Oh, let's see, I was your age is. My new job, yes, sure, answer it. Hi, I'm good, thanks. This could be a good moment. I'm doing witnessing I'm doing I'm doing a podcast with David Tennant, and we thought it'd be funny to see if anyone rings. Yeah. Is it on it this is Lindsay that Lindsay Lindsay who knows David says Gallo, is it? Oh, I can't wait to find out.

Is it good or bad, Lindsay? Good, OK, Brian. Good, I'm good. Thank you. Bye bye. Bye bye. So there we go. That's lovely. Nice for The Lessness.

David Tennant does a podcast with Michael Sheen, Gordon Brown, Jodie Whittaker, Samantha Bee.

Catherine, tain't James Corden.

Olivia Colman will be over. Hello, everyone. Hello, Georgia.

David, welcome. Welcome to an extra special extra edition of the podcast. We have so many bits of interviews that we just don't have time to put in the original program. So it seemed a wait, didn't it?

And so here's a little taste of some of the bits that you missed out on first time around the extra special offcuts we selection box from the series to start off. Here's Michael Sheen being excitable.

You're a man of enthusiasms. Yeah, I get carried away about. Yeah, which is lovely. And it's lovely that you clearly have enjoyed these moments. You've also been able to pursue your enthusiasms, haven't you. I'm thinking, for instance, someone like Stephen King, your massive undertaking and through sort of having a bit of status within one industry, you can kind of chase down these people that yeah, yeah, they're a War of the Worlds was a bit Jeff Wayne's War of the Worlds, which is just recently recorded.

That's right. Yeah, we did. So, Jeff, when I was about I would say probably about 12, 13, my cousin Hugh, I say cousin, he's one of those people who's not really a cousin. It's like, you know, he my mum and dad were, you know, going out with his mum and dad that night. And so you had to kind of look after me for the night or whatever. And he was he was probably about 16, 17 at the time, and he played me well.

You did a few things. He gave me Lord of the Rings, the book. Right. And he played me various albums, one of Gerry Rafferty album ever since then, Gerry Rafferty, Night Owl, okay, Baker Street, all that stuff. Barry, I love Gerry Rafferty ever since then. And he also played a rush. I think he played me a Rush album, which has also become a favourite mine. And he and he played Jeff Wayne's or The World's double album.

And it terrified me and had a massive effect on me. Ever since then, I've been slightly obsessed with that album. And then a few years ago, I was asked to guest edit the Today programme for Radio four, where you get to kind of suggest things to do stories on. Right. And so one of them I said was I'd like to do something about War of the Worlds. And so I interviewed David Essex and Geoff Wayne, but it was a remote interview.

They weren't in the studio with me. They were like somewhere else. And but we talked over the mic. Yes. And so that must have been an anniversary or something. Or did you just shoehorn this into a new. I was just I mean, honestly, what are the things I'm interested in? I like that. Yeah. So that was very much so like a case of use, whatever I've got. Yeah. To be able to, you know, follow these things that I'm enthusiastic about.

And so so I did that. And I suppose that meant that Geoff Wayne knew that I was into all of this. So then a few years on, again, fairly recently, about a year ago, I got a message from my agent, Geoff Wayne, who's been in touch, wondering if you'd be interested in doing a new version of War of the Worlds. Like, yes, no questions asked. And so so I got to go to Geoff Wayne's studio outside of London and his home studio and like, look at all the photographs of him and Burton when they did it, really.

And all the more of the world's memorabilia. I was it was David. It was unbelievable. It was one of the greatest moments of my life. And I got completely overwhelmed by it. And we ended up doing a kind of, you know, behind the scenes bit of, you know, B roll footage. There was a camera there and and they sort of interviewed us. And I'm sitting there with Geoff Wayne talking about how important this album was being to me, someone.

And I just started openly weeping. Oh, that's so it was so embarrassing for Geoff. Didn't quite know what to do. Sure. He was delighted. And at one point he they would do anything where he's got a piano in his studio, you know, and they were interviewing him and he did the thing where he went. He was talking about, you know, I said what was what was the first bit of melody that came to you when he first came up, the idea?

And he was like, well, it was this. And he starts playing the piano. And I almost came. I said, I Geoff Wayne is there playing the waterwheels theme tune on a piano in front of me. Oh, I mean, these are the things that I think a lot of the guest on the show, Georgia.

Yeah. Have talked about juggling their public life with their home life. Well, it's not easy. It's not his Olivia Colman again.

And following that, James Corden to what do you have ambitions left or is ambition a dirty word? No, I think ambition took me a long time to admit that I had ambition, I think.

And did it feel like did you have to admit it? Wasn't it a. You worked yourself? Yeah. I think I've realized that I am ambitious. Because because I love work and I'm. I want to keep working, it has got to be some ambition in there. Yeah, I'd love to do it, Judy. I'd love to work into my 80s. You know, the lovely thing about what we do is hopefully I mean, if they call someone in there, I would have written a park of in it 80s.

They can't call someone in their 20s to play it. Yes, well, they could, but. You know, with each day, yeah, it's not so easy. And also, I think I'm a better mommy because I feel artistically and creatively fulfilled. Right.

And I think anybody who has children would tell you how, of course, it's it's life changing and all those things. But if if your life to that point, if you've been an actor or, you know, whatever I am and you you've spent a lot of time. Only really thinking about yourself and your career in quotation marks and how important it is and how well is this right, will I be perceived in the right way or what? And then you just go see none of this matters.

None of this matters. These three small children, I'm looking at the shoulder, these people, they don't care how much money we've got. They don't care what I do. They only care that I'm around, that I'm there. And when I'm when I am there, that I'm present and that they and that's the thing that they'll learn from. And that's all I ever try to remind myself of. And I and I get it wrong. Twenty eight times a day to be like, I'm not I get it wrong all the time.

But the more you just try and like only be present now then you if you're just trying to be the best version of yourself. That's what this job's taught me more than anything else actually is that all that matters is this moment now. So at this moment now, I'm really not thinking about the rest of the day. I'm not thinking about the guests here on the show tonight. I'm certainly not thinking about anything tomorrow. All I'm thinking about is how can I give David the the best thing that he might want from this moment now and then you're going to leave and then we're going to have a creative meeting and go, well, what is the best version of this?

And if you can transport that from your work to your home, to your life, where I get in and I go, whoa, what does my wife need from me right now? She certainly doesn't need me talking about how tired I am from the show or my children don't need me to be on my phone. They just need me to be there and be present. It's weird. When was released, the album Be Here Now? I remember I was so young at the time, I thought it was a terrible album title.

I now think it might be the best album title of all time. I do just to be here now. That's all that matters. Like because if you're doing that, if you're always just trying your best, your life will be. It will be it will be a picnic. You know, they must like that. You're enthralls. They love that I'm intro's. They like that. I'm Peter Rabbit. Sure. Cause nothing's ever nothing will ever really stump The Gruffalo, I don't think.

But because that's just, you know, I think yeah, that that's lovely. And I think my youngest daughter is about to discover that quite soon. So, yeah, they love all those things. Peter Rabbit is a is a is a real fun one at school. Yeah. Right. Because. Because kids just go, are you Peter Rabbit? And he's got a slightly higher voice to me that says, Come on, look out, look out, look out, hero, and they just think, oh, I got my legs.

That's nice. Yeah, I think growing up with American accent Well, my son, who's seven, has a British accent when he talks to us and an American accent with his friends in school. So like he's a survivor. Yeah, well, he'll well, because when you're in school, you just do anything to fit in, you know what I mean? The wrong pair of shoes at my school was like, that was an awful week. Yeah.

When your mum chose Bropho and everyone else is wearing kicker's like, you know, is terrible. And so he'll be like Dad. Can I go in the garden and you? Yeah, of course, and then you'll have a friend, you got Berkeley, come on, let's go in the yard and look at him like get back here. So he's bilingual. Yeah. And he does think of it as a second language because I explained this to him once.

We was we were somewhere and I was explained to him that the person he was talking to us had sort of he said, ah, they said a sentence like this. I said, well, that's because they're Spanish as their first language. So actually, their English is way better. My Spanish or your Spanish energy is amazing. And I said, you know, you're growing up, you're learning Spanish and Spanish will be your second language. You never probably be as good at it as you are English.

And he said, no, no American will be my second language. And I said, what do you mean? He said that they don't even know what a pavement is. But my youngest daughter doesn't speak yet. And my other daughter, she moved here when she was 12 weeks old. She's just like, oh, my God. Really? Oh, my God. She woke up at four o'clock this morning that I can't sleep. It's kind of glorious.

But then when we go home, if we got home for any longer than two weeks, they'd all just slots back in. Yeah. Here's the amazing Catherine Tate, I love her yet slightly struggling with being famous and her mum of you, Mum, I haven't.

It's an extraordinary thing, suddenly, people knowing who you are sort of didn't really. Well, I think you have to be. I was aware that that was inevitable, you know, and it's not a thing you can ever complain about, you know, because it's a it's a mark of people liking what you do or certainly being aware of what you do. It it's it's it's hard. And my head was spinning, but it's it's also then what I didn't have is.

I have a mother who thinks it's marvelous that people recognize me. OK, so my mom will really go out of her way to make sure people do and that I'm always at odds at that because I'm my mom cannot understand why. I would not want people to know that I'm there right now, that I'm in Waitrose. And I always, you know, I, I, I like my work to be out there and I put my work out there and I and I'll do everything for my work to be seen.

And I hope people like it. I don't put myself out there. That's not my thing. I have stopped going out with my mom to create places because my mom will deliberately go to a different aisle in Waitrose where I am, and then shout, Katherine.

I mean, so people are just people are just alerted anyway. Someone shouting the name, I mean. Yeah, my mom feels like my mom genuinely feels like I've got a duty to stop and speak to everyone, regardless of whether they've heard of me or in any way want me to speak. And I'm often saying, come up. They don't care. They don't care. They just don't care. But and I'm often in. Not a week goes by where I will get in a cab or get in a cab and the cab driver at your mom in the back last week?

No. Oh, yeah. Oh, my mom will tell anyone. I mean, in the most roundabout way that she's that she's right, which is lovely. Exhibit her pride in the truth is I get phone calls and she'll have a plumber in her house who she's going to speak to my daughter. I mean, a properly like. Hi. Hi. You know, I mean, she passes the phone to people, do your funny voices to do them.

Do them. Jon Hamm, lovely voice, yeah, great voice, yeah, here he is, just a little disgruntled with the modern world.

So like I learned, I learned. A long time ago from from one of my acting teachers, actually early on was was one of the big things is just like just be present if you're watching something through a screen. This is before we had screens. This was this was back in the old days when people would bring, you know, video cameras, those those handheld. They were small, but they were still like, you know, it was the express purpose was to take video.

Yeah. Then you're not watching what you're meant to watch and experiencing it, you're recording it for a later date that you're never going to watch. Yeah, so what's the point? You just sit there and enjoy it and then remember that you enjoyed it instead of it's the equivalent of like buying a concert T-shirt and not going to the concert. Yeah. You know, I went I went saw Radiohead at Wembley in 1998, like. Yeah, well, I was a show.

I remember. Yeah. But I got the T-shirt. Yeah. And ah you know on Twitter. And is that because you don't quite trust yourself to, to know.

In fact there's been many times I wish I could correct the record on several things that have been written or said about me, but I know what it ends up doing is just extending the cycle of whatever nonsense is being perpetrated. So it's it's just easier, I think, in the long run to just opt out and say, like, I'd rather not. Yeah, it's no comment is better than any comment in this day and age. It just it just doesn't.

No one cares. No one really listens again. It's just it's just for sensationalistic, you know, rattling the can in some more and some way. And I don't care if it's meaningless to me. I'd rather have a conference. I'd rather sit here and talk to you for four hours and then tweet off something stupid. Yeah. Or we all know the president's a lunatic. So who how many people saying it online does it take? It doesn't move the needle.

And I think the backlash against it makes it even worse. The cut of the culture of outrage is very sure. And when you're outraged all the time, it's like being outraged none of the time. There has to be a time of, like, happiness for the for the outrage to be real. But when everybody's outrage at everything, there's just one more. What's the point? And do you think because you you became sort of famous public property, I guess, just as that was all that's percolating, so did that.

Did you make a conscious decision? I really did a lot of a lot of the people Mad Men came Mad Men started in 2000. We shot the pilot in 2005. It aired in 2006. And Twitter started in 2007. Right. And the iPhone came out in 2007. Right. And Instagram came out in 2010 or 11. Facebook was already out, I think so it was right at the cusp of that that thing had I been. Had the show come out a few years later, I probably would have been asked by the powers that be to be on a social media platform to promote the show, which which actually doesn't really work.

It's kind of it's it doesn't really move the needle. The people think it does because because of the numbers involved. And we've got got it actually, unfortunately, two million followers. So therefore it must be a thing. Yeah. And then you realize like 20 percent of those are fake and the other 20 percent of those just want to see her in a bikini and another 20 percent of those, you know, are only interested in her brand or her lifestyle.

So, you know, it doesn't really it doesn't really do anything yet in any real way. But people are able to monetize it for now because they think, you know, Emily, right. Of course, she can say, oh, I like this shampoo. And the shampoo will go through the roof because she's on Instagram and wears bikinis and looks amazing like, you know, it's a it's a it's a it's a business model at this point.

And I talked to a lot of young actors. They kind of like the for my university and for my high school. Anybody that that graduates, they they get sent to me basically when they come out to L.A., it's like, all right, let's go get a cup of coffee. Let me tell you, like, let me tell you what to do. Like get a job, find a thing, get in a class. Like do this, do this, do this.

Yeah, but they're all kind of like, what do I do about social media? And I was like, well, I don't know. I'm at a place where I'm fortunate enough to not have to worry about it. But those kids, like it's it's a it's a thing.

Now, when you go in and audition at a certain level, they're like, how many what's your social media profile? And they'll know you'll have to show them to the casting director. And if you don't have one, they can't do anything with you. I'm just like, well, I'm not here to be self promoting on social media. I'm here to, like, read the copy and see if you like what I do with it. But that's secondary.

Do you think that's a moment in time that you could actually do? I think I think realize it doesn't really. Do I think people. The thing about all of this stuff. Including the Internet as a as a as a broadband, you know, kind of constant in our lives is that it's all it's all technology that is. In its infancy, essentially, especially when you look at social media and smartphones and the constant, you know, constant connection that we have, which is kind of a weird oxymoron because nobody's really connected.

But we're online all the time. All of that technology is in its infancy. And yet it's it's spread almost globally. So we haven't really kind of caught up to it's like those little bird scooters. You know what I'm talking about? Have you seen those things around? It's like a little rental car. I know you've seen it, right? Yeah, they're a nuisance. Everyone's getting in accidents and falling off of them and breaking their arms. And people are getting really hurt and kids are using and they shouldn't people should wear helmets, but they won't.

But because they came out so fast and penetrated the culture so quickly and became almost ubiquitous overnight, there's no laws against like there's no there's no way to legislate. The police and everybody are kind of wrong footed because they're just like, well, what do we do? Are they motor vehicles? Are they bikes? What are they? Are you allowed to ride them on sidewalks? Should only be we don't know because we don't have any. The legislative capacity is is too slow to catch up to how fast this technology has disseminated into the culture.

Same thing with social media. Nobody knows what to do with it. You talk about people getting their lives, you know, kind of hacked by third party players that are nefarious or whatever, and their personal photographs splashed up for everyone to see and laugh at and point at and judge and ridicule and everything. And you go, well, that's not fair. And then the argument is, well, you shouldn't you shouldn't take a picture if you don't want it to be seen by everyone.

It's like, well, that's not true at all. Like, that doesn't make sense at all. So there's a lot of, like, stuff that I don't think we've caught up to as a society on what's right and what's wrong. But I think I think it will correct. I think it definitely will. Have you got any idea where to go? Yes, I do. Oh, here she is talking about how she accidentally convinced Chris Chibnall the right of Doctor Who, that she was right for the role.

Samim One of my best minutes, Rachel dunnart and moves from Sheffield. That's why I can say it in a very kind of strange and all that accent. But she wrote, directed and edited a film that we like, I expect, and that we met. But before we made it, we made a short film of it called Emotional Fusebox. The film is out at LifeSkills, the show. It was emotional fusebox to to kind of go well, basically for financing.

She'd never directed anything. So we needed they needed to. She could do it. Yeah. And it was never meant to be a shot to develop into a feature. The feature script was already there. So the show, even before the shot, got nominated for BAFTA. Oh so well done.

You get thanks for that and that we were already shoo in the feature.

I shot it actually four weeks after we finished season two. Yeah. So Bull's I on a train will show we. When did you go to Africa to do that thing with the book.

No I know what I mean. Yeah. I mean I was like a broad church but it was a book. Yes we we yeah. It was a broad church book launch. But in Haraga we were on a train journey back and obviously I'm so shy and quiet I don't speak to listen to me for the entire time. And not only that, I made him watch the show and I like watched him watch it. Right. Ten minutes. Oh no.

Only twenty five minutes as I just watched that. We've got a couple of hours. Did you stare at him as he watched it. So he felt relaxed. But you know the right places now. But then afterwards he said in an interview to the New York Times, no less. Oh that, that, that was actually the first connection. He'd thought, oh, that energy is within the playfulness. I was essentially being a grumpy teenager, variety in it.

Right. I was playing the grumpy teenage part of your personality. Right. And it was daft in the sense it was emotional, though, because it was about twin loss. Of course it was right. Don't do anything without structure. So it's about twin loss. It was emotional, but it was it was a twin. It was a comedy about twin loss. I mean, it was a really tough sell. Yeah.

So but, um, but there was that kind of quirkiness to it that meant that we that he saw a side of me that I hadn't necessarily played before. And that's because Tony knows me really well. And she wrote a version of amalgamation basically of me and her and knowing each other so well. We were kind of um. I know the character was a mix of us. So I think it was kind of the first time I'd ever played that close to myself.

Gordon Brown, Georgia.

Yes, we like him. We did. He was prime minister of Great Britain at the time of the great financial crash of 2008. Yeah, he had to make some big decisions. Indeed he did.

It's a new book. But it's also something that Sarah said to me that you said to her on several occasions that you could do the right thing or you could do the popular thing. Yeah, this is this is this is what I feel about the financial crisis in 2009. I do think we were doing the right thing. And I think I think history will actually prove we did the right thing. But I couldn't get my message across. So it wasn't popular.

And I don't quite know what I could have done about it, because if people are not listening or you can't get a message across, you know, in the 1930s, I use this analogy when I write about it. Franklin Roosevelt was the president of the United States of America and he had the financial crisis and he went out onto radio and gave broadcasts at peak hour radio. Can you imagine me giving a broadcast peak hour television coming breaking into Strictly Come Dancing on The X Factor.

And he was giving his broadcast about what to do during the recession, but he managed to find a way of getting across to people and explain what was happening, because I kept feeling, how can I explain this to people? This is a bankers crisis. We're trying to do our best, but we've got to run a deficit to get out of this because we've got to get back to growth as quickly as possible. And I could never find a vehicle for getting my message across.

I mean, radio doesn't work. Television wasn't there. In a way, the social media was just starting off, but it wasn't really a great, you know, 2089 it wasn't as strong as it is now. And I felt so frustrated I couldn't get my message across. And I felt we were doing the right things, but they weren't popular. But I still had to do the right things. And did you feel that's often something you had to do in government?

Take the the make the right decision rather than the popular one? Well, I think you do. You know, obviously to win an election, you've got to you've got to make promises that you keep and make promises that people can make and can relate to. But sometimes, you know, we raise taxation to pay for the National Health Service. People said we couldn't do it. They said that the public will not accept a big rise in taxation to pay for the health service.

But we went over way. It took us about two years to persuade people to do it. So. You start off with what you think is right, and then you say, well, will people, you know, feel that this is the right thing to do if you can explain it to them? And I think in the health services case, we did explain to people, you know, at the moment we've got a pending crisis in the health service.

Now, I think it's not underfunded and you've got to go out there and explain to people these are difficult decisions. But if you want a decent health service, you've got you've got to have the money coming in to be able to do it. So you start by, I think, wanting to do the right thing. And if you can persuade people in politics, you've got to persuade people. And if you don't persuade people, you're owed.

Here's Michael Sheen again, talking about her acting and being scared. Go hand in hand. Do you think that's true? Oh, no, it's been a while. Well, let's hear from Michael.

Every single performance I've done of any play, I'm terrified before I go on. But presumably, from what you're seeing, you realize you have to be held back and you're sort of enjoying yourself. Yeah, yeah, yeah. But I feel like that's out of my control in a way. I just am terrified. I remember working with Declan Donnellan, who ran a theatre company called Sheep Joe and I did a play with them fairly early on after leaving drama school.

And I remember him talking about the idea of that when you're on stage, it makes it is in itself such a vulnerable situation to be in. You've got people watching. You know, everyone assumes that actors are big show offs and love the attention or lack of stuff. And, you know, I'm sure that is an aspect of it, but it's part of my experience. It is terrifying. If you actually take on board the reality that you have all these people watching you and you have to give this performance.

It was easier when I was younger and I sort of, you know, just had the kind of ignorance really of of youth and inexperience. I just kind of went out there and gave it, you know, blazing guns. And as I've got older and you start to become a bit more aware of what's actually going on, it becomes really scary. And and I remember Declan talking about the idea that as an actor, as a human being, you will do whatever it takes to to protect yourself from vulnerability.

If you're if you're vulnerable, if you feel exposed, then you will do whatever you can. Your natural tendency will be to cover up that exposure to to you know, you don't want to show weakness because then you can be you know, you can be hurt by it. And that the that the the pure act of being on stage is an act of vulnerability. And you have to be really careful as an actor that you don't start to do things in order to to to protect yourself from that vulnerability, because it is that very vulnerability that is compelling to an audience that is.

Well, I mean, it's what we just talked about, that feeling of it's not a pleasant feeling to be vulnerable, but that, you know, I've come to recognise that that is the kind of good stuff that's the fertile area to be in. But everything you do will try and get in the way of that because it's unpleasant. So and David Mamet talks about this as well, about causing actors will always want to pause. There's something inside you that will I recognise this.

There's something inside you that goes I'm not ready to say. I'm not feeling I'm not feeling it. I'm not. And I remember Declan talking about this as well as if you wait until you're ready, you will never see the line. And there's it's almost like that the YIPES thing that Eric Bristow apparently had the darts player where he couldn't let go of the dart, that you got to a point. It was like the equivalent of stage fright or whatever, where he would go to throw the dice and he he couldn't let go of it.

And I think it's called the yips. Yeah. And I totally recognize that as an actor as well. The idea of I'm not I'm not emotionally in the right place to say this line. And and you can imagine just not being able to say the line ever. And I think that's the tendency that actors can have to to pause a lot is because you're somehow going, I'm not quite ready. And Declan, I remember saying, forget that you never it's after you're pretending it's artificial, you will never be ready.

You will never be emotionally in the perfect place to say this. So just let go. And Mama, I'm sort of I may be now saying the Declan's idea and there was actually the idea of the principle is isn't. Yeah, yeah. Letting go the idea of being too precious about the work. And then somehow, you know, it is about totally letting go. And I've realised that not just about acting but about life generally is it takes such kind of bravery to to let go of stuff that matters to you.

I mean, it's easy to let go something you don't give a shit. It's when something really matters to you. And whatever it is, whatever your job is, whether it's, you know, as an actor and it's you really care about what you're doing and you've built up this life of the character and it and it's come to make connections with you and your life. And the stakes are really high and it's all incredibly meaningful and significant. And then you just have to let it go.

Yeah. And it's the same with life, you know, like I mean, you know, you and I have both got kids and the idea of children growing up and you you're sort of micromanaging their life in control and then you. To sort of let go and and yet it's the thing that means the most to you in the world. How do you how do you do that? And I you know, I started to realize, yeah, that's and that was what Declan was talking about.

I realize now, you know, that idea of everything you do will be there will be a tendency towards putting a little buffer between you and the good stuff. And your job as an actor in a way is to is to strip things away. I always thought it was about adding things on, you know, like Olivier with the nose and the wig and the funny walk and the hump. And actually I've come to realize that it's more about stripping things away when people talk about sculptures already existing in the block of marble and those sculptures job is just to release it.

It's just to get rid of stuff to show the actual sculpture that's in there. I've come to think of acting much more like that. Yeah, that that somehow that first time you read the script, the first time you connect with the with the story and the character, it then exists inside you. Then all the work is about just stripping everything away just to allow that to come through as opposed to building it up bit by bit as time goes on.

Samantha Bee made a name for herself doing some very bold interviews on The Daily Show, very bold, asking the unaskable questions of some very powerful people.

Did you ever check it out? Did you ever get the link? I just I can't I know the question need to ask, but I'm too scared. Oh, I don't think so, like I ever really chickened out. I think some things that, you know, there's no I never chickened out. I will say that there were times when I would pivot because often in this world, you you receive a research packet or you think that you've researched something and you've gotten all this material from the researchers and everybody feels very solid on what the sequence of events was.

And you get into the interview and realize this is all wrong. It did not happen this way. This person is this person did this thing because another thing because there's an underlying factor that nobody took into account, and then it's just not appropriate to ask the question. So sometimes you'd think I came here to to to expose this truth. As I'm talking to this person, I'm really I'm realizing this is not what's wrong. Yes, we've got it wrong.

And so, of course, in that moment, I would not. But I don't think that's chickening out. I just think that's, you know, that's part of being a human being. So, yes, there are lots of pivot's for sure. Right. But if I felt, you know, if I was right and felt strongly about something, no, I never chickened out. But I was terrified all the time. Yeah, for sure.

And I still interviewing people is very nerve wracking. Very nerve wracking. I'm terrified right now. You should be because you're a superstar. You're going to have to.

Really, really. But if she's basically you're going up against pompous people, which a lot of times what you were doing or, you know, sort of like actually was pompous balloon Sochua, pompous people tend to be quite pleased with themselves. And therefore, I imagine you would experience people getting quite annoyed at you. People did get annoyed, but people never get. Did you ever fear for your safety? I never feared for my safety. I definitely would watch people get angrier and angrier, at which point they're thinking, this is working, turn the gas up.

Yeah. And, you know, this is great.

OK, it's really good. Right.

But I think what happened a lot of times is that. They just opened up to me more because I'm this little woman talking to them, so they felt, you know, people would get people who are quite arrogant about their opinions as well, even if their opinions are based on nothing. And so they just oh, this is terrible. But they trusted me. They trusted that they could open up to me more and they could. I was think that if someone has an opinion about something and they're trying to change the world to accommodate their opinion about the world, then they should be willing to hear that opinion projected back to them.

They should be willing to if they're unhappy with how the interview turned out, it's only because the words that they were saying are repellent. Yes. And they're maybe just hearing them for the first time in Georgia.

Yes. You love about Whoopi Goldberg? I really do. Yeah. Very thrilled when she agreed to come on the show and hears about her. And I have you always had a sort of sense of the world about you and I kind of a moral viewpoint? Is that something you've grew up with a very, you know, a certain type of opinion and things are?

Well, I mean, my mom was a person who said, you know, this is what's going on in the world and we'd watch the news or something. And, you know, if I thought something about something and I'd ask and say, what does this mean? Or What is this? And I you know, I have a fairly moral.

Sort of clock that says, you know, there, but for the grace of God, go I. So be careful, you know how you respond, but you can not like something somebody says, but you don't know that person. Yeah. You know. Yeah. And when you do know that person, then you can say, well, I know that person. I don't like what they say and here's why it makes it easier. Is that something your mom taught you?

Yeah. Right. Yeah. That if you're going to have an opinion, the consequence of that is there are people who are not going to like it. Right. You know, so every day, half the country is to me, you know, and that's OK. Yes. Again, it's my job to give my opinion.

Yeah. Because you it does get quite heated with you guys, right? Yeah. Does that do you ever continue backstage or are you all quiet. Are you now. Because the next thing that you're talking about on any given day is, you know, vaginalis implant's, you know, you go from, you know, politics to vaginal implants to whose relationship is what to, you know, how to have a halfway decent orgasm without screaming. You know, we're talking about, you know, the wildest, craziest stuff.

So, you know, it's never personal. And the minute he gets personal, you nip that in the bud. You say, hey, is that what you mean? Because that's what it's all quite good at, keeping that kind of housekeeping between yourself. Yeah, you have to. Yeah, you have to. Because, you know, you are on one hand, you have a media and social media that goes berserk. It's how they hate each other.

And this one hates this one. And it's like you're not here. You have no idea what's going on here. Yeah. You know, and it seems to be only women that they do this with. They don't seem to do it with man. Oh, right. You know, five guys, you know, having you know, well, they're all opinionated.

Isn't that great with women? It's like, oh, those bitches. Right. You know, it's like it's kind of like little limited and thinking, OK, you know, why do you think that is?

Why do you think women get a tougher time about that? What do we not what do we not like as a society about women disagreeing with each other?

Well, I think it's it's more we've seen a lot of movies and television shows where, you know, women, you know, women are talking to each other and suddenly you have a bunch of chickens, you know, or you get that that vibe that if you get passionate, that you're just you know, you just need to calm down. It's like, no, I'm just we're passionate. We're getting hysterical. You know, they love to say women are hysterical.

Wow. Sometimes, but men are hysterical as well. Yes. It's not something that's ascribed to man. No, no, it's never. And I don't I'm not sure why that is, but I know that it's probably thousands of years of this, you know, where they said this is what women are and this is what men are. And, you know, this is twenty, nineteen. And, you know, men and women are really interesting and fluid and, you know, you just never know what you're going to get.

So you have to take everybody on an individual basis.

I think this is my hope. Yeah. You know. Well, that's all for now.

Thank you to all the guests who've been so honest, so funny and so open. Thanks to you, Georgia. You're very welcome. And thanks to everyone out there for listening. It's been a pleasure to see you.

Next time tonight, don't you know?

David Tennant does a podcast with Is Something Else, A New Mystery Production produced and edited by James Deacon, additional production from Chris Skinner, Steve Akerman, Sarah CamNet, Josh Gibson, Dave King, Joe Freeman and George Tenet. Also from something else, The Bugle presents the last post, a daily satirical dive into a universe just like our own with Alice Fraser and guest appearances from Andy Saltzman, Nish Kumar and many more.

There will be further discussions on the vote about whether we strap rockets to the bottom of Eggland and launch into space. And there will be people who say things like, I don't think we should launch England into space. Yeah, they would say to those people, I say, you are talking the country down and you should be talking up into space. Listen now in Apple podcast, Spotify and all good podcast apps.