This is Judy.
Judy, this is Josh Holloway.
Hi!
Hi, how are you?
I'm fine. How are you?
in
I'm doing good. I'm doing good. How are you today? Everything's good?
Everything's fine. It's a beautiful Friday after several days of pour-down rain.
Where are you? I hear your Southern accent.
I'm in North Carolina.
Oooh! I'm from Georgia.
I know. I saw that on your bio, and I thought, 'Hey, he won't laugh at my accent.'
Absolutely not. Actually, it's kind of nice.
I interviewed a British fellow a couple of weeks ago, and the first thing he said after the introductions was, 'Where are you calling from? Your accent is lovely.'
Was that Dominic Monaghan (Charlie from the Lost cast)?
No, I haven't interviewed anybody else from your series. This was Callum Blue from Dead Like Me on Showtime.
Oh, yeah, yeah, yeah, OK.
Yes, I told him I would keep my accent if he would keep his.
Exactly. This has been a rare opportunity in acting that I have actually gotten to use the accent rather than try and disguise it.
Yes, I do appreciate that very much when they allow people to actually appear to be from different parts of the country.
Exactly. TV tends to try and fit everyone into a TV mold.
Kind of homogenize everybody.
Exactly. Good word.
I wanted to ask you some questions about Lost, but I want to ask you some questions about your career, too. I have seen only the pilot, and I was totally intrigued. It looks like a movie.
Good. That's what we were going for.
Sawyer seems to be of a suspicious nature and kind of antagonistic.
Absolutely.
When we print our article, it will be about the time the fifth episode is airing. When do we learn what is behind Sawyer's nasty attitude?
You would learn in Episode Seven. I just got the script yesterday, and I'm shocked myself. Yeah, Episode Seven is going to be his flashback.
OK. I'm not going to ask you about that, because I know you're not allowed to tell me.
Right, I can't, but it does reveal what that letter is he's reading.
So you're one of the people who has a secret?
Yes, I do. It's so funny because at the beginning of the pilot, I'm loving the way these guys work. J.J. Abrams and Damon (Lindelof) came sneaking into my trailer in the rain and they're like, 'This is what's in the letter. Don't tell a soul.' You're like, 'Oh, my God, that changes everything!'
They do that. They come in and give you just a little information. It's kind of like we're on a need-to-know basis, so I didn't even reveal it to anyone in the cast.
Do you think they do that to keep you from putting hints of some of that into the show prematurely?
Well, sure. I think they do that also because the moments are different when they're fresh. When our minds as people normally starts to wrap around things, we start to attach all these ideas to it that really aren't that necessary to the core of it, if you just experience it and kind of go through it. However, it is important that they do come in occasionally and give you those little bits of information because it does color your performance, as it should, but they don't give you too much time to dwell on it. Just enough time to kind of let it sink it, and then you have to experience it. Boom. I love the way they work that way. For example, the monster, I don't know what it is. I still don't know. They don't tell us that. Which plays on our performance. None of us really know what it is, so it's the fear of the unknown, you know, as much as it is that there is actually something out there. It's that kind of stuff. That's kind of the way it works, and we like it that way. But by Episode Five, you're really not going to like me. (He laughs.)
You get worse?
Oh, yeah. He's definitely the guy you're going to love to hate. But the beauty of it is that there's always a redeeming thing. He knows he's flawed, which is key. He may have a bravado toward other people, and so forth, but then they'll catch that moment when the people leave and you see inside and, 'Uh oh, this is coming from somewhere.' So, I love that, the way they're building it up and not letting anyone in on it yet. But they know something's there.
Do you like playing that kind of role, a strong character, no wishy-washiness at all?
I'm loving it. I'm loving it, because it's the part of everyone in us that doesn't get to get out, that's politically incorrect. It's not accepted in society, but we all have a flip side to us that, 'Man, if I could say what I really thought about this person.' You don't get to let that out. I'm Southern, you're Southern, you're know we're raised especially not to let that out. So for me, it's something, I live with it in me, but I'm not used to expressing it. So I've got a lot in myself stored up that I can use. I've got a lot of ammunition for that, and it's actually very freeing to be given permission as an artist to let that ride and to really let it ride, to actually experience it and bring it out of you. It's been uncomfortable and it's freeing at the same time. It is uncomfortable. Being Southern and being the guy I've been all my life, I've lived more on the lighter side of life. I have a dark side, but that's not where I come from. A lot of artists like to come from that. Normally, that's just not my nature, so it's been a discovery for me to be able to do that, and I find myself, I get the script, and I'm like, 'Oh, no, he's even worse. Oh, no.' You want him to be better, right? I want him to be redeemed, and it's just not the nature of the character. And that's hard to accept because part of me wants to lessen it, make him a little nicer. And the writers are like, 'No, no, no, that's coming.' So you're like, 'OK, OK.' You try to put in, 'Can I just help her here? Can I do this?' They're like 'No, but you can do it with a look later.' So I'm like, 'Wow. OK.'
What can you tell me about episodes two through four in relation to Sawyer? I know you can't tell me the later stuff, but since this will come out about the week that Episode Five will air, what has happened to you between the pilot and then?
Let's see, without giving it away. Boy, this will be tough. I'm the worst, because I'm so like, 'Yeah, this happened and this happened.' He definitely unforgivingly establishes who he is to everybody. There are certain things he does that, of course, affect all the other characters, but he doesn't give a damn. He does something that makes him indispensable, in a way. People need him. So he creates a need for people to need him. It's not a very nice way. It's undeniable. There again, he's instinctual, and he is basically prepping to survive. He is surviving, and he's going to be one of the guys, in his mind, that leaves this island. In those episodes, he's kind of setting that up. Whereas most other people are really helping each other get through this thing, trying to help each other survive, my guy is kind of a solo. He doesn't care what you're doing, or the pregnant girl, or anybody, unless it's got some sort of payback for him.
Will we know by then why Walt's puppy hasn't come to be with the people instead of wandering through the woods?
I don't think so, actually. He's definitely found and he comes around more. He's around more, but at first, they don't really address that, do they? But they do later. Oh, that story gets really interesting. It's so interesting now. With the pilot, they have to do so much exposition and setting up the story and the crash and all that. By Episode Five, you're really going to be sucked into each character and what's going on with these guys and the alliances that are forming and the things people are doing that have effects on different parts, different groups, and how they affect each other. These flashbacks are really opening up doors as well. Which has been a great dynamic they've added to it.
Yes, I love the flashbacks. I was probably as surprised as anybody else that Kate was the one who was in those handcuffs.
Oh, yeah, and they still haven't told us why.
By Episode Five, you still don't know why?
No, you know, they flash back, but this is the beauty of these writers. They only give you enough information to give you some insight, but then it leaves you asking more questions.
Yeah.
And they apply it, of course, directly to the storyline that is happening at the time. So they're going to be able to use this dynamic to go deeper and deeper into each character with each flashback they have. They'll basically give you a set-up and it will answer some important questions for you, and create more. My character by Episode Seven, if they don't want him dead by then, will definitely make you go, 'Oh, OK.' You won't forgive him totally but you'll begin to see some redemption there and possibilities. How am I doing? Am I being too vague?
This is good. If people haven't started watching it by the time the article appears, then we hope what we're telling them and not telling them with be intriguing enough to get them there. I know there are 48 survivors, but they can't possibly deal with all 48 characters, can they?
No. What they do is, well, they're kind of in the background. They're hauling s_ _ _ around. We have big projects we have to do because we're surviving. We have to do this, we have to do that, so there's kind of a general group shot from behind, so you don't really see them, faces or whatever. Then we're all doing big projects. That will slowly, of course, weed down because of the nature of the island we're on and they're going to have to have -- you know, there are things after us.
I was figuring the cast would be pared down a little bit by the mysterious creatures.
Oh, yeah, and it's the beauty of movie making. It looks like there's a bunch of people, when there's really not that many people there. They are addressing that. They're also pulling in occasional people here and there and giving them a line or two and that will also be a pool from which they'll pull guest stars, not just the flashbacks. They will pull people from there, probably not to be regulars. Remember Star Trek? They're on this huge ship and they've got all these people, right? But you only see them, maybe they go on some mission and one of them gets killed. That kind of thing. I think that's how they're going to use them, for that, and it just adds to the whole dynamic. You're got all these people and they're all ragged out, just trying to survive. It just adds a richness to it to have them around.
One of the things I noticed in the pilot was that nobody seemed to be organizing anything. Like, is there any food on the plane that we should be getting? Except for the Korean man getting those shellfish to feed the pregnant woman and Boone eats a candy bar, you don't really see anybody addressing food or whether they should create some kind of shelter, shouldn't we have a committee that goes around and checks the injured people. That to me was a problem. Is that part of the denial that they're going to be there very long?
Yes. That is exactly it. You've got to understand that each episode is only a day passing or maybe two. So the first few episodes, they do have the plane food and the big guy Hurley... (I interrupted him.)
I love him!
I love him! He's such a great guy, too. He brings around the last of that. Did you see the two-hour pilot or the one-hour?
I saw the two-hour, the one that ends with you shooting the polar bear, and then Charlie says, 'Guys, where are we?'
Right, right, right. You saw the full two. That's basically the first day and a half, two days they've been there. In the next episode, I don't even know if they quite address it there, but by the fourth episode, we're definitely addressing all that. People are organizing, first of all, for water, that's the main thing. We have run out of water; we've run out of food. We've got all this stuff, and, of course, that brings in all this, 'Who's got food? Who's got water?' That pulls in my character, it pulls in all these other characters. Who's got what? That happens, and kind of alliances start to form. I don't want to tell you too much, but things happen. Because we don't tell the rest of the people what's going on when we get back because we don't want to create a panic.
You keep the information about the polar bear from them?
Right.
What about the transmission you discover from the person who was stranded on this island 16 years ago? Do you tell them about that?
I don't know if I should be telling you. It's addressed. We want to keep the hope alive that we're going to be rescued and actually, even though we got that transmission, we still don't know everything. There is still a hope in all of us that we're going to get rescued. So that is addressed, and of course, when it's addressed, it changes things. Everybody, not totally, but it does have an effect on some people, and on other people, it has a different effect. Things are being addressed. Like I said, in the pilot, they had to tell you the story. Now it's going to get intricate into how things are actually happening. Yeah, there are things like, 'Why isn't this addressed?' And the writers are like, 'Just hold on a minute. This is TV. You've got to understand. This is not a two-hour movie and it's over.' So things will be unveiled and yes, maybe in another situation people would do something different. And maybe not. That's what we want to create. We want everybody to ask those questions, 'Why aren't they doing this?' That means you're putting yourself in that place and doing what you would have done. And that's what they wanted to create. We want everyone to ask those questions. What if you were stuck on an island? What would you do?
I think people are used to looking at that from watching Survivor. I'm not a reality show fan, so I've only seen little glimpses of that. I'm much more intrigued by something like this than by fake reality shows.
Well, yeah, that's the weird twist on it. We're actually doing something scripted that's totally, you know, we kind of know what's going on, however, we're having to live life and death as the art. That's what's at stake with us whereas with them, it's 'Do I get the cheeseburger the guy's going to bring out? Or am I going to win an immunity challenge and get to hang out and have a Coca-Cola?' We don't got that guy coming out to get a cheeseburger. It's all life and death; the stakes are so much higher. However, it's not reality, whereas the reality show, the stakes are much lower, but it's reality. It's interesting. Of course, things are addressed differently when you know you're getting rescued or you know you can call and go, 'You know what, I'm done.' People react differently because the stakes are different.
In regard to your career, in the bio they sent, it says you had developed a passion and love for films at an early age. Did you think when you were younger that you might want to go into acting, or was it that you liked going to the movies?
It was just that. Mainly it was, I've used movies , of course, like everyone has, as my form of escape and kind of, 'Wow, I'd like to do that.' Growing up I always envied people who said, 'I want to do this with my life. I want to be a doctor. I want to be a designer.' I never knew because I wanted to do everything. I wanted to be a pilot. I wanted to be a secret agent. I wanted to be a fireman and a doctor, all that. So I related that through movies and stuff, so I was like, 'Wow, what a perfect job for me because I don't know what I want to do. I want to do it all.' I get to actually experience what it would be like to be a psycho, which is not a fun one, or to be a cowboy, or to be a weird character of some sort. For me, it suits me. It suits my personality. I'm an emotional kind of person anyway. I've always lived on that side of life whereas I have three brothers and they're all into computers. They're all intellects. My mother would pay me a quarter a page to read a book and I couldn't make 50 cents. I just couldn't do it. Now I'm crazy reading and stuff because I've been traveling so much I just got into it. But as a kid, I never had the attention span. It was always sports, really outdoor active kind of stuff. I'm more of an experiential person. It just fit me.
You are still into sports, aren't you?
Oh, completely. I just have to gear it down a little bit. Like, I can't dirt bike right now because it's a very dangerous sport and injury means replacement.
And you have a contract.
I have a contract. So the producers are like, 'No more dirt biking.' I'm like, "Gaa, OK.' Snowboarding I still do. I still do all sports-basketball, soccer, anything with a ball I can play pretty much. It's my fantasy, always has been.
I saw in your bio something called Doctor Benny. I'm not familiar with that. Is that a movie or a series?
It's a movie. It was an independent movie. I did seven indies because the independent market used to be a lot better before all the stars were doing independents. As a beginning actor, that's where you started. It became much harder to get an independent movie, but that's how I started. It's a great little movie that for them to actually get the money for the production to be on the level of an actual movie that comes out in the theater, that is where the independent movies run into problems. The stories are great; they're filmed great and everything, but a lot of times, you can just tell the production value is not there. They can't do it. They can do it by selling it to a TV network and they could make it a TV movie, but a lot of independent artists, when they get their first movie, it's kind of like their baby and they don't want to let it go. So you end up not ever seeing it because they wanted it to be theatrical or nothing and it gets so close and then it just peters out. So I've got seven of those. Two of them made it to at least TV. Cold Heart with Natassja Kinski was played all over HBO, Showtime, all of that. The Sabretooth thing was Sci Fi Channel, but the other five movies I did have gone nowhere except in my own experience and, of course, building a reel and all that kind of stuff. It's kind of your training ground, independent movies.
How did you find out about this role in Lost?
It was wild. I've been in the trenches as we call it for the past seven years, so I get readings, I sometimes get five a week. You'll feel like a schizophrenic by the end of that week. I don't know who I am any more. You'll be in conversation with a friend and start spitting out dialogue. You'll go, 'Whoa, wait a second.' Being in the trenches is very difficult. I was on another job. I was actually on this new show that I don't think it ever came out. It was this new show called My Roommate's a Big Fat Slut.
Oh, my!
I know. For TV! I was like, 'Are you kidding me?' I think they changed the title. I don't know if it ever aired. I was doing a part on it and my girlfriend called me and said, 'Hey, I just got this fax, and this sounds really interesting.' It was for the next morning. It's 10 o'clock at night and I'm still working on a set. I said, 'Fax it to me here,' so she faxed me the stuff at the production office there. 10 o'clock at night. It comes through and it's like a 38-line monologue. The guy's supposed to be from Buffalo and I'm from Georgia. I'm like, there are accents here to do. There's all this. So I just happened to be waiting to go on set for the next shot, but being in that space your mind is kind of working. I'm on set, it's there, so my mind just sucked that right in, all that dialogue. I just got up the next morning and said, 'Heck, I'm just going to go give it a shot,' you know. I didn't really have any time to think about it or put too much on it. I knew it was important so I got it down good and I went and delivered it that morning. And, of course, it wasn't there because that much dialogue takes a minute. So I'm in the middle of the monologue and it won't come. I kick the chair across the room and start back again. It all just worked perfect for this character. They were like, 'Wow, this guy's got some anger. This is perfect.' They were like, 'OK, that's great.' I was like, 'I'm sorry guys. I just got this at 10:30 last night.' They were like, 'No, it was perfect.' So the next day or was it the day after that? One day passed and then I had to test for network, so it was right in the fire. As soon as I did that test, the next day I had to go test. First I had to test and pass Disney. Then you have to test and pass ABC. So it was a whirlwind. It just went boom, boom, boom. And there I was! I got the call! I couldn't believe it!
They let you keep your accent though, your natural voice.
Yes, and that I didn't know either. I just didn't have time to deliver a Buffalo accent in a day, so I didn't even try it. And then I go to do the pilot, and the whole time I hadn't been working on Buffalo because they said 'Don't worry about that.' So I said, 'OK, it's TV, I just have to be not Southern. I have to be just normal.' So I'm working on it. I'm hiring dialect coaches, all this. Then I go do the pilot and the very first day, the first scene I'm shooting with J.J. Abrams, he comes over and he goes, 'It's good but it seems like you're trying to speak without an accent.' I said, 'Well, of course I am.' He completely set me free. He said, 'No, no, no.' I said 'Well, the guy's from New York.' And he said 'No, no, that's before we cast you. Now everything has changed. We want you to be you. Let it ride.' I was like, 'Are you kidding me?' I've never heard that in the seven years I've been in LA, you know. So that really set me free, which has just been a gift. Now they're writing, actually writing for that. They actually write it in dialect.
So where are your from? Where is Sawyer from?
I'm not sure. They don't even tell me that yet. So far his thing is set up in New Orleans, so it is south. They don't say whether or not I'm from New Orleans.
OK.
He must be from the South. That's where he is down there doing his thing. Obviously, he's Southern. They haven't really told me yet exactly where I'm from, so, for me, I'm from Georgia.
OK. Well, they don't have to write that in dialect for you then. You just read it the way you would ordinarily read it.
Exactly. As a matter of fact, you know this as well as I do, if you have somebody writing, say Southern dialogue, you can tell immediately when they're not Southern, because they're putting s_ _ _ in that you just won't say. I wouldn't say that. And they're very liberal about that. That's why I love them. And that's how you can tell you're working with real artists. They're not married to anything. They are with their ideas and stuff, but they want you to bring you to it. So if I say, 'No, this word's not right' or 'this little thing's a little big too hicky, then let's change that,' and they're completely open with it. So, yeah, you make it your own, and they allow me to do that, which is good.
You said your girlfriend got the fax. Why was she notified of this reading?
It was just in my fax machine. It came through the fax. She was in the office doing paperwork or something, and 'Oh, what's this?' She's very wonderful about helping me get things organized and get ready for things. So she just said this one is worth sending to him now instead of waiting for him to get home and be stressed out because it's a 38-line monologue, and he ain't gonna have time. So it was just like that. It was just chance.
That's perfect! How excited are you about this and its possible impact on your career? This will be your first series, right?
Yes. It's very strange because I think about it, but it isn't real to me. I've been doing this for seven and a half years. I've been just bustin' it, trying to break in as an artist in this business. For me, it's still just about the work. I get the scripts and I'm all about that. I don't really even have an idea what that's going to be like. Now, same thing. We're over in Hawaii, so we're removed. We're working every day, long hours, and it hasn't aired yet, so we're kind of in this pocket of no one knows you anyway still. So I've just started getting a taste of it, like going to these press things and actually having to sign some autographs and stuff, so I'm still a little awkward with all that, but I'm excited about it. I'm very excited about it. And I'm ready for it, you know. I'm a private kind of person anyway. I'm an outdoorsman kind of person, so I don't like the buzz of the crowd, crowd, crowd and all that so much. I mean I don't mind it, but I don't seek it out. So I think also being removed in Hawaii, it's going to be easier than say if I were filming a show right here in LA and I was here all the time and it was year-round people all the time who know the business and know what's up. Then I think I would feel it a lot more, and I may still, I don't know. I don't know what it's going to do. I know that the work is good and they're excited over at ABC and Disney and it's getting some really good feedback. And just the nature of the role. It's a great role to roll over into movies to show people I could do other things. It's not just a little, insignificant kind of role. It's meaty, which is good. I think it will change a lot.
Fortunately and unfortunately, people don't see me as a character actor. They see me as a leading man or nothing, which makes it really hard to get work. All the leading men, you know, you've got no shot with that. They're established. To establish yourself as a leading man, you're shooting for the smallest point on the target, and you get a lot of judgment thrown at you. It takes a lot for them to get past everything and just watch your art and what you're doing. So this is really going to break that egg because that has been the most difficult part. You get really close, people love your work and then they give it to an A. That's what it comes down to. It was interesting because I just ran into that right before I booked this. Two weeks before, I had just done like four months of casting for the remake of Little House on the Prairie for a miniseries with the option for a series. They're going to try to re-do the series. I've never known a TV show to successfully do another series on a past successful series. They can do a movie, yeah, but a series? It's never been done successfully. But I really loved and wanted to do it, because I was up for Charles Ingalls. I love Charles Ingalls. I grew up on that. I grew up on a dirt road with brothers. My father was very much that way, so I was like, 'I've got everything to offer to this.' And I live on that side of life, like I said before. I'm not a dark person really. Charles Ingalls is all about love, so I was just testing for that, and it got down to, they were like, 'You're the guy,' and it was ABC again. So I had just been in and tested for all these same people. For this role when it came up, they didn't even want to see me. They said, 'No, we just saw him play Charles Ingalls. He can't play this asshole.' So I had to completely convince them, 'Hey, hello, I'm an actor. You can flip that script.' That was hard, just to get in there, you know, but, good representation, they got me in there.
So now you'll have to give up the Charles Ingalls thing because you can't do both.
Well, to finish that story, I did all this casting and everything and they were like, 'You're the guy; we're just trying to push it through network,' and they gave it to an A. They said, 'No, he was great but we're giving it to this name because we've been trying to get him from the start.' Which is the way it works. They put their feelers out for all the names and then they'll cast you up to the point a name steps up, and then it doesn't matter how much they love you, there's a certain marketing value on that name, and there you go. So that's what just happened. It was perfect, so I had actually a lot of anger to deliver. Gaa, I really wanted that part, so that crushed me that I didn't get that. So it was perfect. It set me up for this one, which is good.
This may end up being better. The miniseries may do well or not so the series itself may be dead in the water.
Yes. Actually, it probably will. This is so much better, to be honest.
You're going to be opposite NBC's new Hawaii. Does that matter?
I think it's a totally different audience actually. I hope them the best, but at the same time I don't because we're right opposite them. I haven't seen it, so I can't really comment. I know the reviews aren't so good, but that's normal for any pilot that comes out. It takes a minute to hook any audience normally. It's kind of hard to say how that's going to go because they've got a good cast. From what I hear about how they're approaching it, it's kind of cool and modern. I don't know. We'll just have to see how that goes. All I know is we beat them in softball. We have North Shore, Hawaii and Lost all there, so they have softball tournaments between the casts. It's hilarious.
All of those are being filmed in Hawaii!
In Oahu, exactly. So we have softball games occasionally. I haven't been to one yet, I must admit. I wasn't a big softball player. But I keep getting the reports back. We've won two now; Lost has won two. Two for two. I hope them the best, however it works out. I do think it's a different audience and there's probably room for both. I just hope we do a little better. It is major network, and they go by the numbers. If you don't make the numbers, you're done.
Yes, there have been a lot of shows that bit the dust a little bit early.
Yes, as a matter of fact, X-Files, they cancelled X-Files the first network that had it. Then Fox picked it up and you know the story on that. That was the best show forever. So sometimes they are premature, and I hope they're not going to do that.
I hope they're not either, that they have a little bit of patience.
Yeah, cause I want to stay in Hawaii a little while. I'm kind of liking it over there.
From looking at information on Imdb, you're 35.
Yeah, just turned 35.
I never can tell. You look rather tall on TV. How tall are you?
6' 1". I guess I am pretty tall for an actor.
Yes, but that's why you've got that leading man status.
Yeah, that's kind of it, too. I'm so used to small actors, but there are a lot of big actors on this show. The other leading guy is 6, 2 or 6, 3.
Matthew?
Yeah, he's a big ole man. There are all sorts of sizes. Jorge (Garcia) is a big man. He's taller than me and wider than me.
I know he's wider.
But he's a tall man, too. It's good.
Is there anything I haven't asked you about that you think would add to this feature?
Hmmm. No, I think you've pretty much covered it. I hope I gave you enough without getting me in trouble.
I can write 500-550 words, depending on the art we use, so, yeah, I've got plenty.
Excellent. That's about it. I just love the whole concept of the whole thing, the diversity. It's one of the few shows in the line-up that's got some ethnic diversity. I really like that they're doing it, and not just because of numbers and the market and people that they're trying to reach. I love the artists that are involved because they're looking at a bigger picture, a world picture, and they're involving politics and all kinds of things that are current, which is not the norm. That's more for movies, so it's nice they're doing that with TV. That I think is also going to attract a certain amount of people.
But if you look at any group of people on a jet together, you're going to have that diversity.
Absolutely. Absolutely. And I love the fact, for example, that the Korean couple is speaking only Korean.
Yeah, I thought that was neat, too.
They address that, of course, later, too. You find out some twists in that. But it's just good they're allowing that and not trying to shove everybody -- there again with my character -- Southern, letting him be Southern, which is cool. It's good. They're brave. That I love. I love being a part of that.
All right. Thank you Josh, very much. I wish you the best in this endeavor. I think it's going to be exciting.
Thank you, Judy. I appreciate being called to do an interview. It's cool.
OK. Great.
Good luck with your writing it. I can't wait to read it.
I can mail you a copy or send one to your publicist.
Yeah, that would be cool.
You have a wonderful afternoon and evening.
I shall. You do the same.
Take care. Bye.
Bye.
