D Is For Doctor (ft. guests Chris Pratt and Claire Foy)

26:33Oh, because of the chair? Because of the chair. You're not chained to the chair. You're not handcuffed to the chair. True. You have shoes on. Right. That's a different thing. That's different. If you were in another room doing this interview and it was broadcast onto the wall, it would feel more like the production of Mercy. Okay. So talk me through. How did you do it? Because I'm fascinated by how you got shot this. Do you know much about shooting in a volume? Have you heard much about this volume? I'm aware of the concept. Yeah. Yeah. So we shot in a volume. And so the set itself was lit by the volume so they could shoot it from all different sides.

27:07So when I'm interacting with Rebecca Ferguson, I was really looking at a screen on the wall and It was sometimes an image of her in the other room while they're simultaneously recording her performance and other times It was just her talking to me in an earwig and I was looking at sort of like an image on the on the wall That was just a still frame of her kind of depended on where the camera was if the camera was behind me behind me They needed to see her it'd be her performance. Uh-huh and then if it was on me and uh they couldn't put her performance up there then i would just uh be talking to her through an earwig in my ear wow yeah okay wow that's fascinating so she was really technical it was super technical uh movie from the entire thing we did really long takes 40 50 60 minute long takes and so the earwig became a really uh important part because timor was super specific he had the entire movie mapped out in previs of exactly where every visual element was going to be and obviously those aren't there when I'm shooting them and so if I'm looking up at a FaceTime I'm having a conversation with this person I'm looking specifically right there if I'm then zooming over to look at some uh evidence you know a crime scene footage I'm looking right there and then I'm so it's like that was all cued in my ear it's like okay top right top left here and I'm like getting different voices in here and I was also playing music cues in my ear uh to um kind of set the tempo for my performance because if when you're doing really long takes like that and it's told from the point of view of rebecca ferguson it was never going to break into 60 frames you know like if you're shooting something really dramatic they kind of slow the camera down so if i ever picked moments in the script where i was like i would love to shoot this in 60 frames but we can't because we're not doing that i would put in a tempo in my in my ear to kind of slow myself down and so i was listening to so i had different music cues kind of telling me the the speed at which i should be moving my body and gesticulating and then i get to something really dramatic if i just wanted to kind of go slower, slower.

29:04I had different slower music. So the tempo of the performance was also dictated by the ear. It was like an earwig driven movie. What? That was awesome. It was super technical, really challenging. And I loved it. So what music cues? Did you choose them yourself? Yeah, I chose all the music. I worked with my dear friend, Aaron, actually, who I went to high school with. We did plays in high school together. He now lives in Los Angeles, a voice actor. And so I had him reading the lines and I had him also doing all the music cues, but he was in his own isolated room so he and i just rehearsed it for a really long time and i had like um these waltzes these really psychotic waltzes and then i had uh also i had this really great acting action list so it's like like the tunnel chase sequence from casino royale and like all these different like high tempo boom boom boom boom boom boom boom boom boom and like you know it's kind of getting me into that mode but then it would be like so it's like oh my god i'd love to play the music for i'm getting goosebumps thinking about it was really fun that's amazing that is wild so you're doing these 40 50 60 minute takes yeah rebecca's in the next room uh last time i spoke to her for this podcast was for a house of dynamite where they were also doing 25 30 minute you know takes yeah because they were running it you know from beginning to end of course were you doing the same were you running the whole thing from beginning to end how much of the script did you have in your head or how much of it was kind of off the cuff yeah we would do we would do like 40 or 50 pages and so we had the whole thing and so um yeah we were doing really long chunks and it was it was almost like a stage play so we're just shooting the entire thing uh as much as they were we were prepared to go the whole script if you needed to go the whole script so you just start you know it kind of depended and also we broke it into acts in terms of the look as well because like you know it's at some point i don't want to give any spoilers away but at some point in the in the film the character shifts from like victim to a bit more heroic.

30:58And so like even that was like there were makeup effects and like trying to like kind of clean myself up a little bit because I start the film and I'm like still drunk from the night before. I'm blacked out and have no idea what happened. They're telling me I murdered my wife. I'm like, wow, I did not murder my wife. And then halfway through the movie it kind of becomes a little bit more action hero-y. And so typically we would go up to about that point and then do a makeup change and then finish the rest of the movie. Was that one of the chief appeals then for you? yeah shooting in this way doing something you've never done before yeah the handful of appeals for me one was shooting on a volume and the first one was to work the script was fantastic i read the script i was like oh my god i want to do this movie um working with timor again i should i worked with him unwanted and i've been a fan of his for a long time so i love working with him it shot in los angeles close to home for me which is always an appeal because i'm a family man and I was able to go to bed in my own bed at night, which was really cool.

31:53Those were the main appeals for me. Interesting. Because the fact that you mentioned Timor there, because, yes, you did work on Wanted. There is another reunion in this film, though, Chris, which I was really... Don't tell me Jay Jackson. Jay Jackson. Come on. I knew it. I'm so pumped. I'm so pumped. That's the beauty of this movie, because it is a thrill ride, and it's high stakes, and it's dramatic. And, you know, it's a thriller. But there are some funny little moments. And I think Hurt Havley hopping up and giving us some shit was... I was my casting choice. I was like, you've got to get Jay Jackson.

32:28That was epic. I was like, yes, him. Were you tempted to go further down the line and make it a full-on Parks reunion? Yeah, get everybody. Have Amy as the judge. Ron Swanson's wife. Got to get my partner, Ron. That would have been wild. That would have been great. Were you interacting with Jay at all? Or was his stuff pre-shot? Or is it added later? I remember hanging out with him on set, but I don't think, you know, for the most part, we were attacking all of the evidence stuff, which is primarily most of the stuff we were shooting. Little bits and pieces and locations were the stuff, the evidence that I'm confronted with in the trial.

33:03And so he was a piece of that. And some of the sort of objective perspective of what people are watching on TV. Because it's one of these screen life movies. Like everything you see is something that's a screen that lives today. So it's surveillance cam footage and dash cam footage and news coverage and, you know, body cam footage and all that stuff. Yeah. Okay. So that's one reunion, Jay. And then the other one, as you mentioned, Timur. And it's been a long time since Wanda. It's been a long time since you had your teeth knocked out with a keyboard. That's true. Which is... Yeah, man. Do you know, that was shot on film.

33:40Right. And that was one of the very first phantom cam shots. so they were shooting 1500 frames a second on film do you understand how much film that is you can do it on digitally now you can do that of course like with your iPhone but like they were doing it with actual film and they would go through an entire mag of film for every take and the light that you have to have to be able to expose that much film in once 1500 frames in one second I was like standing in front of like it was probably like a 90 degrees celsius I'm like just getting cooked by this light and they're like rolling cameras and then and it would and the whole magma film would be gone like that but yeah that's that was really that was i can't believe he was shooting phantom on on actual film which is wild was that a fake rubber keyboard or how close did it come to your face that was they didn't hit me there was a it was like a real keyboard but they just didn't hit me and then and then the teeth and of course the keys were were digitally added so it was but the blood was real I had blood in my mouth and I just go that's fine so I thought you'd gone the extra mile and trained your teeth to come out of your mouth and exist to it right configuration this dude sometimes doing filming and I still haven't gotten it fixed really yeah maybe it's a good a nod to want it unbelievable so with that with teamwork what was it like reunion reuniting with him it was great all these years later it was really cool I mean obviously he and I have both come so far since the first time we worked together his English is much better this time around.

35:08How's yours? Mine is still remedial at best, but he's become a better communicator. And I got to interact more with him because I was in a supporting role on Wanted. I probably worked a few weeks, and this was a full-length feature shoot, and so we were interacting every day, and I was still so green, and when I did Wanted, I was just kind of blown away that I was actually on a film set and still learning and everything. Angelina of Jolie. I'm like, that's her right there. This is crazy. But so, yeah, we were thinking that's like almost 15 to 17 years ago or something like that. It's terrifying.

35:45It is terrifying. I don't like that. When time passes like that. Not cool. Films are just time capsules. They're horrible. Yeah, you're right. Oh, that's the truth. What would I look like if my teeth were knocked out by a keyboard? And the film gives you the answer. It does. It does give you the answer. It's amazing. Working with Timor on this, did you have many conversations about AI? and the rise of AI? Because I think there's going to be a lot of conversations when people emerge from the cinema after this. Yeah, I think so. I mean, it's important to note that this isn't like an intentional think piece about AI.

36:18It's just a truly thrilling, entertaining, 90-minute block of edge of your seat action. It's a thrill ride. But yeah, I think everyone seems to already be talking about AI. It's kind of all... If we're not talking about it, we're either using it or thinking about it. i think that's that's uh yeah and so it's just all evolving so fast yeah where do you where do you stand on it it's gonna okay it's amazing yeah yeah i just you know i it's truly incredible the more i explore trying to figure out how to use it the more i want to use it for everything like i you know obviously there it's it's a longer conversation and and i but i'm hopeful i think it's i saw uh ben affleck talk about it and he had was very articulate and thoughtful it's a craftsman not an artist it doesn't suffer but it's capable of doing incredible things really quickly and i think it's an amazing tool and i my hope is that it will free people up so that we can actually do more movies more people have an opportunity to tell their stories because the budgets of movies are going to kind of come kind of come down which is a good thing because i I think you can make movies for less money now.

37:29It's going to displace some people. There's an intellectual revolution, just like the industrial revolution. It's no longer the hammer and sickles. It's like pens and briefcases. So it's interesting. I'm hopeful. I don't think it's going to replace humanity. And humanity is at the heart of every performance. And the true heart of art is the suffering that goes into it. And so I think that's something that will always be enduring. And so I'm cautiously optimistic. I like how cautiously optimistic you are that you're not in the, Oh God, we're all going to die. Yeah. That's a good point. That's a good point.

38:13That's not changing. That's not new. We're just going to die much faster. I think you never know. Copy this year. Sometime this year. Probably all of us. All of us. Maybe I could extend that lifespan. I think so. I think I'm hoping that it's going to help us actually free us up to actually get more in touch with our humanity. One thing it can't do is care for you. And we're facing a care epidemic as this, you know, greatest generation and the baby boomers are aging. There's going to be people who are going to have to care for the elderly. They can't do that. And I think if there's, you know, there's a Parks and Rec joke once that said, what was it?

38:56Chipotle, Verizon, Exxon. We are proud to be one of America's eight companies. And so like as all of these companies are sort of merging, there's only a handful of them left. And they're all multi-trillion dollar companies. Maybe there's a world where people who were former employees will be paid a living wage to do the things that, we don't have the time to do now because we're doing the things that AI could do for us. One of those aid companies in the future will be Disney. I think that's fair to say. That's fair, yeah. It's been a while since you've been Star-Lord. We were promised at the end of Guardians 3, Star-Lord will return.

39:31Listen, we make good on our promises. When, Chris? When? When? When. I like to think, you know, now I know that I'm not a superhero in real life. Oh, okay. Of course. Yeah. But I do like to sit by and wait for the signal, you know, kind of like that. man although it's a dc yeah but like i'm just looking in the clouds he's got the bat signal you've got the bat signal i've got the pratt signal that's right chris i'm gonna coin that i'm gonna pretend i came up with that did you see that when i came up with the pratt signal just now chris that was amazing that was fantastic i'm gonna wait for the pratt signal in the clouds yeah i love working with everyone at marvel they changed my life i'm available they know my number and uh i'm open so let's talk let's talk a day chris pratt pleasure thanks chris nice to talk to Okay, that was Chris Pratt talking about Mercy.

40:16We will be reviewing it later on in the reviews section of the show. But right now, it is the news section, folks. And there's only one place to start. We may have been snubbed at the Oscars this year. But a lot of people weren't. A lot of films weren't. And the Oscar nominations have literally just been announced, well, about an hour ago now. And interesting stuff, right? Interesting stuff. A record has been set. It has. Sinners has 16, count them, 16 noteworthy. nominations uh which is pretty freaking short it's obviously helped by the fact that it uh has the new you know a nomination in the new category for example of best casting it has a song in it so it's eligible for best song which not all best picture front runners you know would have that kind of thing but it's still a phenomenal achievement for uh for ryan kugler's film and um and really really really great especially to see for a genre film frankly um because they have been historically snubbed and it is really good to see something with vampires in it doing that well in the nominations.

41:18I think this is the Academy making up for snubbing from Dusk Till Dawn. I think so. I think finally they've gone. You know, we should have given from Dusk Till Dawn 60. It had an original song as well. It did. Probably. And, you know, we should have given it as 60 nominations also. Cheech Marin, Best Supporting Actor. Absolutely. Tom Sufini as a sex machine should have been nominated in my opinion, in my humble opinion. But hey ho, but they have seen La Light and nominated Sinners 16 times. So does that make it the front runner, or is it just very, very nominated? It's the most nominated. I guess it's that and one battle after another kind of duking it out in the major categories, isn't it?

41:55It does seem like that. I think Marty Supreme did better than I expected as well, so I think that's in with a chance. I feel like, I always say this, but if you cross-reference Best Picture with Best Director and also best writing and editing, crucially, that tends to be a good guide to what the actual frontrunners are. And that kind of knocks out, for example, Hamnet, which isn't up for best editing, but does give you Marty Supreme one battle after another, Sinners. And does it give us sentimental value? Let me check here. It does give us sentimental value. If it were that mathematical... It's not, but...

42:37So it's, you know... It does. It is a consistent... No, of course, it's not a guarantee. Argo, for example, didn't have the best director nomination. But it is a strong correlation. Obviously, correlation, not causation. But it's something worth looking at. But I think there are clear frontrunners this year. Hamnet has fallen away. So once again, the Golden Globes shows it's not a terribly good predictor of what the Oscars will do. But Jessie Buckley, I think, is still the person to beat in the best actress category. I am genuinely tempted to put like£100 on F1 to win Best Picture. Do you like parting with£100?

43:14Why would you give them£100? If I had put£100 on F1 to be nominated for an Oscar, I would now have all the money in the universe. Because who the fuck could have thought that F1 would be nominated for Best Picture? Genuinely, Chris is raising his hand. But don't get me wrong, I really, really enjoyed that film. But not for one second did I think the Academy would put that in the run for Best Picture. Usually one big blockbuster gets in there. It's very much playing the Top Gun Maverick playbook. That was nominated for Best Picture and was genuinely a contender to win at one point. Yeah, but I can see that.

43:44That was a good film. I mean, F1's a good film. It's just, it's not, you know, it's not on that level. As a crowd-pleasing event statement, it's wonderful. They have been campaigning quite strongly on both sides of the pond. But it's interesting you say that. You say that. You say that. I've wondered how much effect that has, and this leads me to believe it has a lot more effect than I ever thought it did. I think it absolutely, otherwise they wouldn't bother. Yeah, but like, you know, I don't want to be super cynical and be like, yes, these are the films that the members of the Academy have seen.

44:13But also, you know, and I know that the best picture list is somewhat swollen because it has, how many times is it? Ten? Ten. You know, but like, not being funny, F1 surprised me. Frankenstein, with the best will in the world, come on. I mean, I think you're wrong though. Well, okay. Good, good, good. I think Frankenstein is a classic kind of Oscar nominee in a lot of ways. Previous winner directed it. You know. Lavish production design. Lavish, lavish production based on a classic novel even if it is genre. I think it's and I think it's beautiful. I think it's rightly nominated in all of the sort of technical categories.

44:49Technical, yes. Production design, costume and hair that kind of thing. So I'm pleased I'm pleased with how it's done. I don't think it's a front runner and I mean no disrespect by saying that but I don't think it is. but it's lovely to see it get nominations. How did you feel about Jacob Lordi's nomination for that? Good. I think it's a really, really strong performance. That surprised me as well. I do think it's a good performance but did that also surprise me? I mean, I think he's been consistently nominated in a lot of awards. We haven't had a huge number. The Oscars are going quite early with the nominations this year but he has been nominated quite a lot of other places so it wasn't a surprise exactly.

45:24Question or nominate? All right, we're going to race through the acting categories Best Director and Best Picture so Best Director Chloe Zhao for Hamnet Joachim Trier for Sentimental Value Josh Safdie for Marty Supreme Benny Safdie for The Smashing Machine his second nomination this year along with Best Supporting Actor for Happy Gilmore 2 what a shock no of course he didn't get nominated Ryan Coogler for Sinners and Paul W.S. Anderson for Land of the sorry Paul Thomas Anderson for one battle after another. Yeah, I mean, you joke about that. Were either of you expecting the Smashing Machine to turn up in any case?

46:01No, no. I thought maybe a best actor, but I thought it was unlikely. If it had been a better success at the box office, and I think people might have remembered it more fondly, but it got very, very quickly wrapped up in the flop blanket. And so I think people dismissed it, even though I think The Rock is very, very good in that movie. And Emily Blunt might be a little bit annoyed to be not in the consideration either. but it just was dismissed very very quickly yeah I feel like this is either Paul Thomas Anderson or Ryan Coogler if I'm honest yeah yes I agree which is why Chloe Zhao is going to win it Jimbo Hood do you think is going to win that one?

46:40I mean I think Helen's absolutely right it would be one of those two I mean it could go either way it's an absolute I think Chloe Zhao is very unlikely as much as I love that film Best Supporting Actor I don't know why I said best that way Best Best Supporting Actor Benicio Del Toro One Battle After Another Jacob Elordi for Frankenstein Delroy Lindo Lewisham's Finest for Sinners Sean Penn for One Battle After Another the rare but not rare this year category in which two actors from the same movie get nominated and Stellan Skarsgård for Thor The Dark World sorry sentimental value they spelled Andor wrong they did but I do think that Stellan Skarsgård is probably the man to beat there.

47:27Do you think? Yeah, I do. Do you think Sean Penn and Benicio del Toro split the one battle vote? I do think that, yes. Best Supporting Actress Elle Fanning for Predator Badlands. Inga Ibsdottir-Lilias as sentimental value. She plays the title star. Flawless. Flawless delivery. No one noticed the thing. I got the difficult Norwegian name basically right, I think. And then I fucked up the name of the film. Amazing. That's awesome. Amy Madigan from Weapons. Yes. Wumi Misaku from Sinners. Yes. Very pleased about that. Wumi Misaku is great. She is great. Teyana Taylor for One Battle After Another. Fantastic.

48:14All right, choose a winner. Wumi. I think it could be Amy Madigan. Amy Madigan? this is a real genre year this could be this could be the year that horror really dominates the Oscars and they didn't even nominate the best one Final Destination Bloodlines but hey ho wow yeah that's a that's a cracking line up best actress shall we yeah let's otherwise known as the Jessie Buckley yeah 100 % Oscar for being brilliant let's run down the nominees who aren't Jessie Buckley Emma Stone for Begonia I mean she is fantastic in that Yeah. But isn't that just like, hey, you're Emma Stone and we nominate you when you're in things.

48:55They didn't nominate her for the most recent Yorgos film before this. The one with three stories in it. Okay. Well, that was, yeah. It wasn't very good. But I'm just saying, like, it can happen. Like, it's theoretically possible. You know, they've proven that. So, but this one is deserved. They did nominate her for The Maze and Spider-Man 2. That's correct. On many levels. That's correct. Or Superbad. Correct. Also, yeah. Or Easy A. Oh, that's less correct. Which should have swept the Oscars. She should have been in the conversation with that. So Emma Stone, Pagonia. I think that's a bit weird.

49:24But okay, fair enough. Renate Rensve for Sentimental Value. Fantastic performance. 100 % deserved. Yep. Kate Hudson for Song Song Blue. She's very good in that. Isn't it just nice to see a wee film like that get a wee nod? Aw. Well, they're her. That's kind of my sentiment, actually. That is kind of the just happy to be nominated nomination. Go on, have a nomination. Cool. Isn't that a film that would have set out with hopes and dreams of having Hugh Jackson also nominated in Best Actor? Yeah, okay. All right, Kate Hudson. I'm just happy to be here. In fact, they should all just be happy to be there because even Rose Byrne in If I Had Legs, I'd Kick You is probably not going to win.

50:06It's going to be Jessie Buckley for Hamlet. It probably is. And I love Rose Byrne in that film. I think it's an incredible performance. She's the one who will win if Jessie Buckley doesn't, I think. although there's a lot of love out there for sentimental value but I think she's off the charts brilliant. Yeah. Jessie Butley destroyed me in that role and for that alone she deserves all the Oscars. She absolutely does. If Rose Byrne wins am I right in thinking she'd be the second cast member from Attack of the Clones to win an Oscar? What? After Natalie Portman? After Natalie Portman. Who played Dexter Chetster?

50:43We've got to get them an award. Ki-Adi Mundi! Ki-Adi Mundi deserves all the Oscars you can possibly oh and Plo Kuhn he gave so much yeah and got so little best actor Wagner Moura for The Secret Agent shh don't tell anyone Michael B. Jordan dual role that's cheating for Sinners he should get the Oscar because he did twice the acting of everyone else absolutely just on a mathematical basis yes he's got Ethan Hawke for Blue Moon he delivered to be fair twice the dialogue of anyone else in that role. And he was half the height of everyone else as well. so yeah. Per inch, he has way more dialogue than anyone else had to cope with.

51:25Pound for pound. Leonardo DiCaprio for one battle after another. That's the just happy to be here in this category. Did you just, eh? I did. Leonardo DiCaprio. He is literally, I think, fifth out of these guys to be in with a chance. Really? I think if you were ranking the chances of these guys, I think he's at number five. Show you're working. I said what I said. Why do you think? Timmy and Wagner both won Golden Globes and have been winning things. Michael B. Jordan did two roles in the most nominated film of the year. Two roles, James. And Ethan Hawke has also picked up a National Award or National Critics Prize.

52:00So he's already doing better than Leo. So if people are going down to... And Leo has one, so there's no, like, we must give Leo an Oscar. That's true. That's true. So, yeah. Bookie's favourite, you're saying? They're idiots, though. Timothy Chalamet yet we have his full name Timmy Tumitz for Marty Supreme he's the front runner right? He does seem to be the front runner which on a traditional Oscar maths basis is weird because he did the role while he was under 30 he's just turned 30 and only one man ever has won best actor in his 20s At some point they've got to let go of this bullshit and just say we don't care what age you are you did well here's a big thing No no no it's not it shouldn't be about that of course and it's never been about that for the women because the women can get nominated in their teens because they don't get roles after they turn 40, historically.

52:47So that's kind of skewed the results a bit. I'm looking at the list of nominations this year and you're absolutely right. This is actually a younger year than we've had in a little while. You know, there's no... None of these people are dead. Well, none of these people are over 50, I think, in the women's category. So that's unusual at this point. With the men, I mean, yes, I'm not saying that they literally have a rule that men can't win Oscars in their 20s. I'm just saying historically they have not. There's a bias. There has been a bias. Yes, against the young bucks. The Oscar voters, they're younger, they're hipper.

53:18I think it helps that Chalamet, like Leo, started in his teens, so he's been around for a while. I think it also helps that he's been in big movies as well as having a very strong indie career. And I think it also may help that it was ridiculous that they made Leo wait until he was 40 and then gave it to him for the wrong film. And I think they may want to avoid making that mistake again. So I think everything is in his favor. But honestly, Michael B. Jordan, we shouldn't be sleeping on that. That's a great, great, great, great pair of roles. Yeah. And it would make up for the Without Remorse snub.

53:48Yes, yes, it would. That's the snub you're talking about? That is, that's good. All right. Fagnamora, I think, is a strong contender, as is Ethan Hawke. And don't rule out Michael B. Jordan or Leonardo DiCaprio. That's what I say in that rule. Wow. Okay. Best Picture. There are 10 films nominated. I'm going to race through them. Begonia. What the fuck? Frankenstein. F1. This is where James says, what the fuck? Hamnet, Marty's Supreme, One Battle After Another, The Secret Agent, Sentimental Value, Sinners and Train Dreams. Are these the only 10 films the Academy watched this year? It feels like it.

54:23What's going on? Yeah, well, I've already made my feelings about F1 and Frankenstein clear. I like, like I say, I really like F1 and I will watch it, I'm sure, many, many times in the future. And it made me care about a sport. Many, many times? Which is, no, small feat. But also, it's not best picture material. and Frankenstein you know it's nice that we're able to do things for three star films that's all I'm saying oh oh harsh very harsh that's crazy I'm it's more than the sum of its parts I my my big ridiculous nomination there is F1 I'm just like why just no everybody else is like I'm fine with you being there you may not be my ten choices of the year but fine where is Ballad of Wallace Island as we said that's a you know that's a literal That's a fair complaint.

55:10But there's nothing outrageous. I think it's got to be probably one battle versus sinners just on an Oscar prediction scale. I would love to see Hamnet being more in the conversation. And I have to say, Marty Supreme overall got way more nominations than I thought it would. So I don't think we can discount that as a contender. Yeah, but I feel like it's almost entirely a two horse race. They should fight on stage. There we go. So this is all going to be settled when, Hells Bells? In March. It's January. Why are they announcing it now? 15th of March in Los Angeles. Conan O 'Brien. The Ides of March.

55:48The biased Conan O 'Brien who is in one of the nominees this year. He should not be allowed to host that. He should absolutely be allowed to host. It's great. He's in the tank. He's in the pocket of big If I Had Legs I Could Kick You or whatever it's called. I'd Kick You, yeah. I'd Kick You. well like somebody has to be in the pocket of big if I had legs I'd kick you it's a powerful lobby it's a it's a one man lobby and it's basically Conan Bryant look I love it I love it I think she's incredible I you know I think it's an outsider I'm rooting for Rose Byrne with every Oscar win that they pick up Attack of the Clones becomes a little bit more legitimate and my five star review looks a little bit better in hindsight sure so So there we go.

56:35Anyway, happy Oscaring, everybody. And we may be talking about this near the time. All right. There we go. Okay, that's the Oscars well and truly dealt with. Except while we were talking about the Oscar nominations, the trailer for next year's Oscars frontrunner dropped. I'm talking, of course, about Travis Knight's Masters of the Universe. what did you make of the trailer folks? It was extraordinary. Fabulous secret powers were revealed to me the day I held it off my iPhone and saw him shout, by the power of Greyskull, I had the bow. And this is true. So I genuinely didn't think I had any affection for He-Man as a franchise.

57:18Like, at all. When I saw... Right. When I saw the trailer for the trailer, like the teaser for the trailer, and it had the original He-Man music in it, I got shivers. Like, genuinely. I was like, oh my god, this really is like part of my core memory structure. shot i cannot get this out of my brain and it's somehow i don't know it really made me excited for it and the trailer for this is not at all what i thought it would be and now i don't know what i thought it would be but it it does have that very kind of 80s confection structure to it you know like boy in world finds out he's the prince of eternia you know and has this fabulous destiny ahead of him i i i don't know there's something about this to maybe sort of squee a little bit.

58:00I don't know what that says about me, but it's quite, and also no Orko, and he's a twat, so I was very pleased about that. No Orko yet. Yeah, Orko's probably in the film, but there's no Orko in the trailer, and I'm not an Orko fan. I don't remember Orko. Which one's Orko? The little floating wizardy guy. Oh, we've seen a picture, though, of him, right? I think he's around. I'm not, yeah. I think he was on the door of the toy shop as he goes into the toy shop, actually. Okay, maybe he stays there. Shall we explain for the people who may be, I don't know, born in the 21st century, what the Masters of the Universe is.

58:30Yes, it was a toy range that came out from Mattel in, I want to say, 1982 and I think was heavily inspired by the penchant for professional wrestling at the time. It's hugely muscular characters and the idea is that the Prince of Eternia, who is Prince Adam, is his alter ego and no one, no one, it's like Superman, no one knows he's secretly He-Man despite looking exactly identical having exactly the same physique, build, musculature and lest we forget, face page boy haircuts yes and I'm really I'm really that's the one thing about this film which has disappointed me they have not brought back the page boy haircut bring back the page boy I say I'm not sure make it a thing no I don't no please don't do it no cowards there's no need this was a huge cartoon which came from the toys there has been a previous movie Masters Universe with Dolph Lundgren which was very bad and Courtney Cox and Frank Langella as a Skeletor and this is Travis Knight and you know I'll be honest when I first heard they were remaking this I was like oh really really it's going to be naff it's going to be cringy cringer cringery and I do not want and then I heard Travis Knight was making it and then I saw the trailer and was like Travis Knight has seen Thor Ragnarok and that works for me but he I love that Travis Knight is extremely passionate about the stuff he loved as a kid like see Bumblebee which remains the best Transformers movie and he brought that no I'm sorry it is there is no look I know you're going to stand for the last night but I'm going to say Bumblebee Age of Extinction, actually.

59:59But genuinely, there's a sense of childlike, almost ambly wonder in that film. And if he can bring that sense of actual joy to it, then I think actually there's scope here. Because the 80s Master Universe film had a slightly cynical cash-in feel about it. Oh, yeah. And this doesn't have that, because with the best will in the world... There's nothing to cash in. Right. Who is sitting around waiting for a He-Man film? Absolutely no one. Except it turns out James. Apart from apparently me and I didn't even know. James has been activated like the Winter Soldier. I have. That trailer was exactly the right configuration of words and exactly the right order to waking James up.

1:00:36He's been a sleeper agent for quite some time. And suddenly I'm engaged with cinema again. Thank you, He-Man. Wow, cinema. Yeah, I'm a little bit more iffy. I really like Travis. Yeah, I really like Evil Lynn. I really like Travis Knight. I do remember loving Tila. I'm not a huge Nicholas Galitzin fan but I will give him credit in this trailer please welcome to the podcast Nicholas Galitzin he's been waiting outside oh god but I like that in this trailer when he's being Adam in I guess our world or question mark he's he sounds quite like he's really trying something like quite nerdy and so I was kind of into that actually I thought that was fun so why do you not like him he's got such a wonderful face and he's been in films he has been in films and look this is the thing I like him generally when I see him in a film and then I forget that I like him in between because I I don't think his face is that good it's a good face by the standards of like Hollywood handsomeness I don't I don't think he's one of the most handsome I can't believe you're face shaming Nicholas Galifian no I'm not like obviously like look I am the one who is wrong here let me be clear his face card is obviously paying the bills are you face blind in a way that my face card cannot I think if he'd had the pageboy haircut, you'd have felt differently.

1:01:53God, I hope not. I think you might have done. His face is his passport. Verify him. Look, I can't do that. But look, obviously the younger generations are all in on the Nicholas Glitson face cards, so no judgment. I'm just saying. All right. It looks like fun. Yeah, it does look like fun. It looks big and silly and bright and fun. I am going to start the petition now to Travis Knight. Release the pageboy cut. Genuinely. We must make this happen. It's not too late. Don't be a coward. Wow. Speaking of 80s nostalgia revivals, can anyone guess what major TV show is being turned into a film starring Jamie Lee Curtis?

1:02:30Oh, yeah. And I will communicate this show to you via the medium of theme tune.

1:02:52stop me anytime it's murder she wrote I know yes murder she wrote hashtag not my Lansbury who's your Lansbury well Angela Lansbury I know but that's the same Lansbury but who's if Jessica Fletcher is not your Lansbury then who's your Lansbury Bednob's Bednob's to be fair Manchurian candidate no I have missed but she is that is definitely my Lansbury yes maybe you watched her workout video and that's your Lansbury that's it yes yes That's my Lansbury. They would actually exist. Jazzercise with Angela Lansbury. Angela Lansbury. Yep. From Murder, She Wrote days, not from when she was like 20-odd.

1:03:27Oh, where she's like moving, just moving. I mean, she's moving, yeah. Yeah. She likes to move it, move it. She likes to move it, move it. And now Jamie Lee Curtis, who also, you know, likes to move it, move it, as we've seen in the John Trafford. Good Lord. I don't know. I'm scrambling here. Helen Helfley by talking about this movie. So, yes. So there is a Murder, She Wrote movie coming with Jamie Lee Curtis starring in the role of Jessica Fletcher, who is a mystery writer who goes to visit friends and inevitably there's a murder and she has to solve it. And I don't understand how nobody has figured out that she is the common denominator in all of these killings.

1:04:03She's the killer. She's the fucking killer. And she just hypnotizes somebody else into believing they did it for something or reasons. Anyway, Pitch Perfect's Jason Moore is going to be directing the film. So we now have a director in place. we now have a star in place. It feels like Murder, She Wrote is on the way. The script has been written by the dumb money writers, Lauren Shukerbloom and Rebecca Angelo. So that's also in place. So it's just a matter of assembling all the suspects and figuring out which one is the most famous and having them play the murderer. What if she assembles the entire cast of Knives Out?

1:04:41Honestly, 100 % here for it. Ideally including Benoit Blanc. Yeah, because then you'd struggle, right? Like, who's the most famous in that cast? Is it Daniel Craig, who was Bond? Is it Chris Evans, who was Captain America? Or is it Don Johnson? Who is Captain America. Who is, well, no, who is Steve Rogers? Or is it Don Johnson, who was Crocodile Tubbs? Or Christopher Plummer, who was, of course, he's not with us anymore, but I'm just saying he's been famous for longer. So if we're looking at longevity, it's got to add up. It's not about how long you've been famous, it's about how famous you've been.

1:05:12Helen, I think you meant to say Christopher Plummer, who was, of course, General Chang in Star Trek VI, The Undiscovered Country. I mean, also that. But, you know. Sound of Music was quite big. It made more money. You've not heard Sound of Music, Helen, until you've heard it in the original. Speaking of movies that are going to make a lot of money, that Murder, She Wrote movie is going to make a billion. I'm going to call it right now. And we're one step closer to a Columbo movie. And I don't want that. I don't want that. I don't want anyone else to play Columbo. Anyway. Pitch for you. Recast it.

1:05:39Miranda Otto. Mourned or She Wrote. No. No? Thanks, though. Okay, let's move on. Why do you say these things? When you go, I will kill you for them. One last story to talk about before we move on. And this news broke last week, but too late for us to break it into last week's podcast. It is the news that Kathy Kennedy is finally stepping down at Lucasfilm and handing over the reins of Star Wars to other folks, who are, of course, Dave Filoni, no one's surprised by that, and Linwen Brennan. this is very interesting news has a lot of repercussions for the Star Wars universe going forward Beth what do you think about that?

1:06:19Yeah bring it on Yeah I thought so Hang on a second Wait a second Wait a minute What the fuck? It's Beth Webb everybody Hi Where'd you come from? Hi there I just buried up through the ground She's been here Chris she's been here the entire time You've just ignored her for the past hour That is true It was very rude of me Sorry Beth please Except my apologies I can only look left or right. I can't look straight ahead. That's my problem on these podcasts. But what do you think of this? You are Empire's news editor. You must have a take on this. I am. I am the news editor. I'm not the biggest Star Wars scholar.

1:06:53I, do you know what? We're at an exciting time. I think we've got some exciting projects. She gave some good updates in her exit interview. I'm excited to see what is coming up on the upcoming slate. she says generically Starfighter Starfighter absolutely the band of Lauren and Grogu so she did give an interview she gave an interview to Deadline and not Empire what the fuck Kathy and she dropped some crumbs I don't think there was anything massively revelatory in it but she did say something quite interesting she said that the Steve Soderbergh film she called him Steve so they must be mates is not you know from what I read not 100 % dead She said it was on the back burner along with James Mangold.

1:07:39Oh, it's just mostly dead, like in The Princess Bride, which is somewhat alive. It's in need of CPR, but it's not completely carked it yet. Back burner, I think she said. Back burner. A couple of those. The James Mangold one, simmering. Takeaway Titi, simmering. She said he sent in a script and it's very good and everyone likes it. Yeah. So that's good. But Dave Filoni knows Star Wars like the back of his hat. And of course, Lillman Brennan James we will all know her work well she's been Cathy's kind of right hand hasn't she for quite a while so what's wrong with Cathy's right hand oh boy she's worked with Kathleen Kennedy at Lucasfilm for some time she has institutional knowledge and understanding she's got other people to pick things up for them but it's interesting that you've kind of split the role into if you will logistical and creative with Dave Filoni being the logistical lead now Dave Filoni has his fans and his following I must admit it doesn't fill me with confidence hugely.

1:08:36But it's mainly because I don't hugely engage with Filoni's strand of Star Wars, or indeed the stuff that he likes in Star Wars. So I think you'll worry it slightly. I think it's an odd one, because Kathy Kennedy has taken so much shit since she took over at Lucasfilm, because I think the, and let's be honest, they are in no way unreasonable and rabid. But the fan base of Star Wars, it feels like held her personally responsible for every misstep with the franchise along the way, which I think, A, is deeply unfair. And I think she's done some really good stuff. and I've interviewed her a number of times and she's passionate about Star Wars.

1:09:06She really knows this stuff. She loves it and she is protective of it. And while I don't think her stewardship has been 100 % perfect, and we've talked about this before, I think it maybe would have behooved them to have a more road-mapped MCU-esque plan for the sequel movies rather than just kind of... Vibes. Vibes and Mad Libs. I'm not sure was really the way to go. Manatees. And, you know, but I get that and she had a difficult time with Rogue One as well, I'm sure, you know, having to retool that on the fly. Having rewatched it recently, so I can relate. But, you know, I think she made some difficult decisions, and it was a difficult time for Lucasfilm, because they were pivoting to Disney +, a lot was happening there.

1:09:44You know, Disney, I'm sure, had big ideas of what they wanted it to be. But I think she was as safe a pair of hands as we could have hoped for in the post-Lucas era. Dave Filoni is primarily, I would say, associated with the Animator series, which I know a lot of people love, but the blur blur is not something that I hugely engage with. And, you know, of his TV stuff, Mandalorian, yes, we do know and love, but the Book of Boba Fett, not the strongest entry in the saga. Ahsoka, arguably, also right down the bottom. Whoa, whoa, whoa, whoa. You come for Ahsoka, you come for me. A super Ahsoka. No, I'm not having him.

1:10:19So, yeah, I don't know. I feel a little bit concerned. Hells Bells, very quick. I love Kathleen Kennedy as a person. I think if you look at her career overall, it feels like it's not her fault that Lucasfilm wasn't 100 % successful. She has a pretty great hit rate. Yes, she does. Even including that. And yeah, so I'm sorry to see her go, but she's earned a retirement if that's what she's going for. She's not done. She's going to make loads and loads of movies. Fantastic. I'm very pleased about that. And yeah, Dave Filoni loves Star Wars, has done many good things. He'd get all the questions right on his special subject.

1:10:54Do you know what? That is for sure. He would destroy me in that. He is basically a walking holocron. I will totally give him that. but I think my thing is he brings a fanboy mentality to this which on the one hand I applaud the enthusiasm and I think that stuff's great but I'm not 100 % sure that's what Star Wars needs at this point. I agree. All right. We shall see what happens over the next few months and years but if anyone's listened to this who's in a position of power over there make the fucking Steven Soderbergh film. Yeah, I want to see Soderbergh. I want to see some cool new auteurs coming.

1:11:29which is why it's a shame the Patty Jenkins one seems at the bottom of the pile but I want to see some yeah some cool new talent come in please oh come on new being Stephen Soderbergh yes by no means fresh or young love him young up and coming Stephen Soderbergh alright time now for our second and final guest on this week's show Claire Foy wonderful British actress shot to fame Same, of course, as the queen in The Naked Gun. And then also The Crown. She's been in loads of things, including Steven Soderbergh's Unsane, Shotland and iPhone, The Girl in the Spider's Web. Loads of stuff. And she's terrific this week in a film called H is for Hawk, in which she plays Helen MacDonald, who is a real person, whose father, Alistair MacDonald, who was a renowned photographer, passed away very, very suddenly a number of years ago.

1:12:29And Helen began to spiral into grief. And in that spiral, decided to adopt a goshawk, which is a very, very feral bird. And the story really tells the tale of how she got to grips with a goshawk and in doing so, got to grips with her grief and got to grips with herself as well. Claire Foy is terrific in this. I really like the film as well. and Claire Foy came into this building, into that studio opposite us last week. I went along and had a lovely chat with her and she was on great form. Enjoy. Claire Foy, star of H is for Hawk. Welcome to the Emperor podcast. How are you? I am doing well. How are you?

1:13:14I am very, very good. I am not too bad at all. Thank you so much for joining us in our studio. Very, very excited to have you here and I'm sorry I'm going to hit you with a Hawk question. straight out of gate I was going to say right off the bat but I should say right off the hawk I guess but it's not about working with the hawk necessarily it's about saying goodbye to the hawks because as an actor you I imagine on a lot of projects go through that thing where you you form a relationship with your fellow actors and then the project wraps and you have to you know parting is such sweet sorrow you have to say goodbye to everybody and you know maybe you promise to take their numbers and call them again maybe you never do I don't know you can't do that with this hawk or hawks because there were a number of hawks on this what was it like saying goodbye to them and when was the last time you saw them I last saw Jess who was my final bird that I did a scene with she did the last flying scene and Jess had never flown to my glove before I'd always only ever flown with Mabel Wan and we were suddenly like oh maybe we can change the scene a bit and she can fly to you at the end and I was like but we've never done it it could be a disaster and she did but she landed on my arm not my glove and that's called footing so her claws were very much on my arm oh my god but she didn't draw blood god bless her and I felt like that was an appropriate goodbye I felt like that was so your goodbye was more like fuck off she was like bye we've tolerated you and goodbye but no I mean it was interesting because I was ready to say goodbye to Helen's story.

1:14:55I'd been carrying it around for quite a while. And so I was quite relieved to be like, okay, it's done. And the Hawks represented so much of that for me. But I got so close to them and I was determined to get back there within a year. And I've missed, oh no, I've missed my window because it would have been a year at Christmas. So I need to crack on and get back to Bristol and see those birds. Oh, wow. Because I'm determined to go back and see them. Mainly just for me to sort of go, no. But I don't think they remember me at all. What was their wrap gift? Did you get them something at the end? I got them a really nice baby chick.

1:15:34And now they're the best of friends. And you don't want to know how that story ends, folks. But is that something that you're good at? You know, as you get to the end of the film or a TV show and you find that you've been on it for a long, long time. Can you say goodbye? Can you shrug it off? in a way i think i used to be really bad at it i in the beginning i was a bit confused by it i was a bit like oh it's over remember one of the first things i did is something called little dorrit and i remember being when everyone finished before me i was like crying i was like oh my god they're finished i'd never shot anything before i didn't really understand it and now i i i'm you know pretty um long in the tooth and i think that now i sort of i i believe everything has its season and I believe everything has its time frame.

1:16:21But that isn't to say that I don't collect people that we have friendships ongoing afterwards. But things do last just for that period of time. Have you become jaded and cynical over the years? I've gone through phases of being very cynical and very jaded. And yet somehow I always emerge. Somehow. I think when I don't, then I think that would be a bad time. that's probably the time to hang up the gloves then if i'm just doing that because i think that it's such an incredible job and it like is such an out of the ordinary privilege to do it that i think if i was walking around being moany and moody the whole time it really wouldn't it doesn't deserve that because it's a constant reset right it's reinfiguration every single time you come to a project and it's something you haven't done before yeah we hope so yeah yeah i mean that's the aim um and i think it's new people it's a new experience you never know the thing that i have thought that i hated about it which the which was the unpredictability and the spontaneity of it is actually the thing that i love the most i love the fact that i don't know i could get a job tomorrow and i don't know um and i don't know what i'm going to do for the rest of the year i don't know what's going to happen i don't know who i'm going to meet and i do believe you know i'm one of those actors who does unfortunately believe in sort of not the fate of it but i do believe that the right job comes at the right time and and the wrong job you know you were never meant to do that job i've never had struggled with the letting go of things i've always found that quite easy to be like it wasn't right for me i'm not supposed to be doing it that person is and good for them yeah um but yeah i i think if i ever got to the point where i was really struggling to find the reason why to wake up in the morning then i probably shouldn't be doing it anymore because it doesn't really get better than this absolutely all jobs are jobs ultimately this is very very true but this one I mean this is a this is a hell of a job a hell of a film at what point did it come your way you say things happen for a reason the right job comes your way eventually so H for Hawk when did you first hear about it?

1:18:27So I made a film with D.D. Gardner the producer called Women Talking and we were in Telluride doing the festival there and she we went for a little walk and a coffee and she said I've got a book and I want you to read it and the idea that D.D. Gardner wanted to work with me again was absolutely astonishing to me I just think she's got the most impeccable taste and it's just one of the best producers they never miss oh my god but that's Didi she just has such integrity about the stuff that she makes and she really does have a passion for film and for making films and I think in the industry sometimes that can be quite rare and so I was just honoured that she even wanted me to read it and then on the reading of it realised that it was a book that meant a lot to someone very close to me and therefore in realising that realised it It meant a lot to other people.

1:19:15It was sometimes the job is to choose you and you don't have a choice. You're just doing them. And that was definitely this one. There was no thinking about, should I or shouldn't I? Is it a good career move to do? It was just like, you're doing it. So get on with it. It's what it feels like the universe telling you sometimes. So you read the book first and the script didn't exist at this point, I'm guessing? The script did exist. Okay. But I think the book was the right way in to kind of the first read of it. Was there a moment reading the book or reading the script for the first time? is there a scene in the film that you were really looking forward to doing?

1:19:49And is that, in a way, how things work for you? When you're reading something, you get swept along, you go, oh, I can see myself doing that one day. Is that how you think about things? No, I don't think about things like that. And weirdly, in a very perverse way, I could say the thing I was most looking forward to doing was the eulogy. But that is not because, it's not because I'm like, I can see myself doing it. it's the opposite of that in a way i don't want to imagine myself doing i don't want to even imagine the scene it has to be done like it's done for the first time and i think i've got enough experience now to know that when it's a scene when it's a story that's absorbing and that you're totally in and you're playing this character and by that point you have some authority over the character that you've created and that you've um made with the director that scenes like that are just even though they're painful there's something so incredibly satisfying about doing them because you really get to feel and you really get to be in it you don't think about yourself you don't think about um you know what you're having for dinner you don't think about what it is to be that person you're just the character you're just in that situation and it's all hyper real and so you're sort of lost and it's like you know flow state or whatever they call it like it does genuinely feel like that and so they're the things that i look forward to the most even though i'm they're also the things i'm most scared of and i'm most afraid to get right and i'm most afraid to when it's an emotional scene will the emotion cut like what's going to happen on the day like is it going to be emotional if it's not that's that's right but how will i interpret that on the day you know it's just that sort of unpredictability of what the hell is going to happen absolutely and because it's such an emotional scene the eulogy i i was so so struck by that having delivered my parents own eulogies myself I was really taken by it but it it just strikes me as an actor I'm always fascinated by the degree of control that you have over your performances and the degree of spontaneity that comes into your performances as well in terms of something like that moments when Helen cries how much are you in control of that as an actor?

1:22:03I think that's the editor and Philippa because there were probably moments where I was howling that aren't in the film because it's not right. And I would also feel that it wouldn't be right probably in the moment. So I might have said something to Philippa or I think the difficulty with filming this journey of grief is that you cannot display it in just one note. It can't just be one note through the whole thing. You've got to have the genuine feelings of disconnect, of numbness, of depression, of isolation. And that can't all be encapsulated in, you know, a single tear rolling down the face or like having a bit of a weep.

1:22:45It's such a complex thing. And that was part of the fear of the film was how do you, how do I communicate that that is what's happening? And it's not that I'm just staring into space or that I'm, you know, to try. And I think that then that's where the audience comes in. And you trust that the audience is picking up, hopefully, on what you're feeling inside. And that's the magic of making a film or a TV show, is that something happens between the camera and the actor that means it's transmitted and the audience get it. I have no idea otherwise how it works. I really don't understand how it works.

1:23:19Because it can't be, it's not manufactured. Or certainly I don't feel like that's what I'm doing. I'm not manufacturing or turning a dial, you know. I can't do that. I wouldn't even know how to do that. Had you shot the eulogy scene after your scenes with Brendan Gleeson? Yes. Okay. So that was, there was no need, you know, any picture. I think it's like a, it's a, it's a emotional memory thing of, of going to funerals and seeing the photo of the person with the name underneath and the thing. And, you know, we all identify with that so much. I think it's just, you're immediately there of like, oh, right, it's a funeral.

1:23:59and I was very attached to my version of my father which was Brendan Gleeson I was so attached to him as Alistair as Helen's dad and I spent a lot of the film not thinking about him I think the whole point of the film is that Helen won't really allow her father in if that makes sense I think a lot of the memories that I have a sort of unbidden they're sort of in those moments where in your car and suddenly it comes back to you and you're like nope or you have a dream or you smell something or you see something and suddenly you're having the memory and you're like oh my god please you know I don't want I can't be losing it right now and I think she spends a lot of the time avoiding thinking about her father and then I think the eulogy for me was the moment of acceptance or the first moment of acceptance I suppose of the fact that this has happened he's no longer here and I'm going to talk about him.

1:24:58And that's incredibly brave, I think. Yeah, it's really fascinating to me. And I was also intrigued to see whether you did have those memories of Brendan as Alistair in that moment in the eulogy. Oh, yeah. Because I loved your scenes together. He is so incredibly warm and lovable and relatable in such a short space of time. There's a scene I was so taken by just that he's driving down the road with you and you're in the car and then we cut immediately to see how Helen drives and Helen's very much 10 and 2 on the wheel and we see previously just before him and he's driving along with his daughter in the car and he's probably as happy as he's ever been just having a laugh with her and he's driving so relaxed he's got basically his fingers on the wheel is that something that you talk about as actors your approach to things like body language and how you're going to carry yourselves in moments like that?

1:25:54No, that's the magic of it though. Like I love stuff like that. And I love the fact that there's moments in things sometimes where two actors independently have a similar thought and it's not communicated, but you find yourself there or that you watch the scene back and you go, oh my gosh. And that's just the beauty of it. I think it's so, you know, I always felt like when driving that car, I was driving my dad's car. Even though my dad, you know, he was dead. But I was very much driving his car. I was in his space. His voice is in your head going, do not drag this car. And it's too big. And it's like doesn't, you know, it's hard to change gears and all those things.

1:26:34And so it wasn't her space. And I suppose it was so his space, that car. He was so comfortable in that car. and yeah me and Brendan just got to drive around the Welsh countryside alone because there was like with a follow on vehicle with the camera loaded on the front of course yeah and just keep driving keep talking keep making stuff up that's what we get doing oh my god that's amazing I love that Claire if we could need to go in a couple of seconds but can we have another hawk question should we throw another hawk question at you it's kind of talking about going back to what we were talking about in terms of you know your reaction to the screenplay for the first time that you don't necessarily think, okay, this is a scene I want to do or a scene I'm looking forward to do.

1:27:18But when you read the screenplay for the first time, did you really think, you're reading all these scenes where Helen is with Mabel, bonding with Mabel in the living room, feeding Mabel raw meat, all this sort of stuff. Was there a little part of you disconnected in a way going, oh, you didn't actually think, oh, this is going to be me in six months' time. I'm going to be in a room with a hawk doing all of these things. Yeah, I think there's a massive amount of denial that you're swimming in because you can't i didn't know how to do it um and i think it's such a huge mountain to climb to be able to get to the point where i would be able to do that i could have turned up on the first day of hawk training and they could have just been like no not doing it okay we can't make the film um because they just didn't like me i couldn't do it i was freaking out or it just for whatever reason it just wasn't going to happen um and i think it's so bizarre how it happens it's a slow slow creep with a job that you with any job really that you're like I'm never going to be up to the point where I can do that I can never be able to get to the point where I'll be able to do that that's never going to happen and then you're there on the day and you're doing it and there's a couple of times sometimes when you're making things you know there was a couple of times on this film where I was stood yeah in Wales with Mabel on my arm just me and her going for a walk because we walk away sometimes I just walk them away from the set and we just go for a little walk and I just keep a whole tight of them and where I'd be like oh my god I'm doing it I'm actually doing it and it's just so surprising what you're able to achieve and this film you know of all the things I've done is just like you know I mean god what could I do after this I don't really know what it would take but yeah I mean I'm really proud of myself rightly so I mean there's There's those early scenes where Helen is trying to bond with Mabel in the living room.

1:29:09And there's an extended sequence where Mabel is just flapping her wings. Yeah. And literally moves your hair in front of your face. And she's inches from your face. This thing with talons and a beak and can rend your flesh asunder and all that sort of stuff. She doesn't want to. She doesn't want to, of course. But she could. The option is there for her if she were to choose to do so. and you of course have to you know Helen's never been in a room with a hawk before but you had so that must have been incredibly difficult because you're experienced enough to know that I was in control yeah but you have to communicate to the viewer that you're not in control not in control yeah that's I mean that's acting is that a tough day at the races?

1:29:50I don't know because it feels like it's acting we're always in a permanent as an actor you know you always know what is happening at the end of the film but it's interesting in terms of micro expressions and body language like you have to communicate something one thing to the hawk and the control another thing to the audience at the same time. I suppose I never really thought about it that I tried I didn't think about it too much as in I didn't think about I knew what my job was I knew my job was calm your heart rate down B you've got to make sure that you don't frighten this animal and you've also got to make sure that you've got to do the emotional arc of this character and you've also got to make sure you hold on to them and you've also got to communicate that this is not a very comfortable situation and that you're afraid.

1:30:31So I was aware they were all the things I had to do. But that was where being with Mabel was a dream because, you know, I just had to get on with, what was I going to do? Make the hawk wait? I just need a couple of minutes. Can we just hold the roll while I just really get into the right state of mind? You know, I just had to get on with it and do it. And she was the top priority. And I think that me being in tune with her was always my number one. and so I was never afraid for her I was never afraid for me and that's all down to Lloyd and Rose who trained me because they made sure that I knew that I was always the point of contact for Mabel and being able to say you know safe word time but I never had to do it what was the safe word?

1:31:17it would have been help me she's gonna kill me yep yep safe series words but it all works it all works just any combination of those words Oh my God, make it stop. Very good. What was their reward for you when you did a good job? Was it raw meat? No. I once got some gluten-free toast in a scene. That felt like a real win for me. That's good, yeah. And I would go up and sit up in my bedroom, in Helen's bedroom and have a lie down on the bed. That was my reward. That's your reward. Amazing. Claire, obviously, you have not, I'm guessing, had any reason to update your acting CV for quite some time now.

1:31:55But if you were and you had your special skills section. Oh, yeah. Are you putting this in there? And what are you saying? I am putting that in there. Can you control a hawk? I am saying basic falconry skills. Basic falconry. Basic to rudimentary falconry. What else is in there? Oh, my special skills. Yeah. Really good parallel parka. I have low level Irish dancing skills. I, yeah, I mean, it's not an endless list of skills. I'm not going to lie but it's some it's some quite good at gardening alright so there you go I am me if you want someone to parallel park garden take care of a goshawk I'm your gal and do some Irish dancing do some Irish dancing all at the same time all yeah honestly that screenplay is out there it's out there it's being made you just don't know but it is out there absolutely amazing stuff Claire Foy it's been an absolute pleasure thanks so much for coming in thank you for having me thank you All right, that was Claire Foy talking about H is for Hawk.

1:33:00And you know what? Let's start the review section of the show with H is for Hawk. How's bells? Yes, so this is based on the best-selling memoir by Helen MacDonald about her kind of ordeal is maybe the wrong word. I don't know. But basically, you know, the period in time after her father died, grief hit her, maybe turning into full-on depression. and through it all she was trying to train and raise this goshawk, which is a very large and quite scary bird. And it kind of took over her life and allowed her to maybe hide from or channel the rage, the upset, the just emotion that she was feeling at the time.

1:33:41Beautiful, beautiful performance from Claire Foy and also really good supporting roles here. So Brendan Gleeson appears mostly in flashback form as her dad. Alistair, you've got Lindsay Duncan playing her mum, you've got Denise Goff as her best friend. Doing an Australian accent. Yeah, flawlessly, of course, she's just the greatest. It's an embarrassment of riches, but it's also just a really not overplayed, not pat, not easy exploration of grief and, you know, just bad feelings and how people try and get through those times. And I think, Like, you know, she makes terrible choices. It's one of those films that's quite hard to watch at times because you're like, that's a bad choice.

1:34:27Don't do that. Oh, my God, you're being so stupid. Stop it. Is this just me? It might be just me. It's literally what Helen was saying during the screening. Helen was going, no, Helen. No, stop it, Helen. Don't do that, Helen. Don't do that, Helen. But, you know, it's true to life. This is what actually happened. This is based on her memoir, and it's very... It doesn't feel exploitative or shined up or Hollywoodized. this is Claire Foy most of the time scowling at the world trying to figure out why the fuck things are the way they are looking nearly as fierce as her hawk sometimes and just trying to get through the hardest time in her life so yeah it's a brilliant performance it's a very lovely film it's directed by Philippa Lothorpe who has form in sort of low-key British dramas particularly about women she did that incredible TV show three girls she worked on the crown as well um so she's got you know good form in this area but um but yeah i thought it was it was a good film um i'm not surprised it's not in the oscar nominations because it's not that kind of showy about itself i do think claire four is probably still in the conversation for a bafta nod maybe but um but yeah really really strong i thought it's quite slight and deliberately in terms of the story yeah because it is just her largely kind of just unraveling and crumpling up in a heap along with her emotional support hawk.

1:35:51Which she describes at one point as like an Apache gunship, which is an excellent description. I really enjoyed the kind of, sort of almost like Attenborough-esque aspects of it. When you see the hawk, we should say it's called Mabel, when she goes hunting with Mabel the hawk and she bonds with this hawk. And actually, and you probably talked about this when you did the interview, which I have not listened to, but the relationship she has with the hawk is fascinating. because it's at once slightly abusive. It's fascinating and beautiful, but also terrifying, this thing. Like, it'll occasionally just go completely berserk and she just kind of closes her eyes and tuffs it out.

1:36:28So, yeah, that must have been astonishing to film. So, I wasn't bored at all. I thought it was a lovely little film, but it is kind of slight, and I think, you know, the hawk stuff works very well. The mopey stuff, maybe slightly less so for me. I heard someone online describe it as tea is for tedious, which I thought was deeply uncharitable because it isn't, you know, it isn't like an action-packed film. But I think it's, yeah, I thought it was nice. I had a good time. Yeah, we give it three stars, which, so it's very much in the recommendation. It is a three. But I think that's not unfair. No, I think it's a little unfair.

1:37:00I might edge up towards a four person. No, I was really taken with it. I think it's a really, really interesting exploration of grief. Weirdly enough, Jimbo, I barely asked about The Hawk. Really? Yeah, because Claire Foy will have been asked millions of questions. I just didn't want to ask more questions. I'm not a fucking bird. We talked about the bird a little bit. Birds, actually. There were a couple of birds. Yeah. Mabel. Mabel was played by two goshawks. But I was so taken by the expiration of grief. And there's a eulogy scene, which I was really struck by. So we talked quite a lot about that, actually.

1:37:35So if people came for hawk-related questions, then I'm sorry I've let you down. But the film, myself, I thought was really, really good. And I think it's well worth your time. And if you want to see a great performance, beautiful cinematography as well, then go check out H is for Hawk. We gave it one three stars. Beth, you are here because you wanted to talk about No Other Choice. You had No Other Choice but to talk about No Other Choice. I had absolutely no other choice because there's a gun under the desk. I'm here against my own. You burrowed here. You burrowed here. You're the one who chose to be here.

1:38:10Like a sandworm. Tell us about No Other Choice, which is the new Park Chan-wook film. Park Chan-wook. God damn, I love Park Chan-wook. So this stars Lee Byung-hun who we last saw in Squid Game. I think it was a real piece of work in Squid Game from what I remember. He plays a... And I feel this is a little on the nose for us here at Empire. He plays a kind of higher up in a paper making company that is taken over by an American company and they all get fired. As a result, he's got a family at home. He managed to buy his childhood home when he, through the salary he got as his kind of higher-up.

1:38:54It was with a wife and a step-kid and a daughter of his, two dogs, very idyllic. But when he loses his job, that all kind of falls into turmoil. And because paper is not a necessity anymore, please subscribe to Fun Fun Magazine. It means that he struggles to get a job elsewhere. He takes up smaller jobs in retail. But he also loved his job at the papermaking company. He really, really loved it. And is desperate to get back into the industry, restore his honor, make it so his family don't have to cut corners anymore. His little girl is a child cello prodigy, and he wants her to have the best of everything.

1:39:35And so he goes to really extreme lengths to eliminate the competition for an upcoming job in a shrinking and very competitive industry. And what ensues are a bunch of very flappy attempts to take the lives of his competitors. We won't get into it if he's successful because that would be spoiler territory other than to say this is an outrageously bonkers fun, but also quite at times upsetting piece of work from Parchan work. It's definitely some of, I mean, there's humor in all of his work, right? Even Oldboy, which I would say is the darkest of dark movies. They're a little sort of threads of very dark comedy, but you do kind of laugh.

1:40:30Yeah, but this is funnier. This is definitely funnier. There is some great physical comedy in this. Really, really funny, almost like bordering on slapstick, if it wasn't so murky. Can you have murky slapstick? Of course you can. I mean, yeah, there's a bit with Mudd that is kind of pretty murky slapstick. Quite literally. Kind of works. Murky slapstick. It just treads the tone between light and dark fantastically. I think Pachamuk is such a master of that at this point. Yeah, definitely lighter than your old boys, than your handmaidens, both films I absolutely adore. but it is so fun to see him having fun with this but maintaining all of the things that Park Chan-wook is so incredible at like the way he moves cameras through seemingly mundane situations the way he kind of bleeds humour into the timing is all just fantastic and it looks, by God, it looks incredible the home that it's set in, the childhood home is kind of the main location for this and he's got this gorgeous kind of bonsai garden in a greenhouse on the side, which is relevant to the plot.

1:41:49It's a really fun film. I find it maybe a little tiny bit longer than it needed to be. It's over two hours, close to two and a quarter. I think it could be a tiny bit tighter, but at the same time, I had a blast watching this. I really enjoyed it. Fantastic. And what did we give it? Five stars? We gave this a five-star treatment? Big old five stars. A big old five stars for the new Park Chan-wook film. I cannot wait to see it. No other choice. You have no other choice but to go and see it. But that's not true because you could go see Mercy instead. Couldn't you, James Dyer? I'm not saying you should, but you absolutely could.

1:42:25Yes, this is the new film by Timor Bekmambetov. It's a rather timely film, actually, as far as sci-fi thrillers go because it essentially outsources the judiciary to AI who are, quote-unquote, cleaning up the streets by putting people on very specific trials. So Chris Pratt, who spends basically this entire film in a chair, is the brilliantly named cop... Chris Raven. I can relate. Yes, you are very much like this character. Chris Raven. And he helped set up this mercy trial system in which the accused are... It's almost like a game show. The accused are strapped into a chair, put in front of an AI, and given 90 minutes to prove their innocence lest they be instantly executed, which is obviously lovely.

1:43:06and Rebecca Ferguson here plays Judge Maddox. Both of you, Rebecca. The AI who is presiding over this particular case. Judge Maddox. Raven is hoist by his own petard, unfortunately, because he wakes up one morning and he is in the chair accused with the murder of his own wife. What? Oh, yes. He's fucked. This is like a BNM minority report, essentially, really, if we're honest. It's a kind of broadly the same sort of idea just without any of the... Don't you diss BNM. what I quite like about this so it's essentially it is Chris Pratt in a chair for broadly just 90 minutes bellowing at a screen turn the pan here left a bit down evidence there left right it's like I don't know if you guys and I'm sure you haven't but have you ever played any of Sam Barlow's video games of course I absolutely have not but like things like Her Story or Immortality so just to give you some context Sam Barlow makes his video games which is all full motion video and you end up having to sort of scrub through reels of full motion video to solve a mystery or some kind of puzzle.

1:44:08That's what this film is. It's like watching someone else play one of those games, essentially. Oh, that's why I enjoyed it, because I'm terrible at playing games, but I like watching other people play games. You might as well be on YouTube. But honestly, all of that said, for me, this is a classic four-star, two-star film, because this is an undeniably bad film. I cannot defend it on any level, except I had a really good time watching it, and I was grinning like a loon pretty much all the way through it. I thought Ferguson gave excellent AI which was a lot of fun it was great whenever she was on screen apparently she was in a room next door wouldn't surprise me the plot is A.

1:44:45twaddle and B. I'm not entirely sure it makes sense and C. you kind of you can kind of see where it's going whilst at a certain point you're like yeah I kind of know where this is going but then equally there's no no no no there's no do you know what actually you genuinely might but you won't spot the overall arc of where this is going I don't think because it's so fucking stupid yeah I had many I mean I also did have a good time but it's also it's a really not good film it's really not no and what's do you know what's weird about it and I didn't put this in a review which I've written but I did I do want to say this this is if anything not dystopian enough and also it does really obnoxious political things like confuse conflate homelessness and violence and poverty and crime and I don't think those are the same thing and I think we should be very clear on that and this film isn't so I had real issues with it but yeah mostly it's what James said it's super daft like super daft but they're like Minority Report they're very big on like user interfaces like there's a whole thing of like this all the CGI of the interface and the windows and stuff and then there's a bit in this film I shit you not where you go through all this sort of snazzy lasery holographic interface and then at one point he's because the whole point he's trying to prove his innocence so he needs evidence so he wants to look through someone's email and for reasons I genuinely don't understand the 2005 era Microsoft Outlook suddenly comes up on this screen and you're just like what is happening?

1:46:11Why have you done this? This is so fucking weird. It's like when you watch the original Mission Impossible like The Barber's Impossible and they're using like Netscape Navigator 3 and you're like what the fuck? I know. I had that moment. It's wild. That's the attention to the detail we expect from Timur Bekman Batov. Did you see this in 3D though? I did, yes. Because they're released they are showing it in 3D because apparently Bec Mametoff was very hot on the 3D-ness of it. Yeah. I arrived late to the screening, so I was in the 2D screening. Helen was in the 3D screening. Were you wowed by the 3D?

1:46:39It enhances it. I liked it. I enjoyed the 3D. I don't think it was necessary in any way. But it's just a man in a chair for most of the movie. It's true. But the depth. No, but the things are flying at you. There's lots of on-screen information, including the three two stars? Two stars. Two stars. Oh, Helen. I couldn't go three. Helen, it's like kicking a puppy. What are you doing? It's not like kicking a puppy. It's a four-star, two-star film. It's a one-star, five-star. It's a three-star, two-star film and I'll write two stars. It's a zero-star, six-star. It's definitely a two-star film. I cannot argue with that.

1:47:14All right, two stars in. But I loved it. No mercy for you guys. You're all horrible. Two stars in for mercy. Very quickly, Hellspell's Saipan. Saipan is the story of, I was about to say Roy Kent, but Roy King. He's here, he's there, he's every fucking way there. in particular he's in Saipan he is he is the captain of the Irish squad that went to Saipan in 2002 prior to the Japan World Cup Japan and South Korea Japan and South Korea yeah oh good lord I'm not the person to talk about football oh no no this is fun I'm so sorry thanks okay so yes he's played by Ianna Hardwick Steve Coogan plays Mick McCarthy the manager of the team Mick McCarthy yeah and they famously if you're into football I didn't know a fucking thing about it came to fall out sorry I wasn't paying attention you genuinely didn't this is pretty fucking huge news for Irish people in 2002 even people who aren't into football this was like headline news I may well have been aware of it at the time I have not retained it in my brain because I chose to get rid of it and put another film in there yeah one in one out yeah I don't know what happened anyway the point is these two guys are very much on different pages, let's say.

1:48:31So you've got Roy Keane playing for Manchester United, who I believe were quite good at the time. And he turns up to this thing and he's basically being told, just relax, just hang out. No need to train. We'll have a nice rest before we go to the World Cup. And he's like, what the fuck? We should be playing every day. We should be training as a team. This makes no sense. Where are there even fucking balls and a pitch? This makes no sense. There are no balls and a pitch. and meanwhile you've Mick McCarthy trying to be the sort of like in-betweener keep everybody happy and go no no it's all fine don't worry about it everything's fine and so they absolutely drive each other a bit up the wall I thought this was an interesting story in the sense that I knew nothing about it or remembered nothing about it it's directed by Glenn Laburn and Lisa Barris Tessah who of course have been working together for a while now husband and wife team from Northern Ireland indeed made ordinary love and good vibrations and I was interested in it which again is coming from someone with zero interest in the topic so well done them for that I thought it was a fantastic performance from Hardwick I really really really enjoyed him he's on stage at the moment in the National he's very good there Playboy of the Western World right?

1:49:40That's right he's if anything better here I thought he got well he obviously has the accent down because he's from Cork as well but like gives him a head start but I thought he was just fantastic as Roy Keane I'll be honest if anything my big reservation about this film is I quickly decided who I thought was more in the right than the other person. Captain America Civil War Syndrome. Kind of, yeah. Team Cap. So that's my only kind of major thing about it. I mean, it's a slight story. Again, there's not that much to get into. And the fact that the budget, the lack of budget sometimes provides itself.

1:50:13Sometimes, yeah. Reveals itself. But at the same time, great, great performances and really interesting to get into this little incident in his football history. This is going to be the number one film in Ireland for 47 weeks. It's been out there since the 1st of January. So it's already been... All right, just 40 weeks to go then. All right, we gave us one three, I think. Three stars then for Saipan. That makes sense to me. All right, one last film to talk about. It is A History of Sound. It pairs Joshua Conner and Paul Meskell. Beth, what can you say about this movie? Yeah, directed by Oliver Hermanos, who has done...

1:50:52He did Living. Living, which was lovely. And also did a great film called Moffy. Very good. Written by Ben Shattuck. All I can say about him is he's married to Jenny Slate and thus has great taste. Is he? Yes. Wow. Four stars. Four stars. Five stars for your wife, Ben Shattuck. It is also based on a couple of short stories I understand, also written by Ben Shattuck, so he's adapted them. He's a busy boy. It co-stars Paul Meskel and Josh O 'Connor as two kind of students at the New England Conservatory of Music. It is set in 1917 at the beginning. They bond over a love of folk music and then that bond develops into something deeper and more profound and lovely.

1:51:43And then they embark on this journey across America, basically. to document different folk songs. And they record it on these wax cylinders and have this beautiful time together, but then inevitably have to part ways. I would say of the two, this is more Paul Meskell's story because it continues through his eyes as he kind of falls more and more in love with different kinds of music. He pursues it across Europe and then back home to England. So he kind of travels, but all the while harbors this deep love for josh o 'connor's david josh o 'connor um i think just just has such such exquisite um he holds so much in his features um and i really really love that and i just would have loved to have seen that put to more use yeah a bit more emphasis i think the i think one of the problems with this film is you're you're kind of judging it against god's own country and after son and that kind of work that they've done already, all of us strangers.

1:52:47And so by those standards, it falls down because it's not that good. It's good, but it's not that great. It's good, but it's not right. It is right, but it's not great. It's right, but it's not good. Yeah. And I just think that that's, it's maybe an impossible standard for them both to live up to when it comes to sort of unrequited, question mark, love stories. Yeah. But, you know, really you are judging against the best of the last few years. So I think the casting in some ways works against it, even though they both give terrific, terrific performances. And I think those scenes of them going around Maine, just, you know, in love with each other, I think, and in love with the music that they're hearing from all these very remote rural folk are gorgeous.

1:53:28I didn't think some of the stuff about Lionel's, you know, quite poverty stricken background. I didn't think that was well developed enough maybe to play out. Because he's like an apple farmer from Kentucky, isn't he? Yeah, and I thought that the sort of class divide between them was actually very important, I think, to the characters in the story, but wasn't necessarily made important by the film. No, it feels like it ends up in two conversations and then kind of dissolves. It's a weird one, because I imagine when people say, you know, two heartthrobs, Paul Maskell, Josh O 'Connor are getting made in a gay love story, it maybe mis-sells what this film is, because it's not, I would, first of all, it's not explicit, it's not heated rivalry, but also it's not a film that I would say is passionate in that way.

1:54:07it's about yearning and longing and regret and there's a real melancholy that kind of soaks this film from start to finish and it's about that that first great life-defining love and how it never ever leaves you and and how you leave that kind of kind of affect the rest of your life and i thought you know as that kind of emotional journey i thought it was really powerfully told but it's not you know it is slow and there's a lot of let's be honest walking through fields across hills, across dells and dales while humming folk music. And I felt like that's great. And that's almost what this film is.

1:54:40It feels a bit like this sort of ruminatory stroll through the countryside, whether that be, you know, the deep south or, you know, rural Maine or the Lake District. You know, there's a lot of that while a bit of winter chill in the air, while kind of being a bit mournful about Love's Lost. And I found it quite powerful. I don't want to talk about the final act and kind of where it goes, but the last scene absolutely destroyed me. like really did like it's a real gut punch but it's I you know this film has been described by at least one person in our office as a little bit boring I thought it was lovely yeah I wasn't boring yeah and that person was Alex and I never agree with him I wasn't going to name and shame him no I know I never agree with that piece of work we have Alex wakes up in a chair strapped to a chair with 90 minutes to prove prove his innocence or die

1:55:33I would pay to see that movie. That would be amazing. All right. Four stars in for the history of sound. Stereophonic sound or dance music. Not to be confused with the chronology of water, which we'll be talking about in a few weeks. We will be talking about in a few weeks. Honestly, these arthouse manatee name generators are absolutely wild. It's difficult, though, to name a movie these days because all the titles have been taken. That's it. Like we've got enough actors, we have enough titles. We don't need any more. Thank you. Wow. We're good. Wow. But there'll be more films out next week. Hurrah.

1:56:07More films with more actors. More new actors whose names I have to fucking learn and then remember. And it never stops. Never stops. Anyway, that's it for this week's Emperor Podcast. Join us next week for more film-related fun. We'll be joined by a name I will never forget. for that name is the Stath that's right Jason Statham will be on this podcast to talk about his new movie Shelter along with the film's director Rick Roman Waugh until then until that auspicious occasion until we meet again it is goodbye from my three colleagues of such lethal cunning we started with two we ended with three thanks for burrowing in Beth Webb thanks thank you puts on hard hat are you going up or down you're going down through the hole you've made just turn me around a bunch of times and see where I end up.

1:56:59Beth is now drilling into the earth like Superman in Superman the movie. Brackets, 1978. Close brackets. It's goodbye to nickname pending. The dire wolf. The dire stoat. The dire vole. Oh, boy. There's only one thing we can agree on. He's dire. It's James Dyer. Goodbye. Goodbye. It's goodbye from Helen O 'Hara. Toodaloo. Toodaloo. Toodaloo. Bye. Bye. and it's goodbye from me I'm off to see my doctor Dr. Leo Spichemin he tells me I've got a 50-50 chance of living so there's only a 10 % chance of that thanks for listening see you next week bye bye