"Edgar Wright"

This is a podcast and we're talking with people about talking. We're talking about stuff. We're talking about life. We're talking about stuff that people like, like, life, like, like, like, like, like, like life. It's smart less. Smart less. Smart less. Smart less. I watched episode five last night of Black Rabbit. Oh, Sean, you know what? You're such a good friend. Six, seven, eight. I'm sorry. Hang on one second. Well, when you, you know, support, okay, you did. I watched them all. No, you did start with those. Oh, sorry. I did it. I did it. Yeah. Oh, Zark, I am so close to watching. Oh, Zark. I know. I know. Dude, I'm so excited. I first of all, you know what? I'm close to I'm close to seeing your movie for the third time. But listen, why? Why? By the way, I haven't seen it. No, I know. But, but you're an incredibly supportive friend. So no doubt you will. Oh, yeah. I'll see it. Of course I will. You know what I actually did? I actually, no, no, no, sorry. I was talking to Sean. Oh, yeah. If that wasn't already clear. I, I, yeah. Listener, just give us a second. Go ahead, Chewie. What are we going to say? Chewie. Chewie, oh, look. I got a lot of issues with Will Arnett this morning. Uh-oh. No, not really. I love Will Arnett. Will Arnett's my favorite. I, I, I would just say I'm flying to New York next week and I'm, and I'm downloading all the episodes and I was going to watch it last night, but Black Rabbit is very intense from everybody that I've heard is very intense and I don't like watching, I don't watch intense stuff before bed. Is that true? Well, you're going to have to watch it. I quite literally don't. You're going to have to watch it at night because I like low lighting on set. Um, it's really cool. But, but sorry, your plan was to watch it on a, on a laptop. They're on a computer. They're on a plane. They're on my, on my iPad. So the third time I see your film, I'll see it in another movie theater. Like I did the first two times and really focus. Is it a, is it a feature film or is it, is it a limited series? It's a limited series. Okay. Thank you so much, Collar. So I thought maybe the least you could do is watch it on the television at your house. We got a single, we got a single, over on the four of us. It's really good. Can I come and watch it in your theater? You sure can. That would be fun. I'm going to watch the last two. Wait, Sean, you watch it in his theater? Maybe watch the first two in the theater. He's going to watch the last two in the theater. The last two, yeah. But you watch it there on your, what do you got, a 13 inch laptop with a couple of earbuds? Let me just see. You might not have my number. Let me just see. It was while you were out of town. And you know it's the open invite. Wednesday, Lakeside, Wednesday, Lakeside. Open invite. If you could, if you could somehow get through the first six episodes on your 13 inch laptop, you're welcome to come over for seven and eight with Sean. Yeah. Let's do that. Do you think I'm on a 13 inch laptop? That's the worst thing you've ever said to me. What is it like a 50 inch laptop? That's the thing I get offended by. How is everybody doing? I'm doing really well. Sean, you're adjusting back to being in Southern California? Yeah. Yeah. Finally, just like the last two days. Are you off your jet lag yet? Yeah. Just like literally the last two days. Finally, finally waking back up at like four in the morning, like my regular schedule. It's been a week over a week, eight days. I know. How many pounds have come back onto your body? This is a good question. Just yesterday I was like, wow, I gained four pounds already in a week. No. Well, I mean, I don't know if it's just I'm full of whatever, but yeah. Spaghetti. Yeah. I mean, I just had another. He's got some colon back. Wait, you just had a what? I just had a piece of cake, a pumpkin cake with, well, because I lost so much weight. I could just eat a kind of couple of things. Well, but what was happening as you were losing weight was you were approaching your proper weight, but you said, no, no, don't get too close. Let's get it back up. Are you, sorry, Sean, are you drinking cake right now? What is that like? Remember the cake shake from Pertillo's? Remember? Oh, yes. Isn't that a great idea? He grinded up a cake and put it in a milkshake. So it's a cake shake. Yeah. It was so good. I heard they got that from an anonymous tip from Blenell in Illinois. You know what you want to do? Put the cake in the shake. Sean, did you say you had a piece of pumpkin cake already this morning? Yeah, pumpkin cake. No, it's just past 9.30. Yeah, a huge piece of pumpkin cake with my tea, my tea with milk and sugar. I know there is pumpkin cake. I want some pumpkin cake. Yeah, pumpkin cake with cream cheese frosting. It's so good. It tastes like fault. Come down, come down, come down. Did you get that? Did you make that? No, I bought it from Trader Joe's. Remember when you were making yummy stuff for a little while last year? Yeah, I'll do it. You want me to do it again? When were you made a cheesecake? I was sending you recipes from the New York Times. And I made them. Oh, God. Okay, I'm going to start sending them. All right. Well, you know what? It's a fact that I'm drinking. Speaking of sweet treats, go ahead. Yes. Good, nice, nice. It's good. Very good. And tea. And tea. So British guest? Yes. Is it a British guest? Yes. He's a very good friend and I love him and you guys love him. Daniel Day-Lewis. And you guys are friends with him too. My guest today has been obsessed with movies since he was a kid. His parents dropped him at the cinema. At the cinema. Because it was cheaper than a babysitter. At 14, he was charging classmates for his homemade action films, working supermarket jobs to buy reels, staying up till 3 a.m. for late night horror. When he finally got his first... Danny Boyle. When he finally got his first VCR, he was watching six movies a day. Since then, he's made zombies lovable, turned small town cops into action heroes, turned a pub crawl into the end of the world. Please welcome my brilliant, honored to call a friend, Edgar Wright. I knew it. I knew it. I knew it. I knew it. Will got it after one sentence. Straight away. I knew it. Edgar, I knew it. God, it's so funny. I was talking about you yesterday with my son. We were talking about Sean of the Dead and then they were like, have you ever seen hot fuzz? I was like, guys, I am decades ahead of you. Have I seen hot fuzz? Before they were born. Yeah. Yeah. Well, for... I don't know whether I should be flattered or it's just predictable that like Sean Bestie said, he likes movies and Will said, Edgar Wright. Yeah. I know. I know. I know. How did you get that so fast? That easy to pinpoint. Either you Quentin or James Gray. No, you know what, Edgar? You know, it's funny. One of the reasons I was talking about you with my son, my 15 year old is we were talking about films and stuff that he like, and we showed them Sean of the Dead and hot fuzz, well, not hot fuzz, but Sean of the Dead when they were quite young, because I was like, this is my idea of a perfect movie. Yes. Because as you know, and I love you, and I love that film and it's so... It's still so... Oh, you know what we were talking about? How brilliantly you had people panicking in the background. And Sean and those guys had no idea. And I was like, it's such brilliant filmmaking. So that's how it came up. Oh, thank you. I think it's important to have... I mean, I'm not a parent, not yet, but like to have horror films that you can show to kids. Yeah. Because yeah. I think my parents would allow me and my brother to watch things that were like sci-fi related, but something like Halloween or Friday the 13th would be off the table. But Alien and the Thing were okay, because they had a sort of fantasy sci-fi element. What about the Exorcist? I can't believe I was allowed to see that. No. Yeah. What about... Have you seen Weapons? Weapons is about kids that disappear. I love that movie. Would you let kids go see that? I mean, I would. I mean, you have different... In the UK, as you probably know, the ratings are different. So you can't do the thing that you do in the States where a parent or guardian could take you into a PG-13 or an R. Right. Like a 15 is a 15 and an 80 is an 18. So when I was... There used to be a cinema around the corner of my house where I grew up and probably from the age of like 12 to like 15... 12 to 13, I was trying to get into 15 rated films and doing that thing where you would be so dumb. Like, I mean, I remember the films I got into and I remember the films I didn't get into. Like, I couldn't get into Aliens. I couldn't get into the fly. And then you... I read that you changed your voice to act. Yes. You know, the two things I would do to pretend to be older than I was... Top-headed tales. ...was affect a deeper voice. And also wear hair gel, wear product in my hair. I thought that was something adults did. But it didn't... Sometimes it didn't work. One time though, I tell you the first 15 I ever got into was Gremlins was rated 15 in the UK. Oh, that's great. Wow. Because in the US it was one of the first PG-13s, right? And me and my brother... I was 10 and my brother was 12. We went up to the cinema manager with a copy of the novelization of Gremlins. And said to the manager, hey, we've already read the book so we know what happens so we're not going to be scared so you should let us in. And it was a matinee and it was pretty quiet and the manager looked around and said, get in there. And it was honestly the most exciting screening of my life because any moment you thought somebody's going to come in and say, you shouldn't be in here, you're not 15. Oh my God. That's good, I love that. You know, hey, before I forget, because it's such a great question and my brain doesn't work good, do you guys celebrate Halloween over there? It's not as big as it is in LA, but then if I have one bugbear about Halloween, is that in Los Angeles it seems to go on for three fucking months. Yeah, I know. I mean Halloween starts at the end of August, it's ridiculous. But it struck me that you would probably be a great costume maker, thinker. What was your best Halloween costume you've ever put together? And did you go to the prosthetics department there to get some appliances put on? Appliance. You know what I've done? You know what, when I've been living in LA sometimes, I used to resent the fact that you'd need to get more than one costume. Halloween would be like a four-day weekend and it's like, I'm going to do one costume. I think my favorite one I ever did and this will appeal to you guys was this is also, this was in the way that you showed Sean of the Dead to your kids. This was a film that was dear to me when I was too young to see it, is I went to a Halloween party in LA as David Norton from American Wolf in London. Oh God, really? Wow. Was it a real deep cut costume? Yeah, it is. What then, JB? What was your best costume ever? No, we've done it. Teen Wolf II, right? Teen Wolf II. Close. Teen Wolf also. Close. I went as Jason Bateman, which, What, you did it? I did, which meant that I wore the, a hockey goalie mask for Jason and a net over my body with a bunch of hooks and lures on it for Bateman and I thought I was a genius. That? I was so disgustingly proud of it. Oh my God, wait a second, let's spend some time. I was just like, yeah, I was like 19, I just like tapped everyone on the shoulder saying, hey man, guess who I am? It was just, it was a total embarrassment. Shawnee, Shawnee, I mean, that is embarrassing. I told you one that I, I think I already told you one, I went as static cling one year, but then I went as, and then when I was a kid, when I was a kid, my mom let me go as a hooker. I went as a, I dressed up as a hooker. Wow. Yeah. And with that look. And did you work? No, I mean, she got me like. How much did you make? Yeah. Was it successful? She got me like a boa and like a jacket, like no questions asked. And like, lady, you're not going to ask any questions. My first year in New York, 1990, and I didn't really celebrate it that much before, and I agree with you, Edgar, it's too, I'm a bit of a Bahambug when it comes, when it's not kids for Halloween a little bit. I love it. But I went as Bobby Peru from Wild at Heart. Oh wow. And I took that. Did you tell Willem Dafoe that when he was on? I don't think I, did I tell him? Bobby Peru, what a name. Amazing. I took Dracula teeth that you just buy at like at a Halloween store. And then I melted them down so they were straight across. And I wore a Bolo tie. Wait, who's Bobby Peru? What was that from? Willem Dafoe's character. Yeah, Willem Dafoe's character from Wild at Heart. Oh yeah, yeah, yeah. Terrifying teeth. Yeah, the teeth are horrific. The teeth are terrifying. Yeah, and the problem is I had to explain it to everybody. It's just such a boozy holiday, isn't it? It is a boozy holiday. I mean, Mike, you really got to drink into it. Wait, I want to know, Edgar, I had the pleasure of meeting Oscar, your older brother on the set of The Running Man, which will get to later. Oh yes, The Running Man. Yes, this is a pre-emptive. This is a film I want to see. And the blind applause. No, I mean, it's just watched it the other day. We'll get to it later, but it's fucking incredible. It's incredible. I'm sure. Yeah, I was blown away. But wait, I want to talk about Oscar. Did that, how were you guys close when you were young? And did he have the same love that you had for movies and stuff? Yeah, very much. I mean, my brother's, he's two years older. I think we went through that difficult period as teenagers, where I think from the ages of like 14 to 17, we hated each other's guts. And then we got thicker thieves again immediately afterwards. And he's worked on all of my movies as well. So he's amazing. So it's really great to have that relationship. But there was a period where we hated each other. Yeah, yeah. As teenagers do. Of course, of course. Edgar, where did your love of, and then I assume shortly thereafter, the skill at creating such exciting visuals in films, along with your ability to tell story and have performances and all that other stuff. And music. And the music. Yeah, but yeah, so you're, can you attribute it to one particular film that you saw and you're like, that's the kind of style I want to learn about because you're just so incredible at using every department. You know, often directors specialize in one, but on all of them, you're just, you seem to have so much fun making movies. I think it was, my parents were both artists and art teachers. And I think they got me and my brother interested in cinema early on. And they were very supportive parents, because I'm not from a rich background or anything. And I had no connections within the industry, but my mom and dad were just kind of like, encouraged us to sort of go for it, even though there was no clear path to being in film. So I think that the thing was, of starting with like a Super 8 camera and just making like amateur films and sort of just fucking around. But I think the, and so it was that thing of like, knowing I wanted to be in film, but not knowing exactly how to do it. And the only way you could really like, force yourself into doing it was just making films with your friends and watching things and trying to figure out how they did it and doing the zero budget version of it. So then was that mostly it? The fact that you had a little camera when you were a little kid and you're really too young to kind of grind about performance and crap like that. You're really like looking to like, like whip, whip pans and strong pushes and all that stuff. Like cause you had a little camera and you didn't have Dolly track or anything. You just like on your shoulder. And it just, it's a much more visual effort, right? As a little kid, I bet. Yeah. I mean, I remember making, I won a video camera on the BBC when I was 16. I'd entered this competition that was part of Comet Relief. And I won and I won a video camera, which I previously wouldn't admit I would to afford. But as soon as I had that, it was kind of like my, you know, kind of, you know, my school sort of went out the window a little bit. And I was just this like amateur filmmaker, like making sort of films in free periods. And I would make things like I would make camp. I would make like a, I couldn't, I didn't have a steady cam. So I would make like a fake sort of cradle with like a ceiling tile and string and like run around with it doing. To answer your question though, Jason, I tell you a lot of filmmakers that were really big to me beyond like, you know, Steven Spielberg and George Lucas, but there was a particular time of like when I was sort of growing up in the 80s of people that meant a lot to me were like, John Carpenter, Joe Dante, John Landis. And then when I was like in my, maybe you're at 15, I think there was the year that I saw Raising Arizona by the Coen Brothers and Evil Dead 2 by Sam Raimi in quick succession. And those were real like mind blowers to me in terms of like, oh my God, look how much fun these guys are having in film. It was so infectious. Both of those movies, one of which is a comedy, one of which is a comedy horror, but they have a lot in common. And those guys were friends as well and colleagues, but like just what they did with the camera and how they got like just magic and infectious enthusiasm out of every frame. Those were like, I got to see Evil Dead 2. Is it significantly better than Evil Dead 1? Oh, it's just, have you not, have you, you haven't seen the second one? Don't know it, yeah. Oh, it's fun. It's a blast. It's kind of like they just decided, let's remake the first film and put more three stooges in it. We'll be right back. This is a paid ad by BetterHelp. You know, you've heard me talk a lot about my mom and how funny she was and how much we love her, but boy was she a huge inspiration to me. 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Your emotional well-being matters. Find support and feel lighter in therapy. Sign up and get 10% off at betterhelp.com slash smartless. That's a better H-E-L-P dot com slash smartless. And now back to the show. Edgar, I love that in my notes it says you made a clay animation. When you got that camera about wheelchair, clay, they usually just put it together. Combine the two. Yeah, they bundle it. They bundle it. Amy Pollard taught us to bundle, right? Bundle, yeah, I got to take that into consideration. You made a claymation about wheelchair access. Is that what it was? That was the thing for comment relief. Yeah, it's so funny. I mean, what about wheelchair access? I mean, why that? I think I had seen something. There was a film program in the UK. I guess it was probably film 91 at the time, but they had a thing about the lack of wheelchair ramps in the cinema. So I did an animation about it for comment relief. Oh, that's great. So that was when I was on TV when I was 16 years old. And one of the things... There's a funny thing about that, and actually you can find the clip on YouTube. One of the weird things, imagine being on live TV for the first time, and they accidentally told me the night before that I'd won. And then somebody or a researcher said, oh, he's not supposed to know that. So then imagine having this pressure being on TV as a 16 year old. Then they say, tomorrow when you're on the show, pretend like you haven't won. So when they say that you've won, you have to act like you're really surprised. That's a lot of pressure on that. So if you watch that clip, if you see that clip, you'll see my amazing acting of like, who me? Oh, I love that. That's great. If anyone wants tips on how to act like you never won, just ask me. Hey, listen, Edgar... Well, that's going to change after this movie. You know, we got to know each other back kind of around the dead days. And then you introduced us to our dear friend who we're also friends with, Pete Serafinowicz, who was through you and Simon, everybody. I know all these great dudes. And it was in that time that you recommended that I really wanted to watch the show that I've told so many people about that to me is just such an example of a really great show. Great writing, great directing, great acting, which is spaced and is not as heralded as it should be. And I urge anybody who wants to watch a show that's really original and really funny to go and watch spaced with that you directed with the great Simon Pegg and Nick Frost. Yeah, and Jessica Hine. And Jessica Hine. I mean, incredible. How did that come about? Well, I was... Yeah, I had basically... I'd gotten my break into the industry. I had made a film when I was 20. I went to art college for two years, and then I made a really low budget film called A Fistful of Fingers that was shot on 16 mil, which cost like 30 grand total. A fistful of fingers. It got released at the cinema in the UK. I say cinemas. They were releasing A-cinema, a one-screen. But through that, I got into TV. It was first through Matt Lucas and David Walliams. They were doing a cable show. I was directing that when I was 21. And then a couple of years later, I worked with Simon Pegg and Jessica Hine for the first time. And then spaced. I was 24 when I did spaced, which seems crazy. Wow, that's amazing. I realize now... I knew it at the time that it was really special, but now I really just... I feel so thankful that, like, I can't believe I was directing, like, a show that was on network TV when I was 24. And actually, I remember... Well, I got to say, actually, I want to say thanks to all of you. Will, I remember when I first came to LA, you and Amy, when you were both so generous to me and just would sort of take me... And the first time I met both of you, actually, was at a dinner that Will brought me to. But I just... I want to reference space because I remember something that you did, because I came and visited the set of the rest of development. It must have been a season three episode. I don't remember which one it was, but I remember Bob Einstein was in it, and I went on set. But I remember, Will, you did this prank, that when I came to... So, Space was the sitcom that I did on Channel 4, which is one of the main channels in the UK. And it was out on DVD, but you couldn't get it in the States yet. So, kind of like comedy nerds like yourself, like, would get kind of copies of it and have to have a region-free player. And I came to the rest of development set, and I went to Will's trailer. And Will, you had inside of your trailer, you had the DVD cover of Space, photocopied, and plastered absolutely everywhere. And then he turned around and he said, oh, I didn't know you were coming. That's great. Which was a very... Which says everything about you is extremely silly thing to do, and I really appreciate it. Yeah. Yeah, I remember we all met at a restaurant in Venice or something, and that's when Will said, you got to watch this movie, Sean and the Dead, and watched it right away. And yeah, that's when we first met. It was so long ago. Yeah, 20 years ago. It was through all that, and then look around you, and you really opened my eyes. Actually, you kind of... In addition to Space, so many of the other things you were really my entree to stuff, because we didn't... As you said, we didn't get a lot of those shows, and you recommended so many things that really opened my eyes to a lot of the great stuff that they do in the UK, and I've never looked back. Oh, thank you. I've been an Anglophile ever since. I want to say one thing that... Like, this has never been mentioned on this podcast before. I don't think so. But Jason, in the UK, in the sort of mid-80s, they actually showed, and I was a fan of, It's Your Move. Oh, yeah. It's true. And I remember specifically, and I've mentioned this to you before, the episode that I remember, and this would be a real deep cut Halloween costume, there's an episode where you have to pretend like a rock band is coming to school. In the Dregs of Humanity. The Dregs of Humanity. And then he has great skeletons. He remembers that. He remembers that. It's insane. I remember that. Well, I'd like to pitch that next Halloween, the four of us should go as the Dregs of Humanity to a party and have to explain it to every single person there. So we're doing a bit from It's Your Move. Come on, It's Your Move, don't you remember? I loved It's Your Move too. I watched it when we were on the show. I watched it. I did too. Me too. I was like, this kiddie is such a bad kiddie, so sort of, you know, just doing shit. It was cool. It was a cool show. So then after, wait, I did want to tell, I wanted you to tell me this one thing about Fistful of... Well, I want to ask about Space, sir. Just while we're on Space, I remember you told me one time, Edgar, and tell me if I'm wrong, that you, when you and Simon were putting it together in Jessica and you didn't know, and Nick had never acted before. Is that true, Nick Frost? Oh, that's right, yeah. And how that came about? Nick had never acted before, and there was a... What's the version of Zag in the UK is like the spotlight, which is like the kind of actor's union. And there was another actor called Nick Frost in the union. So because the Channel 4 weren't really going to take a chance on somebody who had no credits. So we said, oh yeah, no, he's been in all these other shows. No, really? We pretended he was the other... Apologies to the other Nick Frost. No fucking way. It's true. No way, and he could keep his name. Yeah, I think... I'm not sure, maybe the other Nick Frost changed his name. And Simon, maybe you or Andrew or Simon told me, is it like Simon worked with him at a restaurant maybe, and he said he was his funny friend, and he was like, he was funnier than everybody else I knew. He worked at a Mexican restaurant, which is not really a thing in the UK, as you probably know, called Chiquitos. I remember he wasn't... He'd never acted before, and he would do this thing, and he kept doing this on Shaun of the Dead, that I would sometimes give him a direction, and Nick Frost would walk up to me and whisper in my ear, saying, please remember, I am not an actor. That's great. And that continues to this day. I love that. So funny. So wait, so the fistful of fingers, you got it... Somebody gave you $11,000 to make that? Yeah, I mean, it was... I went all to a newspaper editor in my hometown, Mike Mathias, who had some... I think he had just come into inheritance, so he had some tax loss money. So we made the whole thing on $11,000, and then we raised another... Maybe it was the whole thing cost $22,000, actually. Wow, that's amazing. Yeah, it was like shot it over 20 days on $16,000. It was all starring my school friends and my college friends. It didn't actually occur to me that there might be actors around. In fact, the only actor that's in it, and if you... from Ted Lasso, James Lance is in the movie, and the only reason that he's in the movie is that he... His mom heard in the local paper that some kids are making a movie, and he said, oh, I'm an actor, and I said, oh, sure, you could be in it. That was how the casting worked. So it was very... It was like 78 minutes long with credits. Actually, here's a good story. I had to pad it out. The movie, as you all know, having made directed and written, is that you usually have the assemble edit... For Tracy, the assemble edit is when the whole... All of the takes that the movie had put together. So usually an assemble edit might be hours and hours long, but the assemble edit of Fist for the Fingers, the whole thing with every single shot was like 75 minutes long, and it meant that I couldn't really cut it down, which was... there were some bits I wanted to cut out. All the shitty parts need to stay in. Yes, so here's what I did. I needed... there was at least one, but I really wanted to cut out. I mean, now I probably cut another 25 minutes out, but at the time, to cut some bits out, I basically created a scene in the dark. In the middle of the movie, there's a scene where it's a Western, so there are cowboys around a campfire and they blow out the fire. And so I thought, I could just put a whole scene in black here to pad it out for two minutes. So I just put black film and just... They just talked for two minutes in the dark, and that was my way of padding it out. Wow, that's a good idea. Long end credits, long, only credits. That's great. So from there, after Spaced, you did what's known as the Carnetto trilogy now, which is Shaun of the Dead, Hot Fuzz, and the World's End, with your friends. I mean, it's a dream for everybody to just kind of work with their friends, and you did it three times in these incredible movies, like one after another. Is that working title on all three of them? Yeah, yeah. Eric Fauna, Naira Park, who you all know, Jason as well, like did all of the movies. I mean, I think... Yeah, and Liza Chasen. Yeah, and it was straight after... I say after the second series of Spaced, we started writing Shaun. I mean, it was funny. It was never meant to... It's funny, it's called the Carnetto trilogy, because a Carnetto for the American listeners is a brand of ice cream in the UK and Europe, in fact, in most of the world, except the States. Yeah. And it's three layers. It's just... No, it's not. It's like a pre-packaged ice cream cone, isn't it? Yeah. It's like a drumstick. Yes. The only reason it came up as a trilogy is when we did Shaun of the Dead, which mentions Carnetto once, we got free ice cream at the premiere, and I said to Simon when we were writing Hot Fuzz, hey, we should write Carnettos into the second half so we can do free ice cream again. That's great, I love that. How did you and Simon meet? Because that was... It's been a sort of a lifelong collaboration, you guys. He says we met at the Battersea Arts Center, and I know the truth is we met at the Riverside Studios. We met... He was friends with... There was... Around that time, I first moved to London 30 years ago, and there were a lot of people on the scene who have all now become huge, like the Mighty Boosh guys, and Simon and Matt Lukes and David Walliams and the League of Gentlemen guys. They were all sort of coming up around the same time. And I met Simon backstage at a comedy gig, and I'd seen him doing stand-up on TV, and he's from the same area as me. We grew up 50 miles away from each other, so we're both from the West Country, and I'd seen him on TV doing a stand-up set about regional TV. So I went up to him and said, hey, I'm from the West Country too. So I think he remembered me as who's that weird kid... Who's that weird kid with the beard? And then you guys... Oh, the lights are turning off in my room. I have to... There's motion sensors on in here. Look at that. SOS. That's okay. I'm in the dark now. You're definitely not in the U.S. Are you holding so? No, we're shooting the campfire scene. We're shooting the... Wait, so you guys... We could have this out for two minutes. So you guys meet and you say, hey, let's do a TV series? No, we... Oh, somebody's coming in to... Hey, here we go. Somebody's switching the lights on for me. Thank you. There's motion sensors. I'm in a conference room. I'm actually mixing the Running Man right now. It is not finished. It's out on November 14th. And it will be finished by then. But Simon... Yeah, he was... I started doing TV and I did this TV show on... I guess the British version of Comedy Central, the Paramount Comedy Channel at the time. And there was a show called Asylum. And I got asked to direct it. And Simon Pegg was in it. And he brought Jessica Hines, who co-wrote, spaced, and co-created, spaced onto that. So I was working with him for the first time. So I'd already met him. And I knew then... It's funny when you meet somebody that you think, I'm gonna... I thought even then... Like, this is eight years before we made the movie, I was thinking, I'm gonna make a movie and he's gonna be in it. I knew then that Simon was like a great comedy leading man. And it was just about then finding the idea of what that was. Yeah, it's so great. So I can't believe you're at a mix, right? If you've already given your notes, they're implementing your notes in that break and you're doing this podcast. Yeah. It's very fancy to say, guys, I'm gonna go and do Smiles right now. Yeah. It's very fancy you're doing a mix. They're like, what? What are you talking about? What the hell is that? I'll bet that mix is enormous, right? I mean, it's... Well, Sean has seen the movie. Yeah. It's a complicated beast. Massive. I'm sure. I mean, it's so incredible. Well, before we get to it, and we're gonna get to the last thing I wanted to say before we get to that is Baby Driver, because Baby Driver is one of my favorite movies of all time, and seen it so many times. And yes, bravo, bravo, bravo. And I did not know this until... They let the baby drive. This crazy movie. The baby is driving. A bambino drives. I was hoping you were gonna say bambino. I was hoping that you did. I did. He did. I didn't know that you had or still have Tinnitus. Is that true? No, I had it when I was young. Which is when you hear high-pitched things in your ears and yeah, pitch noises and stuff. But it was something that actually, you know, Tinnitus suffers, or tinnitus, as we call it in the UK. It's one of those words like... Aluminum. Aluminum. Aluminum. Aluminum. Aluminum. Risotto, risotto. No, I had it when I was young, and... But I didn't, you know, like the thing that... The thing that the character does in the film to sort of like tune out the tinnitus with music was not something, obviously, that I could figure out when I was... It was happened when I was probably like eight or nine, but it was... Yeah. Yeah, I did used to have that. So it was something when that kind of idea came back around and knowing people, obviously, a lot of people in the music industry have Tinnitus. Yeah. So it was... I had had experience of it, but not anymore. Okay. I mean, hopefully not again. And when did you become, and I'll say the word, obsessed with music? Because you sent me, or you still send me your yearly kind of... Yes. So good. End of your playlist. Yeah, and I listened to it. And it's so... It covers all mediums, all kind of genres of music. When did you first listen to an album or a song and be like, you just... You love it? Well, I think probably just, you know, my parents vinyl, like in the days before, like we were all old enough to remember the days before like computers and, you know, when there's nothing on TV. I mean, I used to kind of like allow, I'm sure, like a lot of people like put the white album on and just watch it go around. Yeah. So, and watch the vinyl go around. So I've always been a huge music fan. I think it's probably when I don't play an instrument and I think it's one of... If I have a regret, it's that I don't. I mean, I guess I could still start. Number two late. Number two late. But... I'll never be a pianist like you, Sean. Although, if I would let to play the piano, that would be the instrument I'd let to play. Yeah. I can't do it like you. You can. You can. But your films, you know, use... There's such a great expression for your sort of musical affinity in film, right? And it's such a great way to use music and you do it always so effectively in your films. Do you get really excited by that process of using music in your films? I think I have the kind of movie music version of Sinistesia where I kind of just imagine it. Like Baby Driver sort of existed in my head. Yeah. For maybe like 20 years before I made it where it was that song that opens the movie Bell Bottoms by the John Spencer Blues Explosion. I would like hear the song and I would see the scene. And then I don't know if you guys have this as, you know, when you're writing is... You can see the movie in your head and the difficult part is writing it down. So I think Baby Driver is one of those films that I kind of saw in my head and at some point I had to figure out what it was and how I could make it into a film. So that would have been... I do that sometimes. Fermenting in my brain for a long time. And the music was always the thing that inspired the sequences. And it is something that like in a lot of the movies I've made is that like a song will sort of trigger the entire thing. What about directing videos? Have you done that? Because I'd imagine that would be a super exciting thing to do in this area. Yeah, I have done music videos. I mean, the sad thing is just that the kind of like the, you know, budgets for music videos started going down like 25 years ago. And now, you know, like it isn't a thing in the same way it was, which is a real shame because obviously there are some like music videos like what, Michelle Gondry, there are like works of art. They belong in a museum. They're incredible. Like, so I have done some, not as many as I'd like, but I've done ones for Beck and for L Williams. And I'd like to do more, but they're difficult things to make because they, you know, if you're doing it for a... So constrained as a budget, yeah? Yeah, it's like a lot of pulling favors. And you can only do that so many times in a row. I think I did too low budget music videos in a row right after Shaun and the Dead. And I realized after the second one is like, ah, you can't ask people to work for nothing twice in a row. Or the opposite of that would be a lot of fancy directors like you will, in between projects, will do commercials. Yes. Because the budgets are so high and you can get all the fun gear and work with the cinematographer. Maybe you have... Do you do a lot of that at all? Not as much as I'd like to, but I mean, I think also the thing with that is also, if you've got a crew that you really like is to keep them working. Yeah, yeah. You know, and so that's a nice thing is it may not even be working with new crew. Sometimes it's working with the crew that, you know, as you know it, like it can be like three years between movies or four years between movies. So if you have a team of people that you like working with doing commercials and music videos, it's a great way to all keep working together. I mean, I think that's the thing because I write as well. It's... I'm always envious of directors who can kind of do a film a year because at a minimum it's like three years between movies for me. And usually when you finish the movie, you kind of think like, oh, we've got this great team. We should just keep going. But it never works out like that. You can't... I've never rolled straight into another movie. Because you're writing everything you direct, yeah. And I need a nap. Yeah. Yeah, I remember you saying that years ago we were talking about something and you said, no, no, I only... I can only direct the things that I write. It's the only way you can kind of get your brain around it, right? I mean, you've always held to that. Yeah, so far. I mean, I... That's not to say that wouldn't change. And, you know, I don't write... I mean, Baby Driver is actually the only thing I've written on my own. Everything else I've written with co-writers, which, you know, like... And I love that. And I like doing that. But I wouldn't... I wouldn't rule that out. I, you know, I think it's that thing where you... I mean, it's really difficult as well with, like, something like Shaun of the Dead was a film where... to just read the script without knowing how I would direct it or how Simon and Nick would perform it, I think, you know, some actors passed on it because they were just sort of baffled by it or studios passed on it because they couldn't quite see it. And in a way... The way that you guys... Yeah. You had to see Simon and Nick doing it. And you had to see their tone of their naturalistic comedy performance because you could take exactly the same screenplay and make it really broad and silly, and it would be an entirely different movie. So it was a thing with that film in particular, and it helped that we had space and we could show people space and say, hey, this is kind of what it's going to be like. But it wasn't an easy sell for everybody, you know? I'm sure. I'm sure. It's a narrow target. If you look at it that way, it's a comedy, it's a horror film, it's all of these things, and it's silly in parts, in a way, but you also have to have those... I tell you, man, one of my favorite moments in film history, I swear to you, and I reference it all the time, is when everybody's surrounded and Nick gets a fucking frost, gets a fucking phone call, and he answers it. Yeah. And he's like... Surrounded by zombies. Yeah. Yeah. You all right? How you doing? Yeah. You know, he's just super... Talking to his dealer. Talking to his... It's so fucking funny. Yeah, yeah. In this great, heightened moment, then it's completely burst by he gets a phone call. And he takes it. We'll be right back. And now, back to the show. Is there a comedic, tonal, like, North Star for you that I'll bet is British, that sort of established what you thought was the funniest kind of comedy when you were growing up? Oh, yeah. I mean, I think there were shows... Some of them before my time, and they get repeated. I mean, I felt the shows that were really like the groundbreakers. I mean, obviously, Monty Python was before my time, but it was repeated a lot, so that would be something... Like faulty towers. Like faulty towers. I mean, the ones that were on TV when I was... You know, like things like faulty towers and... Are you being served? Monty Python was slightly before my... Are you being served as always on? I love that show. But I think the first one that made a really big impact on me, which is more of a culty show in the States, was the Young Ones. Which was only like 12 episodes, which was so punk rock. It was only 12 episodes? I've never seen that. Yeah, it was like one series in 1982, one series in 1984. Every episode ended with them dying. It was such a sort of... I love that show. It was like a total hand grenade of a show. And I remember I was too young to see it the first time at school, but all of the cool kids at school were talking about the Young Ones. So when the second series came around, I was all over it. Remember Nature Sows the Seed? We plant the seed. Nature Sows the Seed. I remember that show. That was so good. I want to see it. It was incredible, that show. And it really stands up. They used to have bands on every week. They figured out they could get a bigger budget as a variety show if they had a band on. So randomly in the middle of a sitcom, like Motorhead would be on all of a sudden. It was such a weird... Yeah, the format of it was so alien to what we were accustomed to. Well, certainly, I don't know about the US, but Canada as well. So that when we... I remember seeing it. It was so jarring to watch the first time, because it was so unlike anything else. Yeah, yeah, yeah. I think it was like that on British TV as well when it first came on. I mean, it was the start of something. I mean, alternative comedy, as they called it in the 80s, was like huge. And there were shows that haven't traveled over to the US that... I mean, I guess in that pre-cable age where things started traveling over and like 20 years ago, but prior to that, there'd be things like The Day to Day and Brass Eye and Alan Partridge and... Brilliant. Those shows were like huge for me. When you were writing comedy specifically, do you find it helpful? Because you mentioned you write with other people and you've written with Simon a lot. Writing comedy, do you find it helpful to write with somebody else? Oh, yeah. In terms of sort of pace and sort of for tone and all these things and for jokes, obviously. I think writing comedy on your own is a very lonely business. Yeah, yeah. I think writing with a co-writer and pinging things off each other or just reading it aloud, I think that's a big thing is just reading the script aloud to each other. And you get to the point where you could almost perform it like a play. I think, you know, Baby Driver, I wrote on my own, but that was more of an action film. And it was the most difficult script to write because you're constantly looking for affirmation from somebody. Like, please, somebody read the pages at the end of the day. But, you know, obviously with writing with Simon Pegg or Michael McCall or Jack Cornish, you know... You have immediate feedback. Pinging off each other. Yeah, because if you write something and you're like, oh, this is kind of a funny bit. And if you're writing with somebody else and you sort of go, yeah, and then the guy blah, blah, blah, blah, blah, and then you're writing with, goes, yeah, it's pretty good. And you're like, okay, well, yeah, that's a terrible idea. Yeah, yeah, yeah. No, I mean, I'd like to... I mean, I'd like to write something else like that. And me and Simon keep talking about writing something else together. And I think it really just comes down to just being in the room together, really. It's just like, we've got to do that and just hash it out and have fun with it, you know? Okay, speaking of writing with somebody, you had a writing partner on The Running Man. I want to talk about The Running Man. I'm so excited for everybody to see this. It's so good. I was blown away. I have to say... Listener, Sean P. Hayes is in this film. Sean is in The Running Man. I did it to hang out with Edgar, and it was a blast. It was so fun. And you're in the ones... The only scene in the movie that Glenn Powell is not in. I know, right? That was in the country. That was in the country. No, was that... Do you requested that, Sean? That's an odd... No, Glenn requested that. Oh, Glenn did. Glenn's been specified. By the way, I spoke to Glenn for a long time yesterday and went on and on about how incredible he is. He is so commanding and so... I said that the greatest gift I... A compliment I could give you, and I gave it to Jason too on Black Rabbit is there's nothing lazy about it at all. There's nothing at all. Fully committed, fully into it. He's like a huge action star, Glenn Powell. I mean, hands down. Like you buy every single thing he says. He's amazing. This movie looks huge. Yeah, it's huge. It's so good. And I remember just to start off the first day, I was so embarrassed. I made some stupid joke like, I'm going to connect with the crew and make them like me. Not thinking they'd already been there for 14 hours. And I can't fully rehearsal. And I said some stupid joke and nobody laughed. I was like, oh God, this is going to be fucking awful. And then I fell into the hole off the stage. Oh, yeah. Nobody remembers that show. No. They do now. They do now. And I think I didn't hurt, but I was like, oh my God, I fell on the... What was the joke that you tried to connect with the crew? I said, the reason the movie got green lit is here. Oh, no. I remember that now. The walking green light has arrived. But anyway, it was great. You were great. I have to rectify something, Jason. We have to work together because I've now worked with two of the three people on this call. Because Waysha did a voiceover in my Grindhouse trailer, Don't. And Sean is in The Running Man. And so Jason, I have to complete the set. Nothing would make me happier. Okay. Can I make a picture? Dregs of the Humanity, the movie. Or just... Or it's your next move. It's your next move. What's that character doing now? Team 1, 2, 3 and 3D. Let's do it. How are you spelling 3? Yeah, that's a great... There's a few... There's a few too many E's on it. Okay. So talk about The Running Man because it was incredible. You shot November through March, right? Last November through March. Yeah. And what drew you to it? For people who don't know, for Tracy, there was a Running Man movie in the 80s with Arnold Schwarzenegger. And it's... Richard Dawson. Yes. And Richard Dawson, right? And I did not know it at the time that it was a Stephen King book. I didn't know that. I thought it was an original idea. Yeah, it was one of the books he wrote under his pseudonym, Richard Backman. He wrote like five novels before he got rumbled. Maybe four novels before he got rumbled as Richard Backman. It was a pseudonym that he wrote for like non-horror stuff. And so The Running Man was written in 1982. And the Schwarzenegger 87 version is a very loose adaptation of the books, which is one of the things that attracted me because I'd read the book as a teenager. I think probably like a lot of people, Stephen King was a real gateway author for me in the sense of I was reading his books in my early teens. And it was probably some of the first grown-up books I ever read. And The Running Man made a particular impression on me. And I'd actually read the book before I'd seen the Schwarzenegger film. So I was aware that it was drastically different. And so I was always interested in doing a new adaptation of it because I thought, well, this is a book that hasn't really been adapted. Yeah. So I know also I would like a dream to adapt to Stephen King book. And yeah. So it was, I mean, it's difficult for me to talk about when I'm still making it. But I mean, you've seen the movie, Sean, but it's been such a kind of adventure. It's also funny as well. It has some, one of the things where I want to say Glenn's in every scene except the one that Sean's in. Sean's in a show that Glenn is watching right at the start of the movie. He's a host of a different game show that's not The Running Man. Right. But Glenn is in every scene because in the book, one of the things that was really intense about the book is that you see the entire thing through Ben Richards point of view. And that was something that I thought, well, that's something that's not in other movies like this. Usually they cut away to the baddies or you go to kind of like another location or somebody else watching the show. But we stay with Glenn and his, you know, like subjective, intense experience. Oh, wow. His point of view. So it was, and you know, it's like, so Glenn was on set every day and he really brought it. It was amazing. But it was an amazing cast all around. Like, in fact, I was just talking to a friend of the show, Josh Brolin, who's in the movie and he's like to say hi. The other JB, the real JB. The real JB. JB, we love Josh. We love Josh. Coleman Domingo, Michael Sarah. Michael Sarah? Yeah, Michael Sarah. Michael Sarah. You're other colleague. It's the first time we've worked together since Scott Pilgrim. Amelia Jones, Jamie Lawson, Sean Hayes is in the movie. Yes, sure. What? Sure. And Julia Cumming, your amazing girlfriend who's this, she was in the scene with me. She was in the scene with her. And I love her. And she is an incredible singer and I love her music. That's all I wanted to say about that. There you go. Oh, that's all you wanted to say. When do we get to enjoy this film? November 14th. Oh, just in time for Thanksgiving. It's coming very soon. I've never made a movie, I don't know if you guys have ever done, I've never made a movie that's been finished so close to release. And it's exciting and nerve-wracking at the same time. But it's crazy that it probably will be finished in like a week's time or something like that, which is wild. I can't wait to see it again. And I read that you can only get through directing, drinking espresso. Are you still drinking espresso in post? It's way too much. Way too much. It's too much. No trouble sleeping. Yes, lots of trouble sleeping. I have to knock myself out with Melatonin and Edibles. Oh God, I'm with you. Welcome. I'm with you. What do you think, you know, it's funny, you've done lots of so many things in different areas. But comedy is always kind of at the heart of what you do. So whether it's horror or action, there's always, you know, comedy is always there. Have you, do you want to get back into, do you have any desire to just go pure comedy again and go into something? Oh yeah. Yeah. No, I think, and also, you know, as we all know, I'm still want to make movies for the big screen. And for some reason at the moment, comedy has kind of like sort of, you know, like not being made. Yeah. For like the sort of the cinema anymore, which is really strange, but I think things are cyclical. I think it will come back. Well, because the other stuff, and your films have been a lot, a lot of your films have these big elements to it. And they're very, as Jason pointed out early on, you have a, you have a great visual style and you have a great, and so that's all part of it. It kind of sort of complements the whole thing. But I, when I go back and I think about space, even now as I'm thinking about how simple it was and how much it was just on the, you know, the writing and the direction and the acting and just the pure comedy of all that must be attractive to you. Must be attractive to you on a certain level to kind of get back to something a little simpler in that way. I think so. It's finding what that is that sort of like, I mean, listen, you know, I'm going to flatter you both, but like, you know, Arrested Development was one of the biggest joke delivery machines on TV. It had the kind of speed of a Marx Brothers film. And that was the thing that I think me and Simon, you know, like, would talk about that show all the time, you know, because also American shows at that time when they were network shows, 22 minutes long and like, you know, with like 22 minutes and like 500 jokes, incredible. And I love, I love those things. I mean, I'm still like a huge comedy fan and, you know, the best comedy films that just like, you know, obviously when I was growing up things like the Zucker Brothers films. I shouldn't mean, Zucker Abraham's like, I shouldn't leave Jim Abrams out. But you know, that things like airplane and top secret, those films are huge for me, you know, the Python movies, the Marx Brothers, like, just like, I just, I don't know how many times I've watched monkey business and duck soup. I watched duck soup every New Year's Eve. Yeah, it's incredible. It's so funny for me on the extreme is I used to, Edgar, I suspect you've seen it and I don't. This is not a recommendation for anybody to watch it because it's very jarring and a lot of people have, but I'm a huge fan of it because it's, I've never seen anything so densely packed, more densely packed with jokes, pure just jokes. And again, a lot of it people, I've had people react with tears in their eyes because they feel so jarred by it. Xavier Renegade Angel. Oh, you know what? I have never seen this show, but Bill Hader talks about it all the time. Bill Hader loves it too. And I didn't, like a lot of the adult swim shows never made it over to the UK. The guys who did Wonder Shows and, oh yeah, I have seen that. Vernon Chapman and John Lee, they did, it is a, absolutely, you want to talk about wall to wall jokes. There's nothing else but jokes and it's also very disturbing. Is this an animated show? Yeah, I send this with a big warning. There's a big warning about it because people will, people, they'll end up responding to this episode with tears in their eyes. Like, man, you really fucked me up with that exactly Renegade Angel. Oh really? Holy shit. Anyway, sorry, that's just a side. Edgar, what's the, what's the best, we'll leave on this. What's the best piece of advice you've gotten and the worst? Oh God, the worst advice. The best, the best and worst was from a guy who used to run a big studio. He said, be patient, just be patient, which is the best and the worst. The worst advice and the worst. Both. It is. I wish I had a great pithy answer for this. I remember somebody said to me like that, I mean, I say to people all the time is that because sometimes I feel that people make movies and they're making movies to kind of fulfill a brief. I think you, and I don't know if everybody ever says, but you have to be the cinema. You have to make the movie that you want to see as a customer. And so I'm always, and so I mean, I can't believe I'm like telling you advice that I give myself, I give myself to other people, but it is that thing as I think that's the thing that I think about all the time is I want to be the audience member. And I think as a film director, you're always just chasing that thrill of the, of the film that you saw or the film that you want to see that if you didn't make this film yourself, you would want to be the biggest fan of it. And I think that's something is just, I haven't really answered your question, Sean, but I think that's always the thing that I return to is just to sort of try and get it. I think that's always the thing that I return to is just to sort of try and be sincere in the process of make the movie that you would want to see. Instead of trying to guess what they want. Yeah, yeah, yeah, yeah. Yeah, because I think that comes, I think you can tell those movies where people are kind of working in genres that they don't necessarily love. I think you can tell. I think when people like really love what they're doing, it's palpable and it's infectious, you know? I bet you have those moments. And I'm kind of visualizing you having a moment. Like, can you remember moments on maybe on Running Man where you, there's a big moment or a big shot or something happened and when you yell cut, you're like, fuck yes. Yeah, yeah, yeah, yeah. Well, you never, people always say like, I mean, even on comedies, especially they say like, oh, you guys look like you're having such a blast. And you always say, well, you never have time, you know, on a schedule to stand around and high five each other afterwards. It's like, even after the most famous bit in the film, like when the film comes out, you know, on the day is like, OK, so now we're going to put the camera over here and now we're going to get this shot. And you know, Jason, you know, this is just, you're always moving on to the next thing. But then you see it in the editing room, but it's just you and the editor and you're like, oh, God, I wish I had them all around to watch this right now. What they've all created. I think the times that you have that moment actually is when you're doing a scene in one take. If it's because then I think what happens is you're watching the play back through crowds around the monitor because like, did we get it? Did it work? And there are quite a few like, one is in the running man. So those are usually the times when the crew really bond over something is like, you know, baby driver, like the opening credits of the film is like a three minute take and with lots of choreography. And you know, so everybody crowds around the monitor to see whether it works and whether we got it. So I think those are the moments I think where usually everything else is you just shooting, shooting, shooting. And then like, you know, it's the end of the day. Well, you can really tell how much you love what you do watching your stuff. You're one of the most exciting filmmakers that we have, Edgar. It's truly a joy watching everything you do. It's so great. I can't wait to see that. It's been awesome. And you've been, and you've been so supportive of us. You, you were one of the first people to text me when we started doing this podcast years ago and you've always been so sweet about it. So it made me was hanging out with you guys. We'll get back to it. It was in the middle of the pandemic and that was like, and then I start texting us saying, oh, I miss you, but then I hear you every week. It feels like my life and stuff. So finish up your post and get back. I'm going to be in London in 10 days and I'm going to know what I have tickets to see is this thing on. Oh, you do. Oh, you love it. It's such a good movie. You'll love it. Unless I'm mixing, I'll be there. Great. Please be there. She got tickets ahead of time. I was going to tell you that. I'll see you in London. Can't wait to see you. Oh, good. I hope you come. I hope you come. And we always say, like, you know, everybody check out whatever movie or whatever somebody's promoting, but I don't have to tell people to check out the running man because just watch the trailer. People are going to come. It's incredible. I'm so excited for the running. It's incredible. I'm so excited to see this. Let me put it this way. Who got the film green lit is on the call. Hey, oh, wow. Bravo, bravo. Wait really quick. Paramount were like, we're not sure about this at this budget level. And they said, John Hayes is in. Okay. Check, check, check, check, check. But we did really quick. We saw giant. You two, you couple of years ago, you're like, let's go see giant with Rock Hudson and James Dean at the Vista at the Vista. Right. And we go and and I because I knew you had a sweet tooth too because you had Junior Mint sent to the set of baby driver. And I go to the lobby and I get a pack of Swedish fish, finish them and come and go get another one with another pack of Swedish fish. And you turn to me and you go, wow, so it's really true. The lights have gone out again. This message. Anyway, we love you. Thank you for being here. It's so nice to see your faces. It's so good to see you soon in person. Yes. Thanks for doing this. Love you. Love you. Bye bye. I'm going to do the traditional slamming of the laptop. Yeah. There you go. That Edgar. Yeah. He's just, you know, I called you a stuffed animal with blood on my recent press tour as an attempt to say the most flattering thing I could possibly say about you because you're so goddamn sweet. But he would be the stuffed animal with blood that's sitting right next to you on the daybed. He's such a good person. Such a good person. So sweet. Always been. He's always so warm. And then it sort of, it betrays like this incredible talent. Yeah, I know. And that. One of our great filmmakers, you know. I know. I love him. I'd love to watch him do his thing on set. It's so fun. He's so, he's so like calm. And he brings people together too. I mean, he did right. You know, he's introduced us to so many of our friends that we became friends with over the years. Certainly to me and, you know, lifelong friends, Pete Serafinwich, obviously we mentioned before and all those guys and some, he's just such a great people person. And, you know, he's just such a great person. Yep. Yeah. Good friend. Jason, Jason, you look like. I was just like, you have to go. I was grinding on a bye right then, but none of them seemed really good enough. Yeah, I know. You got it. Is there anything that you that was sort of coming close? Yeah. Well, you know, he's a great person. It brings a bunch of people together. It makes it really hard to say goodbye to those people, but that's too literal. It's a little bit. You got to commit. I mean, it's like he lives in Lingland and also in. No, don't do that one. Bye. Bye. Country. Oh, we haven't used that one. Bye. Bye. Country. So, I mean, it's loose. It's loose, but it'll work. We'll talk about loose. Speaking of loose. Smart. Lass. Smart. Lass. Smart. Lass. SmartLass is 100% organic and artisanly handcrafted by Bennett Barbicot, Michael Grant Terry, and Rob Armjurf. Smart. Lass. Smart. Lass. Smart. Lass. Smart. Lass. Smart. Lass. Smart. Lass. Smart. Lass. Smart. Lass. Smart.