Particularly impressive is Malin Byström’s Donna Anna, whose moving Non mi dir is addressed not to Don Ottavio but first to her dead father (via his bust) and then to Giovanni himself.

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Es Devlin's set is a two-storey building on to which are projected, graffito-style, the names of Giovanni’s myriad inamoratas, roses (in Giovanni’s serenade of Elvira’s maid), black tears (in Don Ottavio’s Il mio Tesoro) and more besides.

The video designs by Luke Halls and lighting by Bruno Poet are admirably inventive.

For example: the first common mistake is in how value gets defined.

Value and status are often erroneously distilled into a single attribute.

Is Donna Anna the victim of a sexual assault at the start of Don Giovanni, or has she welcomed his advances? More than that, she continues to desire him, while Giovanni himself is portrayed as a man who longs for real love, as opposed to the joys of seduction.

He looks on enviously, for example, as Zerlina and Masetto express their mutual affection.

I thought "Studs" in the '90s was bad, but "Shipmates" takes the award for being one of the worst shows in syndication to date.

He has a ‘question and answer’ section on his website and someone asked if he would be interested in ever doing 20 Questions with Metal Sludge, and he would. So we sent out 20 Questions to John 5, and while he sent them back promptly, he didn’t exactly answer all 20 Questions.

It's such a large special-effects picture, the actors really are secondary in it.

We were just sort of pointed in the direction of the camera and (told) to do it.

Of course, this is easily disprovable; a quick trip to your local Wal-Mart will find plenty of folks in happy relationships despite their distinct lack of Hermes, Bugatti or Swiss bank accounts.