February 16, 2025 • 47 mins
Nothing like a little space camping… until the hallucinations kick in! Our hosts revisit Season 1, Episode 4 of Enterprise, where a simple planetary survey turns into a paranoia-fueled nightmare.
Join us as we break it all down! Each week, we explore and celebrate the lives that the Star Trek universe has forever changed. From former and future cast and crew members to celebrities, scientists, and astronauts whose personal and professional journeys have been affected by the franchise, we sit down and dive deep with a new friend, laughing and learning from their stories. Sit back, grab a drink, and join our hosts, Dominic Keating and Connor Trinneer, as we get geeky in The D-Con Chamber.
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Join us as we break it all down! Each week, we explore and celebrate the lives that the Star Trek universe has forever changed. From former and future cast and crew members to celebrities, scientists, and astronauts whose personal and professional journeys have been affected by the franchise, we sit down and dive deep with a new friend, laughing and learning from their stories. Sit back, grab a drink, and join our hosts, Dominic Keating and Connor Trinneer, as we get geeky in The D-Con Chamber.
Let's get social! -
📘 Facebook: The D-Con Chamber
📸 Instagram: @thedconchamber
🐦 Twitter: @thedconchamber
🌐 Website: https://thedconchamber.com
🌳 Linktree: https://linktr.ee/thedconchamber
Want more? Find us on Patreon for extended episodes + fun bonus content! https://patreon.com/thedconchamber?ut...
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-d-con-chamber--6181422/support.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hey, everyone, Connor here. We just want to take a
moment to thank you so very much for tuning in
and being a part of the Decon Chamber family. Your
support keeps us going and we couldn't do this without you.
Speaker 2 (00:12):
And if you love what we do and want to
help us even more, please consider joining us on Patreon.
You'll get exclusive perks, behind the scenes content, and even
opportunities to chat with us directly.
Speaker 3 (00:23):
And don't forget to check out are awesome mergh because
who doesn't want to wrap their favorite podcast in style?
Speaker 2 (00:34):
Baby, every little bit helps, I promise you, and we're
really very very grateful for all of you who make
this show possible. So thanks for being there, and please
enjoy this episode of the Decon Chamber. I know that.
Speaker 1 (00:53):
Ladies and gentlemen, boys and girls, trekies and trekkers, welcome
back to another episode of the Decon Chamber today if
we are doing a walk party, and I will detail
what that episode is shortly, but I also want to
introduce my co host, my best friend and sometimes jail
me Dominic.
Speaker 2 (01:11):
You. Hello, Hello.
Speaker 1 (01:14):
So today we're going to watch episode four Strange New
World no S directed by David Livingston, written by Mike
Sussman and Phyllis Strong. Uh and I was always overseen
by Brannon Braga and Rick Berman. And this episode, I
don't know. It felt as though directed directed by David Livingston.
(01:36):
The Livingston effect he was present.
Speaker 2 (01:41):
I saw a lot of Livingston shots.
Speaker 1 (01:43):
It's it's interesting, you will get into this, but I
began to think, like, oh, yeah, that is a David
living snaps. Yes, yeah, yeah, And really want to dedicate
this episode to the memory of Kelly Waymeyer, who This
is the first time that we get to see Kelly,
and she did several episod so it's with us and
sadly passed away very young, thirty six. Yeah, and there's
(02:07):
more to talk about with because I met Kelly before
Star Trek.
Speaker 2 (02:11):
Did you know her through the theater sort of?
Speaker 1 (02:13):
I did her her boyfriend eventually fiance, Gary Gary Smooth,
who's also passed ship.
Speaker 2 (02:23):
I did not know that.
Speaker 1 (02:24):
Yeah, oh my god, yeah, he died about as eight
years ago.
Speaker 2 (02:30):
God dear me. It's the grace of God loves Yeah.
Speaker 1 (02:34):
Well that got off right exactly. On a lighter note,
we're still alive.
Speaker 2 (02:42):
Yeah, she was a lovely girl. I hardly got to
meet her, but I know, I have any ever heard
just delightful things about her, and she's she guest starred
on Voyage. I didn't she and and then I was
reading about her yesterday. She one of her final performances,
which they dedicated to her, was on Brian Fuller's show Wonderfuls,
(03:02):
which didn't get I think maybe one or two seasons.
Speaker 1 (03:06):
And she was on was that, No, that was The
Pits on Fox.
Speaker 2 (03:12):
But Wonderfuls was with Lee Pace and quite an ensemble cast,
and she was part of that. And that was I
think that was her last you know on that was
It might have been right after she passed with me.
And she knew this from childhood, that she got this condition.
And yeah, I mean one day at doing a play
(03:36):
at the twenty fourth Street Theater when it happened.
Speaker 1 (03:39):
Yeah, she was having breakfast and didn't get out of it.
Speaker 2 (03:44):
Just anyway, she was a wonderful.
Speaker 1 (03:47):
Actress, and I had heard rumor that they were interested
in making her either a very heavy recurring which she
became anywhere, or a regular on our show. I did
not know that I could be wrong about that, but
I had heard, you know, rumblings about that.
Speaker 2 (04:08):
Yeah, she played Elizabeth Criminal Elizabeth Cutler on on this
episode and yeah, God bless her this so we we
we shall dedicate this this watch party to to her memory.
And that said, yeah, I really enjoyed watching it, and
(04:31):
this was our first time coming across what do we
call it? Uh, what's the name of the planet that
can hold life? Man? I want to say Magella, but
it's not. It's all class or something. And it's close.
(04:52):
I know they're they're all going to go, you monkey you,
And of course Jolene to Paul is very reticent about
just jumping onto a shuttle craft and going to have
a look. And the Vulcan protocol would be you'd send
some drones down, you know, in the six days you
(05:14):
six days. Well that's hoisted by his own batad in
the end, dear Jonathan Archer. But anyway, so off we go.
Speaker 1 (05:25):
Well, yeah, I found myself a little surprised because I mean,
it's been quite some time since I've seen that episode.
Speaker 2 (05:32):
You're great in it, by the way, I mean, this
will we'll come to it later.
Speaker 1 (05:37):
I knew something about this. I knew I had a
shot at getting myself listened to. I knew that, yeah,
you had.
Speaker 2 (05:48):
Had lots to do, and you had some good crazy
to play, and it was you know, of course we
find out that it's an a listener Jen by the way,
ladies and gentlemen. I have seen him at Lapouvel like
that mushrooms, But no.
Speaker 1 (06:09):
I was surprised really when I saw that that. I
don't know how long into our initial run that we
keep talking about, you know, how gung ho we are,
and it sort of felt like America and you know, well,
you know, why would we wait six or seven days
if we can go out there? Why can they? Why
(06:30):
do they get to have all the fun?
Speaker 2 (06:32):
Mm hmmm.
Speaker 1 (06:33):
Yeah. It's interesting because I have also been watching Strange
New Worlds preparing for Christina Chong, and what they're doing
in there is so much more subdued than the tone
in which we were.
Speaker 2 (06:51):
Yeah, you know, there's as much it got much much
much more it has. It has it's much all character
based too, between the characters on the ship, but it
also has a modern light of touch humor that we
were not not awn't allow as the right word, but
we couldn't enjoy it was you know, our lighter moments
(07:14):
were few and far between, and if they were they
were quite sort of orchestrated, if you will. The interesting
thing about this episode is that it was on location,
I think pretty much for the most part. And you
shot round the corner from where I now live.
Speaker 1 (07:31):
That little stream that goes down and the beginning.
Speaker 2 (07:33):
Now was that stream. So you shot in You shot
in Griffith Park at the Bronson Caves, which are famous
for having been the caves that the Batmobile came zooming
out of. Yeah, the Batcave. They're closed off now. I
think I mentioned that to you a little while back. Yeah,
they've they've yellow taped it. Or you can go and
stand and look at them, but you can't walk through. No,
(07:56):
they've it's all been shut up, because I still walk
up there quite a lot. So that stream was streaming
that time you were there, was it, okay?
Speaker 1 (08:07):
I mean they may have artificially made that.
Speaker 2 (08:09):
I wondered. I mean I did, because you know, in
recent years, when we've had these you know what do
they call them, atmospheric rivers coming away from Hawaii and
hitting the southern coast of California, that stream has been
babbling again and it's been beautiful in the winter. As
you know, this winter we're having We've had no rain
(08:30):
so far, so who knows. And it's eighty degrees here today.
You pulled back east, but we.
Speaker 1 (08:38):
Don't want it right now.
Speaker 2 (08:39):
I know we need some rain, but so that they
may have artificial it was a lot of water. Oh
my god. Yeah, okay, but it was only for the
one shot. I did wonder that whether they whether you
but well, okay, so then there there was a there
was a tidal pool that you shot. You didn't go
anywhere else other than Griffith Park.
Speaker 1 (09:00):
I don't believe.
Speaker 2 (09:01):
So.
Speaker 1 (09:01):
I don't think we went up, you know, north to
to the ranch. I don't think so. I think we
were just right there. I think that that pond is digitally.
Speaker 2 (09:13):
It was it digital. It was a big pond of digital. Okay.
Speaker 1 (09:16):
Yeah, you know, because you see her reflection when she's
looking and looking at those fish.
Speaker 2 (09:22):
Yeah.
Speaker 1 (09:23):
Yeah, but no, I you know, I will say this
that it was almost like, you know, you have the
scenes where we're actually walking around and we're actually in
like that little meadow in Griffith Park. Beautiful, these shots
that are almost like a nineteen thirties version or the
nineteen thirties version of the Sound of Music, where you
(09:44):
see like the mountains and kiss.
Speaker 2 (09:47):
Yeah, that's right. With the snowcap you're like girls are
with the sound of porthos, right.
Speaker 1 (09:55):
And you've got all those California poppies going.
Speaker 2 (09:58):
Yeah, that's what gets you high. So then then a
storm system moves in and you're all trying to camp down,
and you and Travis have decided you're going to stay
the night. And the ghost story parts are rather fun.
He does it rather well actually about miss someone Web.
(10:22):
Apparently if you listen you can still hear the beep
beep deep. It's a lovely Did you shoot that? Was
that a night shoot? By the way, did you stay? Yeah?
I mean asked to god. I mean I went surfing
that week, I know.
Speaker 1 (10:40):
I mean I was going to say, you know, we're
going to watch Strange New World, or the week Don
went surfing.
Speaker 2 (10:46):
I remember coming to visit you from the beach, all
bronze and surfed out mane dirt and you covered and
you were in the mid in the caves and the
best of times, they're musty, you know, probably filled with funk.
Speaker 1 (11:01):
Got sick?
Speaker 2 (11:02):
But was you all got sick?
Speaker 1 (11:03):
Did you We all got some kind of respiratory thing
because you know, really what the bat caves are now
are rat caves, and all just there.
Speaker 2 (11:13):
Must have been. Yeah, there must be a lot of
what do you call that rat guana? Yeah, I mean,
I'm sure brats hang out there.
Speaker 1 (11:22):
I'm sure. But you know, we we literally we shot
that episode, and probably because I feel like I feel
like the knights in the bat Cave were relatively early
on in the episode.
Speaker 2 (11:36):
They made you shoot nights in the cave. They didn't
just block it off and darken it.
Speaker 1 (11:41):
I think that it didn't matter. So we started during
the day, they'd block it off and then it would
get dark and we'd carry on shooting.
Speaker 2 (11:48):
So, but the scenes in the tents were at night
in the park right there, I think. So, yeah, you
went on a stage doing that?
Speaker 1 (11:56):
No, No, I think, oh that's a good to be honest,
I don't wonder because quite honestly, I don't know, you
know what they must have been on a stage because.
Speaker 2 (12:10):
Of that wind, yeah, and fire and wind, and they
weren't gonna let that. Yeah, that's what I thought. It
did occur to me that you shot those on stage
nine and they might planet hell stage Planet hell. Yeah,
So you all have to sort of retreat into the
caves because of this storm system moving in and it
(12:31):
kicks up this hillacious wind and unbeknownst to you, it's
dispersing some hallucinogenic spoil pollen that you're all ingesting.
Speaker 1 (12:44):
And in the meantime, ensign I forget his name, who
was also quite good.
Speaker 2 (12:50):
Yeah, the other chat was great, wasn't he I forget
his name?
Speaker 1 (12:52):
Where he's sniffing this the flower. Yeah, he gets in
real trouble because he's been exposed to the elements the
entire time, because he off because he thinks he sees people. Yeah,
and he you know, obviously goes back and he doesn't
make it, does he?
Speaker 2 (13:11):
He does in the end, he nearly doesn't. And then
he and there's a lovely scene between the captain and
and John as flocks where Flox has said that he
will make it, and then you know it's not an
exact science. I'm very sorry. But he comes back sort of,
you know, he get I beam him back in and
it's a difficult beam and he comes in covered in
(13:36):
twigs and leaves.
Speaker 1 (13:37):
Can you can you remember? I was wondering about this.
So if he was able to be beamed back, why
weren't we, because.
Speaker 2 (13:45):
After I beamed him back, it was such a tricky
all the particles dispersed, and it was he nearly didn't
make it, and he and the shape he made it
in was not conducive to go, okay, let's get them.
And so we we, you know, decided to have you
guys sit it out. We didn't know that, you know,
you're all high as kites, got blessed and that you
(14:07):
were going to lose your s h one t with
the ck have a Mexican standoff with Paul. Yeah. So
uh anyway, Yeah, I thought your performance once you start
to get aaronoid and loosen, you know, high as a
(14:28):
kite who loosening, hallucinating, was really it was powerful, man,
and it really was. It was that's never you know,
that's sometimes people think that's easy to play, and you can.
You can get it wrong. You can you can go
too too too fast, too soon. And it really built
(14:49):
nicely in your confrontation with with her. And you know, again,
props to Jolene looking back on these apps, you know,
she played it beautiful.
Speaker 1 (15:00):
Yeah, and I remember I remember that, you know, all
the bulk of all of that me losing it happened
on one or two days, so you know. And again
I was saying earlier that this is episode four and
at the time I didn't really realize I don't know
(15:26):
the triumvirate notion about this, and I didn't really said that, yeah,
that that that this What I thought was okay, kid,
you got your shot. And it's early on because I
felt like the previous episode Linda got one mm hm
and she had but I so I thought, oh, okay, well,
this is my turn to you know, tying on at
(15:48):
the end of the rope and hang on and and
and show them something. So I, you know, I I
think at the moment I was so focused on because
the great thing about knowing everything so well as an
actor your lines, when you're doing it, you can just
(16:09):
forget it and it just comes. And and that was
that was an episode where I did that. And looking
back on it, I was like, yeah, not bad guy.
Speaker 2 (16:24):
Not really. You can play with it once you know
the steps and you and you're always to two beats
ahead of what you're going to say next when you
when you shoot something like that, and you don't get
too many takes in episodic Did you did you vary
it for David Livingstone or did you give him the
same take most of the time.
Speaker 1 (16:46):
I mean the thing about David Livingstone's direction, which you know,
in hindsight at the time, not in that episode, because
that was the first time we'd worked with them. You know,
he's a he's acting director, he's exactly and he'll he'll
you'll do a take and he'll say, a great that
(17:09):
one moment, let's do this, and so yeah, I mean
it was a sort of a symbiotic thing with him
in relation to that. But again because I knew it
so well.
Speaker 2 (17:23):
Yeah, I take up at that one moment.
Speaker 1 (17:26):
He would you know, he'd be like, you know, all right,
we've got that one. Yeah, let's bring it down a
little bit, let's go further or whatever. And you know,
you get, I don't know, two shots right, unless you've
screwed it up, you know, two shots to bank.
Speaker 2 (17:45):
What was the technical difficulties for Marvin Rush the DP
and focus pulling and I mean what was did you
find yourself having to and the dust that must have
been kicked up endlessly in there? Was there were there
a lot of technical issues or do you remember the
hair alone?
Speaker 1 (18:06):
I mean, you know, what. I think they won the
Emmy that year for that episode, did they?
Speaker 2 (18:11):
Did they really? For the hair?
Speaker 1 (18:12):
They won our only Emmy hair that year.
Speaker 2 (18:15):
That's sad, you know. Yeah. Well, and actually at the
moment where when Joe leans out in the storm, when
it first comes in and it's blowing her up, I
got I did look at one moment, she looks a
bit like a mad woman.
Speaker 1 (18:34):
I mean, you know, you know, we've both ended been
into those caves. It's a very cramped situation, and there
was something nice about having just us there in a
natural environment, the caves, and everybody being so close around
so that I won't say that I guess it sort
(18:54):
of felt like theater in a way that, you know,
because everybody was so engaged, everyone's so on top of it.
We had so many there were so many different like
panning shots and from one person to the next. I
think Marvin's big challenge, and that's where we learned the
flashlight technique. Normally, in real life, all you do is
(19:15):
you flash it at somebody's face. Well you can't do that,
so you have to flash it at their chest.
Speaker 2 (19:20):
Yeah yeah, yeah.
Speaker 1 (19:22):
And then so that was probably the most technical aspect
we had to do for Marvin because he mostly handheld,
most exclusively handheld.
Speaker 2 (19:30):
There was no there was no dollies in there. They
didn't lay any track, no track.
Speaker 1 (19:35):
I'm sure there were some lights at some points, but
I remember really the the the choreography was so Connor,
You're going to walk here, Joline, you're here, Anthony Kelly,
And then our job was to have the scene yeah,
and light other people right, and a lot of dosy,
(19:55):
doing a lot of yeah. That's when we was when
we when.
Speaker 2 (19:59):
We earn it around, just to make it move, because
it's called the movies, so it's not just one constant
shot over one over shoulder. What else do I want
to say? Uh, And you're shooting in this iconic and
you know these these caves are iconic, and I was
rather jealous. I have to say that I didn't get
(20:21):
to be a part of that episode in any real way,
but yeah, and I'm shooting that just to say that
I've shot in the back caves, you know, but there
it is. Yeah, I've visited while you were shooting once.
Speaker 1 (20:34):
So I found out that we were shooting in the
back cave. I was I thought, oh yeah.
Speaker 2 (20:39):
Oh yeah, it's Hollywood, baby, Yeah exactly, yeah, no kidding,
that's proper Hollywood.
Speaker 1 (20:44):
I mean looking up the bat caves and see what's
been shot in there. And you know the fact that
we had an episode there was was was big.
Speaker 2 (20:51):
It's iconic, and it was episode four well three four,
you know, I mean, depending what you want to camp
pilots early on, and they were spending they they were
spending their money then.
Speaker 1 (21:02):
Weren't they were again those those those sort of big
shots of there's a snow capped mountain and they were
frankly ridiculous.
Speaker 2 (21:17):
Well it's had to be otherwise, you know. I did
think this a lot of the time. Whenever you see
the Star Trek episode and they go to a I
wish I could remember the name of this Manchella glass
planet that can hold humanoid life or has you know,
enough oxygen and you know, has plant life and whatever
it's it's you know, it's a bit like Austin Powers.
(21:40):
Isn't it strange how England looks a lot like the California.
Speaker 1 (21:45):
Here's a question I had because we're sitting there at
the camp before the storm comes and I thought this,
I thought, so Kelly's character says, look, at that next
to these this triad. Yes, yes, I thought, so there's
(22:08):
that habitable planet not too far from us and there's
no one there.
Speaker 2 (22:15):
Right all right. Yeah, And the fact that I mean,
I'm not to trash this at all, but the fact
that some plant life would would have hallucinogenic spores. Usually
one finds, like you know, magic mushrooms were philocybin. I
would imagine the evolutionary journey, like any plant is for
(22:38):
animals to avoid eating these things so that they you know,
they know not to eat that stuff because it blew right,
they fall over and and then of course they're you know,
prey to other you know, beasts. And yeah, so that
was a you know, a bit of a bit of
a stretch.
Speaker 1 (22:57):
But look, you know, I mean, I mean, come on, nothing, I.
Speaker 2 (22:59):
Always come back, you know whatever. Some never Sarah complains
that I go, it's a TV show, yes, the other
it's a film. It's a movie.
Speaker 1 (23:09):
Right, everything is for me at least if I believe
the people tell the story. I'm going to forgive a lot. Yeah, yeah,
you know, and in this episode, I was, you know,
I forgave a lot because yes, okay, you could pick
this apart and say this, that or the other thing.
But are you telling a story?
Speaker 2 (23:30):
Yeah, And it wasn't exactly and it wasn't. The story
is not about the planet. It's about that. It's a
it's building a dynamic between you and to Paul immediately.
It's it's also showing Archer's misgiving or other his his
misstep in going a bit sort of John Wayne like
(23:52):
into the the Strange New World without doing some further
investigation first. And he puts, frankly, he puts that the
crew in serious danger, you know, and he tells a lie,
and he tells a lie. Yeah. Yeah, So it's a
it's a very telling episode about our first early steps
(24:13):
and given that we were the prequel, and I thought
that that was quite interesting.
Speaker 1 (24:17):
And yeah, I think I think there were elements to
that episode that that gave us some seasoning characters in
terms of.
Speaker 2 (24:27):
Yeah, and do you know what for right out the gates,
I think it was pretty much nailed. I mean, you know,
I think, I mean, I've We've looked at a lot,
I've looked at a lot of Star Trek in the
last few years. I mean, our early episodes really stand up.
I mean, we we came out, we came out like
we were in season two or three already. I think
(24:48):
our pilot, I really honestly, I hope I'm not waxing
too lyrical, but I'm curious to find.
Speaker 1 (24:55):
Out how, you know, there must be a point where
we're going to become aware of the feeling that I
think a lot of people have had. We've mentioned before
that like it seemed as though we were just sort
of slapping another title onto an episode of our own show.
Not these, No, not these.
Speaker 2 (25:17):
You know. The first time I sort of half recognized
something like that was Terranova maybe, which, if I remember rightly, LeVar,
we'll get to when we talked to him, we met
the underground people.
Speaker 1 (25:29):
Yeah, we go Unexpected next, and then we go Terranova.
Speaker 2 (25:32):
Yeah, And by Terranova, I was like, this is I mean?
But I don't know. I didn't know that there was
going to be any weariness that. I didn't have a
clue about any kind of sense that would there would
be two things. I didn't understand that the fans generally
don't like the new shows at.
Speaker 1 (25:52):
All, any new show, any.
Speaker 2 (25:55):
New show, if they've had seven years of Voyager, they
can't stand what comes next. If they've had, you know,
seven years of next year and they can't they can't
bear deep Space nine and it all comes it's it's
you know, it's it's getting used. It's it's God knows,
It's like getting used to a new bed, isn't it?
It is?
Speaker 1 (26:15):
But I will say that I think as a show
standing on itself out of the gate. Yeah, we're making
very good episodes.
Speaker 2 (26:23):
I think so too. Our cast was very solidified quickly.
We've talked about this before the read through. I just
got that feeling, and I've been in one other show
in London that had the same sort of chemistry. You
could just sense that there was everyone got along and
everyone was good, and no one thought that they were
(26:44):
going to be the Prima Donna God Bless, and we
had Scott as the leading the charge, God Bless.
Speaker 1 (26:51):
I think there's also an element to and we've seen
shows where you just feel as though, again I'm talking,
I will forgive a lot if I believe the people
telling the story. I feel as though that we had
a cast and they most often get it right. They
worked their butts off to cast these things and spend
(27:14):
a great deal of money doing that, and I think
that when you have the people speaking the characters in
a proper voice, that you accept. And we had that here.
Speaker 2 (27:28):
We did.
Speaker 1 (27:29):
Yeah, I mean, I was just talking. We were talking
earlier about I had just seen movie Heretic last night
with Hugh Grant, and the last half of it, I
kind of it kind of lost me, but I wasn't
lost in the characters. Those girls and him were phenomenal.
Speaker 2 (27:52):
They were absolutely phenomenal. And it's a three hand play, really,
and it is. It's in two sets, you know, and
and it's it's really well done. It's the two chaps
and I forget their names, but they came up with
the quiet after Krazinsky did the first quiet place. They
have gone on to do the other two quiet places,
(28:12):
and I forget their names, but they.
Speaker 1 (28:14):
Are the British.
Speaker 2 (28:17):
Katie's saying, what's Katie? She's saying, no, do you want
to jump in anyway? Your muted?
Speaker 1 (28:27):
Muted? But can you see me?
Speaker 2 (28:29):
I'm so sorry, guys, we can see you, we just
can't hear you. You were saying something.
Speaker 1 (28:33):
Oh my god, I'm so sorry.
Speaker 2 (28:34):
No, I'm I'm going over lines right now.
Speaker 1 (28:36):
I didn't think I could hear. I'm so sorry.
Speaker 2 (28:40):
I thought you were. I thought you would. You were
trashing my knowledge of filmmaking.
Speaker 1 (28:46):
Katie's looking for work. I have a workshop tonight, so
I'm going over my lines for.
Speaker 2 (28:51):
It, playing mistress quickly. I'm so sorry I have.
Speaker 1 (28:57):
To this bing out in the country.
Speaker 2 (29:00):
Jesus.
Speaker 1 (29:05):
Back to what I've been doing for the last thirty.
Speaker 2 (29:06):
Minutes inside the garden. The garden tells me it's an
exceeding green. Okay, well I'm gonna yeah, no, do not
stay there, you can go anyway. We were talking about
the heretic again briefly, but yeah, he was terrific. The
girls are great. I mean to play that level of
(29:28):
of freaked out, frightened, and I thought they were really
good to toally.
Speaker 1 (29:36):
It was great, Yeah, it was.
Speaker 2 (29:39):
It was about our episode. I'm just trying to think, Yeah,
I was, I you know, alluded briefly to my tell
you that's a little moment. I think that was the
moment when I go to visit the captain to give
him a report about the storm, and I visited his
quarters and he throws the water a polo boat ball
(30:01):
at me and I catch it on the way in
and uh, and then he says a good catch, you
make a good two meter man, I'll bet you say
that's all the uh. And then he says it's too
bad we don't have a pool on board the ship.
(30:21):
And there's a moment then I go, yees, shame, sorry,
And I remember, I think that might have been the
moment where I just was like, I'm going to let
Dominic be Malcolm from time to time, and if Dominic
thinks that's funny, then then so does Malcolm. And that's
where I because you know, you you you get bob
(30:42):
down in those or you get stuck in the in
the in the molasses of those three bio lines that
you get, you know, stiff upper lip, brick for button
down shirts, shy around women. That's who I'm playing for
seven years, what we thought and uh And I think
that might have been the AHA moment when I was like,
(31:03):
you know what, I'm gonna step outside that little box
and uh and and and flesh him out. And it
gives me.
Speaker 1 (31:11):
That I felt I felt the same way in the
things that I was doing in that episode. I recalled
because it's very easy as an actor. It's it's the
easiest thing to take on a three line bio it
is and then act that when the reality is I
just saw sir Who's Who's Patrick Stewart's best friend? Sir
(31:38):
Ben Kingsley or McCall Kingsley Kingsley. Kingsley was interviewed and
he said, you know, I he he, he said in
an interview, I saw that he thinks that film and
television has created so much better actors because on stage
(32:00):
age you really have to because you're speaking to the
back of the audience hear you. You are speaking and
living in a bubble that's louder than you would. You're
not merely behaving. You're performing. You are you are now
when you're talking about film and television, the camera's right there.
Speaker 2 (32:22):
Yeah.
Speaker 1 (32:24):
So it's all about a person's reactions and actions. It's
not about performing.
Speaker 2 (32:32):
So we get about failing and thinking.
Speaker 1 (32:34):
You get walked down into this idea, especially when you
get these three line bios about like, well I'm going
to play it this way. Well this way isn't really me.
But when in reality, all you're supposed to be doing.
Speaker 2 (32:47):
Is you in that or finding a variation of you? Yeah, yes, yes,
you can put on you have a voice, you have
a walk, maybe you've got a costume. The costume always
helps you having a makeup and hair, but.
Speaker 1 (33:03):
It is always siltering right through.
Speaker 2 (33:05):
You took a long time because we're both stage trained
actors and I had never spent that much time in
front of a camera. It took it took a minute
for me to you know, have that black box there
and it be my friend, rather than is it going
to show every poor on my face? And is it
going to show every defect of my you know, I
(33:28):
mean I have this joke, don't I? I mean I
felt like a something like what have I said in
the past, a mutation amongst really well lit beautiful people. Yeah,
And it took a while to to to you know,
the secret is and you know the Jack Lemon, like,
you know, who is he working for? Billy Wilder?
Speaker 1 (33:49):
Do less?
Speaker 2 (33:51):
Yeah, if I do less, I'll do I won't be
doing anything. Yeah, just to go it away. Half the time,
it's it's just throw throw, throw it away in a
meaningful fashion.
Speaker 1 (34:03):
Because you can't actually throw it away. No, you can't
live in No, you don't have to actually perform it.
Speaker 2 (34:11):
No. But and the story and I learned this quickly
enough on our show. They're not so deep and heightened
that you need to be explaining the story to the
audience with your acting.
Speaker 1 (34:26):
You are you are watching? Are you paying attention?
Speaker 2 (34:28):
You're merely a vehicle for the story to be to
onefold and in fact, yeah, I mean I remember Jack Tinker,
who was the critic for The Daily Mail, who was
a big champion of mine. He said, you never really
want to and he obviously was that well versed in
watching stage night after night after night. He said, you know, Dominic,
(34:50):
you never really want to go to tears. You want
to let the audience cry for you. Yeah, yeah, nearly
cry and let them Otherwise, what have they got to do?
You know, there's nothing for them to do.
Speaker 1 (35:02):
I've done it for you, and you've done it all.
Speaker 2 (35:04):
For them, and and then and then and then you're
not vulnerable, and you're not unless the scene is so
horrific and horrible that but even then, Yeah.
Speaker 1 (35:14):
I'll tell you a story. I uh in this must
have been my second job in town and uh it
was for Touch by an Angel, and I went in
for the audition. It was literally like a three and
a half page monologue and it was this man who
was apologizing to the father of uh. The girl he'd killed.
(35:38):
And I went in there and I just laid it down,
tears and tears, just acting my face off. And the
casting director was like, that's great. Do it again. Don't
cry go half And he shared that same thing with me,
(36:00):
he said, he said, look, this is for the people
watching this. It's not for you. Yeah, And and I
learned that. And and by the way, you know, and
I also learned because I happened to be working with
Michael Moriarty.
Speaker 2 (36:13):
Great. Yeah. I work with him up in Vancouver. You know,
he got he got, He kind of got extricated, didn't
he didn't come back to No. I work with him
in Canada. But when I first got here, I know, yeah,
but he's great, yeah.
Speaker 1 (36:27):
Great actor. But he's also one of those guys who
recognized And this is I think this is the secret
sauce to acting on film and television, is that have
the thought, have it live in.
Speaker 2 (36:39):
You mm hmm.
Speaker 1 (36:40):
But it's not your job to be in the therapy's
therapist couch mm hmmm.
Speaker 2 (36:47):
Yeah. So I'm just thinking you so you all come back,
you will get and you're all good. I'm just trying
to think what the end was, What did we learn
what is what does answer? Is there a is there
a button? On the end of the episode that it's
a good question, you know, don't do that again.
Speaker 1 (37:10):
It's interesting. I don't think that archers Lie was ever
dealt with.
Speaker 2 (37:16):
No.
Speaker 1 (37:18):
I think that I think that the end of the
episode to Paul and have this scene where you know,
she says you were kind of unhinged last night, and
he was really, yeah, I know that's right.
Speaker 2 (37:31):
You yeah, you're you're sort of like, yeah, I'm coming
out of the hangover.
Speaker 1 (37:35):
Of it exactly should I say something? Yeah?
Speaker 2 (37:42):
Actually, I mean it's uh, given the heaviness of those scenes,
and they were quite heavy, you know, I mean, and
some of the c G I I've got to say,
the rock people coming out of the Rocks were pretty
bloody good for the time.
Speaker 1 (37:56):
I agree, they really were, so clearly when I had
my big rant, you know, you kind of got to
get yourself going and before they call action, and you've
got to be sort of physically and emotionally there. And
remember Anthony going, Anthony saying like you got it, get it,
go do it, and I was like yeah, yeah, all right, yeah,
(38:19):
And that was that was the big moment where where
tripp Is. I mean, I mean he would have shot
anything if he could have found shoot.
Speaker 2 (38:29):
It was very believable. You really believe that this could
go down, you know, this was a real standoff and
that she was completely in on it. And yeah, it
was nice. Actually, when I think about the way that
that was set story wise, the slight, the building of it.
That Anthony first saw some people wandering in the bushes,
(38:51):
he thought, or the I wish we could remember the
acts his name, who played the other crewman. But he
comes in saying you can hear voices, uh and yeah
and uh and uh and then you're seeing the rocks
come alive. It was nice. It was nicely built up,
so it ramped up nicely.
Speaker 1 (39:13):
Right, it was dangerous, Yeah, it was dangerous.
Speaker 2 (39:16):
Yeah it was. It was a very good episode. And
uh and again how much I liked it? Yeah, I
liked it a lot. And yeah, and I seem to
remember there were good waves though. Yeah.
Speaker 1 (39:30):
I also I was like, John, this is when you
made your song. You know, he probably worked.
Speaker 2 (39:38):
Day of day seeing that all Mandy Still, you know.
Speaker 1 (39:45):
The wonderful thing about John playing doctor flox Is, I
mean he was playing an alien, but uh, his humanity. Yeah,
really really shines through it does.
Speaker 2 (40:01):
His apology to Archer when he thinks he's not saved
the crewmen is very beautifully handled, you know, just that
blank stare. Yeah. And David Livingston's direction. I got to
say a lot of those shots, those close ups that
he likes in that eerie torch light flashlight light. It
(40:26):
was beautifully done and he knows when to push in David, And.
Speaker 1 (40:32):
I think that there's a reason why they used David
Livingstone for close proximity episodes one, just like that. This
was close proximity. We're all in a relative h I'll
be honest. Either he doesn't want to direct anymore. He's
(40:54):
a damn good director.
Speaker 2 (40:55):
I think David has in some respects and this is
not a I mean no criticism of this at all,
but he has a reputation for being, you know, with
a small D difficult. And I don't know, I mean,
I mean, did LeVar go on to direct other shows
(41:16):
other than Star Trek, I mean.
Speaker 1 (41:18):
A question, I don't know, you know, I mean.
Speaker 2 (41:21):
We know that Robbie Robbie Duncan did and so did Roxanne,
but you know they.
Speaker 1 (41:34):
Our in house directors. I think might have just sort
of been that that that notion of like you're a
star trek director.
Speaker 2 (41:40):
I don't know, yeah, I mean, you know, I think
you know, I know Roxanne was driven from day one.
I mean I remember shadowing her one time and she
came in. She was so prepped and.
Speaker 1 (41:53):
She had a book that filistic.
Speaker 2 (41:55):
You know, yeah, she you know, you've got to want it,
and uh and I think Robbie wanted it. And he
wanted to be a director much more than he wanted
to be an actor, I think definitely. Yeah, And and
so he is. And it's bloody hard work, that's the
(42:18):
other thing. I mean, it's uh, you know, it's there's
a lot sitting on those shoulders.
Speaker 4 (42:25):
And I think that David is an extremely talented director
of television.
Speaker 2 (42:36):
Yeah he is. He's a very good photographer too, and
he went on fantastic Yeah, he went on to do
some beautiful photography work. And every night I just.
Speaker 1 (42:46):
I don't want to give I want to give David Livingston,
you know, a great credit and high props for the
work he did for us all the.
Speaker 2 (42:54):
Time, all the time. Yeah, no kidding. And there'll be
other episodes coming up than we should. I'm it's you know,
having said at the beginning of this they were spending
all the money. By the end of this season they
bring him back to do shuttle Pod one where they
had no money, right, and that was meant to be
the big money saver in the bottle. Yeah, and then it.
Speaker 1 (43:17):
Wasn't you know. It's interesting too, because David, we'll talk
about this the next time we do a watch party,
because the next one is Unexpected, which was directed by
oh god, he was an editor, Mike Mike, Yes, Mike
(43:40):
Behar and and the difference between and I'm not giving
anyone more props than the other. You know, David Livingstone
would let you run into something, knowing he just needed
a bit of something. Mike Vaibar, being coming from the
editing world, would be like, listen, all we need are
(44:00):
these two lines. And I would say, well, I got
to get to those two lines, right, Can I have
a little moment And he'd be like, yeah, but it's
not going to count. Livingstone would ever say.
Speaker 2 (44:12):
That, No, No, we had much more an understanding of
the process as it were. Yeah. Yeah, well, it'd been
very fun talking to you about it, mate. I thought
you were terrific and uh, right out the gate. It
was compelling stuff.
Speaker 1 (44:31):
Yeah, and I will say again, I had recognized that
I felt as though, and I really, I really mean this.
I had felt that, Okay, kid, here's your shot. Yeah, yeah,
they're asking you to do some stuff for the song
coming on.
Speaker 2 (44:51):
What shut one shut, not gonna miss but shut something
like that.
Speaker 1 (45:00):
But yeah, no, thank you for saying that. And yeah,
I was really pleased with what I thought of the episode.
Had been so long since I've seen it.
Speaker 2 (45:14):
It's it's gonna be twenty five years next year, isn't it.
Speaker 1 (45:18):
Yeah?
Speaker 2 (45:19):
I was, boy, all right, well, it's been very fun
reminiscing over this one.
Speaker 1 (45:29):
Yeah, but it wasn't it much. We're in it more
than I thought, because you said that.
Speaker 2 (45:36):
I did some shuttle pod work. Yeah, that's what we'll
end on this. It's always it's always an anathema to
me that they let the captains fly the shuttle, like
you know what happens if it goes wrong.
Speaker 1 (45:49):
You know exactly. I also thought briefly when we got
we all go down there the very first time, you're
all wearing hats, and I was like, well, not the hair,
not the hair?
Speaker 2 (46:00):
Did you you've turned that down, did you that's right?
Uh yeah, I was seeing Porthos run through the green grass.
He was having the time of his life and not
good money, huge money.
Speaker 1 (46:13):
He was a big star of the show. We couldn't
look at it.
Speaker 2 (46:16):
Thanks for watching, everybody, no, no, no.
Speaker 1 (46:18):
I hope you enjoyed it. We really enjoyed watching it,
and more to come.
Speaker 2 (47:02):
The Boy Ringing, the Boy, The Boy
Hey, everyone, Connor here. We just want to take a
moment to thank you so very much for tuning in
and being a part of the Decon Chamber family. Your
support keeps us going and we couldn't do this without you.
Speaker 2 (00:12):
And if you love what we do and want to
help us even more, please consider joining us on Patreon.
You'll get exclusive perks, behind the scenes content, and even
opportunities to chat with us directly.
Speaker 3 (00:23):
And don't forget to check out are awesome mergh because
who doesn't want to wrap their favorite podcast in style?
Speaker 2 (00:34):
Baby, every little bit helps, I promise you, and we're
really very very grateful for all of you who make
this show possible. So thanks for being there, and please
enjoy this episode of the Decon Chamber. I know that.
Speaker 1 (00:53):
Ladies and gentlemen, boys and girls, trekies and trekkers, welcome
back to another episode of the Decon Chamber today if
we are doing a walk party, and I will detail
what that episode is shortly, but I also want to
introduce my co host, my best friend and sometimes jail
me Dominic.
Speaker 2 (01:11):
You. Hello, Hello.
Speaker 1 (01:14):
So today we're going to watch episode four Strange New
World no S directed by David Livingston, written by Mike
Sussman and Phyllis Strong. Uh and I was always overseen
by Brannon Braga and Rick Berman. And this episode, I
don't know. It felt as though directed directed by David Livingston.
(01:36):
The Livingston effect he was present.
Speaker 2 (01:41):
I saw a lot of Livingston shots.
Speaker 1 (01:43):
It's it's interesting, you will get into this, but I
began to think, like, oh, yeah, that is a David
living snaps. Yes, yeah, yeah, And really want to dedicate
this episode to the memory of Kelly Waymeyer, who This
is the first time that we get to see Kelly,
and she did several episod so it's with us and
sadly passed away very young, thirty six. Yeah, and there's
(02:07):
more to talk about with because I met Kelly before
Star Trek.
Speaker 2 (02:11):
Did you know her through the theater sort of?
Speaker 1 (02:13):
I did her her boyfriend eventually fiance, Gary Gary Smooth,
who's also passed ship.
Speaker 2 (02:23):
I did not know that.
Speaker 1 (02:24):
Yeah, oh my god, yeah, he died about as eight
years ago.
Speaker 2 (02:30):
God dear me. It's the grace of God loves Yeah.
Speaker 1 (02:34):
Well that got off right exactly. On a lighter note,
we're still alive.
Speaker 2 (02:42):
Yeah, she was a lovely girl. I hardly got to
meet her, but I know, I have any ever heard
just delightful things about her, and she's she guest starred
on Voyage. I didn't she and and then I was
reading about her yesterday. She one of her final performances,
which they dedicated to her, was on Brian Fuller's show Wonderfuls,
(03:02):
which didn't get I think maybe one or two seasons.
Speaker 1 (03:06):
And she was on was that, No, that was The
Pits on Fox.
Speaker 2 (03:12):
But Wonderfuls was with Lee Pace and quite an ensemble cast,
and she was part of that. And that was I
think that was her last you know on that was
It might have been right after she passed with me.
And she knew this from childhood, that she got this condition.
And yeah, I mean one day at doing a play
(03:36):
at the twenty fourth Street Theater when it happened.
Speaker 1 (03:39):
Yeah, she was having breakfast and didn't get out of it.
Speaker 2 (03:44):
Just anyway, she was a wonderful.
Speaker 1 (03:47):
Actress, and I had heard rumor that they were interested
in making her either a very heavy recurring which she
became anywhere, or a regular on our show. I did
not know that I could be wrong about that, but
I had heard, you know, rumblings about that.
Speaker 2 (04:08):
Yeah, she played Elizabeth Criminal Elizabeth Cutler on on this
episode and yeah, God bless her this so we we
we shall dedicate this this watch party to to her memory.
And that said, yeah, I really enjoyed watching it, and
(04:31):
this was our first time coming across what do we
call it? Uh, what's the name of the planet that
can hold life? Man? I want to say Magella, but
it's not. It's all class or something. And it's close.
(04:52):
I know they're they're all going to go, you monkey you,
And of course Jolene to Paul is very reticent about
just jumping onto a shuttle craft and going to have
a look. And the Vulcan protocol would be you'd send
some drones down, you know, in the six days you
(05:14):
six days. Well that's hoisted by his own batad in
the end, dear Jonathan Archer. But anyway, so off we go.
Speaker 1 (05:25):
Well, yeah, I found myself a little surprised because I mean,
it's been quite some time since I've seen that episode.
Speaker 2 (05:32):
You're great in it, by the way, I mean, this
will we'll come to it later.
Speaker 1 (05:37):
I knew something about this. I knew I had a
shot at getting myself listened to. I knew that, yeah,
you had.
Speaker 2 (05:48):
Had lots to do, and you had some good crazy
to play, and it was you know, of course we
find out that it's an a listener Jen by the way,
ladies and gentlemen. I have seen him at Lapouvel like
that mushrooms, But no.
Speaker 1 (06:09):
I was surprised really when I saw that that. I
don't know how long into our initial run that we
keep talking about, you know, how gung ho we are,
and it sort of felt like America and you know, well,
you know, why would we wait six or seven days
if we can go out there? Why can they? Why
(06:30):
do they get to have all the fun?
Speaker 2 (06:32):
Mm hmmm.
Speaker 1 (06:33):
Yeah. It's interesting because I have also been watching Strange
New Worlds preparing for Christina Chong, and what they're doing
in there is so much more subdued than the tone
in which we were.
Speaker 2 (06:51):
Yeah, you know, there's as much it got much much
much more it has. It has it's much all character
based too, between the characters on the ship, but it
also has a modern light of touch humor that we
were not not awn't allow as the right word, but
we couldn't enjoy it was you know, our lighter moments
(07:14):
were few and far between, and if they were they
were quite sort of orchestrated, if you will. The interesting
thing about this episode is that it was on location,
I think pretty much for the most part. And you
shot round the corner from where I now live.
Speaker 1 (07:31):
That little stream that goes down and the beginning.
Speaker 2 (07:33):
Now was that stream. So you shot in You shot
in Griffith Park at the Bronson Caves, which are famous
for having been the caves that the Batmobile came zooming
out of. Yeah, the Batcave. They're closed off now. I
think I mentioned that to you a little while back. Yeah,
they've they've yellow taped it. Or you can go and
stand and look at them, but you can't walk through. No,
(07:56):
they've it's all been shut up, because I still walk
up there quite a lot. So that stream was streaming
that time you were there, was it, okay?
Speaker 1 (08:07):
I mean they may have artificially made that.
Speaker 2 (08:09):
I wondered. I mean I did, because you know, in
recent years, when we've had these you know what do
they call them, atmospheric rivers coming away from Hawaii and
hitting the southern coast of California, that stream has been
babbling again and it's been beautiful in the winter. As
you know, this winter we're having We've had no rain
(08:30):
so far, so who knows. And it's eighty degrees here today.
You pulled back east, but we.
Speaker 1 (08:38):
Don't want it right now.
Speaker 2 (08:39):
I know we need some rain, but so that they
may have artificial it was a lot of water. Oh
my god. Yeah, okay, but it was only for the
one shot. I did wonder that whether they whether you
but well, okay, so then there there was a there
was a tidal pool that you shot. You didn't go
anywhere else other than Griffith Park.
Speaker 1 (09:00):
I don't believe.
Speaker 2 (09:01):
So.
Speaker 1 (09:01):
I don't think we went up, you know, north to
to the ranch. I don't think so. I think we
were just right there. I think that that pond is digitally.
Speaker 2 (09:13):
It was it digital. It was a big pond of digital. Okay.
Speaker 1 (09:16):
Yeah, you know, because you see her reflection when she's
looking and looking at those fish.
Speaker 2 (09:22):
Yeah.
Speaker 1 (09:23):
Yeah, but no, I you know, I will say this
that it was almost like, you know, you have the
scenes where we're actually walking around and we're actually in
like that little meadow in Griffith Park. Beautiful, these shots
that are almost like a nineteen thirties version or the
nineteen thirties version of the Sound of Music, where you
(09:44):
see like the mountains and kiss.
Speaker 2 (09:47):
Yeah, that's right. With the snowcap you're like girls are
with the sound of porthos, right.
Speaker 1 (09:55):
And you've got all those California poppies going.
Speaker 2 (09:58):
Yeah, that's what gets you high. So then then a
storm system moves in and you're all trying to camp down,
and you and Travis have decided you're going to stay
the night. And the ghost story parts are rather fun.
He does it rather well actually about miss someone Web.
(10:22):
Apparently if you listen you can still hear the beep
beep deep. It's a lovely Did you shoot that? Was
that a night shoot? By the way, did you stay? Yeah?
I mean asked to god. I mean I went surfing
that week, I know.
Speaker 1 (10:40):
I mean I was going to say, you know, we're
going to watch Strange New World, or the week Don
went surfing.
Speaker 2 (10:46):
I remember coming to visit you from the beach, all
bronze and surfed out mane dirt and you covered and
you were in the mid in the caves and the
best of times, they're musty, you know, probably filled with funk.
Speaker 1 (11:01):
Got sick?
Speaker 2 (11:02):
But was you all got sick?
Speaker 1 (11:03):
Did you We all got some kind of respiratory thing
because you know, really what the bat caves are now
are rat caves, and all just there.
Speaker 2 (11:13):
Must have been. Yeah, there must be a lot of
what do you call that rat guana? Yeah, I mean,
I'm sure brats hang out there.
Speaker 1 (11:22):
I'm sure. But you know, we we literally we shot
that episode, and probably because I feel like I feel
like the knights in the bat Cave were relatively early
on in the episode.
Speaker 2 (11:36):
They made you shoot nights in the cave. They didn't
just block it off and darken it.
Speaker 1 (11:41):
I think that it didn't matter. So we started during
the day, they'd block it off and then it would
get dark and we'd carry on shooting.
Speaker 2 (11:48):
So, but the scenes in the tents were at night
in the park right there, I think. So, yeah, you
went on a stage doing that?
Speaker 1 (11:56):
No, No, I think, oh that's a good to be honest,
I don't wonder because quite honestly, I don't know, you
know what they must have been on a stage because.
Speaker 2 (12:10):
Of that wind, yeah, and fire and wind, and they
weren't gonna let that. Yeah, that's what I thought. It
did occur to me that you shot those on stage
nine and they might planet hell stage Planet hell. Yeah,
So you all have to sort of retreat into the
caves because of this storm system moving in and it
(12:31):
kicks up this hillacious wind and unbeknownst to you, it's
dispersing some hallucinogenic spoil pollen that you're all ingesting.
Speaker 1 (12:44):
And in the meantime, ensign I forget his name, who
was also quite good.
Speaker 2 (12:50):
Yeah, the other chat was great, wasn't he I forget
his name?
Speaker 1 (12:52):
Where he's sniffing this the flower. Yeah, he gets in
real trouble because he's been exposed to the elements the
entire time, because he off because he thinks he sees people. Yeah,
and he you know, obviously goes back and he doesn't
make it, does he?
Speaker 2 (13:11):
He does in the end, he nearly doesn't. And then
he and there's a lovely scene between the captain and
and John as flocks where Flox has said that he
will make it, and then you know it's not an
exact science. I'm very sorry. But he comes back sort of,
you know, he get I beam him back in and
it's a difficult beam and he comes in covered in
(13:36):
twigs and leaves.
Speaker 1 (13:37):
Can you can you remember? I was wondering about this.
So if he was able to be beamed back, why
weren't we, because.
Speaker 2 (13:45):
After I beamed him back, it was such a tricky
all the particles dispersed, and it was he nearly didn't
make it, and he and the shape he made it
in was not conducive to go, okay, let's get them.
And so we we, you know, decided to have you
guys sit it out. We didn't know that, you know,
you're all high as kites, got blessed and that you
(14:07):
were going to lose your s h one t with
the ck have a Mexican standoff with Paul. Yeah. So
uh anyway, Yeah, I thought your performance once you start
to get aaronoid and loosen, you know, high as a
(14:28):
kite who loosening, hallucinating, was really it was powerful, man,
and it really was. It was that's never you know,
that's sometimes people think that's easy to play, and you can.
You can get it wrong. You can you can go
too too too fast, too soon. And it really built
(14:49):
nicely in your confrontation with with her. And you know, again,
props to Jolene looking back on these apps, you know,
she played it beautiful.
Speaker 1 (15:00):
Yeah, and I remember I remember that, you know, all
the bulk of all of that me losing it happened
on one or two days, so you know. And again
I was saying earlier that this is episode four and
at the time I didn't really realize I don't know
(15:26):
the triumvirate notion about this, and I didn't really said that, yeah,
that that that this What I thought was okay, kid,
you got your shot. And it's early on because I
felt like the previous episode Linda got one mm hm
and she had but I so I thought, oh, okay, well,
this is my turn to you know, tying on at
(15:48):
the end of the rope and hang on and and
and show them something. So I, you know, I I
think at the moment I was so focused on because
the great thing about knowing everything so well as an
actor your lines, when you're doing it, you can just
(16:09):
forget it and it just comes. And and that was
that was an episode where I did that. And looking
back on it, I was like, yeah, not bad guy.
Speaker 2 (16:24):
Not really. You can play with it once you know
the steps and you and you're always to two beats
ahead of what you're going to say next when you
when you shoot something like that, and you don't get
too many takes in episodic Did you did you vary
it for David Livingstone or did you give him the
same take most of the time.
Speaker 1 (16:46):
I mean the thing about David Livingstone's direction, which you know,
in hindsight at the time, not in that episode, because
that was the first time we'd worked with them. You know,
he's a he's acting director, he's exactly and he'll he'll
you'll do a take and he'll say, a great that
(17:09):
one moment, let's do this, and so yeah, I mean
it was a sort of a symbiotic thing with him
in relation to that. But again because I knew it
so well.
Speaker 2 (17:23):
Yeah, I take up at that one moment.
Speaker 1 (17:26):
He would you know, he'd be like, you know, all right,
we've got that one. Yeah, let's bring it down a
little bit, let's go further or whatever. And you know,
you get, I don't know, two shots right, unless you've
screwed it up, you know, two shots to bank.
Speaker 2 (17:45):
What was the technical difficulties for Marvin Rush the DP
and focus pulling and I mean what was did you
find yourself having to and the dust that must have
been kicked up endlessly in there? Was there were there
a lot of technical issues or do you remember the
hair alone?
Speaker 1 (18:06):
I mean, you know, what. I think they won the
Emmy that year for that episode, did they?
Speaker 2 (18:11):
Did they really? For the hair?
Speaker 1 (18:12):
They won our only Emmy hair that year.
Speaker 2 (18:15):
That's sad, you know. Yeah. Well, and actually at the
moment where when Joe leans out in the storm, when
it first comes in and it's blowing her up, I
got I did look at one moment, she looks a
bit like a mad woman.
Speaker 1 (18:34):
I mean, you know, you know, we've both ended been
into those caves. It's a very cramped situation, and there
was something nice about having just us there in a
natural environment, the caves, and everybody being so close around
so that I won't say that I guess it sort
(18:54):
of felt like theater in a way that, you know,
because everybody was so engaged, everyone's so on top of it.
We had so many there were so many different like
panning shots and from one person to the next. I
think Marvin's big challenge, and that's where we learned the
flashlight technique. Normally, in real life, all you do is
(19:15):
you flash it at somebody's face. Well you can't do that,
so you have to flash it at their chest.
Speaker 2 (19:20):
Yeah yeah, yeah.
Speaker 1 (19:22):
And then so that was probably the most technical aspect
we had to do for Marvin because he mostly handheld,
most exclusively handheld.
Speaker 2 (19:30):
There was no there was no dollies in there. They
didn't lay any track, no track.
Speaker 1 (19:35):
I'm sure there were some lights at some points, but
I remember really the the the choreography was so Connor,
You're going to walk here, Joline, you're here, Anthony Kelly,
And then our job was to have the scene yeah,
and light other people right, and a lot of dosy,
(19:55):
doing a lot of yeah. That's when we was when
we when.
Speaker 2 (19:59):
We earn it around, just to make it move, because
it's called the movies, so it's not just one constant
shot over one over shoulder. What else do I want
to say? Uh, And you're shooting in this iconic and
you know these these caves are iconic, and I was
rather jealous. I have to say that I didn't get
(20:21):
to be a part of that episode in any real way,
but yeah, and I'm shooting that just to say that
I've shot in the back caves, you know, but there
it is. Yeah, I've visited while you were shooting once.
Speaker 1 (20:34):
So I found out that we were shooting in the
back cave. I was I thought, oh yeah.
Speaker 2 (20:39):
Oh yeah, it's Hollywood, baby, Yeah exactly, yeah, no kidding,
that's proper Hollywood.
Speaker 1 (20:44):
I mean looking up the bat caves and see what's
been shot in there. And you know the fact that
we had an episode there was was was big.
Speaker 2 (20:51):
It's iconic, and it was episode four well three four,
you know, I mean, depending what you want to camp
pilots early on, and they were spending they they were
spending their money then.
Speaker 1 (21:02):
Weren't they were again those those those sort of big
shots of there's a snow capped mountain and they were
frankly ridiculous.
Speaker 2 (21:17):
Well it's had to be otherwise, you know. I did
think this a lot of the time. Whenever you see
the Star Trek episode and they go to a I
wish I could remember the name of this Manchella glass
planet that can hold humanoid life or has you know,
enough oxygen and you know, has plant life and whatever
it's it's you know, it's a bit like Austin Powers.
(21:40):
Isn't it strange how England looks a lot like the California.
Speaker 1 (21:45):
Here's a question I had because we're sitting there at
the camp before the storm comes and I thought this,
I thought, so Kelly's character says, look, at that next
to these this triad. Yes, yes, I thought, so there's
(22:08):
that habitable planet not too far from us and there's
no one there.
Speaker 2 (22:15):
Right all right. Yeah, And the fact that I mean,
I'm not to trash this at all, but the fact
that some plant life would would have hallucinogenic spores. Usually
one finds, like you know, magic mushrooms were philocybin. I
would imagine the evolutionary journey, like any plant is for
(22:38):
animals to avoid eating these things so that they you know,
they know not to eat that stuff because it blew right,
they fall over and and then of course they're you know,
prey to other you know, beasts. And yeah, so that
was a you know, a bit of a bit of
a stretch.
Speaker 1 (22:57):
But look, you know, I mean, I mean, come on, nothing, I.
Speaker 2 (22:59):
Always come back, you know whatever. Some never Sarah complains
that I go, it's a TV show, yes, the other
it's a film. It's a movie.
Speaker 1 (23:09):
Right, everything is for me at least if I believe
the people tell the story. I'm going to forgive a lot. Yeah, yeah,
you know, and in this episode, I was, you know,
I forgave a lot because yes, okay, you could pick
this apart and say this, that or the other thing.
But are you telling a story?
Speaker 2 (23:30):
Yeah, And it wasn't exactly and it wasn't. The story
is not about the planet. It's about that. It's a
it's building a dynamic between you and to Paul immediately.
It's it's also showing Archer's misgiving or other his his
misstep in going a bit sort of John Wayne like
(23:52):
into the the Strange New World without doing some further
investigation first. And he puts, frankly, he puts that the
crew in serious danger, you know, and he tells a lie,
and he tells a lie. Yeah. Yeah, So it's a
it's a very telling episode about our first early steps
(24:13):
and given that we were the prequel, and I thought
that that was quite interesting.
Speaker 1 (24:17):
And yeah, I think I think there were elements to
that episode that that gave us some seasoning characters in
terms of.
Speaker 2 (24:27):
Yeah, and do you know what for right out the gates,
I think it was pretty much nailed. I mean, you know,
I think, I mean, I've We've looked at a lot,
I've looked at a lot of Star Trek in the
last few years. I mean, our early episodes really stand up.
I mean, we we came out, we came out like
we were in season two or three already. I think
(24:48):
our pilot, I really honestly, I hope I'm not waxing
too lyrical, but I'm curious to find.
Speaker 1 (24:55):
Out how, you know, there must be a point where
we're going to become aware of the feeling that I
think a lot of people have had. We've mentioned before
that like it seemed as though we were just sort
of slapping another title onto an episode of our own show.
Not these, No, not these.
Speaker 2 (25:17):
You know. The first time I sort of half recognized
something like that was Terranova maybe, which, if I remember rightly, LeVar,
we'll get to when we talked to him, we met
the underground people.
Speaker 1 (25:29):
Yeah, we go Unexpected next, and then we go Terranova.
Speaker 2 (25:32):
Yeah, And by Terranova, I was like, this is I mean?
But I don't know. I didn't know that there was
going to be any weariness that. I didn't have a
clue about any kind of sense that would there would
be two things. I didn't understand that the fans generally
don't like the new shows at.
Speaker 1 (25:52):
All, any new show, any.
Speaker 2 (25:55):
New show, if they've had seven years of Voyager, they
can't stand what comes next. If they've had, you know,
seven years of next year and they can't they can't
bear deep Space nine and it all comes it's it's
you know, it's it's getting used. It's it's God knows,
It's like getting used to a new bed, isn't it?
It is?
Speaker 1 (26:15):
But I will say that I think as a show
standing on itself out of the gate. Yeah, we're making
very good episodes.
Speaker 2 (26:23):
I think so too. Our cast was very solidified quickly.
We've talked about this before the read through. I just
got that feeling, and I've been in one other show
in London that had the same sort of chemistry. You
could just sense that there was everyone got along and
everyone was good, and no one thought that they were
(26:44):
going to be the Prima Donna God Bless, and we
had Scott as the leading the charge, God Bless.
Speaker 1 (26:51):
I think there's also an element to and we've seen
shows where you just feel as though, again I'm talking,
I will forgive a lot if I believe the people
telling the story. I feel as though that we had
a cast and they most often get it right. They
worked their butts off to cast these things and spend
(27:14):
a great deal of money doing that, and I think
that when you have the people speaking the characters in
a proper voice, that you accept. And we had that here.
Speaker 2 (27:28):
We did.
Speaker 1 (27:29):
Yeah, I mean, I was just talking. We were talking
earlier about I had just seen movie Heretic last night
with Hugh Grant, and the last half of it, I
kind of it kind of lost me, but I wasn't
lost in the characters. Those girls and him were phenomenal.
Speaker 2 (27:52):
They were absolutely phenomenal. And it's a three hand play, really,
and it is. It's in two sets, you know, and
and it's it's really well done. It's the two chaps
and I forget their names, but they came up with
the quiet after Krazinsky did the first quiet place. They
have gone on to do the other two quiet places,
(28:12):
and I forget their names, but they.
Speaker 1 (28:14):
Are the British.
Speaker 2 (28:17):
Katie's saying, what's Katie? She's saying, no, do you want
to jump in anyway? Your muted?
Speaker 1 (28:27):
Muted? But can you see me?
Speaker 2 (28:29):
I'm so sorry, guys, we can see you, we just
can't hear you. You were saying something.
Speaker 1 (28:33):
Oh my god, I'm so sorry.
Speaker 2 (28:34):
No, I'm I'm going over lines right now.
Speaker 1 (28:36):
I didn't think I could hear. I'm so sorry.
Speaker 2 (28:40):
I thought you were. I thought you would. You were
trashing my knowledge of filmmaking.
Speaker 1 (28:46):
Katie's looking for work. I have a workshop tonight, so
I'm going over my lines for.
Speaker 2 (28:51):
It, playing mistress quickly. I'm so sorry I have.
Speaker 1 (28:57):
To this bing out in the country.
Speaker 2 (29:00):
Jesus.
Speaker 1 (29:05):
Back to what I've been doing for the last thirty.
Speaker 2 (29:06):
Minutes inside the garden. The garden tells me it's an
exceeding green. Okay, well I'm gonna yeah, no, do not
stay there, you can go anyway. We were talking about
the heretic again briefly, but yeah, he was terrific. The
girls are great. I mean to play that level of
(29:28):
of freaked out, frightened, and I thought they were really
good to toally.
Speaker 1 (29:36):
It was great, Yeah, it was.
Speaker 2 (29:39):
It was about our episode. I'm just trying to think, Yeah,
I was, I you know, alluded briefly to my tell
you that's a little moment. I think that was the
moment when I go to visit the captain to give
him a report about the storm, and I visited his
quarters and he throws the water a polo boat ball
(30:01):
at me and I catch it on the way in
and uh, and then he says a good catch, you
make a good two meter man, I'll bet you say
that's all the uh. And then he says it's too
bad we don't have a pool on board the ship.
(30:21):
And there's a moment then I go, yees, shame, sorry,
And I remember, I think that might have been the
moment where I just was like, I'm going to let
Dominic be Malcolm from time to time, and if Dominic
thinks that's funny, then then so does Malcolm. And that's
where I because you know, you you you get bob
(30:42):
down in those or you get stuck in the in
the in the molasses of those three bio lines that
you get, you know, stiff upper lip, brick for button
down shirts, shy around women. That's who I'm playing for
seven years, what we thought and uh And I think
that might have been the AHA moment when I was like,
(31:03):
you know what, I'm gonna step outside that little box
and uh and and and flesh him out. And it
gives me.
Speaker 1 (31:11):
That I felt I felt the same way in the
things that I was doing in that episode. I recalled
because it's very easy as an actor. It's it's the
easiest thing to take on a three line bio it
is and then act that when the reality is I
just saw sir Who's Who's Patrick Stewart's best friend? Sir
(31:38):
Ben Kingsley or McCall Kingsley Kingsley. Kingsley was interviewed and
he said, you know, I he he, he said in
an interview, I saw that he thinks that film and
television has created so much better actors because on stage
(32:00):
age you really have to because you're speaking to the
back of the audience hear you. You are speaking and
living in a bubble that's louder than you would. You're
not merely behaving. You're performing. You are you are now
when you're talking about film and television, the camera's right there.
Speaker 2 (32:22):
Yeah.
Speaker 1 (32:24):
So it's all about a person's reactions and actions. It's
not about performing.
Speaker 2 (32:32):
So we get about failing and thinking.
Speaker 1 (32:34):
You get walked down into this idea, especially when you
get these three line bios about like, well I'm going
to play it this way. Well this way isn't really me.
But when in reality, all you're supposed to be doing.
Speaker 2 (32:47):
Is you in that or finding a variation of you? Yeah, yes, yes,
you can put on you have a voice, you have
a walk, maybe you've got a costume. The costume always
helps you having a makeup and hair, but.
Speaker 1 (33:03):
It is always siltering right through.
Speaker 2 (33:05):
You took a long time because we're both stage trained
actors and I had never spent that much time in
front of a camera. It took it took a minute
for me to you know, have that black box there
and it be my friend, rather than is it going
to show every poor on my face? And is it
going to show every defect of my you know, I
(33:28):
mean I have this joke, don't I? I mean I
felt like a something like what have I said in
the past, a mutation amongst really well lit beautiful people. Yeah,
And it took a while to to to you know,
the secret is and you know the Jack Lemon, like,
you know, who is he working for? Billy Wilder?
Speaker 1 (33:49):
Do less?
Speaker 2 (33:51):
Yeah, if I do less, I'll do I won't be
doing anything. Yeah, just to go it away. Half the time,
it's it's just throw throw, throw it away in a
meaningful fashion.
Speaker 1 (34:03):
Because you can't actually throw it away. No, you can't
live in No, you don't have to actually perform it.
Speaker 2 (34:11):
No. But and the story and I learned this quickly
enough on our show. They're not so deep and heightened
that you need to be explaining the story to the
audience with your acting.
Speaker 1 (34:26):
You are you are watching? Are you paying attention?
Speaker 2 (34:28):
You're merely a vehicle for the story to be to
onefold and in fact, yeah, I mean I remember Jack Tinker,
who was the critic for The Daily Mail, who was
a big champion of mine. He said, you never really
want to and he obviously was that well versed in
watching stage night after night after night. He said, you know, Dominic,
(34:50):
you never really want to go to tears. You want
to let the audience cry for you. Yeah, yeah, nearly
cry and let them Otherwise, what have they got to do?
You know, there's nothing for them to do.
Speaker 1 (35:02):
I've done it for you, and you've done it all.
Speaker 2 (35:04):
For them, and and then and then and then you're
not vulnerable, and you're not unless the scene is so
horrific and horrible that but even then, Yeah.
Speaker 1 (35:14):
I'll tell you a story. I uh in this must
have been my second job in town and uh it
was for Touch by an Angel, and I went in
for the audition. It was literally like a three and
a half page monologue and it was this man who
was apologizing to the father of uh. The girl he'd killed.
(35:38):
And I went in there and I just laid it down,
tears and tears, just acting my face off. And the
casting director was like, that's great. Do it again. Don't
cry go half And he shared that same thing with me,
(36:00):
he said, he said, look, this is for the people
watching this. It's not for you. Yeah, And and I
learned that. And and by the way, you know, and
I also learned because I happened to be working with
Michael Moriarty.
Speaker 2 (36:13):
Great. Yeah. I work with him up in Vancouver. You know,
he got he got, He kind of got extricated, didn't
he didn't come back to No. I work with him
in Canada. But when I first got here, I know, yeah,
but he's great, yeah.
Speaker 1 (36:27):
Great actor. But he's also one of those guys who
recognized And this is I think this is the secret
sauce to acting on film and television, is that have
the thought, have it live in.
Speaker 2 (36:39):
You mm hmm.
Speaker 1 (36:40):
But it's not your job to be in the therapy's
therapist couch mm hmmm.
Speaker 2 (36:47):
Yeah. So I'm just thinking you so you all come back,
you will get and you're all good. I'm just trying
to think what the end was, What did we learn
what is what does answer? Is there a is there
a button? On the end of the episode that it's
a good question, you know, don't do that again.
Speaker 1 (37:10):
It's interesting. I don't think that archers Lie was ever
dealt with.
Speaker 2 (37:16):
No.
Speaker 1 (37:18):
I think that I think that the end of the
episode to Paul and have this scene where you know,
she says you were kind of unhinged last night, and
he was really, yeah, I know that's right.
Speaker 2 (37:31):
You yeah, you're you're sort of like, yeah, I'm coming
out of the hangover.
Speaker 1 (37:35):
Of it exactly should I say something? Yeah?
Speaker 2 (37:42):
Actually, I mean it's uh, given the heaviness of those scenes,
and they were quite heavy, you know, I mean, and
some of the c G I I've got to say,
the rock people coming out of the Rocks were pretty
bloody good for the time.
Speaker 1 (37:56):
I agree, they really were, so clearly when I had
my big rant, you know, you kind of got to
get yourself going and before they call action, and you've
got to be sort of physically and emotionally there. And
remember Anthony going, Anthony saying like you got it, get it,
go do it, and I was like yeah, yeah, all right, yeah,
(38:19):
And that was that was the big moment where where
tripp Is. I mean, I mean he would have shot
anything if he could have found shoot.
Speaker 2 (38:29):
It was very believable. You really believe that this could
go down, you know, this was a real standoff and
that she was completely in on it. And yeah, it
was nice. Actually, when I think about the way that
that was set story wise, the slight, the building of it.
That Anthony first saw some people wandering in the bushes,
(38:51):
he thought, or the I wish we could remember the
acts his name, who played the other crewman. But he
comes in saying you can hear voices, uh and yeah
and uh and uh and then you're seeing the rocks
come alive. It was nice. It was nicely built up,
so it ramped up nicely.
Speaker 1 (39:13):
Right, it was dangerous, Yeah, it was dangerous.
Speaker 2 (39:16):
Yeah it was. It was a very good episode. And
uh and again how much I liked it? Yeah, I
liked it a lot. And yeah, and I seem to
remember there were good waves though. Yeah.
Speaker 1 (39:30):
I also I was like, John, this is when you
made your song. You know, he probably worked.
Speaker 2 (39:38):
Day of day seeing that all Mandy Still, you know.
Speaker 1 (39:45):
The wonderful thing about John playing doctor flox Is, I
mean he was playing an alien, but uh, his humanity. Yeah,
really really shines through it does.
Speaker 2 (40:01):
His apology to Archer when he thinks he's not saved
the crewmen is very beautifully handled, you know, just that
blank stare. Yeah. And David Livingston's direction. I got to
say a lot of those shots, those close ups that
he likes in that eerie torch light flashlight light. It
(40:26):
was beautifully done and he knows when to push in David, And.
Speaker 1 (40:32):
I think that there's a reason why they used David
Livingstone for close proximity episodes one, just like that. This
was close proximity. We're all in a relative h I'll
be honest. Either he doesn't want to direct anymore. He's
(40:54):
a damn good director.
Speaker 2 (40:55):
I think David has in some respects and this is
not a I mean no criticism of this at all,
but he has a reputation for being, you know, with
a small D difficult. And I don't know, I mean,
I mean, did LeVar go on to direct other shows
(41:16):
other than Star Trek, I mean.
Speaker 1 (41:18):
A question, I don't know, you know, I mean.
Speaker 2 (41:21):
We know that Robbie Robbie Duncan did and so did Roxanne,
but you know they.
Speaker 1 (41:34):
Our in house directors. I think might have just sort
of been that that that notion of like you're a
star trek director.
Speaker 2 (41:40):
I don't know, yeah, I mean, you know, I think
you know, I know Roxanne was driven from day one.
I mean I remember shadowing her one time and she
came in. She was so prepped and.
Speaker 1 (41:53):
She had a book that filistic.
Speaker 2 (41:55):
You know, yeah, she you know, you've got to want it,
and uh and I think Robbie wanted it. And he
wanted to be a director much more than he wanted
to be an actor, I think definitely. Yeah, And and
so he is. And it's bloody hard work, that's the
(42:18):
other thing. I mean, it's uh, you know, it's there's
a lot sitting on those shoulders.
Speaker 4 (42:25):
And I think that David is an extremely talented director
of television.
Speaker 2 (42:36):
Yeah he is. He's a very good photographer too, and
he went on fantastic Yeah, he went on to do
some beautiful photography work. And every night I just.
Speaker 1 (42:46):
I don't want to give I want to give David Livingston,
you know, a great credit and high props for the
work he did for us all the.
Speaker 2 (42:54):
Time, all the time. Yeah, no kidding. And there'll be
other episodes coming up than we should. I'm it's you know,
having said at the beginning of this they were spending
all the money. By the end of this season they
bring him back to do shuttle Pod one where they
had no money, right, and that was meant to be
the big money saver in the bottle. Yeah, and then it.
Speaker 1 (43:17):
Wasn't you know. It's interesting too, because David, we'll talk
about this the next time we do a watch party,
because the next one is Unexpected, which was directed by
oh god, he was an editor, Mike Mike, Yes, Mike
(43:40):
Behar and and the difference between and I'm not giving
anyone more props than the other. You know, David Livingstone
would let you run into something, knowing he just needed
a bit of something. Mike Vaibar, being coming from the
editing world, would be like, listen, all we need are
(44:00):
these two lines. And I would say, well, I got
to get to those two lines, right, Can I have
a little moment And he'd be like, yeah, but it's
not going to count. Livingstone would ever say.
Speaker 2 (44:12):
That, No, No, we had much more an understanding of
the process as it were. Yeah. Yeah, well, it'd been
very fun talking to you about it, mate. I thought
you were terrific and uh, right out the gate. It
was compelling stuff.
Speaker 1 (44:31):
Yeah, and I will say again, I had recognized that
I felt as though, and I really, I really mean this.
I had felt that, Okay, kid, here's your shot. Yeah, yeah,
they're asking you to do some stuff for the song
coming on.
Speaker 2 (44:51):
What shut one shut, not gonna miss but shut something
like that.
Speaker 1 (45:00):
But yeah, no, thank you for saying that. And yeah,
I was really pleased with what I thought of the episode.
Had been so long since I've seen it.
Speaker 2 (45:14):
It's it's gonna be twenty five years next year, isn't it.
Speaker 1 (45:18):
Yeah?
Speaker 2 (45:19):
I was, boy, all right, well, it's been very fun
reminiscing over this one.
Speaker 1 (45:29):
Yeah, but it wasn't it much. We're in it more
than I thought, because you said that.
Speaker 2 (45:36):
I did some shuttle pod work. Yeah, that's what we'll
end on this. It's always it's always an anathema to
me that they let the captains fly the shuttle, like
you know what happens if it goes wrong.
Speaker 1 (45:49):
You know exactly. I also thought briefly when we got
we all go down there the very first time, you're
all wearing hats, and I was like, well, not the hair,
not the hair?
Speaker 2 (46:00):
Did you you've turned that down, did you that's right?
Uh yeah, I was seeing Porthos run through the green grass.
He was having the time of his life and not
good money, huge money.
Speaker 1 (46:13):
He was a big star of the show. We couldn't
look at it.
Speaker 2 (46:16):
Thanks for watching, everybody, no, no, no.
Speaker 1 (46:18):
I hope you enjoyed it. We really enjoyed watching it,
and more to come.
Speaker 2 (47:02):
The Boy Ringing, the Boy, The Boy
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