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Hello and welcome to Film 2013, we're live. If you would like to | :00:24. | :00:29. | |
ghet touch the details are on the screen now. Coming up on tonight's | :00:30. | :00:36. | |
show: The Legend Continues, Ron Burgundy and the boys are back in | :00:37. | :00:40. | |
Anchorman 2. You have to do the thing that God put Ron Burgundy on | :00:41. | :00:45. | |
this earth to do, have saloon quality hair and read the news. | :00:46. | :00:51. | |
Dreams become reality in The Secret Life Of Walter Mitty. Hey. Hi. How | :00:52. | :00:57. | |
was your weekend? I had an awesome weekend. Ben Stiller talks about his | :00:58. | :01:06. | |
prolific career. Ecs-terrifying. I like that. We look at some of the | :01:07. | :01:10. | |
big films coming your way over the coming weeks. Danny is here. Hello. | :01:11. | :01:18. | |
We are excited about our guest the brilliant critic Camilla Long. | :01:19. | :01:21. | |
Hello. First up, Will Ferrell recreates the role of legendary TV | :01:22. | :01:26. | |
newsreader Ron Burgundy in Anchorman 2. Oh, I'm so sorry someone put the | :01:27. | :01:35. | |
story in all capital leaders I thought I was supposed to yell it. | :01:36. | :01:43. | |
We find yourselves in the year 1980. We are starting a 24-hour news | :01:44. | :01:47. | |
channel, the first of its kind. A new opportunity to join a brand new | :01:48. | :01:53. | |
station that's going to begin 24-hour news and he assembles the | :01:54. | :01:59. | |
team once more. Welcome to GNN, the Global News Network. That is where | :02:00. | :02:04. | |
we find them. Then it goes down hill. Linda Jackson is a winner. Are | :02:05. | :02:12. | |
you, my friend. This is Linda. Oh, black, black... . Ron. It's amazing | :02:13. | :02:19. | |
how people have taken to this group of guys. I think people like the | :02:20. | :02:24. | |
kind of sense of a rock band you have these four guyes who are | :02:25. | :02:29. | |
hanging out and a sense of fun behind them. That will make one hell | :02:30. | :02:35. | |
of a story. They are buffoons. They can say the most racist, offensive | :02:36. | :02:39. | |
horrible things and you laugh. What are you doing? I'm breaking down the | :02:40. | :02:45. | |
barriers of race by asimulation. Which one of your convicts with the | :02:46. | :02:51. | |
longest record can pass me the mash potatoes. They mask the pain with | :02:52. | :03:00. | |
their own... Can I help you? You are staring at me? Do you want my | :03:01. | :03:06. | |
autograph. He was explaining who you are and I was looking at you. This | :03:07. | :03:13. | |
cast specifically is speaking about Paul, David and Steve. Are just so | :03:14. | :03:21. | |
comfortable with improadvisation. Brian I read somewhere, tell me if | :03:22. | :03:26. | |
this is true, some of the silicone implants were filled with taco meat. | :03:27. | :03:32. | |
The improving is not about competition, it's about trying to | :03:33. | :03:37. | |
make each other laugh. We can improvise for days. Then they will | :03:38. | :03:42. | |
approve upon what they had in the first place. I like the parts of | :03:43. | :03:45. | |
your face that are covered with skin. A rot lot of the time it's us | :03:46. | :03:51. | |
saying, no, let's please not do that, what you wrote is so funny. I | :03:52. | :03:56. | |
don't have any legs, Ron. It's because you're wearing green pants. | :03:57. | :04:02. | |
Over the years Anchorman has grown in notoriety. If the fans demand it, | :04:03. | :04:07. | |
if the oddients is out there we would consider a three. This was too | :04:08. | :04:11. | |
much fun. We will do at least eighth. The very minimum eight. The | :04:12. | :04:17. | |
news team is back. I want to do Anchorman movies for the rest of my | :04:18. | :04:22. | |
life because it's so much fun. That is your foot between my legs No. It | :04:23. | :04:27. | |
was my hand. When I watched that I think that might be the funniest | :04:28. | :04:33. | |
film I have seen seen. I will trend carefully. The good news for | :04:34. | :04:38. | |
Anchorman fan this is has been tailor made for them. It takes them | :04:39. | :04:44. | |
and smoothers them in polyester and sideburns and gags, miles of gags. | :04:45. | :04:48. | |
Some of the gags are funny of the for an Anchorman will love the gags | :04:49. | :04:54. | |
and will quote them for 10 years until they make Anchorman 3, which | :04:55. | :04:58. | |
is the point. I have made myself comfortable on the fence with | :04:59. | :05:03. | |
Anchorman. It does have some very, very funny moments, I don't think it | :05:04. | :05:08. | |
has enough funny moments for two hours. What I do like about it is | :05:09. | :05:12. | |
that Will Ferrell has worked out there maybe aren't enough jokes for | :05:13. | :05:17. | |
two hours. He has made this other movie which is this slide middle | :05:18. | :05:22. | |
finger of the film about TV news and why it's so terrible in America and | :05:23. | :05:27. | |
why working in the media will suck the brain out of your ears. I'm not | :05:28. | :05:31. | |
sure when he decided to make that film, I'm glad he did. A mixture of | :05:32. | :05:37. | |
disappointment and relief. Relief it wasn't as bad as the last film which | :05:38. | :05:41. | |
I didn't particularly enjoy. Disappointment it's still the | :05:42. | :05:44. | |
same... I agree some of the jokes were really very funny, but some of | :05:45. | :05:49. | |
them were really awful. We saw that scene in the... When he goes to take | :05:50. | :05:56. | |
his... Girlfriend. Girlfriend's parents, I thought it was... It felt | :05:57. | :06:02. | |
racist and made me feel really uncomfortable. I didn't think that | :06:03. | :06:05. | |
worked. I thought that, you know, it's a slightly better era for the | :06:06. | :06:12. | |
Anchorman brand. It's the 80s now, which is kind of like broadcast news | :06:13. | :06:18. | |
territory. The satire is, comes much easier. They have this really funny | :06:19. | :06:23. | |
montage where they bring in the car chases and bring in fluffy toys and | :06:24. | :06:29. | |
font font font is doing, h why, what are your Top 50 Greatest Vaginas | :06:30. | :06:37. | |
Ever" and the ratings go up. I quite liked that. That was funny. In terms | :06:38. | :06:43. | |
of memorable, kind of, scenes, memorable lines, I just... It goes | :06:44. | :06:47. | |
out of my head with Anchorman. Maybe Will Ferrell isn't funny. The thing | :06:48. | :06:52. | |
is if you didn't like the original, this is kind of completely | :06:53. | :06:55. | |
pointless. From the point of view of reviewing a film it's like reviewing | :06:56. | :07:01. | |
an avocado. Do you like the green fruit when you open it up has a | :07:02. | :07:08. | |
paler green and creamy inside, then you don't... I love that talking | :07:09. | :07:14. | |
about avocados. I think I'm possibly too old for this film. I am e old | :07:15. | :07:21. | |
for everything hand on heart other than lying down and watching Miss | :07:22. | :07:28. | |
Marple if I was 16 and went to see Anchorman 2 I would laugh until I | :07:29. | :07:33. | |
was sick. Great Friday before Christmas film. Very funny. Nothing | :07:34. | :07:40. | |
in this commercial big bluster type of thing. If you are a 16-year-old | :07:41. | :07:44. | |
boy you wouldn't see Disney's Frozen, which would be my choice on | :07:45. | :07:47. | |
Friday night. It's slicker than the last one. I liked the last one. The | :07:48. | :07:51. | |
problem is the last one was made almost by accident. They would make | :07:52. | :07:55. | |
an entirely different movie at one stage... What were they going to | :07:56. | :08:01. | |
make? Annan orrorman, a different Anchorman. You had so much mayhem on | :08:02. | :08:12. | |
set they carved it out. All that quotability happened by accident. I | :08:13. | :08:15. | |
think the problem with this movie is it is working too hard and it | :08:16. | :08:19. | |
doesn't feel like nobody cares. It feels like everybody cares and awful | :08:20. | :08:23. | |
lot and every single line is designed so people will be quoting | :08:24. | :08:27. | |
the lines for the next 10 years. A bit self-aware. I agree. Will is a | :08:28. | :08:35. | |
good battle scene. That is all I'm saying. Next, Ben Stiller directs | :08:36. | :08:44. | |
and stars alongside Kristen Wiig in daydreamer remark The Secret Life Of | :08:45. | :08:47. | |
Walter Mitty. Danny went to meet him. Hello, are you still there? Can | :08:48. | :08:50. | |
you hang on a second. Go, go, go! Get out, she's going to | :08:51. | :09:07. | |
blow. Go, go! Ben, thank you for joining us today. You are welcome. | :09:08. | :09:12. | |
The Secret Life Of Walter Mitty it feels like the film you couldn't | :09:13. | :09:14. | |
have made without a personal connection with Walter himself, is | :09:15. | :09:17. | |
that true to say? Definitely. You have to feel a personal connection | :09:18. | :09:20. | |
when you are playing a part. Have you to figure out what that is. For | :09:21. | :09:27. | |
me the story and what was in Steve Conrad's script was an identifiable | :09:28. | :09:32. | |
thing, how we see yourselves in our head that doesn't translate in | :09:33. | :09:36. | |
reality and the potential we have and being able to somehow get in | :09:37. | :09:46. | |
touch with that. It did feel personal. Are you still there? Hey. | :09:47. | :09:53. | |
If you had to encapsulate the experience of making the movie in a | :09:54. | :09:58. | |
word, what would it be, ebbing sill rating, terrifying? | :09:59. | :10:07. | |
Ec-ra-terrifying. You should be scared going into making a movie. | :10:08. | :10:10. | |
It's daunting. That energy is good energy to have because you feel that | :10:11. | :10:14. | |
and it means you are pushing yourself in some way and you are out | :10:15. | :10:19. | |
of your comfort zone. That is always a healthy thing, I think. Hello! Oh, | :10:20. | :10:30. | |
hi, sorry, the door was... So I just... Yes, she's getting dressed. | :10:31. | :10:35. | |
Has been almost 20 years since you made Reality Bites, do you dig out | :10:36. | :10:40. | |
the DVDs and watch those, or is it a case of the movie is done and you | :10:41. | :10:44. | |
are always moving forward? The movie is done, I don't go back and watch | :10:45. | :10:50. | |
them. You look beautiful. You look like a Doyly. Unless I show my kids | :10:51. | :10:57. | |
something or if they ask. If you see something, if you are flipping | :10:58. | :11:01. | |
channels I will watch a scene to see how it holds up. The chance to see a | :11:02. | :11:05. | |
movie that you made long time ago with an audience is always | :11:06. | :11:10. | |
interesting. You ever watched pornographic videos? No. I mean, | :11:11. | :11:21. | |
well, I don't... Yes or no? I should say I'm a very, very big fan of the | :11:22. | :11:28. | |
Cable Guy. It didn't get the due it deserved. When that happens, is that | :11:29. | :11:32. | |
frustrating to you? Does it bug you, are you happy now, 17 years later, | :11:33. | :11:37. | |
there are people like me who can proudly say I love | :11:38. | :11:43. | |
Can the Cable Guy? I'm happy that anybody still cared about it. By the | :11:44. | :11:49. | |
way you, might want to put on a bathing suit because you will be | :11:50. | :11:52. | |
channel surfing in no time. We had so much fun making it. We got New | :11:53. | :11:58. | |
York Times Blu-ray came out 15 years after the movie and finally they | :11:59. | :12:02. | |
wrote something nice about. It all right, we got a good review for that | :12:03. | :12:15. | |
movie. OK, I'm going. Take off. See ya. Bye. When you make the movies | :12:16. | :12:21. | |
you make them for yourself and for the audience, hopefully they have a | :12:22. | :12:25. | |
life and it's nice when they do. Sure. | :12:26. | :12:34. | |
There are rumours floating about a see kwul to Zoolander, can you | :12:35. | :12:42. | |
confirm that? I don't know. I mean possibly. It is a matter of trying | :12:43. | :12:46. | |
to figure out the right situation for it in terms of how it all comes | :12:47. | :12:49. | |
together. There is a script we wrote that the I like and, I think it | :12:50. | :12:54. | |
would be fun to do. I'm not sure if it will happen. It might. It still | :12:55. | :12:56. | |
hasn't come together the right way. Zoolander was fun to make, but it | :12:57. | :13:15. | |
was not an easy shoot. The studio were not totally behind it, so there | :13:16. | :13:20. | |
were challenging times on it, but a lot of fun situations came out of | :13:21. | :13:27. | |
it. What is your trademark? I am best known for blue steel. What does | :13:28. | :13:36. | |
that look like? A big part of it is the developments of the new look. | :13:37. | :13:42. | |
You are someone who grew up in the business. Your parents were | :13:43. | :13:46. | |
comedians and you performed as -- as a child. Have you ever had a moment | :13:47. | :13:50. | |
when you thought you would walk away and do something else entirely? I | :13:51. | :14:00. | |
was going to be a glass blower. Is directing something you now prefer | :14:01. | :14:04. | |
to focus on, or do you want to get back in front of the camera? I love | :14:05. | :14:09. | |
acting, but directing has always been what I wanted to do since I was | :14:10. | :14:13. | |
a kid and what I enjoy most. So I look forward more to directing and | :14:14. | :14:19. | |
acting also, but maybe not both at the same time as much. Hey! Was your | :14:20. | :14:34. | |
weekend? I had an awesome weekend. It was incredible to watch him where | :14:35. | :14:39. | |
all these hats - producer, director. And he is in every scene and he | :14:40. | :14:47. | |
could not be calmer about it. I think every direct is a | :14:48. | :14:54. | |
perfectionist -- every director is a perfectionist. That is also the fun | :14:55. | :15:03. | |
of making a movie. The eyes, she moves like a woman. | :15:04. | :15:12. | |
Cheryl. He is very meticulous. He knows what he wants, and he knows | :15:13. | :15:18. | |
how he wants things to look and sound and feel. That attention to | :15:19. | :15:23. | |
detail is one of the reasons the movie is so good. Perhaps I could | :15:24. | :15:31. | |
contact you through my poetry Falk. I like that. Do you think if I hit | :15:32. | :15:40. | |
him with a paperclip, you would move? I wonder what you wanted | :15:41. | :15:46. | |
audiences to come away with. When you see them filing out of the | :15:47. | :15:49. | |
cinema, what do you want them to come away with? I hope they went to | :15:50. | :15:53. | |
a movie they connected with, that I made them feel something. | :15:54. | :16:00. | |
I can't talk, I am on my way to a volcano. I like movies that you can | :16:01. | :16:05. | |
both disappear into that take you away from reality, and also hit | :16:06. | :16:10. | |
something inside you so that you are connected on both levels. | :16:11. | :16:20. | |
That is what I was hoping. Life is about courage and going into the | :16:21. | :16:24. | |
unknown. What did you think? And by the way | :16:25. | :16:32. | |
my favourite thing is to start a sentence like that. What is the | :16:33. | :16:40. | |
point? Sorry. It is beautiful. It touched me occasionally, but I came | :16:41. | :16:48. | |
away thinking I have not changed in any way by seeing this film. Ben | :16:49. | :16:52. | |
Stiller is pretty good as Walter Mitty. He is not dreamy enough to be | :16:53. | :16:58. | |
that carrot to. -- that character . You can see him acting, which is a | :16:59. | :17:03. | |
bit distracting. This is a very short story that has been stretched | :17:04. | :17:07. | |
into this two-hour film. Like you said with Anchorman, there is not | :17:08. | :17:11. | |
enough material. There are great action sequences. You are never sure | :17:12. | :17:17. | |
whether he is in a fantasy or not. I thought, whilst it is very | :17:18. | :17:21. | |
beautiful, shot on location in Iceland with volcanoes and | :17:22. | :17:24. | |
everything, I just came away feeling the. -- empty. See, I am sick and I | :17:25. | :17:39. | |
found it quite poignant. -- I am sick. I know it is just me and Ben | :17:40. | :17:44. | |
Stiller's mum who think that. No, I could not agree less with you, | :17:45. | :17:47. | |
Camilla. Most Hollywood movies if you feeling like you have been | :17:48. | :17:51. | |
slobbered over and had your pocket picked at the end of it, but this is | :17:52. | :17:55. | |
not that movie. It would take a cynic to call it cynical. There is | :17:56. | :18:02. | |
an unusual sense of melancholy and sweetness about this and also | :18:03. | :18:08. | |
sincerity. It is the sincerity people will take from it. People | :18:09. | :18:17. | |
recoil from that. But this is an open hearted movie, and it is great | :18:18. | :18:22. | |
for that. We should embrace that. Actually, it felt like a vanity | :18:23. | :18:27. | |
project for Ben Stiller. You see there was not drool on your shoulder | :18:28. | :18:31. | |
when you came out, but I felt that a bit. I felt I was being a bit | :18:32. | :18:35. | |
manipulated by the story, which has been jazzed up for the film. It is | :18:36. | :18:42. | |
nothing like the original and I do prefer the 1947 version with Danny | :18:43. | :18:49. | |
Kaye. It works better. It is much more of the time. The film has a | :18:50. | :18:56. | |
very old-fashioned vibe, this story is from a time before. They have | :18:57. | :19:03. | |
tried to pimp it up and it has not worked. It is the lack of pimping | :19:04. | :19:08. | |
that I like about it. How can you say that when there are these | :19:09. | :19:11. | |
enormous set sequences that last it past you? But then Stiller always | :19:12. | :19:17. | |
takes the dead hand option. It would be so easy to milk it, but he is the | :19:18. | :19:29. | |
same Ben still you was. It would make so much more sense for him to | :19:30. | :19:32. | |
do the Gurney, but he underplays everything. It is a noble | :19:33. | :19:37. | |
achievement. Were you disappointed that it was not funny? Yes, I think | :19:38. | :19:45. | |
I would have preferred... Is Ben Stiller ever going to get away from | :19:46. | :19:50. | |
the fact that he is a comedy star? Probably not. He is so good at that. | :19:51. | :19:56. | |
There are some comedy sequences in the daydreams, they are fantastic. | :19:57. | :20:01. | |
There is a Benjamin button type sequence. Imagined David Fincher's | :20:02. | :20:07. | |
face during that. I think sometimes you have to admit that a movie has | :20:08. | :20:12. | |
made a personal connection with you. I am a middle-aged man and this is a | :20:13. | :20:15. | |
middle-aged movie. I mean that as praise. You get to your middle | :20:16. | :20:20. | |
years, the V neck years of your life. You are a younger person. But | :20:21. | :20:27. | |
at that stage, you think, the person I thought I would be when I was 18, | :20:28. | :20:31. | |
I have not become him . I have come this flabby mess that looks out on a | :20:32. | :20:37. | |
kebabs shop. I want a movie that says there are worse things in life | :20:38. | :20:44. | |
than that. There is nothing bad about simplicity and sincerity. The | :20:45. | :20:48. | |
Secret Life of Walter Mitty will be on cinemas on Boxing Day. Now a look | :20:49. | :20:53. | |
at some of the treats you get to feast on over the coming weeks. | :20:54. | :21:03. | |
My name is Solomon. I am a free man and you have no right to detain me. | :21:04. | :21:08. | |
You are no free man, you are nothing but a runaway. This is the true | :21:09. | :21:18. | |
story of someone who was a free man in the 19th-century and he was | :21:19. | :21:20. | |
drugged and sent to New Orleans, where he spent the next 12 years as | :21:21. | :21:28. | |
a slave. I am not trying to redress the balance, all I am trying to do | :21:29. | :21:33. | |
is look at that time in history and asking people to acknowledge it. To | :21:34. | :21:40. | |
know where you are going, one has to look back. This is a very modern | :21:41. | :21:47. | |
story in its own way, which is what is terrifying about it. It talks | :21:48. | :21:52. | |
about a society we recognise. In the end, more than anything, it speaks | :21:53. | :21:56. | |
about human respect. That is something that it is never late to | :21:57. | :22:04. | |
reflect on. If you want to survive, do and say as little as Zobel. -- as | :22:05. | :22:12. | |
little as possible. I don't want to survive, I want to live. With this | :22:13. | :22:18. | |
script, I am going to teach the and everyone of you to be the best. This | :22:19. | :22:23. | |
is the greatest company in the world! I was becoming a legend. | :22:24. | :22:31. | |
Aren't you married? Married people can't be friends? I was making so | :22:32. | :22:36. | |
much money, I didn't know what to do with it. | :22:37. | :22:42. | |
The real question is, was all this legal? Welcome to Las Vegas! I want | :22:43. | :22:58. | |
all of you to get in trouble. There is a huge audience of people of our | :22:59. | :23:07. | |
generation. There are a lot of us. Soon the audience will be pining for | :23:08. | :23:14. | |
movies about young people. We had a great time, and a movie came out. I | :23:15. | :23:23. | |
feel like I am getting drunk and electrocuted at the same time. | :23:24. | :23:35. | |
You are the biological father of 533 children. What? It is about a guy | :23:36. | :24:05. | |
who, when he was younger, gave generously to its own bank. It is | :24:06. | :24:11. | |
impossible to be the father of 533 children. | :24:12. | :24:16. | |
When you are young, you don't think of consequences. These kids need | :24:17. | :24:23. | |
someone to look out for them. They need a guardian angel. When you are | :24:24. | :24:29. | |
looking out for these kids, will you be wearing some kind of cake? I did | :24:30. | :24:33. | |
not see superhero, I said guardian angel. This is the BBC. | :24:34. | :24:39. | |
Forces in Singapore have surrendered to the Japanese. A lot of films have | :24:40. | :24:43. | |
made about World War II, but you have to dig a little bit here to | :24:44. | :24:47. | |
understand quite how heroic these men were. A lot of men went through | :24:48. | :24:53. | |
something you can't imagine. I'm afraid the museum is closed. I'm | :24:54. | :24:59. | |
surprised you don't recognise me. I did not expect you to be alive. | :25:00. | :25:04. | |
There are a lot of people with untold stories, thousands of them, | :25:05. | :25:09. | |
that badly needed this story to be told. Some time, the hating has to | :25:10. | :25:18. | |
stop. We will fight for our freedom! This | :25:19. | :25:24. | |
is your final warning! I am not breaking any laws. | :25:25. | :25:29. | |
The bits of racism I might have seen as a young kid living in east London | :25:30. | :25:32. | |
was nothing compared to what happened in South Africa. To get the | :25:33. | :25:37. | |
offer to play someone like him was a massive moment for me. It is an | :25:38. | :25:41. | |
ideal for which I am prepared to die. | :25:42. | :25:45. | |
We had a premiere in South Africa, and people who had been imprisoned | :25:46. | :25:48. | |
with Mandela were all there as well. And when the lights came up, I | :25:49. | :25:54. | |
realised people were crying in the theatre. So I felt so proud. What | :25:55. | :26:03. | |
they have done to my wife is their only victory over me. There is a | :26:04. | :26:07. | |
love story at the heart of it, and that has helped choose the best | :26:08. | :26:14. | |
moments in his life. Lots of stuff coming our way. At | :26:15. | :26:19. | |
this point, I normally ask for your film of the week. But because it is | :26:20. | :26:23. | |
the last show of the year, I will ask for your favourite film of the | :26:24. | :26:27. | |
year, Camilla. I have a few. First, I would say Gravity. Loved it. I | :26:28. | :26:37. | |
would also say the great beauty, a wonderful Italian film about Rome. | :26:38. | :26:43. | |
Go for the crowd scenes, the music and the jokes. And a documentary I | :26:44. | :26:46. | |
thought was incredibly powerful, the act of killing, about men who killed | :26:47. | :26:55. | |
people in a communist massacre in 1965 in Indonesia. It is an | :26:56. | :27:00. | |
extraordinary film about life, death and human misery and breakdown. I | :27:01. | :27:06. | |
would also say the act of killing and Gravity. And also a Japanese | :27:07. | :27:10. | |
movie called I wish, a beautiful film about childhood. And spring | :27:11. | :27:13. | |
breakers, an altogether different kind of beautiful. I see Captain | :27:14. | :27:19. | |
Phillips. That is all from us. We are getting an extra long Christmas | :27:20. | :27:22. | |
holiday and will be back on Tuesday the 21st of January. Teacher | :27:23. | :27:27. | |
O'Toole, who died on Saturday, was a movie legend. -- Peter O'Toole. We | :27:28. | :27:31. | |
remember him the Lawrence of Arabia, probably the most brilliant debut in | :27:32. | :27:36. | |
the history of Hollywood. Thank you for watching. Good night. You mean | :27:37. | :27:40. | |
the Turks have gone? No, they are still there, but they have no boots. | :27:41. | :27:47. | |
We took them prisoners. No, that is not true, we killed some. Too many. | :27:48. | :27:55. | |
I will manage better next time. There has been a lot of killing, one | :27:56. | :28:01. | |
way or another. Cross my heart and hope to die, it is all perfectly | :28:02. | :28:06. | |
true. It is impossible. Yes, it is. I did it. You had better talk to | :28:07. | :28:18. | |
General Allenby. He is in command now. That is a step in the right | :28:19. | :28:23. | |
direction. First, I want a room with a bed, with sheets. Of course. It is | :28:24. | :28:30. | |
for him. Right. You want a bed yourself, don't you? I will see | :28:31. | :28:36. | |
Allenby first, though. Will he see me? I think so. Good night. I had | :28:37. | :28:49. | |
better shave. Yes, you had. You had better get into some trousers, too. | :28:50. | :28:55. |