Welcome to episode 44 of sitcom geeks. I'm Dave Cohen and I'm James Carey and today We're going to be looking at two of your 10 page challenge scripts, which we are getting through them I think we're getting these ones day back to the early 70s. Yeah, it's such a long time ago. Sorry about that I'm not even a project.
I think we are actually up to 2016 So it's why we do say please stop sending them because we are ashamed that how long we're taking to get through them Yes, I think that makes each house finally gone through but we are we are getting there and some people are finding the podcast and listening to early episodes of it And then just in good faith. Yes, we're sending them in. That's true So we're being damned by our previous episodes. Okay, but you know, that's just the way it goes.
Right. All right, then But for the time being we shall plow on with the ones that we have we also we've had quite a few questions recently from Followers on Twitter and we'll be dealing with them, but first we'll start with these two sitcom episodes and the first one that we're going to look at is called Council House Swap and it's by Gareth Wilson Do you want to start introduce just a quick summary you have a garden flat? So clearly this is a Victorian townhouse and you have Richard who is alone and then his annoying neighbor Dion comes to the door and she is a vital kids party He says he can't go because of his auntie elderly relative and she says oh bring the other you're active and then we go back to Dion's place and Darren is there Darren and Dion And so there's a scene there where they're talking about the party they're gonna have and different gender yes It's right and Dion although for me Dion's a male name Yes, she is saying oh this guy is listed on bringing his auntie. He's clearly mental and That's a bit of background noise by the way, and we can't do much about this crime written area that they've got in this Yes, I think maybe well I think it's more it's a hurricane Doris or whatever is it going on there?
Yes, yes as well so alarms going off or whatever yes if there is if there is a fast-moving wind it isn't necessarily the presenters of this podcast and so getting back and then we go back to scene three and Richard who was there before his girlfriend wife partner comes back and they are dreading going to the party and there is some altercation about Use of the garden and so clearly these are names you don't get on and then Linda who is another neighbor turns up who is Very sympathetic character and she's got a very important housing office formed to fill in and that's the end of the ten pages I'm sorry guys. I haven't sold it terribly well. I haven't made the sound like So amazingly hilarious, but that's just one of the people's know what if you want to find that script You can go to our Facebook page and find a link through and you'll find you'll be able to download the PDF of the first ten pages of this script I mean the first thing that's not really was it's some it's how rare it is I'm nice in touch to see working-class characters in a sitcom and I mean I just I grew up watching Those kind of characters a septo so definitely part and coronation Street, which I know is not a comedy But was very funny those days and I just I think it is our whole PhD thesis to be had in this in the the disappearance of Working-class people from sitcoms. Yeah, and I mean it is quite amazing how how few there are I think chewing gum is The only one I can think about the moment.
Yeah, so that was that was nice to see that The the plots I was a there's plenty going on but I was a little bit confused The first the show starts with a this guy Richard who James mentioned who's on his own and he's he seems to be answering some kind of Com phone call but he's he pretending to be the old lady who owns the flat so We don't know does he actually does he pretend that he's still living there? Is he claiming benefits from dead relative or something? It's all it's sort of in the air We don't quite know and we never we never actually find out so unless I'm being a bit thick and I've missed something And then he also mentions an elderly aren't living with him. Yeah, and so you're thinking does he have to keep up a pretense of this what what I suspect is that Is that it's just having a bit of fun annoying somebody on the end of a phone?
Which is fine, but I wouldn't start you'll say come with that it doesn't actually reveal character and actually it's just creating confusion as to the situation So that's my overall note with these 10 pages is what's good about it is if I is very clear that this is about neighbors at war That's great, but I do feel that It's you get that very quickly and therefore you can escalate things and move things on much faster you know a party is announced and You have in scene one you have a reaction to to that in scene two from the people having the party you have reaction to it in Scene three from the people who feel obliged to go but nothing's happened and and somebody has a form to fill in That's very important to them. That's on page 10. I'm sort of third of the way through your show by that point So I think you could probably accomplish everything you do in 10 pages in probably five if not four I think that's that's true and I think that the plots are set up nicely so the neighbor comes round and says comes to a party and It seems like having already invented the one lady We're not sure if she's invented or not that then that Richard talks about this as James says this elderly aunt who Oh, she's very ill and she's got mental health issues And it sort of seems like he's making up this character as any excuse to not get invited to the party and then the answer I will bring her along as well So at the end of that episode at the end of that scene you'd be thinking okay, right Richard is nothing right? I have invented this character how am I how am I going to get out of this?
Excuse me. I have to bring an old person to a party that I don't even want to get into well We don't get any ideas at all like that But it's just it's just she's invited this old lady who may or may not have been made up We almost certainly think is made up and then there's no there's no follow up at all And then similarly then Dion when we see Dion with her partner and daughter and then she says oh no I had to invite this old late mental old lady to come along to this party What are we going to do any sort of thing? Oh well then whatever whatever have been decided in the previous scene They're going to do something that that's going to kind of escalate however bad this made up character is they're going to escalate it more But again, it's just it's just left hanging So that's a nice not potentially a nice nice plot. That's that's not not developed I did like his town.
I mentioned it, but I summarized it. I like the fact that Dion comes back to the flat and reports a conversation in a completely different way to what we've just seen yeah And that's great. I really like that And I didn't actually see enough of that in these sorts of scripts where somebody says you know Oh, he insisted on bringing his arm and then no no no you actually insisted That really reveals character with with comedy and jokes. So that's a real sweet spot there So that's that's something I'd be really encouraged by when I'm reading this and thinking is this someone I would want to work with if I were a producer And that's a good a good point I know there are these characters are all promising and then the character that James mentioned the one who has to get her form Signed she's called Linda and she's described as single mum 40's always being put upon you to her generous nature Which is a which I instantly recognize that person which is great But then the person in the scene is not Is not that doesn't give that description Yeah, and you know I want to see I want to see her and I want to see that and in fact you make so that you don't even have to put that in your Character description we you can do that in two sentences two exchanges And I would still recognize that that type probably so I mean that's what my my feeling was there's a lot of characters in this and Like them and I'm interested in yeah, it's about the right amount of characters actually Which I think is good, but I think what I would do is I would look at each character within a bit more depth and And just ask yourself What does this what does this character want in their lives and what are they getting and what's what's the thing that's a little bit funny about them?
Or you got it with the Linda characters, you know, she's I can I can imagine comedy with her this character who is put upon due to her generous nature That's great. That's the kind of thing that you need for all the characters But you don't want it written like that in the script we want to we want to see that with the jokes Yeah, there's a there's a case in point here the starter scene three Ellie Richard's wife Sturd seeming 30 something Asian female walks into the room and the first line is hey babe. How are you so you? That's not a simply if she is seemingly stern She needs to come in and immediately criticize him or say you've left the thing outside You've done this wrong you've not done that or she would sort of come in and you know You only get one chance to make a first impression with your character So you really do have to make the most of that so So that's everything that we can all learn from you know I continually get that wrong and continually don't make the most of that first introduction to a character But she could be carrying something issue wearing a uniform from work You know is there just other some visual clues we could see to know a bit more about how they don't they don't require any dialogue as well I always come back to the first three minutes of friends in the pilot episode which which you should watch and watch again Because you get everything you want to know about friends the Tired 200 or whatever is contained in that opening three minutes tiny little a con yeah And the thing that the five of them all sitting in central book chatting away in there all their characters are revealed just in those Conversations and then three minutes in Rachel enters for the first time into this little bar little cafe in New York But she's in full wedding dress.
Yeah, that's such a striking visual Wait for someone to come and enter their first entrance Yeah, and the whole show eventually is kind of about well. We'll she will we'll she marry Rosal? Yeah, and so it kind of they couldn't know that that's what it was going to be for ten years But it was the work had been done the preparation had been put in yeah So that opening three minutes and that's that's a thing give make sure your characters Are memorable in the first things they say yeah, it is the hardest thing to do the first few minute You know you've got to do the hardest thing first and it's brutal But and I think you've said before you have to do it in every in the first series you kind of have to do in every episode I think you do yeah You can't assume that people have seen it and it's a good discipline to have generally you know even in the second series and so You know you want to make sure it's only once the soap show is really established You can start to have your regular characters start by doing things out of character that you think oh that's unusual Why are they doing that but that that's a serious four problem to be to be having so Thank you Gareth for sending us your scripts back in the dim distant past that you've probably already rewritten and had made by NBC So if so could we work on the show please So the second script is called WA 14 by Lawrence White switch Which is a radio script I did notice that it first as I was reading it and then thought oh this is a script And I think it's your turn to summarize yes good luck with that because I found this quite hard to understand yes Well, I've initially wrote down I thought this is about a group of people who live in a specific part of Manchester hence the postcode But but would like the boundaries to be reorganized so that they can be part of a much posher area WA 15 is called Okay 14 and at least that's what I thought it was about and that's certainly the main premise of the first scene But then a series of scenes follow that feel almost more like sketches than scenes And there's a voiceover at the start of each scene as well, so it kind of almost feels like not everything but certainly quite a few of them So it kind of makes me think little Britain or rest of development or yeah I suppose it felt more like they these were characters like a snapshot of what Britain is like and so we There's a character in the first scene who there's some discussion about the the local council and not how that whether they're going to be able to change the Change the code or not rather and this character Pat to sort of flutingly passes through the first scene He then appears in the next scene and becomes kind of the main character And he seems to be he's kind of a loose end is trying to make changes in his life Which is a good good starting point for a character. He I guess he's an entertainer or something he works on cruise ships Yes, although at one point he's asked how do you get money and he says I don't know and then he says you should get a job And everyone laughs yeah, and then he ends up in a huge car salesman.
Yeah, that's the quite quite interesting How does it sort of leaps really he goes from? He's entertained old ladies on cruise ships is how he makes his money he has this friend who's a Russian musician called Vladimir Which seems kind of slightly unusual person to have a show your close friend in this The Larry of Manchester, but he's you know, they sit and get drunk a lot There are quite a few other characters well But unlike the first episode that we talked about the council house swap I I found it a lot harder to distinguish Lucy Liz and Sue and I can't quite remember who which is which is which one who does what and then there's David Nigel as well And and Pat and and there's an end now on page I as well So I know I vaguely remember who she is and Pat I know because he's in there a lot and glad but the others are kind of not quite sure what they're doing But yes as James says this one scene where Pat says what am I gonna do to make some money and someone says get a job and they all laugh They said no, no, you'd be really good car salesman, you know, you so charming you could Chomp people as a car salesman cops do next scene one month later. He's a car salesman, which Is fine, but in terms of there being a narrative to this show I am kind of I'm wondering if it is more as was more sort of thought of as a collection of sketches about the same Same group of people which again is not a Question I mean there are two things they want is the voice over which is worth addressing but secondly the fact that The meet the moment that within between scenes two and three or three and four or something you jump a month just for some reason makes me worried and There seems to be a bit of an unwritten rule that in a sitcom most events within the half hour take place within about a 24 hour To 72 hour period just me you can have a show start on the Friday and it kind of wraps up on Sunday night We can have a show start on the Monday with a new first day at work and it finishes on the Tuesday But for some reason it having things last longer than that is it's like an occasion You just march through time. We don't really draw attention to the fact that time is passing I think that's I don't know why I can't quite put my finger on why that bothers me Yeah, well, I think it's probably because you know in the sitcom your your because I say come as a self-contained episode Yeah in a moment It's a it's a story that that's that's how starts, you know It's two minutes in we need to know what the story is and then by the end of the episode the story has to end it's it's not some great big heroic Adventure nobody grows during the episode You end up with the characters being pretty much the same as they were at the start nobody learns anything and so You know you can imagine like a drama or something and there's an epic journey and time can pass but in a sitcom There kind of isn't really enough time to pass if if time passes I think we used to expect it when time passes in our entertainment that we watch that lessons are learned And maybe that's why it's a sitcom and as we talked a couple of episodes previously about the bottle episode which Right is love to write and that's that's sometimes often says actually in real time So there's a whole everything that happens takes place in the course of half an hour so So yes, I think it's I think that's possibly why in comedy we do not tolerate Not such a long passing of time.
I mean there's you can have there's often things where you have jokes and you've kind of They'll they'll be a kind of flashback to ten years before or something or ten years I have flash forward or something so but but generally the story itself as you say probably 72 hours as much as we tolerate And you can I think you can play with that and make a virtue of changing that unwritten convention But yeah, I think you have to own it and make sure you know what you're doing and why you're doing it And so there was actually the second issue is for me about use of voiceover You know typically people say that voiceover is cheating and that you're sort of telling people stuff that you should be able to convey through dialogue I don't know that's necessarily true because some of my favorite shows have voice over you have voiceover in Arrested development you have voice over in the gold books I think it doesn't work so well on radio. I think for some reason that it's all voice over isn't it? Yeah, it's all voice over. So a voice over on television is something is saying what you can't see Yeah, and that could be as well.
Yeah, so one family is using it almost as voice over isn't it? Yeah, and Parks and Rec and that's a thing now But the all-knowing narrator I think can be a character and can work but at the moment it's We're not making the voiceover isn't amazingly funny, but also isn't telling us stuff That we might not be able to get through through exposition in dialogue. So I don't think that I think you need to make more use of it Or not have it. I mean I'd after reading the first scene I thought I'd like the idea of a sitcom that will be based around small-town local politics I mean unlike something like the Vicar of Dibley or Citizen Smith This this would actually be I thought specifically about like a small vaud in a Yes, Council and maybe it's just that sort of thing that interests me anyway, but The idea is it's not really about the politics.
It's about it's about the personalities and the class as well How people see themselves? Yeah, yeah exactly But but because there were so many characters and leaping around and things so my big note I would say is you know, what's what is it about and what's it really about and then once once you decide that then you can start to Start to go back to it. I think I agree. I agree, but thank you.
Thank you very much for sending us your scripts Sorry for the delay again. Yes, and I'm I hope the HBO series which this is now become it is going very well for you and again the Request to work on the show still stands So we also have some questions Yeah, we tweeted out some questions and we had some responses although by the time this goes out those questions were several weeks ago But that's the way it is No, we're not Yes, you're annoyed to have been broadcast before people here Yes, those were the days So we'll start with Andy Riley who has been a guest of course on this show and in Kevin Cecil though very successful Writing probably writing partnership and he also is the writer of if you have kids a book about a character called King flashy pants Which I thoroughly recommend I read to my daughter the first one of the second ones just else so anyway I don't know why I'm playing Andy's book so I'm very nice about it So why not be it's grand and I mean Kevin together they write so they went into a v And they were writing for Tracy Almond at the moment and the black books as well as million things that they're no me Oh, no, no, no, anyway, so anyone asks us how many subplots does a sitcom need and that's Before I think you might have done Interesting that's been something that's been upsetting me a little bit recently because I've been rewatching the early episodes of modern family and Christmas we were watching with the whole about number we watched all through the series and it does interest me how and a British sitcoms generally, you know, we've got the out number There's a family of five and the whole story is based around then and modern family There's there's six more characters 11 characters and that's seven minutes shorter And I mean the incredible amount of Plotsing that goes into like an episode of modern family which seems to have three plots every episode to cover all three Variations of all the 11 thing I've been thinking about this because it's it is amazing But what they do which I think is a good rule of thumb is that the number of plots you have an episode depends I think on the number of characters that you have yeah, so and I don't think a character should really unless They're the lead like in Miranda where she is at the center of all the plot or not going out or not going out Or something as a rule if you have more of a combined show where you have lots of characters and no clearly necessary I think you need as many plots to give everybody something to do To make sure that everyone has an attitude and everyone has something that they're trying to achieve So on bluestone We had an annoying a big cast of nine and so we made sure that in every sweet We normally assume that we would have a main plot and a subplot which is almost like a running joke And that would often be Mack and Rocket the squadies mucking about or doing something and that might be with bird Or that might be with Simon or that might be with the botanic colonel or the paldre or the subplot might be bird and Simon arguing about something and You know and Mack or rocket have one of the B plots whether obsessed with a rattle or something like that Yeah, but what you need is If you're gonna see a character you sort of need to know what they're trying to achieve in the episode even Pandentially I think I learned this on my hero which also had a cast of nine Where everybody didn't necessarily need to be leading a plot But they sort of needed to be responding to a plot or pushing back on a plot So that all of us but if you only have four characters in your show you're going to struggle to have more than two plots And there's no reason why you should have more than two plots You should have a main plot the subplot if you have nine then you should probably have three plots four is a it's hard to juggle But you could have three plots and a running joke for a fourth Yeah, I think so I'm felting its pomp with our four plots Yeah, sometimes there are some episodes where all four have their own story Yeah, and somehow they managed to you know You watch an episode where that you can remember and then and then another plot starts you think oh is that in I didn't know that was in the same episode as the other one right yeah, um So so I think you need as many subplots as your characters require yes approximately a square square root of characters So for four characters two plots nine characters three plots something like that. Yes, that's that's exactly what it means It's what it does mean is if you have a plot where someone's trying to do something and someone else is trying to stop them Do you've only taken up two characters with that one plot so you'll need another plot which involves three or four people Yeah, and sometimes there your characters will naturally sort of clump together in alliances But those alliances aren't necessarily the same every week So I think it's especially making sure that everyone has an attitude something to do Yes, play that they are at the start at the end of the episode something that has happened to them Yeah, the off significance even if they haven't necessarily been the main sort of driving force. Yeah, okay Well, that's thanks Andy for that and Now we've also had a question from George polls another very successful comedy writer Right, so a lot of children's TV sitcom lots of radio comedy as well mega comedy work together on news quiz for many years and he says His question is following the death of monster of the week and a single story drama I think death is possibly an exaggeration, but certainly there are maybe less and less of those he says do sitcoms also need a series arc so That's an interesting question of various people were I've been discussing this on I've been reading about on Twitter Does a sitcom need a series up and again recently?
I've been watching love sick which you may remember had the awful title of a squirtle recall comes first series despite the awful title It was a brilliant show. I thought and then just having watched not through all 14 episodes I think on Netflix and there's a very very it's very much a Long on ongoing story and I think it's brilliant actually. It's one of the best sitcoms that I've watched in recent years But it manages to tell an ongoing story and sort of leaps leaps over time and things in fact goes completely against what I've just been saying About something take place over 72 hours actually actually probably each episode does go over 72 hours But there are always a flashback story in there That's like six months ago or five years ago and so The show leaps through time but but is kind of moving forward and there's a definitely strong narrative but all characters in it are classic sitcom characters they make the same mistakes year in year out and and so And you can kind of see how the plots are developing, but you don't quite know what's going to happen. So It's really interesting.
Hopefully there's gonna be a third series as well. I'll be fascinated know how how Tom H the writer develops that third series So you might but he's that's how he set the show up. Yes He's an exception that proves a rule. I don't know.
I think these days there are lots of I mean I think so that the death of the single the monster of the week thing I mean I I love monsters at monster of the week shows So I just got started watching elementary right which is the which is the show that Sherlock refuses to be right and I find Sherlock's sort of ludicrously inward-lookingness and every episode is now some sort of special Whereas I would just I just like it when there's a mystery there's a dead body and Sherlock's called in and he sells it I don't require but that's kind of how most cop shows and detective shows have always worked for forever and you know before the killing and all that That's right. So tons of that monster of the week stuff is still being made. Yeah, and it's still being watched in huge numbers Yeah, that's why I like to have a house was great because house was oh what's wrong with this guy? Oh, maybe it's this no It's not that maybe it's this all is it that no, it's not he lied and it's this and we've fixed him Well, so I liked that thing.
Yeah, my name is over. Really good example I was just has this number 73 on my list make up for that bad thing I did and off you go right but I think there are more options now because the narrative also You know because we do have a box set culture Yeah, you can now do stuff that you couldn't do before but I think the worry is for me that comedy writers Get rather excited about story arcs and series arcs and forget that they're trying to make people laugh. Yes, that's a good point I mean I one thing that I've been very impressed with recently and ended up watching it all through very quickly was oranges the new black which is a Comedy drama, I don't often say that phrase without a sort of sneer in my voice but actually it's a comedy drama because each episode is an hour long there is a lot of drama There is a lot of comedy and there's a lot of narrative But essentially there's a bunch of the same people week in week out and doing the same things making the same mistakes stuck in the same world they have to be it's prison and That feels to me like a definitely it's it's an extended sick every episode is an extended sitcom with extended with some drama in there as well So I think maybe that that's you know more shows will come through like that where writers Comedy writers do get excited with with the stories But as long as the characters saying character, that's the most important thing I mean you can do amazing things with story rest development demonstrate that you know that they are huge story arcs But the characters are doing their thing every week. Yeah, and they're still familiar locations So yeah, I think again you set the rules so you do what you think you need to do Yeah, but whatever you do as long as the characters behave consistently or even Inconsistently for the reasons that they are inconsistent characters Then it either will do and that's the key as with everything is Okay, thanks George.
Thank you George, and we have a sweet question from Tom Gregory who I don't know but his tweet name is Tom Gregory actor So that gives me a clue. He's an actor I guess and he has question hypothetical he says or is he or is he? He says producer likes your thing wants to meet any tips for that first meeting good question Don't be weird That's my first tip. Don't be weird and the reason the thing you should be thinking about in that meeting is if this producer likes my thing and They want to invest time in it probably time initially rather than money.
I'm afraid that producer was thinking is this person? Who who's coming to meet me is this sort of doesn't I wanted to work with is it going to be worth the bother because getting this Show on to TV or radio TV probably is going to take ages and be very difficult It's going to be a hard sell. It's going to need writing and rewriting Is this the kind of writer that I actually want to work with and so you want to be the kind of writer that? Someone wants to work with conversely you need to think is this the kind of producer that I work with and if you really discover that They say things that you know factually not true or they seem to be full of self-aggrandizing statements about their experience You know that a certain alarm bells should be going off or if or if they have made a ton of things that you simply don't like And therefore it seems odd that they like the thing that you like You just need to work out is this someone that I can be in business with because that is what it is a business So I think those are the kind of things you should have in your mind as you're approaching that meeting other than being late and be smart and Don't be weird right and I think that what I would say is The producer may have said that they like your thing But for all the reasons that James had just mentioned they may be thinking well I like I like the way this person writes and I'm not sure that this is going to be something that's going to get made But I would be happy to work with this person If that's something that you would want to do if you're so ready to your one idea that that's the only thing you would do then Fair enough you walk away, but generally I think most people will be very happy to be asked to work with a producer Even if it's not necessarily the first thing to be their own thing And one thing that the producer is almost certainly bound to ask you is have you got anything else and I'd remember the arrogance of my 20s when I was the I was getting asked to meet producers as a because of my Comedy live comedy and so I was walking there thinking yeah, oh yes They've been to speak to me about an idea.
What they don't want to make this particular idea Well, they can go take a running jump Jimmy Mulville. Oh, I know you're new to you Yeah, where are these people now? So I just kind of Sort of glury I wasn't weird, but I certainly I I didn't think that you know I just thought well my ideas are good enough and bound to be good enough I'm bound to get all my ideas on anyway through my own endeavors But yes producers are good people to meet and to work with a lot You know they are also probably hoping to have longer years and then they will need lots of people over those sort of 20 30 40 years and they're making programs most likely they will also say we like your idea I like the writing we have this other idea that we're trying to get to work It's not quite working Would you mind having to having a thing about that at which point into any you are perfectly within your rights to ask for money? Or to agree to what extent this idea is their idea and to what extent you will get no credit for coming up with some Formats changing and saving points on it.
So that's the point at which if you have an agent you want to talk to an agent Take advice and possibly talk to the writers guild as well I was just going to say that as a very good point to mention the writers guild have written a very very good document I'm sure you can find it online if you put right writers guild of Great Britain free is not an option And I think that's the title of the very very it's very well written It's very explains what you need to do someone ask you to do work And then it's just a certain amount of work that you are expected to do free quite reasonably But then it starts to explain and where you can think about saying well actually this week we get into the realms of pay work now That is a very important thing. It's important especially when you're starting out So just not not be pushed around really Definitely and that's the We just have one more question from Christian calling who says does it help or hinder the end products to cast a character in your mind I would say it will help you if it helps you hear the voice of the character Then that will help you write it do what works do what gets the script written It will help you when you're talking to a producer about when they say who do you see in this role? You can suggest someone even if they are a Hollywood movie star or something at least it helps them to hear the voice even though They're obviously not going to do your proposed BBC to sit cock what they might do because Matt LeBlanc did yeah, so it's worth having a If you are going to mention meeting if you have a meeting and you do mention names Don't be afraid to go really big because they're more likely to be interested in excited about it than if you say oh There's this one actor you've never heard of do I know would be great and suddenly they're thinking oh right So I've got to sell a show with and with and with a non entity who may perfectly good to a network So you don't want to hold on to those things too much But you use their voice to write your script that is a very good place to start on the other hand Don't say by the way, David Jason has said he'll definitely do it if David Jason hasn't said to you Oh, yes, I will definitely do it and you almost certainly hasn't you might have got a script to him or to his agent and someone might written back and say Well subject to subject to availability. He may be interested in whatever so you know we get that They're just not gonna write back to you.
No, no someone who knows someone or whatever So but yes, it does help I think sometimes especially if you've got a character who is you know a this a martin Freeman type Character and it'll help you write it I think as well because you kind of know You know what I mean when I say that I think so yes, so thank you. Thank you for that question Yes, thanks for all your questions and Keep them coming to come into our co-endave on Twitter and James and geek can email us Come geeks at gmail.com we can like our Facebook page and ask questions on that And we will get around to answering them in some format eventually we do we do get there in the end trust us And here's asking about the slow commissioning process. Yeah, just the same. Yeah, so thank you very much Thanks for questions and say keep them coming and Bye