Harris Dickinson's Directorial Debut 'Urchin'

Summary

---

Podcast Summary: All Of It with Alison Stewart

Episode: Harris Dickinson's Directorial Debut 'Urchin'
Date: October 10, 2025

---

Overview

In this episode, host Alison Stewart sits down with writer/director/actor Harris Dickinson and lead actor Frank Delane to discuss Dickinson’s debut film Urchin. The conversation dives into the film’s sensitive portrayal of homelessness and addiction, the intentions behind its realism, the collaborative process between director and actor, and the film’s journey from script to Cannes acclaim. Both guests offer personal insights into the creative process, the challenges on set, and the hope that audiences come away with new empathy for the vulnerable.

---

Key Discussion Points & Insights

The Genesis and Development of Urchin

• Long Creative Gestation:
  • Harris Dickinson spent six years developing the story, building it from the idea of a man “falling between the cracks" of society (02:28).
  • Script development was a collaboration with organizations and people with lived experience in homelessness, prison reform, and probation. This ensured authenticity—"It really felt like a big collaboration... to really try and push it into the best place possible." (Dickinson, 02:38)

Character and Performance

• Mike, a Non-Typical Lead:

  • Frank Delane was drawn to Mike for being “a really broad character" and because the film tackles "big, meaty themes." (Delane, 03:39)
  • Both emphasized the importance of showing Mike’s complexity, shaped by trauma, but also dignity and humor.
  • "There is no generic homeless person. You know, it's all of us. We could all find ourselves in that position, believe it or not." (Delane, 05:42)

• Preparation and Realism:

  • Both actors participated in research with real organizations, reinforcing that “there is no simple solution to complex problems.” (Delane, 05:42)
  • Dickinson was intent not to “sanitize” nor “victimize” Mike, instead aiming for a balance of realism and empathy:
    • "It was showing the truth of it, trying to depict it accurately, but allowing humor as well and allowing levity... the mikes of this world deserve that as well." (Dickinson, 07:08)

Directorial Choices and Challenges

• Being an Actor’s Director:

  • Delane celebrated Dickinson's actorly background: "It was just like having this extra support network... Harris is an actor’s director, which I think is becoming a rarer thing." (Delane, 08:37)
  • Dickinson’s hands-on approach extended even to minor roles, ensuring space for exploration.

• Tangible Realities of Filming:

  • Dickinson cited costume choices as surprisingly pivotal:
    • “Which jacket Mike wore? ... You commit to that and then you say, well, he's wearing that throughout the whole film..." (Dickinson, 10:15)
  • Logistical hurdles included frequent night shoots, lost locations, and 36 distinct settings, but also exciting energy given a 28-day shooting window (19:08–19:52).

Storytelling Moments & Symbolism

• Scenes of Dignity:

  • A standout moment is a thrift-shop fitting, which underscores Mike’s pride in simple pleasures.
    • “The story that we wanted to tell in that moment was... dignity, and feeling good about yourself... the experience of going into a shop and finding a nice jumper and really feeling yourself..." (Delane, 11:51)
  • Dickinson notes the idealism present even in bleak circumstances: “There’s an idealistic element to it... we're on Savile Row fitting a suit, you know, and there's something quite sweet about that.” (Dickinson, 13:08)

• Mike’s Backstory:

  • His history as an adopted child is purposefully left open, prompting viewers to contemplate his past without over-explanation.
  • Dickinson’s father, a social worker with experience in the field, was a resource in shaping these aspects (14:01–14:25).
  • Frank Delane’s real mother voices Mike’s mother in a phone call scene in the film (14:25).

Thematic Depth

• Cycle of Desperation and Hope:

  • The film’s opening—Mike robbing a kind stranger—embodies the at-times unavoidable cycle of desperation.
    • “Desperation has its own language that maybe we’re not all tapped into if we’re not desperate.” (Delane, 16:13)
  • Mike’s ambitions (owning a limousine service) are “overly ambitious”—a symbol of both hope and the limits imposed by his circumstances (17:25–17:53).

• Moments of Triumph:

  • A night out with coworkers is a “happiest night” for Mike, feeling clean, included, and “whole again” even if fleeting (18:27).

Visual and Stylistic Choices

• Magical Realism & Surrealism:
  • Dickinson made deliberate departures from gritty realism with “trippy” moments—the “resistance to absolute reality,” illustrating how people cope with trauma (20:59).
    • “I always had an interest in that kind of storytelling... magical realism, more surreal elements, escapist cinema, fairy tale, fables, folklore.” (Dickinson, 20:59)

---

Memorable Quotes & Moments

• On Empathy and Universality:

  • "There is no generic homeless person. You know, it's all of us. We could all find ourselves in that position, believe it or not." (Delane, 05:42)
  • "Mike is you, Mike is me... There is no other person. There is no homeless person. You know, there is no refugee. It's you. It's me." (Delane, 22:38)

• On Acting and Directing:

  • "Harris is an actor’s director, which I think is becoming a rarer thing... just really holding space for the creative process and for exploration." (Delane, 08:37)

• On The Collaborative Approach:

  • "It really felt like a big collaboration between lots of different people that had lived experience with it as well." (Dickinson, 02:38)

• On the Film's Purpose:

  • "If this film can stand in resistance to that impulse... and humanize another person who maybe some people don’t give the time of day to... I think that is a massive achievement." (Delane, 22:38)

---

Important Timestamps

• 00:07–03:39: Introduction to Harris, Frank, and the premise of Urchin
• 04:24: Insights from working with organizations on authentic storytelling
• 05:42: Frank Delane on the universality of homelessness
• 07:08: Dickinson on balancing realism, dignity, and levity
• 08:37: Frank praises Dickinson's actor-focused directorial approach
• 10:15: Discussion of on-set decisions and costumes
• 11:51: Thrift shop scene and symbolism of clothes
• 13:08–13:39: The idealism within bleak settings
• 14:01–14:57: Mike’s backstory and the inclusion of Frank's real mother
• 16:13: Frank describes Mike’s motivations and desperation
• 17:05: Mike’s dreams and ambitions
• 18:27: Mike’s happiest moments, fleeting triumph
• 19:08–19:52: 28-day shoot, logistical challenges, and creative energy
• 20:59: Magical realism and escapist sequences
• 22:38: Hopes for audience impact and empathy

---

Tone & Style

Throughout the conversation, the tone is empathetic, reflective, and occasionally humorous. The guests are candid about the creative struggles, passionate about telling an honest story, and hopeful for the film’s impact on public perception of homelessness.

---

Closing Thoughts

This episode of All Of It offers an intimate look at the making of Urchin: a film that forgoes easy answers in favor of nuance and empathy. Listeners get a strong sense of both the emotional and practical work behind the film, the depth of collaboration required, and the filmmakers’ hope to provoke understanding for people experiencing homelessness. Both Dickinson and Delane emphasize that Mike is not an “other,” but a reflection of all of us—a human being worthy of dignity, humor, and hope.

---

Listen from [04:24] for insights on research for realism, or from [22:38] for the most resonant statements about the film’s message on empathy and shared humanity.

Transcript

[A]

This is all of it. I'm Alison Stewart live from the WNYC studios in soho. Thank you for sharing part of your day with us. I'm really grateful that you're here. On today's show, we'll have music from Rasha Nahas, a Palestinian artist performing at the Habibi Festival this week. She's tuning up in Studio 5. She'll be performing live. We'll also talk about a new Claude Monet exhibit at the Brooklyn Museum with a on his paintings of Venice. That's our plan. So let's get this started with a film about how tenuous life can be. The film Urchin, about how hard it is to stay afloat in this world. Got this review in the LA Times. Urchin establishes the filmmaker as one to watch, a storyteller willing to look at a thorny subject and admit that there are no easy answers. The filmmaker is Harris Dickinson, and it features Frank Delane, writer and director. Dickinson is usually in front of the camera, like in Baby Girl or Triangle of Sadness, but this is his directorial debut. At the center of the story is Mike, played by Delane. We meet Mike, and he's sleeping on the streets of London when a nice man helps him out in a difficult situation and offers to help buy him lunch. It looks like things might be getting better for Mike. That is, until Mike robs the man and steals his watch. And it's that up and down of Mike's life. Something good comes his way and then something tough. He lands in prison, but is given a potential fresh start when he gets out. He gets a job, but he loses it. He gets clean, but the pull of drugs is too much. Urchin has been drawing acclaim for its sensitive yet realistic portrayal of the cyclical nature of homelessness and addiction and the reasons behind it. It premiered at the Cannes Film Festival earlier this year. While Frank Delane took home an award for his performance, Urchin is in theaters, joined by writer and director Harris Dickinson. It's nice to meet you.

[B]

It's lovely to meet you. Lovely to be here. Thank you for having us. And you introduced it so beautifully, so thank you.

[A]

And on Zoom, I'm joined by actor Frank Delaine. Hi, Frank. How are you?

[C]

Hi. I'm good. Yeah. Thanks for having me. On Zoom.

[A]

Harris, how long did you have the story of Mike in your head?

[B]

It's been around six years of developing it at the moment we started writing it. Up until kind of now releasing it. Yeah, around six years.

[A]

And was it the original story? Is it the story we see on screen?

[B]

Or how did it develop there or thereabouts? I mean, it was always about someone kind of falling between the cracks, trying to paint a picture of someone navigating their way through a tricky system and ultimately kind of battling against themselves and tracking in real time as they unravel, in a way. But I think we worked closely with various different organizations and advisors and fields in prison reform and probation and had a lot of people weigh in on it and interrogate the material. So it was. It was a. It was. It really felt like a big collaboration between lots of different people that had lived experience with it as well. So that was always important for the script and the development to really try and push it into the best place possible. And then, of course, Frank came on board around eight, nine months before we started filming, and we collaborated on the role together and found our way into it together as well, which was nice.

[A]

Frank, what attracted you to the role of Mike?

[C]

Well, it's not a character that you see every day in cinema. I think that Mike is a really broad character, as Harris said. The themes that Harris wanted to explore were big, meaty themes, and there was just so much to get my teeth into, and it's something that I feel very passionately about. So, yeah.

[A]

Harris, you mentioned that you were working with different organizations. What was something that you learned or you experienced firsthand that you knew you had to make it, it had to make it into the film?

[B]

Well, I think the interesting thing about Mike and the age and the point he's at, in his late 20s, something happens, particularly in the UK from 16 to 25, there's different support networks available, you're in a different bracket. Right. And as soon as you get past that, it becomes incredibly difficult to support people in the same ways. And so I think the one thing I really wanted to try and show is. And. And reject is the idea that we're blaming anyone. Right. We're not blaming the people that work in those fields. There's phenomenal work being done by all of those different workers and organizations. But it was trying to present a full picture of someone trying to reassimilate and how difficult that is once you've been either incarcerated or once you've lost your support network or you've kind of exhausted your options and people have given up on you and you've kind of given up on yourself. It's really a difficult battle. So I think we just wanted to try and get that across in the film and provide a bit of insight and empathy towards this.

[A]

You know, Frank, what Did you learn by helping out with some of those different organizations that you wanted to bring to the role of Mike?

[C]

I think one of the main things I learned was there is no simple solution to. To complex problems. You know, there's a lot of. There's a lot of trauma that goes into. That goes that. That informs Mike's decisions. And if you find yourself sleeping. Sleeping rough, it's usually. It's usually because there has been a sequence of tragic circumstances that you find yourself in that position. And also, the. The circumstances can be quite mundane, as. As in, you know, going through a breakup or. Or losing a job. And I think that there are all kinds of people in all kinds of walks of life. And. And, you know, it's. It's. There is no generic homeless person. You know, it's all of us. We could all find ourselves in that position, believe it or not.

[A]

One step away, one bad decision away.

[B]

Absolutely.

[A]

It was interesting, and I'm curious what your answer is going to be. Harris. You wanted to portray the folks who are in these communities in a way that was sensitive, but you also didn't want to sanitize it.

[B]

No.

[A]

How did you balance that?

[B]

Well, I think it was important also to not victimize Mike too much. Right. In a way that allowed the audience to unjudgmentally go on his journey and present him in a way that wasn't overly heroic or. Yeah, like you say, overly sanitized. So it was showing the truth of it, trying to depict it accurately, but allowing humor as well and allowing levity into a story like this because. Because the mics of this world deserve that as well. And, you know, I've spoken about this countless times. It's like when someone has been to the kind of the brink of their own experience, whether that's their own morality or their own behavior, they're often the most exuberant, funny people, you know, as we know. So that was really important for us. And Frank constantly spoke about dignity and stuck up for Mike in ways that we all should. So that was really vital to the kind of formation of him in this film.

[A]

My guests are writer, director, and actor Harris Dickinson and actor Frank Delane were talking about their new movie Urchin, about a young man named Mike who's trying to rebuild his life after experiencing homelessness in London. It's in theaters now. Frank, how do you think we're talking about Harris? Like he's not here. How did Harris's background as an actor help him as a director?

[C]

I think I really appreciated Harris's Background as an actor with his directing style, it allowed him to really, well, to jump into scenes with me and we could rehearse it a lot. And also there was just a sort of understanding of the things an actor goes through to achieve character. And it was just like having this extra support network if, you know, we could. As Harris said, we really built Mike together. And Harris is an actor's director, which I think is becoming a rarer thing, at least in my experience. It could be. You could come in and just have one line and Harris would be there with the actor running it until he got it right and just really holding space for, for the creative process and for exploration and also knowing where the switches are in, in each, each, each actor and being able to, to. To flick those switches and, and he certainly pushed me in, in ways that I've. I've not. I've not been pushed before. And I think that's, that's a testamen, the craft of acting.

[A]

All directors have to make decisions. That's a big part of being a director. Decision after decision after decision. What is a decision that was a little bit hard to make, but that worked out for you on this film.

[B]

Which jacket Mike wore? The costume. The costume decisions are the hardest because they're the, they're interesting though, but they're a big commitment. Yeah, you commit to that and then you say, well, he's wearing that throughout the whole film because he's not necessarily the kind of film where he's gonna keep changing costume. And so you commit to that and you say, well, we're in now and is it right? But no, I mean, I kind of said that in jest, really. It's, it's, it's. It's the last minute changes that you have to really account for and that no one can really warn you about. You know, you're on set and you lose a location. We were doing a lot of unit moves. We were doing a lot of night shoots and there were times where we were on the go shooting somewhere and our locations manager would come and say, oh, by the way, we've lost the location for the next scene. What do you want to do? And you have to figure out what the next move is for the night. Are we gonna do it on the street corner or are we gonna find a new logo? Are we gonna fabricate something? Should I just rewrite something? So it's those moments that you can't really prepare for. That took me.

[A]

But I do wanna ask about the clothes and I wanna ask Frank about there's a scene where you're trying on a sweater, a jumper, and. And it's a very sweet scene because the woman in the shop, we assume it's a thrift hand shop, is rolling up your sleeves like she's making sure that it fits you right and you're very sort of proud of it. And then she goes and she gets you these loafers and you're really into these loafers. What was going through Frank's mind? Why was that important to him? That his sweater fit well and that his loafers fit well?

[C]

Mike's mind, I assume you mean rather than Frank's. Frank's mind, sorry, Mike's mind. Although I suppose it was one mind in that moment, I guess. Although we probably shouldn't get too deep into the psychology of character versus. Versus actor. I think, you know, Harris wanted to. The story that we wanted to tell in that moment was. Was one of, of. Of again, dignity and feeling good about yourself, you know, feeling, feeling proud of yourself, having a bit of money, having a bit of money to spend on. On something you like, which, when you don't have any money and if you haven't had any money for a long time, that those things can be. Can be robbed of you. The experience of going into a shop and finding a nice jumper and really feeling yourself and feeling good and maybe experimenting with a new pair of shoes that you wouldn't usually try and a kind of. Yeah, wanting to, wanting to show. Show yourself off a bit. And. Yeah, I think that that was, that was the story that Harris was, was tapping into in that moment.

[B]

There's also something quite sweet about the idea that they both believe they're in a slightly more higher class situation. The idea that she's, you know, in the script it said in her mind she's working high end retail because maybe once upon a time she was.

[A]

Yeah.

[B]

And now she's in a charity shop in East London and clothes are no more than £4. But still there's an idealistic element to it where it's like me and you, we're in front of a mirror, we're on Savile Row fitting a suit, you know, and there's something quite sweet about that.

[A]

At one point, Harris and Frank, you can jump in here too. We learned that Mike's adopted and it sort of is left there for the viewer to wonder what happened. When I heard that, I'm like, wait, who adopted this person? Where are they? Why aren't they here in your mind? Did you have a backstory for Mike?

[B]

Yeah, yeah, yeah, we spoke about it extensively. And, you know, the sad fact is that there are a large portion of adoptions that break down. Right. Because it's an incredibly tricky scenario as someone gets older and understands the dynamic of it. And so it was something I spoke to my dad a lot about. My dad's a social worker and he works a lot with adoptive parents.

[A]

Oh, he does, really?

[B]

Yeah. And so it was stuff we spoke about and Frank and I spoke about it in a way. And originally there was more of a relationship with his mum in the script that we kind of ended up having to take out. And I hope you don't mind me saying, Frank, but your mum is actually in the film too. Yeah, Frank's real mum is places mum in the film on the phone. You know, the scene when he has the conversation with her. So. No, we spoke about it a lot, didn't we, Frank? We kind of developed it between us and then. Yeah, and then let some of it go, you know, as we shot.

[A]

What does your dad think of the film?

[B]

He hasn't seen it yet.

[A]

Really.

[B]

No, he hasn't seen it yet. He. He's just. Not a chance. He. He was away when the premiere was in London and he lives up north, so the local cinema hasn't shown it yet. So he's gonna head up to Liverpool and watch it, which is. Which is in his local picture house.

[A]

But, yeah, I can't wait to get his review.

[B]

Yeah, yeah, yeah. He read the script and stuff, so hopefully he'll. He'll be into it. Who knows?

[A]

We'll talk more about Urchin after a quick break. This is all of. You're listening to all of it with wnyc. I'm Alison Stewart. My guests are writer, director and actor Harris Dickinson and actor Frank Delane. We're talking about their new movie, Urchin, about a young man named Mike who is trying to rebuild his life after experiencing homelessness in London. It's in theaters now. The film kicks off with kind of a tough moment. Mike attacks this man under the bridge, a really nice man, and steals his wallet. Frank, what's going on with Mike in this moment that he decides to attack and to rob this person?

[C]

Well, I think desperation has its own language that maybe we. Yeah, we're not all tapped into if we're not desperate. I think poverty has its own language. You know, in that moment, Mike is. Is not in his right mind. He is coming off drugs or needing a fix. He. He's just been robbed himself by his friend. And I. I think that but yeah, he. He, He. He, in that moment, has worked himself up to a place where he feels like that is his only option, really. Survival.

[A]

When you think about his hopes and dreams, what are they?

[C]

Well, Harris and I spoke a lot about this, actually, and Mike talks about it in his. In the film. He has aspiration to be a. Have a limousine chauffeur service. Yeah. So I guess those are his. That's his.

[B]

Remember in the scene. Oh, I remember, yeah.

[A]

What was your thought behind that? Because at the time I thought, oh, what?

[B]

What?

[A]

You really get much together, sir, you can't get. You don't have that much together.

[D]

Yeah.

[A]

Talking about the show for service.

[B]

Well, that's what I mean, it's slightly sad, isn't it? It's like. It's overly ambitious in a way, but. But is it. You know, let's not. Let's not limit. And also, it's. It's sweet in that moment that she says to him, oh, you. You want to drive the cars? And he goes, no, no, no, no, no, no.

[A]

I'm gonna manage.

[B]

I'm gonna manage. I'm gonna oversee.

[A]

I.

[B]

And so there's definitely a sort of some sense of arrested development with Mike and so many people in that position that potentially aren't in the best place to be able to fulfill their dreams, which is sad too.

[A]

You know, in the film, Frank, Mike has this one great night. He goes out with his co workers. They go to karaoke. He doesn't drink. He's doing well. What does this one really great night mean to Mike?

[C]

I think it really means the world to him. In many ways. I think it's the happiest night of his life. As you say, he's. He's. He's clean, he's made. He feels included in a new group of friends. These girls want him around. He's got a job. He's got a secure accommodation at that moment. And, yeah, they go to this karaoke bar. And I think he really feels, well, whole again. As the song says, this was shot.

[A]

In 28 days, right, Harris?

[B]

Yeah.

[A]

What was challenging about that?

[B]

What was challenging? We had 36 locations.

[A]

Oh, my goodness. Yeah, That's a lot.

[B]

It was foolish of me, to be honest, but we made it work. We had an amazing crew that really facilitated this in the best way possible for us and worked super hard to, you know, roll with the punches. But what else was hard? I mean, a lot of actors as well. We had a lot of different roles coming in and out of the story, playing small but important Parts of Mike's journey. That's hard. The sort of collision of tones and bringing people into the same world.

[A]

What's exciting about 28 days shooting?

[B]

Yeah, yeah, yeah. It was. And especially, like, we. It was the summer. I mean, it wasn't that hot because it's London, but it was the summer we had. We had short nights. So we was. When we shot night stuff, we had from around 10pm until 4:30am because that's when the sun would start to rise. So it was. It was a short period of. Of nighttime. So it really meant that there was this energy fueling the shoot of like, we've got to get this in the time allocated. But it was. It was. It was. It was polarized because there was also times where it was more considered. We had a. We were at the hotel, we. Slower pace. We had time. We weren't rushing. So it was a perfect combination of. Of tones and feelings and energies.

[A]

I wanted to ask you. There's some kind of trippy parts in the film. Cells looking down a sink, sort of falling into this cave. It could be the mind who knows exactly where it is. The rest of the film is so grounded in reality and you have these little areas of trippiness, I guess, is the way I'm gonna put it.

[B]

Why I like to speak about it as if we're departing reality or suspending reality for moments, which is, I think, a natural part of coping mechanisms with all of us. Right. Like the resistance to absolute reality. And I don't. And that's not whimsical or overly pretentious. That's just the truth. I think we all go to places in our mind in order to escape, particularly when we're dealing with stories around someone who has been through extreme trauma. You know, that does stuff to the brain chemistry and we cope with it in unique ways. And I just think a story like this deserves that. And for me, when I was developing it, I always. I've always had an interest in that kind of storytelling as well. Magical realism, more surreal elements, escapist cinema, fairy tale, fables, folklore. For me, it's just what I'm intrigued by. And it felt like, why not break the form of a ordinary social realism and go somewhere else with it? You know?

[A]

Have you seen Rose Byrne's new movie?

[B]

Well, if I Had Legs, yes. Not yet. I was just talking about it, though. Yeah, I'm excited to see it.

[A]

There's. There's a whole bunch that's similar.

[B]

Okay, yeah.

[A]

About the two films.

[B]

Yeah. Okay. I'm excited to see it. Yeah.

[A]

Audiences. Audiences. Frank, how do you think. How do you hope audiences will view Mike and people like Mike? And maybe people like Mike, they pass on the street.

[C]

Well, I think that something human beings do, and maybe the most dangerous thing a human being can do is to imagine that someone who looks different from you or sounds different from you or is from a different place than you is not a human being also. And if this film can. Can stand in resistance to that. That impulse in us and. And humanize another person who maybe some people don't give the time of day to, won't. They don't even acknowledge. I think that that is a massive achievement for. For. For this film. So I. I suppose that just like a little glimpse into the. Into the idea that it's. It's all of us. We are all. Mike is. Mike is you, Mike is me. There is no other person. There is no homeless person. You know, There is no refugee. It's you. It's me.

[A]

When I see people in New York, I'm like, that's somebody's child at one point.

[C]

Yeah, exactly.

[A]

Harris, are you gonna make another film?

[B]

Yes. I hope someone will let me.

[A]

That sounded like it took a little while.

[B]

Yeah, No, I just. It's a. It's a huge time commitment, isn't it? And I absolutely have something else I want to make next. But it's just. It's just there's so much of my life and commitment and time and stories and dedication in this film, and so you just. You kind of have to refill the pot, you know, in order to go and do it again.

[A]

I heard you were playing the piano out in the hallway, and everybody's like, oh, he's playing John Lennon. He's playing John Lennon.

[B]

I wasn't playing Beatles songs. I was just tinkering away. And I hope you didn't hear it live on radio.

[A]

Didn't hear it live.

[B]

Ought to be embarrassing. What is your preparation, Screaming on the piano.

[A]

What's your preparation been like for that role playing John Lennon?

[B]

It's just been a lot of music. Yeah, it's been. It's been like a year of music rehearsals, really. Just learning to play the instruments. Kind of like school, just going in every day and just getting it done, you know, there's no. No way around it. That's it. Yeah.

[A]

You can go play the piano if you want now.

[B]

Yeah, yeah. Frank's a musician as well. Frank's.

[A]

Oh, really?

[B]

Frank's cooking up some bangers. Yeah.

[A]

Is that true, Frank?

[C]

Yeah, yeah, yeah. I'VE I need to release some stuff. I've got some stuff sitting here waiting to be released.

[B]

Sorry, Frank, I outed you, but the world needs to know, man.

[C]

Yeah, yeah, yeah. No, yeah, I. Well, we were playing the piano the other day, weren't we, Harris? When we were.

[B]

The premiere.

[C]

Yeah, the premiere.

[B]

That was very joyful.

[A]

I'm glad it was joyful.

[B]

Yeah.

[A]

The name of the film is Urchin. I've been speaking with Harris Dickinson and Frank delaine. Thank you so much for making the time for us today. We appreciate it.

[B]

Thank you for having us.

[C]

Thank you.

[B]

Yeah, go watch the film.

[C]

Go watch it.

[D]

It's Cybersecurity awareness month and LifeLock is here with tips to help protect your identity. Use strong passwords, set up multi factor authentication and report phishing scams. And for comprehensive identity protection, LifeLock is your best choice. LifeLock alerts you to suspicious uses of your personal information and also fixes identity theft. Guaranteed or your money back. Stay smart, stay safe and stay protected with a 30 day free trial at lifelock.com Specialoffer terms apply. NYC now delivers the most up to date local news from WNYC and Gothamist every morning, midday and evening with three updates a day. Listeners get breaking news, top headlines and in depth coverage from across New York City. By sponsoring programming like NYC now. You'll reach our community of dedicated listeners with premium messaging and an uncluttered audio experience. Visit sponsorship.wnyc.org to get in touch and find out more.