The Interviews (ft. Mason Thames & Lee Kirk; Adam Shankman; Sam Spruell)

22:54Chris Hewitt:The emphasis is on all the right words in all the right places. That's good. this is obviously an audio podcast but I am very taken sir with the wall behind you which is liberally festooned with incredible pictures from yeah from where from throughout your career or just stuff that you like yeah it's it's no it's career family and friends it's my life it's just like a gallery wall of my life it's like it's all special moments and you know people who've meant a great deal to me and i don't know no it's good it's good it's the wall of tears

23:37Chris Hewitt:so does that mean that you'd like to look at it and then tear up every now and again or do you like to avoid looking at it i miss my misspent youth when i miss begotten life i you know triumphs and losses the whole spectrum uh is there anything on there from stop that train there it let me see is there no but i just had something printed i did just have something printed that i would like to put up there yes okay excellent because i imagine this is um uh like it was a 19 day shoot uh an absolute i don't know just hell for leather push to the finish line it was man dude it was i'm not gonna lie it was mayhem but um it was it was it was sweet chaos yeah it taught me through the sweet chaos how did it how did it begin and then did it ease as time went on when they asked me to do it i had taken uh i was about to embark on the other movie I have coming out this year, which is Man with the Bag, the Christmas movie.

24:43And I was like, and there's so little time in between seasons of Drag Race where Rue was available, where RuPaul was available, and I, and we were just trying to, and I read the script and I thought it was absolutely hilarious and it was so stupid and so silly and such a delight that I was just like, I want to make it like you don't get the opportunity to make movies like this anymore, or they just don't come across my desk. And I was, I was honored and thrilled at the opportunity. And I said, but I understood how limited the resources were and the time constraints. And I said, I think we can do it.

25:28And so it was a legitimate labor of love. and it was um a blast and but i mean i only had like three weeks you know to get it ready i mean two weeks after i finished man with the bag i was shooting i was in the oval office we were shooting that scene two weeks later so and then we had kind of a little break there where they were trying to build the train in time and like that train do not lean up against the walls because they're fucking paper mache man they're like that shit you're gonna fall through and it looks great but like don't put too much pressure on there because i mean you can see in the um in the outtakes like yeah i'm like trying to show natasha leggero and i almost go through a window like it's like it was everything was just spitting glue when was the last time that you made a movie that was held together by spitting spitting sellotape never i mean it was like even my short film was like we were in actual locations so it was like i've never done it before and um but i had this feeling that that everybody was so game and understood the assignment i mean i made sure everybody understood the assignment before we started like but they understood it in such a way and was so supportive of putting these particular artists these drag queens uh front and center and wanted to to do it so much that i was like i'm pretty sure we can just get it done i mean some days were like oh but you know it was um it was it was wild uh you know i i just had the pleasure

27:17Chris Hewitt:of talking to Ginger Minj and Jujubee for this podcast as well. They were talking about how they essentially have to play it straight and they're in a different film from everyone else. In terms of understanding the assignment, how did you convey to them the tone that they were going for and how did you convey to everyone else, all the day players for example, all the big name day players you have coming in? The first thing I said to everybody is you're in a drama. period end of story you are in a drama no matter what like they do not ever play the joke do not ever play the comic like you just the stakes for all of your characters have to be incredibly real it needs to bump up to like a soap operatic level of drama like if we can't play it you know quiet and serious like in that way but we have to you know play the quote-unquote absurd the calamity of what's going on, but all of these things have to feel incredibly real to you.

28:17And so, so they did, you know, and that, cause that to me is the only way that a satire like this plays, you know, this isn't a long tradition. It's not just the, the airplanes and top secrets and naked guns and hot shots. It's also the Mel Brooks movie, the high anxiety, you know, blazing saddles what the early uh melbrook stuff like but young frankincense i mean everything has to be real to these people and so um once they heard that and knew that that's what i expected

28:52Chris Hewitt:then everything kind of fell into place on this podcast we're huge fans of of a lot of those parody movies that you talked about you know mel brooks and the sucker abraham sucker movies I'm constantly talking about how Top Secret is possibly the funniest movie ever made on our podcast. This has come up repeatedly. I love that because Top Secret feels like such a lost gem to me. Like, you know, it is like there's like no young person who knows about Top Secret. Or you have to be a true cinephile to like, you know, and particularly a lover of comedy to have discovered Top Secret. Yeah, I love Top Secret.

29:32Chris Hewitt:So were you asking cast members to kind of sit down and watch these movies in a way? Yeah, I asked them if they didn't have a familiarity with them. I was like, I think it's important just so you understand the tone. Like you should look at these things so that you understand. These are all just words coming out of me. But if you see it visually, I think you'll understand what I'm talking about. Yeah, very much so. And I don't want to spoil every cameo that's in this. because if I started listing all the people who are in this, Adam, frankly, I'd run out of time very, very quickly. They're on the poster.

30:06A lot of them are on the poster.

30:07Chris Hewitt:And in fairness, they're in the first 30 seconds of the movie. All the names are there in the first 30 seconds of the movie. Yeah, that's true. But you have, I mean, it's an amazing, amazing lineup of comedic talent just popping in sometimes for just one gag, two gags, then they're gone. One line sometimes. It was like, it was, you know, I can tell you like the, both Paul Scheer and Joel McHale got calls like the day before. Like I had decided that I was like, no, I need two more bits in the opening thing where we are. Cause I was concerned. I was like, look, right now it's like in the setup of the movie, it's almost all drag Queens.

30:48There's no jokes from any of the cameos. And so I would like an audience to not be led to believe that it's only going to be drag queens in the movie. And so let's put some cameos in that opening commercial. And but that didn't happen until the day before we shot it. And we were already shooting the movie like that wasn't in the script. And so Connor and Christina wrote up a bunch of gags. And I was like, I like this one. I like this one. And we got on the phone and I called Joel and Randy Barbato called Paul. And like, we were like, Hey, what are you doing tomorrow? I mean, it was like that. Do you have, you know, and well, Joel was like, well, how long?

31:31And I was like, Joel, I swear to God, you're going to be in and out in under an hour. He was like, are you fucking serious? And I was like, I'm not kidding. He was like, I know how this works. It's not, I was like, I'm telling you, you're going to be in and out in under an hour. And he was. so you know it was it was it was like that yes that's that's the story of this movie you know

31:56Chris Hewitt:because obviously Sarah Michelle Gellar is in the movie she's very very funny in the film and uh Adam this blew my mind when I discovered this you officiated her wedding I did I did that was one of the easier phone calls for me to make um i have a very long relationship with sarah michelle and her husband and freddie prince and um yes i officiated their wedding that's amazing by the way it wasn't until like last year that i we were together at something and i said you know i've never asked you why the hell did you ask me to officiate your wedding of all of it like that. And I'm not going to tell the story about why, but the story made sense to me.

32:42And I was like, oh, okay, well, that makes sense. But I adore those two. They're old, wonderful friends of mine. And I'm so proud that the one wedding I've officiated has, you know, produced, ended in a lasting marriage that couldn't be more strong to this day.

33:02Chris Hewitt:So that's the one wedding, because that was my next question. Have you officiated any other weddings? Are you available to officiate? I am available. I am available. It's my side hustle. And was this power bestowed upon you by the internet or how did that happen? 100 % by the internet. It's just so brilliant to me that like for$20 and an application, I can decide, I can legally decide that people are married. I can ordain it and create a lifelong marriage. It's so weird. But God bless it. Does that play into the idea that you can do that? Does that play into the God complex that I suspect all directors have to some extent?

33:52100%. We all think we're God. What are you talking about? Are you implying that we're not?

34:03You know, it's so funny. I've worked with so many directors before I was directing. I worked with, you know, I worked on well over 100 movies and with so many directors and so many great directors and some less great directors.

34:25And it's the great ones that have zero God complex, and it's the not great ones that seem to have the bigger God complex. And when I say great, I'm not even talking about the work that they produce is great. I'm talking about how they are at work, on set, in the environment, doing that, you know, how they treat crew, how you, you know, how you behave in your environment. safe space.

34:53Chris Hewitt:Is that something that's run through your career as director all the way from The Wedding Planner onwards? The way you hold yourself, the way you comport yourself on set is so important. It's really important to me. It's really important to me because I'm from crew. I started when I was dancing and stuff. And then when I became a choreographer and I worked on all those movies and all those TV sets, it's very difficult to learn something from somebody who's great at what they do because it seems like some sort of magic trick that they're, you know, because so much of what makes a great director, it's sort of just instinctual and inside their head and you can't get a handle on that.

35:31It's the shitty ones that I learned everything from because I was like, you are exactly what I don't want to be. Watching you make these decisions, watching you being incapable of making a decision, watching the way that you treat a crew member watching the way that you do like those are those became the easiest ways for me to really learn about how i wanted to comport myself and also um and be a leader in some way because it's you know being a director is a very isolating job it's like you're the only one on any given set unless you are a team of directors you know and um and you are you know at least while you're shooting basically the final word and it's all predicated on you know how you're telling any given story that you're working on and i i take that very very seriously because it is a very happy safe space and it is also the only space where i know exactly what my purpose is it's like if you when i call cut and it's a wrap and i go home i have no fucking idea what i'm supposed to do.

36:44Like I have, like, I'm a disaster. Like I, I don't know what my purpose is other than to take care of my dogs and to make sure that my friends and family know I'm alive and that, that I'm being a good son or, you know, friend or boyfriend or like whatever it is. And so it's the most purpose-filled I ever feel. So I take that as like a holy space for me. And so, to be a jerk in that space would be counterproductive and it would make my life miserable. And I don't do this to be miserable. I do this to be happy, you know? So, it's the only thing I really know how to do other than bake, so.

37:28Chris Hewitt:Well, you know, baking is very lucrative these days, Adam, but. Kind of, right? Another side hustle. Like, believe me, I have friends who are like, no, we should start a little something here. You could do the whole thing. You could officiate the wedding. You could shoot the wedding video. You could bake the wedding cake. I'm saying that this is perhaps… I'm terrible at cakes. I'm great at cookies, cupcakes, cheesecakes. I'm brilliant at. I can't make a normal cake to save my life because I can't figure out how to frost them. Like, I make great frosting, but I can't figure out how to stack a cake and frost it exactly.

38:03I don't know why. I'm sure I could learn.

38:06Chris Hewitt:but yeah maybe one day you'll you'll crack that code who knows but uh i've got it to go in a second but as you mentioned at the beginning this is the first of your two films out this year you're remarkably prolific in 2026 the man with the bag uh arnold schwarzenegger as santa claus which is something i can't believe hasn't happened i sort of after after day one of shooting him i was like how has this never happened before? Like he, he's, I'm, I'm going to step 30 ,000 feet outside of my own life and my own career. And I'm just telling you objectively, I swear to God, he is so freaking good in this movie.

38:46It's crazy. Like it's, I was like, Oh my God, who knew that Santa Claus was the role Arnold Schwarzenegger was born to play. It's so crazy. it's him and Alan Richson and Awkwafina and Ka Mooney and Eliza Koshy and Michael Cyril Creighton it's just such an incredible group of people and it's a lovely film it really is a lovely film I'm actually proud of it so I'm excited to talk to you about that again whenever Christmas comes

39:17Chris Hewitt:around we can chat about the man with the bag as well because you have this knack throughout your career of taking these A-list actors and and doing stuff that kind of obviously plays into image a little bit but also subverts it and plays against it whether it's tom cruise and rock of ages or or finn diesel in the pacifier you know it's all it's all there yeah it's all it's and for some reason with me it's always the dudes it's like i don't know why it's like i i've i haven't been uh i haven't done as much time with the ladies and i'd like to correct that a little bit but the um i've had a great a great successful and love i have great relationships with all of them i adore them i i'm stunned that we've gotten to do the things together that we've gotten to do and I don't take it for granted and I really appreciate it.

40:02And by the way, not to try to circle back to stop that train, but it's like to work with these queens in this and put them in the front and center of this insane project and to have them fill the space in the way that they did and to be so good is just a great source of pride for me.

40:24Chris Hewitt:Absolutely. But if I can just correct you very, very quickly, on your pronunciation. It's Stop That Train! It is. I'm sorry. Sometimes I slur. It's a speech impediment. I apologize. Thanks for pointing it out. Whatever. Don't worry. I'll fix it in post. It's all good. On the note, Adam Shankman, it's been a pleasure. Thanks so much for your time. Absolutely. Thank you, Chris. Thanks for taking the time. All right. That was Adam Shankman, folks. And Stop That Train is now out in cinemas and is a right old lark. Fans of RuPaul's Dry Grace will love it. And speaking of RuPaul's Dry Grace, Ginger Minj and Jujubee, the film's stars, will be on the next episode of the interviews.

41:07Chris Hewitt:And trust me, they were a ton of fun. One last interview now, and it is with the star of the latest Insidious movie, subtitled Stop That Demon. No, it's actually Insidious. Out of the Further, the sixth installment of the wildly successful horror franchise. And as the title suggests, this time the demons of the further are going further than they've ever gone before. And they're led by the chilling Cyrus, played by the wonderful British character actor Sam Spruill, who's been so memorable in the likes of Fargo Season 5 and Legend. He's got something of a penchant for memorable miscreants. But thankfully, he's a lovely bloke in real life, as we discovered when Becky Dark, making her interview debut on The Empire podcast, chatted to him on Zoom just the other day.

41:56Chris Hewitt:Here it is as they dive into the process of creating a truly bad guy. Enjoy. Sam Sprawl, welcome to the Empire podcast. How are you doing? I'm doing very well, thank you. Yes. Good. I was sat in a beautifully air-conditioned screening room this morning watching Insidious out of the further today um and i had such a good time with it sam um it was great to be back with elise and all her spooky enemies of which you are now one so can you tell me a little bit about your new big bad this kind of entity that you play out of the further yeah i mean he is like um he's another kind of demon from the further another kind of um uh spirit villain if you like and um And I suppose when I first came across it, I met the director, Jacob Chase, to talk about doing, playing Cyrus.

42:58Yeah. In the film. And he pitched it to me as this kind of, you know, some kind of powerful figure who had been killed in the 70s, who has kind of retained his power and his charm and charisma, if you like, in the further. and wants to bring himself along with his followers back to the real world. And I just thought, this sounds so great. And the way he pitched what he wanted to do with the film, it all sounded so creative and interesting. And Jacob Chase, who directed it, is a man full of ideas. And I'm an actor who loves to work with people who are full of ideas, who are kind of full of creativity because that's how I'm, I'm like full of ideas.

43:55I'm full of creativity, creativity and kind of the world of horror really has the capacity to hold that, to hold that level. For sure. And before we did all the scenes that we worked on together, we had lots of great chats about character and the world and costume and how we were going to do certain things. And it really kind of played out as a very creative experience. I love that. Yeah. The character design really stuck out to me. Actually, you've got this. You said there about Cyrus having been killed in the 70s. And he's this kind of cult leader figure. You kind of get that through a sort of flashback through an old sort of videotape or some sort of spectral TV broadcast.

44:43um but he's kind of retained that he's got the long hair the kind of robes uh rings on his fingers um but one of the things that really stuck out to me was kind of the blindfold as well like that was quite um striking as part of the kind of look so yeah how did the kind of uh the character design itself sort of help you kind of bring the character to life i mean it's it is um it's all kind of develops as you're going on in this conversation but but just to to start kind of you know I did early on obviously I knew that he was a kind of cult leader so and he died and he was exist he was alive in the 70s and so you know we let's go for some flowing robes let's go for sandals let's go for long hair do all that kind of um uh really lean into that tropey um american um cult leader and um you know like a kind of horrible hippie uh well vicious brutal murderous hippie and um that kind of uh that felt great and then we built into you know he wanted a specific color which was really good and then and then jacob really had these strong ideas that he wanted trinkets um kind of around uh cyrus's neck from all the kind of um from all his victims so there was rings it was a retainer hanging off at one point and just different things and rich kind of created this horrible kind of montage hanging around his neck of visual disgustingness and um and then also So kind of then you had the great kind of he's been the further along time.

46:32So he's degraded and diminished and his his nails are horrible and his body's kind of kind of peeling away and being kind of just just disgusting, you know. And that was that's like it's great. It's great because you you as a kind of actor, you just want to kind of let rip. And suddenly you've been given kind of absolute license to do so in so many ways. and then you know the blindfold came quite late in the process but what was so good about it was that um i don't know you're trying to create a kind of image a strong image and and a kind of and a strong kind of tone about this character so to have him kind of feeling his way through the dark felt you know and obviously the blindfold comes from a set piece that you kind of get a glimpse of that occurs in the 70s when he's alive but yeah you you to have this as as him in the further stuck with this blindfold yeah it almost looks it was interesting what you were saying about him haven't been in there for so long because it almost looks as if it's like become part of his face he's not wearing it it's like part of him yeah yeah exactly it's kind of forged itself to his skin yeah and so you know again that was all part of the discussions that you can have when you're doing a horror film and i mean i suddenly was like what have i been doing all my career because this is the first horror film that i've done i was like this is this is these are my people this is kind of my world and i love um you know i've played a lot of strong characters in my life and so um and so you know it was it was it this was another one where you could really as i say let rip so um yeah the whole creation around it was just such fun and like what costume did and then makeup with my body and the kind of, the quality of his hair is so disgusting.

48:41And yeah, I loved it. I loved it. And it just kept going. Like, yeah, you can see my toenails through the sandals. Let's make them horrible. You know, I mean, it was just everything. We just went to town and it's great. And actually there's probably a lot more material than made it into the film. You know, that's just the nature of filmmaking. you've got so many characters to kind of hold in it but I think there's definitely a kind of spin-off available for um Cyrus to kind of go out into the world again so I'd love that I'd love to go back and revisit him in the 70s maybe like do a period piece yeah what's that what's that when they call it a um you know when you it's his um oh his origin story his origin story exactly Yes.

49:27That's what we need. You said that you obviously haven't done a kind of horror movie before in terms of being in one, but how was it to kind of join a big popular horror franchise like Insidious at this stage? Were you already a fan? Did you have to do much preparation in terms of watching all the previous movies? I watched one with my son and really enjoyed it, but I didn't really know about it. Right. And just because I suppose I'm not, like, I haven't seen loads of horror and certainly modern horror has kind of escaped me. Right. Partly because my focus, I guess, is on other stuff, other types of cinema.

50:11But I've always wanted to do a horror film and now I'm like, I'm fully there. You've got the bug. Yeah, definitely got the bug. But it's kind of, it's, I didn't really need to, obviously I was like, really learned different aspects of the world, how the world works, the different characters that have emerged through the franchise. I was really, obviously knew about Lin Shay, fantastic, you know, love the fact that she's the baseline to this whole world, and that's great. But I just, my reference, I guess, was kind of powerful people who are, who behave very badly. And, you know, there's lots of those kind of people in the real world in which we live.

51:09So I just picked a few of those horrors and kind of thought about them and how I wanted to transpose their spirit into Cyrus, you know. And then, of course, the normal things, like there's certain things that you retain in your head where you've been really scared yourself in certain films with certain characters that you go back and revisit. And that is always part of my process. I often put, you know, when I start working on a character, I put a visual mood board together. Lots of people do that. So you can have a kind of, you can cross-reference with your director and just kind of have a, it kind of forms the beginning of a discussion.

51:50And so, yeah, I had a few proper nasties in there, which I kind of don't want to reveal because I don't want to kind of take the attention away from Cyrus. But yeah, some pro passes both from the real world and both from the kind of films that I had seen in the past. I think there was something about him just going back to the cult leader thing about bringing that aspect into obviously like a supernatural franchise like Insidious. There's something about the kind of, I don't know, the phenomenon of the cult leader in 2026, which I thought really meshed so well with kind of what we've seen from the franchise before, but seems to chime maybe louder than ever before in terms of the world that we're living in now.

52:37So it's interesting to hear that you were kind of drawing on that. Yeah, we're living in a world of personality. Yeah. and um and where the style it purports to be one thing but the substance is actually quite different and i suppose that that um that uh does chime with cyrus and chimes with a lot of people who are coming into your mind right now that we don't need to discuss but exactly exactly you know We are not short of kind of frightening people in the real world. And so I had them all over my mood board and they were very good to kind of reference in my head, maybe before I do a scene or whatever.

53:23Yeah, yeah, yeah. Also, then you're just on set as well. And you're just opposite good actors who are giving you a whole kind of different perspective on the scene. and there's nothing like you can plan as much as you like but once you get there once you get to set once you see how it all kind of plays out once you have to kind of collaborate with actors who have totally different ideas of how it should be you know then then it becomes something different and you have to kind of throw away um a lot of what you've thought about just to kind of live in that moment but yeah of course hopefully you've done a threat where it's some of what you've decided stays in that character stays in your delivery stays in your presentation you know part of the uh presentation um from you sam is that uh he's got such a quite idiosyncratic voice and i thought that the sound design on the film as well like it felt like um cyrus's voice was just booming in my ears every time you were kind of on screen or his like disembodied voice came over um i love that oh good but did you do i mean i know that your character in the fargo tv show also had a very sort of idiosyncratic voice and way of speaking um and then obviously cyrus has got that kind of um very sort of deep menacing kind of way of speaking and that voice is that as i say sort of booms through the sound design so were you able to kind of pull on anything from sort of old monk in terms of, you know, the vocals or even just the bad guy stuff?

55:03Yeah, I mean, I've played a lot of bad guys. So, you know, maybe that kind of, I just have access to that. You know, some people have access to kind of being romantic. I hope that doesn't escape me, mind. But, you know, some people have access to that or can cry or whatever. I have access to kind of being menacing. And maybe I grew up with a lot of rotters in Southeast London or, you know, I don't know what allows you that, what gives you that, but it just, but that's been part of my journey, a significant part of it. But they're all different. You will try and kind of make it different. And you also, I suppose, you know, there's two different things.

55:51the psychology and then the voices kind of was real experimentation because actually we also thought about how the further had affected his voice so actually when he's alive in the 70s he's got a kind of higher pitched voice I noticed that yeah then and then we take him through you know and he's kind of just he's just you know folded into himself he's just the kind of he's like a he's become a thicker liquid if you like you know and um and uh so we try to kind of do that in the voice and and and actually we did different things where we recorded some of my voice and then layered it with another voice that I had done you know and there was experimentation there like i don't know what i i couldn't i've only seen the film once so i couldn't just totally see what they had done but it's all my voice it's all kind of there's no effects on there i think part of jacob chase's filmmaking is actually he wants as little effects as possible so from the sound design to the visual what you see he's a real practical filmmaker you know and he began life actually creating immersive theatrical live theatrical shows and that's interesting yeah no and he really brings that into his filmmaking and kind of so sometimes you turn up on set and you and there would be a lot you'd be doing a scene with lots of people working the scenery to give a certain effect whether it be doors closing curtains blowing anything that he just didn't want to rely on CGI.

57:42He wanted people kind of making those things move and work in camera on the day. And that felt like old school filmmaking, you know, and I really loved it. And you've got a much bigger team as a result on set or in the room that you're acting in kind of doing stuff. but it's like you're all working together. It's very exciting when it comes off. You mentioned Lin Shay just now. And I think if you know that a bad guy is really bad, you know that you have to get Lin Shay back in to deal with him. How was it working with her, this horror icon? Yeah, she's a horror icon. I totally learned that. She's kind of, she's a proper actress as well.

58:38You know, that's nice for me. Someone who's been doing it, I don't know, maybe 60 years and turning up to work on time, energised. She's really good in the film. Her voice is really strong. Physically, she's still so there, you know, in quite a kind of frenetic series of events that she's a part of. And so I actually loved working with her. And the great thing about actors, you know, is that they're really enthusiastic to the end, I've found, predominantly. And she's definitely one of those, you know, and I just thought she was great. I love it. Well, we're going to have to leave it there, Sam.

59:23But thank you so much for joining me today and chatting to me about this film. As I say, I had a great time, scared the bejesus out of me, and a lot of that was down to you. So thank you very much. Oh, that's so great to hear. Very nice to meet you. Thanks.

59:37Chris Hewitt:And that was Becky Dark talking to Sam Sproul. And thanks to Sam for taking time out of his holiday. I think he was in Crete, not the Further. That would have been crazy to have that chat with us. So it's very much appreciated. Insidious out of the Further is in cinemas now, both here and in the Further, which is nice. And on that note, that's it for this episode of The Interviews. Hope you enjoyed it. There'll be another one in a few days' time. And meanwhile, the main Empire podcast is up, up, up right now with Helen O 'Hara, James Dyer and Jamie Graham and Harry Stainer talking to Jane Schoenbrunn about their new movie, Teenage Sex and Death at Camp Miasma.

1:00:13Chris Hewitt:And a spoiler special for that, also with an interview with Jane Schoenbrunn, is going to be up very, very soon behind the Empire Plus paywall. How exciting. As ever, thanks for listening and supporting the podcast. And if you haven't got your tickets yet for our live show at King's Place on Saturday, September 5th, just a couple of weeks away now, go to kingsplace.co.uk and snap up what's left. Maybe buy them all. I don't know. I'm not the boss of you. But anyway, on that note, that is enough from me. I'm off to close the door on the further forever or until they make Insidious 7. One of the two.

1:00:51Chris Hewitt:Thanks for listening. See you next time. Bye bye. Thank you very much for including my support!