Blink (2024 Documentary) / Whiskey Del Bac Sentinel of the Desert

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On today's Film and Whiskey, Bob
sits down with the Oscar winning

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team behind the documentary
Navalny to discuss their new

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film Blink.
Then we'll be drinking Sentinel

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of the Desert Rye from Whiskey
to El Bach.

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That's all ahead on the Film and
Whiskey podcast.

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Welcome into the Film and
Whiskey podcast.

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We have a special bonus episode
for you.

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Bob normally says that, but I'll
I'll just go into the

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traditional bonus.
Episode.

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We are gearing up for Tuesday's
launch of Season 9.

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We're now right now Bob is out
of town for work, but we are

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going to throw over to an
interview he did a week ago with

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the directors of the new
documentary Blink.

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This film follows a family's
round the world trip just before

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their children lose vision to a
rare genetic disorder, capturing

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their journey to experience the
world's beauty while they can

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still see it.
The movie is out in theaters

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from Disney and National
Geographic on October 4th.

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Let's go to Bob's interview and
then we will come back after the

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break for our Whiskey review
all.

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Right.
I'm joined by Daniel Rohr and Ed

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Stenson, film makers of the new
movie Blink, from National

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Geographic, out in theaters on
October 4th.

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Gentlemen, how are you today?
Awesome.

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Healing.
Great.

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Guys, I I guess the first place
to start is to ask about the

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genesis of this project a little
bit.

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How did you come to find out
about the remarkable family in

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this film?
Ed.

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We, what happened is I think
both of us had heard about the

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family in the news or we'd read
about them, but we had a fellow

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Canadian who worked at MRCA,
sales agent that had a

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documentary division at the
time.

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And they reached out to Daniel
and said, look, we've optioned

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this story of this incredible
family.

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Are you interested in coming on
board and making this movie with

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us?
And Daniel at the time was going

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through a lot of kind of
tortuous work on the the Oscar

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campaign for Navalny.
And he'd recently and he just

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didn't maybe have the headspace
to fully work on the film by

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himself.
So given that he and I have been

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collaborators for, I want to say
best part of 10 years now, he

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reached out to me and said, Ed,
do you want to go on a trip

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around the world and make a
documentary with this incredible

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family?
And I didn't really have to hear

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the end of the sentence to say
yes, absolutely.

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You guys really have operated
kind of across the spectrum of

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documentaries now.
I mean, we've had political

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intrigue, we've had musical
biopic of sorts.

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What are the unique challenges
of doing this style of film

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where you're it's it's part
travelogue, part human interest

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story as opposed to what you
guys have done in the past?

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Well, first and foremost, I want
to say thank you for saying that

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because it's kind of my dream to
have a career where I can just

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bop around and and do wildly
different things.

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It's a gear shift, you know,
it's, it's just a change of

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speed, which is why I love this
job.

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One of the things that I'm so
afraid of after I finished my

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last film was like being put in
a box or being pigeon holed.

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It's like, oh, this is like the
political intrigue guy, like,

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you know, following up Navalny
with with like the film about

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some other dissident somewhere.
And it's like, I, I didn't want

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to do that.
That's not how I am.

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That's not how my brain works.
That's not how I how I frame

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myself in the world.
And I thought that the best sort

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of palate cleanser for that sort
of intense political thriller of

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a movie was to do something
that's just wildly different and

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unique.
And that's more of a reflection

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of where I am in my life now.
And what better way to do that

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than with, you know, my best
buddy?

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And so it's it was sort of in
that spirit that we went off and

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started making this movie.
I'm watching the movie and I

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obviously you guys are filming
in these incredible locations

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and National Geographic
obviously known for the visual

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look of their movies.
But I couldn't help but keep

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thinking, how much more
responsibility do you feel as a

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filmmaker when the subject
matter is, these are some of the

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lasting images that these
children are going to remember

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throughout their lives?
How does that affect the way the

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lensing of the movie?
The visual stylings of the film?

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I think for us, we were very
careful at the beginning to to

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look for visual references of of
of worlds and films that spoke

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to the sensibility we wanted to
create.

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In this case, we looked at
Terrence Malick films, we looked

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at Tree of Life and we were very
interested at keeping things at

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kids eye view whenever we could.
And we saw a lot of that and in

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the work of Malik.
And I think that taking that as

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an inspiration, that that was
our kind of starting point of

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like, if we can get into the
kids had in a visual way,

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because kids are such kind of in
some ways, unknowable,

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irreverent creatures that are
kind of doing their own thing

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and living their own lives that
we thought, well, if we can

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visually represent their
experience in whenever we can,

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that would be a strong entry
point to the film.

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And we both thought, we've not
seen that much in documentary,

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right, Daniel?
We look for references within

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the documentary landscape and
there are films here and there,

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but it felt to us that we needed
to turn to fiction to find some,

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to find the right references.
And I I would also add the.

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Yeah, go ahead.
I, I was just going to say the,

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the other thing that that was
sort of on our minds and close

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to our thoughts was just the,
the creative challenge of making

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a documentary for children.
So often documentaries pigeon

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holed as big, serious, intense
subjects and it's, and it's

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almost alienating to younger
viewers.

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And in partnering with Disney
and National Geographic, it was

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like the gauntlet was thrown to
us to be like, let's see if we

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can make a movie for, for the
whole family that children can

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enjoy.
That's like meaningful and life

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affirming, but also like deals
with a subject matter that in an

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unflinching and very real,
earnest, honest way.

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And it was sort of in that
spirit that that we set out on

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this journey.
That's a great segue into

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talking about the family dynamic
of the film itself.

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And one of the things I really
appreciated is the kind of, for

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lack of a better term, like the
role with it Ness of the parents

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in the film and the way that
yes, they've got this trip

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planned out, but obviously
things happen that are

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unforeseen, But also just life
with small children is a is a

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very different kind of thing.
And Daniel, I've, I've seen some

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clips of you giving interviews
while holding your son and

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taking him with you on
interviews this morning.

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Where?
Are those?

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I want to see those interviews.
Where did you find those?

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I'll send you the YouTube links
for sure.

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Yes, please.
This morning I'm prepping for

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this interview.
My son comes in and he's just

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like dad.
I can't remember how the chicken

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dance goes.
Can you explain it to me again?

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So that's.
So cool you have to your son

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even remembers how the chicken
like my son, like he, he, he

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can't like crawl yet.
So the fact that like one day my

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boy will come in and be like
dad, I don't remember how the

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chicken dance goes and I'm gonna
be that I have to be like, well,

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you shake your hip like this and
then you move your leg and I'm

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like T-shirt like that.
That is mind blowing.

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So I feel like we're at very
different stages, but I

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certainly appreciate the spirit
of of the the question.

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It's it's coming for you is what
I'm saying.

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And I guess what I'm wondering
is like, does that spirit extend

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to the way the movie has to get
shot, has to get put together?

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The the fact that like this, you
know, I don't want to not too

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many spoilers for the movie
happening here, but like this

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horrific event is happening and
then all of a sudden the kids

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are just all farting at each
other.

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Like how does that affect the
way you have to structure the

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film?
I think you, yeah, you're

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raising an interesting point.
It's one that we noticed early

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as we were crafting the story in
production.

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It's that kids don't always
follow the narrative through

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line of family events, as you,
you know, as I'm sure you know,

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as a father.
And we, as we got into the edit

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suite and we were looking at all
these incredible moments where

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our kids say something off the
wall or strange or irrelevant to

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the matter at hand.
There was something immediately

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so charming and wonderful that
it didn't really matter

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cinematically.
At times we felt whether this

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had a direct relationship to
where a scene was going, because

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children bring this energy and
this joy at times and this this

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humor that kind of brings you
out of yourself.

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And I think we we wanted to
capture that in the film.

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But it was also a very delicate
balance because as soon as you

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overdo it, cinematically
speaking, your film can feel a

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bit random or a bit
discombobulated.

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So it was definitely a very
delicate balance of how many

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times can we have our kids do
something very childlike and

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silly and irreverent and still
keep the audience's attention.

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And again, this this challenge
of, of making a documentary,

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again, a medium that in a mode
that is often reserved for sort

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of the trophy serious, intense,
social, justicy political

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subjects and framing something
through the lens of the child to

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make a film for children was a
great creative challenge.

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And, and it's, and it's as
simple as like keep the camera

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lower, keep the camera the, at
the height of the, the kids, you

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know, like we see what they see.
We're in their perspective,

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we're in their POB, you know,
experiencing the world literally

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through their lens.
And then the last part of, of,

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of the answer has to do with,
with not the visual language of

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the movie, but the Sonic
language of the movie.

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Cinema is an art form of, of
images and sound.

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And it's something we took very
seriously.

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And, and, and in the future, as
the children's illness

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progresses, hopefully not for a
very long time, and they are not

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able to experience the film
visually in the same way.

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They'll still be able to hear
it.

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They'll still be able to hear
their laughter.

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They'll still be able to hear
the sounds of the calls to

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prayer in Indonesia or the quiet
of the white desert or the, the

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sound of their mom's voice or
their dad's voice or my favorite

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moment when when they're
tickling one another in the

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tent.
The sound of the laughter.

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You know, that is something that
is incredibly evocative, that is

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is almost as important in this
film as the visuals, if not more

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so.
You made reference to one of my

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favorite shots in the movie is
we're just following one of the

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children on the walk to school
and it's filmed at waist level

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of the adults, but at at his eye
level.

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And it reminded me so much of of
Spielberg.

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There's so much ET in that scene
and the the trick or treating

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sequence and ET.
And I understand that.

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Bob, thank you so much.
I, I, I'm wondering you've

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already talked a little bit
about inspiration in terms of

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Malik and filming the grandeur
of things.

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But this movie does such a great
job of kind of Trojan horsing in

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this is a movie about parenting
and are we doing right by our

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kids?
And I'm wondering thematically,

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what, where were you guys
drawing inspiration from, from

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those sorts of films?
Can I talk first?

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Ed, please go ahead.
The first thing I want to say,

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this is also just in the spirit
of our our, our directorial, our

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Co directing.
We spent a lot of time thinking

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about what the Co means and how
to be effective Cos and to Co

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effectively with one another And
the Terrence Malick's that if

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you had told me, you know, oh,
there's going to be a Terrence

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Mal tree of life influence of
this movie, My knee jerk

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reaction would have been don't
put that art house garbage in my

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film.
Like don't get near it.

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But I I know that that's Ed
sensibility and I and I knew

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that whatever that meant for him
was going to be stunning and

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beautiful and meaningful and
thoughtful.

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And so that in and of itself is
a good example of how we Co

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effectively.
And so far as like I know that

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whatever Ed does, whatever he
delivers, whatever he goes out

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and does with his inspirations
will come back and be

225
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thoughtful, useful, beautiful,
all of all of the things.

226
00:11:32,680 --> 00:11:36,280
But I think to your point,
whereas Ed's inspiration would

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00:11:36,280 --> 00:11:39,080
lean towards like Terrence
Malick and like Tree of Life and

228
00:11:39,080 --> 00:11:44,160
like, you know, Lubinski's like
wide angle, beautiful low camera

229
00:11:44,160 --> 00:11:47,840
work, mine, my inspiration would
be more geared towards like

230
00:11:47,840 --> 00:11:53,040
Spielberg towards an ET, towards
like, you know, that type of

231
00:11:54,320 --> 00:11:59,920
film making and exploration of
childhood through those movies

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that I, I grew up with.
Yeah, I, I'm struggling.

233
00:12:03,160 --> 00:12:04,520
Well, thank you for the kind
words, Daniel.

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00:12:04,520 --> 00:12:07,400
Even if your initial reaction to
certain things is get this dog

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00:12:07,400 --> 00:12:12,680
shit out of my film.
But I, for me, I, I don't know

236
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if I can speak to specific
films, but we were just very

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00:12:15,640 --> 00:12:18,600
keen.
I wanted to make a gentle film

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00:12:18,600 --> 00:12:23,920
and I wanted to as much as I
can, as you said, but balance

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00:12:23,920 --> 00:12:28,080
the grandeur of things with the
absolute intricacy of tiny

240
00:12:28,080 --> 00:12:32,160
moments that contain the kernel
of something universal.

241
00:12:32,160 --> 00:12:37,760
And I think of when Mia is being
sent off by her mom for the, you

242
00:12:37,760 --> 00:12:41,320
know, her first big party.
And there's this, there's these

243
00:12:41,320 --> 00:12:44,280
moments like that which speak to
so many of us, but are

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00:12:44,280 --> 00:12:47,960
incredibly small details.
They're not these grand gestures

245
00:12:47,960 --> 00:12:52,680
or these big speeches or these
emotionally overwhelming moments

246
00:12:52,680 --> 00:12:55,560
between families.
They're these single shots or

247
00:12:55,560 --> 00:12:59,000
looks that come to standing for
so much of how we experience

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00:12:59,000 --> 00:13:03,440
everyday life.
And I think I knew that I I

249
00:13:03,440 --> 00:13:06,400
wanted to build that into the
universe of our film.

250
00:13:06,680 --> 00:13:09,000
And I, I don't know if this film
makers that you think of when I

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00:13:09,000 --> 00:13:13,160
say this, but that was kind of
front and Center for me is the

252
00:13:13,160 --> 00:13:15,720
minutiae of everyday life and
how beautiful that can be.

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00:13:16,040 --> 00:13:18,200
Guys, I just, I can't say enough
good things about the film

254
00:13:18,200 --> 00:13:20,240
itself.
I I also want to say that I

255
00:13:20,240 --> 00:13:22,960
think you succeeded in what
you've laid out as your own

256
00:13:22,960 --> 00:13:26,120
personal challenge here.
Like Spielberg, like a a film,

257
00:13:26,120 --> 00:13:29,240
like ET, like a Toy Story.
This is a movie that's going to

258
00:13:29,240 --> 00:13:30,920
work when I show it to my 7 year
old.

259
00:13:31,400 --> 00:13:34,560
And then when my 7 year old is a
33 year old like me, he's going

260
00:13:34,560 --> 00:13:36,520
to be able to watch it from a
completely different angle.

261
00:13:36,520 --> 00:13:39,560
It's a movie about childhood,
but it's a movie about parenting

262
00:13:39,560 --> 00:13:42,040
as well.
And so it really does speak to

263
00:13:42,040 --> 00:13:45,360
the entire family.
And guys, thank you so much for

264
00:13:45,360 --> 00:13:46,880
joining me today.
I can't thank you enough for the

265
00:13:46,880 --> 00:13:49,120
movie.
And the film is called Blink.

266
00:13:49,120 --> 00:13:52,000
It's out on October 4th in
theaters nationwide.

267
00:13:52,280 --> 00:13:55,000
This has been Daniel Rohr and Ed
Stenson.

268
00:13:55,120 --> 00:13:57,600
Gentlemen, thank you so much.
Thank you, Bob.

269
00:14:03,880 --> 00:14:07,600
OK, so today we are trying
Sentinel of the Desert Straight

270
00:14:07,600 --> 00:14:10,200
Rye whiskey.
This comes to us from Whiskey

271
00:14:10,200 --> 00:14:13,120
Delbach.
Finished in Whiskey Delbach

272
00:14:13,120 --> 00:14:16,760
mesquited casks, right?
I think this is only the second

273
00:14:16,760 --> 00:14:19,200
time in the history of this
podcast we have mentioned the

274
00:14:19,200 --> 00:14:23,680
word Mesquite, the first time
being Matthew Mcconaughey's Wild

275
00:14:23,680 --> 00:14:25,200
Turkey.
What's it called?

276
00:14:25,400 --> 00:14:26,840
Long Branch.
Long Branch.

277
00:14:26,840 --> 00:14:31,960
Long Branch, So it says that
this whiskey is aged no less

278
00:14:31,960 --> 00:14:34,360
than two years.
So that that sounds more like a

279
00:14:34,360 --> 00:14:35,720
warning when they say it like
that.

280
00:14:36,080 --> 00:14:39,280
No, no less than two years.
I'm OK with the two year rye

281
00:14:39,280 --> 00:14:42,680
though, Brad, we've we've said
many times before rye seems to

282
00:14:42,680 --> 00:14:45,960
take on a more mature character
at a younger age, even though we

283
00:14:45,960 --> 00:14:48,360
just said that in the presence
of some whiskey people recently

284
00:14:48,360 --> 00:14:49,840
and they looked at us like we
were crazy.

285
00:14:50,360 --> 00:14:54,280
I stand by it, man.
Yeah, I, I, I'm not thrown off

286
00:14:54,280 --> 00:14:58,960
by the two year age statement.
I do know that you have to have

287
00:14:58,960 --> 00:15:04,680
really high quality juice in
order for it to stand up to the

288
00:15:04,760 --> 00:15:07,800
low age statement.
You know what I mean?

289
00:15:07,800 --> 00:15:09,560
Like it.
It's going to have to be

290
00:15:09,560 --> 00:15:14,000
something really special at four
years for it to be drinkable,

291
00:15:14,000 --> 00:15:15,840
palatable, tasty at 2:00.
Years.

292
00:15:15,840 --> 00:15:19,560
That's a fair statement.
So this is batch #3 of Sentinel

293
00:15:19,560 --> 00:15:21,360
of the Desert.
It's a limited release.

294
00:15:21,400 --> 00:15:25,520
This is 92 proof.
I do not have a mash bill on

295
00:15:25,520 --> 00:15:28,400
this in front of me, but it
comes from MGP.

296
00:15:28,400 --> 00:15:31,200
So I'm going to go ahead and
just assume it's 95.5 and we'll

297
00:15:31,200 --> 00:15:33,360
go from there, Brad.
Gasp.

298
00:15:35,040 --> 00:15:37,560
All right, what are you picking
up on the nose of the Sentinel

299
00:15:37,600 --> 00:15:40,720
of the Desert?
I mean it comes across

300
00:15:41,720 --> 00:15:46,360
similarly, like not in any of
the actualities, but like it

301
00:15:46,360 --> 00:15:51,040
reminds me of a peated Scotch in
the sense that the initial

302
00:15:52,120 --> 00:15:55,200
nosing is way different than any
other whiskey.

303
00:15:56,120 --> 00:16:01,200
Like whatever mesquiting they
have done has given it this very

304
00:16:01,200 --> 00:16:05,320
specific smoky quality that is
nothing like Pete.

305
00:16:05,720 --> 00:16:10,000
I want to be clear, it is
nothing like a Pete Scotch, but

306
00:16:10,000 --> 00:16:12,600
it has some really distinct
characteristics.

307
00:16:12,840 --> 00:16:17,720
The longer I knows it, the more
you get into the layers of the

308
00:16:17,720 --> 00:16:22,640
rye, and I think that you have
what we talked about already, a

309
00:16:22,640 --> 00:16:26,600
young rye.
But but honestly, that that

310
00:16:26,600 --> 00:16:29,480
young character we get from the
rye, I think it works really

311
00:16:29,480 --> 00:16:31,720
well with whatever they're doing
with these casks because you're

312
00:16:31,720 --> 00:16:33,480
right, there is a smokiness
here.

313
00:16:33,800 --> 00:16:38,600
But it reminds me of like when
people play around with their

314
00:16:38,600 --> 00:16:40,680
smokers and they'll throw things
in there that you wouldn't

315
00:16:40,680 --> 00:16:43,560
typically think of.
Like people do smoked sugar or

316
00:16:43,560 --> 00:16:47,360
smoked fruits.
This is like if you put a like

317
00:16:47,360 --> 00:16:50,360
an apple pie apple like a
Macintosh or whatever you want

318
00:16:50,360 --> 00:16:53,680
to bake your pies into a smoker
for a couple hours.

319
00:16:53,880 --> 00:16:57,120
It it has that really nice
character of like being softened

320
00:16:57,120 --> 00:16:58,960
up.
It smells like an applesauce

321
00:16:58,960 --> 00:17:00,880
honestly, but just with a little
bit of smoke to it.

322
00:17:00,880 --> 00:17:03,680
I really like this a lot.
It smells like it's going to be

323
00:17:03,680 --> 00:17:07,000
sweet, which is up my alley for
a rye Brad.

324
00:17:07,000 --> 00:17:10,319
I think that I would give this
an 8 out of 10 on the nose.

325
00:17:11,800 --> 00:17:13,839
I think I'm a little cooler than
you.

326
00:17:13,839 --> 00:17:17,280
It definitely has some cinnamony
notes that would make me think

327
00:17:17,280 --> 00:17:23,160
of applesauce.
I think I'm at a 6 1/2 out of 10

328
00:17:23,160 --> 00:17:25,240
here.
All right.

329
00:17:25,240 --> 00:17:27,480
When we get to the taste.
Where you at on this one man?

330
00:17:28,400 --> 00:17:33,920
You know, I think that the
smokiness of the Mesquite hits

331
00:17:33,920 --> 00:17:40,040
on the finish and on the pallet.
You really do just have a really

332
00:17:40,040 --> 00:17:44,680
classic two year ride.
It's a tiny bit minty.

333
00:17:45,040 --> 00:17:49,960
There's a little bit of like a
sweet dill going on and it

334
00:17:49,960 --> 00:17:53,200
almost jumps into a vanilla
territory for me.

335
00:17:54,520 --> 00:18:00,840
But overall the palate is a very
normal average rye whiskey that

336
00:18:00,840 --> 00:18:04,120
I I'd probably I'd give a 7 out
of 10 to.

337
00:18:05,040 --> 00:18:07,920
I feel like it's always
constantly flirting with like,

338
00:18:07,960 --> 00:18:11,200
oh, this is too young.
Like it's almost tipping into

339
00:18:11,240 --> 00:18:15,200
oh, it's a little too harsh.
It's a little too like sickly

340
00:18:15,200 --> 00:18:18,040
sweet, but it never quite gets
over that line.

341
00:18:18,040 --> 00:18:20,040
And I have to at least give it
credit for that, You know what I

342
00:18:20,040 --> 00:18:21,880
mean?
Like, it's definitely a young

343
00:18:21,880 --> 00:18:24,600
rye, but I think they've done
kind of everything in their

344
00:18:24,600 --> 00:18:29,000
power to maximize the good
qualities that you can find in a

345
00:18:29,000 --> 00:18:31,520
younger rye and to minimize the
stuff.

346
00:18:31,520 --> 00:18:34,560
Brad, we've had some truly
shitty young whiskey on this

347
00:18:34,560 --> 00:18:36,280
podcast.
Oh, 100%.

348
00:18:36,280 --> 00:18:37,640
This is not that, you know what
I mean?

349
00:18:37,640 --> 00:18:40,800
Like it's, it's pretty good.
I would have much preferred it

350
00:18:40,880 --> 00:18:46,000
at four years old, but even here
it's that Mesquite and the oak

351
00:18:46,000 --> 00:18:49,040
influence makes it really
prickly upfront and you, you

352
00:18:49,040 --> 00:18:51,880
notice it right away.
There's that like heavy, heavy

353
00:18:51,880 --> 00:18:54,760
smoke upfront to the point where
I think it kind of drowns out a

354
00:18:54,760 --> 00:18:56,960
lot behind it.
It's pretty thin on the

355
00:18:56,960 --> 00:18:59,200
mouthfeel.
There's a lot of green apple for

356
00:18:59,200 --> 00:19:03,280
me still and it's good, but it
doesn't quite live up to that

357
00:19:03,280 --> 00:19:06,600
like sweet, bold, bright fruit I
got on the nose.

358
00:19:06,600 --> 00:19:08,800
I'm just going to give this a
six out of 10 on the palate.

359
00:19:09,800 --> 00:19:13,120
Yeah, and Bob, I think that the
finish is the best part of this

360
00:19:13,120 --> 00:19:16,840
experience.
The Mesquite finally comes

361
00:19:16,840 --> 00:19:21,000
through and makes itself really
known and it gives you a nice

362
00:19:21,000 --> 00:19:26,640
tobacco Y leather a a really
enjoyable finish.

363
00:19:26,640 --> 00:19:31,760
Like I just took a nice puff on
a cigar and I I actually like it

364
00:19:31,760 --> 00:19:34,160
a decent amount.
I'll come up a little bit here.

365
00:19:34,160 --> 00:19:37,080
I've been stepping my way up.
I'll I'll give it a 7 1/2 on the

366
00:19:37,080 --> 00:19:39,960
finish.
Yeah, I think leather is kind of

367
00:19:39,960 --> 00:19:42,640
the keynote on the finish here.
It's really nice.

368
00:19:42,880 --> 00:19:45,480
I just, I wish that there was a
little more rye character,

369
00:19:45,480 --> 00:19:49,000
whether it would be dill or mint
or like anything in that kind of

370
00:19:49,000 --> 00:19:52,560
rye grain realm.
It's almost just like straight

371
00:19:52,560 --> 00:19:57,040
leather, which again, I don't
mind on a whiskey, but like 4

372
00:19:57,040 --> 00:20:00,520
years old, this would be
freaking stellar at two years

373
00:20:00,520 --> 00:20:03,080
old.
I'm impressed for other reasons.

374
00:20:03,080 --> 00:20:05,600
I'm impressed that they got this
out of a two year whiskey.

375
00:20:06,520 --> 00:20:10,760
But I like it's still not a full
throated support of what's in

376
00:20:10,760 --> 00:20:13,640
the glass.
I'm going to give it a 6 1/2 on

377
00:20:13,640 --> 00:20:18,480
the finish and then on in terms
of balance, I'm going to give it

378
00:20:18,480 --> 00:20:19,960
a seven.
I think this is where I really

379
00:20:19,960 --> 00:20:21,840
want to reward their efforts
here.

380
00:20:22,880 --> 00:20:25,320
I have to imagine it took a
significant amount of effort to

381
00:20:25,320 --> 00:20:27,960
pull this much out of a two year
product and they've done a

382
00:20:27,960 --> 00:20:31,560
really good job with it.
Yeah, I I would agree.

383
00:20:31,560 --> 00:20:34,160
I think that they have done some
interesting things here.

384
00:20:35,120 --> 00:20:40,520
I'll give it a 6 1/2 on balance.
At the end of the day, the this

385
00:20:40,520 --> 00:20:44,280
whiskey needs to be aged two
more years, one more year at

386
00:20:44,280 --> 00:20:47,200
least.
And I think that if you do that,

387
00:20:47,880 --> 00:20:51,720
every score is going to come up
a half to one full point.

388
00:20:52,000 --> 00:20:54,640
And this is going to be a really
enjoyable whiskey.

389
00:20:55,000 --> 00:20:58,880
I'm just struggling with it at
this age.

390
00:20:58,960 --> 00:21:02,200
So yeah, 6 1/2 on balance.
All right.

391
00:21:02,200 --> 00:21:05,160
And then in terms of value, I
think that this is averaging

392
00:21:05,160 --> 00:21:11,480
about $50 online, which like
they've done a secondary finish

393
00:21:11,480 --> 00:21:14,400
process on it.
It's a smaller operation, but

394
00:21:14,400 --> 00:21:17,640
it's also MGP juice and like
it's two year MGP juice.

395
00:21:17,640 --> 00:21:21,720
So part of me thinks it's
slightly justified price, part

396
00:21:21,720 --> 00:21:23,600
of me doesn't.
I don't know anything about the

397
00:21:23,600 --> 00:21:27,840
cost of Mesquite wood, but Brad,
what do you think?

398
00:21:27,840 --> 00:21:31,800
They had $50?
It's like a 5 1/2.

399
00:21:32,280 --> 00:21:36,040
I'll give it a 6 1/2 like I I
don't think it's a bad value and

400
00:21:36,160 --> 00:21:38,080
it's especially because it's
unique.

401
00:21:39,320 --> 00:21:42,960
What I will say, Whiskey Dalbach
release a four year version of

402
00:21:42,960 --> 00:21:45,480
this and I will be on board like
forever.

403
00:21:47,440 --> 00:21:51,200
Yeah, 100%.
Brad, I'm coming out to a 34.5

404
00:21:51,200 --> 00:21:52,840
out of 50.
Where are you at on this one?

405
00:21:53,760 --> 00:21:56,520
Just a little lower.
I'm at a 33 out of 50.

406
00:21:57,480 --> 00:22:02,520
I will say I think I'm going to
recommend like this is pretty

407
00:22:02,520 --> 00:22:08,480
much hitting the ceiling of what
a two year rye can do, and if

408
00:22:08,480 --> 00:22:11,560
you'd like to experience what a
younger whiskey tastes like and

409
00:22:11,560 --> 00:22:14,600
how that can be maximized, I
don't really think there's many

410
00:22:14,600 --> 00:22:17,000
places I would recommend you go
other than this one.

411
00:22:17,560 --> 00:22:20,880
Yeah, I, I think I'm going to
stay away from recommending

412
00:22:20,880 --> 00:22:25,120
until they give it a little bit
longer to age, give it a little

413
00:22:25,120 --> 00:22:30,760
bit more flavor from the casks.
It just needs a little bit more

414
00:22:30,880 --> 00:22:35,760
depth of quality to really give
it the experience that like I

415
00:22:35,760 --> 00:22:37,400
could put my stamp of approval
on.

416
00:22:37,920 --> 00:22:43,400
All right, so we came out to a
67.5 out of 100 or a 33.75 out

417
00:22:43,400 --> 00:22:44,760
of 50.
I recommended.

418
00:22:44,920 --> 00:22:46,840
Brad does not.
I want to say thank you to

419
00:22:46,840 --> 00:22:48,840
Whiskey Del Bach for sending us
this bottle.

420
00:22:48,920 --> 00:22:52,480
It's really cool looking bottle.
And folks, what a day at film

421
00:22:52,480 --> 00:22:54,440
and whiskey.
We've interviewed an Academy

422
00:22:54,440 --> 00:22:57,040
Award winner.
We've tried a new whiskey like

423
00:22:57,040 --> 00:22:58,760
it does not get any better than
this Brad.

424
00:22:59,400 --> 00:23:01,800
Absolutely not, Bob.
Thank you so much for your help

425
00:23:01,800 --> 00:23:04,280
on the interview by the way.
Really, really pulled your

426
00:23:04,280 --> 00:23:07,080
weight, man.
Yeah, it it's no problem, dude.

427
00:23:07,080 --> 00:23:12,320
I, I know when you just need to
have that affirmative

428
00:23:12,320 --> 00:23:14,680
experience.
So I I wanted you to have that

429
00:23:14,680 --> 00:23:16,000
today.
Well, thank you so much.

430
00:23:16,240 --> 00:23:18,920
Hey, we'll be back on Tuesday
with another regularly scheduled

431
00:23:18,920 --> 00:23:21,080
episode.
But until then, I'm Bob Book.

432
00:23:21,640 --> 00:23:23,880
I'm Brad G.
And we'll see you next time,

433
00:23:48,280 --> 00:23:48,520
music.