Podcasts about Richard Griffiths

“I've always been authentic and that's always served me well. I remember Eddie Murphy being very amused by my banter.”When Oprah says, “People get to where they want to go because they know where they want to go,” how do you even begin to answer that? Especially when you're a Mancunian-born actor who's spent over two decades living and working in Hollywood. That's exactly what we asked Marsha Thomason in this candid, access-all-areas conversation—recorded from a slightly seismic LA (seriously, listen out for the tremor in the second half!).With infectious enthusiasm, ambition and off-the-charts charisma, Marsha has built an extraordinary career on screen, holding her own alongside legends like Helen Mirren, Richard Griffiths, Terence Stamp, and Eddie Murphy. From Better Things and Las Vegas to Lost, The Haunted Mansion, and ITV's The Bay, she's done it all, on both sides of the pond—winning lead roles in major TV shows and Hollywood hits while navigating the industry's twists and turns.In this episode, Marsha gives us the raw, inside track on how she made it to Hollywood: from cutting her teeth on a Saturday morning kids' show to how she landed her first US role, to bouncing back from a box office flop (released in the wake of 9/11). You'll hear all about the chutzpah, resilience, and sheer delusion needed to get ahead and stay the course. Follow Marsha @iammarshathomasonWHAT TO EXPECT The joy of working with an auteur (Pamela Adlon)Unforgettable career pinch-me momentsThe importance of representation in front of and behind the lens The power of collaboration between cast and crewHow timing can make or break a show's successThoughts on the episode? We'd love to hear them—DM us @creativebloodworldEPISODE CREDITSHosted by Laura ConwayProduced by Scenery StudiosShow music by Ben Tarrant-Brown

Harry Potter (Daniel Radcliffe) é um garoto órfão de 10 anos que vive infeliz com seus tios, os Dursley. Até que, repentinamente, ele recebe uma carta contendo um convite para ingressar em Hogwarts, uma famosa escola especializada em formar jovens bruxos. Inicialmente Harry é impedido de ler a carta por seu tio Válter (Richard Griffiths), mas logo ele recebe a visita de Hagrid (Robbie Coltrane), o guarda-caça de Hogwarts, que chega em sua casa para levá-lo até a escola. A partir de então Harry passa a conhecer um mundo mágico que jamais imaginara, vivendo as mais diversas aventuras com seus mais novos amigos, Rony Weasley (Rupert Grint) e Hermione Granger (Emma Watson). PIX: canalfilmesegames@gmail.com Siga o Filmes e Games: Instagram: filmesegames Facebook: filmesegames Twitter: filmesegames Spotify: https://open.spotify.com/show/5KfJKth Podcast: https://anchor.fm/fgcast

Part 2 of our look at Whoops Apocalypse takes us to the White House and the Kremlin and we also take a look at the film version of the same idea (but it's not a spin-off). We also take a closer look at Richard Griffiths and find out he's not quite what we expected.

This week on the blog, a podcast interview with playwright and screenwriter Jeffrey Hatcher on Columbo, Sherlock Holmes, favorite mysteries and more!LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Jeffrey Hatcher Facebook Page: https://www.facebook.com/jeffrey.hatcher.3/The Good Liar (Trailer): https://youtu.be/ljKzFGpPHhwMr. Holmes (Trailer): https://youtu.be/0G1lIBgk4PAStage Beauty (Trailer): https://youtu.be/-uc6xEBfdD0Columbo Clips from “Ashes to Ashes”Clip One: https://youtu.be/OCKECiaFsMQClip Two: https://youtu.be/BbO9SDz9FEcClip Three: https://youtu.be/GlNDAVAwMCIEli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTJohn: Can you remember your very first mystery, a movie, book, TV show, play, a mystery that really captured your imagination? Jeffrey: You know, I was thinking about this, and what came to mind was a Disney movie called Emile and the Detectives from 1964. So, I would have been six or seven years old. It's based on a series of German books by Eric Kastner about a young man named Emile and his group of friends who think of themselves as detectives. So, I remember that—I know that might've been the first film. And obviously it's not a play because, you know, little kids don't tend to go to stage thrillers or mysteries and, “Daddy, please take me to Sleuth.But there was a show called Burke's Law that I really loved. Gene Barry played Captain Amos Burke of the Homicide Division in Los Angeles, and he was very rich. That was the bit. The bit was that Captain Burke drove around in a gorgeous Rolls Royce Silver Ghost, and he had a chauffeur. And every mystery was structured classically as a whodunit.In fact, I think every title of every episode was “Who Killed Cock Robin?” “Who Killed Johnny Friendly?” that kind of thing. And they would have a cast of well-known Hollywood actors, so they were all of equal status. Because I always think that's one of the easiest ways to guess the killer is if it's like: Unknown Guy, Unknown Guy, Derek Jacobi, Unknown Guy, Unknown Guy. It's always going to be Derek Jacobi. John: Yeah, it's true. I remember that show. He was really cool. Jim: Well, now I'm going to have to look that up.Jeffrey: It had a great score, and he would gather all of the suspects, you know, at the end of the thing. I think my favorite was when he caught Paul Lynde as a murderer. And, of course, Paul Lynde, you know, kept it very low key when he was dragged off. He did his Alice Ghostly impersonation as he was taken away.John: They did have very similar vocal patterns, those two.Jeffrey: Yep. They're kind of the exact same person. Jim: I never saw them together. John: You might have on Bewitched. Jim: You're probably right.Jeffrey: Well, I might be wrong about this, either Alice Ghostly or Charlotte Ray went to school with Paul Lynde. And Charlotte Ray has that same sound too. You know, kind of warbly thing. Yes. I think they all went to Northwestern in the late 40s and early 50s. So maybe that was a way that they taught actors back then. John: They learned it all from Marion Horne, who had the very same warble in her voice. So, as you got a little older, were there other mysteries that you were attracted to?Jeffrey: Yeah. Luckily, my parents were very liberal about letting me see things that other people probably shouldn't have. I remember late in elementary school, fifth grade or so, I was reading Casino Royale. And one of the teachers said, “Well, you know, most kids, we wouldn't want to have read this, but it's okay if you do.”And I thought, what's that? And I'm so not dangerous; other kids are, well they would be affected oddly by James Bond? But yeah, I, I love spy stuff. You know, The Man from Uncle and The Wild Wild West, all those kind of things. I love James Bond. And very quickly I started reading the major mysteries. I think probably the first big book that I remember, the first novel, was The Hound of the Baskervilles. That's probably an entrance point for a lot of kids. So that's what comes in mind immediately. Jim: I certainly revisit that on—if not yearly basis, at least every few years I will reread The Hound of the Baskervilles. Love that story. That's good. Do you have, Jeffrey, favorite mystery fiction writers?Jeffrey: Oh, sure. But none of them are, you know, bizarre Japanese, Santa Domingo kind of writers that people always pull out of their back pockets to prove how cool they are. I mean, they're the usual suspects. Conan Doyle and Christie and Chandler and Hammett, you know, all of those. John Dickson Carr, all the locked room mysteries, that kind of thing. I can't say that I go very far off in one direction or another to pick up somebody who's completely bizarre. But if you go all the way back, I love reading Wilkie Collins.I've adapted at least one Wilkie Collins, and they read beautifully. You know, terrifically put together, and they've got a lot of blood and thunder to them. I think he called them sensation novels as opposed to mysteries, but they always have some mystery element. And he was, you know, a close friend of Charles Dickens and Dickens said that there were some things that Collins taught him about construction. In those days, they would write their novels in installments for magazines. So, you know, the desire or the need, frankly, to create a cliffhanger at the end of every episode or every chapter seems to have been born then from a capitalist instinct. John: Jeff, I know you studied acting. What inspired the move into playwriting?Jeffrey: I don't think I was a very good actor. I was the kind of actor who always played older, middle aged or older characters in college and high school, like Judge Brack in Hedda Gabler, those kind of people. My dream back in those days was to play Dr. Dysart in Equus and Andrew Wyke in Sleuth. So, I mean, that was my target. And then I moved to New York, and I auditioned for things and casting directors would say, “Well, you know, we actually do have 50 year old actors in New York and we don't need to put white gunk in their hair or anything like that. So, why don't you play your own age, 22 or 23?” And I was not very good at playing 22 or 23. But I'd always done some writing, and a friend of mine, Graham Slayton, who was out at the Playwrights Center here, and we'd gone to college together. He encouraged me to write a play, you know, write one act, and then write a full length. So, I always say this, I think most people go into the theater to be an actor, you know, probably 98%, and then bit by bit, we, you know, we peel off. We either leave the profession completely or we become directors, designers, writers, what have you. So, I don't think it's unnatural what I did. It's very rare to be like a Tom Stoppard who never wanted to act. It's a lot more normal to find the Harold Pinter who, you know, acted a lot in regional theaters in England before he wrote The Caretaker.Jim: Fascinating. Can we talk about Columbo?Jeffrey: Oh, yes, please. Jim: This is where I am so tickled pink for this conversation, because I was a huge and am a huge Peter Falk Columbo fan. I went back and watched the episode Ashes To Ashes, with Patrick McGowan that you created. Tell us how that came about. Jeffrey: I too was a huge fan of Columbo in the 70s. I remember for most of its run, it was on Sunday nights. It was part of that murder mystery wheel with things like Hec Ramsey and McCloud, right? But Columbo was the best of those, obviously. Everything, from the structure—the inverted mystery—to thw guest star of the week. Sometimes it was somebody very big and exciting, like Donald Pleasence or Ruth Gordon, but often it was slightly TV stars on the skids.John: Jack Cassidy, Jim: I was just going to say Jack Cassidy.Jeffrey: But at any rate, yeah, I loved it. I loved it. I remembered in high school, a friend and I doing a parody of Columbo where he played Columbo and I played the murderer of the week. And so many years later, when they rebooted the show in the nineties, my father died and I spent a lot of time at the funeral home with the funeral director. And having nothing to say to the funeral director one day, I said, “Have you got the good stories?”And he told me all these great stories about, you know, bodies that weren't really in the casket and what you can't cremate, et cetera. So, I suddenly had this idea of a Hollywood funeral director to the stars. And, via my agent, I knew Dan Luria, the actor. He's a close friend or was a close friend of Peter's. And so, he was able to take this one-page idea and show it to Peter. And then, one day, I get a phone call and it's, “Uh, hello Jeff, this is Peter Falk calling. I want to talk to you about your idea.” And they flew me out there. It was great fun, because Falk really ran the show. He was the executive producer at that point. He always kind of ran the show. I think he only wrote one episode, the one with Faye Dunaway, but he liked the idea.I spent a lot of time with him, I'd go to his house where he would do his drawings back in the studio and all that. But what he said he liked about it was he liked a new setting, they always liked a murderer and a setting that was special, with clues that are connected to, say, the murderer's profession. So, the Donald Pleasant one about the wine connoisseur and all the clues are about wine. Or the Dick Van Dyke one, where he's a photographer and most of the clues are about photography. So, he really liked that. And he said, “You gotta have that first clue and you gotta have the pop at the end.”So, and we worked on the treatment and then I wrote the screenplay. And then he asked McGoohan if he would do it, and McGoohan said, “Well, if I can direct it too.” And, you know, I've adored McGoohan from, you know, Secret Agent and The Prisoner. I mean, I'd say The Prisoner is like one of my favorite television shows ever. So, the idea that the two of them were going to work together on that script was just, you know, it was incredible. John: Were you able to be there during production at all? Jeffrey: No, I went out there about four times to write, because it took like a year or so. It was a kind of laborious process with ABC and all that, but I didn't go out during the shooting.Occasionally, this was, you know, the days of faxes, I'd get a phone call: “Can you redo something here?” And then I'd fax it out. So, I never met McGoohan. I would only fax with him. But they built this whole Hollywood crematorium thing on the set. And Falk was saying at one point, “I'm getting pushback from Universal that we've got to do all this stuff. We've got to build everything.” And I was saying, “Well, you know, 60 percent of the script takes place there. If you're going to try to find a funeral home like it, you're going to have all that hassle.” And eventually they made the point that, yeah, to build this is going to cost less than searching around Hollywood for the right crematorium, And it had a great cast, you know, it had Richard Libertini and Sally Kellerman, and Rue McClanahan was our murder victim.Jim: I'll tell you every scene that Peter Falk and Mr. McGoohan had together. They looked to me as an actor, like they were having a blast being on together. Jeffrey: They really loved each other. They first met when McGoohan did that episode, By Dawn's Early Light, where he played the head of the military school. It's a terrific episode. It was a great performance. And although their acting styles are completely different, You know, Falk much more, you know, fifties, methody, shambolic. And McGoohan very, you know, his voice cracking, you know, and very affected and brittle. But they really loved each other and they liked to throw each other curveballs.There are things in the, in the show that are ad libs that they throw. There's one bit, I think it's hilarious. It's when Columbo tells the murderer that basically knows he did it, but he doesn't have a way to nail him. And, McGoohan is saying, “So then I suppose you have no case, do you?” And Falk says, “Ah, no, sir, I don't.” And he walks right off camera, you know, like down a hallway. And McGoohan stares off and says, “Have you gone?” And none of that was scripted. Peter just walks off set. And if you watch the episode, they had to dub in McGoohan saying, “Have you gone,” because the crew was laughing at the fact that Peter just strolled away. So McGoohan adlibs that and then they had to cover it later to make sure the sound wasn't screwed up. Jim: Fantastic. John: Kudos to you for that script, because every piece is there. Every clue is there. Everything pays off. It's just it is so tight, and it has that pop at the end that he wanted. It's really an excellent, excellent mystery.Jim: And a terrific closing line. Terrific closing line. Jeffrey: Yeah, that I did right. That was not an ad lib. Jim: It's a fantastic moment. And he, Peter Falk, looks just almost right at the camera and delivers that line as if it's, Hey, check this line out. It was great. Enjoyed every minute of it. Can we, um, can I ask some questions about Sherlock Holmes now?Jeffrey: Oh, yes. Jim: So, I enjoyed immensely Holmes and Watson that I saw a couple summers ago at Park Square. I was completely riveted and had no, absolutely no idea how it was going to pay off or who was who or what. And when it became clear, it was so much fun for me as an audience member. So I know that you have done a number of Holmes adaptations.There's Larry Millet, a St. Paul writer here and I know you adapted him, but as far as I can tell this one, pillar to post was all you. This wasn't an adaptation. You created this out of whole cloth. Am I right on that? Jeffrey: Yes. The, the idea came from doing the Larry Millet one, actually, because Steve Hendrickson was playing Holmes. And on opening night—the day of opening night—he had an aortic aneurysm, which they had to repair. And so, he wasn't able to do the show. And Peter Moore, the director, he went in and played Holmes for a couple of performances. And then I played Holmes for like three performances until Steve could get back. But in the interim, we've sat around saying, “All right, who can we get to play the role for like a week?” And we thought about all of the usual suspects, by which I mean, tall, ascetic looking actors. And everybody was booked, everybody was busy. Nobody could do it. So that's why Peter did it, and then I did it.But it struck me in thinking about casting Holmes, that there are a bunch of actors that you would say, you are a Holmes type. You are Sherlock Holmes. And it suddenly struck me, okay, back in the day, if Holmes were real, if he died—if he'd gone over to the falls of Reichenbach—people probably showed up and say, “Well, I'm Sherlock Holmes.”So, I thought, well, let's take that idea of casting Holmes to its logical conclusion: That a couple of people would come forward and say, “I'm Sherlock Holmes,” and then we'd wrap it together into another mystery. And we're sitting around—Bob Davis was playing Watson. And I said, “So, maybe, they're all in a hospital and Watson has to come to figure out which is which. And Bob said, “Oh, of course, Watson's gonna know which one is Holmes.”And that's what immediately gave me the idea for the twist at the end, why Watson wouldn't know which one was Holmes. So, I'm very grateful whenever an idea comes quickly like that, but it depends on Steve getting sick usually. Jim: Well, I thoroughly enjoyed it. If it's ever staged again anywhere, I will go. There was so much lovely about that show, just in terms of it being a mystery. And I'm a huge Sherlock Holmes fan. I don't want to give too much away in case people are seeing this at some point, but when it starts to be revealed—when Pierce's character starts talking about the reviews that he got in, in the West End—I I almost wet myself with laughter. It was so perfectly delivered and well written. I had just a great time at the theater that night. Jeffrey: It's one of those things where, well, you know how it is. You get an idea for something, and you pray to God that nobody else has done it. And I couldn't think of anybody having done this bit. I mean, some people have joked and said, it's kind of To Tell the Truth, isn't it? Because you have three people who come on and say, “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” Now surely somebody has done this before, but Nobody had. Jim: Well, it's wonderful. John: It's all in the timing. So, what is the, what's the hardest part about adapting Holmes to this stage?Jeffrey: Well, I suppose from a purist point of view‑by which I mean people like the Baker Street Irregulars and other organizations like that, the Norwegian Explorers here in Minnesota‑is can you fit your own‑they always call them pastiches, even if they're not comic‑can you fit your own Holmes pastiche into the canon?People spend a lot of time working out exactly where Holmes and Watson were on any given day between 1878 and 1930. So, one of the nice things about Holmes and Watson was, okay, so we're going to make it take place during the three-year interregnum when Holmes is pretending to be dead. And it works if you fit Holmes and Watson in between The Final Problem and The Adventure of the Empty House, it works. And that's hard to do. I would say, I mean, I really love Larry Millett's book and all that, but I'm sure it doesn't fit, so to speak. But that's up to you to care. If you're not a purist, you can fiddle around any old way you like. But I think it's kind of great to, to, to have the, the BSI types, the Baker Street Irregular types say, “Yes, this clicked into place.”Jim: So that's the most difficult thing. What's the easiest part?Jeffrey: Well, I think it's frankly the language, the dialogue. Somebody pointed out that Holmes is the most dramatically depicted character in history. More than Robin Hood, more than Jesus Christ. There are more actor versions of Holmes than any other fictional character.We've been surrounded by Holmes speak. Either if we've read the books or seen the movies or seen any of the plays for over 140 years. Right. So, in a way, if you're like me, you kind of absorb that language by osmosis. So, for some reason, it's very easy for me to click into the way I think Holmes talks. That very cerebral, very fast, sometimes complicated syntax. That I find probably the easiest part. Working out the plots, you want them to be Holmesian. You don't want them to be plots from, you know, don't want the case to be solved in a way that Sam Spade would, or Philip Marlowe would. And that takes a little bit of work. But for whatever reason, it's the actor in you, it's saying, all right, if you have to ad lib or improv your way of Sherlock Holmes this afternoon, you know, you'd be able to do it, right? I mean, he really has permeated our culture, no matter who the actor is.Jim: Speaking of great actors that have played Sherlock Holmes, you adapted a movie that Ian McKellen played, and I just watched it recently in preparation for this interview.Having not seen it before, I was riveted by it. His performance is terrific and heartbreaking at the same time. Can we talk about that? How did you come to that project? And just give us everything.Jeffrey: Well, it's based on a book called A Slight Trick of the Mind by Mitch Cullen, and it's about a very old Sherlock Holmes in Surrey, tending to his bees, as people in Holmesland know that he retired to do. And it involves a couple of cases, one in Japan and one about 20 years earlier in his life that he's trying to remember. And it also has to do with his relationship with his housekeeper and the housekeeper's son. The book was given to me by Anne Carey, the producer, and I worked on it probably off and on for about five years.A lot of time was spent talking about casting, because you had to have somebody play very old. I remember I went to meet with Ralph Fiennes once because we thought, well, Ralph Fiennes could play him at his own age,‑then probably his forties‑and with makeup in the nineties.And Ralph said‑Ralph was in another film that I'd done‑and he said, “Oh, I don't wear all that makeup. That's just far too much.” And I said, “Well, you did in Harry Potter and The English Patient, you kind of looked like a melted candle.” And he said, “Yes, and I don't want to do that again.” So, we always had a very short list of actors, probably like six actors in the whole world And McKellen was one of them and we waited for him to become available And yeah, he was terrific. I'll tell you one funny story: One day, he had a lot of prosthetics, not a lot, but enough. He wanted to build up his cheekbones and his nose a bit. He wanted a bit, he thought his own nose was a bit too potatoish. So, he wanted a more Roman nose. So, he was taking a nap one day between takes. And they brought him in, said, “Ian, it's time for you to do the, this scene,” and he'd been sleeping, I guess, on one side, and his fake cheek and his nose had moved up his face. But he hadn't looked in the mirror, and he didn't know. So he came on and said, “Very well, I'm all ready to go.” And it was like Quasimodo.It's like 5:52 and they're supposed to stop shooting at six. And there was a mad panic of, Fix Ian's face! Get that cheekbone back where it's supposed to be! Knock that nose into place! A six o'clock, we go into overtime!” But it was very funny that he hadn't noticed it. You kind of think you'd feel if your own nose or cheekbone had been crushed, but of course it was a makeup. So, he didn't feel anything. Jim: This is just the, uh, the actor fan boy in me. I'm an enormous fan of his work straight across the board. Did you have much interaction with him and what kind of fella is he just in general?Jeffrey: He's a hoot. Bill Condon, the director, said, “Ian is kind of methody. So, when you see him on set, he'll be very decorous, you know, he'll be kind of like Sherlock Holmes.” And it was true, he goes, “Oh, Jeffrey Hatcher, it's very good to meet you.” And he was kind of slow talking, all that. Ian was like 72 then, so he wasn't that old. But then when it was all over, they were doing all those--remember those ice Dumps, where people dump a tub of ice on you? You have these challenges? A the end of shooting, they had this challenge, and Ian comes out in short shorts, and a bunch of ballet dancers surrounds him. And he's like, “Alright, everyone, let's do the ice challenge.” And, he turned into this bright dancer. He's kind of a gay poster boy, you know, ever since he was one of the most famous coming out of the last 20 some years. So, you know, he was suddenly bright and splashy and, you know, all that old stuff dropped away. He has all of his headgear at his house and his townhouse. He had a party for us at the end of shooting. And so, there's a Gandalf's weird hat and there's Magneto's helmet, you know, along with top hats and things like that. And they're all kind of lined up there. And then people in the crew would say, can I take a picture of you as Gandalf? “Well, why, of course,” and he does all that stuff. So no, he's wonderful. Jim: You do a very good impression as well. That was great. Now, how did you come to the project, The Good Liar, which again, I watched in preparation for this and was mesmerized by the whole thing, especially the mystery part of it, the ending, it was brilliant.How did you come to that project?Jeffrey: Well, again, it was a book and Warner Brothers had the rights to it. And because Bill and I had worked on Mr. Holmes--Bill Condon--Bill was attached to direct. And so I went in to talk about how to adapt it.This is kind of odd. It's again based in McKellen. In the meeting room at Warner Brothers, there was a life size version of Ian as Gandalf done in Legos. So, it was always, it'll be Ian McKellen and somebody in The Good Liar. Ian as the con man. And that one kind of moved very quickly, because something changed in Bill Condon's schedule. Then they asked Helen Mirren, and she said yes very quickly.And it's a very interesting book, but it had to be condensed rather a lot. There's a lot of flashbacks and going back and forth in time. And we all decided that the main story had to be about this one con that had a weird connection to the past. So, a lot of that kind of adaptation work is deciding what not to include, so you can't really be completely faithful to a book that way. But I do take the point with certain books. When my son was young, he'd go to a Harry Potter movie, and he'd get all pissed off. Pissed off because he'd say Dobby the Elf did a lot more in the book.But if it's a book that's not quite so well-known—The Good Liar isn't a terribly well-known book, nor was A Slight Trick of the Mind--you're able to have a lot more room to play. Jim: It's a very twisty story. Now that you're talking about the book, I'll probably have to go get the book and read it just for comparison. But what I saw on the screen, how did you keep it--because it was very clear at the end--it hits you like a freight train when it all sort of unravels and you start seeing all of these things. How did you keep that so clear for an audience? Because I'll admit, I'm not a huge mystery guy, and I'm not the brightest human, and yet I was able to follow that story completely.Jeffrey: Well, again, I think it's mostly about cutting things, I'm sure. And there are various versions of the script where there are a lot of other details. There's probably too much of one thing or another. And then of course, you know, you get in the editing room and you lose a couple of scenes too. These kinds of things are very tricky. I'm not sure that we were entirely successful in doing it, because you say, which is more important, surprise or suspense? Hitchcock used to have that line about, suspense is knowing there's a bomb under the table. And you watch the characters gather at the table. As opposed to simply having a bomb blow up and you didn't know about it.So, we often went back and forth about Should we reveal that the Helen Mirren character knows that Ian's character is doing something bad? Or do we try to keep it a secret until the end? But do you risk the audience getting ahead of you? I don't mind if the audience is slightly ahead. You know, it's that feeling you get in the theater where there's a reveal and you hear a couple of people say, “Oh, I knew it and they guessed it may be a minute before. But you don't want to get to the point where the audience is, you know, 20 minutes or a half an hour ahead of you.Jim: I certainly was not, I was not in any way. It unfolded perfectly for me in terms of it being a mystery and how it paid off. And Helen Mirren was brilliant. In fact, for a long time during it, I thought they were dueling con men, the way it was set up in the beginning where they were both entering their information and altering facts about themselves.I thought, “Oh, well, they're both con men and, and now we're going to see who is the better con man in the end.” And so. when it paid off. In a way different sort of way, it was terrific for me. Absolutely. Jeffrey: Well, and I thank you. But in a way, they were both con men. Jim: Yes, yes. But she wasn't a professional con man.Jeffrey: She wasn't just out to steal the money from him. She was out for something else. She was out for vengeance. Jim: Yes. Very good. Very, if you haven't seen it, The Good Liar folks, don't wait. I got it on Amazon prime and so can you.Jeffrey: I watched them do a scene, I was over there for about five days during the shooting.And watching the two of them work together was just unbelievable. The textures, the tones, the little lifts of the eyebrow, the shading on one word versus another. Just wonderful, wonderful stuff. Jim: Yeah. I will say I am a huge Marvel Cinematic Universe fan along with my son. We came to those together and I'm a big fan of that sort of movie. So I was delighted by this, because it was such a taut story. And I was involved in every second of what was going on and couldn't quite tell who the good guys were and who the bad guys were and how is this going to work and who's working with who?And it was great. And in my head, I was comparing my love for that sort of big blow it up with rayguns story to this very cerebral, internal. And I loved it, I guess is what I'm saying. And, I am, I think, as close to middle America as you're going to find in terms of a moviegoer. And I thought it was just dynamite. Jeffrey: It was very successful during the pandemic--so many things were when people were streaming--but it was weirdly successful when it hit Amazon or Netflix or whatever it was. And, I think you don't have to be British to understand two elderly people trying to find a relationship. And then it turns out that they both have reasons to hate and kill each other. But nonetheless, there is still a relationship there. So, I pictured a lot of lonely people watching The Good Liar and saying, “Yeah, I'd hang out with Ian McKellen, even if he did steal all my money.” John: Well, speaking of movies, I am occasionally handed notes here while we're live on the air from my wife. And she wants you to just say something about the adaptation you did of your play, Stage Beauty, and what that process was like and how, how that process went.Jeffrey: That was terrific because, primarily Richard Eyre--the director who used to run the National Theater and all that--because he's a theater man and the play's about theater. I love working with Bill Condon and I've loved working with Lassa Hallstrom and other people, but Richard was the first person to direct a film of any of my stuff. And he would call me up and say, “Well, we're thinking of offering it to Claire Danes.” or we're thinking…And usually you just hear later, Oh, somebody else got this role. But the relationship was more like a theater director and a playwright. I was there on set for rehearsals and all that.Which I haven't in the others. No, it was a wonderful experience, but I think primarily because the, the culture of theater saturated the process of making it and the process of rehearsing it and—again--his level of respect. It's different in Hollywood, everybody's very polite, they know they can fire you and you know, they can fire you and they're going to have somebody else write the dialogue if you're not going to do it, or if you don't do it well enough. In the theater, we just don't do that. It's a different world, a different culture, different kind of contracts too. But Richard really made that wonderful. And again, the cast that he put together: Billy Crudup and Claire and Rupert Everett and Edward Fox and Richard Griffiths. I remember one day when I was about to fly home, I told Richard Griffiths what a fan Evan-- my son, Evan--was of him in the Harry Potter movie. And he made his wife drive an hour to come to Shepperton with a photograph of him as Mr. Dursley that he could autograph for my son. John: Well, speaking of stage and adaptations, before we go into our lightning round here, you did two recent adaptations of existing thrillers--not necessarily mysteries, but thrillers--one of which Hitchcock made into a movie, which are Dial M for Murder and Wait Until Dark. And I'm just wondering what was that process for you? Why changes need to be made? And what kind of changes did you make?Jeffrey: Well, in both cases, I think you could argue that no, changes don't need to be made. They're wildly successful plays by Frederick Knott, and they've been successful for, you know, alternately 70 or 60 years.But in both cases, I got a call from a director or an artistic director saying, “We'd like to do it, but we'd like to change this or that.” And I'm a huge fan of Frederick Knott. He put things together beautifully. The intricacies of Dial M for Murder, you don't want to screw around with. And there are things in Wait Until Dark having to do just with the way he describes the set, you don't want to change anything or else the rather famous ending won't work. But in both cases, the women are probably not the most well drawn characters that he ever came up with. And Wait Until Dark, oddly, they're in a Greenwich Village apartment, but it always feels like they're really in Westchester or in Terre Haute, Indiana. It doesn't feel like you're in Greenwich Village in the 60s, especially not in the movie version with Audrey Hepburn. So, the director, Matt Shackman, said, why don't we throw it back into the 40s and see if we can have fun with that. And so it played out: The whole war and noir setting allowed me to play around with who the main character was. And I know this is a cliche to say, well, you know, can we find more agency for female characters in old plays or old films? But in a sense, it's true, because if you're going to ask an actress to play blind for two hours a night for a couple of months, it can't just be, I'm a blind victim. And I got lucky and killed the guy. You've got a somewhat better dialogue and maybe some other twists and turns. nSo that's what we did with Wait Until Dark. And then at The Old Globe, Barry Edelstein said, “well, you did Wait Until Dark. What about Dial? And I said, “Well, I don't think we can update it, because nothing will work. You know, the phones, the keys. And he said, “No, I'll keep it, keep it in the fifties. But what else could you What else could you do with the lover?”And he suggested--so I credit Barry on this--why don't you turn the lover played by Robert Cummings in the movie into a woman and make it a lesbian relationship? And that really opened all sorts of doors. It made the relationship scarier, something that you really want to keep a secret, 1953. And I was luckily able to find a couple of other plot twists that didn't interfere with any of Knott's original plot.So, in both cases, I think it's like you go into a watch. And the watch works great, but you want the watch to have a different appearance and a different feel when you put it on and tick a little differently. John: We've kept you for a way long time. So, let's do this as a speed round. And I know that these questions are the sorts that will change from day to day for some people, but I thought each of us could talk about our favorite mysteries in four different mediums. So, Jeff, your favorite mystery novel”Jeffrey: And Then There Were None. That's an easy one for me. John: That is. Jim, do you have one?Jim: Yeah, yeah, I don't read a lot of mysteries. I really enjoyed a Stephen King book called Mr. Mercedes, which was a cat and mouse game, and I enjoyed that quite a bit. That's only top of mind because I finished it recently.John: That counts. Jim: Does it? John: Yeah. That'll count. Jim: You're going to find that I am so middle America in my answers. John: That's okay. Mine is--I'm going to cheat a little bit and do a short story--which the original Don't Look Now that Daphne du Murier wrote, because as a mystery, it ties itself up. Like I said earlier, I like stuff that ties up right at the end. And it literally is in the last two or three sentences of that short story where everything falls into place. Jeff, your favorite mystery play? I can be one of yours if you want. Jeffrey: It's a battle between Sleuth or Dial M for Murder. Maybe Sleuth because I always wanted to be in it, but it's probably Dial M. But it's also followed up very quickly by Death Trap, which is a great comedy-mystery-thriller. It's kind of a post-modern, Meta play, but it's a play about the play you're watching. John: Excellent choices. My choice is Sleuth. You did have a chance to be in Sleuth because when I directed it, you're the first person I asked. But your schedule wouldn't let you do it. But you would have been a fantastic Andrew Wyke. I'm sorry our timing didn't work on that. Jeffrey: And you got a terrific Andrew in Julian Bailey, but if you wanted to do it again, I'm available. John: Jim, you hear that? Jim: I did hear that. Yes, I did hear that. John: Jim, do you have a favorite mystery play?Jim: You know, it's gonna sound like I'm sucking up, but I don't see a lot of mystery plays. There was a version of Gaslight that I saw with Jim Stoll as the lead. And he was terrific.But I so thoroughly enjoyed Holmes and Watson and would love the opportunity to see that a second time. I saw it so late in the run and it was so sold out that there was no coming back at that point to see it again. But I would love to see it a second time and think to myself, well, now that you know what you know, is it all there? Because my belief is it is all there. John: Yeah. Okay. Jeff, your favorite TV mystery?Jeffrey: Oh, Columbo. That's easy. Columbo.John: I'm gonna go with Poker Face, just because the pace on Poker Face is so much faster than Columbo, even though it's clearly based on Columbo. Jim, a favorite TV mystery?Jim: The Rockford Files, hands down. John: Fair enough. Fair enough. All right. Last question all around. Jeff, your favorite mystery movie? Jeffrey: Laura. Jim: Ah, good one. John: I'm going to go with The Last of Sheila. If you haven't seen The Last of Sheila, it's a terrific mystery directed by Herbert Ross, written by Stephen Sondheim and Anthony Perkins. Fun little Stephen Sondheim trivia. The character of Andrew Wyke and his house were based on Stephen Sondheim. Jeffrey: Sondheim's townhouse has been for sale recently. I don't know if somebody bought it, but for a cool seven point something million, you're going to get it. John: All right. Let's maybe pool our money. Jim, your favorite mystery movie.Jim: I'm walking into the lion's den here with this one. Jeffrey, I hope this is okay, but I really enjoyed the Robert Downey Jr. Sherlock Holmes movies. And I revisit the second one in that series on a fairly regular basis, The Game of Shadows. I thought I enjoyed that a lot. Your thoughts on those movies quickly? Jeffrey: My only feeling about those is that I felt they were trying a little too hard not to do some of the traditional stuff. I got it, you know, like no deer stalker, that kind of thing. But I thought it was just trying a tad too hard to be You know, everybody's very good at Kung Fu, that kind of thing.Jim: Yes. And it's Sherlock Holmes as a superhero, which, uh, appeals to me. Jeffrey: I know the producer of those, and I know Guy Ritchie a little bit. And, I know they're still trying to get out a third one. Jim: Well, I hope they do. I really hope they do. Cause I enjoyed that version of Sherlock Holmes quite a bit. I thought it was funny and all of the clues were there and it paid off in the end as a mystery, but fun all along the road.Jeffrey: And the main thing they got right was the Holmes and Watson relationship, which, you know, as anybody will tell you, you can get a lot of things wrong, but get that right and you're more than two thirds there.

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden, CEO of Rubber Cheese.Fill in the Rubber Cheese 2024 Visitor Attraction Website Survey - the annual benchmark statistics for the attractions sector.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website rubbercheese.com/podcast.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned in this podcast.Competition ends on 3rd July 2024. The winner will be contacted via Twitter. Show references:Lego House in BillundSutton Hoo (National Trust)Sutton Hoo at the British MuseumThe Dig on NetflixSutton Hoo mask on Lego IdeasThe Dig: Lego version of Sutton Hoo treasure 'amazing' (BBC News)Events at The Hold IpswitchAndrew Webb is a LEGO enthusiast who uses bricks in outreach programmes for teams and organisations as diverse at Arm, Pinset Mason, The National Trust, English Heritage, and the Scouts. During the UK's second Lockdown in early 2021, He made the 1500 year old Sutton Hoo Helmet out of LEGO bricks and submitted it to LEGO Ideas. The build achieved international media coverage, and has since been donated to the National Trust. Andrew continues to help attractions and institutions with LEGO programmes. By day, he works as a global head of content marketing for a B2B tech company. Find out more at http://teambuildingwithbricks.com Transcription:  Paul Marden: Welcome to Skip the Queue, a podcast for people working in and working with Mister attractions. I'm your host, Paul Marden. Today I'm talking to Andrew Webb. By day, Andrew is a content marketer for a tech firm, but in his spare time helps attractions to use Lego as a tool to attract and engage diverse audiences and enable them to interpret history and culture. We're going to talk about what it means to be an building, a model of anglo saxon helmet, and the 24 skills that are used when building with Lego. Paul Marden: So welcome to the podcast. Andrew Webb: Thank you. Paul Marden: On Skip the Queue, we always start with some icebreaker questions that you know nothing about. So let's launch into a couple of those. Book and a pool or museums and galleries for your city break. Andrew Webb: Museum and galleries.Paul Marden: Yeah. I'd expect nothing less given what we're about to talk about. This is one from one of my colleagues, actually, who is really good at icebreakers whenever we do a team building eventually. So he said, “Would you rather have it and lose it or never have it at all?”Andrew Webb: Oh, gosh, I'll have it and lose it for sure. Paul Marden: Yeah, gotta be. That one's from miles. Say thank you, Myles. That was a cracker. Andrew Webb: Do you remember the word there was a great one. Would you rather eat ten donuts or raw onion? Paul Marden: Oh, ten donuts, hand down. I could easily do that. Andrew Webb: I'd get onion. I'd get onion. Every time I would take an onion over ten donuts. I'd be sick after ten donuts. Paul Marden: Oh, no, I reckon I could take that. No problem. Andrew Webb: Okay. Paul Marden: Okay. So we're going to talk a little bit about your adventures in Lego over the last few years. So why don't we kick off and talk a little bit about your original interest in Lego? Because I know it goes back not a long way, because that would be rude. But it goes back to a few years ago, doesn't it? Andrew Webb: It does. I mean, like most people growing up in what we might loosely term the west, I had like, I was a kid, you know, I think most of us grew up with it like that. And then like, you know, growing up in that first age of plastics with Heman, Transformers, Lego, Star wars, all of that sort of stuff. Paul Marden: You're just describing my childhood. Andrew Webb: It's funny because that was. It was all sort of ephemeral, right? I mean, the idea was that the reason why that boom happened, just to dwell on why they're going plastic things. Before that, toys were made out of either tin or wood. So, you know, they were very labour intensive produce there's certainly injection moulding comes along and we could just have anything coupled with the tv shows and the films and all this sort of stuff. So we all grew up in this sort of first age of disposable plastic, and then it all just gets passed down as kids grow up. It gets given away, gets put in the loft and forgotten about. There's a moment when a return of the Jedi bedspread doesn't look cool anymore, right? You hit about 13, 14 and you're like, “Mom, I really want some regular stuff there.”Andrew Webb: So like everybody, you know, I gave it all away, sold it and whatever, but I kept onto my lego and then fast forward, you know, I become a parent and Lego starts to come back into my life. So I'm sort of at a stage where I'm working for a travel startup and I get a press release to go to the Lego House, which if no one has heard about it, where have you been? But also it is a fantastic home of the brick, which Lego built in, opened in 2016. And it is a phenomenal temple to Lego. Not in terms of like a Legoland style approach with rides and things like that, but it's all about the brick and activities that you can do in a brick. Andrew Webb: There is great pools and huge pits of Lego to play with there, as well as displays and all this sort of stuff. They've actually got a Lego duplo waterfall.Paul Marden: Really? Andrew Webb:  Oh, I mean, it's a fantastic attraction. And the way they've done it is just incredible. So they blend a lot of digital things. So if you make a small fish and insert it into this thing, it appears in the tank and swims around and this sort of stuff and the way you can imprint your designs on things. I should just quickly tell you about the cafeteria there as well, just really quickly. So the cafeteria at the Lego House, everyone gets a little bag of Lego and then whatever you build and insert into this sort of iPad sort of slots type thing, and that's what you're. Andrew Webb: So a pink brick might be salmon, a yellow brick might be chicken, whatever, and you put it all in and it recognises it all and then it comes down a giant conveyor belt in a Lego. Giant Lego box and is handed to you by robots. I mean, mind blowing stuff. This is not like with a tray at the National Trust place or somewhere like that for us to come. It is a technological marvel. Absolutely fascinating. So, of course, on the day went, it was a press preview, so there was no canteen workers, so there was no food in the box when me and my daughter, so went without that data, was a bit disappointed. Andrew Webb: But that started that whole reappreciation of Lego, both as a toy to play with my daughter, but also as a way of using Lego in different ways. And that manifests itself in lots of different things. So currently, now, you know, fast forward a little bit. I use Lego for team building exercises, for workshops, for problem solving with organisations, and also just for having fun with adult groups as well as kids. And I think one of the biggest things we've seen since this kind of started around 2000s with the sort of adults reading Harry Potter, do you remember that was like, why are you reading this children's book type of thing? Paul Marden: Yeah. Andrew Webb: And then all the prequel Star wars films came out and Lego made sets about both those two things. And it kind of. I mean, Bionicle saved the company, as only AFOL will know, but it started that whole merchandising thing and adding Lego into that firmament of IP. Right. And we fast forward now, and it's Marvel and Star wars and everything. Paul Marden: You just said AFOL. I know what an AFOL is, but many of our listeners may not know what AFOL is.Andrew Webb: Just to go for acronyms here. So an AFOL is an Adult Fan of Lego. And we've seen actually Lego in the past five years, even earlier. I mean, Lego always had an adult element to it. And one of the original founders used to use it for designing his own house. And there was a whole architectural system called Molodux. So it's always had that element to it. But just recently we've seen, you know, almost retro sets. So we see the Lego Atari 2600 video game system from 1976, which, yeah. Paul Marden: An original NES wasn't there. Andrew Webb: Exactly. NES that's come out. I've got a Lego Optimus prime back here for transformers, you know, all that kind of stuff. So with what's been really interesting is this kidault or whatever, however, call it. And I think that's really fascinating, because if we think about Lego as a toy, we are rapidly approaching the age where we might have three generations of people that have grown up with Lego. Lego first came around in the very late ‘60s, early '70s. And so it's not inconceivable that you might have three generations that had Lego as a child, especially if you grew up in Denmark. A little bit different when it would come to the rest of Europe as they expanded out. So I get to this point, and I'm getting into Lego and doing all this sort of stuff. Andrew Webb: And then, of course, COVID happens and then lockdown happens and we all think the world's going to end and no one knows. Everyone's looking for hobbies, aren't they? They say you were either hunk, drunk or chunk after lockdown. You either got fit, got fat or got alcoholic. So try to avoid those three things. And, you know, everyone's looking for stuff to do, so you have so much banana bread you can bake. And so I stupidly, with my daughter's help, decided to make the Lego Sutton Hoo helmet, the 1500 year old Sutton Hoo helmet found at Sutton Hoo in Suffolk, now in the British Museum. Out of Lego, as you do. Paul Marden: I mean, just exactly. Just as you do. So just a slight segue. I was at the National Attractions Marketing Conference yesterday and there were two people presenting who both talked about their experiences of wacky things that they did during lockdown. There was one person that opened a theatre in her back garden and had various different stars just randomly turn up in her backyard up in North Yorkshire. And you choose to build a Lego Sutton Hoo helmet.Andrew Webb: Lockdown, there will be a time, I think, as we look back, tragic though it was, and, you know, a lot of people died, but it was that moment when society sort of shuffled around a bit and people sort of thought, “Well, if I don't do it now, why not?” People were launching bakeries in their kitchens and serving their community and like. And that element of it. And so people have that. The good side of that, I suppose, is that people did find new outlets of creativity. And Joe Wick's yoga class is in their front row walking groups, you know, all this sort of stuff and beating beaten horsemans and learning to play the violin and dust and stuff. Suddenly we all had to find hobbies because we're all just in. Andrew Webb: No one was going to restaurants, no one's going to bars, no one's going to gigs, nightclubs, theatres. We like to make entertainment at home. It was like the middle ages. So I decided to build the Lego Sutton Hoo helmet, as you do. And so I start this in lockdown, and then, like, I get wind that Netflix is making a film called The Dig. And The Dig is all about, I think it's Lily James and Ray Fiennes in it, and it's all those other people. And it's all about when they found theSutton Hoo helmet. And the guy who found it was called Basil Brown, and he was asked by Edith Pretty, who owned the land, to excavate these humps in the ground that were on her estate. Paul Marden: Okay, so she owns this big estate, in Suffolk, right? And, so she can clearly see there's burial mounds in the back garden, but doesn't know what's in them. Doesn't have any clue that there's treasure locked up inside this. Andrew Webb: I'm not even sure she knew there were anglo saxon burial maps since it was. Paul Marden: They were just lumps of ground in the garden. Andrew Webb: Yeah. I mean, she may have had inkling and other stuff I've turned up over the years and whatever. And some of them were robbed sort of georgian times around then. So some people knew what they were and they were somewhere excavated and gold was taken to fund the polynomial wars and whatnot. But she asked Basil Branson, he was like an amateur archaeologist, right? And so he was just like this local guy would cycle over and do. And the film goes into all that, and the film kind of portrays it as working class. Basil Brown should know his place against the sort of British Museum who are sort of the baddies in this film who think they know what. And of course, this is all set against the backdrop of war. So they escalated it all, then they had to rebury it. Andrew Webb: And then it was used as a tank training ground, so lots of tanks rolled over it. So it's a miracle anything was ever found. But when he did find the Sutton Hoo, who told me and a bunch of other things, clasp brooches, shields, weapons and whatever, when he did find it, so people think it kind of popped out the ground as a helmet, but it didn't. And if you look at the photos, it came out the ground in hundreds of pieces. Paul Marden: Oh, really? So you look at this reconstructed mask that's now in the British Museum, and you think, “Oh, so they just found that in one piece,” lifted out as if it was a Lego hat, you know, for a minifig. In one piece? No, not at all. Andrew Webb: It was actually more like a big parlour Lego in the fact that it was just in hundreds of thousands of pieces. And so there was the first guy to have a go at it was an elderly architect at the British Museum who was, I think, blind in one eye. And he had a go at putting it all together. And he used an armature and clay and pins and whatever, put it all together and said, “Yes, I think it was this.” And then actually it wasn't. He got it all wrong. Lots of different pieces after some more research, and then it falls to this. Nigel Williams is another sub architect, and he was famous for. Andrew Webb: There was a famous Portland vase that was broken in a museum by someone pushing it over as a sort of what you might call, like a just stop oil type of protest now, I can't remember what the call was, but someone smashed an exhibit. And he had painstakingly pieced all this together. He was a total dapper dude. Three piece suit, Chelsea boots, proper swinging sixties, and he had to go and put it all together. His version is the one that's in the British Museum, but he was a massive jigsaw fan. And if you think about Lego, what it is a 3d jigsaw. You get a bunch of pieces and you have to make. Make it into a 3d sculpture. So that was one reason, the dig was the other reason. Andrew Webb: The third reason was that the relationship between East Anglia and essentially Denmark and Billand and Anglo Saxon and Jutland and all that area, I'm talking like Vikings and Anglo Saxons and invasions and all this kind of stuff against the native British, there is essentially a relationship between East Anglia, a trade relationship and a conquest relationship between them. So I built this thing and I frantically put it together and I'm late nights and just losing my marbles trying to get this thing to work. Because Lego is not designed to make, like, spherical shapes, necessarily. It's quite blocky. Right. Everyone knows this. It's the square. Paul Marden: Really easy to make a car, really easy to make a house. A spaceship. Andrew Webb: Houses. Brilliant. Yeah. Square stuff is fantastic. But baking, not only a sort of a semicircle, but a hemisphere, which is what essentially a helmet is. Is even harder because you have to get the Lego to bend in two directions. And so a lot of work went into that just to get the actual face piece came together quite easy. And there was once I had the scale of the pieces under the eyes that formed that sort of thing, and then I could build the nose and face. Ideally, it was going to be so that I could put it on my head. I've actually got a massive head. So in the end, I had to realign that and sort of make it into this sort of child sized head. Paul Marden: But it's a wearable thing, right? Andrew Webb: It is. It is wearable. I mean, at one point, it was probably more fragile than the one in the British Museum because it just kept dropping to pieces. So there's a lot of sub plates that are holding together the outer plate. So it's actually sort of. So just quick Lego terminology here. So bricks, obviously are bricks. The flat things with bubbles on are called plates and then the smoother ones are called tiles. Okay. And used a combination of these to create. There's also a technique called SNOT, which stands for Studs Not On Top. We love acronyms in the Lego community. Right? Paul Marden: Completely.Andrew Webb:  So if you say, “Oh, man, I'm an AFOL covered in SNOT,” people know what you want to know what you mean. So after a night in the tiles, I got covered. Yeah. Andrew Webb: Anyway, so I make the helmet, I make the thing, and then, you know, I get a lot of support from the National Trust, specifically East of England National Trust and Sutton, who site itself because it's there. It's their crown jewels. The British Museum, not so much, because they was like, we've got a billion exhibits here. No, it's just one of them. When you've got the Tippecar moon and the Rosetta stone, it kind of pales into significant. But actually, they were helpful. And one of the curators there, who was on Twitter, who sent me a link to some 3d photos, because if you. If you google it's all pictures at the front. That's fantastic. But what does the back look like? Paul Marden: Oh, right, okay. Andrew Webb: So actually, buried deep in the British Museum's website, in their research department, under a filing cabinet, in the back of a server somewhere, are some quite technical photographic images of it, turning every sort of 30 degrees so that. That it's documented as to what it looks. Because you got to remember that everything on the helmet is symbolic of various different things. There is symbols that mean there's a guy on a horse who's sort of fighting and all this sort of stuff. And it all has quite a lot of meaning. I can occur from different parts of history as well. So there's some sort of roman influencing things there and symbols. And so this whole thing is designed to be not only a battle helmet, but it is also because, remember, crowns haven't been invented yet. Crowns are a later mediaeval sort of invention. Andrew Webb: So this is both a symbol of authority, headwear, like a crown, but also a weapon or a piece of defensive armour and equipment. So it has several functions in its life. So it's quite a complex piece of equipment, that this symbol of authority. So I make all this and then I also submit it to a thing called Lego Ideas. So Lego Ideas is a fantastic programme where anybody in the world, members of the public, can submit Lego Ideas, right? And they go onto a website. There's certain criteria, they have to meet a certain checklist, but then the rest of the public can vote for them. So, I mean, if Taylor Swift just stuck together a load of blocks and said, “Vote for this,” she probably hit the 10,000 threshold instantly. Andrew Webb: But I'm not sure Lego would necessarily take that forward as a build. So there is a judging panel that. But actually, some of the most recent really fantastic sets have come out of Lego Ideas. Members of the public, and they're designing things that the Lego designers wouldn't have thought of themselves. So I think that's been kind of interesting. Sadly, Paul, we didn't make the 10,000 threshold. We did a lot of media coverage. By then, lockdown was over and were sort of getting back to our lives and all this sort of stuff. And my daughter was entering her dark ages. And so it sat in my studio for another sort of year and a half and I thought, “What am I going to do with this?” And so in the end, I thought, “Well, you know what? It's gathering dust here. I'm fed up with it, dustin it.”Andrew Webb: And so I actually approached Josh Ward at the National Trust at Sutton Hoo, who has been a fantastic advocate for Lego and for this particular project, and I have to thank him immensely for that. And they got some money and some funding to build a cabinet and also to house it. So I donated it to National Trust and it is now on display there as part of their firmament of interpretational trail. Paul Marden: That must feel pretty good fow you. Andrew Webb: Yeah, it is quite good looking in there and watching kids go, “Wow.” Because Lego is one of those things instantly recognisable for kids. But certain hill as a site is quite complex for children to contextualise because essentially it's several mounds in the ground. And the helmet itself is at the British Museum. Right. They've got a replica built by the royal armouries. There were several of those. They've got those. They have loads of dress up, they have great explainers and videos and they do a lot of work to show the size and shape and things as a cast iron sculpture, to represent the boat, to show just how big it was when it was pulled up from the sea, because he's buried in a boat. So do a lot of that work, sort of that sort of work as well. Andrew Webb: But having this extra funding in the. They opened up Edith's pretty's house now, and having this room where we've got some other things as well, like crayons and paper and other tools and drawings and colouring in and Lego and big chest of Lego just helps, particularly smaller children who, by the time they've walked from the car park around the site, and it has probably flagged it a little bit. And so just providing that little support for them, it's been a fantastic way to contextualise and another way to interpret that. And I think more and more venues could look into that. When you think, well, how else can we add stuff, particularly for children to help tell the story of this place? Paul Marden: Yeah, absolutely. Absolutely. We went to. It was half term last week and went to the City Museum in Winchester. So they've got some mediaeval, they've got some Roman finds there, and there was lots of fun, but they had. It was full of lots of ways for kids to engage, so there was trails to go around, there was colouring in, make your own mediaeval shield. And all of these things are ways that, you know, my ten year old could engage with it because there's only so many glass cabinets of stuff dug up from the ground that she actually wants to look at. Andrew Webb: I mean, I love. I love pit rivers, right, in Oxford, my favourite museum. Paul Marden: It's crazy, isn't it? I love it. Andrew Webb: But basically, he just went around the world nicking stuff. Right, but as a collection of objects, It's fantastic. Paul Marden: It's deeply unnerving. Andrew Webb: Sorry, sorry if any pit rivers curators are listening there, nick, and stuff about it, but, it is my favourite museum because it's just for kids. It's probably really kind of like, how do you tell that story? I also think there was an article in the garden recently that, you know, the cost of living crisis as well. Parents are looking for value solutions now and so I think it wasn't Peppa Pig World, it was Paddington World. And a family ticket is 170 pounds. That is a huge dent in the family finances for a 70 minutes experience. If you are watching the pennies, if you can afford that and save up for it, whatever. And I know these things are, you know, memory making and all that sort of stuff, and I've been to Harry Potter with my daughter. Andrew Webb: That is not cheap, but it's a fantastic day out because once you're in, you spend the whole day there. If you take a packed lunch, you can save a lot of money on that, on the thing. But I suppose what I'm saying is that, you know, our museums and galleries, particularly traditionally, the what you might call free spaces, public spaces, are facing unprecedented demand in terms of parents looking for cost effective value days out, as well as funding being cut from central government and that sort of. So they have to do a huge amount with less and less for a bigger audience. And that is a strain on any institution and things like that. Other examples of places that get this. Andrew Webb: So obviously with the Sutton Hoo helmet, the hold in Ipswich, which is Suffolk Council's kind of flagship museum in the county town of Ipswich, but instead of calling it, you know, the Museum of Suffolk, they've called it The Hold, which is a reference to the fact it's on, I think it's either because it's on the shore or it's doing sheep, I'm not sure anyway. But a fantastic space, contemporary modern space  had a Lego exhibition a few years ago, borrowed my helmet, had some Lego exhibition stuff to do. And the good thing about that is when these teams have to do quite a lot of comms marketing and, you know, that has a cost as well, but often you see different demographics than perhaps would normally go to a stones and bones museum, if you know what I mean. Right. Andrew Webb: You'll see that it makes it more accessible to the community and to different people who don't like going and looking at the Magna Carta or whatever. For some kids, a day at the British Library is fantastic. Look at all these old books for more, maybe more boisterous children. That's probably not a really great idea. So I think galleries can take a leaf out of this and think, or museums or any institution really can take a leap out of this and think, “How can we do more for less? And what tools can we have that perhaps we haven't considered before, like Lego, as a way to open up our interpretation and our offering?” So this could work in Museum of Docklands, for example. This could work in the royal armouries. Andrew Webb: There's lots of places where if you looking to improve your children's offering that some form of lego, I mean, it ends up all over the floor, it ends up being taken away. Sometimes you've got to watch out for things like that. But that's why I always recommend, like, just the basic blocks and plates, not minifigures and stuff like that, because, you know, they just end up in kids' pockets and trousers. But I do think it is a fantastic tool for developing that interpretation piece. Paul Marden: So I run a coding club using Lego. Okay. So I work with years four, five and six, typically. And we normally start off by the end of two terms, we will be building robotics, programming things, doing amazing things. But we start at the very beginning with just open up a box, and it is amazing what a bunch of seven, eight and nine year olds can do with a two by four red brick just given bricks. Yeah. And they will build amazing things. Yeah. And they will tell you amazing stories. And you also see real diversity in the behaviours of children, because some children, in that free play context, they do not have the skills to do that. And I had one girl recently who hasn't played with Lego, and free play just blew her mind, and she was in tears because she couldn't embrace the creativity of it.Paul Marden: But then the following week, when we were following instructions, she was great at building from a set of instructions, You can do that from a limited palette and give them a mission. Sutton Hoo, build a, I don't know, a sword, build a shield, build something to interpret what you have seen. You're in the transport museum. Build, build. How did you get to the museum this morning? Give them something to do and then let them go. And half an hour later, you will be amazed by what they will have built. Andrew Webb: I actually did something this at the National Archives down in Kew, where they had a kids exhibition. Well, an exhibition in the summer about wacky inventions, because obviously the National Archives holds the patents for all these things, and they've got things like Victorian top hats with umbrellas in, and, you know, all this kind of crazy Heath Robinson style stuff that, you know, forks with four sets of tines, so you can eat four times as much. It just bonkers. Really interesting things. The curators had gone through and found this wacky world, sort of. What's his name? The guy that illustrates Roald Dahl. They got illustrations and all that. Paul Marden: Quentin Blake. Andrew Webb: Yeah, Quentin Blake, yeah. So they had this Quentin Blake sort of stuff, and, like, there was activities. And I came down for some special stuff because they had the first Lego brick patent in the UK. When it was first launched in the UK, 1963, I think it was. That's when they filed the patent. Paul Marden: And I bet. So that patent would be exactly the same as a two by four brick, now, won't it? Andrew Webb: The patent was for a one by four brick. Isometrically dawn. Just three diets. Just three views with what? It was a construction toy. And then the page. Sorry. And the address was just Railway Station Billund.  There wasn't like, just all the mail just went to the railway station in Billund just addressed for attention of Lego. And it's only like. I mean, it's not even a sheet of A4, It's a piece like this. And after it is something like a lamp that won't blow out on a thing, and before it's like some special kind of horse comb, but it's kind of this bonkers catalogue of just these things. But again, it was about, “Right. We did some work. The curators and interpreters looked, you know, had kids analyse the painting to think, what could it be? And look at the dates and structure. Look at that.” Andrew Webb: And then I came out and, like, did some Lego. So we did things like, who can build the longest bridge? Who can build the tallest tower out of a single colour? Those sorts of exercises. But then also the free play was build your own wacky invention. And kids are building automatically dog washers, where the dog ran on a thing and it scrubbed its back. And one kid built something that was like a thing for removing getting pips out of apples. It was just like this sort of like this crazy little tool. They like some sort of problem that he had. Andrew Webb: And I think what this also speaks to is developing those stem skills in children and adults and building that engineering, because I've also ran Lego workshops with explorers who I used to, I thought were between Cubs and scouts, but are actually after scouts. So I did this in my local town, here in Saffron Walden, and was like, “Oh, my God, these kids are like, 15, 16. They're not going to want to play Lego. Some of them are in my daughter's year at school, so. Hello, Amy.” And it was really interesting because we did a series of challenges with them. So the egg drop challenge, can you protect an egg and drop it from the floor? And can you build this and work together? Another good one is looker, runner, builder. Andrew Webb: So you give everybody two sets of the same bricks, and one person is the looker, one person is the runner, one person is the builder. So the looker can't touch, but he can tell the runner. The runner can't look at the model, he can only tell the builder, and the builder can't speak back. And so this is a really useful exercise. And I've done this with teams where, because this is exactly what businesses see, engineering will build a product. Sales or their marketing are like, what the hell is, you know, or whatever it might be. Paul Marden: It's that. It's that classic cartoon of a Swing, yeah. Andrew Webb: Yeah. So it's that, you know, this is what the brief said. Engineering interpreter does this. Marketing saw it. So it's a great tool for things like that. Especially when you put people like the C Suite or CEO's or leaders at the end, because all they're getting is the information and it. It's there and it's how to build communications. Because in life, the fluctuations reverse. A CEO says, “Let's do this.” And by the time it's cascaded down to engineering, who don't get a say, it's not at all what he imagined so, or they imagined so, it's. It's an interesting case of using tools like that. So I did that with these kids and it was fascinating because they're 14, 15, 16.Andrew Webb: A group of three girls won two out of the three challenges and probably could have won a third one if I felt that I couldn't award it to them again because it would just look weird. And they were smashing the looker runner builder thing. They were working together as a team, they were concentrating, they were solving problems, they were being creative, they took some time to prototype, they refined and iterated their design. They were doing all this sort of work. And it's brilliant because 15 year old girls don't often take engineering related STEM subjects at GCSE. Certainly, probably don't take them at a level and more than enough. And I think that I once interviewed Eben Upton, who invented Raspberry Pi, and he said, “We think about the eighties as this sort of like golden age of computing, but actually it was terrible. It was terrible for diversity, it was terrible for inclusion.“Andrew Webb: And he said, “Like growing up, there was one other kid in his town that had a computer, you know, so there was no sort of way to sort of getting other people involved and make this accessible.” And part of the reason now computers have got smaller. Some of the work I did at Pytop was like trying to make technology more accessible and seeing it not just video games and things like that, but actually I can use this in a fashion show, or I can make music, or I can use this to power some lights to do a theatre production, and trying to bring the, I guess, the creative arts into technology. And that's when we start to see the interest application of technology. Andrew Webb: And Lego plays a part in that, in the fact that it is a tool, a rapid prototyping tool that everybody is familiar with. And it is also, you know, clean, safe. There's no, you don't need blow torches and saws and those sorts of things to kind of prototype anything. You don't even need a pair of scissors, you know, it's completely tool free, unless you're using that little mini separator to get your bricks apart. And so I think that just circle back on, like, how the Science Museum or what's the one down there? Isabel Kingdom Brunel Museum and things like that. I can see those guys could be and should be thinking about, “How could we have a Lego programme?“Andrew Webb: You don't have to have a permanent deployment like they've got at Sutton Hoo although that is great because they've got the mast there as the head piece of it. But certainly a programme of events or summer camps or summer events, because I did this with English Heritage at Kenilworth Castle as well. They were having, like, a big Lego build and the public were invited in 15-minute shifts into a big marquee and everyone got given a tile. And the idea was to build the gardens because the gardens at Kenilworth Castle were laid out to impress Elizabeth the first. And so everybody got there was like bunches of stuff and regular bricks, also flowers and this sort of stuff. And it was like, “Come on, we've got to build something to impress a queen.” Andrew Webb: He said to kids, like, “Yeah, you've got to impress. Bling it up, like, dial it to ten.” And were just getting these enormous, like, avatar sized trees with just incredible bits hanging off it. And like, “There she has a teapot because she might want a cup of tea.” And you're like, “Brilliant, excellent. Of course she does.”  And so I think that. And then they moved through. Some of the Legos were selected to be displayed and things like that. So there's different ways you can do it. You can either do it as like. And I'm a big fan of the drop in sessions because kids and parents can just naturally build it into their day rather than the pre built. My child was. We were rubbish at, like, organising things. Andrew Webb: People like, “Oh, great. Half term, it's a chocolate thing, sold out ". And you're like, yeah, because there's 30 spaces for three and a half thousand kids who want to do it. Whereas if it's like a walkthrough or a. In groups phase through and then the activity, small kids kind of conk out after about 20 minutes, half an hour anyway. You get much more people through and much more people get to enjoy the experience rather than the 30 organised people who got up early and booked. So that's my other top tip to any institution, because it's heavily weather dependent as well. Sun comes out, everyone piles pass into the nearest sort of stately home, national attraction. All of those places can definitely benefit English Heritage. Did a really big push this half term, just gone on Lego at several events. Andrew Webb: We had one here at Audley End, there was one at Kenilworth that I was at. There's been pairs of the ones all around the country, because again, you just need a marquee, which most venues have access to because they use them for other things or some sort of space in case it rains. And you just see someone like me and a whole massive tub of Lego and you're off to the races. Paul Marden: Exactly. So we were talking about this at the conference yesterday about ways in which. So for many attractions, people turning up is a literal flip of a coin. Is the weather good or is the weather bad? What can you do to adapt your attraction to be able to deal with when it's bad? And then what can you do to bring people when you have made that adaptation? So, you know, you've now got a marquee and you have a Lego exhibit that you can put into there. So it's just dumping a pile of Lego and a bunch of well trained volunteers or visitor experienced people who can facilitate that, police it, little Johnny sticking minifigs in his pocket. Paul Marden: And then you turn on your Google Adwords and show that you've got this, you know, bad weather reason to go to a stately home that my daughter would turn her nose up to all of a sudden, “Okay, we're going to go and do that. We're going to go and have afternoon tea and you're going to go and play with some Lego and see some animals, maybe.” Yeah, what can you do to attract that extra audience and adapt to the bad weather and service different sorts of people? Andrew Webb: I think that comes down to a bear in mind. I convert some of my Lego lens rather than a venue lens. But I think speaking as a parent and someone who does this is you need a reason to go back to somewhere that you already know. Okay, so you go to Stonehenge, you go and look at the stones, you go, “Wow.” You look at the visitor centre and then it's ticked off. I mean, you see busloads of tourists. Stonehenge is at Cambridge, maybe, or Oxford people, when people do England, Lambeth, Heathrow, London Crown Jewels, Tower Bridge, West End, day trip out on a coach to Stonehenge, maybe to Cambridge, and that's it, off to Paris. Right? So parents like British people like that too. Like why go to Stonehenge four times a year? Or why go to any venue when you're familiar with it? Andrew Webb: It's always about offering something new and something different. Audley End up near where I live, I think, is English Heritage. All through July, every Sunday, they're just doing music. So there's a string quartet or someone with a harp or maybe someone with a guitar or whatever. And you've got a book, but it's. It's not like there's 30 places and it's a bonfight. It's just like, “Oh, wow, they've done something different.” They do a really great thing. Like, they do victorian falconry, for example. So they get someone in who talks about how Victorians use falconry for hunting as a sport, but also for the kitchen table, and they're flying falcons around and doing the whole bit of meat on a string and all this sort of stuff. And everyone, like, “They do a world war two one.”Andrew Webb: I mean, the editorial calendar for any venue's got to look like, “Go and make Christmas food. January, we're closed to kind of dust and clean everything. Valentine's Day, chocolate make you put. It's daffodils”, it's whatever it might be. And then you just build that. Build that programme in and you need. This is why I think that venues now, again, I'll just come back to that. You talk about AdWords, but that, again, is more spend. It's like, how'd you build that mail list? How do you drop into the local Facebook groups and Mumsnet and all that kind of stuff? You know, that's where you can do it organically rather than. Because people don't sit in front of Google necessarily, or think, like, what should we do? Paul Marden: You sit on the sofa on a Thursday night trying to figure out what on earth are we going to do this weekend? Yeah, so you're completely right. The mum's net, the content marketing, is hugely important, isn't it? Andrew Webb: Which is my job. But also it's kind of like how can institutions become part of that? When I say community, if you think about most people travel a thin hour to go somewhere. I mean, people go further afield, you know, but. But basically it's like, what? My mom turns, like, a tea and a pee. So you've got to go somewhere. You've got to have a cup of tea, visit the loos. It's all about tea. It's all about canteens and loos, basically. You could have a World Heritage Site, UNESCO World Heritage site. And it's like, how good's the caf? And are the toilets clean? Yeah, that's what people remember. Gar went hens at dawn. I was awed by the majestic. But that Looney D cleaning, you know, it's not good. It's all that people come home with. Andrew Webb: So, you know, institutions go into place that they are trying to offer different things. Like late nights. We've talked about that. How can we use this space after hours? Because if you think about it, if your institution's open 10 till 6, most people are at work five days a week, you're gonna have students and pensioners who are gonna be not great spenders, either of those two groups. So, late nights, I went to a great one in the National Gallery when the James Bond film. I was kind of sitting royale or whatever. He's still on the top of the National Gallery overlooking Trafalgar Square, and they've got the national dining rooms there and they had Vesper Martini, everyone got a cocktail. Andrew Webb: And then went to look at the fighting Temeraire, which is the bit where he's standing with Q, the new Q, who voices Paddington, whose name escapes me and gives him, like, a gun and a radio, but they're like the fighting Temeraire by Turner is this little thing. And so, you know, you've got to make hay out of that, right? You've got to sort of, like, do a late night, various ones. And so all it was a few cocktails in the cafe next door and are taught by the curator and stuff like that. But 30 people just looking for an experience. And so if venues are clever, of course, the dark side of this is when you get Willy Wonka world up in Scotland. Andrew Webb: Or interestingly, some of the Lego events that have been happening at NEC have caused a massive online backslash in the community for just being exceptionally bad value for money. And so you read about these things that people have said, “Come and visit Santa's grotto, and it's just a muddy field with a tree in it,” so you've got to be careful. But I think those events, those sort of fly by night kind of institutions, don't really work. But how galleries can leverage the creativity of what they're doing? Whether they are come and paint in our, you know, our local gallery, come and have an art class, come and do that. People are looking for stuff to do that is value for money. That isn't always drink lead, you know, it's not always cocktail making or things like that. Andrew Webb: And that comes with a whole heap of other things and dietary requirements for cookery courses and just clean up and the mess and all that kind of stuff. So I think that, yeah, canning organisations, the ones that can really think about that, and I'm happy to help organisations who want to think about this, especially through the life of Lego. They will be the ones that will start to add and build out and develop their. What you might term this whole sector needs a name. The kind of extracurricular offering, we might say, above and beyond their collection and then their traditional interpretation and if they're. Paul Marden: Thinking of doing this. So there's a good why. Yeah, the why is you can reach diverse audiences, helps people with interpretation. Andrew Webb: Quite cheap. Paul Marden: Yeah, absolutely. It's a cheap way of extending your offering and diversifying what you do. You can bring in event elements to this, but how do they do it? Apart from engaging with somebody like you? And I'm going to guess there's not many people like you. So that's going to be a tricky thing for some people to do. But if they were starting from scratch, how would they go about doing this? You said earlier, “Don't go mad with buying the bricks and spending a fortune on.”Andrew Webb: There are people like me that can do all this as well as myself. I think that the first thing is plan it. Plan what you need to do. You can't throw this stuff together. You might be looking at. Already the hold have been contacting me for a late night they're doing in September. They contacted me April. Paul Marden: Okay. Andrew Webb: Because if you're a creator, you're planning exhibitions, you are thinking on that long term cycle. Paul Marden: Yeah, completely. Andrew Webb: And so what you need to do is bake this in as part of that curational process or part of the interpretation of things at the start, rather than like, “Right, we're doing exhibit on Peter Rabbit, let's chuck in a load of fluffy bunnies or whatever.” You know, it's got to be. You've got to think about it and have it contextualised. I think the best things are. What success looks like is, first of all, you need a space. Now you can hire a marquee that comes with a cost. If you're a venue and you've got your own or you've got a hall or a stables or interpretational room or something like that, often spaces, specifically bigger ones, will have classroom spaces for school groups anyway. So that's often that can be where you can host these sorts of events. Kids are very familiar. Andrew Webb: The chairs are all small wall colour, you know, etc. Industrial strength carpet in case stuff gets built. So locations like where you're going to stage this? Paul Marden: Yeah. Andrew Webb: Secondly, I think you need to think about, what do we want people to do? What is the experience? What is the narrative piece? Because you can't just say, here's a big part of Lego. Kids will just build cars and houses, right? You know, they need context. You know, if you give a kid a sheet of paper, you could draw anything. They're like, well, what? And so you need to give them a mission almost. They need a task, I think. Also think about, as I said before, keeping the tasks around 20 minutes, because actually adding the time running out jeopardy element is quite fun for kids because they'll go, “Well, I've only got five minutes left.” And often that's when it all falls apart and then they have to iterate the design. Andrew Webb: So think about that kind of moving people through in 15 to 20 minutes cycles. We had kids at Kenilworth, that would go out the exit and just walk back around and come in the front like that. Like four or five times. One boy came in, he was loving it. So think about that. Think about how you're going to move people through the space. Think about what you need to envisage it. So the Kenilworth, for example, there was me hosting it from dawn toward dusk. We had another builder there who was helping take break it all down and put them against the model that we built. There were two members of staff who were letting people through, so just monitoring it from an entry exit point of view, walkie talkies, in case people had issues and things like that. Andrew Webb: And think about when you're going to do it. Okay, so half term is a good one. It's a good thing to do. We saw a lot of this at Kenilworth, but I've seen other places as well, particularly half terms and things like that. You often see grandparents caring for grandchildren, right? Because parents are at work and grandparents can only walk around the site so much before they want to sit down. So sometimes have it, like, think about where they can. And when I was at Kenilworth, grandparents came in with their two grandkids, and the kids started playing and I was like, you could join in, too. Oh, no, I don't want it. You know, they were almost like, “I can't do this. It's like, come on, get in, get in. Come on, grandma. Come on. I'll show you how it works. “Andrew Webb: By the end of that session, they were memory making. I then took their photo with their phones, they'd have this sort of grandparent. But, you know, you always say it like, my grandfather taught me to fish. Like Sean Connery says in the hunt for red October. This sort of moment where sort of, it's a Hollywood trope that grandfather knowledge is sort of passed on type of thing. Right. And so you can see that where you could have this, almost either the reverse of that, of kids showing grandparents, but also they're all having this event outside of the parental unit. So it's a new type of experience. It adds value, it gets people to play with their grandkids. Paul Marden: Priceless. Andrew Webb: So I think that's kind of an interesting way. So think about when, think about where and think about what will be my three sort of tips for any institution looking to put this together. Paul Marden: You gave one the other day which I thought was priceless, which was, don't give them wheels. Andrew Webb: Oh, yes. Paul Marden: Don't include the wheels. Andrew Webb: Take the wheels out of any sets, unless you are the Transport Museum or the, you know, a car based museum, because kids will do wings as well. I'd probably suggest taking those out because kids have just built cars. Some kids have just built cars, you know, even if you give them a mission. Unless that is the mission. The other thing that I would think that venues could do as well as sort of all day events, because it's quite a time drain, you know, on staff and this sort of stuff, but it is a value. The other thing you can think about is one off evening events for adults. Yes, I've done this. I did this at my local add them shops. Bricks, beers and bubbles challenges supercompass teams. Think of it like a pub quiz with brick is the answer. Andrew Webb: So build me a thing that does that kind of thing. Teams all get together, you can race them, you can see who goes the furthest. You can do all this stuff. And the hold is what I'm doing at the hold in September. I did it at the hold a couple of years ago. And what was interesting was that we had quite diverse groups of adults. We had just couples who were clearly AFOLs and were like, “Yeah, I'm going to go to that.” We had a group of friends. One of them had just come back from years travelling and they didn't want to go sort of straight to the pub and just interrogate him about his travelling, whatever. Andrew Webb: They kind of like, “Well, we wanted something to do where we could have a beer and have a chat, but were doing something else whilst we're doing that.” And that's the joy of Lego. Your hands are doing the work and you're almost like the back of your brain is doing the work and you're like, “Oh, yeah, yeah. Before you kick them.” And the concentration levels are there and then you can kind of get into that state of flow. And so they were just having this lovely chat, had a beer, talking about stuff, but also memory making in terms of when he came back from his travelling. So I think that's really important. Andrew Webb: Did you know that this is your brain, right? And then your brain on Lego, there are 24 discrete skills that are happening in your brain. So Lego research this, things like fine motor skills, cognitive sort of thinking about things, future planning, my favourite emotional regulation that is not going, “Oh, my God, it's not working. And smashing all to pieces.” So I've seen this as well with children, is that when you give them a Lego, if you gave them jelly and a football, they'll all just. They're a high energy kind of things, right? And that's fine, great outdoors, kids want to burn off energy. Here's a load of balls. Go crazy, right? Or ball pits, trampolines, bouncy castles, those sorts of things. When you get on Lego, what actually happens is it's very hard to be anarchic, to use a wrong word, but a word. It's very hard to be anarchic with Lego because you can't really do it. Andrew Webb: And so you can get a group of kids together and they'll almost self invigilate. And at one point, I ran it at a local toy shop and the parents are all hanging about and like, “I've never seen them so quiet.” They were just in the state of flow. And so, I think, you know, again, back to the. Back to the explorers and the scouts, that was one of the best sessions that those kids had done as teenagers because the reason was they were given permission to play with Lego. They still had the muscle memory from when they were smaller children. They were solving. They weren't just being told to play with Lego, they were actually solving engineering challenges. How can you design a bridge that will take this weight? How can you protect an egg? How can you think about this? Andrew Webb: And so you need to think about the challenge and the what. You need to think about that, the where and you think about the when, as I said, and get those right. You can have a very exceptional visitor experience for not a huge amount of effort. It's not highly costly, it's not highly technical, it's just a bit of elbow grease and a bit of forward thinking in terms of what we might need. And I think that parents appreciate just that minute away where they can. It's almost like a 20 minute babysitter, right, where they can just go, “Don't touch that.” You know, you're walking around a stately home, “Don't sit there, don't touch. Mind the lady.” All that kind of no data that parents give out institutions, they can just take a breather and check their phones and whatever. Paul Marden: And the kids are just having an amazing time. Andrew Webb: Yeah. And the kids are happy. And at the end of the day, as a parent, we all do our best and you just want, you know, them to be playing with something screen free, getting along and learning something. And, you know, that is the win. That is the ultimate takeout. You can layer on your own institution in context and rev up the visitor experience, bring in new visitors, attract a more diverse group of people that perhaps wouldn't normally come to a Regency Rococo style villa or whatever it might be, then that's all to the better, because, you know, you can start to use this in your planning and you can do what Suntton Hoo did? And go, right, well, we've done this and it's really worked. Andrew Webb: And then I can apply for funding for it and I can expand and I can make it permanent and then I can sort of say, well, this now becomes a tool and a string and arbo for our educational. It doesn't have to be split between visitor attractions and development. It can, you know, you can split it between several parts of the institution and use it in different ways, use it for educational purposes as well as visitor experience. So the world's your oyster with a bit of thinking. Paul Marden: With a bit of Lego and a bit of thinking. Andrew Webb: Bit of Lego, yeah. A few bricks and a couple of tricks and you're off to the races. Paul Marden: Andrew, this has been brilliant. Thank you ever so much. Andrew Webb: You're welcome. Paul Marden: I've got one more question for you before we finish. Now, you bottled this earlier on when I said we always have a book recommendation from our guests. And in spite of having the fullest bookshelf I've seen in quite a long time, you've bottled it on a book. But you did offer me a favourite movie. And so what would be your movie recommendation of choice? Andrew Webb: My go to movie would probably be Withnail and I, Richard E. Grant's first film. Every line has came down from God on a tablet. I mean, it is just. Yeah. Richard Griffiths as Uncle Monty, Paul McGann. It's just one of my favourite films and, you know, cult classic that no one's really. Well, people have heard of it now, but again, they even make stuff out with Alan Eyright. So you can go and watch a screening of it at the farm at Crow Crag up in Penrith, you know, and everyone dresses up and everyone comes with Mister blathering sets tea and I come on holiday by mistake and Jessie says, Danny. Andrew Webb: And, you know, fortunately, for better or for worse, I know these are tough times, but people try and find the fun in things. They try and at the end of the day, everyone's looking for a good time, whether we're children or an adult. You want something to just have a laugh and take you away for a moment. And if films and culture but also experiences can do that, then that's all for the good. Paul Marden: Well, look, this is going to be a challenge, but listeners, if you would like a copy of Andrew's film recommendation, then when we release the show message on X, if you can retweet that and say, “Give me Andrew's movie”, then the first person that does that, somehow I will get the movie to you. It might be on VHS, it might be on DVD, but somehow we will get you a movie. Andrew Webb: I found a CD the other day from a bar I used to go to in Clapham in the noughties and late ‘90s. I said to my mate, look, I'm great, put it on. And I went, “I can't.” I haven't got a CD player anymore. I had to go dig through a box somewhere in the study to find a portable CD player that plugged into my computer that could. By the end of it, we're just laugh. Forget it. Paul Marden: Andrew, this has been wonderful. Thank you ever so much. Andrew Webb: You're welcome. Cheers. Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. You can find show notes and transcriptions from this episode and more over on our website, SkiptheQueue.fm. The 2024 Visitor Attraction Website Survey is now LIVE! Help the entire sector:Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsFill in your data now (opens in new tab)

Welcome back to the wizarding world of Pop Culture Purgatory!!! This week we continue our Hogwarts Expressway straight into wizardry hell with 2002's Harry Potter and The Chamber of Secrets directed once again by Chris Columbus and starring Daniel Radcliffe, Emma Watson, Rupert Grint, Richard Griffiths, Fiona Shaw, Harry Melling, Toby Jones, James Phelps, Oliver Phelps, Julie Walters, Mark Williams, Bonnie Wright, Tom Felton, Jason Issacs, Robbie Coltrane, Kenneth Branagh, Matthew Lewis, Devon Murphy, David Bradley, Alan Rickman, Maggie Smith, Miriam Margoyles and Richard Harris. This would be the last time Richard Harris would play Albus Dumbledore, he would in his hospital bed shortly after wrapping up the film. Thanks everyone for checkin us out, if you'd like to find our back catalog go to Podbean.com Outro "The Spiders" Conducted and arranged by John Williams  https://youtu.be/r21yvykXVJo?si=D6uTeH9rRbvLfzEn  

0:00 - Intro & Summary2:00 - Movie Discussion39:12 - Cast & Crew/Awards48:00 - Pop Culture57:36 -  Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind

One of the most quotable and iconic of British films, born out of writer/director Bruce Robinson's personal experiences and shepherded to the big screen by George Harrison and his Handmade Films company. 'Withnail & I' is a beloved comedy but in this episode I talk as much about its forlorn, end-of-an-era wistful heart as I do the incredibly quotable lines. Particularly I was interested to learn of Bruce's formative me-too experience on the set of Zeffirelli's 'Romeo & Juliet' and how that informed the character of Monty. But Monty is more than a monster or a would-be abuser; his portrayal on the page and in the flesh by the brilliant Richard Griffiths is layered and sympathetic and very much informed by the realities for gay people in Britain in the 1960's. In Monty we have a great analogy for the film; at first glance laughable, uproarious, a characture and character...but just beneath that is writing and performing of great complexity and nuance. This is what we'll celebrate in this episode all about the brilliant, the ever-fresh and continuingly fascinating 'Withnail & I'. LINKS: A 1999 documentary about Bruce Robinson. Bruce's excellent 2020 'Withnail & I' Watchalong Commentary for Esquire. The incredible live version of 'Whiter Shade of Pale' played by King Curtis and his band at the Fillmore West in 1971. Here's a bizarro artifact from the 60's: Bruce Robinson starring in a coffee ad aimed at tripping hippies looking to come down/go up/not sure really how coffee and acid is a great combo but there you have the 60's! Bruce Robinson in Zeffirelli's 'Romeo & Juliet' as Benvolio 'Smoking In Bed: Conversations with Bruce Robinson' on Amazon Toby Benjamin's excellent book about the making of 'Withnail and I' is essential for any fan of the film. The inspiration for Withnail, Vivian MacKerrell.

The twelfth episode of our season on the awesome movie year of 1987 features our future cult classic pick, Bruce Robinson's Withnail and I. Written and directed by Bruce Robinson and starring Paul McGann, Richard E. Grant, Richard Griffiths and Ralph Brown, Withnail and I was inspired by Robinson's own experiences as a young man in the 1960s.The contemporary reviews quoted in this episode come from Vincent Canby in The New York Times (https://www.nytimes.com/1987/06/19/movies/film-withnail-and-i-a-british-60-s-comedy.html), Joel Siegel in the Chicago Reader (https://chicagoreader.com/film/two-english-guys/), and Hilary Mantel in The Spectator (http://archive.spectator.co.uk/article/27th-february-1988/37/cinema).Thanks to our guest Jon Towlson, author of 40 Cult Movies: From Alice, Sweet Alice to Zombies of Mora Tau. Check out Jon on Twitter at @systemshocks and purchase his book on Amazon (https://www.amazon.com/40-Cult-Movies-Alice-Zombies/dp/B0CKLR41KW).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at

Welcome back to another magical episode of Not A Bomb. This is the podcast where we go back and reexamine some of the biggest bombs in cinematic history and see if they deserve a second chance. On this week's episode, the guys tackle a film that grossed over $942,000,000, only for the studio to claim it lost them money. That's right, we are talking Harry Potter and the Order of the Phoenix, the fifth film in the Potty franchise and one of the bigger hits of the series. So how did the studio claim they lost money on a movie that almost made a billion dollars? Some creative “Hollywood Accounting”, that's how! Brad and Troy do their best to explain how this accounting practice works and why studios use it. You also get to hear their thoughts on one of the most successful and belovied franchises of all time. Full disclsoure - Brad and Troy are novice Harry Potter fans and one of them hasn't ever really liked the films outside of a single entry. Does this discussion change all of that? Listen and find out!Timestamps: Intro - (2:04), Franchise Talk - (9:47), Box Office Results, Critical Response, Hollywood Accounting, and Movie Guide - (19:18), Behind the Camera - (39:19), In Front of the Camera - (42:19), Production and Development - (49:19), Commerical Break - (55:54), Harry Potter and the Order of the Phoenix Discussion - (57:51), Is it a Bomb? - (98:27), Listener Feedback - (99:33), and Outro - (109:36)Harry Potter and the Order of the Phoenix is directed by David Yates and stars Daniel Radcliffe, Rupert Grint, Emma Watson, Helena Bonham Carter, Robbie Coltrane, Warwick Davis, Ralph Fiennes, Michael Gambon, Brendan Gleeson, Richard Griffiths, Jason Isaacs, Gary Oldman, Alan Rickman, Fiona Smith, Maggie Smith, Imelda Staunton, David Thewlis, Emma Thompson, and Julie Walters.If you want to leave feedback or suggest a movie bomb, please drop us a line at NotABombPod@gmail.com or Contact Us - here. Also, if you like what you hear, leave a review on Apple Podcast.Cast: Brad, Troy

We're reviewing the Tim Burton classic Sleepy Hollow. Released in 1999, it stars Johnny Depp, Christina Ricci, Michael Gambon, Miranda Richardson, Casper Van Dien, Richard Griffiths, Michael Goff, and Christopher Walken. 

Welcome back to purgatory!!! Mike and Jeremy talk about the underrated classic Sleepy Hollow from 1999 directed by Tim Burton!!!! Staring Miranda Richardson, Micheal Gambon, Richard Griffiths, Michael Gough, Marc Pickering, Lisa Marie, Ian McDiamid, Christopher Walken, Christina Ricci, Casper Dan Dien and Johnny Depp Thanks for checking us out and find our back catalog out at podbean.com Outro song "Headless Horseman" by Kay Starr https://youtu.be/JOQq7GQISsI  

It's rare that one of the team cries during the recording of an episode. But this week's guest Sacha Dhawan (who you'll know from Doctor Who, Iron First, The Great and so much more) has no issue setting off the water works as he delivers an embarrassing story which Dave calls “one of the funniest things I've ever heard”.Before we get there though, the guys hear about Sacha's journey from working for his dad to touring the world as one of the original cast of History Boys alongside the likes of James Corden, Samuel Barnett and Richard Griffiths. He explains how his part in the show set him up for the rest of his career and taught him lessons he still leans on today. Sacha also explores the struggles of being on set with severe anxiety and how he only started to gain control of his mental health after getting therapy and talking about his struggles out loud after reaching “a real low point”. Josh, George and Dave also find out how allowing himself time to reevaluate the importance of mental and physical self-care has helped Sacha take better control of his Crohn's disease and the choices he makes in his career.The conversation also delves into Sacha's focus on his British Asian heritage and his views on how it's represented across the industry from stereotypes in writing rooms to the choices made in castings. Hosted on Acast. See acast.com/privacy for more information.

China's role in contemporary international relations is constantly growing. The concept of the development of a society based on the idea of "living in unity", as well as economic, political or cultural cooperation is an introduction to the dialogue about the future of the world in the era of globalization. The concept of the new Silk Road proposed by China is a comprehensive strategy, the implementation of which may contribute to the development of third country markets. What political and economic challenges is China facing? How is the One Lane One Road concept evolving? What problems of the modern world will this initiative respond to? These questions will be answered by prof. Richard Griffiths in an interview with Dr. hab. Marcin Jacoby. The Culture Zone of SWPS University is a project in which, together with the invited guests, we discuss various elements of the culture that surrounds us, as well as introduce the realities, phenomena and customs present in other countries. More information about the project: www.kultura.swps.pl

Eric reads Jeremy a bedtime story, which just so happens to be the Wikipedia plot summary of the movie "Bedtime Stories" starring Adam Sandler, Keri Russell, Jonathan Morgan Heit, Laura Ann Kesling, Guy Pearce, Aisha Tyler, Russell Brand, Richard Griffiths, Teresa Palmer, Lucy Lawless, and Courteney Cox. Visit patreon.com/ericandjeremy for some dang bonus content!

This week, the guys tackle a HUGE movie with the third entry in the beloved wizarding franchise - Harry Potter and the Prisoner of Azkaban. After discussing the complicated legacy of J.K. Rowling, the guys then dive into this being the first truly dark film in the series, debate if the movie stands on its own without having watched any previous entries, the central focus on Hermione and her evolving personality and much more. Plus: M. Night Shyamalan almost directed this movie, guys!   Next week: a delightful family film! Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://www.empireonline.com/movies/features/best-british-films/ Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) Harry Potter and the Prisoner of Azkaban stars Daniel Radcliffe, Emma Watson, Rupert Grint, Gary Oldman, Michael Gambon, Tom Felton, Pam Ferris, Emma Thompson, Alan Rickman, Timothy Spall, Dame Maggie Smith, Julie Christie, Fiona Shaw, Richard Griffiths, Robbie Coltrane, Julie Walters and David Thewlis; directed by Alfonso Cuaron. Is It Streaming? USA: fubo TV, HBO Max, Peacock, DirecTV and available to rent Canada: Crave and available to rent UK: Sky TV Go, Now TV Cinema, Virgin TV Go and available to rent Learn more about your ad choices. Visit megaphone.fm/adchoices

Chefs Supporting Ukraine - All over the world, restaurants are stepping up to fundraise // Visiting rancher Richard Griffiths of Palouse River Premium Beef talks about his herd and his fine products // John Yeager and Mike Salvadore are here to tell us about rallying a culinary coalition for a blood donation drive for Bloodworks + Mike tells us about his day job – he runs a travel company and is doing a fabulous food and wine tour with Thierry // Ukrainian potato pancakes // Lastly, we will play Rub with Love Food for thought Trivia! See omnystudio.com/listener for privacy information.

SERIES 2 BEGINS IN EARNEST!After 20 episodes, and a little break, I decided to call this episode the beginning of Series 2. Gives it a nice little bit of neatness doesn't it, and who doesn't like that? 20 in series 1, who bloody knows how many in series 2? Before we gorged ourselves on perhaps the most famous British cult film of all time, this week we fired up the podmobile, stuffed it full of the finest wines known to humanity and shuttled off to Penrith. Only then did we strip naked, cover ourselves in deep heat, and begin podcasting as aggressively as humanely possible. Why of course it's Bruce Robinson's 'Withnail & I', the quintessential cult flick, a film that launched the careers of Richard E. Grant (I first pumped the air) and Paul McGann (Do you like craft beer?). Joining me was regular plodding podders, Jono Bon and Andy Blythe, and we had a great laugh, picking this fabulous cinematic marvel apart. Go off and watch this film, it's available for free on YouTube, it's got rather a wonderfully chilling and tragic performance by Richard Griffiths as the old lush, Uncle Monty. Please rate and review the podcast, it helps us soar up the charts and achieve world domination. Instagram: https://www.instagram.com/barbarathebandFacebook: https://www.facebook.com/barbarathebandTwitter: https://twitter.com/barbaratheband2 

Starring:  Daniel Radcliffe, Rupert Grint, Emma Watson, Michael Gambon, Robbie Coltrane, Gary Oldman, Richard Griffiths, Fiona Shaw, Alan Rickman, Maggie Smith, Timothy Spall, David Thewlis, Emma Thompson, Julie Walters, Mark Williams, Oliver Phelps, James Phelps, Chris Rankin, Bonnie Wright, Pam Ferris, Adrian Rawlins, Geraldine Somerville, Harry Melling, Tom Felton, David Bradley, Matthew Lewis, Seamus Finnigan, Robert Hardy, Jimmy Gardner, Jamie Waylett , Josh Herdman, Warwick Davis   Director: Alfonso Cuarón Recoded on 2022-02-02

IMRU SHOW 220110: The Happy Prince (Rupert Everett) + The History Boys (Alan Bennett, Richard Griffiths, Dominic Cooper, Samuel Barnett) + Psycho Beach Party (Charles Busch) + Love is the Devil (John Maybury) + High Art (Lisa Cholodenko, Ally Sheedy, Radha Mitchell, Patricia Clarkson) + Two: The Story of Roman & Nyro (Desmond Child, Curtis Shaw Child, Angela Whittaker, Roman & Nyro). [Hosted by: Francis O'Brian. Produced by: Steve Pride. Recorded in part at KPFK 90.7 FM Los Angeles.] --- Send in a voice message: https://anchor.fm/imruradio/message

On discovering "the best restaurant in Cardiff" with Eva Longoria, trying out The Rock's wrestling moves on Emily Blunt, and his friendship with the late Richard Griffiths.  Actor, comedian, and presenter Jack Whitehall goes out to lunch with Jay.  Jack and Jay enjoy a delicious kebab at Maison Bab, London: https://www.eatlebab.com/  For official show merch, head to: https://kontraband.shop/collections/out-to-lunch  Out To Lunch is a Somethin' Else and Jay Rayner Production. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hitchhiker's Guide to the Galaxy, the movie not the book, is a 2005 science fiction comedy film directed by Garth Jennings, based on previous works in the media franchise of the same name, created by Douglas Adams. It stars Martin Freeman, Sam Rockwell, Mos Def, Zooey Deschanel, Bill Nighy, Anna Chancellor, John Malkovich, and the voices of Stephen Fry, Helen Mirren, Thomas Lennon, Richard Griffiths, Ian McNeice, Bill Bailey and Alan Rickman. 

Yet another listeners choice discussed by Nath and Trev this week - the classic British comedy 'Withnail and I' starring Richard E Grant and Paul McGann as two unemployed thespians on a downward trajectory of drink and debauchery. Based loosely on the experiences of writer and director by Bruce Robinson and co-starring Richard Griffiths as Uncle Monty and Ralph Brown as the drug dealer Danny! Never seen it - or want to watch it yourself.. then how about trying this link - https://amzn.to/3iHgATyWant us to discuss your choice? Ping us an email to wnmovietalk@gmail.com and tell us why.Failing that find us on facebook and instagramwww.facebook.com/weneedtotalkaboutmoviespodcastwww.instagram.com/weneedtotalkaboutmoviespodcastSupport the show (https://www.buymeacoffee.com/wnmovietalk)

Heute feiern

Time to lighten the mood... kinda. Brendan and Jason take on the pitch-black comedy Withnail and I starring Paul McGann and Richard E. Grant. They talk about how the director shaped Grant's performance (and some of the claims by director Bruce Robinson that Grant wrote off as pure fiction), the production design bringing the film's story and characters to life, the influence this movie had on many future buddy flicks, they debate the film's portrayal of homosexuality and whether it is helped by its basis on a real-life incident and much more.   The guys also draw next week's movie out of a hat! What will it be? Join us, won't you? Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://en.wikipedia.org/wiki/BFI_Top_100_British_films Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/bfi_pod Our logo was designed by the wonderful Mariah Lirette (https://www.instagram.com/mariahhx)   Withnail and I stars Paul McGann, Richard E. Grant, Richard Griffiths and Ralph Brown; directed by Bruce Robinson. Is It Streaming? USA: Criterion Channel and HBO Max Canada: Criterion Channel UK: available to rent on BFI Player and Microsoft Store; available to buy everywhere Learn more about your ad choices. Visit megaphone.fm/adchoices

Harlly, Jeaun and Lawson aren’t waiting any longer to discuss the “Harry Potter” series! They did their waiting! Twelve years of it! In Azkaban!ALSO DISCUSSED* Prank Encounters: Seasons 1 & 2 (2019-2021)* S. Darko (2009)* Thirteen Ghosts (2001)Reach us on Twitter at: https://twitter.com/IDontKnowWhyWe1Read Harlly and Jeaun's Blog at https://onthebrightsidemedia.home.blog/Read Lawson's Blog athttps://exitthroughthecandycounter.wordpress.com/

Title: Harry Potter and the Prisoner of Azkaban [Wikipedia] [IMDb] Director: Alfonso Cuarón Producers: David Heyman, Chris Columbus, Mark Radcliffe Writer: Steve Kloves (screenplay), J. K. Rowling (original novel) Stars: Daniel Radcliffe, Rupert Grint, Emma Watson, Robbie Coltrane, Michael Gambon, Richard Griffiths, Gary Oldman, Alan Rickman, Fiona Shaw, Maggie Smith, Timothy Spall, David Thewlis, Emma Thompson, Julie Walters Release date: May 31, 2004 (UK) PROMO: Too Many Captains (@ItsaFilmPodcast) SHOWNOTES: Hello once again, cinephiles! This time around, Ash brings us one of the most successful movie/book franchises of all time! The third Harry Potter movie is one of the more cinematic films of the series, and hosts Ash and Beau examine everything that makes this film worthy of being called one of the best of the franchise, so pack your bags, grab your wands, and join us on our deep-dive into the Potterverse! Collateral Cinema is on Spotify, Apple Podcasts, Google Podcasts, Chill Lover Radio, iHeartRadio, Podbean, and wherever else you get your podcasts. Also, find us on Twitter, Instagram, Facebook, Podchaser, and find us on Patreon! (Collateral Cinema is a Collateral Media Podcast. Intro song is a license-free beat. All music and movie clips are owned by their respective creators and are used for educational purposes only. Please don't sue us; we're poor!)

Marc talks to trainers Peter Lagogiane, Mark Gatt, & Geoff Grimwood plus Richard Griffiths & Jason Adams

Oh, those Russians. Always up to no good. Director Michael Apted helms this thriller with a stellar cast including William Hurt, Lee Marvin, Joanna Pacula, Brian Dennehy, Ian McDiarmid, Ian Bannen, and Richard Griffiths.

Derren Ronald Litten (born 21 December 1970) is an English comedy writer and actor best known as the creator and writer of the sitcom Benidorm. Litten also co-wrote The Catherine Tate Show, for which he both wrote and appeared as several different characters in the first two series and the 2005 Christmas Special. He has also acted in many comedy and drama series including Perfect World, French and Saunders, Spaced, EastEnders, Coronation Street, Pie in the Sky with Richard Griffiths. Litten's first sitcom was Benidorm, Derren studied acting at The Central School of Speech and Drama where he met Catherine TateIn 2020, following information that his recent comedy 'Scarborough' had been axed by the BBC, Litten embarked on a new career, purchasing a bar in Benidorm (the town in which he based his most successful comedy show). The bar opened in July 2020 and is named Mateo’s Bar after the character of the same name in Litten’s show Benidorm.Follow

Jeremy is joined again by writer and podcaster Paul Morris to discuss the 1992 crime farce Blame It on the Bellboy, starring Dudley Moore, Richard Griffiths, Penelope Wilton, Alison Steadman, Patsy Kensit and Bryan Brown, with a conversation that takes in the logistics of Venice, the evil of Tom Good, the British cinema brain drain and the mathematics of comedy.

This week, Brendan and Jason round off 60 movies on the BFI Top 100 by talking about the 1981 inspirational film Chariots of Fire. They debate if the iconic theme song can truly be taken seriously anymore and also listen to the song that ALMOST took its place in the film, they debate which runner has the most compelling character arc, they talk about the themes of faith and standing one's ground and much more.   Next week: The guys rank the latest 20 movies and give out some awards!   Full List: https://en.wikipedia.org/wiki/BFI_Top_100_British_films Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/bfi_pod Our logo was designed by the wonderful Mariah Lirette (https://www.instagram.com/mariahhx)   Chariots of Fire stars Ben Cross, Ian Charleson, Ian Holm, Nigel Havers, John Gielgud, Alice Krige, Lindsay Anderson, Nigel Davenport, Patrick Magee and Richard Griffiths; directed by Hugh Hudson. Learn more about your ad choices. Visit megaphone.fm/adchoices

Perhaps the finest cult film known to humanity, this week Sam and Dan dive into Arrow Video's release of WITHNAIL & I, Bruce Robinson's endlessly quotable and fondly loved British comedy starring Richard E. Grant, Paul McGann, Richard Griffiths and Ralph Brown. Other film recommendations of a similar vein this week include LOST WEEKEND and GUEST PARADISO, plus reviews of recently-seen films including VIVARIUM. NB: Apologies for a slight technical hitch with Sam's microphone towards the end of the episode. Next Week: PITCH BLACK Email the Arrow Video Podcast hosts for any comments, suggestions or questions at arrowvideopodcast@arrowfilms.co.uk.

Lisa speaks with Antonio Marion, also known as Tony Marion, the Tony Award nominated Producer & Director whose Broadway credits that include the 2019 revival of Betrayal starring Tom Hiddleston, Charlie Cox & Zawe Ashton, the Tony nominated & Olivier Award winning Best Musical Groundhog Day, Big Fish, Ghost and Evita starring Grammy Award winning sensation, Ricky Martin.Additional theatrical credits include White Noise (Chicago world premier), The Sunshine Boys starring Richard Griffiths & Danny DeVito (West End) & I Am Harvey Milk starring Kristen Chenoweth (New York, Lincoln Center). Marion is the Co-Founder and served as the Editor-in-Chief of Broadway Style Guide from 2015-2017, The X Magazine 2017-2018 and currently serves as the Executive Producer of Original Programming for TodayTix Inc.

Director Piotr Szkopiak joins us again to discuss good movies, bad movies, Richard Griffiths, profanity, age ratings, visual filmmaking, and continuity.

On this week's episode, Pirate Mania claims another victim as the gang welcomes film critic and co-host of the Bad Romance Podcast, Jourdain Searles to chat about the... sigh... fourth installment of this Mickey Mouse franchise, Pirates of the Caribbean: On Stranger Tides! How many sword fights in the rafters must we endure? What's with that Judi Dench cameo? And how do you not show the Pearl sailing out of that bottle at the end? PLUS: Did everyone get a look at Barbossa's cool thermos? Pirates of the Caribbean: On Stranger Tides stars Johnny Depp, Penélope Cruz, Geoffrey Rush, Ian McShane, Kevin McNally, Sam Claflin, Astrid Bergès-Frisbey, Stephen Graham, Keith Richards, and the legendary Richard Griffiths; directed by Rob Marshall.

Interesting first couple of days. Eco (Atlantic) Oil & Gas (ECO) announced what appeared to be a positive reserves report, but there was a muted market response.  So it's still down to future drills and the big question now is whether majority partner Tullow Oil (TLW) wants to proceed. I'll make a quick comment about UK Oil & Gas (UKOG) in passing, because I'm asked about it, and that concerns the convertible loan notes, the latest tranche of which were converted at 0.56p Jersey Oil & Gas (JOG) has been weak since its announcement that it had acquired Equinor (EQNR)'s 70% interest in Licence P2170. Part of the reason for that was disclosed with this week's announcement that Richard Griffiths has been selling Tower Resources (TRP) announced that the survey vessel should have completed its boreholes in a few days. RockRose Energy (RRE) announced the acquisition of a 100% interest in the Cotton gas field for a limited initial consideration, with the larger part of the consideration becoming due at Final Investment Decision. Baron Oil (BOIL) announced a website update with publicly available information from reports on the area prepared by Shell in 1998 and 2001 following the drilling of the Chuditch-1 discovery well and the share price went up 250% on the "news." I'll be back on Sunday with the next blog and podcast and if you’re interested in knowing my actual trading ideas and more about what I think of the various companies, then subscribe to the private blog at https://oilnewslondon.com/oilman-jim I think you’ll find it’s worth it. 

"Bedtime Stories is a 2008 American fantasy comedy film directed by Adam Shankman and written by Matt Lopez and Tim Herlihy. It stars Adam Sandler in his first appearance in a family-oriented film alongside Keri Russell, Jonathan Morgan Heit, Laura Ann Kesling, Guy Pearce, Aisha Tyler, Russell Brand, Richard Griffiths, Teresa Palmer, Lucy Lawless and Courteney Cox. Sandler's production company Happy Madison and Andrew Gunn's company Gunn Films co-produced the film with Walt Disney Pictures. The film was theatrically released on December 25, 2008 by Walt Disney Pictures. Despite receiving generally negative reviews from critics, it was a box office success after earning $212.9 million against an $80 million budget." Wikipedia, the Free encyclopedia.

An agent, a publisher, a label majordomo and now a manager, not only has Richard Griffiths worn all the hats, he's a seer when it comes to careers. Richard and his partner Harry Magee and their firm Modest! Management were honored with the 2019 Music Industry Trusts Award on November 4th in London. Modest! has steered the careers of One Direction, the Spice Girls, 5 Seconds of Summer, Olly Murs, Niall Horan, Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

  There's been a lot of news so far this week, but mainly companies getting out their interim results at the last minute, so I'll focus on the more interesting ones and those that might offer potential.   Providence Resources and Lansdowne Oil & Gas eventually had to call it a day with the Chinese investors after their funds they claimed to have transferred yet again failed to arrive.  Providence now is capitalised at £24 million and Lansdowne at £6 million, but in Barryroe they do actually own a genuine asset.  The shares are highly speculative, but offer huge and real potential.  Estimated 2C recoverable resources are over 300 million barrels of oil from the two main tested reservoir intervals at Barryroe, and further resource potential has also been identified in other hydrocarbon bearing intervals with estimates of up to over 1 billion barrels of oil.  I think Providence and Lansdowne might be worth a punt at these levels.   UK Oil & Gas and Alba Mineral Resourcesannounced the spud of the Horse Hill-2/2z Portland well.  Both the HH-2z and the existing HH-1 Kimmeridge well are expected to be put into long term production by the end of 2019.  I suspect production could easily surpass 1,000 barrels of oil per day - and they have permission to drill another four wells.  Given its niche as a British onshore oil producer, UKOG at a current capitalisation of £67 million and ALBA at a capitalisation of £7 million offer opportunity.   Global Petroleum is a company rarely mentioned.  It's capitalised at just £3 million, but has a lot of assets, particularly its licences offshore Namibia, which cover 11,607 square kilometres (that's nearly 3 million acres) and make it one of the largest acreage holders in the region.  Global also own licences offshore Italy where it has been fighting actions by environmentalists in the courts - and winning.  It's an interesting situation now in Italy, since to stop these endless battles between oil companies and greens, the Italian Parliament passed a Bill in February this year suspending all hydrocarbon exploration activities, including permit applications, for a period of 18 months. Following the 18 month evaluation period, the intention is that a hydrocarbon plan will be activated, setting out a strategy for exploration and production, excluding certain areas from future hydrocarbon exploitation.  These environmental disputes are what has been holding back oil exploration activity in Italy and those companies whose areas do get approved are going to hit the jackpot, since many of the potential resources in these licences are huge and highly profitable if allowed to be developed.  The company has more than enough cash to keep it going and Global is another one that could be worth a punt.  It just takes one farm-out to propel this North.   I3 Energy issued its interim report on Monday and set out a clear explanation of the current situation.  The first well result was a surprise to the third-party consultants who conducted due diligence, which I think explains the heavy institutional selling.  All three sets of seismic utilised to map the Liberator structure had conformed to one another and resolved the 13/23c-9 well location as a low-risk target at a structural high.  However, the targeted upper Captain sand was not penetrated at the first well location, so i3 acquired the only other available seismic dataset over the area. This had previously been reviewed by the Company and determined to be unsuitable.  However, reprocessed, they believe this seismic will enable additional interpretation. To allow time to analyse the data and potentially re-permit an alternative location for Liberator's next appraisal well, i3 is preparing the rig to drill Serenity's SA-01 as the second well. Mobilisation operations will commence as soon as the consent to locate permit is obtained and, once drilling begins, the well is anticipated to take approximately four weeks.  I think the current market capitalisation of £20 million looks fair.  From here, there is going to be an exploration well targeting a potentially significant target at Serenity and possibly an appraisal well at Liberator.  It's no longer the development deal it was before, but like the others mentioned previously it could be an interesting speculation.   Independent Oil & Gas which I mentioned positively at the weekend is still being bought by Richard Griffiths of Jersey and Lombard Odier, both of whom filed TR-1s. There's good news flow coming up here and I thought it interesting to see that IG is no longer allowing leveraged purchases on this.  The market capitalisation is £73 million, so there's still plenty of upside when the scale of the project is considered.   Finally, Bahamas Petroleum Company, which I stated the last two weekends as currently overpriced but interesting once a placing is done, is now down by about half.  They've now formally announced that they're in the process of arranging funding for their big drill next year and as I've said before it's one to keep an eye on and look at picking up after the placing.   I'll be back at the weekend with more on the podcast.   In the meantime, all the small-cap oil companies are covered in the blog and daily on Twitter. 

Mark Griffiths and Richard Griffiths look back on a topsy-turvy match.

Air Date: 8/02/2019 Today we take a look at the ways that Trump and his administration are systematically chipping away at the concept of a free press, a hallmark tactic of authoritarian governments everywhere Be part of the show! Leave a message at 202-999-3991   EPISODE SPONSORS: Babbel.com | Credo.com/BEST| Clean Choice Energy SHOP AMAZON: Amazon USA | Amazon CA | Amazon UK  MEMBERSHIP ON PATREON (Get AD FREE Shows & Bonus Content) SHOW NOTES Ch. 1: Freedom of the Press with Lisa Sun and RonNell Andersen Jones - Amicus with Dahlia Lithwick - Air Date 9-29-18 Under authoritarianism, Identifying enemies, such as the press, is the right of the leader and in doing so it limits the power and capabilities of that enemy. Ch. 2: A Coup Against the First Amendment - Intercepted with Jeremy Scahill - Air Date 5-29-19 The government is criminally prosecuting a publisher for printing truthful information. Whether Assange is extradited or not, this case casts a dangerous cloud over aggressive national security reporting and means criminalizing journalism is on the table. Ch. 3: Noam Chomsky On Julian Assange - Democracy Now - Air Date 7-5-19 Noam Chomsky discusses Assange's arrest and the governments actively working to silence journalists. Ch. 4: Freedom From Lies with Linda McQuaig - Ideas From CBC Radio - Air Date 4-12-19 Linda McQuaig discussed Trump's relationship with the media and how much he attacks and dismantles our system Ch. 5: Whistleblower Arrest Signals Ongoing Attempts to Silence the Press with James Risen - Democracy Now - Air Date 5-11-19 The Intercept’s senior national security correspondent views the arrests of journalistic sources as an attempt to stifle the "debate about this fundamental issue of who lives and dies." Ch. 6: The Battle Against A Free Press Continues with Richard Griffiths - The David Pakman Show - Air Date 6-24-19 Richard Griffiths, President of the Georgia First Amendment Foundation, joins David to discuss a bill that would set ethical standards for journalism work as well as sanction journalists who violate them Bonus Clip: Negotiating with drug companies - Election Ride Home VOICEMAILS Ch. 7: Patient protocols for prescription drugs - Heather from Texas Ch. 8: Health care vs health insurance - Holly from San Francisco FINAL COMMENTS Ch. 9: Final comments on the need to focus on the positive benefits of Medicare for All, not just the negative benefits MUSIC(Blue Dot Sessions): Opening Theme: Loving Acoustic Instrumental by John Douglas Orr  Dirtbike Lovers - Desert Orchard Neil Takes Two - Studio J The Back Lot - Sunday at Slims Heather - Migration One Little Triumph - Piano Mover Voicemail Music: Low Key Lost Feeling Electro by Alex Stinnent Closing Music: Upbeat Laid Back Indie Rock by Alex Stinnent   Produced by Jay! Tomlinson Thanks for listening! Visit us at BestOfTheLeft.com Support the show via Patreon Listen on iTunes | Stitcher| Spotify| Alexa Devices| +more Check out the BotL iOS/AndroidApp in the App Stores! Follow at Twitter.com/BestOfTheLeft Like at Facebook.com/BestOfTheLeft Contact me directly at Jay@BestOfTheLeft.com Review the show on iTunesand Stitcher!

It’s not Clear and Present Danger. It’s not Anal Grandmas 9. No, it’s Guarding Tess, which stars our National Treasure, Nicolas Cage, and our other National Treasure, Miss Shirley MacLaine. It also features Richard Griffiths who was Uncle Monty in Withnail and I and Uncle Vernon in Harry Potter! Tha

Dr. Snuggles and friends return for episode 48 of your guide to the truly astonishing world of softcore films, and the world’s number one podcast on that subject! We’re spaceward bound this episode, checking out Norman J. Warren’s 1979 interstellar softcore comedy Spaced Out! It’s wildly British (written by the guy who went on to create Pie in the Sky, in which Richard Griffiths was a semi-retired copper who also ran a restaurant - classic stuff) though stars an Australian, a Canadian, and a Hungarian as three goofy aliens, who have sequins for eyebrows. Bonus: one of them is the unforgettable Glory Annen, from Felicity! And as is befitting a saucy British comedy of the time, it’s packed with innuendo, has a pretty fair smattering of sexism, but also maybe rejects this and heroises the sensitive, emotionally intelligent lad instead? We try to puzzle that one out. Plus, we talk about the life and times of the one and only Dr Ava Cadell, who plays alien engineer Partha! She was a refugee of the Hungarian revolution before she was even two years old, and then almost became a nun. But, of course, she didn’t - she became a successful model and actor, and a world renowned Sexologist! Now she runs online sex coach training school Loveology University - good ol’ Love U’! Ava, if you’re reading this, you gotta make letterman jackets. You’ll sell thousands! Hey, why not call us on our hotline? (724) 246-4669! Check out the other Compañeros Radio Network shows: Movie Melt Songs on Trial

La vie d’un pianiste de jazz noir dévie après un incident raciste, qui le fait passer du statut d’artiste à celui de terroriste. Un fils de millionnaire assassine un architecte. Une famille blanche bourgeoise voit son quotidien bouleversé lorsqu’un bébé noir est abandonné dans leur jardin. Le nouvel Hollywood touche à sa fin lorsque parait « Ragtime » en 1981, cinéma d’auteur à gros budget, oeuvre chorale de 2h30 comme il ne s’en fera plus, à la fois tranche d’histoire et témoin de l’état d’esprit de l’Amérique d’avant la Première Guerre mondiale, et commentaire moderne de la fin des seventies. Milos Forman mène une production luxueuse et d’envergure qui aboutit à un échec commercial qu’il est bon de revoir en salles au XXIe siècle, grâce à la version restaurée de « Lost Films ». Animé par Thomas Rozec avec Rafik DjoumiRÉFÉRENCES CITÉES DANS L’ÉMISSIONRagtime (Milos Forman, 1981), James Cagney, Brad Dourif, Howard E. Rollins, Ragtime (E.L. Doctorow, 1970), Mary Steenburgen, Elizabeth McGovern, La porte du paradis (Michael Cimino, 1981), Reds (Warren Beatty, Vol au dessus d’un nid de coucou (Milos Forman, 1975), Hair (Milos Forman, 1979), Jack Nicholson, Angels with dirty faces (Michael Curtiz, 1938), Jeff Daniels, Samuel L. Jackson, Fran Drescher, Norman Mailer, Richard Griffiths, Kenneth McMillan, Amadeus (Milos Forman,1984), Dune (David Lynch, 1984), Donald O’Connor, Chantons sous la pluie (Gene Kelly & Stanley Donen, 1953), John Graysmark, Il était une fois en Amérique (Sergio Leone, 1984), Joseph Mankiewicz, La fille de Ryan (David Lean, 1970), La mélodie du bonheur (Robert Wise, 1965). CRÉDITSNoCiné est un podcast de Binge Audio animé par Thomas Rozec. Cet épisode a été enregistré le 04 mars 2019 au studio V. Despentes de Binge Audio (Paris, 19e). Réalisation : Solène Moulin. Générique : Corentin Kerdraon. Chargée de production : Juliette Livartowski. Chargée d’édition : Camille Regache. Identité graphique : Sébastien Brothier (Upian). Direction des programmes : Joël Ronez. Direction de la rédaction : David Carzon. Direction générale : Gabrielle Boeri-Charles. See acast.com/privacy for privacy and opt-out information.

Welcome to Time Turner Thursdays a special feature of Hogwarts Radio that revisits some of our more popular episodes over the past 10 years. Episode 128 was released on, April 6th, 2013 and features a few guests from our friends over at MuggleNet’s Alohomora! Podcast. The group discusses a variety of news stories and pays tribute to the passing of Richard Griffiths. Kat and Eric beta test Pottermore’s Playstation Network game, and talk about the possibility of this being the first open world experience for fans of the series. Also, the panel breaks down, in depth, differences between hexes, charms, jinxes, spells, and curses. What are some of our favorites? Tune in to find out! We hope you have as much fun relistening and revisiting some of these older episodes as we had recording them. Thank you for your continued support of our podcast.

20th gala edition! Host Nigel Cassidy puts out the bunting for guest Richard Griffiths, strategic comms director at Ketchum and the sage of Primrose Street, aka markets.com chief market analyst Neil Wilson. Topics include Sainsbury's lost mega deal, the latest bank reporting season, Samsung's new folding phone and and some of Warren Buffett's latest investment strategies. Just what you need to round off your financial week and think about the next one.

Mark and the Jons are back off their Christmas break and ready to continue through the S section of the Hitchhiker's Guide to the Galaxy. Silastic Armorfiends of Striterax The best way to pick a fight with a Silastic Armorfiends of Striterax was just to be born. They didn't like it, they got resentful. And when an Armorfiend got resentful, someone got hurt. They were the first race who ever managed to shock a computer. The computer in question was Hactar, and they commissioned him to build an ultimate weapon, which almost led to the destruction of the galaxy, again. Simon Brett Simon Brett produced the pilot of the radio show, and has produced episodes of other radio classics like I'm Sorry I Haven't a Clue and Just a Minute. He now writes detective fiction and had a book made into a film starring Michael Caine. Simon Jones Simon Jones played Arthur in the radio and TV series, and the Magrathean security hologram in the film. He's appeared in lots of little bits of telly over the years, and was a dear friend of Douglas. Sirius B Max Quordlepleen welcomes a group of young conservatives from Sirius B, to Milliways on the night our heroes turn up. Sirius Cybernetics Corporation The Sirius Cybernetics Corporation were bunch of mindless jerks who were the first against the wall when the revolution came. Slartibartfast Slartibartfast is a planetary architect, who won an award for his wrk on Norway. Played by Richard Vernon in the first two radio series and the TV series, and by Richard Griffiths in the third radio series. On Earth, Ford and Arthur find his signature on a glacier. He picks Ford and Arthur up in his Somebody Else's Problem shielded ship so they can join his mission with the Campaign for Real Time, and he has a name that sounds a bit like a swearword. Links Follow Danny on Twitter Follow Jon Bounds on Twitter Follow Jon Bounds on Twitter Follow Mark on Twitter Leave us a review on Apple Podcasts The Salmon of Doubt - Wikipedia Find more shows from the Outpost Out of the Trees (1976) Full Comedy Movie | Graham Chapman Movie - YouTube (21) Out of the Trees (1976) Full Comedy Movie | Graham Chapman Movie - YouTube Ronco - Wikipedia

Mark and the Jons are back off their Christmas break and ready to continue through the S section of the Hitchhiker's Guide to the Galaxy. Silastic Armorfiends of Striterax The best way to pick a fight with a Silastic Armorfiends of Striterax was just to be born. They didn’t like it, they got resentful. And when an Armorfiend got resentful, someone got hurt. They were the first race who ever managed to shock a computer. The computer in question was Hactar, and they commissioned him to build an ultimate weapon, which almost led to the destruction of the galaxy, again. Simon Brett Simon Brett produced the pilot of the radio show, and has produced episodes of other radio classics like I'm Sorry I Haven't a Clue and Just a Minute. He now writes detective fiction and had a book made into a film starring Michael Caine. Simon Jones Simon Jones played Arthur in the radio and TV series, and the Magrathean security hologram in the film. He's appeared in lots of little bits of telly over the years, and was a dear friend of Douglas. Sirius B Max Quordlepleen welcomes a group of young conservatives from Sirius B, to Milliways on the night our heroes turn up. Sirius Cybernetics Corporation The Sirius Cybernetics Corporation were bunch of mindless jerks who were the first against the wall when the revolution came. Slartibartfast Slartibartfast is a planetary architect, who won an award for his wrk on Norway. Played by Richard Vernon in the first two radio series and the TV series, and by Richard Griffiths in the third radio series. On Earth, Ford and Arthur find his signature on a glacier. He picks Ford and Arthur up in his Somebody Else's Problem shielded ship so they can join his mission with the Campaign for Real Time, and he has a name that sounds a bit like a swearword.

Mark Griffiths, James Harrison and Richard Griffiths look back on an excellent cup performance by Wrexham despite the upheavals off the pitch.

Let's gobble up BBC1's flagship pie-based police show.Richard Griffiths stars as Ian Pie, an experienced detective who isn't allowed to retire.Via James Bond, Dr Who, Naked Gun, Game On and The Last Train, we arrive at the big question:How do you resolve split hollandaise? Is it cold or hot water? We must know.Tom receives some more informative correspondence from Lyndhurst; whoever it is posting these to him.Peri: a mythical superbeing, or simply 'during'?Tom experiences scorer's remorse. You can't go back in time.Almost as if to prove that he can, Graeme finds a way to scrape even more of the barrel in this week's quiz.Keep in touch with us, twitter.com/sparrowtalkpod, or sparrowtalkpod@gmail.com. See acast.com/privacy for privacy and opt-out information.

Hi Friend, welcome to the blog and show notes for Episode 41 of Sally’s Performing Arts Lab Podcast. On Episode 41, my awesome guest is Stage Manager Cynthia Hennon Marino.  Her work with the ground-breaking immersive-devised opera, The Wreck, is just one of the things we discuss.   I’m your SallyPAL podcast host, Sally Adams. And every week I talk to people about creating original work for a live audience. Send an email anytime to Sally@sallypal.com. Because your ideas keep great conversations coming every week.   Check out sallypal.com/join for a cool free theatre resource called the Creator’s Notebook. You can also be a Sally ‘pal’ just by joining. There are other good reasons to join. Members get theatre cartoons, inside scoop on fresh productions, and entry into a larger creator community.   Stage Manager Cynthia Hennon Marino hit the ground running after getting an MFA in Stage Management from the College-Conservatory of Music. She went to New York and got hired almost immediately. She became a production assistant on the Broadway production of Equus starring Richard Griffiths and Daniel Radcliffe in 2008.   Cindy's journey started when she and her identical twin, Stacy Hennon Stone, did props for the musical Anything Goes their freshmen year of high school. The two now host a podcast called Twins Talk Theatre. The show is a series of great convos about working backstage.   Sister Stacy is a professional technical director in Long Beach, California. But neither twin planned on becoming a theatre professional. Cindy started by pursuing a degree in math. Stacy started in the business school. But theatre has powerful magnetic pull.   Each Hennon sister graduated from a different college with a theatre degree. Cindy’s sister headed to Southern California. Cindy followed when she found work with Palos Verdes Performing Arts.   Cindy and I talk about Long Beach Opera, the opera, Nixon in China, the LA opera, Hopscotch, and Portland Opera. She currently stage manages the opera, Faust, with the Oregon company. This latest venture features 3-D projections based on the work of sculptor John Frame.   The projections and projection mapping are a collaboration among designers Frame, Vita Tzykun, David Adam Moore, and Duane Schuler. It’s received a lot of attention from a previous reveal with Lyric opera in Chicago. Opera Wire called this production “a visual feast for the ages.”   But Portland’s production isn’t the most progressive thing Cindy’s done this year. In March, she and a small contingent with Opera Omaha embarked on a rare journey. The work they created is unique.   The Wreck is an immersive devised opera created in only 10 days. The Wreck borrows music and other bits from Slavik mythology and mermaid folklore. It features the writings of Anne Sexton, Alice Walker, and Adrienne Rich. It also floats on the music of Donizetti, Schubert, and Von Bingen. Ukrainian composer Mariana Sadovska adds new music creating an eclectic, otherwordly piece set in Omaha… sort of.   I know you’re going to enjoy what Cynthia has to say about stage managing and opera. There’s plenty of fresh ideas in the world of live opera performance. I can’t wait to see what she does next. Be sure and listen until the end of the interview for Concise Advice from the Interview, and Words of Wisdom from George.   Concise Advice from the Interview 7) Stage manage a show as opposed to a genre of theatre 6) Help the designers make a safe working environment for the performers 5) Focus on the show and focus on the people and everything else will fall into place 4) Go see opera! 3) Use physical cues to show you are open to a conversation 2) Experiment and have fun! 1) Think outside of the box   Thank you for following, sharing, subscribing, reviewing and joining. And thank you for listening. Download the SallyPAL podcast and listen on your drive to work. Or fall asleep to my recitatives like my sister does. Just be sure to let me know you’re out there.   Storytelling through plays, dances, opera, and other types of performances is the most important thing we do as a culture. That’s why I encourage you to share your stories. You’re the only one with your particular point of view. And SallyPAL is here with resources, encouragement, and a growing community of storytellers.   I want to help you tell your stories. All the stories ever expressed once lived only in someone’s imagination. Now… Think outside the box!

Griff discusses his Twitter ban, working in the Call Centre and torturing the Love Wave. The lads talk about Scientology, Serial Killers and getting abuse on social media. Griff recounts beating Lee Trundle in Footgolf, doing stand up and scoring a 60 yarder. The lads talk about Flat Earth, driverless Über's and eventually get around to Swans/Spurs.....

Wrexham's biggest ever win over Torquay, achieved in front of 200 Magdeburg fans! Chris Holroyd grabbed a hat trick and Manny Smith got the other: Mark Griffiths, James Harrison and Richard Griffiths look back over the match.

On 19th October, a mysterious object sped through our solar system. It was first spotted by astronomers with a telescope in Hawaii. Its trajectory and speed told of its interstellar origins. It is the first body to be detected from outside our solar system. Scientists are now publishing their papers on the enigmatic visitor. They estimate that it was about 400 metres long and bizarrely elongated in shape. Adam Rutherford talks to astronomer Alan Fitzsimmons of Queens University in Belfast. Twenty years ago, geneticist Svante Paabo began a revolution in human evolution science when he extracted fragments of DNA from the 40,000 year old bone of a Neanderthal. Among other first, he went onto sequence the entire genome sequence of Homo Neanderthalenisis. Professor Paabo was in the UK this week at a conference on DNA and human evolution at the Wellcome Genome Campus to mark the anniversary. He tells Adam about one of the new directions of research for him now. What does the future hold for synthetic biology? Who will be the practitioners of this fast-growing branch of bioengineering and what will be its impact on the world - for good and possibly ill? Experts in the field have just published a horizon-scanning report in the journal eLife. One of its authors, Jenny Molloy of the University of Cambridge, talks to Adam about the nascent democratisation of the discipline and where this might lead the field and society. The paradoxical plight of the axolotl: popular aquarium pet, laboratory animal and critically endangered species in the wild. This species of salamander is a wonder of nature. It's the amphibian that never grows out of its larval stage yet it's able to reproduce. Most remarkable is its ability to regrow limbs, which is of great potential interest to researchers developing regenerative medicine. There are many thousands of axolotls in labs and homes around the world. But in the wild, in their native Mexico, they are on the very edge of extinction. Inside Science talks to conservation biologist Richard Griffiths of the University of Kent and axolotl researcher Tatiana Sandoval Guzman of the Technical University in Dresden, Germany. Producer: Andrew Luck-Baker.

SubjectACT presenter Doug Dobing talks with St Vincent de Paul Canberra & Goulburn CEO Barney van Wyk and Safe Shelter Coordinator Richard Griffiths about men's homelessness in the ACT. Barney said: "Most people are just three pays away from being homeless." Join us each weekday morning at 8:30 am on 2XX FM 98.3 SubjectACT for local current affairs. Or stream on 2xxfm.org.au/listen. You can also follow us on Facebook and Twitter. Photo: Kaitlin Dobing. Used with permission.

This week, James Richardson is joined by Little White Lies' David Jenkins and Simran Hans, to pick over the new drama "Gifted", starring Chris Evans. They'll also discuss Nick Broomfield's new documentary on Whitney Houston. And the focus of this week's Film Club is Bruce Robinson's uber-cult film, Withnail And I, which stars Richard E Grant, Paul McGann, Richard Griffiths and Ralph Brown. See acast.com/privacy for privacy and opt-out information.

"I must have some booze. I demand to have some booze!" Host Serg Beret is joined by monthly host Matthew Reveles to review the British cult classic "Withnail & I." Listen as the two discuss the dark comedy from the exceptional debut of Richard E. Grant, the wonder of Richard Griffiths and the beauty of friendship throughout between Paul McGann and Withnail. Follow Film A Week Facebook/Tumblr @filmaweekpodcast Follow Serg Beret Instagram/Twitter/Snapchat @sergberet Tumblr @sergberettumbles Follow Matthew Reveles Tumblr @ohheylookatthatthing-blog-blog Audio Edited by Guillermo Morales Tumblr @southcentralian “Film A Week Podcast” is protected by Fair Use as it is a non-profit review show. Any copyrighted material is that of their respective owners and only used as promotion of their work. “Hustle” by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License creativecommons.org/licenses/by/3.0/

In the first episode of Season 2, Richard Griffiths, vice president and senior editorial director at CNN, discusses what he's learned from his long career in broadcast and addresses political attacks on CNN's journalism.

During the mid- to late 1930s, a small but socially prominent group of right-wing Britons took a public stance in support of the Nazi regime in Germany. While many of them curtailed their activities upon Britain’s declaration of war in 1939, as Richard Griffiths reveals in his book What Did You Do During the War? The Last Throes of the British Pro-Nazi Right, 1940-45 (Routledge, 2016) some of them continued to support their nation’s declared enemy in a variety of ways. Refuting ex post facto justifications of their actions, Griffiths punctures the myth of wartime national unity by demonstrating how Oswald Mosley and others sought to erode Britons’ support for the war effort in the early months of the conflict by joining pacifist organizations and criticizing openly the motivations behind Britain’s participation in the conflict. Though many of these prominent pro-Nazis were locked up by the authorities in May 1940, several far-right advocates for Germany among the upper class were spared arrest, thanks to their connections and government concerns about the impact on public opinion of detaining of so many prominent members of the social elite. With the prewar pro-Nazi movement disrupted by the detentions, however, many of its unrepentant members turned to individual activities designed to advance their beliefs, while others gradually abandoned politics in favor of other activities as their views were marginalized permanently by the course of events both during and after the Second World War. Learn more about your ad choices. Visit megaphone.fm/adchoices

During the mid- to late 1930s, a small but socially prominent group of right-wing Britons took a public stance in support of the Nazi regime in Germany. While many of them curtailed their activities upon Britain’s declaration of war in 1939, as Richard Griffiths reveals in his book What Did You Do During the War? The Last Throes of the British Pro-Nazi Right, 1940-45 (Routledge, 2016) some of them continued to support their nation’s declared enemy in a variety of ways. Refuting ex post facto justifications of their actions, Griffiths punctures the myth of wartime national unity by demonstrating how Oswald Mosley and others sought to erode Britons’ support for the war effort in the early months of the conflict by joining pacifist organizations and criticizing openly the motivations behind Britain’s participation in the conflict. Though many of these prominent pro-Nazis were locked up by the authorities in May 1940, several far-right advocates for Germany among the upper class were spared arrest, thanks to their connections and government concerns about the impact on public opinion of detaining of so many prominent members of the social elite. With the prewar pro-Nazi movement disrupted by the detentions, however, many of its unrepentant members turned to individual activities designed to advance their beliefs, while others gradually abandoned politics in favor of other activities as their views were marginalized permanently by the course of events both during and after the Second World War. Learn more about your ad choices. Visit megaphone.fm/adchoices

During the mid- to late 1930s, a small but socially prominent group of right-wing Britons took a public stance in support of the Nazi regime in Germany. While many of them curtailed their activities upon Britain’s declaration of war in 1939, as Richard Griffiths reveals in his book What Did... Learn more about your ad choices. Visit megaphone.fm/adchoices

During the mid- to late 1930s, a small but socially prominent group of right-wing Britons took a public stance in support of the Nazi regime in Germany. While many of them curtailed their activities upon Britain’s declaration of war in 1939, as Richard Griffiths reveals in his book What Did You Do During the War? The Last Throes of the British Pro-Nazi Right, 1940-45 (Routledge, 2016) some of them continued to support their nation’s declared enemy in a variety of ways. Refuting ex post facto justifications of their actions, Griffiths punctures the myth of wartime national unity by demonstrating how Oswald Mosley and others sought to erode Britons’ support for the war effort in the early months of the conflict by joining pacifist organizations and criticizing openly the motivations behind Britain’s participation in the conflict. Though many of these prominent pro-Nazis were locked up by the authorities in May 1940, several far-right advocates for Germany among the upper class were spared arrest, thanks to their connections and government concerns about the impact on public opinion of detaining of so many prominent members of the social elite. With the prewar pro-Nazi movement disrupted by the detentions, however, many of its unrepentant members turned to individual activities designed to advance their beliefs, while others gradually abandoned politics in favor of other activities as their views were marginalized permanently by the course of events both during and after the Second World War. Learn more about your ad choices. Visit megaphone.fm/adchoices

During the mid- to late 1930s, a small but socially prominent group of right-wing Britons took a public stance in support of the Nazi regime in Germany. While many of them curtailed their activities upon Britain’s declaration of war in 1939, as Richard Griffiths reveals in his book What Did You Do During the War? The Last Throes of the British Pro-Nazi Right, 1940-45 (Routledge, 2016) some of them continued to support their nation’s declared enemy in a variety of ways. Refuting ex post facto justifications of their actions, Griffiths punctures the myth of wartime national unity by demonstrating how Oswald Mosley and others sought to erode Britons’ support for the war effort in the early months of the conflict by joining pacifist organizations and criticizing openly the motivations behind Britain’s participation in the conflict. Though many of these prominent pro-Nazis were locked up by the authorities in May 1940, several far-right advocates for Germany among the upper class were spared arrest, thanks to their connections and government concerns about the impact on public opinion of detaining of so many prominent members of the social elite. With the prewar pro-Nazi movement disrupted by the detentions, however, many of its unrepentant members turned to individual activities designed to advance their beliefs, while others gradually abandoned politics in favor of other activities as their views were marginalized permanently by the course of events both during and after the Second World War. Learn more about your ad choices. Visit megaphone.fm/adchoices

During the mid- to late 1930s, a small but socially prominent group of right-wing Britons took a public stance in support of the Nazi regime in Germany. While many of them curtailed their activities upon Britain’s declaration of war in 1939, as Richard Griffiths reveals in his book What Did You Do During the War? The Last Throes of the British Pro-Nazi Right, 1940-45 (Routledge, 2016) some of them continued to support their nation’s declared enemy in a variety of ways. Refuting ex post facto justifications of their actions, Griffiths punctures the myth of wartime national unity by demonstrating how Oswald Mosley and others sought to erode Britons’ support for the war effort in the early months of the conflict by joining pacifist organizations and criticizing openly the motivations behind Britain’s participation in the conflict. Though many of these prominent pro-Nazis were locked up by the authorities in May 1940, several far-right advocates for Germany among the upper class were spared arrest, thanks to their connections and government concerns about the impact on public opinion of detaining of so many prominent members of the social elite. With the prewar pro-Nazi movement disrupted by the detentions, however, many of its unrepentant members turned to individual activities designed to advance their beliefs, while others gradually abandoned politics in favor of other activities as their views were marginalized permanently by the course of events both during and after the Second World War. Learn more about your ad choices. Visit megaphone.fm/adchoices

“I’m in a park and I’m practically dead” The Spoiler team are back from holiday but we’re off on holiday again… by mistake. This week we’re watching Bruce Robinson’s “plotless” black comedy ‘Withnail and I’, starring Richard E. Grant, Paul McGann and Richard Griffiths. While Paul reluctantly recalls his own experiences of squalid living conditions in the 90s, the “far-from-teetotal” Andy confesses his initial confusion with his subsequently beloved home video edition of the film. Rachael sets about translating chunks of public schoolboy Latin and Paul hits a new broadcasting low with a dull conversation about zippo lighters that rivals the late-night ramblings of Camberwell Carrot devotees. The team also imagine an alternative universe where Withnail was played by Kenneth Branagh and ask whether Paul McGann’s character would have been better left nameless. Elsewhere,the perennially sober Rachael counts down her top 5 movie drunks and, inspired by Richard Griffiths’ performance as Uncle Monty, Andy takes a look at the often uncomfortable relationship between cinema and homosexuality. This week’s scale: 1953 Margaux or lighter fluid  

Nicolas Cage is a Secret Service agent who has to keep his lips...firmly...FASTENED as he struggles with protecting Shirley Maclaine. Nicky, Marielle and Cam discuss this light comedic adventure, how much they love Shirley, Richard Griffiths and the Cageness of blowing off a man's toe. Also, apparently, domestic household tips. Plus, all new Cage News! Find us on Twitter now at @uncagedpod, or on Facebook!  Theme music by Skin Mechanix, accessible at Magnatune.

The Criterion Collection, the last vestige of truly collectible DVD and Blu-Ray movies in existence. These are well produced, fancy pants editions of important and interesting films for the discerning film lover. We continue our journey through Jim's collection of movies with... Week 18: Withnail and I Spine Number: 119 Director: Bruce Robinson Genre: Comedy Some movies just feel like they were made for you. The characters make a different kind of sense on a certain level, they are just bizarre enough to make complete sense, and the dialogue hits on all cylinders. When you find one of these movies you wonder how you managed to miss it for all of those years because it was clearly made just for you. Withnail and I is such a film. I purchased it sight unseen based off the suggestion of a college friend and just assumed that Clarkson had seen it and had the entire thing memorized. Turns out, he'd never heard of it. So, one Saint Patrick's Day around 11 years ago, we sat down with a large amount of alcohol, Withnail and I, The Long Good Friday, The Boondock Saints, Michael Collins, In The Name of The Father, and The Departed. Yes, it was a lot of movies to watch in one day, but we didn't really have anything else to do, and that beer and whiskey wasn't going to drink itself. So, I got to share this amazing film with someone else who would find it just as oddly captivating as I did. The dialogue is fantastic, the characters are hilarious, and the performances... good GOD! Top to bottom this thing is full of scene stealing performance after scene stealing performance. Richard E. Grant's Withnail dominates every scene he's in, unless Richard Griffiths is on screne (in which case he takes complete ownership), Paul McGann gives an understated performance that just highlights the madness around him, Ralph Brown originating the character he would play again in Wayne's World 2... it's just... well, to quote Danny, "That's politics, man." So check it out with us. If you've never seen it, grab a drink and njoy, if you have seen it, do the same. A good time will be had by all. Next week: Spine number 118: Sullivan's Travels A genuinely wonderful comedy classic. Also, check this out. The Life Masters is now it's own show with its own site and own dedicated feed. That's right, we have two completely different shows! Right now check it out at www.thelifemasters.podbean.com. You can also drink in our brilliance on Youtube for both The Film Thugs and The Life Masters. http://fantasymovieleague.com/ Looks like Summer Movie League has officially become Fantasy Movie League. It looks quite fun. Here's how it works. You have an 8 screen theater. Every week you pick movies and have a budget/salary cap you have to stay under. Then you compete against other theaters in your league. It's fantasy football for movie people. Our league is Film Thugs 2015 and the password is Porterhouse. And remember, you can be a part of the show any time you wild like. How's that? All you have to do is call or e-mail us. If you live in the US, or any place that makes calling the US easy, just dial 512-666-RANT and leave us a voicemail. We will read the Google Voice transcript and play your message. It's both funny AND informative. If you live outside the US you can call us on Skype at The_Film_Thugs. You can leave a message, or someone might actually answer. E-mail us at thefilmthugs@gmail.com and we will read/play whatever you send us, or you can e-mail thugquestions@gmail.com to be part of  an upcoming "Ask the Film Thugs" show, where we answer questions on any subject without having heard them first. Also, we are on twitter @thefilmthugs and on Facebook and Vine. You can also click on one of our sponsor links below and THEY will pay us. That's right. You won't have to pay a PENNY extra, and Amazon/Onnit/Teefury will give us a little taste. Also, be sure to check back often for our new endeavor The Life Masters, where we answer questions to other advice columnists. Thanks for listening, and until next week... Jim out.

Chapel service from Eastern Nazarene College in Quincy Massachusetts

Título original Sleepy Hollow Año 1999 Duración 105 min. País Estados Unidos Estados Unidos Director Tim Burton Guión Andrew Kevin Walker (Novela: Washington Irving) Música Danny Elfman Fotografía Emmanuel Lubezki Reparto Johnny Depp, Christina Ricci, Miranda Richardson, Michael Gambon, Casper Van Dien, Marc Pickering, Richard Griffiths, Ian McDiarmid, Jeffrey Jones, Christopher Walken, Michael Gough, Steven Waddington, Lisa Marie, Christopher Lee, Alun Armstrong, Claire Skinner, Martin Landau Productora Mandalay Pictures / Scott Rudin / American Zoetrope Género Intriga. Aventuras. Terror. Fantástico | Brujería. Fantasmas. Sobrenatural. Siglo XVIII Sinopsis Norteamérica, finales del siglo XVIII. El condestable Ichabod Crane (Johnny Depp), un investigador de Nueva York que utiliza avanzados métodos de averiguación, es enviado al pequeño y remoto pueblo de Sleepy Hollow para descubrir qué hay de verdad en la leyenda de un jinete sin cabeza que aterroriza a los habitantes del lugar.

Título original Gandhi Año 1982 Duración 188 min. País Reino Unido Reino Unido Director Richard Attenborough Guión John Briley Música Ravi Shankar & George Fenton Fotografía Ronnie Taylor & Billy Williams Reparto Ben Kingsley, Roshan Seth, Martin Sheen, Ian Charleson, Edward Fox, Candice Bergen, Saeed Jaffrey, Amrish Puri, Athol Fugard, Alyque Padamsee, Rohini Hattangadi, John Gielgud, Geraldine James, Trevor Howard, John Mills, Günther Maria Halmer, Richard Griffiths, Shreeram Lagoo, Michael Hordern, Om Puri, Nigel Hawthorne, Michael Bryant, Peter Cartwright, Ian Bannen, Bernard Hill, Daniel Day-Lewis Productora Coproducción USA-UK-India; Columbia Pictures Género Drama | Biográfico. Colonialismo. Histórico Sinopsis Después de defender los derechos de los ciudadanos negros en Sudáfrica, Gandhi, considerando que también los hindúes son ciudadanos de segunda clase en su propia tierra, los incita a sublevarse contra el Imperio Británico mediante la doctrina de la no-violencia.

Título original Gandhi Año 1982 Duración 188 min. País Reino Unido Reino Unido Director Richard Attenborough Guión John Briley Música Ravi Shankar & George Fenton Fotografía Ronnie Taylor & Billy Williams Reparto Ben Kingsley, Roshan Seth, Martin Sheen, Ian Charleson, Edward Fox, Candice Bergen, Saeed Jaffrey, Amrish Puri, Athol Fugard, Alyque Padamsee, Rohini Hattangadi, John Gielgud, Geraldine James, Trevor Howard, John Mills, Günther Maria Halmer, Richard Griffiths, Shreeram Lagoo, Michael Hordern, Om Puri, Nigel Hawthorne, Michael Bryant, Peter Cartwright, Ian Bannen, Bernard Hill, Daniel Day-Lewis Productora Coproducción USA-UK-India; Columbia Pictures Género Drama | Biográfico. Colonialismo. Histórico Sinopsis Después de defender los derechos de los ciudadanos negros en Sudáfrica, Gandhi, considerando que también los hindúes son ciudadanos de segunda clase en su propia tierra, los incita a sublevarse contra el Imperio Británico mediante la doctrina de la no-violencia.

Título original: Harry Potter and the Sorcerer's Stone (Harry Potter and the Philosopher's Stone) Año: 2001 Duración: 152 min. País: Reino Unido Reino Unido Director: Chris Columbus Guión: Steve Kloves (Novela: J.K. Rowling) Música: John Williams Fotografía: John Seale Reparto: Daniel Radcliffe, Rupert Grint, Emma Watson, Robbie Coltrane, Richard Harris, Maggie Smith, Alan Rickman, Richard Griffiths, Tom Felton, Ian Hart, John Hurt, Harry Melling, John Cleese, Matthew Lewis, Warwick Davis, David Bradley, Fiona Shaw, Sean Biggerstaff, Devon Murray, Alfie Enoch, Zoë Wanamaker, James Phelps, Oliver Phelps, Julie Walters Productora: Coproducción GB-USA; Warner Bros. Pictures / Heyday Films / 1492 Films / Duncan Henderson Género: Fantástico. Aventuras. Infantil | Magia Web oficial http://harrypotter.warnerbros.com/ Sinopsis El día en que cumple once años, Harry Potter se entera de que es hijo de dos destacados hechiceros, de los que ha heredado poderes mágicos. En la escuela Hogwarts de Magia y Hechicería, donde se educa con otros niños que también tienen poderes especiales, aprenderá todo lo necesario para ser mago.

Dr Richard Griffiths, consultant in anaesthesia, discusses his article 'Frailty in anaesthesia: what we need to know' from the December print edition of CEACCP. Subjects discussed include frailty assessment tools, the 2010 NCEPOD report 'An Age Old Problem' and The National Hip Fracture Database Anaesthesia Sprint Audit of Practice (ASAP).

Theater Talk sits down with John Simon to celebrate the eminent critic's 88th birthday. Also, we replay a classic 2006 conversation with the late actor Richard Griffiths.

Brian Sewell chooses the painting Christ contemplated by the Christian Soul by Velazquez. Plus archive interviews with Richard Griffiths and Carlos Fuentes. Go to Front Row’s Cultural Exchange website for full details.

Writer/performer Jesse Eisenberg sits down with Theater Talk to talk about his Off-Broadway play "The Revisionist," in which he co-stars with Vanessa Redgrave. We also pay tribute to actor and friend of the show Richard Griffiths who died in late March.

Richard Griffiths dies, A Very Potter Senior Year premieres, and Divergent finds Four.

With Matthew Sweet. A first night review, by Susannah Clapp, of Peter Morgan's new play, The Audience, starring Helen Mirren as the Queen. Simon Thurley, Chief Executive of English Heritage, the architect Richard Griffiths and architecture critic Hugh Pearman discuss what place heritage has in a modern and increasingly urbanised Britain. Adrian Wootton reviews possibly the last film from Steven Soderbergh; Side Effects. And Jaron Lanier, one of the most important philosophers of the digital age talks about his book Who Owns The Future?

To be in the presence of Danny DeVito and Richard Griffiths is a real treat, so as we could only put in about 15 minutes or so of our interview with the two Sunshine Boys in our podcast proper, here's the extended cut, just for you.

The Sunshine Boys themselves, Danny DeVito and Richard Griffiths, came into the podbooth this week, as did Kermit the Frog and Pepe the King Prawn, making this special extended edition of the Empire podcast an unequivocal, absolute must listen. So if you're ready for the most Muppetational, Sunshiney podcast ever, click play immediately.

Danny De Vito discusses his comedy double-act with Richard Griffiths; Sacha Baron Cohen's new film The Dictator is reviewed. Writers Paul Abbott and Sean Conway discuss their new TV series Hit & Miss. John Wilson meets singer Kevin Rowland and reviews ball-gowns at the V&A and Kirsty Lang goes down to the Brighton Festival and up a towering Olympic art-work.

With Mark Lawson. Danny DeVito and Richard Griffiths discuss their theatrical collaboration in The Sunshine Boys and their plans to perform Shakespeare in a pub for one night only. The shortlist for the Art Fund Prize 2012 is announced today. Chris Smith, chair of judges, reveals the four remaining contenders for the £100,000 award, given annually in recognition of excellence and innovation in museums and galleries. Poet Wendy Cope reveals her favourite lines from the Bard as part of Radio 4's Shakespeare Unlocked Season. Briony Hanson reviews an Indonesian thriller directed by a Welshman and a Latin American drama written by a Scot - The Raid and Even The Rain Producer Stephen Hughes.

Ce 125ième épisode est une critique de LES PIRATES DES CARAIBES : LA FONTAINE DE JOUVENCE un film de Rob Marshall avec Johnny Depp, Penelope Cruz, Ian McShane, Geoffrey Rush, Judi Dench, Kevin McNally, Richard Griffiths, Keith Richards.

How often have you shouted at someone in the cinema? The answer is.. NOT OFTEN ENOUGH!

Actors Daniel Radcliffe and Richard Griffiths discuss their roles in the Broadway revival of Peter Shaffer’s classic 1973 drama, “Equus.”

Experiences on stage in America and England are the core of this conversation with actors Eileen Atkins ("Doubt"), Richard Griffiths ("The History Boys"), Jonathan Pryce ("Dirty Rotten Scoundrels"), Lynn Redgrave ("The Importance of Being Earnest") and Zoë Wanamaker ("Awake and Sing").

Experiences on stage in America and England are the core of this conversation with actors Eileen Atkins (Doubt), Richard Griffiths (2006 Best Actor Tony Award for The History Boys), Jonathan Pryce (Dirty Rotten Scoundrels and his Tony Award-winning performances in 1977’s Comedians and 1991’s Miss Saigon), Lynn Redgrave (The Importance of Being Earnest) and Zoë Wanamaker (Awake and Sing).

Sue Lawley's castaway this week is one of this country's leading character actors - Richard Griffiths. Most recently, he won three Best Actor awards for playing the English master in Alan Bennett's play 'The History Boys' but he has cross-generational appeal - perpetual adolescents revere his performance as gay Uncle Monty in the film Withnail and I while the younger generation know him as beastly Uncle Vernon from the Harry Potter films. He's had to work hard for his achievements: both his parents were profoundly deaf and, from a young age, he was their ears and their translator. He studied drama against his father's wishes - he had hoped his son would go to art college. However, he says his father was an expert in reading body language and he learned from him how people's physical behaviour reveals their inner thoughts. He is currently in the West End in Tom Stoppard's play Heroes; he's working on a film version of The History Boys, directed by Nicholas Hytner and is preparing to tour with The History Boys around the world.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: Träumerei by Vladimir Horowitz Book: Vanity Fair by William Makepeace Thackeray Luxury: Velasquez's Las Meninas

Sue Lawley's castaway this week is one of this country's leading character actors - Richard Griffiths. Most recently, he won three Best Actor awards for playing the English master in Alan Bennett's play 'The History Boys' but he has cross-generational appeal - perpetual adolescents revere his performance as gay Uncle Monty in the film Withnail and I while the younger generation know him as beastly Uncle Vernon from the Harry Potter films. He's had to work hard for his achievements: both his parents were profoundly deaf and, from a young age, he was their ears and their translator. He studied drama against his father's wishes - he had hoped his son would go to art college. However, he says his father was an expert in reading body language and he learned from him how people's physical behaviour reveals their inner thoughts. He is currently in the West End in Tom Stoppard's play Heroes; he's working on a film version of The History Boys, directed by Nicholas Hytner and is preparing to tour with The History Boys around the world. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Träumerei by Vladimir Horowitz Book: Vanity Fair by William Makepeace Thackeray Luxury: Velasquez's Las Meninas