Source: She Knows

By Joel D Amos

When the newly Oscar-nominated costumer Prudhomme was told Heath Ledger had died, she was shopping for clothes for his role in The Imaginarium of Dr Parnassus.

“Not only the feeling of having lost Heath, but also to lose a movie because our ship had no captain,” Prudhomme said.
Prudhomme’s costuming Imaginarium

SheKnows: Congratulations on the nomination!

Monique Prudhomme: Thank you very much. It is a very exciting moment.

SheKnows: Where were you and how did you hear?

Monique Prudhomme: I was sound asleep. I got a call at ten to six (am) from a very excited friend of mine (laughs) who had watched for me in the morning. My agent called me and said, “I’m trying to reach you!” I had to look on the internet to be sure it was true (laughs). It was a bit unreal.

SheKnows: Yeah, and this is your first nomination…

Monique Prudhomme: Yes it is my first nomination, indeed.

SheKnows: And, in those moments that followed after digesting the news, what kind of thoughts ran through your head?

Monique Prudhomme: When it eventually becomes real, it is like Oh my God, what am I going to wear (laughs)?

SheKnows: That’s very true (laughs).

Monique Prudhomme: …and what I’m going to say. What is everybody going to ask me on the red carpet? It’s a little overwhelming. Eventually, that’s probably it. It’s overwhelming. I guess I just tell them how I see things as a costume designer — that is what people want to know.

Ledger’s loss

Monique Prudhomme: The possibility of working with Terry Gilliam, and working with such a luminary and a man with such imagination was a costume designer’s dream come true. He’s giving you all the freedom in the world at that same time…to be free is also a great amount of responsibility. That was one challenge. One of the main tragedies about the entire movie was the loss of Heath Ledger.

SheKnows: Beyond tragic…

Monique Prudhomme: That brought a whole bunch of heartbreaking moments. It put us to the brink of not finishing this movie. That was absolutely terrible. At the same time, to a certain degree, and I know it is going to sound so esoteric, but we always had the feeling that Heath was hovering over us. His spirit was there. When the guys, Johnny Depp, Colin Farrell and Jude Law came aboard — Terry found a way to continue the movie with a new version of things. READ MORE HERE!

Source: MyDeco

By Victoria Harrison

The Oscar buzz is building up in the office this week. The stars, the glamour, the dresses! From a design point of view we were really curious to see which films were nominated for best Art Direction.

So… we were absolutely thrilled to snag an exclusive interview with Dave Warren, the Oscar nominated Art Director of The Imaginarium of Dr Parnassus. Nominated for its incredible dream-like sets, the film is quite literally a visual feast.

In between jetting from Rome to LA (it’s a glamourous life) we caught up with Dave about the inspiration behind the art direction of the film.

Best of luck for Sunday!

What was your biggest inspiration for the set design of the film?

Terry: It always begins and ends with Terry – he is the fount of all reference and the first point for the ideas. Some of the ideas he has are so outlandish and random that you can only look at them in the context of Terry’s movie-making.

How important is drawing to you vs. computer animation? Do you always start by sketching?

Yes, always. I still think the flow of eye to hand gives you a better first instinct for proportion and depth. A wise art director once told me that the first instinctive sketch you make of an idea will usually be your best. I think that the computer gives you polish and flexibility – but sometimes options, or ‘choice’ can be self-defeating, they merely extend the process – have the confidence to stand by an idea at the inception. READ MORE HERE!

Source: Vancouver Sun

By John Mackie

Monique Prudhomme has been to Los Angeles so many times over the last couple of months she must feel like it’s a second home.

On Dec. 20, the Vancouverite sauntered into the Intercontinental Hotel in Century City to pick up a Satellite Award from the International Press Academy for her costume design on the Terry Gilliam film The Imaginarium of Doctor Parnassus.

On Feb. 25, her work on Doctor Parnassus earned her a trip to the Beverly Hills Hilton, where she won the award for Excellence in Fantasy Film at the 12th annual Costume Designers Guild Awards.

Now she’s jetting south to try and make it a trifecta at the Kodak Theatre in Hollywood, where she is nominated for an Academy Award.

On Sunday night Prudhomme’s work in Doctor Parnassus goes up against the costume designers for The Young Victoria, Nine, Coco Before Chanel, and Bright Star.

“It feels pretty good,” she said of being nominated.

“It’s the luck of the draw. This year there were a lot of beautifully made movies. The most spectacular ones are period, and we are the dark horse. Doctor Parnassus is a mix of everything, a shameless mix of periods and countries. It’s a great honour to be nominated by my peers, by the film industry.”

The Oscar nomination caps a three-decade long career in film, including costume design in movies like Juno and Best in Show.

Prudhomme got into film in her native Montreal. She set out to be an art teacher, “hated it with a passion,” and took a job as an intern on a Jean Beaudin movie called Cordelia.

“From there people asked me if I could do this or do that,” she recounts.

“I learned my trade doing it, in the trenches. [Then] I was hired to work on a French movie they were shooting in the Rockies. There was a crew from Quebec, a crew from France and a crew from Vancouver, and I fell in love with a guy from Vancouver who offered me the moon: ‘Come and live on my sailboat.’

“So I moved to Vancouver, and it was fantastic. I fell in love with Vancouver, I fell in love with the water, and we built a houseboat in Ladner.”

She’s no longer with the sailor, and left the water for a lovely arts and crafts house in east Vancouver in the early 1990s. But her film career grew with the local industry. Her recent success has landed her some pretty good gigs: two days after the Oscars she starts work on A Big Year, a comedy about birdwatchers featuring Steve Martin, Owen Wilson and Jack Black.

Working with the legendary Gilliam on Doctor Parnassus “was fantastic.” Gilliam “is the only master of his ship,” so she didn’t have to go through a lot of people to make decisions. Plus the subject matter was interesting.

“It is a costume designer’s dream to work with him,” she said.

“He gave me two phrases. First of all Doctor Parnassus is an immortal, he’s travelled around the world and he’s done stage all through the ages. So there are big bins in the wagon full of discarded pieces of costumes that cover countries, ages and styles.

“He said ‘For the stage, inspire yourself from the 17th-18th century imagery, of drawings … beauty, wisdom, battle, love.’ And of course Greek mythology with Mercury.

“And then he said, ‘They live in London in 2009 and they’re poor, they live the life of Gypsies.’ Go with this, bye-bye.”

READ MORE HERE

I wanted to share this terrific Pre-Oscar interview Filmmaker Magazine did with Terry Gilliam. The Oscars take place this Sunday, March 7th in Los Angeles.

Source: Filmmaker Magazine

By Jason Guerrasio

Leading up to the Oscars on March 7, we will be highlighting the nominated films that have appeared in the magazine or on the Website in the last year. Jason Guerrasio interviewed The Imaginarium of Doctor Parnassus co-writer-director Terry Gilliam for our Winter 2010 issue. The Imaginarium of Doctor Parnassus is nominated for Best Art Direction (Art Director: Dave Warren and Anastasia Masaro; Set Decoration: Caroline Smith) and Best Costume Design (Monique Prudhomme).

An elderly man pulls his carriage to the curb and prepares to put on a show. Onlookers watch with a mixture of bewilderment and vague familiarity; the man’s shtick, once enjoyed by the masses, now gets passing glances. The show begins and it’s hard to tell if the crowd is entertained or simply bemused by the old-fashioned spectacle.

The above scenario befalls the titular hero of The Imaginarium of Doctor Parnassus, but in some ways it also describes the struggles of the film’s perspicacious director. For 30 years Terry Gilliam has battled to tell his fantastical stories without interference from the prying hands of Hollywood. But lately audiences have seemingly become tired of Gilliam’s madness. The Brothers Grimm, a realistic look at the 19th-century fairytale writers, received lackluster box office returns. Gilliam followed up with the low-budget Tideland, which did even worse. In fact, you could make the argument that the best of Gilliam’s recent work was contained within his biggest failure. In the award-winning documentary Lost in La Mancha, directors Keith Fulton and Louis Pepe filmed the disintegration of Gilliam’s 2000 The Man Who Killed Don Quixote, a project bedeviled by a flash flood, NATO test flights interrupting location shoots and, finally, an injury to Gilliam’s Quixote, Jean Rochefort, which halted the project permanently.

With Doctor Parnassus, Gilliam once more seeks a multiplex audience, this time by returning to the anarchic blending of fantasy and reality that garnered him critical acclaim in the ’80s with films like Time Bandits, Brazil and The Adventures of Baron Munchausen. Christopher Plummer plays Parnassus, an immortal dream weaver who travels around modern-day London in a horse-drawn wagon with his street performers, Percy (Verne Troyer), Anton (Andrew Garfield) and his daughter Valentina (Lily Cole). Putting on shows in front of bars and strip mall parking lots, Parnassus uses his powers to lure people into his magical mirror, where the unsuspecting volunteers find themselves in a world created from their subconscious. But unbeknownst to them, they have to decide while in the Imaginarium if they will exit back into the real world or go deeper inside where the Devil is waiting. We learn this is a game Parnassus and the Prince of Darkness (played with great wit by Tom Waits) have been playing for centuries, and now Parnassus’s daughter is the prize for whoever can get the most souls by her 16th birthday. But with Valentina’s sweet 16 nearing and Parnassus’s theatrics less enticing to modern audiences, Parnassus needs a new draw. He picks up a con artist named Tony (Heath Ledger), and with his help the game suddenly changes.

The film was selected for the Cannes Film Festival and has received generally good reviews, but, as everyone knows, production catastrophes seem to plague all of Gilliam’s films. Two days after wrapping shooting in London and moving to Vancouver to do the CGI for the Imaginarium scenes, Ledger was found dead at his New York City apartment of an accidental overdose. The passing of his star and good friend sapped the energy out of Gilliam, who was prepared to terminate production. But through the coaxing of his daughter, producer Amy Gilliam, and others, he rewrote the story, with Johnny Depp, Jude Law and Colin Farrell all volunteering to take over Ledger’s character, giving Gilliam the rejuvenation he needed to bring his latest fantasy to life.

Gilliam sat down for lunch with Filmmaker in New York City last month to talk about why he won’t pander to the audience, the resurrection of The Man Who Killed Don Quixote and what drives him to still make movies.

The Imaginarium of Doctor Parnassus is currently in theaters through Sony Pictures Classics.

Filmmaker: Is it true that this is the first original screenplay you’ve written since Brazil?

Gilliam: I think so. Everything else, and you can include Munchausen, there was a book that started it. This was the first one that started with nothing except hopefully whatever imagination and talent I still have left. Well [it started with] me and [screenwriter] Charles McKeown [Gilliam’s collaborator on Brazil, The Adventures of Baron Munchausen] as, literally, a blank page. I just wanted to see if I still had the stuff anymore.

Filmmaker: What comes first for you when you write: visual images or story?

Gilliam: Well, there was no story for quite a while. There had been a thing that I had been pondering over for years, images of something from another time ending up in our time and nobody being able to explain it. It was as simple as that. Then at one point, because I have a house in Italy, people said, “Oh, wouldn’t it be great to do the whole thing in Italy?” And I thought of images of an old wagon and then, bingo, it was pretty quick to the idea of this traveling show from another time turning up in modern London. Something wonderful, exotic, ancient and weird, and nobody ever paying attention to it.

Filmmaker: Tell me about your collaboration with McKeown.

Gilliam: There’s no real form. Half of the time it’s by trading e-mails — we don’t have to be together. So he’ll write a whole chunk, and I’ll write, and we’ll stick it together and see if we should change it or not. It’s a constant dialogue, I suppose, and the story develops that way. I wish I had a system but I don’t. There isn’t a system except my instinct. And what’s difficult with Charles is he’s more verbal and I’m more visual, so he has to trust that the visual bit that I’m doing is going to work.

Filmmaker: What about the character of the street performer, which is a familiar one from much of modern cinema. Was this a starting point?

Gilliam: Yes and no. It was actually the wagon itself. That first shot of the film is really where it began for me in my head. And then we work out who are these people, what are they doing, what are they selling? And little by little we came up with [the story]. I told Charles it would be great to do something like Bergman did in Fanny and Alexander and Fellini with Amarcord, which were both films at a certain point in their career where they relaxed, stopped dealing with hard issues and just did what was natural. This was a way to use all of the ideas in my desk that had never found a home. They all didn’t make it into the film but they were nice starting points. I think the other film that I remembered watching was The Seventh Seal. Suddenly there’s that little traveling theater and that little family in the movie, and in fact the character Joseph, the father in the movie, is who we based Anton on because he’s an innocent. Then with Parnassus having a daughter, that was me coming into the scene just like Munchausen — it’s me having two daughters. My son is really pissed off — he never turns up in my films. [Laughs]

Filmmaker: I’ve read that Georges Méliès was an inspiration. Didn’t he do street performing at the end of his life?

Gilliam: No, he had a little stall outside of a train station in Paris where he sold children’s toys. I mean here was the guy who was the first great fantasist, sci-fi filmmaker, magician, everything, so the end of the film is an homage to Méliès. I discovered a month ago in France that the train station outside of which Méliès was selling his toys was named Montparnasse. It’s moments like these when you think there are forces at work.

Filmmaker: How much of Parnassus’s personality, particularly his relentless drive to tell a story, come from you?

Gilliam: Well the part that I put in was the frustration of thinking that I have interesting things to say and to inspire and enlighten and nobody is paying attention. It’s that frustration that any artistic person feels in one form or another. No matter how successful you become that is the needling thing — you can reach more people… if only. [Laughs]

Filmmaker: It felt to me that you were saying it was never too late for us to find that imagination, but that perhaps modern technology is leading us away from the creativity contained naturally within us.

Gilliam: It’s like theater. Theater is artifice, it’s fake, but you, the audience, have to take those sets and make them into real things. It’s like children when they play with toys. [Gilliam begins playing with his knife] I have a train and I’m going to put it here — that’s an active imagination turning that knife into a beautiful silver train. That’s what children do. I think adults stop doing that. They learn to focus. That’s how they think you have to get through life, with structure. I think cinema and television now are becoming passive mediums because there’s so much information, you don’t have to fill in the gaps. Everything is already all there. The big films today are the same film again and again and again. You watch trailers, they’re exactly the same, just different costumes. The rhythms are the same, and that’s what bothers me.

[Most films] are naturalistic, no matter how fantastical they are. I’ve always wanted to be hyperrealistic but not naturalistic, and in this one in particular. In the Imaginarium those landscapes are obviously not naturalistic but they’re believable. And also, I just want the audience to work and then start to get involved. The more you work on something the more you get out of it. It’s like Don DeLillo’s White Noise — we’re inundated with noise, information, facts, but how much do they actually apply to our lives? The example I use is we have a house in Italy and my son will come over. It’s very basic; we have no television or phone. It’s just there. And we would go there and he’d be bored. He’s a 13-year-old kid, and he’s like, “Where are the video games?” Then by the third day suddenly he’s doing things. That tree becomes something, and he’s inventing a world, and he’s excited and having fun. But when we leave he’s back at the television. So that’s what scares me about the modern world.

Filmmaker: You use CGI, which is a tool that most films today use. But is there a point when you even find that it becomes too much, when it fights against that “hyperrealistic” feel you are looking for?

Gilliam: The budget. [Laughs] No, it’s not an aesthetic problem in that sense of what is real, what’s tangible, where you need weight and gravity and where you don’t. I’m pragmatic, [looking for] what will get the job done most efficiently and cheapest. I don’t want unlimited things. I want to be restrained.

Filmmaker: When did Heath Ledger originally get involved in the project?

Gilliam: After Brothers Grimm we were really close but he went through a very weird year after Brokeback Mountain. He hated doing all of the publicity for the Oscars. You go through all of that and you don’t win, so he said he wanted to go back and do some small films in Australia. He was going in all directions, and I offered him a couple of things. He was in London working on the editing of his Modest Mouse video — this was around the time he was playing the Joker — and while he was working on that he passed me a note asking if he could play Tony. I asked him why and he said, “Because I want to see this movie.” Ironically he’s the one person who can’t see the movie. The god of irony is the most powerful god of all.

Filmmaker: Once you started up the project after Ledger’s death, how long did it take you to realize it could still work?

Gilliam: Pragmatically there was no way to get one great actor to come in for a couple of weeks and take the part, nor did I think it was the right thing to do. But three actors, that would be interesting. So I just started calling friends. And we ended up with these three losers. [Laughs] They were great, but it was a real nightmare to work around all their schedules. And the difficult thing about it was I had no faith that it would work. Then we were in London to do the assembly. We showed it to the guy who was doing the postproduction sound and for some reason, I guess he hadn’t been reading the papers, [laughs] he’d just assumed it had been written to be done exactly like that. That’s when I knew it would work.

Filmmaker: This could be my imagination at play, but when we’re introduced to the different Tonys in the Imaginarium, before seeing their faces, it almost looks like Heath’s features before Depp or Law or Farrell are revealed. Was there any CGI used to blend his facial structure into theirs?

Gilliam: You spotted it. But it’s not CG — it’s all real. We found a double, his credit is hidden but it’s Heath’s double, Zander Gladish, an actor from New York who looks so much like Heath it’s crazy. No one has asked me about this, but that’s why the transitions work. You don’t go into the mirror and become someone else — you gradually do it. It was just spooky — there were days you’d come to work in the morning and Zander would be sitting there and I’d swear it was Heath.

Filmmaker: How about in terms of the storyline? Was it difficult to rewrite after Heath’s death?

Gilliam: No. We held onto certain scenes that I thought I’d be able to block, which in the end I kind of did. I changed the drunk guy’s face in the beginning, but the rest of it is as written. I added things like the women revealing Johnny and saying, “I dreamed you would always look like this” — that sells the transformation. But the rest is the original story. There is a scene were Tony and Anton fight on the other side of the mirror. Originally that was supposed to be in the wagon, but now it works better because it’s the two rivals fighting over Valentina, and that’s why I always say Heath co-directed this film posthumously.

Filmmaker: I’ve read that some of your highest test-screening scores have come from children.

Gilliam: Yes. I keep telling people this. All of the good, sophisticated, knowledgeable people in the business think I’m crazy, and they are absolutely wrong. The youngest are 7 year olds who’ve seen the movie — 7, 8, 9 year olds. It works right across the board, just like Time Bandits and Munchausen. I don’t know why the [executives] don’t understand — for kids this is wondrous. It’s a beautiful storybook, and you don’t have to understand all of the intellectual ideas.

Filmmaker: Is it true that The Man Who Killed Don Quixote is back in the works?

Gilliam: After seven years in the French legal wilderness I finally read the script again. Through this whole time I’d never read it because I thought it was perfect. Then I went back and read it and thought, “This is a piece of shit.” [Laughs] We did a rewrite, only the beginning [of the script], but it has now changed the meaning of everything and it’s so much fucking better. People say it’s the curse of Gilliam. It’s the luck of Gilliam — I would have made the film and it wouldn’t have been good. So we’re out there casting and Robert Duvall let it out [that he wants to play Quixote]. I have been staying quiet. I think it would be exciting to have him do it. Now we’re just looking for money. [Laughs] But we have a script and a budget, and we’re trying to get realistic with the budget because we’re in the difficult money, the $25 to $30 million range — no one will give you that. The way you do it is through foreign money. There is money out there. That’s what we did with Parnassus; we patched it together from all over the world.

Filmmaker: And Johnny Depp is no longer involved?

Gilliam: Johnny and I are happily divorced. [Laughs] I love him and he’s one of my best friends, but he has to escape from Jack Sparrow. Jack has run its course, but how can you run away when they’re offering you that kind of money?

Filmmaker: So you’re still searching for someone?

Gilliam: I have someone but I’m not telling.

Filmmaker: Looking back on your career there have been struggles in every project you’ve done. What is it that keeps you driven to continue making films?

Gilliam: That’s the thing, I don’t know what it is. It’s much easier to say, “Fuck it, I don’t need this anymore.” But I do it every day. My wife wants me to stop. It’s partly out of sheer perversity. I’ve now entered my 70th year on this planet. That’s an old fart, and it’s the weariness that creeps in that I’m most worried about. Once you get working the adrenaline is pumping and the enthusiasm is there, but it’s the business of pushing something into existence, this money phase, I’m just fucking tired of. I hate it. Whenever I go out there and raise money I talk to people and they tell me how Time Bandits changed their lives and that they loved Munchausen. “But this new one, I just don’t know.” Well, nobody wanted those other ones either. [Laughs] You find the one guy in Hollywood who wants it made and then everybody thinks it was obvious.

Filmmaker: What’s the payoff, then?

Gilliam: People like my films. When I see an audience beaming it’s great. It’s that more than anything. It’s not so much that I have important things to say and they must be said at all costs. It’s not that. It’s that I make it and somewhere down the line somebody walks up to me and says, “Munchausen… man.” You know you actually got to somebody. It’s as simple as that.

Monique Prudhomme has won the Costume Disigners’ Guild Award for Excellence In Fantasy Film for her work in Terry Gilliam’s The Imaginarium Of Doctor Parnassus! We are so proud of Monique and want to send her our heartfelt congratulations! The ceremony took place at the Beverly Hilton Hotel, and was hosted by actress Parker Posey. Monique is also nominated for the Oscar for Best Costumes.

LET YOUR VOICE BE HEARD! YOUR VOTE COUNTS!!! The nominees for this year’s Jameson Empire Awards have been announced and Terry Gilliam’s The Imaginarium Of Doctor Parnassus is nominated for both Best British Film and Best SciFi Fantasy Film. Please cast your vote today for Dr. Parnassus at the link below and spread the word for others to do the same! Tweet it, put it on Facebook, MySpace, LJ – Get the word out! We want the fans to vote in droves and to let their voices be heard!

CLICK HERE TO VOTE

Below is the list of nominees:

JAMESON EMPIRE AWARDS VOTE

The first round of voting for the 2010 Jameson Empire Awards is now complete. We’ve sifted through the virtual sacks of entries and assembled the shortlist of finalists who will be waiting with baited breath on the night itself. It’s not over yet, though. With the gold in sight there’s still time to cast your vote and see your pick of the year’s films and filmmakers lauded on Awards night. Let the final round of voting commence!

Voting ends 10th March

BEST NEWCOMER

Carey Mulligan (An Education)
Aaron Johnson (Nowhere Boy)
Sharlto Copley (District 9)
Anna Kendrick (Up In The Air/ New Moon)
Katie Jarvis (Fish Tank)

BEST THRILLER

Harry Brown
Public Enemies
Inglourious Basterds
The Hurt Locker
Sherlock Holmes

BEST HORROR

Let The Right One In
Paranormal Activity
Zombieland
Thirst
Drag Me To Hell

BEST COMEDY

In The Loop
A Serious Man
The Hangover
Up In The Air
The Men Who Stare At Goats

BEST SCI-FI / FANTASY

Moon
Star Trek
Avatar
District 9
The Imaginarium of Doctor Parnassus

BEST ACTOR presented by Citroën

Sir Michael Caine (Harry Brown)
Christoph Waltz (Inglourious Basterds)
Robert Pattinson (New Moon)
Sam Worthington (Avatar)
Robert Downey Jr. (Sherlock Holmes)

BEST ACTRESS

Anne-Marie Duff (Nowhere Boy)
Carey Mulligan (An Education)
Zoe Saldana (Avatar)
Emily Blunt (The Young Victoria)
Melanie Laurent (Inglourious Basterds)

BEST DIRECTOR

James Cameron (Avatar)
Neill Blomkamp (District 9)
JJ Abrams (Star Trek)
Quentin Tarantino (Inglourious Basterds)
Kathryn Bigelow (The Hurt Locker)

BEST BRITISH FILM

Harry Brown
The Imaginarium of Doctor Parnassus
An Education
Nowhere Boy
In The Loop

BEST FILM presented by Sony

Avatar
Star Trek
District 9
Inglourious Basterds
The Hurt Locker

I wanted to share some of the beautiful red carpet and press room photos of Imaginarium Of Doctor Parnassus Director, Terry Gilliam, his wife, Maggie Weston and Dr. Parnassus Producer, Amy Gilliam on the red carpet and at the press room at the 2010 BAFTA Awards tonight.

CLICK ON THE THUMBNAILS FOR LARGER PICTURE

The time has come! The Gilliams, Dave Warren and Sarah Monzani are on the red carpet for the BAFTAs as I write this. What an exciting time for all of them and The Imaginarium Of Doctor Parnassus! Break a leg!

Be sure to watch the BAFTA Awards tomorrow, February 21, 2010! The Imaginarium Of Doctor Parnassus is nominated for Best Make-Up (Sarah Monzani) and Best Art Direction (Dave Warren). Terry, Amy, Dave and Sarah will be attending! The BAFTAs will be airing on the BBC or in the USA you can watch it on BBC America. It shows at 5 p.m. Pacific Standard Time (LA) in the USA so it should be at 3 p.m. on the East Coast but check your cable guide to be sure!

Congrats to everyone at Dr. Parnassus! We’ll be watching and supporting you tomorrow night!!!! Break a leg.