Baz Luhrmann: Thank You Very Much

31:42He is also maybe the most beautiful man ever photographed, I think. Yeah, I think... Don't you think? Well, you're pretty good looking yourself, right? Well, thank you. Thank you very much. I mean, you would know something about that. I mean that just in a more mechanical way, in that really being born, you know, with beauty or really good looking, like, you know, that can destroy you or that can be something that you can actually come to terms with. And I think he really does come to terms with it. But I think he did it. You're absolutely right. Like, it seems like that face is the face of David carved out of stone.

32:26It's insane. And you know what? I always remember there's a little piece with Whitney Houston. Sissy Houston Whitney's mom was in the Sweet Inspirations in the show your dad would have seen because your dad would have seen the 69 show that's right so the 69 if he went two or three times that was the actual opening Gambit that was the next five shows yeah it was the opening of the hotel Streisand opened it and he came in and is the next act yeah and he would have done like six seven weeks and so he does let's say his dad said it three times so Sissy Houston would have been on stage now Whitney was about 10 one day and she goes to see mom and she says, and Elvis walks in and she says, well, you don't go like, nice to meet you, Mr.

33:08Elvis. She said, when Elvis walked in, you just stared, you couldn't move. You just stared at the face. Now, I think a lot of his kind of self depreciating humor and all of that, you know, that what you see in the rehearsals, him just sort of gagging all the time. Yeah. It's about being silly and about disarming people because at a certain point, not only was he beautiful looking, but he would have got the combination of the music and his beauty and the fact that he then was performing and he moved, he would have got used to very early on. And I'm not just talking fans. Like when you're with really iconic people and you're in the room with them, I mean politicians and giant intellects who you really admire suddenly go into freeze.

34:05Yep. Now with Elvis, he was six foot tall. So you can imagine. So I think his whole MO was to disarm everyone. And to disarm the most, the least powerful person in the room. You see that stuff backstage, you know, when Sammy Davis Jr. comes back. You can see he's talking to Sammy, but you can see his eyes flicking around just to make sure everyone's feeling comfortable. And he's talking to everyone. And by the way, that sound has never been heard. You know, what he actually says. Oh, it's unbelievable. I couldn't believe it. It was unbelievable. Yeah, and of course there is. And, you know, the girl says, so was that karate?

34:40You were doing karate? And he goes, yeah, yeah, karate, karate. Yeah, karate. Yeah. And then the other guy's going, you stole all my moves, you know. I mean, obviously I know all the lines because when you've been mixing something for three months, It's sort of, it sticks in your head.

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37:37It's here. There was also something about him backstage. we've all been backstage with icons or like you say we're blessed enough to have seen everybody and done everybody right so and it's always interesting how people are backstage still high from the from the performance and i've seen people who are gracious i've seen people who aren't so gracious uh i've sort of seen it all and i was really struck with alvis because you i've never heard that i'd never like you said we've never had that audio he seemed so down to earth. Well, yeah. And Rob, you know, too, like, you're right. I mean, never been anything like what?

38:16I mean, I have had the great thrill of being dragged, like, on stage. Bono was very tricky with me one day, and he sort of has a trick. I'm not really tricked, but sort of dragging you. There was a sort of curtain that opens, you know, it was in Jersey, I think. You know, it was one of the tours, and the curtain opens, and like, and just for a few seconds i'm i'm you're sort of on stage and then they push into the gutter you know this is sort of the gutter and but for a few seconds i was like that because you can't be actually seen but you know goes up and so you're in a stadium moment you're like you know and and the great performers they it's not they get used to it but they know the mechanics of it but imagine you're doing that and you're exciting you know 40 000 people all night long then you come off and i can understand that you're going like, even as great as you are, my observation is the true greats come off and they're still a bit like, how was I?

39:16You know? They never come off and go, I was great, wasn't I? Wasn't I amazing? You know? They still feel like they could have given more or they're not, there's a funny feeling, I think. Not funny is not the right word, but I think there's a, everybody else, we, the audience, are so fulfilled and so lifted up and so nourished and so like, let's go out and have the night of our life. That was amazing, right? Right, yes. But that's not the experience of the performer and you are so right. And, you know, different performers, I mean, you and I have been around long enough. I'm sure you've been, I mean, I've been, you know, with the greats before they go on and with the greats when they come off.

40:02some just don't do the I come off moment because they just go like I gotta get ready for tomorrow night some do it like come see me at the hotel I got my slippers on you know gotta watch my voice but isn't it interesting how they choose to handle it it's very because everybody's different I mean I'll never forget seeing Barbra Streisand at the Hollywood Bowl just murder I mean destroy and after she's So what did you think? It was good, right? And you're like... I've never actually... I do know Barbara a bit, but I've never seen her before. Oh, my God. Oh, my... Dude, you have no idea because she puts her friends in the front row because she still has stage fright and she sings to you.

40:51You can't imagine... Well, that's a gift, isn't it? Isn't the gift, the ability... The greats have an ability to make every single person feel like they're the only person in the room. I mean, obviously, she needs that connection. And, you know, I had a little bit to do with Barbara on we were going to do something, a bit of a surprise, and we never really quite could bring it about. But that thing, that proves the point, doesn't it? The greats are still deeply nervous. And Elvis is the poster person with that. I mean, the film opens. I mean, it doesn't open, but we have this sort of prelude. But when he's walking on stage, I mean, that shaking leg, that nerves, that thing.

41:35He says, I still get what you call, what do you call it? What do you call it? I still get what you call stage fright. I mean, you look like that. You can sing like that. You are Elvis at the height of his career. It's not like, you know, your first night at the bowl in Memphis, right? And you're still getting stage fright. That is healthy. That's what keeps them great. How great is that weird, that entrance, that backwards walk thing that he does? Yeah, the side sort of crabbing, really. That crabbing move is so sick. I mean, and that's just an instinctual. Yeah, yeah. I think he probably. Where does that come from?

42:19A lot of the early spaces that he went on, you've got to remember, first of all, that kind of show he he really invented it right like that hotel we kind of think of residencies as being normal there was there was the rat pack that was a whole different thing that was like like cabaret right so that was like a cabaret room yeah yeah so your dad i mean when he went to what was then probably the hilton or the international probably the international it was international well you know what back then i've seen the pictures the international was stuck out in the middle of the desert like it wasn't it's off the strip like yeah it was off the strip and it was such a big throw of the dice and so the idea of building an apartment at the top I mean and the artist living there I mean I not getting into you know all of our iconic friends but having worked with Elton John and knowing very well and made music made a song and but you know having great love Elton I mean, we love, love, love Elton.

43:25When he did Red Piano, he had a residency and he had an apartment upstairs at Caesars and you'd go and see him and, you know, he'd be amazing and funny. And then you'd go upstairs and there'd be the killers and having a big dinner and all of that, you know. But he and David, the consummate, like just such wonderful hosts, you know. And talking about after show, the ability to do the show and after. And that's the thing about the residency, right? It's a bit like, you know, the residency is very different from, it's a bit like Adele, right? I also know a bit. And Adele's choice was, do I tour around the world?

44:12People, I don't think, and I understand the fans' disappointment. I really do. I really, really do. but for Adele to fly around the world and uplift 100 ,000 people at night or you know 50 ,000 people she's got to go home she can't go out and party she got to go home and sit in a hotel room no matter how big the hotel room and all of that and it's a little bit different I think when you're a band, you know, it's not totally different, but the Stones know how to do Rolling Stones time. You know, they know how to tour and they've done all their lives. But they also have each other. And Paul McCartney, I think, says this really beautifully, because they really admired that, I mean, Elvis was such a big thing for them.

45:05They said, look, the thing with Elvis is, see, we had each other. We might've been stuck in a hotel room when we were kids, but we had each other so we could write music. Even Mick and Keith, when the crowds became so big early on, they'd be going, well, let's write a song. But Elvis was on his own from the get-go, from the 50s, you know? Even when he was a kid, there's a beautiful article written about this guy who's going to direct him in a film when he was early in movies, follows him around and he writes an article about, and literally he's not that known, but he performs in the Louisiana Hayride or something, runs out the back, and there's a police escort to a hotel, screaming girls outside, tearing the car apart, and all he can do is go over, pick up the phone, and order a burger.

45:52That's it. That's it. That's the loneliness, you know? And then that evolves into him going, well, let's do a residency. And back to Adele, when Adele decided to do the residency, right see back then it only just started to become a really big thing I mean a few you know there'd been Celine and Elton it became a thing but now I think a lot of artists guess what I can go do a really great show but I can go back to my home in LA that night or stairs you know what I mean there's a degree of performance life balance which is important and also if you have a voice like hers you really have to take care of her voice for sure I mean obviously sometimes it's time to get out and do the big world tour right but I mean do you think about Michael doing those shows what is it going to be 52 shows can you imagine I think he says in the this is it I think he says I can't do 52 shows you know like I mean really how is he going to do that many shows I don't think he was ever going to do one show I knew without getting into it I knew people deeply involved in that I had tickets I still have the ticket I did too for opening night and I same and I knew I would never be there I just knew I didn't think he was going to die but I just couldn't imagine it happening I love that movie, by the way, except it makes me cry.

47:33I do too. I think maybe where we connect, I mean, I think you don't have to be in the work as we are to have the same emotional connection because you can be a fan. But when you go behind the curtain and, again, when you see the greats and you know, whatever the human being. It's like Elvis says so clearly. He says, well, in a press conference, he says, well, there's the image. It's very hard to live up to an image. There's the image and the man. And the image is one thing. And the man is another. I was struck by that. I was struck by that because I felt, not that I didn't think Elvis was insightful.

48:24He obviously would have to be to do what he did. But I was really surprised that he was able to articulate that so succinctly. I was really... Really, really was. Don't you think, Robert? Sounds like actually a quote that, you know, Omar Khayyam or something. You know what I mean? Like it actually sounds like a quote from some Roman philosopher or something, you know. I have a quick obscure question. Was there ever any weirdness when Elvis would cover the Beatles Who were eating his lunch on the charts And was there ever I think my take Look You don't have to ask You understand what I'm saying, right?

49:02Oh, I know, exactly I know, exactly I think, look I know Paul very little bit I know, I mean, I'm very good friends with Stella McCartney And I just recently met them all recently She's the best The best She's one of my great old pals. I shouldn't say old. She's eternally young. She's a great pal. Yeah, yeah. And recently I was at something very special with her and all of that. But Austin told me how generous Paul was when he was doing Elvis and they spent some time on a train together. And Paul told the story of them all going out to see Elvis for the first time. And, you know, I think they were probably high on weed for the first time.

49:44Weed was kind of new or something. And they all have different, I mean, I'm not telling you something that Paul hasn't put out there because they have different takes on the story. But Paul distinctly remembers he and Elvis jamming on a song and there's this great moment when Paul's on the train with Austin and he says, I think, oh, you know, I think like Elvis was singing a Muddy Water song, whatever it was. And he says, yeah, I'll sing it. And he gets it out on his iPhone. So he and Austin are singing it together, Austin and Elvis. And that's when Austin rang me and said, Do you know how he said my life is going to be different?

50:16I think it might have just got different. And, but I think one thing that Paul says, he says, there comes a point, you know, the whole thing about he and John and Yoko, and it was all in the papers and you see it in the doco. He says, when it's written about so much and the world is commenting on it so much, you kind of subconsciously start to believe it, even though it's not real. And my take is, is that Elvis, I mean, you see Elvis covering the Beatles. Like one of my children said to me, hey, that was, I thought there was like, you know, Elvis was really anti-Beatles. I said, look, there's kind of one thing for sure is the Beatles totally, if you look at the world of Elvis, I mean, to them, he was like the son.

51:10and if you see him get back, they actually go, it's Elvis's birthday today. Just very sad and passing. And the thing too is that Elvis so admired them musically, what they wrote and just thought musically they were great and he met with them. But I think that what happens is later on, look, there's a great film out, Rob. You've got to see it. I saw, after I saw Paul, it was called Man on the Run. I think it's on Amazon. It's great. I've seen it. It's great. Isn't it great? It's great. And it's Paul. That's a bit I didn't know anything about. I just imagined Paul, and I know Stel really well, I just saw Paul, and they went to a fabulous castle in Scotland.

51:49That's what I thought. I didn't realize they lived in such an excuse me shithole. It's unreal. I mean, it's incredible. It's incredible. I reached out to Stel and I said, Stel, what was that lie? She said, that was the most magical time of my life. And there is Paul. Around the same time, Elvis is trying to find his new road. That's right. Right. You know, 1970, the Beatles, this point he says, I was always, I was just a kid. Then I was a Beatle. Then suddenly there was a divorce. You know, and there he is trying to refine himself, living like, trying to be normal and building his life around the family.

52:24You know, re-grounding, I guess. Going to the essence of essence. Am I going to make any music? And the crazy thing is I loved the Beatles, but we were insane about Wings. Growing up, my brothers and I isolated a small country town. We just thought Wings, everything from Ram on. You know, the idea that Paul McCartney was going, am I any good? Can I still write music? Just inconceivable. So there you go. And just again, peeking behind the curtain and realizing the humanity. I mean, Paul's gift with tune is just on like another level. Another level. It just flows out, you know? It's like Elton. It just flows out of them.

53:09Tune and lyric, but just music in general. It just flows out. But it flows out. But the idea that he was going like, gee, who am I without the Beatles? And Elvis would have been saying, who am I? Now there are the Beatles. Yes. Yes. 100%. And who he was was what he turns into in Vegas. What he turned himself into. And this is the other thing, Rob, that, you know, look at his vocal. He never stopped working vocally. He never stopped working on himself as a musician, as a singer. So he goes from really a high tenor. You know, well, there's a lot of echo on those songs. Yeah, that was amazing when he said that.

53:49Yeah, right. And he's singing really, he's singing high tenor. Up there, right? And then he sang, I love Mario Lanza. And he's trying to sing like, he's singing like an opera singer by the end. I mean, how great thou art, you know. and what we didn't put in the film because we put it in the drama and also Jono was really early on we were talking about you know it goes we see him at the absolute peak in this movie the absolute peak but what do we want to do about the tragic descent and the thing about the tragic descent I'm so glad you didn't do it can I just tell you something I am so happy I loved it in the movie With Austin I loved it But I loved that I didn't have to see him like that Yeah, because Well, I'm glad you said that Because you know why?

54:45The thing about the movie, that final moment Which he sings a few weeks before he dies And he sings Unchained Melody Even though the body's corrupt He sings probably the best he's ever sung Like he's singing like, literally Like Mario Lange I mean, he seemed like an opera singer, really, you know? Yeah. And the musicality is just off the charts. But he can barely, like, you know, work out where the seat is, right? But he never stopped trying to reach for the stars in terms of his vocal ability as a singer. And you've got to think about that, you know? Like, some artists just go, yeah, I've got my shtick.

55:29I'll go out. I'll do it. I know I like the back of my hand, you know, you can see the strings. They're literally just bopping through because they want to get home and, you know, do what they do that is enjoyable. But I think that's what makes greatness is just always reaching for something a little bit beyond your grasp. Why do you think Elvis did not write? I think, you know, the interpretation, like, I get in a lot of trouble if I start relating this to fashion, high-end fashion, but it's in any art form. In any art form, there's the gift of writing. Some can write and perform. Like Bob Dylan, who, by the way, Elvis covers in this movie.

56:23And by the way, says one of the greatest moments of my life is when Elvis recorded one of my songs. I mean, the quotes from musicians are amazing. I jumped a cup then. They write and then they find a way to vocalize. And so Bob's whole use of his own voice, you know, is it the prettiest voice in the world? That's for others' opinions. But is it a poetic? Is it one of the great poetic voices? Yes. Amazing. Amazing, right? Then you have people, artists, who interpret. And actually, Rob, you're coming from an acting background, or you know acting, right? I mean, some of our greatest performances in the world, you just think, isn't Marlon amazing?

57:06But he didn't actually write the lines to, I could have been a contender. I mean, he might have written, he might have improvised, you know, Apocalypse Now. Cardenial. But I feel with Elvis, his gift, not just vocally and in terms of song was he was an absorber and an interpreter and then he saw himself sort of as a conduit I was going to say a conduit a conduit for everything and that is a gift because I liken it to Orpheus the myth of Orpheus because Orpheus was such a great singer that the very rocks and stones would get up and follow him. He didn't say he was a great singer-songwriter, you know.

58:02Yes. He just sang, right? He would take a song and he would illuminate the song and make it his own. That's what Elvis actually does. He can take a song like Bridge Over Troubled Water, which is wonderful in its original form, but it's a folk song, you know. It's a beautiful folkish song, I would say. And Elvis turns it into this gospel powerhouse ballad, you know, and that's a gift. That's a true and particular gift. And I think that he just loved to sing and it takes a lot of, you know, if writing comes to you naturally, great. It takes a lot to write. But I think his thing was, I'd rather be out using my gift, living, interpreting songs.

58:54Yeah, it makes sense. And the other thing is, he's getting the best songwriters in the world coming to him. Lieber and Stoller and all the rest of them. Well, exactly. But then until the Colonel actually, Mike Stoller, I think, turned up to one of the screens. I got a really nice reaction from him. But the Colonel, of course, went out of his way to cleave them apart. any artists like that. I mean, I'm sort of not so guarded about giving my opinion about The Colonel because I was during the film, you know, because I just, you know, what I found out I put in the film and all of that and I didn't want it just to bubble down to, look, all of Elvis' flaws were The Colonel's fault.

59:38No, the flaws in all great artists are there. It's just that when someone's M.O. is looking for the world's greatest carnival act and doesn't actually see the artist, you know, right? Then eventually it's going to be like, how many times can I get you on stage? And then the artist probably going like, how many times can I get on stage? You know, like, that's why I think epic is more a poem than a poem. linear storytelling, you know? I wanted you to feel it or think it or, you know, let Elvis tell his story. Was he like, is he opening the film with, he says, there's a lot being said, but never from my side of the story.

1:00:28It's amazing. I mean, I could go on and on and on about it. It's great. And I'm a huge fan of yours. Is anything happening with Jean d 'Arc, Joan of Arc? Sure, I'm deeply in the middle. In fact, I think as I'm speaking to you, I think maybe I'm wrong. Something's being said about it at CinemaCon. Yeah. I mean, I'm deep inside of it. In fact, I'm in my, I mean, I pan the camera around and you'd see these walls covered with all the structures and imagery and all of that. I'm doing the fun part for myself, which is learning to ride in armor because I don't want to put any actor through anything. I don't really understand what it's like.

1:01:13Wow. We're right down the road. I mean, we're on many drafts. When are you shooting? Is there a script? Give me the practicals. Sure, sure. The fact's simple, right? I'm about three drafts in. We have a wonderful script. I'm working with the wonderful Ava Pickett. She has a show opening at West End in a few weeks. Amazing. One of her great plays. I love working with her. She's gifted. I have found an extraordinarily gifted young player, Ila Johnson. She is beginning the road of preparation. You've got to understand, first of all, I hardly ever make movies, and when I do, I prepare them for a very long time.

1:01:56I also need to build almost everything. The way we create the medieval world, at least from my living research, which has been many years, is not often represented on screen in a way in which is decoded, right? There's what it is and what it really felt like. So to actually build everything is taking a very long time. And then there's a lot, I mean, you know, there's one or two epic battles in it. So these things I really am thorough about. But I will be shooting by the end of the year or early next year, right? I'll certainly into pre. I'm into pre very soon, actually. You know the language, Rob.

1:02:41Yes, yeah, yeah. I have pre-pre. Pre-pre. I have pre-pre. Yeah. And then I have real pre, which is when, to put it bluntly, when we start spending a lot of money building the world. and I'm looking out here in the sunlight out here at a space where construction is going to be starting like literally within weeks but it'll take a long time. And, you know, I want to do it in a – I just want to give – I just think there's many stories I go, gee, I'd love to do that and I'm doing other things. You know, we're launching a dining train car in like a few weeks in London. Amazing. That we've made, Sim and I, yeah.

1:03:26It's a fun, fun, cool. What's the route? Is it stationary? Does it move around? Oh, no. It's like, it's going to be on the Belmont. It's going to be on the Pullman. You can go anywhere out in the English countryside. There's a story about it. And a dining car for 12 that goes on this kind of special train. It's like the Orange Express. It's amazing. Same people who do the Orient Express. Got it. So we've built that. Oh, with Belmont. Okay, of course. Yes. Exactly. Yes. So if you feel like having a chic dinner for 12 people, I can tell you there's a 1930s dining card named after a fictitious actress called Celia and her fab friends.

1:04:05And you can shove off into the English countryside with a sort of five-star chef, an amazing bar, and then comes back. It might turn into a little bit of a disco later on. or a dance. I love this. Which one? I love this. I love this. Anyway, all that stuff. But really, there's things that I always think, there's things I want to do, because wouldn't that be fun? Yeah. But then there are things that I think should be done. And I think the story about a hundred year war, where there's a line, I didn't write actually, I ever wrote it, which is we've got to peel this world away from the craggy old hands of these men, right?

1:04:50Meaning that this eternal, just, you know, endless negative energy just going on and on because the previous generation are hanging on with craggy old hands. And along comes a teenage girl, you know, from nowhere and says to all the other young people, well, you know what? Enough's enough. We need to take our life back. And the king, who's only 25 and is about to run away to Spain and is lost, says no, lifts him up and says, we can change things. There is hope. And reclaims not just France, but actually, I think for the youth of the time, their future. So to me, it's a generational story. and it's a story also about the haves and the have-nots, you know?

1:05:44And those things, I think, in two years' time when it comes out, it seems like a long time, but, you know, I'm not fast. But those things, I think, are really relevant now and that story will need to be told more than ever and we need to have it out there, I think. I can't wait. It's another, you're the perfect person for it. It's a great story. I can't, I may have to come to Australia and watch you shoot that. That would be, you're shooting, I'm assuming, in Australia. Be careful, I'll throw you in some armor. You want to be careful. I mean, is armor as uncomfortable as? No, actually, what's amazing, what is amazing, there's a bit of a picture of me.

1:06:30There's me in this, I might grab this. It sounds like a chestnut. I happen to have a framed picture of me in it. I can do that. Bring that up here. Oh, I got to see this. Trusting system. But can I tell you something I learned? Huh, yeah. Actually wearing, someone sent this to me. Born. Born to jest, forced to jowl. So I don't know if you can see the picture. Oh my God, I can see it. Great. Jesus Christ. How can you sit on a horse like that? Well, the thing about it is, I learned it in Ketteridge, which is in Northern England, where they train everyone in armor. But can I tell you something? What you learn is that if it's actually white armor made for you, it's way not heavier than a soldier today.

1:07:08And I can ride okay, right? I grew up on a farm and horses and stuff. But when I got in the armor, I thought, God, I'm going to make a total fool of myself, right? And honestly, it is so balanced, each piece, that it really, really isn't. You become very used to it very early. The only thing is it's a bit like scuba diving. It's about dealing with that limited view. Yeah. And then you've got to add to it, right, you know, things exploding and smoke. I mean, how she actually did it. In the most important moment, when it looks like, you know, the moment that changes history, that she's going to take back Gourley on, she's almost led everybody over the parapet.

1:07:54And an arrow goes six inches into her. for sure she's dead by the way but adrenaline, will, the Holy Spirit whatever it is that you want to language it as arrow comes out and she gets back on that horse with half her armor on and leads the French to free Orleans and that is not only as glasid as falls into the Loire that's not only the end of the siege of Orléans and the turning of the tide for the French, but in my mind, it's literally the end of the Dark Ages and the beginning of the Renaissance. Like, literally that, symbolic. Anyway, yeah, it's not as, it's, it was not, it's, I know it's, that's one of the things I'm dealing with in decoding is, is, you know, our image of knights in armor, that all seems so like funny or like, you know, how do they do it?

1:09:00You know, so that's why I went and lived in Graceland and all of that, or had the office of Graceland and live it because I'm from a tiny country town. I literally feel like unless I live it, I can't expect to tell it. And I certainly can't expect actors to play it if I don't really understand the truth to the best of my ability. Well, amazing. I hope our paths cross one day on a set. I'm sure they will, Rob. Listen, we know. I'm occasionally in your neck of the woods. Yes. Well, again, I was so excited to have you on. I could talk for another five hours about music and all the other stuff that you've done.

1:09:40Well, you know your music, for sure. It's beautiful. Oh, thank you. This was great. Epic, Elvis Presley in concert. It's out now. It is my favorite movie of the year by far. Well, thank you, man. Beautiful. It's so transcend, like I said, it transcends the genre. I don't even know what the genre is. It's a poem. You said it beautifully. It's a dream. It's Elvis coming to you in a dream. And it is a dream. Baz, thank you, brother. It was great, great getting to spend time with you. And I'll catch you next time when you're part of the world.

1:10:21Joan of Arc. How sick is that going to be? Baz Luhrmann's Joan of Arc. I'll buy my tickets now, two years in advance. Thanks, you guys. That was a longer one. We haven't had a long talk like that on the show, I don't think, in quite a while, but I was just fanboying and it was really fun. Thanks for being a part of it. Thanks, Baz, again for coming on the show. And we'll be back, as we always are, right here next week on Literally.

1:10:53you've been listening to literally with Rob Lowe produced by me Sean Doherty with help from associate producer Sean Calvano research by Jeff Fox engineering and mixing by Joanna Samuel our executive producers are Rob Lowe for low profile and Nick Liao Adam Sachs and Jeff Ross for team Coco booking by Catherine Cook music by Devin Bryant special thanks to Hidden City Studios Thanks for listening. We'll see you next time on Literally.

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