Favorite Scenes: Olivia Turns Heads in Her Dress during Concentrate and Ask Again (3.12)

Agent Dunham with the FBI. Where’s Congressman Thorn?

Inside. We’ve already been through this with your Agent Bishop.

Then why haven’t you taken him to safety?

You ever try telling a Four-Star General to take a death threat seriously?

This is not a threat. I’ve already seen what these guys are capable of, and everyone here is at risk. So you keep him in the back.

The tall one thinks you’re hot.

[Requisite hair porn from this episode]

Coffee.  Black, one sugar.

Thank you.

And I’ve been meaning to tell you … you look great in the dress.

[Looks like more eye sex to me]

Music that Lana listens to 📱📱

Lana has great taste in music. I have a playlist of tracks and artists Lana has talked about in interviews, covered, referenced in her own music, and songs that have been in her Instagram clips. Feel free to share others I didn’t catch :)

  1. Quiet Corners & Empty Spaces - The Jayhawks
  2. You Get What You Give - New Radicals
  3. Blue Velvet - Bobby Vinton
  4. The Other Woman - Nina Simone
  5. Dolphin - Les Baxter
  6. I’m Through With Love - Marilyn Monroe
  7. Heartbreak Hotel - Elvis Presley
  8. Born to Run - Beuce Springsteen
  9. I’ll Never Be the Same - Ella Fitzgerald
  10. Hotel California - Eagles
  11. Space Oddity - David Bowie
  12. Thank You - Led Zeppelin
  13. Don’t Let Me Be Misunderstood - Nina Simone
  14. Murder of Birds - Jesca Hoop
  15. Babe I’m Gonna Leave You - Led Zeppelin
  16. Chelsea Hotel #2 - Leonard Cohen
  17. Summer Wine - Nancy Sinatra & Lee Hazlewood
  18. Some Things Last A Long Time - Daniel Johnston
  19. The End of the World - Skeeter Davis
  20. Tequila Sunrise - Eagles
  21. L$D - A$AP Rocky
  22. Lay Lady Lay - Bob Dylan
  23. Stairway to Heaven - Led Zeppelin
  24. Love Is to Die - Warpaint
  25. Spark (feat. Anthony Jackson & Simon Phillips) - Hiromi
  26. Tiny Dancer - Elton John
  27. For Free - Joni Mitchell
  28. Don’t Worry Baby - The Beach Boys
  29. Tunnel Vision - Kodak Black
  30. Jealous Guy - John Lennon
  31. Swang - Rae Sremmurd
  32. In Twenty Years or So - Father John Misty
  33. Leader of the Pack - The Shangri-Las
  34. My Boyfriend’s Back - The Angels
  35. Disconnect - Clean Bandit & Marina & the Diamonds
  36. RAF - A$AP Mob
  37. The Way You Used to Do - Queens of the Stone Age
  38. Heart-Shaped Box - Nirvana

Get Some Lana!

30 min Steven Ogg sketch! 

It’s very early on, and I’m still working in it, but I wanted to show y’all because it looks very painterly atm and I quite like it ^u^ sometimes there’s something cool about unrefined sketches imo

Tagging @simons-thirst-squad because I think you might enjoy!

Speak his name How Shakespeare lured home Aussie Hollywood star Jai Courtney

Jai Courtney has been a gladiator, an Anzac officer, a member of a World War II bomber crew. He has played a resistance fighter in the Terminator franchise; he has attacked Tom Cruise, gone on a rampage in Russia with Bruce Willis and been drafted into DC Comics’ Suicide Squad. Yet he has never been keen to be tagged simply as an Aussie action star.

He also has been looking for work that explores a different kind of conflict. He has it now, in the most challenging terms: he is playing the title role in Macbeth, a Melbourne Theatre Company production directed by Simon Phillips that opens next month.

He has wanted this kind of experience for a while, Courtney says. He has been “scared as hell about what it was going to demand of me, but also just hungry for that chance to commit myself to something like this”.

For MTC, a Hollywood name is undoubtedly a box-office draw. For Phillips, there’s the appeal of an actor who can so readily embody a warrior, the Macbeth we see at the beginning of the play. For this production, Phillips says, “I was after someone who could really be it. Someone who could capture vividly the sense of beginning as that incredibly empowered person who’s given that temptation of being king when he’s flushed with success. He’s been as viscerally successful and triumphant as you can imagine.”

He was, of course, keen to be sure Courtney could tackle the text itself. MTC voice coach Leith McPherson turns out to have been the last person to have directed Courtney in a Shakespeare production, 10 years ago, when he was a student at the West Australian Academy of Performing Arts and she was doing A Winter’s Tale. Phillips asked her about Courtney and Shakespeare, he says, “and she was very quick to give that the thumbs up”.

So, on January 2 Courtney started work, reading and having Skype sessions with McPherson. Preparing before rehearsal started, he says, he always felt that immersing himself in the text was the primary research. “I familiarised myself with certain ideas, I did some reading on the occult, and some bits and pieces, other books, Antony Sher’s book about playing Richard III”, but it always came back to the text.

He embraced the idea that with Shakespeare “there’s no endgame, it requires constant exploration and you don’t ever work to a point where you’ve nailed it. Things will continue to evolve right until the end of the run, in some sense, and beyond, and probably six months after we finish I’ll figure out how to play it.”

Phillips likes to give his Shakespeare productions a contemporary context, and this Macbeth is no exception. It’s not about transposing the play into a new world — Macbeth as Tony Soprano, Scotland as the White House — more about finding fruitful images and parallels.

“The language is complex, and if the audience is seeing something they relate to, that can help,” Phillips says. “It’s a handhold inside the language.”

Courtney is fascinated by these possibilities, and curious about how they’ll play out. “In some ways those ideas make me nervous, but it doesn’t feel right in this day and age to put this on stage in Melbourne with a bunch of guys with long swords,” he says.

In many ways, Macbeth is a story of action. Courtney talks about the speed of his character’s transformation from triumph to ambition to the commission of an act “so terrible that it unhinges him … He gives himself over to the idea of chaos” to the point where all is meaningless, then, with his dying breath, “attempts to restore a sense of honour”.

Finding the right context for this dramatic shift, Phillips says, is tricky. “The first act is almost like a thriller, rushing along, and the last two acts are the same.” Yet in the middle of the play “there’s a completely different kind of intensity”, revolving around the intimate psychological drama of the relationship between Macbeth and Lady Macbeth, his partner in ambition.

Finding the right Lady Macbeth was another piece of the puzzle, Phillips says. “Once I’d cast Jai, I knew what I was looking for, someone who could in some way match that energy.” Geraldine Hakewill, he says, “has a magnificence about her that works as the female to Jai’s male”.

On the surface, Courtney’s rise has been swift, although he doesn’t quite see it that way. After WAAPA and a couple of local TV gigs, his first significant break was in an American series, Spartacus: Blood and Sand, which was shot in New Zealand. Playing Varro, a Roman citizen turned gladiator to pay his gambling debts, “was a huge deal for me”, eight months’ work that meant leaving Australia and being part of a large-scale, well-resourced production.

He became close to the show’s star, Andy Whitfield, who died from non-Hodgkin’s lymphoma in 2011. He gave Courtney friendship and professional advice about what to do after his time on Spartacus was over. The experience of the show, Courtney says, gave him the impetus to go to Los Angeles and try his luck, as well as “something to talk about when I got there, and a little bit of money in my back pocket to stay alive while I was there”.

Michael Douglas caused a stir in 2015 when he suggested Australian and British actors were taking roles from American actors because they brought more to the screen. The British were better trained, and “with the Aussies”, Douglas said, “it’s the masculinity”. Courtney has heard this assertion about Australian performers many times, but he’s keen to point to other traits he thinks are just as important — what he describes as “a lack of fear in exploring vulnerability that isn’t the opposite of masculinity, that strengthens a character”.

In Los Angeles, he found representation and started to land roles. As well as the bad guy misguided enough to take on Cruise in action thriller Jack Reacher, he was Willis’s estranged son in A Good Day to Die Hard, the fifth movie in the Die Hard franchise. He was John Connor (the fourth actor to play the character) in Terminator Genisys; he was a member of a World War II aircrew in Angelina Jolie’s Unbroken; and he was a lieutenant-colonel trying to help identify the Anzac dead in Russell Crowe’s The Water Diviner.

He also appeared in a smaller film in Australia, Matthew Saville’s Felony, a police drama with a script by Joel Edgerton, who also stars in it. Courtney read the screenplay, he says, and pushed hard to be considered for a role, well before the project got off the ground: “I was desperate to come on board.” It’s a film full of moral ambiguity, in which characters make bad decisions for what they believe are good reasons. “At the centre of it you’ve got a man” — Edgerton’s character — “who’s done something really wrong,” Courtney says, “but somehow you want the best for him.” He gives a quiet, watchful performance as a cop who finds that good intentions are not enough.

There’s something about playing conflicted characters that appeals to him, he says. He has a film coming out in June called The Exception that gave him similar rewards: he plays a Wehrmacht soldier during World War II sent to investigate the exiled Kaiser Wilhelm II. “Christopher Plummer plays the kaiser and he’s just a dream to work with, it was such a privilege.”

Since that production, he says, it has been a while since he has been on a film set, by choice. To take a role, he says, “I had come to a point where it had to be about growth, in some sense. If it felt like a step backwards or I could have been taking it for the wrong reasons then I wasn’t going to do it.”

His biggest film, in budget and box-office terms, is Suicide Squad, a 2016 comic book adaptation that did well enough financially but didn’t find favour with critics or elements of the fan base. Courtney — who played a bombastic anti-hero supervillain who wields a boomerang and has a soft spot for a toy pink unicorn — is philosophical about its reception: “I loved the movie and we had a lot of fun doing it,” he says, but adds it could have been a victim of the intense anticipation built up around it.

He lost a bet with a fellow cast member, Queenslander Margot Robbie, over the result of a State of Origin game, and has the name of her home state tattooed on his wrist. “Not something I’m proud of,” he says. “But it makes a good story.”

He can look at his performance analytically, he says, when he watches a finished film. “I don’t necessarily enjoy watching myself. I think some things turned out better than others; some stuff I can’t watch again.” He’s just as interested in the work of others, he adds. “I want to hear the sound design and see how it’s edited — those elements you’re not privy to when you’re shooting are really fascinating to me.”

Filmmaking was not his focus growing up. As a high school student in Sydney he was given a taste for acting by an innovative project run out of the NSW Department of Education. He auditioned every year for its ensemble program. “By the time I was in Year 12 we were putting on full-on shows, working with voice coaches and doing a mini-season in a theatre, mimicking the atmosphere of a professional company,” he says. “Paul Viles was the guy who was running that department at the arts unit and he’d really helped me develop that interest.”

At that stage, he says, the height of his ambition would have been to appear on stage at Sydney’s Belvoir theatre. He decided to take the next step, auditioning for drama schools: National Institute of Dramatic Art, Victorian College of the Arts and WAAPA. He was accepted by the last.

Even with the experience he’d had, drama school was a culture shock. At first, he says, “I felt like a fish out of water. I think there was a total energy shift from being in the suburbs and being around my mates and playing footy (league).” Somehow, “I was still exploring my curiosity. I didn’t feel like an actor yet.” It took time to find his feet.

He did a couple of plays in Perth after he graduated: The Turning with Perth Theatre Company and Cyrano de Bergerac with Black Swan. It has been a while since he has been on stage; about six years, he says, since he was part of a Sydney drama co-operative and had to fill in at the last minute for an actor who suddenly got a high-paying film gig. At 24 hours notice, he recalls, he had to learn his lines to play Andrey in The Three Sisters. “I’ve had a bit more time to get ready for this one.”

He was well prepared for some aspects of an acting life, he says, but there are some things only experience can teach. “There’s a lot of argument about whether drama schools prepare actors enough for the reality of the professional world, but I don’t really know how you do. You can’t simulate rejection and the kind of hustle required to stay afloat during the tough times.

“It’s a bizarre thing — so many of us want to act, but when you get out into the world you spend very little of your time actually getting to do that.” In the early years, “unless you’re creating work for yourself and attaching to co-op theatre, for some people getting an ad is the most performing they’ve done in a year, and that’s a reality of it”.

Even now, he says, “I’ve never been at a place where I’m fending off work opportunities at every turn. Occasionally you’re in a position where you know what might be happening after the thing you’re working on, but more often than not it’s back to the drawing board.”

Success brings additional expectations: red carpet appearances, the media spotlight, publicity tours and fan attention, all of which he seems to take in his stride. He has never been on Facebook, and confines his social media activity to Instagram, with a slight hiccup when he discovered there was another user pretending to be him. “I thought it was funny at first, but then some of the stuff they were posting gave me the shits.” He tries to use the platform to engage with fans in a fairly straightforward way. “If I think about it too much it starts to feel like work.”

After Macbeth, it turns out that he does know what he’ll be doing next. He’ll scarcely have time to draw breath, going straight to South Australia to star alongside Geoffrey Rush in Storm Boy, a new take on Colin Thiele’s children’s book that was adapted into a much-loved film in 1976.

He couldn’t say no, he says. “I was so excited to hear about the possibility of it and then I read this beautiful script with a present-day story that harks back to the original and it’s balanced really nicely.

“I’d love some down time, but I’ll get that when the film’s done. Ask me again in eight weeks’ time, after I’ve been doing eight shows a week.”

Macbeth is at the Southbank Theatre, Melbourne, from June 5 to July 15.


The camera moves to a fixed angle whenever the player is climbing scenery in Remember Me; this is done to A) simplify the act of directing the player, in that it shows them in what general direction they should be heading, B) reduce the mental load of climbing overall by putting only character movement in the player’s hands, and C) convey major tone or narrative moments to the player through the environment by putting them forward front and center.

Hollywood star Jai Courtney on why he couldn’t resist playing Macbeth at MTC

Shakespeare’s troubled villain is ‘the role of a lifetime’.

Sonia Harford

Jun 2, 2017

“It’s great watching Jai do the fight scenes. You believe he is the best warrior in the army, which is what Macbeth is meant to be,” says actor Geraldine Hakewill.

Cast as Lady Macbeth to Jai Courtney’s foul villain, she can appreciate the stage presence of an action hero – whichever century he finds himself in. 

“I haven’t seen many Macbeths where that’s the case, where you believe he could devastate the opposing army,” she says. “It’s in his body, how he can handle himself on stage. He knows his way around a gun,” she concludes, to laughter from Courtney.

He takes the compliment with a good grace, and there’s no doubting his presence on and off stage. A star of several Hollywood blockbusters, Courtney has a powerful build and a mighty voice. Shakespeare’s lines will no doubt boom right to the back row when the Melbourne Theatre Company production opens this month.

In a break from rehearsals, the two share a sofa to explain their contemporary take on Shakespeare’s fierce Scottish play of witches, ghosts and human villainy; Hakewill a dark, lean and focused figure to Courtney’s reflective film star.

At 31, Courtney can count himself a successful member of the Australian pack in Los Angeles. Raised in Sydney, he attended the WAAPA drama school in Perth and soon landed television and film roles in the United States. 

Following his malevolent turn as a very, very bad guy opposite Tom Cruise and  Werner Herzog in Jack Reacher, he appeared in A Good Day to Die Hard, Divergent and its sequel Insurgent and as the faintly perplexing Captain Boomerang in the 2016 DC Comics outing Suicide Squad.

He’s barely revisited the stage since his WAAPA days. So why now, and why Macbeth?

“I didn’t really see an option for myself once I was offered this,” he says with feeling. “It’s the role of a lifetime, and it came along at a time when I was exploring where my interest in film really stood, and the jobs I was chasing versus the jobs I took.”

Shakespeare, of course, requires a bit more than knowing your way around a gun. Courtney and Hakewill both saw Kate Mulvany’s recent electrifying performance as Richard III with Bell Shakespeare. Her Richard, embittered by mockery and physical weakness, was a schemer, a villain with more wit than weaponry.

Courtney described her as “an absolute force. It was one of the most courageous performances I’d seen on stage.”

Yet Macbeth is a very different kind of villain, in his view.

“He’s a man who’s embarked on a tyrannical journey, and he’s always at odds with the things he has to do. It’s an interesting arc to chart as he wrestles with it right up until the end.

"At one point, he does give himself over to it and submits to chaos. It’s the horror of the acts he chooses to commit that sends him mad. Unlike Richard III, which is all about righting the wrongs endured by him, Macbeth is built on ambition. He bites off more than he can chew in that sense. It’s interesting and hard to play the arm wrestle within one’s self.”

What Hakewill saw in Mulvany’s performance was “her great feel for a story”.

“In Macbeth, the characters go to places that aren’t justifiable from an audience’s point of view but you have to take them with you, because it’s your story.

"Lady Macbeth is often seen as a villain because she doesn’t have someone whispering in her ear, so that’s tricky to find the humanity and the empathy but I am searching for that, because I think there are many reasons she acts the way she does.

"Even though we’re setting this in quite a contemporary context, I’m thinking about when it was written. Even today, here and in other parts of the world, there are constraints that you put yourself under, that society puts women under, that prevent them achieving their ambitions.”

The role marks a welcome departure for her, she says. “It’s a woman playing  a villain! I’m usually playing someone sweet and lovely. This role’s frightening and that’s why I wanted to do it.”

Hakewill has mostly based her career in Sydney, but she appeared in Baal at the Malthouse some years ago and in Joanna Murray-Smith's Fury for the Sydney Theatre Company.

“I probably seem younger than I am so I ended up playing a lot of teenage girls for a while – usually the broken ingenue who gets screwed over by men, because that’s what history has often given us in plays.”

An action role finally came her way in the television series Wanted which this year earned her a Logie nomination for outstanding new talent.

“That was a lovely surprise.”

It’s also well worth hunting down a short film called Young Labor. In this concentrated gem of political satire, Hakewill plays a hilariously narcissistic Labor organiser, browbeating volunteers from party room to fundraising cake stall.

Perfect training for Lady Macbeth, perhaps? “Yes, it looks at though it’s in me somewhere,” she says, laughing. “I got cast for a reason!”

Both actors believe director Simon Phillips has the right touch for the heightened theatricality of Macbeth. Says Hakewill: “Simon’s shows are always big shows.”

Big enough, presumably, for the movie star male lead who has left his home in Los Angeles for a few months in downtown Melbourne.

Courtney admits theatre is as big a challenge as any he’s faced. “I just wanted to get on stage all through my teens.

"As you grow and learn more and push yourself, your ambitions grow, of course … I’ve had funny luck working in film on pre-existing franchises and am often asked about the responsibility to serve those – but the movies can change so much at any part of the process. So in a weird way the pressure is so much greater under these circumstances on stage – because it’s on you to rise to it every night." 

Courtney says after Macbeth he’s  "sticking around to do some film work”. He enjoys going back and forth between Australia and the US. He’ll soon be seen in World War II drama The Exception with Christopher Plummer.

In the past, he has worked on Australian films with his friend Joel Edgerton and with Russell Crowe on The Water Diviner. Next up locally is a planned remake of Storm Boy with Courtney playing Hideaway Tom, the boy’s father. 

“I’m really excited to be on board with this retelling of such an iconic Australian story and it’s so wonderful to have the privilege of working with Geoffrey Rush. I was a fan of the book growing up so it’s an honour to be a part of the film


Line Up -Judas Priest

- 1972-1973 -Ian Hill / K.K. Downing /Chris “Congo” Campbell  / Al Atkins.

- 1974 : Ian Hill / K.K. Downing / Rob Halford/ Glenn Tipton / John Hinch

- 1976: Ian Hill / K.K. Downing / Rob Halford/ Glenn Tipton / Alan Moore

- 1977: Ian Hill / K.K. Downing / Rob Halford/ Glenn Tipton / Simon Phillips

- 1977-1978: Ian Hill / K.K. Downing / Rob Halford/ Glenn Tipton / Les Binks

- 1980-1988: Ian Hill / K.K. Downing / Rob Halford/ Glenn Tipton / Dave Holland

-1990-1992: Ian Hill / K.K. Downing / Rob Halford/ Glenn Tipton / Scott Travis

-1997-2002: Ian Hill / K.K. Downing /  Glenn Tipton / Scott Travis / Ripper Owens

- 2005-2011- Ian Hill / K.K. Downing / Glenn Tipton / Scott Travis / /Rob Halford

- 2011-present: Ian Hill / Glenn Tipton / Scott Travis / /Rob Halford / Richie Faulkner

take me to the flower shop

In this exclusive editorial, Byron Spencer shoots “Malik Ghat” inspired by an Indian flower market of the same name.

Stylist - Peter Simon Phillips at Company 1

Floral Styling - Muck Floral

Hair - Carl Reeves at Union management

Makeup - Molly Oakfield at Company 1

Models - Eilika, Chandra and Soraya from Jaz Daly Management

All Jewellery from Punjaban Diva

See more photos on Milk Made.



Publisher: Archaia, an imprint of BOOM! Studios
Retail Price: $3.99
Writers: Simon Spurrier and Phillip Kennedy Johnson
Artists: Kelly and Nichole Matthews
Main Cover: Mike Huddleston
Subscription Cover: Sana Takeda
Thurma and Kensho finally reach the entrance to the Fireling realm, but before they can enter, they’ll have to face Jen and his army!

Macbeth draws Hollywood star Jai Courtney back to Australia

Simon Plant, Herald Sun

June 2, 2017 4:00pm

He has gone ballistic with Arnold Schwarzenegger, traded punches with Tom Cruise and played 
a comic book villain in Suicide Squad.

All good opportunities, says Jai Courtney. But the muscular Australian actor, who lives in Los Angeles, where “99 per cent’’ of his work is “centred around film stuff’’, was willing to drop everything when the Melbourne Theatre Company invited him to star in Shakespeare’s Macbeth. On stage. In Melbourne.

“I wasn’t prepared for the call,’’ Courtney says, between rehearsals in Southbank, “but I’m so glad I got asked. Doing this role, Macbeth, is demanding more of me than anything I’ve ever prepared for, film or otherwise.’’

The clincher for Courtney was director Simon Phillips, renowned for earlier award-winning MTC productions of Richard III and Hamlet.

“Simon is such a visual guy while understanding text so well,’’ he says. “I couldn’t wait to embark on the journey with him.’’

The casting feels right. Like Macbeth, Courtney has the air of a warrior. Even seated, the sleeves of his jumper rolled to reveal discreet tattoos, this former rugby player has a strong alpha male presence eminently suited to action hero roles.

“My sword skills? Yeah, I always keep ’em pretty sharp,’’ he says. But while “brave’’ Macbeth can “unseam’’ antagonists “from the nave to th’ chops’’, this decorated Scottish soldier is tormented as well — unhinged by “horrible imaginings’’ and destined to self-destruct.

Courtney — sporting stubble for the role — has relished plumbing those supernatural depths.

“Basically, his mind unravels,’’ he says. “He gives into the idea of chaos and is ultimately so steeped in the horrors of his own actions, the only way is to keep going — into the darkness.’’

In LA, home base for the past five years, Courtney is accustomed to playing scenes out of sequence. Has it been hard adapting to hard and fast run-throughs of Macbeth?

“No, mate. It’s been totally refreshing,” Courtney, 31, says.

“Your days are long (in Hollywood) but time on your feet is not always extensive. Whereas something like this, time just flies because of the relentless nature of the piece.

“Aside from anything, I’m stoked to be back on stage where I had my beginnings.’’

Raised on Sydney’s outskirts, young Jai was hellbent on sport — athletics, swimming, football — but this “rough and tumble’’ teen showed an aptitude for acting as well.

“When I got into drama school (in Perth), my ambition was just to be in the theatre. 
I didn’t really know much about TV or film at all but growing up, and getting comfortable with my identity, I was prepared to dig in and do that. Fortunately I got some traction.’’

Bit parts in local TV drama (All Saints, Packed to the Rafters) paved the way for a role 
in US cable series Spartacus: Blood and Sand.

Hollywood beckoned, so Courtney crossed the Pacific and muscled up for a string of macho movies: Jack Reacher (2012), A Good Day to Die Hard (2013) and Terminator Genisys (2015).

In between, there was an Australian film — Russell Crowe’s The Water Diviner (2014), where Courtney played an Anzac officer.

“I’ve had moments in my short career where it’s felt like you need to ride the momentum of something,’’ he says. “There have been other times when I’ve been exhausted by the industry. That’s when you take a deep breath and recharge. You’re not going to make better work by burning yourself out.’’

Does he have a five-year plan?

“Not at all. Never have. Sometimes you finish a job and are left scratching your head. Other times you’re in the fortunate position of knowing what’s next.’’

Next up for Courtney is Storm Boy, a retelling of the classic 1976 film where his
co-star will be Geoffrey Rush.

“The script has all the heart and soul of the film we know,’’ he says, “but re-imagines it in 
a beautiful way.’’

Courtney’s role of a grieving father, guarding his son on a remote coastline, may be worlds away from Macbeth’s blasted heath, but he says, “I don’t think any actor serves himself 
well by putting on too many limitations.’’

“To me, its always about growing and playing in a space that’s unfamiliar. When things get too familiar, they get comfortable and when you’re comfortable you’re not learning any more.’’

Would he do a West End farce?

“If the script was good, yeah.’’

Animation voicework?

“That’s come along. I’m going to be doing that.’’

Surely Courtney keeps a list of preferred film directors in his back pocket …

“Nah. But, you know what? If Martin Scorsese called, I reckon he’d be able to twist my arm.’’

Macbeth directed by Scorsese … that’s a thought?

“Yeah. Outrageous. No doubt