I want to keep doing it.

So I had worked on this Woody Allen movie with Colin Firth.

And I think I can speak for Colin that it was disappointing.

The experience was disappointing for us just because he was a huge – he was, he's just a huge Woody Allen fan, um, as was I.

And so it was like, Oh my God, we're going to the South of France.

We're going to get to work with Woody Allen, like their stories.

And just like to tell him, like, I love this part of, you know, um, Hannah and her sisters and like, yeah, Annie Hall, what was it like shooting this and blah, blah, blah.

Mm-hmm, mm-hmm.

what was it like to be in the room with him especially on a play that had so much sort of controversy around it

yeah that was a crazy that was direct right out of symbol while I was in Cymbeline we all auditioned for it and um and Mike was in that also.

And I knew a couple of other people who were all my age.

It was all, um, but yeah, no, it was a crazy experience because there had already been an article about it.

Um, well, they had canceled it because of threats from the Catholic league and bomb threats.

And, and they sort of, um, Lynn and the MTC had sort of decided that it was a little bit too dangerous and that they weren't going to do it.

And then a bunch of artists, many, many artists essentially signed a letter.

And so I'd love to ask about Here We Are, and how did that project first come to you?