1 00:00:12,400 --> 00:00:16,000 I grew up in Germany without television. 2 00:00:16,000 --> 00:00:18,560 So my parents basically thought 3 00:00:18,560 --> 00:00:20,160 television was, you know, the end of 4 00:00:20,160 --> 00:00:22,880 culture as we know it. I remember 5 00:00:22,880 --> 00:00:25,760 roughly at the age of 12 sneaking into 6 00:00:25,760 --> 00:00:27,840 the back door of the little local cinema 7 00:00:27,840 --> 00:00:29,920 in our little village and they were 8 00:00:29,920 --> 00:00:33,360 playing once upon a time in the west 9 00:00:33,360 --> 00:00:36,320 and it was just the huge Sier Leone 10 00:00:36,320 --> 00:00:38,640 images was the Anya Maricone music and I 11 00:00:38,640 --> 00:00:41,600 went that's what I want to do. I've been 12 00:00:41,600 --> 00:00:43,680 misled all my life being taken to 13 00:00:43,680 --> 00:00:45,600 concerts and operas. This is where it's 14 00:00:45,600 --> 00:00:48,480 at. It never occurred to me that I could 15 00:00:48,480 --> 00:00:51,120 actually go and do movies. What happened 16 00:00:51,120 --> 00:00:54,559 was that my writing of music changed and 17 00:00:54,559 --> 00:00:56,399 it became more about storytelling. I 18 00:00:56,399 --> 00:00:58,559 became more interested in telling a 19 00:00:58,559 --> 00:01:01,520 story in music than anything else. And 20 00:01:01,520 --> 00:01:05,119 you know I did the usual um was in a pop 21 00:01:05,119 --> 00:01:09,200 band um I did a record with a chap 22 00:01:09,200 --> 00:01:10,799 called Trevor Horn called Video Kill the 23 00:01:10,799 --> 00:01:14,720 Radio Star which sort of really what we 24 00:01:14,720 --> 00:01:16,320 wanted to do we wanted to make a movie. 25 00:01:16,320 --> 00:01:17,759 we didn't really want to make a record 26 00:01:17,759 --> 00:01:20,479 and the record is very much a story. So 27 00:01:20,479 --> 00:01:22,240 I became more and more interested and 28 00:01:22,240 --> 00:01:25,600 fascinated by the possibilities that 29 00:01:25,600 --> 00:01:29,600 music and images had. Um 30 00:01:29,600 --> 00:01:31,360 one of the pro one of the problems I had 31 00:01:31,360 --> 00:01:35,280 in my sort of pop music experience was 32 00:01:35,280 --> 00:01:37,840 that it felt very limited in many in 33 00:01:37,840 --> 00:01:40,799 many many ways. one partly it was the 34 00:01:40,799 --> 00:01:42,720 structure of a pop song was always you 35 00:01:42,720 --> 00:01:45,439 know introvere chorus bridge chorus 36 00:01:45,439 --> 00:01:48,560 chorus chorus out um so the structure 37 00:01:48,560 --> 00:01:50,960 was always the same and it didn't expand 38 00:01:50,960 --> 00:01:53,520 and it didn't expand on you couldn't 39 00:01:53,520 --> 00:01:56,079 take emotional risks in a funny way and 40 00:01:56,079 --> 00:01:57,840 you couldn't tell the stories I wanted 41 00:01:57,840 --> 00:02:01,200 to tell or I wanted to talk about and 42 00:02:01,200 --> 00:02:04,320 movies let you do that you know and I 43 00:02:04,320 --> 00:02:06,719 will miss the late nights on the British 44 00:02:06,719 --> 00:02:10,319 motorways forever but not really. And 45 00:02:10,319 --> 00:02:12,080 exchange it for late night sitting in 46 00:02:12,080 --> 00:02:14,800 front of movie screens and talking to 47 00:02:14,800 --> 00:02:17,920 directors. And really 48 00:02:17,920 --> 00:02:20,640 part of part of the 49 00:02:20,640 --> 00:02:22,480 thing that happened as well about 50 00:02:22,480 --> 00:02:25,680 writing for movies was suddenly you you 51 00:02:25,680 --> 00:02:27,920 were in a room with people who knew how 52 00:02:27,920 --> 00:02:30,319 to tell a story. And it was I mean look 53 00:02:30,319 --> 00:02:32,000 the first director I ever met met met 54 00:02:32,000 --> 00:02:34,959 with was Nick Rogue, Steven Friers, you 55 00:02:34,959 --> 00:02:36,879 know those sort of English directors in 56 00:02:36,879 --> 00:02:38,879 the 80s. you know, working on things 57 00:02:38,879 --> 00:02:40,480 like My Beautiful Lerette, which were 58 00:02:40,480 --> 00:02:42,560 stories which felt relevant. It they 59 00:02:42,560 --> 00:02:44,959 felt more relevant than the pop songs we 60 00:02:44,959 --> 00:02:46,480 were doing. There was a sort of a 61 00:02:46,480 --> 00:02:48,800 freedom attached to the way we could 62 00:02:48,800 --> 00:02:50,879 structure music and we could, you know, 63 00:02:50,879 --> 00:02:52,560 if if today I wanted to write a 64 00:02:52,560 --> 00:02:54,160 psychedelic country and western heavy 65 00:02:54,160 --> 00:02:56,160 metal song, nobody was stopping me from 66 00:02:56,160 --> 00:02:58,879 doing it. While in the record business, 67 00:02:58,879 --> 00:03:01,840 you know, which pretended that you had 68 00:03:01,840 --> 00:03:04,400 freedom, um it was quite the opposite 69 00:03:04,400 --> 00:03:06,640 where you were actually put into these 70 00:03:06,640 --> 00:03:08,560 narrow little boxes. You know, you are 71 00:03:08,560 --> 00:03:11,040 doing electroop, you're doing whatever 72 00:03:11,040 --> 00:03:14,879 you're doing. So, the freedom that came 73 00:03:14,879 --> 00:03:18,080 with doing movies was um enormously 74 00:03:18,080 --> 00:03:21,080 attractive. 75 00:03:25,280 --> 00:03:27,599 I came to cinema weirdly late. I mean, I 76 00:03:27,599 --> 00:03:31,120 I told you earlier that um the first 77 00:03:31,120 --> 00:03:32,799 thing I really saw was Once Upon a Time 78 00:03:32,799 --> 00:03:34,480 in the West because I sort of snuck in 79 00:03:34,480 --> 00:03:37,360 as a kid, you know. Um I still owe the 80 00:03:37,360 --> 00:03:39,920 money. Um and it just blew me away 81 00:03:39,920 --> 00:03:41,519 because for the first time I could make 82 00:03:41,519 --> 00:03:44,959 sense of Yeah. Peter and the Wolf was 83 00:03:44,959 --> 00:03:46,560 great as a kid because somebody was 84 00:03:46,560 --> 00:03:48,159 telling you a story and the music was 85 00:03:48,159 --> 00:03:52,080 excellent. And I think the whole thing 86 00:03:52,080 --> 00:03:53,599 for me was that that I was just 87 00:03:53,599 --> 00:03:55,599 surrounded by music and the only sort of 88 00:03:55,599 --> 00:03:58,959 entertainment I had was you know playing 89 00:03:58,959 --> 00:04:00,879 around on the piano and it formed my 90 00:04:00,879 --> 00:04:03,200 direction in so far that this was the 91 00:04:03,200 --> 00:04:05,599 most pleasurable thing playing music. 92 00:04:05,599 --> 00:04:08,239 Um, the music that I loved in a funny 93 00:04:08,239 --> 00:04:11,040 way told stories. You know, it's it it 94 00:04:11,040 --> 00:04:13,599 figured out, you know, I can sit there 95 00:04:13,599 --> 00:04:16,160 and listen to to any Beethoven symphony 96 00:04:16,160 --> 00:04:19,440 and he's telling me a story. And I just 97 00:04:19,440 --> 00:04:21,600 I like the storytelling aspect of it 98 00:04:21,600 --> 00:04:23,120 because there is an arc that goes 99 00:04:23,120 --> 00:04:24,560 through these pieces of music. And you 100 00:04:24,560 --> 00:04:27,199 listen to any good piece of music, there 101 00:04:27,199 --> 00:04:30,400 is a narrative arc. Um, it doesn't 102 00:04:30,400 --> 00:04:32,240 matter how abstract the piece is, there 103 00:04:32,240 --> 00:04:35,440 is a narrative arc. And I became 104 00:04:35,440 --> 00:04:38,240 interested in 105 00:04:38,240 --> 00:04:40,880 how to capture this narrative arc. And I 106 00:04:40,880 --> 00:04:42,960 tried to get into film as quickly as 107 00:04:42,960 --> 00:04:45,520 possible because I knew that and I 108 00:04:45,520 --> 00:04:47,040 didn't I didn't want to be the lead 109 00:04:47,040 --> 00:04:48,960 singer or anything like this either. 110 00:04:48,960 --> 00:04:52,639 That I think the idea that the story and 111 00:04:52,639 --> 00:04:56,479 the picture and the images 112 00:04:56,479 --> 00:04:59,040 is the driving force and I get to be 113 00:04:59,040 --> 00:05:00,960 sort of the engine underneath it. I get 114 00:05:00,960 --> 00:05:04,479 to help tell the story as opposed to be 115 00:05:04,479 --> 00:05:06,320 the one 116 00:05:06,320 --> 00:05:10,320 telling the story by myself. Uh just, 117 00:05:10,320 --> 00:05:12,720 you know, it's just what I love doing. I 118 00:05:12,720 --> 00:05:16,400 just love being part of this other band, 119 00:05:16,400 --> 00:05:18,320 which isn't just musicians, but it's 120 00:05:18,320 --> 00:05:23,120 directors and writers and actors. Um, 121 00:05:23,120 --> 00:05:25,840 in a funny way, I I see myself, I 122 00:05:25,840 --> 00:05:28,720 suppose, more as a filmmaker than as a 123 00:05:28,720 --> 00:05:32,880 musician because I sort of know how to 124 00:05:32,880 --> 00:05:34,800 if I have to use words, which I have to 125 00:05:34,800 --> 00:05:36,800 do now, I sort of know how to 126 00:05:36,800 --> 00:05:39,039 communicate in the filmmaker language. I 127 00:05:39,039 --> 00:05:41,600 know that language. But then I can do 128 00:05:41,600 --> 00:05:43,919 this one thing which they can't most of 129 00:05:43,919 --> 00:05:45,919 them can't do which is I can go and sit 130 00:05:45,919 --> 00:05:48,960 down at the piano or at a synthesizer or 131 00:05:48,960 --> 00:05:52,240 something like this and I can 132 00:05:52,240 --> 00:05:55,600 get just beyond language and I think 133 00:05:55,600 --> 00:06:00,520 that's what good film music does. 134 00:06:04,479 --> 00:06:06,240 I have to give you some context. The 135 00:06:06,240 --> 00:06:09,039 context basically is that I am convinced 136 00:06:09,039 --> 00:06:12,240 and absolutely sure of this fact that I 137 00:06:12,240 --> 00:06:14,560 have no idea how to do your movie. I'm 138 00:06:14,560 --> 00:06:18,160 no I'm not good enough. And everybody's 139 00:06:18,160 --> 00:06:20,000 going to say by now, oh, you've done a 140 00:06:20,000 --> 00:06:22,479 100 or something movie. You you know 141 00:06:22,479 --> 00:06:24,000 what you're doing. But it's not like 142 00:06:24,000 --> 00:06:26,080 that. It's always a blank piece of 143 00:06:26,080 --> 00:06:28,720 paper. And I can't remember any of that 144 00:06:28,720 --> 00:06:30,880 stuff I've done before. So everything is 145 00:06:30,880 --> 00:06:33,039 like, oh my god, I have no idea what to 146 00:06:33,039 --> 00:06:35,680 do. As much as I wanted to come to Los 147 00:06:35,680 --> 00:06:38,240 Angeles and I wanted to go and and work 148 00:06:38,240 --> 00:06:41,039 on on the movies that I was a fan of, 149 00:06:41,039 --> 00:06:43,199 work with the filmmakers that I was a 150 00:06:43,199 --> 00:06:47,759 fan of, work with artists that truly 151 00:06:47,759 --> 00:06:52,000 meant something to me. Um, I thought if 152 00:06:52,000 --> 00:06:54,960 I come here, I I have nothing to show. I 153 00:06:54,960 --> 00:06:57,759 you know it's it's I'll just be lost in 154 00:06:57,759 --> 00:07:00,000 the sea of 155 00:07:00,000 --> 00:07:02,800 enormously talented people if you know 156 00:07:02,800 --> 00:07:06,000 if I I'm do I was doing music. I was 157 00:07:06,000 --> 00:07:08,080 doing music and I was happy with doing 158 00:07:08,080 --> 00:07:10,000 music. I was I was actually working on 159 00:07:10,000 --> 00:07:12,880 some pretty cool films in England and 160 00:07:12,880 --> 00:07:15,919 one of the little films I did was uh 161 00:07:15,919 --> 00:07:17,280 it's actually a really great movie 162 00:07:17,280 --> 00:07:19,599 called A World Apart and about seven 163 00:07:19,599 --> 00:07:22,960 people saw it. One of them was Diana 164 00:07:22,960 --> 00:07:25,919 Levenson, Barry Levenson's wife. And not 165 00:07:25,919 --> 00:07:28,960 only did she like the movie, she liked 166 00:07:28,960 --> 00:07:32,000 the soundtrack. And it was in the days 167 00:07:32,000 --> 00:07:34,800 when they had these round things called 168 00:07:34,800 --> 00:07:36,880 CDs. And she actually, and I'm being 169 00:07:36,880 --> 00:07:39,520 very precise about this because I 170 00:07:39,520 --> 00:07:41,599 thought it was so amazing. She went to a 171 00:07:41,599 --> 00:07:44,080 record shop and bought Barry the CD and 172 00:07:44,080 --> 00:07:46,960 gave it to him. And he was working on 173 00:07:46,960 --> 00:07:50,160 Rainman and somehow this music spoke to 174 00:07:50,160 --> 00:07:52,720 him. and the style spoke to him and he 175 00:07:52,720 --> 00:07:54,720 didn't have my address. No, he he had my 176 00:07:54,720 --> 00:07:56,000 address, but he didn't have my phone 177 00:07:56,000 --> 00:07:59,759 number. So, at 11:00 on a wet whatever 178 00:07:59,759 --> 00:08:02,639 Thursday, let's say, in London, there's 179 00:08:02,639 --> 00:08:04,720 a knock on the door. There's a guy 180 00:08:04,720 --> 00:08:07,360 standing outside going, "Hello, my name 181 00:08:07,360 --> 00:08:10,319 is Barry Levenson." Pause. I'm a 182 00:08:10,319 --> 00:08:12,319 director. And I'm going, "Yeah, you and 183 00:08:12,319 --> 00:08:15,440 my mom both." But as I look behind him 184 00:08:15,440 --> 00:08:17,840 in this narrow little shabby alley that 185 00:08:17,840 --> 00:08:21,599 my studio was in, um, there two, not one 186 00:08:21,599 --> 00:08:24,000 but two enormous limousines. And that's 187 00:08:24,000 --> 00:08:26,400 not something you find in London. So I'm 188 00:08:26,400 --> 00:08:29,039 thinking, oh, maybe he isn't a fraud. 189 00:08:29,039 --> 00:08:31,919 Well, come on in. And we started talking 190 00:08:31,919 --> 00:08:35,039 and and and he said, you know, he was 191 00:08:35,039 --> 00:08:37,360 actually quite hesitant about, you know, 192 00:08:37,360 --> 00:08:39,360 would I come to Los Angeles and look at 193 00:08:39,360 --> 00:08:42,479 his movie? And of course I didn't say to 194 00:08:42,479 --> 00:08:44,880 him I would love to and no I have never 195 00:08:44,880 --> 00:08:46,399 been. 196 00:08:46,399 --> 00:08:48,640 I didn't know anything you know and and 197 00:08:48,640 --> 00:08:52,240 to be I mean it actually set me in a 198 00:08:52,240 --> 00:08:53,920 certain direction because I came to Los 199 00:08:53,920 --> 00:08:55,839 Angeles and I didn't know anybody and I 200 00:08:55,839 --> 00:08:58,320 certainly didn't know how it all worked. 201 00:08:58,320 --> 00:09:00,560 So I just set up my little synthesizers 202 00:09:00,560 --> 00:09:02,959 and stuff like this in his office right 203 00:09:02,959 --> 00:09:07,120 next to his cutting room and it became 204 00:09:07,120 --> 00:09:09,360 sort of my preferred way of working that 205 00:09:09,360 --> 00:09:11,200 you're that you're you know you're part 206 00:09:11,200 --> 00:09:14,080 of you're part of the team. you know, 207 00:09:14,080 --> 00:09:16,480 Barry could just come in, see what I was 208 00:09:16,480 --> 00:09:19,920 up to, you know, we could throw ideas at 209 00:09:19,920 --> 00:09:22,720 each other. And if I really needed to 210 00:09:22,720 --> 00:09:25,920 write, you know, I needed the privacy, 211 00:09:25,920 --> 00:09:28,880 I could just sort of gently 212 00:09:28,880 --> 00:09:31,120 tell him to go and maybe cut a bit more 213 00:09:31,120 --> 00:09:34,120 picture. 214 00:09:38,240 --> 00:09:41,279 I was an academic failure. I mean I you 215 00:09:41,279 --> 00:09:44,000 know I was an academic failure except I 216 00:09:44,000 --> 00:09:46,880 was lucky I got an internship with this 217 00:09:46,880 --> 00:09:48,560 incredible film composer. I was 218 00:09:48,560 --> 00:09:50,240 basically making coffee for Stanley 219 00:09:50,240 --> 00:09:52,399 Myers. I mean the way I got the job was 220 00:09:52,399 --> 00:09:54,720 Stanley was incredibly musically 221 00:09:54,720 --> 00:09:56,640 literate and I knew a little bit about 222 00:09:56,640 --> 00:09:58,959 technology. I knew nothing about the 223 00:09:58,959 --> 00:10:01,839 orchestra or about films 224 00:10:01,839 --> 00:10:04,240 and he bought an espresso machine that 225 00:10:04,240 --> 00:10:08,000 he couldn't work. So I I learned how to 226 00:10:08,000 --> 00:10:11,440 use the espresso machine and he got me 227 00:10:11,440 --> 00:10:14,000 into, you know, like the first meeting I 228 00:10:14,000 --> 00:10:15,839 had was sort of with Steven. I I was 229 00:10:15,839 --> 00:10:18,560 just part of it. I was just in the room. 230 00:10:18,560 --> 00:10:22,079 And the interesting thing was that you 231 00:10:22,079 --> 00:10:26,959 saw I was observing just the way 232 00:10:26,959 --> 00:10:29,040 you in a funny way are observing right 233 00:10:29,040 --> 00:10:32,399 now. Um that there was a question that 234 00:10:32,399 --> 00:10:34,480 didn't have an answer to it. And this 235 00:10:34,480 --> 00:10:37,040 question posed a problem. This scene, 236 00:10:37,040 --> 00:10:38,880 how are we going to put music to it? 237 00:10:38,880 --> 00:10:41,040 What is the music? Does the scene need 238 00:10:41,040 --> 00:10:43,839 music? Any of these things, but they 239 00:10:43,839 --> 00:10:45,920 weren't theoretical questions. They were 240 00:10:45,920 --> 00:10:48,240 real questions because here was a real 241 00:10:48,240 --> 00:10:50,959 scene that didn't have music to it. And 242 00:10:50,959 --> 00:10:53,440 over here was a deadline and the movie 243 00:10:53,440 --> 00:10:56,399 was coming out. And I'm watching Stanley 244 00:10:56,399 --> 00:10:59,120 and the director basically go, we have 245 00:10:59,120 --> 00:11:01,040 no idea what to do. And by the end of 246 00:11:01,040 --> 00:11:04,560 the conversation there was a glimmer of 247 00:11:04,560 --> 00:11:07,040 an idea, you know, and there was and 248 00:11:07,040 --> 00:11:09,120 then maybe by the next meeting there 249 00:11:09,120 --> 00:11:12,560 were a couple of notes there and you saw 250 00:11:12,560 --> 00:11:17,120 something you saw the possibility of of 251 00:11:17,120 --> 00:11:20,240 getting there of something being written 252 00:11:20,240 --> 00:11:22,720 and and I think 253 00:11:22,720 --> 00:11:25,200 that's the you know that's that's the 254 00:11:25,200 --> 00:11:28,480 part I'm always missing when when we 255 00:11:28,480 --> 00:11:30,560 have a lot of interns here who come from 256 00:11:30,560 --> 00:11:32,959 colleges and I'm not saying the colleges 257 00:11:32,959 --> 00:11:34,480 are bad. I'm saying the colleges are 258 00:11:34,480 --> 00:11:36,560 fantastic because they know their music 259 00:11:36,560 --> 00:11:40,000 theory. They know all that stuff but 260 00:11:40,000 --> 00:11:43,040 they don't quite know real world stuff 261 00:11:43,040 --> 00:11:45,600 which and and 262 00:11:45,600 --> 00:11:47,360 it's your first day and you're making 263 00:11:47,360 --> 00:11:49,600 coffee and you're just sitting here and 264 00:11:49,600 --> 00:11:51,839 you're not saying anything but somehow 265 00:11:51,839 --> 00:11:53,839 you're you're already part of the 266 00:11:53,839 --> 00:11:56,079 solution. You're already part of the 267 00:11:56,079 --> 00:11:58,480 process. Your presence in the room 268 00:11:58,480 --> 00:12:00,640 already changes the s of the chemistry 269 00:12:00,640 --> 00:12:03,519 of how things are and your presence in 270 00:12:03,519 --> 00:12:06,240 the room of watching observing being 271 00:12:06,240 --> 00:12:09,519 part of something and there is no such 272 00:12:09,519 --> 00:12:12,480 thing as a stupid question. I mean some 273 00:12:12,480 --> 00:12:16,399 of the greatest solutions to 274 00:12:16,399 --> 00:12:18,639 amazing filmmakers being in this room 275 00:12:18,639 --> 00:12:20,160 with 276 00:12:20,160 --> 00:12:23,600 me ba being unleashed with vast 277 00:12:23,600 --> 00:12:26,560 orchestras were solved by an intern 278 00:12:26,560 --> 00:12:29,600 going what about if you tried you know 279 00:12:29,600 --> 00:12:32,399 and nobody goes that's the worst idea 280 00:12:32,399 --> 00:12:34,880 I've ever heard everybody goes oh yeah I 281 00:12:34,880 --> 00:12:36,639 never thought about it that way so 282 00:12:36,639 --> 00:12:39,519 you're part you know the the the thing 283 00:12:39,519 --> 00:12:43,360 is get involved be part of it. You know, 284 00:12:43,360 --> 00:12:46,399 there is no such thing as a as as a 285 00:12:46,399 --> 00:12:48,959 stupid question because none of us know 286 00:12:48,959 --> 00:12:50,959 what we're doing. We're just making it 287 00:12:50,959 --> 00:12:54,120 all up. 288 00:12:58,160 --> 00:13:00,639 No, there's no bounds. But you know 289 00:13:00,639 --> 00:13:03,519 because you know I I have I tried you 290 00:13:03,519 --> 00:13:06,320 know when my children were born I tried 291 00:13:06,320 --> 00:13:07,839 to 292 00:13:07,839 --> 00:13:10,399 live a normal life and get up at 9:00 in 293 00:13:10,399 --> 00:13:12,160 the morning or 8:00 or whatever you 294 00:13:12,160 --> 00:13:14,720 people do that I don't still you know I 295 00:13:14,720 --> 00:13:17,680 forgot what you people do. Um and 296 00:13:17,680 --> 00:13:20,000 promptly at 1:00 a.m. I would get my 297 00:13:20,000 --> 00:13:21,839 first idea except I would be much too 298 00:13:21,839 --> 00:13:23,680 tired to go and actually execute it. So 299 00:13:23,680 --> 00:13:25,279 this went on for bed and then you know 300 00:13:25,279 --> 00:13:27,360 the time started slipping again and I 301 00:13:27,360 --> 00:13:29,040 started 302 00:13:29,040 --> 00:13:31,120 you know doing my usual being up all 303 00:13:31,120 --> 00:13:34,240 night. Um but I had a letter from my son 304 00:13:34,240 --> 00:13:37,279 recently and he said 305 00:13:37,279 --> 00:13:40,000 dad you were a great dad. I just want to 306 00:13:40,000 --> 00:13:42,160 point out you were a great dad just not 307 00:13:42,160 --> 00:13:45,680 a normal dad but them all piling and 308 00:13:45,680 --> 00:13:47,839 coming over to the studio where where we 309 00:13:47,839 --> 00:13:49,839 make things there things happening and 310 00:13:49,839 --> 00:13:52,720 there was you know was with everybody 311 00:13:52,720 --> 00:13:54,560 around them there was a sense of fun and 312 00:13:54,560 --> 00:13:56,079 there was a sense of work ethic and 313 00:13:56,079 --> 00:13:57,839 there was a thing you know I would go 314 00:13:57,839 --> 00:14:00,000 and take the kids as soon as they could 315 00:14:00,000 --> 00:14:01,920 sort of sit upright you know the the 316 00:14:01,920 --> 00:14:03,920 sort of potted plant state of 317 00:14:03,920 --> 00:14:06,000 development and I would plunk them into 318 00:14:06,000 --> 00:14:08,320 the middle of an orchestra 319 00:14:08,320 --> 00:14:10,480 which is an amazing way to experience 320 00:14:10,480 --> 00:14:14,560 music and an an incredible luxury. No, 321 00:14:14,560 --> 00:14:17,920 I've I I haven't been the normal family 322 00:14:17,920 --> 00:14:22,240 man and the normal any of this and 323 00:14:22,240 --> 00:14:25,680 I I suppose I never will be. You know, I 324 00:14:25,680 --> 00:14:28,880 I keep thinking I'm just the luckiest 325 00:14:28,880 --> 00:14:31,199 person on earth to have this job. I I'm 326 00:14:31,199 --> 00:14:32,800 the luckiest person on earth that I get 327 00:14:32,800 --> 00:14:36,560 to do this. Um, and I know that I'm the 328 00:14:36,560 --> 00:14:37,920 luckiest person on earth because I'm 329 00:14:37,920 --> 00:14:42,160 quite incapable of doing anything else.