Jem Rolls

So far, since we're making it less difficult in other years.

But when it's just completely disconnected, words or lines, which are no resemblance to the next, it's tough.

I've got a couple passages.

I mean, what I've frequently done is I do it a hundred times, I do it twice a day for a hundred days.

It's...

Because basically in the end, it's in the head.

And also you have to be in the head so well, you can think about something else while you're doing it.

That's how, that's essentially how free you have to be with the text and sort of react with the situation and also partly for noticing what's working and what's not working and then just, you know, especially as the pieces are evolving and getting into your own physicality, you're inventing these things as you go along each time.

And you can only do that if you know the text so well that it comes out of your head basically pre-programmed.

I mean, it's hardwired into the head, did I say that?

I reckon between now and September I will walk 1,000 miles whilst rehearsing the show.

In a sense, that's quite laborious, but it's just in a sense the work you have to do to get there.

And if I was going to give advice to anyone...

I'm about to give a workshop, so I know all the stuff, but I've never really sort of systematised it into any, basically into an agenda, because I'm giving a workshop a week on Sunday.

About the hour long show, so I've never done workshops, I just make a living off tickets from shows, and I've always thought lots of workshops are a bit of a con, because people seem to start doing them who don't really know very much.

It seems to me, why are you taking money from, why haven't you got the nerve to take money from people?

And yeah, do you even know what performance poetry is?

Or, again, you know, I wouldn't want to do a workshop in poetry on this.

I thought somebody was bloody marvellous.

Because, you know, I think, as with most culture, very few things are brilliant, you know.