so it doesn't really matter whether it's konchalavsky or peter weir or bertolucci...r victor babencko. or luis llosa, the new peruvian filmmaker who did the new sylvester stallone... the specialist. specialist movie. he now is an american director because he came to hollywood and did a sylvester stallone movie. so if you want to make an international movie you come to hollywood. he is no longer peruvian or american. he's hollywood. insdorf: there is a reason that, for example, the hollywood style in the various ways that we've been chipping at the notion... there's a reason that it's had such an enduring appeal such a geographically vast appeal and it has something to do with storytelling. i mean, certainly with narrative closure... it's also inherently paternal. it basically says, we know best. we know how to make people look beautiful. we know how to tell a story. we're going to give it to you and you are going to watch it. we're in control. which is what you say to a six-year-old before he goes to sleep. a lot of movies put us on the knee of the filmmakers and say,