The Rest Is Entertainment - Tom Hanks on Toy Story, Sequels and The Scene He Regrets

Episode Date: June 17, 2026

Was the 90s the last great decade of movies? Who will Tom Hanks be supporting at the World Cup? And which film does he think features his worst performance? Richard Osman and Marina Hyde speak to Tom Hanks about his acting career, opinions on sequels and his favourite tank from WW2. The Rest is Entertainment is brought to you by Octopus Energy, Britain's most awarded energy supplier. Lloyds. 250 years on and still backing the nation's aspirations. Join The Rest Is Entertainment Club: Unlock the full experience of the show – with exclusive bonus content, ad-free listening, early access to Q&A episodes, access to our newsletter archive, discounted book prices with our partners at Coles Books, early ticket access to live events, and access to our chat community. Sign up directly at ⁠therestisentertainment.com ⁠ For more Goalhanger Podcasts, head to ⁠www.goalhanger.com⁠ Video Editor: Adam Thornton Camera Op: Graham Howe Camera Assistant: Harry Swan Assistant Producer: Imee Marriott Senior Producer: Joey McCarthy Social Producer: Emma Jackson Exec Producer: Sam Psyk Learn more about your ad choices. Visit podcastchoices.com/adchoices

The rest's entertainment is presented by Octopus Energy. Now, one of the stranger signs of status in show business is being very, very hard to reach. Exactly. You get to a certain level in the business where you don't want anyone to talk to you at all. And there are some people who are notoriously difficult to get hold up. So Christopher Nolan, for example, is famously almost completely, it doesn't even have a mobile phone. I mean, you literally cannot get hold of Christopher Nolan. He said, of course he does. He's got a sneaky little mobile, has he?

Yeah. He's on WhatsApp groups. but he doesn't want you to know that. Shall I tell you who's easy to get hold of? Who? Octopus Energy. Yes. So Octopus Energy, if you know the score when one of your service providers writes to you,

you've got a question for them or you're disputing something, you reply and it immediately says you cannot reply to this email. With Octopus Energy, any email they send you, you can reply to and it will go to your dedicated team. To me, it feels like one of the greatest advancements I've heard of the last 30 or 40 years. You can actually reply to people. Would it be possible to contact the people I'm paying my money to? Well, with Octopus email, you can reply directly to your own dedicated small team.

I mean, that's amazing, right? Hello, and welcome to this episode of the Restors Entertainment Questions and Answers Edition. I'm Marina Hyde. And I'm Richard Osmond. And are you nervous, Marina? Should we tell people where we are? Yeah, we are in Clarages. And the person doing the answers to your questions is Mr. Tom Hanks.

He's due any moment. I keep looking through that door just in case he turned up. Well, if we stop in the middle, it's because Tom Hanks has just turned up, you will understand why. We've got obviously lots of questions about Toy Story 5 and all toy stories that have gone before. One, two, three and four. Yeah. But we're going to get deeper into those huge unifying roles. He's played across absolute decades of one of the best all-time careers in cinema.

We've got stuff about Aston Villa. We've got... His favourite tank. I'm incredibly... excited to talk to him and thank you for arming us with such amazing questions as well. I hear a noise in the corridor, so Mr. Tom Hanks is on his way. Please let us compose ourselves and enjoy this episode. Tom, welcome. You have been playing Woody for over 30 years. And our first question comes from Steph Allen and she says, when you first join the cast of Toy Story,

Did you have any inkling of how successful Pixar, and specifically the Toy Story franchise would end up being? They were explaining it to us as though it was a volatile mixture that could blow everybody's fingers off if we didn't do it right. It was this new technology of animation that wasn't hand drawn on cells by artists, that it was going to be this, what we can show you is sort of what it looks like and it should all come together. They kept saying should, we hope, maybe. But as the guy, look, my job is to inhabit something that is not myself. The only thing that I saw was about 12 seconds of a line from a movie called Turner and Hooch in which I'm screaming at a dog.

It was a thing where I was like, don't eat the car, don't eat the car. And they animated Woody, as you know Woody right now. It was just him against a blue background. And they say, see what we can do with a thing. And it was all this elbows and fists and outrage and what have you. And I said, wow, you want me? Sure. And then for the next two hours, they kept explaining to me what the process was and what the story was going to be.

And I said, guys, I'm good. Yeah, I don't. I'm in. Tell me where to show up. I'm going to do some acting. That's it. The thing that then was actually a great part of the process was, and I got to give this up to the powers it be, certainly John Lasser at the time that he was, you know, the head of

Pixar and all of the whole Pixar team, this phalanx of folks that never stopped testing material. We did about 80% of a movie that they threw out. Wow. They put it together and they said there is something intrinsically wrong with the DNA that we started off with. And I guess they made a painful call to us all saying everything you've done, we're going to start all over from scratch was. And I said, okay, all right, fine. And then out it came a whole different relationship between Woody and Buzz and our original characters as well.

And I had to say, I had to give that up to that. That's a pretty bold throw in order to make on something that they just wanted to get right. And by the time you get to see the finished thing, I'm just like, I can't believe that I'm in something that is as fascinating as this. Is it quite a rare throw in Hollywood to throw things out like that in your experience? 80% of a movie? Yeah.

That's rare. Yeah. I can understand. You know those first three days of shooting? We're going to reshoot that. Yeah. And I know that there are some filmmakers that build in two weeks of reshoots into the actual budget. But, you know, the finances are so absolutely insane, as well as, I guess, in some ways, the egos that would be involved that make Pixar different.

There are other times once you get the template down, you've got it and it's all going to work and they're going to put it all together. The fact that they all go back and I guess in some sort of like hot house boiler room atmosphere, they just test it and test it and test amongst themselves, not a, not a, you know, a screening thing. They just are we doing this right? And they all draw and they all put up these animatics and their storyboards that are magnificent, but that they were willing to say this isn't what we originally intended.

That's a deep throw as far as I'm concerned. And God bless them. And I'm going to assume now that that testing process is now built into all the other ones, which is why it takes so damn long to shoot these things and get them done. It's like it's two and a half years, you know, of my involvement in it about every six months. I have a question from Charlotte who says, this will not be unfamiliar to you. When I watched Toy Story 3 in that now infamous scene with the enormous incinerator, I sobbed with my child and promised her that I.

I'd never throw away her toys. 17 years later, I still have every single one. What do you struggle to let go of, asks Charlotte. Oh, my Lord. So you got philosophical at the end there, didn't you? Just a little bit. I am, I'm trying to get into this combination. You know the book by Marie Kondo, you know, clearing out your closet.

I try to give up anything that does produce joy, that does not produce joy in my hand. You've started with the stuff that produces joy. This isn't working. I keep the joy thing as. best I can. But then you combine that with the diabolical sounding Swedish death cleaning, which is not a, yeah. Let's talk about that. And some combination between there, I will literally force myself to give up the sweatshirt that I wore the day I moved my third son into college that I bought at the, you know, the bookstore that day. I must say I still have those.

So it can't get rid of some of that. It is not because. it looks good or it doesn't have holds in it, it's because, no, you don't understand. I spent a very important day wearing this, you know, back in 19, whatever it was. Well, that's the interesting part of Charlotte's question, I think, because you have, through this character and through this incredible franchise, been part of so many childhoods. And, of course, parents is a huge part of those childhoods. You must get a sense of how much these films mean to people. More so, I think, than anything else. Anything else you've done?

Well, it's because of the volume. And it's because there are now, I was talking with Tim. It's like, it's a shame that there's a number that is attached to any of these movies. They should just call it, here's the next Toy Story movie or, you know, another toy story, five, four, three, two, one, whatever goes. But there is a contract that you always have with the audience anyway, right? and they never forget the first time they saw the movie. Yeah.

Whatever it comes down to. But they see it in a different way when they are six or 16. But now we are into 56-year-old people. Yeah. They're talking about the first time they saw Woody and Buzz together and how much it meant them and how they go back to it again and again and again and again. And it produces these same feelings along with reflection of all the wisdom. that they have since acquired because they now have kids that were their age when they saw it the first time.

I don't discount the power of cinema because I have that my own reference in my head for individuals that I might meet because they were in a movie that I saw when I was 18 years old. Can you think of specific examples of people you've met in Discount? I have met Pierre Delay, you know, who was in 2001 of Space Odyssey and I become a babbling fool. That's amazing. And I tell him, I've seen 2000 on a space odyssey 119 times and I've always seen something different.

Can I ask you please a question about when you were running upside down? You know, that kind of stuff. And he's very wonderful. And that, when I am in an elevator with someone who has a six-year-old child in tow and they are trying to explain that this guy who got on on the fourth floor is Woody. And you can't. And this just simply does not compute until I get the kid to close their eyes. And then I say, imagine, think of Woody now.

Can you see him? All right. Well, oh my God, here we are on the elevator at the same time. And you see their face just kind of like explode in this recognition and joy. You don't discount that. That is the production of high art and a very, very personal moment between you. and a six-year-old or a 56-year-old. But it's part of maybe a shrinking mainstream culture.

You've always been interested in those kind of big, unifying roles that lots of Americans can buy into. Is it harder to find those roles in a much more fractured culture? As, you know, you always go back to, you know, this has come up periodically as, you know, some brand of new technology becomes the habit of how we experience these one-on-one things. Without a doubt, there is, I think,

a greater power now to those fewer and fewer things that garner all of our attention more or less at the same time. Because, you know, I can entertain myself. Anybody can entertain this if they want to all day long in three-minute increments, you know, on whatever they tend to swipe through. So the power of that union of an individual experience that you actually share with 200 or 1600 strangers at the same time in the same room, or maybe just talk about. about after you've all been able to see it.

It's, it will always be here. It will always be a part of the consciousness. But I go back to periods of time when most of culture was aware of a great opera or a great Shakespearean play. And it just becomes more diffused. And eventually there's just less and less of those, what of the grand unifying moments, G-U-Ms. Let's call them that.

Yeah, the grand unifying moments of no matter what your age, no matter what culture is, even more matter what language that you speak, that binds us, binds everybody together and what, let's just call it art for the sake of what art can do. We'll call it grand unifying moment pictures. I mean, we can call it Gump for shorts, if that's helpful. Oh my Lord, write that down. Quick staff. By the way, not a bad, not a bad example of that too.

Yeah, a really good example of it. And, you know, when that happens, all you can do is bow your head in humble submission. You know, finally, I've got a question from Neil Anderson, which actually talks about your personal role in that sort of phenomenon. He says there's a graphic that's doing the rounds showing your 90s run, and it's frankly ridiculous. Philadelphia, Forrest Gump, Apollo 13, Toy Story, saving Private Ryan, the Green Mile cast away. At the time, were you aware you were in the middle of this once-in-a-generation golden run? Or did you just feel like I'm making the next film? Was there something magic?

No, no. I felt fortunate in that these things came along, and I was fascinated. by the subject. That was it. And the alliances that went into all of those. Because dare I say it, sometimes you think you're making the same movie and you are not. You are making some other film that somebody else is not the same thing. But also, too, I think it can kind of look back on that.

I always, from my age, I think the 70s were this great golden age because you could have anti-heroes and, you know, gritty stories that ended as trash. tragedies, but everybody remembers them as great films. The 90s might have been the last great swing of that, even though the commerce of it certainly drove it, the money numbers drove everything, the beginning of sequels and franchises, and what have you, came about during those errors. But I just felt, I mean, the last movie I made in the 1900s going into 2000 was castaway, you know, and that was about as daring a swing in every way, creatively financially.

cinematically that anybody could take. And we all felt that, hey, we're getting away with this. And in some ways, all those movies that you mentioned, we were getting away with something that we thought, well, isn't this what the art form, you know, can render to you? If you so want to test yourself, that and the economics of making movies, I think, were matching at that place. And that match, I don't think exists in the same way. But do you think you're part of that?

Because one of the things about making difficult cinema is if you've got a big mainstream presence in the middle of it who you trust, you can get away with an awful lot more. I think that trust is part of it. Alas, I think mystery might be the bigger thing like what's he going to do in this. And I don't know if I have a lot of mystery versus countenance and all that. But I will say this about all of those, they were one-offs. Yeah. And I had high-powered executives say to me, no one wants to see a movie about Apollo 13 because we know how it ends. And I just thought, well, on that case, no one will ever see Star Wars or Casablanca or Citizen Kane ever again.

Because, and so there was, it was kind of like a zeitgeist that was constantly being tested. But, you know, outside of Toy Story, there were no, there are no sequels in there. Yeah. You know, each one of those were individual one-off films that had no reason to go. I always made this joke is that people say, oh, you've always, your films are always like, you just keep making the same hopeful, non-cynical films again and again. I said, yes, you are correct. I do try to take my button off the cynical default mode button.

I try to do that. But there's also a version of my career in which I could be sitting here right now and saying, you know, I'm going to tell you right now that Forrest Gump 12 is a much better movie than Forrest Gump 10 or 11 were. And that didn't happen because it couldn't sustain anything beyond what we did. And oddly enough, it's a shame that these Toy Story movies have numbers attached to them because they just should call them the next Toy Story movie because it warrants the investment of the audience with a filmmaker.

Yeah. So we're not going to get Apollo 14. That's what we're saying. We would answer all the questions left unanswered by Apollo 13. Tom, just please hold on a moment while we'll go to some adverts. This episode is brought to you by Lloyds. Now, I love it when characters are part of the club. You wouldn't know anything about that, would you, Richard?

The Thursday Murder Club in some ways reminds me of the A-Team. I would now like to map each of those characters onto the A-Team and feel I probably could. I mean, Elizabeth is Hannibal and it's not even close. That's exactly right. And Ron is howling Mad Murdoch. Well, there are definite perks to being in a club. Just ask the members of Club Lloyds, because with Club Lloyds, you can bank on Lloyds to give you more wherever you are.

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Check out Clubloids today. You'll need to be a UK resident and aged 18 or over to apply. This episode is brought to you by Activia. You might already be eating yogurt, but not all yogurts are created equal. Activia contains over 1 billion probiotics per serving to survive and reach the gut alive. When it comes to gut health, Activia is the number one family doctor-recommended probiotic yogurt brand. Choose Activia. Feel good from the inside out. Visitactivia.ca for more details.

Are you one of those media strategy people clicking through slides, scrolling spreadsheets? Yes? Good. This is for you. Because on Spotify, there's an audience that's different. Locked in, loyal, invested. They're called fans. Fans don't just listen to music. they feel seen by it like it belongs to them. So when your brand shows up on Spotify, that's who you're talking to.

And you're right next to artists like me, Lizzo. So, are you ready to talk to fans? Spotify advertising. You're among fans. Welcome back, everybody. Now, we are talking to Mr. Tom Hanks. This is from Patrick Farrell, who says you've been the face of so many defining moments in cinematic history, as you've just been telling us.

Peaked in the 90s, I like to say. Peaked in the 90s. At this point in your career, when you walk onto a film set on day one, what's the one thing that still genuinely surprises or challenges you? Complete total terror of losing the battle against self-loathing that has to start when you get up in the morning. The test really is of the grand ensemble of the crew, the people who are making the movie every day. It's hard work, you know. It can grind you down because if at the end of the 47th day of shooting in the 14th hour of the day,

you still have to capture an emotional bit of lightning in a bottle that is going to last forever, whether you do it well or not, whether you land on that level of authenticity that makes it real, or if you just try to, just try to, where do you want me to look? You know, what laser point am I supposed to look at? If you don't, if you don't traverse that barrier, you're a failure, you're no good at your job. And it's not just for me, it's also for everybody whose job is relying on the fact that, yes, my costume does reflect the theme of what we're doing. Yes, my hair, yes, the guy on the other side of the camera whose line he is delivering it. when we get his sign of that he is going to have to get to, or she are going to have to that

same place. So there remains forever a terrifying moment of, am I going to be escorted off the set and off the lot because the authenticity police have dubbed me a crook, you know, because you don't do it anymore. So that's the great thing that we all share that. But I just made this movie in Australia. and it's the second greyhound movie. It's about World War II,

and I'm a commander of a destroyer being attacked, and it's, you know, it's one damn thing after another, and it's hell on the high sea. And it's as serious as World War II itself was, all right? And so we're there, and I'm doing this, and I'm doing the barking, these incredibly complex orders that I've had to study for weeks and understand what they actually mean

and get the nomenclature down. And there was a fellow there playing a seaman, you know, he's in a sailor suit and he's grimy and he's burnt up because we've been under attack. And he's working on the movie for two weeks. And all those people have a very important job for those two weeks. They have to inhabit this very specific task again and again and again and again and again, whether I'm right or not, you know, whether I blow the, blow the lines or not. And I'm, and I'm doing, he's an Australian, Australian fellow.

We're doing it again and again and again. And he happened to be the guy that walked through every, take, right? And we were finally done. We did this thing when, all right, we're moving on. We would ring a bell. Ding. All right. We finally got that. We got to move on. And when I went ding and rang the bell, he said to me, every time I walk by, all I here is Woody. You know, it's all right. That's the, that's the agreement that we made in all of this. And hopefully the suspension of disbelief that actors and playwrights and directors and audiences have been utilizing since Escalis wrote plays, you know, at Epidavros, hopefully that'll kick in and

the magic will work. Question here from H. No other details about his person's name. You've played so many different roles in your career. Which of them do you think you would get on with best in real life? How do you think you would get on with Woody? Oh, no. He'd drive me nuts.

No, no. We would be in a continuous competition of who's in charge. It would not be good. And the voices are so similar. And the voice, yeah, yeah. And he's taller than I am. And that, you know, I- He stole your act.

I wouldn't, yeah, exactly. I would literally say, he's saying the stuff that's going through my head. How come he gets credit for doing this? I would be sulking, you know, back in the toy box if I was, you know, a toy myself. It will not surprise you that a huge number of Aston Villa fans have. How about that?

Well, that's what they'd like, Brenda would like to know you. Action. No, I'm going to tell you something right now. I don't, it's a very, it's a very odd route that brought me, you know, to Villa Park. And I have been to Villa Park, a number of times, and there is nothing greater for an American to have an English premiership team been locked into their soul. And I have, I have had, I've had discussions with Leeds fans and I just feel sorry for them because they're not Aston Villa. But I will also. say this. I, I, I, you become a fan of a team for the rest of your life thinking that once I die,

they will finally win. You know, and I'm no longer with us. It will not happen in my lifetime, but I will carry, I will carry the, you know, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, you're a, you. You're do sequels. I feel bad that someone who just has adopted Asson Villa as their team now. It's like, well, where do you go now? You know, you're going to be disappointed? I have been living with this grand hope since I did my first press junket in England in 1985 in which I fell in up with this team that I saw on a BBC football scoreboard, you know, there we all, you know, clapping took, you know, Upton swells too little. You know, they have all these odd, Queens, Park the Rangers took on Crystal Palsam,

where are these teams? I have no idea. And then one came up and it was called Astonville. I said, that sounds like an, that sounds like an island off of the Cote d'Ijour. It's like, is that what? Is that near, you know, Portofino, Aspeno? And then so I says, my favorite team is Aston Villa

because I know it's in Birmingham, but it sounds like it's in the middle of the Mediterranean. So that's how long I've been rooting for something. And all those years, it's just saying, I hope we're going to avoid. Because that was just after their last huge success, wasn't it? You joined just at the right time. Yeah, we won Europe in 82.

So here we are again. And here's the great thing. It happened in my lifetime. I'm so thrilled. Brenda's question, by the way, is saying, as, you know, you've won in Europe, will John McGinn, Scotland, be your backup team for the World Cup? Okay, yeah, sure. You bet.

You bet. Alast, the World Cup, for me, is going to be Greece, because that's where we always are during. the World Cup. It's a summertime. It's more or less. But I will tell you, this odd thing happens in the World Cup where suddenly we have to be at the Deverna in time for the kickoff between Luxembourg and Croatia. Because suddenly those, I don't want to say, some version of the ugly mutt team, you know, or the dog with a cutoff tail becomes the dog that you're ruining for in order to win.

I am watching Suriname, Angola. I have got it. Please, Suriname. Please. Please. And this is the thing that I think one of the reasons why Americans have taken to what you call football and we call soccer is because we figured out the great drama in a two-one soccer match going into extra time. We know that our hearts will either be broken or swell with pride based on something that might happen if the ball is just in the right place at the right time. Another super cook one, James Regan says, like Tom, I'm a lifelong obsessive of the Second World War, a simple question, what is his favorite tank?

Oh, my Lord. You know, I was amazed. And I asked this question of experts because the American Sherman tank looks like a toy compared to the Cromwells or the Panzers and whatnot. And I said, what was the deal with him? This guy said, we just had a lot more of them. Volume. The Sherman Tank was a volume business, you know, not a huge bore, you know. you know, gun auditors.

We just had a lot of them. I said, oh, okay, all right, thank you very much. So I'm going to say that rounded kind of like odd folks, typewriter looking kind of tank that a lot of people turned up in, you know, whatever. Another one from Delees. Who would win a table tennis match between Forrest and Marty Supreme? She thinks Forrest all day long. Oh, all day long.

Without a doubt, without a doubt. I mean, Forrest could play ping pong with both hands. He was ambidectrous, man, you know. I think it would be close. It would be watchable. Yeah, very watchable. It would be pay-per-view. Oh, we'd make a fortune.

We'd make a bloody fortune. But I think, you know, I don't know how much affection, you know, Marty Supreme would. He didn't play for a national team, did he? He was just out for the party. No, he was out for himself, wasn't he, Marty Supreme. Come on, there's something altruistic there. Megan Pollock has a question. Do you think any of the characters you have played have fundamentally changed you as a person?

I think they all have over the course of it because if you're lucky, you get involved about a year before you start playing it and you start carrying it around inside yourself. And the specific expertise of a lot of these characters are quite amazing. Like Richard Phillips in Cap and Phillips. I think the best film of the 21st century, in my opinion. God bless. And that came about because Richard was willing to invest in me a dispassionate examination. of his absolute being completely worn down to a granular puddle of a human being by this experience. And to realize that there was a guy out there who up to that point was essentially trying to keep track of all the union complaints on board his ship.

That's one aspect of it. But I will tell you this that you didn't have Mr. Rogers growing up. And it was a fascinating guy to get to know. and everybody I talked to had nothing but every single person said both the same thing about Fred as well as a unique thing that was just between the two of us. And he, I didn't consider myself to be a particularly spiritual man. I have a religion of heritage and, you know, tradition and what, what have you. But he said something that I think was ridiculously profound that I have since adopted and it only came about because I played Fred Rogers in a movie. Someone asked,

him about, you know, he was an ordained minister. And his, his, his, his, his flock was a bunch of two and three-year-olds who were watching his, watching his tubbitch him. And someone asked him, someone asked him about prayer. And he said, oh, no, no, no, I, I, I, he said, I pray every day. And they said, really, really, well, what, what is your prayer? How do you pray? And he said, well, anybody can pray. And it only takes three words. Thank you, God. I heard, that and I said, this is what has been missing in my life. And that's the way I begin or end or take a moment of stock every day in order to say those three words. And it covers everything. As in thank God, thank you for this pain in the ass that I'm dealing with right now.

Or thank you for this moment of joy that I would not have had if I were not in the right place at the right time. One from Ellie Jagger. I love this question. She says, I'm a piano teacher. and sometimes my students can be so scared of making mistakes. I keep telling them we learn through our mistakes, but I wonder if there's any examples of mistakes you've made in your career that felt monumental at the time, but in hindsight were actually a good thing. You know, I will say yes. The thing that is oddly cruel is that people say,

what was your most, what was the best movie you've made? It all comes down to what was the most amazing experience? that can go over the course of those eight months or, you know, 16 weeks or whatever it is. And even though the film is not known to be quote-unquote a commercial hit or what have you, they are all such profound experiences of success and failure. You know what I mean? And I do not watch these movies after the first time, really, because they never change. And there are movies that have moments in it that I cannot watch because I didn't get there.

And sometimes these are the big moments. I simply did not get there. And I know it. And I was confounded by any number of things. Would you have an example of one of those that's worth sharing? There is a moment. Okay. Yeah, I'll tell you.

There is a moment in that it was painful for me in Castaway in which I am back and Chuck is back in Kelly's house. and he gives her watchback. And there's a moment where I just think, I'm not there. There's a, all it is, all it is is a turnaround on me. But I do this gesture that I just think is false and is me and is not Chuck. And it is a little, if the movie is on, I will get up and leave the room before that scene comes on. Did you know when it was happening? No, I did not.

No, it wasn't until I actually saw it. when it went down. And I think that, oh, we were just moving on there and I wasn't there. Are you able at least to be able to give yourself credit when you see something where you did hit it? The only time that that happens is when I have no recollection of it whatsoever. Now, I'd think about movies. And this will go back to the TV series I was on television. They called Bus and Bousin Bodies, me and a guy named Peter Scolary was in it.

When I happened to land on a couple of minutes of an old episode of Bus and Bousin Bodies, I remember all of Peter's lines. I have no idea what I say next, but because I was watching him do it, we were so close and we were so tight. So the only time it happens was I don't remember doing that. But it's not a thing. I can't linger on that. I don't sit there and say, oh, watch this movie, watch this moment that comes up.

We really nailed that. I look at night, all I could say, I was cold. You know, it looks like I'm warm. I was really freezing that day, you know, something like that. Or that beard was sticky. You know, I can say things like that. Tom, it's been an absolute pleasure to talk to you. Thank you so much.

We had so many questions for you. And I just want to say from all of our listeners and from ourselves, the joy you've bought people. And I know it's hard for you to watch yourself on screen and see what it is you're doing. But you have brought people together in the incredible body of work that you've done. You've been part of it. So many people's lives for so long, toy story, but also in the incredible movies you've done. And so it's always nice for us on our list and just to be able to say thank you for everything you've done for us. Oh, wonderful.

Thank you. Aren't we lucky to have this cuckoo job of ours? You know, it's... We don't notice any of your mistakes. You know, no matter what's going on, there is a moment in all these movies when everybody on the set, no matter, you know, what the...

Well, just kind of look at each other and say, well, I would do this for free sandwiches and haircuts, wouldn't you? And we all sort of would. Yeah. So, well, thank you very much. Thank you so much. Thank you.

So they've taken Tom off. That was fun. It was... It's funny. he mentions movies and you're like, oh yeah, you know, you did that other iconic one.

He's done, it's extraordinary. It's like an actual last movie star. Well, when we did the question where we're going through, Neil's question, where we go through that list of movies,

but then you think you can go before that and after it and still have like incredible lists of these movies. The end of the 1900s, as he called it. Yeah, I love that. But I love doing this format where the listeners

ask the questions because it's, you know, it's such a lovely, way of doing it because we're not no one's trying to fool anybody it's just it's it's a really just get very interesting things out of people yeah and people especially with someone like that who is all about trying to bring people together yeah asking people just the questions of the people who've watched the films is so much better than any form of a culture and he was a dude as well right yeah i mean right at the end you could see that um the publicist has opened the door just to make sure

that he knew he's on his way out and he's he wanted to keep talking about it's so lovely but i Going back to Buzz and Buddies on TV. Yeah, yeah, yeah, exactly. Need to look at that on YouTube. But, yeah, I mean, what a genius as an actor. I said in the middle of that, that I think Captain Phillips is the best movie of the 21st century, which I think it is.

But I know that people at home might have a different opinion on that. Well, if you don't think I'm going straight home to find the little bit and castaway, where supposedly he makes a great mistake. What an icon. Yeah. That was fantastic. That was a real treat, but thank you very much listeners,

because genuinely sent so many questions. I'm sorry if we couldn't get to yours, but it makes such a difference. And it makes people sort of realize how, you know, how loved they are as well. And we like talking to people who are loved and do things for the right reason, right? Yeah, absolutely. Thank you so much. And we will see you next Tuesday. See you next Tuesday.

Hey, y'all. It's Kelly Clarkson with Wayfair. Ever order furniture online and wonder, what if? Like, what if it doesn't hold up? That sofa was four days old. You should have ordered from Wayfair. With Wayfair, there's no what if. Just style you love and quality you can trust.

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