I Feel Like Being Picky Today…

Doctor Not Dr

Doctor Who: Farewell To Matt Smith

I hope they air this in Canada as well, but I’m not hopeful:

The description:

Bid the eleventh Doctor, Matt Smith, a fond farewell in this hour long retrospective documentary special about Doctor Who series five, six and seven – “the Matt Smith Years.” This compelling documentary, narrated by Alex Kingston (Doctor Who’s River Song), features highlights from Smith’s run with interview footage from the man himself, his cast-mates, writers, producers, guest stars and celebrity Whovians.

Vortex Manipulator

You can pick up your very own Vortex Manipulator from Ruppertoe Replicas!  I kind of want one…

You know, I often wonder what the cast/crew things of Whovians.  They must think we’re insane…


Doctor Who Live: The Afterparty

After the 50th aired, there was an “after-party” show.

I haven’t found a link to the whole thing, but here’s a clip where they tried to talk to One Direction live:

For what reason they wanted to talk to them, I have no idea.  But this was terrible.  I have to give credit where credit was due – Matt Smith fielded a horrible question quite wonderfully.  Aside from them (the show-runners themselves) just not knowing enough to give up, we were also subjected to one of the boys readjusting himself on camera.  Seriously?  Poor Steven Moffat had his head in his hands.  He looked horrified, and rightly so.

On a side note, I’m rather impressed to see that Matt Smith shares my affection for crazy socks.

There were a number of technical glitches during the show, some more glaring than others.  All in all, some of it was pretty painful to watch.  At the same time, it was nice to see some former Doctors and all of those companions.  I understand there’s a link where you can watch it if you’re in the UK (I’m not) so that’s an option for you if you’d like to try.

Oh, and I’ve seen a few other reviews of the show… and mine is really nice in comparison.

The New Yorker Screening

A rep from The New Yorker visited The Way Station for a screening of The Day of the Doctor.  The writer may not be a Whovian (a couple of small but glaring mistakes make that obvious), but this is one of the better articles from the mainstream media I’ve seen.  He’s certainly done his research, and I have a lot of respect for that:

“Twenty minutes until ‘Doctor Whoooo!’ ” shouted Kati Delaney, the bartender at The Way Station, in Prospect Heights, to cheers and applause. It was half past two on Saturday afternoon, and about a hundred people had crowded into New York’s preëminent “Doctor Who”-themed bar to watch “The Day of the Doctor,” the fiftieth anniversary episode of the British sci-fi series, which was being simulcast, by the BBC, in more than seventy-five countries. Outside, hundreds of people had already been turned away, redirected to other nearby bars which were also holding screenings. Inside, the fans with the best seats had arrived at nine forty-five that morning, and the anticipation had reached an almost unbearable level. People cheered the BBC’s “Doctor Who” pre-game show, which featured freaked-out fans from around the world; at the bar, a group absorbed in debate—Who was the best of the many actors who’d played the Doctor?—ordered a round of shots.

It can be hard to explain the appeal of “Doctor Who” to people who don’t already love it. The show is science fiction, in a broad sense, but where most science fiction cultivates an aura of plausibility, “Doctor Who” is so zany that just following the plot means becoming a fan. In one episode, the Doctor is helping Kylie Minogue survive an attack on an interstellar cruise ship; in another, he’s going up against an army of headless monks from the fifty-second century. As Jill Lepore explained in her recent magazine story on the history of “Doctor Who,” the Doctor, a two-hearted Time Lord from the planet Galifrey, can “regenerate,” changing his appearance and temperament. Over nearly eight hundred episodes, he’s been played by eleven different actors.

Amidst this infinite variety, the show is held together by its outsized emotionalism. Loosened up by the weirdness of the story, you often find yourself misty-eyed over one of the Doctor’s mournful, inspirational speeches. “Doctor Who” is, essentially, a sad show—the Doctor lives forever, while his companions, to whom one gets attached, must age and die—but it’s also about discovery and surprise. In its best moments, the characters, filmed in close-up, weep and shout, transformed by sadness, wonder, or joy.

The mood at The Way Station was ebullient. The place was jammed, and everyone was taking pictures of each other in their costumes. Kristin Sirota had come dressed in the Scottish sexy-cop outfit worn by one of the show’s heroines, Amelia Pond, in her début episode. (The police vest, she said, was “actually from Scotland.”) Tiffany Knight, an actress, and John Paterakis, a retired banker, arrived as the tenth and fourth Doctors, respectively; a number of other women looked like the glamorous River Song, a space archaeologist who, in an affecting plot from 2008, married the Doctor—a good thing, except that they were moving in opposite directions in time, and were therefore never quite in sync. (“You know when you see a photograph of someone, but it’s from years before you knew them?” Song explains. “He came when I called, just like he always does, but he’s not ‘my’ Doctor.”) A girl in a statue costume was doing an admirable job of impersonating one of the show’s “weeping angels”—creatures that look like statues until you look away. She turned out to be a professional, working around the city as “the Living Statue Galatea.”

Even the cocktails were “Who”-related: I had a sonic screwdriver—that’s what the Doctor calls his signature multi-tool—and a Captain Jack, named after Captain Jack Harkness, a sexually irresistible fellow-traveller of the Doctor’s who, a few years ago, got his own spin-off show, “Torchwood.” “Nice jacket,” someone told me, snapping a picture. (My everyday clothes, it turns out, look a little like the Doctor’s.)

Andy Heidel, who runs The Way Station, used to work in sci-fi book publishing. He leased the space without really investigating the interior; once he got inside, he realized that the toilet was located right next to the bar, and wasn’t enclosed in a separate bathroom. “Let’s build a TARDIS!” a friend suggested, referring to the Doctor’s time machine, which looks, from the outside, like an old British police box. (Famously, it’s bigger on the inside than it looks on the outside.) It was a fateful decision. Laurel Dagrosa, a baker and “Doctor Who” fan, said that she’d discovered the bar when, walking down Washington Avenue, she spied the TARDIS through the window. “I saw it, and I just started jumping up and down,” she recalled. For the anniversary event, Dagrosa had baked a TARDIS-shaped cake, as well as dozens of Jammy Dodgers—the Doctor’s favorite cookie—which were circulating on trays. The bar, Heidel said, hosts screenings on Sundays, and it’s similarly packed for season premières and finales. (On Sunday, he plans to hold repeat screenings, at two, four, and six.) Heidel said that he’d hold off on really watching the episode until later, when he could concentrate.

As the bartenders drew the blinds, the crowd started an enthusiastic countdown—”Three! Two! One!”—to the start of the show; they cheered during the episode’s most exhilirating moments, including a conversation between three different versions of the Doctor, played by Matt Smith, David Tennant, and John Hurt, which took place in the Tower of London.

And yet the silliness in “Doctor Who” often serves as a counterweight to the show’s humanistic gravity. Watching everyone’s upturned faces, what struck you most was their seriousness. The most recent episodes of “Doctor Who” have been dark and sombre. When we last saw him, the Doctor was forced to travel far into the future, so that he could break into his own tomb. (“How can you have a grave?” one of his companions asks. “We all do, somewhere out there in the future,” he replies, “and the trouble with time travel is that you can actually end up visiting.”) Many of the best “Doctor Who” episodes are on the theme of memento mori, which, from H. G. Wells onward, has always been an aspect of time travel. In the previous episode, the Doctor’s tomb hadn’t contained a body but a glowing shape, floating in mid-air: “My personal time-tunnel,” he says. “All the days.” When I asked the Whovians in attendance about their favorite episodes, they almost always cited the saddest ones: Tiffany Knight, the actress, mentioned an episode in which the Doctor, to save the life of a friend, must erase all of her memories of their friendship. “It was heartbreaking,” she said.

“The Day of the Doctor” turned out to be serious, too. It revolved around the use of a genocidal weapon by the Time Lords—possibly, even, by the Doctor himself—against their mortal enemies, the Daleks, a race of fascist maniacs whose rallying cry is “Exterminate!” This weapon, we were told, was so powerful that it had become self-aware. “How do you use a weapon of ultimate mass destruction,” one character asks, “when it can pass judgment on you?” The room was silent—not a single sonic screwdriver whirred. That’s the genius of “Doctor Who”: in it, silliness and seriousness, death and vitality, the ludicrous and the real are all squeezed together. It’s bigger on the inside than it is on the outside.

Christmas Special

The Mirror is claiming surprises in the Christmas special.  Anyone wanting to avoid spoilers, stop right NOW.

Doctor Who will face the end of a 50 year story in the Christmas special – when Time Lord Matt Smith reveals he is actually the 13th and ‘final’ Doctor.

Actor Matt, 31, has long thought to have been the Eleventh Doctor on the hit BBC sci-fi show, which can only regenerate 12 times according to the show’s folklore. Fans have worried for years that the show will have to end once the 13th Doctor dies.

But on December 25, current theories among millions of fans will be exterminated once and for all when Matt says in a dramatic speech he is the 13th Doctor and adds: “I’m dying and there is nothing I can do about it.”

On Saturday night at the end of the show’s 50th anniversary special, all the Doctors lined up, including John Hurt who was previously not thought to count. David Tennant’s Time Lord also used up an extra regeneration to save himself in an episode called Journey’s End.

A show source explained: “There have been two David Tennant Doctor Whos technically and with John Hurt playing another Doctor in the film, it basically means he can’t regenerate again.

“The riddle of the regeneration problem, something fans have talked about for decades, will be faced head on at Christmas. There is going to be another huge cliffhanger and somehow Peter Capaldi has to join and the series has to continue.

“The show’s big fans, known as Whovians, won’t believe their eyes at Christmas.”

On Saturday, 94 countries around the world tuned in for the 50th anniversary film The Day of the Doctor which featured the first glimpse of Peter Capaldi. In the UK alone It was watched by a peak of 10.6million – easily beating The X Factor which could only manage 7.7m when they went head-to-head.

All the previous Doctors were also included, with fourth Time Lord Tom Baker, 79, appearing as an art gallery curator at the end of the episode in an emotional scene that fans praised.

The show’s executive producer Steven Moffat admitted he was “terrified” by what the reaction would be as the episode had not been previewed anywhere.

Asked about the Christmas episode and the regeneration of Doctor Who, Moffat confirmed Matt was the 13th Doctor and told the Mirror: “The 12 regenerations limit is a central part of Doctor Who mythology – science fiction is all about rules, you can’t just casually break them.

“So if the Doctor can never change again, what’s Peter Capaldi doing in the Christmas special?”

On the huge ratings, he said he felt “astonished and moved” so many people had tuned in.

Moffat was amongst the audience at London’s BFI cinema along with Matt Smith and fans gave him and the film a standing ovation at the end.

Speaking immediately after the show ended, star Matt Smith said: “I think what’s really clever about it is that what he [Moffat] has managed to do is change the mythology of the character – which, after 50 years, is an achievement.”

Hurt and Coleman Interview

Now THIS is new!

Coleman Interview

Jenna Coleman talked to The Guardian about her career, ComicCon, Matt Smith’s last episode… all kinds of stuff:

San Diego’s Comic-Con festival, held each July, is the densest concentration of nerds in our galaxy. For the duration, grown men and women walking around in superhero costumes is the norm, not the exception. Earlier this year, Jenna Coleman – the 27-year-old actor formerly known as Jenna-Louise Coleman (only her mum still calls her Jenna-Louise apparently) – went to her first Comic-Con. There were 130,000-plus attendees; tickets had sold out in 93 minutes. Along with Matt Smith, her co-star in Doctor Who, she spent four days being spirited through hotel kitchens, out of back doors and into cars with forbiddingly opaque windows.

Not that Coleman and Smith remained incognito for long. “Nice costumes!” they screamed out of the car window at one middle-aged couple dressed as the Doctor and Clara, their characters from the series. The man didn’t recognise them, but “Clara” did, and appeared to start convulsing on the pavement. “The most embarrassing thing is that the traffic is so bad that you don’t go anywhere,” says Coleman. “So all you can do is sit there and put the window up.”

Comic-Con was Coleman’s first proper exposure to the fanaticism of the Whovians. She had never watched Doctor Who before she became the new “companion”, but the responses to her performances have been effusive, bordering on obsessive. Doctor Who blogs – of which there are legion – praise her as quick-witted and independent yet vulnerable, and are particularly taken with the flirtatious relationship she has with Smith’s Doctor – a spark that was absent with his previous companion Amy Pond, played by Karen Gillan. Or, as Matt Smith himself put it: “Clara’s different from Amy. He has more chance of snogging Clara.”

While Coleman knew Doctor Who inspired extreme passions, it had not really hit home until Comic-Con. “I was always asked how I had found the fans, but I’d just been filming in Cardiff,” she says. “At Comic-Con it was amazing to see how far-reaching it is. I thought I’d be overwhelmed, but I was humbled. It’s something that Matt says: the star is the show.”

That maxim is more obvious than ever this year as Doctor Who celebrates its 50th birthday. The centrepiece is a 75-minute special on 23 November called the Day of the Doctor, which was shot in 3D and will be shown on BBC1 and in 400 cinemas across eight countries. The episode will bring together Smith and Coleman with some of their predecessors, including David Tennant and Billie Piper, and introduce a new “dark” Doctor, John Hurt.

After that, Smith will be hanging up his bow tie and vintage Harris Tweed jacket in the Christmas special. The speculation over his successor, which shared a hysteria in common with the announcement of a new pope, ended in August when Peter Capaldi was unveiled on primetime television as the new pontiff – sorry, 12th Doctor. Coleman only found out herself a short time before the rest of us.

“They told me and Matt when Prince Charles and Camilla came to the set,” says Coleman. “We were both: ‘Ahhh, of course.’ It takes you a few moments – I don’t think he was on any of the original lists. People were talking about Rory Kinnear and people like that, but as soon as you say it, you’re like: ‘Of course.’ As Steven Moffat [Doctor Who‘s lead writer] said: ‘He’s the Doctor.’ And it’s brilliant that we’ve gone so different from Matt.”

Smith’s final appearance, however, will clearly be a wrench. “I just read the script the other night,” says Coleman. “I’d been putting it off for ages and ages, because once you read the last page, that’s it, the story is over. So I read 10 pages on the tube and I stopped, and then I picked it up again the other day and finished it. I was an absolute mess, an absolute wreck. But it’s good; it’s sad, but it’s what needs to happen. It’s perfect.”

Everything is looking good for Coleman right now, but, over a coffee in an east London café, there is a wariness as she talks about her career. It is not so long, after all, since she was unable to book an audition – for anything. She worked in a bar and attempted to get into Rada, but froze in her admission interview, forgot all her lines and was turned away. “I’d always wanted to be an actress,” she admits. “I was like: ‘What if I’ve been wrong all along?'”

Coleman does not come from a long line of performers. She was born in Blackpool (“a great place for a Doctor Who episode: it’s weird, quite romantic, but it’s not found what it’s supposed to be now”) and her dad – who has a business, with her brother, fitting the interiors of bars and shops – would watch her in school productions and wonder where the acting bug had come from. Aged 11, Coleman appeared as a bridesmaid in the musical Summer Holiday with Darren Day, and the singer gave her a Debenhams voucher as a thank you.

She had some wild moments in her teens – “I was a bit rebellious from 14 to 17, if you know what I mean” – but pulled it round to become head girl at Arnold School and get good grades. Coleman had a place at York University to study English literature, but was offered a spot on Emmerdale and took that instead. It was great – lots of acting experience, decent pay, living in Leeds – until her storylines dried up. “I had about six months where I wasn’t doing very much on a day-to-day basis, just going into the pub and sat having a chat,” she recalls. “So that’s when I decided to leave, and that’s when I ended up getting storylines.”

Coleman’s not kidding. In short order, her character Jasmine Thomas had a lesbian affair with her best friend Debbie and became pregnant by her father, Cain Dingle. She had an abortion and another fling with a local copper, Shane Doyle, before clubbing him to death with a chair leg and being sent to the slammer.

But after almost four years on the soap, Coleman couldn’t get another job. She moved to London, took some bar shifts and started an Open University degree in English before deciding to try her luck in Los Angeles. There she rented a room off an old lady in West Hollywood and went to auditions most days.

“I was going for parts I was never in a million years going to get,” she says. “Like a 30-year-old wife, and at this point I looked so young – not that I look much older now. But it wasn’t about that. I just relished walking into an audition room with people with an open mind and getting to read. I must have had 40-odd auditions in three months – it was relentless, but I came back to England a lot more fearless.”

Coleman did get one part: the “tiniest, tiniest thing” in the 2011 tights-and-fights action film Captain America: The First Avenger. But that was enough. It led to a bigger role in the BBC4 adaptation of John Braine’s novel Room at the Top, which led to Julian Fellowes casting her in Titanic, which led to Stephen Poliakoff choosing her for Dancing on the Edge, which aired on BBC2 this year.

Any struggles certainly seem long distant now. Next month Coleman will appear in the BBC three-parter Death Comes to Pemberley, PD James’s smart, what-happened-next take on Jane Austen’s Pride and Prejudice. The action starts six years on and Coleman plays Lydia Wickham (née Bennet), Elizabeth’s younger and perennially self-absorbed sister.

“Lydia’s basically very hysterical, and I’ve had a lot of licence to go wild with it,” Coleman says. “I went through the book and I wrote down all the words she’s described as and it’s like: ignorant, idle, wild, volatile, indulgent. The director was like: ‘We should want to slap you in the face.'”

Between Doctor Who and Death Comes to Pemberley, time travel and period drama, Coleman says she has had a hectic few months. She has barely been home and hardly seen her boyfriend, Richard Madden, who has been quite busy himself as Robb Stark in Game of Thrones. “We’re both young and I want us both to have our adventures and do our thing,” she says. “But if you want something to work, it’ll work.”

In fact, the problem, Coleman finds, is the real world becomes rather dull when you are not slaying Cybermen all day. “Doing Doctor Who you’re on a cloud, doing stunts, being dropped in gloop,” she says. “Then suddenly you stop and I’ll be walking round thinking: ‘Real life is actually a bit boring.'”

John Hurt’s Doctor

John Hurt sat down with The Guardian for an interview.  He couldn’t say much about his Doctor, but there was a little:

You’re in Hungary shooting the $150m film Hercules: The Thracian Wars with Dwayne “the Rock” Johnson. Do you enjoy doing blockbusters?

Well, it used to mean that you got terrifically well paid, but it doesn’t mean that any more. Nobody gets terrifically well paid any more, except perhaps the star. But I have nothing against it. You know what you let yourself in for in these things. I can’t say that I wouldn’t prefer to make small films, basically because I think they are probably more interesting in terms of the material. But every now and again it’s quite good to do a big one.

How’s it going?

With a big film, it’s absolutely impossible to say… But of course we all sit around and have a good old moan. But what does an actor do when he gets given a nice part? He moans about it.

Your new film – More Than Honey, a documentary you narrate about the threat to bees – is at the other end of the scale in terms of size. Is it a subject you feel personally engaged with?

I do now. Like a lot of people, I didn’t realise the threat to bees worldwide and it had never occurred to me the importance of them. But it’s something mankind should be concerned about, because it’s very important for the planet. We do tend to behave so often in the most cavalier way.

The film-maker Markus Imhoof has described it as “Chaplin’s Modern Times as told by bees”. Does it achieve that?

It does, sort of. It’s not a polemic; it’s more intelligent than that. As soon as you get the wagging finger, I don’t know, for some reason it turns you off. But they ain’t doing that.

Are you comfortable making political and social pronouncements through your work?

It’s often said about actors, “Just because you’re an actor, what gives you the right to do that?” But, if you have something you believe very strongly, film is a very powerful medium. You not only can talk about it but you should talk about it. It’s almost a duty if you like – there’s an old-fashioned word for you.

You were in a film about the Rwandan genocide, Shooting Dogs. Was that a duty?

My good friend Michael Caton-Jones called me up and said, “I’d like you to do this film. It’s a film that should be made.” Anyway, you read it and think, “Oh Christmas! Why did you offer me this? Because I’m now obligated to do it. And I thought I might have fun this summer!” But you can’t turn it down and then of course it becomes a passion. Passion, thank God, takes over and the whole thing changes.

You live in Norfolk now and I understand you’re a keen gardener…

You make it sound frightfully boring.

Is it quite a change from your Soho days?

Well, I can still go to Soho, you know. I have a flat in London, but I don’t live the same Soho life I might have at one stage, no. It’s called progression, I think.

Do you still paint?

Absolutely, yes. The most difficult thing about painting is the self-discipline. When I finish a job, I give myself a few days, but then I have to discipline myself quite fiercely if I want to do some painting that’s worthwhile. Otherwise, you’re just doodling. It’s much easier when you’re just told what you have to do. It’s terrific: “6am pick-up; 7.30am make-up; 8am wardrobe; 8.30 on the set. Right, OK.”

You’ve acted in films now for 50 years. Are you proud of that?

I certainly wouldn’t go as far as saying proud, but I’m absolutely amazed I’ve lasted that long. I knew I wanted to act from a very young age – from about nine, really – but I didn’t know how to go about it. I had no idea. The world was a much bigger place then. Also you didn’t have the communications we have today: now we’ve all got the internet, we know what’s going on everywhere. We didn’t then. We’d only just got used to the typewriter.

You’ve made a lot of films in that time – around 140. Any regrets?

I’m very much of the opinion that to work is better than not to work. There are others who’d say, “No, wait around for the right thing” – and they will finish up a purer animal than me. For example, Danny Day-Lewis will only do what he thinks is right. I couldn’t wait that long between films. He’s wonderful Danny, but our philosophy is different in that sense. Of course, I don’t do everything by any means: I do turn lots of stuff down, because it’s absolute crap. But I usually find something interesting enough to do.

It’s your 50th year in the business and you are about to appear as the Doctor in the 50th anniversary of Doctor Who. Both of you have had lots of reinventions. Is there a neat link there?

I’d never thought of that, but let’s use it! Oh yes, there’s a huge link definitely. But I had no idea that Doctor Who had got so huge; I just thought, “Brilliant, I’ll be a Doctor!” I was suddenly – what do they call it? You start “trending”. This is all new to me!

Is it a relief you can talk about your role, now that the costume designer let slip to the Prince of Wales that you play a “dark Doctor”?

Of course you have to remember that the Doctors are all one person, so I’m not outside of that. I can’t talk about it, but I will say I was really impressed when I did it. Both the previous doctors – Matt Smith and David Tennant – boy, are they good at it. Whoa-wee! They are so quick, and there’s a huge amount of learning and no time to learn it in. All that fake scientific nonsense. Terribly difficult to learn.

Have you met the Whovians?

I’ve done a couple of conferences where you sit and sign autographs for people and then you have photographs taken with them and a lot of them all dressed up in alien suits or Doctor Who whatevers. I was terrified of doing it because I thought they’d all be loonies, but they are absolutely, totally charming as anything. It’s great fun. I’m not saying it’s the healthiest thing – I don’t know whether it is or isn’t – but they are very charming.

Darvill On Capaldi

Arthur Darvill (@RattyBurvill) had an interview with The Big Issue and talks about this thoughts on the next Doctor:

Former Doctor Who heartthrob Arthur Darvill says that Peter Capaldi is the perfect appointment as the new Timelord – and reckons Whovians can expect a shake-up in the show’s style.

Darvill and Karen Gillan bowed out from their long-standing roles as husband and wife Rory Williams and Amy Pond last year, and will be joined in the show’s history books by out-going lead Matt Smith later this year when he leaves the Tardis behind for the final time.

Smith will regenerate into Scots actor Capaldi after this year’s Christmas special and Darvill thinks this can only add to the continued longevity of the cult BBC sci-fi series.

“I think it’s brilliant,” the 31-year-old told The Big Issue of Capaldi’s appointment. “It will be really hard for him to follow Matt, of course, who has made it his own. But I think it is the right time for him to leave and who better to take over than one of the best actors in the country.

“I think Peter Capaldi is amazing and I think it will be very interesting to see what he does with it. If you look at what he’s done in the past, he’s so different and I think he’ll bring a lot to the character.

“Obviously I’m sad to see Matt go but judging by the reaction everyone seems really excited. I think they are giving the fans what they want. To be honest I can’t think of anyone else who could have done it.

“They’ll have to write different stories for him and it will really open up the show in a different direction. If they got another young Doctor then maybe the show wouldn’t have lasted but now I can only see it going on and on and on.”

Around this time last year, fans of the classic series were preparing for Darvill’s final appearance as the endearing Rory after three seasons in a central role alongside dynamic duo Smith and Gillan.

Having worked closely with Smith over the past number of years, not only on Doctor Who but also in theatre and in ITV hit drama Broadchurch, he knows better than most what it takes to thrive as one of television’s most iconic names.

“It’s about having confidence,” Darvill explained. “When Matt started there was a lot of fear involved but once he got going he was fearless. He’s a very close friend of mine and I learned a lot from working with him.

“It’s truly about confidence. And that doesn’t come from arrogance – it’s about not fearing getting it wrong. Not fearing failure and knowing you can fuck it up if you need to. You just go for it.

“That’s something you need to play this part. It’s about strength in your convictions, which very few people have in the way Matt does.”