lairdo

Again, putting this in spoilers.
 
 

Yes, I thought was interesting too! Glad he had the cataracts removed. I hear from others who have had that it is truly altering to see more colors. I hope JW is getting the joy of that experience.
 
 
Thanks.
 
Really, there was way too much going on to even process everything. With my fellow IndyCasters who I have not seen since 2020 (or even longer ago), being out on the red carpet. Getting to meet Ke Huy Quan (Short Round) after the movie. The person who organizes these events for Disney is married to one of my former students, and that person spotted me in photos from the organizer and then told him to go meet me, to being steps from one of the actresses in the film. 
 
Still, while I had predicted the appearance of the Maestro to play music, by the time the event started, I had forgotten about that and then the curtain rose to reveal him and 80+ musicians. 
 
In terms of the music in the film and without giving spoilers (other than locations but all of which are in the trailer): First off, it's generally audible most of the time it plays. There is a lot of it as Mangold has told us, and still there are some action sequences where no music was used (not dissimilar to Star Wars when the music drops out). I do suspect those moments had music scored for them and the absence now was editorial. (I'm already pining for unreleased music!) The first 20% of the which takes place in the 40s is pretty much all scored and many old themes and motifs from the franchise can be heard winding their way through the action. I'm not entirely sure when we get to hear this separately (if we do) that it will feel very coherent though as I got a sense of jumping around a bit. It works in the movie though, and I wonder about it as a listening experience without the film.
 
As I hoped and guessed on our recent podcast, the sound and music of the era made appearances at times including one key early moment as the movie transitioned to 1969. That is not at all a decision by JW - it was clearly in the script as the music diegetic - but in terms of the overall score of the picture it worked. Generally after that the score charted to some new areas and themes. Helena's music is very differently used than say Marion's theme and different pieces of it the suite we have heard since last summer show up in the right spots with varying orchestrations, tempos and blends with other themes. I liked that. This felt similar to how the Solo suite was used as a basis for numerous moments in that film. Of course the difference being JW's own use of his themes vs. Powell's (which was still quite good).
 
There are plenty of action sequences and one in particular was scored in a manner that JW would have done in the late 60's or early 70's. I felt vibes of Lalo Schifrin and some amount of homage to The French Connection and similar films set in NY in that era. I found that refreshing although perhaps a bit of an oddity compared to to the rest of the score.
 
Definitely heard shades of Tintin when the film was in North Africa which was either how JW scores all those locales or was his own homage to his past work. I suspect the former. It was not a straight lift or anything blatant and worked with the action.
 
Probably missing for me was a clear statement of themes for the Dial itself (although I think it is there) or Voller, the main bad guy. 
 
A few times, clearly Mangold just let the music dominate as much as the visuals would allow. Not to the level of Spielberg (e.g. the Truck Chase, Scherzo for Motorcycle and Orchestra, the jungle chase stuff in Skull), but not as infrequent as in the recent Star Wars films.
 
Overall, highly satisfied and looking forward to whatever we get on the soundtrack (which is going to woefully inadequate unless there is a surprised deluxe digital version) and looking forward to deciding where this sits amongst the other 4 films. 
 
 

Adjusted. Thanks. I'm making all sorts of errors on my posts today. Still tired from last night.
 
Here's a photo of me with the IndyCasters and Ke Huy Quan who Mitch (far right) knows. That was a treat getting to speak to him.
 
 

Yes, I thought was interesting too! Glad he had the cataracts removed. I hear from others who have had that it is truly altering to see more colors. I hope JW is getting the joy of that experience.
 
 
Thanks.
 
Really, there was way too much going on to even process everything. With my fellow IndyCasters who I have not seen since 2020 (or even longer ago), being out on the red carpet. Getting to meet Ke Huy Quan (Short Round) after the movie. The person who organizes these events for Disney is married to one of my former students, and that person spotted me in photos from the organizer and then told him to go meet me, to being steps from one of the actresses in the film. 
 
Still, while I had predicted the appearance of the Maestro to play music, by the time the event started, I had forgotten about that and then the curtain rose to reveal him and 80+ musicians. 
 
In terms of the music in the film and without giving spoilers (other than locations but all of which are in the trailer): First off, it's generally audible most of the time it plays. There is a lot of it as Mangold has told us, and still there are some action sequences where no music was used (not dissimilar to Star Wars when the music drops out). I do suspect those moments had music scored for them and the absence now was editorial. (I'm already pining for unreleased music!) The first 20% of the which takes place in the 40s is pretty much all scored and many old themes and motifs from the franchise can be heard winding their way through the action. I'm not entirely sure when we get to hear this separately (if we do) that it will feel very coherent though as I got a sense of jumping around a bit. It works in the movie though, and I wonder about it as a listening experience without the film.
 
As I hoped and guessed on our recent podcast, the sound and music of the era made appearances at times including one key early moment as the movie transitioned to 1969. That is not at all a decision by JW - it was clearly in the script as the music diegetic - but in terms of the overall score of the picture it worked. Generally after that the score charted to some new areas and themes. Helena's music is very differently used than say Marion's theme and different pieces of it the suite we have heard since last summer show up in the right spots with varying orchestrations, tempos and blends with other themes. I liked that. This felt similar to how the Solo suite was used as a basis for numerous moments in that film. Of course the difference being JW's own use of his themes vs. Powell's (which was still quite good).
 
There are plenty of action sequences and one in particular was scored in a manner that JW would have done in the late 60's or early 70's. I felt vibes of Lalo Schifrin and some amount of homage to The French Connection and similar films set in NY in that era. I found that refreshing although perhaps a bit of an oddity compared to to the rest of the score.
 
Definitely heard shades of Tintin when the film was in North Africa which was either how JW scores all those locales or was his own homage to his past work. I suspect the former. It was not a straight lift or anything blatant and worked with the action.
 
Probably missing for me was a clear statement of themes for the Dial itself (although I think it is there) or Voller, the main bad guy. 
 
A few times, clearly Mangold just let the music dominate as much as the visuals would allow. Not to the level of Spielberg (e.g. the Truck Chase, Scherzo for Motorcycle and Orchestra, the jungle chase stuff in Skull), but not as infrequent as in the recent Star Wars films.
 
Overall, highly satisfied and looking forward to whatever we get on the soundtrack (which is going to woefully inadequate unless there is a surprised deluxe digital version) and looking forward to deciding where this sits amongst the other 4 films. 
 
 

This was so freaking awesome!
What a spectacular way to commemorate the final film. Such a wonderful surprise and a joy.

I'll put this in spoiler text just in case others do not wish to know the answer.
 

I'll put this in spoiler text just in case others do not wish to know the answer.
 

I have a slightly different/longer answer than @TheUlyssesian. Providing it for people who wish to know. This version is even more of a spoiler, so you have been warned. I also address the question of music themes related to these characters.
 
 

I have a slightly different/longer answer than @TheUlyssesian. Providing it for people who wish to know. This version is even more of a spoiler, so you have been warned. I also address the question of music themes related to these characters.
 
 

I have a slightly different/longer answer than @TheUlyssesian. Providing it for people who wish to know. This version is even more of a spoiler, so you have been warned. I also address the question of music themes related to these characters.
 
 

Adjusted. Thanks. I'm making all sorts of errors on my posts today. Still tired from last night.
 
Here's a photo of me with the IndyCasters and Ke Huy Quan who Mitch (far right) knows. That was a treat getting to speak to him.
 
 

I saw him walk in with his wife, Melody Hobson, on the red carpet. He definitely looked frail. Melody was holding his hand (which was very sweet), and he almost tripped transitioning from the red carpet on Hollywood Blvd itself to the red carpet that goes on the curb up towards the Dolby theater (itself a pretty good walk because the theater is behind a number of retail stores.
 
He is only slightly older younger (79) than Harrison (turning 81 in July), is way younger than Johnny (91), but he looked the oldest of anyone out there. Frank Marshall is 76, and he looked spry.
 

Yes, I thought was interesting too! Glad he had the cataracts removed. I hear from others who have had that it is truly altering to see more colors. I hope JW is getting the joy of that experience.
 
 
Thanks.
 
Really, there was way too much going on to even process everything. With my fellow IndyCasters who I have not seen since 2020 (or even longer ago), being out on the red carpet. Getting to meet Ke Huy Quan (Short Round) after the movie. The person who organizes these events for Disney is married to one of my former students, and that person spotted me in photos from the organizer and then told him to go meet me, to being steps from one of the actresses in the film. 
 
Still, while I had predicted the appearance of the Maestro to play music, by the time the event started, I had forgotten about that and then the curtain rose to reveal him and 80+ musicians. 
 
In terms of the music in the film and without giving spoilers (other than locations but all of which are in the trailer): First off, it's generally audible most of the time it plays. There is a lot of it as Mangold has told us, and still there are some action sequences where no music was used (not dissimilar to Star Wars when the music drops out). I do suspect those moments had music scored for them and the absence now was editorial. (I'm already pining for unreleased music!) The first 20% of the which takes place in the 40s is pretty much all scored and many old themes and motifs from the franchise can be heard winding their way through the action. I'm not entirely sure when we get to hear this separately (if we do) that it will feel very coherent though as I got a sense of jumping around a bit. It works in the movie though, and I wonder about it as a listening experience without the film.
 
As I hoped and guessed on our recent podcast, the sound and music of the era made appearances at times including one key early moment as the movie transitioned to 1969. That is not at all a decision by JW - it was clearly in the script as the music diegetic - but in terms of the overall score of the picture it worked. Generally after that the score charted to some new areas and themes. Helena's music is very differently used than say Marion's theme and different pieces of it the suite we have heard since last summer show up in the right spots with varying orchestrations, tempos and blends with other themes. I liked that. This felt similar to how the Solo suite was used as a basis for numerous moments in that film. Of course the difference being JW's own use of his themes vs. Powell's (which was still quite good).
 
There are plenty of action sequences and one in particular was scored in a manner that JW would have done in the late 60's or early 70's. I felt vibes of Lalo Schifrin and some amount of homage to The French Connection and similar films set in NY in that era. I found that refreshing although perhaps a bit of an oddity compared to to the rest of the score.
 
Definitely heard shades of Tintin when the film was in North Africa which was either how JW scores all those locales or was his own homage to his past work. I suspect the former. It was not a straight lift or anything blatant and worked with the action.
 
Probably missing for me was a clear statement of themes for the Dial itself (although I think it is there) or Voller, the main bad guy. 
 
A few times, clearly Mangold just let the music dominate as much as the visuals would allow. Not to the level of Spielberg (e.g. the Truck Chase, Scherzo for Motorcycle and Orchestra, the jungle chase stuff in Skull), but not as infrequent as in the recent Star Wars films.
 
Overall, highly satisfied and looking forward to whatever we get on the soundtrack (which is going to woefully inadequate unless there is a surprised deluxe digital version) and looking forward to deciding where this sits amongst the other 4 films. 
 
 

Just got back to the hotel after the premier of Dial of Destiny, and the John Williams moment was one I had predicted at breakfast would happen. But that takes nothing away from the moment when the screen rose to reveal the Maestro and the orchestra. Truly an amazing moment even from the back row of the mezzanine section. Hearing Helena's Theme live was truly wonderful. I think Adventures of Mutt was not as amazing as other live performances I heard. Raiders March was fantastic. 
 
The place was hopping after the performance.
 
And I very much enjoyed the film and cannot wait to see it again.
 
On the soundtrack - ordered the LP and CD from Disney although hoping to get the CD sooner from Amazon. Really surprised at the August date for both. I do hope we'll get a digital release on June 30.
 
 

Yes, I thought was interesting too! Glad he had the cataracts removed. I hear from others who have had that it is truly altering to see more colors. I hope JW is getting the joy of that experience.
 
 
Thanks.
 
Really, there was way too much going on to even process everything. With my fellow IndyCasters who I have not seen since 2020 (or even longer ago), being out on the red carpet. Getting to meet Ke Huy Quan (Short Round) after the movie. The person who organizes these events for Disney is married to one of my former students, and that person spotted me in photos from the organizer and then told him to go meet me, to being steps from one of the actresses in the film. 
 
Still, while I had predicted the appearance of the Maestro to play music, by the time the event started, I had forgotten about that and then the curtain rose to reveal him and 80+ musicians. 
 
In terms of the music in the film and without giving spoilers (other than locations but all of which are in the trailer): First off, it's generally audible most of the time it plays. There is a lot of it as Mangold has told us, and still there are some action sequences where no music was used (not dissimilar to Star Wars when the music drops out). I do suspect those moments had music scored for them and the absence now was editorial. (I'm already pining for unreleased music!) The first 20% of the which takes place in the 40s is pretty much all scored and many old themes and motifs from the franchise can be heard winding their way through the action. I'm not entirely sure when we get to hear this separately (if we do) that it will feel very coherent though as I got a sense of jumping around a bit. It works in the movie though, and I wonder about it as a listening experience without the film.
 
As I hoped and guessed on our recent podcast, the sound and music of the era made appearances at times including one key early moment as the movie transitioned to 1969. That is not at all a decision by JW - it was clearly in the script as the music diegetic - but in terms of the overall score of the picture it worked. Generally after that the score charted to some new areas and themes. Helena's music is very differently used than say Marion's theme and different pieces of it the suite we have heard since last summer show up in the right spots with varying orchestrations, tempos and blends with other themes. I liked that. This felt similar to how the Solo suite was used as a basis for numerous moments in that film. Of course the difference being JW's own use of his themes vs. Powell's (which was still quite good).
 
There are plenty of action sequences and one in particular was scored in a manner that JW would have done in the late 60's or early 70's. I felt vibes of Lalo Schifrin and some amount of homage to The French Connection and similar films set in NY in that era. I found that refreshing although perhaps a bit of an oddity compared to to the rest of the score.
 
Definitely heard shades of Tintin when the film was in North Africa which was either how JW scores all those locales or was his own homage to his past work. I suspect the former. It was not a straight lift or anything blatant and worked with the action.
 
Probably missing for me was a clear statement of themes for the Dial itself (although I think it is there) or Voller, the main bad guy. 
 
A few times, clearly Mangold just let the music dominate as much as the visuals would allow. Not to the level of Spielberg (e.g. the Truck Chase, Scherzo for Motorcycle and Orchestra, the jungle chase stuff in Skull), but not as infrequent as in the recent Star Wars films.
 
Overall, highly satisfied and looking forward to whatever we get on the soundtrack (which is going to woefully inadequate unless there is a surprised deluxe digital version) and looking forward to deciding where this sits amongst the other 4 films. 
 
 

Adjusted. Thanks. I'm making all sorts of errors on my posts today. Still tired from last night.
 
Here's a photo of me with the IndyCasters and Ke Huy Quan who Mitch (far right) knows. That was a treat getting to speak to him.
 
 

Adjusted. Thanks. I'm making all sorts of errors on my posts today. Still tired from last night.
 
Here's a photo of me with the IndyCasters and Ke Huy Quan who Mitch (far right) knows. That was a treat getting to speak to him.
 
 

Adjusted. Thanks. I'm making all sorts of errors on my posts today. Still tired from last night.
 
Here's a photo of me with the IndyCasters and Ke Huy Quan who Mitch (far right) knows. That was a treat getting to speak to him.
 
 

Yes, I thought was interesting too! Glad he had the cataracts removed. I hear from others who have had that it is truly altering to see more colors. I hope JW is getting the joy of that experience.
 
 
Thanks.
 
Really, there was way too much going on to even process everything. With my fellow IndyCasters who I have not seen since 2020 (or even longer ago), being out on the red carpet. Getting to meet Ke Huy Quan (Short Round) after the movie. The person who organizes these events for Disney is married to one of my former students, and that person spotted me in photos from the organizer and then told him to go meet me, to being steps from one of the actresses in the film. 
 
Still, while I had predicted the appearance of the Maestro to play music, by the time the event started, I had forgotten about that and then the curtain rose to reveal him and 80+ musicians. 
 
In terms of the music in the film and without giving spoilers (other than locations but all of which are in the trailer): First off, it's generally audible most of the time it plays. There is a lot of it as Mangold has told us, and still there are some action sequences where no music was used (not dissimilar to Star Wars when the music drops out). I do suspect those moments had music scored for them and the absence now was editorial. (I'm already pining for unreleased music!) The first 20% of the which takes place in the 40s is pretty much all scored and many old themes and motifs from the franchise can be heard winding their way through the action. I'm not entirely sure when we get to hear this separately (if we do) that it will feel very coherent though as I got a sense of jumping around a bit. It works in the movie though, and I wonder about it as a listening experience without the film.
 
As I hoped and guessed on our recent podcast, the sound and music of the era made appearances at times including one key early moment as the movie transitioned to 1969. That is not at all a decision by JW - it was clearly in the script as the music diegetic - but in terms of the overall score of the picture it worked. Generally after that the score charted to some new areas and themes. Helena's music is very differently used than say Marion's theme and different pieces of it the suite we have heard since last summer show up in the right spots with varying orchestrations, tempos and blends with other themes. I liked that. This felt similar to how the Solo suite was used as a basis for numerous moments in that film. Of course the difference being JW's own use of his themes vs. Powell's (which was still quite good).
 
There are plenty of action sequences and one in particular was scored in a manner that JW would have done in the late 60's or early 70's. I felt vibes of Lalo Schifrin and some amount of homage to The French Connection and similar films set in NY in that era. I found that refreshing although perhaps a bit of an oddity compared to to the rest of the score.
 
Definitely heard shades of Tintin when the film was in North Africa which was either how JW scores all those locales or was his own homage to his past work. I suspect the former. It was not a straight lift or anything blatant and worked with the action.
 
Probably missing for me was a clear statement of themes for the Dial itself (although I think it is there) or Voller, the main bad guy. 
 
A few times, clearly Mangold just let the music dominate as much as the visuals would allow. Not to the level of Spielberg (e.g. the Truck Chase, Scherzo for Motorcycle and Orchestra, the jungle chase stuff in Skull), but not as infrequent as in the recent Star Wars films.
 
Overall, highly satisfied and looking forward to whatever we get on the soundtrack (which is going to woefully inadequate unless there is a surprised deluxe digital version) and looking forward to deciding where this sits amongst the other 4 films. 
 
 

I saw him walk in with his wife, Melody Hobson, on the red carpet. He definitely looked frail. Melody was holding his hand (which was very sweet), and he almost tripped transitioning from the red carpet on Hollywood Blvd itself to the red carpet that goes on the curb up towards the Dolby theater (itself a pretty good walk because the theater is behind a number of retail stores.
 
He is only slightly older younger (79) than Harrison (turning 81 in July), is way younger than Johnny (91), but he looked the oldest of anyone out there. Frank Marshall is 76, and he looked spry.
 

Yes, I thought was interesting too! Glad he had the cataracts removed. I hear from others who have had that it is truly altering to see more colors. I hope JW is getting the joy of that experience.
 
 
Thanks.
 
Really, there was way too much going on to even process everything. With my fellow IndyCasters who I have not seen since 2020 (or even longer ago), being out on the red carpet. Getting to meet Ke Huy Quan (Short Round) after the movie. The person who organizes these events for Disney is married to one of my former students, and that person spotted me in photos from the organizer and then told him to go meet me, to being steps from one of the actresses in the film. 
 
Still, while I had predicted the appearance of the Maestro to play music, by the time the event started, I had forgotten about that and then the curtain rose to reveal him and 80+ musicians. 
 
In terms of the music in the film and without giving spoilers (other than locations but all of which are in the trailer): First off, it's generally audible most of the time it plays. There is a lot of it as Mangold has told us, and still there are some action sequences where no music was used (not dissimilar to Star Wars when the music drops out). I do suspect those moments had music scored for them and the absence now was editorial. (I'm already pining for unreleased music!) The first 20% of the which takes place in the 40s is pretty much all scored and many old themes and motifs from the franchise can be heard winding their way through the action. I'm not entirely sure when we get to hear this separately (if we do) that it will feel very coherent though as I got a sense of jumping around a bit. It works in the movie though, and I wonder about it as a listening experience without the film.
 
As I hoped and guessed on our recent podcast, the sound and music of the era made appearances at times including one key early moment as the movie transitioned to 1969. That is not at all a decision by JW - it was clearly in the script as the music diegetic - but in terms of the overall score of the picture it worked. Generally after that the score charted to some new areas and themes. Helena's music is very differently used than say Marion's theme and different pieces of it the suite we have heard since last summer show up in the right spots with varying orchestrations, tempos and blends with other themes. I liked that. This felt similar to how the Solo suite was used as a basis for numerous moments in that film. Of course the difference being JW's own use of his themes vs. Powell's (which was still quite good).
 
There are plenty of action sequences and one in particular was scored in a manner that JW would have done in the late 60's or early 70's. I felt vibes of Lalo Schifrin and some amount of homage to The French Connection and similar films set in NY in that era. I found that refreshing although perhaps a bit of an oddity compared to to the rest of the score.
 
Definitely heard shades of Tintin when the film was in North Africa which was either how JW scores all those locales or was his own homage to his past work. I suspect the former. It was not a straight lift or anything blatant and worked with the action.
 
Probably missing for me was a clear statement of themes for the Dial itself (although I think it is there) or Voller, the main bad guy. 
 
A few times, clearly Mangold just let the music dominate as much as the visuals would allow. Not to the level of Spielberg (e.g. the Truck Chase, Scherzo for Motorcycle and Orchestra, the jungle chase stuff in Skull), but not as infrequent as in the recent Star Wars films.
 
Overall, highly satisfied and looking forward to whatever we get on the soundtrack (which is going to woefully inadequate unless there is a surprised deluxe digital version) and looking forward to deciding where this sits amongst the other 4 films. 
 
 

Yes, I thought was interesting too! Glad he had the cataracts removed. I hear from others who have had that it is truly altering to see more colors. I hope JW is getting the joy of that experience.
 
 
Thanks.
 
Really, there was way too much going on to even process everything. With my fellow IndyCasters who I have not seen since 2020 (or even longer ago), being out on the red carpet. Getting to meet Ke Huy Quan (Short Round) after the movie. The person who organizes these events for Disney is married to one of my former students, and that person spotted me in photos from the organizer and then told him to go meet me, to being steps from one of the actresses in the film. 
 
Still, while I had predicted the appearance of the Maestro to play music, by the time the event started, I had forgotten about that and then the curtain rose to reveal him and 80+ musicians. 
 
In terms of the music in the film and without giving spoilers (other than locations but all of which are in the trailer): First off, it's generally audible most of the time it plays. There is a lot of it as Mangold has told us, and still there are some action sequences where no music was used (not dissimilar to Star Wars when the music drops out). I do suspect those moments had music scored for them and the absence now was editorial. (I'm already pining for unreleased music!) The first 20% of the which takes place in the 40s is pretty much all scored and many old themes and motifs from the franchise can be heard winding their way through the action. I'm not entirely sure when we get to hear this separately (if we do) that it will feel very coherent though as I got a sense of jumping around a bit. It works in the movie though, and I wonder about it as a listening experience without the film.
 
As I hoped and guessed on our recent podcast, the sound and music of the era made appearances at times including one key early moment as the movie transitioned to 1969. That is not at all a decision by JW - it was clearly in the script as the music diegetic - but in terms of the overall score of the picture it worked. Generally after that the score charted to some new areas and themes. Helena's music is very differently used than say Marion's theme and different pieces of it the suite we have heard since last summer show up in the right spots with varying orchestrations, tempos and blends with other themes. I liked that. This felt similar to how the Solo suite was used as a basis for numerous moments in that film. Of course the difference being JW's own use of his themes vs. Powell's (which was still quite good).
 
There are plenty of action sequences and one in particular was scored in a manner that JW would have done in the late 60's or early 70's. I felt vibes of Lalo Schifrin and some amount of homage to The French Connection and similar films set in NY in that era. I found that refreshing although perhaps a bit of an oddity compared to to the rest of the score.
 
Definitely heard shades of Tintin when the film was in North Africa which was either how JW scores all those locales or was his own homage to his past work. I suspect the former. It was not a straight lift or anything blatant and worked with the action.
 
Probably missing for me was a clear statement of themes for the Dial itself (although I think it is there) or Voller, the main bad guy. 
 
A few times, clearly Mangold just let the music dominate as much as the visuals would allow. Not to the level of Spielberg (e.g. the Truck Chase, Scherzo for Motorcycle and Orchestra, the jungle chase stuff in Skull), but not as infrequent as in the recent Star Wars films.
 
Overall, highly satisfied and looking forward to whatever we get on the soundtrack (which is going to woefully inadequate unless there is a surprised deluxe digital version) and looking forward to deciding where this sits amongst the other 4 films. 
 
 

Adjusted. Thanks. I'm making all sorts of errors on my posts today. Still tired from last night.
 
Here's a photo of me with the IndyCasters and Ke Huy Quan who Mitch (far right) knows. That was a treat getting to speak to him.
 
 

Adjusted. Thanks. I'm making all sorts of errors on my posts today. Still tired from last night.
 
Here's a photo of me with the IndyCasters and Ke Huy Quan who Mitch (far right) knows. That was a treat getting to speak to him.
 
 

Adjusted. Thanks. I'm making all sorts of errors on my posts today. Still tired from last night.
 
Here's a photo of me with the IndyCasters and Ke Huy Quan who Mitch (far right) knows. That was a treat getting to speak to him.