0:00

I proved her shopping with pickup and

0:02

delivery. It's the same as shopping in-store.

0:04

Same low, prices deals, and

0:07

rewards on the same high-quality

0:09

items for groceries. One big

0:12

win for busy families everywhere.

0:14

Start your cart today at

0:16

kroger.com Kroger fresh for everyone

0:18

restrictions. Apply Seaside

0:21

for details

0:23

match, participating and get

0:25

10 for just $10 $10 your cart.

0:28

with your card Kroger. for everyone. Hello,

0:30

folks. Welcome along to this

0:32

week's episode of Soundtracking with

0:34

me, Edith Bowman. It is a real

0:36

treat to have you with us. Thank

0:38

you so much for choosing to

0:41

listen to another episode of my weekly

0:43

podcast, where I dive into the world

0:45

of film and music. I

0:47

just wanted to share a really lovely experience

0:49

that I had last night in London at

0:51

the Prince Charles Theatre Cinema, just

0:54

off Leicester Square. If you've never

0:56

been there, it's a wonderful place. It's got

0:58

such a great energy to it, such great

1:00

history. The staff are phenomenal. And

1:02

it was the location for a very special event that

1:04

I was asked to host, which was the launch

1:07

of a brand new album from The

1:09

Smile. And if you aren't

1:11

aware, The Smile are Tom York and Johnny

1:13

Greenwood from Radiohead and Tom Skinner,

1:16

who is the most amazing drummer and has kind of

1:18

worked on Son of Kemet and

1:20

loads of other great bands. Their

1:23

second album, Wall of Eyes, is coming out

1:25

at the end of the month. Last

1:28

night we had a launch for

1:30

the album, which involved a playback of the album and

1:33

a video for the brand new single,

1:35

which is Friend of a Friend, and

1:37

the previous video for the first single,

1:39

which is the title track from the

1:41

album, Wall of Eyes, which are both

1:43

directed by Paul Thomas Anderson, who, of

1:45

course, Johnny has worked with numerous times

1:47

on Scorework. You might have heard both

1:49

their episodes on this podcast. But then

1:51

also Paul's worked on quite a number

1:54

of Radiohead projects as well. So what

1:56

they did was they played loads of

1:58

the different productions, whether they be Little... live

2:00

sessions that Paul's filmed or old

2:03

videos from Radiohead that he filmed. So

2:05

it was just a really lovely celebration

2:07

and then I was given the wonderful

2:09

task of hosting a Q&A with the

2:12

two toms and Johnny. So

2:14

I just wanted to kind of draw your attention

2:16

to it's lovely when the world of this podcast

2:18

kind of infiltrates life outside of it which was

2:20

just really great. It was lovely to see Johnny

2:22

again and to kind of get

2:24

to know the two toms a little bit better as well. If

2:27

you haven't listened to any of the

2:29

work from The Smile then dive in

2:32

and the new record is exceptional and

2:35

I got some inside gossip from

2:37

Johnny Greenwood. In fact this weekend

2:40

Paul Thomas Anderson starts filming his new

2:42

film. Yes! Apparently

2:44

though it's a long shoot. Anyway sounds like

2:47

Johnny's on board to do the score as

2:49

well so yes all good news. Anyway that's

2:51

that onto this week's episode and our latest

2:53

guest on this bonus episode of soundtrack and

2:56

is Alexander Payne who joined me to discuss

2:58

his new film The Holdovers and as recorded

3:00

this on the 19th of January it is

3:02

out today. The film set

3:05

in the early 70s and it

3:07

stars Paul Giamatti as a strict

3:09

classics teacher who teaches in a

3:11

New England boarding school and he's

3:13

forced to chaperone a handful of

3:15

students with nowhere to go over

3:17

the Christmas break and it ends

3:19

up being him, one other student,

3:21

Angus, played by the brilliant Dominic

3:23

Cessah, you'll hear more about him

3:25

from Alexander in a bit and

3:27

Mayde who's kind of the school

3:29

chef who also spends

3:32

time at the school for reasons that

3:34

will be apparent once you watch the film. She's

3:37

played by Divine Joy Randolph who's been nominated

3:39

quite rightly so for everything for Best Porn

3:41

Actress and has also won a couple of

3:43

things as well. She is phenomenal in this

3:45

film. It's just a really beautiful

3:48

film. It's atmospheric, you're

3:51

completely immersed in the environment, this kind

3:53

of school in the school grounds where

3:55

it's snowing and there's something

3:57

about the sound of an environment where there's snow

3:59

that I find really comforting.

4:01

The score is great, the music,

4:03

the needle drops in it are

4:05

absolutely brilliant and it's just got

4:07

this aesthetic to it that is

4:10

really pleasing and just watching the

4:12

arc and the journey of these

4:14

three characters in particular is fabulously

4:17

entertaining. The Holdover is

4:20

scored by Mark Horton so we'll begin

4:22

with his cue a girl in tone.

4:30

you you

5:36

Hey Alexander, thank you so much for

5:38

joining me to discuss your wonderful

5:41

new film. I guess it'd be great to

5:43

start at the beginning and what was the

5:45

starting point for you when it came to

5:48

guess developing these characters in the

5:50

story with writer David Hemmingson? I

5:52

was just touched by the story. I

5:54

found David Hemmingson, he had written a

5:56

pilot you know proposed TV

5:59

series that took place. placed in a boarding

6:01

school in New England.

6:04

And on the basis of that, I asked

6:06

him whether he wouldn't consider writing a feature

6:09

film for me based on an idea

6:11

I gave him, which was set in that same world.

6:13

And I'm just so grateful for

6:15

him to bring for bringing, I'm gonna

6:17

say this in a non cliche way, just

6:20

that he came up with a story with characters

6:22

I cared about. To be sure, I

6:25

mean, he had the advantage in

6:27

that I was giving him constant

6:29

notes along the way. You know,

6:31

it was my first experience, let's say directing a

6:34

writer. Yeah, I went in the

6:36

premise and then he suggested a few

6:38

different storylines. And I chose one that

6:40

felt right to me and he came

6:42

up with a cook character, I'd never

6:44

foreseen her coming. And

6:46

all I can say is, and sorry for the

6:48

long winded answer is by the end of the

6:50

process, we had something that was personal to his

6:52

boat. He had studied my movies, he'd

6:54

kind of saw it, asked me a lot of questions.

6:56

He wanted to be able to write a song I

6:58

could sing. No,

7:01

it's true. You have to write within

7:03

someone in the director's vocal range. So

7:05

it's very much my sensibility. And of course, I

7:08

did rewriting myself. And

7:10

but then he relied a lot

7:12

on his personal experience and

7:14

himself as a young man. So I don't know, it

7:16

was a rich experience. I'm really grateful for it. I

7:18

hope it's not the only time I get an experience

7:20

like that. Do you always have Paul

7:23

in mind for Hanam then for

7:25

that character? A thousand percent,

7:27

yes. I guess that's the wonderful

7:30

thing, isn't it, about the collaboration as a

7:32

director is that you bring

7:34

team players on board that you hope are going

7:36

to add to that script, add

7:38

to your direction and just bring this thing,

7:40

ignite this character and really bring it to

7:43

life. And I feel we really

7:45

get that with all these performances, whether it

7:47

be Paul that you've worked with before, but

7:50

the vine who's just extraordinary in this character

7:52

and Dominic as well, who I believe has

7:54

never done anything on camera

7:56

before. But is that a wonderful experience for

7:58

you as a director? So when you

8:00

see how these words in your direction

8:03

give these people the opportunity to play.

8:05

Casting. I mean, my number

8:07

one job really, I mean, many

8:10

jobs as a movie director, we all do.

8:12

But the most important are making sure

8:15

that the screenplay is sound and

8:17

casting well. So if

8:20

basically I've got the right actors playing

8:22

the parts, then I really don't have

8:24

to do much directing. So

8:27

it's true. There's an old

8:29

cliche, which is 90% or the sign,

8:31

whatever percentage you want. 90%

8:33

of directing is casting. And

8:36

it's really true. When you're

8:38

writing, do you, where

8:40

does music come into the process for

8:42

you? Because music is a

8:44

beautiful character in this film. And it's kind

8:47

of got almost kind of got different guises.

8:49

You've got this kind of beautiful score that

8:51

Marx worked on. You've got these needle drops

8:53

that are kind of just effortlessly kind of

8:56

woven in. But then you've also got these

8:58

brilliant moments of the kind of choir

9:01

singing the Christmas carols that kind of

9:03

come in at really kind of brilliant

9:05

moments. It's really effective

9:07

and it really kind of gets

9:09

under your skin as well. But for you, when

9:11

do you start thinking about music? First

9:14

of all, thank you for paying

9:16

such close attention to the music

9:18

in the film. Thanks for the care and

9:20

thought put into that question. It starts

9:22

from the get go, not during production because I'm

9:25

just trying to harvest

9:27

the film we need for editing. It

9:29

really begins the first week of editing. Kevin,

9:32

my editor and I, he has a very good musical sense.

9:34

I like to think I do too. And

9:37

we can start slapping pieces of music

9:39

on. We're joined soon thereafter by the

9:41

third member of our musical, Triumvirate,

9:44

a music editor we've worked with

9:47

since election. We've been a

9:49

threesome on the music front for 25 years. His

9:52

name is Richard Ford. He's from London

9:54

originally. And

9:56

then he starts giving us more

9:58

finely considered Triumvirate. choices. The

10:01

most important thing and the way I'm

10:03

flattered by your question is that we

10:05

have music functioning in the

10:08

different ways that you suggest, but

10:11

hopefully always in a way which doesn't call

10:13

attention to itself, that

10:16

all the musical choices

10:18

support the mood, support

10:20

the rhythm of the

10:23

scene that they accompany. It's clever

10:25

though because I think the first piece of

10:27

music we have is the boys singing in

10:29

the choir and then we go into this

10:31

fantastic track called Silver Joy by Damien

10:33

Girado which kind of comes back now and

10:36

again as well. That almost

10:38

sets the tone. That's an important choice to make

10:40

at the start of the film because you're kind

10:42

of laying the foundation in the way, aren't

10:44

you? Yeah, well that's all in real one. Actually that

10:47

song Silver Joy doesn't reprise later in

10:49

the film but it's used twice during

10:51

the credit sequence. That's

10:53

a rare case of a

10:55

contemporary song that passes

10:58

as a period song. I've got two in the

11:00

main mode. Most of it's

11:02

period appropriate music but Damien Girado and there's

11:04

a piece later by Karung

11:06

Ben, that wonderful trio

11:09

that's contemporary but as I say passes

11:11

as period. You know it's a

11:13

funny thing in the movies I make which are mostly comedies,

11:17

there's a phrase used, you know the studio people

11:19

will say it, oh you've got to give them

11:21

permission to laugh. You've got to give them permission

11:23

to laugh somehow in the first reel of the

11:25

picture and I think I

11:28

trusted the comedy this time and

11:30

the Damien Girado piece as

11:33

melancholy as it is also

11:36

says to the audience, you have permission

11:38

to feel. You have

11:40

permission also to have melancholy. But

12:02

it is funny

12:04

because then you

12:07

have that sharp

12:10

cut into Beethoven.

12:30

And where we are in kind of

12:32

see Hunnam's quarters in a way kind of thing.

12:34

And it's kind of just like you're kind of

12:36

almost like slapped into his world kind of thing

12:38

and you get that insight to his bed and

12:40

where he is and all that kind of thing.

12:43

It's kind of it's so clever to give us

12:45

an insight into the character through that shift in

12:47

music and that one you know like oh okay

12:49

listen to this this tells me a little bit

12:51

about him and that kind of thing. And

12:54

the shot I missed getting is I should

12:56

have gotten a close up of this of

12:59

the record going on the record player to

13:01

really make sure the audience know that it's

13:03

a record he's playing. I

13:05

think they understand it but had

13:07

I to do over again I would have gotten a shot of the

13:09

record player. I

13:11

love that you're kind of critiquing your own. Oh

13:14

yeah. But also

13:16

at the party as well where Mary's in

13:18

charge of the music and she's got

13:20

that Temptations version of Silent Night on. You

13:23

know and that choice. But I imagine you had

13:26

that was cleared before so you could play it on

13:29

set you know so that it was. No

13:32

no no no no that

13:34

was we had no idea what would be

13:36

in there when we were shooting. The only

13:38

thing you knew was the Artie Shaw song

13:41

when Winter Comes because that's scripted so

13:44

we knew that song but everything else we we

13:47

decided later in post. One,

14:03

two, three, four, five, six,

14:19

seven, eight, nine, eight,

14:24

nine, eight, nine, eight,

14:26

nine, eight,

14:29

nine, eight,

14:33

nine, eight,

14:35

nine, eight,

14:38

nine, eight,

14:41

nine, eight, nine, eight,

14:43

eight, nine, eight,

14:46

nine, eight, nine,

14:54

eight, nine, eight, nine, Maybe I'm

15:01

here in London, I'm Paul Giamatti, who's here with me

15:03

right now and earlier today we

15:05

were doing some interviews together

15:07

and the question arises up, what

15:09

were your conversations like about the

15:11

character? And we look at each other and

15:13

say, well, we didn't really talk very much. At

15:17

a certain level, it's just all understood.

15:19

But so it is with Mark Orton,

15:21

the composer who had done my film Nebraska 10 years ago. And

15:25

to whom I returned for this one. He's

15:27

a smart guy. He has a good innate

15:30

sense of film and of how music functions

15:32

in film. He knows my taste. And

15:34

then it's just a matter of trial

15:36

and error, because it often, you know, what do you

15:39

like for a given, you know, we spot the film

15:41

spotting means it'll start more or less here and finish

15:43

more or less here. And we

15:45

more or less wanted to do x, y, or

15:47

z. And then

15:50

he'll just come back with three, four

15:52

or five different samples of what it

15:54

could be. I select one and then

15:56

he develops that. It's a common process, I

15:58

think, between directors and directors. composers. It's

16:01

lovely though because I think Q can have

16:03

a lot of different jobs to do within

16:06

a film and there's a lovely moment in

16:08

the holdovers, I think the Q's called the

16:10

glove where he loses you know the

16:12

drops of glove in the river but there's a lovely

16:14

little kind of series of shots

16:16

that it's almost like a short film

16:19

over with this Q of music which

16:21

for me is about those different characters

16:23

that we see in those scenes about

16:25

kind of loss and loneliness almost Yeah

16:29

that that red-haired Mormon

16:31

boy who otherwise you

16:34

have no idea who he is. I mean

16:36

I wanted each of those boys even though they're

16:38

flushed down the narrative toilet. But

16:41

40 pages in I wanted

16:44

each to have some kind of raison

16:46

d'etre and why is this person

16:48

there and so that boy gets his moment of

16:50

anguish and then we see

16:53

Mary's anguish putting the her jigsaw

16:55

puzzle together and then to the

16:58

Korean kid who is wet as bed. So yes

17:01

it is a little montage of anguish with

17:03

lovely music by Mr. Orton. Thanks for saying

17:06

so. you

17:52

you That's

18:07

Mark kind of, I don't know, getting that insight

18:09

from that moment of going, this is the type

18:11

of music that I want to create with this

18:14

mood to it. I think that's a lovely thing

18:16

as well is that the beautiful

18:18

relationship that the different styles of music have,

18:20

whether it be Q, whether it be needle

18:22

drops, or whether it be the choir, they

18:25

kind of feel like they're part of a family. So

18:28

that it doesn't feel like you can a clank

18:30

from the choir singing to, there's a lot

18:32

of fluidity between them

18:34

all. Yeah, a nice fluidity but

18:37

also you've been trained in, as you

18:39

suggest in Real One, when we crash

18:41

and bang into the Emperor Concerto and

18:43

then to a rock and roll tune

18:45

that the kids are listening to in

18:47

their dorm. You know that there's

18:50

going to be a palette but that hopefully

18:52

you'll trust that as you use the word

18:54

family but that it all belongs

18:56

in the same film. Venus is on

18:59

the radio isn't it? That's a great track. Yes, I know.

19:39

I really laughed out loud as well

19:42

and I can't believe that it wasn't

19:44

there on set but where Paul's at

19:46

the party, he's clearly

19:48

interested in his colleague and she's

19:50

paid him so much love and

19:52

attention then her partner comes in

19:54

and then the way that you

19:56

use it's the most wonderful time.

20:00

That's why elevation of volume is

20:02

just oh. it's. Just Syria. Or

20:04

thanks for signing of the around. The risk of

20:06

being a little bit too on the nose or

20:08

nose grab irony a little bit too on the

20:10

nose but. The. Worst things: You. Do

20:19

seem most one is he. He

20:26

he keeps you need. One.

20:33

Ah ha ha

20:36

ha. Ha

20:41

ha. Law.

20:49

He he he.

21:01

Loved me the site his you

21:04

Recent summary: One of my favorite

21:06

parts of filmmaking because it's integral.

21:08

It's as important as casting. Sergio.

21:11

Leone he for example used always a

21:13

music is. Forty. Percent of

21:15

a movie. And sometimes

21:17

that's an understatement and even consider.

21:20

Silent. Film was the least silent of

21:22

Because The Debt and Wold War Music from

21:24

In Music and Film have a. Historic

21:27

and very special. Synergistic.

21:30

Relationship so yards absolute suge part

21:32

of what we do. I

21:35

think that's it with the important point is wow that

21:37

is is thought that. Will. You don't

21:39

use music is as important though.

21:41

Particularly. In this environment

21:43

of this school. See.

21:45

Things about that about highly: There's nobody

21:48

else around. And the kind

21:50

of silence that that gets the also

21:52

the outside world of that snow and

21:54

that be a full size and that

21:56

that environment gives you know that kind

21:58

of almost like muscle. Cheryl can

22:00

as it's such a unique sound, isn't

22:03

it? sometimes? Sometimes in the snow it's

22:05

so quiet that it's loud. Yeah,

22:07

there's been a quiet is is

22:09

loud. But. You could have really feel that

22:11

in those moments where you've. And there are

22:14

lots of moments where you haven't got me

22:16

that you haven't seen all over Powered the

22:18

cell with. With. Mock Score Who'd been very

22:20

easy to kind of go know we do a meeting

22:22

we need? Score! but you haven't any kind of this?

22:24

Elevates that kind of. The.

22:27

Isolation. I guess in a way to a lot

22:29

of them. A card you feel. It's. A

22:31

D C decision to make with that are the

22:33

kind of hold embark on things as. Well,

22:35

it's a process is gonna eat on.

22:37

There's decision in bold but it's decision

22:39

bled over months. You know you keep

22:42

watching the video. Do we really need

22:44

that music que her would be better

22:46

without it. You know I've I've worked.

22:48

I've been eight features, five of America

22:50

been with the composer English been originally

22:52

Ralph can't. Yes, But he often

22:54

has said to me. He. Also, I'm also

22:56

thinking about a piece of music here and here and

22:58

held say. Why? Why do you

23:00

needed There seems to me don't need is. Why?

23:03

God role of good thing you're here. You're right. About.

23:05

This don't write me Anymore music.

23:09

Is it says it isn't it? because

23:11

it's lovely speaking sick imposes on this

23:13

focus where the day you know you

23:15

you you are you're not facility in

23:17

you'd walk with your facility and this.

23:20

Bigger project everybody's collaborate in as in

23:22

you have to kind of leave your

23:24

ego the during go it's not a

23:26

bite you said By was best to

23:28

tell the. Were all servers were all sorry

23:30

to cut your but we're all serving the

23:32

store very. Few

23:34

interview. Said. Todd refers.

23:37

Oh how do you get such beautiful images? Well

23:39

I'm thinking about the story. You. Know I'm

23:41

thinking about what's correct for the story of for this character

23:43

Did you speak to get out of. An

23:45

excellent production designer. He and Ceo your

23:47

sets were so great. yeah but it

23:49

was all about character were all there

23:52

to serve the the darn story. It's

23:54

not a it's not a good sign

23:56

when someone asks you. What? You think

23:58

of the film and you say. Well it

24:00

had wonderful production design. Or

24:03

oh gosh, the symptom a toddler

24:05

feet was gorgeous. Unbelievable. because you're

24:07

isolated. You know what? I'm saying

24:09

this because it all got enough.

24:11

Nothing should call attention to itself.

24:13

yet I hate the ideally I'd

24:15

want to say should be prescriptive

24:17

about you know what filmmakers do,

24:19

But. In. General. He just wanted

24:21

all to be smooth and all wedded

24:23

together. The idea of the can have all

24:25

the parts the Jake selling you look like a jigsaw

24:28

as a whole rather than ten. Yvonne Swinson A lovely

24:30

pace. But. You must be so

24:32

thrilled with a response that this sounds

24:34

hard because it's great storyteller like you

24:36

say to those collaboration. They live!

24:38

Thank you for much. Yet ab say

24:41

be so it such as yours. Also joy,

24:43

go back and watch it for a second

24:45

time is law because he did kind of

24:47

this little nuances and things in there that

24:49

are we, the gray and like that transports

24:51

to nature of his wound terms of be

24:53

in in that environment of that skill. I

24:55

wanted to ask that she about that because

24:57

skills you know Oleksyn and are and what

24:59

hi brilliant that was and and you know

25:01

intensive us He felt like you were in

25:03

that environment as well. Kind of yeah a

25:05

Civic Walking Dead was quoted as particularly. but

25:07

what is about the think those kind of

25:09

environments of of schools. Those kind of caught

25:11

actors within those walls of those skills

25:13

that you find inspired in as a

25:16

storyteller. You're. Asking a larger question

25:18

of Bike Micro cousins. Or

25:20

it's you were. In an enclosed

25:22

space which lends itself always to storytelling.

25:24

certainly on stage, And I

25:26

guess and in many films. You. Know

25:28

what's gonna happen inside these? Yes, they have a

25:30

proceed Niamh of some sort. I. Don't know.

25:32

It's sort of the look of the draw. Don't really think

25:35

I'm like. Oh he makes school

25:37

movies the happened. Is

25:40

that when I read while I was

25:42

glad that you're twenty five years ago

25:44

when I got the knob election. It.

25:46

Was an unpublished manuscript of the time. I didn't even

25:48

read it for about six months because I told the

25:50

producers a friend of my ago and that I don't

25:52

want to make a high school movie. I'm not interested.

25:55

You just really really of goddamn just read

25:57

it. So I finally reddit. And.

26:00

and then, alright, okay, this is a good human

26:02

story and a good comic, so I made that.

26:04

And then completely coincidentally, 25 years

26:06

later, or 20 years later rather,

26:08

I had the idea, oh, this is a

26:10

good, this boarding school movie, that's a good idea, that's

26:12

what I'd like to see. So maybe there's an unconscious

26:15

love of, but then if you

26:18

want to drill down deeper, well, for

26:20

a teacher, it's where he or she is

26:22

like stuck in one place. So

26:24

Matthew, what's his name? Matthew Broderick in Election,

26:27

and Paul Giamatti in this one, you can

26:29

see they're kind of stuck there for one

26:31

reason or another, it's youths paraded by them

26:33

on their way out into the world, you

26:35

know? So I guess there's something to it

26:38

there. Those closing scenes with Paul

26:40

in particular in this are just that

26:42

kind of the journey of that character,

26:44

I just think are extraordinary. It's wonderful

26:46

to see you two working together again

26:48

as well. Thank you. Yeah, it's great.

26:50

The same token, let me just say I myself

26:52

was in school until I was 29. I got

26:54

my bachelor's degree

26:57

at 23 and then I was six years in

26:59

film school, UCLA film school. So, you

27:02

know, write what you know. Yeah,

27:04

you've got a fair bit of experience, have been

27:06

able to talk about what you saw, for

27:08

sure. Absolutely. Listen, it's great to chat

27:10

to you and it's even more

27:14

joyous getting to watch your wonderful films

27:16

and your storytelling. I really appreciate your

27:18

time, Alexander. Thank you so much. I

27:20

appreciate the interest. All the best. Thank

27:50

you. From

28:30

this go to the holdovers. That nursing home

28:32

right? To sleep. With.

28:38

Thousand to particular site sea salt. Say

28:40

the holdovers as I said earlier isn't generally

28:43

nice to do get along to your local

28:45

cinema. T C S the so much I

28:47

actually yes we can. You've got this. You've

28:49

also got the had we start from which

28:52

is the Judy coma some that we talk

28:54

to Juri about last week and then also

28:56

die Nucleus phone The Kitchen is up on

28:58

Netflix Diners gonna beats a guest on the

29:00

podcast in the coming weeks as as of

29:03

one you through some of the guess actually

29:05

in cook summon up at Just Skyn who's

29:07

to composed of two things talked about that

29:09

steamy child's and. James Dumb and talking

29:11

about Jackdaw this be a fool independent

29:13

film set in the North East of

29:16

England and onto Heat and Emily leaving

29:18

his bearish. Talking about all of us

29:20

strangers. And you can find every

29:22

single episode of the podcast Edith booming.com

29:24

or follow us on our socials we

29:26

are at Soundtrack in Uk. We also

29:28

have a youtube channels which we be

29:30

really grateful. A few with subscribe to

29:32

got lots of stuff from the podcast

29:35

episode up there, but we also have

29:37

some exclusive things like a lovely chat

29:39

with Full Combat learn about his new

29:41

record on the cell, one Life at

29:43

Me, Mckenna Bruce who's the lead in

29:45

How To Have Sex and then we've

29:47

also got a couple of people talking

29:49

about this Me: Netflix. your code

29:52

griselda which is all

29:54

about this kind of

29:56

female ah drug botanists

29:58

as reportedly the only person

30:01

that Pablo Escobar was scared of. It's

30:04

been made by the people that brought

30:06

you Narcos and Narcos Mexico in

30:08

the form of producer Eric Newman. And Eric

30:11

joins us along with director Andy Baez on

30:13

a YouTube exclusive. So that's going to be

30:15

up next week. Join us next week for

30:18

another episode of Soundtracking. I very much look

30:20

forward to the pleasure of your company then.

30:28

When you download the Kroger app, you

30:31

have easy access to savings every day.

30:33

Get the most out of weekly sales

30:35

and receive personalized coupons to save on

30:37

your favorite items, all while earning one

30:39

fuel point for every dollar spent. Kroger

30:41

makes it easy to save while you

30:43

shop, whether it's in-store or online, so

30:45

you get the most value out of

30:47

every trip, every time. Download the Kroger

30:49

app now to save big on your

30:51

next purchase. Kroger. Fresh for everyone. Must

30:53

have a digital account to redeem offers.

30:55

Restrictions may apply. See site for details.

30:58

Life comes in waves. So

31:00

give your skin a well-deserved rest

31:03

with Osea's newest innovation, collagen dream

31:05

night cream. The first ever night

31:07

cream clinically proven to reduce the

31:10

effects of stress on skin. Harnessing

31:12

the power of plant-based bioretinal and

31:15

king of bitters. Collagen dream night

31:17

cream visibly improves lines and wrinkles

31:19

as well as signs of fatigue.

31:21

You'll experience firmer skin in as

31:24

little as two weeks and wake

31:26

up with a rested, refreshed and

31:28

radiant complexion. Osea has been crafting

31:30

seaweed infused products that are safe for your

31:32

skin and the planet for close to 30

31:34

years. Everything they

31:36

make is clean, vegan, cruelty free and

31:39

climate neutral certified. So you never have

31:41

to choose between your values and your

31:43

best skin. Take your beauty sleep to

31:46

the next level with clean vegan skincare

31:48

from Osea. Get 10% off

31:50

your first order site-wide with code

31:52

DREAM at osea malibu.com. That's

31:55

O-S-E-A malibu.com code

31:57

DREAM.