Welcome to The Story & Craft Podcast!
July 10, 2024

Dimitri Leonidas | A Charioteer's Journey

Dimitri Leonidas | A Charioteer's Journey

On this episode of Story & Craft, we sit down with actor Dimitri Leonidas, who is known for a number of projects, including his role as Hober Mallow in the Apple+ series, “Foundation”...as well as the new Roland Emmerich series, “Those About to Die” on Peacock, where he stars alongside Anthony Hopkins.  Dimitri discusses his journey from child actor to his current projects, sharing personal stories about his Cypriot heritage, family, and experiences in various film and television projects. We also discuss his work in historical dramas, the intricacies of chariot racing training, and the impact of losing his mother at a young age.  Dimitri also talks about his interests outside of acting, including Brazilian jiu-jitsu and photography.  It was a fun chat…one I’m sure you’ll enjoy!

SHOW HIGHLIGHTS

02:32 Dimitri's Background and Family

03:57 Acting Career Beginnings

05:48 Filming Foundation

16:14 Life as a Child Actor

21:12 Pursuing Acting as a Career

28:39 Travel and Filming Locations

31:18 Choosing the Right Horse for the Role

33:03 Training with Chariots

34:34 Reflecting on Roman Life

37:57 Food and Craft Services in Rome

39:38 Current and Future Projects

41:59 Creative Pursuits and Interests

Listen and subscribe on your favorite podcast app.  Also, check out the show and sign up for the newsletter at  www.storyandcraftpod.com

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#podcast #DimitriLeonidas #Actor #PeacockTV #Peacock #ThoseAboutToDie #Foundation #RolandEmmerich #AnthonyHopkins #Cypriot #Cyprus #Acting #actorslife #storyandcraft

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Transcript

Dimitri Leonidas:

He called me and he said, uh, well, I'm, I'm short staff here.

 

 

 

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I need someone to come in and, you

 

know, help unload these containers.

 

 

 

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Can't you just tell him you nip over

 

for a bit and let me just check in

 

 

 

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with Apple, dad, if they don't mind

 

putting the whole shoot on hold.

 

 

 

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Announcer: Welcome to Story Craft.

 

 

 

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Now, here's your host, Marc Preston.

 

 

 

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Marc Preston: All right, here we

 

are, another episode of Story Craft.

 

 

 

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Glad to have you.

 

 

 

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Thank you so much for swinging back by.

 

 

 

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If this is your First episode, my

 

name is Marc Preston, glad to have you

 

 

 

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checking out the show for the first

 

time of what I hope will be many times.

 

 

 

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And of course I want to thank you.

 

 

 

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I really do appreciate folks coming

 

back by checking out the show.

 

 

 

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Appreciate the notes I receive and

 

it's just very cool to have you be a

 

 

 

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part of great chats kind of like today.

 

 

 

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Featuring the very talented

 

actor, Dimitri Leonidas.

 

 

 

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He's in the new series

 

called Those About to Die.

 

 

 

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It's a Roland Emmerich series on Peacock

 

with the very talented Anthony Hopkins.

 

 

 

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And Dimitri, you probably know him

 

from shows kind of like, uh, Foundation

 

 

 

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on Apple plus he plays Hober Mallow.

 

 

 

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One of my favorite shows over the

 

last couple of years, uh, really

 

 

 

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enjoyed the chat with Dimitri.

 

 

 

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We covered his experience from

 

being a child actor all the

 

 

 

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way up to Those About to Die.

 

 

 

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Now do me a favor if you would don't

 

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stars if you would a little review It

 

does help people find the show and if

 

 

 

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you follow the show you get notified

 

every time we have a new episode Roll

 

 

 

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out, uh, don't forget Go to story and

 

craft pod.com, everything you could

 

 

 

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possibly want to know about the show,

 

our guests, uh, even reach out to me.

 

 

 

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That is the best way to do it.

 

 

 

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Once again, story and craft pod.com.

 

 

 

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Alright, let's get after it.

 

 

 

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Uh, today, Dmitri Leon Day,

 

right here on Story and Craft.

 

 

 

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How are you doing today, Dmitri?

 

 

 

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Dimitri Leonidas: I'm great.

 

 

 

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I'm really well.

 

 

 

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Yeah.

 

 

 

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Thank you.

 

 

 

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How are you now?

 

 

 

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I'm doing wonderful.

 

 

 

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Marc Preston: Just so I know

 

how to say, is it Leonidas?

 

 

 

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Dimitri Leonidas: Yeah.

 

 

 

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Ah, very good.

 

 

 

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Very good.

 

 

 

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Great.

 

 

 

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I mean, my dad always sort of

 

despairs because people say Leonidas.

 

 

 

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I think the film 300, um, had a big

 

influence on how people were saying it.

 

 

 

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And, uh, it was, uh, quite annoying to

 

him when we'd do interviews or something

 

 

 

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and he'd watch it and they'd say Leonidas.

 

 

 

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Um, and he was always like,

 

why don't you correct them?

 

 

 

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I thought I just, because it's certain

 

things you've got to just leave that.

 

 

 

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Um, but yeah, yeah.

 

 

 

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Leonidas.

 

 

 

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You're in the UK right now, correct?

 

 

 

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Yeah.

 

 

 

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Yeah.

 

 

 

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I'm in London.

 

 

 

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Yeah.

 

 

 

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And we've, we've just started our summer.

 

 

 

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It's been a really late one, but most

 

of June was shocking amounts of rain and

 

 

 

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gray sky, and, uh, it's finally broken.

 

 

 

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And now, you know, London is, is,

 

it's just the best when the sun's out.

 

 

 

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It's, uh.

 

 

 

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It transforms the city.

 

 

 

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Um, so yeah, great.

 

 

 

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It's, it's, it's really

 

nice here right now.

 

 

 

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Marc Preston: Now is your

 

family with Leonidas?

 

 

 

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I'm assuming it's a, it's a Greek descent.

 

 

 

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Dimitri Leonidas: Yeah.

 

 

 

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Cypriot from, from, uh, from Cyprus.

 

 

 

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My dad was, was born in Cyprus and

 

he moved to London when he was young,

 

 

 

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you know, four or five years old, his,

 

his parents moved over here, um, with

 

 

 

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his, you know, brothers and sisters.

 

 

 

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His parents eventually moved back.

 

 

 

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They've both passed away now, but,

 

um, they moved back to Cyprus,

 

 

 

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uh, you know, after they retired.

 

 

 

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And, um, and him and his

 

brothers and sisters all stayed

 

 

 

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here and raised families here.

 

 

 

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So, uh, yeah, yeah.

 

 

 

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Cypriot heritage.

 

 

 

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And then I sometimes wonder why, you

 

know, cause Cyprus is like a paradise.

 

 

 

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And I think, why did you come here?

 

 

 

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We, you could be on the beach, but,

 

uh, you know, London is a lot more

 

 

 

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opportunities, especially when he

 

moved in, in the seventies, you know,

 

 

 

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Marc Preston: what kind of work did,

 

uh, what, what was his vocation?

 

 

 

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Dimitri Leonidas: So, uh, when he was a

 

younger man, my dad was an electrician.

 

 

 

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Um, and he then went

 

into, uh, fruit and veg.

 

 

 

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He was, he was a green grocer and

 

then more wholesale fruit and veg.

 

 

 

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So he was sort of delivering,

 

um, fresh fruit and vegetables

 

 

 

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to restaurants around London.

 

 

 

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And that grew a little more into

 

disposable goods, serviettes, you

 

 

 

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know, plates, cups, um, soft drinks.

 

 

 

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And, uh, and that is his

 

little sort of empire.

 

 

 

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He's still, he's still working.

 

 

 

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He's got a warehouse in, in Wembley,

 

sort of the industrial park in Wembley.

 

 

 

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And, uh, sometimes when I'm,

 

you know, if I'm not working,

 

 

 

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I'll go and give him a hand.

 

 

 

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He'll, he'll give me a sort of

 

call on a random, you know, day in

 

 

 

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the week and, and, uh, asked me to

 

go and help unload some shipping

 

 

 

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containers or something that's come in.

 

 

 

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So

 

 

 

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Marc Preston: you, so you're

 

basically discount labor for him.

 

 

 

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Dimitri Leonidas: Yeah.

 

 

 

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I mean, the funniest, the funniest

 

one was I was in Ireland filming

 

 

 

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foundation and, uh, He called me

 

and he said, uh, where are you?

 

 

 

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Where are you?

 

 

 

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I said, I'm, I'm in, I'm in

 

Ireland that I'm, I'm filming.

 

 

 

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And he, he was like, Oh, I said,

 

why is everything all right?

 

 

 

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Well, I, well, I'm, I'm short staff here.

 

 

 

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I need someone to come in and,

 

you know, help unload these

 

 

 

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containers on Monday and Tuesday.

 

 

 

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I said, well, I'm, I can't.

 

 

 

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I'm in Ireland, dad.

 

 

 

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Can't you just tell him you nip over

 

for a bit and let me just check in with

 

 

 

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Apple dad if they don't mind putting the

 

whole shoot on hold for a few days so I

 

 

 

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can go and unload the container for you.

 

 

 

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Um, all right, well, don't worry about it.

 

 

 

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And then, you know, you know,

 

we, uh, we got off the phone,

 

 

 

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but no, he's, he's funny.

 

 

 

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You know, he's funny.

 

 

 

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Did

 

 

 

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Marc Preston: they shoot all of the

 

foundation in Ireland or just the,

 

 

 

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the, uh, the parts you were in?

 

 

 

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Dimitri Leonidas: It was actually

 

just two weeks in Ireland and

 

 

 

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then, um, two weeks in Ireland.

 

 

 

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And then, uh, we were in Tenerife

 

for, I think, five or six weeks.

 

 

 

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Um, and then we sort of bounced around

 

the other Canary Islands, Port Aventura.

 

 

 

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And, um, like America, I had no idea they

 

 

 

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Marc Preston: had such a, uh,

 

well, I can make a somewhat exotic

 

 

 

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location, you know, shooting.

 

 

 

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It's not like they were in Atlanta,

 

Georgia or something, or there, you know,

 

 

 

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when you got that project, did you kind

 

of like go, well, what exactly is this?

 

 

 

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You know, it's based off a book, right?

 

 

 

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The, uh, Asimov, Isaac Asimov.

 

 

 

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Dimitri Leonidas: Yeah.

 

 

 

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Yeah.

 

 

 

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I mean, I was aware, aware of the book.

 

 

 

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I I'd read some of those

 

sort of sixties sci fi.

 

 

 

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Um, books in the past,

 

you know, like Philip K.

 

 

 

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Bick and, um, some Ray Bradbury.

 

 

 

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And, and I was into that stuff.

 

 

 

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I'd never really read any Asimov.

 

 

 

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Um, so I did read the foundation series

 

in preparation for this, for the show.

 

 

 

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And was.

 

 

 

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Totally blown away by them.

 

 

 

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I mean, the story is that Elon

 

Musk, you know, when he sent that

 

 

 

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Tesla into space, I think there's

 

still a Tesla orbiting earth.

 

 

 

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He put a copy of foundation

 

in the glove box.

 

 

 

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Marc Preston: Really?

 

 

 

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I didn't know that.

 

 

 

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Dimitri Leonidas: Yeah.

 

 

 

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So there's a copy of foundation

 

floating in space, which is kind of

 

 

 

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apt given the nature of the show.

 

 

 

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Um, and Asimov was, was, I think

 

he had done a ton of research

 

 

 

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into the Roman empire and the

 

collapse of the Roman empire.

 

 

 

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And then.

 

 

 

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Writes a show that is like the

 

Roman Empire, but in spikes.

 

 

 

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It's the collapse of a,

 

of a, of a civilization.

 

 

 

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Um, and he pulls a lot of the stories

 

from how the Roman Empire fell, you

 

 

 

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know, it begins at the sort of the

 

peripheries and, and, and equally

 

 

 

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something going wrong in the center.

 

 

 

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And, um, and he just mounts

 

it as a giant space drama.

 

 

 

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Um,

 

 

 

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Marc Preston: you're right.

 

 

 

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That does have a lot of, uh, Roman

 

empire ask, you know, uh, yeah, you

 

 

 

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know, that's supposed to be a theme that

 

you're kind of sticking with, I guess.

 

 

 

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Dimitri Leonidas: Yeah.

 

 

 

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I mean, you know, to go and do sort

 

of Roman empire in space and then do

 

 

 

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the act of Roman empire was like a

 

sort of Twin, twin stories in a way.

 

 

 

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Marc Preston: Foundation.

 

 

 

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Uh, I didn't know what to expect.

 

 

 

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It's one of those shows I

 

watched the first episode.

 

 

 

174

 

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I was like, I don't really know how

 

to get my head around this just yet.

 

 

 

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But the more I got into it, it was

 

just really, you know, enjoyable.

 

 

 

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Dimitri Leonidas: I think, I think

 

a lot of people have said that.

 

 

 

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I think the books are so dense

 

and the ideas in them is so vast.

 

 

 

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The scale is so big that I think it's

 

hard for the first series and those first

 

 

 

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few episodes in the first series to, to.

 

 

 

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Lay down the foundation, so

 

to speak, of what you're doing

 

 

 

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because the books are so expansive.

 

 

 

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I mean, you turn, you know, you turn a

 

page and, and Asimov is jumping 150 years.

 

 

 

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And so everything that you've just

 

read, all this investment that you've

 

 

 

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just made in, in the characters

 

and in their particular stories.

 

 

 

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actually become just

 

sort of dust in the wind.

 

 

 

186

 

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It's like it's gone.

 

 

 

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You're moving on again.

 

 

 

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And there's some element of that story

 

that is important to tell you to thread

 

 

 

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into the next timeline 150 years later.

 

 

 

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And so by the time you finish with the

 

book and you sort of step back, the

 

 

 

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scale of time that Asimov is dealing

 

with in those stories is, is, is sort

 

 

 

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of quite a breathtaking scale, really.

 

 

 

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Um, and so I think the show in its,

 

in its, you know, in its early stages,

 

 

 

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did have to kind of and the audience

 

have to kind of get through some like

 

 

 

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expositional moments where you're going.

 

 

 

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You guys need to know this, this and this.

 

 

 

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And now that you know that we can kind

 

of go and I think season two hits the

 

 

 

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ground running a little more because

 

so much stuff has been established

 

 

 

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that you just You can you you kind of

 

just can can you know run off with that

 

 

 

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Marc Preston: momentum?

 

 

 

201

 

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I believe i'm totally caught up.

 

 

 

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Was there a uh, is there another season?

 

 

 

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Dimitri Leonidas: There is a third season

 

Um that's shooting now in in prague.

 

 

 

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They're finishing up.

 

 

 

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Um Yeah, yeah, I I I will see how

 

many they go, but yeah, there's,

 

 

 

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there's a third season that's,

 

that's finishing, you know, wrapping

 

 

 

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shooting, I think in August.

 

 

 

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Yeah.

 

 

 

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Marc Preston: I, I kind of enjoyed

 

your, uh, I, I did enjoy your character.

 

 

 

210

 

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There was a very Han Solo

 

esque vibe about your, uh,

 

 

 

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character, which I, which I like.

 

 

 

212

 

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Dimitri Leonidas: Yeah.

 

 

 

213

 

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Apparently Hobo Malo is, is

 

the inspiration for Han Solo.

 

 

 

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Um, really?

 

 

 

215

 

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Yeah.

 

 

 

216

 

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Yeah.

 

 

 

217

 

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He, he, That's the story

 

that, um, David Goyer told me.

 

 

 

218

 

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And actually, you know, there's

 

some online threads about that,

 

 

 

219

 

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that, that Hobo Mallow is, is the

 

inspiration for those sort of Han Solo.

 

 

 

220

 

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Marc Preston: I'm learning

 

all kinds of things today.

 

 

 

221

 

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I did not know that.

 

 

 

222

 

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Dimitri Leonidas: Um, I think foundation

 

is a, is a sort of, uh, a tectonic

 

 

 

223

 

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plate of a, of a story that a lot of

 

sci fi has, has built on top of, um,

 

 

 

224

 

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yeah, it is right at the base of so

 

much, you know, sci fi post the fifties.

 

 

 

225

 

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It's, it's one of those, uh,

 

Foundational, um, you know, uh, sources.

 

 

 

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Marc Preston: There's one of the,

 

there's one of the show, the expanse,

 

 

 

227

 

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another kind of vibe similar to

 

that, both featuring Jared Harris.

 

 

 

228

 

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Of course, he seems like such an

 

interesting, he's just an interesting

 

 

 

229

 

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guy to watch just one more note

 

on the foundation, kind of what

 

 

 

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was the filming of that, uh, like

 

 

 

231

 

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Dimitri Leonidas: it's, it was incredible.

 

 

 

232

 

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I mean, I agree with you about Jared.

 

 

 

233

 

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I always think there's sort of part of

 

me that always thinks whatever he's in.

 

 

 

234

 

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I always sort of give the show more credit

 

knowing that he's in it because he's just

 

 

 

235

 

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one of those actors that you go he is

 

great and anyone anytime someone chooses

 

 

 

236

 

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him, I sort of trust them immediately

 

because He's got some qualities about

 

 

 

237

 

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him But when he's cast right you just

 

can't really imagine anyone else doing

 

 

 

238

 

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it and so I had some scenes with him

 

lovely hard working I mean, he had sort

 

 

 

239

 

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of, he's playing the founder of psycho

 

 

 

240

 

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Marc Preston: history.

 

 

 

241

 

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So he's almost like an AI character

 

for lack of a better way of putting it.

 

 

 

242

 

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He's kind of like a real

 

person slash AI, you know?

 

 

 

243

 

00:12:08,634 --> 00:12:09,034

 

Dimitri Leonidas: Yeah.

 

 

 

244

 

00:12:09,204 --> 00:12:09,744

 

Yeah.

 

 

 

245

 

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And, and has endless amounts of sort of

 

dialogue to learn, which you watch him

 

 

 

246

 

00:12:13,244 --> 00:12:14,835

 

just sort of turn up and deliver it.

 

 

 

247

 

00:12:14,864 --> 00:12:16,164

 

And it's great every take.

 

 

 

248

 

00:12:16,175 --> 00:12:19,930

 

And, uh, Occasionally he'll sort

 

of forget a line and all right,

 

 

 

249

 

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sorry guys, let's go again.

 

 

 

250

 

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And I'm just watching it going, how are

 

you not, how are you, you know, you're

 

 

 

251

 

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doing it once every eight takes is, is,

 

is a pretty good hit when you're just

 

 

 

252

 

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sort of running dialogue like that.

 

 

 

253

 

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Um, but, um, but yeah, the show, David

 

Goya, you know, screenwriter, director,

 

 

 

254

 

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producer of the show, um, is, is just

 

one that has this infectious energy.

 

 

 

255

 

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And he's one of those guys that.

 

 

 

256

 

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You really appreciate in our industry

 

because you go he's such a hard working

 

 

 

257

 

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individual that it it really boosts,

 

you know, the reason 500 people turn

 

 

 

258

 

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up and from crew and actors and stunts

 

and everything is because someone

 

 

 

259

 

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like him puts in so much legwork

 

Um, he's producing several things

 

 

 

260

 

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at once and writing several things

 

 

 

261

 

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Marc Preston: I never understood how some

 

of those folks do that where they can

 

 

 

262

 

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have multiple plates spinning at once I'm

 

like, okay, it would take up all my energy

 

 

 

263

 

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just to think of one, you know Yeah, as

 

curious is kind of going back Were you an

 

 

 

264

 

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only kid or did you have a big family or

 

kind of kind of where'd you fall in there?

 

 

 

265

 

00:13:21,140 --> 00:13:25,714

 

Dimitri Leonidas: So, um, I've got three

 

sisters It's the title of a Chekhov plate.

 

 

 

266

 

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Um, so I guess I was destined to

 

be an actor, but, um, yeah, two of

 

 

 

267

 

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my sisters act as well, actually.

 

 

 

268

 

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Steph, my older sister,

 

and Georgina, the youngest.

 

 

 

269

 

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She was in Harry Potter.

 

 

 

270

 

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Oh, really?

 

 

 

271

 

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Okay.

 

 

 

272

 

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And yeah, yeah, and Steph has done,

 

you know, loads of sort of cool movies.

 

 

 

273

 

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Well, was

 

 

 

274

 

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Marc Preston: this part of

 

your life for your family?

 

 

 

275

 

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Was the theater or was acting part

 

of what you were up to when you

 

 

 

276

 

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were, uh, when you were young?

 

 

 

277

 

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Or was this something y'all

 

just all happened into?

 

 

 

278

 

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Dimitri Leonidas: It was quite weird.

 

 

 

279

 

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My sisters were, were sort of into

 

like singing and dancing and were

 

 

 

280

 

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going to these lessons and, and they

 

eventually got into acting with,

 

 

 

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I think the dancing stuff stopped

 

and acting became the next fad.

 

 

 

282

 

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And, and so they were going to, it was,

 

I, when I say sort of classes, it was,

 

 

 

283

 

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um, it was a room above a pub in Wembley

 

and the lady that run the class, you could

 

 

 

284

 

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sort of, you know, drop your kids off.

 

 

 

285

 

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Um, after school and leave them there

 

for an hour or two and uh, and the lady

 

 

 

286

 

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that run the class would sort of teach,

 

you know, basic drama skills at that age.

 

 

 

287

 

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It was, it was more sort of acting games,

 

um, sort of improvisation and stuff.

 

 

 

288

 

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And I, I didn't really,

 

I had no interest in it.

 

 

 

289

 

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Um, but my mom was sort

 

of encouraging me to go.

 

 

 

290

 

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I think she felt quite bad that I was just

 

sort of hanging around the back of his

 

 

 

291

 

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pub, kicking a ball around for an hour

 

and a half while my sisters were doing,

 

 

 

292

 

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you know, their These drama classes.

 

 

 

293

 

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So I eventually went to one of them

 

and, and it just, it just clicked.

 

 

 

294

 

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I loved it.

 

 

 

295

 

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Um, I found I had a confidence doing

 

sort of improvisation, um, that I

 

 

 

296

 

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didn't know where that came from.

 

 

 

297

 

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It just, it just was something I really

 

enjoyed and, uh, used to think about.

 

 

 

298

 

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It was only once a week after school on

 

a Thursday and I'd spend the rest of the

 

 

 

299

 

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week sort of wondering, Oh, what would

 

happen, what's going to happen next week?

 

 

 

300

 

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You know, the, this excitement of.

 

 

 

301

 

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The spontaneity of improvising and,

 

and, um, This sort of stored energy that

 

 

 

302

 

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you have as a kid suddenly all clicking

 

and just requiring you to, to, to

 

 

 

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Marc Preston: work.

 

 

 

304

 

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Well, kids all, you know, all kids

 

have that sense of play already kind

 

 

 

305

 

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of built in, you know, it's an avenue.

 

 

 

306

 

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Well, you said this was taking place,

 

uh, in a, in the back of a pub, you say?

 

 

 

307

 

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Dimitri Leonidas: Yeah, it was,

 

uh, initially it was just a

 

 

 

308

 

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room above a pub in Wembley.

 

 

 

309

 

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Um, and as, as the sort of years

 

passed, They found slightly more, I

 

 

 

310

 

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guess, appropriate venues to host.

 

 

 

311

 

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I was about

 

 

 

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Marc Preston: to say, that's gotta

 

be really interesting given the,

 

 

 

313

 

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uh, uh, things that happen at a pub,

 

you know, to be able to have a lot

 

 

 

314

 

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of, it's quite festive, you know?

 

 

 

315

 

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Yeah.

 

 

 

316

 

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Dimitri Leonidas: Yeah.

 

 

 

317

 

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Yeah.

 

 

 

318

 

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Marc Preston: No.

 

 

 

319

 

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When you were in school, were you, uh,

 

was this, was this kind of like your

 

 

 

320

 

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outlet or were you also doing like sports

 

or other kinds of activities as a kid?

 

 

 

321

 

00:16:10,445 --> 00:16:14,154

 

Dimitri Leonidas: Yeah, I guess I w I

 

wouldn't say I was the sportiest kid.

 

 

 

322

 

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I mean, I played football and, and,

 

uh, Um, you know, I, I, the, the

 

 

 

323

 

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acting thing kind of, I had a few

 

jobs when I was a teenager, but I

 

 

 

324

 

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never really wanted my friends at

 

school to know about it too much.

 

 

 

325

 

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It was one of those things that

 

was more a reason that you might,

 

 

 

326

 

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you know, get picked on or, um,

 

it just wasn't something that I, I

 

 

 

327

 

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wanted people necessarily to know.

 

 

 

328

 

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Um, and then obviously I was away

 

for sort of six, seven weeks.

 

 

 

329

 

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There was a TV show I

 

did called Grange Hill.

 

 

 

330

 

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Which is a, um, a school show.

 

 

 

331

 

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It's a, it's a, it's about a high school.

 

 

 

332

 

00:16:53,370 --> 00:16:57,620

 

It's very well known in the UK cause it

 

was a sort of working class high school

 

 

 

333

 

00:16:57,680 --> 00:17:03,180

 

show, um, that had been running for when

 

I was in, it had been on for 25 years.

 

 

 

334

 

00:17:03,180 --> 00:17:03,519

 

Kind of thing.

 

 

 

335

 

00:17:03,519 --> 00:17:04,800

 

It was this long standing show.

 

 

 

336

 

00:17:04,800 --> 00:17:09,640

 

And, and, uh, and so I was, we'd film

 

most of it over the summer holiday, but a

 

 

 

337

 

00:17:09,640 --> 00:17:11,160

 

few weeks would run into the school year.

 

 

 

338

 

00:17:11,819 --> 00:17:15,020

 

And so when I went back to school, some

 

people would ask what I was doing and

 

 

 

339

 

00:17:15,339 --> 00:17:17,109

 

rumor got out that I was in this show.

 

 

 

340

 

00:17:17,109 --> 00:17:17,240

 

And.

 

 

 

341

 

00:17:18,155 --> 00:17:20,974

 

And I remember one kid

 

saying, you're just lying.

 

 

 

342

 

00:17:20,984 --> 00:17:23,055

 

You're just saying it so

 

that people respect you.

 

 

 

343

 

00:17:23,055 --> 00:17:26,244

 

And I kind of thought, good,

 

let everyone think I'm lying.

 

 

 

344

 

00:17:26,595 --> 00:17:29,645

 

Um, because it just, it just

 

kept people off your back.

 

 

 

345

 

00:17:29,675 --> 00:17:32,024

 

You know, attention in high school,

 

that sort of attention was not.

 

 

 

346

 

00:17:32,124 --> 00:17:32,294

 

Was

 

 

 

347

 

00:17:32,295 --> 00:17:35,574

 

Marc Preston: the show already

 

out or was this, uh, or was

 

 

 

348

 

00:17:36,085 --> 00:17:36,225

 

Dimitri Leonidas: it?

 

 

 

349

 

00:17:36,274 --> 00:17:39,985

 

The show was long running, but the

 

stuff I had filmed wasn't out until

 

 

 

350

 

00:17:40,125 --> 00:17:42,225

 

the sort of next term kind of thing.

 

 

 

351

 

00:17:42,264 --> 00:17:45,995

 

So we'd film over the summer

 

holidays and into the, the, the,

 

 

 

352

 

00:17:46,145 --> 00:17:47,275

 

the beginning of the school year.

 

 

 

353

 

00:17:47,899 --> 00:17:52,560

 

And then it would come out sort of, I

 

guess, I guess in a few months time and,

 

 

 

354

 

00:17:52,560 --> 00:17:55,740

 

uh, and then once it was out, it was

 

kind of this weird thing where people

 

 

 

355

 

00:17:55,740 --> 00:17:59,460

 

were watching it and, and there's a

 

sort of weird response to, to being.

 

 

 

356

 

00:17:59,780 --> 00:18:03,450

 

In a show when you're at school like that.

 

 

 

357

 

00:18:03,450 --> 00:18:04,714

 

How

 

 

 

358

 

00:18:04,714 --> 00:18:05,979

 

Marc Preston: old

 

 

 

359

 

00:18:08,660 --> 00:18:10,540

 

were you roughly when,

 

when you were shooting?

 

 

 

360

 

00:18:10,550 --> 00:18:10,630

 

I

 

 

 

361

 

00:18:10,630 --> 00:18:12,349

 

Dimitri Leonidas: mean, I

 

would have been about 12 or 13.

 

 

 

362

 

00:18:12,420 --> 00:18:12,640

 

Oh,

 

 

 

363

 

00:18:12,650 --> 00:18:12,900

 

Marc Preston: okay.

 

 

 

364

 

00:18:12,900 --> 00:18:13,140

 

Dimitri Leonidas: Okay.

 

 

 

365

 

00:18:13,450 --> 00:18:14,480

 

I was, I was quite young.

 

 

 

366

 

00:18:14,480 --> 00:18:15,719

 

So it was kind of weird thing to do.

 

 

 

367

 

00:18:15,719 --> 00:18:20,179

 

And, and, and, uh, you do feel

 

like you're sort of coexisting in

 

 

 

368

 

00:18:20,180 --> 00:18:24,639

 

two different worlds, you know,

 

high school life and, and all the,

 

 

 

369

 

00:18:24,779 --> 00:18:26,579

 

the trimmings that come with that.

 

 

 

370

 

00:18:26,619 --> 00:18:31,620

 

And then a professional

 

environment, um, that is.

 

 

 

371

 

00:18:32,654 --> 00:18:36,834

 

Uh, that, that has its own sort

 

of peculiarities, really, of

 

 

 

372

 

00:18:36,834 --> 00:18:44,564

 

being on Tenny and a certain,

 

um, whirlpool of, of that world.

 

 

 

373

 

00:18:44,745 --> 00:18:50,435

 

Um, and seeing sort of kids, you know,

 

having their eyes sort of, like, open to

 

 

 

374

 

00:18:50,435 --> 00:18:52,575

 

the idea of maybe, you know Being active.

 

 

 

375

 

00:18:52,575 --> 00:18:55,505

 

I mean, I never saw it that way, but

 

I remember some people, you know, you

 

 

 

376

 

00:18:55,505 --> 00:19:00,145

 

could easily get carried away in, in,

 

in that it, you know, some of the kids

 

 

 

377

 

00:19:00,145 --> 00:19:04,535

 

that went, that were in the show were

 

from more drama school background.

 

 

 

378

 

00:19:04,595 --> 00:19:06,714

 

So this was something they

 

would have been planning.

 

 

 

379

 

00:19:06,754 --> 00:19:06,865

 

I

 

 

 

380

 

00:19:06,865 --> 00:19:09,734

 

Marc Preston: always imagine over

 

there that it's more people start

 

 

 

381

 

00:19:09,735 --> 00:19:12,575

 

in theater, you know, kind of,

 

that's kind of the cliche idea.

 

 

 

382

 

00:19:12,675 --> 00:19:17,200

 

Everybody's studying Shakespeare

 

out of the gate, you know, Was

 

 

 

383

 

00:19:17,200 --> 00:19:20,350

 

it received like, or people

 

thinking, Hey, this is really cool.

 

 

 

384

 

00:19:20,350 --> 00:19:22,820

 

Or were they, you know, being

 

that age, things are awkward

 

 

 

385

 

00:19:22,820 --> 00:19:25,280

 

enough as it is, where they kind

 

of, were you getting singled out?

 

 

 

386

 

00:19:25,280 --> 00:19:28,650

 

Like, okay, this, this punk over here

 

thinks he's something special, you know?

 

 

 

387

 

00:19:28,750 --> 00:19:31,950

 

Dimitri Leonidas: Well, I remember getting

 

out of the train station one day and going

 

 

 

388

 

00:19:32,060 --> 00:19:38,230

 

to school and some guy, these guys in

 

hoodies saw me and were like, you know,

 

 

 

389

 

00:19:38,230 --> 00:19:42,840

 

swore at me and you're that, you know,

 

guy off the telly, give me your phone and

 

 

 

390

 

00:19:42,840 --> 00:19:44,789

 

sort of tried to, to sort of surround me.

 

 

 

391

 

00:19:44,789 --> 00:19:47,590

 

And, and, I kind of

 

just carried on walking.

 

 

 

392

 

00:19:47,590 --> 00:19:52,450

 

But so for me, it really wasn't

 

something that I, I was proud of it.

 

 

 

393

 

00:19:52,520 --> 00:19:57,010

 

I was, I felt great about being in

 

it, but the sort of social status that

 

 

 

394

 

00:19:57,010 --> 00:20:00,919

 

came from it, um, was not something

 

that I was in an environment where that

 

 

 

395

 

00:20:01,330 --> 00:20:03,349

 

would necessarily put you up higher.

 

 

 

396

 

00:20:04,035 --> 00:20:04,875

 

in the hierarchy.

 

 

 

397

 

00:20:04,875 --> 00:20:10,425

 

I mean, um, it felt great to be in the

 

show and it was a sort of privately.

 

 

 

398

 

00:20:10,425 --> 00:20:14,684

 

I was beginning to sort of see

 

that there was an opportunity

 

 

 

399

 

00:20:14,685 --> 00:20:16,075

 

here for a career in it as well.

 

 

 

400

 

00:20:16,084 --> 00:20:19,364

 

I was like, okay, it came out of nowhere

 

that, you know, getting this job.

 

 

 

401

 

00:20:19,824 --> 00:20:25,114

 

Um, the lady that run these drama classes

 

above the pub, she had these connections

 

 

 

402

 

00:20:25,115 --> 00:20:29,495

 

to certain casting directors and, and

 

she'd said to my parents, look, I would

 

 

 

403

 

00:20:29,495 --> 00:20:31,625

 

like to put Dimitri up for some stuff.

 

 

 

404

 

00:20:31,625 --> 00:20:32,289

 

I think he'd be great.

 

 

 

405

 

00:20:32,570 --> 00:20:33,280

 

You know, do it.

 

 

 

406

 

00:20:33,530 --> 00:20:34,300

 

How would he feel about it?

 

 

 

407

 

00:20:34,460 --> 00:20:35,770

 

How would you guys feel about it?

 

 

 

408

 

00:20:36,159 --> 00:20:38,590

 

And, um, I was, of

 

course, like, Yeah, great.

 

 

 

409

 

00:20:38,629 --> 00:20:40,179

 

You know, so I did some extra work.

 

 

 

410

 

00:20:40,690 --> 00:20:44,370

 

Um, often there's sort of like

 

crime shows that were on telly.

 

 

 

411

 

00:20:44,629 --> 00:20:48,520

 

They would want, you know, sort of

 

street, more urban kids as extras in the

 

 

 

412

 

00:20:48,530 --> 00:20:53,380

 

background, and they would go to this

 

this, um, this sort of drama class after

 

 

 

413

 

00:20:53,380 --> 00:20:57,420

 

school because she had a lot of kids from

 

local estates that she had just helped

 

 

 

414

 

00:20:58,045 --> 00:21:03,525

 

Prepare to go into, you know, almost, you

 

know, credit to her, but through osmosis,

 

 

 

415

 

00:21:03,575 --> 00:21:05,435

 

just being at those lessons, you kind of.

 

 

 

416

 

00:21:05,820 --> 00:21:09,460

 

You did have this sort of preparation

 

to go in, even if it's just to do a

 

 

 

417

 

00:21:09,460 --> 00:21:11,999

 

few days of extra work, you know, was

 

 

 

418

 

00:21:12,000 --> 00:21:14,109

 

Marc Preston: your mind shifting in

 

the direction of like, okay, this

 

 

 

419

 

00:21:14,110 --> 00:21:17,939

 

may be what I want to do when I'm a

 

grownup, you know, or were, were you

 

 

 

420

 

00:21:17,949 --> 00:21:19,589

 

still thinking this is cool for now?

 

 

 

421

 

00:21:19,589 --> 00:21:23,280

 

And, uh, there's something else on

 

the agenda that you were thinking that

 

 

 

422

 

00:21:23,319 --> 00:21:25,100

 

would be really cool to do for a living.

 

 

 

423

 

00:21:25,229 --> 00:21:27,090

 

What, what was your aspiration?

 

 

 

424

 

00:21:27,440 --> 00:21:30,150

 

I know it's only 12 and 13 years

 

old, but we're thinking there was

 

 

 

425

 

00:21:30,150 --> 00:21:32,540

 

something else you wanted to do as well.

 

 

 

426

 

00:21:32,590 --> 00:21:36,155

 

Dimitri Leonidas: No, I think,

 

I think I, I started to realize,

 

 

 

427

 

00:21:36,225 --> 00:21:40,375

 

like, that I, I really enjoyed it.

 

 

 

428

 

00:21:41,345 --> 00:21:46,834

 

I, I think it's hard because

 

looking back, I go, what point

 

 

 

429

 

00:21:46,844 --> 00:21:49,415

 

did I really solidify in my mind?

 

 

 

430

 

00:21:49,895 --> 00:21:51,725

 

And it's hard to identify exactly.

 

 

 

431

 

00:21:51,755 --> 00:21:58,285

 

But I think at that time, I remember

 

thinking there is a potential, you know,

 

 

 

432

 

00:21:58,285 --> 00:22:02,175

 

because it's so, when you, at that,

 

at that time, going into acting felt

 

 

 

433

 

00:22:02,255 --> 00:22:05,345

 

like something that other people did.

 

 

 

434

 

00:22:05,785 --> 00:22:09,200

 

Um, I'm Putting yourself in an

 

environment where you're doing it and

 

 

 

435

 

00:22:09,200 --> 00:22:12,400

 

then you're watching yourself on telly

 

and you're going, Oh, this is what it is.

 

 

 

436

 

00:22:12,680 --> 00:22:15,610

 

It's like the process is already

 

something I'm undergoing.

 

 

 

437

 

00:22:15,640 --> 00:22:20,700

 

You learn your lines and you turn up

 

and you have long days of filming,

 

 

 

438

 

00:22:20,729 --> 00:22:22,980

 

but these, this is what the job is.

 

 

 

439

 

00:22:22,980 --> 00:22:29,630

 

And so it kind of pulled away the mystique

 

of, of, you know, film and television and

 

 

 

440

 

00:22:29,630 --> 00:22:31,880

 

actually felt like something quite real.

 

 

 

441

 

00:22:32,270 --> 00:22:36,980

 

Um, and I think that

 

calcify in my head as, as.

 

 

 

442

 

00:22:37,564 --> 00:22:38,885

 

something I really wanted to do.

 

 

 

443

 

00:22:39,105 --> 00:22:44,915

 

And so I continued to sort of pursue

 

it and, and, you know, move up through,

 

 

 

444

 

00:22:44,955 --> 00:22:46,764

 

through different agents and stuff.

 

 

 

445

 

00:22:46,764 --> 00:22:47,965

 

And I didn't go to drama school.

 

 

 

446

 

00:22:47,965 --> 00:22:50,624

 

And as you say, that is the

 

traditional route very much still

 

 

 

447

 

00:22:50,915 --> 00:22:55,674

 

in the UK is, is learning your, your

 

craft through, um, through drama

 

 

 

448

 

00:22:55,675 --> 00:22:57,384

 

school and through theater training.

 

 

 

449

 

00:22:57,924 --> 00:23:01,475

 

And so having not done that, I always

 

felt a little bit like, am I missing out?

 

 

 

450

 

00:23:01,765 --> 00:23:05,085

 

What, what am I not, you know, I'm, I

 

haven't gone through formal training.

 

 

 

451

 

00:23:05,105 --> 00:23:06,795

 

I'm just sort of winging it.

 

 

 

452

 

00:23:08,320 --> 00:23:13,159

 

But I guess I had the advantage of having

 

some experience and knowing what the

 

 

 

453

 

00:23:13,159 --> 00:23:15,820

 

ins and outs of the day on set entail.

 

 

 

454

 

00:23:15,879 --> 00:23:17,620

 

Marc Preston: Yeah, but it

 

definitely was a job in your mind.

 

 

 

455

 

00:23:17,620 --> 00:23:20,530

 

You could kind of see this as being

 

a vocation because I hear, you know,

 

 

 

456

 

00:23:20,530 --> 00:23:24,530

 

some younger kids, some child actors

 

I'd spoken with over the years,

 

 

 

457

 

00:23:24,919 --> 00:23:28,250

 

they've said, you know, they, it was

 

kind of fun for them, but they didn't

 

 

 

458

 

00:23:28,260 --> 00:23:32,190

 

really perceive it as, Oh, I can make

 

a living doing this thing, you know?

 

 

 

459

 

00:23:32,190 --> 00:23:34,359

 

So that was, that's kind

 

of a nice little epiphany.

 

 

 

460

 

00:23:34,359 --> 00:23:36,360

 

And did you stay in school?

 

 

 

461

 

00:23:36,630 --> 00:23:40,080

 

Like, as things progressed, you know,

 

12, 13, did you stay in school or did

 

 

 

462

 

00:23:40,080 --> 00:23:43,200

 

you start getting a lot of, a lot more

 

work and we're doing the kind of the

 

 

 

463

 

00:23:43,750 --> 00:23:45,590

 

onset where they call the tutoring?

 

 

 

464

 

00:23:45,600 --> 00:23:48,629

 

Dimitri Leonidas: Yeah, I mean, I mean,

 

there was, whilst we were doing the

 

 

 

465

 

00:23:48,629 --> 00:23:52,209

 

show, there was, there was tutoring,

 

but I was, I was in school, you

 

 

 

466

 

00:23:52,209 --> 00:23:55,800

 

know, um, I, I did college as well.

 

 

 

467

 

00:23:55,940 --> 00:24:04,060

 

Um, so I kind of went through as far as I

 

felt was, was sort of, I should in terms

 

 

 

468

 

00:24:04,060 --> 00:24:06,089

 

of formal education, you know, academic.

 

 

 

469

 

00:24:06,089 --> 00:24:06,139

 

Right.

 

 

 

470

 

00:24:06,520 --> 00:24:07,300

 

education.

 

 

 

471

 

00:24:07,490 --> 00:24:11,880

 

Um, I went to college, but I sort of

 

knew in the back of my mind, I was

 

 

 

472

 

00:24:11,880 --> 00:24:13,550

 

going to try and take a swing at acting.

 

 

 

473

 

00:24:13,590 --> 00:24:17,670

 

I was going to try and get a slightly

 

better agent off the back of having done,

 

 

 

474

 

00:24:18,020 --> 00:24:19,760

 

you know, a few bits of television work.

 

 

 

475

 

00:24:20,390 --> 00:24:25,859

 

Um, and, and, you know, at that point

 

it's, it is, they're the hardest years

 

 

 

476

 

00:24:25,860 --> 00:24:33,270

 

really, where you're sort of like, you

 

know, trying to figure out how realistic

 

 

 

477

 

00:24:33,270 --> 00:24:38,455

 

it is, knowing that there's an element of

 

it's, Up to the sort of gods in a way, you

 

 

 

478

 

00:24:38,455 --> 00:24:41,905

 

know, there's so much your uncertainty.

 

 

 

479

 

00:24:42,004 --> 00:24:42,405

 

Yeah.

 

 

 

480

 

00:24:42,844 --> 00:24:47,264

 

And, and, and, you know, my dad, you

 

know, as I explained the sort of in the

 

 

 

481

 

00:24:47,274 --> 00:24:52,104

 

background of all that is sort of building

 

his, his business and, and I think was

 

 

 

482

 

00:24:52,135 --> 00:24:56,694

 

quite keen for me to sort of go in into

 

that and take over what he'd started.

 

 

 

483

 

00:24:56,694 --> 00:25:01,315

 

And so, you know, uh, I had to

 

sort of try and juggle those things

 

 

 

484

 

00:25:01,674 --> 00:25:05,145

 

and, uh, I mean, he's extremely

 

supportive now, but understandably.

 

 

 

485

 

00:25:06,125 --> 00:25:11,495

 

You know, telling my Greengrass, the

 

dad that I want to go into like acting.

 

 

 

486

 

00:25:11,504 --> 00:25:14,624

 

Marc Preston: What did your mother,

 

was she also a Cypriot or did

 

 

 

487

 

00:25:14,624 --> 00:25:15,924

 

he meet your mother in the UK?

 

 

 

488

 

00:25:15,985 --> 00:25:17,095

 

Dimitri Leonidas: They met in the UK.

 

 

 

489

 

00:25:17,155 --> 00:25:21,584

 

Um, and, and you know, it was my

 

mom, I guess, who really was sort

 

 

 

490

 

00:25:21,584 --> 00:25:26,265

 

of encouraging us to sort of try

 

these things, you know, try and go

 

 

 

491

 

00:25:26,265 --> 00:25:29,075

 

to these extra curriculum activities.

 

 

 

492

 

00:25:29,075 --> 00:25:34,594

 

And so my sisters were doing bits of

 

singing and dancing, as I said, and, um,

 

 

 

493

 

00:25:35,324 --> 00:25:36,864

 

And she passed away when I was young.

 

 

 

494

 

00:25:36,875 --> 00:25:40,484

 

My mom passed away when I was 13.

 

 

 

495

 

00:25:40,765 --> 00:25:44,904

 

Um, so it was kind of mad, you know,

 

like three sisters and myself and my dad,

 

 

 

496

 

00:25:44,904 --> 00:25:49,364

 

all trying to figure out how to proceed,

 

you know, because you're, you're, you're

 

 

 

497

 

00:25:50,334 --> 00:25:55,345

 

beyond the sort of tragedy of it is,

 

is the absurdity of it, which is like.

 

 

 

498

 

00:25:56,114 --> 00:26:00,384

 

Now what like and and you know coming

 

to terms with it in just a sort of

 

 

 

499

 

00:26:00,384 --> 00:26:08,514

 

everyday way And it and and so, you

 

know In that sort of chaos, I think

 

 

 

500

 

00:26:08,514 --> 00:26:10,284

 

you grow up quite quickly in your head.

 

 

 

501

 

00:26:10,315 --> 00:26:10,964

 

You sort of go.

 

 

 

502

 

00:26:11,014 --> 00:26:11,854

 

Okay Well the

 

 

 

503

 

00:26:11,855 --> 00:26:14,224

 

Marc Preston: acting that that was right

 

about the time you were doing this show

 

 

 

504

 

00:26:14,224 --> 00:26:18,154

 

me the acting had to been somewhat of

 

a Escape for you at least a little bit.

 

 

 

505

 

00:26:18,194 --> 00:26:18,665

 

Dimitri Leonidas: Yeah.

 

 

 

506

 

00:26:18,755 --> 00:26:21,340

 

Yeah, it was Yeah, it was.

 

 

 

507

 

00:26:21,370 --> 00:26:28,060

 

And, and I think it was like kind

 

of schizophrenic in my head in

 

 

 

508

 

00:26:28,060 --> 00:26:33,689

 

a way that I was already trying

 

to not bring the acting part.

 

 

 

509

 

00:26:33,839 --> 00:26:36,320

 

It was not something I was

 

bringing into the school too much.

 

 

 

510

 

00:26:36,320 --> 00:26:38,889

 

And then in the background of

 

that, with my mom, there was

 

 

 

511

 

00:26:38,899 --> 00:26:41,109

 

like a third narrative going.

 

 

 

512

 

00:26:41,110 --> 00:26:45,760

 

And so I think I got used to, I think

 

as you get older, you used to, you do

 

 

 

513

 

00:26:45,760 --> 00:26:47,760

 

naturally have several parts of yourself.

 

 

 

514

 

00:26:49,189 --> 00:26:49,730

 

operate.

 

 

 

515

 

00:26:50,170 --> 00:26:53,370

 

And I think quite quickly, I

 

sort of had to dissect parts of

 

 

 

516

 

00:26:53,370 --> 00:26:55,840

 

myself and go, this isn't useful.

 

 

 

517

 

00:26:56,110 --> 00:26:59,600

 

You know, I mean, I remember my sister

 

saying to me, she was like, try and

 

 

 

518

 

00:26:59,600 --> 00:27:04,170

 

not let what's going on with us at home

 

affect what you're doing on the job.

 

 

 

519

 

00:27:05,225 --> 00:27:07,534

 

And I thought it was a really

 

mature thing for her to say.

 

 

 

520

 

00:27:07,544 --> 00:27:12,885

 

It was like, and I totally understood why

 

she was saying it, but, um, you know, so

 

 

 

521

 

00:27:12,885 --> 00:27:19,435

 

it was a lot of like, very quickly learn,

 

learn to, to, to adapt to environments

 

 

 

522

 

00:27:19,435 --> 00:27:21,745

 

that are changing and, and, um,

 

 

 

523

 

00:27:22,965 --> 00:27:23,145

 

Marc Preston: Yeah.

 

 

 

524

 

00:27:23,145 --> 00:27:25,395

 

And that, that time of life

 

is awkward enough as it is.

 

 

 

525

 

00:27:25,405 --> 00:27:26,504

 

So that had to be, you know,

 

 

 

526

 

00:27:26,675 --> 00:27:26,804

 

Dimitri Leonidas: at

 

 

 

527

 

00:27:27,784 --> 00:27:30,594

 

Marc Preston: least you had your, your,

 

your father, your sisters there did, you

 

 

 

528

 

00:27:30,594 --> 00:27:34,834

 

know, you know, you haven't me growing

 

up as an only child, I have three kids.

 

 

 

529

 

00:27:34,834 --> 00:27:36,165

 

I live vicariously through them.

 

 

 

530

 

00:27:36,174 --> 00:27:37,504

 

What's it like to have siblings?

 

 

 

531

 

00:27:37,504 --> 00:27:40,435

 

You know, because as an only

 

kid, I had a dog, you know, that

 

 

 

532

 

00:27:40,435 --> 00:27:42,014

 

was about as close as we got.

 

 

 

533

 

00:27:42,344 --> 00:27:43,135

 

One last question.

 

 

 

534

 

00:27:43,135 --> 00:27:46,485

 

I, I always ended up talking to

 

food at least once every episode.

 

 

 

535

 

00:27:46,844 --> 00:27:50,095

 

And one of my, some of my favorite

 

food is from that, uh, Part, you

 

 

 

536

 

00:27:50,095 --> 00:27:55,045

 

know, the, the ri the, the cuisine

 

is very, very much similar to Greek.

 

 

 

537

 

00:27:55,045 --> 00:27:55,345

 

Don't they?

 

 

 

538

 

00:27:55,345 --> 00:27:57,985

 

Don't they have like li long lifespans?

 

 

 

539

 

00:27:57,985 --> 00:28:00,535

 

Isn't that kind of a cprt thing

 

because of the way they eat, or, yes.

 

 

 

540

 

00:28:00,715 --> 00:28:01,315

 

Dimitri Leonidas: No, you're right.

 

 

 

541

 

00:28:01,320 --> 00:28:05,695

 

There's, there's a Greek island where

 

it has the oldest living inhabitants.

 

 

 

542

 

00:28:05,700 --> 00:28:08,905

 

They're all living till like 110, 115.

 

 

 

543

 

00:28:08,905 --> 00:28:10,735

 

And, and it's exactly what you say.

 

 

 

544

 

00:28:11,610 --> 00:28:12,490

 

It's olive oil.

 

 

 

545

 

00:28:12,490 --> 00:28:13,530

 

It's fresh fish.

 

 

 

546

 

00:28:13,879 --> 00:28:15,429

 

It's seasonal vegetables.

 

 

 

547

 

00:28:15,509 --> 00:28:18,554

 

Marc Preston: Is your father a

 

cook or was that something he did?

 

 

 

548

 

00:28:18,554 --> 00:28:20,379

 

I mean, does he know how

 

to make some of these?

 

 

 

549

 

00:28:20,399 --> 00:28:21,229

 

No, it's the answer

 

 

 

550

 

00:28:21,770 --> 00:28:22,149

 

Dimitri Leonidas: to that.

 

 

 

551

 

00:28:22,189 --> 00:28:25,769

 

I mean, he, you know, he,

 

um, he loves his food.

 

 

 

552

 

00:28:25,919 --> 00:28:30,300

 

My dad, um, he's not, he's not

 

necessarily a good cook, but he's sisters.

 

 

 

553

 

00:28:30,329 --> 00:28:35,640

 

So my aunties, um, would always sort of

 

bring Greek food around, you know, Easter.

 

 

 

554

 

00:28:36,310 --> 00:28:37,760

 

Marc Preston: He'll provide the groceries.

 

 

 

555

 

00:28:37,770 --> 00:28:39,290

 

Dimitri Leonidas: He'll

 

provide the groceries, yeah.

 

 

 

556

 

00:28:39,620 --> 00:28:39,630

 

I

 

 

 

557

 

00:28:39,880 --> 00:28:42,166

 

Marc Preston: was curious, have you

 

stayed, uh, have you always kind of lived

 

 

 

558

 

00:28:42,166 --> 00:28:46,389

 

in the UK, or have you tried living in

 

LA, or have you kind of moved around,

 

 

 

559

 

00:28:46,390 --> 00:28:47,850

 

or has this always been your home base?

 

 

 

560

 

00:28:48,190 --> 00:28:51,129

 

Dimitri Leonidas: This has always been

 

my home base, although over the last, I'd

 

 

 

561

 

00:28:51,130 --> 00:28:55,880

 

say, sort of 10, 12 years, I've probably

 

spent half of that time working abroad.

 

 

 

562

 

00:28:56,440 --> 00:29:01,559

 

I always seem to get jobs that are like

 

6, 7 months abroad, and I've been really

 

 

 

563

 

00:29:01,559 --> 00:29:03,029

 

fortunate that it's been you know.

 

 

 

564

 

00:29:03,409 --> 00:29:07,539

 

I spent like a year in Malta

 

filming a TV show and really

 

 

 

565

 

00:29:07,669 --> 00:29:09,439

 

six, seven months in Berlin.

 

 

 

566

 

00:29:09,800 --> 00:29:14,560

 

Um, uh, a few months in Barcelona,

 

the job, the jobs that I I'd

 

 

 

567

 

00:29:14,560 --> 00:29:18,350

 

landed over the last decade or so

 

were predominantly filmed abroad.

 

 

 

568

 

00:29:18,359 --> 00:29:21,559

 

So it was, it was always

 

nice to come home.

 

 

 

569

 

00:29:21,560 --> 00:29:21,929

 

Actually.

 

 

 

570

 

00:29:21,929 --> 00:29:25,879

 

I, I, I love traveling love, you

 

know, it's, it's something that

 

 

 

571

 

00:29:25,889 --> 00:29:28,639

 

I do even in, in my off off time.

 

 

 

572

 

00:29:28,649 --> 00:29:33,260

 

But, um, Getting to do that with

 

work is, is, is a real privilege.

 

 

 

573

 

00:29:33,510 --> 00:29:33,980

 

Oh, that's,

 

 

 

574

 

00:29:34,040 --> 00:29:34,940

 

Marc Preston: that's pretty awesome.

 

 

 

575

 

00:29:34,940 --> 00:29:38,359

 

I mean, that's one of the things I always

 

wanted to do is, is have a gig where I

 

 

 

576

 

00:29:38,359 --> 00:29:42,380

 

can be able to travel, you know, and being

 

able to go, you're not just traveling

 

 

 

577

 

00:29:42,460 --> 00:29:46,719

 

to like, like LA or again, we'll say

 

like Atlanta, Georgia and the U S you're

 

 

 

578

 

00:29:46,720 --> 00:29:48,570

 

going to some kind of nice exotic places.

 

 

 

579

 

00:29:48,579 --> 00:29:51,270

 

So it's, you know, those about to die.

 

 

 

580

 

00:29:51,270 --> 00:29:52,540

 

Where did y'all shoot that?

 

 

 

581

 

00:29:52,590 --> 00:29:55,580

 

Dimitri Leonidas: So we shot

 

that in, in Italy, in Rome.

 

 

 

582

 

00:29:55,750 --> 00:29:56,230

 

Oh, really?

 

 

 

583

 

00:29:56,230 --> 00:29:56,730

 

Okay.

 

 

 

584

 

00:29:57,080 --> 00:29:57,540

 

Yeah.

 

 

 

585

 

00:29:57,689 --> 00:29:57,979

 

Yeah.

 

 

 

586

 

00:29:57,979 --> 00:30:04,045

 

And they have, um, the studios there,

 

Chinichita, and uh, and also some sets

 

 

 

587

 

00:30:04,065 --> 00:30:05,765

 

that was, were outside of the studio.

 

 

 

588

 

00:30:07,375 --> 00:30:12,375

 

There was a remake of Ben Hur a

 

few years ago, and for that film,

 

 

 

589

 

00:30:12,375 --> 00:30:14,685

 

they had built Circus Maximus.

 

 

 

590

 

00:30:15,045 --> 00:30:17,825

 

Um, and that set is still there.

 

 

 

591

 

00:30:18,244 --> 00:30:21,574

 

And so Yeah, it's an

 

amazing set, actually.

 

 

 

592

 

00:30:21,574 --> 00:30:27,074

 

And for the chariot racing and training

 

that I had to do, and also for filming,

 

 

 

593

 

00:30:27,074 --> 00:30:30,430

 

we were using That Circus Maximus set.

 

 

 

594

 

00:30:30,920 --> 00:30:31,510

 

Um, yeah, it's

 

 

 

595

 

00:30:31,510 --> 00:30:32,800

 

Marc Preston: funny you say

 

that cause I was watching it.

 

 

 

596

 

00:30:32,800 --> 00:30:36,850

 

I was thinking, well, of course there,

 

I'm sure there's some element of CGI

 

 

 

597

 

00:30:36,850 --> 00:30:39,870

 

cause you can't just recreate Rome,

 

you know, can't rebuild Rome, but,

 

 

 

598

 

00:30:40,170 --> 00:30:43,570

 

but I'm going, okay, this guy really

 

looks like he's doing some horse stuff.

 

 

 

599

 

00:30:43,915 --> 00:30:47,385

 

You know, so, you know, so the, what

 

kind of training did you have to go

 

 

 

600

 

00:30:47,385 --> 00:30:51,215

 

through to kind of prepare yourself

 

to have a team of four horses?

 

 

 

601

 

00:30:51,245 --> 00:30:51,715

 

Yeah.

 

 

 

602

 

00:30:51,785 --> 00:30:52,175

 

Yeah.

 

 

 

603

 

00:30:52,465 --> 00:30:53,665

 

You know, how did, how did you do that?

 

 

 

604

 

00:30:53,695 --> 00:30:55,725

 

Dimitri Leonidas: So we, we were

 

called out, the sort of charioteers

 

 

 

605

 

00:30:56,735 --> 00:31:01,475

 

were called out to Rome a little

 

earlier and, and were given a sort of

 

 

 

606

 

00:31:01,475 --> 00:31:06,045

 

intensive training, which involved a few

 

things at first, it was like going to

 

 

 

607

 

00:31:06,055 --> 00:31:08,635

 

stables and spending time with horses.

 

 

 

608

 

00:31:08,635 --> 00:31:14,610

 

And, and, uh, my character has,

 

um, There's a few scenes with,

 

 

 

609

 

00:31:14,640 --> 00:31:18,090

 

with a horse in the show called

 

Inchitatus, which is a real horse.

 

 

 

610

 

00:31:18,100 --> 00:31:22,569

 

It was a famous horse in Rome and, uh,

 

so because of that, they were like,

 

 

 

611

 

00:31:22,600 --> 00:31:25,759

 

we need to sort of match you with the,

 

with the right horse for these scenes.

 

 

 

612

 

00:31:26,690 --> 00:31:29,729

 

And, um, so one of the first things

 

I had to do was go and like spend

 

 

 

613

 

00:31:29,729 --> 00:31:30,920

 

time with a few different people.

 

 

 

614

 

00:31:31,310 --> 00:31:33,620

 

potential in Chitatus horses.

 

 

 

615

 

00:31:34,170 --> 00:31:40,919

 

Um, and you know, the first one I,

 

I, I met was this veteran actor horse

 

 

 

616

 

00:31:40,919 --> 00:31:44,249

 

that had been on a bunch of like

 

films and television shows and was a

 

 

 

617

 

00:31:44,249 --> 00:31:49,200

 

bit older and a little bit more, um,

 

you know, a little bit more subdued.

 

 

 

618

 

00:31:49,200 --> 00:31:50,820

 

He was used to being around people.

 

 

 

619

 

00:31:51,239 --> 00:31:52,350

 

He was used to being on set.

 

 

 

620

 

00:31:52,350 --> 00:31:55,030

 

So it was kind of easy to

 

groom him and deal with him.

 

 

 

621

 

00:31:55,650 --> 00:31:58,020

 

But something about it

 

just didn't feel right.

 

 

 

622

 

00:31:58,050 --> 00:32:00,590

 

It was like, it felt

 

too easy or something.

 

 

 

623

 

00:32:00,590 --> 00:32:04,775

 

And then it In the end, you know, we

 

went for this other horse called Silaro.

 

 

 

624

 

00:32:04,785 --> 00:32:09,505

 

My first encounter with him was just,

 

I was in complete awe, it was huge,

 

 

 

625

 

00:32:09,505 --> 00:32:15,905

 

this huge muscular horse that, um,

 

seemed completely like unimpressed.

 

 

 

626

 

00:32:16,060 --> 00:32:17,096

 

And, uh, and

 

 

 

627

 

00:32:17,096 --> 00:32:20,549

 

Marc Preston: it seems like an interesting

 

matchmaking thing they're doing here.

 

 

 

628

 

00:32:20,830 --> 00:32:22,290

 

You know, with you and a horse,

 

 

 

629

 

00:32:23,180 --> 00:32:24,830

 

Dimitri Leonidas: you know,

 

they wanted it to feel right.

 

 

 

630

 

00:32:24,860 --> 00:32:25,270

 

I think.

 

 

 

631

 

00:32:25,280 --> 00:32:30,310

 

And, and, you know, when I got back,

 

you know, after the day I, Roland, the

 

 

 

632

 

00:32:30,310 --> 00:32:32,550

 

director, he was asking me, he was like,

 

so what happened with those horses?

 

 

 

633

 

00:32:32,590 --> 00:32:34,900

 

And I said, there's this one

 

horse that is just so terrifying.

 

 

 

634

 

00:32:35,250 --> 00:32:36,830

 

It's like super intimidating.

 

 

 

635

 

00:32:36,840 --> 00:32:39,600

 

It's like this sort of dragon sized horse.

 

 

 

636

 

00:32:39,950 --> 00:32:44,050

 

Um, that, uh, it's never done

 

any sort of television work.

 

 

 

637

 

00:32:44,050 --> 00:32:44,320

 

It's.

 

 

 

638

 

00:32:45,345 --> 00:32:49,645

 

So it's not, um, accustomed to sort of

 

being on set or anything, but the horse

 

 

 

639

 

00:32:49,645 --> 00:32:54,045

 

is so sort of intimidating, um, and

 

impressive looking that I just thought

 

 

 

640

 

00:32:54,045 --> 00:32:56,495

 

it has to be, it has to be this horse.

 

 

 

641

 

00:32:56,765 --> 00:33:01,154

 

And that's, that's who we went with and,

 

um, yeah, and then, and then, you know,

 

 

 

642

 

00:33:01,154 --> 00:33:03,065

 

slowly getting us used to the chariots.

 

 

 

643

 

00:33:03,095 --> 00:33:08,785

 

We started off on, on carriages and

 

just where you sort of sit and go on the

 

 

 

644

 

00:33:08,785 --> 00:33:10,435

 

carriage and go around Circus Maximus.

 

 

 

645

 

00:33:11,345 --> 00:33:15,575

 

Then upgraded to actual chariots,

 

which, which were terrifying at first.

 

 

 

646

 

00:33:15,575 --> 00:33:17,435

 

It's like standing on a skateboard.

 

 

 

647

 

00:33:18,165 --> 00:33:22,414

 

Um, Roland really wanted to sort

 

of go with a sort of more sporty

 

 

 

648

 

00:33:22,445 --> 00:33:24,124

 

design chariot that was very small.

 

 

 

649

 

00:33:24,825 --> 00:33:29,705

 

Um, and very sort of fast looking

 

and therefore not the safest.

 

 

 

650

 

00:33:29,785 --> 00:33:35,295

 

Um, so, you know, it's like standing on

 

this sort of little, little skateboard.

 

 

 

651

 

00:33:35,675 --> 00:33:36,585

 

With, I would say it

 

 

 

652

 

00:33:36,585 --> 00:33:40,065

 

Marc Preston: sounds kind of like, even

 

in just kind of watching the, they,

 

 

 

653

 

00:33:40,075 --> 00:33:42,724

 

they weren't these really robust things.

 

 

 

654

 

00:33:42,725 --> 00:33:46,114

 

They were just kind of like just a couple

 

of wheels, a little thing to stand in.

 

 

 

655

 

00:33:46,115 --> 00:33:47,375

 

And it's, yeah.

 

 

 

656

 

00:33:48,125 --> 00:33:50,845

 

Dimitri Leonidas: Um, and then

 

four giant Hungarian stunt horses

 

 

 

657

 

00:33:50,865 --> 00:33:54,950

 

that are like, You know, when they

 

want to go, they just want to rip.

 

 

 

658

 

00:33:55,010 --> 00:34:01,219

 

It's like, it's the feeling of, of those

 

horses at full power is, is phenomenal.

 

 

 

659

 

00:34:01,339 --> 00:34:05,850

 

It's like, it's, it's like an

 

earthquake at the end of your hat.

 

 

 

660

 

00:34:05,860 --> 00:34:08,599

 

It's, it's just, I mean,

 

those guys are crazy.

 

 

 

661

 

00:34:08,600 --> 00:34:10,439

 

The stunt guys are absolutely crazy.

 

 

 

662

 

00:34:10,439 --> 00:34:13,479

 

Those Hungarian boys that

 

actually were doing the races.

 

 

 

663

 

00:34:13,920 --> 00:34:18,450

 

And then you think like, they're crazy,

 

but the guys in Rome 2000 years ago,

 

 

 

664

 

00:34:18,490 --> 00:34:22,500

 

doing the races without all the specific

 

equipment that they have for the horses

 

 

 

665

 

00:34:22,500 --> 00:34:23,740

 

today that make it a little more.

 

 

 

666

 

00:34:23,790 --> 00:34:24,010

 

Marc Preston: Yeah.

 

 

 

667

 

00:34:24,010 --> 00:34:24,850

 

And paramedics,

 

 

 

668

 

00:34:27,429 --> 00:34:28,299

 

there was one quote.

 

 

 

669

 

00:34:28,299 --> 00:34:34,930

 

Somebody said that, uh, that horse meats

 

worth more than an injured racing guys.

 

 

 

670

 

00:34:34,930 --> 00:34:40,455

 

Like the cool thing for me was in

 

watching this was that it was a, um, It

 

 

 

671

 

00:34:40,455 --> 00:34:41,875

 

reminded me a little bit of the history.

 

 

 

672

 

00:34:41,875 --> 00:34:44,465

 

I probably should have paid a little

 

bit more attention to in school,

 

 

 

673

 

00:34:44,765 --> 00:34:46,585

 

but it was, what was the life?

 

 

 

674

 

00:34:46,585 --> 00:34:47,585

 

What was the daily life?

 

 

 

675

 

00:34:47,585 --> 00:34:50,585

 

What was the ebb and flow for the,

 

from the peasant folk all the way up

 

 

 

676

 

00:34:50,585 --> 00:34:54,704

 

to the, to the Anthony Hopkins types,

 

the emperor, you kind of saw it in a

 

 

 

677

 

00:34:54,854 --> 00:34:58,174

 

three dimensions as opposed to just, you

 

know, something that seems historical.

 

 

 

678

 

00:34:58,874 --> 00:35:02,605

 

Did you have any epiphanies in doing

 

this or learn something or anything

 

 

 

679

 

00:35:02,615 --> 00:35:06,285

 

about the ecosystem of the Roman life

 

or whatever you want to call that?

 

 

 

680

 

00:35:06,314 --> 00:35:07,795

 

I mean, was there

 

something you picked up on?

 

 

 

681

 

00:35:07,795 --> 00:35:11,295

 

You, you were just kind of like,

 

Pleasantly surprised, uh, to learn.

 

 

 

682

 

00:35:11,425 --> 00:35:12,935

 

Dimitri Leonidas: I mean,

 

there was this great podcast.

 

 

 

683

 

00:35:12,965 --> 00:35:16,885

 

The friend gave me before I started

 

called the history of Rome podcast.

 

 

 

684

 

00:35:17,515 --> 00:35:20,375

 

And, uh, it really is phenomenal.

 

 

 

685

 

00:35:20,375 --> 00:35:24,224

 

It started out as a, as a pet

 

project for him and it, it started

 

 

 

686

 

00:35:24,295 --> 00:35:25,945

 

to build a quite a large audience.

 

 

 

687

 

00:35:25,945 --> 00:35:29,325

 

And then he just commits fully

 

to, and he quits his job and just

 

 

 

688

 

00:35:29,345 --> 00:35:30,835

 

commits to making this podcast.

 

 

 

689

 

00:35:30,835 --> 00:35:30,975

 

And so.

 

 

 

690

 

00:35:31,765 --> 00:35:37,265

 

I was listening to that whilst, you

 

know, shooting and, um, there's so

 

 

 

691

 

00:35:37,285 --> 00:35:44,744

 

many really interesting little stories

 

that, um, I mean, Vespasian was an

 

 

 

692

 

00:35:44,744 --> 00:35:46,514

 

emperor that created public lavatories.

 

 

 

693

 

00:35:47,365 --> 00:35:51,674

 

Uh, and so in, in Rome, in Italy,

 

they call them Vespasianos, I

 

 

 

694

 

00:35:51,675 --> 00:35:52,805

 

think is the public lavatories.

 

 

 

695

 

00:35:52,915 --> 00:35:54,725

 

He, he, he created those things.

 

 

 

696

 

00:35:54,735 --> 00:36:00,515

 

So there's all these really sort of tiny

 

little stories and nuggets of, of, Call

 

 

 

697

 

00:36:00,515 --> 00:36:06,205

 

it cool pieces of info that come out,

 

um, you know, in, in, in researching

 

 

 

698

 

00:36:06,205 --> 00:36:10,314

 

the show and that, that period of time,

 

I think for me, it was trying to get

 

 

 

699

 

00:36:10,315 --> 00:36:14,435

 

my head around, just they see the world

 

slightly different to us in many ways.

 

 

 

700

 

00:36:14,634 --> 00:36:18,865

 

You know, we talk about Rome being the

 

basis of our civilization today, and it

 

 

 

701

 

00:36:18,874 --> 00:36:23,705

 

is in so many ways, the idea of bread

 

and circus, the politics, the class

 

 

 

702

 

00:36:23,735 --> 00:36:29,645

 

system, all of it is, you know, we can

 

draw a line from that time to today.

 

 

 

703

 

00:36:29,645 --> 00:36:31,264

 

And so many of these sort of large.

 

 

 

704

 

00:36:32,025 --> 00:36:36,015

 

Um, this sort of large things that

 

still exist today, but there's

 

 

 

705

 

00:36:36,015 --> 00:36:38,715

 

also an element where they saw

 

the world so differently to us.

 

 

 

706

 

00:36:39,255 --> 00:36:44,354

 

And that was, was kind of fascinating

 

that we, we sort of are far more, I

 

 

 

707

 

00:36:44,385 --> 00:36:50,344

 

think, atheistic and, and, and post

 

sort of cycle, you know, psychotherapy.

 

 

 

708

 

00:36:50,345 --> 00:36:50,674

 

We.

 

 

 

709

 

00:36:50,935 --> 00:36:55,815

 

We analyze our behavior in certain

 

ways that you have to, you know,

 

 

 

710

 

00:36:56,175 --> 00:36:59,265

 

for a show like this in particular,

 

you have to be very careful.

 

 

 

711

 

00:36:59,265 --> 00:37:03,195

 

You don't, you're not too clinical

 

with your approach to these characters

 

 

 

712

 

00:37:03,245 --> 00:37:07,615

 

because somewhere you can sort of squeeze

 

the ghost and the mystery out of them.

 

 

 

713

 

00:37:07,704 --> 00:37:11,044

 

Marc Preston: There is a quote, um, that

 

I thought was really interesting, uh,

 

 

 

714

 

00:37:11,045 --> 00:37:13,699

 

that, that they could see the artifice.

 

 

 

715

 

00:37:14,300 --> 00:37:17,930

 

But that's actually what they wanted,

 

you know, in other words, that's part

 

 

 

716

 

00:37:17,960 --> 00:37:19,450

 

of the theater of the whole thing.

 

 

 

717

 

00:37:19,500 --> 00:37:21,190

 

I think it was with the scene

 

when you were kind of like

 

 

 

718

 

00:37:21,190 --> 00:37:23,430

 

pulling back and in the race

 

 

 

719

 

00:37:24,320 --> 00:37:25,829

 

Dimitri Leonidas: and then,

 

you know, and everybody kind of

 

 

 

720

 

00:37:25,829 --> 00:37:27,900

 

Marc Preston: see, okay,

 

this is some BS, man.

 

 

 

721

 

00:37:27,900 --> 00:37:29,060

 

And we know what he's about to do.

 

 

 

722

 

00:37:29,329 --> 00:37:31,879

 

And it's like, you know, it's

 

almost like pro wrestling in a way.

 

 

 

723

 

00:37:32,580 --> 00:37:32,820

 

Right.

 

 

 

724

 

00:37:32,830 --> 00:37:34,810

 

But that's part of the theater of it.

 

 

 

725

 

00:37:35,220 --> 00:37:36,650

 

There's so many parallels.

 

 

 

726

 

00:37:36,680 --> 00:37:40,610

 

I mean, you know, it is cool ways,

 

but also some kind of scary ways.

 

 

 

727

 

00:37:40,610 --> 00:37:43,779

 

You start talking about the ebb

 

and flow of a, of an empire.

 

 

 

728

 

00:37:43,779 --> 00:37:46,639

 

And if you look at the U S right

 

now, and there's some, there's some

 

 

 

729

 

00:37:46,640 --> 00:37:48,370

 

interesting parallels, you know?

 

 

 

730

 

00:37:48,430 --> 00:37:49,220

 

Yeah, absolutely.

 

 

 

731

 

00:37:49,220 --> 00:37:49,540

 

Yeah.

 

 

 

732

 

00:37:49,955 --> 00:37:52,665

 

But I'm imagining, I know my

 

daughter just got back from Rome

 

 

 

733

 

00:37:52,665 --> 00:37:54,195

 

and she went to Umbria as well.

 

 

 

734

 

00:37:54,205 --> 00:37:57,335

 

And, uh, she got back, I was just asking

 

her all, all the food she had to eat.

 

 

 

735

 

00:37:57,375 --> 00:38:00,445

 

You know, she, she apparently is not going

 

to want to have any pasta for a little

 

 

 

736

 

00:38:00,445 --> 00:38:02,755

 

while, but what was food service like?

 

 

 

737

 

00:38:02,755 --> 00:38:05,655

 

What was the craft service like

 

when you were there in Rome?

 

 

 

738

 

00:38:05,805 --> 00:38:06,405

 

It's incredible.

 

 

 

739

 

00:38:06,434 --> 00:38:11,815

 

Was it kind of your standard TV show

 

stuff or that was it like some real deal

 

 

 

740

 

00:38:11,815 --> 00:38:12,255

 

Dimitri Leonidas: Italian?

 

 

 

741

 

00:38:12,355 --> 00:38:16,665

 

Marc, honestly, it's like

 

the food, you know, the food.

 

 

 

742

 

00:38:17,445 --> 00:38:23,505

 

It's the cliche, but it is true,

 

you know, bad food is insulting to

 

 

 

743

 

00:38:23,505 --> 00:38:30,785

 

Italians and, and they, they really,

 

you know, they really took care of us.

 

 

 

744

 

00:38:31,245 --> 00:38:34,845

 

The catering team out there

 

was, I mean, it was just superb.

 

 

 

745

 

00:38:34,905 --> 00:38:38,545

 

I can't, you know, I've been on

 

some sets where it's like, should

 

 

 

746

 

00:38:38,554 --> 00:38:39,985

 

we just like Uber eat something?

 

 

 

747

 

00:38:39,985 --> 00:38:42,524

 

Because I really don't

 

want to eat this set food.

 

 

 

748

 

00:38:42,525 --> 00:38:46,420

 

It's just not, it just feels sort of

 

scary that you might, you know, Eat

 

 

 

749

 

00:38:46,450 --> 00:38:50,520

 

something and not be able to work

 

for the rest of the day, you know,

 

 

 

750

 

00:38:50,530 --> 00:38:52,390

 

but this was not the case in Italy.

 

 

 

751

 

00:38:52,390 --> 00:38:56,950

 

It's like, and the funny thing is, you

 

know, as well, not just on set, it's, it's

 

 

 

752

 

00:38:56,960 --> 00:39:03,830

 

the, the sort of places, the restaurants

 

that, um, sort of a quiet little place

 

 

 

753

 

00:39:03,830 --> 00:39:08,180

 

down an alleyway that you find and you

 

go in and you're like, doesn't seem to

 

 

 

754

 

00:39:08,190 --> 00:39:11,840

 

be anyone there, but maybe because of the

 

time of day and then the pizza they give

 

 

 

755

 

00:39:11,840 --> 00:39:13,640

 

you is the best pizza you've ever tasted.

 

 

 

756

 

00:39:13,720 --> 00:39:17,800

 

And it's like, it's all

 

these tiny little cafes that.

 

 

 

757

 

00:39:18,230 --> 00:39:20,030

 

Um, they just

 

 

 

758

 

00:39:20,030 --> 00:39:20,230

 

Marc Preston: do.

 

 

 

759

 

00:39:21,350 --> 00:39:21,560

 

Yeah.

 

 

 

760

 

00:39:21,560 --> 00:39:25,760

 

Isn't there like a whole thing,

 

a whole idea that they may do one

 

 

 

761

 

00:39:25,760 --> 00:39:29,380

 

thing amazingly well, and one place

 

is known for one thing and you got

 

 

 

762

 

00:39:29,380 --> 00:39:30,689

 

to go over there for that one thing.

 

 

 

763

 

00:39:30,689 --> 00:39:35,685

 

I mean, I would, I would get lost and pick

 

up, put on, I mean, Ridiculous amount of

 

 

 

764

 

00:39:35,685 --> 00:39:37,885

 

pounds, you know, spending time there.

 

 

 

765

 

00:39:38,315 --> 00:39:39,865

 

So, so what are you working on right now?

 

 

 

766

 

00:39:39,895 --> 00:39:41,485

 

You know, what is coming up for you?

 

 

 

767

 

00:39:41,595 --> 00:39:43,345

 

So you're shooting a series like this.

 

 

 

768

 

00:39:44,165 --> 00:39:45,335

 

Same thing with a foundation.

 

 

 

769

 

00:39:45,345 --> 00:39:48,635

 

Do you ever kind of need like a break or

 

do you get a little antsy when you're not

 

 

 

770

 

00:39:48,635 --> 00:39:51,295

 

shooting something when you're kind of

 

like, geez, I want to get back to work.

 

 

 

771

 

00:39:51,705 --> 00:39:53,465

 

Dimitri Leonidas: Working is always great.

 

 

 

772

 

00:39:53,475 --> 00:39:58,545

 

It's always nice to have, to have that,

 

but I've learned to sort of use the

 

 

 

773

 

00:39:58,545 --> 00:40:01,185

 

time off as productively as possible.

 

 

 

774

 

00:40:01,185 --> 00:40:01,525

 

I think.

 

 

 

775

 

00:40:02,075 --> 00:40:06,435

 

You, especially when you're first

 

starting out, it's very easy to

 

 

 

776

 

00:40:06,435 --> 00:40:11,995

 

let that time sort of ever way with

 

anxiety about what's coming next.

 

 

 

777

 

00:40:11,995 --> 00:40:13,565

 

And is anything coming next?

 

 

 

778

 

00:40:13,925 --> 00:40:19,625

 

Um, and, um, when you, you know, when

 

a job does come along, you sort of

 

 

 

779

 

00:40:19,625 --> 00:40:23,575

 

go, I wish I just sort of did the

 

things that I want to do in that time.

 

 

 

780

 

00:40:23,575 --> 00:40:24,695

 

I wish I read more books.

 

 

 

781

 

00:40:24,695 --> 00:40:29,675

 

I wish I, you know, went running more, you

 

know, I like to do some indoor climbing

 

 

 

782

 

00:40:29,685 --> 00:40:32,565

 

and, um, Brazilian jujitsu and, and.

 

 

 

783

 

00:40:33,000 --> 00:40:35,600

 

You kind of don't do any of those

 

things, especially when you're starting

 

 

 

784

 

00:40:35,600 --> 00:40:38,260

 

out because you've got no money and

 

you're like, you're trying to sort of,

 

 

 

785

 

00:40:38,260 --> 00:40:42,370

 

I don't know how long this sort of pay

 

packet has to last to pay your rent.

 

 

 

786

 

00:40:42,380 --> 00:40:47,129

 

So you sort of don't branch out into

 

your other interests until you somehow

 

 

 

787

 

00:40:47,129 --> 00:40:49,429

 

feel a little more secure and you're

 

never going to feel totally secure.

 

 

 

788

 

00:40:49,430 --> 00:40:49,709

 

I think.

 

 

 

789

 

00:40:51,250 --> 00:40:51,440

 

Um,

 

 

 

790

 

00:40:51,550 --> 00:40:53,120

 

Marc Preston: yeah, I remember

 

a long time ago, I think I

 

 

 

791

 

00:40:53,120 --> 00:40:55,320

 

was speaking to John Favreau.

 

 

 

792

 

00:40:55,410 --> 00:40:56,870

 

This is going 20.

 

 

 

793

 

00:40:57,260 --> 00:40:58,590

 

I don't even think of

 

how long ago that was.

 

 

 

794

 

00:40:59,120 --> 00:40:59,740

 

I'm getting older.

 

 

 

795

 

00:41:00,010 --> 00:41:02,539

 

Um, but he said something that's

 

like, yeah, you know, whenever a

 

 

 

796

 

00:41:02,539 --> 00:41:04,239

 

movie or a show raps, I'm out of work.

 

 

 

797

 

00:41:04,360 --> 00:41:05,940

 

I never really framed it like that.

 

 

 

798

 

00:41:05,940 --> 00:41:06,489

 

Like, Oh really?

 

 

 

799

 

00:41:06,490 --> 00:41:08,059

 

I guess you're, I guess you're right.

 

 

 

800

 

00:41:08,230 --> 00:41:11,280

 

As far as projects go, what, what

 

kind of things do you have coming up?

 

 

 

801

 

00:41:11,280 --> 00:41:14,940

 

Or even, you know, what kind of

 

things are you looking to want to do?

 

 

 

802

 

00:41:15,150 --> 00:41:17,720

 

You know, coming up here, uh, is

 

there anything you haven't done that

 

 

 

803

 

00:41:17,730 --> 00:41:21,700

 

you're like, I would really like to

 

grab ahold of a project like this.

 

 

 

804

 

00:41:21,730 --> 00:41:22,510

 

What would that be?

 

 

 

805

 

00:41:22,630 --> 00:41:27,820

 

Dimitri Leonidas: Um, I mean, I, I feel

 

very fortunate in the last few years

 

 

 

806

 

00:41:27,820 --> 00:41:33,720

 

to have been on a range of, of projects

 

and shows that are all quite different.

 

 

 

807

 

00:41:33,920 --> 00:41:40,810

 

Um, you know, from sort of sci fi

 

to war dramas, um, to, to sort of

 

 

 

808

 

00:41:40,830 --> 00:41:45,710

 

modern day to like ancient Rome, I

 

kind of had to sort of stop when this

 

 

 

809

 

00:41:45,710 --> 00:41:46,860

 

job finished and look back and go.

 

 

 

810

 

00:41:47,555 --> 00:41:52,405

 

If I, someone had told me 10 years ago

 

that I would have done these things, it,

 

 

 

811

 

00:41:53,045 --> 00:41:56,745

 

I, I would have, you know, grabbed, I

 

would have said, yes, please, you know, if

 

 

 

812

 

00:41:56,745 --> 00:41:59,125

 

that is, is where I could be in 10 years.

 

 

 

813

 

00:41:59,135 --> 00:42:04,235

 

So, so I kind of like, I've tried

 

to sort of go a little more inwards

 

 

 

814

 

00:42:04,235 --> 00:42:07,995

 

and, and figure out what it is I

 

personally want to do and, and the

 

 

 

815

 

00:42:08,025 --> 00:42:12,745

 

things that really sort of draw sort

 

of sources of inspiration for me.

 

 

 

816

 

00:42:12,745 --> 00:42:16,525

 

And then it's really bizarre because

 

that sort of can lead you down.

 

 

 

817

 

00:42:17,240 --> 00:42:22,160

 

Um, a path of like, you know, you

 

end up with five, six, seven books

 

 

 

818

 

00:42:22,180 --> 00:42:26,319

 

that you're going reading all at

 

once and, uh, and, um, and that opens

 

 

 

819

 

00:42:26,319 --> 00:42:27,780

 

up more doors to something else.

 

 

 

820

 

00:42:27,800 --> 00:42:31,310

 

And then there'll be some, you know,

 

eccentric artists that you, you

 

 

 

821

 

00:42:31,310 --> 00:42:35,330

 

discover through that process that you

 

momentarily become sort of obsessed with.

 

 

 

822

 

00:42:35,330 --> 00:42:39,470

 

And, and so I'm in that world of

 

just, you know, there's lots of

 

 

 

823

 

00:42:39,470 --> 00:42:41,160

 

things that sort of appeal to me.

 

 

 

824

 

00:42:41,170 --> 00:42:41,840

 

And, and.

 

 

 

825

 

00:42:42,345 --> 00:42:48,545

 

Um, finding time to do it all and, and,

 

and, you know, read the books that I want.

 

 

 

826

 

00:42:48,545 --> 00:42:54,355

 

And, um, I, I, I bought a, a camera

 

recently and have been, you know,

 

 

 

827

 

00:42:54,445 --> 00:42:59,055

 

shooting and, and getting to know

 

the, the intricacies of it and, and

 

 

 

828

 

00:42:59,055 --> 00:43:02,200

 

the sort of the, the, the few lenses

 

that I bought and playing with them

 

 

 

829

 

00:43:02,325 --> 00:43:05,895

 

and going onto Da Vinci Resolve and,

 

and learning the editing software.

 

 

 

830

 

00:43:05,895 --> 00:43:06,585

 

And so like.

 

 

 

831

 

00:43:07,070 --> 00:43:10,090

 

For me, it's like I could,

 

I could do that forever.

 

 

 

832

 

00:43:10,490 --> 00:43:14,160

 

Um, cause I love, I love, I'm

 

starting to really enjoy that.

 

 

 

833

 

00:43:14,570 --> 00:43:21,220

 

Um, but of course, you know, work,

 

work is, is, is essential and the

 

 

 

834

 

00:43:21,220 --> 00:43:24,760

 

process of, of like being with

 

other people and doing it is great.

 

 

 

835

 

00:43:24,829 --> 00:43:24,929

 

Marc Preston: Yeah.

 

 

 

836

 

00:43:25,140 --> 00:43:26,079

 

I know what you mean about that.

 

 

 

837

 

00:43:26,079 --> 00:43:26,789

 

Eventually resolve.

 

 

 

838

 

00:43:26,790 --> 00:43:29,630

 

You can kind of go down a little

 

rabbit hole, like as if you've got

 

 

 

839

 

00:43:29,630 --> 00:43:30,840

 

a creative mind you want to go.

 

 

 

840

 

00:43:30,850 --> 00:43:31,150

 

Right.

 

 

 

841

 

00:43:31,400 --> 00:43:33,825

 

Dimitri Leonidas: You've got into the

 

fusion element elements of DaVinci.

 

 

 

842

 

00:43:33,825 --> 00:43:33,826

 

The,

 

 

 

843

 

00:43:34,460 --> 00:43:37,160

 

Marc Preston: I haven't even

 

gotten into the things, the

 

 

 

844

 

00:43:37,160 --> 00:43:39,230

 

real horsepower of the thing.

 

 

 

845

 

00:43:39,470 --> 00:43:39,860

 

It's insane.

 

 

 

846

 

00:43:40,070 --> 00:43:44,630

 

Most I've done was this most rudimentary,

 

you know, just a basic editing as it were.

 

 

 

847

 

00:43:44,630 --> 00:43:46,190

 

But I mean, there's so much you can do.

 

 

 

848

 

00:43:46,250 --> 00:43:46,550

 

Yeah.

 

 

 

849

 

00:43:46,555 --> 00:43:46,705

 

Yeah.

 

 

 

850

 

00:43:47,060 --> 00:43:50,180

 

Do you find yourself, uh, like, oh,

 

next time I'm on set I wanna go hang out

 

 

 

851

 

00:43:50,180 --> 00:43:52,190

 

with a DP and ask him some questions?

 

 

 

852

 

00:43:52,430 --> 00:43:55,130

 

You know, what kinda lenses,

 

why are you using the lenses?

 

 

 

853

 

00:43:55,130 --> 00:43:55,310

 

You know,

 

 

 

854

 

00:43:56,575 --> 00:43:57,265

 

,

 

Dimitri Leonidas: exactly that.

 

 

 

855

 

00:43:58,120 --> 00:44:03,049

 

It really is that, yeah.

 

 

 

856

 

00:44:05,730 --> 00:44:07,520

 

Marc Preston: As we, you know,

 

head towards wrapping up here.

 

 

 

857

 

00:44:07,520 --> 00:44:10,990

 

One thing I do like to do, I have

 

my, what I call my seven questions.

 

 

 

858

 

00:44:11,080 --> 00:44:13,500

 

I always like to kind of throw

 

out and just, just a little

 

 

 

859

 

00:44:13,500 --> 00:44:14,779

 

fun, a little extra fun here.

 

 

 

860

 

00:44:15,040 --> 00:44:16,480

 

And we were talking food a moment ago.

 

 

 

861

 

00:44:16,480 --> 00:44:18,450

 

So, that always comes up a bunch.

 

 

 

862

 

00:44:18,970 --> 00:44:22,130

 

Um, of the seven questions,

 

first one's always, what is

 

 

 

863

 

00:44:22,130 --> 00:44:24,400

 

your favorite, uh, comfort food?

 

 

 

864

 

00:44:24,500 --> 00:44:26,930

 

Dimitri Leonidas: You

 

know, I love ribeye steak.

 

 

 

865

 

00:44:28,369 --> 00:44:29,480

 

I love ribeye steak.

 

 

 

866

 

00:44:29,619 --> 00:44:30,470

 

It's, um.

 

 

 

867

 

00:44:31,510 --> 00:44:36,180

 

It's, it's a, it's a meal that I

 

always feel very satisfied that

 

 

 

868

 

00:44:36,190 --> 00:44:39,530

 

the ingredient cooked properly with

 

some, maybe some, some broccoli, some

 

 

 

869

 

00:44:39,530 --> 00:44:43,709

 

garlic and a little bit of chili,

 

uh, with the broccoli that, that is,

 

 

 

870

 

00:44:45,059 --> 00:44:46,840

 

that is always super satisfied to me.

 

 

 

871

 

00:44:46,840 --> 00:44:50,920

 

And then, and then, um, you know, on

 

the slightly, maybe less healthier side.

 

 

 

872

 

00:44:51,245 --> 00:44:52,635

 

A good fried chicken burger.

 

 

 

873

 

00:44:52,635 --> 00:44:54,737

 

you said a fried

 

 

 

874

 

00:44:54,737 --> 00:44:55,788

 

Marc Preston: chicken burger.

 

 

 

875

 

00:44:55,788 --> 00:45:00,644

 

You know, the, the folks are the, the

 

folks, uh, at your neck of the woods I've

 

 

 

876

 

00:45:00,645 --> 00:45:06,764

 

spoken with, uh, I learned what spag bowl

 

is that's that's shown up more than once

 

 

 

877

 

00:45:06,855 --> 00:45:06,995

 

Dimitri Leonidas: I

 

 

 

878

 

00:45:06,995 --> 00:45:07,695

 

Marc Preston: can imagine.

 

 

 

879

 

00:45:07,695 --> 00:45:08,025

 

Yeah.

 

 

 

880

 

00:45:08,105 --> 00:45:09,245

 

But of course, being in Italy,

 

 

 

881

 

00:45:09,245 --> 00:45:10,374

 

Dimitri Leonidas: now

 

 

 

882

 

00:45:10,374 --> 00:45:13,945

 

Marc Preston: the second question is if

 

you're going to sit down, you're going

 

 

 

883

 

00:45:13,945 --> 00:45:19,955

 

to talk story like this, like a few

 

hours, coffee, you three people, Living

 

 

 

884

 

00:45:19,955 --> 00:45:23,295

 

or not, who would those three people be

 

that you would like to just have at the

 

 

 

885

 

00:45:23,295 --> 00:45:25,915

 

table with you, uh, for conversation?

 

 

 

886

 

00:45:26,035 --> 00:45:30,965

 

Dimitri Leonidas: Um, David Lean, who,

 

who directed, uh, Lawrence of Arabia and,

 

 

 

887

 

00:45:30,965 --> 00:45:33,434

 

um, all those, all those great epics.

 

 

 

888

 

00:45:33,435 --> 00:45:36,455

 

Um, I think he'd be fascinating.

 

 

 

889

 

00:45:36,485 --> 00:45:38,434

 

He's a sort of Kubrick

 

esque for going away.

 

 

 

890

 

00:45:38,644 --> 00:45:46,285

 

Um, and, um, Kubrick, you know, would

 

be, would, it's always hard with these

 

 

 

891

 

00:45:46,285 --> 00:45:50,155

 

questions because for me, I always go, how

 

can it not be Stanley Kubrick in a way?

 

 

 

892

 

00:45:50,165 --> 00:45:55,120

 

It's just, You know, his,

 

his work is, um, you know,

 

 

 

893

 

00:45:55,950 --> 00:45:59,190

 

Marc Preston: what is, what, what is

 

your, uh, if you have a Kubrick project,

 

 

 

894

 

00:45:59,250 --> 00:46:02,439

 

just like, okay, it's definitive, what

 

would that Kubrick film be for you?

 

 

 

895

 

00:46:02,480 --> 00:46:05,519

 

Dimitri Leonidas: I think Barry Lyndon,

 

you know, you sort of go through a process

 

 

 

896

 

00:46:05,520 --> 00:46:10,140

 

of all of them being at some point a sort

 

of favorite, but Barry Lyndon is maybe.

 

 

 

897

 

00:46:10,515 --> 00:46:17,165

 

Um, the one that I think is

 

just sort of stunning as a film.

 

 

 

898

 

00:46:17,255 --> 00:46:24,294

 

Um, and he famously designed, uh, he

 

worked along alongside NASA to develop

 

 

 

899

 

00:46:24,294 --> 00:46:30,094

 

these new lenses that could pick up light

 

in, um, that could pick up candlelight.

 

 

 

900

 

00:46:30,105 --> 00:46:34,845

 

So he wanted to shoot the whole film in

 

candlelight, which with the technology

 

 

 

901

 

00:46:34,845 --> 00:46:36,625

 

at the time just wasn't really possible.

 

 

 

902

 

00:46:36,635 --> 00:46:40,485

 

The lenses couldn't, Pick up

 

that level of, um, details,

 

 

 

903

 

00:46:40,545 --> 00:46:42,015

 

you know, it was just too dark.

 

 

 

904

 

00:46:42,305 --> 00:46:46,684

 

So he, you know, he, he, he gets

 

NASA to help him out and they

 

 

 

905

 

00:46:46,684 --> 00:46:50,144

 

design a whole new set of lenses

 

so that he can get what he wants.

 

 

 

906

 

00:46:50,424 --> 00:46:52,955

 

Marc Preston: And all the conspiracy

 

theories start that he went and, you

 

 

 

907

 

00:46:52,955 --> 00:46:54,715

 

know, shot the moon landing on a set.

 

 

 

908

 

00:46:54,764 --> 00:46:55,265

 

Dimitri Leonidas: That's right.

 

 

 

909

 

00:46:56,205 --> 00:46:56,564

 

That's it.

 

 

 

910

 

00:46:56,564 --> 00:46:57,315

 

Exactly that.

 

 

 

911

 

00:46:57,324 --> 00:46:57,614

 

Yeah.

 

 

 

912

 

00:46:57,654 --> 00:46:59,355

 

Marc Preston: For me, it was

 

full metal jacket for me.

 

 

 

913

 

00:46:59,355 --> 00:47:04,005

 

It was like a, like an interesting

 

journey to take, you know, Would you have

 

 

 

914

 

00:47:04,005 --> 00:47:05,325

 

another person at the table with you?

 

 

 

915

 

00:47:05,325 --> 00:47:08,205

 

You can think of that, you know, living

 

again, living or not, who would that be?

 

 

 

916

 

00:47:08,205 --> 00:47:11,655

 

Dimitri Leonidas: I'm going to

 

end up with three directors here,

 

 

 

917

 

00:47:11,715 --> 00:47:13,005

 

but I'm going to do it anyway.

 

 

 

918

 

00:47:13,064 --> 00:47:17,655

 

Um, Jonathan Glazer, who, who

 

directed, um, his first film was sexy

 

 

 

919

 

00:47:17,695 --> 00:47:21,685

 

beast, then birth, then under the

 

skin and recently zone of interest.

 

 

 

920

 

00:47:22,214 --> 00:47:30,365

 

Um, I just think he's, uh, you know,

 

each one of his films, they share no DNA.

 

 

 

921

 

00:47:30,405 --> 00:47:33,745

 

Like they don't, You don't know

 

that there's a Jonathan Glaser movie

 

 

 

922

 

00:47:33,785 --> 00:47:35,485

 

because there's nothing about them that

 

 

 

923

 

00:47:36,395 --> 00:47:36,725

 

Marc Preston: Really?

 

 

 

924

 

00:47:36,725 --> 00:47:36,985

 

Yeah,

 

 

 

925

 

00:47:36,985 --> 00:47:40,254

 

Dimitri Leonidas: I mean, he just

 

totally caters, even the form of

 

 

 

926

 

00:47:40,285 --> 00:47:44,995

 

the film, to suit the sort of themes

 

and the requirements of the film.

 

 

 

927

 

00:47:45,275 --> 00:47:48,444

 

I mean, he makes a film every ten years

 

or something and spends that decade

 

 

 

928

 

00:47:49,240 --> 00:47:54,140

 

I think totally focusing on what the

 

emergent needs of this project are.

 

 

 

929

 

00:47:54,220 --> 00:47:58,480

 

So by the time it comes out and sees

 

it, and you see it, they're like

 

 

 

930

 

00:47:58,530 --> 00:48:02,250

 

alien films in a way, because you're

 

like, there's nothing quite like it.

 

 

 

931

 

00:48:02,540 --> 00:48:08,169

 

He has designed the film in a way that

 

tells the story the exact way it needs

 

 

 

932

 

00:48:08,169 --> 00:48:13,915

 

to be told, you know, disregarding how we

 

sort of, You know, a mass audience sort of

 

 

 

933

 

00:48:13,915 --> 00:48:17,175

 

feels about a third act structure and, and

 

 

 

934

 

00:48:17,615 --> 00:48:20,784

 

Marc Preston: I don't know if I'd have

 

the patience to do a film once every

 

 

 

935

 

00:48:20,784 --> 00:48:22,475

 

10 years, I would be get too antsy.

 

 

 

936

 

00:48:22,475 --> 00:48:23,331

 

Like, I want to get there.

 

 

 

937

 

00:48:23,331 --> 00:48:24,616

 

Dimitri Leonidas: I know what you mean.

 

 

 

938

 

00:48:24,616 --> 00:48:25,129

 

Yeah, yeah.

 

 

 

939

 

00:48:25,570 --> 00:48:26,250

 

It's quite a marathon.

 

 

 

940

 

00:48:26,800 --> 00:48:28,380

 

Marc Preston: So, so that begs a question.

 

 

 

941

 

00:48:28,770 --> 00:48:30,520

 

Are you wanting to direct

 

at some point in time?

 

 

 

942

 

00:48:30,810 --> 00:48:31,490

 

I think so,

 

 

 

943

 

00:48:31,540 --> 00:48:31,970

 

Dimitri Leonidas: yeah.

 

 

 

944

 

00:48:32,010 --> 00:48:32,870

 

Yeah, I think I would.

 

 

 

945

 

00:48:34,520 --> 00:48:39,260

 

They'd probably be quite sort of small

 

things that, that I think, I think working

 

 

 

946

 

00:48:39,260 --> 00:48:43,989

 

on, on films with so many people and, and,

 

and they're kind of, you know, big epics.

 

 

 

947

 

00:48:44,609 --> 00:48:49,680

 

I quite like the idea for now

 

anyway of, of pairing it all down

 

 

 

948

 

00:48:49,680 --> 00:48:56,240

 

to something very small and, and,

 

um, and, and simplistic and, and.

 

 

 

949

 

00:48:56,980 --> 00:48:59,480

 

Maybe just for me, just playing

 

around, as you were saying, you

 

 

 

950

 

00:48:59,480 --> 00:49:01,140

 

know, with Da Vinci and stuff.

 

 

 

951

 

00:49:01,705 --> 00:49:05,375

 

With sort of more art installation

 

type things with narrative still,

 

 

 

952

 

00:49:05,415 --> 00:49:09,514

 

but, but just playing around with

 

image and sound and seeing how you

 

 

 

953

 

00:49:09,514 --> 00:49:12,325

 

can push that, that, that right now

 

is sort of quite appealing to me.

 

 

 

954

 

00:49:12,764 --> 00:49:15,424

 

Marc Preston: Well, I mean, with all the

 

locations you get to go, you know, you

 

 

 

955

 

00:49:15,424 --> 00:49:21,324

 

can take a camera around and you know, um,

 

now next question I got for you is going

 

 

 

956

 

00:49:21,334 --> 00:49:25,101

 

back when you were young, who was your

 

first celebrity crush when you were a kid?

 

 

 

957

 

00:49:25,101 --> 00:49:27,573

 

Dimitri Leonidas: Mine was,

 

um, mine was quite a weird one.

 

 

 

958

 

00:49:27,573 --> 00:49:28,946

 

I think about it now.

 

 

 

959

 

00:49:28,946 --> 00:49:30,319

 

Um, it was Gene Seberg.

 

 

 

960

 

00:49:30,990 --> 00:49:34,720

 

You know, the French actress, she was

 

in a Bouguere souffle, the French film.

 

 

 

961

 

00:49:34,780 --> 00:49:37,530

 

Um, she had a kind of crazy life.

 

 

 

962

 

00:49:37,530 --> 00:49:40,080

 

She, I think she ended up being

 

assassinated or something.

 

 

 

963

 

00:49:40,110 --> 00:49:48,010

 

She had had an affair with, um, she had

 

an affair with a politician, I think.

 

 

 

964

 

00:49:48,090 --> 00:49:51,260

 

And, uh, and there's a

 

mystery around her death.

 

 

 

965

 

00:49:51,269 --> 00:49:54,940

 

But, um, yeah, Jean Seberg,

 

the French, the French actress.

 

 

 

966

 

00:49:55,090 --> 00:49:56,270

 

She had really short hair.

 

 

 

967

 

00:49:56,280 --> 00:49:58,610

 

It's sort of Mia Farrow

 

esque in, in roses.

 

 

 

968

 

00:49:59,020 --> 00:49:59,350

 

Oh, okay.

 

 

 

969

 

00:49:59,350 --> 00:49:59,999

 

Okay.

 

 

 

970

 

00:50:00,000 --> 00:50:00,170

 

And

 

 

 

971

 

00:50:00,170 --> 00:50:04,165

 

Marc Preston: I just, And like,

 

what, what decade was she, I mean, I

 

 

 

972

 

00:50:04,175 --> 00:50:05,755

 

Dimitri Leonidas: guess it

 

was like French new wave.

 

 

 

973

 

00:50:05,755 --> 00:50:10,575

 

So it would be like, is that

 

the seventies, seventies, right?

 

 

 

974

 

00:50:10,635 --> 00:50:11,045

 

Yes.

 

 

 

975

 

00:50:11,055 --> 00:50:13,075

 

Marc Preston: That's about,

 

yeah, I'm learning things.

 

 

 

976

 

00:50:13,104 --> 00:50:14,980

 

I'm like, okay, I gotta go check this out.

 

 

 

977

 

00:50:14,980 --> 00:50:18,424

 

There are so many things that I happily

 

have not, you know, at my age, I'm

 

 

 

978

 

00:50:18,425 --> 00:50:19,455

 

like, you know, it's kind of cool.

 

 

 

979

 

00:50:19,455 --> 00:50:20,535

 

I haven't checked that out yet.

 

 

 

980

 

00:50:20,535 --> 00:50:20,805

 

Okay.

 

 

 

981

 

00:50:20,855 --> 00:50:24,405

 

Well, there's one more thing that I'm

 

not aware of and I get to go check out.

 

 

 

982

 

00:50:24,405 --> 00:50:27,185

 

So, uh, and I, and again, I learned that.

 

 

 

983

 

00:50:27,505 --> 00:50:32,245

 

Hey, you've, you, you know, the whole

 

connection with Han Solo and Hobremello.

 

 

 

984

 

00:50:32,415 --> 00:50:35,165

 

Uh, so that's part of the reason why I

 

like doing this because I learn things.

 

 

 

985

 

00:50:36,384 --> 00:50:39,605

 

Now, if you're going to be going to

 

live the next question, you're going

 

 

 

986

 

00:50:39,605 --> 00:50:43,495

 

to be on an exotic island somewhere,

 

somewhere you really want to be, but

 

 

 

987

 

00:50:43,495 --> 00:50:44,555

 

you're going to be there for a year.

 

 

 

988

 

00:50:44,565 --> 00:50:45,645

 

There's no internet.

 

 

 

989

 

00:50:46,144 --> 00:50:50,745

 

Um, so you need to bring one album

 

with you, a CD and one DVD, one movie.

 

 

 

990

 

00:50:50,775 --> 00:50:54,635

 

What would that one movie and one album

 

be that you could, that could ride

 

 

 

991

 

00:50:54,655 --> 00:50:56,055

 

out the year with you on the island?

 

 

 

992

 

00:50:56,110 --> 00:51:05,590

 

Dimitri Leonidas: The album that

 

springs to mind is, um, an album called

 

 

 

993

 

00:51:06,720 --> 00:51:10,770

 

Oakland Asylum by a band called Y.

 

 

 

994

 

00:51:11,339 --> 00:51:13,470

 

In fact, any one of

 

their albums I'll take.

 

 

 

995

 

00:51:13,990 --> 00:51:17,920

 

Um, it was an album, their music I

 

was listening to a lot in my twenties.

 

 

 

996

 

00:51:18,190 --> 00:51:23,265

 

Um, And it, it was just so different

 

to everything else I heard.

 

 

 

997

 

00:51:23,305 --> 00:51:23,565

 

And

 

 

 

998

 

00:51:23,605 --> 00:51:25,605

 

Marc Preston: like how, what

 

a genre does, do they fit

 

 

 

999

 

00:51:25,855 --> 00:51:26,845

 

Dimitri Leonidas: really hard to explain?

 

 


Speaker:

00:51:26,875 --> 00:51:28,185

 

I find it really hard to explain.

 

 


Speaker:

00:51:28,185 --> 00:51:33,995

 

Cause it's like, they kind of have

 

elements of, of like they developed

 

 


Speaker:

00:51:34,005 --> 00:51:38,524

 

something called like cloud rap,

 

this sort of hypnotic almost, Oh, you

 

 


Speaker:

00:51:38,524 --> 00:51:45,084

 

know, sounds over, um, over sometimes

 

incomprehensible, you know, lyrics that

 

 


Speaker:

00:51:45,084 --> 00:51:47,114

 

you just sort of almost meditative style.

 

 


Speaker:

00:51:47,255 --> 00:51:48,975

 

And then other times there's a sort of.

 

 


Speaker:

00:51:50,440 --> 00:51:54,380

 

You know, a kind of just, you

 

know, music band vibe as well.

 

 


Speaker:

00:51:54,380 --> 00:51:57,920

 

They're just sort of playing instruments

 

and, and, and singing, but they, they're

 

 


Speaker:

00:51:57,920 --> 00:51:59,970

 

from San Francisco, uh, I believe.

 

 


Speaker:

00:52:00,100 --> 00:52:05,119

 

And, uh, if you can get hold of any

 

of their albums, I, it's so cool.

 

 


Speaker:

00:52:05,119 --> 00:52:07,539

 

They're so sort of life affirming and fun.

 

 


Speaker:

00:52:07,880 --> 00:52:10,240

 

Marc Preston: Um, I definitely,

 

I definitely be checking out.

 

 


Speaker:

00:52:10,240 --> 00:52:13,220

 

Cause I like, again, I'm learning, you

 

know, and I've spent some time working

 

 


Speaker:

00:52:13,220 --> 00:52:18,100

 

radio and I got, there are very few genres

 

that I don't have some favorites in, but

 

 


Speaker:

00:52:18,100 --> 00:52:21,890

 

I like checking out things I've never

 

heard of before, you know, Cause I have

 

 


Speaker:

00:52:21,890 --> 00:52:28,180

 

a, I think some of my kids think I have

 

a weird taste of music, but I'm a weirdo.

 

 


Speaker:

00:52:28,180 --> 00:52:31,109

 

I like, I, you know, it's like, I got,

 

I got the things I like, you know,

 

 


Speaker:

00:52:33,070 --> 00:52:36,279

 

now the next question, if you were

 

to say, you know, we forgot actually

 

 


Speaker:

00:52:36,280 --> 00:52:39,380

 

what What the, what was the movie

 

going to be because we knew the album,

 

 


Speaker:

00:52:39,390 --> 00:52:40,700

 

I'm sorry, like brain farted there.

 

 


Speaker:

00:52:40,870 --> 00:52:41,970

 

What would the movie be for you?

 

 


Speaker:

00:52:42,200 --> 00:52:43,220

 

Maybe Chinatown.

 

 


Speaker:

00:52:43,590 --> 00:52:44,540

 

Ah, very good.

 

 


Speaker:

00:52:44,580 --> 00:52:46,570

 

Yeah, that, that, that's a good one.

 

 


Speaker:

00:52:46,670 --> 00:52:47,080

 

Dimitri Leonidas: Yeah.

 

 


Speaker:

00:52:47,220 --> 00:52:49,980

 

Marc Preston: I find myself sometimes

 

sitting on the sofa going, what

 

 


Speaker:

00:52:49,990 --> 00:52:51,779

 

have I not seen in a long time?

 

 


Speaker:

00:52:51,779 --> 00:52:53,810

 

I would like to go back and

 

check out like Chinatown.

 

 


Speaker:

00:52:54,260 --> 00:52:56,620

 

I haven't seen that in

 

20 years, you know, so

 

 


Speaker:

00:52:56,930 --> 00:52:58,850

 

Dimitri Leonidas: yeah, I

 

mean, it's, it's phenomenal.

 

 


Speaker:

00:52:58,850 --> 00:53:01,312

 

I'm, I'm definitely in the camp

 

of like one of the best sort

 

 


Speaker:

00:53:01,312 --> 00:53:02,329

 

of screenplays ever written.

 

 


Speaker:

00:53:02,620 --> 00:53:05,190

 

Marc Preston: Uh, now if you're

 

again for the next question, from

 

 


Speaker:

00:53:05,200 --> 00:53:08,430

 

the time you wake up to the time you

 

go to sleep, what are the component

 

 


Speaker:

00:53:08,430 --> 00:53:09,860

 

parts of a perfect day for you?

 

 


Speaker:

00:53:09,869 --> 00:53:14,010

 

What elements would be, you know, if

 

you said this was, this was a great day.

 

 


Speaker:

00:53:14,050 --> 00:53:14,590

 

Dimitri Leonidas: Okay.

 

 


Speaker:

00:53:14,830 --> 00:53:15,200

 

Okay.

 

 


Speaker:

00:53:15,240 --> 00:53:20,670

 

I like to get up and, and leave,

 

leave my flat quite quickly.

 

 


Speaker:

00:53:20,900 --> 00:53:25,085

 

Um, I just find getting up and

 

getting out is sort of an impulse

 

 


Speaker:

00:53:25,105 --> 00:53:29,475

 

for me that, that I, I like to do

 

it just sort of hanging around.

 

 


Speaker:

00:53:29,975 --> 00:53:34,085

 

I can, you know, get into a sort of

 

like waste an hour on the couch looking

 

 


Speaker:

00:53:34,085 --> 00:53:37,665

 

at my phone or, you know, so I like to

 

get out and go get a coffee somewhere.

 

 


Speaker:

00:53:38,405 --> 00:53:42,534

 

Um, a nice cafe, you

 

know, get my coffee in.

 

 


Speaker:

00:53:42,924 --> 00:53:47,595

 

Um, maybe, maybe do some

 

reading for an hour or so.

 

 


Speaker:

00:53:49,805 --> 00:53:54,535

 

And then, you know, I guess, I guess any

 

sort of combination or mixture of like,

 

 


Speaker:

00:53:55,145 --> 00:54:01,285

 

um, something active with whether it's

 

like indoor climbing or playing football

 

 


Speaker:

00:54:01,285 --> 00:54:06,344

 

at a certain point in that in the day,

 

um, some sort of physical activity, even

 

 


Speaker:

00:54:06,385 --> 00:54:07,854

 

half an hour at the gym or something.

 

 


Speaker:

00:54:08,475 --> 00:54:11,175

 

Um, get all the sort of

 

stuff done that I need to do.

 

 


Speaker:

00:54:11,175 --> 00:54:14,245

 

I like to get all that done early,

 

you know, if there's any emails or

 

 


Speaker:

00:54:14,245 --> 00:54:16,255

 

anything I've gotta send, um, right.

 

 


Speaker:

00:54:16,555 --> 00:54:17,335

 

Marc Preston: Yeah, I'm, I'm saying

 

 


Speaker:

00:54:17,845 --> 00:54:19,345

 

Dimitri Leonidas: that, you know, I

 

just, I just feel like it, it, it can

 

 


Speaker:

00:54:19,345 --> 00:54:22,135

 

linger in your head as the day goes

 

on, whereas if you get it sorted, I

 

 


Speaker:

00:54:22,140 --> 00:54:23,875

 

go the day the evening is now mine.

 

 


Speaker:

00:54:24,325 --> 00:54:27,325

 

Marc Preston: Um, you, you want

 

your day doing your thing and the

 

 


Speaker:

00:54:27,325 --> 00:54:29,425

 

only way you get there is getting

 

all the other stuff outta the way.

 

 


Speaker:

00:54:29,430 --> 00:54:29,490

 

Okay.

 

 


Speaker:

00:54:29,490 --> 00:54:29,810

 

Dimitri Leonidas: Well that's done.

 

 


Speaker:

00:54:30,600 --> 00:54:35,170

 

Um, and it would end with a film,

 

I guess, you know, and he cooked

 

 


Speaker:

00:54:35,170 --> 00:54:39,320

 

some nice food and, and some kind

 

of film would be, would be great.

 

 


Speaker:

00:54:39,410 --> 00:54:39,770

 

Yeah.

 

 


Speaker:

00:54:39,960 --> 00:54:41,060

 

Um, so it's not

 

 


Speaker:

00:54:41,060 --> 00:54:41,860

 

Marc Preston: tea, it's coffee.

 

 


Speaker:

00:54:41,860 --> 00:54:44,579

 

Dimitri Leonidas: Actually,

 

 


Speaker:

00:54:44,580 --> 00:54:46,560

 

Marc Preston: that's why my

 

daughter brought me back from Rome.

 

 


Speaker:

00:54:46,950 --> 00:54:51,415

 

There's two, two bags of, um,

 

coffee, like a coffee bean.

 

 


Speaker:

00:54:51,415 --> 00:54:53,595

 

So I'm like, I'm raring to get into that.

 

 


Speaker:

00:54:53,725 --> 00:54:54,845

 

My coffee grinder broke.

 

 


Speaker:

00:54:54,845 --> 00:54:58,005

 

So I got to buy another coffee

 

grinder so I can enjoy that.

 

 


Speaker:

00:54:58,405 --> 00:55:00,865

 

Um, now if you weren't doing the next

 

question, if you weren't doing this

 

 


Speaker:

00:55:00,865 --> 00:55:05,475

 

for a living, if this wasn't your

 

vocation, what could you see yourself

 

 


Speaker:

00:55:05,485 --> 00:55:07,464

 

finding joy in doing besides this?

 

 


Speaker:

00:55:07,735 --> 00:55:08,105

 

Dimitri Leonidas: Wow.

 

 


Speaker:

00:55:08,184 --> 00:55:12,054

 

I mean, as, as we spoke about earlier,

 

you know, because this has been such a.

 

 


Speaker:

00:55:12,240 --> 00:55:18,680

 

Part of my life since I was young, it is

 

hard to sort of pull out of this time zone

 

 


Speaker:

00:55:18,680 --> 00:55:23,069

 

and this reality and go, what would be an

 

alternative sort of reality to live in?

 

 


Speaker:

00:55:23,070 --> 00:55:28,739

 

And, and, um, in some ways it's cheating

 

a little bit because I would like

 

 


Speaker:

00:55:28,739 --> 00:55:30,550

 

to still do something in, in film.

 

 


Speaker:

00:55:30,979 --> 00:55:37,739

 

Um, but maybe if, if I had

 

to remove the film industry

 

 


Speaker:

00:55:37,919 --> 00:55:39,549

 

entirely or like the process of.

 

 


Speaker:

00:55:40,220 --> 00:55:42,210

 

Making films in any capacity.

 

 


Speaker:

00:55:42,210 --> 00:55:42,390

 

I

 

 


Speaker:

00:55:45,550 --> 00:55:49,130

 

really don't know and that's

 

kind of scary a little bit.

 

 


Speaker:

00:55:49,190 --> 00:55:52,360

 

Marc Preston: Um, that's actually

 

affirming because uh, Reaffirming

 

 


Speaker:

00:55:53,410 --> 00:55:55,809

 

that you're in the right place, you

 

know, if you can see if you can't

 

 


Speaker:

00:55:55,809 --> 00:55:57,900

 

see yourself doing anything else,

 

you know You're in the right place.

 

 


Speaker:

00:55:57,910 --> 00:56:01,529

 

Yes Yeah, you know, um, which I think all

 

actors have to have because you have to

 

 


Speaker:

00:56:01,530 --> 00:56:06,475

 

go through such an arc of experience At

 

least early on it's not very lucrative.

 

 


Speaker:

00:56:06,475 --> 00:56:09,515

 

Let's say, you know, well, the last

 

question I got for you, if you were to

 

 


Speaker:

00:56:09,515 --> 00:56:13,985

 

jump into that quintessential DeLorean

 

and travel back in time, 16 year old

 

 


Speaker:

00:56:13,985 --> 00:56:18,125

 

you, you're going to sit down and

 

have, uh, you know, some advice you can

 

 


Speaker:

00:56:18,125 --> 00:56:22,785

 

pass along to make that moment somehow

 

better or to make the, you know, set

 

 


Speaker:

00:56:22,785 --> 00:56:23,995

 

yourself up a little bit different.

 

 


Speaker:

00:56:24,434 --> 00:56:27,215

 

What would that piece of advice

 

be that you would offer yourself?

 

 


Speaker:

00:56:27,645 --> 00:56:30,495

 

Dimitri Leonidas: Um, it's always a

 

good question, you know, and it's like,

 

 


Speaker:

00:56:32,510 --> 00:56:37,080

 

I do sometimes think, you know,

 

what, what would, what would

 

 


Speaker:

00:56:37,080 --> 00:56:38,510

 

I do differently if you could?

 

 


Speaker:

00:56:38,510 --> 00:56:42,889

 

And, and in some ways I think because

 

of dealing with certain things when I

 

 


Speaker:

00:56:42,890 --> 00:56:49,480

 

was younger, I kind of had downloaded,

 

you know, certain experiences just offer

 

 


Speaker:

00:56:49,840 --> 00:56:56,420

 

an abundance of, of, of treasure in

 

terms of, of, you know, lessons learned.

 

 


Speaker:

00:56:56,450 --> 00:56:58,499

 

And so I think I've

 

always appreciated that.

 

 


Speaker:

00:56:59,220 --> 00:57:03,230

 

I've always had it in me to sort

 

of go, you know, don't always

 

 


Speaker:

00:57:03,230 --> 00:57:04,350

 

give yourself a hard time.

 

 


Speaker:

00:57:04,360 --> 00:57:07,000

 

Don't like berate yourself

 

when things go wrong.

 

 


Speaker:

00:57:07,439 --> 00:57:14,000

 

Um, and so I think, I think my

 

advice would be just to get going a

 

 


Speaker:

00:57:14,000 --> 00:57:15,410

 

little earlier on the things I love.

 

 


Speaker:

00:57:15,460 --> 00:57:16,679

 

I wish I wrote more.

 

 


Speaker:

00:57:17,579 --> 00:57:21,159

 

Um, I wish I'd got into a

 

habit of writing earlier.

 

 


Speaker:

00:57:21,709 --> 00:57:25,759

 

Um, I think being able to write

 

means you're able to think and

 

 


Speaker:

00:57:25,759 --> 00:57:26,839

 

you're able to communicate.

 

 


Speaker:

00:57:26,859 --> 00:57:30,519

 

And I think being able to communicate

 

puts you at such an advantage.

 

 


Speaker:

00:57:32,175 --> 00:57:36,135

 

Because you're just able to express ideas

 

to other people and share and, and, and

 

 


Speaker:

00:57:36,615 --> 00:57:40,225

 

I think writing is one of those things

 

that I kind of always wanted to do a

 

 


Speaker:

00:57:40,225 --> 00:57:42,735

 

little bit and never really committed.

 

 


Speaker:

00:57:42,735 --> 00:57:46,164

 

I think I would jump into that

 

a little bit earlier if I could.

 

 


Speaker:

00:57:46,624 --> 00:57:52,435

 

Um, and maybe even a few other things

 

like, you know, I wish I, I discovered

 

 


Speaker:

00:57:52,475 --> 00:57:53,865

 

Brazilian Jiu Jitsu quite late.

 

 


Speaker:

00:57:53,895 --> 00:57:56,587

 

I was, I was like 29 30

 

when I started doing it.

 

 


Speaker:

00:57:56,587 --> 00:57:56,784

 

And, um,

 

 


Speaker:

00:57:58,515 --> 00:57:59,155

 

Marc Preston: So it's kind of funny.

 

 


Speaker:

00:57:59,155 --> 00:58:03,045

 

Cause like, uh, I was a big fan of Anthony

 

Bourdain, you know, back in the day.

 

 


Speaker:

00:58:03,045 --> 00:58:06,225

 

I know he kind of came by that late

 

and then towards the end of his

 

 


Speaker:

00:58:06,225 --> 00:58:08,685

 

life, he was really great shape.

 

 


Speaker:

00:58:08,785 --> 00:58:10,294

 

I was like, maybe that's an idea for me.

 

 


Speaker:

00:58:10,294 --> 00:58:13,725

 

I'm like, I'm too lazy for that, but it's.

 

 


Speaker:

00:58:14,105 --> 00:58:15,615

 

But it's a good on you for that.

 

 


Speaker:

00:58:15,615 --> 00:58:19,725

 

But, but I'll tell you what, uh, Dimitri,

 

I really appreciate you taking time.

 

 


Speaker:

00:58:19,785 --> 00:58:22,855

 

I'm looking forward to getting,

 

getting further into those

 

 


Speaker:

00:58:22,865 --> 00:58:24,815

 

about to die as it comes out.

 

 


Speaker:

00:58:24,914 --> 00:58:25,935

 

Uh, July 18th.

 

 


Speaker:

00:58:27,664 --> 00:58:28,124

 

Yeah.

 

 


Speaker:

00:58:28,265 --> 00:58:28,585

 

Yeah.

 

 


Speaker:

00:58:28,664 --> 00:58:29,715

 

I've, I've enjoyed it.

 

 


Speaker:

00:58:30,244 --> 00:58:31,035

 

I've gotten into it.

 

 


Speaker:

00:58:31,835 --> 00:58:33,955

 

And I kind of want to kind of

 

like pace myself because I have

 

 


Speaker:

00:58:33,955 --> 00:58:35,355

 

this habit of binging things.

 

 


Speaker:

00:58:35,365 --> 00:58:36,235

 

Yeah, yeah, I know that.

 

 


Speaker:

00:58:36,435 --> 00:58:37,415

 

Now it's gone, you know.

 

 


Speaker:

00:58:37,675 --> 00:58:37,945

 

Dimitri Leonidas: Yeah, that's it.

 

 


Speaker:

00:58:38,975 --> 00:58:39,805

 

Marc Preston: Well, thank you again.

 

 


Speaker:

00:58:39,805 --> 00:58:40,915

 

I so appreciate it.

 

 


Speaker:

00:58:40,965 --> 00:58:42,335

 

But, uh, take care.

 

 


Speaker:

00:58:43,285 --> 00:58:43,725

 

Dimitri Leonidas: very much.

 

 


Speaker:

00:58:45,605 --> 00:58:46,375

 

Marc Preston: All right, there you go.

 

 


Speaker:

00:58:46,395 --> 00:58:47,675

 

Dimitri Leonidas.

 

 


Speaker:

00:58:47,965 --> 00:58:50,725

 

It's the new show, Those About to Die.

 

 


Speaker:

00:58:50,735 --> 00:58:53,905

 

It's on Peacock coming out July 18th.

 

 


Speaker:

00:58:54,215 --> 00:58:55,165

 

Very good show.

 

 


Speaker:

00:58:55,175 --> 00:58:56,425

 

Really enjoyed the series.

 

 


Speaker:

00:58:56,835 --> 00:59:00,855

 

It's based again in the Roman

 

Empire and it is very expansive,

 

 


Speaker:

00:59:00,865 --> 00:59:02,435

 

visually cool to check out.

 

 


Speaker:

00:59:02,725 --> 00:59:03,695

 

Uh, great stories.

 

 


Speaker:

00:59:03,735 --> 00:59:05,125

 

I mean, it's just a fun ride.

 

 


Speaker:

00:59:05,135 --> 00:59:06,155

 

I think you'll enjoy it.

 

 


Speaker:

00:59:06,385 --> 00:59:07,015

 

Hey, do me a favor.

 

 


Speaker:

00:59:07,015 --> 00:59:11,349

 

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Let me know what's up.

 

 


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00:59:33,985 --> 00:59:34,925

 

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Speaker:

00:59:35,135 --> 00:59:35,505

 

All righty.

 

 


Speaker:

00:59:35,505 --> 00:59:36,645

 

That's it for today.

 

 


Speaker:

00:59:36,775 --> 00:59:38,855

 

Again, thank you for coming by.

 

 


Speaker:

00:59:39,155 --> 00:59:41,675

 

Enjoy having you with me every episode.

 

 


Speaker:

00:59:41,690 --> 00:59:42,450

 

It means a lot.

 

 


Speaker:

00:59:42,510 --> 00:59:43,800

 

So thank you very much.

 

 


Speaker:

00:59:44,150 --> 00:59:45,870

 

I'm going to get on out of

 

here, grab a bite to eat.

 

 


Speaker:

00:59:45,890 --> 00:59:49,210

 

You go have a great rest of

 

your day, evening, weekend,

 

 


Speaker:

00:59:49,220 --> 00:59:50,340

 

week, whatever you're up to.

 

 


Speaker:

00:59:50,550 --> 00:59:54,030

 

Thank you so much for making Story

 

Craft part of what you got going on.

 

 


Speaker:

00:59:54,140 --> 00:59:57,660

 

We'll connect next time,

 

right here on Story Craft.

 

 


Speaker:

00:59:57,940 --> 01:00:00,270

 

Announcer: That's it for

 

this episode of Story Craft.

 

 


Speaker:

01:00:00,590 --> 01:00:04,950

 

Join Marc next week for more

 

conversation, right here on Story Craft.

 

 


Speaker:

01:00:05,400 --> 01:00:09,260

 

Story Craft is a presentation of

 

Marc Preston Productions, LLC.

 

 


Speaker:

01:00:10,255 --> 01:00:12,605

 

Executive producer is Marc Preston.

 

 


Speaker:

01:00:13,015 --> 01:00:15,415

 

Associate producer is Zachary Holden.

 

 


Speaker:

01:00:15,775 --> 01:00:19,085

 

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Speaker:

01:00:33,275 --> 01:00:34,015

 

I'm Emma Dylan.

 

 


Speaker:

01:00:34,725 --> 01:00:35,385

 

See you next time.

 

 


Speaker:

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And remember, keep telling your story.

 

 

 

 

 

 

 

 

 

Dimitri Leonidas Profile Photo

Dimitri Leonidas

Actor

Dimitri Leonidas is a British actor who has worked extensively on stage, television, and film. Up next, Dimitri will star in the Peacock series Those About to Die. Directed by Roland Emmerich (Independence Day) and helmed by Anthony Hopkins, all episodes will premiere on July 18 on Peacock in the US and on July 19 internationally on Amazon Prime Video. The show is described as an epic drama set in the corrupt world of the spectacle-driven gladiatorial competition, exploring a side of ancient Rome never before told — the dirty business of entertaining the masses, giving the mob what they want most…blood and sport.

Dimitri recently starred as Hober Mallow in season 2 of Foundation and in the hugely successful Amblin series Masters of The Air both for Apple TV.

Dimitri’s other TV credits include the Netflix series The One penned by Howard Overman, in which he played the lead role of James, alongside Hannah Ware. He co-led the first 2 seasons of Sky Atlantic's Riviera, opposite Julia Stiles.

Dimitri took to the stage in an adaptation of Ingmar Bergman's Oscar-winning film Through a Glass Darkly., starring opposite Ruth Wilson, directed by Michael Attenborough.

In 2014, following a worldwide search, Dimitri was cast alongside George Clooney, Matt Damon, John Goodman and Cate Blanchett in World War II drama, The Monuments Men, which followed an unlikely platoon on the greatest treasure hunt in history. He followed this with Rosewater, Jon Stewart's directorial debut, in which he starred opposite Gael Garcia Bernal. This led hi… Read More