Pondering, how much to give away no doubt; but also mindful, as he says, of the perception the players have of him, how some fear him, how some – as he acknowledges with what appears to be an element of sincere surprise – are "frightened to death" of him.
All that plus the curiosity over how first-time host Seth Meyers will handle cracking wise in the midst of such troubled times — how soon before he acknowledges the Weinstein-sized missing elephant in the room?
He acknowledges how both Hitler and the postwar occupying authorities had to conscript audiences for concerts, and how an appreciation of classical music has a sinister contemporary edge: "Now, when any self-respecting Hollywood archcriminal sets out to enslave mankind, he listens to a little classical music to get in the mood". There is one lacuna, though; a small one, but significant.
He acknowledges how both Hitler and the postwar occupying authorities had to conscript audiences for concerts, and how an appreciation of classical music has a sinister contemporary edge: "Now, when any self-respecting Hollywood archcriminal sets out to enslave mankind, he listens to a little classical music to get in the mood".
But he acknowledges how far they've come.
Although Endy speaks with passion about the biological future, he acknowledges how little scientists know.
He acknowledges — how could you not? — that the Savoyard operettas pointedly skewer bel canto conventions, both literary and musical.
The key, he insists, is to keep business goals ahead of political ones, though he acknowledges how hard that is.
He acknowledges how injuries to players like Santonio Holmes, Dustin Keller and Stephen Hill have ratcheted up the degree of difficulty, but he does not use them as excuses.
