1 00:00:00,200 --> 00:00:15,160 Speaker 1: Hi, everyone, it's Sophia. Welcome to work in progress. Welcome 2 00:00:15,200 --> 00:00:19,439 Speaker 1: back to part two with the incredible Mira Sorvino friends. 3 00:00:20,040 --> 00:00:22,919 Speaker 1: You know, while while I wait for her to get here, 4 00:00:23,239 --> 00:00:25,599 Speaker 1: I'm a little early shocker to no one who knows me. 5 00:00:26,239 --> 00:00:30,080 Speaker 1: I really was thinking, after the beginning portion of our conversation, 6 00:00:30,200 --> 00:00:33,200 Speaker 1: hearing our story, how cool it is that so many 7 00:00:33,280 --> 00:00:35,920 Speaker 1: of us who wind up doing this, you know, crazy 8 00:00:36,000 --> 00:00:39,760 Speaker 1: job being performers in the circuits, If you will wind 9 00:00:39,920 --> 00:00:44,520 Speaker 1: up finding our way to telling other people's stories by 10 00:00:45,440 --> 00:00:50,360 Speaker 1: experiencing people's lives, you know, by by being impacted by 11 00:00:51,159 --> 00:00:54,840 Speaker 1: a historical event or a place you know, where you 12 00:00:54,880 --> 00:00:57,240 Speaker 1: get to know a whole new reality, like she did 13 00:00:57,680 --> 00:01:03,279 Speaker 1: studying in China. I think about how following my passion 14 00:01:03,560 --> 00:01:09,320 Speaker 1: for history and world events led me into doing the 15 00:01:09,360 --> 00:01:13,319 Speaker 1: play that changed my life as a senior in high school, Denial, 16 00:01:13,760 --> 00:01:21,119 Speaker 1: a play centering on rights of people's free speech and 17 00:01:21,400 --> 00:01:24,839 Speaker 1: some of the historical atrocities from World War two and 18 00:01:25,400 --> 00:01:29,640 Speaker 1: the modern day ACLU and all of these things that 19 00:01:29,760 --> 00:01:33,200 Speaker 1: kind of came to a head in such a complicated 20 00:01:33,240 --> 00:01:35,760 Speaker 1: fashion and made every character in the play have to 21 00:01:35,840 --> 00:01:40,640 Speaker 1: examine what they believe and why and who they were 22 00:01:40,640 --> 00:01:43,679 Speaker 1: going to stand up for. And it's crazy to think 23 00:01:43,680 --> 00:01:45,480 Speaker 1: about this as an adult who spends so much of 24 00:01:45,520 --> 00:01:51,600 Speaker 1: my time in advocacy, because I realize how early in 25 00:01:51,760 --> 00:01:54,240 Speaker 1: my exploration of what I wanted my career to be, 26 00:01:54,640 --> 00:01:58,760 Speaker 1: the advocacy and the storytelling were so intertwined. And to 27 00:01:58,960 --> 00:02:02,600 Speaker 1: hear that from her in her own way, I don't know, 28 00:02:02,760 --> 00:02:06,240 Speaker 1: it gives me some sort of of a kismet or 29 00:02:06,240 --> 00:02:11,640 Speaker 1: a shared something even deeper than well, we both tell stories, Oh, 30 00:02:11,680 --> 00:02:15,600 Speaker 1: we're both actors, you know. It really reminds me of, 31 00:02:17,280 --> 00:02:21,120 Speaker 1: I guess, the specialness under all of it. And Yeah, 32 00:02:21,400 --> 00:02:23,919 Speaker 1: I realized how cool that was. She made me think 33 00:02:23,919 --> 00:02:25,640 Speaker 1: about some things I hadn't thought about in a while. 34 00:02:25,760 --> 00:02:28,480 Speaker 1: So I wanted to share that with you all, just 35 00:02:29,240 --> 00:02:34,440 Speaker 1: for a little bit deeper context on Yeah, on why 36 00:02:34,480 --> 00:02:36,760 Speaker 1: I love and feel so lucky to be a storyteller. 37 00:02:37,440 --> 00:02:40,679 Speaker 1: So cool that someone I've literally looked up to for 38 00:02:40,800 --> 00:02:44,239 Speaker 1: my whole career has a version of that story too. Okay, 39 00:02:44,600 --> 00:02:47,120 Speaker 1: I'm going to stop geeking out about this and bring 40 00:02:47,160 --> 00:02:50,959 Speaker 1: her back into the interview room because I think I'm 41 00:02:51,040 --> 00:02:53,560 Speaker 1: too bashful to tell you this part of the story 42 00:02:53,919 --> 00:02:56,639 Speaker 1: to her face, but she'll. 43 00:02:56,400 --> 00:02:58,959 Speaker 2: Hear the episode one of these days. All right, let's 44 00:02:59,040 --> 00:02:59,880 Speaker 2: dive back in with Mira. 45 00:03:10,840 --> 00:03:12,840 Speaker 1: We talked about this a little bit in the last episode, 46 00:03:12,840 --> 00:03:15,560 Speaker 1: but when you won your Academy Award for Mighty ephor Diety, 47 00:03:15,600 --> 00:03:18,200 Speaker 1: you said something that really sticks with me that you 48 00:03:18,280 --> 00:03:21,200 Speaker 1: wanted to be an actor to make people see something 49 00:03:21,240 --> 00:03:22,400 Speaker 1: about the human spirit. 50 00:03:22,840 --> 00:03:24,880 Speaker 2: You know, my dad did do a movie called Dummy 51 00:03:25,400 --> 00:03:27,799 Speaker 2: when I was a kid. That was really my inspiration 52 00:03:27,880 --> 00:03:30,080 Speaker 2: for wanting to be an actor. So he played a 53 00:03:30,200 --> 00:03:34,400 Speaker 2: deaf lawyer who was defending a deaf mute young man 54 00:03:34,440 --> 00:03:36,720 Speaker 2: played by LeVar Burton, who had been accused of rape 55 00:03:36,720 --> 00:03:39,920 Speaker 2: and murder. And it was based on a real person. 56 00:03:40,040 --> 00:03:44,640 Speaker 2: And Dad did so much research on deaf speech, and 57 00:03:44,680 --> 00:03:47,040 Speaker 2: he worked with these kids at the Lexington School for 58 00:03:47,080 --> 00:03:49,120 Speaker 2: the Deaf for three weeks and he developed three different 59 00:03:49,120 --> 00:03:51,640 Speaker 2: stages of death speech. And then he had the opportunity 60 00:03:51,680 --> 00:03:54,800 Speaker 2: to go and interview the real Lowell Myers, the real lawyer, 61 00:03:55,040 --> 00:03:57,680 Speaker 2: and he realized he had a different voice than he 62 00:03:57,720 --> 00:04:00,520 Speaker 2: would have imagined, like his the tone of his voice 63 00:04:00,560 --> 00:04:03,960 Speaker 2: was lower, so he brought his voice down like an octave, 64 00:04:04,160 --> 00:04:08,440 Speaker 2: and then you know, the movie is very heartbreaking because 65 00:04:08,440 --> 00:04:12,480 Speaker 2: it's sort of how the social just how the justice 66 00:04:12,480 --> 00:04:17,720 Speaker 2: system treats marginalized people, the criminal justice system. And LeVar 67 00:04:17,800 --> 00:04:20,640 Speaker 2: Burton just does an incredible job as this young man 68 00:04:20,680 --> 00:04:26,159 Speaker 2: who is really abused by the system. And Dad gave 69 00:04:26,360 --> 00:04:29,760 Speaker 2: such a performance that was so moving, and as the 70 00:04:29,839 --> 00:04:34,360 Speaker 2: story progressed twenty years into it, he could barely speak 71 00:04:34,520 --> 00:04:37,760 Speaker 2: understandably because he had gone profoundly deaf at twelve, and 72 00:04:38,240 --> 00:04:41,039 Speaker 2: over the years lost all the consonants and the plosives, 73 00:04:41,080 --> 00:04:44,280 Speaker 2: and it just sounded more and more distorted. And yet 74 00:04:44,320 --> 00:04:47,000 Speaker 2: he gives this like stunning, you know, summation speech in 75 00:04:47,040 --> 00:04:49,960 Speaker 2: the courtroom, and I was just so in awe of it, 76 00:04:50,000 --> 00:04:52,520 Speaker 2: and I was like, there's something noble about this craft. 77 00:04:52,560 --> 00:04:55,920 Speaker 2: There's something When it's at its best, it can combine 78 00:04:56,880 --> 00:05:01,000 Speaker 2: art and truth telling in a way that is meaningful 79 00:05:01,080 --> 00:05:04,440 Speaker 2: to a larger society. It can always be meaningful on 80 00:05:04,480 --> 00:05:06,880 Speaker 2: the human level, like you can see yourself in the 81 00:05:06,960 --> 00:05:10,039 Speaker 2: characters being portrayed or in the story. But sometimes when 82 00:05:10,040 --> 00:05:15,240 Speaker 2: it has bigger themes and it's really beautifully articulated and executed, 83 00:05:15,320 --> 00:05:18,760 Speaker 2: you can have an effect that might go beyond that moment. 84 00:05:18,800 --> 00:05:19,480 Speaker 2: When people are. 85 00:05:19,360 --> 00:05:24,520 Speaker 1: Watching yeah, and it takes these stories, you know, these 86 00:05:24,640 --> 00:05:28,120 Speaker 1: these people and their journeys out of the bucket of 87 00:05:28,240 --> 00:05:31,600 Speaker 1: ideas and it makes them real to us in such 88 00:05:31,640 --> 00:05:34,400 Speaker 1: a way. You know, someone who watches that film is 89 00:05:34,480 --> 00:05:36,760 Speaker 1: going to be affected in a way that just reading 90 00:05:36,760 --> 00:05:39,680 Speaker 1: an article about how marginalized people are mistreated in the 91 00:05:39,839 --> 00:05:44,120 Speaker 1: justice system, it isn't isn't going to break. 92 00:05:44,240 --> 00:05:48,159 Speaker 2: Yeah, their heart's break, and yeah, both Dad and LeVar 93 00:05:48,440 --> 00:05:50,960 Speaker 2: put their hearts out there for everybody to see. And 94 00:05:51,440 --> 00:05:54,600 Speaker 2: I think when you're authentically acting, you know, I note 95 00:05:54,600 --> 00:05:56,920 Speaker 2: that there is a British philosophy that if you cry, 96 00:05:57,000 --> 00:05:59,599 Speaker 2: the audience won't. But I kind of feel the opposite 97 00:05:59,680 --> 00:06:03,320 Speaker 2: is true, that when you're really feeling something truly inside 98 00:06:03,400 --> 00:06:07,560 Speaker 2: yourself and you're living truthfully under imaginary circumstances, but your 99 00:06:07,640 --> 00:06:10,600 Speaker 2: own heart is really broken or vulnerable or whatever, that 100 00:06:11,040 --> 00:06:15,040 Speaker 2: the instinct in people for empathy clicks in and they 101 00:06:16,240 --> 00:06:19,760 Speaker 2: are autonomously like moved by you because they're seeing another 102 00:06:19,920 --> 00:06:23,800 Speaker 2: being in pain, you know, and they connect that it's real. 103 00:06:24,200 --> 00:06:27,160 Speaker 2: And I think when you're using the artifice of like 104 00:06:27,240 --> 00:06:30,080 Speaker 2: a certain handjester and a certain you know, way of 105 00:06:30,160 --> 00:06:33,600 Speaker 2: saying a line and faking tears and using like you know, 106 00:06:33,800 --> 00:06:35,960 Speaker 2: the plowers of the Glitterer and tears, which I have 107 00:06:36,120 --> 00:06:39,080 Speaker 2: never done because my father was like, the day I 108 00:06:39,320 --> 00:06:41,719 Speaker 2: use the glacier and tears is the day I walk 109 00:06:41,800 --> 00:06:44,760 Speaker 2: out of the business. And it was so adamant about 110 00:06:44,800 --> 00:06:46,640 Speaker 2: it that I cannot. 111 00:06:46,960 --> 00:06:51,080 Speaker 1: Your character, Sandra, you know you lovingly call her Sandy 112 00:06:51,240 --> 00:06:55,360 Speaker 1: in your latest movie, Signing Tony Raymond, has a lot 113 00:06:55,440 --> 00:06:59,120 Speaker 1: of spirit, i'd say, a lot of gumption. How much 114 00:06:59,200 --> 00:07:02,080 Speaker 1: of her was on the page and made you immediately 115 00:07:02,120 --> 00:07:05,040 Speaker 1: want to say yes? And what did you decide to 116 00:07:05,120 --> 00:07:08,920 Speaker 1: bring into her as you were workshopping your prep for 117 00:07:09,080 --> 00:07:09,640 Speaker 1: this movie. 118 00:07:10,880 --> 00:07:15,200 Speaker 2: Yeah, I mean, I think Sandy is a lot of 119 00:07:15,280 --> 00:07:17,520 Speaker 2: it was on the page, but I think I turned 120 00:07:17,560 --> 00:07:22,480 Speaker 2: it up to eleven. You know, I saw an opportunity 121 00:07:22,560 --> 00:07:27,640 Speaker 2: in her to be very mercurial, to go from you know, 122 00:07:28,200 --> 00:07:32,160 Speaker 2: extreme defiance to sort of contemplative talk with the coach 123 00:07:32,200 --> 00:07:33,680 Speaker 2: when she's saying, I just want what was best for 124 00:07:33,800 --> 00:07:36,960 Speaker 2: my boy, and then fueled by the extra vodka that 125 00:07:37,040 --> 00:07:38,160 Speaker 2: she goes to get in the kitchen, and then all 126 00:07:38,160 --> 00:07:39,560 Speaker 2: of a sudden she's trying to seduce him on the 127 00:07:39,680 --> 00:07:42,760 Speaker 2: kitchen table in this wild way as though she's like 128 00:07:43,680 --> 00:07:48,000 Speaker 2: in an eighties hair metal car video, like climbing on 129 00:07:48,080 --> 00:07:50,760 Speaker 2: the table and coming, you know, sprinkling herself with like 130 00:07:50,880 --> 00:07:55,360 Speaker 2: season stuff. It's crazy, right, And so I just had 131 00:07:55,400 --> 00:07:58,480 Speaker 2: so much fun with that. I really love playing these 132 00:07:58,640 --> 00:08:01,680 Speaker 2: characters that have both heart and like a little bit 133 00:08:01,720 --> 00:08:04,880 Speaker 2: of insanity to their behavior, Like they're just a little 134 00:08:04,920 --> 00:08:07,920 Speaker 2: bit of like whatever they think comes out. There's no 135 00:08:08,840 --> 00:08:13,080 Speaker 2: socialization that stops them, no filter. Yeah, yeah, I mean 136 00:08:13,600 --> 00:08:15,920 Speaker 2: later there is a moment where she's like, I'm sorry, 137 00:08:15,960 --> 00:08:18,040 Speaker 2: I shouldn't have tried to stace you. That really would 138 00:08:18,080 --> 00:08:21,280 Speaker 2: have ruined our friendship, wouldn't it. Him? And she's like, also, 139 00:08:21,520 --> 00:08:24,280 Speaker 2: you know, like I love Otis, you know, I couldn't 140 00:08:24,280 --> 00:08:26,880 Speaker 2: really be with anybody else. So after the fact, after 141 00:08:27,000 --> 00:08:30,840 Speaker 2: she's come down out of her sort of impulse driven moment, 142 00:08:31,520 --> 00:08:33,640 Speaker 2: then she can think about it. But at the time 143 00:08:34,240 --> 00:08:37,960 Speaker 2: she's like, she is not regulated. She is not someone 144 00:08:38,000 --> 00:08:41,400 Speaker 2: who's been through therapy that brings herself down. It takes 145 00:08:41,400 --> 00:08:44,840 Speaker 2: a time out and takes some deep breath and recognizes 146 00:08:44,880 --> 00:08:48,040 Speaker 2: and speaks in you know, like eye phrases. Now she's 147 00:08:48,160 --> 00:08:50,679 Speaker 2: just you know, out for blood, you know, because she 148 00:08:50,760 --> 00:08:54,480 Speaker 2: gets triggered, I think, into feeling like she's being judged 149 00:08:54,600 --> 00:08:59,360 Speaker 2: or sought stupid, like because these coaches come out here 150 00:08:59,400 --> 00:09:02,960 Speaker 2: and they're trying to to flip some dollars in front 151 00:09:03,040 --> 00:09:04,959 Speaker 2: of them and be like, we're gonna take care of 152 00:09:05,080 --> 00:09:07,679 Speaker 2: your boy. But they're just playing them, and so she 153 00:09:08,040 --> 00:09:10,880 Speaker 2: and Otis start playing the coaches instead, you know, and 154 00:09:10,920 --> 00:09:13,520 Speaker 2: they're just She's just like, we're not stupid, and don't 155 00:09:13,559 --> 00:09:17,120 Speaker 2: you think we are? But you know, so when she 156 00:09:17,280 --> 00:09:21,480 Speaker 2: gets that sort of judgment from them, like like they 157 00:09:21,520 --> 00:09:23,920 Speaker 2: don't matter, Like they're like, we're not real, you know, 158 00:09:24,000 --> 00:09:27,280 Speaker 2: to them, we're insignificant. Only our son is important because 159 00:09:27,280 --> 00:09:30,760 Speaker 2: of his talent. You know, just something ignites and she's 160 00:09:30,920 --> 00:09:33,599 Speaker 2: just very you know. And I think some of what 161 00:09:33,800 --> 00:09:36,439 Speaker 2: happens once I've done the prep. Once I worked on 162 00:09:36,520 --> 00:09:39,040 Speaker 2: the accent. Obviously, I'm not from the South, so I 163 00:09:39,120 --> 00:09:41,440 Speaker 2: worked very hard, and the director would correct me when 164 00:09:41,440 --> 00:09:43,280 Speaker 2: I would make little mistakes, and we'd do it again 165 00:09:43,320 --> 00:09:46,920 Speaker 2: and do it again. But you know, he found me 166 00:09:47,000 --> 00:09:49,160 Speaker 2: some women to base the voice off of, and I 167 00:09:49,240 --> 00:09:51,160 Speaker 2: picked them one and I felt was closest to the character. 168 00:09:51,800 --> 00:09:55,000 Speaker 2: But half of it is unconscious. I feel like in 169 00:09:55,160 --> 00:09:58,920 Speaker 2: comedy like that where you're also improving, and I love 170 00:09:59,000 --> 00:10:01,880 Speaker 2: him having it's going to be my question. I love Yeah, 171 00:10:01,960 --> 00:10:03,800 Speaker 2: some of it is improved. Yeah as ok, some of 172 00:10:03,880 --> 00:10:06,360 Speaker 2: my diaphordity, as is some of romy and Michelle as is. 173 00:10:06,600 --> 00:10:09,840 Speaker 2: You know a lot of comedy stuff that I've done. 174 00:10:10,000 --> 00:10:14,120 Speaker 2: I did this wonderful movie by Nancy Siboka called Union 175 00:10:14,160 --> 00:10:16,040 Speaker 2: Square that no one has seen, and I really hope 176 00:10:16,080 --> 00:10:17,800 Speaker 2: it gets like a life on streaming at some point. 177 00:10:17,880 --> 00:10:21,240 Speaker 2: But it was very improvy. All my best comedy has 178 00:10:21,320 --> 00:10:25,520 Speaker 2: improv in it, and and I think in those improv moments, 179 00:10:25,600 --> 00:10:30,960 Speaker 2: like your subconscious is blurting out whatever is the character 180 00:10:31,040 --> 00:10:34,400 Speaker 2: in that moment, And if you've made the character intrinsically funny, 181 00:10:34,480 --> 00:10:36,880 Speaker 2: then that's going to be funny. You know, she's gonna 182 00:10:36,880 --> 00:10:42,000 Speaker 2: say something bizarrow or like like what Yeah. But it's 183 00:10:42,040 --> 00:10:44,440 Speaker 2: not like I'm planning it. Like once in a while, 184 00:10:44,559 --> 00:10:47,520 Speaker 2: like the night before, like I'll be like this is 185 00:10:47,640 --> 00:10:50,800 Speaker 2: missing something here, and so I'll write some lines and 186 00:10:50,880 --> 00:10:52,679 Speaker 2: then I'll show them to the director next day. It's like, 187 00:10:52,800 --> 00:10:55,640 Speaker 2: is it okay if I actually add this here or 188 00:10:56,080 --> 00:10:58,400 Speaker 2: swamp this out here? I promise I won't make the 189 00:10:58,440 --> 00:11:01,959 Speaker 2: scene too long. But try this, and you know, usually 190 00:11:02,040 --> 00:11:04,000 Speaker 2: they'll say yes, and then usually some part of that, 191 00:11:04,240 --> 00:11:05,559 Speaker 2: not all of it, but some part of it and 192 00:11:05,720 --> 00:11:06,840 Speaker 2: makes it that Yeah. 193 00:11:07,120 --> 00:11:10,680 Speaker 1: Yeah, Oh that's so much fun. I was wondering because 194 00:11:11,080 --> 00:11:14,720 Speaker 1: someone who is so as you said, mercurial or reactive 195 00:11:15,960 --> 00:11:20,040 Speaker 1: screams an improv opportunity to me. So I was wondering 196 00:11:20,120 --> 00:11:21,559 Speaker 1: how much of that you got to do. 197 00:11:22,360 --> 00:11:24,719 Speaker 2: Yeah, you know, you brought up. 198 00:11:24,760 --> 00:11:28,080 Speaker 1: Romeo Michelle, which if I was not on a zoom screen, 199 00:11:28,160 --> 00:11:34,360 Speaker 1: I'd be bowing down. It's such a cultural touchstone. It's 200 00:11:35,400 --> 00:11:37,760 Speaker 1: I know what it is for me sentimentally and in 201 00:11:37,880 --> 00:11:40,199 Speaker 1: my memories with my friends. It is a version of 202 00:11:40,280 --> 00:11:43,599 Speaker 1: that for so many people. I'm really curious for you. 203 00:11:45,080 --> 00:11:47,439 Speaker 1: It looked like the most fun movie to make. And 204 00:11:47,520 --> 00:11:51,120 Speaker 1: I know recently you went to a fan screening and 205 00:11:51,200 --> 00:11:54,400 Speaker 1: a Q and A. Was it such a trip to 206 00:11:54,600 --> 00:11:57,719 Speaker 1: watch all these people watch it and get to re 207 00:11:57,960 --> 00:11:58,840 Speaker 1: experience it. 208 00:11:59,559 --> 00:12:03,600 Speaker 2: From from this stage of your life. Yeah, I mean 209 00:12:03,679 --> 00:12:06,400 Speaker 2: it's evergreen, you know, like uh, Robin Schiff and I 210 00:12:06,600 --> 00:12:08,480 Speaker 2: did a screening of it a couple of years ago, 211 00:12:09,040 --> 00:12:11,959 Speaker 2: and I think it was Hollywood forever. I think it 212 00:12:13,040 --> 00:12:15,240 Speaker 2: was it No where was it. It was It was 213 00:12:15,360 --> 00:12:22,080 Speaker 2: sin yes, sin Espia, yes, yes yeah. And this part though, 214 00:12:22,160 --> 00:12:23,760 Speaker 2: was in a theater. This was not outside, so it 215 00:12:23,880 --> 00:12:27,480 Speaker 2: was in a theater and we walk on the stage 216 00:12:27,880 --> 00:12:30,719 Speaker 2: and we got like a five minute standing ovation like 217 00:12:30,920 --> 00:12:33,400 Speaker 2: Robin the writer and myself, and I was like, this 218 00:12:33,600 --> 00:12:35,280 Speaker 2: is what it feels like to be a rock star, 219 00:12:35,559 --> 00:12:39,000 Speaker 2: Like what is happening? Like I am not Eddie Vedder, 220 00:12:39,080 --> 00:12:42,079 Speaker 2: I'm not you know, like what is happening? And it 221 00:12:42,200 --> 00:12:46,360 Speaker 2: was like I did not, you know, I'm continuously amazed 222 00:12:46,360 --> 00:12:48,160 Speaker 2: at how much this movie has meant to people in 223 00:12:48,200 --> 00:12:51,280 Speaker 2: their lives. And that is I was at like a 224 00:12:51,480 --> 00:12:55,200 Speaker 2: comic con and somebody had me sign their arm as 225 00:12:55,320 --> 00:12:58,520 Speaker 2: romy and then they came back half an hour later 226 00:12:59,080 --> 00:13:02,360 Speaker 2: with it like bleeding yeah, oh my god, tattooed. And 227 00:13:02,440 --> 00:13:07,800 Speaker 2: I was like, oh my gosh, tattoos And it's pretty crazy. Yeah. 228 00:13:07,840 --> 00:13:09,400 Speaker 2: Now a lot of people do the dance and their 229 00:13:09,440 --> 00:13:13,240 Speaker 2: wedding like they really weirdly at their own wedding, they 230 00:13:13,320 --> 00:13:16,440 Speaker 2: have a third party, the Alan coming or the Romey 231 00:13:16,480 --> 00:13:18,599 Speaker 2: or the Michelle, and they all do the dance like 232 00:13:18,720 --> 00:13:22,400 Speaker 2: it's it's so great. Yeah, yeah, you are such a joy. 233 00:13:22,720 --> 00:13:26,199 Speaker 2: And and I just am so thrilled about this. 234 00:13:26,400 --> 00:13:29,000 Speaker 1: For our friends at home, obviously, I know you'll be 235 00:13:29,080 --> 00:13:32,120 Speaker 1: rewatching romy and Michelle this week, but make sure you 236 00:13:32,280 --> 00:13:36,720 Speaker 1: also tune in to see Signing Tony Raymond. It's available 237 00:13:36,800 --> 00:13:40,240 Speaker 1: now on Amazon Prime and Apple TV, so you have 238 00:13:40,840 --> 00:13:45,120 Speaker 1: multiple avenues upon which you can watch Mira's brilliant The 239 00:13:45,200 --> 00:13:48,839 Speaker 1: movies just so fantastic and as are you. Thank you 240 00:13:48,920 --> 00:13:49,720 Speaker 1: for coming today. 241 00:13:49,840 --> 00:13:52,000 Speaker 2: Thank you, Sophia, this was a joy. Thank you so much.