:00:26. > :00:31.Hello and welcome to Film 2014. We're live and if you want to get in
:00:32. > :00:36.touch the details are on the screen now. Coming up on tonight's show:
:00:37. > :00:44.Oscar favourite Matthew McConaughey stars in Dallas Buyers Club. Mr
:00:45. > :00:46.Woodroof, you are nothing more than that common drug dealer.
:00:47. > :00:53.Ralph Fiennes explores Dickens' secret life in The Invisible Woman.
:00:54. > :00:56.Do you love him? He is married. That has not stopped him falling in love
:00:57. > :01:00.with you. And the crime-fighting man machine
:01:01. > :01:07.is back in a remake of Robocop. Dead or alive? You are coming with me.
:01:08. > :01:11.Plus we talk to John Ridley, the BAFTA and Oscar nominated writer of
:01:12. > :01:16.12 Years A Slave. Danny is here. And we're joined by
:01:17. > :01:20.guest critic Peter Bradshaw. Before we begin, we must talk about
:01:21. > :01:24.Philip Seymour Hoffman, who died this weekend. Danny and Peter, this
:01:25. > :01:28.is just such a massive horrible loss, isn't it? It feels so raw. It
:01:29. > :01:33.is so unexpected. We are not talking about an actor that reached a grand
:01:34. > :01:37.old age and if we are honest, we had started thinking about in the past
:01:38. > :01:44.tense. This is a man of 46. He had two new films and who knows what he
:01:45. > :01:49.had lying ahead of him. So, as it stands, it's a devastating loss for
:01:50. > :01:53.any film lover. You have been watching this glorious movie, which
:01:54. > :01:57.was his career and mid-scene, the film was stopped and the lights have
:01:58. > :02:01.come back on and now we feel disorientated. Peter, some of his
:02:02. > :02:10.favourite work - if we were going to watch one of his films, what would
:02:11. > :02:14.you suggest? So difficult to say. It's not so much a star vehicle for
:02:15. > :02:21.himself, it is one of his greatest films, or possibly the film which I
:02:22. > :02:27.clocked him in, which was Happiness. I was afraid of him. It wasn't a
:02:28. > :02:31.scary movie. It wasn't supposed to be menacing. He always gave the
:02:32. > :02:38.impression that there was some deep and incredible well of anger inside
:02:39. > :02:45.him which he was converting into charm and passion. He was absolutely
:02:46. > :02:50.unique. The incredible thing about Happiness, he was playing a
:02:51. > :02:59.character wrecked by self-loathing. Within a year, he was starring in
:03:00. > :03:05.Talented Mr Ripley. He was also - Twitter was heartbroken, if that is
:03:06. > :03:09.not a strange thing to say - people felt the loss so deeply. Somebody
:03:10. > :03:15.has said, "Whatever happens, I would never miss a film he was in." It is
:03:16. > :03:18.true. He was a huge box office draw. He always gave the impression that
:03:19. > :03:24.what he did, he wanted to do. There are so many films we see where the
:03:25. > :03:30.actor is taking the pay cheque, maybe the director wanted to cast
:03:31. > :03:35.him or didn't. Philip Seymour Hoffman always wanted to do the film
:03:36. > :03:44.and it was reconfigured around him. I can't think of anybody who is like
:03:45. > :03:49.him. Perhaps Paul Schofield was comparable. He was a one-off. It
:03:50. > :03:52.seems like he played a lot of characters who were frail and
:03:53. > :03:56.fragile and he tapped into this side of ourselves that we don't like to
:03:57. > :04:01.acknowledge is there. If you look back at his career, he didn't play
:04:02. > :04:06.weak, or strong, he wasn't good guys, or bad guys, he played
:04:07. > :04:09.complex. OK. Thank you. First up, Dallas Buyers Club.
:04:10. > :04:12.Matthew McConaughey stars as Ron Woodroof, who smuggled anti-viral
:04:13. > :04:24.drugs into the US to save his own life and the lives of other AIDS
:04:25. > :04:31.patients in the 1980s. # Come on... #
:04:32. > :04:37.This is the story of Ron Woodroof. He is a heterosexual man and gets
:04:38. > :04:45.HIV. I had inspirations - I knew that guy. I have passed him in my
:04:46. > :04:55.life. Have you ever engaged in homosexual conduct? Homo? You said
:04:56. > :04:59.homo? You have 30 days to live. He lived seven more years. How did he
:05:00. > :05:04.do that? He smuggled ununauthorised drugs and vitamins from overseas and
:05:05. > :05:09.he was a black-market drug dealer dealing his unapproved medicines to
:05:10. > :05:16.other HIV patients and people in Dallas, Texas. You treating these
:05:17. > :05:21.people? I ain't selling drugs. I'm selling memberships. Welcome to the
:05:22. > :05:25.Dallas Buyers Club. This is a very special film about a group of people
:05:26. > :05:30.that were fighting for their lives intent on making the impossible
:05:31. > :05:34.possible, a group of dreamers that were betting on themselves. Do you
:05:35. > :05:39.like this dress? I think the neckline is a bit plunging. The
:05:40. > :05:45.whole purpose of this study is to determine if it is helping people.
:05:46. > :05:50.There ain't no helping me. I do have a lot of respect. It is a brave
:05:51. > :05:55.thing to do to choose to live your life to dream it not as others would
:05:56. > :06:05.have you live it. Nice restaurant, beautiful woman. That's where I feel
:06:06. > :06:10.like a human again. You look great. Mr Woodroof, you are nothing more
:06:11. > :06:15.than a common drug dealer. People are dying. We had half the money we
:06:16. > :06:21.thought we needed ten days before shooting. We had 4.9. We thought we
:06:22. > :06:28.needed 40 days, we got 25. And the director and I said, "I'll be there
:06:29. > :06:34.if you will." And we did. I hadn't made a film in over six years. I
:06:35. > :06:39.never expected to get this kind of response and I feel really lucky.
:06:40. > :06:49.The story has been around 20 years. Couldn't get it made. We got it made
:06:50. > :06:55.for 4.9 million and we were around for six Oscars. It is an
:06:56. > :06:58.extraordinary film. I have pages of people saying whatever you do, go
:06:59. > :07:04.and see this film for the performances. Danny? At first, all
:07:05. > :07:07.anyone is going to see is this pipe cleaner figure that Matthew
:07:08. > :07:11.McConaughey has transformed himself into. When an actor piles on the
:07:12. > :07:15.weight or starves it off himself, you don't see the character, you see
:07:16. > :07:19.the scales. That is not true here. This is a phenomenal performance
:07:20. > :07:23.playing a fascinating character. Ron Woodroof is this walking
:07:24. > :07:28.contradiction, a dying man who still had the life force and the vitality.
:07:29. > :07:32.I think the film is pretty conventional. I think there were
:07:33. > :07:38.moments when it felt like the producer had been lining up which
:07:39. > :07:42.cleaning product they had to clean their Oscars with. This film demands
:07:43. > :07:47.to be seen. Its heart is in the right place. It's got this electric,
:07:48. > :07:51.unpredictable performance. From the first scene. I don't want to give -
:07:52. > :07:58.the first scene you go, "What am I watching?" It's a barnstormer. He's
:07:59. > :08:05.not acting, he's got this almost relaxed turn as an actor. He reminds
:08:06. > :08:13.of a young Jeff Bridges. Yes. He is selling it to you without hammering
:08:14. > :08:17.it. He is terrific. It's 120 degree-proof. It meshes well with
:08:18. > :08:23.his character. Brad Pitt was going to be playing this role at one
:08:24. > :08:27.stage. It works so well with Matthew McConaughey. On-screen, we know that
:08:28. > :08:33.he's this free-wheeling Texas dude. Yes. Off-screen, this man was once
:08:34. > :08:40.in trouble with the police for playing bongos naked in his house.
:08:41. > :08:45.We've all done that! Haven't we? I think a lot of people who have seen
:08:46. > :08:51.The Wolf of Wall Street will clock why he is so emaciated in those
:08:52. > :08:55.early scenes. In a funny way, although they are very different
:08:56. > :09:02.films, there is a weird overlap. They are American stories about
:09:03. > :09:06.businessmen... It's very conservative. He is an
:09:07. > :09:10.entrepreneurial self-help man who is into capitalism. The clue is in the
:09:11. > :09:15.second word of the title. I suspect some veterans of the act-up campaign
:09:16. > :09:21.won't be that chuffed of this straight man riding to the rescues
:09:22. > :09:26.of gays. It is in favour of abstinence. The debate that was
:09:27. > :09:31.current in the '80s of HIV people having sex with condoms, that is
:09:32. > :09:38.absent from this movie. He believes in abstinence, except with one woman
:09:39. > :09:45.who has full-blown AIDS. Absolutely. It's a very conservative movie. It's
:09:46. > :09:53.socked over with such power! Can we mention Jared Leto? He hadn't been
:09:54. > :09:58.in a film for six years. I thought his eregrine falcon for mans was
:09:59. > :10:04.great? -- his performance was great? The only thing about let let's
:10:05. > :10:10.performance is - lots of us will have seen this character before. I
:10:11. > :10:15.think particularly if people remember Kiss of the Spider Woman,
:10:16. > :10:22.it rings quite a lot of bells. Yes. This character is familiar in a way
:10:23. > :10:25.that Ron Woodroof isn't. Yes. And the energy that Matthew McConaughey
:10:26. > :10:29.brings to this film. Next, the 2014 reboot of RoboCop.
:10:30. > :10:31.When a police officer is critically injured, a sinister corporation
:10:32. > :10:45.seizes the opportunity to create a half-man half-machine crime fighter.
:10:46. > :10:55.Give your mom a kiss. Night, baby. Too slow, boy! We are going to put a
:10:56. > :10:59.man inside a machine. He suffered fourth degree burns over 80% of his
:11:00. > :11:04.body. If he survives, he will be paralysed from the waist down and
:11:05. > :11:08.confined to a wheelchair. You say you could save him, what does that
:11:09. > :11:18.mean? What kind of life will he have? What kind of suit is this?
:11:19. > :11:23.It's not a suit. It's you. It is a man being joined with a machine.
:11:24. > :11:33.That is the basis of the concept. Let's go with black. It brings out
:11:34. > :11:37.the question - what is the melting of machines and humans going to be
:11:38. > :11:45.like in the future? This is the future of American justice. How many
:11:46. > :11:50.like Thomas Kane will pay for their crimes now, now that RoboCop is
:11:51. > :12:00.here? It is close to original. We have not tried to mess with what
:12:01. > :12:05.works. It will make him think he is in control, but he is not. It is the
:12:06. > :12:10.illusion of free will. With regards to technology and CGI and what can
:12:11. > :12:13.be achieved and regards to action scenes and the worlds you can
:12:14. > :12:19.create, we are living in such a different age. We didn't shy away
:12:20. > :12:21.from great visuals. We didn't shy away from state of art visual
:12:22. > :12:47.effects, shots of graphic design. We focussed a lot more on Murphy as
:12:48. > :12:53.a family man and how him post the RoboCop re-work, the pressure that
:12:54. > :13:05.it puts on the family dynamic. You need to speak to your son. This is
:13:06. > :13:10.really a thinking man's action movie. Somehow, he's overwriting the
:13:11. > :13:15.system's priorities. The human element will always be present.
:13:16. > :13:21.Compassion, fear, instit. They will always interfere with the system. --
:13:22. > :13:26.instinct. They will always interfere with the system. Dead or alive,
:13:27. > :13:33.you're coming with me. I can't come with you because I'm asleep! I have
:13:34. > :13:37.fallen asleep. "I can live with toned-down violence, but if the
:13:38. > :13:43.satire is absent, it will get nothing but disdain from me." I
:13:44. > :13:47.haven't seen a re-boot that has so failed to get the point of the
:13:48. > :13:53.original film. The original film was a black cometic gem. The idea of a
:13:54. > :13:57.RoboCop clanking around with thrilling efficiency, that is not
:13:58. > :14:01.just scary and exciting, it is funny. That was the point. If it is
:14:02. > :14:05.not funny, it is not anything at all. This fails to get it.
:14:06. > :14:12.Absolutely fails to get it. It turns it into Call of Duty. It's a shoot
:14:13. > :14:17.them up first person video game with zero kind of human interest and zero
:14:18. > :14:22.fun. I remember the original as being very funny. I don't know
:14:23. > :14:28.whether that is my warped memory. It was incredibly funny. It was a great
:14:29. > :14:31.movie. This is a 12A so they have taken all the lunatic cartoon
:14:32. > :14:39.violence out. That is a great shame. The original had more than lunatic
:14:40. > :14:44.cartoon violence. It was a trashy reputable B-movie. There is none of
:14:45. > :14:48.that brilliance here. You get the odd glimmer. It is mostly down to
:14:49. > :14:56.Gary Oldman playing this mad scientist. Yes. Setting up these
:14:57. > :15:00.feeding tubes that look like they are filled with liquidised cake.
:15:01. > :15:05.Weirdly, the film, more than anything, feels polite and earnest
:15:06. > :15:09.and almost apologetic for itself. There is a dig at one point at the
:15:10. > :15:15.Transformers movies as if to say, we are not that kind of film. You are
:15:16. > :15:20.the remake of RoboCop. The rubbish at the beginning, it front-loads it
:15:21. > :15:24.with this elaborate satire, the idea that the RoboCops are being deployed
:15:25. > :15:28.on the streets of a subdued Tehran and they are called drones and the
:15:29. > :15:33.film is so pleased with itself. This is it, this is satire. And it loses
:15:34. > :15:37.interest in all of that. Absolutely loses interest and the point is to
:15:38. > :15:42.get on with the boring action. And the action... The action is dull.
:15:43. > :15:47.The only pretext for remaking the movie was so you had these snazzy
:15:48. > :15:52.effects and they are OK, they are pretty fine for what they are. I
:15:53. > :15:59.felt like they were too eager to get rid of that stuff and the satire
:16:00. > :16:03.klaxon goes off. Absolutely. Marketing departments are full of
:16:04. > :16:08.terrible people... The TV presenter played by Samuel L Jackson. What a
:16:09. > :16:15.tired cliche. It is a strange RoboCop. It's a RoboCop that wants
:16:16. > :16:25.to be the wire, it wants to convince you it has seen The Wire. You think
:16:26. > :16:30.that is such a fantastic opportunity. All the subversion has
:16:31. > :16:35.gone. They don't like it. I don't know whether that came across(!)
:16:36. > :16:44.12 Years A Slave has been nominated for ten BAFTAS and nine Oscars. We
:16:45. > :16:51.went to meet writer, John Ridley. Exterior... I don't want to survive,
:16:52. > :16:58.I want to live. If you let yourself overcome with sorrow, you wi drown
:16:59. > :17:03.in it. He sits and the mistress has tea poured for him. You want to
:17:04. > :17:07.express yourself, that's what you want to do and I had this
:17:08. > :17:12.opportunity, probably the biggest opportunity in my life that was
:17:13. > :17:18.presented to me and, as I started going, I realised it is not about
:17:19. > :17:22.me. You are done. Do Solomon, what did he do? What did he say? What
:17:23. > :17:27.happened? Do that. That is all you have to worry about. I was born a
:17:28. > :17:36.free man. I lived with my family in New York. Be good for your mother.
:17:37. > :17:39.Till the day I was conceived. Sold into slavery. To understand the
:17:40. > :17:43.power of what is going on, you have to care about these people. When you
:17:44. > :17:47.care about people, you care about tharks and you feel their pain and
:17:48. > :17:59.you don't need to dial that up. Days ago I was with my family. And my
:18:00. > :18:07.home. Now you tell me all is lost. Tell no-one who I am, that's the way
:18:08. > :18:17.to survive. I don't want to survive. I want to live. 12 Years A Slave,
:18:18. > :18:22.two hours and 15 minutes, it's - things fall by the wayside. I wanted
:18:23. > :18:30.to avoid the idea of wouldn't it be nice if the things that happened in
:18:31. > :18:35.the film happened in the memoir... You are no free-man. You are a
:18:36. > :18:41.Georgian runaway. There are moments of personal colour. That was
:18:42. > :18:46.probably the first lesson I learnt. It is not about what I want. It's
:18:47. > :18:51.not about making him into a traditional action hero. One of the
:18:52. > :18:55.things I appreciate about the production team, they were not
:18:56. > :19:02.interested in a conventional film. # Went down to the River... #
:19:03. > :19:07.Servant, don't obey his Lord. Shall be beaten with many strikes. That's
:19:08. > :19:13.scripture. The condition of your labourers, it's all wrong. It's my
:19:14. > :19:21.property. You say that with pride? I say that with fact. I said come
:19:22. > :19:28.here! Writers are not always treated the best and it maybe dies where you
:19:29. > :19:32.don't feel as though you are treated very well. Even at its worst,
:19:33. > :19:38.millions of people are going to be familiar with your work. On top of
:19:39. > :19:43.that, I tried to be realistic. To be treated like garbage in Hollywood,
:19:44. > :19:48.what does that mean? You get a town car instead of the limo. What does
:19:49. > :19:53.that mean? You get flat water instead of sparkling water. Look,
:19:54. > :19:59.all writers work hard. Everybody works hard. And within film, it is
:20:00. > :20:04.such a team effort. The script can be phenomenal. Without other people,
:20:05. > :20:09.it's 122-page paper weight. I have to say on this production, they
:20:10. > :20:15.treated me like a partner. That's all you can ask for. I've seen the
:20:16. > :20:19.film many times over and there are moments where you go, "That scene is
:20:20. > :20:24.touching and tender and beautiful." And, "That one is really powerful."
:20:25. > :20:31.One scene I would pick out that was not in the script when he is making
:20:32. > :20:35.the corn husk dolls and that is something she came up with and that
:20:36. > :20:43.was beautiful. You hope you deliver something that people can build off
:20:44. > :20:47.of. This is nice. It's always been days since they announced the
:20:48. > :20:51.Oscars. The one moment in your life that is supposed to be about you,
:20:52. > :20:59.you realise it isn't about you. Even now, it's not. It is about Solomon.
:21:00. > :21:09.I will survive. I will not fall into despair. I will keep myself hardy...
:21:10. > :21:15.. Finally, Ralph Fiennes directs and
:21:16. > :21:26.stars in The Invisible Woman. Every human creature is a profound secret
:21:27. > :21:32.and mystery to every other. This is a completely true story. She was a
:21:33. > :21:36.young actress Dickens met when he was putting on a play and he fell in
:21:37. > :21:42.love. It affected the rest of his life and led to the disintegration
:21:43. > :21:47.of his marriage. You are an admirer of my husband's work? Of course. It
:21:48. > :21:52.is a fiction designed to entertain. Surely it is more than that. It
:21:53. > :21:59.changes us. My writing is ferocious. I fight not to be distracted. Nelly
:22:00. > :22:05.met Dickens when she was 18 and they were together for 13 years. So a lot
:22:06. > :22:09.of the film is about this woman looking back and understanding this
:22:10. > :22:15.incredible love affair that she had with Dickens. Do you love him? He is
:22:16. > :22:20.married. That has not stopped him falling in love with you. He's an
:22:21. > :22:26.honourable man, but he cannot marry me. No, he cannot. The position of
:22:27. > :22:30.actresses at that time, the status was not so great. Unless they were
:22:31. > :22:35.very successful, they were badly regarded. Nelly didn't really have
:22:36. > :22:41.much of a future as an actress and that what do you do? How do you
:22:42. > :22:46.survive? You have to find a husband. Action! As an actor, the main thing
:22:47. > :22:53.for all of us in the cast was to play each part with integrity and
:22:54. > :22:57.commit fully to those characters and playing real people does feel like
:22:58. > :23:02.such a responsibility and so it was always trying to find the truth of
:23:03. > :23:11.who they were and their interactions with each other. Do you like this
:23:12. > :23:18.life? Life is nothing without good company. Dickens was very protective
:23:19. > :23:23.of his reputation and of his private life. He wanted the world to believe
:23:24. > :23:32.one thing. The thing which he did which nowadays you would not be
:23:33. > :23:36.advised to do if you are under pressure with a private figure, but
:23:37. > :23:42.certainly today the tabloids would have a field day with this. What is
:23:43. > :23:57.it that we are? When your wife asked me if I was fond of you? I could not
:23:58. > :24:01.honestly reply. I wanted to say no! An extraordinary scene. I thought a
:24:02. > :24:05.beautiful film. I think you have to accept going in the film thinks the
:24:06. > :24:11.most noteworthy part of Charles Dickens' long life is becoming the
:24:12. > :24:16.married lover of Nel Turner. It has a fine touch. It's bold as well. It
:24:17. > :24:23.sets itself this interesting problem which is how do you make a film
:24:24. > :24:27.about a hugely successful man and a shy insular teenage girl without her
:24:28. > :24:32.becoming overshadowed and becoming the invisible woman in her own
:24:33. > :24:37.movie? It cracks that by letting her get harder and wiser over the course
:24:38. > :24:44.of the film. Felicity Jones is great here. Absolutely. Peter? I liked it
:24:45. > :24:47.very much. I thought it was a very passionate film. I thought it was
:24:48. > :24:54.interesting because Charles Dickens is such a cliched figure and this
:24:55. > :25:00.reinvents him as this extraordinary extrovert and assertive hero. It
:25:01. > :25:03.brings in his career as a theatrical actor-manager and it is very clever
:25:04. > :25:07.in the way it suggests the title does not simply refer to his secret
:25:08. > :25:15.mistress, but to the other invisible women in his life, and Kristin Scott
:25:16. > :25:20.Thomas as Nelly's mother. It is interesting to consider in The
:25:21. > :25:24.English Patient, she was Ralph Fiennes's lover and now she's his
:25:25. > :25:28.lover's mum. That is something to think about. I thought it was so
:25:29. > :25:32.beautifully shot. There are some scenes that you want to photograph.
:25:33. > :25:43.Some of them look like paintings. We also, I remember, I loved... It is a
:25:44. > :25:51.different movie. Of course. It says interesting things about Victorian
:25:52. > :25:55."celebrity culture." Yes. Then you find from there, from the point of
:25:56. > :25:59.Nel, how corrosive that can be when you end up as the plaything of a man
:26:00. > :26:04.that powerful. I kept thinking the script didn't seem to like Dickens
:26:05. > :26:08.very much. That was a bit of a problem for me. I think it is
:26:09. > :26:12.incredibly well made. Behind the camera, Ralph Fiennes has a real
:26:13. > :26:22.confidence. I like the fact that it didn't look like a BBC Sunday tea
:26:23. > :26:28.time Dickens. It didn't - it looked like the real thing. It has a
:26:29. > :26:32.documentary realism about what his personal and professional life was.
:26:33. > :26:35.Part of that was down to the Production Design. That's right.
:26:36. > :26:40.With this period, you worry about feeling like you are on a
:26:41. > :26:44.sightseeing bus with a tour guide. You don't feel like that with this
:26:45. > :26:49.film. Peter is right. There is an authenticity to it. You do feel
:26:50. > :26:53.there is something genuinely Dickensian. Ralph Fiennes has gone
:26:54. > :26:57.from strength to strength as a director. Yes. He really is proving
:26:58. > :27:03.himself. Then, a very difficult question. What is your Film of the
:27:04. > :27:09.Week? I will let Peter tell you. It is Dallas Buyers Club for sheer
:27:10. > :27:11.engine power. You have to see Dallas Buyers Club with Matthew
:27:12. > :27:18.McConaughey. I did like The Invisible Woman more than I was
:27:19. > :27:22.expecting to. Possibly not RoboCop. I know. We were harsh! Thank you
:27:23. > :27:26.very much. And The Invisible Woman will be in
:27:27. > :27:29.selected cinemas on Friday and on general release from 21st February.
:27:30. > :27:32.That's all from us. We'll be back next Tuesday at 11.05pm when we
:27:33. > :27:34.review The Monuments Men and Cuban Fury.
:27:35. > :27:39.We're going to play out tonight with Philip Seymour Hoffman in his
:27:40. > :27:57.Oscar-winning role as Truman Capote. Good night.
:27:58. > :28:06.I thought you had missed it. I thought I was heading to Kansas by
:28:07. > :28:14.myself. I'm glad you agreed to come. You are the only one I know with a
:28:15. > :28:23.qualification... Thank you. I'm nervous. Yes? Mr Truman Capote,
:28:24. > :28:27.where would you like these, Sir? You can put that right there between the
:28:28. > :28:35.doors. What did you bring? Just a few things. Thank you greatly, Sir.
:28:36. > :28:39.You are welcome. It is an honour to have you with us, Sir. I hope you
:28:40. > :28:45.won't mind me saying - I thought your last book was better than the
:28:46. > :28:56.first. Thank you. Just when you think they have gotten as good as
:28:57. > :29:02.they can get. Thank you very much. You're pathetic! What? You paid him
:29:03. > :29:13.to say that. You paid him to say that. How did you know? Just when
:29:14. > :29:17.you think they've got as good as they can get... I thought that was a
:29:18. > :29:22.good line. Did you think that was too much? A little bit. LAUGHTER