Switch to Channel 2 with Rupert Smith & Dan de Castro

Switch to Channel 2 with Rupert Smith & Dan de Castro 

In this hilarious and candid "Switch to Channel 2" episode of the Go For Donny podcast, Donny McGuire is joined by guests Rupert Smith and Dan de Castro, two veterans of the television industry who share wild stories from their careers working on shows like Top Gear. 

Rupert and Dan recount some of their most memorable (and dangerous) moments filming car chases and stunts for Top Gear, including close calls, run-ins with the law, and epic journeys to places like Iceland and Las Vegas. They also dish on celebrity encounters with stars like Paris Hilton and Robert De Niro.

The conversation takes amusing detours into wrangling sheep and fainting goats on set, Rupert and Dan's "backup" career plans, and a never-before-told story about Dan's very eventful first day working on live television. 

Strap in for a wild ride full of unbelievable behind-the-scenes stories from the world of TV as Rupert and Dan provide a peek behind the curtain and share what really happens when the cameras are rolling. Don't miss this sidesplitting and revealing chat!

Don't forget to check out my website www.gofordonny.com for some cool GFD Swag and some fun videos and photos.
And Remember...#HTFU

Transcript

0:02

Have you heard of the new addition to the Go for Donny! podcast? I haven't either, but it's called Switch to Channel 2. That is where Donny will get to ask his guests some questions. So you, the listener, get to know them better. And remember, # HTFU. Welcome to Go for Donny! Switch to Channel 2. As you guys know, on set, whenever we had chatter, we'd always switch a channel 2 so we can get our chatter out of the way and we switch back to our channel. So this is all about that. So we have 10 random questions for you so our listeners can get a chance to hear some more about you two. So let's some people took it to channel eleven, actually. What? Channel eleven. I think some people had a code. If you said, you know, go to eleven, that meant six. Yeah, go to 13, that meant eight somehow. Do you remember when we used to say too? Didn't make any difference to me. No one could understand me anyway. Yeah, no, that's true. Do you remember we said, go to channel 18 and then you'll hear him come back. There's no channel 18. Actually, he was the one that always tell me to go to channel two and bust my balls about something, so. Oh, the puma. Oh, yeah, Rupert. Rupert. This is what Rupert sounds on the helicopter. And then it was like this. He would come in the helicopter, he would go, Dan and I'll be in the middle of the desert going. Yeah. What did he say? But it was worse because he was talking to us on his walkie as well, so it was really faint. Plus, in the helicopter, plus he was talking a little fast. So, yeah, we had to translate somehow. I could translate sometimes until he I thought he would say, action. I'm like, screw it, let's just go. Yeah, you know, 1st 1st question for both of you. Rup, you can start. Let's let's find out how you got started in this industry. I originally worked as a journalist on a little local newspaper in England, but kind of realized that print media was probably not the way forward, so got a job as a researcher, just kind of like, I guess in the US, it's like a junior ap type of thing at a place called London weekend television, which was a kind of, sort of a network that only broadcast on the weekends in London. But it was a great place to work where a lot of camaraderie had its own bar and kind of learned my trade there. A lot of true crime stuff and that sort of thing. But very good bosses who knew what they were doing and learned my way from there and then kind of got into sort of more the visual side and directing and camera work and stuff after that. Very cool. So, Dan, why don't you let us know how you got started in the industry, please? Well, I was in Spain, and my parents kicked me out, and I landed in a college in England, in Chester, near Manchester, where Granada television is. My auntie used to do the BBC Morning News northwest, and she said, oh, we're looking for someone who knows about cars and motorbikes and can film. And I just finished my course, and she said, I got just the guy. So I joined men and motors. Which. Is really funny to me and Rupert, but to everyone else. Yeah. To our American audience, to the rest of the audience, what is that? It means nothing. How do I explain that? So, it was a pretty low budget kind of table? Oh, yeah. It was a very low budget. It was called men and motors. So the men's side showed tits and bums and soft kind of pawnee kind of things. No. No vaginas, no penetration, no nothing. And then the motor side was a proper, like, motor magazine for cars and bikes and stuff. So the two were for. It was a men channel, if you can believe that. Now, this is pre 2000. So this is in 1995. So things imagine like a kind of an oily mechanics workshop with kind of pictures of women up back in the sort of seventies and eighties. They were the target audience. Exactly. So you look at. You look at his locker, and he's got, like, porn and stuff, and then you. You turn around and soft and you just see cars. Yeah, that was like, a lot of dudes. Garages. Yeah. Okay. I've been in some garages. Exactly. Yeah, yeah. And then. And then that was it. I was there, and then I went freelance, and then I got an opportunity to get onto Tokyo, UK, and I started that in around 2006 or seven. I can't remember now, but. So, yeah, I got a chance in there, and the rest is history. Got it. That's pretty cool. All right. Any fun stories about other. Other talents other than our hosts from Top Gear that you can share, you may have come across. I can repeat here. That. You can repeat here. I have to call you about that. I have to do a diff. Might have to do another day of podcasts for that. No, only because I can't remember. I mean, because, you know, because the listeners want to know more about us in the industry. Because a lot of listeners don't know much about the industry. Like, I did a show with Paris Hilton. I did Paris Hilton. My new BFF season one and season two. And I spent a lot of time with Paris, and I found myself one time up there at her house making blue cheese burgers for her and a few other friends. And she loved them. She had two of them. So, I mean, just crazy, like, what? What you find yourself. I mean, I remember when I. Not long after I'd moved here, I got a job directing on the voice. And I was quite excited because it's kind of huge, big network tv show and all that, and I was going to be the director, and it was all very Hollywood for someone, having come from England and kind of much smaller stuff. And I went up to introduce myself to one of the hosts, Christina Aguilera. And she was, like, kind of sitting in the chair, getting her kind of last checks done on makeup and that sort of thing. And I was like, hi, I'm Rupert. I'm going to be your director this season. Lovely to meet you. And she just, like, looked at me, and I kind of stared for a little bit and then just looked off to the side and went, I need. A fucking Diet Coke now All right. That was my introduction to kind of celebrity television. Yeah, it's not that much better since. Really. Well, I've worked with quite a few. Quite a few. I was pretty starstruck by working with Robert De Niro on a film. And I was on there. We had him for about a week, and I was filming like this, and it was a very intimate scene. Not intimate as in, like, two guys talking about some deal or whatever, some gangster movie or whatever. And I was with a camera like this, and I was like, that's Robert De Niro. And I was, like, framing like this and, oh, shit, I gotta get it right. And then that was. That was really. I was really starstruck by that. But, I mean, I worked with, obviously, Jeremy, James, and Richard. They were pretty interesting and cool in some ways. They were very fucking funny. I mean, they were hilarious. But I suppose going back to TG. Sorry. You know, you came across a lot. Of different well known people that came on Top Gear. Yeah. But Tanner, Adam and Rutledge. Rutledge is fucking hilarious. Isn't he the funniest guy I've ever met? Yeah. He's so quick. Quick witted, yeah. Do you remember when I shut him up in. Shut him up in Iceland? He, like, lost his temper sitting in the car because it was like another 20 hours day, and he was, like, screaming at me through the windscreen, and it was like -20 outside, and I'm standing there and I'm trying to get all the cars lined up to use the headlights to light the kind of last scene of the day, um, somewhere in the middle of nowhere. And he's like, excuse me? I'm like, say that again? He's like, sorry. He tried to hide. I was like, right, you couldn't get that way. You. You couldn't get away with that with a. With the UK presenters. No, I mean, this was. It was quite tight with them. I mean, it was more formal, informal with them. It was great. But I've never. I don't actually. I don't actually remember working with any wankers. Really? Yes, a few, but, you know, then, all right, rup, then throw at me. What was your least favorite episode of Top Gear? I don't know. I think it's kind of whenever the budget was running out, we ended up having to do really, like, crap, crap challenges that were usually shot in a car park somewhere and involved traffic cones being kind of put as a driving course than to go around. And it just felt cheap and tawdry and uninspiring. And that was. That happened quite a lot. Towards the end of series, we'd spent all the money on the kind of fun stuff and it was like, all right, we're going to do a couple episodes where it's literally like they get a couple of kind of vita cars and drive around and smash them into a few things. And the guy still made it funny. But visually, as a director, like, watching cars go around some car park in an industrial area kind of Los Angeles somewhere, it's kind of boring. Yeah. Yeah. Those are the ones I never really liked any unused. I was lucky because. Yeah, I mean, I was lucky because I think most of the. Each episode is kind of broken up into sort of like what we call three headers. It was either a journey, which was a whole episode, and that would be. Would go off and do one kind of big, sort of long thing like the Iceland trip or Death Valley. You know, it's a kind of bigger mission to get done. Always broke up into separate films and what was called a three header. And those tended to be kind of a little less budget. And it would be kind of comparing contrasting three cars and different challenges and stuff like that. Some of those good and fun, some of them a little cheap and not so good. But the ones I always enjoyed the most, I think, were the action films or what we call the power test. And that was usually like Tanner doing some kind of crazy race against some other machine or person. Or it would just be a kind of test driving a new fast car somewhere, and we'd go to an amazing location with beautiful roads and try and do that kind of gear, visual style and all that. So I was lucky, and I did a lot of those, I think, more than the three headers over the years. I kind of. I think I was sort of moaned if I was being on the schedule was like, oh, you're going to do this thing with three beaters, and it's going to be a car park in Long beach or something. I'm like. Rally cars against Aston martins, against jet boats along the snake river in Idaho or whatever. It's kind of more my. Oh, that was a good show. Oh, that was a classic. We got to mention the guy in the canoe. Oh, my gosh. Okay, so we are down in. We're down in Lewiston, Idaho, and we're doing the episode of jet boat versus Aston martin. And it's a great shoot. And we're working with this guy with a jet boat, and we're working with some local law enforcement that have jet boats out on the water. And after we're done with the shoot, they asked us if we wanted to go up river with some beer and some guns and go shoot them off. And we're like, yeah, let's do it. So I don't know how many. Ten of us, we had two boats, two river boats, probably 10, 12 of us. We go up river with beer. We go, and we start shooting off these AR- 15s across the river, remember? And everyone's taking shots. We have photos of them. We have to. And then we all get in the boats, and then we go farther upriver, just around this bend, and there's a dude in a homemade raft that's sitting there rowing in place. Cause he hears us popping off shots, and you're just like, oh, my gosh, this poor dude. Like, he'd be there for an hour now. We. We kind of go up the river. He is there going like this on the river because he's, like, trying to keep himself up up the river. He's been there for an hour like that. We're like, hey, dude, how you doing? That poor dude. And then on the way back, I was in one of the boats, and the guy, I think he was one, like, he's a gunsmith. And on the way back, he's like, here, you know, here, Donny, go ahead, have a seat. He got out of the seat, and I was like, what? So I sat down and grabbed the handles and I'm like, I should not be driving this boat right now. And that's when you have to, like, dodge rocks and. Oh, man, I felt so uncomfortable. But it was fun. It was always fun. Yeah. That's where we get. We let the sheriff have a drive in the Aston Martin. I think that's why we got the invite up river. He was so excited about it. He was a big car nut, and he got to drive a v twelve vantage. Had we only done that with Sergeant Stinson? If only. Only done that with Sergeant Stinson. Right. Do you think we're still banned from Detroit? I don't know what else you. No, we're not banned from Detroit. Because, remember, we went back and Silby smoothed everything over with Sergeant Stinson. Yeah. And that's when we did the Stingray episode. Ah, that's right. Yeah. Yeah. I remember her face when she saw me. She was like, you again. Hi. You gonna lie to me again? Are they gonna go fast? No. Action. I thought you said they weren't gonna go fast. Oh, that was awesome. I mean, overall, we have to thank our sort of friends in the law enforcement community over the years, what they allowed us to do on roads and stuff. It was fantastic. Wouldn't it be? But the show wouldn't be possible without them. They were. Yeah, that's true. That was one of the favorite parts about working around the US is working with all the local law enforcement agencies and how much they would work with us and what fans of Top Gear they were. And, you know, we got a lot of. A lot of good props from them as well about how professional, you know, we are when we're doing the. Except when we did this seven mile bridge in Florida, this was season one before you came on, and I had to try and line up a shot with a. It was a lotus racing, an airplane and a speedboat, sort of cigarette style boat along the seven mile bridge going down towards Key west. And Adam was in the lotus, and we shut down the bridge and everything and all that, and had the local kind of state troopers and everything were there shutting it down, and huge lines of traffic, people getting pissed off. We got to the end of the chute, and when they were heading down to Key West, Adams and the lotus drives off about a mile down the road, one of the cops that had been, like, blocking the bridge for us pulled him over for speeding and came from the ticket, and he's like, what can I like? Nope. He was only, like, about 10 miles over the limit as well. Not every cop liked us. Brilliant. That's fantastic. I always loved those questions. Like, I'd always ask, like, how fast we can go? And then they look like, well, how fast do you want to go? Well. And usually, like, yeah, okay. As long as we have a lockdown, and I. We didn't have any bogeys coming out. So the corvette over the bridge in Long beach, the Vincent Thomas bridge, where the cops. The cops are having bets on how fast Tanner could get it, what speed he could get. I think he got up to, like, 140 or something. Over the bridge. $50.$50. 50. And that was the coolest helicopter shot I ever did. Flying alongside that with the triumph speed triple or whatever, racing against the helicopter pilot, Aaron. Aaron Fitzgerald. Aaron Fitzgerald. The legendary Aaron Fitzgerald will be on the show at some point. He's gonna be coming on. He's now. He's now Red Bull aerobatics guy. Amazing. Amazing. Yeah. Amazing. Drones. Drones kind of killed that job for him, didn't it? Yeah, I think he's doing well. I think he transitioned well. I think he's doing very well. Yeah, yeah. Using his skills very well. You know, he's doing fun stuff. Remind me, guys. Did he fly under a crane? Didn't he do something in the. Yeah, on Long beach, on the docks? Flew in under the cranes. Yeah. He was epic. There was a great picture there, as well. Sylvie took a bit, or Adam took a big, good picture of that. Should put that up as well. So. So, Rupert, give me your favorite Top Gear episode. Probably Iceland, I think, just for the epic landscapes, it was kind of. They've got a brilliant rule in Iceland, which is, like, in winter, when there's snow, you can drive anywhere. There's none of this kind of, like, control over, because you're not doing any damage to the ground, and they've got some. So we could kind of go anywhere with those amazing trucks. And just the. The locals and their kind of abilities with vehicles and trying to drive in deep, deep snow and stuff was a whole new sort of skill set that none of us had really kind of done, but we learned from them and how to press the tires properly and all that. But just that. I think Iceland itself was just this kind of epic, epic landscape, and it was a great story. And. And just so everyone knows, whenever the hosts get tired, you know, they have to throw someone in the vehicles to keep driving those vehicles. So we were always lucky enough to get thrown in those vehicles. So we drove those icelandic vehicles a long way on snow and ice, and there were some sketchy. I got the scout. I was in the Bronco. Yeah, I was in the K- five, which just slid everywhere. It had no tire tread. It was horrible. He spent the whole time kind of locking against the slides, going up and down. The best one was when we put Greg, who was our kind of specialist camera. He put all the in car cameras. We put him in a scout and he immediately lost his. Spun off the road. And he's like. And he got out the car and says, I'm from Florida. What do I do? Oh, that big. The big. The big Bronco. When we were in the tracking car and I was sat in the back like a little dog in my hole and I was there with the camera. And then I think Adam came to drive it and he went to stop and it didn't. And it was just this big Bronco grill coming towards us. And I'm in the back going, Rupert, drive, Rupert, drive drive. Rupert, drive And this broker is just going like. Just to clarify, I always drove the tracking vehicle with, like, dan stuck in the back. That's how we did all our tracking shots. Which if I try that now on another show, they're like, well, who's going to be your precision driver? I'll do it. And they're like, what? Yeah, who's going to look at the monitor? Yeah, I know. I do both. I'd have a monitor suck some cup to the windscreen so I could see where the car was. And for me, that was the quickest way to kind of get it done. And I could work with the driver and all that, but most people found that a little sketchy. Unnerving. Unnerving. Driven around. He does not like. No, it's like, no, he doesn't. But it would be coming around the corner. Yeah, exactly. I was just going to say I'd be going like this and I got. I've got. I've got the shot. I've got the shot. And he's got it so sideways that I've got no more. I've got no more car to film. I'm filming the inside of the suburban with the camera. For those listeners that want to know, I think if you press the traction control and the DSC button both together for about 10 seconds, it turns off all kind of nanny state controls on abs and traction control. So you can actually. It can slide around. You've got more of a rally car kind of feel. So, I mean, yeah, we looked more like. We. We looked more like ferrets on a steering wheel. Yeah. I think we actually got at one point, enterprise banned us from having any more cars because they'd come back in such a state. Because as soon as you open the back, the dust stops flying in and. Collision damage waiver. Collision damage. CDW, baby, CDw I think I've returned so many. I think we love enterprise, by the way. We love enterprise. Yeah, we'll have her in the price, but I think that. I think what they got pissed off about is that we just used to get there with all knackered and looking like shit and shit everywhere and then just go with the keys like that. Yeah. Damage waiver done by throw the gate. We used to throw the keys to them. Well, that's awesome. All right, Dan, then, what about you? What's your least favorite Top Gear episode? I've been thinking about this whilst talking about that, and I think that my least favorite Top Gear very clearly, when we were doing Top Gear, when it wasn't Adam, Tanner and Rutledge and Rupert and all that, when it changed the presenters, it was just shit. Oh, yeah, I did a couple episodes. I remember my least favorite one. I didn't like it when we were. In Salt Lake City and Tanner nearly killed me. Oh, gosh. We all thought. We all thought that when we looked at it from the top, we all thought that your head had come off. But it wasn't your head, it was just the weights. The weights from the back of this thing just flew off and it just looked like it just shot fucking Rupert's head off. I mean, just so people understand, I was operating a jib, sort of small camera crane, probably 15ft long, and I was trying to move it on the inside. So Tanner was sliding in an m five and I was kind of going on an outwards curve and I was trying to follow with the camera nice and low to the wheels. But as he came round, I think that his drift kind of the wheels caught and it changed direction slightly. So it caught the camera and the full weight of the car kind of hit it, pushing it back. And on the back of the jib are kind of like five kilogram, ten pound weights, about four or five of them, to help kind of balance it. And it hit it hard enough that they flew, so it pushed it straight at my head. So I kind of flipped backwards and the weights went over my head, just missing me. And I sort of backflip smashed my head on the concrete and a multi story car park. But the best of it was that people were in offices above filming it, like on their phones and stuff, and it turned up on YouTube, like, literally, like, top Gear cameraman loses his head, and I think we got to, like, a million views within, like, kind of about 12 hours. And. Which didn't go down very well with the BBC, who obviously love to keep things looking safe and under control. I think we got a call from the BBC on that one. Yeah, yeah, yeah. I had to do an accident report. You did? Er, gave me some really good painkillers, so I kind of enjoyed the nights drinking. They were like, no, no. Drinking. I went. No. Straight to the bar in the hotel to carry and join up with everybody else. I will say we were pretty safe for the most part. We were pretty safe. That was one of very few incidents we ever had. Yeah, yeah, yeah. So that's a good thing. All right. What about your favorite, Dan? Oh, that's not really fair. There's so many. I know because I know my favorite ones are normally the ones that I get to drive a car. Me too. When I drove the McLaren for about 5 hours, and I was. I was in a. We were all driving the viper, the McLaren, and I can't remember the other one. So. Lamborghini. And I was in the McLaren. A Lamborghini? Yeah. What episode was in the McLaren? And I was. I was. Cross country sports, coast to coast. Cross country. Coast to coast to coast. Yeah. From New York to LA. I kind of cheat. Yeah, we turned it. Cheated a bit, didn't we? And we drove the. No, I drove the. No, sorry. No. We did it in two legs. We had to kind of come back and do a second. Yes. Yeah. Yes. Well, then my favorite ones are the ones where I get to drive the cars, which used to let me. Let me drive more. Yeah, you're in the McLaren. I think I was in Lamborghini. And the Nevada State Patrol guys, that's highway patrol, gave us a. Hold on. Don't forget to check out the new podcast. Go for Donny. And you're never too old for a good laugh. It was the best ever. And we are rolling. And we're in five back. And we're back. Where were we? We were talking about your. We were driving down the I 70 that goes through Vegas. What was it, a 15? The 15. Dan was in a McLaren. I was in a Lamborghini. We had state patrol giving us a blue light escort to get us back to the hotel so we could go and start partying for my birthday. And I think we did, like, a hundred miles an hour, weaving in and out of traffic all the way to whichever crappy hotel they'd thrown us into. But that was an epic birthday present. Thank you, Nevada State Patrol. That's so funny. That reminds me, we were filming. Gary was on the. It was Gary's episode, Gary Shaffer, The Hair. And it was his birthday, and we were down filming down by Big Sur. Is it Bixby Bridge? Yeah, yeah, yeah, right. And it was. We were done. And he had to get back to the airport, San Jose airport and then fly out for his birthday party that night. And so we had our lovely CHP with us and let him know that we had to get back, you know, quick. And he's like, just follow me. He's like, stay on my tail. And so we rolled, like, with, I think, three suburbans, and then he was leading us. So clearly people are like, what the hell's going on here? And then we got up to some. Government shit going on. Yeah, up to, like, Gilroy area. And then he split off, and we had to make our way the rest of the way. And we got Gary to the airport so he can make it his flight for his. His birthday. So, you know. Love our officers. Love our officers. Yeah, we did. We did used to look like government people with it when they. Especially when they gave us all the same suburbans with the same color till. We got out, when we. Until we got up, when we were. Remember when we were at Fort Campbell with 101st and the night stalkers are also there? And I guess they called the PAO or someone and asked why the CIA was on base, because they usually will let them know when they're training there. He's like, no, that's just top gear. That's a crew of top gear coming. So a bunch of jackalopes. Just bunch of jackals. Hey, rupe, what do you think? You or no, do you remember your first time on camera or behind camera on set working? And what was it like? Well, Eva, first day on set. Yeah. I love hearing your first day on set stories. If you can remember, it was memorable. If not, then it wasn't memorable. Well, you think about it. I've got one. Yeah. I was doing, like, video journalist type type stuff for men at that showman and motors. And we used to use the little VJ's, the little cameras, mini disc ones. And then I got promoted to use big cameras in the studio. And I got to the studio to shadow someone who wasn't there, and they said, oh, you know, you get on the camera and just listen to what the director said. And I'm like, what? So I'm like, I'm like, 20, right? And I get on this. On the studio ped, and I'm like this. And I'm like. And I put the headphones on. I could hear my heart beating on the headphones. And he says. He says, right, right, zoom into the lady. Whatever her name was, right? And it was a Midshot, like. Like I've got now, right? It says, zoom. Zoom into the. Zoom into the lady. And that would. That would mean that you kind of do a little creep, because it's like a, you know, like a emotional scene. So you do, like, a little zoom. And I crash zoomed into her eye, focused, and crash zoomed out. Oh, my gosh. Live on. Live on television on my first. Live on television on my first day. And the director was in the. In the fuck. What the fuck was that? What the fuck are you doing? And someone said, no, no, it's the new guy. It's the new guy. It's. Dan is the new guy. Who the fuck is Daniel? Put it on a fucking camera. No, it's. Cause. Cause Tim is ill. Tim is ill. What the f. And you put, who the f. All this conversation about me, and I'm like, what did I do? Oh, my God. So what you're saying is, don't feel bad if you f up on your first day on set, it's all good news. Absolutely. Absolutely. F up as much as you can until you're 25. I think my first shoots, because I've been like a kind of pa on a couple of things. And then my first kind of promotion as a. It was called a researcher. I was doing this kind of quite big paranormal show in England called strange but true, and I went out with the director, and we were interviewing somebody about something or other up in the north of England. And I was quite excited because I was the one going to get to ask the questions. I think I was, like, 23 or 24. And it was like, felt like the big time. And I got there and set up an interview, and it was this sort of beautiful rolling hills in the north of England, and someone's standing there and everything, but there was all these sheep wandering around in the background. And the director was quite particular about stuff. He didn't want the sheep in the shop. So I'm like, okay. I'm like, what do you want me to do? He says, go fucking chase him off. So instead of asking questions, I was basically just situated just off frame, and every now and then had to kind of run in, going, ah, chasing sheep across the field until they disappeared. But then they just wander back again, slowly. So, like, for 2 hours while this interview went on, every time a sheep wandered in, he'd be like, fucking sheep in shot. And I'd have to run out again, chase the sheep off, come back. It was just this ebb and flow of me and sheep. And that was like, I've made it. I've made it into the glamour of television. You clearly don't know how to herd animals like me because, man, I was a champ when we were. These are english sheep, don't they? They're different. They're not as easy to deal with. The men are men. And the sheep are nervous. Yeah. Do you remember when we tried to scare the goats? Oh, gosh, you scared the fainting ghost in Colorado. Oh, that's right. That's right. They put those in the back of their cars and they shit. So we were trying to scare them. Until I run in with an umbrella and just opened it up. I opened it up as soon as I got to them and they fucking all fell onto the floor. No animals are harmed in their production. No, of course not. Never ever. So what do you. What do you think you would have ended up doing if you didn't become a director, rupe? Military, probably, or a tree surgeon? Some reason. I wasn't yearning to climb trees professionally, but. Sorry, wet. I think we. I think we all did when we were ten. Yeah, I know. I never really got out of it. I think. Well, when I was ten, I think I want to be a tree surgeon or a fighter pilot. None of those things happened. I mean, I. Probably a journalist. I was. I wanted to be a foreign correspondent for a while and sort of be running around in a war zone with a Nikon F five or something, snapping amazing photos of terrible things happening without a gun. Ended up without a gun. Yeah, shoot him with a camera. So probably that, I guess. But somewhere in that sort of world. Daniel, I probably would have been dead. Or a prison bitch. Are you dead? I don't know. I don't know. I really don't know. It wouldn't have been anything normal. It wouldn't have been an office job. It wouldn't have been anything. And I don't know where I would have been. I really seriously asked this question to myself every now and again when I. When the stars. When, you know, when the stars align. But I don't know. I really don't know. It probably would have been something like a builder or something to do like carpentry or something to do with our art or something. I don't know. I have no idea. Got it. Very bohemian. I would have been something that was just like. I would have been quite lost, I think, if it wasn't for tv. Yeah, no, I love. I'm so glad I fell into this industry. Oh, my gosh. I can imagine driving freight train still. Yes. And that's another story for you guys at another time. What do you think? You or no, what do you got coming up next? Dan, what's going on with you next? Well. I mean, that's one of those questions. That was a curveball. I was like, yeah. I've got a long job. It's like nine weeks long, and it's split into three weeks. Three, three, three. And it's in South Korea. And we are taking a boy, bandaid, young boy band from England to South Korea to do k pop to. For them to become k pop, a kpop band. Now, if you don't know what kpop is, look it up. And it's great. It's really. It's really great. It's fucking elaborate. It's a. It's gonna be a culture shock for the boy band, but it's gonna be a great show. I'm working with some. Some good friends, so that's awesome. It's gonna be good. Yeah. Some good food over there, too. Anything. Anything you want to promote, anything you want the listeners to catch that you've done recently. Yes, I did limitless with Chris Hemsworth, which was, oh, very cool, which I really, really, really enjoyed. And it was a great crew. And Chris Hemsworth is a dude. He's a really nice guy. Genuinely nice guy. His brothers, too, as well. They're all a wonderful trio, and I really enjoyed working with. In that great crew as well. It was similar to the Top Gear crew, Top Gear UK crew. So it was a wonderful, wonderful shoot. So, yeah, watch that, please. That's one of. Very cool. We will, yeah, we'll throw that out. Make sure everyone watches that. What about you, rupe? What do you got going on next? I am got a couple of things coming up. And off to film, some stuff about aliens in Roswell, New Mexico, Discovery. And then I'm got some more episodes. I direct all the recreation stuff for America's most wanted on Fox. We've got some more episodes of that coming up. And then another crime series as well. I'm director of photography on for Amazon. Coming up in March, a few little things quiet start to the month, to the year, but now things starting to pick up slowly, which is good. Not been a great year for anybody last year. No, it's going to pick up. 2024 is going to be the year for us. The year it's all going to come and work. Can I come and work with you again? No. Gonna have to get that o one visa. No. Did you hear that? Oh, yeah. He said no. And scene. Anything, anything you. Anything you did other than America's most wanted recently, you want to throw out there for our viewers to watch. I mean, car related. I directed. There was a series on Hulu called Drive was Swizz Beats, which was kind of looking at global car culture and so different car communities around the US and the world. But we had a great time. We went to Tokyo and did drifting up in the mountains up there, which is fantastic and a bucket list kind of car thing to go and do. We also went out to Saudi Arabia and filmed out in the desert there with kind of the local off roaders and stuff like that. And just some really kind of cool car cultures around the states as well. We kind of went to Houston and I, Atlanta, New York and stuff, so filmed a whole bunch of different stuff. But that's available on Hulu now, which you can watch, which is cool. It's probably it recently. Not been that busy. Oh, you've frozen. I'm still here. Well, dude, hey, thanks for coming and getting a little chatter on channel two, but we. We better get back to channel three. We got some work to do. Thanks, guys. Production for Donnie. Go for Donnie. Locations for Donnie. Go for Donnie. Haviza for Donny. Go for Donny. Hey, Donnie. What the hell are they doing?