Digger

The Tom Cruise-led “Digger” is poised for a massive loss after ticket sales for the political satire fell 60% in its second weekend in theaters in the U.S. and Canada.

The Warner Bros. film made just $3.2 million in those theaters over the weekend, according to a studio estimate. Its opening weekend brought in $8 million, Cruise’s lowest opening as a leading man since 2007’s “Lions for Lambs.” Global ticket sales for “Digger” were only $35.3 million.

The tepid box-office returns mean the studio is now expected to lose at least $150 million on the film, including ancillary revenue streams such as premium video-on-demand and streaming, industry sources said. Historically, a film has typically needed to make 2½ to three times its budget to recoup its costs.

A Warner Bros. spokesperson did not respond to a request for comment.

It’s a tough result for the film, which stars Cruise as an aging oil tycoon whose company sets off an environmental catastrophe. Analysts have said that the film was challenging to market, given a major twist in the plot, and that Cruise’s nearly unrecognizable appearance could have dissuaded his fan base from coming out to support the film.

The film suffered from polarizing critical reviews, notching a 53% on aggregator Rotten Tomatoes. Opening-night audiences gave it a C+ on CinemaScore, a grade that typically points to weak word of mouth and steep drops in the weeks that follow.

The budget for “Digger” raised the stakes. Warner Bros. has said the film cost $125 million to produce, though some industry experts and trade reports have estimated the cost was at least $160 million, citing production delays.

That figure also doesn’t include marketing costs, which sources said could have increased in the days after the film’s opening since Warner Bros. began using the divided reviews in social media and TV ads to encourage people to see the film for themselves.

The film will have value to Warner Bros. — and Skydance, the newly combined company that now owns it — beyond its theatrical reception. “Digger” probably will make money through downstream revenue sources such as streaming. If Cruise wins his first competitive Oscar, that also would be a plus for the film.

But a film’s domestic reception, and to some extent, its international box office revenue, does play a role in the value of those downstream revenue opportunities, experts said.

“Even with respectable ancillary income based on the film’s pedigree, the movie is going to lose a lot of money,” David A. Gross wrote in his FranchiseRe movie industry newsletter shortly after the film’s opening.

The reception for “Digger” comes during a tough time for Warner Bros.

The film opened Oct. 2, the same day the studio’s film chiefs, Michael De Luca and Pam Abdy, departed. Four days later, Paramount completed its acquisition of Warner Bros. Discovery, and the combined company took the name Skydance.

The studio has had a string of disappointments this year, including Maggie Gyllenhaal’s “The Bride!” and DC Studios’ “Supergirl.” None of its 2026 releases has crossed $100 million at the domestic box office.

But the prospects for Warner Bros. should improve next year, according to the research and brokerage firm Bernstein. Skydance has said it will keep the Warner Bros. and Paramount studios distinct, though Paramount Pictures chiefs Dana Goldberg and Josh Greenstein are expected to oversee both. Bernstein expects the Warner Bros. film and TV studios to amass $11.7 billion in revenue, driven by strong titles that include the sequel to “Minecraft” and a new “Lord of the Rings” movie.

Tom Cruise’s latest film Digger is expected to lose around $245m (£185m), Hollywood analysts have said, after the film’s continuing poor performance in cinemas.

Ticket sales for the satirical black comedy, which stars Cruise as oil magnate Digger Rockwell, dropped by around 60% in the movie’s second weekend.

It brings Digger’s total box office takings to around $35m (£26m) globally so far. The film is estimated to have cost its studio Warner Bros around $280m (£211m) to make and market.

But Cruise said last week, external that he “never thought of movies when I’m making them [in terms of] opening weekend,” adding he was instead focused on making films that “hopefully will translate, last and evolve”.

The film’s takings relative to its budget mean it could become one of the biggest film flops in Hollywood history.

Digger’s performance is in sharp contrast to the success of IP-driven hits starring Cruise in recent years, such as new instalments of the Top Gun and Mission: Impossible franchises.

Digger is directed by Alejandro G Iñárritu, best known for films such as Birdman, Babel and The Revenant.

Hollywood trade publication Variety said Digger was expected to end its box office run with around $50m (£38m) worldwide.

The film would need around $350m (£264m) to break even, due to its budget, marketing costs, the portion of ticket sales that go to theatres and the likely spend on an awards season campaign.

However, a Warner Bros spokesman pushed back slightly on the figure, telling Variety the film’s break even point was $300m (£227m).

Digger was the last standalone release for the studio before its recent takeover by Paramount.

TOM CRUISE has built a career on cheating death, but even the veteran star couldn’t escape a crash landing at the weekend.

The Hollywood heavyweight is facing one of the most humiliating moments of his career after Digger, his first film since the last Mission: Impossible, bombed with critics and at the box office.

And it comes at the end of a bruising year for the star, from the collapse of his whirlwind romance with actress Ana de Armas to his daughter Suri dropping his surname.

The satirical black comedy took just £15million globally in its opening weekend, and industry experts fear it could lose as much as £100million.

It is one of the weakest debuts of Cruise’s career — a bitter result for a film billed to be the start of his next big chapter, as the ageing star looks to slow down the stunts and be taken seriously.

Instead, his bold attempt to prove he could move beyond the action-man image has been met with a resounding thumbs down.

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The film scored a C+ CinemaScore, one of the lowest ratings of his career, while critics have been sharply divided.

Cruise, 64, plays a balding, pot-bellied Texan oil tycoon in the movie, directed by Oscar-winner Alejandro G Inarritu, the man behind Birdman and The Revenant.

It was meant to be a daring creative swing for a star who has spent decades being synonymous with blockbuster action.

But audiences appear to just want the old Tom back.

The film’s £125million production budget, coupled with an estimated £75million marketing spend, means its disappointing box-office debut is unlikely to justify its hefty price tag.

Reviews were so divisive that Warner Bros reportedly resorted to running “decide for yourself” adverts in the run-up to release, after estimates were repeatedly revised down.

One fan summarised it as: “Tom Cruise’s Digger is a disaster — I couldn’t wait for it to be over.”

For Cruise, who has been box office gold since Risky Business and Top Gun in the Eighties, the figures will make uncomfortable reading.

His last major disappointment was 2017’s The Mummy, but since then he has enjoyed one of the biggest career resurgences in Hollywood.

Top Gun: Maverick became a global phenomenon, while Mission: Impossible kept him at the top of the action game well into his 60s.

Digger was supposed to prove there was another side to him. Instead, it marks his lowest box office opening in nearly 20 years.

Though Cruise certainly did everything he could to sell it.

He threw himself into the campaign, appearing on Travis and Jason Kelce’s New Heights podcast, dancing through the spirit tunnel on The Jennifer Hudson Show and landing his first magazine cover story in two decades with a topless shoot for GQ.

He even brought the Prince and Princess of Wales to the London premiere at the end of last month, where they met the cast.

Defending the film after the mixed reviews, Cruise told a screening audience: “OK, the door’s open. Now I want to push it again.”

He added: “This film is handmade. People want to see real things.”

But the response has left the awards buzz that once surrounded Digger fading fast.

Cruise had been tipped to land his first competitive Oscar after years of nominations, but those hopes now look considerably more distant.

It could also force the Hollywood veteran to reconsider whether audiences really want to see him outside of blockbuster action. There is already a clear indication of where he may go next.

Rather than continuing to take creative risks, Cruise is returning to familiar territory with a sequel to 1990’s Days Of Thunder, co-starring Anne Hathaway, while Top Gun 3 is also in the works, with him reprising his role as Maverick.

For a star whose career has been built on refusing to play it safe, it could be that the safest option is exactly what he needs.

Speaking to GQ, Cruise said: “Life, I’m coming right at it. It’s coming at me and I’m coming right at it.”

He certainly was not wrong about the second part.

Because Digger is far from the only thing to have knocked him off his stride this year.

In July, it emerged that his 20-year-old daughter Suri had seemingly severed her final tie with her famous father, after more than a decade of estrangement.

The college student has dropped the Cruise surname entirely, opting to go by Suri Noelle, her mother Katie Holmes’s middle name.

She publicly registered to vote in Pennsylvania, where she is studying, under the new moniker.

Suri was born in April 2006, and her parents tied the knot six months later.

They divorced in 2012 over irreconcilable differences, and the pair’s last public appearance together was that same year.

Insiders have since claimed Cruise and Suri have not seen one another privately in more than a decade.

Katie, meanwhile, has been enjoying a summer of love after making things official with a new man on her arm — artist Jason Bard Yarmosky — who is said to have helped her move on from the “trauma” of her marriage to Tom. But Tom’s love life has been rather more bruising.

Last October, Cruise suffered an even more public heartbreak, when The Sun exclusively revealed he had split from Ana de Armas after less than nine months together.

The star was first linked to the Cuban-born actress, 37, in February 2025, and they went public in the spring after being pictured holding hands during a break in Vermont.

Two months later, Tom whisked Ana to Madrid on his private jet, before they flew to London by helicopter for her 37th birthday, sharing selfies and describing it as “a fun night out on the town”.

She was also his date to David Beckham’s 50th birthday party in May 2025.

But a source close to the couple told The Sun at the time: “Tom and Ana had a good time together but their time as a couple has run its course.

“They are going to remain good friends but they aren’t dating any more.

“The spark had gone between them but they still love each other’s company and they’ve both been really adult about it.”

A year on, the contrast between the former couple could hardly be starker. While Cruise licks his wounds, Ana appears to have moved on in spectacular fashion.

She has been linked to Venezuelan musician Beto Montenegro after the pair were spotted dancing at a concert in Madrid and sharing kisses on a romantic getaway to Spain’s Formentera island.

Before that, she was briefly pictured with venture capitalist Marcelo Valente in Los Angeles following the Cruise split.

A source said of Beto: “He’s an extremely charming and sophisticated guy, and he checks all the boxes Ana’s looking for right now.

“It’s an exclusive relationship, and they’ve had a pretty magical summer.”

Ana has also been getting back in front of the cameras, with a strong slate of projects, including espionage thriller Impunity.

Her John Wick spin-off Ballerina has kept her firmly in the blockbuster world, too.

And just this week she was pictured rubbing shoulders with an A-list crowd at a private Louis Vuitton party in Paris, joining Emma Stone and Chloe Grace Moretz.

She looked every inch the Hollywood star in a long-sleeved blouse, carrying a Louis Vuitton box clutch with gold trim.

There is still some unfinished business between the exes. Their joint project, Deeper, has been put on hold because of budget issues.

It all leaves Cruise facing a very different end to the year than the one he had planned.

He has, of course, bounced back from career setbacks before, and with Top Gun 3 and Days Of Thunder 2 on the way, he will be hoping a return to familiar territory can restore his reputation.

But for now, the man who has spent a lifetime defying gravity is facing being brought back down to earth.

The Tom Cruise-led movie “Digger” cratered at the box office this weekend, limping to a fifth-place finish with $8 million in the U.S. and Canada in its theatrical debut.

The Warner Bros. film was expected to do poorly after polarizing reviews from critics and a challenging marketing campaign. The film had a production budget of about $125 million. Worldwide, the film brought in just $20 million in its opening weekend, meaning the studio will probably post a significant loss from the release.

A representative of Warner Bros. did not respond to a request for comment.

Amazon MGM Studios’ “Verity,” starring Anne Hathaway, easily lapped “Digger,” coming in first at the domestic box office with a haul of $32.6 million. The film made $62.5 million worldwide.

The underwhelming performance from “Digger” marks a rare misfire from the usually bankable Cruise and adds to a difficult year for Warner Bros.’ film studio, whose lineup of movies has struggled to connect with audiences. That’s in stark contrast to 2025, when the studio ran up a string of hits such as “Sinners” and “Weapons.”

It also comes as Paramount Skydance’s $111-billion acquisition of Warner Bros. Discovery is set to close Tuesday. As part of the merger, there have already been several management shake-ups, including the exit of Warner Bros. film chiefs Pam Abdy and Michael De Luca. The duo oversaw the studio for the last four years, providing a mixed bag of hits and misses for the Burbank-based studio.

The deal is expected to dramatically reshape Hollywood by combining two of the major studios, a move that is expected to lead to massive layoffs. Paramount has already told Wall Street that it’s planning $6 billion in cost cuts.

“Digger” is the result of nine years of work, as director Alejandro González Iñárritu started on the project before the pandemic. The film is a satire about an impending climate change apocalypse that’s triggered by the drilling operations of oil tycoon Digger Rockwell, played by Cruise, who looks nearly unrecognizable clad in prosthetics and graying hair.

In a post-screening, onstage discussion last week, Cruise noted the carefully handcrafted props and sets.

“Everything is practical,” he said. “It was so beautiful, and I just have to say … AI can’t do that.”

Sony Pictures’ “Resident Evil” came in second at the box office this weekend with $12.5 million in its third weekend in theaters. Paramount’s “Heart of the Beast” ($11 million) and A24’s “Primetime” ($8 million) ranked third and fourth.

As of last week, Warner Bros.’ domestic box-office haul this year was $437.7 million, representing about 5.6% of the total theatrical revenue in the U.S. and Canada, according to Rentrak data.

Last year, Warner Bros.’ total at this time was $1.8 billion, aided by back-to-back successes starting with “A Minecraft Movie,” which went on to become the highest-grossing movie at the domestic box office during that calendar year.

The studio does not have any film in the top 20 of domestic box-office earners this year, with Emerald Fennell’s adaptation of “Wuthering Heights” ranking at 21 with $84 million. Bets on films such as Maggie Gyllenhaal’s “The Bride!” cratered, while DC Studios’ “Supergirl” misfired.

Tom Cruise is one of the bankable stars in Hollywood. But his pull may not be enough to lift his upcoming film “Digger” from a likely hard fall at the box office this weekend.

That would be unwelcome news for Warner Bros., whose movies have largely struggled to connect with audiences this year, in contrast to 2025, when the studio ran up a string of hits such as “Sinners” and “Weapons.”

All of this comes as the studio braces for an uncertain future with Paramount Skydance’s $111-billion acquisition of Warner Bros. Discovery set to close on Tuesday.

“No single film is going to capsize the boat,” said Stephen Galloway, dean of the Dodge College of Film and Media Arts at Chapman University. “However, it’s coming at a precarious time because it follows a series of less-than-successful releases at the very moment when the Warner Bros.- Paramount deal has been greenlit, and everybody — no matter how high up — is terrified for his or her job.”

Matching the success of the 2025 film slate was always going to be a tall order, particularly when so many of Warner Bros.’ movies that year overperformed.

So far this year, the studio’s domestic box office haul is $437.7 million, representing about 5.6% of the total theatrical revenue in the U.S. and Canada, according to Rentrak data.

Last year, Warner Bros.’ total at this time was $1.8 billion, aided by back-to-back successes starting with “A Minecraft Movie,” which went on to become the highest-grossing movie at the domestic box office during that calendar year.

The studio currently does not have any film in the top 20 of domestic box office earners this year, which includes some holdovers from 2025, with Emerald Fennell’s adaptation of “Wuthering Heights” ranking at 21 with $84 million. Bets on films like Maggie Gyllenhaal’s “The Bride!” cratered, while DC Studios’ “Supergirl” misfired.

“Digger” is unlikely to turn things around.

The satire from director Alejandro González Iñárritu about an impending climate change apocalypse has divided critics, yielding very mixed reviews. Tracking predictions for the film’s debut have steadily trended downward and settled between $15 million and $19 million.

That would be a major miss, given the film’s production budget was about $125 million (not counting marketing costs).

“Digger” faces several hurdles. For one, the film has a major twist, which complicates its marketing and makes it difficult to tell audiences what it’s about.

Then there’s Cruise’s nearly unrecognizable performance as Digger Rockwell, an eccentric oil tycoon whose drilling operations have led to the unfolding climate disaster. Clad in prosthetics with a head full of graying hair, Cruise is far from his usual stunts-heavy, bravado-filled roles, which could make his typical audience less likely to come out to theaters, analysts said.

“It has a lot of question marks,” said David A. Gross, who writes the movie industry newsletter FranchiseRe. “It doesn’t look like it’s heading for financial success.”

The film will have value to Warner Bros. beyond its theatrical reception. “Digger” probably will also make money through ancillary revenue streams such as premium video on demand and streaming, industry experts said. And if Cruise wins his much-coveted Oscar for his role as Digger, that is also a plus, Galloway said.

Beyond the fate of “Digger,” Warner Bros.’ theatrical business will be of prime importance to the combined Paramount-Warner company.

Last year, Warner’s studio business, which includes both film and television production, brought in $12.6 billion in revenue. This year, it’s projected to generate $11.1 billion, according to market expectations. On a positive note, Warner Bros. still has its animated “The Cat in the Hat” film releasing in November and the popular “Dune: Part Three” at the end of the year.

The prospects for Warner Bros. should improve next year, when the film and TV studios are expected to amass $11.7 billion in revenue, driven by strong titles including the sequel to “Minecraft” and a new “Lord of the Rings” movie, according to Bernstein research.

Aside from theatrical revenue, Warner Bros.’ film and TV properties have been key drivers of business to HBO Max and will also provide valuable content to Paramount+, particularly as the linear cable networks continue to decline.

“I would argue the studios are the very reason Paramount Skydance is buying Warner Bros.,” said Laurent Yoon, senior analyst at Bernstein. “Everything starts with the studios.”

The combined company is also legally required to release at least 30 films a year as part of a settlement agreement over antitrust claims with 12 state attorneys general, including California’s Rob Bonta. Paramount Chief Executive David Ellison has previously said the two studios would each release 15 films a year.

But the type of content the studios release could change after the merger is completed. Under film chiefs Pam Abdy and Mike De Luca, Warner Bros. developed a reputation for auteur-driven, original stories, particularly after the success of the 2025 slate. Ellison’s slate has trended toward blockbuster fare.

The combined company will also face a massive debt load of more than $80 billion after the merger closes, meaning there may be greater pressure for future films to be hits.

“Ellison is primarily in the business of delivering blockbusters,” Galloway said. “That’s going to be even more important as he tries to right the ship of his debt.”

Academy Award-winning filmmaker Alejandro González Iñárritu and Pop artist Ed Ruscha have a long history of admiring each other’s work. Twenty-four years ago, a nervous Iñárritu visited Ruscha’s Venice studio to offer him the role of the gynecologist in “21 Grams.” They needed a doctor with noble features and blue, believable eyes. That plan didn’t pan out, schedule-wise, but the filmmaker and the artist finally found a way to collaborate.

The result — a Ruscha-designed poster for Iñárritu’s new film “Digger,” starring Tom Cruise — was unveiled Sunday at an intimate brunch at the Los Angeles County Museum of Art, attended by Iñárritu, Ruscha and Cruise, as well as “Digger” actors John Goodman, Jesse Plemons, Michael Stuhlbarg and Ross Hatt.

Iñárritu and Cruise laughed as they made a clumsy attempt at a countdown before whipping aside a black velvet curtain to reveal the poster for the first time: a very Ruscha, text-heavy work on a slate gray background with a beige border. A looming ice shelf in the background is surrounded by phrases including, “A Man. A Plan. A Meltdown,” and “Comedy equals tragedy plus time.”

Filmmaker Alejandro Iñárritu and “Digger” star Tom Cruise unveil Ed Ruscha’s new poster for the film. (They just pulled off the black velvet curtain on the floor below.)

(Kevin Garrison)

“Well, the movie blew my hair back,” Ruscha said at the unveiling brunch inside LACMA’s new (still unopened) restaurant, with LACMA Director and Chief Executive Michael Govan by his side. “And not only that, it parted it down the middle. It has since grown back.”

The crowd laughed knowingly. “Digger,” which opens Friday, is a satirical black comedy that follows oil tycoon Digger Rockwell as one of his drilling rigs in Greenland explodes, dislodging an ice shelf that floats away to cause a global disaster. As a dark parable for the dangers of climate change, the film has already proved polarizing, with early reviews coming in mixed.

Ruscha noted that he first saw “Digger” at a screening about six months ago, alongside Govan. “I knew I had seen an epic production, an epic product from an epic producer,” Ruscha said. “So I jumped at the idea of doing the poster. And I thought about it, and I think about this movie, and it reminded me of a kaleidoscope. It’s got so many running-around ideas. It was kaleidoscopic in its message, and its content and its humor.”

Ruscha turned his attention to Iñárritu, “It’s got something to offer to the world, and I thank you for that.”

The filmmaker loved the poster, and the fact that the ice shelf sat front and center.

From left to right — “Digger” actors John Goodman and Jesse Plemons, filmmaker Alejandro G. Iñárritu, artist Ed Ruscha, actor Tom Cruise, LACMA director Michael Govan and actors Ross Hatt and Michael Stuhlbarg — pose with Ruscha’s new poster for the film.

(David Jon)

“The billing is nature: We are human beings, we are in a war against nature,” Iñárritu said — describing what he feels the poster relays — in a phone interview from Mexico City a day before the event. “We think that we are different from nature. So nature, in a way, becomes our enemy. We are fighting a fight against nature, and the enemy is an ice shelf going to Europe. And he just put [that] in the center of it, [like] a disaster movie, which is very clever, as he always is.”

“Those decisions that he made with a very prominent element in a simple way, with one or two words, it just says so much with so little,” Iñárritu continued. “And then he [put] some lines around [it], very Ruscha, that in a way convey the spine or the character itself.”

The director had the same feelings two years ago, at LACMA’s Ruscha retrospective. He said so much with so little, Iñárritu thought, and that “less is more” thinking could hold so much power in a film poster.

Iñárritu, too, has been exhibited at LACMA: earlier this year, with the film installation “Sueño Perro,” a resurrection of lost footage from “Amores Perros;” and in 2017-2018, with the virtual reality installation “CARNE y ARENA,” which explored the human condition of immigrants and refugees.

The director’s collaboration with Ruscha is proof of concept for LACMA’s annual Art + Film gala, entering its 15th year, which seeks to highlight and strengthen the connections between film and visual art by bringing the two communities together at a splashy party — often creating lasting connections between the two groups.

Both Ruscha and Iñárritu have been honored at the gala, the former in 2012 (with Stanley Kubrick) and the latter in 2015 (with James Turrell). “This is a beautiful encounter of art and film,” Govan said at the unveiling.

“Digger” has evolved over nine years, Iñárritu said. It’s been a long journey of taking note of current events, including where the world is going, as well as people’s obsessions and fears.

“The film is a love letter for the young generation,” Iñárritu said. “I think it’s kind of a warning, or a wake-up call. But you can have fun about it, because it’s the only way to — humor allows us to have space and recognize ourselves in that absurdity. So I feel that it’s a human, urgent, now film.”

The Graham Norton Show returns tonight and Hollywood actor Tom Cruise addresses Prince William and Kate Middleton attending the premiere of his new movie, Digger

Tom Cruise has opened up about being joined by the Prince and Princess of Wales on the red carpet at his movie premiere.

Prince William and Kate Middleton attended Tuesday’s (September 22) premiere of Digger, which stars the 64-year-old Hollywood actor. The trio were snapped at the star-studded event with Tom pictured holding Kate’s hand as her husband William wove to fans in the crowd.

Tom is one of the guests of The Graham Norton Show which returned tonight (Friday, September 25) for a new series alongside Oscar-nominated actor Florence Pugh, comedian and actor Lolly Adefope, top comic John Bishop and singer-songwriter Emeli Sandé.

When asked by host Graham about the Royal couple attending the premiere, Tom gushed: “They are amazing – very charismatic. I had such a good time.”

The Mission Impossible star also explained the extensive transformation he had to undergo using prosthetics for Digger, saying: “The makeup was taking so long that I decided to get it down from six hours to one – it was like a ballet getting everything in place. It was just like Formula 1.” Adding jokingly: “I had someone else hold the stopwatch!”

Tom stars opposite Riz Ahmed, Sandra Huller and Jesse Plemons in the film, in which he plays an oil tycoon whose company sets off an ecological disaster before being tasked with a mission to save humanity from his own mess.

He told Graham: “My character is outrageous and unpredictable. He says things that others may be thinking and never say. It’s a timeless story about power, greed, and ego framed in a very timely manner by Alejandro G Inarritu – one of the greatest filmmakers of all time.

“I’ve never read a script like it, and I have never seen a character like Digger.” He also shared his childhood dream to have an “adventurous life”.

Tom explained: “I am always doing something, learning something new which I can add to characters. I want to push every artform. I love the challenge of doing one thing while working on another. To create is life.”

Elsewhere on the show, Don’t Worry Darling actress Florence chatted about starring in the new adaptation of the Steinbeck classic East of Eden, saying, “It is a sweeping epic, and my character is also epic in every way. It has been the most amazing journey working with Zoe (director Zoe Kazan).

“It has been so special and it’s like releasing our baby. I am very protective of it, and really excited.” When asked about playing a character over seven episodes, Florence said, “Because I play a character that goes across several decades the thrill for me was figuring her out as she aged.

“It really was amazing and I had a brilliant time. Creating the series was a dream and I will be talking about this role for the rest of my career.”

The Graham Norton Show continues Friday, October 2 at 10.40pm on BBC One and BBC iPlayer