represents.”
On ensuring the film’s color palette, scale, and general look were different from “Joker”…
“We didn’t want to do anything that was a rehash of the first film. We wanted the movie to feel entirely different, but the first film still had a language that we follow in this movie. I mean, the color palette in the beginning of this film very much reflects where we left off in the first film. And it’s not until Lee is introduced, and it’s not until magic comes back into Arthur’s life and music comes back into Arthur life, that things start to shift for him. [Production designer] Mark [Friedberg] and I talked really early on about it wanting to feel as if you would have made this movie a long time ago, not with CG sets and blue screens. We very much wanted it to feel, at least the sections that were fantasy and the music sections, like a throwback to how they made those movies then.”
On crafting a truly theatrical experience for audiences…
“I will forever make movies for theaters. I have friends and colleagues that make movies for streamers, but I just will never do it, ever, no matter what. I’d rather just not make films, because I really believe that the theatrical experience—obviously, this is not something new I’m saying—but it’s second to none and it’s such a huge part of the experience of watching a film. Not just in the shared common space with 400 strangers, but in just the sheer size and sound and feeling you get, and that the film evokes. So, Larry and I, Mark and I, every crew member and I, we make these films for the theatrical experience. And, particularly this one, Larry and I really leaned into the IMAX a lot. And I think if you see this movie in IMAX, particularly the true IMAX, it’s crazy.”
On what audiences who loved the first film will find when they see “Joker: Folie À Deux”…
“Well, I think if you love the first film, it’s because you loved Arthur, because really the first film was all Arthur all the time. So, hopefully, there’s still that love for Arthur, the character. And that’s kind of what we leaned into. I think there was a ton more love than we thought. I mean, the movie was way bigger than any of us thought. I think it was big, not just because of what Larry and I did, the way we shot it, not just because of the sets that Mark built, it was because of this love for the character that Joaquin created. So, we just thought if we leaned into that, and we really leaned into taking Arthur apart and breaking Arthur down by the end of it, that just felt right.”

Joaquin Phoenix on Arthur Fleck
On when—and why—the idea of the sequel to “Joker” came about…
“Todd and I started talking about finding a new story to tell with the character maybe midway through the shoot of the first one, long before its release. It was something that, even then, I think we both felt like there was more to explore with the character. And I loved the idea and the challenge of continuing the story but finding different tones to play with.”
On working with filmmaker Todd Phillips…
“Practically speaking, he’s just a seasoned filmmaker with a very specific and unique perspective, and that’s really the most important thing, at least for me, when working with a director. Additionally, I like the way that he solves problems. And he’s pretty fearless. He thinks very quickly, which is great, so it allows you to really come at a scene in a different way each take if you want. And any time you run into a problem, he just very quickly comes up with a line that just solves the problem. I’ve never worked with anyone quite like him.”
On his character, Arthur Fleck, having music in him…
“In the first film, we discovered moments in the way that Arthur and Joker move in the world that felt musical, oddly graceful, in a way—some kind of rhythm that motivates his movements. There was a nostalgia to the music that he listened to, the music in his head, that we kept discovering more and more as we were shooting.”
On the environments created for the film…
“The sets that Mark Friedberg built were pretty astonishing. Arkham had multiple levels; they were the kind of sets that you go in, and you get lost, they’re that vast. It’s really impressive and obviously important that you can go from the stage studio world, which is about as far away from the movie as possible, to entering the set and getting lost in those corridors. Everything was accessible and it felt authentic. It’s a huge part of the film, obviously, and also was a huge part of helping the actors find their place within the world.”
On the introduction of music into the mix…
“We started talking about music performance very, very early on, long before Todd and Scott [Silver] started really sitting down and working on the script. It eventually became obvious that we wanted it to feel spontaneous and off the cuff and dirty in a way that I don’t think you typically see with movies in that genre. We just felt like we didn’t want it to be like anything you’d ever really seen before, or to do it in a way that people typically perform songs in movies. That was exciting and challenging, because then it felt like we had to actually go out there and perform live in order to perform the songs in ways that felt accurate, authentic, but maybe weren’t the most beautiful renditions of the song. And there was something that felt very exciting about that.”
On working with pianist Alex Jules to perform the songs live…
“George Drakoulias is a music supervisor, he works with Todd all the time, and I’ve known him for years. And very early on he introduced me to a pianist named Alex Jules, and we started working together and we clicked. I had told him that I wanted each take to feel different, and we never really set in stone the phrasing or one particular way of singing. It was always changing from take to take. And he was really great at just listening, and at feeling when I might go; there were times where I would sing hard and loud, and other times it would be kind of softer. I just wanted to work with somebody that was going to go with me and be really receptive, listening to me and changing the dynamics live.”

Lady Gaga on Lee Quinzel
On her reaction to the script and her initial feelings about her role in “Joker: Folie À Deux”…
“My feeling from reading the script initially was that I was excited about how much room there was to play. I felt like while the script was very intentional and it was clear that this was going to be a love story, that the way that we told the love story was going to be unlike anything any of us had made or seen before. And that also meant that Lee should be a character that we had never experienced before. So, one of my favorite things about the script was how real she was.”
On knowing that Harley Quinn has been portrayed in comic books and on TV, and how this is different…
“Of course I thought about all of the ways Harley Quinn has been in the world before this script, but it was exciting to me to create Lee in Todd and Joaquin’s world, and their world for ‘Joker’ was so different than anyone that we had seen before. And this story of Arthur Fleck, this story of the birth of Joker, is extremely heartfelt and emotional. So I knew that Lee had to also be grounded in that same kind of humanity for this movie to work. So I worked a lot with Todd and Joaquin every single day on how to bring out her humanity amidst a film and a story that’s wild.”
On where Arthur is in his mind when he meets Lee…
“I think at the beginning of the film, Arthur is in a terrible place. And I think Todd has always tried to say something profound about the system and the way that it beats people down. So, I think at the beginning of this film, we see that Arthur barely has a life. And this first meeting is a suggestion that there could be some hope.”
On the best part of discovering Lee while she portrayed her…
“I had so much fun discovering Lee on set, and I would say that working with Todd, working with Joaquin as close collaborators every day, was extremely eye opening for me about the filmmaking experience and how I could actually come to set knowing that I might discover the character in the scene. And in what ways do we inhibit ourselves from knowing who a character could be by deciding ahead of time? So it was really fun.”
On putting in the work to allow for spontaneity…
“We rehearsed the waltz for months. I learned all of my music for months, so did Joaquin. But we kept everything very loose because this was a big artistic playground, and ultimately the edit would decide the final film, but on set you don’t have to make decisions that are set in stone. We prepared, and then we got to play.”
On what the term “folie à deux” means…
“Well, I did research on folie à deux, and looked up the medical explanation of it. Some people refer to it as double insanity. Other people talk about it being this condition where two people who have psychosis, one gives psychosis to the other person, they believe a shared fantasy, a shared delusion to each other and those around them, and they will defend their fantasy at any cost.”
On defining the line between fantasy and reality…
“The fantasies in the film are an expression of the way Todd sees the two of them, Arthur and Lee, and they’re an expression of the way Joker and Harley or Lee and Arthur or Joker and Lee and Arthur and Harley are experiencing life. It’s really for the audience to experience and decide.”
On the intertwined nature of the music and how it connects to the story…
“You know, Todd always said that there was music inside of Arthur, and it’s hard for me to talk about the genesis of anything in this movie without starting with Arthur and the first film. So to me, music plays a huge role in this movie because it’s part of what brings Joker to life, brings Arthur to life, and I think in a way is, at times, teetering on a metaphor of how Arthur becomes Joker. This music within him. And also it’s, I think, an expression at any given moment of things that just cannot be said in the scene with words. It had to be said in song and in dance.
“I thought that the music was very artfully chosen for this film; they always put the story first, and everything was connected to a real part of these characters. I don’t know that music would have worked in this film without that. I think part of what makes all of this bonkers activity make sense to our hearts while we’re watching it is the fact that there’s some truth in all of it.”
On the process of finding Lee’s voice…
“Working with George Drakoulias, Jason Ruder, Randy Poster, Todd, Joaquin… we worked really hard to find everyone’s voice in the movie. And for me to find Lee’s voice was really an interesting process. I knew after a lot of time working on it that Lee’s not a great singer. She’s doing her best, and that’s sort of a part of this movie, right? Both of these characters are kind of doing their best. And aren’t we all in life just trying to do our best all the time? And so doing her best, given who she is, was the starting point for my vocal performance in the movie.”
On collaborating with Todd Phillips on the film…
“Todd took a very big swing with this whole concept and with the script, giving the sequel to ‘Joker’ this much audacity and complexity. There’s music, there’s dance, it’s a drama, it’s also a courtroom drama, it’s a comedy, it’s happy, it’s sad—it’s got all of these elements. Some of the music is fantasy, some of it’s in the scene. It breaks genre, and I think it was very, very bold, and that it’s a testament to him as a director, that he would rather be creative than just tell a traditional story of love. As a filmmaker, I don’t think he would ever land in one particular spot and say, ‘This is exactly what I want you to feel.’ I think he just is exploring these two people. I have always appreciated that he really celebrated Arthur in the first film, and in the second film, he goes even further.”
On working with Joaquin Phoenix…
“I loved working with Joaquin. He was just amazing to experience this whole process with. I learned so much about acting, working with him, and I had so much fun doing all of the music with him and the dance routines.”
On Lee’s feelings for Arthur and Joker, how deep they run…
“To me, in the beginning of the film, Lee really doesn’t know who she is at all, she’s just… everything is for him. I want to be close to you. I want to be near you. I want to talk to you. I want to break out of here. Lee is kind of unreasonable in her pursuit of Joker and Arthur. I think it’s through that love that she kind of discovers who she’s going to be for the rest of her life.”
On what audiences can expect when they see this movie in theaters…
“I think that, without question, this movie was meant for movie theaters, literally the movie is a theatrical experience, but not in the way that anyone would sense. I’m actually very careful not to use the word musical when I describe this film, because I feel like that limits the way that anyone might think about it before they watch it. It’s a movie that the sound, the score, the feeling in the theater, just completely transports you into the minds of the characters and the intention of the director, and it was just an absolute joy to be a part of.”
TODD PHILLIPS (Director, Co-Writer, Producer) is the director, co-writer and producer of what was until recently the highest-grossing R-rated film in history, the critically acclaimed, Academy Award-winning “Joker,” which earned more than $1 billion at the worldwide box office. “Joker” is also the biggest global October release of all time, and the sixth Warner Bros. Pictures film to cross the billion-dollar benchmark. The film also won the top prize at the 2019 Venice Film Festival, the Golden Lion. His next film, “Joker: Folie À Deux,” is the hugely anticipated follow-up, starring Joaquin Phoenix in the title role opposite Lady Gaga, and releasing in theaters October 4, 2024.
Phillips was a producer of commercial and critical success “A Star Is Born,” co-written and directed by and produced with his Joint Effort partner, Bradley Cooper, who also starred alongside Lady Gaga. Released in October 2018, the film grossed over $436 million worldwide and was nominated for eight Academy Awards including Best Picture, winning Best Original Song.
Phillips wrote, directed and produced the 2016 comedic drama “War Dogs,” starring Miles Teller and Jonah Hill, who was nominated for a Golden Globe award for his performance. In 2009, Phillips directed and produced the blockbuster comedy “The Hangover,” starring Cooper, Ed Helms and Zach Galifianakis, which won a Golden Globe Award for Best Motion Picture – Comedy or Musical. He then wrote, directed and produced the sequels, “The Hangover Part II” in 2011, and “The Hangover Part III” in 2013. Collectively, the trilogy grossed over $1.4 billion globally.
As a writer, Phillips was nominated for an Academy Award for Best Adapted Screenplay for his work on “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan” in 2006. He began writing and directing features in 2000 with the cult classic comedy “Road Trip.” In 2003, he wrote, produced and directed the comedy box office hit “Old School,” starring Luke Wilson, Will Ferrell and Vince Vaughn. Phillips has also written, directed and produced such comedic successes as “Starsky & Hutch” and “Due Date,” the latter starring Robert Downey Jr. and Galifianakis. He also served as producer on the outrageous dark teen comedy “Project X.”
SCOTT SILVER (Co-writer) was nominated for an Academy Award and a BAFTA Award, among numerous others, for best adapted screenplay for “Joker,” which he wrote with the film’s director, Todd Phillips. Silver was nominated for an Academy Award and a BAFTA Award for “The Fighter.” He also wrote “8 Mile.”