Anthony Head

NOTE: The following is currently a work in progress. Anytime this, ..., appears, it indicates a place where I could not determine exactly what was said. In most cases, it was only a few words, but in a few cases there is a gap of a minute or so.

Any additions or clarification, especially of comments from the audience, would be appreciated.

This is as accurate as possible although I tried to find a balance between getting across his style of speaking and avoiding a page full of "ums" and "yeahs". I hope I succeeded to some extent.

After James Marsters’ Q&A, Aria pulled all the guests (except James Leary who wasn’t around) out on stage for a group moment. After a few minutes, everyone else left and it was time for Tony’s second Q&A of the weekend. Unlike Saturday, a microphone was provided for the questions. It was about halfway back in the theater.

You rock! Don’t go far Amber. They want you to sing. (to audience) We can but try. I mean, I did say to her, "You wanna do it?" and she said, "Yeah, you wanna do it?" and I’m like, "Can you remember it?" and she says, "You got the book?" and I said, "Psha, yeah!" (referring to the numerous offers for a book the previous day).

So I don’t know how you want to do this today, but also they want me to do, like a quarter hour before the end of my slot, they were going to do some more auctions. And no, I’m not going to do my bottom again. (disappointed noises from the audience) No, we did that already. ... Well actually three times if you want to ... And one is here right now. So, um, yeah, we’ll do some questions and then I guess in about fifteen minutes or so, we’ll do some singing (cheer from audience). ... Anyway, so let’s field some questions because there’s some people who yesterday when you came around (presumably in the autograph line) said, "You said you’d get to me and you didn’t." (mock whiny voice) So maybe I can find those people again or whatever. (Someone mentions the microphone) I beg your - There’s a microphone now? How exciting! What...what...what do you do? Do you run for the microphone or does the microphone find you. (various people tell him there is a line) A line where? (it’s pointed out to him) ... Alright, so basically you are lining up at the microphone and this is fantastic! Great! I don’t have to pick anyone out. ... Yes!

Q: I was wondering if you had any plans to do any writing or anything besides music for yourself and what sorts of things would you write if you had that opportunity?

I write a lot of really deep poetry. (mock intellectual voice) No, I really don’t actually. (laughing) Um, no, my father used to say...because I used to, you know...everybody writes poetry when they are in school and I, you know, I kind of transcended and kind of feel that songwriting is a form of poetry and I’m proud of some of the lyrics I’ve written and I show my father and (imitating his father) "Yeah but when are you going to write some poetry like you did at school?" It’s like, I’ve moved on, gimme a break. But no, I’ve written a couple of screenplays. One a screenplay that has taken something like three years and we’re on our fourth draft or whatever. Um, and it’s perfectly alright but extremely dark thriller. Everybody that we’ve given it too says, "Man, this is dark. And you’re fucked up." Um, sorry. (to Cezanne, the sign language interpreter) I’m ba-aak. Um, and excuse me, I know there are some small ones here and I do apologize. It’s what, you know came out of my mouth and eep ... Um, and I did have a bash at this strange thing that people have heard about...it’s an animated film that, god knows, if it’ll ever come to anything. My last thought was that it might go to a...um...a...... storybook thing’s called? I don’t know what you call them. Whatever. One of those. Um, yeah, I write and it’s fun to do stuff even if it doesn’t come to anything. But it was great fun doing it.

Well, I hope we get to see it.

Thank you. ... Next question please.

Q: Since you’ve been an actor both in the United Kingdom and here, could you describe some of the differences in your experiences of the two working environments? Apart from the fact that they pay a lot more money over here.

I oughta be worth a copper though. ... Anyway, as you can see it’s made a huge difference. Um, when I guest - I mean, you know, people ask me the difference between the two counties and I mean, ... there are more people in America than in England . You know, you know, they have like three as opposed to one of everybody in England . ... Um, and it’s hard to say. It’s like a very well oiled machine in the States and it’s a slightly oiled machine in England . ... It’s nice to be able to go back and forth and do it both sides because both sides are equally fun. Well, what could I say?

Thank you.

Thank you. No, no, thank you. Yes, please?

Q: I don’t know if this is too personal a question to ask, this is my first convention, but what aspects of your parents’ personalities do you see in yourself?

No, that’s not too personal. (laughing) I thought you were gonna ask about my ass again. (cheers from audience) What part of my character’s personality do I see in me?

Q: ...of your parents.

Oh, of my parents. Oh god. ... When you have children, you suddenly find out you’re just like your parents and it sucks. The last thing I wanted to be was like him! Um, but there are times when I hear my father’s voice and I go, "D’oh. Don’t go there!" Um, but, um...I don’t know. I suppose...I don’t know, what part of anybody is...yeah, they’re there. You can’t help it, they are there and you hope you grow and you hope learn and you’ve sort of moved on a little. Um, I mean...certainly the way my parents perceived parenthood is not quite the way I perceive parenthood, but it’s, you know, it’s a growing thing. And you learn from the people that you learn from, if you what I mean. That was a brilliant choice of construction. You learn from the people you’ve learned from (mocking himself) I think I’m gonna write that. That’s my creative phrase for the day. Um, I mean, what can - they’re there! It’s like, um, every now and again I go, "Ooh, ... but he’s a good guy. He’s alright. He’s my dad. I argue with him all the time. What can I say? I guess that’s it. Thank you.

He starts jumping up and down - which he does a lot this day. The audience starts laughing.

Somebody says yesterday, "You do move about a lot. It’s really hell to try and video you." It’s like, yeah, especially from ... (giggling fit)

Q: For the past couple of years, there have been a lot of international tragedies, and being on a show like Buff y, with a lot of fictional violence, how does that sort of affect the regular cast members and did that influence the show at all?

Um,.(very high pitched) He said in a high pitched sort of way. Um, I don’t think it impacted on the show any more than, than...you know on everybody. Um, you know, life changed, for everyone. I think the...um...you know, there were a couple of episodes that got shelved or moved because of events that they supposedly mirrored, which I kinda thought a bit cheesy because um...ah...the Columbine thing was, I thought, you know, the episode of Buffy would have actually helped that. But, um, you know, when Jonathan takes the rifle up to the bell tower, just because it explores the idea of alienness and not fitting in, and...and since Columbine was about people not fitting in and taking it to the illogical extreme, I thought "Why ... Buffy?" But, um, you know, there have been a few episodes that got sort of moved around. But I think everybody just reacts the same and finds the world a different place. And it sucks, but we all struggle on, as you do. Does that answer your question or am I talking ...

(The questioner had moved away from the microphone and was returning to her seat when he asked this.) I guess more of, as an artist myself, I needed to do a lot of creative stuff to heal and was wondering if there was any sort of outlet for that on the show?

Um was there any more talk because the microphone went off, they turned you off.

No, I moved up.

Oh, you moved on, well. Um, was there any sort of creative outlet for it? No. Actually not really, you know, you can’t .... The only thing you can do is for ..., you have a voice and you have to be careful how or what you say, ... I mean, there were a lot of people who spoke out, one way or the other about the Iraq war and a lot of people who spoke out against the Bush administration have been pilloried and I still don’t understand it. It’s bizarre. They’re just speakin’ their minds. But anyway...Um, on to the next.

Before the next questioner can say more than, "Um, would you...", Julie Caitlin Brown walks on from backstage with a guitar.

Oh, Julie’s bringing me a guitar. (cheers from audience) (To Julie) Did you tune it ... Thank you. (Julie says something from the back of the stage) Well, thank you. (to audience) This is Julie’s guitar that I’m borrowing. (Thank you’s to Julie from audience) (Julie says something that makes him laugh) ... We’ll do a couple more questions because there’s a little ole line happening back there and then we’ll do some signing and then we’ll top it off with ... (At this point, he turns around to set down the guitar) I’m going to turn my back now. (The cameraman for the feed being shown on a large screen takes advantage of the moment to zoom in for a closeup of his butt as he’s bending over. Naturally, the audience cheers and whoops.) Um, I did not do that intentionally. So let’s do a couple of questions. Fire away.

Q: Would you ever consider - do you see yourself in the future going back to musical theater and what advice would you give someone who is specifically interested in doing musical theater?

Yes, I would do it in the drop of a hat if it’s a good piece. It’s hard to better Rocky Horror. (some applause from audience) The best. But, um, I’ve done some interesting stuff and I’ve looked at some interesting stuff and I’d love to do more musicals. I don’t personally, you know, think of, you know - if I was going to advise somebody, I wouldn’t say, "Well, if you’re going to go into musical theater, this is the advice I have." Because it’s part of the bag. I mean, you don’t just go into musical theater. There is a tendency to limit people, you know, we pigeonhole people and there is, there is sort of a bunch of guys who used to be going around the West End, they used to go from one musical to another. And you don’t want to be limited. The one thing you don’t want to be doing in this job is be limited. You have, you know, you have the world as your oyster. You can do whatever you want, wherever you want, if you’re lucky enough. So just open you’re mind up and do anything you can.

... (to someone who is coughing) Are you okay back there? Would you like a drink of water?

I’m sorry? (the person at the microphone thinks he’s talking to her)

No, no would you like a drink of water.

I’m sorry I didn’t hear what you were telling me.

No, I wasn’t, but I will. I was first of all and then I sort of diverted my attention and I’m back on ya now!

I’m sorry.

... So you know, just go with it. Sing your heart out. Whatever. Okay, one more.

Q: For 15 years now, my mother has been embarrassing me and this is my chance to embarrass her. a) My mother thinks you’re hot. (huge cheer of agreement from audience)

... It just has to be said. And um, both Sarah and I have said to our daughters, "You think this is embarrassing? It can get worse." So watch yourself, girl. When she gets tattoos on in the supermarket, then you’re in trouble. (laughing) Next question please.

Q: (still the same girl) If you weren’t acting, what do you think you would be doing now?

I don’t know. Haven’t the foggiest idea. I’m a very bad carpenter but I like playing around with it. If you know what I mean. (laughter from audience) Gives new meaning to the expression, "I’ve got wood." (loud cheers - he thinks that Cezanne has yet to interpret this statement) Over to you girl! (people from the audience start yelling for her to translate) We’re all waiting for that. Oh, okay, we missed it, hmm. (he decides to repeat it so we can see the translation) It gives new meaning to the word, "I’ve got wood." (Cezanne repeats it, very emphatically. The audience cheers and whoops) I’m gonna ... the X rated show. I do have. Alright, last question, then we’ll do a quick bit of singing.

Q: First off, my ... librarian wasn’t able to come. She’s a huge Buffy fan but she had complications this weekend and-

Watch out. You know she’s blowing up the library as we speak.

She wants to thank you for making her job cool. She loves you for it. (cheers from audience)

Just tell her, if she sees any huge snakes in the library, be careful.

I have two questions but they’re both pretty short. First, in your album, Songs for Elevators, there’s a line that you sing and then James says later, "A lie is like a bottle of wine you buy at a cheap liquor store." Was that a personal thing for you to say, or did it just sound cool.

Well, the album was extremely personal, you know, just an exploration of stuff that I was getting out and sorting out and doing with myself, you understand. Um, there’s that wood thing again. But, um, yeah, you know, there’s stuff in my life that I’m enormously proud of and stuff that I’m not proud of and there’s stuff that - you know, in both ways the album was a great way of getting stuff out and seeing what it came to. And um, originally I wanted James to speak that bit in the song and the - George and the editor both said - um, you know the guy that, the engineer, not the editor. But said "No, no, too cheesy," I’m like, "No, it’s cool, like Tom Waits and ... So I sang it, but I loved it so much, the way it sounded, his voice is so cool, I stuck it at the end. A couple of people have said it scared the hell out of them. Because you just leave the album on and some time, like twelve minutes later, you suddenly hear, (in a very deep, raspy voice) "A lie is like a -" (devious laugh) Um, but the album has personal sort of stuff in it. But bottom line is, I still strangely love listening to it, so...

Q: And secondly, was there ever a one liner or something that you wanted to say as Giles that you never got to say?

Not really no. (laughing) Um, I had the dubious privilege of introducing pillock to the American language. And I had to correct the writers, it’s bollocks, not bollix. It’s in some dictionary as bollix, b-o-double l-i-x, it’s like sheesh. But not really no, because when someone like Joss Whedon is writing for you, you’re like spoiled, you know. No, there’s nothing that I would have, no, no, no. Apart from actually (laughs), in the Witch episode, there was, they were running short, if you know what I mean. (to demonstrate ’running short’ he suddenly gets down and runs across the stage on his knees, to the delight of the audience) Um, they were running, they had too much time left and they had to do filling. I...we were talking about the witches and I did this whole thing and I wrote it and Joss said, "Yeah, put it in. It’s great." But it was about, basically, the fact that they used a ducking stool, they used to put the witch in a ducking stool and if she sank, she was deemed...ahh...she wasn’t a witch, she was cleared, she was pure and if she floated, she was impure and burned at the stake. That always struck me as being ironic and rather sad. But funny. If you’re not a witch. We put it in and then it got cut, because they ended up running over. (someone asks him to demonstrate ’running over’) I don’t know how you’d do that.

Anyway, lets just do a couple of songs, I’ll do a couple of songs off the album and if you’ve heard them, you know (at this point he is interrupted by cheers from the audience. He picks up the guitar and spends sometime strumming and tuning it.) I’ll tell you what, when we’re, when Amber gets up here for the song, whoever it was that said, "I’m trained. I’m a professional, I can play the piano," you’re on, girl. But I have your book.

Do you want me up there?

I beg your pardon? Not yet. (tunes the guitar some more) Um, okay, we shall do our best. And if I - like I said I’m crap at words and crap at the guitar, so if I screw up, then tough. (laughing) The only two songs I can play off the album, one that I actually learned ... because they’re two acoustic numbers and I wrote them on the guitar so I can play them on guitar. The first one’s called Babies (applause) It’s about my girls. And um, I was in - I was doing a convention, I believe, I think I was in, oh I don’t know. It was somewhere out there. Denver . And I went into this town, I was on my own, I went into town to get something to eat and I sat in this restaurant and it was bizarre, I was feeling very, very blue about the girls, very unfit, I’d been filming for a long, long time and flew down to Denver and flew back again, so I’d been away from home for a long time and I just was surrounded by family moments. It was a great family scene going on ...

... (Sings the first few lines of Babies) Oh shit, it’s out of tune. (tunes it again and resumes singing exactly where he left off. Once he finishes singing, the audience gives a standing ovation.)

Um, and the other one’s a love song, it’s a very strange love song but it’s...um, when you spend most of your life on the other side of the world from the person you love, you develop ... you learn to treasure the moments you have on the telephone. And, I don’t know, when um, whenever I talked to Sarah, it was a very special moment. Whatever, stop driveling. And you’ll notice it’s in the same sort of chord and it’s just a different...arrangement. (He sings the second song, called Talk to You, and there is another standing ovation.)

Well, there might be some furniture moving now. (to the convention people) Does anybody know how to move the piano and what we can do with it and where we’ll be heard? No? Okay, um, well, I can go see if we can move it. Hold on. (to audience) Talk amongst yourselves. (He leaves the stage. Left alone up there, Cezanne becomes the focus of attention and she does a little tap dance, which receives cheers and applause. A few seconds later, Tony comes back on stage, walks up to the microphone, says the following and immediately walks back off without another word.) Fuck me, it’s a grand piano. (laughter from audience. There is a long pause while the piano is being dragged on stage by con people under his supervision. The next few comments are just an occasional random comment rather than an actual conversation.)

I have an ugly suspicion it’s hideously out of tune, but there you go.

Bless you, I’ve really got ’em running around.

I was gonna say that we could use, well I don’t know. We’ve only got two mikes and I don’t think we can use, unless Amber and I sing together.

Mrs. Piano Player, come along now. (applause for the volunteer as she goes up to the stage. Another long pause until finally Amber comes onstage to cheers. She and Tony talk amongst themselves. Someone from the staff asks if anyone else has a book and there are several volunteers.) ... (Tony and Amber continue to try and get organized between themselves.) ... (The piano bench is not adjustable so the pianist has to find something else to sit on so it was high enough for her. She ends up bringing out what looked like a blanket - folded over about four times. Tony cracks up laughing when he sees this.) Is it tall enough for you now? What’s your name?

Marcia.

Marcia, thank you for doing this. ..., you hustled us into this, goddam it. (laughing) (to Amber) Do you want this mike and I’ll use the other one?

Amber: ... you guys singing. (to Tony) They know the words better than we do.

Tony: I know ...

Amber: I’m used to music really loud and lots of noise.

The pianist starts playing and it is indeed out of tune. Amber starts off her part strongly but when Tony joins in with his part, she loses her way. He ends up singing the line "If I could say the right words" alone and everyone laughs.

...

They decide to pick up where they left off (Giles line: I wish I could play the father and lead you through this land) but Amber doesn’t join in.

Now wait a minute, she’s got to do her bit here.

They decide to start from the top. The audience cheers at a second chance.

...

This time, despite a few missed words or phrases (including, "wish I could say the right words" again), they end up going strongly and make it through the entire song. They totally nail the last part repeating "wish I could stay". A standing ovation is given.

Yes, we really did well on that one. (in a Not! tone of voice) Do more, do more. ... (Amber leaves to more applause)

... We’re gonna do a few items and then we’re gonna do some more questions, depending on how much time we have. So you better buy and fast. Lots of money. Because it’s (in unison with audience) For The Children. (to someone who is leaving) Are you okay, is it something we sang? Golly, I must brush up on my technique. Or brush up on my wood. (someone in audience says something I couldn’t hear) Or brush up on my wood. (Cezanne makes the sign again to the audience’s delight.) ... Anyway, moving swiftly on, what items do we have? A mug with me on it. Oh, it says "Kiss the Librarian" and the box is signed by Juliette Landau because we did kiss. It says "Kiss the Librarian" and she did. It’s true. And I signed it because I just ... But it’s an extremely attractive picture of me on a mug. Yes, we’re starting at $45, that’s what we’re starting at. (There is a bid of $50) (to one of the con people) Do you want to take it from here? I’ll give you this mike and I’ll get another mike and just say silly things while you do the serious work. I’m better at silly things than serious. Go on. (She takes the mike. NOTE: if anyone can remind me as to who this was, I’d appreciate it so I can refer to her by name in the following. )

The bidding quickly goes up to $80.

auctioneer: Oh she wants it bad.

You want it baaad. Oh, yeah. (bidding goes up to $90) Come on. How many librarians are out there? (bidding jumps from $100 to $150 to $200) This is where I ... It’s for the children! (the bidding goes up to $280. At this point, Tony kisses the mug.) I kissed the librarian, too. (bidding plateaus at $300) But I licked it. ... (It finally sells for $375 to a woman I later found out is indeed a librarian).

And um, let’s see, it’s James Marster’s bust. (NOTE: it was the Spike bust from Moore )

auctioneer: The box is autographed.

His box is autographed? Very attractively set amongst spikes because his name on the show is... His box is autographed. (cracks himself up laughing) (to Cezanne) How do you say, "His box is autographed"? (She demonstrates and once again the audience laughs. Tony can’t stop laughing for quite some time.) ... Um, okay, starting at? (someone bids $50) Fifty. For an autographed bust of James Marsters. Oh you can do more, yeah.

auctioneer: It’s limited.

Well, I’m limited but... (bidding hits $75) It’s James Marsters’ bust! ... (bid of $100) Yeah, come one, let’s get to $120. (someone bids $105) $105?! What’s that? (mock outrage). Go on, be bold. (a bid for $125) Yeah! (someone asks if he’ll kiss this item) Me kiss James? ... (sold for $125)

... We have a selection of T-shirts, I believe, with designs by Cat. Am I right? ... But this is me, looking slightly perplexed in front of the Roman baths in Bath (laughs) And I’m singing (NOTE: it was a collage of pictures of him from a charity performance in Bath) What are we starting with there then? $30? ... So it’s like a really nice memento okay? (bid of $40) You bet. Come on, the t-shirt cost more than that. (someone asks if he signed it) Yes, of course I signed it. (someone asks what size it is) Well, it’s not small is it? (mock indignation. A few seconds later the implications of that comment strike the audience and him at the same time and everyone laughs) There goes the wood again. So where are we? (the bidding was at $50 and ends up at $100) For the children...

Now this is cool, too. I mean, that’s cool, but this is cool too. This is a very cool picture ... Um, I think it’s really cool. And it’s autographed by Alice (the artist) and by me and we’re starting at $45. (the bidding goes up to $75)

auctioneer: It’s the only one. She did only one.

And she sweated...stuff over it. ... And she kept coming in and saying ... (bidding goes to $125) Rockin! It’s for the children. (bid of $150) Come on. Let’s get to $180.

auctioneer: This is it for Tony. This is the last item...won’t be auctioning anything else.

($180 bid) $180! Yeah. Now let’s just hit the $200 and then we’re good. Come on! Come on! ($200 bid) $200? Yay! (said very high pitched) Let’s do $225, come on. It’s for the children, come on. Cool picture. I like it, it’s, like, cool. (someone asks if they get a hug with it) Of course, they get a hug with it. (the woman who bid $200 raises it to $225 if it comes with a hug) You already had it at $200? Aww, bless your little heart. (they are about to close it when someone bids $230) $230. Lets get nasty here. (laughing. He can’t stop giggling at the look someone gave him when he said this.) You just looked at me when I said, "Lets get nasty", like "What?!" (it goes for $250 and the winner goes up front to collect her hug)

Okay, I think we’ve got five more minutes of questions and then we’re cool. (someone from the audience asks about the raffle) What about the raffle? A little voice from the back says, "Where’s my raffle?" (a bit of time is taken sorting out the raffle. He draws a number and announces it.) What are we raffling? (I think it was two Spike calendars but I’m not certain)

auctioneer: (looking for the winner) Are you here? Yes, No? Oh, here she comes.

Here she comes, walking down the street... (singing the Monkees theme) (The second number is drawn and the winner claims her prize.) Are ya happy now? Okay! (to the person who’d asked about the raffle in the first place) ... Fire away.

Q: Hi. I’d like to thank you again, like everybody else has for coming.

You’re welcome. Thank you for having me. (In keeping with the tone of the day, the audience whoops at this.)

Q: I have a really good feeling that Ripper is going to come to the BBC or someplace in America, and I think they are going to use flashbacks to when Ripper was a bit younger and I was wondering, if you had a say in it, who would play Ripper as a younger guy?

I haven’t the foggiest idea. Very cool thought though. I don’t know. You should write to Joss and suggest it and come up with suggestions because it’s - the idea that he was talking about, it might be - I hope that I get to play myself, if you know what I mean.

Q: Better. We’re not gonna watch it otherwise.

But, um, yeah...nice. It’s a very interesting thought and I don’t know. But if we do need to play younger, I hope it’s not me with one of those things that (he demonstrates pulling back on the forehead) Those don’t make you look younger, they just make you look very surprised. I did one of those, and it’s basically, it’s like a rubber band that they put round your head. ... Extremely uncomfortable... Next question.

Q: One final thing, Giles Rules! (Cheers from audience)

Q: If you ever found out that you had only one day left and you could have any role to do, what would you want to do?

Well, I got to do in the last, in LA I got to do Richard the Third with a couple of ... And I’d love to do it maybe sometime. The premise was that he’s, basically, a sexy Richard the Third and it was kinda cool to try it out. Because he’s basically, the idea being ..., the idea being that he actually hasn’t got, you know he’s - I played it like um, endearing ... gimpy little guy but very sexy. (to Cezanne) How do you say gimpy? ... Um, but he actually doesn’t have that much of a problem with it, it’s what he perceives himself as that is his problem. So it’s very cool. It’s what I’d do probably and I hope I have more than a day to do stuff in because I’ve got a lot left that I want to do.

Thank you.

Thank you. How many more questions? Three? Two? Two more questions. (people shout out that there’s only three more people in line.) Okay, let’s do three then. (laughing) (to the con people) Ya got a rebellion on your hands. Okay, three questions.

Q: This is just kind of echoing an earlier sentiment but yesterday, you teased my friend and I when we told you that, as librarians, you are our role model. Because you said all you did was blow up your library. So instead today, I wanted to take a minute to thank you for making the library the place where the cool kids hung out and reinforcing the notion that answers can still be found in books, everything’s not on the computer. And for making librarians sexy. (Cheers from audience)

Thank you. When I was first researching Giles, when I was first researching the presentation and I went to - actually I think it was the start of the series - I can’t remember. Anyway, I went to a high school library and was chatting with this librarian and she said, "At last! There is a spokesman for the librarians of the world. You know life is not easy for a librarian and it’s hard to get kids in here." And at the time, I kind of went, "Okay" (bemused) And I thought, well, you know, and I knew the show and that it wasn’t so much about that. It was more about this kind of stiff, confused Englishman trying to inveigle this young...girl into something she didn’t want to do. (He suddenly realizes what he just said and the audience laughs.) You just got dirty minds. (mock indignation) I can’t work with these people. Um, and it has very little to do with glamorous ... But anyway, I’m glad it’s, it’s - thank you and it actually has, it has raised kids’ awareness that the library is not the worst place to be. So thank you.

Thank you. And you’re still our hero.

Don’t. Blow. It. Up.

Q: Giles is Buffy’s teacher and playing the character, do you feel that he was proud of the way she turned out in the end?

Yeah. Yeah, she kicked ass. Yeah, it was, I must admit that the Giles/Buffy, you know, relationship as Watcher and Slayer was a really nice thing to play. For seven years, it went through many transitions and quite often the father/daughter thing, and it was, I think all just cued up to Joss - they just kept that going so long without someone saying, "God this is getting a little tedious." But also the fact that it did echo so many things that parents find when they’re dealing with children ... so rich in ... so rich in help for people who have questions in life. Joss is just a genius. Let’s hear it for Joss Whedon. (applause from audience) ... I’d take three.

Oh, come on. I’m the last one.

So you are. Go then, she wants me off.

Q: I have two questions. (the audience laughs) No, one’s really quick.

Just one.

Just one?

Yeah.

How did you enjoy filming I’ll Be There?

How did I enjoy filming what?

I’ll Be There, the movie.

Oh, of course. Really, really cool. I don’t know when it’s coming out here. It’s coming out in England , um, next week is the screening. Um, it’s a very sweet film, about, well, it’s not about Charlotte Church but she’s in it and it’s cool. It’s written and directed by a friend of mine, Craig Ferguson, who’s done, um...Saving Grace. Has anyone seen that? I love it. It’s a very sweet film. I read an English review and, typically, they just lambasted it, because they always give English films a hard time. But they liked ... and they said "We can’t figure out if we should advise you to see it or not." Get over it. But anyway, it’s a nice film and thank you for the question. (to audience in general) Thank you.