THE ADAM BUXTON PODCAST - EP.113 - JEFF GOLDBLUM

Episode Date: December 7, 2019

Adam talks with American actor and musician Jeff GoldblumThanks to Séamus Murphy-Mitchell for production support and Matt Lamont for conversation editing. RELATED LINKSBOOK TRUSTJEFF GOLDBLUM - I SHOULDN'T BE TELLING YOU THIS ALBUM TRAILER, 2019 (YOUTUBE)JEFF GOLDBLUM & THE MILDRED SNITZER ORCHESTRA - CANTALOUPE ISLAND (LIVE, 2018) (YOUTUBE)ADAM BUXTON 2020 BOOK TOURADAM BUXTON PODCAST MERCHLUKE DROZD KICKSTARTER Hosted on Acast. See acast.com/privacy for more information.

I added one more podcast to the giant podcast bin Now you have plucked that podcast out and started listening I took my microphone and found some human folk Then I recorded all the noises while we spoke My name is Adam Buxton, I'm a man I want you to enjoy this, that's the plan. Hey, how you doing, podcats? Adam Buxton here. Thank you very much for downloading this podcast and joining me out here in the Norfolk countryside in the east of England, UK,

at the very beginning of December 2019. It's cold. It's been pretty freezing the last few days. But I don't mind it. And Rosie's happy. She's up ahead having a little gamble. The only worrying thing is that there are strong winds predicted for this weekend 80 mile per hour winds says the paper out this part of the world when things get windy it tends to result in catastrophic inconvenience trees come down our phone line always goes out. The internet dies. The children emerge from their caves, come downstairs angry and confused. We start actually interacting as a family for the first time in months.

There's a lot of arguing and tension and we realize that there are serious generational chasms but then we start connecting in a more meaningful way than we have done for months and months and we start focusing on the things that really matter and then just as that happens the internet comes back and they go back up to their rooms and everything carries on the way it was before hey look let me tell you a bit about podcast number 113 which features a meandering not to say rambling conversation with the american actor and musician jeffrey lynn goldblum goldblum. Goldblum facts. Jeff, currently aged 67, was born in Pennsylvania, USA. His mother was a sometime radio broadcaster, and his father considered becoming an actor

before instead becoming a doctor of medicine. Jeff did become an actor. You may have seen him in films such as Invasion of the Body Snatchers, The Big Chill, Into the Night, The Fly, The Adventures of Buckaroo Banzai Across the Eighth Dimension, The Tall Guy, Deep Cover, The Life Aquatic with Steve Zissou, The Grand Budapest Hotel, and Thor Ragnarok. That is a tiny selection from his filmography, obviously. It all started when 17-year-old Jeff moved to New York City, where he ended up studying acting at the renowned Neighborhood Playhouse, where he was taught by legendary acting coach Sanford Meisner,

we call him Sandy, who said his Meisner technique was based on, and I quote, bringing the actor back to his emotional impulses and to acting that is firmly rooted in the instinctive. Yeah, that's always been the technique that I used, which I think I invented. Recently, in addition to acting, Jeff has been playing more and more live musical shows with his longtime band, the Mildred Schnitzer Orchestra. And Jeff's second album with the band entitled I Shouldn't Be Telling You This was released just last month, as I speak, in November 2019. It features guests such as Fiona Apple, Gregory Porter, Sharon Van Etten and Anna Calvey

performing a selection of jazzy classics with Jeff. That's opposed to classics with Jazzy Jeff, which is a different album. My conversation with Jeff was recorded in London back in July when Jeff and the band were in town playing a show in Shepherd's Bush, West London, the day after a triumphant performance at the Glastonbury Festival. Jeff is a busy, famous guy, and I didn't have an awful lot of time to talk to him. So as you'll hear, I was recording on my little dictaphone as he was arriving and I carried on recording

during the process of being moved from one room to another by Jeff's very nice team in an effort to find somewhere quiet and you will hear the clanks and twangs of my angle poised mic holders being set up when we did find somewhere which ended up being a big empty conference room space in this hotel where we were and it had a couple of chairs in the middle small table with two bottles of mineral water one still one sparkling and speaking of sparkling good segue buckles thanks jeff himself was every bit as charming and friendly as you might expect. He has one of the great voices, one of those voices that it's nice just to listen to. Mellifluous, melodious, a bit like a previous guest on this podcast, the actor Charlotte Gainsbourg.

And coincidentally, as you will hear, that was the episode that Jeff chose to listen to in order to get himself acquainted with the podcast before meeting me. I didn't ask him to. He just did it. I guess that's just Jeff. Possible title for his next album, maybe. Back at the end with a bit more waffle, but right now with Jeff Goldblum. Here we go.

Ramble chat, let's have a ramble chat. We'll focus first on this, then concentrate on that. Come on, let's chew the fat and have a ramble chat. Put on your conversation coat and find your talking hat. Yes, yes, yes. La, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, Right, I'm just waiting for the arrival of Jeff. Jeff sat in a meeting room in Jeff's hotel, which is next door to the venue where he'll be playing tonight. The Shepherds Bush Empire 02,

Labatt's McDonald's venue place. I was all set up in Jeff's dressing room at the venue. But it was very loud. There was a pneumatic drill going at full blast in the building site next door, so we've transferred to a meeting room in Jeff's hotel. I've asked them about the noise of the air conditioning, I think it is, in here. I think they're going to turn it off. We're just waiting for Jeff to arrive. Why are there noises everywhere? Everywhere in the modern world there's noises.

Fucking technology. Why can't they invent silent technology? Who's this now? There's a lot of people in the Jeff entourage. Luckily, Jeff's entourage are all very nice. His band and his tour manager. It's a good scene. Hey, there we go.

My name is Adam Buxton. You're Adam Buxton? Yes, I'm Adam Buxton. Look at you. Look at you. Look at you. How are you doing, Jo? It's very nice to meet you. Sorry, I should have introduced you properly.

No, no, no, not at all. We were in the midst of kind of trying to... I was just thinking, I am recording, by the way, in case you want to say anything. Hello to all my fans and everyone here on the Great British Isles. Is that the right, am I pronouncing it correctly? Have you ever had to do a British accent? Yes.

You know what I did? I did a play early on at the Phoenix Theatre in New York City, early on in my career, where I had the lead role in a, now what's his name, Alfred, no, Stephen Poliakoff. Oh, yeah. Stephen Poliakoff or Poliakoff. Poliakoff, yeah. Brilliant writer. This was called City Sugar.

Okay. And my character was supposed to be from Leicester, England. Right. I'm sure I was horrible. But I was well-received, and actually my father, at that point, uncharacteristically came backstage. He was weeping uncontrollably, and he threw his arms around me. How about that? Wow, and he was not

normally that effusive no no he was a doctor he died around 83 at age 63 just as i was doing big chill around that era you know yeah but no he was a sweet lovely wonderful guy but emotionally conservative in some ways he had thought listen to story, now that we've brought it up. I don't want to bore you immediately. No, you go ahead. Sorry, I mean, you jumped very admirably right into the bridge. Well, I hit the ground running. I'm a self-starter, I think, as they say.

Anyway, my dad, the doctor, Harold Goldblum, was at age 8, 17 or something like that. He was trying to get him and his family out of poverty. You know, his dad came over from Russia, who was named Povartsek, as a matter of fact, changed his name to Goldblum. I would really be Povartsek right now had that not happened. That's where your looks are from, your sort of slightly eastern...

What are you saying? Is this some kind of compliment or some sort of backhanded slap in the face? I feel as if I've been punched in the stomach. It's a compliment. Buxton. Oh, really? Yeah, yeah, yeah.

Okay, good. My swarthy looks? Yeah, almost Middle Eastern. Really? I don't know. All right. Well, you know, I did that show. Are you aware?

And then I'll get back to that story. I'm dropping mental breadcrumbs because I'm going to remember what I want to tell you about my dad when he was a teenager. But I just did that show, I don't know if it's seen here in America, they call it Finding Your Roots. Oh yeah, we've got a similar thing called Who Do You Think You Are?

That more applies to me. That's the British angle on that. Who do you think you are? In America it's nice. It's for finding your roots. Finding your roots. In England, who on earth do you think you are? In America, it's nice. It's for finding your roots. In England, who on earth do you think you are? Right, really. All my people,

it turns out, my mom's dad supposedly all this time was from Austria. My dad's dad was from Russia. I think they were all around the same place. They were all Ashkenazi Jews from around that place, whatever. Russia or Austria or whatever.

And as a matter of fact, the last page, not to spoil, if you ever see that show, the last page of the scrapbook that he had me turn to and surprised me on the air, he said, what percentage of those people do you think you are? I said, well, I'm sure there was some straying here and there and some intermingling around, you know, centuries. He said, turn the page. 100% was the answer. Really? Yeah, centuries. He said, turn the page. 100% was the answer. Really? Yeah, they never stray. They took my DNA. Every single cell in my body is

Ashkenazi Jew. So the fascinating story that I've interrupted myself again to tell you is that my father, when he was trying to find his way in life, thought he was either going to be a doctor, as many people of that generation, of that type did, or an actor, he said. And then he stuck his head in the back of a classroom at Carnegie Tech, as it was then called, now called Carnegie Mellon, where I went when I was 15, 16, took a couple of summer sessions, which really cemented my obsession with being an actor.

He stuck his head in the back of a classroom and said to himself, this is out of my league, which he reported to us later, whatever that meant. Anyway, yes, he lived his life as a doctor, but he had a subterranean latent life, I think, as a more effusive, fully expressive, freewheeling, all-inclusive sort of emotional person. I think he was deeply interesting. But the doctor's life, I'd be a different person if I had become a doctor. Did you ever think about it? Did he ever encourage you to do that? No, he didn't. No, like some do. No, he was much wiser. He said, whatever you want to do, as a matter of fact, if you love it, that's a key to your vocation.

And it's when I was in fifth grade that I took part in this summer camp, the first summer camp, where I had some kind of drama experience. And I had such a great time that I kept it as a secret to myself, in fact. They said, did you like that? After I did this little show. And I was like, yeah. Yeah, I did. And it was then that I sort of planted this seed of wanting to be an actor.

What was it about it that thrilled you? Oh, my golly. Well, this was a camp I played. It was kind of a Gilbert and Sullivan spoof called Bella the Balkans, as a matter of fact. And I played an American tourist in Eastern Europe who met a girl and sang a song to her under the moonlight, and it was kind of funny and kind of romantic, and I got laughs of some kind, and it was just so exhilarating. I don't know. It was in a beautiful theater on a campus, on a college campus, and my mom rehearsed it with me. She played the part of the girl, as you can imagine,

complicatedly, you know, psychologically, but I did it with her, and, you know, there was no kissing involved, no smooching, but it was romantical, and there was a song. But I practiced and worked up my part, and then I did it. How about that? And I'm still doing, you know, that's what I'm going to do tonight, you know. I've worked on my part a little bit, and we're going to play tonight. It feels good to go on stage when you know you can do it, right? Have you been in a position in your professional life,

either musically or with acting, where you really are going on stage and you're winging it and you are not on top of the material? Sure, yes. And I have that common dream that actors do. I have it all the time. It's a nightmare. It's recurring where I'm someplace I don't know what I'm supposed to do. I don't know the lines. Yeah, it's horrible. And for much of my, you know,

Sanford Meisner, with whom I studied, people may know around these parts, famous acting teacher from the group theater along with Stella Adler and Sanford Meisner, and Lee Strasberg. Sanford Meisner, who I studied with, he said, among other wise things, that it takes 20 years to even call yourself an actor after 20 years of continual work, and then a lifelong involvement that can be upwardly progressive. You keep learning. I took that to heart, and I think I'm naturally a late bloomer anyway. And so for much of my early life, I felt inspired by that but also insecure. So I'm more confident these days and self-trustful, in fact.

I've dropped things away like overwork that I didn't need to do early on. Over preparation. Yes, sir. That's right. I could tell you all sorts of boring inside baseball things about that. But, yeah, I do less of that now, happily. But I'm still conscientious. But yeah, I do less of that now, happily, but I'm still conscientious.

I still, depending on the project, do whatever I need to do to solve the challenges and problems ahead. But for instance, I was indulging in performance enhancement experiments all along the way, here and there, the last of which, over a decade of a decade or two, was coffee, like a lot of people do for all sorts of activities. But for me, I'm psychologically weak in some ways, so I felt like it was a crutch. It became a crutch, so I would like, even for an assignment like this, like what we're doing now, I'd feel well. Well, I can't talk to Mr. Adam Buxton without getting my energy. Getting yourself quiet. Yeah, I got to have a cup of coffee. And so I'd sort of figure out, what do we have, a half hour left?

When's that going to kick in? All that stuff. And then I gave it up. I gave it up about five years ago. And since then, I'm kind of a religiously straight as is. I like to get a good night's sleep. And I like to have my foods in order and prepare in any way I need to. In fact, I did a little homework for us.

I listened to the whole of the Charlotte Gainsbourg podcast, which I enjoyed no end. You were fabulous, and the show was fabulous, and she was great. I'm very interested in her. Have you worked with her? Yes, I have. She was my lady love and scene partner for much of the Independence Day, the last one we did. That's right. A few years ago.

I forgot she was in there. So I spent that summer with her. And she's just spectacular in every way and so gifted. And I loved her in the Lars von Trier movies that she talked about and her music. I'd like to do something with her musically. Yeah, that would be fun, wouldn't it? Well. Have you ever talked about that with her?

Yes. Okay. I have. And there may be things brewing. I can't say anymore because I'm sworn to secrecy. But there may be seeds of things blown in the wind. In any case, I listen to that. So the point is I do my homework. I do what I got to do.

But then I show up. And this is me, chatty, as you see that I am. This is you minus coffee. Full of, yeah, bushy-tailed verve, you know, and vitamin A. No, this is just me. Would you like some water? I would like water. Yes, thank you. But I'll get it myself. You're overqualified for such a

task. Wait a minute. I like the big glass. What are you looking for? Well, I'll tell you. Busy or still? Well, for an experience like this, although I may get gassy, which isn't bad. As long as we've warned our audience, if you feel something... Sparkling is not the professional's choice, is it? Why? Because of exactly what you just said.

You don't want to go on stage and suddenly be all burpy. Well, I'm professional, and I don't mind being burpy. I think part of the profession means you bear yourself, including your gastro. And now that we've busted ourselves, if anything comes, they'll know I've warned them. So are you, I was going to ask, I'll just get my pathetic question out of the way, which was. The only pathetic question, Adam Buxton, that there is, is the one you're afraid to ask. Oh, really? I'm afraid to ask this because you will judge me harshly and correctly.

I couldn't possibly. I've built it up too much. You've already won me over. I couldn't. You can't ruin my impression. Look what I'm doing. I'm taking the ice tongs, which are posh. Isn't that what you say around here?

I think tongs around my parts, tongs are only... American tongs. Oh, yeah. I almost got caught. But I love some ice. I love some clinking ice in a fizzy drink. That's the height of festivity to me. Do you not drink alcohol anymore?

No. No. What do you say anymore? Why? Did you hear about my alcoholic past? I don't have one. Well, no. I heard you talking about the fact that you, when you were

talking about acting, the fact that you did feel, I sort of got a sense that you were anxious that maybe there was a more authentic version of yourself that you needed to access. And that maybe I sort of assumed you didn't say, but I, one of the ways that people do that is to get out of themselves with booze and drugs. You know, you've hit something. And yeah, I can confess, I think I've done it before, but I haven't told too many people. Yeah, early on, speaking of performance enhancements, yes. And my insecurities early on, yes. I'd resorted to what many people sometimes do.

Yeah, I thought, oh, maybe I'll take a drink. It'll loosen me up. I didn't like to do it in real life. I didn't feel like I needed it in real life. But I've somehow got the misimpression that I needed to, or I misinterpreted what Mr. Sandy Meisner was saying. There was something missing in me that needed to be enhanced, and I needed to get into some kind of state of freedom or openness that wasn't available to my normal self. And so, you know, I was trying other technical ways to do that. But yes, when it came to, you know, when it was on the line, when things were on the line, sometimes I was tempted to and

resorted to, maybe I'll just take a drink of something. And sure enough, a couple of times, I felt, yeah, that's working good. I can do anything now, you know, like that. And then quickly it became counterproductive and it went against me. And so I learned my lesson about that. But it took a couple more decades before I gave up the coffee and kind of relied on my bones and my own blood and imagination like that. But yeah, I did experiment with that. But aren't there British actors who, you know, they function that way and they go on stage

and knock it back. Well, I mean. They've got different constitutions than I have. I'm a fragile sort of sensitive flower. They'll probably die a lot quicker than you will. I was watching an old Dick Cavett with Richard Harris. Oh, yeah. I think.

He was banged up. I think he'd gotten in some fight or fallen down or something. And Richard Burton I was watching, an old thing of. That's right. And Oliver Reed, you know, those guys. Peter O'Toole. Yeah, that generation of real boozy, a lot of working class guys who suddenly find themselves in this strange, rarefied environment and never quite come to terms with it, you feel. And they've always got something to prove.

I don't know. I'm just. Well, there were some, you know, I had to kind of find myself my own way anthony hopkins who i admire terrifically says talks about how he early on you know and then gave up a little drinking you know for this and that yeah yeah you've worked with uh hopkins haven't you no i've never worked with mr anthony hopkins i've met him once or twice but jeez i love him to pieces what's your favorite piece of hopkins Hopkins well let me see well remains of the day Emma Thompson I did her first movie we were I love it sweethearts in that

movie the tall guy yeah Rowan Atkinson and Richard Curtis whom I is I think the world of and stay in touch with because of more red nose days which I'm thrilled to do and yes he's just a genius and a saint but Emma Thompson is just one of the greatest people on earth, and we had that good time doing that. And then seeing her a couple years later doing Remains of the Day, the two of them, it broke my heart in a million pieces. They were in love with each other, and because of his formality and emotional constriction,

couldn't tell her. I thought it was just beautiful. So I love him in that. Of course, Silas. The stuff with his dad in there as well. Oh, there's also Butler. Yeah. Mr. Stevens, they have to call each other Mr.

He calls his dad Mr. Stevens. Oh, I'm crying now again. It's just so beautiful. But you know what I love him in? And you know what play I love? Because I love the theater, is The Dresser. And I liked Tom Courtney and Albert Finney in the movie that I've seen many, many times. And then they did a version of it. Did you see it? No. Recently, yeah. They did another version of it.

I think I'm remembering this right. It is Anthony Hopkins, I do believe, yes. And is it Ian McKellen as the dresser? Maybe. But I loved it too. Anyway. I'm not going to Google it. Yeah. Okay. No. I'm going to refrain from Googling everything. No, we're just going off of our memories. If we don't know things, that's okay. If something is heinously incorrect, then I've got a fact-checking Santa who drops into the podcast. I like it. Now, you say heinous. I think I say heinous. You say heinous? Well, Americans say heinous. I would, as a Brit, say heinous. Heinous. I think British, that might be it. I say heinous.

But a lot of my pronunciations may well be off i got a lot of my uh pronunciation prejudice from my dad who was speaking of mr stevens in remains of the day his parents were butlers really and servants in a um posh house yeah and then my dad sort of reinvented himself as this quite posh guy yeah and was really quite a fascist about pronunciation and accent and if we said how are we going to do that he'd say how how how now brown carl it was all this sort of stuff you know how you doing you all right how you doing you all right how you doing you all right how you doing you all right how you doing you all right how you doing We are in a hotel now next to the venue where you will be playing tonight with your band. Yes, and speaking of which, my music, for instance, and well, here, there are two elements.

We've already touched on a couple of things that pop into my mind. Part of the show is happily unprepared. A lot of it is spontaneous. What I talk about, what I say, if I talk at all, what I say, and I'm usually Gabby, as you can imagine, but it's off the cuff. And I like that. Well, part of Sandy Meisner's technique was improvisation. And I've done movies like with Taika Waititi recently, Thor Ragnarok that was largely improvised, or at least partly when we were fooling around. I like to improvise. I like to do that in movies, in my work,

but I also like to do the other thing when you're doing Chekhov or Mamet or working with Wes Anderson, as a matter of fact, where he doesn't want the ands changed to these and you have to make it seem like you're improvising. I like all of that, but when I'm doing these jazz gigs or whatever kind of show this is, some of it, if I talk,

it's none of it is prepared. I got nothing to prepare for good or ill people may like it or may not like it but I just me talk and I'm not really talking at them we have conversation I take questions from the audience so I'm sometimes that's it seems like that's what we can do if they have interesting questions yes and I like to open up you know about one thing or another and then musically also jazz you, it's improvised.

So we have, we do what, the form has been played with, as you know, over the decades, but it's still traditionally what you do is you play the head, you know, you do a melody, you identify the melody, articulate the melody, and then you take turns blowing, as they say, or doing a spontaneous, sometimes, variation of the chord progression. And then so you make it up, and you're doing what Sandy Meisner taught us to do in acting. You're listening. You're in touch with. You're paying attention to the other people with whom you're talking, musically in this case,

and they stimulate something in you, perhaps, and the music does. Not to mention, like in live theater, the audience plays a part, too, and you're doing it for them, and it's meant to land on them. So about that show, I just wanted to say those couple of things about those crafty things we were talking about. Jazzy Jeff. Oh, but I know what I wanted to say. But there are elements of the music that these guys with whom I play, who are eighth-degree

black belt master musicians, and they've devoted their life to it. Oh, let me take a drink of this. Sure. Ah, oh, that's better. I wanted to wet my whistle. Do you say that here? Sure. Oh, you do? Really?

Well, I think wet your whistle is usually to do with booze, though. Oh, really? Oh, no, we don't mean it like that. We mean just like to quench my thirst, wet my whistle. Especially if you're dry like that. I just got to wet my whistle. My whistle's a little raspy now that I've wetted it. You can hear it. It's perfectly fine.

It's a beautiful whistle. Well, thank you. So those guys are, you know, they've put 100,000 hours into our, I don't know, a lifetime. How long have you been playing with them? Well, I've been playing out and about for 30 years with a band that's evolved. These guys with whom I'm playing tonight. Mildred Schnitzer tonight, the Mildred Schnitzer Orchestra, we've called ourselves that ever since Hugh Hefner invited us to

be early on 25 years ago part of the Hollywood Bowl Playboy Jazz Festival. That's the first time that we needed to put our names in a program and it occurred to me, oh, this lady who used to be a friend of the family's Mildred Schnitzer, that might be a funny name, etc., etc. And that's the name we've stuck with ever since. And I've been playing out and about for, lo, those 30 years whenever I'm not working on acting. And these guys now, some have been with me in the band six, seven, eight years, some only a year or two. But I should also mention that this second album was with Decca.

Oh, yeah. It's coming out in the fall. And the whole thing came about, you know, when I did the Graham Norton show a year ago when I was promoting Thor Ragnarok. And with Gregory Porter, great, great singer, got the chance to accompany him. And they saw me do that. And then they cooked up this album. And now we're doing the second one. But we've got some guests on the new album that I can't talk about. I'm not

supposed to talk about. I'm dying to talk about. But I can't except the one who premiered her song with us yesterday at Glastonbury. And that's Sharon Van Etten. Right. She and we do a song together. How was Glastonbury? Glastonbury was great. Oh, my gosh. You've been there, I'm sure, a million times. Maybe not a million, but I've been there, yeah. Well, it's been going since 70s, since we did Woodstock. But you've kept it up, and it's the biggest and most glorious thing in the entire world. We've played a few festivals here and there, but as you know, it's the biggest one and the best one in the whole world. Plus, you've got the good weather this year.

I know. Sometimes it's muddy, and then it was hot before we got there. But somehow, the day yesterday just wound up perfectly. Oh, great. It was a grand experience. It couldn't have been peachier. Did you bump into any entertaining music types? No, because we kind of came in and left. We rode in and did our stuff.

Yeah, it was precision. It was surgical. I would have loved to have stayed and camped out the whole three days and seen everybody. You know, Miley Cyrus was singing when we were just leaving. I know her a little bit because she's married to Liam Hemsworth, with whom I worked also on that picture with. Right. With Charlotte Gunsboer. But she sounded great.

Yeah, I would have loved to have met a lot of people there. Well, I just saw your band and you sound checking um before we started speaking over at the uh at the venue and very nice sounded beautiful thank you also i got a good vibe like you guys were all happy you can tell quite quickly when you i i went on tour a few times with bands. I was friends with a band called Travis, Scottish band. And they went and supported Oasis on some shows in the early 2000s across the Midwest. Yeah. Milwaukee and places like that. And after a few weeks, people just got ratty, you know.

They did. Yeah, everyone gets ratty. Travis, very nice people. You know, I love them very dearly, but even they, like, so easygoing, they just got ratty after a while. Well, it's a challenging, you have to rely on your professionalism

to, you know, make sure your rattiness, as you say, doesn't come into the gig life. But, you know, it's a, you've got to make sure you go to bed, and, you know, i'm crabby i can get crabby you don't seem like a um on set tantrum guy though well that's the thing you got to be you know you got to make sure uh you don't infect others you know i'm pretty good anyway listen i'm happy i'm thrilled to be doing this but you know i'm not i'm familiar with and uh i can

be susceptible to getting a little impatient. But no, I'm pretty good. We're thrilled with each other. And then I guess it's challenging sometimes a group like that. That's like a marriage and you're spending all your hours together. That can be, you know, resentments and wounds and things can crop up and you need to be healthy, have a healthy infrastructure for solving them and addressing them and saying you hurt my feelings about this and that and you know get through it and fix it up otherwise boy you can gather a lot of toxic moss exactly rolling along yeah that's right especially if it's a boozy or druggy environment. Those tensions don't get addressed at all.

Everyone just gets hammered at the end of the day after the show. And you defer everything. And none of it gets dealt with. And then, surprise, surprise, everyone wants to split up after. Yeah, you know what I mean. I've been in plays, you know, for a year-long run or something. Oh, and when you're doing something that is so vulnerable-making sometimes, it's joyful but also vulnerable-making, yeah, things can happen.

I've always thought even in plays, with casts in plays, you should have an on-salary therapist of some kind who can say, well, who needs to talk today? What do we need to talk about? Jeff, you made a very sarcastic comment over in the coffee room. Would you like to discuss that? Right, et cetera a very sarcastic comment over in the coffee room. Would you like to discuss that? Right, et cetera, et cetera, et cetera.

Yeah, it's like in marriage. Are you married? I am married, yeah. Yeah? For how long have you been? I got married in 2001. We were honeymooning in Las Vegas on the 10th of September, 2001. Oh, my gosh. And we went down and had loads of complimentary sea breezes and then drifted off to sleep watching

uh tomb raider on the tv and then we woke up the tv was still on and there was a just a shot of the twin towers and one of them was smoking and i couldn't figure out what was going on for a while and then anyway so that's when we got married. Absolutely amazing. In Las Vegas. Yeah, it was very odd. And then the whole of Las Vegas emptied as people got out. But obviously all the flights were grounded, so people hired cars or bought cars.

All the hotels emptied. We had no way of getting out, so we just stayed put. They gave us a rate on the room we were in. How long were you there? How long were you there we ended up we were only supposed to be there for two nights we ended up being there for over a week holy cats it must be a was it bonding i'm sure that's the beginning it's a weird thing it was bonding for me and my wife yeah we didn't really the thing we didn't really do which i wanted to

do was talk more to other americans i think i assume that they were everyone was shell-shocked and felt very strange it was so weird that everything just carried on my dad phoned up and asked if we were okay and he said uh the world will never be the same again i remember thinking come on it's not gonna be that bad but of course he was right and it did feel apocalyptic and scary and then to be in such a strange place anyway in las vegas it's also artificial very strange i know i know and it felt as if we were in some ways in the exact epicenter of everything that the terrorists despised. You know what I mean? Yeah, yeah.

It was so interesting. I was in Los Angeles that day, and my friend, I woke up, and I checked my answering machine, which we still had at that point, and my good friend Ed Begley, Jr., who was a wonderful guy and an environmental activist, said, Are you watching this madness? I went, What are you talking about? He said, Put it on the TV.

Yeah, and then I put it on. Yeah, yeah, yeah. Are you laid low by those kinds of world events? Well. Sort of spiritually or emotionally? Oh, yeah. I'm a sensitive fellow. And I kind of can, my nervous system and heart can rise and fall with daily events and crises as we go along. But I'm trying, I like to get a larger perspective

sometimes. I'm reading right now Yuval Harari. I read Sapiens, now I'm reading Homo Deus, partway through that. And I love his writing. And I love to read something and get involved a little bit mentally in something that isn't just the ups and downs of the daily dramas. And he says, for instance, that we're in an unusually peaceful period now, and famines and wars, really, and plagues have been essentially eliminated, it seems. Maybe we're just in an eddy of that cycle, which could turn, as he says, you know, nuclear war is one of the risks that we need to cooperate globally about and solve somehow, and climate change, of course. He feels that the deterrent, nuclear deterrent, has actually worked. I know. as intended. Robert Oppenheimer, he credits with this little cycle of peace.

That's right. People are so scared. But you can imagine, maybe it'll seem after a time that, wow, it really sobered us up, scared us for a while. Yeah, I just wish it wasn't still there. I wish they could go, okay, that was good. Now we've learned our lesson. Can we remove it yeah weaponry like that yeah i would feel better too and the the yeah we need to address

it and figure out a way to deproliferate for me especially for my generation uh who um i'm 50 so i grew up towards the tail end of the cold War. Well, actually, no, it was pretty much in the thick of the Cold War with people expecting to be extinguished by nuclear Armageddon any day. It wasn't quite like it was in the 60s with the, what was it? Right, with the Cuban Missile Crisis. Cuban Missile Crisis. And Russia, the standoff feeling that we had drills where we hid under the desk in school in case of nuclear attack. Right.

Yeah, yeah. So it wasn't quite to that degree, but it was growing up with the government information films about what to do in the event of an attack. nightmare that now of course for the younger generation it's climate change and environmental concerns i suppose that they'll have to reckon with and and terrify them climate change and technological disruption right as he says we're in he says we're in a particularly transformational you know landmark time where the entire species may change very quickly this is uval yes yes and we have to figure out now, you know, the challenges may be massive, unexpected, and we have to be flexible and figure out how to find our stability even in a more than ever rapidly changing world.

Were you thinking about some of these kind of massive geopolitical existential threats when you made the decision to have children. I remember when my children were born, when I told one or two of my friends, one of them said, like, why would you want to bring children into this world? Actually, that was shortly, just a few months after 9-11, my wife was pregnant, and a couple of my friends, yeah,

said, what are you doing? You know, it's the world's going down the lap. Right. Well, yes, I did also. How old are your kids now? My children are now, my daughter is 10, and I have two boys, 15 and 17. Oh, that must be wonderful. I have two boys about that spread apart.

They're now four and two. Charlie Ocean Goldbloom is four this coming Independence Day, 4th of July, and River Joe has just turned two. Charlie Ocean, Goldblum is four this coming Independence Day, 4th of July, and River Joe has just turned two. And yeah, sure, not only my own life and considerations, but the continuum, and I considered this serious step, but also, yeah, the world as it now exists. But reading these books as I am, you know, he says in the long view, in the overview, in the high altitude helicopter view, you're more likely nowadays to be killed by, you know, a car accident than a terrorist, and by overeating than by hunger, et cetera, et cetera. And then, you know, you see how history has gone, and there have been many times when people could have and should have and probably did ask themselves, geez, do I want to bring myself

into this medieval world, you know? Yeah, no, he's certainly not advocating complacency, but it is, as you say, valuable to have a sense of perspective. It's so easy to get sucked into a kind of very micro-catastrophist way of looking at the world. Sure, and with 24-hour news, like everybody says, yeah, you get easily caught up with the show, you know, the passing circus. Yeah, it's nice to get a little perspective. But like he also says, having children now, yes, it's also a consideration. What's their life going to be? And we don't know more than ever, he says. We don't know when they're 20 years from now, 30 years from now,

when Charlie and River and your kids are older, what it's going to be like. So we don't know. And how do we prepare them is the question. You're in the meat of educating them, I know, I'm sure. And all that must be challenging and many questions. It is challenging. I'm just at the beginning of. The thing that I run up against all the time is just how horribly unqualified I feel and what a massive hypocrite I am in so many ways.

You just sort of assume, or at least I assumed when I had children that, oh, well, they'll just assume all the best qualities of me, and they won't have any of my hang-ups or shortcomings. They'll be fine. And, of course, they've got all of them, good and bad, and also a whole raft of other new qualities, which are great. But it's painful to see the worst of yourself reflected back at you sometimes. That's good. I can imagine.

And I'm thinking about, I was just thinking for a second back to the piano and how you feel about and some aspects of going on stage and being really still a work in progress. Tomorrow I'm going to be a better piano player than I am today, but here it is for all to see what I'm doing now. I can hold my head up and say, I love it and I've worked at it and to see what I'm doing now. I can hold my head up and say, I love it, and I've worked at it, and here's what I'm doing, but I can certainly get better. Well, even more importantly and seriously minded, Lee, is our parenting. Yeah, I'm sure we're screwing up one thing or another, and where it's a work in progress, you're learning as you go. It would be great if you can take the whole course and know what you're doing before you enter the arena, but you can't.

And this is real and important stuff. You really got to learn as you go and have to forgive yourself a little bit and ask forgiveness from them and anybody else who might be watching. As Albert Brooks says in Defending Your Life, I'll do the best I can. If you let me out of this halfway house purgatory and take me back to Earth,

I'll just do the best I can. I'm not sure I've seen that. Oh, that's a good movie. I like those first few Albert Brooks movies. You know, Real Life is the first one, Modern Romance, Lost in America, and then Defending Your Life with Meryl Streep. Oh, it's good. Lost in America I have seen.

Julie Haggerty. Julie Haggerty. They go through Vegas to get remarried. They're on their kind of honeymoon there. And he finds out that she's got a, of course, as you remember, a horrible gambling problem. Come back to me, 22. Come back to me. She loses their whole nest egg.

Yeah. She's great, man. Oh, yeah. I worked with Julie Haggerty. Right. What did you work with her on? In Paris with Robert Altman. We did a movie version, his variation of Beyond Therapy, Chris Durang play.

Right. Chris Guest was in that movie. Good one. Yeah. What was that called? Beyond Therapy. Oh, Beyond Therapy. Yes.

Yes. Beyond Therapy. It was a movie not as highly esteemed as Nashville, another Robert Altman movie that I was in in 73 and a couple other ones, but you know, we did it. He was out living in Paris and I was thrilled to work with him. Is it a compulsion that leads you to explore that leading edge of all of that?

Yeah, I'm still a curiosity seeker. Looking at the idiosyncrasies of things. A mountain or a tree is the manifestation of forces that we are not capable of dealing with. I'm very drunk in this. I guess I'd seen you first in Invasion of the Body Snatchers. Oh, 1978.

1978. Donald Sutherland, Leonard Nimoy. That's right. Yeah, Brooke Adams. Yeah, who's great as well. Who was in Terry Malick's second movie, Days of Heaven, if you've ever seen that you know terry malik wonderful director did uh badlands yeah love that with sissy spacek and martin sheen but her second movie yeah had brooke adams and then veronica cartwright played my wife in that who was the young girl in the birds that i didn't know

she was in the birds oh yeah yeah yeah and then a year after Body Snatchers, she was in Alien, of course. That's right. Yeah. Ridley Scott. I loved that movie. Yeah. That was good, wasn't it? It really was.

I just saw Ridley Scott in one of these roundtable, Hollywood Reporter roundtable. You go on YouTube and there's a bunch of new interview kind of experiments, aren't there? Podcasts and things. Oh, so he was interesting and talking about uh directing yeah he's really good at talking about directing i used to listen to all the dvd commentaries back in the day which i was thinking a kind of a forerunner of the podcast medium in a way long-form conversations about something you're interested in i like that you can really take a course you know a film course by listening to that and these days by you know do, there's a thing on YouTube called Masterclass that you've probably seen

where all sorts of people are giving their, you know, everything. It's fun. How did you get into this where you're the king of podcasts here? It's an interesting, I like this long conversation. I like it too. I always liked long-form conversations. But in the UK, there used to be a lot more TV where people would just sit around and talk. The show was just some people talking.

Yeah, well, in America, too. You know, Jack Parr, the early days of talk shows were more conversation and less performance, shortened, you know. Yeah, yeah, yeah. Get in there and put on a show. Yeah. It's fun, and all sorts of people are experimenting with that. Kevin Nealon has this thing, Hiking with Kevin. Oh, yeah.

Have you seen that? I saw you on it, yeah. Oh, you did? Yeah. I like that a lot. It's just like this. Nobody else in the room. He has got a selfie stick.

Right. And he goes on different trails. And you talk. And then he cuts into, he keeps the good parts. And he doesn't adhere to any kind of interview, you know, agenda. And does like what we're doing, just kind of goes from one thing to another, as it occurs to us, just kind of the flow of conversation.

It's enjoyable. I do like it, yeah. I do too. Body Snatchers, though. Ooh, what a film. Well, Phil Kaufman directed that. It stands up very well. I watched it the other night with my sons.

It was one of my movies every now and again. One of the things I was excited about having children was sharing with them these formative cultural experiences. Yes, I am too. I'm not that age yet. We're kind of denying them screen time yet. Although I've showed them a little bit of Chaplin and Buster Keaton

which he loved, you know, but me and Emily were sort of sticking to this other thing. That's admirable. That's hard to do. Yeah. I don't want to see kids, you know, who can't make eye contact and are just already, you know,

stuck to their phones and everything. So anyway. But soon. But I'm looking forward, like you. I can't wait to show them all kind of movies. What's the first movie of yours that you'll show them? Oh, of mine. Well, that Isle of Dogs movie.

You know, Wes Anderson is so good. And Isle of Dogs, it has adult things in it. And it's sophisticated, you know. But they might like that stop motion animation a little bit. Yeah, it's beautiful. What else could I show them? Well, I guess Thor Ragnarok. Oh, yeah.

They could get a kick out of that. Yeah, but before I show them anything like that with, you know, visually pyrotechnic, you know, I want to show them Buster Keaton

and get them started slow so they'll appreciate, you know, have a chance to appreciate something like that. Good for you. This last movie I did, I'm not going to show to them

yet I play a lobotomist. Okay. My character in 1954 in America. It's kind of a critical Americanist. Okay. My character in 1954 in America. It's kind of a critical American poem. Ty Sheraton, who starred in Ready Player One, young kid, he and I go on a road trip in the Pacific Northwest as I'm trying to still do my lobotomies in these asylums

in the Pacific Northwest and get drunk. That sounds interesting. Yeah. I like it a lot. Yeah. Yeah. When you do a film, though, like Body Snatchers, which is supposedly, that was a remake of an original by Don Siegel.

Yeah. And the received wisdom is that it's an allegory about, well, it can be read as so many things, can't it? Yes, it has been. The pod people who are just... You get replaced by somebody who now doesn't have your humanity. What is humanity? I think it asks in some ways. Also, the red scare was the sort of metaphor that was attached to it early in the first version.

In ours, yeah, I don't know. I'm just thinking out loud. Yes, maybe it has something to do with what is it, which is interesting that I'm reading about with Harari's talking about what is it about the homo sapien, the human being that is unique. Well, we made up stories about ourselves in order to justify our brutalization of other creatures on the planet, thinking that we had something that they didn't. Yeah, it's sort of allegory about fighting mindless conformity, basically. Whether you're, however you read it politically, it's just that urge, that very human urge to conform, to not stand out, and the bad places that that can take you.

Yes. Well, homo sapiens apparently flourished and became dominant because they could cooperate in huger numbers than any other mammal around these stories. And yes, then they conform to those stories. Yes, I'm part of that group. We say to ourselves nationally or politically or otherwise, and we cooperate. There's some good things about that, but of course there is some, what do we give up? What do we sacrifice when we do that? Yep, yep, yep. Yeah, and the flip side is the horror of being cast out somehow, which you see on social media and the shaming that goes on when people

say the wrong thing, you know. Have you read John Ronson's book, So You've Been Publicly Shamed? No. Oh, man. I think you'd find it interesting. I wanted to ask you, before you go, I'm a huge Bowie fan. I love Bowie. Me too.

You were in a film with him, Into the Night, John Landis' film. Yep. And it was a thrill for me to go and see that film with my friend Joe. 1985, I think it came out. 85? Maybe you filmed it in 83. Yeah, something like that, 84, 85. And you had a couple of scenes with Bowie.

Yes, I did. Did you get any time to get to know him at all? I loved him and would run into him a couple of times after that. It was always wonderful to know him at all? I loved him and then would run into ran into him a couple of times after that it was always wonderful to see him no I wish I'd had my wits more about me and you know in those days I would have even found out if I knew I was going to work with him I was a fan of his but I didn't know everything about him and didn't know everything to ask him. And, you know, so I didn't mind that vein of curiosity and the gift of his, of having an exchange with him as much as I might, but I enjoyed it no end. He was great.

I had seen, when I was doing that movie that I mentioned in Nashville with Robert Altman, Shelley Duvall and I went one night at her urging. She said, I love this guy, David Bowie. I said, I don't know that much about him. Yeah, he's doing this Diamond Dogs, Ziggy Stardust kind of thing, and he's doing it live. He's touring.

He's coming to Nashville. We've got to go see him. So she and I went to see him. I saw that show in 1973. No way. Whoa. It was great. So at least I got a chance to see him do that.

And then I worked with him. That's right. Was that the show where he came down on a cherry picker? I think so. Yeah. I remember a point at which he had a couple of guys on all fours, and they had their dog collars on. And he was singing.

Yeah. He was wearing kind of a unitard or something. Yeah. He was great. Good one. What's your routine now before you go on stage? I have no usual routine, but now I'm,

I was planning five 30, go back, play a little on my own. Cause I liked to be on the road. Sometimes I find a piano in a hotel or, but sometimes I can't like now. And then a couple of days go by at least where I can't spend by myself time where I go through all my material and have a practice session.

There's a piano in the lobby here at the hotel. But there's a sign on it that says, please don't play. I already tried to tinkle, and they were like, no, no, no. Sometimes they go, oh, Mr. Goldblum, sure. And then sometimes they go, no, no, get out, don't play. So it's always touch and go. But I need some time. And so I was going to do that on that lovely piano next door at the O2 Empire. It's a very nice piano. It's just been tuned now. Anyway, I was going to do that on that lovely piano next door at the O2 Empire. It's

a very nice piano. Just been tuned now. Anyway, I was going to do that and then have a little pre-show meal. Did you ever play that piano at the Chateau Marmont? Yes, I have. What were you doing around the Chateau Marmont? I live not far from there. This was with my friends, Travis, the band, and they were recording at Ocean Way Studios. And they were staying at the Chateau and there was many evenings where we'd end up with them stood around the piano singing Joni Mitchell songs and lots of L.A. musicians would kind of come and hang out. There's a guy called Jason Faulkner

who was playing in Beck's band at the time and Joey Ramone was milling around. It was thrilling, you know, it was great. Have you ever sat down there with some musical legend and done a little duet? I don't know about musical legends, but I've sat down there and played. That's a nice, it's a grand piano, but it's an acoustic piano. It's a little tinkly and tinkly. Yeah, I've played there a little bit. I've played any hotel I'm staying at. I find myself in the lobby oftentimes if they'll let let me, and playing. Yeah, yeah, yeah. I live not far from there.

I've been there. That's where I take a lot of meetings there at the Chateau. Right, okay. It's a nice place, isn't it? It is nice, yeah. I got married there, as a matter of fact. Yeah, Emily and I got married there. In one of those sort of bungalows.

Bungalows. Yeah, up there. Yeah, that's right. It was kind of mid-century, kind of sliding door, little bungalows. It was fun. Very nice. L.A. is a beautiful place in parts, isn't it? It's like sort of, depending on where you look at it, some of it's...

Right. Oh, yeah. Well, see that movie. I have a recommendation for you. If you like L.A., see a documentary called L.A. Plays Itself. Uh-huh. Ooh, it's all the movies that this guy wants to show you that are filmed in Los Angeles, about Los Angeles.

And then he points out the real history in contrast to the depicted history, oftentimes. But it's really good. L.A. plays itself. Okay. I like that a lot. Definitely seek that out. L.A. has a very, very interesting culture, doesn't it? Mm, well, you can use your available time now before you go on stage to explore the cultural delights of Shepherd's Bush. I'd like to.

Get yourself a couple of kebabs. Yeah, I would like to. I don't know it much. I mean, I've been here. I should. I've been around here. I've made movies. I've done plays, but I should know it more. Well, I wish I was hanging out in Shepherd's Bush with you tonight, but I hope you have a great gig.

It's so lovely to hang out with you. Very nice to meet you. Are you coming to the gig? I've got to get back to Norwich. Norwich. I live in East Anglia. Oh, really? And I don't have an overnight pass from my wife.

Okay. Well, do what she tells you to. Wait. This is an advert for Squarespace. Every time I visit your website, I see success. Yes, success. The way that you look at the world makes the world want to say yes. It looks very professional. I love browsing your videos and pics, and I don't want to stop.

And I'd like to access your members area and spend in your shop. These are the kinds of comments people will say about your website if you build it with Squarespace. Just visit squarespace.com slash Buxton for a free trial. And when you're ready to launch, because you will want to launch, use the offer code BUXTON to save 10% off your first purchase of a website or domain. So put the smile of success on your face with Squarespace. Yes. Continue. I've become free. I've been released and you can't stand it. hey welcome back podcats jeff goldblum oh and i'm very grateful to rachel and tom at deca records who put out jeff's albums and they were very helpful in setting up the conversation with Jeff so thanks a lot Rachel and Tom much appreciated and of course I'm very grateful to Jeff himself

for agreeing to do it and giving up his time so how's it going podcats hope you're well slightly weird build up to Christmas this year well it's always weird isn't it like slightly weird build up to Christmas this year well it's always weird isn't it I always think this year I'm going to clear my diary and the build up to Christmas won't be stressful and I'll get all my Christmas prep done

and instead of just buying things for my wife and for the children buying more crap that no one really needs I will paint portraits of people they love and I'll go back to art and I will create little sculptures from twigs and stones and make beautiful little craft objects.

And then, you know, that doesn't happen. I just run out of time. This year, of course, we've got the election as an added distraction. This time next week, it'll all be done. I mean, I think people feel as if they know the way it's going to go, but if there's one thing we've learned from the last five years is that it doesn't pay to be too certain about anything. So it's interesting.

And of course, it's worth voting. So look, before I say goodbye today, a couple of bits of business. Adam Buxton podcast poster news. There is a brand new poster available now via the Backstreet Merchandise website. Link in the description. I think I did tweet it a few weeks back, but I kind of haven't been using Twitter very much at all recently. But there's a link in the description. It's a beautiful design by Luke

Drozd. I'm never sure exactly how to pronounce his name. And I have asked him, and I just can't remember what he said. Oh, I'm terrible. Anyway, Luke's done a great job. It's a lovely design that features myself and Rosie staring off into the distance, looking like heroic working folk from a Soviet propaganda poster. And it's a limited edition. Each poster is signed by myself and Luke.

It is selling fast, if by chance. They are all gone by the time you visit the site. Don't worry. Everything's going to be fine. I think we'll probably do another edition at some point in the not-too-distant future. And, by the way, Luke has astarter that it would be great if you could contribute to if you feel so moved he is trying to raise funds for the production of a book

featuring the beautiful gig posters that he's designed over the last 15 years says luke it's called can you make the band name bigger and will be a 200 by 300 millimeter full color book of at least 176 pages oh that's so many pages really good it's basically more of a pre-order deal than anything else says luke but there's a load of exclusive rewards available too including a limited edition screen print, a letterpress story print, some daft stickers, and some even dafter t-shirts.

It features a forward by the brilliant comedian and writer Stuart Lee. I know Luke's done a few posters for Stuart's shows over the years. An introduction also by gig poster hero Jay Ryan, and the book will contain insights into the work from both myself and bands and musicians that I have worked with, including Will Oldham, a.k.a. Bonnie Prince Billy, Adam Buxton. Oh, I love him. Shirley Collins, Metz and more. So there you go. If you'd like to support Luke's Kickstarter, the link is in the description of this podcast. Other bit of business, just want to give a quick shout to Book Trust, the UK's largest reading charity. Every year they reach an estimated 3.9

million children with books, resources, and support to help develop a love of reading. That's got to be worthwhile, don't you think? The Book Trust Christmas Appeal raises money to send special parcels to children who are vulnerable or in care. And especially at this time of year, it may be their first festive season away from their family or there may be no money to buy presents. Receiving a parcel from Book Trust could bring some much needed cheer to a child. Link in the description of the podcast. I just thought it seemed like a very worthwhile charity I donated.

And if you can afford to do so so it would be great if you did too Rosie! Rosie come on let's head back come on got my mother and my brother coming to visit today mothers and brothers

as Lady McGovern from Downton Abbey would say so i'm looking forward to seeing them and uh carrying on plugging away at my book getting there book tour dates in 2020 are selling fast over 15 people now coming to that inverness show it's going to be crazy link in the description of the podcast thank you very much indeed to seamus murphy mitchell Over 15 people now coming to that Inverness show. It's going to be crazy. Link in the description of the podcast. Thank you very much indeed to Seamus Murphy Mitchell for his production support on this episode.

Oh, and look, Matt Lamont, who edited the conversation in this episode and many others in the podcast, is also a producer on Horrible Histories, the TV show, and they just won a British Academy Children's Award the, what is it, sixth time, I think they won a BAFTA in that category. Anyway, I know Matt is very proud of his work on Horrible Histories and is thrilled that they won in that category and so my congratulations to the team and to matt even though of course as we all know awards are a meaningless

load of shit i'm joking of course they're great and they are an indication that you are at the very top of your game which i already knew but good job Matt hey thanks a lot for listening back next week with one more podcast conversation with an exciting not to say legendary name before

the Adam and Joe Christmas podcast which will come out on Christmas Day but that's it for this week oh look the sun's coming out till next time take care I love you

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