 What's your favourite memory for making this particular series? They're all great fun, you know, when you've got the privilege of making six different films with six different genres and different talent, pools of talent, none of them, you know, they're all fun, so I don't know if there's one single moment. Something like when we were talking to Jodie Foster for the first time, that would be a, certainly that's a moment, wasn't it, that's like a, that's a career high. That's a career high where you're trying not to scream, it's Jodie Foster, so that would probably be up there. Not, I mean, inside your voice. Was that your inner voice? That was my inner voice. It's Jodie Foster, it's a bit Punch and Judy there, isn't it? It's a bit Punch and Judy, which is telling. Is it? Put a little bit of your age, maybe. Do you guys have any, like, concepts or episode ideas that didn't quite make the cut this time? Sometimes when we're doing a season there's ideas that are sort of brand new and just spring up almost fully formed, it seems, and then there's other things where Crocodile is one, for instance, this season where it was an idea we were wrestling with for a while and we couldn't quite work out how the story would work and then suddenly you sort of have a little Eureka moment where you think hang on, hang on a minute, let's throw out what we think about it so far and you sort of see it from a different angle. So it's difficult, they tend to be concepts that stick around for a while and then sort of suddenly become useful. Often when the panic sets in, you're like, oh god, there was that idea about, there was that idea about the thing, honey, that sings when you eat it. Let's do something about that.