När jag bestämde mig för att Action Jackson skulle bli den första film att recensera här på bloggen var det ett säkert kort jag valt. Det är en film jag kan utantill och skulle kunna spendera en hel dag åt att prata om den utan att tröttna. Jag har haft turen att få intervjua mannen som var en väldigt stor bidragande faktor till att filmen är en av mina absoluta favoriter - dess manusförfattare Robert Reneau. Nedan följer min intervju med honom.
Action Jackson was the first movie script you wrote (that got made, at least). Tell us a little bit about how you got this big break in Hollywood and where the idea for the script came from.
I had written about eight spec screenplays before my ninth one, a contemporary noir titled “Rough Trade,” got me an agent. It helped a tremendous amount that I was good friends with Shane Black. He had recently sold his screenplay for Lethal Weapon for a fair amount of money (but an especially impressive amount for an unknown writer – this was before spec scripts started selling for insane amounts), and both Lethal Weapon and The Monster Squad (which Shane co-wrote with our friend, director Fred Dekker) went into production simultaneously. People wanted to be in “the Shane Black business,” and those of us writers who were friends of Shane (and of Fred) thus had a natural “in” to getting our scripts read by agents and producers – to be perfectly honest, without that Shane connection, I have no idea if I would ever have been able to get an agent – I’m not the most assertive of personalities, though as far as my screenwriting is concerned, I had a lot more confidence then than I do now; the foolishness of youth, I suppose.
Lethal Weapon was in production (I got to visit the set several times, including the bank where Gibson and Glover question Tom Atkins, as well as the “Murtaugh” family house which was on the Warner ranch – I believe the ballroom from The Witches of Eastwick was across the street, and I think Monster Squad was also partially shot on the Warner ranch), and Richard Donner decided to replace some of the scenes he had already shot (such as Gibson’s introduction) and also wanted some new scenes. Shane was not eager to do write entirely new material now that the film had already started shooting, having done plenty of pre-production rewrites, so he got me the gig of writing new material for the script.
I was only on Lethal Weapon for a couple weeks. I wrote a draft of the scene where Gibson and Glover chat while sitting on the boat in Glover’s driveway (the boat was a Donner addition). They spent an entire night shooting my draft of the scene, but for reasons it wouldn’t be diplomatic to go into (besides the fact that my draft wasn’t all that great), they decided not to use any of that footage, and Jeffrey Boam (who was one of the writers on Donner’s production The Lost Boys, made around the same time, which is why when Gibson and Glover pass the Wiltern theater on Wilshire Blvd. the marquee reads “The Lost Boys – This Year’s Hit”) wrote a new version of the scene, which is the one that was finally used. Boam became the writer for the rewrites, including the brand new intro scene with Gibson in the Christmas tree lot, and was also the principal writer for Lethal Weapon 2 & 3 (the first draft of Lethal 2 was written by Shane and his idol, Remo Williams creator Warren Murphy, but Boam’s rewrites changed that script hugely – I don’t think the Black/Murphy draft even involved South Africa). The only line of mine to remain in that Lethal Weapon scene is “We got one dead girl and one dead guy. The dead guy killed the dead girl, and we killed the dead guy, ‘cause he wanted us to be dead guys.” I know, that’s right up there with “Frankly my dear, I don’t give a damn,” isn’t it?
Even though I was fired from Lethal Weapon, Joel Silver liked my pages well enough to hire me to write Action Jackson. I’d first heard about the project a few months earlier when Shane returned from filming Predator in Mexico. He said that Joel and Carl wanted to do a movie together for Carl to star in called Action Jackson, sort of a throwback to the Shaft era, and wanted him to write it. He turned them down.
The title “Action Jackson” actually came from a G.I. Joe-style doll from the 1960s, which had its own commercial jingle. I think it went “Action Jackson is his name/Bold adventure is his game.” Though they’d stopped making the doll by the time we started working on the movie, the studio had to clear the name with the toy company. Some company actually started making the dolls again a decade or so later, with no connection to the movie. (No one has ever made any Action Jackson movie toys, but I would certainly buy them if they did; I have all the Demolition Man toys that I’m aware of).
Though I never saw it, apparently Joel and Carl had already had some sort of outline for the movie. All I ever heard about it that it featured an assassin who was also a Benihana chef, and in one scene killed someone at the restaurant while cooking a meal. That sounds kind of fun, and makes me wish I’d found a way to include it.
Joel had a few specific guidelines for the script. Carl would be playing a Detroit policeman named “Jericho ‘Action’ Jackson,” the story should involve the auto unions, and the female lead should be a “Janet Jackson-type” singer. Other than that, I pretty much had free rein in coming up with the storyline. I did some research on Detroit, and specifically on John Delorean, whom I’d decided to model the villain after.
I wrote a brief outline that was pretty close to what the story for the film ended up being, with the basic plot points and all the main characters, and Joel approved it. One of the few minor things I remember changing from the outline is that in my first version, I had the ex-boxer Kid Sable driving the sports car through the house – the film’s development person (who became one of my closest friends, and later supervised and produced several films for Disney) wisely suggested that since this was the biggest scale piece of action in the finale, it should be Jackson himself who does this.
How long did it take for you to write the whole script?
I think I wrote the first draft in a month and a half or so. The project was first set up at 20th Century Fox, and while I was working on it it looked like the studio might not want to develop it after all – after I’d not only started writing it but had moved into my first one-bedroom apartment, so I was worried the deal would fall through before I even got paid – but luckily they changed their minds, though not long after I finished the first draft the studio put it into “turnaround.” However, the production company Lorimar, which had just started distributing their own movies, needed projects and they picked it up from Fox. (Soon after that I met an exec at MGM who said that he had wanted to pick it up but he was unhappy that his bosses picked up A Fish Called Wanda instead. When I ran into him a year or two later I teased him about it, because Wanda ended up a much bigger hit than Jackson, as well as earning an Oscar and three nominations).
How would you describe the experience of writing the script? Was it fun, or hard, grueling work that made you understand why so many of our famous writers were alcoholics?
It was actually pretty grueling, not so much because it was an especially challenging project, but because it was the first time anyone was actually paying me to write a full-length screenplay, so I felt a lot of stress while writing it – if it turned out badly, there was a pretty good chance no one would hire me to write a movie again.
Did you have someone in mind when you wrote the character of Jericho Jackson? If Carl Weathers was already attached to the project when you wrote the script, was it easier to write the dialogue for the character with him in mind?
The part was definitely written with Carl in mind, though I’m not sure how specifically that affected my actual writing of the role. I feel in retrospect that Carl and I might have had very different views on what his character should be – I was most impressed by his warmth and charisma as Apollo Creed in the Rocky sequels (I didn’t see the original Rocky until 2003), while I think Carl may have seen Jackson more as a stone-eyed terminator-type figure. I hope we were able to meet someplace satisfactory in the middle.
In a decade where one-liners were uttered left and right by guys like Schwarzenegger, Stallone and Chuck Norris, did you find it hard to come up with good ones that you wanted to stay in people's minds? Do you have a personal favorite?
I was very lucky, especially for a first-time writer, in that no other writers were brought in to rewrite the script. (One unfortunate reality of the screenwriting business is that there is a very good chance any given writer on any project will be rewritten at some point, whether they are officially “fired” or not) I was especially worried that Steven DeSouza, who had worked on such Joel Silver movies as 48 Hrs and Commando (and later Die Hard 1 & 2) would replace me, but one of the reasons Action Jackson ended up as it did – going into production with minimal rewrites and a cast full of fun actors, often in small roles (including Thomas F. Wilson, Bill Duke, Sonny Landham, Robert Davi, Amelia McQueen and Ed O’Ross) was that the industry was fearing a potential Directors Guild strike that summer, and wanted to get as many films as possible “in the can” before a possible work stoppage.
I bring this up because the quip that gets quoted the most – “Barbecue, huh? How do you like your ribs?” – wasn’t actually mine (it even ended up in a recent YouTube supercut of pre-killing one-liners). I don’t know if I ever knew who came up with it; it might have been Joel himself. The main difference in that scene from my draft is in my version, that the bad guy is armed when Jackson kills him – I wouldn’t have had Jackson kill an unarmed villain, even one who had threatened to burn him alive. (In my version of the opening scene, the bad guys used a fire hose to knock Ed O’Ross out the window, not a rocket launcher – the death is supposed to look like an accident due to a fire, and I figured the water from the hose would have dried by the time people got to the body; on the other hand, that flaming corpse crashing onto a restaurant table made a more visually exciting opening, especially as it cuts right to the opening credits and the Pointer Sisters’ main title song [which wasn’t actually written for the film]).
Though most of the dialogue is mine, other people contributed here and there. In the opening scene, the actress who played the union official’s ill-fated secretary was Joel’s friend Mary Ellen Trainor (who passed on fairly recently), who played the police psychiatrist in the Lethal Weapon films and the newscaster in the Die Hard films (and was also at the time the wife of Robert Zemeckis – that same year, Joel himself played the director in the opening scene of Zemeckis’ Who Framed Roger Rabbit). Joel let Mary Ellen do a rewrite of her dialogue with Ed O’Ross in the opening scene (my version began with the secretary performing a sex act on her boss), but he told me that he didn’t want anything in the script that I didn’t approve of – I’ve long suspected that was the last time any screenwriter was ever told that – and I told him I was fine with her rewrite.
There were a few random lines added by others during filming – like Kid Sable watching “The Flintstones” on TV and going “Bite ‘im! Bite ‘im!” (at the time, Joel was developing the live action film of The Flintstones, which would ultimately be produced by Steven Spielberg instead.) The biggest (but still not very big) changes came in post-production. After we had a recruited screening of the film, Joel felt we should add a few scenes/moments to make Jackson more likable. We wrote and shot the scene with Jackson and the young car valet outside his building (the actor was at the time already playing the young chauffeur in Die Hard), and I think it was the film’s editor, Mark Helfrich, who came up with the separate moments, shot as inserts in post-production, where Jackson tells Dellaplane “Someday, you’re really gonna piss me off” and then in the finale says “Now you’re pissing me off!” I have to admit I was pretty disappointed that this bit – which seemed the most perfunctory kind of setup-and-payoff dialogue – got the biggest audience reaction of the entire film when we previewed the movie again.
Though I was raised on James Bond films and their quips, good and bad, I honestly can’t remember any of that kind of quip I contributed to the Jackson script, though there must have been some. Shane actually suggested a risqué quip I probably should have used – when Carl and Vanity go in for the clinch at the end, he thought she should say “I’ve always wanted to be action-packed.”
A few of the action setpieces changed from my draft to the actual filming. My first draft had a car chase on a golf course, and that was something that simply wasn’t affordable from a production standpoint. Similarly, right before Jackson is captured in act two, I had a big fight scene between him and one of Dellaplane’s thugs in a decaying tenement, with the two men actually crashing through the walls, but they couldn’t afford to build that as a set and a real decaying tenement would be unsafe to shoot in.
The only other major change I can remember is that the final moments of the film were originally set in a hospital room, where Sydney is visiting Jackson as he recovers from the gunshot. The scene was shot, and though I never saw it, I was told that it looked too much like the ending of a TV show, so they moved that dialogue to the final scene in Dellaplane’s house – which is why it seems like Sydney is claiming she’s instantly cured of her addiction, when that dialogue was actually written for a scene that was supposed to take place days later.
As far as killing-quips are concerned, my favorite story (which Shane has told in interviews) regarding action movie quips is about Lethal Weapon 2. One of the film’s most beloved moments comes at the end, when the South African diplomat/supervillain Joss Ackland (having just shot Mel Gibson) holds up his ID and bleats “Diplomatic immunity!” and Danny Glover replies “Has just been revoked!” as he kills him.
Two friends of ours happened to be at the Ralph’s market in Century City (across the street from the AMPM where Reginald Veljohnson buys twinkies in Die Hard, and just down the street from the “Nakatomi” building) when the cashier was telling a customer how much he loved the end of Lethal Weapon 2, when the bad guy says “Diplomatic immunity!” and Danny Glover replies “This is for when you vote!”
I guess the moral might be: it doesn’t matter what quip you write, because if the audience likes the movie enough, they’ll substitute whatever dialogue they think they hear, even if it makes no sense, and love it just as much.
Did you spend time on set and meet the director or any of the actors? Do you have any interesting stories to share if you did?
I paid a few visits to the set. The police station office set was in a building in downtown L.A. My strongest memory of that set visit was running into a fellow former U.C.L.A. student, who was then working as a reader for Carl Weathers’ production company. We stayed in touch, and he later went on to direct the movies Skin and Louder Than Words.
One other thing I remember about that location was meeting Bill Duke, who played Jackson’s boss. I talked with Duke about a great Hill Street Blues episode he’d directed, where the mayor (played by George Coe) accidentally falls out of a building he’s touring. (Duke didn’t have many scenes in Action Jackson, but I heard at the time that his father was dying in the hospital, and that one of his scenes was shot the day before the funeral, so I’m just happy he stayed with the film).
There was a fishbowl in the police station set, with an actual goldfish, but I heard that the fish died – either it was left in the bowl over the weekend, or some paint got in the water. Either way, I remembered how when filming The Omen, Richard Donner made sure there wasn’t a real goldfish in the falling bowl when Lee Remick falls off the railing, and I teased Craig Baxley
“Dick Donner wouldn’t have let that fish die.”
I also remember visiting a sleazy hotel downtown, where they were shooting Robert Davi’s scene (Arnold Schwarzenegger was visiting, but Joel never got around to introducing us), and the pool hall, which was also downtown. I met Branscome Richmond, the “Why you looking for Papa Doc?” guy, and he’s one actor who’s still always popping up in movies – he recently appeared briefly in Mike & Dave Need Wedding Dates as a Hawaiian BBQ chef.
I also visited the soundstage sets, specifically the interior of Dellaplane’s mansion, which were built somewhere in the north San Fernando Valley, possibly Santa Clarita.
I met most of the major cast, particularly, of course, Carl. I only spotted Sharon Stone once, at Joel’s office, but we were never introduced. I was most excited to meet Craig T. Nelson, whom I’d been a big fan of ever since Poltergeist, and learning that he had signed on to play Dellaplane was one of my happiest days on the project. (Since the character was modeled after silver-haired John Delorean, I’d pictured James Coburn or Christopher Plummer in the part, but Joel wanted more of a “two-fisted Ben Gazzara-type.” His first suggestion was Sam Elliott, whom I felt wasn’t physically imposing enough to go toe-to-toe with Carl, but Elliott was spectacularly well cast by Joel in Road House the following year).
There is one mildly amusing story I can tell you about a cast member, but for discretion’s sake I won’t tell you their name. Joel told director Craig Baxley and me that this particular actor had some ideas for his big scene, and that we should meet with him to hear his thoughts.
Craig Baxley and I met with the actor, and afterwards I drafted a version of his big scene incorporating the actor’s suggestions. I missed the later meeting when Joel blew up at Baxley – apparently though we were supposed to listen to the actor’s ideas, we weren’t actually expected to write a version of the scene to his specifications. I was told later that Joel yelled “[actor] is not the producer of this picture! I am the producer of this picture!”
That’s the only occasion I heard about during the film when Joel lost his temper, and I am happy to have missed it.
I don’t know if you’re familiar with the director, Craig R. Baxley. He’s from a Hollywood family of stunt men; his dad was Paul Baxley, a stunt coordinator/stuntman who was William Shatner’s principal stunt double in the original Star Trek series.
Craig himself was a stuntman – he did the stunt of the policeman driving the car off the cliff in pursuit of a UFO in Close Encounters of the Third Kind, and managed to shatter his leg in doing so (I never noticed a limp, so I guess he recovered fully in those ten years). I didn’t know this when I was working with him, and I would have been even more impressed if I’d known that he played some of the monsters on one of my all-time favorite TV series, Kolchak: The Night Stalker. Craig played the robot Mr. R.I.N.G. and the man-sized dinosaur in the final episode, and he also got tossed around by monsters in another couple episodes.
Craig was the stunt coordinator for TV’s The A-Team and directed nine episodes and, more importantly, was the second-unit director for the sequences in Reds shot in Spain and for Predator – I always heard that he essentially directed the big assault-on-the-village scene in Predator, and that this was what got him the Action Jackson job.
Craig, who looks (or at least looked like this in 1987 – I haven’t seen him in a couple decades) like William Devane with Michael Landon’s long shaggy hair, was an absolute delight to work with – friendly, even-tempered, just about the most genuinely nice person I met in my years as a screenwriter.
Craig’s own son Craig Jr. is also a stuntman. I recently saw him in an early Masters of Sex episode, as one of a group of thugs who attacks Beau Bridges while he’s waiting to pick up a male prostitute.
While we’re on the subject of actors, I should mention that I got to attend one of the casting sessions, specifically for the actors auditioning to play Kornblau, the younger of the patrol cops. (Joel really wanted Bill Paxton for the part – they’d worked together on Weird Science – but Paxton was unavailable. I was actually happy about this, as I’d only really known Paxton from Weird Science and Aliens, so I thought he was a bit broad for my tastes. So I was pleasantly surprised when he turned out to be a really first-rate actor, especially in A Simple Plan). I spent the day watching young actors read the scenes, including Michael Bowen and Rob Knepper (I remember vividly that in reading the line “He might as well wear a T-shirt that says ‘I steal shit’ on it”, Knepper emphasized ‘shit’ instead of ‘steal,” which killed the joke).
To me it’s an object lesson in Hollywood careers, especially those of actors, that of all the actors who read that day, the only one who was totally unfamiliar to me was Willie Garson. And in the almost thirty years since, it’s Willie Garson who arguably has worked the most – probably best known as Sarah Jessica Parker’s gay friend Stanford on Sex in the City (the second film begins with his wedding), I’ve seen him in 26 movies since that audition – he even played Lee Harvey Oswald in Ruby.
As you know, we lost the very talented Vanity earlier this year. What do you think of her contribution to the movie, both as an actress and the three songs she recorded for the soundtrack?
I had found Vanity very effective in John Frankenheimer’s terrific 52 Pick-Up, and felt she was an ideal choice for the role in Jackson (though I remember one day in pre-production when Joel thought he might want to go for a “prestige” cast and have Peter Coyote play Dellaplane and Cathy Tyson [from Neil Jordan’s Mona Lisa] as Sydney), and I actually had her in mind when I wrote the part.
Originally, Sydney Ash’s name was going to be Ashley Benson – I was in high school with a girl whose last name was Ashley and whose mother, a local film critic, was named Sheila Benson – but I decided that “Ashley Benson” sounded a little too much like “Action Jackson,” so it became “Sydney Ash.” It wasn’t until 1989 that Pretty Little Liars actress Ashley Benson was born.
I met Vanity briefly at Joel’s office, and she had been flattered to hear I had her in mind when I wrote the role. She seemed nice enough – later I heard a story that she stopped at a gas station on the way back from filming one night and didn’t have cash on her to pay for gas, so she gave them the prop jewelry she was still wearing instead. Don’t know if this story’s true or not, though it sounds oddly plausible.
I was definitely sad to read about her death some months back, though I’d already read on-line about her declining health, so it wasn’t a big surprise. I really liked her in the film – it wasn’t the most polished performance, but she had a real charisma that was quite appealing, and obviously she was extremely photogenic and genuinely sexy, which never hurts.
Not long after Action Jackson came out on VHS, I was in a local video store and happened to overhear two young clerks talking about the film, expressing their skepticism over the moment when Carl turns down a sexual advance from Vanity. At least they quoted the scene accurately.
I heard a rumor that Prince may have helped write one or more of Vanity’s songs for the film, but that was never confirmed.
As a fellow lover of movie scores (Robert är skribent för Film Score Monthly), what do you think about the Michael Kamen/Herbie Hancock collaboration for the Action Jackson score? Do you think it will ever be released?
I think the score works in context, but overall it’s kinda forgettable – Isaac Hayes set the bar pretty high for this kind of score with his Shaft theme. I got to meet Michael Kamen several times over the years – I later attended scoring sessions for Die Hard, The Last Boy Scout and Last Action Hero – and I liked him a great deal personally (not that I ever knew him well enough for him to recognize me when I’d run into him the next time). I was particularly impressed by him at the Last Action Hero scoring session – even though they were behind schedule (and the film had already fallen victim to bad word-of-mouth before anyone had even seen it), he was completely relaxed and comfortable.
There’s one scene where I have issues with the scoring, but I don’t know that it’s really Kamen’s fault. (I’m assuming it was a Kamen cue and not a Hancock piece). There’s a major dialogue scene early on (in writing action movies, I was always hugely influenced by the James Bond films I grew up on, and this scene was clearly modeled after the inevitable post-main-title scene where Bond gets briefed on his new mission by M), where Carl goes into Bill Duke’s office and gets his Dellaplane-related assignment. Joel felt the scene as it played was too dry and boring so he hoped the music would spice it up, but I found the comedy cue written for the scene really irritating – it sounded like the music from a fast food fajitas commercial that was playing at the time, possibly for Jack in the Box.
No idea if it will be ever released, though obviously I’d love it if it were. Since Herbie Hancock is a major recording artist in his own right (to say the least), I suspect he has some say over whether it will ever come out, and I suspect that score isn’t exactly a favorite project of his.
What did it feel like to watch the first movie you'd written, for a big Hollywood studio to boot, for the very first time? Did the viewing take place in a theater with family and friends?
I think the first time I saw it might have been in a rough cut in a screening room at what was originally the MGM studio lot in Culver City – by the time Action Jackson was made, it was the Lorimar lot (I have a treasured photo of myself holding my Writers Guild strike picket sign in front of the lot, with the Action Jackson logo visible behind me on top of one of the studio buildings), but since Lorimar didn’t last very long as a film studio all to itself, it’s been the Sony lot for the last few decades (and I got to watch scoring sessions for RoboCop 3, Last Action Hero and The Long Kiss Goodnight on that lot). The rough cut was actually pretty close to the final version.
I saw it a few more times in the theater. We had a “recruited” screening in the Long Beach area, the same theater where I was able to tag along with Shane and Joel for a recruited screening of Lethal Weapon a year earlier, and we had the premiere of the film at one of my favorite L.A. theaters, the Mann Village in Westwood – I even got to sit in the balcony with my friends, which made the evening even nicer.
It opened at another great Westwood theater, the National (the National has since been torn down, but if you watch David Fincher’s Zodiac, the interior of the National is used to portray the interior of San Francisco’s Northpoint theater – another beloved theater long closed – for the scene where Mark Ruffalo’s character attends a special screening of Dirty Harry), and I went to see it there one more time, but there weren’t a lot of audience members in that huge theater.
What was your initial reaction to the movie and has your opinion on it changed over the years?
Overall, I was very happy with the film. It’s unusually faithful to what I wrote -- even little moments like the pickpocket saying “F*ck a duck” after stealing Jackson’s badge, or the poor taste jokes the guards on the yacht make before they’re killed, came right out of my script.
I remember telling some of my friends at the time that I thought the movie was actually better than
Lethal Weapon – but I didn’t mean that to sound as egotistical as it probably sounds now. I always had a very mixed opinion on
Lethal Weapon – I felt Shane’s script was excellent (unlike mine), but I felt Donner’s direction made it a lot blander; I would have loved to see how the Donner of
The Omen or even
Superman would have handled it. Jackson, on the other hand, didn’t have nearly as good a script, but I felt the other aspects of the movie were closer to the level of the script, and thus the movie was more consistent and less frustrating than Lethal, if that makes any sense. I’ve found that the film’s biggest fans tend to be white guys who were in college in the early 90s (for the record, I’m a white guy who was in college in the early 80s) – don’t know why that is.
There are some moments in the script and film that I’m especially happy with – the scene right before Dellaplane kills his wife, particularly the way we see her almost find the gun in his belt and then it disappears right before he shoots her, is exactly the way I’d described it in my script, and I really like the section where Jackson fights Sonny Landham and he and Sydney jump out the window onto the convertible top, eluding the police. Sonny is particularly funny in that scene, and I liked the idea of throwing the body from one window through another.
Of the two films which I wrote that actually got made, I tend to think of
Action Jackson as my child that I love even though it’s embarrassing in a lot of ways (the one way that it actually resembles me and my sensibility is that it’s relentlessly glib), while
Demolition Man is more like being divorced from a well-known actress – people are impressed, but all you can remember is the infidelity and the alimony.
Carl Weathers said in an interview not long ago that with all the action franchises getting sequels these days (Die Hard, Terminator, Expendables etc), there should be one for Action Jackson as well. If you were offered to write the script for a sequel, would you be up for it?
That’s a very difficult question. On the one hand, I’d love to have someone offer to pay me to write a script – though I’ve written plenty of spec scripts since (none of which sold), I haven’t actually been paid to write a screenplay since I was replaced on
Demolition Man back in 1992. On the other hand, I never really saw action movie writing as my strong suit – I sort of accidentally stumbled into it (my noir script “Rough Trade” wasn’t really an action movie though it did have some action scenes).
So yes, I would be willing to write it (how could I not?), but they’d probably be wiser to find someone else.
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