This. This Is my porn.
How Michael Met Neil
(Neil, if you see this, please feel free to grab the transcript and store on your site; I had no easy way of contacting you.)
DAVID TENNANT: Tell me about @neil-gaiman then, because he's in that category [previously: “such a profound effect on my life”] as well.
MICHAEL SHEEN: So this is what has brought us together.
DAVID: Yes.
MICHAEL: To the new love story for the 21st century.
DAVID: Exactly.
MICHAEL: So when I went to drama school, there was a guy called Gary Turner in my year. And within the first few weeks, we were doing something, having a drink or whatever. And he said to me, “Do you read comic books?”
And I said, “No.” I mean, this is … what … '88? '88, '89. So it was … now I know that it was a period of time that was a big change, transformation going through comic books. Rather than it being thought of as just superheroes and Batman and Superman, there was this whole new era of a generation of writers like Grant Morrison.
DAVID: The kids who'd grown up reading comic books were now making comic books
MICHAEL: Yeah, yeah, and starting to address different kinds of subjects through the comic book medium. So it wasn't about just superheroes, it was all kinds of stuff going on – really fascinating stuff. And I was totally unaware of this.
And so this guy Gary said to me, "Do you read them?" And I said, "No." And he went, "Right, okay, here's The Watchman [sic] by Alan Moore. Here's Swamp Thing. Here's Hellblazer. And here's Sandman.”
And Sandman was Neil Gaiman's big series that put his name on the map. And I read all those, and, just – I was blown away by all of them, but particularly the Sandman stories, because he was drawing on mythology, which was something I was really interested in, and fairy tales, folklore, and philosophy, and Shakespeare, and all kinds of stuff were being mixed up in this story. And I absolutely loved it.
So I became a big fan of Neil's, and started reading everything by him. And then fairly shortly after that, within six months to a year, Good Omens the book came out, which Neil wrote with Terry Pratchett. And so I got the book – because I was obviously a big fan of Neil's by this point – read it, loved it, then started reading Terry Pratchett’s stuff as well, because I didn't know his stuff before then – and then spent years and years and years just being a huge fan of both of them.
And then eventually when – I'd done films like the Underworld films and doing Twilight films. And I think it was one of the Twilight films, there was a lot of very snooty interviews that happened where people who considered themselves well above talking about things like Twilight were having to interview me … and, weirdly, coming at it from the attitude of 'clearly this is below you as well' … weirdly thinking I'm gonna go, 'Yeah, fucking Twilight.”
And I just used to go, "You know what? Some of the greatest writing of the last 50-100 years has happened in science fiction or fantasy." Philip K Dick is one of my favorite writers of all time. In fact, the production of Hamlet I did was mainly influenced by Philip K Dick. Ursula K. Le Guin and Asimov, and all these amazing people. And I talked about Neil as well. And so I went off on a bit of a rant in this interview.
Anyway, the interview came out about six months later, maybe. Knock on the door, open the door, delivery of a big box. That’s interesting. Open the box, there's a card at the top of the box. I open the card.
It says, From one fan to another, Neil Gaiman. And inside the box are first editions of Neil's stuff, and all kinds of interesting things by Neil. And he just sent this stuff.
DAVID: You'd never met him?
MICHAEL: Never met him. He'd read the interview, or someone had let him know about this interview where I'd sung his praises and stood up for him and the people who work within that sort of genre as being like …
And he just got in touch. We met up for the first time when he came to – I was in Los Angeles at the time, and he came to LA. And he said, "I'll take you for a meal."
I said, “All right.”
He said, "Do you want to go somewhere posh, or somewhere interesting?”
I said, "Let's go somewhere interesting."
He said, "Right, I'm going to take you to this restaurant called The Hump." And it's at Santa Monica Airport. And it's a sushi restaurant.
I was like, “Right, okay.” So I had a Mini at the time. And we get in my Mini and we drive off to Santa Monica Airport. And this restaurant was right on the tarmac, like, you could sit in the restaurant (there's nobody else there when we got there, we got there quite early) and you're watching the planes landing on Santa Monica Airport. It's extraordinary.
And the chef comes out and Neil says, "Just bring us whatever you want. Chef's choice."
So, I'd never really eaten sushi before. So we sit there; we had this incredible meal where they keep bringing these dishes out and they say, “This is [blah, blah, blah]. Just use a little bit of soy sauce or whatever.” You know, “This is eel. This is [blah].”
And then there was this one dish where they brought out and they didn't say what it was. It was like “mystery dish”, we had it ... delicious. Anyway, a few more people started coming into the restaurant as time went on.
And we're sort of getting near the end, and I said, "Neil, I can't eat anymore. I'm gonna have to stop now. This is great, but I can't eat–"
"Right, okay. We'll ask for the bill in a minute."
And then the door opens and some very official people come in. And it was the Feds. And the Feds came in, and we knew they were because they had jackets on that said they were part of the Federal Bureau of Whatever. And about six of them come in. Two of them go … one goes behind the counter, two go into the kitchen, one goes to the back. They've all got like guns on and stuff.
And me and Neil are like, "What on Earth is going on?"
And then eventually one guy goes, "Ladies and gentlemen, if you haven't ordered already, please leave. If you're still eating your meal, please finish up, pay your bill, leave."*
[* - delivered in a perfect American ‘serious law agent’ accent/impression]
And we were like, "Oh my God, are we poisoned? Is there some terrible thing that's happened?"
We'd finished, so we pay our bill. And then all the kitchen staff are brought out. And the head chef is there. The guy who's been bringing us this food. And he's in tears. And he says to Neil, "I'm so sorry." He apologizes to Neil. And we leave. We have no idea what happened.
DAVID: But you're assuming it's the mystery dish.
MICHAEL: Well, we're assuming that we can't be going to – we can't be – it can't be poisonous. You know what I mean? It can't be that there's terrible, terrible things.
So the next day was the Oscars, which is why Neil was in town. Because Coraline had been nominated for an Oscar. Best documentary that year was won by The Cove, which was by a team of people who had come across dolphins being killed, I think.
Turns out, what was happening at this restaurant was that they were having illegal endangered species flown in to the airport, and then being brought around the back of the restaurant into the kitchen.
We had eaten whale – endangered species whale. That was the mystery dish that they didn't say what it was.
And the team behind The Cove were behind this sting, and they took them down that night whilst we were there.
DAVID: That’s extraordinary.
MICHAEL: And we didn't find this out for months. So for months, me and Neil were like, "Have you worked anything out yet? Have you heard anything?"
"No, I haven't heard anything."
And then we heard that it was something to do with The Cove, and then we eventually found out that that restaurant, they were all arrested. The restaurant was shut down. And it was because of that. And we'd eaten whale that night.
DAVID: And that was your first meeting with Neil Gaiman.
MICHAEL: That was my first meeting. And also in the drive home that night from that restaurant, he said, and we were in my Mini, he said, "Have you found the secret compartment?"
I said, "What are you talking about?" It's such a Neil Gaiman thing to say.
DAVID: Isn't it?
MICHAEL: The secret compartment? Yeah. Each Mini has got a secret compartment. I said, "I had no idea." It's secret. And he pressed a little button and a thing opened up. And it was a secret compartment in my own car that Neil Gaiman showed me.
DAVID: Was there anything inside it?
MICHAEL: Yeah, there was a little man. And he jumped out and went, "Hello!" No, there was nothing in there. There was afterwards because I started putting...
DAVID: Sure. That's a very Neil Gaiman story. All of that is such a Neil Gaiman story.
MICHAEL: That's how it began. Yeah.
DAVID: And then he came to offer you the part in Good Omens.
MICHAEL: Yeah. Well, we became friends and we would whenever he was in town, we would meet up and yeah, and then eventually he started, he said, "You know, I'm working on an adaptation of Good Omens." And I can remember at one point Terry Gilliam was going to maybe make a film of it. And I remember being there with Neil and Terry when they were talking about it. And...
DAVID: Were you involved at that point?
MICHAEL: No, no, I wasn't involved. I just happened to have met up with Neil that day.
DAVID: Right.
MICHAEL: And then Terry Gilliam came along and they were chatting, that was the day they were talking about that or whatever.
And then eventually he sent me one of the scripts for an early draft of like the first episode of Good Omens. And he said – and we started talking about me being involved in it, doing it – he said, “Would you be interested?” I was like, "Yeah, of course." I went, "Oh my God." And he said, "Well, I'll send you the scripts when they come," and I would read them, and we'd talk about them a little bit. And so I was involved.
But it was always at that point with the idea, because he'd always said about playing Crowley in it. And so, as time went on, as I was reading the scripts, I was thinking, "I don't think I can play Crowley. I don't think I'm going to be able to do it." And I started to get a bit nervous because I thought, “I don't want to tell Neil that I don't think I can do this.” But I just felt like I don't think I can play Crowley.
DAVID: Of course you can [play Crowley?].
MICHAEL: Well, I just on a sort of, on a gut level, sometimes you have it on a gut level.
DAVID: Sure, sure.
MICHAEL: I can do this.
DAVID: Yeah.
MICHAEL: Or I can't do this. And I just thought, “You know what, this is not the part for me. The other part is better for me, I think. I think I can do that, I don't think I could do that.”
But I was scared to tell Neil because I thought, "Well, he wants me to play Crowley" – and then it turned out he had been feeling the same way as well. And he hadn't wanted to mention it to me, but he was like, "I think Michael should really play Aziraphale."
And neither of us would bring it up. And then eventually we did. And it was one of those things where you go, "Oh, thank God you said that. I feel exactly the same way." And then I think within a fairly short space of time, he said, “I think we've got … David Tennant … for Crowley.” And we both got very excited about that.
And then all these extraordinary people started to join in. And then, and then off we went.
DAVID: That's the other thing about Neil, he collects people, doesn't he? So he'll just go, “Oh, yeah, I've phoned up Frances McDormand, she's up for it.” Yeah. You're, what?
MICHAEL: “I emailed Jon Hamm.”
DAVID: Yeah.
MICHAEL: And yeah, and you realize how beloved he is and how beloved his work is. And I think we would both recognise that Good Omens is one of the most beloved of all of Neil's stuff.
DAVID: Yes.
MICHAEL: And had never been turned into anything.
DAVID: Yeah.
MICHAEL: And so the kind of responsibility of that, I mean, for me, for someone who has been a fan of him and a fan of the book for so long, I can empathize with all the fans out there who are like, “Oh, they better not fuck this up.”
DAVID: Yes.
MICHAEL: “And this had better be good.” And I have that part of me. But then, of course, the other part of me is like, “But I'm the one who might be fucking it up.”
DAVID: Yeah.
MICHAEL: So I feel that responsibility as well.
DAVID: But we have Neil on site.
MICHAEL: Yes. Well, Neil being the showrunner …
DAVID: Yeah. I think it takes the curse off.
MICHAEL: … I think it made a massive difference, didn't it? Yeah. You feel like you're in safe hands.
DAVID: Well, we think. Not that the world has seen it yet.
MICHAEL (grimly): No, I know.
DAVID: But it was a -- it's been a -- it's been a joy to work with you on it. I can't wait for the world to see it.
MICHAEL: Oh my God. Oh, well, I mean, it's the only, I've done a few things where there are two people, it's a bit of a double act, like Frost-Nixon and The Queen, I suppose, in some ways. But, and I've done it, Amadeus or whatever.
This is the only thing I've done where I really don't think of it as “my character” or “my performance as that character”. I think of it totally as us.
DAVID: Yeah.
MICHAEL: The two of us.
DAVID: Yes.
MICHAEL: Like they, what I do is defined by what you do.
DAVID: Yeah.
MICHAEL: And that was such a joy to have that experience. And it made it so much easier in a way as well, I found, because you don't feel like you're on your own in it. Like it's totally us together doing this and the two characters totally complement each other. And the experience of doing it was just a real joy.
DAVID: Yeah. Well, I hope the world is as excited to see it as we are to talk about it, frankly.
MICHAEL: You know, there's, having talked about T.S. Eliot earlier, there's another bit from The Wasteland where there's a line which goes, These fragments I have shored against my ruin.
And this is how I think about life now. There is so much in life, no matter what your circumstances, no matter what, where you've got, what you've done, how much money you got, all that. Life's hard. I mean, you can, it can take you down at any point.
You have to find this stuff. You have to like find things that will, these fragments that you hold to yourself, they become like a liferaft, and especially as time goes on, I think, as I've got older, I've realized it is a thin line between surviving this life and going under.
And the things that keep you afloat are these fragments, these things that are meaningful to you and what's meaningful to you will be not-meaningful to someone else, you know. But whatever it is that matters to you, it doesn't matter what it was you were into when you were a teenager, a kid, it doesn't matter what it is. Go and find them, and find some way to hold them close to you.
Make it, go and get it. Because those are the things that keep you afloat. They really are. Like doing that with him or whatever it is, these are the fragments that have shored against my ruin. Absolutely.
DAVID: That's lovely. Michael, thank you so much.
MICHAEL: Thank you.
DAVID: For talking today and for being here.
MICHAEL: Oh, it's a pleasure. Thank you.
Some of my absolute favorite spreads inside the BBC Radio 4 Dramatisation of Good Omens.
Starring Peter Serafinowicz and Mark Heap.
Illustrations by Tom Fournier.
Layout and design: Oink Creative.
Aziraphale: But that's for professional conjurers only.
Crowley: You, my Nefertiti fooling fellow, are about to perform on the West End Stage. If that doesn't make you a professional conjurer, I don't know what does.
Aziraphale: 😊
Crowley got a new packer for that grey sweatpants temptation
(he knows exactly what he’s doing)
@lineffability very correctly commented that Crowleys little schemes always backfire on him
As agreed upon by line and @mrghostrat both, Crowley was angling for a relaxed morning quickie what happened instead is that he had to strap up and put his back into it because aziraphale got very excited about bottoming
It's still a win-win, he's just gonna whinge about it first
quiet forgiveness
(my lil head canon for s3)
back at the bench they would always meet, no words exchanged. Aziraphale silently prays and reaches out. neither of them were ever good with words when the other was involved.
Crowley got a new packer for that grey sweatpants temptation
(he knows exactly what he’s doing)
Roasted chicken, ginger, daikon, shiitake mushroom soup with lime, cilantro, broccoli sprouts, and rice noodles
Thank u for this contribution
Souphelia
OPhởlia
in the latest cyber-news: the internet archive has lost their case against 4 major publishing houses (verge article). they’re going to appeal, but this is still a bad outcome. the fate of the internet is currently hanging in the balance because 4 multibillionare publishing groups missed out on like $15 of combined revenue during the pandemic because of the archive’s online library service. it’s so fucking stupid.
for those who don’t know what the internet archive is, it’s a virtual library full of media. books, magazines, recordings, visuals, flash games, websites - a lot of these things either don’t exist anymore or cannot be found & bought. heard of the wayback machine? that’s part of the internet archive. it is the most important website to exist, and i don’t say that lightly. if the internet archive goes down, the cultural loss will be immeasurable.
so how can you help?
- boycott the publishing companies involved in this. they’re absolute ghouls, frankly, and don’t deserve a penny. the companies involved are harpercollins (imprints), wiley (imprints), penguin random house llc (imprints), and hachette book group (imprints). make sure the websites are set to your location as it may differ worldwide.
- learn to torrent. download a torrent client (i recommend transmission), a vpn (i recommend protonvpn - sign up and choose the area that’s closest to your continent/country), and hit up /r/piracy on reddit for websites. with torrenting, you can get (almost) any media you want for free in high quality, with add-ons such as subtitles, and with no risks of loss. i would also recommend getting into the habit of watching stuff online for free. the less you can pay to a giant corporation, the better.
- get into the habit of downloading and archiving materials. find a TB external hard drive, ideally the higher the better. it’ll probably cost around $60 for 1TB and continue to go up, but they’re so so useful. if you can’t afford a drive, look for any GB harddrives or memory sticks you have lying around and just fill them up. videos, pdfs, magazines, songs, movies, games - anything you can rip and download and fit on there, do it, because nothing is permanent.
- donate to the internet archive. this is the most important option on the list. the IA relies entirely on funding, and it’s going to need more to fight this case. whatever you can donate, do it. i promise it’s helpful.
and finally…
cannot stress enough that donating to the internet archive to help them appeal this without going broke is the most important thing you can do right now. my day job revolves around fulfilling digital article and book scan requests at an academic library and a huge part of that is borrowing from other libraries that do controlled digital lending (incl. the internet archive!). copyright law is already hugely restrictive on what we can and can't lend, and we absolutely don't have the option to pirate anything for our patrons due to being a large academic institution. it's difficult to overstate just how bad this ruling could end up being for libraries that have digital lending programs, esp ones that rely on CDR for old/archival/hard-to-find texts.
I'm incredibly fucking disappointed at the bootlickers in the comments claiming that the IA steals from small creators. Eliminating a valuable research, academic and cultural resource because you've bought into the fiction that "potential sales" are lost sales is exactly what these big corporations want. You aren't saving small creators by swatting down a non-profit, you're allowing ginormous publishing monopolies to consolidate even further while they smile a snake's smile over independent creators.
The Internet Archive is absolutely vital for my work and research. Without it, a good chunk of Welsh LGBTQ+ history would be inaccessible. The Welsh books hosted on IA are indexed and searchable, meaning any Welsh LGBTQ+ terminology can be searched for. Otherwise, me sitting down to read every. single. Welsh book ever published *just in case* it contains one of the terms in my data is an impossible task (Welsh books have been published since 1546) . In fact, this is something I refer to in my methodology for this very reason.
I'm also broke as hell rn but when I get the chance I'm gonna donate. Without IA, you can kiss goodbye to a *massive* chunk of academia. My lecturers use IA. So not just like, undergrads and PhD students, but seasoned academics will lose access to a major resource if IA stopped existing.
The argument of "potential sales lost" also makes no sense from an author's perspective. Published authors are usually paid an advance before publication. After that point, they would have to sell an obscene amount of books to qualify for extra pay from those sales, so many authors are unbothered by someone reading their book for free. Libraries allow people to read books for free and IA is essentially one giant library. It even has a feature where if you're reading a book and "check it out" for an hour, no-one else can read the book your reading until the time runs out. Just like a normal library. Potential sales lost to the company is just like when companies claim to have lost millions at a start of the year when they haven't actually lost any money at all. They just didn't earn as much money as they were predicting.
IA provides a vital service and we should be fighting to ensure it isn't lost.
Seconding all of the above -- Since the IA lost its case, I've noticed a number of books have rapidly become inaccessible for me. The negative impact this has had on my work can't be understated, as I've been left without a crucial resource for my research. I. don't believe there's a single article I've written that hasn't been impacted by this, with me often having to scrambling to get access to sources that are rare and/or our of print. I have the advantage of a well-stocked uni library that is good at ILLs, but this is a taste of what's going to come if this isn't resolved in the Archive's favor.
- What are you in the mood for now?
- Alcohol. Quite extraordinary amounts of alcohol (c)
- Take a big cup put six shots of espresso into it, nothing else. - That sounds fun. Does it calm you down? - NOT REALLY (c)
I am not unaware of the negatives of Biden's presidency, and I am not trying to elide or forgive them. I'm reblogging posts about the Biden administration because I think it's really important that potential voters in the US realize that there is, in fact, a very big difference between the two parties, and voting for Biden is not just damage control--it actually does good. It's okay, you can actually feel a little excited about making meaningful progress, and not just hold your nose.
He's been very unflashy. He's not a great leader, he's not charismatic and he knows it, but he's an adroit politician and administrator, and he's been getting things done. Letting Trump win at this point would be tantamount to throwing the entire country on the bonfire. It's not a choice between bad and bad, it's a choice between meaningful, if imperfect, progress and fucking doom.
Things that he’s gotten done and what impact they have made or will make. I don’t like all of them, but there are a lot I am really, really glad he’s managed (and impressed).
Now, imagine what could happen if we had a unified House, Senate, and White House. If you think of all the bills that have stalled because the Speakers wouldn’t even bring them to a vote…
And if that’s not enough, Justices Thomas and Alito are the oldest currently in office. Wouldn’t it be great to NOT have the guy who names justices be the one who put on the people who overturned Roe vs Wade, if those two should retire?
Ultimately when given a choice between poor options for the US Presidency, it's as simple as this: which party do you want nominating people for the Supreme Court , which is a lifelong post and whose decisions will affect everyone for decades if not generations?
If only for that reason, it's crucial to vote. Whatever else you think of the nominee. Whether you respect or despise Joe Biden, there's no question he's going to nominate far, far, far better options for the Supreme Court than anyone the Republican Party throws up.
“They have called this day The Eleventh of March! And whom-so-ever of you gets through this day, unless you are shot in the head or somehow slain… you will stand at tiptoe… when e'er you hear the name again, and you will get excited!… At the name March The Eleventh! “We happy few, we few, we band of brothers… our names will be as like… household names. And those who are not here, be they sleeping or… doing something else… They will feel themselves… sort of crappy. Because they are not here to… to join the fight. On this day, the Eleventh of March!”
Grice
In their notes on Crowley in the S2 promo stuff, Muriel questions the definition of a word-- grice-- and that word already exists with other definitions that are pretty amusingly relevant to Crowley and S2. Short bit of wordplay meta under the cut.
@vidavalor there's another grice. Check out Paul Grice, philosopher of language, meaning and semantics.
@gallup24 *Mrs. Sandwich voice* Ah, the very thing. I thank you... And to think I studied this guy in a couple of courses and completely forgot about him. I love this fandom-- you all find the coolest things. 💕
And my first thought, tbh, was "grace", in a particular dialect. Grace as in that thing Crowley has fallen from.
“is Crowley gay coded?” fuck no, there's a huge difference
Aziraphale is gay as in so homo he makes Ancient Greeks look straight, gay as in sees angelhood like it's the only gender worth being and loving, gay as in this fucker has probably made out with Oscar Wilde at some point and inspired that bloody nightingale story when they broke up, gay as in the gay that binary cisgender people whinge about aspiring to be whenever they're annoyed with the other gender, it's right there in the book
Crowley is queer as in trans, genderfluid, non-binary, lovequeer, genderqueer, doesn't belong anywhere, queer as in fuck you, so queer he probably encouraged humans to invent neopronouns for kicks, so queer it makes Aziraphale look straight, queer as in great mangled pustulent bollocks to the essentialists, queer as in shapeshifting into literally any form he likes even if it's a ball of energy or a winged snake with the head of a pissed off piranha or a ginger David Tennant with a drunken supermodel walk
Oh, I could throw you in the lake Or feed you poisoned birthday cake I won't deny I'm gonna miss you when you're gone
I Can't Decide, a Taskmaster vid