Yeah, it is that when you're a production manager. They'll [the producer and the director] do all that chat with the actors when they have the sit-down rehearsals with them, and the vision of how they see it. But as far as we're concerned, we've just got to get it up and running and get the nuts and bolts put in.
But also, working with Susie, if you try and change something, you've got to keep the essence of it there. I was like, 'Do we actually need to say this bit of the script at this location? Because we've no time at that place. I can get the actors to this place and can they say it outside, on the street, somewhere near this location?' It was that type of thing that we had to work in. So you are having an artistic input as well, and then Susie would go, 'Oh yeah, that could work. Yeah, maybe we could do this bit.'
So me and Susie would work something out and then she'd probably take it back to Andrew. Well, she would. She'd have to take it back to Andrew and talk to him about it, like, 'Production are having a problem with this and we think we can still get this essence if we do it here.' And obviously, Andrew and Anthony would talk about it and we'd usually get our way with that because, like I say, Susie and I would kind of push that through because Anthony and Louis were just - I mean, they were really nice blokes. Anthony was more of a theatre director and wasn't technical at all. Louis was a real gent, but he was very much script-based as well. So neither of them were technically minded, so they left us to get on with that kind of thing.