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Speaker 1: Well, it's hottest movie of the summer underniably salt Burn,

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Speaker 1: and in particular hot at scene of the summer, hot

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Speaker 1: a scene of the year right at the end. Then

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Speaker 1: I've tried to say he's know a few times now

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Speaker 1: about Barry Kyogan dancing at the end to murder on

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Speaker 1: the dance floors. Obviously whatever I'm talking about, and I've.

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Speaker 2: Done this, it was too much of a spoiler to

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Speaker 2: say he's completely nude in this epic dance scene. And

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Speaker 2: the really exciting news is that in the studio with

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Speaker 2: us right now is a woman called Polly, and Polly

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Speaker 2: you were the one who choreographed this epic dancing.

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Speaker 3: Welcome, thank you, nice to be here.

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Speaker 4: Yeah, let's just talk about that. Questions about the scene.

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Speaker 2: You've worked with Remy Malik, You've worked with Austin Butler

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Speaker 2: and Elvis, So we're going to get to that stuff.

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Speaker 2: But let's focus on this scene with Barry dancing completely nude.

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Speaker 4: How does that idea come about?

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Speaker 2: When do you get involved, how much influence do you have,

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Speaker 2: do you work with the director?

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Speaker 4: How does it all come about?

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Speaker 3: Yeah, so I mean on Saltman, Emerald Fennel, who's the director,

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Speaker 3: she was in the Crown, and I was the movement

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Speaker 3: coach on all of the all of the Crown serieses.

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Speaker 3: So I helped her when she was Camilla Parker Bowls

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Speaker 3: in season three and four.

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Speaker 2: So you analyze how Camilla Parker Bowls move, you really

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Speaker 2: forgere and then you it's your job then to teach

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Speaker 2: this actress how to move exactly like that big time.

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Speaker 3: Yeah. So it's like the idea that which.

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Speaker 1: Just type of Camilla.

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Speaker 3: I've watched them all. Wow, I've watched them all.

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Speaker 4: Does their movement change as well over the years and

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Speaker 4: then you're.

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Speaker 3: Wow, so's that's what I mean. The Crown was like

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Speaker 3: an amazing experience because you get the gift of like,

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Speaker 3: here here are some amazing actors. Can you go and

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Speaker 3: make them be the person that we need them to

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Speaker 3: be for this series? So I had to like, you know,

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Speaker 3: they've got dialect coaches and they've got their directors. But

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Speaker 3: you know, when you're an actor and you get given

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Speaker 3: can you play Princess Diana? Off you go. You have nothing.

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Speaker 3: You've got no training, nothing that prepares you necessarily for.

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Speaker 1: That unless they do it themselves right, unless they know

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Speaker 1: learn how to do impressions or whatever.

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Speaker 3: Else that's the thing. Then it becomes impressions. Then you're

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Speaker 3: watching things and going, oh, well they do this, and

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Speaker 3: they do this, so you're mimicking them within a certain situation.

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Speaker 3: Of course, what the Crown has is that you get

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Speaker 3: new situations right right.

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Speaker 1: You're trying to transpose something you've learned from a particular

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Speaker 1: situation on a totally new situation and they're not equipped

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Speaker 1: at that.

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Speaker 3: Well they, I mean, some of them are not bad,

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Speaker 3: some of them can act. Sometimes it's about trying to

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Speaker 3: turn it into practical thoughts. So if you see something

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Speaker 3: that somebody is doing, it's trying to work out why

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Speaker 3: they're doing it in the same way that you guys

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Speaker 3: are sitting in certain ways right now. I'm sitting in

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Speaker 3: a certain way right now, which is because of a

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Speaker 3: number of things aside from our personal decisions.

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Speaker 1: Yeah, right, because you came in here and you chose

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Speaker 1: to put one cheek on the chair they did. Yeah,

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Speaker 1: what was that about.

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Speaker 3: Well, it's because I know that I've had a experiences

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Speaker 3: where I've not been in control of these seats.

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Speaker 1: Because the chair.

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Speaker 3: It's also a learned behavior. I've been on my feet

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Speaker 3: all day I've been teaching. I've got an ankle injury.

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Speaker 3: There's loads of things, the story behind them. Yeah, but

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Speaker 3: that's that's what actors have to do. So I was

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Speaker 3: brought on to Saltburn to work with Barry and Jacob.

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Speaker 3: You're Jacob Jacob Australia and to work with them. Yeah,

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Speaker 3: difficult job, you know. I worked with him, work with

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Speaker 3: both of them for about three four weeks, just those two,

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Speaker 3: trying to work out these two characters that basically live

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Speaker 3: and come from different situations, and trying to work out

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Speaker 3: what the physicality is of both of those people so

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Speaker 3: that then we can blend them together when Barry's characters

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Speaker 3: starts taking over the life of Jacob.

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Speaker 1: Because also there's also because I was going to say,

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Speaker 1: because that's the again, we really don't want to give

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Speaker 1: a lot away here. Some people haven't seen it, but

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Speaker 1: you the tricky thing about that film in particular then

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Speaker 1: is well, I'm sure with every film there's character transformation,

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Speaker 1: et cetera, but that that particular film that the crux

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Speaker 1: of the whole thing is that somebody can be someone

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Speaker 1: without being someone.

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Speaker 3: Yeah, exactly. So Emerald said to me that there needs

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Speaker 3: to be something I don't know what it is, but

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Speaker 3: you do it. So I spent a lot of time

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Speaker 3: with the actors to try and work out what those

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Speaker 3: physicalities are, what Barry could emulate in Jacob. You know,

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Speaker 3: they're very different stature wise, but there has to be

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Speaker 3: something about their upbringing that exists in their body in

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Speaker 3: the same way that I do things differently because I'm

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Speaker 3: from UK and.

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Speaker 2: Wow, I don't want to blow smoke up your bottom,

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Speaker 2: but I like the physical changes that Barry goes through.

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Speaker 4: It's so beautifully subtle, but it is so clearly there.

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Speaker 2: Yeah, it's so it's not necessarily what he says. He

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Speaker 2: really does physically hold himself differently as the film goes on.

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Speaker 3: Yeah, and so where the dance came from is the

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Speaker 3: idea that he came He steps into the space that

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Speaker 3: Jacob's character has very so he actually does a reverse

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Speaker 3: in that sequence of one of Jacob scenes where he

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Speaker 3: talks about.

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Speaker 4: It shows him.

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Speaker 1: He shows in the room that's right, this is my

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Speaker 1: uncle's this, this is my family history in that way. Wow. Yes,

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Speaker 1: So he goes to the same space and tramps all

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Speaker 1: over it, right and owns a big difference.

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Speaker 2: Though Jacob clothed when he does a Barry completely nerd.

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Speaker 1: So let's talk about the penis in the room.

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Speaker 2: I mean, I think it was so it was so

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Speaker 2: impactful because he was nude as well, Like it just

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Speaker 2: again said so much about where he was at at

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Speaker 2: that stage. But like, is there awkwardness around the nudity?

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Speaker 4: What was Barry like with the nudity?

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Speaker 3: Do you know what it actually because it wasn't written

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Speaker 3: into the script this scene. It used to be he

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Speaker 3: just doesn't inverted walk around the house the same way.

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Speaker 3: And then gradually I'd been working on another big physical

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Speaker 3: piece that was going to end the film, so which

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Speaker 3: we filmed and the actors all did, and Rosamond Pipe

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Speaker 3: was involved, and Richally Grant was involved, like everyone was

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Speaker 3: involved in this big thing which is now on the

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Speaker 3: cutting room floor because we ended up sort of being

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Speaker 3: taken during the because because we were filming in a

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Speaker 3: venue that we were just sort of lived in, lived around.

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Speaker 1: So you all lived in the in the manner.

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Speaker 3: I didn't wasn't special enough, but sort of close close by,

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Speaker 3: peering in. But a lot of the actors stayed in

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Speaker 3: the house in the backyard, just a sort of dungeon.

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Speaker 3: But you know, like, you know, there was kind of

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Speaker 3: there was there was room to sort of dream. This

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Speaker 3: is what's so amazing about this film, because there's room

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Speaker 3: to dream on this situation because you're not going home

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Speaker 3: and you're not getting on the tube. At the end

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Speaker 3: of the day, we were outside of London, so all

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Speaker 3: you could think about was what this was. And Emerald

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Speaker 3: was like, I think maybe that's a dance. And then

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Speaker 3: it started, you know a little bit of a kind

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Speaker 3: of to and for about what music and then suddenly.

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Speaker 1: How did murder on the dance? It was?

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Speaker 3: It was Emerald's idea, yeah, and I think it was,

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Speaker 3: you know, just suitably camp kick of the time.

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Speaker 1: And there's obviously the lyrics obviously line up with how

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Speaker 1: everything sort of comes Yeah.

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Speaker 3: Which is funny because it's the last thing I thought about. Wow,

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Speaker 3: I was just like that was great.

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Speaker 1: It just gets It's a great song without the connotations

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Speaker 1: with her on the show, Sophie.

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Speaker 4: Yeah, she was absolute legend, A nice name drop.

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Speaker 1: You know. I just like Polly's coming here some big ones,

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Speaker 1: but I thought I'd just fight background and the one

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Speaker 1: for us there, don't you worry.

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Speaker 2: Sorry, So I'm getting the development there from like so

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Speaker 2: it was going to be a big thing that it

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Speaker 2: was just going to be Barry, and then we decided dance,

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Speaker 2: we decided songs.

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Speaker 4: So when did he become naked?

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Speaker 3: He always going to be walking naked through the house

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Speaker 3: as a kind of you know, the.

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Speaker 1: Influence ultimate show of dominance.

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Speaker 3: Yeah, yeah, he's and he's and are we ever truly ourselves? Right? Yeah?

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Speaker 1: Yeah.

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Speaker 2: We also heard a rumor, it was actually Tom who

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Speaker 2: heard a rumor that apparently the first time Barry was

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Speaker 2: doing the dance, he was too good at dancing and

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Speaker 2: you had to bring him down a few pigs.

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Speaker 3: That's a I don't that wouldn't be and I appreciate it.

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Speaker 3: I'm here to slam that down. No, I think he

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Speaker 3: I mean there was a version where I over choreographed it.

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Speaker 3: I made it like it's going to be a show. Yeah, absolutely,

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Speaker 3: you know, trying to get him technically. Yeah, but that

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Speaker 3: was because we didn't really know what it was. So actually,

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Speaker 3: so it comes back to because I'd done the character

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Speaker 3: work with both of these characters, I was like, something

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Speaker 3: isn't right about this. So I went back through rushes

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Speaker 3: and went back through scenes and Barry actually where it

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Speaker 3: sort of started lifting was where I started placing in

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Speaker 3: movements that Jacob had already done in other scenes. So

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Speaker 3: there's lots of things like when he you know, takes

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Speaker 3: some drugs and when he arches himself backwards, Jacob does

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Speaker 3: that in another scene. So it is kind of like,

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Speaker 3: to me, there's all these like subtle sort of easter

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Speaker 3: eggs back to the film, to the Untrained Diet. It

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Speaker 3: doesn't look necessarily like that, but it means that it's

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Speaker 3: rooted in the truth of the story rather than a

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Speaker 3: dance that's been on top of right on top.

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Speaker 1: It's not a cherry on the cake. It's really like

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Speaker 1: a sort of mirroring back through everything that he's been

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Speaker 1: through to get to that point. So telling a story

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Speaker 1: again through the dance.

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Speaker 3: And then you know, like when we don't when we

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Speaker 3: don't know what to say, we gesture, right, they're so true,

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Speaker 3: so they're not saying anything. They don't need to say anything,

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Speaker 3: or he doesn't need to say anything, So we have

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Speaker 3: to make sure that the movements for the audience tells

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Speaker 3: something that you wouldn't get if they were talking.

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Speaker 1: And so much of it, so much of it is subliminal,

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Speaker 1: like obviously you know, what he said before. You know

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Speaker 1: the reason the dance is gone. One of the reasons

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Speaker 1: the dancing one virals because he's naked. But like obviously

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Speaker 1: so much in the messaging in the in that moment

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Speaker 1: of triumph that words or or or acting aren't going

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Speaker 1: to be able to convey that a dance. Yeah, you know,

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Speaker 1: he's going to get across and there's so much that

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Speaker 1: you can express you just can't do through words, right well, exactly.

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Speaker 3: You look at the films that have big dance numbers,

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Speaker 3: and I don't know if you've seen another round where

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Speaker 3: it finishes.

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Speaker 2: Danced Mickelson is because he's a profession he was a

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Speaker 2: professional ballet dancer and gymnast. Wow is a brilliant movie

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Speaker 2: if anyone hasn't seen it. But yes, that final scene

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Speaker 2: is because because he he teases it through the entire

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Speaker 2: film as well.

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Speaker 3: Exactly, And that's why it works, because it's not just

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Speaker 3: a dance that's put on the end. And I think

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Speaker 3: that's where I come in as a as a movie

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Speaker 3: of mint coach. Can you Sometimes I get credited as

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Speaker 3: movement coach. Sometimes I'm a choreographer, So it works the

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Speaker 3: best for me when I'm working with the actors, so

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Speaker 3: that in the same way that you know, so rather

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Speaker 3: than you're you're not getting an actor going I've got

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Speaker 3: to be good at dancing because I'm doing a dance,

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Speaker 3: which is sometimes what you get. Oh yeah, you're actually going,

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Speaker 3: this is how the this is how, this is how

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Speaker 3: the character.

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Speaker 1: You're not a good dancer, you can't just yeah, another one,

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Speaker 1: big one for me, bring it on. Obviously, a couple

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Speaker 1: of big dance numbers in that one, huge, no doubt.

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Speaker 1: There's something that just can't be put into words.

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Speaker 2: No responsible's actually focus on, which is Romi Malick in

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Speaker 2: Bahamian Rhapsody.

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Speaker 4: So that's a that's.

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Speaker 2: A whopper, Like I mean, a big part of that

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Speaker 2: film obviously was just how much he did look, sound

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Speaker 2: and move like Freddie Mercury.

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Speaker 4: How was that experience, I mean.

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Speaker 3: It was that was like my first I did a

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Speaker 3: bit of work on Stan and Ollie, which was a

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Speaker 3: sort of a great film about Lauren and Hard and

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Speaker 3: I was the assistant choreographer on that, and so out

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Speaker 3: of that experience, one producer said to another, there's this

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Speaker 3: there's this tiny girl that's doing magical things. Because I

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Speaker 3: was only you know, twenty five or wow. So then I,

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Speaker 3: you know, suddenly was in an interview with Ramy and

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Speaker 3: two producers and I was like.

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Speaker 1: Oh my god, I've got no idea.

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Speaker 3: But the thing that but I do because I'm really

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Speaker 3: curious about how people move, what makes them move, And

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Speaker 3: so sitting with Rami and he was going, I don't

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Speaker 3: know how to do this because he's such a great showman.

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Speaker 3: I'm going, what makes the showman good? You know, and

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Speaker 3: things like, you know, oh, he's really charming. Okay, well

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Speaker 3: what is charm? Charm is that it is the action

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Speaker 3: of gesturing out, bringing people in. How do you do that?

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Speaker 3: And how do you do that? On stage? He was

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Speaker 3: a boxer, so the minute that Ramy and I started boxing,

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Speaker 3: suddenly all those power punches because he's he's doing what's

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Speaker 3: in his body in the same way that you know,

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Speaker 3: I still stand in first position quite a lot, even

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Speaker 3: though I haven't done ballet for about fifteen years, but

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Speaker 3: I still it's still in my body. So it was

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Speaker 3: a kind of again, it was like the start of

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Speaker 3: me understanding what makes people move, and then that led

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Speaker 3: to the Crown and.

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Speaker 2: When you're working with Brahmi before the filming starts, or whatever.

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Speaker 2: How long are you with him to turn him into free?

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Speaker 3: I was with him on and off because he was

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Speaker 3: still filming Mister Robot in New Oh. So I was

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Speaker 3: flown to New York and just sort of waited for

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Speaker 3: him to finish filming most days, and then sort of

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Speaker 3: attacked him in a you know, in a dance studio

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Speaker 3: after he was like exhausted from playing Elliot all day

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Speaker 3: and I was like, now we've got to get big,

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Speaker 3: you know. So I worked with him on that, and

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Speaker 3: then he came to London, and so I was with

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Speaker 3: him all in all for about five six months, right,

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Speaker 3: And because also, you know the same with Elvis, we

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Speaker 3: had to chart his movements, like the nest question across

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Speaker 3: his whole career.

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Speaker 1: And there's two and you've got two of the most

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Speaker 1: iconic movers in history, you know, like that's kind of

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Speaker 1: what made them, right, Like the Elvis thing, how much

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Speaker 1: how much? How much Elvis tape are you watching?

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Speaker 3: I'd say most of those YouTube watches are me Oh god,

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Speaker 3: I mean like that, because that again, that was forty

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Speaker 3: years of his.

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Speaker 1: Life, right, And obviously he changes so much over time.

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Speaker 3: And his influences changed, and what's in his body for

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Speaker 3: free changes. You know, he starts doing karate in like

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Speaker 3: wow nineteen six, Oh my god. So then his karate

295
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Speaker 3: moves come in. You're trying to work out, so getting

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Speaker 3: that all in Austin's body. So that also, there's so

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Speaker 3: many performances in Elvis that we don't have footage of,

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Speaker 3: so we have to make them. So the one the

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Speaker 3: Russwood footage rais in black and white, like you know,

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Speaker 3: gets his master's voice dog and like is moving it

301
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Speaker 3: around on stage. That's all created by me and Austin

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Speaker 3: because we looked at all the photographs that we have

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Speaker 3: of that event and you just got to and then

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Speaker 3: you repeat it together to try and work out what

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Speaker 3: happened in between, as well as charting what movements we

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Speaker 3: would have already seen in different performances in the film.

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Speaker 3: So we put the sidewinder way you know, moves his

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Speaker 3: arm like that, shuffles across the stage. Put that there

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Speaker 3: because we haven't seen it anywhere else. So we're having

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Speaker 3: to like, yeah.

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Speaker 1: Make a moment in history, like really create a moment history.

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Speaker 1: Can I tell you really quickly because I don't want

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Speaker 1: to dwell on this, but I was talking to my

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Speaker 1: partner about this obviously afterwards, when you've got a guy

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Speaker 1: like who you don't know all that well. I'm sure

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Speaker 1: you've got to know Barry very well. But he's dancing

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Speaker 1: nude in front of you consistently. Is there any choreography

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Speaker 1: that's going into like if I'm moving over there, like

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Speaker 1: that's going over there? You know, like how are you avoiding?

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Speaker 1: Like an absolutely? I tell you where a sort of

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Speaker 1: a situation like.

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Speaker 3: Yeah, I mean there's so much. I mean again, he

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Speaker 3: had a whole piece where he did lots of quick yeah.

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Speaker 1: Yeah.

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Speaker 3: It was a little bit too energetic, so funny, just

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Speaker 3: a little bit.

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Speaker 1: Too whay wow, okay wow. So he was having five

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Speaker 1: just go and have elemonade at the background.

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Speaker 3: No, no, no, not that energy. That's what I was.

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Speaker 1: That's what I thought. It was just the noise. It

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Speaker 1: was just the noise the mid Yeah.

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Speaker 3: So but actually the whole sequence then became a big

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Speaker 3: think of the wooden don't start another room. No, but

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Speaker 3: like we had to start, you know, really working with

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Speaker 3: the d O P and the lighting people because it

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Speaker 3: was about where the shadows were.

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Speaker 4: Shaw of the of the whipper, the specter, the shadow,

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Speaker 4: so we.

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Speaker 3: Had light coming in through the windows right, so that

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Speaker 3: he only turns when he's in shadow. So it's not,

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Speaker 3: oh my lord, this movie magic guys.

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Speaker 1: That is great, So you had to take into account

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Speaker 1: that the shadow.

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Speaker 3: Yeah, I love how concerned you are about it. It's

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Speaker 3: just I'm.

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Speaker 1: Sorry, I just thought about that. It really was a

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Speaker 1: moment for me after. I was like, there's so much

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Speaker 1: of that going on, brilliant, how would you go? How

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Speaker 1: would you navigate that now? And that I'm meeting the

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Speaker 1: person that was this is I've got twenty more quachess.

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Speaker 1: I won't ask you, I'll remove them.

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Speaker 3: I've got my He was, to be honest, he was

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Speaker 3: really com really intense. Also, the production was so supportive

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Speaker 3: of the idea.

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Speaker 1: Got sixty person, sixty people on set while you're doing

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Speaker 1: that close.

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Speaker 4: It was close.

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Speaker 3: Yeah, And that's what's amazing was you know the like,

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Speaker 3: you know, the jumps that have been made in terms

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Speaker 3: of like intimacy and protecting actors. It has been huge

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00:17:52,800 --> 00:17:53,760
Speaker 3: in the last that's brilliant.

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Speaker 1: We spoke to, We spoke to an intimacy coach, choreographer, choreographer,

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Speaker 1: we spoke to who you'd mirror of Basetown, didn't we.

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Speaker 4: With I think, so, yeah, that was a great chat really, Yeah.

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00:18:05,000 --> 00:18:08,240
Speaker 1: Fascinating chat. Yeah, and how Kate Winslet was so amazing

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Speaker 1: with it.

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Speaker 4: Yeah, for girls, that's it.

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Speaker 3: I mean, that's you know that everyone now is really

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Speaker 3: really aware of protecting people's feelings, but and how and

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Speaker 3: how it's approached. So Barry actually, you know, it's a

371
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Speaker 3: close set and everything was blacked out and Dad and

372
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Speaker 3: if I was like, oh yeah, it's really good, and

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Speaker 3: all the people that couldn't see were like, oh I

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Speaker 3: wish I could see. And Barry did the did the

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Speaker 3: dance eleven times I think. Then he recorded it on

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Speaker 3: his phone and he was just walking around going anyone

377
00:18:36,760 --> 00:18:41,359
Speaker 3: else wan what you just he just loved it, Yeah,

378
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Speaker 3: because you're so proud of himself because it's such a

379
00:18:44,800 --> 00:18:47,760
Speaker 3: such a feat, you know, and there's something So I

380
00:18:47,760 --> 00:18:49,439
Speaker 3: think that was the sign for me that it was

381
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Speaker 3: going to be something special because he was so.

382
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Speaker 2: Yeah, sorry, because you'd be able to pick up if

383
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Speaker 2: he wasn't fully comfortable, you would have seen it, right.

384
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Speaker 3: But it means that there's a pass in an edit

385
00:19:00,760 --> 00:19:02,840
Speaker 3: somewhere and someone goes really not come to it, and

386
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Speaker 3: then it gets edited down just fades to black you.

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Speaker 1: Wow. Probably we could ask you so many questions.

388
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Speaker 4: I got one more question, just on Saltburn.

389
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Speaker 2: I saw Jacob Alordie in an interview and he was

390
00:19:13,000 --> 00:19:15,480
Speaker 2: saying that while he was filming Saltburn, he was going

391
00:19:15,520 --> 00:19:18,000
Speaker 2: back to his trailer or going back to an area

392
00:19:18,080 --> 00:19:21,800
Speaker 2: and then working on figuring out playing Elvis to be

393
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Speaker 2: in the new film Priscilla, which I think is out

394
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Speaker 2: or coming out very very shortly.

395
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Speaker 4: Did you work with him to what?

396
00:19:30,320 --> 00:19:33,479
Speaker 3: No. I didn't know he was going to do that,

397
00:19:33,720 --> 00:19:36,119
Speaker 3: and then you know, suddenly some you know, he was like,

398
00:19:36,280 --> 00:19:39,239
Speaker 3: so what did you did you? And I was like,

399
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Speaker 3: why are you asking? Someone was like, oh, you know,

400
00:19:41,600 --> 00:19:44,160
Speaker 3: he's paying Elvis, and I was like ah. And I'd

401
00:19:44,200 --> 00:19:47,040
Speaker 3: known this because other actors had been auditioning for other

402
00:19:47,080 --> 00:19:49,760
Speaker 3: parts and had asked for help and stuff with their auditions.

403
00:19:50,160 --> 00:19:51,920
Speaker 3: But no, I didn't. I didn't work with him, And

404
00:19:52,160 --> 00:19:54,280
Speaker 3: to be honest, it's it's nothing to do with him.

405
00:19:54,400 --> 00:19:57,399
Speaker 3: I've just lived Elvis for so long. I was like,

406
00:19:57,680 --> 00:20:01,159
Speaker 3: I'm cool, yeah, yeah, you know, maybe I'll judge in

407
00:20:01,240 --> 00:20:06,000
Speaker 3: Elvis competition in the I just I don't really want

408
00:20:06,040 --> 00:20:06,520
Speaker 3: to sit here.

409
00:20:08,040 --> 00:20:09,480
Speaker 4: One more question Oscars.

410
00:20:09,520 --> 00:20:13,000
Speaker 2: So you go to the Oscars for Bohemian Rhapsody, I believe,

411
00:20:14,000 --> 00:20:17,240
Speaker 2: and I've been told that something happened on this night

412
00:20:17,320 --> 00:20:18,320
Speaker 2: at the Oscars, which.

413
00:20:18,160 --> 00:20:18,760
Speaker 4: You need to tell me.

414
00:20:18,880 --> 00:20:20,840
Speaker 3: That is mad, isn't it? That I went to the Oscars.

415
00:20:20,880 --> 00:20:23,560
Speaker 3: It was so weird because you know, I was the

416
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Speaker 3: Humble Movement Coach, which is on the credits of the film,

417
00:20:26,080 --> 00:20:28,479
Speaker 3: you know, sort of underneath the you know, the chefs

418
00:20:28,480 --> 00:20:33,320
Speaker 3: and the I was like, okay, so yeah, and I

419
00:20:33,400 --> 00:20:36,960
Speaker 3: was there, and obviously Ramy wins. So yeah, I'm like

420
00:20:36,960 --> 00:20:38,760
Speaker 3: proud not in the Oscars.

421
00:20:38,760 --> 00:20:41,800
Speaker 1: It's the Oscars where the actor you've been working with

422
00:20:41,920 --> 00:20:45,040
Speaker 1: wins best actor. You know, that's that's phenomenal.

423
00:20:45,160 --> 00:20:48,000
Speaker 3: It's insane and so yes. So I was sitting with

424
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Speaker 3: Ramy's mum and we were both like, oh my god.

425
00:20:52,680 --> 00:20:55,040
Speaker 3: It was just so intense. And then you know, it's

426
00:20:55,160 --> 00:20:58,200
Speaker 3: an absolute countle market the Oscars because everyone's trying to

427
00:20:58,240 --> 00:21:00,800
Speaker 3: go to parties and there's all these different events to

428
00:21:00,880 --> 00:21:02,960
Speaker 3: go to and whatever. I was just happy to be

429
00:21:03,000 --> 00:21:05,359
Speaker 3: there and just along for the ride which takes me

430
00:21:05,440 --> 00:21:07,280
Speaker 3: to Madonna's house.

431
00:21:07,880 --> 00:21:09,760
Speaker 1: And shut up.

432
00:21:10,080 --> 00:21:13,040
Speaker 3: It was just like, yeah, I don't know because even

433
00:21:13,160 --> 00:21:15,679
Speaker 3: I was sort of walking and being like what you know,

434
00:21:15,720 --> 00:21:18,320
Speaker 3: when you like underage and you got into a club.

435
00:21:18,119 --> 00:21:22,640
Speaker 1: That that was the vibe hose like, who was there?

436
00:21:23,440 --> 00:21:27,920
Speaker 3: All I will say is that we like went in

437
00:21:28,000 --> 00:21:31,000
Speaker 3: and you know, celeb celeb celeb celeb, and they've all

438
00:21:31,000 --> 00:21:34,600
Speaker 3: got out of their mad outfits, but well they're not.

439
00:21:34,720 --> 00:21:38,359
Speaker 3: They're still like my equivalent of dressing up, but you

440
00:21:38,359 --> 00:21:42,120
Speaker 3: know what I mean, and amazing. And I was sort

441
00:21:42,119 --> 00:21:45,160
Speaker 3: of like, you know, bumbling around. And I'd made friends

442
00:21:45,200 --> 00:21:49,600
Speaker 3: with Lady Gargar's dad because she she had been nominated

443
00:21:49,680 --> 00:21:56,320
Speaker 3: for parents you know, but that this is a tip.

444
00:21:56,600 --> 00:21:59,360
Speaker 3: So if you go to these events, everyone's always got

445
00:21:59,359 --> 00:22:02,680
Speaker 3: a kind of like humble person that they're with around.

446
00:22:02,840 --> 00:22:06,520
Speaker 3: Humble j Lo's friend from school, Lady Garga's dad. I

447
00:22:06,560 --> 00:22:10,040
Speaker 3: was in there. Yeah, it's really.

448
00:22:10,200 --> 00:22:11,520
Speaker 1: Because then they get around you.

449
00:22:12,080 --> 00:22:16,080
Speaker 3: Well, they're nice people. I was having a nice time.

450
00:22:16,800 --> 00:22:20,200
Speaker 3: They're also the ones that aren't being spoken to normal. Yeah,

451
00:22:20,320 --> 00:22:22,879
Speaker 3: you can have it as normal chat as possible with

452
00:22:22,960 --> 00:22:25,520
Speaker 3: Lady's dad and it was very very nice.

453
00:22:25,560 --> 00:22:28,200
Speaker 1: Did you talk to Lady No.

454
00:22:28,200 --> 00:22:30,360
Speaker 3: Memory of you know, it's a whole different podcast.

455
00:22:30,440 --> 00:22:32,320
Speaker 1: So did you talk to Lady Gaga as a result,

456
00:22:32,480 --> 00:22:33,520
Speaker 1: was he like, oh, by.

457
00:22:33,359 --> 00:22:35,679
Speaker 3: The way, you know what I think I curtsied to

458
00:22:35,920 --> 00:22:43,159
Speaker 3: make yeah, and then probably not probably yeah, probably just

459
00:22:43,400 --> 00:22:45,840
Speaker 3: you know, overwhelmed. Yeah, So I gave her a lot

460
00:22:45,840 --> 00:22:48,760
Speaker 3: of affection. And then and Madonna had like lots of

461
00:22:48,880 --> 00:22:52,000
Speaker 3: dancers around her in the house. Yeah, And so they

462
00:22:52,000 --> 00:22:54,920
Speaker 3: would like move around her and like poets sister, and

463
00:22:55,040 --> 00:22:57,080
Speaker 3: I was like, and.

464
00:22:58,400 --> 00:23:02,280
Speaker 2: Where she went she had dances arounding it.

465
00:23:02,280 --> 00:23:06,639
Speaker 3: It was so cool. That's awesome. You would wouldn't you would?

466
00:23:07,960 --> 00:23:10,080
Speaker 3: And then we had to put little slippers on so

467
00:23:10,240 --> 00:23:17,240
Speaker 3: to not ruin the floors. And we put little slippers on.

468
00:23:17,600 --> 00:23:19,560
Speaker 3: And then fast forward to the end of the night

469
00:23:19,600 --> 00:23:21,600
Speaker 3: where me and Ramire and the Matt Donald's and I'm

470
00:23:21,600 --> 00:23:23,399
Speaker 3: holding his oscar and I've got little slippers.

471
00:23:26,400 --> 00:23:30,360
Speaker 1: Wow, oh my god, we could talk to you so

472
00:23:30,440 --> 00:23:33,680
Speaker 1: much good stuff. Then thanks for coming in, No, thank

473
00:23:33,720 --> 00:23:35,280
Speaker 1: you so much. That's so interesting.

474
00:23:35,359 --> 00:23:36,680
Speaker 3: The naked dance around your house.

475
00:23:38,240 --> 00:23:42,320
Speaker 1: Everybody. I don't think I need this, Shadow would be fine,

476
00:23:42,359 --> 00:23:43,800
Speaker 1: but everyone else.

477
00:23:46,640 --> 00:23:47,160
Speaker 4: Thanks again.

478
00:23:47,200 --> 00:23:51,560
Speaker 1: Probably been here on will and what he loving to

479
00:23:51,600 --> 00:23:51,800
Speaker 1: meet you.

480
00:23:54,840 --> 00:23:56,439
Speaker 3: Ju