James Barriscale – I Only Work With Sirs

The Transcript:

Welcome to Get Shirty, the podcast where we ask our guests about the things in life that just
never failed to irritate and get them all shirty. The chat focuses on home, work and going out,
but could go anywhere. And it’s not all German gloom as each guest gets a major measure shirt
which they design, so we talk about that too. Funny that, us being tailors.
[Music]
So episode 6 has arrived, and our guest is actor and writer James Bariscal.
James’s career has seen him act on stage and screen. He starred in productions for the RSC
and the Royal National Theatre and in the West End. On TV there aren’t many programs he hasn’t
been in from soaps to dramas and he can currently be seen in sexy based on power mail.
James isn’t a stranger to movies either, with films such as The Death of Stalin and Terminator
Dark Fate under his belt. We cover a lot of ground during our chat, like How to Stay Calm,
Standing up to bullies and how to make an impression on your first day at school.
Listening out for the Eric Morgan Impression 2, it’s a good one. So here we go, one guest,
two mics, three tailors and a host of irritations. Let’s Get Shirty.
[Music]
Let me welcome you officially, James, to The Get Shirty podcast.
Thank you very much. That’s all right, it’s a pleasure to have you here.
Great. We are fed and watered and we are indeed. We’re ready.
Ready to go. Lovely shot round the corner, Bacon Sonny. Bacon Sonny’s and I, Bacon Sonny’s and coffee.
It’s a regular, Tuesday thing. And as we said earlier, you’re the first person to benefit.
So yeah, we won’t tell the others. No, please don’t. But you never know, they might listen.
Exactly. We’ll get some sort of email or you didn’t. Yes, I’ve got the show but no one didn’t get it.
Yeah, I wouldn’t do the Richard Harris thing when he was carried out of the Savoy Goat.
It’s the food, it’s the food. When he had his heart attack, yeah. Don’t touch the food.
Did he really? Yeah, I did. That’s great. Now there was a character.
Yeah, yeah, yeah. All of my heroes were those sort of actors in the 60s.
Because they opened up the floodgates to all the working class actors and we got all those
incredible talents coming through. Yeah, O’Toole, Burton, Finney, Manon Bates, all of them.
Oliver Reed. Yeah, all working class brilliant, brilliant talents just coming through because
they said anyone can come. It’s now not exclusive.
Yeah, because I suppose it used to be the people who had the money who could afford to not
do the work that they needed to do to earn the money so they could sort of partake in what was
seen as a leisure. Yeah, but what was there to perform? I mean, it was all the working class films and
plays that came out in the late 56s. It’s so interesting, actually, a lot of the things that I’ve seen
lately, people, you know, or listened to, podcast, where they’ve been talking to actors.
Cairns has come up quite a lot. Oh, well. Lately, in terms of, I think it was some
anthem or something actually, and she might have talked about it in the bifters. I haven’t watched it,
but I saw there was a thing about it this week. Her saying that Cairns was a thing for me because I
watched it and I was like, oh, look, there’s people like me. Yeah, yeah, yeah.
Who they’re telling stories about. Yeah, let’s say opens up the door. Well, I have a weird thing
where I think I’m working class. Right. And yet, my dad’s side came from from, you know, middle class
Irish family that came over in the fifties to work at the Ford factory in Lemmington. Right.
A lot of them came over then to just fill those places. And my mum’s family were, my father was
Romerines, and they ran pubs. He was in the mason’s and so we weren’t working class on either side. And yet
I’m drawn to as an actor to all those working class actors. So I once had a big argue with a friend of mine
my drinking days. And he was saying, you’re not working class. I said, I am, I’m working class.
He said, you’re middle class. Said your parents have a bakery under an affuete? And I said, no, but they
work. They work from like 4 a.m. till like 6 p.m. They’re working class. So in my head, I was kind of
always wanting to be always kind of fighting injustice. And I think because my dad was Irish,
you also got a different perspective on growing up as an Englishman with an Irish dad. So I’m
first generation, you know, from my dad’s side. So I lent towards that. And you know, you’re going to
lean towards the Irish audience. Yeah, yeah. The music, the poetry, the, you know, the funny thing.
The storytelling, the holding core to a degree, you know, that sort of it is a presence, isn’t it?
It is. My dad said, never let a like get in the way of a good story. If you’ve got a good yarn.
And you know, you’re watching Dave Allen as a kid growing up and all those great kind of.
Yeah. Yeah. Yeah. It was funny with Dave Allen. He was that program that I was just about, well, I
knew it wasn’t meant for me, because I don’t know, I would have been 8, 7, 8, 9, 10, something like that.
But it was one of those ones that if I sort of crept back down the stairs, I could sort of manage
to get away with sitting on the sety and watching it before it was like, oh, what are you doing here?
You know, it was just on the cusp. Yeah. It wasn’t rude, but some of it was suggested in it, some of the,
yeah, yeah, yeah. But even like two runners and stuff sometimes, they were,
more formal eyes were never blue. No. Not really. There’s been a couple of gags where I’ve gone.
That’s interesting. Yeah. But two runners had all the dressing up as women more in the
kind of more kind of like for now for now. Which Ronnie Barker apparently didn’t like dressing
was really. And it’s always, he liked, he did it for the sake of the, okay, apparently.
That’s interesting. Not that I’m an expert on these things. So that’s what I’ve read in
our thread, that he didn’t really like it. Exactly.
Very much so. I think Monty Python was mine. I would speak into my mum and dad’s bedroom.
They had a little white black on my portable. Right. And we used to try and turn it on quietly,
but it was one of those TVs we had to hold it and pull it out. Right, a massive cook-onk.
Yeah, he really did. And then little dog volume was down before he did it.
Did have the dial on him. Did have the dial as well to tune it.
Yeah, and the little round area at the back. Yeah, but we used to watch
Yeah, Monty Python on that. Right. Quietly. Yeah. And my dad would downstairs.
Yeah. And the ice. Yeah. So it was, is that the thing that sort of got you into,
you know, what was the thing that made you go, oh yeah, this is what I want to do?
My dad’s love film. Right. So we had a video recording in 1978. Wow. Yeah.
With a big long lead to the remote. Yeah. But it also had audio dub.
So we learnt that very quickly, like a plug of Mike in.
All right. We could, we could, I mean, I, I didn’t like, I didn’t like the music at the end of Thunderball.
So I, we scored the music with another track from John Barry.
All right. And put it in that. Exactly. Exactly.
Exactly. My love of editing and acting kind of came from my dad’s love of,
so he used to stop these to stop films and go look at this scene.
All right. They do. He used, I remember him slowing down the arrow
from Henry V. Fifth when they shoot all the arrows into the air.
All right. And it must have been done with probably a mixture of real arrows and animation
probably. Yeah. But he used to slow that down frame by frame. All right.
There was a bit in, in, in Errol Flynn’s Robin Hood right at the beginning,
where, where an arrow goes to a flame in a candle and blows the flame out and goes into the back
of the sheriff’s man. All right. And it’s obviously robbing from off camera doing it.
You don’t really see him at first in the beginning of the film.
And we used to slow that down. All right. We got it to the point where we actually realised
it was a little bit late. The candle going at that. Oh, I was it.
It was obviously a spring arrow that came out. But all those, his passion for films and his
there used to be old movies on it on a Saturday lunchtime, didn’t there?
Yeah. So on BBC Two. Yeah. Yeah.
It was a double bill, normally Jimmy Cagney or me and my dad used to often sit down if the Irish
weren’t playing rugby. We used to sit down and just watch movies together.
All right. And I always remember it as being a very kind of me and him thing.
Oh, nice. Later on my younger brother came out. All right.
I used to make Kim dress up as Jane Seymour while I did Roger Morph.
I remember that. Did you go with that bum hair?
My brother Sam had amazing curly hair. Right. Okay.
But I would always make you a people bond girl.
Yeah. And we’d play it on on on the TV on the video and we’d pause it and then we’d react
we know. Right.
Whatever seen. Not obviously.
I think you’ve the airport. Of course.
You’ve got to see some of the handbag and then you runs off into the plane.
So you know, as a younger brother, I feel your brother’s pain.
I’ve got an older sister. It was about four years older than me.
So for me, it was being made to do dances. That was the thing.
So if their latest song came out, you’ve got to do a dance to it.
That was what she, yeah.
Thank God. Yeah. Walk on the wild stones with cameras, wouldn’t it?
I remember my granddad walking in. We were staying at their house.
My granddad walked in with me having to do a performance of walk on the wild side.
LeReed from my sister watch, he went, “Yeah, yeah, yeah, yeah, yeah.” And I was
mortified when he walked in. I was so embarrassed because I wasn’t holding back.
I was everything was there.
I kind of feel sorry for just two of you, but yeah, it was just a two of us.
Right. And the two older brothers had nothing to do with the business.
That’s all right. Nothing.
Right. They were hockey players, one listened to like the jam and scar and the other one like,
rock music, AC/DC, heavy metal. And they sort of share a bedroom together.
They used to have proper fights.
Meanwhile, me and my younger brother Sam are in the other bedroom listening to
Shelley Batty album or whatever it was.
I used to take my tech recorder into Cinemars and record Bond films.
All right. I’m literally at the C90 tapes. I used to have two tapes.
I used to turn them over half or three each time.
And I would get back and I would just sit in bed and play the film again.
Wow.
Yeah, but it wasn’t small.
I don’t know how I got away with it. It was a huge, you know the ones with a tape on the front?
Yeah, yeah.
I don’t know how I got away with it.
Amazing, but I used to sit at the front so nobody would actually see me doing it because nobody
really liked sitting right near the front.
Yeah.
Yeah.
But I used to go and buy the albums of the films before I saw the film.
So I’d go to Magpie Records in Mustard and then have the album and then look at it and read it
and watch the film and I still do a love soundtracks.
All right.
Always have.
So, and do you think that’s sort of where the editing, because you do editing as well, don’t you?
That’s what I was doing.
Showreels for other actors about, about 2008 when I was doing St. Joan at the National.
Another actor, a lovely actor called Jamie Ballard, who played the older Harry Potter in the stage show
for a long time.
Right.
He’s a lovely, lovely guy.
But he said, listen, I know you’ve done a short film.
Would you mind having a look at the material I’ve got for a while?
And in those days it was very difficult to burn things off on from DVDs.
Now it’s very difficult because no one can get their programs off the Skyboxes or the streaming channels
that they have.
I source material for other actors and I put their reels together and the skill I think in editing is
infinite.
You just, you never end up not learning something.
When you sit down and you problem or you, because everything is shot the way it shot, everything is
individual, but also the scene might require the actor to give something in their real that they
haven’t given in any other scene that they’ve supplied to me.
So I’m always thinking, okay, what can we bring out in this one?
So I often recut the scenes, taking the other actors out slightly or even sometimes getting
a previous scene if they’re wearing the same costume or something to make up the scene as if it’s
one scene.
So there’s lots of different tricks you can do.
You can flip an image to make it, you know, to change it or you can, I often put dialogue
from the other actor underneath the shot when it goes back to the actor that you show real it is.
Right.
So there’s more screen time for them.
So there’s all sorts of little tricks.
Most show real people will just cut the scenes and just click, there you go.
Yeah.
As you’ve seen, but I tend to try and make it the best.
Yeah, that’s good.
Sometimes I even put my own music, like going back to me being, you know, unthundable, putting my music on.
Yeah.
I often put music underneath that’s from a different project to give it more tension or
some of them can be really good shows.
But for the point of the show real, I just want to have the biggest impact in the shortest
time.
Yeah, because I love trailers as well.
I don’t tend to watch trailers anymore.
I think as I’ve got older, I’ve gone, I don’t know.
Yeah.
Don’t show me.
So often the trailer does give away too much.
Too much.
Yeah, you see how I don’t need to watch that now.
Yeah.
Yeah.
They’ve shown me the ending.
Yeah.
And we all know how good the trailer for Godzilla was, the 1998 one.
Yeah.
It all saw that.
It was an trailer.
Yeah, it was a little bit disappointing, but that one scene from the trailer that’s in the film
of Godzilla breaking up the jetty was the best bit in the film.
Yeah, yeah.
So that’s always annoying, isn’t it?
When they do that.
I was listening to it.
I was saying, annoying, that’s a little bit strong.
Wow.
I get a little bit shirty about it, but.
“Hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey.”
– Cheers.
– And, look, well, yeah, that’s good.
I was enjoying the chat too much.
So, look, let’s use that.
Well done, sir.
(laughing)
So, the idea behind this podcast,
rather than us just having a good chat,
is to also talk about the things in life
which make us a little bit shirty.
Hence, it being called “Get Tshirtie”.
The other thing that we do is, we’ll tailor a shirt for you.
So, we’ve been through that already this morning.
And you’ve gone quite classic.
– I think, yeah, I have.
Being a chunky fella.
– A chunky fella.
– We were talking about this earlier, weren’t we?
– Not what?
– And the way that, no, no, no, and definitely not fat.
How do you feel that you are, what side do you are?
It’s an interesting thing because when you get shirts from shops,
if you’re, I mean, I think most people probably get
some kind of, you know, annoyance about,
and there’s always a complimentary shirt.
– Yeah, yeah, yeah.
But I think the thing that probably gets me a little bit,
I mean, shopping in general for clothes
gets me very frustrated very quickly.
So I do tend to get myself into a bit of a shirt,
into a bit of a shirty thing, but it’s no one’s fault.
– No.
– Obviously, I blame the designers,
and the shop that I’m in at the time.
But I end up going in, and I think I get a little bit,
not panicky, but I get a little bit,
I can feel it coming on, you know?
I can feel the frustration, ’cause I know,
and it’s two things, is, “A, why haven’t I worked out more?
“I haven’t exercised more.”
And then, ’cause it makes you feel very self-conscious.
But the clothes you try on, there’s two things,
what the main one is the fly length.
– Right.
– So modern jeans and trousers, anywhere trendy,
anywhere, you know, the depth of the fly is about two inches.
– Yeah.
– It’s like they’ve made it for a 12 year old girl.
– Yeah.
– And I’m literally like, so the only place
is you can really go for good, for like jeans,
is place like M and S, who start to do things,
like expandable wastes and a decent size,
you know, length of fly and all those things,
as you get older, you really go, oh thank God.
And you start being less trendy.
– Yeah, yeah.
– And more, you know, about comfort and about.
But the other thing is excess material,
that’s the other thing that really annoys me,
is the fact that there’s so much excess material
on the bits you don’t want,
and the bits you do want, obviously.
– Yeah, well, and for you as well,
because you’ve got a big neck,
let’s say how it is.
– I know, it’s very rude, isn’t it?
– That was told you in confidence.
– Yeah, well look, sir.
– I’m an agent of that.
– It’s my new agent.
– Well, look, as a fellow wide neck gentleman,
a man who would have a man there.
– I would have a man there.
– You have it, all right, look, we can call that out.
Call that out.
– So when I was very, very skinny,
as a sort of from the ages of about seven to about 12,
my dad was a rugby player,
semi pro, ’cause there weren’t professional rugby players
in my dad play,
but he played for Lermington Spa, part of the college.
And he loved rugby, so I loved rugby.
And I was a scrim-half.
But then I wasn’t the right shape now,
I kind of am in the right shape,
to go scrim-half.
But I was nippy and short,
but yeah, my neck has definitely got.
– Yeah, but I would imagine it’s always been a manly,
how’s that manly?
– I was literally stick thin as a kid.
– Oh, yeah, all right.
– But my dad had a bakery, so.
– Yeah, yeah.
– My mom and dad got a bakery,
then my mom and dad have a bakery.
– Yeah.
– Well, you can definitely. – Don’t necessarily fry it, you know.
– Yeah, nice.
– There was a point when I was about 13,
just getting into theatre and stuff,
done my local theatre in Worcester,
where I’ve got one photograph,
where you can see the neck.
It’s starting to, yeah, for sure.
I mean, my school uniform, you go, hello.
Yeah, yeah, yeah.
– But, let’s see, for myself,
I’m a 17-and-a-half inch neck, which is fun.
– It’s adorable.
– Yeah, I think a considerable,
perhaps that’s a lot of fun.
– But not offensive.
(laughing)
– Well, do you know, there are many phrases
that we use in the Taylor and World
to try and circumnavigate their-
– Oh, this is brilliant.
We need some more for our family.
– Yeah, yeah.
Well, no one’s got big ass in the Taylor and World,
it just doesn’t exist.
What sir has?
– Off in that one guy.
(laughing)
– Well, even that one guy,
what he has is a prominent seat.
– Very good.
– Yeah, so there’s all these,
but perhaps I just haven’t found the right one for-
– Isn’t a prominent seat sort of,
I don’t know, like a bi-lection?
– Yeah, could be.
(laughing)
– Well, yeah, so some prominent-
– Dumb and proper prominent the others.
– The others, yeah, good old Tember 12s,
and it’s prominent seat.
– A prominent seat.
– Yeah, flat seat, prominent seats.
– Very good.
– Yeah, so anything else for a wide neck?
– Well, that’s the chin in my armor, obviously.
That’s the bit I have.
– We need to get a new friend.
– Yeah, yeah, so,
or perhaps we can revisit that neck.
– Yeah, what a fabulous.
– Yeah, so even sturdy, manly, that’s not quite right.
– Oh, £9 a pound.
(laughing)
– You know, the far side cartoon where the butcher
is cutting meat.
(laughing)
The assistant necktime is a very large boy.
– Right.
– And there’s a, I think it’s an ox or a cow
that’s got a hat and a big mack on,
like he’s like, he’s like, he’s doing some dodgy.
And the butcher’s going,
well, I’ve never considered it before,
but I suppose I could let him go for $9 about it,
whatever it is, basically selling the person in the butcher shop
for meat.
So yeah, so I think we need to come up with a new phrase.
– Yeah, for a, for a, for a, for a, for a,
for a scene, no, for a absurd, no.
– Yeah.
– I don’t know, but is this one of the largest
next you’ve ever met?
– No, but it’s,
– It could get me work,
– I could put it on the ceiling.
– If we, we could start like a top gear style,
– Lead aboard. – Lead aboard.
And you, at the moment, you would be quite near the top.
Maybe not number one, but I’d have to go back
through the paperwork.
– I think that’s a quite, I think that’s a brilliant idea.
– Yeah.
– Yeah, so yeah, we could add that into the get,
get sure to,
podcast sort of structure.
– Is it true that Judy Finnegan made all,
everyone cut out the real sizes of address
and put in a smaller size?
– I really, I don’t know.
– Is that not well known in the public?
– I didn’t know that. – Well,
for now it’s true.
(laughs)
– I don’t listen to gossip, you see?
– No, but I’m just making up.
(laughs)
– I wonder when you start?
– Actually, in the time that I’ve, since meeting you,
you have said the phrase,
is it true that more than once did you,
said earlier?
– Yes, exactly.
– Is it true that?
– They’ve arrived to a restaurant,
so I don’t even hear that, the police were off.
– It’s the Judy Finnegan police.
– It’s the talent, please.
(laughs)
– Get in.
– I think no. – I think no.
– But on stage,
you should have refs coming on stage
with red cards and yellow cards to get actors off,
pausing over acting.
You could have all sorts of different things.
– So, this might lead nicely into your,
oh, it’s almost like you’ve done this before, sir.
– So, you’ve got a bunch of actors in the dressing room
with plenty of time on that.
– Oh, yeah, that’s, I can imagine, actually.
So, what we talk about from a get-shade point of view,
work, home, going out.
There’s sort of three areas we focus on,
but you haven’t got to stick to those.
I don’t live anywhere and I never go out, so.
– That fits.
Well, let’s just focus on work.
– I’m right now, I’m the working.
(laughs)
– Well, it’s been lovely talking with you.
– Goodbye.
– Join us next time.
So, yeah. – It’s Jenny with the weather.
– Yeah, good afternoon, Jenny.
So, work, rest, play.
That’s what we look at.
– Very good.
– So, from a work, the Mars bar,
have you been drinking?
– Not yet.
Maybe by the end.
But, with work,
what are your things?
Is that one of your things that we’re acting?
– Oh, okay, me shirty.
– Yeah, not just like what I thought this was,
does Alan just, so.
(laughs)
So, here’s the thing.
It was really fascinating to hear about the podcast.
Because I think, depending on who you ask,
getting shirty is something that you try and discourage
as you get older, I think.
I think it’s all part of growing up
and kind of learning about stuff.
And I think a lot of people that I know that of my age,
’cause I’m 54 now,
a lot of people in my kind of age,
we tend not to, we try and sort stuff out, you know?
– Yeah.
– And I know that I would have got very shirty
about certain things 15 years ago, 20 years ago.
And it’s not just moving to Wittsdebouw,
I haven’t just chilled out, but that’s part of it.
– Right, I think,
why don’t you take yourself out of a situation
that gets you annoyed and gets you frustrated,
like in London, having to go into work
every single day on the tube would eventually,
after even a couple of days would start to go,
oh, so people get Bromptons or they get whatever.
And you know, we all kind of do stuff
to kind of make our lives better.
But even then you’ve got the kind of, you know,
Tour de France going into the center of London.
It’s anything to do with getting a bunch of people into a small space.
It’s gonna get you pieved.
And when I was in London every time I used to live in hybrid
and I used to travel down into, on the 19 bus,
every single day there’d be an obligation.
– Right.
– Normally not too bad, but sometimes violence,
sometimes, you know, really bad stuff.
– Right.
– I know people being really hurt.
And you just, I just had enough of the violence, I think.
– Yeah.
– So really, as far as being shirty goes,
I try not to, I try to think, in fact, it’s not even that.
It all comes from knowing that life can be very, very bad.
– Right.
– And if you’ve been to something that has really, really made you very sad,
you kind of go, well, that’s the worst it can be.
– Yeah, perspective.
– Yeah, I think so.
I think I’ve always tried to kind of, as I’ve got old,
I’ve got more and more like Jim Henson.
– Right.
– Where he kind of literally talks about, you know,
that it’s just not important.
It’s just none of its important.
Love for it, we have for each other and all that kind of stuff.
I know it’s quite deep, but it’s, but it kind of makes your life better.
So if someone does pee me off, I brush it off so quickly now.
It surprises me.
– Right.
– Oh, that’s good.
– Actually, surprise myself.
– Right.
– Now, there are certain things.
– There are certain things.
– We on work now.
– Work, we’re on work, yeah.
– So with work, nothing really upsets me with work,
unless there’s an injustice.
And that’s the same with home or going out all the way.
But when you work with people, we all know what it’s like to work with people
who unfair on other people.
– Yeah.
– And there’s a real hierarchy thing that goes on,
especially on film sets and TV sets, where, you know,
the extras are now supporting artists now,
giving a bit more respect and a bit.
They used to be treated really badly.
I saw when I was younger, I saw an essay be physically moved
by a director who was shouting in her ear.
And I remember I was only about 25 or something.
It was on a BBC one thing.
And I just stopped and said,
I’m not carrying on until you apologize to her.
– Right.
– I’ve always had this kind of like,
and people like, “Sh, don’t we do it?”
– Yeah, don’t rock the boat.
– And I’ve always rocked the boat.
And sometimes that can really actually not just pee off the people
that you’re confronting, but that can actually upset other people.
– Right.
– So you have to be very careful.
And sometimes I’ve done it when it actually has upset
the company or the cast.
And they just want a quiet life.
– Right.
– And I get on with it.
And I’m sure it has affected my work in some areas.
But I just, I can’t bear when someone gets treated badly
because there’s a sort of pre-imposed thing.
But let’s say David Jason was in the wrong place
and that same director wanted him to,
and he hadn’t heard him.
He wouldn’t physically move.
– No.
– He wouldn’t pick him up and go, “There, man.”
– Which he what he did.
And I was like, “Everyone on set was like,
“Whoa, I’ve given away his nationality a little bit.”
(laughing)
But yeah, I mean, you don’t see that anymore.
You don’t see that kind of behavior.
I think it’s because of two things.
One, I think people now are terrified
about getting sued or in trouble.
But two, so many more women are in the profession now as directors.
– Right.
– And I’ve noticed, I’ve noticed the change in atmosphere
and in producing and casting and everything else.
I think it’s a major, I think that brings in a much more,
I think men have had their kind of, yeah,
their hold on things for two, in all sorts of professions.
And not necessarily for the best.
– And also tried to protect that.
You know, this is what I’ve got.
So, you know what do they do when they try to protect
the shout and stamp and try to do that.
– Yeah, yeah, that’s the way you try to do that.
– No, you shut up, shut up, shut up.
And it was eventually just like,
“Can we just get the day done and get out of here?”
– Yeah, I just wanna go.
– Yeah, yeah, yeah.
And really now you don’t see that now.
– Oh, that’s, which is really, really lovely.
– That’s stepping in the right direction.
– No, absolutely.
Yeah, I like it when, I don’t wanna go to the full kind of,
at the end of the exorcist where apparently,
when he freaking wasn’t getting the performance,
he wanted out of the priest at the end.
So he slapped him as hard as he could across the face.
And they’re, “Roll our cameras, you’re doing what they’re seeing.”
And you know, that’s the scene that ended up in the film.
– Yeah.
– It’s really good.
I’m not saying, I’m not saying,
if we all need to be slapped across the face.
But there is a point where I think, I think not having,
I don’t think the answer is everyone being offended all the time.
– Yeah.
– I don’t think that’s the answer.
The way it’s gone has so many positives.
And it’s the world, I’ve lost out to other actors
because they didn’t wanna white guy playing that role.
– Sure.
– Now you can have someone who gets very angry about that
and go, “Oh, you know, oh, but I never do, I go out to shame that.”
But I understand that when I turn the television on,
I wanna see the world, I wanna see on that TV.
I don’t wanna see a bunch of white blocs have it,
you know, not have people of all nationalities
and all colors in that program.
‘Cause it’s not reflective and it’s not healthy for anyone.
Because also when are people ever gonna get,
it’s like women being excluded from so many parts
of our profession all these years.
When are people gonna get the chance to be and learn
and be a part of this amazing thing?
So I’m, only happened to be just for Christmas
and it was like they’ve gone another way, ’cause of this, this, this.
And, you know, I’ve heard other people
in the profession stamp their feet about that.
And I’m like, “But that’s the world I wanna be in.”
– Yeah.
– I don’t see a kind of a negative to it.
– And it goes back to what you were talking about
at the beginning there about these sort of classic actors.
You’re Burton, you’re all of the Reed.
You know, these sorts of people who were like,
“Oh, they’re doing what I wanna do.”
And they’re like me.
Yeah, if you don’t see yourself represented somewhere.
– Yeah, exactly. – And you don’t believe
that that’s possible for you.
– Yeah, yeah, yeah, yeah.
– So you’ll get sure to, actually, it’s a very,
it’s a noble one then, isn’t it, really?
– Thank you.
– Because it’s getting sure to your other people’s behalf.
– Yes.
(laughs)
– Like I say, in my earlier days,
I would get sure to you about all sorts of things.
– Everything, everything, everything.
– And it’s usually, normally,
it’s normally a mirror up to the fact
that you’re not very happy about things.
– You’re right. – Yourself.
We’ve all seen those videos, haven’t we, of Karen’s,
and as they’re called freaking out.
And I think there is a definite fear within America
that they know the ends coming
and they know that it’s all gonna be taken back from them.
I think the thing they’re not talking about
is this kind of national fear that they’ve all got.
– It’s a last gas, we’re sort of,
we talk about it quite a lot here, actually.
There seems to be a, like a cornered animal fightback,
you know, where sort of the end is coming,
like you say, and suddenly.
– They’re in.
– Yeah, yeah, exactly.
They, they, they, they, they, they, they, they,
I wasn’t, I didn’t just do it,
not to doubt this.
– Yeah, exactly.
I mean, America’s in real trouble.
Let’s not go too far down this road, but it is in trouble.
– Yeah.
– It’s a petulant child who’s going through it’s kind of,
but it’s, it’s, what is it?
Teenage years, I suppose, now, but it’s,
it’s already burnt itself up.
But my dad who died, you know, 93, he used to say,
even back before then that America will implode before,
it goes to war with any other country.
He will have a civil war, so.
(air whooshing)
Here’s the thing though about getting shirty.
There are so many injustices in the world,
especially at the moment, that you can go down a road,
I think, that actually makes you redundant in your own world.
So you end up being the person who’s always angry.
– Yeah.
– And takes that, well, you see something on the news,
and you see some horrible act of violence in a war,
and you take that, and you then, you then get,
(mimics speaking)
I’m angry about it, all the time.
So therefore, what good are you doing to your,
your close friends and family?
And I know it’s difficult, and I know,
but I think when people take it on so much
that it becomes obsessive in a sense of injustice,
I think that’s no good for anybody.
I don’t think it’s good for your own health,
and I don’t think it’s good for anyone around you.
But I see why people go there,
because no one’s doing anything.
– Yeah, it is.
– That’s the other thing.
The classic, you know, to about injustice,
I mean, we live in a world where there doesn’t seem to be,
but of course, now we have all the trials of Trump,
and those trials are for the first time since he came on the scene.
We’re going, oh, there is justice.
– Yeah.
– Oh my God.
But of course, the people who have voted for him
are saying that’s the injustice is the fact that it’s all,
but that’s the classic.
So yeah, injustice, I think, would be, yeah.
– Yeah.
– My main get shirty.
– Yeah, and in the world, – That’s so much, isn’t it?
– Well, it does, but, you know,
if you look at it specifically from a workplace,
that’s a difficult, you know,
and there’s so many ways which it can happen, you know,
somebody gets promoted over you, or someone gets a part over you,
or the person who’s meant to be leading sort of,
steering the ship, steering it in a way that isn’t
making anybody happy, you know, it’s…
– If I had to dissect injustice,
I would put bullying at the top.
– Yeah.
– I think bullying is the worst.
– Yeah.
– I think that’s probably what I’m probably,
– Yeah.
– Probably meant to say at the beginning, really,
because the injustice of the bully,
– Yeah.
– Thinking that he can treat people,
or anyone who gets a child who gets braided, you know,
they don’t understand why, or, you know,
then you go down the whole kind of like,
people smacking animals and things like that.
– Yeah.
– You know what I mean?
That kind of, just, that kind of bully is, yeah.
– And it’s the fact that all too often a bully
seems to prevail somehow, you know, like supposedly.
– And that’s the thing, back in, back in,
yeah, you go back to the 70s,
it was the bully who drives to the top,
because they shove a gruel set out of the way.
– Yeah, yeah, yeah, yeah.
– It’s a bit like here, really.
(laughing)
– That’s what the, the wood ruler’s a fool.
– Now there’s a modern bullying now, of course,
where they don’t appear to be a bully.
– Yeah. – Yeah.
– Yeah. – But really, they’re still bullying.
– Yeah, yeah, yeah.
– It’s just done all done with smiles and, yeah.
– Now have you kind words?
– Have you spent much time in the States?
– Do you know, I haven’t, big ones actually.
– They do this incredible hug.
The American hug has someone in between you both.
So they’ll hug you, but it won’t be a hug.
– Right. – ‘Cause that’s a bit weird.
We’re checking kind of understand.
– Yeah, yeah, yeah.
– It’s just, it’s, it’s an air hug.
– Right.
– It’s a lot of the air kisses.
It’s a way of doing it, but without,
is that quite touching you?
– Is that, like, yeah.
– Maybe it’s just me.
(laughing)
– Yeah, have you witnessed this with anybody else?
– Here he comes.
– It comes, James.
– Hey, how’s everybody?
Hey, how’s it, they’re ready?
– Do one French tells a lovely story
of when Lenny Henry was doing,
what was the film he did where he waited up?
Do you remember?
– Yeah, I think we had to disguise himself.
I think he was on the run,
and he had to disguise himself as a white guy.
– Yeah, what was that called?
– I forgot what it was called,
but she went over, really, with him.
– Right.
– And after a while she was over there,
I’ll see her agent arrange some meetings for her,
so they said, “Oh my god, Lenny Henry’s wife’s coming in,
oh my god, can’t wait.”
And she’d come in the door,
and as soon as the car’s taken track,
it would see her, or the agent,
they would tilt their head to the side and go,
“Oh, like that, like what a shame.”
– “Oh, god, it’s literally tilt their head and go,
“Oh, bless, look at you.”
I can’t do anything with that.
– Yeah.
– You know, she said it.
– Eventually it was like,
one of the most awful times.
– Yeah, and I’ll suppose from a…
– She’s lovely, by the way.
– Yeah, yeah, yeah, yeah.
– I’ve never met her,
but she sent us the biggest basket of cookies
I’ve ever seen in my life after she came to see walls.
I mean, wasn’t a press night, it wasn’t a special look,
she just came, we didn’t know she was in.
– Right.
– And we just got this enormous basket,
and we thought she in the car, so.
– Right, yeah, yeah, yeah.
– So were you in the car?
– I was just saying, “Nothing, she’s lovely.”
– Were you in the same time as Nigel?
– Nigel, that’s how it was.
– Oh, well, yeah, yeah, okay.
– Yeah, yeah, yeah, we shared a dressing room.
– Did you?
– Two big boys in the dressing room,
and a couple others as well, there’s four of us.
– What was that?
– Yeah, it was like some sort of medical experiment,
I think they do.
– For the ball in there.
– Yeah, yeah, send in the cookies.
(laughing)
– We used to have a lot of haribo for the horse puppeteers,
as well, I used to buy pretty much about two or three packs
a day for them.
So when they came off and loved their horse, frame off,
I would give them sugar.
– From the palm of your hand, by the way.
– Exactly, come on, come on, come on, come on.
– Yeah, over here.
(laughing)
– The thing to do is not to do a face on,
it’s always to turn away.
– To the side, never stand behind them.
– Exactly, no, never, never.
(laughing)
– Do you know?
– True identity.
– This is true.
– Oh, true identity, is that what it was called?
Well done, Steve.
– Oh, very well done.
– Actually, Lenny Henry’s in Tamarjaz on the couple,
so the literary festival, so.
– Oh, great, he’s meant to be very nice as well.
– Yeah, I could bring him in.
– You certainly hear about the ones that aren’t.
– Yeah, yeah.
– Yeah, don’t you have names?
– I’ll give you the list, I’m like.
– Yeah, yeah, yeah, yeah.
– Just our drivers.
– Yeah.
– Yeah, in fact, some actors get into a car
when they picked up in the morning.
‘Cause here, we, you make sure an actor arrives
so you get a car.
– Right.
– Sent to you.
– In America, you have to drive yourself.
– Very strange.
– I heard about that, now.
– Yeah, it is, really nice.
– We always get less.
The English actors always get less
than the Americans.
– Right.
– So that they do a lot of shooting over here in Europe,
because it’s cheaper to move production here,
or in Bulgaria or something,
and we fly there from here.
It’s cheaper to pay for all those hotels and flights,
and then it is to shoot it in America.
– Right.
– ‘Cause we’re so much cheaper.
– Yeah.
– Yeah.
– But yeah, we have to, so you ask a driver,
just say, “Okay, who are the worst people
you’ve ever driven?”
(upbeat music)
– So, look, there’s work, there’s your work,
get shuttied.
And have you got any from home at all?
I mean, we’ve had all sorts, like Nigel,
talking about your friend and our friend, Nigel.
– Yeah, Nigel’s always in a relationship,
he’s always married.
– I was always married.
– Always, I don’t know why.
– He’s quite a married.
He’s got about nine children from 12 different women.
I don’t understand.
Yeah, he seems to, yeah, I don’t know what’s going on.
I have come to the point,
I’ve been single for a couple of years,
and I have to say, after a long relationship,
and I have to say, but,
that it’s connected everything for me.
I’ve gone, this is what I was before.
This is what I really enjoyed about my life.
And it’s not the fact that the person
was horrible to live with, but I love solitude.
I think I genuinely think back, I’ve got three brothers,
and all my memories of me on my own,
were the bike in a field of calling,
was that shirt?
– Yeah, yeah.
– Mying up at the clouds,
and I just remember myself,
I would be more just that as well.
– Just that as well, my brother in a week.
But, but when Sam came along,
obviously I had someone to,
and then he followed me into the profession.
– Right, I can. – And he’s a lovely actor, Sam,
and he and I used to do all sorts of scenes,
from all sorts of things.
But my memory of being on my own and being happy
is very, very prominent.
And I think I’m happier being on my own.
– Right.
– And I think I can invite all different elements
in my life, and the love you have for close friends
and things become stronger again.
– Yeah.
– There’s definitely a thing when you get into a relationship
where you give everything to that relationship,
and a lot of those other relationships
that you’ve got in your life, are suffer.
– Yeah.
– And they do suffer, and I’ve lost friendships.
– Right. – Because you just kind of lost touch,
and you don’t make the effort,
and now you’re involved with someone,
and they’re married, and you know,
you don’t see enough of each other,
and all that’s coming back.
– Right.
– Over the last two years,
all those connections and all those friendships,
and all that, and I think it’s definitely where I want to be.
– I can’t see myself being with anyone at all.
I mean, I just don’t see it.
And maybe that’s the time when it will happen.
It’s like, you know, as soon as an actor goes
and gets a regular job off of the phone goes,
and it’s like, you’ve got the gig, and you’re like,
“I know I said I wasn’t working, right?”
But I’ve literally got a job.
– Yeah.
– But yeah, yeah, I find, I find home life,
I find home life very interesting,
because it’s always one person’s opinion
about how clean something should be compared
to another person.
– Some levels of hygiene and stuff.
– Yeah.
– I had a very high standard with my ex,
and but often, I would sort of, you know,
if she was away for a couple of days,
I would let it go, you know,
and I would just not put the dishwasher on
or not clear that away, but I’m not pig.
– And I.
– But in her eyes, it would be like,
“Oh my God, look at the way you live it.”
– Yeah, what are you doing?
– I just have them wanting,
so I’d have to have in a bacon sani or something.
So I think that’s that, I mean, I think,
what gripes do people have then about home?
Is it about, oh, clogging the bed?
– Dishwasher’s come up a couple of times, yeah.
– Yeah, okay.
– Kitchen tops has come up.
– Oh, yes, it is an atom, yeah, yeah, yeah.
– So is that sort of thing?
Is generally that?
– By the way, while we’re on Adam, sorry to go,
but while we’re on Adam, he’s just reminding me,
have you heard his cover version of Quantum of Solace?
– I have, do you know, I have a genius.
– Yeah, it is good.
– It’s genius.
– ‘Cause they, him and Joe did one each, didn’t they?
– Oh, did they? – Yeah, they did what on their radio show?
They did one each to do when the film came out.
– Yeah, yeah.
– They did their own, when they were drawn.
– ‘Cause it was such a ridiculous title,
ever what? – Yeah.
– What?
– Yeah, what’s that?
– It doesn’t make sense.
– And so once put it to the credits on YouTube,
so it’s now with the actual credits
from the film. – Oh, really?
– I think Boris of Nothing is my favorite lyric in it.
The Boris of Nothing did get that quite right.
So every time he sings Quantum of Solace,
he makes up some ridiculous sentence.
It’s so juvenile, but I bet you he’s a Bond fan as well.
– Yeah.
– Because when Bond gets it wrong, like Alan Partridge says,
“Don’t get Bond wrong.”
– Yeah.
– It does hurt if you’re a Bond fan.
– And you’re a big, sorry, we’ve deviated from home.
– No, you did, yeah, and I deviated all your life.
– Home, basically it’s all the usual things,
like do these, you know, or ring the do-they,
and I’m a spreader, I’m a regular.
– Oh yeah.
– Yeah, yeah, yeah.
And I’m a mad dream, I dream incredibly mad dream.
– Right.
– Like, fall on other world stuff.
And I remember them as well.
– I do, yeah.
– Yeah, I’ve got into third eye activation,
and I haven’t got the lucid dreaming down yet,
but I’m just about to enter into that.
– I just draw.
– Yeah, it’s major drugs, yeah.
(laughing)
– And coffee?
– And coffee, I love coffee, yeah, yeah, yeah, yeah.
That’s my only real drug now,
a little bit of the old nicotine sometimes,
but coffee is my love.
That’s, I adore coffee.
But I’ll have a coffee at 11 o’clock tonight.
– Really?
– I’ve got dreams to make, you know.
Cheese normally tips over the edge at night.
– Too much.
– The cheese dreams are, that’s just something.
You know what I’m doing over there.
– What did I have last night?
I was, oh no, I had the classic,
I had the classic actor’s dream,
I was with an old mate from the bill,
Paul Aaron, who was at drama school with,
Paul’s a lovely actor, and I was with him,
and somebody handed me the script and went,
“So, okay, let’s get ready to rehearse,
“and it’s the first time I’d seen the script,
“the first time I’d been on set,
“that caught a lot where you just go,
“sorry, what, give me that?”
Can you just give me a couple of sex?
And I’m looking through it, and there were pages
and pages of dialogue, and I’m going,
I’m gonna have to read this,
and everyone’s going, “What do you mean you have to read it?”
– Yeah.
– Just like horror dreams.
And then it wakes you up in the middle of the night,
and luckily I’ll go back to sleep
and probably have another dream.
– Is that the actor’s dream?
– Is that the actor’s equivalent
of walking through school without your trousers on, dream?
– Normally with actors, they have no trousers on as well.
– Ah, really?
– Always no trousers.
– Long script, no trousers.
– Exactly.
– Exactly, exactly.
– No, it is the classic, yes, classic.
Yeah, or on stage,
my normally mind is being handed a costume or a script.
– Right.
– Quite often in a dress room,
you’ll just see, “That’s your script,
“it’ll be a costume.”
– Right.
– And it’s the same reaction every time.
– None of my dreams of color either.
– Are they not?
– No, it’s all sepia with me.
– Seapia, not black and white.
– No, sepia.
I’ve never heard that before, that’s fascinating.
– Yeah, well, I haven’t got much minds eyeed, that’s the trouble.
So if I think about something,
I can only picture so much of it,
and then I have to let it go and then picture the next bit.
– Well, if you’re sitting here now and I say, “Look at your picture,”
you can’t just keep going like a film, like Constance.
– No.
– Do you remember the old computer games
where as the character ran around,
it would build the world in front of you as you ran around?
– Oh, it’s like that.
– Oh, wow.
So, you see an eternal sunshine of the spotless mind?
– I haven’t, you’d love it.
– Right.
– Because that’s all about the segments of dreams.
And at one point, he even uses Spike John,
I think, as a director.
He even uses different lighting sources to shut down
and then start up a two- – Oh, right, okay.
And he’ll build sets in the same room
that will appear like it’s a completely different dream.
So the camera will just spin.
– Oh, right.
– And then all of a sudden the sets will be big
and then all the characters will be little, little kids.
There’s one point where he’s in the sink,
in the button, the kitchen, just sitting there.
It’s Jim Carrey.
It’s a brilliant film.
– Yeah, I understand that.
But that’s amazing.
I’ve never heard that before.
– Yeah.
– Yeah, yeah, seepia, it’s always seepia.
– Seeing resmog dreams in seepia.
– Probably.
– Yeah.
– He’ll dream in that kind of everyone’s too fast.
– Yeah, yeah, yeah.
– However, yeah, or however dreams there’ll be somebody
turning the little wheel for it.
– Yes, yes, yes.
– Yeah, yeah, no problem.
– Faster, Nanny.
– Yeah.
– Everybody’s walking too slow.
(laughing)
Yeah, so my mind’s eye, like I can’t,
I can picture an object, but not brilliantly well.
– My mom doesn’t have it.
– Right, okay.
– Yeah, I don’t dream, but if I do, I don’t remember them.
– Right, that must be sad.
– Yeah.
– ‘Cause I, honestly, I go to bed going,
“Oh, where am I gonna?”
– Oh, yeah, yeah.
– Where am I gonna do that?
– Do you dream every night?
– I can’t, I never feel like I haven’t had a dream.
– Right.
– Ever.
– See, that’s quite unusual, I would say.
– What dream every time you?
– Yeah, and to be able to remember them consistently.
‘Cause that’s sort of the level of sleep that you get to.
– You have to, you have to, you have to make a conscious
daytime decision to make a note of your dreams.
– Right, so that thing about having a book by your bed
is just a real note book, or I just grab the iPhone
and I just quickly, but I don’t want to disturb the iPhone now
because they’ve got that amazing thing where,
when you turn it on its side, it’s a lovely clock in red.
I love gadgets.
– Yeah, yeah, yeah, yeah, yeah.
I should work for Cuba, I’m truly.
– All right.
– Yeah, it is.
– Super gadgets.
What’s your most ridiculous gadget that you use?
– What’s my most ridiculous, I mean, all my gadgets really
should be rented and then given back, ’cause you normally use
them once or twice, and they get put in, so I’ve got lots
of iPhone stands, like on various tables,
kitchen, bathroom, so when I’m doing anything,
I can just stand there.
I’m just fed up with putting the iPhone on,
I’ve had those for a while.
My Apple Pencil’s amazing.
– All right.
– Absolutely love it on the iPad, drawing.
It’s amazing, it’s brought back my love of drawing
and I do it more often now.
– All right, okay.
I’ve got a camera, I do love camera equipment
’cause I do do short films with people and stuff and I,
and I bought one which is on movable,
two sets of wheels that are movable,
but there’s like a bar in between,
I’m already describing this very well,
but basically it means you can move the angle of it
in whatever angle, so you can actually go around an object,
you can shoot, if you’re someone who likes to say
video of food products and stuff, job.
I haven’t actually used that yet.
So I did a commercial yesterday which was an 80s pop song,
we had to dance to it as workmen.
And it was like a,
do it as if you’re not a good dancer,
which is quite fortunate because I actually am quite a good,
I can move in time very well,
but my dance moves when I was at drama school,
the dance teacher said, “I like James, I do, he can dance.”
I don’t know, I just wish you’d do my steps.
And I think that’s me, I just have fun.
If someone asked me to dance like going out now,
especially not drinking, no, not interested,
it makes me feel like a fool.
Right, as soon as I start dancing in my head, I go,
“What are you doing?”
This is a waste of time.
What is this?
Moving your feet up and down and doing the arms,
this is ridiculous.
And it just, it doesn’t make me embarrassed about dancing,
I just don’t see a point in it.
Yeah, okay.
Isn’t that funny?
And yet when people are completely connected to something,
I see it.
Yeah, you can see it, why people…
But, you know, I’ve been to, you know, I’m Cuba,
you know, I’ve been to, you know,
actually, luckily, local guys dance with all the tourists.
So, luckily, you know, my girlfriend was with a really good dancer.
Yeah.
And I would sit there with her, you know,
but I’d be a Cuban cigar going on.
Yeah.
You know?
Hi, I’ll say, I’m much more a big chair,
talking chatty cigar.
Yeah, they know.
You know, I was drinking a little brandy,
maybe you’re a really strong coffee.
Yeah, see, that does sound good.
Yeah.
I’ll do, I’ll do the lyca dance, though.
Do you have to, yeah.
What would you do?
Oh, yeah, I’ll do.
What would get you on the dance floor?
Anything.
What do you really?
Yeah, pretty much.
Wow.
Do we have any video?
They might, they might be.
Very good.
Yeah, so anything where I can…
Well, back in the day, right, the song of choice was always…
Yeah, yeah, yeah.
Yeah, so this morning before I came in, no,
so back in the day, it used to be Delight,
Groove was in the heart.
As soon as that came on, I was just like, right,
see you later.
Very good.
On my own, I wouldn’t care.
I don’t care.
Very good.
But since then, anything that is, you know,
requires some sort of movement,
in fact, it’s just the same.
He looks it, doesn’t it?
I’ve looked him and he went, “Hmm.”
But actually, we went to an award show.
We won the award.
Oh, no, we didn’t win that year, did we?
No, I thought you won.
We have won.
We’ve won, won, won.
That’s going to say that was the reason I came on.
No, you’re well, no, we are award-winning.
Only were with award-winning, didn’t we?
Well, quite right.
Creative business, creative business of…
Very good.
Oh, the lip as well.
Oh, yes.
Oh, yes.
The…
Keep going.
It was great.
I was slightly…
But I’ll put it then.
It was like he was in the room.
Another one on my hair.
Yeah, oh, wow.
Yeah, it’s quite right, too.
Yeah, I mean…
We could have a whole podcast about that.
Yeah, yeah, yeah.
I’m sure there is actually more.
It’s gonna be, yeah, yeah.
But, yeah, we were at the awards ceremony.
We didn’t win that year.
We were up for creative business of the year.
Oh.
We didn’t win that year, but we won the following year.
Right.
But that night, they have a, like, a dinner.
Yes.
That’s what it’s all about.
Yes.
And the band afterwards…
First people up, me and Stuart.
Fantastic.
Yeah, pretty much.
We had to take the wives up as well.
(LAUGHTER)
We drank.
Yeah, we were up there, yeah.
I can’t get…
I can’t get…
(LAUGHTER)
I kind of wish I did that.
I just…
I’m happy and not.
Yeah, look, that I can understand.
I can understand that as well.
There is always that point, I think, in life, where…
As soon as something seems a bit ridiculous
or slightly pointless,
you’ve either got to throw yourself at it or go, “Actually, I’m not worried.”
Doesn’t make me happy.
Yeah, and if it doesn’t make you happy.
It’s a little bit curvy, a little bit curvy, and teazer.
I’m just doing what makes you happy.
Yeah, but you know what?
Well, you know what?
Do you want to make you happy?
Yeah, but yeah, having a dance, I sort of like that.
Yeah, I like that.
Yeah, yeah, yeah.
I could probably get up for one.
Yeah.
And then everyone would go, “He’s funny, isn’t he?”
Yeah.
And then I’d be like, “I don’t want to entertain you all night.”
Yeah, I don’t like it as soon as…
(LAUGHTER)
Yeah, and I was…
You were just…
Yeah, yeah, yeah.
Just…
I see it as my arms.
As soon as I think what I’m doing with my arms.
Yeah.
What should my arms be doing now?
They’re not as easy.
Yeah.
Eighties.
No, eighties is all just arms.
Yeah, that’s not work.
Yeah.
You just stood there and just…
Oh, no, you had the…
A little…
A hill.
There’s a three-kazoo.
He’s called that the Kenny at school.
Yeah.
I don’t know why.
Yeah.
And then there was the low, the low one.
What were they called?
(SINGING) Get right down, get right down.
I’d head back down to earth.
And they used to go…
Oh, I was curious to kill the cat.
I was curious to…
He used to love getting low.
Yeah, he did.
Yeah, he did.
He used to love that.
So there was that kind of like eighties.
Yeah, I can’t do that.
There was a lot of arms.
Yeah, yeah, yeah.
I’ve danced on camera.
Have you?
I said, “Don’t.”
I moved.
I boogied in a commercial for Vodafone.
Did you?
Yeah.
Available on YouTube?
Probably.
Yeah, it was coming up in a couple of years ago.
I will have a little…
Yeah, yeah, yeah, yeah.
And that commercial, self-tape, was hilarious.
Yeah.
I chose the Sonorathe Shanzon TV by a harb.
Did you?
I was bad-dead dancing.
Right, I’m self-tape.
And weirdly, I got it.
Yeah.
Nice.
Well, that’s a hard song to dance to.
Well, I did not.
My girlfriend at the time, you’re going to do a bad version now.
A good version now.
Yeah, yeah, yeah.
And most of the time, can we go back?
What do you mean, “I?”
Yeah, let’s do it back.
Yeah, let’s do it back.
Yeah.
Do you want to do that one again, deserve?
No.
Take the name out.
I was so…
It was…
We’ve actually…
We’ve done…
We’ve done home…
And work.
Yes.
So all that’s left…
Well, there’s two left at…
Don’t…
Down.
And we’ve…
We have done going out.
I’m not really that shirty anymore, you see?
No, you’re really not.
Have I got any good shirty stories?
Not really.
I mean, like…
What about other people getting shirtsy?
Like classic…
You don’t have to name names, but classic all-time, like, “Whoa!”
Where did that come from?
Yeah, I’ve done a couple of those here.
I can’t tell one because it happened about a few years ago.
The thing about being shirties, when people are really in a genuine…
I think the last time I got really shirty,
and I saw a face of my neighbor who didn’t recognize me…
I’ve been there nine years.
It was only last year.
The dustman got into it.
We had a terrible company that didn’t do their job at all well.
Didn’t pay their guys properly, you know, and all that kind of stuff.
So the dustman didn’t give down about anything that they were doing.
They used to leave litter, or, I mean, they used to leave…
All litter on the floor, yeah.
So I did…
So I did…
I had to go around every Monday morning with a broom, if I was at home and clean up.
And the one time it happened, he tried to get money out of a neighbor.
He said that’d be 20 quid for cardboard, because it’s bulk.
And I overheard it, and I went, “What did you say?”
And he was trying to get money.
– No. – But, yeah.
So we complained, but at the time, I remember him saying something and drawing up.
And I started to have a go at him.
But then, as I finished having a go at him, there was no swearing, I don’t think.
He was just like, “Every week, every week, I have to do this.”
“Oh, he’s a devil, you’re going on, you hear?”
Like this, by that time the dust truck is all he turned left, and he’s down on the main eyestreet.
And I’m there with a broom in my mouth, and I remember turning and seeing my neighbor’s face.
This lovely neighbor lives opposite me.
And looking at her face, I was like, “Who are you?”
– Yeah. – “Who are you? What have you become?”
– Literally. But I think when people are in that place, seeing red,
it is frightening for people around, but actually it feels right at the time for you.
– Yeah. – Of course it does.
I don’t know where I got it from.
I think I may have got it from my mum. – Maybe.
– But weirdly, both sides of my mum and dad both were involved in amateur dramatic.
– Right. – Of some kind, some kind of performing, which is interesting.
– Yeah. – Did you do “amdram” before you?
– How dare you? Before, before, before, before.
– Before? – Well, I worked at a lovely theatre that was built by Amateur’s,
called the Swan Theatre in Wester.
– Right. – And I think there are many of visiting companies,
and there’s a rep there, but when I was a kid, there was a rep,
which was brilliant. So you got all these actors straight out of “Guilt Hall” and “Rada”,
getting their equity cards.
And I first, when I was about 12 or 13, a young actor came to get his equity card,
called Kevin Francis. He’s now my agent.
– Wow. – It’s amazing.
– Yeah. So we hadn’t seen each other for years and years,
and then I got into the making showreels for other actors,
and I contacted him and said, “Look, you know, just let your clients know,
I’ll do them a special deal, because I remember you from how we started talking.
We got on so well in that relationship that when I was looking for a new agent,
there was no question really. I just called him, and he’s been a major for years now.
– Wow. – Yeah, and he’s really the one that got me all the films
that I’ve been wanting to get for so many years.
– Right. – For missions, for meetings, for movies, and better telly stuff.
– Right. – And he’s really kind of made it happen, which is…
– Oh, great. I’ve lovely, sort of done that.
– I know. – Full circle, by the way.
– I know. Yeah. He was a nice actor as well.
– So many people go into this profession and end up doing something other than acting.
– Right. – They’ll do it for a while, and think, “Actually, that’s nice.
I want to try that, the casting directing, or producing, or whatever.”
– Sort of like the world, but don’t necessarily want to be the sort of…
– Yeah. – … the sort of the…
– … in front of the camera, or… – Yeah, but also, I think there’s something wonderful about creating.
And actors don’t really… They create, in a sense, in the way that they can bring a character to life,
but really the main creators are writers and directors, and seeing that vision.
– Yeah. – And saying, “This is the idea that, “Oh, this is the story I want to make,
and this is how I want it to look. Are you in?”
And the actor’s really the last thing to come… And I like that challenges in actor.
– Yeah. – When someone says something you’ve got to think,
“I’ve been set, and they’ve been there since… I mean, Wardrobe had probably been there since about 4am, 430.”
Getting everything ready, you’ve got all the guys, setting up all the unit trailers and everything.
And then, you know, the crew start arriving, you know, you get all there, all right.
You’re still being picked up, wherever you’re at, you know, the hotel or whatever.
– Yeah. – You’re having a nice breakfast, you know, you’re getting about seven o’clock,
you know, everyone’s already set up and ready to go.
– Yeah. – So you’re the very last piece of the thing,
the piece of the puzzle that fits into all of that work.
And I think if you know that as an actor on Special Entalee,
you have so much respect for them.
– Yeah. – That it takes away all the ego.
And I think, “Oh, can I put ego in as a shirty thing?”
Because I think ego is the thing that destroys so much.
I know when people are scared, the ego tends to be bigger,
because they’re being too defensive or they think they’re too wonderful,
they really think they’re that wonderful, do they?
I don’t think they do. – I don’t think so.
– So if you have no ego, if it’s not about you,
then the only other thing it can be about is the thing that you’re in.
– Yeah. – So now you care about the story
and you care about your part within that story.
– Sure. – I did a casualty recently
and all the script stuff was those two moments
that were real moments, hasn’t come out yet, so I can’t come out.
– Oh. – A real moment when my character
and the other character has something happens.
It all went on the day, it’s like no time, no, just we’re not going to do that.
And it was a thing that really made me want to do the part.
– Right. – I would have done it anyway.
– Yeah. – I need the money.
But you just have to work as an actor,
but that was the thing that I went.
And quite often that will happen with a shooting script
you’ll suddenly, it won’t get done
or it won’t be shot in the way that you think it will.
Or it’ll come out, I’d been in things where,
and it’s probably only me,
I’d been in things where there’s a two-shot
and the regular actor in the program was sharp,
– Right. – Visually sharp, and I was soft.
– Right. – They literally went,
and sometimes, what did I watch yesterday?
I think it was true detective,
where there was a shot of someone looking up
and it was like someone waking up after having been unconscious.
And all around, all around,
the outside of the frame was blurry,
and there was a doctor in the scene
who was talking to someone on the bed.
And that was his only scene, but you couldn’t see his face.
– Oh, no. – Is that this blurry effect
from the POV of the person on the bed?
So I think that poor actor,
– Yeah, I think his best part got this great. – I think his best part got this great.
– I think it was dark, dark waters, dark something.
It’s on TV, a sky thing.
It’s really good on a reservation in America.
Really, really good.
But that was his only scene.
I did think you poor bugger.
But he’s contributing to the story
in the way that that person wants it told.
– Is that called the “Mike Wasowski Effect”?
Have you seen “Monster’s Inc”?
– Oh, no way. – Where is he?
– He’s always. – We’re on the cover of this,
and he’s always covering up, but he’s always like, “Wow!”
– That’s exactly it. – I can’t believe he’s on in there.
– That’s exactly it. – Yeah, yeah.
– It’s exactly, I’ve forgotten that actually.
– Yeah. – That’s very good.
Oh, in the night of as well, it happens.
There’s a scene where she clicks up belongings
from her, I think she’s been in jail for the evening.
And just a whole scene with the woman behind the…
You never see her face.
– All right. – It’s always just a shock, you know,
of her. – Yes.
– And it’s just like, “Wow.”
That was your only scene.
Yeah, I do think about that quite a lot of people.
But if you have no ego and if you’re like…
– So, to service… – I get it, I get it.
I do get it. I’ve done a regular gig called WPC 56
for two seasons, and that was lovely.
– I was instructed by my wife to talk to you about that.
– Oh, well, nothing I mentioned it, then. – Yeah, I was about to go.
– Yeah, well, exactly. I’ve been waiting, I thought,
“I’ll bring up in a minute.”
But, yeah, just because she said, “How good you are in that.”
– Oh, lovely. She really enjoyed it.
– It was a really lovely show.
– Yeah, because I didn’t see it on my scum fest,
you were a…
You were a niggly character in that.
You sort of…
But then had a romantic craft.
– Yeah, she kind of sorted me out.
– Yeah, yeah, yeah. – Rachel Leskivow, wonderful actor,
who’s now in “Waterly Road.”
– Right. – She’s been here for a couple of seasons,
but she’s quarrying stuff as well.
And Rachel and I got on so well, we had such great, great time on that.
But her character basically,
because it wasn’t set in 1956, that’s where the title comes from.
And he was dealing with his old-fashioned values
to homosexuality or race or whatever the subject was.
And she really sorted him out.
And, yeah, and I made him a much happier karma,
chilled out guy.
It’s nice though, it was a nice part as well.
– Yeah. – Got to wear soccer garters.
– Oh, yes.
– I actually asked for them, actually.
– Yeah. – Actually, yeah, yeah, soccer garters.
And I remember once I was in the middle of trying to get my first mortgage.
And I was in the Malmaison hotel in Birmingham,
in my sock garters, my box of shorts and my vest.
And I’m with my Tash.
And they used to spray, I think it’s called millions,
on your hair to make it look like you haven’t got any bald-y bits.
– All right. – So I’ve got all this kind of dark, dark makeup
on my distortion, my hair and everything as well.
And it’s like, I think it was like one in the morning,
because Metro Bank had a 24-hour phone service at one point.
And I was trying to get my mortgage and they got my middle name wrong.
And it had always been wrong since I opened the bank account.
And that was going to stop me getting my first house.
– Right. – So I was on the phone to Metro go,
“What do you mean, I’m not fit it? My middle name’s not fit it.”
And I caught myself in the mirror and I just saw the boxes, the…
And as you know, I’m not a slight guy.
And then the sock garters and, yeah.
– Nice. – Yeah.
– One of the life-affirming moments. – That’s true.
– I saw a sock garters. That was Eric Walker, me used to wear that.
– Yeah. – And every time I saw them, I thought,
“I like put it out. I’ve still got it on my own.”
– Have you seen the sock to shirt ones that keep your socks up
and your shirt tucked in?
– I’m not sure I like that.
– All right. – So we go into the shirt,
– There’s a shirt under the pant?
– Oh, well, I suppose if you’ve got to pull your pants down
and it’s going to have to go under the pant.
– There was a guy at drama school who used to put his shirt
all the way through. – Pull it out through the bottom of the legs.
– Yeah, not good. That’s not good in any way, so…
– No, no, no.
But then again, I saw a guy just by on Venice Beach in LA
where the muscle, there’s the muscle…
– Yeah, yeah, yeah.
And next to that, there’s some, someone like Ion,
sort of metal toilets that all the kind of homeless people go in and clean up.
– Is it taking a turn? – Yeah, you can’t go in.
– That’s what I’m going in.
– As I go in, there’s a line of urinals.
A man has lowered his jeans,
taking his pants all the way down to his ankles
and his wing at the urinal with his bare hands out.
– Yeah. That’s a first for me.
– Yeah. – I’ve never seen that before.
– That’s the toddler approach.
– Yeah, isn’t it?
He was this bronc, kind of, surfer dude in his 30s.
There he was, pants down, white, white fronts,
all the way down to the wall. – White fronts?
– Yeah. Proper old school. – Proper old school.
– You’ve never seen that before? – No.
– You have stopped doing that, Steve.
– At least you’re wearing them now. – Yeah.
(train rumbling)
– Let’s say we’ve done work home and going out.
We’ll take the dunes. – Okay.
– I think. So that just leaves the one final one.
There is one last one, which is,
we haven’t done this in everyone,
but now we have a last section called “Off the Cuff.”
– Now. – Very good.
– Which is the hat. Now. – I don’t want that.
– Adam Bucksdon suggested that we put them onto a cuff.
Now that makes sense. – Personally, I think he made too much out of it.
– Oh, do you think? – Yeah.
– But, yeah. So we are keeping the hat,
because we like the fact that it’s called “Off the Cuff.”
– From a hat? – Yeah, I think the hat is through the years,
as always been.
– Yeah. – You know, a way of… – From that?
– You’re digging out something. – Yeah.
– So, got two there. – Oh, look.
– I’m going to hang on to one. – There we go.
And the subject, I have to talk about…
– (singing)
– Is James Bariscale?
– Isn’t that weird? – Wow, that is weird.
Isn’t that strange? He’s a lovely guy.
– He is. – I have to say, very talented.
– Not very expensive. – Quite.
– I have something which is really interesting,
because I’m so not into anything to do with sports.
– Sports? – Interesting.
– So, what would be your get-shurty, just sport in general?
You just don’t like it. You’ve rugby’s come up a couple of times.
– So I was kind of… I wasn’t forced to play rugby.
My dad said, “Come on, come play rugby.”
And I remember standing there after having been down the local youth theatre
and gone to youth theatre for one week, I was like, “Oh.”
And I couldn’t do both, because they both happened on Sundays.
And I went back to rugby the next week.
My dad said, “No, you need to go back to rugby.”
I was like, “No, no, no, no, no, no.”
And I stood there and I saw a ball coming towards me.
It was a high kick. And all I had to do was lift my arms to catch it.
It was an easy catch.
And I took that opportunity just to step one step to the right
and then it hit the floor.
And I looked up and saw my dad’s face.
And my dad still kills me a little bit.
And I was like, “Oh, he doesn’t want to do this.”
– He doesn’t want to pay it. – No.
And then I told him about youth theatre, and I said, “I want to go back.”
And they were lovely, actually.
They never ever didn’t support me.
But my… Yeah, there was a real, real scumbag who used to do sports
at my… I changed schools when I was 13.
– Yeah. – To go to comp.
My parents thought that private school was the way to go
and then they ran out of money, and then they sent me to comprehensive
for the last two years.
And then I said, “I want to go back to my parents’ house.”
And I said, “I want to go back to my parents’ house.”
And I said, “I want to go back to my parents’ house.”
And I said, “I want to go back to my parents’ house.”
And I said, “I want to go back to my parents’ house.”
And I said, “I want to go back to my parents’ house.”
And I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
And then I said, “I want to go back to my parents’ house.”
Very strange. Yeah, good though to have that.
But I think it’s because sports people, that’s a big generalised,
that’s like saying act or…
But the people I’ve come into contact with in an educational,
because I’ve done it since then, have always been very alpha-marily kind of aggressive.
This is the only way is to do it.
I did some running when I was at…
I did actually end up doing 1400 metres, I think.
I did. I did it. I can’t afford something.
Wow. I can’t remember, but I trained for it.
I remember doing it. I don’t know why I did that.
Yeah. Strange thing to do.
Strange bad. I like sports, I like, you know, it’s all right. I don’t have any.
Yeah, yeah, no real. But PE teachers, I would say.
That’s one we can all get behind.
Yeah. I had one when…
Because I used to live near Darlington.
Can of worms. Yeah.
And this particular teacher was called Mr. Argument.
Were there the tissues?
Yeah, I’ll be right. No.
No. I’m about to go any minute now.
Oh, here we go.
He was called Mr. Argument.
And he used…
Yeah. He’s behind you.
F-U-C.
Yeah. Double F.
And the very first lesson with him, he said,
“Is Argument by name, Argument by name?”
He did not.
He did.
And we were 11.
There you go. There you go.
Well, it’s also a generational thing.
You do it to you. That’s not right.
No. I had bored rubbers throwing at my head.
Yeah. Yeah.
Ear pinching. There’s another one, I hated that.
Yeah. There was something to be said for getting that,
like with your PE teacher, you know, it set you up.
It sort of gave you that sort of equal footing with everybody else.
I thought I was in a prison movie.
You know what I mean?
I was like, “I have auditioning for Scott in my hair, I’m telling you.”
I said, “Surely.”
Well, I said, “Kymel’s stir crazy, would you hold her?”
Oh, no, there’s a problem.
You know, you have a whole podcast on actor directors.
Right. Because that’s Sydney Portier.
And you’ve got “Night of the Hunter,” which is Charles Lawton.
Right.
And I saw one the other day, which is called “Rage,”
which was actor director. I can’t think of the guy’s name.
No, Rod Steiger, I think.
Who’s got to play pattern that actor?
Oh, I forget his name.
But he plays the lead in “Rage.”
Right.
And that’s just a revenge thing, like a, you know,
a man who just blows up and just loses it.
And he directed that.
And often it’s only one film.
“Night of the Hunter” is superb.
Right.
Charles Lawton, director, Robert Mitchemann.
Do you remember the “Wiscling Priest?”
Oh, right.
Okay.
We’d love and hate Robert Mitchemann.
Right.
And there’s Barred Mani at the beginning of the film.
Yeah, yeah, yeah.
He’s basically…
George C. Scott.
George C. Scott in “Rage.”
Yeah.
Yeah.
And Pat and he’s great.
And I’m pretty sure he hasn’t directed anything else.
There you go, Sydney Portier.
I think Sydney Portier directed a couple of other films.
He did a spy film, I think,
but Sturgrace is really good.
Yeah.
And that’s Sydney Portier, yeah.
But comedy is a massive part of my life.
Right.
I think comedy should be where drama isn’t drama
should be where comedy is.
Awards, right?
Comedy to me is the greatest thing gift to mankind.
Very difficult to make people laugh.
Yeah.
Yeah, but it’s also the most incredible thing.
Yeah.
I don’t think acting and crying and being realistic
is the thing that we should honor over comedy.
Right.
I really don’t.
Because comedy…
Why do you think the awards is full of skits and sketches
and comedy bits?
Because we’ve lost what we want.
We want to say…
And yet the awards don’t mirror that.
It’s very odd.
Yeah.
Yeah, it’s the best thing.
And you can’t get the best acting.
So you’re just best funny person.
Yeah.
Which is lesser.
Yeah, so the awards go into the series, you know, Steve Kerala, Jim, you know…
Yeah.
They have to go into a dramatic role to get an Oscar.
Yeah.
But I think awards are nonsense anyway.
I was listening to another podcast.
There are other podcasts.
There’s weird, strange.
There’s not just this one.
Wow.
Yeah, I know.
Right, the top one.
Right, the top.
We are a chart.
Fashion and beauty chart.
We are all across the world.
Is that an episode of the shopping channel?
Yeah, yeah.
No, it’s a…
We’re doing all right.
That’s a great podcast.
Great.
But of course my fee has gone out.
Yes.
The two shirts, sir.
That’s from Young Frankenstein.
Yeah.
When he goes, he goes, “My grandfather worked for your grandfather.”
And he goes, “Oh, he goes to calls. The red tab has gone out.”
Yeah.
That’s the old…
Yeah, it was Abby.
Abby.
No more.
No more.
Yes, that is a great movie.
What was I saying?
All about podcasts.
Yeah, but I can’t remember.
It was…
Oh, I was listening to another podcast.
Yes.
The rest is entertainment, actually.
We were Richard Ozzman’s “Good” talked about the sort of industry
and behind the scenes a little bit as well.
Yeah.
But they were saying in that how something like the Oscar doesn’t reflect
what people are actually watching anymore.
No, of course not.
Because people don’t go and see an indie film at the cinema or…
Yeah, they can see blockbusters, Marvel movies, you know, big horrors
and of course none of these things get best-actual awards.
No.
So more and more that the Oscars is representing a smaller and smaller
proportion of films.
And how interesting is that?
And you know, when you look at it, I hadn’t really thought about it like that,
but we’re in a position now where these films are going to win big awards,
but no one’s going to go and see them.
Amazing.
So you’ve got the Oscars at the cinema and nobody would go and see the Oscars?
But all awards, I think, are weird.
Yeah.
You know what’s strange about business awards?
You have to fully… Well, I suppose it’s the same as film awards.
You have to fully nominate yourself.
Write your own application.
You have to sort of go, “This is why we should get it.”
You know that?
Yeah, you have to sort of…
Like, it’s not just like all the businesses.
Yeah, you have to go, “This is why we should win it.”
And here’s the evidence to back it up and then a jury.
Look at it and go, “Sure, that goes down.”
That’s a pretty good file they’ve got there.
Yeah, yeah.
I love their photos.
Look at all those… Yeah, yeah, yeah.
Look at all the wonderful lies they’ve just tried.
We did that with a lot of stuff.
Yeah, but… Yeah, you learn your lesson and then you did…
You slept with the right people in between not winning them.
And then won it the second year, yeah.
Yeah, Anton DuBeck handed over that trophy.
30, devil.
Yeah.
How wonderful for you, though.
Yeah, yeah, it was good.
It was very good, yeah.
Well, I like it.
It was fun. If nothing else.
I like the cut of your due.
Yeah, we had a lovely roast dinner for it.
Nice.
Which we paid for.
But you know…
But…
No, it’s fine.
But I read that this all came from the Romans who didn’t want to give away their land
to all the different commanders and stuff.
So they started to invent darlings instead of money and land.
Right.
So that would became instead of…
Right, you’re the best at that well done out of this.
And it would be like, well, I’m going to put that on my front door.
And it would be like a sort of a, you know,
but without any kind of like, you know, giving away money or…
Right.
…prop to your land or anything.
So it kind of makes sense.
Oh, right.
But now of course you get an award and your feed goes up.
Yeah. Well, it’s good where we’ll talk about your second share.
Right. James, it’s been…
You might want to refund me.
What was that?
James, it’s been brilliant talking to you.
That’s been a real pleasure.
I’m really looking forward to sort of seeing what you share.
Comes out like in, and send us some pictures.
Me too.
Hopefully we’ll speak again.
Thank you so much.
And looking forward to seeing you on our screens again, see?
Right.
Can you untie me now?
No.
No, you’ve got to stay.
Damn it.
[Music]
Another episode of the Get Shirty podcast done and dusted.
As always, we must say a massive thank you to our guest.
And it was James Bariscale this time.
Such a great chat we could have talked for much longer.
And in fact, we did once we stopped recording.
And you did miss some really good bond chats.
So perhaps we can persuade James to come back on again
and talk exclusively bond.
Also, we need to say, as always, a thank you to Dad Hazard for the music.
To Stuart Wilson for the editing and production.
And to Sam for keeping us ticking along as per usual.
Don’t forget as well to keep an eye on our social media.
You can find us on all the usual.
But we’ve got some great future guests coming up.
And some exciting podcast news.
So until next time, do try not to get too shirty.
[Music]