SHAKESPEARE'S GLOBE FILM SPOTLIGHT: Artistic Director Dominic Dromgoole

Today we are talking to the man who makes all of the magic available to see in the Shakespeare's Globe Film Series actually happen onstage in the first place - such as this week's stunning showing of HENRY IV: Part 2 on August 18 -Shakespeare's Globe Artistic Director, Dominic Dromgoole. In addition to a thorough discussion of all aspects of the unprecedented series of performance captures that have taken place at Shakespeare's Globe so far - seven and counting - we also discuss many aspects of the Bard himself and what productions like HENRY IV: Parts 1 & 2 - both of which he directed - have to say to a twenty-first century audience. Besides that, Dromgoole sheds some light on some of the most memorable moments of his tenure at the Globe, as well as sharing his individual insight into everything from GLEE to Chekhov and, of course, we dissect a number of Shakespeare's most instructive, innovative and unforgettable scenes from many of his finest histories and latter plays, with a focus on HENRY IV and the future for the Shakespeare's Globe Film Series.

Shakespeare's Globe Film Series presentation of HENRY IV: Part 2 takes place on August 18 in nearly 300 Fathom Entertainment-equipped movie theaters nationwide. Information, tickets and more available here.

Also, check out the special SOUND OFF review of HENRY IV: Parts 1 & 2 here.

Putting the "O" in Globe

PC: Especially since HENRY IV: Part 2 will be sharing many multiplexes with GLEE: THE 3D CONCERT film, have you seen any of the gleeks showing up at the Globe yet to support these productions being filmed?

DD: Well, I don't know for sure, but I know my kids are very wild and very excited by GLEE, and they equally love Shakespeare, so it's perfectly possibly for someone to love both things at the same time.

PC: The GLEE: 3D movie just opened in the US and will be playing at the same time as HENRY IV: Part 2 many places.

DD: Oh, how great!

PC: Let's hope people go to both!

DD: (Laughs.) Yes! Definitely.

PC: I have to say that I thought your productions of HENRY IV: Parts 1 & 2 were absolutely magnificent.

DD: Oh, that is very kind of you, Pat. Thank you.

PC: The performance of Roger Allam alone is enough to herald this production - it is the definitive portrayal of the role. How did you decide who would direct which Falstaff, considering Christopher Luscombe's production of MERRY WIVES OF WINDSOR (also in the cinema series) has a Falstaff, as well? Of course, you're the king of the ship at the Globe.

DD: (Laughs.) Yes, well, we did MERRY WIVES the first time about three years ago, in 2008, and Chris did it because Chris is a master at a certain sort of domestic English comedy. He's got an incredibly light touch and a great understanding of the British comic funny-bones - especially that world, which is sort of like the first sitcom.

PC: It comes through in the film, as well - no question.

DD: I remember we brought the production over to LA and Tom Hanks came to see it. He said, "It's like a I LOVE LUCY!"

PC: That's so funny - and insightful.

DD: Because it's a concealed, middle-class world with, you know, sort of suburban character types - that's something that Chris really understands brilliantly. So, it was a natural thing for him to direct MERRY WIVES.

PC: What about HENRY IV?

DD: When I came to do HENRY IV: 1 and 2 last year, I exercised my privilege as artistic director... (Laughs.)... and snaffled them up, because I think they are close to some of the finest writing that Shakespeare ever achieved.

PC: Undoubtedly. Where did you first experience the piece, especially since it is done quite often in the UK?

DD: I think I saw it on telly first - the BBC Shakespeare. It was absolutely awful!

PC: The whole BBC Collection is absolutely terrible - what a shame!

DD: It's got the most ridiculous haircuts you've ever seen in your life! Everybody looks like a sort of weird pastiche of a prancing, medieval prince.

PC: It's true!

DD: And they wear these ludicrous tights in very bright colors! (Pause.) So, that is not a very happy memory of it.

PC: Definitely not.

DD: I think actually it was reading it that really made me fall in love with it. I remember reading both plays when I was in France about ten years ago and I think being away from home and being away from England and, then, digging into those plays and then, suddenly, seeing what a wonderful reflection of Englishness they were and they caught so much of the many different fabrics of English society.

PC: So that was your process of discovery.

DD: And, also, just how lively they were. I just fell in love with them.

PC: Do you feel that certain plays play better in the US versus the UK?

DD: I don't know about that - you probably know that much better than me! I think we've surprised ourselves here by what does play well. (Laughs.)

PC: Which ones surprised you?

DD: Well, we can put on HENRY VIII on the main stage - and, actually, HENRY VIII plays a lot better than people think it does. It's a lot more thrilling and immediate as a story than people immediately give it credit for.

PC: It will be a must-see broadcast, then.

DD: So, all of my certainties about what plays well and what doesn't play well here, there or wherever has been slightly subverted.

PC: What experiences have you had with productions in the US?

DD: We took LOVE'S LABOURS on a tour of the States - which we thought would be a desperately hard sell - but, actually, it was pretty friendly and had a pretty warm reaction.

PC: Ralph Fiennes and Gerard Butler co-star with Vanessa Redgrave in the apparently mind-blowing new CORIOLANUS film, with a whole American Army angle. What do you think of that?

DD: It's a fantastic film - I've seen it!

PC: No way! It's one of my absolute favorite Shakespeare plays, so I personally cannot wait. What did you think of it?

DD: It's fantastic. Just fantastic. It's amazing, because Ralph has revealed himself as a really quite major directing talent. You know, we've all known for quite a long time that he's a great actor - and he is a great actor.

PC: No doubt about that! So, you were really impressed?

DD: It is just the most beautiful piece of filmmaking. And, he really gets under the skin of the play. It's very generous in that it is not, you know, all about Coriolanus - of course Coriolanus is obviously the center of it - but he makes Volumnia a very powerful story and Menenius a very powerful story - which Brian Cox plays. The Tribunes are brilliantly handled. The whole political story is brilliantly done.

PC: I simply cannot wait - especially since it has your seal of approval.

DD: I love CORIOLANUS, as well, I must say. It was the first show I did here at the Globe. It is a fantastic play, but it is a hard show to get right.

PC: What was it like mounting it? CORIOLANUS and PERICLES are probably the most difficult - the most treacherous to stage, yes?

DD: They are. They are very tough. What was it like? It's good in some ways - CORIOLANUS - because there is so much about the public in it. So, all of those addresses to the crowd and all the goading of the mob; the walk of shame when he has to wear the sort of robes of humility - you could walk down into the yard with the groundlings and walk around.

PC: How inclusive.

DD: The audience became a very active character. They became the Roman mob - which is, I think, always the intention.

PC: Of course.

DD: It's hard to play because there is so little love in it, really.

PC: You can say that again! There's none.

DD: It's so tough! And, there's very little feminine voice in it - it's a very, very relentlessly masculine play. That gets quite grating after a while.

PC: The only love is bloodlust.

DD: Yes! Yes. And, a very twisted relationship between Coriolanus and his mom. It really isn't like love at all - it's a perverse obsession with honor.

PC: Very much like Angela Lansbury's role and performance in John Frankenheimer's THE MANCHURIAN CANDIDATE.

DD: Very like that. Very much. A very good analogy.

PC: She actually has also done this column, as has Sir Ian McKellen who starred in Trevor Nunn's MACBETH, which was sort of the 1970s TV precursor to what Shakespeare's Globe and Fathom are doing with these movie theater broadcasts. What do you think of Nunn's MACBETH?

DD: It was terrific. I remember seeing that about thirty years ago and thinking it was electrifying. I mean, great actors; great company - Judi Dench was Lady M and Bob Peck was in it. It was really when the RSC had massive talent up and down the ranks. You just look at those casts and think, "My God, what an incredible collection of actors!"

PC: All-star.

DD: I remember it was very intense and it was very feral. It was very intimate. I thought it was a great production.

PC: The tradition finally picks up again thirty-five years later - in HD film with HD surround sound!

DD: Yep! Yep.

PC: Can you tell me how you and Jonathan Fensom worked together to hide the cameras and design the filming environment for each production in this cinema series?

DD: Well, we've got six cameras all around the auditorium - and, really, we try and ignore the fact that they are there as much as possible. I mean, what we say to the actors is, "This is not a film; it is a filmed performance." I mean, obviously, they are wearing radio mics so the quality of hearing what they are saying is so terrific.

PC: The sound design is pristine. So, it is played as a play, then?

DD: Yes. They play it as they would any theatre show. What you don't want is actors to start is start doing film acting and get all sort of interior and sort of disappear. You want to capture what those shows are like in performance. With something like Roger's Falstaff, which - as you say - is sort of definitive...

PC: Unquestionably.

DD: ... you want it to be a record of how that played in the theatre. I think that's what's interesting for people interested in it. It's also there for the next twenty years - if people want to catch up with it on DVD, or catch up with it online or if it's used educationally - it's great to see how it was on a particular night, in a particular theatre, at a particular place.

PC: So, the performers give full-out performances, then?

DD: Yeah, yeah.

PC: So often with filmings they dial it down to less effect, as we touched on earlier.

DD: That would be disaster - because, then, the whole temperature in the theater would drop and you would sort of sense the restlessness and the itchiness of the audience and that would tip the whole thing in the wrong direction.

PC: Where did you get this Hal? He is phenomenal.

DD: He's a great actor. Jamie is absolute first rank. He was in THE HISTORY BOYS and he plays the piano brilliantly, so he had the sort of piano-playing part in THE HISTORY BOYS - he's sort of like the young Alan Bennett figure in that.

PC: Oh, of course!

DD: I gave him his first job - AFTER THE DANCE, the Terrance Rattigan play. Then, he disappeared for a few years until he did THE HISTORY BOYS. But, he's just got the whole package - he's brilliant, he's clever, he's got a beautiful voice and a great sense of musicality, a great sense of fun, a lovely sincerity, and, he's an attractive lab. He's everything.

PC: He and HISTORY BOY Dominic Cooper!

DD: They both have done quite well for themselves, haven't they?! (Laughs.)

PC: Did you work closely with Jonathan Fensom on the design? The first Falstaff appearance is unforgettable.

DD: Oh, from under the flag? Thank you. Yes, it's very specific for this show, even though we try to keep sets and scenery as minimal as possible - because, obviously, the Globe is such strong a flavor you don't want to interfere with it or get in the way. There are always decisions to make. So, there are two towers - those discovery doors - are things that we put in. And, the banners and stuff going up and down are things we put in. Also, what you see - though you see less of it in the films than you would in the theater - but, one of the main innovations was that we wrapped the main of the upper gallery and the lower gallery with banners covered in the heraldry of great families of the Elizabethan period.

PC: For what specific effect - subliminal perhaps?

DD: It was a deliberate attempt there to play up the idea that England was still a semi-Feudal society and still had a lot of local, regional economies and it wasn't yet a sort of top-down, heavily managed and bureaucratically run sort of contemporary dictatorship - which is what it's become. So, it was that idea that each family and each different part of each camp ran their own affairs - which is a lot of what the play is about. There is a sense of freedom and irresponsibility and rebellion - it is not everyone towing the line to a king. A king actually has a hard job trying to hold it all together.

PC: These productions hit the perfect balance in the comedy and the historical and dramatic elements. It's really a lot of fun.

DD: Thank you. We tried not to be too formal, because when it becomes all very formal and stately and slow it sort of loses the real carnival nature of the plays. The plays are a great celebration of Englishness and riot and bad behavior and irreverence.

PC: Irreverence, especially!

DD: So, you want to keep the atmosphere loose and it will allow those things to come through.

PC: The seeming spontaneity really showed. In reference to the music: do you consider bringing in name composers or do you have someone in-house? How do you make that decision?

DD: No, we have different composers who work on different shows. I always - the last four Shakespeares I've done - I've worked with Claire Van Campen. Claire has been involved with the Globe for a long time because she is married to my predecessor, Mark Rylance.

PC: Newly minted Tony-winner Mark Rylance!

DD: Yes. Claire's been with the Globe for a long time, so what she's got is a knowledge of early music - which is more complete and more profound than almost anyone. So, she understands those instruments; she understands the music they played; and, she understands how they used music in those stage shows. So, she's not only a great composer in her own right, but she's also got a really clever and deep and rich understanding of music of that period.

PC: What a wonderful collaboration it must be. What is one moment of her music that you find particularly inspired in either part of this HENRY IV?

DD: In Part 2, there's one moment with Falstaff getting a sort of grope and a cuddle and I asked Claire for some sexy music and she came up with this slow, really sort of James Brown naughtiness - which is all interpreted through the instruments of that period and the music of that period. So, it's terrific. Electrifying.

PC: So, she uses all instruments from that period in her orchestration?

DD: Everything there is authentic. Everything.

PC: How fascinating. We've had some very unique scores for recent New York Shakespeare productions - Sondheim did KING LEAR, the MEASURE FOR MEASURE in the Park this summer has a very idiosyncratic score, etc.. What do you think about more contemporary scores for Shakespeare - even rock or hip hop?

DD: I think it's fine. I think that Shakespeare is so big and broad and wonderful that it's daft to say that you can only do it one way. I mean, we don't choose to set it out of its own period very often - we usually keep it in its own period.

PC: How could you not given that venue you have to play in?

DD: But, it's absolutely fine to do it any which way you like it - I mean, you've got to respect the heart of it and you've got to respect the spirit of it and you've got to try and understand the rhythm of it. You can do that in any number of different ways.

PC: This Shakespeare summer series you have dubbed "Kings and Rogues". Could you tell me who is who; which is which?

DD: Well, it's obviously the great dichotomy of, you know, King Henry as one father and Falstaff, the rogue, as the other father. It's that split through the center of the play and right through the heart of Hal about which sort of father to follow. But, also, everything is complex and, you know, Falstaff is a rogue, but he is a king of his own domain and he has got an immense authority. Henry IV is a bit of a rogue because he knows he stole the crown by theft and he spent the whole of his life trying to atone for it.

PC: How illuminating to paint this series that way.

DD: Well, you know, I tried to make clear in what I wrote about the idea of this season that the world needs kings and the world needs rogues and that the dynamics between them are often much more delicately shaded than they appear to be.

PC: So it wasn't a subtle dig at Sarah Palin? She calls herself the Rogue. (Laughs.)

DD: (Laughs.) No, does she?!

PC: Yes, she does.

DD: Believe me, I wasn't trying to make any comments on Sarah Palin - if I was going to make a comment on Sarah Palin, I'm sure I would be much blunter than that! (Laughs.)

PC: That is so funny. HENRY V was the first play produced in the Shakespeare's Globe in 1997, correct?

DD: Yes, we opened the theater with that in 1997.

PC: Putting the "O" in Globe, right off the bat, given the text.

DD: Yes.

PC: Is the plan to film all thirty-seven plays eventually?

DD: Yes. We are planning to. We have only been able to start doing this filming properly in the last three years. So, we did ROMEO & JULIET, LOVE'S LABOURS LOST and AS YOU LIKE IT in our first year - which are all available now on DVD.

PC: So, what's the plan for the next few years?

DD: What we are going to try to do is work through all of the plays slowly now and, even if takes ten or fifteen years, get them all filmed. So, whether audiences like the productions or don't like the productions or whether they are good or they are bad, just being in that space - which is the space that Shakespeare wrote for - in some way makes them definitive and they are an immensely useful tool for anybody who loves Shakespeare; anybody who loves theatre; but, particularly, kids who are trying to find out about Shakespeare and when it works and when it began. I believe it helps loosen their imaginations up.

PC: Shakespeare must be seen to even begin to be understood - reading it dry is a recipe for confusion for neophytes.

DD: You are absolutely right - you've got to see it or you've got to perform it. You know, really getting up and doing it is the best way of understanding Shakespeare and the best way of enjoying Shakespeare.

PC: These productions are perfect for a modern audience. Do you think you might do period-set productions in the future?

DD: Well, not me, because I sort of question the point of that and I have a hard time understanding that. I think that moment in history was so fascinating - that moment that Shakespeare wrote - that you sort of want to introduce people to that moment and try and understand the plays in some way through their own time and through what he was writing about then. I always say the Globe is an incredibly modern theater because the lights are two-thirds on the audience. So, two-thirds of what you see when you sit in the Globe is the audience. And, the audience is there dressed in jeans and smart new clothes and they've got iPhones and iPads and their heads are full of rioting and credit crunch, or whatever.

PC: Breaking down the fourth wall from all sides.

DD: Yeah, so that modernity is already there because it is present in the audience. So, you don't necessarily have to incessantly refer to modernity to keep things up to date - the room is modern.

PC: How Brechtian! That aspect is crystal clear in the films of the productions, as well. Would you recommend a first-timer to the actual Globe, live, to stand as a groundling would?

DD: Oh, yeah. It's thrilling. It's one of the best ways of doing it. There's something about standing that makes you alert and makes you more aware and engages your brain slightly more - so, it's a very good way of watching theatre of any sort.

PC: Where are the productions directed to or at - specifically in the filmings? Is there a specific seat?

DD: Well, you try and encourage people to engage with the audience - it's crucial that you see people talking to people, because it's a great arena for communication at the Globe. So, you want people to address the groundlings and you want them to look them in the eye - because, usually, when you are an actor and you are under the spotlight, you can't see anything; everything is sort of inky blackness. And, so, actors get used to talking to nothing.

PC: How isolating.

DD: It's very important that all of the actors engage with the audience - but, that really wasn't a problem for HENRY IV. I mean, as you see in the pub scene with Falstaff and Hal, they are doing their musical interlude and then they high-five the audience.

PC: Of course!

DD: On one occasion, Hal snogged a girl in the front row! Now, that is going too far! (Laughs.)

PC: Definitely. Did you reprimand him?

DD: I told him to stop it! (Laughs.)

PC: Especially your incandescent Hal - it's definitely imaginable from him.

DD: Definitely.

PC: So, now that both parts of HENRY IV are done and in the can - filmed - do you want to do HENRY V next?

DD: Yes. We are doing that next year.

PC: Excellent. Tell me about Mark Rosenblatt's HENRY VIII, the final offering of the Shakespeare's Globe Film Series. I've never seen the play performed myself.

DD: It's a fantastic, fascinating curiosity. It's a much better play than it has been given credit for. It's interesting - it was a huge sell-out here at the Globe because people are so insanely obsessed with that period in history at the moment.

PC: You can say that again - especially with the royal wedding.

DD: And with THE TUDORS television series, WOLF HALL... and, there was recently an exhibition about HENRY VIII at the Tower of London and at the British Museum. And, all the girls are obsessed with Anne Boleyn because of those books by Phillipa Gregory. Everybody is so clued up on it that the moment Cromwell came onstage or Anne Boleyn came onstage - it was like the audience had little biographies written in their heads about those characters before they ever opened their mouths; which was terrific! It's a strangely sort of fascinating play.

PC: Is there a particular line or moment that you find striking, especially in this new production of it?

DD: Well, there is a beautiful, beautiful moment at the end when Elizabeth is baptized - and, it's obviously a very political moment because it was the closest Shakespeare ever came to writing about a reigning monarch. Although Elizabeth had been dead awhile, it was still a hot issue. So, the play climaxes with her baptism and there is the most beautiful speech about what England will be like under Elizabeth.

PC: How prescient.

DD: But, then Henry says the most gorgeous thing: he says, "You have made me a man." You know, with this baby.

PC: How beautiful and poignant.

DD: It's an extraordinary climax to a play - to have this huge pomp and pageantry and, then, in the middle of it, this little baby who will go on to be Queen Elizabeth I. (Pause.) It's quite a magnificent conclusion.

PC: That's such a touching moment. I'm so glad you shared it. I can't wait to see it in the broadcast coming up.

DD: It is truly spectacular.

PC: I have to ask: what is your personal favorite Shakespeare play? What play would you want to direct forever, repeatedly?

DD: Well, no favorites - because the great rule of Shakespeare is no favorites. There are no hierarchies. Everything is equally good and equally worthwhile - whether it is TIMON OF ATHENS or MIDSUMMER'S NIGHT DREAM. That's one of the great lessons you take away from him.

PC: So, of all plays, then, what would you choose?

DD: If I had to direct a play forever... (Pause.) I would direct THREE SISTERS forever.

PC: Chekhov. Why so?

DD: Because it is simply, stunningly joyful to work on.

PC: THE THREE SISTERS.

DD: Yes. Chekhov! (Laughs.)

PC: Wow - what a revelation: Chekhov over Shakespeare?!

DD: I've done it once and I've never enjoyed working on a production quite so much in my life.

PC: We just had a beautiful production of it in New York.

DD: Yes. I heard about that. Right.

PC: Speaking of TIMON OF ATHENS, the Public just did that, as well. It's so pertinent to the financial times right now.

DD: It's fascinating.

PC: What do you think that play has to say to today? It was so ahead of its time, wasn't it?

DD: Yes. We did it just as the credit crunch hit, back in 2008. It seemed appallingly current - the whole idea about extravagance and borrowing and living on dept and being crushed by economic forces. It's very powerful - especially the language in the second act.

PC: It becomes KING LEAR-like by then. So scathing

DD: Wonderfully freighted with rage. And, a real revulsion. You know, it was Karl Marx's favorite play, TIMON OF ATHENS - he used to quote those long speeches about the corrupting power of money at great length.

PC: People want more and more money today and in the play Timon gives everything away after having it all.

DD: Yes.

PC: So thematically apropos.

DD: It's one of the astonishing things about Shakespeare - you know, sometimes he seems so far ahead of his own time and he seems to understand things about the way that our understanding of society is moving the way the world is moving that is simply astonishing.

PC: Is there a favorite Shakespeare line of yours?

DD: Never a favorite! (Laughs.) Never.

PC: The moment in THE WINTER'S TALE with the statue of Hermoine coming back to life is mine. What do you think of the latter plays?

DD: Oh, I love them. I think that they are wonderfully redemptive and rewarding. He went through a horrible, horrible moment in 1605, 1606 - he wrote TIMON, LEAR, CORIOLANUS. You could see he was in a really horrible, lonely, tormented, self-loathing and full-of-loathing-for-other-people moment. Then, something happened to him - I think it has a lot to do with his daughter getting married and his daughter having a baby - and he became a grandfather and you get the sense that he returned to Stratford and he started to slightly fall in love with his wife again.

PC: What a vivid interpretation.

DD: Those late plays - THE WINTER'S TALE, PERICLES - they are full of tales of a man who has been on a sort of lone and lost and lonely journey finding a child and finding a wife and reconnecting and reuniting with a wife. I think something happened to him in his spirit and he was able to, you know, get over this horrible, dark depression he had been in - which, in my mind, I call the London Depression. Then, he found Stratford again and he found his roots again and he found out who he was again - and it was through the love of family. And, so, I think they are rather beautiful plays.

PC: So rich and deep and rewarding.

DD: You know, there is a funny moment with grandparents when they lock eyes with their grandchild - something quite profound shifts in their spirit; and, I think some of that went on with him.

PC: And how that ties in with HENRY VIII and "You made me a man."

DD: Yes, yes.

PC: What's on the schedule for filming next season at the Globe?

DD: We haven't yet settled it yet - they will be terrific, I think; but we haven't yet settled it yet.

PC: If I may make a suggestion: PERICLES, please! It's never been successfully filmed, as far as I know.

DD: Well, at the beginning of next year, we are doing something completely insane - we are doing all thirty-seven plays of Shakespeare's, each one in a different language and each one presented in a different language from abroad by a different culture.

PC: Wow! What a Herculean undertaking. Who is coming?

DD: The National Theater of Greece is coming with PERICLES. The National Theater of China is coming with RICHARD III. We've got some huge companies coming out. It's a big old do!

PC: Greece is perfect for maritime PERICLES!

DD: We did it here before my time here and the director modernized it and it was very successful - it was a really thrilling evening. I think I saw it three times. I really enjoy it.

PC: There's really an unbelievably striking moment of reconciliation in that play, too. It should be done more.

DD: Yes - with Marina.

PC: Is ANTONY & CLEOPATRA being considered? It's so epic and classic. Plus, it's never been filmed well at all, either.

DD: We did that awhile ago - I did CORIOLANUS and ANTONY & CLEOPATRA in my first season. I think I may have been biting off more than I could chew! (Laughs.)

PC: You can say that again! From what I remember, aren't there like seventeen scenes in Act 2?

DD: I know! I know. Between Acts 3 and 4 there are about thirty-five scenes in two acts. It's very easy to do at the Globe because you don't have a lot of shifting scenery - people just walk on and off and you create a new space just with language.

PC: How true.

DD: We did it then and we will do it again. It's a beautiful play. It's an extraordinarily difficult play, but it's a very beautiful one.

PC: There is no film of that, so the time has definitely come! It is taught in schools so much here that that is a real crime.

DD: I'll keep that in mind.

PC: Last question: Could you define collaboration in terms of your experiences in the theatre?

DD: (Long Pause.) Everyone else agreeing that I am right. (Big Laugh.)

PC: This has been such a joy.

DD: A true pleasure, Pat.

PC: I wish we had these marvelous DVDs and, especially, movie theater broadcasts when I was going to school - particularly productions this fun, vivid and entertaining.

DD: That was very kind of you. Thank you so much. The whole alternative content thing is really taking off, it seems!

PC: Congratulations on great continued success! All my best.

DD: Speak to you soon, Pat. Bye bye.