Broadcaster and writer shares his pizza secrets
Hello. I'm Dallas Campbell. I travel a lot for my work, which is not only fascinating, but it also means I get to try food from all over the world. Even more than loving eating food. I love cooking food. I love cooking food on my own. I love cooking food with friends and family. It's something that can be shared. It's something we can all take part in. And part of my love of cooking comes from the fact that it engages all your senses. It’s about the way it looks, the way it feels, the way it tastes, the way it smells. Absolutely everything. If I had to pick one favourite dish to cook, I would probably say, yes, it's cooking proper Napoli pizza. I love making pizza. I love the process of making the bread base because it involves flour and water and yeast. So you get that wonderful smell, but also it involves getting your hands dirty. It involves kneading the dough and pulling it apart. And it's that unctuous, moist, delicious, gooey experience that makes it so fun. You can also watch that yeast transform the dough itself as it rises and rises, and then you get to punch it back, which is very, very good. If you've had a difficult and stressful day after that, of course, after you make your pizza base, you can put the tomato sauce on top, the mozzarella cheese and whatever topping you decide. So it's very, very creative. After that, It goes into a blisteringly hot oven and then the aroma, the smell start to percolate out. There is something particularly delicious about pizza. I've never met anyone who doesn't like pizza. And I have to say without blowing my own trumpet, I reckon my pizzas it's up there. I don't think anyone's made pizza as good as me.
Top chef, restaurateur and food writer talks fish
Hi, my name's is Allegra McEvedy. I am a chef food writer, sometimes tele person, and I am fanatical about fish. Most of the year, you'll be cooking your fish indoors, and there are two bits of kit. I find absolutely indispensable for that, the first one I call my special flipper. Right. And it's just somewhere between a cake slice and a pallet knife. So it's about kind of five centimetres wide and probably about 10 centimetres long, um, and not solid it's, um, kind of got slats on it and yeah, it's extremely useful for fish because when you put fish in there pan quite often, um, skin the contracts and it will try to curl up. So if you just gently put your special flipper on top of it and press it down that way, you'll get a nice flat fillet of fish. The second thing you'll need is a really good pan and it is worth investing in a few quid in one, go for something very heavy, the heavier, the better when it comes to cooking fish, because they conduct heat in a more even way. Ideally, it'll be a cast iron skillet, and that's really heavy, but it gives you a bit of a workout too.
Holywood star reveals behind the scenes gems
More recently in my career, I've been very fortunate to have been cast in the Harry Potter series of films. Due to the genius of the makeup artists, I was able to play several different characters throughout those films. Sometimes two different characters within the same film, they were able to transform my look as Professor Flitwick, who's a kindly teacher of charms. They make me look like a, like quite an old man and as Grip Hook, who is quite a villainous goblin, they transformed me by giving me very big ears, very long nose, even to the extent that I had teeth, uh, which were very, very sharp, almost like a shark's teeth and very large contact lenses, which completely changed the look of my eyes. And give me a very sort of, um, soulless sort of look. As a performer it's, it's wonderful to wear these makeups because they not only transform your appearance, they give you the foundation of another character. Professor Flitwick was a fairly easy character to find, whereas Grip Hook, he's a villain he's bad. So he's very far removed from who I am, but often those sorts of characters for an actor are the most fun to play, you know, and I wanted to make them very distinctively different because of course, if I'm appearing as different characters within the same film, I have to make them poles apart. So the audience don't recognize that indeed it is the same actor. So not only do I have to change appearance, I have to change the way that I stand, the way that I walk, my body language. And of course my voice has to be very different. So professor Flitwick would talk a little bit like this, whereas Grip Hook would talk more like, um, I said, I'd get you in. I didn't say anything about getting you out. So there's a very distinct difference between how the characters sound, but it was a delight to be part of those films. And again, much like Willow and Star Wars. These will be films that will be talked about and watched for many, many decades to come.
British actor talks about the Tolkien film trilogy
Well, when I played Bilbo in the Hobbit films, the day would start by my going into makeup and in the makeup chair, my makeup artist, Georgia would put on my wig, my fake big ears, my hobby ears, and my facial makeup, which although it looked fairly simple in the book had to be layered on quite carefully, partly with brushes, makeup brushes, and partly with an airbrush because that's often our makeup is put on as well. So, so you have this very faint air blowing on your face is quite nice, actually on a hot day, you kind of feel it's like someone blowing on you to call you down. The wig would take quite a while to put it off the ears, which were kind of heavy rubbery texture had to be glued onto your head, whatever hair you've got in order to put your wig on nor to fit the wig properly, whatever hair you have. And I had it quite short, but it has to be greased back with what they call gaff quit, which is a kind of glue, basically glued back to be as tight to your head as possible. So that weak fits properly. That would take about an hour and 15 minutes. Then I would go and get into my costume. And the costume would usually consist of like corduroy britches, which are kind of half knee length trousers, braces, a waistcoat or woolenl waistcoat, and usually a kind of corduroy jacket for most of the films. It was quite battered and dirty. And cause he'd been on these adventures, then I would go and get my feet put on. And so the big Hobbit feet, they take about 15 minutes to put on with the aid of two other people. So I sit down and I put my legs out. I've got no shoes or socks on I've shaved my legs. Cos the thing is, when you pull these feet up, they can catch on the leg, their hairs of your legs. So that's quite painful. I had shaved legs for all the time I was doing the Hobbit, which was kind of weird to look in the mirror and see these kinds of white plucked legs, which didn't to me look very good, but the legs would be pulled up almost like a pair of rubber tights. And I would have to fit my real foot inside this kind of skeleton of a foot inside the, uh, the rubber foot. And you could actually move your toes if you moved your toes, the toes of the rubber foot moved. And that would take, say 15 minutes. I would then get up, walk out onto set and the first time for about the first week of having these feet on, you already have to get used to holding your feet. Like, you know, walking normally is walking normally, but with the size of these feet, which were about another half foot on the size on the end of your foot, you have to lift your knees up much higher than you normally would. At first you feel a bit like you're flopping around like a duck, you know, a big sort of webbed feet on the end of your legs On set it was actually a mixture of what we call green screen. So like pretend digital backgrounds and very, very real sets. So there would be real trees, there'd be real rocks, real doors, real windows and all of that and mud and dirt and everything. And there would be some things that were not real. We also went out into the beautiful parts of New Zealand where we would be at mountains. Where would it be in Hills waterfalls like quarrys. It was, it was really beautiful. So we got to see a lot of real nature, very, very fresh air in New Zealand, which if you're from London is kind of an eye opener or nostril opener.
Oscar winner spills the beans on the best-loved TV series
Got a message from one of the members here saying thank you, Julian, for the fun that I've had with Downton Abbey. And they'd like to know where you get your ideas from and how long does each episode take to write? It's very difficult to say how long an episode takes to write, because you write a first draft. I'd send, first of all, my process is this. I write it, I then show it to my wife. She picks up the mistakes. She also says, I don't really believe this. This bit’s very boring, you know, whatever. So I do her notes. I then may show it to my son, if he's around. Then it goes to the two other producers of the show that sort of trio at the core of the show is Gareth Neame, Liz Trubridge and me. And they give me their notes and their first lot of notes are quite big. The elephant story doesn't work, you know, whatever. And then I'll rewrite it according to that. Then they will send me a second lot of smaller notes, you know, why does she say Thursday? Shouldn't it be Tuesday? And then when I've done those, but only then does it go to ITV and, and so on. So really by the time Gareth, Liz and I have finished, it's pretty close to what will be shot. But during that process, I'll be writing other episodes. I mean, I sent off one, I might not get it back for two weeks. So by this time I'm writing two, you know, and so on. So it goes over a period of probably about six or eight weeks, but they're all plaited together. So they're all happening simultaneously. So it's quite hard to say, um, as for where I get my ideas, I don't know. I mean, I, you know, you've just think of things. Sometimes you remember things. Sometimes people say something and you think, Oh, that's good. Sometimes you take a real story and you just alter it slightly, change the sex of the protagonists or whatever. So it's quite hard to recognize, but it is in fact, uh, such and such a story sometimes, you know, you just think things up in the bath and you think, well, I know I'll give them this to do. And, and then you plait them all together. I mean, the thing about Downton is that it's lots of plates spinning on the sticks at once. And you've got big stories that go right through the series and stories that right across the episode or across two episodes. But you also have little stories, you know, is Daisy going to buy a new hat or something, and that's probably only three scene. And then you have stories that you just keep in the air, but you don't do the story story until episode four. So you've primed it, but you don't deliver it. And all of that has to be woven together and you have to, at the end, make sure that all the characters turn up a reasonable amount. I mean, they don't expect to have plum stories in every episode, they want a decent story in about every three or four episodes, but then you've got to keep them in play to make those stories land. So what you do is you involve them in someone else's story that you, them part of this group, that's trying to work out how such and such so that they've got a reason to be in the room and contributing. And in that way you keep everyone in the air at once. But you know, things like search are very useful because I will go to the top of an episode when I've written the first draft and I'll put Mrs. Patmore search. And then I look at the page numbers and it says three, seven, eleven, twenty one. And you think, got to get her in somewhere around 17, you know? And then you look at those scenes and you see one that you can drop Mrs Pat in so that you keep them all on screen, a reasonable amount. That's quite tricky in a way. It's amazing. God bless the search function. And is there a character in Downton Abbey that you particularly enjoy writing for? Well, you know, they're all my babies really. I never, I mean, you know, people always expect me to say Violet Grantham because Maggie delivers all the lines you give her so well, you know, she, she is a wonderful actress to write for because you never have to say why it's funny, you know, what, what the line is supposed to do. I don't mean they're all pretty good, quite honestly. I mean, I can't think of a duff member of the Downton cast. I think they're all top notch. And so they're all fun to, to write for really, I mean, I think what does happen is an actor takes the part and it suddenly becomes rich. They, they sort of reveal the potential of a character sometimes in a way you haven't quite seen. So, um, Kevin Doyle, for instance, with, with Molesley you know, or Lesley Nicol with Mrs Patmore or, and thinner and, uh, with the dreaded O'Bryan or Rob James Collier with Thomas, as they started to play them, you start to write for the way their play. So in a sense in you, you create the character together, the actor and the writer, um, creates the character. I've never written a series before. So that's a new expense. Normally I've written shows and film or a mini-series or something so that they get the script and then they cast the script, they play the script, but a series is an ongoing thing. So you’re, you're working with them. And I find that quite an interesting part of the process actually,
Behind the scenes with a British film, theatre and TV actor
I can only do it by understanding what drives them. And it means you can play murderers, you can play psychopaths, you can play whoever. You have to have some sort of understanding of how they're brought up, where they're living at what time they're living, what's allowable within the society. That's still quite an intellectual thing. One of the interesting things I think I learned early on was I read, or someone told me is, they said, you can't, you cannot judge your character. Okay. You cannot bring your morality as an actor into the character you're playing. You can't judge them. You just have to do what's on the page. I sort of feel it and if it sounds right, coming out of my mouth, cause I'm my harshest critic. If I don't think I'm being truthful, I'll have another go. I'll have another take. Or if you're on stage go right. That didn't work well that night I've really got to try and get that working better the next night. And I think if I believe what I'm saying, then we're all right.
A great British actress talks Shakespeare
Hello, I'm Francis De La Tour and I'm an actor. Over the centuries a number of female actors have played Hamlet. Not many I have to say, but a few Sarah Bernhardt, perhaps being the most well known. I found the role of Hamlet very challenging, not for the reason you might expect, but for the sheer breadth of the role physically and emotionally. It's true. I was playing a young man though I didn't play it in a masculine way nor as a woman, but rather as an emotionally tortured young person, a youth struggling to understand his own predicament. Hamlet has the best soliloquies in the English language. And I let the poetry speak for itself. It was particularly challenging too, because our production at the then Half Moon theatre in Tower Hamlets was a promenade production, which means we didn't have a single stage as such, but a series, three or four at the most, of platforms on which we would perform different scenes and the audience, which was not seated, they stood throughout would promenade to the different stages or platforms to watch us. At the beginning of the play, the actors were on ground level with the audience so we were almost rubbing shoulders with them. This whole interaction with the audience and proximity was both nerve wracking and very stimulating. We found out later that, far from the audience being made to feel self-conscious, they found the experience very freeing. I remember I cried after the last performance, as I knew, I would never say those wonderful words of the young Hamlet ever again.
Iconic British actor shares an insight into his craft
An actor, particularly an actor that attempts any of the great classical works, particularly the Shakespearian Malawian works has to have a voice that is capable of sounding like more than one instrument in an orchestra. If you've got an audience listening to your voice for three hours in the course of an evening, you've got to play many different instruments in order to get their attention and retain their attention, which is why I love theatre. And it's why I love classical theatre above all, because it asks of an actor to give a display of all aspects of his craft, um, and all the skills that he can control the prime one of which is vocal, which is his voice. I love radio because it depends only on voice. You have no costume to help you, you have no set to help you. I mean, it's pure really how you sound. And that can for the listener be very, very strange because I listen to people on the radio, for instance, and I get a mental picture of them. And when I meet them, if they are totally unlike what their voice conjured up. So voice is essential. The words and the voice are essential, particularly in theatre drama. Not so essential in anything to do with the camera, almost unessential in movies, because it's not always what you say. And it's very rarely about how you say it. Movies are about eyes and faces rather than voices, but from an actor's point of view, the vocal skill you need to acquire is a great thrill in itself. And it gives the, the stage actor, a great buzz. It's very important. I think it's probably the most important thing in an act as armoury, his voice.
An insight into an iconic British designer
Alexander McQueen studied at Central Saint Martin’s College of Art and cut his teeth, making suits at the centre of gentlemen's tailoring, Savile Row. Soon McQueen was designing his own collections and wowing everyone with his elaborate fashion shows. In one of the most memorable moments at McQueen's shows, robots spray painted a dress worn by the model Shalom Harlow. We've depicted this iconic moment in fashion history on tactile picture number seven, next to the picture of Kate Moss. Feel over the top left of the tactile picture. British supermodel Shalom Harlow is standing up and facing us. Her body's slightly turned to the left and she's holding her arms gracefully up and out to the sides. In his spring summer show of 1999, McQueen created a visual spectacle that was more like theatre - Shalom wearing a white cotton strapless dress and heels walked down the catwalk and stood on a circular platform. This platform then rotated whilst two robotic guns positioned on either side of Shalom gracefully sprayed her and her white dress in yellow and black paint. Let's explore this scene. From the top left of the picture, trace down to feel Shalom's head. Her black hair is in a loose bun at the nape of her neck, but you can feel her fringe and a longer length of hair hanging loose to the right of her face. Now trace down to feel her bare shoulders. She's wearing a strapless white cotton muslin dress. Well, it's more like a long full circle of material cinched above the bust with a brown leather belt. Feel the thin raised shape of the leather belt. Trace down over the smooth white cotton fabric of the dress, which has been splattered and is literally dripping with colour. The areas of yellow and black are indicated by the raised areas on the dress. This sprayed effect is graffiti in style and look, echoing McQueen's love of mixing punk and high art. Trace below the smooth hem of the dress to feel a textured area, showing layers of white synthetic tule. These layers of netting, give the dress volume. Shalom is wearing black and white slip on sandals with a high wooden heel. However, there's a twist, as the heel of the shoe is in the middle of the sole. After a few minutes, the mechanical guns stopped spraying and the platforms stopped rotating. In an interview about the experience Shalom said:
‘And when their guns were finished, this sort of receded. And I walked almost staggered up to the audience and sprayed myself in front of them with complete abandonment and surrender. The audience was left in shock and awe.’
Now that’s trailblazing fashion, with echoes of 1970s punk, maybe. You can watch this iconic moment in fashion history on YouTube search for Alexander McQueen spray gun dress.
Science broadcaster Maggie describes the ISS
Feel across the International Space Station. (Pause) It’s not the first space station, the Russians have had several and the Americans had an earlier one, but the great thing about this one is that it is the International Space Station. Sixteen different countries – Brazil, Canada, Japan, Russia, the USA and eleven European countries including Britain – began building it in 2000. All the equipment needed to build the International Space Station was transported in a spacecraft from Earth. The Space Station is built from modules, which are fitted together, a bit like a giant jigsaw puzzle the size of a football pitch.
Astronauts and cosmonauts come and go to the International Space Station all the time, conducting hundreds of experiments on the effects of microgravity on humans and plants, to push the boundaries of our knowledge. It’s a home from home for the astronauts onboard, with a kitchen, sleeping cabins, toilets and bathrooms plus work areas, laboratories and control rooms.
An insight into the profession with a leading voice
Hello. My name is Robert Winston. When I wanted to be an engine driver at the age of seven, then I changed up wanting to be a scientist. And then I really wanted to do something totally different. And I did do science at university with medicine, but actually I didn't really decide to do that until after I left school. So I was not clear what I wanted to do. And I think it's a very good piece of advice. Just remember that you have far more than you realise as you study at school and you should try and look at everything because you don't need to be a scientist. And I have to say too, that you think that I'm clever, cause I'm a scientist, but actually I'm no more clever than you are.
DJ, writer and broadcaster Steve Lamacq shares his top 3 grunge tracks
Hi, I'm Steve. Lamacq the first journalist to interview Nirvana for a feature in the New Musical Express. An interview conducted in the bedroom, of a tiny B&B in Shepherds Bush.
To help you find your way through mud and discover some grunge gold. Here are my top three album recommendations. Obviously you have to start with Nirvana and Nevermind, which is the big record, the one which changed the movement and changed the shape of radio in America. It helped rock music have an alternative style onto the tailor. It really was a radical record, but listen to it. It's an amazingly tuneful record it. It wasn't just about how distorted the guitars were, how fantastically dark some of the lyrics were. It was also inspired, the band once told me, by the music of REM. They loved melodies did Nirvana. And in Nevermind they perfectly captured just the anger, aggression, but also the understanding of youth, which makes the record so special. Add to that. Here's a couple more Piece of Cake by Mudhoney. Mudhoney if anything, were the bands who set the whole scene rolling and were an incredible live experience. The tracks on Piece of Cake, really showed what they were capable of. And strangely, some people wouldn't say this was a grunge record, but the bands who helped Nirvana gets signed by Gaffen -Sonic Youth. Everyone needs a Sonic youth album, but definitely try Goo. Goo was a record, which has both a haunting side, slightly malevolent in places, but really positive too. It was a great album.
The pioneers that paved the way in the study of palaeontology.
The first real major discoveries of dinosaurs and the recognition of just how old they were, was actually made in Britain and that is where the science first started. One of the pioneer people in the study of dinosaur and fossil hunting was a lady called Mary Anning. She was just an ordinary little lady. She really didn't have the respect at the time of so many of the academics and the scholars who were actually studying geology and she managed to get the confidence of some of them, and we now realise just what an important person she was. Gideon Mantell, he was another incredibly important man and Richard Owen I think is the third one, founder of the Natural History Museum and these people, they were the people who actually invented or introduced the name dinosaur to the world.
Uncovering dinosaur bones and fragments in Wiltshire with Phil Harding
I did a dig and helped on a dig in Wiltshire, at a place called Chicksgrove. And there, there’s a lot of limestone rock and within the limestone, there was a slight depression that had captured a lot of sand within that sand were dinosaur bones and they dug up the sand and put them through sieves and it were our job to go there and pick out the dinosaur bones. And of course, if you put 'em, well, you don't need to sieve for a T Rex skeleton, but for some of the smaller species of dinosaurs, that's the only way that you can find them. The idea of these great big thundering monsters crashing through the undergrowth at the same time, little tiny species minuscule almost dinosaurs were around.
Tips on fossil hunting on the Jurassic Coast from Phil Harding
No - if you go to the Jurassic coast of Lyme Regis and down in Dorset, and Devon, it really is a game of chance and that's the beauty of it. You can't use any scientific gadgetry to do it. It's a game of chance. It is that chance that you are just there at the right time and you might break open a stone. There might be the fossil. What you're not allowed to do of course and this is vitally important is you're not allowed to dig away at the cliff itself because that is actually increasing the likelihood of cliff erosion and we don't want that. But there's nothing to stop people breaking open the stones that are actually on the beach and they do. A lot of them are very, very common fossils and you can usually find them out if you're really, really interested, just look them up in books and on the internet and actually try and find out what species of fossil you actually found.
Archaeologist Phil Harding on An the excavation of T-Rex bones.
It was almost an accidental discovery. A man was walking through the landscape and he noticed a bone sticking out from the rock face and they identified that bone as being of a dinosaur. And so he gambled and he said maybe where there's one bone, there's the rest of it. And they realised that it was such an important find. This bone was 10 metres down the cliff face from present ground surface, and they literally quarried away the entire rock face, the entire cliff face. And they made a platform to find the rest of the bones of this dinosaur. And it did confirm it, there were loads and loads of T Rex bones there. And they were, you couldn’t see them as a skeleton, they were just a jumble of bones. And it was just that problem of actually trying to unpick the bones, trying to work out which one was on top and which one was underneath, just like an archaeologist does, except in that what you were doing was actually taking these bones out of the solid rock.
The bones were actually harder than the rock. While we were there we wanted to watch the whole process. And so we witnessed the excavation and I helped to do that bit of it myself and we watched them wrap up all these lumps of rock in plaster of paris, lift them out. And some of these blocks were so big, they were literally flying them. They’d get a helicopter to take these bones away because the area that they were digging in was so remote and they was taking them back to the museum and they had the volunteers there that would chip away at all the bones. But while we were in the museum, they told us that we had the complete skeleton of a baby T-Rex. We were making a television programme and we desperately wanted to film this baby skeleton of a T-Rex but they said it was so important and so secret that they wouldn’t let us film it.
Hello, I'm Lauren Laverne. My favourite decade for style is now because it's always now because I am as a person, very future focused. I'm not into nostalgia. Um, but what I also like about now is that, uh, the new kind of landscape, whether it comes to fashion or music or any kind of culture really is lateral. The internet has made everything completely available all the time forever. So whether you're into, um, I dunno, uh, hip hop, like nineties hip hop, and you like that kind of maximal super glam kind of bling thing, that still exists over there somewhere. Or if you're a kind of retro soul loving Amy Winehouse fan, who wants to dress in a bit of Westwood and wear big flicky, eyeliner that exists too. That's over here. And then, you know, there's people my age, who are for some reason stuff still buying records and dressing like we did when we were teenagers and that still exists. The internet landscape has kind of spread everything out, but allowed everything to be allowed, things to continue to exist in a way that they didn't before. You know, you had these big kind of peaks and troughs, you had these singular movements coming through and dominating everything and then just suddenly disappearing. That's not what the landscape's like now and that's because of the internet. And I find that very interesting. I think people are still working that out and still come to terms with it and kind of understanding what that means for the future. And definitely what it means for industries like the music industry and the fashion industry. But I think it's incredibly exciting so my favourite decade is now.
Dallas Campbell shares the trailer for Touch to See book Super Transport
Living paintings, Super Transport presented by Dallas Campbell. Hello, I'm Dallas Campbell and I love science and technology and finding out about how things work. In this tactile, an audio book, my team of young roving reporters, and I have travelled on planes, trains, boats, and even buses to bring you our pick of top transport, including a super fast F-1 racing car , and super bike, a supersize container ship, and jumbo jet. Super cool sports, hovercraft and Lotus track racing bike, super-efficient public transport, super hero RNLI lifeboat, an air ambulance, and super future Virgin galactic.
An insight into the mind of a Paralympic athlete
Hi, my name is Ade Adepitan, a Paralympian and TV presenter. The first time I really, um, decided that I wanted to be an Olympian or Paralympian because I didn't know about, um, Paralympians back then or an elite athlete let's say, it was when I watched the 1984 Los Angeles Olympics, and I was completely blown away by just the size of the event. The, the amazing, incredible athletes. I was suddenly inspired by people like Daley Thompson. Sebastian Coe, Edwin Moses. And to see that these guys were the best in the world at what they do, it was just fantastic. I used to be so into it that when I was watching the games at home on my sofa, I’d close my eyes. And as soon as the starter gun would go off, I'd start pumping my arms and imagining that I was there with thousands of people cheering me on in the stadium. And I just wanted to be the best athlete that I could possibly be. But another reason that, and probably the real reason why I wanted to take up sport and become a great athlete is because sport made me independent. It meant that I didn't have to rely on anybody to do anything. If I wanted to go to the shops, I was fit enough to get there myself. If I wanted to go to school, if I wanted to carry stuff around, I didn't have to rely on anyone because sport made me strong and it made me confident and it made me, I was able to communicate with anybody that I wanted to communicate with. And one of the greatest things about sport is that every day you can be better than you were the day before, because when you play sport, you train and then the next day you train and you can look back and say, I did it better than I did the day before. I think that is an amazing gift. That's why I love sport.
Dallas Campbell talks about 3D printing, virtual reality and how technology may evolve
Hello, my name is Dallas Campbell. Now I'm a television science presenter, and I'm lucky enough to be able to explore the world first-hand. And a week or so ago, I was at the astronaut training centre in Cologne and for the European Space Agency, looking at where astronauts train and, and some of the technologies surrounding that. And there's a couple of things there. First of all, the way that we are, or the way that scientists use the dust on the moon, lunar material and Martian material, Martian material as well to actually use it as a building material. So we can actually go to places like the moon, for example. Create a, perhaps an inflatable dome or structure, which we can then cover in a concrete light substance made from lunar material in a way similar to 3D printing, it's an extension of 3D printing. And so that I think is very interesting. 3D printing in itself is very interesting rather than I think to take tools with us as we explore, we can actually make our own as we go. Very, very exciting. The other thing they had that, which just enthralled me was the next level of virtual reality. I put on very, very sophisticated virtual reality goggles and using software that was developed through information from satellites around the moon, was able to physically stand on the moon and look around in as if it was there. And it was absolutely mind blowing. And I think virtual reality where we are now is extraordinary where we you're going to be in 10 years, time is going to change everything.