Jude Law | The Holiday Season #6 Transcript and Credits

SAM: Welcome to The Holiday Season, my name is Sam Clements, and this is the audio equivalent of a rich hot chocolate with marshmallows - courtesy of Nancy Meyers’ 2006 festive classic, The Holiday. The Christmas house swap rom-com, starring Kate Winslet, Cameron Diaz, Jude Law and Jack Black.

The Holiday was described as “a finely polished piece of romantic cinema” by Creative Loafing, and “a fizzy champagne cocktail that provides a pleasant buzz, many smiles, and Jude Law with the role of his career” by the Philadelphia Inquirer.

It goes without saying, but there will be spoilers for The Holiday in this podcast. Please do pause the show if you’ve not seen the movie - go and watch it - you will have a fabulous time - and we’ll be waiting for you when you come back.

In episode 6, we continue our conversation about actors, as we talk to one of the stars of The Holiday… Jude Law.

15 years after its initial release - The Holiday is well and truly considered a Christmas classic, regularly scheduled on TV and in cinemas, still finding new audiences, and delighting those who have been there from the beginning. 

I’ve always wanted to catch up with the lead members of the cast to ask what it’s like to be at the centre of a film like this, and reflect on their experiences a decade and a half later. 

Thanks to a chance meeting over summer, I was able to tell Jude Law about this podcast and he kindly signed my blu-ray copy of The Holiday. A few months later, whilst planning a special 15th anniversary screening of the movie in London, not only did Jude agree to come to the cinema and introduce the film, he also made the time to speak to us today. 

It’s a bit of a dream come true for me, I’ve been working on this show every Christmas for the past 3 years, and I enjoy the fact that Jude Law’s publicist now calls me “The Holiday Guy”. 

To recap, Jude plays Graham Simpkins, a widower who falls for Amanda Woods, played by Cameron Diaz, whilst she is holidaying in Surrey. Graham is the brother of Kate Winslet’s character Iris, and father of two small girls, Sophie and Olivia. 

Due to the structure of the film, Jude only has one scene with Kate and Jack Black, but worked closely with Cameron Diaz for Amanda’s half of the story, which was shot on location in Surrey, with interior work being done on soundstages in LA.  

[THE HOLIDAY Clip]
GRAHAM:  I’m Graham, Iris’s brother
AMANDA: Oh, brother, umm… I’m Amanda Woods, I’m staying here
GRAHAM:  Amandawoods? Is that all one word?
AMANDA: Haha, no….

SAM: During a film's initial release, the lead actors will often be seen out and about, promoting their latest picture. But it’s rare to get a chance to talk to as busy and successful an actor as Jude Law about an older project from his filmography, like The Holiday. It was an honour to sit down with him, and take a trip down memory lane.

I started the interview by mentioning that one of Jude’s co-stars from The Holiday, Miffy Englefield, who played his on screen daughter Sophie, had recently joined us on the show and spoke in detail about the wardrobe fittings.

JUDE LAW: If her costume fittings were like everyone else's, they probably went on and on. I think I tried on about 40 pairs of jeans just in complete bafflement as to why one pair of jeans was different from the other. But Nancy was like, let's just try them all. Let’s just find the perfect jean. And she really did have, Nancy that is, this sort of bar of perfection that she loved, aspired for the sort of, the people in her film world be at. So every jumper, every shirt had to be just so. So yeah, the fittings, and that's probably why Miffy remembered them.

SAM: So we're recording this 2021, The Holiday has turned 15 years old. How do you feel knowing that it's left this long legacy and it's still being embraced by audiences today?

JUDE LAW: I'm thrilled by it. We'll talk about choices behind taking this film, maybe in a moment, but it's an unusual scenario because you… what you learn with a little perspective about the films you make, the films one gets involved in, is that you genuinely never know what's going to work, what's going to be a success, and what in this case is going to have sort of long lasting impact or legs or history, whatever you want to call it. And I suppose looking back now, it makes sense you think, well, it's a seasonal festive film. It's got a lot of heart, you know, Nancy had as a director a very high bar. She worked towards a sense of perfection. There was no looseness to it as a film when we were making it, and it makes sense that it still has impact, but at the same time, making it, you know, there are always those doubts. There are always those moments when you think, ohh is this working or will anyone really care or does a film like this have a place in, well, it's not modern anymore, but you know, in today's cinema and, yet like I said, the surprise is a real thrill for me. And quite honestly, as an actor, you know, you have an experience with a job and you have the memory. And if something has a life beyond that then it is a thrill, it's a real thrill that people are still getting stuff from it and that it had an impact. That's marvellous.

SAM: Yeah, not not every film, you know, has that sort of lasting legacy, and I always love it when people love movies, you know, whether it's serious drama, documentary or in this case, you know, romantic comedy. It's one of the softer genres, I suppose, but it's also something that everybody loves. People feel good when they watch something like this, and I'm glad it's being remembered.

JUDE LAW: Obviously, there are great films that last, you know, you can say Raging Bull or, you know, Lawrence of Arabia or, you know, these great films that become iconic. What's what's slightly different about a film like this is that because of its seasonal specificity and because it's something that people go back to at the same time of the year to sort of channel in to the festive atmosphere and the the sort of equation of this will make me feel like this, and I want to feel like this at this time of the year that that sets it aside and makes it very specific and more personal. I think perhaps.

SAM: What do you recall talking to Nancy Meyers about when discussing this project and your character in the film, Graham?

JUDE LAW: I've been trying to really recollect where and what we discussed and where we wanted to place it. I remember her sending me off before filming with some of my favourite films, but a lot of the old old black and white romantic comedies with Cary Grant, Bringing Up Baby,  Arsenic and Old Lace. And I remember her saying that she really wanted to capture a sort of innocent, I remember her using the word chatty, kind of loose atmosphere. And she loved the idea of playing this misconception of who and what Graham is, quite quite hard, and actually there was more footage of me and Cameron walking through town and me being sort of constantly stopped by women in the town. And she really wanted to play up the sense that, oh, he's this cad or he's this kind of ladies man. And then you realise, Oh no, it's it's he's actually an innocent in this situation, and that's just us, that's our perception. But she started with referencing a lot of the older films and the light, the lightness of touch that they had that she wanted to recapture, and that was really what hooked me into the whole project. It wasn't, if I'm honest, like I had to play Graham or what a part, what a character. It was more. It was a genre I'd never made up to that point.
I'd never been in a romantic comedy, and if we were going to do it, I like the idea of trying to recapture the genre at its best, which in my mind was in the 40s and 50s. And so as soon as she referenced those films, I was curious, and I like the idea of trying to find a little bit of that sort of Cary Grant likeness, like I just said, of touch, and that was really the source material I remember using. I mean  I kind of approached films with a slightly different process back then. And with that one in particular, I don't remember feeling like I had to do a huge amount of research or work because he felt very familiar to me. And I think perhaps with hindsight, maybe part of the reason I was looking forward to playing him and felt like I could just dive in was that he also paralleled a lot of my life. It was 15 years ago so my kids were around the same age as the girls, and some were younger. So it felt very familiar territory. And I think I just felt like I could just sort of slide in and play a bit of that. And I'd never done that in a part before. I'd never shown that side of myself.

SAM: Kate Winslet said similar sort of things, actually playing a contemporary role at the time, getting out of a corset was a big, a big driver for her to take this part.

JUDE LAW: There’s something nice about just stepping into a familiar modern world actually as an actor, if you're not in something that's requiring a huge amount of re association of character type. And this was familiar territory.

SAM: Do you remember how Nancy worked with you as an actor? Is she big on rehearsals, lots of read throughs? How did you prep with her?

JUDE LAW: I don't believe we did rehearse much, and I don't know whether that was because of the availability of the others or myself. I seem to remember we just dived in. However, the shoot overran by months. That was because on set, we would do scenes over and over and over and over. And that was, if I remember rightly for two reasons. One being what I learned was that with comedy or with certain beats, the timing and just getting it just right was a real science that had to be perfected. And then also, Nancy is just someone who wants perfection, and we would sometimes go round in circles. I remember one particular scene when I, was it with the glasses? I remember saying something like, I think I'm going to think I'm, I'm going to arrive with my glasses or take them off or something like that or put them on in this scene. And she was like, Okay, try it, try it. So I did it and she goes, No, no, no, no, no, no, no, no, it doesn't work, doesn't want to lose the glasses, lose the glasses. So we keep doing the takes and about literally, I'm not joking, 10 15 takes later, she comes back and goes, I think it would be interesting if you do something with your glasses in this take, and I'm like. But like it's her idea. What, I mean I said that to you two hours ago. Ok, let's do it with the glasses. So then we do it with the glasses, and she’s like [clap] that's it! Now we’re working! It's like her process was she had to get there herself. But man, we just drilled that thing. If I'm honest, there were moments when it kind of drilled the fun out of it a little bit. Although having said that, I have very fond memories. It wasn't like it was flogging a dead horse. There was real attention to detail, and it never felt, ever felt like, Oh gosh, we could have tried this,  we did every, every which option and angle. And yeah, we really covered every base.

SAM: For the audience side, you know, it means that we really are seeing the cream of the quite expensive crop. 

JUDE LAW: Indeed. But, you know, I mean, I remember when we made… so I'm sure you probably know, but the interiors were all shot in Los Angeles on studios. LA was the second half of the shoot, and I got there and I just hung around for a month because they were so behind.

SAM: It must be so strange here, not knowing when you’re needed. Just filling time.

JUDE LAW: You're just available. I mean, hey, it's fine by me, I had a really nice view, a pool, I was just hanging out with my kids.

SAM: Did you see Kate Winslet and Jack Black doing their scenes if you were sort of waiting for their bits to finish?

JUDE LAW: I’d pop in and see them, and I wanted to meet Eli. So, yeah, I would. And also, you know, when it's been a few weeks and you're still not being called, your presence on set is a subtle reminder. You're like, what's going on? You know, you're going to use me sometime this year?
Kate was married to Sam Mendes then. Sam had to leave, I remember, and I think in the end, there was a sort of enforced end date. It was like, We are going, you have to shoot me out. So Kate ended up shooting like back to back to back to finish to get out. And that's eventually how I got on set, I think.

SAM: Yeah, it's interesting to, you know, hear about how things are sort of made because so much work goes into making any film, you know, and I think it's important audiences know that.

 JUDE LAW: Hours of detail and dissection and care, it's such an art form and so much care goes in, you know?

 [JINGLE]

SAM: Do you have a favourite memory from the shoot?

JUDE LAW: I don't know, I mean, I'm never one to sort of single out things individually., I have very fond memories of filming in the countryside in the UK. It just felt very festive and fun, and the overall overriding memory was a lot of laughs I remember. Cameron is fantastic fun and the team around her are a lot of fun and I remember us laughing a lot. And there was a wonderful guy who I've worked with since and has actually become since a big deal, a big caterer. But at the time, he used to just run a little van that made us toasties and hot chocolates and stuff. His name's Mikey, this beautiful guy, and he was just starting out and he's a lot of fun to have on a set and I have fond memories of getting to know him. I had actually worked with him before, I think on Closer. He was a big part of the sort of the warmth of the UK's shoot. And then, you know, living in L.A., it was one of the last times I made a film in L.A. before most films started to be made here in studios. And there's something very romantic about driving into a studio in Los Angeles and checking in. And you work because it really is like a kind of dream factory. And the reason the industry was born there, set itself up there,with such solidity is because it absolutely suits, you know, film making long days, good weather and, you know, something very romantic about it and perhaps romantic, because also we were all living it through the eyes of these two little girls who were just having such a great time. And I felt a great responsibility being their dad, and I really enjoyed holding their hands and  their parents hands through the whole thing and making sure they were alright. And because, you know, they had to be alright in order for me to be alright. Working with them and making sure that we got good stuff with them was important to me and it was exhausting. But it was worth it. They were so funny and so much fun. And I think that's the overriding memory, really. And Nancy was very keen that they were natural. They neither had, I think, any experience, maybe a tiny bit. So again, it fell to me and to Cameron to really try and generate an atmosphere where we were getting natural stuff. But that was, it was challenging, but fun.

SAM: I feel like, you know, the work pays off because in those scenes with the girls and Cameron and you at the house, it does feel natural. It does feel like a, you know, a lived in, real family. You know, there's a great shorthand there. That's one of the things that makes the film for me. That's where the heart really is.

JUDE LAW: And she's got two girls, Nancy, so she knew what she wanted to get from it. Rather than sticking directly to the script, we would sort of let the scene move according to what they were doing, in the mood they were in. And if they were on camera and I was off camera and they had to laugh, I would try and make them laugh. I'd try and do stuff with, you know, I literally remember sticking dolls in my ear and, you know, dancing around and putting on a tutu and doing anything because, you know, like I said earlier, you know, we would do a lot of takes. And so something's funny for one, two takes, then it's not funny. You have to keep coming up with stuff to make the kids laugh. Then they’re done for the day, they leave. You have stand-ins for when they turn the camera around on you. So suddenly you're like, I'm exhausted. I'd been a child entertainer all morning!

SAM: Well, I think one of the most iconic scenes in the film is with the girls, it's the Mr Napkin Head scene. Do you remember filming that scene in particular?

JUDE LAW: I do. Well, it's an interesting story, because I'd done Alfie with Nancy's ex-husband, Charles Shyer, and there is actually a scene in Alfie that was cut where I did Mr Napkin Head.

SAM: Wow.

JUDE LAW: Yeah, because Charles invented Mr Napkin Head.

SAM: Oh, my God. Okay.

JUDE LAW: Charles used to do Mr Napkin Head for his two girls. And yeah, so I did a scene in… It was Marissa Tomei's son. There was a scene when I was, I put him to bed and did Mr Napkin Head and it was cut. And then however long later was, two years later,  I'm reading, was it in the script? I can't remember, but it comes up and suddenly it's like, Oh, I've done this. I know Mr Napkin Head! Hahaha! And yeah, I do remember. I remember that. I remember that whole… I think it must have been a day or two days around that table. And it was a lot of fun, two little girls, Cameron, me and lots of hot chocolate just messing around. A lot of fun. Yeah.

 SAM: I mean, the girls are great,  they're very well cast, and it's clear you guys all get on. I love the line, it's just before the dinner table scene where they whisper to Graham ‘she looks like my Barbie’ to Cameron Diaz, which is a very good observation.

JUDE LAW: That I think was true. What I mean by that is, I think that's probably when Cameron appeared, that's probably was a line that one of them said, and she was like, Oh, say that on camera, say that on camera. It's like, I remember a moment when we were lying in the camp together. Doesn’t Miffy say something like, I love your lipstick or whatever, and Cameron says, Oh, it's called cherry blush or something.

SAM: Berry Kiss.

JUDE LAW: Yes, and she says it again. She repeats it. I remember that vividly, and I remember Nancy saying, Do that again, repeat it again. And they move the camera. She's lying there saying Berry Kiss. It's so sweet and it's exactly what a little girl would do, you know, trying to remember or just enjoying the words, right? Beautiful. But you know, again, moments like that, I remember they hadn't seen the camp, the girls. So when we arrive on the set, here we go. Oh, wow, wow, wow, you know, and we all climb in. It was genuine awe and genuine relish.

SAM: The sets in the film are, I know one of the things that people talk about a lot, but they are, you know, very grand and play into those films you mentioned in 1940s, you know where films were shot on big soundstages and it was sort of aspirational, I suppose, or maybe beyond aspirational in some cases.

JUDE LAW: Nancy sent me an SNL skit the other day. No, it was a Jimmy Fallon skit the other day. Have you seen it? Where he's singing?

SAM: No.

JUDE LAW: Oh, you need to look this up. It's called like, I want to be in a Nancy Meyers film or something, and you've got to see it. And they do Mr. Napkin Head and everything. But it was like going, Why is my life not as perfect as a Nancy Meyers movie? My cashmere is not as soft. My kitchen's not as big. Hahaha, but yeah, aspirational. Absolutely. And Nancy sent it to me. She obviously saw the humour.

[CLIP - ‘A Film by Nancy Meyers’ by Chris Stapleton and Jimmy Fallon]
When I need a little heart and I want to be inspired I get cosy on the couch watch a film by Nancy Meyers,
Where Cameron Diaz learns to live, goes on a date with Jude Law,
In a film by Nancy Meyers life it how it ought to be,
Celebrating every special moment with your crazy family,
So this one’s for you, Nancy, Nancy

SAM: The Holiday, as you mentioned at the top, is one of those films that because of the seasonality of it, it's on about 10 times over the Christmas holidays. But have you caught it on TV over the intervening years? Is it something you've been flicking through the channels and you remember spotting?

JUDE LAW: Yeah, for sure. I'm not someone who feels hugely comfortable watching old work. It feels very… I don't enjoy watching myself very much. I mean, I like watching what I'm doing at the moment, in the moment because it feels like part of the process. But looking back, I get very uncomfortable and ultimately, you know, cringe at myself, really. But at the time, I remember going into an early screening and, you know, being really pleased with what we had done and what Nancy had done with it, how she had pulled it all together. But I certainly see it, yeah, this time of year advertised on TV and it's lovely. Lovely.

SAM: And that's one of the reasons I’m doing this podcast, really, because with social media, whenever The Holiday is on TV, you know, it starts to trend, there’s lots of people talking about it. People sharing their favourite scenes. People know the beats like, I want to see this scene. This is one of my favourites and actually, you know, that's one of the positive things of social media, you know, connecting fans of seasonal films or whatever, you know, and you find each other.

JUDE LAW: Absolutely. Well, also, as you rightly say, it nurtures that interaction, but also the interaction becomes, public shared, whereas, you know, in the past it would have been something that would have, you know, you'd have had to seek it out in order to to participate in the sort of shared enjoyment. Whereas, you know, there are forums and there are podcasts now which demonstrate it.

SAM: It's not the same as seeing it at the cinema with an audience, as I'm sure you know, going to the premiere and the previews must have been a riot.

JUDE LAW: Yes, it's funny because, you know, sometimes there's a feeling with a film when you're done, you sort of want to, not run away, but you're like, OK, I'm over it, I'm over, I'm over. And so I've never really sat in and watched any of my films with an audience properly. I mean, a premiere maybe, but premieres are usually terrifying because you're genuinely looking around thinking, god, is this, are people going to enjoy this? And it's an unusual audience because it's made up of the crew and family and friends. But this is a film I really wish I'd been able to see back then with an audience and have a memory of that. But unfortunately, I don't.

SAM: I'm going to be rewatching The Holiday in the lead up to Christmas in my household, but I do wonder if you've got any favourite Christmas films that you'd like to put on every December.

JUDE LAW: When I was a kid, I used to watch It's a Wonderful Life that became a firm favourite of mine for many, many years and Trading Places, which is a sort of loosely Christmassy film. My sister and I loved that film and knew all the dialogue would repeat it to each other and still do. I think we named our cats after the two characters. We had a cat called Valentine and named after Billy Ray Valentine. Yeah, but no, I tend to, I do watch movies over Christmas. That's one of my I mean, I love watching movies all the time, but it's a good excuse at Christmas, particularly. I've always associated Snoopy, funnily enough, and Charlie Brown with Christmas. As a kid, I always wanted to watch Snoopy and Charlie Brown, and you couldn't always find it. So as an adult and as a parent, now I have all the excuses to be able to put something in.

[JINGLE]

SAM: Since The Holiday, Jude Law has continued to work on a wide range of films, giving us some remarkable performances along the way. He’s got a huge range and really sinks his teeth into character, always treating audiences to a fully fleshed out performance, from quality television like The Young Pope, to spectacular blockbusters like Sherlock Holmes, and Captain Marvel, as well as independently spirited dramas such as Vox Lux and The Nest.
He’s recently branched out into producing, setting up a new company, who have just completed their first feature film True Things, coming to cinemas in 2022. I asked what it was like working behind the camera, and being responsible for getting new films made.  

JUDE LAW: It felt just like a very natural transition, I was always curious about putting pieces together, understanding a story and working out who would be the right person to bring it to life or reading a book and imagining someone in the role of the character of the book and trying to share that with that individual and getting them on board. And that was very much the roots of True Things. I worked with Ruth Wilson on a play and had such admiration for her, and I read this book and I just thought, gosh, she would do something extraordinary in this role. And luckily, she saw the same opportunity and had the same feeling and got very involved as a producer and as an actress. But I'm yeah, it just feels like a very natural transition in using my experience, I suppose. And what I've learned over the last twenty five odd years on the films I've made, to take a slightly more responsible role and also pull together the relationships that I've fostered and built over that period. Whether it's with writers, actors, directors, heads of department and crew, creatives. And it's something I really enjoy doing. It's not, it's not something directly rooted to me as an actor wanting to do this role so I find the piece. I mean, some of the stuff I'm developing will be I hope for me, but on the whole, it's just trying to bring stories that mean something to me to life. And I love this business. I love this industry. I love, I love film. So getting more involved as opposed to sitting and waiting for a job to come my way or for a director to say ‘I want you for it’ just feels more proactive, you know?

SAM: It must be so exciting, yeah, to be there from day zero. And actually, you know, be the driving force to bring something into this world which audiences may not be able to watch if it wasn't for, you know, yourself.

JUDE LAW: It's an extraordinary journey. Absolutely. And what's wonderful is how it changes. You know, you have your own perception of the story, you have your own sense of how it might be. But as soon as you bring one other person in, two other, three other, and obviously with a film, it takes many, many people. It gets filtered, it shifts and changes, and seeing it take on the influence and the interpretation of all the other people is fascinating. Until finally, it is what it is. It's its own entity, its own thing, its own life force, really. And then, you know, to bring it back to The Holiday, over time it becomes other peoples, it becomes the audiences, you know, and how they respond to it and where it sits with them. Meeting someone years later who says, Oh, that film really means something to me, I saw it when I was 21 and I was having a bad time or whatever, and it really changed my life. That's an amazing thing to share with someone.

SAM: Absolutely. I appreciate that I've probably been responsible for saying things like that to, you know, to producers and actors like yourself over the years, but it really does, you know, film is such a special artform and it does connect. And The Holiday clearly has connected. And I know True Things really connected with me, and I can't wait for audiences to see it next year. Amazing work from Ruth and Tom Burke co-star. Harry Wootliff’s an incredible director. It's such a good, good meeting of the right people, I guess, to bring that story to the big screen.

JUDE LAW: Absolutely. Three really exciting talents. Harry, in particular as a director. This is her second film, and I think she's going to evolve a really unique voice. She has a very particular style and approach to storytelling, and I think she'll go from strength to strength.

[JINGLE]

SAM: It's been a blast and I do really appreciate you taking a trip down memory lane.

JUDE LAW: I've enjoyed it very much, I appreciate, I appreciate the enthusiasm for the film. It's a lovely thing. It's a really lovely thing that people are still moved by it and enjoy it.

SAM: You know, there isn't, there are certain films where there are books are written about them, essays, magazine articles all the time, and I just want to sort of, you know, raise the flag for The Holiday and be like, guys, you know, it's Christmastime, let's have some fun. And you know, this is I think this is a major, a major Christmas work. So pleased to celebrate it. Thanks so much, Jude.

JUDE LAW: Honestly this has been my pleasure. And Happy Christmas.

[JINGLE]

SAM: So far on this podcast, we’ve taken a look at the behind the scenes work that goes into making a film, but often the elements an audience connect with are the lead actors, who anchor the viewer and create an emotive bond with the drama on screen. It was important for us to talk to one of the stars of The Holiday and share their perspective on the experience. 

Film stars are involved with the project in a much deeper way from the outset. Often due to working on the film for a longer period of time, but it’s also their faces on the poster, and their names above the title that entice an audience in.  They also do the publicity circuit - talking about the movie with journalists across the world on release, then 15 years later, they are the people who are recognised by fans, stopped in the street, and invited onto retrospective podcasts.

Casting is an integral part of the filmmaking process, and as with most Nancy Meyers projects, the leads of The Holiday are perfectly cast. Hopefully in future we might be able to catch up with some of Jude’s co-stars to share their memories of working on the film, so Kate, Cameron and Jack, if you’re listening, our snowy cottage door is always open… 

SAM:  Thank you for joining me on set today. In the next episode, we’ll hear from Nancy Meyers, writer-director-producer of The Holiday - and the reason this podcast exists. 

If you enjoyed the show, please rate and subscribe on Apple Podcasts, Spotify or your podcatcher of choice, and tell your friends, word of mouth is such a great way to spread The Holiday cheer. 

The Holiday Season is written, produced and edited by me, Sam Clements, and Louise Owen.

The sound mix is by Maddy Searle. 

Thank you to Jude Law for being so generous with his time, and Clare Binns at Picturehouse Cinemas, who made this interview happen. 
Our music is by Martin Austwick and our artwork is by Olly Gibbs. 

You can find us online at  90minfilmfest.com/theholidayseason
You can follow me on Twitter at @Sam_Clements. 

If you like what we do, we have another podcast, called the 90 Minutes or Less Film Fest, why not give that a listen? 

The Holiday is available on DVD, Blu-ray, Netflix and many other streaming services. 

Thank you for listening, see you next time.