yup.

Don't really follow your logic, sir. Also, Hollywood is notorious for taking funding from much shadier sources than 'big banks and corporations'…

I say they pay Ferrell, Carrell and the rest in gross points, and call it a day. The film is successful, they get their paycheck, everyone wins. If not, no one wastes money on them. Has to be GROSS points, though. No BS Hollywood accounting. Still, that's less cash to raise, and lower risk for investors, no? Where's…

I don't really understand what you're getting at. Who's to work 80 15 hour days for free? And why? When the labor is already unionized? …You're probably part about the bigfoot anatomical thing, though, dunno, didn't see the first…

(or it's just really small, I guess)

Maybe if you have enough Edward Burns' style charisma you can convince an entire cast and crew to work for free using someone else's lighting, sparks and camera equipment…

Didn't used to be that way, though, in fairness…

Heather Graham carried that 2nd Austin Powers film almost entirely— holding it on its feet all through the last 13th rounds through constant wardrobe changes.

Also, film editors all used to wear thick glasses by the time they were 37. Squinting at 35mm frames over light tables apparently put a lot of wear on your eyes. I remember the pain of doing that (with 16mm) for a long night, glad it's gone—I have no doubt I would have been wearing the same glasses by now…though I do…

Whoever was responsible for the 'Reno 911' scene where Dwayne Johnson, alias 'The Rock,' blows himself up with a live grenade for no particular reason while trying to demonstrate how awesome he is, also has my eternal admiration.

In this case, as a very casual watcher of the show (yah, not the way to do it, I know) it was sociologically interesting to me that real dealers would be imitating Heisenberg's specially pure product.

Try reading The New Republic's article about them, then; it may change your opinion somewhat (tongue in cheek statement or not):