When you have an initial idea, do you tend to have the visuals like this could be a film too? Or when you're writing, let's say, a noir specifically, Does that come into your mind at the beginning of it, or is it like you just are focused on the novel and then you decide later, okay, I think this could really work as a screenplay as well?

Yeah, I mean, I think I partly got into writing crime fiction or, well, I first wrote You Were Never Really Here, and then I saw how well it transferred into film.

And so, yeah, I don't necessarily begin by thinking, oh, this could be a movie.

But genre... books can translate nicely and also short books can translate nicely because a short book usually has a compressed timeframe.

And so a movie, a lot of times works well, if it's not an epic, let's say of like two or three days when you're with a character and what's happening and it's fast paced.

And so the same thing, like with the book, I, You know, the doll books, You Were Never Really Here, A Pass Without Pictures.

The primary action takes place within like 48, 72 hours.

focused too much once like the the art element of it is done like how do you it seems to me i would be very stressed out if i was in a situation where i wanted to get something made and it wasn't happening and then and then investing time um i would just ruminate a lot so you seem like you have a very um patient and just kind of like let's see what happens

What are the challenges, I suppose?

Yeah, well, I remember in my youth, and I forget the Hemingway quote, but he...

It was something about really...

Being in the moment yourself or feeling it.

And so, and I remember this wonderful New York writer named Joseph Caldwell or Joe Caldwell.

He's someone I met at the Yaddo Artist Colony.

a wonderful writer.

Yeah, this is an instance, again, you can denigrate crime fiction for whatever reason, but this is a character who is coping with something or trying to cope with something that's universal, not just tied to the specifics of a crime that's drawn her into this web.

What more do you know about that? Because that sounds quite bitter.

I think the key factor here is there are two ways that costs are determined in civil litigation.

That's called the standard basis and the indemnity basis.

The standard basis means that in all litigation, all civil litigation, before the trial itself, there are pretrial hearings where the judge and the two sides will sit in a courtroom and determine what the cost budget should be.

So the judge will take a very keen interest in what both sides are proposing to spend on the litigation because there's been a long history of concern that civil litigation costs are out of control in England.

So the judge will sit down with the two parties and agree a cost budget, effectively.

And it was done in this case.

But, you know, you look around at some of those other high profile claimants, Elton John, Prince Harry, how will that be worked out, Jonathan?