of us.  I think that that desire and that joy translates onto the screen in a very physical way.  And that, I think, is so great.  That's the thing that surprised me when I saw the film was I knew we had them, the fact that it was somehow bubbling up there in a very playful way, and you don't get that in film.  You don't get that sense of oh these are actors putting on things.  You don't really get that sense of play. Sarandon:  Especially in a big budget film. Weaving:  You do in the theater, but you don't in film.  Film has a tendency to be limiting in some way and it shouldn't be.  It's a form that can be explored and changed, and there are languages within film which we haven't found yet, and this is a new language.  It has a new syntax to it. Sarandon:  That's a good way to describe it.  And then, it invites people to see a film in a different way.  It invites you to be open and kind of loose and to surrender to it.  It works because of the clever way that they have dovetailed the stories, so instead of having blocks and entering each one, it reinforces this notion of gender and race and age and periods and time being something that's fluid.  And so, you absorb the film in a way that reinforces the idea that, no matter what wrapping this all has, they're all the