Sam arrives with his wife Alison at the 92nd Oscars in Hollywood earlier this year'She said, 'what about the Sunday?' I was shooting 1917 at the time, so it had to be a weekend but, then about the weekend before, this horrible realisation dawned on me that it was the same day as the final.' The chances of England getting to the final and winning it were fairly high, but the chances of it being the greatest cricket match ever played in history were about a million to one.' Making me feel slightly better was, in the next box along, Tim Rice also had to leave at exactly the same time as he had to go to the premiere of The Lion King at Leicester Square with his grandchildren.' I paraphrase here, but I think he said to me 'I've never hated my grandchildren more'.'

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England would go on to lift the trophy after a thrilling Super Over finish, and Morgan talks on the podcast about just how he managed to stay so calm under pressure and the role the Black Caps played in starting England's white-ball turnaround four years prior. England captain Eoin Morgan reflects on his team's four-year journey which has taken them to World Cup glory.Morgan recalls that group-stage exit at the 2015 World Cup, having taken over as captain only a month prior to the tournament, while Mendes too recounts a disastrous start to his first gig as a director on American Beauty.Listen in the player above, - you can also - and read on for more fascinating insight from the pair. Difficult beginningsMorgan: 'My experience was fast-forwarded because of that 2015 World Cup. It was a baptism of fire and a massive eye-opener.'

I went away from what I would normally do; I normally take in information, culminate my own decision, am very clear in the direction I want to go, and then try to empower guys around me.' During that World Cup, I was trying to please different people because I wasn't comfortable in the role and confident in the decisions I was making.' The humiliation of that World Cup, the extreme nature of it meant that we never wanted to go back to that place and fail in our own way.' You then map out a plan of what is our way, and how we're going to get there.' Eoin in the wake of England's defeat to Bangladesh in the 2015 Cricket World CupMenders: 'It has taken me a long time to get comfortable as a director.'

The first three days of American Beauty were pretty disastrous but, in a weird way, I was lucky that it was all very clearly wrong. On the first day, I forgot to say cut.' That was a very steep learning curve for me.' In a way, you could argue, like Eoin was saying, the basis of building a successful team was feeling what it was to fail - and failing in its most extreme form sometimes clarifies things.'

Gaining trustMorgan: 'The first thing that I tried to build was that level of trust that wasn't there in the past.' The level of risk you're asking guys to take, particularly batsmen; you're asking them to be vulnerable, fail more often than not and yet continue to buy into our way of thinking in order to win a World Cup.' You treat it like you would do any relationship. You tell people where you're going, what you're doing, you do exactly what you say and you're honest.

That's where the trust starts from. Eoin says man-management skills have been central to England's white-ball turnaround'It completely breaks down if you ask someone to bowl at the death, when you've told them they're going to get the new ball and bowl in the middle overs, Or if you drop a player within three games when they've done exactly what you've asked them to, just the performance or result wasn't there.' Building that trust over a long period of time has proven extremely beneficial. It's about building an environment where players feel comfortable enough to express themselves.' Mendes: 'The big difference between sport and film or theatre, or anything I do, is the psychological difference of sportsmen being right on the edge. We get a second chance; we get to go again if we mess up.' The collaboration is all about making everybody feel - particularly the actors - that they own it, that they're not fulfilling some figment of my imagination, that their character is theirs.

Sam promoting his acclaimed First World War film, called 1917'One of the few things I say is, 'there is not right or wrong, there is only interesting and less interesting'. You can't make a mistake, but there might be something I think you could do better.' You're trying to take out the negatives, and that allows people to take risks. Make them feel like they own the role and then they'll begin to feel like they have a greater understanding of the character than yours or anyone else's.' Biggest learningsMorgan: 'Brendon McCullum is somebody I'm very tight with and have learnt a huge amount from. I'd say him and Andrew Strauss.' Baz inspired me a lot.

Particularly in that 2015 World Cup. New Zealand always seem to manage to punch above their weight - since 2007, they've reached every semi-final of a World Cup.' That is a huge feat!

They're getting the most out of what they have, a population of about four and a half million and in a country where rugby dominates. Big-hitters Brendon McCullum and Eoin Morgan attempt to hit a cricket ball over the Lord's pavilion.' Having played under Straussy too, there are attributes I try to take from him, one in particular.' I used to find myself thinking 'how does he manage to land his message every time he speaks?' The skill of being able to articulate well and have something land is actually in the listening.' Not a lot of leaders do it - they just go out and talk about where they're going, but don't actually listen to a lot of feedback - but Straussy was absolutely brilliant at it.'

That's something I've learnt. You don't always have to talk just because it's the morning of a game or because you're 'the leader'. Bring people up around you and, certainly, I think we've done that, with leaders like Joe Root, Jos Buttler, Ben Stokes, Chris Woakes, Jonny Bairstow, Jason Roy.' There's a number of guys who I'd be comfortable handing over the reins to at different stages.' Mendes: 'As a director, one of the strange and difficult things is, you don't get to see other directors work.' As the theatre director Peter Brooks says, 'the only way you become a director is to call yourself one and then just persuade everyone that is in fact the case.

I don't have a diploma that says, 'I'm a professional director', It's just an act of will. Brad Pitt joins Sam at the 77th Annual Golden Globe Awards in Beverly Hills, California'As Eoin just said, so much of it is about listening to other people. It took me a long time as a young director to learn when to shut up. I think its nerves more than anything else; you're so eager to impress and give off the sense that you know what you're doing.' Any captain can say to a batsman, 'I want you to go and score a century'. That's not captaincy, not leadership.

That would be the equivalent of saying to an actor, 'I want you to be frightening, to move me, to be really funny in this scene'.' That's not directing. You begin to work out how to indirectly steer people.' Controlling emotionMorgan: 'Virat Kohli in the field when he's captaining, he's up and down like a Yo-Yo, I don't know how he doesn't cry halfway through. I can't operate like that. I can't make decisions if I'm screaming or shouting and living every ball on the edge. Eoin shouts instructions during the fourth ODI between England and Sri Lanka in 2016'I actually found that out when I was a very young player.

Playing against Essex at Lord's in a Championship game, I was 96 not out, having not yet scored a hundred for Middlesex. Danish Kaneria was bowling, and I thought it was a great idea to run down the wicket and try to hit him over the Pavilion for six.'

I missed the ball by about a foot, was stumped and ushered off by all the Essex fielders. I lost my rag, was screaming and shouting all the way through the Long Room, up the stairs and into the changing room.'

John Emburey, who was the coach at the time, gave me the all-time spray of my life. I thought I was going to get sacked.' It simply doesn't work for me. Being emotional about decisions makes me make erratic calls.' Airport simulator 2014 youtube.

If filmmakers in the 1930s had access to today's technology, the result might very well be a film like Sky Captain and the World of Tomorrow. With art deco designs, and a very heavy Max Fleischer influence, the design and look of the film is so processed so that you don't really care that it was all shot on blue-screens; it's just so pretty to look at that if you're like me, you just go along for the ride and take in the sensory overload. It is an adventure story that takes us to the far-reaching corners of the globe, from the heart of Manhattan to the jungles of a mysterious island, to the remote mountains of Nepal. It's an adventure flick in the classic serial style, full with archetypes, heroes, and villains that seem somewhat familiar, even while seeming new. It is a film that allows us to put aside our problems of the day, and just remember that in this alternate reality, if there is any imminent threat, Sky Captain will come to the rescue!

And no hero would be complete without a musical underscore that emphasizes all of the right point. In this particular case, versatile composer Edward Shearmur provided a fully orchestral underscore that fits right in with the adventurous classics of the first half of the 20th century.The main Sky Captain theme is first heard in the 'The World of Tomorrow', brassy fanfare with pounding strings stressing the heroism.

The film moves at a brisk pace, starting with the arrival of a German scientist via zeppelin (a visually magnificent sequence) in 'The Zeppelin Arrives', an ominous cue full of wonder and awe. But things get downright aggressive once 'The Robot Army' comes up, involving a full-scale attack on New York City. Chronicle reporter Polly Perkins (Gwyneth Paltrow) is caught in the middle of the action, and Sky Captain Joe (Jude Law), her ex-lover, is called to the rescue in a very comic-book manner.

'Calling Sky Captain' reprises the main theme, which builds into a ferocious action-sequence as he attacks the robot army. Shearmur's orchestration is old-school, with running strings, punctuated brass, and plenty of nods to Williams and Korngold, among others.There is a bit of a break, allowing for a hint of the romantic theme in 'Back at the Base'.

But the cue quickly turns ominous, and before long we're back into another major action sequence. 'The Flying Wings Attack' is a lengthy 6.5-minute cue that gets the heart racing. Classical music is a definite influence in this score, and this is a stand-out cue which showcases Shearmur's abilities as a composer. Not to be outdone with action cues, we're given a majestic version of the main theme in 'Flight to Nepal', as well sweeping epic-styled music in 'Treacherous Journey'.The love theme still makes an appearance here and there, showing up in 'Three in a Bed' before being tossed aside for a little comic relief.

Frankie (Angelina Jolie) gets a bouncy heroic theme of her own, as well as a little bit of playful underscore highlighting the romantic tension between her and Joe (and Polly's jealousy) in 'Finding Frankie'. Frankie's main theme gets a nice treatment intermixed with the Sky Captain theme and Polly's romance theme in 'Manta Squadron' before it blows up into full-scale action once again.It took a while, but in 'h-770-d' we're finally allowed to get a nice full rendition of the love theme, but just when you settle into it, we're given another action cue ('Flying Lizard') in a sequence that has plenty of visual nods to King Kong, but feels like a missed musical opportunity to lend homage to Steiner's score. The finale of the film takes place in 'Totenkopf's Ark', another pulse-pounding cue that then goes into 'Back to Earth', which gives us the expected 'montage' of themes, from the heroic Sky Captain theme, to the romantic theme, before ending on a 'happily ever after' note. The album ends with Jane Monheit singing 'Over the Rainbow' ( The Wizard of Oz shows up in the background of a scene in the film), and her voice is so soft and sultry - I can't help but enjoy this rendition, even though it's much slower than you might be used to. As an aside, if you can get her solo album, I highly recommend it - it's quite good.While Sky Captain might not necessarily be a film that lends itself to Oscar-winning acting, it serves as a great throwback to the time when films were made for entertainment, and adventure was served up weekly. Shearmur has done a great service to helping this film achieve this level of nostalgia, while at the same time delivering what is one of the best scores of 2004. Running a little under an hour, this is an album you can't afford not to have.