 Kurt Russell, Simon Jackson, thanks for speaking to the conversation. I got a chance to see The Hateful Eight last week. What's most striking about it, I suppose initially, is this huge canvas you've got to work on, this panavision, the 17mm. As actors, how does that shape your performance? I'm thinking of earlier Westerns, I'm thinking of Magnificent Seven famously, Yule Brenner was the lead, but Steve McQueen was an up-and-comer at the time, and he would often steal focus. There were bits of business in the corner, and those huge vista vision would allow him to do that because, of course, it was a wider aspect. No, the director allowed him to do that. No, it's not that. Because we all had lives outside of the main focus of what was going on. Like Kurt says, if you watch the movie a second or a third time and follow somebody other than the person that's the major focus of the shot, you'll see all kinds of stuff happening. So it certainly changes the experience watching the film. What about actually on set? Is it more collaborative? Does it become ever competitive? Or is it more conducive to just interacting with your fellow cast? Everything we did always felt we did to enhance what was going on in the room, to create the reality that Quentin wanted to transpire in that space. Nobody was trying to act bigger or act smaller or steal a scene. You just did what came naturally. You were going to get your opportunity to be a part of this. So there was no worry about that. Is there a sense of don't want to drop the ball? I said that's fair. And is there a sense of helping in any way you could somebody carry the ball? There's a big sense of that. Because when you're a character, he leaves the film slightly early than some of the others, you stay on set. There were two reasons for that. One was I thought there was every possibility that John Ruth dead was a bigger problem than John Ruth alive. And I didn't know if Quentin would do something with that. Because this was the type of film where, and Quentin's the type of director where he may just come up with an idea and he wants to shoot something. Well, that idea involves something. I didn't want to be, you know, oh gee, Kurtz in Tijuana, we don't know where he is. No, that was the number. But number one was I spent so much time working with Jennifer that when it came to that part of the movie, it was obvious that she should have John Ruth, John Ruth's body there for her to be referring to or not referring to and then dealing with. And I think that it would have, if I would have been her, if it had been reversed and she would have taken off and said, well I'm dead now, so there's a dummy that looks a lot like me. We had a good one, too. That looks a lot like me. And I would have just, I just would have hurt, I just would have said, oh, okay, well, I guess that's, I guess I read that one wrong. I thought we were a little more invested, but anyway, you know, so you know. And is that always the case? I mean, you do countless films, the collegiality, that friendliness, that sort of sense of kind of cooperation or is that unique to the type of film as well as the type of story, the type of cast? I think it's unique to this particular film, mainly because we rehearsed it so long and we spent so much time together before we got to that particular place. And once we got to tell you right, Quentin still finds unique ways of bringing us all together, cast and crew, in terms of, you know, even if it's just Quentin Tarantino Theatre on the weekend, or we go to dailies and watch dailies and laugh together or the fact that there are no cell phones or iPads or anything else on set. So when he says, cut, people talk to each other or laugh together and you form a bond that's very unique and different on his set than you don't any other set. And between you, you've starred in pretty much every Quentin Tarantino film, or he's contributed to every Quentin Tarantino film, except Rise for our Dogs. How have you seen his style change over time? And where do you think The Hateful Eight fits in that sort of larger filmography? He was in his prime here. I think that was one of the things that I take away from this experience that I feel very fortunate about. Sometimes you get to work with great directors, but unfortunately they weren't in their prime. We can honestly say, yeah, it was one thing to work with them perhaps before or after, but when you get to work with Orson Welles, absolutely in his prime. You get to work with Quentin Tarantino, absolutely in his prime. That's one to hold on to.